Thursday, October 25, 2012
Versus | Grace Jones
Keith Haring v Robert Mapplethorpe
Versus. The Death of The Polaroid
Grace Jones Photographed by Andy Warhol
Grace Jones | Interview Magazine
Illustration by Richard Bernstein
Wednesday, October 24, 2012
Eat your hearts out, kids!
$1,000 and it's YOURS!
The Original Digital Criminal | Grace Jones
Pleased to meet you, pleased to have you on my plate
your meat is sweet to me
you’re my life support, your life is my sport
I’m a man-eating machine
you won’t hear me laughing, as i terminate your day
you can’t trace my footsteps, as i walk the other way
i can’t get enough prey, pray for me
(i’m a man-eating machine)
corporate cannibal, digital criminal
corporate cannibal, eat you like an animal
employer of the year, grandmaster of fear
my blood flows satanical,
mechanical, masonical and chemical
i’m a man-eating machine
i deal in the market, every man, woman and child is a target
a closet full of faceless nameless pay more for less empitness
i’ll make you scrounge, in my executive lounge
you pay less tax, but i’ll gain more back
my rules, you fools
we can play the money game
greedgame, power game, stay insane
lost in the cell, in this hell
slave to the rhythm of the corporate prison
i’m a man-eating machine…
i can’t get enough prey
pray for me
i’ll consume my consumers, with no sense of humour
i’ll give you a uniform, chloroform
sanatize, homogenize, vaporize… you
i’m the spark, make the world explode
i’m a man-eating machine, i’ll make the world explode
Grace @ The Royal Albert Hall | Nightclubbing
Will The Roseland top The Hammerstein?
THIS is an opening!
Grace Jones and THAT HAT!
Pull Up To The Bumper
The Rhythm + The Hula-Hoop
Miss Grace Jones
Tuesday, October 23, 2012
Ladies & Gentlemen | Miss Grace Jones
Over the past four decades, Grace Jones has rarely failed to surprise, from her music (she put out a reggae album at the height of her disco career) to her physical appearance (a former model who has donned menswear and posed half-naked on her album covers) to performance stunts such as hula hooping her way through a four-minute performance at the Queen’s Jubilee earlier this year (“All I can say is that it was a royal request”). She is unbothered by time, which might explain why she still looks flawless at 64: it took her 19 years to put out an album after 1989’s Bulletproof Heart and it took three days of phone calls from her publicists and manager before she could be reached to chat about Josh Wood Productions’ sold-out concert at New York’s Roseland Ballroom on October 27. Yet when we spoke, I instantly became mesmerized and charmed by the grand diva that is Grace.
Jones’ last New York show occurred in 2009 when she performed a one-off at Hammerstein Ballroom in support of Hurricane, her most recent studio album, which was released that same year. “This concert is completely different from the last one,” she begins to tell me, explaining that the previous concert was a collaboration with Japanese artist Eiko Ishioka. “She and I first worked together with Issey Miyake in Japan back when I was a model touring with my first single, ‘I Need a Man.’ We had always wanted to work together again.” The success of that show was bittersweet—Ishioka passed away earlier this year—but memorable for anyone in attendance, from the opening black-and-white bodysuit and double-Mohawk headdress to a gown that unfurled to length of the stage, blown into full view by Jones’ mark in front of a giant wind machine.
In the world of Grace Jones, artistic collaboration is born out of long-term friendships with the people that inspire her. Her upcoming Halloween show is no exception—she teamed with milliner Philip Treacy and called on designers such as Issey Miyake, Alexander McQueen and Jean-Paul Gaultier for help with her wardrobe. “All of the designers are good friends of mine,” she tells me. “I’ve been very loyal to them and they’ve always been inspiring to me. We know what each other likes.” When pressed for more details on other designers she’s been working with, she admits, “I’ve been in the studio so much that my brain is still catching up to me.”
And is a new Grace Jones album on the way? “I’m keeping it under wraps,” she says coyly, admitting that there’s not much to tell yet. Then she adds, “It will be something like no one’s ever heard before, including myself.” Much like her designer friends, she’s kept a group of her production team from Hurricane intact, aiming for a June 2013 release. “We’re visiting Africa,” she tells me. Figuratively, I ask? “No, we’re actually going to a few places including Nigeria, Kenya and Congo. I’m bringing out my Nigerian-ness,” she says and begins laughing, asking me, “Nigerian-ness. Is that a word?”
On the topic of albums, Jones explains that Hurricane “was an accident to start with but was no longer an accident when we finished.” How did she account for the dub version of Hurricane, a phenomenal album of stripped-down vocals and cosmic beats, complete with cover art by her former lover Jean-Paul Goude, which was released to almost no fanfare in 2011? “Ivan Guest [the producer] decided that when we finally got Hurricane out in America [the official stateside release was unintentionally delayed two years], it would be nice to have the dub of it out as well.” Acknowledging that North American fans could find the import through the internet, Jones tells me that she’s “not into the internet. I’m into it to a point, of course, but I don’t have time to just sit in front of the internet and surf. I lose patience with it very quickly. If it doesn’t immediately do what I want it to do, I get mad and want to throw it over the balcony.”
With time for only one more question and having already had more provocative queeries for The Guardian back in 2010 (she’s had three-somes with women but never relationships, she finds Gaga unoriginal, “My Jamaican Guy” refers to a keyboardist named Tyrone from the Wailers), I ask her to tell me about her gay following. “There’s a lot to tell about my gay friends,” she says. “It’s not just gay friends that I have. I have gay family,” she says, beginning to laugh again.
Getting back to the upcoming concert, she says, “I hope everybody comes out to have a really great time as usual. I hope some of the police are gay, too,” she adds, now cracking us both up over the idea that a gay police force might make for a more party-friendly atmosphere. “I’m sure there are a lot of police that aren’t gay that like to have a good time, too. It’d be nice if they just stayed a bit calmer so everybody can party,” she says, still laughing. “Party with no paranoia!”
Photo/Artwork: Jean-Paul Goude
Ladies & Gentlemen | Miss Grace Jones
Grace Jones was one of the more unforgettable characters to emerge from New York City's hedonistic Studio 54 disco scene during the late '70s. Born May 19, 1952, in Kingston, Jamaica, Jones studied theater at Syracuse University before launching a career as a model. Jones' statuesque and flamboyant look proved to be a hit in the New York City nightclub scene, which led to a recording contract with Island Records in 1977. While such disco-based albums as 1977's Portfolio, 1978's Fame, and 1979's Muse failed to break the singer commercially, Jones soon amassed a substantial following amongst gay men with her sexually charged live show, leading to her title at the time of "Queen of the Gay Discos." But with the dawn of the '80s came a massive anti-disco movement across the U.S., leading to Jones focusing on more new wave and experimental-based work resulting in two of her best-known and strongest releases -- 1980's Warm Leatherette and 1981's Nightclubbing -- both produced by the noted reggae team of Sly & Robbie (the latter release spawned one of Jones' biggest hits, "Pull Up to the Bumper," as well as covers of Iggy Pop's "Nightclubbing" and the Police's "Demolition Man"). It was also around this time that Jones changed her look to suit the times by replacing her S&M look of the '70s with a detached, androgynous image. Jones' sixth solo release overall, Living My Life, followed in 1982, while the singer took a break from recording to focus on film work and landed roles in such movies as Conan the Destroyer and the James Bond flick A View to a Kill (Jones' romantic life also provided tabloid fodder at the time when she was linked with Rocky IV star Dolph Lundgren). Jones eventually returned back to her recording career, enlisting super-producer Trevor Horn (Frankie Goes to Hollywood) to oversee 1985's Slave to the Rhythm, which turned out to be a somewhat autobiographical work (the same year, a ten-track compilation was issued as well, Island Life). Jones' penchant for working with big-name producers continued on 1986's Inside Story; with production chores handled by Chic's Nile Rodgers, the album spawned one of Jones' last successful singles, "I'm Not Perfect (But I'm Perfect for You)." After 1989's Bulletproof Heart, Jones seemed to turn her back on her recording career (although 1993 saw the release of a new single, "Sex Drive"), as she again focused primarily on movies, including a role in Eddie Murphy's hit 1992 comedy Boomerang. The double-disc set Private Life: The Compass Point Sessions (a collection of 26 tracks that Jones recorded with Sly & Robbie during their early '80s union) was released in 1998, which was followed up four years later with Island Life, Vol. 2. ~ Greg Prato, All Music Guide