Dort Lee

Dort Lee

NC28803-021

Dort Lee

Alice Helms

10/02/2011

Fletcher, North Carolina

Alice Helms

[background noises and voices are heard throughout the interview.]

Alice Helms (AH): My name is Alice Helms. Today is October 2, 2011. I'm conducting an interview with Dort Lee for the Asheville Quilt Guild Quilters' S.O.S. - Save Our Stories project. We are at the Asheville Quilt Show in Fletcher, North Carolina and it is 11:15 a.m. Dort, tell me about the quilt you brought today.

Dort Lee (DL): It's called "The Estate Sale" and I made it partly because every time I go visit my sister in Virginia she takes us off to Saturday morning estate sales and one day in the mail came a whole bunch of photographs from her saying, 'You should make a quilt about the estate sales,' and so I did, using parts of her photographs and parts of my drawings of people in my sketchbooks, which most of the people are from my sketchbooks which I usually take with me wherever I go. My husband used to be a runner so every Saturday morning practically, we'd be out at 7 a.m. and he's be running and the kids and I would be sitting there bored to death waiting for him so I would draw all the people. And in airports, I draw people in airports too while I'm waiting. So anyway, somehow I worked them all into the quilt and then tried to get as much stuff as possible in it to be an estate sale. Took me almost a year to make it but it was fun and when I look at it, it makes me think of my sister. And all the running races we used to go to. [laughs.]

AH: What year did you make it?

DL: It was about 2008, 2008-2009.

AH: So it's appliqué, right?

DL: Yes, it's all appliqué. Machine appliqué and machine quilted.

AH: And how would you describe the fabrics?

DL: The fabrics. I tried to choose them to represent what they were supposed to be in the quilt. The greens for the grasses are all hand-dyed scraps that a friend gave me and then there's some batik in the trees and a wood-ish fabric for the barn, but not always, one of the barns has little brown flowers or something on it, but it reads as a barn from a distance, so that was okay. And it was fun to make.

AH: And one of the items, I think, being sold at the estate sale is quilts.

DL: There are--

AH: --is that right?

DL: Yes. [laughs.] Just small ones because I couldn't put any really big ones in. But, yeah, I assume the lady that's leaving the house and moving to a smaller place is getting rid of everything extra and she's moving into a condo or something.

AH: And, so the quilts that are for sale, they're three-dimensional.

DL: Oh yes, they are. They're actually not real quilts, they don't have batting in them because they would've stuck out too much, but folded and stitched enough to look like real quilts.

AH: And why did you choose this quilt to bring to the interview?

DL: Because the quilt I really wanted to bring, I gave to my aunt and she has it and so I didn't bring it, but I brought this one because it incorporates all the things I really like to do, which is draw and make quilts and people. I like people. I like drawing and making people a lot. Interestingly enough, I do sell quilts but the ones with people don't sell as much as the landscapes. So this is really a landscape full of people. But it's the one I keep hanging in my kitchen. I think that's why I brought it.

AH: So do you want to describe the technique you used, when you use your drawings of people to translate into an appliqué?

DL: I usually have my drawings in my sketchbook and then I take them and draw them free hand on a piece of freezer paper and then use that as a pattern and sometimes the people come out small and just sort of randomly when I'm drawing, how big they come out, so where they get placed on the quilt is by their size and then I mark on my drawing for each piece where it will go, like one person and the shirt will be "A" and the pants will be "B" etcetera, and then I cut it all apart. Actually I guess what I do is I draw it on a regular piece of paper first and then I mark all my numbers and letters on those and then trace that on to a piece of freezer paper and cut the freezer paper apart and just iron it on the front of the fabric and then cut it out, but because I do raw-edge appliqué, I do a satin stitch on it, so I don't need any fold under, and then once I get everything cut out for one person, I actually glue them together as a person and use them as a separate piece and then I just pin them on to the background. I've already made the background and then I pin them on the background until I get everybody on there because I don't want to sew somebody down and then have to take them off again if they turn out to be in the wrong place. But it's a satin stitch and I put freezer paper also behind it. I use baste-it glue to put them down and freezer paper ironed on behind the whole thing before I start appliquéing.

AH: So freezer paper stays in there?

DL: Yeah. Well no, no. After I finish the appliquéing, I rip all the freezer paper, and it rips really easily because of the satin stitch it's perforated along those lines. Except thread painting. If you do a little thread painting, it doesn't rip off as easily and I do leave that behind.

AH: So how do you use this quilt?

DL: What do you mean?

AH: Does it hang somewhere in your home?

DL: It does hang in my home. It hangs in my kitchen behind my mother's old giant rolltop desk, which is also in the kitchen and for all the quilts I've made and I've made lots, it's the only quilt I have hanging. Well, I come from a family of artists and I have their paintings and drawings on my walls and I don't want to take them down to put up my quilts, but it does have the place of honor in the kitchen because that's where we spend most of our time. It's a large kitchen with chairs and things.

AH: Nice. And so what are your plans for this quilt for the future?

DL: It will probably stay there until I either get tired of it hanging there or make one that I want to look at more and hang it there, but eventually I'll probably give it to my sister because she will like it.

AH: Is she represented in the picture?

DL: Well, in looks she's the blond lady with the red pants, but in reality [laughs.] we're the two chunkier ladies on the left, I'm the dark haired one and she's the blond one. I was just picturing ourselves as little old ladies when I did it, but she's really quite tall and skinny. [laughs.]

AH: And that doesn't look like you at all. [laughs.]

DL: That doesn't look like me at all either. [laughs.]

AH: That's wonderful. Okay, tell me about how you started quilting.

DL: When I was in sixth grade, fifth grade, I read a book that had a quilt as like the main plot theme. It was called "The Children of Green Knowe" by L.M. Boston. And a young boy had come to stay with his great-grandmother and he found a quilt and he brought it out and said, 'You know, what is this and why are all these strange fabrics in it?' Every night she would point to one fabric and she would tell him a story about the history of the family or the history of the house and the whole book was so fascinating to me that just this one blanket--quilt--had all these memories stored in it so I told my mother about it, how fascinating it was and then that summer--every summer she'd find projects for us to do, art projects mainly, but this one summer she put out a stack of cloth and said, 'It's time to make a quilt.' There were five of us and two of us chose not to do it, but my youngest brother and my younger sister and I, we all made quilts and they were real simple twelve-inch squares, for a twin bed and every single one of us used them until they wore out completely. And then that was it. That was the only quilt I made until I was pregnant with a baby, not my son but the baby before that. It was a problem pregnancy and I had to stay in bed and you get tired of just reading all day so I said to my husband, 'Before you go off to work,' I said--because I was sleeping downstairs, I wasn't supposed to go up the steps, but my sewing stuff was upstairs, but it wasn't much, I think I had one basket of cloth at the time, just from leftovers from making clothes, and I said to my husband, 'Before you go to work, bring me a handful of cloth,' and cloth to him is all the same so he didn't pick or choose it in any way at all, he just grabbed it [laughs.] and brought it down to me. So I hand sewed fifteen blocks. It was a month and a half I had to stay in bed. All by hand. But then I lost the baby. It came too early and they didn't have the neonatal clinic at the hospital then and so next time I was pregnant, I finished it for that baby, who turned out to be my son Joseph. And we still have it to this day but my mistakes on it were apparently either obvious or glaring because I had a friend who said to me when I showed it--I was so proud of this quilt--and she said, 'This is a very nice quilt but you need to take quilting lessons,' and she said, 'and I'll take them with you and we'll sign up.' Barbara Swinea was teaching an adult education course at Big Sandy Mush Community Center so I signed up and I thought she signed up but she never appeared. But I took the class and once we got to appliqué, I was hooked. That was it. I knew I was going to be quilting so I started in after that. And before that I was a painter but what I discovered when my kids were little, that's it's real hard to paint with little kids around, but cloth is more forgiving. I could be sewing and designing and things and they could be playing in the basket of cloth or my embroidery thread which is--have you ever seen Linda Cantrell's? [laughs.]

AH: No.

DL: She has a lecture about her thing and she said, 'Now, you don't want to be obsessive about all your threads and keep them all separate and different colors.' She said, 'This is what I do.' and she pulls out this basket and it's this giant tangle of embroidery thread. It's really funny. But that's exactly how mine looked after my kids [laughs.] got through playing with it. But you know if I'm embroidering, I'm just doing something little on a quilt and it doesn't matter, I just pull out a thread and clip it. That's how I got started.

AH: So the first quilt, the baby quilt, that was just squares of fabric sewn together.

DL: Yes, with appliqué on them and each one was a different animal. I'm sorry, I didn't describe it very well, but the fabrics my husband brought me, he brought me a necktie one morning so that's a snake, he brought me a piece of terrycloth, so I turned that into a goat. It actually turned out well because the fabrics he brought me, I had to really use my thinking brain, 'What on earth am I going to do with this?' [laughs.] A piece of terrycloth. So it's all different animals and actually when I was making them in bed, various relatives said, 'Send us a background square and we'll make one too.' So actually quite a few relatives added to it before I finished it.

AH: So this was your first quilt challenge?

DL: Oh, actually it was, [laughs.] it was a challenge. You're right. And it was before I knew anything about quilting.

AH: But you knew how to sew.

DL: Oh yes, I had made clothes since, well, in second grade I asked my mother to teach me to use a sewing machine. She said, 'No,' that she had to teach my older sister first and my older sister would be not as good at it as I was, so she would need longer. She was dyslexic, although that term wasn't known at the time, but I'm pretty sure that's what it was. So I had to wait and so I waited and waited and my mother never brought the subject up again and I don't remember my sister ever learning in all that time. In fourth grade I said, 'Please, please, teach me to use a sewing machine,' so she she said, 'Okay, I guess it's time.' So the first thing I made, which was at that time those circular skirts with poodles on them, that was my first project. The whole skirt and I put a German shepherd on it instead of a poodle. [laughs.]

AH: That was your favorite dog?

DL: Yes, at the time we didn't have a dog and I'd been begging my father of course for years to let me get a dog but it took a long time after that before he finally let us get one and it was one about this big. [gestures to indicate small.] I liked the looks of German shepherds but I didn't really know anything about them.

AH: So did you take sewing in school then?

DL: No, I wanted to take Home Ec but my father wouldn't let me because my older sister did so terribly in school, because of dyslexia, and my younger brothers and sister were all goof-offs in school and it looked like I was going to be the only one that might even end up in college, he kept telling me I had to take academic classes, which I did and it was fine. Actually my mother taught me sewing and actually she taught me to read a pattern and then anytime I had a question, I'd say, 'What does this mean?' we'd work it out together. So, I never took any sewing classes. Mostly my mother and trial and error.

AH: Are there other quilters in your family?

DL: No. I didn't even see a quilt until I made my own. We just didn't have any quilts in our family. Later, after my grandmother died, there was a quilt passed down to my mother that her great-grandmother had made her mother--so it was my great-great-grandmother--had made and it's now passed down to me. Of course we don't use it because it's an antique, family history and things like that, but I have it now and it's marked on my will to go to my daughter, who is named after the recipient of that quilt, Annie Grace McClellan. My daughter is Annie Grace Lee.

AH: So this quilt would've been made in the 1800's--

DL: Yes. Yes. I took it to the--they had a quilt registry, a historical thing--

AH: Is it the quilt index?

DL: It might be. That might be what it's called. I took it to that, so it's in that now, in Asheville, or wherever that is now. They took a picture of it and and wrote down the facts.

AH: That's nice. How many hours a week do you quilt?

DL: Now that my husband's retired? [laughs.] Before my husband was retired, I could go a little bit in the morning and a little bit in the afternoon and sometimes all day but now he's retired and so we sort of worked out--he's the person who likes company when he's doing projects so I said he could have my mornings, so I usually quilt in the afternoon, that's the only time I quilt these days, except when he goes off on the Appalachian Trail, and he goes for about a month and then I quilt, I don't do anything else, I just quilt. [laughs.]

AH: How does quiltmaking impact your family?

DL: They're all very proud of my quilts and proud of me. My daughter, when she was smaller, made a quilt and entered it in the Asheville Quilt Show, but it was the only one. Let's see, my son, I said to him when he bought a new house, he and his partner bought a house and I said, 'Do you need any quilts to hang on your walls?' because they'd been living in this tiny, tiny apartment and they said, 'Yes,' so I said, 'Well help yourselves.' They must have taken twenty-five quilts. [laughs.] Mostly little. And they have this hallway, which is like a gallery of my quilts. It's really quite nice.

AH: More than you have in your own home.

DL: More than I have hanging, yes, definitely. [laughs.] So obviously they're proud of me, of my quilts.

AH: And when your kids were growing up, were you making them quilts?

DL: Oh yes.

AH: --at that time.

DL: Yes. And I actually said to them, 'Okay I'm going to make a quilt for your bed, what do you want on it?' And my son said, 'Trees,' so he got lots of trees on his quilt and my daughter said, 'I want our house, our mountain, all our animals, I want it to be daytime and nighttime and I want it in pink.' [laughs.] I did it. And she still has it and she uses it. So, that's real nice. And when I make them a bed quilt, they do use it. Usually, I've made several bed quilts for wedding presents for various nieces and nephews, that's about as far as I get, is nieces and nephews, and they tend to hang them on the wall. But my children use them as quilts, which actually I'm quite pleased because bed quilts is really what I'm making them for.

AH: And does your son still have his tree quilt?

DL: Yes, yes he does. [laughs.] And my daughter has that one and I made her one to go off to college--I made them each one to go off to college, mainly squares, real simple. And unfortunately her quilt--he doesn't have his quilt now, he left it at home, the college quilt--but the one she took off to college, they had a storage place in the college basement and she had a big box, so you wouldn't have to carry everything home, and since we were traveling in a Subaru, that was very nice, and we left them all there. When we got back at the end of the summer, something had leaked. Nowhere else in the whole basement but on her whole box. Everything was ruined. This quilt, which was lots of greens and blues and some yellows was like a solid grayish-brown. It was really disgusting, but she wouldn't let me throw it away. [laughs.] So I washed it and washed it and washed it and I got the smell out, some of the color out. We just call it the muted quilt. But she uses it too.

AH: That's nice. So most of the quilts you make, are they wall quilts, smaller wallhangings?

DL: Yes, mostly wall quilts.

AH: Not too many bed quilts anymore.

DL: No. Weddings, well, baby quilts for new babies, and I have a friend who has a daughter and it looks like she will probably never get married, she's never even had a boyfriend, she just doesn't show much interest in it, so I made her, as a college graduation present, I made her a quilt which she has hanging on her wall, but it's a bed quilt. But, yeah, mainly wall.

AH: Do you sleep under a quilt?

DL: Well, yes, we do. We have quilts on all the beds in the house.

AH: Okay. And they're all quilts you've made.

DL: Yes. Although, my second introduction to quilts was after I had made my own quilt and then I married Charlie and we moved into his grandma's house, down in Georgia, it was an old farmhouse, and there were quilts everywhere, on every bed. She had just gone one day, she was living at home and the next day she was in a nursing home and left everything as it was and that's when I started really getting interested then too. I didn't know the patterns or anything, and most of them were quite worn. There was actually only one that was in good enough shape to really put on the bed, but I haven't been able to bring myself to throw any of those quilts away. I still have them all. I just found them fascinating. And his mother, Charlie's mother, said that she never slept under anything but a quilt in her whole life. That's all they had in Georgia, they didn't have wool blankets or anything like that.

AH: So how old are these quilts?

DL: These quilts. The really nice one is dated--I took it to the Quilt Index too and they dated it from the thirties and the others I didn't take because they were so ratty, so I don't know. But I would assume older, well, well-used. But Charlie's grandma did not make them. I thought she had at first but his mother said, 'No, she never had sewn anything.' So I don't know where they came from.

AH: Isn't that a shame?

DL: Yes. I mean--I would really like to know who made them.

AH: Are they scrap quilts?

DL: Not all of them. Yes, two of the most worn ones are but the 1930's one definitely someone bought some pink as the borders and sashing. But the squares themselves are probably all scraps.

AH: So you just have those stored. You're not using them or displaying them.

DL: No. No wall space. [laughs.]

AH: That's really nice. What do you like most about quilting? What aspects of quilting?

DL: The creativity. I like designing quilts the best. Picking the fabrics. But mainly designing them.

AH: And what do you like least?

DL: The quilting itself. [laughs.]

AH: Do you hand quilt?

DL: No, no, no, no. It's all machine quilted. Maybe if I thought of it as a more creative thing, my quilting would be better, but I just think of it as something to get done, to make my picture finished. That's probably heresy. [laughs.] Oh well.
AH: Well, I think that's common--

DL: Oh is it?

AH: --among quilters.

DL: Oh good. To hate one aspect of it?

AH: Yeah, yeah.

DL: Cool.

AH: What art or quilt groups do you belong to?

DL: I belong to the PTA fiber artists, a small quilting group. And the Leicester [North Carolina.] Studio Tour Artists. We don't do much except one weekend in August we have our studios open to the public, people can come around and look. That's it.

AH: Okay. So, the PTA group, what kinds of things do you do with that group? How often do you meet?

DL: We meet once a month and I'll tell you what our name stands for and you'll know what we do: Piecers, Talkers and Appliquers. [laughs.] We talk and eat. And what we really do, which is the best thing is we critique each other's quilts. I'll say, 'I'm working on this and it's just not right. What can I do to fix it?' I have everything pinned together and someone will say, 'Well, you know if you move that over or if you change that to a darker color--' Anything. It's very, very helpful. They're very good critiquers. I know they've improved my quilts from being in with them. But mainly we meet and talk, that's all.

AH: So you meet in each other's homes?

DL: Yeah.

AH: And how many people are in the group?

DL: I believe we're thirteen people, or fourteen, but one of us moved and lives in Memphis [Tennessee.] now. And it's just about the right size because not everybody can come every time and it's a wide enough variety of what everybody else does that you get more quilting information than I would if we all did the same thing.

AH: Right. And the Leicester Studio group, they aren't just quilters?

DL: No, no, no, no. There's three of us who are quilters I believe. But there's painters, and woodworkers and potters, a lot of potters, jewelry makers, a couple jewelry makers and some knitters and felting types, who do hats and jackets and things. I can't think if there's anyone else. Photographers, at least one photographer.

AH: Well that's interesting. Tell me about your studio. Describe it.

DL: All right. Well let me tell you why I have a studio first. [laughs.] First I was sewing in a corner of the kitchen, and my fabric stash kept growing, and my projects kept moving outwards and my husband said on day, 'Okay, it's time to build a studio.' And this was twenty-five years ago probably. And so we did it, we did it ourselves. He is not a carpenter or builder or anything like that by trade, he's an electrical engineer so we got books out of the library on how to do cement block in the basement and we got the first floor started up and he said, 'You know what? This is not really going to be very big. It was twelve by twelve and he said, 'How about if we make this my shop and go up and do a second floor and make it go out two feet either way,' which was fine with me and it actually turned out to be a good thing because my studio is quite full, but anyway, so it's sixteen by twelve. You have to go up a set of outside steps to get to it and there's a huge pecan tree, it makes you feel like you're up in a treehouse when you're up there working in it. And he asked me if there was anything special I wanted in it and I didn't have a studio before that so I didn't say built-in shelves or anything like I should have, what I said was a bay window, I always wanted a bay window. [laughs.] We got it, we managed to get it up there and in and so I've got a dresser and a cabinet and an old oak desk where my machine is on but everything else basically is sort of jury-rigged shelves with lots and lots of fabric. And as we were building it we decided that it should also be a guest room, so we turned one corner of it into a bathroom. So I have to leave enough room in the center to do one of those blow-up mattresses. Which was good for when my son came home when he was in college and kept bringing lots and lots of kids. So anyway, it's sort of a small house so it's nice to have a guest room.

AH: You built it yourself.

DL: Yes.

AH: Wow.

DL: We were actually quite impressed with ourselves, having never done anything like that before.

AH: Yes, I would think so. Are there certain artists or quilters who have influenced your work?

DL: No, I wouldn't say so. I think I probably have my own style and I know what it is and I know what I want to do. I can tell you that my favorite artist is the cave people, the cave women. I'm sure they were doing the art and the drawings on the walls, not the cave men who were much too busy outside hunting.

AH: Right. I never thought of that.

DL: Well, if you really look at it, there's all sorts of levels of expertise and I think it was the mothers, and there's also handprints way low and handprints up high. I think it was some mothers teaching the children how to do it themselves, the drawings and I think the handprints are learning to blow the pigment and/or measuring height like we do on doorways. I don't know, I've always thought that it's been the women who were doing it.

AH: It sounds like something you've studied.

DL: Well I do have a degree in art, from U.N.C.A. [The University of North Carolina at Asheville.] and I took a lot of art history and of course there, they say it was always the men doing it for religious purposes or magic, to make the hunt go better but I knew right away they were wrong. So, I have thought about it a lot, yes.

AH: So that's influenced you in that you do pictorial quilts--

DL: Yes, yes, and I go out and look at the animals I'm drawing, that I want to put in my quilt. We've had a lot of critters over the years, we live on a farm and right now we're just down to guineas and cows, so that's what you're seeing on my quilts these days.

AH: That's so interesting. Okay, the theme of the Asheville Quilt Show this year is "Once Upon a Quilt, the Stories Our Quilts Tell" and I think you entered a quilt in the show in that theme category.

DL: Yes.

AH: So, do you want to talk about that quilt a little bit?

DL: Was it the dog one? [laughs.] I think that's the one I did. Well, I have a friend, the same friend who told me I need quilting classes, years and years later she said--oh no, it was my aunt, the one I gave the quilt that I would've brought here, is also an artist but she's a sculptor and she asked me--and she's met Madison, who is a sculptor with clay, and she asked us to do a piece together that we could enter in a show that she was curating in Norfolk [Virginia.] that was called "Mixed Media" and it had to be at least two different things, so we thought, 'Clay and fabric, sure we can do that,' and her [Madison's.] suggestion was to do dogs in trouble because she has this giant dog that she takes everywhere with her and at that time I had two or three dogs, and so we did a dining room table and chairs and I did the dogs. Her dog is a Labradoodle and I used polar fleece that I found the exact color that he was and my dogs, one I used--she's a terrier--I used lamb's wool and steel wool mixed together to make her and then the Jack Russell I just used fabric, white and then drew the spots on her but then the lab/chow mix I used a piece of fake black fur because she was real furry and then Madison for her part in it did dishes, little clay dishes with bacon and eggs on them. And one's broken on the floor and the lab/chow mix is putting it's nose to it and then the Jack Russell is on the table looking at one of the plates. And so every dog has something to do with these plates but they were absolutely the cutest things you ever saw in your life, all these plates with bacon and eggs on them and so we were inspired and we did another one with dogs in trouble in the garden. So this year, she didn't do anything on this one, she's got arthritis in her hands real bad now and isn't doing clay anymore, I just did by myself and it's dogs in trouble in the sewing room. And the same wire haired terrier dog is there, and she's pulled all the fabric off the shelves and has made a little nest there and the Jack Russell, there's a quilt of a cat and she's barking at that but I put Madison's dog in it and he's a retriever mix so he's got balls of yarn, which I actually made, the little balls of yarn he's got in his mouth. And then the new dog we have, he spilled a whole basket of things and I used those little charms of scissors and spools and things, so there spilled out everywhere. So, yeah, I thought it was a story. [laughs.]

AH: It was a story. Is it your sewing room that's depicted?

DL: No, not really, because I do knit, but I keep it separate from my sewing room because my sewing room really is a little crowded and the only time I really knit is when I'm watching a movie with my husband in the evening, so I keep my basket there. It is my basket that the big dog is attacking and it does have a design wall in the quilt, of all little things that were parts of other quilts from me.

AH: Why is quiltmaking important to your life?

DL: It's my creative outlet. I garden and I do things with my husband, but quilting is mine, mine alone and I get totally focused on it and I don't know, I have to be creative some way. I would be doing something if it wasn't quilting but quilting is the most fun thing I've found so far.

AH: And do you sell quilts?

DL: Yes, I do.

[an unidentified person enters the room and speaks.]

DL: Sell quilts, yes I do. There's a little shop in Weaverville [North Carolina.] that has some of mine and every now and then I have some at the [The North Carolina.] Arboretum in the upstairs hallways and I have one at the Pisgah Inn right now and then of course the Leicester Studio Tour, which I do quite well at. Actually I think that people feel like that if they've come all the way out, braved my driveway, which [laughs.] for city people who have never been up my driveway before, they say, 'That's the scariest driveway,' so I think they feel like they really need to buy something because it proves they made it up. Actually one person told me that, it was a quilter that came up, she said I should have bumper stickers made up that say, 'I've survived the trip to Dort's house.'

AH: Maybe you could make quilts that say that. [laughs.] I think we're coming to the end of my questions here, do you have anything else you wanted to say about quilting or quilts?

DL: Not really. I think you asked good questions, things I knew about, that I had feelings about.

AH: Okay then, this concludes our interview, it is 11:50. Thank you Dort.

DL: You're welcome.