New York rapper and banjee-pride purveyor Le1f is the talk of the Internet after last week's release of his "Wut" video. It's an outrageous clip, in which Le1f sits on the lap of a built, oiled-up dude wearing a Pikachu mask, among things. How is that for unabashed queerness?

Once a year, we are blessed with a new track from producer Morgan Geist and subway-singing soul man Damon Scott. In 2010, it was "Look Right Through." 2011 saw "It Goes On." And now, coming at you in 2012 is "Let's Make Mistakes." Storm Queen straddles electronic disco and house, and the tension between the grit in Scott's voice and Geist's ultra sleek production is never less than gripping. I particularly love how the multi-tracking lifts the already very sticky chorus.

An assload of "Let's Have a Kiki" remixes just dropped, and it's just as well: you can never have too much kiki.

A short history of JoJo: She released her self-titled debut in 2004 when she was 13 and scored a Top 20 hit with the Kidz Bop-perfect anthem "Leave (Get Out)." In 2006, she released her follow-up, The High Road, which contained the Top 5 hit "Too Little Too Late." Along the way, she has suffered record-company bullshit and picked up a legion of stans. Last year, she released "a riff on Drake's "Marvin's Room," in which she said "fuck." Maturation had set in.

"Call Me Maybe" has nothing on the Scissor Sisters' "Let's Have a Kiki" as the song of this summer, at least for a certain segment of the population. Everywhere you go, some gay person is listening to it or talking about it or listening to it and talking about it or devising a parody to it or hijacking brunch with it or just having a kiki. Anne Hathaway, a noted friend of friends of Dorothy, gushed about it to David Letterman last week. A kiki, as defined by the song is "a party, for calming all your nerves" full of tea and not lacking in shade. You know, gay stuff.

O.G. Chicago house vocalist Robert Owens teams up with retro-obsessed UK producer Mark E for something as idealistic and late-night uplifting as a Trax original. Lovely.

Here's an almost-re-edit of Talking Heads' 1981 classic from London's The Reflex. "Almost" because, as explained on the track's SoundCloud page, "I added claps and a couple of sound fx but everything else comes from the stems, all carefully chopped up and replayed." Basically, if you've been wanting a slightly more dance-oriented version of this song for the past 31 years (or however long), today is your lucky day.

Caleb Mason, an associate professor of law at Southwestern University, has done us all a service by producing, in a paper for the Saint Louis University Law Journal, the most thorough legal reading of Jay-Z's "99 Problems" yet. The upshot? Jay-Z mostly gets it right, except for one glaring omission. Some highlights:

We know that Frank Ocean's bold move of publicly admitting that he is a man who has loved another man is a huge thing for R&B—and, to a lesser extent, hip-hop since Ocean sometimes sings with rappers. Here is how Touré put it last week:

Frank Ocean performed his song "Bad Religion" on tonight's Late Night with Jimmy Fallon and absolutely destroyed it. Accompanied by a string section, he sang the tale of unrequited love with a man ("I could never make him love me"), which seems to be modeled after the same relationship that he wrote about in his CD's liner notes. When that narrative was posted on Tumblr last week, it amounted to Frank's coming out. This is a stellar performance, particularly when he flips none too gracefully into his falsetto. It's not as fully formed as, say, Usher's, but there's also no vanity there, either — it's pure expression. This song is deeply felt and this performance only makes it deeper.

Christina Das, a 19-year-old resident of Rochester, N.Y., suffered broken ankles and broken wrist when she fell from a light pole at a Phish concert on Sunday. Shockingly, she was "under the influence of something," such as, possibly, good vibes. Also, she was naked.

I can think of no better end to a week full of words from and about Frank Ocean than with some music. Speaking for its sun-kissed self, "Sweet Life" is off Ocean's official debut Channel Orange, which is out a week from Tuesday. The New York Times' Jon Caramanica says the album is "beautiful," and from what I've heard of it so far, I'm inclined to agree. I would be even without all the gay stuff.

In the wake of Frank Ocean's announcement that he once loved a man, there has been a renewed discourse about what it means for the supposedly homophobic crew Odd Future to have a male member that is queer or queerish or whatever Frank Ocean is. This makes him the second known member that isn't entirely straight — Odd Future producer Syd tha Kyd is an out lesbian who hates the word "lesbian."

Here's Nelly Furtado's second attempt to launch her The Spirit Indestructible album (due in September) following the flop of its first single, "Big Hoops (The Bigger the Better)." You don't win friends with freestyle and her voice sounds accordingly unwieldy and shrill. That said, nothing says freestyle quite like balmy summer days, and for that reason alone, this one is doing it for me.

That's Madonna performing "Like a Virgin" last week during an MDNA Tour stop in Berlin with tears streaming down her face. Why are tears streaming down her face? I don't know. She'd performed this song live for audience in this ballad style almost a dozen times at this point, and it doesn't seem that the song grabbed her like it did during this performance. (In other words, this doesn't seem to be a cry-every-night-at-the-same-exact-part Janet Jackson "Again" scenario.)

Carly Rae Jepsen's "Call Me Maybe" is the actual song of the summer, but Pink's just-released "Blow Me (One Last Kiss)" is bound to be nipping at its heels on the Billboard Hot 100 in no time. What sounds like the product of tossing Modest Mouse's "Float On" in a blender with some stadium rock and a pinch of house, this is the most undeniable ear candy I've heard from Pink since her debut single, "There You Go" (back when she was R&B and of ambiguous ethnicity). The yelping she does at the end of the chorus ("I've had a shit day, you had a shit day, we've had a shit day") is the best, riskiest use of her pipes yet. Pink often irritates me for carrying herself like she's above her pop peers, but here she actually is, so hooray for her.

The famously reclusive D'Angelo graced the stage of tonight's BET Awards. It was the first time he had been on TV in a dozen years. After doing a bit of his signature, "Untitled (How Does It Feel)," he ripped into a groove called "Sugar Daddy" and let it ride for a while. It's a fantastic performance in its own right, and it's really a good thing for pop culture to have funk of so dank a grade be the most talked about piece of music for a second. D'Angelo is back to solve all of our problems, all hail.

At last night's Melbourne stop on her Born This Way Ball tour, Lady Gaga debuted the song "Princess Die," and everything about it was ridiculous. "It's about some of the most deep and personal thoughts I've ever had and it's called ‘Princess Die. D-I-E. D…I…E," she announced, motioning to her Lisa Frank journal with a highway unicorn on its cover.

Out of all the things I love about this remix from Bulgarian producer KiNK - the hint of foreboding, the contrast between the Glass Candy-esque low-fi vocal and the crisp track, the throbbing - I love its space the most. It sounds like it's cycling through a small start up and shutdown on every quarter note.

Michael Jackson died three years ago today, so here's my favorite remix of my favorite of his songs, done in the mid-90's by none other than the godfather of house, Frankie Knuckles. I love how Frankie keeps all of the elements in that matter (the strings, the horns, the bubble-keyboards) and emphasizes some to make them matter more — I never realized how gorgeous this vocal performance was until I heard the stripped-down intro.