Rapper, Actor DMX, Five-Time Billboard Chart Topper, Dead at 50

American rapper and actor Earl Simmons, known by the stage name DMX, died after suffering a heart attack during what media reports said was a drug overdose. (Getty Images)
American rapper and actor Earl Simmons, known by the stage name DMX, died after suffering a heart attack during what media reports said was a drug overdose. (Getty Images)
TT
20

Rapper, Actor DMX, Five-Time Billboard Chart Topper, Dead at 50

American rapper and actor Earl Simmons, known by the stage name DMX, died after suffering a heart attack during what media reports said was a drug overdose. (Getty Images)
American rapper and actor Earl Simmons, known by the stage name DMX, died after suffering a heart attack during what media reports said was a drug overdose. (Getty Images)

American rapper and actor Earl Simmons, known by the stage name DMX or Dark Man X, died on Friday, People magazine said, after suffering a heart attack during what media reports said was a drug overdose. He was 50 years old.

The chart-topping artist's songs included "Party Up (Up in Here)" and "X Gon' Give It To Ya." His career had been marked by legal troubles and prison time.

"We are deeply saddened to announce today that our loved one, DMX, birth name of Earl Simmons, passed away at 50 years old at White Plains Hospital with his family by his side after being placed on life support for the past few days," his family wrote in a statement quoted by the magazine.

DMX collapsed at home, his family had said, and was taken to a New York hospital where his former manager said he had been placed on life support with no brain activity.

Celebrity publications TMZ and Billboard said he overdosed on drugs triggering a heart attack.

Growing up in Yonkers, New York, DMX took his moniker from the name of a drum machine used in rap songs. When he was 14, an older rapper who had been a mentor tricked him into smoking crack, DMX said in a documentary series broadcast on BET.

"He created a monster," he said. "Cocaine almost took my life on a few occasions."

His debut album in 1998, "It's Dark and Hell is Hot," was the first of five in a row to top the Billboard 200 chart in the United States. He was the only rap artist with such a streak, according to a 2019 profile in GQ magazine.

He studied the Bible and prayed before and after every show, he told GQ.

"Performing in front of people is beyond a high. It's beyond a high that any drug could duplicate," he said.

The rapper's intense songs told stories of a complex character's "sins of the streets," according to a biography on allmusic.com, which described DMX as a "hip-hop Johnny Cash."

His album “…And Then There Was X” was his biggest seller, certified five-time multiplatinum. DMX released eight albums and was nominated for three Grammys.

DMX earned more than 40 film and television credits, including "Belly," "Romeo Must Die," and action films "Cradle 2 the Grave" and "Exit Wounds," also contributing music to their soundtracks.

He had 15 children, according to media reports.

Before he died, his ex-wife Tashera Simmons, with whom he had four children, attended a vigil outside his hospital, where hundreds of fans danced to DMX songs. "The love is real," she posted on Instagram.

Basketball star LeBron James had tweeted while DMX was in hospital: "To one of my fav artist growing up and still to this day DMX, my prayers are with you and sent to the almighty heaven’s above!"

In 2017, DMX pleaded guilty in federal court to avoiding paying $1.7 million in taxes from 2000 to 2005 by shifting money among accounts belonging to managers and associates. He was sentenced to one year in prison.

The rap star’s prior arrest record included charges of animal cruelty, reckless driving, drug possession, weapons charges and probation violations. He served prison time in Arizona and New York.

In the 1998 song "Slippin'," DMX rapped: "To live is to suffer, But to survive, well, that's to find meaning in the suffering."



Movie Review: A Weird ‘Superman’ Is Better than a Boring One

 Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
TT
20

Movie Review: A Weird ‘Superman’ Is Better than a Boring One

 Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)
Cast member David Corenswet attends a premiere for the film "Superman" at the TCL Chinese theater in Los Angeles, California, US, July 7, 2025. (Reuters)

It’s a bird, it’s a plane, it’s a ... a purple and orange shape-shifting chemical compound?

Writer-director James Gunn’s “Superman” was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind “Guardians of the Galaxy” and “The Suicide Squad,” has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.

But you don’t get more mainstream than Superman. And let’s face it, unless Christopher Reeve is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.

In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (Rachel Brosnahan) and Lex Luthor (Nicholas Hoult) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (Anthony Carrigan).

Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in “Superman.” But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like Chris Pratt’s Star-Lord in “Guardians of the Galaxy.” And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.

The heavy lift of “Superman” is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.

Not everything works in “Superman.” For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found Zack Snyder’s previous administration painfully ponderous, this “Superman,” at least, has a pulse.

It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s “Superman” is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.

We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.

Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.

Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.

She and Kent are already an item in “Superman.” When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if “Superman” ought to have been “Lois,” instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.

That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.

The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn's juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that's Krypto's cue to fly back into the movie and run amok.

Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien" by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, “Superman” is an immigrant story.

Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect “Superman” something quite rare in the assembly line-style of superhero moviemaking today: human.