Jones likes to say that she exists in several time zones at once, but
most of the time you can find her in London or Jamaica. She had come to
New York to headline the Afropunk Fest in Brooklyn, where she performed at Commodore Barry Park two nights in a row.
both concerts, a billowing curtain fell away to reveal Ms. Jones
covered head to toe in tribal body paint (a look Keith Haring created
for her in the ’80s), wearing a feathered headdress adorned with a gold
skull and a corset that ended just below her exposed breasts.
Donning a series of outrageous costumes, she sang raspy, raunchy versions of her hits, including the double-entendre-laden “Pull Up to the Bumper,” which was accompanied by a blast of bubbles. She performed her entire final song, “Slave to the Rhythm,”
while hula hooping topless, betraying nothing of her 60-something
years. (“I never remember how old I am,” she says. “I’m 5,000 years
her mostly young spectators saw traces of pop music’s current crop of
exhibitionists, they were not alone. Her name and her envelope-pushing
influence are now commonplace in descriptions of such mass-marketed
misfits as Miley Cyrus, Amber Rose and Nicki Minaj.
But Ms. Jones is not impressed.
make it so obvious,” she said at the Mandarin. “But they don’t quite
have the conviction. It’s always someone styling them, for example. It’s
not coming from them.
added: “People say, ‘Well, you should be flattered.’ And I’m like, ‘No,
I’m not.’ Because my whole view is being unique and finding yourself,
from your own suffering or your own upbringing or your own happiness.
For me, it’s all piggybacking. [Read More]