 For those of you that don't know my history, the inspiration I'm going to put up here is probably a name that everybody knows. When I first came to New York, I started working at Intar on a play called Divinas Palabras, which was an adaptation by someone who's very, very dear to Intar, Lorenzo Mans. I was Max Febrar's assistant, and why is everybody laughing? Because we know Max. Well, you know what? Max actually did some great things, and I think that needs to be said especially here. And one of the greatest things Max ever did in that Max way was yell at me, and he kept them yelling at me because all I ever did was say, no. He said, no, we can't do that. We can't do that. We can't do that. And that was one of the things that I still struggle with today. Don't say no. Don't say no. Don't say no. The hardest job of an artistic director, right? That's what we do all day, say no. So what I would like to offer is two things. One from Max, the word no, and hopefully I can get rid of it on this often. And the other thing I'd like to also put out there is something by Eduardo Machado, and I'm sure I'll get a lot of laughs from that as well. Eduardo Machado also taught me a couple of things. One of the things that Eduardo always says, and I think it's a great thing for all of us to hear right now, is we should not fear the audience, they should fear us. And so from Max, no. From Eduardo, fear us. Thank you, Lou. Thank you, Lou. I would next like to invite Tony Garcia. Hi, everybody. So with having Luis here today, it's great. I just think it's such a great opportunity that we have the founder of, for us, the Chicano Theater movement, all of us. You have, we are all your children, and that's in a good way, Lupe. None of us are coming up and going, hey, guess what? But we are all part of that, but we are also spawned by the Chicano movement. And I have two great fathers in that movement in Cesar Chavez and Corky Gonzales. And Corky Gonzales was from Denver, and when you come to Denver, you find a very active Chicano constituency. We elected a Chicano mayor before LA. No offense, but it's verdad. And we've always had that kind of history. So after Cesar died, Corky was at our performance. And Corky said, you know, Cesar is a martyr for the movement. Although he didn't die physically like a lot, you know, wasn't killed violently like other people, the wear and tear on his body from the fasting and from the stress that's created by being in that position, I believe killed him, right? And Corky had just come in after he had had a heart attack, and when he had a heart attack, he actually died. They brought him back to life, and during that process, while he was dead, he lost all memory of his participation in the movement. And he would come in and he would say, I love coming here because I remember things. I don't remember myself being there, but they seemed like they were a part of me. So recently, the production we just finished is Luis Valdez's brother, Daniel, and he's called Mestizo. He wrote this gorgeous album and I was going to play some music for you, but that's just too technologically complicated for me to put that into. There would have been a great underscore for this piece, but there was a segment in there where we, for a song he did called, oh god, I'm not going to remember that title, but there was an underscore and there was a video montage that was, and this was a preference in my words, and this is what I have as a piece of paper. Remember those who went before us, who gave their lives so we could rise, who fell so we could stand for Corky and Cesar. Thank you, Tony, and I want to thank everyone who's placed items on the altar. Our altar now is complete. It's full of the inspirations of all of us participating. So a breath perhaps. Thank you. And I'm happy to turn it over to Kinan. So we spent the morning here, sorry about that, discussing four elements in a type of environmental analysis. Leadership, new work collaboration models, technology-driven communications, and festivals. We are now going to come back into our conocimiento groups to be able to reflect upon the wisdom that was shared here, but also most importantly, as I said, to add to the record itself. So if there's a festival that you know of that may be two or three people, or a small regional local festival, throw that into the record so it becomes part of the collective wisdom. So you will discuss those four elements as well as reflect upon the proceedings. We are going to do this between now and 12 noon. You will submit the group leaders know to submit their papers or their materials to Jamie by 12 noon. So the conversation has to be complete. Then at that point, we are going to take a little bit of a lunch break. It means you're going to go get your food and then return back to your conocimiento groups to continue the conversation around those four areas. But now you are going to start dreaming, dreaming big about the future, what is possible in each of those areas. And now as creative beings, we want to start imagining that world today before we segue into the actual creation of that world. So those are the two elements of today. 12 o'clock is the cutoff point. Take 15 minutes to go to lunch. Come back into your conocimiento groups until 12.40, have lunch, but dream together. And then we're going to come back into this space starting at 12.40 so we can begin our next conversation with all the satellite participants that are aligning in their respective cities right now. That's part of the reason why this is set up this way so that we will be able to engage with them through the screens. And you had a quick question? Okay, so can we have the group leaders stand up? Today's conocimiento groups are by years in the field. And so those of you who have...