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Concrete Goonies

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Concrete Goonies Lyrics as written by Miles Parks Mccollum Marlon Brown

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Concrete Goonies

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Miles Parks McCollum (born August 23, 1997), known professionally as Lil Yachty, is an American rapper, singer and songwriter. Yachty first gained recognition in August 2015 for his singles "One Night" and "Minnesota" from his debut EP Summer Songs. He released his debut mixtape Lil Boat in March 2016. On June 10, 2016, Yachty announced that he had signed a joint venture record deal with Quality Control Music, Capitol Records, and Motown Records. His mixtapes Lil Boat and Summer Songs 2 were released in 2016 and his debut studio album, Teenage Emotions in 2017. His second studio album, Lil Boat 2 was released on March 9, 2018. more »

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Written by: Marlon Brown, Miles Parks McCollum, Piero Umiliani

Lyrics © Universal Music Publishing Group

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Meaning of Concrete Goonies by Lil Yachty

"Concrete Goonies" by Lil Yachty is a song that primarily focuses on themes of wealth, status, and assertiveness. The lyrics emphasize the artist's confidence and disregard for societal norms.

In the intro, Lil Yachty critiques someone for having a car with a fake ceiling adorned with fake stars, claiming that it's not as impressive as it appears. He contrasts this with his own financial success, bragging about his $480,000 check.

Throughout the verse, Lil Yachty emphasizes his opulence and dismisses the authenticity of others. He refers to Kali Uchis, a popular singer, suggesting his sexual interest in her. When he mentions his past partners, he mocks them for being foolish. He boasts about his financial savvy, counting large amounts of money and insinuating that women's designer bags are often counterfeit.

Lil Yachty references his expensive purchases, particularly a Bentayga, a luxury car, and compares his actions to scenes from a movie. These references to material possessions highlight his wealth and reinforce the extravagant lifestyle he leads.

The chorus mentions the "Concrete goonies," suggesting that Lil Yachty and his crew are tough and fearless. The line "Bitch ain't tryna fuck, kick her out, send her to the boonies" further emphasizes his lack of interest in women who aren't interested in engaging in sexual activity.

In the outro, Lil Yachty simply asserts himself with humorous ad-libs, maintaining his confident persona.

Overall, "Concrete Goonies" showcases Lil Yachty's lavish lifestyle, his attitude of superiority, and his desire for sexual fulfillment. The song promotes an image of wealth and success while simultaneously disregarding societal expectations and norms.

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Broccoli City Festival 2024 headliners include Megan Thee Stallion, Gunna, Lil Yachty

• Updated: Mar. 18, 2024, 2:54 p.m. |
• Published: Mar. 18, 2024, 2:54 p.m.

Gunna and Megan Thee Stallion will headline the Broccoli City Festival 2024 in July in Washington, D.C. Here, Gunna performs at Barclays Center on Sept. 9, 2023, in New York City. (Photo by Craig Barritt/Getty Images for Gunna) Getty Images for Gunna

• Deb Kiner | [email protected]

Broccoli City and partner Live Nation Urban have announced the lineup for the 2024 Broccoli City Festival.

The festival will be held July 27-28, 2024, at Audi Field in Washington, D.C.

Headline acts will include Megan Thee Stallion, Gunna, Lil Yachty and Concrete Family.

Other participating artists include PartyNextDoor, Victoria Monet, Kaytranada, Key Glock and Sexxy Red.

“But the Broccoli City Festival is more than just a music event — it’s an immersive experience that transcends boundaries and fosters community. From interactive art installations to culinary delights from local vendors to lavish VIP accommodations, attendees can expect a multi-sensory journey that delights the senses and nourishes the soul,” according to a Live Nation news release.

Also appearing will be Issa Rae, comedians Desi Banks and Funny Marco, Uncle Waffles, TrapSoul Karaoke hosted by Bryson Tiller, Soulection with Joe Kay, Test Your Game with Duke Dennis, Everyday People, R&B Only, and even a country music segment with the Hoe Down with emerging artist Tanner Adell.

“We’re thrilled to unveil this year’s lineup and the move to Audi Field, which reflects our festival’s eclectic tastes and vibrant spirit,” said Brandon McEachern, co-founder of Broccoli City Fest. “After partnering with Events DC at the RFK Festival Grounds for several memorable years, it’s the perfect time to take another step in our evolution and offer consumers a nontraditional, inclusive, and innovative festival experience where people from all walks of life can come together to celebrate music and culture.”

Ticket presale started at 10 a.m. today, Monday, March 18. General admission tickets go on sale at 10 a.m. on Friday, March 22, along with VIP tickets.

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Broccoli City Unveils 2024 Lineup For Unique Festival Experience Featuring Megan Thee Stallion, Gunna, Lil Yachty, And Issa Rae

Broccoli City and partner Live Nation Urban announced its stellar lineup for Broccoli City Festival 2024, promising an unforgettable experience for music and culture enthusiasts from around the globe. Set against the breathtaking backdrop of Audi Field in Washington, DC’s Capitol Riverfront, this year’s festival is gearing up to be an electrifying celebration of music, culture, and unity.

This year’s festival features a diverse array of top-tier talent with headlining acts such as Megan Thee Stallion , Gunna , Lil Yachty, and Concrete Family . Joining them will be an impressive roster of acclaimed artists that includes PartyNextDoor , Victoria Monet , Kaytranada , Key Glock , Sexxy Red , and many more, ensuring there’s something for every music lover to enjoy.

But the Broccoli City Festival is more than just a music event—it’s an immersive experience that transcends boundaries and fosters community. From interactive art installations to culinary delights from local vendors to lavish VIP accommodations, attendees can expect a multi-sensory journey that delights the senses and nourishes the soul. In addition to the incredible music lineup, BC Fest will also feature live experiences on-site featuring Issa Rae , comedians Desi Banks and Funny Marco , Uncle Waffles , TrapSoul Karaoke hosted by Bryson Tiller , Soulection with Joe Kay , Test Your Game with Duke Dennis , Everyday People , R&B Only , and even a country music segment with the Hoe Down with emerging artist Tanner Adell other interactive experiences that explore various aspects of music, art, and culture.

“We’re thrilled to unveil this year’s lineup and the move to Audi Field, which reflects our festival’s eclectic tastes and vibrant spirit,” said Brandon McEachern, Co-Founder of Broccoli City Fest. “After partnering with Events DC at the RFK Festival Grounds for several memorable years, it’s the perfect time to take another step in our evolution and offer consumers a nontraditional, inclusive, and innovative festival experience where people from all walks of life can come together to celebrate music and culture.”

“We’re reimagining the festival experience by moving to the state-of-the-art Audi Field in the Navy Yard community, featuring award-show-like live programming and interactive fan experiences,” said Marcus Allen, Co-Founder of Broccoli City Fest. “We’re setting a new standard, providing attendees an immersive blend of entertainment, technology, and fan engagement.”

Pre-sale begins on March 18th at 10 am EST . General admission and VIP Tickets go on sale Friday, March 22, at 10 am EST. , with various options available to suit every budget and preference.

Visit www.BCFestival.com and follow us @BroccoliCity on Instagram, TikTok, and X (formally Twitter) for the latest updates and exclusive content.

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About Broccoli City

Broccoli City is a Black-owned social enterprise rooted in impact and entertainment that focuses on people and progress. We foster creativity and community growth by building innovative experiences that intersect technology, music, art, and social impact. Originally birthed as a festival experience centering Black communities in the DMV area, Broccoli City has developed into a national brand that creates and distributes opportunities, education, and resources needed for the upward mobility and social progress of Black and brown communities.

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Gunna, Megan Thee Stallion, And PARTYNEXTDOOR To Headline 2024 Broccoli City Festival Lineup

T oday (March 18), Broccoli City Festival announced its 2024 lineup, which includes Megan Thee Stallion, Gunna, and PARTYNEXTDOOR as headliners. 

The event will be making its debut at Washington, D.C.’s Audi Field from July 27 to 28. KAYTRANADA, Victoria Monét , Key Glock, Sexyy Red, Fridayy, and Baby Tate are among the additional acts. Meanwhile, Lil Yachty and The Concrete Family — aka Concrete Boys — are billed as special guests.

Broccoli City is also introducing live experiences hosted by notable names like Issa Rae, Desi Banks, and Funny Marco. Bryson Tiller is expected to do a “Trapsoul Karaoke” segment, while Duke Dennis will be doing a “Test Your Game” bit.

Presale tickets are currently available to purchase via the company’s website. Peep the full lineup below.

The Broccoli City Festival announcement arrived amid a busy year for its headliners. Megan will embark on her “Hot Girl Summer Tour” in mid-May. She’s slated to make stops in Chicago, New York, Philadelphia, Memphis, Atlanta, New Orleans, and Houston, among others.

The “HISS” artist is also gearing up to drop her next album. Although no release date has been announced, she confirmed that it will debut this year during a January interview with “Good Morning America.”

On the other hand, Gunna’s “Bittersweet Tour” also begins in May. The trek will take place across the United States, with cities like Seattle, San Francisco, Miami, and Nashville on the route. Flo Milli is joining him as a supporting act. 

The College Park, Georgia rapper seemingly has plans to put out a project around the same time. Last Friday (March 15), he shared “Prada Dem” featuring Offset. It followed “Bittersweet,” which has nearly 4 million YouTube views to date.

Meanwhile, PARTYNEXTDOOR’s P4 will hit streaming platforms in April. It will be his first original project since 2020’s PARTYPACK .

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Megan thee stallion, victoria monét and partynextdoor lead 2024 broccoli city festival.

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INDIO, CALIFORNIA - APRIL 23: Singer Megan Thee Stallion performs on the Main Stage during Week 2, ... [+] Day 2 of the 2022 Coachella Valley Music and Arts Festival on April 23, 2022 in Indio, California. (Photo by Scott Dudelson/Getty Images for Coachella)

On Monday morning, the Broccoli City initiative posted on their social media accounts (previously Twitter) and Instagram to announce the 2024 lineup for their festival. Major acts such as Megan Thee Stallion, Victoria Monét, Gunna, Kaytranada, Sexyy Red, and Key Glock are scheduled to perform as headliners.

The two-day festival is set to take place at Audi Field Stadium in Washington, D.C. on July 27 and 28.

Megan Thee Stallion's presence is fitting, as she recently had a chart-topping song "Hiss" and is set to embark on her first-ever headlining tour this May, appropriately titled, The Hot Girl Summer Tour.

Victoria Monét, winner of the "Best New Artist" and "Best R&B Album" award for "Jaguar II", poses in ... [+] the press room at the 66th Annual GRAMMY Awards held at Crypto.com Arena on February 4, 2024 in Los Angeles, California. (Photo by Michael Buckner/Billboard via Getty Images)

Victoria Monét is thriving in her career, having earned multiple prestigious awards such as three Grammys and two NAACP Image Awards. Her debut album Jaguar II 's third single, "Oh My Mama," reached RIAA platinum status with over 1 million sales and streaming units.

Broccoli City promises to reimagine the festival experience with not only a star-studded line-up but also eccentric live experiences.

Lil Yachty and his collective The Concrete Family are slated as special festival guests.

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LOS ANGELES, CALIFORNIA - FEBRUARY 02: Uncle Waffles performs onstage durings UnitedMasters, A ... [+] Celebration of Independence, at Hollywood Palladium on February 02, 2024 in Los Angeles, California. (Photo by Jerritt Clark/Getty Images for UnitedMasters)

Issa Rae is set to lead an experience hosted by Desi Banks and Funny Marco, Bryson Tiller will be hosting a Trapsoul Karaoke, while the Amapiano Princess, Uncle Waffles is set to showcase their groundbreaking disc jockey experience.

Founded by North Carolina natives Brandon McEachern and Marcus Allen, Broccoli City started as a streetwear brand with its name spawning influence from the nickname of their city, Greensboro. In 2010, the duo held their first concert in Los Angeles, where they became ambassadors for Earth Day, and an up-and-coming Kendrick Lamar took to the stage.

The brand soon evolved into an initiative that takes on a grassroots approach “with a relentless focus on empowering and inspiring thriving urban communities.”

WASHINGTON, DC - April 28th, 2018 - A pregnant Cardi B performs at the Broccoli City Festival at RFK ... [+] Stadium in Washington, D.C. She recently announced that due to her pregnancy she was cancelling her remaining tour dates until her fall tour with Bruno Mars. (Photo by Kyle Gustafson / For The Washington Post via Getty Images)

In 2013, they teamed up with Darryl Perkins and Jermon Williams of Washington, D.C. to officially launch the Broccoli City Festival, headlined by Big K.R.I.T. Later in 2018, they partnered with Live Nation Urban. They went on to feature several headliners such as DaBaby, Cardi B, Ari Lennox, Burna Boy, 21 Savage, Lil Uzi Vert, Wizkid, Summer Walker, Wale, Jazmine Sullivan, City Girls, Ice Spice, Rema, and more—suiting an Afro-diasporic ambiance.

Chase cardholders can access reserved seating tickets, Club Broccoli passes, and VIP tickets. Presale tickets are currently available, and prospective attendees can use the layaway platform Klarna to purchase their tickets.

Official 2024 lineup for the Broccoli City Festival

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Moscow's suburbs may look monolithic, but the stories they tell are not

At the end of the 1950s, the Soviet Union began the largest experiment in industrialised housing in history. Owen Hatherley visits three of Moscow’s resulting mikrorayons , where the majority of Muscovites still live today

T he public square just off 60 th Anniversary of October Street in the Moscow suburb of Novye Cheryomushki (“New Cherry Town”) is a very ordinary, if unusually placid, place. Trees, playgrounds, benches, mothers pushing prams and the odd middle-aged boozer circle around a small statue of Lenin . Beyond them, the four-storey apartment blocks look a little worn.

The sense of quiet torpor here is fitting given that Russians call their suburbs “sleeping districts” – not much more than cubicles to come home to at the end of a day’s work. Yet Novye Cheryomushki is certainly one of the more attractive places to sleep, and live, with low-rise buildings, lots of social facilities, and a metro station nearby. It is also the common ancestor of every mikrorayon (“micro-district”) in Moscow; the forefather of nearly every suburb in the capital and far beyond.

For the centre of Novye Cheryomushki bears witness to an extraordinary architectural competition between seven blocks of flats. Each of these seven blocks, built in 1958 at record speed, employs a different prefabricated construction system, usually of concrete panels slotted into place like toy building blocks. Each was assessed on expense and speed of construction, and then one lucky block of flats, codenamed “K7” , was chosen as the winner.

K7’s reward was to be replicated in the hundreds of thousands, possibly millions, all across the Soviet Union. Thus began the largest experiment in industrialised housing in history, where homes would become mass-produced commodities like cars, fridges and TVs. Industrialised housing comprised 75% of all Soviet housing stock by 1991 – this is where the overwhelming majority of Muscovites live; not in the Tsarist-Stalinist oligarchgrad within the inner city, nor the hipster enclaves of Chistye Prudy or Gorky Park. These suburbs may look monolithic, but the stories they tell are not.

The programme was necessitated by the housing catastrophe that the Soviet Union faced by the 1950s. The Russian Empire was 80% rural in 1917, but under Stalin the fastest and probably most brutal industrial revolution in history was forced through between 1929 and 1940 . Moscow filled with rural migrants fleeing a famine-ridden countryside to work in the new factories. Many lived in barracks, basements, tents, even trenches. This housing crisis was barely under control when the war compounded the problem, with the Third Reich’s war of extermination against the USSR making millions homeless.

However, attempts to redress this under Stalin were almost whimsical. Grandiose, richly decorated apartment blocks were built lining wide, Haussmannesque boulevards; enormous resources were diverted into skyscraping luxury hotels, or grace-and-favour flats for artists and bureaucrats. The first independent act of Nikita Khrushchev after becoming General Secretary on Stalin’s death was to force through a decree “On Architectural Excess”, demanding industrialised construction rather than bespoke masterpieces as a means of solving the crisis.

The solution began just to the south of Moscow, in the former village of Cheryomushki. Vast neoclassical apartment blocks still line the main roads here – talking about living in one of these Stalin-era apartments , architectural student Konstantin Budarin says “they fulfil my idea of dignity”, with their high ceilings and grandeur. However, the money for the more flamboyant features clearly soon ran out – decorative pilasters stop half-way up or are outlined in brick; grand archways lead to scuzzy courtyards.

The contrast between the Stalinist boulevards and the first parts of Novye Cheryomushki is striking. Around Akademicheskaya metro station, the apartment blocks are lower and simpler, and the inbetween spaces are full of fountains and benches rather than afterthoughts behind grand facades. When first built, Novye Cheryomushki also featured an abundance of public space and public buildings: health centres, creches, schools, cinemas, libraries, theatres and clubs.

It’s difficult to exaggerate just how huge a social advance this was for Muscovites; not only in the sense of amenities, but also in that a private life was now possible, after three decades where the majority had been living in cramped communal flats, one family to a room or worse.

Initially, each mikrorayon was planned with all of this included, all to equally standard designs. An instant prefabricated community on this scale had not been attempted anywhere in the world, and visitors flocked to see it. Shostakovich composed an operetta titled after the district , satirising Muscovites’ desperate desire to move there; it was adapted into a colour film in 1963. Built in the year of Sputnik, it seemed to suggest the Soviet way of doing things – an egalitarian, centrally planned, mass-production economy – was getting results.

And a certain nostalgia for those days still pervades – we visited on Mayday, when residents were enjoying the day off and public billboards were stuffed with Soviet-nostalgic paraphernalia, or posters for the upcoming Victory Day (though that sort of bombast felt rather incongruous in this easy, sociable space).

Each mikrorayon was meant to have a factory, an institute or both; the risk that they would become dormitory suburbs was realised early on, and here, at least, it was partially prevented. Around the Novye Cheryomushki metro station are several research institutes, moved or founded here in the 1960s.

Cheryomushki was not just a “sleeping district” but a hub of the USSR’s scientific-military-industrial complex: the centrepiece was the Institute of Scientific Information of Social Sciences Library, the Soviet equivalent of the Library of Congress, reached from the street by a concrete bridge over a (long-since drained) lake. Adjacent is the tower of the Central Economic Mathematical Institute, one of the drivers of the Soviet central planning system – a glass grid by architect Leonid Pavlov with a colourful Möbius strip sculpture set into the middle floors.

The shift of the urban economy from production to speculation has invaded this carefully arranged space in recent years and smashed up its order, with a dozen 30-storey towers with pitched roofs crashing into the open space around, creating a looming, claustrophobic feel; the sense that planning has been abandoned here and it’s everyone for themselves.

Indeed, Moscow’s suburbs have faced extreme levels of “infill” development in the last 10-15 years, with immense towers shoved into the parks and gardens of the mikrorayons, throwing flats into darkness and obliterating the communal amenities. One new tower is even crammed into the small square between the Central Economic Mathematical Institute tower and the Institute of Scientific Information on Social Sciences Library, blocking out its light.

The latter suffered a catastrophic fire in January , described by the head of the Academy of Sciences as the academic equivalent of the Chernobyl disaster. Over a million priceless volumes were damaged. The fire was ascribed to an electrical fault, but given the intensity of development around it, it doesn’t take a conspiracy theorist to suspect foul play. You could easily imagine the original attempts at making this something more than a suburb being erased in a decade or two, as it is turned into a commuter district like any other.

Novye Cheryomushki’s pioneering status makes it a little different from the Soviet norm. That begins a couple of stops south on the metro, at the mikrorayon of Belyayevo , developed from the 1960s onwards. This really is a quintessential “sleeping district”. From hereon, the original notion of self-contained districts with their own identity was watered down as a numbers game took over.

The “winning” square panel at Cheryomushki is extended here into long slabs, tall towers and squat maisonettes – unrelieved by any variation or individuality whatsoever, without an obvious centre, and with relatively sparse social facilities compared to its predecessor.

Off the main road, where they survive, the green spaces are Belyayevo’s saving grace; enclosing schools , ponds and park benches. This seems like a place where it would be great to be six – there’s loads of free open space and playgrounds to play in – and a boring place to be 16.

Belyayevo has, though, become a minor cause celebre after the Moscow-based Polish architect Kuba Snopek submitted it to Unesco as a potential entry on the World Heritage list , on the basis that most of the “Moscow Conceptualists” – artists and thinkers such as Boris Groys, Dmitri Prigov and Ilya Kabakov – lived and worked here in the 1970s.Their famous 1974 “ Bulldozer Exhibition ”, broken up by police, took place in one of Belyayevo’s empty spaces.

The idea of listing the district is, of course, akin to one of the Conceptualists’ knowing jokes: to argue that the true “hipster” district of Moscow, the real “arts incubator”, was a mundane concrete suburb. Nonetheless, it is still part of the capital with all its draws, its centre reachable easily from the Metro.

Indeed, one of Belyayevo’s resident artists described taking his young son to the historic centre of Moscow for the first time, and getting an unexpected response: “It’s dark and scary here, can we go back to our Belyayevo where everything is green and open?’

Severnoye Chertanovo

There are thousands of Belyayevos, but there is only one Severnoye Chertanovo. You can tell something is different as soon as you get off the metro here; while the stations in Belyayevo and Cheryomushki are as standardised as the housing, Chertanovskaya station is a return to the strange, opulent dreamworld created under Moscow during the Stalin era. Architect Nina Alyoshina’s hall is a moodily-lit expressionist cathedral that speaks of arrival at somewhere special, not of departure to the centre.

Outside, apartment blocks spread around a large lake. Half of these are standardised in the Belyayevo mould, but the other half are mid-rise buildings arching around artificial hills and valleys, connected by glazed skyways. Looking closely, you can see they’re also made of standardised panels, but arranged in such a way to give variety to the buildings; this is the first of the mikrorayons where you can really speak of “architecture” rather than just engineering.

Photographer Yuri Palmin has lived in Chertanovo for 18 years – first in what he calls the “bad”, standardised blocks ; then in the more prestigious, bespoke blocks opposite. He points out that the area not only looks unlike the other mikrorayons, it has a totally different layout. Rather than the interchangeable units for nuclear families, there are “42 different kinds of single and double-level flats, with winter gardens in the ground floors” within these long complexes .

This was a late attempt under Brezhnev to show that “developed socialism” could have room for different kinds of families and lives: “a sign of hope, a training ground and a lab”. After getting the population out of overcrowded, subdivided communal flats and into purpose-built apartments with their own front doors, the planned economy could finally move from “quantity” to “quality”. Except that this transition never happened on a large scale, and the standardised apartment blocks were being rolled out to the edges of Moscow up until the end of the 1980s.

It is often assumed that standardisation was ended by the capitalist “shock therapy” that was applied to Russia’s planned economy in the early 1990s. Yet new apartment blocks built into the interstices of the mikrorayons since then are still industrialised; still pieced together from concrete panels – albeit with silly decorative roofs to give a shallow impression of individuality. Even the Orthodox church built near the lake in the late 1990s is standardised in its thin, tacky application of old Russian details.

What has changed, however, is two things: space, with communal areas now regarded as parcels of land ripe for development, and speculation, with a vibrant property market in the capital generating fortunes for a few and insecurity for most.

Dominating Severnoye Chertanovo today is a 40-storey monolith called Avenue 77 . According to Palmin, this giant apartment block limits light for many residents here for much more than “a few hours in summer”. It tries to break up its enormous grid of standardised flats via a Koolhaas-like “iconic” shape, but nobody could be seriously fooled; this is form following speculation, an image of public space and equality being crushed by speculation.

In the 1990s, when looking at the apparently interchangeable districts produced by Communism, critics didn’t see, or ignored, the libraries, the childcare centres, the parks and the treatment of housing as a basic and free human right; and instead saw merely those huge, inescapable, interchangeable monoliths – the slabs upon slabs that always strike the casual viewer driving from Moscow’s Domodedovo airport to its centre. These critics argued that this monumental uniformity was the greatest possible indictment of the system: a rigid plan that assumed everyone wanted the same thing, while giving them a mass-produced product that few really desired.

The assumption was that the free market would result in variety, liveliness and complexity. What actually happened was a property boom that took over Russia’s three or four biggest cities, and a grim decline everywhere else.

And how did they build for that boom? In Moscow’s city centre, some specially-commissioned edifices speak of the rarefied or outre tastes of the new elite – but in its suburbs, the main change was simply that apartment blocks became bigger, longer and more careless of public space. They were still, though, built via the methods that the newly privatised construction companies had learnt well in the “good old days”.

The ideals of Novye Cheryomushki may have died, but its methods and techniques remain – having managed to make some people very wealthy. Moscow suburbia is not so much the remnants of a great experiment, perhaps, but suburbia like any other suburbia – a place of dreams and boredom, great ideas being implemented and then slowly crushed.

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