How's the House Of Yes is intrinsically inclusive, because our creative culture has been inclusive art and collaboration has been inclusive. That was a part of our we were inclusive before it was intentional before it was a cultural buzzword. And it's actually been a very interesting cultural challenge to maintain the inclusivity while protecting and curating the vibe. There have been times when we've experienced like, wow, there's way too many bros way too many type, a type of person that isn't really tuned in or aligned with some of our values or some of our ways that we dictate that a good time is what we set out to be and so we've had to adjust one point we end up doing costumes mandatory. It's not mandatory any longer. But for while we're like, oh, if we want our parties to be the vibe that we are putting out there that are our highest self, this template expression that we set out to be, then our favorite parties are the ones where everybody's wearing costumes. So they know who hates wearing costumes is angry, insecure, homophobic, transphobic, there's something about wearing costumes that feels like too feminine for certain kind of person, especially especially a male identified person. So that became a good idea for a little bit. And then eventually, that became too exclusive because it wasn't accessible, like wearing a costume to a party is sometimes not accessible to certain people. And it actually wasn't being as inclusive as we intended. So it has been, I would say, it's been an experiment. And it's the journey that we are still on the path of just getting walking the line between inclusivity and creative curation of the audience.

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