Hear Grace Slick’s Hair-Raising Vocals in the Isolated Track for “White Rabbit” (1967)

“One pill makes you larg­er and one pill makes you small…”

Some­time in the sum­mer of 2016, this iso­lat­ed track of Grace Slick’s vocals for “White Rab­bit”–prob­a­bly the most famous Jef­fer­son Air­plane song and def­i­nite­ly one of the top ten psy­che­del­ic songs of the late ‘60s–popped up YouTube. As these things go, nobody took cred­it, but every­body on the Inter­net was thank­ful.

Drenched in echo, Slick sings with mar­tial pre­ci­sion, com­plete­ly in com­mand of her vibra­to and dip­ping and ris­ing all through the Phry­gian scale (also known as the Span­ish or Gyp­sy scale.) And no won­der, the song was writ­ten in 1965 after an LSD trip at her Marin coun­ty home where Slick had lis­tened to Miles Davis’ Sketch­es of Spain over and over again for 24 hours. Com­pare the orig­i­nal ver­sion to Davis’ track “Solea” to hear what I mean.

Bob Irwin, who was in charge of remas­ter­ing Jef­fer­son Airplane’s cat­a­log in 2003, was the first to hear Slick’s iso­lat­ed vocals after many, many years:

When you put up the mul­ti- tracks of the per­for­mances to some­thing like “White Rab­bit” and iso­late Grace’s vocal…you can’t believe the inten­si­ty in that vocal. It’s hair-rais­ing, and absolute­ly unbe­liev­able. I was telling Bill Thomp­son about that. It’s not that I’m so well-sea­soned that noth­ing sur­pris­es me, but boy oh boy, when I put that mul­ti up and I heard Grace’s vocal solo-ed—and it’s absolute­ly whis­per-qui­et, there’s not an ounce of leak­age in there at all—-you can hear every breath drawn and the inten­si­ty and the con­cen­tra­tion…

Inter­est­ing­ly, when Slick wrote the song, Air­plane hadn’t start­ed. Instead she was in a band called The Great Soci­ety, and the orig­i­nal jam ver­sion doesn’t do jus­tice to the com­po­si­tion.

Rhythm gui­tarist David Minor recalled that the song came out of a song­writ­ing request to the oth­er mem­bers of the band.

“When we start­ed work­ing, nobody had any­thing because I couldn’t write any more,” he recalls. “I was too busy keep­ing up with my var­i­ous jobs. So Grace’s hus­band Jer­ry chal­lenged them: ‘What are you gonna do? Let David write all the songs?’ Y’know, ‘Do some­thing!’. So Dar­by came back with a cou­ple of songs and Grace came back with White Rab­bit.”

When the Great Soci­ety fell apart, Jef­fer­son Air­plane chose Slick as their singer in 1966 and she brought with her “White Rab­bit.” The rest is rock his­to­ry, and a large part of the now-retired Slick’s income.

Note: An ear­li­er ver­sion of this post appeared on our site in 2017. It’s a favorite, and today we’re bring­ing it back for an encore.

Relat­ed Con­tent:

How Grace Slick Wrote “White Rab­bit”: The 1960s Clas­sic Inspired by LSD, Lewis Car­roll, Miles Davis’ Sketch­es of Spain, and Hyp­o­crit­i­cal Par­ents

Watch Jazzy Spies: 1969 Psy­che­del­ic Sesame Street Ani­ma­tion, Fea­tur­ing Grace Slick, Teach­es Kids to Count

Dick Clark Intro­duces Jef­fer­son Air­plane & the Sounds of Psy­che­del­ic San Fran­cis­co to Amer­i­ca: Yes Par­ents, You Should Be Afraid (1967)

Jef­fer­son Air­plane Plays on a New York Rooftop; Jean-Luc Godard Cap­tures It (1968)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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The Jazz Classic “Take Five” Played Beautifully on a 1959 Classical Guitar

Above we have George Sakel­lar­i­ou per­form­ing Paul Desmond’s jazz clas­sic, “Take Five,” on a vin­tage 1959 Viu­da y Sobri­nos de Domin­go Este­so (Conde Her­manos) clas­si­cal gui­tar. First record­ed in 1959 by the Dave Brubeck Quar­tet, the track even­tu­al­ly became the best-sell­ing jazz song of all time. It’s also a song fre­quent­ly cov­ered by oth­er tal­ent­ed musi­cians. Orig­i­nal­ly from Athens, George Sakel­lar­i­ou joined the San Fran­cis­co Con­ser­va­to­ry of Music and lat­er became chair­man of their Gui­tar Depart­ment. As his bio notes, his gui­tar style places an empha­sis “on clear tone and smooth lyri­cal lines,” all on dis­play here. Enjoy…

Relat­ed Con­tent 

Watch an Incred­i­ble Per­for­mance of “Take Five” by the Dave Brubeck Quar­tet (1964)

How Dave Brubeck’s Time Out Changed Jazz Music

Pak­istani Musi­cians Play a Won­der­ful Ver­sion of Dave Brubeck’s Jazz Clas­sic, “Take Five”

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The Red Hot Chili Peppers “Californication” Played on the Gayageum, a Korean Instrument That Emerged 1,400 Years Ago

We just had the chance to see the Red Hot Chili Pep­pers kick off a new tour, and so had to bring you this–Luna Lee per­form­ing RHCP’s “Cal­i­for­ni­ca­tion” on the Gayageum, a tra­di­tion­al Kore­an stringed instru­ment dat­ing back to the 6th cen­tu­ry. Over the years, we’ve shown you her adap­ta­tions of Jimi Hendrix’s ‘Voodoo Chile;’ David Bowie’s “The Man Who Sold The World;” Leonard Cohen’s “Hal­lelu­jah; and Pink Floy­d’s “Com­fort­ably Numb,” “Anoth­er Brick in the Wall” & “Great Gig in the Sky.” Today, we’re keep­ing the tra­di­tion going. You can fol­low along with the orig­i­nal record­ing down below. Enjoy!

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent 

Talk­ing Heads’ “This Must Be the Place (Naive Melody)” Per­formed on Tra­di­tion­al Chi­nese Instru­ments

Pak­istani Musi­cians Play a Won­der­ful Ver­sion of Dave Brubeck’s Jazz Clas­sic, “Take Five”

A‑ha’s “Take On Me” Per­formed by North Kore­an Kids with Accor­dions

A Mid­dle-East­ern Ver­sion of Radiohead’s 1997 Hit “Kar­ma Police”

The Red Hot Chili Pep­pers’ Flea Presents a Bass Les­son, and Essen­tial Advice That Every Bass Play­er Should Know

AC/DC’s “Back in Black” Played on the Gayageum, a Kore­an Instru­ment Dat­ing Back to the 6th Cen­tu­ry

Brian Eno’s Beautiful New Turntable Glows & Constantly Changes Colors as It Plays

When we think of Bri­an Eno’s work, we first think of his records. These include not just his own clas­sics of “ambi­ent music” — a term he pop­u­lar­ized — like Dis­creet Music and Music for Air­ports, but also the albums he’s pro­duced: Devo’s Q. Are We Not Men? A: We Are Devo!, Talk­ing Heads’ Remain in Light, U2’s The Joshua Tree, David Bowie’s Out­side. Yet even before he got into music, Eno was paint­ing, and in some sense, he’s nev­er stopped. He was describ­ing his work with sound as the cre­ation of “imag­i­nary land­scapes” even in the nine­teen-eight­ies; in this cen­tu­ry, he’s con­tin­ued to put out records while cre­at­ing ever-more-high-pro­file works of a more visu­al nature, from instal­la­tions to apps.

A few years ago, Eno even got into the busi­ness of func­tion­al sculp­ture, design­ing a turntable that emanates LED light of var­i­ous, grad­u­al­ly shift­ing col­ors while it plays records. “The light from it was tan­gi­ble as if caught in a cloud of vapor,” said Eno about his ear­ly expe­ri­ence with the fin­ished prod­uct, quot­ed at design­boom upon the announce­ment of its lim­it­ed pro­duc­tion run in 2021.

“We sat watch­ing for ages, trans­fixed by this total­ly new expe­ri­ence of light as a phys­i­cal pres­ence.” Now comes the sequel, Eno’s Turntable II, which will be pro­duced in equal­ly restrict­ed num­bers.  “Those who can afford one of the 150 lim­it­ed units also receive the musician’s sig­na­ture and edi­tion num­ber engraved on the side of the neon turntable’s base,” says design­boom.

Eno’s turntable design recent­ly drew atten­tion as the inspi­ra­tion for U2’s stage set dur­ing their res­i­den­cy at Las Vegas’ brazen new venue The Sphere. In the home, it serves mul­ti­ple func­tions: “When it doesn’t have to do any­thing in par­tic­u­lar, like play a record, it is a sculp­ture,” Eno says, “and when it’s in action, it’s a gen­er­a­tive art­work. Sev­er­al over­lap­ping light cycles will keep pro­duc­ing dif­fer­ent col­or bal­ances and blends — and dif­fer­ent shad­ow for­ma­tions that slow­ly evolve and nev­er exact­ly repeat.” Die-hard fans who know how long Eno has been fol­low­ing this artis­tic and intel­lec­tu­al thread may con­sid­er Turntable II’s £20,000 (or more than $25,000 USD) price tag almost rea­son­able. And next to the $60,000 Linn Son­dek LP12 Jony Ive redesigned last year, it’s prac­ti­cal­ly a bar­gain.

Relat­ed con­tent:

Bri­an Eno Explains the Ori­gins of Ambi­ent Music

Watch Bri­an Eno’s “Video Paint­ings,” Where 1980s TV Tech­nol­o­gy Meets Visu­al Art

Bri­an Eno on Cre­at­ing Music and Art As Imag­i­nary Land­scapes (1989)

Bri­an Eno Shares His Crit­i­cal Take on Art & NFTs: “I Main­ly See Hus­tlers Look­ing for Suck­ers”

World Records: New Pho­to Exhib­it Pays Trib­ute to the Era of Vinyl Records & Turnta­bles

Piz­za Box Becomes a Playable DJ Turntable Through the Mag­ic of Con­duc­tive Ink

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Punk Dulcimer: Hear The Ramones’ “I Wanna Be Sedated” Played on the Dulcimer

Sam Edel­ston can rock the duclimer. On his YouTube chan­nel, he writes: “Dul­cimers are nat­ur­al rock instru­ments. In fact, I even say that dul­cimers are among the world’s coolest musi­cal instru­ments, and they deserve to be known by the gen­er­al pub­lic — the way that every­body knows gui­tars and ukule­les. Though usu­al­ly asso­ci­at­ed with old folk songs and tunes, dul­cimers are great for a shock­ing vari­ety of mod­ern music, too. I do these videos to inspire more peo­ple to play and lis­ten to dul­cimer music, in diverse, non-tra­di­tion­al styles.” Above, watch him cov­er the Ramones’ 1978 clas­sic “I Wan­na Be Sedat­ed.” Find more cov­ers of  Zep­pelin, the Stones & Bea­t­les here. And yet more covers–including Bowie’s “Space Odd­i­ty” and Sab­bath’s “War Pigs”–on the Con­tem­po­rary Dul­cimer YouTube Chan­nel. Enjoy.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Finnish Musi­cians Play Blue­grass Ver­sions of AC/DC, Iron Maid­en & Ron­nie James Dio

Tears for Fears Sings “Every­body Wants to Rule the World” with Musi­cian Who Cre­at­ed Divine Dul­cimer Ver­sion of Their Song

A Blue­grass Ver­sion of Metallica’s Heavy Met­al Hit, “Enter Sand­man”

Pak­istani Musi­cians Play Amaz­ing Ver­sion of Dave Brubeck’s Jazz Clas­sic, “Take Five”

Watch Jimi Hendrix’s ‘Voodoo Chile’ Per­formed on a Gayageum, a Tra­di­tion­al Kore­an Instru­ment

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How an Unscheduled, Last Minute Performance of “Fast Car” Shot Tracy Chapman to Stardom in 1988

And the award for the first Black song­writer to win Song of the Year at the Coun­try Music Awards goes to Tra­cy Chap­man …for a tune that trans­fixed mil­lions of row­dy con­cert­go­ers when she sang it at Wem­b­ley Sta­di­um 35 years ear­li­er (see above.)

At the time of that per­for­mance, Chap­man was just 24, near­ly a decade younger than 33-year-old Luke Combs, the coun­try super­star whose recent cov­er was a mas­sive hit.

“Fast Car” was not just a star-mak­ing turn at Wem­b­ley. It was a last minute, unsched­uled one.

Chap­man had already per­formed her 3‑song set at that day’s celebri­ty-stud­ded Nel­son Man­dela 70th Birth­day Trib­ute con­cert, sand­wiched between Stephen Fry and Hugh Lau­rie’s com­e­dy act and pro­to­typ­i­cal­ly 80s Scot­tish soft rock­ers Wet Wet Wet.

Her 3‑song set list was in keep­ing with the nature of the event, which helped speed the anti-apartheid activist and future South African pres­i­dent’s release from prison, and was described by music jour­nal­ist Robin Denselow, as “a more polit­i­cal ver­sion of Live Aid, with the aim of rais­ing con­scious­ness rather than just mon­ey:”


Behind the Wall

Talkin’ Bout a Rev­o­lu­tion

The audi­ence got to hear “Fast Car” thanks to the unwit­ting involve­ment of sur­prise guest Ste­vie Won­der.

The R&B great went to Wem­b­ley Sta­di­um straight from the air­port, unaware that his syn­clavier’s hard disc, con­tain­ing all the syn­the­sized music for his act, had not made the trip.

This colos­sal over­sight was only dis­cov­ered when he was head­ing toward the stage. Unwill­ing, or pos­si­bly too over­whelmed to come up with a workaround, he declined to go on, leav­ing orga­niz­ers scram­bling for an artist who could hus­tle to the mic to fill time.

Chap­man and her solo gui­tar must have struck them as a tech­ni­cal­ly uncom­pli­cat­ed solu­tion.

No one can fault her for seem­ing a bit breath­less at first. How often is an emerg­ing singer-song­writer called upon to save the day by step­ping into a legend’s shoes?

With­in a year, Chap­man was named Best New Artist at the Gram­my Awards, and “Fast Car,” which she per­formed at the cer­e­mo­ny, earned her “Best Pop Vocal Per­for­mance Female”. (Song of the Year went to Bob­by McFerrin’s “Don’t Wor­ry Be Hap­py,” a cul­tur­al jug­ger­naut of a dif­fer­ent stripe.)

A few days ago, Chap­man reprised “Fast Car” at the 2024 Gram­mys as a duet with Combs, an inter­pre­ta­tion that impressed the New York Times’ pop music crit­ic Lind­say Zoladz as “wel­com­ing and expan­sive enough to hold every sin­gle per­son (the song) had ever touched, regard­less of the mark­ers of iden­ti­ty that so often divide us:”

It was a rare reminder of music’s unique abil­i­ty to oblit­er­ate exter­nal dif­fer­ences. “Fast Car” is about some­thing more inter­nal and uni­ver­sal. It is a song about the wants and needs that make us human: the desire to be hap­py, to be loved, to be free.

That’s cer­tain­ly one inter­pre­ta­tion, but per­haps the artist who wrote it should have the final word:

I nev­er had a Fast Car, it’s just a sto­ry about a cou­ple, how they are try­ing to make a life togeth­er and they face chal­lenges…At the time that I wrote the song, I actu­al­ly didn’t real­ly know who I was writ­ing about. Look­ing back at it, and this hap­pens with oth­er songs as well, that I feel like I under­stand it only lat­er… I think that it was a song about my par­ents… And about how when they met each oth­er they were very young and they want­ed to start a new life togeth­er and my moth­er was anx­ious to leave home. My par­ents got mar­ried and went out into the world to try to make a place for them­selves and it was very dif­fi­cult going.

My moth­er didn’t have a high school diplo­ma and my father was a few years old­er. It was hard for him to cre­ate the kind of life that he dreamed of… With the edu­ca­tion that he had…. With the oppor­tu­ni­ties that were avail­able to him… In a sense I think they came togeth­er think­ing that togeth­er they would have a bet­ter chance at mak­ing it.

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHallidayOver and out. 

Beethoven’s 5th: Watch an Animated Graphical Score

Stephen Mali­nows­ki is a self-described “Music Ani­ma­tion Machine,” with a pen­chant for cre­at­ing ani­mat­ed graph­i­cal scores. Above, he does his thing with the first move­ment of Beethoven’s Sym­pho­ny 5.

How does he make this mag­ic? Mali­nows­ki writes: “There were a lot of steps; here’s a short sum­ma­ry. I found a record­ing I could license and made the arrange­ments to use it. I found a MIDI file that was fair­ly com­plete, and import­ed that into the nota­tion pro­gram Sibelius. I com­pared it to a print­ed copy of the score from my library and fixed things that were wrong… Then, I lis­tened to the record­ing and com­pared that to the score, and mod­i­fied the score so that the tim­ings were more like what the orches­tra was actu­al­ly play­ing. I export­ed this as a MIDI file and ran it through my cus­tom frame-ren­der­ing soft­ware. Then, I made a “reduc­tion” of the score and col­ored it to match the col­ors I was plan­ning to use in the bar-graph score. Unfor­tu­nate­ly, when I squished the bar-graph score enough to make room for the nota­tion score, too much detail was lost, so I end­ed up decid­ing not to use the nota­tion. Then I put all the pieces (ren­dered frames, audio, titles) togeth­er in Adobe Pre­miere and export­ed the movie as a Quick­Time file. Then, I used On2 Flix to con­vert the final file into Flash for­mat (so that YouTube’s con­ver­sion to their Flash for­mat would­n’t change it in unpre­dictable ways), and uploaded the result.”


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A Look Inside David Bowie & Iman’s Beautiful Mountain Home

It’s dif­fi­cult to imag­ine Iman and David Bowie invit­ing Vogue read­ers to join them on the above vir­tu­al tour of their moun­tain­top home near Wood­stock, New York when the rock leg­end was alive.

Grant­ed, short­ly after their 1992 wed­ding, he gave Archi­tec­tur­al Digest a peek at their ultra-lux­u­ri­ous, Indone­sian-style hol­i­day digs on the Caribbean island of Mus­tique, but, as reporter Christo­pher Buck­ley not­ed, “role changes have always been part of David Bowie’s per­sona.”

By the time they bought prop­er­ty and start­ed a fam­i­ly in New York, they had honed tech­niques for fly­ing under the radar in pub­lic, allow­ing them to lead a fair­ly reg­u­lar life in both Man­hat­tan and Ulster Coun­ty where the house they built on their 64-acre plot of Lit­tle Ton­shi Moun­tain is locat­ed.

Even the most ded­i­cat­ed city slick­er should be able to appre­ci­ate the beau­ty of their floor-to-ceil­ing Catskills views.

“It’s stark, and it has a Spar­tan qual­i­ty about it,” Bowie said pri­or to break­ing ground on the house:

The retreat atmos­phere honed my thoughts. I’ve writ­ten in the moun­tains before, but nev­er with such grav­i­tas.

WPDH in Pough­keep­sie report­ed that “the moun­tain­top retreat was kept “secret” from fans and paparazzi as much as any­thing can be hid­den in the age of the Inter­net and TMZ:”

Locals, how­ev­er, are well aware of Bowie’s moun­tain­top home. Although many knew of his address, the rock icon’s requests for pri­va­cy were most­ly hon­ored by his neigh­bors and fel­low Ulster Coun­ty res­i­dents. Bowie was spot­ted around town but rarely has­sled by strangers.

By and large, his neigh­bors left him in peace to pick up Chi­nese take out, browse the indie book­shop, and cel­e­brate his daughter’s birth­day at a near­by water park.

Bowie record­ed his final album, Black Star, on the moun­tain. Soon after, friends and fam­i­ly gath­ered to scat­ter his ash­es there too.

Iman con­fides that she found it dif­fi­cult to spend time at the house fol­low­ing his 2016 death, but spend­ing time there dur­ing the most intense part of the pan­dem­ic helped her come to terms with grief, and rejoice in the many con­tents that remind her of him.

Some high­lights:

  • Bowie’s 1980 paint­ing, Mus­tique, one of many self-por­traits he paint­ed over the years.

I feel like when I look at his eyes and I move around the house, it’s like it’s fol­low­ing me.

  • Lynn Chadwick’s sculp­ture “Ted­dy Boy and Girl”

Art con­sul­tant Kate Cher­ta­vian recalls how Iman enlist­ed her to help her track it down in the sum­mer of 1993 to mark the couple’s first wed­ding anniver­sary:

David had shared with her a small draw­ing of a sculp­ture by Lynn Chad­wick… a ver­sion of his Ted­dy Boy and Girl that had won the Inter­na­tion­al Sculp­ture Prize at the 1956 Venice Bien­nale. Although I didn’t yet know David, his inter­est in this sculp­ture, with its musi­cal ref­er­ences and incred­i­ble ener­gy, made per­fect sense. Ted­dy Boy and Girl is one of Chadwick’s best-known bod­ies of sculp­ture that helped rock­et the artist to inter­na­tion­al fame. The series elo­quent­ly embod­ies the emer­gent 1950s British Pop cul­ture as they depict post-war music-mad teens in their Edwar­dian frock coats danc­ing with arms in the air.

…way before David and I met, this was one of his favorite books. And actu­al­ly, he told me some of the lyrics from his song “Heroes” were actu­al­ly inspired by this book. And then of course, final­ly, when we meet, we can’t believe that we both adore the same book, but that also the whole sto­ry hap­pens from where I come from, Soma­lia.

  • A self-por­trait by their then-fif­teen-year-old daugh­ter Alexan­dria Jones, in which she and her moth­er are depict­ed inclin­ing gen­tly towards each oth­er:

It’s me and her and, of course, the black star. That’s David… she paint­ed this in 2016, which was the first year with­out David.

Of per­haps less imme­di­ate inter­est to those uncon­nect­ed to the world of high fash­ion is a pricey black croc­o­dile Her­mès Birkin bag, a sou­venir of a Parisian hol­i­day ear­ly in the couple’s romance. This item does come with an endear­ing sar­to­r­i­al sur­prise for Bowie fans, how­ev­er:

…and he bought him­self, you won’t believe it, san­dals.

Round­ing out the tour are a lim­it­ed edi­tion porce­lain pitch­er by Kara Walk­er and gifts from fash­ion design­er and pho­tog­ra­ph­er Hedi Sli­mane and fel­low for­mer mod­els Bethann Hardi­son and Nao­mi Camp­bell.

(Are we wrong to wish those san­dals had been Crocs?)

Relat­ed Con­tent 

Behold The Paint­ings of David Bowie: Neo-Expres­sion­ist Self Por­traits, Illus­tra­tions of Iggy Pop, and Much More

David Bowie’s Top 100 Books

The Art Col­lec­tion of David Bowie: An Intro­duc­tion

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.


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