Happy New Year, everyone! I’m starting 2018 more excited about this project than ever, and I think you’ll enjoy what I have planned. But first, here’s something I did for another chronological Prince project: Darren Husted’s excellent podcast Prince: Track by Track. Our topic this time around is a bit of a guilty pleasure: the Diamonds and Pearlsalbum cut “Daddy Pop.” But you should still listen, if only to hear my surprisingly spirited defense of Tony M:
While I’ve got you here, I guess I might as well talk about a few of those things I have planned for the months to come. First up will be another, imaginative look at what might have been for Prince’s relationship with André Cymone; then, starting next week, I’ll be jumping into the songs that became the debut album by Prince’s first official protégé group, the Time. On the podcast, you can also look forward to an interview with Kimberly Ransom, whose work appeared both at last spring’s University of Salford Prince conference and in last fall’s special Prince issue of the Journal of African American Studies. I’m also in the very, very early brainstorming period for a series of podcasts on each of Prince’s albums I’ve covered in writing so far, beginning with the 40th anniversary of For Youin April. If you have any ideas for that–including suggestions for possible guests–you know where to find me.
(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: Artwork for the University of Salford’s Purple Reign Conference.)
It’s been a long gestation period, but at last, the d / m / s / r podcast has returned with our “roving reporter,” philosopher and budding Princeologist Jane Clare Jones. She’s here to talk about the University of Salford’s interdisciplinary conference on Prince, which she attended back in May, but we also (of course) cover a lot of other territory: including the connections between Prince’s much-discussed messianism and his much-less-discussed radical political consciousness. If you’re interested in hearing what’s going on in the rapidly-growing field of Prince scholarship, this will be an interesting listen.
And, as the man himself was wont to say, it ain’t over: having missed the opportunity to attend the Salford Purple Reign conference, I’m now bringing the conference to me (and you!). For the next several weeks, I’ll be lining up more conversations with attendees of the conference, to discuss their work and their ideas about Prince. If you presented at Salford and are interested in recording a podcast, hit me up! I’d love to hear from as many of you as I can. The conference may have happened two months ago, but from the looks of things, scholarly interest in Prince has just begun. Let’s keep it going!
As always, you can subscribe to the d / m / s / r podcast using any of the major services: iTunes, Stitcher, or Google Play (I’d recommend Stitcher over Google for Android users). You can also stream episodes on Mixcloud. If you like what you hear, leave a review on your service of choice–this will help to make us more visible! Thanks for listening, and see you again soon.