Beyoncé Removes ‘Milkshake’ From ‘Energy’ After Kelis Calls Her Out For ‘Theft’

beyonce-removes-kelis - Credit: Brook Kraft/Getty Images

beyonce-removes-kelis – Credit: Brook Kraft/Getty Images

Beyoncé dropped the use of “Milkshake” from her new song “Energy” after Kelis ripped the singer for featuring the 2003 hit song, proclaiming it an act of “stealing.”

It’s been a surprisingly eventful release week for Beyoncé, who despite rave reviews for her disco-dance album Renaissancehad a series of post-release blips and edits to the songs.

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Days before its release last Friday, the album was leaked online – a rare hiccup for the famously buttoned-up artist. Then on Monday, Beyoncé announced she would drop the word “spaz” from her song “Heated” following backlash from critics who said the word was an ableist slur. (Lizzo also dropped the word from her song “Grrrls” earlier this summer.)

Now, Tidal and Apple appear to have removed an interpolation of Kelis’ song “Milkshake” that appears at the end of “Energy.” In a brief glitch, Tidal was only playing the tween’s isolated vocals, while the rest of the nearly two-minute track was silent. It’s unclear when other streaming services will update the track on their platforms. Representatives for Beyoncé, Kelis and Tidal did not immediately respond to Rolling Rock‘s requests for comments.

The controversy between the two artists began hours before the album’s official release when Kelis took to her boss’ Instagram account to express her frustration that her song was being used and she was not given the courtesy of a warning, let alone asked for it. blessing. It’s not collaboration, it’s theft,” she wrote.

“My mind is blown too because the level of disrespect and utter ignorance from all 3 parties involved is staggering,” she added. “Nothing is ever what it seems, some people in this business have no soul or integrity, and they have everyone else fooled.”

The full credits later revealed the song in question to be “Milkshake”, with former Kelis producers Pharrell Williams and Chad Hugo credited on the track. Beyoncé’s website also noted that the song was interpolated, which takes an existing sound and modifies it, while sampling takes directly from a song without change.

Regardless of whether the song was used in a minor way or altered to fit Beyoncé’s dance floor, Kelis wasn’t happy, saying the whole situation was a “trigger” point for her. “It’s beyond this song at this point,” she wrote in an Instagram caption. “There are bullies, secrets and gangsters in this industry who smile and get away with it until someone says enough is enough. So I say it today. I come for what is mine and I want reparations.

Kelis also called Williams, a former close friend who worked with her exclusively alongside Chad Hugo on her first two albums. Their relationship broke down after Kelis claimed that Williams and Hugo “lied and cheated” on him in a raw deal. Instead of dividing things “33/33/33”, Nearby The Guardian in 2020she found herself without the rights to her early music and ended up only making money off her first touring albums.

She referenced the contentious relationship in her Instagram video, saying, “The edition was stolen, people were cheated out of their rights. It happens all the time, especially back then. So it’s not about me being mad at Beyoncé.

“Pharrell knows best,” she added. “It’s a direct hit for me [and] he does this stuff all the time. The reason I’m annoyed is because I know it was on purpose.

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