LYRIC VIDEO PREMIERE & WEB-EXCLUSIVE PREMIERE
Musician: DAN NAVARRO & JANIVA MAGNESS
Song: “$20 Bill” by Tom Prasada-Rao
A MAN FOR ALL SEASONS: SINGER-SONGWRITER DAN NAVARRO’S COUNTER-CULTURE SUCCESS STORY FROM “WE BELONG” TO “$20 BILL”
By Rodeo Marie Hanson
Smoldering eyes unmistakably reflective of a weighty social consciousness burn; the drifter’s intensity is worthy of a Molotov cocktail both shaken and stirred as he peers out from beyond tinted pince-nez. A Stygian thatch of hair and bristles hover precariously above an inviolable Elgin Marble-like frame draped in flannel and denim, immaculately completing the wanderer’s dangerous and rebellious mien. Relinquishing his stoic facade momentarily, a smile dances across the stranger’s face as he gently grasps his cithara before boarding a charabanc adorned with vivid letters arranged to resemble a multi-state license plate collage that reads: NOMAD DAN, Live Music Delivered.

Credit: Markus Cuff
It’s April 2021, approximately one year since the COVID-19 lockdown has confined people to their homes and their own devices, and the odometer on troubadour Dan Navarro’s 18-foot camper van has aged 13,500 miles courtesy of ebony boulevards wrapped with solid double yellow ribbons—a 66-day musical exodus spawning 41 performances. Navarro’s “Nomad Dan” tour is the perfect metaphor for someone who has played many roles flawlessly on the stage of life: songwriter, recording artist, singer, voice actor, producer and artist advocate. Like the Southwest winding desert road Kodachrome on his blog, Dan Navarro’s career in the music industry defies the traditional chart, compass or map, relying instead upon instinct and a sense of direction guided by integrity, social justice and a voracious artistic appetite to create.
August 2024, America is three months shy of a presidential election which may see the first woman take the Oval Office and the COVID-19 pandemic has dissipated into the deepest, darkest recesses of the nation’s collective psyche, now existing only in an alternate sterile universe of online news coverage of the nightmare. Dan Navarro is in Chicago—sirens blare intermittently in the background as he gets ready to leave for Barcelona, Spain to perform a series of shows on the Moana. Barna is an existential sanctuary for artists; Pablo Picasso studied there and may have envisioned Navarro’s arrival over a century ago, leaving a message of egalitarianism with The Old Guitarist sojourning in the corridors of the gothic quarter of La Ciutat Vella. The expedition represents only a small portion of Navarro’s bountiful live performance paten, which also includes serving on the Board of SAG-AFTRA.
Sharing autobiographical vignettes, Navarro provides context while painting his experience with thought-provoking imagery worthy of Rembrandt’s Philosopher in Meditation oil on canvas, which resides in an aureate frame at the Louvre. Navarro’s vox might be best described as rich baritone brio, worthy of the heavens summoning musical muses; with slight nuances of vulnerability rising to the surface when engaging in dialogue about social inequities and the tale of George Floyd.

Credit: Maggie Heydt
“SOMEWHERE FAR AWAY” – 1950’S CHILDHOOD IN CALEXICO, CALIFORNIA:
The Gregorian calendar of 1952 marked Dan Navarro’s arrival. Dwight D. Eisenhower was Commander-in-Chief, as a conflict in Korea raged, gas-guzzling steel and chrome chariots begotten in Detroit, traversed altars of asphalt and sacrificial stone, and Curly Howard of The Three Stooges died. It was an epoch rife with repressed sexuality, leaving little room for any departure from black-and-white societal norms. As the decade transitioned from crawling to learning to walk, James Dean gave teenagers a voice via Rebel Without a Cause—the old guard was changing, making room for the new and with it, a cultural cacophony was brewing on the horizon.
Set against this backdrop, Navarro was raised in a household where creativity flowed freely and was encouraged. He was influenced by parents who, while not professional musicians themselves, fostered a nurturing environment. The patriarch of the family was a writer, who earned a living as a penman in publicity. Navarro’s grandfather was a dramaturge in the Mexican-American community in the City of Angels, between The Great Depression and World War II—an era in which the Land of Liberty transitioned from a national lament of Bing Crosby’s “Brother, Can You Spare a Dime?” to Uncle Sam and Rosie the Riveter making impassioned pleas for young men to enlist in the military and young women to work at factories; elements of a unified domestic effort to achieve victory. While Blitzkrieg lit up the skies of Europe with flames of destruction in 1943, Zoot Suit Riots in Los Angeles burned with racial intolerance as American servicemen pounced on Latinos and Mexican Americans—despoiling them of their finery, revealing naked shivering bodies and a deep chasm in the land of opportunity. Although Dan’s grandfather left the world before his grandson was born, Navarro’s take on social justice may have been informed by the socio-political landscape experienced by his forefather.
Calexico, California, a small town sitting on the Mexican border was the setting for Navarro’s youth. He blossomed in the middle of desert farmland, which may seem like a mirage, but this desert area had been replanned with irrigation water and like Navarro, ultimately flourished and became very fertile. Deciding to make a career of being a professional musician for someone whose parents were retail merchants may have been perceived as both ambitious and a million miles away from the security of more traditional chosen vocations and Navarro’s hometown.

Credit: Mary Petrie Lowen
“LEARNING TO FALL” – FROM MELODIC ASPIRATIONS AT UCLA TO LOWEN & NAVARRO:
Materializing his dream of becoming a singer and songwriter required Navarro to leave his parochial childhood haven in favor of studying music at UCLA. There was no clear plan of action for his melodic aspirations but Navarro was intent on making it. Through the lens of a 30-year-old, Navarro looked at his life and thought maybe he was done with music because the margin between failures and successes was thin, and the small victories he enjoyed couldn’t sustain him financially—so he ventured into the world of advertising and reluctantly gave up music.
A congregation of cumulonimbus clouds soon gave way to the advent of an aurora one day in 1983, and like words pressed with passionate indelibility onto pages of a novel, would foreshadow redemption and rebirth for the character of Dan Navarro complete with obligatory MacGuffin when singer-songwriter Eric Lowen called him. Lowen had previously been in a band with Navarro and asked him to write a song for no reason. Residing in a state of limbo, reflective of working a job for which he had no ardor but excelled, 31-year-old Navarro took Lowen up on the offer.

Credit: Carol M. Highsmith
“WE BELONG” – REALIZING A DREAM OF PROFESSIONAL SONGWRITING IN 90 MINUTES:
At the time, Navarro and Lowen were embroiled in a feud, “We weren’t speaking because he had pushed me out of this band we were in together and I figured that’s the end of the line. So, I decided that I would suck up my resentment and go write a song with him for no reason. That song took 90 minutes to write and it was ‘We Belong,’ which a year later, due to his [Lowen’s] efforts taking it to music publishers, was a big hit for Pat Benatar, and changed my life permanently at 32 years old. It was a big, big deal, and changed our lives.” “We Belong” was a different song for Pat Benatar, who had been doing rockers like “Heartbreaker” and “Shadows of the Night.” It served as a prelude to songwriting duo Lowen & Navarro’s artistic accomplishments, setting into motion a type of mantra for Navarro’s esse—one of taking chances, having successes, having failures and trying things, guided by his love affair to be true to himself and never betray his art.
Together Lowen & Navarro also wrote “Hammerhead Shark” which appears on David Lee Roth’s A Little Ain’t Enough, but the genesis of their creative union evolved with time.
“COLD OUTSIDE” – AUTHENTICITY FOUND IN A CORNER BAR:
Professional songwriter was Navarro’s cognomen from 1984 to 1988, “I had a song written with another guy—that Dave Edmunds recorded, another one that Dionne Warwick recorded, and we were working professional songwriters in the industry in my mid to late 30s.” Lowen and Navarro also worked with The Bangles. In 1988, Navarro was tired of not performing. Lowen had been in a band with some other guys and Navarro began to spread his creative wings, seeking a vehicle to perform. Lowen suggested an acoustic duo far away from their Hollywood friends, keeping record companies in the dark about their new venture, which was rooted in the idea of just going out and having fun. The acoustic duo Lowen & Navarro had been talking about for the last seven years finally clicked, “We were in a corner bar someplace and people started showing up. There was a certain energy to what we did that was authentic.”

Credit: Carl Rubino
“WALKING ON A WIRE” – LOWEN & NAVARRO DUO GETS SIGNED AS THE DECADE OF DECADENCE ENDS:
Record companies started knocking on the Lowen & Navarro door by the middle of 1989. “Miss You Much” by Janet Jackson and “Another Day in Paradise” by Phil Collins, were snapshots of music flavor indulgences during the decade of decadence, and ruled The Billboard Hot 100 that year. Questions about the motivations of record companies circled in Navarro’s mind, “What are you doing here? I mean, don’t you know who we are? Don’t you know who we aren’t? Don’t you know how uncool we are? And somebody signed us. We made our first album (Walking on a Wire) at the end of 1989. I was 37, Eric was 38.”
“COMPASS POINT” – RADIO AIRPLAY, SELLING OUT VENUES & MERCURY:
Released in the middle of 1990 by Chameleon Records, Walking on a Wire marked the start of a new adventure for the duo. Dan Navarro’s first cousin Dave Navarro (Jane’s Addiction & Red Hot Chili Peppers) contributed guitar on Walking on a Wire and Lowen & Navarro’s Broken Moon. There’s a 15-year age difference between Dan and Dave. They grew up in different eras and didn’t grow up together, resulting in a pursuit of different genres. Reflecting on Jane’s Addiction’s first shows, Navarro observed, “Although this was hard rock compared to my folky stuff, I heard what was going on—these guys are brilliant! This is not empty hair metal. This is deep.”
Pushing the proverbial boulder up a mountain to realize the next stage of Lowen & Navarro’s dream included: Chameleon’s promo rep penetrating radio’s Hadrian Wall-like fortified defense against new and unknown artists’ airplay policy and touring unceasingly. Ultimately, the duo found an aperture leading to 50 stations nationwide and selling out 400 to 500-seat venues; Washington, D.C. was one of their biggest markets.
Lowen & Navarro went on to sign with major label Mercury Records in 1993. After doing a couple of albums for Mercury, Lowen & Navarro found themselves in their late 30s moving into their early 40s, capturing what had eluded both of them for so many years, but it started running out of steam, and they made a shift into the folk music community, “We didn’t change our music. We just aimed it at a different community. The sincerity of the music made it click.”

Credit: Jeff Fasano
“WHEN THE LIGHTS GO DOWN” – ERIC LOWEN’S BATTLE WITH ALS:
Finding their audience and continuing to gain steady momentum, Lowen & Navarro discovered the bliss they worked so diligently to bring to fruition would be short-lived. Eric Lowen was diagnosed with ALS in 2004, but despite his physical body betraying him, was able to tour for nearly five years. Gratitude and living life with a sense of joy and purpose rather than affliction were Lowen & Navarro’s attitude following the diagnosis. In 2012, David Eric Lowen yielded to his battle with ALS. Keep the Light Alive: Celebrating the Music of Lowen & Navarro, a tribute album was released in 2009, five years after Eric’s diagnosis of the disease and the same year Lowen & Navarro performed their last show.
Music executive, journalist, talent manager and broadcaster Mike Gormley had been Lowen & Navarro’s manager from 1993 to 2004. When Eric was diagnosed with ALS, some changes were made and Gormley was let go but he and Navarro remained friends. Gormley became involved as the producer for Keep the Light Alive: Celebrating the Music of Lowen & Navarro, which was spearheaded by Kevin McCormick, who was at the time the bass player with Jackson Browne.
Navarro recounts the lineage of attaching artists to the project, “Keb’ Mo’s first tour was opening for Lowen & Navarro. John Ondrasik of Five for Fighting, his wife, had been our publisher and we knew Jackson (Browne) from around—Jackson’s brother, Severin, one of my closest friends. So we approached people with whom we had a connection, rather than strangers, and everybody responded.”

Credit: Janiva Magness
“CROSSING OVER” – ROLE AS PRODUCER ON JESSE LYNN MADERA’S SPEED OF SOUND:
Defying borders and rigid roles that sometimes encumber artists like shackles, Navarro doesn’t reinvent who he is but adds impressive credits to an already stellar resume. He debuted as a co-producer on Jesse Lynn Madera’s Speed of Sound, co-writing and singing on the duet “Last Call.” Defining the role of producer and how he maintains objectivity, Navarro elaborates, “My role with Jesse was to be a sort of barometer of authenticity and soulfulness. We worked with my producer Jim Scott (Tom Petty, The Chicks, Foo Fighters) who I knew would make the record sound incredible. Jim has great instincts too, but I think she (Jesse Lynn) wanted my creative filter to kind of look at what we’re doing and say, well, what if we did this? I selected the musicians who played on the record, which were not different with every song, but we would do blocks of songs. The production on that started with me producing one song, ‘Unchained.’ And from there she goes, well I like this, let’s do more. I discovered an artist of rare insight and serious gift, and she wanted my filter, if you will. She wanted to create her record through my lens. The three of us, Jesse Lynn, Jim and I became a creative triumvirate that just made sure that it sounded good. It felt good. It sounded authentic, and it was moving.”

Credit: Jay Blakesberg
“A PLACE WHERE I BELONG” – ARTIST ADVOCATE, SERVING ON SAG-AFTRA:
Navarro is the embodiment of Paul Scofield’s cinematic portrayal of Saint Thomas More in the 1966 film A Man for All Seasons. Much like More, who refused to sign a letter asking Pope Clement VII to annul Henry VIII of England’s marriage to Catherine of Aragon; Navarro has unwavering principles that are not for sale at any price. In his spare time, he serves on the Board of SAG-AFTRA and on the Board of the Artist Rights Alliance. He is an advocate for artists confronting a dangerous trend that creators shouldn’t be compensated for their work in a digital world.
Navarro has probably accumulated 95 years of board service over the last 23 years, including multiple boards at once for the Recording Academy and Folk Alliance. Channeling Jimmy Stewart in Mr. Smith Goes to Washington, Navarro has testified before the House Judiciary and Senate Judiciary, with the whole purpose being to protect the livelihoods of creative people.
Surveying an economic landscape for artists in the 21st century along the jagged edge of an AI precipice, Navarro points to inconsistencies and hypocrisy while underscoring the importance of fair compensation not just for creators but for society, “The digital computer tech community is prone to looking at copyright as inconvenient because they can’t do what they want to do unless, of course, it’s a copyright on their software. They think that they should be able to use music any way they want, without compensating or undercompensating the creative people. But to me, if creative people are not fairly compensated, the ability to make a living doing art, making music, being an actor, being a singer, being a writer, a photographer or a fine artist—that goes away. Superstars will make incredible incomes but without the middle class, there is no great art. Art doesn’t proliferate, art doesn’t improve, and that means that the public will not be moved and fed by those works. If art is simply mediocre, created by machines or committees, or dumbed down, the ability for a public to be inspired and motivated and spurred on and encouraged by art—goes away. So I continue to fight to have artists of various types fairly and adequately paid. No one’s talking about getting rich. That’s an anomaly, and when it happens, it’s great. What I’m talking about is to be able to maintain livable wages, sustainable lifestyles—so you can raise families, own a home, live a modern life as an artist. So that’s where I put in that time, and I’ll keep doing it until I run out of energy.”

Credit: Deone Jahnke
“BROTHERS IN ARMS” – DAN NAVARRO’S RELATIONSHIP WITH VETERAN FOLK ARTIST TOM PRASADA-RAO:
Veteran folk artist Tom Prasada-Rao and Navarro were brothers in arms. Prasada-Rao was a towering presence both physically and creatively. Orbiting java joints and folk festivals while donning a kurta, a wardrobe choice homage to his Indian ancestry, Prasada-Rao was a prolific visionary whose well-constructed songs and vocal style that relied upon eliciting elements of humanity over bombast, resulted in a loyal audience that continued to grow exponentially. Navarro reminisces, “I want to say around 1999, Tom Prasada-Rao opened for us at the Birchmere in Alexandria, Virginia, which was I think, 500 seats in those days. Let’s say it still is now, and we would sell it out every time. He [Prasada-Rao] opened for us and dang if he didn’t sell 100 CDs that night, and we made friends. He was a lovely person. He was a mainstay and beloved in our community. We became great friends.”
“$20 BILL” – GEORGE FLOYD’S MURDER IMMORTALIZED BY TOM PRASADA-RAO’S COMPANION PIECE TO BILLIE HOLIDAY’S “STRANGE FRUIT”:
May 25, 2020, The City of Lakes wept following the murder of George Perry Floyd Jr. by police officer Derek Chauvin. Mourning and grief turned to anger and then rage hours later when a crescendo calling for social justice could no longer be contained by a levee built upon apathy and duplicity. Protests and civil unrest broke out in Minneapolis, Minnesota, and then nationally—temporarily cauterizing the wounds caused by inequities faced by people of color in America’s criminal justice system.
Eerie and ominous foreshadowing of Floyd’s fate is impossible to ignore; coffin nails are slang for cigarettes, Cup the grocery’s name is a play on the word cop, and blue is synonymous with the police, distress caused when one is unable to breathe, and freedom. George Floyd’s encounter with authorities erupted over something frivolous, a counterfeit $20 bill to pay for a pack of cigarettes at Cup Foods. Believing Floyd’s paper note to be spurious because of its blue pigmentation, a teenage clerk at the bodega called 911, and the police like Roman centurions before them were dispatched to the scene to investigate the alleged crime. Pressing his knee into Floyd’s neck for 9 minutes and 29 seconds, Chauvin’s warped genuflect agglutinated Floyd’s iron-shackled anatomy with an unfriendly and inhospitable pavement; the sanguine fluid of life dripping from his nose, a kind of carnal graffiti and urban sacrament of baptism and final rites. A macabre carnival scene of a Federico Fellini diegesis materialized with a cast of onlookers and main character Floyd’s repeated dying utterance, “I can’t breathe” filling the empty air of inhumanity.

Credit: Carol M. Highsmith
Cerise, cerulean, sepia and sable are colors symbolic of George Floyd’s tale, and the complex intricacies of race relations in America. Made of red and blue synthetic fibers, the $20 bill which features Andrew Jackson’s likeness is a testament to the nation’s history of duality. “Old Hickory” was a lawyer and national hero. Presidential protector of the proletariat, Jackson took on the Second Bank of the United States and conversely was a pugilist who killed a man in a duel and owned slaves.
Prasada-Rao shared his perspicacity about compatriot Floyd’s slaughter in an online video. Describing himself as an immigrant of color (Prasada-Rao was born in Ethiopia and raised in Takoma Park, Maryland), he revealed his law enforcement encounters with auteur-worthy accuracy. Initiated with a revolver being pulled out by police during his first traffic stop after getting his driver’s license, finding out the hard way to keep his hands on the wheel and not reaching for the glovebox, pulled over on the New Jersey Turnpike for driving too slow, and being plucked off an airplane by the FBI and the National Guard for flying while looking like a foreigner—cerebral cinematic snapshots of his painful memories. Calling to mind multitudinous appellations of people of color killed by the police, Prasada-Rao thanked God that to date he had not become a statistic.
Fighting cancer for several years and going through chemotherapy at the time, Prasada-Rao was confined to sedentary activities because he was too bilious to do anything physically exerting. Bound to a chair, Prasada-Rao became acquainted with Floyd through scintillating images of television news coverage; people of all different shapes, sizes and colors marching together in mourning, in celebration, in defiance—finally saying they have had enough. Cogitating about George Floyd, and the widely circulated picture of Floyd’s daughter on his shoulder, simultaneously inspired Prasada-Rao and broke his heart because this child lost her father over something so insignificant. Although he wasn’t feeling up to writing, Prasada-Rao relented when the lyrics forced their way out of him, and within an hour the song “$20 Bill” was born. It explores thematic elements of social justice within the context of George Floyd’s murder and is profuse with Christ-like metaphors: communion, breaking of bread, wine, blood and Calvary Hill—culminating in one flawed human life’s journey on the road to redemption.

Jim Scott JM DN Paul Figueroa by Amy Ryerson
Nearing the end of his chemotherapy while the George Floyd protests in Minneapolis were fulminating in real time, Prasada-Rao uploaded an impromptu video performance of the folk ballad, “$20 Bill” to YouTube and Facebook. The video elucidates aspects of his personality and work ethic. In an apologetic sotto voce, Prasada-Rao confesses that he’s not really in good form these days, so it’s hard for him to sing or play properly, or do anything properly. The balladeer however defies the laws of gravity and mortality as soon as the song begins, his voice soaring to welkin, a male songbird on a spiritual journey to deliver a message, he will not be denied due to the soul’s bondage of the flesh-cancer be damned.
Prasada-Rao’s physical state of repose coincided with Juneteenth 2024. “$20 Bill” is Prasada-Rao’s legacy, a contemporary companion piece to Billie Holiday’s “Strange Fruit.” 150 artists recorded their own renditions of Prasada-Rao’s song, showcasing its significant impact and resonance within the music community.

Dan and Janiva by Amy Ryerson
“GHOSTS” – NAVARRO COVERS TOM PRASADA-RAO’S ‘SONG OF A LIFETIME’:
Discovering “$20 Bill” just four days after Prasada-Rao had written it, Navarro quickly learned the number and began performing it during his nightly streams throughout the COVID-19 lockdown in 2020—eventually recording his own rendition and uploading it to YouTube. Navarro told Prasada-Rao shortly before he passed away, “$20 Bill” is the song of a lifetime because it totally encapsulates what the movement for the dignity of human life is about.
Spurred on by Prasada-Rao’s passing, a motivation to honor his memory, and the belief that “$20 Bill” is as good as quintessential protest songs and songs of social justice: “We Shall Overcome,” “Blowin’ in the Wind,” “The Times They Are A-Changin’,” “If I Had a Hammer,” or “Where Have All the Flowers Gone?” Navarro and Janiva Magness (a contemporary blues GRAMMY-nominated artist and close friend of Navarro) decided to record a version of it for a proper release, and Navarro’s cover is being considered for a Harry Belafonte Best Song for Social Change Award GRAMMY.
Illuminating the vibe of the recording session for the track, Navarro offers a behind-the-scenes perspective, “We went in a single day, cut it with Jim Scott. The players were people who had played either on my albums or Jesse Lynn’s recent album. They’re dear friends, all of them. There was an undercurrent of love and soul in the session, and we went start to finish in a single day.”
With a ruminative timbre, Navarro philosophizes about George Floyd’s murder and the scales of justice in America, “Did George Floyd break the law—maybe. Was he not easy to subdue? Maybe. Does that warrant what happened? In my opinion, no.” He expounds on disparities present in the judicial process, “You know, justice in this country, I think we like to believe is for all. It hasn’t been the case. It’s survival of the richest when you have the means to mount legal challenges, to utilize the system in your favor and it’s the less fortunate, the less affluent, and sometimes—I mean, I’m not prepared to say all the time, but certainly, sometimes it falls along ethnic lines and it’s a difficult legacy to escape. This is simply what I’ve seen to be the truth, and there are a lot of people who think that it’s anti-American to think those terms. I’m grateful and lucky to be born in this country where I can say what I please. But there are people who have been victimized or who have been unfairly treated or just simply dealt with in a cursory manner because of their economic status, because of the color of their skin, or because of the relative lack of power and access to influence they have.”

Dan Navarro by Jeff Fasano
“TEACHER, TEACHER” – NAVARRO SCHOOLS THE NEXT MUSIC GENERATION:
Dan Navarro’s resume is like a ship that has visited many ports of call, its captain refusing to be controlled by the limitations of a cartographer who has never sailed vast oceans. Voicing characters on the animated television series Family Guy and American Dad, singing in the feature film Encanto, and having his music placed in movies like Deadpool 2 and Talladega Nights, commercial mainstream accomplishments that cut across different mediums have not corrupted Navarro’s counter-culture independent virtues, which remain intact defiantly against the odds. Drive, He Said, Jack Nicholson’s 1971 feature film directorial debut based on Jeremy Larner’s novel of the same title is referenced on Navarro’s blog, offering a glimpse of his rebellious spirit. Turbulent transitions teens undergo from college to young adulthood, the Vietnam War draft, free love and fringe culture form the kaleidoscope against which the story’s plot unfolds. The Motion Picture Association of America tried unsuccessfully to stamp the celluloid adaptation with an X rating because of its full-frontal male nudity—a stark contrast to MGM’s 1952 Technicolor G-rated musical Singin’ in the Rain starring Gene Kelly and Debbie Reynolds.
Sharing the importance of music education in public schools, and offering his advice for a young person who wants to pursue a career in the music business, Navarro says, “Music education in schools turns out next great citizens who can work with others, who can follow a leader, who can tell a story, who can dig deep and create something that moves other people. It’s overlooked oftentimes as being a luxury and it’s really not to me—it’s as essential as food and shelter and clothing. But as far as advice to young creatives—don’t quit. There are only three elements to success: talent, persistence and luck. The least important is talent, the most important is persistence—because that creates luck and the whole idea is you miss 100% of the shots you don’t take—so keep going. Giving up is the only failure there is—so keep going. We don’t learn from successes, we learn from our mistakes—so embrace them, love them, learn from them—and don’t stop.”
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