We might be entering Spring, but Winter is here. The wait is finally over and it’s time to experience the fall of Westeros in all its glory. To get you in the mood for utter carnage and deceit, we’ve pieced together our most iconic scenes from Game of Thrones so far (in no particular order). 1. Danaerys’ Rebirth (S1E10) This is our first look at the mystical element of the show through Drogon, Rhaegal and Viserion: the dragons. After walking into Drogo’s burning tomb to die with her husband, Danaerys emerges unscathed (and naked naked) with three new friends. Although the dragons had been spoken about, no one knew whether they were a legend or a thing of the past. It was the event that really kickstarted Danaerys’ story as queen. 2. Dracarys! (S3E4) Imagine acquiring the ultimate fighting army and a badass attitude for the price of nothing at all. Enter Danaerys Stormborn. Through selling Drogon for the Unsullied (and neutered) army, the Mother of Dragons went back on her deal- revealing she could speak Valyrian the entire time. She uttered the word that we’ve all come to know so well, burning the creepy-looking merchant to a crisp. There’s only so much to say about a scene that speaks for itself. 3. Red Wedding (S3E9) Catelyn’s silent scream really stole the show. Well, so did the mutiny and violent stabbing but the expression on her face showed much more than death. It seems to be the first ‘real’ bloodbath we see. It was unexpected, gory and left everyone speechless until the credits ran. The Red Wedding also marked the murder of her son, which proved way more painful to her than her own throat being slit- wow, a mother’s love ladies and gentlemen. 4. Tyrion Kills Tywin (S4E10) People often say ‘mistakes’ come back to haunt you. In Tywin’s case, it killed him... With an arrow to the heart... On the toilet. I think I speak for everyone when I say it was a satisfying win for Tyrion. He was seen as the outcast of the Lannister family for his dwarfism and subpar fighting skills. Although he made up for his lack of brawn with his brains, he never could please his father. As if never accepting his son wasn’t bad enough, he slept with Tyrion’s fiancée, who had been deceiving him all along. Scandal at its finest. 5. Revenge of The Night’s Watch (S5E10) This one hurt. Not just Jon but everyone watching at home. Change is necessary but not always welcomed and when Jon brought in the wildlings to live amongst the watchmen at Castle Black, he made some enemies in the process. The episode seemed to be drawing to an end after the crows survive a battle defending their castle. Jon is then tricked by Olly (I’ll never forgive him) into leaving his room and being stabbed 5 times and in front of a plaque reading ‘traitor’. It was arguably the best cliffhanger the series has had so far. We all wondered how Jon could’ve survived such an attack. Here I thought the dramatics were left to the Southerners in the capital... 6. The Door (S6E5) How did no one see this coming? It was right in front of every single one of us the whole time. Hodor, or should I say Wylis, was following orders from the beginning. His destiny was already predetermined before he even knew who Bran was. It definitely takes its place on the list as the saddest scene but also the one that shows the most promise. Not only does it confirm that the past and present are interlinked through wargs like Bran, but it also feeds into the fan theory and prediction that Bran could very well be the Night King. 7. Battle of the Bastards (S6E9) You can’t talk about iconic scenes without picturing Jon Snow gripping his sword against the never-ending swarm of enemies. Jon and Ramsey face off for control over Winterfell in what I like to call ‘Snow-on-Snow Violence’. What sets this battle apart from others in the show was the reality of war it captured. The battlefield was manic and ruthless, with something happening at all times on the screen. A great example is when Jon almost suffocates beneath dead bodies. He is unexpectedly saved by the Knights of the Vale, led by Sansa and Little Finger. 8. Destruction of the Great Sept of Baelor (S6E10) It’s obvious Season 6 was packed with unforgettable moments. An honorable mention has to be Cersei’s butt naked walk of shame but showing the bounce back to the evil and brilliant character she is seemed more fitting. What better way to put her on show than when she blew up the people who put her on trial. She watched the ‘tragedy’ from the comfort of her own home with a conniving smirk. If that doesn’t scream “don’t mess with me”, I don’t know what does. Cersei killed a couple of birds with one exploding stone by exterminating most of House Tyrell in the Keep too. Margaery Tyrell’s death resulted in Cersei’s son, Tommen, jumping out of a window in the most nonchalant fashion anyone has ever seen. 9. The Frozen Lake Battle (S7E6) This fight really had it all. Heartfelt moments, sheer suspense and one hell of an outnumbered brawl- when that first wight tapped the lake and found it was frozen, we all knew it was going to be something to remember. The 10-minute onslaught was captivating because there wasn’t a moment of respite, but the battle was heavily overshadowed by the entrance of the Night King. Although Danaerys and her forces came to help, she lost a dragon to the Night King’s spear when he threw it with surprising force. Viserion is later retrieved by the white walkers to become a wight itself. The plot thickens and balance tips ever so slightly… 10. The Whole Damn Show. There were so many scenes we could’ve picked for number 10. In fact, we could have numbered the list up to 20. If there’s anything that can be gathered from this article, it’s that whatever goes on in the mind of George R. R. Martin isn’t normal, like at all. The way he is able to craft scenarios and make them all intertwine to make a greater plot is what keeps viewers in anticipation. It is also the writers and producers on the show that bring Martin’s imagination to life through cinematography. These scenes wouldn’t be anywhere near as iconic without them. I hope this served as a small reintroduction to Game of Thrones in preparation for the final season. We can't wait to add more scenes to this prestigious list.

Writing a musical is the last thing you would expect from Kele Okereke. Bloc Party's lead singer, along with Matt Jones, told the intricate story of "a young gay couple leading busy London lives". Yes, there are vague parallels between Kele's experiences and the synopsis but as the plot thickens (sorry for the cliché), the question has to be raised: how semi-autobiographical is the play? The audience follows Obi (played by Tyron Huntley) and Alex (Billy Callum) as they use 'holy' matrimony as the solution to Alex's visa problems. What was really commendable was that the production didn't play to a familiar tune; it steered clear of stereotypes. Surprisingly, Alex was the character dealing with visa issues as an American citizen, instead of Obi- being of Nigerian descent. Although marriage is a big step and theme within the performance, it is quickly understood that it is the least of the protagonists' problems. From family issues to ambiguous relationships with friends, resolving past concerns is essential for their future. The director's vision was perfectly encapsulated in the lighting, set design and musical numbers. As director, Robby Graham made it clear how fast-paced he wanted the show to be. So, without any intervals it had the potential to lose momentum, but I was proven wrong. Watching how the actors depicted the passage of time was a highlight I won't be forgetting anytime soon. The multirole performers wheeled huge shutters across the stage that blended seamlessly into the rest of the design to convey the passing of time. Simultaneously, the strobe lights that mimicked the club from previous scenes would flicker as the lyrics from different numbers would come together in a harmonised ensemble. It’s clear that the storyline wasn't the only intricate aspect. It's impossible to move forward without discussing movement. The creativity of the dance alone was enough to rave about, but my interest had the same mutual connection as lighting and set design: time. Not only was movement used to expose the controversy and intimacy, it was the key to 'travelling through time'. When Obi went to confront his parents about his marriage, he danced in unison with his younger self until the teenage Obi was the only form of himself on stage. We were able to see how the trauma transcended time in such an abstract form through the use of interpretive dance. I was convinced this scene couldn't be bested but the family dinner shattered my expectations. The coming together of Alex's and Obi's family was 'awkward' to say the least. Tensions were built through underhanded comments and slight, yet noticeable gestures. When the pressures on stage piqued, the cast broke into a synchronized danced accompanied by a musical number. It seemed as if it were the only way to communicate how every character effectively felt and it was physically represented through the spilling on the wine. In an interview with The Standard, Kele addresses the similarities drawn between himself and Obi: "I don’t think it is an autobiographical story. I share similarities with Obi — he’s British-born but of Nigerian descent, and he has issues with this family. But that’s about as far as the similarities go" Okereke goes on to mention how he related to Obi's struggles growing up in a religious family. His words suggest that the concepts are loosely based on his experiences but there is a thick line between Obi and Kele as individuals. The narrative seems more effective this way. A more personal and intimate script risked alienating viewers who couldn't relate, or even sympathise with the story. The touch of Nigerian culture within a British play emitted a far more inclusive tone with understandable characters. An answer given during a Q&A will forever be associated with this piece of theatre. The cast was asked whether the play could have been more political, given the title. Rakie Ayola (who played Grace, Obi's mother) said that the play is already political. There are underlying themes and motifs that weren't explicitly stated but were still very much touched upon. In light of the Windrush Deportation, Leave to Remain served as a gentle but firm reminder of the current political and social climate in the country.

‘Tell the Grammy’s fuck that 0 for 8 shit,” Jay-Z raps in APESHIT, one of the tracks from his collaborative album with Beyoncé “Everything is Love” referring to his snubs for “4:44” in last year’s Grammy Awards. This would not be the first time a titan in the music industry would display fierce dispassion for the Grammys, one that resembles that of many fans who have had to watch their faves get slighted year after year. Faves like J Cole, Frank Ocean and most recently Janelle Monáe. The Grammy’s image as a beacon of musical success is steadily waning. Last year the campaign #GrammySoMale ensued following the president of the Recording Academy’s reckless comments on gender representation. When asked about the overwhelming amount of male winners, Neil Portnow responded that women in the music industry needed to “step up” if they wanted more recognition. In that same year we also saw Drake boycotting the award show for reasons previously expressed by numerous artists; one of which is the Academy’s notorious habit of forcing versatile artists into boxes and inadvertently never nominating them for other categories. In many ways this year was the Grammy’s chance to redeem themselves and in a few ways they did. We witnessed outstanding performances by women in industry. Alicia Keys effortlessly switching from one piano to another as she performed a mash-up of 2018 hit singles. Cardi B who brought her hit song Money to life with a broadway-esque routine. H.E.R, who consistently centers her craftsmanship on stage, and Janelle Monáe with a faultless medley of Dirty Computer. We also saw a far more diverse list of nominees and winners this year. For me, the categories Album of the Year and Best Rap Album reveal three things. Firstly that we admire and respect the way Bronx rapper, Cardi B has cemented her name in the hip-hop industry. Secondly, that the yee-haw agenda is stronger than ever and is gracefully (and rightfully) represented by Kacey Musgrave’s Golden Hour. But most significantly, that we may finally begin to get an impression of a shift in the Recording Academy’s taste. But in many crucial ways, The Grammy’s missed the mark making us wonder whether the amendments were genuine or simply a reactionary way of safeguarding their reputation and ratings. The bizarre decision to ask J-Lo to perform a Motown tribute was only surpassed by her even more bizarre Vegas inspired outfit and random salsa segment at the end of her set. It felt like a gimmicky attempt at luring in black viewers. Not to mention, awarding Record Of The Year to Childish Gambino’s This is America, which was not nearly the best of the contenders in the category. Its about time that we admit that it was a criminally mediocre track, and the backing it got from the Academy has more to do with their obsession of black trauma than the song’s actual merit. In his acceptance speech for Best Rap Song God’s Plan Drake spoke to his counterparts, “You’ve already won if you have people who are singing your songs word for word, if you’re a hero in your home town. You don’t need this right here. I promise you. You already won.” Not only are his words comforting to those in the music industry who feel like they have been wronged by the Recording Academy, they also illustrate a growing sentiment among music fans. I don’t believe any of us needed a Grammy to remind us why we love the artist we love, but now more than ever, we certainly care less what the institution has to say.

The Floor Magazine Launch A typical yardstick of a good performer is how well they can invigorate a crowd who are somewhat unfamiliar with their songs. It’s a hard task, it’s like trying to befriend a cautious and sceptical stranger. Madz had limited time to gain our trust and get us to engage but he did it with the greatest ease. He opened his set with Put You On. A clear crowd favourite as the infectious track was stopped by the scratching from DJ SD's deck and sections of the crowd started screaming "Reload it".  His set flowed effortlessly into Indecisive, Saucin', Smile For Me and Love U Better. It didn’t take much persuasion before those lingering at the back were drawn to Madz’s energy and cutting flow. Before he knew it, what was before him was a crowd of people, flashes moving as they lapped up his performance. Despite being in the infancy of his music career, Madz's crowd engagement is second to none and the stage is not an unfamiliar playground.  He moved with confidence, swagger and fluidity across a platform he is evidently ready for. We think 2019 is going to be a great year for Madz and are excited to see all it has to offer him.

No one quite knew what to expect from Octavian’s debut mixtape given the fact that he had only released a handful of singles (including Revenge). What every single had in common was a unique spark of brilliance that distinguished his newfound space on the scene- and Spaceman has solidified that. The-14-track project shows exactly where his ‘one in a million’ sound comes from, as well as his influences- giving us more of an understanding of who Octavian is musically. The rapper’s EP starts off with a bang. Scared serves well as an intro, making use of dainty vocals and strings in the background but the transition into the track Sleep is what everyone seems to be talking about. The heavy drill instrumental wasn’t something I expected but after putting the song on repeat it started to make a lot more sense. The prominent quality that sets Octavian apart from others in his field is his gritty and coarse voice and how he commands it. His vocals compliment the track perfectly. As if his verse wasn’t enough, his thunder was definitely stolen by the featuring artist. “If he didn’t know, now he deffo knows the name Krimbo.” He offers a little more than the average drill rapper spitting about catching opps lacking whilst using the word ‘diligent’ creatively. There’s some real lyrical content and wordplay accompanied by a nice flow. Who am I to judge- like I said, I played it at least three times on my first listen of the mixtape. Since we’re on the topic of features, let’s discuss Break That and Think Twice. Hearing Suspect on Break That was a ‘refreshing’ change as having him on a song always brings another dynamic of hype and pure energy. It’s the exact opposite for Think Twice. A2 has a certain depth to his music and even though he came with melodies instead of straight-up bars, his delivery was emotive and more than suitable for a mixtape outro. I definitely prefer Suspect’s feature to A2’s but it may be due to the fact Octavian performed Think Twice at A2’s concert as an exclusive. I didn’t get the same ‘wow factor’ I initially had with Break That. Lightning incorporates a mixture of previous styles we’ve seen Octavian demonstrate. The song is reminiscent of the off-beat drop on Party Here, that gave off a rap-rave fusion, which is not easy to pull off. Hands also comes to mind with the synthesised auto-tune effect against a slower rhythm at the beginning of the number. This is all testament to the intricate production and composition throughout the tape that supports and embraces his style. The overall vibe emanating from Spaceman is unquestionably positive and promising for the future. Whether it's Octavian's defining adlibs on his tracks or his peculiar and complex flow, we as listeners have become familiar with the London rapper as an emerging artist. From the moment the limelight caught a glimpse of him, he hasn't taken his foot off the gas and this album is the evident fruit of his labour.

We love a good TV show that brings us into the lives of interesting, well-written characters, delivers a rich storyline that keeps us on our toes and gets us thinking! But sometimes we also love a bad one. There is just something about the guilty pleasure of one-dimensional characters, cringe lines, and a plot that doesn't seem to make much sense even a whole season in! Here are our picks for bad TV shows we absolutely can't get enough of: The Flash I think it's fair to say we've been waiting 5 seasons now for Barry Allen to stop being a wimp. There's only so many times you can give someone the benefit of the doubt and the interpretation of The Flash himself is a bit too far from the comics for a lot of fans. With that being said, CW have a lot going in their favour. The plot and storylines are run almost parallel to the comics with how the villains develop, whilst giving an interesting twist to keep us on our toes. If I'm being honest the only reason I'm still watching is because I want to see if The Flash is going to meet the same fate as he does in the Crisis of Infinite Earths #8. Plus, I'm still excited about the time Barry phased into Savitar's suit. I need to get out more.... Empire Remember Cookie's tear-jerking scenes from her cell, or when Lucious made Boom Boom Boom Boom with Freda Gatz, yes- there are four booms. Empire started off incredibly, then it kept going and going, and then we all just stopped watching. Why? No one really knows but as they say in showbiz- 'the show must go on', and it really did. The drama didn't die down whatsoever- Although Timbaland isn't producing the all catchy beats we remember so well, Fox is still producing the show. That means there is still that same creativity, cameo appearances and enough attempted murders, backstabbings and prison sentences to last a lifetime and they managed to squeeze it into 5 seasons (and counting). Maybe we shouldn't have slept on the Lyon family after all. Riverdale Let me start off by declaring I am actually a fan of this show. I thought the badness in the first season was defendable; the occasional cringe line or hole in the plot seemed secondary to the simple "who done it" storyline and seeing my favourite childhood comic stars come to life. But the more episodes they release the more apparent it is that there is no plot at all, just a bunch of murder theories strung along for so long that I am not interested in who the killer is anymore. Also, it's a bit strange that the frequent inclusion of music and terrible one-liners is supposedly to cater for younger viewers, while the show features legitimately abusive parents, incest, prison violence and in the third season pretty scary occult practices...are kids really this desensitized nowadays? And yet, somehow the show still manages to have me hooked and keep me invested in the lives of the Riverdale teens. CSI: Miami This one is an oldie but definitely a goodie. While I have not watched the other CSI shows, I can guarantee that the Miami franchise is the worst one. But at its peak, it was one of the most popular tv shows in the US beating much better-written shows like Dexter. What kept me watching were the incredible visuals; the stunning views of Miami beaches, the sexy and seemingly dangerous nightlife and the highly believable gruesome shots of crime scenes. The non-existent character development and weak storyline they tried to string along the episodes were the bits you wanted to quickly forward through (shoutout to PVR) so you could see Horatio dramatically take his sunglasses off before offering a declarative statement that added absolutely nothing to the investigation. Did that matter though? Nope! He looked way too cool doing it for me to care about what actually came out of his mouth.

When the word 'legacy' comes to mind in relation to the music industry, I'm willing to put money on the top results including JAY-Z and Diddy. Although the conclusions drawn aren't necessarily false, the reasons as to why they make the list are greatly overlooked. Both Sean Carter and Sean Combs are legendary musicians, but music hasn't been the only element to define their legacies. After arguably reaching the apex of their music careers (JAY in 2003 after releasing The Black Album and Diddy in 2006 with Press Play) the rapper/producers started to focus on non-music ventures and began to reinvent themselves as businessmen. Although being insurmountably rich is on the criteria to earning legendary status, it does not complete it- there seems to be a crucial element missing. Through arduous debating and thinking about this problem for several seconds that felt like a lifetime, giving back to the community and tackling social injustice is something that seems to plug the legacy-shaped hole. Using the influence and platform they have acquired through hard work to make a difference is what really shapes how an individual is remembered. From the Sean Bell's Children's Trust to the Charter School in Harlem, there are numerous examples of just how charitable JAY and Diddy are. Funnily enough JAY-Z discusses the concept at hand, on the song Legacy, from his latest solo album 4:44. At the beginning of the track, he talks about who he would leave his money to and when it comes to his firstborn, Blue Ivy, he has ideas about how she should spend her inheritance... The rest to B for whatever she wants to do She might start an institute She might put poor kids through school. As commendable as these feats may be, I can't help but feel as if they are far removed from the projects that they fund due to the lack of involvement, which could come across as disingenuous. Putting lipstick on a pig doesn't make it any prettier (well that's my opinion, pigs aren't my type) and simply donating money isn't always the best solution. Status and a recognised position within society means that public opinion is incredibly influential and people like JAY-Z have been heavily criticised for not speaking out against controversial racial issues. Someone that possess all the components to build a legacy and is very much on track to do so is Stormzy. Not only has he aided rappers like Krept and Konan in bringing Grime to the forefront of popular UK music, he did so whilst staying true to himself and his sound. His debut album, Gang Signs and Prayer shot to no.1 and made history in the process. It is only fair to ask what is next for Big Mike? I had the honour of attending #Merky Books Live- an evening to commemorate the launch of Merky as an imprint and the first book under their name, titled Rise Up. It was action-packed with spoken word performances and a star-studded panel discussion, but these can't be simply defined as just that. The poetry readings were an opportunity for those chosen to share their experiences and feelings with others who can largely empathise, rather than those who could only sympathise and decipher. It was also the chance of a lifetime for Brandon Turner, who was selected to perform as the winner of a spoken word competition. Before that night, he had only recited in front of around 50 people. Yes, it was huge for the performers, but it works both ways. Stormzy succeeded in inspiring the audience and in particular, the youth. When I was entering The Barbican, I couldn't help but notice the vast number of young, black people attending the launch. Whether it was just to see Stormzy or due to genuine interest- he encouraged them to see literature as something worth caring about and not just a subject studied at school. The event was wrapped up with a one-on-one interview between the host of the night, Akala and Stormzy himself. When asked about the publishing deal with Penguin and how the Cambridge Scholarship Scheme (which Oxford turned down) came about, Stormz responded with his personal reasoning that resonated with the entire Merky team, that could be summed through a phrase he repeated "it's what you're supposed to do" and this was the moment that he registered, in my mind, as a legend in the making. Throughout the discussion, it was evident how connected to his community he is and has been from the beginning. It was inspiring to see him not just giving back but giving opportunities to those who did not have the chance. He also addressed his BRIT Awards performance by not seeing his 'politically controversial' interlude as "risky at all". It took the viewers, the music executives and the entire industry by surprise when Stormzy asked Theresa May "where's that money for Grenfell?". The Croydon MC said he wanted to speak out against the injustice surrounding Grenfell as well as the hypocrisy of the government labelling people as criminals, but we all know that wasn't the only inequity he wanted to bring to light that night... It may have been wrong of me to title this piece, 'Music Doesn't Make Legacies'. Maybe it is more accurate to say that it does not create a legacy, but it can be used as the foundation to build one. Even though Stormzy is still in the process of constructing his Merky empire, the differences in the steps he takes in comparison to others is evident. It's no secret that he is living up to his name whilst looking out for the people that believe in it.

Black History Month appears to be one of the few times veracious light can be shed on 'controversial' racial issues... And people have no choice but to listen. So for those who are aware, aren't aware and those who pretend not to realise- black culture has become an all-inclusive trend that, somehow, still excludes its originators. There are many ways it's both blatant and prevalent but taking a closer look at the appropriation in the arts is particularly disappointing, yet not surprising. Literature The dismay arises at the realisation that black culture being manipulated and used as an accessory isn't a new occurrence in the slightest- and literature is the prime example. Classic novels dating back to the 1800s utilise the black experience as the main narrative or minor subplot that is ultimately irrelevant to the story and therefore, unnecessary. It's almost impossible to move forward without mentioning the likes of Heart of Darkness by Joseph Conrad. The novella loudly and clearly expresses how the Congolese natives were seen by the English travellers as "savages" and further expressed how it was justifiable to kill them because they were verbally dehumanised first. The way in which the black people are illustrated is voyeuristic and fuelled by xenophobia from Conrad himself. Oddly enough, the words used to paint the natives are better suited to the sailors, but I digress. The main argument is that despite authors like Harper Lee, Mark Twain and Joseph Conrad being white, they were able to portray the black lives in their era from a 'safe' distance and win Pulitzer Prizes and have awards named after them. To put it bluntly, they wrote about a way of life from an obstructed perspective that subconsciously acted as a barricade for black authors to tell their own stories, which held more truth and deserved more recognition- both then and now. Writers such as Frances Harper and Charles W. Chestnutt were vastly overlooked and disregarded as a consequence. Music The integration of black culture into music means that in recent years, hip-hop has monumentally shifted towards pop, and Drake is at the forefront of this movement. Before Drizzy, some hip-hop and rap songs would break occasionally into the mainstream or popular charts and eventually fizzle out, but Drake merged the two categories and bridged the gap for many white pop stars (guess who) to switch up their sound and their image along the way. Miley Cyrus is the first artist that comes to mind when discussing this topic. After splitting with Liam Hemsworth in 2013, Miley started dating producer, Mike WiLL Made-it who went on to produce her fourth studio album Bangerz. It's no secret that her sound changed massively and so did her public life. She openly admitted to smoking weed, became more explicit in interviews and drastically steered her dress sense in an 'ubran' direction- all of which is comparable with the typical perception of rappers. The reason why black culture was evidently a trend in Miley's case was because after receiving numerous accolades and no.1s from Bangerz, her entire concept reversed to the 'girl who used to be on Disney Channel'. It was as if she was using black culture for success and reverted to how she used to be. The difference is that black hip-hop artists do not get the chance to revert and cannot assimilate in the same way Miley did. Don't worry Katy Perry, we see you too. Film Alas, the title becomes relevant. Just like how Regina George couldn't sit with the Mean Girls after she essentially created them, black people still aren't sitting at the table of those profiting from black culture. For example, Quentin Tarantino is a world-renowned director and writer who arguably capitalises on black culture (using one word in particular) as a factor to springboard his projects into the limelight. In return, it could be said that he is stealing the attention from black directors and writers who could better portray black characters in a less stereotypical fashion... Plus, they can say what he's not allowed to. What do Scarlett Johansson, Zoe Saldana and Angelina Jolie have in common? The answer is racial ambiguity (apparently), and although there is beauty in looking like you can come from everywhere- in Hollywood, it means you can act as anyone. Whitewashing roles in film and TV also plays into benefitting from blackness without being black. The 2008 blockbuster Wanted, starred Angelina Jolie as Fox who was initially a black woman in the comic book miniseries and was allegedly based on Halle Berry. The role was rewritten to better suit Angelina Jolie with little fuss or dispute. This article's purpose isn't to cancel Tarantino movies or prohibit reading To Kill a Mockingbird, rather- it is to take in certain narratives with a pinch of salt. Some books may only offer half the story; films might only give you a particular outlook and music nowadays doesn't even have to reflect who the artist truly is.

When Missy Elliot released her debut album, she transformed our expectations of hip-hop. Her sexy lyrics, wild visuals and avant-garde outfits stretched our imagination as well as the range that currently existed in rap. She broke an invisible barrier and set the scene for many succeeding rappers, whose brevity thanks to her, did not seem alien. Pharrell Williams, long time friend and collaborator has lamented time and time again how “She defied the physics that were dictated to us. She ignored the gravity of standards and prejudices and stereotypes. She ignored that gravity." Of all the stereotypes that she went against, her complete disregard of gender roles in the way she presented is probably the most powerful. Many women breaking through the world of rap in the late 90s and early 2000s had to deal with notions of sexual liberation and womanhood as they battled to secure their place in the male-dominated world of hip hop. As a way to prove their credibility, a lot of these women would often choose to curtail their outward feminine image so as to not let it get in the way of being “real,” and rarely rapped about sex and sexuality. That is until the Lil Kim led era that saw women embracing their autonomy as women, fearlessly centering sex positivity in their lyrics as well as outward presentation, while still proving their rap prowess over and over again in their music. “When it comes to sex, don’t test my skills, cause my head game got you head over heels” (from Magic Stick by Lil Kim) In a world where men were (and still are) often celebrated for being braggadocios about their sexual escapades, while women are deemed ‘jezebels,’ the likes of Lil Kim doing exactly the same was a rebellious act and ultimately challenged the way the hip hop world looked at sex and women. What is important to remember though is that this brand of sexiness was still conventional. Granted it was for the wrong reasons as it was still greatly objectified- in spite of the intention often having very little to do with male acceptance- but it was certainly well represented. Enter: Missy Misdemeanor Elliot, who put her thang down, flipped it and reversed it just as hard, but looked very different doing so. She presented womanhood, sexuality and body positivity without traditional masculine desire at the epicenter of her movement. Missy created different characters for almost each music video she released, and perhaps her refusal to talk about her private life played a part in making these characters more believable. In the surreal world she created, she was a bald-headed creature in all black costume with metallic accents in She’s A B**ch, or a red action figure with an M on her chest in Sock it 2 me. Missy rapped about how gorgeous she was (“I’m really really hot”), the importance of women putting their desires first (“Can you treat me good/Cause I wont settle for less”), and clapped back at the double standards imposed on women rapping about sex and sexuality (“How you studying these h*es?/ Need to talk what you know/ And stop talking 'bout who I'm sticking and licking/ just mad it ain't yours,”). And when she was not playing a character and rocking futuristic costumes, Missy was often seen in oversized clothing, tracksuits, a bold colored lip and experimental hair. It is very easy to assume that Missy’s breakthrough was widely and easily accepted, because who doesn’t think she is legendary right? But entering a world with a pre-existing mold of what a woman who raps should be like could not have been easy. Like Pharrell said, a lot of Missy’s music journey is a generous act of defiance. As a survivor of domestic and sexual violence, her music served as a powerful reclamation of her body; and in turn encouraged women to do the same. By no means is this an invitation for the likes of Lil Kim, Foxy Brown and now Nicki Minaj, Cardi B, Megan Thee Stallion etc. to be devalued for the way they choose to present. In fact Missy Elliott would definitely not stand for the devaluation of one woman for the sake of uplifting another, as she shown through her collaborations with a number of women in the music industry. But her clear awareness of her worth- her true worth- in the way she never failed to express what she truly felt inside is beyond inspiring. The way her music always felt like an open invitation to a party, creating what felt like a massive community of women who loved themselves, their bodies and simply wanted to dance. For the 5min duration of her song Missy made you feel like the flyest chick in the world; she made you feel like yourself.

Lady Lady is an album about love and more specifically, the love that Masego has experienced. Masego takes 13 tracks as he serenades and narrates the highs, the lows as well as the intricacies of love and relationships which he has encountered. Through hypothetical and real experiences, Masego nostalgically recants all that romance has thrown at him and taught him; the commitment issues, the repercussions of one-night stands, flings and falling in love. In this album we delve into the dichotomy that Masego faces; a nice guy, a hopeless romantic yet he is still a young and successful musician who wants to have. "Wanna use my fame and lay wit a model;, he says nonchalantly on Lavish Lullaby or him relentlessly chasing after women on Shawty Fishin' (Blame The Net). The albums opener, Silk, is the most befitting title for the song as that's exactly how it sounds. It's so effortless yet so intentional as it seamlessly transitions into "I Had A Vision." So what's the project actually about? As the title suggests, his Lady. We experience him tentatively testing the waters on Just A Little. On this track he details the anxieties and qualms of love, young love specifically. On 24-hour Relationship, Masego sonically creates a split image of him and his one-night-stand recanting and somewhat reliving the night and expressing their doubts regarding one another's feeling towards each other. If it were a movie, you'd be tempted to shout "Just text him", "Just text her". The fact that Masego was able to create this through song is impeccable. How does it compare to his previous projects? It's pretty similar, which isn't a bad thing. Masego has always released mature and well curated work. He is an old soul and this is heard in his sophisticated and timeless sound, a blend between old school jazz and R&B. He has coined his sound "trap house jazz," which is perfectly heard on Lavish Lullaby. It simply wouldn't be a Masego album without his perfect saxophone riffs or him musically breaking the fourth wall with his comical and personality-filled interludes. The penultimate track of the album, Black Love, is the happy ending we were all after. The song is about Masego eventually marrying his dream girl or rather envisioning how the day would pan out. Irrespective or whether it is a dream or a reality, this doesn't diminish the poetic and the fairytale ambience of the song. Lady Lady is the type of album you have to sit with, ponder on and almost let it resonate with you. On this album he does it all and leaves no stone unturned and he bares every gritty detail of himself in the songs. Lady Lady is a great album and showcases everything that Masego is - complex, refreshing, ground-breaking and an avant-gardist.

The hip-hop universe is full of the multitalented; no one simply does one thing and calls it day. Many singers/rappers try their hand in production and composition but, for today- let’s talk about songwriting. Here’s a shortlist of musicians you didn’t know wrote these bangers and contributed to everyone’s playlist by wordy association: 1. Joey Bada$$ - Congratulations (Post Malone) It comes as no surprise that this lyrical genius is writing for others. Joey tweeted at the beginning of the year with the good news of "quietly" grabbing his first number 1 through writing credits. When the song leaked in 2017, it originally featured Joey Bada$$ and T-Pain. It was only when the official single was released from Post Malone's debut album- Stoney, that the two rappers were taken off and replaced with a verse from Quavo. 2. SZA- Feelin' Myself (Nicki Minaj) This came as a bit of a surprise. We all know SZA, aka Solana Rowe, has the songwriting prowess from relatable tracks like Garden (Say It Like Dat) and The Weekend- but the Nicki-Beyoncé collab seems to exude a different kind of sound than what we're not used to hearing from SZA. I wrote "a nice chunk of that", she jokingly states in an interview with Sway. 3. Swae Lee- Formation (Beyoncé) Okay, this one might be a bit of a stretch, but we're going to run with it anyway. There have been many interviews and articles surrounding how Swae Lee of Rae Sremmurd contributed to writing the first single from the critically acclaimed, Lemonade and I am here to shed some light. Swae gave Bey arguably the most iconic line in the song: "okay ladies, now let's get in formation". After hearing this, she took to the studio and wrote a whole song from just that line. And people thought Rae Sremmurd were one-hit wonders... 4. Drake- 30 Hours (Kanye West) Funnily enough, this is the feature that shocked me the most. From TLOP, this track sounded the most true to Kanye's older sounds. From the sample to the lyrics, the vibe was reminiscent of the Late Registration/Graduation era and so I thought it all came from Yé. With that being said, Drake is as much of a fan as I am. He has stated this on multiple occasions- whilst working with him on Forever and even using his instrumentals in his early mixtapes. 5. Ty Dolla $ign- Loyal (Chris Brown) If anyone has been deep in the bag for a while now, it's this guy and this is a prime example as to why. As if jumping on every other song as a feature wasn't enough this Summer, Ty Dolla has been ghostwriting for your favourite artists for years. As well as co-writing Loyal, his vocals can be heard on the backing of the track alongside Seyvn Streeter. A special mention to Tory Lanez who claims to have written for everyone in the game. Even though there is no way of corroborating your claims, we believe you wholeheartedly. Keep up the good work.

The 5th episode of Insecure’s Season 3 ‘High-like,’ easily the best episode of the season thus far, sees the return of Lawrence, Issa’s ex. This episode featured an adventure-filled-girls-trip-type weekend, involving a few too many drinks, one too many pills, and quite possibly the spiciest induction into the mile high club I have ever watched (HBO has to get that sex scene one way or another). It is only at the very end of the episode that we find out that we have been bamboozled. Our dreams of seeing an ex actually disappear forever (and to have #LawrenceHive finally shut up) have died a sudden death. While she is at a 7-eleven, Issa bumps into Lawrence, who shares the same look of befuddlement as her. If you, like me, are still wondering how you did not see it coming, I’m here to confirm that you actually just ignored all the signs. After frantically rewinding through the episodes, here are 5 clues the writers of Insecure left to hint at Lawrence’s return: 1. The first clue is in the 4th episode of Season 3 when Molly is helping Issa get rid of past memorabilia in the spirit of a fresh start. There is mention of CDs mixes featuring Adele that Lawrence made for Issa after their first date. This is the first time in a long time we hear his name. 2. The second is the bench with Chad’s face on it that Issa and Nathan stumble upon whilst they were on their impromptu date. This serves as a hint because Chad’s only relevance in Issa’s life (and the show) is his friendship with Lawrence. 3. Thirdly, we see Issa, who is getting the hang of being a Lyft driver, coincidentally picking up her old Blood neighbour. I admit that this one might be a bit of a reach but it came off as a hint because he was their neighbour at the apartment, in which Issa spent most of her tenancy in a relationship with Lawrence. 4. And then there is the one that was actually an attack on our comprehension skills. When asked about whether Lawrence would return or not, Issa Rae responded that her character was "taking a break from Lawrence.” The keyword there is ‘break’, which insinuates that he would eventually return, not permanently leave the show like many of us assumed. 5. Lastly, and perhaps the most obvious clue is simply that we had a full episode with Issa making good decisions. She moved out of Daniel’s place and into her new apartment and she quit her unfulfilling job. She also spent time with someone new, Nathan (her partner in mile-high crime). Things were starting to look up for her. As little of a fan I am of Lawrence, it would be remiss of me not to admit that this was a fantastic move on the writers’ part. If art indeed imitates life, the return of an ex when you least expect is the most realistic, and quite frankly entertaining turn Issa’s storyline could take. In the next few episodes, it will be interesting to see what Lawrence’s life has been like and how it will change after their encounter, and how his return might affect Issa’s current trajectory, if at all.