OldFriends4Sale said:

May 14. 2010
First Avenue Minneapolis
Gayngs Concert

Love these natural pics of Prince and his hat game is

OldFriends4Sale said:

Tonight I love everybody
Everybody loves me
The beat you're giving is the rhythm of life
Everybody get happy

If you really come to party
This is the place to be
Tonight I love everybody
Everybody loves me

Everybody loves me
Everybody loves me
Everybody loves me

Tonight the stars are out
There's music in the air
The sounds of joy and celebration
Are drowning out despair

If you're the king of hate
Or if you're the queen of misery
Tonight I love everybody
Everybody loves me

Everybody loves me
Everybody loves me
Everybody loves me

This party's sick
With all the [Incomprehensible]
Get the police quick
Don't let them shut us down

Don't do it
No
Rock it

Tonight I love everybody
That's right, everyone
I don't care what you came here for
As long as you have fun

Everybody get free
Everybody get free
Everybody love me

There ain't no shame
In having a good time
There's only us to blame
If we make it up right
Oh, I ain't lying

There ain't nothing to it
But to do it
There ain't nothing to it
But to do it

Shake it like you don't know better
Woop de woop
Shake it like you don't know better
Woop de woop

There ain't nothing to it
But to do it

Everybody loves me
Everybody loves me
Everybody loves me
Me

Everybody loves me
Everybody loves me
Me

Everybody loves me
Everybody loves me

There ain't nothing to it
But to do it
There ain't nothing to it
But to do it
There ain't nothing to it
But to do it

Tonight I love everybody
Everybody loves me
Tonight I love everybody
Everybody loves me

Tonight I love everybody
Everybody loves me
Tonight I love everybody
Everybody loves me

[Edited 2/20/11 20:50pm]

Stop the Press! Who is he singing too?

nursev said:

OldFriends4Sale said:

Tonight I love everybody
Everybody loves me
The beat you're giving is the rhythm of life
Everybody get happy

If you really come to party
This is the place to be
Tonight I love everybody
Everybody loves me

Everybody loves me
Everybody loves me
Everybody loves me

Tonight the stars are out
There's music in the air
The sounds of joy and celebration
Are drowning out despair

If you're the king of hate
Or if you're the queen of misery
Tonight I love everybody
Everybody loves me

Everybody loves me
Everybody loves me
Everybody loves me

This party's sick
With all the [Incomprehensible]
Get the police quick
Don't let them shut us down

Don't do it
No
Rock it

Tonight I love everybody
That's right, everyone
I don't care what you came here for
As long as you have fun

Everybody get free
Everybody get free
Everybody love me

There ain't no shame
In having a good time
There's only us to blame
If we make it up right
Oh, I ain't lying

There ain't nothing to it
But to do it
There ain't nothing to it
But to do it

Shake it like you don't know better
Woop de woop
Shake it like you don't know better
Woop de woop

There ain't nothing to it
But to do it

Everybody loves me
Everybody loves me
Everybody loves me
Me

Everybody loves me
Everybody loves me
Me

Everybody loves me
Everybody loves me

There ain't nothing to it
But to do it
There ain't nothing to it
But to do it
There ain't nothing to it
But to do it

Tonight I love everybody
Everybody loves me
Tonight I love everybody
Everybody loves me

Tonight I love everybody
Everybody loves me
Tonight I love everybody
Everybody loves me

[Edited 2/20/11 20:50pm]

Stop the Press! Who is he singing too?

See Prince Singing to Leighton Meester Onstage at Madison Square Garden here's Leighton looking pleased as punch during "I Love You But I Don't Trust You Anymore."

Leighton Meester admits she was left shaking and breathing heavily after Prince pulled her onstage and sang her a song.

Leighton was interviewed by Jimmy Fallon, ironically the friend standing with her at Prince's concert at New York's Madison Square Garden when the pop superstar pulled the actress onstage and sang her a song.

'I couldn't hold my cup afterwards, I was breathing so heavy,' Meester said, indicating how her hands were also shaking.

The star, who admits she has clung on to a towel Prince gave her, says it has set a high standard for future Prince shows she may attend. 'I don't feel like I can go again unless I can get serenaded,' she joked.

^ and actress I thought she was just a regular lady It's still nice

The 2011 NAACP Image Award nominees were announced today. Some of the heavy hitters nominated this year include, Denzel Washington, Jaden Smith, Morgan Freeman, Halle Berry, Queen Latifah and Zoe Saldana. The awards will be held on Friday, March 4, at the Paley Center for Media in Beverly Hills. Here is the complete list of nominations.

4 more discussion & images C

http://prince.org/msg/7/354126 Prince on the 2011 NAACP Image Awards (March 4, 2011)

The 2011 NAACP Image Award nominees were announced today. Some of the heavy hitters nominated this year include, Denzel Washington, Jaden Smith, Morgan Freeman, Halle Berry, Queen Latifah and Zoe Saldana. The awards will be held on Friday, March 4, at the Paley Center for Media in Beverly Hills. Here is the complete list of nominations.

Motion Picture

“For Colored Girls” (Lionsgate/34th Street Films)
“Just Wright” (Fox Searchlight Pictures)
“The Book of Eli” (Warner Bros. Pictures)
“The Kids Are All Right” (Focus Features)
“Tyler Perry’s Why Did I Get Married Too?” (Lionsgate)

Actor in a Motion Picture

Anthony Mackie – “Night Catches Us” (Magnolia Pictures)
Common – “Just Wright” (Fox Searchlight Pictures)
Denzel Washington – “The Book of Eli” (Warner Bros. Pictures)
Jaden Smith – “The Karate Kid” (Columbia Pictures)
Morgan Freeman – “Red” (Summit Entertainment)

Actress in a Motion Picture

Halle Berry – “Frankie & Alice” (Freestyle Releasing)
Janet Jackson – “Tyler Perry’s Why Did I Get Married Too?” (Lionsgate)
Kerry Washington – “Night Catches Us” (Magnolia Pictures)
Queen Latifah – “Just Wright” (Fox Searchlight Pictures)
Zoe Saldana – “The Losers” (Warner Bros. Pictures)

"This couldn't be more amazing, to win an Image Award, but have it be handed to you by Prince?! I've only loved him my whole life," a dazed Berry said in accepting Best Actress in a Motion Picture for Frankie & Alice, based on a true story about a ...

Supporting Actor in a Motion Picture

Don Cheadle – “Brooklyn’s Finest” (Overture Films)
Idris Elba – “Takers” (Screen Gems)
Justin Timberlake – “The Social Network” (Columbia Pictures)
Michael Ealy – “For Colored Girls” (Lionsgate/34th Street Films)
Samuel L. Jackson – “Mother and Child” (Sony Pictures Classics)

Supporting Actress in a Motion Picture

Anika Noni Rose – “For Colored Girls” (Lionsgate/34th Street Films)
Kimberly Elise – “For Colored Girls” (Lionsgate/34th Street Films)
Phylicia Rashad – “For Colored Girls” (Lionsgate/34th Street Films)
Jill Scott – “Tyler Perry’s Why Did I Get Married Too?” (Lionsgate)
Whoopi Goldberg – “For Colored Girls” (Lionsgate/34th Street Films)

Independent Motion Picture

“Conviction” (Fox Searchlight Pictures)
“Frankie & Alice” (Freestyle Releasing)
“La Mission” (Screen Media Ventures)
“Mother and Child” (Sony Pictures Classics)
“Night Catches Us” (Magnolia Pictures)

Foreign Motion Picture

“A Barefoot Dream” (Showbox/Mediaplex)
“Biutiful” (Roadside Attractions)
“Four Lions” (Drafthouse Films)
“Mother” (Magnolia Pictures)
“Outside the Law” (Tessalit Productions)

Documentary (Theatrical or Television)

“For Love of Liberty: The Story of America’s Black Patriots” (PBS)
“Hugh Hefner: Playboy, Activist and Rebel” (Metaphor Films)
“If God is Willing and the Creek Don’t Rise” (HBO)
“Waiting for “Superman” (Paramount Vantage)
“William Kunstler: Disturbing the Universe” (POV)

Comedy Series

“30 Rock” (NBC)
“Are We There Yet?” (TBS)
“Glee” (FOX)
“Modern Family” (ABC)
“Tyler Perry’s House of Payne” (TBS)

Actor in a Comedy Series

David Mann – “Tyler Perry’s Meet the Browns” (TBS)
Dulé Hill – “Psych” (USA)
LaVan Davis – “Tyler Perry’s House of Payne” (TBS)
Phil Morris – “Love That Girl!” (TV One)
Terry Crews – “Are We There Yet?” (TBS)

Actress in a Comedy Series

Cassi Davis – “Tyler Perry’s House of Payne” (TBS)
Essence Atkins – “Are We There Yet?” (TBS)
Salli Richardson-Whitfield – “Eureka” (Syfy)
Tatyana Ali – “Love That Girl!” (TV One)
Vanessa Williams – “Desperate Housewives” (ABC)

Supporting Actor in a Comedy Series

Craig Robinson – “The Office” (NBC)
Ice Cube – “Are We There Yet?” (TBS)
Lamman Rucker – “Tyler Perry’s Meet the Browns” (TBS)
Lance Gross – “Tyler Perry’s House of Payne” (TBS)
Tracy Morgan – “30 Rock” (NBC)

Supporting Actress in a Comedy Series

Amber Riley – “Glee” (FOX)
Anna Deavere Smith – “Nurse Jackie” (Showtime)
Keshia Knight Pulliam – “Tyler Perry’s House of Payne” (TBS)
Sofia Vergara – “Modern Family” (ABC)
Viola Davis – “United States of Tara” (Showtime)

Drama Series

“Detroit 1-8-7″ (ABC)
“Grey’s Anatomy” (ABC)
“HawthoRNe” (TNT)
“Law & Order: Special Victims Unit” (NBC)
“Treme” (HBO)

Actor in a Drama Series

Anthony Anderson – “Law & Order” (NBC)
Blair Underwood – “The Event” (NBC)
Hill Harper – “CSI: NY” (CBS)
Laurence Fishburne – “CSI: Crime Scene Investigation” (CBS)
LL Cool J – “NCIS: Los Angeles ” (CBS)

Actress in a Drama Series

Chandra Wilson – “Grey’s Anatomy” (ABC)
Gugu Mbatha-Raw – “Undercovers” (NBC)
Jada Pinkett Smith – “HawthoRNe” (TNT)
Regina King – “Southland” (TNT)
Wendy Davis – “Army Wives” (Lifetime)

Supporting Actor in a Drama Series

Andre Braugher – “Men of a Certain Age” (TNT)
Giancarlo Esposito – “Breaking Bad” (AMC)
James Pickens, Jr.

[Edited 3/5/11 9:43am]

Prince and Misty Copeland at Elton John's Oscar party

I had a dream last night
That I was flying for the first time
And in the dream I could pilot my flight
With the thoughts in my mind

Since there wasn't any up or down
Everybody was all around
When we sang, we all sang together
Oh, what a beautiful sound

Ooh, ooh, sha la la la la
This is the future soul song
Ooh, ooh, sha la la la la
This is the future soul song

I had a dream last night
That I was singing and the sound of my voice
Seemed to come from every mountain top
Like it had no choice

And when my voice rose, so did the sun
When the trees sang the harmony as one
Every living soul sang the most beautiful
Melody ever sung

Ooh, ooh, sha la la la la

This is the future soul song
Ooh, ooh, sha la la la la
This is the future soul song

Before the war the only words and language said
Let there be light
Those that can see it are the ones who believe it
And put up no fight

And in the absence of fear and control
Is the sound of the surrendering soul
Louder than the dogmatic persecution
I sing it like you got that right

Ooh, ooh, sha la la la la
This is the future soul song
Ooh, ooh, sha la la la la
This is the future soul song

2.23.2011

http://www.pbs.org/wnet/t...eland.html

Tavis: Misty Copeland is a talented ballet dancer and the first African American female soloist at the American Ballet Theater. She has also recently toured with our friend Prince, which follows her appearance in his video. Before we get to all that, though, here she is in a performance of the ballet Giselle.

Tavis: Yeah, exactly.

Misty Copeland: Thank you.

Tavis: I wanted you here because you're good, I wanted you here because I saw you at Madison Square Garden, on stage with Prince, and had a chance to meet you, and I wanted you here because you made some history, being the first African American female soloist.

But the timing of our conversation couldn't be more propitious, couldn't be better, given all the hype about the ballet these days, courtesy of Hollywood and "Black Swan."

Copeland: It's great.

Tavis: So what are we to make - what do you think of all the energy around ballet now, thanks to the film?

Copeland: It's exciting that we're getting the recognition. I feel this art form should get - I think it has a reputation for being very elite, and people feel like they can't relate to it. So it's great that Hollywood and the hip-hop industry, the music industry, is taking notice and involving us. I think it's great.

Tavis: You think it is an elitist art form?

Copeland: Just because I think it takes money to get the right training, and so therefore it has been considered an elite art form.

Tavis: How did it happen for you, then? If it takes a bunch of money, unless you're going to tell me you're independently wealthy, and I didn't know that. I didn't come across that in my research, but I see your mama sitting to the side, shaking her head, "No, it's not because we're independently wealthy." So since it is an expensive venture, how did it happen for you?

Copeland: Ballet found me, I guess you could say. I was discovered by a teacher in middle school. I always danced, my whole life. I never had any training, never was exposed to seeing dance, but I always had something inside of me. I would love to choreograph and dance around, and I had a teacher, when I was trying out for the cheerleading drill team, and she noticed my talent and suggested that I take ballet lessons. I was 13, and -

Tavis: Is 13 a little - it sounds funny to say - is 13 a little old to be starting ballet?

Copeland: Thirteen is a very late age, especially for a woman. It's more common with men, because you have to get the body before it changes, so that you can mold it. So yes, I started at a late age, and I decided within a couple of months that I was going to do this professionally, because I didn't have much time to get the right training. So I decided I was going to devote everything, so for the next four years I trained and then joined American Ballet Theater.

Tavis: How do you, in the space of time when you're already starting late, make up that ground and become good at it?

Copeland: Finding great training, I think, is number one. Did a lot of research and found really great teachers, and it just takes - I took a year off from school and did independent studies so that I could devote all of my time to it. But I think that training is the key, definitely, and I devoted my life to it. I still am doing that.

Tavis: Speaking of training, one can't see this movie, "Black Swan," at least this one person couldn't, and walk away not just feeling for the dancer. This thing, it's beautiful to see - let me put it this way. I don't know that I've ever seen anything so beautiful and yet so painful. I see you smiling already - you know where I'm going with this.

It's a beautiful thing to watch, but it looks like you all go through so much pain to make all that happen. So is the movie accurate, is it inaccurate?

Copeland: It definitely draws from things that I'm sure a lot of dancers have gone through and that have happened. It's exaggerated a little bit, but I think it's a great portrayal of how much dedication and hard work it takes, and how much we put into doing a role. It's just like an actor would, preparing for a role. I think that because it's an art form, people don't get to see the other side.

It's not a sport, and so we're not supposed to make it look like it's work or like it's hard, but -

Tavis: But it is.

Copeland: It's extremely, extremely difficult.

Tavis: On a regular basis, what kind of - for those of us who go to a gym regularly, on any given day you're going to be feeling some pain, depending on what the workout was. But on a regular day, how do you physically feel most of the time? Are your toes hurting? How do you feel, typically?

Copeland: There are things that your body gets used to. When I was younger, my feet would hurt a lot, but you build up calluses and strength and you don't feel as much pain there. But then again, it's a give and take. The older you get, you may feel pain in your back or your hips.

But I think that once you make it to a level with a company as prestigious as American Ballet Theater, you pretty much have to be built for it, I think, which makes it easier on the body.

Tavis: To your point of being in the American Ballet Theater, I always feel a certain way about African Americans who are accomplishing firsts, and I especially feel that way these days - here we are in 2011, and there are still so many things that African Americans have yet had a chance to do.

So that, on the one hand, you celebrate Misty, you celebrate Barack Obama, you celebrate any number of African Americans who are doing things for the first time. On the other hand, I wonder whether we make too big a deal out of that, and whether or not it puts a certain level of pressure on the person who knows that they are the first to respond in a certain way. That's a mouthful. Respond any way you want to respond.

Copeland: I think it depends on the person. I've never felt pressure. I think that I've stepped into, I guess, this role with pride, and I think it's amazing to be able to be, I guess, a vessel, and get it out there to other Black dancers that they can do it, and that I'm here. I've gotten nothing but warmth from the Black community and positive feedback.

Tavis: Do you see others, other young women, other young men of color pursuing this kind of career path, or is there still a complete dearth and paucity of African American ballet dancers?

Copeland: I've seen more, but they're out there. I just think that they're not being given the opportunities to audition -

Tavis: Be exposed the same way, yeah.

Copeland: - or get into a company of this caliber. But they're there. There are so many talented Black ballet dancers out there. They just have to be given the opportunity.

Tavis: So what happens, then, when your talent and your gift hooks up with a guy like Prince? Everybody knows I love him. That's my guy. But when he gives you a chance to be exposed, puts you in a video, puts you on stage with him, sold-out shows at Madison Square Garden, et cetera, et cetera, what does that do for your exposure, and your exposure on a personal level?

What's that do for you, number one, and number two, what do you think it does for the art form, in terms of exposing it, courtesy of Prince, to other African Americans?

Copeland: I think that it's incredible, what he's doing. He has so much respect for every art form, and I think it's great that everyone at Madison got to see, who'd probably never seen classical ballet in their life. I think he's doing a great thing, exposing people, and hopefully they'll come to the Metropolitan Opera House and not feel like it's too, I don't know, out of their league or something.

Tavis: Are there purists in your world who would look at something, even though it's with this iconic artist, Prince, who would look at you on stage at Madison Square Garden and think, okay, she's bastardizing the art form, she's hanging out with Prince on stage at Madison Square Garden. That's not what the American Ballet Theater is all about. Are there purists who get attitude about stuff like that?

Copeland: I don't think so, and I haven't experienced it. I think it's great for the culture, for it to be exposed, but also at the same time I feel like I'm respectful to what I do in my company, and it's great that I'm being given these opportunities with Prince, but I'm a classical ballet dancer, and at the end of the day I want to be with American Ballet Theater, performing classical ballets.

Tavis: Prince ain't a bad dancer himself.

Copeland: No. (Laughter)

Tavis: The best part of the story for me, and I had no idea until we started doing the research when we knew we had the opportunity to talk to you - you grew up, like, down the road from here. Like, who knew that you grew up - you're making this history, you're on the world stage, literally, at the American Ballet Theater, world stage with Prince, and you grew up in San Pedro?

Copeland: I did, I grew up in San Pedro, California. (Laughter)

Tavis: How is that possible?

Copeland: (Laughs) It's a small town, and it's really amazing that I was discovered and that I've been given these great opportunities to travel the world and work with amazing artists. I'm very blessed.

Tavis: So are we, because of your gift. So the moral to tonight's conversation is the next time you get asked can anything good come out of San Pedro, the answer is yes. (Laughter) Misty Copeland has made history now as the first African American female soloist with the American Ballet Theater, a wonderful company, of course.

If you are fortunate enough and if their schedules continue to mesh and you can catch her on the road anywhere with our friend Prince, it is a show and a performance you will absolutely enjoy. Misty, congratulations. Good to have you on the program.

Copeland: Thank you very much. Thank you.

Tavis: It's my pleasure.

[Walmart - Save money. Live better.]
Announcer: Nationwide Insurance proudly supports Tavis Smiley. Tavis and Nationwide Insurance - working to improve financial literacy and the economic empowerment that comes with it. Nationwide is on your side.
And by contributions to your PBS station from viewers like you. Thank you.

[Edited 3/7/11 10:01am]

Photos & Review: PRINCE – Oracle Arena, Oakland – Feb. 23, 2011

February 25, 2011 – 2:09 pm

By David Sason

Prince and the New(est) Power Generation were in fine form Wednesday night, at the second of three nearly-sold-out shows at Oakland’s Oracle Arena. The Bay Area residency was only the second of his hit-and-run Welcome 2 America tour, announced less than a week earlier. This certainly sent the hype factor into overload, making the arena THE place to be this week for all-ages party folk to shake their asses off.

The evening was a nonstop tribute to old-school funk, right from the energetic opening set from Graham Central Station, headed by Larry Graham (who later joined Prince for a barnstorming rendition of classic “Thank You (Falettinme Be Mice Elf Agin)”). The Sly and the Family Stone alumnus was an appropriate choice, considering the pioneering group’s vast influence on Prince’s eclectic music and band demographics.

When Prince finally took the stage a little after 9:00, he showed why he’s still a huge concert draw, burning his way through an opening suite of “Let’s Go Crazy”, “Delirious”, “1999”, and an extended “Little Red Corvette”. Then Sheila E. took the stage (where she thankfully stayed all night) for a faithful version of the Prince-penned “Glamorous Life”. Along with the funk standards throughout the night, KISS-FM programmers couldn’t have planned the night any better themselves. The near-capacity crowd roared and sang along loudly to every bit.

Thus went the two and a half hour set of almost exclusively 1980s hits and funk classics, with obscure ballad “I Love U, But I Don’t Trust U Anymore” from 1999 (the year, not the album) and minimalist stomper “Black Sweat” from 2006 being the newest songs he performed. This decision was a welcome surprise from the ever-prolific Prince, as was his decision to tweak his annoying truncation of certain hits (this time, he gave at least 50% of most songs, which was enough for the tens of thousands in attendance).

While the song selection was certainly worthy of the exorbitant price (top price level was around $280 a piece), the stage (shaped like Prince’s famous symbol) left many concertgoers out in the cold. Although he performed mostly center stage, Prince almost exclusively engaged only two sides of the arena, leaving half of the crowd to mostly view one of his three hefty backup singer-cheerleaders. This was quite a disappointment, considering the more mindful 360-degree approaches of groups including U2 and Beastie Boys. And although the 52-year-old’s voice still packs his famous range, his famous dancing and musical chairs (he played bass for a song, but no drums) were kept to a minimum.

Still, the charismatic Renaissance man still puts most other pop stars to shame with his energy and formidable arsenal of songs. “Y’all coming back tomorrow night?” he asked the crowd at one point. Judging from the deafening reply, Prince’s fourth decade as a top-notch concert draw is a sure thing.

—David Sason

*

*

SETLIST

Let’s Go Crazy
Delirious
1999
Little Red Corvette
Glamorous Life (Sheila E.)
Somewhere Here On Earth
I Love U But I Don’t Trust U Anymore
Controversy
A Love Bizarre (Sheila E.)
Play That Funky Music (Wild Cherry)
Sexy Dancer / Le Freak (Chic)
Love Rollercoaster (Ohio Players) / Housequake (snippet)
Angel (Sarah McLachlan) – sung by backup dancers
If I Was Ur Girlfriend
Kiss
Purple Rain
———————
Dance With Me in the Disco (Sylvester) / Baby I’m A Star
Medley: When Doves Cry/Nasty Girl (Vanity 6)/Sign O’ the Times/Alphabet Street
Forever in My Life
Darling Nikki (snippet) / Pop Life / Single Ladies (Beyonce)
Black Sweat
The Bird (The Time)
Jungle Love (The Time)

*

*

The New York Daily News raved, “Prince worthy of all royal accolades…The hit-friendly show had a kinetic confidence and racing pace that spoke of his singular place in pop history,” while the New York Times said “It’s easy to envision Prince as another Chuck Berry or James Brown, barnstorming for decades to come.” The Star-Ledger encouraged fans to see the show with their review — “Any doubt that the diminutive singer could still bring the heat was put to rest at the explosive concert that kicked off the Welcome 2 America tour…Prince, remarkably, remains at the height of his powers. He’s a national treasure. Catch him while you can.”

December 29, 2010

Welcome 2 America Tour - Prince