The label conflict became more disturbing because Keys was still a teenager navigating adult recording-industry power structures. She said that some of the producers Columbia brought into her sessions sexually propositioned her, adding that the behavior was widespread and difficult for a young performer to understand or safely handle. Keys had grown up with a guarded, self-protective mentality in Hell's Kitchen, and she said that instinct helped her rebuff people who appeared to be trying to exploit her. The pressure took a psychological toll: she described driving to one studio session with 'dread' in her chest, feeling increasingly depressed as executives demanded finished tracks she did not believe in. Columbia ultimately relegated her to what she called 'perpetual music industry purgatory' or the shelf. Apart from recordings connected to a Christmas compilation and the 1997 Men in Black soundtrack, little of her Columbia-era work was released. The breakdown helped convince her that she needed creative control and collaborators she trusted; after the dispute, she moved to Clive Davis's J Records, where she developed the music that became her breakthrough album, Songs in A Minor.
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