Update: Dr. Luke's legal team was quick to respond to the New York Times Magazine piece about Kesha's ongoing battle with her longtime producer. Christine Lepera, Dr. Luke's lawyer, said the piece "unfortunately has many inaccuracies" and presented their side of the story.
Chief among their points was that the lawsuit was intended as a negotiating tactic, and that Dr. Luke has as much motivation as Kesha does to put out a record soon. "Kesha filed a shock and awe complaint of alleged abuse against Luke Gottwald in 2014 — for contract negotiation leverage. It backfired," Lepera writes. "She never intended to prove her claims. She has voluntarily withdrawn her California complaint, after having her counterclaims in New York for alleged abuse dismissed."
The rest of the statement presents a laundry list of complaints against the article and Kesha herself. Read it below.
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"The New York Times Magazine profile piece that ran today unfortunately has many inaccuracies.
This article is part of a continuing coordinated press campaign by Kesha to mislead the public, mischaracterize what has transpired over the last two years, and gain unwarranted sympathy.
Kesha filed a shock and awe complaint of alleged abuse against Luke Gottwald in 2014 -- for contract negotiation leverage. It backfired.
She never intended to prove her claims. She has voluntarily withdrawn her California complaint, after having her counterclaims in New York for alleged abuse dismissed.
Nevertheless, she continues to maliciously level false accusations in the press to attack our client.
The reality is that for well over two years, Kesha chose—and it was entirely her choice—not to provide her label with any music.
Kesha was always free to move forward with her music, and an album could have been released long ago had she done so.
She exiled herself.
It was not until months after the denial of her injunction motion – for the first time in June and July 2016--that Kesha started to provide the label with music.
She provided 22 recordings created without any label consultation which were not in compliance with her contract, were in various stages of development, and which Kesha’s own team acknowledged needed work. Then, and for the last several months, the label has been in discussions with Kesha and her team to choose the best music, create additional music, and work on the tracks created.
A&R representatives of both Kemosabe and RCA have provided Kesha with detailed feedback in writing and in person on the tracks she provided to help her further develop the material. Kesha has also agreed with Kemosabe and RCA on a list of producers who will work with her on these tracks, a studio has been reserved for these sessions, and a budget for certain work provided.
The creation of an album is a process, however what has clearly been communicated is that the aim is for a release date as early as possible. It is in the economic best interest of the label and Mr. Gottwald to put out a top selling album, and that takes time. In fact, the label suggested an early release of an advance Kesha track. It was Kesha’s team who rejected this proposal.
Kesha’s claim in the article that she has no ability to earn money outside of touring is completely rebutted by well documented public court records which apparently escaped the article’s attention."
Kesha’s claim in the article that she has no ability to earn money outside of touring is completely rebutted by well documented public court records which apparently escaped the article’s attention."
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Original article to follow.
An intimate new profile in The New York Times Magazine is offering readers a sobering look at the current state of Kesha's life. The deep-dive piece explains how the embattled musician is in many ways still controlled by her ongoing two-year legal battle with accused abuser Dr. Luke and Sony, which owns the producer's music label Kemosabe. (Kesha dropped all sexual assault allegations against Dr. Luke in August; the Times reports that her lawyers are currently appealing the court's dismissal of her civil charges in April.) And though Kesha loves her fans and the unconditional support they give her, she's afraid people don't actually understand the helpless predicament she's in right now.
An intimate new profile in The New York Times Magazine is offering readers a sobering look at the current state of Kesha's life. The deep-dive piece explains how the embattled musician is in many ways still controlled by her ongoing two-year legal battle with accused abuser Dr. Luke and Sony, which owns the producer's music label Kemosabe. (Kesha dropped all sexual assault allegations against Dr. Luke in August; the Times reports that her lawyers are currently appealing the court's dismissal of her civil charges in April.) And though Kesha loves her fans and the unconditional support they give her, she's afraid people don't actually understand the helpless predicament she's in right now.
“They were like, ‘Oh, my gosh, you’re free,’ and I was like, ‘No, sweetheart, I love you, but no, I am not, and I don’t know where you got that information,'" Kesha told the Times of her well-wishing but misinformed fans.
The 29-year-old explained that people believe her troubles are behind her because she is out performing. But in reality, her career is virtually stalled. The fact is that she can only perform old music or covers — and none of the 22 new songs she wrote, recorded, and submitted to Sony at her own expense earlier this summer.
Also distressing is the financial mess Kesha finds herself in. The Times estimates, conservatively, that the singer's litigation fees are about $100,000 a month, while her inability to release any new music means her only source of income right is the small shows she puts on at her own expense. She has hardly any agency at all over her own career right now.
The state of Kesha's legal battles is precarious. Earlier this month, a judge agreed to seal her medical records, which were obtained by Dr. Luke to try to disprove Kesha's abuse allegations. And as long as she is still under contract with Sony, her career is at the label's mercy. Head over to the Times magazine to read the full in-depth profile and catch up on all the details of her present situation.