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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Gotta Stop (Messin’ About)

Gotta Stop (Messin’ About)

(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 NME alongside 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 Mind sessions called “Gotta Stop (Messin’ About).”

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Everybody Dance

Everybody Dance

(Featured Image: 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 a 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.

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