After a short spell working as a model, 5'10" Kelis began appearing on songs by Neptunes produced rappers such as 'Got Your Money' by the late rapper Ol' Dirty Bastard. Soon afterwards, she released her debut album, Kaleidoscope in 1999 of which the first single was 'Caught Out There,' a song based on the time she caught her boyfriend cheating on her, and she beat him. The video feautures Kelis leading a pack of angry women down the street screaming 'I hate you so much right now!'. The album was released in USA, Europe and Asia, but did not find much audience in the USA. Not a great success, it only sold 249,000 copies to date.
After finding her largest audience in Europe, Kelis released her second album titled Wanderland (2001) in Europe only, which like her first album did not fare well. It only sold 80,000 copies and was entirely produced by The Neptunes (Pharrell Williams and Chad Hugo) again, similarly to her debut. Only one single was released 'Young Fresh N New'.
In 2003 Kelis finally found fame in her country with the single 'Milkshake,' which was a massive success in Europe, Asia and USA, and she began dating rapper Nas (born Nasir bin Olu Dara Jones). The single was from the album 'Tasty' which did not feature the Neptunes as heavily as her previous albums. Singles included the popular Dallas Austin produced 'Trick Me' and 'Millionaire', a collaboration with OutKast's Andre 3000. 'In Public's duet with Nas was the fourth single from the album, becoming a top twenty hit in the U.K. without a video.
In 2006, Kelis presented a new album to her fans, entitled Kelis Was Here, which was originally to be called 'The Puppeteer' which was released on 22 August but was due Fall 2005. No Neptunes tracks appeared on this album, but Kelis used other producers such as Max Martin, Will.I.Am (Black Eyed Peas) and Raphael Saadiq. Singles are the huge 'Bossy', 'Blindfold Me', and 'Lil Star'. Kelis wrote more of the material on this album than she did for Tasty, and carries off the sci-fi, electronica sounds so often considered Neptunes material without them. This is most evident on the brilliant 'Trilogy'. Kelis has said she wants to make her mark with this album, as it will be the last 'album like this' she will make.
In October 2007, Kelis was dumped by Jive Records, for poor sales of Kelis Was Here but a new album is in the pipeline. The Hits - a greatest hits collection - was released in March 2008, including tracks where she was a featured artist, eg, Got Your Money by Ol' Dirty Bastard , N.E.R.D's Truth or Dare, and Richard X's Finest Dreams.
Kelis then signed to Interscope Records, and released her fifth studio album entitled Flesh Tone in May 2010. The David Guetta-produced Acapella preceded the LP in February of that year. Other singles released from the album include '4th of July (Fireworks)', 'Scream' and 'Brave'. The following year, Kelis appeared on Calvin Harris' 'Bounce'.
In the beginning of 2010, Kelis received a letter by animal rights organization PETA, in which she was informed about the cruelty that comes along with the production of fur coats. She pointed out that the organization seems to have little concern about the treatment of people of color and that she will continue wearing fur and eating meat.
Songfacts reported that 'Distance', the planned first single from Kelis’ sixth studio album received its first play during the June 30, 2012 show of The Beatnik Mix on London's Reprezent 107.3FM. At the time, the album was set to be house/dance-inspired, but sessions with TV on The Radio's Dave Sitek led to it taking a soul-like direction.
Kelis completed her sixth album in April 2013, and her new label Ninja Tune confirmed details regarding the album in January the following year, 'Jerk Ribs' served as the lead single for the album; the track had however been previously released as a free download the previous year.
Food was released in April 2014 to critical acclaim. Kelis also appeared for the first time at the annual South by Southwest festival, both performing and serving meals to attendees from her food truck.
Circus
KELIS Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Lie to our fans and expect it to last
Could it be that the trick is on us?
Masqueradin' like we are the ones
Can you blame us? It started as fun
Didn't know that the game must be won - sorry
Never did I lie, never did I mean to trick y'all
Makin' hit songs, same lame lyrics, same bass, same kickdrum
Buy the record, you became a vic-vic-victim
Bitch can't front, get what I want
Neck, hands & my wrists numb, sickenin?
Diamonds on my wristband, who I'm talkin' to?
You, you & my biggest fan, thinkin' that ya girl got it all
And I got the best man, best hair, best legs, need a break, you in my face
Askin' K what I'm puttin' out next year
Is it gonna be real freaky, critics wanna come critique me
Are you gonna be more grunge rock-n-roll like back when you dropped before?
But get back 'fore I get ill
Black glove, black mask, listen to some real black love
It's all I have, it's all I have
Come join our circus where we all wear masks
Lie to our fans and expect it to last
Could it be that the trick is on us?
Masqueradin' like we are the ones
Can you blame us? It started as fun
Didn't know that the game must be won - sorry
Musicians, magicians, tight rope, strobe lights
Lion tamers, entertainers, sold out nights
Dressin' rooms, costumes, who's doin' who, gossip, rumors
Groupies just too much, everybody's like, "let's do lunch"
That's why it doesn't matter, that's why I'm not a rapper
Still spit a few bars, might never hear this song
Label might say, "Hell naw! Get a new female star
She don't have to sing - she don't have to bring anything!"
Get her some new earrings, fly her off to Beijing
Book her shows in Wyoming, David Letterman & Conan
Your advance just alone and doesn't it all sound grand?
Number one on SoundScan, just keep the clubs bouncin', join us
Come join our circus where we all wear masks
Lie to our fans and expect it to last
Could it be that the trick is on us?
Masqueradin' like we are the ones
Can you blame us? It started as fun
Didn't know that the game must be won - sorry
How can I shake this circus clown?
What does the ringmaster need from his crowd?
Should I dive through the circle of fire?
No - I'm just gonna be me!
Come join our circus where we all wear masks
Lie to our fans and expect it to last
Could it be that the trick is on us?
Masqueradin' like we are the ones
Can you blame us? It started as fun
Didn't know that the game must be won - sorry
Can you blame us? It started as fun
Didn't know that the game must be won - sorry
The song "Circus" by Kelis is a commentary on the music industry and the persona that artists are expected to present to their fans. The lyrics suggest that musicians are forced to wear masks and pretend to be something they're not in order to keep their fans entertained and interested. The metaphor of a circus is used to show how the music industry is essentially a spectacle, where artists are seen as performers and their fans as mere spectators.
The opening lines "Come join our circus where we all wear masks, Lie to our fans and expect it to last" highlights how artists are expected to present an image that may not necessarily reflect their true selves. The lines "Never did I lie, never did I mean to trick y'all, But they told me this is how to get rich, y'all" suggest that even if an artist didn't initially plan to present a certain image to their fans, their record label or management may have pushed them in a certain direction.
The chorus "Can you blame us? It started as fun, Didn't know that the game must be won - sorry" suggests that artists may not have realized what they were getting into at first, and are now stuck in the game, going along with the circus in order to succeed.
Overall, "Circus" provides a damning critique of the music industry and questions the authenticity of the artist's persona. It suggests that the music industry is ultimately a business, where the artist is just as much a commodity as the music itself.
Line by Line Meaning
Come join our circus where we all wear masks
Kelis invites the listener to join the music industry, where everyone puts on a façade.
Lie to our fans and expect it to last
Artists deceive their fans and believe that the deception will never be exposed.
Could it be that the trick is on us?
The artists are tricked into believing that they have control over their careers but are manipulated by the music industry.
Masqueradin' like we are the ones
The artists pretend to be in control of their lives and careers when in reality they are being controlled by the industry.
Can you blame us? It started as fun
Kelis questions whether the artists should be blamed for the deception since it initially started as a fun and enjoyable experience.
Didn't know that the game must be won - sorry
The artists did not initially realize that the music industry is a game that needs to be won, leading to regret for their decisions.
Never did I lie, never did I mean to trick y'all
Kelis defends herself by saying that she never lied or intended to deceive her fans.
But they told me this is how to get rich, y'all
The music industry told Kelis that lying and deceiving was the way to make money and become successful.
Makin' hit songs, same lame lyrics, same bass, same kickdrum
Kelis criticizes the music industry for producing generic songs with repetitive lyrics and simplistic instrumentals.
Bitch can't front, get what I want
Kelis asserts that she gets what she wants and cannot be fooled or controlled.
Diamonds on my wristband, who I'm talkin' to?
Kelis questions the authenticity of her relationships in the industry, as people only seem to be interested in her because of her fame and wealth.
You, you & my biggest fan, thinkin' that ya girl got it all
Kelis addresses her fans, who assume that she has everything in life because of her celebrity status.
And I got the best man, best hair, best legs, need a break, you in my face
Kelis is tired of the constant demands and expectations from fans and the industry while also trying to maintain an ideal public image.
Askin' K what I'm puttin' out next year
Kelis is constantly being asked about her future music releases and direction by the industry.
Is it gonna be real freaky, critics wanna come critique me
The critics and media are waiting for Kelis to release new, controversial music that they can criticize and generate publicity for themselves.
Are you gonna be more grunge rock-n-roll like back when you dropped before?
The industry wants Kelis to create a new, trend-setting style of music but is also nostalgic for her past work.
But get back 'fore I get ill
Kelis commands others to back away before she becomes angry or overwhelmed by their expectations.
Black glove, black mask, listen to some real black love
Kelis wears a black glove and mask as a symbol of her desire for privacy and to focus on genuine black culture and emotions in her music.
Musicians, magicians, tight rope, strobe lights
Kelis lists various performers and performances that are part of the circus that is the music industry.
Lion tamers, entertainers, sold out nights
Kelis highlights the success and popularity of the industry and its performers despite their deception and lack of authenticity.
Dressin' rooms, costumes, who's doin' who, gossip, rumors
Kelis describes the behind-the-scenes drama and social interactions that occur in the industry.
Groupies just too much, everybody's like, "let's do lunch"
Kelis talks about people who try to get close to artists because of their fame and wealth, often leading to pleasantries such as going out for lunch.
That's why it doesn't matter, that's why I'm not a rapper
Kelis shares her apathy towards the music industry and her decision to not be limited to one specific genre of music.
Still spit a few bars, might never hear this song
Kelis asserts that she still creates music on her own terms, regardless of whether or not it becomes popular or recognized.
Label might say, "Hell naw! Get a new female star
The industry may reject Kelis's music and decide to pursue another female artist who conforms to their conception of success.
She don't have to sing - she don't have to bring anything!"
Kelis critiques the industry for promoting artists who do not have to sing well or contribute to their artistic work, merely fitting superficial standards of beauty and marketability.
Get her some new earrings, fly her off to Beijing
Kelis implies that the music industry invests more in an artist's appearance and image than their music or talent, sending them around the world for publicity opportunities.
Book her shows in Wyoming, David Letterman & Conan
Kelis describes how the music industry books shows for artists based on arbitrary locations and events in order to maintain their careers.
Your advance just alone and doesn't it all sound grand?
Kelis sarcastically points out how the industry promotes financial success, such as giving artists large amounts of money in advance, as an ideal fulfillment of life.
Number one on SoundScan, just keep the clubs bouncin', join us
Kelis explains how the music industry is driven by charts and sales numbers and seeks to create music that keeps people dancing, urging others to join her in this cycle.
How can I shake this circus clown?
Kelis asks how she can remove herself from the music industry and its manipulative, surface-level expectations.
What does the ringmaster need from his crowd?
Kelis questions the role of those who control and benefit from the industry and the exact desires and expectations they have for their audience.
Should I dive through the circle of fire?
Kelis considers whether or not to take risks and make bold choices in her career for the sake of financial success and public attention.
No - I'm just gonna be me!
Kelis ultimately decides to be true to herself and create music that reflects her own experiences and identity instead of catering to the demands of the industry and its consumers.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Kobalt Music Publishing Ltd.
Written by: ERIC PATRICK CLAPTON, MICK JONES
Lyrics Licensed & Provided by LyricFind