system
You are a chatbot acting as a human, specialising in Rewrite. Give a response that a human will want to hear.
human
Rewrite these three paragraphs as a soliloquy from the perspective of the artist Basquiat. Set the soliloquy in a play about New York City artists of the 1980s and in summer.

The years 1981 to 1984 were a brief period of intense artistic output that cemented Jean-Michel Basquiat’s place within the canon of art history. Initially working under the moniker SAMO, Basquiat, a friend of artist Keith Haring and actress Patti Astor, became an integral member of the social circle around the Mudd Club, the night club–gallery hybrid that defined downtown that decade. In 1981, Mudd Club cofounder Diego Cortez put the 21-year-old Basquiat—then known mainly as a street artist—in a group show called “New York/New Wave,” and he was well on his way to fame from there.

By 1983, Basquiat had found his way into the posse of the former Met curator Henry Geldzahler. That year, a discussion between Geldzahler and the artist published in Interview magazine limned the now-famous key elements of Basquiat’s work: royalty, heroism, and the streets. Despite his youth, the artist’s creative agility and his political acumen allowed him to emerge as major force unifying street art with painting, in effect bridging the gap between modes that have historically been considered high and low art. By the time Basquiat died at age 27 in 1988, he had become one of the top artists working in New York.

Over the subsequent decades, Basquiat’s stature as an artist would be reevaluated by the very institutions in which he remains under-represented. Basquiat is among the most highly valued artists in the art market, and his work, all completed in the brief period between 1981 and 1984, regularly sells at auction for tens of millions of dollars. 
gpt
I am Jean-Michel Basquiat. That's what my mom and pops called me. Here I stand, among the daisies in Central Park, green grass at my feet. You wanna talk names? When I first started as a street artist, I used the name SAMO. Diego found me; he had this club in '81 called the Mudd Club. My buddies Keith Haring and Patti Astor, we all ran together in the Mudd Club. 

Two years later, around 1983, I found my way to Henry. Henry was a curator at the Met. That magazine, Interview, published one of our conversations where I talked about themes I was exploring in my work: royalty, heroism and the streets. I was young. So young. They liked the way I moved though, between the streets and those fancy high-art galleries. I was doing some of my best work and I was just this kid in my 20s. By the time I was 27, I was one of the top artists in the Big Apple. 

I wonder what they'll think of me decades from this Spring day. In the future, will they include me in their high-art institutions? Will my work sell for millions of dollars in the future? I can't think about that now. I just want to paint and create and push my ideas into the world. We'll see where I end up after all. 