 Welcome everyone to art migrating across borders with artist Renny young. My name is Taryn Edwards, and I am one of the librarians here at the mechanics Institute of San Francisco. I'd like to thank those of you who elected to support this event and pay a little something to attend, it really does go a long way to help us do more free events like this in these challenging times. For those of you who are unfamiliar with mechanics Institute, we are an independent membership organization that houses a wonderful library. The oldest in fact designed to serve the general public in California. We're also a cultural event center and a world renowned chess club that is the oldest in the nation. I encourage you to consider becoming a member with us. It's only $120 a year. And with that you help support our contribution to the literary and cultural world of the San Francisco Bay Area, which we've been doing for the last 167 years. I'd like to introduce our speaker tonight. Renny young is a member of the mechanics Institute. She is also an artist, a writer, a cultural activist and designer whose transdisciplinary work works to connect people, places and history to both articulate the hidden and give form to the overlooked. She is the founder of Chinese whispers, which is a nonprofit organization dedicated to giving voice to the untold history of the Chinese in the American West. And through Chinese whispers is actually how I met Renny years ago so I'm fond of that organization. She collaborated with a number of local, national and international organizations and received awards from the California Arts Council, creative work fund, humanities California, the Exploratorium headland center for the arts, Montalvo Center for the Arts, and Hedgebrook writers residency. Meanwhile, she found the time to graduate from Stanford University and now lives in San Francisco. As we started, I want to encourage our guests to use the chat space. And if they have any questions we will get to them at the end of the reading. I will also send as I mentioned earlier all registered guests a link to the events video in a couple of days. Thank you so much, ready for joining us tonight. Thank you Karen for this opportunity to be here. I'm really excited we've talked about doing something together with the Mechanics Institute, since our long kitty conversation years ago. And I've always loved everything about mechanics from that beautiful space. It's the kind of programming that you do there and it really is a hidden gem in San Francisco. So thank you and Mechanics Institute for this opportunity and of course I want to welcome and thank everyone who is spending a little bit of their evening time here in this program. So, I'm going to talk about some ideas, and then I'm going to show some pictures usually when I do artists talks you know we launch into images of artworks and so on so forth. So it's a really fun opportunity for me to step back and say, what's actually the underlying thread but what holds these things together, which is really what matters to me when I am making art. And so I'll talk about some ideas, and then I'll show some images about some projects. Let's see. I am. There we go. So I'm an immigrant. I came from Hong Kong, when I was 14 years old, which is very, very, very long ago. But it still makes me an immigrant. And we are here on on the seeded Elamu Bologna land. What does it mean to be an immigrant on land that was stolen. What is the land of the immigrant. So I thought it'd be interesting to look at the meaning of immigration. This is what Wikipedia says international movement of people to a destination country of which they are not natives, or where they do not possess citizenship in order to settle as permanent residents or naturalized citizens. Now I highlight it, of which they're not natives and where they do not possess citizenship. I'm a naturalized citizen. But still, the naturalized makes it feel like, you know, prior to that you're unnatural. And this status of kind of supplicant status brings up really issues of belonging in place, which is really key in my work and in my investigations and in my daily life. This is also work, a situation that brings up issues of borders and intersections. Every immigrant is intersectional. We were intersectional long before intersectionality became a hit buzzword. You have to be navigating different borders you crossing borders, you are intersecting cultures, languages, customs, ways of seeing ways of being in our bodies, the ways that the things that don't really get talked about, because it is so embedded. And of course we're crossing boundaries of geographies of histories, and it's really an ecology of being is how I think of it, these intersections that is an interconnected whole, and it's a dynamic system. That is also how I think of my artwork, not as products or within certain disciplines or projects packaged by certain exhibitions, but really this system. And so art that migrates across borders. In my thinking, it's transdisciplinary, meaning, instead of say interdisciplinary or multidisciplinary, where it is additive you know you put this and that together, or maybe two kinds of disciplines talk to each other. In a transdisciplinary way, the whole thing comes together and gets transformed into a new, a new existence, and it unfolds over time. It's layered, and it engages communities, partners, it cannot be solitary. The metaphor actually that I'm going to go back to this slide. The metaphor that I actually really enjoy is that of the Mycelium, which is the five, the kind of thread like parts of fungi that grow and connect and talk to each other they can be microscopic. They can be thousands of acres huge their networks. And I think of history as this Mycelium, rather than as this unit thing this linear thing, the kind of the way that we were taught in school, you know this happens and then that happens and then that happens. It's a lot of this and that happens in these intersecting lines. And that's really, to me, really fascinating. And so in making art. I want to create this network of investigations and expressions at different scales and intersecting with relevant sectors and disciplines. And they typically take years, because we're building relationships with these projects. And so, again, as an immigrant, these inquiries focus on belonging, and, of course, unbelonging because they're really different sides of the same coin. What is seen and what is hidden, an act of erasure and acts of presencing. So I'm going to go to some case studies. Some of you may be familiar with some of the projects, especially Chinese whispers which I've talked about a fair bit and presented on and I notice in the chat in the participants list there is some performance from Chinese whispers, volunteers and community and I'm so grateful for you to be here and for your participation in the project. So, Chinese whispers really came out of a convergent different things. Probably the catalyst was when I did an exhibition in Boise, Idaho, about the 19th century Chinese there. And people started community people started coming and telling me stories about the backwards Chinese in the frontier community, and they were fascinating stories. And I really wanted to capture that kind of apocryphal way that history is learned, the way that narrative gets layered word by word, hand it down from person to person. In the meantime, I was doing a public art project in East Oakland, that I called our Oakland, which involved community building storytelling website, long before digital storytelling was sort of an everyday word. There were stories by and about East Oakland, between members and architectural artwork. So this kind of helped me develop a methodology of integrated community engaged multi platform approach. And also they were about place finding projects. And so if Chinese whispers began with Sierra stories, which unfolded in the Sierra Nevada foothills. Of course, along the route of the transcontinental railroad that Chinese immigrants helped build the map on the right is actually as beautiful silk map from the 1800s. That showed the early stages of the transcontinental railroad going through the foothills on the bottom left is famous photo I'm sure you've seen. This is the long trestle, which Chinese laborers helped build this amazing engineering feet, and on the right, a likely or probable contemporary view of that site. So this is really about taking the story to place and trying to find the stories from place, and it resulted in a community storytelling theater work where community members were on stage, telling their own stories, or their family stories. And so, when I came back to San Francisco, I thought, hey, we've got to do something here in Bay Area in my home hometown. And so Golden Gate was developed through a lot of collaborations with community organizations partners collaborated with the Chinatown YMCA with historical organizations did events, annual events on historical vessels, because I also became really interested in the maritime history of the Chinese in San Francisco. And did a lot of intergenerational immigrant storytelling workshops, which involved youth elders, recent immigrants, long term immigrants in sharing their stories. And it was really restorative justice. Again, this work is done before restorative justice became sort of a hip thing to do in being able to speak what they have not been able to speak because nobody seemed really interested in these immigrant stories. That in itself was healing. And to know that then the stories would be told to a large audience really gave them a sense of empowerment. And so, Golden Gate, after about four, four plus years of community building oral histories and workshopping and so on, became a theater, a theater work, a 90 minute theater work presented at Fort Mason. And I believe Elena is here. Yay, Elena. She's one on the right. Community performers. And some have theater background. Ford, the gentleman sitting in the chair. At the time he was 84 years old, and he was on stage through the whole thing, telling his own personal stories. And this is a scene from the, from one of the closing scenes of the, of the theater work. And at the same time, we had these, you know, I was talking about the mycelium, there are multiple networks, threads, going through, and Bay Chronicles was also happening, while we were doing Golden Gate when I say we I mean Chinese whispers as the organization. It was something that certainly I could not have done just by myself. And friends and volunteers came and help make it possible as well as staff. So Bay Chronicles retraces the forgotten history of Chinese shrimp fishing in San Francisco Bay. It started off after a huge amount of research. The most visible part of the course was that we went on a research expedition on a replica 19th century shrimping vessel on the bay. And to retrace some of the routes of the former shrimping industry, which was fighting until the 20th century mid 20th century, and it was decimated by a combination of environmental degradation of the bay, and essentially racist efforts to throttle the industry, which succeeded. So, part of the research involved a lot of historical materials. This is an 1889 map on the left showing shrimping sites, and on the right, a map of the route that our expedition took. And just those points was two weeks of sales, not solid, we had to have some breaks in between. And there were other sites that we simply didn't have time or resources to go to. The Grace Kwan is this beautiful replica vessel built by the San Francisco Maritime National Historical Park, one of our partners. And you can see in these photos that we had media recording it in every possible way, with sound and video and photo and there were go pros arm, you know, everywhere on on the ship. This shows you some of the before the historical and contemporary comparisons. The top row is San Bruno, which was a sizable very productive shrimping camp in the 19th century, it doesn't look like much but it was a very productive camp. On the left, it's current location, well not current location, it's current manifestation, which is tech campus. And on the bottom, the Bayview shrimping sites, which was the last area of Chinese shrimp fishing, and on the right. And on the right, we did a sailing demonstration and public event in India Bay Sun at Heron's head. And, you know, it's interesting, I think to see the PG&E power station in back. And on the right is a photograph of the late Frank Kwan, who was the last resident of China Camp. The only vestige left of the 50 or so shrimp camps that once ranked San Francisco Bay. So this is an image from the landing celebration after we finished our expedition. So now I am going to try to show you a video from, from chocolate. I just see the PowerPoint ready. I just see the PowerPoint. Our migrating across borders. Okay, I am sorry when we did our, did our tech test that is this any better. This it says Chinese it's a slide that says Chinese whispers Bay Chronicle. Oh, annoying. Okay, so let me. How about now. Are you seeing share your screen. Okay, I think I think this should work. Okay, good. Yeah. Sorry about that. Okay, so now. Are you seeing it. Now I just see you I don't see your PowerPoint. Sorry about all these tech things. There we go. So this was an immersive installation at the maritime park using media and sound video captured from the sales projected onto this translucent sale that is over a bench with haptic drive. The drive translates the sound from the audio of the water into physical impulses so you feel like you're sitting on the boat with the water slapping against the word would. And some people said it made them seasick and I thought that that was a compliment. Okay. I'm sorry. I'm not quite sure why this is not quite working right. Here's another view of the installation. And so Chinese whispers really has this overarching objective vision of giving voice and visibility. Just as all my work does. In this case, it is about the contributions of the Chinese in the American West. And written on water developed out of Chinese whispers. Obviously, the maritime element really inspired me. And it is both a set of artists books, each one about a particular shrimping site, and also a larger written manuscript that a writing project that I'm working on. And this particular book lacrimal is about hundreds point lacrimal is Latin for tears well, you know, as to connected with meeting in tears. And it relates to the sad history of how the hundreds point shipyards ended being burned down by the by the health department on pretext of sanitation grounds. What it was to make way for the naval shipyard on the eve of Second World War. And at the back of the book, there are maps. There's a map of other shipping sites and this little vial contains in it. One millimeter of salt water that is made from salt that I made. Out of sea water collected at the approximate site of the last Chinese shrimp camp in India basin. And then with the salt, I turn around and make salt water again in the approximate salinity of human tears. And so it's classed in between these these plaster blocks, and it's a small memorial to a huge human tragedy that affected all these people that have been forgotten and the history that really has been forgotten. And this is a book called more than and it's about China camp, and more than is made from botanical prints of vegetation gathered around the waters edge at China camp. I think are primarily pickle weed. So they are like ghost memories off the environment around which the Chinese shrimp fisherman would have lived their daily lives. And in the back is of that book is a little dried shrimp and a quote from Frank Quan about the hama in the Chinese name for dried shrimp, which of course was the focus of the whole shrimping industry, and as attribute to this to this to this story. So let's go to another project that was also happening. There are all these things are happening at the same time, city beneath the city was about the Market Street Chinatown in San Jose, it was San Jose's first Chinatown, and as you can see from the dates. In 1887, due to an arson fire. This was around the time of the furious anti Chinese movement in the 19th century, which resulted in, among other things, the shameful milestone of the Chinese Exclusion Act in 1882. So the Market Street Chinatown was burned down and archaeologists were able to salvage a lot of artifacts from the former site when it was dug up for rebuilding by the city of San Jose. The archaeologists expected this was in collaboration with the Stanford Archaeology Center, and also with history San Jose Chinese historical cultural project, and with San Jose Institute contemporary art. They also expected me to pick pretty artifacts. Now this was a laborers community. So first of all, their artifacts were not like fine objects. And second of all, this was a ruptured history, it was a history of destruction and arson and hate. So I chose the fragments. These were shards of broken glass, you can see how the heat had turned them iridescent. And so as you enter the exhibition, you would be greeted by this pile of broken glass. And it's sort of like a little, it's like a low tombstone for Market Street Chinatown. And in the back, you see this table set with remnants of dishes from most of them were broken, as if it was a banquet that suddenly had been interrupted, and other objects to chair in the back was actually an observation post. And the archaeology department wanted to send students to observe the behavior of visitors. And I thought, okay, if you're going to do that. I would like to really make it very obvious, make it transparent. And I made this sort of a throne for them to sit at. When I got a lot of pushback, it was like, making it to transparent, right, the power dynamics. But eventually, that was set up. And there's a binder that has pages that people can write their commentaries on. And I found out audience members, community members were the ones who sat in that chair most writing their thoughts and observations and words from archaeological reports about Market Street Chinatown were, you know, I use them to put them on different parts of the institution. This is its second iteration at Stanford, and in the archaeology center. So the artifacts were adapted for display in the institutional environment of off the university, but the same thing. The words from the archaeology reports were extracted almost like concrete poetry that spoke against and to the broken artifacts off the lives of a broken community. And the third iteration was at the San Jose Museum of Art. There was one ball and juxtaposed it against a seven foot by nine foot charcoal drawing I had done of a ball of rights in Chinese. The ball once rice ball ball of rice is once likelihood, once means of living. And it's the sustenance for which immigrants came to America. And so it seemed fitting to contrast the broken rice ball destroyed by arson with this symbolic full of rice. And I chose a room in the museum that actually overlooked the exact spot of the former site of Market Street Chinatown, so that geography, history, archaeology and art were in conversation together at the same time. Oh, and a little side note, it's very funny that ball in the in the case was actually quite broken when I was when I first saw it and when it was presented in the other two exhibitions but for the museum. The archaeology archaeologists couldn't stand, putting a broken ball in a museum and actually went and repaired it to make it look whole. And I think that that was an interesting commentary on how we think of history and how we think about the things that aren't very nice, and why to repair it. And so it's ironic that in the project that is talking about unearthing the making visible, the hidden, the act to kind of make a cosmetic is happening all over again. I also want to show some drawings. When we think of erasure, you know you think of a big racer and you're scrubbing it out right, but covering up is also a form of erasure and erasing and hiding really is an intentional act why do people do that, because they don't feel good about something that's why they have to hide it that's why they have to erase it right. And so these are drawings that are about four by about 50 inches high, and they are layer upon layer of cross hatching that cover up that do an active form of erasure. Cross hatching switch in Western artistic traditions are used to create visible shapes and Kira squirrel. And here it is used to cover and fun. And on the right is a ratio drawing base on a map of the Hong Kong protest sites during the 2019 protest, which affected me very deeply. And so it seemed appropriate that erasure would be part of the language. This is maybe a different effort of mark making, these are like big arm swings to create these just remarks it's a 15 foot long scroll that was that I did at headlands when I was in residence the there earlier this year. Each mark is a statement of sort of saying, hey, I'm trying to find my place. I am marking my place that they end up looking like waves like water was not my original intention at all. But I think everything kind of feeds back to itself. And lastly, I'm going to talk about a project that came out of the pandemic. As the pandemic. I think some of you actually participated in it. It was it came out of lockdown, when we couldn't go anywhere we need everybody, you know, we can have the kind of exchanges that we were used to. So, I came up with this project that unfolded simultaneously as an Instagram project and as an installation at headlands to create an accessible space for community voices to ask questions and make responses about our quandary during the pandemic. Post-its were used as a medium power uses medium for these messages, and they're directly inspired by the London walls that were in the Hong Kong protests as an anti memorial to historical time. So now I'm going to do this. I'm going to share with me while I try to. Let's see if we can get. Are you seeing the video. I'm not seeing the video. Okay, frozen for me so I'm not sure if it's just my bandwidth or, or what is, are you just seeing an image of the video. I see the last image you had and it's frozen for me but you're moving around just fine. Okay. Okay, it seems to be working you're moving through the slides. Yeah, but I wanted to move to a. There we go. Okay, so this is. Is there sound on the video. Not yet. Okay. Is there sound now because I don't hear anything. When is there sound on this video. Are you hearing it. No. Oh, is there any sound now. There's no sound. Okay. Are you hearing me. I hear you just fine. Okay, then what I'm going to do is just scroll through very quickly and I'll be the voice over. Let's see. Okay, so for those of you who are not familiar with the Hong Kong lemon walls. This is a view of it. Since we don't have the sound, I'm going to just, pardon me, move through this very quickly. To show you what the Instagram part looks like with over 300 entries. Okay, so I'm going to exit this video. I wonder why the audio didn't work. That's all right. Are you seeing the PowerPoint. Yes, and we can include the links to those videos. Yeah. Okay, so this is a view of the installation. Partially done at headlands while it was happening during the pandemic. And a new iteration of it is actually happening right now in the, in Seattle at the Wing Luke Museum. This really wonderful museum in the International District Chinatown in Seattle. And the exhibition looks at what the pandemic experience has been like for the APA Asian Pacific American community. And so I would love it if people would contribute questions and post it. So here's what you need to do. If you're not on Instagram. I can make a post that tells you how to participate on on Facebook, but there are two prompts that we'd like people to answer to answer what did you learn during the pandemic. And what was hardest for your community in your community doesn't have to be APA it could be whatever. And to participate, write your answer on posted, snap a phone photo of it, and then post it on Instagram with the hashtag ask the pandemic, and tag at Renny Young Studio, and also tag at Luke Museum if you tag me. I will forward it to them if you don't want to tax only things but that's sort of the nature of Instagram. Or if you don't want to take a photo, you can write your answers in the comments sections of an ask the pandemic post and those are going to get get going this week. So hopefully, we can build a new momentum for the headlands iteration of ask the pandemic people posted all the way from Australia, Europe, Asia, and of course North America. And it was really an interesting way to build community and to spread that my senior. And so here's some URLs to find out more about Chinese whispers. It's Chinese dash whispers.org and ask the pandemic on Instagram, and my website. And I believe this talk is going to be recorded. So there, you know, you have ways of finding us. So, in summary, I want to say that this work is trans personal. And it's a cohesive whole that's inseparable from the living of life. And these engage engagements are authentic. The process sparks a transformative alchemy of mutual trust between artists, community partners institutions that transcends the circumstances to create a larger whole. And I believe to create the healing that our society needs. So thank you. Thank you so much that was really thoughtful on a variety of levels. I wonder if anyone has any questions please put them in the chat space. I'm going to back up a little bit to the first question by Sharon. I asked, what the replica boat, the Chinese 19th century Chinese shrimp junk, why was it called the Grace Quan, who is that named after Grace Quan was the mother of Frank Quan at China camp. And he was instrumental in the whole shrimp fishing renaissance. That's a great answer. Right. There's a little bit of confusion. I wonder was, were you referring to Market Street in San Francisco or Market Street in San Jose San Jose. Okay. Wonderful. There is a nice question from Valerie she says she saw a presentation of Chinese whispers on stage several years ago and loved it. And you, you and I have talked about some stage things before. But she asks are there any plans to have another stage performance of Chinese whispers. Well, you know, I am taking a little pause from the stage productions right now especially under while pen the pandemics effects are still unclear. I think it is really confusing. And because we're working so heavily with community, it's a lot of pieces, a lot of, you know, it's a huge jigsaw. So I'm taking this time to actually focus on some writing projects. But yes, the stage work is just it's it's it's addictive what can I say. Yes and Valerie the picture behind me is the Institute library. So, Ronnie and I have talked in the past about trying to do something to use that space in an evocative way so I will twist your arm. In the meantime, lots of compliments on your presentation which I think kind of has stunned a lot of us, the themes that you brought up about, you know the many layeredness of history and erasure. Grace has a question for you she says did you draw any ties between what was going on in Hong Kong and the USA during President Trump's time in the White House. Yeah, but it's making me feel oh just to think of the time. I think. Yeah, I think that it is a really tragic. And that's a very funny kitty wants to be part of the scene. It's the whole situation in Hong Kong is tragic. And especially for someone from there. You know, I feel like at my heart, I'm still a Hong Konger, and to see the place get essentially just stomped down is is heartbreaking. And perhaps we should be. I'd say that in America we should consider ourselves lucky that the political system we have fraught with problems as it is, is not allowing as yet that kind of authoritarian shutdown of democracy and rights. That's true. Grace has another question. How much of your stage work is bilingual. You know, that would have been a budget thing. All the workshops were binding, you know, and some of the production was bilingual some of the stories or phrases. I would have liked to have had, for example, bilingual subtitles. But you know, it's a very complicated thing of audience, the audience is primarily English speaking. And so to have a fully bilingual production would be, it can be done. It would be, you know, something to hash over with a bilingual dramaturgs and series where it would be fascinating work, but it's a major endeavor. It would be challenging, especially, well, maybe be made easier with a virtual environment. I don't, I don't know either but And then Sharon has a quick question. Can others see what was written on the Post-it notes. And yes, right. Yeah. Okay, so a little bit of explanation that the video would have gone into. The installation. Many of the Post-it notes were blank, because nobody could go in person to write, right. Some people wrote handwritten post-its and mailed them to me and I went there and stuck them on the wall. And that's why I developed the Instagram component so that they could be visible and seen and seen by way more people than would go to headlands to look at the installation. So Japan has a comment. Being an immigrant herself, this presentation is thought provoking and in regards to the Scandinavian culture I and my friends come out of, I will share the recording with them. Japan is going to share the recording of this event. So that's great. Thank you very much. And does anyone else have any questions to pose to Renee? I mean to Rene. All right. Yeah, it's not Japan. It's at least, at least my friend. But I'm glad you know. I'm glad you know her. Janine asks if in ask the pandemic were there comments that surprised you. There were comments that touched me. You know, it's very funny. I know Janine from a writing group. And one of the posts that I showed in my PowerPoint says what is the taste of hope. And I was sure it was a comment by one of the other writers in our group. And when I thanked her for that wonderful suggestion, she said no, no, she didn't say it. She never said it. She never dreamed it up for me. I loved that question, what is the taste of hope? There are other questions that talk about, you know, the pain, the loss, the sadness. And, you know, this all happened during the first, what, 10 months of the pandemic, or not all but most of it happened during that time when we were really, really confused, you know, so many things were different. So, I would, one of the things about ask the pandemic is I would come up with different parts for different people, I mean, for different times. So some of them are about like how, you know, ask how question, ask a what question. And one of the questions that really hit me was, who will die? That was the question mark, right, because this was at a time when people were dying in huge numbers who will die next. And I thought that that was just one of the scariest things and then there were some like really charming question, like, where can I get a vegan pumpkin pie delivered for Thanksgiving. Or, you know, someone wrote that he, why do I want to hug the UPS delivery man? Because they become our lifelines. So, you know, the kinds of questions and answers really ranged. One last question from Bo. And I think this is a perfect last question. What is the absolute strongest thread running through all of your work? That's such an interesting question. Hi, Bo. Thank you for the question. And I know Bo from way, way, way back as well. I think actually, I would say that the reason I brought up Mycelium is that it is not a thread. It is a network. Mycelium can be, like I said, microscopic. It could be, I think the largest one is like several thousand acres. I don't know how they do that. Right. And so if there is a thread, it is the intersectionality. It is the connectivity in the inquiry of erasure. And omission in narratives about marginal marginalized communities. And at the same time, how to give voice and visibility to counter those acts of erasure. You know, it's not a single, single answer, but it is also a networked answer, because that is the perspective that I feel is most true to my vision as a human being. And I want to add something, which is that in what we call native cultures, as if native is sort of a bizarre thing, many of them, they do not have a separate word for artists. And in Bali, I understand the word for artist is the same word as that for human being. And so when our lives are these network things as artists, what we make is also network. And that's, that's how I see things. Yeah, I found your comments on history being multi layered and so detailed to be quite fascinating and the way that you are folding it in to your own work is interesting as well. So thank you for that connection. And thank you for spending the evening with us and telling us more about what it is that you do. Oh, thank you so much again for this chance and thank you again, everyone who came and who asked questions. It is such an interesting time that our community becomes this online presence with little icons and little tiny names. And yet that is our community. I think that part of what I'm incubating really is how to continue to forge community within this kind of context and I think as the pandemic was one step in that direction. Exactly. Community is what you make of it. And we're forming community every day even with these virtual events with people from all over the world. So thank you everyone for tuning in. And thank you, Renny, and I will be sending you the video and the links to Chinese whispers and the other videos that Renny shared with us today. Thanks everyone and be well and have a wonderful rest of your evening. Thank you. Thank you and bye bye. Good night. Thanks, Taryn. Good night.