As listeners are no doubt aware, next week will be a big one for Prince fans in Minneapolis: Monday through Wednesday is Prince from Minneapolis, the second-ever (and first in the States) academic symposium devoted to papers about Prince; then, from Thursday to Sunday, Paisley Park will open its doors for its second annual posthumous Celebration event. I will be there for both, so I thought now was the perfect opportunity to talk to Stuart Willoughby, whose book Minneapolis Reign: A Guide to Prince’s Hometowndocumented his own trip to last year’s Celebration 2017. Stuart and I had a really fun conversation, which will hopefully give everyone else out there planning their own pilgrimages some pointers about where to go and what to do in Prince’s hometown.
As always, remember to subscribe to the d / m / s / r podcast on your service of choice (iTunes, Stitcher, or Google Play), and to leave us a review if the spirit moves you. I look forward to meeting some of you in Minneapolis next week!
(Featured Image: Prince at the El Rey Theatre, Los Angeles, 2004; Chambers is behind him on the left. Photo by M. Caulfield.)
It’s been over half a year since the University of Salford’s interdisciplinary Prince conference, but I keep connecting with people who presented there and whose topics of research are too interesting not to discuss. This time, I’m talking to actor and playwright Chambers Stevens, who has a fascinating theory about the influence of improv training on Prince’s approach to life and performance. But we aren’t just retreading Chambers’ presentation from the Salford conference; he also has some hilarious stories to share about his own run-ins with Prince (and Chaka Khan), as well as some thoughts about the peculiar nature of Prince fandom. We had a lot of fun recording this–hopefully you’ll have fun listening as well!
And speaking of fun, there’s still a little more time to participate in my giveaway for a free copy of Duane Tudahl’s new book Prince and the Purple Rain Era Studio Sessions: 1983 and 1984. The rules are simple: just subscribe to d / m / s / r on your podcast app of choice (logging into iTunes or Stitcher and searching “dance music sex romance” should do the trick), and leave a review. It doesn’t have to be a positive review; feel free to rake me over the coals if you want, just make it well-written. On Tuesday, December 12, I’ll look at all the reviews that have been submitted, pick my favorite–again, not necessarily the most positive!–and announce the winner on the next episode of the podcast. Oh, and speaking of that next episode, this is one you’re not going to want to miss: I was fortunate enough to speak to the one and only Marylou Badeaux, former V.P. of Special Projects at Warner Bros. Records and author of the upcoming memoir Moments: Remembering Prince. Come back and listen to it next week!
(Featured Image: London punks, circa 1977. Photo by Karen Knorr and Olivier Richon; stolen from BBC News.)
Prince’s adoption of a punk aesthetic in late 1980 and early 1981 was, as we’ve seen, an act of calculation; it would be a mistake, however, to assume that it was only that. For one thing, Prince’s New Wave songs were simply too good to have been born of strategic considerations alone. For another, as his cousin Charles Smith recalled, the artist was a known fan of “the whole English scene… He’d always been into David Bowie and that kind of stuff” (Nilsen 1999 72).
It thus stands to reason that when Prince finally made his way to punk’s epicenter, London, in June of 1981, his P.R. approach combined thinly-veiled opportunism with genuine homage. He promoted his one-off date at the West End’s Lyceum Ballroom with a pair of high-profile magazine interviews: one with Steve Sutherland of Melody Maker, and the other with Chris Salewicz, whose tenure at NMEalongside writers Tony Parsons and Julie Burchill had helped frame the discourse around British punk. Warner Bros. even took the opportunity to release a U.K.-exclusive single in advance of his visit: a distinctly New Wave-flavored outtake from the Dirty Mindsessions called “Gotta Stop (Messin’ About).”
(Featured Image: Prince by Neal Preston, circa 1984.)
Last week, Duane Tudahl’s long-awaited book Prince and the Purple Rain Era Studio Sessions: 1983 and 1984was finally published, and I was lucky enough to speak to him about it. If you haven’t read the book yet, you need to listen to this podcast: Duane is a knowledgeable and passionate Prince fan-turned-scholar, and his enthusiasm for the project is infectious. And if you have read the book, you should still listen, because he has a lot to share not only about his research and writing process, but also about his experiences with the celebrated Uptown fanzine and his ideas for preserving Prince’s legacy moving forward. NPG/Comerica/Warner Bros., if you’re out there, give this man some consulting work; we can all benefit from someone with his dedication and expertise steering the ship.
Now, for those of you who haven’t read the book yet, allow me to sweeten the pot: I’ve already bought my copy, but I am planning to secure another one (hopefully signed by the author!) and gift it to a lucky listener who reviews d / m / s / r on their podcast app of choice (iTunes, Stitcher, or Google Play). If you’ve never done this before, it’s easy: just subscribe, give the podcast a rating, and leave a short review, then leave a comment on the blog so I know you did it. In about a month, I’ll send my extra copy of Duane’s book to whoever wrote my favorite review. Note that this doesn’t mean your review has to be positive–if you hate my podcast and want to drag me, knock yourself out! As long as you leave a review and tell me where to look for it (and are willing to send me your mailing address, of course), you’re eligible to receive the book.
For now, I hope you enjoy this interview, and I hope you’ll check out Duane’s book–it really is phenomenal. Thanks for listening, and see you again soon!