Keri Hilson shares his real feelings about his famous Beyoncé dissociating track which triggered the controversy in 2009.
During a visit Wednesday to The breakfast clubThe singer was frank on what led him to release the remix “Turnin ‘Me” that many interpreted as shots at Queen Bey. It turns out that Hilson herself was not a fan of “shaded” lyrics who finally led to a wave of her backlash.
“It’s a regret,” said Hilson about the successful track. “But not in the way people think because it is a song that I have not written. These are not my words.”
Hilson then disclosed the way the song became: at that time of her career, she was based on the release of her first album, In a perfect world, While he signed with Interscope Records under the producers Polow da Don and Timbaland. According to Hilson, Polow was categorical about recording a remix, taking him to take days off with Lil Wayne to return to the studio and write a new verse.
Instead, she was shocked to discover that Polow had words from another already prepared writer.
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“I come to the studio and he plays this verse to me,” she recalls. “Automatically, I said to myself:” I’m not saying that. “It was my position. ‘”
The verse in question included the lines: “Your cloud vision if you think you are the best / You can dance, it can sing it, but it must move it to the left, on the left / it must go for babies. She must sit down, she does not silence / I do not turn her off, I remain to light it. Come on, head and tell these people for how long I write.”
Looking back on her first listening, Hilson admitted that even if she understood the lyrics like “Shady”, she did not know who they called. However, she was opposed.
“I am an athlete but I am a player of finesse. I am not a bad player, I am not a dirty player. I do not even look at things like that,” she explained. “But we do not agree there Polow and me. Because he believes in this way of the mentality of jock of shock. He believes that you have to play dirty and I do not do it.”
Hilson said that she had rejected the verse and started writing hers again, but was finally pushed to record the remix anyway.
“I tried to fight it on it and I started writing mine but it … it was quite energetic,” she said about Polow. “In an executive-artist manner. Implying others and in a way threatening my career, in a real sense.”
She explained: “My album had not yet been released, so it was like:” You don’t go out if you don’t do that. “The error I made was not to fight, but I was in tears.
Hilson said that she was finally told that if she recorded the verse that had been given to her, she could also write hers and that a final decision would be taken once the two versions are compared.
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“I was super young. I felt that I had no power, I felt that I had no choice,” she said. Although she made a pen and recorded her own verse, the original version of the Remix disclosed a few days later. Hilson said that the flight was “part of the” Polow plan: “that was what he wanted to happen”.
The next day, Hilson encountered a wave of upheavals while criticism and fans speculated on the true meaning of the song, assuming that she was taking shots in several stars, including Beyoncé and Ciara.
“That’s it,” said Hilson about the furious response. “And I protected it. I protected the girl who wrote it, who became famous. I protected everyone in history, so I have to eat that and I still eat it to this day. It is as if I had wore the scarlet letter.”
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After the appearance of Hilson in the radio program, Singer and Perfect pitch The Ester Dean alum manifested itself as a co-author of the Remix, commenting: “It was a success!”, On Instagram. A few hours later, she offered a longer declaration, including apology for the words.
“I submitted a lot of verses for this remix. One was chosen, and he was co-written with Keri,” wrote Dean on Instagram. “With hindsight, it was childish and did not age well. I see how it injured people, especially women, and I take full responsibility. I am sorry for my part. Growth is real, just like the excuses.”
Weekly entertainment contacted representatives for Interscope and Timbaland files for comments.
As for Hilson, she noted that she should have “come out” those involved in the song earlier, but remain silent for fear.
“I didn’t want to get into shit anymore. I was trembling. I was afraid,” she said, then said that fear had nothing to do with Beyoncé herself. “Not of her – I like her. I think she is incredible. She is one of the biggest artists of all time. I am a fan, I have always been. It has never been about for me. But now it’s a name that I can’t say.”
Look at the complete appearance of Hilson on The breakfast club above.
