That to me seems kind of amazing, that we can do that, that we can, you know, communicate with each other through that way.

And I learned once I was transferred to the role of, of a young editor just how creative those positions can be.

You come up with the ideas, find the right person to do the ideas, figure out how to tell the story.

If you're the head editor, you basically figure out what the personality, you are the guiding spirit of the magazine, and that was something that I aspired to do.

It was the last great era of print when I was coming up in magazines.

But then as soon as it also became digital and the digital looked like its future, I became quite entranced with the possibilities of digital journalism.

They seemed just as creative to me.

It's an art form of visual delights, but you're learning all the time.

Let's take a little bit of time to talk about the genesis of this book and what on earth you're trying to accomplish with it.

Well, there's, you know, like any of these things, there's a million ways back to an origin spot.

But I would say roughly that it had to do with my own frustration as a painter.

I had spent all of my life as an editor, as a magazine editor at various different magazines, New York and New York Times Magazine and a startup, et cetera.

And then I left and I started to seriously want to paint.

And I found that I just after years of being creative in group situations, I found that I didn't really understand how to be creative in a room all by myself.

And my frustration was maddening.

Do you remember that moment? Do you remember? Oh,