Categories
Roundup Posts

D / M / S / R Year Four in Review

If you visited princesongs.org over the weekend, you may have already noticed that D / M / S / R’s long-delayed migration from WordPress.com to a self-hosted blog is finally complete! Well, mostly complete, anyway: I’m still working on getting the podcast feed back up and running, and I still need to figure out how to transfer a couple of stray comments over from the old site. I’m also having issues setting up the Patreon WordPress plugin–ironically one of the reasons I originally decided to self-host–so for now we’re going to have to handle Patreon-exclusive posts the same, slightly inelegant way we did on the old site.

But still, D / M / S / R looks and feels different now, and I hope you like it. I personally think it’s a lot slicker-looking and more readable; the WordPress theme I used (their default 2020 theme, believe it or not) puts a lot of emphasis on the content, and I followed their lead by cutting back on the sidebars and other bells and whistles. Also, you may notice that “Dance / Music / Sex / Romance” is now properly capitalized; this, like my original decision to use lower-case letters, is 100% based on what I think looks better with the default font.

But enough about that. We’re here to check in on my progress on this crazy project, which I started just about four years and one month ago. Last year, you might recall, I was wringing my hands over producing only 26 posts from June 2018 to May 2019. I had hoped to improve my output for 2019-20, but, well, you know what happened; a confluence of internal and external factors, most notably but not exclusively including a global pandemic, resulted in my taking an unprecedented three months off of all nonprofessional writing. In case you’re wondering, my total number of posts for this past year was 21, counting the Patreon-exclusive “bonus track” post for “You’re My Love.”

This is normally where I would start wringing my hands and making apologies and promises and self-deprecating jokes about being done with the project in 2036 (a number, by the way, that I am increasingly considering to be a genuine ballpark estimate). Here’s the thing, though: if the last year has taught me anything, it’s that shit is unpredictable and mostly outside my control. We’re all lucky to have made it past the halfway point of 2020 at all; worrying about “productivity” in times like these is just going to make my hair go gray more prematurely than it already is.

So this year, I’m not making any apologies or promises. Instead, I genuinely want to celebrate what I achieved in the past year, which was as challenging a year for me as any in recent memory. First and foremost, I got through three albums:

Vanity 6, 1982
What Time is It?, 1982
1999, 1982

Besides that, the Patreon I launched last year–despite being suspended for almost as many months as it was in operation–has held more or less steady at a very respectable 20 monthly supporters. In fact, I want to welcome two new patrons, Alexander Ostroff and Anthony John Battaglia, who came on board just in the last week. The Patreon, you might recall, was meant to help my productivity, and on sum I think it has; this year has just been such a bastard that it’s hard to point to any objective evidence to support my gut feeling. As always, I’m appreciative of any support (including non-monetary), and not in the least offended if my work is not a priority for you to pay for at any given time. Do what you’ve gotta do! But I am going to be earning those Patreon dollars this month, and in the months to come, with a mix of early and exclusive posts that I think you’ll like.

Last but not least, the blog relaunch finally gave me the opportunity to make those revisions to old posts I’ve been promising for, oh, about two years now. I made a bunch of tiny formatting tweaks to almost every post, but if you’re interested in seeing some more substantial revisions, they’re linked below:

“Wouldn’t You Love to Love Me?”
“I Feel for You”
“International Lover”
“Gigolos Get Lonely Too”
“Turn It Up”
“Make-Up”
“If It’ll Make U Happy”
“How Come U Don’t Call Me Anymore?”

Now, for what to expect in Year Five: I recently put together a rough plan for what might be called the “long Purple Rain era,” which includes Purple Rain proper along with Around the World in a Day, the Time’s Ice Cream Castle, Sheila E’s The Glamorous Life, and the self-titled albums by Apollonia 6 and the Family. It comes to a total of 75 posts–roughly three years of writing, at my recent pace. My ambitious goal is to get it done a lot sooner: I’d love to wrap up Around the World in a Day by December 2021, so I can be writing about Parade by 2022. I think it’s technically possible if I can stay close to a post a week in the next 17 months; but, again, I’m not going to make any promises. A lot can happen (or not) in a year.

What I can say is that I’m feeling more invigorated about this project than I have, probably, since the year I launched it; and whether I make my ambitious goal or not, I want to make the fifth year of D / M / S / R its best yet, in terms of quantity but also (and more importantly) quality. Thank you to everyone who has supported this blog in any way since 2016; I hope you keep reading and enjoying it in the years to come, however many there end up being. I’ll leave you with this video I put together for last month’s DM40GB30 symposium, which I think does a good job of encapsulating my current philosophy about the blog:

(P.S. One last bit of housekeeping: the move to self-hosting unfortunately means that, if you subscribed to email alerts for my old WordPress.com blog, you’ll need to resubscribe for this one. Scroll down to the footer and you should see a box that reads “Subscribe to Blog via Email.” I promise this is the last time I’ll be relaunching like this in the foreseeable future, so this should be a one-time inconvenience!)

Categories
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).

Categories
Ephemera, 1981-1982

Lust U Always (Divinity)

Note: Please be advised that this post contains frank and uncensored discussion of lyrics which explicitly reference sexual assault. 

There are any number of reasons why Prince may have left a given song in the Vault. There were, of course, the spatial limitations of recorded media: by 1982, Prince was producing more music than could be accommodated on two 12-inch sides of vinyl–hence why 1999 ended up as a double album, and why his singles increasingly came backed with non-LP B-sides. There were instances where a certain song may have been deemed too similar to another that ended up making the cut on the album: see, for example, “Turn It Up,” which some believe was left off 1999 in favor of “Delirious.” There was also an even simpler explanation, per Prince himself: “If any track is unreleased, it’s because it’s not done,” he reportedly told Dan Piepenbring, the co-author of his unfinished memoir, in 2016 (Prince 2019 16).

The particular song Prince was discussing with Piepenbring was “Extraloveable,” a widely-bootlegged track recorded at the beginning of April 1982 and not officially released until 2011. Taking Prince at his word that the song wasn’t “done” until Andy Allo rapped on it, I won’t write about it until we get to that point in our chronology; but I will posit a theory that there was another reason why it didn’t see the light of day. As anyone who’s heard the original version can attest, the song takes a turn in the last minute and a half or so. After six minutes of gently cajoling the listener to take a bath with him, Prince suddenly becomes menacing: “I’m on the verge of rape,” he grunts, repeating himself for good measure. A blast of discordant synthesizer noise takes over the mix, as if the song itself has begun to malfunction. “I’m sorry,” Prince intones in his detached android voice over the ongoing din, “but I’m just gonna have to rape you. Now are you going to get into the tub, or do I have to drag you? Don’t make me drag you.”

Prince was obviously no stranger to aberrant expressions of sexuality at this point in his career: on “Horny Toad,” he had imagined himself as an obscene phone caller, a groper, and a stalker; perhaps most notably, “Sister” had described an incestuous relationship of dubious consent. But the former song was obviously played for laughs, while the latter crucially depicted Prince as the victim of abuse, not the perpetrator. Interrupting an exuberant, sexy frolic to outright threaten sexual violence was clearly a bridge too far, even in the thick of Prince’s “Rude Boy” era. Which makes it all the more surprising that he did it again with another unreleased track recorded in the same year, “Lust U Always.”

Categories
Patreon Exclusives

Patreon Exclusive: Preliminary Thoughts on the New 1999 Reissue

When I saw yesterday’s official announcement of the long-rumored deluxe reissue of 1999–the album, to state the obvious, which I’m currently working through on the blog–I realized that my private goal to get started on Purple Rain by the end of the year had become, to put it mildly, complicated. If I’m going to hit a scheduling snag, though, a compilation with two new discs of previously-unreleased material is pretty much the best possible way for that to happen. If you’ve been reading my posts this year, you already know that 1999 is one of my favorite Prince albums: easily in the top three. So it goes without saying that I am very, very excited by this release, and have already spent money I don’t technically have to get my paws on that frankly excessive 10-LP configuration.

But I’m also a blogger, which means that I am duty-bound to turn this exciting new announcement into content. So, much like I did with the deluxe Purple Rain reissue over two years ago, I’ve written down some quick thoughts on the (very, very long) track list, which you can now read on the d / m / s / r Patreon:

Patreon Exclusive: Preliminary Thoughts on the New 1999 Reissue

Speaking of Patreon, thanks to Freek Claassen for becoming my 18th patron this week! If you’re interested in joining Freek and supporting the blog for just a dollar a month (or more!), you can sign up from the link above. It really does help me make time for writing, has massively increased my productivity, and starting this week, it will also allow you to read my song posts a week ahead of when I release them to the public! If you don’t care to become a patron–and seriously, no hard feelings if that’s the case–you can also support the blog by preordering 1999 Deluxe using these Amazon affiliate links for the CD, 2-LP, 2-CD, 4-LP, 5-CD/1-DVD, or 10-LP/1-DVD versions of the set. If you (quite reasonably) don’t want to line Jeff Bezos’ already well-laden pockets, that’s fine too; I appreciate all of you just for reading. Patrons, look forward to “777-9311” by Friday night; everyone else, see you next week!

Categories
Vanity 6, 1982

Drive Me Wild

Much as he had with his first backing group, Prince wanted each member of Vanity 6 to have a well-defined persona; but where the band dynamic held at least a veneer of egalitarianism, his vision for the girl group was unfettered by matters of subjectivity or nuance. He thus drew their characters straight out of porno archetypes: Vanity, the sensitive harlot whose tough exterior masks a heart of gold; Brenda, the chain-smoking, no-nonsense madam figure; and Susan, the jailbait. Only 18 at the time of their debut, the group’s youngest member shaved off two more years in early interviews–another trick borrowed from Prince’s early career–while projecting an aura of fetishized, all-too-corruptible innocence.

At the core of this dirty-schoolgirl persona was “Drive Me Wild,” another of the handful of songs originally recorded for the proto-Vanity 6 Hookers project in 1981. The story goes that Susan had written the song herself, and recited the lyrics to Prince in a chance meeting at a Minneapolis nightclub (one, apparently, that served teenagers). “He was just standing there drinking orange juice and we started talking,” she told Jet magazine. “I told him that I wrote songs, then gave him a sample of my lyrics: ‘Ooh, look at me. I’m a Cadillac. I’m a brand new convertible child, I’ve never been driven. You’re the first. Come on baby; drive me wild’” (Jet 1983 60).