 joining, thank you for coming into the space. Thank you so much. So nice to see people's names that I know. Hopefully more people will be joining us as we are coming in. And so hello, hello, hello. Again, thank you so much for being in the space and being here with us. And as folks are coming into the space, I always like to start by acknowledging that I am in the presence of the traditional ancestral and unceded territory of the Gabberlino in Tonga peoples. I also want to acknowledge that we have a strike going on and it still has been going on. And today I was driving by a couple of different studios and there was a lot of people out there striking. So please, if you have the time, if you have the space, please join the Writers Guild of America and everyone who's coming out to strike. It's really important for folks that we have their support and that they are feeling us being there with them. Again, thank you so much for everyone joining us in the space. I wanted to acknowledge everyone who is here who will be joining us. We have Josh who's going to be doing our captions today. And we have Gregorio and Glashanda who are going to be doing our ASL interpreting for today. So thank you so much for joining us. And with that, I want to pass the baton over to one of my favorite people. Yay, Daryl. So happy you're joining us. Yes. Thank you. Thank you. Thank you so much for being here and for being in the space. It means so much that you would join us to join. And so I'm going to put your bio in the chat for folks and let's feel free to have a conversation. And I know you have a little writing activity plan for folks as well. So I'm going to pass the baton to you for a moment while I place your bio in the chat. Sure, yeah. Hello, everyone. I'm really excited to be here. I'm Daryl Alejandro Holness and I am a Panamanian-American poet and playwright and recently I've become a screenwriter also. So I'm thrilled about that. And I also work with the Latinx Playwright Circle. And I stand in solidarity with the WGA and I'm really excited that there was a land acknowledgement in today's intro. So thank you Daphne for that. I'm excited to see so many faces here that are new to me that I've never seen before. That's always exciting and thrilling. And we always welcome folks who I have seen before of course to come back. So I'm currently in New York City. I'm a black man with locks, wearing a leopard print. I don't know what animal this is. Sort of animal print shirt. I've got an Apple watch and I've got books in the background on these beautiful IKEA bookshelves behind me. I love it. So I wanted us to start with a little conversation about what got you into playwriting because you're this multidisciplinary artist. You're a poet and it's your creative writer. You're not. So I'm really interested in like what was your journey like to decide to start writing a play? Yeah, absolutely. So when I was a kid, my sister studied dance and she would present her performances in community theaters that oftentimes also have plays. And my family would support all of the kids and members of the community that were creating different kinds of theater and performance. And my mother found that when I would come home, I would be able to repeat back verbatim almost everything that was said in the play. When it was like magical memories that children sometimes have. And I think it was clear that I had a profound connection to performance at that time. And then many years later, I was a poet and I was a fiction writer in college. And my writing professors really encouraged me to take a playwriting class because we had the unique opportunity to study with Edward Albee and then Mark Methoff at the University of Houston. And so just knowing how much I loved literature and how much I love to write, my professors in college encouraged me to take those classes. And I ended up writing a play in the Edward Albee workshop under the guidance of Mark Methoff and that play ended up participating in the Kennedy Center for the Arts College Theater Festivals, KCACTF. Yes, I love that. Yeah, and then that took me to the O'Neill. And then eventually after graduate school in Michigan, I moved to New York City and started to really learn what it meant to be a playwright outside of a college setting and sort of just never left. I love that you just shared about KCTF, especially if there are any students who are listening to this or who get to watch this and they get to learn about that opportunity for playwrights. And also I'm so glad you talked about the O'Neill as well because not everyone's like, what? And just mentioning these opportunities that appear when you're starting off and the workshop and get into your plays and not everyone is like, oh. And it's hard, it's hard to know about these things, especially when you don't have the mentorship. So thank you so much for mentioning them so that folks can be like, oh, let me Google that. All right, move it, check it out. I wanted to ask you, so you were sharing that you were a poet and a fiction writer and then a playwright. And so do you blend these different styles into your writing? I've read multiple of your plays and the different variations of your plays. And so I'm very curious for you to share with our audience, like, do you blend that? Because it's very different to be a poet than it is to be a playwright than it is to be a fiction writer. And they're different disciplines, but I'm very interested in knowing like if one influences the other or not, or if you keep them separate or you mix it up. I would love to know. Yeah, absolutely. Well, you know, I recently was told when I buy a prize judge for something that I applied for and was a finalist for that. My poetry is very, it reads like performance text. And they have always been really drawn to monologues in particular. When I was in high school, my favorite play was Hamlet, primarily because I love the soliloquies so much. And I think what I saw there was an opportunity to write a performance based text that had a lot of the basic elements of poetry. So, you know, when you read Shakespeare's soliloquies, you see the use of literary devices, the falsity, you see rhythm and musicality and an attention to it in ways that we typically find in poetry today, but not always in how dialogue is written in theater because there is that aesthetic turned towards the more naturalistic styles of dialogue in contemporary US theater. And so, you know, but that's what really drew me in when I was in high school to a work like Hamlet and I think it continues to be part of both my playwriting and my poetry now today. And when I was in graduate school and to some degree afterwards, there was always this, you know, this like sort of like bifurcation section, like everyone's like, I'm part of the poetry cohort and, you know, fiction writers, they're like this and non-fiction writers, they're like that. And we all have a little bit of, you know, which can sometimes be fun to be in an affinity group and sort of like gather yourself around that community and what you have in common. But I find that practically speaking, when I'm out, you know, as a writer now outside of any single community that I find that my writing really embodies all of my identity simultaneously. And so I think that my poetry has a lot of elements of performative writing, of dramatic writing in it. And I think that my plays always have elements of poetry and the dialogue and also in the design. And so I really am of the school that you don't have to choose just one thing and I'm inspired by many writers and performers, you know, and multi-hyphenates when I travel, like especially outside of the United States, you'll often find like theater makers and artists who really use a variety of different forms to express whatever their idea is. You know, I think so much of the way that we're siloed in this country has so much to do with like one, the culture of this country, but also to do with how we are marketed as products in this marketplace, right? Like it's like, oh, we already know you and we know that you have a market value in this particular form. So therefore you're somehow locked into this one tradition that you explored first or that we know you in first. And, you know, if you wanna explore another tradition then you have to like really reinvent yourself, you know, or somehow break out into this other area. And, you know, I just, I save the drama for the page, you know, I don't save it for my career. Like my career is not that dramatic, you know, my drama's on the page. And so if I wanna just write in a different form or continue to explore and to learn what it's like to be a writer, you know, according to the tradition that I've never tried before that I've always been curious about them. I study them and I practiced and I do exercises, you know, and then I dive in and I do other things. I think that, I think about Bob Marley a lot because he used to play a lot when I was, my dad just loves Bob Marley and a lot of reggae, you know, from like the 70s and the 80s. And I've been recently writing about this phrase that actually comes from a Marcus Garvey quote in one of the Bob Marley songs and it's emancipate yourself from mental slavery none but ourselves can free our minds from redemption song. And, you know, he's talking about a lot of things, essentially systematic oppression, but I also think that we as artists can sometimes lock ourselves into one particular lane because of other people's expectations, but it's still your choice as an artist whether or not you want to just shut off your brain and limit your activity. And this is no shade to people who are not multi-hyphenates. It's good to focus on whatever it is that you love, you know, I'm just saying that, remember that everything is a choice that you have agency. So don't worry about agents, don't worry about managers, don't worry about editors. Really if readers are interested in what you're saying, the questions that you're asking, the things that you're exploring and your way of exploring it, they will follow you no matter what form you're working in. I love that, and I love that you just shared about, you know, the choice, right? If you want to just work on one craft, you can, but to not be afraid to explore different crafts. And I think that you're absolutely right. In this country, I know for sure about personal experience that I've been brought up to be like, oh, you're supposed to be this, but I'm not, I'm a multi-hyphenate artist. And so it's been fascinating being in academia, just like you being in academia and trying to explain to people like, no, I'm not just publishing in this or no, I'm not just creating in this. I'm creating in all of this. And the joy of that, and I just think it's beautiful for us to be able to share those things and to do those different things. And so another thing I'm really curious about, you and who you are, is that not only are you a poet and your playwright and your writer, but you're also an advocate for social justice and representation in playwriting. I know that that's really close to your heart and that's something that's very, very important. And I know that you've been involved in some pretty amazing initiatives, especially with the Latinx Playwright Circle and creating and producing the Greater Good Commission and Festival. And I would love for you to share, I'm gonna put a little bit of information about the Greater Good Festival in the chat, but I'd love for you to share about the Latinx Playwright Circle and then share also about like, what is this Greater Good Commission that you did? Especially, you know, well, actually both that you did were incredible. The first one focusing on Afro-Latinidad, the second one focusing on LGBTQ playwrights, and I'm just like, oh, what's the third one gonna be? Yeah, the third one is coming up. It hasn't been announced yet, but it's going to come up soon, so stay tuned for that. So, thank you for mentioning that. I'm really proud of the work that I've been able to do with the Latinx Playwright Circle and also proud of the work that the Latinx Playwright Circle in general has been doing. You know, we're a collective of seven different staff members, but we work for a membership of over a hundred Latinx-identified playwrights across the nation. And the organization was founded by Guadalupe Parming and Oscar Cabrera. And there are, in addition to them, five founding members of which I am one. And the Greater Good Festival and Commission started out when the pandemic hit, and I saw many of my friends who were in the performance community lose employment. And this was an opportunity for them to gain some commissions, to help make up for some of the lost income at a time when there was just great need in the city and the industry and the world and to continue to make their art. I have found that New York City in particular, which is where I've spent the last decade, but I'm sure other cities and other towns and other communities, just like it can be very hard to maintain your practice because of economic expectations that come and responsibilities that come with participating in this economy. So I wanted to really put my money where my mouth was and to provide these commissions for my community members during this incredible time of need so that they know that despite whatever challenges they were facing with the pandemic that there was still support for their work and for them to not give up. That's my big mission in life. I think one of them is to make sure that artists, especially writers don't give up as they face whatever the challenges are that come their way. So the commission, as you mentioned, really provides an opportunity for writers who identify as Latin. So we've been talking about Latina, Latinx, Latino, Latina, Latin and all of that. So I've started to say writers with Latin American and Caribbean heritage. And just to sort of try to be as inclusive as possible. And I know I could even go beyond that and talk about Afro-Indigeneity and talk about Abiyayala and et cetera. But when I say the Latina community, I'm talking largely about anyone who self-identifies in that way. And what I learned growing up in Panama and also living in New York City is how diverse Latinidad is and how there are communities within Latinidad, which oftentimes that detail gets overlooked in the sort of black and whiteification of racial dynamics and theory in the United States. And so by having a commission that gave opportunities to people who experienced oppression within the Latinidad community. So that's why the first year we chose playwrights that identified as black or Afro-Latine. It just so happened that all of the winners were women. Yeah. They identified, so they just naturally rose to the top and were the strongest applicants. Two of them have off-road reproductions. One of them is amazing. Yeah, that was great. And then the next year we chose to open up the opportunity to LGBTQIA plus identifying Latina playwrights. And so the idea is that when we look around the community at what Latina playwrights are oftentimes the most supported, it is overwhelmingly men. They're overwhelmingly straight and cis and they have some proximity to whiteness. So our goal is to make sure that the entire community as much as we can address, we wanna make sure that more people in the community continue to feel included and have opportunities to continue to rise. And so we're interested in supporting underrepresented genders. We're interested in supporting people who identify as disabled or differently abled. We're interested in supporting the deaf and autistic community. We're interested in supporting Asian Latinos as well. I mean, in Panama in particular, we have such a huge Chino-Panamanian population that this idea that to be Latinez, to be of a single race has always been very confusing to me because Panama being that we have the canal and the meeting of the two continents and the two oceans, we really see the diversity of the world represented within our nation. And so, and I think that you have that here in the United States to their degree, but just the politics of it and how the rhetoric around it is just completely different. And so, you know, the greater good is an opportunity for anyone who has heritage in Latin America and the Caribbean, no matter what their race is and no matter what other identifiers they have to somehow have an opportunity that addresses them and really can join together. So. I love it. Thank you so much. I also wanted to know, you know, how are you able to keep up with producing? How are you able to keep up with the Latinx Playwright Circle? Teaching, because you're also a professor, writing poetry and plays because I think it's really important for again, anyone that's listening to understand that as you are working on your craft or crafts, it isn't always easy to support oneself. And so there's different things. And then as you're passionate about certain things, you also become involved with certain projects and support in certain things. And so I'm really curious, you know, and like, how are you able to keep up with all of this? Self-care, all of those things sort of like put together. Yeah, absolutely. You know, I think balance is hard. But I think of finding balance as an active practice. And so today, what I'm gonna do to create balance in my life is to dedicate 30 minutes to working out and to watch a show that I'm not gonna analyze and that I don't have to pay that much attention to whatever that is for me that day and talk to a friend who doesn't live in New York that I haven't maybe spoken to in a long time like. But every day I decide that it's something and it can change depending on what the day is because it's an active practice. So it's something that is evolving as I move through my life. And but it's something that I'm committed to despite whatever challenges there are. And I've learned a lesson in my 30s that I think I wish I had known in my 20s but I was just so ambitious and so like had such a go-get-them attitude which is like opportunities will come back. And so if you set aside time to spend with your family or if you set aside time to have a spiritual practice or if you set aside time to take care of your health don't then sacrifice that to just work more because you suddenly got an email that says, dah, dah, dah, dah, dah, dah, dah, dah, dah. I used to think that that's what it meant to be a serious artist is to continually prioritize your art no matter the impact on your relationships and to just surround yourself by incredibly understanding and generous people who really love you. But I also, but I realized that every time there's an opportunity you wanna be able to show up 100%. And if you can't show up 100% because you're also guilty because you forgotten this friend for the third time and your mother's been calling you for three days straight and you haven't gotten back to her and whatever you're not able to show up fully 100%. And so it's better to just say no, I'm tapped out. Thank you for offering me this opportunity but I'm not available right now and make sure that you take care of yourself and prioritize balance because that same exact opportunity might not come around again but there'll be other opportunities down the line. So you don't need to just, I think I've been told by other people that career in the arts is like feast or famine. I think that that's a bad mindset. I think that that is counterproductive and I don't think it's sustainable. And yeah, so that's not in my best practices model. So, but now that I'm a little older I know how to kind of see good advice from bad advice because I have so much more experience but I've made a lot of mistakes in my 20s and I wrote poems about them. You put it back in the art, put it in the art, put it in the art. I love it. So I'd love to, and we just had this lovely conversation. I'd love to pass the baton over to you because I know you want to guide us through an activity and I'd love for you to be able to share that and have the time to be able to engage in that activity. Yeah, absolutely. So I call this activity Bal de los Recuerdos, which is trunk of memories. I think treasure chest something in English. And, but, you know, so here's the thing that you do. Everyone, you know, make sure that you have a paper and a pen or a pencil. So something to write with. You can type it out if you prefer, but, you know, I always encourage folks to hand write as much as possible because oftentimes a different process opens up other parts of your brain that you're not used to using. If you're used to typing, then now might be a good opportunity to switch over to handwriting, but it's up to you. And then I want you to think of an object that you keep around because it reminds you of a good memory. And if you can, it would be really helpful for this exercise to get the object and have it in front of you. But if you don't have it in front of you because you're in your office or you're in a classroom or anywhere else, it's fine. Just imagine that object as much as possible. And this is a three step process. So the first step, you're gonna take five minutes and just describe the object physically, right? So what is, and use your five senses. The second step is that you're gonna write a five minute short summary of your memory with that object and why it means something to you. And the third step, which I think is the most fun part is that you are going to make a fake memory related to this object. And so there's the real memory and then there's the fake memory. And the fake memory can be whatever you want. It could be a variation on the real memory. So you could be rewriting a real memory that you have with the object or it can be entirely made up, you know, your story with this object in a completely fictional context not related to your real experience with the object. So again, those three steps are, first take five minutes to just write a physical description of the object using your five senses. The second step is to take five additional minutes and write a short reflection of your memory with the object of your real memory. And the third step is to write a fake memory with the object. So imagine yourself with this object in a new light, right? Really just think about what other powers does this object possess that could create a new and precious moment for you in your making. All right, let's give everyone five minutes to do the first. So I will keep the clock so that folks know. And if you get stuck, just keep describing it. Are we at the five minutes now? Daphne, you're on mute. We are at the five minutes now. Great. I'm curious what folks chose and what your experience of writing it was. You don't have to share if you don't want to but if we could get maybe these two volunteers to let us know, I think that might be helpful for moving on to the next step. Would anyone like to share their object? Thea? Yeah. I have a shell that I found on the beach. I don't know how it feels like a fade thing on it but it's a really like almost sort of perfect shell that I use as a little jewelry dish. But I liked the, you can sort of see this like almost like bruising colors on the inside. Really, really, it just feels sort of old in a way that I quite like. That's really cool. Can I have one more volunteer? And then I'll share mine too. Wilson, Simone? A bracelet. See that? Yeah. I belong to my mother and it's very, very, very old and it's kept the gold all these years. There is an inscription on the front which I have never been able to make out. And this bracelet is just very, very special to me because as a child I would see it in her jewelry box. Yeah. And I wanted to wear it. I'd always put it on as little girl. And so I have it to keep this with me. Oh, that's so nice. Thank you for sharing. That's a great object to use for this exercise. And I have to share this. Simone, I picked my grandmother's bracelet because of the same reason because she used to wear it and then she gave it to me before she passed and seeing that person wearing it. Thank you so much for sharing that. It was really powerful. Sorry, I had to share it. Oh yeah, I'm so glad that this is why it's good to share. It resonates with the room and we see what the connections are. Peggy says mine is an ID from the Human Resources Office when I was denied public assistance as a team mom. Ooh, yes. Yeah, so there's so much story attached to that one, right? Yeah, that's really great for this exercise. Thanks for sharing, Peggy. I have here a sound wave that was printed out and framed. And it's a sound wave of the words, I love you. So that's my objects. And I wrote about how it's metallic in color and geometric in design and how, yeah. So now we're going to write for five minutes. It's a free writing portion. So you're just going to write a short summary of the memory of the object. And I want you to allow yourself to dig deep, right? So there are a lot of things that you already know at the surface about this object. Push a little bit further, try to go into territory where maybe the memory starts to get a little fuzzy, right? Because then this will be an exercise where you discover more than just recollect. So five minutes on the clock. Let me know if you have any questions. You're just writing a short summary of the memory of the object. Thanks. Thank you. And those five minutes are up. Great. Thanks for keeping time, Daphne. What was that experience like for you? You don't have to share the story if you don't want to share. But what was the experience like for you writing this part of the exercise? Can I get two volunteers to share? Thea? I'll go after Thea. You want to go first? You go first. OK, I'll go first. It's funny because I was reading what Esther has just written. And Esther was like, it was easy because memories attached to the object. For me, it wasn't because I had to think of it. So the contrast, for one person, it would be easy even though there's memories with it. And so I was trying to focus on the earlier memories of the object versus the latter memories of the object because my grandmother had Alzheimer's. And so the latter memories of the object are so hard and painful. But the earlier memories aren't. And so my mind kept wanting to go to the latter. We got to go back to the earlier. And so that was where I was at. Thea, how about you? Yeah, first of all, my grandmother also had Alzheimer's. And so I felt that very deeply when you said that. The shell that I wrote about. I don't remember when I found it. I stayed with my parents for a while in quarantine. We went to the beach to walk along the beach. That was sort of our escape from the house. And so I have very vague memories of all of our walks. And so it was a much more broad sort of, when you talked about going deeper beyond the superficial memory, that was almost easier for me because I remember the sensation of being there. I remember the smells and the feeling of it more than the events themselves and the sense of being with my family and being in a place that felt relatively safe in a really unsafe time. Wow. Yeah, that was great. Well, thank you, all three of you, for going so deeply when it comes to writing about the object. The point is to try to use this as something that, or you discover something that isn't obvious about the object but still really meaningful to you. And I'm going to read Peggy's comment in the chat. I feel like I have a great seed idea and there is so much more to write. The memory of hunger and hustle was at the forefront. But then I couldn't escape the tactile feelings, experience, and a human resources setting where your person is devalued and shamed. Yet it was a turning point, a decision to stay and sit in that shame and rejection or learn to hustle for self-dignity despite it all. So yeah, that's really meaningful. And thank you also for going deep. I think that that's really going to be useful to you for this exercise as we continue to move through it. So now we're going to take the last step before we get to the sort of like the playwriting part. And the last step is to imagine a new memory with this object. And I want you to just remember one thing that you chose the object because it was really meaningful to you in a profound way. So make sure that the new memory is just as meaningful even though it will be made up, right? Think about something that would really resonate with you that impacts you significantly even if it didn't actually happen. So in order to do a lot of these exercises, you really have to know yourself. Or maybe this will be a way of getting to know yourself. So just take five minutes and come up with a fake memory for this object. Thank you. And those five minutes are up. Great. So you have the ingredients for a play. Imagine this. The first memory that's your real memory is a real memory for character A. And the second memory that is the fake memory is a memory for character B. And now imagine that they're fighting over this object. It could be that the object was left to the two of them in an inheritance, but it wasn't designated who should get it. Or it could be that they both somehow had different experiences with the object and left it behind and have both rediscovered it at the same time. You can decide how it is that these characters have come to be in the same room together at the same time with the object. Whatever inspires you is what you should follow. But now there's the emotional significance to the relationship that both characters have to the object. And they're in conflict because only one of them you have decided can keep it. So I love these kinds of activities because oftentimes my students will say, I've come up with an idea for a play, but I don't want to write it. And I'll be like, well, why don't you want to write it? And they'll be like, well, I think it's a good idea for a play, but I don't feel connected to it or I don't know how to enter it, how to engage with it, how to start, where to start. And so this is a way of looking for that starter kit within yourself. So it allows you to bring your personal experience and an object that means something to you into play with the new play. But it also allows room for the imagination because when you assign your personal memories to a character that's not yourself, so you are not character A, nor are you character B. And then you have a fake memory in there. So all of that is room for the imagination to take over and to really shape this into a play that might be inspired by your personal relationship to an object, but it's not actually the story of your personal relationship with the object necessarily. And so that's a way of looking within yourself for that starter kit so that you feel connected to that play from the start. And it was interesting because I didn't know where the activity was going. And so part of me was like, I wonder how can it all connect? And as soon as you, I was like, oh, the starter kit for the self, and I love the like, there's already a connection because the connection to a memory that you have with this object, but you're giving it its own life and its own story. That was amazing. We have a moment or two for questions if anyone has a dying desire to ask a question I would love for folks or if they just want to share what this was like. And just to me, like this epiphany all of a sudden of being like, oh my God, I totally have a story. And it's gonna be a good one. It's really exciting to me. So I'd love to hear from anyone or if anyone has any questions. Yes, Simone. This activity was good for me because I haven't. I haven't been writing per se for a few months and I'm just starting a new play. And so I have now that starter kit within. So that was very helpful. I do a lot of outlining first. A lot of notes, a lot of outlining. And that's where I am. And so that's gonna help me pull it all together. So thank you. That was beautiful. Thank you. Peggy. I love this exercise. I don't know if my ID, my welfare ID is gonna work now but I have to know with this. I just wonder, I have more of a question or inquiry kind of a thing and it's for everybody. But do you, I find that when I write I always enter any kind of writing exercise with something very deeply personal. And I think it stems from the fact of just erasure and silence within my own personal family. I'm always, I don't know what that is, but it's like, okay, if I didn't get to talk about this as a child or as an adult, I'm gonna write about it. And I think that's why I gravitated towards that ID which sits on my actual desk which unfortunately someone is working on right now downstairs in my family home. So I'm like, that's why everything's muted because I'm like, shut up. But is that, I don't know, is that discouraged? I find that sometimes people have told me other mentors have said like you shouldn't always anchor to that. But I think that that's where my best work comes from. So what is your opinion on that? Yeah, I think you should always follow your instinct. I think that at times it's good to step outside of that comfort zone. But if that is the point from which you write then that's something that you should always honor as much as possible. So I think that we come to this earth with a purpose and those of us who are artists, I feel like sometimes we already have a game plan even though we don't know it, that we sort of came to this earth with. And if your game plan had to do with giving voice to that which has been silenced and there's something about it that feels innate to you that you feel like you have an instinct to naturally write from that place, then I think you are honoring your gift by following that instinct. It's okay to step outside of your comfort zone and to try something different, just to stretch your skills and to push the level of craft that's a part of your work. But I don't want you to dishonor that instinct because I think that there's something like mysterious about it on purpose. I think the most powerful things about our existence are meant to be mysterious on purpose. And so that doesn't cause, that doesn't make me feel uneasy. I'm not like, oh, I don't have a way of pathologizing this or explaining it. Therefore I should deny it or question it constantly. I'm like, no, that's why I should embrace it because some wisdom that's greater than my own has decided to put this in my life. So I'm gonna embrace it and explore it. And so I highly encourage you to pursue it. It's a great question. That was beautiful. Thank you so much. And thank you so much everyone for being in this space today. Thank you so much, Lushana. Thank you so much Gregorio for providing our ASL interpretation for today. Thank you, Josh so much. And of course, thank you Daryl so much. Thank you, thank you, thank you, thank you, thank you, thank you, thank you everyone. And I will see you all next week. So see y'all next week. Enjoy, have a wonderful rest of the week and weekend everyone. Bye. Bye.