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Controversy, 1981 Podcast

Podcast: 41 Years of Controversy – A Conversation with Harold Pride and De Angela Duff

Here we are again, my first podcast in more than a year, and I couldn’t have asked for better guests than Harold Pride and De Angela Duff to discuss Prince’s fourth and quite possibly most underrated album, 1981’s Controversy. If you’ve been listening to these deep-dive album retrospectives, Harold needs no introduction; and, since the Prince scholarly community is a pretty small one, De Angela may not need one either. Suffice to say that she’s the biggest advocate of Controversy I know, and she makes a convincing case that it’s not only a great album in its own right, but also the linchpin of Prince’s entire career.

One quick note: you will likely notice that there was a significant drop in audio quality this episode; this was due to a perfect storm of technical issues that, unfortunately, left the low-quality Skype call recording as the only usable audio source from our conversation. I think you’ll get used to it, but I will assure you anyway that I’m taking steps to make sure we sound better next time. And yes, speaking of “next time,” I do have plans for more episodes in the coming months–probably not in October, but maybe one more before the end of the year, and then more to come in early 2023. If you want to hear the episodes as soon as they drop, remember to subscribe on your podcast service of choice using the links above!

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Controversy, 1981 Podcast

Coming Soon: 41 Years of Controversy

Last October, I had every intention to mark the 40th anniversary of Controversy with another installment of our in-depth album retrospective podcast series, but life (i.e., my increasingly-predictable end-of-year burnout) intervened. Now, having finally gotten my shit together, I’m putting the finishing touches on the episode, and it will be dropping next Friday (tomorrow for patrons)! I’m joined as always by Harold Pride and, for the first time, by longtime friend of the show De Angela Duff, who was actually the one to get my butt in gear because she’s just that passionate about the album! Very excited for you to hear it and (knock on wood) to be back with more in less than a year.

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Patreon Exclusives

Patreon Exclusive Video: August 2022 Patreon Update

Well, another month has come and gone, so I’m back with another Patreon video update! August wasn’t as eventful a month for me as July, but I still have some extended thoughts on my last two posts on “Manic Monday” and “Ooo She She Wa Wa,” as well as an updated timeline for the next few months and (despite my stated intention to keep my mouth shut) some very off-the-cuff thoughts about the incoming Prince Estate. If there’s anything you’d like me to address next month, just let me know–otherwise, thanks for watching, and I’ll see you again soon!

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Apollonia 6, 1984

Ooo She She Wa Wa

Just two weeks after beginning “Take Me with U”–and a little less than three months after finishing “Sex Shooter”–Prince had nearly enough material for a full album by Apollonia 6; the only thing missing was a feature for the group’s third member, Susan Moonsie. According to Brenda Bennett, the oversight may have been deliberate: “Susan and Prince were fighting,” she told sessionographer Duane Tudahl (Tudahl 2018 255). So, never one to shy away from a passive-aggressive slight, on February 5, 1984, His Royal Badness dashed off “Ooo She She Wa Wa” with zero input from his protégée and on-and-off paramour.

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Ephemera, 1984

Manic Monday

Sometimes, the uncanny ease of Prince’s creative process can make it tempting to presume that his songs simply sprang forth from him, like Athena from the forehead of Zeus. This is doubly true when one considers that, in at least a few cases, that’s pretty much exactly what happened. Engineer Peggy McCreary likes to tell the story of when Prince called her back into Sunset Sound on the morning of February 4, 1984, after a typical marathon session the previous night: “I remember going to bed at six in the morning and he called and said, ‘Can you be at the studio at noon?’ because he had dreamed a song,” she told sessionographer Duane Tudahl. “He said if he dreamed a chorus he’d call me, and he did, and it was ‘Manic Monday’” (Tudahl 2018 253).