We also have to think about how we're selling these projects. Are we selling them as a subscription? Are we selling them individually? And how many of you have a subscription, some kind of subscription to what you do? Some of you do. How many of you have seen subscriptions fall over the last 30 years? Most of us have. Subscriptions are great if you have a subscription capability that is selling multiples at once because it lowers the cost of marketing. Because it gets us great financing, right? We get all the money up front. Because it gives us artistic flexibility because we don't have to sell each project in its own right. It's sold as a package. So the Metropolitan Opera did great when they could put Domingo or Pavarotti or Joan Sutherland or Leontyne Price on a package. And then people bought the others without them because they bought the package. We've seen subscriptions decline, why? They've declined, I think primarily for three reasons. One, because the cost got so high. Two, because women with the majority of the purchasers, I'm going back now 50 years ago, and as more and more women began to work outside the home their ability to predict I want to go to the theater every third Thursday, I want to go to the opera every month decline to. And thirdly, because of business travel increased substantially for those who typically are subscribers. And so all of us can't predict our schedule so well. And as subscriptions fell, all of a sudden we had to spend more on marketing. And we had to market each thing in its own right. And that's made it harder and harder and harder. So it's a problem for us who enjoy subscriptions. I did work with the Philadelphia Orchestra recently, and the Philadelphia Orchestra sold about 30 years ago, almost every seat was sold on subscription. They didn't have to market. They just send out the subscription brochure at the beginning of the year, and that was the end, they were done. That world is different today. So we have to think about are we selling this subscription package or we're selling individual tickets and that's going to affect how we're going to have to market each work in our season. And then we have to think about whether this is a single sale or a group sale. I would like to recommend to those of you who are having trouble filling your theaters to please think about group sales in a very aggressive way. Cassie Ballet, I think we used to sell about 60% of our tickets to our performances that were non-Nutcracker performances, and then we discovered the girl scouts. And we have 6,000 girl scouts buy tickets, at a reduced price but fill out the hall. Do any of you have challenges filling your theater? Yeah, think about the girl scouts. Do a merit badge. That sounds evil and I don't mean it in an evil way. You know that girl scouts do earn merit badges. That means there's typically some kind of academic activity attached to some kind of action. So it's coming to your performance and writing a paper about it. It's doing some research about one of the composers and writing about it. That's the kind of thing you do and you create your merit badge and then make a deal with the girl scouts. The Kennedy Center has had gazillion girl scouts through its doors over the last 15 years. It's really worthwhile, and you'll be shocked at how many girl scouts are in your city. Not just the girl scouts themselves, but their parents and the associate staff. I can tell you in LA there are 40,000 girl scouts and 20,000 parents are staff that are actively involved with those 40,000. That's 60,000 people, that's a really great focused market. So group sales if you're trying to fill your theater, look at the group sales. So, one question is what are we selling? The nature of the art, are we selling it as a package, as a single ticket, as a group?