Last Sunday at the BET Awards, Brown won again, for Best R&B artist and, for the third year in a row, the viewer’s choice Fandemonium award. Fortune is the follow-up to 2011’s F.A.M.E., winner of the Grammy award for Best R&B album, and a winner on the charts, too, with five Top 5 singles on Billboard’s R&B/Hip-Hop chart to its credit. On the second track, an opportunistic bit of bubblegum dubstep called “Bassline,” Brown declares, “I’m winning, you heard about my image, but I could give a flying motherfuck who’s offended.” There are 16 words in that statement, and at least one lie, but the “I’m winning” part is absolutely true. It’s not that Fortune is a great (or even particularly good) record, or that Brown is suddenly a decent (or even tolerable) person. Fortune is Chris Brown’s fifth, supposedly final (though c’mon, not really) studio album, and it might very well mark the point where even his most ardent haters finally decide that he’s no longer worth their contempt.
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