Whether you like it or not, we have reached that age where the language of texting/internet slang is no longer confined to comfort of the screen, but has succeeded in creeping into our day to day conversations. The way we communicate is constantly changing and evolving, and it can be tricky to keep up.

Well fear not! Balthazar Cohen, the genius behind Totes Ridictionary, is back and here to help, with Totes Ridictionary 2: The Super-revised, On-fleek Edition, containing only the most up to date phrases and abbreviations.

Totes Ridictionary 2 is more than just a guide to teen slang. It is also a pocket sized youth culture bible, that offers insight into the origins behind the latest phrases and the contexts in which to use them (Did you know, for instance, that ‘on-fleek’ was coined by a woman named Peaches Monroe, who used the phrase in reference to her impressively well-groomed eyebrows - ‘eyebrows on-fleek’). Expect more where this came from, plus appearances from celebrities and conversations between popular historical figures as our author explores the connection between technology and language, in both a positive and negative light. Some would argue that this evolution of language is an inevitable and beautiful thing, which should be celebrated. Others would suggest that day to day English language has been ruined by slang and perhaps long for a #Throwback to a more hashtag-free time. 

The author digs deep into the complex realms of youth culture. He offers a satirical take on slang, and, in a more implicit way, takes a look at the role that irony and humour play in the popularisation of these phrases: For instance, there are only so many times you can use ‘lol’ as an ironic alternative to actually laughing out loud, or pose for ‘‘ironic’’ selfies until all sense of irony is lost.

Cohen demonstrates the simultaneously terrifying and incredible impact of the internet upon language and culture in a refreshingly light-hearted manner. Filled with fancy new phrases and cultural insights, Totes Ridictionary 2 promises to be a fun, witty read that can be appreciated by members of all generations and makes for the perfect gift.

From September 10 to February 26 the Victoria and Albert museum are holding an exhibition entitled ‘You Say You Want A Revolution? Records and Rebels 1966-1970’. It documents the fascinating subculture and social revolution of the 1960s.

The appeal of the 60s appears to be immortal. There is something inherently cool in the idea of society’s outcasts coming together to create something great, be it significant social change or the vision of Woodstock. The reality is that these were deeply troubled times, and any revolutionary ideals came out of necessity. Something I felt the V&A did particularly well was balance the excitement, fashions and flair of the decade with a realistic representation of the issues faced. The 60s wasn’t all sugar-coated psychedelic pop and free love, and this exhibition acknowledges that.

Upon entering the exhibition each ticket holder is given a pair of Sennheiser headphones (the company also provided the audio experience for the renowned ‘David Bowie Is…’ exhibition at the V&A in 2013). Whilst walking down the hallway towards the entrance, the jangling chords of The Who’s ‘Magic Bus’ begin to play, before you come face to face with an entourage of album covers from the era, alongside quotes from the likes of Bob Dylan. The audio then synchronises with a film featuring famous faces of the decade talking about their feelings looking back. Twiggy, for example: ‘It was a time when you didn’t need much money to survive.’

From this point, you are taken into a room that defines the set dates of the exhibition (1966-1970) and sets the scene with artefacts such as the chair from the famous Christine Keeler photoshoot, John Lennon’s glasses, and poetry from writers such as William Blake that inspired the beat poets.

Meanwhile, the soundtrack chosen by the V&A evokes a great deal of emotion; Sam Cooke’s velvet voice on ‘A Change is Gonna Come’ speaks of the deep injustice ingrained in society and reminds you of the reality of the real world, while you look at the brilliant colours of psychedelic paintings that aim to take you away from it.

After a series of rooms, presenting subjects ranging from psychedelia to societal revolutions of the time, the exhibition culminates in a surreal representation of Woodstock, where those who feel so inclined can lounge on the beanbags spread across fake plastic grass and take in a massive projection of footage from the festival. This last room feels a little contrived, but then again, perhaps this is fitting considering the modern reincarnation of the festival dream, with sponsors, flooded wifi and glamping.

It was an ambitious mission for the V&A to bring together every aspect of an era where things changed overnight. The result is therefore completely over
whelming, but this should come as no surprise. Thinking back on it, the experience of attending the exhibition is a colourful blur, although as the comedian Charlie Fleischer observed, ‘If you remember the ‘60s, you really weren’t there’ so for an exhibition that aimed to faithfully recreate the decade, perhaps this is a desirable result.

The end of the exhibition also considers the changes made between 1966-1970, and the ripples of those changes that we can still see in today’s society. Although the outlook seems positive, in a world where war continues to ravage the lives of innocent people and police brutality in America (the black panther movement was a particular focus of the exhibition) is an ongoing issue, it is perhaps more important than ever to consider the 60s values of peace, love and the fight for an equal society. After all, the times, they are still a-changin’.