When Purple Reigned: A 1985 Prince Concert Finds a New Life

Prince performs at the Forum in Inglewood, Calif., on Feb. 18, 1985. (AP)
Prince performs at the Forum in Inglewood, Calif., on Feb. 18, 1985. (AP)
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When Purple Reigned: A 1985 Prince Concert Finds a New Life

Prince performs at the Forum in Inglewood, Calif., on Feb. 18, 1985. (AP)
Prince performs at the Forum in Inglewood, Calif., on Feb. 18, 1985. (AP)

The first thing you hear is a familiar voice over the sound of thousands of screaming fans.

“Hello, Syracuse and the world. My name is Prince and I’ve come to play with you.”

The Purple One soon arrives, rising up through the stage — wearing an animal print jumpsuit with a ruffled white frock, a guitar slug across his back — as “Let’s Go Crazy” starts. “Dearly beloved, we are gathered here today...” he says.

It’s the electric beginning of a high-energy concert in upstate New York held more than three decades ago, reworked and re-released on video and audio capturing Prince & The Revolution at their peak.

“It was as amazing as I remember it was,” says Lisa Coleman, a Revolution member who was there that night singing and playing keys. Adds drummer Bobby Z: “The next generation needs to see this because this is what it was all about.”

The March 30, 1985, concert at the Carrier Dome in Syracuse, New York, included the songs “Delirious,” “1999,” “Little Red Corvette,” “Take Me Home,” “Let’s Pretend We’re Married,” “Computer Blue,” “When Doves Cry” and “I Would Die 4 U,” among others.

It closes with a sensual, knock-out “Purple Rain,” with Prince in a shimmering cloak delivering a solo that lasts several minutes and shows off an immensely talented guitarist.

“You can tell that he knows what he’s doing there — he is lighting up the world. He always played it like there was no tomorrow. But that one is especially moving,” says Bobby Z.

“Prince and The Revolution: Live” will be released June 3 in a variety of formats, including digital streaming platforms, a three-LP vinyl version, a two-CD version and a Blu-ray of the concert film.

There’s also a limited edition box set featuring three colored LPs, two CDs, the Blu-ray video, a 44-page book with never-before-seen photos of the Purple Rain Tour, and new liner notes penned by all five members of the Revolution.

“I was so proud of him and the band we put together and everything at that moment and the fact that it lives on and that this beautiful project is coming out is something special,” says Bobby Z, a Prince friend since they met in 1976. “That band is cooking like a freight train.”

Prince fans have another reason to be happy this summer: “Prince: The Immersive Experience” makes its worldwide debut on June 9 in Chicago. It offers visitors the chance to explore his wardrobe, music influences and hits.

The Syracuse concert came at the end of a 100-odd date tour and Prince and the band are by this time a tight and sleek machine, piggybacking off the wild success of the film “Purple Rain.”

“I do feel like it was a pearl amongst a really great necklace,” says Wendy Melvoin, a guitarist and singer in the Revolution. “The only difference was that it was being televised worldwide. And there was a bit more pressure on us to kind of up our game.”

Over the course of the performance, Prince makes several costume changes, jumps around the set’s scaffolding, strips down to just pants and necklaces, writhes suggestively in a bathtub and drives the crowd crazy with such lines as: “Do you want me?”

The gig was an early pay-per-view event and was nominated for a Grammy Award for best longform music video. The concert was later put out on VHS but the quality of the audio and visuals were poor.

“I’m really excited for a next generation of Prince fans to see what it was all about. He wasn’t, you know, just some average guy. This was a seriously talented, unbelievable dancer, singer, bandleader, showman, composer, musician. This was a one-in-a-billion individual,” says Bobby Z.

Melvoin says die-hard Prince fans may have already seen bootleg versions but hopes that the new album and film can inspire other artists.

“I think the people that I’d want to have see it are people that want to learn how to put on a really great show,” she says. “Other artists should see it.”

Melvoin and Coleman say they recently rewatched the two-hour concert and found themselves saying “wow!” periodically.

“We were sitting next to each other watching a big screen version of it, and we both had forgotten certain parts of it, and it was really quite something to behold,” says Melvoin. “I think one of the things that I said to Lisa was, ‘Jesus, we were really good!’”



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.