In a revelation that’s sending shockwaves through the entertainment industry, Reginae Carter, the 27-year-old daughter of rap icon Lil Wayne, has opened up about how a controversial lyric from over 15 years ago cost her a major opportunity with Disney. The offending line? Not from her father, but from Young Money president Mack Maine on the 2009 hit “Every Girl”: “In about three years, holla at me, Miley Cyrus.”

Carter dropped the bombshell during a candid conversation on her podcast *Heir Time*, where she sat down with Azzy Milan, daughter of Fat Joe. The two second-generation stars were discussing the unique pressures of growing up with famous rapper fathers when Carter shared how family associations can close doors as quickly as they open them.

“Because of who my dad is, they’re going to put that on me,” Carter explained. “Even with the Disney Channel, my uncle had a song that said, ‘In about three years, holla at me Miley Cyrus.’ I wanted to do something for Disney. Couldn’t.” She and Milan shared a laugh before agreeing in unison: “Disney don’t play.”

The lyric in question comes from Young Money’s breakout single “Every Girl,” a boastful anthem featuring Lil Wayne, Drake, Jae Millz, Gudda Gudda, and Mack Maine. At the time of the song’s release in 2009, Miley Cyrus—then the wholesome star of Disney’s *Hannah Montana*—was just 16 or 17 years old. Maine’s line, implying he’d pursue her romantically once she turned 18, was one of many provocative bars on the track, but it stood out for its direct reference to a teenage Disney icon.

Critics at the time called it inappropriate, and the controversy only grew when old tweets from Maine resurfaced in recent years. Posts from 2009 and beyond showed him referring to Cyrus as “my babygirl,” counting down to her 18th birthday, and commenting on her appearance. Though Maine has never publicly addressed the backlash in depth, the lyrics and tweets painted a picture that clashed sharply with Disney’s family-friendly brand.

For Reginae Carter, who was around 11 when the song dropped, the fallout came years later as she pursued her own career in entertainment. Growing up in the spotlight as Lil Wayne’s eldest child, Carter has dabbled in acting, music, and reality TV, appearing on shows like *Growing Up Hip Hop: Atlanta*. But a potential Disney project—details of which she kept vague—evaporated due to her ties to Young Money.

Carter refers to Mack Maine affectionately as her “uncle,” a common term in hip-hop circles for close family friends and business associates. As president of Young Money Entertainment, the label founded by her father in 2005, Maine has been a fixture in her life. Yet that proximity proved to be a double-edged sword. Disney, known for its strict image guidelines and zero-tolerance policy for anything that could be seen as endorsing inappropriate behavior toward minors, reportedly viewed the association as too risky.

The story highlights a harsh reality in Hollywood: guilt by association. Reginae had nothing to do with the lyric—she was a child herself when it was recorded. Yet executives apparently worried that partnering with her would invite scrutiny over Young Money’s past, especially given the direct mention of one of their former flagship stars, Miley Cyrus.

Fans and industry observers have been stunned by the revelation, with many pointing out the irony. Miley Cyrus herself transitioned from Disney darling to provocative pop rebel, embracing a more adult image that included twerking, controversy, and boundary-pushing performances. By 2012, she even playfully tweeted at Mack Maine, calling him “sooooo damn cute.” But in 2009, during the height of *Hannah Montana* mania, the line crossed a line for the Mouse House.

Social media erupted after clips from the podcast went viral. “It’s wild how one bar from 2009 is still affecting lives in 2026,” one fan tweeted. Others defended Disney’s caution: “They protect their brand fiercely—remember all the strict contracts for their stars back then?” Some expressed sympathy for Carter: “She’s completely innocent here. A dream gig gone because of something she didn’t say or do.”

The incident also reignites conversations about hip-hop’s edgy lyrics from the late 2000s and early 2010s, an era when shock value and explicit content dominated. Tracks like “Every Girl” were massive hits, propelling Young Money to superstardom and launching Drake’s career. But in today’s more scrutinized cultural landscape, old verses are frequently resurfaced, leading to cancellations, apologies, or—in this case—collateral damage for bystanders.

Reginae Carter has handled the setback with grace, using it as an example of the assumptions placed on children of celebrities. On *Heir Time*, she emphasized how people expect her to rap like her father, overlooking her own path in acting and entrepreneurship. Despite the Disney door closing, Carter has built a multifaceted career, including brand partnerships, authorship, and her thriving podcast.

Mack Maine has not responded to Carter’s comments as of press time, and Disney has declined to comment on past casting decisions. Lil Wayne, ever protective of his daughter, has stayed silent on the matter publicly.

This Hollywood shocker serves as a reminder that in the entertainment world, the past is never truly buried. One lyric, dropped casually in a studio session over a decade ago, resurfaced to rewrite a young woman’s future—proving that for nepo babies and industry newcomers alike, family ties can be both a blessing and a curse.

As Reginae continues to carve her own lane, fans are left wondering: How many other opportunities have been lost to ghosts from hip-hop’s wilder days? In an industry obsessed with image, innocence doesn’t always guarantee a clean slate.