beggars belief: it showcases great minds alighting on the future, and points the way to Madonna, Björk, Lady Gaga, Gorillaz, M.I.A. and more." According to Molly Beauchemin, Jones "pioneered the way for Shamir, Stromae, and countless other dance mavericks of today – not just with her bewitching candor but through her use of androgynous innuendo". Polari Magazine considered Nightclubbing to be "a defining moment in the history of pop music". The album further cemented Jones' pop icon status. According to Erich Kessel, "[the singer's] performances were a source of rich critiques on race, gender, and blackness." Her pioneering androgynous aesthetic – conceived alongside Jean-Paul Goude – had a strong impact on the pop culture of the 1980s; for example, it was a precursor to Annie Lennox's persona. According to Abigail Gardner, "Jones was an androgynous audiovisual experience, one who sat comfortably within the context of early 1980s pop, where image had become even more central to pop performance through the emergence of MTV." She further argued that the singer "problematises ideas of black feminine in performance art that contributed to a reconceptualisation of Afrocentric culture and identity." Miriam Kershaw positioned Jones "not as a singer or a diva, but as a piece of art", and argued that she "worked to destabilise racist and sexist clichés as she charted a dynamic course through the history of the Black diaspora, to celebrate its vibrant contemporary form." The singer's gender-bending and unrestrained sexuality also won the acclaim of the gay community, being included in Out "The 100 Greatest, Gayest Albums of All Time" and Attitudes "Top 50 Gay Albums of All Time". i-D writes: "Jones transcended definition in almost every realm of her life. She is often referred to as a queer icon. [...] She rejects all labels of sexuality, and her musical output is similarly fluid, switching from pop and disco to dub and reggae without hesitation." In The Village Voices Pazz & Jop critics' poll of 1981, Nightclubbing placed at number 31, while "Pull Up to the Bumper" was voted the year's 11th best single. It also appeared in the year-end lists of Sounds, Rockerilla, OOR, The Face, Melody Maker and NME – the latter considering it the best album of 1981. Slant Magazine listed Nightclubbing as the 40th best album of the 1980s, with Henderson writing it "performs double duty, building up the singer's legend even as it makes attempts