 Well, in the traditional introduction, I was a Angelo Bacca, initially a flesh-tip, initially a piece of my flesh-tip, but it's a bit of a flesh-tip that I didn't add to it, so my name is Angelo Bacca. I'm Navajo and Hopi, and I actually live and have grown up in San Juan County in the Bears Ears region. So Bears Ears has always been there in my life. It's always been a prominent feature, a very important cultural anchor for my community, my family, my tribe. For myself, that's what it means, but for the Five Tribe Coalition, Bears Ears is essentially the Bears Ears. In each culture, in each language, it came to emerge in its own specific way. So for Indigenous communities, we're always thinking about our children's children's children, having this kind of seventh generation thinking of the future. And I think that's a different approach than most Americans, most Westerners have when it comes to thinking about heritage and observing it for future generations. So you can have a pot or a basket or sandals, and you know what the materials are. You can carbon-date it. You can say what basket maker to period it's from or what design that this particular painting was made from these materials that were gathered. But you don't have the other half of the information. What was that used for? Who was using it? What were the songs affiliated with it? What were the ceremonies that were done, rituals? For what purpose and for what specific reason? And what is it that we still use that is just like it or is exactly like it? The phrase at the end of my film is especially, it's especially true now, but I wanted it to be more of a point to emphasize because I think what gets lost in the discussions about public lands and national monuments and national parks and all these debates about ownership is the simple facts and the simple truth which is all this land in the United States is indigenous land.