Women have accused the singer of sexual abuse for decades. So why are they only being listened to now? Blame misogyny and racism – but also the potency of his music

“Yo, Pac!” You can almost feel the spittle as Gary Oldman launches into his soliloquy. It is 2012, and he is performing in a skit on Jimmy Kimmel’s US talkshow, reciting from R Kelly’s autobiography with the plummy majesty he later brought to the role of Churchill. “What up, baby?” he utters as the audience collapses in giggles. The joke is twofold: English people are so white! But also: R Kelly is so ridiculous!

For years, Robert Kelly, now aged 52, was seen, as Kimmel put it that night, as “great and inexplicable”. He was one of the US’s most brilliant entertainers, beloved for his uproariously carnal R&B tracks and stratospheric ballads. But there was something that set him apart from his musical peers: a knowing ridiculousness, which would prompt him to cast himself in a 33-part television opera centering around a well-endowed dwarf, describe himself as a “sexasaurus”, and make Same Girl, his duet with Usher, so hammy it would inevitably be spoofed by Flight of the Conchords in a song called We’re Both in Love With a Sexy Lady. This sense of self-mockery gained him a new, white hipster audience – Pitchfork booked him to play its festival in 2013 – and also helped insulate him from criticism. Until now.