dance / music / sex / romance is fast approaching its third year, so to celebrate, we’re going…backwards? That’s right, to mark the 40th anniversary of Prince’s debut album, I thought now was the perfect time to go ahead with an idea I’ve been toying with for a while: our own sub-series of review podcasts looking at each of Prince’s albums in isolation.
I’m doing this for a few reasons. First, it’s a way to bring those of you who have been listening to the podcasts but not reading the blog into the loop on my chronological Prince project–and also a way for me to work through some of these albums before I can get to it with my glacially paced writing schedule.
Second, I’ve known from the beginning of this project that if I really wanted to do Prince’s catalogue justice, I would need to incorporate more voices and perspectives than just my own. We all have our biases and blind spots, and as a Prince fan I am acutely aware that one person’s sentimental favorite can be another’s unlistenable mess (and vice versa). That’s why I asked my friends Harold and KaNisa, both of whose encyclopaedic knowledge of Prince’s career dwarfs my own, to join me. I think you’ll find that our tastes and opinions both intersect and diverge in a lot of interesting ways, which allowed us–and hopefully, will allow you–to take a different perspective on some of these songs and the context in which they were created.
I hope you enjoy this new approach to an album that remains underappreciated in Prince’s catalogue. If you do, I hope you’ll subscribe to the podcast on your streaming app of choice (iTunes, Stitcher, or Google Play), and if you’re so inclined, leave a review! No matter what, thanks for listening, and see you again soon.
For the first d / m / s / r podcast of 2018 (!), it was my pleasure to speak with budding educational historian and Prince scholar Kimberly C. Ransom. Kimberly presented at the University of Salford’s interdisciplinary Prince conference last May–those of you who listened to my series of podcasts on that event probably heard her name come up once or twice–and her essay, “A Conceptual Falsetto: Re-Imagining Black Childhood Via One Girl’s Exploration of Prince,” was published last fall in the Journal of African American Studies’special Prince issue. If any of my listeners haven’t checked out that issue yet, I’m hoping this interview will offer some incentive: Kimberly’s essay in particular brilliantly interweaves her lifelong love for Prince with an incisive critique our often-pathologized discourses of Black childhood. She also has a surprisingly lovely singing voice.
As we embark on a brand new year of dance / music / sex / romance, allow me to direct your attention to our iTunes, Stitcher, and Google Play feeds; if you feel compelled to subscribe, rate, or review us on your service of choice, it will be much appreciated. And of course, if you enjoy the podcast (or blog!), don’t be afraid to spread the word. Lots more exciting things to come!
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: Marylou and Prince, 1979; photo from Moments… Remembering Prince by Marylou Badeaux.)
This is the last d / m / s / r podcast of 2017, and I have to say we’re going out on a high note. It was my honor and privilege to speak with Marylou Badeaux: a former Warner Bros. executive who worked closely with Prince for his 17 years with the label, and the author of the newly-released memoir Moments… Remembering Prince. You can probably tell that I was a little nervous at the beginning of the conversation, but we warmed up quickly and had a great chat about Prince and his relationship with the label that, for better or worse, defined his era of peak artistic achievement.
Now, I have one last item of business to conduct before the podcast goes on holiday break. There are actually two winners of my contest for iTunes and Stitcher reviews–one for each platform. The first is Louise Be, for her eloquent and incredibly flattering review on Stitcher; the second is Mafalda Taborda, who not only left a very nice review on iTunes, but was also the first person to review the podcast on any platform. Louise and Mafalda, if you’re reading and/or listening to this, please email me and let me know which of the two recent Prince books you would prefer me to send: Marylou’s Moments, or Duane Tudahl’s Prince and the Purple Rain Era Studio Sessions. And for everyone else who participated–and those who didn’t!–thanks for making the first year of the dance / music / sex / romance podcast such a pleasure to put together. I can’t wait to see where things go in 2018.