Pass/Fail: Brittany Renner Awkward Interview With Megan Thee Stallion
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A Little Perspective: Here’s Why Brittany Renner’s Awkward Interview With Megan Thee Stallion Has Twitter In Shambles
Posted on September 30, 2019 - By Bossip Staff
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Source: Getty / Getty
Brittany Renner’s Awkward Megan Thee Stallion Interview
Megan Thee Stallion was at Rolling Loud this weekend getting ready to put on one of her epic twerked out performances. As she was approaching the stage, she was met by makeshift journalist and interviewer Brittany Renner.
Brittany Renner
✔@brittanyrennerr
https://twitter.com/brittanyrennerr/status/1178402543770071043
Can we take a moment to appreciate not only how beautiful, intelligent, and talented Meg is but how much her inner beauty shines through???! I was so hype to meet @theestallion
Day 1 was a success @rollingloud
8,197
4:13 PM - Sep 29, 2019
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The two in the same frame made people realize two things:
1. Meg really IS a damn Stallion, towering over Brittany to the point they don’t even look like they belong in the same pic.
2. Also, Brittany was all comfy cozy with Meg calling her all sorts of B**** and doing a bit of code switching and that rubbed some people the wrong way.
Hot Girl Jagger
✔@BasicBlaecGirl
https://twitter.com/BasicBlaecGirl/status/1178352111718813696
What kinda “journalist” calls their interview a “bitch” three diff times...like I get it’s colloquial but this clip is cringey AF.
Respeck & Protecc @theestallion
28.5K
12:53 PM - Sep 29, 2019
Twitter Ads info and privacy
5,654 people are talking about this
This all led to jokes, debate and Twitter doing what Twitter does. Take a look at the chaos…
Posted on September 30, 2019 - By Bossip Staff
1 of 9
❯
❮
Source: Getty / Getty
Brittany Renner’s Awkward Megan Thee Stallion Interview
Megan Thee Stallion was at Rolling Loud this weekend getting ready to put on one of her epic twerked out performances. As she was approaching the stage, she was met by makeshift journalist and interviewer Brittany Renner.
Brittany Renner
✔@brittanyrennerr
https://twitter.com/brittanyrennerr/status/1178402543770071043
Can we take a moment to appreciate not only how beautiful, intelligent, and talented Meg is but how much her inner beauty shines through???! I was so hype to meet @theestallion
8,197
4:13 PM - Sep 29, 2019
Twitter Ads info and privacy
1,191 people are talking about this
The two in the same frame made people realize two things:
1. Meg really IS a damn Stallion, towering over Brittany to the point they don’t even look like they belong in the same pic.
2. Also, Brittany was all comfy cozy with Meg calling her all sorts of B**** and doing a bit of code switching and that rubbed some people the wrong way.
Hot Girl Jagger
✔@BasicBlaecGirl
https://twitter.com/BasicBlaecGirl/status/1178352111718813696
What kinda “journalist” calls their interview a “bitch” three diff times...like I get it’s colloquial but this clip is cringey AF.
Respeck & Protecc @theestallion
28.5K
12:53 PM - Sep 29, 2019
Twitter Ads info and privacy
5,654 people are talking about this
This all led to jokes, debate and Twitter doing what Twitter does. Take a look at the chaos…
damm that brittany chic is a lil'ma standing next to that big thick m-f meg...
Whore babble
shut up and get naked or leave
shut up and get naked or leave
What he said.
Not to me...that bish gonna be small and humble...and that Britney ho..weigh 100 pounds.. brah
Nothing else to say here..brah
She bout 5"9..180..come to Mississippi...we got thousands of these types..brah
Big facts!!...
Bruh you're like 6'7 and weigh 350 of muscle! Of course she ain't big to you! hahaha
I represent the under 6 feet crew and like 'em small and petite like Brittany. Easier to toss around and air fuck w/o worrying about my back hahaha
Not seeing the big issue. Is the talk about the size difference or saying bitch a lot.it somewhat comes off like Brit may have been thrown off by the size difference.
Brittany is not an interviewer by profession, so I wouldn't expect her to be Oprah or even Angela Lee.it seemed like a lot of people didn't know who she was and in some cases believed Brittany to be (lack of better words) full white. While I'd rather see Brittany doing her norm, why hate on someone trying to grow ( the comments around her being an IGmodel).
Also, I dont get why people are acting as if Meg is so deserving of a high level of respect this early in her career. I understand on a fundamental level respect should always be given and clearly Brittany should have taken the opportunity more seriously but from the very very little I know of Meg I dont see her being offended by being called a bitch in this context. This is the hot girl summer chick right?
Typed way too much for this.
Brittany is not an interviewer by profession, so I wouldn't expect her to be Oprah or even Angela Lee.it seemed like a lot of people didn't know who she was and in some cases believed Brittany to be (lack of better words) full white. While I'd rather see Brittany doing her norm, why hate on someone trying to grow ( the comments around her being an IGmodel).
Also, I dont get why people are acting as if Meg is so deserving of a high level of respect this early in her career. I understand on a fundamental level respect should always be given and clearly Brittany should have taken the opportunity more seriously but from the very very little I know of Meg I dont see her being offended by being called a bitch in this context. This is the hot girl summer chick right?
Typed way too much for this.
Saw nothing akward about it
Megan Thee Stallion: Tiny Desk Concert
The budding superstar debuted a new song with Phony Ppl and performed hits from Fever and Tina Snow during the first night of NPR's Tiny Desk Fest.
www.npr.org
I feel like kash doll body is being under appreciated
Megan Thee Stallion Says Her Album Might Be Out in Time for Hot Girl Summer
By Zoe Haylock@zoe_alliyah
Suga is on her way. Photo: Dimitrios Kambouris/Getty Images for NYFW: The Shows
Is Megan Thee Stallion sure her name isn’t a reference to being a workhorse? For the past year, the powerhouse rapper has been navigating fame while studying for a degree, making music, and mourning her mother. After all of this grinding, Megan Thee Stallion told Rolling Stone that she hopes to honor her mom, Holly Thomas, by dropping Suga on her birthday, May 2. The album currently has no official release date.
Megan Thee Stallion’s late mom was a rapper herself, with a constant stream of inspiration for a young Meg. “Every time she put on a new song, [she would say] ‘Put you on some real shit right quick,” the Houston rapper remembered. Thomas died from brain cancer in March 2019, as Megan Thee Stallion was skyrocketing to global success. Suga will be Megan’s first project released without her mother as her manager. So, to celebrate her mom’s birthday this year, Megan’s gonna put us all “on some real shit right quick.” Suga is named after a new alter ego, who’s “besties” with Thee Stallion’s icy Tina Snow. The lead single, “B.I.T.C.H.,” already introduced Suga to world. If all goes according to plan, we could be twerking to new Megan Thee Stallion long before Hot Girl Summer even begins. Then, maybe the superstar can finally take a hot girl break.
By Zoe Haylock@zoe_alliyah
Suga is on her way. Photo: Dimitrios Kambouris/Getty Images for NYFW: The Shows
Is Megan Thee Stallion sure her name isn’t a reference to being a workhorse? For the past year, the powerhouse rapper has been navigating fame while studying for a degree, making music, and mourning her mother. After all of this grinding, Megan Thee Stallion told Rolling Stone that she hopes to honor her mom, Holly Thomas, by dropping Suga on her birthday, May 2. The album currently has no official release date.
Megan Thee Stallion’s late mom was a rapper herself, with a constant stream of inspiration for a young Meg. “Every time she put on a new song, [she would say] ‘Put you on some real shit right quick,” the Houston rapper remembered. Thomas died from brain cancer in March 2019, as Megan Thee Stallion was skyrocketing to global success. Suga will be Megan’s first project released without her mother as her manager. So, to celebrate her mom’s birthday this year, Megan’s gonna put us all “on some real shit right quick.” Suga is named after a new alter ego, who’s “besties” with Thee Stallion’s icy Tina Snow. The lead single, “B.I.T.C.H.,” already introduced Suga to world. If all goes according to plan, we could be twerking to new Megan Thee Stallion long before Hot Girl Summer even begins. Then, maybe the superstar can finally take a hot girl break.
Megan Thee Stallion Goes on ESPN to Rep Houston and Casually Shade Label Exec Carl Crawford
By Amanda Gordon
Megan Thee Stallion took to ESPN, a natural platform for any rising musical artist, to chat about her faith in the Houston Rockets’ postseason performance. But for those abreast of her recent record-label drama, the ESPN talk-show appearance was also a sly takedown of 1501 Certified Entertainment label CEO Carl Crawford, a former MLB star, on his own turf. After suing the label, which she claims paid her 40 percent of the income from her recordings and prevented her from putting out new music while she attempted to renegotiate her contract, the Texas rapper is now free to release her next project, Suga, this Friday. In the lawsuit, Megan also alleges that Rap-A-Lot Records founder James “J.” Prince attempted to intimidate artists on Crawford’s behalf. J. Prince took to Instagram, posting a picture with Carl Crawford and denying the accusation. He also says Megan and her mom, the late rapper Holly Thomas, negotiated “a good deal” with 1501 Certified Entertainment.
But Megan will hear none of it. When asked on ESPN about navigating a male-dominated industry, she said she demands respect. “I’m not scared to back down and, at the end of the day, I want to be treated how you want me to treat you,” she says. She also revealed in the interview that her new album features “a whole lot of hot-girl stuff” and takes its title from her new persona. “Suga, she’s more like, ‘I know I mess up sometimes. I’m not perfect. I’m not trying to be perfect, but I’m trying.’” We’re ready for whatever hot, inspirationally imperfect music Megan is preparing to serve us.
Update, 1:50 p.m. ET: Following her First Take appearance, Megan took to Instagram to drive her point home, responding to Crawford and 1501’s loss in court. “I will stand up for myself and won’t allow two men to bully me, I am NO ONES PROPERTY,” she wrote, proceeding to list three facts about her case: She claims that 1501 is refusing to grant her the budget to release Suga despite the judge granting its release; that 1501 tried to block the release entirely but she “prevailed”; and that 1501 tried again to have her restraining order dissolved but the motion was denied. She continues, “Respect my deceased mother, she’s not here, you don’t know her, you weren’t involved … Carl should speak for himself.”
Look like she can play the post.
...No lies told....I saw some bitches out of Moss Point that would make an Oak Tree shake.
Last edited:
Lmao!! Brah
Why Shouldn’t Megan Thee Stallion Take What’s Hers?
By Craig Jenkins@CraigSJ
Megan versus 1501 has rapidly devolved into one of the most lurid rap-label tiffs in recent memory. Photo: Alberto E. Rodriguez/Getty Images for dick clark productions
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. 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. 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 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. Farris, and Megan’s mother, Holly Thomas, who died a year ago this month, for the terms of the rapper’s contract. 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. “When you got a window, you gotta take it,” Meg told Vanity Fair yesterday.
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. It’s a costly endeavor, navigating a field rife with shrewd businessmen and outright scammers. You don’t find out which is which until some money comes up short. 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. 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 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. 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 machine is vampiric. 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. 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.
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But 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 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 (?). “Ain’t Equal” kicks off with a state of the union address, as Meg maps out the wins and losses of the last year and talks a grip of trash about anyone still standing in her way. Its second verse ends with the most concise put-down in the war of words between the artist and her label — “And since the nigga think he made me, tell him do it again” — serving a sharp reminder that she’s the jewel of the 1501 roster (while nodding to the time her Roc Nation boss Jay-Z got mad at old business partners and rapped, “I heard motherfuckers saying they made Hov / Made Hov say, Okay, so make another Hov”). “Savage” is joyfully conceited; “Captain Hook” houses killer flows and one of the best dick jokes of the young year.
Midway through, Suga changes pace, opening up for breezier, R&B-infused tunes designed to show off Megan’s range and allow her to step outside the rough-and-tumble war-ready raps she’s known for. The Kehlani collaboration “Hit My Phone” and the lead single “B.I.T.C.H.” are G-funk throwbacks that look good on Megan, who was raised on ’90s rap classics. The latter is an answer record for Tupac’s All Eyez on Me deep cut “Rather Be Ya Nigga,” an audacious move in an era where older rap fans rattle sabers every time someone 25 and under offers an opinion on B.I.G. or Pac. Both songs float, but “B.I.T.C.H.” is a little lightweight as a first single when there’s heat like “Savage” on deck. Wade deeper into Suga, and it’s apparent that Megan aspires to more than just spitfire bars and ice-cold threats. The last three songs all boast beats from veteran rap producers Timbaland and the Neptunes, and singing where you might expect rapping. On “Crying in My Car,” it’s license to get more vulnerable (although the Auto-Tune coating hits weirdly), but on “Stop Playing” and “What I Need,” the vocals and melodies leave much to be desired.
Ending the project weaker than it started makes Suga feel like a half-step toward the evolution Megan had planned when it was being touted as a proper album. Short projects need to be all killer, no filler, and there’s around two or three skips out of nine here. Releasing a project that doesn’t quite sustain the quality of Tina Snow and last year’s Fever when the audience could’ve lived with a trickle of singles invites the question of whether Megan Thee Stallion is saving fire for a better legal situation or just striking while the iron is hot. As it is, Suga is a solid batch with a few too many seeds and stems, an EP’s worth of fun where a louder, stronger statement was required.
By Craig Jenkins@CraigSJ
Megan versus 1501 has rapidly devolved into one of the most lurid rap-label tiffs in recent memory. Photo: Alberto E. Rodriguez/Getty Images for dick clark productions
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. 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. 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 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. Farris, and Megan’s mother, Holly Thomas, who died a year ago this month, for the terms of the rapper’s contract. 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. “When you got a window, you gotta take it,” Meg told Vanity Fair yesterday.
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. It’s a costly endeavor, navigating a field rife with shrewd businessmen and outright scammers. You don’t find out which is which until some money comes up short. 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. 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 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. 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 machine is vampiric. 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. 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.
Get unlimited access to Vulture and everything else New York
LEARN MORE »
But 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 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 (?). “Ain’t Equal” kicks off with a state of the union address, as Meg maps out the wins and losses of the last year and talks a grip of trash about anyone still standing in her way. Its second verse ends with the most concise put-down in the war of words between the artist and her label — “And since the nigga think he made me, tell him do it again” — serving a sharp reminder that she’s the jewel of the 1501 roster (while nodding to the time her Roc Nation boss Jay-Z got mad at old business partners and rapped, “I heard motherfuckers saying they made Hov / Made Hov say, Okay, so make another Hov”). “Savage” is joyfully conceited; “Captain Hook” houses killer flows and one of the best dick jokes of the young year.
Midway through, Suga changes pace, opening up for breezier, R&B-infused tunes designed to show off Megan’s range and allow her to step outside the rough-and-tumble war-ready raps she’s known for. The Kehlani collaboration “Hit My Phone” and the lead single “B.I.T.C.H.” are G-funk throwbacks that look good on Megan, who was raised on ’90s rap classics. The latter is an answer record for Tupac’s All Eyez on Me deep cut “Rather Be Ya Nigga,” an audacious move in an era where older rap fans rattle sabers every time someone 25 and under offers an opinion on B.I.G. or Pac. Both songs float, but “B.I.T.C.H.” is a little lightweight as a first single when there’s heat like “Savage” on deck. Wade deeper into Suga, and it’s apparent that Megan aspires to more than just spitfire bars and ice-cold threats. The last three songs all boast beats from veteran rap producers Timbaland and the Neptunes, and singing where you might expect rapping. On “Crying in My Car,” it’s license to get more vulnerable (although the Auto-Tune coating hits weirdly), but on “Stop Playing” and “What I Need,” the vocals and melodies leave much to be desired.
Ending the project weaker than it started makes Suga feel like a half-step toward the evolution Megan had planned when it was being touted as a proper album. Short projects need to be all killer, no filler, and there’s around two or three skips out of nine here. Releasing a project that doesn’t quite sustain the quality of Tina Snow and last year’s Fever when the audience could’ve lived with a trickle of singles invites the question of whether Megan Thee Stallion is saving fire for a better legal situation or just striking while the iron is hot. As it is, Suga is a solid batch with a few too many seeds and stems, an EP’s worth of fun where a louder, stronger statement was required.
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