What's So Funny About A Little Bump N' Grind? R. Kelly, Frank Ocean, And The "Right" Kind Of R&B
Which brings us to Frank Ocean. Apparently Yeasayer and Ocean were both at the Wythe Hotel on the day of the interview, which led to a receptionist mixup, which led to Keating being asked his thoughts on Ocean. His reply: "I think he is a good new face for the R&B world right now, to kind of usher outno pun intendedsome of these folks. Because, let's get real, R. Kelly is a terrible person. I like R. Kelly and how crazy he is, but he's a terrible piece of shit, a horrible person, really bad all around. Let's get rid of him. Let's gay it up a little [in R&B]." It seems that in between his initial Aaliyah encounter (which would have been just after the release of One in a Million) and his band's music being influenced by her, Keating neglected to Google and find out that Kelly wrote and produced the vast majority of her debut Age Ain't Nothing but a Number.
Ironic? Sure. But that's not really what troubles me about Keating's sweeping dismissal of Kelly and his calls for the trendy new wonderboy of R&B to replace him and his ilk. (I mean this in no way as a criticism of Ocean; I adore his music, although he is far more suited for Pitchfork crossover appeal than, say, Trey Songz.) It's not even necessarily his damnation of Kelly as a person, which is perfectly reasonable. I'm a believer in separating the artist from their work (a large percentage of my favorite artists have personas that range from douchey to megalomaniacal), but I recognize that to many, this feels sketchy or tasteless. Fortunately for me, Chris Brown's recent music tends to be just as vile as his character, and I respect anyone who feels uncomfortable distancing Kelly's work from his unsavory past. What's troublesome to me is Keating's claim to enjoy how awesomely "crazy" Kelly is, which comes after immediately he's been deemed a complete piece of shit with no place in the current R&B climate. And it's especially problematic in the middle of an interview in which Keating repeatedly demonstrates a bias against music that doesn't quite measure up to his own arbitrary and imperialist value system.
The response to Kelly's Trapped in the Closet series perfectly demonstrates this patronizing assessment of the artist as a wholly ridiculous "zany black man," lovably clueless as to just how hilarious his work really is. Trapped in the Closet is a blatantly over-the-top and humorous project, just as much of Kelly's most popular and entertaining songs have been ("Real Talk," "The Zoo," "Same Girl," "Sex Planet"). He's been unabashedly audacious for most of his career, though there's certainly more to his catalogue than just silly, catchy metaphors for his horninesshe's a master of narrative, which is why his songs actually work. Why then, when it's so obvious that Kelly is acutely aware and eager to deliver more of what people attach to in his music, is he continuously treated as the butt of his own unintentional joke, a sexed-up idiot savant that tragicomically stumbles into three Grammys? Kelefa Sanneh, in a 2007 New York Times review of Trapped in the Closet: Chapters 13-22, noted the unsettling amount of hysterical attention bestowed upon the DVD: "Many of its biggest fans seem to think they're laughing at Mr. Kelly, not with him, as if the whole thing were some sort of glorious, terrible mistake; as if the far-fetched plot turns... were the work of someone who set out to make a traditional musical and failed."