‘The rapper talks with dream hampton about his now-infamous XXL video and what he has learned from the backlash.’

‘If the songs were dull or disposable, they’d still be important, but they might matter less. But they’re both good, “Birthday Cake” very much so. The quality matters because they’re likely to lodge themselves in the public consciousness and seep onto radio playlists: this mess won’t just melt into the air.’

On Rihanna possibly working with Chris Brown.

‘Human feelings are much more complicated than the narratives we try to fit them into. If we’re willing to allow pop stars to thrill us with unpredictable art, we have to grant them the right to make their own artistic decisions—provided they don’t directly hurt anyone else, of course—and react accordingly. We have to understand that though they are public figures who may figure into the aspirations of countless others, they are also human beings, and the most important response to their actions is careful deliberation about the issues raised, not instantaneous (and condescending) condemnation that eliminates their perspective altogether.’

‘Woman-beating rage-broccoli Chris Brown lip-synced his single “Turn Up the Music” (without being threatened by Sir Elton John) and danced roughly as well as a third-rate Chicago footwork dancer. He ended his performance by back-flipping off the stage, though sadly not off the earth.’

‘The Grammys. Think. That they. Were the victim. Of Chris Brown. Hitting. Rihanna. In the face.’

‘There was such intense (online) media coverage of Chris Brown’s horrible deed, plus indexical evidence of its effects on Rihanna’s face, that it quickly outpaced his musical identity. Now, he’s just tagged as a violent shithead, and arguably the Grammys’ ignorance of this fact only heightened this feeling.’