 All right, let's jump in. It's 11 o'clock. We thank you for joining us here on this beautiful Saturday, sunny afternoon when there's so many other places you could be. Thank you for joining us and being here today. And as I mentioned, this is being recorded. It is available on YouTube. So you can watch and share it again as many of our events are. San Francisco Public Library acknowledges that we occupy the unceded ancestral homeland of the Ramya Tushaloni tribal people who are the original inhabitants of the San Francisco Peninsula. We recognize that we benefit from living and working on their traditional homeland as uninvited guests. We affirm their sovereign rights as first peoples and wish to pay our respects to the ancestors, elders and relatives of the Ramya Tushaloni community. In that chat link that I've placed in the chat box, there is a great list of reading and resources about Ohlone and websites and great places you can donate to and learn more about our Bay Area Ohlone community. And if you know what native country you're joining us from today, you can also put that in the chat. And now I just wanna give some updates on the library and what we have going on. We have a lot you can imagine coming into the holidays we got you covered. So our on the same page is a bi-monthly read for November and December, we're celebrating the work of Deborah Miranda and her book, Bad Indians. This is a heyday book. I love heyday, our Bay Area Ohlone's publisher. And Deborah will be in conversation on Friday at 2 p.m. discussing her book. You can get that now at all library locations. Tomorrow in person at our beautiful Carrette Auditorium, we have a film screening about our late great poet laureate Jack Hirschman. Come on down. It's also the farmer's market. So you can, in my opinion, the best farmer's market in the city, the heart of the city. Monday virtual panel on the amazing feminist writer, activist, Dodie Bellamy. And we'll have an amazing panel discussing her work. Tuesday, we're taking it out. We're taking it to the bar. The Oasis, we have author, Mallory O'Meara, discussing her new book, Girlie Drinks, A World History of Women and Alcohol. The book is deep, and it goes from the beginning of time and alcohol and the role women play. And it's a lot. So come check this out. This book is amazing. Some other events we have coming up in January. We're hosting Zizba, San Francisco's own Letters and Journals. So authors from their issue number 122, the inter-transnational issue. All right, let's join today's event. I'm excited to host, the library is excited to host. We've been working on this a while with the SF Girls Chorus. And this is the first of what will be many. And this is the book launch, a community book launch. I love to have that in community book launching. We are so excited to host this series and be the kickoff. And we want you to pay attention to the website because we will be hosting coming up. We don't have the date set, but it's coming. And there will be a live presentation and hopefully a performance. So today I would like to turn it over now to Valerie Santa Aguette, who is the artistic director of the San Francisco Girls Chorus. And she will tell you more about the book. Hello and good morning, everybody. Thank you for joining us today. This is a very exciting time for all of us, for the San Francisco Girls Chorus, for the project in general. Just to give you a little bit of background around our organization, we are based in San Francisco. Well, we are now 35 years old. And so we provide music education to right now 300 and CC girls in the Bay Area. They are aged between four years old and 18 years old. And so we are, of course, an educational organization, but what is very important to me is that we are also an artistic organization. And I really want us to have a space for the way we can introduce everybody to the, introduce the community to different stories. And one of the goals that I have is to give a voice to those who necessarily don't have a voice and especially women from different communities. We are producing every season four shows. And it's really important to me to commission women composers, women composers of course. So we commissioned people like Pamela Z, Teresa Wong, Susie Barra, we commissioned Tanya Leon who has just been awarded the Pulitzer Prize. And it's just important for me that our young singers, young women singers understand that there is a lot of talents around them coming from women and coming from women of color. I also was very excited about working around an opera. And this is a little bit different from what we do in terms of choral, the choral world, where usually we just work on the music but not necessarily on the staging. And it's not necessarily connected to the storytelling. And so I was looking for a piece where we could find this combination of those two. We found this amazing book, Tomorrow's Memories written by Angelus Monorayo. And I was just immediately seduced by the story. For me at the beginning it wasn't about writing a piece, an historical piece and we'll talk more about that. But what was interesting was the point of view of a young girl about what was happening around her and how this young woman was so powerful and resilient. And I wanted to share this story with our young singers because I think it's so important. So joining me today, we have a wonderful panel and I want to introduce you first to Shun San Jose who is gonna be our stage director. So the performance is gonna happen at the Magic Theater in June 2022. We've been working on this project for more than three years now and because of the pandemic, everything just went a little bit off schedule. But that's gonna happen June 22 at the Magic Theater. Shun will stage the project. And so we are, we're gonna welcome a lot of artists to perform this piece. Shun, please. Thank you Valerie and thank you Anissa earlier. And thank you everyone in Zoom, Zoomland. Let's try and have as real a conversation as we can. Thank you everybody. As Anissa said, for taking the sun off today, looking in onto your little boxes here to join us. First of all, Anissa, everyone's gotta get hip. The San Francisco Public Library, that's the most amazing breakdown of programming. I feel kind of lame because I was not up on game on that. That is amazing layout. And that's just for the end of the year. That is incredible and an honor to be part of the programming of it. And thank you all again for still reading books, actual things that you can put in your hand and read and learn and fill your soul and brain up with. And this is part of my long amends I have to make as a San Francisco child who stole many, many, many books from the San Francisco Library. I grew up in the, everyone, I'm not gonna name names, but I will confess that I loved books so much that I took them home and let's say that I borrowed them longer than my card allowed. This gets me back a couple of pages from one of the many volumes that I possessed from the San Francisco Public Library. And today I also want to thank all you book lovers for joining us to open your minds and spirits to some Philippinex history, memory, culture and letters. It's amazing. And that's what we're gonna get into today is this incredible piece of work here, Tomorrow's Memory, by the young lady Angeles Monroyo. And we have three massive minds to help us get into this book, this diary. And joining us today will be, we have a doctor on the panel, Dr. Lily Ann Bola Dia Raza, doctor and the department chair at our own CCSF, Philippine Studies Professor of History, Go Ram. We also have Abraham Ignacio, Abe Ignacio, a librarian at our own, at the San Francisco Public Library, the Filipino American Center at the, I bet some of you didn't even know we had our own room there, we do, and Abe heads that. So thank you for that. And last but definitely not least, we're going geographical Dylan, that's all it is. Brother representing the Delta, Dylan Delvo, who represents an amazing organization is the executive director and also the co-founder of the inspirational revolutionary Little Manila Rising in Stockton, home of so many of our peoples. So thank you three for joining us today. And we're gonna let these three minds share some of their knowledge with you all today. And I just say by way of introduction, fuck out on how many of you out there in Zoom and have read the books, loves reading, and I was lucky to grow up in San Francisco. So we had geniuses like Al Robles and Cuiahima Asintho, and all the greats from Jessica Hagridorn on down. But if you weren't hip and you weren't smart enough, to go and get your mind blown open by the Ethnic Studies Department out there, which is a treasure unto the world, or you didn't have the discipline, I'm talking about myself personally, to go to CCSS and get yourself settled, you may not have known about how the Philippinex history lives in literature. And I have to admit, after being such a big fan of literature and our culture, I was not aware of this book at all. But like so many things in the Philippinex history, the divine Dr. Don Mabalon hipped so many of us to this thing. And we're gonna go on to that. You need to do the next book on the list. Her book, and in her teachings of our culture and our history and our memory, which is Philippinex history, which is California history, which is United States history, which is Island history, which is Pacific Rim history, which is world history. So get on the train, people. It just ran with it. And it was such a treasure to behold this artifact, this sharing of someone's heart and life growing up. And then for so many of us immigrant people, it tracked our journey. It goes from the Philippines islands to the Hawaiian islands, to back to the left coast to California and into the Delta, into Stockton. And you can trace so many of our family history and so many of this city's history through that same exact path. So we're gonna get into that today. And I'm just excited to be in the room with these three minds and also excited to share with you too what my friend and collaborator Valerie was talking about, that San Francisco girls course has chosen this piece to translate into song and word. And we're gonna make a performance out of that. So inspiring it is. But let's start with the good doctor, Dr. Lilly. Can you give us an intro of yourself and also what we see you, how you found me? Hi, I heard part of that shot. I'll try to riff off what I think I heard you say. No, I just think, Dr. if you could just tell us a little bit about what you do and then how the book means to you or how you got interested to the book. Okay, thank you so much. I apologize. So my name is Lilly Ann Villarosa. I chair the Philippines Studies Department at City College of San Francisco. I am very honored and just overwhelmed by the fact that I can be a part of this project. Philippine Studies has been around at City College for 50 years, 51 actually. And this book, to be honest, like straight up, this project came to me and said, have you heard about this? And I'm just like, I really should have heard about this before. And just reading through Angelas's experience and knowing that the Pinae experience is really something that is not highlighted or even examined in depth when we talk about Filipino and Filipinx American history from the early 20th century, it's mind-blowing. It's absolutely mind-blowing. And it's also really funny to just kind of see the world through her eyes. There's scandal, there's intrigue, there's sorrow, there's anger, there's joy. And it's such a beautiful primary document, historian, and from her own words. I think for me, that's what was just really mind-blowing. And the nerd nugget for me, to be honest, are the two essays at the back by Jonathan Okamura and the wonderful Dr. Don Bajalano-Mabalon. So I'll leave it at that for now. And yeah, this is just, I'm really excited about this work. Wonderful, thank you so much. Can you all hear me? Okay, my internet. The computer is talking back to me. It's a scary moment. Next, we'd love to hear from Abedahim Ignazio, Abe Ignazio. And Abe, if you could tell us a little bit about what you do and also how you came to be introduced to the book. And if you, in fact, were the person that brought this book to our library. Yeah, thanks, Sean. I'm the, as you mentioned, I'm the librarian for the Filipino American Center. Actually, I'm the third librarian to be in this post and stuff and that, so it really is our goal here at the San Francisco Book Library to bring all the literature, both nonfiction and fiction of the Filipino community, Philippinex community here, but also the Philippinex community worldwide to so people can get a sense of the richness of our history, not just here in the United States, which, you know, it's a major part of what we do, but all the way around the world. So you can really get a sense of, we are kind of a diasporic people in many ways. And there are many stories and many histories to tell for people to learn about that. And this book in particular, I came across it when it first came out in 2004. So, you know, it's been around for a while now, but as Lillian and everyone else has said, it really is an important story because, you know, that part of our history is normally not told in that way. That period of time is usually framed in the term of bachelor men going up and down in agricultural pursuits, jobs and stuff. And here you get a sense of, here's a young girl growing up into teen and then womanhood. And oh my God, when I read it, I was just totally blown away as also a historian. You just don't hear these stories in such a vivid fashion of what everyday life was like for her. So I immediately said, you know, this has been a long part of the collection here at the Filipino American Center and stuff. So I'm not the original, but I'm glad that we're cooperating today among the arts and academia and public institutions to bring these stories together so people can see the richness of the peoples that inhabit this nation, this particular part of the world. Here we are. So I'm glad that this is happening and that we can share it through a particular reading of her story, you know, through book discussions and stuff. So that's part of our mission here at the library. So I'm glad that we are doing this. Great. Fabulous, fabulous. Thank you, Abe. And thank you for the work that you do. Moving on down the state. Kapatid, Dylan, Delbaugh, can you tell us both about some of, about the great organization that you run? And if you wouldn't mind honoring our great She-Row and champion Dawn a little bit to enlighten folks and also just share her wisdom with folks and then tell us how you, if it wasn't Dawn, how did you get hip to this book? Well, thank you so much, Sean, for the question and I definitely want to thank the San Francisco Girls Chorus and the San Francisco Public Library for doing this event. And I will, I am ashamed to admit that I finished this book last night. And so thank you for resurrecting this incredible, completely important foundational story not just for Filipinos, but I think for all of us, I guess just in California and in the United States, what it means to be in this and occupy the space and make decisions today. Dawn tried to get me to read the book, but it was like, we were like really busy and we were creating this organization called Little Manila Rising in the early 2000s to fight to save the remaining buildings of what was Little Manila. So as you read this book, you'll hear of Angela's move from Hawaii to California and then eventually to Little Manila and then other places afterwards. But I guess to bring about Dawn's part and the amazing essay that she writes at the end of this. And in the same sense, as I think about this diary began by an 11-year-old Pinay, right? My daughter is 11 years old right now and I read this and I see my daughter and I think about how this informed, how I need to allow her to this to inform who she is. And of course this is true for all of our community. And so I think I'll focus I guess in Stockton because I'll pull the hip hop privilege of including Stockton because both Too Short and E40 has accepted Stockton into the yay area. So, but I think obviously that's a, all my neighbors are from the Bay and so that's where the other side of gentrification. So yes, we're definitely a part of the yay. But this is a story of complete innocence and what Dawn talks about is that she doesn't know because this book ends in 1928. We know that the Great Depression begins in 1929 and massive things happen. And so we find out about what community could have been, right? And then, so we know the end of the story. And so there's a real innocence, real beauty and still trauma, still massive trauma caused by white supremacy that's encapsulated here. And I think when you look at this story and think about what happens next and how those effects happen today, you think about the layers upon layers of trauma that has been inflicted on marginalized communities. And of course, Filipino Americans are just one of the story of many, many folks that have been marginalized in our country. But regarding Little Manila, this is a community that no longer exists. And I think to bring it to get folks in the Bay to understand this as you look at Soma, Filipinas and the cultural district designation of that, we in Stockin cannot go for a cultural district designation because there is no Filipino community in Little Manila. Well, it was once the highest population of Filipinos in the world outside of the Philippines from the 1920s to the 1960s as we both, Dawn and I engage in trying to save the buildings of Little Manila and we reach out to the neighborhood. There is just one Filipino family in that community. And so what you get to see is a snapshot of a thriving community that was completely destroyed by events that take place in the United States. And when you look at that in the shadow of the way federal and state funds were used to build a cross-town freeway through many of our communities of color, I think then you really begin to understand the devastation of these decisions. And I just wanna bring that to today because as we fight for racial equity today, we begin with historic preservation and then of course the fight for ethnic studies which we got in Stockin Unified School District. We have now moved on to environmental justice and public health issues because sadly, Dawn, we lose Dawn three years ago in 2018 of an asthma attack or triggers her death as an asthma attack. And we know that it's these freeways which she grew up near that have caused this and that in order to save Dawn's life, there needed to be an intervention for her at age seven. And so I think this history is so important and so relevant because as we talk about racial equity, it's all faux equity unless you understand these histories. You cannot come up with solutions unless you understand the things that have been taken away from us and have been destroyed. Wow, wow, incredible. Thank you for all of that. I mean, just for the work you do and for the history you hold and the revolution that is still at your feet. And also just putting the book in that context, I think that's why some of us when we would, if you look and you know, if you go to a great bookstore like Archivelligo books and the city here, that might not be your first joint to look at because we look at it history and we think of history as history, as past. I love what you say brother about both that we have to put it in context, especially in regards to the struggle, especially in regards to the continuing struggle, but also almost reading it as a part one. What happens then very next year? What happens to the very next generation? That's incredible. And also for those of you out there, Zimzum went to put that in your head if you're in the midst of reading it or you're about to read it. Think about that. Think about the historical, thank you. Look, San Francisco Public Library does not slip. Every reference has a link. Yeah, I need to keep this. This is gonna be my new curriculum right here. Amazing, thank you for that. But Archivalual Books is a great book. But also thinking of the book in this, in the continuum of the diaspora, if you will, or our people or our state or our country. Amazing. Could you, if not elaborate on that, could you share with us other ways that you might think could be helpful for folks to look at it within a historical framing? What are we in on or to consider first? Yeah, actually, I'd prefer to defer to Lillian because she's really our professional historian on this panel and she can give us kind of like this broader context and stuff. Because, you know, as, you know, I'm also like Lillian, I've been involved with fonts since almost the beginning, you know. But I think she can give a much more broader picture of what we got doing or even Dillon and stuff. Because, you know, these guys, both you folks have been struggling with these ideas. Well, also me too, but I think just in terms of a, whether it be academic or social justice matters and stuff, I think both our other esteemed panelists can take it further level up than I could. So, but anyway, just, let's just move on with either, you know, Dillon or Lillian. But I think she can really take us on a good journey, I think. So anyway, let's- Cool, before we move back to you, Dr. Lillian. Abe, could you just give us then a little bit of more context for readers too, out there to think, where is this in the role of books? Where should we be thinking of this context-wise, resonance-wise? You're reading it before Bulison, you're reading it after you read Haggadorn, you know what I'm saying? Where does this live for you in terms of the scope? Yeah, I think it's an addition according around Bulison because she was in around his time, you know, actually even a little bit before because she got here before and was living life here before he got in and what was it? I can't remember the exact year Bulison came on board. Was it 28 or so, Lillian? I can't remember, but she was here before him. So it's giving that context because as you were saying, this is before the depression. So she is not getting a sense of the anti-Filipino riots that would just erupt the next year and the year after forever. So Filipinos were on the hot seat, they were getting attacked. So, you know, it's that short interim period where, you know, things are tough and you get a sense of the tough stuff that was going on and especially when she talks about the life she led in Hawaii, you know, the strikes that were going on for better working conditions, for better wages and stuff. And so she experienced a heck of a lot of stuff going on, you know, poor labor conditions and the, you know, even the racism that was going on because of differing, what do you call it, tiered racism, whether you, on the bottom were the Filipinos, up higher were the people like the Portuguese or the Japanese or the Chinese. But, you know, each of those groups, the Chinese and especially in the Japanese were also militant labor organizers and fighters, also like the Filipinos later became when they were brought on board. So we've all, all those things that she experienced and stuff were all kind of pre-Bulasan and stuff. So it really is a precursor to Bulasan's America's in the heart. So I think that's where you can place that context of that work itself. But, fantastic. Thank you, Abe. Thank you for that and for, you know, folks out there listening that obviously not only required reading, but amazing reading and maybe a great pairing of things. And then maybe there's so many things that you could break open for us, but can you speak a little bit more to what you had been talking about earlier, you know, the pin I voice. And I think what becomes so stunning in looking at this piece is the purity of voice, but also the female-ness of it. And, you know, I can just say personally, coming from being raised in a matriarchal Filipino family, we know who runs the show. We know who has the art. We know who has the mind. We know who keeps it together. We know who brought us here and we know who keeps us going. And so it's, I mean, there's a great dearth in our, you know, everything, our culture, our civic life, our literature where we don't see that voice in the same way. And obviously a lot of it has to do with white supremacy and laws that kept our people out. But also what does it do to you, doctor, you know, especially as a woman, you know what I'm saying? And, you know, if we look through that same list that Abe's talking about, we're gonna get all the way up to Jessica Hagridorn and Jessica's on a whole other tip, you know, that brings us into a whole other spiritual, psychic, you know, creative plane. And then you go beyond that and we have, you know, maybe Barbara Jane Reyes and great poets and of course, you know, Olympia Steele and people are writing. I'm not saying that at all. I'm talking about the historical of context and also the journey context of it. Can you speak to that a little bit or anything in it? You a doctor. Well, I think what really was intriguing to me as a historian is that it was very much, while it was her personal journey, there is so much observation, you know? And I feel like it's not that she's not connected to it but she's reporting. It's like, this is what's happening, you know? And her talking about, oh, we're going to move to the strike camp now. I'm like, how does that make you feel? And does that mean that your father is part of that strike too? Apparently so. What was your father doing in those labor camps in Hawaii, right? What was, we're friends with Pablo Monlopy. Did you have dinner with him and have questions? But it was this very innocent and perspective that she brings to this conversation and I wonder about, she knew that she had a particular role. It's like, oh, the men needed their laundry done and so this was actually a way for me to make money. And I'm like, oh, that was really smart. So knowing how to kind of navigate her role as a woman, as a benign, as one of the very few benigns in the camps and really kind of deftly navigating, especially those advances from older Filipinos who were really seeking a connection to somebody who was from their community and from their culture. And this was the thing that was really interesting to me in terms of immigration. I think a lot of folks tend to look at the archipelago and it's like, oh, it's this one big thing and they're all Filipino. Yes, that's true. But regionalism is such an important aspect of who Filipinos are. And so her kind of talking about her dad being angry about her raving bagalog and it's like, well, we don't trust them and all of these, I was just like, this is fascinating. And for me reading it at this moment, I wonder about how other people kind of understand that nuance of the immigration experience of Filipinos coming from the Philippines and really continuing to maintain these regional and linguistic ties and divisions within the community, but also recognizing the importance of collaboration and organizing in relation to labor, in relation to fighting for what is fair and really kind of creating that idea of Filipino in this broader context. So outside it's like, okay, yeah, we're Filipino, but within the very intimate circles of the Filipino community, it's like, okay, yeah, you're Visaya and you're Ilocano, you're Tagalog. And I just found that really fascinating because you see her learning as well, right? She's learning Tagalog terms and talking about how her different friends and things like that are from different parts of the Philippines. And I just find that really interesting. And as a female, I mean, really, this is a really important text. And as an educator, I've been thinking about how this needs to be part of that dialogue when we talk about early 20th century Philippinex American history and literature. And you're right, like before Carlos Bulosaan, who are we recognizing as folks who are doing this sort of work? And if we go into like the, you know, perhaps the Filipino collegiate magazines that were being produced in Berkeley and other places around the nation, we might see the literature from women who were studying in the United States. But this, her narrative is coming from a very particular and very different socioeconomic space. And so I think that there is lots of different kinds of interesting things about her experience that it's not just actually a Philippinex American story. It's an immigration story. It's a diasporic story. And it's a story that I think other folks from other immigrant communities could probably connect with in many different ways. So, and I'll leave it at that. That's amazing. We need to- Can I just add to that? Yeah, absolutely. Hey, well, definitely want to add to this because I think when you read this story she's a unicorn. Like Filipino women in the United States at this time are unicorns and for real because the ratio of Filipino men to women is like 20 to one. And that's why, and so seeing her having to navigate that world in which it's almost expected that she understands that male toxicity is something that is just going to happen and how she navigates through that. But then also understanding the power that she will obtain from that because she would be widely sought out and that it doesn't matter what her father wants. It's what she wants and she chooses love. She laments when she's in Hawaii her friend who moves to the United States before her no longer talks about school. They used to go to school together in Hawaii. And then as she comes into the United States there's nothing in her diary about her going to education. So it talks about the fact that there are no roles for women in academia or with any academic background at that time. And so seeing those shifts and what she has to become for her family to just survive, right? Not only at the age of 14 she becomes the main breadwinner of her family. She's the only one working in her family in Stockton and that's how they survive. And how that informs how her father thinks who she should be with. And it is not just a calculus of between love and love and kind of your own personal bias but really it's almost like love versus survival, right? And so there's just so many dynamics here. And so I just wanna encourage everyone to really read this book because you will not find in the pages of Bulusan or many of the other authors of that time this type of knowledge you're getting from an 11 to 14 year old woman. Amazing, amazing, really amazing. And everyone out there that's listening again if you haven't read it or you're in the midst of reading it all of this, I mean we have really big minds on here but all what they're talking about is actually in that book, is in this volume of writing and there's something about maybe to what you're saying, Dr. about the sort of purity of the observational voice and the youth in it and also the rarity of her that it touches on so many things. And I think, Valar, we got our new promo for it. The doctor just said it, it's true. It obviously speaks to you if you're Filipinx people, if you're an Islander people, we're all Islanders in this room, but if you're immigrant people, you know, this bizarre where it starts from this structural look at, you know, that our navigational route to and a singular journey is ridiculous stupidity and that you even look at the archipelago of the Philippines that journey is, I mean, we think of it, oh, you landed in Port of San Francisco. Oh, your people went to Hawaiian Islands. Oh, you stayed in Jersey. Oh, no, this covers so much of it and the fact that she does get into the Delta into the heart of the state. I mean, that is, you can get the cords out and connect the Delta back to every Filipino family dead up, you know, in California, all of us, whether we are stocked in people or not, I'm a city mouse myself, Dylan, but we can still connect back to it. So core is it to our journey, to our diaspora and that, again, that's all in the book. It goes from the Philippines to the Hawaiian Islands to back to the mainland and to the, you know, not quite the fields, but to Stockton, which is a lot of our journey and that's just, it's, well, incredible. And in the fact that it is this young woman's voice and then I ask you, Valerie, that was that the thing that most intrigued? It's certainly the thing that's most intriguing to me about this project that the San Francisco girls course is doing is it's doing a voice that, I mean, they're a little bit older, but it's within their realm and it's fueled centered, focused on a young woman's journey. And what sparked it for you? Yo, yes, absolutely. It was exactly that. And Lily and thank you for, you know, giving this also idea of the immigration in general. Everything for me, the project was interesting also for the girls chorus because each of those girls could relate. And when you start asking them and it's interesting when Sean talked with them and started asking them, where is your grandmother's coming from? Right? So of course we are not all Filipinos, but it didn't matter because all of them were coming from another places. And just for them also to be able to articulate the strength and the power of the woman in their families, right? Me, I'm from Martinique. I can really see, so I'm an Islander too. I can totally relate to everything, you know, what it means when you leave the island to go to the big island with your culture, with your history and your tradition how do you have to handle that when you arrive in another place? And in this book, the strength of the character for me was important to show to those young women and you know, we're in San Francisco, some of them, they don't even know what happened before them, right? But some of them it's easy, you know, this life is easy and they're gonna have all kind of trouble. And this story is about this young woman who went through so many things. The way she relates and talk about everything, it's a little bit innocent, but at the same time, it's so mature at the same time, where you know, when she's sick and she's almost surrender and just accept that maybe she's gonna die, there is that. And then the recovery, how herself, by herself, she decide how she's gonna go back to life. And no doctor around, not even an adult around, she just take care of everything. She wants to learn everything. I mean, this young woman is so powerful. I want all of those girls to know about this story. It's so important. Amazing. What do you think, Valerie? Should we show a little bit of that? Yes. Now we'll take you on a totally different trip. So out of all of this history and this deep thinking and the connecting of the generations, this is an exploration that the San Francisco Girls' Course is doing of this chamber opera from Matthew Welch. And you'll see more than 20 of these singers doing this and they did this during Shelter in Place with a video by the great Joan Osato and you'll see these incredible musicians in here. But just to give you a taste that totally gets you out your brain and to see some young women in here, young women's voices. Dylan, maybe you recognize some of those photos that we stole from you. I mean, borrowed from you. You sense a theme here, my man? That was so beautiful. Again, that was just a creation that the Girls' Course did during Shelter in Place as they're developing this piece that's gonna premiere in June at Magic Theater here in San Francisco. So people interested in following that journey go to the Girls' Course or Magic Theater sites and you'll find out more of that. I love the imagery of the ocean and the water and what you were saying, Dr. Leigh Ann, about the journey continues. I couldn't help but remind you, I don't know how many vividly the beginning of Jessica Hagger and Great Book Ancestor of Love, they're sitting on the, they're standing at the edge of the boat, these fobs coming to the United States and generationally it just continues and continues and continues and to get to see it through the eyes of the young women is so, I mean, it's the only real canal to go through, man, for my money. So beautiful. Dr. Papa, one time, let everyone see what you're wearing on your, we need to see your shirt. You can't, there you go. That's what I'm talking about. The journey continues. Really great. So cool to break this thing open historically, culturally with all you people. And of course, people in the chat respond to stuff but also if you're seeking out more, a, people, City College of San Francisco is free thanks to people like Jane Kim and all our people getting education for free. So you need to open your minds up and take a class out there or go to the public library, go to the CA and then if you're looking for the journey, I mean, if there ever is a road trip to be taken, go to see what Dylan's talking about and Little Manila rising. And I think this has, this is your required reading, anyone required reading for culture, history and heart. Little Manila is in the heart. Dr. Don's great, great tone there. And also folks that, there's so much happening in this area in terms of education and women led. Get you to SF State, you know, Alison Kuvales is a she-ro out there. Get you to USF if you've got a little extra bread. Stuff going on out there or just get yourself down to Somo Pilipinas and get, we have a whole new garden on Mission Street. We're taking back our city, it's still our city. This is still ours people. So go to Kapua Gardens and go to all these places and get your mind and your spirit open. Do we? I only see one question in the box and that is when is the next community event on surrounding the book? That's great. Yeah, well, so you can find on our website, www.San FranciscoGirls.org website where you're gonna have the entire program of the book club. The next one is in January and it's gonna be at the Kapua Garden. That's gonna be in person. So we're gonna have also a singer, one or two singers also there and different panels. It's also a collaboration with the Archipelago Library. So it's gonna be a really fun, fun event. We also have another event, I think it's February or March, but you'll find that on the website in collaboration with the University of Hawaii. And this one's gonna be specific around the music and how the composer worked around this opera in parallel with the University of Hawaii. And then so we are still working on those different partnerships. I wanna say thank you of course to the San Francisco Public Library. Also thank you to Monica Kovit who is doing a wonderful job at the San Francisco Girls Chorus, reaching out to everybody. And this is just the kind of project that I love doing just who we start from one piece, important piece, but then we can generate so many collaborations and it's just so good. This is the way we're supposed to educate ourselves and this is how we're supposed also to talk about diversity and all the progress we wanna make is by reaching out to everybody. So yes, I hope I answered your question. And so just keep in mind, this program is gonna be presented in June at the Magic Theater and staged by Sean Sanjose. Yeah, and if people are looking for more cultural events, go to Somo, Philippinas, Bindelstift Studios, and Somo still keeps it holding it down all the time, Cople Gardens as we mentioned before. And if you wanna get it all, if you don't go to the library and you wanna own the books in a proper way, unlike what I did as a youngster, go to Archive of the Books, they have it all right there. And that's, if you wanna know what's going on, you're gonna be amazing with the Spanish words and I'm learning much from all of them. I put all those links in the chat box too, and that main, I'm gonna put it in there one more time. That main link has all the links that we talked about today and that we threw in the chat box. And definitely go to South of Market and check out what's happening today and tomorrow. There's so much, I'm so happy to be partnering with them. And I love also the ownership of your Filipino librarian. I love this so much Abe, I learned so much from you. I wanna thank you all for being here today and this continued partnership. And we look forward to our in-person event with the SF Girls Chorus and a performance. We are planning it, look for it and stay tuned for more events. Any final words, friends? Thank you. All right, everyone have a wonderful day. Thank you all and thank you Abe, Lillianne, Dylan and Sean and Valerie and Monica behind the scenes. Bye everyone.