Get It Up

Get It Up

(Featured Image: 1981 publicity photo for the Time. L to R: Terry Lewis, Jimmy Jam, Morris Day, Jellybean Johnson, Monte Moir, Jesse Johnson. © Warner Bros.)

As of this writing, there is no public record of the order in which the songs on the Time’s first album were recorded (fingers crossed that Duane Tudahl can scare up some details when he gets around to writing his book on the 1981-82 studio sessions). It’s generally agreed, however, that the song Prince used to get Warner Bros. interested in the project was the one that became its lead single and opening track: “Get It Up.”

As a proof of concept for the Time project, “Get It Up” makes a lot of sense. It is, first of all, familiar territory. According to Bobby Z, the song came out of Prince’s jams with his touring band, and it shows: more than any other song on The Time, “Get It Up” sounds like the missing link between Dirty Mind and Controversy (Nilsen 1999 86). The brittle New Wave funk arrangement and wheedling Oberheim synthesizer, played once again by guest soloist Matt Fink, bear Prince’s immediately identifiable fingerprints–that, and the fact that his backing vocals are clearly audible throughout the track.

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Podcast: The Crazy Things You Do – A Conversation with Kimberly C. Ransom

Podcast: The Crazy Things You Do – A Conversation with Kimberly C. Ransom

(Featured Image: Prince by Robert Whitman, 1977.)

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!

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André Cymone, Godfather of the Minneapolis Sound: A Retrospective from an Alternate Timeline

André Cymone, Godfather of the Minneapolis Sound: A Retrospective from an Alternate Timeline

(Featured Image: Cover art for André Cymone’s epochal 1982 album Livin’ in the New Wave; © Columbia Records.)

Note: Following last month’s post on “Do Me, Baby,” I knew I wanted to give André Cymone another, proper sendoff before he disappears from our pages until 1984. So, here’s the latest in my series of thought experiments, imagining an alternate reality in which André, not Prince, was the Grand Central member who went on to greater solo success. For anyone just dropping in, the idea here is to bring attention to the web of contingencies that shaped Prince’s career; to shake up our sense of inevitability and offer a glimpse at one of the many possible alternatives had things gone even slightly differently. It’s also, in this case, an opportunity to reevaluate Cymone’s legacy beyond his friend’s deceptively long shadow. As always, have fun and don’t take this too seriously. We’ll be back to our regularly scheduled programming next week!

For a brief but significant period in the 1980s, the cutting edge of R&B and pop could be found in the unlikely locale of Minneapolis, Minnesota. Known as the “Minneapolis Sound,” this unique hybrid of funk, rock, and nascent electronic and New Wave styles emerged almost organically from the Twin Cities’ small but vibrant Black communities in the late 1970s. It thus wouldn’t be fair to give a single artist credit for “inventing” the genre; but the fact remains that when most music fans think of Minneapolis, one man in particular comes to mind. I’m talking, of course, about André Cymone.

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