50 Cent’s 6 Most Compelling Potential Verzuz Matchups

The conversation about a Verzuz battle between 50 Cent and T.I. resurfaced, and again, T.I. publicly suggested the matchup. It was not the first time. Rather than dismiss the idea outright, 50 responded the way he often does, with mockery. The exchange quickly moved beyond music.

A photo of T.I.’s wife, Tiny, became ammunition. Their son, King Harris, entered the conversation to defend his mother. Then, when Tina Knowles shared a quiet gesture of support for Tiny, 50 escalated again, posting an unflattering image of Knowles and another meme targeting Solange. The backlash was quick. The women involved had nothing to do with the conflict, but they became targets.

The back-and-forth continues, with T.I. and his sons, King and Domani, dropping diss tracks at Fif. The mogul has yet to respond on wax, and many don't believe he will.

Verzuz, at its best, was never about personal humiliation. It was about catalogs and cultural moments meeting across eras and regions. It's artists standing still long enough to let the records speak. If the question is whether 50 Cent should face T.I., or anyone else, the conversation has to return to the music. A Verzuz battle is not won on Instagram, but in 20 records.

50 Cent enters the stage with one of the most concentrated commercial runs of the 2000s. Get Rich or Die Tryin’ alone would deliver a first half of Verzuz that is difficult to outmaneuver. “In Da Club” remains one of the most recognizable Rap singles of the last two decades. “21 Questions” expanded his reach into R&B radio. “Many Men” has become a record that feels heavier with each passing year. “P.I.M.P.” crossed markets globally. There are also “If I Can’t,” “What Up Gangsta,” “Back Down,” and “Patiently Waiting.”

Then, there is the G-Unit era. A Verzuz would have to include collaborations with The Game, like "Hate It or Love It" and "How We Do." "Candy Shop," featuring Olivia, would arrive in 2005 and dominate radio. In 2007, we received "Ayo Technology” with Justin Timberlake and Timbaland, as well as “I Get Money." Fif had a stronghold in the streets and the clubs.

Further, Verzuz loves a moment to surprise audiences with special guests. 50 could plausibly call on Eminem, Dr. Dre, or Lloyd Banks for G-Unit cuts. It seems like wishful thinking, but Fif's network isn't small, and the possibilities are endless. Whether we'll ever see 50 Cent on the Verzuz stage remains a mystery. However, it hasn't stopped fans and critics from debating who they want to see Fif go against—and who they believe has the catalog to battle.

If Verzuz is about overlapping prominence, T.I. is the cleanest matchup. His commercial peak aligns almost perfectly with 50 Cent’s. While Fif was redefining New York’s radio presence, T.I. was solidifying Atlanta’s grip on the mid-2000s.

T.I.’s opening Verzuz stretch would not be light. “Rubber Band Man” and “24’s” established him early as a Southern force. “Bring Em Out” turned arena-ready bravado into a radio staple. “What You Know” anchored King, and “Top Back” was one of the defining singles of their era. “Live Your Life” featuring Rihanna became one of the biggest songs of 2008. “Whatever You Like” ruled Pop radio. “Dead and Gone,” featuring Justin Timberlake, expanded his range beyond swagger into reflection.

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There is also feature depth. T.I.’s collaborative run also includes Jeezy, Lil Wayne, Mary J. Blige, Jamie Foxx, Busta Rhymes, Kanye West, Jay-Z, Chris Brown, Cee Lo Green, Young Thug, Iggy Azalea, and Pharrell. Moreover, accolades support the case. T.I. wasn't simply present in the mid-2000s. He was central.

Any serious conversation about a Verzuz opponent for 50 Cent eventually returns to Ja Rule. Not only because of the catalog, but because their ongoing rivalry has defined eras of their careers. The conflict dates back to the late 1990s and escalated publicly in the early 2000s. Diss records, radio interviews, and social media spats turned it into trolling campaigns.

When 50 released “Wanksta” and later “Back Down,” the attacks were direct and relentless. 50 continued to mock Ja in interviews, online, and in public appearances for years. The trolling has never fully stopped. Even as careers evolved, the tension remained active.

Yet before that narrative calcified, Ja Rule dominated radio. “Always On Time,” featuring Ashanti, was unavoidable. He ran with “Put It On Me," "Livin’ It Up," and "Mesmerize.” There was also “I’m Real (Murder Remix)” with Jennifer Lopez. These records defined the early 2000s crossover sound. Ja understood hooks and melody at a time when Rap and R&B were blending aggressively on mainstream radio. His commercial peak preceded 50’s, and it was significant.

Ja Rule may represent the early-2000s commercial rivalry, but The Game defines personal and historical fracture. Game was introduced to the mainstream through 50 Cent and G-Unit on tracks like “How We Do” and “Hate It or Love It,” both of which feature 50 himself and remain staples on playlists. Their professional relationship was never purely friendly. Tensions splintered G-Unit and ultimately reshaped both careers.

What separates this Verzuz matchup from others is that Fif actually stated he was open to it in past interviews. When asked whom he might consider for a Verzuz battle, 50 openly mentioned Game as a possible opponent. Musically, the Game’s catalog would present a contrast to 50’s. Opening rounds might include “Hate It or Love It,” “How We Do,” “Dreams,” and “Wouldn’t Get Far." These were records that achieved both chart success and critical attention.

Unlike some proposed matchups, this one would force both men to confront moments they built together and then splintered publicly. That is a unique take in a format built around remembering rather than resurrecting old disputes.

On paper, Nas and 50 Cent represent different archetypes of New York Rap. One is rooted in lyrical architecture and musical longevity. The other is rooted in commercial dominance and cultural disruption. Yet, their relationship has not always been neutral.

In the early 2000s, as 50 ascended, he publicly dissed Nas on tracks like "Piggy Bank" and "Burying Bodies." Nas responded cautiously at the time, choosing not to escalate the situation into a prolonged feud. Years later, Nas and 50 eventually appeared more aligned, sharing stages and industry spaces without hostility. Fif would go on to say he doesn't have any beef with Nas, letting the world know the conflict had cooled. However, the early friction remains part of the narrative.

Musically, the matchup would be less about aggression and more about contrast. Nas also enters with a catalog that spans decades. “If I Ruled the World" with Lauryn Hill, “Made You Look," "Hate Me Now," “One Mic," and "Ether" would just be warm-ups. Nas could survive twenty rounds comfortably. Further, he has a network of collaborators who could shift the room, including Hit-Boy, DJ Premier, The Firm (AZ, Cormega, Foxy Brown), Fabolous, and more. A Verzuz with 50 would not feel combustible but reflective. Queens standing across from Queens, two different interpretations of power from the same borough.

If the battle shifts from rivalry to stage command, Busta Rhymes becomes a serious contender. Bussa Bus's catalog dates back to the mid-1990s, but his early 2000s run overlaps enough with 50 Cent's to make the matchup viable. What separates him is performance. Verzuz is not only about records but also about who controls the room.

Busta’s opening rounds could lean on “Put Your Hands Where My Eyes Could See,” “Break Ya Neck,” “Pass the Courvoisier,” and “Touch It.” These are high-energy records built for crowd response. Where 50’s presence is cool and controlled, Busta’s is explosive. That contrast would define the battle.

There is also depth in collaboration. Busta’s feature run spans eras. He has worked with Janet Jackson, Mariah Carey, Chris Brown, and multiple generations of rappers. Surprise appearances are not unrealistic. Verzuz loves those moments of cross-era recognition. From a cultural standpoint, this matchup would feel celebratory rather than adversarial. It would highlight two very different approaches to overlapping eras. Busta Rhymes may not match 50 Cent's peak album sales, but in a live format, he cannot be underestimated.

If Ja Rule represents early 2000s rivalry and The Game represents internal strain, Rick Ross represents a collision of egos. The beef between Ross and 50 Cent heightened in 2009 after 50 publicly questioned Ross’s authenticity, mentioning Rozay's past employment as a corrections officer. What followed was a prolonged campaign of trolling. Fif released parody videos and personal family details shared online.

Ross matched Fif's energy, firing off diss tracks and continuing the back-and-forth in interviews. The conflict lingered for years, occasionally resurfacing in indirect shots and online commentary. Amid 50 Cent's feud with T.I.'s family, Ross asked King Harris to send him a shirt featuring a photo of Fif's late mother.

Now, if we lean away from the beef and focus on the music, Ross presents a compelling challenge. There's "Hustlin'," “B.M.F. (Blowin’ Money Fast),” and the classic, “Aston Martin Music.” We can't forget “The Boss" and "Stay Schemin’." His catalog leans into luxury street Rap, built on cinematic production.

Where 50 was concentrated in the mid-2000s, Ross’s peak extends slightly later, into the late 2000s and early 2010s. That gives him durability in later Verzuz rounds. His feature run is also substantial, with appearances alongside Drake, Meek Mill, Wale, Future, DJ Khaled, Chris Brown, and John Legend.

At this point, the debate may be larger than the matchup. 50 Cent may have spent much of his career producing films and television, but his catalog remains intact. Verzuz rewards artists who are willing to pause and celebrate their records. It is built on Hip Hop history as much as competition. The format asks artists to stand inside their legacy and let the audience revisit it in real time.

The matchups are compelling. T.I. brings era symmetry. Ja Rule carries history. The Game adds unresolved tension. Nas offers legacy contrast. Busta Rhymes brings performance power. Rick Ross carries ego and endurance.

Fifty has never struggled for attention. A Verzuz would move the focus back to the music, where his strongest work still holds. Whether he ever chooses that stage is less about capability and more about temperament. The catalog is ready. The culture is waiting.

Who would you want to see 50 Cent go against on Verzuz? And what 20 records would take the W?