Hey everyone, welcome. Today, I’ve got a few topics on my mind, starting with a recent story involving Lil Wayne. You might have noticed Lil Wayne’s iconic dreads dwindling, but there’s more going on than just a change in appearance. Reports have surfaced that he sold his masters for a whopping $100 million. But that’s not all – he also parted ways with Young Money’s catalog, which includes hits from Nicki Minaj, Drake, and Tyga.
According to Music Business Worldwide, it’s official: “Lil Wayne SELLS out Young Money.” The news broke amid Wayne’s legal battle with his former manager, who’s pursuing at least $20 million in the lawsuit. Wayne’s legal team contends that the $100 million he pocketed from selling his masters and Young Money’s catalog factors into the dispute.
It’s a significant move considering Drake’s earlier works, up to 2018, were under Young Money. So, it’s safe to assume that the deal likely involved the rights to Drake’s first four albums.
The deal encompassed the rights to Tyga’s initial three albums, but both Drake and Tyga managed to establish their own labels, granting them the autonomy to release music under their own banner. Unfortunately, Nicki Minaj’s entire catalog was recorded under Young Money, resulting in its sale. What’s truly disheartening is that the individual catalogs of Nicki and Drake alone are valued at least three times more than what Lil Wayne sold his for. Despite Lil Wayne’s catalog being worth more, he opted to sell it to Universal Records for a mere hundred million. It’s likely that Nicki and Drake are infuriated because they now lack ownership of their Young Money masters. Negotiating with Universal Records could prove challenging, as major labels tend to be stringent, particularly with prized catalogs. This underscores the significance of artists owning their masters, which can be highly lucrative. Master ownership allows artists to control and profit from their recordings, amplifying their earning potential. Although some artists generate revenue through songwriting and publishing rights, owning masters enables them to capitalize on both the creative and commercial aspects of their music. Consequently, many artists aspire to possess their masters. Unfortunately, a significant portion of industry artists do not own theirs. Taylor Swift and Kanye West are prominent examples of artists who lack ownership of their masters and have been outspoken about it due to the substantial value of their catalogs. Similarly, Wayne, Nicki, and Drake possess catalogs of considerable value, but Wayne’s subpar business dealings resulted in their underselling. Hopefully, Drake, Nicki Minaj, and Tyga can reach a satisfactory resolution. It’s disheartening to witness their hard work being mishandled in such a manner.
Let’s discuss the recent exchange between rapper Suki Hana and Cupcakke. Cupcakke released a remix of “How to Rob,” targeting various figures in the industry, including female rappers like Megan Thee Stallion, Cardi B, the City Girls, Mulatto, and Suki Hana. In her verse, Cupcakke took aim at Suki, questioning her relevance and mentioning her OnlyFans presence. Suki swiftly responded with her own track titled “Rob Who,” delivering a scathing four-minute rebuttal. While some might call it a diss track, it felt more like a roast session.
Suki’s response was necessary, given the disrespectful tone of Cupcakke’s lyrics. However, despite her ability to roast, Suki isn’t quite on Cupcakke’s level lyrically. Cupcakke demonstrated her prowess with her counter-track, “The Gag Is,” where she dismantled Suki’s arguments with sharp lyricism. It’s evident that Cupcakke possesses a unique intensity in her delivery, which can be intimidating.
Yet, Cupcakke’s mention of Suki’s children crossed a line for many. While rap battles can get heated, bringing family into the mix is often considered off-limits. Cupcakke defended her actions by citing Suki’s mention of her own mother, but the mention of children felt unnecessarily harsh to some.
The exchange highlights the dark side of rap beefs, where lines can quickly blur, and personal boundaries are pushed. Suki may need support in this ongoing feud, as things seem to be escalating.
She might need to collaborate with other rappers to confront Cupcakke because Cupcakke is a force to be reckoned with. Moving on to a different topic, Yemi Alade has defended Beyoncé. Now, onto the final point, let’s discuss Nigerian artist Yemi Alade’s defense of Beyoncé amid backlash Beyoncé faced over her project “Black Is King”. Last summer, Beyoncé released the impressive visual project “Black Is King”, serving as a visual companion to her Afrobeat album “The Gift”. Beyoncé described this album as her homage to Africa, expressing her deep love for its culture and her longstanding desire to create an Afrobeat album. Her journey into Afrobeat began back in 2013 with the song “Grown Woman”, which remains a personal favorite of mine. “I’m a grown woman, I can do whatever,” the lyrics resonate powerfully. Building on this, Beyoncé crafted a full-fledged Afrobeat project, shining a spotlight on numerous talented African artists, including Yemi Alade. However, Beyoncé faced criticism for cultural appropriation, which struck me as odd given her African heritage. Beyoncé, like many African Americans and Afro-Latinx and Afro-Caribbeans, has endured the severance of her African roots due to the horrors of slavery. Yet, there remains a profound yearning among them to reconnect with their African heritage. Beyoncé’s exploration of African culture through her music is a testament to this longing. Africa, being a vast continent with diverse cultures, poses challenges in tracing ancestral roots for descendants of slaves. Nevertheless, Beyoncé’s commitment to understanding her roots and expressing gratitude to Africa through her album “The Gift” is evident. Despite her genuine intentions, she faced accusations of cultural appropriation, with some questioning her motives and lamenting her lack of touring in Africa. While Beyoncé hasn’t embarked on a tour in Africa to my knowledge, she has indeed performed in various African countries, including Nigeria.
I was thrilled to witness the beauty of this country, especially knowing it’s where my ancestors hail from—it feels like home to me.” Beyoncé has graced the stage in Ethiopia and headlined the Global Citizen show in South Africa, showcasing her love for various African locales. However, some questioned the authenticity of her affection for Africa since she hasn’t embarked on a full-fledged tour there. This skepticism stems from a history of exploitation and disregard faced by Africans from outsiders. Yet, Beyoncé, a black woman with African roots, isn’t akin to a colonizer. Despite the odd criticism, many Africans embraced and admired her “Black is King” project. Yemi, who participated in the project, defended Beyoncé during an interview, questioning why acknowledgment of her black ancestry is met with suspicion. She highlighted the logistical challenges of touring in Africa, citing infrastructure and safety concerns. Given Beyoncé’s elaborate productions and the logistical hurdles, it’s understandable why she hasn’t undertaken a full tour across Africa. Nonetheless, her performances in various African nations demonstrate her ongoing connection to the continent. Feel free to share your thoughts on this topic in the comments below. Don’t forget to like, comment, and subscribe, and thank you for watching. See you next time!