50 Cent drew renewed attention this week to a lyric from a Jay-Z verse released nearly two decades ago. In an Instagram post, he shared a meme placing Jay-Z’s face onto the Predator character from the film series. The image was paired with a line from Jay-Z’s appearance on Pharrell’s 2006 song “Young Girl / I Really Like You.” The track was released years before Jay-Z and Beyoncé married in 2008.
The lyric includes Jay-Z rapping, “Hov got a young girl / Still not quite 21.” When the song was released, the line passed with little scrutiny beyond its place in a pop-leaning collaboration. Viewed now, it has taken on different weight amid changing cultural conversations. The renewed focus came not from a reissue or interview, but from how the lyric was presented.
In the caption, 50 Cent leaned into a familiar tone. “I know you’re gonna say I’m a hater, 😳 but what do you say about what he’s saying fool? LOL 😆 get yo ass down the street!” he wrote. The post followed a pattern that has defined much of his social media presence. Humor and critique were delivered together, without elaboration.
The relationship between the two artists has long been marked by distance rather than dialogue. It dates back to 50 Cent’s 1999 song “How to Rob,” which mentioned several prominent rappers, including Jay-Z. Since then, 50 has frequently commented publicly, while Jay-Z has largely avoided responding. In 2022, 50 recalled a private disagreement that escalated, saying Beyoncé stepped in during the exchange.
Not a New Feud, Just an Old Dynamic
More recently, 50 Cent has suggested that Jay-Z’s Grammy success is closely tied to his marriage to Beyoncé. He has also used social media to joke about Jay-Z’s appearance. Last December, he shared a caricature image with the caption, “Please stop sending me stuff like this I’m not gonna post it!” The post echoed the same mix of humor and provocation.
In a separate conversation with Brian J. Roberts, 50 Cent framed their differences in terms of approach. He said Jay-Z tends to collaborate with artists after they have established themselves. By contrast, he described his own role as more involved. “I end up beating myself up looking out for them,” he said.
Taken together, the post fits into a pattern rather than signaling a shift. The two artists have followed distinct paths within hip-hop, shaped by different ideas about visibility and influence. Their occasional intersections continue to attract attention largely because they are rare. The tension, by now, is familiar.
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