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From YouTube: Historic Landmark Board 110818
Description
Historic Landmark Board 110818
C
B
D
D
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C
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Item
five
letter,
a
new
improvements
to
existing
structures,
improvements
to
building
be
Parish,
Center
location,
all
block
10
Western
Division,
commonly
known
as
214
San,
Bernardo
property
owner
Diocese
of
Laredo
Bishop
James,
a
DeMaio
owner
applicant
representative,
Hickey,
pena
architects
and
Rick
Solis
historic
district,
San,
Augustine
and
Loretto
historic
district,
historic
district,
Vyasa
News
team
in
Laredo,
National
Register
of
Historic
Places
HDL
b09
2019.
Is
there
a
motion
to
open
up
public
hearing
4
HDL,
b0,
1,
2019
I.
H
F
We're
here
on
this
project
or
group
of
elements
that
include
this
project,
as
you
know,
we're
undergoing
construction
now
for
the
preparation
of
this
building,
which
is
we're
calling
it
a
Santana,
got
some
parish
center.
Now,
it's
formally
known
as
the
San
Agustin
parochial
school,
you
know
in
a
24
I
go
back
a
few
a
few
years
in
a
2014
master
plan
of
the
Cathedral
campus.
F
So
this
is
just
one
of
the
steps
to
get
there,
which
is
a
preparation
of
the
auditorium
space
to
be
used
as
a
temporary
worship
space,
while
the
cathedral
undergoes
the
preservation
and
rehabilitation.
So
right
now,
in
order
to
get
parishioners
to
be
able
to
celebrate
Mass
while
the
Cathedral
is
out
of
commission,
we
were
having
to
make
some
of
some
preparations
inside.
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D
F
F
One
important
thing
to
note
is
that
in
the
overall
master
plan
this
this
building
is
going
to
have
the
function
it's
going
to
be
fully
restored
as
well
in
the
future,
as
funding
comes
in
as
fundraising
campaign
kicks
off
for
that
particular
portion
of
the
project.
Everything
we
did
to
prepare
the
space
right
now
for
the
use
as
a
temporary
worship.
Space
is
aligned
with
future
improvements,
so,
for
example,
we're
configuring
all
of
the
ductwork
inside
the
building
so
that
we
can
expose
the
beautiful
tin
ceilings
that
are
in
the
auditorium.
F
The
ceilings
are
in
the
classrooms,
so
we
we've
devised
the
way
really
by
turning
the
ductwork
vertically
and
doing
chases.
In
the
vertical
side,
we
eliminate
the
need
for
horizontal
ductwork
that
that
is
a
eyesore
for
these
ceiling
heights
all
throughout
the
building.
So
we're
able
to
eliminate
all
of
the
horizontal
ductwork
and
so
part
of
what
we're
asking
here
tonight
is
some
in
some.
F
Process
were
including
all
the
existing
facades.
You
might
not
be
able
to
see
it
here
just
closely,
but
I'm
sure
you
all
are
familiar
with
the
building.
The
building
is
riddled
with
gutters.
You
know
haphazardly
built
through
the
years.
You
know,
because
they've
been
repairs,
emergency
repairs
through
the
years
have
sort
of
piled
up.
F
Some
a
lot
of
conduits
are
out
there
again,
just
as
as
the
building
has
been
repaired
through
the
years,
it
really
hasn't
been
a
full
campaign
to
to
do
the
improvements
in
a
comprehensive
way
and
in
a
clean
way
for
the
outside
to
improve
the
outside.
So
the
overall
outcome
of
this
is
to
clean
up
all
of
the
conduit
all
of
the
unnecessary
mechanical
and
electrical
items
that
are
on
the
outside
to
clean
them
up
completely.
F
So,
overall,
it
will
be
restored
right
to
a
state
that
is
more
dignified,
so
this
is
just
going
through
item
a
and
B
of
the
application
addition
of
copper
line
and
condenser
and
architectural
louvers.
So
the
location
is
here
on
the
north
side
of
facade,
here's
a
picture
of
it
right
now.
A
lot
of
the
windows
are
boarded
up,
as
you
may
know,
with
these
provisional
plywood's,
some.
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F
These
window
elements
are
going
to
turn
into
some
fresh
air,
fresh
air
intake
and
other
sort
of
mechanical
needs,
so
we're
replacing
this
provisional
plywood
with
a
louver
that
occupies
one
section,
one
section
of
the
window,
for
example,
which
you
see
an
item,
a
and
B
item.
That's
how
to
be
sorry
item
a
is
a
copper
line
that
we're
introducing
here
to
the
bottom.
F
D
F
F
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F
Magic
we're
going
to
match
the
window
frame
cover
with
them,
and
so
then
that
color
will
be
coordinated
all
the
way
around
again
going
back.
Eventually,
this
will
be
a
full
restoration
of
the
building,
including
a
full
campaign
to
restore
all
of
the
historic
windows
throughout.
So
all
of
this
will
be
coordinated
with
one
color.
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F
F
We
did
find
a
good
place
where
previously
you,
this
board,
approved
the
addition
of
this
canopy
that
you
see
here
in
the
rendering
of
this
conduct
will
just
be
on
top
of
the
canopy.
You
won't
be
able
to
see
it
it'll
be
in
a
place
in
the
middle
of
the
canopy,
we're
penetrating
right,
a
few
inches
above
the
canopy
itself
and
and
the
language
just
go
through,
so
you
won't
be
able
to
see.
It
will
be
above
the
camping
okay.
So
then,
this
is
probably
the
most
significant
portion
of
the
application.
F
So
this
is
this
in
order
to
in
order
to
accommodate
for
the
HVAC
without
intruding,
into
into
the
structural
integrity
of
the
building.
Some
of
these
ducts
have
to
penetrate
the
wall
and
then
penetrate
their
roof.
So
it's
a
transfer
duct
from
the
exterior
wall
to
a
roof,
all
right
to
transfer
air
from
from
one
floor
to
the
next,
and
so
that
these
are
located
again
in
the
building
that
faces
the
rectory.
It's
not
it's,
not
sorry.
The
facade
that
faces
the
rectory
does
not
face
the
street.
F
F
F
If
you
remember
from
last
time
the
strategy
here
to
remove
all
of
the
condenser
units
around
the
building
for
the
mechanical
systems,
they're
consolidating
them
into
one
chilled
water
plant,
which
is
across
the
street
when
that
happens,
when
when,
when
this
building
is
tied
into
this
chilled
water
system,
then
the
interior
air
handlers
that
are
there
now
that
we're
reusing
at
the
moment
will
then
be,
will
then
be
removed.
And
then
we'll
add
these
new
chilled
water
air
handler
units
up
on
the
roof.
F
F
So
just
so,
you
know
for
full
disclosure,
because
you
mentioned
that
earlier
about
beginning,
as
you
know,
this
board
wasn't
able
to
meet
last
time.
This
this
item
was
was
set
to
be
presented
to
the
board.
At
that
moment,
we're
undergoing
the
construction
right
now
the
contractor
was
going
to
be
delayed
by
an
entire
month.
We
had
not
continued
to
work,
so
we
are.
We
instructed
the
contractor
to
begin
removing
the
brick
and
saving.
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F
So
if
this
board
didn't
see
fit
to
continue
as
we
as
our
approach
tells
us,
then
we
would
be
prepared
to
put
the
brick
back.
We
do
implore
you
and
we
hope
you
agree
with
the
fact
that
this
is
the
only
means
to
get
this
done
and
that
it
is
as
least
obtrusive
as
possible,
all
right
so
we're
you
know
we're
prepared
for
either
condition.
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F
J
Record
yes,
I
would
like
to
for
the
record.
My
name
is
David,
Cardwell
and
good
evening
forward
and
thank
you
for
letting
the
public
have
an
opportunity
to
come
before
you
and
I
come
here
as
a
citizen
and
as
a
community
advocate
more
especially
the
downtown
area,
because
I
remember
the
downtown
when
it
was
very
vibrant
back
in
the
late
sixties
and
early
seventies,
when
I
came
here
in
the
Air
Force
I
would
like
to
see
it
returned
to
that
glory
day
someday
soon.
J
But
I
wanted
to
come
and
talk
about
this
one,
because
I
think
this
is
probably
part
of
if
I
could
use
the
word
puzzle.
Many
different
pieces
of
the
puzzle
downtown
outlets,
the
conference
center,
whatever
happens
to
it
if
it
comes
back
and
has
a
new
life
or
not
what
they're
doing
at
the
Cathedral
and
this
building
here
and
I
think
all
of
that
is
like
pieces
of
the
puzzle
and
I
think
it's
all
very
important,
and
so
anyway,
as
a
taxpayer
and
a
advocate
this
one
to
come
up
and
say
a
few
things.
J
J
If
you
don't
mind
me
saying
it,
if
you
notice
the
car,
which
way
is
the
direction
the
car
driving
it's
a
one-way
street
to
the
east,
so
the
only
way
you're
going
to
probably
see
that
is
when
you're
walking
you're,
probably
not
going
to
be
able
to
see
it
in
that
other
direction.
But
in
a
way
the
reason
I
wanted
to
come
up
here
and
speak
this
evening.
Is
it's
not
listed
on
the
agenda,
but
it
really
should
be
listed
on
the
agenda.
It's
our
mother
church,
it's
the
mother
church
of
the
diocese
of
Laredo.
J
It
is
our
Cathedral
and
the
reason
I
say
that
is
just
what
mr.
Pena
said.
It's
an
urgency
here.
It's
part
of
the
overall
construction,
as
I
have
heard
that's
going
to
be
done
at
the
Cathedral
and
with
that
mother
church.
If
we
want
to
back
up
and
say
well,
this
building
affects
that
construction.
What
does
that
do
to
the
mother
church?
Well,
the
mother
church
has
three
hundred
and
forty
five
thousand
members
in
the
mother
church
spread
over
seven
counties
in
South.
Texas,
its
roots
are
traced
back
to
1775
the
founder
of
Laredo.
J
So
even
though
this
may
not
be
an
historic
building
that
hallowed
land
there
and
the
Cathedral.
All
of
this
together
is
the
package.
I
know
you
only
have
before
you
the
building,
but
that's
how
I
sort
of
want
to
to
lay
that
out
and
because
out
of
the
three
hundred
forty
five
thousand
members,
you've
got
32
parishes
and
seventeen
missions
in
the
seven
counties
that
call
this
their
mother,
Church
Cathedral.
J
So
my
message
to
y'all
based
upon
everything
when
you
look
at
the
whole
package
from
about
fifty
thousand
feet
elevation
I,
would
urge
encourage
that
this
honorable
board
here
approve
this
atom.
So
mr.
Pena
and
the
diocese
can
continue
with
this
work,
so
it
will
not
stop
and
delayed.
What's
going
on
with
this
particular
building
and
with
the
whole
project
as
I've
read
and
studied
it,
and
that's
why
I
wanted
to
come
here
before
y'all
and
talk
in
the
public
with
you
all
about
it?
I.
Thank
you
for
honoring
me
and
allowing
me
to
speak.
D
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B
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F
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L
Good
evenin,
my
name
is
Sandra
Gonzalez,
thanks
for
the
opportunity
to
present
La
Raza
mural
to
you
having
painting
murals
for
the
last
past
five
years
and
I
have
two
master's
degree
in
art.
I
obtained
my
latest
master's
degree
from
the
Pennsylvania
Academy
of
the
Fine
Arts
in
Philadelphia.
During
my
time
offer
there
I
work
for
the
city
of
Philadelphia
mural
arts
program,
which
is
the
leading
organization
that
produces
houses
of
yours.
C
L
That
is
some
of
my
personal
work,
where
you
can
see
that
I'm
very
passionate
about
conveying
ideas
about
heritage,
the
border
and
showing
our
beautiful
counters.
This
is
the
mirror
that
I
created
in
the
Central
Park.
It
was
me
and
Erica
won't
tell
you
who
design
it
in
our
students
help
us
at
Alexander
high
school,
and
this
is
my
most
recent
mural
here
in
Rio
Texas
that
was
created
at
the
library
and
Alexander
high
school.
L
There
was
an
thanks
to
the
help
of
many
students
and
texts
to
the
technique
that
I'm
using
and
that
I
am
proposing,
and
this
presentation
that
allows
the
community
to
be
part
of
it.
This
is
a
mural
that
I
did
in
Corpus
Christi,
and
this
is
the
after
and
as
you
see,
murals
have
the
power
to
transform
a
place.
They
bring
the
community
together.
They
foster
civic
beauty
and
pride,
and
each
of
my
jobs,
I'm
responsible
for
driving
and
the
heavy
equipment.
L
So
now
here's
my
design
for
the
new
mirror
in
downtown
LA
Rossum.
It
represents
unity,
heritage,
hope
and
friendship
between
the
sister
cities
of
Loretto
and
Avila
rail.
It
had
fixed
a
moment
of
embracing
between
our
cities.
During
a
Washington
birthday
celebration
festivities,
our
international
bridge
becomes
a
meeting
place
instead
of
a
crossing
site
or
dividing
line
in
the
moment
of
embracing
we
become
one,
it
symbolizes
a
mutual
admiration
and
respect
that
our
two
countries
in
series
should
have
for
one
another.
I
know
this
is
a
powerful
image
that
represents
our
community.
Mr.
L
L
And
as
you
see
so,
what
I'm
using
that
would
be
the
size
of
the
mirror
and
36
feet
by
37
and
a
half
the
main
color
I
have
two
option,
so
this
is
option
one
and
I'm
open
to
both
of
them
so
option
one.
It
would
be
a
mix
of
ultramarine
blue
with
Italian
wine
for
the
background
in
the
medium
I'm
using
a
very
high
quality,
acrylic
paint
is
formulated
for
outdoor
neurons
and
the
technique
is
commonly
known
in
Philadelphia
as
parachute
cloth,
which
this
is
a
technique
that
I
learned
during
my
time.
L
Over
there
it's
gone
honey.
It
is
poly
top
nonwoven
material,
so
panels
will
be
installed
when
Europe
is
complete
when
it's
painted
and
it
allows
that
community
to
be
part
of
it
to
participate
in
creating
the
mural.
This
technique
has
proven
to
withstand
the
elements
over
a
period
of
15
to
20
years,
because
we
use
paint
specifically
formulator
for
outdoor
murals
and
hence
the
life
needs
to
ensure
longevity
counters.
L
C
L
B
D
I
L
I
E
B
L
C
G
E
I've
got
a
comment
in
a
costume
comment,
is
first
of
all
commend
the
artist
great
work
and
never
difficult
to
paint
the
suchlike
scale,
and
you
know
it's
always
nice
to
involve
the
arts
and
then
the
question
is
more
for
staff.
I
know
that
there
was
Prior
on
the
signage
ordinance,
which
is
not
issues
that
we
discuss
but
I
remember.
There
was
an
item
that
came
up
for
the
old
holding,
Institute
or
I.
Think
there
was
another
artists
that
came
out
is.
B
E
B
I
G
C
B
C
G
E
A
good
point,
my
Christina
I
think
in
this
case,
since
there's
already
there's
no
brick
behind
it
right
now,
there's
I
think
the
first
picture
shows
the
actual
canvas
because
they
say
have
stumbled
to
repair
what
was
there
before
they
put
stucco
on
that
brick
when
they
remove
the
other
building.
What.
B
E
E
A
I
G
A
landmark
that
you
know
if
it
was
just
any
other
building
within
the
district
that
my
problem
is
that
we
should
be
protecting
my
landmarks,
and
that
is
that's
my
personal
opinion.
On
that
I
I
mean
you
know,
I'm
I
think
you
have
some
beautiful
work.
My
my
personal
opinion
is
that
you
know
we're
here
to
protect
certain
landmarks
and
the
if
it
were
only
paint
it'd
be
one
thing,
but
since
this
fabric
is
being
glued
on
to
that
permanently
bad
book,
the.
L
Concern
with
me
and
this
fabric
I
mean
once
you
apply
on
the
wall
is
very
thin
once
it
is
not
canvas
is
something
else
is
something
different.
It
almost
feels
it's
like
the
inner
face.
Like
you
know,
about
textiles
or
fabrics,
it's
gone
interface,
especially
how
they
deal
in
on
suits.
So
it's
very
thin.
Once
you
apply
any
type
of
surface,
it
would
take
the
shape
of
the
wall.
They
will
take
that
texture.
So
if
it's
a
brick
wall,
it
will
look
like
you
painted
directly.
L
So
this
is
how
the
city
of
Philadelphia,
which
is
the
city
known
as
the
studio
of
neurons.
They
have
thousands
or
thousand
minerals
over
the
city.
This
is
a
technique
that
they
use
because
they
want
to
involve
the
community.
They
want
to
give
that
empowerment
to
the
community
too,
so
it
can
be
part
of
it
and
we
talked
about
doing
an
other
farmers
market
because
I
know
it's
across
the
street
and
have
people
coming
in
and
painting.
Also,
there
are
a
dozen
if
all
the
irons
now
Rossi
Santos
she's
already.
L
C
C
L
Application,
because
this
is
a
technique-
that's
not
known
here
in
Texas-
is
something
that
it
was
developed
in.
Philadelphia
is,
you
know,
what's
happening
right
now,
like
in
the
major
cities
in
in
the
country
and
and
that
attracts
people.
You
know
they,
because
that
the
mirror
that
I
didn't
in
Corpus
Christi
was
created
the
same
way
with
the
same
application
and.
G
L
G
With
respect
to
that
it
I
know,
you
said
well,
Philadelphia's
the
city
of
murals.
That
is
something
Laredo
is
not.
We
don't
see
murals
in
the
downtown
area.
It
is
not
part
of
the
historical
integrity
of
our
downtown
and
although
I
think
that
pop
of
colors
is
a
nice
addition,
I
think
that
we
have
to
kind
of
stick
with
what
our
own
downtown
fabric
is
actually
actually
has
always
encompassed
and
that's
never
actually
been.
Girls.
G
I
do
think
that
your
piece
would
look
so
great
somewhere
else,
just
not
on
that
particular
it's
just
gonna
be
so
imposing,
and
if
I'm,
if
I'm
not
mistaken,
it's
not
actually
in
a
historic
district
Alejandrina,
it's
just
the
actual
building
itself.
It's
the
landmark
itself.
So
that's
so
important
to
me
that
that
it's
that
building
itself
is
was
designated
and
it's
not
actually
in
a
historic
building
yeah,
so
that
and
I
understand.
I
was
actually
there
when
they
demolished
the
building
right
next
door
to
it.
G
E
For
purposes
of
more
discussion,
the
I
college
is
elected
is
something
that
people
in
Laredo
recognize
and
it's
great.
The
I
think
that
as
the
well
I
think,
most
of
our
may
feel
the
same
way
that
is
whatever
action
is
taken
is
not
on
the
artwork
is
on
the
precedence
on
how
to
do
it,
because
this
is
a
project
that
is
approved
by
the
city
and
maybe
city
cooperation,
but
there's
all
there's
also
private
sector
that
may
bring
their
own
artwork.
So
is
there
the
precedents
on
that?
E
B
E
G
D
E
We're
looking,
this
is
a
great
city,
great
work,
it's
great
work,
it's
an
icon,
we
all
recognize,
but
in
order
for
this
book
to
have
precedence
and
another
member
that
comes
in
there's
also
private
sector
and
I,
think
everyone
has
called
themselves
artists.
Also,
so
it's
hard
to
regulate
what
type
of
work
goes
there
and
what
is
you
know,
objective
or
subjective
to
I.
E
E
A
The
other
yes
I
was
I've,
been
rereading
the
guidelines
and
I,
don't
see
any
mention
under
signage
for
murals
or
or
anything
that
would
have
had
dress.
What
do
I
think
we
were
to
update
the
guidelines
in
Florence
to
be
able
to
address
murals
one
way
or
the
other,
because
it's
not
in
our
guideline
well.
A
A
I
L
M
G
Guess
back
to
what
miss
fonseca
saying
yes,
so
the
guidelines
are
are
dated
and
there's
nothing
that
we
can
actually
refer
to
in
the
guidelines
at
the
moment.
But
if
they
are
gonna
be
introduced
into
the
downtown
area,
then
we
need
to
be.
If
we're
going
to
be
voting
on
that,
then
we
need
to
either
get
in
on
that
conversation
so
that
we
know
what
to
do
in
situations
like
this,
because
right
now
we
have
no.
G
We
have
nothing
to
follow
as
far
as
we
need
to
be
included
in
that
conversation
and
I
get
that
City
Council
approved
it,
but
are
they
improving
it
with
the
with
the
idea
of
what
we
are?
What
our
board's
mission
is
on
top?
You
know
they
they've
kind
of
said.
Well,
we
approved
it,
but
are
they
considering
what
we
are
supposed
to
be
doing
as
a
board?
So
it
puts
us
in
a
weird
situation.
B
B
E
E
Want
to
say
that
it's
a
case-by-case
situation,
because
this
one
does
have
the
first
word
graph
to
me.
It
shows
a
canvas.
It's
a
plain
canvas.
That's
there.
It's
not
the
case
for
all
of
them.
I
do
know
the
the
fabric
that
goes
on,
brick
also,
which
proceeded
to
make
some
good
points,
because
what
happens
to
taking
it
off
in
the
future,
but
the
fabric,
what
it
does
and
well
there
is
break
this
one
doesn't
have
break
there
anymore.
M
A
E
L
And
let
me
just
add
the
Dahle
dc-8
they
also
our.
They
were
there
at
the
first
time
when
I
presented
these
to
the
City
Council
back
in
in
May
20,
so
they
came
and
the
president
mr.
Blair.
He
wants
to
be
part
of
the
decisions
and
they
approve.
He
owns
the
copyrights
of
ellebra,
so
children,
so
he
already
approve
it
and
he's
happy
with
the
idea
and
I
know.
Mr.
Thomas
is
a
giver.
He
has
been
one
in
a
narrow
like
on.
A
In
this
particular
case
on
this
project,
they
indicated
typically
murals
were
first
painted
on
canvas,
then
adhere
to
walls,
but
more
authentic
processes
required
the
artist
to
paint
directly
on
wet
plaster,
buon
fresco
or
the
dry
faster
al
fresco.
Second,
these
were
techniques
more
familiar
to
European
painters
working
centuries
earlier
than
to
someone
like
Texan
artist
and
then
go
on
to
describe
the
artist,
so
that
might
be
more
in
keeping
with
historic
buildings.
So
I
think.
C
L
L
D
L
Because
it
doesn't
meet
you,
the
application,
then,
is
really
painted
on
the
walkers.
But
my
proposal
for
this
because
I
wanted
to
include
the
community,
because
I
have
been
a
witness
of
how
important
that
is,
for
the
people
to
be
part
of
it
and
it's
open
to
all
ages
right
now,
I'm
working
on
a
large
mirror
in
Corpus,
Christi
and
I
would
love
to
do
one
here
in
a
trailer,
because
this
is
my
hometown
boy.
A
C
A
E
E
A
I
L
I
L
I
M
C
A
L
L
Not
you
spin
over,
because
this
fabric
would
take
the
texture
of
the
wall.
It
would
be
like
if
it
was
painted
directly.
It
was
very
innovative
process
that
they
created
and,
like
I,
said
before,
it
was
because
what
they
did
because
of
the
harsh
winters
in
Philadelphia
they
wanted
they
had
to
be
indoors.
Well
now
we
use
that
for
community
community
involvement,
it's
really
helpful,
I
mean
and.
C
A
No
just
indicate
that
text
or
mission
Main
Street
program
has
an
article
on
the
city
of
Harlingen,
so
the
Harlingen
Main
Street
program
has
murals
and
it
indicated
be
clear
about
what
you
want
to
accomplish
with
the
mural
program,
set
goals,
put
them
on
paper
and
stick
to
them
in
2003,
when
the
Carlington
Convention
and
Visitors
Bureau
downtown
district
Historical,
Preservation
Society
and
keep
Arlington
beautiful,
joined
together
to
create
numeral
murals.
These
partners
set
goals
that
addressed
each
organization's
respectively.
G
B
B
E
G
Right
but
I
think
that,
however,
we
treat
this,
whether
it
goes
back
to
council
and
it's
it's
very
important
that
they
understand
where,
where
this
board
is
coming
from
it,
it
opens
up
that
conversation
to
say
hey.
If
you're
going
to
be
approving
this,
you
need
to
realize
that
the
board
that
it's
going
to
go
to
for
approval
that
oversees
this
has
some
concerns
about
about
this.
E
A
L
We
had
oh
there's,
this
South
turn
Hotel,
but
I
think
it's
also
like
a
historical
building.
Yes,
but
that
money
it
was
just
complicate.
It
was
a
really
good
location,
but
then
I
the
windows
so
that
the
city
had
to
do
extra
work.
But
this
is
he
they
asked
me
like
what
was
my
my
preference
I
said.
Well,
that's
the
perfect
building
the
only
really
has
been
running
in
the
mirror
for
many
years
now,
and
he
was
very
happy
when
I
talk
about
with
him
about
his
proposal
about
this
idea
and.