In this video we're going to solve a 2x2 Rubik's Cube using the same algorithms that we use to solve a 3x3 Rubik's Cube using the method from the Rubik's Cube website. So this video is for people who already know how to do this. If you don't know how to do this, this video will show you how to do this but I'm going to gloss over things assuming that you already know them. I'm going to put out a second video hopefully soon going over the same things but in more detail for people who have never solved a Rubik's Cube before. Okay, I'm a big fan of the Rubik's Cube. I've had this one for a couple years. I actually just got a new one that I don't have with me. If you do buy a Rubik's Cube, I think pretty much all newer models see this one has stickers that are peeling off. They tend to peel off pretty fast and it's kind of stiff. Newer models move a lot smoother and the colors are actually plastic.  But today I'm going to show you how to solve the 2x2 Rubik's Cube. I just got this a day and a half ago and solving it was actually pretty simple because I already knew how to solve a standard 3x3 Rubik's Cube. Now this is definitely not the most efficient way to solve the Rubik's Cube but the way I solve the standard Rubik's Cube, the 3x3, is the standard way off the Rubik's Cube website. If you go to rubikscube.com they have instructions and videos on how to solve it. I've been told it's not the fastest way and not the most efficient way to solve it. But I can solve a standard Rubik's Cube in about, in under two minutes, easy, about a minute 40 on average. So definitely there are people who are faster than that but I can solve pretty fast using those algorithms. And if you know how to do that solving this cube is pretty simple. Again I'm going to show you how to do it. It's not the most productive way, most efficient way, but it does work. And if you already know how to do the standard Rubik's Cube in the standard way from the website you already know how to do this. And again I've seen other people do different algorithms when I was trying to learn how to use it. Again I've only had this for a day and a half. And there were some more complex algorithms that were a bit faster but I can solve the 2x2 in about 40 seconds. I've only had a day and a half. So let's go ahead and get started. So I'm going to mix it up.  So we're going to go ahead and do that now. If you watch a lot of videos they say getting the the white side is pretty standard and easy and you don't have to get all the colors on the side to match. So what I mean by that is when you can solve a Rubik's Cube you don't solve just the white side. You want to make sure that the layer is done so the colors match. Now with the 2x2 you want to get the white side you don't need these colors on the side to match but I have found at least with my way of doing this that it saves you some time in the end. So go ahead and do that. You don't have the center dot, center square to tell you what color each side is but it's simple. You start off with one color. Let's say this is green. You want to just find the other one with green and put it next to it then find the red one and then the blue one. And it's using the same algorithm that you would use to solve the four corners on the white side.  So you already know how to do that if you know how to solve a standard Rubik's Cube. At this point we're going to flip it over just as you would flip this over and now the next thing you do on a standard Rubik's Cube is get these edge pieces. Well we don't have those edge pieces so the next thing we need to do is just get the yellow side and so the next two moves on the standard Rubik's Cube are to get the yellow cross and then the yellow corner pieces to get the yellow side even though the layer won't match. And it's the same two algorithms that you would do with this cube. Now again I watched a video when I first got the 2x2 and gentlemen got to this point and he said there's seven different positions that the cube can be in and there's seven different algorithms you can do to get the yellow side. And I didn't want to have to learn seven different things so his way is no matter what the position of the yellow cubes are the yellow squares you would do one of seven algorithms and you would get the entire yellow side and this is where using my technique here I don't call my technique using the standard Rubik's Cube technique is not the most efficient because I only have to do two algorithms that I already know but I might have to do them a couple of times. So what we're gonna do here is if you have two yellow on top such as I do put them to the back. If you have yellows on the sides on two sides put them on either side and then anything else you want to try to get a yellow dot here I find is the best. Now our goal is to get one yellow dot on top to here so once you get there we move to the next algorithm. So the algorithm is the same that we would do on this so to get the yellow cross I would do front right top inverted right inverted top inverted front and you have the yellow cross.  So now that we have the one yellow square we're gonna put that in the bottom left facing us so bottom left as far as looking at the top and it's gonna be the same algorithm that we would use next to get the yellow in all four of those corners there which is up over I should say I'm sorry right top inverted right top right top top inverted right and then you should have all four yellow squares here on top and at this point you're going to have two corners that match or they're in the correct spot so here I have the red blue in the right spot and the green orange in the right spot which means now we're going to be solving just as we were solving to put the four corners on a standard Rubik's Cube here which is the second last move for solving the standard three by three now with the mini the two by two here you're gonna have to do this is gonna be the last algorithm but you're gonna have to do it twice in this case now if both colors were on the same side for example if I had both reds so the whole red side completed I'm going to do the algorithm once since they're diagonal I'm gonna put one of them in the back right and I'm gonna have to do the algorithm twice so again let me show you it here on the standard cube so let me get to that point so here we go on the standard Rubik's Cube the standard three by three I've got two corners that match in this case they're both in the back so you're either gonna have two corners on the back or you're gonna have a diagonal just as we have here I have got them on the diagonal and so the movement is going to be inverted right front inverted right back back right front I'm sorry inverted front right inverted back back right right and then upper inverted so sounds like a lot but again if you already know how to do the standard Rubik's Cube you already know how to do this and I will be hopefully doing a follow-up video on this where I go into more detail but again this video is for people who already know how to solve a Rubik's Cube so we're gonna go inverted right and do do and now we have all our corner pieces correct so green orange red orange blue red and orange blue so we're gonna do the same exact movements on this so I'm gonna find my corners here put the yellow on top one of the matching corners in the back right and I'm gonna do the same thing so now that I have did it once since I have diagonal I have to do it again but this time I have a solid green side so I'm gonna put that to the back and again it's right inverted front right inverted back back right front inverted right inverted back back right right upper inverted I can't say it while I'm gonna do it because it messes me up but here we go and now we just turn to match our cube and then we have all colors matched so that is solving a 2 by 2 if you already know how to solve the standard 3 by 3 using the the algorithms that are shown at the Rubik's Cube website again this is not necessarily the most efficient way and again some instructions say you need the white side and the layers don't have to match if you do that then that last algorithm the really long one you might end up having to do that four or five times where if you make sure the layers match at top at first when you're doing the white side you only have to do it at most two times so again I'll just go through the whole thing right now so here we go this one goes here so I got the white side and the layers turn it over I can skip the next move because I got the the single square there so and then I'll match up our corners so I got two red there and you have a solve 2 by 2 Rubik's Cube so again may not be the most efficient way and I'm assuming you already know how to solve the standard Rubik's Cube 3 by 3 the way that I do which is the official way on the Rubik's Cube website but I thought I'd do a video on that when I bought this I was actually kind of hoping it'd be a little more challenging and so maybe I'll learn some of the other algorithms so you see if I can speed up my time but I was hoping to spend a day or two learning how to do this because it took me three days to really memorize how to do the standard Rubik's Cube but again after watching a few different things I realized that that I could do it using moves that I already knew from here and it's quite simple if you're able to do this I understand if you don't know how to solve a 3 by 3 this might seem a little complex especially that last move for solving the bottom corner pieces that's it so again I hope you enjoyed this video I kind of off topic compared to most my videos but I recommend you check out my other videos which mostly on computer stuff if you are a new viewer and again I'll probably do a follow-up video maybe just going over what I just went over but in more detail for people who have not solved the standard Rubik's Cube the 3 by 3 and I think for thank you for watching please visit filmsbychris.com that's Chris the K check out the link in the description and as always I hope that you have a great day


Let everybody get back in here Sorry everybody we crashed classic OBS classic There's the link again for ten bucks Tuesday Gonna wait a minute.  What up smack? I'll give it like two more minutes let more people jump back in and then we'll get going Double check. We got all the right Boxes for this as well Choice and our choice. All right guys. Let's get started. Good luck here everybody Going on everyone Sam here with latent sports guards ripping ten bucks Tuesdays ten bucks prism treasures basketball mixer number 140 Random team stylers look again at your random results the second to get back here There we go. As always you can find these on the website under the results tab as well as the link in chat sorry about that again like It crashed before the break started so Good luck start with prism 2021 prism Sello multi-pack. What's up Joe Joe Mack? How you doing buddy? Not too bad man.  I block you.  Is it under to you VUE? Don't check make sure I miss you. Oh, it's Lee leavey Lee you got the Kings Lee you got the Kings. So you got some here in Fox, Davion Mitchell, Tyrese Albert and Few others as well encourage it Regina Jada McDaniels silver Green Robert Rocco Aaron Nessmith and Malachi's one then we're just all gonna have to hear them more Let's go. That's never a positive Silver or no green the Marcus Aldridge Robert Woodard Disgust Same You go man cash, it's Winston You got to check them out man, they're put up there a few days ahead man Yeah, they do sell out pretty quickly This was sold out Not this wasn't even necessarily sold out, but this had like 13 spots when I went live, which is like true pretty crazy for a 10 bucks Tuesday. That's like 500. I was like 520 a spot Silver Jimmy Butler dominance Hoku prison rookie. I have an under Lee. I have an under leavey. It's the same last name you have there, but I just have a lead instead Yeah, we got you Tyler Bay Green Yeah, it's under Lee Yeah, I got you for the Kings Lee really for a multi-year mix. There's not a lot of bad teams You know what I mean? There's always gonna be somebody in one year. There's killing Hayes green Well, mellow rookie for the Hornets high-roll Terry wait till we get the XR we have extra extra Oh, I'm doing it tonight. Oh, we are Tyrese Halliburton silver. There you go. Lee nice one there, buddy Hallie Hello, God My it's Ramsey Bobby at Fortis. I hear you. I got you. Yeah. Yeah. How do you spell that? This way for like three days cash is Stanley. Yeah, I usually give or take sometimes more like four days out Friday Saturday There's Patrick Williams red white and blue start looking on Friday and Saturdays for the breaks for Tuesday Ricky Ruby up You just one of those guys he's like yeah, he had like nine assists every game you always have assists could not shoot could never shoot Now yeah, you know, he's always on a Timberwolves Yeah, Josh Green Not work out Hi, well Terry now we're up to 160. That's more like it Face and last pack of the prison multi-seller Face all right, I'll do it for prism Let's go on to Next year 21 22 Don Rush choice this class kind of clears 2020 unfortunately This class clears 2020 in my opinion I've got Quentin Grimes rookies John and coming up Kate Cunningham Greg Brown and me means We got a redemption do that one last Luca guards a rookie auto for the Pistons nice one there Detroit our numbered cards We've got a Terence man to 49 for the clips Keras Leverts to 99 for the Pacers and Jason Tatum to 99 for the Celtics Redemption is James book night rated rookie signatures choice going to the Hornets There you go Charlotte Queen City Congrats on the book night. All right on to 2020-21 Don Rush choice. So you can pull a Lamello or an Atenin or a Halligad. That'd be cool for the lead There's Lamello Cash of Stanley stop Chad Jamai, it's Ramsey Jordan Dora Hail Maladon first up is going to the Hornets gonna be Caleb Martin Rated rookie signatures choice not number Congrats Charlotte Nevada legend, then we've got Nico Manion rated rookie signatures choice this time for the Warriors Golden State Regina there you go Regina Got our numbered cards Bogdan Bogdanovich for the Kings to 49 on the blue red of Victor Oladipo to 99 Pacers and red Jaden McDaniels 70 out of 99 for the Timberwolves Everything's well here, man. Hope all as well with you with you as well Chad Just one group break with spots left 10 boxes. That's it. Wild dude wild Do 21 22 select 21 22 select. What do you want to do last NT or 18 19? Ralph Samson 224 a really random number in flight signatures for the rockets at a cat to 199 and speaking of Ricky Rubio Gotty Barnes rookie scope Kevin Herger he did yeah So the trash list so far tonight, it's me Quinn crimes rookie That's Kyrie to 99 on the game use Jersey card for the nets when they're Thomas T on the combo spot Silver Tray the Angelo Russell Trash Super Trash Frans Wagner Just generalize John Merant Miles McBride tri-color premier level Jimmy Butler Yeah Williams there's Chauncey billops the 249 big shop billops here you go with Detroit nice one there David V Mobley future Clint Capello Josh Giddy Anthony Edwards to 75 wine green he's on our Trailblazers yeah Think so I think he still is is that true is Chauncey billops the head coach that's a trailblazers. I Think so silver Joshua Primo Anthony Davis bones Highland silver for the Nuggets Zion All right guys, let's do 21 22 prism hobby now It's not regular prism Ah Thank You CB Yes, he is Love it dude These bones Sandra silver Joe wise camp Red bam out of bio to 299 for the heat Too many cards in this one Dominique Wilkins yeah, these are like look at this dude. That's destroyed Just base them like luckily it's not anything crazy Yeah, they stuff like two packs worth into this one pack. Sorry smacksie Bradley Beal. Ooh Rashid Wallace Nice one there again all the o3 pistons now. We need big Ben and rip Hamilton now Nice one there. Congrats again David So she was yeah Very warped yeah off there Luckily again, it's just base Silver Reggie Jackson purple Marcus Howard for the Nuggets to 99 66 of 99 I gotta send you these already because he's a look it out and mangled the freaking me It's like same thing. They're all super warped on that side the first two cards are They orange wave coming up. It's an IO to soon move base rookie the bulls Jordan Nawara Pulsar won per box Orange Jason Williams going to the Kings. There you go Lee 37 out of 60 white chocolate Yeah Is it that's pretty cool You bet super warped first couple cards Alphan Shengun Rookie for the Rockets and Wallace silver klax then there's a D Wade hyper to the heat There's Russell Westbrook mindset hyper Aaron Baines sensational signatures going to the Raptors base pack there Red wave John Collins not numbered for the Hawks. Nymious Keita on the hyper base Then guys will be a little behind after this break So I do apologize There's a condo composo to 149 Scotty Barnes base rookie Red wave Desmond Bain blew the Derrick Rose to 199 probably eBay SM. Yeah, I Would say probably eBay is your best bet look at what other people are paying for stuff, you know Card ladder is another pretty good one John and comminga. Yeah 130 point for best offers Honest on the hyper card number one nice one there for the bucks the last pack of prism had O'Shea brisette So 299 and base All right, let's do prism choice next 21 22 prism choice See a tiger striper and nebula Dylan Noel Kendrick none Exclusive Sergey Baca for the Clippers Miles Turner for the Pacers and Isaiah Todd rookie for the Wizards got auto mark Jackson. God bless you. There it is for the Knicks Nice one there. Congrats, New York. Cool mark Jackson Got to 88 red scope Kyrie Irving and Red Scope Gavante Graham for the pelicans both to 88 Let's do do 17 18 prism now 2017-2018 prism see a Tatum out of here Tatum gold or something to be massive Make some funny names in here too Such as Dion waiters right on top Tony Bradley. There's Dwight Powell's gonna be our first autograph the Mavericks Joe Engels silver red wave Fred Hoyberg for the Bulls got what a disastrous tenure he had there Good God, man Good gosh rank Mason fundamentals Damian Lillard LeBron Get hyped red wave Yanta Davis for the Grizzlies Patty Mills Fred Hoyberg again the onto Dave's Mental Dirk James Harden get hyped get hyped silver LeBron Yonte Mer Willie Hernan Gomez So we're still seeing Kauai as a spur That goes so long ago now Donovan Mitchell rookie there you go jazz nice one there our second auto it's gonna be Frank Frank Nidolkina that would have been huge in 2017 right there Or the Knicks Frank the tank at Nidolkina. That's the actual nickname really Frank the tank. Yeah There you go congrats, I guess congrats to the Knicks there Solomon Hill silver fundamentals John Stockton Mellow Nick Batum Kauaila He was like super hyped because he was apparently written He was like at the time he was super young he played in France So it was like one of those overseas like everybody was trying to get the next overseas guy And he was supposed to be like this lockdown defender and was just I mean he went to the Knicks He was kind of doomed because that's such a bad franchise But he just never developed anything how coos my emergent rookie Silver Damari Carol got a blue Paul Millsap for the Nuggets the 199 my guy right there still in the Hawks uni Miss me some I miss Paul Millsap Dwayne Bacon Tony Parker.  No, you know, you've been very happy Michael Foltz rookie right on top Brent Brown Devon Reed Dorsey there's an emergent Jason Tatum rookie Silver Scott Brooks blue TJ leaf To 199 for the Pacers another one that would have been a big card back in 2017 TJ leaf rookies He's a lottery guy He was like Alonso's I think we were talking about this is one of those teammate at UCLA And Wanda obviously carry that team and we just signage is there. It's like the second the second option He was pretty highly recruit he was a pretty high recruit at a college or out of high school here in Fox rookie Rookie's coming out here at least There's Ferguson. There's JJ Borreia red wave Timothy Mozgolf Leak Monk rookie There's Walton Chandler Parsons Lucas no Gira former Hawks legend Steph Curry Frank Vogel red wave Jair Smith Sorry, Kevin's Dougie McBuckets Doug McDermott emergent rookie Derek White George Hill Damian Lillard redway Jeremy Grant That was Bryant rookie for the Lakers. Oh, Jane Unabee Very good rookies coming out of here though. He has a couple of decent ones West Unsell silver Mike Malone Blue ice Marco Bellinelli for the Hawks to 99 What up, Donald doing well, man. How are you? You pump the twins re-signed Correa. I owe rookie now nice The heat of purple coming up in here. It looks like as well Silver Iman Schumpert Purple Frank Jackson for the pelicans rookie to 75 nice one there Pells I Saw Nana Hilarious Thirling Brown And Duncan Norman Powell Got red wave Rugo bear for the jazz Lou Will Frank middle Keena and Dwight Howard It's more 10 box Tuesday spots coming in awesome. Thank you guys 1920 select 1920 select hobby. Good luck.  It's only 30 million a year instead of like 50 million Which is what he was getting plus, you know, you're not locked in for you're only locked in for six as opposed to 13 That's kind of nice It's up snips the Jackson Hayes Jer rookie jersey cart for the pelicans Zach Levine Jackson Hayes rookie Devin Booker Toen Wendler D Rose. There's a Terry Rozier red scary Terry. So a 199 PJ Washington and Kyrie Irving PJ Washington was another one.  Frank niddlekina Frank tinkle tinkle as people call them because they couldn't because it was classic new york mix fans can't pronounce it Andrew Wiggins tri-color Mike Conley Matisse thighball rookie Right see Vaughn knows taco fall So we're Zion nice one there on the top selections Scoped Donovan Mitchell I think he's in the g-league somewhere Yeah Daniel Capron anthony davis In his driveway saying he would be good. I was wrong say good to boy.  Thank you ryan. Uh should be it was baseball. There's a jaw rookie silver bam Kemba Walker Not true unless it's wendy bull bull for the nuggets jaren jackson Silver Collins sexton Romeo Langford God, I remember you supposed to be good. Romeo Langford Indiana legend from the Anahoosia's legend Um, if in do cabin galley that's Celtics legend within do cabin jelly Cam top our Cameron Johnson nice one there to 2.99 for the suns James Hardin Zach Levine Silver Darius Garland. There you go cabs. Nice one there bull bull rookie Carl Anthony town's because garland doesn't sign with canini. So it's silver stuff Like his prism rookie stuff and his numbered stuff and silvers are big money. Yeah rent williams. There's Jared culver to 99 lime green rookie auto for the Timberwolves nice one there silver Zach Levine Russell Westbrook and Deandre Hunter rookie Bruno Fernando. There's Ricky Ricky Rubio He's haunting us now at 249 on the die cut Cam Johnson courtside and tail in horton tucker. All right, let's do nt now 21 22 nt hobby We're gonna save 18 19 prism for the end. Hopefully we hit something big some luka color We do we do donal if you want to shoot us an email late in sports cards at gmail.com Lane's always acquiring stuff. Here we go Deandre 8 and 5 of 10 nice one there for the suns We've got Clyde the glide one of one printing plate from one and one for the trailblazers Portland trailblazers got Jalen green rookie jersey a 88 of 99 Nice one there. Oh, this one's cool We've got the biography materials Carmelo anthony for portland 2 of 25. This is really cool dude. This is kind of sad Got treasured signatures bronze Bill Russell on the redemption Congrats on that Celtics. RIP man. RIP to a legend basketball troop basketball pioneer Rest in peace bill Russell Congrats sees Got nice one here 55 of 75 rpa is going to be joe wisekamp. That's going to the spurs four colored rpa San Antonio spurs. You can mag this one most of the true out to iota soonmu 66 of 99 rookie jersey for the bolts We're going to the pacers another one. That's going to be a chris the warte Rookie colossal jersey 92 of 99 Russell did you got christian wood Nine of 99 for the rockets cool one there and nice one here going to the wizards It's going to be eight of 25 christops for zingas two colored patch auto last thing legacies That is game worn as a member of the mabs Congrats on that wizards AP 18 19 prism the classic luka and kevin knocks Good luck brew. I agree. I don't need more playing time They're just a mess the bulls are a mess dude bulls are just a disaster kevin hervey silver buddy healed miles bridges rookie silver kevin dirant fireworks Mitchell robinson rookie lani walker Spurs now a laker omari spellman josh hart zen and musa A lot of rookies in here dude erin holiday not complaining buddy healed silver zen and musa Rookie for the nets red wave omari spellman. It's like all this is all rookies this pack dude mo vagner She busy me too and then come a walker That was weird watch now we're gonna get no more rookies after this the anthony melton There's hyper scary terry eric bledso Uh Borneo sun whiteside blue miles turner for the uh pacers to 199 kevin dirant hyper miles turner Lonzo treer, whatever happened to him the ace.  Oh, jeez. Yeah, now i'm killing off poor lonzo treer Now lonzo treer is he is okay to my knowledge, but he just not Was really good for like 10 games and then just never heard from again Rob will not stop in the school here Jamal mary He was rich over his banky JJ reddick and yannis Warm milk. Ooh orange coming up. Come on, baby big rookie on the orange Yeah, jamaica green. We got a blue ice rookie. I like that Jerome robinson To 99 for the clippers like the one guy in the lottery. You don't want to get There you go clips orange. Kyle lorry very nice the 49 25 or 49 for the rafters Giles larry nance shabazz nathan So for autos as well Well, we got something coming up man cooking something up here into edwards You've got robert williams the time lord on the rookie auto. Congrats cel ticks Nice one there. Take a time lord rookie auto kairi thomas hyper Galanari jacob evans roko Giddy triple double. That's a giddy up. No Gary Trent jr. Rookie for the blazers. He was on the blazers, man Traded him so early on badly rookie robert williams rookie silver john stockton uh johnson isaac Jordan bell jalen brunson And base Still looking for another auto I know right here this pack. There's an anthony simons rookie Look at auto this pack. There is an auto in here. I believe Silver erin holiday We've got tevante gram rookie auto for the hornets not bad Take that two guys who are still solid in the mbi very nice. Congrats hornets still in brooks base Brandon night kevin herder rookie ed mo vagner. It's uh 299 lakers red wave nick batum Blue will modern genoble Yeah, she would be solid mo bomba Helen sexton d anthony melton red wave rockets And troi brown I don't know for the break guys do a quick recap here I would assume who bulls christ warts a pacers carmelo anthony trailblazers jalen green rockets jackson haze pelicans kairi erving Nets Yeah, davante gram hornets robert williams for the uh saltics chris ops for zingas wizards christian wood rockets jerry culbert timberwolves kevin johnson sons frank nittle keena for the nicks white pal mavericks Mark jackson nicks erin baines raptors rashid wallace pistons chauncey billops pistons ralph samson for the rockets luke garr's uh Pistons kaleb marlin martin hornets nico manion warriors james booknight hornets rest in peace bill russell on the redemption For the uh saltics and joe wisekamp 53 out of 75 for the spurs I don't do it for the break. Thank you guys again for the fill next up football See how spots are looking we're sold out on xr for sure And three to go on ten bucks tuesday football You get a wheat setup Wow jimmy butler That's kind of wild actually joshua. All right. Good luck here guys. Let's do this random It's going on everyone sam here late in sports cards doing the random for 22 don wrestle eat football hobby Uh three box break number 16 random teams got a list of our uh 28 participants our 28 teams and combos. Let's roll the dice six times one two three four five six nicole c down to alex g Six times on your squads one two three four five six Bills down to raiders eagles nicole c bills ray g panthers michael b rams browns darren m titans long j bears kaden r steelers steven m patriots anthony g chargers timothy v Jets nicole c packers john w dolphins cardinals nathan q football team jeremy n falcons ryan p jags robert r cowboys justin h uh ravens marcus p with the chiefs john and q lions nathan y bucks nicole c seahawks michael b colts anthony w texan steven m giants anthony w niners Keith b saints kasper p broncos vikings marcus p bangles and alex g raiders eagles We got these copied over guys and we'll get started in just a sec The most free throws made in a game without a mess. That's insane. We have the game on too. That's the funny part It's absolutely nuts, dude Comes your link link. Give me one second guys and we'll get started taro martinez That's a very nice gold 10 of 10 argentina jake Good break. We got going here red cr7 and a gold let's harrow These are huge, dude. We've got color wheel of josh ellen Let's go That is a monster card right there. These are so hard to pull in celestine I've pulled two since i've started breaking. I pulled two of these so hard Wow scotty barns downtown Boom double up toronto. I haven't seen this one yet. I freaking love that with the actual raptors That's so cool orange auto The 25 that's an orange shimmer auto of jake fox Going to the cardians again That is two of 25 Derek killing it right now, man. Gold lamella ball Unreal man eight of ten premier level. Oh, that's gold Right gold kaboom Yeah Three of ten. All right. Good luck everybody on everyone. Sam here at latent sports cards We're up in 22 panini donnerus elite football hobby three box break number 16 Random team stylers looking at your random results as always you can find these on the website under the results tab As well as the link that's in chat Good luck everybody. I'll be Patiently waiting jocelyn field spellbound to 349 there's zack wilson back to the future auto 59 out of 99 for the jets That's on their jets 70 v ty chandler to 399 aden hutchinson rookie on deck lions Said it's a steamer Said my bad My bad Yeah, we'll be a bit behind going into the next one Yeah, no everything's sold out now. Yeah. Thank you guys again 10 box Tuesday sold out Desmond Ritter to 24 on the die cut nice one there for the falcons On the rookie kubra cup to 90 as well die cut for the rams They got a pack with no links there then eric azucanma easy e on the rookie auto congrats on that dolphins John w Yeah, I mean we're just a little behind schedule Rock purdy to 999. There you go. Niners congrats on that anthony w throw that in the recap There's jaylin rager one out of 49 for the eagles three color pat four color patch ral rookie Panthers uh trellon berks for the titans to 399 We'll tell you i've been yelled at right if it does sorry tore to 999 for the packages for sure I think it was a child that was like every day Yeah Jonathan Taylor playmakers There's a big dent in that actually I just realized Really big dent in that one Send an empty box and wrapper with the colts Justin herbert spellbound to 999 Tyler Beatty for the raven just scored with the broncos last week actually no 999 So I know except for football season. Yep, and then it takes for I know chase claypool to 999 stealers. That's the worst part. I know the offseason so long Yeah, for sure Playing acres russ I think starting with both more unfortunately


Good evening everyone, my name is Alexandra Cunningham Cameron and I'm the Curator of Contemporary Design and Hints Secretarial Scholar at Cooper Hewitt. I have had the honor of organizing the Willysmouth Street Couture Exhibition, Monograph and Digital Community Archive with a large and dedicated team at the museum, including Darnell Jamal-Lizby and Julie Pastor, as well as Willysmouth's family, friends and collaborators with principal support from Target. You're joining us today for Rebellion and Design, the second program in the Willysmouth series. The first collective memory storytelling and collaboration in the writing of history is available on the Cooper Hewitt YouTube channel. If you haven't seen it, I highly encourage you to track it down. My introduction to Willysmouth came through one of our speakers today, James Wines, who is a founding partner of Site Architects and together with Alice in Sky designed a series of showrooms and boutiques for willy-ware. These were spaces that signaled transformation and rebirth for Smith's broad audience, everyone from downtown club kids to suburban homemakers. We've been extremely lucky to have James in collaboration with Sam Shemayev Architects bring this energy to the exhibition architecture, which I hope you'll have the opportunity to see in person once the museum opens later this fall. Today, James will be speaking with two people who share his affinity for mischief and disruption, Virgil Abloh and Juan Estanescu, about a subject that is at the top of Willysmith's design agenda, creating new spaces for invention, rebellion and collaboration. The talk is in a webinar format, so we welcome you to take part in the discussion using the chat box. And at the end of the hour, we'll open it up for live questions and comments. To do this, we'll ask that you navigate to the bottom of your screen and choose the option to raise your hand. And you'll be invited to unmute so you can ask a question aloud in real time. You can also submit questions to the Q&A box and the program will provide live captioning. Now I can't help but smile as I introduce our moderator, Juan Estanescu, someone who's work and spirit I deeply admired for a long time and seen up close to her wide ranging and interdisciplinary practice. Juan is a Romanian architect who lives and works between Berlin and New York and who is interested in the spatial translation of ideas and environments as reflections of culture at large. And most recently, she's nominated for the 2019 MoMA PS1 Young Architects program. Her projects include plus pool, a floating water filtering swimming pool, thrill, as well as a wide range of collaborations with Nike, MoMA, Virgil Ablo, the Office of Play Lab, 2x4, Arup, New Museum, Storefront for Art and Architecture, Need Supply, Fool's Gold, Kanye West, and many more. Her current projects include the reconversion of a 500 meter long funicular into a public park in Romania and a house in Canada. She also writes and occasionally teaches at the Harvard Graduate School of Design. James, Virgil and Juana, thank you for sharing your time and ideas with us today. Take it away, Juana. The speakers appear on screen. Juana, a person with olive skin, long dark brown hair and red lipstick.   Well, it's an absolute pleasure and honor to be here tonight, here in my office, but to have you all joining me. And it's my pleasure to introduce James Wines and Virgil Ablo. For those of you less familiar with James's work, I'm very jealous of you because I distinctly remember the day in architecture school when I came upon his work. And I knew at the time there was no going back anymore. So thank you, James, for making some dense, important dense in my education. James is an American artist and architect. He is co-founder alongside with Alison Sky and president of Sight, which is an architecture and environmental art studio, which is internationally known for its urban, interior design, product, architectural projects. And then there's my good friend, Virgil. I think it's fair to say that we're both students of James in different ways. Virgil and I go back quite a while, probably like a decade ago, although this year feels like a decade, so that technically makes it something. He most recently introduced himself as an avid whatever, which is a probably pretty accurate description, but having a degree in civil engineering and architecture, he navigates between the rounds of art, design and culture at large. He's currently chief creative director and founder of Off-White and men's artistic director at Louis Vuitton. But the reason we are all here tonight is really Willie Smith and the exhibition on Willie Smith called Street Couture at Cooper Hewitt, Smithsonian Design Museum, which is hopefully going to open soon. Until then though, I do want to point out two things. One, I think it's going to be posted in chat, but there's this incredible website, which is willismitharchive.cargo.site. You have to check it out. I kind of gave up on websites a while ago, but it's a truly amazing and really incredible resource. And in addition to that, I also strongly recommend this book on the exhibition Willie Smith Street Couture. I'm totally geeking out over this book. And partially, and the reason behind it is because it tells us the story of Willie, but not in an institutionalized way.  And what emerges is really this incredibly free creative spirit, incredibly just authentic and open to the world.  Yet reading the story, you never really get a sense that he lost, you know, any sense of faith or orientation for that matter. So what happens is when what happened for me at least, when I read the book, you just get an incredible sense of joy, just a spirit. And that's a very elusive feeling in 2020, I don't know for you, but I can certainly say that for me. And, James, I'm curious, you designed the exhibition, but more importantly, you also designed a few of his showrooms. Oh, sorry, you designed the exhibition together with Sam Charmaev, but you also designed a few showrooms for Willie Smith, as well as his office back in the day. Did you did you guys have fun? A lot of fun. I mean, yeah, I really is not only a remarkable character in terms of integrating the arts, but he was a great spirit. And I think the most significant thing, having an exhibition of his work right now is that he was the pinnacle of integrating systems, integrating people, integrating ideas, integrating the arts. It's something that he was really a pioneer as part of it, as well as a great fashion designer. And he was just a joy to be with. He was absolutely amazing. What we started working on the showrooms and his environments. You know, I knew that he was working with other artists, but I had no idea to what extent. And he really touched on not only fashion design, but he brought in other fields. So it became this total fusion of systems. Plus, he was also a purchase street artist. And love to see his fashions in the public domain. Hopefully social distancing will soon end. And the Willy spirit will come back in full flower, because it was a remarkable period. And I think in a sense, what what America should be about. Well, yeah, we were. No, I thought I lost you.  I think it's mainly the relevance of his work. And the spirit behind it is I think we talked about earlier. He's essentially symbolic of our times. He's more relevant than ever. Because where would you find a person who is into fusing the arts is into the streets is into the commonplace, you know, transforming ideas, you know, integrating the arts with across the fields, including dance and performance and theater and painting and sculpture. He's an African American, a leading African American.  So he's, in a sense, the embodiment of of everything that's in the news today. And Alexander Cameron's selection to have the show, let's just say, just couldn't be more pertinent and couldn't be more relevant at this time. Yeah, I have to agree with you, James, of course. And I think your writing is saying that we're basically inhabiting a world that was made possible by Willis Smith and other pioneers like him, whose stories we don't always kind of get to know. So in this case, I think we're particularly, particularly fortunate. And one thing that's really compelling is you get a sense that he was breaking all rules of fashion or all other fields for that matter, and doing so laughing Lee almost, or completely ignoring them for them. And I'm curious because, you know, just coming back to this notion of joy and or fun or playfulness or humor, that's a that's a common trait in in your and in Virgil in your work too. But also, Virgil's work, I mean, we have a great common because, again, we really start with the commonplace with the ordinary with the something that is recognizable to everywhere, like shape or volume or texture or color or whatever. It's, and then we apply to another sensibility or something that transforms it gives it another level of meaning. And that is very important. And really, with part of that as well, it's always trying to put fashion in another context, and see it in a different way. Totally.  Virgil, I'm curious if you had anything to add to that. I said no, completely. You know, to even enter this conversation about design. In our moment moving forward, you know, you have to highlight a figure like Willie Smith, because there's always in history, a predecessor. You know, there's always a lens that's just before now that might be in super focus.  You know, what is diversity and design? You know, these questions that we're asking ourselves, what is what what is a designer? You know, what is art? What is architecture? What is fashion? As we know, and as the world around us swirls around this idea of representing more people than just the people that participate. What you often get is a nomenclature that says you're breaking rules, you're having too much fun, you're not respecting the past, etc, etc. And and you see in Willie's body of work, how he's just free, you know, it's very similar to, you know, taking a kid to a restaurant or a movie, or a gallery exhibit and telling him not to touch the art, you know, it's like, you see that when you bring a new energy or sort of like an energy that can progress the system forward, the almost immediate reaction is to touch the art. And you could call that breaking the rules. But you could also call that sort of expressing one's cells. So to me, you know, the context for this conversation is quite vital because we're talking about designer, we're talking about through the lens of Willie, but also talking about architecture. So there's a number of ways we can go. There's, there's one quote that I want to throw out there to what both of you are speaking. And it's by Peter McQuade, who's a writer, and he writes in the book, it's a bit of a long quote. So you have to bear with me, but it's worth it. He was dating Willie at the time and was complaining about not making it professionally. And Willie told him, or he basically tells the story of saying I listened as he explained that the reason his name was on the sign outside has had nothing to do with some magical blend of ego and self confidence. But because he found it impossible to do his best work in a rigid Seventh Avenue environment. He knew because he had tried. In other words, there are those amongst us who will never fit in. It's not a question of wanting to or not wanting to it's just not possible. If you're one of those people you are going to have to figure out another way to do things, because the normal way is not going to work. You'll have to work harder and probably fail some, but the rewards are greater. If you're older, you know what I'm saying is true. If you're younger, you're welcome. And I mean, well, I'll let you guys run off of that. I'll just share the couple of slides on on Willie's work, but then also you guys collaborated recently.  Willie Smith Community Archive homepage. Several images of Willie's work cycled through while James and Virgil speak. Yeah, James, in the era that you guys first connected, can you paint a picture of New York and the the ecosystem that you guys are inputting ideas into? Yeah, it was really that period when, you know, the whole art world was shifting, you know, it was kind of moving away from pop art and far more into performance art and environmental art. So some of my best friends are over on the Bowery, which was the main, you know, performance center. And I was in Soho, which is the main center of environmental artists. And there was a lot of dialogue going on, a lot of exchange of ideas. And it was just an amazing period because in a sense, all of the artists after pop art, we're all trying to get out of the gallery. The whole idea was to flood into the streets. And we did it in a way very naively. And we did it with a lot of energy. But the idea was just to burst forth.  And you know exactly what to expect. And it was no matter anything, no matter how outrageous, as long as it was on a pedestal, or in a frame or on a wall or in a gallery, you were already preconditioned to accept that. So the rebellious spirit of that time was just get out of the gallery all together. A good friend of mine, Alice A. Cox, is an amazing environmental artist that lives next door to be still, or before in Soho now. But we always just kind of commiserate and say, Oh, we should have just stuck with, you know, three feet, four foot paintings, because all of the artists who continued in the more conventional frame of reference, you know, became millionaires, and we're always struggling because we're always trying to figure out how to do it in the landscape or in the streets. So it was not an economically, advantageous move. But it was again, part of that rebellion about can you get out of that? Those constraints and do something else. There's some other way we can do it. Several photos of a warehouse style, a clothing display. Amazing. In regards to fashion making, like, was there, was Willie one that was trying to sort of find a space within that community, or was he more bent on sort of bridging the community between art and fashion? Two in a funny way was, you know, what he asked me to design space is why he says the last thing I want to do is like Ralph Laurence. And it's really true. He didn't want to be precious looking. He wanted to be, you know, fun looking. He wanted to have something enjoyable, something different, whatever it was. And that was it. It was just the spirit of the time that had to, it just couldn't be conventional. So we he loved the streets. So we just dragged the streets into the showroom. And but he touched off a lot of things. You know, I know I'm working for you recently. I mean, fell in love with invisibility. And it's hard to folk. I'm still waiting for great photographs, but to really kind of express that idea of seeing through everything. And so that anything opaque and that kind of environment pops out into space. And well, they would have loved that idea. I didn't have it at that time. But it's interesting to speculate that, you know, if you just look at any art form or any situation, there's always another way to do it.  Just start with that. Don't don't try to be fancy. Just start with a dumb thing. And that will, you know, expand and and become something else. Something interesting about your work is you've gone really international. I don't really can be considered really internationally, far more American. But you might just take this kind of inversion of situation and rethinking fashion to a global level, which is amazing to us. Another whole process and also made possible by the digital age of communication. Yeah, indeed, you know, and for my generation, carrying the torch from Willie and the community that you guys were fostering downtown was obviously this. There's something to that parallel of breaking out of the system and just existing on the street, you know, what happens when you stand on the street, you sort of get this barrier like this image here showcases of everyday reality meets like the theory that's happening in the galleries or the systems or the institutions. You know, and it was just particularly, I look at these images and I see how they were communicating an energy at a specific time. And I see the real value of fashion. You know, fashion is almost sort of like it's like a telegram or a telephone call, no matter what the technology is, it communicates an idea of a generation. And I see in his work, you know, the foundations for for my generation, my work. And I also see it through the lens of being African American, you know, black, and, you know, expressing one cells through the sort of the lexicon of one's own ideas. Yeah, that one thing that always amazed me about Willie, I mean, being African American, he never seemed to have any chip on his shoulder.  His idea was just more integrated if you become the better it is. And, and I think that that's certainly, I get your part of it very much so, but, but it is, he did kind of eloquently express that spirit. I mean, not only his personal life, his friends and selection of, but even when we would talk together and go look for junk around the city and, and go to the west side, some of the clubs there. And, and he was, you know, I don't ever remember having a conversation where we were talking about the agonies. I mean, he seemed to be a person who if there's any agony, it was just doing better, which was a great, a great characteristic. I was listening the other evening to that incredible concert by, you know, the, that's the now I'm missing, I'm missing my fault process here at Woodstock. And I was thinking of all the people who were in that, in that whole situation. And, and every one of them just, you know, you don't have to rationalize anything. It was just the quality came through. And it was just, it was so spectacular. It was so, so moving. And, and I feel that characteristic, it, you know, it's, it's something that's in every culture.  And the benches and ideas. And the more that is emphasized, the more that is brought out, the less, you know, friction, I think there'll be in the society, just overpower the society with the quality of the work and the rest take care of itself. I've always felt that way. You know, I listened to Prince for the first time. It was just, it was extraordinary. I mean, I didn't, I, it takes you out of, out of any differentiation. It takes you above that argument in a way. Yeah. Yeah, I'm with the quotes. I'm really geeking out over this book. Sorry.  When the hype was over, people thought we, there were no more black designers. In a way, it's a blessing. Now we can get on with being what we are, designers. And then Dario goes on to say that the fashion industry has repeatedly devalued the impact of black people and black culture and Smith laid the groundwork for the diverse voices breaking through industry protocol today. But I mean, architecture is in many ways way worse than fashion. Virgil, you're navigating both and other fields too. Yeah.  I often think of the metaphor of like, if you're going to climb Mount Everest, you have to stare at it every day. But then, but then imagine being 100 miles further away from it.   You know, you have to, you have to absorb being the trend for the moment and not as he's relaying in his quote, or also you just have to be characterized as a box, like being put in a box. And, and what that does is it, it forces you to, to sort of, you know, I always look at the upside, I'm an optimist. So that's a, that's a part of the sort of Trojan horse of it in order to exist, but you basically adopt this very deep rationale about the work and how it exists in the perception of the work. I, for one, found the gray area in between architecture, art, music, fashion, as a sort of space that is contactless. You know, you know, I had, I've had predecessors before me try to exist in these silos, and, and much like Willie through learning his story, I found freedom in the street, like found freedom in that edge, you know, the threshold before the establishment, because there's freedom there, there's expression, there, there's an endless abyss of inspiration in real stories to be told. And, you know, being black and, and having spent time in these like higher education institution, you know, my purpose is to bring those worlds together and, and not, not even be as rebellious or as like, you know, a writer would love to call me a disruptor, you know, and I think pre-2020 you can identify, you're categorized, categorized as a disruptor when you don't fit the mold, and you might be just doing, you might be that kid in a gallery that literally just wants to see if that sculptor is really bronze or plaster or, or whatever. And, you know, all that lens of looking at Willy's career, what he created, how thoughtful he was is, you know, it's something I find of value as, as we call for a generation to be represented in these fields that aren't so diverse. Absolutely. I mean, James and I were talking earlier also about this, these boxes that everyone wants to keep one in and put one in and how they always come, they never come from the creative bit, because in essence the creative process is way more fluid and in a way it's almost there. I tend to think of architecture, for example, always in service of life as an infrastructure background to things that happen on it, but I often get confronted with being, my work being called, or being told that my work is art, not architecture, which I find to be the biggest compliment, I wish, but I also don't understand why, like why does it matter where one begins and the other one ends, if there is such a thing to begin with, like why build these walls that anyone has to kind of climb over? And James, you had some good stories about Frank Stella also being confronted with similar, like in a way I think every field is trying to hold onto its own boxes. Well, no, I had mentioned before that because, you know, I started with a lot of controversy.  Endured a lot of that kind of criticism of dismissal and, you know, that when we're talking, that's not real art or that's not real architecture. It's if there's some omnipotent category that we're not in touch with or something. But it really is, it's ridiculous. Well, I think I mentioned before when we were talking that I was on about a panel many years ago, and I think with Oldenburg and Roderick Constine and Frank Stella, and I think I was the only person on it who sort of represented architecture. But the idea was that the theme behind it was, and I think there's a book somewhere that was published, Controversy and Art. But the idea was that these are all artists whose work had been dismissed in the beginning. It's not real art or not real sculpture or not real anything. And I found it, you know, it was amazing and amusing.  And so his comment was, why do critics always start, they were criticizing me because I'm not, I'm not a painter. They said, you know, I'm not a painter because I don't use color. And why don't they always start with what you're not trying to do instead of starting with what you're trying to do and going forward from there. And I said, that was a very good comment on critics. And I remember Oldenburg had a brilliant moment, too. Noguchi was in the audience and was kind of trashing Oldenburg. That's not real sculpture, the usual. And Oldenburg was trying to be very polite. Well, you know, it's a way of doing sculpture. And he said, well, it's not real sculpture. I said, why isn't it real? And Noguchi says, wow, because it's not hard. It's not firm. It's not carved in marble and made in bronze or whatever. And he said, well, you know, sometimes I'm an artist and I like to take risk. And risk is a lot of fun. I like to take risk. And so Noguchi says, risk? What risk? I don't say any risk. What's your risk? And Oldenburg said, my risk is that you won't understand it. And that's so true. The bottom line. And there just isn't enough patience, I guess, in the critical system. And it's interesting, much more sceptic in the society. I've found far more interesting dialogue with just the general public often than you find with actual, you know, professionals, professional critics, professional architects or whatever. And I think we've all found that. I mean, we've done controversial works. So the minute you do that, you'll alienate some of your colleagues who are more formalists or more conservative or whatever. James, you have to join my, I'm having a sort of class or project that's called non-professional. So non-professional practice. So you have to come rile some spirits up there.  So when I think the role actually of a critic should be to try to see where things could go towards and kind of participate to furthering the idea and furthering, you know, creativity in essence with the goal of a higher purpose as opposed to just kind of knock things down, which is, it's quite an easy thing to do for that matter and also doesn't bring anything to anyone except for. I think that there's not an effort and they want to tend to want to solidify whatever they think. And it's usually solidified by kind of an academic sensibility. It's usually derived from that world. Like if there's enough examples or if there's a movement of foot or something, they'll latch on and then, you know, they won't change their mind. And, you know, my favorite quote I use in almost every lecture is that after a while an idea that isn't dangerous isn't worthy of being called an idea. And that's true. I mean, all ideas are really good ideas are dangerous. And I mean, the greatest idea of all time, I guess is the theory of relativity and that was dangerous for most of Einstein's life. So I don't think we have to be afraid of ideas. I mean, there's a bottom line for everything. And I think what's important is like we're having this conversation in 2020. You know, if we have this conversation in 2019, us as creators, the three of us highlighting the sort of rabid pill of critique, you know, I think it's often the dialogue as Iwana was saying, it's one of the critical points in culture that seemingly is just swallowed into the like, hey, to become successful, you deserve the critique in my kind of deal. It's like a tax, you know, but as we can say, like paying tax, like, what are we paying tax for? You know, what is that tax money fund? And if we're going to sort of be up against this sort of brick wall of, you know, these, these, you know, these civil rights movements to sort of ask for better representation or understanding how we relate to the climate, you know, in our relationship to the earth, et cetera, the only thing that can change is how we view something we viewed yesterday with means of progressing with means of having humanity click in some way so that we sort of solve the world's problems instead of perpetuate the rest. And I know that's a bit of a zoom out be from fancy clothes in a window and, you know, buildings on the street. But James, what I love about your work and what we can ramp back into willy is it related to everyday people, right? It didn't just relate to hollowed spaces. James, can you tell the story about the show, the first, I think you and Willie first did a window display? Oh, yeah. Well, no, we didn't do it. Actually, we had done a window display for Rizzoli, which it was our yeah, architectural books, all I could remember. So we saw a big construction site right across the street on 57th Street. So we just went across the street and got all these bricks and mortar and all like that. And we just distributed it over the window. So it's a whole construction site. The window was a construction site in and in among the the materials, of course, they placed the books, the new architectural book. Wow. I mean, this was done by John Franco Bonacetele. It was incredible curator and visionary for Rizzoli. But yeah, I mean, the store designer just went apoplectic. I mean, they took it away at a very short time because I think we're going to quit his job or something over this. But Willie passed by the store and saw this. And so that was our introduction. He called me up and he said, yeah, I really love that window you did. So you do something like that for me. So in a way, that's how it started. He really liked the jump world. And I did too because as I say, it's where you least expect to find art. And I love territories like that because they're open for exploration. If it's already, you know, a Gothic cathedral or a temple in in Greece or something.  And the iconography is not really relevant anymore. And it's boring. It's kind of copycat art. And I don't think there's any vitality in that. And because the art that lives on forever and keeps it alive is it was always controversial at the time of its inception. Always. I can't give anything that I really like. They didn't have some controversy. Had them having lived in Italy. I mean, look at Massaccio or Michelangelo. I mean, these guys were incredibly controversial for so many reasons during their own time. They're titans of the history. And, you know, I listened the other evening, just bringing it up to date to tribute a little bit of film made on Jimi Hendrix and I'll be great fan of his. And I mean, it's incredible. I mean, when you play like that, you don't have to have any other rationale. And yet that was very controversial. I mean, he was ragdollard, many years of were these retails studies that you were doing like on the street, like in the retail, did this this all predated with either your early investigations until into what you would be the architecture, like more building projects before were they happening concurrently? Well, they were happening concurrently. I always like the process. I mean, the reason I like construction sites, I mean, the process is always more interesting than the finished product. And that's a hard thing to accept.  Because if you over finish it or you're over articulated, it loses something. It loses something. I see you feel the same way about fashion and products and things. I mean, it's something about a rawness or an edginess or question being asked. It's always got to have something unanswered. You know, Duchamp said, I want more interest in the questions and the answers. And he's right. I mean, it's, you know, if it makes you Duchamp, of course, is the pinnacle of that. It always makes you ask questions. And even to this day, you put some of this early work in a sculpture show today. And it's always the most interesting thing in the room. In fact, Giacometti and Duchamp are always the most interesting sculptors in the room. No matter who else is in the room.  I mean, you can't get away from it. No, that reminds me too. You know, as I'm listening to these stories and I'm thinking about now and I'm, you know, I don't reflect on my own work usually ever. So, but it's a good lens, you know, 2020 is that year. I think about, you know, I just recently had a runway show. And to me, what was more interesting is like, just real, I wrote a series of like what 20 or so questions and put those out as garments that I had designed, you know, and they're up on my website. I feel that. I know it's amazing. Like just also, it's, you never forget that the body is carrying all this information. Without that, you know, the information kind of doesn't exist. So, you know, writing on the body, reshaping, I mean, all of that is inherent in the thing. It's a commentary, not only on the art of wearing something, but the body has got to be there. It's always carrying half of the message. And it's really fresh from the collage. You know, the idea it's basically powerful. When you find, and when I see you, when I look at your work, I feel like you were investigating like the architecture that maybe the industry didn't want to to sort of acknowledge, you know, they probably wanted you to stand up straight and show in the galleries and be formal and abstract, reduce, and all that. And the same as fashion and me today, it's like they would love for me to to sort of exist in the archetype that is European. I know that. They want to get you into some kind of box so that they can, well usually that's a reason to dismiss you. They put you in a box then they never have to think about it again. They can go off the next box. Oh, you have a, you know, I think we share that in Colin where we keep we seem refused. Pusal. I always try to not position myself against something because I feel it eventually we're giving too much bandwidth to the ones that were to the things that we disagree with. But I was curious about one thing. I wanted to bring it back to what you were saying earlier about the process being more exciting than the final and the questioning of everything. I don't know for how it is for for both of you, but for me, actually seeking collaborations, inter or interdisciplinary collaborations are forms of questioning things because by working with someone who, for example, an artist with an architect or something like that, I feel that my own assumptions and my own way of looking at the world is being questioned.  Is that also a source of questioning or what's in it for you in the collaboration? You seem to seek them out and you seem to be good collaborators. Well, it's very important. And because I mean, we're doing it right. You know, I've moved my studio to my apartment and my my middle room here is filled with people right now. So, you know, we're working. Well, actually, we're working for Virgil right now at this moment. But it really is interesting because, you know, now we're kind of favorably throwing out. Oh, yeah, I get what you mean, kind of thing. And it's getting better all the time. And it really is. It's a dialogue. But also, that helps you have that dialogue with the public. We're both a public art. Let's face it, we are public artists. And, you know, we're not really exactly tuned completely for private collectors. I mean, you could appear it. It could appear in the museum as we both have, but it isn't that comfortable there. It's much more comfortable on the street or where it is, you know, wherever it exists, it's much more comfortable there because then it's for everybody. It's not, you know, the art critic. It can be interpreted differently. And yeah, I would say that there's, there are constraints having a large audience or having a public audience.  It's got to hurt people's feelings. There are certain, certain game playing, certain rules of the game. But again, you stretch it as far as you can go. I mean, yeah, I think Andy Warhol said very well, art is what you get away with. And it's really true. I mean, it's just how far you can push the envelope. When you figure, when you finalize, like those, like, I'm going to, I'm going to go into the Q&A early because that's like, I'm a student as much as a collaborator of James, but I want to, I want to dial into like, when you did those string of best stores, where you like, oh, I'm, I'm like, I've discovered this new surface area between common person in a non-sacred city and hallowed space. Did that, was that personally, like a satisfaction, or did that just seem like another job along the way? Yeah, that, from an artist standpoint, and I just saw the big boxes. I mean, it was owned by an art collector. So he understood the criticism of, of these big boxes that they were about now, and they, people never thought about them. And I always thought, putting art, we at least expect to find it. It's exciting because here's something no one ever thinks about. So you, through something to it, and you start the thought process. And I always considered the highest compliment I ever got is somebody would come up and say, you know, I never thought about a building before. And that's an interesting thing, any that you had touched on some other dimension of that, that experience of, of enclosure or habitat or whatever. We've touched on something about it, that they hadn't entertained before they saw this, this object.  I always like kind of things on the street and banality and, and what other people don't consider art. It's always fascinating that you can do, do that. And, and in all art forms, I like that work, whether it's sound or whether it's words or whether as soon as somebody, you know, Quentin Tarantino was a master of script writing. And I always am amazed that if you take the common language and get that much portrait, but it's so on the edge of being banal. I mean, if he wasn't such a great writer, it would be nothing. It's just that he says it in a way that you just, yeah, I've heard people say that, but didn't say it quite that way. And so it takes on another dimension. But, you know, at the end of it again, I mean, every no knowledge of me hundreds was twisting what you thought was that art. Yeah. You've done the same thing. It's always twisting what everyone thought was the acceptable format for that art. Yeah. Yeah. And that's where I found voice.  And I want to ask you about, like when you guys were just hanging out, I could see you guys like hanging out on Bowery, like, I don't know if any of you smoke, but I visualize what are you guys like? It's really interesting. The sandwich. I think I wanted to, well, for my entire life, interestingly enough, from high school onward, virtually all of my close colleagues have either been gay or they've been African-American and both have had struggles. It wasn't, but not one of them ever, you know, weighed down our friendship with a struggle. We always talked about the art.  You know, I really like the ramshackle quality of the anvil, for example. I like that feeling.   I mean, Philadelphia is not a great place to be born and also parts of school design. I know he had a struggle because I was ahead of Carson for a while and I got lots of feedback and stories about that. But he really never be labored in, he never touched on it, he never, you know, and he knew I was probably, well, I could talk about anything. I mean, you know, I could talk about anybody's struggles and be a pretty sympathetic year. But it's just the nature, I think, of creativity is that it goes beyond that.  It doesn't really look like these assholes.  There's other things that are more interesting. And I think that that, that, you know, it's kind of misplaced symbolism, I guess, is, you know, society gets hip. It involves with certain icons and certainly images and certain stuff with it. But you know, what difference does it make? You know, I mean, really. Looks like we, I'm being told we, we need to move to Q&A, if that's okay with, with you guys. Yeah. Yeah. I could go on forever and so. We'll go on forever. Okay, I'm just taking one. Is that he's talking to you for so long. This is my wife. She's coming in. I know. I don't, I don't like him talking to you. She is. You're ready. You're all right. We're not supposed to, are we supposed to say that anymore? Are we supposed to, if you're commenting or not, is that, or is that. Your wife, she can say whatever she wants. Okay. It's a little bit. Well, I'm not being offensive. I'm not, I'm not commenting on, on beauty. Well, you, you're really very beautiful. But she's awesome. Very. And I don't like you. All right. My wife is open. Okay. Let's go on to. I think she was talking to you, Virgil. Okay. Question number one. Can fashion as a non-official ramification of architecture permit an individual to come up with viable solutions for architecture in general and be considered to be developed? Okay. So basically can fashion allow one to come up with viable solutions for architecture? You have to find a question so we can move through them too. If you can. Can fashion viable solutions for architecture? I think to find a backdoor into architecture and I'm just going to answer and say yes. Not any creative process. You know, it's like when you get an idea while you're running or something like that, it doesn't matter quite what you do. But I think if you have an kind of issue on your mind, it doesn't matter what if you come up with a way in by painting, writing, making fashion or anything else. Like to me, they're all one in the same in a way, serving the same purpose, unless you guys disagree. No, for me, it's literally the express lane.  You know, because I thought that architecture, in my mind, I'm only an architect, right? And all these other labels come to be. It was only just the timing in the small community that didn't have the surface area. And I thought that in a fashion, you know, we make things in like three weeks, three months. We show that, you know, I do 12 fashion shows. I'm responsible for 12 fashion shows a year. That's just my natural pace at like start, starting and completing an idea. And then it's like, as James said, it's on human bodies. You know, like, I couldn't even be in Broadway because I'm sure that that takes too long or theater. That takes too long. But if you think like an architect, or if you if you warp the world like an artist, all of a sudden, if you blur the lines between all these disciplines, then you have this like, oh, the world is the studio. So yeah, I just love that. Like, if you do architecture plus, pretty much anything, you start making up like 70 careers. Well, also, you're rooted in a philosophy. So if you're rooted in a way of doing things, a way of thinking, yeah, I find it pretty, pretty easy to just pass one outside the inside on the wall. I used to kind of battle with it during the, you know, escape from the gallery period. But after a while, you get comfortable and you realize that as long as you carry the idea forward, you know, you just keep innovating with things that are just, oh, it's like just on the edge of the expected, but then they're unexpected. It's almost like normal, but then it has some other difference to mention. And that always fascinates, that different turn. It's just like, again, it's like that in Tarantino, so great. He just uses common language, the stuff you hear on the street every day, but he has this ear, this amazing ear, and that's it. And you do the same with fashion. I mean, they're like other fashion, but you can tell the difference.  And it's hard to explain. If you sit down, I think that's like critics or so. You want everything in a box. They want to have an explanation for it. And if there's no explanation, it really is painful for their profession. I mean, it's a good point just throwing it in there while before we're moving to the next question. You know, we didn't talk much about how much Willie actually pioneered and innovated. He created the artist's t-shirt. He collaborated with Cristo.  And they were rather outrageous at the time. And it took, you know, a considerable amount of time for the world to catch up with to that. He did the first video fashion show before Margiela, for that matter, a lot of collaborations with in dance and so on and so forth. So, just speaking to the notion of what you were just saying, James, about things that can seem normal, like a t-shirt, but looking at them with a different with a different Exactly. All of a sudden, it's much more than a t-shirt. Right. Then it becomes something else that you really have to contemplate and think about.  But then you have Duchamp, who obviously, you know, he unraveled that notion. And then if you just take what Owana said about Willie Smith, you know, this free-thinking American coming to fashion from it with a different set of circumstances, you know, he's diverse in and discriminant in like very distinct ways. His free thinking and innovation predates some of the cannons that we thought were like the beginning, you know, but it's all in how we view that that that the beauty stories or the iconic heroic moments of an industry exist. And when you don't record those moments and when Willie isn't embraced, maybe in a way, then all of a sudden it's left off to the side. And those are just stories to learn from, you know. What were you going to say? No, you're absolutely right. This is very good. Because another thing that's interesting, I mentioned Duchamp, what Duchamp did was took advantage of all those expectations of overhead lights and pedestals and did he use a pedestal like it was never used before? He used a frame like it was never used before. He always did. He put a urinal on a pedestal in an art gallery that's conventional art. You blow the whole thing apart. Completely reassessed where you are. And I think but that had been going on for an awful long time. So it was kind of hard to violate or radicalize or do anything to that environment. So the next thing was the street. The street had not been radicalized. And I think both appreciate that.  There's all this stuff that's just waiting to be attacked. Yeah, no, I look at it just very much the same. And to me, when you sit, those stories are the same with David Hammond. You know, I see a complete radical perception shift when you can categorize a whole emotion in gestures that are a flag that turns red black, American flag that turns red black and green or telephone poles that become basketball hoops or the Blizzard sale. I saw someone in the comment. I think that in this year of 2020, when we're sort of searching for answers, we're almost like, you know, I think this conversation is perfect for a young generation who can unravel it and say the change that we want and the diversity that we want might be on what we're considering artists that are on the fringe or prodding at the canon in the unsafe way. You said it, Einstein was the best. I'm going to use that one. Theory of relativity probably was a pain in his side. It's still valid. They're still working around it. I mean, it's a beyond belief, the power of that simple idea. And I said, it's this advice, the young designers, they've got tips on the top for new books coming out. And I mentioned Einstein, isn't that? And here he was working as a patent clerk or something in Switzerland, was a whole country's about time. But what do they mean by time?  Everybody could tell you what time meant except that he asked a very simple question. What is time? Just one simple question and the most complex question of all time was what is time? And I'm sure that's why everybody knows what time is.  They dismiss it because they think that nobody would touch that with a 10-foot pole.  And I've said that many times, like I said, it is true.  That world was beneath contempt. You can't possibly get any high level of setting. You can't get a kind of an alter theory out of a big box. Can you? Well, you can, obviously. How do you think it? I'll go back, James, to Willie just briefly. I mean, he was not only, you know, creating from the streets, but he was also giving back. He was making his patterns publicly available for everyone. And there's lots of stories actually in this book again, where people do talk about finding those patterns and not even knowing necessarily about Willie, but growing up with those clothes and making their own clothes. And in a way, the fact that it's a continuous process, you get inspired, but you're also kind of giving back, I think is a great way. I'm just going to go through the questions, although the what is time is very hard to follow. I'll just do it through them one by one. Okay, so one is on a different note. So as a young creative who is not in a place to be sure of his, her abilities and vision, how do you find the courage to do something that might not make sense in the current conventions? So where does one find courage? Do you have the choice to question whether you have courage or not? No, boy. Well, again, part of this thing, I wrote for this advice to young designers is the coronavirus thing and environmental tragedies have changed a lot. There's no point. It's radically changed. So almost everything you think about design is going to change. I mean, it's just, it is, we've become much more dependent on virtual communication, just as we're doing right now. Buildings are going to be smaller. They're going to have to be much more energy-efficient and they're going to have to be greener in every respect. And there's all these conflicts. And here we have burgeoning populations in some countries and you're trying to make smaller buildings. So there's a lot of collisions that are going to be. So I would say that the threshold for new creativity is probably more urgent and more expansive than ever before. New creativity is just, I mean, I'm kind of over for this sort of thing because teenagers like Virgil and you can do it, but I don't know, it's really like, it is painful. I worry about it every day. I think about it like, what are we going to do that really addresses this changed world? And certainly, the arts do. I mean, the power of the arts during this whole thing. In fact, I think there was some survey reach so they asked people what they wanted the most. And I think in third place, I think after food and shelter was access to the arts. So it is a powerful force. No matter what it is, you can't explain it, but it's a powerful force. Yeah, I've been on enough zooms in this 2020 period with like a hardcore youthful crew trying to solve the world's ills. And what I've distilled ironically as we talk about critical approach, we talk about the institutions, yada, yada. Fundamentally, it's just information. Like if you were to sort of find the common denominator in Oana and I are teaching a class on redesigning the digital system between Harvard and Stanford. But, you know, see my fashion shows. You know, I did a shirt in January that said I support young black businesses just to open. Just using a graphic is like enough with this Parisian fashion. You know, I felt that there was like something being missed and like, let's start the show with that. Or when James, when you'd say like, when you grab something off the street and that looks way more compelling and interesting than something that's been manicured, ultimately what we're saying is we're just trying to rewire information. You know, like even no matter what, Duchamp, David Hammond, you know, Einstein with the theory of relativity. What makes us unique is now we've had another go at it with humanity being frustrated with the establishment. So it's an omnipresent issue. And I think just pure information access to information. Like I'm glad that this talk will be on YouTube for other kids to just watch it and gleam information. That's our best effort at changing the world amongst other things. But that's the baseline. And the arts are not going to go away. That's for sure. But they'll just come back with the different messages, different stories. I mean, they just, they're inherent. They're in our DNA.  You're kind of conceptual art. What does that stand in the great cosmic all when, you know, everything else is falling apart? But it is a salvation. And as I say, when I think of the correspondence I'm having internationally, you know, in China and Iran, different countries were, you know, I'm working with young people. I mean, the energy that they invest you know, it's really, it's really incredible that they, it's as I have this one young woman in Iran named Karnia and she's just extorting.  She's going to blitz the arts. So the next 10 years you're going to hear every about her work everywhere because she's just going from architecture, through space, to dance, to performance, through, you know, transformation, all of these things just rushing ahead. And I know that, you know, it's a very constricted situation, obviously. And so it's very powerful. This next question actually speaks to the same thing. It says Will Smith undoubtedly provided a blueprint for something far in the future, a future we haven't seen yet actually. What conditions do you believe are necessary for either a community or an individual to have the capacity to imagine and build alternatives to the system that currently exists? First of all, you take that one.  No, I was just going to say in terms of, I don't know so much about conditions because in terms of context, I don't know that there is any better context than 2020 actually to start building or imagining an alternative to the systems that exist. And I'm just going to use briefly, actually, the justice system class as an example. So the justice system or the law world, you know, all together is extremely conservative and slow to change and actually doesn't change. So when we hear the system is broken, it's because it's always been broken. It's not because it suddenly broke or anything. But the amazing thing about this moment because everything when digital really overnight, the justice system or essentially they are asking for help to redesign the system, to adjust to the digital world. So they're asking for help to redesign the system, which next didn't happen, historically, pretty much never in as far as I understand. So this is just one example in which the context today enables change. I know that's a little bit different to what the question was actually asking, but sorry, Virgil, go ahead. You know, what I'd like to see is sort of like baseline and different in a way where when I listen to Willie's story, right, and the fact to me, I want him to be a household name just the same way that if you go to someone on the street and you say, what's a name, 10 great American designers, you know, in my own personal source of inspiration, I'd want him to be the first.  And when I think of my time in New York City with Shane Oliver, who I consider one of the, you know, my generation's great fashion designers, ultra-talented of my same school, you know, when James was talking about him and Willie hanging out and developing these ideas, you know, I believe that was my New York community when I was there. But as the fashion system, just like as you're talking about, any system that's not sort of representative of these holes needs more representation, you know, there's there's a group right now called, it's like black fashion fair. There's these industry trade groups that are forming in the black, black in fashion. And I think once those initiatives take root, we will see American fashion designers that are black become household names, which ultimately is important. You know, when you talk about Jimi Hendrix playing the star single banner at Woodstock, it's like, imagine if that piece of art didn't exist in the world because he was told that he wasn't a guitar player or he's playing it wrong or he didn't have the one chance to perform at Woodstock. And it was at a small East Village bar. You know, we wouldn't be talking about it the same way. So I don't want to go too long, but you get my gist. It's this, once the inequalities are corrected, all of a sudden the system is whole. Yes, I think that's really true. I mean, the problem is it's iconic. We're on one side of the fence. We're definitely on the safe side of the fence, I guess. But I realize that it's, you know, well, it's like, again, I am very self critical and the fact that to me, the Midwest is somewhere you fly over. You've got to San Francisco or LA and New York and the rest is just this wasteland where all these Trumpites live, I guess. I didn't want to mention his name, ruined the whole conversation. But it is a problem because as intellectuals, as people who are successful in our own profession, it is a tragic lack of dialogue. We really don't talk to these people who probably hate us and who have no opportunity to build a bridge to talk or to have this discourse.  I just don't know personally how to address it. I mean, what would be our first sentence to a Trump voter? If somebody from Arkansas told me he was a pro-Trump and started to say, okay, let's have a conversation. I have absolutely no idea where our conversation will be. What would be the first words? But where would be the connection? And that's a tragic thing. That kind of division is tragic. And I think of all kinds of social-racial problems, they start with that gap. If I can just jump in real quick there, your work does that. Bingo. That's the only thing that does it. But that's an artifact of the fact that we're in the arts. The fact that Virgil and I are in the arts is in itself a privileged territory.  But the way we actually operate is pretty elitist. It really is. That's what I always feel. The way we're talking today is, I'm not sure how many Trump voters we're going to have watch this. I think that's why I wanted to start to talk with this notion of fun and joy or whatever, which seems contradictory. You were right. I'm sad I dragged it down. No, that's not what I meant. But really, because I feel what it does, and you know, you sense a lot of that in reading about Willi's story, there's vulnerability in that. And that, you know, the notion of either joy or emotions of any kind, they hit a little bit deeper beyond just the typical way in which we communicate now. Language is not always, I tend to believe, at least being an optimist and an architect, I guess, that language isn't always, for me at least, the most direct tool, as you can see right now, to communicate certain points. But in a way, that's what our work does, right? Like our work is able to, or a good piece of work, artistic, architectural, any other kind of music, hits you at a different spot in which words might not, because they're rational. And I think the ability for artistry is to hit directly under the belt a little bit deeper, and connect us hopefully there. But I'm an optimist, and that's where I'm coming from. Oh, you're actually right. That is as true as it can be, because I think we're gifted, you know, aesthetically and intellectually. So, you know, thank heaven for that, for that gift. But we, that's all we can do is what we do, and it was that we communicate. And so I guess that's a good thing. You know, because it causes us so urgent, I just wish we could become more, but as we become more involved, I realize politically, we're amateurs. We're really, you know, sociologists, architects becoming sociologists now, and scientists, they're not really prepared that well. And they know a little bit, but they're not really, that's not their best work, really. I mean, they contribute to an extent, but it isn't the same. On a lighter note, next question, or did you want to speak to the Virgil? I was wondering, I do wonder, like when you were hanging out with Willie, because a little bit to Iwana's point, like somewhere deep in the sort of, deep in the nuance, we are combating the negativity through our work, even though it is elitist and we all operate in a place of privilege, which is a fact. But when I see Willie's work, I see him investigating this idea of making his creations and seeing them on the street. It's very much how I get satisfaction that my work seen on the street is educating a 17-year-old kid who's very far from an institution, very far from an elitist world, because he has the internet, or she has the ability to see this lecture. That all of a sudden, they're contributing in a way that the tall walls of our institutions were different. Did you find that Willie was, how was Willie's thought, that's my thought, but how did you find Willie's approach? Well, I think Willie is kind of like that. He did the art first and it worked and it communicated. And so the accomplishment was there without intellectualizing it. We never talked, as they say, we really didn't talk about social problems. We talked a little bit about the unfairness of the art world, I mean, the fact that it doesn't recognize something. I found it absolutely staggering when Alexander first said they were going to do a Willie Smith retrospectively. I said, you know, I thought he was born on earth. How did earth and his name fall to the side? And there's so many fashion houses totally predicated. I mean, all of the big, you know, Ralph Lauren has street wear now.  And they didn't ever before. That wasn't even a word in the vocabulary. So he had this tremendous influence. And I'm sure you're right. We, by doing what we do, we do influence. I mean, I certainly communicate every single day with young people. So we're changing somebody's mind. You know, Rauschenberg said it very well about painting. He said, if you go up to a painting you've never seen before and it doesn't change your mind about something. There's something wrong with you or there's something wrong with the painting. Absolutely true because, yeah, he was a powerful artist. I mean, he crashed out his life in this almost amazing way. And again, with a gay artist and it did extraordinary things. And he was just, you know, that was his community. That was the contribution. And I do think the influence of that kind of contribution is essential. I think if we have any effect on that, young people, just people growing up, somebody who thinks they have no hope but all of a sudden they see something to say, hey, you know, I can draw or I can think or I can write or anything. We just, once spark, we've done our job. We really have. Which is perfect. We've also done our job for our next door design meeting. We don't even need to meet. I thought you were meeting on Friday. I think so. Let's see. Now how do we pick a bathroom size? It seems like we have to wrap it, but I think James's point was really the perfect place to end it. Did you guys want to add any last words? It was a pretty good choice. There's a lot of questions in the Q&A. Sorry we didn't get to all of them. Quite a lot too with regards to Willie's story and whether he was successful. I can tell you he was very successful, actually. I can only urge you to either read the book or check the website out because the website does also have a lot of information. And before I go on to close, any James Virgil last call? No, I think this is such an important... Like I'm glad. There's a lot of zooms happening. There's a lot of combination of minds. I think what we didn't even get to is the body of work that Owana and I have in the can or how James and I first met and the premise that we met. And I think it's like we're not just telling these stories from the past as if they're just sort of great ones. I think they're important. The fringe of architecture, the fringe between fashion and architecture will be where we pick up in 2021 and try to make sense of 2020. That's a very good point. And I think also that I hope we can change or hope the world will change the idea of success very often. Success in the arts is always considered, oh, well, they've gone commercial. And that's not really true at all. I mean, Willie was a prime example. I don't think he ever changed himself or his attitude or his intensity. I mean, having planned fashion weeks with him and in the often way. And just to the energy and the anxiety and the talent of which he did everything. Yeah, he knew he was great. He knew he was successful. But so what else is new? It's what you're doing now and you want to do it right. And I think that kind of energy that he communicated is a very, very powerful message. And to add to that, I think a lot of the questions to Q&A actually hit the same direction. What was most striking for me in reading Willie's story actually was that it just hit me that I only, how was it possible to only find out about him now at least to this extent? How is it possible that this book did not exist before? And the other thing that we have to remember is that Willie is part of a lineage of gay men and women who we lost much too soon due to AIDS. Crisis in the 80s. And it feels like we would desperately need them to be around to help us make sense of this world. And in many ways they actually are because culture would have not been the same today. Was it not for them? But I want to end with a Brandon Fernandez quote, one less quote for me, also from the book. But it's quite powerful because he says, Willie Smith died at 39, the same age as Brandon was. How would the present look had there been more future for Smith? And how might we continue to disrupt and empower, to teach and poke fun? How might the style continue to facilitate crossings? These questions should face us not with regret, but with task. What future can we continue to imagine? What futures can we enact in our work and in how we face the world? What futures can we embody? And on that note, I want to thank James and I want to thank Virgil. I also want to thank curator and editor, Alexander Cunningham, Karen, Cameron, Darnell, Lisby, Julie, Pastor, and Rebecca Armstrong, Willie Smith's friends and collaborators, the Cooper Hewitt-Smithsonian Design Museum for hosting us. And thank you to you, everyone, for joining us and have a wonderful evening. And please do not forget to vote. Thank you. That's for sure. Thank you. Thank you. Take care. Thank you. See you Friday.