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50 Cent Responds to Ye Calling Him ‘One of His Favorite People: ‘Ya Dangerous Right Now'

50 Cent Responds to Ye Calling Him ‘One of His Favorite People: ‘Ya Dangerous Right Now'

Yahoo21-03-2025

50 Cent is never one to shy away from just about anything these days, but even he's distancing himself from Ye (formerly Kanye West).
While West sniped at plenty of his peers — from Drake to Playboi Carti and Kendrick Lamar — he actually showed some love to 50 Cent.
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'50 Cent is one of my favorite people,' Ye wrote to X on Tuesday (March 18). 'He will be one of the people who brings back Black economic independence.'
However, 50 was hesitant to associate with the rapper, who has been criticized for his repeated hate speech. 'Damn it Ye ya dangerous right now, what you say about the kids man,' 50 replied with a repost to his Instagram hours later.
Fans had plenty to say about the interaction between the hip-hop titans. '50 the only n—a who Ye didn't crash out on this week,' one person wrote in the 'In Da Club' rapper's comments section.
Another chimed in: '50 like 'leave me out this ish ye, not the time.''
During a 2024 interview with Billboard, 50 said nobody's been through more or had as many reasons to crash as Ye, but credited him for powering through to have one of the most decorated careers in rap.
'I don't think anybody's been through more or have more reasons to fall apart than Kanye,' he said at the time. 'The success of his project comes, and his mom passes away. So what you been praying for — the gift is a curse. You lose that, and he had real reasons to f–king be out of it. He did the right thing. He went to work.'
While representing different pillars of hip-hop, 50 and Kanye have been pop-culture fixtures for more than two decades. They famously matched up for a memorable 2007 sales battle, which saw them face off at the MTV Video Music Awards and join forces for the cover of Rolling Stone.
Kanye's Graduation ended up throttling 50's Curtis (957,000 versus 691,000 first-week album sales), which elevated West's superstar status in music to another level.
'We made the highest sales week for hip-hop culture, doing that and being competitive,' 50 told Billboard when looking back at their battle. 'People that were participating as fans were buying more than one copy of it, because of the competitive side of it. When you look at it… we had to stand together to face off, but we never had an issue.'
Cardi B also seemingly responded to one of Ye's X messages, in which he broke down how he sees the hierarchy of female rap and claimed Megan Thee Stallion replaced the Bronx native. 'WHERE CARDI B GONNA BE 10 YEARS FROM NOW THEY USED HER,' he wrote.
The 'WAP' rapper appeared to respond on X, flexing her staying power even without dropping an album going on seven years now. '7 years 1 album… STILL being a topic and STILL being asked about my music,' she wrote. 'I'm anointed and I have a real fanbase. They come and go but The Brim is still here and will stay!'
Ye has been embroiled in controversy again in recent weeks due to his repeated antisemitic rants and willingness to engage in beef with just about any of his collaborators outside of 50 and A$AP Rocky. However, he did drop his Bully album as part of a short film starring his son Saint on March 19.
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American Black Film Festival is in Miami. Here are some films to check out
American Black Film Festival is in Miami. Here are some films to check out

Miami Herald

time20 minutes ago

  • Miami Herald

American Black Film Festival is in Miami. Here are some films to check out

As the pandemic forced a global shutdown halting businesses, communities and touching every aspect of how society functioned in 2020, a pivotal election was brewing across the U.S. — one that would have a major effect on southern states. And as that chaos brewed, Black Voters Matter decided to meet the moment. Their efforts to energize and register voters is chronicled in a new documentary, 'Love, Joy & Power: Tools For Liberation.' That story is one of several films screening at the American Black Film Festival when it rolls into town this week highlighting Black storytellers and providing resources for those in the filmmaking industry. Black Voters Matter co-founder Cliff Albright said the film is a story about overcoming, pointing out the significance of the film's debut close to Juneteenth. 'It's not just the story of 2020 or the story of Black Voters Matters, it's really a story of how we have historically overcome, including going back to just Juneteenth,' he told the Herald. 'It shows the work that we're doing, but it also shows what movement is really like.' The film's timing is not lost on Albright, who said the story is essential at a time when Black stories and how they are shared is either being banned or altered in schools and libraries. 'Liberation' is just one of the films ABFF attendees can see when it kicks of Wednesday. We've put together a few more for you all to check out: 'Love, Joy & Power: Tools For Liberation' In this documentary, readers are taken on a journey through the efforts of Black Voters Matter to turn Georgia 'purple' in the 2020 election through grassroots voting efforts across the South, including Florida. The film, directed by Daresha Kyi, will screen at 1:10 p.m. Thursday at O Cinema. 'The ReWrite.' What is an authentic Black voice? That's what screenwriter Elliot (Stephen Barrington) obsesses over after he is told by white executives how Black people should sound and act. He wrestles with this as he tries to find the balance between being authentic and making money. 'I just want to sell without selling out,' he says. The film, directed by Terry Dawson, debuts at ABFF at 2:15 p.m. Thursday at Miami Beach Convention Center in Screening Room #2. 'Wait Until Tomorrow' The intersection of race, wealth and opportunity take center stage in this documentary that follows the lives of various Black families in the United States. The stories drive home the realities behind data examining the search for economic mobility. Directed by Osato Dixon will show at 10:30 a.m. Thursday at O Cinema. 'Carnival: They Can't Steal Our Joy' The colors. The beads. The feathers. The sounds. These are some of the things that make up Caribbean Carnival. But Ian Mark Kimanje's film, 'Carnival: They Can't Steal Our Joy,' pulls back the layers of the festival's significance culturally and historically in Toronto and beyond. Making its U.S. premier, the film will screen at O Cinema at 10:30 a.m. Saturday.

Black Film Festival spotlights Black storytelling with a made-in-Miami film
Black Film Festival spotlights Black storytelling with a made-in-Miami film

Miami Herald

time20 minutes ago

  • Miami Herald

Black Film Festival spotlights Black storytelling with a made-in-Miami film

Kionne McGhee is a lot of things: The son of a South Dade bean picker. A former 5000 Role Models mentee. Howard University alum. Liberty City native. An attorney and a Miami-Dade commissioner. But in his film 'The Reject,' based on his two books 'A mer[e] I Can is American' and 'Conquering Hope,' we meet a child with dyslexia and ADHD, who struggled academically and dealt with chronic absenteeism, and confronts the deaths of his father and brother. And he's not ashamed of any of it, describing his film as one that tells the story of neurodiversity and how Black children can overcome those challenges to achieve success. 'The film tells the story of how those gifts, if taken in the right light and nurtured, can be beneficial to the person that God has given those gifts to and that person then can turn around and be of benefit to the community as a whole,' he told the Herald. McGhee's story is one of several powerful narratives that highlight Black South Florida stories to emerge in the past few years. 'The Reject' is showing at the American Black Film Festival, a showcase of Black talent, networking event for indie filmmakers and a who's who of Black actors, directors and producers that takes place this week in Miami. This year's festival, now in its 29th year, features an array of panels dedicated to Black storytelling, full-length films, documentaries and shorts films. Saturday's premier event, 'Remembering Love Jones' highlights the significance of the '90s film 'Love Jones' and features a conversation with co-stars and ABFF ambassadors Nia Long and Larenz Tate. There is also ABFF Community Day on Sunday which will include a screening of 'The Reject.' While McGhee's film is the only one set in South Florida featured in this year's lineup, it is the latest in a string of films set in the Miami area that center on Black stories to be produced in the last several years. Other films include 'Mountains' by Monica Sorelle, the Regina King-directed 'One Night in Miami,' the now-canceled HBO series 'Rap Sh!t,' and of course Academy-award winning movie 'Moonlight.' Creating films that focus on Black Miami comes at a crucial moment: Efforts to suppress Black history and literature in classrooms and libraries have been at a fever pitch in Florida and nationally, even as local activists, educators and historians push back against those attempts. Tate said it's important to normalize telling Black stories with an authentic, truthful voice and in unapologetic ways. 'We have a history of other groups telling our stories, shaping up the narrative from the prism of non- Blacks and that being the standard, and it was normalized,' Tate told the Herald. 'That's what needed to change. And when we are able to tell our stories in the most truthful, honest way, the most creative way, you know, the impact is everlasting, and that's what we need.' Tate said Black people need transition from being consumers of entertainment to being producers. 'We as a group, we support entertainment, we consume it,' he said. 'So it's important for us to balance the things out by not only being consumers, but also producers, and that's why I think it's really important for us to tell our stories.' The 'Moonlight' effect Tate said ABFF plays a crucial role in ensuring the success of Black artists such as Ryan Coogler and Liberty City native Barry Jenkins, whose first film, 'Medicine for Melancholy,' debuted at the festival. 'It is a place where we all can come in, have that synergy, to network and whatever experiences that we have over that week, we take that with us.' South Florida-based filmmaker Rachelle Salnave credits South Florida and ABFF with the start of her filmmaking career, even after having her first film, 'Harlem's Mart 125: The American Dream,' rejected for a screening at the festival years ago. At the time, Salnave had just received a hefty severance package after being laid off from a job. 'I got a pass to come to ABFF, and I was like, you know what? I'm not going to let their rejection stop me. I'm going to make everybody in this festival think that my film is in that festival,' she told the Herald. 'I did and it worked.' Salnave said she took a trip to the 2010 ABFF where she connected with a film professor and pitched Robert Townsend a short. 'I raised my hand real quick, and I got up there, and I was able to pitch to him live in front of 500 people,' she recalled. Salnave said the growth in Black Miami films is in part due to the success of 'Moonlight.' University of Miami film professor Terri Francis echoed that sentiment, noting that those who worked on that set, such as director Faren Humes, have gone on to have thriving careers in film. This year her friend's daughter, Ruby Rose Collins, has a short film about her late grandmother and filmmaker Kathleen Collins called, 'all the love i could handle' screening at the festival. 'The expertise that we're seeing in current independent films in the city, and also the legibility of their films does come from the work experience, and, of course, the accolades from that film,' Francis said, who has had Jenkins speak to one of her previous classes. 'Their films are all super different. People are not making 'Moonlight' over and over.' 'It's encouraging' Apart from the success of 'Moonlight,' South Florida documentary filmmaker Cathleen Dean, noted there are grants that have helped fuel the influx of Black films set or based in Miami. Still, she noted that even with that filmmakers aren't simply waiting for the funds to trickle in before they pick up a camera. 'It's encouraging that we have a lot of young filmmakers who are ambitious, who are not sitting around waiting for grants, and they're just getting out there, and they're doing their thing, and they're utilizing these new tools of social media and inexpensive cameras to get their stories told,' she said. Al Martin, chair of the University of Miami's Cinematic Arts department, said platforms such as Tubi have also diversified where independent filmmakers can post their movies. 'We have so many platforms on which stories can be told. For all of the discursive shade that gets thrown on Tubi, the fact is, is that it is giving a number of young Black filmmakers the opportunity to have their work shown on Tubi, and that is not unimportant,' he said. For as many Black stories that come out of South Florida, Dean hopes more are told and that the kinds of stories told are diversified. 'They need to be amplified, and not just sit in Miami-Dade at art house theaters, but show that these stories are important to the nation,' she said. She noted that McGhee's story is a step in encouraging diverse Black stories out of South Florida. 'It's inspiring, and it's encouraging to other people, to other young Black boys and girls,' she said. 'They know that they can come out of the projects and end up sitting in a seat of power up in Tallahassee.- Tate echoed those sentiments, saying ABFF is in many ways necessary to celebrate success for Black filmmakers and create opportunities for budding filmmakers. 'It's really important for us to have these types of festivals and these types of spaces [and] that we can look to each other, to celebrate each other and work with each other, and not look for permission from anyone else outside of what we're doing,' he said. 'Creatives from the entire diaspora that are coming together to celebrate and recognize one another.' If you go: What: American Black Film Festival When: June 11-15 Where: Miami Beach Convention Center, O Cinema, Lyric Theatre, New World Center - Performance Hall, Cost: Screenings range from free to $16; Remaining festival passes are as low as $680; Community Day is free Info:

Gov Ball 2025's 10 Best Moments: RAYE Sings in the Shower, Benson Boone Flips, Hozier Plays Through the Pain & More
Gov Ball 2025's 10 Best Moments: RAYE Sings in the Shower, Benson Boone Flips, Hozier Plays Through the Pain & More

Yahoo

time22 minutes ago

  • Yahoo

Gov Ball 2025's 10 Best Moments: RAYE Sings in the Shower, Benson Boone Flips, Hozier Plays Through the Pain & More

The 13th Governors Ball festival went down in Queens, NY's Flushing Meadows Corona Park over the weekend (June 6-8) with three days of music, partying and largely unpredictable weather. Though the latter wreaked havoc on the fest's second day — resulting in an opening that was delayed by four hours, and leading to many acts' sets being compressed (with some cut altogether) — the first two ultimately carried the weekend, with a strong, deep lineup of breakthrough acts and returning favorites, and three top-flight headliners. More from Billboard Olivia Rodrigo Brings Out David Byrne for Scorching 'Burning Down the House' (And Does Some of His Dance Moves) at Gov Ball Governors Ball 2025 Delays Headliners, Cancels Early Sets Due to Weather on Day 2 If Benson Boone Didn't Hand You a JBL Speaker Out of the Trunk of His Car, You Can Score One Here Instead While hip-hop, dance, R&B, reggaetón and top 40 pop were all certainly represented at the festival, this year's roster featured a return to more of the alt-rock and alt-pop acts that Gov Ball was largely centered around in the early 2010s — with big-drawing bands who have recently leveled up to arena status, and singer-songwriters on the precipice of outright pop stardom, which all felt in relatively short supply in the late '10s and early '20s. (By contrast, EDM, also once a major pillar of the festival, had a somewhat more muted presence this year.) And headliners Tyler, the Creator, Olivia Rodrigo and Hozier all repped for the alternative set in their own unique ways, while still providing plenty of crowd-pleasing moments and general mass catharsis. Here are our 10 favorite moments from a diverse and balanced Governors Ball 2025, in roughly chronological order — from vogueing Pride Month celebrations to unofficial rain dances to plenty of backflips. (We already listed our favorite moments from Tyler, the Creator's and Olivia Rodrigo's headlining sets, so we didn't include them again here.) 'We're gonna play two kinda-pop songs,' frontwoman Missy Dabice laid out the gameplan to the fans in attendance for Mannequin Pussy's mid-day set, 'and then we're gonna get real f–king rowdy.' The Philly punk outfit brought the fury as promised, both in their riotous set of jaggedly beautiful thrashers, and in Dabice's timely on-stage condemnation of America's current 'descent towards Christian fascism' and 'return to so-called conservative values,' delivered in a mock-coquettish breathy whisper. And as the cameras panned to fans wearing 'Just Say 'Pussy'' hats, Dabice made sure the men in the crowd — who she called out for their gender's sexist discomfort with the band's name — did just that, demanding they 'pay for the sins of [their] brothers' by leading them in a top-of-their-lungs 'PUSSY!!' howl. 'MONTAY! Why ain't nobody dressed up?' T-Pain yelled to his DJ about a half-dozen songs into his Gov Ball set. 'I thought this was supposed to be a Ball for the Governor!' Indeed, the veteran singer/rapper, donning a black tux with red trim to match his red sneakers, was looking much more refined than the thousands assembled at the main stage to see him play through his staggering catalog of 21st century hits. Despite his faux-disgust, T-Pain continued with the crowd-pleasing set — but kept things classy, performing an audience-participation number set to the tune of Mozart's 'Rondo Alla Tuca.' The actually inclement weather would wait for Saturday, but on Friday, brought the storms on stage with gales of guitar, synths and generously deployed laser sound effects — with sporadic pop hooks cutting through the tempests like rays of sunshine. One such light beam was actually borrowed from an unexpected source: '80s funk band Cameo, whose delectable 1986 hit 'Candy' made a brief appearance, before its bass pops and drum slaps gave way to own Two Star & The Dream Police highlight of the same name, an album and set highlight. 'Did you just say, 'Do a flip?'' Benson Boone asked incredulously of a demanding fan near the stage partway through his Friday evening performance on the Kiehl's stage. 'What show do you think this is? It's all I do!' True to his word, Boone flipped early and often throughout his triumphant Friday evening performance — sometimes from a standstill, sometimes from atop his piano, and for the eighth and final time, off the stage altogether, as he proceeded to run through the crowd high-fiving his fans to the show-closing strains of 'Beautiful Things' — and it remained gasp-worthy (and slightly nerve-wracking) each time. 'If this is a first for you, it's a first for us too,' offered Wallows frontman Dylan Minnette as the heavy rain — which had already forced Gov Ball into a late start on Saturday — briefly reappeared during the band's early-evening set, soaking the audience and sending some fans fleeing for shelter. Those who stayed, though, just went even crazier through the alt-rock band's closing trio of songs, howling the wordless singalong at the end of 'Remember When' along with a now-rain-soaked Minnette, and filling in Clairo's entire guest verse for the group's signature hit 'Are You Bored Yet?' About halfway into her scorching Saturday set, rapper/singer Young Miko took a second to note how 'craaaaazy' it was that she was performing at Gov Ball during the first week of Pride Month. 'Is it gay in here or is it just me?' she asked somewhat rhetorically, before shouting out her LGBTQ family in attendance and upping the set's BPM with her house barnstormer 'MADRE,' dancing and even doing a little voguing on stage as the crowd went nuts for the versatile young star. He may have been about half a month late for Fleet Week, but pop singer-songwriter Conan Gray nonetheless showed up to his main-stage set at Governor's Ball in full sailor's garb, with a ship-on-the-ocean set behind him. During ballad 'Astronomy,' he even climbed the ship's mast, and looked out at the crowd through his microphone as if it was a sea telescope. What he saw was one of the biggest non-headliner crowds of the weekend, as the decision to schedule Gray right before his self-professed best friend Olivia Rodrigo proved highly inspired booking — a point driven home by the fans in the audience shown wearing matching 'I'm Lacy' / 'I'm Heather' t-shirts. 'Who here had a Brat summer?' asked rap-rock-rave duo Joey Valence & Brae — who present like a modern two-man Beastie Boys, albeit one filtered through the EDM and hyper-pop eras — before celebrating the modern-classic Charli XCX LP that turned a year old this weekend with a furious cover of album closer '365.' Charli wasn't the only club icon the duo paid tribute to, as they also dipped into a bit of dubstep kingpin Skrillex's remix of Benny Benassi and Gary Go's 'Cinema,' mimicking guns shooting off the remix's rapid-fire synths. ('We need more Skrillex in our life,' professed Brae.) U.K. soul-pop star RAYE paused her set early on to ask her audience an important question: Who among them likes to sing in the shower? RAYE met the predictably hearty response by explaining that the reason she, like everyone else, loves the way she sounds in the shower, is because of the reverb effect created by singing in such an enclosed space. To demonstrate, she called on her sound guy to turn up the reverb on her mic, and launched into a series of heavenly vocal runs — raving 'I could do this for hours, I f–king love reverb' — which ultimately turned into a gorgeous rendition of My 21st Century Blues' 'Five Star Hotels.' Suffice to say, RAYE probably sounds slightly better singing in the shower than most of the rest of us. 'For anybody who has never seen me before, I promise I sound at least 5% better on average,' Hozier swore to those in attendance at his closing set on Gov Ball's final day, as he'd revealed earlier that a nasty virus had recently swept through much of his band. 'I am haunted — I am stricken — by the specter of puberty one more time.' The protestations were unnecessary, as despite some visibly heavy eyes, Hozier sounded fantastic throughout his set — and ironically, this specific apology came after perhaps his finest performance of the night, as he walked out to a secondary stage in the crowd for a stunning acoustic solo rendition of 2014's 'Cherry Wine.' And of course, the fans in attendance were more than happy to help out on singing duties anyway, particularly on the crowd-pleasers from his self-titled first album, and on the 2024 Billboard Hot 100-topping 'Too Sweet.' 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