Latest / The Right Time with Bomani Jones / Why Prince Still Feels Untouchable: Purple Rain, 1999 & More | 04.14

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Why Prince Still Feels Untouchable: Purple Rain, 1999 & More | 04.14 · The Right Time with Bomani Jones

• 0:05
  Speaker 1: Ladies and gentlemen, welcome to the right time, a wave original.
• 0:09
  Speaker 1: My name is Beaumont Jones. Thanks for listening wherever you
• 0:12
  Speaker 1: get your podcast. Thanks for watching us on YouTube. Subscribe, like,
• 0:16
  Speaker 1: rate us, review us, give us five stars. You only
• 0:19
  Speaker 1: give us four stars. I'm inclined to believe you are
• 0:22
  Speaker 1: a hater. I don't even know if I should call
• 0:24
  Speaker 1: it Time Machine Tuesday because it's also going to be
• 0:26
  Speaker 1: Time Machine Thursday because we got a bit of a
• 0:29
  Speaker 1: series going on this week. April 21st, which is actually
• 0:32
  Speaker 1: next week. is 10 years to the day from when
• 0:35
  Speaker 1: Prince died. And so we are doing a two-episode series
• 0:39
  Speaker 1: on Prince. We got DJ Wally Sparks coming in on Thursday,
• 0:42
  Speaker 1: where we're probably going to talk a little bit more
• 0:44
  Speaker 1: technically about the music. But I figured if I was
• 0:47
  Speaker 1: going to do an episode where I was talking about Prince,
• 0:49
  Speaker 1: I should probably get the Prince influence into my life
• 0:53
  Speaker 1: onto the show to talk about this.
• 0:55
  Speaker 2: So we got my brother, Patrice Lomoba-Jones, over here. What's
• 0:58
  Speaker 2: going on, brother?
• 0:59
  Speaker 3: Man, you got it, you got it. What's up, what's up?
• 1:02
  Speaker 1: Man, I actually, I find it very interesting now that
• 1:04
  Speaker 1: this pod and this show has been on for a
• 1:06
  Speaker 1: very long time because now if you and I are
• 1:09
  Speaker 1: out somewhere and I tell somebody, hey, meet my brother,
• 1:11
  Speaker 1: they are very much more excited about that part than me.
• 1:15
  Speaker 2: Like me, they knew I looked like you.
• 1:17
  Speaker 1: They have completely, they have filled in a hole in
• 1:19
  Speaker 1: a character that they have been mapping out.
• 1:21
  Speaker 3: Yeah, they got to trust me out. They'll be like,
• 1:24
  Speaker 3: flagrant three.
• 1:27
  Speaker 1: We're all here baby we're all here but I thought
• 1:31
  Speaker 1: about doing this because I remember the day Prince died
• 1:34
  Speaker 1: I always tell the story about what it was for
• 1:37
  Speaker 1: me because I was in Paris I had gone over
• 1:41
  Speaker 1: there to interview Ta-Nehisi Coates for Playboy and I had
• 1:46
  Speaker 1: seen online I guess it was like early to mid
• 1:50
  Speaker 1: afternoon in Paris I think because I recall it was
• 1:53
  Speaker 1: like six hours ahead of where we were in the States.
• 1:57
  Speaker 1: And so I had seen on TMZ that they had
• 2:02
  Speaker 1: sent ambulance EMTs, all this to Paisley Park. And they
• 2:07
  Speaker 1: said there was a person who was dead at Paisley Park.
• 2:09
  Speaker 1: Like they're giving all the details, but we don't know.
• 2:12
  Speaker 1: So I called, we will say a friend I knew
• 2:15
  Speaker 1: who worked at TMZ at the time. And I'm like,
• 2:19
  Speaker 1: hey man, I have no interest in reporting.
• 2:23
  Speaker 2: I just need to know if Prince died, cause I got,
• 2:27
  Speaker 2: I got.
• 2:28
  Speaker 1: Some people I need to tell so they can leave work.
• 2:31
  Speaker 3: Right.
• 2:32
  Speaker 2: And he came back and I think.
• 2:35
  Speaker 1: The way he phrased it, not his fault, but I
• 2:37
  Speaker 1: really wasn't trying to hit his shit. It was like
• 2:39
  Speaker 1: the purple one is no more. I see the answer.
• 2:43
  Speaker 2: You know what I'm saying? Like, like, like just, just,
• 2:44
  Speaker 2: just give me a yes.
• 2:46
  Speaker 3: Right.
• 2:46
  Speaker 1: So I hit her and I'm like, Hey, go home
• 2:48
  Speaker 1: and go home right now. Like, This is this. This
• 2:51
  Speaker 1: is what it's going to be. And so I was
• 2:53
  Speaker 1: in Paris and then I was there for Playboy and
• 2:56
  Speaker 1: I hit Playboy like, you want me to write about this?
• 2:58
  Speaker 2: I'll get on it.
• 2:59
  Speaker 1: And I banged out this quick little thing that I
• 3:01
  Speaker 1: look back now and I could do better.
• 3:03
  Speaker 2: But at the time, it felt like the most banging
• 3:04
  Speaker 2: shit I'd ever written.
• 3:05
  Speaker 1: And it felt like I'd been preparing my whole life
• 3:07
  Speaker 1: to write a Prince Obed in 90 minutes.
• 3:09
  Speaker 3: Right.
• 3:10
  Speaker 2: So I banged that out, sent it off.
• 3:12
  Speaker 1: And then it got to nighttime and me and you
• 3:15
  Speaker 1: FaceTime each other because you were in London. And it
• 3:18
  Speaker 1: was like the wildest idea that we are both over
• 3:21
  Speaker 1: here transatlantic.
• 3:23
  Speaker 2: But wait a minute.
• 3:24
  Speaker 1: Prince died?
• 3:25
  Speaker 3: Dude, it was devastating. I was gutted. And everybody I
• 3:31
  Speaker 3: work with is kind of in my same generation. Right.
• 3:35
  Speaker 3: So it was one of those things. This was different
• 3:38
  Speaker 3: than Michael Jackson dying because for whatever reason, Michael Jackson
• 3:43
  Speaker 3: dying felt more like a global thing. like it wasn't
• 3:48
  Speaker 3: so personal. It was like this thing had happened that
• 3:51
  Speaker 3: affected all these people. But this felt way more personal
• 3:55
  Speaker 3: and directed like at me. Like I wasn't even that
• 3:59
  Speaker 3: appreciative of everybody else's grief. I just couldn't believe it. Yeah,
• 4:05
  Speaker 3: that was a wild day. That was a wild day.
• 4:09
  Speaker 3: I sang on the internet. Oh, wow.
• 4:11
  Speaker 1: I did not know this.
• 4:11
  Speaker 3: I sang Starfishing Coffee on Facebook or Instagram, one. Because
• 4:16
  Speaker 3: I was like, this doesn't require any talent. But I
• 4:19
  Speaker 3: just had to get it out, man.
• 4:22
  Speaker 1: Buddy, I'm glad I didn't see it because I don't
• 4:23
  Speaker 1: know what the hell I would have been able to
• 4:25
  Speaker 1: do in that moment.
• 4:26
  Speaker 3: My voice was quivering and everything.
• 4:27
  Speaker 2: Well, that's what I was about to say.
• 4:28
  Speaker 1: Because one thing the Joneses are not, we are not
• 4:31
  Speaker 1: tomb carriers.
• 4:33
  Speaker 3: No. I'm probably the best of all of y'all. I suck.
• 4:37
  Speaker 2: I think Chiari probably has us beat on this.
• 4:40
  Speaker 3: She got a little mom's thing. Perpetually flat.
• 4:43
  Speaker 2: Oh, toe deafness.
• 4:46
  Speaker 1: Yeah, Mama sometimes makes me feel like, oh, I don't
• 4:48
  Speaker 1: want to listen to this song on the radio anymore.
• 4:50
  Speaker 3: It's the best of Dad, because he sings every song
• 4:53
  Speaker 3: to the same melody. He does. Like, everything is old
• 4:56
  Speaker 3: Danny boy, but it's just whatever lyrics.
• 5:00
  Speaker 1: I told you, my favorite Dad singing story of all
• 5:02
  Speaker 1: time is in the year of our Lord, 1992. We
• 5:04
  Speaker 1: were riding, and this is around the time that the
• 5:07
  Speaker 1: radio had started getting raunchy.
• 5:09
  Speaker 3: Yeah. Yeah.
• 5:09
  Speaker 2: Right?
• 5:11
  Speaker 1: And Silk Freakney had come on. And I had already
• 5:14
  Speaker 1: heard him get a little preachy about this particular song,
• 5:18
  Speaker 1: which was all over the place at the time. And
• 5:21
  Speaker 1: I don't know what happened, but out of nowhere, I'm
• 5:24
  Speaker 1: half asleep in the car, and I hear my no
• 5:26
  Speaker 1: singing daddy.
• 5:28
  Speaker 2: Let me make you soaking wet.
• 5:31
  Speaker 3: I'm like, what?
• 5:31
  Speaker 1: Whoa! Hey!
• 5:35
  Speaker 3: Yeah, I think dad was preaching because he felt like
• 5:37
  Speaker 3: he had to because kind of, if we think about it,
• 5:40
  Speaker 3: we're Prince. Dad was a Prince fan.
• 5:44
  Speaker 1: See, you have the contemporaneous run with that that I
• 5:46
  Speaker 1: don't really have because you're 13 years older than me.
• 5:49
  Speaker 1: And I think that is an interesting thing in the
• 5:52
  Speaker 1: Prince journey is that that's dad's trump card.
• 5:55
  Speaker 3: Dude. To this day, anything you say to my father
• 5:59
  Speaker 3: that in any way intimates that like he's old or
• 6:03
  Speaker 3: not with it or that you're cooler than him, his
• 6:06
  Speaker 3: retort is, I turned you on to Prince. And as
• 6:11
  Speaker 3: crazy as that sounds, that is a completely legitimate shut
• 6:15
  Speaker 3: it down argument. I turned you on to Prince. What
• 6:19
  Speaker 3: else can you say about me to say I'm not cool?
• 6:22
  Speaker 3: Because I turned you on. I put you on. Yeah. Like,
• 6:28
  Speaker 3: how dare you say anything?
• 6:31
  Speaker 1: But see, for me, it is interesting in retrospect because
• 6:36
  Speaker 1: I caught dad in my, like, adolescence formative era.
• 6:40
  Speaker 2: That is when he had six kids. disc changer.
• 6:44
  Speaker 1: That's a combination of words that require enunciation.
• 6:48
  Speaker 3: You probably haven't used it in a while either.
• 6:50
  Speaker 1: Yeah, I was like, whoa! The six disc changer that
• 6:54
  Speaker 1: we refer to as the female vocal carousel.
• 6:58
  Speaker 2: You'd be like, oh, but that's Williams the Comfort Zone.
• 7:00
  Speaker 2: For real.
• 7:01
  Speaker 1: These are the things that are rotated through. So the
• 7:04
  Speaker 1: idea of Prince being a dad thing is not quite
• 7:09
  Speaker 1: what I would expect.
• 7:10
  Speaker 3: Yeah, yeah. If you look through the LPs in the basement,
• 7:17
  Speaker 3: you see how we got here. Right? Because he's got
• 7:20
  Speaker 3: all the Sly Stone. Yeah. Like, that's something. But he
• 7:23
  Speaker 3: didn't like James Brown.
• 7:24
  Speaker 1: He didn't like James Brown, but I think that we
• 7:25
  Speaker 1: have concluded that he did not like James Brown because
• 7:28
  Speaker 1: he did not like James Brown.
• 7:30
  Speaker 3: Yeah.
• 7:31
  Speaker 1: The music was not the issue. Yeah. The issue was
• 7:34
  Speaker 1: James Brown campaigned for Nixon.
• 7:37
  Speaker 3: Yes. Right. And that trumps everything. Right. Which I'm not mad.
• 7:41
  Speaker 3: That's one of the things I respect most about that.
• 7:43
  Speaker 3: I don't care what it is or how fine she is.
• 7:48
  Speaker 3: She got the wrong politics.
• 7:50
  Speaker 2: You're out of here with this one.
• 7:53
  Speaker 1: In fact, the only people Mac Jones stands for are
• 7:56
  Speaker 1: people for political reasons.
• 7:57
  Speaker 3: Yes. Man, so the thing, so when I heard that
• 8:04
  Speaker 3: you wanted me to talk about this or talk to
• 8:05
  Speaker 3: you about this, I stopped and thought, okay, what's the
• 8:11
  Speaker 3: first Prince song I ever heard? And that was, I
• 8:14
  Speaker 3: Wanna Be Your Lover. It is hard for me to
• 8:17
  Speaker 3: tell you how big a jam that was for black folks, right? Because,
• 8:24
  Speaker 3: you know, growing up in Atlanta, that's all we were. Everything,
• 8:27
  Speaker 3: like everything, and it was black folks and everything was
• 8:30
  Speaker 3: R & B. If a black person sang it, I
• 8:32
  Speaker 3: don't care what it was, it was on the jet
• 8:35
  Speaker 3: R & B chart. I Want To Be Your Lover
• 8:38
  Speaker 3: was the jam of all jams. The only song I've
• 8:41
  Speaker 3: ever heard that took over like that after that was
• 8:45
  Speaker 3: Take Your Time by the S.O.S. band.
• 8:47
  Speaker 2: Interesting. Oh, baby, we can do it. Take your time.
• 8:52
  Speaker 3: Oh, dude, yeah. That song was the whole year. And
• 8:56
  Speaker 3: then after that, the only one I can think of,
• 8:58
  Speaker 3: and this is funny, is In The Club. Yeah. In
• 9:02
  Speaker 3: The Club rocked for like a year and a half. Yeah.
• 9:05
  Speaker 3: And so... Once you did, and that was on Prince's
• 9:09
  Speaker 3: second album. Yeah. I didn't know that was the first album.
• 9:12
  Speaker 3: I think I had heard Soft and Wet sometime and like, yeah, that's,
• 9:15
  Speaker 3: you know, that's cool. But that then took you back
• 9:17
  Speaker 3: to go on to listen to the previous album. But
• 9:20
  Speaker 3: I Want to Be Your Lover was so huge that
• 9:23
  Speaker 3: you would listen to anything this dude put out after that.
• 9:27
  Speaker 3: And so that's what put everybody up on Prince. That's
• 9:29
  Speaker 3: the album that dad had. That's the one that was
• 9:31
  Speaker 3: on the eighth track. The bootleg 8-track, by the way,
• 9:35
  Speaker 3: and I can still hear where the music cuts out
• 9:38
  Speaker 3: when the track changes in the middle of the song.
• 9:40
  Speaker 3: It goes to the next song. I still know where
• 9:42
  Speaker 3: those spots are. But that changed everything. Because now, all
• 9:47
  Speaker 3: of a sudden, you got this dude. You hear this
• 9:50
  Speaker 3: song on the radio. It's jamming. You want to listen
• 9:52
  Speaker 3: to it. And then you put the album on, and
• 9:55
  Speaker 3: it's not like that. Like, there's a couple of songs
• 9:58
  Speaker 3: that are like that, but there's like Bambi's on there,
• 10:00
  Speaker 3: there's all this other music. And that's the crazy thing
• 10:03
  Speaker 3: about Prince. Is he just make you listen to anything
• 10:06
  Speaker 3: he put out? Like, you would give anything a shot
• 10:09
  Speaker 3: if Prince made it.
• 10:10
  Speaker 1: Yeah, like, I didn't realize until you were telling me
• 10:13
  Speaker 1: about that, that I Want To Be Your Lover was
• 10:15
  Speaker 1: that big. Because I had thought that it was kind
• 10:19
  Speaker 1: of like you and I talk about when Jordan hit
• 10:20
  Speaker 1: that shot in 82, that in the building of the
• 10:23
  Speaker 1: larger legend, we have gone back and elevated that moment
• 10:26
  Speaker 1: a little bit higher than it was in real time.
• 10:30
  Speaker 2: And again, you were there for the real time.
• 10:31
  Speaker 1: So you would know that in a different way, but
• 10:33
  Speaker 1: I didn't realize that that was like, that that was
• 10:35
  Speaker 1: actually the jail.
• 10:36
  Speaker 3: Yeah. Yeah. It was incredible. And then, and then from that,
• 10:42
  Speaker 3: so I am, I graduated from high school in 1985 and,
• 10:46
  Speaker 3: That album came out in 1979. So my entire, and
• 10:50
  Speaker 3: high school, it's important to point out, high school in
• 10:52
  Speaker 3: Atlanta started in the eighth grade. So my last year
• 10:57
  Speaker 3: of elementary school, then my first year of high school,
• 10:59
  Speaker 3: which was eighth grade, all the way until 1985, if
• 11:03
  Speaker 3: you think about it. So we've got Dirty Mind, Controversy, 1999,
• 11:08
  Speaker 3: and Purple Rain during that time in my life. That
• 11:14
  Speaker 3: is the soundtrack. to my formative years in a way
• 11:17
  Speaker 3: that no other artist was.
• 11:20
  Speaker 1: I can't imagine, like you talk about dad being into
• 11:24
  Speaker 1: Prince in that way. I can't imagine what it is
• 11:28
  Speaker 1: for people when Dirty Mind comes out. Because Dirty Mind,
• 11:33
  Speaker 1: I think Dirty Mind's a, it's, I wound up, I
• 11:36
  Speaker 1: was talking to Vinny and some of his friends and
• 11:38
  Speaker 1: they were like, so what are the four Prince albums
• 11:39
  Speaker 1: that you just say are unequivocal classics? And I say,
• 11:42
  Speaker 1: it's Dirty Mind, 1999, Purple Rain, and Sign of the Times.
• 11:47
  Speaker 1: I think those are the four. And Dirty Mind is
• 11:49
  Speaker 1: the one they were shaky on, and I really dig
• 11:52
  Speaker 1: new wave stuff. So Dirty Mind is going to land
• 11:54
  Speaker 1: with me. But I could understand why someone listened to
• 11:57
  Speaker 1: Dirty Mind, which is like his Bruce Springsteen Nebraska, right?
• 12:00
  Speaker 2: It is a demo tape that was turned into an album.
• 12:03
  Speaker 1: I could get how it might not sound like it's
• 12:05
  Speaker 1: the most revolutionary thing in the world right now, but
• 12:07
  Speaker 1: I cannot imagine The first time you hear that wild
• 12:12
  Speaker 1: shit that he's talking about on there.
• 12:14
  Speaker 3: Dude. And you got to think about the fact that
• 12:17
  Speaker 3: this was in the Prince was putting out albums with
• 12:21
  Speaker 3: no skips, right? Yeah. So anytime a new Prince came out,
• 12:25
  Speaker 3: you would put it on and you start it. And
• 12:27
  Speaker 3: if you think about those albums, with the exception, I think,
• 12:30
  Speaker 3: of Purple Rain, the title track was the first track
• 12:34
  Speaker 3: on every album. And they all had these big buildups.
• 12:38
  Speaker 3: Like all the way, you know, like Dirty Minds got that.
• 12:43
  Speaker 3: And then all the way up to, you know, obviously
• 12:45
  Speaker 3: Purple Rain with the Dearly Beloved. But even 1999, don't worry,
• 12:51
  Speaker 3: I won't. Like it all had this like welcome to
• 12:53
  Speaker 3: this experience. And then it goes through all that weird,
• 12:57
  Speaker 3: crazy S & M, whatever, whatever that was. Yeah, dude,
• 13:03
  Speaker 3: he took you on a journey in a way that,
• 13:06
  Speaker 3: You were just in from the very beginning. Like, whatever
• 13:09
  Speaker 3: you were about to put down, I'm going to pick
• 13:10
  Speaker 3: it up.
• 13:11
  Speaker 2: But that's the record where he's on the cover in
• 13:13
  Speaker 2: his draws, though. Yeah.
• 13:15
  Speaker 1: That's the thing where I'm like, whoa, wait a minute. Like,
• 13:17
  Speaker 1: we think of the 80s as being a time of androgyny.
• 13:21
  Speaker 2: Sort of, yes.
• 13:22
  Speaker 1: But this was 1918, right? Like, this is not in
• 13:26
  Speaker 1: the progression of it. And nobody was doing it quite
• 13:28
  Speaker 1: like this. Like, this is the era of him opening
• 13:31
  Speaker 1: for the Rolling Stones and they throwing shit at him.
• 13:34
  Speaker 1: and called him name this is where in uptown you
• 13:36
  Speaker 1: got to have the line you know she says are
• 13:38
  Speaker 1: you gay that should be by surprise i ain't know
• 13:40
  Speaker 1: what to do so i looked in her eyes and
• 13:42
  Speaker 1: said no are you like these other cats weren't necessarily
• 13:45
  Speaker 1: having to answer for it right he's the one who
• 13:48
  Speaker 1: had to answer for it and then i'm gonna put
• 13:51
  Speaker 1: out a record where um i'm talking about having sex
• 13:55
  Speaker 1: with my sister Um, I'll have, I got a song
• 14:00
  Speaker 1: about how this chick was on her way to get married.
• 14:03
  Speaker 1: And instead I gave her head and then boom, she
• 14:06
  Speaker 1: married me.
• 14:07
  Speaker 2: What you think about that?
• 14:08
  Speaker 1: But also like these for real love songs, um, like
• 14:12
  Speaker 1: crazy disco type shit. And when you were mine, I'd like, like,
• 14:17
  Speaker 1: and there's nothing, nothing has ever happened like this before.
• 14:20
  Speaker 3: I don't know what's up with these Detroit motherfuckers, but
• 14:22
  Speaker 3: I'm gonna tell you in Atlanta, uh, It was all good.
• 14:25
  Speaker 3: Whatever he did, you were like, this now, it didn't
• 14:28
  Speaker 3: mean you weren't dressed like him. Yeah. Okay. Yeah. Yeah.
• 14:32
  Speaker 3: But my, when I was there, man, that whatever he
• 14:36
  Speaker 3: did was just dope. Like it, like the jams jam
• 14:41
  Speaker 3: so hard that they just set you up to buy
• 14:42
  Speaker 3: into whatever else was coming. I didn't know anybody that
• 14:46
  Speaker 3: had any. Like, I'm not really feeling that. Like, all
• 14:49
  Speaker 3: of us were just completely into whatever Prince was doing.
• 14:52
  Speaker 2: And again, that's interesting.
• 14:53
  Speaker 1: Like, I think we were talking to Trey about this
• 14:55
  Speaker 1: one time, where Trey was talking about one of his
• 14:57
  Speaker 1: gangster uncles and somebody in Compton, and like, man, can't
• 15:01
  Speaker 1: get enough of Prince.
• 15:03
  Speaker 3: Yeah. Don't.
• 15:06
  Speaker 1: I guess also the 80s were a slightly different thing.
• 15:08
  Speaker 1: The idea of what masculinity was, was rap came and
• 15:11
  Speaker 1: messed that whole situation up, right?
• 15:13
  Speaker 3: Yeah.
• 15:14
  Speaker 2: And drew some clearer lines.
• 15:15
  Speaker 1: But the idea that Prince is pulling up and the
• 15:18
  Speaker 1: gangsters are like, hey!
• 15:20
  Speaker 3: So, I mean, think about what Earth, Wind & Fire
• 15:23
  Speaker 3: was wearing. Yeah. Think about what Grandmaster Flash and the
• 15:26
  Speaker 3: Furious Five were wearing.
• 15:26
  Speaker 1: Yes, but it was not a G-string.
• 15:28
  Speaker 3: No, it wasn't, but I'm just saying it was a
• 15:30
  Speaker 3: different time. Correct. It was a different time in that way.
• 15:32
  Speaker 2: Yeah, yeah. Prince was the one.
• 15:35
  Speaker 1: Somebody's had to be like, hey, man, we got to
• 15:37
  Speaker 1: take a 20 on this one, big dog. I'm not
• 15:40
  Speaker 1: going to dress like this.
• 15:42
  Speaker 2: Think about this.
• 15:43
  Speaker 1: All the girls in the Prince camp was dressed in
• 15:45
  Speaker 1: wild scandalous, and he was wearing the same thing.
• 15:48
  Speaker 3: Yeah.
• 15:49
  Speaker 1: Although I will say, by the time it was time
• 15:51
  Speaker 1: to really blow up, he put some pants on.
• 15:54
  Speaker 3: Yeah. Yeah. And the other thing that you never saw
• 15:58
  Speaker 3: Prince in was like, so I saw this thing, Harry
• 16:02
  Speaker 3: Styles hosted Saturday Night Live and they went through all
• 16:08
  Speaker 3: his outfits. So he was wearing like straight up dresses
• 16:10
  Speaker 3: and skirts and stuff. Prince wasn't wearing no skirts. You
• 16:14
  Speaker 3: know what I mean? Like he was on some more
• 16:17
  Speaker 3: androgynous than anything else. The fishnets, but again, We were
• 16:24
  Speaker 3: just like, this is what he's on, but he's bringing
• 16:26
  Speaker 3: the funk, so. Yeah.
• 16:28
  Speaker 1: Well, I would also say androgynous, but there are, so
• 16:32
  Speaker 1: if we look at the Freddie Mercury evolution and there
• 16:35
  Speaker 1: are different runs of it, right?
• 16:37
  Speaker 2: There are runs where Freddie Murphy looks.
• 16:39
  Speaker 1: Androgynous, but then there's the thick mustache, hairy chest, which
• 16:42
  Speaker 1: is not androgyny at all. Like you might say that
• 16:45
  Speaker 1: it was a little, it's how we say delicate. It
• 16:47
  Speaker 1: uses some adjectives that we don't use in polite company anymore.
• 16:50
  Speaker 1: But that era of Prince, that is a man, right?
• 16:53
  Speaker 1: Like he was absolutely giving you the image. It's when
• 16:55
  Speaker 1: you get to the like 85 and all, and once
• 16:59
  Speaker 1: he shaves his face, And it ain't curly. It's more
• 17:02
  Speaker 1: straight perm and everything else. Now we're talking about, like,
• 17:06
  Speaker 1: an androgynous stretch. But in the end, him and all
• 17:08
  Speaker 1: them dudes in the revolution, those still look like dudes
• 17:12
  Speaker 1: who might try to fight you.
• 17:13
  Speaker 3: Yeah, yeah. I mean, game blouses. Yes.
• 17:19
  Speaker 1: The best thing about that skit is how furious Charlie
• 17:23
  Speaker 1: Murphy is to this day about everything involving them.
• 17:29
  Speaker 3: Yeah, have you ever seen those clips of Prince when
• 17:30
  Speaker 3: he's a little boy and he gets interviewed for some
• 17:32
  Speaker 3: of this news story? Yeah. And he just looked like
• 17:36
  Speaker 3: one of them kids that we would have hung out with.
• 17:39
  Speaker 3: He's just like a normal little dude, and man, I
• 17:42
  Speaker 3: don't know how he got from there to there, but
• 17:44
  Speaker 3: I'm glad he did.
• 17:46
  Speaker 1: Yeah, he got from there to there. 5'3, need a gimmick.
• 17:49
  Speaker 1: Playing these instruments ain't enough. Like, I got a band.
• 17:55
  Speaker 3: Okay. Yep. No, man, that dude. I just can't think
• 18:01
  Speaker 3: of anybody that was as, just whose music was, one,
• 18:05
  Speaker 3: as multifaceted within a particular project But then from project
• 18:10
  Speaker 3: to project to project, like the evolution and change of
• 18:13
  Speaker 3: the music, like it just kept changing and you were
• 18:15
  Speaker 3: just on board for all of it.
• 18:16
  Speaker 1: There was no misses in there. So I'm talking about
• 18:20
  Speaker 1: Sign of the Times in a little bit, right? But
• 18:21
  Speaker 1: I wanted to ask you about 1999, like when that dropped.
• 18:24
  Speaker 1: Because I remember I was talking, having talked to this
• 18:26
  Speaker 1: guy in 20-something years, a man, Eric Arnold in Oakland.
• 18:30
  Speaker 1: And we used to email, we used to write for
• 18:31
  Speaker 1: some of the same people. He's a very well-known hip
• 18:33
  Speaker 1: hop writer out to Bay. And we used to talk
• 18:35
  Speaker 1: about stuff on email. And I was talking about how
• 18:39
  Speaker 1: I had Sign of the Times over 1999. And his
• 18:43
  Speaker 1: argument back was, you can't understand what a phenomenon 1999 was. Like,
• 18:49
  Speaker 1: you can't understand people carrying the album around in their bags,
• 18:53
  Speaker 1: girls having it in their purses, all this stuff. everywhere
• 18:55
  Speaker 1: that they went like it was such a big deal
• 18:57
  Speaker 1: and it was so huge but it also came out
• 19:00
  Speaker 1: the same year as Thriller so I can't imagine how
• 19:03
  Speaker 1: furious Prince was about because I mean it's a double
• 19:07
  Speaker 1: album it's only nine tracks but it is a double
• 19:10
  Speaker 1: album worth of stuff but it does sound like it
• 19:13
  Speaker 1: it ran the streets.
• 19:15
  Speaker 3: Yeah yeah and I want to some extent I feel
• 19:19
  Speaker 3: like it was a little counter thriller like.
• 19:21
  Speaker 1: By the way it came out one month before okay Wow.
• 19:26
  Speaker 3: Yeah. I didn't even remember that, but I do remember that. Yeah.
• 19:31
  Speaker 3: The Michael and not that I didn't like Michael Jackson. Right.
• 19:34
  Speaker 3: But like, I am an off the wall person. I
• 19:36
  Speaker 3: think off the wall is a better album than Thriller.
• 19:39
  Speaker 3: I feel like, and it also feels like off the
• 19:41
  Speaker 3: wall was aimed at us more than Thriller was. So that's,
• 19:44
  Speaker 3: part of that too. So among the people that I
• 19:47
  Speaker 3: was with, I felt like 1999 got with it everything,
• 19:53
  Speaker 3: all its flowers in that moment. Now looking back on
• 19:57
  Speaker 3: it and Thriller becomes this worldwide phenomenon and we look
• 20:00
  Speaker 3: back on it like it's this signpost in music history
• 20:04
  Speaker 3: that 1999 isn't. But I think that's about sales. Yes.
• 20:08
  Speaker 1: It's the numbers that it did. Dude, 1999's first four
• 20:13
  Speaker 1: tracks are 1999, Little Red Corvette, Delirious, and I believe
• 20:22
  Speaker 1: DMSR comes next.
• 20:25
  Speaker 3: Yeah. I think that sounds about right. I did write
• 20:28
  Speaker 3: them down somewhere. Oh, no.
• 20:29
  Speaker 1: Let's pretend we're married is four and DMSR is five.
• 20:33
  Speaker 3: Dude, let's pretend we're married is crazy.
• 20:36
  Speaker 1: It is insane. It is a wild idea in concept
• 20:41
  Speaker 1: also to just come off the rip saying these things.
• 20:44
  Speaker 3: Yes. I'm not saying it's just to be nasty. Yes. What?
• 20:51
  Speaker 1: Can you relate?
• 20:52
  Speaker 3: Dude, and this is pre-hip hop. This is pre-gangster. There's
• 20:58
  Speaker 3: no cussing anywhere on the radio that I'm consuming. Yeah. Yeah. Yeah.
• 21:05
  Speaker 2: And look, Lil Red Corvette is wild.
• 21:08
  Speaker 1: Little Red Corvette is wild and it's beautiful and it's
• 21:11
  Speaker 1: vulnerable and it is absurd. And it is maybe the
• 21:14
  Speaker 1: last time he lets someone else do the guitar solo.
• 21:17
  Speaker 2: It is all of these things.
• 21:19
  Speaker 1: He's just like, yeah, dog right here.
• 21:23
  Speaker 3: Dude, Lady Cab Driver.
• 21:25
  Speaker 1: Lady Cab Driver is all there.
• 21:27
  Speaker 3: The end of Lady Cat, I mean, like this dude
• 21:28
  Speaker 3: was doing stuff and just nobody was doing it. Like
• 21:32
  Speaker 3: it was scandalous. Like you get a Prince album and
• 21:35
  Speaker 3: you get some jazz, but then you get some, oh, like,
• 21:38
  Speaker 3: you know, and as a child, it was like, it
• 21:41
  Speaker 3: had that element of sneaking down in the basement and
• 21:43
  Speaker 3: listening to Richard Pryor records. It had some of that.
• 21:48
  Speaker 3: And Mac Jones put us up on it.
• 21:50
  Speaker 1: Mac Jones put you up on it and Barbara Jones enjoys.
• 21:55
  Speaker 3: Yeah. That's how good the music was. Right. That's how
• 22:00
  Speaker 3: good the music was. And the other underrated thing, I think,
• 22:02
  Speaker 3: about Prince, when people look back on it, was these
• 22:06
  Speaker 3: iconic slow jams. Which, if you are the age that
• 22:10
  Speaker 3: I was during that time, that was really important because
• 22:13
  Speaker 3: that was when you go to house parties and the
• 22:15
  Speaker 3: last hour and a half of the house parties is
• 22:17
  Speaker 3: just slow jams and everybody's trying to get in there
• 22:20
  Speaker 3: and get their smooch on. And what you needed was
• 22:24
  Speaker 3: that song that the girl is going to say, yes,
• 22:27
  Speaker 3: I want to dance, not necessarily because of you, because
• 22:30
  Speaker 3: I can't sit here and not dance when the song comes,
• 22:34
  Speaker 3: when Do Me Baby comes on, I can't be sitting
• 22:36
  Speaker 3: over here talking to my girls. And so that was
• 22:39
  Speaker 3: your best shot.
• 22:41
  Speaker 1: Like, I'm trying to think, like, the slow jam run
• 22:44
  Speaker 1: up to that point. I am, my dexterity with For
• 22:48
  Speaker 1: You is not great.
• 22:50
  Speaker 3: Still Waiting is on For You. For You did not
• 22:52
  Speaker 3: have it.
• 22:52
  Speaker 2: No, no, no, Still Waiting's on the second one.
• 22:53
  Speaker 3: Oh, For, yeah, okay, yeah, yeah.
• 22:56
  Speaker 1: Yeah, Still Waiting's on the second one. Got a Broken
• 23:01
  Speaker 1: Heart Again on Dirty Mind.
• 23:04
  Speaker 3: Yes.
• 23:05
  Speaker 1: Right, I love that song.
• 23:07
  Speaker 3: Do you?
• 23:09
  Speaker 2: It's going to be lonely.
• 23:10
  Speaker 1: It's going to be lonely.
• 23:12
  Speaker 3: It's incredible. It's like the harmonies at the end, that
• 23:15
  Speaker 3: whole last half of it, or at least the last
• 23:18
  Speaker 3: third of it. Yeah. I've never heard anything like that. Right.
• 23:23
  Speaker 3: Still to this day, nobody's even tried to hit that.
• 23:26
  Speaker 1: Controversy got Do Me Baby, 1999's got International Lover, which is, oh,
• 23:31
  Speaker 1: we're just letting you do whatever you want now, huh?
• 23:33
  Speaker 3: Yeah, dude.
• 23:34
  Speaker 1: Okay, it's a plane.
• 23:35
  Speaker 3: Gotcha. Yeah.
• 23:37
  Speaker 1: That's what you say, the Purple Rain. Now, this is
• 23:41
  Speaker 1: a good chance to put a pin in this. Coming
• 23:43
  Speaker 1: up next, we're going to talk about the phenomenon of
• 23:45
  Speaker 1: Purple Rain and more on the right time. All right,
• 23:49
  Speaker 1: we are back with Patrice LaMupa Jones. Purple Rain comes out.
• 23:53
  Speaker 1: This is another one for me where I cannot imagine
• 23:56
  Speaker 1: the magnitude of the moment of Purple Rain.
• 24:00
  Speaker 3: This motherfucker made a movie. So... So the year before that,
• 24:08
  Speaker 3: we were in Nigeria. We were in Nigeria for an
• 24:11
  Speaker 3: entire year. And you come back to Purple Rain. Oh,
• 24:15
  Speaker 3: that's right. Yeah. And we would go... It was like
• 24:19
  Speaker 3: multiple weekends in a row for me. You and your friends.
• 24:22
  Speaker 3: Now I'm a rising senior in high school now. And
• 24:26
  Speaker 3: we would just go to see Purple Rain over and
• 24:29
  Speaker 3: over and over again. What you doing Saturday? I'm going
• 24:31
  Speaker 3: out to Old Nassau. We going to watch Purple Rain again.
• 24:34
  Speaker 3: It was... Yeah. The only movies worse than Purple Rain
• 24:42
  Speaker 3: are Graffiti Bridge and Under.
• 24:44
  Speaker 2: The Cherry Blossom.
• 24:45
  Speaker 3: In the world. In the world. But the music is
• 24:49
  Speaker 3: that great. It's a concert film with these weird... Basically,
• 24:53
  Speaker 3: the plot stuff is like weird interludes. The way you
• 24:56
  Speaker 3: kind of felt about it. Okay. Nobody was like, I
• 25:00
  Speaker 3: want to be like the kid.
• 25:02
  Speaker 2: I want you to think.
• 25:03
  Speaker 1: About plot-wise, the message that the movie is giving, right?
• 25:08
  Speaker 1: Which becomes an actual metaphor for life after the things
• 25:11
  Speaker 1: we learned from the Ezra Edelman documentary that the world
• 25:14
  Speaker 1: will never see. So the plot of this movie is,
• 25:19
  Speaker 1: we got this little dude who makes these songs that
• 25:22
  Speaker 1: in the movie, nobody understands or likes, but in real
• 25:26
  Speaker 1: life will revolutionize the world.
• 25:28
  Speaker 2: Okay, whatever.
• 25:29
  Speaker 1: But he's making these songs and the world ain't really
• 25:31
  Speaker 1: liking them. But he gets himself a girlfriend whom he
• 25:36
  Speaker 1: beats the shit out of. And then at the end,
• 25:39
  Speaker 1: he's about to beat ass one more time. And then
• 25:42
  Speaker 1: she says, go ahead and do it. And then he stops.
• 25:45
  Speaker 1: And then he goes to the club the next night
• 25:47
  Speaker 1: and he plays some bangers. And now it's like nothing
• 25:50
  Speaker 1: ever happened. That's all he had to do was play
• 25:53
  Speaker 1: a couple of bangers. We let everything slide. That movie
• 25:57
  Speaker 1: is a cancellation waiting to happen in 2026.
• 26:02
  Speaker 2: And it's bad.
• 26:03
  Speaker 3: So here's what I'm going to tell you about that.
• 26:05
  Speaker 3: And I've seen Purple Rain a million times. That storyline
• 26:12
  Speaker 3: feels vaguely familiar. That's how much I didn't give a
• 26:15
  Speaker 3: shit what was happening in the movie. You were just like.
• 26:20
  Speaker 3: Living between the concert scenes, the performance scenes. That was
• 26:24
  Speaker 3: what the whole thing was. It was like Rocky Horror
• 26:27
  Speaker 3: Picture Show.
• 26:27
  Speaker 2: Yeah.
• 26:29
  Speaker 1: That movie also has one of America's great actors, Clarence
• 26:32
  Speaker 1: Williams III.
• 26:33
  Speaker 3: It does.
• 26:35
  Speaker 1: I can't imagine how he felt doing scenes with these
• 26:40
  Speaker 1: people who've never acted ever, never been in a movie.
• 26:45
  Speaker 3: Yeah. And clearly he only had one gear. Yes. Right?
• 26:50
  Speaker 3: He's like, whatever it is, it's Hamlet. Because he went hard.
• 26:57
  Speaker 1: That first, that beginning where he's just there with a
• 27:00
  Speaker 1: bow tie on for no reason. Whose idea was this?
• 27:08
  Speaker 1: His only advice for the boy, never get married. That's
• 27:13
  Speaker 1: the only game he put his son on.
• 27:16
  Speaker 3: Never get married. Dude, have you ever watched Graffiti Bridge?
• 27:21
  Speaker 2: I have watched parts of it, but I know you
• 27:23
  Speaker 2: told me you watched it the other day.
• 27:25
  Speaker 3: It's incredibly bad. It doesn't make any sense. And it's
• 27:32
  Speaker 3: a sequel. It is. To Purple Rain, which I hadn't realized.
• 27:36
  Speaker 3: People still don't dig his music. No. How did you
• 27:39
  Speaker 3: make it this far if nobody digs your music? No. Man,
• 27:44
  Speaker 3: every time... I don't get this.
• 27:46
  Speaker 2: Other than Cherry Moon, my whole thing with other than
• 27:48
  Speaker 2: Cherry Moon.
• 27:49
  Speaker 1: The only thing, other than Reckostow, the thing that I
• 27:51
  Speaker 1: will just always remember is it's time for the climactic
• 27:54
  Speaker 1: chase scene and they start.
• 27:56
  Speaker 2: Playing Another Love a Hole in your head.
• 27:58
  Speaker 3: It's not.
• 28:00
  Speaker 1: and he directed that he directed graffiti bridge and he
• 28:03
  Speaker 1: directed that one because he just felt like he could
• 28:05
  Speaker 1: do anything and at that point nobody could tell him
• 28:07
  Speaker 1: no and it's all because purple rain sold a gajillion
• 28:11
  Speaker 1: copies and you and i have multiple times been in
• 28:14
  Speaker 1: here and we have watched that live in syracuse 1985
• 28:18
  Speaker 1: and that is apex prince right like this is There's
• 28:22
  Speaker 1: no moment that he possibly could have been any bigger,
• 28:25
  Speaker 1: any more important, felt any more urgent, everything else. And
• 28:28
  Speaker 1: we watched that two-hour show, and it's just like, what
• 28:31
  Speaker 1: was ever fucking with this?
• 28:33
  Speaker 3: No. Ever. Whatever will moving forward. Like, I can't imagine.
• 28:39
  Speaker 3: So the funny thing about that is, up until Purple Rain,
• 28:44
  Speaker 3: for me, I paid no attention to Prince's guitar.
• 28:48
  Speaker 1: Yeah, which honestly is not really showcased in the music
• 28:51
  Speaker 1: prior to that.
• 28:52
  Speaker 3: No, and the other thing you got to remember about
• 28:54
  Speaker 3: black folks is if you play the guitar and you
• 28:56
  Speaker 3: want some cred for that, it better be the bass.
• 29:01
  Speaker 3: You know what I mean? Like, if you could play
• 29:03
  Speaker 3: the bass, all right, but like, jenga, jenga, jenga.
• 29:06
  Speaker 1: I don't even.
• 29:09
  Speaker 3: We didn't care about that. So, so Purple Rain kind
• 29:14
  Speaker 3: of opened your eyes to that. And then when you
• 29:15
  Speaker 3: see a concert, sorry like that Syracuse concert you're like
• 29:21
  Speaker 3: oh he's amazing like he take he's not performing for
• 29:26
  Speaker 3: you he's literally taking you somewhere you are under his
• 29:29
  Speaker 3: control and he's gonna drop you off when he's done
• 29:31
  Speaker 3: with you and I know I don't think I've ever
• 29:35
  Speaker 3: seen anybody solo any instrument or play any instrument in
• 29:40
  Speaker 3: a way that just, it's like a comedian. You know
• 29:45
  Speaker 3: how comedians get you here and they take you on
• 29:47
  Speaker 3: this story and they build intrigue and then you think
• 29:49
  Speaker 3: you got it and they take a twist and like
• 29:52
  Speaker 3: all that when you talk about music doing that feels metaphorical.
• 29:55
  Speaker 3: But he's literally doing that, playing the guitar, with an
• 29:58
  Speaker 3: expression on his face like he's just balancing his checkbook. Right.
• 30:05
  Speaker 1: Like the self-titled album, right? The self-titled album's got Why
• 30:10
  Speaker 1: You Wanna Treat Me So Bad. It's got Bambi. It's
• 30:12
  Speaker 1: got some guitar work. But really, he doesn't really lock
• 30:17
  Speaker 1: in on that in the early portions of his career.
• 30:20
  Speaker 2: And they had the nerve to be offended.
• 30:22
  Speaker 1: That people were not giving him adequate credit for his
• 30:25
  Speaker 1: guitar brilliance that he wasn't really sharing with us. And
• 30:29
  Speaker 1: to me, the Purple Rain is a guitar album, right?
• 30:33
  Speaker 1: When you really go through track for track, just about
• 30:37
  Speaker 1: every one of them, not all, but just about every one,
• 30:39
  Speaker 1: he shows out on guitar in one form or fashion.
• 30:41
  Speaker 1: When Doves Cry, which is the most revolutionary single that
• 30:44
  Speaker 1: anybody has ever put out, he comes off the rip
• 30:47
  Speaker 1: with something literally no one else who's ever been born
• 30:50
  Speaker 1: has ever been able to play.
• 30:52
  Speaker 3: Yeah, nobody can pull it off. But the other thing
• 30:54
  Speaker 3: too about the guitar is if you really want to
• 30:56
  Speaker 3: get it, you need a solo that's longer than what
• 31:00
  Speaker 3: you can put on a single. Yeah. Right? That's the
• 31:03
  Speaker 3: thing is when you see these performances, Prince is playing
• 31:05
  Speaker 3: these six, seven minute guitar solos. Yeah. And there's something
• 31:09
  Speaker 3: about the length of it that allows him to take
• 31:12
  Speaker 3: you on the kind of journey that I think he's
• 31:14
  Speaker 3: really good at facilitating. Yeah.
• 31:17
  Speaker 2: But like, I'm still getting back on you.
• 31:20
  Speaker 1: Like you come back to America and, And Purple Rain
• 31:23
  Speaker 1: has hit the streets, and now it is everywhere. And
• 31:27
  Speaker 1: he is everywhere.
• 31:30
  Speaker 3: Everybody's trying. I mean, and there's these arguments. Oh, no,
• 31:33
  Speaker 3: and the B-sides. Yeah. Right? That was the other thing
• 31:37
  Speaker 3: that no one else did. Like, he's got these songs
• 31:39
  Speaker 3: that are hits that aren't even on the album. They're
• 31:42
  Speaker 3: just album adjacent. Yep.
• 31:45
  Speaker 2: I got so many jams.
• 31:47
  Speaker 3: Yeah. Yeah. Y'all want some more music? You know, why
• 31:51
  Speaker 3: waste two songs, you know, from Purple Rain to have
• 31:55
  Speaker 3: a B-side when I could just pull something else out
• 31:57
  Speaker 3: the closet.
• 31:58
  Speaker 2: To be a B-side?
• 32:00
  Speaker 1: Well, also, I'm going to let my little homies ride
• 32:02
  Speaker 1: on y'all.
• 32:04
  Speaker 3: Oh, yeah.
• 32:04
  Speaker 2: And just give heat to other people.
• 32:07
  Speaker 3: So, yeah, Purple Rain, it was everywhere. And unlike usually, like,
• 32:13
  Speaker 3: there's a hit song and you just hear the hit song,
• 32:16
  Speaker 3: people were rocking, like, every song on Purple Rain. Like
• 32:20
  Speaker 3: it didn't have that, we didn't coalesce around Purple Rain
• 32:25
  Speaker 3: or I Would Die For You. It was just the
• 32:28
  Speaker 3: whole thing. You know, like even, you know, when you
• 32:31
  Speaker 3: think about, you know, Michael Jackson and Thriller and even
• 32:37
  Speaker 3: Off The Wall, it was like all these singles. You know,
• 32:41
  Speaker 3: like you're like, oh, it's got like five hit singles,
• 32:43
  Speaker 3: six hit songs on it. But this shit was like, yeah,
• 32:46
  Speaker 3: I got three or four radio-ready hits, but you're going
• 32:49
  Speaker 3: to rock with this whole album. You're just not going
• 32:51
  Speaker 3: to hear it on the radio because it's really not appropriate,
• 32:53
  Speaker 3: darling Nicky.
• 32:56
  Speaker 1: That's what got the parental advisory label invented.
• 33:00
  Speaker 3: Really?
• 33:00
  Speaker 1: Darling Nicky.
• 33:02
  Speaker 3: I did not know that. I thought that was a hip-hop.
• 33:04
  Speaker 2: Dippa Gore hurt Darling Nicky and.
• 33:07
  Speaker 3: What? Yeah, there was some ambiguity as to how the
• 33:11
  Speaker 3: magazine was being used.
• 33:18
  Speaker 1: But it's wild because he couldn't stay on Purple Ray
• 33:20
  Speaker 1: long enough. He was like, all right, time to go
• 33:22
  Speaker 1: do something else. And you get to like that 85
• 33:24
  Speaker 1: to really, I call it 88, 89 run, like through
• 33:27
  Speaker 1: Love Sexy. Yeah, it's still jamming, but it ain't the
• 33:33
  Speaker 1: same except side of the times. Side of the times
• 33:37
  Speaker 1: is that was the one for me as I got
• 33:39
  Speaker 1: older and decided to make my own exploration. Because the
• 33:42
  Speaker 1: big thing that happened for me was because, you know,
• 33:44
  Speaker 1: you at the house and I'm five years old, like
• 33:45
  Speaker 1: y'all are gone. I'm kind of on my own here.
• 33:49
  Speaker 1: But what Columbia House either. I can't remember if I
• 33:52
  Speaker 1: got it or daddy got it. But one of us
• 33:54
  Speaker 1: got when the hits in the B-Sides compilation came out.
• 33:58
  Speaker 1: And I got on that and I was like, oh, okay.
• 34:01
  Speaker 1: And then I went and got Sign of the Times.
• 34:03
  Speaker 1: And Sign of the Times was like, oh, hey, man.
• 34:08
  Speaker 1: Someone's kind of sort of showing off.
• 34:11
  Speaker 3: Yeah. And it was just sonically different. I always come
• 34:16
  Speaker 3: back to that. It's just the diversity of the music.
• 34:19
  Speaker 3: It was exciting because you didn't know what you were
• 34:23
  Speaker 3: going to get. Yeah. Yeah. And the single or whatever
• 34:26
  Speaker 3: the first song was didn't tell you what you were
• 34:28
  Speaker 3: going to get.
• 34:29
  Speaker 1: No, no.
• 34:30
  Speaker 3: Which is why you would give every album. And as
• 34:33
  Speaker 3: we kind of got deeper in it and there was,
• 34:35
  Speaker 3: you know, Emancipation and stuff like that, would they be
• 34:39
  Speaker 3: like one or two? But you started trying to will
• 34:42
  Speaker 3: it to be like something iconic as the stuff that
• 34:46
  Speaker 3: you were familiar with. And he had just moved on. Like,
• 34:48
  Speaker 3: I think everything he made was still just as jamming
• 34:51
  Speaker 3: to him. Yeah.
• 34:52
  Speaker 1: Yeah.
• 34:53
  Speaker 3: And he just kind of lost us to some extent.
• 34:56
  Speaker 3: And I don't know if he cared that much.
• 34:58
  Speaker 1: Well, he did come to care. But I want to
• 35:02
  Speaker 1: put a pin in that point, right? Because the thing
• 35:04
  Speaker 1: I want to point out about Sign of the Times
• 35:05
  Speaker 1: that I think is an interesting facet of the Prince catalog,
• 35:10
  Speaker 1: for reasons I don't quite have the answer to, I've
• 35:12
  Speaker 1: been listening to Paul Simon's Graceland.
• 35:14
  Speaker 2: A lot lately.
• 35:15
  Speaker 1: And Paul Simon and Prince have the same thing in common,
• 35:18
  Speaker 1: which is they create the most interesting conversations amongst the
• 35:25
  Speaker 1: characters in their songs.
• 35:27
  Speaker 3: Okay. Right?
• 35:28
  Speaker 1: The, I said, and she said, right? In the back
• 35:31
  Speaker 1: and forth. Like, battle of Dorothy Parker, right?
• 35:33
  Speaker 3: I was just thinking about that.
• 35:34
  Speaker 2: Let me get a fruit cocktail.
• 35:35
  Speaker 1: I ain't that hungry. Dorothy laughs. It sounds like a
• 35:39
  Speaker 1: real man to me. What if I turn on the radio?
• 35:42
  Speaker 1: What are we doing here? Where is this going? Why
• 35:45
  Speaker 1: is this so jamming?
• 35:46
  Speaker 3: Yep. Well, that beat.
• 35:49
  Speaker 1: Yeah, but also he's got, I could never take the
• 35:51
  Speaker 1: place of your man. I asked if she wanted to dance.
• 35:53
  Speaker 1: She said all she wanted was a good man. Whoa,
• 35:55
  Speaker 1: I just asked if she wanted to dance. What are
• 35:57
  Speaker 1: you talking about?
• 36:02
  Speaker 3: No. Yeah, no, he had an appreciation for the absurd.
• 36:07
  Speaker 1: Yeah.
• 36:08
  Speaker 3: Yeah.
• 36:08
  Speaker 1: But these pictures would be so vivid. Like you can
• 36:11
  Speaker 1: go back and think from album to album, there's another
• 36:13
  Speaker 1: one that pops up there where you're like, oh yeah,
• 36:15
  Speaker 1: this is the conversation that these people are having.
• 36:17
  Speaker 2: How do these people exist in real life? Like Uptown,
• 36:20
  Speaker 2: it's the same thing.
• 36:22
  Speaker 3: But even if it's not a conversation, Starfish and Coffee, right?
• 36:25
  Speaker 3: When you start talking about these vivid descriptions that put
• 36:28
  Speaker 3: you in a space. Yeah. Right? He took you back
• 36:32
  Speaker 3: to elementary school. Yeah. And a weird girl would- crazy
• 36:36
  Speaker 3: shit in her lunchbox. Yep.
• 36:38
  Speaker 2: And it gives you her talking, right?
• 36:40
  Speaker 1: Like how these, like how these people sound, how they
• 36:43
  Speaker 1: interact is like, how does everybody, it's the same thing
• 36:45
  Speaker 1: with the Simon songs. It's like, everybody knows the perfect
• 36:48
  Speaker 1: thing to say in these conversations that you are able
• 36:51
  Speaker 1: to dream up.
• 36:53
  Speaker 3: Yeah.
• 36:54
  Speaker 1: Everybody's everybody's got the line.
• 36:58
  Speaker 2: What was what was what was it for the world with?
• 37:01
  Speaker 1: Because it's funny, I have this Prince playlist on Spotify
• 37:05
  Speaker 1: that if you ask me, I'll send you the link to.
• 37:07
  Speaker 1: It's excellent. It is the Warner Brothers era, because when
• 37:10
  Speaker 1: I did it, there were limitations on what of the
• 37:14
  Speaker 1: catalog was available. But the other thing was there are
• 37:17
  Speaker 1: no songs on Love Sexy from it, in spite of
• 37:20
  Speaker 1: my love for When Two Are In Love and I
• 37:23
  Speaker 1: Wish You Heaven, which may be my favorite back-to-back situation
• 37:26
  Speaker 1: in the catalog. But at that time, it only had
• 37:29
  Speaker 1: Love Sexy as Prince intended. which is to say there
• 37:34
  Speaker 1: were no partitions between the tracks. It was all one
• 37:38
  Speaker 1: long track. And the reason was you felt that it
• 37:41
  Speaker 1: didn't work if you broke it up. And it is
• 37:43
  Speaker 1: better if you listen to it in one sitting, but
• 37:46
  Speaker 1: that had to be the most annoying shit in the world.
• 37:48
  Speaker 3: Yeah. Because my song on that was Anastasia. Yeah. And
• 37:52
  Speaker 3: I don't think it was at the beginning. It was
• 37:54
  Speaker 3: like maybe the second song or something.
• 37:56
  Speaker 2: It was like four or five. It was like right
• 37:57
  Speaker 2: in the middle of.
• 37:57
  Speaker 3: The first half. Yeah, it was in the middle. And
• 38:00
  Speaker 3: that was my joint. And I would listen to it
• 38:02
  Speaker 3: a lot. And I did. And so I had it
• 38:05
  Speaker 3: on CD. So you did know what the time signature
• 38:08
  Speaker 3: was that you needed to get to. Yeah. But you couldn't.
• 38:12
  Speaker 3: It's not like you could punch it in. Yes. He
• 38:15
  Speaker 3: had to fast forward to it.
• 38:16
  Speaker 1: He was officially in whatever I want to do mode.
• 38:19
  Speaker 1: He butt naked on like laying in a blanket on
• 38:23
  Speaker 1: an all white album cover. And then there is no
• 38:26
  Speaker 1: partition on the tracks. And if I'm not mistaken, like
• 38:30
  Speaker 1: no space in between the tracks. So even if you
• 38:32
  Speaker 1: had APSS on your tape player.
• 38:34
  Speaker 3: No.
• 38:34
  Speaker 2: It wasn't going to let you get that.
• 38:35
  Speaker 1: Nope.
• 38:37
  Speaker 3: Nope. You just had to sit there and you don't
• 38:39
  Speaker 3: listen to this homie. Yeah.
• 38:41
  Speaker 1: Well, I had somebody tell me, though, that who it
• 38:43
  Speaker 1: was really tricky for was the people that worked at
• 38:45
  Speaker 1: the record store because they would want to play the
• 38:47
  Speaker 1: record and it was some things going on at points
• 38:51
  Speaker 1: that you might not necessarily want to be able to
• 38:53
  Speaker 1: share with everybody.
• 38:55
  Speaker 3: Yes. Yes.
• 38:56
  Speaker 1: But when you're talking about he didn't care, what is interesting, though,
• 38:59
  Speaker 1: is once you get around Graffiti Bridge and after that,
• 39:02
  Speaker 1: the early 90s are both he and Michael Jackson and
• 39:06
  Speaker 1: Whitney Houston trying to come back home.
• 39:08
  Speaker 3: Yeah. Right? Like, they.
• 39:09
  Speaker 2: Prince had these huge pop ambitions.
• 39:13
  Speaker 1: The for lack of a better term, blacker it sounded,
• 39:16
  Speaker 1: the more likely it was to give it to the time.
• 39:18
  Speaker 1: There was the run where he had convinced people in
• 39:21
  Speaker 1: the media that his mother was white because he knew
• 39:23
  Speaker 1: they would never view him as the genius he believed
• 39:26
  Speaker 1: he was if they thought that he was just regular black.
• 39:28
  Speaker 1: This is why Alexander O'Neill hates him, by the way.
• 39:31
  Speaker 2: Oh, yeah. But I get it, right?
• 39:35
  Speaker 1: It looks like you are being selective in your application
• 39:38
  Speaker 1: of your own blackness, which is not something that has
• 39:40
  Speaker 1: ever played well with the people.
• 39:42
  Speaker 2: But when you get to.
• 39:45
  Speaker 1: Graffiti graffiti bridge has got like joy and repetition these
• 39:48
  Speaker 1: are the temple like you know okay i guess mavis
• 39:50
  Speaker 1: stable and george clinton on the record okay we're coming
• 39:52
  Speaker 1: back home diamonds and pearls he decided he was gonna
• 39:55
  Speaker 1: make an r & b record i will note these
• 39:57
  Speaker 1: are the records that are a little bit less interesting
• 40:00
  Speaker 1: than the other records but nobody likes it when it
• 40:03
  Speaker 1: feel like people don't want to fuck with you no
• 40:05
  Speaker 1: more yeah and everybody comes back home Yeah, you're right
• 40:09
  Speaker 1: about that.
• 40:10
  Speaker 3: Yeah, like that Emancipation album, which is, I think, where
• 40:13
  Speaker 3: Bet You By Golly Wild was.
• 40:15
  Speaker 1: Yeah, that was the first album. The second album he
• 40:17
  Speaker 1: did is The Symbol.
• 40:19
  Speaker 3: Yeah, yeah. That was an interesting time. But by then,
• 40:23
  Speaker 3: I think that, I'm not saying Prince had, I don't
• 40:27
  Speaker 3: think his flame had burned out, but in terms of
• 40:30
  Speaker 3: the interest in what he meant To me, partially is
• 40:33
  Speaker 3: I'm getting older, but part of it was also like,
• 40:36
  Speaker 3: he just had that run that was just so, it
• 40:38
  Speaker 3: couldn't keep going. Like Stevie Wonder can't go, couldn't go forever. Right.
• 40:42
  Speaker 3: You know, but that, that five, five, six album run
• 40:48
  Speaker 3: hard to, hard to beat, man.
• 40:49
  Speaker 1: Well, it's like, what happens if you can do whatever
• 40:53
  Speaker 1: you want and the game follows you wherever you go?
• 40:58
  Speaker 2: And that's kind of what happened in the 80s.
• 40:59
  Speaker 1: Like, I think it's fair to make the argument, especially
• 41:02
  Speaker 1: because of how big Janet Jackson was with that Minneapolis sound,
• 41:06
  Speaker 1: that in terms of sonically, Prince proved to be more
• 41:09
  Speaker 1: influential than Michael Jackson did on the music that came.
• 41:13
  Speaker 1: And then once you start getting to that super raunchy
• 41:14
  Speaker 1: ass era of R & B, that's definitely a more
• 41:16
  Speaker 1: direct Prince callback than it is a Michael Jackson callback.
• 41:20
  Speaker 1: But you've been getting there just by doing you and
• 41:23
  Speaker 1: then everybody goes, but now they doing something else.
• 41:25
  Speaker 3: Yeah. Yeah.
• 41:26
  Speaker 1: And you doing you, and now you sound out of step.
• 41:29
  Speaker 1: You're like, how am I out of step? I am
• 41:30
  Speaker 1: the step.
• 41:32
  Speaker 2: But you're just a little bit off.
• 41:34
  Speaker 1: It's a little bit different. You're not where they are,
• 41:37
  Speaker 1: and people of the magnitude of Prince and Michael Jackson,
• 41:40
  Speaker 1: they want to stay big. David Ritz wrote a bio
• 41:44
  Speaker 1: of Aretha Franklin where he talked about that, where when
• 41:46
  Speaker 1: you think about who's zooming who era Aretha Franklin and
• 41:50
  Speaker 1: all this, it seems preposterous But he's like, she talked
• 41:53
  Speaker 1: about it in there.
• 41:54
  Speaker 2: Ray Charles said the same thing, man. We don't do
• 41:56
  Speaker 2: this for fun. We want hits. And this is where
• 42:00
  Speaker 2: the hits are.
• 42:01
  Speaker 1: All right. Well, I guess we're going to try to
• 42:03
  Speaker 1: make some hits.
• 42:05
  Speaker 3: Yeah. But I do think, I wonder to what extent
• 42:08
  Speaker 3: the issues with the industry itself impacted his ability to
• 42:14
  Speaker 3: get his stuff out there and, you know, to really
• 42:17
  Speaker 3: get a push behind some stuff. Because when you went
• 42:20
  Speaker 3: After he died, he went back and started listening to
• 42:21
  Speaker 3: this joint. It's like, have you ever heard Calhoun Square?
• 42:25
  Speaker 1: Yeah, it's good.
• 42:26
  Speaker 3: I love that song, but I had never heard of it.
• 42:29
  Speaker 3: I had never heard it. That's on the crystal ball joint, right? Huh?
• 42:32
  Speaker 1: That's on the crystal ball, right?
• 42:33
  Speaker 3: Perhaps. I just kind of encountered it in the Apple
• 42:37
  Speaker 3: Music era. You know, like, what is this song?
• 42:40
  Speaker 2: So here's the thing.
• 42:43
  Speaker 1: His issue with the label is interesting because what the
• 42:47
  Speaker 1: label was saying was, dude, we can't put out a
• 42:49
  Speaker 1: new album every three months just because you could crank
• 42:53
  Speaker 1: out a new album every three months. He stepped on
• 42:56
  Speaker 1: himself so much by putting Around the World and A
• 42:59
  Speaker 1: Day Out so fast after Purple Rain.
• 43:01
  Speaker 2: The world was not finished with Purple Rain.
• 43:03
  Speaker 1: He never had anything nearly as big as Purple Rain
• 43:08
  Speaker 1: because he couldn't just.
• 43:10
  Speaker 2: Take a breath. Then get out there. Like Michael Jackson
• 43:12
  Speaker 2: didn't come back after Thriller for five years.
• 43:14
  Speaker 3: Right.
• 43:14
  Speaker 1: He was not built like that because, you know, Mike
• 43:17
  Speaker 1: was playing a different game. But he just he had
• 43:19
  Speaker 1: so much heat and that he needed to give the
• 43:21
  Speaker 1: world the heat and people needed time to digest the heat.
• 43:26
  Speaker 1: And he was like, I've digested the heat.
• 43:29
  Speaker 3: Yeah. And as the other thing was, he's such a
• 43:33
  Speaker 3: great performer. but he didn't lean into the performance in
• 43:37
  Speaker 3: terms of like, well, I got this joint out, now
• 43:39
  Speaker 3: I need to go tour and I need to go like,
• 43:42
  Speaker 3: as good as he was at it, I got the
• 43:43
  Speaker 3: feeling that he would rather make music than perform music,
• 43:46
  Speaker 3: which is crazy, because he was such a great performer.
• 43:50
  Speaker 3: But he was in the studio constantly.
• 43:52
  Speaker 1: He was, he was.
• 43:54
  Speaker 3: I think I read somewhere that he had a producer
• 43:56
  Speaker 3: on call. So if he wakes up at three in
• 43:58
  Speaker 3: the morning with an idea, this woman would come in.
• 44:00
  Speaker 1: And, you know. Yep, Stevie was like that with people too.
• 44:04
  Speaker 3: Yeah, yeah. It's kind of like the news that make
• 44:06
  Speaker 3: beats 24-7. Yeah, yeah.
• 44:08
  Speaker 1: And it's like, it's print, so I guess I don't
• 44:11
  Speaker 1: want to miss it.
• 44:12
  Speaker 3: Yeah. Right?
• 44:13
  Speaker 2: There's no telling what might.
• 44:14
  Speaker 1: We didn't even talk about the fact that Nothing Compares
• 44:17
  Speaker 1: to You comes out in the midst of this run,
• 44:19
  Speaker 1: and he never does it. And then they put out
• 44:21
  Speaker 1: the demo after he dies that he does in the basement,
• 44:24
  Speaker 1: and it's fucking incredible.
• 44:25
  Speaker 3: Yeah.
• 44:26
  Speaker 1: I'll just give this to somebody else. Doesn't really fit
• 44:29
  Speaker 1: what I got going on over here right now.
• 44:31
  Speaker 3: Yeah, it And he'll give it to, I mean, I
• 44:35
  Speaker 3: think there's some reasons why he would give some of
• 44:37
  Speaker 3: these women music. But, you know, Sheena Easton.
• 44:44
  Speaker 1: All right.
• 44:47
  Speaker 3: I mean, like, you think if Prince gives you a song,
• 44:49
  Speaker 3: that's gold, right? That's like, like. The most cherished thing
• 44:53
  Speaker 3: you could imagine someone bequeathing upon you. And he's like,
• 44:57
  Speaker 3: see the Easter. Take this jam.
• 44:59
  Speaker 1: I mean, he gave Manic Monday to the Bengals.
• 45:02
  Speaker 3: Yeah.
• 45:03
  Speaker 2: As in the Bengals.
• 45:04
  Speaker 1: That would be a different group.
• 45:07
  Speaker 3: Joe Cinco.
• 45:11
  Speaker 1: Manic Monday, another song with one of those incredible conversations
• 45:14
  Speaker 1: in it.
• 45:15
  Speaker 2: He tells me in his bedroom voice, come on, honey.
• 45:18
  Speaker 1: Let's go make some noise.
• 45:20
  Speaker 3: Yeah. Well, and then the weirdest thing, so Sheena Easton
• 45:23
  Speaker 3: was this, like, the good girl. Yeah. He gave her
• 45:27
  Speaker 3: sugar walls. He did. Ooh. Come spend the night. What?
• 45:37
  Speaker 3: Excuse me. I think I missed something. What exactly are
• 45:42
  Speaker 3: you referring to?
• 45:47
  Speaker 1: There's got to be some cutting room floor stuff.
• 45:49
  Speaker 2: Hey, hey, hey, bro. We're not doing this, man. You're
• 45:54
  Speaker 2: going too far this time, my brother. You're going too far.
• 45:57
  Speaker 3: I wonder what people are saying to her.
• 46:01
  Speaker 2: You got to hear this.
• 46:02
  Speaker 3: What is he, like Scottish or Irish or something?
• 46:06
  Speaker 1: I think he's Danish.
• 46:08
  Speaker 3: Oh, yeah. That's a little. Scottish.
• 46:11
  Speaker 2: You were right. Scottish.
• 46:13
  Speaker 3: Yeah. So he went to America. They're like, you just
• 46:16
  Speaker 3: got turned out.
• 46:19
  Speaker 2: That just turned out by anybody.
• 46:22
  Speaker 3: That wasn't MO.
• 46:24
  Speaker 2: This is exactly what they'd be afraid of.
• 46:27
  Speaker 3: Yes. She went off to make it big in the
• 46:31
  Speaker 3: music business.
• 46:35
  Speaker 1: She found her sooty corruptor.
• 46:40
  Speaker 3: Five, five, freaky deaky. Got her singing all kind of
• 46:45
  Speaker 3: wild shit. I wish I could do a Scottish bro,
• 46:50
  Speaker 3: because I got some jokes I need to get off,
• 46:53
  Speaker 3: but they only work if you can do the voice. Yeah, man.
• 46:56
  Speaker 1: My accent game is very, very limited, and it's unfortunate
• 46:59
  Speaker 1: because I can't get any of that part of the world.
• 47:01
  Speaker 1: The British zone, I can't get it.
• 47:07
  Speaker 3: I'm better with British. I'm not going to do it
• 47:08
  Speaker 3: here because this is for the public. But yeah, just
• 47:11
  Speaker 3: imagine what groundskeeper Willie would say if that was his daughter.
• 47:20
  Speaker 2: Or maybe she hoped they never heard that song. She
• 47:22
  Speaker 2: just kept playing them. You got to look over and
• 47:24
  Speaker 2: over again.
• 47:25
  Speaker 3: Yeah, no, dude. It still changed the world, man. And
• 47:31
  Speaker 3: it was, I will be forever different for having experienced
• 47:39
  Speaker 3: that run from 79 to 84 just because of what
• 47:44
  Speaker 3: that meant in my life at that time to all
• 47:48
  Speaker 3: the people around me. Um, especially cause then I, you know,
• 47:52
  Speaker 3: I was a fairly serious trumpet player at that point too.
• 47:54
  Speaker 3: So music played a different role in my life other
• 47:58
  Speaker 3: than just being jams. It was, you know, it was inspirational, um,
• 48:03
  Speaker 3: whether it was something I could play or not. It just,
• 48:05
  Speaker 3: you know, just the creativity of it was, you just
• 48:09
  Speaker 3: knew what was, it gave you an idea of what
• 48:10
  Speaker 3: kind of what was possible and that some of the,
• 48:12
  Speaker 3: maybe some of the constraints that you thought were there
• 48:15
  Speaker 3: really weren't real. Yeah. Yeah.
• 48:18
  Speaker 1: And that, that is kind of the point of the
• 48:19
  Speaker 1: catalog is that like, that is the ethos of it. Uh,
• 48:23
  Speaker 1: the odd, I realized that through Prince and I see
• 48:26
  Speaker 1: the through line through a lot of people that I
• 48:27
  Speaker 1: like the most, it is the audacity of it all.
• 48:31
  Speaker 1: Like the willingness to be like, nah, this is, I'm
• 48:33
  Speaker 1: doing this right here.
• 48:35
  Speaker 3: Yeah.
• 48:36
  Speaker 1: What do you think?
• 48:36
  Speaker 3: And just the confidence that that takes, right? Like audacity
• 48:42
  Speaker 3: is one thing, but if you have it, you, the
• 48:45
  Speaker 3: talent to back it up is what makes it work. Yeah. Yeah.
• 48:49
  Speaker 1: I would say one last thing on this for people.
• 48:52
  Speaker 1: If you get that Syracuse concert, I can't talk about enough.
• 48:55
  Speaker 1: You can find it online. There's clips on YouTube, whatever.
• 48:57
  Speaker 1: And I don't think I've had the opportunity to point
• 48:59
  Speaker 1: this out, but this is the most amazing, magical thing
• 49:02
  Speaker 1: Prince has ever done. So it's a transition in between
• 49:06
  Speaker 1: songs and the set.
• 49:07
  Speaker 2: And say the stage is set up.
• 49:08
  Speaker 1: He's way up, like going up some steps and up
• 49:10
  Speaker 1: some shit over there off to one side.
• 49:12
  Speaker 3: Right.
• 49:12
  Speaker 1: So he's like, he's all the way over there doing something.
• 49:15
  Speaker 1: And I think he got lost in the sauce a
• 49:17
  Speaker 1: little bit, but he needed to get back over to
• 49:19
  Speaker 1: the microphone because it was time to sing Do Me Baby.
• 49:22
  Speaker 1: In those high heels, he jumps off something that's got
• 49:27
  Speaker 1: to be eight feet in the air and lands on
• 49:31
  Speaker 1: his feet.
• 49:33
  Speaker 3: Yes.
• 49:34
  Speaker 1: With no stumble. and then cockily strolls over to the
• 49:37
  Speaker 1: microphone in high heels.
• 49:40
  Speaker 3: Hey, man. Dude was athletic.
• 49:42
  Speaker 2: Yeah, no, that is the thing about.
• 49:44
  Speaker 1: Like, a great musician that is often lost is that
• 49:46
  Speaker 1: this is, in a lot of ways, an athletic feat. Like,
• 49:49
  Speaker 1: the ability to play instruments is in part... It's hand-eye
• 49:53
  Speaker 1: coordination in some ways. Like, there is an athleticism to it. Like,
• 49:56
  Speaker 1: I remember I was telling you once, it's... the one
• 49:59
  Speaker 1: instrument that somebody can one up Prince on is the
• 50:01
  Speaker 1: bass because he has guitar playing piano playing fingers. And
• 50:05
  Speaker 1: so there's that when, when you listen to like revolution
• 50:08
  Speaker 1: stuff where Mark Brown plays the bass.
• 50:10
  Speaker 2: You hear it.
• 50:11
  Speaker 1: It's much heavier because he has, he has heavier hands,
• 50:15
  Speaker 1: but the idea that Prince could take his hands and
• 50:18
  Speaker 1: turn them into all these different.
• 50:20
  Speaker 2: Things, including on the drum machine.
• 50:23
  Speaker 3: Yep.
• 50:24
  Speaker 1: They just made one man. They just made one, but Hey,
• 50:27
  Speaker 1: This is my brother, Patrice Lumumba Jones.
• 50:29
  Speaker 2: You got anything you want to plug?
• 50:32
  Speaker 3: Not really. Okay. I wasn't ready for that one. No,
• 50:37
  Speaker 3: what I will say is my company, Enlight Media, dropped
• 50:42
  Speaker 3: a series of videos that are designed to inject historical
• 50:47
  Speaker 3: context into history, into DEI training. And I think it's
• 50:53
  Speaker 3: really important that we understand history to be able to
• 50:55
  Speaker 3: kind of get a grasp of what's going on in
• 50:57
  Speaker 3: the world today and understand that there are systemic forces
• 51:03
  Speaker 3: here that we don't get just caught up in this
• 51:05
  Speaker 3: idea of the personalities that are affecting the world and
• 51:08
  Speaker 3: the way they are, is that there are systems that
• 51:10
  Speaker 3: need to be addressed. And we're trying to do that
• 51:12
  Speaker 3: through history. So if you check out incontextnow.com, you can
• 51:17
  Speaker 3: see the work that we've done. There it is.
• 51:19
  Speaker 2: And ladies and gentlemen, thanks so much for joining us
• 51:21
  Speaker 2: here on The Right.
• 51:21
  Speaker 1: Time We do this four days a week, but this
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  Speaker 2: Doing it two days. Ryan Brunley handles everything behind the scenes.
• 51:28
  Speaker 2: Thank you, sir.
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  Speaker 2: Take it easy.