DJ Spotlight: Drum And Bass Takeover With Loxy

Loxy is a name that is synonymous with expanding the boundaries of drum & bass. Known as Andrew Campbell to his mates, Loxy sits down with VIBE to reveal his biggest influences, the Metalheadz label effect, his 2014 takeover and cementing himself as an influential innovator in the scene.

Listen to luscious "riddddummm" of Loxy below, then read our head-to-head with him after the jump.

VIBE: You've been such a vital force within D&B, can you tell us how you got into the scene and how it's impacted your life throughout the years?
Loxy: It’s become a way of life, without sounding cliché, music has always had a big impact on me so being involved with a scene from very early its bound to have an effect. Especially when it allows you to travel the world and explore your creativity with no restrictions, got to love that about D&B.

Who is your biggest inspiration and sonic influencer in the game?
There’s probably too many to count. I find influences in most things, and it usually comes down to my mood. I just like to express different moods and try and take people to different places whether it’s through producing music, or DJing. Movies and television seem to be my greatest motivation since I see making music as if I was making a mini movie of sound.

What/who are you listening to right now?
I’ve been listening to a lot of early ‘90s hip-hop like Rakim, Public Enemy, Big Daddy Kane, Nas, Mobb Deep, DITC, Wu Tang, Killarmy, etc. As far as new hip-hop I love what Skyzoo is doing Joey Bada$$ and the Pro era Clique, Kendrick Lamar, Torae also Common, Mos Def, Slaughter House, who are not new but still out there doing great music.

Metalheadz is celebrating their 20-year anniversary this year? How has that label affected your career?
Its been a driving force for me throughout their years, that’s my fam. Kemistry (RIP) & Storm were big supporters of what I was doing, which is why they got me involved with the club nights with Metalheadz from day 1. Naturally I feel that the association with such a cutting edge, pioneering label did a lot towards getting me noticed and out there.

How would you compare the UK D&B scene to the US scene?
I think it’s more open-minded in the UK in regards to styles for the type of music I play. I would say London and other cities in Europe seem to be more open to the deeper styles. Don’t get me wrong, the US is open to it in certain places but more so from my experience it seems to be more dance floor or old school orientated which is cool, so I tend to play more rolling styles and drop more oldies in a set in the US than if I’m playing in London.

There was a lot of buzz about D&B dying and now people are speaking about its resurrection. Do you think D&B really ever died? Do you think it is becoming more mainstream?
It was never dead just like hip-hop was never dead. It just wasn't in the forefront for a while, but if you searched you would still find good music. It’s just that new genres, and subgenres started taking off so in turn that made it seem like D&B was going into the background. Fads come and go and D&B/jungle has and always will be a permanent fixture in my opinion. Everyone seems to draw inspiration from D&B now within other music genres whether they admit it or not, you just have to listen.

What are some of the best festivals and best parties that you've been able to play or even throw?
Sun and Bass, Dimensions and Outlook Festival never seem to fail as they keep the most important factors a priority, which is sound and quality lineups so it’s always an amazing experience to play for these events.

Are there any upcoming artists that you identify as the future of D&B?
A guy named Overlook is doing excellent things, there’s so many others I could name because there’s always new talent dropping, different interpretations, and artists always pushing the boundaries so its hard to list. Most of the guys whose music I play and support I identify with, and they know who they are - RIDERS OF THE DARK.

Do you think there's a lack of female DJs out there? Why or why not?
Yes there is a lack of female DJs, or maybe a lack of female DJs that get the opportunity to be out there. But don’t be discouraged ladies, if you want to take to the decks, don’t let anything stop you if that’s the direction you feel is you. As for female DJs UK-wise obviously Kemistry (RIP) & Storm, MANTRA and up and comers like Kyrist are also doing good things.

Your sound is often deeper, darker, and very tribal. What allured you to this style?
It’s a style I've always liked. It’s funny people say you used to play harder, the fact is I still play just the same in my opinion, just more stripped back, more refined, its called maturing. Knowing that I don't have to stick so much in to make an impact, and not having to sample drums for everything I do. It’s a diff approach but the vibe remains the same. If you look deep enough I don't think anything allured me to this sound though, I have always preferred to play something a little different. It’s too easy to go in a club and just play music that you know is going to work. Sometimes it’s the risk factor and pushing what you believe in and to educate. Our scene was built on going against the grain and trying new things, educating the crowd is very important or the scene becomes stale, then you start hearing D&B is dead. But it’s a Catch 22 because sometimes when you give people something new they still complain. People are fickle, the best advice I can say is to be true to what you like and what you think best represents you.

Turn it UP, drink UP and live it UP with 7UP.

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Music Sermon: The Groundbreaking Sprite and St. Ides Hip-Hop Campaigns

Today, rap music is used to sell everything from electronics to tax filing services to nut butter grinding machines at Whole Foods. We understand that hip-hop culture is essentially the root of everything cool and hip in culture, period, and it’s been commodified and appropriated within an inch of its life. But in the early ‘90s, the genre was far from Madison Avenue-friendly. Aside from the groundbreaking deal between Adidas and RUN DMC, brands didn’t yet see full value and impact of hip-hop…except in the food and beverage industry.

Beverage companies centering campaigns for the urban demo around black music was nothing new; Coca-Cola had ads featuring artists such as New Edition and Anita Baker singing their hearts out for the cola in the ‘80s, and Schlitz Malt Liquor had a legendary – and hilarious - run of spots featuring The Commodores, The Four Tops, Teddy Pendergrass and more through the ‘70s and early ‘80s. However, in the early ‘90s two brands put their entire business on hip-hop’s back, by not only building their brands but spring-boarding the recognition of the music and artists as a marketing and advertising tool: Sprite soda and St. Ides malt liquor.

In the ‘80s, Sprite was languishing behind competitor 7Up when parent company Coca-Cola decided to focus on the youth market, and the quickly growing hip-hop culture was part of the strategy. African-American ad agency Burrell Communications tagged hip-hop acts for a series of spots that began a long-standing marriage between the brand and the culture, starting with Kurtis Blow in 1986. It was one of the first national TV ads to feature a rapper.


In 1990, the brand kicked off the “I Like the Sprite in You” campaign, using rap acts that matched the soft drink’s bubbly energy, starting with Heavy D & the Boyz before partnering with Kid ’n Play the following year. The ads featured the artists clad in lemon-lime fare, rhymin’ about lymon.

HEAVY D - 1990 KID’N PLAY – 1991

With Kris Kross, they turned it up a notch and had us crunk inside the Sprite can. Edgy. Also, this was catchy as hell.


Then in 1994, a young brand manager from Clark Atlanta University named Darryl Cobbin had an idea for a new direction: Gen X was about authenticity and independence of thought, not following the hype. Sprite ditched the pop-friendly crossover acts and identified more “authentic” rap artists – lyricists with street and cultural cred – to rep the brand. “Lymon” was also out of the window, as they moved away from marketing taste and towards marketing attitude. (Cobbin later spearheaded the iconic, yet grammatically questionable, Boost Mobile “Where You At?” campaign.)

Gone were the bright yellow and green sets, because while the new slogan said, “Image is nothing,” it was all about image. Bright and shiny was traded for dark and gritty. Now we were in the studio; a fly on the wall for freestyle sessions. In the first spot of the series with Grand Puba and Large Professor, Puba closes with “First thing’s first, obey your thirst.” It’s legend even within Coca-Cola that Puba ad-libbed the phrase that then became the brand’s tagline that remains to this day.


The “Obey Your Thirst” spots also took us the street corner, the club, and inside the ring when Sprite resurrected the legendary KRS One vs. MC Shan battle.

KRS ONE & MC SHAN - 1996 NAS & AZ – 1997 THE LOST BOYS – 1997

By the late ‘90s Sprite had spent roughly $70M on the “Obey Your Thirst” campaign, tripled sales, and commanded a majority market share of the citrus category (which also included 7Up, Sierra Mist, and Mountain Dew).

Sprite had also succeeded in becoming an official and established part of the culture. They were family. The brand further expanded into urban youth culture through a partnership with the NBA, while continuing to evolve the creative of the rap campaigns.


Near the end of the decade, Sprite explored the overlap between hip-hop culture, comics and martial arts with a series of posse spots based on Voltron (representing all hip-hop regions) and the 5 Deadly Venoms (with all female emcees).


Over the years, Sprite has continued to be one of the most consistent brands in hip-hop. We’ve grown accustomed to spotting the logo everywhere from music festivals and shows to the background of BET’s hip-hop cyphers. They revitalized the “Obey Your Thirst” campaign with Drake in 2010 and paid homage to the greatest lyricists in rap with the “Obey Your Verse” campaign featuring iconic rappers and cans with classic lyrics in 2015.

SPRITE "Obey Your Verse - Cooler" (starring Rakim) from SHOUT IT OUT LOUD MUSIC on Vimeo.

St. Ides’ run with hip-hop doesn’t have the same happy ending as Sprite’s. The brand’s usage of rap petered out in the mid-90s after wide backlash and a series of lawsuits.

For St. Ides, hip-hop was the brand campaign. It’s how they built their business. The brand was introduced in 1987 and their rap campaigns launched in 1988. The malt liquor 40 oz., with significantly higher alcohol content than beer at around a $2 price point, was already a staple in lower-income neighborhoods and hip-hop culture. The “Crooked I” capitalized on that.

Parent company McKenzie River secured Ice Cube as their anchor spokesperson and tapped West Coast producer DJ Pooh to spearhead advertising creative. Pooh lined up a veritable who’s who of additional West Coast rappers over the years, including Geto Boys, Cypress Hill, Warren G, Snoop and Tupac; plus the thorough-est from the East, including Eric B and Rakim, Wu-Tang Clan, Biggie and EPMD.

EPMD & ICE CUBE - 1991 GETO BOYS & ICE CUBE – 1992 ERIC B & RAKIM - 1992

Unlike Sprite’s campaigns which were first jingles and still felt like commercials, even when elevated to trading hot bars for Obey Your Thirst. St. Ides spots, however, looked and felt like straight up music videos with album-worthy production and flow.

ICE CUBE – 1993 MC EIHT – 1994 NOTORIOUS B.I.G. – 1995

Complex even named Wu-Tang’s St. Ides spot “Shaolin Brew” as one of the collective’s 100 best songs! (But at least it’s ranked near the bottom; #97.)


In fact, in 1994, the brand did turn the hottest of the joints into an album, with the St. Ides promotional mixtape dropping at your neighborhood liquor store. It featured full-length songs about getting twisted off the malt liquor from Ice Cube, Wu-Tang Clan, Scarface, MC Eiht, Snoop Doggy Dogg, and Nate Dogg.

The Snoop and Nate track is low key a jam, still. Homegirl in the background starting at the 10-second mark is a whole mood.

This blatant marketing of malt liquor directly to black and brown youth wasn’t going to go unchecked indefinitely. It was all irresponsible, even while being genius for the demo. In 1991, the Wall Street Journal listed the St. Ides ad campaign among one of the worst of the year, which probably didn’t matter at the time since WSJ readers weren’t St. Ides’ base.

In 1991, Public Enemy released Apocalypse ’91: The Empire Strikes Back. The album featured “100 Bottle Bags,” a direct criticism against malt liquor companies marketing specifically to urban communities “…but they don’t sell that sh*t in the white neighborhoods.” Shortly after the release, St. Ides found itself in Chuck D’s crosshairs, and he fired the first in a series of big shots against the brand, marking the beginning of the end of their love affair with hip-hop. An 80-second radio spot featuring Cube used a sample of Chuck’s voice without his permission. The ad had already aired over 500 times on rap radio shows when Chuck sued St. Ides parent company McKenzie River for five million dollars (they settled out of court).

Then, St. Ides and McKenzie River fell under legal scrutiny from the New York State Attorney General in 1992 for using verbiage like Cube’s lyric “Get your girl in the mood quicker, make your jimmy thicker…St. Ides.” to suggest the malt liquor increased sexual prowess. Can you imagine the think pieces if that spot ran today?

They were later in hot water with the New York AG’s office again, along with the Bureau of Alcohol, Firearms and Tobacco (the ATF) for advertising perceived to the be targeted towards minors, with complaints that it glamorized gang affiliation and promoted sex. After having production completely shut down for a short while and getting hit with heavy fines, St. Ides tried to clean up its act, adding “drink responsibly” messaging into the spots.

By ’96 the run was over. Hip-hop was growing up, getting money and moving towards more sophisticated alcoholic beverage choices. Alizé and Hennessy, anyone?

The relationship between hip-hop and alcohol never ended, of course, but has continued to evolve to match the evolution of the lifestyle. We don’t go to the corner store no more, homie (save a brief return in the early aughts of Four Loko). We’re toasting to the good life with premium brands, some of which are now owned by the artists.

We can look back now with the wizened, woke eyes of maturity and possibly scrutinize our artists selling out at the expense of the community, but for the young and burgeoning hip-hop culture, both the St. Ides campaigns and the Sprite campaigns opened the door for the power and commodification of hip-hop and consumer brands. For better or for worse.

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J.Cole, Teyana Taylor And Other Snubs Of The 2019 Grammy Nominations

It's that time of year again when inner circles and strangers on the Internet debate who's up for a gramophone.

On Friday (Dec. 7), the nominees for 2019's Grammy Awards (Feb. 10) were announced to a span of hot takes, early but informed predictions, and a wall of confusion as to why certain artists were overlooked. While some entertainers excitedly received the good news (Cardi B discovered her nods while leaving a courthouse), others were left scratching their heads.

Here's a look at why those who were snubbed by the Recording Academy deserved to be nominated.

READ MORE: Drake, Kendrick Lamar, And Cardi B Lead 2019 Grammys Nominations


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Anderson .Paak, Tierra Whack And More Praise Female Artists At 2018 Billboard Women In Music

Some of music's biggest stars attended Billboard's annual Women in Music event on Thursday night (Dec. 6).

Pop star Ariana Grande was awarded with the night's highest honor, "Woman Of The Year," while SZA, Janelle Monae, Cyndi Lauper, Hayley Kiyoko, and Kacey Musgraves were awarded with subsequent prestigious honors.

VIBE got a chance to speak to some of the musicians in attendance on the carpet, including hip-hoppers Anderson .Paak and Tierra Whack, the Janelle Monae-cosigned St. Beauty, and Massah David, the co-founder of the creative agency, MVD Inc..

When prompted about some of their favorite bodies of work by female artists this year, a resounding amount of musicians stated Teyana Taylor's K.T.S.E and Tierra Whack's Whack World as some of their personal picks.

The 23-year-old MC and first-time Grammy nominee confirmed with VIBE she's working on "something really special" with fellow Philadelphian and friend Meek Mill. She also stated that while the accolades for her work have been exciting, she's more excited for society to stop gendering dope artists, especially in the hip-hop game.

"I hope that [labeling through gender] ends soon," she said. "I know, technically, rap is a male-dominated industry, but, like, I’m better than all of ‘em! [laughs] It is what it is! I don’t even count gender or color, it’s just whoever’s got it."

What are some members of the music industry looking forward to in 2019? More women in high-profile positions and more chances for women in general.

"Hopefully just having more opportunities for women in different spaces in music, whether it’s radio, behind-the-scenes, engineering, actually making the music," said David. "I’m just hoping we get to see women in more executive roles."

Watch our recap video above.

READ MORE: Janelle Monae Discusses Creative Freedom, Her Relationship With Diddy In New 'Billboard' Interview

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