“How’s It Going In Shreveport” Rick Ross Claps 50 Cent For Criticizing His 1st Week Album Sales! 👏🏽

 

In a fiery social media exchange that has electrified the hip-hop world, Rick Ross unleashed a blistering response to 50 Cent’s criticism of his first-week album sales, turning the tables with a pointed question about 50 Cent’s own business ventures in Shreveport, Louisiana. The exchange erupted after 50 Cent, known for his relentless trolling, questioned the commercial performance of Ross’s latest album, “Set in Stone.” But Ross, never one to back down, delivered a masterclass in deflection and dominance, mixing promotional bravado with brutal personal jabs.

The video, captured during a live stream, shows Ross in full boss mode, dismissing the importance of first-week numbers and instead challenging 50 Cent to account for his own financial dealings. “How’s it going over there at Shreveport? How’s it going?”

Ross taunted, referencing 50 Cent’s controversial film studio proposal in the Louisiana city that fell through. “You borrowed all them people money. Did you return their money back?

They didn’t give you the loans you were looking for ’cause they smart. Why would you need a film studio? You were stealing them people money.

Get them people back their money, Curtis.” The remark sent shockwaves through social media, with fans and industry insiders alike dissecting every word.

 

 

Rick Ross’s comments come amid a broader campaign for his album “Set in Stone,” which he repeatedly calls the “album of the year.” In the video, Ross emphasizes that he does not buy bots or inflate streaming numbers, a direct jab at industry practices he implies 50 Cent may have used. “We don’t buy bots.

We don’t buy numbers. They unnecessary,” Ross declared, his voice steady and commanding. “That shit never made us.

We won’t do it now.” He then pivoted to his own artistic integrity, noting that the album was created in an intimate setting with just him and producer E-Mix, without a room full of collaborators. “It wasn’t 10 people in my room making this music like these other guys.

It was Ricky Ross and E-Mix the engineer. We don’t need people telling us what the industry needs. This is what we think.”

The statement underscores Ross’s long-standing reputation as a self-made mogul who controls his own narrative.

 

 

The beef between Rick Ross and 50 Cent is not new, but this latest exchange has reignited a feud that dates back over a decade. 50 Cent, born Curtis Jackson, has made a career of targeting Ross’s album sales, often using social media to mock his rival’s commercial performance. In response, Ross has always countered with taunts about 50 Cent’s forays into film and television, including his hit show “Power” and his ill-fated Shreveport project.

The Shreveport film studio proposal, which 50 Cent attempted to fund with public loans, collapsed after local officials rejected the plan, citing financial risks. Ross’s reference to that failure is a calculated blow, aimed at undermining 50 Cent’s credibility as a businessman. “LA don’t need a film studio.

Hollywood don’t need it,” Ross added, linking the issue to broader questions about 50 Cent’s financial ethics.

 

 

The video transcript reveals a highly strategic Ross, who not only defends his album but also promotes a diverse empire that includes beer, soap, and other products. He cheekily asks, “What was my first week numbers of my beer? South Beach Brew just came up.

What was the first week numbers of that? Or this slippery soap right here?” The implication is clear: Ross’s wealth does not depend solely on music sales.

“We get money a hundred different ways,” he boasts, painting himself as a long-game player in the entertainment industry. This multifaceted approach, he argues, makes him immune to the pressure of first-week numbers that other artists fear. “These old scared to put albums out because if it flop, that’s all they ever had to lay on.

Ross ain’t got that issue,” he says, leaning back in his chair with visible confidence.

 

 

The album “Set in Stone” features appearances from artists like Dion Cole and Leon Thomas, and Ross has already announced plans to shoot videos for every track. He mentions conversations with director Nick Quest, indicating a major visual rollout. “We shooting videos to everything on the album.

That video going to be so motherfuckin’ big,” he predicts. At the same time, Ross encourages other artists to revisit their catalogs and produce videos for older songs, especially if they own their masters. “If you own anything, I’m sure whoever own your masters wouldn’t mind you doing it.

They may give you a budget to do a video from an album 20 years ago,” he advises, showcasing his business acumen.

 

 

The tone of the video is celebratory yet combative, with Ross repeatedly telling fans not to be fooled by “smoke screens.” He speaks of connecting with the universe and celebrating the album’s quality, regardless of sales figures. “My final numbers, I’m going to throw a party for them ’cause the boat can do this,” he says, referring to his yacht.

“You understand? You get it?” The video ends with Ross promoting a meet-and-greet at Sweat Records in Miami, inviting fans to join him for photos and autographs.

He also signals upcoming Latin-infused projects, mentioning a potential track called “Menudo” and asking his Latin community for suggestions.

 

 

The feud’s timing is critical, as “Set in Stone” faces intense competition from other major releases. While first-week numbers are not yet finalized, Ross’s dismissive attitude toward the metric itself is a strategic move to control the narrative. In an era where streaming numbers often equate to success, Ross’s stance is a bold counter-narrative.

“Numbers equate the money, right? I got a pretty good understanding of what money is,” he says, adding that quality comes first. “Even in my life, the music and quality comes before everything else.”

This philosophy resonates with his loyal fanbase, who applaud his refusal to bow to industry pressures.

 

 

Industry analysts note that Ross’s response could have unintended consequences, potentially drawing more attention to his album sales if they underperform. However, his pivot to 50 Cent’s Shreveport debacle is a clever distraction. By framing the conversation around integrity and business ethics, Ross positions himself as the victor in a war of words.

“It’s the biggest in the motherfuckin’ game,” he proclaims. “Cut it out and still enjoying to do it and love to do it.” The video has already gone viral, with clips shared across Twitter, Instagram, and YouTube, as fans pick sides in one of hip-hop’s most enduring rivalries.

 

 

Behind the bravado, there is a deeper narrative about ownership and legacy. Ross repeatedly emphasizes that he still owns his catalog, a rare achievement in an industry where many artists lose control of their masters. “I still own my catalog as of today,” he says, a statement that carries weight given ongoing discussions about artist rights.

He contrasts this with unnamed rivals who may not have the same leverage. “This is top tier chess player you dealing with guys,” he warns, comparing himself to a strategic grandmaster. The allusion is not lost on those who follow the business side of hip-hop.

 

 

 

50 Cent has yet to respond publicly to Ross’s broadside, but his history suggests he will not stay silent for long. The two have traded barbs for years, from diss tracks to social media posts, and this latest exchange is likely to escalate. Fans are already anticipating 50 Cent’s next move, perhaps a new diss track or a tirade on his Instagram.

Meanwhile, Rick Ross is basking in the spotlight, promoting his album and expanding his brand. The question on everyone’s mind: Did Ross’s clapback hurt 50 Cent more than the sales numbers ever could? For now, the ball is in Curtis Jackson’s court.

 

 

 

As the breaking news unfolds, one thing is clear: Rick Ross is not just defending his album, he’s rewriting the rules of engagement. By attacking 50 Cent’s business failures and downplaying the importance of first-week sales, Ross is engineering a narrative that defies conventional metrics. Whether this translates into long-term commercial success remains to be seen, but in the court of public opinion, the “boss” has scored a decisive round.

The hip-hop world watches with bated breath as the drama continues to unfold, with both artists preparing for what could be the next chapter in their legendary feud. Stay tuned for updates on streaming numbers, diss tracks, and the simmering tension between two of the industry’s heaviest hitters.