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deadcactuswalking · 4 years ago

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REVIEWING THE CHARTS: 17/04/2021 (Polo G, Dave, Doja Cat & SZA, Taylor Swift)

Okay, so, UK Singles Chart time – all hell broke loose. I knew Taylor Swift and Dave would make an impact but I was also not expecting all of the chaos to come with it. With that said, Lil Nas X is still at #1 for a third week with “MONTERO (Call Me by Your Name)” and let’s just get through with this. This is REVIEWING THE CHARTS.

Rundown

In this starting rundown segment, I’ve got a lot to cover so I’ll make it quick, no nonsense. First of all, I cover the UK Top 75. Why the top 75? I’m difficult – even though it’s actually more convenient. Secondly, the notable drop-outs – songs that peaked in the top 40 or spent more than five weeks on the chart that are gone from the top 75 this week thanks to this avalanche of 14 or so new arrivals. This week, we say goodbye to a bunch of our debuts from last week as well as “telepatía” by Kali Uchis, “Bringing it Back” by Digga D and AJ Tracey, “You’re Mines Still” by Yung Bleu and remixed by Drake, “Midnight Sky” by Miley Cyrus, “Watermelon Sugar” by Harry Styles, “Mr. Brightside” by the Killers and several #1 hits, including “Dreams” by Fleetwood Mac, “Sweet Melody” by Little Mix, “Mood” by 24kGoldn featuring iann dior, “Dance Monkey” by Tones and I and finally, “Someone You Loved” by Lewis Capaldi, after spending a whopping 113 weeks in this region... despite being terrible. I mean, it’ll be back next week but celebrate the little victories, like our returns, for example. “X Gon’ Give it to Ya” by the late DMX is back at #72 after the passing of the hip-hop icon last week. This legendary song was actually one of his later hits – not even a hit in the States – and originally peaked at #6 in the UK back in 2003. We sadly don’t see anything else from DMX returning but we do also see Taylor Swift’s re-recorded version of “Love Story” revisiting the charts at #45 off the album boost.

Now for the songs that fell or rose this week, starting with the notable losses, being songs that dropped five spots or more. First, we have “Your Love (9PM)” by ATB, Topic and A7S at #13, followed by “Don’t Play” by Anne-Marie, KSI and Digital Farm Animals at #17, “Hold On” by Justin Bieber at #20, “Save Your Tears” by the Weeknd at #22, “Up” by Cardi B at #23, “Commitment Issues” by Central Cee at #25, “Latest Trends” by AI x JI plummeting at #28, “Patience” by KSI featuring YUNGBLUD and Polo G at #29, “drivers license” by Olivia Rodrigo at #34, “We’re Good” by Dua Lipa at #35, “Anyone” by Justin Bieber at #40, “Black Hole” by Griff at #41, “All You Ever Wanted” by Rag’n’Bone Man at #43, “WITHOUT YOU” by the Kid LAROI at #44, “Binding Lights” by the Weeknd at #46, “Goosebumps” by HVME and Travis Scott at #47, “6 for 6” by Central Cee at #48, “Medicine” by James Arthur at #49, “Head & Heart” by Joel Corry and MNEK at #50, “Met Him Last Night” by Demi Lovato featuring Ariana Grande at #54 off of the debut, “Paradise” by MEDUZA and Dermot Kennedy at #58, Doja Cat’s “Streets” at #60 and “Best Friend” with Saweetie at #61, “Tonight” by Ghost Killer Track featuring D-Block Europe at #62, “Get Out My Head” by Shane Codd at #63, “Beautiful Mistakes” by Maroon 5 featuring Megan Thee Stallion at #66, “Track Star” by Mooski at #67, “Headshot” by Lil Tjay, Fivio Foreign and Polo G at #73, “What Other People Say” by Sam Fischer and Demi Lovato at #74 and finally, whatever’s left of Drake as “What’s Next” is at #68 and “Lemon Pepper Freestyle” with Rick Ross is at #70.

Our gains are arguably more interesting, as it’s impressive to climb five spots or higher or reach the top 40 for the first time in the midst of all this nonsense. Therefore, we do have just a few gains, those being “Runaway” by AURORA at #51 off of the debut, “Nice to Meet Ya” by Wes Nelson featuring Yxng Bane making a surprise attack at the top 40 going to #39 off of the debut, “Good Without” by Mimi Webb at #18 and “Ferrari Horses” by D-Block Europe and RAYE continuing its gains up to #16. That’s pretty much it – still took a while – so let’s get through those 14 new arrivals, huh? God help me.

NEW ARRIVALS

#75 – “Marea (We’ve Lost Dancing)” – Fred again.. and The Blessed Madonna

Produced by Boston Bun and Fred again..

This is one of the songs that really padded out our new arrivals list – to explain, a lot of the time, these songs were released weeks ago and only now gain enough traction to debut within the top 75 and hence be discussed by me. This one just happens to have popped up in a week where everything is going on already so it kind of gets lost in incoherency but regardless, this is a song from Ed Sheeran’s producer Fred Gibson, who I refuse to call by his stage name, from his most recent project featuring vocals from The Blessed Madonna, most commonly known right now as the producer and DJ behind the club mix edition of Dua Lipa’s Future Nostalgia and hence the “Levitating” remix with Missy Elliott and, well, actual Madonna. The song itself is one I’m surprised is about anything but has these mostly spoken word vocals about how we as a world have “lost dancing” to the COVID-19 pandemic, as well as hugs, and, well, that’s all she decides to elaborate about. She also guarantees that once everything is over, “what comes next will be marvellous”. Whilst I appreciate the sentiment, I think it’s almost a dangerous promise, given that we’ll be in this pandemic for longer than anyone expected and it’s pretty evident that we’ll still be keeping to social distancing as the vaccine roll-out continues all throughout this year. At this point, we’re still in lockdown and international travel will still be stunted for years after the fact. This song feels like The Blessed Madonna getting on her pedestal about the arts and their impact on people without going into any detail that warrants the soapbox, bizarrely over some synth-heavy deep house beat that decides to do little more than flutter through the entirety of the five-minute runtime. Yeah, this is pretty insufferable. Next.

#71 – “Slumber Party” – Ashnikko featuring Princess Nokia

Produced by CallMeTheKidd

Okay, so TikTok picks this one up and the label then decides to push this over “Deal with It”, a brilliant pop song that was right there and already had the high-budget video to boot? Regardless, this is taken from Ashnikko’s debut mixtape of sorts, Demidevil, and whilst as a whole the project does little more than act as harmless fun guising as anything more, a couple of the singles are genuinely pretty great, including this one, which seems to be a break-out hit for rapper Princess Nokia. This song relies on the jerkiness of its almost DJ Mustard-esque club beat and that warped might-be-a-flute loop to support Ashnikko’s similarly sloppy delivery, which decides to be as in character in possible – of which I mean that it is obnoxious and frankly ridiculously stupid. This isn’t a “slumber party” at all, and whilst the childish implications are if anything kind of unnerving, there is a lot of fun to be had here if you get past the “kawaii hentai boobies” in the chorus. Nokia’s verse continues the album’s general early 2000s aesthetic with her referencing many hits and singers from that time period in a pretty slick albeit one-and-done verse that should really be extended further than it is. I mean, I would have preferred that to Ashnikko’s second verse comparing her girlfriend to the little girl from The Addams Family, before mentioning how her eyes go black when she orgasms and that her spit tastes like Juicy Fruit gum. Okay, so when it comes to filthy lesbian rap I think I prefer acts like BASSIDE but for what it’s worth, this is surreal and fun enough for me to like. I hope it does well, but know she has better songs even on that same tape.

#69 – “Versus” – SL and M1llionz

Produced by Lucas Dante and Yng Cld

Oh, hey, another drill track by two guys produced by two guys for two guys to rap about how cool it is to be the two guys they are. I guess the gimmick here is that the single actually has an instrumental version as well for whatever reason; I guess they want people to remix the track. That would make sense, as this beat is immediately recognisable from that chipmunk squeak of a glitched vocal sample they use. In fact, I think I prefer the instrumental version because when those booming 808s come in, it hits really hard especially with the scattering drill percussion. SL and M1llionz are trading bars here in what is basically one verse and it’s not like they’re saying nothing of interest here as there is a viable enough amount of detail here in these bars about exactly what you’d expect. But that’s exactly what it is: exactly what you’d expect. By the first verse, you’ve already heard SL talk about watching The Boondocks and that’s about as interesting as it gets. Sure, the interplay between the two guys in this case is pretty smooth, but it goes on for about a minute too long and M1llionz has a lot more charisma than SL so it does feel like half the song is wasted away. The producers know that too, as they decide to fade the song out very quickly after M1llionz stops rapping his final bars. This is fine – on some days, I’d probably call it really good – but it’s nothing I haven’t seen before.

#64 – “Starstruck” – Years & Years

Produced by Mark Ralph and Nathaniel Ledwidge

We’re not even out of that bottom third of the chart and we’ve still got a lot ahead of us before we get above that point. Here, we have “Starstruck”, sadly not the Lady Gaga or 3OH!3 song but instead the first officially solo song by Years & Years, which is now just frontman Olly Alexander after his bandmates’ departure, similar to Panic! at the Disco except the members seem to be on good terms, or Ritt Momney, except no one here is a Mormon missionary... yet. Whilst you could see this from a mile away if you had listened to that last album, it would be deceiving to say it’s only Olly this time around as he’s enlisted several outside producers and writers to craft a pretty straightforward love song. Well, is it any good? I’m not entirely sold on it, mostly because it seems to reject all of the lyrical intrigue there was in those past two albums – at least intermittently – for a pretty generic if not pure and lovely content, with the most interesting of lyrics being about sipping his partner up like cosmic juice, which I’ll admit got a laugh out of me. It is fitting for how this janky dance-pop song sounds as sonically it’s kind of a quirky mess with a lot of bassy grooves in the verses only to be replaced by a shiny synth blend that completely shrouds the chorus in video game sound effects and French house-esque filter effects. This sound is very much a late-2000s early-2010s throwback in some ways and throwing it back even further in others, which creates an interesting sound but not enough to not let this become easily stale after just the second chorus, especially if it’s going to purposefully fumble its climax for an awkward build-up that involves basically revealing the drop measures before it should have. Yeah, I want to like this but it just seems kind of confused as it is. I’m still going to listen to that third album whenever it comes, but I’m somewhat disappointed with this lead single thus far.

#57 – “Lingo” – Deno featuring J.I. the Prince of NY and Chunkz

Produced by Da Beatfreakz

Alright, so British rapper Deno has enlisted New York rapper J.I. – who I refuse to call by his full stage name – and Chunkz, who I’m pretty sure is some YouTuber, to hop on a beat from DaBeatfreakz, specifically this watery R&B beat with vocal loops drowned out by bass and some awkward mixing. Deno isn’t much of a presence in the verse or chorus, J.I. talks about some girl not chewing him right and Chunkz, who sounds awful on any beat with the whiny Auto-Tuned mumble, somehow doesn’t say anything of interest despite being the semi-professional comedian of these three guys, or at least not before Deno takes over his verse and they all give up for the last couple measures. Yes, that was one sentence – this song doesn’t deserve much more.

#56 – “Shy Away” – twenty one pilots

Produced by Tyler Joseph

I’ve never been that big a fan of twenty one pilots, but I was actually pretty fond of her most recent album, Trench. What fascinates me about them is how they seemed to have done really well for themselves that one time in the Blurryface era and have coasted off the success of that to fund some of their more out-there and experimental musical aspirations. I don’t think they’re looking for big hits anymore – which is good because this won’t be one – but people will always be looking out for what they do next, and they’ve just announced a new album coming soon with this as the lead single. Thankfully, it’s not that COVID-19 pandemic pandering from last year which got on my nerves a lot more than it should. “Shy Away”, instead, goes for... 1980s dance-punk, because, of course. I do love that jerky synth lead and how well it’s backed by that chugging bass and percussion, which we’ll always know is organic coming from Josh Dun. The song itself is a somewhat vague motivational track but not for no reason, as these lyrics actually originated from when Tyler Joseph was giving advice to his brother, a budding musician, trying to get him to see himself in a new light and find his unique purpose in music and not to “shy away” from continuing with his dreams. I can get behind that, especially if it’s going to have squealing guitar segues, an infectious power-pop chorus that will probably not leave my head for a long time and the excellent swell of guitars in that third verse before the brief breakdown in the post-chorus with all those squibbling synth effects. It’s just a wonderfully constructed song on all accounts, even if it sacrifices some of that unique personality we usually get from Tyler for the sake of making a tighter pop-rock song.

#52 – “You Belong with Me” (Taylor’s Version) – Taylor Swift

Produced by Taylor Swift and Christopher Rowe

I guess the best place to start with these re-recordings is the original song, which I’ve never liked. I’ve never seen a reason to enjoy Taylor’s entitled adolescent whining over some pretty garbage production making what may as well be organic country instrumentation sound like MIDI tracks. She doesn’t deliver a particularly good vocal performance, or at least one good enough to excuse “She wear short skirts, I wear T-shirts, she’s cheer captain and I’m on the bleachers”. There isn’t enough detail to make this seem like a toxic relationship so she ends up just sounding bratty. This new version, from a matured Taylor Swift a decade later, has decided not to change any of these lyrics and it just sounds worse coming from a Taylor who clearly knows a lot better and is in a happy relationship. Okay, the instrumentation sounds a lot more organic and has more of a groove than it used to, with some more intricate production moments that are cool, but that’s really the only change that improves on an already mediocre song. Taylor’s voice has improved a lot since that original recording but so has she, and her selling these lyrics with as much conviction while in her 30s just ends up sounding sad. It only makes sense to “reclaim” these songs if you’re going to try and make them your own again, and not representative of someone I don’t think Taylor is anymore. Alas, it’s listenable, but this could have been one of the more interesting re-recordings and nothing was done with it past the better mixing and a pretty epic guitar solo, even if it does feel unwarranted by the content.

#42 – “Way Too Long” – Nathan Dawe, Anne-Marie and MoStack

Produced by Scribz Riley, Tré Jean-Marie, Nathan Dawe and GRADES

For someone who is solely a producer and DJ, I say that’s two or three too many credited producers, but regardless, before we get to more Taylor Swift, which we will eventually, we’ve got some leftover house track with B-list stars that starts with the words, “Hey, yo, yo, it’s Stack Rack”. With that said, I actually kind of like this song with its strings swelling more than the usual track and its bass-heavy club groove in the verses being more complex in its percussion, especially when the sound design is that interesting in the second half of the verse as all of these effects and different synth patterns occur in the back of the mix, which kind of lets me forgive how anti-climactic the drop is. It’s not really an EDM song as much as it’s a light-hearted pop track and Anne-Marie isn’t taking it as seriously as she could, especially on that vocoder-drop chorus, which makes the song a lot more fun that it should be. MoStack is who really shines on this track though, as his verse is – probably unintentionally – very funny, as he twists the meaning of the song to a phallic joke, happily engages in monogamy, particularly with every British pop-star he can think of and says “forget quality, I want quantity”. He just lists famous singers by the end of this verse that he finds attractive and is completely gone off the deep-end by the time he’s ignored by Anne-Marie’s swell of a chorus. It’s not a great song and definitely falls into the traps that most EDM does but as it is, it’s a fun track with a surprisingly hilarious and sloppy guest verse from MoStack that I was not expecting, as well as just being inoffensive across the board.

#33 – “Mercury” – Dave featuring Kamal.

Produced by Manny Manhattan and Kyle Evans

Dave released a double A-side single – or at least whatever the equivalent for that is in the streaming age – and this was the less popular track, “Mercury”, with singer Kamal. If you don’t know Dave is, he’s one of the biggest and most celebrated rappers in the UK and this is his first solo release since 2019. I’ve usually been pretty happy with Dave’s releases – hell, Psychodrama was one of my favourite albums of 2019 – but I’m not entirely sure I can endorse this lazy trap beat relying on some gentle but overbearing pianos and groovier bass knocks. Really, the beat is pretty minimal so we can focus on what Dave’s saying, right? Well, we could, but why would we want to? Sure, there’s some good wordplay weaved into here and I don’t dislike his stories about gang violence and paranoia, even if they’re delivered in the most checked-out almost condescending way possible, but I can’t get behind the misogyny that seems to run a lot deeper than it does in typical rap. Sure, he makes the same googly-eyed observations about attractive women, describes some parts of the sex but interestingly not any part he plays, and also describes her as a “work of art”, but this is all after he dismisses women in general for not “forgiving him for his sins”, in some thinly-veiled Ariana Grande reference that leaves me more pissed off than he is, especially since Dave’s not as self-aware as he thinks he is, particularly because he himself can barely forgive himself for his wrongs in that second verse. Instead, he shrouds it in hedonism like any other rapper – what have the women got to do other than make good decisions for themselves about who they sleep with? He doesn’t go into disgusting detail like Digga D on “Toxic” but it rubs me the wrong way, especially if he’s going to then complain about the myth that is cancel culture. If this comes from a genuine place where he was genuinely attacked for something he didn’t deserve the abuse for, I’d understand, but why even complain about the supposed mob of Twitter users when the only tie you have to it is something reported on your brother by the right-wing press that everyone ignored? Other than missing the point terribly, it’s not like this song is catchy or notable. Even he acknowledges that this five-minute bore wouldn’t make the album, and it’s for good reason.

#32 – “Anywhere Away from Here” – Rag’n’Bone Man and P!nk

Produced by Rag’n’Bone Man, Mike Elizondo and Ben Jackson-Cook

So this is Rag’n’Bone Man’s second single from that upcoming album, or at least the second to chart, and after the surprisingly great post-punk rocker that was “All You Ever Wanted”, I’m excited to hear what a duet with P!nk could sound like. After all, they’re both rougher voices in the pop sphere, even if P!nk’s been doing it for much longer. Sadly, it’s a ballad... not to say they can’t do ballads well but this is a pretty minimal piano-lead track with some really badly mixed vocals from Rag’n’Bone Man as he channels an unintelligible Dave Grohl that’s way too loud in the mix, especially when the strings come in and cloud the mix. I do like the content once again with Rag’n’Bone Man as he continues to discuss the careless days of his youth, but this is more about growing older and eventually growing discontent with that lifestyle and each other, just wanting to be somewhere else. P!nk delivers this in a way that’s a lot more flattering to her voice and the instrumental, but when the borderline choir vocals come in with those terribly-mixed harmonies between the two and that pointless bridge, I give up on this song. It just refuses to go anywhere, I’m sorry, and it had a lot of potential but these voices don’t particularly mesh together especially over some basic piano and strings. This could have been great and as is, is less than mediocre.

#30 – “Mr. Perfectly Fine” (Taylor’s Version) (From the Vault) – Taylor Swift

Produced by Taylor Swift and Jack Antonoff

I didn’t listen to the re-recorded version of Fearless; instead I just listened to the six or so bonus “from the vault” tracks because that’s the only new content and I’m not big on any of it. It sounds exactly as you’d expect a 31-year-old woman reciting lyrics she wrote and shelved when she was a teenager, not even thinking they were good enough to release then, decades after the fact, and most of the songs just aren’t interesting at all. I think “Bye Bye Baby” is a great pop song but besides that there’s nothing much to enjoy in these tracks, at least from me. I know that Taylor’s biggest fans will love how she re-recorded leaked and rumoured songs that had been circulating but as someone detached from that, it does nothing for me. This song in particular is about Joe Jonas, because, of course, it was, and it’s a petty, sarcastic break-up song Taylor should be able to deliver confidently but ends up falling flat based on almost that awful verse melody alone, which is just janky, unpleasant and stretched out to the point of annoyance, especially if it’s going to be produced this well. She dug up this track seemingly only to get Antonoff on the record, and, sure, the chorus is catchy and has that one great moment with those crashing guitars, but it enjoys killing its momentum as soon as it gets going... for five minutes. Yeah, I’m sorry but I’m not interested in what was left on the cutting room floor a decade separated from the release of this re-recording, especially if this fully-fleshed instrumentation does little more than distract from how dreadfully boring this song is. Wake me up when she re-records Speak Now or especially reputation, because that will truly be fascinating.

#10 – “Kiss Me More” – Doja Cat featuring SZA

Produced by tizhimself, Carter Lang, Rogét Chahayed and Yeti Beats

I’ve forgotten to mention that three of those 14 new arrivals actually debuted in the top 10 this week, meaning, yes, whilst we’re nearly done, we’ve still got a lot to cover and we start with what seems to be the lead single from Doja Cat’s upcoming album, as she enlists SZA to assist her on this classily unclassy disco-pop song. Those main guitars do sound great, especially with Doja’s signature cooing over them, and that’s before we get to that slick pink disco groove not dissimilar to “Say So” but with a tighter, fun bassline and how quickly Doja strips off the subtlety. I could do without that mess of a post-chorus that is just a blend of too many, not very great vocal takes, but I do love how it leads into Doja’s unsubtle sex bars that actually go into some interesting detail, but not as much SZA being kind of filthy but also delivering a pretty great vocal performance, even if she starts with asking her partner for that “gushy stuff”. I do find it odd that it decides to censor “dick” of all words, but this production is great and I actually particularly like that final chorus and post-chorus once SZA starts harmonising on it. As is, it’s a pretty tight and likeable disco jam from two charismatic performers... co-written by Dr. Luke. Goddamn it, Doja, I don’t know what contract he’s got you in but Jesus, someone do something about that.

#9 – “Titanium” – Dave

Produced by Kyle Evans and P2J

This is our second Dave song and obviously the more successful of the two, at about three minutes shorter – thankfully – debuting in the top 10. It’s much better than “Mercury”, even if the song literally starts with him bragging about not needing vibrators to make his girlfriend orgasm. That said, the lyrics here are actually a lot slicker, flowing much like he did on “Streatham” as he lists so many precious metals you’d think he’s Bender. I do like the intricacies in these lyrics, even if he doesn’t really adapt it into any wordplay. He mentions how awkward that it is that his neighbours are going to vote Conservative as he brags in an almost freestyle-like structure in the single verse he spits, which has a couple flow switches and a lot more empty space than it should for a beat this awkwardly mixed, as whilst I like the trap percussion here, it really does not sound that great over borderline MIDI pianos. The little string inflections and drum fills here are cool though, and those intricacies are what makes Dave’s verse so interesting, as he foreshadows his bar about Tyson Fury with an ad-lib that Fury used himself as a build-up for his boxing matches. His JAY-Z references are also on point and pretty clever, it’s just that there’s still not much to this past that and I’m left pretty underwhelmed with these releases from Dave, even if they’re not from that next album, whenever that’s coming.

#3 – “RAPSTAR” – Polo G

Produced by Einer Bankz and Synco

Well, Lil Tjay debuted at #2 a couple weeks ago so I guess it’s only fair for his fellow “Pop Out” rapper, and the one I personally immensely prefer, Polo G to have his surprise, kind-of-out-of-nowhere top 5 debut. Much like “MONTERO”, this track was being teased for nearly a year, having first been shown as an acoustic collaboration with professional ukulele player – yes, seriously – Einer Bankz, who’s also credited with production here, in May of 2020. Just shy of a year afterwards, we get “RAPSTAR”, in the same vein of other all-caps trap songs about musical success like “ROCKSTAR” or “POPSTAR”. Maybe next we’ll get “NEOCLASSICAL DARK WAVESTAR”. Regardless, this song is basically just about being epic and Polo G can effectively sell that even in his more basic flexing because of that intermittent detail like when he says the only woman he talks to is Siri, which isn’t even a brag or a flex, more a sad admission of his crippling loneliness which I don’t think was intended. He also does more than empty flexing, discussing his past drug addictions and how he coped with that alongside all of the struggles he had to overcome at the same time. That second verse may start with him saying he’s 2Pac reborn but it goes a lot deeper into his anxieties than I expected. All of this is over a melancholy guitar-based beat with some great bass and better mixing than is expected of these pop-trap singles, even if it’s still far from perfect. Those eerie vocal loops in the background add a lot to this song and I think that chorus has a pretty great build-up, even if the percussion may seem a bit too basic and uncomplicated as an effective drop. I can’t really complain about this at all, though, as it is really good for what it is and I’m glad it’s this high.

Conclusion

And with that, I’m finally, FINALLY finished with scouring through these new arrivals and I’ll admit that it was less of a mixed bag and more of a generally positive week, at least for me, as I found more I liked than anything I disliked, particularly with Best of the Week as that goes to twenty one pilots for “Shy Away”, with the Honourable Mention going to Ashnikko’s “Slumber Party” featuring Princess Nokia, although there’s a lot to praise on the charts this week. In terms of Worst of the Week, it’s probably going to go to Fred again.. and The Blessed Madonna for “Marea (We’ve Lost Dancing)”, with a Dishonourable Mention for, sadly, Dave’s “Mercury” featuring Kamal. I would like to note that Taylor Swift was awfully closer than she should be to getting that this week. Here’s this week’s top 10:

What to expect from this week? Gosh, I don’t know. AJ Tracey? Young Thug? Either way, we’ll see whatever happens to all this – whether it gets flooded out or they all end up sticking around – next week, so I’ll see you then. Thanks for reading.

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