As has been the case throughout the entire legal battle between Kesha and Dr. Luke, the producer has come forward to vehemently deny many parts of a recent New York Times Magazine profile on the singer. In the profile, Kesha plays some of her unreleased music for the writer, who is floored by it, and laments that the rest of us won’t get to hear it because of fall out due to the ongoing legal case between the two.
For those not up to speed, Kesha has alleged that Dr. Luke abused and raped her throughout her entire career, and she finally decided to take legal action requesting she be released from her contract. It was denied. Dr. Luke’s camp has consistently denied all of Kesha’s claims, and responded by calling her allegations “outright lies.” Earlier this year, when Kesha’s mother spoke to Billboard about her daughter’s ongoing struggle, Dr. Luke sued Kesha’s mother for supporting her daughter.
So, it’s not surprising that Dr. Luke’s lawyer sent over a similar statement today, responding to the reporting that was done by a magazine run by The New York Times, the paper of record in this country. Read it in full below.
“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 She has voluntarily withdrawn her California complaint, after having her counterclaims in New York for alleged abuse dismissed.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.”
