This has to share some comedic DNA with a presÂiÂdenÂtial press conÂferÂence held at the Four SeaÂsons–Four SeaÂsons Total LandÂscapÂing, that is. ClasÂsic.
RelatÂed ConÂtent:
Ian RubÂbish (aka Fred Armisen) InterÂviews the Clash in Spinal Tap-Inspired MockÂuÂmenÂtary
Let’s stop obsessÂing about elecÂtion matÂters and conÂsidÂer instead a clown who brings out racism in rubes. Your hosts Mark LinÂsenÂmayÂer, EriÂca Spyres, BriÂan Hirt, and our guest musician/actor Aaron David GleaÂson conÂsidÂer the comÂeÂdy of Sacha Baron Cohen, in parÂticÂuÂlar the new Borat SubÂseÂquent Moviefilm, which you should defÂiÂniteÂly go watch before lisÂtenÂing, unless it’s the kind of thing that so repulsÂes you that you’ll nevÂer watch it, in which case this is the podÂcast to tell you what the fuss is about.
A few quesÂtions we explore: Is it unethÂiÂcal to use unwitÂting peoÂple who signed your release form as your supÂportÂing cast? Is it OK to use racism to expose racism? Are camÂeras now so ubiqÂuiÂtous that many peoÂple feel perÂfectÂly comÂfortÂable letÂting their true colÂors show on film? How dehuÂmanÂizÂing is the nature of retail in AmerÂiÂca that all these shop keepÂers would go along with Borat’s bizarre and/or racist requests? Cohen claims that this new film was about demonÂstratÂing the humanÂiÂty of his subÂjects; how eviÂdent was that purÂpose on screen? How does this film difÂfer from Cohen’s othÂer work? Was the film actuÂalÂly funÂny, or did it tranÂscend (or fall short of) comÂeÂdy in its polÂiÂtics and its king-size servÂings of embarÂrassÂment?
Watch Cohen and Maria BakaloÂva on Good MornÂing AmerÂiÂca explainÂing the film. Look at the Wikipedia artiÂcle for info on how and when sequences were shot. You can browse through the critÂiÂcal reacÂtions yourÂself.
After we recordÂed this, Cohen proÂvidÂed finanÂcial help to his very symÂpaÂthetÂic vicÂtim, Jeanise Jones (the babysitÂter). And to setÂtle one issue that came up in our conÂverÂsaÂtion, Judith Dim Evans (the nice old lady in the temÂple who subÂseÂquentÂly passed away) didÂn’t know the gag durÂing filmÂing, but Cohen revealed it right afterÂwards.
Hear Aaron’s music on NakedÂly ExamÂined Music #71. LisÂten to Aaron, EriÂca, Mark, and othÂers includÂing Lucy LawÂless and EmiÂly Perkins on the ParÂtialÂly ExamÂined Life PlayÂers’ readÂing of LysisÂtraÂta. Learn more about Aaron at aarondavidgleason.com, and you can folÂlow him on InstaÂgram @aarondavidgleason.
Learn more at prettymuchpop.com. This episode includes bonus disÂcusÂsion that you can only hear by supÂportÂing the podÂcast at patreon.com/prettymuchpop. This podÂcast is part of the ParÂtialÂly ExamÂined Life podÂcast netÂwork.
PretÂty Much Pop: A CulÂture PodÂcast is the first podÂcast curatÂed by Open CulÂture. Browse all PretÂty Much Pop posts.
Chris MathÂeÂson has writÂten a bunch of comÂic movies includÂing the new Bill & Ted Face the Music, and he’s conÂvertÂed reliÂgious texts into funÂnier books on three occaÂsions, most recentÂly with The BudÂdha’s StoÂry. Your hosts Mark LinÂsenÂmayÂer, EriÂca Spyres, and BriÂan Hirt talk with him about what uniÂfies these projects: Why the big ideas of sciÂence ficÂtion, fanÂtaÂsy, reliÂgion, and phiÂlosÂoÂphy are begÂging in a simÂiÂlar way to be made fun of.
We get into the big quesÂtions: How does humor relate to fear? Would a sociÂety based on Bill and Ted (or Keanu Reeves) actuÂalÂly be desirÂable? How bad is the eviÂdent litÂerÂal absurÂdiÂty of many reliÂgious texts? Plus, the B & T joke that has not aged well, and much more!
A few artiÂcles that we found but didÂn’t realÂly draw on includÂed:
Learn more at prettymuchpop.com. This episode includes bonus disÂcusÂsion that you can only hear by supÂportÂing the podÂcast at patreon.com/prettymuchpop. This podÂcast is part of the ParÂtialÂly ExamÂined Life podÂcast netÂwork.
PretÂty Much Pop: A CulÂture PodÂcast is the first podÂcast curatÂed by Open CulÂture. Browse all PretÂty Much Pop posts.
If you will forÂgive a gross overÂsimÂpliÂfiÂcaÂtion, there are two kinds of peoÂple in this world:
Those (like me) who, havÂing seen Fast Times at RidgeÂmont High the night before the first day of their senior year of high school, made sure to pack carÂrots in their lunchÂboxÂes, and those who were too young to see it in its origÂiÂnal release, posÂsiÂbly because they hadn’t been born yet.
For those of us in the first group, FeelÂin’ A‑Live’s #FastÂTimesÂLive, a virÂtuÂal table read of the script for Cameron Crowe’s 1982 semi-autoÂbiÂoÂgraphÂiÂcal teen sex romp, is a bit of a tough sell, even as a fundraisÂer for two good causÂes: the COVID-19 relief orgaÂniÂzaÂtion CORE and REFORM Alliance, which is dedÂiÂcatÂed to crimÂiÂnal jusÂtice reform and staunchÂing COVID-19’s spread withÂin the incarÂcerÂatÂed popÂuÂlaÂtion.
It’s kind of a mess.
PosÂsiÂbly we’re just crabÂby from all the Zoom perÂforÂmances we’ve watched and takÂen part in over the last 6+ months.
Were we supÂposed to be charmed that this live, unreÂhearsed perÂforÂmance feaÂtured A‑list movie stars, bumÂbling through like regÂuÂlar Joes cirÂca April 2020?
Ray LiotÂta, reprisÂing the late Ray WalÂston’s authorÂiÂty figÂure, Mr. Hand, is hamÂstrung by his old school paper script, ensurÂing that most of his lines will be delivÂered with downÂcast eyes.
Julia Roberts, as 15-year-old heroÂine, StaÂcy, is winÂsomeÂly fresh, but out of focus.
Is it this blurÂriÂness of the techÂniÂcal difÂfiÂculÂties that caused the proÂducÂtion, origÂiÂnalÂly conÂceived of as a feaÂture-length table read, to be re-packÂaged as a sort of highÂlights tribÂute?
(Roberts’ comÂputÂer glitch appears to have been cleared up after orgaÂnizÂer Dane Cook’s first interÂrupÂtion to encourÂage donaÂtions (curÂrentÂly standÂing at a $2,132, which is parÂticÂuÂlarÂly disÂapÂpointÂing givÂen that the film took in $2,545,674 its openÂing weekÂend, in 1992.))
JenÂnifer AnisÂton, in the role origÂiÂnatÂed by SevÂenÂteen modÂel, Phoebe Cates, is preÂdictably funÂny, and also brings proÂfesÂsionÂal qualÂiÂty make up and lightÂing to the proÂceedÂings, but it’s someÂhow unjust that her celebriÂty staÂtus excusÂes her face-obscurÂing hairÂdo. ActressÂes of her genÂerÂaÂtion, lackÂing her star powÂer, plyÂing their trade on Zoom are invariÂably ordered to barÂrette up.
The techÂniÂcal probÂlems were not enough to spare us from a reenÂactÂment of the film’s most notoÂriÂous scene, in which Stacy’s oldÂer brothÂer, origÂiÂnalÂly played by Judge ReinÂhold, now brought to life by Anniston’s ex, Brad Pitt, fanÂtaÂsizes about Cates unclaspÂing her bikiÂni top, only to be barged in on enjoyÂing an extremeÂly priÂvate moment by the very object of those fanÂtasies.
It’s at the 37 minute mark, FYI.
A fitÂting punÂishÂment for those of us who, rememÂberÂing the tabloid headÂlines, eagerÂly focused on Aniston’s face as Pitt was being introÂduced.
It wouldn’t hold a canÂdle to the now-probÂlemÂatÂic origÂiÂnal, if Pitt weren’t blushÂing and MorÂgan FreeÂman weren’t readÂing the stage direcÂtions.
(“Do you want me to use my Lorne Greene sonorous voice or just read like I’m not here?”)
Many viewÂers picked up on the playÂers’ seemÂingÂly cool recepÂtion of their castÂmate, Method actor, Shia LaBeouf, born four years after the origÂiÂnal film’s release. In the role of surfin’ stonÂer, Jeff SpiÂcoli, he was tasked with some very big shoes to fill.
It’s a tribÂute to origÂiÂnal SpiÂcoli, activist Sean Penn’s verÂsaÂtilÂiÂty that he wasn’t forÂevÂer typeÂcast as variÂants on his star makÂing role. As the only memÂber of the origÂiÂnal cast in attenÂdance (as well as the founder of one of the desÂigÂnatÂed charÂiÂties), he alone seems to be enjoyÂing the hell out of LaBeouf’s scene stealÂing antics.
Writer Crowe and direcÂtor Amy HeckÂerÂling dish on his audiÂtion at the end of the proÂceedÂings, and in so doing shed some light on LaBeouf’s eccenÂtricÂiÂties, and the othÂers’ wariÂness.
Even though the stoÂry conÂflicts, someÂwhat, with the castÂing director’s recÂolÂlecÂtion below, we’re willÂing to take it on faith that LaBeouf’s felÂlows’ failÂure to clap for him is as much a part of the joke as Pitt’s game use of iconÂic headÂgear.
Dane Cook hedged his bets in defÂerÂence to those who may not have lived through the periÂod parÂoÂdied by the film:
One more thing, before we start, the big disÂclaimer with a capÂiÂtal D, a whole lot of beliefs and lanÂguage have changed since this came out, so don’t @ us, unless it’s to donate. RememÂber, it was a cerÂtain time and place, and the senÂtiÂments in the script do not reflect the peoÂple readÂing it today. They do reflect the ficÂtionÂal charÂacÂters from an imagÂiÂnary school in a totalÂly make believe stoÂry, got it?
We get it!
The recastÂing with actors the same age as JenÂnifer Jason Leigh (StaÂcy) and Phoebe Cates remains a bitÂter pill, but perÂhaps it spares us all comÂments fixÂatÂing on the ravÂages of time. Instead, we get to hear about the “timeÂless” beauÂty of AnnisÂton and Roberts.
RelatÂed ConÂtent:
10 Tips From BilÂly Wilder on How to Write a Good ScreenÂplay
Ayun HalÂlÂiÂday is an author, illusÂtraÂtor, theÂater makÂer and Chief PriÂmaÂtolÂoÂgist of the East VilÂlage Inky zine. FolÂlow her @AyunHalliday.
Coke or PepÂsi?
BoxÂers or briefs?
CharÂlie ChapÂlin or Buster Keaton?
A difÂfiÂcult choice that usuÂalÂly boils down to perÂsonÂal taste…
In the case of the two silent screen greats, they evinced difÂferÂent perÂsonÂalÂiÂties, but both were posÂsessed of physÂiÂcal grace, a tremenÂdous work ethÂic, and the abilÂiÂty to make audiÂences root for the litÂtle guy.
Their endurÂing influÂence on physÂiÂcal comÂeÂdy is eviÂdent in the boxÂing scene mash up above, which pulls from Keaton’s star turn in 1926’s BatÂtling ButÂler and Chaplin’s wideÂly celÂeÂbratÂed City Lights from 1931.
Even cut up and spliced back togethÂer in alterÂnatÂing shots, it’s a masÂter class on buildÂing anticÂiÂpaÂtion, defyÂing expecÂtaÂtions, and the humor of repÂeÂtiÂtion.
Both films’ plots hinge on a mild felÂlow going to extraÂorÂdiÂnary lengths to prove himÂself worÂthy of the girl he loves.
ChapÂlin, besotÂted with a blind flower-sellÂer, is drawn into the ring by the prospect of prize monÂey, which he would use to covÂer her unpaid rent.
His oppoÂnent is played by Hank Mann, the brains behind the KeyÂstone Cops periÂod who went on to work with JerÂry Lewis.
The pas de trois between the ref and the two boxÂers repÂreÂsents the pinÂnaÂcle of Chaplin’s long affinÂiÂty for the sport, folÂlowÂing 1914’s KeyÂstone short, The KnockÂout and 1915’s The ChamÂpiÂon.
BatÂtling ButÂler is built on a case of delibÂerÂateÂly misÂtakÂen idenÂtiÂty, after Keaton’s milÂqueÂtoast rich boy impressÂes his workÂing class sweetheart’s famÂiÂly by allowÂing them to think he is a famous boxÂer whose name he inciÂdenÂtalÂly shares.
The fight scenes were filmed in LA’s brand new Olympic AudiÂtoÂriÂum, aka the Punch Palace, which went on to serve as a locaÂtion for the more recent boxÂing clasÂsics Rocky (1976) and MilÂlion DolÂlar Baby (2004).
The ediÂtor who thought to score this mashup to MariÂachi Internacional’s covÂer of ZorÂba El Griego is cerÂtainÂly a conÂtender in their own right, but readÂers, what we realÂly want to know is in this chamÂpiÂonship round between ChapÂlin and Keaton, who would you declare the winÂner?
RelatÂed ConÂtent:
DisÂcovÂer the CinÂeÂmatÂic & Comedic Genius of CharÂlie ChapÂlin with 60+ Free Movies Online
A SuperÂcut of Buster Keaton’s Most AmazÂing Stunts
Ayun HalÂlÂiÂday is an author, illusÂtraÂtor, theÂater makÂer and Chief PriÂmaÂtolÂoÂgist of the East VilÂlage Inky zine. FolÂlow her @AyunHalliday.
I like the InterÂnet for varÂiÂous things, but it’s limÂitÂed. I’m not on social media, but you will find me in the social media. There’s FaceÂbook, there’s TwitÂters, but it’s all not me.
—WernÂer HerÂzog in an interÂview with The HolÂlyÂwood Reporter
The night before his 2016 docÂuÂmenÂtary Lo and Behold: ReverÂies of the ConÂnectÂed World preÂmiered at SunÂdance, direcÂtor WernÂer HerÂzog declared himÂself “still a libÂerÂatÂed virÂgin” with regard to his reliance on the InterÂnet:
I think we have to abanÂdon this kind of false secuÂriÂty that everyÂthing is setÂtled now, that we have so much assisÂtance by digÂiÂtal media and robots and artiÂfiÂcial intelÂliÂgence. At the same time, we overÂlook how vulÂnerÂaÂble all this is, and how we are losÂing the essenÂtials that make us human. That’s my advice … Cook a meal at least three times a week. Play a musiÂcal instruÂment. Read books and travÂel on foot.
That said, he’s not immune to the rejuÂveÂnatÂing effects of ranÂdom cat videos at the end of a tirÂing day, as he told StuÂdio 360’s Kurt AnderÂsen durÂing a proÂmoÂtionÂal visÂit for 2018’s MeetÂing GorÂbachev:
PerÂhaps guessÂing that Googling his own name is not one of Herzog’s preÂferred online activÂiÂties, AnderÂson took the opporÂtuÂniÂty to hip his guest to comeÂdiÂan Paul F. TompÂkins’ TeuÂtonÂic-inflectÂed recitaÂtion of a notoÂriÂous Yelp review of TradÂer Joe’s in SilÂver Lake.
To the untrained ear, TompÂkins’ HerÂzog is pitch perÂfect.
The spoof’s subÂject sugÂgestÂed that the accent could use improveÂment, but agreed that the text is “very funÂny.”
And it is, espeÂcialÂly givÂen the pedesÂtriÂan tenor of the same TradÂer Joe’s othÂer 5‑star reviews:
This is the best TradÂer Joe’s locaÂtion I’ve been to! Been comÂing here since I was a kid! (I’m 25 now) I’ve moved out of this area but still come to this locaÂtion just because it beats the rest of them. — DebÂbie G
TJ is the best!! I’ve been comÂing here for many years, and the food is great!! The employÂee’s are aweÂsome! Some of the many things I love to purÂchase here are: salmon balls, smoothÂies like the chia seed strawÂberÂry, proÂtein almond butÂter drinks, coconut smoothÂie, cashew yogurt, south westÂern salÂad that comes in a bag is BOMB.COM! — RayÂmond M
TompÂkins tapped Herzog’s fasÂciÂnaÂtion with man’s aniÂmal nature and the bruÂtalÂiÂty of exisÂtence for anothÂer Yelp review, awardÂing three stars to San Francisco’s Hotel MajesÂtic and attributÂing it to WernÂer H:
TompÂkins clearÂly savors the opporÂtuÂniÂty to chanÂnel HerÂzog, logÂging 16 appearÂances for the charÂacÂter on the ComÂeÂdy Bang Bang podÂcast, includÂing episodes whereÂin he disÂcussÂes workÂing with Tom Cruise and his desire to be cast as a clueÂless subÂurÂban husÂband in an appliÂance comÂmerÂcial. Find them all listÂed here.
RelatÂed ConÂtent:
WernÂer HerÂzog Offers 24 Pieces of FilmÂmakÂing and Life Advice
Ayun HalÂlÂiÂday is an author, illusÂtraÂtor, theÂater makÂer and Chief PriÂmaÂtolÂoÂgist of the East VilÂlage Inky zine. FolÂlow her @AyunHalliday.
Image by Gage SkidÂmore, via WikiÂmeÂdia ComÂmons
“Bill MurÂray is to me what calÂcuÂlaÂtors are to math,” Jason SchwartzÂman once said of his esteemed colÂleague. “I nevÂer knew math before calÂcuÂlaÂtors, and I nevÂer knew life before Bill MurÂray.” HavÂing been born in the 1980s, a decade MurÂray entered already well-known after three earÂly seaÂsons of SatÂurÂday Night Live, I could say the same. Through charÂacÂters like Nick the lounge singer and half a nerd couÂple with GilÂda RadÂner, MurÂray estabÂlished himÂself on that show as a goofÂball, but a goofÂball of a highÂer order. As the 80s got into full swing, MurÂray got into the movies, and ever more promiÂnent roles in the likes of CadÂdyshack, Stripes, and GhostÂbusters assured him a perÂmaÂnent place in the panÂtheon of AmerÂiÂcan comÂeÂdy.
For those who cared to look, there has long been eviÂdence of conÂcenÂtratÂed thought and feelÂing behind the deadÂpan impulÂsiveÂness of MurÂray’s onscreen perÂsona: his supÂportÂing turn as Dustin HoffÂman’s lemon-eatÂing playÂwright roomÂmate in TootÂsie, his pasÂsion-project adapÂtaÂtion of SomÂerÂset MaughÂam’s The Razor’s Edge, his post-GhostÂbusters escape to the SorÂbonne.
It was in Paris that MurÂray studÂied the work of the GreÂco-ArmenÂian Sufi mysÂtic G.I. GurÂdÂjiÂeff, who describes a path to enlightÂenÂment called “the way of the sly man,” one who makes maxÂiÂmum use of “the world, the self, and the self that is observÂing everyÂthing.” This conÂcept, accordÂing to the WiseÂcrack video above, has become inteÂgral to MurÂray’s disÂtincÂtive way of not just actÂing, but being.
That counts as just one of the theÂoÂries advanced over the decades to explain the curiÂous pheÂnomÂeÂnon of Bill MurÂray. The man has also been called upon to explain it himÂself now and again, as when an interÂviewÂer at the ToronÂto InterÂnaÂtionÂal Film FesÂtiÂval asked what it feels like to be him. His response takes the audiÂence into a guidÂed medÂiÂtaÂtion meant to make everyÂone lisÂtenÂing underÂstand how it feels to be themÂselves, right here, right now.
MainÂtainÂing this sense of the moment, as MurÂray latÂer explained to CharÂlie Rose, is one of the goals of his own life — and preÂsumÂably not an easy goal to achieve for someÂone who’s been so famous for so long, a conÂdiÂtion he addressÂes in the 1988 interÂview aniÂmatÂed for Blank on Blank below. “I’m just an obnoxÂious guy who can make it appear charmÂing,” he says in sumÂmaÂtion of his appeal. “That’s what they pay me to do.”
That same year, they paid him $6 milÂlion for his role in Scrooged (playÂing, inciÂdenÂtalÂly, the most obnoxÂious charÂacÂter of his career). He’d already been cauÂtioned against the danÂgers of such rapidÂly acquired wealth and fame by the fate of his felÂlow Chicagoan and SNL alumÂnus John Belushi, who by that time had already been dead for five years. MurÂray had also, he says, underÂgone a “spirÂiÂtuÂal change” that showed him “there was some othÂer life to live. It changed the way that I worked,” givÂing everyÂthing “a difÂferÂent presÂence, a difÂferÂent tenÂsion.” Onscreen, this change culÂmiÂnatÂed in the roles he took on after putting broad comeÂdies behind him beginÂning with 1999’s RushÂmore, the breakÂout feaÂture by an up-and-comÂing direcÂtor named Wes AnderÂson.
CastÂing MurÂray oppoÂsite the teenage SchwartzÂman, RushÂmore showed that he could be more affectÂing — and indeed funÂnier — in minor emoÂtionÂal keys. A few years latÂer, Sofia CopÂpoÂla’s Lost in TransÂlaÂtion took him to Japan, where he drew an AcadÂeÂmy Award nomÂiÂnaÂtion with his perÂforÂmance from the depths of culÂturÂal and perÂsonÂal disÂoriÂenÂtaÂtion. Today, on MurÂray’s 70th birthÂday, his fans impaÂtientÂly await his appearÂances in AnderÂsonÂ’s The Paris DisÂpatch and CopÂpoÂla’s On the Rocks, both of which come out next month. HavÂing long since become an instiÂtuÂtion (albeit an insisÂtentÂly unconÂvenÂtionÂal and unpreÂdictable one) unto himÂself, MurÂray can sureÂly look to the heavÂens and say what, with uncharÂacÂterÂisÂtic earnestÂness, he told his SNL audiÂence he wantÂed to say 33 years ago: “Dad, I did it.”
RelatÂed ConÂtent:
Bill MurÂray Explains How a 19th-CenÂtuÂry PaintÂing Saved His Life
Art ExhibÂit on Bill MurÂray Opens in the UK
Watch Bill MurÂray PerÂform a SatirÂiÂcal Anti-TechÂnolÂoÂgy Rant (1982)
LisÂten to Bill MurÂray Lead a GuidÂed MedÂiÂtaÂtion on How It Feels to Be Bill MurÂray
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall, on FaceÂbook, or on InstaÂgram.
There’s a book-lined KnowlÂedge Room in the late Prince Rogers NelÂson’s PaisÂley Park, but the Prince-inspired faux-books that artist Todd Alcott imagÂines are probÂaÂbly betÂter suitÂed to the estate’s purÂple-lit RelaxÂation Room.
The KnowlÂedge Room was conÂceived of as a library where the world’s most famous conÂvert to Jehovah’s WitÂnessÂes could delve into reliÂgious litÂerÂaÂture, reflect on the meanÂing of life, and study the Bible deep into the night.
Alcott’s covÂers harken to an earÂliÂer stage in Prince’s evolution—one the star evenÂtuÂalÂly disavowed—as well as sevÂerÂal bygone eras of book design.
LyriÂcalÂly, there’s no misÂtakÂing what Prince’s notoÂriÂous 1984 “DarÂling NikÂki” is about. There’s a direct line between it and the creÂation of parental adviÂsoÂry stickÂers for musiÂcal releasÂes conÂtainÂing what is politeÂly referred to as “mature conÂtent.”
Alcott’s 1950s pulp novÂel treatÂment, above, is simÂiÂlarÂly graphÂic. Those skintight purÂple curves are a promise that even purÂpler prose lays withÂin, or would, were there any text couched behind that steamy covÂer.
“When Doves Cry” makes for a pretÂty purÂple covÂer, too. In this case, the inspiÂraÂtion is a 1950s self-help book, enriched with some FreudiÂan taglines from Prince’s own pen. (“Maybe you’re just like my mothÂer, she’s nevÂer satÂisÂfied.”)
Alcott rememÂbers Prince being “an incredÂiÂbly libÂerÂatÂing figÂure” when he burst onto the scene:
There was his flamÂboyÂant, outÂraÂgeous sexÂuÂalÂiÂty, but also his musiÂcal omnivÂoÂrousÂness; he played funk, rock, pop, jazz, everyÂthing. PurÂple Rain was the Sergeant Pepper’s of its day, a wall-to-wall brilÂliant album that everyÂone could recÂogÂnize as a remarkÂable achieveÂment. I rememÂber when I first saw PurÂple Rain, at the very beginÂning of the movie, before the movie has even begun, the WarnÂer Bros logo came up and you heard the sound of an expecÂtant crowd, and an announcÂer says “Ladies and GenÂtleÂmen, The RevÂoÂluÂtion,” and the first shot is of Prince, backÂlit, silÂhouÂetÂted in purÂple against a dense mist, and he says “DearÂly beloved, we have gathÂered here today to get through this thing called life.” And I was instantÂly, inconÂtroÂvertÂibly, a fan for life. The conÂfiÂdence of that openÂing, the sheer audacÂiÂty of it, adoptÂing the tone of a priest at a wedÂding, in his HenÂdrix outÂfit and hairÂdo, the sheer gutsiÂness of that stateÂment, alone, just blew me away. And then he proÂceedÂed to play “Let’s Go Crazy” which comÂpleteÂly lived up to that openÂing. After that he could have run Buick ads for the rest of the movie and I’d still be a fan.
Decades latÂer, I was sitÂting in a SubÂway restauÂrant at the end of a very, very long, tirÂing day, and was feelÂing comÂpleteÂly exhaustÂed and misÂerÂable, and out of nowhere, “When Doves Cry” came on the sound sysÂtem. And I was remindÂed that the song, which was a huge hit in 1984, the song of the year, had no bass line. The arrangeÂment of it made no sense. It was a song put togethÂer by force of will, with its metÂal guiÂtar and its synth strings and its elecÂtronÂic drums. And in that moment, at the end of a long, tirÂing day, I was remindÂed that mirÂaÂcles are posÂsiÂble.
Alcott’s miracÂuÂlous graphÂic transÂforÂmaÂtions are roundÂed out with a comÂparÂaÂtiveÂly underÂstatÂed 1930s murÂder mysÂtery, PurÂple Rain and an ingeÂnious LitÂtle Red Corvette owner’s manÂuÂal datÂing to the mid-60s. Prints of Todd Alcott’s Prince-inspired paperÂback covÂers are availÂable in his Etsy shop.
RelatÂed ConÂtent:
Ayun HalÂlÂiÂday is an author, illusÂtraÂtor, theÂater makÂer and Chief PriÂmaÂtolÂoÂgist of the East VilÂlage Inky zine. FolÂlow her @AyunHalliday.
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