After making headlines this week with legal drama from her label, Megan did prevail in the court system and was able to release her musical content this week. Today she offered up, yet another EP, “Suga”.

In prior interviews he has said that her album would include this new persona, “Suga“. She has stated that her debut album would show a more vulnerable side of her. Which in all honesty that’s what many of us was waiting to see. After her issues with her label, she did some rush promotion this week and stated this is an EP, and the tracks that she liked that she has done for the album. With that being said, I do look at this as an album-ish quality, because these songs, including the albums “lead single” (B.I.T.C.H.) were actually meant to be on her album.

Let’s just say this, if this is the sound that she was going for on the album, she can just keep that whole album. The EP started out strong with Aint Equal. Solid flow, as usual, she touches on the loss of her mom and granny in the first sentence, then bam we slide back into the same old Megan. We are back at the club, talking about her pussy, this and that and well it’s pretty much repetitive. That’s pretty much the whole EP’s vibe. More of Megan’s talk about her sex, liquor and school. Some of the tracks are quite catchy and could be radio friendly, but because we’ve heard 2-3 EPs/Features before, nothing about this EP is giving us the “WOW Factor” or a memorable moment. It’s lackluster at best. I’ve always been one to say her lead single B.I.T.C.H. was a horrible choice as a lead single, although it’s not a bad song. But after hearing the rest of what she has been working on, I’m inclined to think it may have been the best she had to offer. The features were a waste, and I don’t know who told her to play around with auto tune but they should be fired.

To help the moment, she finally released the video for B.I.T.C.H., which if you ask me is a case of too little too late. The song has already done what it’s going to do, and has fallen off the Billboard Hot 100. That moment is gone, and soon I think Megan’s moment will be gone as well.

Standout tracks
Captain Hook
B.I.T.C.H.

Stream the album and watch the video below

CATCH UP: Megan Thee Stallion has went public about the unfair deal that she signed when she was 20 and just getting started. She states that when entering the deal she didn’t comprehend everything in the contract, BUT she signed it anyways. After signing with Roc Nation back in September, they pointed out some things in her contract that she didn’t understand and she simply requested that the label renegotiates her contract. Megan also stated that she wasn’t allowed to drop music because of the label. First, she alleges that she’s only been paid $15,000 from the label after earning more than a billion streams and selling over 300,000 individual track downloads, which equates to an estimated $7 million.

Megan has sine went to court and had a temporary restraining order placed on the label. The judge ordered 1501 Entertainment “to do nothing to prevent the release, distribution, and sale of Pete’s new records,” along with forbidding any interference with her or her career over social media or through her collaborators or associates

The Facts: Both side have said that in Megan’s contract, she is in a 60/40 deal. They’ve both also said that she did receive 15k from the label.

Carl’s Claims: Carl claims that Megan is flat out lying, and he has the receipts to prove it. Carl states that Megan signed with ROC Nation behind his back, and he found out about it in the media like the rest of the world did.

When it comes to Megan’s Contract:

“Let’s talk about your contract. It’s a great contract for a first-timer,” he offers. “What contract gives parts of their masters and 40% royalties and all that kind of stuff? Ask Jay-Z to pull one of his artists’ first contracts, and let’s compare it to what Megan got… I guarantee they won’t ever show you that.” via Billboard

Carl states that he had nothing to do with Megan’s contract. He says Megan’s mother (who passed last year) and T. Farris actually negotiated her contract with his lawyers and they came up with the numbers. Megan is in a 360 deal where there was a 70/30 split, with the label getting the 70%. The only reason that makes sense is because they also gave her a 60/40 split on her masters.

Now to put that in perspective, that is quite a solid deal, being that most artists don’t own any of their masters, especially not on their first album/works. It took Rihanna like 7-8 albums before she owned all of her masters. Chris Brown as well.

Carl also addresses the fact that she states she’s only been paid 15k.

How she been paid $15,000? As soon as we signed to 300, I wrote her a check for $50,000, and it’s signed with her name on the check. We can show you the proof. That’s another thing — I got all my receipts. They know it. I got all the receipts. We gave her a $10,000 advance when we first signed her and gave it to her mother. I don’t know what happened [with that]. 300 gave us a $200,000 check when we first signed. I gave her $50,000 of it. I didn’t have to give her that. That was mine at the time.

Now let’s be honest, when you look at Megan Thee Stallion, in comparison to other female rappers on the come up, she did have some kind of money behind her. Everything from the features with Wale, the EP buzz around Tina Snow, and the “payola” deal that had Hot Girl Summer being played on iHeartRadio every hour on the hour the day of it’s release…. and securing the biggest debut and chart position of her career. Lets just say she didn’t get all that because of her talent. Not saying she isn’t talented, BUT talent only gets you so far.

Lets just sit back and see where this goes…

Sean “Diddy” Combs, winner of the Industry Icon award at the Clive Davis pre-Grammy Gala, challenged the industry to get its act together in the next year when it comes to diversity.

“I’m being honored by the industry that I love, the family that I love, but there’s an elephant in the room and it’s not just about the Grammys,” Combs said well into a lengthy speech at the end of the party. “There’s discrimination and injustice everywhere.”

“Truth be told, hip-hop has never been respected by the Grammys,” he continued. “Black music has never been respected by the Grammys to the point that it should be.” He said the current situation isn’t a revelation, nor is it an issue just in music.

“For years we’ve allowed institutions that have never had our best interests at heart to judge us and that stops right now,” he said to thunderous applause.

He continued: “We need the artists to take back the control. We need transparency. We need diversity. This is the room that has the power to make the change that needs to be made. They have to make the changes for us.”

Combs clarified he’s not intending to simply bash the Recording Academy – but that he’s here to help make a difference and a positive outcome.

He dedicated his award to Michael Jackson for “Off the Wall,” Prince for “1999,” Beyoncé for “Lemonade,” Missy Elliott for “Da Real World,” Snoop Dogg for “Doggystyle,” Kanye West for “Gradation” and Nas for “Illmatic.”

During his speech, Diddy also thanked a swath of people, including Jay-Z and Beyoncé (he calls her “King Beyoncé”), Swiss Beatz, Nas and Quincy Jones.

Combs’ remarks about the Grammys come on the heels of other drama facing the Academy: Ousted Recording Academy CEO Deborah Dugan recently said she has “evidence” that the Grammy Awards process is “ripe with corruption.”

With only days until the award show, Dugan filed an explosive discrimination complaint against the academy Tuesday alleging unlawful gender discrimination, sexual harassment, unlawful retaliation and unequal pay.

The Recording Academy stated Dugan’s allegations about the voting processes are “utterly untrue,” adding the academy has “rigorous and well-publicized” protocols for ensuring fair voting.

Diddy also took time to acknowledge his family and his former girlfriend, actress and model Kim Porter, who died in November 2018 of pneumonia. “I met Kim Porter ’cause Kim was the receptionist at Uptown. So that’s how far back we go,” Diddy said.

Diddy has regularly opened up about her sudden death.

Just this week, he posted a picture of Porter on Instagram with a powerful caption. “If you got a good woman please let her know,” the caption reads. “Tell her as soon as you can. Make sure she knows.”

While Combs’ speech took a (necessarily) serious turn, the night wasn’t without its stunning musical moments. For example: Cyndi Lauper, barefoot, dueted with Brandi Carlisle on “Girls Just Want to Have Fun,”; Broadway star Adrienne Warren’s “Simply the Best,” was just that, as was Oscar nominee Cynthia Erivo’s homage to (in the audience!) Janet Jackson; and Faith Evans, Li’l Kim and Combs’ son Christian “King” Combs helped pay tribute to Diddy himself.

Davis – a man with a penchant for giving shout-outs to those who attend his annual event – called out returning guest Speaker of the House Nancy Pelosi, Cardi B and Offset and Lana Del Ray, among (many, many) others.

As for other celebrity sightings: Among the crowd, Avril Lavigne and Paula Abdul chatted and embraced, Trevor Noah and Billy Porter posed for a photo and Broadway’s Darren Criss and Warren hugged. On the red carpet before the show, Jessie J and Channing Tatum held hands.

Buzzy Grammy nominees not in attendance included Lizzo, Billie Eilish and Lil Nas X (though his “Old Town Road” duet partner Billy Ray Cyrus was there).

Contributing: Maria Puente, Andrea Mandell and Sara Moniuszko, USA TODAY; Associated Press

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