Megan Thee Stallion rocks see-through underboob dress on red carpet
Rapper Megan Thee Stallion frocked up in a daring look for a red carpet event in Los Angeles over the weekend.
Megan wore an unusual sheer gown to the Gold House Gala in LA, an event held to honour Asian American and Pacific Islander leaders in the US.
The beaded gown had a thigh-high split, and a sheer middle section showing off the underside of the rapper's cleavage.
Inside the event, which has been dubbed the 'Asian Met Gala', Megan took to the stage to accept one of the night's biggest awards. She was given the 'One House' Honor, an award given each year to recognise a key 'cross-cultural ally'.
A keen anime fan, Megan Thee Stallion has frequently tipped her hat to Asian cultures in her music and imagery, most recently in the viral collaboration with Japanese rapper Yuki Chiba, Mamushi.
The red carpet outing comes after Megan Thee Stallion attended last week's Met Gala in New York – and promptly broke the exclusive event's one golden rule once she was inside.
Guests must adhere to a very strict no phones rule once inside the venue. Vogue describes the rule like this: 'In short: It's a secret. For this reason, guests must abide by the no phone (and therefore, no social media) policy.'
There are usually a few sneak rule-breakers, but perhaps none so brazen as Megan, who used her phone to record videos with a number of celebs once she was inside.
'We not supposed to have our phone,' Megan said in one clip, walking inside the venue with fellow rapper Doja Cat and actress Tracee Ellis Ross.
'Not at all – put your phone away,' Ross told her.
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Revolver and Sgt Pepper, the Beatles' next two albums, drew upon the Beach Boys' vocal tapestries and melodic bass lines and even upon the animal sounds from the title track of Pet Sounds. The Beatles' epic A Day in the Life reconfirmed the British band as kings of the pop world and Sgt Pepper as the album to beat. All eyes turned to Wilson and his intended masterpiece — a "teenage symphony to God" he called Smile. It was a whimsical cycle of songs on nature and American folklore written with lyricist Van Dyke Parks. The production bordered on method acting: for a song about fire, Wilson wore a fire helmet in the studio. The other Beach Boys were confused and strained to work with him. A shaken Wilson delayed Smile, then cancelled it. Remnants, including the songs Heroes and Villains and Wind Chimes, were re-recorded and issued in September 1967 on Smiley Smile, dismissed by Carl Wilson as a bunt instead of a grand slam. 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