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Ephemera, 1983

Katrina’s Paper Dolls

A little over a year after their first meeting in January 1982, Prince and Denise Matthews (better known as Vanity) had cultivated an image as pop music’s sexiest power couple: the royal bride and groom of his imminent purple reign. Early in 1983, the pair posed for fashion photographer Richard Avedon in a shot that would make the cover of Rolling Stone that April. Looking like mirror reflections–or incestuous twins–they fixed the camera with identical, kohl-blackened stares: she embracing him from behind, two fingers tucked suggestively down the front of his jeans. In the coming months, Prince would plan to take their relationship to an even larger venue, slating Vanity to play the leading lady in his forthcoming motion picture debut.

But there was trouble in paradise. The strong-willed couple clashed frequently–not least because Prince insisted on seeing other women at the same time as Matthews, including her Vanity 6 bandmate Susan Moonsie and his backing singer Jill Jones. A song inspired by their relationship from around this time, “Wonderful Ass,” pokes fun at the disconnect between their undeniable sexual chemistry and their equally undeniable emotional incompatibility: “My sensibilities you aggravate,” Prince croons, but “you got a wonderful ass.” Another, “Strange Relationship,” opts for a more trenchant self-critique: “Baby, I Just Can’t Stand 2 See U Happy / More Than That[,] I Hate 2 See U Sad.”

Jones, who shared a dressing room with Vanity 6 during the 1999 tour, recalled Prince giving a cassette tape with both songs on it to Matthews: “She’d play it before the show while me, Susan, and all of us [were] getting dressed,” she told sessionographer Duane Tudahl. “It wasn’t discreet.” Prince and Vanity, she added, actually did have a “Strange Relationship”: “It was really true that he didn’t want to see her happy and he didn’t want to see her sad. Because she started dating other people… and he got pissed. She was like, ‘I’m moving away from him. Fuck him. I’m really famous. People love me.’ So she was getting something and that was the only thing he had to yank her back in” (Tudahl 2018 40).

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Reviews

Review: My Life in the Purple Kingdom

If you’ve spent any time on the Prince-obsessed corners of the Internet lately, you’d be forgiven for thinking that the Super Deluxe Edition of Sign “O” the Times was the only recent release of note. But just three days before that mammoth box set landed with a thud on our doorsteps, the University of Minnesota Press also published a new memoir by Revolution bassist Mark Brown, better known as BrownMark; and, while it understandably hasn’t generated the same level of interest as the late-1986 Vault laid bare, My Life in the Purple Kingdom is still worth a look.

Brown’s book is noteworthy in large part because, even amidst the boom of posthumous Prince publications–with memoirs by early associate Pepé Willie and longtime journalist/confidant Neal Karlen hitting shelves in just the past few weeks–firsthand accounts by former band members are still comparatively rare. Pre-Revolution guitarist Dez Dickerson’s My Time with Prince: Confessions of a Former Revolutionary was self-published in 2003, and is long out of print; Sign “O” the Times/Lovesexy-era drummer Sheila E’s The Beat of My Own Drum came out in 2015, and was marketed more as a Sheila E book than a Prince one. This makes Brown only the third ex-bandmate to share his story in book form–and the first to do so since Prince’s passing almost five years ago.

And, make no mistake, My Life is very much Brown’s own story. Arguably its best chapters come before Prince even shows up, detailing Brown’s South Minneapolis upbringing and his entry into the city’s segregated music scene. Brown’s recounting of the shutdown of downtown R&B club King Solomon’s Mines after months of police harassment will be familiar to readers of Andrea Swensson’s excellent Got to Be Something Here; while his vivid descriptions of encounters with neo-Nazi skinheads and racist cops will be familiar to anyone who’s been following the news in 2020. Full disclosure: I read an early version of this book about a year ago while it was still in the editing process; reading it again now, in the wake of George Floyd’s murder, feels markedly different. A passage about the insidiously “subtle” nature of racism in the Midwest–where “White people would smile in your face but call you a [racial slur] behind your back”–felt especially (and unfortunately) relevant.

Ironically, it’s when the ruler (or despot) of the titular “Purple Kingdom” shows up that My Life loses some of its vitality. Readers of other Prince biographies won’t find much here to surprise them: His Royal Badness is seldom warm, often funny, sometimes vindictive, and, as his fame grows, increasingly distant from his bandmates. When Brown’s portrait of his erstwhile colleague is revealing, it’s mostly him and not Prince who is being revealed; his creative conflicts with his first band Phantasy, for example, parallel Prince’s own struggles to “cross over,” and suggest why Prince may have been drawn to recruit the younger musician as a sideman.

Mostly, though, Prince is here to serve as an inciting incident for Brown’s own personal growth. When Prince demands that his new recruit “start playing the bass, or I’ll find somebody who will,” it’s up to Brown to build up his chops. When Prince has a stylist straighten out Brown’s Jheri curl and leaves him with a “dry and bushy” shag, it’s up to Brown to “find [his] mojo” with a new hairstyle. One of the book’s most compelling conflicts barely even involves the frontman, as Brown finds himself confronted with resentful female fans–and his own low self-esteem–after “replacing” the group’s heartthrob original bassist André Cymone.

Indeed, my biggest complaint about My Life is that it doesn’t leave enough space for Brown’s post-Prince experiences; instead, the book comes to a happy, but abrupt ending after he leaves the Revolution and secures a recording contract with Motown. While I understand that the public hasn’t exactly been clamoring for a blow-by-blow account of BrownMark’s solo career, I think most readers would have been interested to hear how he ended up recording Prince’s “Bang Bang” and “Shall We Dance” in 1989. Likewise, I would have expected a new book by a member of the Revolution to include some kind of perspective on the group’s 2016 reunion, let alone Prince’s death that same year. In a recent interview with friend of the blog Erica Thompson, Brown revealed that he wrote My Life about 15 years ago “to vent and let out a lot of frustration”; this certainly squares with the bittersweet note on which he leaves his relationship with Prince, but in the current context there’s a surprising lack of closure.

Whatever its flaws, however, My Life is still recommended reading for fans of the Minneapolis Sound. Brown and co-writer Cynthia M. Uhrich have crafted a narrative that is breezy and consistently entertaining: much like Morris Day’s in his own memoir last year, Brown’s voice comes through loud and clear, from the hilarious passages about his youthful experimentation with a Jheri curl to his idiosyncratic (but consistent!) spelling of the word “cool.” If nothing else, and for reasons I won’t spoil here, I’ll never think about the passage where Brown drives out to Chanhassen for the first time to audition for Prince without laughing out loud.

BrownMark may have been the first ex-band member out the gate with a book after 2016, but I, for one, hope he isn’t the last; my personal position–which may come as heresy to some corners of the Prince fandom–is the more books, the better. Prince, as this blog itself can attest, had as many facets as there were people to observe him; books like this ensure that those many facets, and the people who were there to see them, remain in the public record.

If you’d like to read My Life in the Purple Kingdom, and support D / M / S / R in the process, I earn a small commission from any purchase made using a Bookshop.org affiliate link.

(Thank you, everyone, for your patience as I work on the next proper post; “Katrina’s Paper Dolls” is coming soon. Thanks, also, to Joseph Swafford and Tonya Pendleton, who both joined the Patreon in the past two weeks! I really appreciate your support. While I continue to work on my own stuff, I highly recommend the following Prince-related projects: De Angela Duff’s #SOTTSDC virtual roundtable series, which takes place this Saturday afternoon/evening; and the latest #PrinceTwitterThread series curated by Edgar Kruize and UMB, which will be ongoing through the rest of the month. See you soon!)

Categories
Ephemera, 1987

I Need a Man

As of this Friday, the wait is finally over: Sign “O” the Times Super Deluxe will at last be in our hot little hands (or at least our hot little streaming services; I ordered my physical copy from the official Prince store, so let’s just say I’m not getting my hopes up about getting it on release day). In the meantime, Warner Bros. has given us one last preview track to tide us over: Prince’s January 1987 recording of “I Need a Man.”

Categories
Ephemera, 1977-1978 Patreon Exclusives

Patreon Exclusive Bonus Track: Neurotic Lover’s Bedroom

Since the release of the Originals compilation last summer, Prince fans have been treated to a reasonably steady stream of officially-released material from the Vault. What we hadn’t had in a while, though, was a good old-fashioned bootleg leak–at least until last week, when the long-rumored 1977 track “Neurotic Lover’s Bedroom” was made available to a wider circle of collectors, then promptly shared on unofficial streaming sites (where, at least as of this writing, it remains accessible).

This news was especially exciting to me, as “Neurotic Lover” has long been one of my “holy grail” songs based purely on its title (see also: “Vagina,” “Big Brass Bed,” and for entirely different reasons, “Bulgaria”). I could not, for the life of me, imagine what a song called “Neurotic Lover’s Bedroom”–much less “Neurotic Lover’s Baby’s Bedroom,” the more grammatically bewildering title by which it was originally identified–could sound like; all I knew was, with a name like that, it had to be something good.

I am pleased to report that “Neurotic Lover” has both utterly defeated and exceeded these expectations. Whatever I imagined this track to be–and, again, beyond knowing that it was the first song Prince recorded after his manager Owen Husney bought him a drum machine, I really had no idea–it definitely was not a six-minute-long, vaguely psychedelic ParliamentFunkadelic goof in which a deadpan 19-year-old Prince extols the virtues of erotic asphyxiation. And yet, here we are.

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Dirty Mind, 1980 Podcast

Podcast: 40 Years of Dirty Mind

Way back in February of 2020, I asked Darling Nisi and Harold Pride to record a third episode in our series of in-depth retrospectives on Prince’s albums, this one for the 40th anniversary of 1980’s Dirty Mind. The podcast was intended to predate De Angela Duff’s DM40GB30 symposium, which in those simpler times was still scheduled to be held in-person at New York University.

Well, you know what happened next: DM40GB30 was delayed, then went virtual, while I slipped into a pandemic-related depression fog that only lifted, appropriately enough, after I participated in the virtual symposium back in June. Meanwhile, the podcast continued to lavish in the D / M / S / R Vault (a.k.a. the “Documents” folder on my computer) until the end of last month, when I was promptly reminded of just how laborious a task editing a three-hour podcast recording can be.

Now, the wait is finally over: the D / M / S / R podcast is back, in all its wildly self-indulgent glory. I want to thank everyone for their patience, and assure you that there won’t be a two-year wait before the next episode; in fact, I’d recommend you go ahead and use one of the links above to subscribe on your podcast service of choice using one of the links above, because I’m aiming to put out one of these bad boys (i.e., podcasts, not necessarily review episodes) per month. As always, let me know what you think, and feel free to leave a review on your podcast provider if you’re so inclined.