My relationship to Kesha is a curious one. She appeared at a weird time in my life.
On the surface, Kesha seems to be everything I hate about pop music: trite unoriginal pop songs with simple melodies and attention-grabbing hooks but otherwise little substance, cliche or vapid childlike lyrics, shallow subject matter that deals only with partying, sex, vague relationship woes, and verse-rap bragging peppered in between overly-synthesized and overproduced electro pop that is substantive enough to be entertaining but not enough to be unique, and lackluster vocals that are autotuned to the point that no one could have seriously thought the artist was ever really a decent vocalist to begin with in the first place.
I get that. I get the problems with Kesha. I get the reasons that people don’t like her. The above paragraph might lead you to believe I can’t stand her, but curiously nothing could be farther from the truth.
I started out hating her for all of the reasons mentioned above. Like everyone else on planet Earth in 2009, I too was subjected to endless repetitions of her breakout single Tik Tok on the radio, and like everyone else I was annoyed by it’s vapidity but secretly just a little bit entertained by it. But really, I genuinely didn’t like her. She sounded plain trashy. She clearly looked like a hot mess. Her aesthetic has always been “rave girl who hasn’t showered in several weeks and rolled around in garbage and glitter.”
But the truth is, Kesha is not what she appears to be. And the weird thing about is, she isn’t the OPPOSITE of what she appears to be either. She makes frivolous pop music, and she MEANS to do it, she means what she’s saying. She WANTS to be a pop star, and she isn’t making pop music ironically to try and expose the flaws in the medium. The pop music she’s making is genuine.
There are a group of listeners who consider Kesha to be another drop in the bucket, overly-autotuned pop singer cranking out tunes mostly made by producers, with little talent for songwriting or for singing. This is not the case. Kesha isn’t vapid or dumb. She’s incredibly intelligent, she has a genius IQ and received nearly perfect SAT scores. She’s driven and passionate and knows what she’s doing. However, don’t let that lead you to believe that Kesha is in fact an architect and student of Victorian literature whose lifelong art project has been to deconstruct the mythos of the pop star by playing one, laughing pretentiously in her study at night over a glass of sherry at plebeian pop fans who’ve bought into her charade.
The thing that makes Kesha unique among a slew of pop stars is the fact that she’s entirely authentic.
She comes from a humble background. In a life story that seems almost too perfectly fitting with her dirty rave girl aesthetic to be true, Kesha’s mother got incredibly drunk at a party and doesn’t remember the hookup that led to her becoming pregnant, and nine months later gave birth to Kesha Rose Sebert without the slightest idea (or worry) about who the father was. Kesha was raised by her single mother, a wonderful hippie songwriter called Pebe, and together with her brothers the family seems to have lived in an open, accepting home environment. Kesha definitely has hippie elements in her personality, and she speaks with a gentle slur that makes it sound like she’s always intoxicated, and a Californian accent that immediately calls to mind the movie Heather. I think. I’ve never seen Heather. Moving on.
Kesha moved to Nashville to become a musician, and spent many years writing her first album Animal. She made a lot of friends in the business, including fellow newcomer Katy Perry, and her first major role in the pop world wasn’t in her own song but as an extra in Katy Perry’s I Kissed A Girl music video. Go watch the video and near the end there are several sexy blonde girls sitting around a pool with Katy, and there she is, she even has her own close up shot for a moment. Kesha also wrote songs for many other musicians while working on her first album. The first song to put her on the map was Flo Rida’s “Right Round,” a simplistic and artless reworking of the classic song You Spin Me Round by Dead Or Alive into a sugary pop-rap tune with almost no substance whatsoever. When Flo Rida was working on the song, he decided he wanted to try out having a female vocalist on the chorus, and Kesha was working nearby in the same studio, so she was pulled in and recorded some vocals for the chorus. Because of some legalities, or the absence thereof, when Right Round became a worldwide smash hit, Kesha received absolutely no royalties for the song, and continued to live the life of a starving artist scraping to get by, while her voice was playing on every radio in the country and she remained unknown and unpaid.
This is where the infamous dollar sign in her name comes from. Her name is almost always stylized as Ke$ha, leading to some cute jokes in which people pronounce her name Kee Dollar Sign Hah, but it was conceived as a joke about the irony of the circumstance Kesha found herself in: everyone would assume she was rich, being in a worldwide hit single, but she got cheated out of any share of the money. As time would tell, she was cheated out of a lot by the music industry and the shady characters therein, and I’ll come back to that in a bit.
So, enter me. A ninenteen year old gay kid living in the south, struggling desperately to deal with a tumultuous life, and just coming out of a rather powerful bout of Christian zeal. I spent about a year of my life completely devoting my time and energy to being a Christian, and I took it very seriously, and I even achieved some small level of peace, but ultimately I realized it was a coping mechanism, and this time when I came out of Christianity I left it behind for good.
I was fairly aimless at the time. I’d hated school my whole life, and I’d graduated a year earlier. I did not want to go to college because I just hated school and didn’t want to experience any more of it, but I didn’t want to work either, both because I hate the tedium of boring and strenuous minimum wage jobs, and because I’ve been dealing with debilitating anxiety since I was sixteen, complete with rolling panic attacks that for all intents and purposes never really end or begin, but just go on forever. I wasn’t medicated whatsoever at the time, and I was struggling with severe agoraphobia that was developing in my life.
I was in a relationship that was both abusive and incredibly unsatisfying. I was entirely aimless, I was sad, I was lonely, I was horny, and I was frustrated in every possible way. Spiritually, sexually, emotionally, and mentally, I was frustrated to a breaking point. But I’d never had any suicidal tendencies (yet, that would come later) and never self-harmed, so I had no outlet, no real way to truly break down.
My boyfriend and I took a trip to Virginia and spent the night at some friends’ house. These friends happened to be another gay couple, and they threw a party which involved two more gay couples. One of those couples left once the drinks started flowing, leading to there being a grand total of six of us in the house. We got drunk, we got horny, and I, having never actually been drunk before, was eager to use the “oh it’s my first time being intoxicated” excuse to put as many dicks in my mouth as I could before everyone started to say no.
Does that sound a little rapey? It probably does. I can’t say I was in a good state of mind.
At any rate, there was a lot of sexual activity that night between just about everyone, pairing off for a few minutes with one another at different points. The radio was on, and Kesha’s hit single Tik Tok was booming through the house and I put my tongue into several orifices of several guys, and then spent the night in a cuddle sandwich with my boyfriend and one of the others who had broken away from the pack and basically let us fondle him the entire night.
All in all, it was pretty fun.
The next morning I had something of a hangover, which is honestly quite rare for me.
On the way home, Tik Tok was playing on the radio.
I don’t know why, I don’t understand it, but suddenly, I just got it. I enjoyed it. I had fun with that song. It was great. I didn’t want to stop listening to it.
Now, I know it sounds more like a joke than a real story: I never really liked Kesha until I participated in a drunken six-way gay orgy with some delightfully Virginian, slightly trashy gay guys. But it happens to be true.
When I got home the following day I honestly felt like I was still drunk. I sat in my bedroom, my head swimming, and looked up Kesha on iTunes, listened to the samples from Animal and read some of the reviews. I was disheartened. The reviewers were all mostly saying the same thing: the music was samey and average, the lyrics were so juvenile they sounded like they were ripped from the diary of a sixth grader dealing with boyfriend drama for the first time, and her singing voice was terrible and autotuned to the point of ludicrousness. I agreed with all of these assessments and quickly decided that Tik Tok was in fact a guilty pleasure, and that in general I still disliked Kesha.
But I couldn’t quite get that song out of my head.
My dysfunctional relationship progressed, as did my anxiety. I dove headlong into a Tori Amos phase from which I have never resurfaced, and mostly forgot about Kesha. I did torrent Animal at one point and gave it another cursory listen but I wasn’t terribly impressed. I fell in love with Imogen Heap, Florecne and the Machine, and many others, and continued to keep Kesha mostly out of my mind. When I finally broke up with the aforementioned boyfriend it happened to be right at the same time that my agoraphobia and anxiety had gotten so bad that I’d developed the curious symptom of alternating between sharp pains on the entire life side of my body or being completely numb in the same places. I was finally put on medication, and like magic, my panic attacks just disappeared. I was riding the first wave of stimulants I’d ever experienced, since I’d never done any kind of drugs before, and I was riding high on the antidepressants which elevated my mood and let me have gloriously peaceful and undisturbed sleep at regular intervals, and the relief and freedom of being done with an abusive relationship and having the freedom to love and to fuck whoever I wanted, provided I could find someone.
It was then that Kesha returned.
I don’t exactly remember what caused it. I just remember being high on my antidepressants, feeling adventurous and excited about going to gay clubs and finally getting my young adult life started, and I went back to those downloaded audio files from Animal, and turned them on, and I became completely hooked.
I listened to Animal front to back, non-stop, for several weeks. I didn’t listen to almost anything else. I fell absolutely in love with the music and started to learn a little more about Kesha. I still understood a lot of the complaints: some of the lyrics were trite, but there were also a lot of hidden gems that you wouldn’t have guessed existed. Tik Tok and Take It Off were big hits all about partying, but other songs on the album lamented the darker aspects of being a party girl, of trying to find solace in living in the moment and enjoying the night as much as possible because it’s all you truly have. Hungover, Blind, Animal, and Dancing With Tears In My Eyes are all very emotional songs about the loss of love and the difficulty of trying to live day to day in a haze of partying. There’s a longing in these songs for something, an emptiness, and a willingness to be up front about the good and the bad, to be unapologetic about sex and fun and relationships, to call things like the way they are.
My little sister joined me on this adventure and loved listening to Kesha with me, and was actually nice enough to buy me a physical copy of Animal with some money she’d been given, which I still have. Later on, when Kesha started to release singles for Animal’s companion EP Cannibal, I downloaded them all as they were released and ordered a copy of the two combined into one two-disc album (Animal + Cannibal) that came with a cute little “K$” temporary tattoo which I intended to put on my cheek at my first concert, and which I have still never used but remains in the case. When I attended my first real concert last year, the Dresden Dolls at Coney Island, I was sad when I realized I’d forgotten to bring along my Kesha tattoo for my first concert. But at least I still remembered. That’s something.
The companion EP Cannibal was a great nine-track romp that fit the atmosphere of Animal perfectly while managing to expand on it. The songs were still about partying and having fun authentically and unapologetically, but there was a song called The Harold Song which absolutely broke my heart and still continues to be one of my favorite songs. It’s a beautiful and melancholy song about the loss of love that really affected me at the time because I was dealing with a terrible breakup, and this song was a companion in that pain and darkness for me. At first I thought that Cannibal deliberately mirrored the songs on Animal (Grow A Pear has a chorus very similar to Tik Tok, elements of Tik Tok are incorporated into Cannibal, Animal itself is included as the last song in remixed form, and many other songs seem to borrow elements of songs directly from Animal), and I’m still not sure if it was done intentionally or if the song structures were just all very similar and working from the same pop framework.
Kesha is honest and authentic, and I think that that’s what makes her special. I think this is also the reason that people like Kanye West, but I just can’t bring myself to think that guy is anything but a self-absorbed douche. Kesha delivers pop cliches with a slight wink because she knows it’s cliche, but she’s doing it authentically. And she isn’t a bad vocalist either. The thing that confused me the most about Animal was the fact that Kesha’s voice is very unnecessarily autotuned in many of the songs.
Kesha is an incredibly prolific songwriter, and there are literally more than a hundred demos for Animal that never made it onto the album. One song, a completely acoustic breakup song called Goodbye, is a really great glimpse into an unfiltered Kesha with all of the pop trapping stripped away: her voice is soulful and unique, and her intonation is similar to Alanis Morissette. Her vocal ability is surprising, it doesn’t completely blow you away, but it’s not at all what you’d expect after hearing so much autotune and vocal effects on her album. She also released another EP between Cannibal and her second album Warrior called Deconstructed, which contains simplified emotional mixes of several of her songs, including The Harold Song, with her vocal ability really put on full display.
I still don’t really understand why she chose to allow herself to be autotuned so much when she didn’t really need it, although considering the dynamic between herself and her producer Dr. Luke that came to light later, it’s not difficult to imagine that maybe he made the decision for her. I don’t really know.
And with that we come to Dr. Luke. Kesha came forward and filed a lawsuit against Dr. Luke for raping her, and for abusing her. I don’t really know if there was physical abuse, and I’m not going to look it up. The thing is, I’ve purposely avoided learning the details of this lawsuit. Kesha’s entire career came to a halt because under her contract she was unable to release any music unless she dropped the lawsuit against Dr. Luke, and he vehemently denied ever having abused her, despite many other women in the music industry coming forward to say they’d suffered abuse at his hands as well. Honestly, my heart was just too broken for Kesha to read the details. I couldn’t handle it. I was having a hard enough time holding my own life together, and to know that someone who I had come to greatly admire and respect had been hurt so badly, and who was being treated unfairly by an unfeeling system, it was too hard. It’s why I still don’t know all the details. I do know that eventually Kesha was forced to drop the lawsuit so she could continue to make music, but I still don’t know many more details. I know that during her absence she appeared at a few live events, and at one of them gave an incredible performance of When It Happens To You by Lady Gaga, a song about surviving rape.
Kesha also briefly had her own reality show which I watched the majority of online and greatly enjoyed. It really showed her beautiful personality, and the general carefree and honest way in which she lives her life. It made me smile to watch it, and it gave me hope.
I used to have this poster on my wall, and alongside the topless poster of Lady Gaga, I imagine that anyone looking at my room was probably really confused about my sexuality
Kesha inspires me. Her strength, her dignity, her willingness to create. There was a moment during Kesha’s reality show where her little brother was attempting to write a song, and she was giving him writing advice. The advice was this: “You have to be willing to let yourself suck.” As a musician and a writer, this has been one of the most important pieces of advice I’ve ever absorbed. What she meant was that when you start out at anything, you’re not going to be incredible. With drawing, composing music, or writing, you start out as a novice, and even your best, most polished efforts, are still going to be less than perfect. You’ll probably experience a few flashes of incredible creativity and accidentally stumble upon expressing yourself honestly and with style, but you have to be willing to let yourself create something that is less than perfect. Kesha’s hundreds of demos are a testament to that. Many of those songs are not that great, but they’re all honest and authentic, and that’s the thing about Kesha that I admire so much.
You have to be willing to let yourself suck. You have to be willing to create whatever is in your heart, and sometimes it’s not going to be great, but you have to be willing to do it. Lady Gaga has said something somewhat similar, which is “You have to respect your vomit.” She was referring to one of her songs, and about how the lyrics come in a rush, and she just word vomits them out, and that she then chooses to respect her vomit, respect those words for being authentic and in the moment. This proverb doesn’t inspire me quite as much but it’s worth mentioning in conjunction with Kesha’s advice from above.
And so, in a surprising twist, I ended up loving an artist who I thought represented everything I hated about manufactured pop music. While, yes, the element of pop manufacturing is there, Kesha’s honesty and brazen authenticity still shines through, and even though some of her songs are a bit cliche, her music is a surprise. Her personality is a surprise. Everything about her is a surprise, if you assume that the dirty glitter party girl you see on the cover is as shallow as her surroundings suggest. I don’t know how much irony she injects into her style, but Kesha is a worthwhile person and a worthwhile musician. She’s an activist for animal rights, she loves the gay community and has immense appreciation for her fans, and she approaches life with the kind and passive attitude of a hippie but the fortitude of a revolutionary. Her voice is real and true, even though there’s sometimes a layer of autotune.