Categories
Ice Cream Castle, 1984

The Bird

In the months since Jimmy Jam and Terry Lewis were dismissed from the Time, the group’s morale had reached an all-time low. Singer Morris Day, in particular, was all but fully checked out: “When we started switching musicians,” he later recalled, “it wasn’t my favorite band anymore” (Tudahl 2018 72). Only the promise of a costarring role in Prince’s upcoming film kept him from leaving the camp entirely–that and, he admitted in his 2019 memoir, a burgeoning cocaine habit (Day 83).

The powder keg was primed in the summer of 1983, when Day and the rest of the movie’s principal cast were enrolled in mandatory acting lessons with coach Don Amendolia. “He had these exercises,” Day wrote. “Pretend you’re a weeping willow tree. Pretend you’re a butterfly lost in the forest. Well, I didn’t wanna be no weeping willow tree. I didn’t wanna be no butterfly lost in the forest. I thought that was some dumb shit and said so.” Eventually, Day’s “cutting up” got back to Prince, who “said this was some serious business and I better not fuck it up or I’d be out on my ass… He’d banish me from his empire” (Day 86).

Categories
Welcome 2 America, 2011

Hot Summer

We’re now exactly one week out from the release of Prince’s shelved 2011 album Welcome 2 America–i.e., just enough time for Sony Legacy to push out one last promotional single to streaming services and, uh, TikTok. As a certified Old, I don’t have much to say about the last bit; but I can certainly share my thoughts about the song itself.

“Hot Summer” is one of a handful of tracks on Welcome 2 America that stretches the definition of “previously unreleased.” Prince premiered the song on Minnesota Public Radio station 89.3 The Current on his 52nd birthday, June 7, 2010, shortly after a heat wave pushed the temperature in Minneapolis to a record-breaking 95 °F on May 24. Initial reactions were, to put it kindly, mixed. Music blog Stereogum compared the song variously to Rick Springfield’s “Jessie’s Girl” (!) and Hanna-Barbera mascot-suit bubblegum act the Banana Splits (!!), before concluding, “At least the lyrics are positive.” A 35-page thread on prince.org began with tepid praise but swiftly descended into mayhem, with arguments over whether the woman singing the hook was Janelle Monae (it’s Liv Warfield) and much hand-wringing over Prince’s “decline in writing ability.” Perhaps the most trenchant burn came a little less than two years later, when ex-Family frontman Paul Peterson responded to a subliminal swipe from Prince by remixing the track into a parody ad for Midwestern home improvement chain Menards.

Categories
Podcast

Podcast: New Power – A Conversation with Takuya Futaesaku, Author of Words of Prince

I gave myself a little hiatus from the dance / music / sex / romance podcast after Celebration 2018, but now we’re back in business with guest Takuya Futaesaku, author of the book Words of Prince. Takki and I talk about his book and his experiences as a Prince fan in Japan; it was a pleasure to speak with him, so hopefully it will be a pleasure to listen, too! Special thanks this episode go to Crystal for helping me track down the Japanese shows you’ll hear during the podcast.

Categories
Reviews

Review: Words of Prince

I first saw Takuya Futaesaku’s Words of Prince before I knew what it was, cradled in the arms of a fan in the Paisley Park soundstage at Celebration 2018. What caught my eye was the cover art–drawn, I later discovered, by the delightfully-named Japanese pop artist Radical Suzuki–as well as the book’s impressive heft.  It was obviously a fan-created work of some kind, but I couldn’t imagine what it might be. A few weeks later, I was contacted by Leslie Swiantek, a writer who has been helping Futaesaku promote his book in the States, to get in touch with him and maybe record a podcast. I contacted the author for an electronic version of the book to read, and he kindly ordered me a physical copy–the same colorfully-illustrated, hefty tome I’d seen at Paisley back in April.

Incidentally, the Radical Suzuki illustration is no longer on the cover of Words of Prince; it was cut for the book’s second English edition, a victim of the Prince estate’s recent rash of copyright-based takedowns (I patiently await my own C&D letter). Futaesaku’s solution was funny and not a little ingenious: the book now comes with a blank purple cover, serving as both a reference to Prince’s similarly monochrome Black Album and a canvas for each buyer to draw their own cover, copyright restrictions be damned. This DIY touch is, I think, a big part of the book’s appeal. Words of Prince isn’t a conventional biography or critical work; indeed, it doesn’t really fit any of the genres or formats one might expect from a book about Prince. Its structure and approach is as idiosyncratic as its subject–or, more accurately, as any one of our relationships with Prince as fans.

What this means, of course, is that the book isn’t for everyone. Hardcore fans who know it all about Prince’s life and work won’t find much more to glean here; Futaesaku is passionate and knowledgeable, but he’s still (mostly) beholden to the same secondary sources as the rest of us. Sticklers for polish may also find themselves disappointed:  Words of Prince is translated from Futaesaku’s original Japanese, and it shows, with some typos and the occasional odd phrasing, e.g. “Self Produce” for a chapter on Prince’s singular artistic drive (note that, per Swiantek, the book will be retranslated for a forthcoming electronic edition).

Where Words of Prince shines, however, is as a testimonial to the dedication and creativity of Prince’s fan community–and, for American readers especially, a window into the Japanese fandom. Futaesaku makes a convincing case for Prince’s special relationship with Japan: one of the farthest-flung places where he consistently toured. In one of the most memorable chapters, the author interviews another Japanese fan, who recounts a story about Prince playing a surprise version of “Bambi” on request during a Nude tour stop at the Tokyo Dome; the so-called “Bambi Incident” is just one of several nuggets of minor, but compelling information that Western readers are unlikely to know. The book is also amply illustrated with original art from members of the Japanese fan community, including Radical Suzuki, Nobuaki Suzuki, Mizuno Hiroatsu, Satsuki Nakamura, Saiko Sugawara, Yukiko Yoshioka, Hiromi Greer, Yasuhiro Matsushita, Tetsuo Sugiyama, and Mikako Takahashi. These contributions–many of which are quite artistically impressive–have a charming, homemade feel that is perfectly suited to the book. Whatever else it might be, Words of Prince never feels like anything less than a genuine, heartfelt expression of love for Prince and his music.

As a bonus, Words of Prince features an appendix of interviews with former associates including St. Paul Peterson of the Time and the Family, New Power Generation rapper Tony M, photographer Steve Parke, and others. While hardcore fans are again unlikely to read anything here that they haven’t heard anywhere else, Futaesaku’s questions are thoughtful and empathetic. He also makes room for others from the fan community, interviewing third parties like author Duane Tudahl and Heidi Vader from the charitable organization Purple Playground.

As I noted before, Words of Prince isn’t for everyone; but for anyone with an interest in fan culture, and especially in fan communities beyond the United States and Europe, it’s an easy book to recommend. Its warmth and good nature may even remind you of why you became a Prince fan in the first place.

Categories
Ephemera, 1984

Nothing Compares 2 U

Last week, I made my long-awaited, surreal, exhausting pilgrimage to the Twin Cities to attend the Prince from Minneapolis conference and Paisley Park’s Celebration 2018. I have complicated feelings, which I’m still processing–and will continue to do so, with the help of some other people who were there, on the podcast in the coming weeks. For now, though, I have some basic reactions to Celebration, and to the newly-released Prince song that was debuted on the event’s first day.

I wasn’t sure what to expect from Celebration coming in–reports of last year’s event suggested a combination music festival, fan convention, and cult indoctrination–but in my experience, it was basically a corporate retreat for hardcore Prince fans. There were hours of panel discussions with ex-band members Gayle Chapman, Dez Dickerson, Matt Fink, and Bobby Z; photographers Allen Beaulieu, Nancy Bundt, Terry Gydesen, and Nandy McLean; and dancers Tomasina Tate and, um, Wally Safford. There were screenings of Prince concerts from the Piano & A Microphone, HitnRun 2015, and–via the associated “Prince: Live on the Big Screen” event at the Target Center–Welcome 2 America tours. There were live performances by Sheila E, fDeluxe (née the Family), and a (fantastic) new supergroup of New Power Generation alumni dubbed the Funk Soldiers. And, of course, there was the debut of the music video for Prince’s previously-unreleased studio version of his pop standard “Nothing Compares 2 U.”