Question: Jean-Michel Basquiat was born in Brooklyn, New York, on December 22, 1960, shortly after the death of his elder brother, Max. He was the second of four children of Matilde Andrades (July 28, 1934 - November 17, 2008) and Gerard Basquiat (1930 - July 7, 2013). He had two younger sisters: Lisane, born in 1964, and Jeanine, born in 1967. His father, Gerard Basquiat, was born in Port-au-Prince, Haiti, and his mother, Matilde Basquiat, who was of Puerto Rican descent, was born in Brooklyn, New York.

"Basquiat's canon revolves around single heroic figures: athletes, prophets, warriors, cops, musicians, kings and the artist himself. In these images the head is often a central focus, topped by crowns, hats, and halos. In this way the intellect is emphasized, lifted up to notice, privileged over the body and the physicality of these figures (i.e. black men) commonly represent in the world."  Fred Hoffman hypothesizes that underlying Basquiat's sense of himself as an artist was his "innate capacity to function as something like an oracle, distilling his perceptions of the outside world down to their essence and, in turn, projecting them outward through his creative acts." Additionally, continuing his activities as a graffiti artist, Basquiat often incorporated words into his paintings. Before his career as a painter began, he produced punk-inspired postcards for sale on the street, and became known for the political-poetical graffiti under the name of SAMO. On one occasion Basquiat painted his girlfriend's dress with the words "Little Shit Brown". He would often draw on random objects and surfaces, including other people's property. The conjunction of various media is an integral element of Basquiat's art. His paintings are typically covered with text and codes of all kinds: words, letters, numerals, pictograms, logos, map symbols, diagrams and more.  A middle period from late 1982 to 1985 featured multi-panel paintings and individual canvases with exposed stretcher bars, the surface dense with writing, collage and imagery. The years 1984-85 were also the main period of the Basquiat-Warhol collaborations, even if, in general, they were not very well received by the critics.  A major reference source used by Basquiat throughout his career was the book Gray's Anatomy, which his mother had given him while he was in the hospital at age seven. It remained influential in his depictions of internal human anatomy, and in its mixture of image and text. Other major sources were Henry Dreyfuss' Symbol Sourcebook, Leonardo da Vinci's notebooks, and Brentjes' African Rock Art.  Basquiat doodled often and some of his later pieces exhibited this; they were often colored pencil on paper with a loose, spontaneous, and dirty style much like his paintings. His work across all mediums displays a childlike fascination with the process of creating.

Using a quote from the above article, answer the following question: What did samo stand for?
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Question: Thomas was born in the rural community of Cayce, Mississippi, the son of a sharecropper. He moved with his family to Memphis, Tennessee, around 1920. His mother was a "church woman". Thomas made his debut as a performer at the age of six, playing a frog in a school theatrical production.

In 1960 he made his first recordings with his 17-year-old daughter Carla, for the Satellite label in Memphis, which changed its name to Stax the following year. The song, "Cause I Love You", featuring a rhythm borrowed from Jesse Hill's "Ooh Poo Pa Doo", was a regional hit; the musicians included Thomas' son Marvell on keyboards, Steinberg, and the 16-year-old Booker T. Jones. The record's success led to Stax gaining production and distribution deal with the much larger Atlantic Records.  Rufus Thomas continued to record for the label after Carla's record "Gee Whiz" reached the national R&B chart in 1961. He had his own hit with "The Dog", a song he had originally improvised in performance based on a Willie Mitchell bass line, complete with imitations of a barking dog. The 1963 follow-up, "Walking the Dog", engineered by Tom Dowd of Atlantic, became one of his most successful records, reaching #10 on the Billboard pop chart. He became the first, and still the only, father to debut in the Top 10 after his daughter had first appeared there. The song was recorded in early 1964 by the Rolling Stones on their debut album, and was a minor UK chart hit for Merseybeat group the Dennisons later that year.  As well as recording and appearing on radio and in clubs, Thomas continued to work as a boiler operator in the textile plant, where he claimed the noises sometimes suggested musical rhythms and lyrics to him, before he finally gave up the job in 1963, to focus on his role as a singer and entertainer. He recorded a series of novelty dance tracks, including "Can Your Monkey Do the Dog'" and '"Somebody Stole My Dog" for Stax, where he was often backed by Booker T. & the MGs or the Bar-Kays. He also became a mentor to younger Stax stars, giving advice on stage moves to performers like Otis Redding, who partnered daughter Carla on record.  After "Jump Back" in 1964, the hits dried up for several years, as Stax gave more attention to younger artists and musicians. However, in 1970 he had another big hit with "Do the Funky Chicken", which reached #5 on the R&B chart, #28 on the pop chart, and #18 in Britain where it was his only chart hit. Thomas improvised the song while performing with Willie Mitchell's band at a club in Covington, Tennessee, including a spoken word section that he regularly used as a shtick as a radio DJ: "Oh I feel so unnecessary - this is the kind of stuff that makes you feel like you wanna do something nasty, like waste some chicken gravy on your white shirt right down front." The recording was produced by Al Bell and Tom Nixon, and used the Bar-Kays, featuring guitarist Michael Toles. Thomas continued to work with Bell and Nixon as producers, and later in 1970 had his only number 1 R&B hit, and his highest pop charting record, with another dance song, "Do the Push and Pull". A further dance-oriented release in 1971, "The Breakdown", climbed to number 2 R&B and number 31 Pop. In 1972, he featured in the Wattstax concert, and he had several further, less successful, hits before Stax collapsed in 1976.

Using a quote from the above article, answer the following question: Did he went on tour when he recorded at Stax ?
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