Not His Prerogative: Bobby Brown Blasts Britney's Cover of His Hit

Mia Reynolds, 4/17/2025Bobby Brown slammed Britney Spears' cover of "My Prerogative," believing it butchered his classic hit. While he approved the cover thinking Teddy Riley was involved, it was actually produced by Bloodshy & Avant. Both versions have carved out their own success, igniting a conversation on artistic legacy and interpretation.

"Britney Spears butchered Prerogative," Brown declared, his words landing like a bombshell in the typically diplomatic realm of artist relations. The Grammy winner's blunt assessment comes with an amusing twist, though — he'd apparently given the green light to the cover under the mistaken belief that his original collaborator, Teddy Riley, was producing it. (Spoiler alert: He wasn't.)

Here's where things get interesting. While Brown thought Riley was behind the boards, the actual architects of Spears' version were Swedish production duo Bloodshy & Avant. Talk about a case of musical telephone gone wrong.

The tale of these two versions reads like a study in contrasts. Brown's original — a defiant middle finger to critics questioning his New Edition exit — dominated the Billboard Hot 100 and helped define the New Jack Swing era. Fast forward to 2025, and those numbers still pack a punch: 77.2 million Spotify streams and 66 million YouTube views suggest the original's staying power isn't going anywhere.

Spears' take? Well, it carved out its own peculiar niche. While it might not have set American charts ablaze, the pop rendition found plenty of love overseas, topping charts across Europe — Finland, Ireland, Italy, and Norway all fell for her reimagining. With 53 million Spotify streams and 51 million YouTube views, it's hardly the flop Brown's comments might suggest.

The timing of this musical dust-up feels somehow fitting. Brown's grown increasingly protective of his legacy, now insisting on hearing potential covers before giving his blessing. Meanwhile, Spears continues her post-conservatorship renaissance, riding high on the success of "Hold Me Closer" with Elton John — a platinum-selling collaboration that peaked at No. 6 on the Hot 100.

Speaking of Spears, Universal Pictures seems pretty confident in her enduring appeal. They've just shelled out serious cash (we're talking low eight figures) for the rights to both her memoir "The Woman In Me" and her music catalogue. With "Wicked" director Jon M. Chu at the helm of her upcoming biopic, it seems the studio's betting big on the princess of pop's cultural staying power.

The whole situation raises some fascinating questions about artistic interpretation and ownership. Brown's newfound caution about covers ("These kids say some s*** that you don't want your song associated with") reflects a broader conversation about legacy and control in today's rapidly evolving music landscape. Maybe it's less about who "butchered" what, and more about how different generations reinterpret the classics — for better or worse.

Bobby Brown's recent takedown of Britney Spears' "My Prerogative" cover has sparked quite a stir in the music world. During a candid chat on Club Shay Shay with Shannon Sharpe, the R&B veteran didn't exactly sugarcoat his feelings about the pop star's 2004 interpretation of his signature hit."Britney Spears butchered Prerogative," Brown declared, his words landing like a bombshell in the typically diplomatic realm of artist relations. The Grammy winner's blunt assessment comes with an amusing twist, though — he'd apparently given the green light to the cover under the mistaken belief that his original collaborator, Teddy Riley, was producing it. (Spoiler alert: He wasn't.)Here's where things get interesting. While Brown thought Riley was behind the boards, the actual architects of Spears' version were Swedish production duo Bloodshy & Avant. Talk about a case of musical telephone gone wrong.The tale of these two versions reads like a study in contrasts. Brown's original — a defiant middle finger to critics questioning his New Edition exit — dominated the Billboard Hot 100 and helped define the New Jack Swing era. Fast forward to 2025, and those numbers still pack a punch: 77.2 million Spotify streams and 66 million YouTube views suggest the original's staying power isn't going anywhere.Spears' take? Well, it carved out its own peculiar niche. While it might not have set American charts ablaze, the pop rendition found plenty of love overseas, topping charts across Europe — Finland, Ireland, Italy, and Norway all fell for her reimagining. With 53 million Spotify streams and 51 million YouTube views, it's hardly the flop Brown's comments might suggest.The timing of this musical dust-up feels somehow fitting. Brown's grown increasingly protective of his legacy, now insisting on hearing potential covers before giving his blessing. Meanwhile, Spears continues her post-conservatorship renaissance, riding high on the success of "Hold Me Closer" with Elton John — a platinum-selling collaboration that peaked at No. 6 on the Hot 100.Speaking of Spears, Universal Pictures seems pretty confident in her enduring appeal. They've just shelled out serious cash (we're talking low eight figures) for the rights to both her memoir "The Woman In Me" and her music catalogue. With "Wicked" director Jon M. Chu at the helm of her upcoming biopic, it seems the studio's betting big on the princess of pop's cultural staying power.The whole situation raises some fascinating questions about artistic interpretation and ownership. Brown's newfound caution about covers ("These kids say some s*** that you don't want your song associated with") reflects a broader conversation about legacy and control in today's rapidly evolving music landscape. Maybe it's less about who "butchered" what, and more about how different generations reinterpret the classics — for better or worse.