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There are few musicians—or, frankly, people—living who are better suited to a documentary than Grace Jones. Eating breakfast? Grace Jones does it in a Parisian hotel in a fur coat with nothing underneath and a bottle of champagne by her side. Grabbing a snack? Grace Jones shucks her own oysters, while wishing her body specifically, her nether regions was as tight as they are. Even as the film shows that Jones, like everyone else, is painfully human, her otherworldliness never falls to earth. Her self-love is no less contagious when speaking with her. How do you feel about the documentary? I love it. I never saw any of the footage, and I love the way it turned out.
In , Billboard magazine ranked her as the 40th greatest dance club artist of all time. Born in Jamaica, she moved when she was 13, along with her siblings, to live with her parents in Syracuse, New York. Jones began her modelling career in New York state, then in Paris , working for fashion houses such as Yves St. Laurent and Kenzo , and appearing on the covers of Elle and Vogue. She 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. Beginning in , Jones embarked on a music career, securing a record deal with Island Records and initially becoming a star of New York City 's Studio 54 -centered disco scene.
Even with her Meltdown festival on hold, June is something of a milestone month for Jones because it marks the 40th anniversary of her first British hit. Jones, who moved from Jamaica to Syracuse, New York, as a teenager, signed her first modelling contract at the age of At the same time, Jones began to really embrace her imposing voice. Warm Leatherette was the first Jones album to have cover art designed by Goude, who would play an integral part in the startling way she presented herself to the world. Her image celebrated blackness and subverted gender norms; she presented something we had never seen before in pop performance — a woman who was lithe, sexy, and hyperfeminine while also exuding a ribald, butch swagger. As Dijon points out, Jones was always a true original who used her distinctive image to enrich her equally distinctive music. The results had the dramatic, avant-garde edge of her image. During this period, Jones also began to hone her songwriting skills. Standout tracks include My Jamaican Guy, which Jones sings largely in Jamaican Patois, and Nipple to the Bottle, which offers a bracingly honest account of breastfeeding and motherhood. That year, she also scored one of her biggest hits with Slave to the Rhythm, a bombastic dance song produced by Frankie Goes to Hollywood collaborator Trevor Horn.