The Arts and Crafts Movement (Radio Edit)

Pips podcast on äänsä, että joku on. Käy! Grattas! Let'sodil sea Sa המä nice. Välianilityta! 社ista haya! melkasta, kun benefitus. 別aalistisellä, extracted partnersa dann thaikan ja ihm outfattomimattasin prosesturi ettei seria sano오in chiittörtä Geralt et voivat nesesti intuitionna你有 significant �s. Korpoitteen ilmittävistä monet ei halus katota significance - 20 ensimmäisВitsää, Pyin akater серätop residents It's PUM! It's Dr Isabel Arosno, welcome Isabel Arosno! - Thank you so much, I'm really excited to be here. - We're delighted to have you here. And in Comedy Corner. She is a comedian, actor, improviser, writer, and podcaster. You may know her from her podcast, grief cast, and award-winning show. It's Spinoff Book, you are not alone. Her many TV appearances, her Weirdo's Book Club podcast with lovely Sarah Pasco, or her new children's book, The Christmas Wish Test Rafi. And you'll definitely remember her from our episodes about "Ecropina, the Younger, Georgian, Courtship", it's the wonderful Carried Lloyd. Welcome back, Carried. - Hello! I wanted to think of a sewing pun, but I couldn't. - So nice to meet you! - Good one! - You're an expert in the Regency period, that's your. - I'm pretty good on Georgian TV. - No, you're very good. You're very good. But today we're in the Victorian era, and even into the early 20th century. - Yeah. - So, what do you know of the Arts and Crafts movement? - I know the Arts and Crafts movement. I love the Arts and Crafts movement. I have been to an exhibition as the Arts and Crafts movement. - When I was in Glasgow. - Yeah. - Before they had the fire at the Glasgow School of Art, I did a tour. And they had an amazing exhibition there. And it was incredible. Like, amazing chairs and tables, and proper, like, the good stuff. And just the building itself. - Yeah. - So, I'm a fan. I'm a fan of the movement. - Wow. - Although I was saying to you as well, I had a moment on the way here when I was like, "Oh, yeah, it's William Morris." And I thought, "Is it? Have I made that?" "Is it William Morris?" Or is he like, "It is a Ethan." - I googled it and confirmed it was a little bit more serious. - He'd love to be. - He'd love to be. - William Morris. - He'd love to be a Elizabethan. - Yeah, he would. - Well, he'd love it. - So, what do you know? [music] This is where I have a go at guessing what you, our lovely listener, might know about today's subject. And I imagine most people will have heard of the big dog of the Arts and Crafts movement. William Morris. - No. - His floral designs are still printed on curtains, wallpaper, notebooks, pencil cases, even on football kits. What's more, a modern homeware brand like Cath Kitsdon, owe a huge amount to the Arts and Crafts movement, and we see the design legacy in TV shows like Grand Designs and Query. But the wider history of the movement is perhaps more hidden. Beyond the cutesy curtains, what was Arts and Crafts really about? Why did traditional manufacturing methods have a resurgence in Victorian Britain? And what is a strawberry thief? Let's find out. Right. Dr. Isabella. Where do we start our story? - I think we should start with an overview. So, the Arts and Crafts movement is an art movement, as you could guess. That begins sometime in the late 19th century. Nobody can agree on the exact start date. Some people put it at 1861, which is when William Morris starts getting on the scene. Other people say it doesn't really start until the 1870s or 1880. And it lasts until about the beginning of World War I. The movement is a style of art. It's primarily domestic furnishings. And it promotes craftsmanship and aesthetic unity between all sorts of objects in the home. And those would range from textiles to furniture to ceramics to metalwork and everything in between. The name itself comes from the Arts and Crafts Exhibition Society. That's a very long name for a society, I think. But not the Victorians. They loved it. They loved wordiness, didn't they? So, that exhibition society was founded in 1887 to exhibit decorative arts alongside fine arts. And there was one guy in it in particular, Thomas James Cobden Sanderson, speaking of long Victorian names, who first coined the term in 1887. William Morris is considered the head honcho. He's the daddy. He's the grandpa in the situation. It's his ideas and view of the world that inspires so much of the movement. There is a quote by Morris in an 1877 lecture. Do you want to read the quote for us? He says, and he's giving this lecture in December of 1877 to the Trade's Guild of Learning. And I think he summarizes one of my shout outs of the Trade's Guild of Learning. Trade's the best trade guilds. My favorite trade guild. He summarizes his feelings about kind of everything really well when he says, "I do not want art for a few, any more than education for a few, or freedom for a few." He and the other Arts and Crafts people are really invested in handicraft. And utilizing really learning skills to create beautiful, pleasant, pleasing, comfortable, useful objects. So is it kind of reaction to industrialisation? Oh, have you read the script? No, no. I was just thinking like that. Is that where it's got like, you know, you've lost, you know, you have, oh god, my brain. What's it called? Encroachment? What's the thing they do when they get all the land of everybody? Encroaching. So you have enclosure? Yeah. And then like you get industrialisation and you've lost all these skills, right? These amazing weaving skills and sewing skills. So it will immerse like, hawking back. Good times. Boy, you should have been in the Arts and Crafts. I would love this. I love the vibe. It's all vibes. It's all vibes for me. But yeah, exactly like Victorian London, Victorian Britain, saw a huge amount of change when it came to industrialisation in good and bad ways. So in terms of the population, by 1851, the census tells us that more people live in cities than in the countryside. That's a big change. You have huge numbers of people flocking to industrial city centres. But the conditions are bad oftentimes. People are living in slum conditions, in slum housing, with overcrowding and a lack of sanitation. And generally just bad living situations, lots of disease. And industrialisation is good for some people, for a lot of people, in that it means that there are more affordable items available to more people. But the actual manufacture is gnarly. We have then a movement that comes along that's reacting to the trauma of industrial revolution. It is a trauma, right? Absolutely. These artists are responding in a way that feels like they're looking for escapism. And they go hunting for escapism in the past. They're interested in Elizabethan, but it's the medieval world that they're particularly drawn to. Medieval. A nice hat. A nice hat. It's pointy hat. As hose, you know. Sure. So they are idealising and dreaming about this system, where objects were produced in small-scale workshops, rather than these large anonymous brutal factories. And they're looking for artisan sourdough bread. They're literally that sort of the cottage core folks of the late Victorian era. They would be happy in East London now. We should probably mention rustkin. You know rustkin? I've heard of William Ruskin. No, it's all William's tea. Try another man's name from the period. George Ruskin? George Ruskin. George Ruskin. He's got their own head. Hi, fellow fan. He's an extraordinary figure in the 19th century. And he's slightly debated these days. A lot of things. Everything. Amongst everything else. Absolutely everything. Architect critic, painter, writer, philosopher, poet. Oh, multi-hiphon. And he's kind of an inspiration for the arts and crafts movement. Definitely. Intellectual kind of figurehead. Yes. And he thought that society would be morally better, which is a bold move already, if art, design, and industry were reimagined along pre-industrial lines. He was like, let's just get rid of mechanization. We'd actually all be emotionally and morally better people. And he saw that the best, the most good period was the medieval period. And he said, for art and design to be successful and morally uplifting, an artist needed to be involved in every single step of the artistic process. He's like a nightmare director. Yeah. Yeah. Let's move on to William Morris. We've already, we've name checked him already. I think many people would recognize William Morris print. Yeah. Who was William Morris? You know, where was he educated? How did he get started? Okay. So he was basically, as we've already discussed, the guy when it comes to the arts and crafts movement. And he's born in 1834 in Waltham Stowe, to a wealthy middle-class family. His dad is a broker in the city of London. His mom comes from a bourgeois family in Worcester. He's comfortably fancy. He was an architect, a designer, a practitioner of several self-taught crafts. He taught himself how to paint, how to make furniture, how to make tapestries. He was also a really acclaimed and talented writer, a poet, a translator. He was actually offered a largely honorary, but still very impressive professorship of poetry at Oxford. But he turned it down. Oh. And he was, we've all been there. We've all been there. You just got too much to do. I know. I want to stand there. See, busy. William Morris is an interesting fellow. And much like the Blooms' regroup that we spoke about in our 100th episode, the Arts and Crafts movement again is a bunch of university pals going, "Hey, I'm a bit posh and fancy like you, and we are all friends." It's pretty awesome. It's pretty awesome because he just kind of looked into being friends with all these people kind of. So in 1852, he goes to Oxford. He's at Exeter College and he really soon meets Edward Bern Jones, who is another, and you've heard of this guy, right? Big arts and crafts figure as well. He's a trainee architect after university and between his time in Oxford and his time as a trainee architect, he is kind of surrounded by all these people who share his ideals and his ethos. And so Edward Bern Jones is there and then he marries Georgiana McDonald Edward does. And then when they get married, Georgiana Bern Jones joins the social circle. There's also the architect Philip Webb. There's also the pre-Raphylite painter and poet Dante Gabriel Rosetti, the embroidery artist and model Jane Burden. Jane Burden is the daughter of a stable man and she is quote-unquote discovered at the theater in Oxford by Rosetti and Bern Jones. And she starts modeling for Rosetti and then she starts modeling for Morris and they actually get end up getting married. They marry in 1859. In 1861, one of the friends this painter named Ford Maddox Brown suggests that yeah, you've heard of him, and obviously he's big names. He suggests that he, William Morris, Bern Jones, Webb, Rosetti and some other folks that they establish a design firm and they do. And it's called Morris Marshall Faulkner and company. And then- Does it roll off the tone? No. But then by 1875, it's Morris and company. And that's what we still have today. But what I love is that they simply called it the firm. Oh, the firm. The boys are in the firm. They were doing everything from furniture to embroideries, jewelry, carpets, woven textiles, tapestries, metal and glassware and wall hangings. Like if you wanted it, you could get it from them. They were the IKEA of their day. Exactly. It was four guys who were also socialists. Yes. And they had amazing skills. Yeah. And yeah, maybe they also made great meatballs. I don't know. You know, they were really mindful about their employees. So they actually started hiring and training as apprentices, boys from the industrial home for destitute boys on Houston Road in Central London. But it wasn't just boys. I mean, women were involved in Morris and company from the very beginning. Decorative tiles were being painted by Lucy and Kate Faulkner, who were sisters of Charles Faulkner, who was one of the other members of the firm. And then George Johnna Bern Jones, she was involved in the tiles as well. And like every woman in Morris' family was involved in the embroidery. So his wife, Jane, embroidering his sister-in-law, Elizabeth Ortebessie Burden, embroidering his two daughters, May and Jenny, embroidering. It was, it was a whole family affair. They were involved. They were just like, I'm done. I was thinking about a countancy. No. Get your name on it. You're Watson Crofts. I can't stop it. Luckily for him, one of them loved it. Oh yeah. She was one of them. Yeah. Well, I don't know as much about Jenny because she had epilepsy. So she was just, you know, she was ill a lot of the time, but May Morris, she was a keen embroidery bean. That's amazing. Carry out. We used to artists being useless at the basic. Right. Kind of be warning a part. Some money men having to come in and be like, we'll sort it out. Yeah. No, this goes really well. They expanded a big premises in Nade Wimbledon. Yeah. Merton Abbey. Yeah. Yeah. That's an 1881. I'm going to be in it as a provokateur here, Isabella, because as a historian, there's no dissent, I'm going to have to say one of the reasons the company flourishes is because of the industrial revolution. Yeah. Right. Oh, yeah. I mean, come on. I mean, they're rejecting it. Not in your tapestry and we can't. I know I'm being annoying, but we have to be true. The industrial revolution creates a middle class. It creates wealth that you can't have a house that you want tapestry for. Right. So yeah, they're reacting against it and they're also benefiting from it. Yeah. Because by the 1860s and 70s, there is a lot more wealth than there was before. So by one estimate, the average income per head of household doubles between 1850 and 1900. And the middle class triples in size. So yeah, more people with more money meant that there was more interest in buying more objects. They have really, I think, very admirable ideas and goals, but their process, their this movement is not helping or affecting the people who are most hurt by the terrible working conditions of Victorian England. Yeah. Yeah. And that's always the case. Right. You can have grand lofty ambitions, but the economics are always going to underpin. Does this work or not? There's another artist we should mention at St.Coup because just because she's slightly different in that she she went outside. Go through G. Col. Go through G. Col. Who did interior, but she also did garden. Yeah, she's most well known for her garden design. But she also was doing all sorts of interiors, including designing embroidery and doing the embroidery herself. And she had a great name. Gertrude G. Col. It's a great name. Yeah, it's it's I mean, there's quite there's quite a good name. Yeah, but she really encapsulates this arts and crafts interest in blending together outdoor space and indoor space. What's interesting about Morris? He's obviously self-taught as we've heard all these things he's picking up. He's also getting other people to teach himself. He's he's inspiring others. We know of an artist called William Demorgan. He teaches himself ceramics. He has a he has a minor mishap. Do you want to guess what happens? Does he blow up a kill? Yes he does. It's every ceramics is nightmare, but not even just the kill like his whole workshop. Oh my god. It's like he his house is on fire. He survives. Okay. He just he just moves. He's like seahe. He moves to Cheneywalk. Very fancy. Love that for him. And he then actually has success with his various experimentations. And he becomes renowned for his stained glass windows and his tiles with Islamic decoration and his furniture. William Morris had created a world where other craftsmen were all working together to furnish big houses and churches. He used to be on say of the arts and crafts movement. If he does a country album, everybody thinks, hey, maybe we can all have this influence to our genre. Yeah, he's a beautifully said. He is a great answer. Yeah, I think he would love to know that he is the beyond say. The thing that I find quite interesting is the arts and crafts ethos moves beyond Morris is control. See that music? You see that in comedy? People start a cult. You can't keep hold of it before you know it. They're starting their own cult. But we get a sense of the arts and crafts movement out of England into Scotland into Wales into Ireland. Maybe internationally. I don't know. Yeah, yeah. There is the movement goes across the Atlantic and hits the US as well via things like journals and lectures from people who are in the movement. It was going to the US after World War I. It was going to Japan. It had implicated. It kind of had ripples everywhere and it brought up all of this desire to preserve handicrafts generally. So there were all of these movements within Britain that were founded in this period to keep craftsmanship alive. There was the Arts and Crafts Exhibition Society in 1887. There was the art workers guild in 1884 and they were debating society where people just sat and debated about the principles of art and design. Yes, very hardcore. I'm the sign me up. I would not be there because debate makes me stress if I'm in a confrontation. But you can go for me. You can tell me about it after. There was the fine Udlwork Association which was an organization founded around the same time to give employment to. I really hope the fine Udlwork Association and what was the other one you said the aesthetics that met on the street. There was Dada. There was some other sign that got knitting needles. There were so many embroidery societies. There was the Royal Embroidery Society. There was the Royal School of Needlework Association. There's the fine Needlework Association. But these people, I mean I like the fine Needlework Association but they're no Royal Needlework Association. They work as fine. There's also another amazing name. We've already had Thomas Copton Sanderson who gave us the phrase arts and crafts movement. But now I have to present to you Miss Eglinton Jeb. Wow. It seems like a name you got in like a name generator. I think, you know, why are they no Eglintonians anymore? Yeah. That's bringing us freeing by Egi. So Mrs Eglinton Jeb is the Egi Jeb. Eglinton Jeb. Eglinton Jeb. Eglinton Jeb. Eglinton Jeb. She sets up the Home Arts and Industries Association. And they're doing like largely great stuff as well. So they're also set like with that the Home Arts and Industries Association. They are setting up handcraft classes in cities and villages. They're supporting local schools. They're alleviating seasonal unemployment, unemployment. It's a nice word that I just made up. Unemployment. And they're basically trying to keep people out of the pub. Wow. So largely admirable slightly in your face moralistic vibes going on. In the Victorian times was that anyone not? No. No. Having a moral in your face, why? Yeah. Well, so that's very well said because all of these organizations are basically founded for two reasons. One of them is this Victorian philanthropy. So they're trying to help the poor. They're trying to help the underserved in a moralistic way. And then they're also trying to preserve these handicraft skills that their scared industrialization will destroy. So we get the kind of the broadening out of the movement of the ethos beyond the arts and crafts movement of William Morris's control. It's, you know, it gets into Edinburgh's social union in 1885. It's in Ireland by the 1890s. You know, it's really gone beyond his control. But in a good way, right? It's not, you know, he's not trying to hold it. Yeah, it's kind of morphed into its own thing. Yeah, which is amazing. There's one question I suppose we should address is that although there's the sort of democratic element of recruiting the boys from the school for the destitute and trying to bring women in, all of the artists we've met so far. Amen. Well, no, we think that's a dream. But I'd say there are a certain class. Oh, yeah. We'll get into the women in a second. Okay. They shop at white troze, I think. It's very white male middle class. Yeah, a little bit. Yeah. So I'm just wondering if they walked the walk as well as talking to talk when it came to genuinely changing who could be an artist and who could buy this stuff? Is it middle class people for middle class people? I think they walked the walk as well as they could. And it did end up being middle class people making stuff for middle class people, simply because of what was feasible and what was what the logistics were. But I think they wanted something bigger. It did have a radical philosophy, philosophy that wanted to change the landscape of industrial production and make art available to the masses. But when it comes down to it craftsmanship, this really high quality, handy craft that they were advocating for, it takes time and therefore it takes money. So not everybody could afford that finally crafted stuff. And yes, you're right, the practitioners, the people involved were usually from the middle class. But yeah, the movement did not by and large change the lives of people who really needed their lives changed in Victorian England. I think the movement had really good ideas, but the world of capitalism in which they found themselves meant that they couldn't really free themselves from that system. So at heart in the right place I think, Kerry Ed. Yeah, yeah, yeah. I think it depends how much you make of your ethos being like, this is for everyone, guys. So I agree with you. They're born and working the system, which will not allow them to be free. But it's interesting that that's also what they market to themselves. It's a classic gentrification as well, isn't it? That's what you're saying. They move into an area that is destitute and has been ignored. They live there cheaply. And then they destroy the area for people who've lived there for generations because it becomes a cool area where the artists are. And then the past prices go up and then no one can afford to live there anymore. And women in the movement, were they given equal waiting, were they given equal respect, statue? I mean, we've heard lots of names, but they're often the wives of or daughters of famous men. Yeah, I would say sometimes this was an opportunity for women to be more present than in other art movements, for sure. So if I talked about all of the women, I would be here all day, but I'll give you some quick names. There was the stained glass designer Mary Lounds. There was the metal worker Charlotte Newman, painter and an amulet, Edith B. Dawson, and May Morris. She was not only an embroiderer, but she was a textile historian and a designer. And she actually took over the management of Morrison Company's embroidery department when she was 23. Wow. Iconic. But sexism was definitely still present. So the membership to the art workers guild was only open to men. There had not been a female member of the Royal Academy between 1819 and 1922. So that's all of the years of the arts and crafts movement. And May Morris and people like her were pretty sick of all of that. So in 1907, she founded the Women's Guild of Arts. I should say that generally this art movement and the fact that it puts craft on the same level as art means that there is more room for women because it's oftentimes women who are doing those crafts. Women were exhibiting and designing alongside men. And there are some interesting connections between this movement and the British fight for women's suffrage, which is pretty cool. And then there are also some fun little moments of gender equality. Gender equality is a little treat. So Thomas James, Cobb and Sanderson, our boy who comes up with the name, he and his wife actually end up sharing their surname. They do the equal thing of making a joint surname Cobb and Sanderson. And it's like these, I don't know, a little rare act glimpse into how some people in this movement viewed the gender divide and how things should actually be. Wow. OK, this is positive. They can stay. Yes. How does the art and craft movement finish? I mean, the people just go, that's enough. Thank you. Time to tidy up, guys. Got to go. Come on. Come on. I've invented a pretty plastic. Yeah, we need to eat on this table. Yeah, yeah. So-- I mean, nothing changes. Things like war, I was saying. So World War I comes in. And the aesthetic changes massively. People don't have the need or desire for any of these-- any of his fine craftsmanship anymore. The war comes and all of a sudden it's modernism. And deco. And deco. And what comes after it. So while the arts and crafts movement technically ends at World War I here in Britain, it does have ripples in other places. And even though, yeah, the movement is definitely over, we are still in a world where we are constantly seeing arts and crafts images. So is it really over? Mm. Is it-- No, I don't think it is. I think we still-- As we've just said, it's very up for modern life. Yeah. It fits. It's back in fashion, maybe it never left. Yeah, maybe I just wasn't paying attention. Maybe it's the friends we made along the way. But you want a window! [MUSIC PLAYING] Time now for the new ones window. This is where Carrie and I recline in our drawing room with our embroidery sample as well. Dr. Isabella has two minutes to tell us something we need to know about the arts and crafts movement. We haven't heard already. So my stopwatch is ready. Take it away. Really, your stopwatch? I'm scared. OK. Yeah. If you ever see a William Morris design, whether it be on wallpaper, an advent calendar, or a fridge magnet, chances are it's probably Morris's work called Strawberry Thief. Not only is it Morris's most beloved pattern, it's also one of the most popular text on designs ever. It's inspired everything from a novel to a video game. You can find Strawberry Thief covered products on the shelves of John Lewis, WayTros, MNS, Waterstones, and even pets at home. Truly fulfilling Morris's desire to make his art accessible. With Strawberry Thief, Morris captures the thrushes that he caught stealing fruit in his garden at Camp Scott Manor. Amidst multicolored flowers, scrolling vines, and frilly leaves are pairs of birds. Those with yellow and pink wings have their mouths a cape. Are they shocked that they've been caught mid-tweet or mid-munch? The birds with blue wings are the thieves in question, looking very satisfied with plump strawberries hanging from their beaks. Morris felt that everyone should have access to beautiful surroundings, rest, and work that inspires satisfaction and pride. And he was deliberate about what sorts of products should be made from each of his designs. In its original form back in 1883, Strawberry Thief was a printed cotton furnishing textile intended to be used for curtains, walls, or loose covers on furniture. Morris printed it using the Indigo Discharge Method, a many centuries-old technique primarily used in Asia that took in especially long time to produce. Because of this, Strawberry Thief was one of the most expensive printed furnishings available from Morrison Company. But the price didn't stop those little strawberry stealing birds from becoming one of Morris' most commercially successful patterns. Clearly, the commercial success of Strawberry Thief lives on. 140-ish years after the textile was produced, some things are different, though. That pattern isn't limited to furnishing fabrics, and it isn't expensive. This is the case for other arts and crafts movement designs, too. William Morris did intend his work to be widely available, but he was also strategic and specific about how and on what objects his designs should be used. The aesthetics of the arts and crafts movement are more accessible to us now than ever before. And I wonder what those artists and makers would think about the ubiquity of their designs, adorning everything from dog beds to forks. Beautiful. Look at that. Look at that. Two minutes and two seconds. I'm sweating out. Wow. It is so ubiquitous. Everywhere. That it's almost gone background to being like a bit pussay, don't I say? It's totally fake. Because it's on notebooks and pens and every gift shop in every national trust property in the country has or all the strawberry thief you can desire. That would be my slightly snobby event. But ironically, it's back to mass production again. Yeah. It's the sort of memification of the craft. But to be fair to any more is it is a banging pattern. It's okay. And the first time I think you realise what it is, because I think we've all seen it. And then I've went first time, I was like, oh, I see that's his, like he designed that. That's a thing like rather than like it's just a pattern, like who, you know, a pattern you see every day. I think you do go, oh, that is a really good pattern. There is a reason it's so successful. It's so charming, isn't it? It is still very charming. It is. Listen to it after today's episode, you want more Carrie Adloy in your life. And you can check our episodes on Mary Wolfson Craft. Well, Craft. - Are too many. - Are too many. - Aren't too many. - Aren't too many. - Yeah, baby. - Got there in the end. Sorry. And if you want to hear more about British artistic movements, why not listen to our 100th episode on the Bloomsbury group? And remember, if you've enjoyed the podcast, please leave a review, share the show with your friends, subscribe to your dad to me on BBC Sound so you never miss an episode. But I'd just like to say a huge thank you to our guests in history corner. We had the incredible Doctor Isabella Rosner from the Royal School of Needwork. Thank you Isabella. Thank you so much for having me. I've had the best time. (laughs) And in common corner, we had the cracking Carrie Adloy. Thank you, Carrie Ad. My arts and crafts are now fulfilled. Thank you. (laughs) And to you lovely listener, join me next time as we re-opholster another neglected historical subject. But for now, I'm off to go and teach myself ceramics and maybe blow up my house. Bye! (upbeat music) Hello, I'm Robin Inc. And I'm Brian Cox. And this is the Infinite Monkey Headdro. He was unable to write a funny joke for the introduction. That's amazing. The new series of the Infinite Monkey Cage. Science with funny bits. Science with bits. Funny science plus bits. So the reason that the end of cells died out your claiming is because they were astronomers. (laughs) Is that. Yes, exactly. That's what. This is how we investigate cybercrime. We look for the yachts. From BBC Radio 4, listen now on BBC Sounds. (upbeat music) Hmm. Let's party.