Thank you so much for having me and especially thanks to Diane and Cliff for making it work to present remotely despite the in-person conference. I really appreciate this opportunity to share what we've been doing with Succo this last number of months. So I'm Quinn Niembrowski. I'm an academic technology specialist at Stanford in between the libraries and the division of literatures, cultures, and languages. My background is in Slavic linguistics, medieval East Slavic linguistics, which is a laugh line in like half my talks, but very strangely, it's ended up, you know, this year, been the year where kind of all of these pieces that I've worked on, you know, from digital humanities to the medieval Slavic, you know, to technology of various sorts and working in central IT for a number of years all came together through this project. So saving Ukrainian cultural heritage online is a group of over 1,300 friends and new friends mostly from North America and Western Europe who came together in the wake of Russia's invasion of Ukraine in February to try to protect Ukrainian digital cultural heritage. To be honest, we didn't really know what we were getting into when we started this, but as we worked on the project, you know, we discovered how quickly, you know, ever since World War II there are many organizations that exist specifically for the purposes of protecting cultural heritage. You know, there's Europe or Nostra, there's the Smithsonian that's been involved for decades, but there are very, very few players in the space of protecting digital cultural heritage. And over the last 30 years, the amount of effort that has gone into creating digital cultural heritage through digitization of physical objects, to websites, to born digital things is immense and these are materials that need, you know, care taking during a war as well. So here's how it all started. It feels sort of sad and ironic now, you know, how much of SUCHO, especially in the early days, depended on Twitter, the academic scholarly communication infrastructure that, you know, is now on fire metaphorically, at least if not literally as well. Anna Kias, who is a music librarian at Tufts, posted on February 26th, just a couple days after the war started, she wanted to organize a data rescue session focused on music collections. She was at a music conference and that was kind of her immediate community of folks that she could bring together to, you know, archive websites that had a fair amount of music content. And Sebastian Maistorovic immediately replied, familiar side of the world at the Center for Digital Humanities and Cultural Heritage in Vienna, Austria, suggesting that WebRecorder might be a tool that might be useful for this context. And I saw this and we all got together and had a meeting the following day. And just a couple days later, we launched SUCHO, where Sebastian had paid out of pocket for server space to be able to start archiving sites around the clock using the WebRecorder suite of tools. And we, you know, as one does, we put out a Google form for people to sign up to help volunteer. And all of a sudden, you know, we were being flooded with volunteers, you know, over 400 people signed up to help in the first, you know, a couple days, even as we were still setting up the Slack. We were writing tutorials. Honestly, I had never really done web archiving before this project other than sending things to the wayback machine. And so, you know, we were learning these tools ourselves for the first time, writing documentation for the next people who would be learning them, you know, minutes after we ourselves had figured out these things. This was our web archiving and collaboration toolkit. We were gathering links from all kinds of different sources. You know, we were using Wiki data. We were having people send us links. We had a link submission form. And we would send things in two places. Everything would go to the wayback machine. We would check to make sure that it had been archived before and we had volunteers go through and make sure that the capture was thorough and caught everything, even the sub pages. And for things that were missing, we would have them submit new seed URLs to the wayback machine to make sure that those are captured as well. We were also having people use the web recorder suite, which is available as a browser-based plugin as a Docker container. And eventually, we were the first prototypers of Browser Tricks Cloud where people could do automated web archiving in their own browser. For a lot of volunteers, we had a number of volunteers from, you know, libraries, archives, museums, universities who had some experience with kind of cultural heritage technology. But we also had a lot of people who had never tackled that kind of thing before or similar to me had only used the wayback machine. And so our tutorials and video guides and hands-on sessions were used to train people to install Docker and run things on the command lines sometimes for the first time. And it was amazing how with a little bit of coaching and support, people at all kinds of kind of self-assessed levels of technology were able to pick this up and work with it. We were communicating around the clock via Slack. We had a free Slack instance and we got an extension of our free trial actually until November. And that has been our hub for communication, you know, synchronous, asynchronous around the clock. Sometimes we would hold Zoom sessions, but honestly, most of the project communication happened on Slack. And Google Sheets was, you know, perhaps the unsung hero of this project. We had this gigantic spreadsheet with multiple different columns for all the links that we were getting in. We would set the status there. We would have information about where it was hosted. Initially, we were prioritizing sites that were physically located in Ukraine with our primary threat model thinking of, you know, missiles and physical destruction of servers. It turned out over time that we stopped doing that and we would take any site that was related to cultural heritage, even tangentially.  Anything that are, you know, that represented places where people were engaging with Ukrainian cultural heritage. We wanted to make sure there was at least one or two safe copies of, you know, distributed, you know, using our browser tricks tools and also in the Internet Archive. It turns out, as I was saying, that, you know, physical destruction was actually not our biggest problem. It turns out that of the sites that are hosted outside of Ukraine, refugees are not great about paying their server bills. Completely understandable. There's a lot of priorities. So there were sites that were hosted, you know, that were not in any sort of physical threat that went down due to non-payment. And so we wanted to make sure that we could capture as many of those as possible as well. We did some creative things with trying to find sites. You know, in addition to talking with subject area experts, like the Bavarian State Library, for instance, gave us a giant dump of Ukrainian URLs that they had curated. We also went to WikiData, but it turned out that a lot of things that were in WikiData were out of date or the domain names had lapsed and the sites were now, you know, gambling rings and things like that. Sometimes more audacious even. So we had to go look for a lot of sites. We didn't know what all was out there. And we had volunteers, especially those involved in situation monitoring, like Erica Peasley, who would look at the arrayed alerts that were going out on Telegram and then look within those regions, actually walk through the streets using Google Maps of cities under attack, looking for the cultural heritage icon and then finding, you know, do those places have a website? And if so, she would add it to our list. The situation monitoring also fed into our prioritization, where generally we just sort of went down the list with anything that hadn't been flagged as a problem or spam or things like that. But when there were active attacks going on, she would sometimes reshuffle the priority list saying, okay, focus on things in this region or focus on things in this city, knowing that those websites might be the only, you know, remaining traces of some of these institutions that were being destroyed, even as we were archiving their websites. It really was a digital Dunkirk effort.  And it really is apt. We would crawl on any device that could possibly crawl. And this included even Raspberry Pis. We had a volunteer figure out how to run the browser tricks crawler on a Raspberry Pi device and wrote out some instructions and they're now on our websites. People were dusting off laptops that they hadn't used in years and plugging them in, you know, wiping their hard drives so that there was space and archiving, you know, on those computers. We, for a number of months, stored all of our data on Amazon S3 using some free credits that Amazon Central Europe provided for us. We also had a number of mirrors at research institutions within the US and Europe, including ones that we never really spoke about publicly to ensure that there were multiple copies of this data, even if some of our data sources were compromised. In the end, our goal is to give this data back to the institutions if their websites are destroyed, if the institutions are destroyed, you know, extracting the data and helping them, you know, reimagine and rebuild after the war. So we had to make sure that the data was going to be secure. Our volunteer pool really ranged the whole gamut from children to retirees. One of our volunteers sat down with his five-year-old and to archive a website and he asked his child to draw what they were doing as they were archiving websites. You can see in this picture here. This is on March 17th.  I wonder if they could get involved. And of course, you know, I live in Berkeley. It's a very sort of, you know, socially active community. You know, the kids have been talking about the war in school. And so we hosted what I think may have been the first ever web archiving event at a, you know, for the PTA of an elementary school. We had the event over Zoom and, you know, everyone was there with their laptops. I had curated a list of children's libraries for the kids to go through and families got together and were able to help in a tangible way by archiving websites. And this is my now nine-year-old Sam here in this picture. One thing that we discovered over the course of this project is that, you know, key glam infrastructure is really poorly adapted for web archiving. You know, there were, for instance, I now have this fear of calendars on websites because event calendars, it turns out, are essentially crawler traps where they automatically generate links to past events and future events even when we're talking in like the best distant future or the best distant past where there are absolutely no events. The calendar will continue creating pages and web crawlers will keep going through those pages and not actually get to the content of the site because they're too busy time traveling. Itavis is a major library catalog system that has been widely adopted in post-Soviet countries developed in Russia. And it is a nightmare to crawl.  And so what we ended up doing was one of the grad students at Stanford, Yogi Karakov, wrote a web scraper to be able to deal with Itavis library catalogs. And these were really essential because when libraries are damaged or destroyed, we want to be able to have records of what their holdings were before the war, both to try to get that data back to them. If we can find copies of these books or have them donated from people in the US, professors with libraries, or figure out a digitization strategy to get them some copy of the book in some form back. But this had to have a special scraping method to be able to get that data. As did dSpace, unfortunately. While there was not a lot of adoption of some of the other widely used standards like tripleIF, for instance, in Ukraine, we were actually very happy to discover that there were not tripleIF servers that we could find where we needed to back up that data. But dSpace had been fairly widely used for academic publishing, for archives and libraries and galleries. And it is incredibly hard to web archive dSpace with the tools that we have. So, some food for thought for future development, I think. We have the Sutro Gallery and Equipment Fund. At some point, we realize that archiving websites is all well and good, but it's limited in its impact when there's so little of the country's cultural heritage that's been digitized. According to the Ministry of Culture, less than 1% of Ukrainian cultural heritage holdings have been digitized. And so we've been raising funding and working on getting equipment to Ukraine. We have partners there who are developing tutorials in Ukrainian for how to use these materials, how to upload things. We've developed the Sutro Gallery, which is an OMEKA-based platform. If people need somewhere to put these materials so that they'll be visible to help raise funds for these institutions. One of our biggest partnerships right now is with the Cherkasy Regional Library, where they had an art contest for internally displaced children. They wanted to digitize all of this art and turn it into an exhibit that could travel around the world to help raise money to support the community. So we managed to get them a book-eye scanner. It's on its way to them. They have a lower-end Caesar scanner right now. And we're working with them to try to help lay some of the pedagogical infrastructure to be able to duplicate this for other regional libraries and other places that are maybe not in the same high-priority and high-profile level as to receive the kinds of international support they would get otherwise. This is just kind of fun. We also have a meme wall. We realized at one point in the spring that memes are in some ways kind of like, letters home from the war or letters within a community from a war for this particular crisis. And the historians of the future, as much as we sort of see them scrolling in our feeds and we laugh when we move on, historians of the future are going to want this data. And so we've started curating a selection of these memes. Anytime there's a big event in the war, there's always this outpouring of memes and we've been trying to capture those across multiple different languages, add metadata and make it possible for people to browse those. Unlike the websites where we're really seeing this as something that we're doing for the Ukrainian cultural heritage community and that data will be their choice about whether we keep them or get rid of them after they have their data back. The memes we really see as a resource for future historians and already we have students working with this material both in Ukraine and in the US. We are also a part of these conversations about the building of a future National Digital Library of Ukraine, which primarily is a partnership between UNESCO and the Ministry of Culture and Information Policy of Ukraine and the Ukrainian Library Association. But again, Succio has found itself in this weird place of being the people in these conversations thinking about the digital stuff. So it's a multi-governmental effort and so naturally it's going a little bit slowly, but we're looking forward to helping advise on this one in the future, thinking through what the National Digital Library might look like. Already we're talking with Ukrainian Library Association about setting up their own d-space as it happens for their own internal materials as a way for them to kind of get their hands dirty with kind of building archives and thinking about what that looks like to run them in the long term. The situation is actually worse than ever for Ukrainian internet. This is the uptime of the sites that are on our list starting in April and running through now. And there was a while where we were thinking like, maybe we didn't need to do this, maybe actually there won't be any data lost because while there's some degree of fluctuation with any given site on any given day, the sites were mostly online for much of the war. And really it is only within the last few months that this has changed dramatically. And in fact, the risk to the sites that are at least hosted in Ukraine has also increased dramatically because of power shutoffs. So unplanned power shutoffs can lead to data corruption. The risk of data loss is really higher than ever. And I think it really underscores the need for us to not give up and not call us a done effort. This is something that we kind of need to be in for the long run until the community is ready to rebuild. If you're interested in learning more about SUCHO, our website is sucho.org. We definitely need help with a variety of things, including the gallery, including some metadata. We could always use some technical help as we're thinking towards some of these bigger projects with the National Digital Library of Ukraine. And at least speaking for myself, I'm incredibly grateful to the support that I've gotten from Stanford Libraries to work on SUCHO. This was literally all I did for two or three months. And now I'm balancing it with everything else that I'm doing. But the experience of working on SUCHO has led me to get involved in web archiving more broadly within Stanford Libraries and thinking through what the future of that looks like for a variety of different use cases, including web archives' data and sort of preserving these manifestations of cultural heritage for the future. So yes, thank you so much. Thank you for having me remotely. And I look forward to your questions. Now I'll turn it over to part two. I guess I'll stop sharing the screen so that you can just do that. Thank you, Kuhn. Yeah, if, thank you. So if there are any quick questions about this talk so far, perhaps this is the time to ask. She'll hopefully be around till the end of the talk. So if you have more detailed questions, we can address it at the end. I'll be here. We can do the questions at the end if that's easier. Yeah, say it again. You say something? Oh, we can do questions at the end if that's easier. I mean, yeah, if there were any clarification or any small questions, we can perhaps go with that now. Otherwise, we can wait till the end. All right, so paging through this far. Hello. I'm Saud Alam, a Web and Data Scientist of Wayback Machine at the Internet Archive. And at the Internet Archive, we were fascinated by the work Quinn and Team did to kind of establish this hundreds and eventually thousands of people, kind of rallying behind and kind of collecting all sorts of seeds and reviewing stuff and finding all sorts of ways of archiving the web. And Mark Ram, the Director of the Wayback Machine, said, hey, let's go and help them. And find out how we can learn more and how we can help. So basically, many developers from our team me, Mark Ram and some other members of the Internet Archive not necessarily working for the Wayback Machine, they all joined Sucho's Slack and can we help? Sucho actually stress tested SafePageNow service of Wayback Machine by sending a lot of data to us. And the person maintaining SafePageNow service is coming back and kind of, you know, okay, so this is down. Okay, I'm going to fix this. Go ahead. Maybe we can take more load and whatnot. So at the Internet Archive, we are a library and we do, the tasks other libraries do like collecting stuff, preserving, lending it, material, collaborate with other people, provide access to the data we have, make data discoverable by making it indexed in, you know, searchable and whatnot and provide helpful services on top of it. So this is Sucho collection at the archive.org and this is not the web collection. There are all sorts of books and videos and audios, images, you can find many things in here. But then Wayback Machine team started kind of ingesting data, the spreadsheet that you saw before into SafePageNow. I mean, we did not consume it like one entry at a time but SafePageNow comes with many different APIs. You can submit data to it using emails or Google spreadsheet. You can submit one by one. There is an HTTP API that you can use to interact with. There is a browser extension. So many different ways to go about it. The Sucho community, some folks from there actually created an add-on that made the Google sheet-based workflow even better and easier. Then some other tools that members of Sucho team were kind of using to archive the web locally, not using internet archive to archive those. They were creating Waxy files and there are about 50 terabytes of those. They were sitting in Amazon S3. We are in the process of moving that making a copy into internet archives data box. And these are Waxy files, not the traditional work files. So these are actually wrapper around or a container of work files. Our system is not quite ready yet to ingest it as is but we have experimented with that and hopefully soon we'll be able to serve Waxy files through a Wax machine or in other ways. So as we browse the web, we sometimes see things that we realize like, oh, I wish I should have archived that. Please do, right? If you see something, save something. That's the motto of SafePageNow which is a service of web-backed machines. SafePageNow. If you go to web.archive.org, somewhere in the middle there will be a place, there will be a form that will say, save page or SafePageNow, use that. And not just web-backed machine SafePageNow, there are other web archives that are providing services so that you can archive pages there. Please archive in multiple places to have more diversity. Internet archive runs a subscription service called ArchiveIt where different organizations, those who don't want to have their own web archiving program in-house but they do want to have web collections, they can subscribe to our paid service basically of ArchiveIt. And we internally use it sometimes. Even the web-backed machine team uses it. MarkGram created two collections here which is like a news colon Ukraine, news colon Russia.  And over time we have collected more than 3 million, you know, captures from Ukrainian sites and 24 million plus captures from Russian sites. But perhaps it's not surprising to the audience here that the archiving just a seed list is not enough and archiving the first few hops grows exponentially. Here one seed from cnn.com resulted into 31,772 captures. So how it happens, you get one page and you archive the HTML of the page but you need JavaScript, you need CSS, you need hundreds of images in there and over time there are more and more resources per page. So you archive all those and you get that 338 embeds basically. Then you process that page and you find how many hyperlinks are there. And those external links in this case come out to be 174. Then you go download all those and all those pages will have page requisites like images and CSS and JavaScript and whatnot. And then you get this big number. That's how it expands really quickly. Now archiving regular static pages is easy. We have been doing it for a long time. But how about archiving Facebook or Twitter? Or Telegram or a number of other services. Sometimes we use traditional tools and it works. Sometimes it doesn't work. But when there is a crisis and there is important material there, we try hard to get it. And even if it needs more engineering and specialized tooling around it, right? So it turns out there is a page on archive team which is a volunteer driven archiving community that's been around for quite some time. They basically were up to this task and they went to this platform where there are channels of Russian and Ukrainian and Belarusian and other places. And they got data from there. And they started collecting those specialized engineer ways to download Telegram data from there. And we started ingesting that content with that machine. And this is a dashboard that we have which we see on a daily basis what's going on in our different collections. And so far it's been 22 billion Telegram URLs archived. Then vk.com, which is basically kind of a Facebook of certain country that has its own challenges. And we started archiving that as well. So there are 3K regional groups with daily snapshots since May 2022, about 5 million posts and about 200 pro-war groups with daily snapshots. So we were archiving it aggressively there. Then saving Russian independent media. There are a bunch of independent media sites there and we wanted to archive and preserve that. So we collaborated with Bard College and pen.org on that task and we are archiving those sites as well. And here is a dashboard of that which is so far it's 140 million plus URLs archived in that one. This was about 70, 75 or so initial seed that we got of independent media sites. We don't know which sites are independent media there but there were experts who helped us on the other side. And that's what collaboration at every stage kind of helps. Then we started collecting the data. Now they want to have access to the data that we archived and we have been experimenting with something called collection search in Wayback Machine. So the amount of data that we have at Wayback Machine is enormous and indexing it is beyond our computational capability at this point. We cannot make the whole thing full text searchable. So what we are doing now is like we are identifying smaller collections or things that we think like there is an immediate usefulness to make it available in more ways and make it more discoverable. And we index it full text search, index and make it available. So now if you go to web.archive.org there is a collection search option. You can search for GovDocs in there like end of term crawls that we have made it available. PDFs from GovDocs, those are indexed. In fact PDFs from all the other sites are also indexed there. Poetry.com is indexed, that site is not there anymore. And a bunch of other collections, I think there are like 15 plus collections that are available now and this number is growing. So this Russian independent media collection that we have built that is also now available. Hopefully going forward all the SUCHO data that we have collected that will be indexed and that will be available as well. It's not there yet. So this index that we created, not everyone is going to access it from way back machine interface. So we have created an API for that. Now if you are a researcher and you want to put like a UI around it with some of these collections that we are exposing, you can certainly access that. And this work was again a fruition of collaboration with Media Cloud folks. Media Cloud is an organization that collects news, seed data from all around the world in many different languages. And they give us like a daily feed and we archive those URLs and we index it and make it available. So Archive It has also been supporting multiple partners and some of them are creating collections on Ukraine or Russia or these water related collections. Now we got these URLs and when Wikipedia has become like one of the knowledge sources and URLs die quickly in there, especially in countries that are in crisis. If you go to Wikipedia in Russian or Ukrainian languages the URLs there are more vulnerable to disappearing than some of the other Wikipedia, right? So we increased our activity on those Wikis to kind of fix those links before they break or once they're broken we just change it to way back machine links. And for that we have a bot, we call it Internet Archive Bot that periodically goes and kind of checks all these Wikisites which runs on several hundred Wikisites on a daily basis and fixes links. So what it does basically, right? Here you see there is a references at the bottom of the Wikipedia page. Some of those links if you click on those they will lead you to a way back machine page because the original link was broken it's not there anymore, right? It's 404 or the site is down or something. And here's a little dashboard that we have. So we have recently crossed like 15 million links fixed on Wikipedia, all the Wikipages combined and by the end of the year we'll cross 16 million mark which is another arbitrary number but it's a huge one. So basically we have made sure at least those many million URLs in Wikipedia they will live. The references will stay in readable even if the origin site is down or gone or the content is changed. Here is a monthly activity of our Internet Archive bought on different Wikis and here we're comparing Russian Wiki and Ukrainian Wiki and English Wiki. So in the early days the blue line shows like I mean the English Wiki had more activity than others but towards the end of February 2022 and so so much activity was kind of you know gone into Russian and Ukrainian Wiki and now it's gone, caption to calm down and gone to the normal speed now. So that was the website of things, right? And how about television? We have started archiving television as well in a lot of, we have specialized interface in the Internet Archive when you go to TV news archive and if the news has corresponding captions they will be available. You can browse through it and read through it or interact with it. So this is TV news archive and you see a Fox News thing here with the captions. But Russian TV generally has no captions available so it makes it more difficult to understand what's going on in there just by seeing titles. That's a language that not many people can understand. So this is a TV visual explorer and this is a work from GDEL project where it processes TV news and transcribes the text, the first basically converts the speech to text, transcribes it basically and if necessary uses translation tools to make it more accessible to users not knowing the language and also it creates periodic snapshots like takes thumbnails and puts them into like a strip like thing where you can see what's going on like I have like a visual overview of news even if you don't understand the language and if you click on one of those thumbnails it will land you to the Internet Archive on that particular recording at a specific time so you can watch from there and the transcripts will be available there. It's kind of an interactive system and we are doing it for all the Russian, Belarusian and Ukrainian TV. Now there are with this system in place GDEL has been experimenting with a lot of other projects around this when you have like the TV data collected by the Internet Archive and they can ingest it into their system and do all sorts of machine learning things there. So what kind of value edit services you can provide with that. GDEL's projects blog is an excellent place to follow what's going on in this space. Here is TV Rain, that is a Russian independent TV or shut down for a while and we got disks from them shipped to us. We loaded it, this is Mark Grom's office basically copying data from those disks into our archives and it made it into Internet Archive's data box so now you can browse through and access it to those TV recordings. Now we got that data and we passed it to the same visual explorer we talked about before so now it is more interactive and accessible basically. Then we also archived Echo of Moscow which is like a Russian independent radio. We archived their content, it's not a web archive, it's a regular audio archiving basically or radio in this case. Then we collected Ukrainian books basically, there was a call for that on our blog and people were donating books and they're organizing those collections. Here is something called Better World Books which is like where you can buy used books basically and a cheaper price. That is a subsidiary of the Internet Archive now, a nonprofit, so what we do is every time there is a reference in Wikipedia for a book that we don't have in the Internet Archive, we add it to a special list, which is our wish list basically and every once in a while we send that list to Better World Books and when they find those books on their conveyor belt they basically put it on the side and then we send it over for digitization so that we have those books. So it is our kind of long-term goal of making Wikipedia more resilient and references that are there in Wikipedia that are not web references but books and other non-digital materials. How can we make sure that those references live and be accessible in the future? Then as we showed before, when we have a copy in Webeck Machine of a webpage and if that link is broken, we go and fix Wikipedia page to point to Webeck Machine link or any other archive link basically in non-Internet Archive archives. But since we also have books and other materials we can fix those references as well. There is no broken reference to begin with, just that if there is a book citation in a Wikipedia article, how to go to that book basically? Now sure you can have a library nearby and if they have that book you can go and find that reference but Internet Archive is a library that is accessible so why not link there, right? So we try to identify such references and link to the page number so now if there is a book reference in a Wikipedia article you can interact with the link there and it will open it to a book reader so that Internet Archive has at that page number so you can access those citations that way. So yes, it's a whole involved process. We acquire these books, we digitize those things and we make it accessible in many different forms and we also kind of know where things are cited if we can create a link there, we do that as well. And this is kind of an open problem because some books will have hard references like DOIs or ISBNs so we can have like a one-on-one matching but sometimes the citations will not have that rich metadata available and in that case we need to find more reliable ways to link more books basically. So with that we can conclude and if we can take any questions but I can go through all the things that we did. Basically we supported sucho.org when there were only like a few hundred volunteers in beginning that group or basically organization. We started archiving Russian and Ukrainian news sites and other websites from those countries, archiving telegram, archivingvk.com, saving Russian independent media in collaboration with Penn.org and Bard College. We have many archiving projects that are around war-related sites. Then we are also working on Russian, Ukrainian and Belarusian TV material with the help of GDELT project. Those are excellent folks up there. Then we are also archiving and saving independent TV like TV Rain, independent radio, which is TV Echo of Moscow and we are always looking for more resources that we can archive and make it available in the future. And we are enriching Russian and Ukrainian Wikipedia sites. I think Quinn perhaps can summarize the work on her side and then we can take any questions from there. Yeah, I'm happy to take questions. All right, so any questions? How much time do we have? About 10 minutes? Excellent, so I'm not sure how you're gonna relate this to Quinn, I'm not sure if Quinn can hear the AV here. First of all, I just wanna thank the Internet Archive and everybody who was involved in the SUCHO is a project that was personally pretty important to me. I'm curious about what the lessons learned are. So I remember a few years ago with a CNI event, they were talking about the dashboard that evolved at Johns Hopkins for COVID data. And there was discussion at that event like, well, how do we prepare to present this sort of data or to react to a crisis like this again in the future? Obviously the crisis of this magnitude isn't impossible. We're gonna continue to have data online in this fashion. So what lessons do we learn from the SUCHO or Internet Archive experience in Ukraine that we can carry forward? Sure, Quinn, were you able to hear that? Or do you want me to repeat it? No, no, I was able to hear that okay. Yeah, I mean, it's interesting. I mean, one of the things that we learned very quickly with SUCHO is that for a situation like this, you really need a balance of individuals acting on their own volition and institutions that are ready to step in on a slower ramp up pace. I mean, realistically, you can't expect institutions that are thinking about things for the long term to be able to react as quickly as necessary in a crisis to start gathering this data. I mean, this really is the purview of volunteers who need to start going and doing this. But having organizations like libraries and archives maybe have a plan in place for what to do in this kind of crisis. How do you get in touch with people who are volunteering and doing this kind of work to support them, be it through mirroring or through longer term archival storage or for help of curation efforts? There's a lot of work that needs to be done, both in the short term and in the longer term for institutions and I'm not sure, I'm not sure institutions are necessarily, have been thinking about this kind of work as part of a global emergency preparedness effort, but it might be putting some thought into how you want to liaise with volunteer groups that spring up to respond to these crises in order to be able to support that work and ensure the preservation of the data in a medium and longer term. Yeah, so to add to this, basically, you actually hit the title nicely. I mean, that's what the objective of this talk was. Perhaps we were trying to encapsulate that. Maybe, I don't know how much justice we were able to do, but my personal observation is we really need more Quinn. Honestly. And thank you. And it's not surprising because soon after that, there was crisis in Sri Lanka, just like a small country. And I personally tried to reach out to a bunch of people that I knew that were basically originally from there, they are in the comfort of living here in the US and thought maybe they know what is important for them, what needs to be archived, and if they can help, they didn't step up, basically. And I understand their priorities might be different, but I mean, that's where I think there needs to be more motivated people who know what's going on. Again, and within this year, there are more events. Iran is going through some crisis and what is happening there. We can see some things, we can archive some stuff, but when there are curtains around it, unless someone is inside and somehow the data can be transferred in a reliable way, how are we going to preserve those things? It's an open challenge, it's a very difficult one, honestly, and chasing through. Different communities use different platforms, for example. If you are in India, in some other countries, they're using a lot of stuff on WhatsApp, not a platform very common here, but in some places they will be using Telegram more often than not, or there are some decentralized chat softwares that they use where they communicate and express how to penetrate in a safe way without hurting anyone's identity. Those people are at risk, basically, and we need to be very mindful about it, right? And then archive that material in a meaningful way. We certainly learned a lot of lessons from this, like the kind of infrastructure of preparedness and making sure that things are indexed and made available to researchers as soon as possible. Those would be some things that we can carry forward, but yeah, we need more volunteers, more motivated people. Again, from internet archive side, we are there to help. Yes. Thank you, thank you both for those presentations, and hello Quinn, good to see you. The question I'd like to ask you is, how do the lessons that you've learned apply to how we may respond to climate change?  Yeah, that's a hard one. I think the climate change questions really challenge some of the underpinnings of our assumptions about what we have and what we will have and what we will have access to and how we engage with those things. On one hand, absolutely no regrets of what we've done with SUCHO, I think it's essential to have done this work, but in the longer term, I don't think, digitize everything and everyone will have access to it always, everywhere is going to be realistic. I mean, I think thinking about portability of data in ways that don't assume a functioning global internet or the sort of pre-ecos that we're seeing in Ukraine right now. What happens when people don't have power reliably? I mean, I'll admit that kind of on the spectrum of digital humanities folks, like I've tended to be less into the minimal computing. I don't think that we can static site our way out of our impact on climate change, but I mean, at the same time, like these questions are real about what is the future going to look like when we don't have reliable power necessarily or reliable access to data. I mean, I don't have any answers to this other than there's the things that we need to do now, but like we also need to be thinking more creatively about kind of what the future of cultural heritage looks like. And honestly, maybe it's going to be more analog or it's going to be differently digital, portable in ways that we can have access to for certain periods of the day where we have access to power or electronics. I mean, I think there's a lot of interesting and creative things happening in the maker space area with this these days. You're thinking about data in different ways, data physicalization and things like that. The Digital Humanities Center at Princeton has done some interesting things there. But yeah, I mean, I think maybe the big takeaway from SUCHO when it comes to climate change is kind of how far you can get by getting a group of people who pair about something together and to combine their creativity and resources to go do a thing and the things that we will need to do to ensure access to some kind of data, assuming a future of limited power or electricity connectivity and travel are different, but that same kind of human ingenuity and collaboration I think is the same. And at the Internet Archive, I mean, this is a growing concern everywhere. And I think we collectively are still kind of you know, understanding what's going on and what can be done. I mean, a lot of people were in denial more that this thing exists. That is changing, which is a good news I think. But it came with a hefty cost of a lot of people not believing in it in the beginning. Also, I mean, so the data sources, especially when I think from the perspective of we being like a memory organization, preserving the lineage and the history of the data is important to assert the change that has happened without knowing the past. You cannot say something has changed, right? And it is sad to see some of the government funded organizations that were hosting climate related data. I forgot the name of that site right now. They basically announced that they won't be maintaining the data anymore basically and so we need to jump in and kind of archive as much as we can and make it available in a meaningful way. But there is another perspective to it. While we are archiving, we need to be mindful of not causing more harm into the system. After all, archiving is nothing, but it's another digital or computational infrastructure that we have. And if we tomorrow start like, hey, let's index the whole web as best as we can. Maybe that will come up with a hefty carbon footprint, right? So how to do it efficiently and smartly without harming the system is, I think, it's a process that you are still learning. So with that, I think we run out of time and thank you so much for your questions. Thanks, Quinn, for joining remotely. It's a pleasure. Thank you so much. Thank you for having me. All right, bye-bye.


Journalism died with the arrest of Assange. Journalism died not with the arrest of Assange, but when journalist institutions and journalists refused to defend Julian Assange, right? Western journalism died when corporate propagandists, and that's what they are now, didn't defend their own journalism, their own profession.  Anybody, any journalist, so called journalist talking head, that did not, cannot point to an article in newscast anything from previously where they spoke out against the arrest of Julian Assange and defended Julian Assange.  Because they're not journalists, they're stenographers for centralized power. Right, crazy.


All right, welcome back. My name is Sakwa, and hashtag is Thousand Day Vibes. Still hashtag while in the morning, and our tour to Fafoi Channel on the ground, and everywhere else on social media. We are verified with a blue change. But personally, you can check me out at 1 or 1. Today, this segment of the day, it's all about sport and tech. And we're going to talk about software development, by the way. What do we need to be in the space? And professionally, we don't have to go to school. Is this something you can study right now? Not just like, you know, short crash courses online as well. And joining us live in the studio is a powerful gentleman, Anajita Talmon. I don't want to butcher the other name, so he's going to introduce himself fully. But first of all, good morning. Good morning. Welcome. Introduce yourself briefly, and then we can start off. All right. So my name is Talmon Mokese. I'm the CEO for Yarder School of Tech. I'm sure we'll get into that as some point. OK. Yes, I'm a born-again Christian. I love Jesus, and I love being in this tech space. Yes. Hallelujah.  Software who? Developer? Let's say a software engineer. A software engineer. So if you don't mind, tell us what it takes to be a software engineer. Do you go to school to study for it? Is it something that me too, I can just pick up and read about it and become an engineer? Like, what are the dynamics of that journey? OK. The dynamics are quite simple nowadays, as long as you understand the journey. You understand what you need to do to get to where you want. You can start by going to school. It's advisable if that's your decided. But sometimes, you know, as Kenyans. We start off school, you are doing another course. By the time you realized your interest was in tech, a lot has happened. So I have two even who are doing different courses, but they ended up on this journey. So it depends on where you start. But if it's someone who's not started yet, I'd just advise you to go straight out and aim to do computer science. It will make your work easier. If not, you can still make it in this industry. You just need to find proper guidance. Because sometimes, if you go and you're self-taught, you won't be able to get as much as you want done in the time you want done. Because there's so much material you wouldn't know which one to choose from which. But if you find the proper channels of guidance, nowadays there are many out there. All right, good.  Amma, how did it, like, happen for you? It happened in a funny way. Because I had never purpose to be a software engineer. I remember growing up when I was asked, I always wanted to be an aeronautical engineer. Even before I knew what that was, that's what I always wanted to do. Is the dream dead? Amma, still, he had to come. The dream died. Because you became a software engineer? Yes. OK. Yes, but that was not even in my plans. I just finished school. I was like, now, what do you want to do? I wasn't, I didn't know what I wanted to do. But I knew what I didn't want to do. So I personally chose. What is it you didn't want to do? I didn't want to do Bachelor of Commerce. Because I've seen people do it, do accounting and mathematics. And I was like, I didn't want mathematics at that point. So I don't know who lied to me that, get into computer science, you want to do mathematics. So I went into computer science thinking, I'll only be dealing with computers, opening them, doing this, doing that. I wasn't even so much into coding. But I went and found all the mathematics I was running away from. I was waiting for me there. Again, waiting for you there. Now, also take us through, like, what are some of the facets in software engineering? Because I know there's programming, system developments, and so many others. Please take us through some of the, like, a couple of, like, three. OK. So let's even put it this way. You can be either a software developer or a software engineer. Yes, and there's a subtle difference in that.  I just come, make the application, deliver it to you. Now, a software engineer is concerned about everything, about scaling the software, about maintaining the code, about it being efficient, about using the right systems. A software engineer is concerned from the get go. Even developing it. Yes, yes, even developing.  Then later, you want to scale. And we tell you, no, we have to start from scratch. It is the work of a software engineer to look at. OK, coding. You see the computer? Right, yeah. If you do, it will be centered on what you want to achieve. You might be, you want to venture into a new space, you want to. So it depends on people. They don't know what they want until they see it. So you'll find a client telling you, I just want a simple app like Uber just to come and do something like that, then finish. And you see Uber is not a simple app in the way you know it. So for you, knowing something as simple, it means someone has done a lot of work to make it simple for you. Yeah. Talk about backend and the front end. Also software and also programs like, how do you now get to that space where you're able to do what is behind here and then the other person feeds on it? OK, now when you start learning, let's say coding, you're going to be told now there is backend and there is front end. Backend basically is what drives the functionality.  I create a backend for you, meaning I give you access and I do all the operations there. So what you see in terms of where I can key in things or do things like that, that's the front end. Where I just appearance. In short, you're the user. It's like user interface. So I'm coming for a finished product. My work is just to use, in fact, sedually code data. You're like the server controlling everything. Interesting. Yes, it's like I'm behind the scenes doing things. Then you, your work is to just go and say, I want this resource.  So now it's knowing the relation between the two. That's why in a software developing or software engineering journey, you can choose to either be backend or front end or you can choose to do both, which is called now being a full stack. You're both? Yes. Okay. I'm both. All right. Many times in our space, you'll find that you'll get into a company and you're doing some work as a backend, but the resources are not there. So we'll be told now you have to finish your work. Right. But there are people who have specialized. They can create the best visual things out there. So you'll find even a full stack developer is usually either front end heavy or back end heavy. Right. It depends. Right. Yes. Also now, now for like user and user, detector ourselves for bugs and whatnot. And but though what? I want, so we'll have an error. I did an error where I was supposed to send this podcast storage space and I didn't, I misspelled the storage space.


We're live on YouTube. Hello, and welcome everybody. Thank you all for coming to this month's edition of the Fresh Play Sunday Reading Series with director Caleb Minton Kauffman. I'm John Smalley and I'm a librarian with the San Francisco Public Library. While we're waiting for everyone to join us, I want to take a moment to acknowledge our community and to tell you about a few of our upcoming programs. On behalf of the Public Library, we wanna welcome you to the unceded land of the Ohlone Tribal people and to acknowledge the many Ramatush Ohlone Tribal groups and families as the rightful stewards of the lands on which we reside and work. Our library is committed to uplifting the names of these families and community members and we encourage you to learn more about First Person Rights. The Library Summer Stride Literacy Program began in June and will continue through August. Summer Stride is the library's annual summer learning, reading and exploration program for all ages and abilities. Join us for author talks, reading lists, book giveaways, nature experiences and more. You can register today by visiting our website sfpl.org. On July 20th, Dr. Keisha Middlemouse of Howard University and sociologist Ruben Jonathan Miller of the University of Chicago discussed the politics, race and policies of incarceration and reentry. This Thursday, July 22nd, join us for a reading by various authors featured in the new anthology, Muslim American Writers at Home, Stories, Essays and Poems of Identity, Diversity and Belonging. Next Sunday, July 25th, editor and Afrofuturist scholar Kim McMillan, hosts writers featured in the new anthology, Black Panther, Tales of Wakanda, award-winning authors who read selections from Black Panther and will share their insights on science fiction, fantasy, Afrofuturism and the enduring power of Wakanda. Lastly, on July 28th, join us for a time travel journey to the mid-century nightlife of San Francisco via the unique letter forms and designs of matchbooks and neon signs associated with legacy businesses. This ends my announcements. I would now like to turn the microphone over to fresh plays director, Kaila Minton Kaufman. Please welcome Kaila. Hi, thank you so much, John. And thank you everybody for joining us today. I am so happy to be here virtually with you all to experience new play. I have loved doing the series with the San Francisco Public Library for the last couple of years. And this is actually my last time hosting this. And I will be passing it on to a super talented San Francisco playwright, artist, actor, multi-faceted, wonderful human being who I am really excited to introduce at the end of this. But we're just gonna dive right into the play and we're gonna hop on into that a little bit later. So what's gonna happen is we are going to experience a reading of a new play by Eden Russo called Stop Calling Me Deborah. We are gonna have a fabulous cast, read it aloud who has workshopped this play and seen it grow. And then we are going to do a little Q&A at the end. And so if you would like to stay and send us any questions, whether you're on YouTube or Zoom, we would love to hear your thoughts or answer any questions that you might have. So stick around afterwards if you would like to. And also if you are on Zoom, we invite you to choose in your viewing options up in this corner, Gallery View. If you're on YouTube, you don't have a choice. You just get speaker view, but it's still gonna be great. And that's about it. So we're gonna dive right into the reading of the play which is Stop Calling Me Deborah by Eden Russo. Lights Up on the Earth Cafe. A summery, paleo, vegan, friendly, salad and sandwich shop full of post Pilates models, incognito celebs, aspiring actors and one or two normals. Rina sits at a small table. She reads from a menu. DJ makes a fabulous entrance. She drops her enormous Louis Vuitton purse next to Rina. Is this seat taken? That's nice. I want one. Is that real Louis Vuitton? Girl, you know it. I don't do fakes, except for my titty. I mean, they look so real.  You wanna peek? True, true. Mimosa's first, then Bowie's. Okay, well let's get this post wedding brunch and fish zest started. How's the life life? Are you already bored of circumcised pee? What? Was I too loud? Oh, are you already bored of circumcised pee? No, you're, it's good. It's great. I'm really, really, really, really, really happy. No, I'm not already bored of circumcised pee. Well, you will be. I mean, you never even hooked up outside the tribe. Yes, I did. Well, I did not. Did too. Tucker M, seventh grade marina headland science week. STFU. Okay, feel these through that nerd zip off fans does not count.  I got kissed in middle school before you. No, I'm, okay, yeah, I totally am, but let's not forget who made out with Ben Rothschild at the legendary eighth grade pool party.  Oh, I completely forgot about that one. So unjust. I've been in love with him since Sinai preschool. You never respected girl code. Okay, I mean, I basically peaked at 14 and you are married now. So true. Yeah, okay, okay. Anyways, tell me about the honeymoon. I want to hear all the juicy deeds. Okay, yes, yes. So Jonah and I get to the airport. We were going to go to Canada and he ties a blindfold around my eyes. I got to keep it. Yeah, I like it.  Yes, he did. Oh my God, a girl. I love that for you. Girl, me too. Deborah Tuscany was so beautiful. What? It's DJ. You always forget. I'm DJ, not, you know, I've been DJ for like a really long time now. A devastatingly handsome waiter glides up to their table. He exudes an ethereal glow. The waiter's big strong hand reaches down to pour their waters. He pours, oh, so slowly. He takes his time pouring each water delicately. He fills each glass to its peak, but stops just before they spill over. DJ and Rina both stare at his skillful hands as if entranced. Rina drools a little. The waiter smiles, all charm. This has happened before. Good afternoon, ladies. Can I start you off with some refreshing drinks? Yes, daddy, in more ways than one. Rina kicks DJ under the table. DJ winks. Two glasses of champagne. Make them bubbly. And I want a big, thick pesto sandwich. Yes, and I'll have a huge, nutritious kale salad. Waiter smiles, none exits. Rina, bet you wish you were single. No, I don't. Why on earth would you say that? You'd chill out.  He is very handsome. Do you think he could be Jewish? Maybe. It's LA, so the odds are good. I bet Iranian, though. I mean, he looks like my Hollywood club promoter is Hatter Cousin. Well, what a waste. Why is it a waste? Too bad he isn't Jewish. Not for me, just in general.  What? How could I be anti-Semitic if I'm Jewish? The waiter enters from behind Rina. She doesn't see him. DJ does. Arabs are Semites too. I mean, they didn't have, like, the helicopter or whatever, but, like, they struggle. Okay, although it probably helps that they're extremely sexy. DJ winks at the waiter. A lot of their problems are self-inflicted. Their holy book totally glorifies violence. Your champagne, madam. Rina jumps in surprise and knocks over the champagne glass. Champagne splatters all over the waiter, and the glass smashes on the ground. Oh, I'm so sorry. It's fine, but I do have to kill you now.  Oh, I'm kidding. Haven't you ever seen that Ahmed the Dead Terrorist video? Oh, wow, yes! Oh, that jump done him? Oh, damn, that is a throwback.  But really, if the Koran does not preach violence, I should know. He pulls two fresh champagne glasses from out of nowhere and pours two glasses while maintaining intense eye contact with Rina. Behind him, DJ silently pretends to have several orgasms. Rina looks terrified. Enjoy your bubbly ladies. He winks and saunters away. Oh, wow, sexy and good at impressions. Okay, that man is a drain. I guess I didn't come here to get some Arab guys' stand-up comedy routine. But if it's a white juice stand-up, you're all for it. You're the worst. Okay, yeah, love you too.  I mean, a spawn a day means mama gets paid. A spawn? Is that related to a spork? No, not even a little bit. A spawn is sponsored content, honey. Okay, Mark, can you send me free shit?  That's quite a deal. Oh, yeah, one together. Or do you only want to pose with your vitamins? Okay, do you vertical? No, no, I'll portrait mode. There you go, right there.  They're tiny tummy gummies, you know, like weight loss gummies? Okay, that's probably enough. Okay, don't throw them on my Instagram. I want those, weight loss candy, I want those. No, no, no, no, you don't. Hey, remember what Maura Shula said in kindergarten. Sharing is caring and caring is nice. Do you share my plate toys? Oh, my God, that woman had a weird obsession with rice. Well, Persians do love their rice. Actually, so do I, especially that fried rice from Din Tai Fung, I love it so much. Oh God, give me the magic skinny pills.  You're promoting poisonous candy? That's terrible. Well, hello, this poison candy selfie is paid for both of our brands and your wedding present. Okay, also rewind a sec. Since when do you go to Din Tai Fung and doesn't the fried rice have shrimp in it? Hi, oh, girl, you are getting smited for this one for sure. No, I'm not, I'm not. R2, bad girl, yo, hi, Shem. We got a naughty girl over here. DJ, I'm serious, you can't tell anyone, especially Jonah. The one day a year I break kushroom is for my recharge rendezvous, go on. Well, I know it's silly, I know, but I just want to pretend I'm different once in a while. So I go to the Americana and I treat myself to Din Tai Fung and I shop at Louis Vuitton as if I'm actually gonna buy something. They're so nice to you there. And then I buy a bottle of Kiehl's instead and I finish off with a box from La Durée. And I sit by the fountain and eat all six macarons right away, right from the box. And I just sit there while I watch all the beautiful people walk by and I sort of feel like I'm back in Paris with no husband calling me to ask where he left his checkbook and no Sunday school kids dropping, or dripping snot all over my desk and no mortgage and no back pain and no responsibilities. Just you and me and our high metabolisms and big plans and it sort of makes me feel like that. Oh, God, I really should go to therapy, shouldn't I? Yeah, well, everyone should. Plus it should be free along with the rest of healthcare, but like that is a whole other kettle of fish or should I say platter of shrimp? Stop, stop. Bestie, I went in on Rena's Risque Renaissance.  You're so successful. A real Louis Vuitton? Oh yeah, a Gave Bear Hair paid for that one. Oh, speaking of successful, your IMDB page is so cool. I always show it to people and tell them this is my famous actress best friend, Deborah. DJ. Right, this is my famous actress best friend, DJ. Yeah, so actually I only asked when my friends asked me to be in their stuff, I'm not really going for it professionally anymore. What? Why not?   I know people, I know Jonah. He loved you in that MTV show. Speaking of which, I never finished what I've seen. Yeah, I know. It's just so hard to make it as an actor, you know, but okay. I'm like low-key already famous. From these days, the real money is all on Instagram. Like Instapot, oh, I love that thing. I'm in a great Pasadena only Instapot Facebook group. It's so funny. Yeah. The waiter crosses to their table carrying two pesto sandwiches, they don't see him. So lame. I mean, you're literally getting wet over cookware. I am not wet. And do you know what? Even if the Instapot does, I mean, did turn me on, so what? The Instapot is the sexiest of the smart home appliances. Oh my God, Jesus Christ, where did you come from? Not him, sorry. Great guy though. It's speed is ridiculous and I'm obsessed with all of the healthy recipes. Oh, yes. It's so great for bone broth. And blood sacrifices. Totally. Wait, what? I said it's great for halal and kosher recipes. Yeah, it's not even close to what you said. Really? How odd. Freudian slip, I guess. Enjoy your pesto sandwiches. You heard what he said, right? Blood, blood, blood. We could have misheard. Yeah.  So what, you're working for Instapot? Oh my God. Ew, no, no, no. What? I'm a celebrity publicist. That's what I was trying to say before Charles Manson interrupted. I'm into famous, like, NBD. Okay, anyways, Zendaya found my Instagram. And who? Zendaya. Oh God, come on. You have to know Zendaya before you. Oh, too many drugs and underage. Kinesis. Kinesis, like, dicks? Holy, Kinesis makes it so much more appetizing. Did you call it the Scotty on that sexy Tuscan honeymoon? I'm more of a cannoli woman, actually. More creamy. Very thotty. Good response. Okay, stop, stop. Pull up. I know you know Zendaya. Okay, Malcolm and Marie? Oh, Spider-Man? Oh, Jonah prefers DC. DC? Yeah, okay, I can't even go there. What about The Greatest Showman? Remember that musical movie where they would be, oh, with Zach Efron, of course. There was an NGP, oh, was she the black girl with the hair? Sure, anyways, she loved my posts. So one thing led to another and I became a reposist. I'm also repping some of her friends too. Like, all of my clients have huge names. Since when did you wanna be a publicist? Oh, since they got me into Zendaya's mansion and Bella Thorne parties, duh. You never cared about mansions or parties. You always made fun of LA name droppers.   Okay, I'm sorry, I didn't mean to make a thing about it. It's just, you just seem different. Well, you're the one that got married. My life has literally not changed in like a decade. So if I can't make a big in Hollywood as an actress, I will make a big with fun. No, I can't listen to you say that. Deborah, you're the most beautiful and talented. No, no, no, stop calling me Deborah. What? Stop calling me Deborah. Deborah is your name.   I'm DJ, DJ. Deborah, Deborah. No, I am not Deborah, okay, but you know, I'm not. I'm not, I'm not Deborah. Why? Why are you not Deborah anymore? Because Deborah is boring and fat. And Deborah is the mom who brings gefilte fish instead of chips and guac to the party or the lady who always asks to speak to the manager or the great and you can't even remember who puts your cheeks at every goddamn bar mitzvah. Talking about Deborah is a beautiful name.  Deborah can't be a cool Insta-famous A-list publicist, but DJ can. Being a mom can be cool. Yeah, okay, Brina. Maybe when I'm 40 and have sack of bags, I'll be Deborah again when I'm breeding MJBs and my life is over, okay? I guess my life is over then. You're kidding, right? Right? Two months down, seven to go. Going, going, going, going. No. Wait, girl, what? We're not even 30 yet. We're still babies. What are you, ultra orthodox? Is this a cry for help? Okay, you know what? We can go to Planned Parenthood in like 20 minutes. Oh, okay, I want this baby. I mean, I didn't know I wanted this baby. I thought it would be at least five years until I even stopped having divorce anxiety, but you know, and you know, I hate surprises, but it feels like for sure it. I'm happy. Wow. I'm gonna be an auntie.  Truly the role I was born to play.  Speaking of which, it's for the baby's safety, Brina. No, oh, come on, I can have one glass. Mm-mm, mm-mm, mm-mm, mm-mm. Ooh, no, you can't.  I hope it's worth that. Don't tell me what I can or can't do. I read Lean In, I can do it all. Okay.  Offense taken, and it's fourth grade, which is the highly formative time in a child's emotional and intellectual development.  No, you're quitting everything to be a housewife. You should talk, Miss Poopy Vitamins. They are not poopy. I transitioned into a new realm of the storytelling business. Oh, right, pretending to be a DJ and going to dumb Hollywood parties with some girl named Zimbabwe. I mean, what are you doing with you?  I'm not a hoe. I'm married.  Oh, when I hear you talking about them, I feel sad. Are you jelly? No, Deborah, listen to me. No, ah, not if you don't stop calling me. Deborah is your name. That is your identity. I don't know why you'd rather pretend to be some Shicks at EDM club rap guy.  Yeah, I am and I'm not embarrassed of it. I'm not ashamed of who I am, Deborah Zimbabwe. I know who I am. I'm a wife and a teacher and soon, yes, a mom. Reality TV is my guilty pleasure. Breakfast and bed is my greatest joy and I'm a proud couple part, okay? I do the New York time crosswords every day. I go to Shabbat services every week and this year I have very high hopes for my tomato plants. I'm Rina. Rina, well, it isn't the most glamorous name or the coolest, but it's me.   I mean, what do you have against Pasadena? You really should come up for Shabbat dinner sometime. You love it. I would not love Pasadena, Rina. Rina, Pasadena, yeah, that's you.   Screw my IMDB page. I always brag to my friends about you. I'm a top law student at Stanford.  You are, you were incredible.  Oh, I definitely would charge you if you got a DUI. Okay, we were gonna be girl bosses, Rina. We agreed. We didn't, we don't need men to support us. And if we got married, we were gonna be the ones making those douchebags sign the prenup. But you gave up on all that. But what? Do not say Pasadena.  I wasn't, I was gonna say Tuscany. My man taking me on an amazing, romantic honeymoon. You're just jealous. I can take myself to Italy.   Oh my God, Zendaya. Zendaya is a literal African American idol meme. Zendaya is a who at most. Zendaya is definitely a them. No, she's not. Zendaya is a who, whatever that is, and Zendaya is a who and so are you. I'm a them. I'm a them. I'm DJ. Oh, I have two million followers. Oh, and no one, none of them, none of them know who you really are. Here we go, back with the whole ancient Hebrew thing. Our names are important. Do you know what mine means in Hebrew? Shout of joy. Wee! Yeah, well, nice for you. Deborah isn't quite as good. The prophet who led the Israelites against the Canaanites, her army destroys the Canaanites, and... Oh, exactly.  That's cool, Deborah. Your name is cool. Yeah, well, if I'm gonna be a warrior princess, I'd rather be Zena. What about in Hebrew? Bee, Deborah means bee. That's a good meaning. Bees give us flowers and fruit and other nice California stuff. And did you know that the bees are dying at alarming rates? Save the bees. Save Deborah. Save Deborah. You don't understand, no. You weren't nicknamed. Fourth grade, remember?  Deborah, Deborah, Deborah, Deborah. They thought they were so clever.   Bitch. Oh, get over it. I'm being serious. Deborah is a beautiful name, and Devorah has a beautiful meaning. Well, my name isn't Devorah. It's Deborah. Devorah is like an exotic Tel Aviv beach babe. Deborah is Deborah is Devorah. It's the exact same name with a different emphasis. Well, if I were called Devorah, maybe I would have gone with it. But you can't make Devorah into Debrah. Debrah? And it doesn't work. Okay, so call yourself Devorah. Be Devorah. Fine. That's much better than DJ. You're being so self-righteous. What's your problem with DJ? DJ is a fake, untalented, social climbing wannabe.  Enraged, Rena throws her half-eaten sandwich at DJ. She misses and hits the waiter full-on. Calmly, the waiter picks up the bread from the floor and uses it to wipe the pesto from his shirt. Somehow he makes it look sexy. Oh. Oh, oh. Oh, my God. Okay, well, that's what I call farm to table. The waiter places the snot in the sandwich onto Rena's plate. DJ reaches over and sexily takes the bite. How are you ladies doing? I'm sensing a little tension here. You know what?  Yeah, maybe you can settle something for us. she has completely changed her identity. She's refusing her heritage and she's forsaken her dreams for parties and likes. Well, she forsake, forsook, forsacked, gave up on her career to be a housewife.  What? Yeah, describing Zendaya as that black girl with the hair or how it's a waste of this dude is Iranian. No offense, Mr. Waiter, because you're very handsome. Quite understandable. However, I was born in Mecca, so I'm not Iranian. And my name is Muhammad or Mo for short. Although I do like Mr. Waiter too. Yeah, okay, whatever. Who's right? Well, a wise man, me, once said, the best among you is the one who doesn't harm others with his tongue. Remember your own faults when you want to mention others. The fuck? We judge to hide our own insecurities, right or wrong, married or thoughty. It doesn't matter. You two need to accept each other. Only then will you learn to accept yourself. All right, pick a side, Mr. Thomas. Good one. Thank you. I did go to Stanford. The Waiter produces two big pieces of cake. May I suggest a sweet treat on the house? I find sharing sugar with an old friend often heals wounds and brings clarity to what truly matters in life. Carbs? Oh, would you rather have vitamins for dessert? Mm hmm. It's our signature carrot cake with cream cheese frosting. And it has dates. Okay, go. Yeah, okay. All right. Why not? But I'm only having like one bite. Okay. And I don't see how it'll solve all of this whole issue. It's worth a try.  They cheers and bite into their cakes. Delicious. They grow up and as they stuff the rest of the cake in their mouths, not really listening to the Waiter speech. You know, dates are my favorite fruit, yet they are so often overlooked in America. As my mother always said, seven dates a day keeps the doctor away. Muslims, Jews, and Christians all honor dates at different holidays. Dates symbolize life, a luscious fruit that thrives even in the fierce Middle Eastern and African desert heat, the land of milk and honey. Honey, it's date syrup. Oh, wow. Oh, yeah. Fuck, this is good. Hey, what's in this?  Dates. That's very good. I know. The Waiter smirks and egg wits. Damn. That love, that man loves dates even more than Shula loved rice. I've never eaten dates for Rocha Shana, but this is the best carrot cake I've ever had. No way, no way, no way. Second best, maybe, okay, but best ever is still Rachel F. Mitzvah. Remember, no one wanted the carrot cake. No, so we snuck it into the rabbi's office? Oh, Holy May, I'll never forget that orange bar. God, we were so random. Like, why does that totally only make me love this carrot cake more? I think it's the memory. I'm, it's not the orange bar that makes me want this cake, that's for her. Okay, okay, no more, no more saying orange bar for I think I might have an encore. Okay, got it. I just meant carrot cake was one of those things that was just ours. Everyone else hated it and we loved it and we had so many things like watching old movies.  They're a classic for a reason, people. Remember how we'd actually never actually play with our barbies. We just made them act out different scenes of the real world until that one collectible Barbie lost a head. My mom still guilt trips me about that. My mom never let that go. Oh my god.   I don't want to fight. You're my only sister. You're my only sister. No, I really am happy for you and I legit will be the best vodka in ever.  Not to psychoanalyze you or whatever, but you'll obviously miss your old life if you're going back to the Americana at brand just to feel something. It's not too late, Riri. You're too young to give up on your dreams. I'm here. I want to help. I know you are and I love you for that, but I did not give up on my dreams. I just have new ones. Deborah, law school was horrible. I hated it. I hated how cutthroat it was and how helping your classmates is bad just because of the curve. I just kept going through all the steps, the right internships, the best bar review classes just because I felt like I had to keep following this path I'd chosen. I was going to be the next RBG and I disappoint on my family and friends if I quit now. So Joan and I both got our good jobs at top law firms. You know what full time is? 80 hours a week. Ew. Right? When am I supposed to practice my self-care routine? When do I get to live my life? Jonah was exhausted but invigorated and good for him. I was exhausted and miserable. Thanks. Yeah, I had no idea. Why didn't you say anything? I don't know. I was scared. I didn't want to be a failure and quitting is such a difficult decision, especially when it's your childhood dream. I thought it might get better maybe when I made partner or started making real change in the world or for women that I might finally be satisfied and it would all be worth it, but it only got worse. And then I realized I was pregnant. Like I said, it was the share it meant to be. I realized there was no decision. All I wanted was to give this baby all the love I possibly could. Give this little girl the chance to be whatever she decides she wants to be. Oh my god, it's a girl. Oh, I have no idea. I'm manifesting. Oh god. Right, right. Got it. Got it. Okay, well, I'll bring you some crystals from the wood store when I come back for Shabbat. I would love that. You've changed. I've changed too. I mean, everything you said about not wanting to be a disappointment. Yeah, well, I've been telling everyone I wanted to be an actress as long as I can remember. I was singing before I could talk. And I didn't want to just act just because I was an attention whore, you know, was okay. Hey, it's my turn to bear my soul here. Okay, you're right. Continue. Yep. At school, I was sweet little Debra. At school, I was the geek Debra. But on stage, I couldn't be anyone. Bad girl Rizzo, Grisabella, glamour cat with a dark past, mislovet, bacon bad guys and devise. I had the space to explore and figure stuff out for myself. See, you're so talented. Yeah, I am. And so are a lot of other people. Remember, we both wanted to change the world. Stupid MTV gigs and one-off guest stars on CBS cop shows were not the innovative storytelling I was set out to do. I was unhappy too. And I was poor, like literally too broke to buy kale. That is what prunes are for. There are so many stories I wanted to tell. I was suffocating.  Hollywood has ignored for so long. They're making movies and shows that would have changed my life as a kid. And I helped make that happen. Oh my God.   But not everyone needs to be in front of the camera. Yeah.  I hear you, but I still don't understand why you have to go by DJ. You're shixawashing yourself. Why can't you be Deborah or DeVora if you want to be so representational? Why don't you represent your own heritage? I'm just not. I'm not. But why? Look, I came here to have a good time and I'm honestly feeling so attacked right now. Answer the question. How'd you stop cross-examinating me? Okay? I'm not. Yes. Am I?  I changed and I have a new name. I don't want to be Deborah or DeVora or whatever. Sorry, but the old Deborah can't come to the phone right now. Why? Because she's dead. Look what you made me do. Look what you made me do. Look what you just- Deborah is dead, baby. Okay.  Look, being DJ makes me feel free. It's my choice. It's my future. And finally feeling like I'm in the driver's seat and I don't want to go back. I appreciate you being honest with me instead of just blindly supporting and affirming all my decisions.  But I'm telling you, I know who I am too. I am DJ. So if you want to be my friend, you got to love me for who I am now, not who I used to be. You're just- Circe, you just got to stop calling me Deborah. I'm processing. I see you enjoyed your cake. Yeah, honestly, that was the first cake I've genuinely enjoyed carbs in a long time. Those dates were divine and I appreciate your insight about accepting each other and all that. People do change and now that I think about it, it's probably projecting my insecurities onto you. Oh girl, you're gonna love therapy. Now, you're as wise as you are, Circe. All right, it's true. What's wrong with a little compliment? Well, as a service worker in the restaurant industry, my livelihood depends on tips, thus shifting the power dynamic between myself and my customer. At best, my economic need for tips incentivizes me to accept or even encourage any improper conduct by the customer and enables the customer to behave as inappropriately as they'd like. At worst, it's another legacy of slavery as tipping first spread throughout the United States after the Civil War to avoid paying formerly enslaved service workers. Quite paradoxically, today's service workers of color earn lower tips than their white counterparts. You asked. Oh my god.  No, not yet. A wise man, me again, also said it is better to speak to a seeker of knowledge than to remain silent. We must seek knowledge from the cradle to the grave. Yeah, yeah, we're all learning here. We're growing. Yeah, we love to learn and grow. And I am as wise as I am sexy. Oh, called it. Thanks for the wisdom, Buddha. My pleasure. But it's profit, not Buddha, although he is also a great guy. You've taught me almost as much as I've undoubtedly taught you this afternoon. I might even add this whole acceptance thing as a sixth pillar of Islam. It's pretty good. He pulls out a notebook and scribbles what he said earlier. Profit as in the Prophet Muhammad. Please call me Mo. That's my 21st century name. I'm going for a more chill vibes approach.  Well, if I were the Prophet Muhammad, peace be upon him, I couldn't really tell you. After all, Islam forbids theatrical depiction of the Prophet Muhammad, peace be upon him, and we wouldn't want anyone to have a fatwa declared upon them. So you're not the Prophet Muhammad, peace be upon him. I think he's saying he is, but he can't tell us, even though he just told us. Best to avoid a fatwa whenever possible. Okay. Sorry. I'm not trying to be rude here, but why should I believe you're really the Prophet Muhammad, peace be upon him? And you just so happened to be the waiter at Earth Cafe. The waiter hands her an ID card. DJ examines the ID and gasps. She holds it up against the light. Reena peers over to examine too. My freshman year fake was better than that. You had a fake? I was too scared to use it. Babe, this seems legit. I mean, aliens are real. Why can't this hot way to Prophet be real too? This is the Earth Cafe. Anything is possible. This is a lot to take in in one runch. Okay, Rewi.  What God doesn't know. Can't hear them. And snitches get stitches, okay? But you're not. Understood. We outie. DJ and Rina exit the restaurant arm and arm. I've still got it. End of play. Thank you, actors. So much for the reading. So we now have the wonderful opportunity to have all these fabulous actors and the playwright here in this virtual room with us. And I'm super psyched to have you guys all here. We have the opportunity to take some Q&A. So if anybody wants to throw any into the Zoom chat or YouTube chat, I will take a peek at both of them. Eden, do you want to just start and talk a little bit about where did this play come from? What drew you to bring it to us virtually today? Sure. Can you hear me? Yes. Okay. So the original inspiration for this play is a story my parents like to tell, which is that there is a woman from their Jewish community center that they kept her name was not Deborah, but every time they ran into her, they would say, oh, hi, Deborah. She'll say, no, my name is not Deborah. And they were like, oh, sorry, sorry. That happened a few times. And then they were at Disneyland and they happened to see this woman walking down Main Street, USA. And they're like, Deborah. And she just like flipped out and was like, stop calling me Deborah. My name is not Deborah. And that was just like always a fun story of our family. And that basically was the inspiration for the title, which of course has nothing to do with the actual play. But that was just one of those things when it was the little kernel that you needed. And then I always wanted to write it. And I took my senior year of college, junior, senior year, I took a really wonderful playwriting class at LNU with Beth Henley. And that's when I first developed it into a short play. And just sort of had it on the back burner until now. And I'm excited to keep working on it. All right, we got a question for you, Eden. What was the most challenging part to write from Sabrina Dworkin? Oh, Sabrina, what a good question. I think that from when I was writing it as a short play in class, just starting was the hardest part, figuring out because I I've never written this is the first thing I've written where I had the title before I had the story. So I really didn't know what I was doing. So I think just finding that entry point was really difficult. And I would say that this whole library process, development process has been the easiest because working with actors, wonderful actors, and with Kayla and I yell it on helping develop it really is so helpful. Yeah. Yeah, I oh, we just got another from Tamar Leveson, especially with any of the characters. And maybe let's open, I mean, I'd love to hear that for you, Eden, but also actors here, how how is being in the characters for you? Definitely. Great question, Tamar. I feel like I identify with both of the women, different parts of myself. Yeah, I would love to hear what the actors think for yourselves. Okay, I'll go. I will this is so much fun to be a part of, I definitely relate to DJ. I in my life, I'm an actor as well, who has wanted to be an actor since she could talk and sing and walk. And that's obviously been such a huge challenge because of the outside world and everything you've thrown at, especially being mixed. And thankfully, in today's world, it's getting a lot better. But, you know, that's just a battle in itself, of course, and then being an actor trying to have that responsibility with what you are said, you can and can't do. It's just, you know, I really relate to her and kind of the path that people have wanted her to take versus what she wants versus her own identity and finding what is important is that the Instagram world, the social media, what people think of us, you know, all that stuff or what really matters. And I just absolutely love to bring her to life. Yeah, I can chat real quick about Rena. I feel like I definitely, I was in the like first little short version of this that we did at LMU. And like, when I read Rena for the first time, I felt like she was very close to me. Like, I feel like I have family and people that remind me of her. And so I felt like I had like a very authentic way into understanding her. And yeah, just immediately I was like, I think, I think I know who this woman is.  And so I feel like she, yeah, I just feel like I relate and I can, I can understand people of that sort of, you know, like Rena and like DJ. So it's been very fun. Holly, do you want to weigh in at all? You don't have to, but no. Okay. Great. Well, he actually is the Prophet Muhammad, peace be upon him. Well, I mean, a Prophet Muhammad. For sure. Alana Rubin, did you discover anything in the workshop process that helped you write, Eden, or hone in or hone into your characters for the actors? Yeah, that's such a great question. Definitely. I would say the play probably if for one thing, it got a lot longer, I think before it was about a 20 minute play, and I think it ended up being about 45 minutes. And a lot of what was added was, I want to say depth, I don't feel like I was able to get that deep with the characters in the short version. And our first couple of workshop meetings, we really were talk, we were just kind of chatting, we didn't even do a read through, we were just kind of talking about life. And I was asking actors how they, what made them become actors and what drew them to acting, what they hope to accomplish from their acting. And Kayla had really wonderful insight about her career and life journey going from entertainment industry and to law and sort of discussing the way just your sort of relationships with your oldest friends and how they, how those sort of people view you and how those relationships are different. So that was really interesting. And also for full transparency, we originally had a non-Muslim actor playing the waiter. And I'm really grateful that Ali was able to step into that role because a lot of the play discusses identity and sort of delves into identity. And this is a conversation Ali and I've had offline as well about, you know, it's a kind of ongoing conversation in theater and casting in terms of how much you can correctly cast and cast true to someone's identity. How important is that? When do you, when are you allowed to not do that? But I feel like I was able to, I think Ali really brought a special sauce, not just being a Muslim actor, but also just being a wonderful actor. But that, I think the play really developed from there. Actors, did any of you discover anything in the workshop process that helped you dive into the character? Yeah, maybe Ketino since you were in the original as well. Yeah, I mean, I think anytime you workshop anything, luckily Eden has been like the most gracious playwright and has always allowed us to kind of like share our ideas with her. So it was absolutely like she was very collaborative and sort of wanted to hear from us. And I agree with her that honestly, just everything just sort of got a lot more detailed and specific compared to the first time we did it. And then yeah, and then she just was able to add in those little details like I think DJ says like bad girl Rizzo that was actually like one of my favorite roles that I played and even put it in there and put in a few different other, you know, I think everyone can like see themselves in this in this piece now, which is really exciting. And it just the expansion just gave it a lot more depth, I would say. Yeah, I am I am a shameless leech when it comes to writing and stealing from my friends and families lives. So sorry, I'm not sorry. Don't be sorry. It makes it so much more like interesting, I think, especially for us to to like actually say speak the words because it does feel so much closer to us. Cool. Another question for you, Eden. Why did you choose the prophet Muhammad as the uniter? That's a great question. That was something. So when I originally wrote the play, the waiter was sort of your typical bitchy LA waiter, where him and DJ were sort of like budding heads, like he was like, Oh, you're not really that famous. Like, and it was just sort of I got like completely different. And I've been developing it for the LMU New York Festival and the playwright mentor that I was working with was she just sort of challenged me to kind of go out of the box in that. Which is like one of my favorite things about theater is how you can go so out of the box and people will come with you. And so she challenged me to think of the character as maybe an angel of death or some sort of like otherworldly creature.  And I think the prophet Muhammad just came to mind as someone who could best challenge and oppose these women, especially Rena, given her preconceived notions about Muslim people. The prophet Muhammad seems like the ideal person to challenge that. And I also found his I want to research more. I've done a fair amount of research about him. And obviously, there's like a lot out there. But his teachings are really interesting in terms of being very applicable. Like, like all the stuff about dates, like, they love dates because dates are so like useful and they grow in the desert and they are good for you and they're tasty. And it's like, so much dates stuff is in Islamic teaching or in the prophet Muhammad's teaching.  So yeah. Great. Okay. Well, I last call for any cues or A's. I would love to ask y'all, though, what was a virtual new play process like? And what's the what's the importance of having spaces for new work? Oh, and then we have another question coming later. But it just, you know, we'll have to hear about your experience with the SFPL and the space. I can start. So what the experience of the doing the virtual play space is that what you're asking about? Yeah. I mean, this has been my first theater experience in quite a while. And it's just been wonderful to get back to that. Like I remember when we had our first workshop, we just it was just so great to meet with other creatives and have this discussion that I felt was so unique to a creative meeting of the minds. And I really like the collaborative process is my favorite part. I don't feel super precious with my words. So I really was excited to hear what the actors brought and they did bring so much. And Kayla and I yell at both rock so much. And obviously there's limitations, but it also was nice because it made it much more tenable where, you know, we could rehearse I was in bed for some of the rehearsals. And I thought it was cool when they did. We kind of figured out some ways to like when they did the ID card pass was so perfect. Like things like that I'm like nice. So and it does make me feel like if we can do it over zoom, it's only going to be better when we can be in person and like you see that sandwich throw and like the pesto really is all over. So it just makes me more excited to hear from the actors as well. Jenna, are you going? I'll just quickly say that I think, I mean, obviously any theater we greatly miss having an audience because it just brings a whole different energy.  It's so much fun to just play like in a room with other people. But this is the best we have right now. And so I think it's been really fun exploring this space and using it. And definitely like Eden said, like the first time we did it, I accidentally hit a lady with a pesto sandwich in the front row. So like it's lacking that I would say. But but other than that, it's been really fun to play with everyone like on zoom. It's what we have. And so I think we did our best. I'll also just say I think specifically zoom theater with new plays. It's just an ideal way of, you know, getting whatever actors you want because we have the luxury of being in different locations, you know, we're all across the map. And it's it's so crucial to just hear the words and hear the text. The first, you know, a few times we're reading through new works. And so I feel like zoom will be a huge part of that process moving forward, you know, post pandemic, like, it's just going to be a great way for everyone to like experience new plays. And I hope to see it continue. Yeah, me too. I'll just say something real quick. Yeah, I like it was great because shout out to my grandma. She's listening from Michigan. But that would, you know, it was so nice to be able to invite her and some people who wouldn't be able to physically be here in person. But it's so great. But yeah, of course, it has its challenges technology. And that's why we're wearing these microphones so you can hear us better or whatever. And like that time there were things where things were got a little delayed or things didn't hear and we had to just pretend we heard it or it's definitely tricky. But I mean, as an actor, we're like, let me explore, let me stand up and walk away and let me have this whole thing. And it's like, no, you're going to be sitting in a chair looking forward. Thank you. But it's so fun, you know, but it's definitely hard. But I'm just thankful to continue to add these tools to your toolbox and learn more as the world adapts and changes. Yeah. Yeah, I have to say this is especially special for me, especially because this group is not contained to San Francisco or even the Bay Area. Because I was once upon a time in that class with Beth Henley and Eden Russo. And Jenna was in my senior thesis back in when we were youth fleeting. Now we're so old. And I got to meet Ali and Catino, who I, you know, what I've been able to work with you without this. You know, it's like definitely limitations, but also expands the horizons in some other really fabulous ways. So I appreciate that a lot. So, okay, just a little space for in case any other commentary or anything from actors or playwrights, because I also have a little, little something I want to say before we wrap, wrap. But before we are at the Q&A section, any? I think someone had asked if this would be turned into a real professional stage show. Thank you. Yeah, when this is going to a stage. Yes, Broadway. Broad, yeah, no. Deborah coming to a Broadway stage near you. No, Broadway. Yeah, I would love to bring this to a to an in-person stage. I have another sort of, how do you say this, a non-realism element that I want to bring into this play that I didn't do with Zoom. But I love, I love doing that, that sort of going crazy for theater, because people will go with you. So if I live in Los Angeles, if anyone has ideas of theaters putting on new plays or anything like that, let me know. I'm very interested.  But if you're Los Angeles or even Bay Area, let me know. Would love to work with you. Okay, wonderful. Can't wait to see it on stage. I just want to, before we wrap, I say I mentioned super briefly at the beginning that this is my final Fresh Place Sunday reading with the San Francisco Public Library. And that is because I will be moving across the country so no longer in San Francisco. So of course we are virtual, but I will not be on this side of the country anymore. And I'm so, so grateful for the library for letting me have this delicious time with all of these wonderful artists. And for running this program with you guys, and especially to a librarian, John, for allowing this to become a thing and being our supporter and sticking through all this. But I'm really excited, especially excited that I am leaving, but the program is staying. The program is staying because of John, but also because of a phenomenal San Francisco artist, Ayelet Shrek, who actually was one of the first playwrights on this program. So way back in 2019, maybe Ayelet was one of the first playwrights to actually back when you're in person, crazy. Can't even remember those days, right? And so I'm really excited that Ayelet, who was also not only a fabulous playwright, but also a dramaturg, actor, teaching artist, a million other things, is going to continue this program and keep it going, keeping new plays at the library and keeping it fresh on Sundays. So just wanted to do this little introduction, since I won't be here next time, and say a huge thank you to people who have been here in the past and continue to come. And I hope that you do continue to come. And yeah, and I mean, I don't want to put you on the spot, Ayelet, but welcome. If there was anything you wanted to say or anything that's, but if not, I'm just honored to have you continue this program on. That is all I have to say, basically, is that I'm also really honored to be continuing this program. I've been able to be part of a lot of the different readings, and they've all been so spectacular in each in their own way. But the thread of just creativity and collaboration that you've created, Kayla, has been really magnificent to witness and be a part of. So thank you for trusting me with it, and I'm excited to see where it goes. Thank you, Kayla, on behalf of the library, and also all these talented actors. You've really brought a lot to our community. Ayelet, thank you for everything you've already done. We look forward to working with you more. So please check out some of our other programming and stay tuned for what's coming. Thank you also to my colleague, Anissa, who has helped in virtually all of these programs for the last couple of years. And thank you to our viewers in YouTube land. Thanks, everyone. Any final thoughts? Okay. Well, I wish everybody happy Sunday. Happy Sunday, everybody. Take care. Take care.