Purple Rain Research Paper

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Pages: 7

Track 10: Paisley Park
Prince and the Revolution, Around the World in a Day

The success of Purple Rain had put Minneapolis on the musical map. Fans from around the world made pilgrimages to the local spots made famous by the film. At the same time, the allure of Prince’s “Minneapolis Sound” fueled the growth of a vibrant recording industry there. Jimmy Jam and Terry Lewis set up Flyte Tyme Studios where Janet Jackson’s rocket was launched. Other disciples like the Fine Young Cannibals came in search of purple-tinged production, filling the airwaves with Prince-inspired sound. By the end of the ‘80s, several of the biggest acts of the day—including Terrence Trent D’Arby, George Michael and Paula Abdul—succeeded on formulas copped from the
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The string arrangements were overdubbed remotely by an L.A. producer and his 67-piece orchestra, and they gave Prince’s music a classical beauty. At the same time, the album served as a prelude to a new line of snappier, classic funk fashions. (The sharp, put-together “Kiss” was soon to hit the runway.) Unfortunately, even though it was a gem in Prince’s crown, the Family project went nowhere fast. Angered by the boss’ stifling control, St. Paul quit before it could get off the ground. When Prince began compiling his own album—supporting music for his new movie—his nose remained elevated, and he readily embraced more cultured textures. The cover of the album, entitled Parade, reinvented Prince in slicked-down, debonair style. As he’d done with the Family, he photographed himself in dramatic black and white – with tightly cropped hair, sharply penciled eyebrows, and a simple flamenco vest. His pose—with arms raised theatrically like a conductor summoning a crescendo or a ballet dancer frozen mid-plié—completed the artistic