Some context: Kelis Rogers was born and raised in the Harlem neighborhood of Manhattan in the Frederick Douglass Houses. Her first name is a portmanteau of her father's name, Kenneth (1944-2000), and her mother's name, Eveliss. Her father Kenneth was an African American jazz musician and Pentecostal minister, and was formerly a professor at Wesleyan University. Her mother Eveliss is a Chinese-Puerto Rican fashion designer who inspired Kelis to pursue her singing career.
Kelis contributed a track titled "80's Joint" to the soundtrack of the 2006 dance film Step Up. She collaborated with Busta Rhymes and will.i.am on the track "I Love My Bitch", the second single from Rhymes's 2006 album The Big Bang. This was the second time Kelis teamed up with Rhymes, the first being his 2001 song "What It Is".  Kelis's fourth studio album, Kelis Was Here, was released in August 2006, and debuted and peaked at number ten on the Billboard 200. Despite the career-high debut, the album has sold only 157,000 copies in the United States as of 2007, according to Nielsen SoundScan. Its lead single, "Bossy" (featuring Too Short), achieved frequent airplay on urban radio and was a moderate hit in the U.S., peaking at number 16. "Bossy" went multi-platinum as a mobile phone ringtone, according to the RIAA. Kelis Was Here was nominated for Best Contemporary R&B Album at the 2007 Grammy Awards.  The second single released from the album by her American label, Jive, was a collaboration with Nas, "Blindfold Me". The song missed the Billboard Hot 100 and reached number 91 on the R&B chart. Her European label, Virgin, instead released the Cee-Lo-featuring "Lil Star", which was another hit for Kelis in the United Kingdom, peaking at number three. In the UK, Kelis Was Here charted at number 41 and has sold 60,000 copies, earning a silver certification from the BPI. In Australia, the album reached number 96 on the ARIA Albums Chart and the track "I Don't Think So" was used in promotion for the 2008 season of the reality series Big Brother Australia. The song subsequently peaked at number 27 on the ARIA chart and became a top ten urban hit. During mid 2007, Kelis toured in Europe, appearing in numerous festivals across the United Kingdom, France, and Germany, such as Wireless, Rise and Gurtenfestival. Ford chose Kelis to help advertise the 2007 Ford Edge, and she recorded a theme song for the commercial, entitled "Push It to the Edge", with help from producer Scott Storch.  According to Kelis, she received no support from Jive Records for Kelis Was Here, and the label dropped her in late 2007. Her manager at the time said that the singer was working with Cee-Lo Green on an alternative dance album and would be shopping a pop album produced by songwriter Guy Chambers, who co-wrote hits such as Robbie Williams's "Angels". Scottish electronica producer Calvin Harris was also said to be collaborating with her. Kelis later said of this period, "I was like, 'I will never put out another record again, I hate this business, I hate all these people.' I was in this race that I didn't even realise that I was in. I woke up and ten years had passed. That was never my plan". She subsequently took a hiatus from music.  After Kelis left Jive, the label released a fourteen-track greatest hits album entitled The Hits in March 2008. The album does not contain any previously unreleased songs; Ol' Dirty Bastard's "Got Your Money", N.E.R.D's "Truth or Dare", and Richard X's "Finest Dreams" appear on the album alongside every charted Kelis single to that date, with the exception of "Blindfold Me".
how long was she with jive?
A: 

Some context: Spacemen 3 were an English alternative rock band, formed in 1982 in Rugby, Warwickshire by Peter Kember and Jason Pierce. Their music is known for its brand of "minimalistic psychedelia". Spacemen 3 had their first independent chart hits in 1987, gaining a cult following, and going on to have greater success towards the end of the decade. However, they disbanded shortly afterwards, releasing their final studio album post-split in 1991 after an acrimonious parting of ways.
In November 1985, Spacemen 3 played a gig at a leisure centre in Coventry to an audience of fewer than ten people. Nevertheless, encouraged by the support of Pat Fish, they determined that they ought to record a new demo tape. By this time they had reconfigured and honed their musical style, and their repertoire consisted of newer songs and re-worked older ones. "The band's sound had crystallised into the intense, hypnotic, overloaded psychedelia which characterised their early [record] output, and which would serve as a template for their live act throughout their existence" (Ian Edmond, Record Collector).  At Pierce's instigation, Pete Bain rejoined the band on bass in order to fill out their sound. Despite being a 4-piece again, they would retain the name 'Spacemen 3'. Kember and Pierce opted to upgrade their guitar equipment ahead of recording the new demos. Kember purchased a Burns Jazz electric guitar and 1960s Vox Conqueror amplifier; whilst Pierce bought a Fender Telecaster and a 1970s HH amplifier. Both of their new amplifiers included distortion/fuzz and tremolo; these two effects were key components of Spacemen 3's signature sound.  In January 1986, Spacemen 3 attended the home studio of Carlo Marocco at Piddington, outside Northampton, to record their new demo tape. They spent three-and-a-half days at the 16-track studio. Recording live as a group, with minimal overdubs, they managed to get demos for approximately seven songs. Kember and Pierce handled the production. These "fine set of performances" (Ned Raggett, AllMusic) would later be unofficially released as the vinyl album Taking Drugs to Make Music to Take Drugs To on the Father Yod label in 1990 (albeit described incorrectly as "rehearsals in Rugby").  Spacemen 3 managed to obtain a record deal shortly after producing their new demos. Pat Fish had given a copy of the demo tape to Dave Barker, the owner of the independent record label Glass Records, to whom Fish's band The Jazz Butcher were signed. Spacemen 3 signed a three-year, two-album recording contract with Glass Records in early 1986.
Was the demo popular?
A: