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Maybach Music Week: Pill Opens About New Beginnings, Acting And Beefing With Other Crews [Pg.2]

You, Meek, and Wale represent different things and places. How do you all mesh as a group? 

I mean, everybody’s cool, man. All of us real niggas, so there’s no people siding with each other, or these are with these guys, where we’re out, we’re out. When we’re in the studio, we have our buzz, and the chemistry’s crazy. It’s competitive in the studio of course, because we have four MCs who are serious about their craft, but when we’re just out everything’s cool. Flow like water. 

As far as the music, does Rick Ross have a say?

Ross is basically just going to tell you to do you. He’ll just be like, “Oh, yeah, that shit’s hard.” Or, “I think you should do this.” If it ain’t hard he’ll let you know.

How would you describe Ross as a boss of the label?

Ross is the one who basically says, “As long as that shit’s jamming.” That’s just the motto. At the end of the day if he goes like, “I like that one.” It ain’t none of “you should do this” or “you should do that.” He respects us creatively, and he saw what we’ve done on our own. He already knows our music sense. He presents ideas to us, and we present ideas to him as well. And Ross being the figurehead, and boss of the operation, he just goes, “Yeah, I’ll be right there.”

Correct me if I’m wrong, but is it true Ross makes big purchases in front of crew members as a form of boosting morals within the group?

[Laughs.] I don’t know if it’s to boost moral, but if he does, it definitely motivates you, because you see it. [Laughs.] When you see a nigga using $40,000 on a piece, or you see him in his Phantom, you’ll be like, “Okay, I got to go to the studio.” That’s like anybody.

What do you think is your current position with the label?

I do Pill. I make sure I’m able to touch all bases. I make sure to cover all subject matters, and able to have chemistry with each one of those guys, no matter what the title of the song may be. We’re brothers who are knowledgeable. And then you got me with the acting; I got a film coming out as well called 96 Minutes

How did that role come about?

I basically auditioned. My former manager Whiteboy D’s dad knew one of the producers. When I was a kid I did a lot of stage plays. It would be foolish of me to have this door open, and not open the other door, which is one of my passions. I basically went in, read the script, read for the part, and they were like, “We’ll call you.” And you know that means they ain’t going to call me. [Laughs.] But they actually hit me up, and the next thing I heard from the director was my set timI was happy as a motherfucker. [Laughs.]

Tell me about your role in the film. I saw you in the trailer snuffing somebody.

[Laughs.] Yeah, I play a character by the name of Roger. Basically, me and a couple other guys in the neighborhood, we’re a neighborhood gang. I play a gang member, and one of the characters, he came up with us, but he has one foot in, and one foot out. So he’s trying to impress us to show us that he’s still down. The whole context of the film is someone’s life changing within those 96 minutes.

How much of that character reflects you in real life?

I mean, I ain’t had to tap into anything because I’m from the streets already. I wouldn’t say I was so much of a bad influence, but I was one of those guys around the neighborhood. I was one of those guys who always had to deal with what I had to do in order to survive and get ahead, but I wasn’t trying to influence others to do anything they ain’t want to do. So that was something I had to learn how to do. Influencing people in wrong directions. Other than that “hood cat from the neighborhood” is part of me, so it wasn’t hard to pull that off.  

So as far as acting, what kind of roles do you aspire to achieve?

I would love to do some comedic roles. I want to do some dramas. And do some serious roles. I think I’m gifted as an actor, and I’m made to take on any kind of roles. As long as it ain’t too far fetched. As long as it’s something in my reach, something personality wise I can take on. I’m not being held to one position or one role.

How much concentration do you put into acting compared to rapping?

They’re both my passions. I want to give at least of my time and energy to the acting as I have to the rapping. I want to be able to show people through rapping and acting that you can too make it out of that situation or whatever circumstances it is. So I just want to lead by example.

Now that you’re part of Maybach Music Group, and you’re affiliated with Ross, if any beefs come up between Ross and an opponent, would you get involved in the issue?

Even Ross will tell you those are his conflicts. Because we’re trying to establish ourselves as it is. I don’t have any problems or conflicts with nobody. All I know is, if somebody wants some conflict with me, coming at me on the microphone, I’m going to have to defend myself. I ain’t a hoe-ass nigga. And I’m pretty dope on the mic. But I just try to stay away from all that, man. I’m trying to make me some money, and take care of my junior. I didn’t have the opportunity to be part of beefs, but that ain’t the move. So I make sure I move myself accordingly. But I know if anybody wants it on the microphone, I can end his or her careers.

One last thing, you have a fan base within the so-called “hipster crowd,” but as well as the trap crowd. How would you describe your appeal in music, what attracts those groups that are very different?

I think it’s just because of my lyrical content. And me being from the hood, and me being an eclectic brother growing up. I was in the smart class, I like the arts, I got friends who paint, and draw, and do tattoos and all that shit. I got white friends, I got Asian friends, I’ve always thought outside the box. So I’m able to touch on every angle. It ain’t just “Trap Going Ham” record or “No Play” record. Upon my debut I’ve made the point that I could get on anybody’s song. Southern, Northern, East Coast, West Coast, I just wanted to prove to everyone that I could spit. I’m not just a guy talking about I got all the money, I got all the bitches, and I got all the cars. And I think that’s why I appeal to those two different crowds, because I’m able to be multifaceted, and able to express myself creatively.


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A potential Sept. 13 concert at New Jersey’s Prudential Center was added to the venue's website and later deleted. The site listed Brown as the marquee act, while Minaj was a featured performer.

Besides going on tour together, Minaj makes an appearance on Brown’s newly released single “Wobble Up,” which also features G-Eazy. The track is the latest music collaboration from Brown and Minaj who have worked together a few times over the years.

News of the joint tour comes a day after it was reported that Minaj parted ways with her longtime management team. The “Gonja Burns” rapper was originally billed to hit the road with Future for the North American leg of her Queen tour but the jaunt was cancelled due to scheduling conflicts. The Queens native recently finished up her European tour with Juice WRLD as her special guest.

Last Sunday, Minaj took the stage as a surprise guest for week one of Ariana Grande’s headlining set at the 2019 Coachella Valley Music Festival. It’s unclear if she will hit the stage when Grande returns to perform for week two of Coachella on April 21.

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Beyoncé performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California.
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Homecoming: The 5 Best Moments Of Beyoncé’s Documentary

Once Beyoncé became the first African-American woman to headline in its nearly 20-year history, we knew Coachella would never the same. To mark the superstar’s historic moment, the 2018 music and arts festival was appropriately dubbed #Beychella and fans went into a frenzy on social media as her illustrious performance was live-streamed by thousands. (Remember when fans recreated her choreographed number to O.T. Genasis’ “Everybody Mad”?)

With a legion of dancers, singers and musicians adorned with gorgeous costumes showcasing custom-made crests, the singer’s whirlwind performance honored black Greek letter organizations, Egyptian queen Nefertiti, and paid homage to historically black colleges and universities (HBCUs). Aside from the essence of black musical subgenres like Houston’s chopped and screwed and Washington D.C.’s go-go music, the entertainer performed “Lift Every Voice and Sing,” also known as “The Black National Anthem,” and implemented a dancehall number, sampling the legendary Jamaican DJ and singer, Sister Nancy, to show off the versatility of black culture.

One year after #Beychella’s historic set, the insightful concert film, Homecoming, began streaming on Netflix and unveiled the rigorous months of planning that went into the iconic event. The 2-hour 17-minute documentary highlights Beyoncé’s enviable work ethic and dedication to her craft, proving why this performance will be cemented in popular culture forever. Here are the best moments from Beyoncé’s Homecoming documentary.

The Intentional Blackness

“Instead of me bringing out my flower crown, it was more important that I brought our culture to Coachella.”

Throughout the documentary, Beyoncé made it known that everything and everyone included in the creative process leading up to the annual festival was deliberately chosen. “I personally selected each dancer, every light, the material on the steps, the height of the pyramid, the shape of the pyramid,” says Beyoncé. “Every tiny detail had an intention.” When speaking on black people as a collective the entertainer notes, “The swag is limitless.” Perhaps the most beautiful moments in Homecoming are the shots that focus on the uniqueness of black hair and its versatility. What’s appreciated above all is the singer’s commitment to celebrating the various facets of blackness and detailing why black culture needs to be celebrated on a global scale.

Beyoncé’s Love And Respect For HBCUs

#Beychella — which spanned two consecutive weekends of Coachella’s annual festival — was inspired by elements of HBCU homecomings, so it was no surprise when the singer revealed she always wanted to attend one. “I grew up in Houston, Texas visiting Prairie View. We rehearsed at TSU [Texas Southern University] for many years in Third Ward, and I always dreamed of going to an HBCU. My college was Destiny's Child. My college was traveling around the world and life was my teacher.” Brief vignettes in the film showcased marching bands, drumlines and the majorettes from notable HBCUs that comprise of the black homecoming experience. In the concert flick, one of the dancers affectionately states, “Homecoming for an HBCU is the Super Bowl. It is the Coachella.” However, beyond the outfits that sport a direct resemblance to Greek organizations, Beyoncé communicated an important message that remains a focal point in the film: “There is something incredibly important about the HBCU experience that must be celebrated and protected.”

The Familiar Faces

Despite being joined by hundreds of dancers, musicians and singers on-stage, the entertainer was joined by some familiar faces to share the monumental moment with her. While making a minor appearance in the documentary, her husband and rapper/mogul Jay-Z came out to perform “Deja Vu” with his wife. Next, fans were blessed by the best trio to ever do it as Kelly and Michelle joined the singer with renditions of their hit singles including “Say My Name,” “Soldier,” and more. On top of this star-studded list, Solange Knowles graced the “Beychella” stage and playfully danced with her older sister to the infectious “Get Me Bodied.”

Her Balance Of Being A Mother And A Star

Originally slated to headline the annual festival in 2017, the singer notes that she “got pregnant unexpectedly...and it ended up being twins.” Suffering from preeclampsia, high blood pressure, toxemia and undergoing an emergency C-section, the entertainer candidly details how difficult it was adjusting post-partum and how she had to reconnect with her body after experiencing a traumatizing delivery. “In the beginning, it was so many muscle spasms. Just, internally, my body was not connected. My body was not there.” Rehearsing for a total of 8 months, the singer sacrificed quality time with her children in order to nail the technical elements that came with the preparation for her Coachella set. “I’m limiting myself to no bread, no carbs, no sugar, no dairy, no meat, no fish, no alcohol … and I’m hungry.” Somehow, throughout all of this, she still had to be a mom. “My mind wanted to be with my children,” she says. Perhaps one of the most admirable moments in the film was witnessing Beyoncé’s dedication to her family but also to her craft.

The Wise Words From Black Visionaries

Homecoming opens with a quote from the late, Maya Angelou stating, “If you surrender to the air, you can ride it.” The film includes rich and prophetic quotes from the likes of Alice Walker, Nina Simone, Toni Morrison, and notable Black thinkers, reaffirming Beyoncé’s decision to highlight black culture. The quotes speak to her womanhood and the entertainer’s undeniable strength as a black woman.

Blue Ivy’s Cuteness

Last, but certainly not least, Blue Ivy‘s appearance in the concert film is nothing short of precious. One of the special moments in the documentary zeroes in on the 7-year-old singing to a group of people whilst Beyoncé sweetly feeds the lyrics into her ears. After finishing, Blue says: “I wanna do that again” with Beyoncé replying with “You wanna be like mommy, huh?” Seen throughout Homecoming rehearsing and mirroring Beyoncé’s moves, Blue just might follow in her mother’s footsteps as she gets older.

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