 Hi, everyone. Did you all have a nice five-minute break? You made it, you did it. You've almost made it. You have to listen to a couple more people talk and then we get to go to a fun party at the Museo de las Américas. Okay, so I want to start off, is everyone settled? I'm ready? Okay, great. I want to start off by saying thank you to Amelia. She's actually not even here right now because she's already setting up at the Museo with her entire family. They have been so kind in Denver. And if you look at the program, the special thanks, that's all her family. They have been on the ground helping with whatever they can. They are bartending. They are taking over tables to the Museo. So if you see them, please tell them thank you. They have been nothing but kind and just helping us and volunteering. And it's been a true showcase of what a commons-based movement is. Yeah, give it up for them. Thank you to the programming and the selection committee. Yeah, give it up for them. I joined the LTC almost a year ago this month. However, they have been working on this for many years and they've stuck through a pandemic and to make it to this weekend. So I'm really appreciative of all of you and so thankful for showing up to the meetings, whether they were during your work day or late at night. And it wouldn't have happened without each and every one of you. And even I emailed selection committee members last week saying, hey, if someone comes down with COVID, can I put you on stage? And a lot of them eagerly said, yes, whatever you need. And so I am eternally grateful for you all. No one had to go on stage surprisingly except for Richard and Daniel. So props to them also. And I wanna say thank you to the entire Suteatro team. Yeah, they have been helping us out here. And at night time, they have their own show, Chicano, Sing the Blues, and they also have to run their own theater company. Arnold, who's up there, has been doing our tech all week. Thank you, Arnold. And he was joined by William today, so thank you, William, as well. And yeah, everyone you see who's been helping out, set up food, cleaning the theater is part of the team here. And so please tell them thank you when you see them hopefully later tonight. I wanna say one more thank you to Tony and Mika, who have been so lovely. They literally, they can do it all. They can do it all. And they have kept Amelia and myself alive. They just show up and they're like, we have food for you, we know you haven't eaten. And they sneak us away. Yeah, no, it's really, really beautiful. And I've had the best week here. And I'm sad to be leaving, but I'm so grateful to have started this partnership and to be continuing it. Okay, so now I'm gonna ask you all some questions because we started with questions and now you've had time to reflect, hopefully. And so first one is, who is going to forward a script from one of our readings or in your flash drive to a colleague? Oh yeah, oh yeah. Okay, who is going to convince the Latinx artistic directors who are not here to produce one of these shows in their future seasons? Oh yeah, oh yeah. Already Abigail says already done. I'm eager to hear about that. Okay, who has a better understanding of what a comment is after these three days? Oh my gosh, amazing, you guys, I love it. Who wants to join this hearing committee? Okay, that's amazing. Great, email me, jacklanathowlround.com. We'll get you started. Okay, now I have a very important question. Who is interested in producing a play they saw this weekend in one of their future seasons? Okay, wait, wait, wait, wait, wait. Keep your hand up, keep your hand up if you put it up. Okay, I see Amy. Amy from Actors Theater of Louisville. Can you tell us what play you're interested in producing? Okay, Amy's interested in producing La Egoista by Erlina Ortiz at Actors Theater of Louisville. Andrew Egoista at Cleveland Playhouse, okay. Tony, La Carpa de las Frontera, directed by Samuel Valdez at Su Teatro. Okay, who else had their hand up? Yes, Egoista and Exhaustion. Okay, anybody else? Y'all are gonna have to fight for these. Happily, he says. You can do a co-pro. Patrice, the invocation of Selina, yeah, yeah, yeah. I support that as a fellow Tejana. Okay, well these artists are gonna be expecting emails from Yona that you've said it out loud and it's recorded, so I will hold you to it. I hope you all enjoyed this weekend. I hope you have fun tonight. I'm gonna talk a little bit later about what food we will be having and the vendors and all of that for closing ceremonies, not for closing ceremonies for our after-party. But right now, I want to introduce Evelina Fernandez, who has a sorpresita for us. I know, get excited. And to be introducing the Diane Rodriguez Yatrista Award. And Jose Luis and I go way, way back. And so, I hope I don't cry and Jose Luis will probably cry, he cries all the time. But for those of you who did not know Diane, the Diane Rodriguez Yatrista Award, the Diane, is the Latinx Theater Commons first award dedicated to an individual working in the theater field who's committed to increasing Latinx representation across all disciplines. With this award, the LTC aims to continue the legacy of Diane Rodriguez, 1951 to 2020. An award. Oh, shit. Multi-hyphenate theater artist, guitar-lessly advocated for other artists and open doors for future leaders in the field. In a 2018 interview with the National Endowment for the Arts, Diane reflected, I think that humor is the biggest weapon to change people's minds. Therefore, announcing this award at the 2022 LTC Comedy Carnaval honors Diane's own work in comedy through Latin's anonymous culture clash and her own plays. The inaugural award recipient was selected by a group of seven nominators, including Amelia Acosta-Pao, Jacqueline Flores, Anne Garcia Romero, Lisa Portes, Jose Luis Valenzuela, Abigail Vega, and Karen Zacarias. In subsequent years, the LTC will seek applicants who are nominated by peers and colleagues throughout the field. An award recipient will be selected by an appointed committee. I talked to JD, Diane's husband about this award, and he also said he would like to be involved later on. With this approach, we aim to amplify Diane's spirit of generosity and her commitment to empowering fellow artists throughout her remarkable career. Diane Rodriguez served on LTC's advisory committee for six years. The Diane Rodriguez Teatrisa award recipient will receive $5,000 of a $5,000 unrestricted grant. Yeah, so I wanted to, just so you can know a little bit more about Diane's essence, I wanted to share something that I wrote about Diane at a beautiful memorial that we had for her at the Center Theater Group in Los Angeles, so bear it with me, and no voy a cheered, I swear. I knew you, sister, and you knew me. My red lips and hoops, sister. I wear black, but you like color, sister. My Chicano theater sister. My aspirational sister. My inspirational sister. My ambitious sister. My let me through the door, sister. My, I'll find another way in, and I'll take you with me, sister. My trailblazing sister. You made your beautiful mark, sister. A mark that crossed borders and genres. A beautiful scar. We run our fingers over and remember the battles, the struggles, the hope, and the laughter. My interior designer sister. You made a beautiful home, sister. My stylish sister. My playwright sister. My costume designer sister. My comedian sister. My director sister. My, they won't let me direct here. Fuck it, I'll go direct somewhere else, sister. My mentor sister. My childless, but mother-to-hundreds sister. My elegant sister. My beautiful indigenous sister. My verbal pochas, sister. My eye, sister. My cholas forever yi-ge, sister. We didn't say goodbye, sister. You came to see La Virgen and call down my name. I would have chatted longer. I would have held you tighter. I would have thanked you for all the love, sister. My por vida, sister. My si se puede, sister. Si se pudo, sister. Soar through the heavens, sister. Soar through the heavens, sister. I'll catch you on the other side. Representing the inaugural Diane Rodriguez-Yatrisna Award to Patricia Garza. Feel like I'm at the Oscars. Patricia's not here to accept the award. Well, we have a video that's gonna play now. Or should I read her bio first? Okay. So here's a little bit about Patricia, who's amazing. She's amazing. One of Diane's mentees for many, many years. Patricia is the producer and director of Los Angeles programs at Los Angeles Performance Practice, LAPP, supporting the production and presentation of contemporary performance. Before joining LAPP, they served as the director of programs and engagement at the network of Ensemble Theater's NET, overseeing programmatic activities and marketing communications have now shifted into the role of NETT and program director, continuing to manage NET's Cornerstone grant program. A former member of the artistic staff at Center Theater Group for over a decade. Patricia builds roles spanning artistic education and community partnership and management. Patricia had the honor of working alongside CTG Associate Artistic Director, Diane Rodriguez for six years. Together they engaged world renowned international and local companies on multi-year projects focused on collective and ensemble creation. Patricia frequently speaks at public events, facilitates group conversations, and has served as a grant panelist for the NEA Los Angeles Department of Cultural Affairs. They gotta give us more money. And the Los Angeles County Department of Arts and Culture among others. Patricia's passion is working with other theater professionals nationally on issues surrounding anti-racism towards collective liberation with a focus on the LGBTQIA plus community through art equity. Patricia has an MFA, MBA in Theater Management from Cal State Long Beach and a BA in English with a minor in Theater Studies from UC Berkeley. They reside in Tongva, each land known as the East Los, and known as East Los Angeles, with their wife and two adorable dogs. Here's one for you. I'm taking a brief break from COVID to be with you on video because I couldn't be there with you tonight. I just wanna thank the committee for this amazing award that Diane so fabulous. And being the first recipient is just so special to me. I was on the phone with Karen, she was texting me about the award and I instantly kind of started tearing up, which if you know me is pretty rare. Some of it might be the day quill that I have been checking for the last couple of days, but mostly what a deep honor, what a deep honor to have any association, any alignment. I worked alongside Diane for six years. We shared an office among many other years doing projects together. And her laughter, her creativity, her advocacy for our community just radiated the hallway, radiated our room. I always can look forward to her smiles and she would always say, make sure you're having fun, make sure this is still fun. So I'll offer that to you all today. She also would always say, we have to make opportunities for one another. So if the front door isn't open, we're gonna knock on every side door, we're gonna prop open windows for one another, we're gonna bring each other along. So I always have taken that to heart and I really try to manifest that in my own leadership. Recently I was having dinner with Diane's husband, JD. And he asked me a really provocative question. He had a really sincere lead and said, what lessons has Diane left you with? And I sat there for a while and I said, so it really boiled down to believing in yourself and having that confidence that we belong here, we have so much to contribute with this field. And she really saw that in the room and she took a big chance. She saw a really, you know, bumbling young professional and invited me into her fold and mentored me along the way. And I am the producer, the arts administrator, the creative I am because of her. So believing in yourself, everybody deserves to have fun and to do this job with joy. And that's what Diane was leaving me with. So I pledge to you all to do the best for our community and my dog is agreed with me in the background here. And thank you so much for this deep, deep honor. I wish I could be there and give you all lots of hugs. But hopefully when I feel better, we can see one another again. Thank you so much. Have a great rest of the time there. Diane touched so many people. She was a mentor to so many people. So we wanna give an opportunity to anybody who would like to come up and give some besitos to Diane. If anybody wants to come up, don't judge yourself. Just come up here, come on. I'll warm you all up. I didn't know Diane very well, but I did get to meet her at the 2016 TCG conference. I was a eager theater college student and I had just read her play, Sweetheart Field and I found her on the TCG app that tells you who's coming and I messaged her and I was like, hi, I'm doing a research paper on Latinx Theater and I just read your play. Can I interview you? And she messaged me back and she said, yes, of course, here's my number, how did you find my play? And so I arrived at TCG and got to interview her for my research paper and she knew I was there alone and so she took me to take notes at a board meeting for TCG and then one day she took me to breakfast with the Latinx Theater Commons before they accepted an award at the TCG conference and so if it wasn't for her, I wouldn't have felt welcomed at that conference and I would have never found out about the LTC and so I'm very grateful for the impact she's made in my life and I wish I would be able to tell her that in person. My experience with Diane goes back to 1975 and I was lucky. I got to see Teatro Capesino, excuse me, doing La Caipera de Los Arquiches and they were coming into town to perform by the guys who actually started this theater but we were fortunate, I don't know if this is fortunate, they needed a place to stay and we opened up, we were all a bunch of guys, a bunch of students living in the house together and we agreed to give them our bedrooms and sleep on the floors. So Teatro Capesino spent two weeks with us and in that time we were fortunate to be mentored by JD as well but Diane in particular and we went through the projects and performed out in the street along with Teatro Capesino and our roots went all the way back there very much like José Luis and Evelina, we were fortunate to be able to catch up periodically in that arc we all share as a generation so I see Diane as not only an inspiration to the work that we did but the inspiration of a generation. Diane, I met Diane in 92 Alita. We were second cast of Latin synonymous and it was of course an amazing life changing experience for her, she was our director and of course the writer and we continued to work together years and years after that. One of the most profound and just amazing things that happened with us was that she was telling me about her friend Andres Gutierrez who was a member of course original member of Teatro Capesino and she was talking about how she's gotta go visit his mom Tilly and his sister Helen and I said Tilly and Helen. I'm like on Oklahoma Street and she goes and I said I live on Oklahoma Street, that's my house. So Andres was my sister's best friend in high school and Diane's dearest friend of course during the Capesino days and we just immediately found that connection and together through that connection and speaking to Andres and speaking to family and we just kind of became family and I just love the fact that we were connected professionally and connected through history and memories and every year I lived in New York for many years and she'd come and call me and say hey let's go see theater, let's go see this. JD's coming or Debra's coming or Louise is coming. And she always made time for me and I'm grateful to her and forever and ever. Miss you love you Diane. Well I'm not used to speaking in front of people and I got encouraged by our friend Elena say don't judge yourself so I'm here to give testimony which is similar to Jacqueline's but back in the mid-80s when she, Resolvado were at the Mark Taper Forum and I was a graduate student at UC Irvine I didn't know anything and she was very kind and welcoming and really embraced me as a graduate student at the time and really opened by doors in terms of a researcher saying you can't just be sitting out there being a scholar you have to get in here in the theater and you have to really see what's going on in the theater as a scholar but also have empathy and understanding of the artistic process. So before I start crying too, I'm very grateful to Diane. I probably have known, you know probably knew Diane the least well. I met Diane in Boston at the first Latinx Theater Commons convening in 2013. She was just bigger than life all the time. This amazing smile, this amazing laugh always dressed in the nines and gorgeous, stunning, beautiful hoops and stunning red lipstick. And she was also at one time president of the board at TCG and I had a very uncomfortable conversation with a white colleague who I had mentioned that I wanted to be on the TCG board and he had been on the TCG board and he said, well that's never gonna happen. You have too small a theater and nobody knows who you are. It's not just, they're not gonna choose you. And I was like, well, fuck you. And so I was like, well, how do I go about this? And I thought, well, if I have a recommendation from a former president of TCG and they still say no then that's not an organization I would really care about. And so I called Diane and she of course wrote a glowing recommendation and I serve on that board today because of her and her desire to pass on and lift us up and elevate us. So continue to do that and I love you. First of all, acknowledge Diane was like, mentioned mother a lot, he said mother a hundred and took a really, like special interest in specifically Latina producers and was like kind of mean and hard on us sometimes. Like a good way, I mean. But I'm gonna tell a funny story because I don't want to get too sad. So I've known Diane since I was 22. When I was in my mid-20s, I was really lucky and fortunate and probably just, it was probably a mistake, honestly, on a form. And I got to go with a bunch of people and be in the US delegation to the Santiago Amil Festival in Santiago, Chile. And no folks there and she always took us under her arm and was like, let's go to dinner, let's go here. Let me make sure that you're seeing with me so that people will then come talk to you. So this, she was on this panel and it was with all these US artistic directors and associate artistic directors and there was this one white managing director who still has his job and he was just, turn off the live stream for a day. So he was just saying all this crazy shit, like totally crazy racist things and Diane was just sitting there and just yes and yes. And she would, you know, take him in and she would turn his words to, did you really mean to say, blah, blah, blah, blah? Oh yeah, yeah. And so then later in the trip, we, as a group, as the US delegation, we went to Pablo Neruda's house and they like, you know, we went on a tour bus and we like, you know, it was so beautiful and this, I mean, they took us to this restaurant and we had this meal and this artistic director says to somebody in the group, can you translate for them? This food here is too greasy. I want some french fries. And Diane was like, no. She was like, I, she just, she just had her eyes and she goes, and they translated it and somehow they got french fries for this man who was still employed in the American theater and literally every time I saw Diane after that, she would look at me and she goes, would you like some french fries? I was very young when I met Diane for the first time. I was, I came into audition for her for Latin's Anonymous for the second performance ever and she was very proud to be directing her own work, the work of all of them. And I came into audition and I was supposed to do a french accent and instead I couldn't remember what a french accent sounded like and I was doing it in my head and I was doing it in my head and I was doing it in my head and instead I came up with like some crazy combination of like some Russian orthodox, Jewish, Irish person and instead of being really bothered, I think it was my audaciousness that brought me back into the room with her because she was such a powerhouse that when she saw someone else with a strong will she was willing to pick that person up and after that performance one night we were all drinking, shocking and I said, Diane, if I come to LA will you help me? And she said, yeah, me, I sure will. And she gave me these big, beautiful, huge silver earrings as a parting gift. Two years later I called her up and I said, Diane, I'm coming, I'm moving to LA and she said, great, I'll be here. And she got me an internship at the Mark Taper Forum at the Latino Theater Initiative because change is really slow, right? Because then a lot of change was happening and then the pushback came and now things are beginning to change again, I hope. And that was Diane, she was good to her word. If she told you she was gonna do something, she did it. And even years and years later I hadn't thought about it, I went on with my crazy life and I bump into her once in a while and we'd say hello but years and years later I sent her a message and I thought, Diane's too busy. She's just too busy, she's not gonna get back to me. Four hours later I got a message back to her, back from her because again, that's who Diane was. She was good to her word, she was a good song. Gracias, bye. I got to meet so many of the people that are in the room that are born here today who I've come to respect and love. But I've always felt a little for my own, because of my own shit, but always a little on the outside of the fabulous people that are part of the LTC. But Diane had a way of making you feel like you were family from the get go. And I remember at that conference in 2013 in Boston, 2013 is that when it was right in Boston? And we had these little breakout sections and somebody needed to take notes and I certainly wasn't gonna volunteer. I felt like I was just happy to be there. And she immediately goes, Rich, why don't you take notes? And so I'm taking notes and through that whole thing, I felt like she was pushing me to be more than I was and she was helping me find my voice in that moment. And I'll never forget that moment because in so many ways it was a reminder that I have a place at the table and that she always reminded me of that, including the way she greeted me every time after that that I saw her. And I'm like, how does this lady even know who I am and why did she care? But that's who she was. She saw something in everybody and she brought you along and I'll forever be grateful to her for that and for that reminder that we all have a voice and we all have something too. Hi, yeah. So on that same note, I didn't know Diane very well. I met her once actually, only once. But she made a huge impact on me so I wanted to share that little anecdote. I went to the LTC Encuentro in LA and I was new to California. I had just moved to California and had gotten a job at Fresno State where I'm still teaching. And so I was there feeling very vulnerable because I didn't know anybody and we were put in a working group together. And so she asked me who I was. So she asked me for my name and I said, I'm Gina, I'm Fresno. And I saw her taking me in, memorizing my name and her eyes were just so deep and she was like making a note of who I was and what I was doing. And I just, I felt seen and it was very powerful because that was my very first time around all of you. And you feel a little vulnerable and you don't kind of lost but she just saw me and memorized my name. And then throughout the whole event when I kept running into her, she would say, hi Gina, right? Like she knew who I was. So even though I only spent very brief time with her, I consider her a sort of a mentor because that was just so powerful to have somebody see you and recognize you and be like, oh, here you are. So I wanted to share that. Thank you. Thank you that I am. We miss you. I knew that I am and I don't cry. I'm very, very low. I went to her wedding. I went to her wedding. You know, she was with El Teatro de Esperanza before she was with El Teatro Campesino. And I went to, I mean, this is a very long time ago. I don't even remember. I actually was with diapers with my parents took me to their wedding. No, I'm just kidding. You know, and we had an amazing relationship. She was amazing. She was powerful. We had the Latino Theater Company beginning. That's where Latin is anonymous. Meaning we moved to, I moved at the same time to Los Angeles. She was coming from El Teatro Campesino. We were coming from El Teatro de Esperanza. So when my wife wrote that beautiful poem for her, that they asked me to sing for her, which was a very strange ad, but with the song that they wanted me to sing. So I'll sing a little bit of it. So. No, that's not the reason you're here. I don't even know how to play the guitar, but I think it's a laugh. But it's a song that. I was gonna say, I was gonna say that J.D. is, he requested that Jose Luis sing this song, which is kind of weird because we're like, okay, that's a weird song for, but if you think about it, it really is Diane's essence. So this is the song he's singing. So I haven't sang since then. And I used to sing, I used to sing when I was young with Yolanda, my beautiful Yolanda. Please help me because I'm not sure that my voice is even gonna get there. I knew that I was out there, but the day that I show myself, that I cry, if you leave, I'll always condemn you. You know, it is so great. She was such a leader for women, for Chicanos. You know what was so great about the Chicano movement? That we were, before anything, we were Chicanos. And I'm a Mexican from Mexico. I'm one of those who actually infiltrated the Chicano movement. Been thinking about great leaders in the community, Diane. She was a Chicana before she was an Idina. I was saying she was for Chicano Theater all the time, which was so amazing. Thank you, Tony. You know, Tony, Tony, you know, we know, I was trying to figure out when we met. He's trying to say that it was, and remember, you remember, Yolanda, you guys came to San Jose early on. It may be like 73, 74, but remember, which I, you know, these were Chicanos from Denver coming to California. 76, 76. And they were coming to California, and these people say all these Mexican songs. And I used to sing when I was young. And I love their singing. Debbie, where is Debbie, and Tony? So we will sing all these Mexican songs. Yolanda spoke Spanish, but Debbie and Tony didn't. And I'll say, Deborah didn't speak any Spanish. Tony, it makes the story more interesting. And I was, wow, the Chicanos are amazing. Anyway, but you know, so I met Tony. Tony, then, and we've been friends since then. We came to, and I was asking him when we came here for the Chicanos 76 festival. We were staying at his house, and you know, he created this amazing center. It's not easy. If you understand what it means, where we come from, for him to say last night, we are going to own this building. That's awesome, you guys. That's what we do for the community, for the audience, for the playwright. And it really, it really has meaning. All the work that Tony has done for the last 50 years is the 50th anniversary. Most of you were not born yet. Your parents were. Just think about that. So the leadership that Tony Garcia, and you know, he is a Chicanos from Denver. I'm a Mexican from Mexico. So in the friendship that we have created, we compete about who is our best friend, okay? Because I thought I was somebody's best friend. But then he told me he was his best friend and I go, hey, what's going on? But this, so, but you know, as you know, and you may be not know this, but to be part of the Chicano movement and be part of the Chicano leadership, if you're not a Chicano, it's tough. And you have to become a Chicano. Because Chicano is not anymore your Mexican-American, it's a state of mind. It's how we see the world and how we change the world. And that's what's driven Tony for 50 years. And so we thank you so much for allowing us to be at your house and being as warm and as strong and as wonderful you are. And you know, and to continue trying to say, this is what I had this discussion of people, I teach Chicano history at the university. And people are trying to tell me, you know, the Chicanos and last night what we saw, those are Chicanos. What we saw last night, those are real Chicanos. They, you know, that's why they can't sing the blues. I can't sing the blues, because I'm a Mexican. Yeah, I can't sing the blues. So all these, I wanna thank you. And you know, part of this has been asked from the committee to come over here to give you an award. Mica, you're being called to the stage. Six theater comments would like to present an award to Sute Ato for 50 years of service to the Chicano community. I thought we were talking about Diane. I don't even know how that switched, but said, well, he's picked the key and then changed the key and then told me to stop. That was very fun. That was, really reminds you of old times who y'all just sang in different keys at the same time. But I'd like to, you all know Mica and who is really the one who is running the theater. I'm here to say something, just say a little thank you. Here, the La Reina and Jesse Ogass here from our company members here. So this is the next 50 years of Sute Ato. I just wanna say thank you guys all for coming out this week. It's been tremendous. Had our students here, we've had our actors here in this piece to just recognize that the work that happens on a national level, the work that we've done, the Teatro Chicano community that we've always, that I've been lucky enough to always have in my life to know for my whole life and to know that any city we went in, any place that there was another theater, we could go there and we had familia and there was nothing else there. We were there to help them, we were there to support that we had familia and we were always gonna be supported in the same way. So I'm so thankful that you guys came to our home this year and we've really had a great time. Thank you so much. Good job. Good job. I'm in a roller coaster, I don't know about y'all. Should we all take a deep breath? Okay, I'm almost gonna let you go, but before I let you go, I have to tell you that the LTC is doing next so that I can see you there. Our next event is the 2023 Director and Designer Collaboratorio, which will be in Portland, Oregon. And one of our co-champions, Daniel Jaquez, is going to tell us a little bit about what the collaboratorio is. Yeah, sure. Okay, thank you for sticking out. So next year we'll be doing this collaboratorio that's labeled right now Director Designer Collaboratorio and I'm gonna try to propose a change for it to be designer director. I'm a director, but the purpose is to explore new ways of seeing the collaboration process to deconstruct the way it's been done all the time, at least to explore it, to see how we do this. Let's change the name. Can we do that? Yeah. So we're gonna get together in Portland for a long weekend, there's gonna be about 35 people, directors and designers of all generations, of all experiences, and we're gonna have workshops, classes, sea shows, explore venues, and explore texts. We don't know if we're gonna bring new plays in or plays that are already proven to work so the designers and the directors can actually sing their teeth without having to figure out what the... It's a different shop, it's different shops that we develop and one of the pillars for the LTC is craft. So hopefully we can get together, get a great program and community together and great selection. So be prepared to start volunteering for next year in June if your schedule's open in June. We don't have a month yet. Oh, we don't have a month. That's probably because we don't have a space. We've been reaching out to several companies, Roy Araus, right? Roy Araus started this with an idea, like he wanted to be in somebody else's room to see their designer, director collaboration to see how that grew and Tara Houston, she jumped in the idea and took co-leadership on this and it's been great. I was the last coach to join in so I'm very excited and I'm trying to follow their lead, but once you get these creative people in the room, there's so many ways these collaborations can go and in trying to find out what we actually want to do, what the system has told us to do and who is the lead artist, for example, who can bring a piece to the table. So there's a lot of things that we're gonna explore. The interesting thing is that we're gonna have several groups working on different projects and then we'll collaborate and learn from them. We have several meeting orders. So. Yeah, we're still building committees. So once again, my email is Jacqueline at Howlroom.com. So now we're gonna head to the Museo de las Américas for a fiesta. Las Casuelas and El Cubana, so food trucks. We also have drinks of all sorts and then we will be having yummy cupcakes from Lala's bakery. So y'all can head over there in a few minutes. It's being set up as we speak. There's gonna be a DJ. We're there until 9.30 so have fun and then at 9.30 take the fun elsewhere. But thank y'all so much for coming out this weekend. It's been a blast. I hope you've enjoyed yourself. I hope you've had fun. I hope you've learned. And I hope you've met some new people and if you haven't yet, please introduce yourself to someone new and we'll see you next year in Portland.