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by Mikaela Brewer, ​for The 44 North

Senior Editor


A bright yellow Modern Music Studio logo with black letters
A bright yellow Modern Music Studio logo with black letters

“We see it time and time again in our studio. The kids who come to see us often have this perception that music is magic, that it can’t be understood. Learning about melody and harmony, chord progressions, and just how simple the construction of their favourite music is, a lot of the time, helps to break down that mysticism, making learning the language of music more accessible. ”

Editor's Note: I had the absolute privilege of chatting all things learning music with Bob Cole, founder of Modern Music Studio—a community-focused group of musicians & teachers emphasizing student-directed lessons & learning as fun. Please enjoy our discussion!


Mikaela Brewer (MB): Modern Music Studio provides a space for everyone to “discover their musical passions on their own terms.” I love how this implies an inherent potential & possibility in a world that teaches us we can't approach music without ‘talent’. What does this mean to you? How have you seen this discovery happen at the studio?

 

Bob Cole (BC): This is a really important philosophy, or foundation of our studio. We truly believe that EVERYONE has music inside of them. Nothing irks me more than someone saying, “I wish I could play an instrument, but I just wasn’t born with it”. There is this myth that musicians are created at birth, and that truly isn't the case. We just have to find what music connects with you, and allow that music to flow through you. Anyone who loves music, anyone who loves to dance, anyone who loves to air drum or air guitar, anyone who lip syncs their favourite songs—truly, anyone can learn to play an instrument. 


We see it time and time again in our studio. The kids who come to see us often have this perception that music is magic, that it can’t be understood. Learning about melody and harmony, chord progressions, and just how simple the construction of their favourite music is, a lot of the time, helps to break down that mysticism, making learning the language of music more accessible. The adult students are a totally different case altogether. I’ve seen many adult students who wanted to learn an instrument but were unsure because they’d never done it before, or believed the “born with it” myth. Breaking down those barriers can be difficult; we all become a bit more stubborn in our older years. But for those who are willing to put in the work, stop believing the myth, and instead believe in the music inside of them, it can be tremendously rewarding (not just for them, but for us as well). We have students who came to us with no musical knowledge in their 50s and 60s and are now playing open mics or jams regularly around town. Watching students begin to believe in the music inside of them is perhaps our greatest source of joy. 


MB: On student leadership: because part of the magic is discovery, choosing an instrument, style, repertoire, and pace of learning offers creative control that's supportive for anyone, but perhaps especially for young people! Tell us more about what this looks like—what if a student doesn’t (yet) know what makes them special? 


BC: Such a great question. All of our instructors focus on positivity and building a love of music first and foremost. So the focus isn’t really on accomplishment (though that’s often a nice by-product), but on building a positive relationship with their creativity. It is a very vulnerable position that students put themselves in when they come to see us. We are asking them to share something that is a very personal connection: their personal taste in music. Initially, it can be difficult for them to share what it is about music they love. Our instructors are versatile and understanding in a way that makes kids feel comfortable and ready to share what music makes them feel special. We focus on positivity and listen to music through our students' lens to find their joy and help foster their connection to music in that moment. And it can often be in the least expected places! We have taught music from movies, video games, and even a radio jingle! Teaching songs that kids (and adults) recognize and connect with allows them to feel that connection and understand that what they love about music is distinct and unique to them alone. The benefits for self-esteem and confidence building with kids have been incredible to see. 


MB: On having fun: how have you seen the joy of growth/learning impacted—or maybe shifted from the way we think about learning at school—by empowering students to learn music they love?


BC: Fun is such an important part of learning in our view. By focusing on loving music first, we sort of create that carrot on the stick. The goal isn’t to learn ‘this’ scale so that you can play ‘this’ song. We teach it a bit backwards. We teach the song and then, once they’ve grown some confidence and connection to that piece, we start to show them maybe what scale it’s using, or what a score of that song looks like and how to read it, or perhaps how to transpose that song to another key so that it matches their voice. This resonates in a huge way with students. Not only can they learn their favourite songs, but they can start to understand the theory behind how these songs are constructed. By starting with fun, we sort of “trick” students into learning the nuts and bolts of music. So much of education is focused on learning a concept or a theory first, then it moves to how that theory is applied. Some educators came along and disrupted this idea (think Bill Nye or Mark Rober). They start with the application, then work backward to the theory. It’s a much more fun way to learn, in our opinion. The added benefit is that the student gets to choose the “application” (the song) that allows them to learn the theory, which makes them that much more engaged and connected to their learning. 


MB: On building community: we all know that tending connection is community care. Modern Music Studio has such a dedicated group of skilled, supportive teachers, but part of your goal is to connect students to their peers to learn songs together, form bands, and make friendships. The studio is located in a warm, cozy house in downtown Barrie, but what does community look like outside of sessions?

 

BC: We have so many students, for whatever reason, who seem to have difficulty fitting in with other walks of life, or difficulty with confidence in other areas. But when they walk through our doors, they get to feel like a rock star. And we’ve seen these kids’ confidence soar beyond our walls, to the performances we put on (Five Points Theatre, Aqua Theatre Orillia, and the Barrie Legion), and to the weekly jams we host. We’ve watched friendships grow and provided a sense of belonging for some kids who really needed it. As the years have gone on, we’ve watched kids graduate to university or college arts programs (one was even accepted to Harvard!). It's been super rewarding to help these kids find their footing and build their sense of belonging along the way. I think our approach—focusing on fun, encouraging a multi-instrumentalist approach, encouraging students to play music with their peers, to perform and to write and record songs—it’s given students a sense of belonging that maybe they didn’t have before they began lessons.

 

When I first had the idea for our studio, I wanted first and foremost for it to be a place where students who love music would find others like them and to bond over that love. I wanted to build a community of young musicians. The mutual passion for music we see in our students is incredible, and we love knowing that we’ve helped to create friendships and memories that will last a lifetime. 


MB: How can folks reading this spotlight support the musicians at Modern Music Studio—teachers & students alike?

 

BC: First and foremost, support the arts in our community in any way you can! The knock-on effects of that will benefit all of us who are trying to enrich our beautiful city through the creative arts. 


If you are interested in finding out more about music lessons with us, please go to modernmusicstudio.ca or email modernmusicbarrie@gmail.com to ask us any questions you might have. 


And finally, keep an eye out for all the amazing things our students and teachers are doing in our community, from working with at-risk or underprivileged youth (Glowing Hearts Charity, Orillia Youth Centre), to bi-annual performances at the Five Points Theatre and other venues around town, where you may find one of our students or teachers playing. We also have the amazing band Jupiter Hollow, who have members teaching with us, and then there is Sammy Johnston, who is an incredible blues/rock musician. Alondra Vega-Zaldivar is working as musical director this fall with the South Simcoe Theatre. And we have our choir starting up this spring that will be led by the incredibly talented Gillian Seaman. So look for their performances as well, and be sure to cheer super loud for our float at the Santa Claus parade in November! Follow us on Instagram and Facebook to keep track of all the cool things we are up to. And a vote for us in the Reader's Choice Awards in October would be really great too!

by Mikaela Brewer ​for The 44 North

Wenzdae sitting on a wooden chair next to a window. She is wearing a green, brown, and red patterned skirt and a flowy white top. She has tattoos, lots of jewelry, piercings, and large glasses. Her hair is blond and cropped short, and she has light brown skin. Next to her are several plants and a wooden side table with a lamp.
Wenzdae sitting on a wooden chair next to a window. She is wearing a green, brown, and red patterned skirt and a flowy white top. She has tattoos, lots of jewelry, piercings, and large glasses. Her hair is blond and cropped short, and she has light brown skin. Next to her are several plants and a wooden side table with a lamp.

Multimedia Artist: digital, traditional beadwork, oddity work, and painting 


Wenzdae (she/her) is an Afro-Indigenous, multi-media artist hailing from the Georgian Bay Metis Community, of which she is a registered and claimed member. She is a direct descendant of the Clermont-Dusome, Trudeau-Papanaathyhianencoe and Beausoliel-Giroux family lines, and her lineage is traced to Manitoba as well as Barbados on her paternal side.


Wenzdae is an accomplished artist with many credits to her name. She specializes in jewellery production, Indigenous beadwork, graphic design, and traditional hand-poke tattoos. Wenzdae has over 13 years of experience and mentorship under her belt.


Her credits include artworks published in both media and television, including creating beadwork for ‘Motherland: Fort Salem’ and an upcoming season of

‘Sullivan’s Crossing’ as well as outfitting several Indigenous community leaders and celebrities.


She is a published author, illustrator and photographer, with one of her iconic images being named amongst CBC’s top 12 best Canadian book covers of 2017. She was also a recipient of the 2013 James Bartleman Aboriginal Youth Creative Writing Award and has multiple upcoming projects and publications coming in the following years through her agency (Trans Atlantic Agency) and Swift Water Books.

Website: wenzdaeweird.ca

Instagram: instagram.com/wenzdaeweird.ca

“My roots will always play a key role in how I think, how I create and perceive the world but they will not define or limit me as an artist. I hope people see that art and culture are not the same as history. Culture is forever shifting and growing, evolving and expanding. Finding new ways to implement old techniques into modernity is one of the ways we carry our ancestors into the present.”

For a few years, I've had the absolute privilege of wearing and admiring Wenzdae's art. Please spend some time with her responses to my questions about her work, alongside photographs of the variety of art she crafts!


M: For each of your projects/artworks, is there a story behind their crafting/creation process that you'd like to share?


W: Each creation is made different but with equal intention and care. I never truly have a plan going into a new piece (even when I think I do—haha). The theme of the work varies based on what I want to emphasize or project into the world, but the foundation of all my creations is my culture. I spent years under the mentorship of my chosen aunt, June Taylor, who taught me everything I know about Indigenous beadwork (specifically woodlands aesthetic) while we sat at her kitchen table. No matter what I create, the foundation of my knowledge stems back to those days. 


M: How do you, your family, ancestry, community, politics, and values braid into your work on these projects? Where/how, especially, would you like folks to witness/experience this when spending time with your work? Is there anything you hope people pay particular attention to? Take action with/from?


W: I am an intuitive artist who also happens to be Black and Indigenous, as well as European and South Asian. My creative knowledge stems from my Metis heritage, which I grew up deeply entrenched in—from plant medicine knowledge to resistance through storytelling. I like to think of my work as culturally rooted in that heritage but able to be enjoyed by all. I have no intention of separating myself, my beliefs or morals from my work. I like to call myself a radical hippie—as I strongly stand for freedom and equality, which has never truly been achieved by the “peace and love” motto we typically identify with hippie culture, particularly as it pertains to non-western communities. My roots will always play a key role in how I think, how I create and perceive the world, but they will not define or limit me as an artist. I hope people see that art and culture are not the same as history. Culture is forever shifting and growing, evolving and expanding. Finding new ways to implement old techniques into modernity is one of the ways we carry our ancestors into the present.


M: If these projects could speak, what might they say/offer? If not in words, what might they offer in energy? Mind, body, heart, spirit? 


W: My work would offer a new perspective on mixed identity, not one that “waters down” any one of the cultures in my background but one that incorporates, shares and enhances each, in particular, the ways in which they connect and alchemize into something uniquely beautiful. Love knows no boundaries or borders, so cultural appreciation is essential for the ethical trading of knowledge, skills, stories, and arts. My work embraces elements of the aesthetics and environmentally informed processes that underpin my understanding of art, while also bringing its own unique characteristics that have been made possible through the act of true cross-cultural communication. 


Hand-painted ethically harvested animal skulls with upcycled vintage frames (2024-2025).

Accessibility text: An array of animal skulls painted in many different colours, shapes, and designs.


Modern beadwork created for the set of “Motherland: Fort Salem (2023)”

ree

Accessibility text: Several women (characters) from the show "Motherland: Fort Salem" wearing a variety of Wenzdae's beaded jewelry, especially earrings.


A sample of diverse styles & mediums re: original illustrations for current & forthcoming projects

Accessibility text: 2 paintings of Indigenous women in pink and purple dresses decorated with rainbows, flowers, and butterflies. They are also wearing black and white feathers in their hair.


Eighteen unique images commissioned by Indigenous Geographic

Accessibility text: "A diverse and visually vibrant range of illustrations inspired by Métis culture, ensuring accuracy and respect for traditional design elements.” The images include canoes, flowers, moccasins, and more!


Utilizing natural & upcycled materials, glass cut beads and ethically harvested and treated animal products. Samples from recent commissioned and creative projects (2022-2025)

Accessibility text: Many pieces of beaded jewelry in different colours, including rings, earrings, necklaces, and small purses. They feature images of water, trees, people, flowers, and other shapes.

Early draft illustrations for ‘THE GIRL WHO COLLECTED STARS’ (Swift Water Books/Penguin Random House Canada, forthcoming 2026)

Accessibility text: 2 drawings of a young girl with medium brown skin, brown curly hair, and round glasses. In the first, she is looking out the window of an apartment building at night, through purple curtains. The building is surrounded by flowers and stars, and a small black cat looks out the window next to her. In the second image, the girl is standing on a green stool with blue flowers, looking into a mirror. She's wearing a striped purple dress and pink socks.

Signature Beadwork Style



Accessibility text: This signature style came from a dream Wenzdae had of beautiful birch bark paddles dripping with beaded florals and berries, and they carried people to and from the river banks. Upon waking up, she knew she had to re-create this vision. The Métis (also known as the floral beadwork people) are known for their intricate botanical beadwork designs on materials such as plush velvet. Wenzdae combined the teardrop shape of an ore with colourful materials and glass cut beads to make her staple beadwork design she’s now known for. You can view these creations on her website or on the big screen.


by Mikaela Brewer ​for The 44 North

A photo of Erika sitting on a beige couch next to a large, white-curtained window & gold-framed mirror. Her legs are crossed & she’s resting her chin on her hand, smiling. She’s wearing a black top, black sandals, and a patterned skirt in shades of brown. She has dark brown curly hair & eyes, and light brown skin. 
A photo of Erika sitting on a beige couch next to a large, white-curtained window & gold-framed mirror. Her legs are crossed & she’s resting her chin on her hand, smiling. She’s wearing a black top, black sandals, and a patterned skirt in shades of brown. She has dark brown curly hair & eyes, and light brown skin. 

Illustrator, Poet, Multimedia Artist


Erika Flores (she/her) is a self-taught Toronto illustrator, poet, and multimedia artist. She is best known for using diverse mediums such as digital illustration, acrylic paintings, and engravings. Notable clients include: Nike, NBA, WNBA, Microsoft, AFC Toronto, PWHL Toronto Sceptres.


As the proud daughter of Filipino immigrants, Erika’s work reflects her values and passion in creative storytelling through heritage and culture, empowering marginalized communities, and the art behind athleticism and sports. This can be seen through her work with various sports leagues, notably designing the inaugural away jersey for AFC Toronto, designing court murals and backboards for WNBA and Maybelline New York, illustrations for Nike x WNBA for Canada’s first ever WNBA game in 2023, and her various illustration projects with NBA Canada x Microsoft.

Website: INKSCRPT | Toronto Illustrator & Calligrapher, Erika Flores 

Instagram: ​​ERIKA - Illustrator Artist (@inkscrpt) • Instagram photos and videos 

“As someone who has always been a big advocate of grassroots initiatives, seeing the worlds of art, sport, community, advocacy, and infrastructure all in one impactful project has always been something I’ve actively sought. To be the artist to work on a project that means so much to an historically underserved community is a privilege I don’t take lightly.”

When I first came across Erika’s work, while attending Canada’s first ever WNBA game in 2023, I was on the cusp of dipping my fingertips into basketball again after years away. I couldn’t name this at the time, but I was craving ways to re-ground my love of the sport—to heal my tattered relationship with it after retiring so abruptly in 2020. It felt akin to grief—to severing full-body connections with a home, culture, language, and art practice. I filled the cavity in my heartspace not only by picking up a basketball again, but by reorienting to it artistically. 


Erika’s work was a portal—a gate that opened when I needed it most. And I’m not the only one.


It feels strange thinking of sport as art; I was taught to see it scientifically, mathematically—calculating—where the gym is ‘the lab.’ I don’t believe these elements/metaphors are baseless, by any means, but they’re incomplete alone. 


Erika (she/her) is a self-taught Toronto illustrator, poet, and multimedia artist. She’s best known for using diverse mediums such as digital illustration, acrylic glass paintings, and engravings. When I first reached out to ask her about this piece, we further connected through her poetry (two of my favourites are: Shapes & Forms of Resistance and By A Child of Immigrants). 


As the proud daughter of Filipino immigrants—who are huge basketball fans—Erika’s passionate and creative storytelling work beautifully braids together her values, heritage, and culture. Her art breathes life into patterns and palettes of colours—families of colours—to empower youth, queer communities, and all who’ve been marginalized or displaced from home and family. I’m reminded of Rupi Kaur’s words, “It is a blessing / to be the color of earth / do you know how often / flowers confuse me for home?” Her artwork extends the hand of home—both a reflection and an invitation. 


Witnessing athleticism and sport as art, as Erika does, amplifies how they’re appreciated by fans and crafted by athletes. Sport reaches a new wavelength of light when captured by a parallel artform, such as painting. Perhaps this practice truly is the synergistic poetry of our world: when two art forms come together to show us something we wouldn’t have been able to see without the portal of an artist’s hand. 


Covered by Yahoo News, Global News, CBC, MSN, and AInvest, one of the most rejuvenating examples of this is Erika’s collaboration with the WNBA, Maybelline New York, and Buckets & Borders. In the Jane and Finch neighbourhood, Oakdale Community Centre was refurbished with Erika’s brilliant artwork alongside new nets, equipment, a youth basketball clinic, and a mental health training session developed with Kids Help Phone. A central part of feeling safe to grow—learn, play, explore, and develop self confidence—is feeling valued and seen. Erika’s artwork—thoughtfully reflective of the community and radiant expansion of women’s basketball—catalyzes this alongside the facility’s upgrades, together amplifying the power of carefully designed and managed third spaces that bolster community mental health and collective care. Now, Oakdale Community Centre is not only a lab for learning skills, but a studio for creative expression. In combination, these enable the vulnerability of courage and bravery, and a space that fosters them is life changing—and often saving. 


Erika’s work truly embodies what it means to say art is fundamental, necessary, and resistance to the status quo. It’s embedded in the fabric of our world—the energy that threads change and the sun that reaches across the landscapes of our lives. In this case: Canada’s first WNBA team, sport, community, mental health support, safe infrastructure, and the non-linear feedback loop that these coexist in together. 


Please take a look through three of Erika’s recent projects, below, including images and captions from her that offer a wonderful window into each one!


WNBA x Maybelline New York x Buckets & Borders Court Design


Erika was asked to illustrate 3 large murals & backboards as part of a court refurbishment project in collaboration with WNBA, Maybelline New York, and Buckets & Borders. 


1) Accessibility text: A basketball court with grey brick walls & wooden rafters. On the wall is Erika’s mural, with a beige background & images of women playing basketball, painted in overlapping shades & shapes of vibrant orange, red, blue, and yellow. The overhead lights are on in the gym, and the sun is shining through the windows. The logos for the WNBA, Maybelline New York, Buckets & Borders, and Erika’s signature & Instagram handle are printed in white in the bottom corners, alongside the words “BRAVE TOGETHER” in hand-written capital letters. 2) Accessibility text: A zoomed-out view of photo 4, featuring two basketball hoops. Beneath them are two black racks of WNBA orange & white basketballs. A mural is on the wall between them, with an orange background and the words “oakdale BE BOLD BE BRAVE” in yellow text, a mix of cursive & hand-printed capital letters, on the left of the mural. On the right side is a yellow hand with orange, blue, and red drawings of people playing basketball inside it. 3) Accessibility text: A basketball court with grey brick walls & wooden rafters. On the wall is Erika’s mural, with a beige background and images of women playing basketball, painted in overlapping shades & shapes of vibrant orange, red, blue, and yellow. The overhead lights are on in the gym and the sun is shining through the windows. The logos for the WNBA, Maybelline New York, Buckets & Borders, and Erika’s signature & Instagram are printed in white in the bottom corners, alongside the words “be bold” in cursive print. 4) Accessibility text: Against the grey brick wall of the court & above a string of pink basketballs on the floor, a hoop’s backboard features Erika’s artwork. It has a yellow background with curved designs in shades of red, orange, and blue. The logos for the WNBA & Maybelline New York are printed in white in the bottom corners.

“As someone who has always been a big advocate of grassroots initiatives, seeing the worlds of art, sport, community, advocacy, and infrastructure all in one impactful project has always been something I’ve actively sought. To be the artist to work on a project that means so much to a historically underserved community is a privilege I don’t take lightly.


Research shows that young people, especially young girls, experience better outcomes when participating in sports: from mental and physical health to learning crucial social skills and reducing the likelihood of being involved in violence. Yet we see girls under 14 drop out of sport due to a lack of access, safe spaces, and representation.


Refurbishing a basketball court into a beautiful, functional, safe, welcoming space with designs that young girls & women can see themselves in is just ONE STEP towards addressing these needs.


Every moment we show up - on the court, through artwork, through community, through taking meaningful action - is one brave step to breaking barriers for girls & women.

As an artist in the sports industry, this continues to be a lifelong goal of mine: to keep creating representation and empowering diverse communities through my artwork and participating in impactful projects that elevate that platform.”


—Erika's Instagram


 Inaugural Away Jersey Design for AFC Toronto


Erika had the honour to be part of Canadian soccer history by being the artist to design the first-ever away jersey for AFC Toronto’s inaugural secondary kit! This was the Northern Super League’s first ever season, where the jerseys were worn by both players and fans alike.


1) Accessibility text: The AFC Toronto jersey. It has a black accenting, including the logos of Desjardins, Hummel, and the team. The jersey has a white background and light blue designs—several small illustrations reflecting the city of Toronto: a woman wearing a hijab, the CN Tower, a squirrel, the TTC, a Canada goose, and much more. 2) Accessibility text: A photo of Erika wearing the AFC Toronto jersey & black pants. She is holding a white & gold soccer ball, and is looking up at the camera.

“As both a sports fan and an artist, designing a jersey for your city is the epitome of a dream project. When I designed it, I wanted to create a jersey that people could wear for years to come, that people can look at and be like This is OUR city. This is OUR team. And I hope everyone feels that pride when they look at them. 


A year ago, when I designed this jersey, I did a call-out on social media asking people to share what they think of when they think of Toronto. I’ve incorporated almost every single feedback I received—down to the “long lines” and “raccoon” sentiments—to try to capture what this city means to those who are from here. 


But what makes this even more special is that this jersey, this game, is part of a historical moment in Canada—we have a professional women’s soccer league for the first time in Canadian history. This is a huge moment, and to be a part of that is such a privilege. 

My favourite feature of the jersey is the CN Tower with the roots growing out of it. It was the very first thing I illustrated and the first thing that came to mind when I think “What does Toronto mean to me”. That part of the design is dedicated to my immigrant parents, who came here from the Philippines to plant new “roots” and give me a better life. And it’s ultimately dedicated to many families like mine who consider Toronto their home—their “roots”.”


—Inaugural game interview quotes


Nike x WNBA Collaboration for Canada’s First Ever WNBA Game


Together with Nike and the WNBA, Erika designed 32+ illustrations celebrating Canada’s first-ever WNBA game. These designs were part of a brand activation by Nike at Foot Locker Canada, where people customized their Nike apparel by heat-pressing her designs onto their merch in-store. The theme around the designs was to celebrate the growth of the women’s game in Canada with a special ode to her city, Toronto.


1) Accessibility text: A white page featuring many of Erika’s designs in shades of orange, red, green, yellow, and dark blue. There are numbers, many different women playing basketball, Nike swooshes & logos, maple leaves, trophies, the subway, WNBA & team logos, and fun phrases. 2) Accessibility text: A photo of Erika wearing black pants & a black t-shirt that features her designs. She is holding an i-Pad with her art pulled up on the screen, and is sitting on a wicker stool next to a large plant.

“Fun fact: the six women line art designs that were part of this project were originally part of a personal project on women’s basketball that I was already working on during that time. But when I heard Nike wanted to celebrate women in basketball for this historical event, I knew I had to use these. I knew this was the chance to use this platform to bring in representation, to create a series of diverse baller women that people can look at and think, “I could be them, too”.

Art is storytelling. One of the biggest prides an artist could have is the opportunity to share these stories but most especially have people resonate with them. It was my biggest honour to have people thanking me for putting the Philippines sun on the swoosh; for adding a girl baller in a Hijab. How could I not?


One moment with this project that will stay with me forever is when a woman, who is also of colour but not of Filipino heritage, asked me what the sun symbolized. After I explained it to her (i.e. it’s the sun from the Philippines, where I was born), she said, “I’m definitely putting it on my shirt then”. Surprised, I asked, “Really? But it’s such a specific symbol,” and to that she replied, “If one of us makes it, we all make it”. 


So yeah, WE made it. We really made it.”


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