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
Ice Cream Castle, 1984

Jungle Love

Prince, as was his wont, had already moved on to his next phase by the time the 1999 tour entered its final stretch in March 1983. The centerpiece of his master plan was, of course, the untitled film project that would become Purple Rain; but he also intended to cement his musical dominance with follow-up albums by the 1999-era “Triple Threat” of himself, the Time, and Vanity 6. Much as he had a year before, he focused on the Time first: booking a few days at Sunset Sound in Los Angeles before playing the Universal Amphitheatre and San Diego Sports Arena on March 28 and 29, respectively.

The Time’s first two albums had been cut primarily by Prince and singer/studio drummer Morris Day alone; for the new project, however, Prince allowed the rest of the band to take on a more active role. “They played on a lot of the stuff,” former Sunset Sound engineer Peggy McCreary told sessionographer Duane Tudahl–though Prince remained the unquestioned “leader of what was going on” (Tudahl 2018 64). The Artist Formerly Known as Jamie Starr was even willing to share songwriting duties, basing “Jungle Love” on an instrumental demo by guitarist Jesse Johnson.

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1999, 1982

1999

By mid-July of 1982, Prince had completed work on the album that would become 1999, with just one significant exception: “1999,” the song, was nowhere to be seen. When Prince played a rough mix of the album for his manager Bob Cavallo that month, he got a cooler reception than he anticipated.

“‘This is a great album, but we don’t have a first single,’” Cavallo recalled telling Prince. “‘We have singles that’ll be hits, but we don’t have a thematic, important thing that can be embraced by everybody, different countries, et cetera.’” In response, Prince “cursed me, and he went away–but he didn’t force me to put it out. Two weeks later, he came back and he played ‘1999,’ and that became the title of the album” (Light 43).

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Podcast

Podcast: It’s Time Someone Programmed You – Leah McDaniel on the Salford Purple Reign Conference

For the third installment of my miniseries on the University of Salford’s interdisciplinary Prince conference, I’m talking to Leah McDaniel (née Stone), a businesswoman, world traveler, and lifelong Prince fan. Her paper was on the eternally unsettled question of whether or not Prince was a feminist; we reflect on that question, as well as the contrast between his artistic warmth and his sometimes-chilling approach to interpersonal relationships, and why even Prince at his worst was still better than R. Kelly at his best.