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Follow author Erica Thompson as she completes her book on Prince's spiritual journey on "a purple day in December." She provides updates on her writing and research, interviewing, networking and progress on securing a book publisher. And there are extra interviews, essays and pieces just for the fun of it! Cheer Erica on as she follows her dreams and the life of an extraordinary musician.
When you think of Prince in 1997, what comes to mind? A man pushing through personal tragedy? An artist promoting a self-proclaimed masterpiece that floundered on the charts?
It's easy to jump to the darker moments of the period, but upon studying his performances and appearances, I found a lot more joy and jams than I expected. In fact, I believe this time in Prince's career is supremely underrated.
Here are what I consider his best moments of 1997.
Prince performs "Somebody's Somebody" on The Rosie O'Donnell Show
For years, I skipped over "Somebody's Somebody," but hearing it live has made me more appreciative of the R&B jam. This specific performance is loose and fun, with the band playing around with the arrangement. Prince's guitar tone and soloing are highlights, and you can tell he's feeling the song.
Prince appears on Muppets Tonight
This performance is so fun to watch! Everything from Prince's outfit to the band's choreography is a delight. I love how they were able to capture the energy of the incredible "Facedown" video. The music is tight, especially that crazy turnaround. His musical evolution was one-of-a-kind. At that point, he was about 20 years into his career, and he was still as captivating as ever. Plus, his bassist, Rhonda Smith, is so freakin' cool here.
“His sense of humor was humongous," guitarist Kat Dyson told me. "He was always making jokes and then he would crack himself up. … There was a lot of laughter, there was a lot of joy. It was serious business, but we laughed a lot.”
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Prince rocks some seriously cool winter coats
Prince was a master of switching up his look with each musical era. Much of the Emancipation period was giving comfort and warmth. I don't know why, but seeing him in these stylish winter coats makes me remember that he's just like the rest of us. When it's Minneapolis cold, everyone needs a puffy coat. (And seeing him pump gas in the "Betcha By Golly Wow!" video also brought him down to Earth. I'm sure he did this in real life on occasion, but seeing it is cool.)
Prince surprises Bryant Gumbel on NBC's Today
Prince was leery of many folks in the media, so it was always a joy to see when he felt comfortable enough to let his guard down and have some fun on TV. Here, he not only dressed up as Bryant Gumbel, but gave a fun performance, which included an unaired rendition of "Talkin' Loud and Sayin' Nothing."
Prince launches the Love 4 One Another Charities Tour
I enjoyed watching this hits-heavy tour more than I thought. Prince appeared relaxed, happy and very much into the music. He showed off his skills as pianist, guitarist, bassist, dancer and bandleader. I actually like this concert more than the Jam of the Year show, which he launched later that year. Don't be fooled, though. That show was critically acclaimed. Vibe magazine enjoyed the tour so much that it gave Prince a "Comeback of the Year" honor.
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Vibe magazine, February 1998 |
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Prince shares some special moments with his heroes
21 yrs ago 2day (2/8/97), Stevie Wonder presented Prince w the Key Of Life Award at the NAACP Image Awards. His speech deserved its own award. | #Princerversariespic.twitter.com/ClGG7EYer0
— Miss TLC (@IAmMissTLC) February 9, 2018
Not only did Prince receive a special tribute from Stevie Wonder, but he also forged a musical and spiritual bond with legendary bassist Larry Graham. And he met Muhammad Ali when she showed up to support the boxing champion's "World Healing Project."
"Muhammad's my hero," he said. "He has been since I was a child."
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I was invited on the Rolling Stone Music Now podcast to talk about Prince's Batman album. So much fun! My segment starts at the 23-minute mark.
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If you want to donate toward paying guest writers, purchasing products for giveaways, or acquiring research materials, her cash app is $ericawrites.
Ever since Warner Bros.’ expanded reissue of Purple Rain opened the floodgates of posthumous Prince releases in 2017, the focus of most fans and critics has (understandably) been on the wealth of material still languishing in the legendary Vault. But there are still plenty of gems that were released during Prince’s lifetime, now hiding in plain sight and worthy of our attention. Saturday’s special Record Store Day release of 1998’s The Truth is the perfect case in point: More than a mere collector’s curio, it marks the first standalone physical reissue of one of this prolific artist’s richest, weirdest and most intimate albums.
This undermining of the “unplugged” premise pervades The Truth in ways both subtle (like the unsettling sound of a radio tuned between stations that bubbles beneath the surface of “Don’t Play Me”) and overt (like the ostentatious and, frankly, ridiculous synthesized trumpet on “Man in a Uniform”). With its prominent synth and programmed drums, a track like “Circle of Amour” is no more “acoustic” than, say, “Forever in My Life” from 1987’s Sign “O” the Times; even the genuinely stripped-down groove of “3rd Eye” can’t resist throwing in a few synthesizer swells and layered vocal harmonies, not to mention an elastic bassline by Rhonda Smith of the NPG.
The album’s lyrics play a similar trick. Parts of The Truth are among the most personal songs in Prince’s catalog. “Don’t Play Me” is a searing rejection of the “mountaintop” of mainstream stardom, while “Comeback” is a heartfelt tribute to Amiir, the infant son he and wife Mayte Garcia lost in late 1996. Both “Dionne” and “One of Your Tears” are barbed love letters to singer Dionne Farris, with whom he’d had a dalliance earlier in the decade. Vegan anthem “Animal Kingdom,” while less traditionally autobiographical, is the Artist at his most literal, with lyrics that sound like copy from a PETA campaign set to music. Elsewhere, however, he seems to use personal details as a kind of misdirection: On “Circle of Amour,” for example, he grounds the setting at his own high school (“Tenth grade Central in September”), then uses that setting to weave a lurid fantasy worthy of a Penthouse Forum letter.In short, The Truth is an album that revels in unsettling its own binaries: acoustic and electric, “authentic” and constructed, and yes, even truth and lies. It’s an album that every Prince fan—even those who had lapsed by the late ‘90s—needs to hear. And, while a limited vinyl release on Record Store Day isn’t exactly the wide exposure it deserves, it is in keeping with its obscurantist original release strategy. Just, please don’t try and flip it on Discogs—at least until I can get my hands on a copy.
Zachary Hoskins is the author of Dance / Music / Sex / Romance, a song-by-song chronological blog about the music of Prince.
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If you want to donate toward paying guest writers, purchasing products for giveaways, or acquiring research materials, her cash app is $ericawrites.
I also gave a presentation, "'1 + 1 + 1 Is 3' – Order, Discipline, Truth And Other Christian Values In Prince’s The Rainbow Children," which I will share later when the video was available.
In the past, I've done a roundup of takeaways from symposia, but I thought I'd do something a little different.
Below are seven memorable quotes from the event.
"Prince wasn't going to wake up one day and be Johnny Mathis." - Kamilah Cummings
Kamilah Cummings gave a remarkable presentation on Diamonds and Pearls and the myth of colorblindness in Prince's work. She argued that Prince was appealing to whiteness (to succeed in a racist music industry) during this era, and broke down several tactics he employed to meet that goal. She addressed some other strategies, like maintaining a connection to the Black audience. While Prince was never in danger of being dismissed by that audience (contrary to popular belief), he was intentional about the cultural representation in his work.
I wish some of the people who comment on the official Prince social media sites could hear Kamilah's presentation right now. #1plus1plus1is3 pic.twitter.com/dlakMRIvwv
— Erica Thompson (@Miss_EThompson) March 27, 2021
Black people were not Prince's "props" during the '90s, "they were his setting and his home." - Melay Araya
Melay Araya's presentation on the music and videos of the Diamonds and Pearls era was a nice a complement to Cummings' work. Araya examined the presence of Black people in Prince's work during this time, highlighting the common theme of "Black people at play." I was very intrigued by her thoughts on Prince's "exploration of Black women's interiority." She bravely took on the topic of colorism in Prince's work and life, pointing out that Prince presented Black women in myriad roles--mother, friend, etc.--beyond that of the object of affection. I think there is so much more to say on this topic, and I would like to see a panel featuring Araya and Cummings in conversation. I'll just put this out there: I'm happy to moderate.
I think people like to shy away from something that was glaringly obvious. It doesn’t mean those of us who recognize it and see it for what it was disliked him or his music, it’s just something I wish people discussed more.
— Chan (@sinaead) April 1, 2021
We can think of Prince's crossover as the "pursuit of resources versus assimilation." - Harold Pride
The topic of Prince's "crossover" to the "mainstream" came up during a brilliant panel, featuring C. Liegh McInnis, Kamilah Cummings, Mark Anthony Neal and Harold Pride--with input from Monique Morris. This subject is often discussed, but with little nuance and consideration of the systemic racism within the music industry. This group did a great job with it, even employing an effective metaphor that was transformative for the audience. I'm looking forward to seeing the video.
Group panel discussing this brilliant comment from @MoniqueWMorris: is it better to think about “crossover” in the sense it’s used in basketball (a strategy to throw off the opponent), rather than an unchallenged marker of success? #1plus1plus1is3
— Dance / Music / Sex / Romance (@dmsrblog) March 27, 2021
Crossover as Prince in pursuit of resources vs assimilation - Harold Pride pic.twitter.com/yJZ5Fih8sY
— Darling Nisi (@darlingnisi) March 27, 2021
"We've had the power all along." - Laura Tiebert
I teared up multiple times during the symposium, and they were all during talks about Diamonds and Pearls. Something stirred in me when Cummings said the album was his "put some respect on my name" album. I also was touched by Tiebert's beautiful analysis of the album against the framework of The Wizard of Oz, which Prince credits in the liner notes. "Diamonds and Pearls is Prince’s declaration that while the journey down the yellow brick road to self-empowerment is filled with challenges, confidence and trust in ourselves is the key that will ultimately open the gates of Oz," Tiebert argued. I think I was reminded that Prince didn't have to do anything after the run that he had in '80s. Folks complain about his '90s work, but he was still operating on a genius level. He never stopped striving for excellence, and we never stop holding him to impossible standards. Still, he wanted to be an inspiration for all of us, and we will continue to learn from him even though he isn't physically here.
Despite its reputation as a commercial concession, D&P is actually a personal album, with Prince giving himself confidence after a difficult stretch of his career #1plus1plus1is3
— Dance / Music / Sex / Romance (@dmsrblog) March 27, 2021
"[Prince] can't just be bae." - Dr. Joan Morgan
During the roundtable on Controversy, Dr. Joan Morgan simply articulated the way a lot of us feel: There is so much more to Prince beneath the surface, which is why we are fans and spend so much time studying him. Though I was a teenager when I became deeply interested in his music, he did not prompt me to interrogate myself as a sexual being the way he did for other fans in the 1980s. I discovered a more conservative Prince in the 2000s, and I connected with his music on a spiritual level. However, he is so much more to me beyond spirituality and even beyond the music. I do wonder if my relationship would have been different if I grew up in the 1980s.
I also appreciated Dr. Morgan's perspective on Prince and queerness.
"When Prince died, I ran to the Apollo."
— Erica Thompson (@Miss_EThompson) March 28, 2021
Appreciated @milfinainteasy's descriptions of folks who would not normally be discussing Prince/gender/fluidity freely singing the lyrics of "Controversy" ... & the realization that Prince was on some "next-level shit." #1plus1plus1is3
Ready to move past the gay/straight question when it comes to Prince. When I inquire about "queerness," I'm digging into something more expansive. It's not my area of expertise. I want to hear from scholars on where they think the research should go from here. #1plus1plus1is3
— Erica Thompson (@Miss_EThompson) March 28, 2021
"The Hero's Journey is a continuous loop. Very broadly, you could argue that loops within Prince's journey each have a seven-year arc."
Edgar Kruize offered a fascinating presentation, analyzing Prince's career against the framework of "The Hero's Journey," popularized by American literature professor Joseph Campbell. I'm definitely planning to return to this thought-provoking analysis. You can watch for yourself below.
"He ain't let the jazz breathe." - Randy Ferguson
This was a comment in the chat during The Rainbow Children roundtable. I appreciated this group of scholars tackling one of their least favorite albums. I think they shared some thoughtful criticisms and tried to find some redemption. One of the most interesting discussions was around Prince's approach to jazz. Why did he choose certain musicians like Najee or Renato Neto? How did that affect his sound? I'd love to hear a panel of musicians talk about this further. What was Prince doing with the Madhouse records (jazz fusion?) versus The Rainbow Children, One Nite Alone, N.E.W.S. and Xpectation? Which musical styles did he "master," and which ones were part of experiments?
Literally crying at this tweet out of nowhere. lol
— Erica Thompson (@Miss_EThompson) March 27, 2021
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This blog is not only a chronicle of my journey to write a book, but a record of my personal and professional life. I started and finished graduate school while writing this blog. I interned at Billboard in New York City. I moved to Columbus, Ohio, to become a full-time reporter, which changed my life tremendously. I've built an impressive career and found my purpose in elevating Black voices in my community. However, it's also uncomfortable to look back. I've never made a habit of baring my soul here, but I can look at certain blog posts and think about relationships and friendships that didn't work out, former supporters who lost interest, and periods when I was dealing with depression.
Of course, there were funny moments along the way. I cringe at some of the terrible clip art and outdated technology. (Honestly, if I could do it over again, I would have hosted this blog on a different platform.) I also laugh at the moment I discovered there was salacious, Prince-based fan fiction.
I never thought Prince would pass away while I was writing the book. It was difficult to navigate that publicly, but I did, and it's documented on the blog. But it's great to be able to revisit a post and reminisce about how fun it was when he was here, doing things in real time. For example, I get a kick out of seeing my reaction to his launch of the 3rdEyeGirl era in 2013.
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Posing at Madison Square Garden before the Prince show on Dec 18, 2010 |
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Presenting at the "Purple Reign Conference" at the University of Salford in Manchester |
I don't know what my plans are for the blog once I'm finished with my book. I do know I will probably need a break from Prince-related content for a while. I have so many other stories to tell, hopefully. But I am so grateful to have this archive. (I should probably download these posts now, huh?)
Thank you so much for going on this journey with me. Happy New Year!
- Erica
Subscribe to my newsletter for updates on my book on Prince's spiritual journey. Click here.
If you want to donate toward paying guest writers, purchasing products for giveaways, or acquiring research materials, my cash app is $ericawrites.
7. "Eye Hate U" - Flutestrumental #1: I performed the Prince song on flute.
6. "With an Intellect and a Savoir-Faire" - Purple Recommendations: I created a roundup of Prince-related content from other folks in the "purple community."
5. "Here We Are, Folks!" - Sign O' the Times Deluxe Edition Unboxing: I filmed myself opening the latest release from the prince Estate.
4. "Kick Drum Pounds on the Two and Four" - Three Immediate Favorites from the Vault: I shared my thoughts on a few tracks from the massive Super Deluxe edition of Prince's Sign O' the Times album.
3. “Welcome 2 the Million $ Show” - Redeeming Qualities of “HitnRun: Phase One”: Prince's Friend shared his thoughts on Prince's penultimate album.
2. “A Little Bit of Pleasure for the Guilty Pain” – BDSM Lyrics in the Work of Prince: Darling Nisi contributed an essay on this subject.
1. "Jana Jade's Army" - Interview with Jana Anderson: I spoke with one of Prince's former session singers.
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