The record (EP? Album? Mixtape? “Project”?) is front-loaded with sex-positive bangers that tap into the same vein of Megan highlights like “Hot Girl” and “Big Ole Freak,” off her 2018 Tina Snow EP (?). The idea that it’s too soon for Megan Thee Stallion to want a more fair deal is a fault in our own thinking, not hers.īut what of Suga? Does it make 1501 look like they blocked their blessing? Is it worth the fight, or was it kneecapped by the rush to get product out while Meg has a court-ordered green light to drop new music? The answer is a bit of both. The idea that we all must suffer to get ahead is a grisly American pathology making people do spooky shit like bristle at the possibility of waiving student loans. 1 albums who have all accused their labels of stifling their creativity or else resorting to nefarious business practices at various points over the last few years. The capitalist bedtime story that tells us there’s a point when our toil is rewarded with equity flies in the face of the stories of Drake, Kanye West, Taylor Swift, Lil Wayne, and Lil Uzi Vert, artists with platinum singles and No. The logic doesn’t take into account the fact that you can be at the peak of your cultural reach and still feel like you’re getting jerked in your contract. The overwhelming early response to Meg’s story, and to Crawford’s rebuttal, has been that young artists should expect to have a label drive a hard bargain until they reach a tipping point where the artist can apply pressure and renegotiate. You don’t find out which is which until some money comes up short. It’s a costly endeavor, navigating a field rife with shrewd businessmen and outright scammers. This war over splits and ownership of masters, accusations of threats from associates, and complaints of disloyalty from signees brings into sharp relief the inherent difficulties of getting a career in mainstream hip-hop off the ground. “When you got a window, you gotta take it,” Meg told Vanity Fair yesterday. On Wednesday, a judge barred 1501 from interfering with the release of Suga, which is out now - two months ahead of the originally scheduled May release date - and with nine tracks in 24 minutes, ostensibly much smaller than intended. Farris, and Megan’s mother, Holly Thomas, who died a year ago this month, for the terms of the rapper’s contract.
On Tuesday, 1501 owner and former MLB player Carl Crawford told Billboard he doesn’t handle the day-to-day at his label and blamed Swishahouse president of A&R, T. On Monday, the rapper sued to have her contract tossed out on the grounds that the deal, signed when she was 20 years old, gave 1501 a cut of the money she makes from records, tours, merchandise, and endorsements that is disproportionate to the services the team has been able to provide. On Sunday, Megan told fans that 1501 was attempting to block the release of her new album Suga, because she signed a contract without fully understanding its verbiage and requested a renegotiation, only to have 1501 put her on lockdown.
In a week, the ongoing contract dispute between Houston rapper Megan Thee Stallion and 1501 Certified Entertainment, the Texas indie record label that signed her in 2018, has rapidly devolved into one of the most lurid rap-label tiffs in recent memory. Rodriguez/Getty Images for dick clark productions Megan versus 1501 has rapidly devolved into one of the most lurid rap-label tiffs in recent memory.
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