 can provide off-to-character media. And if you would introduce yourself to something about your work, I'd bring you from in Antioch. I'm Kim Kedia. I have company by cat in our process where I work for National Justice and Liberation. I'm from the land of pine straw, pine trees, pine needles, cypress leaves, and the dark water. I'm also from the land of the cultural presentation that we had this morning. So I've been in a big shout out for our little turtle tail, Turtle Micaiah. I was really happy to see them in this basic day where we don't always get to see them. Is everything all right for me for the introduction? We'll go right to the work of our director. All right. So the challenge is, I'm actually working on it. So being invited as a conversation, I'm grateful. So because there's just so much similarity between who I'll apply to and who I'm in Carolina where I'm from, I'm from a particularly interesting county, Robinson County in Carolina, that is pretty much a quad racial. So we have almost 38% Native American, about 25% African American, about 25% European American, mostly Scottish. And lately, because of the agricultural community, we've had an influx of Latinx. And we're also beginning to see some no Eastern folks join our community. And we're getting a lot of diversity in religion. So it's right with our community as well as challenge. I think some of these challenges for us around the arts and theater, most of all, we don't have this a lot of money to go see published theater in our community. About 30% of folks live in the power level. So $15 is a lot of money. But we're learning that churches create theater, culture creates theater, creates opportunity. We struggle with public transportation. So we always have to. I think it was one of the problems of the poor people in terms of transportation, childcare, and food, because sometimes food and security is a real thing in our community. What I love about them is that we are such natural storytellers. And we tell stories to each other all the time. So that's the term. I'll just say it, so that's not so much. The storytelling is such an important part of who we are. But what I think our challenge is, is to tell them cross-culturally. We are still very silent in the way we tell our stories. So we sit together in 12 hours, our Americans sit together in 12 hours, mostly Spanish Americans sit together in 12 hours. They're not necessarily telling them collectively however we do recognize that that's an opportunity. So we have done some things. We've created arts councils, we're a resource guild as an opportunity to bring folks together. And even in doing that we've been in a beauty of art and creative practices. Also, this is our internalized oppression itself because it is an old, two-prosap community. And sandbox politics still plays a big part in the things that we're looking to do. And it's really interesting to witness us pushing against our own classes that we put ourselves in as well as the structures that can keep us bound. So those are some of the challenges that we have in Odyssey County as well as when we get the 100-year flood every other year, which makes for a little bit of a challenge when you're creating art. But we're going to try to, we're really learning that art is a feeling that's, and again, I think our favorite challenge is to do it not only for our own culture, but to do it for others. Into that end, we started our resource art scale. Two years ago, we started a lovely film festival. We started the Artist of Market, so we were able to sell the rears. We have a monthly community film series that's really more cross-cultural. And folks are beginning to talk, so this is the first year for that. And then we had music series using the partly cultural events around Native Americans and American-discussed Americans. So that's a little bit more of what happened in our community. Is that what you're going to write? Hi, my name is Heather City. I am the new director of Roadside Theater who was previously spoke to none of our last panel. And so everything I say today about my experience with Appalachian Geography is like the caveat that I've lived in for four months. I'm from central Kentucky, but that's a very different place than southeast of Kentucky. So one of the things I wanted to talk about today was the fact that due to a whole host of realities, many of them economic, as we know, the economy affects so many different aspects of what we organize our lives around. In Luthor County, population has been decreasing. And because of this, we have a phenomenon going on where schools are being consolidated, churches are being consolidated, and so if folks have a longer-baked travel to get to the center-specific life, that has to be very accessible. Because Luthor County is a series of, it does have more independent communities, each with their own post-office, and churches, and schools, and that is shifting programmatically. And so this is a reality that can do, it can have positive effects and negative effects, just like the geography of Luthor County has been affecting folks for a long time, because on the one hand, you've got a kind of beautiful, individual culture in a sense of care-taking for each other, and you've got communities that are very strong in geographically isolated, but then you also have a negative effect of that isolation, which is there's a lack of exchange where things become inaccessible. And like I said, those centers of civic life, as things become farther and farther spread out, are more difficult to get access to for some folks. So this is a reality that I feel like roads I should be responding to. And there is one more thing I wanted to bring up today, which is because over the weekend, I was reading an article that was a paper that's been published recently, called Deep Adaptation, a Map for a Navigating Climate Tragedy. And I feel like, because geography is the relationship between people and their environment, that I don't want to sit or feel about geography without talking about the fact that our national relationship to the environment is currently an unsustainable one. And I feel that that unsustainable relationship has been built on systems of extraction, which we talked a little bit about today, and that has hugely impacted folks in the Central County and the surrounding region of the last century, both for good and for ill, depending on who you're talking to and what you're talking to. And so I feel like that is wrapped up within a challenge and there's also an opportunity to have some kind of constitution that's going to get rid of here. But that is the fact that there is an aspiring reality in the Central County right now, which is that there is a complexity of voices there surrounding this idea of geography, of humans relating to their environment. And that complexity of voices could be a leader and shouldn't be a leader in talking about one of the most present issues of my generation and of all the community, which is this, our current unsustainable relationship to the way that we use our environment to relate to it. I'll wrap it up. Do you have a question? No, I don't have a question. I'll give you that one. Good afternoon. I'm Hassan Davis from Bury, Kentucky. I am the founding director of Hassan Davis Solutions HD Solutions. I am an author, poet, a playwright, an actor, a lawyer, and a general justice advocate, and today is Sunday. And give him a five, that's really, really wrong. So my experience of Appalachia in particular over the last 30 years has been more grounded in my experience of Bury College, which brought me to the region, and worked, that I and my wife do when I was in Kentucky in particular across Appalachia in really engaging personal education access, but the responsibility of realizing that to create the education promise of possibility for these communities that have been underserved and dis-served, they have to actually bring everything. I wrote a conversation really about what we want to do to art in these communities, we have to bring everything. And Rudy is about having the courage to walk into places as an African-American man, to walk into places with the intention of doing as much good as I can for children that don't look like me, act like they talk, like they think like me, believing that that relationship, that opportunity creates amazing new things. So to drive to a community and increase the population, come about procedures, right? And stop at the gasses and say, you must be going down to the school, do program this week, well, yeah, I think so, but why do you say that? Well, I asked you, is there a black guy who's coming to do program in the school? You don't look like that, I've seen such thing. And so for me, coming out of the streets, the manager has come up in a system that has so many ways you've segregated and walked into these communities across the mountains into places where young people may be asked me, why are you here? And now the rocker says, why do you waste your time, your energy, your passion to create something better for me? When the whole world has told us, our stories don't match. And so for me, geography, this space is sacred because it's a place where we get to step into the possibility of the last panel. When the storyteller was talking about this, I think that we get to actually create and rename the experience. In so many ways. So my experience of challenges is that there's trust, there's deep histories, stereotypes, and those assumptions drive a lot of folks reactions to us to me. With the expectation that those assumptions explicitly stated will drive me, obviously, from the community to prove that I clearly wasn't there for every child. And I think that's something that, again, I think in the lens of being a fairly liberal person and fairly conservative community, I think that is the thing that happens to all of them. There's this push to prove that we don't really need to come and do good work for the people in the community. And usually that push is orchestrated by those obvious, stereotypical challenges that allow us the opportunity to say, you know what, it's gonna be like that, you use those words, if you're coming back out to it, and I'm not gonna be here, which takes us right back to, I knew we were just like the rest of them, right? And the economy and the communities will be, they're not just extracting natural resources, right? They're extracting spirit, soul, energy, and passion. And so the expectation that we're just gonna be more of the same, especially if you come with a different lens, or keep total impact of the difference, will be an assumption that there's no way I could actually hold in my hand, the promise and possibility of the region in a way that is authentic and natural, and in conciliatory, in spite of the challenges that we face together. I am pleasure in the challenge of running the state and juvenile justice system for Kentucky for six years, of being vice-chair of the federal advisory commission on juvenile justice for the nation and territories for three years. And in the work, I realize that the things that are drawn to communities that have been displaced in the challenge. And I see that in Appalachia even more so. The arts as a tool for retaining and transforming our communities is clearly there. The access to that art in the communities that are absolutely challenged by it and these mountain regions, and rural across the country, I think is an issue that we still face. 25% of all of our communities are communities of color, even though here in Appalachia, it plays out a difference. And we talk about how we serve those peoples to release the laws that are left behind. I think it really has to be a combination of six. All one to tap down our own experience, to allow a new experience to collectively to arise. I think that's our challenge and our opportunity. And that's good, I don't know what to say. That's good. You did quite well. It was good. My name is Rocky Guide. I'm here representing a group of people in the Marl County Kentucky, which is across the Pine Mountain from our back of the hills. And we got involved. I used to work in community college, I worked in Southeast Kentucky Community and taken from college. I came here to Kentucky in 1989 to work for Appalachia, which we heard discussed earlier. And after six years, I was ready to stop having to depend on the vagaries of philanthropists, but now I got paid that year. So I came to Kentucky for a minute and then I came to work for the state. And in 2001, we did a thing, my students in Appalachia City went to Washington to talk to the Appalachian Regional Commission about our community and what did they go for it. And they asked me on the way home where the grants come from. And I knew inside of them. So then that led to us getting involved in the community process. We came aware, thanks to the brain that I was about, about a program at the Rockefeller Foundation was named doing that was to use the arts to respond to a community challenge. And so we did a community process to write a proposal about how to use the arts to respond to a community crisis. And as a part of that, we did a lot of engineering. We ended up, our proposal was that using the Thomas Bay public art and photography. We bought 600 single-use cameras that was kind of a sunset film. I was on from Kingsport, Tennessee, which has a large chemical plant. It used to be a part of the CODAC empire, if y'all are any old enough to remember them. And so we, you know, it was in my blood to help my film that every time a person took a picture, a child, Kingsport got their names. So, we ended up, but then we, and we also found that, I was thinking about this earlier, when we were talking about the storytelling center and the awesome work that they're doing around peace, we got involved with the Royal Southern Boys for Peace, which is a new storytelling, or just really conversations that the first one on one and then agrees to help people deal with things. Anyway, so, we work with Joe Carson, rest your soul, Barry Clayratt. And we wrote out some copies of what worked with several different professional artists, Jerry Straub, Niki, Kevin Haydn, Jeff, H.C. Hickox, Jeremy Thieng, others, and had eight people in a musical in our county of 25,000 people. And I was thinking about then that sudden shine on our face was a cool thing. We've heard of people that don't usually get in plays. I think that it really was a good experience to me about how the arts being able to process stuff. So we had all these people who had one really homophobic in the theater, and they did something. And they weren't either. I remember one of the things we had to talk to people about was that you're not allowed to put your hand up in your face when the lights are on you. Because in theater, the lights don't do this. It's a good thing, because that means people can see you and you don't shoot the light. You actually need to find the light. That's what I said in a while. I know I was going to do that. I wanted to square, because we've had theater workshops in our community now. But anyway, we've got eight plays since then. We've been fortunate to get a lot of funding. One thing I want to talk about challenge is we, that first part, we've got 2,000 people involved in our community, and build a community organization around ordinary people participating in the arts in our county that sustained us in 15 years. But at this point, I mean, all we know is nothing stays fixed. It's like, you can organize a community, and if you look at it 10 years later, you've got to organize it again. I think that's where we posted on that first youth raft of organizing, and that's kind of our challenge right now. Here are some of the things that I heard that I wanted to highlight. We've talked about the centers as a city of life are more difficult to access, because of decreasing population. Anti-anarchy, just a two-up place can take two hours. And we're talking about, why would you waste your time? That really struggled. Why would you waste your time coming here? And the deep mystery of the stereotype is, so the stereotype's the outer region, and the stereotype's about people within the region. And where do friends come from? And telling the stories cross-culturally. So here are some of these things that have a background. These are some of the challenges. Are these new challenges, or at least have these been ongoing challenges? But I also want to raise the question, and given all of this, what are the opportunities for our student to be working in rural communities? To be able to put it that way, I don't know if this is true. I've heard the story of that. There's one brush-stroke difference between crisis and opportunity in Chinese culture. So if you have these challenges, what are the opportunities for where do you sit, and what the shriek of the women needs are being engaged in your communities, even if you return to Becca? What are some of the opportunities that you see? Who wants to go first? I will out-tell, and be frank, it's not an idea. For me, I really believe that the cross-cultural conversations in our community are great opportunities, not only for us to be better together, but I think it's part of our individual healing. Like, to really understand about your cultural art in my community is something that we don't really understand, that this matters to not be less but to other people and that other people would really be interested. Like, didn't you enjoy the cultural presentations? Like, those things really matter, and we continue to lead that through. And then every story matters, so for me, I feel like just getting those stories out and recently starting a cat photo opportunity with the young mothers in our community who took cameras and went out and told their stories, and then they created this whole series around them that will be doing a large production on for those to come and see. So it's these cross-cultural conversations at different levels of understanding that I think can help us individually, collectively, and cross the count as well. They've got the two parts. The mic is the best one. That's right. That's right. Let's hope we don't have something to say yet, though. So I'll just start talking and see what comes out. I feel like there is a huge opportunity to talk about setting a specific life and access to them. And I feel like there is an opportunity to increase community ownership of the work that's being done. I've had kind of a pie-in-the-sky idea of what about creating some kind of theater-mobile, like a book-mobile, so that the tools of making could arrive in some of these community spaces that are still operating, or perhaps in some of the community spaces that have been feeling kind of the weight of the circumstances and the lack of resources. Because I think there's something very powerful about new life coming into a space that's been feeling like it's struggling to keep its life going. And so I think that doing that, it starts to connect the dots between these disparate communities. And it can also give these communities a continued close ownership over the work that Woodside is making, which is something that has long been part of its history and its commitment. So I think there is a way in which, once again, that this, the geographic isolation, even if it increases, that this becomes an opportunity to, as you say, kind of get out of these silos. That one thing doesn't automatically lead isolation in a way that is permanent. I would say that the opportunity, I think over the years, we've tried to focus on what everybody needs, things needs talking about as we're trying to figure out what to do place about things. The idea of, because we have a lot of difference within our cast and in our community. We've got rich and cool, we've got black and white, we've got old and young, and we've got, I mean, it's a very diverse group. And I think that for the first 10 years of our existence, we were able to kind of proceed and make work on that big tent model. I think that a couple things happened. One, of course, the 2016 election. And I think social media, the presence of social media in rural communities, where people could have an identity that was separate from the one that they had when they saw people in the grocery store. But when I saw you in the grocery store, I knew what you were saying online. It wasn't like you were or not. You were still you, but you were acting online. I know what I knew what you were talking about. You know, and that didn't really create a gift, but it made that community work together. I feel like you got something in common more difficult. And in some ways, I was thinking about this. And Lisa, the first piece we just saw about sexual violence is that those things are out there in a way they haven't been in the broader culture in my life. And it's harder to, I mean, I have to imagine if you're suffering through something like that, I mean, if you're suffering through it, in some ways, it's got to feel better that at least it is getting out there. And more people are able to engage with something that they could pretend like it wasn't happening before. And I think that that's been the gift that Trump and his supporters have given us. A lot of us thought things weren't life they were, but they are life they are, and they have been life they are. And now we're in place in our society that we're like, very, very good to figure out how we're going to respond to this or the whole bubble is going to get swamped and go down, that we've been acting like people that not everybody, they're the people who have been acting like anything happened. And now the opportunity is that a lot of people are like, things are not as good as I thought they were. And let's go ahead and start from there. And I think that's the real opportunity for people like everybody. Actually, I'm still stuck on it. I'm always the ARC, and I'm stuck on something that I don't know if you all know. I learned in the last month that the ARC has actually started resending money, taking money back when organizations use words like equity and diversity. That they have been driven by this current cycle of politics to think that in the Appalachian region, in these places, those kind of buzzwords are negative to the communities that we serve. Those folks in those communities only hear those kind of words. And anything that's been eating money for about the last three weeks since I had this conversation with somebody who was ahead of these mentioned and told it, you know, you need to change your funding because anybody with the words diversity and equity, we're not going to be in that right now because the people that we serve, they don't want to hear that. And so, I got triggered by that idea, but that's the only thing that's been sitting on me, and I think maybe this is the place where the conversation needs to start. How do we reshape the narrative and rebuild the conversation that we know we're having as a kind of narrative to the story that the whole nation believes about this place in particular, about the general rule in general, that they are because they were not going for Donald J. That they have this model that they have a single sense of of who they are and what they are. And so I think that just kind of hit me and so I've been trying I guess to be extrovert, so that I can just be as transparent as possible. I think that is the most interesting I've heard in our community and creativity and arts in a long time. But somebody has given me an assumption way out of the way from where we're all on the ground that people don't look, I think like I talk with each other, don't have conversations that include each other, and there's absolutely antithesis of the experience we've all had working in doing this work, and also decades. And so I think that that is what is striking That's where I'm going to hit you. That's where I'm going to hit you. You're just going to hit me. I'm going to start. I mean, what you were talking about and what you were saying about social media and how that has led people to have a private face that may not require to engage publicly and segue they did before, I think that roadside has been supporting and advocating for and investing in recently is free spaces this community space of the power and I feel like it all ties in this isolation whether it's geographic or whether it's digital that you have to invest in those spaces that do allow everyone to come in where everyone feels like their own space where everybody feels like they can contribute and their voice matters. And I think that is a strategy that is worth everybody investing some time and talking to. Like how can even if we're if we feel like we're artists and we're struggling to make ends meet, how can we still provide value to those spaces that are allowing that kind of civic conversation to happen? How can we, what value can we give? I think it's regular this idea that nothing stays big, so I think that this is not the first time that we've had politicized hate and racialized hate and fear coming out of the seats of power and powering people who are scared and hateful. I think that organizing and just confronting people we have to talk to people we have to talk to each other but we have all of them in the 60s and the 50s the civil rights movement that none of that stuff is easy one and none of it was won by anything but mixed it up and that there were a lot of rich people involved in the civil rights movement there were a lot of poor people involved in the civil rights movement and I mean I'm doing my work it was highly oriented and I was reading about it and this is what people talk about and being involved with people in the New South but those battles have to be won every generation I think people in my generation were fortunate in that a lot of things have been won and I mean I've got to be won again and I just believe strongly that I mean this is me speaking you know it's like I remember a quote from 2016 and I didn't talk to people in my community the same way that I did before that happened and we had a situation where we were going to play this summer based on this blockade that these coal miners did when their company went bankrupt their paychecks all bounced and all kinds of people on the left were coming out to support them and the coal miners voted for Donald Trump in 2016 and it took me a minute to decide whether I was going to be involved in this and you know at the end of the day I'm like I mean this is my community and I saw my lesbian community organizers out there making sure everybody was fit and I saw my African American UMWA buddies going out to help these non-union miners and it was just like I'm going to lie and figure out how to reconcile your own values with what's happening to people in this country but I mean history teaches us there's so many good I was thinking about this when they were coming out to South Highlanders is a southern institution the North did not come up with Highlanders the South came up with Highlanders and I think that's great for a lot of social justice work in this country we have a really juicy step and I wish we had a lot more time in this institution some of the things that you're digging into it's not just about stories it's also about the history that it doesn't get passed on it's not going to be going out to study if you're not going to know the history so I really appreciate it that you're bringing the historical moments and movements that may change change doesn't happen from the top down change only ever happens from the ground up it's only the people who have we're experiencing the network of the systems on the foot of the systems on their neck who are the ones who are going to organize and protest so there's a need to protest but what I'm also hearing is this piece about being able to look at your neighbor and I and understand that you may not agree but the value of community and working together is something that if we can get ourselves to that place we can turn this button around but it's going to take work, can't sit on the sidelines so given that what is some of the other activities or events or opportunities that you're seeing in your communities that are giving you great hope of it this is an efficient question so I think I kind of have my NADD four or five bullet points one is definitely and I got inspired from this conversation to be more proactive in these cross cultural conversations that can really promote learning and healing and really begin to create emotional justice in my community and I think that the indigenous for being part of that vision would include that the indigenous story isn't only one of the past and that we are known and not imagined is really important and I think in my community I would hear drums they would be sometimes culturally separate and then in times I would love to hear all drums played together in Robinson County it happened to me once when I was there and when the drums started I thought oh my god this is so discordant it will never be music but after about three bars it was like glorious and I thought wow more of that and the same also with the dancing and for me that art and love our medicine and practice as we know I'm new to the community and so I'm still learning what's going on one thing that is exciting for me is that both sides has a national coalition that the other young leader that I'm working with has been working his butt off for the last three, four years to put into action he's the New Organized Romantic Coalition and we've got partners up in West Baltimore the large social club we've got partners down in Uniontown, Alabama and we've got partners over in near Milwaukee and right beside it's a world-renowned collaboration and so I have been had the privilege to sit in on some of their steering committee meetings on some of their conversations and we're going to have a huge annual meeting in March where all those folks are going to come to West Baltimore together and we have conversations but they're all community centers of power and they're folks who are doing work in their communities that need to be done and it's been really really lovely to be part of those conversations and the listening ear and hear the amount of value that they receive from simply being in communication with each other they're still finding their way in terms of what is this coalition what are all the different ways that we can support each other but suddenly having conversations about the work at hand simply having that sense of solidarity I think is a huge inspiration for all of those folks and then we're going to be going to be collaborating with our social club in West Baltimore over the next year to make a play so who knows what's going to come out of that but we're really excited about it and last week I think it was I think a part of what my experience has been stepping back into this real creative engagement work in the last five years is is that the chance to tell very powerful partial stories of African Americans and American history that's what I do with my performance in communities that are completely homogenous and non-African American but the response that I receive from folks who not just have lots of across all America who embrace the idea that being pressed on the story they've been told to finally have someone give them a space where they can finally say you know what, I knew that shit you know I've been rolling with this for 30 years and I appreciate you coming here and confirming that this isn't the only story and I've been really hardened and filled up with the conversations in some room, item in West Virginia and Virginia and Kentucky, you know folks saying I've been living with this story it's been there for a long time and I'm glad to finally know of the other stories that I can hold on to that are just as powerful a part of my and I think for me definitely a great place to give back to this work in those conversations and recently I've been doing a lot of creative engagement with community action councils and a lot of the larger specifically helping them create creative engagement tools to work with returning citizens from prison, from the courts and really changing the conversation about how we build usually arts real vibes of human beings that have those essential skills that every person needs to live and harm in their community and from that we build in their humanity and that's been a really interesting place to be and I had the pleasure of doing some work with Robert, with Art, let's try to figure out how we take their sun setting money and use it in our live show and being with the folks at AfterShop and so I just had it because I came back from this work close to the real bright spots and then working on the big scale with the dream of my wife who has this education access and very intentional art thinking across the world of Kentucky, I watched Kentucky as a vehicle for creating education and opportunity for career with the folks in those rural communities that have been displaced and disconnected so those are kind of the hotspot right now. I was thinking about the art place project that Osama's found when we came back to this second but we we get we're fortunate to receive some funding to where we can hire new we're fortunate we can replace some of these so we're hiring a person to be the creative director on our ground and have a lot of enthusiastic talented bright applicants and the the urge to tell them what a mistake they're making to get into this life is almost uncontrollable but they don't I'm not I'm just worried about what I have to tell them and I think the same is the art place process that where there's a big chunk of Chinese on the table and they've asked 100 people to figure it out together and it's real crazy but they have a lot of very young people on the table including Joe Tolberg and if you are, you're awesome dude but it's just like so hope-inducing I guess it's the nature things I've never been old before looking back now I see that people were just sitting there and that's figured out and that's the way of the world but it genuinely is happening this is the next generation of leadership and this work is just as crazy as we were and it's awesome because we've gone on but we've got a lot of that so can I correct something I said not correct but I do so now I was talking about work that wasn't my own I want to make sure that you give me it's one is the name of that college that I was talking about which is performing in our future and the other one is the fact that the electric company free space that I was talking about is the electric company culture hub I didn't mention them I just assumed to you so here's my last question that five minutes what is needed to further this moment and money is one big one but we wait for money to do or it'll never happen so it's not really about what is needed to further this moment so maybe here in my conversation I mean to my community I could be useful yeah and I think literally this thing of hope you're talking about me do you see hope I think somehow because I find that once folks lift themselves out of advocacy which sometimes happens in my community their creative spark is genius and so finding a way to help just lift the advocacy and sometimes it can be tied to you coming to our community and seeing the work that we're doing there and validating it because when you're place-based you will leave and so we kind of swim in our own collective culture so some of y'all come and applaud the work that we do so that we get some sense that it has validity because we're not building income on our square job just saying I have a quick answer just for me for everyone to have faith in the value of what they do I think intentional community built around being very intentional about how we folks will be connected create those invitations and those moments of honest storytelling I think we have the ability to really exchange our stories and listen to empathy but to take in and understand I think that's the place where I see we get a lot of work done knowing each other better building into those deeper and more different conversations as we build those relationships I think this kind of builds off what's been said in my mind anyway and what's needed is courage I think that courage understood as a collective act that courage is something we can encourage other people that don't have courage but it makes sense but just to press the fuck each other up and for us to go ahead and stand in a fireman together and don't send people out front to be the cannon fodder for the cultural war that's ahead of us but for us to get in together and be strategic but yeah I'm fine myself having to screw up my own courage but I owe that to the people who were brave for me that's it we're a couple of minutes early in my mind I've got my time to play but I don't think there's anything wrong with getting early decolonize our practice we don't have to go the time I'm going to thank everybody for listening and shuffling around and just thank you for listening have a great