Related: Morgan Wallen’s Ups and Downs Throughout His Career Over the Years
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Morgan Wallen is speaking out. The country star took a break from some well-deserved time off to let fans know about an alleged new music drop that was never meant to be.
“I’m writing y’all from a duck hunting trip because I want to fill you in on something happening tonight,” Wallen, 30, wrote via Instagram on Thursday, January 25. “Back in 2014, I went to Florida to try my hand at making original music & songwriting for the first time. This led to a recording deal with a local investor and an artist management deal that I deeply regret. Unfortunately, I signed both deals without any legal representation.”
Wallen claimed that he didn’t have full creative control over the 13 songs he made during that time, saying, “Some were ok, most were terrible.” He noted that only five of those tracks made it to his debut EP, Stand Alone, including fan-favorite “Spin You Around.”
The “Last Night” singer went on to allege that those collaborators planned to release the music without his permission.
“Tonight, those colleagues I parted ways with almost 10 years ago plan to release a ‘10th anniversary’ edition of Stand Alone against my wishes and include eight unreleased songs, distributing them with the assistance of my former managers,” he continued. “For months I’ve been exploring every avenue possible to acquire the rights to this old music and keep the quality of my catalog consistent with songs I choose to release & believe in.”
In response to the release, Wallen is dropping new music of his own. The “Seven Summers” singer will release “Spin You Around (1/24)” at midnight on Friday, January 26. The drop appears to be a last-minute reaction, as Wallen admits, “I did the artwork myself while in the woods duck hunting.”
Wallen is also putting his money where his mouth is. He’s pledged to donate $100,000 from the Morgan Wallen Foundation to the Volunteer Lawyers and Professionals for the Arts (VLPA) program in an attempt to keep this from happening to other new artists.
“I hope young aspiring musicians read this story and know they should never have to give up their creative freedoms for an opportunity in this business,” he said.
Wallen, who calls the alleged episode “gross, greedy and an example of how the dark side of the music business can suck the soul out of artists,” wants his fans to know this music is not part of his next era. “Trust me, when new music is ready, you’ll hear it directly from me,” he said.
New music is not the only breaking news to come out of the Wallen camp today. Earlier this morning, it was announced that Wallen and fellow country star Eric Church had acquired Field and Stream magazine and plan to relaunch the beloved outdoorsman’s brand as a print magazine, website and apparel company alongside plans for a live music festival.
It’s a fitting new gig for a man who released a statement about leaked music from a duck hunting expedition.
Mike Coppola/Getty Images for CMT Morgan Wallen is speaking out. The country star took a break from some well-deserved time off to let fans know about an alleged new music drop that was never meant to be. “I’m writing y’all from a duck hunting trip because I want to fill you in on something happening
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Starkville, Mississippi — The viral rise of 4-year-old LaR’iyah Jesireé, better known as “Ms. Shirley,” has captivated millions on TikTok and Instagram. But as her fame grows, so too does a wave of public concern—particularly over her appearances at meet-and-greet events attended by adults, including grown men, raising urgent questions about child safety, parental responsibility, and the blurred boundaries of social media stardom.
Ms. Shirley’s infectious line dances, especially her signature “Boots on the Ground” routine, have made her a household name in the world of social media. With over a million followers and appearances on national television, she’s become a symbol of youthful talent and joy.
But behind the viral videos lies a controversy that has split public opinion. Critics argue that the very events fueling her fame—public meet-and-greets, often at venues not designed for children—expose her to adult environments and attention that are inappropriate for someone her age.
Latisha Tucker, Ms. Shirley’s mother, has not shied away from the criticism. She maintains that her daughter’s appearances are carefully managed and that the backlash is fueled by outsiders who misunderstand their intentions. Tucker has publicly stated that any earnings from Ms. Shirley’s fame will be set aside for her future, and insists that her daughter is simply “being a kid like any other kid.” Still, she acknowledges that the scrutiny comes with the territory of internet celebrity.
The uproar over Ms. Shirley’s meet-and-greets is part of a larger debate about the responsibilities of parents who share their children’s lives online, the adequacy of social media safeguards, and the potential for exploitation in the pursuit of viral fame. As platforms like TikTok continue to blur the lines between childhood and celebrity, the story of Ms. Shirley stands as a flashpoint—one that forces parents, platforms, and audiences alike to confront uncomfortable questions about where to draw the line.
Issue | Description |
---|---|
Adult Attendance at Events | Grown men and other adults present at meet-and-greets, sparking safety concerns |
Parental Oversight | Debate over whether Ms. Shirley’s mother is protecting or exploiting her child |
Child Safety | Reports to CPS and public calls for better safeguards for young social media stars |
Online Division | Fans celebrate her talent, critics warn of long-term risks and inappropriate exposure |
As Ms. Shirley’s star continues to rise, so does the scrutiny. For now, her story remains a cautionary tale at the intersection of childhood, celebrity, and the unpredictable power of the internet.
Nicki Minaj has once again set social media ablaze, this time targeting Jay-Z with a series of pointed tweets that allege he owes her an eye-popping $200 million. The outburst has reignited debates about artist compensation, industry transparency, and the ongoing power struggles within hip-hop’s elite circles.
In a string of tweets, Minaj directly addressed Jay-Z, writing, “Jay-Z, call me to settle the karmic debt. It’s only collecting more interest. You still in my top five though. Let’s get it.” She went further, warning, “Anyone still calling him Hov will answer to God for the blasphemy.” According to Minaj, the alleged debt stems from Jay-Z’s sale of Tidal, the music streaming platform he launched in 2015 with a group of high-profile artists—including Minaj herself, J. Cole, and Rihanna.
When Jay-Z sold Tidal in 2021, Minaj claims she was only offered $1 million, a figure she says falls dramatically short of what she believes she is owed based on her ownership stake and contributions. She has long voiced dissatisfaction with the payout, but this is the most public—and dramatic—demand to date.
Minaj’s Twitter storm wasn’t limited to financial complaints. She also:
She expressed frustration that mainstream blogs and platforms don’t fully cover her statements, especially when they involve Jay-Z, and suggested that much of the coverage she receives is from less reputable sources.
Minaj’s tweets took a satirical turn as she jokingly blamed Jay-Z for a laundry list of cultural grievances, including:
She repeatedly declared, “The jig is up,” but clarified that her statements were “alleged and for entertainment purposes only.”
Minaj also criticized Jay-Z’s political involvement, questioning why he didn’t campaign more actively for Kamala Harris or respond to President Obama’s comments about Black men. While Jay-Z has a history of supporting Democratic campaigns, Minaj’s critique centered on more recent events and what she perceives as a lack of advocacy for the Black community.
Adding another layer to her grievances, Minaj voiced disappointment that Lil Wayne was not chosen to perform at the Super Bowl in New Orleans, a decision she attributes to Jay-Z’s influence in the entertainment industry.
Despite the seriousness of her financial claim, many observers note that if Minaj truly believed Jay-Z owed her $200 million, legal action—not social media—would likely follow. As of now, there is no public record of a lawsuit or formal complaint.
Some fans and commentators see Minaj’s outburst as part of a larger pattern of airing industry grievances online, while others interpret it as a mix of personal frustration and performance art. Minaj herself emphasized that her tweets were “for entertainment purposes only.”
Nicki Minaj’s explosive Twitter rant against Jay-Z has once again placed the spotlight on issues of artist compensation and industry dynamics. Whether her claims will lead to further action or remain another dramatic chapter in hip-hop’s ongoing soap opera remains to be seen, but for now, the world is watching—and tweeting.
YouTube’s latest policy update, effective July 15th, has sent shockwaves through the AI and faceless channel community. Social media is buzzing with claims that “AI channels are dead,” while others express relief or confusion. If you’re a YouTube creator using AI, you might be wondering: Is this the end, or just another evolution? Here’s what you need to know—and how you can adapt to thrive in this new landscape.
YouTube’s update targets mass-produced, repetitive, and low-effort content—not AI itself. The company clarified that these rules are not new but are being enforced more strictly with improved detection tools. The main focus is on content that:
YouTube’s response to creators’ concerns emphasized that AI is not banned, but unoriginal, spammy content is—and always has been—ineligible for monetization.
Channels most affected by this update typically:
Examples include “revenge story” channels or those uploading unedited compilations and meditation tracks without original contributions. Such channels are now more likely to lose monetization or face removal.
YouTube aims to:
This approach aligns with long-standing YouTube Partner Program policies and legal doctrines like fair use, which require transformative use of source material.
YouTube is not against AI. In fact, Google (YouTube’s parent company) invests heavily in AI tools. The key is to use AI as a creative assistant, not a replacement for originality. Here’s what successful channels do:
This policy update isn’t the end of AI channels—it’s the end of low-effort, easily automated content. If you’re committed to creating genuine value, using AI as a tool (not a crutch), and building a real brand, you’re not just safe—you’re set up for long-term success on YouTube.
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