Reglazing Modernism w/ Angel Ayon

 I just fell in love with that. person who was in the middle of things and had to deal with everything, the building, the people, the lives, the stories, the commitments, the deadlines, trying to do the right thing, trying to stick to the principles of what's authentic. 

Welcome to Tangible Remnants.  I'm Nakita Reed, and this is my show where I explore the interconnectedness  of architecture, preservation, sustainability, race, and gender. I'm excited that you're here. So let's get into it. 

Welcome back.  I'm excited to get right to the episode this week. And this week's episode features a conversation with Angel Ayon  of Ayon Studio.  Angel and I met at the Association for Preservation Technology International Conference in Miami in 2019. And that was one of the first APT conferences where I met a number of preservationists of color that I didn't already know.

It was very exciting for me. So it was at that conference that Enhel debuted his book, Reglazing Modernism, and I was in awe. Once the book was widely available, I made sure that I got a copy for the Quinn Evans office because it's just such a fantastic resource of case studies. I highly recommend it and I will make sure to put links to it in the show notes. 

Enhel's company, Ion Studio in New York, integrates architecture and historic preservation to help ensure the viability of significant properties.  The studio seeks to transform the built environment with contemporary, sustainable, and architecturally appropriate interventions. and to make sure to safeguard and enhance significant properties for the enjoyment of future generations. 

Ángel himself is an architect and preservationist with more than 25 years of experience.  We talk about his journey in the episode, so I won't give you too many spoilers, but I will say that he is a native of Havana, Cuba, and his career has taken him from Cuba to DC to New York and many other places, I'm sure.

He currently serves as vice president of Save Harlem Now.  He's also the Vice Chair of the Board of Trustees of the Preservation League of New York State.  He is a member of the Board of Directors of the James Marston Fitch Charitable Foundation, as well as numerous other organizations that are included in the show notes. 

Be sure to check out the Tangible Remnants Instagram page to see some of the photos of the buildings that we discussed in this episode. And if you haven't followed the podcast on Instagram yet, Be sure to do so the next time you're on the platform. Our handle is at tangible remnants.  It was great to connect with and held to learn more about his journey.

And so without further ado, please enjoy this conversation between me and Angel Ayan. 

I remember when I met you is also when I saw the book that you put out, Reglazing Modernism, and I was fascinated. And so before we jump into the book, why don't you tell me a little bit about what got you into preservation and architecture? Well, as you know, I'm, I'm originally from Havana, Cuba.  And when I was in architectural school, I was really into a sustainable design type of class.

And I was a TA in that class since I was in second year.  And I thought my, my career would kind of go that way because it was really cool. This whole issue about sustainability and so on.  And my professors had kind of determined that they would hook me up on this other program, what I would do a PhD and that they would also join the faculty of the school of architecture.

And I was, I was so excited about all that. And then all of a sudden,  when I graduated.  I was told that  some of the faculty had decided that I really wasn't a good fit  because I was the kind of student who was just interested in in the academics  and I wasn't kind of like a global student was also interested in all the. 

Political stuff that the communist system wanted to be part of. And I was like, I am not that kind of person. And yeah, I'm here to be an academic and I'm here to take classes and do good on it. Right. So it was, it was really disappointing. And and confusing,  but then my professors also say, wow, we, we're not going to be able to keep this kid here.

And they said, well, why don't we just recommend him to these other place?  And they call these other place, the National Center for conservation restoration and museum studies. And they told the person who used to run the place. Hey,  this kid  is someone you want to meet and we, we had some plans, it's not going to happen,  but I think you might want to consider him and she said, sure, and can you actually send me somebody else?

And I ended up working there with the person who I consider number 1 in my class,  she lives in Miami now.  And there I was with my center, national center for conservation, and it was this kind of like a,  you know, 1960s top down kind of government, not just because it was Cuban socialism. I think it was a global trade,  this kind of global vision of conservation where we're going to create these conservation plan for the monuments. 

From this kind of very Jericho, or Jericho society and environment,  and then we got to implement that and this, uh, this allows us on. And of course, the model really didn't work. And eventually the place was, it fell apart, but that's, that's how I, how I got started, because then there I was, I just graduated and I had all these ideas about what I, what this future would bring to me and then all of a sudden, none of that happened.

But I was in this really fascinating place with people who I had, I had to really get to know and to have lots of respect for, and we're really, really into the business of heritage conservation and I had a lot of respect for them and then at the same place.  All of a sudden, six months into it, I learned that they were teaching this Masters in Conservation and Rehabilitation of the Bill Pettit fish.

And I said, wait, I'm here and at work, but teaching the Masters in Conservation. I'm doing this.  I fell in love with it. It really, I really fell in love.  Profession, something happened one day, my mentor,  , there was a collapse of the San Francisco convent. They were doing take conservation work. I heard the news over the weekend on the radio and on Monday morning and everybody rushed to the office to, to find out what's going on.

And I, and I got to be there early and everybody else was there as well. I guess everybody had the same idea  and.  Yes, okay, I point to the government right now and you said you come with me and I said, okay, and I went there  and I saw the man  walking to the job side being the architect. He was the chief architect. 

And then take the bull by the horn and talk to everybody about all of these different issues. Like,  how's the family of the person who the thing collapsed on him? How, how are they doing? How many kids? Oh, my goodness. I mean, that kind of a personal conversation, but then talk about how did it happen? Why?

Why were we using that kind of tooling? And what are we going to do to shore and to support? And what's happening over here? I just fell in love with that. Person who was in the middle of things and had to do everything, everything, the building, the people, the lives, the stories, the commitments, the deadlines, trying to do the right thing, trying to stick to the principles of what's authentic.

Are we going to replace that column with stone? Are we going to cast it in concrete? What are we going to do? This is where that man now over the weekend,  hi, sadly. So I was just fascinated by him. And anyway, that's a short way to tell you that. I got into it and then I did my master's and I, I was focused,  still on it.

I love it. And so that's such a fascinating story. I love that it's also not necessarily the straight path in terms of you thought you were going to go into being a professor. Being an academia and you're like, no, we're going to pivot. And I love that it worked out to the point where you're like, I'm going to stay with it.

And now you have your own firm doing just that. How was the process of  getting to the point where you knew that you wanted to start your own firm? Well,  when I was at Columbia doing, well, I came to, I was handpicked at that place.  To come to the States for an exchange program, I was at HAPS in the summer of 1999, working at HAPS in D.

C., and then I moved to New York and decided not to go back to Havana, and they haven't seen me since then, but, um,  that should be said, and I'm proud of that. But at any rate, they, I decided that it would be important for me to, to go to school again. Because there were certain things that I really didn't know, and I really didn't understand, that  glass  windows have double pane windows, and they have heating.

We don't have heating in Havana.  It's too hot. All right.  Totally different climate. Who is hearing about  it? A boiler, all these things were really odd and they didn't understand what they were for. It was also the summer, not even like  spring or winter here. So I was clueless and terrified by all that. And I told myself, well, if I'm going to stay here, I'm going to go back to school.

Because I know I can do that very well.  And sure enough, I moved to New York  and I applied to this program at Columbia Preservation and I, I got into it. I was super happy to be into it. And there was some degree of flexibility in the program that I attended and I was able to take all the classes.  And I took a class called professional practice that was offered to the MR students. 

And I thought that the whole thing was really fascinating. I love it. There was so many things that were different than the stuff I knew about.  But yet we're such an important part of the profession and, you know, finding roles and responsibilities  and I, I fell in love with it. And 1 of the assignments was just to prepare a proposal to the professor.

You guys are going to do my house. You're the architect. Give me a proposal. And then you, I have to come up with a name for it  and I put down my own studio  and that's how the whole thing started. And it really, I never thought of that, but doing that exercise, I realized that,  well,  I can have my own brush one day.

And yeah, that class. Kind of planted a seed that there was something that could be known as ILM studio, architectural preservation, and that I would, I would, I would figure out a way to  reconcile those two disciplines. It was very clear at the time to me that there was a, it's sort of like a division of labor and that architects, they don't really know how to deal with preservation and preservation sometimes. 

It's just limited to the facade of the storefront and the envelope. And they don't really get into code stuff, NEP and all that. And, and I thought that, Oh, that was mine. And I thought that I wanted to do it. And  anyway, that's how it all started as an idea. And fast forward many, many years working in different firms and realizing one day that I had relationships.

I had clients, I have business. I was bringing in business into a practice. And I saw them sabotage those relationships that I brought in and then tell me, well, it's about time for them to come to us. I was like, they didn't come to you. I brought them in. Wait, wait, wait. And I realized that. It, that was kind of silly that I, I think I, I had grown to the point where I, I had enough experience to, to be able to do it on my own.

And I felt that  they had the most important thing I, I felt that it's the, the, the curiosity, the impetus to do it and, and, but also the know how and the understanding of the profession and all those things. And that I had grown to the point.  And I felt that this will be really the right thing to do. And I, I,  I stopped bringing in clients to my office and the next big client I kept it to myself and  put a team together, beat the competition.

And they told me on a Thursday, here, here's your approved proposal. And I was like,  Oh, thank you. How about the deposit? The next day on Friday, they said, Oh, the check is in the mail.  I went home that Friday and I told my wife, I just say, you're really going to do this? And we'll say yes. And on Monday, Monday I show up in the office. 

I resign.  Two weeks later, I was, I was here, same building, still in another room, just a desk by myself. And I did it. And it was kind of crazy, but I, I love it. I think it's, it's, you know, like so many other things in my life that I've been kind of like  a little bit accidental, a little bit. Kind of crazy, a little bit naive as well, but  here we are. 

Right. But it worked out. And I think it's also, I love that you were like, all right, well, send me the check first and you actually like had the things in place to be able to make it happen. When I, uh, I co founded a small firm,  as you know, before I joined Quinn Evans. And so that was a little bit of a different experience.

What was more so like, we both kind of put in some money and we like, all right, we're just going to go figure it out. But I love that you were like, no, I'm going to get our fee out and just.  I have the privilege of having tons of mentors. I, I've been at places where people have taken me  under their wings and have taught me and really guided me.

And I've been a sponge all the time. So I can email this information and, and, and all of that, I think it's sort of number 1, some degree of curiosity. It's sort of like a personal thing, but I also think that I always felt  kind of foreign and, and, and I really needed to understand. And I still feel like that  many days for many reasons, but I think in that process,  I saw lots of things and I learned and it became very clear to me that. 

Business that you can't just  there's, there's their way, their ways to do it and their ways to do it. And I, I was in places that I saw,  I saw them when they were struggling and I saw the struggles and I got to know about those things and those things scare me and terrify me to that, but also taught me a lesson.

This is not how you do it. Right. So I think that was that was a good education as well, you know, without naming names. Yeah, I was really lucky.  Yeah, I agree.  I've also had a number of mentors that have been.  influential in my life to even kind of train me and because it's especially in our field like preservation architecture like it's definitely not something you're just going to learn in a book like you definitely have to be able to  have the conversation to be in the field know what you're looking at because looking at something in a drawing is different than seeing it in the field and so it's kind of like a both and because the books are still super helpful but it's like being there seeing it being on the construction site seeing the broken concrete plaster whatever and how does it go together how does how do we put it back it's super important  Speaking of books and training, one of the books that I found helpful was one that you worked on, edited, published, put together, about reglazing modernism.

So talk to me a little bit about how that book came about and what made you even want to put that together or participate on that project.  I work at a firm and  for four years in New York, then I changed jobs and I went to a firm  that was run by one of my professors at Columbia and a few months into it. 

She said, well, we got these projects for the Googling hunt  and, and you're gonna be the project architect.  And I said, . Okay.  No  , no problem. 

I was terrified. Yeah,  I was terrified.  But uh, you know, she said that, what am I gonna say? I'm not gonna say no. I'm gonna say yes. Right. And that the, the project, the museum restoration project was, was really fascinating. I mean, those were  four long years of my life that I dedicated to that project. It was complicated at all levels.

It's, I mean, the building itself, it had, it's just complicated in its, in its design process.  43, when he got the commission to 59, when he built the building up and it's,  And just for listeners, this is the, the round Frank Lloyd Wright, big iconic Guggenheim in New York, you know. Mine building outside, building

Yeah. That, that, that, that boiling  no pressure. Yeah. . Exactly. And I never, I was starting not to think about new things, but, but when, when we delve into it, it was really,  it was a challenging, complicated project that had many faces of it. And,  and I had the privilege to be involved with many of them and work with  tremendous amount, tremendous team.

Lots of people that I have.  Lots of respect for, but we're involved with many items of the project from the conservation issues, the materials issues, the,  the structural issues, and it was an amazing project. And  I work with really fantastic people and, uh,  and  many of the firms I've learned tremendous.  The amount of information from, and we work together, but I also got to work  at the windows and at the skylights. 

So, and working at the firm, we, one of the things that we did is that we, you know, we, we had this original non thermally broken steel frame windows.  At the, the, the monitor. You have the large spider. Mm-Hmm  . And then to, to the, to the north, to the left, you have this smaller three story building that.  Right used to call him the monitor building.

They have 2  collections. They are that they call it the townhouse. Anyway, and.  And those 2 floors of the 3rd or 4th floors, you have. Original original thermally broken. Steel frame windows  that were in pristine condition, physical condition,  they were galvanized steel, they, they were in really good shape,  but  being a museum and how the museum environment have changed  and how the collection and the preventive conservation  theory of practice has evolved over the years,  there's a really high drop of humidity that they keep in the museum.

So, when those. Go window frames got cold and they have high environment. They had not just conversation, but they had things that were of concern in terms of performance. So we ended up presenting to the language preservation commission,  18 options, 18  options to do these, to do that, to retrofit it this way, add this, uh, And none of them ended up saying that none of them were good  and that we couldn't really represent to, to the client that by doing whatever we were to do in any of those options, we, we, we would, we would address the performance and we would improve the performance.

And, and it became very clear that the only way to, to  provide a system that would actually perform according to the expectations. It was  removing everything and replacing it. So for me, that was sort of like a traumatic experience.  Being trained as a preservation architect, you can't treasure  the original study fabric, especially if it's in really good condition. 

Especially if it's the result of a naked building. Yeah. And it's like the windows, and you know how preservationists get out windows.  All of that on the one hand is simply the right thing to do. On the other hand, it seems like it's just completely wrong.  We've gone past that point, and I think we had all these 18 options that I demonstrated that there was no better alternative. 

But that resonated, and we ended up doing the job. We replaced the windows and so on. But that issue, that  question of Is replacement appropriate and the only way to go when you have more than buildings. Is it true that these kind of all the buildings are a little bit different? And there's perhaps even a different kind of a preservation approach preservation philosophy.

Because these buildings are different, maybe the old good stuff was done or, you know. There's heavy masonry, low bearing buildings. This 1 sounds a little bit different and those are questions that were in my mind and I, I, I was really curious about that. And I, I,  I continue to think about it and I continue to to.

To I wrote a little bit about it, then there's an article that I wrote on  on that as an article of  conceptual issues on on  whole project. I was.  How much of it.  Journal of architectural conservation that was, it was just kind of like the 1st outlet for me to talk about those things. But what happened is that over the years, I, I continue to.

Locate projects that I heard of learn of new love. Where I can see what they did here for the windows for  in the wall  wall and then it became very clear that there was a pattern. Of several people doing 0 things, depending on it's a different set of circumstances. The other thing I should mention is that when we were in the process of designing that all these options, of course, 1 of the things I did is I, I went to every library at Columbia University and I. 

I was looking for a book, really tell me how to do this business of conservation and modern architecture and specifically on the windows and  there was none.  I was really disappointed because I, I've heard that was the best architecture library in the world.  And I had been there as a student, and I remember spending a significant amount of time in the library.

I really enjoyed being at Avery, and  it turns out they didn't have the book that I needed.  So,  I think, fast forward, what happened is that I, it became very clear to me that something needed to be said, that there was a lot going on, this is an important topic,  it really needs to be discussed,  and that it's not, it's not black and white,  and it all depends. 

What where and how, and that that needs to be clarified and I felt that I need that I had the skill set and experience to  delve into that and to deal with it and understand it from a practical level from a conservation perspective. Also from that, uh, building envelope, glass and glazing type of thing.

And I, I was all fascinated by it. When I, when I opened the office, this is a good one. I told myself, well, now I'm working on my phone and I'm gonna have all the time in the world that I want, and I can do whatever I want, anytime I want, whatever you want. It's gonna be all whatever I want. So I applied for the James Marston Fitch Make Career Preservation Fellowship. 

I had met Professor Fitch  in Havana when he visited in the 1990s. Oh, wow. And I, I, he came to the place that I was working at, and we, we, I knew that this American professor was coming. I really didn't know much about him,  and I certainly didn't know much about preservation in America, because they don't talk about that in Havana.

But I remember meeting Fitch, and uh, it was really kind of like a cool thing that I got it because it made something very personal.  I got the grant for the mid career fellowship and I did the research. I think at the time I had a sense of all these case studies that I've seen. And when, when I work on that, the more I work on it, it became very clear that they  needed they each needed to be presented and they each. 

Says part of a story of a longer story, and then I think I ended up putting them together and saying, listen, there is no different approach.  And I think that the tools that we have at hand still apply.  But there are different approaches that are specific to this building to this building family that are not necessarily what we do for more traditional buildings. 

And I was able to say that they, this 3 main intervention approaches are restoration, rehabilitation and replacement. And those 20 case studies, they, they, they each. Fitting to 1 of those categories alone, or it's more 1 more than 1. And that was a point that it was time to me, you don't have to replace it by replacement.

It's not the only option.  Replacement is one of the options and it depends on when, and I also felt that it would be very important to also be clear about what was done and each case on why and how  and being able to  talk about it on a, on a technical level and going deep into it, but also to visualize it in a way that was clear because.

It's, this is the glass and glazing thing. This is the visual thing. So yeah. Yeah. And well done. Cause you, you succeeded in doing both of those options, by the way, or both of those objectives. Cause like the book is beautifully done. And like, I really love even the matrix of how you like kind of summarized all the case studies and kind of the timeframe, period of significance, where they are, what their approach was.

It was just. Amazing to be able to get a quick snapshot of it and then to dig deeper into it. So it's really, and I would be remiss I'm, I'm super glass and glad to hear that because as you can imagine,  there were tons of hours that went into it together, right? Right. Because nothing else to do. I have my own office and I have nothing else to do,  of course.

You have free time, all the free time in the world. But I also, I'm grateful that I was able to team up with my co author, Uta, who was really an important part of that. I think Uta and I, we met at the Documomo conference in Mexico City, 2010.  I attended, I was presenting there on the work at the Guggenheim and you know, my 18 options  that led, that led to replacement. 

And she approached me and she said, oh,  that's wonderful. You know, I dealt with something like that too once. And,  and so we exchanged cards there and I really like, liked her and, um, and we, mm-Hmm, we decided to collaborate. And I, when I said that, she sent me a lot of the, the information on the. The European case studies that she is the 1, hey, look this 1. 

So, by the time that I was done with the research for the foundation, I felt that the material that we had that I had accumulated as part of the foundation research. Was.  Of serious enough and deep enough that it shouldn't just end up being  a PDF and someone's hard drive. Right? Right. It  couldn't. And so we, we had the conversation and I.

And I told her, let's just do this. Let's do a book. It's got to be a book. And she had some relationships with her counselor. She had problems with that before. And it's funny because we reached out to them to ask them for advice. So we have this idea about this book. And I think it's going to be called reglasing modernism.

And this is what it's going to be about. And we have 20 case studies in  a basic, but can you tell us what do you think? And how do we, how do we put this together to go to a publisher?  And they were like, wait, so don't go anywhere.  Let's talk.  And we were like, what?  Okay,  so we were very lucky. We were extremely lucky that that we, we, we had those relationships and of course, it's, it's, it's not just what I did.

I think, you know, at a certain point, my entire staff work on on the book. I, I hire someone. Who, who started just doing the 3D models and that was the year past. It was here for a long time. I, at a certain point, also the polishes said, all right, this is good. We have a deal, but, but it's going to be a couple of changes. 

Number one, you have to change the name and number  two, you need to drop some case types and add new case types. And I was like, Oh my gosh,  I'm done with research. That's it. I'm done with research. So the staff have to, I remember assigning research tasks to the staff. Hey, look, this building in the UK, why don't you make this phone call?

Talk to this person, see if you can get some information. What did we learn? Blah, blah, blah. And yeah, I, I, I was, I'm lucky to, to have lots of support and people were kind of excited about it. And. I think people, people who, who understood the importance of it, um, and that we've been able to support it. And I'm just lucky that we took it to the  finish line and that it's out there.

Yeah. And then more importantly, just to, to see the way that people have reacted to it and, you know, the,  Apt award thing was really, really hard.  I would be remiss to say that I work at the windows with Bill Rose. And do you know, Bill? It's great. He's in  Urbana, Champaign and  that the previous APT conference that I had attended Bill Rose.

Won the book award for his book, Watery Millings, that I, I, I read. And so for me, the award was like, wow, this is like really good stuff. Like people at Bill's level get to get it and never crossed my mind that the book would get it. So it's really pretty amazing. It's  like you're official, official, you got, you got the book award,  but then also I'm not so grateful for you for even. 

One for yeah, following through, but also for having the courage to be like, yeah, the book that I want isn't here. I'm gonna put it together, make it happen, because I think that's something that's gonna, it's so needed, and I think it's something that's probably gonna keep coming up more and more.

Particularly as time keeps going on and more, more buildings become eligible to be historic. No, I don't, I don't know. I was actually thinking,  right, exactly. But it's also kind of like buildings that are being built today. I'm curious once we get to the point where like, oh, how are we going to preserve this drywall situation?

And like, so I feel like there's so much still coming to the field for what preservation is going to mean in the future. Oh my goodness. I mean.  Just to stick to the same re glazing model and this stuff. Look at the way that stuff is being built today and glazing that unitized curtain wall systems that you cannot tear apart.

They're, they're designed to, to, to last forever. And if you ever need to do any kind of intervention, it's going to be very tough to  take the things apart. There is no such a thing as localized  repair on a unitized  curtain wall system. It's really impossible. So, and, and.  The assumption, the presumption I would say, is that they're so well designed that they're never going to fail,  and water's never going to get in.

Yep, and the Titanic was an unsinkable ship. You know.  Yes. That is a, definitely a future problem for future preservationists because it's, it's coming. I hope that I, I paved the way and I told them how to do it, but I hope I don't want to. I don't want to write that book. 

You left a good precedent for whoever's going to write the next one.  Oh, this is amazing. Well, I cannot believe time is already flying by.  So before we wrap up, how are things going with your firm? I'm super happy about where we are. And also with what we have as a firm  and where we are going, the things we have,  I think we are working on a variety of projects from a group of 20 plus buildings in a national storage site that we are renovating for developers. 

The conservation minded development and I should not name names or sites. Yeah, that's fine. And it's really, really, really exciting. We've done, we're doing a lot of work that we're completing right now. Our project at the Brooklyn Museum is in construction right now. We're removing 1970s windowless precast  curtain walls  on the rear facade facing the parking lot.

And installing the last pair tomorrow, it's all approved the language commission public hearing several years ago, and it's just exciting that we're finally getting to that, that stage.  We just finishing a  project in Brooklyn where the Nighthawk cinemas, where we've been doing, being involved from conversion when  finalizing all the exterior work, but also put in  very visible rooftop.

Photo Baltics on the building that are really visible on the street on a designated landmark. And that's sort of like a way to show like, this, this, this is this gotta be okay. And there are ways to do it. And there are ways to do it. Yeah, here's a way to do it. Makes sense. So I'm really excited to finish that.

And, and we're doing at the same time more and more work in churches. I, I've always.  For a Cuban kid who grew up in an atheist society,  for him to be fascinated with churches is one of those contradictions, but I love it and we're doing, we're doing important work and we're trying to really help people and it's really, really exciting. 

And I also, in terms of the projects we have and  can name them all in a second. Too many things happen and I'm, I'm, I'm excited about the direction that the firm is taking and the growth that has seen that there's 7 of us right now. We have a couple of opportunities to want people to just deal with the work that we have.

That's exciting. And that's, that's a challenge on its own. How do I go for not just in terms of number in terms of.  That's a really fascinating challenge that puzzles me and excites me and terrifies me as well. But it, it gets me out of bed. Yeah. Even without coffee.  Thank you so much for listening. Links to amazing resources can be found in the episode show notes. 

Special thank you to Sarah Gilbert for letting me use snippets from her song Fireflies. If you haven't already, be sure to subscribe to the show wherever you get your podcasts.  And now that Tangible Remnants is part of the Gable Media Network, you can listen and subscribe to all the network partner content at GableMedia. 

com.  That's G A B L Media. com.  Until next time, remember that historic preservation is a present conversation with our past about our future. We don't inherit the earth from our parents, but we borrow it from our children. So let's make sure we're telling an inclusive history.  I saw the first fireflies of summer And  right then,  I thought of you  Oh, I could see us catching them And setting them free  Honey, that's what you do That's what you do to me