Welcome back after the break. Just before we went for a break, we read through chapter 2 of 1st Timothy and just shared our insights and we had Christopher, you know, ask a question. He says that, you know, if the church or Christians are being persecuted, should we stay silent? Just endure the persecution? What should we do? No, we shouldn't be silent and just endure the persecution, but we can use the law of the land that is in our favor, you know, and we can speak but do it peacefully in the right way. You know, we can also fight our case in the court like we are doing here in Bangalore city with the with the anti-conversion bill and has been done in various other cities as well. So if, you know, pastors have been taken illegally, you know, not following the procedure, they've just been arrested, then there are certain groups that have come up, Christian groups that basically have a knowledge or educated regarding the law of the land, what we are entitled to as Christians as believers, and then, you know, they use that to help, you know, release people from prison from jail. So yes, there are various organizations and churches support them, meet up, they discuss things, how they can go about it, how they can help pastors and, you know, various other churches who are being persecuted just stand by them and, you know, what they can do and things like that. Also educate the pastors and leaders on the law of the land what they should do, what they shouldn't be doing, what the new bills that are being passed, what it entails, you know, how they need to be careful and all of those things. So just educate the people as well. Yes, we need to take the necessary precautions, be wise, as serpents, you know, send us doubts and do what we're supposed to do and, you know, do our best and just pray for the leadership so that we can live peaceful lives and also continue doing our ministry and doing what God has called us to do. Regarding his question on Israel, yes, whatever is happening, you know, Israel is going to be the center stage of world history, you know, it's going to happen so it's happening and also the prophecies, the Old Testament prophecies, the end time prophecies are coming through, so it's all basically pointing out to how scripture is authoritative, is inherent, you know, is infallible, is the truth and how what is mentioned in scripture is, you know, is happening in history and how our God is, a God of history is concerned with what is happening now and also the end time events. So it just helps us to know and also the quickening of time, the end time events, what we as a church need to do in these end time events is prepare ourselves and how we need to spread the gospel throughout the whole world, the nations, the people of this world. Does that help, Christopher? That's very brief and short. Oh, yes, thank you. Just on Israel, I mean, I'm just to comment over there is that you know, I would think that there's an expectation that, you know, as they are, as Israel defends its position, but eventually they will also be able to, you know, take back, you know, certain things that that will be that they they've wanted for a long time, like, for example, the Temple Mount. So there's, I would think there was an expectation that that peaceful means may not be the, may not be the way going forward. It will be, I mean, there will be a lot of, there will be wars that will actually take place. And the situation there is, is not peaceful at all right now, or it hasn't been peaceful for a long time.  And that sure strength is shown through, you know, the way they can defend their position as well as, you know, be offensive when required. Thank you, Christopher. I would use the word contrary to what scripture says, but, you know, we need to, there are different scripture passages that talk about various instances, various situations. So we need to interpret those scripture passages in that context in the light of what is mentioned in that specific context. Yes, scripture also speaks about, there is going to be wars, the end time battles, wars against nations, one world rule, and all of those things, terrible things that are going to happen. So yes, it talks about a lot of war, bloodshed, persecutions, difficulties, and all of those things. It's not going to be peaceful. But, you know, so these are two different contexts, what I mentioned first about our city, what people are doing in our city, in the context, in India as well. But yes, in Israel, the context is very different. It also, scripture prophecies talk about war and how there's going to be terrible warfare and killing and murder and all of those things which is happening in Israel. So we need to look at prophecies in the light of the prophecies, in the fulfillment of their prophecies, and also see, you know, other scripture passages we're talking about, submission to leadership, authority in the light of, in the context of what it is written, and in the context of where we are living in, in which geographical area and what kind of, you know, scripture that we want to interpret in our context, we need to be very careful and mindful. Yes. Okay. Thank you, Christopher. If we'll move on, we look at study 1st Timothy chapter 2. Verse 1 says, therefore, Paul writes, therefore, I could exhort first of all that supplication, prayers, intercessions, and giving of thanks be made for all men. Now, when we are reading the letters that Paul is writing, whether it's 1st Timothy, 2nd Timothy, Titus, or, you know, or Romans, we need to remember that it's a letter that is continuity. We have, for our own convenience, put chapter in verse, but it's a continued letter, so there is continuity. So, always look at, you know, when you're studying these scriptures, you know, and you're studying these epistles, look at in the context that the previous was, okay, we left off at 1st Timothy chapter 1 was 19, I think that is, or 20, okay, so 19 and 20. We need to look at how Paul is continuing to write from in that context. So Paul is continuing basically what he mentioned about Hymenias and Alexander going away from their faith, shipwrecking their faith. So Paul is saying in the light of, you know, that people are going away from the faith, the first thing he wants the church to do is for them to pray, okay, because people are not maintaining a good conscience, and because they're not maintaining a good conscience, so he's indicating the importance of prayer. And then he's saying, you know, so in that ways, he's saying, first of all, that supplications, prayers, intercessions, and giving of thanks be made for all men. So basically, supplications, prayers, intercessions all have to do with praying. And they are essentially different parts of our prayer. But we don't have to be too fixed or rigid on this, their differentiation. But just for, you know, for our understanding, for our purpose of our understanding, supplication basically means, you know, prayer, requests of petition, which is basically, you know, you're begging or you're pleading before God.  That is supplication.  Intercession is to pray for someone else on their behalf. Primarily, it's basically for salvation. You're interceding on behalf of them for their salvation so that they can be saved, accept Jesus as their Lord and Savior. And the last thing in prayer, he's saying is giving thanks, which is giving thanks for all of them. Okay. And he's saying here that, you know, giving thanks to be made for all men. So you need to, you know, bring forth the supplication, prayers, intercession, giving of thanks for all men, which means it does not mean that we don't pray for women and children. The word men here in the Greek is anthropos, which is a gender neutral, which means people. So it's inclusive of men, women, and children, like you read in other versions. So we just don't say that we need to pray only for, the Bible asks us to pray only for men because, and quote 1st Timothy chapter 2, verse 1, but here men, the Greek word is anthropos, which is a gender neutral, and it's inclusive of everyone. It means people. Christopher, just a request, please, if you can mute your mic. Thank you. And so Paul is saying, you know, you know, pray for people. And he's saying one way you can practice this is pray for people everywhere, whenever you can, you know, and wherever you can.  You're just praying, you're driving to work or, you know, you're going to school, call it, I mean, sorry, you're going to your workplace, wherever, you know, just send out those prayers to God, just let prayer arise in your heart for people, for the government, for the infrastructure, for situations that you see in your city, just intercede and pray for people. So he's saying, you know, let your supplications, prayers, intercession and giving of thanks be made for all men. And then he specifically says for kings and all who are an authority that we may lead a quiet and a peaceable life in all godliness and reverence. So he's basically saying, you know, he's specifying kings and all those in authority because Christians had such aversion to kings and those in authority because of the scenario they were living in, the persecution that they were going through, basically here, you know, in Ephesus and the Roman, the whole thing was a Roman world, you know, Nero, who was a Caesar, the ruler at that time, the emperor of Rome, you know, he was a very evil man, a very wicked man. He came to position by killing two people. And, you know, history tells us that he destroyed, burned down 70% of Rome because he wanted to extend his palace, he wanted to make his palace bigger. And it was not well accepted by the people. So he turned it all, you know, the blame on the Christians. And hence, Christians were severely persecuted throughout the Roman Empire, throughout the Roman world.  And it would just be like a sport and people would sit and watch like, you know, they would watch Olympics or any other sport where they're entertained, where they're enjoying it. And out of all of this, eventually, you know, came out, you know, somebody spoke against it and then it said instead of doing this, why not have a sport? So the whole concept of Olympics came about, you know, after seeing how Christians were being persecuted, thrown to animals. He also burned Christians as torches. And, you know, he was known for his life of extravagance and indulgence. So a very wicked ruler. And in those days, kings, you know, would act like gods. And so people would worship them as gods. And Christians were known to live peaceful lives and also were known to follow the law of the land, to do good works, but were also known as people who would not consider king as lord, because they had a god above who they would consider him as god, as lord, as not and not as a king, as lord, and they would pray to God and not pray to the king. So this was held against them and they were very, very angry with the Christians. And also we see that, you know, Nero was instrumental in releasing of when Paul was imprisoned for the first time. The first time he was imprisoned in Caesarea of Philippi and then he appealed to Caesar. And then he was sent to home where he was under house arrest for two years. And then, you know, Nero finally heard his case. And, you know, he was set free. But then during his second imprisonment, he see that was condemned by Nero and Nero had Paul beheaded and Peter crucified. So extremely wicked man and Christians were, you know, would never have that heart to just pray for those in authority, those in leadership, because of the torment, the difficulties, the persecutions they went through. But Paul is reminding them that you need to pray for all those in authority, especially for those in leadership position. And why should you do that? So that, you know, he gives them two reasons. He says, you know, do your supplications, prayers, intercession, giving of thanks for people in leadership in authority so that, you know, we as Christians, we as believers of Jesus Christ can live quite and peaceful lives and live in godliness and reverence towards God. So he's saying, you know, do this, pray for them so that we will be able to, you know, he's bringing about the whole aspect of prayer for authority in terms of an, he's reminding them of an evangelical purpose. He's saying our real goal is so that, you know, you know, they would come under the authority of Jesus, they would know Jesus as their Lord and Savior. They would make their decisions, you know, favoring, you know, the Christians, allowing the gospel to be propagated, to be preached, to be taught to all people and so that we can worship God in our own churches, in our own churches, in a peaceful way. And we are able to live in all godliness and reverence towards God. And then he goes on in verses three and four, he says, but this is good and acceptable in the sight of God as Savior who desires all men to be saved and to come to the knowledge of the truth. Yes, say, Colossum, thank you. So it's, he says, it's good and pleasing in God's sight that we pray for all people, especially for those in leadership, civil authorities, so that we can live peaceful and quiet lives, live in godliness and reverence to God. And he's saying this prayer is going to lead into fulfilling God's desire. So what is God's desire? God's desire is that everyone be saved and come to the knowledge of the truth. So here in verse four, we see the desire of God's heart that Paul is mentioning. He's saying it's God's desire for everyone to be saved and to come to the knowledge of the truth or to know the truth. But having said this, we need to understand that when we say that God desires all men to be saved, it does not mean that all of them would be automatically saved. If we say that everyone would be automatically saved, it implies that God would not have any element of human response in the Gospel. But when we're saying that God desires for all men to be saved, we say that there is a condition of God's desire or what is his desire of his heart, is that the condition is that there is a genuine response from the person. There's a genuine response from human beings. Yes, it's God's desire that all men be saved and come to the knowledge of the truth, but this desire of God is conditioned by a genuine response of human beings. God won't fulfill his desire to save all men at the expense of making us as robots who know who just worship him automatically. We're just programmed to do so. We're not just puppets on that string just held in God's hand, but he's given us a gift of volition. That means we make the choice. Yes, it is his desire that all men be saved, but there is a condition that there should be a response, a genuine response from the person, from human beings that yes, I want to be saved. I'm a sinner and I need God's salvation. I need his grace. So all men to be saved is a desire of God, but has a condition where there's looks for a genuine response from human beings, which means that we don't just say, okay, God wants its desire for all men to be saved, so everybody will be saved and I don't have to preach and teach the gospel or share my testimony or share God's goodness or what he's done. Yes, it makes us all the more go out and share and preach and teach the word of God because there is a condition. The need is there is to be a genuine response from the person, back from the person, that he is a sinner, that he needs God's grace, he needs God's salvation because God is not just programmed as robots or puppets on a string that do things automatically, but we have been given the free will to choose and we choose and our choice is destined where we go. So he says that, you know, all men to be saved and come to the knowledge of the truth, which means that salvation is clearly associated with coming to the knowledge of the truth. So a person cannot be saved apart from or at least understanding of who Jesus is and what he has done to save us and that is why, you know, we need to share the gospel of who Jesus is, why he came down to the earth, what did he do for us, how a man fell into sin, how Jesus saved us, how he reconciled us back to God. So only can people be saved, only can they respond in a favorable way when they come to the knowledge of the truth and we need to give them the entire truth of the gospel of sin and how Jesus came, and how he, what he did to save us and, you know, purchase our salvation. So all that we do, you know, our praying, our working, you know, our ministry, everything that we do, the sharing of the gospel, apologetics or evangelism, whatever, you know, it is directed towards fulfilling this desire of God, you know, that it is his good will that all men be saved, and we do it under his guidance, knowing that it is his, it will be pleasing towards God. Okay. Any questions so far versus one to five? Yes, Divya, you can't hear you, Divya. Am I audible now? Yes. Thank you. Thank you, Pastor. So in John chapter 6, I'll just put the verses here. Jesus is talking, I believe to his disciples, when he says, Father, for I come down from heaven not to do my will, but to do the will of him who sent me, this is verse 38 to 40, and this is the will of him who sent me, that I shall lose none of all those he has given me, but raise him up at the last day. For my Father's will is that everyone who looks to the Son and believes in him shall have eternal life, and I will raise them up at the last day. Afterwards, from verse 43 to 45, it says here again, he continues, stop grumbling among yourselves, Jesus answered, no one can come to me unless the Father who sends me draws them, and I will raise them up at the last day. It is written in the prophets, they will all be taught by God, everyone who has heard the Father and learned from him comes to him. So in these verses, it always gets me, I get confused with, is it about, like God has already, you know, a set of a group of people whom he has chosen, and so there is, like, only those whom he has chosen will come to know him. Is it something like that, or does it mean something more, something else? Because if I think that way, then there is no hope, right? If I'm just going to a person and sharing the gospel, but in one part of my heart, this is there, right? Okay. Oh, I don't know whether this person, God has drawn to himself. So it kind of gives me, makes me a bit confused, what exactly Jesus means when he says that. Yeah, yeah. The desire is, of course, we see here, when the desire is for all men to be saved, and I believe in 1 Peter, or 2 Peter, also it says that God is long-suffering with enduring, and he wants the gospel to be, to reach every person, to the rest of the earth, to every person. So yeah, so that is one question that I have, Pastor. So this, I think it may demand a lot of time, and, you know, but yeah, yeah. Yeah, good question. Thank you, Divya. I think if you had attended the Romans class in the last semester, then this question, you know, you wouldn't have this question, and this question would be answered. You know, basically we need to interpret scripture always in the light of other scripture. So we also know that God is not a partial God. He does not show favoritism, does not show partiality. You know, so that is God's nature. And also we see here that, you know, in 1 Timothy chapter 2 verse 4 that it's God's desire, God's will, that all men be saved. So the all is inclusive of everybody. So, you know, we interpret the rest of the scripture in the light of what we have from the other scripture pastors. So when what we read in John chapter 6, you know, that where it says, you know, no one can come to me, John chapter 6 verse 44, no one can come to me unless the Father sent me, draws them, and I will raise them up.  And so there's code scripture passages, you know, pertaining to that. But, you know, predestination does not mean that in the light of the whole of scripture, the entirety of scripture, when we see, you know, it's not that God chooses some for damnation, some for eternal death, and for some for eternal life. We studied this in Romans chapter 9, where he says, you know, when we looked at Esau, I have loved Jacob, I have sorry Jacob, I have loved Esau, I have hated, you know, we also see about Pharaoh, how God uses Pharaoh.  But the whole concept, the biblical truth is that, you know, God wants everyone to be saved, but it's, it's what the choice that you make. So, you know, how this, then why does scripture say, you know, why does God say, Jacob, I have loved, but he saw, I have hated, you know, how basically scripture says God cannot hate anyone, then he can't, he seizes to be God, because he's not holy. God is love, one John. Okay, we read that. So, how do we interpret this is, you know, even before time began, God already knew the choices that we are going to make, who's going to choose what choice Esau is going to make, what choice Jacob is going to make. He already knows, even before time began, even before any one of us even came in the face of this earth, who is going to choose salvation, who is going to choose him, and who is not going to choose him. So, you know, that is what scripture teaches us. So, when we look at these scriptures, and we need to interpret that in the light of the rest of scripture, knowing that God already has, has full knowledge, he does not predestine, you know, who's going to do what, because it's our own choice, but he has a full knowledge of who is going to choose what, and hence he reveals at certain points, you know, what the choices that they're going to make, because he already knows beforehand, the choices that he makes, people are going to make, but it is God's desire that all men be saved, you know, and come to the knowledge of the truth.  So, that is, it's important that we share the truth, because the truth will set them free. Okay, John chapter 17, the truth, Father let them know the truth, then the truth will set them free. So, we share the truth, so that, you know, people would choose, and yes, God knows, has four knowledge, but he does not plead to stand or does not say, okay, some are for eternal hell and some for eternal heaven. Does that help? Yes, yes, yes, yes, Pastor Serena. Yeah, I must, I think I need to also attend the Romans, because I still have doubts in the verses 14, where he 14 and 15, the rest of the chapter in Romans nine, like he says to Moses, I'll have mercy on whomever I'll have mercy, and I will have compassion on whomever I'll have compassion. So then it is not of him who will snore of him who runs, but of God who shows mercy. So it just goes on. So I think I need to get a better understanding of the chapter and the context.  God's mercy will be extended to him. God's compassion will be extended to them. But, you know, those who make choices, you know, like Esau, who was just sold his birthright, who never even valued his spiritual birthright, just sold it, considered it as an unworthy thing, just sold it for a bowl of soup, you know, they will, they would reap the consequences of their choices. So that is what, you know, so doesn't mean that, you know, God will have mercy on some and show compassion on some. He would love some, hate the other. He cannot because that is not God's nature. Again, has to be, see, anything that you read in scripture always has to be interpreted in the, in the light of God's nature, who God is and what he does. So we can't just take these things literally as it's written, but we need to interpret it in the light of God's nature. Now, God's nature is, you know, he has, so God was gracious and compassionate, slow to anger, abounding in love, and it does not qualify whom, right? So that is God. That's what makes him God. That is his nature. So we interpret this here in the light and the preceding verses that he showed mercy to Jacob and not to Esau because of the choice that he made. He showed mercy to the Israelites and not to the Egyptians and not to Pharaoh because of the choices that they made, they hardened their hearts. Yes. So basically, if you study Romans and go through Romans and the other scriptures, it will just help you to understand, but just to know that, you know, God has a full knowledge of our choices.  Does that help? Sure, sure, Pastor. Thank you so much. Because we read that, you know, the goodness of the Lord leads to repentance. Okay, I think this is in 1st Timothy itself, the goodness of God leads to repentance, right? So God's goodness, even if for a sinner, he still shows his goodness so that it will bring them to repentance. Okay, okay, thank you. Thank you, Pastor. Yeah. Okay, we'll continue. So any other questions from verses 1 to verse 4? Okay, verses 5 to 7 here in verse 5, you know, this is one place in the Bible where it's mentioned that it's one God, okay, and one mediator between God and man, Jesus Christ. So the Bible is very clear that there is one God and their salvation only through Jesus Christ. He's the only one who gave himself as a ransom for all. So, you know, many of the people from different faiths, you know, ask us this question, why do you all stick to this point that there is salvation only through Jesus Christ? Well, you know, it's because Scripture tells us, the Bible tells us the inspired word of God, you know, tells us that there is salvation only through the man Jesus Christ. He's the only one who gave himself up as a ransom for all. So what is the meaning of this word ransom? The Greek word is anti-luteron, which means we studied this, I think in somewhere in, when I taught you all systematic theology, you know, anti-luteron, it just means paying a redemption price. So Christ paid the price for our redemption by giving his life, laying down his life, you know. So who did he pay the redemption price to? He did not pay the redemption price to Satan. That's wrong because Satan, he did not offend Satan in any way. He did not do anything against Satan, but the redemption price was paid to God the Father. Why?  So Jesus gave his life for the redemption of everyone. So who did Jesus redeem us from? He redeemed us from Satan, but the redemption price was not paid to Satan, but to God the Father. And so he says here that, you know, you know, so that we can, all of us, he paid the ransom price for everyone. So Jesus laid down his life, he paid the ransom price for every person. So all of us can live in freedom, walk in freedom, because the price has been paid, which means devil has no longer a hold on us, a claim on us. You know, Jesus has offered the ransom price to the Father. So Satan has no longer legal claims over any of us, his legal claims over us has been canceled. It has been terminated and, you know, has been nullified. And Satan has no more claims over us because the full sufficient and the perfect sacrifice was being paid. And the redemption price for our salvation, for our freedom was paid by Christ who laid down his life for us. So Paul is saying, you know, we are here now, you know, to pray this into effect, not just pray this into effect, but also to preach, to announce, to teach this good news that people will come to know this truth and embrace Jesus Christ, receive salvation and be saved. So Elisha says knowledge of the truth, is it head knowledge of Jesus or an experiencing knowledge of Jesus? It is this truth that, you know, who we are, what is our position, where we lie, you know, that we could not buy ourselves out of the slave market, because the price is too high, we cannot purchase ourselves out. And so God became man. And the truth is that Jesus came was the perfect human being and who made the perfect sacrifice for our sins and paid the redemption price that was required by God the Father and purchased us out of slavery, out of the legal claim of that Satan had on us human beings and has terminated that and, you know, has nullified it. And this is the truth that we need to preach and teach. So it's just not head knowledge, it's the truth of the gospel, it's the truth of salvation, the core truth of salvation and gospel. And it's something that a person will, you know, experience once they have, you know, accepted, you know, they have fulfilled, you know, the, you know, the condition that is required, they fulfill that condition of receiving, of accepting it, and they begin to live that life of freedom out of slavery because they can experience that in its fullness once they have accepted Jesus Christ as their Lord and Savior. Does that help, Elisha? Yes, Madam. Thank you very much. Okay. So Paul is saying, you know, pray this into effect, pray, preach, teach so that people will come to know the truth, embrace Jesus and be saved. And then Paul says, for which I was appointed a preacher and an apostle, I'm speaking the truth in trice and not lying, a teacher of the Gentiles in faith and truth. So Paul was a preacher, he was an apostle, he was a teacher. We also know that he walked as a prophet. Much of the prophetic New Testament scriptures was written by apostle Paul.  He oversaw churches, gave spiritual insight. So, you know, this shows us that a person can, you know, flow in more than one ministry office gift, just as the Lord Jesus determined. So, you know, the gifts of the Spirit, the gifts of the Spirit, the nine gifts is given to everyone. But the ministry office gifts is, you know, which we read in Ephesians is, you know, something that the Lord Jesus Christ, you know, determines for each one. So here we see that a person can flow in the office of a prophet, an apostle, a preacher, and a teacher, okay. So, and also we know that, you know, Paul's ministry was primarily to the Gentiles, and God can call us, likewise God can call us to specific geographical locations, communities, race, tribes of people or to specific people or to smaller or larger communities where we can minister, okay. So, Paul was a preacher, a apostle, teacher, a pastor, and also a prophet, and much of the Old Testament prophetic New Testament scriptures was written by apostle Paul. Any questions on verses 5 to 7? Okay, we'll move on then if there's no questions verses 8 to 10. I desire therefore that, okay, can somebody read verses 8 to 10 please? Anyone? Yes, Avani, can go ahead. I desire then that in every place the men should pray lifting holy hands without anger or calling. Likewise also that women should adorn themselves in respectable apparel with modesty and self-control, not with braided hair and gold or pearls or costly attire, but with what is proper for women who profess godliness with good works. Amen. Thanks, Avani. So, in the light of all that has been said, Paul gets back to the main point. He says that men everywhere should pray and here the Greek word for men is not like what he mentioned in verse 1. There the Greek word was Anthropos, which means all people. It just means men, women, and children, people, but here the Greek word is anode, which means male, specifically talking about the male gender, specifically instructing men. So, he says men everywhere should pray and how should they pray? They pray by lifting up hands, which means when you lift up hands, you're basically saying I surrender, I give up. So, in surrender to God, holy hands, lifting up holy hands means praying in holiness, in reverence, and he says pray without wrath or doubting, which means pray without arguing or doubting, without anger, without quarreling. There should be no strife among you. Pray in such a way.  Get men together and pray and when you pray, pray with surrendered wills and lives, pray in holiness, pray without anger, quarreling, and there should be no strife among you. And it's not just for men that he says that Paul says they should pray, but he says in like manner, that means similarly women also should join in prayer. So, women, we have no excuse. We do have to pray just like men, in lifting up holy hands, surrender in holiness, without quarreling, strife, anger, there should be no quarreling strife or anger amongst us within us. And then he also says that women need to dress modestly and engage in good work so that they can demonstrate godliness. So, he says two important things here is the importance is good works and godliness. So, she pray focusing on godliness and good works. And he says that women adorn themselves in modest apparel. He says this is how women are supposed to dress or believers or Christian women are supposed to dress specially when they come to Christian meetings Paul is saying how they need to dress and he uses the words propriety and moderation which helps us to explain what he means by modest apparel. So, what is propriety? It means what is appropriate for the occasion. Just answer these questions, are you overdressed or you underdressed? If you want to be dressed properly for the occasion, you need to ask yourself, am I overdressed for this occasion or am I underdressed for this occasion? So, it is going to and also ask this question to yourself, the way that I'm dressed, is it going to call inappropriate attention to myself? Is it provocative? That means, is my dressing going to provocate men, going to disturb them from focusing on worshiping god? We need to be sensitive to men, the challenges, the temptations they face. And so, on our part as women, we need to dress appropriately for the occasion. We're not overdressed, not underdressed. Dressing is not provocative, not provocating men and also that's not called for inappropriate attention to ourselves, not just drawing all the attention of people around us to ourselves. So, that is the meaning of propriety. And then moderation, just asking the question, is it moderate? Is it just too much or far too little? Basically, moderation looks for middle ground. So, we're not just overdressed or we're not dressed too little, just wearing the right appropriate coats for the occasion. Basically, when we are going for Christian meetings here, he's talking about when you go to church. And why is he talking about this? He's talking to the church at Ephesus, where people are coming from pagan cultures, pagan backgrounds into the church at accepting Christ. And we need to know that, like I said in the introduction, Ephesus, the city was famous for this temple of Dina. So, I'll just talk about that in a little bit. But here Paul says, the braided head, or he says, in life, man or women themselves should dress in modest apparel with propriety, moderation, not with braided head or cold or pearls or costly clothing. I'll just close with this. We just run out of time. Sorry, I didn't look at the time. So, Paul here mentions all of these things. He's saying that if it is not against the principles of propriety and moderation in that culture, now don't wear it. So, Paul is mentioning all of these because they went against the principles of propriety and moderation. In that culture, women were overdoing things, overdressing. It was not appropriate for their culture in the context of the church. And so, he's addressing that. But then he's saying women should focus on godliness and good works and not on other things. So, we look at why Paul mentions this, why he writes about this in the next class. We'll try to interpret it in the rest of other scripture and try to understand what he's basically saying here. Sorry, just way past two minutes of our class time. Anyone has any questions before we end class? Any questions? Okay, if there's no questions, then we'll end class. But you know, when we began class, Asha had a question here. She says, where do we all submit the independent research so if somebody can help her, it'll be great. Okay, thank you all for joining class. Have a blessed day and a week ahead. God bless. Thank you. Thank you.


We'll continue in statistics and inference by discussing estimation. Now as opposed to hypothesis testing estimation is designed to actually give you a number give you a value not just a yes no go no go, but give you an estimate for a parameter that you're trying to get. I like to think of it as sort of a new angle looking at something from a different way. And the most common approach to this is confidence intervals. Now the important thing to remember is this is still an inferential procedure, you're still using sample data and trying to make conclusions about a larger group or population. The difference here is instead of coming up with a yes no you instead focus on likely values for the population value. Most versions of estimation are closely related to hypothesis testing, sometimes seen as the flip side of the coin. We'll see how that works in later videos. Now I like to think of this as an ability to estimate any sample statistic, and there's a few different versions. We have parametric versions of estimation and bootstrap versions. I got the boots here. And that's where you just kind of randomly sample from the data in an effort to get an idea of the variability. You can also have what are called central versus non central confidence intervals and estimation, but we're not going to deal with those. Now there are three general steps to this. First, you need to choose a confidence level anywhere from say, well, you can't have zero, it has to be more than zero. And it can't be 100%. Choose something in between 95% is the most common. And what it does is it gives you a range of numbers a high and a low, and the higher your level of confidence, the more confident you want to be, the wider the range is going to be between your high and your low estimates.  And it's the trade off between accuracy, which means you're on target or more specifically, that your interval contains the true population value. And the idea is that leads you to the correct inference. There's a trade off between accuracy and what's called precision in this context. And precision means a narrow interval. And it's a small range of likely values. And what's important to emphasize is this is independent of accuracy, you can have one without the other or neither or both. In fact, let me show you how this works. What I have here is a little hypothetical situation. I've got a variable that goes from maybe 10 to 90.  If you think of this in terms of percentages and political polls, it makes a very big difference if you're on the left or the right at 50%. And then I've drawn a dotted vertical line at 55 to say that that's our theoretical true population value. Then what I have here is a distribution that shows possible values based on our sample data. And what you get here is it's not accurate because it's centered on the wrong thing. It's actually centered on 45 is supposed to 55. And it's not precise because it's spread way out from maybe 10 up to almost 80. So this situation, the data is no help really at all. Now here's another one. This is accurate because it's centered on the true value. That's nice. But it's still really spread out. And you see that about 40% of the values are going to be on the other side of 50%. It might lead you to reach the wrong conclusion. So that's a problem. Now here's the nightmare situation. It's this is when you have a very, very precise estimate. But it's not accurate. It's wrong. And this leads you to a very false sense of security and understanding of what's going on.  The ideal situation is this, you have an accurate estimate where the distribution of sample values is really close to the true population value. And it's precise. It's really tightly knit. And you can see that just about 95% of it is on the correct side of 50. And that's good. If you want to see all four of them here at once, we have the precise two on the bottom, the unprecise ones on the top, the accurate ones on the right, the inaccurate ones on the left. And so that's a way of comparing it. But no matter what you do, you have to interpret a confidence interval. Now, the statistically accurate way that has very little interpretation is this, you would say the 95% confidence interval for the mean is 5.8 to 7.2. Okay, so that's just kind of taking the output from your computer and sticking it into sentence form. The colloquial interpretation of this goes like this, there's a 95% chance that the population mean is between 5.8 to 7.2. Well, in most statistical procedures, specifically, frequent as opposed to Bayesian, you can't do that. That implies that the population means shifts. That's not usually how people see it. Instead, a better interpretation is this 95% of confidence intervals for randomly selected samples will contain the population mean. Now I can show you this really easily with a little demonstration. This is where I randomly generated data from a population with a mean of 55. And I got 20 different samples. And I got the confidence interval for each sample and I've charted the high and the low. And the question is, did it include the true population value? And you can see that of these 20 19 of them included it. Some of them barely made it. If you look at sample number one on the far left, barely made it sample number eight, it doesn't look like it made it sample 20 on the far right, barely made it on the other end. Only one of them missed it completely that sample number two, which is shown in right on the left. Now, it's not always just one out of 20. I actually had to run the simulation about eight times, because it gave me either zero or three or one or two. And I had to run it until I got exactly what I was looking for here. But this is what you would expect on average. So let's say a few things about this. There's some things that affect the width of a confidence interval. The first is the confidence level or CL higher confidence levels create wider intervals.  Second, the standard deviation or larger standard deviations create wider intervals. If the thing that you're studying is inherently really variable, then of course, your estimate of the range is going to be more variable as well. And then finally, there's the n or the sample size. This one goes the other way. Larger sample sizes create narrower intervals. The more observations you have, the more precise and the more reliable things tend to be. I can show you each of these things graphically. Here we have a bunch of confidence intervals, where I'm simply changing the confidence level from 0.50 at the left side up to 0.999. And you can see it gets much bigger as we increase. Next one is standard deviations. As the sample standard deviation increases from one to 16, you can see that the interval gets a lot bigger. And then we have sample size going from just two up to 512. I'm doubling it at each point. And you can see how the interval gets more and more and more precise as we go through. And so let's say this to sum up our discussion of estimation. Confidence intervals, which are the most common version of estimation, focus on the population parameter. And the variation in the data is explicitly included in that estimation. Also, you can argue that they're more informative, because not only do they tell you whether the population value is likely, but they give you a sense of the variability of the data itself. And that's one reason that people argue that confidence intervals should nearly always be included in any statistical analysis.


Hello, my name is Michael Morris and I'm the superintendent of the Amherst Regional School District and welcome into the latest episode of Window Into Arps. For this episode, I'm thrilled to welcome our two guests today. So with me is Angela Oldenbarca, a high school senior, and John Becktold, who is the chair of the Performing Arts Department across the secondary district. So thank you both for being here. I really appreciate you making time at your very busy schedules as the semester has changed over to the second semester. To be with us to share about your experiences and a very powerful play or production, excuse me, that was recently put on at the high school. So thank you both for being here. Thanks for having us. Before we get into the details of the Laramie Project, I'd love to start with John. Tell me a little bit about yourself, how you came to Amherst Regional High School and how you got involved in theater yourself. Sure. Those things are somewhat related, fortunately, and I'm very proud to say that I ended up in Amherst as the result of an Amherst High School alum who was a good friend of mine in college, talked me into playing Ultimate Frisbee, and we became fast friends soon after, and then we also realized that we had interests in other things such as theater. So when it came time to look for jobs as a college senior and I had my teaching certification ready to go, I was just casting out into the open and she saw her high school on a listing at random at college. I applied and all of a sudden it was the first thing I'd ever applied for and it's the place I still am. So that's where I ended up and it's been pretty great ever since. I started as an English teacher and slowly got to transform into more of a theater teacher. That's great. And how many years have you been at the high school? This is year 19. Yeah, it's pretty exciting. Yeah, it's awfully exciting. And Angela, I would love to hear a little bit about how you got involved in the performing arts program at the high school. Yeah, I mean going into the high school I knew that I was sort of interested in theater and so I signed up for a couple of acting classes. I think I had acting one and stage craft my freshman year. And then going from there it just became very easy to get pulled into the department and into all of the various productions that are happening. And I'd like to thank you both for that and I'd like to transition talking particularly about the production that happened over the past few months about the Laramie project. John, you talked to me about this over a year ago I think that you were thinking of trying to do this at our high school. You're aware of some of the controversy that has kind of brewed in some communities as it relates to this play in high school students. And I want to say we're on the back end of this, right, the play has happened and I still receive accommodations that I don't deserve frankly from people in the community who participated and witnessed and attended the production and were blown away and how it's still very relevant for them even though weeks have passed since it happened. So I'd love to hear a little bit about what compelled you or compelled the high school to put on this particular production done by high school students for the high school and the larger community. Sure, well there are several forces at work. The most I think on the surface one was that we're in the 20th year of looking back at Matthew Shepard's death and everything that has come with it, what has changed, what has not changed. Some people might have seen that he was reinterred this fall at the National Cathedral and with that context in mind it sparked some conversations with me and some students last spring about imagining what the late 90s were and what has changed now in 2018-2019 and that in itself became a reason to think about the play because the play when we read it and looked at it still felt incredibly relevant like it could have been written yesterday and that in itself I think made a case for why it needed to be done. We were also very interested in a play that's been very successful across a lot of schools and communities across the nation. It's been around since the early 2000s but we hadn't found anyone that had done it in a format that we'd like to do plays at the high school called Immersive Theater where the audience suddenly is in a position of agency and there's more responsibility to unpack the play in a real and more felt way. So we got very interested in about bringing this very powerful story that needed to be re-explored in this very powerful format and putting them together. Angela, from the student perspective, what did you hear as student response when it was announced that the Laramie Project was going to be the play that produced at the high school? How did students perceive that and did it feel relevant in your experience to the current experience of high school students in 2019? I found out that it was going to be one of the plays at the end of year student clean up theater department event, clean up organization thing and that definitely just right there hearing what that was and hearing just a little bit about it. I definitely saw with myself and other theater people an excitement that we were going to be exploring that. I think that it's also very relevant that we had the saga, the Sexuality and Gender Alliance students come into that and so we had that connection with the people outside of the theater department who hadn't done that much theater before who hadn't been involved in the theater department that they came into that and we had that and I think that that connects to how much people did feel the relevance of it and the story. I think Angela is right, there was a really wonderful partnership that developed between the theater company and saga as we for the first time in our lives had student co-producers effective and people that were working on the material giving us outside perspective, getting involved themselves and it became a model that I think we all hoped for that the process of making this play was as important as the product for the audiences and that was a really good example of that partnership. And for people who aren't immersed in theatrical productions before, you described what an immersive format might be, but how would you adapt a play? Because my understanding is the play was originally not, it was a more traditional format for the play. What does that look like adapting a play that's written more traditionally for an immersive experience? What did that involve from the student end, from your end? Sure, well I'll speak a little bit from my end because as the director you get one experience and as an actor you get another, I think in this situation. But you're right, Lermy Project was originally staged much like a lot of viewers probably know the play Our Town, like kind of that classic of minimal staging, characters are more or less kind of plain dressed and they kind of speak through the lives of their characters and a lot is left for us as the audience to imagine the details and it's a very powerful format. And the Lermy Project was staged in that fashion, but one thing that we realized early on in wanting to do it was that it was done as a piece of documentary theater. So all the text in the play are verbatim quotes from the 200 plus interviews that a theater company that created this play went out and found. So we were working with real people's words, we were working with people that had developed a play through an interview based format and we realized that format was very I and you. When we knew that we had that language that's where the immersive theater question came in because a quick definition of immersive theater is the audience is not outside the world of the play but is right in the world of the play with the performers. That might mean they have a lot of agency or not very much but at the very least they're not in a seat just experiencing things, they're responsible for some of this work. So to put it all together we created a format where the characters that are always speaking in I and you format directly to audience members as if they were the interviewers themselves. By that we could create a real human dynamic in the room and suddenly these pieces could be felt in a much more direct way. So that was the intent but I think in performance and process there's probably lots there to be said. I think that some of the most interesting moments as an actor come from that interaction between the audience and the actors. For the first two acts it was sort of separated into three acts and for the first two it was these immersive scenes and it was loops of the same scene done with different audience members coming in and then leaving and then new audience members coming in. And that was done in very close quarters and it could be as close as we are now. And I think that by seeing the actual visible reactions of the audience you got a lot out of that as an actor and a lot out of the script. And like I'd have people coming into my room and some people would be laughing at the funny bits or they might end up crying at the scene. You would have all these different people coming in and having real experiences with you and that's just a very cool experience that you don't always get to have when you're on stage and the audience is sitting in the dark. And so I think that that is definitely significant for the immersive actor experience. I think that's well put because the play is about community building and what it is to be part of a community and to in a theatrical way engage the audience so it wasn't any kind of like wall between us. But we had to engage the work of connecting with one another creates that spirit in real time and that was really kind of exciting. And it's true audiences were permitted a wide range of choice and room to have the responses they did. And it was that also meant that the script stage plays are very controllable things and we were putting ourselves intentionally into a less controllable format and had to be ready for that. Yeah that is a great segue to the next question I was thinking when I was hearing Angela speak you talked about some of the real positives of the experience of actors. I wonder what some of the challenges are in that less controlled environment from the actor perspective.   But you're especially because a lot of the people who were doing this show were people who had never done immersive theater before and didn't really know what they were getting into. You sort of go into it blind and you can definitely see a very intense learning curve as just as the performance nights go on where you get more acclimated to how you're dealing with that. But I think that it's also kind of wonderful that it has that mystery of I don't know what's about to happen. We're just going to go in and make this thing this gift that we have and hope that it works. Yeah and fortunately it did from the reaction of the community of both the ARHS community but also the larger community as well. So what were some of the surprising we talked to some of the challenges that you experienced but what were some of the surprising challenges? Challenges that weren't necessarily predictable on the front end as you're thinking about this. There's always that gap between you plan something and then the reality. I think everything I'm hearing and know about immersive theater you're sort of increasing that potential gap between what you're planning and the reality. What are some things that were unexpected or things that were surprises that you whether it's from the actor and the staff and you know had to manage? Sure. Well I think we could start on the design because this might also help build a picture for the play. This is obviously a play not on a stage as we said but we haven't defined the territory beyond that. One of the first choices we had to make is if we're going to break this play up and fragment it across spaces so that audiences could freely wander into those spaces at their choosing. We had to define those terms so we ended up using I'd say about a quarter of the school building certainly a big main section of it that involved the cafeteria area, the library side hallway, the entire performing arts wing. So we had to start with space and decide how this world actually lived in those spaces and where these characters resided and we had to do it in a way that took into account that we didn't get to perform on a stage. We were in people's classrooms and in the hallways and school was the next day and how do you think about set design and lighting in that situation. So we had to solve a lot of problems with figure out how to live in someone else's spaces that were being wonderful hosts to us and still make it all go poof pretty much every night and then reinstall it the following one. So that was fun and challenging including some of the things we had to figure out a visual motif and we settled on building set design pieces that were all mobile structures. So that they didn't have to sit on the things we could just suspend them and they were all buildable fence wood which became this solution for how could you build something into the space. But that took us a good while to solve and then the installation itself of course was there were many late night challenges and pretty silly moments that come out of like how do I actually hang this thing in the air. Yeah with school that has to operate during the day while the show is happening. It's not like the school shut down for a week while the production was occurring. So I know that was another tension point or challenge to figure out right. It couldn't be like oh no one can eat lunch for while the play is going on. So you know or the library you know and I'm sure they were wonderfully accommodating but you know students were still looking for research and doing their work. 100% and of course we want that a bit. We wanted to be had to have a visual imprint on the school day but bouncing that against the needs of the school the needs of the show was always a trick. But we like that because I think the added bonus to that as opposed to a stage plays that we create a lot more room quite literally for students to have to design and figure out how their staging or doing something. By definition I can't be the sole director of it. Angelo and everyone else has to end up taking a big part of the direction of their own work otherwise it doesn't get done. Any other surprising challenges that you experienced? The main one that comes to mind is I just remember a techie friend of mine coming in every day and talking about oh yeah the big installation thing that we were going to have in the middle of the school was way too heavy so we couldn't use it. So now we're trying to figure out what we're going to do instead. We're going to take something from the library put that up there. Yeah I'd say the set stuff was huge and then like Angelo is saying just you can plan all you want for an audience response and they will always out guess you or produce a new behavior. And so learning how to manage that and like you're also saying having students that were relatively new to this idea of giving the audience that much freedom. We learned I think one concrete thing on the dress rehearsal night which is the only night we get before we open with an outside audience. We realized we needed Kleeneck stations. That was a very real concern that we needed like a space and a capacity for people to step out when they needed it if something got particularly powerful. We also needed to know how to manage the lighter stuff too but that stayed poignant going out and buying a dozen boxes of tissue and strategically placing them around the school. That's fascinating. And so you talked a bit about the you know the stage pieces of it. So given that's immersive theater you've sort of described it but who was doing that stage tech work and how was that work actually happening in real time given that it was not happening in the auditorium or exclusively in the auditorium but it was happening in different areas around the school. That's a great question too. The work starts on spreadsheets. We have fortunately incredibly skilled students that lead the charge and we are in charge of mapping the show. So set up what happens where at what time structure rehearsals with me. There's over 60 scenes in the show that need to be rehearsed and prepared and with many overlapping characters. So students had to be responsible for the matrix of how all that plays out. So I would say there's there's certainly an upper echelon of student leadership from our kind of our titled roles from our student tech director to our stage managers to having students like Angela that are just you know kind of old hats at this that we can that I can rely on to take care of something. We have a very divide and conquer sort of approach. So we each find parcels of the show. I work with a few student designers to keep the overall picture but then we're out and running and checking in frequently and it is a little chaotic. Not in a bad way I'd say in a way that really helps us find the good stuff but there's a lot of trust that comes with that and it's worked out pretty well. So Angela what was the you describe this experience for you. What would you how would you describe the show experience from the full cast. You know student actors who are involved in this immersive experience. One thing I particularly want to put a finer point on is there's to John's point there's there's so much intense emotion that would come given the content and how did it feel to be an actor. You know both experience that yourself and still come through an actor and also respond to the audience who is so so proximate in terms of their reactions. I think one of the more interesting conversations I had after the show was with my mom and she had gone to see it twice and she was asking me how how were you able to for a full month be going through this intensely emotional stuff and be working through all that because she had had to step out for one of the scenes she couldn't see it again because it was just very emotional. And I was thinking and I wasn't really sure but then I came to the conclusion that what it really was is the community that we had formed and also the fact that the show is formatted in a more theatrical sense. It isn't meant to be a sort of photorealistic representation and so actors have the opportunity to step out of their characters. And it's not just a night of being this one character and saying all of these words and living and reliving all of these intense intense emotions. You always have the opportunity to between scenes and between switching roles because a lot of people were playing multiple roles. Take a moment to be yourself and still be in the mindset of the show but to release all of that internal everything. And I remember there was one scene that was probably the most emotionally intense for me where I would be sort of having a verbal battle with another friend of mine who would be shouting slurs across the room and just these really intense things and I think that it's significant that while the audience after that scene sort of was ushered up onto the stage and had to wait and be prepared for the next thing I was able to always go back around them and have a moment to just hug that friend and just stand there and accept that this isn't who we are. We're playing roles, just let it all go and then go back and have that experience again and keep doing that. You were asking about surprises or maybe that was one of the biggest ones. I know that I did not fully anticipate the emotional weight of carrying that work for over a month and I wasn't acting in it. I had the easiest part I think for Angela and for students that had to play roles, some of which are incredibly bigoted, hateful language to see some of the sweetest people that you've worked with over the years spouting these things and needing to like really deliver. You could see the emotional resources it took and the community it took to support that and that was something you guys did organically and incredibly well. I don't think I provided much of a structure for that having not anticipated it and you guys really stepped in. What do you feel like from the student end that the response was? Not so much for the actors and stage crew but for the larger student community at the high school? I feel like I don't generally see that much of a response to theatrical productions but I remember I walked into ceramics one day after the show, the week after the show and this kid who I hadn't spoken to a lot just like, that was fantastic! That was his response and I got that a lot and there were a lot of students who might not otherwise have been so invested in it, were really moved and made that vocal to the actors. It was great. One of the advantages of a show like this with all the characters that had to be portrayed is that we could throw a lot of cast members at it. Traditionally the show is done with roughly ten actors playing a bunch of roles. We threw nearly fifty actors at it so you had this very large group of people making the work together and then the expense of their individual friend circles, many of whom came and saw the show. The end result was a lot of students in the building that we don't always see at other shows having those kinds of responses. I agree that was really rewarding. Are there any other lessons that you, looking back now, it's been a little bit of time since the show happened. The more distance, sometimes after an experience, especially an emotional and intense one that you described, a little bit of distance offers a little bit of time for reflection. Are there thoughts that come to your mind of what either you or collectively we learned in that process and maybe path forward, certainly for John, your senior, so I want to be conscious of that. I'm interested in your story as well, but just for the school, what did we learn and what was the impact? Both of you have spoken about that in different ways because we have a vibrant theater department and one of the elements that makes it vibrant isn't just the shows that go on every year, it's actually the school-wide impact that those shows have. I don't know if you had any reflections as the further we get away and perhaps less acute reflections because we have that distance that I'd be interested in hearing. Sure. Well, I would say on the content and I think there was a sense that when we first started with the work that we were looking at this piece that was 20 years old and that there'd be almost a predictably safe emotional distance provided for us from it and we found that that just wasn't true. It was like very intensely quick, so I think one of the learnings was that you're never fully over or past the material that especially if you're trying to take it on a genuine way, you've got to be prepared to step back in and not assume that it is a kind of like since we are choosing to do this show therefore we already have a mastery of it. And I think that was really relevant to all theater that you surrender some control to make some of the best work but it is emotionally challenging, it's logistically challenging. And then on the, I think just on the grander end, it's really exciting for us to make different kinds of theatrical work than stage plays because we find that we draw different students, not just as audiences, but as potential performers or technicians. So one of our steady instances to keep trying to make as much different theater as possible to increase what a student's sense of theater is in the first place, but also to draw more corners of the school as best we can. And so that felt very successful on this end and we hope to do more of that. Yeah, I think that just having the content that people very much relate to and very much feel, I think that it showed how much people care about that and how much it helps people to see and to act in that. And I thought that that was just really interesting and wonderful and it would be great to do more of that sort of thing. So as we're closing up with just a couple of minutes left, I'd love to hear from Angela as you're getting towards the end of your time in the district. What would you tell young students who are entering the high school younger than you students anyway, who are entering the high school about the impact of the theater department on your experience? Not just necessarily the Laramie project, but more generally. I would probably just say do it because it's one of the most wonderful communities that I've been able to encounter in the high school. It's just such a home and it's also very possible to be involved in a huge array of different ways and different time commitments. You can be part of the Laramie project, you can be part of an immersive show in the fall or you can do all of the shows or you can do some of the one minute shows in the spring and there are just so many different ways to get involved and they are so emotionally impactful and you meet people who you would never otherwise meet and who really influence your life and make it a better place and I think that theater is just a very magical way of exploring different emotions and different realities and things that you don't know about yourself that you then find out about yourself and I think that's a wonderful guy to have in charge. I would agree. We do have to wrap up, but I think both of you, Angela, I thank you for all your contributions to the theater program and beyond at the high school and you're not ready to go yet, but we're not so long. We'll be at the Mullen Center and very excited to see what next steps you take as you depart from our school district after all your time here, not just at the high school but prior. John, thank you for your incredible work. I think the quick story I'll tell about John, he'll embarrass him, but he was presenting at a school committee a couple of weeks ago and it got delayed and he wasn't sure what he was going to present. He said, I'm still working, I'll just go down the hall to my space, to the theater and then just text when you need me, I'm here. This is at 8.30 at night and also that he came back to hear students present on a different topic that he was interested not just in the theater but there were students presented about restorative justice and John made the time to be part of that lengthy presentation because it was powerful to him and so I really appreciate all of your contributions at the high school. Thank you so much. And thank you to the viewers for finding out a bit more about the high school theater department and for learning more about our district. And we'll be back next time with an additional episode of When You're Into Arps. Thank you.