This is an I-Heart podcast.

Guess what, Will.

What's that, Mango?

So this week, I started looking up Harry Potter knockoffs, and they are so terrible.

I love them so much.

All right.

So what's you find?

So there's this one book in Spanish called Harry Perez, and he's got his friends Ron and Hermania. And they take on

this evil character named Condomort. I love how they change everyone's name except Ron's.

Right. Like there's no alternative name for Ron. There's also one from Russia where he's kind of more

of a rock star and he rides a double bass instead of a broom. But my favorite one is from China where Harry has to chase down Voldemort's protege Yandemort, who apparently used to work for the circus under the name Naughty Bubble. And there's also... I'm kind of into this. I'm going to have to check this out. For some reason, there's also a character named Big Spinach in it, but none of it makes any sense. And can you imagine, like, how bummed you'd be if you asked for a Harry Potter book from your parents, and instead they brought you one of these knockouts? No, Mango, I'm kind of into these. But, you know, seeing all these crazy titles made me wonder, how does copyright work? Like, why can you remix a Sherlock home story but not use Felix the Cat to advertise your work?

Like, why are people so excited about 2019's Public Domain Day?

We're going to get into all of this.

Let's dig in.

Yeah. Hey there, podcast listeners, welcome to part-time genius. I'm Will Pearson, and as always, I'm joined by my good friend, Mangesh, hot ticketer.

And on the other side of the soundproof glass, celebrating the demise of copyright by eating, are those Charleston? They are.

And dancing the Charleston, that's our friend and producer Tristan McNeil.

All right, so just to explain a little bit.

I have to point out that part of the reason Tristan is doing this is because he's blaring the Charleston song.

It took me a minute to figure this out.

You can probably hear this in the background.

Now, the song itself was written to accompany the dance back when it debuted back in 1923,

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