Yeah, so. So I guess it kind of is tied closely to the spaces that we open this conversation with, right. So, under certain conditions, Indonesian waria would be able to achieve a form of of acceptance and recognition, but only only if they were able to accomplish a competent and even skillful form of femininity. Now, of course, this differed widely along axis of class of geography. Now, Indonesia is of course, a very large place. There are a lot of different kinds of people and styles and aspirations. And I think a really good space or context to to look for or understand this is to think about kind of an ordinary beauty salon, which is probably present in almost every Indonesian small town or city, which is run by a waria is maybe less so the case today, but it certainly was the case, at least until you know the 1990s. But in any case, where where you are kind of fulfilling a function in making up people for special events and occasions in particular, so that's the kind of role for example, or whether you will play so it might be for example, wedding makeup would be one role that while you're undertaking that, that setting, so in being really skillful and competent at making up other people's so not only oneself, but other people, then you are kind of participating in a kind of national culture, wedding makeup is a good example. Because of course, marriage is a really important ritual, you could say and in a way legal kind of contract that binds you into the nation that ties you to the nation. So it's an important expression of national identity, and belonging and communal identity as well. And so in participating in that ritual, through making up the bride and groom, in the bridal outfit, what it articulates that they too, are belonging to Indonesian society. And this has been a kind of important sign in which nobody had been able to do that. So that's a site where where do you belong, right? So this is the kind of ideal scenario. Now, if we look the other way, if we think about what were what are imagined, not long, we'll have a much more tenuous, vulnerable longing, you wouldn't have to go very far, you probably just walk out of the salon, and you might be a slightly different time of day, but you would much later at night, but you would walk down, you know, one or two side streets, and you might see somebody, again, less this is less the case today, but certainly was the case even until 2000s that you would see what he you know, along the street at night, conducting sex work. So this is, you know, relatively common, you know, or alternatively carrying a small speaker and seeing through a microphone, kind of a form of busking or street performance. You could call it So both of these are these practices, and they're both forms of making money as well banned according to many Indonesian city regulations. So what what takes place if if, you know if what he kind of noticed or seen by city authorities and specific kinds of police, so look really audit public audit police, why they are usually arrest or chase the chased. And they're arrested and they're taken to nowadays what are called rehabilitation centers where you know, they might be given a fine, they might be asked to participate in certain kinds of, of training, which would invoke you know, for vocations so that they could make a living in a way that is not causing causing district disrepute, or disrupting public order as the most common expression. And indeed, the regulation that prohibits those activities suggests, but they will be given training in skills like makeup and skills, like salon work, hair cutting, and so on, and so forth. So, in order to kind of move them away, or rehabilitate them out of these kinds of unruly forms of public appearance. So what you can see, I guess, in this process is that, what am I able to participate in society, but in a way that structures their public visibility, so their public visibility is only permitted under certain conditions, it's a highly kind of conditional form of public visibility. And so, these other these other forms of these other practices of making a living, and of indeed, building communal life, so for weary often these are kind of collective experiences both sex work and, and street performance, they bind people into a kind of sense of working together with others, in some sense, like like unions. These are not permitted and indeed prohibited, seen as a disruption of public order and of moral order. So I think the relationship between these two forms of visibility which is tolerated, and even under, under some conditions accepted, and that which is, again, under some conditions tolerated, or it's not seen or placed in the dark, or rejected, is a really of two really important polls, to think about what trans visibility means in Indonesia, and how claims to citizenship are made and what that kind of texture is.