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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.

Categories
1999, 1982

1999

By mid-July of 1982, Prince had completed work on the album that would become 1999, with just one significant exception: “1999,” the song, was nowhere to be seen. When Prince played a rough mix of the album for his manager Bob Cavallo that month, he got a cooler reception than he anticipated.

“‘This is a great album, but we don’t have a first single,’” Cavallo recalled telling Prince. “‘We have singles that’ll be hits, but we don’t have a thematic, important thing that can be embraced by everybody, different countries, et cetera.’” In response, Prince “cursed me, and he went away–but he didn’t force me to put it out. Two weeks later, he came back and he played ‘1999,’ and that became the title of the album” (Light 43).

Categories
Ephemera, 1981-1982

Moonbeam Levels (The New Master)

Note: Incredibly, it’s been just over three years since I first wrote about “Moonbeam Levels” for dance / music / sex / romance. That post focused on the song’s status as the first posthumously-released track from Prince’s Vault, and was colored by the then-recent passings of both Prince and David Bowie, who I still consider to be an unsung source of inspiration for the song. You can still read that version if you want; but here is what I now consider to be the official d / m / s / r take on “Moonbeam Levels.”

In early July 1982, after spending the latter half of the spring back home in Minnesota, Prince returned to Sunset Sound in Los Angeles. His goal, almost certainly, was to finish the album that would become 1999. But in typical fashion, he overshot that goal: instead, launching himself into the stratosphere with the fittingly extraterrestrial outtake “Moonbeam Levels.”

In some ways, “Moonbeam Levels” feels very much of a piece with the other songs Prince was recording in mid-1982. Like many of the tracks that would end up on 1999, it opens with a prominent Linn LM-1 beat: in this case, the mechanical pulse of a bass drum, punctuated by a hiss of synthesized exhaust. To this futuristic foundation, Prince adds Blade Runner synth pads and lyrics evoking space travel: his narrator fantasizes about “a nice condo overlookin’ the rings of Saturn” and asks for the titular “moonbeam levels,” a poetic turn of phrase that conjures up images of interplanetary transmissions and cosmic rays. Meanwhile, the ever-present threat of annihilation looms: Prince imagines a never-written novel with the capsule summary, “Boy loses girl in a rainstorm, nuclear World War III,” his pet themes of personal and global apocalypse summed up in a single, devastating line. The whole package feels custom-built for precisely the kind of science-fiction pop-funk epic Prince had spent the past six months assembling piece by piece.

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Patreon Exclusives Reviews

Patreon Exclusive Review: The Beautiful Ones

When Prince announced he was writing an autobiography in 2016, a certain amount of skepticism was natural. This was an artist with a noted distrust of narrative, for whom “intensely private” had become a journalistic cliché, and who had spent the better part of his public life disparaging the concept of “living in the past.” What would a memoir by such a person even look like? Would he pull a Bob Dylan, give us a handful of disconnected, possibly apocryphal vignettes from throughout his career, then never deliver the promised follow-up? Would he spend the whole book lecturing and chastising us for wanting to know more about him than the work he was creating right then? Would he make us read more of that godawful poetry from the 21 Nights book?

Categories
Vanity 6, 1982

Nasty Girl

While Prince wasn’t nominated for any American Music Awards in 1982, the night of the ceremony would turn out to be fortuitous for another reason. It was at an AMAs after-party on January 25 when he first met Denise Matthews: a 23-year-old model who, under another name, would soon become the most infamous of his 1980s paramours.

Born in Niagara Falls, Ontario to a German Jewish mother and an African American father, Matthews shared with Prince a tumultuous childhood: her parents divorced when she was young, and she and her six siblings grew up without their mother in their lives. In Matthews’ case, however, the trauma also extended to sustained physical abuse at the hands of her father, who died when she was only 15. “For 15 years, he beat me badly,” she later told Aldore Collier of Jet magazine (Collier 1993 58). “I wish I could see my father in heaven, but I won’t. He’s in Hell” (59).

Despite–or perhaps because of–the low self-esteem she suffered as a result of this troubled upbringing, the stunningly beautiful Matthews went on to pursue a career in modeling: winning the Miss Niagara Hospitality pageant in 1977, and competing for the Miss Canada title the following year. She signed with New York’s Zoli Agency and appeared in a few ad campaigns in the U.S. and Japan. Under the pseudonym “D.D. Winters,” she acted in the 1980 Canadian slasher film Terror Train, starring Jamie Lee Curtis, and had the dubious honor of playing the title role in Tanya’s Island: a truly bizarre erotic fantasy about a model embroiled in a violent love triangle with her painter boyfriend and a bestial, apelike creature (no, seriously, see photo above).