Pod Academy

“Originality doesn't mean creation from nothingness.....it can also mean reusing something in a very creative and innovative way... if we took the standards of how people create that are implicit in a lot of copyright law cases, that basically say 'you can't copy', most of what we consider to be great classical works couldn't have been created...”

In this episode, Adriene Lilly talks to Olufunmilayo Arewa, Professor of Law at University of California Urwin about her work on musical borrowing and copyright law in the United States.

Olufunmilayo, who goes by Funmi, is a law professor at University of California Irvine. Her work on music and law includes: From J.C. Bach to Hip Hop: Musical Borrowing and Cultural Context about the diverse range of borrowing and inspiration in music across history and genre; Copyright on Catfish Row: Musical Borrowing, Porgy & Bess and Unfair Use  focusing on the influences on George Gershwin's work, and his estate's tight hold on it's copyright. She is currently writing a book about the influences of African American music and the business and legal implications of it's global reach. You can find links to some of her other work, and a little more information here.

What does it mean for something to be creative? Original? How much transformation must occur before we allow an artists to claim ownership of an idea? Appropriation, inspiration and creative borrowing is common across disciplines and traditions. Existing in everything from science to painting, from cooking to film. Today, we're focusing on appropriation in music.

“...There is a conception that some types of music are more original than others, and we often make those determinations in a very de-contextualized way. Originality doesn't mean creation from nothingness, it could mean that (not often the case in music), but it can also mean reusing something in a very creative and innovative way. So I think, originality should not be the opposite of copying. Originality might involve copying and it might not, that depends on genre, composer, [...etc]” (from the podcast)

We talk about the history of the idea of originality and creativity in music; The evolution of music copyright; The differences between music and literature; The many meanings of 'musical borrowing'; The role of estates in copyright enforcement; And some of the current trends in copyright cases brought against musicians. We briefly discuss the recent Blurred Lines case (information about the case here, and music here), and the work of George Gershwin (Porgy and Bess, Summertimeand the spiritual Sometimes I feel Like a Motherless Child).

Funmi's work considers the historic and conceptual issues that we find embedded in various rulings regarding musical borrowing. In 'From J.C. Back to Hip Hop' she tackles the actual creative practices of classical composers versus the myth of how we often believe they composed.

“... if we took the standards of how people create that are implicit in a lot of copyright law cases, that basically say 'you can't copy', most of what we consider to be great classical works couldn't have been created...” (from the podcast)

Her works highlights the huge variety of creative practices that exist, and have existed, throughout music history. Beethoven, for example, was known to be a skilled improvisational player and Debussey a commentator on Wagner. Yet, today we see many of these musicians as artists who crafted work in isolation, as if unaffected by their own social context and histories. Her work makes the argument that by recognizing some of these similarities between actual classical practice and contemporary practice, we can begin to embrace the multiple ways that creativity can occur.

“...hip hop artists are not the first artists to encounter this reaction to what some might perceive as too much borrowing...

As the Paris global climate negotiations get under way, we in Britain face the prospect of increased flooding. . What can we do about it?

Gresham College in the City of London was founded in 1597 and over 400 years has provided a range of free lectures on different subjects to those who live and work in London. One recent lecture was The next big flood, Britain underwater.  Pod Academy's Lee Millam went to talk to Professor Carolyn Roberts about the facts, figures and ideas in her lecture, which was part of Gresham College's Britain in Troubled Waters series.

...............

The UK has a series of problems associated with flooding.  One of them is to do with the physical things that are creating the flooding - intense rainfall, high windspeeds in oceans, sea levels, storminess and so on.  Another significant element is how we manage it, what we do about managing both the water and the damage the water creates when it gets into inappropriate places like people's living rooms. The third element is to do with the ways things are shifting as the climate shifts, so that the risks are becoming more intense, particularly in certain parts of the country.  So it is a complex, threefold problem.

Climate change is part of what we are talking about, but flooding is a natural phenomenon - rivers have always over topped their banks (they almost never 'burst' their banks).  We have altered the environment very significantly with what we do, how we farm, the way we constrain rivers etc, so it's a mixture of a naturally induced phenomenon (flooding always happens) and the result  of how we behave in circumstances close to rivers and close to the coast.

In 2007 we had some very severe flooding over quite wide areas of England and Wales and from that we have learned a lot.  One of the things that happened after those floods was changes in administrative arrangements for the management of flooding, although I'd say those are still to be tested in reality.

The other thing that happened following the 2007 flood was that considerable amounts of money were put into research and that has been an astonishing British success story in terms of understanding how floods are generated, where flood water goes, predicting and forecasting events - we are now pretty good with the science, but we're a lot less good and have learned far fewer lessons about the politics of managing flooding.  So that is, perhaps, where we need to turn our attention now.

In terms of the way we manage floods and the way politicians behave, at both local and national level they have an eye to the short term, so they are concerned about the next election when their role in their constituency will come up for renewal.  And they tend to want results over very short periods of time - three, four, five years.  But that is not realistic in terms of dealing with flooding.

We are also in an era of austerity and that is making it difficult to find the money to do some of the things that really do need doing.

Flood signs in Morpeth, Northumberland, UK. Photographer Ian Britton

In the longer term it makes sense, just as it does for climate change itself, and it makes sense to invest now to avert future costs.  The costs that emerging now in the latest research on flooding, the costs of flooding under different climate scenarios and different kinds of population growth, those costs are enormous.  We have to do something to avert them.  But that requires taking  quite difficult decisions now about how we spend limited budgets.  One understands the difficult choices politicians have to make both locally and nationally, but sometimes people have to grasp the nettle.

There are four types of flooding.  The most important - both in cost terms and the number of people at risk is undoubtedly from rivers.

Craig Barfoot talks to Julian Assange.

Wikileaks came to prominence in 2010 with the release of 251,287 top-secret State Department cables, which revealed to the world what the US government really thinks about national leaders, friendly dictators, and supposed allies. It brought to the surface the dark truths of crimes committed in our name: human rights violations, covert operations, and cover-ups.

This bookpod is an interview with WikiLeaks cofounder Julian Assange, who has written the introduction for the book, The Wikileaks Files, The World According to US Empire (Verso, 2015).  The podcast, produced and presented by Craig Barfoot, first appeared on the Ideas Books website.

The WikiLeaks Files presents expert analysis on the most important cables and outlines their historical importance. In a series of chapters dedicated to the various regions of the world, the book explores the machinations of the United States as it imposes its agenda on other nations: a new form of imperialism founded on varied tactics from torture to military action, to trade deals and “soft power,” in the perpetual pursuit of expanding influence. It illustrates the close relationship between government and big business in promoting US trade.

The number of couples seeking fertility treatment is rising every year.  But donor assisted conception poses huge ethical and human rights issues.  Up until 10 years ago, sperm donors and women who donated eggs had a right to remain anonymous.  Then the law was changed in 2005 giving donor conceived people the right to information about their donors.  Most people agree that this was a milestone to be celebrated, but does it go far enough?

This podcast explores the issues.  it is drawn from an event organised by the Progress Educational Trust  and is introduced by the Chair of the event, Charles Lister, Chair of the National Gamete Donation Trust, and former Head of Policy at the Human Fertilisation and Embryology Authority. He quoted a speech by the Public Health Minister, Melanie Johnson made in 20014,

'Clinics decide to provide treatment using donors; patients make a decision to receive treatment using donors; donors decide to donate. Donor-conceived children, however, do not decide to be born – is it therefore right that access to information about the donation that led to their birth should be denied to them?'

This quote encapsulates the essence of the debates that led to the Human Fertilisation and Embryology Authority (Disclosure of Donor Information) Regulations 2004, which allow donor-conceived people born from donations made after 1 April 2005 access to identifying information about their donor on reaching the age of 18. It also set the scene for a series of lively presentations from a panel of five experts, who took to the stage to offer their perspective on the impact of the legislation.

L to R Charles Lister, Juliet Tizzard, Susan Golmbok, Jo Rose, Venessa Smith, Eric Blythe

First to speak was Juliet Tizzard, Director of Strategy at the Human Fertilisation and Embryology Authority (HFEA), who gave the regulator's perspective on the change in law. Tizzard identified the lack of reliable outcome metrics in relation to donor conception as a key challenge, and hindrance, to accurate impact evaluation of the 2004 regulations. She also opined that the assessment of post-regulation sperm and egg donation trend as proxy measure of impact showed a gradual but steady increase in number of new donors registering in the UK – a reality that is a far cry from the doomsday prophecies of the early critics of the law, who predicted the possibility of severe donor shortages arising as a result of the end to donor anonymity.

Next on stage was Dr Jo Rose, a donor-conceived adult who won a landmark court case that contributed to the decision to end donor anonymity in the UK. In her presentation, Rose argued that donor-conceived children should, as a matter of course, have more support and the right to access full and complete information about their genetic parent, particularly because 'wrong and incomplete medical history kills people'. She also argued that a lack of retrospective access to identifying information means a number of donor-conceived people born before April 2005 live the rest of their lives 'tortured' by not knowing who their genetic family is.

'Why then should we have legislation that protects the rights of donors but ignores the rights of donor offspring?' she asked the audience, and quoted Kevin Staudt's song, Novum:

Rose's presentation gave a personal note to the debate and made it easy to appreciate the rationale behind her call for retrospective disclosure of donor identity. According to her, more needs to be done to ensure 'equality and respect for genetic kinship and identity for all groups of the society'.

Eric Blyth, Emeritus Professor of Social Work at the University of Huddersfield, also made a case for retrospective disclosure of donor identity. Using data from the HFEA, Professor Blyth argued that the lack of retrospective access to identifying d...

First published in 1983, Lise Vogel's Marxism and the Oppression of Women - toward a unitary theory  is regarded as one of the founding texts of Marxist Feminism.  It has now been relaunched, and Pod Academy was at the relaunch.

Lisa Vogel was joined on the platform by Dr Tithi Battacharya, Purdue Liberal Arts University, in US, Dr Sue Ferguson, Laurier Brantford University in Canada  and Kate Davison, Melbourne University

Tithi Battacharya said she had first read the book in the early 1990s, when 'Marxism was not common parlance in academia', and she kept going back to it for several reasons.  Firstly, it was a book that was explanatory rather than descriptive.  To her, Lise Vogel's book was one of the clearest explanatory texts to speak of the relationship between the capitalist system as a whole and the oppression of women.

Secondly, Battacharya said the word 'unitary' had resonance for her - it countered the growing view at the time that patriarchy was a system of oppression that was independent of capitalism -  the view that there was capitalism, and then there was racism and sexism etc.  Vogel's book uses the word 'unitary' to reject this notion of autonomous tracks of social relations, Vogel asserts that capitalism is a unitary system and we need to explain it.  She also suggested that 'unitary' was a fantastic word to use in an age of the celebration of 'the fragment', 'the cult of the particular' [see also our podcast on Beyond the Fragments here]. In that age the book brought thinking back to a unitary way of thinking.

Tithi Battacharya said that Lise Vogel restored to prominence the role of the family within the system as a whole. The book explored why the family is a source of oppression within its role in capitalism.  It theorised the role of the family in capitalism, at the level of production, rather than simply at the level of exchange. Vogel, she said, takes some of Marx's insights in Capital, and builds on them, exploring the gaps and silences. She looks at what labour power is, how it is regenerated, and what it means to labour under capitalism.

Thirdly, in Tithi Battacharya's view, this thinking is of strategic importance because it looked outside the workplace.  This is particularly important, she said, now that 40 years of neoliberalism has denuded the labour movement.  She suggests we will see much struggle starting outside the workplace (such as that in Ferguson), and to misunderstand these struggles as not class struggle would be a strategic error for this generation of the left.

Next up was Kate Davison who started by saying she had felt star struck when she realised who else would be on the panel, 'But', she added to laughter, 'I dealt with it!'  Quoting Sue Ferguson, she described the ideas put forward by Lise Vogel as 'The path not taken', and said that had they known, in the 1980s, about Vogel's work, feminists might have avoided 'much blood letting'.  At that time, she said, if you had been able to stick with the label 'socialist feminist' and brave the attacks from adherents of identity politics, you nevertheless often developed distrust of Leninism and by extension of Marxism altogether.  A small group turned towards socialism or anti-capitalist politics at the end of the 1990s, and undertook a re-evalutation of identity politics, eventually abandoning it in favour of the uniting power of the working class or the anti capitalist movement.  Kate said that she herself has dropped the 'feminist' from Marxist-Feminist when describing herself.

She went on to say that the book is being re-published at a time of the re-emergence of struggles around sexual and gender based violence (eg the Slut Walks), sexism etc.  But many activists and revolutionary Marxists, she said, have little knowledge or understanding of these debates.  While some of the issues have come up around gay and lesbian issues (...

In this podcast, Tatiana Prorokova considers gender ambiguity in Vietnam War films.

The Vietnam War takes a specific place in U.S. military history. Having influenced generations of Americans, the conflict unsurprisingly found a wide reflection in American cinema. The most famous, as well as the most significant ones were the films created in the 1970s-80s, including Michael Cimino’s Deer Hunter, (1978), Francis Ford Coppola’s Apocalypse Now (1979), Oliver Stone’s Platoon (1986), Stanley Kubrick’s Full Metal Jacket (1987), and Brian De Palma’s Casualties of War (1989). In these films, the directors aptly touch upon the questions of the army, war, and morality, which are generally the key themes of war films. Yet, they also unveil the issue of gender representation, discussing the problem of masculinity. The issue of gender, precisely the problem of masculine power and female vulnerability, is one of the leading themes in these films. Interestingly, such issues as class, race, and nationality apparently disappear “in the ‘brotherhood’ of war,” while gender always remains a thorny question (Messner 25). What one can see in the films on Vietnam is that masculinity establishes itself as the only right and legitimate agency. Women practically do not appear in films on Vietnam, and even if they do, they are depicted as prostitutes, a role that serves to reaffirm masculinity as well: to erase femininity as it is and strengthen the power of a masculine collective. The examination of the above mentioned films, therefore, allows me to contend that Vietnam War films overtly focus on the issue of gender; yet, they celebrate masculinity and mock femininity.

To illustrate the problem of “mocked” femininity, I look over the representation of women in Platoon, Full Metal Jacket, and Casualties of War. First of all, it is important to mention that women always appear as individuals rather than in groups. We often see one woman, usually weak and dependent, surrounded by a group of men (for example, the prostitute in Full Metal Jacket or the kidnapped Vietnamese girl in Casualties of War). I argue that this technique visually helps directors oppose masculinity and femininity. A woman is always depicted as patently distinguished from a man: she is lonely and weak. Moreover, she is obviously the only one who does not belong to the world of war, which is made obvious from the way she is dressed, i.e., she does not wear a uniform, and from the absence of any physical power that is, indeed, an important aspect in war. Thus, all the three directors draw a thick red line between men and women, and, as a result, between masculinity and femininity in their conventional sense. Therefore, Vietnam War films reject the idea of feminization that can be applied to men, strictly identifying it only with women. The issue is visually illustrated through images of demeaning and weak women, whom men always have to try to separate themselves from, both visually and verbally, or exercise power over. Hence, male soldiers do not only clearly differentiate themselves from these women but they also subdue any manifestation of womanliness in themselves.

Notably, women appear as part of the Vietnam War only in two movies: Full Metal Jacket and Casualties of War. I do not consider Linda (Meryl Streep) from The Deer Hunter because we see her only at the beginning of the film – during the wedding – and in the end, when the war is over. Hence, she is never shown on the battlefield, but rather, is represented as part of a domestic environment, taking a traditional female role in patriarchal society. Both Full Metal Jacket and Casualties of War, however, clearly support my idea that the main role the woman is given in a Vietnam War film is the one of a prostitute. This is made apparent in Full Metal Jacket as we literally see a female prostitute. The same idea is obliquely conveyed in Casualties of War as the main female heroine is...

'A spindly shit coppice, with ghosts of plastic bags rustling in its branches.' This week's podcast, by artist Robin Bale, is an evocation of a windswept rubbish dump under the M11 motorway.  It starts with the sounds of moving through undergrowth, traffic in the background. A twig snaps. Abstract and slow percussion fades in.......

A burnt boot…crushed cans…ashes…binbag, spilling its guts…burnt plastic…soles detached…from shoes…ashes…roof tiles…single rubber glove…over the mounded and overgrown rubble…sparks of new, blue off-licence bags leap out against the leaves…the green and the brown…and the traffic on the road beyond flickers between the trees.

[sound of traffic and birdsong fades. Percussion continues then fades]

I wish to talk about spaces. It could be that as soon as the first building was built and the city was founded, that there came into being a margin or corner - the angle of two walls, the space just down there, just past where the bins are. Only existing in relation to that building, only coming into existence with it, this site was where things were left, forgotten, hidden; with the understanding that they were left or forgotten there and should be left alone, although not far away. Almost in plain sight. Children, strangers and fugitives would go there and it would nearly be in sight and earshot of that first structure; just outside the window, just against the wall.

[percussion returns quietly]

I wish to tell you about such a place, that I have named the Bike Cemetery.

The Bike Cemetery is a mere crumb of land, a piece of what I suppose could be called urban waste ground, an increasingly rare commodity in the city now, especially one less than a mile from the site of the 2012 Olympics - that place of victorious national becoming.

[sound of traffic fades in]

It is demarcated - you might say cut adrift - by a busy main road and a slip road and overpass for the M11. A spindly shit coppice, with ghosts of plastic bags rustling in its branches. The sort of place you might find yourself first light on a Monday morning, in the piss-thin drizzle, wondering how you got there and knowing that you were meant to be somewhere else and thinking "not again".

As far as I know it lacks a name, so I have called it the Bike Cemetery. When I first came across it early this century it was full of the stripped carcasses of bicycles that I assume were nicked somewhere nearby and cannibalised on the site.

[traffic and percussion, with bird song field recording from site]

I have called it an entrance to the underworld, at other times, the unacknowledged centre of the city or the centre of the state.

The Bike Cemetery also attracted a writer and bricoleur. The wall of the overpass was liberally graffitied. The texts, constructed from single words or short phrases, heavy on repetition and play, were not the usual -  not political slogans, football chants, sexual slander or biblical quotations.

[percussion fades leaving field recording, traffic and bird song]

There were portmanteau words, a stuttering repetition of syllables, an obsessive chant running through its centre: Wolf Vanish.

This was interspersed with collaged printed matter, predominantly magazine images of animals, fashion photographs from the late 1980s,  Monopoly money and food packaging; some porn, though not nearly as much as might be expected.  Judging from the dates on the magazine pages the work was done sometime around 1991. [percussion returns] Due to the handwriting of the graffiti and the thematic consistency of the whole thing, and that the same paint was used to write and stick the images to the wall, I'd say that the entire wall was the work of one person. It has remained there for almost a quarter of a century,

Podcast produced and presented by Alex Burd

In December 2011 a Tunisian vegetable vendor set himself alight in protest at the economic policies of his country. The death of Mohamed Bouazizi would light the touch paper in Tunis and the surrounding Arab world which would see dictators toppled, wars break out and millions of people displaced in what would become known as the Arab Spring.

Many seasons have come and gone since then and Tunisia has gone on to hold its first free elections since the country’s independence in 1956. However the wider region remains in a state of severe unrest. Professor Richard Falk of Princeton University in the United States is an expert in the Middle East and has reported on the Israel-Palestine conflict for the United Nations. His new book – Chaos and Counterrevolution: The Arab Spring  (Zed Books 2015) argues that the initial optimism of 2011 has been replaced by oppressive government or brutal civil war. He spoke to me from his home in Istanbul via Skype about the major topics in the book. With the Arab Spring representing a multitude of movements in several countries we focused on a several case studies – the uprising in Egypt, the civil war in Syria and the reaction in America.

The domino fall of authoritarian regimes in the region was greeted with optimism in both the West and the Middle East, however Professor Falk believes this was misplaced, no more so than in Egypt.

Prof Richard Falk: What seemed so exciting in 2011 and was recognised as the Arab Spring especially by the mainstream media always seemed to me to be a premature celebration. That these uprisings in the Arab world which were certainly unexpected and more formidable than could have been anticipated were still not very clear in their program or their understanding of the pre-conditions of a genuinely transformative politics. For instance in Egypt the most important country in relation to the Arab world, the notion that you could transform the Egyptian political scene merely by getting rid of the hated leaders and his immediate entourage and leaving the armed forces more or less in control of the state was a naive notion.

For real change to take root Falk believes that change must be wholesale and absolute. For inspiration he thinks the current movement should look back to 1979 and the Iranian revolution.

RF:  What the Iranian revolution did achieve was a rupture with the political past which was associated with the Shah's government. But what was missing in the context of the Arab Spring is that you can't really have a rupture with the past unless you transform the bureaucracy that was operating in the in the past. In Egypt particularly with its strong political centralisation has a very strong bureaucracy and very centralised government structure. And, to depend as the uprising in Tahir square did depend on the good will of the military was a very precarious way to achieve a transition to a more inclusive and democratic political order, which was the goal of the Arab uprising.

Having not thought past the initial challenge to existing regimes the movements that make up the Arab Spring have found themselves struggling to control the vacuum left behind by the men they’ve displaced.

RF:   There were two main scenarios depending on the particular conditions in each of the principal Arab countries which existed. One was the restoration of authoritarian rule the like of which existed during the Mubarak period. And then was re-established in even more severe form by the July 2013 coup led by General Sisi. The alternative was a period of protracted conflict and chaos epitomised by the situation that emerged in 2011 in Syria but then has subsequently to Lydia and Yemen.

The West initially championed the uprisings around the Arab world. With the movement in Egypt led by a new generation of activist,

Most of the study of economics deals with commodity markets, where the price of a good connects sellers and buyers. But what about other kinds of “goods,” like a kidney or a surrogacy arrangement.  This is the territory of matching markets, where “sellers” and “buyers” must choose each other, and where in most parts of the world, no money changes hands.  So what is a matching market?  And how does it work?

In this bookpod, Craig Barfoot talks to Nobel Laureate Alvin Roth, Professor of Economics at Stanford University, and 2016 president elect for  of the American Economics Association about his book on matching markets,  Who Gets What and Why.  Professor Roth has made significant contributions to the fields of game theory, market design and experimental economics, and is known for his emphasis on applying economic theory to solutions for "real-world" problems.

This bookpod was first aired on Ideas Books where you will find a feast of fascinating podcast interviews by Craig Barfoot. 

Podcast produced by Lee Millam

Slang.  In this podcast Tony Thorne, former Head of the Language Centre, now Visiting Consultant, at King’s College, London and author of the Bloomsbury Dictionary of Contemporary Slang, looks at what slang is, how it's used, where it comes from and what words are being used as part of our everyday language.

Slang should be easy to define, but in fact no one has ever come up with a satisfactory definition.  Slang is one of the most informal varieties of language, it is usually new, controversial, exotic, often naughty and deviant (or pretends to be).

Probably all languages have had slang, but it was not recorded until the 18th century.  It was marginal and taboo, the language of criminals, beggars and tramps.

It is a language that keep the outsiders out (parents, police etc) and using it makes you an insider, part of an exclusive elite.  It is often developed in closed communities (prisons, public schools), and by private groups (taxi drivers, soldiers, sailors, criminals) but now that is not the main source of new slang - the internet has introduced something totally new - now most slang is developed by young people from 12 years of age.  Words like

Dench - wonderful

Moist - awful

Dint - a stupid, embarrassing person

CBA  - can't be arsed

Butters -  unattractive

Some slang words have been around for over a hundred years, for example, 'cool', 'dosh', 'punk'.  Whereas punk has changed its meaning over that time,  cool and dosh have stayed roughly the same, which is unusual because mostly slang has to be reinvented to remain exclusive.

Social media have had two main impacts on slang.  Firstly they have introduced new language to go with what people do with a medium, eg FaceBook - 'fraped', 'frenemy', and LOL and OMG.  Secondly, social media have enabled slang to spread, indeed we do not know where in the Anglosphere some words have originated - was 'dint' first used in Australia, Canada, US, the Caribbean, UK?

Lots of parents and teachers are afraid it is damaging young people's ability to use standard  language, but that is not the case, it is about speech communities who share a language.  It does not usually undermine young people's language ability.  Most young people are very good at 'code switching', they don't use slang in a job interview or essay, but they do use it in the club, in the street, in the school playground.

Slang is no longer taboo, it creeps into all the media - newspapers and magazines as well as online media. It is no longer forbidden, it is allowed in the home.  And of course we no longer have those authority figures who in the past could proscribe the use of slang.  Young people do not any longer listen to the police, the government or parents as a linguistic authority.  They have their own domains in which to communicate.  Saga has developed an app for the over 50s explaining sports slang to older people.

But old people can feel uncomfortable with all this - they feel they are losing control of language and language is, after all, what gives us our identity. There is a dictionary of 'granny slang' with words like 'galivanting' and 'bamboozling' - words that young people think are slang but are just colloquial expressions used by granny's generation!

There is no danger in slang as long as we talk about it and analyse it, and it is good to exchange examples of slang between the generations.

__________________

Picture: Slang graffiti, Leake Street by Duncan C

Music: Andreas DSP by Jonas  and Good Enough by CuzOH