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Five years into going to SXSW in Texas and I didn't feel quite the same feeling of liberation.
It reached its apotheosis in the genuinely laugh-out-loud humour of Spinal Tap's songs.
If there's a funnier collection of euphemisms than Big Bottom or Sex Farm I have yet to hear it.
The musicians who peddled their wares to this new demographic in the 50s and 60s were expert in writing about rude subjects in order to get their songs into the homes of their audiences, past the censorious power brokers of the radio stations and even their own record labels.
The head honchos at EMI might have blanched had they looked below the surface of songs such as The Beatles' Please Please Me.
Eugene Police arrested Gareth Hall in Chicago in May 2015 after police discovered he was flying back to the US for another visit.
Police have not been able to confirm his intended destination, but fear he may have targeted others.
No longer can radio stations profess innocence in examples such as Brick FM stating they thought a particular slang term invoked panini - toasted sandwiches.
And no longer can stations play live concerts that are littered with expletives, even if they flag the risk first. I find overt swearage in songs to be far more often embarrassingly crass than artistically meritorious.
I know it's been another lifetime since Sŵn Festival already, and some reviewers were able to file live reviews from various venues on the spot.
I've gone away, had a good chew over the amount of music I heard over the four-day festival, and have a little summary of some of my unexpected finds and musical highlights.
It's normally unimaginative - unless it's one of the few examples in which a single swearword can elevate things (think the end of Killing In The Name by Rage Against The Machine for a good example). There's no reason for rude words when things can be far more entertaining while retaining a sly salaciousness.