Here at last, after much delay, is my conversation with Chris Aguilar-Garcia and Natalie Clifford, two presenters from this May’s interdisciplinary Prince conference at the University of Salford. Both Chris and Nat identify as queer, and both have very interesting things to say about Prince’s legacy of “revolutionary queerness” and the space he created for less conventional expressions of gender and sexuality in the mainstream. If you liked the last episode with Snax, chances are you’re gonna like this one.
This is the part of the description where I would normally say we’re switching gears and moving away from the Salford conference, but as it happens, we already have another interview with a presenter in store. So basically, I’ll keep doing these as long as people want to talk to me. If you still want to listen to me–and, more importantly, my eloquent guests–feel free to subscribe on your podcast service of choice (iTunes, Stitcher, or Google Play), or listen on Mixcloud. And if you really like us, take that aforementioned podcast app and shoot us a rating or review; it will make us more “discoverable” and broaden the listening base. In the meantime, thanks as always for listening!
(Featured Image: Purple Rain Tour Shirt, 1984; photo stolen from the Current.)
It’s been just under two months since I started interviewing presenters from this spring’s interdisciplinary Prince conference at the University of Salford, and I’ve been absolutely thrilled with the results. But all good things must come to an end, so I had planned to make this chat with writer Erica Thompson the last of my post-conference podcasts. It would have been a great choice, too; Erica’s presentation was the result of many years of research for a book project on Prince’s spiritual journey, so our conversation was less about the conference in particular and more about her findings more generally: a nice segue into future, less Manchester-centric episodes.
But just when I think I’m out, they keep pulling me back in. Contrary to my own statements in this episode, I have already set up another interview with a few presenters from one of the conference’s gender and sexuality panels. So basically, expect me to keep interviewing scholars from the Purple Reign conference until the next milestone in Prince scholarship comes along. And in the meantime, please enjoy my and Erica’s conversation about the importance–and, sometimes, difficulty–of understanding Prince’s religious faith in relationship with his art.
As usual, I invite you to subscribe to the podcast on iTunes, Stitcher, or Google Play for mobile listening; you can also stream episodes on Mixcloud. And keep listening, because there’s good stuff–Purple Reign-related and otherwise–coming up in the near future!
Just under two weeks ago, I had the pleasure of speaking with two more presenters from the University of Salford’s interdisciplinary Prince conference: Joni Todd and Karen Turman, who you may know by reputation as the “esoteric French panel.” But if all that sounds a little too highbrow, don’t worry; we mostly talked about Prince’s impeccable fashion sense and uncompromising artistic vision, just with a lot of references to Charles Baudelaire and Marcel Duchamp. It’s probably the only Prince podcast you’ll hear that mentions both “Pussy Control” and Walter Benjamin, and that’s the best endorsement I can possibly give.
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The recording sessions for Princebegan in earnest in late April of 1979, with overdubs and mixes completed by June 13: about seven weeks, all told, barely half the time Prince had taken to complete his debut album. Indeed, while For Youand Princeare often grouped together by critics, in practice the two albums are a study in contrasts. Rather than the state-of-the-art Record Plant, Prince used Alpha Studios in Burbank, California: a relatively modest facility located in the home of owner and engineer Gary Brandt. And where on For You Prince had seemed determined to use every inch of the studio console, his approach to its successor was markedly scaled back; according to Brandt, Prince deliberately limited himself to only 16 of Alpha’s 24 available tracks (Brown 2010).
Prince’s stripped-down aesthetic was born partly of preference and partly of necessity. In later interviews, Prince would suggest a growing dissatisfaction with For You’s fussy production: he had tried to make “a perfect record,” he told Melody Maker’s Steve Sutherland in 1981, but “it was too scientific” (Sutherland 1981). Working with 16 tracks at Alpha Studios would likely have felt more comfortable to an artist used to the humbler accommodations of Sound 80 and his own home studio in Minneapolis; crucially, it was also much cheaper. For You’s recording budget, you might remember, had ballooned to some $170,000–almost the entire amount Warner Bros. had allotted for Prince’s first three albums. So this time around, Prince told Lynn Norment of Ebony magazine, “I realized that I had to make some money to prove to them that I was a businessman” (Norment 34). By recording quickly and economically, Prince would ensure that the new record came in on time and under budget. “He was really in a hurry,” drummer Bobby Z recalled to biographer Per Nilsen. “There was quite a bit of debt to the label, and he needed a hit. His back was against the wall” (Nilsen 1999 54).