The Washington Post - 05.11.2019

C4 EZ RE THE WASHINGTON POST.TUESDAY, NOVEMBER 5 , 2019

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The Flash (CW at 8) Cisco’s faith in
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The Little Mermaid Live! (ABC at 8)

Scenes from the Disney animated

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(drawing on the Broadway

adaptation) by Auli’i Cravalho,

Queen Latifah and Shaggy.

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Conan (TBS at 11) Bert Kreischer.

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Elizabeth Banks, Sen. Amy

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& the Blowfish.

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12:37) Hillary Clinton, Chelsea

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Kristin Chenoweth, Michael Kelly,

Sinéad Burke, Brendan Buckley.

— Nina Zafar

More at washingtonpost.com/

entertainment/tv

TV HIGHLIGHTS

DAVID SCHNACK/NETFLIX
Seth Meyers: Lobby Baby (Netflix) In his Netflix comedy-special debut,
Meyers touches upon family, fatherhood and why you should never take
your girlfriend to Paris for her birthday.

TELEVISION

meet at Paisley Park. Piepenbring

and Prince collaborated for only

three months, most of that time

working separately. Piepenbring

knew nothing of Prince’s struggles

with opioids, though the singer

did disappear for long periods

without warning and often looked

tired. But his minute observations

of Prince at home in his com-

pound, in the waning days of his

life, contribute almost as much to

our understanding of what Prince

was really like as his own writings

do. Piepenbring finds Prince in the

margins: He loved Stephen Col-

bert and disliked Ayn Rand,

Piepenbring writes. The idea of

Bruce Springsteen confused him.

He was a careful driver. His skin

was perfect. His least favorite

word was “magic,” because that

was Michael Jackson’s word.

“The Beautiful Ones” does not

offer a clear-eyed view of who

Prince really was — he would have

hated that, but it illuminates more

than it conceals.

[email protected]

Allison Stewart writes about pop

culture, music and politics for The

Washington Post and the Chicago

Tribune. She is working on a book about

the history of the space program.

of morality & class,” Prince writes.

His mother, unsmiling in al-

most every picture reproduced

here, had a wild side and a stub-

born streak and clashed frequent-

ly with his father. “She basically

wanted 2 run the household not

Him,” Prince writes. “Being the

only male in the house with Her, I

understood Y he left.” (Prince, as

“The Beautiful Ones” makes clear

throughout, seems to have loved

women more than he liked them.)

His first kiss was instigated by a

fellow grade-schooler who

“looked like Elizabeth Taylor, but

little.” He prized mystery from an

early age, writing of one romantic

encounter: “(I) met her in total

darkness at a house party just like

my favorite scene from the movie

‘About Time’ with Rachel McAd-

ams.” Though precociously carnal,

he was prematurely prim; even as

a teenager, he disapproved of curs-

ing, especially when women did it.

Prince’s chapters end with the

singer still an adolescent. The

book uses photos and memorabil-

ia (contact sheets, rare promo-

tional photos, the lyrics to “Little

Red Corvette,” handwritten in red

ink) to trace the singer’s path to

“Purple Rain” and effectively picks

up again as he and Piepenbring

ing and frank explorations of his

childhood and high school ro-

mances and his parents’ troubled

marriage and divorce.

Prince’s father, whom he re-

vered, worked at the Honeywell

plant by day and played piano in

Minneapolis clubs at night;

“Prince” was his stage name. He

“loved the Bible & had a keen sense

others away.” Prince did not neces-

sarily want to be understood,

merely misunderstood in a new

way, a desire that would seem to be

fundamentally at odds with the

business of memoir writing.

But the chapters written by

Prince, with his familiar abbrevia-

tions faithfully replicated (“2” for

“to” and “Y” for “why”), are appeal-

thing that would bring him to life,

for “things that communicated

some intimacy,” Piepenbring says.

Those unearthed pieces, includ-

ing Prince’s handwritten song lyr-

ics, photos captioned by the sing-

er, personal mementos and an ear-

ly treatment of the “Purple Rain”

script, serve as the book’s heavy,

heartbreaking center of gravity.

“The Beautiful Ones” is a curi-

ous, fantastically moving hybrid

of scrapbook and fragmented

memoir, bookended by Piepen-

bring’s recollections about work-

ing on the project before and after

Prince’s death. That it exists at all

is remarkable. Prince’s carefully

tended air of mystery had served

as a force field, repelling any seri-

ous attempts at biography during

his lifetime. During his later years,

journalists were not even allowed

to record interviews or take notes

and could only ask him about his

present-day life. “I don’t really do

biographies,” he told writer Mick

Brown in 2004. “I don’t want to

talk about the past.”

A memoir, Piepenbring writes

in his introduction, might have

enhanced the singer’s sphinxlike

persona. “The right book could

add new layers to his mystery,

Prince thought, even as it stripped

for an iconic song from “Purple
Rain.” He wanted to write the big-
gest music book in the world, one
that would serve as a how-to guide
for creatives, a primer on African
American entrepreneurship and
“a handbook for the brilliant com-
munity,” he told Piepenbring,
“wrapped in autobiography,
wrapped in biography.” He hoped
the book would solve racism.
Prince began work on the book’s
early chapters, eventually turning
almost 30 handwritten pages over
to Piepenbring. They last spoke on
April 17, days after the singer col-
lapsed on his private plane, an inci-
dent his representatives blamed on
the flu. Prince called his co-writer
to reassure him he was fine. “I had
flulike symptoms,” he told Piepen-
bring, who would later wonder at
the singer’s careful choice of words.
Prince died four days later, after an
accidental fentanyl overdose.
Prince had not written enough
material to fashion a conventional
memoir, and Piepenbring re-
turned to Paisley Park the summer
after the singer’s death in search of
supplementary material from the
vaults. He pored over Prince’s per-
sonal archives looking for any-

BOOK WORLD FROM C1

Memoir may not be a complete picture of Prince, but it’s a beautiful one

JOSEPH GIANNETTI

A teenage Prince in the photo shoot for his first album, “For You.”

The rock star began a memoir shortly before his death.

THEATRE

Great Group Rates

for 15 or More

Tickets

Available

at the

Box Office

The Kennedy Center

Theater Lab

Student Rush

Tickets Available

Tickets: 202-467-4600

Groups: 202-416-8400

http://www.shearmadness.com

This record-breaking interactive solve-the-crime comedy

keeps the audiences laughing as they try to outwit the

suspects and catch the killer. New clues and up to the

minute improvisation deliver “shrieks of laughter night after

night.” (Washington Post)

Regular Schedule:

Tuesday–Friday at 8

Saturdayat6&9

Sundayat3&7

Shear Madness

The Kennedy Center

Theater Lab

MUSIC - ORCHESTRAL

Street parking is

available.

FREE,

no

tickets

required

Congressional Cemetery

1801 E Street SE

Washington, DC

This year marks John Philip Sousa’s 165th birthday!

The Marine Band will honor its 17th Director with a

graveside birthday celebration, including a musical

tribute and wreath-laying ceremony. Join the Marine

Band for one of its most cherished and unique traditions.

LIVESTREAM INFO: http://www.marineband.marines.mil

Wednesday, Nov. 6

at 11 a.m.

John Philip

Sousa’s Birthday

Celebration

ForeWords

pre-performance

talk beginning at

7 p.m. in the Justice

Forum at the REACH

before the Sat.,

Nov. 9 performance.

Tickets

available

at the

box office

Kennedy Center

Concert Hall

kennedy-center.org

or call (202) 467-4600

Tango. Ballet. Viennese waltz. Music and dance inspire

each other and the audience in this diverse program. Music

Director Gianandrea Noseda conducts Ellington’s jazz

interpretation of Tchaikovsky’s lush ballet score, as well as

one of Piazzolla's most popular works, the tango-inspired

Four Seasons of Buenos Aireswith NSO Concertmaster

Nurit Bar-Josef.AfterWordsdiscussion immediately

following the Nov. 7 performance.

Thursday at 7 pm

Saturday at 8 pm

National Symphony

Orchestra: Noseda

conducts “Music

of Movement:

From Strauss

to Ellington”

OPERA

Free Parking

Student $10$25-$75 Red Line Metro

The Music Center at Strathmore

5301 Tuckerman Lane

Bethesda, MD 20852

http://www.MDLO.org

Box office: 301-581-5100

The MDLO Orchestra, in its first symphonic concert.

A varied repertoire is anchored by Mozart's Piano Concerto

No. 12, featuring pianistLeon Fleisher.Louis Salemno

conducts. Also Includes Deubussy Afternoon of a Faun

and Sybelius Symphony No. 2.

Tuesday, November 12 at

7:30pm

MDLO Orchestra:

Leon Fleisher

Plays Mozart