There were a few valid questions concerning the planning of the Victoria Secret PINK party that took place near Memorial Stadium on Thursday.

Why was it moved to the end of October, when temperatures would be less than favorable? Why had Victoria booked two male performers instead of, say, the very pink Nicki Minaj? Didn’t Kid Cudi and Girl Talk both visit campus last year?

Those questions are dismissible if you’re one of the numerous Girl Talk or Kid Cudi fans who staked out positions near the stage hours before their sets. Except, there were quite a few more Cudi fans than Girl Talk supporters.

Of all the variables that came with the PINK party, one is still puzzling: Why was Kid Cudi the opener for Girl Talk?

That decision might have made sense on paper: Cudi is as close to bedroom rap as there is in hip-hop, while Girl Talk is known for his wildly energetic live sets.

But on a campus not particularly known for its progressive music tastes, Kid Cudi’s radio-friendliness was sure to be the biggest draw of the night. And he was: By the time Cudi left the stage, the reported attendance of 10,000 was cut in about half. That led Girl Talk, aka Gregg Gillis, to comment: “It looks like only the dance-heads are left here.”

So whose set was better? This was my third time seeing Girl Talk tour behind his latest tape “All Day,” and this time around was noticeably choppier than even his Canopy Club performance last spring. But at least Gillis had changed up his set from his summer shows: Kid Cudi’s stage banter was a bit reminiscent of his Lollapalooza headlining set.

But Cudi’s live band gave those mid-tempo numbers like “Marijuana” and “Man On The Moon” some extra pep. Radio smashes like “Pursuit of Happiness” and “Memories” were obvious crowd pleasers, but an impromptu cover of Kanye West’s “All Of The Lights”, in which Cudi rapped West’s verse and let the crowd sing his refrain, was the least expected and most rowdy number of the night. Props to Kid Cudi’s percussionist for nailing West’s manic, machine-produced drums.

Gillis tossed some new, top 40 samples into the fray. My favorite was Tyler, The Creator’s “Yonkers” synths paired with “Stuntin’ Like My Daddy” lyrics. But even 30 feet away from the stage, the energy was lacking. The most embarrassing part of the night came when Girl Talk shot cannons of confetti that flew over the remaining crowd and landed softly in an muddy, desolate field only some 75 feet from the stage.

Gillis’ show consists of blending the most recognizable parts of pop music from the last 40 years in a way that has never been done before. His music is living testament to how short our attention spans have grown.

With that, two more valid questions are worth pondering: Were the drink specials at Kam’s really that great that they necessitated leaving a free show? And, really, how impatient is this generation?