Artist Johnny Adolphson

Join Patrick as he interviews Utah-based landscape photographer Johnny Adolphson, who shares his journey from a side gig to a thriving full-time art business. Discover how Johnny successfully markets his work through local shows, restaurants, and hotels, leveraging his deep connection to the Heber Valley. Learn about the importance of building a local customer base, the challenges of online art sales, and the strategies that have helped him thrive in a competitive market. Tune in for valuable insights on attracting high-end clients and the power of consistent marketing!

Podcast Transcribe

Patrick Shanahan: All right, guys, Patrick from Art Storefronts back with another customer interview, and I have none other than the man, the myth, the legend, Utah-based photographer Johnny Adolphson with me today. Johnny, how are you doing?

Johnny Adolphson: Doing great, Patrick. Very excited for this interview.

Patrick Shanahan: As I am for most of them because I find your particular niche, situation, and operation very interesting. There are a number of different facets to it, and we'll get into that. I'm also just a huge Utah fan. But give us the quick high-level: who are you, what do you do?

Johnny Adolphson: My name is Johnny Adolphson. I'm a professional landscape photographer from Heber City, Utah. I've been using Art Storefronts since 2018. Aside from photography, it's a small business my wife Sherry and I run together. It's something we started off as a side job, and now it's something we've been doing full-time for about three years now, except for a little bit of ski guiding I do in the winter. I'm still a professional ski industry worker, and luckily, I'm able to keep doing that.

Patrick Shanahan: Amazing. Just to give you guys a quick look at what Johnny's work looks like, he's based in Utah, and as it comes with the territory in Utah, you've got some beautiful scenery. Right out of the gates, Johnny, what I'd love to talk about is a tough situation, so I'm just going to lay it out. We have multiple customers at Art Storefronts who are photographers like you in the sense that they love being outdoors, they love getting nature and everything else, but they're not getting a ton of traction. The reason is that they're not localized to an area. They're just traveling and going everywhere, getting all these beautiful places, and the images are incredible. Some of them are doing van life or trailers, and it's like, okay, wanderlust all across the United States, but they don't stick to a region. When you don't stick to a region, it's really hard to know who your audience is going to be. I feel advantageous for you is that you've nailed Utah. You own Utah better than anyone. You've been to all the places, all the spots, the magic hour in every single solitary one, and I feel like it's really working for you in that capacity. So, I'd be curious what you think about owning that niche and nailing that niche and just having the beauty of a localized town and how that affects your business.

Johnny Adolphson: Oh, it's huge. Especially in Northern Utah, Park City, Wasatch Back area, it's huge for me. When I first started in photography, I was a jack of all trades, just shooting all over. Then really, where we've found success and been able to make a go at it running a small business selling fine art prints is having our local following and our local customer base that's built with a community. There's a ton of growth around where I'm at in Heber City. A lot of influential neighborhoods are being developed, and already being in place as a well-known Utah photographer and specifically a Wasatch Back local has been absolutely huge for our business.

Patrick Shanahan: Yeah, I'm going to go into a dark place here for a second, but we look at so many different trends as a business at Art Storefronts. You have macroeconomic trends, right? It feels like we've been in a recession for a while despite the fact the stock market is ripping. But there's more important economic trends for art than just that, and chief among them is housing. With interest rates where they've been, with new home purchases at 13-year lows, the fact that these low-interest-rate loans that people got are like handcuffs—why would you move or upgrade or go somewhere else when your mortgage is not going to be able to get anywhere near the home that you had before? So, it's really been a very difficult situation. I feel Johnny and I were talking before this started like I went on to Redfin and I was looking at homes in the areas that he's in, and there's no recession in Utah where you are. It feels home purchases are out of control, people moving there all the time. I'm a Californian; I hear so many Californians moving to Utah. So, I feel very advantageous and fortuitous time to be a Utah-based photographer.

Johnny Adolphson: Yeah, it really has been huge, and that's been what's allowed Sherry and I to go full-time with this over the last few years, especially coming right out of COVID. That's when Sherry left her other job, and we really started running this full-time. I guess our goal now is to just build that customer funnel and that customer base that hopefully, if this wave ever subsides, we can still keep it rolling on the work we're doing now. But being in position as a local landscape photographer really put us in a good place for this boom around here.

Patrick Shanahan: Amazing, amazing. So, I'd love to hear a little bit about the business. You're doing extremely well, obviously on Instagram; you're at 50,000 followers on Instagram, so you've got social media marketing mojo for sure. But walk us through how are you approaching your sales? What portion are online versus offline? I know because you and I have talked in the past that the in-person shows are a big part of your business. I'd love to hear about that aspect and then how the interplay between that and the online is going for you.

Johnny Adolphson: Yeah, you bet. I guess the way I would best describe our business is a kind of an on-site online combo. We spend a ton of time year-round, especially spring, summer, and fall when I'm not working in the ski industry, at local shows, local farmers markets. Basically, every weekend in the busy season, we're at either an art show or a vendor market. I've also got images in local restaurants, a local brewery, a couple of the new larger hotels that are going in up in Deer Valley. So, I've got physical displays. I don't have a brick-and-mortar storefront; that's something we're working towards. But really, for right now, the on-site online combo has been working really good for us with my Art Storefronts website backing that all up.

Patrick Shanahan: I got to stop you right there because how did you get into the hotels? How did you get into the restaurants? I feel like I get asked that question so often. Literally, walk us through how you got those deals.

Johnny Adolphson: I've got art in the Back 40 Restaurant, a real popular restaurant in Heber, between Heber and Park City. They found me on social media. They approached me, asked how I'd like to—if I'd be interested in displaying some art in their restaurant. I went over and met them, and they said, "We want local art from Heber Valley in our restaurant, and we like what we've seen on your site." So, Sherry and I put a bunch of metal prints in there. The metal prints are nice for the restaurants; the kids can touch them and go in there, wipe them off, and the finish lasts really well. So, that's been a huge display for us. We started off in 2018 with tags and card holders. Since then, we've been taking the card holders out and just getting tags with QR codes, cleaner, better for the establishments. The card holders all around the restaurant were a little messy, so we've switched that up to QR codes.

The two hotels I have art in—one's the Montage up in Deer Valley. That one was through the Park City Artist Association, a local artist group that I'm a part of. The president of the Artist Association worked with them, and so we've got multiple images with QR codes in the Montage. Just last summer, I met some of the management, the president of the company who's building the new expansion on Deer Valley, the new Grand Hyatt. They came into my tent on the street in Park City, saw my work, and said, "Wow, this is amazing. We'd like to work together to get some of this in the hotel." So, I started doing some work for them, some commercial shooting of the property and the fall colors and whatnot. That's led to me getting a combination of some of my own work in the hotel in a nice hallway across from the retail area, as well as some of the images I've been shooting for them are going in that hotel. But those won't be available on my website; those will still have QR codes and tags to my website. So, that's how I've got about getting into those spaces.

Patrick Shanahan: Johnny, I just have to stop you and say, where is the press section in your story highlights, dude? You're in the Montage, which is one of the bougiest hotels in the entire world. Like, you need to go this weekend, you two get in the car, go and photograph the work hanging in those places, create some Instagram stories, and get it in the story highlights. Take a giant photo of the Montage sign and then your art. That's insane. That's like a big deal to land. That's crazy.

Johnny Adolphson: Yeah, I was pretty psyched. Both of these are new displays that will be the first ski season or the first winter that they'll be in place with the QR codes. I'm excited to see how much traction we get and how many email signups and hits we're going to get off of those QR codes in those hotels when people come from all over the world to ski at Deer Valley.

Patrick Shanahan: Which is, and they are high-dollar. It's one of the ritziest mountains in the entire world and one of the snobbiest because they don't allow snowboarders, which is a quick tangent because this is like important to me. You know, I've been harassing Jonah on this for a long time, and I don't know if it directly applies to you, and I'm going to ask the question in a second, but in Jonah's case, I'm like, dude, same kind of a situation—a ritzy town where people will come flying in. Get your ass down to the FBO, which is a private airport, and go into the FBO and give them your photography tomorrow. What spurred me on about your story is like there is no better place to have your work hanging in the Montage because when someone is paying $2,000 a night for a hotel room, turns out they probably have a healthy balance sheet. I've been to Utah so many times. Is there the drive from Salt Lake City to Park City? It's like one of the most charming parts of that entire mountain town because it's so short. Where I live in Southern California, people go to Mammoth, and that's like a six-hour drive, and that airport is really dodgy, and most of the time when it's snowy, you can't get into it. So, is there a private airport that services Deer Valley?

Johnny Adolphson: There's the Salt Lake International Airport, which you've flown into. I've been working hard to get some art in there. I don't have anything in there yet, but we do have a local airport in Heber. It's been a controversial deal here in town with the being in Wasatch County, the county down the hill, the little lower-income town down the hill from Park City and Deer Valley. There's a private airport where private flights are coming into Heber, into my town, into the airport here. Yeah, there is an airport. I've never reached out to them. It has been a, like I said, a controversial deal with our tax dollars paying for the airport that goes to the ritzy town up the hill, but at the same time, it's good for business. So, hot topic around here for sure.

Patrick Shanahan: I think even if there's not necessarily a private airport that services Deer Valley, and again, because from Salt Lake City, it's just so short, there are still FBOs at Salt Lake, right? There'll be like a Premier Jet or a Million Air. Like, go and load your van and literally drive right up to that FBO, walk in, look at the walls, and be like, "Oh my gosh, I got to get this tuned up for you," and just ask nothing in return because this notion of getting your art into the really high-end spaces is so genius, and almost no one does it. Almost no one does it. And the fact that you are going to Saturday morning drive to the Montage and get those photos, and then Sunday walk into the FBO and go, "Hey, guys, I'm Johnny, by the way, you can see my work in the Montage. I'd love to have some on the wall." Game over. You're gonna get zero resistance. Literally, I can see it now. "Oh, can we set up a time to sit down and talk about it?" "No need, I've got all the pieces in the car. Just let me know. I'll hang them too." And show who your guy is ready to hang, which is probably you because you're handy.

Johnny Adolphson: Sherry's handy.

Patrick Shanahan: The exposure to the people that are high net worth is the whole ball game, right? And the fact that you got into the Montage, dude, that is a huge deal. Huge deal. So, amazing, amazing. Do you feel like you've been able to track attribution to the restaurant?

Johnny Adolphson: Not yet. We just put the pieces in. They took one order in the last spring, and they're just taking another order in now. So, this will be the first ski season where I have these displays in place, both at Montage and the Grand Hyatt and the new East Deer Valley. Not yet, but I'm hoping to track that through this first upcoming ski season and hopefully see an increase. But I have not been able to track it yet.

Patrick Shanahan: Amazing. And again, it's advice that I give all the time because everyone's like, "How do I just want to sell my art with interior decorators? Like, how do I attract the interior decorators? I just want to have my art hanging in restaurants. I just want to have my art hanging in hotels. That's where my buyers are. How do I do that?" And you said this; you said the same thing that I hear again and again: "How did you do that?" "They found me by doing the regular non-sexy, consistent marketing and putting yourself out there, and they find you." It's like it's the only way it ever works because it's so hard to go the opposite direction. Right? Somebody was asking on Instagram, "Did the Montage purchase the work, or is it just hanging in there for free?"

Johnny Adolphson: No, these are images that I've provided. I just put in a large—the Montage is mostly stuff I had in my inventory that we've sent them options. They said, "Okay, we'll take that, we'll take that." Three months later, they'll get back to me, "If you haven't sold that one, we'll take that." The Hyatt, we've put—that's a display we're putting in. Started with a couple of big high-gloss metal prints, and I've got an order of large ChromaLuxe acrylics I'm going to pick up in Vegas to go in. So, I'm investing quite a bit in both of these displays, especially when I'm getting these larger—I'm putting limited edition large acrylics in the Hyatt. So, yeah, I'm investing quite a bit on these displays. Same with the Back 40 Restaurant. I provided—I paid for the art. I pay for everything. Same with the brewery. I provide all the art.

Patrick Shanahan: Genius because you're just advertising. Those are just Facebook ads; they're just Instagram ads. That's all that they are. And I would even go as far to say I would pay to have my art hanging in the Montage, and I wouldn't shut up about it ever because that brand has such a level of prestige. And even more than that, I think rotate out with them. Let them know that you're willing to rotate every three months because a lot of times, the decision-makers that decide what goes on the wall are the ones walking by it every single solitary day. If you're like, "I am going to make your life easy and interesting. You let me know when you want me to rotate things out." Call them every six months and just be like, "Hey, I've got some new ones. You want to swap out?" And swap. It's just amazing. And if you already got the Montage, oh man, keep going. You got to get—what was Robert Redford's place? Sundance. You got to get in Sundance. I love Sundance. That's where I ski with my family. I was skiing there yesterday. Love Sundance. The place is just magic. That whole drive, the whole deal.

Johnny Adolphson: Yeah, amazing.

Patrick Shanahan: That was a great tangent, but going back to the in-person events, the shows, the fairs—your weather is limited there somewhat, right?

Johnny Adolphson: Yeah, yeah.

Patrick Shanahan: So, how many a year are we talking about? Is it like five, or you're doing like 30?

Johnny Adolphson: We have—Sherry has the receipts. More than 30. We literally do the Park Silly Market every Sunday through the summer. We do 12 of those. Downtown Salt Lake Farmers Market, we do a bunch of those. And then, as far as actual juried art shows, we probably do 10 or 12 juried art shows, along with the Wasatch Back Arts Festival, a local arts festival that a company that we started that we created here in Heber City. We had the first one last summer, and that was a hit. I met a lot of new people moving to town that came to the art festival. But a lot of—I always tend to do good at the local juried art shows. When I go on the road, go to Colorado, go to Jackson Hole, I usually make money. I usually do okay. But really, my bread and butter is my local crowd, my local shows. And then I also do a ton of vendor markets, farmers markets, one-day type setups. And that's where I'm different from a lot of the other artists, like people that run the galleries in Park City and stuff like that. I'm actually, aside from doing my big 10x20 multi-day art show, I'm doing little pop-up downtown winter farmers markets. And these things are great marketing. I always have a range of stuff—some cash-and-carry items, large prints, always try to have something huge on the wall somewhere. And these things are all about the marketing. If my goal with these small farmers markets, local events in the park, is to make a wage off of the print bin and make a customer for later—their email, handing them a card, and being ready for when they do finish that remodel or get that home built. A lot of times, it's just a great way to meet people and get the work out there in front of people, especially when I've got the website backing that all up. "Here's the website, let me get your email," that type of stuff.

Patrick Shanahan: It's wild to think about it. I've probably been to Park City, I don't know, 10 or 15 times, something along those lines over a 20-year period. And the fact that you're getting that level of success through any—that's been to Park City, you cannot walk six steps on Main Street without hitting an art gallery. They're everywhere. They're everywhere on the main drag there. It's out of control. And still, you're seeing success in the pop-up, in the local deals, which is insane. Have you attempted to get into any of those galleries on Main Street?

Johnny Adolphson: Not really. I'd have to have my own—I've been in a couple of collective galleries, not on Main Street in Park City. I have a frame shop. There's a—that same Park City Artist Association who helped me get into the Montage as a local artist collective gallery. I've been in, but really, and I've been in collective galleries in Springville and Helper, Utah. I haven't had much success being in the collective galleries. I think if we ever do go with a brick-and-mortar, it will be our own. And I've seen everybody—I've seen local artists. They start small. They start out in Heber, they start out in Kimball Junction, and then they eventually move to Main Street in Park City. So, that's—but it'd be nice not to set up the tent and have a brick-and-mortar.

Patrick Shanahan: Get out of the cold, get out of the cold, brother.

Johnny Adolphson: I don't know if we're there yet to the point where I want to suck up that kind of rent. Those are expensive places. And really, the on-site online combo has been working good for me right now. But we're in our mid-50s. How much longer can I manage this intensity of setting up the tent, doing one-day displays with all the setup and teardown? Hopefully, for quite a while longer, but I'd like to eventually get into some type of a brick-and-mortar.

Patrick Shanahan: 100%. And I love what you just said because I think we've been doing this for a long time. I've had so many conversations with so many different artists in so many different seasons of life, and it's okay to say that the best way to sell art is in-person, face-to-face, by an order of magnitude of a thousand. Like, everyone has been sold this dream of passive income and put your work online, and you don't have to talk to anyone. Here's the dirty little secret: at the end of the day, art is really hard to establish the value proposition with online. It's just hard to appreciate it. You need to be looking at it; it needs to be right in front of your face. That's—yeah, it doesn't mean you don't do online. Of course, you do online. There's a million different reasons why online works. It works when you sleep; it's there all the time; it can serve hundreds of people at a time. Okay, great. But where am I going with all that? Art careers are really long. You're going to be doing this into your 70s, into your 80s, as long as God gives you on this planet. The putting in the suffering early on, to me, is the whole ball game. What do I mean by that? The loading the car up, the setting the booth up, the freezing your butt off outside, the eight hours on your feet, all those conversations. Like, yeah, if you get all of those reps and sets in when you're young, you don't have to deal with it as much as you get older because you've got an email list, you've got a customer base, you've got collectors. So, if you already know this, and you just said it, but it's such a profound thing to say. Everyone's like, "I just—I see it all. I see people that are like in their 60s, in their 70s, and they're like, 'I just don't have that gas in the tank anymore.'"

Johnny Adolphson: Yeah, yeah.

Patrick Shanahan: So, it's really if you want to have a long and pronounced career, when the body is able to do that, right? To do all over again, we'd be doing it in our 20s, but we got to do what we can do. But I—yeah, if I would have started this whole email list and this thing 10, 15 years ago, geez. But yeah, it's just been in the last, really since we've gone full-time, that's when we've started having success. When we're in the booth, we're meeting people. I'm physically standing right there beside my photographs. They're seeing the print on metal and acrylic, and that's when we started to really sell art. It was always—we were moving some art before we went full-time, but it never—if you print sales every month randomly on the online or wherever, but not enough to really make a go at it until we started dedicating time to physically standing there with the art.

Patrick Shanahan: Yeah, and I do think a number of different customers—right, Jonah has been on the podcast, and why am I blanking on his name? The guy that has the gallery in Round Top. You've seen that episode too, right?

Johnny Adolphson: I'm not sure if I saw that one.

Patrick Shanahan: Oh my gosh, so you've got to watch this one, and I'll pull it up and I'll screenshare really quickly. But where I'm going with it is, I do think you should think very seriously about—let me put it this way: I love the gallery model when the artist owns a gallery. That's what I love. I don't love it otherwise because the numbers just don't really pencil, and never have. And that's what we found with the collective galleries. It wasn't worth the rent for us to eventually—like Jonah, amazing gallery. His name right out front. That's pretty impressive.

Johnny Adolphson: Yeah, yeah.

Patrick Shanahan: Don't get me wrong, it's not a bed of roses. You're on the hook for the lease. You now have a retail establishment. Anyone that's ever worked in retail, guess what? Weekends, holidays, the days that you want to be off, you can wipe those out of your mind because you're going to be working those days. Right? Like, you have to be in there. This emergent trend of artist-owned galleries, I think, is just fantastic, and I think it's absolutely amazing. It's John Lowry, and his operation is called The Humble Donkey Studio. He's in this town in Texas called Round Top, population 87, okay? And very good rent, like what he pays for this building. It's like this old barn from like the 1800s. But you watch this episode, and I'll send it to you in Slack. It's amazing to see because he has the entire lineup from merch. He even has clothing in there. He's got all of his originals, and he walks you through the whole thing. And his story is a lot like yours. It's—he constantly says, "I put my shingle out there." And yeah, I don't know if they do have them in Utah, but do you have—have you ever been into a Buc-ee's? Talking about—they don't have those in Utah.

Johnny Adolphson: They don't have those in Utah.

Patrick Shanahan: Like, it's like the Flying J Travel Center, gas stations, except it's like a cult thing in like Texas. And he got—somebody came into the gallery from the Buc-ee's, and it's become like an internet sensation recently. Like, people laugh about it, but it's like a giant convenience store. But he got into a bunch of Buc-ee's because someone came into his gallery and was like, "Man, this is really great." Okay, so—and also, in his case, he's got a multi-six-figure-a-year business with the gallery and the online doing it at the same time. And then also, with the beauty of print-on-demand, especially when you're in a resort town, the ability to say, "Okay, you don't have to carry this thing out underneath your arm and then figure out how you're going to fly it home. Just let me know, and I'll ship it." It's just a beautiful thing. But I do take your point about—I don't even want to know what a building costs on the main drag in Park City. That's very, very expensive.

Johnny Adolphson: Patrick, you just brought something up. A lot of my orders—as far as you don't have to—a lot of our shows, like the Park Silly Market, people park, ride the bike, ride the bus up there. Most of my sales off some of these are off the wall at the tent. The majority of my orders at my art booth—we're taking orders, and we're either making it locally and delivering later on, or we're shipping. So, the majority of my orders off the tent are orders that we're either shipping or delivering ourselves. We do sell stuff off the wall at the tents, but the majority of those tent orders are orders.

Patrick Shanahan: Yeah, which is great. Of course, take it whichever way we can, but it's a beautiful thing to be able to do. I do wonder, Johnny, you're in a town that is clearly turning over at an alarming rate, and obviously, Main Street in Park City is Rodeo Drive, right?

Johnny Adolphson: Yeah.

Patrick Shanahan: And by the way, the Film Festival ruined that entire town. It could have just stayed in Sundance, and every—got so much more expensive and just exploded in every direction. But I think you should—main drag in Heber is an up-and-comer, and there's probably ground-floor opportunities that would be significantly cheaper than Park City.

Johnny Adolphson: I'm keeping an eye on it because they're talking about turning there—a CRA or whatever it's called—Community Reinvestment Area. They're talking about making Main Street in Heber—closing it off, diverting it around town, and making that more of a walkable kind of art district here in Heber. So, I've been really keeping my eye on that stuff to try to figure out when and where I could because if I do a local gallery, that I may do something around that if they're going to make that new section in Heber City. I'm going to try to plan around that.

Patrick Shanahan: Anytime when the waves are coming in, it's you have an opportunity to be in front of that. I imagine starting an art gallery is like owning a boat. You want a partner. You want a partner. So, maybe even finding another local artist and be like, "Hey, you want to 50-50 one of these things?" And just see what happens, see what we can do because especially when it's new construction and the town is growing, and that's a big investment.

Johnny Adolphson: Huge.

Patrick Shanahan: And I just saw a buddy of mine—another very successful photographer has some place up in Park City where he's partnered up with the furniture—these massage chairs, $10,000 chairs, you know, massage chairs, adjust every which way. Those are all on the floor, and his art is all around above the chairs in the rest of the building. So, he's got some type of a partnership there where he's doing something with a different brand.

Johnny Adolphson: Amazing, amazing.

Patrick Shanahan: Yeah, it's just such a fun thing to contemplate. I always ask on these for my own selfish reasons: if there was just one thing and one thing only that we could improve about Art Storefronts, what would it be for you?

Johnny Adolphson: Oh, man, that's a tough one, Patrick. Nothing's popping into my head right off the bat. One thing that annoys you—if you guys could just fix this one thing, everything would be better.

Patrick Shanahan: Oh, gosh, the—I mean, the recapture login always gets me, but then I realize I just got to wait 15 seconds, and it works fine. I can't think of anything big that's the only thing that really pops into my head.

Patrick Shanahan: Yeah, and then—which is great. I'll take that. And then, you started playing around with Art Helper. So far, are you getting good use out of it? What are you finding is interesting? Just out of curiosity.

Johnny Adolphson: Well, we played around with it a bunch, and I haven't had a lot of new work to go on the website in the last couple of weeks, but yeah, Sherry and I got on and thought it was really cool, especially if I come back from, say, a trip to Southern Utah where I've got 10, 20 images at once, being able to just quickly say a few sentences, having it in my voice, and to really—and to create those titles. Stuff like that. I guess the one thing I would like to see more of is more help towards keywording because that's always a big—any online art sales, the keywords are a huge part of it, and that's very time-consuming.

Patrick Shanahan: Yeah, yeah. But we thought it was pretty neat, and I see the potential for it to really save us a bunch of time, especially in the spring when I start traveling to the desert. I'm actually doing 10 to 20 images at a time on my website and bulk uploading. Really, there's just so many tedious little—back in there's so much. It's like, how many things do you guys have to be good at as artists? You have to be good at creating the art and having that entire creative genius, and then the writing portion of it is like, who is great at creating art and writing? And then art—who's great at creating art, writing, and then marketing? No one. It's too hard to be good at everything. We need all the help we can get.

Johnny Adolphson: We need all the help we can get. Absolutely.

Patrick Shanahan: Johnny, huge thanks for your time. You guys, check Johnny out. You can see his Instagram handle underneath his name here, and you can see it up here. You've got to follow Johnny. He's grinding all the time. You'll see him constantly doing his shows, constantly doing his fairs. He's very shortly going to have a press section in his story highlights. Help me hold him accountable with pictures of the Montage. Okay, Sherry, you're driving them there this weekend. I want to see a press section on here. The Montage is a big deal. It's really going to get behind people. But other than that, I assume people can check you out on your website, check you out on Instagram, send him a message on Instagram. Very approachable. And huge thanks for the time today, Johnny.

Johnny Adolphson: Thanks, everybody. Hope you enjoyed the episode, and we'll see you on the next one.