WE WANT FUN AND YOU BETTER BELIEVE IT [429]

I may be restating this for myself, but I use the phrase “dancing with the gatekeepers” because I dreamed that I recorded an album titled “Leigh Spence is Dancing with the Gatekeepers”, singing “all they have are words” over and over again. My first article in 2016 defined “dancing with the gatekeepers” as “taking delight in the challenges life gives you, and having fun with those that think they have all the answers.”

I love that I wrote “have fun with”, rather than “make fun of”. Understanding Donald Trump’s assault on language, and on the general concept of “understanding”, in previous articles here was a more fun use of my time than simply insulting the man, despite having also called him “a man that makes gold look cheap, while looking and sounding like a drag queen version of his younger self”. All I have are words, and all he has are words, but Trump’s words are becoming more incendiary, and with his current run for President being described as an “openly authoritarian campaign”, those words can no longer be ignored, as much as I wish I could.

That has been the lesson of 2023 for me. I have ignored talking about anything remotely related to politics because it is not fun. Government infighting, culture wars, literal wars, ideological struggles, squabbles over the words used to identify ourselves, describing everything as “woke” – a word I haven’t discussed because it sounds more like a dog bark than a dog whistle, an easier word to throw than “political correctness” – and whether artificial intelligence could make everything meaningless anyway. Nothing works, nothing lasts, and nothing matters.

But all we have are words. That is the first lesson of 2024.

If words are incendiary, words can defuse them.

If words are cheap, then there’s enough to go around.

If words are meaningless, give them meaning, and avoid boiling the nature of meaning down to “because I said so”.

Ongoing wars, impending elections and competing agendas mean there is a lot at stake in 2024, and I can only be resilient amidst this precarity by remembering this world is also mine. If I ever record that album, I will sing “all they have are words” only then to say “all we have are words”. We are all in this together, so try to make fun with one another.

For me, the meaning of “dancing with the gatekeepers” remains the same – I think I just needed the reminder to have fun.

EVERYBODY’S A DREAMER AND EVERYBODY’S A STAR [343]

We open outside the Abbey Road recording studio in St. John’s Wood, London. Traffic is held up as people attempt to recreate the cover of The Beatles’ album named after its recording location. We cut to inside the building, looking through a window into Studio Two, used by the greatest rock bands of all times. We cut to inside the studio, looking up towards the ceiling, taking in both the scale of the space and the weight of its history. 

 

The camera pans across the studio, and fades to the door outside The Front Room, another Abbey Road studio that is far smaller, and far more affordable. Cut to inside, and an engineer, wearing headphones, sits at a large mixing desk, changing the levels on several tracks. An insert shot shows a call sheet on a clipboard, listing that the album being recorded is titled “Leigh Spence is Dancing with the Gatekeepers”. 

 

The camera moves toward the door where, cutting to the other side of it, are three session musicians, two on keyboards and one on drums, and myself, singing “all they have are words” repeatedly into a microphone.

 

This is the dream that led to my original name for this website when it launched in 2016. What is more, this is pretty much how that dream presented itself to me, in a manner that is simple enough for anyone to understand: establishing shots, “camera” positions, cutting and fading between shots, building a narrative, and even the “camera” acting as a third-person narrator, as “I” look at “myself” in the dream. The Front Room did not open at Abbey Road until 2017, but the hypothetical small studio I thought they had in 2016 can now be substituted with a real location.

 

“Continuity editing”, or “Classical Hollywood editing”, is the name given to seamless film editing that is used to create narrative continuity, which became the dominant film style because of where and when it was developed. Continuity editing is so ingrained in our cultural memory, by way of Classical Hollywood films, and in moving pictures in general, that the language of film is a language everyone can read without needing to know how it is written – learning to "write" it is like learning French when everyone on Earth already lives in France.

 

With the notion of montage causing you to create meaning between different pictures, and persistence of vision making those pictures move, you do not need to know the process of establishing shots, close-up and insert shots, or how fading from one shot to another indicates the passage of time, or the sixty- or 180-degree rules are used to keep continuity of viewpoint between people in a space, but you have seen these used so often you have stopped seeing the joins.

 

When I was a small child, I did wonder why I could only look through my own eyes, and if that led me to a love of cinema, and my studying of film for my degree, then I may have only just recognised that while writing this sentence. But if dreams are meant to be cryptic notes from your unconscious mind, the meaning of mine couldn’t be clearer: my ambition is to record an album, but even in my own dream, I couldn’t afford to rent Studio Two.

FIVE YEARS, STUCK ON MY EYES [300]

First logo (May-December 2016)

Hello there. There is a question you often hear in interviews where the answer is always going to be “no.” “Did you think that when you started Leigh Spence is Dancing with the Gatekeepers on 30^th May 2016, that you would still be doing it five years later?” “Yes, yes I did, I always knew that I could write articles about various aspects of popular culture, philosophy and the news, then deliver them weekly for that that entire time without a break. That outcome was baked in from the start.”

Of course, I never planned it, but I’m glad it happened. I began this site to keep my mind working, learn more about different subjects, and build confidence in putting my name out there. I was inspired by the Three Minute Thesis competition, begun by the University of Queensland, which challenges PhD students to present their research in only three minutes, to an audience with no specialty in their subject. Trying to explain a complex subject in an engaging manner is a brilliant way to develop your communication skills, so I deliberately put myself in a position to make myself do this over and over again, refining my approach and style as I go. I originally set myself a five-hundred-word limit, which would take about three minutes to read, and if anyone else happened to read what I wrote, then that was good – and if they found it entertaining, better still.

 

I certainly did not expect to arrive here, at my three hundredth article, having reached over 196,000 views so far, with another sixteen thousand for the “Gatekeepers” videos posted to YouTube. I can only assume that my plan must be working, especially as that word limit was abandoned a long time ago! To anyone that has read or watched my work over the last five years, thank you for your time.

 

The question is, what have I learned in that time? What lessons from five years of nostalgia culture crisis will I take into the next five, provided I get that far?

 

Second logo (January 2017 to May 2017)

 

1. STAY CURIOUS

I am happy I have never restricted my choice of subjects. I may like to find out new things, especially about how ideas, machines and personalities are constructed, but there is a difference between a hobby, and your natural state of being. I cannot imagine a version of me that is simply contented with things being as they are – I would want to know why that was the case.

 

Therefore, my top ten most read and viewed works here, combining views on my website and YouTube, is as varied a list as I could have hoped for, and I am happy with what has appeared. Some weeks may feel like I’m throwing spaghetti against a wall to find a subject, but it is amazing to see what sticks.

 

1. Why BBC Radio had no news to broadcast on Good Friday 1930 (#88 I’m Just Second Hand News, written version posted 29/12/2017, video 24/02/2020)

 

2. My January 2020 walk around the doomed Elephant & Castle Shopping Centre (#217 An Elephant Never Forgets, video posted 15/01/2020)

 

3. The shipwrecked ocean liner SS American Star, formerly America and Australis (#76 Just a Dream and the Wind to Carry Me, written version posted 06/10/2017, video 26/12/2019)

 

4. Looking around The Bridge Shopping Centre, Portsmouth in 2019 (I’m Giving Up on Trying to Sell You Things That You Ain’t Buying, video posted 13/10/2019) 

 

5. How “CheapShow” is the “Goon Show” of podcasts (#234 Welcome to the Cheap Seats, posted 03/05/2020)

 

6. A list of interesting facts about Jeremy Beadle, who built a library onto his house (#26 Watch Out, Beadle’s About, posted 11/11/2016)

 

7. The HP-12C financial calculator, which no-one has stopped buying since 1981 (#200, I Am Adding and Subtracting, I’m Controlling and Composing, video posted 29/09/2019)

 

8. the battle to grow blue roses (#78 I’ll Pick a Rose for My Rose, written article posted 20/10/2017, video 25/05/2020)

 

9. The ornate pleasure dome that is The Trafford Centre, Manchester (#192, Plastic Palace People Sing Silent Songs, written version posted 11/08/2019, video 22/03/2020)

 

10. The ridiculous Sports Direct Giant Calculator (#208 Everyone Seems to Know the Score, video posted 24/11/2019)

 

Is there anything I wish was on the list? Not really, as writing about a particular subject never means I am then done with it. However, if you read what I am calling “The Myra Breckinridge Trilogy” - #149 Come Outside (Shove It) (03/02/2019), #150 I Wouldn’t Tell You Where to Go (10/02/2019), #204 Mama I’m Sure Hard to Handle (27/10/2019) – suggests I am not done with that film yet.

 

Third logo (May 2017 to April 2018)

2. ALL THEY HAVE ARE WORDS

In hindsight, I find it funny that I started this series by picking apart why The Beatles are called “The Beatles,” but it set the tone I wanted. The intention was to point out that, while the true inspiration came from Buddy Holly and the Crickets, and the name of Marlon Brando’s motorcycle gang in the 1953 film “The Wild One,” the “official” origin is instead a man coming to John Lennon in a dream, riding a flaming pie, declaring the name of his band will be “The Beatles” with an “a.” It turned out that Yoko Ono pushed for this version, a flippant answer once given by Lennon to a journalist, to be the origin of the band’s name as given in “The Beatles Anthology,” with Sir Paul McCartney admitting, “There are still a lot of things we have to fudge because of compromise. If we don't all agree on a story, somebody has to give in.”

 

Well, I dreamt that I had recorded an album titled “Leigh Spence is Dancing with the Gatekeepers,” and one song on this album will feature me repeatedly singing “all we have are words” – I’m guessing I was incandescent, either in the dream or earlier that day, about being told what to think, by someone who claimed they had all the answers. I will write that song eventually, but after having to reject any comparison I could have made with The Beatles’ flaming pie, I concluded that “Gatekeepers,” as a series, will “be more about me trying to make sense of an issue, why I think the way I do, or why I am expected to think something, rather than coming to a decision. Ultimately, I want this to be a fun exploration of the stories we tell ourselves.” Keeping this in mind would, hopefully, prevent me from being seen as a “gatekeeper” myself.

 

So, the angle and tone for my writing was set by The Beatles. It was at this point I decided to use song lyrics as titles for my work, as a kind of primitive search engine optimisation, although that first title came from David Bowie’s “Word on a Wing”: “Ready to Shape the Scheme of Things.”

 

I did talk again about The Beatles, except to explore how multi-track recording meant John Lennon didn’t have to play his harmonica anymore.

 

Fourth logo (April 2018 to May 2021)

 

3. ALL THEY HAVE ARE WORDS

 

When I began “Gatekeepers,” Barack Obama was still President of the United States, David Cameron was still Prime Minister, the Brexit vote was a few weeks away, and Donald Trump was an also-ran… and then, 51.9% of 72.2% of the British electorate voted to leave the European Union. I don’t give the figures like that to question the legitimacy of the vote, more to point out that the single issue that has dominated British politics, and social life, ever since, was decided in a process where over a quarter of people who were entitled to have their say said nothing at all. I personally believe voting in elections and referendums should be mandatory, so the winner knows they have to answer to their entire electorate.

 

I consider my political position to be slightly left of the middle – many would consider me to the “right” of them, and many more would consider me to be the “left” of them. As a result, I have never found talking about the “Right” and the “Left” to be overly helpful. The last five years pushed politics and people to extremes of opinion and thought, whether that be Labour and Conservative, or Democrat and Republican, and I am left in the middle thinking, “what happened?” 

 

I never feel I need to talk about my own politics, but I feel I have become more informed about what mine is. I just wished that politics could become the background to general life again, instead of carrying the tune.

 

4. ALL THEY HAVE ARE WORDS

I began 2021 by writing several articles about how postmodernism, a branch of arts and philosophy deeply rooted in the 1980s and 1990s, still influences public discourse today. Most notably, the route normally taken is to think that, just because Jacques Derrida deconstructed texts to look at meaning and motive, reality itself must therefore be relative, and you can do and say anything you want. Even worse, deciding you can say what you want, because you know it ultimately doesn’t matter, is dangerous. 

 

No wonder I spent four out of the last five years excoriating Donald Trump. Originally just someone who needed people to explain what he is trying to say, the alternate reality Trump’s words created became so dangerous to the security of his own country that he had to be banned from Twitter. Now a relic of his own era, Trump had to start a website to continue issuing his own statements – anyone can do that (I said, living in a country where a right-wing newspaper columnist became Prime Minister). 

 

Imagine putting ideology over life. Imagine being so strident with your language that it killed people.

 

Fifth logo (from May 2021)
 

5. ALL I HAVE IS WORDS

 

Words can only take you so far. That is why I started making videos as well. 

 

When making a trailer for my YouTube channel I ended it by saying, as a joke, “That’s Leigh Spence is Dancing with the Gatekeepers, the longest name in culture.” The truth is, if I knew this would turn into an ongoing project, I would have chosen a shorter name, no matter how evocative “Dancing with the Gatekeepers” is – I once had to tell someone, “It’s not an affirmation, it’s a website.”

 

Therefore, I am changing things a bit. The new name for this series is “Leigh Spence,” subtitled “dancing with the gatekeepers since 2016” – there will still be “nostalgia culture crisis” in the mix, but that can be taken as read by. The new address for all my work will be www.leighspence.net.

 

I also have a degree in film studies, but YouTube opened the year after I graduated - I wish I had been in on the ground floor of that in 2005, but streaming video never mixed well with dial-up internet. Now that I can fit a video camera approaching TV broadcast quality into my pocket, allowing me to use it like I would a pen, there is simply no excuse to take the leap I need… said someone who made a video questioning if videos need pictures, and presented my thoughts on Ikea plastic plants in 2.39:1 Cinemascope.

 

From now, video will be my focus. I will still post my scripts to read, but they will have been made as videos first. Separate written articles will still appear on occasion.

 

What has cemented this decision is that top ten list. Three of the “articles” were made as videos first, and my walk around the Elephant & Castle Shopping Centre, a fifteen-minute video with no voiceover, constructed entirely through editing pictures and captions, is exactly what I should pursue more. That this video is also the second most-viewed “article” of the series makes that decision extremely easy.

 

For this reason, I may not post something new every week – you tend not to be in pre- or post-production on a written article. I also need to work around a full-time job until something causes that to change, like a lottery win. However, more time will produce, I hope, even better work.

 

In short, I owe the confidence I have to the work I have done, and I am the person I am due to that confidence.

 

After five years, and three hundred articles… I think I’ll give myself the week off.

SINCE THE WORLD’S BEEN TURNING [214]

With so many end-of-year and end-of-decade lists scattered around, I decided to draw a line under the 2010s by recounting a couple of things that happened to me in 2019 that could not have been contemplated in 2010, and what that means for me in 2020.

The thought of starting a video version of “Leigh Spence is Dancing with the Gatekeepers” had not entered my mind even at the start of 2019 but, starting with equipment I was using for other things, namely my iPhone, iPad, and a £10 tripod, I ended the year having already made seven videos – expect more of these in 2020, because bringing my words to life appears to be working out very well. Making semi-professional video as easy as possible to create was the iPad - introduced in 2010, was by no means the first tablet, but it was the one that eliminated the desktop PC from many homes. Using your fingers on a screen to correct colour levels in videos, when you have overlaid a picture of yourself onto a photograph via a green screen, now appears to be any old day of the week.

I also did not expect to end 2019 being blocked on Twitter by comedy writer Graham Linehan, he of “Father Ted,” “Black Books” and “The IT Crowd,” because he, presumably, did not like a joke. Linehan has achieved notoriety for being outspoken, mostly on Twitter, against transgender rights, particularly if it is seen to infringe on women’s rights. Far from a civilised, adult conversation, discourse on the subject a bunfight of labels, from “TERF” to “gender critical,” from “beard” to “trans natal male,” technical terms to alienate the other side, limiting both the scope and understanding of the conversation, rejecting identity politics while also embracing use of the labels created during the “culture war.”

On 23^rd September 2019, when I saw that Linehan had decided to take a “Twitter holiday,” but carried on sending out messages, I turned a news story into a pointed joke: “Did Thomas Cook arrange your Twitter holiday or something?” The holiday company had collapsed that morning, and their management should remain ashamed of that. About three or four minutes later, my sole interaction with Graham Linehan led to him blocking me from ever doing so in future, his crusade carrying on in its enclosed bubble, or some other metaphor. The joke wasn’t even that good.

In the 2010s, online discourse became, to use a word employed across the British Commonwealth, knackered. The blame has been laid at the feet of postmodernism, but rejecting old narratives is not the same as believing whatever you like. Meanwhile, the immediacy of social media, once used to save cancelled TV shows, is now being used to “cancel” people deemed unfavourable like they were TV shows. Social media platforms have a responsibility to step in when the effect of offence outdoes the ability to ignore – I stopped looking at Donald Trump’s Twitter page because he became repetitive, but I await the day he becomes bored enough himself to stop tweeting.

I would expect a few more articles about politics from me in 2020, as the United Kingdom begins exiting the European Union, and as the United States has another Presidential Election, the current incumbent having started campaigning for it as soon as he won the first time. The 2020s may not truly start until those events are dealt with, leaving us with a clearer road ahead.

In the meantime, I have a lunchtime metaphor: at a café based where I work, I went in for a “Brexit” sandwich and a Coca-Cola. What I ordered turned out to be tomato relish with three different types of cheese, served in a fish and chip shop wrapping. I then found out I had enough money for the sandwich, but not the drink. I will review this not-even-a-joke in 2021, to see if I dropped the sandwich on the floor on the way out – in real life, I got what I paid for, and it made me feel ill.

WE HAVE THE CHANCE TO TURN THE PAGES OVER [100]

This is my one hundredth article for “Leigh Spence is Dancing with the Gatekeepers,” probably the best blog title in the world, and I thank you all for reading what began as a weekly writing exercise in May 2016. I must have written at least sixty thousand words since then but, perhaps more importantly, sales of the “Daily Mail” newspaper fell by over two hundred thousand copies in that time. I know these figures are not related, but I have more to say about this later.

What I love about writing is the process, the build-up, the formation of an idea. This usually culminates in a frenzy of typing at the last possible moment, like this one has, especially if the ideas came later. For months, I assumed trying to equate the outlandish nature of the current political climate with Dadaist performance art did not work out, leaving me with lessons for next time, but that article, using a quote from Alfred Jarry’s absurdist play “Ubu Roi” – “That’s a beautiful speech, but nobody’s listening” – has become the most popular article so far.

Other moments of apparent madness included making blue pyramids of Quorn, making the food more attractive to children’ the assertion that “ain’t” is a proper word that adds punch to song lyrics; that our old family car, an Austin Ambassador with a brown interior, is now one of the rarest production cars in Britain; that people build super-basements so they no longer have to go out; that there are many types of Range Rover to help those that identify as Range Rover drivers, so they can live their life the way they feel; and that Donald Trump is the first world leader to restrict his own ability to speak, rather than restrict his own people. When there is always a next time, ideas come freely.

But what if time is running out? With endless space online, and a curious brain that won’t shut up, my writing has no reason to cease, but what if I was a newspaper, speaking with a one-track mind, in a country where newspaper sell fewer copies than ever?

The world knows “Daily Mail” as the most-read news website in the English, with a very showbiz-led mix on its brightly coloured front page, but UK residents also know it as a very conservative, populist newspaper that makes many people want to spit – you can buy t-shirts and badges saying, “I’m the one the Daily Mail warned you about”. It began in 1896, but its current form evolved in 1971, when the seriously-minded broadsheet “Mail” was merged with a more populist tabloid paper, the “Daily Sketch,” with “Sketch” staff effectively taking over the new compact “Mail,” building a fiercely confident, conservative voice that, within a few years, overturned fifty years of the “Daily Express” beating it at its own game – the “Mail” now sells as much as the “Express,” “Daily Mirror” and “Daily Star” put together.

So why did I mention the “Mail’s” sales had fallen? Looking at figures quoted by the “Press Gazette” website, its circulation peaked at 2.59 million copies in September 2001. By February 2018, that figure halved to 1.34 million, down eleven percent on the previous year. The global shift to online put printed newspapers into decline, and when Mail Online effectively gives you the same content for free, why bother with the “Daily Mail” at all?

After reading it for the last month, I wish I knew. I consider myself to be politically in the centre, but I am definitely to the left of the “Mail.” It reads like a magazine, using many double-page spreads of stories and opinion pieces in high-contrast black on white type, bellowing its points down to the reader in length and in depth. Using these pages to brand Labour Party leader Jeremy Corbyn an informant to a Communist spy, and ex-Formula One boss Max Mosley as much of a racist as his father, everyone with connections to them are also scrutinised and judged for their reactions, and the BBC is criticised for not covering either of the stories at the same length – when Mosley didn’t reply  how the “Mail” wanted, the next day’s headline was “STILL HE WON’T APOLOGISE.” Based on what was printed, both Corbyn and Mosley have some questions to answer, but the “Mail” has already found them guilty as hell, let alone guilty as charged, and any raising of their voices is a threat to a free press.

There has also been the A-Z of Millennial speak, the A-Z of Baby Boomer speak, the “witch hunt” against men by “Hollywood feminists,” how political correctness causes sense of humour failure, stories about the pro-EU bias by inbred left-wing taxpayer-funded BBC, and the usual stuff about politicians, tax avoiders, judges and investment bankers trying to thwart Brexit, preventing the will of the British people. The last of these included a page-length editorial comment with the headline, “They just don’t get it, do they? This elitist class imposing THEIR views on ordinary people…”

I think the “Mail” gets off on hearing itself rage. If the “Mail” were a person, I would run away.

The last months of screaming words has been overwhelming, the spectacle of the Metropolitan liberal elite being lambasted by the Metropolitan conservative elite seemed like an ironic and pointless bonfire, as the “Mail’s” sales continue to fall – Mail Online hides many of the double-page spreads under a link to “Columnists,” leaving the bigger stories to generate views and revenue. For all the outrage over the content of the “Daily Mail” as a newspaper, for how it currently uses acres of paper to tell us to stop using plastic, and for all the advertising boycotts by Lego, Paperchase and Center Parcs, there remains one thing: the figures show the newspaper is dying anyway. Unless the website can support it when printing on paper is too unprofitable to continue, we will live to see the end of the “Daily Mail” – it will happen, it will absolutely happen.

One day, just as in the dream that gave me the name for this blog, I may turn “Leigh Spence is Dancing with the Gatekeepers” into an album, where I will yell at those that tell you what to think, singing “all they have are words” until fadeout. I don’t know if that will be in the next hundred articles, but I will see where my mind takes me.

OH WHAT WILL I BE BELIEVING [58]

Logo #1

Firstly, a big thank you to you all for reading what has been quite a bewildering year’s worth of subjects. When I began “Dancing with the Gatekeepers,” on 30^th May 2016, my intention has always been to understand each subject that came to mind each week, and to learn something from it, confirming why the most popular articles so far range wildly from David Bowie to Donald Trump, from Quorn to the Futurist Cookbook, from big data to “legal names,” from George Orwell to word puzzles, and from the art of telling a joke to the history of the word “ain’t.”

If anyone has sought to find out more, or ask a question about something, or someone, having read my work here, then that is the best possible outcome – I only write because I am happy to admit I don’t have all the answers.

However, the first subject I featured, on how John Lennon’s flippant remark to a journalist’s question became, at the insistence of Yoko Ono, the inspired dream of a man on a flaming pie, telling Lennon to name his band, “The Beatles, with an ‘a.’” Once you know something is untrue, the persistent insistence that “ceci n’est pas une pipe” becomes a deranged fantasy. When it comes to cold facts, those that mean the world works on a base level, you should not the use joke in René Magritte’s painting “The Treachery of Images” as a way to live your life or, even worse, assert your point of view over those of others.

The two words of the last year have been “Brexit” and “Trump.” Even if I look back on this article in twenty, thirty, fifty years, I will not need any further explanation than that, and I don’t expect you may not either. I have tried not to advance a particular view about either of these – politically, I am in the centre, so if the world is substantively better for everyone after Brexit and Trump, then that is fine by me – but the one thing I should not have to be, if I did say anything about either subject, is afraid to say anything at all.

Freedom of speech is paramount in this world – all opinions should be able to be heard, then we can decide on their merit. I am not the type of person who tells people that the truth is being kept from them, or that they are blind to it, because I would need to have concrete evidence to prove that, unless I wanted to engage in conspiracy theory. When certain voices think they have been silenced, because one outlet decides they don’t want them there anymore, they should think whether that place has its own voices to protect, or whether they might have been in the wrong place to begin with. Every voice has its own place and, if requires, what it says can be tested, in a court of law.

I wrote a great number of notes for what I wanted to write about here, and quite a few of them could become their own discussion here in future weeks. It is a febrile time for thought about our own places in the world, having felt that everything has been turned upside down. However, I feel safe that things will work out better for everyone in the end, even if I don’t know why - that might just be me.

The dream that gave me the name “Dancing with the Gatekeepers” was my having recorded an album, rock and/or electronic in nature, in which one song led to my shouting “all you have are words” over and over again. Despite what others may choose to do with their words, they are all I have too.

Good luck, everyone.