Categories
Ephemera, 1984

Love and Sex (1984)

The Purple Rain era marked a subtle, yet perceptible shift in Prince’s attitudes toward sex. On 1999 less than two years earlier, he’d reveled in his libertinish “Rude Boy” persona: promising to “fuck the taste out of your mouth” on “Let’s Pretend We’re Married,” then actually demonstrating his technique on “Lady Cab Driver.” But by the follow-up album, his pendulum was beginning to swing away from the raw mechanics of lust, toward something approaching more conventional romance. “The Beautiful Ones” found him not just pretending he was married, but considering it as a real possibility; “When Doves Cry” and the title track earnestly grappled with the dissolution of a relationship. Even “Darling Nikki”–the closest the album came to vintage, “dirty” Prince–treated its sexual encounter as a quasi-Satanic temptation, before ending with a palate-cleansing gospel coda.

It’s easy to assume that this shift was motivated by commercial calculus: Purple Rain was designed to be Prince’s entrée into the mainstream, and heteronormative monogamy plays better to “mainstream” tastes than unfettered promiscuity. There is doubtless some truth to that interpretation; but there’s also ample evidence to suggest that he felt a genuine conflict between his spiritual convictions and his carnal appetites. A song like “Possessed” (written during the 1999 sessions, and revisited in multiple iterations for Purple Rain) depicts the repentant “Rude Boy” as an unwilling vessel for “demonic lust.” “Love and Sex,” recorded at Sunset Sound on February 27-28, takes a different approach: envisioning an afterlife where the spirit and the flesh could exist in harmony.

Categories
Ephemera, 1984

Another Lonely Christmas

After assembling the Apollonia 6 album on February 6, 1984, Prince stayed at Sunset Sound, working on incidental music for the Purple Rain film and a handful of songs that would end up on Sheila E’s The Glamorous Life. On February 18, he shifted gears yet again: recording what would become his first–and last–holiday-themed song.

Another Lonely Christmas” appears to have come out of nowhere–and not just because it was a Christmas tune recorded less than a week after Valentine’s Day. While the track would eventually find its way onto the B-side of “I Would Die 4 U”–released on the seasonally appropriate date of November 28–it seems unlikely that Prince had that placement in mind nine months earlier. There’s no indication that he intended it for either the movie soundtrack or Sheila’s album; for that matter–aside from a penchant for decorating his studio with string lights, according to sessionographer Duane Tudahl–there’s little indication that he was especially observant of the holiday season. For whatever reason, “Another Lonely Christmas” was just something he had to get out of his system.

Categories
Controversy, 1981 Podcast

Podcast: 41 Years of Controversy – A Conversation with Harold Pride and De Angela Duff

Here we are again, my first podcast in more than a year, and I couldn’t have asked for better guests than Harold Pride and De Angela Duff to discuss Prince’s fourth and quite possibly most underrated album, 1981’s Controversy. If you’ve been listening to these deep-dive album retrospectives, Harold needs no introduction; and, since the Prince scholarly community is a pretty small one, De Angela may not need one either. Suffice to say that she’s the biggest advocate of Controversy I know, and she makes a convincing case that it’s not only a great album in its own right, but also the linchpin of Prince’s entire career.

One quick note: you will likely notice that there was a significant drop in audio quality this episode; this was due to a perfect storm of technical issues that, unfortunately, left the low-quality Skype call recording as the only usable audio source from our conversation. I think you’ll get used to it, but I will assure you anyway that I’m taking steps to make sure we sound better next time. And yes, speaking of “next time,” I do have plans for more episodes in the coming months–probably not in October, but maybe one more before the end of the year, and then more to come in early 2023. If you want to hear the episodes as soon as they drop, remember to subscribe on your podcast service of choice using the links above!

Categories
Ephemera, 1983

Wednesday

From its original treatment, the story of Purple Rain had always revolved around three characters: Prince (a.k.a. “the Kid”), Morris, and Vanity (later replaced by Apollonia). Yet, in the early stages of production, Prince and director Albert Magnoli envisioned a broader depiction of the Minneapolis music scene, with subplots for the various supporting players. There was even talk of the accompanying album including tracks from associated artists, along the lines of the later Graffiti Bridge soundtrack. In the end, of course, this ensemble version of Purple Rain was not to be; the final album and film are both unambiguously Prince’s show. But Magnoli’s draft screenplay made plenty of time for one supporting player in particular: “Jill,” the First Avenue waitress played by Prince’s real-life backing singer and paramour, Jill Jones.

Categories
Purple Rain, 1984

The Beautiful Ones

On August 1, 1983, Albert Magnoli arrived in Minneapolis to finish his revised screenplay for Purple Rain. He spent his first week in town interviewing the prospective cast members, including Prince’s band, the Time, and Vanity 6, to mine their real-life relationships for dramatic potential. As he explained to sessionographer Duane Tudahl, “My research was for me to sit down and say, ‘Okay, I have a scene I’m developing between you, Wendy, Lisa, and Prince, and you’re very angry at him. And you’re in the dressing room and you’re about to go on and you want to know if he hear[d] your music. Give me what you feel like?’ And they start, ‘Oh well, yeah that happens all the time!’ So all their shit comes up because they’ve been in that with him” (Tudahl 2018 117).

The director supplemented his research by sitting in on band rehearsals and attending the August 3 First Avenue performance where the film’s title song received its debut. Mostly, though, he wrote: spending his days in a motel room drafting in longhand, “from seven to seven… with a ruler and pencil, on paper. Then a secretary would come in and type everything up from that day in script form” (Light 2014 91). By the end of the month, when Magnoli flew back to Los Angeles to finish editing James Foley’s Reckless, his first draft was complete.