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"The Jean Genie" is a single by David Bowie, released in November 1972. One of Bowie’s most famous songs, it was the lead single for the album Aladdin Sane (1973).

Mick Rock directed a film clip to promote the song, mixing concert and studio footage of Bowie performing with the Spiders From Mars, along with location shots of the singer posing at the Mars Hotel, San Francisco, with Cyrinda Foxe. Bowie wanted the video to depict "Ziggy as a kind of Hollywood street-rat" with a "consort of the Marilyn brand". This led to Foxe's casting, and she flew from New York to San Francisco especially for the shoot.

"The Jean Genie" was composed and recorded in New York City, where Bowie spent time hanging out with the Warhol set's Cyrinda Foxe. The song's chugging R&B riff is often compared to The Yardbirds (and specifically their cover of Bo Diddley's "I'm a Man") while the lyrics have been likened to the "stylised sleaze" of The Velvet Underground. The subject matter was inspired in part by Bowie's friend Iggy Pop or, in Bowie's own words, "an Iggy-type character... it wasn't actually Iggy." The line "He's so simple minded, he can't drive his module" would later give the band Simple Minds their name. The title has long been taken as a pun on the name of the homosexual author Jean Genet. Bowie was once quoted as saying that this was "subconscious... but it's probably there, yes". In his book "Moonage Daydream" in 2005, he stated this more unequivocally: "Starting out as a lightweight riff thing I had written one evening in NY for Cyrinda’s enjoyment, I developed the lyric to the otherwise wordless pumper and it ultimately turned into a bit of a smorgasbord of imagined Americana ... based on an Iggy-type persona ... The title, of course, was a clumsy pun upon Jean Genet".

Aladdin Sane is an album by David Bowie, released by RCA Records in 1973. The follow-up to his breakthrough The Rise and Fall of Ziggy Stardust and the Spiders from Mars, it was the first album Bowie wrote and released as a bona fide pop star. While many critics agree that it contains some of his best material, opinion as to its overall quality has often been divided. NME editors Roy Carr and Charles Shaar Murray called the album "oddly unsatisfying, considerably less than the sum of the parts", while Bowie encyclopedist Nicholas Pegg describes it as "one of the most urgent, compelling and essential" of his releases. The Rolling Stone review by Ben Gerson pronounced it "less manic than The Man Who Sold The World, and less intimate than Hunky Dory, with none of its attacks of self-doubt." It was one of six Bowie entries in Rolling Stone's list of the 500 greatest albums of all time (at #277) and ranked #77 on Pitchfork Media's Top 100 Albums of the 1970s.


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