Grace Jones
Grace Jones once slapped the chat-show host Russell Harty on live television. She was promoting a record, and she felt ignored when he turned away to interview other guests. The moment suits a performer who has never been easy to look past. Jones is a Jamaican singer, songwriter, model and actress, and her face has been discussed at least as much as her voice. Her career has crossed runways, dance floors, recording studios and film sets. How does one person move through so many worlds? Who decided what she should look like? And what did that carefully built image cost the people involved in making it?
Grace Beverly Jones was born on the 19th of May 1948 in Spanish Town, Jamaica. Her father, Robert W. Jones, was a local politician and Apostolic clergyman, and her mother was Marjorie, born Williams. The couple already had two children and would have four more. Robert and Marjorie moved to the East Coast of the United States, where Robert worked as an agricultural labourer before becoming a Pentecostal minister. The children stayed in Jamaica with Marjorie's mother and her new husband, a man named Peart.
Jones knew her grandmother's husband as Mas P, short for Master P. She later said she "absolutely hated him." He was a strict disciplinarian who regularly beat the children, and she described it as "serious abuse." Every night in that household meant prayer meetings and Bible readings. Jones first attended the Pentecostal All Saints School and was later sent to a nearby public school.
Jones was shy, had only one schoolfriend, and was teased by classmates for her skinny frame. She excelled at sports and found comfort in the Jamaican countryside. Years later she described her childhood as "crushed underneath the Bible." She has since refused to enter a Jamaican church because of those experiences.
At 13, Jones was brought to live with her parents in Lyncourt, Salina, New York, near Syracuse. Her father had established his own ministry in Syracuse, the Apostolic Church of Jesus Christ, in 1956. His denomination held that a singing voice should be used only to glorify God. That belief sat uneasily with her later career. Music still ran in the family, because her mother's father, John Williams, played with Nat King Cole.
After graduating, Jones enrolled at Onondaga Community College to major in Spanish, and rebellion followed. She wore makeup, drank alcohol and visited gay clubs with her brother. A theatre class led her drama teacher to invite her on a summer stock tour in Philadelphia. When she arrived, she decided to stay. She lived in hippie communes, earned money as a go-go dancer and used LSD and other drugs. She later called LSD "a very important part of my emotional growth... The mental exercise was good for me."
In her twenties she went by the surname Mendoza, so that her parents would not find out she was working as a go-go dancer.
At 18, Jones moved back to New York and signed with Wilhelmina Models. In 1970 she relocated to Paris, where the fashion world welcomed her androgynous, bold, dark-skinned look. Yves St. Laurent, Claude Montana and Kenzo Takada hired her for runway work. She also modelled for Azzedine Alaia and was frequently photographed promoting his line.
Elle, Vogue Hommes and Stern all put her on their covers. Her photographers included Helmut Newton, Guy Bourdin and Hans Feurer. She emerged as one of the most prominent Black models of the 1970s. Her appearance has since been cited as influential in early discussions of gender expression.
In Paris, Jones met Jerry Hall and Jessica Lange. Hall and Jones often went to Le Sept, one of the city's most popular gay clubs of the 1970s and 1980s. There they socialised with Giorgio Armani and Karl Lagerfeld.
In 1973, Jones's image appeared on the cover of a reissue of Billy Paul's 1970 album Ebony Woman, years before any album of her own.
Island Records signed Jones and put her in the studio with the disco producer Tom Moulton, who worked at Sigma Sound Studios in Philadelphia. The result was Portfolio, released in 1977.
The album mixed Broadway material with a French classic. It included Stephen Sondheim's "Send in the Clowns" from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. Side two opened with a seven-minute reinterpretation of Édith Piaf's "La Vie en rose." Jones co-wrote "Sorry" and "That's the Trouble," and the closing "I Need a Man" became her first club hit. Richard Bernstein, an artist for Interview, designed the artwork.
In 1978, Jones and Moulton returned to Sigma Sound for Fame, an immediate follow-up. It offered another French classic, "Autumn Leaves" by Jacques Prévert. The Canadian vinyl edition swapped "All on a Summers Night" for the French-language "Comme un oiseau qui s'envole." The side with "Do or Die," "Pride" and "Fame" reached the top 10 on both the US Hot Dance Club Play chart and the Canadian Dance/Urban chart. Gold Legion, a label that reissues classic disco albums, remastered Fame in 2011 after it had gone out of print.
"Queen of the Gay Discos" was the nickname her highly sexualized and flamboyant live shows earned. In 1978 she also appeared in the controversial Italian television programme Stryx, broadcast on Rai 2, as the character Rumstryx.
Muse, released in 1979, closed out her disco albums. It re-recorded "I'll Find My Way to You," which she had first released three years earlier. That song and "Again and Again" came from the 1976 Italian film Colt 38 Special Squad, where she played a club singer. The composer Stelvio Cipriani produced both. The Icelandic keyboardist Thor Baldursson arranged most of the album and sang a duet with her on "Suffer." Bernstein again supplied the cover art.
The press called her "Disco Queen" during the Studio 54 years, and in 1979 Jet named her "the greatest of them all."
With anti-disco sentiment spreading in 1980, Jones turned to new wave and released Warm Leatherette with the help of the Compass Point All Stars. The record was built from covers. It took songs by The Normal ("Warm Leatherette"), The Pretenders ("Private Life"), Roxy Music ("Love Is the Drug"), Smokey Robinson, Tom Petty and the Heartbreakers ("Breakdown") and Jacques Higelin ("Pars"). Sly Dunbar revealed that the title track was the first one recorded with her. Tom Petty wrote the lyrics to "Breakdown" and also added the third verse of her version. Jones co-wrote "A Rolling Stone."
"Pull Up to the Bumper" was meant for that album, but its R&B sound did not fit the other material. An extended "Private Life" became a single, backed by a cover of Joy Division's "She's Lost Control."
Nightclubbing arrived in 1981 with covers of Flash and the Pan's "Walking in the Rain," Bill Withers's "Use Me," the Iggy Pop and David Bowie song "Nightclubbing," and Ástor Piazzolla's "I've Seen That Face Before." Jones co-wrote "Feel Up," "Art Groupie" and the song that had missed the previous album, "Pull Up to the Bumper." Marianne Faithfull wrote "I've Done It Again." Sting wrote "Demolition Man," which he later recorded with The Police on Ghost in the Machine. The rhythm section included Sly and Robbie, Wally Badarou, Mikey Chung, Uziah "Sticky" Thompson and Barry Reynolds.
The album entered the Top 5 in four countries and became her highest-ranking record on the US Billboard mainstream albums and R&B charts. NME placed it at number 1 on its Album of the Year list. Slant Magazine later ranked it No. 40 among the best albums of the 1980s. It is now widely considered her best studio album. Her UK Top 40 singles from this period included "Private Life," "Pull Up to the Bumper" and "Love Is the Drug."
In 1982, Jones went to Nassau in the Bahamas to record Living My Life, the final part of the Compass Point trilogy. Its only cover was Melvin Van Peebles's "The Apple Stretching." She co-wrote "Nipple to the Bottle" with Sly Dunbar, and apart from "My Jamaican Guy," the remaining tracks were collaborations with Barry Reynolds. The title track had a limited single release but was left off the album.
Two outtakes from those sessions, "Man Around the House" and a cover of "Ring of Fire," only surfaced on the 1998 compilation Private Life: The Compass Point Sessions.
Jean-Paul Goude, a French illustrator, photographer and graphic designer, did more than anyone to shape how audiences saw Jones. They dated from 1977 to 1984, and their son Paulo was born on the 12th of November 1979. By 1981 they were working together. Goude designed her album covers, directed her music videos, choreographed her live shows and helped develop her image. He called her "beautiful and grotesque at the same time."
The cover of Nightclubbing is a Goude painting. It shows Jones as a man in an Armani suit jacket, with a cigarette in her mouth and a flattop haircut. For Living My Life, he cut her head out of a photograph and pasted it on white. He sharpened it into an angular shape, set a piece of plaster over her left eyebrow and covered her forehead with drops of sweat. The artwork has been described as being as famous as the music.
A collage that first ran in New York magazine in 1978 shows her body in an anatomically impossible pose. It later served as a backdrop for the video of "La Vie en rose" and as the cover of Island Life, her first best-of compilation. It has been called one of pop culture's most famous photographs. In 2011, Nicki Minaj copied the pose in her video for "Stupid Hoe."
In 2012, Goude described "chopping up photos and rearranging them in a montage to elongate limbs" as part of his method. He calls the technique "French correction." Critics have been less admiring. Goude's work centres on race, ethnicity and global culture, with a fascination for the far-away and exotic. His pictures of Black women are widely considered controversial and exploitative. One critic called Jones "a white man's rendition of the African feminine." Jake Hall of i-D wrote that Goude treated her as an artistic vehicle first, which damaged their personal relationship but produced a "surreal, impossible muse."
The Compass Point albums fed into A One Man Show, a performance art and pop theatre piece devised by Goude and Jones. She appeared in elaborate costumes and masks, opening as a gorilla, alongside a line of Grace Jones lookalikes. The set drew on Portfolio, Warm Leatherette, Nightclubbing and Living My Life. A video version, filmed live in London and New York City and finished with studio footage, earned a Grammy nomination.
Andy Warhol made paintings and other works of Jones, and she also knew Richard Bernstein. Keith Haring, the artist and social activist, painted her head to toe for photographs taken by Robert Mapplethorpe. The same body paint appeared in her 1986 film Vamp. Fashion also claimed her. Issey Miyake and Thierry Mugler both treated her as a muse. Her angular padded clothing and height of 179 cm influenced the cross-dressing movement of the 1980s.
Annie Lennox, Lorde, Lady Gaga, Rihanna, Janelle Monáe and Nile Rodgers have all cited her as an inspiration. Kyle Munzenrieder of W magazine wrote that "everyone from Madonna to Björk to Beyoncé to Lady Gaga has taken more than a few pages from her playbook." VH1 ranked her 82nd on its 100 Greatest Women of Rock and Roll in 1999. Billboard ranked her the 40th greatest dance club artist of all time in 2016.
In 2020, Nottingham Contemporary in the United Kingdom staged the first art exhibition centred on her. Its stated aim was to offer an alternative image of Grace Jones that does not fall into clichés.
Gordon's War in 1973, where she played Mary, was among the earlier screen credits that preceded her mainstream breakthrough. That breakthrough came after Living My Life, when she played Zula the Amazonian in Conan the Destroyer in 1984. The role earned her a Saturn Award nomination for Best Supporting Actress.
In 1985, Jones played May Day, henchwoman to the villain Max Zorin, in A View to a Kill, the 14th James Bond film. It brought another Saturn nomination. She spent four years with the Swedish actor Dolph Lundgren, her former bodyguard, and she got him a part as a KGB officer in that film. That year she also appeared on the Arcadia song "Election Day" and promoted the Honda Scooter, alongside Lou Reed, Adam Ant and Miles Davis. She posed nude for Playboy with Lundgren.
Slave to the Rhythm, her last record for Island, began as a follow-up to "Relax" for Frankie Goes to Hollywood before it was handed to Jones. Bruce Woolley, Simon Darlow, Stephen Lipson and Trevor Horn wrote the material, and Horn and Lipson produced it. This concept album offered several interpretations of the title track. Every song carried excerpts from a conversation between Jones and the journalist Paul Morley. The actor Ian McShane read passages from Goude's biography Jungle Fever. The album reached the Top 10 in German-speaking countries and the Netherlands. In November 1985 it hit number 12 on the UK Albums Chart, her second-highest-ranking album. The title track's video earned an MTV Video Music Award nomination.
Under a new contract with Manhattan Records, Jones then made Inside Story with Nile Rodgers of Chic, whom she had tried to work with during the disco era. It was recorded at Skyline Studios in New York and post-produced at Atlantic Studios and Sterling Sound. It was the first album she produced herself, and that led to heated disputes with Rodgers. Jones and Bruce Woolley wrote every song. The sound was more accessible than before, with undertones of jazz, gospel and Caribbean music. Inside Story reached the top 40 in several European countries and remains her last entry on the US Billboard 200.
That same year, Jones starred as Katrina, an Egyptian queen vampire, in Vamp. The role again brought her a Saturn Award for Best Supporting Actress mention. In 1987 she appeared in Straight to Hell and in Mary Lambert's Siesta, which brought a Golden Raspberry Award nomination for Worst Supporting Actress. Bulletproof Heart followed in 1989, produced by Chris Stanley, with Robert Clivillés and David Cole of C+C Music Factory producing some tracks.
In 1990, Jones appeared as herself in the documentary Superstar: The Life and Times of Andy Warhol. Two years later she played Helen Strangé opposite Eddie Murphy in Boomerang and contributed "7 Day Weekend" to its soundtrack. She also released "Evilmainya" for the film Freddie as F.R.O.7 and "Let Joy and Innocence Prevail" for the film Toys.
Black Marilyn, an electro album due in 1994, was to carry artwork showing Jones as Marilyn Monroe. Its first single, "Sex Drive," came out in September 1993. Then the album was shelved. Jones disliked the mixes, because she felt the producers cared mostly about sampling and had "minced" her vocals. She said the experience turned her off working on music. A track from those sessions, "Volunteer," leaked in 2009.
In 1995, Jones reunited with Tom Moulton for a disco-house version of Candi Staton's 1978 song "Victim." Island Records cancelled the release. In early November 1996 the Sci-Fi Channel held a Vampire Week, and Jones released "Love Bites" to promote it, singing from the perspective of a vampire. It was a promo-only single.
In June 1998, Jones was scheduled to release Force of Nature, made with the trip hop musician Tricky. A disagreement between them cancelled it. Only a white label 12-inch with two dance mixes of "Hurricane" appeared. A slowed-down version of that song became the title track of her comeback album ten years later. That year she also recorded "Storm" for the film The Avengers, and in 1999 she played the Umpatra Warrior in an episode of the television series Beastmaster.
In 2000, Jones appeared on "Revolution" from Lil' Kim's album The Notorious K.I.M. In 2001 she starred in Wolf Girl, as an intersex circus performer named Christoph/Christine. In 2002 she joined Luciano Pavarotti on stage at his annual Pavarotti and Friends fundraiser, which supported United Nations refugee agency programs for Angolan refugees in Zambia. In November 2004, she sang "Slave to the Rhythm" at a Wembley Arena tribute concert for Trevor Horn.
Jones had decided "never to do an album again." Then a mutual friend, the milliner Philip Treacy, introduced her to the producer Ivor Guest. Guest played her a track he was working on, which became "Devil in My Life" once she set lyrics to it. She wrote those lyrics after a party in Venice. The pair finished with 23 tracks.
The album, Hurricane, includes autobiographical songs such as "This Is," "Williams' Blood" and "I'm Crying (Mother's Tears)," an ode to Marjorie. Marjorie had always supported her daughter's career without being publicly linked to the music, and she sings on "Williams' Blood." "Corporate Cannibal" targets corporate capitalism. "Well Well Well" remembers Alex Sadkin of the Compass Point All Stars, who died in a motor accident in 1987. Paulo wrote "Sunset Sunrise," which considers the relationship between humankind and nature. Sly and Robbie, Wally Badarou, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson returned, joined by Tricky and Brian Eno.
On the 19th of June 2008, Jones played Massive Attack's Meltdown festival in London, performing four new songs and premiering the "Corporate Cannibal" video made with the artist Nick Hooker. Wall of Sound released Hurricane in the United Kingdom on the 3rd of November 2008, and it scored 72 out of 100 on Metacritic. That year she also received a Q Idol Award.
In March 2010, Jones performed at the Elton John AIDS Foundation Academy Award viewing party, which raised US$3.7 million. In April 2012 she joined Deborah Harry, Bebel Gilberto and Sharon Stone at the Inspiration Gala in São Paulo, which raised $1.3 million for amfAR. Two months later she sang "Slave to the Rhythm" at the Diamond Jubilee concert for Elizabeth II, keeping a hula hoop spinning at her waist throughout. That year she also gave Sir Tom Jones the GQ Men of the Year award together with her underwear. He replied, "I didn't think you wore any."
Her memoir, I'll Never Write My Memoirs, came out on the 29th of September 2015. In it, she disputes rumours that she married Chris Stanley and says, "The truth is, I only ever married one of my boyfriends, Atila Altaunbay, a Muslim from Turkey." They married in 1996.
In 2017, she sang on "Charger" from the Gorillaz album Humanz. In October 2018, the Jamaican government awarded her the Order of Jamaica. On the 14th of November 2022, Camp Bestival announced its 2023 lineup with Jones alongside Primal Scream, Melanie C, Craig David, The Kooks and the Human League. She headlined the music acts at Bluedot Festival on the 23rd of July 2023. She also sang on Beyoncé's "Move" from Renaissance, released in July 2022, which earned her a Grammy nomination for Album of the Year as a featured artist.
In June 2022 she had curated the 27th Meltdown Festival, the UK's longest-running artist-curated music festival. It had been planned for 2020 and was postponed because of the COVID-19 pandemic. During her closing show, Jones announced a new "African hybrid" record and previewed two songs from it, "The Sun Shines in Wartime" and "Blacker Than Black."
Updated
Common questions
Who is Grace Jones?
Grace Jones is a Jamaican singer, songwriter, model and actress, born on the 19th of May 1948 in Spanish Town, Jamaica. She modelled in New York and Paris in the 1970s before building a music and film career.
What are Grace Jones's best-known albums?
Grace Jones's best-known albums include Warm Leatherette (1980), Nightclubbing (1981) and Slave to the Rhythm (1985). Nightclubbing is widely considered her best studio album and topped the NME Album of the Year list.
Which films has Grace Jones appeared in?
Grace Jones played Zula in Conan the Destroyer (1984), May Day in the Bond film A View to a Kill (1985) and Katrina in Vamp (1986). In 1992 she played Helen Strangé in Boomerang with Eddie Murphy.
What was Grace Jones's relationship with Jean-Paul Goude?
Jean-Paul Goude was a French illustrator, photographer and graphic designer who dated Grace Jones from 1977 to 1984. He designed her album covers, directed her videos and shaped her image, and they have a son, Paulo, born on the 12th of November 1979.
When was Grace Jones's album Hurricane released?
Grace Jones's album Hurricane was released in the United Kingdom on the 3rd of November 2008 on Wall of Sound. It was her first full-length record in almost twenty years and was made with the producer Ivor Guest.
What was Grace Jones's A One Man Show?
A One Man Show was a performance art and pop theatre presentation devised by Jean-Paul Goude and Grace Jones. A video version filmed in London and New York City earned a Grammy nomination.
All sources
140 references cited across the entry
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- 33La storia di Stryx, il programma musicale più geniale mai prodotto dalla RaiRockit.it — 30 August 2016
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- 49Grammy Awards (1984)Grace Jones
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- 63Grace Jones – Volunteer (Rare demo)13 September 2009
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- 65As Much As I Can, As Black As I Am: The Queer History of Grace JonesBarry Walters — 25 August 2015
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- 73aulo Goude Son of a HurricaneFrank Veldkamp — 2009
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- 79Grace Jones photoshoot for Dazed and Confused16 October 2008
- 82NewsCurtain rises on Congress31 May 2011
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- 90Grace Jones reveals details of 'I'll Never Write My Memoirs' |Rebecca Schiller — 30 June 2015
- 91Humanz: CD23 March 2017
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- 97Grace Jones had one rule for Beyonce in order to make Renaissance collab happenCydney Yeates — 8 September 2022
- 98Primal Scream, Grace Jones, The Kooks, Human League and more for Camp Bestival 2023 twin sites line-upCharlotte Krol — 14 November 2022
- 99Camp Bestival Dorset: Grace Jones and Craig David among headliners15 November 2022
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- 111See Grace Jones Wearing a Shrub-like Hat on the Red CarpetKyle Munzenrieder — 26 October 2017
- 112The Stories Behind the Photos on 6 Iconic Album CoversAnna Furman — Pitchfork — 7 November 2016
- 113So, Was That Kim Kardashian Cover Photoshopped?Erica Schwiegershausen — New York Media, LLC — 13 November 2014
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- 129Preachers Of L.A. Bishop Noel Jones Talks About Famous Sister Grace4 November 2013
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- 135MagazineU.S. Labels, Talent Vying with Local NomineesSeptember 17, 1977
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