Beverly Grace Jones[1] (born 19 May 1948) is a Jamaican singer, actress and model. She was born in Spanish Town, Jamaica[2] and raised by her grandparents. When she was thirteen she and her siblings moved to her parents in Syracuse, New York. Jones started out as a model, initially in New York, then in Paris, working for Yves St. Laurent,Claude Montana, and Kenzo Takada, and appearing on the covers of ElleVogue, and Stern working with Helmut NewtonGuy Bourdin, and Hans Feurer.

In 1977, Jones secured a record deal with Island Records. In 1980 Jones, with the aid of Compass Point All Stars moved into New Wave, scoring Top 40 entries on the UK Singles Chart, with "Pull Up to the Bumper", "I've Seen That Face Before (Libertango)", "Private Life", "Slave to the Rhythm" and "I'm Not Perfect (But I'm Perfect for You)". Her albums include Warm Leatherette (1980), Nightclubbing (1981) and Slave to the Rhythm (1985).

In America she appeared in some low-budget films in the 1970s and early 1980s. Her work as an actress in mainstream film began in the 1984 fantasy-action film Conan the Destroyer alongside Arnold Schwarzenegger, and the 1985 James Bond movie A View to a Kill. In 1986 she played a vampire in Vamp, and acted in and contributed a song to the 1992 film Boomerang with Eddie Murphy. She appeared alongside Tim Curry in the 2001 film, Wolf Girl.

In 1983, Jones's One Man Show was nominated for a Grammy Award for Best Long-Form Music Video next year.[3] For her work in Conan the DestroyerA View to a Kill, andVamp, she was nominated Saturn Awards for Best Supporting Actress. In 1999, Jones ranked 82nd on VH1's 100 Greatest Women of Rock and Roll, and in 2008, she was honoured with a Q Idol Award. Jones influenced the cross-dressing movement of the 1980s[4] and has been an inspiration for artists, including Annie Lennox,[5] Lady Gaga,Rihanna,[6][7] Brazilian Girls[8] Róisín Murphy,[9] Nile Rodgers,[10] Santigold,[11] and Basement Jaxx.

Biography[edit source | editbeta]Edit

Early life in Jamaica, and New York, and beginning of modelling career[edit source | editbeta]Edit

[1][2]Spanish TownSaint CatherineJamaica, Jones's birthplace

Beverly Grace Jones was born in 1948 in Spanish TownJamaica, the daughter of Marjorie and Robert W. Jones, who was a politician and Apostolic clergyman.[13] Jones and her siblings were raised by grandparents, as her parents were working in the United States. Jones had a strict upbringing under the influence of Jamaica's Pentecostal church and went to church three times a week. Both sides of her family were religious; there were many bishops in her family, her grandfather, step-grandfather, and her brother, Noel, also became a bishop.

As a child, Jones was shy; she had only one school-friend, and was teased by her classmates for her "skinny frame", but excelled at sports and found solace in the nature of Jamaica.[14]

When she was thirteen, she and her siblings moved to Syracuse, New York to join her parents.[15] Jones continued her schooling, then enrolled at Syracuse University where she studied to be a Spanish major.[16] Halfway through college, Jones was approached by a drama professor who proposed that she work with him in a play he was putting on in Philadelphia; Jones left with him.[16] When Jones was eighteen she moved back to New York. She signed on as a model with Wilhelmina Modelling agency. and took every opportunity to audition for parts in plays and films. She moved to Paris in 1970.[17][16] The Parisian fashion scene was receptive to Jones's unusual androgynous, bold, dark-skinned appearance. Yves St. LaurentClaude Montana, andKenzo Takada hired her for runway modelling, and she appeared on the covers of ElleVogue, and Stern working with Helmut NewtonGuy Bourdin, and Hans Feurer.[18] Jones also modelled for Azzedine Alaia, and was frequently photographed promoting their line. While modelling in Paris, she shared an apartment with Jerry Hall and Jessica Lange. Hall and Jones frequented Club Sept, one of Paris's most popular gay clubs of the 1970s and '80s, and socialised with Giorgio Armani and Karl Lagerfeld.[19]

The Disco trilogy: Portfolio, Fame, and Muse (1977-79)[edit source | editbeta]Edit

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 three songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. The second side of the album opens up with a seven-minute reinterpretation of Édith Piaf's "La Vie en rose" followed by three new recordings, two of which were co-written by Jones, "Sorry", and "That's the Trouble", The album finished with "I Need a Man", Jones's first club hit.[20] 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 Sound Studios. The album featured another reinterpretation of a French classic, "Autumn Leaves" by Jacques Prévert. The Canadian edition of the vinyl album included another French language track, "Comme un oiseau qui s'envole", which replaced "All on a Summers Night"; in most locations this song served as the B-side of the single "Do or Die".

In the North American club scene, Fame was a hit album and the "Do or Die"/"Pride"/"Fame" side reached top 10 on both the US Hot Dance Club Play and Canadian Dance/Urban charts. The album was released on compact disc in the early 1990s, but soon went out of print. In 2011, it was released and remastered by Gold Legion, a record company that specialises in reissuing classic disco albums on CD.[21]

Muse was the last of Jones's disco albums. The album features a re-recorded version "I'll Find My Way to You", which Jones released three years prior to Muse. Originally appearing on the 1976 Italian film, Colt 38 Special Squad) in which Jones had a role as a club singer, Jones also recorded a song called "Again and Again" which was featured on the film. Both songs were produced by composer Stelvio Cipriani. Icelandic keyboardist Thor Baldursson who arranged most of the album and also sang duet with Jones on the track "Suffer" had previously worked in Munich, with disco stars such as Silver ConventionBoney M.Donna SummerAmanda Lear and Giorgio Moroder. Like the last two albums, the cover art is by Richard Bernstein. Like FameMuse was later released by Gold Legion.[22]

The Compass Point years, and mainstream success as an actress (1980–85)[edit source | editbeta]Edit

With "Anti-disco sentiment" spreading, Jones, with the aid of the Compass Point All Stars transitioned into "New Wave", 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 by the Game", Tom Petty and the Heartbreakers ("Breakdown") and Jacques Higelin ("Pars"). Sly Dunbar revealed that the title track was also the first to be recorded with Jones.[23][24] Tom Petty wrote the lyrics to "Breakdown", and he also wrote the third verse of Jones's reinterpretation.[25] The album included one song co-written by Jones, "A Rolling Stone". Originally, "Pull Up to the Bumper" was to be included on the album, but its R&B sound did not fit with the rest of the material.[26] The album charted in the UK and the USA, and to her followers, is the highest-rated of all her studio releases.[27]

The 1981 release of Nightclubbing included Jones's covers of songs by Flash and the Pan ("Walking in the Rain"), Bill Withers ("Use Me"), Iggy Pop, and David Bowie ("Nightclubbing"), and Ástor Piazzolla ("I've Seen That Face Before (Libertango)"). Three 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 Police on the album, Ghost in the Machine. "I've Done It Again" was written by Marianne Faithfull. The strong rhythm featured on Nightclubbing, was produced by Compass Point All Stars, including Sly and RobbieWally BadarouMikey ChungUziah "Sticky" Thompson, and Barry Reynolds. The album entered in the top 5 in four countries, and became Jones's highest-ranking record on the US Billboard mainstream albums and R&B charts.

Nightclubbing claimed the number one slot on NME's Album of the Year list.[28] Slant Magazine listed the album at No. 40 on its list of Best Albums of the 1980s.[29] Nightclubbing is now widely considered Jones's best studio album.[30] The album's cover art is a painting of Jones, by Jean-Paul Goude. Jones is presented as a man wearing an Armani suit jacket, with a cigarette in her mouth and a flattop haircut. To promote the album, Jones appeared alongside psychotherapist Sonja Vetter, and slapped chat show host Russell Harty across the face live on air after he turned to interview other guests and she felt she was being ignored.[31] Having already recorded two reggae-oriented albums under the production of Compass Point All Stars, Jones went to Nassau, Bahamas in 1982, and recorded Living My Life; the album resulted in Jones's final contribution to the Compass Point trilogy, with only one cover, Melvin Van Peebles's "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 limited single release, the title track, was left off the album. Further session outtakes included the track "Man Around the House" (Jones, Reynolds), and a cover of Johnny Cash's "Ring of Fire", both of which were included on the 1998 compilation Private Life: The Compass Point Sessions. The album's cover art resulted from another Jones/Goude collaboration; the artwork has been described as being as famous as the music on the record.[32] It features Jones's disembodied head cut out from a photograph and pasted onto a white background. Jones's head is sharpened, giving her head and face an angular shape.[33] A piece of plaster is pasted over her left eyebrow, and her forehead is covered with drops of sweat.[34]

Jones's three albums under the production of the Compass Point All Stars resulted in Jones's One Man Show, a performance art/pop theatre presentation devised by Jean-Paul 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 Rain", "Feel Up", "Demolition Man", "Pull Up to the Bumper", and "I've Seen That Face Before (Libertango))", and from Living My Life, "My Jamaican Guy", and the album's title track. 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 live in London and New York City and completed with some studio footage, was nominated for a Grammy Award for Best Long-Form Music Video next year.[3]

After the release of Living My Life, Jones worked as an actress, with the role of Zula, the Amazonian, in Conan the Destroyer (1984). She was nominated for a Saturn Award for Best Supporting Actress. In 1985, Jones starred as May Day, henchman to the main antagonist, Max Zorin, in the fourteenth James Bond film A View to a Kill; Jones was also nominated for a Saturn Award for Best Supporting Actress. Jones was among the many stars to promote the HondaScooter; other artists included Lou ReedAdam Ant, and Miles Davis.[35] Jones also, with her boyfriend Dolph Lundgren posed nude for Playboy.[36]

After Jones's success as a mainstream actress, she returned to the studio to work on Slave to the Rhythm, which was the last of her recordings for IslandBruce 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 track. The project was originally intended for Frankie Goes to Hollywood as a follow-up to "Relax", but was given to Jones.[37] All eight tracks on the album featured excerpts from a conversation with Jones, speaking about many aspects of her life. The interview was conducted by journalist Paul Morley. The album features voice-overs from actor Ian McShane (famous for his role as Al Swearengen on the HBO original series, Deadwood reciting passages from Jean-Paul Goude's biography Jungle FeverSlave to the Rhythm was successful in German speaking countries and the Netherlands, where it secured top 10 placings. It reached number 12 on the UK Albums Chart in November 1985. It was the second highest ranking album released by Jones.[38][39]

For the music video of the title track, Jones earned an MTV Video Music Award nomination. After her success with Slave to the Rhythm, Island released Island Life, her first best-of compilation, which featured songs from most of Jones's releases with Island, PortfolioFameWarm LeatheretteNightclubbingLiving 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..[40] 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.[41]

The artwork, a piece called "Nigger Arabesque" was originally published in the New York magazine in 1978, and was used as a backdrop for the music video of Jones's hit single "La Vie en rose".[42] The artwork has been described as "one of pop culture's most famous photographs".[43] The image was also parodied in Nicki Minaj's 2011 music video for "Stupid Hoe", mimicking the pose.[44]

Continued work as an actress, and the last albums released in the 1980's (1986-89)[edit source | editbeta]Edit

After Slave to the Rhythm and Island Life, Jones started to record again under a new contract with Manhattan Records, which resulted in Inside Story, Jones teamed up with music producer Nile Rodgers of Chic, who Jones had previously tried to work with during the disco era.[45] The album was recorded at Skyline Studios in New York and post-produced at Atlantic Studios and Sterling Sound. Inside Story was the first album Jones produced, which resulted in heated disputes with Rodgers. Musically, the album was more accessible than her previous albums with the Compass Point All Stars, and explored different styles of pop music, with undertones of jazz, gospel, and Caribbean sounds. All songs on the album 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's last entry to date on US Billboard 200 albums chart. The same year, Jones starred as Katrina, an Egyptian queen vampire in the vampire film Vamp. For her work in the film, Jones was awarded a Saturn Award for Best Supporting Actress. The following year, 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 ActressBulletproof Heart was released in 1989, produced by Chris Stanley, who co-wrote, and co-produced the majority of the songs, and was featured as a guest vocalist on "Don't Cry Freedom". Robert Clivillés and David Cole of C+C Music Factory produced some tracks on the album.

1990s – mid-2000s[edit source | editbeta]Edit

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 Murphy film Boomerang, for which she also contributed the song "7 Day Weekend" to its soundtrack. Jones released two more soundtrack songs in 1992; "Evilmainya", recorded for the film Freddie as F.R.O.7, and "Let Joy and Innocence Prevail" for the film Toys. In 1994, she was due to release an electroalbum titled Black Marilyn with artwork featuring the singer as Marilyn Monroe. "Sex Drive" was released as the first single, but due to disagreements with producers, the record was shelved.[citation needed]

1996 Saw Jones releasing "Love Bites", an up-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. To this day, it has not been made commercially available.[46] In June 1998, she was scheduled to release an album entitledForce of Nature, on which she worked with trip hop musician Tricky.[47] The release of Force of Nature was cancelled due to a disagreement between the two, and only a white label 12" single featuring two dance mixes of "Hurricane (Cradle to the Grave)" was issued;[48] a slowed-down version of this song became the title track of her comeback album released ten years later. Jones made "Storm" in 1998 for the movie The Avengers, and in 1999, appeared in an episode of the Beastmaster television series as the Umpatra Warrior.

The same year, Jones recorded "The Perfect Crime", an up-tempo song for Danish TV written by the composer duo Floppy M. aka Jacob Duus and Kåre Jacobsen. Jones was also ranked 82nd place on VH1's "100 Greatest Women of Rock & Roll". In 2000, Jones collaborated with rapper Lil' Kim, appearing on the song "Revolution" from her album The Notorious K.I.M..[49] In 2001, Jones starred in the made-for-television film, Wolf Girl (also known as Blood Moon), as an intersexed 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 Angolanrefugees in Zambia. In November 2004, Jones sang "Slave to the Rhythm" at a tribute concert for record producer Trevor Horn at London's Wembley Arena.[50][51]

Hurricane, and recent endeavours (2008-present)[edit source | editbeta]Edit

Despite several comeback attempts throughout the 1990s, Jones's next full length record was released almost twenty years later, after Jones decided "never to do an album again",[52] changing her mind after meeting music producer Ivor Guest through a mutual friend, milliner Philip Treacy. After the two became acquainted, Guest let Jones listen to a track he had been working on, which became "Devil in My Life", once Jones set the lyrics to the song. The lyrics to the song were written after a party in Venice.[7] The two ended up with 23 tracks. The album included autobiographical songs, such as "This Is", "Williams' Blood" and "I'm Crying (Mother's Tears)", an ode to her mother Marjorie. "Love You to Life" was another track based on real events and "Corporate Cannibal" referred to corporate capitalism. "Well Well Well" was recorded in memory of Alex Sadkin, member of Compass Point All Stars who had died in a motor accident 1987. "Sunset Sunrise" was written by Jones's son, Paulo; the song ponders the relationship between mankind and mother nature. Four songs were removed from the album, "The Key to Funky", "Body Phenomenon", "Sister Sister" and "Misery". Another track recorded by Jones was, "Volunteer", which had leaked in 2007. For the production of the album, Jones teamed up with Sly and RobbieWally BadarouBarry ReynoldsMikey Chung, and Uziah "Sticky" Thompson, of the Compass Point All Stars, with contributions from trip-hop artist Tricky, and Brian Eno.[53]

The album was released on Wall of Sound on 3 November 2008 in the United Kingdom. PIAS, the umbrella company of Wall of Sound, distributed Hurricane worldwide excluding North America.[54] The album scored 72 out of 100 on review aggregator Metacritic.[55] Prior to the album's 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".[56][57][58] Jones promoted the album even further by appearing on talk show 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 fashion shoot for Dazed & Confused using Jones as a model to create "Nubian versions" of Rubber Johnny.[59] In an interview for BBC's The Culture Show, it was suggested that the collaboration may expand into a video project. Jones also worked with the avant-garde poet Brigitte Fontaine on a duet named "Soufi" from Fontaine's album Prohibition released in 2009, and produced by Ivor Guest. In March 2010 Jones performed for guests at the 18th annual Elton John AIDS Foundation Academy Award Viewing Party. The Elton John AIDS Foundation is one of the world's leading nonprofit organisations supporting HIV prevention programs, and works to eliminate the stigma and discrimination associated with HIV/AIDS. That evening, US$3.7 million was raised.[60] [61] The same year, a budget DVD version of A One Man Show was released, as Grace Jones – Live in Concert. It included three bonus video clips ("Slave to the Rhythm", "Love Is the Drug" and "Crush". 2011 saw Jones again collaborating with Brigitte Fontaine on two tracks from her 2011 release entitled L'un n'empêche pas l'autre and performed at the opening ceremony of the 61st FIFA Congress.[62] Jones released a dub version of the album, Hurricane – Dub, which came out on 5 September 2011. The dub versions were made by Ivor Guest, with contributions from Adam Green, Frank Byng, Robert Logan and Ben Cowan. In April 2012, Jones joined Deborah HarryBebel Gilberto, and Sharon Stone at the Inspiration Gala in São Paulo, Brazil, raising $1.3 Million for amfAR (the Foundation for AIDS Research). Jones closed the evening with a performance of "La Vie en Rose" and "Pull Up to the Bumper."[63]

Two months later, Jones performed at the Diamond Jubilee of Elizabeth II, and the Lovebox Festival.[64] On 27 October Jones performed her only North American show of 2012, a performance at New York City's Roseland Ballroom.[65]The same year, Jones presented Sir Tom Jones with not only the GQ Men of the Year award, but her underwear. Tom Jones accepted the gift in good humour, and replied by saying, ”I didn't think you wore any”.[66]

Artistry[edit source | editbeta]Edit

Image[edit source | editbeta]Edit

Jones's distinctive androgynous appearance, square-cut, angular padded clothing, manner, and height of (5'9" or 1.75 m)[67] influenced the cross-dressing movement of the 1980s. To this day, she is known for her unique look at least as much as she is for her music[4] and has been an inspiration for numerous artists, including Annie Lennox,[68] Lady GagaRihanna,[6][7] Brazilian Girls[69] Róisín Murphy,[70] Nile Rodgers,[71] Santigold,[72] and Basement Jaxx.[73] Jones was listed as one of the fifty best-dressed over 50s by the Guardian in March 2013.[74]

Voice[edit source | editbeta]Edit

Jones has a contralto vocal range. She sings in two modes: either in her monotone speak-sing voice as in songs such as "Private Life", "Walking in the Rain" and "The Apple 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 two and a half octaves.[6]

Music videos[edit source | editbeta]Edit

The first single from Warm Leatherette to include a music video was "Private Life". Jones appeared in a red cloak, shot at close-up level, takes her mask off, replaces it, and then takes it off again; this repeats as the song progresses. The video was shot in one single take, and no editing was necessary. The video was directed by Michael Mansfield, who also directed music videos for Art of Noise ("Paranoimia"), Japan ("Life in Tokyo"), Adam Ant ("Goody Two Shoes"), Kim Wilde ("Love Blonde"), and the Cure ("Charlotte Sometimes").[citation needed]

"I've Seen That Face Before (Libertango)" was directed by Jean-Paul Goude. The song featured Jones wearing a tall, black, cone shaped hat, and her face concealed under a three-piece mask. The three pieces are removed by scissors cutting their strings, followed by the removal of the black hat. Jones then starts to perform the song, looking straight into the camera, playing the accordion.[citation needed]

"Pull Up to the Bumper" featured a combination of live footage with Jones performing the song on her A One Man Show and excerpts from Godfrey Reggio's experimental documentary film Koyaanisqatsi. From the album Living My Life, "My Jamaican Guy" was the first single to promote a music video; this featured Jones performing the song on stage, kissing an image of herself, and hugging her "Jamaican guy". Goude also directed the video. The title track of the album, which did not make it onto the album, also included a music video, also directed by Goude. The video features Jones committing suicide, by blowing her brains out. "Slave to the Rhythm", also directed by Goude consists of previously seen footage, particularly from the music videos, "My Jamaican Guy" and "Living My Life", as well as clips from A One Man Show documentary. Also included are still pictures from the Citroën CX TV advertisement, which was banned in several countries at the time.[75] The music video was nominated for Best Female Video at 1986 MTV Video Music Awards; it lost to Whitney Houston's "How Will I Know".[76] It was included as a bonus on the re-release of the A One Man Show video. From Jones's 1986 album, Inside Story, it promoted the single, "I'm Not Perfect (But I'm Perfect for You)" by including a music video in which Jones wore body paint and outfits designed by artist Keith Haring.[77] The video includes cameo appearances by Andy Warhol, record producer Nile Rodgers and fashion designer Tina Chow.[78][79] Haring also appears in the video, captured when painting black patterns on a white 60-feet skirt that Jones later wears.[80] The same year, Jones also revisited, and created a music video for the song, "Love is the Drug", from Warm Leatherette, the music video was directed by Matt Forrest and Bruno Tilley. For "Corporate Cannibal", the first single off Hurricane, Jones collaborated with artist Nick Hooker.[81] Chris Levine, a lighting and installation designer, collaborated with Jones on the music video for the third single off the album, "Love You to Life". The two also collaborated on Stillness at the Speed of Light, an exhibition at the Vinyl Factory in Soho, London. The exhibition showcased two slow motion animated stills of Jones, "Stillness at the Speed of Light", and "Superstar"; it ran from 30 April to 14 May 2010. Levine was also responsible for laser installation pieces that were seen at Jones's Royal Albert Hall concert in 2008.[82]

Tours[edit source | editbeta]Edit

Personal life[edit source | editbeta]Edit

Jones's relationship with her father was strained; he was strict, and was forced to disassociate himself from her because the church refused to make him a bishop as long as he was associated with his daughter. According to the church's beliefs, one should only use one's singing ability to glorify God.[14] Bishop Robert W. Jones died on 7 May 2008.[83] 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.[14] Marjorie's father, William, was also a musician, and played with Nat King Cole.[14]

Through her relationship with long-time collaborator Jean-Paul Goude, Jones has a son, Paulo; through Paulo, Jones has a granddaughter.[6] Jones has been married twice; her first husband was producer Chris Stanley, whom she married in 1989. She married her second husband, bodyguard Atila Altaunbay, in 1996.[84] She spent four years with Swedish actor Dolph Lundgren, formerly her bodyguard; Jones is responsible for Lundgren's acting career as she got him a part as a KGB officer in A View to a Kill.[85] Jones started dating Danish actor, stuntman, and bodybuilder Sven-Ole Thorsen in 1990, and as of 2007 was in an open relationship.

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