You know, when I first started teaching this, I had it sort of half theatre people and half literary people. And that was a wonderful mix. I… I loved that. But an awful lot of them, especially the theatre people, were looking for what we used to call a Marvin Mellowbell voice. And… and that's ruinous… a voice that has too much gorgeousness in itself. That's the voice in which you sell people refrigerators, and you don't want that. What you want is the greatest variety possible. I… I must say that the… the actors that I most admire have both a… a sort of chest voice and… they… it's like they have two voices at once, and… or… or two sounds that… that are happening at once. And, and one is face… facial voice. The other one is the one that's… that is in the chest and has them both geared together. But the one that really counts is the one up here. That's the one that's going to make people understand what you're saying.