It’s been about two and a half years since news first broke of an official Prince documentary, to be produced by Netflix in collaboration with the artist’s estate. Since that time, the project has been mostly radio-silent–with the notable exceptions of the 2019 departure of original director, Ava DuVernay (13th), and her (still officially unconfirmed) replacement by Ezra Edelman (O.J.: Made in America) last year. So, I was intrigued to learn about Mr. Nelson on the North Side: another, independently-produced documentary which premiered online last weekend. If nothing else, the film’s focus on the beginnings of Prince’s life and artistic development in North Minneapolis promised to be an interesting change of pace–covering territory (both literal and figurative) that remains underexplored in Prince biographies across all media.
Last Friday, July 10, was the 30th anniversary of the Time’s fourth and (technically) final album, Pandemonium; so, to mark the occasion, the fantastic De Angela Duff has shared the Pandemonium roundtable from last month’s DM40GB30 symposium with myself, Darling Nisi, and Ivan Orr and Ricky Wyatt of the Grown Folks Music podcast.
I think it’s obvious from the conversation that we all had a great time (and if you’re looking for an extra great time, try taking a drink every time De Angela–whose favorite Time album is famously Pandemonium–pops into the live stream to interject). It was extremely flattering to be asked to share the “stage” with folks as knowledgeable about the Time and their place in the R&B scene as Ivan and Ricky, and KaNisa did a stellar job as always moderating. Can’t wait to do this again next year!
Beginning with his third album in 1980, Prince had been steadily building up a mythology–occasionally bordering on a philosophy–for himself. Dirty Mind had “Uptown,” a clarion call for hedonism that eradicated all racial and sexual boundaries. 1981’s Controversy, of course, had its epic title track, a declaration of selfhood through the negation of fixed identities; as well as “Sexuality,” a return to the themes of “Uptown” with a new quasi-religious fervor. For his fifth album in 1982, he offered something even more blunt and to the point: a musical manifesto based around the four words, “Dance, Music, Sex, Romance.”
Though it was never released as a single–and was, in fact, left off 1999’s original CD release due to space constraints–“D.M.S.R.” holds a privileged position in Prince’s discography. Dance Music Sex Romance was of course the title of Per Nilsen’s 1999 biography and session chronicle, long considered definitive by fans of Prince’s mid-’80s imperial phase. It’s also, obviously, the title of this very blog, because I figured if Per’s not going to use it anymore, somebody’s got to. Its attraction to writers on Prince is self-evident: as Dave Lifton writes in his post on the song for Diffuser’s 365 Prince Songs in a Year series, “Dance. Music. Sex. Romance. Add God into the mixture and you’ve more or less got the formula for every song Prince released in his life” (Lifton 2017). Way back when I first started d / m / s / r in 2016, I posited that it would make a great title for a career-spanning collection like Johnny Cash’s Love, God, Murder, with a disc devoted to each theme.
October 19, 2018 marks the 39th anniversary of Prince’s self-titled second album–not the most glamorous occasion, perhaps, but reason enough to reassemble the review panel from our For You podcast for a reappraisal. Once again, Zach is joined by Harold and KaNisa for a track-by-track discussion of this underappreciated album, its resonances throughout Prince’s career, and why it still matters.
I gave myself a little hiatus from the dance / music / sex / romance podcast after Celebration 2018, but now we’re back in business with guest Takuya Futaesaku, author of the book Words of Prince. Takki and I talk about his book and his experiences as a Prince fan in Japan; it was a pleasure to speak with him, so hopefully it will be a pleasure to listen, too! Special thanks this episode go to Crystal for helping me track down the Japanese shows you’ll hear during the podcast.