No, I don't think so. But, um, so that was just like a shining moment for me where I really felt, you know, some claiming of my culture. And then as I got older, it was really through the music that I identified with my Sephardic background. I mean, I always knew that I was Sephardic, but it was something that my family did. It was just part of my family fabric, but it wasn't something that I had taken ownership of. And it wasn't until I was in Israel singing. I was a very, very serious western classical musician. I thought I was going to be an opera singer. And I studied very, very seriously, went to music school, all of that. And I found myself in Israel singing for a summer program of the Tel Aviv Opera called the Israel Vocal Arts Institute. And absolutely, like, out of serendipity, I was paired with the late great Nico Castel as my opera coach. So Nico Castel, besides being an incredible singer in his own right, he was a coach at the Metropolitan Opera. I mean, he had an amazing music career. He was also one of the world's sort of leading experts of Ladino and Ladino song and, and one of the first commercially published Ladino song books, and in between our opera coachings, Mozart on one end, and then when we discovered that we shared this common Sephardic heritage, he started teaching me the traditional Ladino repertoire. And that's not something that I grew up with at all. You know, I had a couple of folk songs here and there, I had my Ein Keloheinu, a couple Passover songs. But the real classical Ladino romances were not something that I grew up with. So we sort of sneakily, we started studying these songs together, and I just totally fell in love with them to the point that I came back to America and I gave a series of opera recitals. And in between sections, I incorporated two or three songs of classical Ladino music, and without fail after every performance, audience members would come up to me and tell me that the Ladino songs were their favorites. There was a reason for that, like, I must have been singing that music differently, because it must have reached my soul in a different way, than, you know, no offense, Mozart, but but I clearly identified with that music more deeply. I just felt compelled to really dive in and study this music full time. And I actually have to thank my Ashkenazi counterparts because my first job out of college was working for the now defunct National Foundation for Jewish Culture. And one of my jobs there was to put together a symposium like like we're doing here at Highlights, but it was on the music side, we were pairing up producers and performing arts booking agents, with really cutting edge Jewish musicians of the time, and this was like 1999, or 2000. It was called New, The New Jewish Musics, plural, Symposium. And it was so fun to be able to reach out to all of these progressive, innovative Jewish musicians. And it was like the height of the klezmer explosion. It was like klezmer jazz, klezmer funk, klezmer rap, klezmer punk, like everything klezmer klezmer klezmer , and then you know, to find the counterpart in Sephardic music... I mean, not for lack of trying. There wasn't any. So on the one hand, I was so inspired by what was happening in the Ashkenazi community. They were rocking it and it was an incredibly inspirational and I was also like, very depressed that there just wasn't anybody else doing it on the Sephardic side. So I'm not exaggerating, within two months I'd given notice. And it was to start my own Ladino music band, and 20 years later I'm still here.