In recent interviews, R&B singer Jaguar Wright has leveled serious allegations against prominent figures in the music industry, specifically Clive Davis.

Sean “Diddy” Combs, and Jay-Z. Wright, known for her powerful vocals and collaborations with artists like Jay-Z, has publicly criticized these music moguls, accusing them of exploitation, manipulation, and unethical practices within the industry.

Her claims include allegations of financial gain from deceased artists’ estates, control over artists’ lives and careers, and even mistreatment of the late Whitney Houston and her daughter, Bobbi Kristina.

Wright began by criticizing the recent trend of posthumous documentaries and projects about Whitney Houston. She alleged that these films are less about honoring Houston’s legacy and more about generating profits for those who control her estate, particularly Clive Davis.

According to Wright, Davis maintained a tight grip on Houston’s career, exerting control over her life to an extent that, as she put it, turned Houston into a “living doll.” She argued that this control went beyond a manager-artist relationship and ventured into something far more personal and invasive.

Jaguar Wright has not only focused on Clive Davis’s alleged exploitation of Houston but has also brought up disturbing accusations regarding how she claims Davis treated her and her ex-husband. She alleged that Davis hit on her husband during a party, a behavior that Wright feels reflects a broader pattern of disrespect and disregard for personal boundaries.

She also accused Davis of surrounding himself with black female artists, not just to build their careers, but to satisfy his own personal desires to immerse himself in the culture.

Wright’s accusations go further, implicating Davis, Diddy, and Jay-Z in what she described as “evil compliance” in the entertainment industry. She accused them of fostering environments that promote drug misuse and exploitation, particularly within the context of Houston’s struggles with addiction. According to Wright, Ray J—another person close to Houston—was allegedly present during some of her final moments and supposedly facilitated Houston’s access to substances shortly before her death.

Wright even alluded to the possibility of foul play, insinuating that those who had financial stakes in Houston’s career may have been complicit in her downfall, if not her death.

In addition to her claims about Whitney Houston, Wright alleged that Clive Davis has a “secret collection” of tapes he uses to intimidate and manipulate artists under his label.

She speculated that these tapes might serve as leverage against artists, creating a system where artists feel beholden to him. This, she believes, reinforces a culture of fear and dependency within the industry. Wright called Davis a “devil worshipper” and suggested he belongs to a cult-like system that wields influence over artists’ lives.

Jaguar Wright’s claims about Diddy are equally serious. She accused him of encouraging detrimental behavior in the industry, particularly among young artists. Although she did not provide specific details, she criticized his rise to power and alleged that his influence allowed harmful practices to spread unchecked. Wright suggested that individuals like Diddy prioritize power and profit over the well-being of artists, creating a toxic culture that affects the entire industry.

Wright also hinted that Davis may be working on yet another Whitney Houston documentary, a project she believes will further exploit Houston’s memory for profit. She urged fans not to support such projects, arguing that the proceeds are going to individuals who profited from Houston’s struggles in life.

Wright ended her remarks by revealing that she has been followed in recent weeks by individuals she suspects may be connected to Clive Davis. She stated that if anything were to happen to her, people should look to him as the one responsible. Claiming to have insider knowledge of Davis’s “dirty secrets,” she warned that he has reasons to fear her outspokenness and expressed a willingness to accept any consequences for speaking out.

Wright’s statements have reignited conversations about power dynamics in the music industry and the treatment of artists, particularly black female artists, within it.

While her allegations remain unverified, they underscore a long-standing critique of the industry’s tendency to prioritize profit over the well-being of its stars. Her comments have raised concerns over whether sufficient protections are in place for artists and whether the current industry power structure allows certain influential individuals to act without accountability.