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After several years of downward-spiraling sales, Black Star Boots owner Matt Milliorn found himself at a crossroads: increase sales, or fold. The competition in ladies boots is fierce.

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Just a handful of majors own that space. So, we revamped the logo to reflect that attitude and the class the Black Star brand embodies. We developed an entire brand book with messaging and a tagline to carry that through to every touchpoint.

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Here's an unofficial guide to the ones that have stood out to us upon release day. Bowie's interest in theatrics is well documented, including with his new off-Broadway play Lazarus.

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But as the A. The play, one of the most contentious of its time, centers on the incestuous and doomed affair between siblings Giovanni and Annabella. Giovanni ends up stabbing Annabella in the heart, and a cardinal shrugs and says—you guessed it—"'tis pity she's a whore. Critics are praising Bowie's paradigm-shifting Blackstar for challenging the confines of jazz with an experimental backing band.

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But Bowie's dalliances with the genre aren't necessarily new—they extend far back to when he still went by the name Davie Jones. As a teenager at Bromley Technical School in the early s, he learned how to play the plastic alto saxophone a gift from his mother after his half brother, Terry Burns, introduced him to John Coltrane and Charles Mingus.

Bowie's appreciation for jazz is peppered throughout his extensive catalog, from the saxophone crooning alongside Ziggy Stardust's "Soul Love" to pianist Mike Garson's flourishes on "Aladdin Sane" and his collaborations with fellow jazz freak but not relative Lester Bowie, the trumpeter, on his album Black Tie White Noise. Blackstar indeed booms with saxophone solos, notably in the lucid-dream-like "Dollar Days" and the rollicking "'Tis a Pity She Was a Whore.

Part of this is due to his collaboration with an avant-garde jazz group, led by Grammy-nominated saxophonist Donny McCaslin, which serves as Bowie's backing band on Blackstar.

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James Murphy, frontman of the recently reunited electronic group LCD Soundsystem, also plays percussion on two of the album's tracks. We knew long ago that Blackstar would be an anomaly, even for Bowie. Thanks to a November Rolling Stone interview, we found out two things: one, that Bowie loved To Pimp a Butterfly as much as we did , and two, that Blackstar was a decided break from anything we'd heard from the star before. He threw everything on there, and that's exactly what we wanted to do.

The goal, in many, many ways, was to avoid rock and roll. Thematically, Kendrick Lamar's lyrics tackle key issues of race, politics and blackness. But Bowie has drawn from Lamar's free-flowing funk, flourishing on Blackstar songs like "Sue," which thunders with meaty bass-line freestyles, and "Girl Loves Me," a song where the headbangs unexpectedly come from orchestral finishes.


A central feature of Anthony Burgess's classic A Clockwork Orange is that it's written entirely in Nadsat, the fictional, hybrid Russian-American slang language of the future that Alex DeLarge and his cronies use as they stalk the streets.