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Jamaican singer, actress and model

The Honourable

Grace Jones


OJ

Grace Jones at Carriageworks (Vivid) - 1st June 2015 08.jpg

Jones in performance, 2015
Born

Grace Beverly Jones


(1948-05-nineteen) 19 May 1948 (age 74)

Spanish Town, St. Catherine, Jamaica
Other names Grace Mendoza
Alma mater Onondaga Community College
Occupations
  • Vocaliser
  • songwriter
  • model
  • extra
Years agile 1973–present
Works Discography
Spouse

Atila Altaunbay

​

​

(m. 1996⁠–⁠2004)​
Children 1
Relatives Noel Jones (brother)
Musical career
Genres
  • New wave[1] [2] [three]
  • art pop[4] [5] [6]
  • disco[two] [three] [7]
  • R&B[viii] [9]
  • reggae[10]
Instrument(s) Vocals
Labels
  • Isle
  • Manhattan
  • Capitol
  • Wall of Sound/PIAS

Musical artist
Website www.gracejones.com

Grace Beverly Jones OJ (born xix May 1948) is an American model, singer and extra.[11] Born in Jamaica, she and her family moved to Syracuse, New York, when she was a teenager. Jones began her modelling career in New York state, then in Paris, working for style houses such every bit Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She notably worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.

Get-go in 1977, Jones embarked on a music career, securing a record deal with Isle Records and initially becoming a high-contour figure of New York City's Studio 54-centered disco scene. In the early 1980s, she moved toward a new wave style that drew on reggae, funk, post-punk, and popular music, frequently collaborating with both the graphic designer Jean-Paul Goude and the musical duo Sly & Robbie. She scored Meridian 40 entries on the U.k. Singles Chart with "Private Life", "Pull Up to the Bumper", "I've Seen That Confront Before", and "Slave to the Rhythm". In 1982, she released the music video drove A Ane Human Bear witness, directed by Goude, which earned her a nomination for Best Video Album at the 26th Almanac Grammy Awards. Her most pop albums include Warm Leatherette (1980), Nightclubbing (1981), and Slave to the Rhythm (1985).

Every bit an extra, Jones appeared in several indie films prior to landing her start mainstream appearance as Zula in the fantasy-action pic Conan the Destroyer (1984) alongside Arnold Schwarzenegger and Sarah Douglas, and subsequently appeared in the James Bond moving-picture show A View to a Kill (1985) as May Day, and starred equally a vampire in Vamp (1986); all of which earned her nominations for the Saturn Award for Best Supporting Extra. In 1992, Jones acted in the Eddie Potato picture show Boomerang, and contributed to the soundtrack. She also appeared aslope Tim Curry in the 2001 film Wolf Girl.

Jones was ranked 82nd on VH1'due south 100 Greatest Women of Rock and Ringlet (1999). In 2008, she was honored with a Q Idol Honour. Jones influenced the cantankerous-dressing move of the 1980s and has been cited equally an inspiration for multiple artists, including Annie Lennox, Lady Gaga, Rihanna, Solange, Lorde, Róisín Murphy, Brazilian Girls, Nile Rodgers, Santigold, and Basement Jaxx. In 2016, Billboard ranked her every bit the 40th greatest dance order artist of all time.[12]

Biography and career

1948–1973: Early on life, and modeling career

Grace Jones was born in 1948 (though well-nigh sources say 1952)[two] [13] [xiv] [fifteen] in Spanish Town, Jamaica, the daughter of Marjorie (née Williams) (1927–2017)[16] [17] and Robert W. Jones (1925–2008),[18] who was a local politician and Churchly clergyman.[nineteen] [20] [21] [22] The couple already had two children, and would become on to have four more.[23] Robert and Marjorie moved to the East Coast of the United States,[23] where Robert worked as an agronomical labourer until a spiritual feel during a suicide try inspired him to get a Pentecostal government minister.[24] While they were in the US, they left their children with Marjorie'southward female parent and her new husband, Peart.[25] Jones knew him as "Mas P" ('Master P') and after noted that she "admittedly hated him"; as a strict disciplinarian he regularly beat the children in his care, representing what Jones described every bit "serious abuse".[26] She was raised into the family's Pentecostal faith,[27] having to accept function in prayer meetings and Bible readings every nighttime.[28] She initially attended the Pentecostal All Saints School,[29] earlier being sent to a nearby public school.[xxx] Equally a child, Jones was shy and had simply one schoolfriend. She was teased by classmates for her "skinny frame", just she excelled at sports and plant solace in the nature of Jamaica.[31]

[My babyhood] was all near the Bible and beatings. Nosotros were beaten for whatsoever petty act of dissent, and hit harder the worse the disobedience. It formed me as a person, my choices, men I take been attracted to... Information technology was a profoundly disciplined, militant upbringing, so in my own way, I am very militant and disciplined. Fifty-fifty if that sometimes ways beingness militantly naughty, and disciplined in the arts of subversion.

Grace Jones, 2015[32]

Marjorie and Robert somewhen brought their children – including the thirteen year-quondam Grace – to live with them in the United states of america, where they had settled in Lyncourt, Salina, New York, near Syracuse.[33] [34] It was in the urban center that her father had established his own ministry building, the Churchly Church building of Jesus Christ, in 1956.[35] Jones continued her schooling and afterwards she graduated, enrolled at Onondaga Customs College majoring in Castilian.[36] [37] Jones began to rebel against her parents and their religion; she began wearing makeup, drinking alcohol, and visiting gay clubs with her brother.[38] At college, she besides took a theatre class, with her drama teacher disarming her to join him on a summertime stock tour in Philadelphia.[39] [37] Arriving in the city, she decided to stay there, immersing herself in the Counterculture of the 1960s by living in hippie communes, earning money as a go-become dancer, and using LSD and other drugs.[40] She later praised the use of LSD as "a very of import part of my emotional growth... The mental exercise was good for me".[41]

She moved back to New York at 18 and signed on as a model with Wilhelmina Models. She moved to Paris in 1970.[37] [42] The Parisian fashion scene was receptive to Jones's unusual, androgynous, bold, dark-skinned appearance. Yves St. Laurent, Claude Montana, and Kenzo Takada hired her for runway modelling, and she appeared on the covers of Elle, Faddy, and Stern working with Helmut Newton, Guy Bourdin, and Hans Feurer.[43] Jones also modelled for Azzedine Alaia, and was frequently photographed promoting his line. While modelling in Paris, she shared an apartment with Jerry Hall and Jessica Lange. Hall and Jones frequented Le Sept, one of Paris'southward well-nigh popular gay clubs of the 1970s and 1980s, and socialised with Giorgio Armani and Karl Lagerfeld.[44] In 1973, Jones appeared on the comprehend of a reissue of Billy Paul'southward 1970 album Ebony Adult female.

1974–1979: transition to music, and early releases

Jones was signed by Island Records, who put her in the studio with disco record producer, Tom Moulton. Moulton worked at Sigma Sound Studios in Philadelphia, and Portfolio, was released in 1977. The album featured iii songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Piddling Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. The second side of the anthology opens up with a seven-infinitesimal reinterpretation of Édith Piaf'due south "La Vie en rose" followed by three new recordings, two of which were co-written past Jones, "Pitiful", and "That'south the Problem". The album finished with "I Need a Man", Jones's start club hit.[45] The artwork to the album was designed by Richard Bernstein, an artist for Interview.

In 1978, Jones and Moulton made Fame, an immediate follow-up to Portfolio, also recorded at Sigma Audio Studios. The anthology featured another reinterpretation of a French archetype, "Fall Leaves" past Jacques Prévert. The Canadian edition of the vinyl album included another French linguistic communication track, "Comme un oiseau qui s'envole" , which replaced "All on a Summers Night"; in most locations this vocal served as the B-side of the single "Exercise or Die". In the North American lodge scene, Fame was a hit album and the "Do or Die"/"Pride"/"Fame" side reached top 10 on both the US Hot Trip the light fantastic toe Club Play and Canadian Trip the light fantastic/Urban charts. The anthology was released on compact disc in the early on 1990s, simply soon went out of print. In 2011, it was released and remastered by Gold Legion, a tape visitor that specialises in reissuing classic disco albums on CD.

Jones's live shows were highly sexualized and flamboyant, leading her to be called "Queen of the Gay Discos."[7]

In the same twelvemonth she was cast in the highly controversial Italian TV program Stryx, aired past Rai two, where she portrayed the graphic symbol of Rumstryx.[46] [47] [48]

Muse was the terminal of Jones's disco albums. The album features a re-recorded version "I'll Find My Mode to Y'all", which Jones released 3 years prior to Muse. Originally appearing in the 1976 Italian movie, Colt 38 Special Squad in which Jones had a office as a society singer, Jones also recorded a song called "Once more and Again" that was featured in the film. Both songs were produced past composer Stelvio Cipriani. Icelandic keyboardist Thor Baldursson arranged most of the album and besides sang duet with Jones on the track "Suffer". Similar the terminal two albums, the cover art is past Richard Bernstein. Like Fame, Muse was afterwards released by Aureate Legion.

1980–1985: breakthrough, Nightclubbing, and acting

With anti-disco sentiment spreading, and with the assistance of the Compass Point All Stars, Jones transitioned into new wave music with the 1980 release of Warm Leatherette. The album included covers of songs by The Normal ("Warm Leatherette"), The Pretenders ("Private Life"), Roxy Music ("Love Is the Drug"), Smokey Robinson ("The Hunter Gets Captured past the Game"), Tom Petty and the Heartbreakers ("Breakdown") and Jacques Higelin ("Pars"). Sly Dunbar revealed that the title track was likewise the first to be recorded with Jones.[49] [l] Tom Petty wrote the lyrics to "Breakdown", and he likewise wrote the tertiary verse of Jones's reinterpretation.[51] The anthology included one vocal co-written by Jones, "A Rolling Stone". Originally, "Pull Up to the Bumper" was to be included on the anthology, but its R&B sound did not fit with the residual of the textile.[52] By 1981, she had begun collaborating with lensman and graphic designer Jean-Paul Goude, with whom she also had a human relationship.[53] An extended version of "Private Life" was released as a single, with a cover of the Joy Division song "She's Lost Command", a non-album track, as the B-side.

The 1981 release of Nightclubbing included Jones's covers of songs by Wink and the Pan ("Walking in the Rain"), Bill Withers ("Employ Me"), Iggy Pop/David Bowie ("Nightclubbing") and Ástor Piazzolla ("I've Seen That Face Before"). Iii songs were co-written by Jones: "Feel Up", "Art Groupie" and "Pull Up to the Bumper". Sting wrote "Demolition Man"; he later recorded it with The Law on the anthology Ghost in the Auto. "I've Done It Again" was written by Marianne Faithfull. The potent rhythm featured on Nightclubbing was produced by Compass Point All Stars, including Sly and Robbie, Wally Badarou, Mikey Chung, Uziah "Sticky" Thompson and Barry Reynolds. The album entered in the Peak five in four countries, and became Jones's highest-ranking tape on the Usa Billboard mainstream albums and R&B charts.

Nightclubbing claimed the number 1 slot on NME 'southward Anthology of the Year list.[54] Slant Mag listed the album at No. 40 on its list of Best Albums of the 1980s.[55] Nightclubbing is now widely considered Jones's all-time studio album.[56] The anthology's comprehend art is a painting of Jones past Jean-Paul Goude. Jones is presented every bit a human wearing an Armani suit jacket, with a cigarette in her mouth and a flattop haircut. While promoting the album, Jones slapped chat-show host Russell Harty alive on air subsequently he had turned to interview other guests, making Jones feel she was beingness ignored.[57]

Jones in Los Angeles, 1984

Having already recorded two reggae-oriented albums under the production of Compass Point All Stars, Jones went to Nassau, Commonwealth of the bahamas in 1982 and recorded Living My Life; the album resulted in Jones's terminal contribution to the Compass Point trilogy, with simply one embrace, Melvin Van Peebles'southward "The Apple Stretching". The rest were original songs; "Nipple to the Bottle" was co-written with Sly Dunbar, and, apart from "My Jamaican Guy", the other tracks were collaborations with Barry Reynolds. Despite receiving a express single release, the title track was left off the album. Further session outtakes included "Man Around the Business firm" (Jones, Reynolds) and a cover of "Ring of Fire", written past June Carter Cash and Merle Kilgore and popularized by Johnny Cash, both of which were included on the 1998 compilation Private Life: The Compass Point Sessions. The album'south cover art resulted from another Jones/Goude collaboration; the artwork has been described equally existence as famous as the music on the tape.[58] It features Jones'south disembodied head cut out from a photo and pasted onto a white groundwork. Jones's head is sharpened, giving her head and face an angular shape.[59] A slice of plaster is pasted over her left eyebrow, and her forehead is covered with drops of sweat.

Jones's 3 albums nether the production of the Compass Point All Stars resulted in Jones's One Homo Bear witness, a performance art/pop theatre presentation devised by Goude and Jones in which she also performed tracks from the albums Portfolio ( "La Vie en rose" ), Warm Leatherette, ("Private Life", "Warm Leatherette"), Nightclubbing ("Walking in the Pelting", "Feel Up", "Demolition Man", "Pull Upwardly to the Bumper" and "I've Seen That Confront Before (Libertango)") and from Living My Life, "My Jamaican Guy" and the album's title rail. Jones dressed in elaborate costumes and masks (in the opening sequence as a gorilla) and alongside a series of Grace Jones lookalikes. A video version, filmed alive in London and New York City and completed with some studio footage, was nominated for a Grammy Award for Best Long-Form Music Video the post-obit year.[lx]

After the release of Living My Life, Jones took on the function of Zula the Amazonian in Conan the Destroyer (1984) and was nominated for a Saturn Award for Best Supporting Actress. In 1985, Jones starred equally May Day, henchwoman to master antagonist Max Zorin in the 14th James Bond film A View to a Kill; Jones was also nominated for a Saturn Award for Best Supporting Actress. That same year, she was featured on the Arcadia song "Ballot Day". Jones was among the many stars to promote the Honda Scooter; other artists included Lou Reed, Adam Ant, and Miles Davis.[61] Jones as well, with her boyfriend Dolph Lundgren posed nude for Playboy.[62]

1986–1989: Slave to the Rhythm, Island Life, further films

Later Jones'south success as a mainstream actress, she returned to the studio to work on Slave to the Rhythm, the last of her recordings for Isle. Bruce Woolley, Simon Darlow, Stephen Lipson and Trevor Horn wrote the material, and it was produced by Horn and Lipson. It was a concept album that featured several interpretations of the title rail. The project was originally intended for Frankie Goes to Hollywood every bit a follow-up to "Relax", but was given to Jones.[63] All eight tracks on the album featured excerpts from a conversation with Jones, speaking virtually many aspects of her life. The interview was conducted by journalist Paul Morley. The album features vocalization-overs from thespian Ian McShane reciting passages from Jean-Paul Goude's biography Jungle Fever. Slave to the Rhythm was successful in High german-speaking countries and in the Netherlands, where it secured Top 10 placings. Information technology reached number 12 on the UK Albums Chart in November 1985 and became the 2nd-highest-ranking album released by Jones.[64] [65] Jones earned an MTV Video Music Accolade nomination for the title track's music video.

After her success with Slave to the Rhythm, Isle released Island Life, Jones'due south get-go all-time-of compilation, which featured songs from virtually of her releases with Island (Portfolio, Fame, Warm Leatherette, Nightclubbing, Living My Life and Slave to the Rhythm). American author and journalist Glenn O'Brien wrote the essay for the inlay booklet. The compilation charted in the United kingdom, New Zealand and the The states.[66] The artwork on the cover of the compilation was of another Jones/Goude collaboration; it featured Jones's celestial trunk in a montage of separate images, post-obit Goude's ideas on creating credible illusions with his cut-and-paint technique. The body position is anatomically impossible.[67]

The artwork, a slice chosen "Nigger Arabesque" was originally published in the New York magazine in 1978, and was used equally a backdrop for the music video of Jones's hitting unmarried "La Vie en rose" .[68] The artwork has been described as "one of pop civilization'south most famous photographs".[69] The image was also parodied in Nicki Minaj'southward 2011 music video for "Stupid Hoe", in which Minaj mimicked the pose.[70]

After Slave to the Rhythm and Island Life, Jones started to record again under a new contract with Manhattan Records, which resulted in Within Story, Jones teamed up with music producer Nile Rodgers of Chic, whom Jones had previously tried to work with during the disco era.[71] The album was recorded at Skyline Studios in New York and mail service-produced at Atlantic Studios and Sterling Sound. Inside Story was the commencement album Jones produced, which resulted in heated disputes with Rodgers. Musically, the anthology was more attainable than her previous albums with the Compass Point All Stars, and explored different styles of pop music, with undertones of jazz, gospel, and Caribbean area sounds. All songs on the anthology were written by Jones and Bruce Woolley. Richard Bernstein teamed up with Jones again to provide the album's artwork. Inside Story made the top 40 in several European countries. The album was Jones'due south last entry to engagement on Usa Billboard 200 albums chart. The same year, Jones starred every bit Katrina, an Egyptian queen vampire in the vampire film Vamp. For her work in the moving-picture show, Jones was awarded a Saturn Award for Best Supporting Extra.

In 1987, Jones appeared in two films, Straight to Hell, and Mary Lambert's Siesta, for which Jones was nominated for Golden Raspberry Award for Worst Supporting Extra. Bulletproof Heart was released in 1989, produced by Chris Stanley, who co-wrote, and co-produced the majority of the songs, and was featured every bit a guest vocalizer on "Don't Cry Freedom". Robert Clivillés and David Cole of C+C Music Factory produced some tracks on the album.

1990–2004: Boomerang, soundtracks, and collaborations

In 1990, Jones appeared as herself in the documentary, Superstar: The Life and Times of Andy Warhol. 1992 saw Jones starring as Helen Strangé, in the Eddie Tater moving-picture show Boomerang, for which she also contributed the song "7 Solar day Weekend" to its soundtrack. Jones released two more soundtrack songs in 1992; "Evilmainya", recorded for the film Freddie as F.R.O.seven, and "Allow Joy and Innocence Prevail" for the film Toys. In 1994, she was due to release an electro album titled Black Marilyn with artwork featuring the vocalist as Marilyn Monroe. "Sex Drive" was released as the first single in September 1993, just due to unknown reasons the record was eventually shelved. The runway "Volunteer", recorded during the same sessions, leaked in 2009.[72] In 1995, Jones reunited with Tom Moulton for a disco-house accept on Candi Staton's 1978 vocal "Victim", however, the song's release was cancelled past Island Records.[73] [74]

In 1996, Jones released "Love Bites", an upward-tempo electronic track to promote the Sci-Fi Channel's Vampire Week, which consisted of a series of vampire-themed films aired on the channel in early November 1996. The track features Jones singing from the perspective of a vampire. The track was released as a non-label promo-only single. As of 2013[update], it had non been made commercially available.[75]

In June 1998, Jones was scheduled to release an anthology entitled Force of Nature, on which she worked with trip hop musician Tricky.[76] The release of Force of Nature was cancelled due to a disagreement between the two, and simply a white characterization 12" single featuring ii dance mixes of "Hurricane" was issued at the time;[77] a slowed-down version of this song became the championship rail of her comeback album released ten years later while some other unreleased track from the album, "Clandestine Affair" (recycling the chorus from her unreleased 1993 track "Volunteer"), appeared on a bootleg 12" in 2004.[78] Jones recorded the track "Storm" in 1998 for the movie The Avengers, and in 1999, appeared in an episode of the Beastmaster telly series equally the Umpatra Warrior.

The aforementioned year, Jones recorded "The Perfect Crime", an upwardly-tempo vocal for Danish TV written by the composer duo Floppy M. aka Jacob Duus and Kåre Jacobsen. Jones was too ranked 82nd identify on VH1's "100 Greatest Women of Rock & Roll".[ commendation needed ] In 2000, Jones collaborated with rapper Lil' Kim, appearing on the vocal "Revolution" from her album The Notorious K.I.M..[79] In 2001, Jones starred in the fabricated-for-television moving picture, Wolf Girl (besides known as Blood Moon), as an intersex circus performer named Christoph/Christine. In 2002, Jones joined Luciano Pavarotti on stage for his annual Pavarotti and Friends fundraiser concert to support the United nations refugee agency's programs for Angolan refugees in Republic of zambia. In November 2004, Jones sang "Slave to the Rhythm" at a tribute concert for record producer Trevor Horn at London's Wembley Arena.[80] [81]

2008–2015: Hurricane and memoir

Despite several comeback attempts throughout the 1990s, Jones's next full-length record was released almost twenty years afterwards, afterwards Jones decided "never to do an anthology once again,"[82] changing her heed subsequently meeting music producer Ivor Guest through a mutual friend, milliner Philip Treacy. After the two became acquainted, Guest let Jones listen to a rails he had been working on, which became "Devil in My Life", one time Jones set the lyrics to the vocal. The lyrics to the vocal were written after a political party in Venice.[83]

The two concluded up with 23 tracks. The anthology, Hurricane, included autobiographical songs, such as "This Is", "Williams' Blood" and "I'thousand Crying (Female parent'due south Tears)", an ode to her mother Marjorie. "Beloved You to Life" was another track based on real events and "Corporate Cannibal" referred to corporate capitalism. "Well Well Well" was recorded in retentivity of Alex Sadkin, member of Compass Point All Stars who had died in a motor accident 1987. "Sunset Sunrise" was written by Jones'due south son, Paulo; the vocal ponders the human relationship between flesh and female parent nature. Four songs were removed from the anthology, "The Central to Funky", "Torso Phenomenon", "Sis Sister" and "Misery". For the product of the anthology, Jones teamed up with Sly and Robbie, Wally Badarou, Barry Reynolds, Mikey Chung, and Uziah "Sticky" Thompson, of the Compass Indicate All Stars, with contributions from trip-hop creative person Tricky, and Brian Eno.[84]

The anthology was released on Wall of Sound on 3 November 2008, in the Great britain. PIAS, the umbrella company of Wall of Sound, distributed Hurricane worldwide excluding North America.[85] The album scored 72 out of 100 on review aggregator Metacritic.[86] Prior to the anthology'southward release, Jones performed at Massive Attack's Meltdown festival in London on 19 June 2008, Jones performed four new songs from the album and premiered the music video which Jones and artist Nick Hooker collaborated on, which resulted in "Corporate Cannibal".[87] [88] [89] Jones promoted the album even further by actualization on talk testify Friday Night with Jonathan Ross, performed at several awards galas, and embarked on The Hurricane Tour. The same year, Jones was honoured with Q Idol Award.

In 2009, Chris Cunningham produced a style shoot for Mazed & Dislocated using Jones as a model to create "Nubian versions" of Rubber Johnny.[ninety] In an interview for BBC'southward The Culture Show, information technology was suggested that the collaboration may expand into a video project. Jones also worked with the advanced poet Brigitte Fontaine on a duet named "Soufi" from Fontaine's album Prohibition released in 2009, and produced past Ivor Guest.

In March 2010 Jones performed for guests at the 18th annual Elton John AIDS Foundation Academy Award Viewing Political party. The Elton John AIDS Foundation is one of the globe's leading nonprofit organisations supporting HIV prevention programs, and works to eliminate the stigma and bigotry associated with HIV/AIDS. The event raised Usa$three.7 1000000.[91] [92] The aforementioned year, a budget DVD version of A Ane Man Show was released, equally Grace Jones – Live in Concert. Information technology included iii bonus video clips ("Slave to the Rhythm", "Honey Is the Drug" and "Crush".

In 2011, Jones collaborated again with Brigitte Fontaine on 2 tracks from her release entitled 50'un north'empêche pas l'autre and performed at the opening anniversary of the 61st FIFA Congress.[93] Jones released a dub version of the album, Hurricane – Dub, which came out on v September 2011. The dub versions were made by Ivor Invitee, with contributions from Adam Green, Frank Byng, Robert Logan and Ben Cowan.

In April 2012, Jones joined Deborah Harry, Bebel Gilberto, and Sharon Stone at the Inspiration Gala in São Paulo, Brazil, raising $i.3 meg for amfAR (the Foundation for AIDS Inquiry). Jones closed the evening with a performance of "La Vie en Rose" and "Pull Up to the Bumper".[94] Two months later, Jones performed "Slave to the Rhythm" at the Diamond Jubilee of Elizabeth Two (whilst keeping a hula hoop spinning round her waist throughout), and the Lovebox Festival.[95] On 27 October 2012, Jones performed her only North American prove of 2012, a performance at New York City'southward Roseland Ballroom.[96] The same year, Jones presented Sir Tom Jones with not only the GQ Men of the Year award, simply her underwear. Tom Jones accepted the gift in practiced humor, and replied by saying, "I didn't recollect you lot wore any".[97]

Universal Music Group released a deluxe edition of her Nightclubbing album as a two-disc ready and Blu-ray audio on 28 Apr 2014. The gear up contains well-nigh of the 12" mixes of singles from that anthology, plus two previously unreleased tracks from the Nightclubbing sessions, including a cover of the Gary Numan track "Me! I Disconnect from You".

In October 2014, Jones was announced every bit having contributed a song, "Original Animate being", to the soundtrack of The Hunger Games: Mockingjay – Part i.[98]

Jones's memoir entitled I'll Never Write My Memoirs was released on 29 September 2015.[99]

2017–present: Collaborations and festivals

In 2017, Jones collaborated with British virtual ring Gorillaz, actualization on the song "Charger" from their 5th studio album Humanz.[100]

In October 2018, Jones received the Order of Jamaica from the Jamaican government.[101]

In June 2022, Jones served every bit curator of the 27th edition of the Meltdown Festival, the UK's longest-running artist-curated music festival.[102] [103] Jones had been announced every bit the curator already for the 2020 festival, but due to the COVID-19 pandemic it was rescheduled to 2022.[104] During her show that closed the festival, Jones announced that a make new 'African hybrid' record was in production, and previewed "The Sun Shines in Wartime" (or "Sunshine In Wartime) and "Blacker Than Black" (or "Built-in Black") from the album.[105]

Jones provided invitee vocals on Beyoncé's song "Move" from her seventh studio album Renaissance, released in July 2022.[106]

On 14 Nov 2022, music festival Camp Bestival appear their 2023 lineup, which included Jones, aslope Central Scream, Melanie C, Craig David, The Kooks, the Human League, and others.[107] [108]

Artistry and influence

Image

"Grace was very open. We worked together to create this intimidating character. I mean, she'due south naturally intimidating anyway with her body shape, very straight neck, prominent cheekbones, and clean-cut jawline. She's feminine, no doubt about that, just I've ever thought that she was far more beautiful without the artifices she employed to make herself more feminine. I tried to emphasize that torso shape through a sort of minimalist German expressionism, with its games of shadows and its angular shapes. Grace is from Jamaica, and then she speaks English in a quite idea-out style. I besides advised her to address her audition – mostly composed of homosexuals – like a teacher would, with severity. All of that stuff contributed to the building of her paradigm. "

— Jean-Paul Goude, Vice, 2012.[109]

Jones' "advent was every bit divisive" equally the sonic fluidity of her music - with her "striking visuals [leading] to her becoming a muse for the likes of Issey Miyake and Thierry Mugler.[110] Her paradigm has been described as "neo-cubist".[111] Jones's distinctive androgynous appearance, square-cut, angular padded article of clothing, manner, and height of 179 cm (five′ 10+ 1⁄2 ″)[ citation needed ] influenced the cross-dressing move of the 1980s. To this day, she is known for her unique look at to the lowest degree as much as she is for her music[112] and has been an inspiration for numerous artists, including Annie Lennox,[113] Lorde,[114] and Nile Rodgers.[115] Jones was listed every bit one of the 50 all-time-dressed over 50 by The Guardian in March 2013.[116]

Kyle Munzenrieder of Westward magazine wrote that "everyone from Madonna to Björk to Beyoncé to Lady Gaga has taken more than a few pages from her playbook".[117] Jones's work is often discussed for its visual aspect, which was largely the work of French illustrator, photographer, and graphic designer Jean-Paul Goude. According to Jake Hall of i-D, "their collaborative work [went on] to define the visual mural of the 70s and 80s," and Goude "helped create one of the most intriguing legends in musical history."[110] Goude saw Jones as his muse, declaring she was "beautiful and grotesque at the same time,"[118] and dated her from 1977 to 1984. He "[designed her] album covers, [...] directed her music videos, choreographed alive performances, and helped develop her image."[119]

Jones was featured prominently in Goude's work from that period, "which, over the course of the '80s, became increasingly synonymous with willful baloney" - using a technique he refers to equally "French correction".[119] The artist stated in 2012: "chopping up photos and rearranging them in a montage to elongate limbs or exaggerate the size of someone'south caput or some other aspect appealed to me on a lot of levels – I'chiliad always searching for equilibrium, symmetry, and rhythm in an paradigm."[109] Goude's piece of work "centers around creative depictions of race, ethnicity, and global civilization", with an "enchantment with the far-away and the exotic".[110] Every bit a issue, much of his depictions of blackness women are considered controversial and exploitative,[110] [118] equally Jones was presented as "a white human'due south rendition of the African feminine."[111] Goude's images depicted her hypersexualized and androgynous, emphasizing her "blackness" and Jamaican heritage. Writer Abigail Gardner felt Jones' body "was presented and manipulated in ways that are clearly coinciding with conceiving of that display as artefactual."[111] Essentially, Hall writes, "Goude treated Jones as an artistic vehicle first and foremost - a hyperbole which, despite destroying their personal relationship, allowed Goude to translate his grandiose vision of Jones the phenomenon into a serial of imagery which painted her as a surreal, incommunicable muse."[110]

It has been noted that Jones' ties with the 1970s and 1980s New York art scene are important in understanding her visual identity during this flow, and she was shut to Andy Warhol, who created a number of paintings and other works of the singer.[120] [121] She too knew artist Richard Bernstein, and creative person and social activist Keith Haring, who painted her caput-to-toe for a series of photographs taken by Robert Mapplethorpe and for her role in the 1986 film Vamp.[122] [123] [124] [121]

In 2020, the first ever art exhibition centred around Jones was presented at Nottingham Contemporary in the United kingdom of great britain and northern ireland, in an attempt to correspond "a multi-faceted pop culture icon while trying to reformulate an alternative epitome of Grace Jones that does not fall into clichés."[125]

Music

Vice described Jones's musical output as "weird, vibrant and progressive," stating that she "has woven disco, new moving ridge, post-punk, art popular, industrial, reggae, and gospel into a tight sound that is distinctly hers, threaded together with lilting, powerful vocals."[126] Her early music was rooted in disco. She opted for a new moving ridge sound in the early on 1980s. She recorded a series of albums (1980's Warm Leatherette through 1982's Living My Life) backed by the Jamaica rhythm department duo Sly and Robbie. Her music during this era was described as a new wave hybrid of reggae, funk, popular, and stone.[i] According to John Doran of BBC Music, Warm Leatherette and Nightclubbing were "mail service-punk pop" albums that, "delved into the worlds of disco, reggae and funk much more successfully than well-nigh of her 'alternative' contemporaries, while still retaining a blank-eyed alienation that was more reminiscent of David Bowie or Ian Curtis than near of her peers."[127]

Jones has a contralto vocal range. She sings in ii modes: either in her monotone speak-sing vocalisation as in songs such as "Individual Life", "Walking in the Pelting" and "The Apple tree Stretching", or in an almost-soprano mode in songs such as "La Vie en Rose", "Slave to the Rhythm", and "Victor Should Have Been a Jazz Musician". Jones's voice spans 4 octaves, 1 note and a semitone from the low notation of C2 (in "Corporate Carnivorous") to the loftier note of E ♭ six (in "Slave to the Rhythm).[128]

Personal life

Jones's male parent was strict and their relationship was strained. According to his detail denomination's beliefs, one should simply use 1's singing ability to glorify God.[31] Bishop Robert Westward. Jones died on 7 May 2008.[20] Her female parent, Marjorie, always supported Jones'southward career (she sings on "Williams' Claret" and "My Jamaican Guy") but could not exist publicly associated with her music.[31] Marjorie'southward father, John Williams, was besides a musician[129] and played with Nat King Cole.[31]

Jones described her childhood as having been "crushed underneath the Bible",[36] and since has refused to enter a Jamaican church due to her bad childhood experiences.[130]

Through her relationship with longtime collaborator Jean-Paul Goude, Jones has one son, Paulo, born 12 Nov 1979. From Paulo, Jones has one granddaughter.[128] Jones married Atila Altaunbay in 1996. She disputes rumors that she married Chris Stanley in her 2015 memoir I'll Never Write My Memoirs, saying, "The truth is, I but ever married i of my boyfriends, Atila Altaunbay, a Muslim from Turkey." She spent four years with Swedish player Dolph Lundgren, her onetime bodyguard;[131] she got him a function as a KGB officer in A View to a Impale (1985).[132] Jones started dating Danish actor and stuntman Sven-Ole Thorsen in 1990, and was in an open human relationship as of 2007.[133]

Jones'south brother is megachurch preacher Bishop Noel Jones, who starred on the 2013 reality evidence Preachers of LA.[134]

Jones used the surname "Mendoza" in her 20s, then that her parents would not know that she was working as a become-become dancer.[135]

Awards and nominations

Year Awards Work Category Outcome
1983 Billboard Music Awards Herself Acme Disco Artist - Female person Nominated
1984 Grammy Awards A One Human Show All-time Video Anthology Nominated
1985 Bravo Otto Awards Herself All-time Female person Extra (Silvery) Won
Saturn Awards Conan the Destroyer All-time Supporting Actress Nominated
1986 A View to a Kill Nominated
MTV Video Music Awards "Slave to the Rhythm" Best Female Video Nominated
1987 Saturn Awards Vamp Best Supporting Actress Nominated
1988 Gilt Raspberry Awards Siesta Worst Supporting Actress Nominated
1999 Golden Raspberry Awards[136] "Storm" Worst Original Song Nominated
2008 Q Awards[137] Herself Q Icon Won
2009 Helpmann Awards Hurricane Bout All-time International Gimmicky Music Concert Nominated
2014 Rober Awards Music Poll Nightclubbing Best Reissue Nominated
2016 NME Awards I'll Never Write My Memoirs Best Book Nominated
2017 The Vox of a Woman Awards[138] Herself Lifetime Achievement Honor Won
Commonwealth of the bahamas International Moving picture Festival Career Achievement Award Won

Discography

Jones on her Hurricane Tour, 2009

Studio albums

  • Portfolio (1977)
  • Fame (1978)
  • Muse (1979)
  • Warm Leatherette (1980)
  • Nightclubbing (1981)
  • Living My Life (1982)
  • Slave to the Rhythm (1985)
  • Within Story (1986)
  • Bulletproof Heart (1989)
  • Hurricane (2008)

Tours

  • A Ane Man Prove (1981)
  • Grace in Your Confront (1990)
  • Hurricane Bout (2009)[139]

Filmography

Every bit actress
Twelvemonth Title Part Notes
1973 Gordon's State of war Mary
1976 Attending les yeux! Cuidy
Quelli della Calibro 38 Society Singer Uncredited
1978 Stryx Rumstryx Television series
1981 Mortiferous Vengeance Slick'southward girlfriend
1984 Conan the Destroyer Zula
1985 A View to a Impale May Day
1986 Vamp Katrina
1987 Direct to Hell Sonya
Siesta Conchita
1992 Boomerang Helen Strangé
1995 Cyber Bandits Masako Yokohama
1998 McCinsey'southward Island Alanso Richter
Palmer'due south Pick Upwardly Ms. Remo
1999 BeastMaster Nokinja Episode: "The Umpatra"
2001 Wolf Girl Christoph/Christine TV movie
Shaka Zulu: The Citadel The Queen TV movie
2006 No Place Similar Home Dancer
2008 Falco – Verdammt, wir leben noch! Waitress
Chelsea on the Rocks Bev
2016 Gutterdämmerung Death / The Devil
Video games
Year Championship Part Notes
1994 Hell: A Cyberpunk Thriller Solene Solux
Phase work
Year Title Office Location
1997 The Wiz Evillene U.s.a. Touring Revival
Equally musician
Year Title Notes
1982 A One Human being Show "Warm Leatherette" (intro includes excerpts from "Nightclubbing"), "Walking in the Rain", "Experience Up" "La Vie en rose", "Demolition Human being", "Pull Up to the Bumper", "Private Life", "My Jamaican Guy", "Living My Life", "I've Seen That Face Before (Libertango)"
1983 The Video Singles Includes the videos for "Pull Up to the Bumper", "Private Life" and "My Jamaican Guy", all directed by Jean-Paul Goude.
1988 Christmas at Pee Wee'south Playhouse (Tv special) Guest performer: reinterpretation of "The Little Drummer Boy"
2002 Pavarotti & Friends 2002 for Angola Guest performer: "Pourquoi Me Réveiller" (feat. Luciano Pavarotti)
2005 And so Far So Goude DVD only bachelor as a bonus with the purchase of Thames & Hudson'southward biography on Jean-Paul Goude[140]
2010 Grace Jones – Live in NYC 1981 Remastered version of A One Man Prove with three bonus music videos, "Slave to the Rhythm", "Love Is the Drug" and "Crush"
2012 The Diamond Jubilee Concert
(Television set special) 		Guest performer: "Slave to the Rhythm"
Documentaries
Year Title Notes
1979 Army of Lovers or Revolution of the Perverts/ Armee der Liebenden oder Revolte der Perversen
1984 Mode in France
1990 Superstar: The Life and Times of Andy Warhol
1996 In Search of Dracula with Jonathan Ross
1998 Behind the Music – Studio 54
2007 Queens of Disco
2017 Grace Jones: Bloodlight and Bami

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Bibliography

  • Jones, Grace; Morley, Paul (2015). I'll Never Write My Memoirs. London: Simon & Schuster United kingdom of great britain and northern ireland. ISBN978-1471135217.

External links

  • Official website
  • Grace Jones at AllMusic Edit this at Wikidata
  • Grace Jones at IMDb

Source: https://en.wikipedia.org/wiki/Grace_Jones#:~:text=Jones's%20distinctive%20androgynous%20appearance%2C%20square,dressing%20movement%20of%20the%201980s.

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