BONUS: 50 Cent on New TV Deals, Classics, Nas - and Why He Told Ari Melber ‘You're #1'

Summary

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Podcast Summary: The Beat with Ari Melber

Episode: BONUS: 50 Cent on New TV Deals, Classics, Nas – and Why He Told Ari Melber ‘You're #1'
Date: March 23, 2026
Host: Ari Melber
Guest: Curtis “50 Cent” Jackson

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Episode Overview

This lively and in-depth episode features Emmy-winning journalist Ari Melber in conversation with rapper, entrepreneur, and TV mogul 50 Cent (Curtis Jackson). Marking the 20th anniversary of 50 Cent’s landmark debut album "Get Rich or Die Tryin'," the discussion spans 50’s transformation from hip-hop icon to a powerhouse in television and business, the evolving politics within hip hop, generational changes in music culture, personal reflections, and a candid lightning round. Key highlights include the motivation behind his new deals, strategies for legacy building, his take on artist lists, learning from past controversies, and the life lessons that come with growth.

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Key Discussion Points & Insights

1. 50 Cent’s New Fox TV Deal & Media Strategy

[00:57] - [03:13]

• 50 Cent describes his new non-exclusive TV deal with Fox, differentiating it from his earlier exclusive deal with Starz:

  “This deal allows me to work with everyone. So at the present moment, I have 24 shows across 10 different networks.” — 50 Cent [01:16]

• He discusses leveraging his immense social media reach for business communication:

  “My phone goes further than those publications… 100 million people following on social media.” — 50 Cent [01:30]

• On transitioning from hip-hop to television production:

  “No one has had a successful career producing television from music. This is the first.” — 50 Cent [07:55]

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2. The Art of Storytelling — From G-Unit to Prime Time

[03:49] - [06:49]

• 50 connects his success in music and TV, crediting his understanding of core audiences:

  “When you build, you gotta have a core audience... I know what they'll respond to, what they won't respond to.” — 50 Cent [04:05]

• On diversity in programming:

  “I don't think diversity is black. I think it's showing all different cultural sides of things.” — 50 Cent [04:43]

• He shares why quality and cinematography matter more than the racial makeup of a show’s cast:

  “When you make an all-white show, you're up against the best cinematography, period. It has to be phenomenal.” — 50 Cent [05:38]

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3. Overcoming Industry Preconceptions

[03:13] - [08:29]

• 50 addresses being underestimated by TV executives:

  “Oh, I'm just a lot of things. And they'll get a chance to learn more about it as we go... This is very similar to my success in music.” — 50 Cent [03:13]

• Draws parallels to artists (Will Smith, LL Cool J) who transitioned from music to film, but states his path in TV is unprecedented.

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4. Legacy and Influence — 20 Years of “Get Rich or Die Tryin’”

[09:29] - [11:32]

• Reflects on personal growth:

  “I'm not the same person though. I've adjusted. A lot of information, a lot of new things.” — 50 Cent [09:34]

• On not knowing the staying power of his debut album:

  “Did you know you were making that many hits? ...That was 19 cuts. It was like one song short of a double CD.” — 50 Cent [11:04]

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5. Emotional Intelligence & Relationships in Music

[11:52] - [12:29]

• The decision to record love songs like “21 Questions”:

  “I wanted ladies to feel like maybe they can fix me… I'll put that song on and I'll have better relationships or options.” — 50 Cent [12:03]

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6. The Enduring Impact of Hip-Hop Classics

[13:46] - [16:09]

• Young artists globally continue to reference 50’s music:

  “Because they have that in their experience. The real side of things is in their experience too… The feelings on the record are identifiable.” — 50 Cent [14:53]

• On personal evolution:

  “I've had kids still were absolutely in love with me. And they were in love with the wrong part of me. The part that won't actually continue to be successful.” — 50 Cent [16:09]

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7. Understanding Influence and Cultural Misinterpretation

[16:30] - [17:27]

• 50 Cent draws parallels between how audiences misread “Scarface” and elements of his own legacy:

  “Scarface is the American dream, not the ending… To make it in America on your own terms is what the movie represented.” — 50 Cent [16:58]

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8. Generation Gaps and the Evolution of Hip-Hop

[21:08] - [22:25]

• Younger listeners engage with his hits as “old school”:

  “Like the kids just listening to the trap sound. Is they on that style of music” — 50 Cent [21:41]

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9. Owning Mistakes — The Megan Thee Stallion Controversy

[22:43] - [24:22]

• Discussion about doubting Megan Thee Stallion’s story, and issuing a public apology:

  “I did feel like I owed her an apology... If she got hurt like that, and I'm calling her a liar, that's not right.” — 50 Cent [22:52 / 23:07]

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10. Hip-Hop, Politics, and Society

[24:22] - [26:17]

• On age in politics and culture:

  “Joe was a little sleepy sometimes… But I don't know if they're too old. It's been 20 years already. I'm like, I'm getting old.” — 50 Cent [24:51 / 25:05]

• 50’s interview is the second most-watched on The Beat, underscoring hip hop's role as global culture.

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11. Rankings & Who’s #1?

[27:41] - [31:02]

• On Billboard’s “Top Rappers” list and what matters in artist rankings:

  “I don't think that you could really put together a list like this without being biased at some point...” — 50 Cent [27:58]

• Argues sales/impact matter, citing Eminem:

  “How do you not look at the number one selling artist if we're in business? If you're in business, then you have to look at the number one selling artist.” — 50 Cent [30:30]

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12. The Art of the Mixtape, DIY Hustle, and Hip-Hop Groups

[32:04] - [34:43]

• On his early hustle and creative distribution tactics:

  “I had to trick bootleggers to sell the cd. Like, I had to put a fake barcode… let them feel like they found something.” — 50 Cent [32:52]

• Laments the decline of hip-hop groups, linking it to lack of artist development.

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13. Building and Protecting Legacy

[35:05] - [36:16]

• Discusses creative energy, legacy, and how wealth changes perspective and hunger.

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14. Quick-Fire Lightning Round

[37:26] - [41:38]

• 50 gives rapid-fire takes on Eminem (“the best”), Lloyd Banks, Tony Yayo, Nas, Jay-Z, “Get Rich or Die Tryin’” (“classic”), and more.
• Discusses becoming a mogul, business lessons, and how success changes perception:

  “You get in trouble... rapper 50 Cent. Something positive… the mogul.” — 50 Cent [38:29]

• Highlights the importance of learning and growth for younger artists:

  “They have to turn into something bigger and better... because they really street.” — 50 Cent [17:27]

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15. Final Insights and Lessons Learned

[42:50] - [43:10]

• Most important thing he’s learned after 20 years in the business:

  “Count the money, man. You gotta count the money. You can't rely on the accountants.” — 50 Cent [42:55]

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Notable Quotes & Memorable Moments

• “If you want the show to sell, you bring it to me, period.” — 50 Cent [02:49]
• “I don't like gang stuff. I don't like gangs. I don't like conspiracy. I don't like the word Rico. Like none of that.” — 50 Cent [40:53]
• “Nah, I wear my halo all the time.” — 50 Cent, on being crowned the king [32:00]
• “It feels great, man. It keeps me younger because they still. They right now. They are now.” — 50 Cent, on being embraced by a new generation [14:34]
• "Count the money, man. You gotta count the money. You can't rely on the accountants." — 50 Cent's key advice [42:55]

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Key Timestamps

• [01:10]: 50 Cent describes his new Fox TV deal.
• [03:13]: Facing industry stereotypes as "just a rapper."
• [09:29]: Reflecting on 20 years since "Get Rich or Die Tryin'."
• [12:15]: The “I love you like a fat kid loves cake” lyric origin.
• [14:53]: On why global artists connect to his music.
• [22:52]: Addressing his apology to Megan Thee Stallion.
• [27:58]: Views on Billboard’s all-time rapper rankings.
• [32:52]: Creative tactics for early mixtape distribution.
• [37:26]: Lightning round on hip hop legends and business.
• [42:55]: 50 Cent’s most important lesson: “Count the money.”

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Conclusion

This episode delivers an engaging look into 50 Cent’s transformation from street-hardened rapper to business mogul and Hollywood power player—always balancing authenticity, strategic vision, and the lessons of longevity. He is candid about past mistakes, cultural shifts, and his responsibilities as a leader and innovator, making this conversation essential listening for fans of hip-hop, business, and pop culture alike.

Transcript

[A]

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Shop now [e-mail] and now we are joined by the man, Curtis Jackson. 50 Cent. Thanks for coming back on the beat.

[B]

Thanks for having me back.

[A]

We have so much to talk about, including why we're decked out like this.

[B]

This is the coolest studio. This is the coolest.

[A]

It looks good on you. So we got an anniversary, but before we even get to that, this week, you just inked this new deal, right? It is a non exclusive Fox broadcast deal, right? Sounds like a big deal, but explain what it is.

[B]

It's exciting for me. It's an opportunity to work with Fox and there's the non exclusive part of it. Because my last deal was an exclusive deal to Starz. This deal allows me to work with everyone. So at the present moment, I have 24 shows across 10 different networks. But I'll be focusing on getting some things over to Foxhock and fulfill a deal that we just did. It's non exclusive, but they'll have the first Friday. I'll show them things first.

[A]

Yeah, and your TV numbers are wild. A lot of people know you as 50 Cent the artist, as 50 Cent the communicator, the analyst. That's sometimes what we talk. But you've sort of first quietly and now loudly become a big mogul in television. For people who don't know about that, how'd that happen? And is it your same storytelling or is it something different that you're tackling?

[B]

I mean, some of it is similar to the experience and some of the themes that I offered in music, but a lot of it is different. You'll see some things from me that you go, wow, like I didn't even know there was interest there. It's because when you see the trades go out, like when the announcements of the Fox deal is in Variety and and Hollywood Reporter, all of these That's a message to business insiders. My phone goes further than Those publications, like 100 million people following on social media.

[A]

Let me slow down the point you're making because it's deep, but it's factual. Because of the global reach you have. You don't need a website headline to reach anybody.

[B]

Exactly.

[A]

You reach 20, 30, 50 million people like that through the phone.

[B]

Right through the phone.

[A]

You're saying you're doing that to communicate what, to these sort of business insiders?

[B]

To business insiders. If you want the show to sell, you bring it to me, period.

[A]

So let's look at what you're doing here. 17 dramas, two comedies, five unscripted. I'm gonna ask you the dumb question. We don't always do the smart question. You know me. The dumb question is, what do you say when you sit down with one of these executives and they go, oh, I thought you would quote just a rapper.

[B]

Oh, I'm just a lot of things. I'm just a lot of things. And they'll get a chance to learn more about it as we go. Like, because I'm having success at this. This is very similar to my success in music Facts. The first album, largest debuting hip hop album, the first television series, the highest rated show on the Starz Network, which gives me the leverage to build out a. The only thing you could compare the power universe to right now, I would think, is Yellowstone in terms of reach.

[A]

Yeah.

[B]

And it's bigger because of the network and where it's positioned. You know what I mean?

[A]

It's funny because when you mentioned your first album, which we're gonna talk about, your studio album, a huge debut, get rich or Die Trying, what people didn't know is it came off the strength of mixtapes, off Ghetto Quran, off what you build in the street. Is that also the model you're using, where you build up?

[B]

Yeah. When you build, you gotta have a core audience. So if the cool audience is coming from music culture, when you have things that are relatable to them, then I know that audience. I know what they'll respond to, what they won't respond to.

[A]

There's also a statistic here that your film company, Gunit, the top four series in black households in America, Forced Ghosts, Raising Canaan, bmf, all from you. What's that about? Because let's be clear, there's a lot of other programming that's available.

[B]

Right? Right. It's. That's a cool stat. But I'm not making television shows for just black households.

[A]

Right.

[B]

You know, Diversity. I don't think diversity is black. Some people interpret you saying diversity as if it's black. I think it's showing, you know, all different cultural sides of things.

[A]

Yeah.

[B]

You know, and I want to expand it and make it even bigger. And you'll see different. The numbers are going to continuously go up on certain projects. Like, you'll see Forrest come in with Joe Shakur. At the head of it is how it's technically a black show with a white lead. Because it's force, if you called it. It's the number one show in black households. But you have a white lead. A white guy is the lead of the actual series. So it's cool. You'll start to see maybe the audience that would watch Ozark tap in to see what's going on in the power universe.

[A]

I mean, Killer Mike did do a Ozark cameo. Yeah, yeah. But it is a predominantly Caucasian show, I think it's fair to say.

[B]

Yeah. You know, but I like it. I watched Ozark like it's hard time. You couldn't watch really good cinematography if you weren't watching white cinematography. So, like, when you make an all white show, you're up against the best cinematography, period. It has to be phenomenal. It has to be great for it to stand out and be a big hit. When you're aiming at diversity, if the quality is up to standard. Cause there's a lot of stuff that were made bad, Ari. They made bad, bad movies, cheap movies, trying to make them without studios and full production companies and things behind them, because they were trying to do it themselves in the early stages. So when you see a bad film, it's usually shot bad. From urban. We've launched things that I knew weren't actually good that really did extremely well because it was shot well.

[A]

Do you find that then that can be frustrating, though, if you, like, take certain classic films that we think of in that space and people have an opinion of them, and you're saying what people don't realize is that was also the front end investment, determined how it looked, whether it felt prestigious.

[B]

Yeah, yeah. Like a lot of times, art, they'll look. And the audience is interpreting it a lot different from the business itself. Like a lot of my favorite films, they would say, oh, that's a small movie or a little movie. And I'm like, what was little about that? Like, that was like my favorite film at that point. Like, you know what I mean? Like, sometimes things they like Loving Basketball was like a big hit to me. Like, Omar Epps is forever that to me, Sinai Lathan is going to be dope to me forever for that. You know, that time period, we think

[A]

about your, quote, hustler's ambition.

[B]

Right?

[A]

Are you good now? You got this Fox deal, you're big time. Or do you still find that people are undervaluing some of what you and your team are doing?

[B]

They can always undervalue what you're doing. There's never going to look at it. And I think, well, look, if they were overvaluing what you was doing, you'd have a really good lifeguard.

[A]

Okay?

[B]

But you know, like, they're going to always look at things and I mean on the outside, judging things as it go as you go. If you're doing things that people haven't done before.

[A]

Right.

[B]

No one has had a successful career producing television from my. From music. So this is the first, you know, all of the things that you've seen. Like we've had huge success with Will Smith, with Mark Wahlberg, with LL Cool J, with Ice Cube. You know, a lot of people who started out musical talents, they turn into big stars like Quinn Latifah and you know, it's a lot of them. But there's. But in film, not in television. So they're seeing it for the first time now.

[A]

Right. And so in that sense, they have to adjust. From the other reason we're here, how people first got to meet you is this rapper. Well, look at this shot. We put this together. This is new Billboard cover classic source classic XXL with Dre and Eminem, we're marking 20 years of get rich or Die Trying. Um, let's just start. And you know, we like to get in the mood. Let's start by looking at it. 50 Cent is. We just signed 50 Cent to Dr. Dre and Eminem. You know, we believed in them.

[B]

50 Cent mania is to rap what Peter Mania was to rock music back

[A]

in the day, man. The rap stars here, 50 Cent, ah, he's considered the number one rap guy in the world right now. You've been shot. How many times have you been shot? Nine times. Nine times. The G Unit General has the number

[B]

one album in the country. That was.

[A]

Go ahead.

[B]

That was fun. That was Lala. And it was MTV.

[A]

We was doing that 20 years later. Does it feel like 20 years? And are you the same guy?

[B]

It feels great. I'm not the same person though. I've adjusted. You know, a lot of information, a lot of new things. It's obvious. Like em is he looks and he goes, yo, this is cool. But I be bugging because I go, how does he know how to do that

[A]

then?

[B]

Yeah, yeah, like now. And then when we get to now, like the television production stuff like that, Em looks and goes, yo, it's bugged out. Did you even know how to do that stuff, like. Cause, you know, we zeroed in and we're so focused on making the right music that that was just it. Like, you didn't really look for nothing else to do. And I just kind of got bit by the bug and did it a little different because, well, you did.

[A]

This is what I. Why it's fun to talk about the anniversary. You did it different, but it was embraced globally, continuously since then. So we have some of the numbers here. People might know I like 50 Cent, but I didn't make these numbers right in the club. Nine times Platinum. 21 questions, four times many men, triple Platinum. Same for Pimp Patiently WA, featuring Eminem. You mentioned if I Can't, what Up Gangsta? And then other tracks on there that people love, like, My Style, hi. All the Time. Don't Push Me. Did you know you were making that many hits number one and number two. Was that a different era that we'll never return to? Cause you know, rappers today, they'll put out a six song sampler. Like, that was three albums worth today.

[B]

Yeah, that was 19 cuts. It was like one song short of a double CD. And if like now everything in that my thought process, like, everything about me was a hit for hip hop at that point. Cause even the songs that I missed did miss the album that I recorded. Like, Pass It. Like Magic Stick worked for Lil Kim's next album and other things. But these were ideas that I had developed for Get Rich or Die. Try and make the Cut.

[A]

And you seem to use what in the culture, sometimes we say, oh, he's hard, he's tough. You seem to use that to then go in other directions. Like, you know, they say, oh, Nixon could go to China because he was Nixon. It's like you go to 21 questions talking about love, and it worked. Dre didn't even want you to do that at first, right?

[B]

Nah, he said he knew what he says. I know what this is. It's nwa. It's just one member, and you really don't need it. Like, he didn't know why I wanted to put the record on.

[A]

Why did you?

[B]

Because I wanted ladies to feel like maybe they can fix me. And I had done so many push ups that I felt like, this is gonna be good for my love life.

[A]

Are you joking? Are you really?

[B]

No, I'm dead serious.

[A]

I'll put that song on and I'll have better relationships or options.

[B]

I thought that they would see some way that they could possibly fix me or understand me in a different way. And their favorite line on the song was, I love you like a fat kid loves cake.

[A]

Love cake. Yeah.

[B]

And, you know, when I wrote it, I was thinking, I love you, but too much of you is no good for me. Like a fat kid loves cake. Yeah.

[A]

You know, I think there's a song by Lloyd Banks, Cake as well.

[B]

The cake. Yeah. This is why he's ours. He's ours. This is hip hop culture for real right here. And then, look, the scariest thing is, look, the platform that you're on, it says the first thing they say to you when you go to media training is stay away from politics and stay away from religion.

[A]

Okay. Like a first date.

[B]

You see what it did to Kanye? Politics and religion together.

[A]

That was a lot for him. Although it was more than politics, some would say. But I feel you. But you're not afraid to be in this platform and this platform. We love you here.

[B]

Nah. Yeah. It makes it comfortable for a large portion of our culture to feel at home on an actual platform like that. So this is a big part of why you're number one.

[A]

Hey, thank you. 50. When we were looking over the anniversary, I said it's not just the audience, which is dope. You have this clear connection long term with your audience. But as we all grow up and you're evolving, doing all these different business things, the younger artists today keep invoking you. American rappers, Nigerian Afrobeats. It's really something. And respect. We have hip hop.

[B]

50.

[A]

Respect to all the legends. Let's be real. Not everyone's being invoked this way. So we made something. This is. We made this airing for the first time on that many, many, many, many

[B]

men wish death on me Lord, I don't cry no more don't look to the sky no more have mercy on me have mercy on my soul don't let my heart turn cold Many men

[A]

want to kill me, dog I feel like 50. Many men want to kill me, dog

[B]

I feel like 50. Go, go, go, go, go, go, go. That's cool.

[C]

Yeah.

[A]

How does that make you feel now?

[B]

It feels great, man. It keeps me younger because they still. They right now. They are now.

[A]

You know, why do you think. This is a kind of a funny question to answer, but why do you think from 21 out of Atlanta to techno out of Nigeria. They're inspired by you. Why?

[B]

Because they have that in their experience. Like, the real side of things is in their experience too. So, like 21 savage. Like pop smoke, that. That is. The feelings on the record are identifiable. You know, I mean. Cause like many men is like a war chant almost. You know, like in the Ghost Shorty is fun. It's what you would do in the nightlife as you start to, you know, party. Well, someone's birthday close to you. Would be a reason for us to go with intentions. To enjoy ourselves on the highest level.

[A]

So it's. I mean, you're saying something deep, which is like, the world changes, the technology changes. But the feelings.

[B]

Feelings don't change. And, you know, and how we respond to things. So they understand this is what their connection is to it. It's a new group of guys that are wishing death on them. But they're in a similar scenario. So it makes sense for them to do that. Like, now they'll say they're my opps. We wasn't saying that at that point. You know what I mean? But they'll have a new reasoning for why they connect with what they're saying.

[A]

And does it matter? Or is it a positive that you transcended out of that? I mean, your story's known, but here you are doing something completely beyond that community.

[B]

It's absolutely a positive thing. Look, I've had kids still were absolutely in love with me. And they were in love with the wrong part of me. The part that won't actually continue to be successful. The part that won't continue to, you know, be something that people celebrate.

[A]

It's so crazy you say that because we were talking to De Palma who made Scarface. And he said, of course he made Scarface tough and lovable. You have Pacino there.

[B]

Right? Right.

[A]

He said, but when he saw all these kids hanging Scarface posters in their dorm rooms. Wrong part of Scarface, he said. He was actually aghast. Like they really missed the point.

[B]

No, but look, Scarface is the American

[A]

dream, not the ending.

[B]

Yeah, but even the ending is. Look, people will say, insert me here. And everything that was going on before that point. You know what I'm saying? I know that Pacino was playing a Cuban character that's coming to America. But to make it in America on your own terms is what the movie represented. And that montage, push it to the limit is. That's the dream, right?

[A]

That's the dream. Yeah. Respect. So you say, wrong part. What's the right part of 50 to fall in love with.

[B]

Well, the stuff that they see that I've learned, it kind of kept me out of trouble at points, you know what I'm saying? And decided the stuff that I was saying in the music in the very beginning, I wasn't. I was crazy. Tell you the truth, I heard I was absolutely crazy at that point. And then you going, when you look at it and you go, nah. So later, with new information, with more information, you know that, like I say, my favorite artists, the younger artists that are out there, I see the street. 21 Savage is one of them. 21 Savage, DaBaby, Lil Durk, NBA, YoungBoy. I like them because they already been bumped around enough. They're damaged. They're damaged enough by the experience that even if they make it, they won't make it. If they don't figure out how not to be who they are right now. They have to turn into something bigger and better as they go with the new information and new opportunities, new things they come because they really street. They really out there. You know what I mean?

[A]

Yeah. You say you're crazy. Yeah. On that album, you said, even my mama says something wrong with my brain. They don't rob me. They know I'm down to die from my pain.

[B]

Yeah. I'm not giving it up at that point. Nah, come boy crazy.

[A]

So could you be fully crazy if you knew then that you were crazy enough to talk about it on wax?

[B]

No, to write it. That was factual. What I was saying was like, she's saying you wouldn't know. And I'm taking that from me because it took too much for me to

[A]

get it in that environment. Are people less likely to test you if they know that you'll go all the way?

[B]

Yeah. They'll go around you instead of hitting a brick wall, you know what I mean? Because it's almost. It's one of us. It's me or you at that point. So you avoid that. Any situation is like that. Like, this is why. It's like in the environment that there's people who are aware of each other that don't actually deal with each other.

[A]

Explain, explain, explain.

[B]

When they're alike, a lot of times they may not necessarily be friends with each other, but they'll know. Yo, I know who that is. Yeah, I know what he do. He know me, too.

[A]

But how do they figure out how not to deal with each other if they're not in contact?

[B]

No, they're aware. Like, there's no one that's doing things that don't have A reputation for those things, whether it's positive or negative, you know, and when things start to spread and they're aware that you active or you're doing what you're doing, he going, me too. So, you know, if you think it's going to be a one sided situation, you're wrong. You just got to make sure you go so hard the very first time that there's not a time for him to come back.

[A]

Yeah. You know, facts beyond the artists. We checked TikTok, now you have an account, but you're not on there a ton, right?

[B]

Yeah, I'm not on there a lot.

[A]

But let's see how the youngest community that's making videos is feeling 50 because we dug this up.

[B]

Go show it's your birthday we gon party like it's your birthday we gonna sip a cardi like it's your birthday and you know we don't give a that's your birthday. Many men wish death upon blood in my dog and I can't see.

[A]

All right, you talk about your core fans. They've grown up. They're not at the club, but they're watching your shows, right? Well, from what I could tell, these ain't those original core fans. Nah, it's 15, 18, 20 years old. Why is this their soundtrack?

[B]

Well, I think they can still appreciate it and enjoy it. To them it's old school. Like the, the kids that's listening to trap music hear 90s R&B music the way we hear Motown.

[A]

Right. Isn't that weird for you?

[B]

Yeah, yeah. Like that's the way it is though.

[A]

Are you at peace with that?

[B]

Yeah, yeah. When Abdul Williams is writing new editions story for bet, he's making a new version of the Five Heartbeats. You know what I mean? Because musically, the way the new generation hears that music they could hear, they can still hear it's a hit because of the melodies in it. But they like this ain't it. I need the one that feel like this. Like the kids just listening to the trap sound. Is they on that style of music

[A]

and to you that's like, that's just a natural evolution.

[B]

Yeah, yeah. And it's cool when you can keep and explore it and you understand it musically so you can enjoy it like on a whole level.

[A]

Yeah. You said politics are dangerous, but I thought we'd run through a couple things.

[B]

Okay.

[A]

Including the politics of hip hop because we had this big trial with Megan Thee Stallion. A lot of male rappers were doubting her story.

[B]

Right.

[A]

We have the headlines. You were one of them.

[B]

Yeah.

[A]

Then you came out and said after the trial and conviction of Tory Lanez, you had a better sense of what happened.

[B]

Yeah.

[A]

So you were saying, oh, you kind of owe her an apology. Have you talked to her, or what would you say to her?

[B]

No, I haven't, but I did feel like I owed her an apology only because when I saw a portion of an interview that she did with Gayle, she was, like, stuttering and not. Didn't want to say that she had been sexually involved with Tory.

[A]

With Tory Lanez.

[B]

Yeah. Yeah. And I knew that. That part, that she was lying. So then it made me not sure what happened. And then later in the case, I'm going, like, if she got hurt like that, and I'm calling her a liar, that's not right. You know what I mean? Like, I wouldn't want her to have to go through that. I know what it feels like to be shot.

[A]

All right?

[B]

So I don't want to have her to go through that and be hurt in any kind of way. And then I'd be there being insensitive because I'm looking at a portion of an interview. You know what I mean? So, like, who am I to say that to her? So I should apologize just because, you know, that probably wouldn't have came from me in the early stages.

[A]

That part wasn't there early on, the apology part.

[B]

It was not even in my system.

[A]

Yeah. And some people never do that. So then how do you have a view on. It's a hard conversation, but how hip hop deals with that, because in the law, the society, and in hip hop, sometimes it feels like black women's voices are not being treated credibly.

[B]

Yeah. And I would have probably reached out to her and did it quietly, if anything.

[A]

Yeah.

[B]

You know, but it was cool. It's not a big deal. I'm not right all the time.

[A]

No.

[B]

You know what I mean? Just sometimes.

[A]

And in the big picture, politics, you know, we first met as a throwback, was like, I was quoting you describing something. In the early Trump era, everybody's watching the news, and we ended up talking more and more than you were kind enough to come by the show. Are you watching politics right now? Do you think? I mean, here's the easiest question. Do you think Joe Biden, who says he's gonna run, and Trump, who's running? Do you think that they're maybe too old? Do you think we should have younger politicians? What do you think?

[B]

Well, I don't know. Joe was a little sleepy sometimes. He felt like he was a little sleepy. Like, he's getting tired. Maybe it's a little too much for him, you know, and just my opinion.

[A]

Yeah, yeah.

[B]

But I don't know if they're too old. It's been 20 years already. I'm like, I'm getting old.

[A]

Well, we're all getting old.

[B]

They're looking at us like we're all getting tall. Yeah.

[A]

So you think, though, it's a case by case? Depends on what you call the energy. Yeah, yeah, yeah. I want to show you. I mentioned. So when you came by, your first interview, we sat at the table. That was the first time we'd done an interview. And I've got to spend a little more time with you over there, which I love. This is. Again, people say Ari likes 50. Yeah. I grew up listening to 50, but I don't make the numbers, you know?

[B]

Right, right.

[A]

These are the real numbers. All time. The most watched interview all time is a former Kremlin official coming out of the Putin story. Our second most watched interview of all time is 50. Behind you, Bill Gates and Bob De Niro.

[B]

That's right. Bill Gates and Bob De Niro. Behind me. What was the one person that was in front of me?

[A]

Andre Korzyrev.

[B]

Let me think of something to say or something.

[A]

He was gremlin, though. I show that to show my viewers who sometimes say, oh, what is this for? And sometimes people are just asking, but sometimes people don't realize that hip hop is global culture.

[B]

It is.

[A]

Of course, people wanted to see what you had to say in that interview, especially if hip hop's been underrepresented. What do you think when you look at those numbers?

[B]

I think that it's expected because my audience now is grown, like. Like I was saying. And they are watching your show.

[A]

Yeah, we're all grown up.

[B]

Yeah. They're conscious, they're looking.

[A]

I guess that's the theme of the day, right?

[B]

They really looking and going, ah, yeah, let me see what he gonna say. And it's on a platform that they're comfortable watching because they're being conscious. They wanna know what's going on. And a lot of people don't watch the news. They don't watch to know what's going on.

[A]

We're trying to change that. Cause we put it out on every platform so people can find it, even in little bite style.

[B]

Believe it or not, this show has changed it. That's why it's number one. It's tapping into a side of the entertainment side, Ari, where the eyeballs, the Person that just decides to look because 50 Cent is there is going to learn something from the news as soon as I come off it. You see what I'm saying? Like, and they already tuned in and your ratings are already higher than everybody else's. Did I tell you he was going to be number one the first time I came here?

[A]

I think so.

[B]

Did I say that? I think I did. That's right. You remember, right? That's why you're number one.

[A]

You're on the COVID of Billboard. I mentioned that's the new issue for all the TV stuff.

[B]

Does it.

[A]

Does it matter to you to stay up both in what you're doing, which we talked about in TV and in music. Because they also put out their list and you know, we got to talk list.

[B]

Oh, yeah, they put me.

[A]

Here we go. You are on the top rapper list of all time. You're in the top 20. You are right up ahead of Ice Cube, behind Scarface, Rakim, Snoop, others. Is this list right?

[B]

No, it's not right.

[A]

Where should you be?

[B]

I don't think that you could really put together a list like this without being biased at some points because someone's personal appreciation for these artists are making them place them where they place them. Yep. And there's a. And for what period could you put these? They would have to.

[A]

They claim all time.

[B]

That can't work, bro. Like, you listen to it. Music marks time. Look at this. When your music is a hit, you're the hottest thing in the culture at the moment. And everybody is hands down agreeing that this is the hot. This is hot. Hottest thing coming on in a nightclub. That person that's experiencing being adult for the first time, that's out partying and is the time of their life. They're 21, just reached the legal age to drink out. Having that experience as an adult for the first time in the nightlife at 1pm when the song and it's when everybody decides to enjoy themselves at once. That is the theme music to their

[A]

life, to the whole rest of their life. Well, like so like Future said in the streets, he's bigger than hov.

[B]

Yeah, is he feels that way bigger. Like there's consistent music from him that didn't chart that is a huge records that people like love and appreciate that. And then later he may not have the same things to hold onto that you have at points. Like, look, I can go do an hour and a half performance and not play one record that didn't chart number one at radio the entire hour.

[A]

Everybody's you're moving everybody, right?

[B]

No, ahrii. They can decide to move or they can decide to stay still. The record is the number one record. And you look, I'm forming the record. It's like, hey, what I can hold on to is this is the number one record I'm performing.

[A]

Yeah. No, yeah.

[B]

So you, when, look, future's going to have to have Internal be number one internally because he. Those records didn't chart like his better records.

[A]

Are you, Are you concerned that Future doesn't love himself?

[B]

No, what I'm saying is he's going to have to hold when later in his career they're not going to look at the stats and say we should pay you this kind of money because of records that were great on the street, right?

[A]

No, they're not.

[B]

You know what I mean?

[A]

Like half the time they don't pay you. They don't pay some people even when they chart. When they do chart. What about top three? Jay Z, Kendrick, Nas, Top three. Is that about right or not?

[B]

No, still good artists, but not of all time. No.

[A]

Who should be number one?

[B]

I don't know. I don't know. Who would be the number one artist?

[A]

Say hypothetically, it was 50 cent number one. Then who would it be, Jay? After that?

[B]

Probably not. It depends on the time period, the way you. But look at it. Like to me, how do you not look at the number one selling artist if we're in business? If you're in business, then you have to look at the number one selling artist because it's a business.

[A]

All right, let me ask you the, this is the harder question. Do you just like that metric because it's good for you? Because you're Diamond?

[B]

No, no, no. I like, I'm thinking about em when

[A]

I'm saying that you think what happened to M?

[B]

Cause M sure sold like 90 million records.

[A]

It's a wild number even though.

[B]

But look at the bridge. When you see these Lamborghinis, Ferraris and Bentleys and stuff like that. There are no Lamborghinis and Ferraris for you to buy from. Hip hop culture, if there's no consumer base, if they don't see where they fit into the culture or where, then there's no reason for them to support and buy it. So when they look right now there'll be guys at home and go, oh, 50s just loves Eminem so much. Yeah, I love him to death. I do. I love him to death, Ari. But I'm looking at it and I'm saying, how could. Why would people be Interested in it enough to consume it without it being marketed to them directly for them to feel like they're a part of it.

[A]

Right. Well, you used to say you were the underground king that ain't been crowned, right? That's not really true anymore, is it?

[B]

Nah, I wear my halo all the time.

[A]

Before I let you out of here, I was really looking, digging through some of your old stuff, and I was thinking about. I don't even know if you, like. You remember, like, when you did, like, the Guess who's Back tape, first of all. So that was one of your early mixtapes before this Get Rich or Die Trying explosion. Was it kind of a joke or a bravado to say guess who's back when you ain't really been out?

[B]

Yeah, no, I was. Cause I was shot up, so I can't guess who's back from the hospital coming back from that.

[A]

But to your potential national listeners, they wouldn't know.

[B]

No, nobody would know, period. Like, at that point, I had to trick bootleggers to sell the cd. Like, I had to put a fake barcode on the back of the tape. I had to put Columbia Records on the back of it and give it to the guys and hope they would copy it.

[A]

You would. You would put that, like, on the tape?

[B]

Yeah.

[A]

It's like, you and who, kid, or who?

[B]

50 Cent is the future.

[A]

50 Cent is the future. First mixtape, and then you go hand that yourself to a dj.

[B]

No, no, but give it to him so I can get out and then let them feel like they found something that they should have stole from Columbia Records and then they can start pressing it up.

[A]

But at the time, Columbia was holding you back.

[B]

Yeah, no, they let me go.

[A]

They let you out, but I'll take you back from an album. I mean, right?

[B]

And there was no distribution channels at that point that you could have go through, so I had.

[A]

You made your own Internet, right?

[B]

Had to. Now the new artists meet. They meet the audience before they meet the record company.

[A]

Facts.

[B]

There's no artist development, so there's no groups in hip hop. What? The Migos was the last group. There's no groups thinking about that. There's no groups. It's a whole bunch of solo artists.

[A]

Right.

[B]

I mean, and the guys that would have been writers because they just weren't marketable.

[A]

There are, like, beloved collabs. Like when you have 21 and Drake or Drake and Future Mixtape.

[B]

Yeah, but they ain't no group.

[A]

They're not a group.

[B]

They just working together.

[A]

Yeah.

[B]

You know, like, there would Be there would be the groups. When they had A and R departments and we had artist development, they would put people together because they were better together than it would be apart. Like sometimes it would be really extremely talented singers that can sing the song better than your beloved superstar right now. But they would take that song from that artist and say give it to this one and this will be a smash.

[A]

So but do you think now. So you're saying there's a real cost in development and sort of. That's why also live performance suffers. But do you feel like this system is more fair to people like you because you can at least get heard?

[B]

Everybody. It's easier now because you couldn't find the audience without like you can get out there and find things. There was no way at that point. Like there was. You had to develop a strong enough following for the A&R Department or the Record companies to recognize you as a star or it's not gonna happen. This is why I look at em a little different. The new artists might not understand that.

[A]

No, I mean you've been through it in a way where you have that respect. And this is always generational when people feel like some barriers need to fall and it's good. Other barriers mean that people don't actually do that early work and build the muscle and so they might have a different orientation than you. I want to read from a killer tape. All right. Do you remember this?

[B]

All right.

[A]

They say to you, damn 50, good to see you back in the hood.

[B]

Uh huh.

[A]

You said you see my cheery red sl? I'm doing good. Sometimes I can't find the words to say how I feel. So I take a quote from Menace. Look at the wheels. So you're quoting Menace to society. Yeah. So I just wanted to put this to you before I let you go that they say I quote, but it looks like you quote as well.

[B]

Yeah, yeah, a little bit.

[A]

Do you remember everything on every early mixtape?

[B]

Most of it I do. You know, I mean this because when I go back and listen to it, I kind of can experience how I was feeling at that point. Like I know who I was then. And then you. You listen to it like now creatively. I'd be accessing more creative energy if I was writing that same kind of content.

[A]

More creative. But would the voice sound the same? Hunger and stuff?

[B]

Yeah, I think you would. I think I can get to that point where I can. You would feel like I felt like I'm hungry for no reason. Like why is he like that? Because like we Listen to the music. If you listen to it enough, then you know how that sounds. You know what I mean? So you know when your performance is up to par and you can go with that. But there's like, it's not the same. It's not the same. I'm rich, man. I'm rich as. Yeah, no, it's not the same, man. Like, it's a. And I know how to do it. I know how to say it. I could give it to him. I can go write it for him.

[A]

Well, and when you produce a pop smoke, obviously there's a credibility. But you're saying that you have a mastery of your own external perception of how it's gonna play.

[B]

Yeah. Even pops, the album, the Post album,

[A]

it was easy to do that, to channel where he. And he tragically died in his very early 20s. Yeah, yeah.

[B]

But to put the music together was easy for it to be, you know, for his legacy. I can pick the hair. Which should go where and how it should sequence the record.

[A]

Well, and as we showed him quoting you, I mean, he grew up on you. So that's sort of this full circle moment. Before I let you out of here, we want to do a lightning round. This will be hard for you because you're a bit of a talker, but lightning round is in a word or a sentence, okay? We've had other people do it. Some of them you crushed in the interview we showed. And the numbers. So it's in a word or a sentence. Okay? Eminem, the best. Lloyd Banks, Cool. Tony.

[B]

Yo, that's my boy. Loyalty.

[A]

50 Cent, the rapper.

[B]

Ah, still got it, man.

[A]

50 Cent, the television producer.

[B]

Just get going.

[A]

50 Cent, the emerging mogul.

[B]

Oh, man. You know what bothers me about the word mogul is does this change your behavior? Do you have to behave different when you're mogul?

[A]

I think so.

[B]

So this means I can't be the rapper anymore. I can't rap anymore.

[A]

Well, or maybe we need to have a different view of the rapper.

[B]

Yeah, well, I gotta figure out exactly how to balance that. Cause I don't want that title. See, when you get in trouble, every time I get in trouble, I already go rapper 50 Cent. Yeah. Something positive happens and you start to. Anything that's coming with money's coming, they go. The mogul.

[A]

The mogul.

[B]

Yeah, it goes. Oh, it feels good. So I'm like. I'm just trying to figure out if there's any. Any restraints to being a mogul, because I'll. I'll just wait to be a Mogul later. Yeah, right. If it, if it shifts something. Yeah.

[A]

Okay, people, we mentioned future.

[B]

Oh, talent.

[A]

Nas, the best. Jay Zing, Good business, Get rich or die trying.

[B]

Classic.

[A]

The best advice I ever got was

[B]

Jimmy Iovine told me he pointed to the tv.

[A]

Yeah.

[B]

I delivered a record. My life. It was me, Eminem and Adam Levine. And both them and Adam Levine was like the highest selling people in the world. And they was telling me that they couldn't get the record played. And I was like, you can't get the record played?

[A]

What's the advice?

[B]

Why can't you get the record played? It was. Look, he was angry. I think they was angry and upset with me because I created SMS audio while they had beats.

[A]

Yeah.

[B]

And they didn't want to support. There would be. If they were supporting them musically, they would be financing or creating their competitor so they couldn't get the record played. And then. But he pointed to the tv. He says, I don't know, maybe pointed to the tv and I was like. I would pay attention to detail so much when I'm around him that I started to look at television.

[A]

Oh, maybe you should just be doing that.

[B]

Doing something.

[A]

Best advice you've given

[B]

from. I was telling. What's the name of the state. I would stay away from the. Like, I don't like gang stuff. I don't like gangs. I don't like conspiracy. I don't like the word Rico. Like none of that. So I would tell. Actually I was telling Casanova, stay away from that.

[A]

Stay away from.

[B]

But you know, things still happen

[A]

for yourself. I thought it was over when.

[B]

Over when? No, I never. Like, things were over for you.

[A]

Yeah.

[B]

N. I don't think like that.

[A]

I knew I made it when.

[B]

Well, when I got my. My mom and them into a space where was better than they got themselves into. Like to new house, new where they don't have to work. Things like that. I feel like that's the biggest thing I accomplished.

[A]

The thing people still misunderstand about 50

[B]

cent is I'm not sure if they still misunderstanding.

[A]

Hey, okay. You feel understood.

[B]

But they did, they did misunderstand me at one point now. Because I'm not over. I'm not after the same thing. So I'm not competing the same way. And they don't. They miss the competitive side of hip hop culture. Makes you compete with artists. The difference in when they called it a battle and they called it beef was when we started using terminologies that were actually being used in the neighborhoods. And that beef is supposed to Spill off into the street, turn into something negative, when almost 90% of the time it doesn't.

[A]

Right.

[B]

But, you know, people look at it because I was in a position where I'm at a focal point in the culture, so I'm constantly competing with somebody new because it's the same thing. Like when they look at Nikki and they say she's like, crazy, like Nicki Minaj. Nicki Minaj. It's a lot of new females coming into hip hop culture and she got a position that she has to fight to sustain.

[A]

Yeah. They don't let you keep the position.

[B]

Yeah. So, yeah, you gotta stay active and do what you gotta do. Yeah.

[A]

Last question. 20 years later.

[B]

Yeah.

[A]

The most important thing you've learned is

[B]

count the money, man. You gotta count the money. You can't rely on the accountants. You know, some of these people be accountants and they don't be have. They don't be a CPA for real. It'd just be one CPA and there'd be like 10 people in there.

[A]

All right, count it up.

[B]

Gotta count your money yourself, man.

[A]

Count it up. Great to see you again, sir. 50 Cent. Thank you.

[B]

20 years. Ari.

[A]

Hey, it's Ari from MSNBC and it's 50 Cent. And you can always find our [e-mail] Ari check us out.

[C]

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[A]

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