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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.

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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.

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Ephemera, 1983

Irresistible Bitch

From his debut through 1999, Prince was releasing albums at the steady clip of one per year–with side projects the Time and Vanity 6 doubling, and then tripling, his output in 1981 and 1982, respectively. But as his attention turned to the development and production of his first feature film, the release schedule inevitably slowed. The year 1983 would be the first in half a decade without a new Prince album on shelves.

As it happened, this arrangement served his record label just fine. “Warner Bros.’ pop department worked really hard to launch Prince to pop radio,” recalled Marylou Badeaux, at that time a marketing executive in Warner’s “Black Music” division. “But there never was time. As soon as something was starting to happen on pop radio, the next album arrived. The fact that we weren’t getting a new album in 1983 ended up being a tremendous blessing because it gave us more time” (Nilsen 1999 119).

For Prince himself, the “blessing” was considerably less tremendous. “Delirious,” the third single from 1999, had released on August 17 paired with “Horny Toad,” an outtake of similar style and vintage. But the fourth single, “Let’s Pretend We’re Married,” wasn’t due out until November; and Prince, who had recorded enough music that year to fill a whole LP and then some, was itching to put out something new. According to sessionographer Duane Tudahl, the hyper-prolific artist spent his time at Sunset Sound on September 16 reviewing two prospective B-sides: “G-Spot,” which he’d tracked in May and would later dust off for protégée Jill Jones; and “Irresistible Bitch,” the latest version of which had been recorded just a day earlier. “Not surprisingly,” Tudahl writes, “he chose his most recent work” (Tudahl 2018 170).

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Uncategorized

Press Rewind: “Strange Relationship”

Last week, I made my long-awaited (by somebody, I’m assuming) return to Jason Breininger’s Press Rewind podcast to talk about one of my favorite songs, “Strange Relationship.” Turns out it was actually the 100th episode, so I’m honored to have been able to participate in this milestone. Check it out below–and, if you haven’t been keeping up with Jason’s podcast, check out the other episodes, too. Every Sign “O” the Times episode I’ve listened to so far has been great.

Press Rewind: “Strange Relationship”

Now, here’s the part where I give a general update of where I am with my own stuff. The next post, on “Computer Blue,” is still coming along, but probably won’t be ready this week. In the meantime, I just recorded a podcast with Jack Riedy, author of a really cool new collection of writing about Prince. That will be available (to patrons, anyway) by the end of the week. See you then!

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Podcast The Time, 1981

Podcast: 40 Years of The Time – A Conversation with Darling Nisi and Harold Pride

July 2021 marks the 40th anniversary of the self-titled debut album by the Time; so, I decided to commemorate the occasion by bringing back Darling Nisi and Harold Pride for one of our trademark track-by-track deep dives. As always, the conversation left me thinking about the album in new ways: from KaNisa’s interpretation of it as Prince’s tribute to the funk music of his youth, to Harold’s insight on its significance to the development of electronic dance music. I remain grateful to be able to talk about music with these two brilliant people.

Last time, I promised I’d have another podcast episode ready in less than the almost two-year gap between our Prince (1979) and Dirty Mind episodes; and, technically, I did make good on that promise, since it’s “only” been 10 months since Dirty Mind last September. But for real, I’ll be back much sooner this time–like, probably around this time next month. So, if you haven’t already, subscribe to Dance / Music / Sex / Romance on your podcast provider of choice; and, if the spirit moves you, you can even leave a review! You’ll be hearing from me again very soon.