The artist claims that 1501 Certified Entertainment is refusing to consider one of her releases as an album in an attempt to get more records out of her contract.
Megan The Stallion Sues Record Label
Megan Thee Stallion is suing her record label, 1501 Certified Entertainment, for not contractually considering her 2021 release “Something for Thee Hotties” as an album.
The rapper, whose real name is Megan Pete, filed the complaint in Harris County, Texas on Friday.
She released “Something for Thee Hotties” in Oct. 2021. According to court documents, 1501 allegedly did not tell the “Savage” artist that the release did not count as an album until two months after it hit shelves.
“1501’s new position, taken months after the album’s release, is clearly a ruse in an effort to try to take further advantage of Pete, at great expense and not in good faith,” the lawsuit said.
The complaint claimed that there are “no other parameters or requirements under the contract for what can be deemed an ‘Album’ other than total run time of the album.” Pete and her lawyers argued that because “Something for Thee Hotties” is over the 45-minute standard, it is contractually an album.
The lawsuit also claims that Pete and her team took steps to obtain clearance for the album, including working with distributors and other representatives who approved songs. Pete’s lawyers argued these steps were consistent with past practices and conduct.
“Pete can only speculate as to the reasons why 1501 has taken this new position,” the lawsuit continued. “But the intended results of its actions is clear: 1501 wants to tie Pete down to release more albums under the Contract to the financial benefit of 1501.”
Megan Thee Stallion’s History With 1501
According to multiple reports, if “Something for Thee Hotties” is deemed an album, Pete would only have to release one more record with 1501 to fulfill her contractual obligations with the group. She is seeking a “declaratory judgment” that the piece is officially deemed an album.
Pete has long had a contentious relationship with 1501. In the filing, her lawyers wrote that her contract with the label was written “entirely one-sided in favor of 1501, not consistent with industry standards, and wholly unconscionable to the detriment of Pete.”
She has sued the group several times in the past, including in 2020, when she accused 1501 of not letting her release new music. She received a temporary restraining order, allowing her to release “Suga” just days later. She also sued the label in 2021 for allegedly blocking the release of her “Butter” remix collaboration with BTS.
Steven M. Zager, a lawyer for 1501, gave a statement to Billboard claiming that Pete was told “from the very beginning this is not going to count toward your album count.”
“She can’t just deliver us an album that we did not approve and then claim it satisfies her recording contract,” Zager said. “It doesn’t, and the contract is pretty clear about that.”
Twitch Faces Backlash After Booking Megan Thee Stallion At TwitchCon Amid Creator Pay Cuts
The cut in revenue share has ignited severe backlash on Twitch, where users argue pay for creators should be increased, not slashed.
Revenue Share Shake Up
Twitch users are criticizing the company for hiring artist Megan Thee Stallion to perform at TwitchCon just one week after announcing cutbacks to top creator pay.
Last week, the video and streaming platform said that starting in June of next year, some creators will receive less revenue from their subscriptions. While the standard split for subscription revenue is 50/50, some major streamers previously received a more favorable 70/30 share in premium agreement terms.
Many creators have long argued that everyone should get that 70/30 share, but Twitch took a step in the opposite direction. In the future, streamers with premium terms will only get the 70/30 slice for their first $100,000 from subscription revenue. After that, they will get bumped down to the regular 50/50 cut.
The company argued the move was necessary as the premium terms previously lacked transparency and consistency, insisting it tried to modify the policy in a way that impacted the least amount of creators. According to Twitch’s statement, 90% of streamers on standard agreements will not even be impacted by the change.
Still, this move outraged Twitch users who were furious the company was not investing more in the creators that bring so many viewers to its platform. Those frustrations were exacerbated on Wednesday when the company announced Megan Thee Stallion would make an appearance at TwitchCon, a weekend-long event set to take place in San Diego in early October.
Backlash Continues to Mount
While no details of Megan Thee Stallion’s agreement to perform have been disclosed, one can assume she charges a pretty penny to book at an event of this nature. Critics argued that if Twitch is willing to spend money on her, it should be willing to spend it on its own streamers.
“So Twitch can’t afford to pay their creators 70/30, can’t fix their media player that crashes after each ad, can’t enforce their policies so people aren’t doing inappropriate things on stream, but they can afford paying celebrities to promote their streaming site?” one person wrote.
“It’s weird that a company that just announced a bunch of budget cuts due to infrastructure costs goes out and grabs an A-list musician instead of promoting their own musicians that run on their platform,” another person claimed.
“Instead of giving your creators a cut they deserve when they do so much work, this is what you do…?” one user asked. “Maybe give your creators a better deal instead of wasting their hard earned money on things we don’t even want.”
Twitch has not responded to the outrage, but Megan Thee Stallion was not the only music act the Amazon-owned service booked for the event. Kim Petras and Meet Me at the Altar will also take the stage at TwitchCon.
The backlash comes as concerns have been mounting against Twitch for a plethora of reasons including creator pay, gambling streams, and more.
In recent months, some of the platform’s biggest names have left Twitch in favor of rival services like YouTube Gaming.
“Dahmer” Series Breaks Netflix Records Amid Backlash For Exploiting Victims’ Stories
Family members of some of the murderer’s victims say the program is “retraumatizing.”
“Dahmer” Lands Successful Week on Netflix
While criticisms mount against “Dahmer – Monster: The Jeffrey Dahmer Story,” the true crime series broke Netflix’s record as the most-watched first week for a series debut.
According to data provided by the streaming giant, the Evan Peters-led show was watched for over 196 million hours between its release on Sept. 21 and Sept. 25.
“Dahmer” is the newest of several pieces of fiction and media based on the famous serial killer. Created by Ryan Murphy and Ian Brennan, the series quickly generated a lot of attention online, primarily from those concerned the show is exploiting a gruesome true story.
Critics have echoed those fears, giving the show a mixed 50% rating on Rotten Tomatoes. The “Critic’s Consensus” blurb on the site states that while the show is “seemingly self-aware of the peril in glorifying Jeffrey Dahmer” the story still “tilts this horror story into the realm of queasy exploitation.”
Victims’ Families Speak Out
The family of Errol Lindsey, one of Dahmer’s victims, has also spoken out against the series. In a viral tweet, Lindsey’s cousin Eric Perry said his family is “pissed about the show.”
“It’s retraumatizing over and over again, and for what?” he wrote. “How many movies/shows/documentaries do we need?”
In much of the promotion for the series, Netflix claimed it would be told from the perspective of the victims. Perry slammed that narrative, noting that his family was never even contacted by the streamer about the project.
“So when they say they’re doing this ‘with respect to the victims’ or ‘honoring the dignity of the families’, no one contacts them,” he wrote. “My cousins wake up every few months at this point with a bunch of calls and messages and they know there’s another Dahmer show. It’s cruel.”
Lindsey’s sister, Rita Isbell, echoed that claim in an essay she wrote for Insider, noting that Netflix did not notify her of the show, or ask her any questions about her brother.
She said that watching the show “felt like reliving it all over again.”
“It brought back all the emotions I was feeling back then,” she wrote.
“It’s sad that they’re just making money off of this tragedy. That’s just greed,” she continued.
Obsession With Dahmer
Controversy has also grown from some of the responses to the series, as many viewers have posted fan edits of the show that romanticize Dahmer. Some pair clips of Peters’ Dahmer with his victims to love songs or pop ballads, leaving a bad taste in the mouths of those who do not understand why someone would make content glorifying the killer.
Others have responded to the show by calling Dahmer “hot” or posting thirst tweets about his mug shot. This has resulted in a backlash of its own.
“Jeffrey Dahmer molested and murdered people, mostly black men and boys,” one person wrote. “So to see people making edits and thirst traps of him is a little off putting.”
“if I see anyone tweeting thirst tweets about Jeffrey Dahmer I’m immediately unfollowing,” another person said. “That’s so fuckin nasty.”
Concerns that this kind of media results in more people admiring Dahmer are also mounting in Milwaukee, where many of his crimes took place. According to TMZ, the city is considering creating something to honor the victims, but officials fear a physical memorial would turn into a “mecca” for Dahmer’s fans.
YouTube Removes Age Restriction From Nicki Minaj Video After Singer Calls Company a “Bogus Platform”
Even though her video can now be viewed by all YouTuber users, Minaj made it clear she was upset that the age-gate tanked its view count in the first 24 hours.
Nicki Minaj Vs. YouTube
Nicki Minaj called out YouTube on Monday after the platform age-restricted her new music video for “Likkle Miss Remix” featuring Skeng.
By age-restricting a video, YouTube blocks users who are under 18 or not logged into a Google account from viewing the content.
Minaj’s video features close-up shots of people in skimpy outfits twerking, but several videos on YouTube with similar imagery have not been gated. Cardi B and Megan Thee Stallion’s “WAP” video is available for everyone, as is Minaj’s own “Anaconda” video.
In a since-deleted Instagram post, Minaj accused YouTube of being inconsistent and playing favorites.
“They restricted my fucking video but have things a million fucking times worse on their BOGUS FKNG PLATFORM,” she wrote in a post that included a screenshot of YouTube’s age-restriction notice. “This is what they do to keep you from winning while doing ads for another ppl and posting fake fkng stats. Because the same ppl who run YouTube are in bed with a certain record label and mngmnt company.”
Minaj further alleged that YouTube’s actions were done to prevent her from getting a significant number of views in the video’s first 24 hours, which is often the most crucial timeframe for a video’s success. She continued to assert that the Google-owned company has a bias toward certain music labels.
YouTube Walks Back Restriction
“How long have yall been playing the numbers game to lie & pretend ppl r doing ‘good’ when they r not?!?!!” Minaj continued in another post. “How much ad space did these duds purchase to be promoted on my channel in the last 5 years?!??!!!!”
Later on Monday, YouTube removed the restriction from Minaj’s video, per Variety. The company said the content in it did not violate its rules and guidelines.
While Minaj ended up deleting her Instagram posts calling YouTube out, she made it clear she was still frustrated by the debacle.
“FUCK THEM DUDS,” she tweeted. “THEY CANT GIVE US BACK OUR FIRST 24 HOURS CAN THEY?!?!!!”
As of Monday afternoon, her video had been viewed over one million times.