The recent hype surrounding the upcoming release of Mamma Mia 2 in cinemas may be surprising to some. Indeed, many media outlets have been quite keen to write of musical theatre as the art-form of the older generation, with the number of younger people going to theatres supposedly declining. Young people listen to music and watch films, they don’t want to go and see plays.
Firstly, I want to point out that this is a baseless misconception. A significant number of my fellow students are heavily involved in theatre, in fact I would say it rivals sport as the most popular extracurricular activity in the whole University.
A typical response to this would be to say yes, students enjoy participating in theatre, but they won’t go to watch it. Admittedly, the number of students who frequently go to watch productions is mightily eclipsed by the number of students who listen to music, and I am yet to meet anyone at my University who doesn’t have either Spotify or Apple Music. But this, I would argue, is not down to a lack of interest, rather a lack of access.
Rather than comparing the amount of young theatre-goers to the amount of young music-listeners, I think it is more accurate to compare the former with the number of young people who frequently go to music concerts. I am not talking about local gigs or club events, I mean arena-standard concerts, because this is the closest equivalent to seeing a play in the West End or on Broadway. The disparity then becomes far less considerable, and I know plenty of students who have been to numerous West End shows with their family, but have never been to a music concert in their life. Just because music is a more accessible form of art, due to its ability to be downloaded and streamed in the comfort of one’s own home, it does not mean it is necessarily more relevant to this generation.
The second main point I’d like to make is that West End ticket prices make seeing a play much more of a luxury than it used to be. There has been no attempt to hide the fact that theatre tickets are increasing in price, with a trip to see the likes of Les Miserables or The Lion King setting you back a good £70 a head. In comparison, while the biggest names in music will of course command a similar fee, tickets to one of the biggest music events of the year, Wireless Festival UK, which took place a couple of weeks ago in London, and which boasts some of the biggest names in Hip Hop, including Drake, Big Sean, Post Malone and Stormzy, were sold from the official platform for just over £50.
Theatre risks being shut off from younger audiences due to excessive ticket prices - not because of a lack of interest. The 16-25 Railcard scheme in England offers some West End tickets at reduced prices, but we need more policies like this in order to keep this art-form as relevant as it should be, and as students want it to be.
Do you agree? Would you like to visit the theatre more often, but find yourself restricted by ticket prices? Or do you think it really is just becoming irrelevant to this generation?
Yours sincerely, but not too seriously,
Migos, Rae Sremmurd, Lil Yachty, Future and Wiz Khalifa have all dropped sequels to the projects that got their careers off the ground. But do fans get more of what they loved about the first instalments, or are disappointing comparisons inevitable?
Every successful rapper has the album. And by this I’m not referring to the rather self-explanatory point that in order to be a musician you have to have made music, and this usually manifests itself at some point in that artist’s career in a body of work, usually termed an album. Although, some would actually argue that there are well-known rappers who thrive on mixtapes, which aren’t specifically the same as albums…
ANYWAY, ignoring the nit-picky imperfections of my opening statement, it is undoubtedly the case that usually, in any genre, to be a hit recording artist, you need one special album to really propel you into the mainstream consciousness. You need a body of work that epitomises your sound, your style, and that is and probably never won’t be the best album of your career. You need a centrepiece, a ‘Tapestry’, a collection of songs where you can’t talk about the artist without saying ‘Oh yeah, they’re the one who made that album’.
You need the album.
Many would argue that once you achieve this point in your career, it is a curse to ever release a sequel to this heralded piece of work. It will always fall short of fans’ expectations, because with every year that passes the original album becomes even greater and more of a classic in their minds. It would be the ‘Jaws 2’ of the music world. By contrast, many record label strategists and industry gurus (first of all, how are these even jobs - and secondly, where do I sign up?) sit on the other side of the fence, arguing that you can capitalise on the success of the first album by bringing out a follow-up. Fans of the first will almost definitely devour the second, and even if it is a load of utter codswallop, the money-makers don’t care, because the streams will already be there. Equally, the artistic purists will claim that album sequels should more often than not exceed their predecessor, because if the creator is a true ‘artist’ they will have developed and honed their sound in the time between the releases.
In reality, bringing out sequels in Hip Hop is undoubtedly risky business. But it can work, and when it does, it is usually spectacular in its success. If it flops, however, the pedestal the original album had been placed on is very often snatched from beneath the artist’s feet.
So in 2018, where a surprisingly large number of artists released sequels - who dropped fire, and who flopped dire? (Ok, it wasn’t that funny, but it rhymed and I couldn’t resist, so lets just move on to our first sequential analysis)…
Migos, Culture II
For the Migos, it was Culture, the smash hit that spearheaded their charge into rap’s upper echelon and announced themselves as the leaders of this generation’s artistic movement. Is this a valid claim? No. But was Culture a decent album? Definitely. It was fun, it was hectic at points, but it was the Migos through and through. And of course, there was a period in 2017 where you couldn’t turn the radio on and not hear the group’s smash hit ‘Bad and Boujee’, which somehow went overwhelmingly viral.
On the surface of Culture II, not much has changed in the year since the first Culture instalment. The excessive amount of ad-libs - a large amount of which are self-promoting name drops - and their supposedly pioneering triplet flow is as pervasive as ever. The guest list is a lot more impressive on Culture II, with contributions from Drake, Post Malone, Big Sean and Kanye West. But as a body of work, it fails to really impress. It has better tracks individually, with ‘Motorsport’, ‘Supastars’, ‘Notice Me’ and ‘Gang Gang’ being personal highlights, but it definitely suffers from being way too long with 24 tracks, as opposed to Culture’s comparably concise 13. There were moments on Culture II that eclipsed the material on the first album, but these came too few and far between to really be called an improvement on the original, and ultimately made many ask whether the Migos are a one-trick pony, and whether they have started to take themselves too seriously. Culture II is overly similar in subject matter to the first Culture, and made many realise that perhaps the original wasn’t the masterpiece it was crowned as. Without ‘Bad and Boujee’s meme-fuelled success, the album probably would have dipped quite heavily under the radar.
If this was a film?
Taken 2. Not terrible, but too predictable to really be good. We know the guy has to save the girl, just like we know Quavo’s always going to rap about raindrops and droptops.
Rae Sremmurd, SR3MM
The previous two Rae Sremmurd albums had been met with a fair amount of critical acclaim, but escaped the playlists of many mainstream listeners until the breakout stardom they earned as a result of their own equivalent to ‘Bad and Boujee’ - ‘Black Beatles’. It spawned the viral freeze game, which helped propel the song to number one. However, the rest of the tracks on Sremmlife 1 and 2 remained largely untouched, except by the duo’s existing fanbase. After the failure of Culture II largely because of its length, the announcement that SR3MM would consist of Rae Sremmurd’s two members’ solo albums, alongside the group project, worried many an onlooker. Yet when the 27-track, triple-album behemoth dropped, the three parts complemented each other sublimely. The tropical, melodic croons of Swae Lee, unquestionably the more famous Rae Sremmurd brother, spawned numerous songs that have been mainstays on my summer playlists, while Slim Jxmmi’s hard-hitting raps provided the antithesis. The collaborative first section was the strongest, but as a whole this was, in my view, the best offering yet from the Hip Hop group.
If this was a film?
Godfather 2. Classy, thrilling, and full of references to criminal activity.
Lil Yachty, Lil Boat 2
This sequel is odd in that it sounds nothing like a sequel. Lil Boat showcased Yachty’s sense of humour and his uniquely summery disposition, and was entertaining from start to finish. He weaved between singing and rapping expertly, even more impressive considering his lack of years. Lil Boat 2, on the other hand, contains no such variation, nor humour, which is strange considering these are the artist’s two most distinguishing traits. Its bleariness was excused because Lil Yachty was supposedly aiming to make an album completely unlike his previous release, Teenage Emotions, which received an intensely negative critical response. But personally, I loved Teenage Emotions, as it continued Yachty’s breezy, and admittedly cheesy at times, stroll through youth. Lil Boat 2 is lifeless, and is a perfect example of an artist having his identity swallowed up by the abyss of people-pleasing.
If this was a film?
Jaws 2. Which is ironic considering this is an album about a Boat.
Wiz Khalifa, Rolling Papers 2
I think Wiz has the advantage here in that he left a much more significant amount of time in-between albums, as Rolling Papers was released all of 7 years ago. It was undoubtedly the album for Wiz, partially because after his ‘Black and Yellow’ success he spent a long time away from the charts. He might argue he was experimenting and ‘rediscovering’ his sound, what's more likely is that he simply didn’t produce any amazing material during this period. But then Fast and Furious 7 comes along in 2015 and Khalifa drops ‘See You Again’, which puts him back on the map and suddenly makes him the most streamed artist in the solar system and beyond.
Rolling Papers 2 is interesting, and is a testament to how the rapper has managed to sustain his career over so many years, despite most of the artists that were breaking onto the scene at the same time as him being long gone (anyone remember Chipmunk? ). If anything, Khalifa’s patchwork of lackadaisical rapping and even more lackadaisical singing is the most relevant it’s ever been, with the emergence of melodic trap over the past couple of years. In my opinion, though, what sets Wiz Khalifa apart from his fellow sequelists is not the quality of his music, nor his subject matter, which is 90% green with a strong, unmistakable odour. It is the fact that he hasn’t really changed his vibe nor sound for anyone. Even when his flow seemed to be losing favour, he didn’t panic like Lil Yachty and perform a stylistic about-turn. Wiz has always been Wiz, and while there are obvious artistic benefits of being mercurial, fans also like dependable consistency. Rolling Papers 2 has some great tracks, as well as some very forgettable ones, but it never really gets boring, despite still being overly long. It simply serves as a new pool of tracks to dip in and out of, rather than to be enjoyed as a full project. It is what it is - or maybe, it is what it Wiz…
If this was a film?
Star Wars: The Last Jedi. A lot of people talk down on the franchise for hanging around, but nonetheless it still commands one of the most loyal fanbases out there - and justifiably so.
Future, BEASTMODE II
Lets get this straight. Future is not a creative genius, pushing the boundaries of art as we know it. But he doesn’t pretend to be, either. What he is, is a business mastermind, and has pinpointed his niche and flooded his market with mixtapes left, right and centre. He is about quantity, rather than quality. The Beastmode mixtape was highly revered among Hip Hop fans when it was released in 2015, but didn’t really offer us much more than the other four mixtapes he dropped in the same year. Producer Zaytoven did a commendable job with his twinkling, trap-balled beats, and he steps up to the mark yet again on BEASTMODE II.
In terms of subject matter, Future is still rapping about the thug life, and his flow is still half blistering but static rap, and half crackling croons, so not much has changed on this front either. Some critics want to give the Atlanta phenom credit for ending the sequel on a vulnerable note with ‘HATE THE REAL ME’, on which he lays his troubled conscience out on the table for the world to see. But the aftertaste it leaves is familiar, as we’ve already had this guard-removing, mask-offing apologia from Future on his 2016 studio album, HNDRXX, which was supposed to be a project where he says sorry to those he’s hurt and pledges to make amends. At the time I thought this was a good move, as Future has always shut off a more mainstream, Drake-dominated market because of his intensely explicit and often vulgar subject matter. So HNDRXX was him apologising, but then barely a year later SUPER SLIMEY dropped, on which Future was back to his old misogynistic, drugged-up self. This undoubtedly takes away from the credence of BEASTMODE II’s climax, and it becomes just another one of Future’s throwaway mixtapes - enjoyable for a couple of days, but then grows overwhelmingly mundane because you’re having to block out the wearing lyrics.
If this was a film?
Fast and Furious 8. Never going to be critically or artistically championed, but nonetheless still makes a heck of a lot of money and has a huge following. Also, it’s possible BEASTMODE II has even more car references on it than any of the Fast and Furious films - and probably even more product placement.
So it seems Rae Sremmurd came out trumps in our quest to find the best Hip Hop sequel-makers of 2018.
But is it a reliable strategy? Considering the majority of these projects were quite underwhelming, I think the answer is no. It might be a way of gaining some quick streams and adding some extra hype to an album, but generally a sequel is going to fall victim to its predecessor’s success.
Or maybe the whole culture of making album sequels is based off a misunderstanding? Perhaps some artists have spent so long tirelessly slaving away in their luxurious studios and mansions that they have already run out of creative energy when it comes to the title, and that’s why when the Publicity Manager comes up to them for the twentieth time that week and asks, ‘Have you decided on the album title yet?’, their keyboard-battered fingers stagger up defensively in an angry two-finger salute. ‘OK, if you say so’, the manager replies, oblivious, ‘We’ll just add a 2 to the previous one…’
In all seriousness, what do you think? Are album sequels a good move? Would you rank any of this year’s sequels higher than Rae Sremmurd’s?
Yours sincerely, but not too seriously,
Her 2018 single 'Tennessee Bound' is raw, uplifting and alluringly catchy, just what any good country song should be
2018's 'One to Watch': Sinead Burgess
The Australian signer-songwriter’s career has been bubbling away under the surface for a few years now, but it looks like 2018 is the year she’s finally going to burst through our speakers and leap onto our playlists. Judging from the two singles that have thus far been released off her upcoming album, Damaged Goods, she has developed a rawer, more authentic country sound, and is all the better for it.
Her last EP, Wolf, released in 2016, had all the dark atmosphere and drama of a Sia record, but without anything to truly distinguish her from other modern pop artists. Tennessee Bound, her 2018 single, shows how much of a difference two years can make. It’s raw, uplifting - and alluringly catchy, just what any good country song should be. Its more recent counterpart, the album title track, 'Damaged Goods', highlights Sinead’s authenticity and her ability to connect with the listener through her lyrics. It is a moving, vulnerable ode to all those trying to make something of themselves, but who feel as though a certain moment in their past is holding them back.
I was fortunate enough to see Burgess perform as a support act on country mainstays The Shires’ Accidentally On Purpose tour earlier this year, and her energy made her an instant hit with the audience. Between songs her chat was fun and engaging, whilst not being overly corny, and by halfway through her performance of 'Tennessee Bound' half of the crowd were already singing along to the chorus.
Could 2018 be the year Burgess’ hard work plugging away in bars and clubs comes to fruition? I think so - watch this space.
Yours sincerely, but not too seriously,
Listen to first: 'Tennessee Bound'
Next track out: 'Gonna Be Alright', Expected this Friday (27th July)
Sinead Burgess’ Album Damaged Goods is available to pre-order on iTunes, and is expected to drop on all platforms on 17th August
LYRIC OF THE WEEK:
Drake, ‘Emotionless’ -
“They always ask, ‘Why let the story run if it’s false?’
You know a wise man once said nothing at all”
Clearly, to make myself seem cleverer I should really leave this explanation blank. But as the editor of a website whose primary aim is to say something, preferably witty or insightful, this shows I am still quite a way off achieving wisdom by Drizzy Drake’s standards. Still, a pithy ‘maxim’ (never miss a chance to self-promote) nonetheless, and one that we could all do with abiding by more closely in this age of memes, comments sections and apparently needing more than just 140 characters to convey an opinion.
SONGTITLE OF THE WEEK:
Ariana Grande, 'God is a woman'
Profoundly theological on the surface, yet beneath lies a track championing sexual liberation. Bold, defiant and undoubtedly inspiring, the blunt affirmation will come across as juxtaposition to some, but hopefully the majority will react more open-mindedly and positively. It almost feels as though Grande is challenging us, seeing how we do respond, and questioning those who move to dismiss it. The lyrics may be erotic, yes, and are unquestionably striking in themselves - but the title points towards so much more than this.
COVER ART OF THE WEEK:
Gorgon City, Escape
Wait, what is that? Is it a bird? Is it a plane?
I’m still not entirely sure what this mutated pigeon-dove hybrid is exactly, but either way it contributes to another awesome cover from UK dance duo, Gorgon City. The ocean blue and rainforest green shades blend perfectly, creating a very naturalistic yet also subtly electric feel. The lack of a head to this animal turns the image into a perplexing illusion, and the album title - ‘Escape’ - only adds to the ominous, mysterious mood that’s engendered. The outstretched wings certainly invoke a sense of freedom, and if this is a dove, albeit a very strange dove, perhaps the artist intends peace to be an underlying message too.
What do you think? Any better choices gone under the radar this week?
Yours sincerely, but not too seriously,
THE OVO MUSIC MOGUL’S LATEST OFFERING IS BREAKING ALL THE RECORDS, BUT IS THERE SUBSTANCE BEHIND THE STATS?
As I settle down to digest to Drake’s latest album, trying to balance a mixture of excitement, wariness and intrigue, I can’t help but notice the introduction he offers to Scorpion is strangely petulant.
Out of character for the man who serenely swatted aside Meek Mill’s agitations in 2015, and who, more recently, emerged from Pusha T’s supposedly career-shattering bombshell that Drake has a secret child with another platinum plaque under his belt, a new collection of smashed records and quite credible claims to being the number one artist of this generation. Somehow, the criticisms and ridicule Drake often has to face for being a rapper that sings only serves to aid his progression. Drake won the beef with Meek Mill without ever addressing the allegations of ghostwriting. Out of the 25 tracks on Scorpion, just one of them concerns Pusha T’s baby accusation. Such is the power of Drake’s PR machine, he doesn’t really need to properly respond to his detractors, because he’s the one looking down on the rest of the industry. If anything, the constant attempts to undermine the Toronto crooner help reinforce his lucrative image as rap’s outsider, the downtrodden nice-guy who gets a bit too emotional in public.
But this is why the note Drake headers his new album with on Apple Music seems odd. It consists of all the stereotypical jibes aimed at the rapper, such as: “DRAKE SINGS TOO MUCH…DRAKE DOESN’T EVEN WRITE HIS OWN SONGS…DRAKE DIDN’T START FROM THE BOTTOM…DRAKE MAKES MUSIC FOR GIRLS…DRAKE IS AN ACTOR” before finishing with the dismissive, “YEAH YEAH WE KNOW”. This comes across initially as unusually petty, perhaps showing a chink in Drake’s armour betraying that he does really care what people are saying about him. His short rebuke isn’t really strong enough to make it sound otherwise. However, the main course itself soon overshadows any doubts about this aperitif.
Admittedly, seeing that the tracklist read 25 songs long made me nervous. The likes of the Migos, Playboi Carti, Post Malone and Tory Lanez all failed to excite over longer projects, while Kanye West’s recent series of efficient, well-structured 7-track albums seemed to epitomise the appetite of the modern short attention span. Furthermore, Drake’s Views and More Life suffered critically from a lack of variation, yet still thrived commercially. Is Scorpion another example of a mediocre project that’s benefited from exceptional promotion?
It appears the answer is no. There aren’t many artists who can carry a 25 song album, and had you asked me a month ago, I wouldn’t have said Drake was one of them. However, on Scorpion he shows us why he is the maestro of judging the right mood for a song, and juggles the braggadocious with the vulnerable expertly. It benefits from being split into two acts, the first being all rap and the second being predominantly R&B.
Act I shows off Drake’s primary weapon - his lyricism. His storytelling ability is second to none in the rap world, and he punctuates each line with a level of introspection that usually means the song’s catchiness has to be sacrificed, as if often the case with Kendrick Lamar. But Drake delivers on all fronts, with ‘Emotionless’ being the jewel in the lyrical crown. It has so far gone largely under the radar, but if you listen to just one track off the album, listen to this one. It perfectly sums up Drake’s awareness of the times and his talent for expressing these in an engaging, insightful way. He comes across as witty, but tinges the track with a sadness with regards to where the social media age is taking us (“I know a girl happily married 'til she puts down her phone/I know a girl that saves pictures from places she's flown/To post later and make it look like she still on the go/Look at the way we live”).
‘Nonstop’ and ‘Elevate’ bring Drake’s perspective firmly back to the present, as he celebrates his success and sends out ominous warnings to his competitors. Not much more needs to be said about the smash hit of the year, ‘God’s Plan’, which cements Act I together, while ‘Mob Ties’ also deserves a mention as exemplary of the variation in Scorpion, with Drake switching up his flow and range, and maintaining the listener’s attention as a result. Act I tapers off towards the end, with a surprise feature from Drake’s arch-nemesis Jay-Z serving as the main point of intrigue.
Act II contains more of the typical ‘album tracks’ that the hardcore fans might give a second listen but the majority will find forgettable. Drake seems to have honed his tendency towards downcast, hazy laments, and Scorpion’s second half seems like a more polished hark back to Drake’s earlier projects, where singing was a much more central weapon in his armoury. ‘Jaded’ and ‘Finesse’ are perfectly orchestrated in their laconic, resigned melancholy, while ‘Nice For What’ and ‘Ratchet Happy Birthday' provide more upbeat counterparts.
And of course, you can’t have a Drake album without having a song that manages to go viral. On Views it was ‘Hotline Bling’, on Scorpion, this role is fulfilled by the enchantingly melodic ‘In My Feelings’, which has spawned a dance move challenge being attempted by numerous celebrities. The song itself is catchy, but its successor in the tracklist, ‘Don’t Matter To Me’, featuring a moving hook from a previously unreleased Michael Jackson song, steals the spotlight in Act II. This is Drake seemingly placing himself on a par with the pop legend, due to him recently breaking Jackson’s record of American Music Awards nominations, along with his 1983 chart record of the number of consecutive weeks at number one.
The album closes with ‘March 14’, without doubt the most personal of the 25. Drake confirms he has a child, and takes us through the emotional and mental journey that took him on, confessing his regret at being a single father (“Always promised the family unit/I wanted it to be different because I've been through it”) and how his mentality has had to change with the birth of his son (“Realize I gotta think for two now/I gotta make it, I better make it”). Again, Drake’s adept wordplay is showcased whilst not cheapening the message of the track (“But this Champagne toast is short-lived/I got an empty crib in my empty crib”), as he tentatively meanders from line to line, his pain seeping through the pauses. The fact that Drake opted for this honest, remorseful response to Pusha T’s accusations about his child is further evidence that Drake knows how to handle and win a public battle.
Drake has always been renowned for the openness and tenderness of his rhymes, but in recent times his authenticity had been called into question. Was he just a frontman for a major marketing strategy? Did he use ghostwriters? Did he have a secret child?
Scorpion doesn’t give us all the answers, but to quote Gone with the Wind’s Rhett Butler - ‘Frankly, my dear, I don’t give a damn’. Scorpion exceeds its most recent predecessors in almost every department, as Drake somehow raises his own bar yet again. As Pusha T and Meek Mill learnt the hard way, any frogs that try to swim across to the king of rap’s throne will get stung without fail.
Why? Because it’s in a Scorpion’s nature.
Yours sincerely, but not too seriously
After reports emerged last week that US rapper Travis Scott has locked himself away in Hawaii to finish his highly anticipated album Astroworld, he posted an interesting tweet that seemed to fly completely under the radar, but sure got us thinking.
On July 12th Scott tweeted: “HAPPPIEST ******* KID EVER. LETS ******* GETTTTTTTTTTTTTTTTTTT IT. !!!!!!!!
Scusa la lingua. Now some fans believed this to mean that Astroworld was landing on Friday 13th, especially considering that would make the release date 7/13 - a number loved by Travis due to it being the Houston area code. This was reinforced by Travis’ go-to producer, Mike Dean, tweeting a photo from Hawaii the night before of a USB stick with the caption ‘Got it’. Coincidence?
Fans’ speculations proved unfruitful, however, as Friday came and went with no release from the rapper. BUT fear not, we reckon the hype came just a week early, and we think Travis is gearing up to drop Astroworld this Friday (20th). Just last night Travis posted a photo of himself on Instagram, accompanied by the caption, 'Worry Not' and three globes. Globe=Earth=World=ASTROWORLD?!?! Is this stretching it?? Quite probably, but either way, here are our predictions for this week...
PREDICTION 1 (more likely): Travis Scott’s Astroworld is being released Friday 20th
PREDICTION 2 (less likely): Drake is getting ready to drop a joint album with the Migos
PREDICTION 3 (downright CERTAIN…ok fine, least likely): After releasing Astroworld, Travis is going to invite me to join his Cactus Jack record label and I’ll suddenly become rich and famous and generally awesome.
Prediction 2 has a little less evidence backing it up, but hey, wouldn’t that make it even cooler if it came true? I can sense you rolling your eyes and sighing, ‘No, not really’ - but bear with. Drake is going on a US tour with the Migos later this year - yet they only really have two songs together, and one of them is a mere remix. The last major joint rap tour was Kanye and Jay-Z’s ‘Watch the Throne’, which was accompanied by a collaborative album of the same name, while Beyonce and Jay-Z’s ‘On the Run II’ this year has been propelled by their surprise project, Everything Is Love. It is unquestionable that Drake could have easily sold out a solo tour, especially after the release of his record-breaking album, Scorpion. So a tour with the Migos, whose recent Culture II album flopped, only really makes sense if a joint effort is already in the works, or is being prepped for an upcoming release.
Finally, reports came out last week that Drake already has an album ready to drop when he signs his new record deal, which is apparently on the horizon - could this be the icing on our uber-speculative, hyper-conjectorial cake of evidence?
Who knows. But if this is legit - you know where you heard it first*…
Yours sincerely, but not too seriously,
(*All non-legit claims made in this post will probably be deleted to make the author seem more credible as a psychic)
Hello! I'm currently studying Philosophy & Theology at Oxford University, UK. Having always loved writing and music in equal measure, and having always hated decision-making, I figured hey, why do I need to choose between the two?