It was late 1998. I worked for the Suncoast Motion Picture Company, which sold movies and related merchandise. I’d recently transferred from the flagship Mall of America store to the Southdale Mall in Edina. The commute was longer, but I didn’t mind for a couple reasons. The one I’ll articulate here pertains to the clientele.
The Mall of America location was great for people watching. At the time, tourists came from around the world to see the spectacle of the largest mall in the Western Hemisphere. But Southdale, due to the prestige of Edina, attracted a number of celebrities. I was thrilled to learn Janet Jackson (whom I’ll call Ms. Jackson cuz I’m nasty) shopped there when she was in town. And she bought her movies from Suncoast.
The Suncoast where I was now a manager.
In 1998, I was still that small-town kid who’d grown up in a town so tiny it was technically a village. I’d never met a celebrity, and the prospect of meeting Ms. Jackson, someone whose music I absolutely loved, hyped me to a ridiculous degree. I’m embarrassed to admit that I was on the lookout on many shifts.
I grew up loving her albums Control and Rhythm Nation 1814, the latter of which I owned. Back in 1990, I knew everything about that album. You see, I didn’t have many albums as a kid, so when I got a new one, I poured through the liner notes, sitting cross-legged on my bedroom floor beside my cassette deck. I memorized the lyrics, tracked the music labels, and learned about every musician or other person connected with the production of the album.
If you’re familiar with Janet’s music, the headline of this post is beginning to make sense.
Back to 1998. I’m working the checkout in our third-floor location, when two well-dressed men came in. I offered the usual greetings, made small talk, and helped them as best I could.
These two gentlemen were Jimmy Jam and Terry Lewis. And they were aware that I didn’t recognize them.
It must have been an unusual experience, especially in the Minneapolis area. Here’s why.
When it comes to the Minneapolis music scene, it didn’t get much bigger than this duo. They formed the band Flyte Tyme, which became The Time under the influence of Prince, and the group would go on to help define the Minneapolis sound in the early 1980s.
After being fired from the band, they started Flyte Tyme Studios, and their partnership went on to earn more than 100 gold, platinum, multi-platinum, and diamond albums. Over their storied career, they’ve worked with some of the biggest names in the biz, including Lionel Richie, Herb Alpert, TLC, Michael Jackson, Aretha Franklin, Boyz II Men, Usher, Patti LaBelle, Mary J. Blige, Chaka Khan, Mariah Carey, Bryan Adams, Spice Girls, Vanessa Williams, Rod Stewart, Gwen Stefani, and New Edition. I particularly loved George Michael’s “Monkey” and The Human League’s “Human” songs. But those weren’t the only memorable tracks.
Forty-one of their songs reached the Top 10 of the Billboard Hot 100. They won five Grammys and got an Oscar nom for their work with Janet Jackson on the song “Again” for the movie Poetic Justice.
And speaking of Ms. Jackson, they won a Grammy for producing her album Control. Their follow-up collaboration, Rhythm Nation 1814, dominated the charts with seven hit singles and became one of the biggest albums in the world from 1989-91.
Most of that album work had been done at Flyte Tyme Studios, a convenient 5-minute drive from Southdale.
As I look back upon their visit to my store, I like to imagine these world-renown producers were taking a shopping break from their busy studio schedule. Perhaps, the perfect movie would be a nice diversion, or provide some inspiration for the their next movie project. Little did they know they were talking to a guy who knew every beat and could sing every lyric from Rhythm Nation 1814, many of which they’d written.
A guy’s whose memory was about to betray him, despite his brain containing most of the information I just shared.
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You won’t be surprised that Star Wars has been hugely influential to this 40-something writer. It’s second only to family in that regard. I’ll probably write about that on some future date. A large part of my adoration/zeal/mania is the soundtrack. I’ll get to this in a moment, so please bear with me while I set the stage, sounding like an old man as I do so.
Oh man, I’ve been meaning to write a post like this for awhile. Ideas have been churning in my head for years. Years! I’m excited to finally get to it, and I hope this comes through in my writing! It will be the first in a series that covers storytelling in lyrics and what writers can learn (similar posts can be found here: 
Today is a day much like one twenty-five years ago. I’m in blue jeans and flannel, and outside it feels like Autumn is being carried away by the harbinger winds of Winter. I’m listening to Soundgarden’s magnificent Badmotorfinger, though unlike today, in 1992 it was my first play-through, I was sitting in my freshman dorm room, and Chris Cornell was still alive.
1. Create limitless art.
The Lost Royals 