 Alrighty. Welcome, everybody. I'm Shauna Sherman, librarian and manager for the African American Center here at the San Francisco Public Library. We are honored, grateful and humbled today to host Quincy Troop in conversation with Danny Glover and Terry McMillan with featured guest artist Mildred Howard and musicians Will Calhoun and JD Perron. We are here in celebration of Quincy's new book, Dwenday, 1960 poems 1966 through now published by Seven Stories Press. As we settle in, I'd have just a few announcements before we begin. The San Francisco Public Library acknowledges that we occupy the unceded ancestral homeland of the Ramaytu Sholoni peoples 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 reaffirm their sovereign rights as first peoples and wish to pay our respects to the ancestors, elders and relatives of the Ramaytu community. And like the San Francisco African American Reparations Advisory Committee, the African American Center also honors the gifts, resilience, and sacrifices of our Black ancestors, particularly those who toiled the land and built the institutions that established this country's wealth and freedom, despite never being compensated nor fully realizing their own sovereignty. We acknowledge this exploitation of not only our labor, but of our humanity and are working to repair some of the harms done by the public and private sectors because of their work we are here. And as descendants, we are invested in their legacy. Happy Black History Month everybody, which we call more than a month at SFPL because we celebrate Black excellence all year round. But it's extra special this February as we offer programs that tie into the national theme of health and wellness. Our events this year are embodied in the wonderful original art produced by Tiffany Conway, which you see here. Before we get started, I'll highlight just a few programs that we have coming up. On the same page book selection this month is Yoke by Jessamyn Stanley. Participate in the virtual book discussion on Monday the 14th and join the virtual conversation with the author on February 22 at 7pm, and all these times are Pacific standard time. On Saturday at 2pm I'm excited to host the virtual journaling workshop with Dr. Ifetayo Otolade who will guide us through healing prompts using stories of the Orisha focusing on Oshun, the Yoruba deity of freshwater. In the African American Center in person on Wednesdays in February at noon, meditate with the disability rights activist and contributor to the Netflix documentary Crip Camp Dennis Billups. And February 20th if you're in town, come on over to the African American Center which is located in the main library and get artsy. Practice free form crochet with Ramakhan O.R. Wisters who will teach you one stitch and then let you follow your spirit. Supplies are provided. And this month and beyond we are also proud to offer the Black Excellence bookmark at all San Francisco Public Library locations in partnership with the Reverend Dr. Carolyn Ransom Scott and the Human Rights Commission. The bookmark lists black inventors and many inventions we still use today in our daily lives and is accompanied by programs and an exhibit at the African American Center. This is only a fraction of what will be happening at the library for more than a month. You can always find more information on our programs at sfpl.org. If you think you've missed something check out our YouTube page. And for more information on the African American Center will put the link to our newsletter, sign up in the chat. It goes without saying that we must thank our friends who make all our programming possible. Thank you to the friends of the San Francisco Public Library. And thank you to to all of our bookselling partners in this program, the Museum of the African diaspora in San Francisco, Marcus Books in Oakland and Hugh Mann bookstore in New York City. Find links to all these booksellers in the chat and get the book because it's awesome. And now on to our show. As I mentioned earlier, we are honored here today to celebrate more than 50 years of poetry by Quincy troop with friends Danny Glover and Terry McMillan featured guests artists and friend Mildred Howard and musicians will Calhoun and JD Perron. Our host for this conversation is the wonderful Dr. Kim McMillan Kim is a producer playwright and contributor to the recent anthology some other blues new perspectives on a Mary Baraka. She is also editor of the upcoming anthology black fire this time, which is out in March and includes authors such as Nikki Giovanni, Sonya Sanchez, Ishmael read Quincy and market troop and many more. Please join me in welcoming Kim McMillan. Thank you. Kim you're muted. My apologies. And I want to say thank you for everyone who's here today to have what I feel is a really this event is really about community. And it's exemplified in people like Danny Glover and Terry McMillan and of course Quincy troop, and this wonderful library I'm so appreciative of the work they do in the community, and to make sure that we know what's happening with regards to new books coming out, such as Quincy's Dwinday. This book is just marvelous. It encompasses this wonderful work by by Quincy that goes all the way back to 1966 and to now. And by the way, I, I, I want to welcome our audience to this because we wouldn't be able to be here without them. We wouldn't be able to be here without you. And I want to also thank the library for allowing this to happen. Now we're calling Quincy, the poet of the deep song and Quincy before even go into direct into further. Why did what what is that title from the poet of the deep song I love it but I've been curious about that. Oh Quincy are you unmuted. Yes. Okay, what is the poet of the deep song. Well, I'll keep on and we'll go back over that question. Anyway, Quincy troop is a poet of the deep song is joining conversation by two lifelong friends, actor Danny Glover and bestselling author, Terry McMillan, I am honored to moderate this virtual program, which celebrates the release of troops new collected Wednesday poems 1966 to now. It's a gathering of more than 50 years, which is just just remarkable of evocative lyrical poems. And I'm just ecstatic that we have the opportunity to to showcase his work. The program also honors troops years of collaborations with visual artists and featured guest. Mildred Howard will come home and JD parent. Quincy. I'm going to go into all that he's about but it's just it's so much I'm only giving a portion of it. Quincy is an award winning poet who wrote the definitive biography of Miles Davis. Miles the autobiography, the Chris Gardner biography, the pursuit of happiness and the memoir Miles and me that's soon going to be a major motion picture. Author, he's author of 20 books he conducted the last interview with James Baldwin, which was published as James Baldwin, the last interview and other conversations troops work has been translated into 30 languages. In his recent book of poetry, Duende poems 1966 to now, from seven stories press came out in January of this year, and Duende he conjures long rhythmic lines cadences that reflect the jazz music he so adores, or look back at haunted. A lot to this of slavery of racism of remembering, and also remembering fellow poets musicians and artists, what's remarkable about his work as a consistency. The energy and the focus on the here and now, because I when I went through the book I was, I marveled at the fact that he, he even has poems written about Trump. Hmm, this might be a first I don't know. Anyway, I can anyone tell me if Danny Glover has is here yet. Well, we will we will we're looking forward to speaking with him. And as you all probably know, Danny is an award winning actor, producer, humanitarian with the career that spans more than 30 years from the blockbuster lethal weapon franchise and film to hit shows, such as er lever has portrayed a myriad of popular roles and has distinguished distinguish himself as one of his generation's most consummate actors. His performances in classics like the color purple witness and places in the heart have not only showcased his talent and versatility, but have also brought him critical and popular claim. He's been honored by the NAACP, BT and SAG, and he received several Emmy nominations for his work, and the television hit Lonesome Dove. Now Terry, I, this is just me. I'm not sure I know a single black woman who has not read something by Terry. She is the acclaimed author of the New York Times bestseller mama, which won the double day new voices in fiction award in 1986, and an American book award from the before Columbus Foundation in 1987. It melon signature humor, wisdom and warmth made waiting to excel, excel a day late in a dollar short, I love that title, the interruption of everything how Stella got her groove back, getting to happy disappearing acts, who asked you, and I almost forgot about you. The New York Times bestsellers, waiting to excel and exhale and how Stella got her groove back, were made into award winning major motion pictures that proved huge. And that's an understatement at the box office. The disappearing act in a day late and a dollar short were adapted into successful television movies. MacMillan received an Essence Lifetime Achievement Award in 2008. Beloved by her fans, her books have sold millions of copies worldwide. I, you're just marvelous. That's all I can say. I had the pleasure of Terry of actually seeing you speak. And it was, it was, it was, I love the passion you bring to your work and to your everyday life. Thank you. Oh, sure. Now, as this, this is a gathering of friends. So I, my first question is going to be, how did you meet Quincy? All right. Oh, hi, Danny. Both of you. How did you both meet Quincy? Can I say something first? Sure. I texted. I test texted Mars, Margaret this morning and said, I can't remember how I met Quincy. She said, don't worry, he won't either. I thought, but what I thought was Quincy, don't you remember maybe in Berkeley, Oakland, was it the rainbow something? It used to be a church. Didn't you read poetry there? Yes, I did. Yeah, I did. That was some part of my memory still here. That's where, that's where it was. Oh, great. I can remember something. Hi, Danny. Hi, Danny. What about you? When did you meet Quincy? Or remember meeting Quincy? I don't remember when I meet scoundrels, you know. I met Quincy through Clyde Taylor. Oh, yeah. I met Quincy. I remember when, I think the first time I met Quincy was when he came out to read it at Clyde's place long time ago, when he was at, when he was living in San Francisco on Fulton Street. And he came out there to read. And I think it's the first time that I remember meeting Quincy, but when I came back to New York in 1979, Quincy to do off Broadway placed the blood on off Broadway. Quincy was there. He helped me around. And that's when we still, when our friendship began to blossom there. You remember that Quincy? Yeah, I remember. I remember, yeah. Yeah, when we, when we, when you out there and then it was, and that's what it would get really spent a lot of time together. When I first came to New York 1979-1980. I don't remember our friendship blossoming. Huh? You don't remember what? I don't remember our friendship blossoming with Quincy. I think we just were friends. And we just, you know, outside of Clyde, we just knew so many people, the same people, you know, we're the same kind of Negroes, you know, so. Quincy told me that he knew you both before you had fame. You were just friends. And so I, that's some of the best types of friendships. And I just wondered, what do you think created the lasting bond? Was it the work? Was it just knowing the same people? Because you've, you've been all been friends for over 40 years. Yeah. I didn't mean to say 40. I meant 20. No. 40 is about right. 40 is about right. First of all, we're July 22nd. Yeah, we know how to say that. Same day. That's the first thing. That's connected us all. You know, the whole special group of brothers and sisters that were born on, on the July 22nd of respective years, you know, and, and certainly we always have that so we have a common bond there. And, you know, we, I think, I think, I don't know, for me, I can say this, that unless he, you know, a bit of myself in Quincy, you know, and, and me and a bit of Quincy and me, you know what I'm saying? Is that right? I think that's right. Yeah. On KPFA yesterday, Quincy said that when you spoke to him, you asked him what his sign was. And he said in New York, they didn't do that, but that's how you really discovered that you had the same birthday. Yeah. And I will say, as a Californian, yes, we do ask each other what their sign is. That's just a part of who we are, you know, but I thought that was really, I don't know, the idea that discovering something like that, a shock when you meet someone and they have that connection like that. But Terry and Danny, how would you describe Quincy? If you were going to use some words, what would you say, okay, this is Quincy, you know, this is who he is. We believe. I think he's, I don't know, I think he can see through things. And he, he, he, he shouts, but it's not loud. And what he sees, he can see around corners, he can see through things. And I think what I really love about him is his use of language, which is very hard. I don't know where he got all these words from, because I can, I can pick up a page and read a poem and I have to get my thesaurus. You know, and I mean, I had a Google twin day, I was like, what does that mean when I first heard it? And I think, you know, I mean, as a fiction writer, I use words, but not the way a poet does and not the way someone like Quincy does. It's they are, they dance, the songs dance and they cry and they moan and they scream and they get all of it. I don't know how he does it. And, and you get a clear emotional image, I mean, feeling and an image at the same time. And that is very hard to do. I don't know how he does it. You know, you know, a lot of people you meet, you know, that sometimes they want to show you just how smart they are. They're not really as smart as they are. But Quincy is not like that. If you just like somebody that you know, you know, my dad, my dad love Quincy, man, because he know it was a kind of, he can connect with it with my dad, man. And Quincy, man. And this is something about maybe maybe that's what they're both on the Midwest. And there's a certain kind of place and they blues jazz cast man, and it is something about about that you know what I'm saying. And he'll tell you man. I'll punch that mother out of the mess with me. Well, you know what I want to say, I want to say to that when I first started hearing Quincy read first of all he's tall. And, you know, it's like he just stipulates and he uses his body to reflect what he's saying. And any any any and it's natural it's not like it's a show he's putting on. And I mean I have heard him read sometimes scared the daylights out of me. Um, and, you know, I don't I don't I'll put it this way I have read my share of poetry and by by African American writers but the thing that I don't I don't I don't I don't know how he uses language. Like a fiction writer and a poet, and I don't know it's almost like biblical in a way. And some of it scares you and some of it makes you just cry and I just say how in the hell does he do this. I don't know. And plus it doesn't feel like it's studied like, like he just spent a whole lot of time it just feel it doesn't, it doesn't read because I tried reading some of it. And I, I don't know how every is hard to do, and I give him a whole lot of credit, not because But seriously, it's it's, and you have people that write poetry that it's almost like masturbating I know that's a terrible thing to say but Quincy's work isn't like that. It's it's like it grows and it blossoms and it screams and it yeah I mean it does all of that. And sometimes on the same page and you know that's why I can't read more than one or two pages. I can't. I can't and that is hard to do. Quincy would you mind reading the dwindle. I, because I think, and also telling us a story of why you chose that title. Okay, sure. Garcia Laca has this book called in search of dwindle. And, you know, I was always a big Garcia Laca, Federico Garcia Laca, the Spanish port. I was always the big fan of his. I loved his poetry, you know I just love his poetry. And then one day I picked up this book. I don't know who told me they said you read the darkest book called in search of dwindle. And I said no I haven't read that. And they said we ought to get it if you can. And so I went on about this book. And, and there's a whole whole section in here called the play and theory of the dwindle, the play and the theory of the dwindle. And in it he says, he's talking about, he's talking about Spanish, Spanish singers and all that who have power, and those who don't have power. You know, the bullfighters, he started comparing the singers to the bullfighters and the bullfighters because in Spain bullfighters are really big and everybody's into the fighting of the bulls. And then he starts to call him, he's talks about the dwindle and he says he talks about these gypsy dancers. And in here he says this I'm going to read it. He says, he said, all that has black sounds has dwindle. And there is no greater truth on earth. I said, whoa, that's deep, you know, then he says, these black sounds of a mystery. The roots fastened in the mire that we all know and all ignore the fertile silk that gives us the very substance of art. Then he says, quote unquote, black sounds said that man of the Spanish people concerned concerning with God who declined the dwindle while speaking of Paganini. A mysterious power, which everyone senses and no philosopher explains. Then he goes on the same and I'll be through he says, the dwindle then is a power, not a work. It is a struggle, not a thought. I have heard an old maestro of the guitar say quote, the dwindle is not in the throat. The dwindle climbs up inside you from the souls of the feet, meaning this. It is not a question of ability, but a true living style of bread of the most ancient culture of spontaneous creation. When I read that I was hooked, you know what I mean I said, what is this, you know, what is this is like, it's like the blues, you know it's like the blues is like those old blues players in the south. I grew up with the blues in St. Louis, Missouri, I grew up listening to the blues down on the corner in St. Louis, I grew up listening to jazz in St. Louis. And so when he was talking about dwindle, I was thinking about the blues. I was thinking about the blues that I heard my stepfather play and all those people that I heard growing up. And so that's what hooked me on dwindle. And so when I thought when I was writing this book, I wrote this poem called dwindle. And, and, and I wrote this promise called dwindle and I'm going to read it right now. It's in the bottomless power, magic of dwindle, climbing steadily from earth, wrapped inside secrets, mystery infused in black magic that enters bodies in the form of music, art poetry in viewing language with sovereignty in blood spilling back through violent centuries, voices echoing ancient Africa, rise, thread now from skins of blessed sacred rituals. People emerge from drums as heartbeats in time where memory is revived here now through metaphor. When old voices find their way, vibrating into song, rhythm stitch forgotten sounds into language beat out of them by whips on slave ships, bring back wonder of feet pounding, dance the holy ghost lost in bloody homelands. Now, souls underneath, wires up through bodies, sprue back with talismans, hypnotic, poor ancient boomerub in buckets filled with holy water. I wrote memories drinking from who done it, who done it secrets awakened in poetry of Garcia Larker and the Lusian do's heard in Miles Davis's clues, vibrating a new in sketches of Spain, a Dante blues. I wrote that poem, and that's where that whole book comes out of that, you know, that book comes out of that this new book comes out of that poem, you know, out of that poem. And so, you know, and Miles Davis was one of my big heroes. I grew up listening to him he was from East St. Louis, Illinois, and I got to know him really well later, and I listened to him all my life and I never thought I'd get to meet him. Of course, I never got to meet Garcia Larker because he was dead, he was assassinated. And so that's where that poem comes out of. And, and for me, it was akin to what African American people in this country have gone through. The same thing, the kind of blues, that kind of whole kind of culture, you know, so that's where that poem comes out of. And then the book, Dwendee, the book grows out of that. You know, how do you, I mean, they were so beautiful. You know, I made it. Us of us, those of us, us of us, I'm going to use my real language. We can only dream about dreaming about something like that, you know. And making it, and using the words that opened the space up in you, and that's what Quincy does, he opens that space up with you. Not only, not only in it, you can read something that he's read, something else that he written a narrative or something like that. And he opens his face up. It seems as if there's something much deeper in what, how he sees the picture itself. How he translates that, and it helps you in a sense, in some sense, it makes you feel beautiful, that you can even listen to it and hear it, and, and, and embrace it as well. Thank you. You know, a poem like that is so dense for me. It's, it's, it's like it scares me and breaks my heart and makes me wonder and all of it. And that's why I read poetry. When I hear it is one thing, but when I read it, I read it very slowly. And I didn't know what Dwendee meant so I Googled it to see. And it said that it was a noun and it's the quality of passion and inspiration and a supernatural being or spirit resembling a pics or something. And, you know, I like, I like to read poetry, and I love the way Quincy reads it. But like what I read is not what I just heard. You know, and that's the beauty of it and the power of it. Yeah. But, and some of these, I mean, I put it this way a lot of the poems in this book. I mean, I have my little, these little things, but I can only read one poem and then I got to let it sit. Because it's like it being on a stove and you, you know, the steam is coming out and you got to you got to hear it, feel it, see it, all of it. And that's, that's why I don't write poetry. But you know, Terry, you and Danny have something similar to Quincy. When I see Danny on stage or at in the movie theater, and the character that he's played, you're like, oh my God, because the feeling places of the hearts, the feeling that comes off of those performances is so intense. And when I read something like waking, waiting to exhale, the feeling and the character, there are certain iconic parts of your writing. When the woman burns all the males in the movie, burns all of his clothes and sets the car on fire. It's like, there's just, that is passion. Yeah, but I would never do that. You wrote it and it's. I would never do it. I've never done it. My mama did it, but I wouldn't do it. No. But what you all have in common to me is you approach your work with passion, and it comes out in the work. And that maybe that's something that is unites you. You know, that feeling of I want to express in a way that is from my heart. And it's very much visible, even if your mama wrote it. I think it has to do also with respect. You know, I remember I met Danny a long, long time ago, and I just respected him. It was something very powerful about him that he emitted a motive, whatever it is. And Quincy scared me at first because he was like, he could just express what he wanted to say. And, I mean, and it like that. And I was like, you know, where does he get this power. And plus he's tall, he and Danny both are very tall. And it's like, I mean, I always loved Danny's voice when he spoke is like you just wanted to hear what he had to say. And it was like a melody almost. And Quincy was like a drum beat. And I was like, oh, but you listened. And I respect that. Yeah, definitely, definitely. I wanted to say one thing about Danny to see me talk about Terry. But somebody said to me one day, that was, I think when he just did this movie, I don't know if it was lethal weapon, I don't know what it was. There's no weapons on TV right now. And somebody said, somebody said to me, up. Somebody told me that you, you know, you know Danny Glover. I said, I do I said, as a matter of fact, we born on the same day. He said, and we good friends he says, is he is he really like, is he really like he appears on the screen. And I said, what do you mean? He's an actor, man. He's an actor. He said, we scared the shit out of me. He's scared. He scared me. He scared me to death. He scared me to death and one of them rose. I mean, he just scared me that he said, he said, and reason I say that, because I got on the elevator with him one day. I start trembling. I start trembling. I start trembling. And when he got off, he would say some such a nice guy but I was scared to death. I was scared that that was in grand court. The guy said, well, he's scared me to death. He's scared to death. I said, that's because he, he was so great in his role. He was so great in the role. He was so great in the role. And that's what actors are supposed to do. They supposed to transform themselves on and on screen on stage, and they become something else. You know, I always admired that about certain great actors and Danny is a great actor. He is a great actor. He's a fabulous great actor, you know, but he's not I was trying to tell him, but he's not like that man. He's not like he's not like what you what you thought he's not he's not he's he's an actor, you know, he's an actor. Like, I can write some things on in poetry. And I don't mean I'm like that, you know, I'm out to kill you. You know, I'm out to kill you. Burn up anybody's car or anything like that. I'm happy to know that. You know, you write about human behavior in such a way that there are things that you hope no one ever does, or you try to explain it and understand it. And a lot of it doesn't make sense, but there are a lot of things that do make sense. And that's what I think we do as artists. We try to show good behavior bad behavior what is inside someone's heart their head and and what people can hopefully identify with and say you know what, that really is not cool that's not how I really feel that's not what I want to do that's not how I think, but the bottom line is sometimes until you hear someone say it read it or whatever you don't some people don't go there they don't question their hearts. Until they realize that they read something that is a reflection of it. And Danny you do it on the screen. Quincy you do it on the page and do it to do it too. Well, I just, I'm a good liar on the page. That's the difference. I can make a whole lot of stuff up stuff stuff I wouldn't even dream of doing some things I wish I could do. For me, in some ways when I think about coincidences, he's been connected to to the most iconic man of the 20th century, Bob Davis and James Baldwin. You know, I had when I read the fire next time I was about 17 years old. And I wasn't a reader, you know what I'm saying whatever the fire next time that I fell in love with James Baldwin, you know what I'm saying. And to be able to be able to take and have that and help us help nourish us through your own view and your own relationship is one been one of the. One of the great moments in my life man, you know, Baldwin, and the other person was my favorite. You know, and it's a, you know, and I think a lot of for when when I think about the, the humility in Baldwin's writing beauty. And I mean, it's sometimes it's sometimes, and I remember when I read the fire next time 17. Sometimes it makes you cry make me cry when I, when I, when I read that for some reason, you know, and I'm not a reader. I'm not a real reader reader reader, you know, I try to be, you know, I try to hang out with readers and everything else but but I'm not a real reader but I mean that have. I mean, have that and this and have them. You try them translating through you you're translating them so it's something that makes sense. Yeah, yeah, yeah. You know, you know, what I'm curious about is, you all three have made it to the pinnacle of success in your careers. Was there a moment in each of your lives when you thought. Oh my God, I've made it. This is it. I really have gotten to a point where I can say, thank you. Thank you. Thank you. Was there a point that you remember that you realize that you really did make it as an artist you really are. I don't think we think that way. Do we really? I never thought that way. Oh my goodness. It's not a goal. It's not a goal. It's not a goal. So not with what we do. I don't think so what. No, no, not none of you have thought that this is a point in my life where I'm really know that I have made it that that my work. What made it. Well, I would say. Okay, I would say. There's so many writers. I work with so many writers and they say if one of my books could just be a bestseller, if one of if I could be seen, if I could be heard. And Terry, that may seem strange, but that's what a lot of writers feel that they're not always heard. The other thing I can relate to that too is that having a baby and fraying that is healthy and somewhat cute. But other than that, no, I mean, what, how do you measure success. And most of that's not why we do what we do. And Danny as an actor that's, that's art. Yeah. Would you say, would you say, I said paycheck. What did he just say. Oh, he, yeah. Yeah. I was trying to get these phones. I mean, I don't know. This is a lifetime. I mean, I don't know what you went through to write all these fun. I have. I mean, it's so dense. It's like to see the world to see people in so many ways and to see to look at the world the way you see it Quincy. It's like, I'm surprised you're saying I don't mean that to be facetious. I mean, it's like to be able to see under and around and through and on top of and underneath so many things and what the way that you are able to describe things and I'm saying to myself, was he even a hamburger when he wrote this, or, I mean, you know, like, I mean, it's like, what, where were you hot what happened. And sometimes it's in the palm, but I like to know what the push was, you know, and that's why this book is like, you know, I'm just really, it's, it's, it's amazing to me, where you've been. And this book is a real good testament to what you see how you saw and how you felt, how you see us and how you dance and how you cry and all of it. And how you sing and I don't know how in the hell you did it. I just want to say, you know, this pain behind me. I want it. No. It's by he's born on the same day as Danny and I and will Calhoun, a spendable gazian. And painter, he's Ethiopian pain who's dead now. And one day we were walking into I was he came up from he taught at Howard, and he came up to came up we got to be friends down there, and he came up to visit me in New York. And so we, we were riding the subway to go someplace. And so we're on the subway. And he says, look, Quincy Quincy Quincy. I said, what, he said, look, look down there. And I looked down at the tracks in the subway. He said, that's a painting. That's a painting. I'm looking at the, I'm looking at the. I'm talking about a painting, you know, and you say, look at that. Look at that. Look at that pool. Look at that. Look at that all slick that all six. See those colors going through it. See those colors going through it. He taught me how to see. He taught me how to see because from then on, I never looked at things the same way. I just, yeah, yeah, I never did because he saw in that all slick a painting, you know, I would have never saw that I would have never saw it. And so from that point on, my eyes opened up. I write now, like painters, like painters paint, you know, I'm trying to put these colors in these images on the page, you know, in a pond, not in prose so much, but in poetry, I'm trying. I'm trying to make these colors jump off, you know, and colors and rhythms and all that, like he used to see when we would walk on the streets and he said, see, did you hear that sound. Did you hear that sound. Did you hear that sound. So that was like what musicians here, you know, they hear the car sounds, they hear the horns, you know, he teaches you how to hear differently. And I think to in order to write poetry, really, I mean to write poetry, you got to, you have to be able to hear sounds, you got to be able to see colors. And you got to be able to hear language and be able to manipulate language and hopefully make paintings and colors out of all that you know me and be a musician on the page. Yeah, yeah, musician on the page. Quincy one of the people attending this said that you're reading dwindy was like a talking drum. The comments and I love the comments people are making. But one was Terry you're incredibly entertaining. You know, people are really and I appreciate that that they are. We have such an appreciative audience that's beautiful. Would you consider reading another poem. Sure, let me see. You know what I'm going to read a poem that's kind of different. This poem is for Danny Glover. Miltred Howard Joe Rudolph who was dead and water. And it's called shades of blue for blue bridge. And it was. It was inspired because of a bridge that milked it. And it's in these parts. It's different from the last one. Three shades of blue evoke many's can do so shalls your water. Jimbo's box city. John Lee's boom boom room. History riffing blue matzah balls fried chicken so far. The cookie club inside J town. Bow rebels jamming crossed from black town. Grits barbecue. Cherry blossom blooming in Lady day's hair greens and fat back sashimi staining kimonos. Walking feel more chasing get crossing Gary with Duke street cars running over those tracks take feet in vinegar. Indigo blue and white red satin sticky fingers handling chopsticks hot corn bread sweet potato pie. He's brought back in a blue mirror to the filter fish kimchi locks and bagels. Fill more auditorium jamming beneath miles of blue bird month. He might be my chi a fake dividing line. Mixing it all up. This cultural jambalaya stew about you. White linen silk cold train music the glue singing new images of multi you wrapping in the sweet blue air. I was a poem I wrote in just being in San Francisco. I always wanted to write something about San Francisco. You know what I mean. And walking around walking around with Danny and everybody else. And I wrote down all these notes. I wrote on all these notes and I know I couldn't do it. And, you know, like in some kind of definitive. So I did it in those kind of sketches. Those little bursts of sound that I heard and colors and all that. So that's what that's what that poem was about. It's different from Duende, but it's, you know, that's what that's what we do, you know. And did you eat afterwards. Oh, yeah. I eat every time I go to San Francisco. Yes. Yes. I mean, boom boom room fried chicken grits barbecue green sashimi film work, you know, street crossing cold train white linen pig feet and vinegar images. There've been several people that have asked for specific poems. Would you consider, would you consider reading one more. One more. Yeah. Okay. Of goals. I've, we've been asked for a ghost voices chorus song of crossing the big salt water. Yeah. Would I go ahead. Would you consider reading either one of those. I have to find it. And it knows it. Those voices is on page 487. Oh, thank you so much. 487. 487. Yes. Okay. 487. 487. There's the Oh, yeah. That's that's from the whole book. I got to find it. Well, I could read anything you want. You don't have to read that. Tell me which one you want. Okay, the rival of both voices are first take a which one. That's from a book. See. Well, what about the one dose voices whispering from the near past is on 513. Okay, 513. 513. Okay. Okay. What about ghosts? Ghost voices whispering from the near past. They call from the near past whispering. Seducing through ether. They call fragmented disembodied. Their meaning climbing from silence. Shapes emerge transparent. They take a form to enter. Silhouettes looking like amoebas. They float into our vision blooming flowers. Grasses whispering at the edge of our ears. Which which which poem is that. 513, 513 ghost voices very strong. The imagery is just beautiful. That comes from a whole, that's a whole little book ghost voices. Yeah. You know, we only have about four or five minutes left before we actually have the videos that show the art and the music of JD, a parent and will Calhoun. So in that time period, if you all have some statements you just want to say about. Can I read a poem? I want to read a little one. Sure. The old black man walking. Oh, yeah. Yeah. The old black man walking Montabello road swinging a rusted machete seems angry as he chops off heads of flowers. Perhaps he's thinking this floor represents heads of French government officials. He sees pressing him black bourgeois stand stand ends on this on the island for the long machiavellian and arm of France. Perhaps he is just a simmering image of anger. Now, at everything surrounding him he can't control in this new world of computers globalization, where he doesn't fit it. Who knows what triggers the wise and where force, the fire igniting a fuse. Yeah. Yeah. Nice. That's nice. That was in Guadalupe. Yeah, well you were recently in Mexico. I can't wait to see what you wrote there. I wasn't it where I wasn't invited. But that was in Guadalupe and this old man are never enough to get that. There's an image. I know him. You know what I mean? I see a woman in the water. I see a woman in the Caribbean Sea. She is walking off the beach of a snake and she is walking with curlers in her nappy hair pink that a straw had on top of a crown. She is black walking through the sea the sun is high and the water is blue. She is humming a beautiful tune. She is clear like green to its sandy bottom. As some cats eyes are green, some striking woman. The water is warm as a fresh dawn bath. The woman's tune is so beautiful. I want to know the meaning. I want to know the meaning. I want to know the meaning. I want to know the words married to the rhythm. There isn't inside the song of feeling of joy. I hear in her deep voice walking through the sea there. We're in a red dress. Those of a striking woman all the way down to the sandy bottom. That's cool. That's the first time I've read folks of a pussy poetry while he's listening. Wonderful what he sees. Very sensual. Wonderful what he sees. People that don't read poetry should read poetry. They don't know what they're missing. They don't know what they're missing. There was also a comment that a teacher was going to tell her students that at 17 Danny read the fire next time. Hopefully that would get some young people to start reading. That would be wonderful. We're going to change directions now and go into the videos. The first one is JD parents. While that's being set up, let me give you some of the background of JD. Quincy, Terry and Danny, it's just been a pleasure. I would say this is awesome in my field of awesome. This is right at the top. JD parent and American multi woodwind player educator and composer specializing in jazz and free improvised music. He plays a soprano, alto, tenor, baritone and bass saxophone as well as the E flat clarinet, alto clarinet, bass clarinet, contra alto clarinet. My goodness, this gentleman plays everything. The Native American flute bamboo saxophone and he's just amazing. And we have a video. I don't know, JD are you here? So I guess not. So we're going to hear this right now. Yeah. And we're going to go to the end of the video. We're going to hear you on this one. I want to hear you on this one. There he is. Oh, you're here. How beautiful. Are you doing this? And it's been really, decades and decades. With you and. I can't hear. I saw recently at the will McGinnig's gallery. At the.出ing. Exhibition. ago you told me JD I know all these painters you know because I buy art. Well Quincy hired me I know that to play music with on literary programs and some of the greatest things that I've done with very illustrious people and certainly it has been really great to have Quincy in our cultural life in St. Louis, New York and beyond. So I want to do my little piece for him today the so-called blues. It's incredible. Thank you brother. Our next video is of Will Calhoun. He's a graduate of the Berkeley College of Music where he received his degree in recording and engineering. A two-time Grammy winner with a genre-bending rock band Living Color. He has produced Herb Albert, Most Deaf. He's worked with Mick Jagger, Harabelle Fonte, Beebe King, Farrell Saunders, Wayne Shorter. He's worked with everyone and just an amazing artist. Just a really amazing artist. Let's get to the truth. I love it. Yeah. This poem has holds this into it as our speech which created poetry in the first place lacerated wounded words that strike out original meaning, bleeding into language, hemorrhaging out of thick or thin mouths, has empty spaces and silences sewn into it. My poems have holds sewn into them. Yes, I think I'm here. Oh, okay. Yes. You want to talk something about the beautiful? Thank you. How did your collaboration? I know you have the same birthday. All three of you do. Yeah, we do. So how was this collaboration form? How did you two get together? Well, it's interesting because Dan, I had to remind Danny when Living Color, we had our first record we won a Grammy on and we played Saturday Night Live and much to our surprise. I don't mind saying it, you know, we're with this black rock band and we're in the NBC studio with us. There were no black people back there and we're backstage and we're a little bit nervous. It's our first time on Saturday Night Live and Danny Glover showed up to see us perform on Saturday Night Live and he wasn't one of the actors. He wasn't one. Mel Gibson was the host and we said, okay, that's cool. But when Danny knocked on the door and stuck his face in the dressing room for us, it was like a victory. It was like, now we can go out and play. We were fans and our lead singer's last name is Glover. He's Corey Glover and he's an actor as well. He was a platoon at that time. So if you want to assume Corey Glover were like a father or son situation, but regardless, really, really a fan of Danny's and that was very early in our career. And it's nothing like when you're young and you're out here, a person of color and you're doing art when you're sanctioned by, by, you know, one of the elders that shows up. I mean, he just showed up. He didn't phone it in. So we were blown away at that. So that's how I met Danny. And then Quincy, I met someone gave Quincy one of my electronic CDs when he was out in San Diego. And the thing I love about Quincy, Ben and now is he just called me. He said, look, man, somebody gave me a CD, man. So look, why don't you just come out here and let's just come out here and do this collaboration. Huge fan of Quincy troops, huge fan of Miles Davis as Quincy knows, didn't know about the birthday thing at that time. And I said, sure, love Margaret. And I went out to San Diego and we met. And then once we hooked up and started talking, we both play basketball, we both, I'm a jazz serious jazz fan. And there were so many things, both with Margaret and Quincy, that that I just felt like family with Quincy right away. And I've always loved cats. When you play when you're younger and you play with blues and jazz cats, there's no filter when guys are talking to you and the women to about what's happening on stage. And Quincy had that vibe off the back. And he would say, well, what do you think about this? I said, this cat's cool. I don't like that cat. That's not happening. I don't dig that. And immediately I knew he was not a person that was going to be as you. He was going to tell you exactly what it was. And for me, when I'm doing art and being creative, creative, that's the kind of energy you want to be around. And then later on, I found out about the birthday situation. And we had the blessing when doing one of Margaret's fantastic summer programs. We were able to, to all be in the same place and celebrate our birthdays for the first time. That was a really special, special moment. Yeah. If Margaret's around, Quincy, you want to ask her just say a couple of words? Margaret. I know what he was going to do. They want you to say a couple of words. She's getting her hair together. Okay. Well, while she's doing that, Will, do you know Terry? Oh, hi, Margaret. We'll just mention, go ahead, go ahead. I just want to say how inspiring this program is. It is so beautiful and uplifting. And thank you, everybody, so much. My heart is overflowing in gratitude. I love this program. Thank you, Pam. You're doing a fabulous job. Thank you. Oh, thank you. Terry Macmillan, my heart, Danny Glover, Mildred Howard, Will Calhoun, JD Parran. Thank you, San Francisco Public Library. Thank you. Seven stories, Chris. Thank you, Quincy. And it's fabulous. I just want you to wanted to mention just a word or two about her nonprofit because it's so important and Will just made a comment about it. It's called the Gloucester Arts Project and we bring the arts to children in Southwestern Mississippi in person and online or wherever they may be. Our guardian angel is Danny Glover who comes down every summer or it participates every summer. Terry has come down. Will has come down and we introduce children to living creative people who they see on TV or here on records and whatever, and let them know that they too have the capacity to express themselves in genius ways, in beautiful ways. So that's the program, thegloucesterproject.org. Donate. Thank you. Thank you. So we want to make sure we have Mildred on. But before that, Will, you and Terry know each other, right? Well, I met Terry. I met both Terry and Mildred through the troops and both of the experiences were fabulous. Terry, I met at Consumtia. And Mildred, I met, Margaret was very kind enough. She knew I was going out to San Francisco to do a project. And she called Mildred up and said, look, I got a friend coming out there and Mildred and I went over there and had dinner. And it was just an amazing experience. So both I met through both Margaret and Quincy. And my whole experience and my tribute to Quincy was just all of the things that we talk about in terms of we have the things in common. Also really briefly, when I went to the apartment for the first time, of course, the books are fantastic, but he had a lamp in his house that I had the same lamp in my house. Also, he had an outloving piece. And my connection with outloving is when I was a young trying to get my art thing together downtown, our loving's daughter had invited us to hug dad's loft to rehearse without telling him. So we used to go up and lower each side with our little up on God rock thing. And then I was gifted a piece, which I held on to, you know, I was a teenager at the time. I didn't I didn't know, you know, I just thought it was him. He was amazing. And you're in this loft, you know, I was living in the Bronx. And I was like, wow, this is incredible. So when I went to Quincy's place for the first time, he also had this outloving piece hanging up, which is very similar to the piece that mine's a bit smaller. But I saw that so that automatically I knew we were ancestrally kind of connected. And that was a beautiful thing. So in my piece, I want to do sketches of truth and give it that title because of the connection with Miles. And I've been shooting photography in Africa for the last 25 years and doing visual visual art. And I wanted to combine the things that that is that Quincy inspired me to go out and do and broaden my my art horizons and my concepts on both Quincy and and Danny, which Danny, we were talking about doing this film project together. So I'm speaking to both of them really is amazing to get ideas about, you know, what it means to be an artist and how you want to express yourself. I wish I could have more time to talk to Terry, but it was a social event. And there were people at the apartment. And I'm a fan of her work as well. But I didn't have enough time to really ask a few of the questions that I would like to have asked. But it's still it was great. It's great to meet both meet everybody here on the panel. Everybody here has inspired me. So thank you very much. And it's an honor to be here. You know, video of what you just did that we just saw a week, because I was like, you know, I don't even get high. I'll send you a copy of it. How's that? That's amazing. My son is a musician. He will die. Oh, I have to say my son, to give me credit, his name is Tateach. He recorded and mixed and edited that piece. And he's getting into the kind of visual world. So it was my music and my thing. But my son stepped up and and and did the academic engineering work, which is which was also impressive. So if you like that, I was in tears. And my son's name is Solomon. Thank you. Thank you. I will send you a copy for sure. For certain. Thank you. Thank you so much. And JD really quickly. I gotta say, because I'm a jazz fan, fantastic playing. I have to give him I was over here totally groove on which my drums were set up so I could have joined him on some of that stuff over here. But fantastic job to to JD. Beautiful. Thank you. Thank you, everyone. This is this is such a pleasure. And I interrupt you for just one tiny second. Oh, sure. My son was down to downtown LA. I just said his name. Do you know I just got two text messages from him? Because he had COVID and I gave him all this food and all this stuff. And he just sent me two texts and said, Mom, thank you for the food. And I'm feeling great. I mean, just that. And we just said his name. Oh, text me, except for about food. I'm going to say this respectfully behind me. There's a there's aboriginal painting. And I spent a lot of time in the albat. And speaking with one of the elders, he talked we talked about words. And he talked about you. You guys use words like coincidences and those kind of things. They don't believe in those kinds of things. And they would they would call you they would call that moment, you and your son being on the same line. Oh, I know the spiritual mind. I know that that's that's that's what they would call that's what the aboriginals are called. Well, most of the ones of the tribes that I was they call it being on the same line with someone. When you think about them, and they appear or something that they do, what says comes into fruition. So I have to say that I'm not kidding you. This just well, I mean, he and he's not big on texting. I mean, his timing is something I can't wait to tell him. It's beautiful. We're in the final 10 minutes of our program. And our next speaker is Mildred Howard. Well, we're going to see a video on her work. And Mildred is Mildred is fabulous. Her ability as an artist is actual mind blowing. She's an educator also and her sculptural installations and mixed media assemblage work that invites activism and commentary through the representation of race, racism and justice and and compassion. She's exhibited nationally and internationally. She has received numerous fellowships, public art commissions and awards, including a grant by the sculpture in sculpture by the National Endowment for the Arts, and the Lee Krasner Award in recognition of a lifetime of artistic achievement. Mildred is, I believe you all are kind of came together, I guess, in this lifetime as artists. And there's such a wonderful mixture of friendship and real love for each other. And this video that we're showing is a collaboration with Quincy Troupe. And it also has some of the artwork of the late, great and absolutely wonderful Janice Mericatani. Afterwards, we're going to let Mildred speak about her work for a few minutes. Mildred? Hi. I love your collaboration. I just loved your collaboration with Quincy. Can you all talk about it? What gave you, what was the impetus to do such an incredible collaboration? Well, first, I have to step back a couple of notches. I heard Quincy on Bill Moyer. And for me, his words are very visual. I could see the words that he was writing. And I said, then I hope that one day I get to work with this person. His wife, Margaret had a gallery in San Diego. And she called me out of the clear blue to exhibit in her space. And that opened the avenue for also not only to meet Margaret and her brilliance, but also to meet Quincy. And I got a commission to do three shades of blue for a blue bridge. And I'm interested in having someone who could bring in all that cultural stew as jambalaya stew as Quincy puts it into the mix of this piece. And I decided to use blue because blue, the blues, blue because you see it in all parts of the African diaspora and throughout the Caribbean and various other parts of the world. So I called Quincy and he said, yeah, something. And I wanted something so that you can read in any direction. Any, any direction that also brought together the single patients of your footsteps, the streetscapes, all of that in a visual way that I wanted to put in these three shades of blue glass that I use for the blue bridge. And Quincy, and I met for one year. Do you remember Quincy one with various communities? And he was able to capture the essence of that through that. And that's how what brought us together. Nice. Quincy, were you surprised that because the work is so unique? Did you have a vision of how it was going to look? You mean Mildred's bridge? Her use of your poetry? No, no, Mildred is always full of surprises. So, you know, I left it to her, you know, I trusted, I trusted what she's going to do. And she trusted me. And that's the way you work with people, you know, you have to trust them, you have to trust them. And that's why you pick certain people to do things, because you trust what they're going to do. So I trusted Mildred, like Will Calhoun and I, I mean, we just get along. I mean, just like that, you know, the same thing with Danny, you know? And so, and then, you know, that's how that's, that's how you come together and work, you know, that's how you come together and work. Small. I met Terry through Margaret. And then I already I knew Danny because we were at his house with Alice Walker, and my kids were young. And we were putting in an envelope to leaflet the community for some political event. And then Will I met through Quincy. So the world of the art world is very tiny, and you never know who you might run into. When I think about when I did the punctuation marks, I had been invited to up to Pilchup to do these. And I didn't know at the time what I was going to do. And then I read at the end by Quincy True. I don't know if I have time to read it. Should I read it? Oh, sure, go ahead. At the end of every sentence, a period occupying space, as molecular energy, a point to make another point in space, the end is beginning of another end, recurring cycles, occupying space, and that being only a period at the end of a sentence, earth, a point that starts another point. And at the end, there is space to begin again, always space at the end to begin again. Beautiful. Thank you for reading that. That was beautiful. Thank you, Mildred. Um, can I ask you a question? Yeah. Because I just want you to know, I just this may be a little tacky, but I can't resist it. Because I don't know if Mildred knows. But this is what is on my wall. Danny, you know where this photograph was taken on Broderick and Sutter inside the West Side Court? Wow. And you know what? I don't, I think when I bought it, I mean, it's when you walk into my law, that's what you see. And I have had family members come here and said, Terry, is that our family? Because these people on here look like my grandmama, my mama, my uncles. I, and I know I paid a whole lot of money for it. But the thing is, is this is, I have never, I mean, I mean, I've got my share of work in here. But the bottom line is the fact that you are here today on this screen. And that is into my entryway. I just I went ran and took it off the wall, because you have no idea how much it means to me. And all of these people in my family are gone. But they are still here. And I thank you for the middle passage did a lot. So you don't know who's kids. Say that again. Little passage. We're all distributed. So you don't know. I mean, the thing is, is that all of them look like members of my family. Every last one of my grandmama, all of them. That's what blew me away. So thank you. Yeah, so Quincy, that's the reason why I do my work, that the collaboration is because he puts in words, what I see. The last piece, which there'll be a big opening at the San Leandro Library, curiosity. And because of the word, my work with him, they said, we have to have some poetry with this. So I'm thinking, well, I just don't always do poetry with my work. But then when I thought about it, I thought, well, that brings a whole nother component component to the library. A library is one of the most democratic institutions in this country is free and open to the public and anyone can go. And so I call the Quincy and I said, I'm doing this piece called curiosity. Can you do something? This was like, in the next day, would you write about seven points, Quincy? Yeah. Seven points he said to me and said, is this okay? Is it okay? It's more than okay. As a result, that's what happened with working with Quincy. Beautiful. Beautiful. Oh, Mildred, a couple of people have asked about the frame. Can you say a couple of words about that? It's quite beautiful. Frame is about 20, 22 by 20 feet high. It's up on and how there's point. And I get this for the people who look like me at this point, community, because they are the real art. They're being displaced because of patient and afford to where they live for years. So when they walk through the frame, they're the real art. That's who I'm talking about. The people of that community. And also, when you walk through that frame, when you look through that frame, you see on one side, you see the San Francisco Bay Bridge. When you look on the other side, you see the peninsula. And opposite side of the frame is just like a regular frame, and it's out of bronze. So we go all the way to the ends of Evans off the third screen and up to Hill, what used to be the hood. Yeah, what used to be I want to thank you for that because that brings a such important attention to the fact that the world is changing. And that places that you considered home are not necessarily that anymore. And we have to find ways to create home for ourselves. And to me, this this event with you all felt like a bit of a homecoming. And that's what the comments have been that the love you all show towards each other is is quite beautiful, quite beautiful. Great. When all of us can get together again. Yeah. Yeah. Yeah, I agree. Well, we're at the end. What I want to find out, I know we're a little bit over, but if there are possibility of if there's any comments or anything that people want to ask, if you're still here, if we have a couple of minutes and I want to make sure I don't get the librarians angry, is that a possibility? Well, they didn't say no. Someone has said they're have to walk through the frame. And just to experience that. And I quite agree with that. If there's no questions. Thank you. If there's no questions, Quincy, Danny, Mildred, Will, Terry, do you have any closing comments that you want to say? I would like to say I love doing this and I hope we can do it again. This is fun. I mean, this is just really, I mean, I'm kind of a mess. I'm glad I didn't put on mascara. That's all I can say. Thank you. I'm so proud of Quincy. I'm so proud of you. You have no idea. I really am. Well, I just want to thank everybody for agreeing to be a part of this, you know, this program, because I found it really exciting, you know, I found it really exhilarating to listen to everybody talk and to play Will's playing and Danny talking about things that, you know, and Terry and Mildred, I mean, it was just exhilarating. It was just an exhilarating experience for me. I just wanted to thank everyone for participating. I really did. I really am sincere about that. I want to thank everyone for participating. I had a ball. I really did. I really had a ball and it's been such a drab, drab time in the United States. And this was very uplifting for me. This was a very uplifting program for me to participate in. Quincy, everyone's asking online if you would just do one more poem. They're like, let me see the beautiful messages. They're beautiful, beautiful. I'm going to, you know, I'm, I'm, I'm going to read something that is different. I'm trying to, I'm trying to create because I'm a poet. I'm trying to Oh, you're not a poet. Shut up. I'm shocked. I'm, I'm creating these poems. No, I'm not going to read that, but I'm, I'm, I'm creating these poems called 7-elevens, you know, because, you know, when we were growing up, Danny and I know about these kind of things and about, you know, man, we, we used to play dice. Seven seven through 11, you win. Snake eyes, you lose. So I decided to create this, this whole form called 7-elevens. So I write these poems that are seven lines and seven syllables alternating in the elements of 11 syllables and like that. But I'm going to think I'm going to end with this one. It's called just think about it. Just think about it. Sometimes all you need to do is open a door, walk through it, perhaps out into open space. Walk into the world, whether it's cold or warm, then go whatever directions your mind of erasities take you. Go quickly or slowly, but move resolutely through this moment with your eyes wide open, your wandering brain, but move forward towards something perhaps you haven't thought to do before. Whatever it is, let there be beauty in it, spreading light, meaning open yourself up to new music, people, vistas, spontaneous improvisations of the day, rhythms, carrying possibilities to unlock secrets of this moment, perhaps will lead you to look into things, people you never focus on before you walk through that door. Perhaps the opening will reveal yourself to yourself. Revelation, perhaps none, you might feel different for the rest of your life. Thank you. Thank you. People are also asking if some of your next projects, they want to know if Will's going to be doing a show, if Mildred will have something, what is the next thing? If Danny, all of you, what's your next project or a project that you're working on right now, if you can tell us? Would it be a good one? And it can be posted? I don't know. My novel is called Safety, ironically enough. And I finished it and now I'm doing that thing that's called revising. Anybody that's interested in doing it for me, just text me. No. So, so go ahead, go ahead, Mildred. I'm just I'm completing another piece that's there are three components and ones of African currency scaled up to 18, 16 and 14 feet. That's going to be in San Francisco in front of the New Southeast Community Center on Evans, installed by the summer. And my piece in New York will come down in April. So I have a piece that's up now near the Hudson River. Excellent, excellent. Anyone visiting New York, make sure you check out by the Hudson River, Mildred Howard's work. And Danny, we all see you with another show. You're you're such a brilliant actor. I can go back and you've given so much and and not just I want to say artistically, but in a humanitarian way, to help others. And it's and this been written back and forth. People are talking about the humanitarian work that you do. So thank you very, very much. I can't even sing. Terry wants to know, can you sing? No, okay. Okay. Thank you all. Thank you all. This has been wonderful. Thank you. Thank you. And and we're very appreciative to have such a beautiful audience. Thank you very much. Thank you. Very much. Thank you. By the book, by the book. Bye. Bye. See you later. Bye. Check it out on our USFPL's YouTube channel, San Francisco Library YouTube by the book at Moad, Marcus Books and Human Books. Thank you all. This is an amazing program. And it's