 All right, can I have everybody's attention, please? Now, hopefully, every group has already selected their top three choices for each category. And so we're going to start off with Mervin. And then we're going to go down the list. So thank you, thank you. No, come on, hush, stop, stop, stop, stop, stop. So among our three month goals are to establish, oh, my bad. OK, I'm sorry. I'll open up my bad, my bad. I'll work with it. Just help me be one with everyone. OK, a part of the three month goal, three month plan. OK, my bad. Mervin, I'm Mervin. He, him, his, Mervin. OK, I'll take my time. Just let me know. Three month objective is to establish a database of all aspects of the production process, directors, actors, designers, A to Z. Establishing a Facebook group, Deaf, DeafBlind, for professionals. OK, I'm still on duty. I'm still on task. There's more. OK, my bad. Establish a regional collaboration. Yes, we're good. Am I good? Oh, yes, regional collaborations. Once they're established to make sure that they maintain consistent communication and exchange of resources, yes, some. On to the next. In five years. Let me interject for one second. You can hold off on elaborating it. Just specify what it is. You're right, you're right. In five years, we want more Deaf, DeafBlind actors in our pool, several representing all categories, demographic categories. We also want professional development workshops, full catalog, fall topics. We want to pool funds together for DeafBlind, Deaf, DeafBlind access to support artists, actors, writers, directors, et cetera. And to have funds and resources for communication access, whether it be interpreters or what have you. And moving on, over here, in 50 years, we will have achieved a publication, an annual, no, not a publication event, an annual DeafBlind theatrical festival, fully inclusive of all theatrical approaches to the work, and to make sure that there's an array of diversity and representation, including varying disabilities at all levels of the process, including the administrative level. Hello, hi, hi, hello, everyone, all right? Much better, now that I have you. In three months, oh yes, by the way, I'm J.W. Guido, J.W. In three months, just as was said in some of the other groups, at least a minimum, at the minimum, we want a database established that includes like a shared Google Drive document. We also want to maintain ongoing discussion in a Facebook platform or social media platform, establishing other regional groups, at least, what, four, four or five regions? How many regions, four? So five, yeah, northeast region, southeast region, central, west, what have you, what are the regions? So central, west, respectively, all the regions. OK, so a system of sharing resources per region, yeah, to accomplish this in three months, yeah? And in five years, to create a creative toolkit for artists, creators, for also for deaf children, specifically, to have a hub of information not that doesn't only speak to deaf artists and deaf actors, but an array of interests. To also continue to have ongoing workshops or sessions or seminars like this, so that we can produce something, a tangible asset of our work, not just have workshops internally, but actually produce something, and that's pretty good. And to actually do this in concert with a workshop, to actually have something in tandem with this kind of experience. Again, at a minimum, in 50 years. This better? OK, in 50 years, to have an all-inclusive in theater barrier-free, we want to have a festival similar to some other language-based festivals in which you'll have a large catalog of different genres of theater that are ASL-based, of deaf by deaf. Also, we want to be able to identify the pool of deaf artists where they are. So those are our three. EJ, EJ, EJ, hi everyone, hello. Oh yes, I'm EJ. And yes, in three months, there are cultures, many, many cultures. We're not talking about one culture. We want a culture of directors, a cultural family of directors. Now hold on, y'all can help me if you need to. One culture for directors, one culture or community for cast in three months to develop those per discipline in the theater, have different cultural cohorts. Also additional workshop training for leadership, leadership and learning, so we need more of that. And we need apps, you know, apps to create accessibility for deaf, deaf blind folks as well. What else did I forget? Theater training, thank you, theater training, experimental theater training, those kind of workshops. And to do all that in three months. Okay, yeah, did I get it? In five years, yes. To have a deaf theater festival in five years. And hopefully to have two, maybe three Broadway productions, including or representative of deaf artists or deaf actors. Also to have holograms on stage, little VR, a little virtual reality on stage, have everybody in there with their Google glasses, maybe you don't even have to go to the theater, you can stay at home and be immersed in an interactive experience, VR, go figure. So we also want more diversity in theaters, diversity of deaf theaters. But wasn't there one more? No, I'm done, I'm done, good. Oh no, I'm not, 50 years from now. We already covered that, didn't we? No, but what was this here? Yeah, Robert. In 50 years, yeah, Robert had that. So essentially in past the three months of experimental theater, we want to go to a place of creating a space or venues in which connection can happen in which there is no longer a fourth wall but a communal theatrical space that's accessible for deaf blind individuals with the addition of media included in the theatrical experience. So what we're doing is re-envisioning or recreating how we have that theatrical experience, not necessarily separated from the stage. And using that kind of technology, whether it's a hologram notion or something otherwise, the idea is to reframe the stage, just do something a bit magical. And by the time that we get there, maybe holograms will be something that's just gonna be a household item. And that theater will be a lot more ubiquitous. There will be different theatrical spaces that are not the kind of convention that we see right now in which protactile is the norm so that everyone has this opportunity to realize the world that we live in, in terms of theater. So again, we're kind of moving away from the stage and not being confined to the stage but really actually deconstructing that old, dead idea and reinventing a real here. I think we're actually coining a term where everyone is actually in the space, that the audience becomes the theatrical experience and the stage is something different. So the term that we're coining is real theater. So we won't need to have these accessories, these access providers, apps, sign language interpreters. Those things will be a thing of the past. I'm Joey Cavallar, Cavalli. And our three month vision. I think I mostly, we had everything that everybody else had mentioned. A database for sure, with different artists involved in that. We know that we already have a database. You know, Ty has been working on that database for quite some time now. And Rachel, do you mind sharing about that, Richard? Okay, because I know Richard's been working on that database as well, when bringing in different artists. And by the end of the weekend, we're gonna be sharing that information with all of you here in terms of access to that database. So three months from now, that's gonna be shared pretty much with the directors, with the people out there in the theater. Not just a list of the deaf talent, but also deaf blind talent. And also a list of the potential hearing people who know sign language as well. And by the way, if you know, you know, a role that you're working with a deaf individual or something like that, and it kind of saves a lot of time trying to look for someone and training somebody, or training a new person, you'll have all these resources available at your fingertips. So now, in the next five years, we're envisioning perhaps a National Deaf and Deaf Blind Theater Festival, where everyone gets together quite often to showcase a degree program, VFA, where people can attend colleges and stuff to see these performances. An artist group, a foundation to set up a natural foundation in which this foundation would look like, would be that basically they would be delegated to look for sources of income, money to provide for actors, work, services, the money would really be readily available. So we have one that should have been like 50 years, but we wanna move it down to five years. So that this way it would be a deaf-deaf blind coalition of people who would pursue more work and developing more work for more deaf artists. And I wanna make sure that the camera's on me as I move to 50 years later, now 50 years into the future. What was our 50 year, what were the three most important, theater space throughout America? Yes, physical theater space throughout America in all these various regions, more and more all over across the United States. And maybe perhaps in foreign countries as well. Well, thank you.