there's lots of french in the novels of tolstoi. you could make the same argument about music. these are things that anybody who studies this will tell you. one of the cases i discuss in the book is the deep interdependence of our understanding of the ancient greek classical world, the understanding of it that was developed by the arabs during the so-called european dark ages which were not so dark, but they were a time when, for example, aristotle was missing from much of the conversation and the form that was there was very catholicized. it was sir thomas. so i just think that if you care about those things, you wouldn't want to stop that kind of hybridity, wouldn't want to stop that kind of coming and going. however, of course when people are working across cultures, there are many possibilities of bad behavior. one is stealing, i mean, i take a musical idea, i work with it from some people who don't know much about the world, i don't pay them, i take their ideas, i go away, i get rich making music in the world. i have exploited somebody. that's not about cultural appropriat