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Dr. Josephine English

Community leader and gynecologist Dr. Josephine English was born on December 17, 1920 in Ontario, Virginia to Whittie, Sr. and Jennie English. She grew up in Englewood, New Jersey and received her B.A. degree from New York City’s Hunter College in 1939. English went on to earn her M.A. degree in psychology from New York University. She attended Meharry Medical School in Nashville, Tennessee and while there, became interested in obstetrics and gynecology. English graduated from medical school in 1949 and began working at a hospital in Manhattan.

In 1956, English moved to Brooklyn, and in 1958, she opened a women’s clinic in Bushwick. Over the years, she has delivered thousands of babies, including the daughter of former U.S. Secretary of Commerce Ron Brown and the six daughters of Malcolm X and Betty Shabazz. In 1979, English established the Adelphi Medical Center to provide better medical care to both men and women. She soon added a senior citizens' center. In 1981, she started the Up the Ladder Day Care Center and After School Program and a summer youth camp. Her work continued in 1982 when, in an effort to bring more of the arts to the community, she purchased a deserted church next to the Adelphi Medical Center and converted it into Brooklyn’s Paul Robeson Theater. In 1986, English became the first minority and the first woman to be awarded a license from the New York State Department of Health to develop a free-standing ambulatory surgical center.

Due to budget issues English self-funded many of her programs and has had to continuously fight foreclosure. The Brooklyn community stood behind English, and she has been honored with several awards, including the African Community Contribution Award and a Lucille Mason Rose Community Activist Award. In 1996, Brooklynites formed the Dr. Josephine English Foundation in order to honor English and to carry on her health and welfare initiatives.

Dr. English passed away on December 18, 2011 at the age of 91.

Dr. Josephine English was interviewed by The HistoryMakers on August 8, 2007.

Accession Number

A2007.227

Sex

Female

Interview Date

8/8/2007

Last Name

English

Maker Category
Marital Status

Married

Schools

Lincoln Early School

New York University

Hunter College

Meharry Medical College

Dwight Morrow High School

First Name

Josephine

Birth City, State, Country

Ontario

HM ID

ENG01

Favorite Season

Summer

State

Virginia

Favorite Vacation Destination

U.S. Virgin Islands

Favorite Quote

None

Bio Photo
Speakers Bureau Region State

New York

Birth Date

12/17/1920

Birth Place Term
Speakers Bureau Region City

New York

Country

United States

Favorite Food

Chicken

Death Date

12/18/2011

Short Description

Community leader and gynecologist Dr. Josephine English (1920 - 2011 ) delivered thousands of babies, including the daughter of former U.S. Secretary of Commerce Ron Brown and the six daughters of Malcolm X and Betty Shabazz. She established the Adelphi Medical Center and Brooklyn's Paul Robeson Theatre.

Employment

Harlem Hospital Center

Adephi Medical Center

Paul Robeson Theater

Interfaith Medical Center

Favorite Color

Blue

Timing Pairs
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DAStories

Tape: 1 Story: 1 - Slating of Dr. Josephine English's interview

Tape: 1 Story: 2 - Dr. Josephine English lists her favorites

Tape: 1 Story: 3 - Dr. Josephine English describes her mother's family background

Tape: 1 Story: 4 - Dr. Josephine English describes her father's family background

Tape: 1 Story: 5 - Dr. Josephine English remembers her community in Englewood, New Jersey

Tape: 1 Story: 6 - Dr. Josephine English describes her schooling in Englewood, New Jersey

Tape: 1 Story: 7 - Dr. Josephine English remembers her early activities

Tape: 1 Story: 8 - Dr. Josephine English recalls discrimination at Dwight Morrow High School in Englewood, New Jersey

Tape: 1 Story: 9 - Dr. Josephine English recalls developing an interest in psychiatry while in college

Tape: 1 Story: 10 - Dr. Josephine English remembers Meharry Medical College in Nashville, Tennessee

Tape: 1 Story: 11 - Dr. Josephine English recalls her medical internship at the Harlem Hospital in New York City

Tape: 2 Story: 1 - Dr. Josephine English recalls working at the Harlem Hospital in New York City

Tape: 2 Story: 2 - Dr. Josephine English talks about New York City's Harlem community

Tape: 2 Story: 3 - Dr. Josephine English recalls the health problems in the Harlem community

Tape: 2 Story: 4 - Dr. Josephine English describes her gynecological practice

Tape: 2 Story: 5 - Dr. Josephine English talks about practicing medicine in Brooklyn, New York

Tape: 2 Story: 6 - Dr. Josephine English describes the Adelphi Medical Center in Brooklyn, New York

Tape: 2 Story: 7 - Dr. Josephine English describes her community service in Brooklyn, New York

Tape: 2 Story: 8 - Dr. Josephine English recalls founding the Paul Robeson Theatre in Brooklyn, New York

Tape: 3 Story: 1 - Dr. Josephine English describes the history of the Paul Robeson Theatre

Tape: 3 Story: 2 - Dr. Josephine English describes New York City's black medical community

Tape: 3 Story: 3 - Dr. Josephine English talks about New York City's black theater community

Tape: 3 Story: 4 - Dr. Josephine English describes the Dr. Josephine English Foundation, Inc.

Tape: 3 Story: 5 - Dr. Josephine English reflects upon the importance of the theater

Tape: 3 Story: 6 - Dr. Josephine English reflects upon her life

Tape: 3 Story: 7 - Dr. Josephine English talks about the closure of the Adelphi Medical Center

Tape: 3 Story: 8 - Dr. Josephine English reflects upon her legacy

Tape: 3 Story: 9 - Dr. Josephine English narrates her photographs

DASession

1$1

DATape

2$2

DAStory

1$8

DATitle
Dr. Josephine English recalls working at the Harlem Hospital in New York City
Dr. Josephine English recalls founding the Paul Robeson Theatre in Brooklyn, New York
Transcript
So we're talking about Harlem Hospital [Harlem Hospital Center, New York, New York] when you arrived there in about 1949?$$Um-hm, 1949 (simultaneous).$$(Simultaneous) And you were saying that Harlem Hospital at that time, didn't--sort of gained its black doctors one by one.$$Yes, they did.$$Can you just tell us a little bit about that and about where the hospital is going now?$$Yes, it seems impossible that a hospital would just be accepting black physicians. And that's when they had Aubre Maynard [Aubre de Lambert Maynard]. He was one of the first black physicians. He became an outstanding surgeon. They were the first ones to come into Harlem Hospital.$$Can you repeat his name for me?$$Maynard, Aubre Maynard.$$And (simultaneous)--$$(Simultaneous) He became an outstanding surgeon. At the time that Martin Luther King [Reverend Dr. Martin Luther King, Jr.] got stabbed, they called him in. He became an outstanding surgeon. And to think that now, that it became totally black and that now it's going to go through another episode which has already started of whites.$$What's happening now with Harlem Hospital?$$Well, they're building, they're building a new hospital, state-of-the-arts and it's gonna be totally white. It's gonna be a top-notch hospital under Columbia Presbyterian [New York-Presbyterian Hospital, New York, New York].$$Under Columbia Presbyterian?$$Yes.$$And does that have anything to do with the changing, the gentrification of Harlem [New York, New York]?$$That has to do with it. That's the whole thing. If you're gonna change a population, you're gonna change your hospital. And you're not gonna have a second rate hospital that nobody wants to go to. You're gonna have a top hospital.$$And how quality--what was the quality of Harlem Hospital like when you arrived? Was it a top quality hospital (simultaneous)--$$(Simultaneous) When I first came here--$$--at the--in 1950?$$Yeah, its quality was excellent because the whites were just being replaced by the blacks. And they took outstanding black physicians.$$And by what year--just give me an approximate, would you say that Harlem Hospital became an all-black hospital?$$I would say it took about five years.$$So by 1955, 1960, Harlem Hospital was majority black.$$Totally.$$And over the years has the reputation of Harlem Hospital gone down?$$It has gone down.$$And why has that happened?$$Because they took away the good, white physicians and they had only blacks. They took away a lot of money, a lot of the research money, a lot of the money for supplies. You know how to get hospitals to get lower. Everything gets lowered. The staffing is lowered, the scale of employment, of types of employment is lowered. It's very easy. So now, it's going in the other direction because it's gonna be a top-rank hospital again.$$And those doctors--it's not gonna be predominantly black. Those doctors are gonna be (simultaneous)--$$(Simultaneous) Oh, they're not gonna be black--$$--pushed out.$$--by no means. And the city is gonna put money in the building. The city is gonna put up a top-notch hospital.$How did you get into the theater business?$$Because I was over there at Fort Greene [Brooklyn, New York] at the building where I had the daycare, and there was a church there owned by the Catholics. And they never helped me, but they saw the work I was doing. So when they got ready to leave, they offered the, the church. And that's where I made the theater.$$And did you have that idea to make a theater already?$$Yes, but I didn't have a facility. And they gave me the--and it was very easy. We started the theater with the pews, and then we built it up and built, built--and we haven't done what we should have done because we've been there twenty-six years. And we still have not renovated the way we should.$$And why not?$$Because we never got any funding or any recognition from the city. What we did, we did on our own, but we need, we needed money. And BAM [Brooklyn Academy of Music, Brooklyn, New York] is around the corner, and they had a $600 million. They never gave us a penny. But we continued, and now, I think we got--they're going to give us something, but up to this date, we never got anything.$$What kind of theater is the Paul Robeson Theatre [Brooklyn, New York]?$$It's a general community theater. In other words, we do plays, all kinds of plays. We do--people can come in with their play and production and put it on. We help them put it on. We do our own productions. We've done over a hundred different plays since we've been there.$$Can you name a few of the plays that you've done?$$Oh, yes.$$Those that are particularly memorable?$$We do--we've done quite a few of [HistoryMaker] Ntozake Shange's plays. In fact, we just did 'Colored Girls' ['For Colored Girls Who Have Considered Suicide / When The Rainbow Is Enuf,' Ntozake Shange] and we've done the popular black writers. We're one of the few theaters to do great works of black artists.$$Are you an all-black theater?$$Am I what?$$Are you an all-black theater?$$Yes, we are all black. And we hope to remain all black, in terms of management because around us, they're building--they have what, six theaters that they're putting up, the city's putting up. And they're not gearing, geared to the black audience, either financially or otherwise. In other words, they charge a lot of money. BAM, you have to have money to go there, sixty-five dollars, and--we are community. We charge twenty, twenty-five dollars. We're glad to--we do the school kids. We have a lot of school kids who come to the theater. So we brought the theater on the community level. But the community has no money, and they have not fought for the theater.$$Well, what is the importance of theater to the community?$$It's very important because as I said, in terms of the children alone, it's fantastic because we've done the play, 'The Meeting' [Jeff Stetson] which is with Malcolm [Malcolm X]--Martin Luther King [Reverend Dr. Martin Luther King, Jr.], and the kids love it. And we taught them a lot about black heroes that they otherwise would not know about. It's really a help to the community. We provide good entertain- clean entertainment for them and for the kids, the community, church and so forth.

Marjorie Moon

Theatre producer and director Marjorie Moon was born on May 14, 1946, in Kokomo, Indiana. For over thirty years, Moon served as the President and Executive Director of the Billie Holiday Theatre in Brooklyn, New York. Moon’s passion for theater began early as she spent time at the Karamu House Theater in Cleveland, Ohio. In 1964, Moon received her diploma from Collinwood High School; around the same time, she became one of the youngest members in the Cleveland Women’s Orchestra. In 1968, Moon earned her B.A. degree from Ohio University and went on to complete her studies at Temple University in 1970 with an M.A. degree.

Moon began her professional career teaching acting at Hampton University. Moving to New York in 1973, Moon became the Executive Director of the Billie Holiday Theatre in Brooklyn, a theatre that has provided African American playwrights, set-builders, and other creative individuals an arena to work and nurture their talents.

As a director, Moon has worked on several plays, including Weldon Irvine’s Young, Gifted and Broke, which ran for eight months and won four prestigious AUDELCO Awards. Moon also directed a production of Over Forty at the New Freedom Theatre in Philadelphia. As a producer, Moon produced more than 150 productions. In 1981, Inacent Black, a play originally produced at the Billie Holiday Theatre, opened on Broadway, starring Melba Moore.

Moon received several awards for her work in the Bedford-Stuyvesant section of Brooklyn, New York. In 2005, the Billie Holiday Theatre received a $900,000 grant for its line-up of new plays.

Accession Number

A2007.030

Sex

Male

Interview Date

1/25/2007

Last Name

Moon

Maker Category
Schools

Collinwood High School

Rosedale Elementary School

Ohio University

Temple University

Search Occupation Category
First Name

Marjorie

Birth City, State, Country

Kokomo

HM ID

MOO09

Favorite Season

Spring

State

Indiana

Favorite Vacation Destination

Anywhere

Favorite Quote

We Can Do It.

Bio Photo
Speakers Bureau Region State

New York

Birth Date

5/14/1946

Birth Place Term
Speakers Bureau Region City

New York

Country

United States

Favorite Food

Barbecue (Chicken)

Short Description

Stage director and stage producer Marjorie Moon (1946 - ) served as the president and executive director of the Billie Holiday Theatre, in addition to directing and producing several plays.

Employment

Hampton Institute

Billie Holiday Theatre

Favorite Color

Purple

Timing Pairs
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DAStories

Tape: 1 Story: 1 - Slating of Marjorie Moon's interview

Tape: 1 Story: 2 - Marjorie Moon lists her favorites

Tape: 1 Story: 3 - Marjorie Moon describes her mother's family background

Tape: 1 Story: 4 - Marjorie Moon describes her father's family background

Tape: 1 Story: 5 - Marjorie Moon describes her father's career

Tape: 1 Story: 6 - Marjorie Moon describes her paternal aunt

Tape: 1 Story: 7 - Marjorie Moon talks about her parents' education

Tape: 1 Story: 8 - Marjorie Moon describes her earliest childhood memory

Tape: 1 Story: 9 - Marjorie Moon recalls attending churches in Cleveland, Ohio

Tape: 1 Story: 10 - Marjorie Moon recalls attending churches in Cleveland, Ohio

Tape: 2 Story: 1 - Marjorie Moon talks about her sister

Tape: 2 Story: 2 - Marjorie Moon describes her childhood holidays

Tape: 2 Story: 3 - Marjorie Moon remembers her exposure to theater at Rosedale Elementary School

Tape: 2 Story: 4 - Marjorie Moon describes the sights, sounds and smells of her childhood

Tape: 2 Story: 5 - Marjorie Moon recalls the development of her racial identity

Tape: 2 Story: 6 - Marjorie Moon remembers playing the double bass in junior high school

Tape: 2 Story: 7 - Marjorie Moon recalls playing double bass in the Cleveland Women's Orchestra

Tape: 2 Story: 8 - Marjorie Moon remembers Collinwood High School in Cleveland, Ohio

Tape: 2 Story: 9 - Marjorie Moon remembers her bass audition for Ohio University

Tape: 2 Story: 10 - Marjorie Moon recalls the African American actors at Cleveland's Karamu House

Tape: 2 Story: 11 - Marjorie Moon describes her interest in psychology

Tape: 3 Story: 1 - Marjorie Moon recalls the image of Emmett Till in Jet magazine

Tape: 3 Story: 2 - Marjorie Moon describes her experiences of discrimination in Athens, Ohio

Tape: 3 Story: 3 - Marjorie Moon recalls the assassination of Reverend Martin Luther King, Jr.

Tape: 3 Story: 4 - Marjorie Moon recalls her refusal to be cast in a stereotyped role at Ohio University

Tape: 3 Story: 5 - Marjorie Moon remembers her aspiration to become an actress

Tape: 3 Story: 6 - Marjorie Moon recalls teaching at Hampton Institute

Tape: 3 Story: 7 - Marjorie Moon remembers the murder of her brother-in-law

Tape: 3 Story: 8 - Marjorie Moon recalls her decision to move to New York City

Tape: 3 Story: 9 - Marjorie Moon remembers her auditions in New York City

Tape: 3 Story: 10 - Marjorie Moon recalls becoming the director of the Billy Holiday Theatre

Tape: 3 Story: 11 - Marjorie Moon recalls directing 'Sunshine Loving' at the Billie Holiday Theatre

Tape: 4 Story: 1 - Marjorie Moon talks about African American theater in the 1970s

Tape: 4 Story: 2 - Marjorie Moon remembers directing 'Inacent Black and the Five Brothers'

Tape: 4 Story: 3 - Marjorie Moon recalls her Broadway production of 'Inacent Black and the Five Brothers'

Tape: 4 Story: 4 - Marjorie Moon remembers closing 'Inacent Black and the Five Brothers'

Tape: 4 Story: 5 - Marjorie Moon describes New York City's African American theater companies

Tape: 4 Story: 6 - Marjorie Moon describes the Coalition of Theaters of Color

Tape: 4 Story: 7 - Marjorie Moon describes actors who came out of the New York City theater community

Tape: 4 Story: 8 - Marjorie Moon describes the role of the Billie Holiday Theatre

Tape: 5 Story: 1 - Marjorie Moon talks about African American stage technicians

Tape: 5 Story: 2 - Marjorie Moon reflects upon her mission at the Billie Holiday Theatre

Tape: 5 Story: 3 - Marjorie Moon describes the planned renovations to the Billie Holiday Theatre

Tape: 5 Story: 4 - Marjorie Moon talks about the name of the Billie Holiday Theatre

Tape: 5 Story: 5 - Marjorie Moon talks about 'Free the Peoples'

Tape: 5 Story: 6 - Marjorie Moon talks about the playwrights whose work she staged

Tape: 5 Story: 7 - Marjorie Moon describes the Billie Holiday Theatre's community programming

Tape: 5 Story: 8 - Marjorie Moon talks about playwright T.R. Riggins

Tape: 5 Story: 9 - Marjorie Moon talks about the community of Brooklyn, New York

Tape: 5 Story: 10 - Marjorie Moon describes the opportunities for African Americans on Broadway

Tape: 5 Story: 11 - Marjorie Moon talks about Ramona King's play, 'Steal Away'

Tape: 5 Story: 12 - Marjorie Moon reflects upon her career at the Billie Holiday Theatre

Tape: 5 Story: 13 - Marjorie Moon talks about nontraditional casting

Tape: 5 Story: 14 - Marjorie Moon shares her hopes for the Billie Holiday Theatre

DASession

1$1

DATape

2$5

DAStory

5$6

DATitle
Marjorie Moon recalls the development of her racial identity
Marjorie Moon talks about the playwrights whose work she staged
Transcript
Before we move on to your high school years [at Collinwood High School, Cleveland, Ohio], can you tell me when it was that you remember either being told or becoming aware that you were black, in a sense that, you know, you're black (simultaneous)?$$(Simultaneous) Oh I know exactly when, I was six years old at Rosedale [Rosedale Elementary School, Cleveland, Ohio]. I had two friends, Rhonda [ph.] and Kenneth [ph.]. And every May 23rd, I'll wake up and say, "Oh Happy Birthday Rhonda and Kenneth." And--and they were white. And, so one day we were walking home from school. They lived two blocks from where I lived and so we could walk the same way. And about six really big guys, I think they were high schoolers. You know, when you're six years old, you don't have to be but so old to be bigger than what we were at the time. And they surrounded us. They surrounded us and it looked like they had a gun. I--I really didn't know what a real gun looked like, so. "Ah, okay. We'll keep the nigger, let's let these other two go. We'll keep the nigger." I got so happy, I got so happy, "Oh my name's Margie [HistoryMaker Marjorie Moon], I'm not nigger. My name's Margie. You got the wrong person." You know, and it was the oddest thing, and I was convinced they had the wrong person until they left. I mean, they--in other words I guess it was no fun for them because I was not intimidated, scared by what they were saying, because I thought they had the wrong person, you know. And then, Rhonda and Kenneth said to me as we were walking, as they left us and we walked on--continued to walk on, "You know, Margie we don't think of you as any different. You know, you--you've always been our friend, we don't--." I'm thinking, what are they talking about? And so I went home, "Mommy [Ruth Black Moon] what is a nigger?" Six years old. And the shame. I mean, my friends knew something about me that I didn't know. And--and mother also knew something about it and I'm--I'm not--I'm saying, my goodness, it--it makes you feel extremely insecure because there--there's something that--there's something about you and somehow you feel like it's just you when you're that young too, you know. And--and there's something about you. And the other thing that was really kind of--kind of horrible was that, my mother is very fair. And my father [William Moon] is a little browner then myself and oh, more, yeah browner than me. And so, then I began to get into the color thing. Just instantaneously, all of that began to seem to happen and I became aware of it. And it--it--it really is, it's unfortunate. It's a very negative thing.$$How did you become over the color thing, what--explain it to me?$$Well--$$That she was lighter, so she was better than he was because he was darker?$$Well, at least she was getting closer to the, to the color of choice obviously where that was favored. I mean, you know, what did I know? I mean, I'm trying to understand this and I'm not sure why she's like that and my father's different, you know. And--and my mother, in her family too, she has a--her older sister and she look alike, and then she has two very ebony other sisters. And so, I--I began to--to wonder what that was about. And her father [Frank Black] was very fair and had--when I see him he'd have this gray beard and this gray hair, and I thought he was Santa Claus. I mean, you know, I mean in other words he just--because he looked almost white. So, those things, you know, kids, it's amazing what they can think and, and starts germinating. That's why we gotta work with them when they are young and--and try to bring out questions they might have, because you never know what they're thinking and how they can be thinking wrong. But that was a real turning point, which obviously I remember it because there--there was, you know, there was that fear factor that was in there when they first surrounded us as children. And then I'm thinking, what do they mean, they don't see me as different because I had never seen myself as different. It's amazing that perception, that gets in your head and it can really do some damage. Yeah. So, yeah, I--I remember (laughter).$We didn't talk about, and I guess we should, sort of African American playwrights that you may have helped to cultivate their talents? I know you made--or you can just tell me some of the people you've worked with to help cultivate their talents.$$Okay. Well, Joyce Sylvester. She--she's been around for about five years in terms as a playwright and we've done all of her plays, which have been wonderful. She has a unique pulse to the community which is what we're really looking for. Well before that, Samm-Art Williams who wrote 'Home' and even received a Tony [Antoinette Perry Award for Excellence in Theatre] nomination for 'Home.'$$Right, and 'Home' was what got you back on your feet after the Broadway?$$No, we didn't do 'Home' after that.$$No? Okay.$$No, no, no, no. We have not done 'Home' actually. But, we did two plays of his before he was even--we did his first productions period in New York [New York]. He hadn't been produced anywhere else before Billie Holiday Theatre [New York, New York]. So, and so, he went on, not only did he do 'Home' and got all of those awards and accolades, but he went on to Hollywood and became a television producer with 'Martin,' 'Hangin' with Mr. Cooper,' 'Fresh Prince of Bel-Air' ['The Fresh Prince of Bel-Air'] and just on and on and on. And he's--he's a prolific writer. We've done plays of his since, but we were the first to do his. Another one, John, who's left is John Henry Redwood, wrote 'Old Settler' ['The Old Settler], and that was done in the city and that was also done by HBO and Debbie Allen and Phylicia, her sister, [HistoryMaker] Phylicia Rashad were the two older women in 'Old Settler.' And Debbie also directed it. Well, we did his very first play, which was 'Mark VIII:xxxvi' [John Henry Redwood] and we did that in 1986. He and his wife came to visit me and they said that they wanted to rent the theater [Billie Holiday Theatre, New York, New York]. And I don't know there was something that caught me about them and I said, "Well, why don't you let me read the play?" And so I did and it was about switching babies at birth. Now this had not been in the news at all, and there was a white family and black family. The white family was a senator and his wife, and the black family was a poor family. It was really, it was quite dynamic. It really--you heard about it a lot now, but back then you really hadn't. And so, we did it. It was the first time it had ever been produced and I'm very proud of that. And we produced a couple of others of his since then. And he's passed a couple years ago, but he was a wonderful writer. Weldon Irvine, I must've done about fifteen of his plays, musicals, 'Over Forty.' The book was by Celeste Walker, but Weldon wrote the lyrics and the music, and we took that around the country for a little bit. It was--it was truly wonderful, about women fearing becoming forty years old.$$It's called 'Over Forty' the title, yeah?$$'Over Forty,' yeah, yeah. And Cliff Roquemore, we did his 'Lotto' ['Lotto: Experience the Dream,' Cliff Roquemore] about a family in California winning ten thou- $10 million. A rags-to-riches story that the audience loved, course people love rags-to-riches stories all the time. Did a play that I was really proud to do and it was really quite poignant and dynamic, it's called 'Boochie' [Mari Evans], it was about child abuse. And it was about the--why a woman allowed her man to correct (air quotes), abuse her child. The psychological dynamics in that relationship that she felt that she was supporting him and she didn't wanna tear him down and she wanted to give him the authorization to be a constructive figure to her child in her child's life. And it was--it was dynamic. And--so, and we got to have discussions afterwards. It was a very important subject matter and I was very pleased to be able to do it.