Wall Writers – Q&A w/ Cornbread and Robert Lungo @AAMPMuseum (2018)

Wall Writers - Q&A w/ Cornbread and Robert Lungo @AAMPMuseum (2018)



can we give another round of applause for cornbread we're talking about the first writer ever is in our presence so I mean personally I think I mean I don't I don't think you normally I sort of request people to do this but I think we should get this man a standing ovation [Applause] pathetic GI of World War two who was always there well he's not here now and anyway he'd never made his mark with the graffiti experts of today that's because he didn't have a spray paint can and a felt-tip pen for these are the real villains of the graffiti explosion well the first graffiti that I noticed and uh that I admired a lot and was tacky 183 take it a step to uh fact making it to the max I mean I think this kid lived to write his name I didn't start it but I was just the next step before he got up there's no denying that every place you look you wouldn't see tacky you could walk 40 blocks and see my name on every pole Park Avenue like Stan Avenue Madison Avenue Sutton Place all the cross streets and it just hit him off and your name would be there and people would say how did he write it and nobody saw that that was the big mystique of graffiti after that he was everywhere there was an explosion of taggers we were just having fun you know cops changed it was a cat-and-mouse type thing I started out as fun it was an escape route and we wanted to be known more we got into it the more publicity we kept it they might then name a map so they could be known and don't make no kind of thing I do not recall any of them calling themselves artists we were not writing to make any political point at all we just then the Vandals were a tribe of people who invaded Europe in the fourth or fifth century and for that reason destroyed much of what they found there sometimes it seems as if the Vandals live again and have invaded the United States of America when the peace officers learned that I was in custody all the cops start coming to my cell ask me for water man but the Burford graffiti was conceived in Philadelphia not New York yeah yeah the documentary has some ambiguity but there are receipts now come on yeah and can I also say all these people who just y'all look way too young to be of doing graffiti in the 60s and 70s so y'all got to tell me about what ya'll eating and stuff because I need to do that y'all look younger than me you doing the wrong stuff the first question that I have for both of you and let's start with cornbread is when you got started what do you remember seeing what was the city like and how did it change there was no graffiti there was no graffiti don't agree to that you sing was gang names gang members wrote the name of all to the Nevada tooth and that was a reform school with a lot of gang members and I used to write love letters for the gang members to their girlfriends and I started a rapport with them and as a result I was able to write my name beside their names in the reform school with nothing said about it but I took it to the next level wrote my name with a bath through and administration the catheter can you hear me I put my name on the cafeteria in the bathroom at school the black back boy on an elephant what have you got today I wrote my name all over the infrastructure of this juvenile institution and I had the institution talking about me and then gave me out to medium to pin it off we'll go to the hole and then the fine disordered that I had I said take me to the hole and when I came out to hold the game members like fully applaud me cornbread you can out come down away and drink one with us but I came home I used to go to alter gang members neighborhoods and drink wine with them to write my name I never caught a bus going anywhere I walked everywhere and I wrote corn bread everywhere and it wasn't long after I came home my mom died and then to you late two years later my mother died and I really didn't have anyone and to master pain I used to write my name everywhere so that wouldn't suffer and I was going to work one day like I said working abisco and reading newspapers and I see in the newspapers corn bread shot to death spades tree I turn the page to innovate a fantastic career of philosophy at best on graffiti artists came to Obama and Sunday I saw the hotel embarked I'm reading about my own death that became a prescription for disaster and I knew I had to do something amazingly bizarre to smash the public attention and let him know that that so exists and I had planted countless possibilities and I came to the conclusion to come to the zoo why because the zoo is a tourist attraction and I know if I wrote my name so in the zoo they wanna read about it so I wanted to sue and I'm watching the zookeeper shower down that I would film with the water hose I was a superhit potato break break up his waste my Suzuki bear make human contact with something and not conclude if he can touches out of it so can i he was holding out of in his trunk the elephant have been in captivity for so many years became domesticated tame and he allowed to human contact with them and I see no it touch the ears the trunk and just make contact with his often the third day I got enough heart to do it myself I went to the zoo Hampton the back of the fence I came down we would accomplish if we was at and I happened to the pit and I walked at all I took this brain off shaking them and the elephant turned around and hit me and he didn't do anything my life was not in jeopardy and I want so I wrote corn bread lives and I ran to the other side of oak corn bread lives so I came up the pit I still do not start that I went off I start by doing a concession stands the benches the tables and everything I want I just Devon arises ooh I'm coming out to zoo and I get to the term started come to all this part we got him and not but the hand comes to mental Napoleon station and the whole time like that I'm gonna hold himself the cops is coming down like what 20 hours cornbread I said here kid give me an autograph and this is like all day long I say well I'm like goodness Socko was the court and I'm going through the hallways but for the courtroom but everybody was well wishing me like what happened littered that I know that the media had created a monster because they kept promoting me component in that they was talking to me a lot in the newspapers and the more they talked about me the more I wrote so I know that if I want to bizarre things the middie would print about many newspapers in Georgia Woods announced on the radio that the Jackson fire was coming to develop it do a show to battle the Jackson from have at the Uptown and I goes down to the sea like a budget but just a publicity stunt if he wanted the water crabs come to the autograph come to them International Airport and I go down there maybe 60 people and the pain comes in in idols about 15 minutes and it's that they're still rejecting him at that time to stay well and if they were kissing and body went ballistic back then the Jackson 5 was one of the hottest groups in America and Michael Tito Jackie Jermaine a model came down the steps anybody went ballistic and in the missus chaos a zip up the steps corn bring it the Jekyll's the California when it gets the California make their local news fully graffiti on a spray-paint TWA jet Hollywood hotshots read the article and decide to make comedy next movies they sent representatives from America antennas release here at the Philadelphia to meet me without the benefit of knowing me they just waited to our surface we're coming from the graffiti art ernit of workshop Rizzo did not find us mayor Tate did not find us mayor green did not find us we toured the city of graffiti went and then one one unchecked in the city for 17 years right and when I met the representatives they made a proposition to me about the movies I guess a lawyer why just a lawyer they wanted to know who was a lawyer and why he's here I'll say it's my legal counsel and said no our counselors that nickel counts ooh I said you know your counsel do what counsel for you am i leaving counsel for me he said don't work that that cornbread ethical counsel runs everything I didn't play ball with him that the three weeks they left for the Southside Chicago it changed the location sansa plot and change the characters guess what the name of the movie was that's right when they met when it when they met me or I'll see it if you move about cornbread I want to be in it who are you my name is earl they called me cool Oh keep that in mind and that's it that's what Corbett and will come from everything hmm hmm Rob how about you so I grew up in the 90s and um you know one of the things that I've realized going through school is there's this incredible story called the Invisible Man by Ralph Ellison and it's the story of someone physically being in a space but not really existing and other folks not interacting with them and I think that was my truth my reality for a long time for a little while my life I grew up in the back of his store and I would you know I was like the person who would go and take out the waste every day you know like we grew up in like real world poverty and so that diminished all the self-respect I had for my and you know being in the city and starting to see like I remember one of the first people I saw was this guy named n ski and then my brother he came out and he said you know his tag name was Moz and so what I realized was you know the my cousins all were graffiti artists at night and I was so afraid to go to school I just seen so much violence in my life you know I've seen people be stabbed and you know I felt fear for myself and so I started hanging out with my cousins doing graffiti just so that I could have that protection but I didn't see it as an art form and just to give you guys an idea you know even in the 90s when I was going to school the first day of school my high school my teachers hands me a book and she says just write down word-for-word what's in here so if anybody looks in this classroom it looks like you're doing something so that was my education right so I don't see I don't even though I was doing graffiti it was really as a social thing and my graffiti is so different than a lot of the stuff I see today like when we was doing graffiti we would have to you know sweep syringes out the way cuz this was you know right after the crack epidemic and we have to wait for for prostitutes to do their thing you know before we went into that same space and so you know one of the things that I think about quite a bit is when I was starting to go to college it was really because you know I didn't see I didn't see any way out like I grew up in this family with fifty seven first cousins and all of men you know at some point or another was in prison and so you know when I decided to go to school I wanted to go for something not that I didn't have to write for because I had a poor education in Philadelphia and so for the longest time I was working in you know I would hear a lot of noise happening in a ceramic studio what I've realized is all the people needed the equipment so they will physically be in the pottery studio all the time and that seems sort of socialization that I went for in and then graffiti was what I was looking for in ceramics and so years later I found myself still working at clay and you know one of the things that's really important for a lot of folks to know here the people that stood up in that cornbread named and cornbread himself these people are responsible for thousands of careers and thousands of lives you know for myself I wouldn't be where I am if it wasn't for you and and there's there's a there's a lot of it between so I just want to I'm really just here just so you guys know I'm a tenure track professor at Tyler School of Art I've worked in the Philadelphia Museum of Art I have work in LACMA I work in a lot of places and literally I would just be what I was a security guard at the the place across the street opening doors for people if it wasn't for the work that you guys did much early on and so when I was in when I was in college and I was around all these white faces I was trying to be like them so I was trying to make teapots and you know I didn't really grow up in a place where people drunk tea you know what I mean it's not like you you in the hood and somebody come over and be like yo what's up you want some tea you know so I was trying to figure that situation out and after a while I realized that I was always trying to hide where it is that it was from I was I was afraid to show that I was from a poverty-stricken area that I was from an area that you know that uh that had a poor education so anyway I winded up figuring out the really graffitis part of my lineage graffitis part of my heritage and so a lot of the work that I do today is I look at histories like the history of Chinese porcelain the history of Greek pottery but intersected within that is the history of my heritage and graffiti is a distinct part of that and so graffiti isn't just in our form it's now a part of our entire for me my DNA in my history you know so when I when I make an arrow and I have that on a pot at the same way that somebody 2,000 years ago you know painted a flower with that same sort of vertical sweep in line it really connects me to this longer history and so I met one of my idols recently it is named Malcolm abouttwo Smith and he's a graffiti artist turned ceramic teacher and one day I got a magazine and I saw him on there and it made me think you know I could have a career in the arts cuz look there's a black man who's teaching at a college and when I met Malcolm and I started talking to him about you know the history of graffiti you know he said the reason why he started was is because of this guy named cornbread in Philadelphia and the only thing that he remembered was was the the start of graffiti in Philadelphia so this man that encouraged me to even have a career his inspiration was you and so it's really incredible to you know have this entire thing come around and be on the same stage because you know I'm not exactly sure if folks that are in here know the implications of what you have done is like even the curriculum in which I teach my students and engage with them every day is is now now has is this deep sort of respect and admiration for what it is that you know graffiti stands for it's it's about like being able to fight back if you don't have art in schools and so right now there's programs like fresh artists where the kid to make artwork and then they sell that artwork to buy supplies back for the kids you know what I mean and so that's the way that people in the Philadelphia School District are having to buy art supplies and you know the truth is is graffiti was the only art form that we had visual arts hip-hop rap was the only sort of music class that I had so I grew up doing grow up doing hip-hop and so now in my life I see a lot of the things that folks will see as defects as effects so that's really my history with with with graffiti can I just share one quick piece with y'all so I want it I want to share I mean since I'm in front of you this legend I want to share a piece I wrote about art and specifically being here in Philadelphia and growing up in this Philadelphia school district so when you cut the arts baby you cut the heart strings off the body that freedom rings if you cut the Arts the fun wore what are we fighting for you tell me to paint houses but not to paint no canvas you rather see me in encampments then acceding on the campus with our how you gonna dance when they ace that math test who's gonna sing your praises when you get that high mark without art we're prone to draw guns after seeing war cries dance around the issues you want to stop violence pick up some violins you see those who draw a good beat at last to draw blood and those who throw pots we're the last to throw shots so so when you cut the Arts maybe you cut the heart strings off the body that freedom brings a question for cornbread what has it been like over the last now fifty years right watching something that you started evolved in all the directions that it's gone into around the world I would like the graffiti artists the graffiti writer to be part of the awards like they have awards and beauty awards because we are the first element of hip-hop that's right before us there was nothing I mean he had the gang she had the drugs she had you know a lot of subculture things going on but we wasn't part of a lot of the louder louder many of us became parties because we refused to involve the drugs and the gangs and the killings I mean for that part that's what I was about I haven't said that I want to thank a lot of you people who came out tonight I see a lot of familiar faces our email a lot of people might writers promoters of them as much as best as I could I wasn't expecting this turnout because I kept telling that you know I feel that to turn out to be low but I thank you all for showing up thank you very much [Applause] I just got back from Germany and did they say that like you know when artists and entertainers people go to Europe they are perceived very different he won't know what until happened to you I've never been treated so respected in all my life I went 3 cities I was there for three days I won't I'm saying eight days there's the three cities and there's a good chance I'll be going to Rome next year and this is really a global culture and a lot of people in a no way start set and then just come back to me all the time you know I have t-shirts before you leave I have some t-shirts with the elephant with the jet you can purchase the t-shirt at the front door you leave and I will love your support so what what I what I would like people to do is I would like folks to start evaluating art and have a currency for you know innovation so I almost see artists as trying every artist is trying to make a dollar right so right off the bat you cornbread you already got a dollar you created this damn thing so you got a dollar right some of us have a talent like some of us we can make somebody look realistic right so maybe that's where 50 cent maybe if you got something real good to say with your artwork maybe that's where four quarter right so I feel like in a field like ceramics for example I could go to a conference to 6,000 people and meet like three or four people that's black so when that person makes a cup or makes a pot for me the fact that they have that distinct experience of knowing what it is to live a life with your you being constantly discriminated against and looked at a certain way because of your looks and they make a pot that's worth something you know what I mean and so one of the things I hear a lot about hip-hop and graffiti is folks will evaluate artists some of the the innovators of our field based off of what happening now and what they see in front of them now but what they don't realize is those things wouldn't exist without the predecessor so you have to be able to look back and say these folks were making this stuff and they were coming up with it they were creating the idea of this thing that we we get to you know riff off of today and so you know the the the respect for the beginnings of graffiti I think really we need to be more apparent then all of the sort of exposure that contemporary graffiti artists get you know like I don't mind I don't mind Banksy or whatever but like you know as a Puerto rican-american and really my ancestry is from you know the Congo and so going up and growing up in a mostly black community and doing graffiti that's just a lot of different than growing up in England and doing graffiti and so when I do it and somebody tells me you can't do that because Banksy did it you know I feel like so much of our the artist community don't quite think a little bit about how an art form could be a part of somebody's lineage and heritage and they I can't really make anything else without being honest to myself and so you know the world's given me this narrow sort of ability to be able to say something with my life gave me this lived experience and this is all I could work from and then people that have this entire bigger circle are coming in and saying you know what you can't do that because I got there first and so for me I think thinking a little bit about innovation think a little bit about giving currency to people's live the experience I think is so important it's something that gets missed so much like we're constantly an art schools we're constantly giving scholarships to students who have portfolios you know where students get portfolios at they gave portfolio girls at school to have art how many black and Latino students you think in the city of Philadelphia have art in school so if they decide to go for something like art you know what happens they're the ones who are paying for it so the kids that grew up with art they don't have to pay and then the people that grew up without art we got to pay so that's the reason why we don't have that any people in the visual arts that are people of color and so I think paying homage to those distinct experiences I think is really incredibly important yeah across the back one more question for both of you then we're going to open it up for a bit to the audience so this event we came together it's part of the series to talk about graffiti and social change something that you guys have both noted is that it didn't start off necessarily as art for you guys so I'm curious and you guys as trajectories at what point did it become art and at what point did it become political if it became political well for me I go back and forth of my peers can you hear me I go back and forth of my peers because as a youngster I was a wall writer but I get so much rhythm from the world that they pays me to come and appear I consider myself an artist you know it's political now because the way it is it's like we're easy to be exploited very easy to be exploited I mean you got people that got money they making investments and then under like all writers you know a lot of people who you seen in that film tonight didn't get paid the people who made the film got paid and they still get paid today and in regard to the artists I'm an artist I'm a born war writer we're gonna open up – we're gonna open up – audience Q&A just right after a response it's okay oh yeah it's a hard question for me to find because you know I think I've lived a life and many a person who grew up in the hood in here probably grew up in this way you're constantly looking like – everybody else is there as though they're your superior and so going through art in school everybody was telling me you know like your work you you don't have good craftsmanship you don't have good scholarship you know you're not a good writer and so I believed all those things and so I didn't really believe that I was an artist and when I got to graduate school my brother got locked up for five years and my brother wrote me a letter and in the letter he signed it this is this is Maas without wax and Maas was his graffiti name and without wax means all sincerity but it was a term used during a renaissance for a sculptor to be able to say hey I made this without wax I made this with all purity and so my brother who was locked up was telling me you know was giving me a history lesson and you know through reading that process reading that letter and how he was referring to me as an artist I realized that I'm not just making work and represented myself I'm representing my brother I'm representing my family and all the work that they did and so I carried the burden on me to be able to do something bigger and so I felt like I needed to have I needed to have a pride in what it is that I did and so when I started making art for example and making it from my history my parents came out and I see my father who's like it's tough as nails you know get emotional about the stuff that I was making like my family is just happy that I'm alive right my family is happy that I'm alive they're real happy that I'm not in that's like that's some real good right there that's rare right and then on top of it I went to school and I'm teaching other people you know so the pride that comes out of them whenever I'm around them is just infectious and I feel like anything that I could do to make them more proud that's really my goal in life and so if that means being an artist and trying to be the very best artist I could be that's that's what I've taken on as a role but really is from is for representing a whole community people that whose voices never get heard you know who people don't think are capable of certain things like what I've been doing and what what was written about in the paper was I just take my potter's wheel out on the street with a generator and I teach people how to throw pottery and these are people who other people would think are drug dealers to other people who are probably prostitutes and I'm just teaching anybody and everybody and you know what I turned down gigs for several thousand dollars to come and give an hour speech and I go out and I get my time out for free because this is Ana gala terian community at gala Terry and my vision that's how I foresee art and so the point is is you know there's there's no all this prestige and the things that people think are prestigious to me are valueless like I've realized the function of money is just so that my son could eat you know but in reality my prestige isn't you know being at some some like our Miami last year I went to our Miami I have my work day I had to wait for an hour to be able to get in and see my own damn artwork and now that that's up compared to this summer teaching children who've never worked with art before how to make something and see their exhibition none of my art work that was so much more pleasurable and so for me art is really conflicted and challenged me to be able to perceive what prestigious what what it is to be an artist for me what I want at the end of my life is for nobody to know who I am I want people I want there to be so many Puerto Rican and black Potter's out there making money doing low lectures that people are who the is Roberto Lugo you know what I mean because that's why I make ceramics I make ceramics because it's around being used through anthropology to tell us the story of cultures pass everything that's happened and people say pottery shouldn't be political but you know what Greek pottery was about wars that were being fought Greek pottery was about sex and all the things that were happening back then and so for me not to include where I come from not to include cornbread not to include hip hop not to include all those things with me it would be me projecting a lived experience that I have yet to have and so at the end of the day I think what people are going to look back at us several thousand years later is they're not gonna know individual names like when you know when you look at Greek pottery you don't say that's that's you know her – you know Rosenthal or whatever you're like hey that's Greek pottery right so I think that's the same thing that's gonna happen with us and me I take great pleasure in that because that takes all the burden off my shoulders of having to be this really great artist and all I have to do is part of the be part of this community and I think that brings me great pleasure all right so we're gonna do ten minutes of audience Q&A there was someone who had a question are you still in the room could you maybe he's coming down okay yeah so the first question is yours thank you for waiting the question now is gonna say money cool number one that's me now this is they was talking about wall right wall writers where it came from it came from Philadelphia it was a vandalism it was vandalism when we was doing it while writing much vandalism we destroyed a whole lot of building but then one day i'ma tell you the truth I became a heart it became a heart it was a starving artist he used to take pictures of trees rivers cars and everything then one particular day and the summer 1969 of 1970 he happened to stumble across a ten a ten am I forget what it was it was a ten something it was a name written on the wall on a ten piece of metal and he happened to take it down and when he took it down he took it to the pills art gallery which was located at 18th and chestnut he put a sign up there and the price the accent price was like $1,200 and that's where art came from from this guy they called dr. Koo see we was just wall writers then but then once that graffiti a pill and the gallery that's what we decide to call it on it was no longer graffiti was now known as artists and I am the first one to be in the art gallery that's all I had to say all right so yeah was so were there questions started with a young lady in the back I started the crown I started the crown because my name has I start to count because my name has nine letters in it and City My partner was titty and in my time I write my name cornbread my time I write my name cornbread city rewrite his name four or five times I brought my name real big and Road legible and you couldn't miss it until you write titty all over I run my name so did he when they wrote titties king of the walls but I had drawn titty into the culture himself I said titty you can't write that in the walls you see what I was I brought you in here I'm a king and all kings wear crowns and I wore a crown I was the first person to wear the crown and kings move follow and pursue okay wait we we have some dispute in history is there are there any other questions all right this woman right here with the you were here and it says that you walked into what you would never imagine and accomplished you really did follow so you follow you know what you were doing but it was repeated but it was places where no room for the management of human beings but that should get here so you really did like open energy opera feet and so you know I mean you are I know they take that like when they say pioneer in the area my response said is I would eventually grown out of that but it wasn't until Cornelius Hosey got killed corneas Hosey maybe everybody called him corn short for Cornelius and when corn they did in the street the media of honesty announced my death they thought the corn for corneas was the corn short for cornbread and rolled my death and I knew that to bring my my bread Arthur's right not done they had to bring it back to life I was on that my reputation with the coins grave and I had to do something bizarre heck or never got killed nothing out of Vinci growing out of that but well that's where it started that s where it started at and when I found out how easy I can get in a newspaper see I love to read about myself in the newspapers and that's that was only passed down through the generations you know when I wrote on the elephant they talked about that then I wrote on that jet they talked about that then I wrote on some cop cars and paddy wagons but they didn't promote that because they did they didn't want a copycat effect do you know what a clothespin is that downtown bro right bonnet close business is a big bank like skyscraper that builder was under construction I was coming from the Fox movies and I never went anywhere fire spray paint so when the movies over I'm walking party as a construction site and I looked up and I see this building under construction so I came over the fence and I went to the shaft elevator that takes the material to the upper floors and I pushed a 44 floor and I went all the way up to the 44th floor on this massive slab of concrete I work or breathe and that's probably still until today that was publicized the elephant was publicized to jeffers publicize but the cop cars and paddy wagons was not publicized because the police didn't want other teenagers warned about writing on their vehicles and that's been passed down through the generations you know and that's what I am it was the media who created me and other teenagers was a read about me and they thought that well if he can do it I can do it and that's when we're full of became the graffiti capital of the world it wasn't new he look when I'm when I when I movement migrated to New York New York New York has a as it is the media capital of the world and anything they do is magnified not only that but during that era the teenager for Luffy underwent a unique experience unlike any other city in America we talked about close to a hundred fifty thousand ten ages and both ourselves and uprize we adopt a college fraternity name to identify ourselves right blue right right right and we doing clubs all over the city and that we've replaced the gangs and that was the movement and when that movement migrated to New York New York just put a better spin on it and called it what hip-hop there you go they called it hip hop week right before we get to because we didn't take another question here but I also want to also want to connect y'all one thing graffiti is sort of related to the ancient word from Greek which is graffito which means to scratch through so you know during the creek Greek culture when they made the pottery they would scratch through it it was it was graffiti and so I love that that we still have that back connection you said there's a woman over here to help we have time for one more question so we're gonna we're gonna take this gentleman right here [Applause] so we we are time for one more question I'm not oh okay all right sir last question for you that's a good question I wrote my name in Germany I was in Germany in the announcement of my name when Jim in Germany alone in Cologne whoa whoa I gotta be careful answering that question just because I teach at a college and I like my job so but I would say officially probably the last time that I actually drew graffiti I did this piece in Philadelphia called ghetto was resourceful where I'm trying to like change around I think a lot of times when people hear ghetto they think you know about something bad but for me it means like resourceful me somebody who could like make something out of nothing and so I went back to where I came from and I took out a Doug a bunch of the dirt and I cleaned out all the needles and I made clay out of it and then I threw a pottery with it and I did it I drew a crown and I mean I made pots and then I took those round pots and I and I dotted of the crown with these round round out so that's I think that's the last time I officially made something permanent outside all right it's getting so sorry to have to cut this evening short can I say one last thing to young artists in here yeah you know I've noticed when I'm making as I've been making art that a lot of people will try to take advantage of you a lot of people are gonna a lot of things happen when you start to get some notoriety in individual arts and so I have you ever hear of biggie smalls the ten crack commandments I wrote me I wrote me ten well ten commandments of being a working artist so I thought that might be a good way for us to like put the what I own the across the T is that what they say that the i's and cross all right word so number ten look watch how you make your ends you see cash kebab ends but it can't buy friends and not keep your ambition in line if you're always looking forward you can't buy back time and eight you might have to see some hate cuz most things that you make nobody relates and seven look watch out for dudes named Kevin they gonna come and different names offer you big fame you trusting the wrong people big pain a six look you might have to take some licks but there's a limit to that son don't take no and five nobody's more important than your wife ignoring loved ones brings you big strife and for this rule you can't ignore believe in yourself man it is I'm sure in three look this rule has got to be key being bitter as expensive being kinda streak and to look just forget everything you knew cuz all you know it alls you learn nothing new you see people gonna try to rank you boletus my friend it don't matter how long it takes for you to get to the end if you keep making ones this world's gonna see you attend the end I'll have to say one more thing before you leave I think everybody for coming tonight get your t-shirts on your way out thank you everyone thank you so much for coming

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