"If I Wasn't Grace Slick, I'd Be Dead"
http://www.counterpunch.org/pollack05292009.html
By PHYLLIS POLLACK
May 29-31, 2009
IWhen I told Grace Slick that Paul Kantner, her former band mate and
father of her daughter, China, is getting ready to go out on tour
with a group billed as The Jefferson Starship, and that tickets are
currently on sale at venues across the country, who knew? Well,
apparently, not Grace. Her reaction? "That's illegal. I could sue
him." So much for my errantly having thought, "It's No Secret." My
thoughts suddenly flash to the Red Queen saying, "Off with his head!"
Grace mentions her lawyer again. I am still not expecting a Trial By
Fire. I have no question that whatever decision she makes, Grace will
come out just fine, whether she does anything or not about it. As she
told me, "Leave them with an image that is good. Get out while you're
ahead." Despite Slick being best known for her time spent as a
vocalist in the Jefferson Airplane and The Jefferson Starship, and
her unfortunately all too few solo releases, it has been years since
she has performed. In the meantime, Slick has stayed intensely busy,
devoting herself to various projects, most notably, her
artwork. Songs like "White Rabbit" and "Volunteers" will long remain
enduring classics that helped define a generation, long after the
impending matter at hand of the upcoming tour is settled. With so
much else going on in her life these days, the big question is now,
So How Do You Feel, Grace? What is it like, This Other Side Of Life?
Here, the voice that launched a thousand trips talks about her art
and her life, as well as a few other subjects on her mind. When
talking to Grace, her strikingly beautiful eyes still have that fiery
intensity, and when she looks at you, she has a focus that makes you
believe for an instant that she could convince you to fall back into
that deep hole, and spend time in that place where Cheshire Cats
talk, and White Rabbits carry a fans and a pair of gloves.
When you painted your portrait of Jimi Hendrix titled "Kiss The Sky,"
were you reflecting on him, or thinking about him?
A little bit, but I didn't know him that well. I only just sort of
met him briefly. I didn't know Hendrix that well. So when people say,
"When you get old, is there anything you regret not doing?" Because
I've always told young kids, "Go for it. Do everything. Try not to
kill yourself, but do as much as you possibly can." Because it's
really a drag to sit around when you're old, and think, "Ah, gee, I
never went to France." Go to France. Life is very short, you've got
to pack it all in there. I wanted the kid, the job, the whole thing,
so that's what I did. The things I wish I did do that I did not do,
were screw Jimi Hendrix, and ride a horse. Horseback riding seems
really neat to me, never did that. And I never hung out with, well,
you're much younger, but my age group, Richard Harris, Oliver Reed,
Richard Burton, and Peter O'Toole, they were all a bunch of
raconteurs. They were very good storytellers, and they were drunks.
Now, I'm a drunk, so when I was in my twenties, I didn't realize I
could have my people call their people (laughs). You know, that kind
of thing? I didn't realize they'd probably think it was fun. And I
regret not being able to hang out with them. But there aren't too
many regrets, because I did pretty much what I wanted to do. So now,
as an old person, I don't have these huge regrets. Mine are fairly
minor. They have to do with drinking and screwing, so that's not all
that important (laughs).
Nah, Grace, I'd say you've done quite well for yourself.
I did say what I thought about politics, I did go where I wanted to
go, see the countries I wanted to see, I've been to Spain. I've not
been to Russia, but my parents went, and they told me the Russians
are similar to us, oddly enough. One good thing about television is
that you have a lot of people with money who have real good cameras,
going around to all these countries. You haven't been there? Great.
Turn on The History Channel or The Discovery Channel. So we're lucky
in that way. If you lived in the 1800's, you don't know anything, but
what someone else tells you about it. They had no pictures really.
I wanted to bring up something else about your portrait, "Kiss The
Sky." The texture of the turquoise hanging on Jimi's neck, and the
way you textured his hair was really amazing.
Yeah, sometimes I do that. If you have an Afro, I'll make it actually
lumpy. It saves time. Now, I'm seventy years old. People ask me why
I don't paint oils. It takes too long. Cleaning brushes in linseed
oil, and it takes six months to really dry, and all this. I don't
have that kind of time. I work with acrylic. It's water based. You
can clean it under water. If you spill it on yourself, you just throw
it in the washing machine. It takes about two days to dry, so that's
my kind of deal. I don't want to wait around for it. And it looks
like oil, so who cares?
Do you feel your paintings help preserve history, or present an
alternative view to history?
Well, it might preserve some of the attitudes of my generation. So
does (Stanley) Mouse and (Alton) Kelley, Andy Warhol, and Peter Max.
Whether you like it or not, Keith Haring is going to represent
certain attitudes of a generation. So in that sense, yeah, I guess.
Your art provides an alternative way, so to speak, of seeing "Through
The Looking Glass," looking at the Sixties.
Well, taking acid allows you to see there are many ways of seeing,
feeling, and thinking, other than the one you came in with. In other
words, it's not rigid. That's the Republican deal. One of the deals
is people who have taken acid generally don't turn into Republicans.
Not always, there are always a few. One of the Chicago Seven guys
came out a Wall Street guy, Jerry Rubin. He became a stockbroker, I
think it was. But most people who have taken acid tend to see that
you don't have to have a rigid existence. So that's where that helped
broaden your idea of how things are. In other words, we see a certain
way. I could get everybody in a room to look at this air conditioner,
and it's cream colored, and everyone would agree on that, because
that's the way we're set up. But if you put a different chemical in
there, maybe we're not set up like that. If I take acid, that goddamn
air conditioner could be blue. It changes how you see even. I mean,
the only thing alcohol does, is it fucks up your vision, so you have
to close one eye to see on the freeway and stuff, but it does not
give you the information that we are just a bunch of chemicals
operating. And those chemicals can operate all different kinds of
ways. So not just the air conditioner, but the philosophy that you
came in with, and that you're aware of, and used to, the religion,
the philosophy, the training you've had, question it. Always question
it, because it doesn't have to be that way. It can be any goddamn way
you want it to be.
You become more conscious that there is another consciousness.
Many other consciousnesses. So you can run it any way you want to run it.
The colors you use on a lot of your works are really bright colors.
I think I came in with a rock and roll personality. The pictures are
simple. You don't stand back and wonder what it is.
Right.
It's direct. It's in your face. I like primaries, primary colors. So
it's the same thing as rock and roll. It's simple, it's cartoony.
It's in your face, and other people will paint other ways, which is
good. Because there isn't one way of looking at it. I like that Keith
Haring does his shit one way, Jackson Pollock does his shit the other
way. When he first came out, I thought, "The guy's a guy throwing a
bunch of paint on a canvas. That's ridiculous." But then I watched
how he does it. How he stands back, and then I looked at his stuff
even more, and the painting is also about balance, construction,
perspective. It's not just about, "Oh, I recognize that. That's
Jesus." Or "I recognize that. That's Ronald Reagan." I can do that,
but that's not the only way of expressing yourself. Like you say,
"Jackson Pollack, I want you to do Ronald Reagan." And he'll do this
bunch of splots on paper that to him represent how Ronald Reagan
exists in his artistic mind. Now, it's hard for most people to
understand, because it looks like a whole bunch of blobs. But for
him, and for other people who appreciate his art, that is a
representation. It is a construction of color that appeals to them,
it says something. Now most abstract art does not mean anything to
me. It looks like some really interesting wallpaper or drapery for a
very modern loft (laughs). But that's just me. And I don't say that
abstract art is wrong. I'm saying that for me, I don't like oysters.
A lot of people do. I don't think they're bad because they don't like
oysters. They're just different. Same with Hitler. These people are
different from you. They're not bad. You can go around and not like
Jews. You don't have to do anything about it. Then don't hang out
with Jews if you don't like them. If you don't like Norwegian people,
don't hang out with them. You don't have to bomb them, you know (laughs)?
"Volunteers Of America," can you talk about that, the song "Volunteers?"
"Volunteers Of America" actually doesn't mean anything. It was
something Marty Balin, lead singer of the Jefferson Airplane, and
Paul Kantner put together. Now Paul is very political, Marty isn't.
Marty writes love songs. That's one of the things I liked about the
group. We had several different forums. Mine was kind of sarcastic
social humor. Paul is spaceman political, Marty wrote love songs, and
Jack and Jorma were blues. So it's like a smorgasbord. You get one of
our records, and it's all different shit. "Volunteers Of Americas"
was a print on the side of a truck that Marty saw. He was looking out
the window, and a truck went by. It said "Volunteers Of America" on
it. I believe it's something like Salvation Army. I don't know what
it is, but it's a Salvation Army type deal. But he liked that. He ran
it around his head, "Volunteers Of America. That's interesting." So
he had the repeated line, "Volunteers Of America," and Paul put more
political shit into the lyric. So it isn't as deep as everybody
thinks it is (laughs). It's something Marty saw on a truck (laughs).
So people then projected that meaning into it.
Yeah. But Paul gave it semi-political lyrics that have to do with the
Sixties, or at that time.
I had bought your album Manhole album when it first came out.
(Grace laughs.)
I think was back in '73. It had a self-portrait of you on the cover,
and the wording on it, "Child type odd art." Was that a harbinger of
things to come? Did you know at the time that was what your life
would eventually lead up to?
No, I just started drawing when I was about three years old. I would
draw an angel, and my parents would make a Christmas card out of
it. They would have copies of it made into Christmas cards. So I
knew I could draw, more or less. I've done it off and on. But mostly
I've do one thing at a time. I'm not very good at multi-tasking. Most
people aren't, but they think they are. The mind is really better
when you're really focused on one thing. So I would occasionally draw
an album cover, or liner inserts on the inside. But Jerry Garcia used
to take his paints on the road. That would make me crazy.
There are artists who do, like Ronnie (Wood). I have something that
you probably also have a copy of. I have the F.B.I. file here on the
Jefferson Airplane.
Right (laughs).
I had sent in this FOIA request, back in 2003. As you know,
apparently the feds were not amused by your relationship with the
Yippies, or specifically Abbie (Hoffman).
Yeah.
In the file, F.B.I. headquarters domestic "intelligence" (their word,
not mine) alerted the secret service, military intelligence and local
law enforcement about your presence in various cities, particularly
in Cleveland and Cincinnati.
We got arrested almost every time we went to Ohio (laughs).
Yeah, after the Kent State massacre. You are specifically mentioned
by name in the file, which is actually quite unusual, because
according to the FBI's own policy, and the FOIA/PA laws, the privacy
laws, usually living peoples' names are redacted from the files and
public view, due to the privacy laws. Of all the people in the
Airplane, J. Edgar Hoover's henchmen were more worried about you than
they were about any other member of the group. The F.B.I. labels
their teletypes about you as being, quote "urgent."
(Grace laughs.)
The FBI warns warns their agents that you're the same person as your
maiden name, Grace Wing.
Yep.
They make note in your F.B.I. file that you attended Finch College
from 1957 to '58. I should tell you that my editor's wife, Kimberly,
went to Finch in the '70s, and like you, she also escaped to Florida
in the midst of that.
(Grace laughs upon hearing this.) Well, that F.B.I. thing, that is
apparently why they stopped me from going into the White House.
Because I was invited. Patricia Nixon got a list of all the alumni of
Finch College, or anybody that had ever gone there. I'm not really an
alumni, because I didn't graduate. I went to Miami the next year. But
she got a list of all the girls. The school was small enough where
they could do that, and she invited them to a tea. I got the
invitation in the mail. "Grace Wing, we cordially invite you to a
tea…Tricia Nixon at the White House. And I thought, "Oh, yeah, I
think Tricky Dick needs a little acid." So I took Abbie with me,
because they said you could come with your husband, or whatever. We
tried to (laughs) straighten Abbie out, so he'd look kind of normal and stuff.
Good luck…
He's got curly hair, so we tried to slick it back. He looked like a
mafia hit man.
Yeah, he used to call his hair a "Jew fro."
Yeah, he had a Jew fro, and we tried to flatten that out. That didn't
work. But we went, and we were standing in line in front of the White
House, with all these women from Finch College. Security came up to
me and said, "You can't go in," and I said, "But I've got an
invitation." They said, "Yes, but you're a security risk." They
didn't even talk to Abbie! (Grace exclaims this, sounding utterly
flabbergasted.) And I'm going, "What the fuck?!" You know? So they
were right. They didn't know why, but they were right, because I had
six hundred micrograms of powdered acid in my pocket. And I also had
a very long little fingernail, for snorting coke. And what I was
going to do, because of Finch College, I know what formal tea is. You
stand at a formal tea, you don't sit at a formal tea. There's a very
long table, with probably tea at one end, in a long silver urn, and
coffee at the other, and there's somebody who's serving. Usually the
people who are serving, oddly enough, are your friends. So I don't
know if Tricia would have done it that way, but she probably would
have had White House staff do it. But I knew what the set-up was
going to be. Entertainers gesture a lot, we're flamboyant, and I
could just gesture over Richard Nixon's teacup, and drop the acid in.
It (L.S.D.) is tasteless. And forty-five minutes later, he would have
been wandering around being crazy. What I didn't know is that he was
nuts anyway. He'd wander around and talk to the pictures and shit. So
they would have thought, "Okay, he's really gone over the edge now,"
and they'd have had to take him to Langley, and all that kind of
stuff. But the idea of it amused us anyway, even if we didn't get in.
It didn't matter. He got himself out, because he was, you know, not
right in the head.
That's amazing, though, that they thought you were more dangerous than Abbie.
Well, on that day, they were right. Abbie wasn't going to do it.
Abbie just wanted to go in, and see the White House. Abbie just
wanted to go with me, because we thought it was funny, because we
were obviously not Richard Nixon people. We just thought it was amusing.
The file has some of your high school records in it. The F.B.I.
states that that to allow the band to continue to perform, could be
quote, "Detrimental to the defense interests of the nation."
Yeah.
After going through all of this, I would think it would be hard for
you to take a lot of things seriously that to many…
(At this point, Grace starts laughing again.)
others are holy grail. Do you think the absurdity of this climate
also contributed to your affinity to painting cartoon-like
characters? Ones that are seemingly non-sensical? As so much of the
world around you was as equally nonsensical, if not entirely absurd,
during that time period?
No, because I understand the drive. Human beings have fear, and when
they have fear, they do stupid things. Dick Cheney, although he never
said anything when he was in the White House, now he is all over the
map. He is like Paris Hilton. For Christ sake, you can't go anywhere,
Dick Cheney's talking. And he's talking about Barack Obama is going
to lead us to…We're going to have this terrorist thing. Well, there's
this fear that you can't do anything about terrorism. If you give it
some thought, you can't do anything about terrorism. It's almost the
perfect form of war, because you never know where they're coming, who
they are, what they're going to do. It's not like toy soldiers, where
you have all the guys with grey coats on one side, and the blue coats
on the other, and you line up on a field, and shoot at each other. It
doesn't work that way any more. So Cheney's talking about, "Well,
Barack Obama's doing this, that, and the other." What's he doing?
What could you do? Cheney couldn't do anything, either. He doesn't
think. He doesn't think it through. The best you could do is pay
attention. That's for every individual and every nation. That's the
best you can do. Pay attention to what's going on in the world, talk
first. Talk until you're blue in the face. If you've got Hitler,
unfortunately, you're going to have to go to war. But the wars that
we've had, Korea, Viet Nam…We went into Panama and fucked around,
Iran, going into the Middle East. Now, we went into the Middle East
during the Crusades, and tried to make them all Christians, and we
said, "We're going to kill you if you don't become a Christian." What
kind of fucking talk is that? Jesus is a peaceful dude, and we're
going in there telling them if they don't become Christians, we're
going to kill them. And people wonder why 9/11 happened? We have been
going into the Middle East for two thousand years, okay? And they
have not come here. They have not come up to England, to France,
because England and France were going in there. Spain, also, and they
haven't done it. That's is the first time they have come to the West,
and said, "We don't like that you're in our country." The fact that
they took out innocent people is a shame, but that is the way of
terrorism. That's the way it works. It's not lining up soldier to
soldier. It's, "I'm going to take out whatever you've got whenever I
can." And you aren't going to know when it is, you aren't going to
know why. You don't have to know anything. "Get the fuck out of our country."
And I think it's a real good idea, and I think Barack Obama does,
too. Get the fuck out of the Middle East. Convert the car companies
to electric cars, so that you don't have to rely on, or do business
with the Middle East. If they want to live like that, and kill each
other, which they've been doing for five thousand years, fine. Let
them do it. That's their business. It's not ours. So whatever was
going on in the Sixties and Seventies, I'm coming back, trying to
make a long story short, but I'm not doing a good job of it. The
business of how Nixon is conducting himself, and how the Republicans
conduct themselves doesn't escape me. I understand what they're
doing. They apparently don't. You know what I mean? I know about
denial. I can deny a whole lot of things about myself in order to do
what I want to do. And they are in a form of denial, which is current
psycho-babble speak, a form of denial, where they think they can do
something about peoples' irrational fear, and how they react to it.
The Middle Easterners have been reacting, not responding, but
reacting, there's a difference, to irrational fear for as long as we
can remember, and so do we. For some reason, the Republicans will set
up this whole thing about they're afraid of losing money. They covet
money, and all this money business goes on, and then they fuck it up,
and some Democrat has to come in and clean it up, like Franklin D.
Roosevelt. A lot of times, they come in, and it gets all fucked up,
and then everybody gets mad, so they vote in a Democrat, and a
Democrat has to clean it up. Because Democrats are generally not
interested in going to war, although it was F.D.R., I think, who
said, "I'm sorry, we have to do something about this guy," meaning
Hitler, and also Japan. So two countries got nuts at the same time.
So the fact we won the war was amazing. We've got troops going east,
troops going west. There's shit going on all over the place. I don't
remember if it was F.D.R. or Truman, but I would have preferred that
they bring an ambassador from Japan over to this country, and take
him to Los Alamos, New Mexico, or Arizona, or somewhere, and show him
here's we have here. Show him an atom bomb, explode one, and say,
"Check it out." And say, "Now do we want to talk? Or do you want to
see one in Hiroshima, Nagasaki or Tokyo?" Because I think it's
appropriate, because we went in. Nagasaki killed thousands of innocent people.
Then later on, in addition to those innocent people, a lot more
people got cancer who had been exposed to it.
Yeah, and it's still going on, the repercussions of radiation. So
we're appalled by 9/11? I mean, yeah, it's all too bad. Nagasaki's
too bad, 9/11 is too bad. But we act like we don't do that shit? Of
course, we do. We just do it with different clothes on. They wear
rags on their heads, and we wear spiked heels, or some fashion
weirdness. But we're all the same. So if some Republicans can get
that through their skulls, and look at their own actions, it would be
a lot smoother, I think. But I also know they won't. There will
always be a certain group of people, and it will be large, too.
People who are so fearful, that they make deadly choices.
That has always existed. I know you're really into Spanish music.
Oh, yeah.
To me the most interesting period of history is the Spanish Inquisition.
Oh, yeah. Isn't it? There's another example of people getting nuts.
Whenever somebody's a Catholic now, I just kind of look at them and I
think, "Why would you belong to that organization?"
The corruption of popes…
Popes in robes, fucking little boys, and I just think, "What kind
of…What would you do that for? Why would you want to join that? It
doesn't seem to be operating very well (laughs).
How do you explain a religion that until some point in the 1800's,
had all the Jews in parts of Italy locked up behind walls for three
hundred years, like the Jewish ghetto one in Rome?
Yeah, it's amazing. And also the stupidity of the Germans. They were
afraid that Jews were going to take over the banking system, because
they're real good at it, and they read a little bit of history, about
how the Rothschilds, a Jewish banking family that was simply able to
run Europe, because they were able to manipulate all the money. Okay,
well what you do with people, it's like sports. I'm not sporty. I sit
on my ass, I always have. I like to watch sports. I don't like to do
it. You don't kill them, because it's different from you, you
appreciate their differences. You make friends with Jewish people. So
okay, I can dance real well, and you've got some money. So I'll
dance, and you pay me to dance. I slap your back, you slap mine. You
don't kill people, you get together with them, and you do what you're
good at, and I'll do what I'm really good at.
It goes back to what you were talking about, that fear factor.
Yeah. They were so afraid that the Jews were going to take over,
because they're really smart. At least, they recognized that. But
they wanted a bunch of stupid blondes, I guess. What is this Aryan
thing? Like I'm Aryan, I'm Norwegian, and I think, okay, Norway,
Scandinavians have a real good social systems. But they're not funny,
okay? You don't run into a lot of funny Norwegians or Swedish
comedians. The last comedian that came out of the Scandinavian
countries was a piano player in the Fifties. He would stop playing
piano for a minute, and tell jokes, and he was kind of funny. But
that's it. We're not really good at that. So what we do, is since
we're not so good at that, a Swede can appreciate a black person,
because they're really good at something else. And then the Swedes
can tell people how to vote for the right social systems to get the
people in better shape, which is what Barack Obama is doing. He has
studied history, he does know the law, and he's trying to make it so
that normal people, not old white people, normal people, can have a
little better life. And he's apparently looked at the Scandinavian
systems. Scandinavians are good at that, but not at other things. So
what we do is get together, I think, and I'm really good at this, and
you're really good at that, we get together on and work on it, and
create this. And you come up with a third entity. Or you can simply
pay each other to do what they do. I don't understand why you have to
go around and kill people. Obviously, it's cruel and immoral, but
it's also a waste. A waste of talent. What the fuck? And they're
rounding up gypsies and everything, and they want to be pure Aryan.
What do you think you're going to do? Kill everybody in China? They
aren't Aryans. What kind of stupid shit is that? It's so amazingly
stupid. Maybe that's why some of the Germans said, "This guy is nuts.
We've got to unload him," like in the Tom Cruise movie, Valkyrie. I'm
glad to know there were some Germans, going, "Jesus Christ!"
A few...
In other words, you look at Norway or Sweden or something. You set it
up so that it is real high taxes, but you get, and it's not
Communism. They're so afraid in this country they use the word
"Communism," like they word "pedophilia." It's just crazy, but what
they do is, you get everybody an equal start. It's like a horse race.
You don't have one horse five feet ahead of another horse. You all start even.
You can't do that, all start even, in a capitalist society, I don't think.
Well, yeah, you can. Here's the way it goes. You pay higher taxes,
yeah, that's true, like in the Scandinavian countries. But what you
get is housing, education and medical. You're taken care of
basically. Then you go all through school, and when you're eighteen,
you can decide whether you want to live under a bridge, fine. If you
want to be Donald Trump, fine. It is not Communism. It is just a
system that takes care of everybody until you're out of the gate.
Then once you're out the gate…But what they'll do, if you have a
baby, they'll have people, and this is free, come and stay with your
baby while you work, and the state pays for it. But you can also be a
big banker, you can also be very wealthy. There are no rules against
how much money you can make. You pay high taxes, but there are no
rules against it. I pay high taxes, but I've got enough. I don't have
a whole shitload of stuff. I've got one car, one house, one daughter.
Like I said, I don't multi-task very well, so I've got one of
everything (laughs). But nobody needs any more than what I've got,
believe me. And everybody could have the same amount of stuff that I
have if the system were set up right, but it's not. So capitalism
needs tweaking, just because it is a good form of democracy. That
doesn't mean it doesn't need tweaking. Thomas Jefferson said we ought
to have a revolution every five years. He's probably right. I don't
know if you want to go out and kill people every five years, but I
think you ought to re-look at your laws, and see if it's working for
stuff right now. For instance, the N.R.A. and all these people that
think we ought to have a lot of guns. They say, "In the Constitution
is says…" Yeah, but, when they wrote the Constitution, they had guns
that it took about five minutes for each shot. You had to load the
fucker. Okay, so now we've got semi-automatic weapons, so that you
can shoot a whole room full of people in two minutes if you're eight
years old. So things change, and you have to adapt your laws to that.
Now, a lot of that Constitution is just incredible. It is written in
such a way that most of it is applicable to today, oddly enough. But
some of it isn't. So you look at it, and see what is applicable for
right now. I think I'm not a genius, but I think, if these are the
people that are running our country, and I can figure it out, then I
get real nervous. I feel sorry for the kids. I mean, I'm seventy
years old. It doesn't make any difference to me, because I won't be
alive when it gets really fucked up. I just feel sorry for people who
are younger, because they're going to be in this stew pot of shit,
unless Barack Obama and his ilk can fix it. Or at least begin to fix
it. I was so happy when he was elected, I couldn't believe it.
Your have a black and white portrait of Barack Obama, the pencil on canvas.
Yeah. In the Sixties, we would have been so happy to have him be
President, we would have been just beside ourselves. But we had Nixon
(laughs). He did give us something to talk about, though (laughs).
Pathetic…In addition to it being a great parody of Nipper and the
Victrola, your painting titled "Her Mistress' Voice" is an extremely
powerful statement. To have come up with that, you must know the
power of your own voice, not only as a vocalist, but otherwise, as well.
Apparently, the F.B.I. thought I was more powerful than I did
(laughs). We got all that stuff though our office, through the
Freedom Of Information Act.
I don't know if you ever knew the MC5.
Yeah.
I gave (MC5 vocalist) Wayne Kramer some of the F.B.I. files that I
had gotten declassified on some of their band members, and he said to
me, "You just confirmed every paranoia I have ever had."
(Grace laughs.)
I was really proud of that.
Yeah (laughs).
Anyway, getting back to this piece of art, "Her Mistress' Voice," I
was very awestruck by it. When I was looking at it, I felt it
described a lot of my life right there in that painting, the white
rabbit listening to the Victrola. The great psychiatrist Carl Jung
stated there was universal consciousness to the subconscious mind.
Yes.
The same imagery has the same association, or meaning, to mass
numbers of people in their collective subconscious. At least to me,
that work of art was like seeing my entire life flash before me, but
in a painting.
But it's also a take-off on the ad, too.
Nipper.
And the ad with the guy sitting by the speakers
Ah, being blown away.
So the little rabbit is rocked back, blown back, the same way that ad
is. So it's a take-off on a couple of different ads.
What was going through your mind when you came up with that? That is
so powerful.
I have no idea. Something is disturbed in there, and so I'll turn it
around, into humor. Because that's what I do. Other people become
lawyers, and turn it into…Like I have a really good lawyer, who is
like an old hippie, but he's a lawyer. I've had him for about thirty
years. He was going to run for mayor of Sausalito, but his wife had
an operation, or something. I forgot what happened. But he lives in
Northern, California, in Sausalito, and he's a great lawyer. So I
love lawyers. They're the ones who tell me lawyer jokes. But I don't
have an unpleasant relationship with lawyers. So I don't have the
experience of the lawyer jokes, and lawyers fucking me over. I pulled
a shotgun out on cops.
Yeah, I read about that in your autobiography.
Okay? You go to prison for that. Well, my lawyer got me off, where
all I had to do was community service. Now that's a good lawyer. He
was real pleasant, and didn't charge me that much money. I would have
paid him way more than what he charged me to stay the fuck out of
prison. But I've always had really good lawyers. So I don't have the
bad experience with them that other people do.
Going back to your sense of humor…
My parents were both very dry, had a good sense of humor, real dry
wit, and they were both Republicans. But they were the old
Republicans. Back then, Republicans were a little different. But I
used to argue with them. I really liked them both. That's the only
thing I argued about them with was politics. I couldn't understand
how anybody could be that…It's isolated and selfish. To keep it for
us, the people who already have money. Well, that's rude (laughs).
You have said a couple times that you don't understand why people
call you an artist.
I had a very grand view of what an artist was when I was a child.
Rembrandt is an artist, Picasso is an artist. Tchaikovsky is an
artist. I thought of myself more as a fuck-off, who can get away with
stuff. I'm clever, but I'm not an artist.
Do you feel that you are interpreting history through your art, much
in the same way that Frank Zappa used to tell me that he felt like a
journalist, a reporter commenting on society through his music?
Yeah, I may be, by way of my music and my print, a humorist and an
artist. I don't know. There's a funny Republican that lives in
Florida now, I can't think of his name. I mean my parents were
Republicans, and they were very nice people. They're generally
Fifties Republicans. They aren't the same as the Republicans we have
now. It was a different era. They weren't quite as fucked up as they
are now. There's something, this cabal of fear now. Like Rush
Limbaugh. What kind of lunatic is that?
Your have a painting titled "Monterrey."
Yeah, "Monterrey."
It has all the artists who were there, and it also depicts these
different booths. One of them is a booth that mentions the names some
of the rock press, like Creem, of course, which is no longer with us,
The Village Voice, Rolling Stone and High Times. You were once a
"Creem Profile." I don't know if you remember this. There was that
picture of you taken in a bathroom.
Well, what happened there, because I remember what happened, and this
dude followed me in, with a camera. And I thought, "Oh, he's going to
think I'm going to get all pushed out of shape, and kick him out." So
I had gone into one of the stalls, and he said, "Grace," and he
thought I was going to be surprised, or yell, or something. So I took
one side of whatever I had on off, so I had one tit sticking out, and
I opened the door, and said, "Yes?" (Laughs.) So he took a picture,
and put it in Creem. I didn't care. I didn't wear a bra. My tits
weren't big enough, there was no point. I mean, if it we were playing
outside, and it was raining, I'd take my blouse off, so I wouldn't
ruin the blouse (laughs). I did that once in New York, and it was
raining. I had just bought this beautiful silk blouse. I thought,
"I'm not ruining this blouse. I just bought this." It was like a
hundred and fifty bucks. So I'd take it off, and hang it backstage.
And so the little girl who jumped on stage to dance, saw me do it,
and she took her top off. So there are two women dancing around, and
it looked like some kind of a porn show with no tops on (laughs), and
the band is playing. I used to do this shit, and the band, would just
go, "Oh, Jesus. There she goes again." The guys used to tune between
songs back then, because it wasn't all electronically whatever it is
today. So they would tune up, and I'd talk to the audience while they
were doing that. And one day, in Chicago, some guy screamed, "Take
off your chastity belt, Grace!" and I said, "Chastity belt? I don't
even wear underpants," and I pulled my skirt up (laughs), and the
band is just going, "Oh, God…Jesus Christ (laughs)," because I never
wear underwear. I didn't see the point. If I'm wearing pants, like
Levis, I don't wear them again the next day, even if I did have underpants on.
Now, this is one time it's amazing you didn't get arrested.
No, I didn't. I never got arrested for taking my clothes off. The
only time we'd get arrested was when there was a direct interaction
with police. So what I did on stage, Jim Morrison…
Yeah, in Florida.
He got arrested for being obscene. I didn't. So when women do it, I
guess they think it's less offensive to see tits, than to see a dick.
I don't care either way. Dicks are good, tits are good. It tends to
take away from the song. In other words, you don't want to do that
just before somebody is going to sing a nice ballad, like Marty (Balin).
(I laugh.)
And I don't know what the next song was after I had done any of this
stuff, but generally, we played loud rock and roll, so it didn't
matter. We didn't have that many ballads.
You are sober now.
I'm an alcoholic. I don't drink, but I'm an alcoholic. We are
literally wired differently than other people. The chemical called
dopamine doesn't work in our brains, so we go out looking for
something to make us feel okay. I take a drug called Neurontin. It
doesn't make me yell at cops, which is good.
(I laugh.)
Because one of the side effects of alcohol is that if anyone tells me
what to do, I'm all over them like flies on shit. And I'm surprised I
haven't been shot. I really am.
If you were black, you would be dead.
Yeah. Oh, if I was black, I would be dead. Because it would not look
good in the San Francisco Chronicle if Marin police shoot Grace Slick
to death. It just wouldn't look good (she laughs). So I'm lucky in
that way. And the same thing with medical. When I went in a couple
years ago, I had to have a tracheotomy, and they had to rip my guts apart.
If you weren't Grace Slick, you'd be dead.
They have a joke about it in A.A. (Alcoholics Anonymous). They say
alcoholism is a disease where your body doesn't have enough alcohol.
But it is really a disease, but you don't have enough, but it's not
alcohol. It gives the feeling away the feeling of being wired too
tight, but in the long run, it's not a good drug for that, but
Neurontin apparently is. So with Neurontin, I don't get pushed out of
shape. It doesn't mean I lose passion. It doesn't mean I never get
mad. It just means I don't sit around and shake, or lose it.
I think that's a good thing though, that you get angry, happy, sad,
whatever, and you are in touch with yourself.
I don't want to be a zombie. If want to feel, I want to appreciate.
This drug that I take, Neurontin, was originally created for people
with epilepsy, and it works to the same to a certain extent the same
way on me, because I am wound up too tight. So I'll go into a thing
where I'm just sitting there shaking. And I called my (Alcoholics
Anonymous) sponsor at the time, and I said, "Look, if we don't do
something about this, I said, "I don't sit around and shake. I'm
going to a liquor store if we don't…" She said, "Okay, get in the
car," because she's a sober alcoholic, but she's also a professional
psychobabble whatever. So she took me to this shrink, and that's his
thing, biological problems, mental biological stuff, and he also
works with a lot of alcoholic addicts. Because doctors give you the
wrong drugs.
Your work titled "Mixed Multi-Media" is a unique black and white
portrait of Eric Clapton, and it's interlaced with silver.
Well, what happens there is I'll do an original, and then my agent
will have it photographed, blown up, and he'll send me the copy, and
say, "Put something else on top of this." Now, okay, so I do that,
and that's called "mixed media." There was one drawing I drew that
you can't take a photograph of. Well, I supposed you could have. But
it was black and white, and there was a guy sitting down. The
background was black, he was white outline, and he was looking at his
foot, which was bleeding red acrylic paint. And then in front of him,
on the floor, was real broken glass that I glued to the painting.
That would be called "mixed media." But that's a statement about what
we do to ourselves. It was called "Dance" something-or-other. I
forgot the title. But what it is, is we tend to dance on broken glass
a lot in our lives. We do it to ourselves. Usually when you get
fucked up, or something ugly happens to you, you created it, not
someone else. You get in a bad marriage and you stay in it, that's
your problem.
That's one of the point of one the Twelve Steps, being able to
acknowledge when we were wrong, and the hurt that you inflicted on others.
Oh, yeah. Of course, the fourth and fifth step, and the tenth step.
They're all involved with that. But most people tend to point the
finger when something ugly happens to them. I mean, unless someone
hits you in traffic, and they ran a red light obviously, then that
doesn't have anything to do with you. But most of the stuff that's
happens to you, you've done it, not somebody else. If you're in a
relationship, if somebody beats you up, get the fuck out. You don't
stay with that. If you stay with it, that's on you. So, you can whine
about what an asshole he is, but if he's an asshole, you should have
gotten out two years ago. So it's stuff like that, and I feel sorry,
because we are so afraid of change, as human beings. Scared to death,
we'd rather stay with what we know, even if it's hideous, than do
something different. I've always been amazed at that. I'd rather do
something different just because I'm bored with what just happened
for the last two years. Okay, I'm out of here. I'm bored (laughs). So
I don't mind change. My parents used to move around, and when I go to
A.A. meetings, and people whine, "Oh, I used to move around all the
time, my parents used to move around, I never knew if I'd have new
friends." And my parents would say, "Okay, we're moving to San
Francisco," and I thought, "Oh, boy! That's cool. We get to go to a
new place." So I don't have the same thing about change. The only
thing I don't like about change is when it gets hot, because of my
feet (laughs). But that's about it (laughs).
You reinterpreted Janis Joplin's "Cry Baby" with a portrait of Janis
using that title. It shows a lot of emotion, despite not using color.
I noticed that your portraits of her, like "Wild Flower," an acrylic
on canvas, depict Janis as being very happy, as opposed to some of
what was written about her, subsequent to her death.
Well, that's the only woman I knew, you see, because I didn't spend a
lot of time with her, apart from the fact we played together a lot.
So I saw her backstage, hanging out backstage, and hanging out at
parties, more than I saw her in an intimate one on one, woman whining
situation. I don't whine. I don't like that, I never have with women,
where they whine about their boyfriend. Or talk about the latest
shoes. I don't give a shit. You buy your shoes, I'll buy mine. I see
you at a party, and say, "Nice shoes." That's it. I don't even care
where you got them. I've got pictures…It's like, I've got paintings
that are copies. I will not buy an original, because it's too fucking
expensive. I don't even care who they are. I have of a painting of a
black dude, he's a Moroccan, and it takes place, I guess, in about
1850. He is about six-four, and has on the whole Morroccan outfit,
like a Middle Eastern thing, with a dagger and everything. But he's
so elegant. I have no idea who painted him. I don't care. I buy the
image. I don't care if it's original. I don't care who painted it. If
people say, "Who painted it?" I don't know, it doesn't matter.
Obviously, I'm never going to know him, because it was painted a
hundred years ago, so who cares?
There is "Don Blanco," which is one of your many works of art that
has a white rabbit in it.
Yes.
Is that picture meant as a political statement?
No. Don Blanco is…in California. The people who ran things for a
while were Spanish Dons. He is a very wealthy rabbit, who goes out
like Zorro. Zorro is actually a wealthy, elite Spaniard, who goes out
with a mask on, so nobody will know, and he helps support people,
like Robin Hood. There's another Robin Hood Spaniard, who goes out
and helps poor people. But they're very wealthy. Well, so this
rabbit…Well, yeah, it is a political statement actually. This rabbit
is a Spanish Don, who is wealthy, but he goes and helps poor people,
so yeah, Don Blanco. And it doesn't have the Spanish word for
"Rabbit" (Conejo") in the title? Maybe not.
No.
Don Blanco. "Blanco" means "white" in Spanish. So it's white rabbit.
I'm surprised I didn't put the Spanish word for "rabbit" in. He was a
Spanish Don in the early 1800's in California.
In your picture titled "U.S. Blues" (also the title of a song
recorded by The Grateful Dead), one of your portraits of Jerry
Garcia, why are there eight Jewish stars in it?
For absolutely no reason. Some stuff, I do just to fuck with peoples'
heads. It has nothing to do with anything. I had this wrapping paper,
because my daughter's boyfriend is Jewish. So I had this wrapping
paper left over from Chanukah, with all the Stars of Davids on it,
left over from a present I gave him. I was just walking by it, and I
thought, "Maybe I'll put that on Jerry Garcia (laughs). It doesn't
have anything to do with anything. So I just thought, "I'll do that,
because people…They'll be wondering, it will make their brains work,
and it will scramble their brains." (Laughs.)
Okay, it scrambled mine. Do you ever listen to music when you paint?
No. I can only do one thing at a time. I listen to music only in the
car. I can drive and listen to music at the same time, but apart from
that, I don't listen to music while I'm watching television, I don't
listen to music when I'm painting. I can have CNN on in the
background, so I can hear what's going on. But when I listen to
music, I want to pay very close attention to it. A car is the best
place for music, because it's not going directly into your ear to
make you deaf. I don't like those ear buds.
Do you still run into people that tell they can't get over the fact
you no longer want to perform? You have been very outspoken regarding
your opinion that most rock and roll performers should give it up at
age fifty. (Writer's note: Grace does have a few exceptions to this
rule, which includes Rolling Stones guitarist Keith Richards. Grace's
explanation when it comes to Keith: "He's always looked like that.")
I feel that rock and roll is not an old person's medium. They look
silly. Yeah. Like last night on American Idol, Rod Stewart came on
it. Rod, get off the stage, you look like an old man. You're not
hitting the notes you used to be able to hit. You're singing "Maggie
May," and it doesn't sound good. Because everything is falling apart
when you get old. Your voice is not as good. You don't look right.
Generally, you haven't picked out the right outfit, because you have
on…like an Eighties jacket. Now as a print artist or painting, what I
do, you don't have to look like anything. How you look like has
nothing to do with a painting. It's about how your painting looks.
What is the main thing you want people to get out of your artwork?
I'm not sure, because it's all different. Just I think any time
you're trying to communicate in a painting or a song, it's me talking
to you in the way I talk. And you responding, by your buying the
album or the painting. You understand what I said. You go, "Oh, I
know that." Like right now, I'm painting a guy that's called "Eddy
The Fat Marmut." He's holding some flowers, and it's way cute. And
sometimes we need that. It sounds corny, but we need something we can
look at and say, "Aw, look at him. Isn't he cute?" You need that.
Sometimes you need a slap in the face, so it will be an angry
picture. It just depends. It's all different. Like the guy whose foot
is bleeding, because he's been dancing on glass. Now that's
completely different than a cute marmut.
Do you think you'll ever figure out who Alice is?
Oh, sure. Alice is everybody. She came into the Victorian era, an
era, the same way I came into The Fifties. Very specific what you're
supposed to be doing, what you're supposed to wearing, who you're
talking to, how you're supposed to conduct yourself, where you go to
school. It's very rigid. But if you allow it, your curiosity, and I
think the White Rabbit represents Alice's curiosity, your curiosity
will lead you to a lot more interesting stuff. So I had the same life
that Alice did. That's why I identify with it. My curiosity took me
out of the Fifites, and I participated in the Sixties. A lot of
people didn't who were my age.
Yeah. I call it "the people who missed the Sixites," and you can
pretty much tell who they were when you meet them.
Yeah. I allowed my curiosity about myself to lead me to a very
interesting life. Now, it wasn't all whoopee and fun, but it is all
way more interesting than staying in a box.
And it wasn't always fun for Alice in the book, either.
No. And some of it was scary. But it's still better than staying in a
box. That's what I think the White Rabbit represents. That's my take
on it. I may be wrong. If I talked to Lewis Carroll, he would
probably, say, "No, you're crazy, the White Rabbit represents blah,
blah, blah." But for me, a lot of people interpreted my songs, and my
art, completely with their own view that has nothing to do with what
I intended, and that amuses me. Some people come up and say, "Oh, I
know that painting, blah, blah, blah…and my grandmother died…and I
showed her…" but I don't tell them sometimes (laughs). I just have
absolutely nothing to do with it. But they have seen something in a
structure that resonates. That's the word I wanted. These things
resonate, a painting or music. If it resonates. That's the point of
being an artist. You want it to resonate.
It connects.
Even if people get it wrong, if they do say, "Oh, when I listen to
that song about lather, I had a boyfriend, who…" and I think, "No
(laughs)." But I don't tell her, that," because somehow the song
resonated with their experience. And that's good. That's why we talk
to each other. Talking is also an art. In other words, you're good at
bringing out, or asking the questions, that will resonate an answer,
bring out an answer, make me remember what it is I thought, or why
did you do something. You're very good at that.
Oh, thank you. I could do this with you for hours actually.
So you are good at evoking the resonance, I guess would be the word.
Oh, great. Okay. Because before I interviewed you, I thought, "Jesus
Christ. This woman has been interviewed fifty thousand times. Oh, my
God." And I thought, "She must be sick of it." I figured, "What the
hell are you going to ask this woman that she hasn't been asked fifty
thousand times, you know?"
No, you've brought up several things, the way what you want to know
what you want to know about a certain event or something. And I've
probably had five good interviewers out of thousands in the last five
years, and you're one of the five.
Wow…Not to sound trite, but I was obviously a big fan of yours. I
bought the albums, and the book, saw you live, and I don't know how
many people bought Manhole, but I was one of them.
Well, there are a lot of people who are fans, but most of them aren't
very bright, so…
Oh, okay.
I feel badly for them because they're in a job they're not any good
at, so it's not going to last very long, and or they won't get paid
for it very well, because if you don't pay attention… Say I'm going
to interview a jockey, he just got though the Preakness, either
you're a big fan of the horse, or the jockey, so you do know a lot
about him, but you've got to bring the guy out if you want a good interview.
Right. You've got to draw it out of the person you're interviewing.
Right. So you're good at that, and you're one of probably around five.
Wow, I'm so thrilled you're telling me this.
I could have done five interviews my whole life, and said reproduce
that for your paper, because it was good.
Oh, God. Okay. Some of it I might leave out…
Sure. But part of a good interviewer is you can get into a casual
conversation, and then go back into the interview without it being…
Non-sequitors.
It is sort of a conversation I'm having with you, and we've gone off,
and come back, gone off, and come back. You really are good at that.
Oh, thank you. Getting back to Paul and all that…
China's father has something going on, where he is so nasty, he
doesn't have any friends. Well, I wouldn't do it anyway, even if Paul
was an angel…But they said guys have offered us millions of dollars
to get back together, and do a tour. I wouldn't do it. Jack and Jorma
will not play with Paul, not for any amount of money. Now, that is a
person who has fucked up, because he didn't find out what it is that
makes him do that. Because he can be really funny and bright and
loving, and then if you say something that doesn't ring right with
him, he'll start in on you, as if you're the devil, himself. Now I
find that amusing. So when Paul calls up, because I talk to him all
the time, and he'll start, and I'll think, "Oh, here we go with the
tennis game." So I'll throw one back at him. I've got a real nasty
mouth. And I'll throw one back at him, I'll lob one over the net, and
see if he can lob one back. So I don't care, I'll play that game for
as long as until I get bored with it, and then I'll stop.
So that's how you guys managed to last as long as you guys did.
It has to do with they've got some kind of a problem he's got going,
and you're in the room, or you're the one on the phone. I could just
as easily when I talk to Paul, give the phone to someone else, and if
they say the wrong thing, he'll take off on them. It doesn't have
anything to do with them or me.
Yeah.
It has nothing to do with anything. It's like a board game. That
doesn't have anything to do with anything, either. You're just
playing a game for a while.
Because you realize with certain people and their problems, you're an
interchangeable game piece. And it is all so predictable.
Sometimes hopefully, it's more amusing than it is sad. Sometimes it's
sad, sometimes you watch people…In other words, China's dad. I just
love him, because he's bright, he's funny, he's interesting to talk
to, but he's got a problem that has created a situation for him,
where now he doesn't have any friends really, and he doesn't
understand why. And sometimes, most of the time, he tries to act like
everything's cool. But sometimes, he'll say the saddest things to me.
Like he'll say, "I think about my mom a lot, and I just don't
understand why China's not talking to me," and he'll go on about how
it is with him, and he doesn't know why it's that way. He won't do
any form of therapy or corrective drugs.
Maybe because he doesn't want to know why.
Yeah, maybe he doesn't.
A lot of people want to stay in their state of denial.
Everbody's afraid of change.
Yeah. Why would you want a shrink exposing your stuff to you if you
want to stay in denial? Why would you tell him all your dirt you've
done to people in your life?
Yeah. That's why I think a lot of people don't go to therapy. Well,
you can tell me, a shrink, or anybody, "Here's the deal, blah, blah,
blah," and I think people are nervous because they don't even want
one person, even the shrink, to not like them, and think they're not
cool. I don't care what people think enough to be that way.
And the irony is that everybody's saying it anyway behind their back
that has them sussed.
Everybody's got wonderful stuff going on, and everybody's got dumb
stuff going on, and that's without exception.
Right.
So get over yourself (laughs). It's real simple. Just put one foot in
front of the other, and have a good time. That's all I can determine.
Try not to stab anybody. That's not good, either.
So about not playing with Paul…
Oh, yeah. For no amount of money, Jack and Jorma will not play with
Paul, because he has a personality defect.
It's weird, because I've had conversations with people ever since I
heard about the gig at the Greek (Theater), and I'm like there are
only two original members, and it doesn't make sense to me, and I
don't understand how people can look at this is the Jefferson Starship.
That's illegal actually. We made this up, I don't know, maybe
forty-five years later. You can not go out, or sell stuff, or do
anything under the name "Jefferson" without all of the members of the
group being involved.
[Author's note: The name "Jefferson Airplane" can not be used as the
name for the group. The name "Jefferson Airplane" can be used if all
of the original members are all together. However, if all of the
original living members are not all together, it can not be used. The
current group, according to their own billing, is referring to
themselves as "The Jefferson Starship performing the music of the
Jefferson Airplane," billing themselves in such manner, as a way to
get around the fact that Paul Kantner can not call his present group
"The Jefferson Airplane," as stated above. The national tour they are
on, which is billed as "The Heroes of Woodstock," is a bit ironic,
because the Jefferson Starship did not even exist until after Woodstock.--PP]
Well, how they're doing it is by saying,
Members of the Jefferson…
No, they're billing it as "Jefferson Starship plays the music of the
Jefferson Airplane."
Oh, wow. Okay. That's how they're doing it (laughs).
That's how they're doing it. And I looked at it, and I said, "How can
they do that?" It makes no sense, especially without Grace. How do
you do play the music of the Airplane without Grace? What's the point?
Well, they're not supposed to use the name Jefferson Starship,
either. Our manager…
Well, you need to go look at ad for the Greek show.
Yeah, Well, the people who own the names are me, because we bought
Paul out about fifteen, twenty years ago. So we've had all these
lawsuits going. We said, "Paul, we gave you eighty thousand dollars
to buy you out of the corporation, because that's what it was, a
corporation. You're not supposed to be using (laughs), and we let it
go for a while, because we thought, "Wel, the dude needs to make
money, what the fuck?" But then it started getting so where he was
selling like cheesy shit, and his manager was doing creepy stuff, and
he was billing it as Jefferson Airplane, and we had to bring another
lawsuit to get him to stop it. And now, they can, that is legal, to
say...They're not supposed to use the word "Jefferson," though," but
they can use "Starship plays Jefferson Airplane," that's legal. I
can't believe he's dumb enough to start doing it again. I'm going to
have to start suing him again.
I don't know where it is. I cut out the ad…I was like, "It doesn't
make sense to me." I have the ad somewhere.
You know what? I want to talk to you again. We've got to do some more of this.
--
(Writer's note: much of the above interview was omitted, due to
space, as well as other considerations.)
The speaker advertisement that Grace referred to regarding the
painting "Her Mistress' Voice" is for Maxell, and the image she
referred to is still used on some of its products, including on boxes
of blank cassette tapes that I have in my supply closet, which I use
when transferring my digital interviews onto cassette tape, for transcription.
Grace Slick's artwork is on exhibit and for sale at galleries around
the country. Many of her works are currently on display and available
at Gallery 319, located at 319 Wilshire Blvd. in Santa Monica,
California. Inquiries about purchasing her artwork can be made by
contacting Michelle at the gallery, at (310) 899-1499.
--
Phyllis Pollack lives in Los Angeles where she is a publicist and
music journalist. She can be reached through her blog.
http://www.electricearl.com/phyllis
.
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