Plies vs. Megan Thee Stallion, GloRilla, Cardi B, and Soulja Boy: A Major Copyright Battle in Hip-Hop
In a move that has rocked the hip-hop community, rapper Plies has filed a lawsuit against four major artists—Megan Thee Stallion, GloRilla, Cardi B, and Soulja Boy—accusing them of copyright infringement. The legal action, filed in November 2024, centers on Plies’ 2008 track "Me & My Goons,"which he claims has been illegally sampled by several prominent artists in the years following its release. While the legal battle is still unfolding, this case raises important questions about intellectual property, the line between influence and theft in music, and the ever-evolving relationships between artists in hip-hop.
Plies, best known for his Southern rap hits, is suing Soulja Boy for allegedly taking the intro of his song "Me & My Goons" for his 2010 hit "Pretty Boy Swag." However, the lawsuit doesn't stop there. Plies also targets GloRilla for using a similar chord structure in her 2024 track "Wanna Be," which saw significant commercial success. Megan Thee Stallion, who is featured on a remix of "Wanna Be," and Cardi B, who added a verse to the remix, are also named in the suit. According to the rapper, these artists are profiting off of a beat that he claims to have pioneered, a claim that puts them in the crosshairs of one of the industry’s most high-profile copyright battles (Ocho; XXL).
The Heart of the Lawsuit: The "Infrared Countdown Beat"
At the core of Plies' lawsuit is the “infrared countdown beat” he believes was popularized in "Me & My Goons." The beat, with its distinctive, almost cinematic feel, has been a point of pride for Plies, as he believes it helped define the sound of Southern rap during the late 2000s. In his legal documents, Plies argues that Soulja Boy, who was at the forefront of the “Snap Music” movement during that time, lifted this very beat for his own track "Pretty Boy Swag," released in 2010. For Plies, this was the beginning of what he perceives as a pattern of artistic theft (Ocho).
The lawsuit claims that GloRilla's hit single "Wanna Be" also borrowed elements of this iconic beat. In fact, GloRilla’s song, featuring Megan Thee Stallion and Cardi B on the remix, went on to achieve massive chart success, peaking at No. 11 on the Billboard Hot 100. This success, which Plies believes was made possible by the stolen beat, is central to his argument. The fact that three major artists—Megan, GloRilla, and Cardi—have all worked with this beat seems to support Plies’ claim that his creative work was not properly acknowledged or compensated (XXL).
Soulja Boy: The First Alleged Offender
While the case is primarily focused on GloRilla and Megan Thee Stallion’s use of the beat, the inclusion of Soulja Boy is notable. Soulja Boy was an early adopter of viral trends, and his influence on hip-hop in the early 2010s is undeniable. However, Plies argues that Soulja Boy's success with "Pretty Boy Swag"was built on a sample that had not been cleared or attributed to its original creator. For Plies, Soulja’s use of the beat represents a broader issue in the music industry where young artists, particularly those influenced by Southern hip-hop, have borrowed from earlier works without acknowledging the creators who came before them (TMZ).
The inclusion of Soulja Boy in the lawsuit has sparked a wave of conversation about the role of sampling in hip-hop. Sampling, which involves taking a portion of a previously recorded song and reusing it in a new track, has been a staple of hip-hop culture since its inception. But where is the line between artistic homage and intellectual theft? Plies seems to argue that his work, especially the unique elements he brought to his 2008 track, was misused without his permission. This, in his view, is not just a matter of artistic influence—it’s a violation of copyright law (Ocho; XXL).
GloRilla and Megan Thee Stallion: The Remix Dilemma
What makes this case especially complex is the involvement of two of the biggest names in modern rap: Megan Thee Stallion and GloRilla. Both have massive followings and have proven to be trailblazers in their own right. GloRilla’s "Wanna Be" became one of the most popular tracks of 2024, cementing her place in the mainstream. Meanwhile, Megan Thee Stallion, who remains one of the most influential female artists in the game, added fuel to the fire with her own remix featuring Cardi B. This remix became an even bigger hit, earning a place in the top 20 of the Billboard Hot 100 (XXL).
For Plies, this scenario raises an interesting question: at what point does an artist’s influence become exploitation? If these newer artists were inspired by the beat from "Me & My Goons," is it fair to accuse them of theft? Or is the line between inspiration and infringement too blurry to draw? Some may argue that hip-hop’s culture thrives on the blending of past and present, where artists build on the legacies of those who came before them. But others might contend that when a specific element of a song—like a beat—becomes so iconic, it deserves protection (Ocho).
The Bigger Picture: Who Owns Hip-Hop?
This lawsuit also invites broader conversations about ownership in hip-hop and the tension between innovation and imitation. Hip-hop, particularly in its early years, was built on the idea of remixing and borrowing sounds from a variety of genres. But as the genre matures and becomes more commercially viable, questions about intellectual property have become more prominent. Can an artist claim ownership over a specific sound or beat that is common in the culture? And what happens when that sound is used by multiple artists in different ways? (TMZ).
The lawsuit may also shine a light on the challenges smaller or older artists face in protecting their work in an era of rapid digital sharing and streaming. With the power of platforms like TikTok and YouTube, a song can become a viral sensation overnight, but it also exposes songs to being sampled or remixed without proper compensation. Plies’ case may be an effort to ensure that creators are not left behind as the industry evolves (XXL).
Conclusion: A Case to Watch
As this lawsuit progresses, it will undoubtedly continue to spark debates about copyright, creativity, and the nature of collaboration in hip-hop. While Plies’ motivations for filing the suit may be clear, the implications of his victory—or failure—could reshape how artists approach the art of sampling and remixing.
In the end, one thing is certain: hip-hop, as an ever-evolving genre, will have to reckon with how it balances respect for artistic legacy and the free exchange of ideas in a digital age. Will this lawsuit set a new precedent for how beats and sounds are protected in the future? Only time will tell (Ocho).
Cited Sources:
Ocho, Alex. "Plies Sues Megan Thee Stallion, Glorilla, Soulja Boy Over Copyright Infringement." Complex, 6 Nov. 2024, www.complex.com/music/a/alex-ocho/plies-lawsuit-megan-thee-stallion-glorilla-soulja-boy. Accessed 6 Nov. 2024.
"Plies Sues Cardi B, Megan Thee Stallion, Glorilla, and Soulja Boy for Copyright Infringement." XXL, 6 Nov. 2024, www.xxlmag.com/plies-sues-cardi-b-megan-thee-stallion-glorilla-and-soulja-boy-copyright-infringement/. Accessed 6 Nov. 2024.