In the midst of a storm of controversy, Keri Hilson recently opened up about the 2009 release that allegedly dissed Beyoncé. During a candid interview on The Breakfast Club, the singer revealed how the track, a remix of “Turnin’ Me On”, sparked significant backlash, despite her apprehensions about its content. Hilson reflected on the situation, emphasizing her discomfort with the so-called “shady” lyrics that led many to believe she was taking aim at Beyoncé.
“It’s a regret,” Hilson confessed about the contentious track. “But not in the way people would think because that’s a song I actually didn’t write. Those are not my words.” Her career at the time was on the brink of a major milestone with the impending release of her debut album, In a Perfect World. Signed to Interscope Records, Hilson was under the guidance of producers Polow da Don and Timbaland. According to her account, Polow was insistent on her recording a remix, pushing Hilson to take breaks from her tour with Lil Wayne to return to the studio.
However, upon entering the studio, Hilson was surprised to find that Polow had already prepared lyrics from another writer. “I come into the studio and he plays me this verse,” she recalled. “Automatically, I was like, ‘I’m not saying that.’ That was my position.” The verse in question contained lines that many interpreted as shots at Beyoncé, leading to significant online and industry backlash.
“Your vision cloudy if you think that you’re the best / You can dance, she can sing, but she need to move it to the left, left / She need to go have some babies. She needs to sit down, she fake / I ain’t turning it off, I’m stay turning it on. Go ‘head and tell these folks how long I’ve been writing your songs,” were some of the words that stoked the embers of controversy.
Hilson explained her opposition to the lyrics, admitting that she did not know who they targeted, but was inherently against the aggressive tone. “I’m an athlete but I’m a finesse player. I’m not a nasty player, I’m not a dirty player. I don’t even look at things like that,” she expressed, differentiating her philosophy from Polow’s approach. “But we disagree there Polow and I. Because he believes in kind of the shock jock mentality. He believes in playing dirty and I don’t.”
Despite her refusal, Hilson was compelled to record the track, citing pressures within the industry. “I tried to fight him on it and I began writing my own but he… It was quite forceful,” she revealed, describing Polow’s insistence as akin to career-threatening tactics. At that time, her album had not yet been released, and there was significant pressure from executives to comply.
Hilson was eventually given a conditional opportunity: to record the suggested verse alongside her own, with the promise that the final selection would be made based on a comparison. “I was super young. I felt I had no power, I felt I had no choice,” she admitted, recounting her vulnerability and lack of agency in the matter. The initial version of the remix, however, was leaked shortly after its recording, leading Hilson to believe it was orchestrated as per Polow’s intentions.
The aftermath of the leak was a tumultuous period for Hilson, who faced widespread criticism and speculation. Many assumed that the remix was directed at prominent figures including Beyoncé and Ciara, further intensifying the scrutiny. Hilson reflected on the experience, highlighting her attempts to shield other parties involved. “I protected him. I protected the girl that wrote it, who went on to become famous. I protected everyone in the story so I have to eat that and I’m still eating it to this day. It’s like I’ve worn the scarlet letter,” she lamented.
Significantly, following Hilson’s interview, co-writer Ester Dean identified herself as part of the creative team behind the lyrics. Dean responded to Hilson’s account, acknowledging the lyrical impact and offering an apology on Instagram. “I submitted a lot of verses for that remix. One got picked, and it was co-written with Keri,” Dean wrote. “Looking back, it was childish and didn’t age well. I see how it hurt people, especially women, and I take full accountability. I’m sorry for my part in it. Growth is real, and so is this apology.”
Hilson’s narrative sheds light on the complex dynamics of the music industry, where creative control can often be at a premium, particularly for emerging artists. Her experience underscores the pressures artists face and the intricate web of decisions that can lead to unexpected public fallout. Entertainment Weekly has reached out to Interscope Records and Timbaland for comments, as Hilson reflects on the lessons learned.
Hilson noted the personal fear that kept her silent initially, revealing that her trepidation was not directed towards Beyoncé, whom she admires. “I just didn’t want to step into shit anymore. I was shook. I was scared,” she confessed, affirming her respect for Beyoncé. “Not of her — I love her. I think she’s incredible. She’s one of the greatest artists of all time. I’m a fan, have always been. That’s never been in question for me. But now it’s a name I can’t say.”
The incident serves as a poignant reminder of the often-unseen pressures within the music industry. It raises questions about artistic agency and the potentially damaging consequences of internal industry conflicts spilling into the public sphere. As Hilson candidly shared her story, it opens up conversations about the lasting impacts of such disputes and the importance of transparency and integrity in creative collaborations.
