Yesterday, I spent an unbelievably self-indulgent six hours on Skype with Jane Clare Jones, preparing and recording a podcast to mark the first anniversary of Prince’s death (because of our unbelievable self-indulgence, it will actually be several podcasts). The first installment of our conversation should be ready to post by Friday; but in the meantime, here’s another conversation from last year with my sister Callie, which ran on our blog Dystopian Dance Party just over a week after we heard the terrible news. In case you’re concerned–I know emotions are raw this week–it’s mostly a joyous discussion, focusing on Prince and what he means to us rather than the tragic conditions of his end. I thought now was as good a time as any to share it with a wider audience. Show notes are here, and I’ll be back tomorrow with a review of another recent addition to the canon of Prince literature.
Well, folks, it’s Saturday afternoon, and that means another guest post about Prince protégés on Andresmusictalk. This week, I’m digging in to the short, widely-misunderstood discography of Vanity and Apollonia 6. As with last Saturday’s post on the Time, there’s a lot left to say, but just consider it a preview for a more extended discussion on this blog:
Every once in a while, we’ll interrupt our usual programming on dance / music / sex / romance to repost something relevant from our sister site, Dystopian Dance Party. Today–and in honor of D.D.P.’s most sacred holiday season, Jheri Curl June–it’s a podcast where my cohost Callie and I look at the cottage industry of (very) thinly-veiled side projects introduced by Prince between 1981 and 1987: including the Time, Vanity 6, Sheila E, Apollonia 6, the Family, Mazarati, Jill Jones, and others. If you’re a Prince fan–and, if you’re at this website, I’m going to go out on a limb and guess you are–then some of this stuff is essential listening.
First, though, a word of warning, as I’m afraid there’s a factual error in this one: I was speaking from memory in the section about Sheila E, and incorrectly stated that “Noon Rendezvous” began life as a Revolution outtake. It was actually co-written by Prince and Sheila for the Glamorous Life album; the Revolution just happened to cover it in concert. Oops! Anyway, I left that bit in because I still like the song, so just enjoy the music and try to ignore the fact that I’m blatantly lying to you.
Show notes are here. We’ll be back to the chronological Prince grind starting, I believe, Wednesday; in the meantime, check out Dystopian Dance Party every weekday in June for more ’80s R&B that owes more than a slight debt to His Royal Badness.