and his 2nd Coming...

2 night I'm livin' in a fantasy
My own little nasty world
2 night, don't U wanna come with me?

Anyone who knows me knows I LOVE everyone from the 1978-1988 period. That is culture and academic study time. It's romanced and canonized.

Jamie Starr & The Starr ★ Company

I'm amazed at the depth quality and quantity of music, plans, tours/shows and people of this time period. Prince beating Rick James to the punch. I love the storyline of the Hookers-Vanity 6 protégés period.

The detail that went into making it happen, and how Vanity polished it up 4 Prince when she came into the picture. I've been working on a sketch storyline of Vanity having a role in Under the Cherry Moon, but that is anothe topic.

.

I don't care to argue and fight about stuff here. No reason to put anyone down to build anyone up. I know some people get caught up in the romance, I just want to capture the story poetry and beauty of this time period. The music the music the purple music...

the Hookers

leather lingerie camisoles

Denise Matthews Brenda Bennett Susan Moonsie

Jill Jones Jamie Shoop Loreen Moonsie Kim Upsher

Kiowa Trail Home Studio, Chanhassen, MN
Allen Beaulieu - photography

Nasty Girl
Bite the Beat
Make Up

Drive Me Wild

2 Much

Mink Kitty Cat
He's So Dull

I Need A Man

3 x 2 = 6

If A Girl Answers(Don't Hang Up)
Wet Dream

Moral Majority

Back in 1983,I had this poster on my wall

Home studio, early 1981
She’s Just A Baby #1 (4:44)
Broken (3:04)
Commercial #1
Hump You
Susan

The Hookers, home studio, 1981 - Jamie Shoop & Susan Moonsie
I Need A Man #1 – lead vocal: Jamie Shoop
Make-up (2:39)*
Wet Dream #1
Jealous Girl #1 – offered to The Bangles in 1985
Pizza
Drive Me Wild (2:32)*

Home studio, autumn-winter 1981
The Second Coming (1:58) (autumn)

The Hookers/Vanity 6, home studio, late 1981 – early 1982
Moral Majority #1
Vagina – also the name offered to Denise Matthews when she joined The Hookers in January 1982

Home studio, early 1982
All The Critics Love U In New York (5:55)*
Do Yourself A Favour #2 (previously “If You See Me”) (8:41) (Pepé Willie)
Money Don’t Grow On Trees – possibly intended for The Hookers
No Call U #1 (3:02)

Vanity 6, Sunset Sound, 25 March – 9 April 1982 – album completed in May
Bite The Beat (3:13)* (Prince/Jesse Johnson)
He’s So Dull (2:32)* (Dez Dickerson) - produced, guitar & drums by Dez Dickerson
Too Much
Nasty Girl (5:16)*
Wet Dream #2 (4:11)*
Let’s Pretend We’re Married (7:20)* (30/3)
Wouldn’t You Love To Love Me? #4 (1/4)
Extra Loveable (7:06) (3/4)
If A Girl Answers (Don’t Hang Up) (5:35)* (Prince/Terry Lewis)
3 x 2 = 6 (5:22)* (5/4)
If It will Make U Happy (6/4)

Home studio, 1982
Boom, Boom, Can’t U Feel The Beat Of My Heart #1
Can’t Stop This Feeling I Got #1
Don’t Let Him Fool Ya #1
Fox Trap
Girl (7:36)*
Horny Toad (2:13)*
I Could Never Take The Place Of Your Man #1
Lust U Always #1
Mink Kitty Cat #1 – intended for Vanity, tentative placing
My Baby Knows How To Love Me #1
New Position #1
Purple Music #1 (10:48)
Purple Music #2 (10:35) – extra guitar parts & vocal differences
Strange Relationship #1
Teacher, Teacher #1
U Should Be Mine (possibly instrumental) – offered to Eric Leeds in July 1989 for new Madhouse album
Yah, U Know #1
You’re My Love #1

Sunset Sound, 7-14 January 1983
Little Red Corvette (Dance Mix) (8:22)*
Drive Me Wild (Extended Version) (7:08)*

SoulAlive said:

Back in 1983,I had this poster on my wall

I was just looking at this one in folder. That is a powerful image.

One of my favorite tracks on the album is "Wet Dream".Would have made a strong single,but perhaps radio stations would have been afraid to play a song with such a suggestive title

Wet Dream is the second track on Vanity 6's first and only album Vanity 6. The track was written, produced and largely performed by Prince (as was the rest of the album). Five months after the album's release, it was included as a b-side on the UK 12" version of He's So Dull, the album's third single.

While specific recording dates are unknown, basic tracking took place in Summer 1981 at Prince's Kiowa Trail Home Studioin Chanhassen, Minnesota (during the same set of sessions that produced Make-Up, Drive Me Wild and I Need A Man). The tracks were intended for an album by The Hookers, which was abandoned in Fall 1981, and which later evolved into Vanity 6. Vocal overdubs by Vanity and Brenda Bennett were added in Spring, 1982, when the band had evolved into Vanity 6.

A later track, planned for a projected second album by Vanity 6, was titled Wet Dream Cousin due to its similar musical feel to this track; the two are otherwise unrelated, however; see Wet Dream Cousin for details of that track (PrinceVault)

I could easily see/hear a song like that on radio back in the 80s...

It took me a minute to appreciate the music style, but I so enjoy it. The music style is similar to Velvet Kitty Cat. It is a mix of bubble gum 50s rockabilly with a current of New Wave.

[Verse 1]
My lips start shaking when I see him walking down the street
Of all the boys at school he's the only one I wanna meet
If he combs his hair all my girlfriends start to scream
He's so clean, he's the number one star of my wet dream

[Verse 2]
I get so angry if i see him with another dame
I start to tremble and I don't even know his name
If he takes her to the soda shop guess who's gonna buy the ice cream
She gives him all her money 'cause he's the star of her wet dream

[Chorus]
Can't help it, can't help it, can't help it
Ooh, honey honey boy's so fine
I can't help it, can't help it, can't help it
Ooh, honey, honey gotta gotta make him mine

[Verse 3]
My body starts to quiver when I think of his next to mine
I know he could deliver the dam to the river anytime
He's so good looking he's the cutest dude I've ever seen
He's my little lover, number one star of my wet dream

[Chorus]
Can't help it, can't help it, can't help it
Ooh, honey honey boy's so fine
I can't help it, can't help it, can't help it
Ooh, honey, honey, gotta gotta make him mine, yeah

[Outro]
Make my body scream
You're the star of my wet dream
Somebody, somebody, somebody help me sing

You're my little lover, make my body scream
You're my little lover, number one star of my wet dream
(everybody sing together)
You're my little lover, you make my body scream (make my body scream)
You're my little lover, number one star of my wet dream (yes you is)
You're my little lover, you make my body scream
You're my little lover, number one star of my wet dream
(everybody sing together)
You're my little lover, make my body scream (ow, ow, yeah, yeah)
You're my little lover, number one star of my wet dream
You're my little lover, make my body scream (oh, honey, honey, honey, honey, oh)
You're my little lover, number one star of my wet dream (yes you is, wet dream, wet dream, wet dream)
You're my little lover, make my body scream (i can't help it, can't help it, can't help it)
You're my little lover, number one star of my wet dream (ooh, ooh, ooh)
You're my little lover, make my body scream (i can't help it, i can't)
You're my little lover, number one star of my wet dream (honey, honey, honey, honey, honey, honey, honey)
You're my little lover, you make my body scream

SoulAlive said:

One of my favorite tracks on the album is "Wet Dream".Would have made a strong single,but perhaps radio stations would have been afraid to play a song with such a suggestive title

Wet Dream is the second track on Vanity 6's first and only album Vanity 6. The track was written, produced and largely performed by Prince (as was the rest of the album). Five months after the album's release, it was included as a b-side on the UK 12" version of He's So Dull, the album's third single.

While specific recording dates are unknown, basic tracking took place in Summer 1981 at Prince's Kiowa Trail Home Studioin Chanhassen, Minnesota (during the same set of sessions that produced Make-Up, Drive Me Wild and I Need A Man). The tracks were intended for an album by The Hookers, which was abandoned in Fall 1981, and which later evolved into Vanity 6. Vocal overdubs by Vanity and Brenda Bennett were added in Spring, 1982, when the band had evolved into Vanity 6.

A later track, planned for a projected second album by Vanity 6, was titled Wet Dream Cousin due to its similar musical feel to this track; the two are otherwise unrelated, however; see Wet Dream Cousin for details of that track (PrinceVault)

People call me rude

I wish we all were nude

I wish there was no black and white

I wish there were no rules.

[what is Susan's sisters name?] Jamie Shoop, Susan Moonsie

Prince tapped “godfather of the music video” Chuck Statler to helm the ill-fated film The Second Coming

Produced during the final leg of 1982’s Controversy tour, the feature was conceptualized as a documentary concert film meets glam-funk fantasy, filtered through Prince’s unique paisley-and-lace perspective.

by Tony Best

Prince may well be the Orson Welles of funk. Mercurial, obsessive, prolific—legend continues to surround the respective genius of both artists. One notable parallel is their canon of unreleased works, which for decades have been shrouded in mystique and subjected to intense speculation. Prince’s vault of shelved material is rumored to include thousands of randomly recorded tracks, dozens of completed albums, and, much like Welles, a few movies in the can.

The Second Coming, Prince’s first attempt at filmmaking, is among these ill-fated projects. Produced during the final leg of 1982’s Controversy tour, the feature was conceptualized as a documentary concert film meets glam-funk fantasy, filtered through Prince’s unique paisley-and-lace perspective. Long mythologized within Prince fan circles, few details have leaked about this lost film other than its purported similarities to Purple Rain: a high-concept, erotically charged rock opera infused with a surreal ’80s neon motif.

http://www.waxpoetics.com/blog/features/articles/prince-second-coming-ill-fated-film/

A PUNK PROPHET OF SEXUAL ANARCHY

I'm still frightened of Prince allured by the promise, alarmed by the chintzy crud of his live routine, partially assuaged by this new "Controversy". -NEW MUSICAL EXPRESS November 14, 1981

The Controversy Daily

Lingerie - New Fashion Trend

WOWWW

OldFriends4Sale said:

People call me rude

I wish we all were nude

I wish there was no black and white

I wish there were no rules.

[what is Susan's sisters name?] Jamie Shoop, Susan Moonsie

same backdrop as the Vanity 6 photos but without the purple

seand67 said:

WOWWW

OldFriends4Sale said:

People call me rude

I wish we all were nude

I wish there was no black and white

I wish there were no rules.

[what is Susan's sisters name?] Jamie Shoop, Susan Moonsie

Brenda Bennett shares a rare moment of downtime with Paul Chavarria while working in Prince's wardrobe department, 1981

Roy was working for the Rhode Island-based stage production outfit Polico Lighting when they scored the contract to provide the stage lights for Boston’s first national tour. He had risen quickly through the ranks and in 1980, he took on his first gig as Lighting Designer when he accepted an offer from Prince to join his upcoming “Dirty Mind” tour. By this time, Brenda and Roy had become romantically involved and while Roy headed out on the tour, Brenda began planning their wedding. As the tour approached New York City for a show at The Ritz, Roy asked Brenda to meet him there. Besides just wanting to see her, he wanted Brenda to see Prince in action to have her meet him. He told her, “I’ve got a feeling he’s going to be really big.” On the morning of December 9, 1980, Brenda and Roy were in the hotel elevator headed out for the set-up and soundcheck at The Ritz when they heard that John Lennon had been murdered the night before outside his New York apartment building, The Dakota. Lennon was Brenda’s idol – the reason she’d begun to write music in the first place. “I was devastated. And here I was on my way to meet, as it turned out, someone who was to become one of the biggest artists in the world, not having a clue as to how I would help his career and he would help mine.”

Brenda and Roy were married in 1981. Roy was scheduled to head back out with Prince for the “Controversy” tour and asked Brenda to join him on the road. She agreed.

“I was very excited at the prospect of being on the road during this exciting time, but I felt I needed to have something to do…something that justified me having a bunk on the tour bus with Roy and the lighting crew. From past experience, I knew I needed to do something to ‘earn my keep,’ you might say. I spoke to Roy about it and before I knew it, I had four jobs on that tour! I had two jobs with the crew and two jobs specifically for Prince – I was his wardrobe mistress and his videographer. He had me film his show each night as a learning tool so that he could critique his show to see what and where any changes might need to be made.”

^ ^ ^ ^ ^ ^ ^ ^ ^

Love these little background stories

THanks OF4S

- this is a photo of Sheila E and Prince -

OldFriends4Sale said:

Lovejunky said:

^ ^ ^ ^ ^ ^ ^ ^ ^

Love these little background stories

THanks OF4S

U R welcome, I love them too

Those days went by so fast, and they didn't have social media as we do today to capture it...

not realizing how 'historic' those times would be

iZsaZsa said:

OldFriends4Sale said:

People call me rude

I wish we all were nude

I wish there was no black and white

I wish there were no rules.

[what is Susan's sisters name?] Jamie Shoop, Susan Moonsie

Loreen

Thank U

In order to recruit his stable of Hookers, Prince stayed even closer to home than he had for the Time. He drafted his personal assistant, Jamie Shoop, who then-engineer Don Batts described as “a good-looking blonde… kind of a ballsy woman in a man’s world” (Nilsen 1999 63). The other two spots were filled by his girlfriend at the time, Susan Moonsie, and her sister Loreen.

Director and producer Chuck Statler—widely considered as the “godfather of the music video”—was tapped by Prince & Co. to helm The Second Coming and execute the twenty-three-year-old’s creative vision. Statler began his career as a visual artist and commercial producer before revolutionizing pre-MTV promotional videos, lensing stylized short films and documentaries for art rockers Devo, the Cars, and Elvis Costello.

Now thirty years after The Second Coming’s planned release, Statler reflects on the making of the film and his collaboration with pop music’s (then) enfant terrible.

How did your relationship with Prince develop?

Chuck Statler: I’m almost positive that I met one of his managers, Steven Fargnoli, at Minneapolis’s First Avenue in late 1981. I think it might even have been a Prince show. Someone introduced us at the bar and said, “Steven, this is Chuck Statler and he does videos for Devo.” He said he loved my work and asked if I would be interested in working with Prince on a video project. I said sure—great. That project was the video for “Cool,” the Time’s first single.

After getting the assignment, I went out to this warehouse in Eden Prairie to meet the band. When I arrived, Prince was there—it was the first time I met him. He was showing Jellybean Johnson some kind of riff on the drums, because Jellybean had a hard time keeping it in the pocket. I think Prince did most of the tracks on The Time album anyway. He definitely had a big influence on that first record.

Did he mention your other music video work?

Not that I recall. Very few words were exchanged with him that day, very few. In fact, we did the “Cool” location shoot at a local public school. It was all done in one long day, something like twelve hours. Prince showed up with his assistant, sat down at the back of the classroom, and didn’t say a word. [laughs] Not one thing!

We finished shooting and began editorial, cutting this thing together. We didn’t even have a rough cut yet, and I got word that Prince wants to see the footage. He comes down to the editing bay to watch everything. Even then, the conversation may have been minimal at most. After he left, I got a call from his assistant Jamie saying that he wanted to change one thing. It was so miniscule that it didn’t make any difference in the video, but he had to be able to have some say in what we were doing. But Prince really liked the final results. I must of passed the test in his eyes and that led to working on the concert film.

What was their impetus for shooting the Controversy tour footage?

The initial objective was to create a film for the same reason music videos were done at that time. As a promotional tool. Prince’s management wanted to document the concert for possible home video or television distribution. Because there was some concern in specific concert markets about audience demographics and all that, they felt that a film was an easier alternative for people to experience the live show.

After about three days of meetings and discussions with Prince and his management, I spent a few days on the road watching and blocking the live show for the film shoot. We shot it at the Met Center [in Bloomington, Minnesota] on March 7, 1982. That was a very cold night towards the end of the tour. I’m pretty sure we covered it with five principal cameras—16mm color—and a possible sixth rolling camera for audience shots.

But after screening the footage from the concert, enthusiasm propelled conversations about adding material and seeking theatrical distribution. Steve Rivkin was working with me as an editor at the time. We were cutting the concert shots when Prince came in and got really excited about what he saw. He says, “Wait a minute—maybe we should really expand this and really try to make it a film. Not just a concert movie.”

So his management came back to me and said, “Here’s this situation. Prince wants to do this interstitial material within the concert footage. And it’ll be somewhat autobiographical.” Management’s thinking was that a theatrically distributed film with a semblance of story line could demographically broaden the audience and in particular, specific metro markets. In time, this mixture of concert and dramatic interludes would morph into The Second Coming project.

pt 2

This sounds thematically similar toLed Zeppelin’s The Song Remains the Same (1976).

Certainly not aesthetically, but in structure, yes. I’d have to give the nod to The Song… First off, that project was completed and secondly, the interstitial material looks more theatrical.

Did you have a concept in mind for The Second Coming’s autobiographical/dramatic sequences?

No, I was never asked for my input. Like all Prince projects, it’s kind of…it’s just Prince. Period.

So it’s probably safe to say that star and director didn’t exactly “bond” during production either.

Correct. [laughs] Actually, I can say emphatically that despite all the meetings I had with him, the most conversation occurred during location scouting and him talking about what he wanted to accomplish. Other than that, going as far back as the Time video, there wasn’t much more than a hello.

When did principal photography begin?

After the Controversy tour finished, sometime in late March of 1982, we went to Prince’s father’s house and planned to start the shoot there. But he decided to film at his purple-painted house in Chanhassen—the one before Paisley Park. We’re simultaneously cutting the six camera’s worth of concert footage as well. And there’s all the backstage footage with the band, audience interviews, sound bites. A lot of stuff. I can’t remember how many rolls or hours worth of material we had at this point. Steve Rivkin helmed the editing phase, and I started preparing for the interstitial material.

When we got to Prince’s house, it then became this gruesome drill. The filming went on and on…being the perfectionist and control maestro that he is. We were trying to be as efficient as possible, but it became one thing after another, which delayed the whole process instead of doing quite the opposite. All the shots we talked about and all the camera blocking we did, the storyboards, the pre-production.

We even had some electrical problems at his house. Prince was really inspired by a film at that time, I can’t remember the name of it, but it had a lot of back lighting. He was enamored with that and wanted a lot of back lighting. We pulled everything off the truck, lit everything up, and it still wasn’t enough! So I had more sent in and kept adding light.

Darlingnikki1027 said:

This thread is EVERYTHING! I love the Prince/Vanity era and relationship. Thank you for this.

Charisma!! there was electricity between these ladies. Vanity was very special.

Vanity had an exquisite face...those cheekbones!

I wish someone could take the existing footage from The Second Coming,complete it and release it as either a standalone DVD/blu-ray or included with a Controversy Deluxe Edition set.

OldFriends4Sale said:

I could easily see/hear a song like that on radio back in the 80s...

It took me a minute to appreciate the music style, but I so enjoy it. The music style is similar to Velvet Kitty Cat. It is a mix of bubble gum 50s rockabilly with a current of New Wave.

[Verse 1]
My lips start shaking when I see him walking down the street
Of all the boys at school he's the only one I wanna meet
If he combs his hair all my girlfriends start to scream
He's so clean, he's the number one star of my wet dream

[Verse 2]
I get so angry if i see him with another dame
I start to tremble and I don't even know his name
If he takes her to the soda shop guess who's gonna buy the ice cream
She gives him all her money 'cause he's the star of her wet dream

[Chorus]
Can't help it, can't help it, can't help it
Ooh, honey honey boy's so fine
I can't help it, can't help it, can't help it
Ooh, honey, honey gotta gotta make him mine

[Verse 3]
My body starts to quiver when I think of his next to mine
I know he could deliver the dam to the river anytime
He's so good looking he's the cutest dude I've ever seen
He's my little lover, number one star of my wet dream

[Chorus]
Can't help it, can't help it, can't help it
Ooh, honey honey boy's so fine
I can't help it, can't help it, can't help it
Ooh, honey, honey, gotta gotta make him mine, yeah

Ads by ZINC

[Outro]
Make my body scream
You're the star of my wet dream
Somebody, somebody, somebody help me sing

You're my little lover, make my body scream
You're my little lover, number one star of my wet dream
(everybody sing together)
You're my little lover, you make my body scream (make my body scream)
You're my little lover, number one star of my wet dream (yes you is)
You're my little lover, you make my body scream
You're my little lover, number one star of my wet dream
(everybody sing together)
You're my little lover, make my body scream (ow, ow, yeah, yeah)
You're my little lover, number one star of my wet dream
You're my little lover, make my body scream (oh, honey, honey, honey, honey, oh)
You're my little lover, number one star of my wet dream (yes you is, wet dream, wet dream, wet dream)
You're my little lover, make my body scream (i can't help it, can't help it, can't help it)
You're my little lover, number one star of my wet dream (ooh, ooh, ooh)
You're my little lover, make my body scream (i can't help it, i can't)
You're my little lover, number one star of my wet dream (honey, honey, honey, honey, honey, honey, honey)
You're my little lover, you make my body scream

SoulAlive said:

One of my favorite tracks on the album is "Wet Dream".Would have made a strong single,but perhaps radio stations would have been afraid to play a song with such a suggestive title

Wet Dream is the second track on Vanity 6's first and only album Vanity 6. The track was written, produced and largely performed by Prince (as was the rest of the album). Five months after the album's release, it was included as a b-side on the UK 12" version of He's So Dull, the album's third single.

While specific recording dates are unknown, basic tracking took place in Summer 1981 at Prince's Kiowa Trail Home Studioin Chanhassen, Minnesota (during the same set of sessions that produced Make-Up, Drive Me Wild and I Need A Man). The tracks were intended for an album by The Hookers, which was abandoned in Fall 1981, and which later evolved into Vanity 6. Vocal overdubs by Vanity and Brenda Bennett were added in Spring, 1982, when the band had evolved into Vanity 6.

A later track, planned for a projected second album by Vanity 6, was titled Wet Dream Cousin due to its similar musical feel to this track; the two are otherwise unrelated, however; see Wet Dream Cousin for details of that track (PrinceVault)

Two things I really love about this song:

the rain/storm sounds that we hear in the middle and as the song ends

I like how Brenda really comes alive near the end...demanding "everybody sing together!"

Bite The Beat is the seventh track on Vanity 6's first and only album Vanity 6, and, in Fall 1982, Bite The Beat was released as the album's second single. In 1983, it was also included on the 12" single of Drive Me Wild, the album's fourth and final single. Prince wrote the lyrics, which were credited to Brenda Bennett, while the music was written by Jesse Johnson (his first published work).

While specific recording dates are unknown, basic tracking took place in late March 1982 at Prince's Kiowa Trail Home Studioin Chanhassen, Minnesota (in the same sessions that produced Nasty Girl and He's So Dull). (PrinceVault)

Bite the beat, it tastes so good
Bite it till U're satisfied
Ain't nothin' wrong with dancin' all night long
U can still be dignified

When I first saw your teeth
I knew U were the only one qualified
2 bite the beat, don't try and call your mother
Just bite it till U're satisfied

U can do it, bite the beat (Bite the beat)
Come on honey, bite the beat (Bite the beat)

Work your body, make yourself sick
Come on, bite the beat of the star
Don't worry, U'll still be dignified
It tastes like caviar

When I first saw your teeth
I knew U were the only one qualified
2 bite the beat, don't try and call your mother
Just bite it till U're satisfied

U can do it, bite the beat (Bite the beat)
Come on honey, bite the beat (Bite the beat)

Bite the beat, it'll do U no harm
Unless U choke on a guitar string
Peanut butter, false alarm
I wanna dance, I don't wanna sing ... now check it

Uh uh, bite the beat (Bite the beat)
Come on baby, bite the beat (Bite the beat)
Don't be shy, bite the beat
Don't try and call your mother (Bite the beat)
Bite the beat of the star
Bite the beat, it's so so yummy (Bite the beat)
It's tastes like caviar
Bite it

That's right, there'll be no more wet dreams 4 Brenda
At least not 2 night
Come on, bite it ... ha ha ha ha
(Bite the beat) {x4}
Bite it

{laugher}
God, I wasn't ready

Is that a Marilyn Monroe pinup? Clearly a part of Prince's inspiration for the group
Same bed/bedroom too