 kind of thing because what was happening was, what I'd like to say was I was always as good as the last five plays I'd read and that was really, you know, so it actually was a site for, you know, for all of us at the organization, you know, these were all the plays that actually we've been working on and, you know, any time somebody said, do you have plays, I just pulled a site up, you know. Just created an internet where they could, where we would put everything online that they could go to, we jokingly called the Traumapedia. It was, I mean, the new ones that are emerging but, you know, with the reorganization where we need to know our history with the reorganization of the National Endowment for the Arts and after the Cultural Wars when fellowships vastly disappeared and even made that dichotomy of where resources go even greater. And so the perception by artists that institutions are privileged because they have easily gotten resources but of course our organizations, our institutions struggle just as much as the individual artists. Many years ago that, that he, he felt that being a person of color, a person who was different in the mainstream theater world meant that you always had to be the irracula representative of your race and we laughed about it then but it every, every day of my career it becomes more and more true. What can we do if all of us as a field, as the U.S. new play sector were to coordinate all of our energies and information resources and data, coordinate that, really design it in a way, aggregate it and, and, and see if that would actually greatly create any value for the field.