Tag: clarence williams iii

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Ephemera, 1983

Father’s Song

The Prince Rogers Trio, circa 1940s; John L. Nelson on piano, Lawrence Griffin on saxophone, and Fred Anderson (father of André Cymone) on bass. Photo by John F. Glanton, stolen from the Hennepin County Library.

Director Albert Magnoli liked to call Purple Rain an “emotional biography” of Prince: An impressionistic mélange of the star’s pet themes, anxieties, and obsessions, true to its subject in spirit if not in every detail. And of all the themes, anxieties, and obsessions Prince brought to the film, none loomed larger than his father, John L. Nelson.

John Lewis Nelson was born on June 29, 1916 in Cotton Valley, Webster Parish, Louisiana, the youngest child of farmers Clarence Allen and Carrie Nelson (née Jenkins). Not long after his birth, John’s parents divorced; the reason, according to biographers Alex Hahn and Laura Tiebert, was because Clarence had become involved with another woman (Hahn 2017 50). By the 1920 census, writes historian Kristen Zschomler, Carrie was remarried to a man named Charles Ikner and living in Webster Parish with three-year-old John and his siblings: James (born 1915), Ruby (born 1908), Olivia (born 1904), and Gertrude (born 1903) (Zschomler 9). By 1930, she was widowed, and had traveled north with Gertrude, Ruby, and their husbands and children to a rented home in Southside Minneapolis, near where Olivia had settled with her husband, Edward Mason Lewis. The now-teenaged John likely followed between 1930 and 1935 (10).

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Purple Rain, 1984

Baby I’m a Star

1999 tour, circa 1983; photo stolen from Prince Off the Record.

“The MUSIC segues into a fierce BEAT.
The CROWD lets out a ROAR! Prince
strips off his guitar, streaks center-
stage. The Band launches into ‘Baby,
I’m A Star.’

“…And the CROWD laughing, dancing,
shouting and loving. The CLUB is ALIVE!

“And the MUSIC continues…forever…”

Draft screenplay for Purple Rain by Albert Magnoli, 1983

In the spring of 1983, Prince’s contract with managers Cavallo, Ruffalo, and Fargnoli was up for renewal. They had, on the face of it, little reason to worry: the 1999 tour was selling out arenas, “Little Red Corvette” was in the Top 10 of the pop charts, and 1999 was well on its way to Platinum certification by the RIAA. By the end of April, Prince would make the cover of Rolling Stone: a coveted opportunity for which his managers had netted a Richard Avedon photo shoot without granting an interview. “I thought we did an incredible job, we had a creative relationship, I’m sure he’s gonna sign another contract,” Bob Cavallo later told music journalist Alan Light. But Prince sent his main handler, Steve Fargnoli, back to Cavallo with a surprising ultimatum: “he won’t sign with us again unless we get him a movie” (Light 51).

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Ephemera, 1975-1976

Home Recordings, 1976

Prince at the piano, circa 1976; photo stolen from prince.org.

“Guess how many times I’ve changed addresses,” Prince asked at one point in a 1979 interview with Cynthia Horner of the African American teen magazine Right On! “Twenty-two times!” (Horner 1979) His typically charming, almost childlike delivery made it seem like an amusing anecdote; for what it’s worth, it was also probably an exaggeration. But beneath the wide-eyed ingénue act, he was revealing something profoundly sad about himself. For about six years during his childhood, Prince’s living situation was unstable at best; at worst, he was functionally homeless.

The period of instability ended around the same time that Prince formed his first band, thanks to the same catalyst: André Anderson, whose mother Bernadette took him in around 1974, and with whom he lived until after he signed with his first manager in late 1976. It was at the Anderson household where Prince made his earliest home recordings, at the ages of 17 and 18. But it was during his proverbial “wilderness period” when he established the fierce independence and drive–as well as the distance from others–that would define his professional life for decades to come.

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