Categories
Purple Rain, 1984

I Would Die 4 U

Having sold Bob Cavallo on his vision for the film that would become Purple Rain, Albert Magnoli’s next task was to fly to Minnesota and plead his case to the movie’s star. From the moment he arrived, however, he faced resistance from an unlikely source: “Steve Fargnoli, one of Prince’s managers, met me when I got off the plane,” Magnoli recalled to Rolling Stone’s David Browne. Claiming that they had already made a commitment to William Blinn’s version of the script, “Steve said, ‘Kid–that story you told Bob? I don’t want to hear a word of it. You’re here to tow the line’” (Browne 2016).

Undeterred, when Prince showed up that night to discuss the film, Magnoli gave him the same pitch he’d given to Cavallo–this time, adding a new wrinkle: “Suddenly I saw the violence, the dysfunctional relationship with his mother, his father as a musician writing music and hiding it in a box.” Prince, surprised, sent away Fargnoli and his bodyguard, “Big Chick” Huntsberry, and took the director for a drive outside the city in his BMW. “I realized later we were driving to a cornfield and it was totally dark because there were no lights,” Magnoli recalled. “He was quiet and I was quiet. He asked me, ‘Do you know me?’ I said no. ‘Do you know my music?’ I said, ‘Just “1999.”’ And he said, ‘Then how is it that you essentially tell me my story without knowing me?’” (Browne 2016).

Categories
Purple Rain, 1984

Let’s Go Crazy

I

(1) Black Screen

SOUND under: MUSIC building in INTENSITY as–”

PRINCE
(over)

“Dearly belov’ed
We are gathered here today
To get through this thing
called life…”

Draft screenplay for Purple Rain by Albert Magnoli, 1983

William Blinn submitted two drafts of Dreams–the working title for Prince’s feature film debut–in May of 1983. There wouldn’t be a third: Blinn’s main gig as Executive Producer of the Fame TV series had been renewed, and he no longer had time to spare. Still, Prince’s management deemed the script good enough to shop: Bob Cavallo recalled thinking, “It’s a little TV, it’s a little square… but it’s a good idea, and I figured the director will rewrite it anyway” (Light 67).

But therein lay the rub: even with a screenplay in hand, Cavallo still couldn’t find a director. After a few dead ends, an industry contact recommended he see an early cut of Reckless: a steamy youth drama by first-time director James Foley about a romance between a motorcycle-riding rebel (Aidan Quinn) and a cheerleader from the other side of the tracks (Daryl Hannah). “I go to screen this movie and I’m the only one in the theater,” Cavallo recalled to journalist Alan Light. “I see it, I walk out, and a young man comes up to me and says, ‘What did you think?’ I said, ‘Well, I thought it was pretty good, and that’s really all I thought. I thought the editing was good.’ He’s like, ‘Really? Good. I did that’” (Light 67).

Categories
Uncategorized

See You at #1plus1plus1is3 This Weekend!

When I shared the 1983 Piano Rehearsal post on social media a few weeks ago, I mentioned that March is going to be a “quality-over-quantity month” on the blog. Well, here’s why: This Sunday, March 28, I will be presenting at the latest in De Angela Duff’s series of academic symposia commemorating Prince album anniversaries. This year’s symposium, the aptly-named #1plus1plus1is3, is a three-for-one: celebrating 20 years of 2001’s The Rainbow Children, 30 years of 1991’s Diamonds and Pearls, and 40 years of 1981’s Controversy.

My presentation–on Allen Beaulieu’s infamous Controversy “shower poster”–will be part of a panel featuring Christopher A. Daniel, Steven G Fullwood, and Edgar Kruize, moderated by C. Liegh McInnis. Presenting on other panels and roundtables are longtime friends of the blog Darling Nisi, Harold Pride, Erica Thompson, Laura Tiebert, Karen Turman, and others; there will also be special guest appearances by Rainbow Children cover artist Cbabi Bayoc, Revolution keyboardist Dr. Fink, longtime NPG Records webmaster/art director Sam Jennings, music video director Scott McCullough, recording artist Nicolay, and photographer Afshin Shahidi. I can’t wait to hear from each and every one.

Like last year’s #DM40GB30 symposium, #1plus1plus1is3 is a virtual symposium–so, no masks/vaccines required–and also 100% free (though the organizers do suggest a small donation to the PRN Alumni Foundation). You can register to attend at the link below:

Free Registration: #1plus1plus1is3

I will, of course, be live-tweeting the event as it happens, and will post a summary of my thoughts early next week. Then, it’ll be back to regularly scheduled programming with what is shaping up to be a very hefty post on “Let’s Go Crazy.” Thank you all for your patience during this quiet month; I hope that the deluge of Prince content coming this weekend, from myself and so many others, will help make up for my radio silence otherwise! Last but not least, thank you to Joseph Swafford for (re-)joining the Patreon last week! There will be plenty more quality and quantity in April.

Categories
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.

Categories
Ephemera, 1983

Modernaire

The third annual Minnesota Music Awards were held on May 16, 1983, at the Carlton Celebrity Dinner Theater in Bloomington. Prince took home six awards himself–Musician of the Year, Band of the Year, Best Male Vocalist, Best Record Producer (for 1999), 45 or EP of the Year (for “Little Red Corvette”), and Album of the Year (for 1999)–plus, by proxy, Best “R&B, Soul, Ethnic” Band for the Time. According to Jon Bream of the Minneapolis Star and Tribune, he spent most of the evening backstage, watching the Motown 25 special on TV.

Finally, wrote Bream, “the local hero” made his grand entrance: “parad[ing] down the center aisle in a banana-colored satin suit” with bodyguard “Big Chick” Huntsberry in tow. He handed his awards to Chick, “thanked Minnesota for its support,” and brought out his band–along with Vanity 6 and the Time’s Morris Day and Jesse Johnson–for a 10-minute version of “D.M.S.R.” played “on borrowed equipment” (Bream 1984). Dez Dickerson, despite having put in his notice earlier that spring, was in his usual spot on lead guitar; it was the last time he and Prince would share a stage.