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and movie actress Jessica Lange. Memoirs
discuss the exciting times shared by the trio.
The three worked under the Euro Planning
model agency and became lifelong friends.
Jones briefly met the legendary Josephine
Baker backstage at her final comeback show at
the Bobino in Paris before Baker’s death in
1975.
transmit it in some way that seemed to make
sense to me,” Jones writes. From there came
Studio 54, her first song and hit the gay disco
anthem, “I Need A Man.” Shifting cultural
changes and tastes forced Jones to create a
new sound with the help of Island Records
founder Chris Blackwell. The “Grace Jones
Sound" would emerge and introduce The
Compass Point Sessions trilogy.
More music and new movie roles
With French art visionary and lover Jean PaulGoude creating the images, Jones provided
the soundtrack for post-disco New York with
critically-acclaimed albums “Warm
Leatherette,” “Nightclubbing,” and “Living
My Life.” The international hit “Slave to the
Rhythm” album, produced by Trevor Horn,
followed in 1985. I’ll Never Write My
Memoirs also covers Jones’ film career
including roles in the 1992 Eddie Murphy’s
love comedy “Boomerang” and 1985’s “A
View to Kill.” She dishes on her friendships
with pop art icons Andy Warhol and Keith
Haring. Love affairs, including one with
action film star Dolph Lundgren, left Jones
unfulfilled at the end.
Working with designers Kenzo Takada, Yves
Saint Laurent, photographers Helmut Newton
and Antonio Lopez, Jones started to cultivate
the “Grace Jones Look.” Disco music was all the
rage in Paris and New York and Grace the disco
fan begins her transformation into artist.
“Picking up all the nighttime action happening
around me like some sort of antenna, and I
wanted to feed it through my emotions and