Think you have a rough travel story? Millions of Americans do this summer. But it’s difficult to top, and I mean the word in all ways, the predicament of Barry “Butch” Wilmore and Sunita “Suni” Williams.

They’re the astronauts who rocketed into space aboard the Boeing Starliner capsule on June 5 for what was supposed to be about a week in orbit on the International Space Station. As of today, they have been circling the earth for 52 days.

Just before liftoff, NASA unloaded luggage that contained some personal items, like their changes of clothing, because the space agency needed the space for a new pump to help recycle liquid waste into drinkable water. Think about that over your morning coffee.

Sure, your space suit might look a little wrinkled in a week. But who’s going to see you — E.T.? Besides, you’ll be back home soon. Oh, wait …

Boeing’s Starliner has had helium leaks and thruster failures during its inaugural trip to the ISS. The battery aboard the craft is rated to last 90 days. Time is running out for engineers to diagnose the problem and repair the Starliner, if the astronauts are to ride it home.

To be clear, Astronauts Williams and Wilmore are not stranded. They are in residence aboard the ISS, with other astronauts and cosmonauts. If the Starliner can’t return to Earth, the astronauts may have to come back in a SpaceX Dragon capsule … another embarrassment for Boeing.

Williams and Wilmore can handle the changes in plan. Both are military and space flight veterans. Williams has been on seven spacewalks.

But it’s tempting this weekend to imagine a sitcom in space that studios might now be planning. Like, say, Nine’s Company: “Two astronauts can’t get home when their spacecraft blows a gasket, and they have to bunk aboard the ISS. But wait — who has the Hello Kitty toothbrush?”

Or the Netflix rom-com Lost and Found in Space. “Two astronauts are cooped up together on the ISS. Jordan is neat and methodical, Drew scattered and impulsive. Jordan listens to Mozart; Drew likes Nicki Minaj. Jordan reads James Joyce and Marcel Proust; Drew watches ramen recipes on TikTok. But as they circle Earth 3,000 times, their eyes meet across the module, they see each other float in the starlight. And…”

Ann-Marie Hoang has made a career out of her love for chaos.

As an L.A.-based wardrobe stylist from Highland Park, Hoang finds that her creative energy is best exercised on the set of a music video. Something about long days and cross-team collaboration always leaves her feeling inspired. Whether it’s on the movie-inspired set of Ariana Grande’s video “Thank U, Next,” the twisted cityscape of Doja Cat’s “Streets” or Megan Thee Stallion’s brightly colored toy store in “Cry Baby,” Hoang helps complete the artist’s vision — she’s typically in charge of all the clothing that appears on screen that isn’t worn by the musician.

“I need it in my soul in order to feel creative and do some of these commercial shoots,” says Hoang. Some of her signature looks include the punk-inspired looks on Doja Cat’s Scarlet tour, the mostly pink, sparkly attire in Grande’s “7 Rings” or even the office-chic outfits in Kacey Musgraves’ “High Horse.” Her most memorable shoot so far was working with the team of 200-plus people that styled Rihanna at the Super Bowl.

Hoang enjoys working with musicians because she can dress to her “truest self and not feel any judgment.” Her personal style lies at the intersection of experimental and edgy. Often focused around several staple pieces, her outfits tend to incorporate shiny teeth grills, extremely furry hats, inventive reflective sunglasses and high-heeled sneakers.

The three words that Hoang would use to describe her day-to-day style? “Unapologetic, armored [with jewelry] and unpredictable.”

Ann-Marie Hoang wears Pelle Pelle leather jacket, Empath top, HommeGirls underwear, Gucci glasses, Planeta key chain, Soto Gang belt, Ancuta Sarca heels, Evisu pants.

(Jennelle Fong / For The Times)

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I always start my day with electrolytes or a kiss for my kids.

When I’m in the car, I’m probably listening to Jungle.

The color I’m unexpectedly gravitating toward is not unexpected. Ever since I was a kid, I have only gravitated towards one color, and it’s green. Back in the day, I used to think that I was going to get one of those imported cars and it was going to be green with green flames. Even if a project calls for no green for some reason, I need to pick it up and just get at least one green piece.

My most treasured piece in my closet is my Oakley Over the Top glasses. I’ve always wanted them. It’s one of those things that I’ve always put on my mood boards. The fact that Oakley went so far with their sunglasses is something I absolutely love. They’re functional, but I’ve never seen anything like it. They were even worn in the Olympics.

Ann-Marie Hoang wears Misbhv headscarf, VidaKush earrings and anklet, Oakley Over the Top glasses, For Posse airbrush top, Jeffrey Campbell kitten heels.

(Jennelle Fong / For The Times)

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My ideal Saturday in L.A. looks like waking up, going to Cindy’s, then maybe going to the park and having a picnic with my family. I try to take weekends off so that I can spend time with my kids because during the week, it just gets a little chaotic with their school schedule. I try to be present on the weekends.

My signature scent is Palo Santo, the roll-on. I’ve been wearing it for three or four years now. I even order two at a time.

When I get dressed every morning, I always think about the weather first. Then, I think about if I’m going to be in a jujitsu class, or if I’m going to be shopping or if I’m going to be on set. Then I pick one statement piece that I want to wear with all those factors considered.

Ann-Marie Hoang wears Ella Loca hat veil, Mauricio Cruz denim jacket, Comme des Garçons x Nike heels.

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A designer who made me look at fashion differently? There wasn’t [one]. I love to people-watch. That’s what drew me to styling. It’s never been a designer for me because I’m not one to look at brands. I look more at a cut or how somebody will piece something together. That’s more interesting to me than a designer.

It goes hand in hand with what I do. I work with background dancers, and a lot of times [brands] don’t want to give them clothes because they’re not artists. So, I have to find ways to elevate everybody’s look without making it designer.

The best place to people-watch is the flea market because I feel people are so good at mixing modern, vintage and designer. People are always so spread out in L.A., but on a Sunday, all the fashion people are going shopping at the flea. It’s where I get a lot of inspiration.

I always manifest to work with Rihanna’s team. I love to support Jahleel [Weaver, Rihanna’s stylist] because he’s such a dream to work with. I really get inspired by his work ethic. I want to work hard for that team, because they are so intentional. They’re so professional and really cool at the same time.

My thinking place is my car whenever I drive to a familiar place, like to my house or [taking] the kids to school.

My niche essential for a shoot is this double-sided tape called Fearless Tape. I cannot find tin cans of it anymore, and my assistants have been emailing the company to bring it back. It’s my prized possession. Sometimes you don’t even need safety pins, and after dry cleaning, it stays on still sticky.

If I had to wear one shoe for the rest of my life it would be my Prada loafers. I love them. They go with everything and they give me a little height.

Ann-Marie Hoang wears Nike cap and glasses, Adidas jacket and biker shorts, Prada tie and loafers, Michael Hoban x Tried and True overalls, VidaKush socks and jewelry.

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Listening to [an artist’s] radio is a must when working on a shoot. It’s something like London rap or it’s something super mellow. Maybe Little Dragon or Anderson .Paak. Something mellow but a little upbeat.

My comfort meal is a crispy potato taco. There’s this place down the street from my house. They make the most delicious shrimp potato hard-shell tacos. You know it’s good when there’s a grandma sitting outside telling the chef what to do.

To me, the hardest part of styling someone else is getting them to step out of their comfort zone. Everyone dresses themselves every day, so they have an idea of what they should be looking like. Sometimes people hold on to their ideas so much that it’s hard to let go, and to trust.

The key to building that trust between a client and a stylist is telling them to just try it. If they try on what I want to put them in and then if they absolutely hate it, then it’s fine. But I will break down the reasons why I do certain things. Sometimes it’s ultimately not up to me or them; we’re all working for somebody.

My biggest fashion no-no is skinny jeans. I don’t think that men’s jeans should be tighter than women’s jeans. It’s very unflattering because you end up looking like a chicken leg. It’s just not flattering on most people. I’d rather just do a straight leg.

Ann-Marie Hoang wears Barney’s Co-op hat, Bonnie Clyde glasses, Homme Boy x LTTT top, VidaKush jewelry, vintage belt and skirt, Poster Girl boots.

(Jennelle Fong / For The Times)

Something I regret not buying is … I don’t know. I buy everything I want.

This summer, I think everyone will probably be wearing bloomers and hot shorts. It is becoming a hot girl summer. Micro shorts, low rise — all that is coming back.

Wendy Melvoin, guitarist for Prince’s genre bending band The Revolution, remembers one of their most iconic songs started with an idea — and a challenge — from the boss himself.

Prince broached the topic during a band rehearsal. “He came to the table with this beautiful idea … most of the songs [on the album] had already been done,” says Melvoin, “He said ‘I have this idea and sounds a little like this…whattaya you guys got?’”

What Wendy had was an idea for a mournful cascade of guitar chords that proved the perfect starting point.

“I came up with that intro and that chord progression to get us into the song,” she adds. “And it ended up being one of the most iconic intros to a pop ballad ever.”

The song Purple Rain would become the surprising, anthemic climax for a film of the same name that emerged as one of the most successful and influential musical films in history. The movie hit theaters 40 years ago, breaking barriers in the music world while signaling the ascendancy of Prince as a pop music superstar.

Putting Purple Rain on the silver screen

Filmed around the band’s Minneapolis hometown, Purple Rain had a simple story. Prince’s character — known only as The Kid – is rocked by his dad constantly beating his mother at home, struggling to connect with his bandmembers and a new romantic interest, a beautiful singer named Apollonia.

Drummer Bobby Rivkin, known onstage as Bobby Z, says the idea of showcasing Prince’s songs and The Revolution in a film was inspired by the success of MTV and its focus on music videos.

“Prince was always someone who took a step bigger than the cultural [stuff] that was happening at the times,” he adds. “Once MTV started playing his videos, I think he just gravitated to something bigger and said ‘I’ll just take it to the next level.’’”

Melvoin says she and The Revolution — including Rivkin, keyboardists Lisa Coleman and Matt Fink and bassist Brown Mark — found out they would be working on a movie when Prince announced it in a matter-of-fact way at a rehearsal. But she wasn’t worried about whether she could act or how the band would look onscreen.

“I guess if I had any concern back then, it was just literally, ‘was the story going to be any good?’” she says, laughing. “I didn’t have any doubt the music sequences would be fantastic. But I didn’t have a good sense of whether the narrative of the film was going to work.”

Turns out, it all worked pretty well. Purple Rain was a hit, with the film and its soundtrack earning an Oscar, two Grammy awards and status as a groundbreaking musical film.

It also introduced a film audience to Prince’s scorching performance style, his unerring ability to craft hit tunes, and his distinctive fashion sense. Prince’s network of bands and performers also got some attention – including the girl-fronted group Apollonia 6 and the funk band The Time.

The Time lead singer Morris Day and his onstage foil Jerome Benton became the film’s comic center, with the two riffing on a version of Abbott and Costello’s classic routine “Who’s on First?”.

“Honestly, we weren’t trying to be funny … we always clowned around at the time because we were young,” Day says, responding to questions via email. He noted, even though the cast took acting and dance classes in preparation for filming, “we were just being ourselves. If anything, I was more conscious of being cool than funny.”

Morris Day of The Time performs in Chicago in 1983, before Purple Rain came out.

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He’s not surprised people are still talking about the film four decades after its initial release.

“The film was groundbreaking on so many levels … it was the first of its kind,” adds Day, who says he’s only watched the film in its entirety one time, at its Hollywood premiere on July 26, 1984. “It somehow reminds people of a special period in their lives during the ‘80s, which is a period we all at times wish we could reclaim.”

Building the drama in Purple Rain

Fans know the film tells a more combative story behind the genesis of the song Purple Rain.

Onscreen, Melvoin and her then-girlfriend, keyboardist Lisa Coleman write the song, fighting a reluctant Prince – known only as The Kid in the movie – to let The Revolution play it onstage.

“Everytime we give you a song, you say you’re going to use it, but you never do,” Melvoin shouts at Prince during the scene, delivering some of the best acting from the musicians who mostly fill out the cast. “You think we’re doing something behind your back…you’re just being paranoid as usual.”

When Prince finally agrees to play Purple Rain onstage at the Minneapolis club First Avenue – launching into an emotional rendition topped by one of the best guitar solos in pop music – he wows the crowd and saves the band. But Melvoin says now that the friction they acted out was “movie magic” conjured to build a story; in real life, she, Lisa and Prince were very close collaborators.

Prince, alongside Wendy Melvoin (left) and Lisa Coleman (right) accepts Purple Rain‘s Oscar for best original score in 1985.

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Powered by hits like the title track and the percolating dance jam I Would Die 4 U, Purple Rain burst like a lavender-tinged explosion across the pop culture landscape – launching Prince’s growing fame into the stratosphere.

The innovative dance hit When Doves Cry, recorded by Prince with no bass guitar, became his first Number One single on Billboard’s Hot 100 singles list. That was followed by his second Number One single, the rock and soul classic Let’s Go Crazy, which showcased his guitar skills at a time when rock guitar wasn’t heard often on R&B records.

Giving fans a peek behind the mystique

Prince had developed a mystique by rarely talking to the press. So, in the days before YouTube and Tik Tok, Purple Rain offered a sustained – if fictionalized – look at the inner workings of the band and his origin story for fans eager to know more.

And it centered a group of performers who were a mix of identities and ethnicities in the Midwest, making music that crossed all kinds of cultural barriers, at a time when people like that were rarely seen on the silver screen.

“That film was Prince’s version of social media,” Melvoin says. “This is funk rock and nobody’s seen a movie based on this kind of life. It [was] a trip for people to see.”

But there were also criticisms. Many of the film’s performers were amateurs, which showed in their performances. And female characters were often treated badly on screen: in one scene, Jerome Benton gets rid of a hostile woman confronting Day by tossing her into a dumpster.

“Given today’s culture, I’m certain there are moments in the film that ruffle a few feathers,” Day says. “Overall, I would like to think we did something great. And based on the overwhelming majority [of public reaction], I believe we did.”

The film ultimately proved the perfect showcase for Prince’s expansive creativity – from his ruffled shirts and big shouldered clothes to his mix of religion and sexuality in lyrics, innovative ways of recording and his seemingly endless supply of high-quality songs.

Bobby Rivkin, otherwise known as Bobby Z, during a recording session in 1989.

Jim Steinfeldt/Michael Ochs Archives/Getty Images

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“MTV opened the door a little bit — just a teeny crack of light — and he would kick it open,” Rivkin adds. “He was innovative in fashion and culture. And it was a remarkable time for him. From humble beginnings to control [of] black culture, crossover culture … rock, funk, pop … He was on fire for quite a while.”

Continuing on without the boss

A couple of years and albums later, Prince disbanded The Revolution. But the group has reunited a few times – notably for a benefit concert after Rivkin had his first heart attack in 2010 – and after Prince died in 2016, at age 57 from an accidental fentanyl overdose. More recently, the group came together last month to perform during a five-day event in Minneapolis celebrating Purple Rain’s 40th anniversary.

Both Melvoin and Rivkin say they hope The Revolution can play more shows commemorating Purple Rain’s anniversary over the next year. But they also admit it can be challenging performing without their dynamic leader and frontman, even as playing together helps them process the loss.

“After he passed, it’s the only thing that we could think of to do — to be together and grieve,” Melvoin says.

And what would The Kid himself think about the legacy of his blockbuster film and album? Day says he’s not sure.

“[Prince] never liked staying in the past,” the singer adds. “He was always evolving. Once Purple Rain was done, he was on to the next. But now that I’m thinking about it, he might have thrown a big celebration at Paisley Park for the fans. Probably would have been one hell of a jam session.”