Dance, Discovery, and Technology w/ Josef Brown

Hello, friends. I'm Amanda Barr. And I'm Rebecca Lou Brennan. And welcome to Dance Principles United, the podcast. Together, we are passionate about helping studio owners with the business of running their studio. Join us as we talk everything from marketing systems, studio culture, motherhood, life, and everything in between. This is the Dance Principles United podcast. Hey, friends, and welcome to the Dance Principles United PODC podcast. I am so excited to be joined by Joseph Brown of the Library Aesthetic Dance Media. Hi, Joseph, how are you?

Hello, Amanda. Good morning.

So good to have you join us. Now, a lot of people would know you from mdm. You've done some amazing work with MDM Shoes over, I don't know, a lot of. A lot of years you've been involved in mdm, is that right?

It's been eight years now, which always surprises me. In fact, it came up. It came up relatively recently and it's one of those things that pops up and you go, eight years? How did that happen? My goodness. Time. I'm so sick of it. It just goes bang.

Time flies. But we're here to talk about the library aesthetic today, which is a new venture, but I thought that we'd start by introducing you to our listeners. So I'd love to hear a little bit about your journey, Joseph, and something I don't even know. I'd love to hear about your background in dance and how you kind of came into this incredible industry that we have.

All right, I'll try to give you. I'll try to do a really sort of brief break, but basically I came in quite late. I mean, I started. I started breakdancing back in the 80s when it first came.

Oh, really?

Yeah.

And I can't see that from you. That's so.

I know it sounds bizarre, but I was one of the first breakdancers. I actually taught break dancing at the Village Fitness center up in Hornsby. Amazing. When it was. You know, it would have been one of the first breakdancing instructors in Australia. There was about three or four of us down there, and I wasn't particularly good, but I was just that little bit better than anybody else at the time.

Absolutely.

It was all so new, but look. And then I got involved with a couple of some girls over at Asquith Girls School, wanted to do some drama and asked us to come along to a Friday night dance class. And one of them in particular I was very smitten with and desperately wanted to kiss. And. And so I was willing to do just about anything, even go into a drama or dance class. And so a Mate. And I sort of snuck away on a Friday night to a. And put some leg warmers on and snuck away to a Friday night jazz class.

But so 80s, so 80s.

And then she. And then look, she basically then coaxed us into coming along and doing some drama over at Ascutt Girls. The school that I was at had none of this. And. And look, I just fell in love with it. I fell in love with the people. I fell in love with the process. I felt I didn't. Look, honestly, I didn't fall in love with being on stage. I was a very, very, very nervous performer and I probably was. My whole career I was someone who really struggled to get on stage, but once I was on stage, I was fine. It was like that little moment of having to get on stage was just. I never really, really conquered that, to be honest. It was always a struggle, it was always full of self doubt and having to overcome that little hurdle. But I loved the process. I loved the people, I loved that it was a place where, you know, difference was celebrated and you can be a little bit quirky, you can be a little bit odd. And like lots of kids, I was someone who didn't feel like I fit in very well. And when I was young, I felt a little bit out of place, you know, lost all the blah, blah, blah. Yes, all the same things.

All the teenage feelings.

Yeah, all the teenage feelings. And look, so coming to. To dance particularly, which is not words, it was like a revelation. It really was. So I got drawn into dance then. That sort of drew me to think, you know, as I got to sort of year 11, it was like, well, what do you want to do with your life? And the only thing I could think is that I wanted to be involved in the arts or in performance or in dance and drama somehow. So I. So I started trying to look up where's the nearest Fame school? Because Fame was all I knew.

That was the cool thing.

That was the cool thing on tv. And it was the only frame of reference I had in the McDonald College of the Arts in Sydney was the closest that there was. There was nothing else like it in Australia at that time.

Yeah.

And so I ended up going in year 11 to the McDonald College and put me into a ballet class. And I was now 16 and I'd never done ballet, never seen a ballet. And with. And at first, yep, I struggled. I fish out of water. But within six months, I had absolutely fallen in love with ballet and fallen in love and again, I know, really bizarre. Never done any ballet. Had Been sports all my life. There are lots of reasons for this. It's probably quite complicated, but a lot of it had to do with the people, the people that I was involved with. I just loved that their vision. I loved how clear they were about what they wanted to do. They had a very clear sense of structure and purpose. And yeah, I fell in love with them and then that became my vision. And then Australian Ballet School. I got accepted after I did a year of full time, went to the Australian Ballet School, got accepted into the Australian Ballet after two years of the three year course because the right works were coming up. Spartacus, Equus, things that was needed. Strong, tall males. So the repertoire suited my, my style and who I was at that time. So that was lucky. And that got me my foot in the door. And then I was able from having my foot in the door to do all the work that was needed to catch up. And so I spent time and I ended up becoming a soloist at the Australian Ballet. But I had a fairly severe Achilles tendonitis injury and I thought yeah, I was going to have to. I was, it went chronic and I was going. I was on like anti inflammatories for about a year and a half to keep me performing. And I thought, this is ridiculous. They said, you're going to have to have surgery. At the time that was the. Where I was. And I thought, look, I had a friend who was working in Turkey in a modern dance company, said, look, why don't you come over here and spend six months and maybe it'll get better. And so I did. And then I fell in love with contemporary dance. I ended up spending a 13 months living in an Ankara in Turkey in the middle of central Anatolia, doing some commercial work on the side in Istanbul, doing some modeling and sort of dance.

Commercial would have been a very interesting. Is this early 90s.

Yeah, yeah, yeah, yeah.

That would have been a very interesting place to live in the early 90s.

Yeah. So that was fun. And then I ended up ringing up Graham Murphy, who I'd worked with on Nutcracker in 1991, 92 at the Australian Ballet and saying, look. And I'd really loved what he did with Nutcracker. I loved how he turned it into an Australian story. I loved how original his storytelling was. I loved everything, everything.

Graham Murphy is just incredible.

Yeah. So I ended up calling him up and saying, look, I'd love to come and work with Sydney Dance Company. Unfortunately, he, he'd taken a shine to me. He thought I was really good and Given me some opportunities when I was quite young. And so he took me into Sydney Dance Company and I spent the next seven years at Sydney Dance Company doing lots of work. I did take six months off at one stage for a sabbatical because I had some other injuries and I went and did a musical and I fell in love with musical theater.

Oh, wow. You just kind of keep progressing through it all.

I loved. Yes. I ended up going back to Sydney Dance Company, but I did take about. I had ended up with about nine months taking off. And I did man of La Mancha, which had Anthony Warlow and Caroline o' Connor in it. And I had a very small role, but I got to. I got to clear up all of my injuries. I got to keep working and I got to experience something different. And I fell in love with musical theater, that singing and acting and dancing all at a high level, all coming together. Loved it. So then at the end of seven years, I got called up and asked to audition for Dirty Dancing, the classic story on stage playing Johnny Castle. So that was a terrible American. American accent. I never them anymore. But I ended up getting the role of Johnny Castle. And I spent the next five years doing Johnny Castle around the world. Two years in Australia, New Zealand, two years on the West End in London, and then a year.

Wow.

Then a year traveling through America as part of the pre Broadway tour doing Johnny Castle in Dirty Dancing. And then I came back, did it, did a couple more years of musical theater. A couple of different ones.

So you had a long time on stage.

I was 42 when I finally stopped dancing. Eight shows a week.

Wow. So you had a really impressive, long career. I'm sorry I interrupted you, but wow, that was such a long, like time on stage and so impressive, especially seeing it had injuries and things like that along the way to be able to keep going through that.

Well, I never had injuries that took me off, so I never had. I never really had an injury that actually where I had to take time off. I had injuries where. I mean, I say that, like, I could have taken time off, but what I chose to do is go and do something different and explore my body in a different way and find some other way to move and some other way to find a way to keep going. And I. I think that, you know, you can't always do that. I certainly wouldn't recommend it sometimes because there were times when I pushed through when I absolutely shouldn't have and. And that's damaged my body to this day. So there are things that I carry now when I should have. Yeah.

Body more.

Yeah, Well, I was listening, but I was also listening to something else that was saying. They were saying fight. Yeah. So.

But I think that's about evolving, right? Like, and regardless if you're a performer, a business owner, whatever that is, like, how incredible is that, to keep evolving and keep, you know, exploring new things and learning new things, I think that's always so, so powerful. I'm so sorry I interrupted you. You said you're.

No, you have to interrupt because I'm so. Such a rambler.

So you came back to Australia, you'd finished touring Dirty Dancing and then did.

A few other shows. Officer and a Gentleman choreographed a musical, a small musical here in Sydney. And then. And then I sort of started getting more into the acting side of things and wanting to just get into acting. And I got. Ended up doing a few bits and pieces. And then I got a job on Neighbors, and I spent two years working on Neighbours playing iconic Turner. And I had a family, and we were a new family that went on to Neighbors. And so I spent two years. And we moved down to Melbourne. And. And that's basically where the story changes because my wife started working with Tim and Simone, who are the founders of MDM Dancewear.

Okay.

And. And here's the story. Tim used to date my wife at Sydney Dance Company, and I used to. And I'd been lucky enough to dance with Simone at the Australian Ballet. So our paths had crossed and we'd gone a long time.

Yeah.

And we'd gone a long way back. So we sort of went back 20 years. And so she started doing some work for them while I was on Neighbors. And. And the company had only just started. So I was there right at the beginning, hearing the stories, understanding what Tim was trying to do and what his. The foundation of MDM was and the innovations he'd created. And then about. It was probably maybe three, maybe four years later when he said to me, he basically said, look, we're at this stage where we want to try to go international and we want to expand. Do you want to be a part of that? And.

Fantastic.

And I just. I don't know. Yeah. And you get to a certain stage in your life and again, you talk about evolving. And, you know, I'd started doing some teaching work by that stage, and I enjoy teaching, I really do. But I think it was that idea of evolving, like new challenges. New challenges. Thank you, Amanda. Thank you for encapsulating that.

I think it's always. Yeah, it's so exciting, isn't it like something that you've probably never done before is exciting with that challenge.

Exactly. And, and it's interesting how you draw on the things that you do know and you make them work in this sort of new. So you bring, bring all of who you are and what you've learned into something and then try to do it in your own way. And so look, I've really was really enjoying and have been enjoying and continue to enjoy that process in working with mdm, but to continue the story. So that's basically my personal journey up until, up until that point.

That's amazing. What a performance journey. You know, I didn't know half of that. Like I've known Joseph for a couple of years and didn't know. I knew that you had a bit of a performance background. I'd done a Google, I saw that you're on Neighbors, but didn't know you'd had such an extensive huge dance career, which is so, so incredible. Congratulations on that. And I guess that brings us to the next part of your journey which is your new challenge, the library aesthetic dance media. So do you want to tell our listeners what is it? Why did we create this?

Okay, so we created it. First of all, I started working with MDM Dancewear and as I said, MDM has, it's a specialist footwear company, it's Australian and Tim Heathcote who developed MDM and his wife Simone. Basically, Tim created this foundational dance based support which is the innovation that sort of underpins all of the footwear in MDM and makes it quite unique. Now as a con, I'm not here to plug MDM necessarily, but it's really important to the story because as a consequence of that we started talking with a lot of physiotherapists and podiatrists because it was all about the foot and how we can create something that's more physiologically, you know, beneficial for dancers and helps them technically set themselves up. And so we started talking with physiotherapists and podiatrists and as a consequence of that we ended up going to this conference called iAdams, which is the International association for Dance Medicine and Science.

Okay.

I've been, I've been in dance for 30 years and I'd never heard of this organization.

Is this an American organization?

It's an American organization, but it's massive and they have a membership all over the world. They have this conference that happens. They did a little I Adams X in Sydney and then they did an Adams X in Melbourne. Like A TEDX sort of in Melbourne and Sydney that we attended and then we went off to their international conference in Houston and then we went. And since then we've been to Finland, we've been to Montreal, we've been to Limerick. They have it somewhere different every. Every year. This year it's going to be in Rimini in Italy.

So it's a huge organization that obviously isn't very well known in Australia yet.

Well, the physios do, all the researchers do anyone to do with dance medicine or dance research. They all know that.

And, and studio owners and the teachers, not so much probably as yet.

Yeah, yeah. I mean, the current vice president and will be president in about two years is actually Australian, works at Sydney University, Claire Hillier. So look, there's. It's an amazing organization, but when, when we went to the first conference, we were really blown away because we're listening to all of this stuff, we're talking to all of these people. We learned so much about how we should talk about our footwear and that we needed to change some of the language. So that's fantastic. They really challenged us. But one of the things that we saw was that there was this massive gap between this organization, who I've never heard of, and all of these amazing researchers and dance health, dance health practitioners that are working specifically in dance and the knowledge that they have. And in 80% of cases, and look, I'm generalizing, I don't know that, but in about 80% of cases, that's just my gut experience. It's not reaching the local dance studio.

No. And you know, I hadn't heard of it as a studio owner, as a teacher, you know, until you'd mentioned it. So I think that's probably true. Right. Like a lot of probably our listeners have never heard of that.

Yeah. And look, there's so much amazing information out there, but it's not necessarily dripping down as easily and as readily as it could. Even with YouTube and Instagram and Facebook and Twitter and Twitch and Tick Tock and all that. Yeah, it's getting there. It's getting better in some ways. But I think the industry is kind of fragmenting and half of it, or maybe even more is going one way and it's going less dance health and the other one's going very dance health. And it sort of feels like it. Anyway, we thought, why don't we create a bridge? Why don't we create a bridge? Because we understand marketing, we understand branding, we under. We spend most of our time, 95% of our time talking with customers, dancers and studio owners, teachers. That's where we spend our time. So why don't we create a bridge? And that bridge is basically a Netflix for Dedicated to dance. A collaborative, a collaborative streaming service that's dedicated to dancer health, inspiration, fitness and well, and mind and wellness and. And so instead of having your normal, you know, like if you went on Netflix and you'd see, you know, comedies or blockbusters or Hollywood films. Yes, our carousels. We still have our latest. But then it says, then it says physiotherapy, then it says nutrition, then it says mind and wellness, technical training, strength and conditioning, inspiration, motivation, short dance films. What about all your YAGP solos that you need for classical ballet? What about some articles? So we've got articles, we've got podcasts, we've got interviews, we've got videos. There's about a thousand pieces of content on there. Oh wow.

Totally is a Netflix.

Yeah. And we'll keep adding to it. And we've got amazing content creators. Lisa Howe, Sally Harrison, Zach Jones from Heal Yourself and Move Strength for Dance fifth position method. I'm just off the top of my head trying to think of them all, which is terrible. But we've got incredible content creators and. Yeah, and we're just at the start of the journey. I think I told you just before we came on today, we're only two months old today.

Oh, congratulations.

Happy birthday. So look, it's the start of a journey. We don't know exactly where it's going to go. We keep saying, have we just developed some very expensive, very time consuming community service project?

I'm sure not.

But we hope it's going to work for everyone. It has to work for everyone. It has to work for all of the, the people involved. So I, Adams is one of our. They've come on as a supporting organization. Thank you, Adams. The RAD have come on as a supporting major aligning partner. Mdm, of course, Acrobatic Arts Block have come on as a, as a major supporting brand. So we've been able to bring together, even though we're mdm, we've been able to bring together organizations, individuals, syllabus, brands, all together in to benefit hopefully dancer health.

And that sounds amazing. Sounds so exciting. I've been checking it out and it looks incredible. So you know people that are interested. Who's it kind of aimed at? Is it aimed at the teacher, the studio owner, the dancer? Or is it for any. Anybody, I guess.

Well, look, at the end of the day, obviously we'd love it to be for anybody, if I'm completely honest with you, at the moment, I think, think most of the content feels like it's slightly more skewed. To the teacher.

Yes.

To the. To teachers and sort of older dancers. That's not necessarily where we want it to be. That's just the content and the content creator that we had. But that doesn't mean to say there's not content on there for. For dancers and Even, you know, 12 and up, I would say there certainly is. But that's areas. They're the areas we need to sort of flesh out over time. You can't. Like, we could have waited until we had it all, everything fleshed out, where we'd probably be another 12 months away. So you.

I think you gotta launch it before it's ready. Right.

Thank you. You just launch it and fix it in the mix and, you know, there's heaps on there already. And then we. And then we'll just. We're just constantly adding to it. We're constantly adding new content creators, constantly adding new content. And so it'll just continue to build and evolve. And as we get feedback from the subscribers, from the users, they'll sort of start to tell us and we'll be able to see what they're watching and what they're not watching and what they want. What they want. And that will guide us as to be able to tell our content providers and say, hey, guys. So there'll be a feedback loop that happens here.

No different to Netflix. Right. They know what we're watching and what's working and they keep, you know, producing more of the same or, you know, moving down that genre. I love that so much. I've been checking it out and as a studio owner, you know, I really looked at it and thought this would be such a great tool for teachers, you know, really great to educate. Upskill your teachers. Especially for me, you know, my studio is in. Was in. Not. Is still working on that, but you know, in regional area where we don't get a lot of access to as much as we would like, let's be honest, because it's just, you know, the time constraints to get to the city, but, you know, just being able to educate yourself from home, learn a little bit more about, you know, new techniques, you know, about nutrition, things that you can then pass on to your students. That's where to me, I just think it would just be absolute key.

Yeah, well, absolutely. Thanks, Amanda. That's exactly right. Hopefully. I mean, the idea is that you would come Looking for something specific maybe, hey, I'm a 13 year old girl, I've got bone density issues, maybe I'm not eating right. Can you help me? Or I've got hamstring problems because of blah, blah, blah. How can I, you know, strengthen my hamstrings? You might come looking for something specific and there are search engines you can use on there to, to find that. We're in a stage one of development, stage two and three. Our vision is quite massive and we've got some really big plans for it but. But that will probably take some investment as well. But you know, and we have to get going first. But look at right now, you know, the hope is and that people will come looking for something specific but that they'll fall in love with the play. Because one of the things I love about streaming services is that I'll get on there and I'll find things. I'll stumble into things that maybe I haven't seen in 20 years, or maybe it was 20 years old and I missed it, or maybe it's something new that I just haven't heard of. And I stumble onto it. Sounds interesting. I tap on it, I go, wow, that was amazing. And now it's taken me on a journey, a journey of discovery, some in new directions I wouldn't have expected to go. And all of a sudden I'm just in this explorative mode of just going, wow, this is really interesting. Now there's a double edged sword as we all know, because you sometimes you sit down with a glass of wine, you spend half an hour trying to find something and you still can't find anything you want. But.

And all of a sudden it's midnight and you're still up and watching things.

But you know, I think going down the rabbit hole of dance health and dance inspiration and fitness and wellness is never going to be wasted time. You're always going to sort of come away going, Even if it's five minutes once a week or 10 minutes once a week and you learn one new thing. And one of the things that we wanted to do is because there's a lot of content out in the world, there's, you know, you can scroll through Instagram, YouTube, Facebook, whatever it is and find stuff. But what we've done is we've put it all into one place for you to make it easier to find and we've, we're making sure that the people that are on there, the information is reliable and credible.

And I think that's a huge thing, right?

It's a massive thing because just because you're the best at getting numbers on the page, on your Instagram page and likes doesn't necessarily, not sometimes it does, but it doesn't necessarily mean that those people have the best information. So.

Absolutely.

And I think they might just be really good at branding and marketing and.

Absolutely. So, you know, I have a 11 year old dance obsessed daughter and you know, it's that, you know, she scrolls YouTube to look, know stretching techniques and things like that. And I often find her watching, you know, some other 12 year old teaching, you know, stretching techniques and I look at them going, I'm not really sure that that's appropriate. And this girl doesn't actually know what she's doing. And I'm sure a lot of teachers would resonate with that, that they're hearing that that's what they, their students are doing or their children or whatever that is. And you know, I have actually said to her, and you know, I'm lucky that, you know, I know a little bit about what she should be watching and I'm watching that. But I think so many of our dancers are just jumping in there and watching whatever comes up. They're watching the cute girl in the cute outfit teaching stretching techniques when she's not that much older than them and doesn't actually know what she's talking about.

Well, that's.

And sometimes they're unsafe, right?

Well 100. And that's usually the way it happens that they resonate with someone that's a little bit more like them. But then they're probably not getting the best information. And look, a lot of the time maybe it's okay and it's a bit of fun, but you know, absolutely. It can be serious, it can be dangerous and it's not going to necessarily give them the longevity that we would love them to have. As at the end of the day we want people to love dancing and love their dancing, come away with stronger bodies that they know their body, they really understand their body. Because that body that you're setting up through dance, most of us are not going to be dancers. That's not what it's about. It's about just setting up the human being as a, as a, as a great human being with bonding and friendships and discipline and dedication and passion and love for what they do, for the craft and love of learning and you know, all those things and, and the body. Yeah, and the body. Because that's going to be with them forever. So I think you don't want to be like you just said wind up like me with a whole bunch of injuries that I probably didn't have to have. Quite honestly.

Yeah.

Had I been a little smarter or someone, you know, or maybe if I'd taken advice a bit better as well.

Absolutely. And I think it's so important that you said that because, you know, speaking from my personal experience and talking about my almost teenage daughter, you know, look, I, I don't think it probably at this stage that she will be a dancer. That's not what it's about. However, I love that, you know, she is keen to learn, learn new techniques, to invest in herself. And I think that, that, you know, it, it translates to other industries, to other careers, to, you know, just being a interested human who wants to keep learning and educating themselves. So I love that she wants to learn a little bit about nutrition and what she should eat before class or, you know, better techniques to get, you know, her foot flexibility improved or whatever that is. Right. And I, I love, you know, that, that idea of investing in yourself and educating yourself constantly, regardless of what the outcome you actually want is.

And look, all of those things that you learn in dance and like, we've, we've all talked about this a million times, haven't we? But, you know, the dedication, the discipline of a performance, of having to be ready on time with a group, responsible to a group of others, or just to yourself and turn up, be prepared. Those are skills you are just going to take everywhere no matter what job you do. They're just skills that are going to just, are just completely transferable and you learn them in dance, you learn all those things, turn up to class on time, be prepared, listen to people, collaborate with people, working with a group. Also be able to stand out when you're required to and, you know, be that soloist. But also learn to be able to work in with a group as well and be collaborative. Like all of these skills that dance is teaching cross disciplines, being able to move across disciplines, and sometimes they're not going to suit you. That discipline, it's not going to suit you as well, but how do I make the best out of it? Even though that style doesn't necessarily suit. Suit me as well as it might suit somebody else. How do I learn to make the best out of, how do I adapt in that situation? These skills are completely transferable into everything that we're going to do, you know, any job you're going to do. So, yeah, and we learn them through joy and through fun and passion and moving to music and being healthy with our body. So it's the best. I honestly, I can never stop raving about how good dance is. But, but look, the library aesthetic, that's basically what we're trying to do. We're just trying to create a dedicated platform for dance and dance health.

So I love it. That's so exciting and so exciting for the future of dance. You know, as we're evolving, we're moving more online, all of those things. I'm so excited for the future of it. And I know you said you've got lots of more content coming on, but in the meantime, if people want to check it out, what should they be doing? What are they looking at? Tell us a little bit about how to find all the details.

Well, easy, just go to www.thelibraryaesthetic.com. so it's not the library aesthetic dance media. You'll see library aesthetic dance media. It's just the library aesthetic dot com. And once you get there, there's about 50% of the content that you'll find on there is just public access. You can just click and just because we want it to be accessible for everyone. When we created this, one of the things that was really important to us is that money should not be a deterrent to being able to learn. So at least 50% of the content on there is public access. You will find stuff in almost all of the genres that you can watch. Some of it is subscription. Now, the subscription we're trying to make as affordable as possible, it's only 5.99amonth. That's us. It's $5.99 a month. Now, with that said, so less than $100 a year, or about $100 a year, Australian. But with that said, one of the reasons we wanted to make it accessible is because, you know, when we first created it, we were thinking, you know, North America, Europe, the uk, Australia, New Zealand. But we also realized that there are these fast emerging markets in places in Western dance forms like India, like parts of Southeast Asia, parts of South America, parts of Africa, where you've got these fast emerging markets in Western dance. But they don't necessarily yet have. Because they're so. They're emerging so fast. They're not. They don't necessarily have enough teachers to support, you know, how fast it's things that. Yeah. And how. How fast it's becoming popular. They certainly don't have specific physiotherapies in ballet, nutritionists in dance, mind and wellness coaches in dance and how to teach a dance. So we thought, God, if we could create this and get it to those markets as well, they could leapfrog. It might help them leapfrog forward and miss some of the problems that we've had. So making it affordable is really important. Like I said, we're just at the beginning of this, but yeah, we hope it's going to work for everyone.

Sounds amazing. Well, I'm so excited. Absolutely. Jump on, check it out and support it now so that it can grow together as an industry. I'm super excited for the future of the library aesthetic. Joseph, thank you so much for joining us. It was lovely to hear a little bit about your vision and about you personally. Thank you so much for having us or joining us on the podcast this week.

Oh, my absolute pleasure. Thanks Amanda.

Can't wait to see you guys next week. Make sure you go check out the library aesthetic, their website, check them out on socials because I know you are going to love it as well.