Kidd Kidd Talks G-Unit Come-up & Explains Young Money Situation

That’s real man. So how’d you link with 50 and G-Unit?
It’s just the work that I put in. I know a lot of people get a lot of shit twisted like ‘Oh, 50 messing with the nigga only cause he got shot’---nah! 50 been fucking with me since before this even happened. That was just me being on my grind. That dude is a real nigga, and he can relate to what I been through. He reached out to me, and when he reached out to me he called me personally. And for me, coming from where I’m from, that’s real respect. Most of these niggas will send somebody to call you. That man called me—

Exactly. Our first phone conversation, he asked me where was I when we he called me. When he called, I was in his hood---134th and Guy Brewer, in the projects in Queens like 2:30 in the morning. That kinda fucked him up cause he was like ‘Damn, you in my hood!’ But we clicked ever since. Ever since, we just clicked and we always talking and keeping in touch. He was coming down to New Orleans to film movies and we got a chance to really meet each other. We sat down with one another and was just running it back and forth. I was giving him the rundown and he was giving me a little rundown. I really learned a lot from him. A lot of people wouldn’t keep it all the way 100 with you in this business.

How soon will we be hearing some G-Unit material?
Oh, yall will be hearing that real soon. You can download and go to wherever site you want to go to and check out the new Tony Yayo single Haters featuring me, 50, and Shawty Lo. We just shot the video for it 2 weeks ago in Atlanta, so that’ll be hitting the airwaves real soon. But you can check the song out now.

Dope. As you know Weezy released his Sorry 4 The Wait mixtape and on one of his freestyles he kinda came at you. How’d you feel about the bitch references and him referencing your shooting?
[Laughs] See, that’s the thing. A lot of people out of town don’t really get how New Orleans people talk. When New Orleans people talk, they talk emotionally. He wasn’t---that’s just his way of saying ‘Damn nigga! You still in the hood. Look what’s happening to you. You need to get from out of that’, you know what I’m saying? If you listen to what he’s saying, he’s like ‘Kidd Kidd! Betta watch yourself out there. You know a nigga got love for ya, bitch! Don’t make a nigga come in that water for ya.’ A lot of people will hear the bitch and all that and see that as him coming at me. But it’s not a diss at all. If it was, it would’ve been a whole different situation. It’s too real with me. A person like Wayne, he knows that. I don’t think he was tryna come at me like that at all. But I know how a lot of people outside of New Orleans might take that. But shoutout to him for shouting me out!

Got you. Here in New York, it didn't come off like that. The word ‘bitch’ could be an insult! I’m glad you cleared that up for us.
Yeah, in New Orleans we use that all the time. That’s how we talk to each other---‘Bitch what you doing? Bitch where you going? What’s up bitch?’

[Laughs] Ok cool. Now there’s one last question I wanted to ask you regarding YM. It’s been speculated as to whether or not you were even signed there or if you were dropped or not. What was the initial relationship with Young Money?
Well, there never was any paperwork involved. I been around Wayne since like 2003, 2002. It never was no paperwork where I was signed to Young Money. As far as being dropped from the label, nah that’s not really true. When doing big things and you not seeing eye to eye, eventually you just want to go out and experience things for yourself. That’s kind of how it was for me. I felt like there’s a lot more I could be doing than just sitting around. When you sitting around, at the end of the day you gotta think about your family you gotta feed, yourself that you wanna take care of—it’s one thing having someone giving you money than making your own money. If someone gotta keep giving you money, how can they even respect you? That’s like being someone’s child or something. At the end of the day, we all men.

Ok cool. So no beef or bad blood between Young Money and you?
Nah it’s no beef. Yeah I still speak to them. I holla at Gudda all the time. Them my dogs. I don’t really talk to everybody else too much, but I holla at Gudda all the time. It’s all good. It’s all love. There’s no beef at all. I got love for them niggas. They come in the city and I hold them down. Cause I know for a fact that ain’t none of them tryna catch no murder charges. We can’t afford to be in jail right now. We can’t afford to be in a coffin right now. It’s just too deep right now. And quote this too, for the Wane comments, because I ain’t really get a chance to really holla at him. Tell him I said. ‘That’s wassup, bitch!’

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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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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.

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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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