input: 50 Cent signed to Interscope Records. Due to the success of his commercial debut album, Get Rich or Die Tryin', he was granted his own record label. This was when G-Unit Records was created. G-Unit gained more popularity when a remix to 50 Cent's "P.I.M.P." was released, featuring Snoop Dogg and G-Unit.  But before the group had a chance to record its debut album, Tony Yayo was sentenced to prison for a gun-possession charge as well as bail-jumping. During Tony Yayo's prison sentence, 50 Cent signed Tennessee-based rapper Young Buck to G-Unit Records and subsequently added him to the group.  In 2003, the group's debut album Beg for Mercy, was released. However, while the album was being recorded, Tony Yayo was sentenced to jail on charges of gun possession. Therefore, he only makes two appearances, both were pre-recorded tracks. His face is seen on the brick wall of the album cover because he could not be photographed on account of his jail sentence. Beg for Mercy went on to sell 2.3 million copies in the US and 4 million copies worldwide. The only guest appearances on the album were R&B singers Joe and Butch Cassidy. The album's production was handled by high-profile producers such as Hi-Tek, Dr. Dre and Scott Storch, among several others. 50 Cent also served as the album's executive producer.  West Coast rapper The Game was originally placed into G-Unit by Dr. Dre and Jimmy Iovine of Interscope Records. Their plan was to market The Game as a devotee, or a card-carrying member of 50 Cent's "camp.". However, after a while, tensions began to rise between The Game and 50 Cent. 50 Cent also claimed that he did not receive proper credit for co-writing most of the songs on Game's debut album The Documentary (2005).

Answer this question "What month/year was it released?"
output: In 2003, the group's debut album Beg for Mercy, was released.

Question: Thomas Stearns Eliot,  (26 September 1888 - 4 January 1965) was a British essayist, publisher, playwright, literary and social critic, and "one of the twentieth century's major poets". He moved from his native United States to England in 1914 at the age of 25, settling, working, and marrying there. He eventually became a British subject in 1927 at the age of 39, renouncing his American passport. Eliot attracted widespread attention for his poem "The Love Song of J. Alfred Prufrock" (1915), which was seen as a masterpiece of the Modernist movement.

With the important exception of Four Quartets, Eliot directed much of his creative energies after Ash Wednesday to writing plays in verse, mostly comedies or plays with redemptive endings. He was long a critic and admirer of Elizabethan and Jacobean verse drama; witness his allusions to Webster, Thomas Middleton, William Shakespeare and Thomas Kyd in The Waste Land. In a 1933 lecture he said "Every poet would like, I fancy, to be able to think that he had some direct social utility . . . . He would like to be something of a popular entertainer, and be able to think his own thoughts behind a tragic or a comic mask. He would like to convey the pleasures of poetry, not only to a larger audience, but to larger groups of people collectively; and the theatre is the best place in which to do it."  After The Waste Land (1922), he wrote that he was "now feeling toward a new form and style". One project he had in mind was writing a play in verse, using some of the rhythms of early jazz. The play featured "Sweeney", a character who had appeared in a number of his poems. Although Eliot did not finish the play, he did publish two scenes from the piece. These scenes, titled Fragment of a Prologue (1926) and Fragment of an Agon (1927), were published together in 1932 as Sweeney Agonistes. Although Eliot noted that this was not intended to be a one-act play, it is sometimes performed as one.  A pageant play by Eliot called The Rock was performed in 1934 for the benefit of churches in the Diocese of London. Much of it was a collaborative effort; Eliot accepted credit only for the authorship of one scene and the choruses. George Bell, the Bishop of Chichester, had been instrumental in connecting Eliot with producer E. Martin Browne for the production of The Rock, and later commissioned Eliot to write another play for the Canterbury Festival in 1935. This one, Murder in the Cathedral, concerning the death of the martyr, Thomas Becket, was more under Eliot's control. Eliot biographer Peter Ackroyd comments that "for [Eliot], Murder in the Cathedral and succeeding verse plays offered a double advantage; it allowed him to practice poetry but it also offered a convenient home for his religious sensibility." After this, he worked on more "commercial" plays for more general audiences: The Family Reunion (1939), The Cocktail Party (1949), The Confidential Clerk, (1953) and The Elder Statesman (1958) (the latter three were produced by Henry Sherek and directed by E. Martin Browne). The Broadway production in New York of The Cocktail Party received the 1950 Tony Award for Best Play. Eliot wrote The Cocktail Party while he was a visiting scholar at the Institute for Advanced Study.  Regarding his method of playwriting, Eliot explained, "If I set out to write a play, I start by an act of choice. I settle upon a particular emotional situation, out of which characters and a plot will emerge. And then lines of poetry may come into being: not from the original impulse but from a secondary stimulation of the unconscious mind."

Using a quote from the above article, answer the following question: what was the new style
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Answer:
One project he had in mind was writing a play in verse, using some of the rhythms of early jazz.