Houston-based rapper and singer Just Brittany, born Brittany Bullock, has publicly rejected a $10,000 single deal from hip-hop mogul Rick Ross. Her decision revelations, shared in a recent interview, have ignited a critical conversation about the intersection of business and personal relationships, particularly for female artists navigating a male-dominated industry.
Just Brittany is no stranger to the challenges of the music business. Emerging from Houston’s Fifth Ward, she first gained recognition in 2010 with her single “Call Me for That Good,” which peaked at number 89 on the R&B charts. Her subsequent singles, “Slumber Party” and “Color,” both reached number 82, solidifying her place in the industry.
Beyond music, she has demonstrated her entrepreneurial spirit by founding the swimwear company Wet By BB, showcasing her ability to generate income independently. A high school valedictorian, Just Brittany’s analytical mindset has been a key factor in her strategic career decisions, including her recent rejection of Rick Ross’s offer.
Just Brittany’s relationship with Rick Ross began in 2017 during her appearance on VH1’s reality series Signed, where music executives, including Ross, competed to sign new talent. Ross, representing Maybach Music Group, quickly took notice of Just Brittany, but his interest soon blurred the lines between professional mentorship and personal attraction. In a candid admission on the show, Ross acknowledged giving her “special treatment” because of her attractiveness, stating,
“I may have given Brittany special treatment… she was attractive… I showed up, you know, a little extra love.”
This confession, now resurfacing in light of Just Brittany’s allegations, highlights the problematic dynamics that can arise when personal interests overshadow professional ones.
Following the show, Just Brittany traveled to Ross’s residence to record music, reportedly completing “a whole project.” Despite the effort, none of the songs were ever released, raising questions about the true nature of their collaboration. This pattern of unreleased material following personal involvement would later influence her decision to reject the contract offer.
The $10,000 single deal offered by Maybach Music Group came with what Just Brittany perceived as inappropriate expectations. In her interview, she starkly compared the contract amount and a Chanel purse Ross had previously gifted her, also valued at $10,000.
“You bought me a Chanel purse that was about $10,000… so why would I sign to a label and you talking about you giving me $10,000? You should have just thrown me that like you did with the purse,”
She said.
Perhaps the most explosive part of Just Brittany’s revelation is her claim that record executives often use signing opportunities as pretexts for sexual advances.
“People be saying they want to sign you, but they want to fuck you,”
She stated bluntly. Her allegations suggest a systematic pattern of exploitation, where rejection of one executive’s advances can lead to broader industry retaliation.
“If you don’t give them what they want, it’ll be them, then it’ll be the DJ, or then it’ll be the friend—everybody tries to hit you in different ways,”
She explained.
Brittany’s experience exemplifies the broader power imbalances that female artists face in the music industry. Record label executives, producers, and other predominantly male gatekeepers influence artists’ careers, controlling access to resources, distribution, and marketing. This control can create environments where personal and professional boundaries are dangerously blurred, and artists may feel pressured to tolerate inappropriate behavior to advance their careers.
Rick Ross’s admission of giving “special treatment” based on physical attraction further illustrates how subjective factors can influence business decisions, undermining the legitimacy of female artists’ achievements. Such dynamics not only exploit artists but also perpetuate a culture where sexual harassment is normalized.
Despite rejecting the deal, Just Brittany has continued to thrive independently. Since her signed appearance, she has released albums like I’m Not a Rapper (2018) and The Gemini in Me (2022), and recently collaborated with established artists like Boosie Badazz. Her ability to secure such collaborations—by directly approaching Boosie for a feature—demonstrates her resilience and networking skills.
While the long-term impact of her revelations remains to be seen, Just Brittany’s willingness to speak out may inspire other female artists to share their experiences, potentially leading to greater accountability in the industry. However, the music world’s tight-knit networks and history of retaliation against whistleblowers mean she could face backlash. Still, her established independence and fan base offer her some protection.