Prince’s first side project, the Time, began with a fundamental musical concept: They were a vehicle for the hardcore funk and R&B from which he had mostly steered away in his own career, with an added touch of New Wave rock and roll in the vein of contemporary acts like the BusBoys. Everything else about the group, from their boutique vintage wardrobe to frontman Morris Day’s tongue-in-cheek pimp persona, was an elegant outgrowth of this conceit. By contrast, Prince’s second side project, the Hookers, began with an image, and not an especially sophisticated one–the name pretty much summed it up. So it’s no surprise that the music he composed for the group in mid-to-late 1981 had a distinct whiff of throwing everything against the wall and seeing what stuck: There was minimalist electro-punk (“Drive Me Wild,” “Make-Up”), New Wave-ized girl group pop (“Wet Dream,” “Jealous Girl”), and, with “Money Don’t Grow on Trees,” even a dash of vintage R&B.
As promised/threatened, I’m once again interrupting the usual flow for a Prince-related feature from our sister site Dystopian Dance Party. Today, Callie and I talk about our mutual, misguided, only semi-ironic love for the second installment of Prince’s cinematic saga, Under the Cherry Moon, which released 30 years ago this Monday. Tune in for lots of incredulous laughter, and one moment in which I actually compare the film to Jean-Luc Godard’s Breathless (don’t worry, it makes slightly more sense in context). And of course, feel free to check out Dystopian Dance Party, which is where I write about whatever I feel like writing at any given time (though, unsurprisingly, there’s a lot of Prince on there, too). Show notes here. See you next week!