g-unit g-unit

Here's What G-Unit Told Us At 'The Beast Is G-Unit' EP Listening Session

G-Unit preaches at their exclusive listening session for 'The Beast Is G-Unit.'

Once a calm came over the Rotten Apple after the 2015 NBA All-Star Weekend left the city, VIBE swung by G-Unit's listening session to lend an ear to their upcoming EP, The Beast Is G-Unit. Still riding the momentum of their potent project, The Beauty of Independence, the quartet's vigor is still on a trillion on The Beast Is G-Unit.

Hosted in Manhattan's bustling Engine Room studio, the crew seemed to be feeling like a true family again. How can we tell? Well, Young Buck, who recently dropped his Before The Beast mixtape, was in the studio bouncing to every track as if was onstage.

Lloyd Banks and newcomer Kid Kid walked the floor, holding court with hip-hop critics such as MTV's Rob Markman and Rap Radar's B.Dot, to name a few. However, 50 Cent is ducked off doing what bosses do -- contemplating his next checkmate. And Tony Yayo, eyes low and hooded up, taking it all in in the midst of excited hip-hop heads.

After everyone rocked out to the Unit's gangsta anthems, Buck, Fiddy, Banks, Yayo and Kid Kid took the floor to discuss what they learned about themselves while recording The Beast Is G-Unit.

50 Cent Reflects On The Moment:
“We want to do things that reflect where we’re at? That “I’m Grown” record, you know there’s reasons why you would relate to that, even if you're in an one bedroom apartment. If it’s yours you going to hear that motherfucker and feel like this is my song, they made this shit for me and if you don’t like it you can get the fuck out."

50 Cent On His Upcoming Album Being Pushed Back:
"These two EPs pushed my album back. I had to. We just did the Summer Jam and the momentum was there. If I would’ve released my album and went on tour as a solo artist, by the time I came back how excited would everyone be about G-Unit being back together? It wouldn't be current."

50 Cent On G-Unit's Album:
"This is still not the G-Unit album. This is what happened the first two weeks we were together in the recording studio. So when we start to build material that I feel is ridiculously good, I’m putting them on the side and accumulating material that I feel like it will be a classic album from G-Unit. So it’s a process. It’s rare that you find that much production in one spot by one producer. Look at all those classic albums—It Was Written, Reasonable Doubt, Get Rich Or Die Trying, The Carter—and you’ll see that it’s various production and if you ask the artist, it was a big time period to accumulate the music and sequence it the way it was for it be considered a classic album. If you walk into a room you’ll hear the producer playing some really hot tracks, but only one of those belong on that classic. It’s a process sorting out what doesn’t go."

50 Cent On What He Learned From Recording The Beast Is G-Unit:
"I learned that it’s cool to let everybody just do what they want to do. And then sequence it. So they know when we listening to the song in the recording studio and it’s a two-track, that it's not the song yet. When we move it around, change it, sequence it and make the best record out of it. There’s songs that I wrote verses to that I just said, 'take that verse out, we don’t need it and let the song end at 3:30 instead of 4:00 and another chorus playing.' I didn’t need you to hear me so much because I’m getting ready to come with my album."

"The coolest part about this is the differences of the process. Because now everyone is seasoned, they take the lead on different songs. Like, if you hear it, they had the lead on the records and then I kind of fell back because I didn’t want to push myself to the front of the record. So everyone had their actual moments on this project.”

Lloyd Banks On What He Learned From Recording The Beast Is G-Unit:
"I didn’t really learn anything, I kind of already knew what we all could bring to the table. It was just a feeling of what it was like in the beginning. It’s one thing to work in the studio, we all lab rats, but to get in there and get different direction from five different people is a whole ‘nother thing. So it’s something that we all look forward to."

Kid Kid:
"I learned that you can’t put a limit on yourself. Can’t put a limit on your abilities. Coming into the group and recording with them, I knew that I was good, but really being on the track with them making me sound great. I’m going crazy on these things, y’all hear me?"

Tony Yayo:
"I learned that consistency is the key to everything. Don’t focus on one record. You can make a million records in one night. You just have to keep working."

Buck:
"I learned to believe a little bit more in myself. Everything that y’all been hearing from Young Buck I haven’t wrote. I haven’t picked up a pen and a pad at all. So I just learned to trust myself a little bit more and go in that booth and do what I want to do if it feels right."

50 Cent On Young Buck:
"He grew up a lot. Buck is real impulsive. So he going to do what he’s going to do anyway. Now I see him going, ‘Am I supposed to do that.?' I see him stopping himself before he do it."

50 Cent On Kid Kid:
"Kid Kid is the hardest worker outside of Buck. He wants it like he never had it. This is his very first run where people are acknowledging his music. But he got backlash from me. What happens when they see an artist in front of thirty-thousand people consistently, cause I’m traveling internationally, and they’re like, ‘Who’s that? oh, that’s Kid Kid, he with G-Unit' So, you feel like you already made it cause you on that stage verses you being in the night club with Yo Gotti on tour or woith another artist. So you on the big stage and they’re like you already made it."

50 Cent On Intelligence:
"You got some of the smartest guys out here that are underestimated a lot because they don’t follow the dress code. Then you got some people who gauge a person’s level of intelligence based on whether they have an associates, bachelors or masters degree. But those people who were A students in those classes could easily be pointed out as people who are conditioned for the school system and comfortably functioning in that position and pertaining information long enough to pass midterms but not necessarily using or internalizing the things that they’re actually learning. That’s why they don’t go as far as you expect them to go in their fields."

The Beast is G-Unit drops on March 3. You can stream The Beauty of Independence below.

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Devi Love and Charlamagne tha God attend AfroTech 2019 at Oakland Marriott City Center on November 08, 2019 in Oakland, California.
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At AfroTech, Black Tech Innovators Ban Together To Make Their Voices Heard

Entrepreneur Delane Parnell made history last year after his esports software company PlayVS raised $15 million for its Series-A funding round, making it the largest Series-A ever raised by a Black founder in consumer internet. In September of this year PlayVS, which provides a platform for competitive high school esports competitions, again made headlines when it announced that it raised an additional $81 million in funding from a group of notable investors that included Adidas, Samsung, Sean “Diddy” Combs, and the Los Angeles Dodgers. Over the course of 15 months, the company raised a combined total of $96 million in funding to expand the business and a 27-year-old Parnell, who serves as the company’s CEO, became one of the most talked-about Black founders in tech.

During a time when only 1 percent of venture capital funding is going to Black founders and only 0.2 percent of venture capital funding is going to Black women founders, Parnell’s recent success represents an anomaly in the tech startup world. Despite a major increase in press concerning the lack of access and opportunities that Black founders in tech receive and an incredible growth in minority-focused venture capital funds and resources, the PlayVS founder remains a part of a small but growing crop of Black millennial tech founders that have created innovative business solutions so desirable that even the predominantly white-male dominated tech world has been forced to recognize and support them.

Blavity Inc. Founder and CEO Morgan DeBaun is also a member of this burgeoning class of Black millennial startup founders making noise in the industry. Last year, Blavity Inc., which owns Black millennial media and event platforms Blavity, Shadow and Act, Travel Noire, 21 Ninety, AfroTech, and Summit 21, raised a $6.5 million Series-A funding round and grew the company from one office and 30 employees to two offices and over 80 employees. DeBaun, who founded media company Blavity Inc. in 2014 with her three co-founders Jonathan Jackson, Jeff Nelson and Aaron Samuels, is vocal about the struggles not only Black tech founders face but the ones Black tech employees experience working at large white tech companies. Last month, DeBaun once again had a platform to speak on these issues during Blavity’s fourth annual AfroTech Conference, a tech conference geared toward Black millennial founders.

 

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#AfroTech has information and knowledge for everyone. You can find advice from other founders, VCs to pitch your company to, or the tech talent you may need to get your idea going. Don't miss out on new connections that can help you succeed. #linkinbio #careeropportunities #careergoals #venturecapitalist #founders

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AfroTech was created in 2016 as an event to highlight Black tech innovators and provide more opportunities and information for them to succeed. The first three years of the conference took place in San Francisco, Calif., the U.S. epicenter of technology startups. This year, the festival was moved to Oakland, Calif., a strategic move meant to honor a city with a rich Black history and patronize the small Black businesses, that despite aggressive gentrification, are still operating today. During the second weekend of November, Downtown Oakland hosted 10,000 Black tech innovators from around the U.S. looking to form meaningful connections, learn from one another, and celebrate the rising profile of Black people in tech.

One of AfroTech’s primary missions is to address the lack of information Black millennials have about the technology industry. The dozens of high-profile guest speakers, which included Parnell, The ShadeRoom founder Angelica Nwandu, lawyer and political commentator Angela Rye, and media personality Charlamagne Tha God, were carefully selected to provide Black founders, college students, and employees access to knowledge that would better equip them to lead successful tech careers. Across four different stages, speakers shared their experiences and advice on venture capital funding, coding, the cannabis industry, media, and blockchain.

“We don’t always have the vocabulary to frame our success so that we can have opportunities like getting venture capital,” DeBaun tells VIBE prior to taking the main stage at day one of AfroTech. “Part of AfroTech is creating information so that people know how to talk about what they are already doing. We don’t have to change much besides just the vocabulary and breaking down some of the biases we have been taught about ourself.”

Although knowledge plays a big part in enabling Black people in tech to receive greater opportunities, a supportive and well-connected network pipeline is another key factor necessary to fuel the group’s success. In tech, warm introductions and word of mouth rivals technical skills and ability during the job selection process. Ivy League and country club connections make it difficult for non-white people to penetrate the exclusive tech veil. A harsh reality that new diversity and inclusion departments and new executives are apparently working hard to change.

 

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Reports revealed #Al's discriminatory instincts — including mislabeling Black people as gorillas — are only getting worse. What can we do to improve the future of artificial intelligence and remedy the tech industry's diversity problem? #Tech #Afrotech #Al #artificialintelligence

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“Unfortunately we have been trained to have a mindset of deficit, that we can be one of only,” says DeBaun about the lack of representation in tech spaces. “The vision of AfroTech is that we show that it’s an abundance, it’s unlimited potential, unlimited power. So if you have access you should give it to someone else. That’s your duty and your responsibility because you wouldn’t have gotten here if someone hadn’t given you access most likely. AfroTech is actually designed to try to speed that up.”

AfroTech’s socialization component may be the most valuable part of the weekend. Dozens of high-profile tech companies from Google to Twitter, Lyft to YouTube, sent representatives to set up booths to recruit potential job candidates and share valuable information about its diversity efforts. Diversity-focused venture capital firms like Harlem Capital Partners and Precursor Ventures were also engaged with founders and swapped business cards during the conference’s designated networking periods. For Black people who did not attend an Ivy League school or grow up with a country club membership, these moments provided a valuable and direct pipeline to the world’s largest companies.

AfroTech’s opportunities for connection and knowledge distribution did not simply end once the conference did. The AfroTech app, website, and Slack channel have continued to provide helpful resources and opportunities for Black people in tech to communicate with one another. With platforms like AfroTech, Black Women Talk Tech, Black Girls Code and Black Founders, Black people in tech are provided with opportunities to not only empower themselves in this industry but support and empower other Black people in the process.

 

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"A lot of the opportunities I have is because I invited myself instead of waiting to be invited. I don’t often wait for people to validate whether or not I should be in the room. I make that decision myself. In this world, you can’t be afraid of “no” or “sorry, I can’t help you”. You let that be fuel to keep going no matter what. 👊🏾" - @carterlove⠀ ⠀ We found this story in our mentions and just had to reshare these inspirational vibes! We know many #BlacksInTech can wait forever to "be invited" to the table, so it's so important to be the change and invite ourselves! ✊🏾Or better yet, make our own 💁🏾.⠀ ⠀ What are some ways you invite yourself to opportunities? Let's talk about it!👇🏾

A post shared by AfroTech (@afro.tech) on Nov 20, 2019 at 5:31pm PST

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Solange Uses Her Divine Spirit To Calm The Mind And Body For "Bridge-s" Performance Piece

There's a serene feeling over the bodies standing in the iconic architecture at the Getty Center Museum. Jazzy horns, peaceful keys, and crisp guitar riffs gently interrupt the soothing silence as dancers dripped in marigold threads swayed to "Counting," a composition created by Solange. A series of odd numbers like "5", "7" and "9" are recited on a loop by half of her dancers while the others chant "6", "4" and "2." It's just a preview of her latest creation Bridge-s but felt like a dynamic meditation.

Bridge-s brings yet another magnetic piece into her series of interdisciplinary works that spawned after the release of her magnum opus, A Seat At The Table. The world was introduced to Solange's artistic side thanks to performance art pieces at the Guggenheim in New York and the Hammer Museum in Los Angeles.

Composed by Solange and choreographed by Gerard & Kelly, Bridge-s was created with the pillars, beams, and columns around the museum in mind. Dancers and the orchestra used the space to their advantage, with tuba players catching the peripheral of attendees from afar.

Four rollouts will take place November 16-17, curated with a selection of films that include Black to Techno by Jenn Nkiru, AFRONAUTS and Boneshaker by Nuotama Bodomo, The State of Things by singer-songwriter Kish Robinson (Kilo Kish) and more. In its entirety, Bridge-s was designed to explore "transitions through time."

This was felt throughout the performance piece as dancers move with the intent of love, internal struggle, and unity. In a stunning zine designed by Sablā Stays, Gerard & Kelly shared the emphasis behind their modernist and inclusive approach.

"Our work, like hers, is part of an interdisciplinary effort throughout the arts and humanities to redefine modernism by critically engaging its prevailing narratives. By accounting for differences of gender, sexuality, and race. By focusing on intimate and collective histories. By centering our work around the body, dance and movement," they said.

Solange also opened up about the importance the museum and the Elbphilharmonie Hamburg played in the performance piece. "Both Elbphilharmonie Hamburg and the Getty Museum have sure strong distinctive voices spatially, and so the intention is that all of the work, the movement, the language, the songs all align with those principles," she said. "Working with Gerard and Kelly, who share many of the same philosophies on their approach to interpreting time and space through performance has really built the foundation [for] the spirit of this collaboration."

Like the rest of us, the artist watched closely the dancers glide across the floor, while bandmembers release enchanting sonnets with vocalists dropping a few high notes in between. Guests like Thundercat (and his Pikachu backpack), Kilo Kish, Dev Hynes of Blood Orange and Tyler, The Creator were also left speechless after the performance.

“I just want to thank you guys for allowing me the space to evolve, experiment and express new frontiers,” Solange said to the crowd after the assembly provided endless cheers.

Learn more about Bridge-s and get free tickets here.

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Rick Ross' ‘Port Of Miami 2 Tour' Is Motivation To Hustlers Far And Wide

“I can spot a millionaire—from the guy working at the carwash,” Rick Ross said to a sold-out crowd at New York City’s Gramercy Theatre on his “Port of Miami 2 Tour.” “He got the rag hanging out of his pocket, to the way he rock his [pants]. I see the millionaire in him,” Rozay continued.

For nearly two hours on Tuesday (Oct. 15), the MMG bawse galvanized the hustler’s spirit, thanks to the preciseness of words used to explain his “came from the bottom” narrative combined with first hand accounts of the imperative mental spaces that dope boys experience.

But before Rozay graced the stage at the Gramercy Theatre, MMG’s baby boomer Yowda entertained the crowd for a brief set before passing the mic to lifelong MMG soldier Gunplay.

Rocking a black Dickies outfit, the Triple C member, who has been vocal about his cocaine addiction, stormed the stage with coke-like energy while mouthing lyrics to his sobering verse from “The Great Americans,” a song from MMG’s Self Made, Vol. 3.

Gunplay, who was actually born in the Bronx, nimbly bounced across the stage like a point-guard maneuvering through defense closed out his set with his under-the-radar street classics “Blood on the Dope,” “Bible on the Dash,” and his verse from Waka Flacka’s “Rolling.”

With marijuana smoke clouding the venue, liquor relaxing some concert-goers, and the clock inching toward 9:15 p.m., Rozay slowly walked toward the center of the stage—indirectly egging on the standing ovation by confidently nodding his head. Lex Luger’s “B.M.F.” instrumental blasted from the speakers for what seemed like minutes before the Dade County native dived into his verses.

The motivational concert commenced with the words: “I think I’m Big Meech, Larry Hoover,” here Ross is claiming his declaration to be financially independent---probably his No. 1 goal in life.

Less than two minutes into the start of Rozay’s set, The L.O.X.’s Styles P surprised the crowd by appearing onstage to deliver his verse from “B.M.F,” which was followed by ”Good Times (I Get High).” Surprises continued when Jadakiss appeared on stage to help his partner-in-rhyme run through their classic, “We Gonna Make It.”

 

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Elite Mc’ing last night with @richforever . #Dblock #Lox #NYC

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After working up a sweat, a slimmer-looking Ross shedded his beige designer trench jacket. Dressed in all white—like the cocaine money that he raps about—with shining jewels wrapped around his neck and wrists, Ross played the visual representation of success to kids from every coast.

Ross proceeded the show with his get-money classics like “I’m Not a Star,” where when he rapped: “Nine for the slice, dummy that’s a Dan Marino/Talking quarterbacks, meaning talking quarter kilos,” concert-goers enthusiasm seemed to max-out as they rapped with words with Ross.

After performing a list of favorites like “Aston Martin Music” and “Hustlin’,” the Box Chevy anthem that set the rapper’s career in motion, and “Where My Money (I Need That),” Rozay surprised New Yorkers by inviting Brooklyn native Fabolous onstage.

The Young OG entertained the Gramercy with hits like “Breathe” and “Cuffin Season” before closing his set with his verse from Meek Mill’s “Uptown.”

As the night grew to a close, Ross decided to remind fans that it’s totally fine for hustlers to shed tears. With that, the 43-year-old delivered his masterful verse from Kanye West’s “Devil in a New Dress.”

The place erupted with emotion with lines like “Whole clique appetite had tapeworms/Spinning Teddy Pendergrass vinyl as my J burns/I shed a tear before the night’s over.”

 

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Elite Mc’ing last night with @richforever . #Dblock #Lox #NYC

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Tears continued to fall as Ross ran through the CeeLo Green-assisted “Tears of Joy,” a woeful hip-hop ballad that shows the imperativeness—from a dope boys POV—of financial freedom.

Overall, Rozay’s performance is not filled with animation and routines. His stage presence isn’t as strong as fellow hustler-turned-rappers Jay-Z and Pusha T. However, Ross’ words of encouragement are powerful tools that incites the “give me liberty or death” mentality that birthed the hustlers spirit of America, and birthed America.

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