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In his stimulating paper, "Chatting Is Not Cheating," John Portmann defends online lust and characterizes about sex; he maintains that such talking is more similar to flirting than to having a sexual affair.
In reality, though, the issue of online cheating is more complex—especially when it concerns sexual activities involving actual interaction with other individuals.
His explosive popularity, seeded by his 2015 record and several appearances on Kylie Jenner’s snapchat, culminated this year with the Gucci Mane-featuring hit “Do Re Mi” and a burst of tabloid coverage linking him with the actress Bella Thorne.
As a public figure, blackbear is so objectionable in his self-pity, mean-spiritedness, and obliviousness—after Lil Peep’s death in November he criticized the 21-year-old as a swagger-jacker who glorified drugs—that it’s tempting to dismiss his music on the basis of the lyrics alone, which can’t help but to reveal those qualities.
But unlike Drake or Abel Tesfaye, blackbear has little interest in perfecting his music, exploring new sounds, or earning pop stardom; he has repeatedly told interviewers that he plans to quit within the next couple of years.
Other people are willing to concede that cybersex without the knowledge of their partner, ; nevertheless, some still maintain it's a type of "OK" cheating.
On “I Hope Your Whole Life Sux,” women are compared to foodstuffs—“Instagram be feeling like the grocery store I pick and choose”—and on “Candayapple,” he boasts of a companion that “She my accessory, you know that ima flaunt her.” These sentiments are a natural outgrowth of vibes expressed on Drake’s and in the Weeknd’s entire discography.
blackbear appears to have studied both artists closely and, like the two Canadians, his melodic gifts will yield a handful of hits—“Down 4 U,” the T-Pain feature on might be a contender.
, released sure enough on Cyber Monday (his 27th birthday) bristle with product mentions.
There are spots for Gucci, Timberland and, blackbear’s potential favorite, Wilhelmina Models, whom he brags on “Thursday/Froze Over (“Interlude”)” about sharing carnally with G-Eazy (another example of the artist’s inherent conservatism is his unrepentant, unblinking misogyny.) His interviews, even the ones conducted by phone, come with a monotonous, Patrick Bateman-esque recitation of what he was wearing as he discussed how little he cared about music.