A significant copyright dispute in the hip-hop community has taken an unexpected turn as rapper Plies has voluntarily withdrawn his lawsuit against four prominent artists. The legal action against Megan Thee Stallion, GloRilla, Cardi B, and Soulja Boy alleged unauthorized sampling of his 2008 track in a recent hit collaboration.
Court documents reveal Plies dismissed the case “without prejudice” in California Federal Court on March 13, preserving his right to potentially refile the claims in the future. The abrupt conclusion to what could have been a lengthy legal battle has raised questions throughout the music industry about sampling practices and the timing of copyright enforcement.
The original accusations
The dispute centered on GloRilla’s track “Wanna Be,” which features Megan Thee Stallion and contains elements that Plies claimed originated from his 2008 song “Me and My Goons.” According to the original lawsuit filed in November 2024, Plies alleged that Soulja Boy first sampled his work without permission in the 2010 hit “Pretty Boy Swag.”
The legal complaint further stated that Soulja Boy later authorized GloRilla to use elements from “Pretty Boy Swag” for “Wanna Be,” resulting in Soulja Boy receiving songwriting credit and presumably compensation. Plies maintained he received neither attribution nor financial benefit despite being the original creator of the sampled material.
Court filings indicated that representatives for Plies had previously contacted the defendants regarding the alleged infringement. The lawsuit claimed these communications did not result in any corrective actions such as proper crediting or compensation negotiations, which ultimately led to the legal filing.
Delayed legal action raises questions
The timing of the original lawsuit sparked considerable discussion within music industry circles. Despite claiming Soulja Boy first used his material in 2010, Plies waited approximately 14 years before pursuing legal action over the alleged copyright violation.
During this extended period, “Pretty Boy Swag” accumulated roughly 60 million views on YouTube and became established as a significant entry in hip-hop catalogs. The track has been referenced, sampled, and remixed multiple times throughout the past decade, potentially complicating any copyright claims.
Industry experts note that delayed enforcement can sometimes weaken copyright cases, as continued use without objection might be interpreted as implicit permission. However, copyright holders generally retain their fundamental rights regardless of enforcement timing, particularly when dealing with commercial usage.
The lengthy gap between the alleged initial infringement and legal action has never been fully explained by Plies or his representatives. Some music industry observers speculate that the more recent and commercially successful use in “Wanna Be” may have prompted fresh attention to the original sampling issue.
Legal implications of the withdrawal
The dismissal “without prejudice” carries specific legal significance in copyright disputes. This designation allows Plies to potentially reinstate the lawsuit at a later date should circumstances change or settlement negotiations outside the courtroom prove unsuccessful.
When initially filed, the lawsuit sought substantial remedies including a jury trial, actual damages, and profits attributable to the alleged contributory infringement. The complaint also requested a permanent injunction to prevent further distribution of the songs containing the disputed samples.
Court records indicate the case was formally closed on March 13, though no public statements from any parties involved have explained the reasoning behind the voluntary dismissal. The silence from all artists has fueled speculation about possible behind-the-scenes negotiations or reconsideration of the legal merits.
The case highlights the often murky nature of sampling rights in modern music production, where tracks frequently incorporate elements from multiple sources. The practice has created a complex legal landscape that artists and producers must navigate while balancing creative expression with intellectual property concerns.
Impact on the artists involved
For the defendants, the withdrawal provides immediate relief from what could have developed into a protracted and costly legal process. High-profile copyright cases in the music industry typically involve extensive evidence gathering, expert testimony, and detailed analysis of musical compositions.
Megan Thee Stallion and GloRilla, both at particularly active stages in their careers, can now continue promoting and performing “Wanna Be” without the cloud of ongoing litigation. The track has been a commercial success and remains in regular rotation on streaming platforms and radio stations.
Soulja Boy, who found himself in a unique position as both defendant and alleged intermediary in the sampling chain, avoids potential complications regarding his role in both using and later licensing the disputed material.
For Plies, the withdrawal preserves future options while potentially allowing time for private resolution attempts. The Florida-based rapper, known for hits like “Shawty” and “Hypnotized,” has maintained a consistent presence in hip-hop since his debut in the mid-2000s but has seen fluctuations in mainstream visibility.
Broader industry patterns
The case reflects recurring tensions in hip-hop regarding sampling, attribution, and compensation. The genre has historically embraced sampling as a fundamental creative technique, but the legal framework governing the practice has evolved significantly since hip-hop’s early days.
Current industry standards typically require clearing samples before commercial release, though practices vary widely. Major label releases generally undergo rigorous clearance processes, while independent productions sometimes operate with more ambiguity regarding sample permissions.
Digital production tools have further complicated matters by making it increasingly difficult to distinguish between recreated sounds and direct samples. Modern producers often create “interpolations” that reference earlier works without directly sampling them, creating additional gray areas in copyright enforcement.
Several high-profile sampling disputes have shaped current practices, including landmark cases involving artists such as Biz Markie, Jay-Z, and more recently, Robin Thicke and Pharrell Williams. These precedents have generally reinforced the need for proper clearance while establishing parameters for fair use considerations.
Future possibilities
While the immediate legal threat has subsided, the door remains open for several potential outcomes. Private settlements often follow voluntary dismissals in copyright cases, allowing parties to reach mutually acceptable terms without court intervention.
Such arrangements typically include financial compensation, proper crediting, and agreements regarding future distribution. These settlements frequently include confidentiality provisions that prevent public disclosure of specific terms, which may explain the current silence from all parties involved.
Alternatively, Plies may have withdrawn the case for strategic reconsideration or to address potential weaknesses in the original filing. Copyright cases involving musical compositions require substantial evidence regarding similarity and access, elements that sometimes become clearer after initial legal proceedings begin.
For now, the withdrawal represents a pause rather than a conclusion to the underlying dispute over sampling rights and proper attribution. The case serves as a reminder of the ongoing evolution of intellectual property concerns in an era where music creation increasingly involves building upon existing works.
The immediate result allows all five artists to return their focus to creative endeavors rather than legal proceedings, though the music industry will continue watching for any further developments in this unexpected copyright saga.
