Over the weekend, the Afropunk festival happened in New York City. Giant banners proclaimed “No sexism, no racism, no ableism, no homophobia, no fatphobia, no transphobia, no hatefulness,” like an expanded version the sign hanging at the door of Berkeley’s 924 Gilman Street. With, you know, a bit of corporate help from Red Bull and Coors Light. Lenny Kravitz, Kelis, Suicidal Tendencies, and Sacramento noise terrorists Death Grips turned in sets, but the talk of the event turned out to be the performance by Grace Jones.
Jones has always excelled at pulling off the strange, outré, and avant garde, futzing with gender, messing with fashion, making records, and even taking a turn as a Bond girl in A View to a Kill. When that film’s theme composers, Duran Duran, split into Power Station and Arcadia, Jones performed with the latter. Versatility, thy name is Grace.
Some body-negative pantywaists were shocked at Jones’ weekend topless hula-hoop performance at Afropunk, suggesting that 67-year-old ladies have no business working it like that onstage. We say if Iggy Pop (whose “Nightclubbing” Jones famously covered) can still stalk a stage sans shirt, why can’t Grace? Jones does what she wants, and pop culture is a better, broader place due to her efforts. Don’t believe us? Scope this surreal Citroën CX spot she did back in the ‘80s. It remains one of our all-time favorite car commercials.
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