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30 Musicians Who Are Also Impressive Visual Artists

https://www.zimbio.com/30+Musicians+Who+Are+Also+Impressive+Visual+Artists

By Alicia Dennis

These artists may be best known for their contributions to the music world, but most of them

would likely argue that their visual art is an extension of the same need to create. See which

musicians have exhibited their work at galleries all over the world, as well as those who prefer

to keep their art more private.

1. John Lennon John Lennon spent much of his childhood working on short stories, illustrations, and cartoons,

and was accepted into the Liverpool College of Art even after he failed all his O-level

examinations. Though he was kicked out before his final year, Lennon's In His Own Words, his

first book of stories, poems, and drawings, was a critical and commercial success.

https://www.zimbio.com/John+Lennon

2. Marilyn Manson Marilyn Manson has told journalists that he sold his first paintings to drug dealers in the late

'90s, with the understanding they'd be worth something someday. Though critics have been

dismissive of his work — grotesque watercolors, mostly — Manson has sold paintings for over

$100,000, and continues to exhibit internationally. https://www.zimbio.com/Marilyn+Manson

3. Fiona Apple Fiona Apple created the album artwork for her 2012 release The Idler Wheel, a wild and frantic

portrait. It's a fitting choice for the album, which, while not always a pretty, easy listen, is filled

with engrossing textures and fascinating emotional honesty.

https://www.zimbio.com/Fiona+Apple

4. Courtney Love In 2012, Courtney Love unveiled her first art exhibit, And She's Not Even Pretty, in New York.

There were wedding gowns painted with obscenities and a multitude of pastel self-portraits.

Love told Gothamist of her art, "It feels more vulnerable, it's not like music where you mix it

and put it out there and go hide."

https://www.zimbio.com/Courtney+Love

5. Devendra Banhart When Devendra Banhart isn't singing, he's drawing. The singer-songwriter attended the San

Francisco Art Institute, but eventually dropped out to pursue his music career. He continues to

draw, however, and has showcased his work at the San Francisco Museum of Modern Art and

the Centre for Fine Arts, Brussels.

6. Swizz Beatz Swizz Beatz does not like to sell his work. He once explained, "I identify my life through my

paintings which makes it hard for me to sell my paintings. It feels like I’m giving away one of

my moments." He prefers to give the proceeds to charity: "The equal exchange for me is to take

some of my moments to help someone else’s moments."

https://massappeal.com/

7. Bob Dylan Bob Dylan began showcasing his drawings and paintings in the late aughts, although his fans

were already familiar with his work: He'd painted the cover of his 1970 album Self Portrait. In

2011, his exhibition at NYC's Gagosian Gallery drew controversy when it emerged that he'd

based several paintings off of well-known photographs.

https://www.zimbio.com/Bob+Dylan

8. Kim Gordon Sonic Youth's Kim Gordon is a graduate of Los Angeles' Otis College of Art and Design. She

wrote for Artforum and other magazines, and has said she started playing music as an art

project: "I was investigating the rock band for a project about male bonding, and somehow I

just got caught up in it."

https://www.mojo4music.com/articles/2007/11/beauty_lies_in_the_eye_of_kim.html

9. Ronnie Wood Ronnie Wood was praised for his artistic talents long before he joined the Rolling Stones,

having been featured on the BBC program Sketch Club as a kid. He attended Ealing Art

College, and has exhibited his paintings and drawings — many of them representations of

fellow celebrities — all over the world. He also co-owns a gallery in London, Scream.

https://www.zimbio.com/Ronnie+Wood

10. Ani DiFranco Ani DiFranco has never publicly showcased her art, but told Paste that she's toyed with the idea

of an exhibition. The New York-based singer-songwriter says she's "inspired by the abstract

expressionist movement, with it’s emphasis on the emotional moment of creation instead of the

calculation of a result or outcome."

https://www.zimbio.com/Ani+DiFranco

11. John Lurie Lounge Lizards co-founder John Lurie has focused on his painting for the past 12 years or so,

as he suffers from late persistent Lyme disease, which makes it difficult to perform. Lurie's

painting Bear Surprise became an Internet meme in 2006, thanks to its popularity on Russian

websites. See more of his paintings here.

https://www.johnlurieart.com/

12. Cat Stevens Yusuf Islam, the artist formerly known as Cat Stevens, considered becoming a cartoonist and

studied at Hammersmith School of Art. He drew and designed his own album covers, and also

drew sketches of some of his own songs. https://www.majicat.com/artwork/starartpg2.htm

13. David Bowie David Bowie studied art in school, and though he only took his work public in the mid-'90s,

visual art always played a major role in his creative process: "I'd find that if I had some creative

obstacle in the music that I was working on, I would often revert to drawing it out or painting it

out. Somehow the act of trying to recreate the structure of the music in paint or in drawing

would produce a breakthrough."

David Bowie (born January 8, 1947) is an English singer, songwriter, multi-instrumentalist,

producer, arranger and audio engineer whose work spans more than four decades. He is

recognized as one of the most accomplished and inspired artists in popular music. Throughout

the 1970s he took cues from art, philosophy and literature and appeared to elevate pop and rock

to a more sophisticated level. He is also a film and stage actor, music video director and visual

artist. Find more David Bowie news and information here.

https://www.zimbio.com/David+Bowie

14. Grace Slick Jefferson Airplane's Grace Slick began painting after a series of unfortunate events, including a

house fire and a breakup, which may explain why her subject matter tends to be cute and

colorful. She once explained, "I started painting animals, just to make ME happy. I put them up

all over my house, cause I like animals and they make me feel good."

https://www.rocknworld.com/morley/07/GraceSlick.shtml

15. Mika In 2007, performer Mika staged an exhibition at London's Blink Gallery that featured original

paintings, sketches and drawings. Mika explained of his colorful pop art, "When I write songs, I

draw sketches to go with them. It's a visual world to step into and to have fun and to play with."

https://www.zimbio.com/Mika

16. John Mellencamp John Mellencamp told ArtInfo that he moved to New York with the intention of landing a

record deal, studying painting, or becoming a Broadway dancer. Rock stardom won out, but

Mellencamp still paints as a hobby. He says he only started selling his paintings because his

buddy Bob Dylan hooked him up with a gallery owner.

https://www.zimbio.com/John+Mellencamp

17. Joseph Arthur Singer-songwriter Joseph Arthur paints live during performances, and at one point had his own

gallery, the Museum of Modern Arthur, in Brooklyn (it's now online). He's also created the

artwork for each of his albums.

18. Patti Smith Though she's best known for her music, Patti Smith also writes, sketches, and photographs, and

does not feel limited to any particular medium. She once explained, "For me, I’m a worker, and

I do everything with the same conviction, whether I’m taking photographs or performing or

painting or writing. I’m the same person."

19. Ryan Adams In 2009, the prolific Ryan Adams unveiled a collection of acrylic paintings at Morrison Hotel

Gallery in New York. He also worked as an "artist in residence" at the gallery, creating

colorful, gritty pieces that were auctioned off to benefit Housing Works Bookstore Café.

https://www.zimbio.com/Ryan+Adams

https://www.housingworks.org/locations/bookstore-cafe

20. Brandon Boyd Brandon Boyd brings his sketchbook with him when he goes on tour with Incubus, creating the

sketches that eventually become large paintings. In 2011, he collaborated with Hurley to create

a massive mural at the brand's gallery space in Costa Mesa.

https://www.zimbio.com/Brandon+Boyd

21. Tony Bennett Accomplished painter Tony Bennett takes his watercolors with him on the road, painting

landscapes of the cities he visits on tour. He is also the founder of the Frank Sinatra School of

the Arts in Queens, New York, where high school students can pursue art majors in a multitude

of disciplines, including fine art.

https://www.zimbio.com/Tony+Bennett

22. M.I.A. M.I.A. was an accomplished visual artist before she began exploring music, creating the cover

art for Elastica's 2000 The Menace in addition to explosively colorful graphic canvases. In

2012, she released an eponymous art book that documents the art behind her first three albums. M.I.A. (born July 18, 1975) is an English musician best known for her hit single "Paper Planes." Find more

pictures, news and articles about M.I.A. here. https://www.zimbio.com/M.I.A.

23. Joni Mitchell Joni Mitchell, who has identified herself as primarily a painter, says of her creative process,

"Anytime I make a record, it's followed by a painting period. It's a good crop rotation. I keep

the creative juices going by switching from one to the other, so that when the music or the

writing dries up, I paint."

https://www.zimbio.com/Joni+Mitchell

24. Ringo Starr Ringo Starr began toying around with MS Paint in the '90s, while on tour with the All-Starr

band. The resulting portraits — many of which reveal much about the former Beatle's sense of

humor — were featured in his 2008 art book Painting Is My Madness. See more work here.

https://www.zimbio.com/Ringo+Starr

http://www.ringostarrart.com/

25. Antony Hegarty Antony Hegarty of Antony and the Johnsons opened his first solo exhibition at UCLA's

Hammer Museum in January 2012. A rejection from London's Royal College of Art had him

studying experimental performance at NYU, but he eventually refocused on visual arts while

conceiving the staging for his live performances.

26. Freddie Mercury The late Freddie Mercury of Queen earned a diploma in Art and Graphic Design at Ealing Art

College, where Ronnie Wood and Pete Townshend also studied. He also designed album

covers, stage shows, and costumes for Queen, as well as the band's official logo. See more of

his paintings and drawings here.

http://www.mercury-and-queen.com/fmqfreddieart.htm

27. Hannah Hooper Grouplove came together at an artist commune on the Greek isle of Crete. The band's lone

female member, Hannah Hooper, has a BFA from Parsons School of Design, and created the

artwork for each of the band's releases.

28. Robyn Hitchcock Many of Robyn Hitchcock's album covers feature his own paintings. Perhaps even more

interesting were the one-of-a-kind safety cones that Hitchcock began selling at concerts in the

late '90s, all of them featuring his own sketches.

29. Jerry Garcia Jerry Garcia spent much of his childhood reading and drawing, as his asthma often left him

bedridden. He studied at the California School of Fine Arts (now the San Francisco Art

Institute) as a teen, and continued to sketch and paint even as he toured with the Grateful Dead.

30. Tyler, the Creator Tyler, the Creator is the primary visual artist in the Odd Future hip-hop collective, designing

cover art, merchandise, and staging for the group. His eye for visuals is apparent in the music

videos he's directed.

https://www.zimbio.com/Tyler+the+Creator

TALKING ART WITH/David Bowie; A Musician's Parallel

Passion

https://www.nytimes.com/1998/06/14/arts/talking-art-with-david-bowie-a-musician-s-parallel-

passion.html

By Michael Kimmelman

THIS is the first in an occasional series of talks with people who, in one way or another, have a

special connection to art but aren't (primarily) artists themselves: writers, musicians, scientists,

politicians, collectors.

David Bowie fits a few of these descriptions. Like other British rockers of his generation (he's

51), he attended art school. He still paints, draws and makes prints. He began collecting when

he was young and typifies the new wealth that has so altered the demographics of collecting in

the last few decades.

Recently he has helped start an art-book publishing company, 21, and has been moonlighting as

an interviewer of artists for Modern Painters, the British magazine.

He has also begun exhibiting his own paintings -- with some trepidation, as he admits below.

His pictures suggest, among other things, a fondness for Picabia, Surrealism, Marvel Comics

and Egon Schiele. (Mr. Bowie even looks a little like Schiele.)

Besides talking about art and music writing, about rock and his career, Mr. Bowie touches on a

number of artists in the interview: English figurative painters like David Bomberg (1890-1957)

and Bomberg's students Frank Auerbach (1931- ) and Leon Kossoff (1926- ); John Heartfield,

the German Dadaist who pioneered anti-Nazi photomontages during the 1930's; F. W. Murnau,

the German director of ''Nosferatu'' (1922), and several of the ghoulishly inclined London

artists who have been making a splash lately, among them Damien Hirst (of the sliced cows and

spin paintings) and Jake and Dinos Chapman (department store mannequins with multiple

penises and vaginas).

MICHAEL KIMMELMAN. You studied art in school. You even started collecting early.

DAVID BOWIE. Yeah, I collected very early on. I have a couple of Tintorettos, which I've had

for many, many years. I have a Rubens. Art was, seriously, the only thing I'd ever wanted to

own. It has always been for me a stable nourishment. I use it. It can change the way that I feel

in the mornings. The same work can change me in different ways, depending on what I'm going

through. For instance, somebody I like very much indeed is Frank Auerbach. I think there are

some mornings that if we hit each other a certain way -- myself and a portrait by Auerbach --

the work can magnify the kind of depression I'm going through. It will give spiritual weight to

my angst. Some mornings I'll look at it and go, ''Oh, God, yeah! I know!'' But that same

painting, on a different day, can produce in me an incredible feeling of the triumph of trying to

express myself as an artist. I can look at it and say, ''My God, yeah! I want to sound like that

looks.''

M. K. I wouldn't associate you with a painter like Auerbach.

D. B. I find his kind of bas-relief way of painting extraordinary. Sometimes I'm not really sure

if I'm dealing with sculpture or painting. Plus, I've always been a huge David Bomberg fan. I

love that particular school. There's something very parochial English about it. But I don't care. I

like Kossoff for the same reason.

M. K. And Lucian Freud?

D. B. I admire the trickery of his work, the cankerous skin, which is nice and grungy. But I

don't buy into him being the greatest painter that we have.

M. K. What about Francis Bacon?

D. B. No. Two or three pieces I find extraordinary. I like his figures around the base of the

cross, the very first piece that blew him to fame, and of course the Pope, which was an

extraordinary thing that he came upon. But he weakened fast. His demise was swift.

Otherwise, my tastes are catholic. That's what I mean about using art. There are times when I

prefer a cerebral moment with an artist, and I'll just enjoy the wit of a Picabia or a Duchamp. It

amuses me that they thought that what they did would be a good way of making art. Sometimes

I wish that I could put myself in Duchamp's place to feel what he felt when he put those things

on show and said: ''I wonder if they'll go for this. I wonder what's going to happen tomorrow

morning.''

There's the other side of me that thinks he did it just because he couldn't paint. Maybe in

hostility to an art scene that he wasn't making it very big in, he felt forced into a situation of

producing a new kind of art -- which would be a very human reaction, and it wouldn't demean

him at all in my eyes if he'd just said: ''I'll put a toilet on show. Let's see how far I can push it.''

I would understand that attitude perfectly, because the most interesting thing for an artist is to

pick through the debris of a culture, to look at what's been forgotten or not really taken

seriously. Once something is categorized and accepted, it becomes part of the tyranny of the

mainstream, and it loses its potency. It's always been that way for me: the most imprisoning

thing is to feel myself being pigeonholed.

I'm trying to think if there's anyone who truly has honed his craft to a point that you are really,

really glad that he stayed with one thing all the way through his life. Of course there is. How

stupid of me! Bob Dylan. He's not actually changed his course very much, and now his music

has such resonance that when I first put his new album on I thought I should just give up.

M. K. You mentioned Duchamp and Picabia. What about the current crop of London artists

who owe a debt to them? I'm thinking of the Chapmans, Hirst.

D. B. I'm not a huge fan of the Chapmans. It's this sniggering little schoolboy kind of thing, and

I refuse to take it seriously. They seem to me to have achieved a certain fame by doing one

thing -- which is, in a way, an illustration of the problem. I think their art has the same kind of

spin as Jerry Springer.

M. K. You admire Damien Hirst, though.

D. B. He's different. I think his work is extremely emotional, subjective, very tied up with his

own personal fears -- his fear of death is very strong -- and I find his pieces moving and not at

all flippant.

M. K. I find him amusing sometimes, his ''retro'' spin paintings, for instance.

D. B. I did one of those with him. He encouraged me to dress up like a Martian, stand on a

ladder and throw paint at a spinning canvas. I had a ball. I felt like I was 3 years old again. It

reminded me of Picasso's attitude. You know, he set parameters in the studio that produced a

kind of playfuless out of which came a very pure thing. With Damien the work is not earnestly

striven for. I mean, he certainly applies his intellect, but there's not a desperation about it.

He's also one of the people who has helped to make art very accessible to the public in Britain

in a way that has never really happened before, even at the height of the 60's. You still had to

go out of your way then to see work by Allen Jones or Hockney or whatever. Now it's very easy

to pop out on the weekend and see some good art nearly anywhere in Britain. And I notice that

the crowds that go to museums and galleries these days seem a lot younger than they ever were.

I think they're a generation that doesn't see a separation between the visual and the audio. You

know, 25 years ago there were a whole crop of us that tried to drag all the arts together and

create this potpourri, a kind of new essence for English music. It started even before us, in the

mid-60's, when so many of our blues players and rhythm-and-blues bands came out of art

school. In Britain, there was always this joke that you went to art school to learn to play blues

guitar.

M. K. You played sax.

D. B. I wanted to be Gerry Mulligan, only, see, I didn't have any kind of technique. So I

thought, well, baritone sax is kind of easier, I can manage that, except I couldn't afford a

baritone, so I bought an alto, which was the same fingering [laughs].

What happened at the beginning of the 70's with guys like myself and maybe Bryan Ferry and

Brian Eno, maybe some of the guys in Floyd before us, King Crimson, that nature of band: we

were all pretty excited about letting people know what went into our work, that we weren't all

trying to be Chuck Berry. I know Ferry was a huge Dada fan, for instance. He even did an

album called ''The Bride Stripped Bare.'' Eno and I went, ''He shouldn't do that,'' thinking we

should have done it first [laughs]. We were excited by set design, by the way we dressed, by

trying to create a whole landscape for the music we were making.

The Beatles had done it to a certain extent because they had John. I always had such pleasure

talking and being with John because there was nothing that didn't interest him, you know? He

had a real appetite. ''What's that, I love that! It's red and it's big and I want it!'' A lot of us

wanted to be that way. We would talk about the books we were reading, you know, by the

Beats and people like that. We would talk about Kabuki theater. We would talk about artists. I

was interested in the Expressionists. And there was an awful lot of Dada in what we were

doing. I remember being impressed by, you know, the collages. . . .

M. K. Hannah Hoch?

D. B. Yes, but also, what was his name . . . ?

M. K. Schwitters? Heartfield?

D. B. Heartfield, who I think must have influenced some of the English punk bands in the 70's:

the way they did posters, cutting up letters and breaking up sentences. The destruction of the

clothes.

M. K. People have pointed out that the Situationists in the 60's directly influenced punk. You

mean that Heartfield's 30's montages influenced them, too? Ripping, cutting up things,

rearranging them? Or do you mean his irony?

D. B. I think in the 70's that there was a general feeling of chaos, a feeling that the idea of the

60's as ''ideal'' was a misnomer. Nothing seemed ideal anymore. Everything seemed in-between.

We thought, ''Are we entering a great flux from which we'll never come out again?'' The

reaction in Brian's work was a kind of poignancy. With my work, it was just horror: ''Well, it's

all over! So just dress up! Put your best clothes on because it's finished!''

M. K. You mentioned German Expressionism. You mean artists like George Grosz?

D. B. No. I had a thing for Murnau and Fritz Lang. Grosz was too direct for me. I always want

a certain abstraction. Art should be open enough for me to develop my own dialogue with it.

M. K. So what about the political art of the early 90's? It was pretty direct.

D. B. It left me cold. I thought, what condition has forced these people to be so finger-waggy?

Fortunately, it dissipated fast. Now you've got Matthew Barney, who has latched onto this idea

of the mythological, which seems very much in the air: the whole paganization of our culture.

With Barney and a number of other artists I think that their work, a number of years ago, would

have fallen into the area of outsider art. But the art world always widens its parameters to

elevate something from low art to high art.

M. K. That's an obvious difference between the art world and the rock-music world.

D. B. The difference is that one has a brain [laughs].

''Spinal Tap'' really wasn't off the mark. There's a high degree of fame-seeking in rock, and I

think that gets in the way of some great potential.

M. K. Art's not altogether different in that sense, is it?

D. B. Yeah, it's true. I guess the same can also be said about some visual artists. But success in

art seems to be a lot more about knowing and buttering up a few people. If a visual artist is

articulate about his work, he can tell collectors what to think about what they're buying. People

won't sit still to hear a rock musician say why someone should spend 15 bucks on his album.

You can't get away with much in rock without somebody saying ''You got to be kidding me.''

You're not talking about 20 people; you are talking in hundreds of thousands, if you're lucky,

and so a consensus forms about the music. As a rock musician you can live with your audience,

no matter what the critics say. Let me tell you, many times I've had to. The ups and downs can

be pretty terrifying [laughs].

M. K. You're in the curious position now of having started a kind of second career as a painter.

D. B. Was it a dreadful mistake?

M. K. You're asking me? I'm asking you.

D. B. It's a rhetorical question, actually. I kind of went public in about '94 with the visual stuff

that I do. I'm not sure why I made that choice, and I'm still to this day not sure if it wasn't a

mistake, but there's no turning back. Up to that point, painting for me was private, and it really

was about problem solving. I'd find that if I had some creative obstacle in the music that I was

working on, I would often revert to drawing it out or painting it out. Somehow the act of trying

to recreate the structure of the music in paint or in drawing would produce a breakthrough.

M. K. How so?

D. B. It's very hard for me to put this into words. I'm not quite sure what the process is. It's a

real ''Eureka!'' thing. I'll put together a peculiar set of instrumentation, or I'll combine sounds

that are kind of unusual, and then I'm not quite sure where the text should fall in the music, or

I'm not sure what the sound conjures up for me. So then I'll go and try and draw or paint the

sound of the music. And often a landscape will produce itself, then I'll identify locations within

the landscape. Suddenly I'll realize where things go in the music.

M. K. Literally landscapes?

D. B. Well, it's all figurative art. I call it landscape, but location, I think, is a better word.

M. K. I'm still not sure I understand.

D. B. That's the trouble talking about art, isn't it?

M. K. Well, maybe you can explain more clearly why you began to exhibit.

D. B. Vanity [laughs]. No, really, Eno asked me to do some stuff for a charity thing. So I

produced a set of prints for him. And I enjoyed the process. I enjoyed standing in the gallery,

kind of in the back a bit, watching people go past the stuff and come up with their own

explanations for what it was. I thought, this is fun. Then I was asked to do a show because of

that first one. Another reasoning went into it as well. This starts to become quite a complex

issue, but I felt very dissatisfied with myself as a musician during a lot of the 80's, the last part

of the 80's. I was going through my middle-age crisis smack on cue. Soon as I hit 40, it all went

wrong. When I hit 1987, it just seemed that nothing worked for me musically. I'd lost the plot.

It really felt bad. I felt awful with myself as an artist. And I probably started working on the

visual side of things really quite desperately to find some salvation as an artist. And then during

the very early 90's, I found my way slowly back into music again. Now in music I feel fulfilled,

hopefully not self-satisfied, by what I'm doing.

On the other side, I find I'm bearing in mind how people respond to the art, which has produced

a separation between the visual and the musical. I'm not sure that that's a good thing. But I went

into it with my eyes wide open. I expected ridicule -- and I got it [laughs].

Legends: Grace Slick

https://www.rocknworld.com/morley/07/GraceSlick.shtml

What do you say to a legend? That crossed my mind when saying hello to Grace Slick in a

recent interview. Fortunately there was a good topic to talk about, quelling my panic. When the

former Jefferson Airplane/Starship vocalist put down her mike in 1989, she picked up a paint

brush. And never looked back. Today, Grace is known world-wide for her amazing artwork

which has found favor with all audiences, not just her rock following. She frequently does

exhibits at galleries from coast to coast. This weekend she has one in Orange County at

Wentworth Galleries in Southern California. See the end of this interview for dates, times and

locations.

Talking with Grace is like having lunch at one of those buffets where the food is paraded in

front of you. You get a bit of this and a bit of that. While we talked about her art and how she

got started, we also touched on a pile of other subjects. Well, we had to. Man, this gal has lived.

She's seen things and done things. When she does something, she does it all the way. That's

what makes her art as inviting as her music. Read along and get a unique perspective on life

from one of rock's hell-raising originals – Grace Slick.

antiMUSIC: Hi Grace. How you doing?

Grace: Okay. For an old person I'm doing ok (laughs)

antiMUSIC: This is a complete and utter thrill to have the honor to get to speak with you.

It's almost too weird to be talking to somebody I've listened to since the late '60s. The very

first rock mag I ever picked up in my early teens was Circus and you had just done one of

the most interesting interviews with Scott Cohen I had ever read and I was fascinated

from then on. (laughs.)

Grace: (laughs)

antiMUSIC: First of all I have to say, I think your artwork is excellent.

Grace: Thank you

antiMUSIC: When you hear that some people are painting who have been in music or

other fields, you just kinda go, yeah right. I mean, there's some people out there that when

I see their paintings I just wonder what they're thinking showing them to people.

Grace: A whole bunch of musicians and actors and so forth do that. Like Jane Seymour,

Jonathan Winters, Anthony Quinn , Tony Bennett, Marty Balin, let's see, the guy who shows in

the same galleries as me, is one of the Rolling Stones…come on, come on Grace…

antiMUSIC: Ronnie Wood.

Grace: Yes, thank you. I faded out there for a minute…um, Joni Mitchell, and you know…and

Myles Davis and some of these people are really good. Jerry Garcia was good. He drew and

unlike me, he's a multi-tasker. I'm not. So he used to take his paints and stuff on the road. But

I've seen some of his stuff and some of it's good. But I think it's kinda normal because it's all the

same part of the brain. The arts. But you don't want any of us doing your accounting or fixing

your television set, right? Because we uh suck in those areas. (laughs) Pretty much. Some don't.

Gene Simmons is a musician but he doesn't do any drugs. His addiction is sex. I don't what he's

doing any more, but I know my ex-husband was the lighting director for KISS for a while and

we went over to talk to Gene about something or other. Money or, you know, the tour or

something and he asked, "Do you want to see my Polaroids?" And he shows Polaroids of every

woman he's ever screwed.

antiMUSIC: Yeah right, the famous scrapbook.

Grace: And I'm just going, 'Ah, Jesus do I have to look at this?' I so don't care, you know. My

ex husband pretty much cared because he was kind of a sex addict or you know whatever they

call they call that kinda stuff. But you know, a woman (pfff) I could care less. But Gene's very

good at business. Frank Zappa was pretty good at business. And Frank Zappa didn't do drugs

either. Drugs really get in the way of paying attention to what your accountant's saying because

it's so boring. Jefferson Airplane, when we first started making, you know, big money, we

brought in a financial advisor who advised that we buy train, cargo cars for trains in the south

somewhere, and we looked at him, like, 'Are you f***ing serious? Do we give a flying…?' You

know, so we didn't do that and consequently, you know Paul Kantner is having trouble. He has

to go around the country pretending he's Jefferson Starship and so does Mickey Thomas…and

basically I own the name along with our manager. And so it's illegal for them to be doing it but

I don't care. They have to make money. As long as they don't do product. Once they do product,

then I'll step in and say, 'Okay we get a percent. You know, you can't do that'. So you know it's

a little gnarly, but I don't care if they use the name. I didn't care for Starship anyway. Like the

'80s version of Starship was just all…songs were written by other people and ah, God, it was

just dumb.

antiMUSIC: You weren't big on "We Built This City" and all that?

Grace: Yeah, we had a lot of number ones, but I don't really care about number ones. I'd rather

do music that's interesting and different and is written by the band, not somebody else. So I'm

kind of a stickler on that kind of stuff.

antiMUSIC: When did you first start feeling comfortable enough to share your art with

the public?

Grace: Well I was just doing it, I was living with this guy in 1992-1993 who I'd known for a

long time and I just thought he was eccentric and he's lived in Rio for about 30years. So he said

I'd like to come up and visit, and I thought, oh cool, cause he's REALLY good looking. He used

to be a male model and he's got an IQ of about 185. He used to be a quiz kid in the '40s. So I've

known him for a long time, he was married to my best friend, but they're obviously no longer

married. But I said yeah, sure come on up and I thought 'oh boy', you know, 'screw him for a

while, that'll be good'. But he's bipolar. So he gets physically violent and he'll start sweating and

turn red and for no reason start shoving me around. And I thought okay, 'I'll argue with people

forever, but I don't do shoving.' So I had to...I said maybe you ought to go back to Rio cause

your kids miss you and so forth. And he, when he left I said, 'Geez what a waste of a brilliant

mind', you know and a beautiful man, but he's just crazy. And he wouldn't take the drugs for

bipolar because sometimes it affects getting a hard-on, okay? So he'd rather screw and be crazy,

which I can kind of understand. (laughs) But I don't do shoving around, and his wife who lives

Rio, she's Portuguese, or whatever everybody is down there, and they're used to it. The man

shoves you around, that's what men do. And I'm American, so no, I'm sorry, you don't shove

ME around. But when he left, I was sad. So I started painting animals, just to make ME happy.

I put them up all over my house, cause I like animals and they make me feel good. So my friend

said, wow, you ought to do that professionally. And here I am. (laughs) I thought I was retired

in 1989. You know, I was studying bio-medical research fraud and for about 4 years, various

facets of producing drugs and medicine and so forth. I'd go on television and argue with the

researchers at the University of California and one time I went on, and there were about four

researchers and I said to the producers: 'Okay, is there anybody on my side or is it just me

against all these guys?' And I didn't care. I just wondered. You know, it was kind of

imbalanced. And he said 'Oh, yeah, we got somebody on your side.' 'Who is it?' 'Gordon Liddy'

(laughs) So Gordon Liddy is almost right up there next to Hitler being right wing. And I'm just

to the left of a Sandinista. So at the end of the show, I said, look this is probably confusing for

the audience, talking about medicine and it's kind complicated and everything. But if Gordon

Liddy and I can agree on something, you better look into what that is. (laughs) and Gordon

Liddy laughed. He was very knowledgeable about it. And for some reason, like me, he was

fascinated with how s***ty drug testing and pharmaceuticals. More people are killed in this

country coming from doctors than all the street drugs combined. And when I read things like

that I thought, 'Ok, I've got to figure this one out. This is just crazy.' They are drug dealers in

suits. And they really don't care. Like the drug dealers we had in the '60s, one of them lived in

our office. He did some carpentry and he was a black belt in karate and he was a really sweet

guy. And he dealt coke. But our dealers were kind of our friends. I mean it wasn't cheesy the

way it is now. You know, it's just brutal now. The drug dealers we knew wouldn't sell you bad

stuff that was cut with baby laxative and everything. We used to get it straight. Cocaine straight

from the factories in Germany. Uncut and sealed, ok? I think all drugs ought to be legal and

have the government, regulate them. They're not very good at it, but have them regulate it so

that you can't sell crappy stuff that's been cut with weird things, you know what I mean? And if

people want to do it…get crazy on their own time, fine. The only place where I think it ought to

get real serious is driving because a car is a weapon if you're loaded. So yeah, come down...I

wouldn't be alive if the highway patrol hadn't have come down hard on me driving drunk. And I

appreciate them doing that, you know? They were the ones who said, either you go to AA or

you lose your license. Now in California, you don't want to not be able to drive. (laughs) I'm

more addicted to cars than to drugs, so I said fine, I'll do that. And I liked AA, I thought it was

neat. So I was lucky.

antiMUSIC: What were some of your first pieces and can you describe the process of

putting them together --- how long they took and that kind of thing.

Grace: Yeah, I'm sorry. We're supposed to be talking about painting aren't we? (laughs)

antiMUSIC: No problem. (laughs)

Grace: (laughs). Mostly animals. And there's this thing, that most artists don't use, I don't know

of any who uses it, I'm sure there are some but I've got the kinda corner on it. It's a thing called

a slate board. And it looks like a blackboard. And what you do is you etch into it and anything

you carve, and you use these little tiny points, there are tools for it. I use a safety pin because I

prefer how it acts to the professional tools. Anything you scratch in there with a safety pin turns

white. So it's the opposite of what you normally draw, which is a pencil or pen, black on white.

This is white on black. So instead of doing the hollows of things, where it's dark, which is what

you do with a pencil or pen. This one you do whatever's lumpy. In other words, whatever's

shiny. The tip of the nose has got more strikes of white, you know, than say around the nostril

area, which is dark. So it's the reverse of drawing. And it lends itself very well to animal fur.

You've got to be a compulsive nut to do the fur because it's like about a million scratches per

painting.

antiMUSIC: I would imagine that it's very unforgiving also.

Grace: That's it. Yeah, you don't make mistakes with that. So I like it for that reason. And I like

it because I like doing animals and it really lends itself to fur. It's just amazing. So I do a lot of

animals, pandas and polar bears and whatever or people dressed in...like the bad red queen in

Alice in Wonderland. She's bad so she's wearing a fur coat. So I can do fur on her. It doesn't

lend itself in particular to skin because you're making strikes, right, so it's a little crude when it

comes to skin. I do dots. I'll just do little, tiny dots for skin, but it's still, I prefer really not to do

many humans with that.

antiMUSIC: How did you start working with that?

Grace: I'd never heard of a slate board. And my agent, he wanders around in art stores and he

sends me stuff occasionally. He's great. And he sent me this stuff, and he said I don't' even

know what this is; I've never seen it before so I thought maybe you could fool around with that.

And I thought okay, so it'll be black and white. So the first thing, obviously, I did to make it

easy on myself, was a panda. But the copies of that panda in just regular copy, it's not scratch

board. Tons, you know, hundreds of copies, are selling like crazy. And it's called: self-esteem.

And he's got a great look on his face because animals don't have what we do which is all these

goddamn issues. And I have an issue with the younger generation because: 'Oh, I just can't go

to work today, I'm having a panic attack. And I'm obsessive compulsive.' And oh just get your

goddamn socks on. Go ahead and have all your problems, because we ALL have problems. But

that doesn't mean you stay in bed, ok? Get the hell out of bed. Get a job and shut the f*** up.

Because they're all entitled. Like, 'I shouldn't have to work at Starbucks, because'…no, sorry.

You've gotta work at Starbucks and work your way up to either managing it, or going

somewhere else. But you can't lie around, you know, and I supported my daughter for a long

time and finally I said ok that's enough of that. That's stupid, but she and a friend of hers had

this entitlement. And I just think, where did they get the idea that you don't have to do anything

and it'll all just sort of fall in your lap, you know?

antiMUSIC: I guess it all starts with s***ty parents.

Grace: Apparently, because I'm a s***ty parent because I didn't pull it real early and say 'Ok,

guess what, it's hard knocks at the beginning.' But my daughter had a job as a VJ for MTV, in

the middle '80s when she was about 15. And wow, what a job for a kid, right? And then she got

a recurring role on Tim Allen's thing, it was the no.1 sitcom in the country at the time. And then

she and I got sober about 9 years ago, again. I mean I've done this off and on all my life. But

she and I…she has too, off and on, but we've both been sober for 9 years. But after she got out

of rehab she said, 'Oh I'm just not going to do acting any more.' It's just too stressful. I can't

handle it…and I thought, ah, Jesus. So then a little later on, she decided to go back to college.

Now she has a 4.0 average so she's real smart. But that doesn't mean she isn't hammered by this

weird s*** that the younger generation thinks they ought to hang out, you know. (laughs) 'I

think I want to be Paris Hilton." Well, okay most people don't have the Hiltons for parents, so,

uh, get a job.'

antiMUSIC: You've written a great deal of music over the years. Do you find the process

of painting is similar to songwriting or does it come from a different part of you?

Grace: The same person is knocking the stuff out, so the joy or passion that I have, I'm really

focusing on this kinda stuff in either music or art. But if you said to me, I'm sorry, you can't

paint anymore, I'd say okay, then I'll be a set designer. I'm sorry you can't be a set designer.

Okay, then I'll be a writer. I'm sorry you can't be a writer. Okay I'll be a character actress. I

really don't care. Any of those...because I've noticed that anything I do, if it's in the arts, I'm

obsessed with it. And I just love it. And I've been fortunate, most of my life, people pay me to

do stuff I like anyway. So yes it's coming from the same person. And it's quite similar, in that

the paintings are rock and roll because it's not like jazz. They're very easy to understand.

They're strong colors. They're in your face. And they're simple.

antiMUSIC: When did you start moving away from animals and doing people and

characters?

Grace: The suggestion of agents. A book agent about 10 years said 'Ok, we're doing this book

which is an autobiography, you know. I wrote and then I sent it to the co-writer to have it

correct the English. My English and spelling are just god-awful. I don't use semicolons and

stuff. I mean, I just do dashes. That's it. Sometimes I'll put a period in there, or a comma but I

don't do, you know, grammar. So I'd fax it over to her and she'd correct all the English. But the

agent, the book agent, said, okay, now I want you to draw a couple of rock and roll people for

the book…and I said, 'Oh, isn't that cute. Rock and roll draws rock and roll.' And I said, 'No I'm

not doing that.' And she said 'Just do a couple.' So I thought okay, I did…I don't know Garcia

and Hendrix or something, but I found, when I did them, I really enjoyed it. So whenever my

agent, the art agent now suggests stuff, I pretty much do it cause he knows what sells, and it is a

business. And so 50 percent of what I do is just some screwing stuff that comes out of my head,

that I just want to do. And the other 50 percent is the combination of my agent or commissions.

Like the last commission that I did, was a man who wanted me to draw Elvis Presley from the

movie Jailhouse Rock for his daughter's bar mitzvah. (laughs) And I never did like Elvis

Presley, every body else did. And I thought, 'Okay, this is a challenge. I didn't even like the

guy.' But I like being pushed. So I like it when they bring up stuff that I would have never

thought of. One woman had a commission and the copies just sell like crazy. So she knew was

doing. She said okay, I want a picture of the Golden Gate Bridge. And I thought oh, man. This

is the 850 gazillionth picture of the Golden Gate Bridge. She said I want the Golden Gate

Bridge from the point of view of China Beach, and I knew what she was talking about because I

lived there, on top of China Beach, from the viewpoint of China Beach with a bunny in it. And

I went 'ah Jesus. This is too corny and you know, a bunny and the Golden Gate Bridge.' But she

got the original and my agent made copies and people love that picture. So I thought, okay, they

know something I don't know. So I do 50 per cent of what I'm told to do, and the other 50 is my

own stuff, my own head.

antiMUSIC: The rock stuff is just great. Your Jerry Garcia, the black and white one is

phenomenal.

Grace: Thank you

antiMUSIC: And the Jim Morrison one as well. Particularly his eyes are bang-on. How

many attempts do you make on each one or are they one-offs?

Grace: Well they're all one offs, but here's how it goes. I'll start with a three by five file card

because I'll be driving along and I'll get an idea. I'll pull over, pull out a file card and draw a

real quick pencil sketch of what I had in my mind. Then I get home, pull out the file card and

do a more detailed copy on an 8 by 10 blank you know, drawing…sketch pad. Then I will erase

it, and do it again, and erase, and oh, I don't like the way that fingers goes, and I'll do it until I

get it the way I want it. Then I'll take it down to MailBoxes and have it blown up. Then I'll put

carbon paper underneath it and trace the outline, or not trace, I guess, impress the outline onto a

large canvas. And then I keep the 8 by 10 to see what I wanted to do with the paints. So it is

one-off in the sense that the 8 by 10, that's it. I mean I work on it until I get it the way I want it

in pencil. So it's one off. I don't do it a couple of times on a canvas. It goes one time on the

canvas.

antiMUSIC: Can you describe your studio for us?

Grace: Ah, let's see. It's got a fireplace which I never use because I don't do heat. I do cold. I'm

Norwegian. So there's a big plasma screen in front of the fireplace. I have it on CNN because

can you can listen to it while you're painting. You don't have to look at it really. All the doors

and windows are open, because like I said, I like a lot of cold and it's not that cold in Southern

California so I gotta keep it open here. There are three air conditioners, small air conditioners,

aimed at my feet because I have a really rare condition that only about 300 people in the world

have. If my feet get over 65 degrees Fahrenheit it feels like someone poured boiling water into

them. Now because there are so few people with this they can't make any money, even if they

do find a cure, so nobody's studies it. But it doesn't kill you, it's just annoying. So I've got the

air conditioners in front of me. A table on which to put the drawings. Mostly I just hold them on

my lap. And then two cabinets filled with all different colors of acrylic paint and a telephone

and a flashlight, and some anti-itch lotion. I'm just looking around at what I've got. A calendar,

an address book, books that I'm reading, Norman Mailers The castle and the forest' Some

catalogues because I hate shopping, unlike most women, I don't like it at all. So I just order

s*** out of a catalogue. I need a pair of underpants, I order them out of the catalogue. Don't

have to go into the stores. So I save the ones that I want order. There's some of those in there.

There's a pillow to rest my feet on. My purse. A bunch of liquid pencils with very fine tips,

because you want to fill in some color but there isn't really a brush that can do it. Because

brushes...you can get small pointed brushes but sometimes they're kinda blobby. The paint's too

thick. So I'll fill in with these liquid kinda pencils. Then there's chairs. There's a small

trampoline which I mostly don't use because I hate exercise. There's a couch. There's one of

those massage chairs that you turn on. Several lamps. A kitchen. It's actually a family room, not

a studio. It's family room in my house and that's where I work

antiMUSIC: And you're out of California, right?

Grace: Yeah, I live in Malibu.

antiMUSIC: Are you one of those people that just loses track of time and paints from sun

up to sun down on one piece or can you have several on the go, completing them within

different time frames?

Grace: Yeah, I'm obsessive about it. I draw until, because I'm looking down, right? I draw until

my nose runs. And then I figure, okay it's time to go do laundry or go get some groceries

because my head's been in that position for so long that my nose will actually run. (laughs) Or

my back gets funny because you're sitting in the same position. Now one thing that I've never

had, which is weird, is anything with my wrists or hands. I don't get carpal tunnel. My hands

and arms can do it forever, but my back hurts or my nose will run and then I'll stop and do

something else. So that the body gets a chance to re-correct itself or whatever it does.

antiMUSIC: Do you paint regularly or only when you're so inspired?

Grace: No I don't have writer's block or whatever you want to call it. I have several large

envelopes full of ideas that, I will not…I don't have enough time… my problem is time because

I'm 67. I'll never be able to complete all the stuff I want to do, so I don't have a problem with,

gee I don't have anything I want to do. I've got a problem with do I have enough time to do any

of this? Because I have to go around to all these galleries all the time, which I think is

something of a pain in the ass, simply...I like talking to people, I like that part, but airports and

flying is just god-awful now. Last night I was wandering around and they kept changing the

carousel that it's on. The guy who was supposed to pick me up couldn't find me because they

changed the terminal. Ok we're supposed to be at 6 but we're actually going to be at terminal 7

and I thought oh, god the guy's never going to find me. And they say, 8 flights are going to

have their bags on carousel 4. Eight flights! And I thought, 'ah Jesus, they're going to change it

to four different carousels for the eight flights.' And then they change it again. Then you have

stand in line and show them your…and I just though, oh man, I'm just going to kill somebody.

(laughs)

I hate flying. And if I could just be magically transported or whatever that stuff was in Star

Trek or whatever, it would be fine, because I like taking to people. But there's a lot of

screwballs that come in and they want their shirts signed from 1967 and galleries won't do that.

So they get all pissed off because they say, 'No she's not signing anything.' 'We'll I saw her

signing…' 'Yeah, the person bought a painting. That's why the signing.' Yeah, we have those

sorts of arguments, but for the most part I like talking to people. I just don't like the traveling at

all anymore. I used to love flying and it was great fun. And the seats were big and the food

wasn't that bad, particularly SAS or something like, Scandinavian Air Systems was really good.

And the stewardesses would get f***ed up with the guys and the guys would give them tickets

to concerts and screw them and you know it was great. And now the stewardesses are usually

almost as old as I am and fat like I am or they're gay and young really don't have anything to do

with the guys. So it's completely changed. The stewardess doesn't even have to look good

anymore. They used to have to kinda look good. And the food and the chairs are getting smaller

because they want to jam more people on the plane. The galleries pay for first class. I'm sorry,

first class isn't first class. It's just the same as everything else back there, except there are only

two seats rather than 4. That's it. That's the only difference. And the food is just god-awful and I

told my agent, I'm not doing this s***. Next, year, starting in September I'm doing 2 flights to

the East coast. The art people can't get their stuff together. What they do, the art people, is okay

we're going to Philadelphia, then back home. Then we're going to New York, then back home.

Then we're going to DC. then back home. Then we're going to Boston. I said no, no, no. here's

the way you do it. Do it rock and roll. Fly to the East coast. You do Philadelphia. Then you do

Boston. Then you come down to New York. Do Manhattan. Then you do DC. Then you go

down to Florida. Do Orlando. Then you do Tampa. Then you fly over to Miami. Then you fly

to Texas. Then you do...you don't go back and forth. They're spending money…it's crazy s***,

you know, I was (laughs) yelling it in this morning. He said well I'll work on that. I thought,

hmmm, I really do like him but they're making money off me. So I told him, I've got to be my

manager. I've got to be my personal manager because I know, you want to make money. The

galleries want to make money. And I know you're a sweet guy, but at the same time somebody's

got to look out for no. one too. And I don't have a personal manger so I'm it.

antiMUSIC: And you've got to stay home and actually get some painting done.

Grace: Exactly, that's what I told him. I said I'm doing so much traveling and interviews and

s***, I'm not painting. I've got four paintings sitting in front of me that I'm working on right

now and I've got to speed it up a little bit

antiMUSIC: You lived more lives than a lot of people I know in your time in the musical

spotlight. A portion of what fuelled you was an apparent rebellious streak. You certainly

never backed down when you were confronted with various situations. Was there

anything that you regret never speaking out about back then. Maybe something that you

just didn't have a chance to address or were perhaps strongly encouraged to be quiet

about by legal advisors or whatever? Something either political or social?

Grace: Mmm nope. Not that I can think of. No because I sang a song like, 'Why can't we go on

as three', and that would be a three way and my political views are real obvious, just real left.

My idea of a good government is Norway which is socialism. It's not communism because

communism doesn't work. But I think everybody should be equal. In other words, everybody in

Norway, if you don't have money, if you've got money obviously there's no problem, but

everybody in Norway gets equal education, medical and housing, and then when you're 18 and

you want to live under a bridge, fine. If you want to be Donald Trump, fine. But you take care

of your own people. This country has not done that. Generally when you have a problem, which

we do with medical and housing and education and our kids are stupid and everything. If you've

got a problem you look at a country who has got it right. Now, why don't they look at Norway?

If you want to be a ballet dancer you look at Nureyev, you don't look at the guy next door.

antiMUSIC: I had the pleasure of speaking with Linda Perry not too long ago…

Grace: You probably got an earful too. (laughs)

antiMUSIC: I was asking her about your collaboration. You could just hear the awe in

her voice. What was it like contributing to that track?

Grace: Ah, that's really funny. That was actually my daughter's idea. My daughter knows

Linda Perry. They're about the same age. And she thought it would be an interesting thing to do

and so did Linda. And I really enjoyed it. I like being around people who have real strong

views. If you're sitting around saying, 'Well gee, I don't know'…well figure it out and then call

me back. (laughs) So I like it, when people are strong. Either men or women I don't care. I'm

not this big womens libber. As a matter of fact I named a solo album Manhole just to piss off

the women's libbers. But the interesting thing is I never got one letter saying well, how dare you

or any of this kind of stuff and I did it because I thought 'Oh, this will be fun. I'll get a whole

bunch of letters.' Nothing. They didn't respond at all. I don't know if they didn't get it. I don't

know if they didn't see it. I don't know what the deal was. Most people didn't see it, but (laughs)

the album just went up in the air, you know

antiMUSIC: I think most people knew better than to send you a letter…

Grace: Well, there's that too. But letters at that time, they're harmless. You can always send

something really hideous to somebody and not have a return address.

antiMUSIC: Yeah, right, not like the Internet.

Grace: Yeah. But I never got anything so I was surprised at that.

antiMUSIC: I know you've said that all rock stars over 50 should retire but do you not

feel periods of just wanting to get behind the mike at least and record?

Grace: No because if I do something I do it. All of it. In other words, showing up at the

galleries, getting on the planes…I don't like it but that's part of it. If you make a record, you

have to do the videos; go on the road to support it; do all the interviews, and I'm not a multi-

tasker. Either I'm doing the painting thing, or I'd be doing music. But there's only two forms,

one of them's rap and it's not even old enough to have anyone that's old, and the other is rock

and roll. And they are young people's things. Now you can do classical music or rhythm and

blues till you're 150 but not rock and roll and rap. It pains me to see old people leaping around

trying to act like their 25. It's embarrassing. I just think 'Oh, god, honey. You don't have to get

out of the music business: become a producer, write songs. But don't leap around and try to

look like you're 35.' It's like those women on Hollywood boulevard who are about a million

years old and they've got little cinch belts on and their hair beach blond and they're wearing

spike heels and a big fancy skirt and you just think 'Oh, Jesus; give it up. You're a million years

old and you look like a jerk.' If you're 24 years old and you go back to grammar school and you

say 'Hi, can I play jacks with you guys?' The kids would look at you like 'Oh, Jesus', you know?

It is harmless and if the Rolling Stones or Fleetwood Mac or whoever want to get up there and

play and people want to see them, that's fine with me. I just don't want to do it. I felt like a jerk

doing it when I was in my 40s.

antiMUSIC: I was just going to ask you about Mick and Keith then.

Grace: Well, Keith, now Keith, he can play forever because he's looked like he was about 150

since he was 25 and he's rhythm and blues so he can keep going for ever.. Mick, I learned how

to be on a rock and roll stage from him. I didn't imitate him. But the only thing at the beginning

was, a girlfriend called me up and said, 'Oh you've got to over because these new guys from

Britain are going to be on Ed Sullivan and they're called the Beatles'. And / she had this big

party about it. And I looked at her, and I thought, 'Here are four guys in their 20s dressed in

these cutesy little suits, with cutesy little hair, singing… "I want to hold your hand?', and I'm

going, 'I don't think so'. But then I saw the Rolling Stones. That's rock and roll. So how do you

behave on the stage? You have to own the stage. If you don't own it, sorry, you're out of the

picture, you know? You just can't get up there and play with the side of your pants a little bit

and kinda turn your back on the audience and act shy. No no no. That's not rock and roll. So I

learned a lot from Keith, but I mean I also learned from Mick Jagger on how to front a rock and

roll band. But there's a time to give it up. For every season, turn, turn, turn. There is a time,

blah, blah, blah. And you've got to know when that is, otherwise you look kind of sappy. And if

you turn on the comedy channel, a whole bunch of other people feel the same way. Even about

the Rolling Stones and people love them. But it's time to give it up. That doesn't mean people

can't listen to your music, of course they can. They've got records, they have cds. They got

ipods. Yeah, you can listen to the Rolling Stones, but you don't have to look at them when their

66 years old, with tight pants on. Oh please.

antiMUSIC: This was awesome and a real pleasure. Thank you so much for taking the

time.

Grace: It was my pleasure. Thank you very much.

Grace Slick will be making appearances at the following exhibits:

Friday, March 23 from 6-9 pm

Wentworth Gallery, 305 Forest Avenue in Laguna Beach

(949) 376-3878

Saturday, March 24 from 6-9 pm

Sunday, March 25 from noon to 3pm

Wentworth Gallery, 271 Newport Center Drive in Newport Beach

(949) 760-9554

Friday, March 30, 6 p.m. to 9 p.m.

Saturday, March 31, 6 p.m. to 9 p.m.

Sunday, April 1, noon to 3 p.m.

Wentworth Gallery, 1025 Prospect Street in La Jolla

(858) 551-7071

Morley Seaver and antiMUSIC thank Grace very much for speaking with us.

View Grace Slick's Artwork and learn more about her by clicking here http://www.limelightagency.com/