Transcript of interview with Melody Stein by Barbara Tabach, August 16, 2016

AN INTERVIEW WITH MELODY STEIN An Oral History Conducted by Barbara Tabach Southern Nevada Jewish Heritage Project Oral History Research Center at UNLV University Libraries University of Nevada Las Vegas ii ?Southern Nevada Jewish Community Digital Heritage Project University of Nevada Las Vegas, 2014 Produced by: The Oral History Research Center at UNLV ? University Libraries Director: Claytee D. White Project Manager: Barbara Tabach Transcriber: Kristin Hicks Interviewers: Barbara Tabach, Claytee D. White Editors and Project Assistants: Maggie Lopes iii The recorded interview and transcript have been made possible through the generosity of a Library Services and Technology Act (LSTA) Grant. The Oral History Research Center enables students and staff to work together with community members to generate this selection of first-person narratives. The participants in this project thank University of Nevada Las Vegas for the support given that allowed an idea the opportunity to flourish. The transcript received minimal editing that includes the elimination of fragments, false starts, and repetitions in order to enhance the reader?s understanding of the material. All measures have been taken to preserve the style and language of the narrator. In several cases photographic sources accompany the individual interviews with permission of the narrator. The following interview is part of a series of interviews conducted under the auspices of the Southern Nevada Jewish Heritage Project. Claytee D. White Director, Oral History Research Center University Libraries University of Nevada Las Vegas iv PREFACE Melody Hope Stein makes art come alive for young people and has done so for most of her life as a lifelong artist and a dedicated arts educator. She taught for 46 years, in New York before moving to Las Vegas in 1996. Here she served for fourteen years as the arts director and art teacher at the Dr. Miriam and Sheldon Adelson Educational Campus (formerly Milton I Schwartz Hebrew Academy) in Summerlin. With her move to Las Vegas, Melody?s passion inspired her to open a craft store with family members. She also produces and manages arts publications, has taught writing at the Community College of Southern Nevada, and continues to create custom artwork products. In this interview, Stein lovingly describes various forms and mediums of art, especially rubber stamping, which included starting and managing a related craft publication, National Stampagraphic, as well as working with polymer clay. She talks about her involvement with the local Polymer Clay Guild, of which she is president, and their various projects, including Bottles of Hope and Hearts for Heroes. Stein also discusses her teaching career at the Hebrew Academy and Adelson Educational Campus. v TABLE OF CONTENTS Interview with Melody Stein On August 16, 2016 by Barbara Tabach in Las Vegas, Nevada Preface?????????????????????????????????..?..iv Talks about moving to Las Vegas to start craft store with extended family; while also working in Community College of Southern Nevada?s writing lab; joining Hebrew Academy staff as the art teacher. Shares about family history; growing up in Upstate New York, and later Long Island. Returns to talking about passion for art, different projects worked over the years, especially rubber stamping, including related publication and stamp business??????????....1-8 Discusses working at Hebrew Academy; school leadership over the years; location move and becoming Adelson Educational Campus, which included expansive, new art education facilities. Remembers leading school?s contribution to the Las Vegas Centennial Celebration mural project. Describes visit to school by Yaacov Agam. Reflects on distinction, style of Jewish art. ??.9-17 Talks about local Polymer Clay Guild; its Bottles of Hope project for cancer patients; basics of polymer clay art and why she prefers as medium; Hearts for Heroes project for soldiers. Mentions stain glass she created for Hebrew Academy. Reflects on what misses about teaching; differences teaching in public versus private school; importance of Jewish holidays when teaching at Jewish education institution????????????????????...18-25 Describes art projects done with students, including for children at Nevada Cancer Center. More about benefits of using polymer clay in student projects. Husband, Franklin, joins conversation. Mentions dedication of mural project?????????????????????...26-30 Index.............................................................................................................................................31 Appendix: photos and articles??????????????????????..??32-37 1 Today is August 16, 2016. This is Barbara Tabach working on the Southern Nevada Jewish Heritage project. I am sitting with Melody Stein. Melody, would you spell your name for me, please? M-E-L-O-D-Y. Hope, H-O-P-E. Stein, S-T-E-I-N. Excellent. So you've lived here a little over twenty years? Yes. Talk about what brought you here. I was living in New York. I had taught art there for twenty-seven years. I was very happy, but things just started to change for me and I felt I needed to do something different, be more expressive, and I had a dream to open an arts and crafts store. Simultaneously, I was working on a publication that I wrote and founded; it was called National Stampagraphic. It was for rubber stampers, people who were interested in that as a hobby, stamps with pictures on them. How cool is that? Yes. We were working on that in New York and my family was in California and they were doing the publishing. They had a printing house. My sister was a graphic artist. But in those days we didn't have computers and faxes were very cumbersome. It was difficult doing this magazine from coast to coast. I had this wonderful idea that if we all moved to Nevada, it would be cheap enough that they could leave their home in Huntington Beach, California, I could leave my home on Long Island, and we could live in the same place and do this together. It was a great dream. The crafts store did not work out because...Even though it was probably one of the best experiences of my life, trying to run it. It was a college education in itself. Just retailing and all that, it was so foreign to me. But Las Vegas was not the town for this kind of a shop. Las Vegas is so transient that I would make a customer and then invite them to a class a couple of months later 2 and they wouldn't live here anymore. Every time I established a mailing list, it had to be changed and updated. It was just impossible. So I guess I had a good idea actually for an arts and crafts store at the time because six months after I started my store, Jo-Ann's megastore opened up on Rainbow. Although we coexisted for a little time, it wasn't long before they took all my customers. Where did you choose to locate your store? I was at Rainbow and Cheyenne. There is a Wal-Mart there. There was a Pier 1. I was right in that little center. It was a little hole in the wall. But I really established a nice little business, kids coming for lessons and adult lessons. It was lovely. What was the name of the store? Arts Vegas. I like that. What kind of lessons would there be? I gave painting lessons. I did silk painting, painting on canvas, watercolor, decorative paints on glass. And whatever I taught I sold the products for and I became expert in those particular crafts. As a matter of fact, Jo-Ann's started selling one of the products that I carried in my store, but they didn't know how to use it. So they sent people to my store to learn how to use it, which I appreciated until they started going to Jo-Ann's to buy it cheaper. Retail really is difficult. It sucks, yes. So anyhow, we held out at the store for about two years and it started going downhill, and so I took another job. Besides the store I worked at...It was called CCSN [Community College of Southern Nevada] at that time, in the writing lab. So you're a writer as well. Yes. I wrote my whole magazine. I did that for about twelve years. I had a lot of writing 3 experience and I enjoyed that tremendously. The problem was that at the college they weren't willing to pay anybody for more than nineteen hours. So I couldn't just turn over and become a writing teacher there. It was just a coincidence that my good friend Ed Foster, who I knew since I was sixteen?he was friends with my family?he moved to Las Vegas and he was at a party. Someone at that party said, "Ed, I'm in a wonderful little Jewish school called the Hebrew Academy and we looking for an art teacher. Do you know anybody?" Ed said, "Do I know anybody? I can tell you this is a great teacher." She asked about me and it turned out that this woman actually knew of me because she came from Long Island as well. She was in the same school district as me, but we didn't know each other at the time. What was that person's name? Lynn Rosenberg. Anyway, Lynn asked me about my experience teaching art and she knew that I taught in this district. It was a very prestigious district on Long Island called Hewlett Woodmere. She said, "So you have experience at all levels?" And I said, "Of course." And I did not. [Laughing] (Indiscernible/6:40) So I took out books. The internet was very new, so I couldn't really get much off there. But I found when I started that I absolutely loved teaching little kids. My experience before had been in middle school and high school and with adults. But little kids were something that was so new to me and so exciting that I just loved it and I became the art teacher for the whole school. So I taught pre-K through eighth grade. That's a big range. Yes. 4 Having not taught little ones, how did you approach the little ones? What was that like? I just approached them as if they were my own kids because I had a daughter, so I knew what that was like. I loved playing with paint and being a kid in my own creative way. So it was easy to relate. We could play art games all the time. They never had a real art teacher. They only had maybe their classroom teacher doing little projects with them. I took them out on nature walks and we drew pine cones and did all kinds of wonderful things. It was a good relationship, me and the Hebrew Academy. Did you develop their curriculum for them? I sure did. I wrote the entire curriculum. It was interesting, too, because when I was living in New York, I wasn't really an observant Jew. I mean, I'm Jewish, but... I understand, a lot. You know, okay. Here I felt it was my obligation to become more knowledgeable about what I was doing. So I studied up on it and also went to...We had little Shabbat services at school on Fridays and I went there and started understanding a lot of the background and the culture and incorporating it into my artwork with the kids. I think that job really made me grow spiritually in a funny way because I never had any sort of religious background or religious education. Although I sought that for my daughter, I personally had none. That's so common. So on Long Island, there?s a large Jewish population. Right. What was your ancestry? Do you know much about the roots of your family? I believe [they] came from Austria and Poland and nobody talked much about it. That was the strange thing about it. When I lived in Upstate New York as a child, we had to hide the fact that we were Jewish because people didn't know about Jews back then. This was the early fifties. One 5 time, a place that we moved, the ladies came out and were looking at my mom's laundry on the line because they wanted to know if the clothes had a place for the tail. Yes, yes. Since my father at that time was a public schoolteacher and he didn't have a particularly Jewish name, Taylor, he just hid the fact. We always had to have a Christmas tree. I had Santa Claus because my friends had Santa Claus. But I didn't know anything about Hanukkah or anything like that until my family moved to Long Island. Wow. So at what age did you really finally come to know you were Jewish? I guess when I was about seven. It's ironic because my mother worked at the Jewish Community Center in Upstate New York; they had one in Gloversville, New York. But we didn't have any kind of Jewish life. How was it to immerse yourself in the Jewish life? You started talking about you're in a Jewish educational facility and so you started learning more about it through Shabbat, you said, at the school? Right. I didn't even know about Shabbat although I have candlesticks from my grandmother. My grandparents were Orthodox and very religious. They lived in the Lower East Side. But none of that was shared with us. So you must have been able to go back and ask your parents about that, or how did you discover that they were Orthodox? I asked my mother about certain things that I observed. For instance, when I was at my grandmother's house and I used the wrong silverware, she had...I wouldn't say a fit, but she reacted very strongly and she went out on the terrace and she buried the fork in the flowerpot, and I had no clue what that was about. I didn't get it. That's fascinating to learn all of that. I'm always still?it can be startling, people today, to 6 hear some of those stories if you haven't personally experienced it. Yes. Your publication and your background and all that, fill me in?I got off the subject with your ancestry?but fill me in a little bit more about your passion for art and the type of art you like to work on. I love art. I love every kind of it; drawing, painting, you name it. When I was in New York, I had several one-woman shows at libraries and at galleries. Matter of fact, I came up with an idea just sort of unexpectedly that got me a lot of fame not just in New York but all over. I'll tell you what it was. Franklin and I lived in this apartment in a place called Hempstead and they were building more apartment buildings. We would go out for a walk and see all these beer cans that were discarded on the property and trucks had run over them. I'd look at these things. They were so odd to me. And I said, "Look at that; look at this one; it seems to have a face in it." So I brought it back to our apartment and I painted the face that I saw. What happened was I got a whole collection of these things together and then?I'm not sure how this lady found out about it. I honestly can't remember. But she wrote a full-page article about me in Newsday, which was a big newspaper on Long Island. Well, the next thing you know I had galleries calling me and people wanted to see these things. They were all characters. I might have one I can show you. So I got written up in magazines as far as Bombay. I got a letter from someone in Bombay. She read about me in the Sunday magazine section. So that was one thing that I was very interested in doing was recycling things and making them into art. But the other thing I was passionate about was figure drawing. I had some shows with that. I did a series of people?this took me maybe four years?it was a series of pictures I called the Box Pictures and they were pictures of people, mostly women, in boxes of various sorts, cardboard 7 boxes. Sometimes they were emanating from the box. Sometimes they were hiding in it. Sometimes they were halfway through. To me, it was just a metaphor for life and how we spent it in so many boxes. Sometimes they're literal boxes like a house, but sometimes they're psychological boxes, a frame of mind. I did a big series of those and I had exhibits with them. That was my New York art thing. Then I got interested in rubber stamping because I saw a rubber stamp with a cow on it and I thought that was hysterical. Everywhere I went I had this little sketchbook and I'd ask people, if I saw a rubber stamp, if they could stamp in my book and then I'd make drawings of them. So eventually it led to the idea...Since my husband likes to write, we thought, why don't we make a magazine for rubber stampers? There are people who like this. And there was no magazine in existence at that time? Well, one was born at the same time mine was. It's funny. I kind of remember. This must have been in the nineties? Yes. Yes, because I can kind of remember when that was an age when my daughter started getting them. I was buying stamps for her. So that's fascinating. Yes. We and this other magazine called Rubber Stamp Madness were behind that whole art rubber stamp movement and mail art was part of it. The impetus to go to Nevada with my family from California was that I had started to make my own rubber stamps and selling them. We figured that in this store I would keep publishing the magazine, give lessons, sell retail and make my rubber stamps. I think I was better off teaching. [Laughing] I got a lot more out of it, honestly. But you learned something from trying to do a retail store. 8 It was amazing. And a mail order business with rubber stamps, I mean it's crazy. Speaking to so many interesting people, mail artists from Europe. We had meetings at the Metropolitan Museum of Art. We met a couple of mail artists who were visiting from Europe and they wanted to be in our magazine. So it's been very interesting. That's fascinating. Did you sell the magazine or just close it? We just closed it. What's the market of rubber stamping now? It all turned to scrapbooking. Now people don't use the rubber stamps so much. They just use them in scrapbooking mostly. But we were making greeting cards. If you were here maybe ten, twelve years ago, you would have been sitting at a dining room table that was totally rubber stamped. I had done the table. I brought it into crafts. I did quite a lot with the rubber stamping. So you see art everywhere it sounds like. Yes. That is part of your being. So you must have been really an excellent find to get into an educational system. Yes, it was like no stops, just I had so much to do with the kids. Tell me about the...Milton I. Schwartz, right, that's what it was called at that time? Yes. Tell me what it was like when you came to work there. Describe where it was at, who was the principal. What can you remember about that experience in the early days? When I went there it was a very small school. What year would that have been? That was 2000. Very small school, very limited resources, but they always had this wonderful 9 happy spirit in the school, which I loved. They were so delighted that I was putting the kids' work up all over the walls. It was great satisfaction for the kids and for me, of course. This is National Stampagraphic. Later, if you want to take a look, I have all the issues. Oh, so it's a collection of your magazines. That's cool. Yes, we'll look at that. It's interesting, huh? Yes. I did all kinds of media, from the store for one thing. I knew everything about every kind of art media. From being in public school and overseeing a big budget, an art budget and stuff, I had a lot of knowledge about materials. So that was really helpful. The administration was wonderful. I came there at the end of Natalie Berman's...She was the principal when I came. Who followed her? I'm trying to think of the order of things. I think next came Nira Eloul. She's Israeli. Then after that was Camille Wright. I was amused by that because she was a Mormon, wasn't even Jewish. Did that ever have any impact in any way, do you think? No, I don't?well, maybe there were some things she didn't quite understand, but easy to fix that. Then there was a middle school principal came along, Benjamin Feinstein. He's in Las Vegas again. He's back. He works for the Clark County now. Stacey Colwell. For a brief period, we had no principal and the teachers just kind of ran the school. It worked out okay. How many students were in the school? Very few. I would say each grade level was only maybe ten. And it was through eighth grade at that time? Yes. So that was easy to give really individualized attention. 10 Oh, unbelievably. How nice is that? Yes. And how nice is it that when a kid was in pre-K, I would know them, then I'd have them next year for kindergarten and first, and I'd watch these kids grow up all the way. I have kids now from the Hebrew Academy that I started with who have just gone through college. It's like a weird thing. But I know them so well. I said to my husband many times, "I feel like this is a family." I go to everybody's bat mitzvah and bar mitzvah. I have a hundred cousins. [Laughing] I never had a family so big. Did any of your students follow an art career? You mean from here? Yes, but I'm trying to think of what?they went to art schools. We'll put it that way. I don't know what eventually happened. At my other school one of our students was Donna Karan. That's awesome. Yes, it is awesome. She's very inspired. It was a little school. We had lunch outside on picnic tables. There was no cafeteria. The secretary, her name was Blu. She was everything. She was like the financial officer...She was just everything and she was the nurse. Oh my. Yes. I mean she wasn't really a nurse, but if somebody got hurt she knew what to do and she knew when to call the appropriate people. But she pretty much ran the school when I first got there. We had two old custodians, really old. There was always this big amount of property behind the school. We never went there, but you're kind of aware that you're in a woody area, but just like a big empty lot, and that became the big school that it is today. 11 Okay. So it was already on the location. Right. Just so we put this in context, that's Hillpointe? Hillpointe. Before Hillpointe, before I got there the school was located at Emerson Place. I don't know exactly where that is, but it's more downtown. They were happy with this building. It was a charming building, very, very sweet. So it was small. How many classrooms were there, approximately? About a dozen classrooms and there always was a little library, which got bigger. Then they made a science lab. I think when the middle school came in that's when they grew the science lab and a computer lab. What year did it become the Adelson Educational Campus? I think it was 2005. I just came across the groundbreaking. I even have pictures of the demolition of the school. I was brokenhearted when they tore down part of that school. Well, it was your home. Yes. Here is invitation to the groundbreaking. So the groundbreaking was Tuesday, November 21st. It doesn't say the year. It doesn't say the year? How weird. But we're going to guess it was around 2005. I should be able to find that out somewhere. Wait a second. When was Nine-Eleven? Two thousand one. I'm guessing somehow it's 2005, but it could have been later than that. Oh, I know why I'm so confused about it because I think it was in transition for about a year or so. It had different names, like the lower school was called the Milton I. Schwartz Academy, the middle school was called the Adelson School, then it had another 12 name change, Adelson Educational Campus. They went through a bit of transition for a couple of years. So I think that might be why it's a little confusing. Were people excited about the idea of it growing as a physical structure and all that? Very excited. We couldn't believe it was going to actually be like the picture. That's pretty phenomenal there, yes. That's really it. It's amazing. Yes, it is a beautiful building. It's gorgeous. What was it like to move into such a beautiful new educational facility? For me it was like heaven because I had an art room. The Adelsons really liked my program. I had both of their kids every year. They just wanted it to be the kind of a place where we could do a lot of stuff. So it was no holds barred. I had an art room that was the envy of any art teacher. It included an outdoor art studio. It was like a covered patio that had some lights in it so that like in the evening if we wanted to have a little art thing, we could do that and we did. I had a bank of computers, I think ten or twelve Mac computers, so I could teach photography. It wouldn't mean anything to an ordinary person, but I had about four sinks. In the old building, they converted a classroom into the art room for me. It was so small that I had to always walk sideways like this. It was pretty funny. And there was only one sink. That's a very funny demonstration, too. I like that. Too bad they can't see. Right. Only one sink in the whole room. And that's important in cleaning up and... Oh, my gosh, for everything. So the art room expanded from that one little, tiny classroom, which it was a regular classroom. Then they decided that they would give me a double classroom and 13 that was incredible. Then to go into heaven at this new building...There were actually two art rooms. Each of them were equally large, closets. In fact, I took one of the closets...There's usually no such thing as an empty closet in an art room, but I took one of them and I took all of my art books and I donated them to the school and I made an art library inside the closet. That's where I'm going to look for the book of the Las Vegas Centennial. I think it's in there. So you left behind a wall. Yes. You talked about that before we started this recording. This might be a good place to tell me the story of the wall that I took those pictures of. What happened was that I saw an announcement somewhere that part of the Las Vegas Centennial Celebration was going to include one hundred murals around the town and that if any group was interested, they could apply for a mural. I thought, what a cool thing. So I filled out an application. You had to say what the theme was going to be and I said, "The Jewish contribution to Las Vegas." I was sure they were going to turn it down, but they didn't; they accepted it. So I took my older kids, the seventh and eighth graders, they did the research for the project and they made the whole design of it. They put it on the wall of a multipurpose room that was being used as a theater, an auditorium, everything. They drew it on the wall. Then some of the kids in the lower grades helped to paint in the lower areas where there was ground and stuff like that. Everybody watched the progress of this mural. I think it took us eight months to complete. Every day we were out with the mural. It was so exciting. The kids got to go on ladders; that was a really big deal. The way the research worked, the way it was incorporated into the mural design is kind of interesting. And you can't see it in the pictures that I gave you. The center of the mural was a 14 Jewish star and every other point of the star was a dove of peace. I'm not exactly sure what this is over here. We kind of did our version of the Strip in the middle, but it was only with the buildings that were owned by Jewish people. Of course, we had the Venetian and the Wynn. The Encore was not built at that time. We had the Mirage and Bellagio because of the connection with Steve Wynn originally. Anyway, they learned about all of that. Then we had various points of the story. This is the media. It turns out that the TV was really Jewish; it was owned by Jewish people. I wish I could see better. But they had a lot of details that you might not have thought of as belonging to the Jews. This slot machine was all the Jewish businesses in the area and there was real estate and doctors and stuff like that. Then the left side was a roulette wheel and there were hamsas on it. But the outside of the roulette wheel, all the white spaces were the names of each congregation. It's very, very small. You can't see it very well. I might try to enlarge it and look at that. Maybe this was a radio. I think that's what it was, an old radio. How did they come up with the topics or did you guide them to the topics? They had a little guidance, but I broke them up into little groups. There's another view?I don't remember what the dice symbolized. That just might be a border. Oh, yes. And there were these lips. Smiling face. Showgirls. And the cards, each of the cards was a political leader. There was Oscar Goodman, Michael Mack. At the time, he was our congressman, or he was assembly. He was a commissioner, too, wasn't he at one time? Maybe. Anyway, we had names of those people on the cards. So it was documenting the history, a snapshot of the city at that time from a Jewish 15 perspective. Yes, from a Jewish perspective, exactly. I think this is over here is a blackboard showing education, so many Jewish educators. This was organized by whom again, the mural project? The City of Las Vegas. They had a centennial committee. So Centennial Commission might have some documentation. Here's a weird thing. I looked it up after I spoke to you. I found there was a website. The website had about forty-seven of the murals pictured; ours wasn't on there. I don't know how they picked ones to be on. But I remember touring some of the murals. There was an awesome one on Cashman Middle School. They weren't all schools that the murals were in. That you could find on their website. I might check with the News Bureau, too, since Oscar is so tied there. I think it's wonderful getting the kids involved in the history of the community. They were so pumped up. They had no idea that any of this existed. And so it couldn't be salvaged because that wall was knocked down for expansion into this new structure of the school. Right. You said there were two classrooms now for art. Does that mean they have two art teachers? Right now, there's a separate high school art and elementary and middle school. It's beautifully designed because you can walk through the classroom from one classroom to the other. For instance, when maybe I was doing a special presentation on something, I would invite the middle school kids to come in. They just walk through the room. Talk about the Adelsons and loving art, I came across this. They actually made it 16 possible?I don't know if you ever heard of this artist, Yaacov Agam. No, I don't think I have. I bet you know who he is. I might recognize the art, though. Yes. He is called the Father of Kinetic Art. Just to oversimplify his work, if you could picture something that was pleated like this. So it's three-dimensional? Yes. And one side there would be one image, on the other side there is another image. Oh, yes. And it's very popular with Jewish art collectors. Yes. That's right. He came to our school and spoke to the kids. How did that happen? That happened through Sheldon. They invited him to come. It was just amazing. He has quite a lot of people he knows. How does someone in that stature in the artwork relate to kids? It was fabulous. The kids were fascinated by him. I mean there's a time of a picture?maybe I can find something in my files. This is great. And this article ran in the Jewish Reporter in December of 2007, I see. Yes. Oh, that's me talking. Oh, okay. What did you say in the article? Let's get it in the real voice. Here's what I said. "His is a distinctive brand of visual graphic art that exists not only in space but in time. With the addition of that fourth dimension, form develops and constantly evolves depending upon the viewer's shifting position or point of view. He is also uniquely able to relate his art to the teachings of the Torah and integrate Jewish philosophy into his artistic practice." 17 Oh, here. I totally forgot about this. "In one exercise Agam asks the students what the Hebrew word for cup was and then wrote it on the board. He then took the shapes of the word and reconfigured them to draw a cup. In another exercise with a piece of his art, he demonstrated art's infinite ability to reflect a reality, which is continuous and a perpetual process of change and transformation similar to the lessons the Torah teaches us about change." That's wonderful. You're very articulate about art. It's my love and my life. I had the students do pictures, like their versions of Agam's method of the pleating and the two images and stuff. They were very, very nice. How exciting to push kids' imaginations to new levels. It's wonderful. It really is. I can make a copy of this. I have a copy machine. That would be great. So incorporating Jewish? Oh, wait, I'm sorry, but I just found this. "Hebrew Academy to dedicate the Jewish contribution to Las Vegas mural." I'll maybe make a copy of that for me, too. Yes, I'll make a copy of these two. That was a press release. So how would you describe Jewish art? I don't know if it