Abstract
The aim of this paper is to show how Prince Rogers Nelson’s lewd onstage antics and perverse song lyrics were not the only factors that contributed to his sexually charged compositions. By examining the use of anthropomorphism (the ascription of human characteristics to what is not human), in the analysis of several of Prince’s early works between the years 1980 and 1984, the researcher makes the argument that his musical arrangements taken from this earlier musical cannon embody the stages of Masters and Johnson’s human sexual response cycle. Ultimately, the researcher views Prince’s musical arrangements and improvisations to be metaphors for his own genitalia having intercourse with his public.
Similar content being viewed by others
Notes
In the video for “1999” that featured the provocatively dressed vocalist Jill Jones and keyboardist Lisa Coleman, both women are shown as to sexually rubbing up against one another while sharing and playing one synthesizer. In this manner, the synthesizer is serving as a male figure involved in the act of a “threesome” with both Jones and Coleman “stroking” its keys.
Bolo Sete was a Brazilian guitarist that married the styles of traditional Brazilian folk music with jazz music (Neder 2016).
Lil Louis is the stage name used by Chicago-born house music producer and DJ Marvin Burns (Larkin 1999).
Stewart’s assessment of Prince’s onstage conduct is crucial as it is the antecedent for what I am proposing, but my work differs from his in that I am proposing that the musical arrangements and sounds from the instrumentation draws its listeners into Prince’s vison of hedonism by emulating the aural aspects of sexual intercourse.
Written by Prince Rogers Nelson • Copyright © 1984. Universal Music Publishing Group.
Written by Prince Rogers Nelson • Copyright © 1982. Universal Music Publishing Group.
Written by Prince Rogers Nelson • Copyright © 1984. Warner/Chappell Music, Inc., Universal Music Publishing Group.
Written by Prince Rogers Nelson • Copyright ©1984. Warner/Chappell Music, Inc., Universal Music Publishing Group.
Written by John L. Nelson, Lisa Coleman, Matthew Robert Fink, Prince Rogers Nelson, and Wendy Melvoin • Copyright © 1984. Universal Music Publishing Group.
Written by Prince Rogers Nelson • Copyright ©1980. Warner Bros. Music.
References
Crichton, M. (1973). Westworld. Action, Sci-fi, thriller. United States. Metro-Goldwyn-Mayer. 88 minutes.
De Martelly, E. 2010. Signification, objectification, and the mimetic uncanny in Claude Debussy’s ‘Golliwog’s Cakewalk’. https://academiccommons.columbia.edu/download/fedora_content/download/ac:184585/CONTENT/current.musicology.90.demartelly.7-34.pdf.
Debussy, C. (1908). Golliwog's Cakewalk. L.113. One of six movements from Children's Corner.
Debussy Golliwoggs Cakewalk - IMSLP93799-PMLP02387-Debussy_golliwoggs_cakewalk__Transc_2011-RSB_.pdf. 2017. Accessed January 5. http://ks.imslp.net/files/imglnks/usimg/3/3a/IMSLP93799-PMLP02387-Debussy_golliwoggs_cakewalk__Transc_2011-RSB_.pdf.
Dekock, 1985. Ready for the world on top with Prince-like ‘Oh Sheila.’” Tribunedigital-Orlandosentinel. http://articles.orlandosentinel.com/1985-10-13/entertainment/0330410119_1_sheila-week-album.
Deleuze, Gilles, Felix Guattari, Mark Seem, and Michel Foucault. 2009. Anti-Oedipus: capitalism and schizophrenia. Translated by Robert Hurley. 6th printing edition. New York, NY u.a.: Penguin Classics.
Derrida, J. (2016). Of grammatology. Translated by Andrew W. Mellon professor of English Gayatri Chakravorty Spivak. Fortieth Anniversary ed. edition. Baltimore: Johns Hopkins Univ Pr.
Feinstein, S. (2012). Incredible African-American jazz musicians. Berkeley Heights, NJ: Enslow Pub Inc..
Friedman, A. 2016. Prince was the baddest motherfucker on the planet. FACT Magazine: Music News, New Music. http://www.factmag.com/2016/04/22/prince-tribute-baddest-mf-on-earth/.
Gage, S., Morales, S., Allers, K., & Federation of feminist women’s health centers. (1995). A new view of a woman’s body: a fully illustrated guide. Los Angeles: Feminist Health Press.
Gore, T. (1987). Raising Pg kids in X-rated society. Nashville: Abingdon Pr.
Guillemette, L. 2016. Jacques Derrida : Deconstruction and Différance/Signo-Applied Semiotics Theories. http://www.signosemio.com/derrida/deconstruction-and-differance.asp.
Haley, B. (1954). “Rock Around the Clock.” Wikipedia. Deca. https://en.wikipedia.org/w/index.php?title=Rock_Around_the_Clock&oldid=792518558.
Holland, N. J. (1988). Purple passion: images of female desire in “when doves cry”. Cultural Critique, 10, 89–98. doi:10.2307/1354108.
Holmes, D. 2016. What Prince taught me about love. and sex. and time. Esquire. http://www.esquire.com/entertainment/music/a44221/prince-a-remembrance-dave-holmes/.
Imago. 2017. Pussy control : social commentary, sexual inuendo, and smooth rymes all in one tight hip hop package. Prince.org. Accessed January 2. http://prince.org/msg/7/287128.
Kaplan, D. 2016. Prince was a one-man sexual revolution. NY Daily News. http://www.nydailynews.com/entertainment/music/prince-one-man-sexual-revolution-article-1.2610247.
Kraftwerk. (1978). Man-machine. Audio CD. Canada: EMI Music.
Kraftwerk. (1987). Electric cafe. Audio CD. New York: Elektra Entertainment.
Kramer, L. 2007. Opera and Modern Culture: Wagner and Strauss. 1 edition. Berkeley, Calif.; London: University of California Press.
Kubrick, S. (1968). 2001: a space odyssey. Adventure, Mystery, Sci-Fi.
Larkin, C. (1999). The virgin encyclopedia of dance music. London: Virgin Publishing.
Leight, E. (2016). “18 Awesome Prince Rip-Offs.” Rolling Stone. http://www.rollingstone.com/music/lists/18-awesome-prince-rip-offs-20160422.
Louis, L. (1989). From the mind of Lil Louis by Lil Louis. New York: Sony Music Entertain.
Magnoli, A. (1984). Purple Rain. Burbank: Warner Home Video.
Masters, W. 1966. “Figures.” https://www.ipce.info/library_3/files/feierman/feierman_ch_1_figs.htm.
Masters, W., & Johnson, V. E. (1966). Human sexual response. Bronx, NY: Ishi Press.
Mode, D. (1987). Music for the masses. Sire-Wbr: Audio CD.
Neder, A. (2016). “Bola Sete | Biography & History.” AllMusic. http://www.allmusic.com/artist/bola-sete-mn0000066800/biography.
Nelson, R. 1984a. Controversy. Audio CD. Warner Bros Burbank.
Nelson, R. 1984b. Purple rain. Audio CD. Warner Bros Burbank.
Nelson, R. 1985a. 1999. Audio CD. Warner Bros Burbank.
Nelson, R. (1985). Dirty mind. Audio CD. Burbank: Warner Bros.
Nelson, R. 1987. Sign O’ the times. Audio CD. Warner Bros.
Nelson, R. 1990. Prince. Audio CD. Warner Bros Burbank.
Nelson, R. (1994). For you. Audio CD. Burbank: Warner Bros.
Nowaczyk, J. 2017. The sexual response cycle. Study.Com. http://study.com/academy/lesson/the-sexual-response-cycle.html.
Original Dixieland Jass Band. (1917). Livery Stable Blues. Vinyl. Victor. 18255-B.
Palmer, R. 1981. The pop life: is Prince leading music to a true biracism? The New York Times, December 2, sec. Arts. http://www.nytimes.com/1981/12/02/arts/the-pop-life-is-prince-leading-music-to-a-true-biracism.html
Perone, J. (2007). The words and music of Prince. Westport. CT: Praeger. doi:10.1080/03007760902786082.
Potts, A. K. (2016). The intersectional influences of Prince: a human-animal tribute. Animal Studies Journal, 5(1), 152–186.
Poundstone, W. 2011. Big secrets: the uncensored truth about all sorts of stuff ... HarperCollins e-books.
Salkc, T. 2016. How Prince’s lyrics led to the parental advisory label. NY Daily News. http://www.nydailynews.com/entertainment/music/prince-lyrics-led-parental-advisory-label-article-1.2610382.
Sete, B. 2000. Bola Sete at the Monterey jazz festival. Audio CD. Verve Records Santa Monica.
Shafieyan, M. 2017. Binary oppositions and binary pairs. Accessed March 21. http://ipedr.com/vol17/36-CHHSS%202011-H10038.pdf.
SLIS. 2016. Controversy: remembering Prince’s ‘Darling Nikki’ and The PMRC.” Smells like infinite sadness. April 23. http://smellslikeinfinitesadness.com/controversy-remembering-princes-darling-nikki-and-the-pmrc/.
Songfacts. 2016. “Purple Rain by Prince Songfacts.” http://www.songfacts.com/detail.php?id=2012.
Stewart, D. 2016. On Prince, Blackness, and Sexuality | Fusion. http://fusion.net/story/294085/prince-blackness-and-sexuality/.
Thompson, A. Q., & Greenman, B. (2013). Mo’ meta blues: the world according to Questlove. New York: Grand Central Publishing.
Touré. (2013). I would die 4 U: Why Prince became an icon. New York: Simon and Schuster.
Tricey Diva3. 2016. Prince gets nasty during performance of head 1981. https://www.youtube.com/watch?v=yuOO5W6FzB8.
Tristan Und Isolde - IMSLP66167-PMLP03546-Wagner-WWV090.pdf. 2017. Accessed January 5. http://ks.imslp.net/files/imglnks/usimg/7/77/IMSLP66167-PMLP03546-Wagner-WWV090.pdf.
Walser, R. (1994). Prince as queer poststructuralist. Popular Music and Society, 18(2), 79–89. doi:10.1080/03007769408591556.
Wareing, C. 2016. Prince’s sexually charged and most explicit song lyrics. Mirror. April 22. http://www.mirror.co.uk/3am/celebrity-news/princes-sexually-charged-most-explicit-7810310.
Williams, B. 2016. 11 artists who perfectly capture Prince’s timeless influence. Huffington Post, April 21, sec. Black Voices. http://www.huffingtonpost.com/entry/11-artists-capture-prince-influence_us_571934dce4b0d0042da8a574.
YouTube. 2016. The family-nothing compares 2 U (1985, Original Version Written and Produced by Prince). https://www.youtube.com/watch?v=bmywGLVlwTg.
Author information
Authors and Affiliations
Corresponding author
Rights and permissions
About this article
Cite this article
de Lima, B.J. Erotic Cities: Instrumental Anthropomorphism in Prince’s Compositions. J Afr Am St 21, 385–407 (2017). https://doi.org/10.1007/s12111-017-9362-8
Published:
Issue Date:
DOI: https://doi.org/10.1007/s12111-017-9362-8