In a recent publicized video titled “Comparing Rumors: Then and Now,” Ashley from Ashley Say So revisits a video she released two and a half years ago, originally for members only.

She decided to make it public amidst a swirl of accusations, allegations, conspiracy theories, and rumors surrounding the music industry mogul Clive Davis.

Ashley aims to juxtapose the rumors circulating about Davis then with those of the present day, inviting viewers to share their opinions on these speculations.

Prefacing the video with a disclaimer, Ashley clarifies that the content is based on gossip, rumors, and speculation found online, in magazines, and other sources.

She emphasizes that viewers should approach the information with skepticism, as it is not verified.

With this cautionary note, Ashley delves into the murky waters of the 1980s music scene.

Particularly focusing on Davis’s interactions with legendary singer Whitney Houston.

The video recounts a narrative where Davis allegedly pushed Houston into a disastrous tour despite her reluctance and vocal concerns.

Following a poorly received performance, rumors suggest Davis saw Houston as a liability to his financial interests and subsequently facilitated her descent into drug addiction.

Shockingly, some even allege Davis’s involvement in orchestrating Houston’s demise, citing sinister motives linked to financial gain from her death.

The most chilling speculation revolves around Davis being implicated as a covert orchestrator of deaths in the music industry.

Dubbed the “Grim Reaper,” Davis is purportedly accused of arranging hits on individuals for financial or strategic gain, with Whitney Houston’s tragic demise serving as a prime example.

Further fueling the conspiracy theories are the untimely deaths of other artists associated with Davis, including Janis Joplin and Rob Pilatus of Milli Vanilli.

Pilatus’s alleged disclosures about the manipulation of their music and his claims of signing a “blood contract” with Davis before his own tragic end add a layer of intrigue to the narrative.

Ashley’s video sheds light on the darker undercurrents of the music industry, where power, greed, and manipulation intertwine.

While presented as conjecture and hearsay, the allegations against Davis paint a disturbing picture of a man wielding immense influence behind the scenes, capable of orchestrating life and death for personal gain.

However, it’s essential to approach such claims with skepticism and critical thinking.

Without concrete evidence, they remain speculative and should not be taken as fact.

Nevertheless, they underscore the public’s fascination with the hidden machinations of the entertainment world and the potential consequences of unchecked power.

As Ashley’s video sparks conversations and debates, it serves as a reminder of the need for transparency and accountability in the music industry.

While rumors may abound, discerning truth from fiction requires careful scrutiny and a willingness to challenge prevailing narratives.

Only then can the industry move towards a future where integrity and creativity thrive, free from the shadows of speculation and doubt.