
Megan Thee Stallion is sharing her truth about what happened the night Tory Lanez allegedly shot her. The Grammy award-winning artist sat down with Gayle King for CBS Mornings and opened up about the events that occurred on July 12, 2020, that unfortunately spilled over to social media, which ensued in a public back and forth between the rappers and their fans.
When Megan, whose real name is Megan Pete, first revealed that she was shot, she didn’t name the alleged shooter. However, after much speculation, the “Savage” ended up naming the Canadian rapper as her alleged assailant. Reports said that she was shot in her feet following a party at Kylie Jenner’s house in Hollywood Hills. Tory was charged with assaulting a woman months later in October but pleaded not guilty. Megan explained what led to the altercation.
“It was an argument because I was ready to go and everybody else wasn’t ready to go,” the rapper told Gayle. “But that’s like normal friends stuff,” she stated. “Like yeah … we fuss about silly stuff all the time.”
“I never put my hands on anybody. I never raised my voice too loud. Like this was one of them times where it was like … it shouldn’t have got this crazy,” she said.
Once she left the party, it was her, Tory, whose real name is Daystar Peterson, Tory’s driver, and Megan’s former best friend Kelsey Harris. Megan said the argument started between Tory and Kelsey and she tried getting out of the car before it escalated.
“So, I get out of the car and it’s like everything happens so fast,” she said as her voice began to crack. “And all I hear is this man screaming. And he said, ‘Dance, b-tch.’ And he started shooting. And I’m just like, ‘Oh, my God.’ Like, he shot a couple of times.”
She described Tory standing over the window shooting and her being so scared to move because she was afraid of being killed. “I was really scared ’cause I had never been shot at before,” she said emotionally.
After the alleged shooting, she said she looked down at her feet and noticed that she was bleeding. She then claimed that Tory approached her and begged her not to tell anyone what happened and even offered her money. A neighbor called the cops after hearing the shooting, which Megan said made her even more scared because it was following the George Floyd shooting.
So, to protect everyone, she lied to the cops and said that she stepped on glass. Once she got to the hospital, however, the medical report showed that she had bullet fragments in her feet.
She also addressed the rumors about the nature of her relationship which the “Say It” rapper alluded to in a series of tweets. “We were not dating. We were friends. We were hanging out like every day and his mom passed too, so I feel like we were bonding over that (Megan’s mom passed in 2019),” she said. “I think that he is trying to deflect from the fact that he committed a crime."
In April 2022, Tory was arrested in court after a judge ruled that he violated a court order of protection against the megastar. He was later released on bond.
Megan revealed that the altercation caused her anxiety to get worse and she now has a hard time trusting people. “Half the time I just want to pick up the phone and call my momma and be like, ‘what do I do?’ It’s too much. I feel crazy, I’m sad and I feel like I have to hold it in because I have to be strong for so many people.”
The trial is set to begin in September.
Megan Thee Stallion on 2020 shooting: "I'm the victim"
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When Megan Thee Stallion first stepped onto the scene, people quickly became enamored. Not just by her good looks, statuesque body and hypnotic twerking, but also her confidence in herself. That same confidence rings throughout her music and even on stage. But she wasn't always this fearless. The H-town hottie had to discover who she was in order to stop being what everyone else wanted her to be. Like many women, finding her voice was a journey, and in the 26-year-old's case, she used that voice to achieve an accomplished career.
Megan Thee Stallion, born Megan Peete, already has three Grammy awards as well as several BET awards and she launched a line with Fashion Nova and has her own Hottie sauce with Popeyes. Now, she is gearing up to graduate college soon.
While it may appear that her career happened overnight, it actually has been a long road for the "Savage" rapper and she recently spoke with Glamour magazine about it after they named her one of the "Women of the Year," a deserving title I might add.
The raptress recalls wanting to satisfy everyone when she was growing up. Something that a lot of people can relate to.
"I used to be a people-pleaser because I did want everyone happy," said Megan. "If you come around me, I always try to make sure everybody good. Before I was grown, I'm doing whatever my parents say. I'm doing things that make my parents happy. At school, I'm trying to figure out what's going to make these kids stop bullying me. But when I started getting older, I started figuring out, everything that y'all asking me to do not make me happy."
She added, "It seems like I can never satisfy everybody. So then I started being like, 'What do I like?' I'm an only child, so I had a lot of time to spend by myself to think about it. I'm here by myself all day; what we gon' do, Megan? That's how I figured out I really do enjoy writing music. I love writing stories. I started living for me."
By the time Megan reached college, she was ready to show everyone the real her and that meant you had to respect it.
"How I come off, that's how everybody treated me. If I commanded my respect, I demanded my respect; if I'm showing you how confident I am, then you have no choice but to treat me that way."
Now a rap superstar, Megan has become an example for people, particularly Black women, that our voice matters and that our feelings matter.
In October 2020, the "Girls in the Hood" rapper wrote an op-ed essay for The New York Times where she addressed violence against women following the alleged shooting by Tory Lanez, women in hip-hop being pitted against each other, and more.
She wrote that she believes violence against women "happens because too many men treat all women as objects, which helps them to justify inflicting abuse against us when we choose to exercise our own free will."
Keep up the good work, sis!
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Black women emcees have been an essential part of sculpting hip-hop music since the late '70s. The genre has grown from the streets of New York City to become one of the most influential musical genres in the world. Though hip-hop is still a very male-dominated industry, women have made their way of snatching the sound and owning their place in the industry.
When female rappers entered the scene, they showed up with bars as prolific or better than their male counterparts — dressed from head to toe in a sexy tomboy flair that was beyond captivating on stage. Black women emcees have created their own lane, starting from battle rapping about systemic challenges in the Bronx, N.Y., to going all the way "Up" with Cardi B celebrating sexual liberation.
Bardi Gang GIF by Cardi B
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However, some of the biggest challenges in hip-hop music lie in the lack of radical feminism in the genre that shows a vast display of Black women artists of every shade, size, and sexuality—without being hypersexualized. They all need to be seen and celebrated as a mass-market artist.
Over the last few generations, the evolution of hip-hop's purpose and sound has changed dramatically—mainly for mass production and consumption. That's expected because change is inevitable in every form of music, but hip-hop is unique. It was used to amplify the voice of the unheard and highlight systemic oppression related to race and class issues. However, its hypermasculine aspect has always made combating sexism one of the most complex areas to address and has posed a challenge to forging progressive, long-term opportunities for Black women rappers.
Hip-hop scholar Kylie Thompson states in the analysis, When Feminism Meets Hip-Hop, "Some female hip-hop emcees have been able to challenge the sexist culture of the industry and assert a black feminist voice; albeit the large-scale commercialization of hip-hop makes it especially difficult for women's voices to be heard in a political context that runs counter to pervasive patriarchal structures. Thus, women must carefully adapt, form, and manipulate language in order to make their music both marketable and political."
These circumstances have made it significantly more difficult for women rappers to compete in a market that could care less about women succeeding in it because a high percentage of the content is about objectifying them.
Black women emcees carry a different burden on their shoulders: to be Black, female, get the same opportunities as their male counterparts, and remain in high demand on the global charts. Black artists shouldn't just be the backbone to the sound. They should also be the face of the evolved sound.
This is a tribute to icons and holds them accountable so we can all show up better for all Black female hip-hop artists in the game, respectfully!
Let's take a deep dive into the evolution of hip-hop, amplifying the various forms of feminism throughout the genre's history, addressing hypersexuality, colorism, pretty privilege, and body positivity:
Black Feminism in Hip-Hop: Radical vs. Liberal
Before we can talk about the state of Black women artists in hip-hop, we must first broach the subject of feminism and the essence it carries in the music. Though every Black women artist isn't as intentional about being a feminist, most of the world automatically perceives them to be because of the lineage that several Black women iconic emcees started prior. There are two primary forms of feminism that are often conveyed in hip-hop; radical and liberal feminism, they are both needed, but the bigger question is whether they are both as appreciated by today's society.
Radical Black feminism came first because it was the only acceptable way to compete in the market with their male counterparts in the 70s. Hip-hop feminism centers Black women's voices via hip-hop as a means to increase agency, self-definition, and self-determination. Self-definition, according to scholar Patrick D. Bennett, refers to how Black women express their identities and experiences for themselves, while self-determination allows for Black women to choose who or what they want to be. In the documentary My Mic Sounds Nice: The Truth About Women and Hip-Hop, legendary hip-hop artist Roxanne Shantel said, "It wasn't about make-up or having outfits ready, I rapped in whatever I had on when I had a show or battle rap because it was about talent not looks."
In this timeframe of hip-hop, if you weren't a lyricist as a women emcee, you couldn't compete. And Black women rap artists like MC Lyte, Salt-N-Pepa, J.J.Fad, Queen Latifah, and the one-and-only Ms. Lauryn Hill, didn't hesitate to challenge sexism, addressing men and how they talk to or talk about women.
Hip-hop thought leader Imani Perry has written about this struggle within the male-dominated field, stating, "As a masculinist form with masculinist aesthetics, hip-hop and the art form's masculinist ideals of excellence and competitiveness have often forced women to occupy roles gendered male."
And the freedom men have to be anything they want to be, and most of society enables them without question, isn't the same expectation that applies to women—who are more likely to get harshly criticized by society collectively.
As hip-hop evolved in the 90s, the sound changed dramatically from women hip-hop artists, and liberal feminism became more mainstream and left radical feminism a bit in the shadows of hip-hop instead of it being its main focus. Kylie further states that "liberal feminism boils down to individualism, positing the individual as the 'be-all, end-all of social life. This line of reasoning essentially aims to change or undo the socialization of individuals so that women can have and do what men can have and do." Liberal feminism brought forth undeniable individuality but took away from perpetuating social change and ignored the more significant issue of patriarchy.
In comparison, radical feminism addresses the collective issues the patriarchal system often looks away from. There is space for both radical and liberal feminism. But when it becomes too much of one versus the other, it often becomes detrimental to Black women rappers' progression in the industry.
Hypersexuality orchestrated by female hip-hop artists has become one of today's modern-day forms of feminism — to some, it may be an illusion, and to others, it may be perceived as power. The rise of liberal feminism exploring sexual liberation stemmed from the '90s with female artists Lil' Kim and Foxy Brown, both having an aligned rise in the industry that led to a divine royal battle. They brought unapologetic power to Black women's stance in hip-hop; both of them were phenomenal rappers that everyone wanted to listen to.
If you weren't listening to Notorious K.I.M., you were listening to Chyna Doll. But their sexualized stance also subconsciously brought a lot of pressure to other Black women artists in the industry.
In the documentary, My Mic Sounds Nice: The Truth about Women and Hip-Hop, Missy Elliott talked about feeling that "maybe I gotta go a little tighter to be sexy to be more acceptable," after Kim and Foxy took over the scene.
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This changed the game entirely for women emcees and has made it a lot harder for radical women rappers to have a chance at success in mainstream hip-hop because most music today is being based on sexualization and very little content that speaks to the reality of the everyday woman.
Feminist writer Ariel Levy affirmed this further by saying that such a culture isn't progressive when women are capable of acting as participants of their own objectification. So we can't just blame men for objectifying us when now we are taking part in the same perspective to convince society that Black women rappers are enough and are as valuable to their male counterparts and that we'll agree to produce what sells most, delivering a homogeneous perspective of female dominance in today's hip-hop climate.
We have to be held as accountable as our male counterparts if we want to see sustaining change.
Communications studies professor-Jared Ball of Morgan State University wrote, "Today's contemporary hip-hop from women paves a space for these women, instead, to become the representative, as they have been increasingly able to compete and succeed with the men in the same genre. Regardless of artistic intent and the artist's desire to claim agency of their own bodies, these still may not exempt them from objectification."
So though Black women rappers are finally taking up more of the spotlight, their integrity is being challenged based on how they'd like to present themselves. Do all women in the game want to show more skin, or is it encouraged by people behind the lens of those scenarios?
To paint a picture of how powerful hypersexuality is in the industry, let's think of some of the most popular Black women rappers, Nicki Minaj, Cardi B, and Megan Thee Stallion. Though Minaj may be a bit more well-versed in the content she raps about, her biggest hits stem from the hypersexual lens. Lyrics like these featured in her song "Boss Ass Bitch":
P-p-p-pussy like girls
Damn, is my pussy gay?
It's a holiday, Play-With-My-Pussy Day
Pussy this, pussy that, pussy taken
Pussy ride dick like she a Jamaican
Pussy stay warm, pussy on vacation
You loose bitches need a pussy renovation
Y-y-you could eat it with a pussy reservation
P-p-pussy 'bout to get a standin' ovation
Clap, clap, clap for this pussy, nigga
The line, "But I can't give this pussy to a pussy nigga" depicts the imagery of manipulation and power plays gained through sex.
Most of Megan Thee Stallion's Billboard hits are all hypersexualized, from "Body," "Cry Baby," "Thot Shit," and "Savage," to "Hot Girl Summer."
In Stallion's song "Cry Baby," she raps:
Lay on my stomach, toot it up, do the crybaby (crybaby)
Look back, hold it open, now he annihilated (yeah)
Moaning like a bitch when he hit this pussy
Damn, he probably wanna wear my hoodie (ah)
Choke me, spank me, look at me, thank me (thank me)
If I give it to another nigga, he'll hate me (he'll hate me)
Spit, slurp, give him that work
Fell too fast for me, now the nigga hurt."
And as a result of parading the excess liberal feminism, she was recently awarded three Grammys in 2021 for "Best New Artist," "Best Rap Song," and "Best Rap Performance"—so in more ways than one society is fully here for hypersexuality being the center of the conversation.
And Cardi B's Billboard hits like "Up," "WAP," "Wildside" have been in high demand based on the several weeks they stayed glued to the top 10 spots on the Billboard charts. So at this point, their success sets the mark for what's in demand from Black women artists compared to vice versa. Cardi B and Megan Thee Stallion's "WAP" came in at No. 2 on the staff's pick of the best rap songs for 2020, and it spent four weeks as the No.1 spot on the Billboard charts.
Then you have our good sis Nicki Minaj's "Anaconda," which spent 26 weeks at No.1 on the Billboard charts and perpetuates the image that appeals to mass audiences. Because of its success, this type of music will continue to be produced.
In that sense, liberal feminism supersedes the industry beliefs of radical feminism and its ability to sell. Sex sells, and songs about the collective do not.
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The one-and-only Lauryn Hill's "Doo Wop (That Thing)," produced in 1998, was No. 1 on the Billboard charts for 22 weeks? The insanely talented and lyricist Missy Elliott still doesn't have a Billboard No.1 hit to this day, which is disheartening because of the impact she has had on hip-hop music, coming through with unmatched energy and bars as charismatic as any man or woman before or after her—yet it is not as valued collectively by music executives and society.
Where does the hip-hop industry allow women like Rapsody, Tierra Whack, Noname, Chika, and Little Simz the same opportunity to shine like most mainstream women artists that often project the homogeneous lens to thrive and compete in this highly ego-driven industry?
In many ways, we can't fully blame liberal women artists because they are trying to compete in a market that was never built for them, but the question is at what cost? Hip-hop scholars mentioned, "Many women have turned to claim or embrace their sexualities under the guise of true empowerment because they feel valued as a sexual object... But this liberal sexual empowerment, claiming the right to assert the individual agency to sexualize oneself, is only an illusion because the power given still comes from men and the male gaze."
And the biggest question of them all is why are most mainstream Black women artists light skin, bi-racial, or racially ambiguous, and the majority of the underground women rappers are dark skin women?
It's far from ironic that this is very much on script with the extensive history of colorism that affects Black women more than Black men in the music industry.
Colorism, Pretty Privilege And Body Positivity In Hip-Hop
Colorism to many ears may come off like a tiresome topic, but it's a very much-needed conversation in regards to dark skin Black women being misrepresented in the industry. And often, feelings of inadequacy crafted by colorist themes materialize in Black female rappers as well. Years ago, Lil' Kim spoke about her deep-rooted insecurities based on her complexion and body, leading to her extensive obsession with tons of cosmetic surgeries and skin bleaching.
Kim stated, "I have low self-esteem, and I always have. Guys always cheated on me with women who were European-looking. You know, the long-hair type, really beautiful women that left me thinking, 'How can I compete with that?' Being a regular black girl wasn't good enough."
Lil' Kim's struggle with being a "regular Black girl," and the apparent rejection of her Blackness by Black men even before entering the rap industry shows that America's European standards of beauty produce a proclivity for light skin by men and a lack of self-confidence in Black women, as seen in Lil' Kim.
With these European standards of beauty palpable in every part of the media and pop culture, its presence in rap is not nonplus. However, rap could change this narrative of "light is right." That toxic mindset and pretty privilege often co-exist in the hip-hop industry, allowing many individuals instant success if they fit a certain aesthetic. An interesting exception was when Saweetie went viral after she dropped her single "Icy Girl" and Hot 97's Ebro Darden didn't perpetuate the same narrative during an interview in February 2018. He described her freestyle as "basic" and mentioned she needed to work harder to "impress" him.
Regardless of his commentary, the bar is very low for certain female rappers to have easy access to success over their peers based on complexion. The industry is not as much fixated on thought-provoking lyrics and their impact. When you add the layers of additional intersectional walks of sexuality, particularly darker shades of women, and fatphobia–there is an inevitable amount of trauma and rejection to work through.
Grammy-nominated artist Chika told The Root, "I am not the spokesperson for body positivity. I'm not the spokesperson for being dark-skinned. I'm not the spokesperson for having a nappy-ass dread head. I am none of those things. Stop asking me questions that you should figure out for yourself."
The reality is Black men aren't pressed because they are dark-skinned or wear their fades or cornrows, but Black women are often trolled for their Blackness, and the guidelines are incredibly rigid and overwhelming to maneuver through. It's like just being Black and a woman is a more significant problem.
When white women wear the same hairstyles and get the additional surgeries enhancements, it's edgy and glorified, but let a Black woman be herself, and it's a problem. In Lizzo and Cardi B's song "Rumors" the duo challenges stereotypes of their personal trauma of not ever feeling like they amount too much, Lizzo is tenaciously working through fatphobia commentary.
And Cardi B recently addressed rumors about her BBL and other surgeries to enhance her assets. The reality is, there have been underlying, deep-rooted issues in hip-hop that normalize the practice of artists suppressing their pain and insecurities.
This needs to be dismantled so Black women artists can have the space to not always feel like they need to take life-threatening measures for validation or to compete.
The Future For Black Women In Hip-Hop
The moral of the story: We need the balance of both worlds—radical and liberal feminism. There is room for both conversations to be had; everything does not revolve around sex, we can also make space to address the other hundreds of topics that we face as women. The market is currently too fixated on one area over another. And it continually takes away many opportunities from radical artists and leaves women questioning their integrity regarding showing more skin than they're comfortable with to be competitive in this market.
Some of the things women mainstream rappers can do to help shed light on rappers opposite of them is to seek them out and propose a collaboration. Whether it be a single, being an opener at their show, or just promoting their work to change the narrative of there being only one main type of women rapper in today's hip-hop.
The world may have found ways to commodify the sound, but there is power in unity and sculpting a new art form of hip-hop music.
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Megan Thee Stallion Says Being With Pardison Fontaine Makes Her ‘Feel Good’
Megan Thee Stallion is gushing over her boyfriend fellow rapper Pardison "Pardi" Fontaine. Meg confirmed her relationship with Pardi in February on Instagram Live after much speculation and since then they have been sharing cute moments with each other on social media, including how they spent their Valentine's Day.
They even made their red carpet debut at the iHeartRadio Music Awards in May where they matched each other's fly.
Emma McIntyre/Getty Images for iHeartMedia
On the season premiere of Taraji P. Henson's Facebook Watch show Peace of Mind with Taraji, the "H-Town hottie" opened up about what it feels like to be with the New Yorker.
"My boyfriend does make me very happy. He definitely does take care of me emotionally. He makes my brain feel good. He makes my heart feel good. That's definitely a big thing for me because I used to be so into the physical, right like… but he moves me, he inspires me, and we just feel like a real team."
This is the first time the 26-year-old has talked about Pardi publicly outside of social media. The first time she spoke on their relationship was during Instagram Live when she came to the defense of the rapper following a video that appeared to be him making concerning noises in the background.
"People don't know what the hell they talking about, they just be saying anything. I didn't like what they was trying to say about Pardi 'cause he is so calm and so sweet."
She later said, "Yeah he my boyfriend. I never said hot girls can't have boyfriends."
While the "Hot Girl" is no stranger to being an open book online, Pardi appears to be the opposite.
The 31-year-old's claim to fame is his 2018 hit song "Backin' It Up" with Cardi B, but he also has other credits that many people may not know.
He's a Grammy award-winning writer who has ghost written for many artists including Cardi B, Kanye West, Lil Nas X and more. He even co-wrote his girlfriend's hit song "Savage Remix," which he won the Grammy for and additionally co-wrote "WAP."
Featured image by Shareif Ziyadat/Getty Images for 40/40 Club
Megan Thee Stallion Is The Latest Example Of Why Black Girl Magic Is The Secret Ingredient
Can we talk about how Megan Thee Stallion is lowkey an inspirational speaker? I mean seriously, have you ever been feeling down on yourself and then "Girls in the Hood" starts playing? It's like, OK girl, get it together, you're a Queen. From beats and bars to catchy lyrics, she's gonna deliver. But musical talent isn't the only thing that deserves acknowledgment. Sis is also about her bag. The "Savage" rapper has collaborations with multiple brands like Cash App, Revel, and recently announced, Nike.
Through this particular partnership, the Hot Girl Coach is promoting the Nike Training Club App. Exercise sessions, workout and wellness tips, and athletic wear are all available through the platform. In a fun video released to her Instagram, she shared the strenuous work behind being a performer, and highlighted how she is criticized for not truly being an "athlete," to which she responds:
"Oh really? Let's see you run through twelve-hour dance rehearsals, train five days a week, then perform in front of 50,000 people, squatting 50% of the time! Real hot girls know, no one can define us but us."
App-users are expected to see a more intimate side of what Meg's fitness journey entails and get the motivation and help needed to reach their own health goals.
This marketing move is not a new strategy for Nike. In fact, in the past, they've had successful collaborations with other major artists including Drake, Travis Scott, and Kendrick Lamar. Brand collaboration and influencer marketing continue to be a major way that companies are forming a better relationship with their customers while successfully selling their products.
And the more I see them, the more I realize, Black women are the secret sauce. I mean, just look at the material.
Naomi Osaka
Naomi Osaka had a tradition of buying her mom a Louis Vuitton bag every year since she was sixteen. She's now their global ambassador, and even co-designed the recent dress she wore at the Met Gala.
Lori Harvey
Shoutout to Lori Harvey, not only for Michael B. Jordan but for making sure we look cute and comfortable through her partnership with Naked Wardrobe.
Chloe x Halle
Of course, Chloe x Halle are gonna be a part of why our skin looks amazing. I mean look at theirs, which they give Neutrogena some credit for.
Saweetie
Whew, now one thing we know about Saweetie is she keeps a collab. From McDonalds to MAC, she moves the needle. Also, congrats are in order for her latest partnership with Crocs, proving her love for food and creativity is alive and well.
Beyonce
And we can't forget about Queen Bey's partnership with Adidas, and how IVY PARK's recent release sold out in three days.
Featured image by Mike Coppola/Getty Images
She Get It From Her Mama: Megan Thee Stallion Is Following In Her Mother's Rap Career Footsteps
Megan Thee Stallion is such a breath of fresh air. To me, she represents women that are unapologetic about doing what's best for themselves. In a world where women, *cough* Black women *cough* are so policed--from hair, to behavior, to reactions--she shows up as a superhero, inspiring and representing a young generation of women who are authentically themselves. And not only that, they're women who don't stray from getting what they deserve.
Additionally, the "Savage" rapper, is multi-dimensional, encouraging a lifestyle that balances fitness, education, and doing hot girl shit.
Oh, and being the first rapper on the cover of 'Sports Illustrated SI'.
But guess what, sis got it all from her mama!
Her mom Holly Thomas, who was a rapper back in the day and who went by the name "Holly-Wood," died in March 2019 after being diagnosed with a brain tumor. But while young, Meg learned early on that she wanted to be a rapper too. She would attend her mother's recording studio sessions, which ultimately solidified that she wanted to be a star while hoping her mom never found out until she was 18. In her latest interview conducted by Tyra Banks for Sports Illustrated, she said:"I wanted to be perfect to her. I was practicing since I was, like, 7. And then when I got in high school, I was like, 'No, I'm not gonna tell her yet.' But she would have these CDs laying around the house -- like, instrumentals -- and I would take 'em in my room, and I would take the beats and write to 'em in my room. And she would say, 'Megan, have you seen my CDs?' And I was like, 'No. What are you talking about?'"
But when she got to college, she began to pursue music seriously, which she knew she had to come clean about to her mom.
"So I finally came to her. I might have been 20, and I was like, 'I can rap.' And she was like, 'No, you can't.' And I was like, 'Yes, I can.' And she was like, 'Let me hear it. And I was like, 'OK Mama, don't whoop me, but I'm 'bout to curse, OK?' So I started going off and I'm cursing and she's like [gasps], 'Where did you learn all those words?!' .... And she said, 'You're not coming out until you're 21.'"
As soon as 21 hit, Meg released her debut single "Like a Stallion" and went on to release a numerous of SoundCloud mixtapes. In 2018, she signed to the Houston-based label 1501 Entertainment, released her Tina Snow EP, and broke out as a true powerhouse.
And three Grammy wins later, the rest is hot girl shit, history
Meg has spoken about her mother numerous times in the past, once telling Marie Claire that she credits her mother for introducing her to hip-hop. In fact, Meg would witness her mother, who was a bill collector, work on her career around her 9-5 schedule.
"I would see her fit in writing after work and before work. I'm used to seeing that work ethic."
Holly was a part of the Screwed Up Click, a big collective in Houston, and she released music from 2001-2007. One of her biggest hits was a single dedicated to DJ Screw, the leader of the Screwed Up Click, and if you know the history of Houston music, that's huge! Unfortunately, two weeks after the passing of Meg's grandmother in 2019, her mom passed as well, which Meg never publicly took the time to mourn about. She was back on tour a day after the funeral.
She told FADER:
"No matter what I'm going through, I still want to keep going. Just to show people you can still be strong and you can still face your everyday life. Even when everything coming down on you. I didn't cancel none of my shows 'cause I just knew — I know — how my momma is, and I know she wouldn't want me to stop."
She get it from her mama.
Watch the hot tub interview with Tyra below:
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