Prince will receive an all-star Grammy tribute featuring Alicia Keys, Beck and H.E.R. along with Sheila E., The Time and The Revolution.
— Read on variety.com/2020/music/news/prince-all-star-grammy-tribute-alicia-keys-beck-sheila-e-the-time-1203461660/
Producer/director Ava DuVernay is working with Netflix on a Prince documentary, two sources have confirmed to Variety. The project has the full cooperation of the late artist’s estate, which is providing with interviews, archival footage and photos. The multiple-part documentary will cover the artist’s entire life.
While renowned for her work on “Selma,” “Queen Sugar” and others, DuVernay made her big-screen debut in 2008 with “This Is the Life,” which chronicled the alternative hip-hop scene in Los Angeles in the 1990s.
A source also said that a documentary about Prince and the Revolution’s legendary concert at Minneapolis’ First Avenue in August of 1983 has landed at Apple Music. The show featured the premieres of several songs that would appear on the “Purple Rain” album and film nearly a year later, and, in fact, the album versions of three of those songs were recorded at the show (albeit with overdubs added later). The concert marked the debut of guitarist Wendy Melvoin and the “Purple Rain”-era incarnation of the Revolution.
Video and audio recordings from the concert and its rehearsals have been circulating on bootleg for many years, and feature a longer take of “Purple Rain” with an additional, seemingly ad-libbed verse that was dropped from the official version. Another song from the concert, “Electric Intercourse,” was originally mooted for the album but was replaced by the similar but superior song, “The Beautiful Ones.” A studio version of “Electric Intercourse” was finally released on the “Purple Rain” deluxe edition in 2017, although many fans consider the live version to be better.
“If you (poked) him, you would probably hear a sound of music. He was music, kind of like how God is love,” Nelson offered.
Although Prince died two years ago in April, the university decided to continue a process that had begun in 2015 and honor him with the posthumous degree. Awarding someone who isn’t alive is rare, the school said.
The university said the degree is in recognition of the singer’s “remarkable talent, enduring influence in music, and his role in shaping the city of Minneapolis.”
Kim said the university’s honor to Prince also serves as an important lesson and reminder. “Society pressures young people to conform to certain standards, and Prince was anything but standardized,” he said. “Be yourself, know who you are and good things are going to happen.”
While Spike Lee’s upcoming BlacKkKlansmanmovie has already received critical acclaim ahead of its August 10th release, viewers are in for a treat at the end of the movie when a Prince song plays; something the award-winning director believes was meant to be.
Lee spoke to Rolling Stone about the Prince cover of the Negro spiritual “Mary Don’t You Weep” that plays at the end of the movie. Lee said that the song was perhaps a divine sign from the deceased singer.
“I knew that I needed an end-credits song. I’ve become very close with Troy Carter, one of the executives at Spotify [and a Prince estate advisor],” said Lee. “So, I invited Troy to a private screening. And after, he said, ‘Spike, I got the song.’ And that was ‘Mary Don’t You Weep,’ which had been recorded on cassette in the mid-Eighties.”
“Prince wanted me to have that song, I don’t care what nobody says. My brother Prince wanted me to have that song, for this film,” he says emphatically.
“There’s no other explanation to me. This cassette is in the back of the vaults. In Paisley Park. And all of a sudden, out of nowhere, it’s discovered? Nah-ah. That ain’t an accident.”
According to The Hollywood Reporter, during the world premiere of BlacKkKlansman at the Cannes film festival, the audience broke out in applause about a half-dozen times during the movie. And they were so moved by the end of the film, that they clapped for four minutes during the credits and then stood up for a six-minute standing ovation.
Making this feature even more timely and culturally significant is the fact that Lee has decided to release it on August 10th, the one-year anniversary of the Charlottesville, Va., white nationalist rally. Denzel Washington’s son, John David Washington, portrays the movie’s lead character, Ron Stallworth. The movie is based on a true story.
Here’s part of his Rolling Stone interview.
On Jordan Peele’s initial BlacKkKlansman script and what was missing:
“They acquired Ron Stallworth’s book and felt it needed more flava. And that’s what I brought. I was grateful for the opportunity because I had never heard of Stallworth. I didn’t know his story. People say, “That is too unbelievable to be true.” And that’s what makes it such a great story.”
On deciding to include footage from the Charlottesville riots:
“We started shooting in September. When Charlottesville happened, I knew that was going to be the ending. I first needed to ask Ms. Susan Bro, the mother of Heather Heyer, for permission. This is someone whose daughter has been murdered in an American act of terrorism — homegrown, apple-pie, hot-dog, baseball, cotton-candy Americana. Mrs. Bro no longer has a daughter because an American terrorist drove that car down that crowded street. And even people who know that thing is coming, when they see it, it’s like, very quiet.”
On if he saw any of Denzel Washington in John David Washington:
“John David is amazing in this movie. That phrase ‘the fruit doesn’t fall far from the tree’ — there’s a reason people say that. He is Denzel Washington’s first son. That’s a big, big burden. But he’s also his own man. I have a history with him. His first film was Malcolm X. At the end of the movie, when the kids say, “My name is Malcolm X!” He’s one of the kids. He was about six years old.”
For a few short years in the 1970s, no one made funk as raw as Betty Davis did. She sang bluntly about sex on her own terms, demanding satisfaction with feral yowls and rasps, her voice slicing across the grooves that she wrote and honed as her own bandleader and producer. Her stage clothes were shiny, skimpy, futuristic fantasies; her Afro was formidable.
A major label, Island, geared up a big national push for her third album, “Nasty Gal,” in 1975. But mainstream radio didn’t embrace her, and Island rejected her follow-up recordings. Not long afterward, she completely dropped out of public view for decades.
Ms. Davis’s voice now — speaking, not singing — resurfaces in “Betty: They Say I’m Different,” an impressionistic documentary that will have its United States theatrical premiere on Wednesday at the Billie Holiday Theater in Bedford-Stuyvesant, Brooklyn, as part of the Red Bull Music Festival. The film includes glimpses of virtually the only known concert footage of Ms. Davis in her lascivious, head-turning prime, performing at a 1976 French rock festival. The present-day Ms. Davis is shown mostly from behind and heard in voice-over, though there is one poignant close-up of her face.
This month Ms. Davis, 72, gave a rare interview by telephone from her home near Pittsburgh to talk about the film and her music. After years of entreaties from and conversations with its director, Phil Cox, and producer, Damon Smith, she agreed to cooperate on “Betty: They Say I’m Different” because, she said, “I figured it would be better to have them cover me when I was alive than when I was dead.”
Mr. Cox said, via Skype from England, “Betty doesn’t want sympathy, and she’s found her own space now. To me, that is just as interesting as that woman she was in the 1970s. It’s the antithesis of the age we live in, where everybody wants to be on social media all the time.”
Ms. Davis has longtime fans from the ’70s and newer ones who have discovered her in reissues and through hip-hop samples. They have clung to a catalog and a persona that were musically bold, verbally shocking and entirely self-created. Long before the current era of explicit lyrics, Ms. Davis was cackling through songs like “Nasty Gal” — “You said I love you every way but your way/And my way was too dirty for you” — and “He Was a Big Freak,” which boasts, “I used to whip him/I used to beat him/Oh, he used to dig it.” She still won’t reveal who was, or whether there was, a real-life model for songs like those.
“I wrote about love, really, and all the levels of love,” she said. That emphatically included sexuality. “When I was writing about it, nobody was writing about it. But now everybody’s writing about it. It’s like a cliché.”
Ms. Davis was born Betty Mabry in Durham, North Carolina, in 1945, and she grew up there and in Pittsburgh. She headed to New York City in the early 1960s, when she was 17, and enrolled at the Fashion Institute of Technology. She supported herself as a model and a club manager; she reveled in the city’s night life, meeting figures like Andy Warhol, Sly Stone, Eric Clapton and Jimi Hendrix.
Diana Ross will be given a Lifetime Achievement honor at the 45th annual American Music Awards, and also perform during the broadcast, which airs Nov. 19 on ABC from Los Angeles’ Microsoft Theater. Ross has history with the AMAs, having attended her first ceremony in 1974 and serving as host in 1986 and 1987. She has seven AMA wins under her belt and has performed many times on the show, which is produced by Dick Clark Productions.
“I have endless memories of all the years that I have appeared on the American Music Awards,” Ross said in a Wednesday release about honor. “It started with Dick Clark and The Caravan of Stars and American Bandstand. It was Dick Clark who said, ‘Music is the soundtrack of our lives.’ So true. I am so excited to be receiving this honorable award.”
The American Music Award for Lifetime Achievement, given to those who’ve had significant contributions to the music industry, has previously honored Sting, Whitney Houston, Michael Jackson, Gloria Estefan and Prince. Nominations for the 2017 AMAs were announced last week, with BrunoMars leading with eight and followed by Ed Sheeran, The Chainsmokers, Drake, Kendrick Lamar and The Weeknd, each with five.
Charlie Murphy, the older brother of Eddie Murphy, a “Chappelle’s Show” star and an accomplished comedian in his own right, died Wednesday in New York City. He was 57. Murphy’s publicist confirmed the comedian’s death, and the cause of death was leukemia.
“We just lost one of the funniest most real brothers of all time. Charlie Murphy RIP,” Chris Rock, Murphy’s CB4 co-star, tweeted. “Charlie Murphy changed my life,” tweeted “Chappelle’s Show” co-creator Neal Brennan. “One of the most original people I’ve ever met. Hilarious dude. Habitual Line Stepper. So sad.”
After making his big screen debut in 1989’s “Harlem Nights,” directed by his younger brother Eddie, and appearing in bit roles in Spike Lee films like “Mo’ Better Blues” and “Jungle Fever,” Murphy’s big break came as a cast member on “Chappelle’s Show,” where “Charlie Murphy’s True Hollywood Stories” resulted in a pair of that series’ most memorable sketches.
Both sketches featured Murphy reminiscing about he and Eddie’s celebrity encounters in the Eighties, with Dave Chappelle portraying Rick James and Prince in the now-legendary sketches. Charlie Murphy also co-wrote “Vampire in Brooklyn,” another film directed by Eddie, as well as 2007’s “Norbit.”
Murphy also appeared in 1998’s “The Player’s Club,” directed by Ice Cube. The rapper paid tribute to Murphy on Twitter Wednesday, “Damn, sorry to hear about my friend Charlie Murphy. He took a chance on a young director in The Player’s Club. Always made me laugh. RIP.”
Growing up in the Bushwick area of Brooklyn, Charlie often stuck up for his younger brother; in defending Eddie, Charlie joked about fearing his mom’s wrath if bullies picked on Eddie more than the bullies themselves. That guardian role made Charlie a natural to serve as Eddie’s security guard as the comedian quickly ascended to stardom.
Due to Charlie’s propensity toward overreacting while guarding his brother – “Whoever say something, I almost gave this old man a heart attack on a plane because he asked us if we were a basketball team. I took that personally,” Murphy said in a Chappelle’s Show outtake – forced Murphy to embark on his own career.
One night at an Eddie Murphy stand-up performance, Charlie went after one heckler “who tried to squeeze the lemon.” “I took it as a personal crusade until they were like, ‘You’re a little overzealous in how you’re performing your job.’ So that’s how I ended up not doing [security] anymore,” Murphy said.
There’s an avalanche of thoughts that tumble through one’s mind when you are left to ponder the extraordinary (yet criminally underrated) career of George Michael following his shocking death on Christmas Day at the age of 53. But for this writer, the date of January 30, 1989, remains a moment that underlines the sheer gift, curse and deeply complex appeal of the ultimate white rhythm and blues vocalist. It was at Los Angeles’s Shrine Auditorium during the American Music Awards where Michael stepped on a debate-igniting, cultural land mine.
The former member of the monstrous pop duo Wham! was coming off the unfathomable commercial triumph of his critically-acclaimed solo debut Faith, which would go on to sell 25 million copies worldwide (10 million in the U.S. alone). Michael was now being viewed as a worthy addition to the ‘80s holy pop trinity of Michael Jackson, Prince and Madonna. When you headline your own sold-out world tour (The 1988 Faith trek became the second-highest-grossing tour of that year, pulling in nearly $20 million), fire off six consecutive top five singles on the Billboard charts (fueled by the one-two punch of the No. 1 rockabilly-dipped-in-soul title track and the dark, controlling church-infused ballad “Father Figure”) and win Album of the Year at the Grammys, you can pretty much write your own check.
But before that coronation solidified his place as a legit music industry behemoth, Michael found himself at the center of a racial tsunami when he won two AMAs for Favorite Album (Soul/R&B) and Favorite Male Artist (Soul/R&B). This was the era of the “Crossover Negro,” especially in the recording biz, as the aforementioned King of Pop and The Purple One — alongside the likes of Whitney Houston, Janet Jackson, Tina Turner, and Lionel Richie — all took turns ruling the top of the charts. Teddy Riley was leading the multi-platinum New Jack Swing wave. And hip-hop’s golden age was just kicking off, forcing MTV to create Yo! MTV Raps just to keep up with the street-infused genre’s groundbreaking stars like N.W.A., Public Enemy, Eric B & Rakim, Salt-N-Pepa and De La Soul. Black culture was cool and was only going to get cooler in the next decade.
For many African-American followers, their first introduction to the East Finchley, London native was Wham!’s 1982 cheeky, disco-rap rave-up “Young Guns (Go For It).” Michael and his conspicuously silent partner Andrew Ridgeley were pushed as cutesy teen idols that indulged in the funk.
But while Wham!’s No. 1 commercial breakthrough, 1984’s overtly day-glow single “Wake Me Up Before You Go-Go,” made them global stars, it was a heaven-sent slow jam that forever gave Michael his ‘hood pass. At just 17 years old, the gifted singer/songwriter wrote and produced the mournful torch song “Careless Whisper,” a mammoth hit that not only reached No. 1 on the Billboard Hot 100, but also became a top 10 hit on the U.S. Hot Black Singles, earning its place as a quiet storm staple on R&B radio. “I’m never going to dance again/Guilty feet have got no rhythm,” remains one of that era’s most heartbreaking lines ever recorded. This was a different cat.
Prince’s greatest-hits compilation “Prince 4Ever,” the first album release since his death on April 21, debuts at No. 80 on the Billboard 200 this week, and becomes the 40th album of his career.
The album was released off-cycle on Nov. 22 (instead of the normal Friday release of Nov. 18 or Nov. 25), so it arrives on the chart with only two days of sales and consumption activity, notes Billboard. Still, “Prince 4Ever” sold 8,000 copies in the week ending Nov. 24, according to Nielsen Music, and earned 9,000 equivalent album units.
The new 40-track offering includes one never-before-released song, “Moonbeam Levels.” It was originally recorded in 1982 during sessions for the “1999” album.
The other 39 songs on “4Ever” mark his greatest hits from 1978 to 1993 during his time with Warner Bros. Records — from his first charting single “Soft and Wet,”, to “Nothing Compares 2 U” in 1993.
Chaka Khan, Anita Baker, Stevie Wonder and Doug E. Fresh are among the artists who will honor Prince at his official tribute concert next month in St. Paul, Minnesota.
Billed as Prince: The Official Prince Tribute — A Celebration of Life and Music, the event is organized by the late musician’s family and estate, and will take place Oct. 13 at St. Paul’s Xcel Energy Center in his hometown.
The lineup also includes Christina Aguilera, John Mayer, Tori Kelly, Luke James, Bilal, Mint Condition, Morris Day & the Time, Judith Hill and Liv Warfield, the New Power Generation featuring Morris Hayes plus members of 3RDEYEGIRL.
The concert is expected to bring in more than $1 million to Prince’s estate, according to The Star Tribune.