Tag: new york rocker

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#1plus1plus1is3: Controversy Presentation and Panel

Late last month, De Angela Duff uploaded the presentation I delivered at her #1plus1plus1is3 virtual symposium back in March. I had the privilege of sharing the Controversy panel with Christopher A. Daniel, Steven G Fullwood, Edgar Kruize, and moderator C. Liegh McInnis. My paper, “I Wish We All Were Nude: Allen Beaulieu’s Infamous ‘Shower Poster’ as Aesthetic Linchpin and Artifact,” was definitely the silliest of the four, so my thanks once again to De Angela for her indulgence.

One quick correction, which came up in the chat at the symposium: While Allen Beaulieu was involved in the Controversy poster shoot, the actual image that made it onto the poster was taken by none other than Lisa Coleman! So, Lisa, if you ever want to come on my podcast and spend an entire hour talking about nothing but this photo, consider this your open invitation.

If you can’t get enough of me and my pandemic hair, below is the Q&A I did with Christopher, Steven, Edgar, and C. Liegh:

Finally, I’d like to share a few of my favorite presentations from the symposium. It isn’t an exhaustive list–my real recommendation is that you watch every video on De Angela’s channel!–but if you’re looking for a good place to start, you can’t go wrong with these.

Erica Thompson on the influence of Christian values (and Prince’s dad) on The Rainbow Children:

Robert Loss on work and racial capitalism in The Rainbow Children (and also the infamous “Avalanche”):

KaNisa Williams’ audiovisually stimulating exegesis of The Rainbow Children/One Nite Alone era:

My favorite “discovery” of the symposium, Melay Araya, on the Diamonds and Pearls videos’ place in Prince’s canon as a filmmaker:

Kamilah Cummings on Diamonds and Pearls and the “myth of colorblindness” in Prince’s work:

Harold Pride on “Gett Off” as Prince’s “quintessential maxi single”:

And, last but not least, the aforementioned C. Liegh McInnis on the lyrics of Diamonds and Pearls, which had us reconsidering, of all things, the poetic merits of “Jughead”:

In short, the symposium was an absolute joy, and I’m proud to have been a part of it. I’m already counting the days until next year’s “Triple Threat” symposium on 1999, What Time is It?, and Vanity 6!

(Edit: I posted too soon and didn’t include this great recap video De Angela posted on Monday! It captures so much of the fun we all had that weekend. See you again at #TripleThreat40!)

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Ephemera, 1979-1981

Everybody Dance

Prince and Lisa Coleman on stage at Sam’s Danceteria–later known as First Avenue–March 9, 1981. Photo by Duane Braley of the Minneapolis Star, stolen from the Current blog.

During the lull between the first and second legs of the Dirty Mind tour, Prince’s relationship with publicist Howard Bloom began to bear fruit. Bloom had been hired by Prince’s manager Bob Cavallo at the end of 1980, in advance of the artist’s first headlining tour. Their goal was to finally achieve what Prince had been trying to do since 1978: break out of the music industry’s R&B “ghetto.”

Bloom, as he would be the first to proclaim, was the right man for the job. At the time, he told biographers Alex Hahn and Laura Tiebert, “it was incredibly unhip for any white person to work with any black artist. There was a wall, and it was segregation to the nth degree” (Hahn 2017). But Bloom, a White man of Jewish descent, had a reputation for flouting this segregation: “I was considered the leading ‘Black’ publicist in the music industry,” he recalled to K Nicola Dyes of the Beautiful Nights blog. “I worked with more Black acts and I learned more about Black culture than anybody else in the PR field” (Dyes 2014). Bloom, then, was one of the few in the music industry who took notice after Prince’s second album went platinum without ever “crossing over” from the R&B charts. Now, all he had to do was harness his client’s obvious star power, and make it impossible for the rest of the world to ignore.

Continue reading “Everybody Dance”