Grace Jones: Bloodlight and Bami Blu-Ray

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Watch Grace Jones debut new songs at Meltdown Festival". nme.com. 14 June 2022 . Retrieved 16 August 2022. Staff. "Art-Pop Before 'Art Pop' ". The Style Con. Archived from the original on 1 January 2018 . Retrieved 10 March 2017.

Jones's live shows were highly sexualized and flamboyant, leading her to be called "Queen of the Gay Discos." [5]Unsurprisingly, Muse was both her final disco album and last collaboration with Tom Moulton. Taking the ‘if it ain’t broke, don’t fix it’ approach here was a mistake. Muse was ignored by the record-buying public and, in some quarters, has now been labelled Jones’ ‘lost’ album. The album was a hit on the North American club scene and further built on her following among gay fans. Mainstream fame was now on the horizon.

VAMP (18)". British Board of Film Classification. September 29, 1986 . Retrieved November 25, 2014. a b "10 Things You Never Knew About... Grace Jones". Clashmusic.com. 22 June 2010 . Retrieved 1 January 2012. Kershaw, Miriam (1997). "Performance Art". Art Journal. 56 (Performance Art): 19–25. doi: 10.2307/777716. JSTOR 777716.On 14 November 2022, music festival Camp Bestival announced their 2023 lineup, which included Jones, alongside Primal Scream, Melanie C, Craig David, The Kooks, the Human League, and others. [107] [108] Jones's father was strict and their relationship was strained. According to his particular denomination's beliefs, one should only use one's singing ability to glorify God. [31] Bishop Robert W. Jones died on 7 May 2008. [20] Her mother, Marjorie, always supported Jones's career (she sings on " Williams' Blood" and " My Jamaican Guy") but could not be publicly associated with her music. [31] Marjorie's father, John Williams, was also a musician [131] and played with Nat King Cole. [31] After her success with Slave to the Rhythm, Island released Island Life, Jones's first best-of compilation, which featured songs from most of her releases with Island ( Portfolio, Fame, Warm Leatherette, Nightclubbing, Living My Life and Slave to the Rhythm). American writer and journalist Glenn O'Brien wrote the essay for the inlay booklet. The compilation charted in the UK, New Zealand and the United States. [66] The artwork on the cover of the compilation was of another Jones/Goude collaboration; it featured Jones's celestial body in a montage of separate images, following Goude's ideas on creating credible illusions with his cut-and-paint technique. The body position is anatomically impossible. [67] There are a few lost performances that have not been published which include " I Need a Man" from Portfolio and "I've Done It Again" from Nightclubbing. [ clarification needed]