Chris Brown’s smashing post-assault comeback

The media who are glossing over his past abuse send the message that assaulting women is little more than an inconvenience to your career.

"Don't f—k with my old bitch, it's like a bad fur/ Every industry n—— done had her/ Shook the tree like a pumpkin just to smash her/ B*tch is breaking codes, but I'm the password."

It might not be classy to trash-talk your ex, but trash-talking your ex after one of your main claims to fame is that you violently beat her up is apparently the formula for music chart success. The "smash her" line is the coup de grace here – an onomatopoeic punch to both warn other guys that his ex has had (too much) sex, and a trigger back to the fact Brown once, well, smashed Rihanna’s face in.

Chris Brown’s fifth album Fortune hit the UK chart number one spot this Sunday, marking the full rehabilitation of Brown’s career after his assault of then-girlfriend Rihanna on the evening of the 2009 Grammys. In the excitement, Brown’s fans took to Twitter en masse as #TeamBreezy to celebrate Brown’s return: amongst their assertions that "Chris Brown can hit me any time" and "I don’t know why Rihanna complained" were the more worrying – for seeming to be more legitimate – arguments that Brown is "sorry" (a claim invalidated largely by his continued classic-abuser positioning of himself as a victim of "smears") or that Brown was very young in 2009, and grew up in a tough environment (that may be so but I think “he had a bad childhood” grows old quickly when a grown man’s strangling you until you start losing consciousness).

Rihanna’s evolving response to what happened in 2009 was evoked to further brush Brown’s abuse under the carpet, particularly the fact she collaborated with Brown on a single earlier this year. And as Brown reaches number one, Rihanna is actually used to distract from what Brown did. This goes beyond Chris Brown’s attempts, in his recent music, to slut-shame Rihanna for having a sex life – because when you can no longer control a woman with violence, you at least have recourse to the good old-fashioned tactic of branding her a ‘slut’. It extends to the opprobrium Rihanna receives for the work she’s produced since the 2009 Grammys: while her "Love The Way You Lie" video, exploring the emotions of a toxic relationship, was accused of ‘soft porn-ifying’ abuse, her video for 2011’s "Man Down" was criticised for ‘glorifying’ female violence because it shows a woman’s response to rape. It’s Rihanna, not Brown, who faces the ‘damned if you do, damned if you don’t’ of public scrutiny.

This focus on Rihanna (particularly the "if she can forgive him why can’t you?" line familiar to anyone who’s dealt with domestic violence) and foregrounding of her ambiguous response distracts from the focus on the unambiguous brutality of Brown’s actions in 2009. After all, can you think of a less subtle act than smashing a woman’s face against a car window? How Rihanna deals with what happened is her prerogative, but that it should eclipse the bare facts of what Brown did seems convenient for abuse-apologist #TeamBreezy.

The debate about whether Rihanna’s musical collaboration with Brown ‘rehabilitates’ his public persona may seem like a dilemma unique to Universe Celebrity, but it is based on a mundane truth: domestic violence is both complicated and simple. It’s about unique intimate dynamics and it’s also about crime, clear lines unacceptably crossed. How the media handle the public and the private in this is crucial to what messages society receives about domestic violence. A decade ago, football fans made excuses for Paul Gasgoine’s violence against his partner on the grounds that they supported him as a footballer, not what he did off-pitch. A similar line is being evoked by #TeamBreezy, while Brown breaks the ‘privacy’ by continually publicly justifying himself. And this is perhaps the most frustrating thing about Chris Brown’s public rehabilitation: it utilises the patriarchal ‘private sphere’ switch-and-bait to both minimise and legitimise violence against women.

When you’re rapping about your ex in the vein of “don’t fuck with my old bitch, it’s like a bad fur”, the already-flimsy Gazza-argument that the work for which you’re renowned is removed from your ‘private’ violence seems unconvincing; yet in the media spotlight it’s Rihanna whose every move is fair game for criticism. The sham act of policing sexual propriety that manifests in the media’s mock-concern for Rihanna’s ‘dignity’ when she expresses herself sexually is not only part of a reactionary positioning female sexuality as dangerous (making yourself seem "available" will get you beaten up) but also plays into the machismo that legitimises Brown’s violence (after all, it doesn’t matter what you do to a whore, does it?).

As Rihanna is chastised for expressing her sexuality, Brown’s violence – and his lyrics relating to violence – are positioned variously as the preserve of the ‘private sphere’ and ‘artistic licence’. It’s a double-standard of privacy in favour of male violence "behind closed doors" that’s so embarrassingly obvious it puts Henri-Levy’s bizarre 2011 defence of Strauss-Kahn as a "friend of women" to shame.

Because that’s another thing about domestic violence: it’s behind closed doors. The recent domestic violence awareness campaign by make-up artist Lauren Luke was so powerful because it bound an everyday, intimate act – Luke putting on her make-up, which her fans are used to watching – with the fact that every day women use make-up to cover their bruises. Women’s abuse is largely hidden; saying its irrelevant when a public figure commits it contributes to this silencing.

Chris Brown’s comeback, and the media who are glossing over his past abuse, send the message that assaulting women is little more than an inconvenience to your career – you can turn it into bravado, along the lines of “bitch be breaking codes but I’m the password”, or, à la Strauss-Kahn, you can cite the "private sphere" defence: win win. Either way, it’s the right of women to live lives in which they can express themselves, safe from violence, that is lost.

Follow Heather McRobie on Twitter as @heathermcrobie

Chris Brown onstage during the 2012 BET Awards in Los Angeles. Photograph: Getty Images
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Theresa May "indifferent" towards Northern Ireland, says Alliance leader Naomi Long

The non-sectarian leader questioned whether the prime minister and James Brokenshire have the “sensitivity and neutrality” required to resolve the impasse at Stormont.

Theresa May’s decision to call an early election reflects her “indifference” towards the Northern Ireland peace process, according to Alliance Party leader Naomi Long, who has accused both the prime minister and her Northern Ireland secretary James Brokenshire of lacking the “sensitivity and neutrality” required to resolve the political impasse at Stormont.

In a wide-ranging interview with the New Statesman, Long – who is running to regain her former Belfast East seat from the DUP for her non-sectarian party in June – accused the Conservatives of “double messaging” over its commitment to Northern Ireland’s fragile devolution settlement. The future of power-sharing province remains in doubt as parties gear up for the province’s fourth election campaign in twelve months.

Asked whether she believed the prime minister – who has been roundly criticised at Stormont for her decision to go to the country early – truly cared about Northern Ireland, Long’s assessment was blunt. “We have had no sense at any time, even when she was home secretary, that she has any sensitivity towards the Northern Ireland process or any interest in engaging with it at all... It speaks volumes that, when she did her initial tour when she was prime minister, Northern Ireland was fairly low down on her list.”

The timing of the snap election has forced Brokenshire to extend the deadline for talks for a fourth time – until the end of June – which Long said was proof “Northern Ireland and its problems were not even considered” in the prime minister’s calculations. “I think that’s increasingly a trend we’ve seen with this government,” she said, arguing May’s narrow focus on Brexit and pursuing electoral gains in England had made progress “essentially almost impossible”.

“They really lack sensitivity – and appear to be tone deaf to the needs of Scotland and Northern Ireland,” she said. “They are increasingly driven by an English agenda in terms of what they want to do. That makes it very challenging for those of us who are trying to restore devolution, which is arguably in the worst position it’s been in [since the Assembly was suspended for four years] in 2003.”

The decisive three weeks of post-election talks will now take place in the weeks running up to Northern Ireland’s loyalist parade season in July, which Long said was “indicative of [May’s] indifference” and would make compromise “almost too big an ask for anyone”. “The gaps between parties are relatively small but the depth of mistrust is significant. If we have a very fractious election, then obviously that timing’s a major concern,” she said. “Those three weeks will be very intense for us all. But I never say never.”

But in a further sign that trust in Brokenshire’s ability to mediate a settlement among the Northern Irish parties is deteriorating, she added: “Unless we get devolution over the line by that deadline, I don’t think it can be credibly further extended without hitting James Brokenshire’s credibility. If you continue to draw lines in the sand and let people just walk over them then that credibility doesn’t really exist.”

The secretary of state, she said, “needs to think very carefully about what his next steps are going to be”, and suggested appointing an independent mediator could provide a solution to the current impasse given the criticism of Brokenshire’s handling of Troubles legacy issues and perceived partisan closeness to the DUP. “We’re in the bizarre situation where we meet a secretary of state who says he and his party are completely committed to devolution when they ran a campaign, in which he participated, with the slogan ‘Peace Process? Fleece Process!’ We’re getting double messages from the Conservatives on just how committed to devolution they actually are.”

Long, who this week refused to enter into an anti-Brexit electoral pact with Sinn Fein and the SDLP, also criticised the government’s push for a hard Brexit – a decision which she said had been taken with little heed for the potentially disastrous impact on Northern Ireland - and said the collapse of power-sharing at Stormont was ultimately a direct consequence of the destabilisation brought about by Brexit.

 Arguing that anything other than retaining current border arrangements and a special status for the province within the EU would “rewind the clock” to the days before the Good Friday agreement, she said: “Without a soft Brexit, our future becomes increasingly precarious and divided. You need as Prime Minister, if you’re going to be truly concerned about the whole of the UK, to acknowledge and reflect that both in terms of tone and policy. I don’t think we’ve seen that yet from Theresa May.”

She added that the government had no answers to the “really tough questions” on Ireland’s post-Brexit border. “This imaginary vision of a seamless, frictionless border where nobody is aware that it exists...for now that seems to me pie in the sky.”

However, despite Long attacking the government of lacking the “sensitivity and neutrality” to handle the situation in Northern Ireland effectively, she added that Labour under Jeremy Corbyn had similarly failed to inspire confidence.

“Corbyn has no more sensitivity to what’s going on in Northern Ireland at the moment than Theresa May,” she said, adding that his links to Sinn Fein and alleged support for IRA violence had made him “unpalatable” to much of the Northern Irish public. “He is trying to repackage that as him being in some sort of advance guard for the peace process, but I don’t think that’s the position from which he and John McDonnell were coming – and Northern Irish people know that was the case.” 

Patrick Maguire writes about politics and is the 2016 winner of the Anthony Howard Award.

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