 this century, and the version of this millennium. Getting my, working on my MFA when I was in school, there's all this wonderful stuff that you're exposed to. Of course none of it was Latino. But you're exposed to all this great stuff, the canon. And it's just so weird to be there and studying and doing it and thinking and doing such a kick-ass job and having people say, you're really good at that. And then getting out into the real world and only being called in for something that is Latino or it's just so frustrating. I describe it like I want it to be a furniture maker. I'm a craftsman and I go and I learn how to make these fancy headboards and then I get out and I'm only allowed to make drawer pulls. And it was so frustrating. I realized that when I go to big regional theaters, I still don't see me. I don't see our stories there. So to me, I wish we didn't need Latino theaters. I wish the theater could be like, oh yeah, everybody's story gets told. And until that happens, well then I guess I have to have a Latino theater company so that I can continue to get my stories out there. The stories of so many people whose stories aren't being told. We are writing all of this for ourselves. Everything that you identified from these four top priorities to all the various strategies will soon starting tomorrow become the commitment of the new formation of the Latino theater commons. That is what we have done all together here is articulate a vision and a framework and set a course and a direction for the Latino theater commons.