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    ‘Expend4bles’ Review: Band of Meatheads

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    Sylvester Stallone leads an all-star mercenary squadron composed of ’80s-to-aughts brutes in the fourth installment of this franchise.The tone of “Expend4bles” can be summarized in a single close-up: a corpse’s severed hand flipping the bird. To its director, Scott Waugh, and all those responsible for resurrecting this dormant action franchise, the middle finger gestures toward this fourth installment’s intended style: macho, smirky and defiant. At its best, the film is all three. This all-star mercenary squadron composed of ’80s-to-aughts brutes is the cinematic equivalent to Slash’s Snakepit, a supergroup throwback to an era when men were meatheads and we in the audience merrily cheered them on.I’ll admit I still did, at least for some of this swaggering inanity. Why resist the impossible physics of Curtis Jackson (better known as 50 Cent) body-slamming a baddie back and forth like a toddler throwing a temper tantrum with his dolly? Or Dolph Lundgren lampooning his aging vision by screwing a prescription lens onto his sniper rifle? Or Sylvester Stallone grumbling about a thumb-wrestling injury that he’s chosen to nurse with a tiny custom leather sling? Or Jason Statham, the comically gifted bruiser now promoted to the series’ lead, doing, well, pretty much anything?In an even earlier era, Statham’s nimble skills would have awarded him a career like Jimmy Cagney’s. But he’s stuck working in ours, with a script that offers a few enjoyable quips — he calls an enemy “a sneaky little sausage” — but mostly lets him down. The screenwriters Kurt Wimmer, Tad Daggerhart and Max Adams seem to share a mutual disinterest in the plot, intoning the words “detonator” and “World War 3” until the threats become background static.These high jinks would be more fun if the actors didn’t look so unflappable. Nothing breaks their composure. Not explosions or blood spatters, not beheadings or nuclear bombs, not even the sight of a warship careening in the Sea of Japan. (Perhaps because all of the above have been cheaply rendered in post.) Even a back-flipping, insult-slinging seduction scene between Statham and a new teammate, played by Megan Fox, climaxes without a lip-gloss smudge. It’s just one more artificial palpitation.The energy sputters along on throwaway gags, like when Jacob Scipio, as a motor-mouthed young Expendable, sips a cocktail with a pink umbrella at a wake. There’s an absurdly enjoyable detour with a lecherous internet influencer (Samuel Black) and a shootout interrupted by a stereo blasting 50 Cent’s “P.I.M.P.,” which is just plain absurd. Is Jackson the rapper in the same universe as Jackson the assassin? Does he moonlight in carnage?Andy Garcia, Randy Couture, Levy Tran and the great martial artist Tony Jaa round out our cast of protagonists while Iko Uwais heads up a generic goon squad, giving all the intensity he can to a villain written with no identifiable traits other than a scar. When things get dull, there’s always Lundgren in the background, playing up his character’s nearsightedness with the daffy charm of Marilyn Monroe. But the film’s last reel is so awful — so sneeringly contemptuous of our good-faith efforts to play along with these shenanigans — that we leave the theater still thinking of that middle finger. It sure seemed pointed at us.Expend4blesRated R for curses and extravagantly digitalized carnage. Running time: 1 hour 43 minutes. In theaters. More

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      Mahogany L. Browne’s Love Letter to Hip-Hop

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      It was a clear black night, a clear white moon. Warren G, “Regulate” (1994)Originally appearing on the soundtrack of the Tupac Shakur film “Above the Rim,” this song is built around a sample of Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near).” I’m looking like a star when you see me make a wish. […] More

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      50 Rappers, 50 Stories: Hear the Remix

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      Ten bonus songs from our hip-hop anniversary project.Azealia Banks in 2012, the year her “212” became a breakout.Erin Baiano for The New York TimesDear listeners,Last week, the Times published a sprawling interactive package called 50 Rappers, 50 Stories, celebrating the upcoming 50th anniversary of hip-hop.* The day it ran, I set aside about 10 minutes to start browsing during lunch; the next thing I knew, more than an hour and a half had passed. It’s one of those kinds of projects.My colleagues spoke with — you guessed it — 50 different rappers about their careers and relationships with hip-hop, and the result is a mosaic of varied voices and narratives that run parallel and intersect in unexpected ways (like the Cash Money poet Lil Wayne and the New York provocateur Azealia Banks both identifying as theater kids). LL Cool J talks about meeting Paul Simon for the first time (“I’m gonna be honest with you, I didn’t even know who Paul Simon was, bro”); 50 Cent takes style inspiration from Juvenile (“Get me some baby oil!”); Cardi B cites the precise moment she traded in Barney the Dinosaur for Missy Elliott. Trust me, it’s all a delight.My fellow pop music critic Jon Caramanica and culture reporter Joe Coscarelli helmed the editorial end of this ambitious project and did many of the interviews themselves. They also created a comprehensive, roughly chronological 50-track playlist featuring all the artists they chatted with, and I can’t recommend that enough.But I thought it would be fun to have them put together a separate one for The Amplifier, featuring some deep cuts and personal favorites. The result is a playlist encompassing a variety of eras and regions, featuring plenty of marquee names (Cam’ron, Outkast) alongside entries from some of the more outré corners of hip-hop (Lil B, Trippie Redd). Consider this the remix.In his introductory essay for the project, Caramanica writes that hip-hop “is far too vast to be contained under one tent, or limited to one narrative. The genre is gargantuan, nonlinear and unruly.”“So,” he continues, “when trying to catalog hip-hop in full, it’s only reasonable to lean into the cacophony.” Which is how I’d instruct you to listen to this playlist.Listen along on Spotify as you read.1. Goodie Mob featuring Outkast: “Black Ice (Sky High)” (1998)Later alluded to in Kanye West’s “Touch the Sky,” this moody single about life’s hidden slippery spots from the second Goodie Mob album, “Still Standing,” is a showcase for Big Gipp’s hook writing and worn wisdom, with two acrobatic verses from his Dungeon Family kin — Big Boi and Andre 3000 of Outkast — that previewed the assured flamboyance of their third album, “Aquemini.” (Listen on YouTube) JOE COSCARELLI2. E-40: “Practice Lookin’ Hard” (1993)E-40 has been twisting words for well over three decades, with a dizzying approach to rhyme construction that plays with pitch and pace as much as language. This is a fairly linear storytelling rap, but his approach is frisky and surprising, with lyrics that creep up on you quickly or move at a deliberately slow pace. Also, this is likely the only hip-hop song in history to mention the card game whist. (Listen on YouTube) JON CARAMANICA3. dead prez: “Tallahassee Days” (2003)Recalling the fading of his adolescence in dead-end Florida, stic of the revolutionary-minded duo dead prez paints his artistic and outlaw provenance as one and the same — “kill or be killed” desperation, because “a job is a joke” — on this quick track from “Turn Off the Radio: The Mixtape, Vol. 2: Get Free or Die Tryin’.” “Whoever said life is beautiful lied,” he raps. (Listen on YouTube) COSCARELLI4. Cam’ron featuring UGK, Juelz Santana, Ludacris and Trina: “What Means the World to You (Remix)” (2000)This remix of a classic Cam’ron song has it all: one of the jauntiest beats in hip-hop history, Cam’ron’s dazzling interior rhyme schemes and naughty appearances from two other rappers in this package, Bun B and Trina. (Listen on YouTube) CARAMANICA5. Lil B and Soulja Boy Tell ’Em: “Cooking Dance” (2010)Pairing two early YouTube savants at the height of their anything-goes, post-CD but pre-streaming powers, this 2010 track from the “Pretty Boy Millionaires” mixtape immortalized the Based God’s signature kitchen movements via his free-associative Dada flow, in which Lil B is both “feeling like Fabio” and ad-libbing at will: “Cook! Steak! Chef! Pots! Chef! Pots! Chef! Cook!” (Listen on YouTube) COSCARELLI6. Paul Wall & Chamillionaire: “N Luv Wit My Money” (2002)One of the standout tracks from “Get Ya Mind Correct,” the 2002 collaborative album between the Houston rappers Paul Wall and Chamillionaire, “N Luv Wit My Money” is a lightly comic, utterly serious ode to flashy wealth. Wall was still rapping aggressively here, before he fully found his slow flow: “I love my car like it was my girlfriend: I like to caress the grain/Fondled the wheel and I got aroused/I swung in the ditch and I wrecked the frame.” (Listen on YouTube) CARAMANICA7. Azealia Banks: “Anna Wintour” (2018)As Banks told me, she is often derided for failing to deliver on her early hip-hop promise by pivoting to house music, “‘a.k.a white people music.’ I’m like, honey, no. House music is Black music. Everything I do is in the spirit of hip-hop.” On this 2018 one-off single, a vogue track named for the Vogue editor, Banks threads the two sounds seamlessly. (Listen on YouTube) COSCARELLI8. Trippie Redd featuring 6ix9ine: “Poles1469” (2017)Trippie Redd and 6ix9ine have been at odds for years now, but here’s an early collaboration from simpler times full of the elegiac melodies that have made Trippie Redd the stalwart veteran of the SoundCloud rap movement. This is a sweet, dreamy song about the stuff of nightmares, playful in a way that suggests no consequences lurk around the corner. (Listen on YouTube) CARAMANICA9. Roc Marciano: “Wheat 40’s” (2020)A cascade of sly punchlines, wordplay and unlikely juxtaposition (“I need therapy and a speedboat”), this song from the 2020 album “Mt. Marci” demonstrates Marciano’s economy of language and easy evocation, all while maintaining his character’s Mafioso frigidity: “Ma, I’m just a hooligan/I make this kind of rap cool again/She say I’m way cooler than Max Julian/You ain’t gotta ask who he is, we the loopiest/My character in the movie script is truly at the nucleus.” (Listen on YouTube) COSCARELLI10. Ice Spice: “No Clarity” (2021)It’s been less than two years since the Bronx rapper Ice Spice released this lite-drill revision of Zedd’s EDM anthem “Clarity.” All the elements for success were already there — the patient rapping, the raw emotional content, the as-if kiss-offs. Here, a tragedy in three acts: “You woulda thought that I missed you/But you was a thot, it’s a issue/Your bro was the one that I went to.” (Listen on YouTube) CARAMANICAWhat the world means to me,Lindsay*As Caramanica notes in his essay, “As for the 50th anniversary, well, it is a framing of convenience. The date refers to Aug. 11, 1973, when DJ Kool Herc — in the rec room of the apartment building at 1520 Sedgwick Ave. in the Bronx — reportedly first mixed two copies of the same album into one seamless breakbeat. That is, of course, one way to think about hip-hop’s big-bang moment, but by no means the only one.”The Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“50 Rappers, 50 Stories (Remix)” track listTrack 1: Goodie Mob featuring Outkast, “Black Ice (Sky High)”Track 2: E-40, “Practice Lookin’ Hard”Track 3: dead prez, “Tallahassee Days”Track 4: Cam’ron featuring UGK, Juelz Santana, Ludacris and Trina, “What Means the World to You (Remix)”Track 5: Lil B and Soulja Boy Tell ’Em, “Cooking Dance”Track 6: Paul Wall & Chamillionaire, “N Luv Wit My Money”Track 7: Azealia Banks, “Anna Wintour”Track 8: Trippie Redd featuring 6ix9ine, “Poles1469”Track 9: Roc Marciano, “Wheat 40’s”Track 10: Ice Spice, “No Clarity”Bonus TracksSinead O’Connor forever. “O’Connor was never quiet about her pain,” Amanda Petrusich writes, bracingly, for The New Yorker, “even when it would have been easier to swallow or evade it — in fact, being unapologetic about the crippling weight of certain sorrows was the defining characteristic of her work.”In the aftermath of O’Connor’s death, a number of beautiful tributes have been published considering many different angles of her prismatic legacy. Our own Jon Caramanica wrote about her most infamous and misunderstood act of protest (she “was daring the cameras, and the viewers, to look away; no one did”), while Una Mullally explored O’Connor’s relationship to Ireland and Vanessa Friedman considered the resonant rebellion of O’Connor’s shaved head.If a playlist is what you’re looking for, Jon Pareles has you covered with his reflection on 10 of O’Connor’s most powerful songs. More

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      50 Rappers, 50 Stories: Behind the Scenes

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      Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicThis week, The New York Times published 50 Rappers, 50 Stories, a collection of oral histories gathered from hip-hop artists across generations, regions and styles. It includes testimonials from superstars like Lil Wayne, 50 Cent, Cardi B and Eminem; local heroes like Project Pat, Uncle Luke, Bun B and Krayzie Bone; and outlier champions like Trippie Redd, stic, Slug and Boots Riley.Taken together, the interviews show a genre that started local and became global, was cohesive and then fragmented. And yet some common themes echo throughout — a sense of outsider ambition, a restless commitment to innovation, a reverence for craft.On this week’s Popcast, a conversation about the making of the project, the common threads uniting the subjects’ stories across generations, and the joys of listening to artists rap along to some of their favorite songs from childhood.Guests:Joe Coscarelli, The New York Times’s pop music reporterElena Bergeron, an assistant sports editor at The New York Times and a contributor to the 50 Rappers projectKeith Murphy, a music journalist and contributor to the 50 Rappers projectConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Rap Takes Over Super Bowl Halftime, Balancing Celebration and Protest

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      Dr. Dre, Snoop Dogg, Eminem, Kendrick Lamar, Mary J. Blige and 50 Cent asserted the power of hip-hop’s oldies generation on pop music’s most-watched stage.Leading up to Sunday’s Super Bowl halftime show, much ado was made over the fact that this would be the first year that hip-hop occupied the center of the concert. It was marketing copy that overlooked the glaring lateness of the achievement — that rap was finally getting the spotlight in perhaps the 20-somethingth year of hip-hop occupying the center of American pop music. Does progress this delayed still count as a breakthrough?After several years of grappling with an assortment of racial controversies, the N.F.L. likely wanted credit for showcasing Black music — especially hip-hop, the lingua franca of American pop culture — this prominently. What would some of rap music’s generational superstars — Dr. Dre, Eminem, Snoop Dogg, Kendrick Lamar — titans with little fear for their reputations, do with this most visible of platforms?The stories told on the SoFi Stadium field Sunday night were multilayered, a dynamic performance sprawling atop a moat of potential political land mines. In the main, there was exuberant entertainment, a medley of hits so central to American pop that it practically warded off dissent.Dr. Dre opened up the performance behind a mock mixing board, a nod to the root of his celebrity: the ability to mastermind sound. For the next 12 minutes, vivid and thumping hits followed, including “The Next Episode,” a wiry collaboration between Dr. Dre and Snoop Dogg, wearing a blue bandanna-themed sweatsuit; “California Love” (mercifully, delivered without a hologram of Tupac Shakur, as some had rumored); Eminem’s stadium-shaking “Lose Yourself”; Lamar’s pugnacious and proud “Alright”; and a pair of songs from Mary J. Blige, the lone singer on the bill.50 Cent, hanging upside down from the ceiling of the set, was an unannounced guest, performing his breakout hit “In Da Club,” one of Dr. Dre’s seminal productions. (This was almost certainly the most bleeped halftime show ever.)Mary J. Blige, the lone singer on the bill, performed two songs including “No More Drama.”AJ Mast for The New York TimesThe performances were almost uniformly excellent. Lamar was stunning — ecstatically liquid in flow, moving his body with jagged vigor. Snoop Dogg was confident beyond measure, a veteran of high-pressure comfort. Eminem, insular as ever, still emanated robust tension. Blige was commanding, helping to bring the middle segment of the show into slow focus with a joyous “Family Affair” and “No More Drama,” rich with purple pain. And Dr. Dre beamed throughout, a maestro surveying the spoils of the decades he spent reorchestrating the shape and texture of pop.But the true battles of this halftime show were between enthusiasm and cynicism, censorship and protest, the amplification of Black performers on this stage and the stifling of Black voices in various stages of protest against the N.F.L. Just a couple of weeks ago, the N.F.L. was sued by the former Miami Dolphins head coach Brian Flores who said he had faced discriminatory hiring practices.This halftime show, which scanned as an oasis of racial comity if not quite progressivism, was the third orchestrated as part of a partnership between the N.F.L. and Jay-Z’s entertainment and sports company, Roc Nation, that was struck in the wake of the kneeling protests spawned by Colin Kaepernick in 2016.“It’s crazy that it took all of this time for us to be recognized,” Dr. Dre said at the game’s official news conference last week, underscoring that the N.F.L. essentially chose to wait until hip-hop had become oldies music — apart from Lamar, all the artists Sunday had their commercial and creative peaks more than a decade ago — in order to grant it full rein on its biggest stage.The N.F.L. is notoriously protective of its territory, and mishaps at the halftime show — Janet Jackson’s wardrobe malfunction, M.I.A.’s middle finger — have tended to cause outsized public brouhahas. Halftime may well be one of the last stages in this country where hip-hop still feels like outsider music, amplifying the sense that the interests of the league and of the performers might not have been fully aligned.Eminem concluded “Lose Yourself” on one knee.AJ Mast for The New York TimesThis year’s event also took place in Inglewood, just 20 minutes west of Compton, where Dr. Dre was a founder of N.W.A, one of the most important hip-hop groups of all time, godfathers of gangster rap and agit-pop legends. Compton was embedded into the stage setup: the buildings included signs for its various landmarks, including Tam’s Burgers, Dale’s Donuts, and the nightclub Eve After Dark, where Dr. Dre used to perform with his first group, World Class Wreckin’ Cru. The dances, from Crip-walking to krumping, were Los Angeles specific. Three vintage Chevrolet Impalas served as visual nods to lowrider culture. Lamar performed his segment atop a massive aerial photograph of the city.Understand the N.F.L.’s Recent ControversiesCard 1 of 5A wave of scrutiny. More

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      50 Cent Challenges Lil Wayne to Do Verzuz Battle With Drake

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      WENN/Sheri Determan

      When promoting his new Branson cognac line, the ‘Candy Shop’ hitmaker explains that the rappers’ different styles will provide entertainment should they face off against each other.

      Dec 28, 2020
      AceShowbiz – 50 Cent has challenged Lil Wayne to hit the VERZUZ stage with his protege Drake in 2021.
      Rappers have come together in 2020 for rap battles on Swizz Beatz and Timbaland’s COVID-busting online initiative, and now 50 wants to see a Drake/Lil Wayne face-off.
      Asked who he thought would be a good VERZUZ opponent for Drake and Wayne during an Instagram chat while promoting his new Branson cognac line, 50 said in a new interview, “I think because of the momentum, the best thing would be Lil Wayne versus Drake.” Fiddy further elaborated, “because it’s two styles, two different styles in the same period so it will be entertaining enough to watch both of them.”

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      Should Weezy accepted Dizzy’s challenge, that wouldn’t be the first time for them to have a friendly battle. The two rapper previously went on a Street Fighter-inspired tour dubbed “Drake vs. Lil Wayne”. The “In My Feelings” hitmaker and the “Scared of the Dark” spitter used to co-headline the said tour in addition to having a joint set during which they went hit-for-hit in which fans would decide the winner among the two.
      Meanwhile, last week, The Game said he would be willing to take part in a VERZUZ battle – but only if he was matched up with old rival 50 Cent.
      The rap battles linked to VERZUZ so far have included Snoop Dogg and DMX and Gucci Mane and Young Jeezy.

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      50 Cent and Freddie Gibbs React to Jeezy's Diss Track 'Therapy for My Soul'

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      WENN/Instagram/WENN/Nicky Nelson/Sheri Determ

      Freddie takes to Twitter to say that Jeezy should have roasted Gucci Mane, whom he will go against in the next episode of ‘Verzuz’, instead of going after him.

      Nov 19, 2020
      AceShowbiz – Ahead of his “Verzuz” battle against Gucci Mane, Jeezy (Young Jeezy) released a song titled “Therapy for My Soul” where he dissed 50 Cent and Freddie Gibbs. It unsurprisingly didn’t take long for Fiddy to catch wind of that and responded to the diss.
      Seemingly not really bothered by the blast, Fofty thought that Jeezy was just chasing the clout. “Anything to try and sell a record i guess? I’m not available this week,” the “Power” actor/creator wrote, before promoting his TV series, “FOR LIFE is coming on at 10pm tonight. i’m busy LOL #yours**tistrash.”

      Echoing the message, Freddie also reacted similarly to the diss track. Reposting Fiddy’s post on his Instagram Stories, he wrote, “@jeezy Message B***h!” He also took to his Twitter account to clap back at the fiance of Jeannai Mai.
      “BMF put U in a headlock in front of me. U gotta come harder than this snow flake,” Freddie tweeted. “u big mad,” he added, before writing in another post, “I can’t beef with n***a. u got it snow U won.”

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      Freddie then said that Jeezy should have roasted Gucci instead of him. “n***a smoked yo partner and u bout to sit in the room and do a verzuz wit him. Don’t talk no street s**t to me fam,” he said.
      On “Therapy for My Soul”, Jeezy can be heard rapping, “If One-Five wasn’t my dawg, I would’ve touched them/ When that s**t went down with Gibbs, I couldn’t trust ’em/ Invested my hard earn money, tied up my bread.” He adds, “But he gon’ try to tell you I’m flawed, that’s in his head/ It’s happening just the way that I said it, good on your own/ And if I’m honest nothin’ gangsta about you, leave this alone.”
      He also taunts Fiddy, spitting bars, “Since we talkin’ boss talk, let’s address the sucka s**t/ Grown man playin’ on Instagram, real sucka s**t Why the f**k this clown n**** playin’ with my legacy?/ Solid in these streets, that’s some sh*t that you will never be/ Talking ’bout power, but weak n****s do the most/ In real life, n***a you really borrow money from Ghost All that lil’ boy s**t, yeah it make it evident/ Made millions in these streets, what the f**k is 50 Cent?”
      [embedded content]
      While Jeezy has yet to respond to Fofty and Freddie’s comments on his track, he will face off each other in the season 2 premiere of “Verzuz” this Thursday, November 19.

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      50 Cents Teams Up With Eli Roth for Three-Movie Deal

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      WENN/Avalon

      When making public about his future collaboration with the ‘Candy Shop’ rapper, the ‘Hostel’ director promises to ‘bring that same fun and danger to this new fantastic slate of elevated scary films.’
      Oct 15, 2020
      AceShowbiz – 50 Cent has partnered with actor and filmmaker Eli Roth for a new three-movie deal with bosses at entertainment studio 3BlackDot.
      Little is known about the details, but Roth has made a name for himself by directing horror movies like “Cabin Fever” and “Hostel”.
      “I am so excited about collaborating with 50 Cent, James Frey and the whole team at G-Unit, 3BlackDot, and the incredible producorial team at Arts District of Roger Birnbaum and Michael Besman,” said Roth, whose credits “Cabin Fever”, “Hostel” and “Hemlock Grove”. “Both 50 and James have never shied away from controversial, boundary-pushing material and have made massive global cultural impacts from their raw creative energy. We want to bring that same fun and danger to this new fantastic slate of elevated scary films. We want to make the movies others are too afraid to make.

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      50’s production partner, James Frey, adds: “50 and Eli are both great friends of mine, great collaborators, and both real visionaries. I can’t wait for all the fun we’re going to have together.”
      The collaboration will see the three entities collaborating on each film while utilizing 3Blackdot’s in-house resources in gaming, publishing, and merchandise to build out entertainment properties. “The newly formed film partnership is predicated on producing diverse and innovative world-building genre films that feel like ground-breaking events with global reach for horror enthusiasts,” read an announcement.”
      50 and Anil Kurian for G-Unit Film & Television, Roth, Birnbaum and Besman for Arts District, and Frey, Reginald Cash, Mitchell Smith, and Zennen Clifton for 3Blackdot will produce while Mat Laibowitz, 3BD’s Head of Content Innovation, spearhead the ancillary.

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      50 Cent and T.I. Sparring on Social Media Over Proposed 'Versuz' Battle

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      WENN

      After Tip challenges the ‘Power’ star to face him in the next installment of the popular Instagram series, the ‘In da Club’ rapper makes fun of the ‘T.I. and Tiny: The Family Hustle’ star’s beard and music.
      Sep 4, 2020
      AceShowbiz – 50 Cent and T.I. are trading jabs online after they were proposed as the next stars to face each other on “Versuz”. Seemingly up for the showdown, Tip challenged Fiddy by writing on Instagram on Thursday night, September 3, “Pick a date!”
      The “In da Club” hitmaker responded by making fun of T.I.’s beard in a photo and his music. “Bro ya beard is not quite connecting like your music,” he wrote along with Tip’s image. Fiddy also bragged about his album sales, adding, “You know I did 10,000,000 on the second album too. you just make sure your at work on time. OK.”
      Fif also took a shot at T.I. by posting along with a photo of a bee and a fly facing off, “So I just want to say to … I’m clear you will never understand how much better I am than you are, look even my skin is darker then [sic] yours. I’m just a better specimen of a man than you punk.”

      T.I. didn’t back and commented on Fif’s post, “Pull ya BAD A** UP den BIG DAWG Homie OG!! Cmon!! wit ya 1 album & them other Lil Luke warm songs u got…gon dust that s**t off kid.” The Atlanta rapper responded again, writing, “These little n!66as be angry, don’t worry you’ll be a Big Dog like me one day. for now you’ll just be. I like that jacket, not bad. LOL #STARZ POWER SUNDAY!”
      The “Live Your Life” spitter took another jab at Fif, posting on his page, “I’m DYYYIIINNNNN yo. Dis n***a @50cent slow af… he actually think he got a shot wit that one & 1/2 albums he got … U washed my boi. Now cmon & PULL YO YOUNG BABOON FACE A- ON UP & GET SERVED CURTIS!”

      While 50 Cent and T.I.’s jabs at each other were quite savage, it’s safe to say that they’re just playfully trolling each other. The two stars recently announced a partnership on a new TV series “Twenty Four Seven”, developed at CBS All Access.

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