So we want a full circle, shoulder to shoulder, a full circle. Here are some spots here. Shoulder to shoulder, shoulder to shoulder. And so now we are going to begin with a little ceremony to be able to welcome all of us into this space. We are going to be looking at the multiple generations. And so right now, I have the honor of introducing my father into this circle to provide a framework for this particular ceremony of the four directions. And I pass the circle clover to Luis Valdez. The circle is circumscribed by the circle, a square. This is one of the ancient symbols of the world, one of the ancient symbols of the Americas. Cunabu, the creator, according to the mic. An único dador de la medida y el movimiento, the only giver of the measure, and the movement. The movement is a circle, is a spiral. The movement is feminine. The square is the measure. The square is male. You always knew males were squares. Between those two movements, the world speeds through the galaxy. The Mayan zero was a sphere. Within the sphere was a spiral. We are here to celebrate the four directions. But I want to emphasize that the four directions are not static. The four directions are always in motion. We are here to celebrate America. This moment, without being grandiose, has been 500 years in coming. Think about that. We were able to be here in Boston, the cradle of the American Revolution. But there is a continent all around the city. The Iroquois, the Maya, the Apache, the Yachtin, the Aztecs. These are peoples that were here before, the Tainos, the Caribes. America was a half world, already a hemisphere of ancient civilizations before the coming of any other Europeans. Today we speak of Latinos, and this is a Latino gathering. But who are the Latinos, the original Latinos with the Romans? So what is this Latino gathering? It is a melding of two Americans that have remained separated after 500 years and now are urging towards some kind of fusion. Anglo-America with Hispanic America. But this is laid on the basis of an indigenous culture that was already here. A culture that built 400 cities of stone that traced the paths of the stars. This too is present in this so-called Latino conference. These are ideas that spring from the very birth of America. These are ideas that spring from the very heart of the planet and of America. A long time in coming. They share the universality with the cultures of the world. The Mayans knew the four directions. So they are dynamic. The Mayans believed in the four roads, at the unity of the four roads. In order to become completely human, everyone had to travel the four roads.  South America, North America. They had to travel the yellow road, the east, and the red road, the west. The path of the sun as they celebrated the ancient ball game, which was theater and ritual at the same time in those 400 cities of stone. So when we evoke the four directions to initiate this conference, it is not just a hollow ritual. We are evoking the ideas that promoted civilization in the Americas. These are directions fraught with meaning forevermore. We will travel all the four roads in this conference with all their significance. We will travel the circle in the square, the permanent and the masculine. We will travel the exchanges that happen dynamically between all of these polarities, north and south, east and west. And we will absorb the energy from these spiraling of all of these directions, forces, points on the compass, and on the planet. Ultimately, this is celebrating our universality. That is the word, the word that only means we're connected to the universe. We are part of a spiraling galaxy. We've come out of a cycle of 5,125 years, the fifth sun into the new sun just last year.   So in that spirit, we're going to celebrate the four directions. I ask you then to join me in this gesture. This is a couch. This, believe it or not, for the Maya, was exactly the same thing as this. This was zero. This was the spiral. This was one. This is the force that generates the four directions. The force that spins the planet. The force that spins the galaxy. The body in this marine object, this concha, this conch, and they used it as a musical instrument to call forth the power of the four directions. We're going to start then with an invocation that is counterclockwise. We will go to the left because we need to go to the left. And then we will go to the right. First then we begin with an invocation to the east, the place from which the sun rises, the color yellow, where intelligence rises out of the mind. Symbol of human intelligence and yellow is that color that represents that direction. So we will turn all of us to the east. I ask you to raise both your hands in homage to this direction and to the idea of human intelligence. The north, in this direction. The north, the color white. The north, the cold black. The north, which is the beginning and the end of the cycle. The winter. And then eventually promising the rebirth. So we pay homage to a north gate. To the north. The centerpiece. And now we turn to the west. To the color red. Where the sun sets. The intuitive sense. The creative sense. The sense that guides all of our artworks and guides our sensibilities in this conference. And poniente. Turn back to the centerpiece. And now we turn toward the south. The black road. Also known as the green road, the blue green road. Fertility. South America. This is the fertility of woman and of the matrix. And of the Amazon jungle. The fertility of court. We celebrate the south. And so again. Fertility and death. The two polarities of our existence. East and west. The path of the sun. From intellectual book learning to intuitive learning. Let us invoke all of these forces in our conference. And hope that this will lead us to greater understanding. And patience. In black age. Where is me oh through you. You are my other self. If I do harm to you. I love and respect you. If I do harm to you. I do harm to myself. That's the embodiment of these ideas. And the four directions. We need each other to spiral. And to generate forces and power. There are no two Americans. Only one America. The north and the south are coming together. The east and the west are coming together. And we will redefine the century. With new ideas. The new millennia. With new creativity. Now we are going to move. To the second part. Of this invocation. And for this I need to ask. All the companions. Have you cleared the way. This is going to be our outfit. Today is Halloween. This is Halloween. The eve of St. Hallow's Day. Which is also on the day. November 1st. And the other is Muertos. And so we are going to celebrate. All of our ideas. Concepts and movements. And so for this we are going to ask everyone. Bring their offering. In order to do this. We want you to come up to the microphone. And to give your name. State your point of origin. And a very brief mention of what your gift is. And what it is that you are presenting. We will present these. And then one right after the other. While one goes to place his offering.  We are going to go counter clockwise this time. We went around this way. I mean clockwise this way. So we are going to start this way to the south. And go this way to the east. Started the east. Started the east and come this way. Each one by one. All the way through we make the full round circle again. Is that clear? Yes? Okay. This is my offer. I bring. The power of the theater. Of the spirit. The theater of Campesino has been working on. For almost 50 years now. The power of the farm worker. The so-called stoop labor. Who brings all of their humanity. Into the fields. To create the food that we all eat and consume. May the world learn to respect these workers. And the power of the theater of this theater. My name is Clyde Valentino. I'm here for Brooklyn, New York City. And I have a photo here. Taken by. And this is a photo of. Miguel Pinedo. And Sandra Maria Estavez. I have this hanging in my living room. And it was a gift from my book. I'm going to put that on the home. The line from Cornish play that made me stay in the theater. And not become a literature professor. My name is Kevin Becerra. I live in Boston, Massachusetts. And I brought aerosol. The poetics that I copy. I used the first time I taught dramatic theater. I'm Matthew Paul. And the bracelets that I wear. Well, I live in the east. Because they remind me of my west. My name is Irma Mayorga. And I'm a teacher at Dartmouth. I brought a picture of Helen Keller. Because I was 12 years old. I got cast in multiracial production as Helen. So she has always been the start. With my thinking about theater. Hi, I'm Noemi Muntus. I teach in the Department of Drama in the town of Tops. This is a flash drive. It holds all the words that I've written about. And the memories of all the lifetime more. My name is Jose Carrasquillo. I come from Vieques, Puerto Rico. My work is in the DC area, primarily. Today, I am going to give you something that I have in my possession for many, many years. It's a little cow. And every time I open a show, I have it in my pocket. And I just rob it. And it just provided me with a lot of luck and a lot of inspiration over the years. In other words, I'm including a rainbow flag. Mine, lesbian, gay, bi, and transgender community has made some strikes this year.  My name is Stephanie Ibarra. And I'm coming from New York today. And so I am putting this little book of poems that serves as sort of a creative, a personal touchstone for me. It's called Chica. It's called Chica. I'm from New York. These are trinkets that I use to hang around my neck as a kid that maybe tell stories. And they're put together with a guitar string. I'm Jerry Ruiz from New York, originally from Brownsville, Texas. And I brought the copy of Marisol and other plays that I bought in red shortly after college and opened up this new amazing theatrical world for me. I'm Henry Guilin with that. And I brought a copy of Tennessee Williams' Camino Real, which was the which was one of the textbooks from the very first playwriting class I ever took. And it just reminds me of my time with Lois Weaver and Peggy Shaw who convinced me to stop being a geologist and start writing. I'm Mikaela Cruz from the Brownsville, New York. And I brought two other fierce women with me. Mariana Fornes and Ruth Malachek. My name's Alex Beach. I come from New York and I brought a rosary, my mom gave me which represents to me my religion and the thing that I love and hate the most which is pretty much I don't know what to do. My name is Daniel Cotkitz and I'm from Sioux Falls, Chihuahua. I'm giving to this organization, this group is gathering my father's hat. My father was always fighting against everything I did, all the time. And so he made me strong. And in the last five years of his life he was there for me and come to the shows and encouraged me. And I think this is a great place to leave this hat. I'm Stephanie Vedon. I hail from East Harlem, New York City. And I brought an image of a poster drawing that was free which I saw when I was 13 years old and you made me realize that I can do theater about myself and my people and not just what's this story about. I am Candido Pirado. Well I've got a bottle of opener that I've had for 20 years and after every show we celebrate and sooner or later somebody will ask some of that bottle but it also gives me comfort because I was holding my pocket and I'm going to miss it a lot. And tonight one of you will ask. My name is Brian Vedon. I come today from New Jersey but always by way of New Mexico yesterday as I left in Mexico coming here I said I needed lots of things so I bought postcards and of course I left them in the room so I didn't make a postcard because in some ways wherever I go I'm always a postcard from Mexico. Good evening. I'm Abel Lopez from Washington D.C. originally from Texas. I'm a college Spanish theater and I bring with me a photograph of Hugo Arrepega-Membrano who led a group of artists to create the first art space in Washington D.C. with a passion to the work not only in the community but I think to a whole people. And the other photograph is of a actor who is there to remind us even though they bring us to be with us in body but we're still with us in spirit. I'm Zacharias. I live in Washington D.C. originally from Mexico City. I've never been able to sew and I thought it's important to do things that scare you and that you can't do and see what happens. So I sewed this this weekend and I have a blank piece of paper for all the hopes that I hope we can write in it afterwards. So just to remind me to do things that are scary and different. Thank you. My name is David Lozano and I'm with Calabria Theater Company from Dallas, Texas and this is a photo that I folded out from a clay that we produced with El Laboratorio de la Máscara from Mexico City and it's about a young Chicano boy who comes from Mexico for the Day of the Dead and they also bring with them following them the deceased family members who are wearing El Laco masks for Mexico and this young boy learns about the tradition of the Day of the Dead and so I feel I've always related to this character because I was a Chicano boy that didn't even know what Chicano meant and I didn't know my language and it's through theater that I learned all of this and that I live it now and so I placed this on the altar for my father who passed away last year who I live and work with his flame every day. My name is Teresa Madero I'm originally from Cuba via Southern California and now from Dallas. As I was looking around my apartment what to bring, what to bring this sort of popped up and said take me, take me it's got a lot of energy from being outdoors for many, many years and it's a star with a crystal it just reminds me to look up sometimes when I get into the habit of looking down it just reminds me to look up. My name is Amparo Garcia Cruz my daughter Surya she's 14 years old and if you hear this there's some wild seeds in here and this is a fan I'm a fan of wild seeds the wild seed the seed that has no real reason to even exist but the wind gets a hold of it and it does what it needs to do and it makes some flowers grow so thank you for welcoming me and underneath this there's the New York Times review of my play that was about my hometown Little San Diego, Texas, 4,000 people and underneath all that is the leftover recycled TCG fan because I met most of you when I was a director's fellow so I'm real grateful that that's the leader of the wild seed. My name is Anthony Rodriguez from the Aurora Theater in Atlanta, Georgia today I brought a picture of my parents we're from Cuba and it's both passed on and my father's because it speaks to my heritage and honors the sacrifices that my parents made so that I could be an artist New York City this is an indigenous wisdom that the Bosnian friend who shared his wisdom with me gave it to me and I would like to bring it up My name is Mario Ernesto Sanchez and I'm from Miami and if you're from Miami you gotta be Cuban they're Cubans from the island and they're also Cubans from the peninsula I'm from the peninsula of Miami this was given to me was given to me when we opened a box of Zapatofacea of Virgilio Piñera and it came from Cuba it's a cigar leather case which I didn't want to give it away but you forced me to I'm from San Juan Bautista I brought a well-guided ego of the United Farm Workers which was an inspiration for me when I first saw the Cateca Pacino perform 28 years ago on a fat men's trip Rose Cano from Lima, Peru and now Seattle and this is my mother, my father Bella Toranzo Toranzo and Rodolfo Cano Fuentes and I realized after whether I inherited their art sensibility and the reason I'm an artist because they were artists my father was a beautiful painter he painted beautiful houses and he mixed colors back when you mixed the porvo and then in the neutral color and so I think he taught me a lot about that and my mother makes beautiful clothing she told me it was an art to sew a button and it was an art to ironing and so I thank them my father's passed away and my mother's still alive so I wanted to honor her in Vina my name is Marc Valdez I am the son of migrant farm workers and this was I was recently in Hawaii and this is a gift that was given to me so it's a nut it's a tree nut and it's a it's a seed inside of it and it reminds me of gift giving reminds me of hospitality reminds me of the land and the Hi, I'm Diane Rodriguez I'm a native Californian I live in Los Angeles now I was a student at UC Santa Barbara in the 70's and I went to the first Denaz Festival which was in San Jose, California there are people here that were with me I'm not a native Guachis which was phenomenal and it changed my life and it changed so many people's lives and I like the guy that played the devil he became my husband he was in the show and this is a program cover be a part of the ever so that's it my name is Olga Garay-English and I was at the 1986 convening that everybody keeps talking about I was young and vibrant then from the third National Hispanic Theater Festival which I helped my dear friend, Maria Nista Sanchez start about 28 years ago in Miami and I've lost some weight no but that was really my introduction to this fabulous family of people and I'm so proud that I was there in 1986 when I was young and I'm so proud that I'm here tonight to share this with you also thank you for having me when you're still young my name is Juliette Carrillo I'm from Los Angeles and I ran the Hispanic Playwrights Project from 1997 to 2004 brochures that were calls for entries from that particular program and I brought it because I got to meet so many amazing amazing artists incredibly talented artists many of which are here and so I brought them to honor you guys to celebrate you guys Hi, I'm Lori Maloria from Los Angeles, California and I brought a picture of my hand, Maria Elena Vidal de Ramos because she came to this country when she was 18 and it was her courage and her sacrifice that allowed me to do what I do and her every time I'm working on something and I wanted to share her strength with you all Hi, I'm Olga Sanchez I brought I'm from Portland now originally from New York I brought a photograph of my mentor Ruben Sierra who I knew briefly but who had an amazing impact on my life through his generosity this is a photograph of him in the year before he died and this is a program of the memorial that happened at the University of Washington where he taught and where he started his group theater and I believe definitely Pioca as well, part of that group before the group and so I placed this on the altar he was an immense inspiration Hi, I'm Marisa Chivas I come from Los Angeles via and Gula I brought a glass of rum from a very special bottle that I brought from Cuba 10 years ago and it sat in my pantry waiting clearly for this weekend and I bring it in particular to honor my ancestors I was released and I come from San Francisco but originally from El Paso and I bring a piece of California Hi, my name is and I bring a collector's item this is a button from the Zutsu production and it ain't easy to give it up but I give it in honor of everything that this play did to change the face of American theater there's a theme developing because my offering is also about Zutsu my name is Christopher Acibo I am a living in Ashland originally from Los Angeles and I bring this because it is the first memory that I have as a nine-year-old boy of my parents getting ready to go to the theater my mother getting dressed up my dad telling her to get the hell into the car because they're going to be late and the excitement of that night is palpable to me and by a great joy in my life that I got to design this production in Chicago so that is my offering My name is Tony Senera and I come from Portland, Oregon I brought a calabeta which I have named Little Jim Quibis Little Jim Quibis was a Puerto Rican actor the first actor that I used in a production that I directed and Jim Quibis was a pain in the ass and but he was a blessing but he had more passion and love for Latino theater than anyone I have ever met and so I bring him here because he would have loved when as not just my name is Elisa Marina Alvarado from San Jose, California and I bring some little butterflies my puripacha people, the butterfly is the spirits of those who have crossed those who have passed over and they do their migration and they return about this time of year to visit us so I brought some butterflies and I also brought some tobacco and sage from my garden and of course a little calabeta head it's kind of cool all the wonderful theatristas who played calaberas with us I brought two things I brought a photo of a mural that Galleria de la Raza did it is a commentary that's happening right now in my city especially the mission district about the hyper-judication that's happening with people that are being pushed out and then the other thing I brought was a poem for my grandmother Erdinda Trevino who passed away last year I bring with me a picture of my amazing sister Lupe Antiveros who should be here with us Lupe became my mother in Zutsu she was my first stage mother and she's the mother of our theatre downtown LA Hi my name is Sandra I'm in between La Voya California and Los Angeles I'm born in New Mexico and I brought a picture of my daughters they're the reason I help support the arts because I believe it's important for the next generation to empower young girls My name is Tiffiana Lopez and I'm from Los Angeles and I brought two things the first thing is a paper that has the word inter on it because inter was the complete seed of all the work I do in Latino theater and meeting McDowley Cruz and setting the seed off in place about meeting all the other playwrights that structure my work but I also brought Twinkies to represent another path of my work which is the dramaturgy and the string into performance because it was when I first performed Luis Alfaro's new approaches that I accepted that personal stories about our wounds as the source of everything we might do to transform ourselves and heal our community My name is Rose Portillo I'm from Los Angeles, California but I'm a native but wherever I go I bring Isleta Tejas with me and my father and I were rather tumultuous and yet he took me to the theater and what I realized here there was clarity and we could talk to each other and so I bring a crystal sphere and I encourage you to hold it because what I discovered is when you hold the sphere you hold light in your hands I'm from Los Angeles the daughter of Cuban and Spanish immigrants I bring two things I bring a small mass from Italy that represents my journey from being in love with Comedia de la Art to my awakening with D'Affaro Campesino and the mass work that's related to that and I also bring a cast gift from a production at the Los Angeles Theater Center which is my second home the bottle of vodka it also represents what we do after the show My name is Kosovo Valenzuela and I brought a little tequila and memory of my great friend Jose Valenzuela from the Sonora Desert also known as Tucson I'm bringing a crow feather the crow is a messenger so I bring it in the spirit of that we will be messengers from wherever you're coming from and also to take messages back there and also that like birds are able to fly and see the big picture that we're able to do that as well My name is Lydia Garcia originally from Los Angeles I'm living in Nashville, Oregon and I'm bringing something that reminds me of the first theatrical experience that I had at the age of 15 the first touch of the Shakespeare which for an English language learner was an incredibly frightening experience so I bring Juliet Stagger from early on Juliet the TSA did not take it from me it's amazing I was a little worried and to always remember that childlike wonders that I had in the multi-purpose room in Laverne, California and to always remember that when I saw Juliet now you're about two the next week my first question to her was not how did you learn all those lines but show me how you did the thing with a dagger show me how because I want to do it I'm a voice teacher and a Sonoran girl and I bring a plaque that my father gave me made rest in peace when I was 10 years old and he's the man who taught me to sing and grita with the best of them and told me it was okay and that's showbiz I'm asking Michael to stay and my name is Marcos Najeda and I bring two things to offer and they're both connected to this wonderful artist I live in Los Angeles now but I'm originally from Arizona and my heart hurts when I think of my state and the condition that it's in and so I my hope is that through artists like all of us in the room that good things can come to the place that we live in and Micah this is a gift actually to me from Micah and a traveler gave it to her to keep her safe and so I'm offering it back out to us to keep us safe in this journey and so that's the physical offering that I have and this one is an intention that also comes from Micah too because as an artist particularly a Chicano gay artist I've always been struggling to find my voice and Micah I took her workshop with her once and she said Micah's just released the tension and I said Micah what does that mean Micah's just bent over and released her signature something in that spirit I say so I think we're gonna fight our voice here we go California I brought an image of the logo of my first theatrical troupe in Pittsburgh, California after eighth grade I never took drama at school because I didn't see myself in any of the work that was being done and theatrical locals maybe believed that I could be included in this world and that's the reason I'm here good evening everybody I'm Luis Alfado and I I'm from Los Angeles, California last year or two years ago now I got to work in Chicago and my collaborators were a group of young men and one of them one day said to me that he had just had a little boy so I bought him a little t-shirt and then the next day I went to rehearsal and G-Dog had been shot and killed on the south side of Chicago so tonight I get to finally give him the t-shirt I'm from Boyle Heights, Los Angeles and I bring this little Mexican doll straight from Mexico from an indigenous woman's hands who represents to me the indigenous struggle but she also represents the sacred feminine and the goddess energy that's coming and nothing's happening with our goddess energy so I honor her because she's bringing in the new renaissance and this little girl this feminine energy brings the green corazon which represents the healing heart my name is Jesus Reyes I come from El Lino, Argentina called East LA I'm very happy to be here but I had several years in San Jose and I didn't bring anything because I built altars and I think they're beautiful but I've never had one I have one sort of a picture of my mom and my aunt but Josefina Lopez had her little plastic wordsita and she was so kind, thank you so much for sharing with me and she gave me while I picked it out across so the altar is a little private a little thought and I ask you to share thought with me but don't say it just think it and that's just gonna go on thank you I'm from Los Angeles by way of New York and originally from Colombia and my very first teacher was Maria Ivory Formez and one of the things that she we talked many, many days at the Hispanic Playwrights Lab in New York and one of the things that she talked about was that as writers we have some responsibility to talk and to use our writing to address our community and to speak for us to the general public so I'm also directing at an institution in California in LA Pomona and this year I'm directing a play of the Danube by Irene and it's for her I'm Lisa Fortes, I'm from Chicago Chicago! but I grew up all over the place my father's a Cuban exiled my mother was an Air Force brat so they were very herobotetic Brasca, Wisconsin Texas, Chile Brazil, Colombia so the first play that I read that had some shape in it that could not explain my experience but in some way I believed in I had a shape but I believed in was the Bacchus by Jean Genet My name is Anne Garcia Romero I'm from South Bend, Indiana I bring my family to the statue because of two reasons one, I wrote this play inspired by a play I saw on my diya in Madrid, Golden Age Omedia and second of all, my mama's pregnant with me, she was studying plays like this My name is Lalo Cantoneurillas I am right now from Iowa Field of Dreams originally from Tijuana, Baja California, Mexico and I brought a couple of things one is one is to honor the first Latina to an appeal to prizes that postcard of my recent production of water by the school which was at the University of Iowa and the second is a brooch that was given to me by a lovely actress by the name of Linda Lopez I was, it was my first assistant directing opportunity at the Theater Campesino for the Virgin of Tepeyac for Rosa Maria Escalante and it's a coffin shaped brooch handmade from tin it has a little muerto inspired by Posada and for me I'm bringing this in honor of our deceased and loved ones and those who have passed and who have inspired us thank you and I am currently from Michigan but originally from Oakland, California and I brought a play by August Wilson because something strange happens every time I've seen one of his plays I absolutely lose my shit and start crying like a little baby at some point in the play that happens and so it just always inspires me and reminds me the power of great language and words how's everybody doing my name is Alberto Hustiniano and I'm from the great white north and I'm originally from New York but I've lived most of my life in Minnesota great state of Minnesota and I'm honored and humbled to be with all of you here tonight I bring a little streamer which I used to take with me when I did my dog and pony show in different places in the communities when I started Teatro de Fueblo and just a reminder that many people thought I was kind of wacky for starting a theater among Norwegians and Swedes and it always reminds me of my center thank you my name is Quina Valdez and I'm from the north of California San Juan Valdezta originals from the 1970s one by Teatro Campesino called El Diatro Notes and the other Chicano Theater 3 magazine issued by Tenaz, El Diatro Nacional de Aslan Hi, my name is Alex Mena I live in Chicago by way of Miami, I'm not Cuban so I brought two things and it just occurred to me now that they're religious that's not why I hold them or bring them they both, I came across them actually this summer and yet they are two objects that I have touched and held every day at very desperate moments and at very happy moments for the past four months one is my stadium from New Mexico a place that I first, for the very first time in my entire life felt incredibly connected to the ground and dirt and land around me, it's never happened to me before and the second is a prayer card from the mission in San Juan Valdezta the second place that I felt I had is just a spiritual awakening, connection and a feeling coming home that I have never had before so I bring these because they brought me so much luck, happiness and peace My name is Abigail Vega I came here from Chicago, originally from San Antonio and via Emerson College in Boston so it's very weird to me and I brought a boarding pass for all of you this summer we did a summer tour and I feel like at least a third of you either took us to dinner or rest so this is the boarding pass from Heathrow back to the states and it says we survived this is community, this is you guys so I'm getting it back I live in Chicago I'm a Tucson girl I'm from California, I'm from Oregon I've had the pleasure of spending a lot of time on the beach and writing a lot of plays inspired by the ocean and one day I woke up early and the ocean spit out the spray it's a fossilized and I really love to meditate on objects when I write and to me this object is about breaking down old structures and building new ones I'm Jacob Avanon I'm from Gilroy originally but in Chicago soon to be New York City and I drew a picture of David Hen because the moment that changed my life was seeing my mother perform in David Hen's Depeyac and she was a danceante and that moment was the moment I wanted to be in the theater and I think David Hen also gives me strength and I think she's watching over us this entire weekend I'm Sandra Matos I'm a Chicana somehow wound up in Chicago but happily I brought the cover of a Sandra C's Netters book because when I was a college student at Fresno State I went to hear her read from one of her books and I couldn't stop crying and I couldn't figure out why and the friend that I went with just kept handing me tissues and I just kept falling and when it was over I realized it was because it was the first time I saw somebody who looked like me doing new art and so that night I decided that instead of joining the convent I was going to be in town but my blood is Colombian I ate rice every day of my life from the time I was a little girl until I left my parents' house 18 years later and my grandmother died one morning making rice I saw her just a few minutes after she had had her stroke and the image of her lying on the linoleum kitchen floor of my parents' house with rice scattered all around her body stayed with me and it became the image that inspired me to create my first piece I'm a private terrorist from Chicago the first four and a half years of my life were spent in Mexico and I have very few memories of those first four and a half years before I even knew there was a lot of states and one of those memories is of the Mexican top that my uncle then shared with us and I happened to be in Mexico about three months before my son turned four years old and I came back with 24 tops similar to this we had a party and I was good I gave them as a party gift to the kids and you have not lived until you've seen four 24 four year olds it reminds me that we not only passed down our memories to our children but we also passed so much of our work everyone's been talking about mentors and stuff and I've had many mentors and the cycle keeps going we don't keep it within ourselves we pass it on to others as well and that's what I'm giving to y'all I'm Regina Garcia I'm originally from Alabama but I grew up in New York and now living the wonderful adventure of the state of New Mille and we're casing but for the life of me it hasn't made it into any show and to me it so it hasn't moved from my studio so to me it symbolizes everything that has stayed quiet stagnant has not moved and needs to get out of the way my name is Nancy Garcia Loza I know there's another Garcia Loza here because I had a moment when that happened I come from Chicago before that somewhere along the line I'm from Jalisco, I'm from Bocha I'm from here, I'm from there too and I made a little Mason jar that reminded me of the reason that I got into this crazy world is for storytelling I put in this jar the names of all of the ghosts that I carry some of them are ghosts that are still alive some of them are ghosts that are truly ghosts but they're ghosts that didn't know how to write some of them are my abuelas they taught me the power of words they were wonderful storytellers but they taught me a powerful lesson if you can't write a song, you can't tell your story and it's going to be taken from you please let me do this I just want to take you all in because this is amazing I bought this North Star to guide us you want to tell us who you are? I'm Donia Taracho I've represented Chicago what I've been in LA the past two years but I've represented Chicago I bought a North Star to guide us because I have so much faith in what we're doing here where I think we can do the potential and I'm shaking because I'm feeling all of you guys have energy I also brought this is because it's the single most important symbol in my life my middle name means the selene means luna and I started a company named luna and for the past three years there hasn't been a full or a new moon that I haven't prayed to ex-chid thank you Hi, I'm Christopher DiPaola I am living in Chicago originally from South Florida I just brought a simple pen and when you think about it there's a lot of complexity and mechanics actually inside to make this thing work and so it's kind of symbolic of the simple decision I made to start writing and then realizing now still today being here how complex that decision I'm from Chicago my parents are from Puerto Rico so I I was working one day a job as a bartender one of the many jobs as artists that we do in order to support the art and this Croatian lady who was one of the clean ladies in the building gave me a prayer card and she gave me this as well which is the saint of Croatia and on the front of it it says if you knew how much I love you you'd cry of joy so I'd always keep it in my wallet and there's even an imprint of little medallions hanging there so it just reminded me of the kindness of people it also reminded me how important a faith, love of miracles and kindness are from strangers short hi I'm Penny that's Mitch and I'm Clarey so I brought this necklace which has a peacock feather on it which reminds me of Oscar Wilde and the aesthetic movement which is my family, my first family of writing and of our being Fortnez which reminds me of Alpha Broadway in the beginning of that movement and how it impacted so many of us and of Lapa Hi Linda Lopez I'm last I'm the daughter of Cuban nationals born in Colombia and proud member of Red Sox Nation I love the boss I brought I wrapped it into my grandmother's pancre chips that she embroidered for me which I'm not going to leave on the altar and I have a picture of my daughter because everything I do I do for her for sharing your names for sharing where you're coming from for sharing your stories of inspiration for inspiring us for creating this altar this altar is holy made holy by your gifts it is memorabilia lack of a better word but it is not a museum by any means we welcome you to touch it to pick up the stuff to look at it to read it just don't take it with and it will be up for the next three days for us to find inspiration for us to collect our inspiration back for us to fuel ourselves with to nourish us and then come back to the circle we are going to take a five minute break thank you


Awesome. So all I'm going to really do, and I'm going to really help you all here, man, is really just kind of comb through everything based on the new Apple iOS update, like what needs to be integrated, what needs to be connected. So, and then of course, answer any questions you have.  You have your domain integrated, right? So that's where it starts. Yeah, domain. Okay, perfect. So you're good there. And then now what you'll want to do those, you'll want to click on connected assets right there in the middle, connected assets. So right there, there's the page, see if there's anything else to connect. Actually, I think it's just the page, but see if there's anything else. Yeah, that's the page. So you're fine. So and then click on, click on, scroll up and go to go to, yeah, so just knowing what pixel you're using, I would rename that pixel. And then, and then go up to add accounts and click on add accounts. And then over here, okay, so Barry, see if you need to add any more assets. So click on connected assets. Go to add assets. And I think you need to add your pixel. Actually, no, you're fine. Okay, you're fine. Okay, perfect. So then now just go back, click the three lines at the top, go back to the events manager, right? Yeah. So events manager, this is what you'll want to do first. Actually, you know what? Let's get those. Before we go there, let's go to, well, actually, we're here. So hover over the blue triangle and go to your custom conversions. Or actually, you might have that tab already open, right? Oh, yes, I do. Okay. So here's what you want to do. Go ahead and go ahead and go ahead and grab those links. So the custom conversions, the link, just grab it, copy it if you need to grab it from somewhere else, or you can grab it from right here. And let's just, first of all, when you set up, when you set up custom audiences, here's, here, I don't think this, I don't think this, well, yeah, I don't think this is a huge, huge thing. But, but the way I've always been taught in the way of, I've always set up my custom conversions and my custom audiences, go back to, into a real quick, the manage, just click on it, click on any of them, either one of them. So right here, what I've been taught, and again, I don't know if this is a huge, this isn't, this is not the reason why it's not in, why it's not active. I'm gonna, I'm gonna make it go active in two seconds. But just for, just to get in the good habit, taking out the HTTPS, that doesn't need to be there. So whenever you create custom audiences and custom conversions, the correct way to do it is just to put the URL. So think wealthy, be wealthy, like just no HTTPS, no WWW, just the URL. I see. Okay, that's just good habit. So, so custom audiences, custom conversions, you only need think wealthy, everything after that. Okay, so, but again, I don't think that has, I don't think that's a huge, huge deal breaker. So now let's just, yeah, let's copy that entire link, let's open it up in a new tab. And here's what you always want to do. When you, when you set up a custom conversion, this is 1000% of the time, when you set up a custom conversion, you always want to open up a new tab and, and, and, and let Facebook read that pixel, let Facebook read that pixel, let Facebook read that custom conversion. Do you have the Facebook pixel helper Chrome install or Chrome plugin? I believe I don't think I do right now. No. Okay, so yeah, open up a new tab and just I would, I would install it. I mean, I'd install it, especially if you're working on Facebook ads and 90 pages for sure. Yeah, open up a new tab and let's just go to Google and just, yeah, Facebook pixel helper. Yeah, Facebook pixel helper.   But I don't, I don't use it for that. I don't care who's tracking me. Actually, yeah, you have it somewhere there. So maybe I just need to turn it on here. Actually, you just past it. It's right up. It's above to the right. Oh, there it is. Okay, awesome. Perfect. So let's just, if I were you, I would just pin it up there, pin it to the top. That way you can see it at the top, top right. Yes, just you should see the little pin, but awesome. Perfect. Okay, cool. So then this, you know, just lets you know that the pixels on and it lets you know that the custom conversion was, was set up correctly. So go to refresh, go to the thank you page and just refresh it. So let's refresh, refresh the thank you page. Okay, cool. So number one, the pixel is not on this page. So that's why that pixel helper is so freaking important, because it clearly it clearly shows that the pixel is not on this page. And so that's that that has to happen first in order for that custom conversion to go active. So when you hit that drop down, that, that pixel helper right now, it's shaded gray, right? So when it's shaded gray, there's no pixel on the page. And again, you'll see it on your page, you'll see it on any web page from this point on that thing, when a pixel is on it, it lights up. So you'll be able to click on it, like since you're logged into your Facebook on your computer, you'll click on that from your desktop here, and it'll say your pixels name. Right. So that's how you know it's your pixel, because it freaking says your name, it says, or the business, whatever you name the pixel, it's the name of the pixel. I see. And you'll see your custom conversion. Watch, let me share my screen, kind of my screen real quick. Sure. So you could see my pixel right here at the top, my pixel helper, right? So as I go to a page that I have, I'm trying to set up screens, sorry. Oh, goodness. Yeah, if you stop sharing, you can come back to mine. Sure. There you go. Okay, so then I have my pixel on a bunch of these pages, but this is my custom conversion, one of my custom conversion pages. So if you if when you come with this page right here, this right here lights up, right blue, three, four, but then look, as I click on it, look, you'll see that my not only is my pixel, this is the name of my pixel, not only is the pixel on it correctly, right? But it also shows the name of my custom conversion. So that's why the pixel helper is so important. So just let me know that my pixel is installed correctly. It lets me know that my custom conversion was installed correctly. Now, once I once I set up the custom conversion like you just did, right? Once you set that up, go ahead and share your screen. Once you set up the custom version just like you did and then it shows inactive. As I mentioned, you then go to the thank you page, refresh it. That's when you can check the pixel helper icon plugin, and it'll say everything there.  So this is very important.  Now, once you open up the thank you page in a separate tab, let Facebook read it for the first time, they're reading the pixel, they're reading the custom conversion, then you would come over here and refresh this and that would go active. Now, again, in this case, it's not going to go active because the pixel is not on it.  Yeah, this page. Yes, I don't think it's going to go active because yeah, it's missing the pixel. Yeah, I mean, I can listen to pixel. So once you install that pixel, then you can refresh this page and it'll go active. And then and then that's the conversion, you know, that you're using. Now, that's step one is setting up your custom conversion. Once these two are active. And again, all you got to do is open up the link in a separate tab. That's it. And then it goes active, then refresh this page. And they're active. After you do that, then you go to the lines at the top left. So go to the lines and then go back to the events manager. And then this is all you got to events events manager. Then this is all you got to do. You got to come over here. And then you have to make sure the first thing you want to do, there's two things that we're going to do over here. The first thing is, is yeah, knowing which pixel you're running off of. See, so now look, this is the time to rename that other pixel. So which how do I go about doing that? Which which pixel are you using? Do you know? This is the main one here. Okay, let's name that let's name that main one, or name it something hit the pencil to the right, the little edit right next to the title of it. My dream fulfilled pixel to the right. Yeah, that the title is also to the right, like below the blue button. Oh, below the blue button. Yeah, right there. Okay, you can you can name it my you know, main my dream fulfilled pixel or whatever, like just something to know the difference. Perfect. So that's the one right there. That's the one right there. And that's the one that ends in 7712. So that's how I always kind of remember it. So here's the deal. First things first is is hitting settings to the to the bottom right over there. So setting no no no to the to the right, it was right here on the page. Yeah, go back to that page.  And so we just got to make sure that the links that the domains are the correct ones that we want Facebook to track. So we integrated the domain with GoDaddy and or whoever and now you have that that active domain in the brand safety in the business settings. But over here, you still have to line it up. So click on settings. And that's your allow list. So click on settings right there at the top settings. Right. Yeah, settings. And then if you scroll down, we're looking for traffic permissions. Right here, traffic permissions. Okay, so these are the two domains that you're allowing Facebook to track. So is a webber an important one, or or a webber is the platform that I'm using to make the landing page? Okay, perfect. So so leave those and then there's the dot com my dream fulfilled. Perfect.com perfect. So you're good there. So that's important is always making sure that the links here are the are the correct ones. And then now click on overview, right there in the middle to the left overview. Now this is the biggest, the biggest update. So click on yet overview to the left. So right here, click on you're going to click on aggregated event measurement. Next to new and purple there. Yeah, and then configure web events. Yeah. And then right here. So you have this domain verified, you have this right here manage events. Okay, so over here. What you're going to want to do is your one yeah, edit. I think you're going off the yeah, see that custom conversion. So it's not conversion leads. The custom conversion is the one you set up that were inactive those two. Okay, so so it's so I don't know what I don't know which ones those are but but actually those are those are the general ones there the standard ones. But once you activate those custom conversions, then you'll see those two right there. Oh, pop up. Yeah, it'll pop up. So you have to activate them first you have to add the pixel to that page. That's that's all you gotta do. So the pixel needs to be on that page. So what am I what am I doing wrong here like how should I actually set one of these up like when I go to add event. Yeah, so you can just go to an X out of all of them X out of all of them. Sure. Because those are not the ones so you're going to add event. Yeah. Actually, what you want to do maybe is just bookmark this page like bookmark this because this is where you're going to come back to once you add the pixel to that page and thank you page for sure.  The ones that are inactive the two that are inactive right. So you refresh those those should go active as long as that's the right link for the thank you page because I know watch go back to the leave this tab open bookmark this if needed. Yeah, you already did. Okay, cool. Go to the other one. Yeah, open that one and then go to hover over your blue triangle and go to custom conversions blue triangle to the left. Yeah. So as long as this link over here. So click on main conversion leads.  So I don't know if that's the right link. Like because when you go to a page, it's normally it's normally that that company or I don't know if it's the company or if it's like a web or for example, or if it's or if it's your IP, your internet provider where a lot of times when we go to sites, numbers are added to the end of the link. Like that happens to me all the time when I'm on a certain website, there's a bunch of characters at the end. So I don't know if that's how you set up this just based on what that link read at that given moment when you copied it the very first time to set this up. Or if that's the actual link in your in your Aweber, like what you want to do is you want to go to a web. I don't think that's the link at all. Like to tell you truth. Seems so that's the link they gave me. But you make a good point. It's I thought it was really just kind of just really long and yeah. Yeah, that's that can't be that can't be the link. And go here. And so right below here, right?  I guess that is the link. OK, OK, well, that's fine.  That's fine. So here's what you want to do. Why don't you? Why don't we why don't we go back to your custom conversions? Let's just. Yeah, right here. So then. Click on manage. Yeah, right there. Yeah, click on manage. So you named it. Thank you. Page lead conversions. Well, that's the that's the description. You don't you actually don't need a description. You can have a description if that helps you in any way. But but the description really isn't needed. It's just the title main conversion leads. Like that's the name. OK, so you can leave the description if you want. That's fine. But OK, so as long as that's the right link man, then then then you just need to add the pixel to the page. So why don't you get the picture? That would be that would be this pixel here. No, that yeah, the pixel ID. Does it call for a pixel idea? Does it call for the whole code? A Weber, because I'm not too familiar with a Weber. I believe just a pixel ID. OK, so then yeah, this just paste in that to the very, very right. Yeah, you have that one right there. Yeah, perfect. So going here. Yeah, so see if you can like I need to go back to here. Then settings and tracking and. Yeah, perfect. There it is there. OK, cool. So save that and then now go ahead and go back to your thank you page tab and just refresh it. So the tab that's already open. Thank you. And just push that. Yeah, perfect. So just refresh this page. Cool, man. There's your pixel. So your pixels on it. So click on the pixel helper to the right. No, go back to your thank you page. Go back to your thank you page. Thank you, yeah. OK, so click on that pixel helper. Yeah, OK, so there's there's your pixel. There's your pixel. So go ahead and. Go ahead and what I would do is I'd probably set up a new a new custom conversion, man. Yeah, let's let's let's go back. Let's go back to yeah, custom conversions. Should delete both of these? Yeah, you could delete both of them. Yeah, delete both of them. Manage and yeah, delete. OK, so if you delete customer use OK, that's fine. Does does allow you to delete it? This customer is currently being used in a domains web configuration. OK, so you got to just OK, so. We have to just simply delete it from the other from the other. Even aggregated event measurement side. See if you could delete this one. OK, sure, nice to the same. Yeah, OK, cool. So then OK, so let's just let's just add the other one. Let's and then we can name it something different. So create custom conversion. Yeah, and just yeah, go ahead and set this up and name it name it something different. Yeah, main. And what I do also, man, is I name it. I mean, this is just preference. This is total preference. This is just me. I'm just thinking out loud and giving you my two cents. Yeah, I name my custom conversion. I name my custom audience. Whatever the hell that offer was. So people that landed on that thank you page. Who were they? Were they download or they were they PDF leads? Were they what type of leads were they, you know, like? I see. Because when you just look at main custom conversion, I don't know what the hell that is. If I'm looking at a dashboard, you know what I mean? So you want to kind of be more specific when you title your custom audiences and when you title your custom conversions. So landing page. Well, what kind of landing page? Right. So PDF download. PDF download leads because that's what they are, right? Yes. Yeah, PDF download leads. That way, when you look at it, you know exactly what conversion that is. And then also, when you're looking at your custom audiences, you'll know exactly what that is, you know? So click on, select your own category in blue, select your own. No, leave that one as is. And then just select your own category, hit the recommended and then go down to leads because that's what they're doing, right? They're going to the landing page or entering their name and email and their lead, right? That's all there is. So now grab. Yeah, grab everything except for the HTTPS. You don't need the HTTPS or any of that. So if you need to recopy it. Maybe I could just delete it in here. No, I can. Yeah, so just yeah, you just need that part perfect. OK, cool. So let's paste that in and then go ahead and click create. And so now, right when you create it, you'll need to go to web config. You'll need to go actually go to this reading. This is always important. So to use this custom conversion event for website ad campaign, set it up to share data. OK, so in business manager, go to your settings to assign the custom conversion to your business ad account. So let's do that first. So which I already which I'm pretty sure was already set up. But let's let's check it again. Sure, actually, no, yeah, you got a set of the custom conversion. So click on. No, go to what are the it said custom conversion, right? Go back to the hit the other tap to the left. Yeah, up that first half thing was that first step there. Yeah, see, so to assign custom conversion to your business account, so click on custom conversions. Go back to the other tab. I think it's the third tab actually right here. Go to custom conversions and then click on connected assets. Yeah, add asset and then just connect it here. Perfect. OK, cool. So you're good there. So now number two, go back to the other tab and then so go to web configuration. So in events manager, your domain, so your web configuration.  Pretty sure we need to just activate it real quick, but hit manage events and then go to edit. And then so over here, get rid of. Let's get rid of both of them and just add event. Yeah, and then hit that drop down custom conversion. Pretty sure we have to activate it. It's not active, but let's see. Hit the drop down. Oh, perfect. It's right there. OK, cool. So that it's a PDF download. OK, so yeah, that's so much easier with the name change, right? Yeah, you got to know exactly what that is, man. Don't leave it conversion leads.  Which conversion leads, you know? Yeah. So click on submit the blue button. OK, yeah. OK, so click. Yes, I understand these changes and then just apply. And that's it, man. Now what you need to do real quick, though, leave this as is and go back to the events manager tab in the top left. Right. And then go and click on done. And now go to your thank you page. So again, what we just did here, go back real quick, go back to the other tab. OK, so what? No, the custom conversion. This one, yeah. OK, so as I mentioned a couple of minutes ago, when you come and set up a custom conversion, you don't need the HTTPS or the WWW, right? So that's number one. And then in the number two, right when we set it up, we had a set of instructions. Number one, we had to go connect it in the business settings. And then number two, we had to go to the web configuration, the aggregated measurement. And then we had to connect it, right? The custom conversion in the two drop downs. Now what we want to do real quick is go to the thank you page. So go to your thank you page, refresh that page. Yeah. And then just hit that drop down real quick. Hit hit the drop. Yeah, actually right here, refresh this page. Go to refresh this page. Yeah. Yeah, I didn't see that other pixel. Go back to the thank you page real quick. Hopefully that's the right link. Like I'm pretty sure it is. But the pixel should have been the pixel helper should be showing this page refresh it one more time. The pixel helper should be showing this as a custom conversion. We should see custom conversion right there in the drop down. But it might just take a little while. Normally, it happens right away. But sometimes it takes a little, a few minutes because at least we were able to set it up in the aggregated event measurement. That was the most important. So it's just it may just not be reading here just yet. But normally it happens instantly and then those active instantly because now it's now it's connected in the in the aggregated event event measurement section. Right. You might just take a minute. Yeah. But that's what you want to do, man. That's that's integrating the domain. You did that correctly and then and then connecting everything in the business settings, the pixel, the ad accounts and then setting up this right here, setting up your custom conversion and then just being super specific with your titling. Right. So if anything, leave that thank you page open and just try refreshing it a few more times later on today. And then check that pixel helper. So but everything else, everything else looks good to go, man. Now now as you go in, so now let's go to the ads manager real quick. Sure. Let's go here. Now just click the green button and go in and try to create an ad. Just like let's go conversions and let's just get to step two just to see if that if that custom conversion is in the dropdown just yet. So over here, yeah, just click just choose conversions. OK, cool. And then down here, you can just switch the CBO to off or it doesn't even matter. You can. Yeah, it's already off. So hit next and then over here on the second one. Let's just click on. So the pixel, OK, perfect. So now that pixel is main my dream. That's the main one, right? So that was number one problem. Number one is that that wasn't the right. I actually, I don't know if that was the right pixel, but you always want to make sure that's the right one. And then conversion event, go ahead and click inside there. And then you got lead and then you got right there. Bam, PDF download leads. Nice. And then just leave that when your custom conversion is an active. So that's what we try doing. So the way to make it active is you install the pixel on it. You create the custom conversion. You go to the thank you page. You refresh the thank you page. And then you come back to the the custom conversion in events manager and you refresh that. And that makes it active right away. I don't know why yours isn't active right away, but at least it's it's there. You installed it. It's there. So I'm just I'm just a little questioning on on not questioning, but just a little concerned on on that link. Like, I'm pretty sure that's the right link. That's what you're getting from a Webber. But that's a long as link. I don't know why it's that like that. And there's no way you can customize it. Not that I've seen so far, but that's a good point. I could definitely look into that and look into that. You'll have to you have to recreate the custom conversion and your custom audiences. But that's ideally what you want to do. Like you want to at least customize those links. Right. Because I was considering just like converting it into a short link. And so it was, you know, because it's so even putting it on the Facebook ad, it's just so, you know, long and drawn out looks weird. Yeah, that's. That's a long link. But a shortener is good, like when you're when you're. Like if you're actually promoting it, like you're actually posting it and you're saying, hey, click here. Like if you're just organically and having a bitly link or something will be cool. But but not for custom conversions, like or even a custom audience. You have to use that root link, the actual link, you know, the actual domain, the URL. But. But it's there. I just don't know why it's not active just yet. It should have been active. It should have been active the moment you refreshed that thank you page. You know, and so the only reason why. I think it's not because I just don't know if that's the right link. But I'm pretty sure. But it is, it has to be. So just give it a few more minutes, man. Give it a few minutes, check it later on and and that should go active. And if anything, one, one thing you may want to test as well is actually opt in, you know, go to the go to the landing page, opt in. And then that that would also make it active as well. That's a good suggestion. Well, that should that should make it active. But then again, refreshing the thank you page is really all you need to be doing because you're going to opt in and all you're doing is hitting the thank you page. So it's really just refreshing the thank you page. But again, that's not working right now. Normally it happens instantly. So if anything, you may want to check it again again, like in a half an hour and then just refresh the thank you page, refresh this page and then and then see if it's active. And if it's not, then opt in, opt in and just go from the beginning to end and see if it reads it that way. Right, but very well and a Weber thing. What's that? It could be a Weber thing where it's taking a little bit longer. Yeah, I mean, or a link thing. Yeah, it could be. But the the link is is integrated. The domain is integrated with Facebook. And so. Yeah, you should be fine. You should be fine. Just again, save bookmark this page, come back to it. Just make that active. And and you're good, man. So there's really there's really nothing else to be doing now. What you really, really one thousand percent have to kind of just strategize for is is is your custom audiences. You know, that's what it's ultimately about, man, is as you run these ads, like you'll run one ad to add three ad and then you'll go run at number four. And and on each ad, you're you're targeting that area or whatever your demographics may be. But what most fail to realize is the fact that. Every time you're running an ad because a lot of people don't think, OK, yeah, let's let's try this new image or let's try this new video or let's try writing something different. And and and what you're really doing is, yeah, you're you're running multiple ads, which which which logically with you would think that is that is actually a good thing. But if you're just. Running new ads, meaning you're just running new ads to a new audience, even though you're targeting the same demographics, you're targeting the same age, even though you're targeting the same everything, it's literally still a new ad because you're targeting and you're doing this on ad number one and then you're doing on an ad number two and then you're doing it on ad number three. You're just you're even though you're targeting like I could be targeting just one city of Toronto. But if but if I'm just simply going into ad number two and setting it up again, Toronto ages 25 to 55 and then at number three, I do it next week targeting Toronto ages 25 to 45 or whatever the hell it is. They're technically new ads. So that's what a lot of people do is they'll run a few ads and and and and and because they're targeting the same location or the same demographics, they think that they're going to they're going to get a different result when it's like, dude, all you're doing is you're restarting a new ad. You're restarting targeting a cold audience. If I ran four ads one after another every seven days. So I run one out of week. Let's just say I run one out of week. This is where I'm just giving you some game right here because this is where everyone gets it wrong. Let's say we run one out of week, right? And and and and we're targeting Toronto and we're targeting 25 to 55 all genders and we run week number one. And then we do it again, week number two, same targeting Toronto 25 to 60 to 55, whatever week. Number three, set up again, third ad. We're targeting the same location. It's like, dude, all you're doing is targeting a cold audience multiple times when what you need to be doing is creating custom audiences. So so week number one, if that was an image or an ad or a video ad, if it was a video ad, you better be creating an audience around those who watched it. If it's if it's if it's an ad and you're driving a conversion to your landing page, you better be creating a custom audience of everyone who lands on the landing page but never opted in. And then as we go to ad number two, you better be retargeting those two audiences because by the time we get to add number two, I already have the ability to retarget a warmer audience, two of them. Those who watch the video, let's just say 25 percent of it. And those who landed on my landing page but didn't opt in. By the time I get to week number three, what am I doing now with week number three? Week number three, I'm also retargeting everyone in week number one. And I'm also retargeting everyone in week number two. Right. By the time I get to week number four, it's like, dude, now I got these audiences that are building. We ran and especially if you're running video ads, which you guys probably I don't know if you are, but it but he needs to be like he needs to be. And so what you're doing is you're creating custom audiences of everyone who's watching the video. So by the time you get to week number four, it's like, dude, you're retargeting literally thousands of people who watched video number one, video number two, video number three. Also, you're retargeting those who landed on the web page, on the landing page for the first three weeks, for the first three ads. You're also retargeting those. Right. So so it's in the retargeting of audiences, man, is where it's all that. It's not running a new ad, running a new ad, running a new ad.  And that's when you have the highest cost per lead. That's when you don't get as many leads because you're you're just simply running new ads to the same audience. But you're not saving that audience. You're not creating any audiences of those who are engaging. You know, right. Yeah, that could that completely makes sense to me. And yeah, that's that's really valuable information because yeah, when I when I see a lot of videos on YouTube, you know, many times a lot of people say to come the complete opposite and what you're saying just makes complete sense.  So that's, you know, the mistake I was making, you know, just kind of restrategizing the sense of just like doing new ad, doing, you know, do multiple ads, different tests, test different ads with different strategies. And yes. And that could definitely even drain the budget really quickly too. You want to have you want to have you want to have 20 percent of a budget allocated for testing for sure. But the other 80 percent should be spent retargeting those testings. So as you're testing, you're running an that's what that's what testing a new ad every week could be where as I'm trying to explain it, if you're just setting up a new ad every week, you're just setting up a new ad every week and you're targeting a cold audience of those who don't know your brand or know you because you're not you're not retargeting or targeting anyone who knows you. You're just targeting Toronto 25 to 55. It's like, well, shit, OK, well, then, OK, so if I just target that and I do the same thing every single week, you would think that I would penetrate something, but I'm actually not because it's a cold ad every week. It's a cold ad. Right. So unless you're spending money retargeting the ones who actually engaged, then then you're not going to see the numbers you really want to see. It's all about retargeting your custom audiences. And in a perfect example is is put yourself in in the consumer shoes.  I'm a consumer.   Right. When's the last time, bro? You were online and you just and we're not talking like crazy.  I've never seen that. I need to buy that now. That's like an off the wall type of offer when you see things like that.  Right. But when does that ever happen, bro? Like when's the last time?  You very rarely see something for the very first time click and buy. Correct. Yes. Like very rarely, bro. And we're consumers.   But at the same time, very rarely online. Do I see something for the very first time and automatically want to buy it? Like especially and especially if it's just some other marketer, especially if it's a coach like this or a consultant. Right.  I've seen 10 million freaking videos on the guy. That's what made me fall in love with him. Right. Right. So it's like the same for anything else. It's like we have to see something multiple times to really build the value before I ever click and want to buy or before I click and be like, OK, well, shit, let me give this guy my name and email. I have to see that PDF at least three, four times before I say, OK, well, shit, let me download it. Right. Yeah. Unless your offer is crazy, hardcore, freaking and was written by a professional copywriter where you're getting the attention of someone right then and there because your marketing is so freaking on point. But very few of us are like that good. Like we're not all Russell Brunson's, you know what I mean?  So a lot of times it's testing. A lot of times it is that. So so my point is, is the fact that you have to retarget.  And again, those who engaged are those who watched 25 percent of the video. And those who clicked went to the web page, the landing page, but didn't opt in. Right. Right.  We'll go to your ad manager real quick and click on click on. Yeah, get out of this part. So that that's that's all good. So you're good here. So yeah, you can exit this part and just you can just do this ad. Yeah, go to go to audiences, go to audiences. Audiences right there. Yeah. Yeah, what you're saying makes total sense. Really good, really good information. Yeah, I mean, and a lot of this is just common sense.  Right. So so this right here, bro, this right here is is is your money. Like this is where the money is at for a client for a business for anybody running Facebook ads. It's all about running the ad to capture the audience and then show that audience another ad. Right. That's it. So this is where everyone drops the ball. Everyone runs a new ad every week. That's what they do. If it's even weekly, most don't even run every week. Well, let's just say every month. Most are running a new ad every month. We run a few ads this month. Each ad you set up went to a cold market. They never engaged with you. They never watched a video. They never freaking went on your landing page. Right. So so and then and then we set up another ad next week.  Right. Because we have no custom audiences to go off of. So this right here, man, is what you have to be setting up. You have to be setting up custom audiences on on everything. And it's really a custom audience of those who land on the landing page. A custom audience of those who land on your thank you page because that audience, you name it instead of Facebook, PDF download leads. So the same thing you named your custom conversion is the same thing I would name my custom audience. Those who landed on this thank you page are PDF download leads. Now, why is a custom audience of that audience so important? Because as I go run my next ad, my very next ad, as I go and set up my very next ad, that is an audience that I'll be excluding from seeing that ad. Because it already leads. They've already opted in. Like, why do they keep seeing your download video? Right. Right. Right. So so you'd exclude them and but also tell Facebook to run ads to this type of group. So when you yes, yes. When you set up that custom audience, that audience is one audience. The link of the thank you page. That's it. That's that audience. So anyone who lands on this link is in this custom audience. And we're we're calling that audience PDF download leads. Right. So when we go set up the next ad in the ad set level, the second step, the ad set level, the same level, we set up our custom conversion in our pixel event. That second step, the ad set level, that's where you include or that's when that's that's where you exclude this audience. Right. Now, the audience that you'll always want to include from ad number two and on every ad, every ad, the one audience that you'll always include to retarget and to target is your landing page visitors, landing page visitors only because the way you set up the custom audience for the landing page is you tell Facebook, OK, anyone who lands on this link, the landing page link, but but does not land on the thank you page link. Put these people in this custom audience. Very specific makes that makes sense. They landed on the landing page link, but they did not land on the thank you page link. That is one audience. And that audience name is landing page visitors only. So now that audience becomes a warm audience. Let's say that audience is well, shit, that audience will be created on every ad. So as you set up that one audience, you set it up one time. Yeah, every ad from this point on, anyone that falls onto that into that trap, they land on the web page, landing page, but they don't opt in. That's audience will continue to grow. So the more you run ads, the more that audience will grow because not everyone's opting in, right? So so that audience is going to continue to grow. And that's a warm audience. That's someone you'll always want to retarget.  That's just the bottom line. Right. And that makes that's how you create the omnipresence. So so if if if if if if Mr. fulfilled, if he wants to really be the high swinging, you know, what of his industry?  Like that's that omnipresence. You're showing up everywhere all the time because all that is, is you're retargeting previous engagers. That's all it is. So it's not like you're spending a shitload of money advertising all you're doing is retargeting people who engage before. So if you saw my last video three weeks ago, guess what? You're going to see my video today, right?  Right. Yes. That kind of omnipresence.  But, you know, personally, I use I do, you know, use Instagram a lot as well.   And then you see the same video. Say sorry, another video from the same people. Yes, it was hilarious. It's better. And then you're like, wow, I need to follow these guys. You know, yes, man. And that doesn't it doesn't take many, many more ads after the first one to get you indoctrinated. You know, if I saw something cool and I watched it a little bit and then and then I came back on IG a few hours later and then I saw something else on that same company that are that person or whatever. They they they're running a different ad to me and I saw that and I'm like, Dan, that's pretty cool. It's like, dude, it's only until like it only takes maybe two, three videos of retargeting me to get me to fall in love with you. Right. So we're not talking freaking long term approach of marketing strategy here. I'm talking freaking a few videos.  Right. But what we but but the problem that we do is we set up a new ad every every time and don't retarget anyone. So everyone that's seen every ad, even though you're targeting the same location, the same demographics, all that shit's the same. It's still going to a cold market of people who don't know you. You know, because you're not you're not retargeting anyone. Right. Yeah, that makes that makes perfect sense.  It just makes complete sense just coming, you know, just really seeing the perspective from a consumer's yes, man, point of view as well. Yeah, for sure, bro. So anything else on this any other questions on this part, man? Well, actually, I mean, I don't want to I know our time is pretty much finished here, but I didn't want to take up too much time. But I actually had one small question that I seem to get like a different answer on on every video that I watch on YouTube. And and that's for a smaller budget, running an ad using a smaller budget. What potential reach should you really gauge for? And I see, you know, people are saying like, well, more is better.  Yeah, really, really good question, man.  Right? What do I spend on the damn ad?  I kind of look at the net, like I kind of tend to look at. Well, shit, not in that. Let's just look at the revenue.   So it's like a real estate agent.  Let's just call the commission average. Let's just say minimum five grand. And it's like, OK, so you sell one, you make one, you close one deal, you make minimum five grand.  Right. It's like, dude, like most think that they're going to get leads off of spending 10 bucks a day on a Facebook ad, 300 a month. OK, let me get this right. So how so you make five grand per deal, but you're bitching about spending 300 a month on marketing.   I'll go I'll go be an agent right now. Yeah. But it's like, dude, it doesn't work that way. Like you got to. So I tell so I tell agents now it's like, dude, 30 percent. Like because I want everybody thinking bigger. Like you got to think bigger. So I tell an agent 30 percent. I ask him, what's the minimum commission, your average commission? Take 30 percent of that. That needs to be your monthly Facebook advertising. Right. And that's a that's like a couple grand. And so it's like when when I when when a person even thinks about that or even looks at that number, like, holy shit, I can't be spending that. What do you mean you make five grand for one deal? What do you mean we can't be spending that? We have to be spending that, right? So it's like, but again, everyone in a different financial boat. And I get it. But but at the end of the day, we all need to make this work and you have to pour you have to be willing to pour money into it, but not not bleed money. Mathematically, look at what you your product or service that you offer. What's the what's the revenue? What comes in off of one deal? And we should be taking at least 30 percent of that. And that should be your monthly budget. Right. So you're saying you need to actually get face Facebook enough fuel? Yes, man. Do what it do what it needs to do.  Like what what how much people should you gauge for in like the potential reach as to like one million, ten million? No, no, no, no, you don't got to be that high at all. Because again, everything is based on your budget. So to tell you the truth, you're asking a question that that really, really it's not that it can't be answered. But here's how here's how you have to look at it. If we only have ten bucks a day to spend, then the potential reach, it is what it is. Right. So even if I gave you the answer of you have to be shooting for five hundred thousand potential reach, you're going to be like, David, the potential reach is based off my budget. And I'll all I have is ten bucks a day. Right. Right. So so it's not it's not on the potential reach because it's not on the potential reach. Don't even look at that. Don't even look at the potential reach. Look at your budget. Look at your budget. It's all about the budget because whatever budget you put in there determines the potential reach. That's what you're saying, you know, and and and what would what budget would you recommend for it to just do you recommend to start off? Again, based on what that got like, what's his what's his service? You see, you as the marketer, you have to know this. You have to know what he what he sells exactly and what he makes. Right. Like and you have to ask the client that you have to ask that to him as well. You have to be like, Hey, man, I'm excited to be working with you. What exactly is your service, your coaching program and what exactly how much revenue comes in per client? Like what's your average? What's your what's your lifetime value of the client? And what's your what's the value of a client? What is a client worth to you?  So that's again, the day that goes down to a daily budget, for example, or any budget in marketing. There's a cost of acquisition. So how much did it cost me to get that client? How much did it cost me to get a lead? How much how much does it cost me? Right. These numbers are numbers that that everyone needs to know, obviously, right? But but again, to answer your question, like you need to know what what he what he makes, what what is one client worth to him? Right. And so you're going to just reverse engineer it, just reverse engineer it. What's the client? What's one client worth to him? And then what is 30 percent of that? Right. That's what you're saying. Yeah, that's that's that's that would answer your question. Yeah, that's that's really actually really valuable information. The way that do the do the math real quick. Like what is this guy? Like this guy right here, specifically, is what a coach. He said, yes, a life coach. OK, so he's a life coach. So I'm I'm assuming I'm assuming I'm assuming because I know the coaching and training side of digital marketing of the business side of it. Let's say, for example, and just based on looking at him, does he look like he does OK? Does he look successful? Does he look like he's knowledgeable? Do you have his content? Do you follow his content? Would you think he's doing OK? So, yes, he has he has a budget to spend.  But in terms of, you know, a budget that he could spend, yes. OK, he has a budget. So it's very, very simple. Let's say, for example, and I'm assuming here, I'm guesstimating. But again, I kind of know that side of the business. And I'll just say. I'll just say minimum, minimum as he brings in a client. I'll say if he's on the lower end, if he's on the lower end, he's probably charging a thousand dollars to bring that that that that coaching client on. If he's on the higher end, he could be charging anywhere from he could be charging anywhere from 10, 15, even 20 grand to to bring on that one client. So as you're over here running Facebook ads and to bring him one freaking client, he makes 10 grand. Yes, OK, it's about three thousand dollars. OK, five hundred to three thousand dollars. I think it's OK. So twenty five hundred times 30 percent is seven fifty. So seven fifty, seven fifty, seven fifty divided by 30. You need to be spending at least twenty five bucks a day. But again, everyone's trying to tip you toe it five bucks a day, ten bucks a day. It's like, wait a minute, do we make twenty five hundred per deal?  See me personally, I'd be spending all the twenty five hundred because the way I look at it, if I'm making twenty five hundred per client and I spend twenty five hundred bucks a month on Facebook advertising. If I got one freaking client, I break even. What if I got two? See someone like me, a marketer and an entrepreneur and a businessman, all that all in one. I look at it where it's like, dude, we have to throw this money out there. Marketing is everything. Yeah. So so I'm not even looking at 30 percent. I'm saying take the whole one hundred. Take take everything we make a real estate agent. You're making five grand per deal. Spend the whole five grand a month on Facebook ads and see what happens. Right. You get one freaking deal. You break even. So it's not but imagine how many leads came out of it. How many leads would you have got? You would have got one deal. You would have broken even spending five grand a month. But hell, no one knows even thinking that large. But again, it's basic math. It's like, do you understand how many leads would have came in? Right. Spending that much money.  Right. Yeah. So it's like, damn, dude, like, but again, not everyone's there just yet, man. You know, mentally, I think it's mental. It's mental money, too. Obviously, yeah, you got to go close some deals first. But, you know, start small, but someone like him, man, if again, if twenty five hundred is the is the price point, seven fifty a month just on Facebook ads is what he should be spending, not mentioning what he should be spending for you. What do you what, you know, what you should be charging them? Right. Yeah. That makes that makes perfect sense to me. And yeah, I'm really appreciative that you're just laying it out just so bluntly just like that, because yeah, I don't I haven't heard anyone lay it out in that way before. So that's really. Yeah, I appreciate it. Thank you. And I have a full blown like Facebook coaching program, man. We're just like, it's not a lot of money at all. A few hundred bucks where I literally take you from A to Z. You know a lot of this stuff, but then there's a lot that's missing. There's a lot that's missing. So I would love to take it, man. Let me know, you know, we'll set up.  And and if you decided to check out with it, check out and then just schedule a handful of coaching calls. But learning, learning this stuff from the beginning is super, super important, man, especially if you're going to be taken on on on clients, because I can really coach and teach how to really crush this for other clients, you know. So yeah, I'll send you a second. Do you have a budget for coaching? To for for the course. Yeah, like, do you have like a budget to just, you know, put into learning this stuff or were you at as far as, you know, budget? Well, I think I could budget probably right now, five hundred. Yeah, I mean, that's that's that thousand dollars. And I say, honestly, I need to you're really knowledgeable. I'd say a thousand dollars because I need to really learn this stuff. Mastering the Facebook ad platform. That's why I tell my clients all the time. I have one of my friends, Derika, on the line with us. She's a real estate agent, absolutely crushes it in Oklahoma City been in the industry forever. But it's like I I tell my clients all the time. It's like, not only am I am I showing you how to do this stuff, but this just this alone, this Facebook ad skill alone. Yeah, can feed your family no matter what. Like, like I was speaking to a client yesterday. You know, he he's a real estate agent and he's running a like a vacation rental type of business. And and and he he hopped on a line with me a call just like you for the very first time, found me from YouTube. And it's like, David, I love this.  Like you you're keeping it real. You're knowledgeable on this Facebook ad stuff. You know, I need I need I need to run Facebook ads for my businesses. And I said, bro, here's what I got.  So so so you can go run these ads yourself and not have to hire anybody. And I'm like, bro, I'm like, let's just keep it real. Let's say real estate doesn't work out for you. Let's say the dream vacation, the vacation rental business doesn't work out for you.  But but someone like you that's already somewhat running them for other businesses, you have to get really good at this. Right. So I invested. I started this in 2016. I invested thousands of dollars into different coaches. And that's how I have the knowledge today. You know what I mean?  Like I had to to get help. That's what we do. We we hire coaches and trainers to to to shortcut our learning curve. You know what I mean? Right. Absolutely. Yeah. No, I'm absolutely. Yeah, I hear you. And then honestly, it's it's just just within this short matter of time I've learned so much. So yeah, man, there's a whole ready to spend what it what it takes to actually learn from you. Yeah, let's do it.  So make sure you put in the coupon code.  I would love that, man. I would. Sounds good. Jake, I'll email you here shortly, the link, man. And then once you check out, you'll see my calendar on the next on the next page and just schedule, schedule a handful of coaching calls, man. Let's get this knowledge to you like sooner than later. Sure, man. That sounds good to me. Sounds good. I'm looking forward to looking forward to the course. Yes, sir, man, super helpful. I appreciate your time, Jay. I'll email you shortly. OK, thank you, David. Yes, sir. Bye bye.


The residents of Ligale, the Iorinde Street in Victoria Island have called on the appropriate authorities responsible for the evacuation of silt from the drainage to attempt to aid immediately. The drainage is on the street where desilted for about three weeks now and left on the road to find your way back into the drains. Residents front at the site of the dead and fear. Once it rains, the silt would return to the drains. I think there is a company in charge of that which is Loma. When they bring the death house, they are supposed to pack it, not leave it on the road and if it's a company or a building that does that, I think Loma is in charge. They are supposed to pack it and not just leave it around blocking drainages, causing flood anytime it rains. Number one, it begins with us. I've been to cross river states and then I was really impressed. Yeah because the individuals are very clean. Many people are very irresponsible. You see people throw something away from moving vehicle which is very wrong and then the children are watching. So those children will equally grow up to start throwing things away like that. Witness when those things were, because my office is there, that tall building. The ones that are part are already, I mean he's already piling up in the gutter. We're talking about the wellness, the individual, this thing, I mean when we do it's good, when we leave our environment good we benefit, when we leave it bad it's going to affect us. The day they were doing this thing, trying to bring our dirt from the gutter to the other side, I was, I was aware. I had to get a surprise. Last week I saw this, the same dirt. They left it there. I keep wondering then what have they done. That day they would, I was tempted to tell them, I hope you pack this thing from this place, you know, but I did not do that. Negligence, you know. See they said Legos is dirty. No. It is those that live in Legos that makes Legos dirty, not Legos. Even when I buy sweet, when I, when I lick sweet, I wrap it, I put the wrap in my pocket. They were driving big cars.  Outside the window I keep wondering, what are we doing here? Well I think that it's wrong to live the environment dirty and especially when it's not even the individuals that are dirty in the environment but those that are clearing the environment itself. Legos is a very beautiful city but I'm disappointed when it comes to how they live that around and how some area gets so smelly. So let's do something about that. After packing it from the bucket. We got us. We are expecting them to remove it immediately because number one is to make the environment look so dirty. So and secondly, if rain falls, it should go back to the, it should block it again. So the best thing is to just remove it immediately. It's more or less that they didn't do anything because anytime from now it will start raining and as far as it's there, it's going to go back into the gutter. It's like what I see is just to show that that we have a local government but it's not working because what they have done now, it shows that they are not maintaining it well because if they are maintaining it well after bringing it out, they have to evacuate it the following day. They took out traffic so as they pack it now, they need to remove it. And even as it is now, there's no rain, it's causing dust. It's causing dust, except for our 30 people. So as it is now, they pack it now. It's supposed to remove it so that people will feel.