 I'm Kurt Anderson and I am here at the Cooper Hewitt Museum with Mr. Milton Glaser and Milton. Welcome. Great to see you again. Is it true one of your best-known things you designed, the I Love New York logo? I have several many questions about that but is it true that began as a sketch and a taxi? It didn't begin that way. What happened was I did a logo. At that time there were just two sort of ovals with the words in between. It was submitted to the commission. The state commission. The state commission, yeah. I guess a half a dozen guys or something. My assistant commissioner named Bill Doyle, who's still a friend. Bill called me and said they accepted it. I was going to work. I was living on 67th Street and going down to the studio on 32nd. I said, you know, that's not right. I had a little piece of paper and pestle. I did this most obvious thing in the world, I, hard, New York. I called Bill up and I said, Bill, I have a better solution. He said, don't bug me. He said, you don't know how hard it is to get these guys together. I said, let me show it to you. And I went down to his office and I said, this is what it has to be. He said, you're right. This is better. He called. He reconvened. This is so absolutely unusual in civic life. He reconvened the group. They said, you're right. That's better. They turned over their earlier decision for it and instituted this one. And people should know, and we should, for the record, that this idea of heart as a symbolic expression of the verb love did not exist. That wasn't a thing until you made it a thing. You can't believe that it wasn't. I know. It doesn't make any sense that it wasn't. I tell my children that. I regularly say, you know, this didn't always exist. When I was a child, we didn't heart thing. No. You would carve a heart with two initials. Yes. But it was not an action verb. Not an action verb. Well, it changed from a noun to a verb. Yes, exactly. And that changing the meaning of language is something. But, and there are, I always, the reason that it's interesting, because it looks banal and simple, is that there are three puzzles you have to solve. One is that the I is a word. Two is our heart is a symbol for emotion. And three is that the initials were placed. Yes. And so you look at it and you have, but everybody can do it. Yes. No one gets puzzled by it. They see it. They understand that even though they've gone through this mental process. No, it was one. It is one of those, just, it's a great example of a eureka moment that you had. It is. You know. And one doesn't have that many of them in life, but that was definitely one. And the font you use, that typewriter-ish font, American typewriter, was new at the time. Well, it had been around for a while. What I always say to students particularly is that the aesthetic effect is of the rigidity of the black, you know, almost jail-like force. And the erotic sensuality of the heart. Those two things sort of fighting each other is part of the effectiveness.