Kelis Speaks Out About Being Sampled On Beyoncé’s New Album

In another response, Kelis stated, “My mind is blown also because the degree of disrespect and sheer ignorance of all 3 parties involved is stunning. “Like everyone else, I learned about this. Nothing is ever as it seems since certain people in this industry lack moral character and integrity and deceive everyone. She also wrote, “admire is not the word,” in response to a social media user who commented, “I always felt that Beyoncé genuinely admires [sic] Kelis.” To far, Beyoncé has not addressed Kelis’ allegations. A spokesperson for each artist has been contacted by NME for comment.

Following her performance yesterday night (July 28) at the Suikerrock festival in Belgium, Kelis posted a video message on Instagram explaining her viewpoint. We’ve met each other, we know each other, we have mutual friends – it’s not hard, she can contact [me], right? ” The issue is that not only are we… black female artists in an industry [where] there’s not that many of us, we’ve met each other, we know each other, we have mutual friends – it’s not hard, she can contact [me], right?” she said, adding that her “real beef is not only with Beyoncé.”

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In response to comments that she was ignorant of her own publishing rights, Kelis continued, “I know what I own and what I don’t own. And I am aware of the lies that were spread. Additionally, I am aware of the items that were stolen: publishing was taken, and people were conned out of their rights.

Williams and Hugo were singled out by Kelis as “the true issue” in the incident, and she claimed that they had ulterior intentions in approving the sample for Beyoncé. Pharrell “knows better,” she remarked. He consistently engages in behavior like this, which is a direct attack on me. I know it was done on purpose, which is why I’m annoyed. This is not like some instances of “Oh, they were in the studio…” No. No, this was a direct hit that was done on purpose, which is extremely passive hostile, extremely petty, and extremely foolish.

Following that, Kelis released a second video in which she continued to accuse Williams of being “hypocritical” and “nonsense.” She said, “I had the same management when I was signed to [Williams’ company, Star Trak], and he had writing credits on my songs – all my singles, ironically – but he never composed a song [or] a lyric. Beyoncé’s message of female empowerment, according to Kelis, “only counts if you actually do it – if you’re really living it and walking the walk.”

The point is that there is a lot of hypocrisy, and someone needs to bring it out and talk about it, she added. Since I didn’t seek it out, it just so happens that I got thrown into this. I was posting on my Bounty And Full page last night, just going about my business, when I noticed one of my fan sites and someone said, “Oh, it’s a collaboration between Bey and Kelis. No, it’s not a collaboration; instead, it’s termed theft because, by definition, a collaboration entails our cooperation. Working together is impossible if you don’t even ask how everything is going. That is a difficulty.

Kelis addressed her alleged underpayment for her early work with The Neptunes in a 2020 interview with The Guardian. She remarked, “I assumed it was a lovely and pure, creative safe atmosphere, but it turned out to be nothing like that.” She said, “I was told we were going to split the whole thing 33/33/33, which we didn’t do,” alleging that “the Neptunes and their management, their lawyers, and all that stuff” had “blatantly lied to and misled” her.

Her first two albums, “Kaleidoscope” (1999) and “Wanderland” (2001), both of which were created by The Neptunes, didn’t bring in any money, according to Kelis. As the third single from “Kaleidoscope,” “Get Along With You” was released in 2000. In the meantime, at her recent performance at Truck Festival, Kelis gave a medley of her hits and brought in a DJ for a bouncy mash-up of club and pop oldies. View the complete review here.

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