techiaith/cofnodycynulliad_en-cy huggingface dataset:
English: I think there's an important point. I'm no expert on licensing or planning regulations, but one important thing that I pick up on is the problem with venues for that young audience between 16 and 18, because we often try to arrange gigs in a pub and, naturally, the pub will say 'Well, I don't want that gig; we'll make no money at the bar'. So, that in itself is a problem. There is an audience that's being excluded from live music because of those problems. And there is no blame on the venues, because, naturally, they live off their bar takings. But we then need - and perhaps this ties in to this idea of having those centres bought from the public purse - we need to ensure access to those between 16 and 18 to regular gigs. Because what we have at the moment is occasional gigs for those people, which turn into huge parties, yes, but, if they have more regular gigs, then there is more appreciation of the music. So, when I was young, I would sneak into gigs, yes, but it wasn't just about getting in there to drink; it was to go and see a band. So, we need to look at a structure that would create more regular gigs for that audience too.
Welsh: Dwi'n meddwl bod yna bwynt pwysig. Dwi ddim yn arbenigwr ar reolau cynllunio na thrwyddedu ac yn y blaen, ond dwi'n meddwl un peth pwysig yn fanna dwi'n pigo fyny arno fo ydy'r broblem efo canolfannau gigs i gynulleidfa ifanc 16 i 18, achos dŷn ni'n trio yn aml trefnu gig mewn tafarn, ac, yn naturiol ddigon, mae'r dafarn yn mynd, 'Dwi ddim eisiau rhoi'r gig yna ymlaen; gwnawn ni wneud dim arian o gwbl ar y bar'. So, mae hwnna ynddo'i hun yn broblem arall hefyd. Mae yna gynulleidfa sydd yn cael ei chau allan o weld cerddoriaeth fyw oherwydd y problemau hynny. A does yna ddim bai yn fanna ar y canolfannau achos, yn naturiol, maen nhw'n byw off eu pres bar. Ond mae angen wedyn - ac o bosib bod hwnna'n clymu nôl i mewn efo'r syniad o'r canolfannau yna'n cael eu prynu o'r pwrs cyhoeddus; o bosib ei fod o - mae angen sicrhau mynediad i'r 16 i 18 i gigs yn gyson hefyd. Achos beth sydd gennym ni ar hyn o bryd ydy gigs achlysurol i 16 i 18 sy'n troi mewn i bartïon anferthol, ond, yn aml, os ydyn nhw'n cael gigs sy'n fwy aml, yn fwy cyson, mae yna fwy o werthfawrogiad o gerddoriaeth yn digwydd hefyd. Pan oeddwn i'n ifanc, roeddwn i'n 'sneak-io' mewn, oeddwn, ond doedd e ddim gymaint am fynd i mewn i gig jest er mwyn yr yfed; roeddwn i'n mynd mewn i weld bands ar yr un pryd. So, mae angen edrych ar strwythur fuasai yn creu mwy o gigs rheolaidd i'r gynulleidfa yna hefyd.
English: And, in terms of licensing, for festivals, it does depend on what local authority you're working with. There are some festivals, because of specific clauses that are put in place, that feel it's impractical for them to develop and even exist. So, on occasion, there might be a council that would look at the licensing very differently from another, and that has an impact, because we tour and, of course, it can double the cost of security, for example. So, financially, it has an impact too.
Welsh: Ac, o ran trwyddedu hefyd, o ran yr ochr wyliau, mae e'n amrywio gan ddibynnu ar ba awdurdod lleol yw e. Ac felly mae profiad - . Ac mae yna rai gwyliau hefyd, oherwydd y cymalau penodol sy'n cael eu gosod, sy'n teimlo ei fod e'n anymarferol i ddatblygu ac i fodoli. Felly, mae hynny hefyd. Weithiau, mae yna un cyngor yn edrych ar yr ochr drwyddedu'n gwbl wahanol i gyngor arall, ac mae hynny'n effeithio, achos rŷm ni'n teithio, ac felly weithiau bydd e'n dyblu ar gost diogelwch mewn un neu'r llall. Felly, yn ariannol mae'n effeithio ar bobl.
English: I think, in terms of local authorities, it's about what they have to achieve on a statutory basis. There is an obsession with what is statutory. But, under the Well-being of Future Generations (Wales) Act 2015, there's a focus on well-being and there's a responsibility there, so we need to have a discussion about where culture and the arts are part of that. Because there is a feeling - . I don't want to say it's everywhere, because some are doing excellent work on this, but there's what's statutory and the sense that this is additional, whereas culture should never be an additional thing for local authorities.
Welsh: Dwi'n credu un o'r pethau o ran awdurdodau lleol yw maen nhw'n sôn am beth mae'n rhaid iddyn nhw ei gyflawni yn statudol. Mae yna obsesiwn efo'r statudol. Eto i gyd, dwi'n credu, o ran Deddf Llesiant Cenedlaethau'r Dyfodol (Cymru) 2015 a'r ochr lesiant, mae yna gyfrifoldeb fanna, ac felly mae angen inni gael y drafodaeth o ran ble mae'r celfyddydau a diwylliant yn rhan o hynny. Oherwydd mae yna deimlad - . Dwi ddim eisiau dweud ei fod e drwyddi draw, achos mae rhai'n gwneud gwaith ardderchog yn y maes yma, ond mae'r statudol a, 'O, mae hwn yn ychwanegol.' Dylai diwylliant fyth fod yn ychwanegol i awdurdod lleol.
English: I think it's important to bring the important partners together at a local level as often as possible. I think that it's important that any decisions, generally, are devolved to the local community where possible, and I think that the musical problems of the various communities of Wales are very diverse. There is a fundamental difference between the problems that Carmarthen face and what Cardiff face, between Rhyl and Caernarfon. They're fundamental cultural, economic, linguistic problems - there are all sorts of factors. So, if we can take those kinds of boards or those kinds of panels where there is sensible consultation not only with the experts, but with the potential audience, then that is certainly something that should be encouraged on all counts.
Welsh: Dwi'n meddwl ei bod hi'n bwysig i drio dod at ei gilydd mor aml â phosib y partneriaid pwysig ar lefel leol. Dwi'n meddwl ei bod hi'n bwysig iawn fod unrhyw benderfyniadau, yn gyffredinol, yn cael eu datganoli i lefel gymunedol lle mae modd gwneud hynny, a dwi'n meddwl bod problemau cerddorol cymunedau amrywiol Cymru yn amrywiol tu hwnt. Mae yna wahaniaeth sylfaenol rhwng y problemau sydd gan Gaerfyrddin a sydd gan Gaerdydd, rhwng beth sydd gan Rhyl a beth sydd gan Gaernarfon. Maen nhw'n broblemau sylfaenol diwylliannol, economaidd, ieithyddol - pob math o ffactorau. Wedyn, os oes modd mynd â'r math o fyrddau yna, neu'r math o baneli yna, lle mae ymgynghoriad call yn digwydd gyda nid yn unig yr arbenigwyr ond hefyd y gynulleidfa botensial, yna mae hynna'n amlwg yn rhywbeth y dylid ei annog ar bob cyfrif.
English: One quick question from me in terms of what Betsan Moses was saying. We've heard about the difference between the local authorities in terms of licences, perhaps with regard to the kind of music, for example grime, where there may be a stereotype in terms of what that music may lead to in terms of issues or difficulties for a particular venue. But we haven't received robust evidence on that, to be honest. So, do you have evidence - I don't want you to name names - to tell us, to help us with why they charge you more in one area as compared to another. On what basis do they do that?
Welsh: Un cwestiwn clou gen i jest o ran beth oedd Betsan Moses yn ei ddweud. Dŷn ni wedi clywed am y gwahaniaeth rhwng yr awdurdodau lleol o ran trwyddedau, efallai yn sgil y fath o gerddoriaeth, er enghraifft grime, neu beth bynnag, lle mae yna efallai stereoteip o ran beth mae'r gerddoriaeth yna'n mynd i arwain ato o ran problemau i ryw fath o leoliad. Ydych chi'n gallu rhoi - ? Ond dŷn ni ddim wedi cael tystiolaeth gadarn, i fod yn onest. Oes yna dystiolaeth gyda chi - a dydw i ddim eisiau ichi enwi awdurdodau lleol - i ddweud wrthym ni, i'n helpu ni, pam maen nhw'n eich siarsio chi mwy mewn un ardal o'i chymharu â'r llall? Ar sail beth maen nhw'n gwneud hynny?
English: I think, for example, Maes B is seen as a festival akin to Glastonbury in their view, and they think then, 'In terms of the licensing level, we need to have so many stewards, security staff and so on and so forth.' On occasion, there are more security staff in the early evening than there is an audience, and the audience feel, 'Well, what's going on here?' It does feel uncomfortable. So, perhaps it's a lack of understanding of what the event actually is, but also in terms of how they read the regulations. So, from my perspective, if you're saying, 'We want to be a city of music', then you have to set out your policy for delivering that. Therefore, as each of the local authorities look at - . Because people's safety and security is the utmost, but we have to look at the experience. Sometimes, if you go over the top, it can be very negative and then people would say, 'Well, do we really want to go to these festivals if this is how they are?' So, I think it's about the response and the overreaction on occasion.
Welsh: Dwi'n credu oherwydd mae - er enghraifft, Maes B, mae'n cael ei edrych arno fel gŵyl sy'n ymdebygu i Glastonbury, neu beth bynnag, yn eu golwg nhw, ac felly maen nhw'n meddwl, 'Ocê, mae hynny'n golygu o ran y lefel o drwyddedu mae angen inni gael hyn a hyn o stiwardiaid, o ddiogelwch, ac yn y blaen.' Weithiau mae yna fwy o bobl diogelwch yno ar gychwyn noson na beth sydd yna o gynulleidfa. Mae'r gynulleidfa'n teimlo, 'Beth yw hwn? Ni'n teimlo fel - .' Wel, mae'n teimlo'n anghysurus. Ac felly efallai mae yna ddiffyg dealltwriaeth o beth yw'r digwyddiad ond hefyd o ran fel maen nhw'n darllen y ddeddf. Felly, o'm rhan i, mae angen - os ydych chi'n dweud, 'Rŷn ni eisiau bod yn ddinas gerddorol', er enghraifft, yna mae'n rhaid ichi fod yn glir beth yw'r polisi ar gyfer gwireddu hynny a'ch bod chi'n gallu - . Felly, wrth i bob un o'r awdurdodau edrych ar beth - . Diogelwch pobl sydd y flaenaf, wrth gwrs hynny, ond mae'n rhaid hefyd edrych ar y profiad a phob dim. Weithiau, mae mynd dros ben llestri, yn mynd yn negyddol, ac felly bydd y bobl yn dweud, 'Wel, oes yna ddymuniad i fynd i wyliau os mai dyma beth sy'n digwydd?' Felly hynny yw e, rwy'n credu, o ran yr ymateb a'r gorymateb weithiau fyddai'n digwydd.
English: Okay. We're just trying to discover how we could propose those changes. We've heard that Newport, for example, is very good, but, without that robust evidence, it's difficult for us to make the case. That's all I would like to say to conclude.
Welsh: Ocê. Rŷn ni jest yn trio ffeindio mas sut y byddem ni'n gallu cynnig y newidiadau hynny. Rŷn ni wedi clywed bod Casnewydd, er enghraifft, yn dda iawn, ond, heb inni gael tystiolaeth gadarn, mae'n anodd i ni, dyna'i gyd. Dyna'i gyd hoffwn i ddweud i orffen, ond - .
English: I would say that some respond in a far more even-handed manner, or are more understanding. I'd give you some examples, but, in terms of fairness, it would be unfair for me to say that, 'In the past 20 years, these are the good ones and these are the bad ones' - I want to stay in work. [ Laughter.] But also if there are regular complainants within the council, and, if someone says, 'What, it's going to be noisy until two o'clock in the morning?' - then, on occasion, that one individual has a huge influence, where they will say, 'In order to ensure that this doesn't impact you - '. Then you need to look at the balance. You have one regular complainant who is given more of a hearing than others.
Welsh: Buaswn i'n dweud bod rhai'n ymateb yn llawer mwy teg, neu yn deall yn well. Mi allwn i roi rhai ichi. O ran tegwch, mae'n annheg i fi ddweud, 'Yn y 20 blynedd diwethaf, dyma'r rhaid da, dyma'r rhai gwael' - dwi i eisiau parhau i deithio [ Chwerthin.] Ond hefyd, wrth gwrs, mae ymateb - . Os oes yna gwynwyr parhaus mewn cyngor, ac os yw rhywun yn dweud, 'Beth, mae yna sain yn mynd i fod tan ddau o'r gloch y bore?' - weithiau, mae'r un unigolyn yna â dylanwad lle maen nhw'n dweud, 'Er mwyn sicrhau nad yw hwn yn mynd i effeithio arnoch chi - .' Weithiau, beth yw'r balans? Mae yna un sy'n cwyno'n barhaus yn cael llawer o glust.
English: Okay, that's all from us, time has beaten us, but if there's more that you want to say, please do write to us. We're open to that. But thank you very much for joining us, and if you leave the room and there's something that you think you've forgotten to say, then do please get in touch. But thank you again for giving evidence today. We'll take a break of 10 minutes now.
Welsh: Ocê, dyna oll sydd gennym ni o ran amser, ond os oes mwy o dystiolaeth gyda chi i'w rhoi inni, yna plîs ysgrifennwch atom ni. Dŷn ni'n agored i hynny. Ond diolch yn fawr iawn ichi am ddod i mewn, ac os oes yna rywbeth - eich bod chi'n gadael ac mae yna bwnc llosg yn dod i'ch pen, plîs cysylltwch â ni. Ond diolch yn fawr eto am roi tystiolaeth gerbron. Byddwn ni'n cymryd seibiant o 10 munud nawr.
English: Thank you and welcome back to the Culture, Welsh Language and Communications Committee. We move on to item 3 on the agenda, namely the inquiry into live music in Wales, and welcome Branwen Williams, who's an artist with Candelas, Osian Williams, also from Candelas, and Dilwyn Llwyd, who is here in the room, a promoter at Neuadd Ogwen, and then Marged Gwenllian, artist, Y Cledrau, Glain Rhys a'r Band. So, Dilwyn is joining us here in Cardiff, and then we have a link-up, so we hope that all of the technology will work. Good morning to you all and thank you for giving evidence to us today. We will be asking themed questions. If it's okay, I'll just start with my questions. Dilwyn, I know that you were here earlier to listen to the previous session. So, just in general, what do you think is the state of the scene at the moment in Wales in terms of live music? Do you think it's improved, deteriorated? How does it look at the moment?
Welsh: Diolch a chroeso nôl i'r Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu. Rydym ni'n symud ymlaen at eitem 3 ar yr agenda, sef, ymchwiliad i gerddoriaeth fyw yng Nghymru. Rydym ni'n croesawu Branwen Williams, artist o Candelas, ac Osian Williams o Candelas, a hefyd Dilwyn Llwyd yma, hyrwyddwr Neuadd Ogwen, ac wedyn Marged Gwenllian, artist, Y Cledrau, Glain Rhys a'r Band. Felly, mae Dilwyn gyda ni yma yng Nghaerdydd, ac wedyn mae gennym nil link-up, so dwi'n gobeithio y bydd hyn i gyd yn gweithio. Shwmae i chi gyd, a diolch i chi am roi tystiolaeth gerbron heddiw. Byddwn ni'n gofyn cwestiynau ar sail themâu gwahanol, so os mae'n iawn, gwnaf i jest gychwyn. Dilwyn, dwi'n gwybod roeddech chi yma yn gynharach yn clywed y sesiwn blaenorol. Felly, jest yn gyffredinol, beth ydych chi'n credu mae'r sîn fel ar hyn o bryd o ran cerddoriaeth fyw yng Nghymru? Ydych chi'n credu ei bod wedi gwaethygu, gwella, neu sut mae'n edrych ar hyn o bryd? Pwy sydd eisiau cychwyn?
English: Should I start? Personally, I think the scene is the healthiest it's been for years. I've been involved with the music scene for around 15 years in various guises. I play in bands, I run a record label and I also arrange gigs. So, in terms of the various genres, I see it as being as interesting as it's been for decades. The arrival of PYST has been a huge help for us as a label, and for us as bands, to bring more order to the contemporary music scene. So in that regard, I do think it's quite positive at the moment. The negative side is the cuts to royalties for musicians, which, in turn, prevents the funding for the recording of music. I don't know if anyone else wants to jump in.
Welsh: Ydych chi eisiau i mi ddechrau? Yn bersonol, dwi'n credu bod y sîn y iachaf mae wedi bod ers blynyddoedd. Dwi wedi bod yn ymwneud efo'r sîn gerddoriaeth ers tua 15 mlynedd mewn gwahanol feysydd. Dwi'n chwarae mewn bandiau, dwi'n rhedeg label recordiau, a dwi'n trefnu gigs. Felly, o ran y gwahanol fathau o gerddoriaeth sydd gennym ni, dwi'n ei weld o ar ei fwyaf diddorol y mae wedi bod ers degawdau. Mae dyfodiad PYST wedi bod yn lot o help i ni fel label ac i ni fel bandiau, i ddod ag ychydig bach mwy o drefn i'r sîn gerddoriaeth gyfoes. Felly, yn hynny o beth, dwi'n meddwl ei fod o'n eithaf cadarnhaol ar hyn o bryd. Yr ochr negyddol ydy'r toriadau mewn blaendaliadau i gerddorion sydd, yn ei dro, yn atal pethau fel y cyllid i fynd i recordio cerddoriaeth. Pwy sydd eisiau neidio mewn?
English: The interest and the excitement are there, especially in terms of social media, and the attention given to the band is excellent. The interest amongst young and older people and learners is excellent, and because of things such as Spotify, the profits that the band make are getting lower, so it's difficult. It is an expensive job in terms of equipment and studio time and so on. So we need to thank people such as PYST, who provide a wider stage and platform for performers, but bands, financially, are struggling.
Welsh: Dwi'n cytuno â hwnna. Mae'r diddordeb a'r cyffro yna, yn enwedig efo cyfryngau cymdeithasol ac ati. Mae'r sylw i'r bandiau yn cael ei roi, sy'n brilliant. Mae'r diddordeb yna ymysg pobl ifanc a hŷn a dysgwyr, ond eto, oherwydd pethau fel Spotify ac ati, mae'r elw mae'r bandiau'n ei wneud yn mynd yn is, felly, mae'n anoddach creu mwy o gynnyrch. Mae'n job drud rhwng yr offer a mynd i'r stiwdio i recordio ac ati. Felly, mae angen diolch i bobl fel PYST sydd yn rhoi caneuon pobl ar blatfformau ehangach, sy'n dod â phres i mewn, ond mae bandiau, yn ariannol, yn struggle -o, buaswn i'n meddwl.
English: Yes, I can only echo what Branwen and Marged have said. The scene in terms of the diversity of bands I think is brilliant at the moment. But all that bands want to do - and on what level is not important, to be honest - is gig and record, really. So, the fact that the cuts are happening, which means that there's less money available for bands, is a problem, because bands can't afford studio time. It's a huge struggle for bands to afford to record a whole album at the moment.
Welsh: Ie, gallaf i ond ategu beth mae Bran a Marged wedi'i ddweud. Mae'r sîn o ran y bandiau a'r amrywiaeth i gyd yn hollol wych. Ond y cwbl mae bandiau eisiau'i wneud - a does dim pwys ar ba lefel, a dweud y gwir - ydy gigio a recordio. Felly, mae'r ffaith bod y toriadau'n digwydd, sy'n golygu bod yna lai o bres i bandiau, yn bach o broblem - bod bandiau'n methu mynd i'r stiwdio, methu ei fforddio fo, a dweud y gwir. Mae'n andros o strygl i fandiau allu recordio albwm cyfan y dyddiau yma.
English: I couldn't hear you very well there, Osian. We're trying to find out whether we can improve the sound. I have the headset now. Thank you. Dilwyn.
Welsh: Sori, dwi ddim yn gallu clywed ti'n dda iawn. Sori, Osian. Dwi i'n trio ffeindio ffordd well. Mae gen i hwn nawr. Diolch. Dilwyn.
English: Is the question specifically about the Welsh language scene?
Welsh: Ydy'r cwestiwn yn benodol am gerddoriaeth yn Gymraeg, neu ydy o am - ?
English: No, it's about the scene in Wales. That's my next question, but you can take both at once, if you'd prefer.
Welsh: Dim yn y Gymraeg eto, ond yng Nghymru. Fy nghwestiwn nesaf i oedd hynny, ond os wyt ti am ateb y ddau beth, mae hynny'n iawn.
English: Well, I do think that the three of you are thinking about your work and the Welsh language rock scene, and I agree with everything that they say; I'm involved in music and I have the same problems. It's uneconomical to create music at the moment. It costs a lot more than you could ever make from it, and that's all down to what's happened with the Performing Right Society and so on and so forth. That's had a huge impact, not only on how much music is made, because there's fantastic music out there, but the kind of music that's made, too, and whether that music, then, can cross the Welsh border, because of difficulties with this PRS business. I also look at it as someone who runs a venue, and that's difficult, but we are continuing to provide a stage for Welsh music and world music - there's a lot of world music at our venue. And although it's difficult, I think the social benefits do make it worthwhile. I think, economically, music can have an impact, but also it has an impact in terms of people's well-being, and we create jobs for people in the community, we help other businesses in the community and therefore I think that it's incredibly important.
Welsh: Dwi'n meddwl efallai eich bod chi'ch tri yn meddwl am beth rydych chi'n ei wneud ar y sîn roc yn y Gymraeg. Dwi'n cytuno efo pob dim maen nhw wedi ei ddweud; dwi'n gwneud cerddoriaeth hefyd a dwi'n cael yr un problemau. Mae jyst yn hollol aneconomaidd i greu cerddoriaeth. Mae'n costio lot mwy nag y gallwch chi byth ei wneud allan ohono fo. Ac mae hwnna i gyd lawr i beth sydd wedi digwydd efo'r Performing Right Society ac ati. Felly, mae hynny wedi cael impact anferth, nid yn unig ar faint y gerddoriaeth, achos mae yna gerddoriaeth ffantastig yn digwydd, ond y math o gerddoriaeth sy'n cael ei chreu ac a ydy'r gerddoriaeth wedyn yn gallu mynd allan o Gymru oherwydd yr anawsterau efo'r busnes PRS yma. Dwi'n edrych arni hefyd o'r ochr rhedeg venue, ac mae hynny'n anodd, ond dŷn ni'n bwrw ymlaen ac yn rhoi cerddoriaeth Gymraeg a cherddoriaeth byd - lot o gerddoriaeth byd - ymlaen. Er ei bod hi'n anodd, dwi'n meddwl bod y bendith cymdeithasol yn ei wneud o'n werth o. Dwi'n meddwl, yn economaidd, mae cerddoriaeth yn gallu gwneud lles i bobl ond hefyd rydyn ni'n creu llwyth o waith i bobl yn y gymuned ac yn helpu busnesau eraill. Felly, dwi'n meddwl ei bod hi'n anhygoel o bwysig.
English: So, to move on to the Welsh-medium music scene, we've heard, perhaps, that it operates in silos. So, if you go to a Welsh-medium gig, you tend to stick to those kinds of gigs and there aren't enough bilingual gigs that encourage integration. Can you give us some kind of comment on what could be done to improve that situation?
Welsh: I symud ymlaen, felly, at y sîn gerddoriaeth trwy gyfrwng y Gymraeg, rydyn ni wedi clywed efallai ei bod hi'n gweithredu mewn silos, lle os dŷch chi'n mynd i gig yng Nghymru sydd yn yr iaith Gymraeg, dŷch chi'n dueddol o sticio at hynny a does dim digon o gigiau dwyieithog sy'n annog pobl i integreiddio mwy. Ydych chi'n gallu rhoi rhyw fath o sylw ar hynny a beth dŷch chi'n credu gallai ddigwydd i wella hynny?
English: What I'm trying to do is to break the rules and just to stage events and ignore those barriers. I actually provide a stage for music in all sorts of different languages, communities from across the world as well as Welsh language music, and that can normalise and deal with that problem. There shouldn't be that barrier between the two. I think that's one way around it. But even having done that, there are still boundaries and barriers - some people like jazz, some people like punk, so that's a barrier in itself. So they do exist. But the work that some artists have done, such as Gruff Rhys, for example, he just ignores any kind of boundaries or barriers and he does what he wants to do at any given time. That's sometimes the solution. Just do it; just do things multilingually.
Welsh: Beth dwi'n trio ei wneud yw chwalu'r rheolau yna a jest cynnal digwyddiadau, a jest anwybyddu hynny'n llwyr. Dwi'n cynnal cerddoriaeth mewn llwyth o wahanol ieithoedd gan bobl brodorol o bob man yn y byd, ac yn y Gymraeg. Mae hynny'n gallu normaleiddio pethau - bod y broblem yna ddim yna bod yna ryw ffin rhwng y ddau beth. Dwi'n meddwl bod hynny'n un ffordd o'i chwmpas hi. Ond hyd yn oed ar ôl gwneud hynny, mae yna ffiniau yn dal i fodoli. Mae pobl yn licio jazz a phobl yn licio pync, felly mae'r rheini'n ffiniau hefyd, felly mae dal ffiniau. Mae'r gwaith mae rhai artistiaid wedi ei wneud, fel Gruff Rhys, mae o jest yn anwybyddu'r ffiniau hynny ac yn gwneud beth bynnag mae o eisiau ar y pryd. Weithiau, dyna ydy'r ateb; jest ei wneud o a jest gwneud pethau'n amlieithog.
English: And what about you?
Welsh: A beth amdanoch chi?