Prince's pop life, song by song, in chronological order.

While “Glamorous” sounded tailor-made for Sheila’s particular talents (even if it wasn’t), “Belle” is well-crafted but faceless, embodying the essentialist cynicism of the publishing imprint Prince used for his female side projects: “Girlsongs.”
We’re nearing the end of our miniseries on the University of Salford’s interdisciplinary Prince conference, but there are still a few treats in store–starting with today’s conversation with Carmen Hoover. Carmen is a current professor at Olympic College in Washington, and a former First Avenue employee who watched Prince conquer the world from Minneapolis in
Shrug a song like “Sister” off as a joke, and one risks trivializing a serious trauma; take it at face value, and one can appear credulous–not to mention potentially libelous.
Settle in, folks, because today we’ve got not one, but two presenters from this spring’s Prince conference at the University of Salford: interdisciplinary artist/activist Felicia Holman and independent scholar/activist Harold Pride. Both were part of the organic community of Black artists and academics who came together in Manchester and, each in their own way, helped to