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Ephemera, 1983 Patreon Exclusives

Patreon Exclusive Bonus Track: 1983 Piano Rehearsal

At this point, it’s customary to marvel at the sheer, staggering amount of music Prince recorded. His finished recordings number in the hundreds, if not the thousands: enough, to borrow a cliché that became ubiquitous after the Vault was cracked open in 2016, to fill an album a year for the next 100 years; or, to put it in more personally meaningful terms, enough to keep me working on this goddamn blog until roughly the end of my natural life. But the mind truly boggles when one considers that those “finished recordings” are only the tip of the iceberg. Beneath the surface are hundreds more hours of rehearsals and rough sketches recorded for private use–only a fraction of which are ever likely to see the light of day.

By this reckoning, the solo piano rehearsal officially released in 2018 as Piano & A Microphone 1983 is not, in itself, remarkable; it’s just one of countless other “work tapes,” as former Revolution keyboardist Lisa Coleman describes them in her liner notes, by an artist for whom making music was an avocation as much as a vocation (Coleman 3). Prince Estate lead archivist Michael Howe told Newsweek that when he found the recording–a standard, consumer-grade TDK SA-60 cassette with two tracks, “Cold Coffee & Cocaine” and “Why the Butterflies,” listed in Prince’s handwriting–it was in a box with “[l]iterally thousands” of other tapes (Schonfeld 2018). But what it lacks in uniqueness, it makes up for in historical importance: capturing, with near-unrivaled intimacy, a snapshot of Prince’s creative process on the very cusp of the career-defining success of Purple Rain.

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Purple Rain, 1984

Baby I’m a Star

“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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Uncategorized

Press Rewind: “When Doves Cry”

As we all continue to figure out how to get through this pandemic with some level of normalcy, please feel free to spend a little over an hour with me and Jason Breininger (not in the same room, thankfully) as we go in-depth on “When Doves Cry” for his Press Rewind podcast:

Press Rewind: “When Doves Cry”

Listening back, it strikes me how much these lyrics are about touching and other forms of physical intimacy, and how wildly different those concepts sound today than they did 36 years (or two weeks) ago. May we all look forward to a day when “the sweat of your body covers me” conjures images of more than just COVID-19-spreading droplets. In the meantime, stay safe (and stay home).

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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?

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Controversy, 1981

Controversy, Part 1: Am I Black or White?

By the time Prince began work on his fourth album in mid-1981, he already had a few classics under his belt. “I Wanna Be Your Lover” was a perfect first hit and calling card: a concise, if airbrushed introduction to the artist’s multi-instrumental chops, knack for catchy hooks, and flirtatious sex appeal. “Uptown,” though less commercially successful, demonstrated his burgeoning ambition and the sociopolitical undercurrents of his multi-racial, gender-fluid funk. But it was the aforementioned fourth album’s title track that would truly capture the essence of Prince. “Controversy” was his artistic DNA, pressed onto wax and played back at 331revolutions per minute.

To summarize any artist with a single song is no small feat. To do so for an artist like Prince, who reveled in his ambiguities and contradictions, is even more impressive. The brilliance of “Controversy” is the way it places these ambiguities and contradictions at the center of Prince’s artistic persona: his indeterminacy becomes his defining characteristic. Philosopher Nancy J. Holland writes that Prince’s destabilized persona makes him “perhaps the best example in contemporary popular culture of how the postmodern moves beyond the mere reversal of hierarchical oppositions (God/man, good/evil, male/female, man/nature, mind/body, etc.) that have governed the dominant discourse in the European tradition for at least two millennia… By deconstructing, undermining, and redefining these binaries, Prince opened the possibility of a new culture” (Holland 2018 322).

In many ways, “Controversy” is ground zero for this postmodern Prince and the “new culture” he promised. It thus feels appropriate to take an in-depth look at the song through three of the particular binaries he would spend the next 35 years “deconstructing, undermining, and redefining”: racial, sexual, and spiritual. And yes, I do mean “in-depth”; I’m giving each of these three binaries its own, full-length post. So let’s get to it.