I'm not a hero. It is our pleasure to have Harry Bliss with us here tonight. He's a person who everyone I told that Harry Bliss is coming to us, oh, I love him. So we're very happy to be here. I'm very happy to be here. I'm very happy to be here. Harry Bliss is an award-winning cartoonist and cover artist for the New Yorker magazine. His daily self-titled daily cartoon Bliss appears in newspapers internationally and he's the founder of the Cornish CCS Fellowship Residency of Graphic Novelists and he lives in Cornish, New Hampshire. Thanks for being here, Harry. Yeah, thank you for being here. Let's see, oh, we got the thing going too. Remember that episode of Brady Bunch where Cindy was on the game show and she froze and she just looked at the camera? Was it Brady Bunch? Am I right? So I'm gonna do that right now. So I have some slides, like 57 slides and I'll go through them fairly quickly and talk about some of the cartoons. I'd like to do a Q&A at the end, but if anyone has a question about one of the cartoons, I'll just say, hey, Harry, and I'll answer it. So I said thank you for coming out already, right? Yeah, I really appreciate it, I really do. It means a lot to me. Yeah, well, they're paying me, so yeah. It's a gig for me, but I would've done it anyway. I haven't done this in a long time, so I did it last year in South Europe and I was saying I used to go to elementary schools all over the world, I've been to Dubai and Moscow and St. Petersburg, Singapore and Bucharest, all sorts of places, but I don't do that anymore, so I miss it. Anyway, this is me and my siblings. My sister's a painter in Philly. My brother Charlie's a wildlife artist. My brother John's an educator in Rochester, New York. That's from 1970. We were all on the show called The Electric Company when we were kids. That's not true. I'm lying, I'll do some more lying later. I came from a family of artists. Is there any way to turn these lights up, just these? Yeah, and my dad was a graphic designer for, it's okay, for many years. He was a painter and my uncle Leon, Uncle Ken, my uncle Harry, that's my dad. And they're all gone now. My dad, I lost both my mom and dad this past summer. He was 93, he had a pretty good run and he really wanted to get the hell out of here. He really did, so. But the gene was passed on to all of us kids and siblings for that matter. I have two cousins, Phil and Jim Bliss, who are illustrators, Annie, who's a phenomenal pottery, a ceramicist, I should say. This is an early, I was obsessed with Picasso when I was 12, 13. I was just obsessed with all the kind of isms, impressionism and post-impressionism, even romanticism. I went through all this, so. And I was a pretty rotten kid and I got into trouble, I burned buildings down. I was, not really, but I did kind of burn the neighborhood down on accident, the backyard of the neighbors. So I got into trouble, but art really saved me. It was the one area that I could go to where I had control. If you grew up in a house with a lot of dysfunction, which there was, I think it was in the drinking water, in this lower middle class suburb, upstate New York. But yeah, making art is a way to control what's going on in your world. So anyway, I was in doing some Cubist work here. I later went on to art school, and this is a watercolor I did when I was a junior at the Philadelphia College of Art, which is where my parents went, and it was then called the Philadelphia Museum School of Art. They met there in 1958. But I did this for a student competition cover design for Print Magazine, which is a graphic design magazine. And I placed third in the competition. It's an international competition, and this was a watercolor I did of these Dutch tiles of this painter having this kind of euphoric moment when you paint that comes a moment in the process where you have a bit of euphoria, where you're like, ah, that's it, that's it. That's the living room, oh, God, of my parents' house, which is now owned by someone else, and all of that is gone. But these are my parents, some of the paintings, my mom's painting, my dad's. Just cluttered, cluttered with books. When I left art school, I waited tables for a long time in Philadelphia, 12 years. I bust, I clean the kitchen, dishwashing. I got my girlfriend pregnant and we gave our baby up for adoption. I was on welfare, so I had a really eclectic and interesting time. But around 1994 or five, I started getting work for the first time, for the illustration work. And the gigs that I got were doing book covers. And I got a lot of mysteries. In fact, I got pigeonholed in doing mysteries for St. Martin's Press. It was a great gig, because I would get the manuscript in the mail that sent it to me, and I'd get it, and they'd pay me, oh, they're 1200 bucks. It was good money. It's good money for me. And this was 94, 95. That was like three, four months rent. But I'd take it to the 16th Street Bar and Grill and catch a little buzz and drink this, and read the mystery. But after a while, they got so formulaic, I didn't really, I got sick of reading them. So I sent them to my mom and I gave my mom 50 bucks. But then she went to art school, so she's a voracious reader she was. When she would send notes, she would kind of art direct me. She's like, well, this takes place, the woman's killed by a butterfly guy. So it's a flapper dress and there should really be butterflies in the cover. I was like, mom, stop, enough, let me do it. This was actually the very first book cover I did by Douglas Kiker, who was a NBC News correspondent for many years. And this artwork was lost. Usually when you do illustrations, you get the artwork back. They send it back to you. I did this in 1991, I think. And 22 years later, they sent me the artwork back. I couldn't believe it. It's like, we're going through our files, this was for Random House. Going through our files, we found this and thought, better late than never, they wrote. This is done for Philadelphia Magazine. Watercolor, sorry. Yeah, these are watercolors. This was for Philadelphia Magazine when I was living in Philly. It was a full page piece about Amish children, young adults when they reach a certain age are allowed to sort of make a decision whether they want to stay in the community or smoke pot and don't listen to radios. What is that called? What's that? Runs spring on? Yes. Thank you. So here he is listening to a Walkman. Another mystery. You can see there's this influence of Vermeer here on this one. These were hard to kind of do. Difficult paintings, but anyway. This is a cartoon, speaking of Amish people. At a certain point, I was living in Nyak, New York.  We weren't married and I was following him around so they didn't want to be far away. I was in a rare bookstore in Nyak and I was looking at a book of Charles Adams cartoons I always loved growing up. Loved Charles Adams. Appreciated the drawing and the wit and the kind of sardonic, dark humor. And I was looking through it and at the time I was doing book covers and I thought I could probably do this, you know? And I recall back that people said to me you should try submitting to The New Yorker. And I didn't really have any idea of the cachet that magazine. I didn't really know. Anyway, went home, knocked off eight or nine samples over the course of two or three weeks and eventually got a gig, a letter from the cover editor saying this might be a long shot but why don't you try doing some cover sketches? And I did and first I was published as a cover artist and then about a year and a half later I started submitting cartoons and this was an early cartoon. This might be 2003. I was trying to think, like I had the idea, the Amish midlife crisis came first. I thought there's something there. And I thought, what kind of car would they get? They'd trade in the horse for a cheetah. This was an early rejected cover of, I believe there was a Haitian immigrant outside of Manhattan and a borough was shot many, many times. He's unarmed and Mayor Giuliani was the mayor at the time. And this was kind of based on my being inspired by of course the incidents but also Sergio Aragonis who's a great Mad Magazine cartoonist who did these kind of shadows where it would have the dog and the man walking and the shadows would be completely different. So this is watercolor. This is kind of mixed up. This is watercolor I did not that long ago. I live in Cornish, New Hampshire now. And my wife has a house in Burlington. So I come back to Burlington every now and again to just check in with her. And it's a kind of an interesting marriage. That's really small, okay. I can't, I'm not gonna mess with it but it's really tiny. Okay, I'm gonna go back to it. But it's the New York Public Library Lion and it has the, a little pigeon feathers in its mouth.  And that came from just being in Manhattan and walking by those statues and having pigeons there and just thinking that line would completely eat them in a second. This idea came from being in an art museum and watching people not really take in the art but they were sort of wanted to capture the capture the culture, you know. And that happens even more. I'm not against taking photographs by the way of paintings with the camera. I do it all the time. But I was seeing people like not really look at the art and it bugged me. By the way, this painting is my version of Norman Rockwell's version of a Jackson Pollock that ran on the cover of The Saturday Evening Post and his cover was called the Connoisseur. Was it called the Connoisseur? But my editor at the New Yorker, Francois Mouly, was like, you should try to make it look just like the Rockwell. I was like, are you high? But in the end I compared mine to Rockwell's and my Pollock is far superior to Rockwell's. So another, I noticed a lot of the covers I do for The New Yorker are kind of celebrating looking up. And I had a great, I worked for Playboy for a while and Michelle Urie was my cartoon editor and she passed away too young but she took me out to lunch one night, and one afternoon I should say, yeah, she took me out to lunch one night. We had a lot of drinks, and so we're walking home and Michelle's like, she wore sunglasses. She actually died of cancer. I didn't know this but she had a cancer in her eye or something. I think she wore her sunglasses anyway but she was kind of a glamorous, cool woman and she put up with a lot of shit from Heffner for many years and she just hung in there. But she took my arm and she said, she goes, look up. And I looked up at the buildings and she's like, look at that. Look at all that architecture. Look what's going on up there. There's a mist and stuff coming up. She said, look around there. People aren't looking up. And that was before self, that was before phones. So she was great, I miss her. I wish these were, these are so small. Sorry. He's got a super soaker. That's 2005, August 1st, 2005. But yeah, that's just a detail of a cover that I did for a publication called Weird Fiction Review. And I love Mad Magazine. I love Jack Davis. So this gave me the opportunity to kind of drop in to Jack Davis's ink work for those old EC comics and is a close up. And I was kind of proud of that. And that's the actual cover right there. These guys come into. Well, it's great. Yeah, buddy of mine designed it, the type, and it's super fun to work on. Yeah, it's fun. This is a illustration for a book I did for my longtime editor, Joanna Kotler, who I love and is a good friend, is a great painter. I did many children's books with her, Harper Collins. And this was the last book that we did, one book we did, I should say. And she wrote it. This is a student edit. It's called Sorry, Not Sorry. And it's a really great children's book about saying you're sorry. I thought it was a fantastic book. And not just, it's great. Because I used to get manuscripts all the time, not all the time, but often enough. I got one from Judy Blum at one point. And I didn't really like it. But this concept of apologizing, I just thought, that's huge. When you say you're sorry and really mean you're sorry to deeply feel sorry, I just thought that it's such a profound thing that I had to do the book. This won't tell you anything about the rest of it. This is a different book. This was written by Katie Camillo. Of course, it's in the German edition. Whoops. So I'm a dog fanatic. I have a memoir coming out about my dog Penny who passed away after 17 years. So sometimes I think there's something wrong with me that I love. I love dogs so much. I do, I fear for my sanity. But anyway, this is called Good Rosie. And this is a nice book too. I love Katie Camillo. There's a real sense of humanity in her writing. This is just silly. It's the lost Bemelehem sketch. I got that on eBay. It's certified. It's the real deal. I remember my cover, editor Francois Moulet, I walked in one day, and she had Xerox. That's her sentence where she's Xerox. I put it on her wall. I was very proud. Oh, these are so small. I'm really sorry. I'm like, I wish I could. Maybe I'll get out of this and just hand do it because this is driving me crazy. Hold on. My nest, bear with me. I got to escape. Hold on. I'm going to go back to, I don't really care. We're here. We're here, right? Are you sure you want to open 71 items? Oh, unselect them like that? Thank you. I'm going to need you. Stay with me. Now what just happened? What? I mean, I don't really care. Perfect. I might need tech help. Does anybody know how to do this? I don't know how to do this. So honestly, this could be a, well, I don't even know how to get back to that now, to be honest with you. Yeah. It's in a folder called Dartmouth that is on the desktop. But as soon as I plugged into this, well, this one, that guy, see how small the cursor is? You can't even see it. That's the idea. Now, if I do that, will it go to the next one now? Well, if we escape here. That's what I tried. Yeah. And if we, no, just. It, as soon as I plugged in, if I unplug it, it'll. Gotcha. It's because it's plugged into this. It's the library's fault. Turn it into a slideshow would be ideal. Right. It won't let us go forward. Right. You want me to find the folder? Dartmouth. It just says tiny. That's it. Why can't we turn that into a slideshow? It's so weird. Libraries. I love libraries. They literally saved my life growing up. I mean, art did too. But libraries, being in high school, public high school, was in the 70s was brutal, absolutely brutal. But I could go to the library and I get picked on. It was quiet. Art books were everywhere. Books with comics in them. And I could go to the library and find peace.  And it was free. I could take books out of the library, under my arm, or the black t-shirt on in the middle of winter in Rochester, New York. And yeah, it just was. And that hasn't changed over the years. That's exciting, whatever happened there. At least I can. So we're down. We'd be right up, right there maybe. No, date created, size named. That's not it. So we're looking. Yeah, that's what we're looking for. Yeah, that's what we're looking for now. So you wanted to go to this one, right? Yeah, the next one, yeah. Small. You want to just sit down? Yeah, I'll just. Harry and I went to college. Yeah, John. We actually went to art school together in Philadelphia. As a craft designer, yeah. This cartoon I really like. Just because I like the clothes are like, people would say. You said meow? Or was it down there? So this is, Gluten recalls a time before their intolerance. This is like a poor fish. He's got a little fish shirt. I forgot if he's got a little fish shirt on. OK, we'll go to the next one. Zooming out. Yeah, it's under it. It's the palm. This is a really hard drawing to do, because I had to make sure it really looked like Shelley DeVall. It was really hard.  And that's not where the pollen comes from. The New Yorker fact-checked that for me. And they said, actually, you have to change it, so I added these. Anyway, yeah. People really like this one. It was an old seven days cartoon. I did an alternate version of this where he's got a metal detector. It's weird, my drawing. I used to do watercolor cartoons for the New Yorker, but I don't do them. They're all under. It's the. Trying to fly by. That guy. Oh, the cursor. Yeah, yeah. Oh, no. Yeah, a brush ink line. Yeah, kind of old school. Just like Charles Adams would do it. I would imagine, yeah. This idea came to me. I was driving from Cornish to Burlington, and there was a, you see them. They're Cooper's Hawk, and they're sitting there, and they look so, they look so badass and regal and just really impressive. And that's where it came from. It doesn't work now, yeah. Yeah, there was some, well, wait, switch to a. Really don't like speeders. Yeah, there came a point in my life where I really, I go slow. Like I drive pretty slow. I mean, if I'm on the highway, you know, if it's wide open and there's no one around, and I'll do 75, whatever. But if I'm driving where there are people, I tend to go pretty slow. I don't know why. Is that an age thing? I don't even know. You don't drive, do you? All right, you had the Nirvana show on. I thought he probably drives. I remember when Nirvana's first album came out. 93 was it? And I was old in 93. I was like 35. That's pretty recent. 2000, no, 2023. Yeah, I was in a bar with a friend of mine and feeling we heard that on the company. And I was like, what is this? You better spill it, Frank, because we got your pale mittens in the next room singing like Lady Gaga. Lady freaking Gaga. So there's a narrative. I like narrative cartoons and where you can kind of, sometimes you can, different captions. You spend more time there. I like the imagining what happened before it and then after it. And it's very film noir-y. I mean, I grew up on old Billy Wilder movies, and this is kind of still thinking about that squirrel. I'm laughing at my own cartoon. I just love that little face. He's just like, how do they do it? They're like little poop. Right. Yeah, I mean, I try. That's kind of the goal. There's a film there, and we're dropping in on some moment, I think. Sorry. I really don't have much to say about that one. I include my journals. I keep a journal, and I journal every single day, every morning, every morning. And it's fill up the journal with things. Yes, I think it's this one right here. And that's Beatrix Potter. I'm not sure what this says, but we better get off this before they read something. Really not cool. Oh, this is a sketch for a cover I did for The New Yorker. We all kind of worked. This was a collaborative effort with Art Spiegelman, his wife, even Remnick pitched in on this. Art Spiegelman had the idea. We can go to the next one, and I think see the finish. But yeah, I think it's right under it, which was great to have all these people. I love collaborating. I'm not one of those cartoonists who I really enjoy everyone shipping in. But yeah, Art's idea was to put the Clorox there. I think at a certain point Francoise said, make. Instead of lurch, we're going to have lurch from the Adams family, because this is very Charles Adams. I mean, that's supposed to be Jared Kushner is there. These are QAnon kids. There's a little portrait of Vladimir Putin right there. And this was, again, Father Time, 2020, COVID ball. It's all in there. On the stocking, it says Donald. It says Donald, Donald, Donald. And I started working with Steve Martin in 20, I don't know. What are we, 24, 2021, 22? He was at a dinner with my cover editor, and he had some ideas for cartoons. And he said, do you know of anybody? And she said, yeah, I know somebody likes to collaborate, Harry Bliss. And he actually knew my cartoons from the LA Times. And then he started sending me some ideas, emailed me some ideas. And that's how it all started, yeah. And that picture, by the way, it was a photo shoot for the New York Times. And he was like, he's walking, he's great, he's just walking. He's like, Harry, I think he goes, I'll show you how to fake laugh on camera. It's like, it's really funny. And I was really, it's like a little less, it's like, but I was just, I was laughing at him. So he was making me laugh. Let's see, what's below that? Oh, that's a fun one, yeah. This was kind of tricky drawing that.  And ever since then, I'm like, I got to learn how to, yeah, right, I got to make sure the gun's right. And I mean, they're all kind of fun to draw. This is one of Steve's, I think. I think. This is just to show you what they look like before I add any graphite. It's just a lot. Two hours, yeah, like two hours. They start off in the journal. You go to the next one. They start off in the journal, sometimes as little, like, if he sends me an idea, or I think of an idea, I'll do a little rough of it, and then, yeah, and there's the finish.  People say, did you ever run out of ideas, and I'm like, no, not a million years, could I run out of ideas? No, it's just a pencil. Yeah, it's actually a mechanical pencil I use. But if you want to go to my Instagram account, there are videos of me drawing, which will really show you, I'm not going to try to explain it. Someone said, you know that fish isn't that terribly drawn. It's hard to draw, crummy. I think Picasso, didn't Picasso say I spent, I've spent my entire life trying to draw like a child. Kind of unlearn what you learn, which is very interesting. That's right, that's actually right, yeah. That's when Steve calls me, I put in Naven Johnson, because that's his name in the jerk. And so he does call time, but when he does call it, just before I answer the phone, I'm like, you have a good laugh on it. There was a sandwich at August 1st in Burlington that I ordered yesterday called The Jerk, and I took a picture of it and sent it to him. Oh, so Steve will have, he has a very specific mind, we all do, but his is very quirky, and this was one idea that he said, you know, I had this idea for a cartoon, it's a overhead shot of a Las Vegas genie convention. And that's like, I would never think of that. And he said, and then he sent me these lines, I think I'm getting a new bottle. What kind of cork do you use? Have you seen the new screw tops? A thousand years, that's nothing. And he had more lines to go and I just, I was like, you know what, I'm not gonna do that. That's too much work. And the next one I like is a page from our first book. This is a, oh, yeah, we can read. So he says, well, Harry, I gotta say, I've been a city boy my whole life, but that walk in the woods was spectacular. I saw a deer, bear, scat, a squirrel, some kind of bird, I think I saw a rhino. I just don't see a downside. There, I got it. What a nasty looking tick. Okay, now you check me. And it's bright ticks. It's like, that's what you gotta do.  Those strips to do with Steve, and we did a lot with Penny. That was Penny, here's Penny on the cover. This was my, Penny is the, my wife and I, Sophie had our dog Penny, that again, I, she's been on New Yorker covers, and we had her 17 years, it was a long time to have a dog.  It's just a crushing thing. So, go to the next one. But, and Steve said the same thing. He said it's like the, he said it's the second worst thing that could possibly happen to you. This one was, this one, this one is Steve's too. I, every now and again, I'll draw him in the cartoon. I don't do it very often, but this was, this was, I think you can see, I've like scratched out in the graphite here to get some of that. Steve, he's a huge Winslow Homer fan, as I, and so he, I try to tap into Homer, some of the seascapes. No, this one is, says Barnaby, if by chance the cats are ahead in the bridge game, hold off on serving the smoked salmon bites. Very good, Miss Penny. I like this one. That's, that's very much like Penny. But again, this comes from reading, a lot of ideas I will get from reading. P.G. Wodehouse, eventually. Yeah, it's a miniature poodle, yeah. Kind of a scruffy little, yeah. I'm just thinking of the body bag I have in Cornish that I had to bring her in as the date on it. It was October 11th, 2022, yeah. Did she show up in your drawings before you lost her or after? She continues to show up in the drawings. I drop, yeah, I'll put her in every now and again, yeah. And I have a new dog too. This was Steve's cartoon, this is, I think I sent him the drawing and then he added the, this is completely Tintin on the moon. It's RJ, RJ Tintin on the moon, totally. Does Steve love dogs? He loves dogs. He just got a, he had a dog. In his book, there's a passage about his dog, Roger. He can't, there's, if, we tried to have a discussion on the phone about he was gonna read the passage. I think it's in our book, it's in the first, but he couldn't read it, he started crying. Yeah. Couldn't read it. They just got a new, so this is, this was like, again, this is a very Steve idea. Come on, Penny, I'll teach you how to fly. You cup your hands like this and flap them up and down. And it's, and then anyway. Oh, here comes Harry. What's up? Nothing? This is, I put this little book of LSD because I was experimenting with cycle dogs at the time, so. But he, yeah, Steve, he's got, there's a surreal side to a sense of humor that I really like. Anyway, that's the cover, we can skip this. It's kind of boring, but there's Penny again. Not a great, it's kind of Penny and, you know. Oh, this shows you, this shows you the sketch for the, oh, this is a sketch for the second book we did. It's his, it's called Other Diversions. Number one is walking in Other Diversions, so. He was telling me, he would write the script and it's about three amigos. Does Harry wake up? I remembered something and I like this. My favorite part of this is we're sleeping and I'm like wahoo and Penny turns around and is pissed off. It's like Martin, like he woke us up. But these strips were super fun to do and he was completely open with having me integrate like we'll be walking in the woods. I integrated New Hampshire, Vermont and you really enjoyed that, which was a huge relief for me because I really, I love to draw the woods and nature and all that stuff. This was, we got to do a thing on the New York, what's this place in New York, the town hall in New York with Nathan Lane was moderating it and Steve was there and it was so much fun and he just, that's basically, I laugh the whole time because these guys are so good. They're so funny. Well I was drawing, I did some drawings on a big screen and this is just, it's kind of crazy. I stopped thinking about, there was a time early on when we started collaborating where I was like, oh my God, this is Steve Martin. I grew up, I grew up loving Steve Martin. He was my hero, but it went away and I guess when I met him and spent some time with him he's like, he's just a really nice guy and I don't know, yeah it's not there anymore, which is nice. This is where the title of my book came from, comes from, yeah, which is, that's the brutal thing about having a dog. Even my dog now, Junior, we go the next one. You've always thought, yeah, then my dog now, it's like sometimes I look at Junior and Junior's just like a year and three months and I'll just be like, geez, it's kind of, how am I gonna, but someone said to me recently when you have a dog, you have all this love and you have to keep giving it to the dog. You have to keep giving it to another dog, another dog, another dog. This is a rough, these are just cover ideas that let's get back to funny, oh that's a good one. That's very out of buying. That's like the Mickey Mouse hair. Well this shows you from the journal, so you'll see what the roughs look like in my journal and this was, I think this was Steve's idea and then the next one you can see the actual cartoon I think and we switched the, I think we switched the, he switched the line on it and I like this line better. But you can see it's very film noir, very cinematic and it borrow a lot from, I still watch, I watch a film, a criterion channel film every night pretty much. This is a strip I did from Mountain Gazette Magazine which is a new magazine that just started, it's not a new magazine, it was big in the 70s, large format and it started up again, Mike Rogie who was lived in Burlington started it again. Anyway, Steve and I have been contributing double page spread comics to this publication and this is the, this one I did by myself without Steve. This is the first one I did, this is about my dog Junior, I got a puppy, a little Aussie Shepherd, standard Aussie Shepherd and I'm absolutely, so yeah, if you can read this, but this is exactly how it went down. I was first allergic to the dog, I almost got divorced over this, Sophie was allergic, she was flipping out, she couldn't believe I got another dog, I got a dog, she's now come to love Junior but it was really tough and it's at night getting up, you take your puppy out at 3 a.m. to take him, go to the bathroom whatever and he does, he humps a little towel, he's a little, you know, he's happy, he eats, after he eats he gets excited so he goes out onto the patio and humps a little towel because he's so happy. So I was like, get a room, you two.  Such a good boy, such a good boy, he's a good boy, G-O-O boy, all right.  Again, totally inspired from films. The Graduate was a seminal movie for me, it was my kind of catcher in the ride, it was like huge for me, that movie, it was the first, I saw a movie and I was like, oh, I can leave home and just go after a girl. That's something I could just do with that, I don't have to ask my parents. Yeah, no, that, oh, we did it twice, so go down to the next one, I guess. Two 60 year old men looking for a cursor. Oh, there you are over here now, so. There you go, yeah, good luck. Godspeed, oh you're on that, there we go. Okay, I'll talk about that because I'm a collector, I collect art, I actually spend most of the money I earn on art. That's the other thing I love about Steve, because if there's something that I'm unsure of, I'll ask him about it, he knows most of the auction sites and but. You've seen his collection, right? Not all of it, his and Anne's, both of them, yeah. I scared that hotly. Oh, you did, the Splash one? I scared that. Yeah, yeah, yeah, yeah, he's got, Steve's got a great eye, he's got a great eye. Yeah, his collection's insane, he's a Lucian Freud that's, there's no caption here, but I love Willard Metcalf, a Cornish colony artist, I love, if you get a chance, look up Willard Metcalf, brilliant, one of my favorite American impressionists. I just bought a Willard Metcalf pastel that I got really cheap. This is Wanda Gogh, I don't know, really fantastic illustrator, artist. Yes, millions of cats, yeah, she was a fantastic artist. Check her work out, there are books on her. Well, we go to the next one, this is a watercolor of hers that I picked up at auction maybe a year ago, and it's of, I mean, it's nice to get a print, but this is an actual watercolor, and it's about, you know, this big, thin paper, and it's gorgeous, it's just gorgeous. I bought an NC Wyatt, I have a huge NC Wyatt. And oh, this is a nice segue, that was completely unplanned too. I met Andrew Wyatt years ago, I went to Chad's Ford, Pennsylvania, and hung out with Andy and his wife, Betsy, for about two and a half hours. And we had grown up, we were huge Wyatt fans, we sat for a while, at one point Betsy got up and left us to kind of hang out, he talked about Hopper, but at some point I was gonna take the picture, I said, can I take your picture, maybe I'll get one of you, and she said, yeah, I'll get one of you and Andy together, and Andy said, I get an idea, why don't we stage something here? I mean, really, he was like 90 at the time, and he said, I'll get on the floor, and he said, Betsy, you take your cane and get on top of me and go like that, like you're gonna hit me, and I've got more photographs of them, like this photo shoot, and it was hilarious, just absolutely hilarious, this is all in the memoir, I wrote the whole essay up in the memoir, but what a trip, what a total trip, they were so generous, and they really loved the cart, they loved the drawings, oh that's my wife, they loved the kind of crude, Andy loved the crude quality of my drawings, because I brought a bunch of drawings with me, because I knew I was gonna be really nervous, and I'm like, I'll just put these out and see what happens. I think we're almost done, no? There's a couple, what are you doing with me, seven, 14, getting close to the end, I like this one, this is very autobiographical, I like to come here sometimes all by myself and shout the most offensive things I can think of, like, not maybe not everyone, like this one I like, because you can't, you can't anymore, you can't, and I also like that drawing, I'm very proud of that drawing, it was really, yeah, if I might say so myself, we'll go quickly, I'll go quickly then. Oh, this is the recent one of Steve's, you never see them roll over, why should you? I'm sick, it's not sick, it's actually very sweet in a way because, shotgun, because I did a book called Death, my first cartoon collection, Death by Laughter, was actually a lot of death cartoons, and I remember when that came out and I got a few, more than two, people saying that how there was a retirement community or a hospice place, they had the book in their library and made so many people laugh, like they really appreciated it, you know, kind of laugh in the face of death. Oh, this is another strip, this one actually, this is a sneak preview, this isn't even out yet, but Steve wrote this, it's about Andy Warhol, and you know the shot Maryland's, anyone know the shot Maryland's? Well, there was a studio in 1964, Andy Warhol created a series of five silkscreen images of Marilyn Monroe, each a different color. This was a blast to do by the way, that's Lou Reed by the way, and the studio, I wanted Dracula in there because it's just, the silkscreen portraits, basically this woman came into the studio in 1964, her name was Poe Burr, you can Google this, Dorothy Poe Burr, she said, can I shoot these? Andy thought, yeah, you can photograph them. She pulled out a revolver and shot the right, they were stacked four together, they later became, and then he's like, and then I like this little pop, pop art thing, so the shot Maryland's, as they came to be called, acquired instant cachet, and shot Blue Sage Maryland was sold at Christie's in 2022 for $195 million. And Andy Warhol, you know, of course he's gone now, but if he were there, he would have been, he would say, wow, this one I really like too, I was like, take it easy, Billy, I'm just gonna give her a treat. This might be the last one. That's Junior, that's a recent one. It's like that old commercial where, was that 70s commercial where the guy was like walking in Paris and he just says, I love this woman, I don't care, who knows it? Remember that was a commercial? No, never. All right, thanks John, thank you.  Just gonna stay up there. Trotsky in Vermont, yeah. Well, I did this because I was just messing around with drawing, William Stuyg once said, he loved to like see what happens, to see where the ink moves and where it goes on the page. And I always thought, I always loved that. There was something that I did at elementary schools, I would have kids come up and draw scribble because I was trying to get the kid over the intimidation of the paper, so I would have them do a scribble like that. I'm not gonna have anyone here do it because I don't feel like it. It's a cool game, by the way, to play with anyone. I still play it when I'm out and I have paper. But so you look at this and you think, well, what can I turn it into? Anybody have any ideas? I'll pretend this is a classroom. What do you think this could be turned into? What do you think? Oh, it could be, I like that. That's not a very good student. You're not being, you're gonna get in trouble. Go with the dog. You know, my brother is an educator and this is a terrible dog, so let's just get rid of this.  Oh, it's stuck.  My brother is an educator and I hope this is filmed that he sees this and I went to his school in Rochester, New York and I said, I had him do a scribble, right? I'm like, John, let's get Mr. Bliss up there to do a scribble. Here's what my brother's scribble was. I'm not kidding. And every adult in the whole room, all the teachers were just like, and then I'm like, okay, that's cool. I don't know what I did. I don't know. Yeah, I'm not gonna, I'm just gonna go away. I don't think you go away. But yeah, I love to draw trees and the thing that I'll tell people about drawing is to understand, I'm reading about Leonardo da Vinci right now. Isaacson, in fact, I finished Isaac. Did I finish it? I think I did. But da Vinci, Leonardo da Vinci was off the charts unbelievably amazing. I can't, there's no one else who's ever lived, in my opinion, who was as smart and as just as amazing as da Vinci was. The guy dissected 30 cadavers and drew everything he knew about them. Everything, and they were drawn beautifully. Just miraculous drawings. So, all this to say, if you wanna understand trees, you have to just study them and keep watching them. Like now I'm learning, oh, the bark's really quite different on a sugar maple than pine trees are different in the background and white pines. And oftentimes if I'm cartooning, I will start this way because I love to draw this stuff. I love drawing. It's a way for me to draw the things that I love to draw. I'll put a dog here with some guy walking the dog and then I'll think of, like I said earlier, I'll think of a narrative that led up to this moment in the walk. And there was a recent cartoon I just did where it had the guy walking and there's a big landscape. I think it was yesterday's cartoon and he says to the dog, behold, my antidepressant, look at the nature. So, anybody have questions? I'm moving over here now. They used to send out kind of calendars. Not really though, no, they'll send out a calendar. And every now and again, like when Osama bin Laden was killed, they had sent out an urgent, we need a cover on this right away. And I submitted a cover that I thought was very good and I thought they should have run it. It was just, it was an ocean. It was just a shot of the ocean, just a watercolor. And it was just a turbulent waters and because they buried him at sea and there's nothing but turbulent times then and now and, but they went with something else. It was a picture of Osama bin Laden with and then someone he raced it, which I thought was kind of a shallow, like, you know, I didn't, I'm opinionated. But I've just, I've gone from answering your question to, you know, touting how good I am. I was like. Ed Corman spoke here about five or six years ago. Yeah. And one of the things he talked about was the connection between the art and the gap. And he said that sometimes he had the art down and then it was a challenge to get the caption that was inappropriate life. I was wondering if you could, now since you keep a journal, where it looks like you're writing and drawing, maybe you see that in a different way, but could you comment on how it works for you, connecting the art and the words? Well, they have to be, they should be inseparable. In other words, they have to rely on each other. So a good example of that is the guy sleeping with the vodka bottle. Like the caption says, you wake, question mark. There's no, you can't, it needs the drawing, so. But it's different with every cartoonist because my captions is my style of writing. It's there's a cadence to it. There's a way that I want it to flow like a song. You know, I was just one yesterday. My wife and I was going, I did the drawing and it came down to one word. It was a fairly decent length caption, but it was instead of a device, my device, like a device was better than my device. And it was better because a device, he was talking about his phone. He was walking in the woods and saying, basically he's walking in the woods with his dog. He's talking into his phone. He says, hey Siri, set a reminder for me so I know how wonderful it is to be walking in the woods without my device. So, but it was really important that it be a device because it's more universal than my device. It's too, I felt like my device is somehow it was too personal. I might be wrong, but that's an example of how you could get pretty nitpicky It has to be right. And it's how I talk. It's how I would talk to. They come to you at the same time. So the art and the words or the, no, not at all, that was me drawing. I literally did a drawing of a guy walking in the woods just like I would draw here. And I really liked the drawing and I stared at it.  So he had the phone. He's walking. And then at first I had something coming out of the phone like he's listening to someone. And I didn't really have anything. And then, did I ask someone? Wait, I might have, did I? Oh, no, no, then it came to me. Then something came to me like, no, he should be saying something. I'm sorry, my wife, that's her cartoon. That's her idea. So I should clear it up. Because she gave me the idea about him thinking something about how wonderful it is to be in nature and then using his device to remind him of that. That was her idea. And I just changed it. I said, how tranquil I used it. I wanted the word tranquil, how tranquil it is. Am I over-explaining it? Yeah, it can be very complicated. It can be, well it's like, like I said, it's like writing a song or anything. Yeah. Before that, you now see things automatically as cartoons as you're going through life. Do you find that ever creating a wall between you and the experiences you're having in your framing things in terms of future cartoons? No, I don't think so. Even as a get in the way of my being present. And I don't think so. I mean, it almost has to a little bit because if I see something as a potential cartoon, I am working that.  Say things like, are you doing it now? Kind of. Kind of. Yeah, my wife definitely, yeah. And wasn't there, was there, oh there's a really funny movie called Walk Hard, the Dewey Cox story with John C. Riley, which is so funny. And they're having an argument, they're getting divorced and Kristen Wiig just looks at him and she says, and they're arguing and she says something, a line that's mad at him and he's listening to the line. And he's like, that would make a great song. And she said, Dewey, don't you write a song about this? I know, that's how your mind works. You're always reading things in that kind of way. But it's, I don't so much anymore because I draw, it's more, the drawing is first. Drawing is the first thing. I don't, I think Ed probably does or did, I should say.  He's probably. I'm interested in the ones particularly, I like them all. I like your work a lot. But I like the ones that are funny without the caption and then the caption tightens it in so that it gives it a point big. That I don't know how he sharpens it. Yeah. But that's like the Amish midlife crisis and it's funny as a drawing. Yeah, that's true. But then that gives it a snap that, I love that. That's funny. The snap that the caption gives. Yeah, no one's actually pointed that out before but you're right that in that, you almost don't need Amish midlife crisis up there in the box. It's a little superfluous. But it adds a nice effect to that. Right, maybe. I'm just saying, I never thought of that before but you make an interesting point there because it's funny without it. I mean, I think people would, might, I don't know, I'm not sure. Yeah. I try. I try. On the single frames. Yeah. And they're always turned in a really precise, perfect way. Thank you. Thank you. That means a lot to me. I work for, I think a lot about those the way it's, and I think there was a poet that I met once, Yousef and I won't know how to pronounce his last name. Does anyone know this? A Pulitzer Prize winning Yousef Karma? No? Come on. He said to me that there's poetry in the cartoons, in cartoons.  But my mother-in-law, who's 92, who just had a stroke a year ago and she, a published poet, when she reads to me her poems, I think the same thing. I think this is very much like writing captions. You know, it's very specific. Yeah. Can I have a look of rejected New Yorker cartoons? Is that ever popular in that case? Yes. But should they have work too much? Do you have your future in that? Yeah, yeah. You're a prolific cartoonist, I think. The question is, how many cartoons a month or whatever period do you submit to the New Yorker out of how many, do you total, and how many are rejected or accepted? Yeah, that's a good question. I'm syndicated through Tribune Media. So I, and I've been syndicated since 2008, I think. So I have to generate a daily cartoon six days a week, okay? I'm contracted with the New Yorker, I've been contracted for most of them since 99, which means they have first right of refusal on all my cartoons. So what I do is I generate six or seven cartoons every week, I send them to the New Yorker first. They say, oh, I want, I'm gonna take these two to the meeting, so they hold them. Then I have to come up with two more, send the rest to my syndicate, and that way, the New Yorkers, they'll take those to the cartoon meeting once a week. They'll either buy one, they usually buy one. Usually I sell once a week, once every two weeks. And I don't care anymore, I really don't. I used to be, Ed Korn, we used to go, we used to really hate not selling. It would really drive him crazy.  It doesn't matter anymore. You've done like 60 covers. But it really mattered to him, it bothered him. So it's brutal, it's absolutely brutal. I mean, unlucky because whatever is to profane or unpublishable of the seven or eight I generate every week, seven days will publish. I'm sorry. I just wanna say it, it was seven years. Yeah, well they're the ones that I like. They're usually ones that they publish ones that are profane, and they'll publish them. So I'm really, and that wasn't, that was kind of by design. I mean, it was, I don't, but it's a really brutal career. It's just, for people who have to rely on the New Yorker, it's super hard. The seven days get into the syndicate? No, I send it directly to seven days. Although they get the similar drawings than the syndicate. Sometimes the same drawings, and sometimes profane drawings. In full transparency, we are all friends. Yes, we are. I'm interested in your art, not the cartoon. Yeah. Do you have a collection of art somewhere? Not mine, right? Yeah, I do. Oh, mine, it's all over the place, you know. I don't know. Yeah, I do, I do. But I'm not, I'm sick of it, man. I'm kind of sick of looking at my work. I don't hang it up in my house. I look at it every now and then and say that's, like I'll look at my old work and be like, wow, I was really good. I could really paint watercolors. But I'm way more interested in other people's work. But I do have most of my work. Some of that I sell. Some of the New Yorker covers I sell. I sell the King Kong cover to the company that owns the Empire State Building. They bought that cover. Yeah, I really love the famous kid with the mark. Yeah, thanks. That's a beauty. Yeah, I'm really proud of that. That almost got me a gold medal in 1993 from the Society of Illustrators. A guy, a judge came up to me and said, you were that close.  Yeah, that was, that was, that piece I am very proud of. I like the modeling on that really worked out. And my journal drawings, like I said, but after studying Leonardo da Vinci and seeing his drawings, all those drawings at the Windsor Castle, they're just unbelievable. They're, they blow my mind. I can't believe he was that prolific. And he died at 66. Yeah, I'm gonna steal some of those. I'm gonna break in, I'm gonna get them. You can't get them. Do you ever consider or have an urge that you will push yourself into fine arts which you would get paid for the same amount of work for a whole lot more? I make pretty good money doing cartoons. No, it's not, it's not. It's just the opposite. It's very easy. And drawing, drawing cartoons is, I love to do it. It's easy. Never, never. I used, there was a time when I used to think of, when I used to think of a cartoon. If you find yourself trying to think of a cartoon, you're just gonna hit a wall. But I just start drawing. That's what William Steig said. And Ed would say, Ed Coran would say, just start drawing and see where it takes you. And that's a beautiful way to work. I think my way, if I don't mess around to get right to work, then I've got it. Yeah. And it don't mess with you, it's really good because I've had a whole night to figure it out. Yeah, yeah, that's nice too when you can sleep on it. Dream of, I've dreamed of paintings. Yeah, that's a whole another. A daily cartoon, tell me besides where a cartoon comes out on what day? I don't, the publisher does that. I mean, there's some, my syndicate does that. I mean, there's some days, like, of course, if Christmas is coming up or the holiday, I'll do some snow cartoons or some seasonal stuff. Beach stuff in the summer. Yeah, anyone else? Yes. So why do you say the cartoons you send to seven days are profane? Some of them are. What? I don't want to say they're sweet. Some are sweet. Those are the, yes, you're right. I should take that back, you're right. Yeah, you're right. No, you're right, I think that's true. They used to be profane. They did. Years ago, they would, the, if I could think of one, there was some, they would publish the sex things, the sex jokes that I did, which would have, like, there was a woman in bed and the guys got the bra on and the woman says, I'm going to need that bra back, you know. So just those things I couldn't get published in syndication, maybe the New Yorker would publish some things. But seven days, God bless them, they would, the cartoons that I really like that were unpublishable anywhere else, they would run. But you're right, I think that is true. They are kind of sweet. Yeah, well, I'll get you some. Do people ever ask you to draw their dogs? Yeah, sometimes I'll do that for people. I'll put their dog in a cartoon. Just to see if their dog is, you know, not doing well. I do that for people, sometimes.  And I was hoping that's not true, because, like, six days a week, I look forward to a moment of, it's just peaceful. A little bless. A little moment of bliss. I just love it. I look forward to it every day. Wow, thanks. That means a lot to me. I don't think I will just because it's not. But I'm not retiring in terms of books and working hard. I don't really have any, I don't like promoting. I don't like doing stuff like that. I like coming to libraries and talking to people. But I think in the world that we live in right now with social media and this, especially for young people especially, my son's 30, my stepfather's 24, there's an immense pressure on young people to be famous, to be seen, to be known, to have followers. And I rail against that. Even though I have a lot of followers on Instagram. Now that's funny to me.  But I do rail against it. I think it's terrible for young people. It's terrible for creativity. When I think back on my early career, the most important thing for me, and it still is, is the fact that someone is paying me to draw a cartoon that I love to draw, a picture I like to draw. It could be $50 or $100 or, I don't care. But the fact, the joy I get from that is amazing. It's just like, this is great. I don't need much more than that. So I'm gonna need a job. So I'll keep drawing cartoons. And I love to draw my dogs. And I like to make people feel good. So. There's a way to get a cartoon a day from you? Yeah, you can.  You could go to my website and just type in your email. It doesn't go anywhere else. It just goes to my, I have a web guy who's Peter Woodward from my art school roommate. God, I love this guy. But he, my website, harrybliss.com, you go in, you put your name in, and you get my cartoon every day in your mail. You can see on my website, there's a ton of cartoons on there. The whole log is there. And I sell prints there and stuff. It's higher than me. Yeah. I just thought of something I asked Ed the last time I saw you and Ed together. Yeah. And I asked Ed, does he take suggestions or? Yeah, he doesn't. And he never did, but you do. I do, yes. I take, you know, anybody has an idea for a cartoon. You know. Yeah, no, I don't, I like collaborating. One of my favorite things to do was, in fact, my brother-in-law, Tony, he's a law professor in Wayne State, just sent a cartoon to me three weeks ago that the New Yorker had bought. And it's great. It's got, I can't answer my phone somewhere, but it's got a huge rock, like a bolder, big giant cliff, and it's thinking to itself that it'll never beat rock, never beat scissors or something. It just, I don't know, but it was such a funny gag. And I drew it very like, you know, highly rendered rock and, and one of my favorite things to do is to call him and tell him the New Yorker bought your cartoon. It makes me so happy. So, yeah. All right, anybody else? Good. I'm interested that I hate commissions because I can't- Me too. All the time I'm trying to work on things and they like this, well, they like this. And that's like a kiss of death for getting anything good. You have to work under that happily every single day. Will they like this? But it's, no, it's not a commission though because I'm drawing for me. Okay, so then- They're just, they're just along for the ride. Okay. Quentin Tarantino said that about making movies, which I loved. He said, I make movies for me. It's just, this is a luxury that people like my movies. That's the way it's turned, you know, it is.  Can't stand it. Draw this, we need a businessman in a suit. I don't know. Even for New Yorker covers? Even for the New Yorker covers. If they, I still submit on occasion, but yeah, I wouldn't like that. I wouldn't, I might turn, I probably would turn it down. You reach a certain age in your life, you're like, I don't wanna do anything that is gonna cause me stress or just like lose sleep or, I'd rather, if you can afford it, you know, if you need the money to pay your bills, that's different, but yeah, no thanks, man. I'd rather hike in the woods with my dog than sit strapped over a desk. As you've been talking, more and more I've been seeing one of your cute puppies at your podium instead of you. Aw, thank you. And John, of course, is talking about what it's like to live with a cartoonist. He worships me, okay, to yourself. Junior, I should have brought him, I actually thought I'd bring him. Well, thank you, yeah, it was a lot of fun.


For more videos on PEOPLE's struggles, please subscribe to our YouTube channel. Thank you very much Agostina. Well, first, you were on the streets all night, holding on to the heat, the fatigue. Tell us a little bit about that experience and how did you receive the news that that law was approved? The truth is that yesterday, it was incredible, we were many, many, many, the truth is that the law is for management people and that is very important because it covers all the gender identities that have the ability to manage. So the truth is that we were a lot of people, it was a very long day that the National Campaign called from two in the afternoon so we were armed with the same structures, the carpets from the day before. I am there in Congress from Monday to the afternoon. But on Tuesday, at two in the afternoon, they began to arrive at Pivas. Those same Pivas that make up the green tide, let's say, I asked them that they are youth, that we are the historical ones, let's say, that we are a little bigger and a lot bigger too, but also especially the youth, those who, in 2018, with the first possibility that the law was abolished, they added to the green tide, that they were also very similar to those of this year and that they began to arrive, to arrive, all decorated, all painted, all different, dressed, like we all used everything we had to show the world and the Argentine political elite that they could no longer pass away, that the law did not come out. And then in that, what happened was that there were a lot of artistic, musical demonstrations, those demonstrations were also painted, like, of everything, of each one of its places, from its experience and from what, from where it is built, it contributed there to the collective construction of a very long vigilance. We were at ten, fourteen, no, I don't remember. I don't remember how long it was. It was about five in the morning, four and a half in the morning. We spent a lot of hours there, first of all, with art, with music, with things. In a day of struggle, clearly a day of struggle. It's not that it's a party, it's not that it's a day of struggle, but for us, it's feminism. We understand that struggle is together and with joy. So what we do is look for the return of all the places so that all our emotions, all our ideas are expressed in the struggle. So nothing, it was incredible. And then from the end, we all left and we all stayed together with our fans, with our things, with our friends, with our colleagues, with our family members, many times too. I'm with my sister, for example, also, besides with my colleagues.  The truth is that the political quality of the speeches of the Senators had already happened to the deputies, they didn't surprise them, but in the political quality of the speeches of the Senators, they were very bad, saying things that are proven by the science that are not true. In a debate that is already on the side, that we say, we are not debating abortion, yes, abortion, no, abortion exists, the partner abortion, the debate was if it had to be legal so that we all could be, if we put our lives at risk, or if we had to continue being clandestine, the people would keep dying, like in that case. And then, in the morning, we were all sitting, waiting for it to happen, and when they voted, Cristina proposed, the vote was in particular in general, so what happened was that they finished voting and instead of seeing the result immediately, the Secretary of the Law 1 x 1 to confirm that they were well, let's say, counted the votes expressed by the Senators and then with the son that had been approved, it was me, the collective joy, it was a great victory, it was a great victory for us, with the struggles that we carry, especially for the companions, more economically and socially excluded, that they cannot access, let's say, to pay a lot of money to abort and that they die in any condition, and also because it contributes to the integral sexual education, which is also our great battle. So nothing, the truth is that it was incredible, all crying, all complaining, all singing, there are some videos there, that since the death of the campaign, they proposed in America, the same, and I felt it at that time, but as I did not take action, and today, when I saw them, I heard them, I mean, you can see the whole green square, and all singing the same song, and that's like super powerful, right? It's like, there is the strength of feminism in our country, we are the people who come to change it all, and what happened here in the city, but all the provinces, all the provinces, the companions who could not leave this place because of Covid, let's say, they organized and made the vigils, the most important squares in their cities, their towns, so they were there, banking too, also to pressure the senators who voted what society needs, and not what they, political agreement, and their book. And they, without grace, believe that they have to use it, right? And not allowing the church to pressure us. So, well, but it's a historical moment, I think that many of us still do not fall, I'm talking to my companions, and with my family, and with my friends, and what happens is that we cry all the time, we are crying all the time, because the truth is that for us in 2018 it was very strong to have to go before, without the approval of the law, a very strong blow for us, that did not manage to stop us at all, managed to come back with everything, even with more strength, but we are not able to believe it, right? And we have all that emotivity in itself. Yes, I think that, well, I already mentioned it a little bit, but the phrase, for example, that it is not debating whether or not it is debating, if it is done in the clandestine, or in the safe place. So I wanted you to be able to point out what that victory means, not only for women and people who are in Argentina, but also throughout the continent, understanding that you are international, and well, Milita, too, in what is the feminism of the great country and the continent, so that's it. Yes, first of all, I would like to thank all the companions and the companions of the world who were sending us support and greetings all this time, for us it is super important that they also organize themselves and say, we are supporting Argentina so that today it comes out, let's say, because international press is very important. For us, this victory regarding more the rights of the people who are on the regional level has to do with this dispute, that is, when the Pope is Argentinian, in our favor of abortion, let's say, it has to do with a dispute of the battle of ideas and the dispute of meaning in this that traditional politics but also with the strong advance of religious fundamentalism in our region that are ultimately linked with the right of Latin America, and with the Bolsonaro's and the Duques and the Pineras, that are the politics that we do not want, they incarnate all these things that also incarnate the fight against the... we fight every day economically and politically, but also, let's say, extremely patriarchal, extremely macho, extremely capitalist, imperialist, let's say, and all that is not divisible. When we say that the revolution will be feminist, it will not be... it is because we understand that feminism is not run by politics. The clear expressions are these, the countries that are not in favor of abortion, they are the countries that are more right-wing, more fascist, and that the law has come out here, for me, what is important, I think for everyone, what is important is like a battle bastion, we are going to become religious fundamentalists and implement this debate of the difference between ideology, not only ideology, but religion and what is a public policy of health, which are totally different things, let's say, the guarantee of abortion is a question of public health, let's say, point, it has nothing to do with the church, no, that on the one hand, let's say, as there are demands that they begin to separate, let's say, to separate their representatives from the church and that they begin to understand, let's say, the issues of the public agenda and the necessities and the rights of the people, how they need the rights to be achieved, that they are going to be built and that they have to generate public policies to respond to the problems we live in. But I also put on the agenda that feminism gives great battles, because it is always invisible to the great battles that we win, and we are the women that we are mobilizing in the popular uprisings and in the first line of our America in recent years, we are the ones who go out in the photo with the cover face and the high wrist, and then we can go and say that all those struggles are complemented and that feminism is a popular feminism, it is a feminism of the companions, it is a white, neoliberal feminism, let's say, not, but it is a feminism of classes, it is a combative feminism and it is a feminism that is going to fight politically how do we understand the world and how does it have to be in the world? The world has to be a place where we can all decide not only women, because sometimes feminism is not only women, let's say, it is not feminism for everyone, for everyone, and that we can all say that how do we want to live our lives? Because the motherhood and the paternity will be like, I don't know, and that is fundamental, because it also builds the ideal of the family that the capitalist system has. So I think that this is the contribution, the contribution of these debates and this political pressure and that also for me there is a message from the companions of our America and the world that we are going to continue fighting for the law in all the countries of the world because we are all together and because our rights are collective and they have to be recognized on all sides. We know that this victory is very important for us, but we also want that same victory everywhere. Of course, and to go finalizing I wanted to tell you a little about how the struggle process was because if we understand that the victory was achieved today in the hours of the morning, we know that the struggle has years, that is, it has years and it has many people, women, diversities that have been on the streets, in the squares, everywhere in society to demand that right and to mobilize and win it. So I wanted you to tell a little about that struggle process. Well, it's hard for me to handle the struggle process because where do we start? In 2004 there were companies that came with this struggle for the abortion to be legal in a time when even from the 80s there were many companies that came from the 80s questioning and accompanying clandestine abortions in times where there was no divorce after 2004 a group of companies decided to constitute in 2005 the national campaign for the abortion legal and safe and free. It has been 15 years this year and everything is closed in a beautiful way the national campaign for the abortion legal and safe and free is a campaign that is integrated by some companies that invite abortion to a lot but also by organizations let's say that we enter the campaign because we also fight abortion and because we want to push for it to be legal it's a bit like a big plot of individualities personalities organizations and there are all the social movements the Argentine actresses as we are all inside and the campaign comes 15 years building legal projects that had several applications because as we are building we are not wanting more things and that is what is good about feminism that we are going to reinvent ourselves and rethink and that group of companies what they did was to create a project of the age that cost a lot, a lot of years and they started to remember let's say FATCHO everything to be able to start to install and visualize abortion as a social problem legalization of abortion as a need of people some of us understand the abortion very closely to the subject of class others are a bit good but the goal was that abortion be legal and then in that they presented the bill until in 2018 we managed to vote and hate and what we did was to organize the play and go out again to play everything, FATCHO everything, everything and also to organize the days, the green marches all the marches at the Congress door activities for me there is something super important to add that I think is one of the most important things that this struggle has a lot of years and the campaign is the best in the world because it managed to organize all of us with the same slogan but this does not end here so now the struggle that comes is the struggle to force all health institutions to guarantee the abortion to the companies and the companies that want abortion and that is a struggle that we are going to support with the networks that we already arm organizations and the companies but also with all other new networks that we build to legally go doing what we have to do so that everyone who does not want to pay does not do it that seems super important to me because it seems that the law came out and the problem is that Solus well, the law came out, no that is not true so far, let's say it guaranteed that access to the voluntary interruption and we did it and we believe that our role is fundamental so that the law can be implemented correctly and let's say we do not know that without us it will be very difficult well, I think we are there thank you very much and again congratulations for the victory which was a victory in the people of feminism and the struggle very exciting and we hope that the green tide continues to grow and that we continue to win all these important battles thank you very much yes, the truth is that it is like the good news of 2020 almost not this year so complex but well, we will continue to fight together as always all, let's say in Argentina congratulations, very exciting but nothing, we will continue to fight together thanks for the space, for following the new age and see you on the streets and at the revolution


see if you keep it clean whoa what's going on is engraving here with another video and shout out to people who just could take take a joke and don't got always take life so serious man real quick shout out to KDG market shout out to shout out to DGP and they was having me rolling on Twitter man they just had me rolling on Twitter with the gifts and whatnot but anyway appreciate y'all coming through and if you want to see what it was it wasn't nothing much but to me some of them gifts just be having me dying laughing man but um appreciate y'all coming through so fast wow we got 33 people up in here already thank you thank you real quick man next week we can finally put an end to these Joe Fleckos ignoring Lamar Jackson Lamar Jackson's been texting and calling Fleckos with Fleckos won't return his phone calls Fleckos you're immature Fleckos you're scared he's gonna take your job Fleckos is Fleckos that shut up anyway team keep it clean next week all those stupid rumors and what the media tried to twist and turn and change up it comes to the end and it's over it's gonna be over next week so anyway let me introduce myself man me I mean Graven Vincent this is my YouTube channel and Graven Vincent I'm a Ravens man I'm still laughing at what they were putting on Twitter man I'm still laughing at that but um on this channel we just talk football period so no matter who you like who you dislike make sure you subscribe to the YouTube channel and turn the notifications on and even though YouTube won't let you be great and always talk about the notification oh there he goes they all showed up in the comments so I'm tell you I was no lie I was sitting in the parking lot of my job for like 15 minutes just on Twitter just sitting there laughing I'm sure people walking past me looking at looking inside the car come laugh I'm just sitting there laughing I'm on Twitter just like cracking up but I appreciate y'all man so anyway man let's get down to business man um subscribe to the channel cuz make sure you subscribe and turn the notifications on and follow on Twitter too because sometimes YouTube you'll be subscribed to the channel but they'll unsubscribe you for whatever reason or the notifications and real quick just so I can get it in this is not for questions from subscribers but for anybody that would ever want to be part of questions from subscribers all you got to do is send me a DM on Instagram Twitter snapchat with your question all three of those are engraving vids all one word send me a question and we'll answer it in the video so again next week all these black hole Lamar Jackson rumors they come to an end all the people that keep on complaining I see people in the comments section people on Twitter people on the Ravens website people on other football websites complaining that flacco is ignoring Lamar Jackson that flacco they matured and flackled and flackled and it's already we already talked about how those are just rumors they're fake but next week we got OTAs coming up so this week we had rookie minicam so the real John Harbaugh I'm really impressed with Lamar Jackson's accuracy say that when it's 11 on 11 don't say that when he got on shorts and he's passing a wide-open dude not taking anything away from my guy Lamar Jackson but don't say that now Harbaugh shut up don't don't start that nonsense now don't start that but anyway um and again it's gonna be those sensitive people in the comments section engraving why you're hating on Lamar Jackson I'm not just telling it how it is he got on some basketball shorts you put me out there and rookie minicam in some basketball shorts I'm hitting everything and I'm hitting all targets I'm hitting all targets I'm not missing anybody but I ain't got no pressure well I probably miss a couple of them but I got no pressure on me I ain't got no defense coming at me I ain't got none of that stuff but for somebody to have played quarterback for the past what three four years and I'm sure you I don't know if you played in the high school or not but for somebody to have played quarterback for so long and for that to be their position and for that to be their profession I would expect them if they're wide open if nobody's covering them or nobody's putting any pressure on them nobody's coming at them and they're in practice I would expect them to be hitting all their targets wouldn't you it only makes sense right but anyway oh appreciate y'all man I really appreciate y'all y'all just y'all don't get it man I really appreciate y'all I really do but anyway um oh it's gonna be such a fun football season it's gonna be such a year man yes Juan that is you lost a hundred percent spot on maybe you're just making something out of nothing like they always do but anyway so they had their rookie mini-camp this week they had that that's done so now next week the veterans step up in the field the veterans come we get to see everybody who shows up because you know not everybody shows up what I think for the Raven I think for the most part everybody will be there and yeah we had some guys who were injured last year I'm sure those guys will come back and I know the guys that were injured they got to come back first I believe and then the veterans get to come back and oh it's gonna be fun it's gonna be fun but real quick just to give y'all heads up please do not buy into the hype do not buy into the hype do not buy into the hype don't do it don't do it don't do it somebody's gonna do it anyway somebody has watched this video gonna do it anyway they're gonna buy into the hype not even the preseason hype but the OTA's hype the mini-camp hype don't do some of y'all bought into the last time last year who's the guy last year who got the hype the most who's the guy last year who got hyped the most oh no you bought it already oh you can't get no refund on that hype man you can't get no refund you stuck with it now but um last year remember all this hyping OTA's about three people one was Tim White and I don't hold it against him because they put him on injured reserve so he even gets to do everything that he could have possibly done so that hype you get a pass for that one because he got put on injured reserve so we didn't get to see if he really lived up to it but to Quincy Ida Boy Joe and I think not that I think about it he might have got hurt or something yeah I think yeah he did get hurt I believe he got hurt but did he get hurt either way he made the practice squad and he got healthy but he I mean he never got on the regular season until well week like 16 17 toward the end of the season but then three which is really number one who we got all this hype about oh he's the best looking receiver in OTA's he's catching everything thrown this way man this guy he's gonna have a breakout year and that's what we wanted from him but that was minding your favorite you're minding your new favorite receiver Rashad Perry good old Rashad Perry man so again don't buy into the hype but again something else that's been hyped up with the title of this video uh with Flacco and Lamar Jackson uh because that story got came I mean that story got it came out of nowhere uh with the story with Lamar Jackson and Joe Flacco Flacco gets to come back next week so I am so glad so they can put this whole thing to rest they can put it to do them tired of seeing the people in the comment section saying oh Joe Flacco here uh Mark Jackson deserves to take his job because Joe Flacco's rude Joe Flacco um he's what's the word he's uh immature uh he's this he's that and it's it's like oh like no stop it stop it stop it please for all these different scenarios with this situation well not so many different scenarios because it was only three we went over if it was true we went over if it was a lie and we went over what it actually is we we covered all three of those we covered all three of those appreciated why why I can't read all the details of your name but I saw two wives and I already know you're becoming still on the stream so I appreciate it um but we already went over this we went over okay so what if it's true would you be happy if somebody was coming to take your job and you knew that they were they were going to take your job and you only had a limited amount of time left before you're collecting that paycheck from your organization from your company would you like it if somebody was coming to do that to you no then we talked about what if it's false well if it's false and this this the media just finished up making something out of nothing and then we talked about what it actually is and it is not a story at all it was the media taking what Lamar Jackson said at rookie minicam I haven't heard from flacco that's it he didn't say I text flacco he didn't say I called flacco he didn't say I sent flacco a dm on instagram twitter or snapchat he didn't say I have questions from subscribers for flacco he didn't say he hit flacco up in flacco comment section of his youtube channel and flacco didn't reply didn't like it didn't put a heart on it didn't respond to it he didn't say he did any of that he didn't do any of that all he said was I haven't heard from flacco that was it then what do people do people do what people do they get hyped they took it they ran with it they took it and ran with it and they just made something out of nothing so again this is why i'm so glad for next week i'm so excited for next week because it'll be over it'll be over all this stuff will be over it'll be done man and once it's done we can move forward I mean a lot of us have already moved forward but I just I get reminders of it in the comment section every day um and it's like oh come on man like how are y'all still commenting about this and we did we did videos on these I guess it's from people who ain't watched those videos but it's all good man everybody can catch every single video I know we put out a lot of videos sometimes they get a little spammy I know one of my guys um um it was mr. still your girl shout out to him he been subscribed for a long time I don't know if he unsubscribe by now because one time he said um he said engraving can you slow down with putting out the videos you're spamming my notifications and that's somebody that's been subscribed for years man he's been subscribed for years he said engraving can you slow down on the videos because you're spamming my notifications and I told him somebody that's been subscribed for years I said hey no I'm not gonna do that this might not be the channel for you it ain't nothing against him and trust me it's not me being cocky anything I'm not gonna do that though I'm not doing that I'm not doing that so anybody who don't like a bunch of videos because it's one thing I have I have never heard about it and don't think this is me picking on him because I got all the love in the world for him because he been subscribed for a long time so I appreciate that whether you've been subscribed for a long time been subscribed for a short time I appreciate you but with him having been on he was around my old channel too we play Matt we got videos I'm playing Madden against each other so you know he was around for the old channel but it's weird because YouTube it's like sometimes people can never be satisfied because what's the thing that people complain about from their favorite youtubers or whatever even if it's not their favorite people they subscribe to not even just favorite youtubers they get upset and when they don't when they don't upload when they don't upload people feel like man where you at what happened to you what's going on where you at so when somebody that you are subscribed to does upload and they upload frequently it's like what are we complaining for it's like we're not we're not we can never be satisfied like what's going on if anything I don't upload after midnight well unless we do a crazy stream and it's only like a Friday or Saturday and it's random I mean we've done that before but I don't really upload late night so if anything he could watch the videos late night just catch up on everything from that day and I don't upload back to back to back I upload maybe like two hours apart from each other three hours apart something like that but it's all good man it it happens man and again I ain't got nothing against him I ain't got nothing but love from my god that's why I remember his name Mr. Steel your girl because again we we played we played mad he's been around since the old channel man he said he uploaded after he uploaded after a minute plenty of times oh well hey back to back I don't do back to back but I'll do back to a couple hours back then a couple hours back but isn't spammy can it be spammy hey that's up to you to decide that depends that depends on what what you consider spam but anyway um oh I love y'all man I love y'all but anyway uh hey appreciate it QC appreciate it appreciate you appreciate appreciate Stefan Dave too because he's from Maryland he said when you got unlimited data why not hey I got a t-mobile plan with unlimited data but it's the it's the thing where uh we just certain amount of gigs or whatever and it may start slowing down or whatnot but oh it is what it is you say only an iPhone with autocorrect midnight two minutes oh that's what you meant okay you uploaded after midnight plenty of times okay got it now those must have been streams there but yeah either way either way man I'm over here losing my voice now so imagine hey one thing that I wanted to talk about too um I don't know if it's gonna happen I don't know if it's gonna happen and I don't know how many people from here are involved tomorrow I know my shout-out to my boy JB smooth I don't know how many other people are in here from Baltimore but somebody mentioned it what's up pink swag if you somebody mentioned it in a video in the comment section of I forgot what video it was but they said they would like to do if if people from Baltimore did like a meet-up oh shout-out to more thuka too if people from Baltimore did like a meet-up before a game or at a Ravens game or something like that I was I'm not saying it's gonna happen but if that is something I would love to do I would love to do that again I don't know if it's gonna happen but I would like for it to happen so we'll see just what's up Jordy well I would just say just just stay with the channel man that's it that's it he said don't do that all right well hey we'll see man it's been raining in Baltimore am I from there no I live in Florida now um so we'll see we'll see we'll see um but yeah that's that it's been raining here too it um excuse me whoo it has definitely been raining here um one yeah that's a possibility too that's a possibility um that's a possibility you know what somebody I was kind of upset or not upset with him I was like come on why you ain't say what's up I had actually I somebody from this happened like maybe like four or five months ago and it was down here we had to call to uh off the wall it's a place called off the wall one of them little jumping places where you could jump up and down all stuff we took Carter to off the wall and somebody hit me up on Instagram after that either Instagram or Snapchat and they were like oh well you were off the wall today and I say yeah and they were like oh I saw you there I said man you should have came and said what's up you should have came and said what's up but you had to be on and he had to be on no like fanboy thing and nothing like that because it ain't nothing like that it ain't no fans no that ain't nothing that I hate that word subscribers cool team keep it clean cool fans no we don't use that word here um but yeah man I was uh I wish you would have just came and said what's up that would have been cool man but either way um so next week OTA's all this stuff will be done it'll be over with Flacco can go ahead and make his joke about it then Lamar Jackson's gonna come out and make his joke about it too so we'll see how everything goes appreciate y'all thank y'all for coming through again make sure you subscribe if you haven't already leave a like on a video if you haven't already clicked that thumbs up button uh you can follow on twitter instagram and snapchat all three are engraving big I see y'all we'll probably do another stream later on tonight uh might as well right so hey if y'all got something y'all want me to stream about y'all want to stream about later on send it to me on twitter send it to me on twitter whether you send it in a dm or you tweet me whatever send me up on twitter man and we'll stream about it are we out


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going into tomorrow's session again just like yesterday. Don't be creative, watch the names that are coming out of channels on the bottom of the ranges. There's a bunch of them. I mean, look at Airbnb for a while, right? Welcome to Access a Trader, the number one community for those who are committed to taking control of their trading in order to achieve success, profitability, and longevity. Thank you for joining us. Here's Dan Shapiro to help you find your edge, master your process, and own your future. Hey guys, meeting everybody. Welcome to another edition of the Access Trader.com Nightly Wrap-up Show. I hope everybody's doing well. I'm a little tired. I woke up today, somehow at four o'clock in the morning. Don't ask me how, and I am on my third cup of coffee. So tonight I'm going to try to get some sleep, and hopefully be back 100%. So last night's video, we talked about if you watched last night's video, there's certain nights that you don't have to overthink, right? Keep it very, very simple for today's trading session. Watch the stocks that are coming at the bottom of the ranges. Leave the stocks that had big runs alone. Again, any type of pull in the futures, the ones that had the biggest runs are always going to be the ones who are pulled up first. And again, that's the whole point of ranges, the longer the distribution, the bigger the move. And I said this last night in the video, don't be creative, right? Watch beta. Just watch the beta stocks. There's a lot of really good potential, we covered a pretty decent amount of names last night on the video. And the market played out really, really well. And it was just a matter of time that two stocks were about to get pulled up, right? One of them we talked about was Netflix that's not out of the woods just yet, but it's starting to get good. If you guys remember yesterday, it was a nice pivot above the 605. Today, it was a nice pivot that I caught off that 614 level that stopped right at supply. So Netflix is basically maybe about a day away, right? A day away. But there was another stock that we talked about for weeks that was getting tighter and tighter and tighter and tighter. Just a matter of time, right? Just especially with this market condition, the market sentiment, the sentiment with people just chasing everything in sight. And it was Tesla, right? We talked about how important these hold tight ranges, and as soon as it's going to get above the 50-day moving average, we covered this level in nausea. If you've been watching this video, we've been covering it literally in nausea for weeks and weeks and weeks. We just couldn't figure out when is it going to finally trigger? And if finally trigger today, confirm, you can upgrade, and really, really big move. We'll talk about individual pivots in a second, but that's kind of where the market is right now. Stocks that had big runs, they rested. They have a well-deserved rest. Amazon rested. Apple today rested. Again, great, great moves for them. You had your Googles resting. You had your Shopify resting. You had NVIDIA resting. And again, look at the runs they had, right? You actually, I thought the video was a little bit lower than it was, but the point is, look at the moves they had, right? So now our job is to forget about those, start looking for the ones that are coming off the bottom. And today kind of played out very, very aggressively, especially at the open. Again, same if you recorded last night's video and played it today, while you could record last night's video again and play it for tomorrow. Again, don't get creative, right? Just really don't get creative for what this market is right now. It's very bullish. It's very aggressive. The options market is dictating speculation, money flow, and a lot of really big names. You see Tesla just skipping dollars right now after the close, and that's kind of where we are for tomorrow. So for all you guys who are doing your research, and again, new traders, don't think for a second that your responsibility to yourself to the growth of your development ends at the close. You've got to put in the time that we constantly talk about this on a nightly basis to continuously put in the work, the chart work. Again, you don't even need to know what you're looking for as far as the charts, but it becomes repetitive. Your brain needs to function very, very aggressively every single day, and that's how you start picking things up subconsciously so that you could transform it into a pretty good long-lasting career. So going into tomorrow's session, again, just like yesterday, don't be creative. Watch the names that are coming out of channels on the bottom of the ranges.  Let me look at Airbnb for tomorrow. Right at the bottom of the range. If it starts confirming, again, we saw today 160s for next week, or 160s, 170 calls. Again, this is a very tight range. This thing reclaims the 50-day moving average. It's going to wake up. A name like Sun Power in the solar space. Look how tight this range is. Again, the common denominator is everything off the bottom. Look how tight the solar power is. Look at Fubo. It's being added to one of these exchanges, Russell or something. I mean, look how tight it's just sitting underneath supplied at coal buying as well. If it starts reclaiming the top of the channel here, it's going to explode as well. Netflix might be a day or two away. A day or two away of literally launching really, really big moves. Names even like FSR. FSR is that Fisker, EV space. Again, is this going to be the same as a channel like a Netflix or a Tesla? Probably not, because again, this is more represented by a lot of retail investors and retail traders, especially it's a lower price stock. But again, you kind of get the point. The stocks that are coming out of ranges, putting in highs, going through distribution, confirming again, are making its next way up. So you're getting a lot of value in a market like this. Again, a lot of traders are going to be gone towards the end of this week. There is a Friday next week will be a complete ghost town. I give you my word ahead of the 4th of July holiday. A lot of people are taking off, including myself. So there's going to be, there's not a lot of selling pressure. Again, like I said in the last night's video, don't think for a second the market can't pull your card and start destroying you. Again, there is no blueprint for sustaining gravity. But for now on phase value, the market continues to be very, very good. The action continues to be incredible. It's really, really incredible, especially in the technology space, especially in the high tech beta names. The ones that go up, they rest, one, two days, then they go up again. The ones that are coming out of the channels, they're coming out of channels for two, three day runs. I mean, look at Roku. Roku has not stopped. It has absolutely not stopped. It's gotten literally five days into macro supply. This is a move that went from 333 all the way to 424 in five sessions. Just absolutely amazing. Even a name like Plug Power, right? They got downgraded. I think it was downgraded this morning, completely removed the downgraders, just like tossed it to the side. And this is also one day away from blowing up. So the money flow in this market continues to be really good. It's built right now for retail investors, institutional money flow, good, organic, bull market action. Again, sometimes you just don't need to be creative or dive too much into it to kind of see what's going on. Continue with the trend. Continue buying the names that are coming out of channels, confirming off the bottom. Don't worry yourself. Stop. Don't chase performance of stocks that already blew up like a Roku of the world or Amazon and Nvidia. Leave those stocks alone. They'll continue to be strong. They still need to be bought on 60-minute dips, but they already have their day in the sun. Look at the names that are coming out of channels, and that's where the value flow is. So let's talk about today. Again, like I said at last night in the video, you don't need to be too creative, right? So again, I apologize, my dyslexia kicked in. Obviously it wasn't 532, 536. It was 632, 636. I think everybody by now knows I'm kind of dyslexic. Never been diagnosed, but I'm pretty confident I am. So yeah, 632, 636, big levels needs to build. They got upgraded this morning. We talked about those levels in nausea, absolutely nausea. It broke above 536. It closed at the highs of 657, stock is trading right now, 662 after the close. They were coming for the 650 weeklys a couple of days ago. They came for the 650s. They came for the 700s. I even saw some 800 call buying coming up, measured movement. Again, maybe it rests tomorrow, but if there is a day too, there is a probability. You see this whole channel get filled all the way to the 680 level, just an absolute rock star. I don't care what anybody says about the company, but there will never be another stock tradable both ways like a Tesla. It's just special. There's just something about it. It's LeBron James. It's Michael Jordan. It's Kobe Bryant. Again, everybody, everything else are just good companies, great stocks, blah, blah, blah. But this is special. I think if you've been trading Tesla for years and years and years, I think you could agree with me on that. Just an absolute monster move on that. Netflix, I scalped 514, went to the 516.5 level. It hits supply. The macro level will be on deck. I still like it a lot. It just needs to reclaim that macro level. Square 240 needs to build. You can see there's a lot of things just happening right off the word go. 240 took out this channel, went to 243. This is still the highest close in this whole channel here, so continues to be pretty good here. Zoom, not a big move. Zoom, 380 needs to build. Not a big move at all. Only went up a couple of bucks here with Zoom. It took out the 80, went up less than three bucks before a kind of reverse course. Root, I still like. I still like this root. Keep an eye on this thing. Yesterday, a buyer came in for the 1250 calls. There were some buyers there. I think they came in for the August 15s. As far as I understand, there is over 30% short interest in this name. Keep an eye on this thing. This thing starts taking out, starts building above this 11, 1120 area, especially in this environment. People chase anything. Keep an eye. This thing starts building this 1120. This thing can wake up very, very aggressively. Keep an eye on that. Givo hit perfectly 830, never confirmed. Plug again. I still like this thing above this 3450 area. Space, beautiful move on space. 40 needs to build on space. Hero space. Took out the 40 trader right into supply at 4165. I still like it. The call buyers, if you guys remember last night's video, they were coming for the 40s, 45s, and 50s. This thing has more room. This thing gets above 4170, 42. They can stretch this thing out into the 43 and change area. I still like space. Nice move today on space, nevertheless. Let me see what else, what else, what else. Facebook, 340 needs to build. Here was Facebook. I still like it higher. It took out the 340, went to 343 and changed. This is the highest close in the whole formation. Still looks higher to me as long as this market stays afloat. Wish, obviously, never got to $15 level. I actually like the stock. There's so much call buying in this name. I'd love to see it dip into a macro five-day support of this thing. I don't want to buy this thing on strength. I want to see this thing come back into rising support. Tessa, yeah, so obviously 636, not 536. Anyway, 636 just absolutely exploded. Stock is up about close to 30 points now. Huge move there. Peloton, 1780, 118 needs to build. Here was Peloton. It took out the 1780, 18 area went to 1960. Not a huge move, but it's had a big, big two-day move for Peloton there. Future was huge. FUTU, 164 needs to build. Here is FUTU. It took out the 164, went to 172. I still like this thing higher. This thing looks great. Really, really good. Congratulations, you guys have caught that as well. You can see a very, very aggressive session in a Tesla. This was literally in five minutes Tesla put up a $15 bar just when absolutely nuts never looked back. Flying squares, flying Teslas, flying Netflix, $3 candle instantly. Future exploding. Zoom take on the way up. 680 potential. Yeah, this is where it is. I still think, and again, maybe it takes a day off tomorrow, but now it's in the channel. 680, if the market continues to hold, and even if it has a resday, that's 680 is where its next measure potential is, and that's it. Really great action. I hope everybody did well.  Some of my friends went on vacation this week, but next week will be an absolute ghost ahead of the long 4th of July holiday. Guys, have a great night. Hope everybody did great today. God bless, and I'll see you all tomorrow. Take care.