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* [[ScaryBlackMan Scary Black Woman]]: She played TheDragon to BigBad Max Zorin in ''Film/AViewToAKill'' to great effect, with a perfect balance of DeathGlare, ruthlessness and lethality. Zula from ''Film/ConanTheDestroyer'' might also qualify, depending on how one perceives her BloodKnight and ScreamingWarrior tendencies.

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* [[ScaryBlackMan Scary Black Woman]]: Woman]]:
**
She played TheDragon to BigBad Max Zorin in ''Film/AViewToAKill'' to great effect, with a perfect balance of DeathGlare, ruthlessness and lethality. lethality.
** The more heroic
Zula from ''Film/ConanTheDestroyer'' might also qualify, depending on how one perceives her BloodKnight and ScreamingWarrior tendencies.
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->''"Don't mess around with the Demolition Man'"''

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->''"Don't mess around with the Demolition Man'"''
Man!'"''
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->''"Don't mess around with the Demolition Man'"''
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Grace Beverly Jones (born 19 May 1948 in Spanish Town, UsefulNotes/{{Jamaica}}) is a Jamaican-American [[FashionModel fashion icon]], singer and actress.

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Grace Beverly Jones (born 19 May 1948 in Spanish Town, UsefulNotes/{{Jamaica}}) is a Jamaican-American [[FashionModel fashion icon]], icon, singer and actress.
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** Early CD releases of ''Living My Life'' replace the Jean-Paul Goude photo of Jones with a still from the ConcertFilm ''A One-Woman Show'', depicting a headshot of Jones in sunglasses awash in blue light.

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** Early CD releases of ''Living My Life'' ''Warm Leatherette'' replace the Jean-Paul Goude photo of Jones with a still from the ConcertFilm ''A One-Woman Show'', depicting a headshot of Jones in sunglasses awash in blue light.
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* AlternateAlbumCover:
** Early CD releases of ''Living My Life'' replace the Jean-Paul Goude photo of Jones with a still from the ConcertFilm ''A One-Woman Show'', depicting a headshot of Jones in sunglasses awash in blue light.
** Due to rights issues with photographer and ex-boyfriend Jean-Paul Goude, the digital releases of ''Nightclubbing'', ''Living My Life'', ''Slave to the Rhythm'', and ''Island Life'' all feature generic cover art mimicking a folded-out cassette J-card, featuring just text and dark squares representing the removed photos.
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* ''Film/TheHungerGamesMockingjay'' soundtrack (2014) [[note]]The song "Original Beast"[[/note]]

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* ''"Original Beast"'' (2014, ''Film/TheHungerGamesMockingjay'' soundtrack (2014) [[note]]The song "Original Beast"[[/note]]
soundtrack)
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Jones had acting roles in movies such as the {{blaxploitation}} picture ''Gordon's War'', ''Film/{{Vamp}}'', ''Film/ConanTheDestroyer'', the Film/JamesBond film ''Film/AViewToAKill'' and ''Film/{{Boomerang}}''. On a more trivia note, she convinced her then-bodyguard turned boyfriend Creator/DolphLundgren to make himself a career in acting, starting with a small role in the aforementioned ''A View to a Kill''.

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Jones had acting roles in movies such as the {{blaxploitation}} picture ''Gordon's War'', ''Film/{{Vamp}}'', ''Film/ConanTheDestroyer'', the Film/JamesBond film ''Film/AViewToAKill'' and ''Film/{{Boomerang}}''.''Film/Boomerang1992''. On a more trivia note, she convinced her then-bodyguard turned boyfriend Creator/DolphLundgren to make himself a career in acting, starting with a small role in the aforementioned ''A View to a Kill''.



* ''Film/{{Boomerang| 1992}}'' (1992) as Helen Strangé

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* ''Film/{{Boomerang| 1992}}'' ''Film/{{Boomerang|1992}}'' (1992) as Helen Strangé
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* ShoutOut: The "Pull Up to the Bumper" music video uses ChromaKey to superimpose footage of Jones from ''A One Woman Show'' atop scenes from ''Film/{{Koyaanisqatsi}}''.

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* ReCut: Most CD releases of ''Slave to the Rhythm'' shorten down "Jones the Rhythm" and "The Fashion Show", replace the album mix of "Ladies and Gentlemen: Miss Grace Jones" with the single version, omit the spoken-word interludes in "The Crossing", and both extend "The Frog and the Princess" and move it down from track 3 to track 5. The result is a considerably different experience compared to the LP version, with only the US CD and the 2015 remaster following the vinyl configuration.

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* ReCut: ReCut:
** The original LP release of ''Warm Leatherette'' shortens the TitleTrack, "Private Life", "Love Is the Drug", "Bullshit", and "Pars" due to the space limitations of the format; most CD and cassette releases feature the full album uncut.
**
Most CD releases of ''Slave to the Rhythm'' shorten down "Jones the Rhythm" and "The Fashion Show", replace the album mix of "Ladies and Gentlemen: Miss Grace Jones" with the single version, omit the spoken-word interludes in "The Crossing", and both extend "The Frog and the Princess" and move it down from track 3 to track 5. The result is a considerably different experience compared to the LP version, with only the US CD and the 2015 remaster following the vinyl configuration.
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* OlderThanTheyLook: At 73, she still looks the way she was thirty years ago.

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* ClipShow: The music video for "Slave to the Rhythm" primarily consists of recycled footage from Jones' previous videos, emphasizing its parent album's intent as a musical autobiography.



* MinstrelShows: The music video for "Living My Life" depicts Jones trapped in an abstract interpretation of a minstrel show, surrounded by mocking ballerinas in caricatured blackface masks. The ballerinas, a curt reference to the Delusions of Eloquence trope's prevalence in minstrelsy, are contrasted by Jones' defiant performance as part of her commentary on the relationship between black performers like herself and the entertainment industry.

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* MinstrelShows: The music video for "Living My Life" depicts Jones trapped in an abstract interpretation of a minstrel show, surrounded by mocking ballerinas in caricatured blackface masks. The ballerinas, a curt reference to the Delusions of Eloquence DelusionsOfEloquence trope's prevalence in minstrelsy, are contrasted by Jones' defiant performance as part of her commentary on the relationship between black performers like herself and the entertainment industry.

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* AshFace: The relationship between this trope and {{blackface}} is parodied in the "Slave to the Rhythm" music video, which features two scene where ''black'' performers cover themselves in ''white'' ash: first is a group of performers stomping in the dust and getting it all over themselves, second is an androgynous black person sticking their head in a cannon just before it fires and emerging looking like an overly-glitzy white woman.
* {{Blackface}}: The music videos for both "Living My Life" and "Slave to the Rhythm" indulge in blackface imagery as a commentary on the relationship between black performers like Jones and the entertainment industry. The former video features ballet dancers in caricatured blackface masks, while the latter uses a number of variations on blackface makeup.



* MinstrelShows: The music video for "Living My Life" depicts Jones trapped in an abstract interpretation of a minstrel show, surrounded by mocking ballerinas in caricatured blackface masks. The ballerinas, a curt reference to the Delusions of Eloquence trope's prevalence in minstrelsy, are contrasted by Jones' defiant performance as part of her commentary on the relationship between black performers like herself and the entertainment industry.



* RearrangeTheSong: ''Slave to the Rhythm'' turns this trope into an outright art form, consisting of eight distinct variations on the same base track. It was only supposed to be one single, but producer Music/TrevorHorn was so satisfied with the eight different mixes he made that he simply released all of them at once.

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* RearrangeTheSong: RearrangeTheSong:
**
''Slave to the Rhythm'' turns this trope into an outright art form, consisting of eight distinct variations on the same base track. It was only supposed to be one single, but producer Music/TrevorHorn was so satisfied with the eight different mixes he made that he simply released all of them at once.once.
** "Love Is the Drug" was remixed for a re-release in 1986, featuring a new AnimatedMusicVideo.
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* RearrangeTheSong: ''Slave to the Rhythm'' turns this trope into an outright art form, consisting of eight distinct variations on the same base track. It was only supposed to be one single, but producer Trevor Horn was so satisfied with the eight different mixes he made that he simply released all of them at once.

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* RearrangeTheSong: ''Slave to the Rhythm'' turns this trope into an outright art form, consisting of eight distinct variations on the same base track. It was only supposed to be one single, but producer Trevor Horn Music/TrevorHorn was so satisfied with the eight different mixes he made that he simply released all of them at once.
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Grace Beverly Jones (born 19 May 1948 in Spanish Town) is a Jamaican-American [[FashionModel fashion icon]], singer and actress.

to:

Grace Beverly Jones (born 19 May 1948 in Spanish Town) Town, UsefulNotes/{{Jamaica}}) is a Jamaican-American [[FashionModel fashion icon]], singer and actress.
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* NotQuiteStarring: She's played by an actress in ''Film/HouseOfGucci'', which is set in TheNineties.
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* [[ScaryBlackMan Scary Black Woman]]: She played TheDragon to BigBad Max Zorin in ''A View to a Kill'' to great effect, with a perfect balance of DeathGlare, ruthlessness and lethality. Zula from ''Conan the Destroyer'' might also qualify, depending on how one perceives her BloodKnight and ScreamingWarrior tendencies.

to:

* [[ScaryBlackMan Scary Black Woman]]: She played TheDragon to BigBad Max Zorin in ''A View to a Kill'' ''Film/AViewToAKill'' to great effect, with a perfect balance of DeathGlare, ruthlessness and lethality. Zula from ''Conan the Destroyer'' ''Film/ConanTheDestroyer'' might also qualify, depending on how one perceives her BloodKnight and ScreamingWarrior tendencies.
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None


* ''Film/TheHungerGamesMockingjay'' soundtrack (2014, song "Original Beast")

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* ''Film/TheHungerGamesMockingjay'' soundtrack (2014, (2014) [[note]]The song "Original Beast")
Beast"[[/note]]
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* ExactlyWhatItSaysOnTheTin: ''Hurricane Dub'', a second CD included with the 2011 re-release of ''Hurricane'', is a dub remix of the base album.

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* ExactlyWhatItSaysOnTheTin: ''Hurricane - Dub'', a second CD included with the 2011 re-release of ''Hurricane'', is a dub remix of the base album.

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* AmbiguousGender: Her main appeal as a model and performer in TheEighties was her androgynous appearance.



* CoverAlbum: Jones' early albums; as her career progressed, she'd gradually shift away from covers in favor of original material.

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* CoverAlbum: Jones' early first five albums; she'd gradually incorporate more and more original material as her career progressed, she'd gradually shift away from covers in favor of original material.with ''Living My Life'' finalizing it by only featuring one cover (Creator/MelvinVanPeebles' "The Apple Stretching").



* LadyLooksLikeADude: Her main appeal as a model and performer in TheEighties was her androgynous appearance. The spoken passage in "The Frog and the Princess" particularly describes how "the ambiguity of her act was that she herself looked like a man-- a man, singing 'I Need a Man' to a bunch of men."



* RearrangeTheSong: ''Slave to the Rhythm'' turns this trope into an outright art form, consisting of eight distinct variations on the same base track.

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* OutOfGenreExperience: By nature of its unusual creation, ''Slave to the Rhythm'' is closer to a {{progressive|Rock}} {{pop}} album unlike Jones' typical fusion of NewWaveMusic and {{reggae}}.
* RearrangeTheSong: ''Slave to the Rhythm'' turns this trope into an outright art form, consisting of eight distinct variations on the same base track. It was only supposed to be one single, but producer Trevor Horn was so satisfied with the eight different mixes he made that he simply released all of them at once.

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* AnimatedMusicVideo: The video for the 1986 remix of "Love is the Drug" combines marker animation, StopMotion, and SynchroVox.



* TheCoverChangesTheGender: Jones' version of Music/RoxyMusic's "Love is the Drug" changes the line "I say 'go,' she say 'yes'" to "I say 'go,' '''he''' say 'yes.'"



** ''Warm Leatherette'' shifts away from her early {{disco}} work in favor of {{reggae}}-infused NewWaveMusic, reflective of the DiscoSucks movement in the US that galvanized around that time.

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** ''Warm Leatherette'' shifts away from her early {{disco}} work in favor of {{reggae}}-infused NewWaveMusic, reflective of the DiscoSucks movement in the US that galvanized around that time. This is most heavily embodied by her version of "Love is the Drug", which replaces the dancefloor-friendly GlamRock sound with chugging synth-rock.

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* NewSoundAlbum: ''Warm Leatherette'' shifts away from her early {{disco}} work in favor of {{reggae}}-infused NewWaveMusic, reflective of the DiscoSucks movement in the US that galvanized around that time.

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* NewSoundAlbum: ExactlyWhatItSaysOnTheTin: ''Hurricane Dub'', a second CD included with the 2011 re-release of ''Hurricane'', is a dub remix of the base album.
* NewSoundAlbum:
**
''Warm Leatherette'' shifts away from her early {{disco}} work in favor of {{reggae}}-infused NewWaveMusic, reflective of the DiscoSucks movement in the US that galvanized around that time.time.
** ''Inside Story'' moves Jones to a more mainstream dance pop sound, with ''Bulletproof Heart'' taking it further into NewJackSwing.
** ''Hurricane'' goes back to Jones' reggae/new wave mix, modernizing it with touches of TripHop and ThrashMetal.
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* ''Film/{{Boomerang}}'' (1992) as Helen Strangé

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* ''Film/{{Boomerang}}'' ''Film/{{Boomerang| 1992}}'' (1992) as Helen Strangé
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* [[invoked]]WhatCouldHaveBeen: Grace was once set to reappear in the Film/JamesBond franchise, with a cameo in the Jamaica scenes of ''Film/NoTimeToDie'', but she quit within ''minutes'' upon seeing how small her part was.
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* TitleConfusion: When the single "Slave to the Rhythm" was included on the album of the same name, it was retitled ''Ladies and Gentlemen: Miss Grace Jones'', with a completely different song being turned into the new TitleTrack. Essentially, the original "Slave to the Rhythm" is ''not'' the album's "Slave to the Rhythm", nor is it called "Slave to the Rhythm" on said album.

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* TitleConfusion: When the single "Slave to the Rhythm" was included on the album of the same name, it was retitled ''Ladies "Ladies and Gentlemen: Miss Grace Jones'', Jones", with a completely different song being turned into the new TitleTrack. Essentially, This creates an odd situation where the original "Slave to the Rhythm" is ''not'' the album's "Slave to the Rhythm", nor is it called "Slave to the Rhythm" on said album.
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Added DiffLines:

* TitleConfusion: When the single "Slave to the Rhythm" was included on the album of the same name, it was retitled ''Ladies and Gentlemen: Miss Grace Jones'', with a completely different song being turned into the new TitleTrack. Essentially, the original "Slave to the Rhythm" is ''not'' the album's "Slave to the Rhythm", nor is it called "Slave to the Rhythm" on said album.
Is there an issue? Send a MessageReason:
None


* ReCut: Most CD releases of ''Slave to the Rhythm'' shorten down "Jones the Rhythm" and "The Fashion Show", replace the album mix of "Ladies and Gentlemen: Miss Grace Jones" with the single version, omit the spoken-word interludes in "The Crossing", and both extend "The Frog and the Princess" and move it down from track 3 to track 5. The result is a considerably different experience to the LP version, with only the US CD and the 2015 remaster following the vinyl configuration.

to:

* ReCut: Most CD releases of ''Slave to the Rhythm'' shorten down "Jones the Rhythm" and "The Fashion Show", replace the album mix of "Ladies and Gentlemen: Miss Grace Jones" with the single version, omit the spoken-word interludes in "The Crossing", and both extend "The Frog and the Princess" and move it down from track 3 to track 5. The result is a considerably different experience compared to the LP version, with only the US CD and the 2015 remaster following the vinyl configuration.
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None

Added DiffLines:

* CoverAlbum: Jones' early albums; as her career progressed, she'd gradually shift away from covers in favor of original material.
* NewSoundAlbum: ''Warm Leatherette'' shifts away from her early {{disco}} work in favor of {{reggae}}-infused NewWaveMusic, reflective of the DiscoSucks movement in the US that galvanized around that time.
* RearrangeTheSong: ''Slave to the Rhythm'' turns this trope into an outright art form, consisting of eight distinct variations on the same base track.
* ReCut: Most CD releases of ''Slave to the Rhythm'' shorten down "Jones the Rhythm" and "The Fashion Show", replace the album mix of "Ladies and Gentlemen: Miss Grace Jones" with the single version, omit the spoken-word interludes in "The Crossing", and both extend "The Frog and the Princess" and move it down from track 3 to track 5. The result is a considerably different experience to the LP version, with only the US CD and the 2015 remaster following the vinyl configuration.
Is there an issue? Send a MessageReason:
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She started her career in TheSeventies in high fashion meccas like New York and Paris, modelling for prestigious designers of that field such as UsefulNotes/YvesSaintLaurent and Kenzo. Her trademark androgynous beauty was captured by renowned photographers such as Helmut Newton, Guy Bourdin and Hans Feurer, and made her a muse for avant-garde artists like Creator/AndyWarhol and a prominent cover subject for magazines like Elle and Vogue. She also had much influence on the {{crossdress|er}}ing trends of TheEighties, and even to this day she has her DragQueen imitators.

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She started her career in TheSeventies in high fashion meccas like New York and Paris, modelling for prestigious designers of that field such as UsefulNotes/YvesSaintLaurent and Kenzo. Her trademark androgynous beauty was captured by renowned photographers such as Helmut Newton, Guy Bourdin and Hans Feurer, and made her a muse for avant-garde artists like Creator/AndyWarhol and a prominent cover subject for magazines like Elle and Vogue. She also had much influence on the {{crossdress|er}}ing trends of TheEighties, and even to this day she has her DragQueen imitators.
imitators to this day.
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!!Tropes & Trivia about her works:

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!!Tropes & Trivia about her works:


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* CapitalismIsBad: "Corporate Cannibal" uses [[ImAHumanitarian cannibalism]] as a metaphor for corporate capitalism.

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