I realise this is probably about 6 posts too late but I just thought I would give you a brief insight into the history which links the reggae subculture and rastas. It seems that to most people the two go hand in hand, one is never without the other, and cannot be. While this is largely the case, I wonder how many people have thought about what this link represents? And where it begun? Surprisingly it's not all about the weed and the dreadlocks, and especially in this day and age where the music has developed to become more than just a representation of Jamaica, it is important to understand the significance of the history of the reggae subculture in its original context, not just how it has helped construct alternative genres of music with great global orientation.
For Delroy Washington, a reggae artist from Jamaica who relocated to the UK when he was young, the key Rastafarian ideas remain strong... every man should only do enough to keep him occupied in his life while he is on earth. This mentality has derived from the thoughts that righteousness means equality for all of humanity and therefore only one class of people should exist in the global society.
Rastafarians are typically peaceful, christian-like people who believe in the second coming of an almighty leader. For them, they hold divinity in the late "High Selassie", or the Emperor of Ethiopia who is a signal of better things to come and is the sole guarantor of Rastafarian freedom on this earth.
The Rastafarian message is intrinsic to reggae as it provides a common basis for meaning and it captures the preservation of the African heritage which rastafarians are so homesick for.. Reggae music has managed to encapsulate a special rhythmic continuity from old traditional rasta music produced in Africa within its contemporary aesthetics.
Dick Hebdige, in his audio material from "Mass Communication and Society. Volume 10. Rudies and Rastas", believes that reggae music addresses the contradiction in Rastafarian ideas between the search for the individual self and the search for a community. And it is at this point that ganja becomes involved... in resolving this contradiction. Over a pipeful of marijuana people express their often fanciful but beautiful ideas which always are located right at the core of the soul of humanity.
In this audio tape Hebdige describes the development of the "rudeboy" culture, or the "rudies" as they are called in Jamaica. Rudeboys and Rastas have both responded in different ways to the same cultural difficulties but unfortunately authorities have made no distinctions between the two. Rudeboys stands for everything that rastas disapprove of; violence and rival fractions. Rastafarians always act peacefully and stand for brotherhood and unity. These significant ideas are what construes the ideological content of reggae music and provide reason for the shifts in the mood and emphasis, whilst still exhibiting rasta faith in all of its dynamic entities.
Stuart Hall has also made influential comments about the cultural revolution that has constructed Jamaican society and thus the reggae subculture over the course of recent years. He believes it stems from 3 key notions:
- a form of nationalism
- an immense black consciousness whereby the Jamaican society is acutely aware of their race and culture which has befallen from the African past inherent in all members of society
- social content. By this he is referring to the majority of the population that are poor, oppressed and exploited.
These factors form a 'can of consciousness' in which the expression of nationalism is coming from the lower class, not the middle class as was previously the case. The fact that these ideas come from the roots up essentially demonstrates that those located at the bottom of the class system are those who are most authentically Jamaican and they personify what it means to be authentically Jamaican and the Jamaican identity.
Ironically this therefore translates that the Jamaican identity protests about social exploitation through rastafari cultural identity and reggae music, two entities which are frowned upon by authorities.
References:
Dick Hebdige, "Rudies and Rastas" Milton Keynes : Open University Educational Enterprises, 1977.
Monday, May 25, 2009
Wednesday, May 20, 2009
Black Culture, White Youth
Thanks to digital music and online networks, musicians no longer need to operate within small geographical scenes anymore. Ideas and influence can spread rapidly, being shared and shaped by anyone who's feeling them. The interactions between UK-centric music and Jamaica is no exception. For example, jungle, garage, grime and dub step are all borrowed from dancehall reggae, both sonically and culturally. This is not really surprising when you consider the great depth of reggae music dedication sites and blogs that I have come across in my many hours learning and contemplating the reggae subculture..
From sites which provide direct connections to Jamaican radio sites, providing 24/7 access to play lists from around the global network of reggae music, to those which combine mp3s, gig and album reviews to enable a gateway into the reggae culture and teach those such as myself, who remain slightly naive, in the cultural commodities and ideologies associated with reggae. Interestingly I also came across "myreggaespace.com", a virtual community heavily influenced by the Western networking site "myspace". The reggae take on this global phenomenon no doubt demonstrates the cultural impacts on Jamaican society which have developed increasingly over the years through influences that have served to detach reggae from its historic association to its Carribbean ancestors and their British descendants.
This assertion coincides with the work of Paul Gilroy in his ground-breaking book, There Ain't No Black in the Union Jack (1987). In the extract published in The Subcultures Reader (2005)Gilroy explains the ambiance created amongst British youth that was previously undiscovered and unknown. The emergence of a subcultural resource, totally different in kind and effect to the mainstream capitalist influences from white American popular culture, was provided through reggae and its sound technologies.
There has always been an element of coercion between London-centric dance music and Jamaica, with meeting points such as the Greensleeves ragga jungle projects, Beenie Man alongside So Solid Crew and Harry Toddler on the Pum Pum grime riddim, but the explosion of UK dance music in the early 90s, almost eclipsed the growing English dancehall scene entirely. Recently however it seems London bass might be kick starting a new chapter of JA/UK musical connectivity and creativity. In understanding the barriers that have to be overcome in musical styles and production, it is necessary to understand also the importance of the traditional dancehalls for both the Jamaican reggae music industry, which grew directly out of the activities of the sound system, and for the expressive culture of black Britain in which they remain a core institution. The most essential characteristic of the dancehalls and the sound system is the centricity on records not live performances. Thus the records become the raw material for the spontaneous performances of cultural creativity and improvisation.
Gilroy states, 'It is above all in these performances that black Britain has expressed the improvisation, spontaneity and intimacy which are key characteristics of all new world black musics, providing a living bridge between them and African traditions of music-making which dissolve the distinctions between art and life, artefact and expression which typify the contrasting traditions of Europe'
It is interesting to see now then that recently Jamaican artists are following the trends typically set up by, ironically, those who "borrowed" techniques and styles from dancehall reggae. Although it is unclear whether these similarites are occurring consciously or unconsciously, since as i mentionened earlier, digital music technologies are making connections between different genres significantly easier, with producers on both sides of the Atlantic using the same software to programme their beats. There is no doubt that there are barriers to be diminished in order fo Jamaican artists to incorporate what have now become British musical traits and approaches, for example, difference in production values and difference in tempos, but it is going to be nothing short of exciting to see how all these styles combine and how, if it all, they may connect and grow togther to develop new contemporary tracks which can begin to inhabit a new generic sphere of the dancehall scene, originating in the soul of the Carribbean.
REFERENCES
Gilroy, Paul. "Diaspora, Utopia and the Critique of Capitalism", in The Subcultures Reader. Ed. Ken Gelder Routledge, London and New York: 2005.
From sites which provide direct connections to Jamaican radio sites, providing 24/7 access to play lists from around the global network of reggae music, to those which combine mp3s, gig and album reviews to enable a gateway into the reggae culture and teach those such as myself, who remain slightly naive, in the cultural commodities and ideologies associated with reggae. Interestingly I also came across "myreggaespace.com", a virtual community heavily influenced by the Western networking site "myspace". The reggae take on this global phenomenon no doubt demonstrates the cultural impacts on Jamaican society which have developed increasingly over the years through influences that have served to detach reggae from its historic association to its Carribbean ancestors and their British descendants.
This assertion coincides with the work of Paul Gilroy in his ground-breaking book, There Ain't No Black in the Union Jack (1987). In the extract published in The Subcultures Reader (2005)Gilroy explains the ambiance created amongst British youth that was previously undiscovered and unknown. The emergence of a subcultural resource, totally different in kind and effect to the mainstream capitalist influences from white American popular culture, was provided through reggae and its sound technologies.
There has always been an element of coercion between London-centric dance music and Jamaica, with meeting points such as the Greensleeves ragga jungle projects, Beenie Man alongside So Solid Crew and Harry Toddler on the Pum Pum grime riddim, but the explosion of UK dance music in the early 90s, almost eclipsed the growing English dancehall scene entirely. Recently however it seems London bass might be kick starting a new chapter of JA/UK musical connectivity and creativity. In understanding the barriers that have to be overcome in musical styles and production, it is necessary to understand also the importance of the traditional dancehalls for both the Jamaican reggae music industry, which grew directly out of the activities of the sound system, and for the expressive culture of black Britain in which they remain a core institution. The most essential characteristic of the dancehalls and the sound system is the centricity on records not live performances. Thus the records become the raw material for the spontaneous performances of cultural creativity and improvisation.
Gilroy states, 'It is above all in these performances that black Britain has expressed the improvisation, spontaneity and intimacy which are key characteristics of all new world black musics, providing a living bridge between them and African traditions of music-making which dissolve the distinctions between art and life, artefact and expression which typify the contrasting traditions of Europe'
It is interesting to see now then that recently Jamaican artists are following the trends typically set up by, ironically, those who "borrowed" techniques and styles from dancehall reggae. Although it is unclear whether these similarites are occurring consciously or unconsciously, since as i mentionened earlier, digital music technologies are making connections between different genres significantly easier, with producers on both sides of the Atlantic using the same software to programme their beats. There is no doubt that there are barriers to be diminished in order fo Jamaican artists to incorporate what have now become British musical traits and approaches, for example, difference in production values and difference in tempos, but it is going to be nothing short of exciting to see how all these styles combine and how, if it all, they may connect and grow togther to develop new contemporary tracks which can begin to inhabit a new generic sphere of the dancehall scene, originating in the soul of the Carribbean.
REFERENCES
Gilroy, Paul. "Diaspora, Utopia and the Critique of Capitalism", in The Subcultures Reader. Ed. Ken Gelder Routledge, London and New York: 2005.
Friday, May 8, 2009
Reggae music: To the world and beyond
This YouTube video is an interview with Winston Hubert McIntosh(Peter Tosh)at the reggae sunsplash in Jamaica in 1979. Before his death in 1987 Tosh was a core member of The Wailers with fellow Rastafarians Bob Marley and Bunny Wailer. In this excerpt he discusses the roots of the reggae subculture and provides an insight into why reggae musicians believe their music is created for the people, to be accepted universally around the four corners of the earth with the ability to take over the world. Despite the interview having been conducted a considerably long time ago Peter Tosh's words demonstrate the key ideas which still surface from artists today. He was an extremely influential leader in his time and his career in reggae music was considered one of the best, his music becoming a favourite amongst Reggae lovers and Rastafarians with its political and social messages criticising the hypocritical "shitsystem" often becoming a regular target of the Jamaican police force.
He talks about the music as a psychology, created to, "penetrate the mind, the soul and the body." He highlights thought-provoking ideas that music should not be something you simply hear, but something you feel deep in the core of your soul and with purpose. Without feeling the intense connection Tosh presumes should come from music he implies that it is impossible to "know it". In saying this we can understand the soulfulness associated with the reggae subculture and the notion of inspiration that derives from the "spiritual ingredients" which bridge the gap between the meanings spoken by lyrics and rhythms.
He gives me the impression that reggae music is like a campaign. A campaign created to fill the voids in audiences' lives where feeling and a sense of identity is lacked. This perceived consumption of reggae music aligns with much academic research on the rhythms of the cultural struggles for indigenous identities around the world.
Further to introducing me to the very real spiritual nature of the roots of reggae, developing from followers of the Holy Trinity, or the "creator" as Tosh calls him, Jah Rastafari, Tosh personifies the reason for the growth of Rastafari. Although not really evidenced in this interview, Tosh was a principle popularizer of reggae music, articulating a message of liberation and redemption which had the power to transform a world of injustice and war into one of peace and love. His music was a significant force in the increased popularity of the movement thrusting the rasta cosmology into the middle of the world's cultural arena.
I think Peter Tosh's ideas are extremely relevant to the notions of reggae subculture as he demonstrates Dick Hebdige's argument that, 'we should not underestimate to the signifying power of the spectacular subculture not only as a metaphor for potential anarchy but as an actual mechanism of semantic disorder: a kind of temporary blockage in the system of representation.'*
*From Dick Hebdige, Subculture: The Meaning of Style (London and New York: Routledge, 1979)
Monday, April 27, 2009
Easy Star All-Stars - Where East Meets West: A depiction of the importance of locality
Easy Star All Stars are ground-breaking reggae/dub collective that reside from New York City. They have been around for five years and cover iconic rock albums but give them a reggae twist. Albums they have covered include Pink Floyd's Dark Side of the Moon, Radiohead's OK Computer and most recently, The Beatle's Sgt Pepper's Lonely Hearts club album.
The result is something fantastic. Who would have thought to incorporate reggae music with such influential and recognizable music? The genre-defying remakes have produced undoubtedly some of the most successful reggae albums of all time and with praise and recognition coming from the likes of Radiohead and Pink Floyd they must be doing something right.
I don't know how many of you are into reggae music. I myself am a huge fan... regardless of this there is no doubt that Easy Star All Stars have approached an amazing concept. All of their records combine two opposing styles of music and the result is a soulful creation which emphasizes the authentic expression of reggae music which encourages people to look beyond the 'veneer' of established music styles and value what is inside. By this I mean to refer to the way the lyrics and thoughts behind the classic styles are meant to be valued for what they really mean, not what only how specific cultures intend them to be percieved.
Easy Star All Stars succeed in bringing an understanding of the importance of locality in the meaning of music. John Street in his article '(Dis)located? Rhetoric, Politics, Meaning and the Locality' understands the importance of the geographic origins of the music as fundamental to comprehending its message and underlying significations. It is not hard to find reference in any work of reggae music to its site of origin and its homeland. The world wide knowledge that reggae has originated from the Carribbean is significant in what brings the appeal to reggae music, incorporating its soulfulness and rhythmic sounds to the laidback attitudes and relaxed nature associated with Carribbean and Jamaican culture. The ability Easy Star All Stars has to defy place and bring reggae attributes into conjunction with alternative genres and produce polished vintage reggae demonstrates the artisitc ability of the performers, and also authenticates their music.
The juxtaposition of black and white, laid back and rock, past and present acts as a suitable theme to the Easy Star All Stars music. Street perfectly puts this realisation into words when he says, 'Place here signifies 'rootedness' as authenticity, as a kind of 'realism'. The realism expressed through this new mix of genres and music gives its listeners a form of explanation of the locality of reggae,not only where it has come from but where it can go and is going. The juxtaposition used here encourages listeners to bring aspects of the familiar reggae subculture into their everyday lives through the incorporation of recognizable popular tracks.
There is no doubt that the music created by this unique quartet inspires a form of escapism, as listeners can connect with thier innermost emotions generated through the expressive application of mixed genres. It enables the symbolisms associated with specific music types to resonate, generating a strong sense of community and belonging to those who appreciate it.
Check them out for yourselves at http://www.myspace.com/easystarallstars
Wednesday, April 22, 2009
The Reggae Stigma
Coming back to this thought of the stigma of reggae music... Here is the answer posted on the Lion of Zion site (link below).
Yes, there is a stigma attached to reggae music. When most people think of reggae they think of; Bob Marley, Jamaica, Selassie worship, ganja, jammin' and feelin' irie, etc....
Although Bob Marley was the first international reggae star and is the crowned king of reggae, there is so much more to reggae in beliefs, artists and styles then Bob alone. It is hard to be a non Jamaican doing Jamaican music, but there are countless reggae bands from all over the world now that are making it easier. It has been artists like UB40 and all of the other UK bands that are huge, not to mention Big Mountain and all of the American reggae bands that have helped to pave the way for us and make reggae that is not of Jamaican decent more accessible and accepted. The Selassie worship and ganja stigmas are the hardest for us to combat. Many people still think that Christian reggae is an oxymoron. This is not the case since it has always been spiritual. In fact, reggae music began in the Christian church in Jamaica and most of the popular reggae artists today started in the Christian church. As Christafari it is our desire to take reggae back to its true foundation.
I honestly don't feel uncomfortable on stage at a non-Christian venue. Although I am by no means ignorant of my surroundings and of the spiritual warfare that takes place. I often feel like Paul at Mars Hill. Jesus said that it is the sick that need a doctor, and I can't think of a people group that need more spiritual guidance than those who go to bars and set out to get as drunk as possible and go home with a new person every night. I was there at one time in my life. I know what it is like. They are searching for something to complete them. Something to fill the void in their life. They are trying to reach that ultimate High. Just like the U2 song they "Still haven't found what their looking for". And they won't until they receive Christ. There is no high like the most High!
Believe it or not, in those type of places we receive an extremely warm welcome. You see reggae music is the perfect vehicle for the gospel of Jesus Christ because it is inherently spiritual. In our music we simply glorify Jesus Christ and not Selassie. However, we still receive some persecution from the legalistic church for this type of music and ministry. But those aren't the people that we are called to reach in the first place.
In reading this I can understand a great deal about the significance of both the aesthetics and underlying components in the reggae subculture.
The anonymous respondant understands reggae from its bases, from its roots. The original indigenous expression has often conflicted with social ideas and the resulting stigma which has become established in commercial society. He is adamant that through everything the place where reggae music aims to touch is in peoples' hearts, and their spirits. He claims that reggae is able to give to those in need... those who are searching for something that is missing, and reggae will be able to make thier world whole again. Their belief in god and love will be re-awakened in thier hearts through the lyrics and rhythms that transpire from reggae. I believe that the author refers to the culture he is submerged in as one that allows himself, and those around him, enlightenement. The music, the ideas, the soul and spirit that reggae carries with it provide the stength to give its followers clarity.
This is the perfect example of the authenticity of a culture shining through. There is no doubt that the author knows how commerical the music and associated factors can be percieved, and how wrong many people can look upon the phenomenon of 'Jamaican' music, but he encourages us to delve deeper than what we see on the surface.
His thoughts are not dissimilar from much of the literature on reggae music and the debates surrounding its commercialism. A fusion of capitalist needs and the original agenda of reggae music can often lead to the music becoming lost in its own commercialization and tourism and the market forces of the globalized music industry.
Despite this, this author is an obvious believer in the trueness of reggae and its soul and his dedication to using it to improve how the world depicts the beginnings of reggae and where its traditions emulated from.
Yes, there is a stigma attached to reggae music. When most people think of reggae they think of; Bob Marley, Jamaica, Selassie worship, ganja, jammin' and feelin' irie, etc....
Although Bob Marley was the first international reggae star and is the crowned king of reggae, there is so much more to reggae in beliefs, artists and styles then Bob alone. It is hard to be a non Jamaican doing Jamaican music, but there are countless reggae bands from all over the world now that are making it easier. It has been artists like UB40 and all of the other UK bands that are huge, not to mention Big Mountain and all of the American reggae bands that have helped to pave the way for us and make reggae that is not of Jamaican decent more accessible and accepted. The Selassie worship and ganja stigmas are the hardest for us to combat. Many people still think that Christian reggae is an oxymoron. This is not the case since it has always been spiritual. In fact, reggae music began in the Christian church in Jamaica and most of the popular reggae artists today started in the Christian church. As Christafari it is our desire to take reggae back to its true foundation.
I honestly don't feel uncomfortable on stage at a non-Christian venue. Although I am by no means ignorant of my surroundings and of the spiritual warfare that takes place. I often feel like Paul at Mars Hill. Jesus said that it is the sick that need a doctor, and I can't think of a people group that need more spiritual guidance than those who go to bars and set out to get as drunk as possible and go home with a new person every night. I was there at one time in my life. I know what it is like. They are searching for something to complete them. Something to fill the void in their life. They are trying to reach that ultimate High. Just like the U2 song they "Still haven't found what their looking for". And they won't until they receive Christ. There is no high like the most High!
Believe it or not, in those type of places we receive an extremely warm welcome. You see reggae music is the perfect vehicle for the gospel of Jesus Christ because it is inherently spiritual. In our music we simply glorify Jesus Christ and not Selassie. However, we still receive some persecution from the legalistic church for this type of music and ministry. But those aren't the people that we are called to reach in the first place.
In reading this I can understand a great deal about the significance of both the aesthetics and underlying components in the reggae subculture.
The anonymous respondant understands reggae from its bases, from its roots. The original indigenous expression has often conflicted with social ideas and the resulting stigma which has become established in commercial society. He is adamant that through everything the place where reggae music aims to touch is in peoples' hearts, and their spirits. He claims that reggae is able to give to those in need... those who are searching for something that is missing, and reggae will be able to make thier world whole again. Their belief in god and love will be re-awakened in thier hearts through the lyrics and rhythms that transpire from reggae. I believe that the author refers to the culture he is submerged in as one that allows himself, and those around him, enlightenement. The music, the ideas, the soul and spirit that reggae carries with it provide the stength to give its followers clarity.
This is the perfect example of the authenticity of a culture shining through. There is no doubt that the author knows how commerical the music and associated factors can be percieved, and how wrong many people can look upon the phenomenon of 'Jamaican' music, but he encourages us to delve deeper than what we see on the surface.
His thoughts are not dissimilar from much of the literature on reggae music and the debates surrounding its commercialism. A fusion of capitalist needs and the original agenda of reggae music can often lead to the music becoming lost in its own commercialization and tourism and the market forces of the globalized music industry.
Despite this, this author is an obvious believer in the trueness of reggae and its soul and his dedication to using it to improve how the world depicts the beginnings of reggae and where its traditions emulated from.
Thursday, April 16, 2009
my boyfriend's ideas
so... i showed my boyfriend my blog and a website i had found about reggae. The question I found was on the Lion of Zion website (link here: http://www.lionofzion.com/faq/78da33340300009a0068/The+Reggae+Stigma.html)
The question was: You have chosen reggae music as your musical vehicle. How do you combat the stigma of what reggae music means to most secular audiences of today? And when on stage at a non-Christian venue, do you feel uncomfortable in any way?
When I asked this to my partner Dustin his answer did not actually surprise me... 'Aren't they all just people with dreadlocks who smoke weed?' His comment, coming from someone who works in the industy illustrates the ignorance so many of our population in Australia have about reggae music. Considering Dustin said this after I had informed him that reggae music was actually part of the rastafarian culture it seems to say alot. Most people when they hear reggae music simply think of the weed and the relaxation obtained from it. By no means would many people think that Jesus is in anyway connected.
Surprising but true.
I will return to this topic of the stigma of reggae music... my boyfriend has alone proven that reggae is much misunderstood by collective subcultures... the stereotype standing too proud. Being General Manager of two clubs in Brisbane which incorporate very different music and crowds he is not averse to being subjected to new ideas but telling him that Jesus featured in reggae shocked him more than I would assume.
This does nothing but encourage me to investigate his crazy thoughts further... and see if it is common among society...
To be continued...
The question was: You have chosen reggae music as your musical vehicle. How do you combat the stigma of what reggae music means to most secular audiences of today? And when on stage at a non-Christian venue, do you feel uncomfortable in any way?
When I asked this to my partner Dustin his answer did not actually surprise me... 'Aren't they all just people with dreadlocks who smoke weed?' His comment, coming from someone who works in the industy illustrates the ignorance so many of our population in Australia have about reggae music. Considering Dustin said this after I had informed him that reggae music was actually part of the rastafarian culture it seems to say alot. Most people when they hear reggae music simply think of the weed and the relaxation obtained from it. By no means would many people think that Jesus is in anyway connected.
Surprising but true.
I will return to this topic of the stigma of reggae music... my boyfriend has alone proven that reggae is much misunderstood by collective subcultures... the stereotype standing too proud. Being General Manager of two clubs in Brisbane which incorporate very different music and crowds he is not averse to being subjected to new ideas but telling him that Jesus featured in reggae shocked him more than I would assume.
This does nothing but encourage me to investigate his crazy thoughts further... and see if it is common among society...
To be continued...
Tuesday, April 14, 2009
Reggae music... welcome to it
Well... this is it.
First ever blog on my first ever site. Who knows how it will turn out... but I hope some little part of my musings about society and music's place in it may encourage you to take some interest in reggae music.
Reggae is my chosen topic of interest. There is so much about this subculture that I had completely overlooked until I probed a little deeper into its diversity and the expectations underlying the aesthetics that I began to understand the music for what it means to those at its core... who planted its roots.
From weed to rhythm, lyrics to happiness, soul to dreadlocks, each aspect of reggae holds a significance to each and every person holding reggae's culture close to their hearts.
In this blog I want to show the world what reggae can be, wants to be and is supposed to be. Each of these is different but often not assumed so.
Enough for now... or I'll have nothing to delve into later.
Keep coming back, the ride will be a fun one.
Chat soon...
...alex
First ever blog on my first ever site. Who knows how it will turn out... but I hope some little part of my musings about society and music's place in it may encourage you to take some interest in reggae music.
Reggae is my chosen topic of interest. There is so much about this subculture that I had completely overlooked until I probed a little deeper into its diversity and the expectations underlying the aesthetics that I began to understand the music for what it means to those at its core... who planted its roots.
From weed to rhythm, lyrics to happiness, soul to dreadlocks, each aspect of reggae holds a significance to each and every person holding reggae's culture close to their hearts.
In this blog I want to show the world what reggae can be, wants to be and is supposed to be. Each of these is different but often not assumed so.
Enough for now... or I'll have nothing to delve into later.
Keep coming back, the ride will be a fun one.
Chat soon...
...alex
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