Things have gotten quiet again around here, both because I’ve been feeling under the weather and because I’ve been buried in other writing assignments. I’m working on the latter and crossing my fingers that the former is on its way out, but in the meantime, here’s an episode of Darren Husted’s Prince: Track by Track podcast I recorded late last year:
The concept behind “Gigolos Get Lonely Too” is pretty much exactly what the title suggests: Morris–and by extension, Prince–inhabiting the role of a sex worker who longs for the intimacy to “make love without taking off my clothes.” The conceit was something of a departure from the Morris Day persona to date, which read more as an aspiring pimp than a gigolo. But then, gigolos were experiencing something of a resurgence in the early ’80s: Paul Schrader’s neo-noir American Gigolo had released to some attention in early 1980, making a star out of both leading man Richard Gere and costume designer Giorgio Armani. It’s hardly far-fetched to imagine Gere’s character, with his taste for Italian suits and the high life, influencing the Time’s visual aesthetic; certainly his refusal to engage gay clients, however unconvincing, would have helped to mitigate male sex work’s homosexual connotations.
I was originally on the fence about whether I would share this podcast appearance here; while it’s an extension of Darren Husted’s Prince: Track by Track podcast–and Darren decided to do Beck’s 1999 album Midnite Vultures because of its well-publicized Prince influence–I thought at first that the track I’d chosen to guest on wasn’t very Prince-related. Well, turns out I was in denial, because we actually ended up talking about Prince quite a bit:
So anyway, there’s me talking about a non-Prince artist. I’ll be back by the end of the week to talk some more about Prince–or at least the Time. And hey, if you want to hear/read more of my words about artists that aren’t necessarily Prince, check out my music writing portfolio and my (currently-dormant-but-not-dead) side project zine/podcast Dystopian Dance Party!
Note: As we embark on another new year, I thought it was about time to check in on one of the many alternate realities in our vast multiverse. If you’re new to the blog, yes, this is totally made up: just a way of thinking about a particular moment in Prince’s career from a different angle by exploring the possibilities of what might have been. This time, I wanted to dig a little deeper into the idea–discussed in a previous post–of how Chuck Statler’s unfinished concert filmThe Second Coming might have been received had it, and not Purple Rain, been Prince’s feature film debut. What you’re about to read is my best impression of the kind of review that might have appeared in a mainstream magazine or newspaper circa late 1982. As always, this exercise in speculative fiction is not to be taken seriously. And if these posts aren’t your thing, don’t fret: I’ll have something more conventional for you next week!
As usual, I took the last couple weeks of December off for the holidays, which meant I didn’t post the links to my last two appearances on Darren Husted’s Prince: Track by Track podcast. So here they are now: one of my favorite tracks from Prince’s extended universe, as well as one of the most forgettable. I’ll let you guess which one is which:
With this bit of business out of the way, I’m now officially on track to kick off the blog for 2019. We’ll start tomorrow with a belated post from one of our alternate timelines, then it’s back to the Time’s second album next week. Happy New Year!