Already like briefly told me, but yeah, so we obviously run marketing agency based in the Scottish Borders in the town of Alice shields. And one of our clients is an in Development Trust called energise Galashiels. So we knew of various different projects that were that were being led by other organisations and we were asked quite frequently to take part in focus groups or market research by these other organisations. So before we even got involved in the brand, please branding project, there was an agency from Birmingham, who had been commissioned by Scottish Borders council to look at branding for the town of Galashiels. So the catalyst for that project was a multimillion pound investment into a new visitor centre in the town. So I don't know if you're aware of this project. It's the largest community art project in the world, and it's called the great tapestry of Scotland. And essentially, it's, you know, hundreds and hundreds of stitched panels, the tale the story of the evolution of Scotland, and, and a lot of tones for to have the tapestry on display in their town, and gala shield. One. It was going to go two to three miles away from here and a hamlet called tweedbank because there's been a new railway like new as in 2009, I think. And this last station is tweedbank And I think the government and the council thought, well, we'll pop it into the bank because people will just come down on the train and that, you know, they'll get off the train and go to the tapestry centre, but there's nothing else then tweedbank at all. Energise Galashiels really championed to have the package to st are located in the town because it's the second last stop on the train line. And Dallas shields like many, many towns and cities up and down the line has really, really suffered from the change in consumer habits and the high streets decimated basically. So the organisation that did the business plan for the tapestry centre, estimated that a fruitful and extra footfall of 150,000 people would come to the capital was there every year. But they massively stressed that the wider offering of Galashiels would have to be significantly improved, to make that happen, because the tap has to stay in or, you know, no one was going to be teleported from wherever enter tablished it and then out again, the whole point of it was economic and social regeneration. So this company in Birmingham had been brought on board by Scottish Borders council to kind of look at that and to kind of give a little bit of branding infrastructure around that. So we took part in a focus group where we were asked for our thoughts and feelings were about the town, depending on who we were where we do call where we are business owner, you know, where we are somebody else from the borders or be somebody from outside the borders. And I think what really came to the fore was to be awareness and the sort of thing. Really, really bad, and if any work was going to be done to achieve 50,000 footfall in brand or creation of a police brand was going to have to be part of that. So luckily for us council decided to give that project over to energise because it will have gone to the Birmingham design agency. But what I had said to anyone that would listen was they had come up with some ideas and concepts, but they were just so far removed because how can somebody environment really who's sitting in a, you know, on a Mac environment or really understand a tone. And this is kind of one of the points about place, branding that I think people don't always understand like, if you're branding a product or a service, you have an organisation who owns that product or service and you can identify the values and you can you can ascertain the features and benefits that the customer is going to get and there's a lot of control within the owning organisation. When you're branding, a tone, none of that exists. Because a tone is is lots of component parts, including the people and all the different nuances with the people in you know the physical infrastructure, there's an historic social context, you know, there are so many variables that you can't just look online and get a sense of or, you know, go and have a look at someone's mission statement or something like that, to get a sense of what the brand needs to be. And I felt really strongly, I didn't see that I thought we should do it. But I just did some different Scottish Borders at the minimum, but ideally, somebody from Galashiels should be developing this brand. Because there's so much that you will need to know that you to make it work. The Scottish Borders claims will be for over energise on several marketing companies pitched for the job, and we were successful. So I thought, Oh, my goodness, I've got myself into now have an art because I've been, you know, on my soapbox, talk about all of the importance of place brand, and you know, using Amsterdam and New York as examples of good practice. Yeah, that's just us.