 you know, does the world need another chair? No, but my client does. A family member was friendly with Bob Brown, one of the founders of Brown Jordan, and he was able to arrange just a meeting as story goes, brought into this meeting in a shoebox, a copper model of this line of furniture that he had conceived. And by the end of the day, they had a full-scale prototype of this chair design, which was the Mai Tai design. That was 1956, and it's 2016 I hear now. What happened? I refer to him as sort of the godfather of outdoor furniture, because he really is that. He's got a gift. Furniture was his colleague. His business model was something he understood. I mean, it's interesting how he had all this together at a very early part in his life. I didn't know that I had had an abnormal start to a business that people find very difficult. It was just the opposite. It seemed very organic, simple. Put the seed in the ground, water, and seed grows. Good design is a moving target. It depends on what appropriate it is today in your situation and where it's going to be put to use. This is a client's terminology, not mine. There is a wow design factor to some designs, but not most. We can't have wow around us all the time. We have to have a visual and physical environment, in my opinion, that is modulated. You can't have all loud noises you can't have. It's got to be more of a symphony, I hope, a pleasant one. Is a design appropriate or not? Because sometimes it's appropriate to be theatrical, sometimes it's appropriate to be quiet. He can go from very traditional forms to very contemporary, and he's comfortable in both worlds. I found that with John, I really learned to respect the quality of craftsmanship and the quality of details and assemblies. That was something that really resonated with me to understand what his actual style is, is to pay a lot of attention to details, make them a little bit more simple so that they'll look a lot more timeless. The designs that we have in our offering that have been designed by John, many of them have been in a line 14, 15 years. It's very difficult to stay fresh. To John's credit, among other, I think, really wonderful designers, is that ability as time goes on to sort of embrace that change. I've never noticed John's work to be trendy, just to be trendy, going back to something that looks really fresh to me. If I look a little bit closer at it, the details, again, are really well thought out. The quality of the materials, the construction, the craftsmanship is generally there. Everything is just done with full resolution. There's not an unresolved detail about a connection, about a glide, about maybe a knock-down element for stuff that has to ship more economically. He plays it a lot more understated. He lets the product speak for itself, and I like that. I like that sort of sense of modesty that he has. And again, it's not false modesty, because John is extremely self-confident. I mean, I don't think there's an insecure cell in his body. Often, I discover that there's something floating in the back of my mind of, how am I going to get this feeling out of this that I want? And then I see something else entirely that has nothing to do with it. You will see something there that you're saying, you know, why can't that be applied to this damn thing that I'm doing over here? I will take off down a path very determined, and I'll stay with it. Designers have a tendency to keep thinking about, like my kids' group, saying, where are you, Dad? And I'd be across the table from them. He brings a level of creativity balanced with kind of a pragmatic approach, because he understands manufacturing very well. So he knows our processes, our manufacturing, and his team does, too. They know the details, they know the constructions, they know all our extrusions that we use, and they may know them better than I do, you know, as they incorporate them. But he kind of takes it to the next step, and here you go, and here's all the things you would need to actually build it. And that's what you are being brought to the party for, to provide that combination of that marriage of function and appearance. By definition, design is never finished. You can always improve a design. And if someone says to me, that is perfect now. It can't be touched. It can't be improved. I can't accept that. I follow modern architecture. I love going to art exhibits of all types. I like going to design shows. I can go to an exhibit that I can honestly tell you that I don't care for it very much, and I always take something away from it. You wouldn't hear me being very critical. You would hear me more. Isn't that interesting, or look at the way that's being interpreted?