OldFriends4Sale said:

Prince (Portrait in Psychedelic Colors), 1988

Archival Pigment Print

ufoclub said:

The above is simply the strangest most unlike Prince photo of Prince I have ever seen. The eyebrows are not normal Lovesexy big and bushy style either.

This is one of the worst photoshopped pictures of Prince. It is a fake.

LovesexyIsThe1 said:

OldFriends4Sale said:

Prince (Portrait in Psychedelic Colors), 1988

Archival Pigment Print

ufoclub said:

The above is simply the strangest most unlike Prince photo of Prince I have ever seen. The eyebrows are not normal Lovesexy big and bushy style either.

This is one of the worst photoshopped pictures of Prince. It is a fake.

Here's the real one:

ufoclub said:

LovesexyIsThe1 said:

This is one of the worst photoshopped pictures of Prince. It is a fake.

Here's the real one:

No that is just one of many from that photosession

LovesexyIsThe1 said:

OldFriends4Sale said:

Prince (Portrait in Psychedelic Colors), 1988

Archival Pigment Print

ufoclub said:

The above is simply the strangest most unlike Prince photo of Prince I have ever seen. The eyebrows are not normal Lovesexy big and bushy style either.

This is one of the worst photoshopped pictures of Prince. It is a fake.

why would you call it a fake when the photographer who took the picture(s) has them on his website. The site I posted as well. It is real.

indiedisco said:

This is wonderful

OldFriends4Sale said:

LovesexyIsThe1 said:

This is one of the worst photoshopped pictures of Prince. It is a fake.

why would you call it a fake when the photographer who took the picture(s) has them on his website. The site I posted as well. It is real.

Well, if you want to get technical, it is a composition of prince images, photoshopped together to create the image you posted. It is not an actual photograph that Prince actually posed for. It's as fake as the image of him wearing a dress.

The face was used from the image ufoclub posted, his hair was pulled from a Nude tour poster, not sure where they got the body shot, but it is so out of proportion with his head. Just an all around ugly, photoshopped image of Prince.

If they're trying to pass this as actual image they photographed of Prince, I call BS!

OldFriends4Sale said:

ufoclub said:

Here's the real one:

No that is just one of many from that photosession

Inspect the lip edges, hair texture of the sillouette, and actual eye pupil on both photos. It has composited elements from someone else's photo!

Also the site linked to the bizarre photo seems to be a gallery that is selling prints of these and many other works by people they don't even neccessarily have a personal connection with. It s a site called artsy.net

The photographer's real site is here: http://www.matthewrolston...otography/

But it doesn't include the Prince photo from what I can tell. It does however have tons of photos of the celebs that don't have this kind of photoshop collage style of different elements.

If the artist did do this composite of people together (the one with the wrong eyes, lips and hair)... it is still a horrible photoshop Frankenstein creation! Lol.

My 2nd favorite Prince album. I've never heard the Ecstasy/Black Album story before nor did I know that was Chavez' voice at the beginning of Eye Know.

The legendary Small Club/Paard van Troje aftershow was in the LoveSexy tour - jus sayin...:

CoolMF said:

My 2nd favorite Prince album. I've never heard the Ecstasy/Black Album story before nor did I know that was Chavez' voice at the beginning of Eye Know.

Huh. Curious...how old are you and how long have you been a fan?

taken from a book called Matthew Rolston: Beautylight. The picture is titled Prince: Portrait in Psychedelic Colors. Los Angeles 1988

https://www.wmagazine.com...lston-book

Prince, Portrait in Psychedelic Colors, Los Angeles, 1988. From the book Hollywood Royale: Out of the School of Los Angeles, published by teNeues.

https://www.hollywoodroyale.com/works/

Book of the week
Matthew Rolston
Hollywood Royale

This volume contains a veritable compendium of Rolston’s innovative photographic techniques. The images range from classic vintage-style 8×10 camera portraits to more stylized experiments in cross-processing, multiple exposure, and high-contrast color.

#portraitphotography#matthewrolston @teneuespublishing #potraits#bookoftheweek#mendobooks#berenstraat

Book of the week Matthew Rolston Hollywood Royale This volume contains a veritable compendium of Rolston’s innovative photographic techniques. The images range from classic vintage-style...

Selection of photographs by Matthew Rolston featured in Hollywood Royale.

Alphabet St.
This is not music, this is a trip

Released April 23, 1988

"Alphabet St." was the first single from Prince's 1988 album, Lovesexy, and the album's only top 10 single, reaching the top-10 in both the UK and U.S.. The song includes a rap by Cat Glover and is full of samples, and generally repeats themes from Lovesexy. Within the context of the album Lovesexy (which only contained one track containing all the songs featured within the work), "Alphabet St." is meant to stand in contrast to the gospel of "I Know" which plays off of the Christian ethics describing Prince's personal belief in Christian concepts of Heaven, Hell, the Devil, and God; emphatically stating "No" to the previous stated praise (and laud of a preacher's voice in the background) and launching into the sensual, provocative lyrics of "Alphabet St."

I'm goin' down 2 Alphabet Street
I'm gonna crown the first girl that I meet
I'm gonna talk so sexy, she'll want me from my head 2 my feet

Yes she will

Yeah

Uh

I'm gonna drive my daddy's Thunderbird (My daddy's Thunderbird)
A white rad ride, '66 ('67) so glam - it's absurd
I'm gonna put her (bop, bop) in the back seat and drive her… 2 Tennessee

Tennessee
Drive her!

Excuse me, baby - I don't mean 2 be rude
I guess 2night I'm just not, I'm just not in the mood
So if U don't mind I would like 2... watch

Ow! Can I?

Ow! (Yeah, yeah, yeah)
Can I, can I, can I, can I, can I?

We're goin' down, down, down, if that's the only way
2 make this cruel, cruel world hear what we got 2 say
Put the right letters 2gether and make a better day (Yeah, yeah, yeah)

Better days
It's OK

Maybe it's the only way

Yeah, yeah, yeah, yeah!

(Put-put-put your…)

Cat, we need U 2 rap (No!)
Cat, we need U 2 rap
Don't give it 2 us slow
Cuz we know U know
New Power Soul
Gotta, gotta, gotta go! (N-N-No!)

Put your love down

Talk 2 me lover, come and tell me what U taste
Didn't your mama tell U life is 2 good 2 waste?
Did she tell U Lovesexy was the glam of them all?
U can hang, U can trip on it, U surely won't fall
No side effects, the feeling last 4ever
Straight up, it tastes good, it makes U feel clever
U kiss your enemies like U know U should
And then U jerk your body like a horny pony would
U jerk your body like a horny pony would
Now run and tell your mama about that!

And while U're at it, tell your pop about this!

Put your love down, baby, when your money get shot
No!
Put your love down, baby, when your money get shot
Put your love down, baby

Yeah, ho - Alphabet Street (No!)
L-L-L-L-Lovesexy! (No!)
Yeah, ho - Alphabet Street

A B, C, D, E, F, H
I love U

Basic tracks were recorded on 30 December, 1987 at Paisley Park Studios, Chanhassen, MN, USA (the day before the 31 December, 1987 show where Prince and Miles Davis performed together for the first and only time). Cat's rap on the track was originally used in the unreleased song Bloody Mouth, recorded the previous month. - taken from princevault

This is the opening of Joy In Repetition before Cat joined the band and added her vocals and it was placed before Alphabet Street

Yeah, yeah, yeah!
Tell U what (Give it up, yeah!)

Man, are we on the guest list? (Guest list? What guest list?)
We on the guest list, right?

I don't see no 5 dollars U owe me
(Can't wait till I get my own, how 'bout U?)
OK (I got those 2 right here)
(Yo later, I'm goin back 2 the place)
They are back!
I'm gonna go 2 the bar (I'm goin' home)
I'm gonna have one of those sandwiches (Yes)

I can't take 'em 2 the club 2 date us

Sleep sandwich
That's right

I can't take but so much

The meat between 3 sheets

I know it was her

That's right

That's what I'm talkin' about

A peanut-butter sandwich

Her and her girlfriend
The one that was standin' right next 2 my woman (D)
Standin right next 2 my woman

Let us praise God with the fruit of the vine (E)

My name's Andre Crabtree III (Ooh-wee! Did U see that?)

Our innocent symbol of glory

I've got more holes than a golf course (That don't mean shit) (Taxi)

And thank Him 4 your blessings of the past week
(I got a white / blue car and…)
(Where's the car, dude?) (And a red)
(I said who parked the car?) (No!)
4 life and 4 Prince... (Funk it!)

This is not music, this is a trip

Then Prince dropped another bombshell: He didn't want to shoot any videos for the album. He boldly claimed to Warners' incredulous marketing team that the absence of a video would distinguish him from other pop stars, as well as create a sense of mystery about the album. No one accepted the argument, but the label couldn't force an artist of his stature to go in front of a camera. There would be no videos.

Chapter 10: Black

March 20, 1988: Alan Leeds' residence, Eden Prairie, Minnesota

p 125

Possessed: the Rise & Fall of Prince

Alan Leeds was among those beginning to harbor doubts about the direction of Prince's career. After working for many years with James Brown, Leeds accepted inconsistent behavior, arbitrary demands, and frequent bouts of hubris as part and parcel of a brilliant artist's character. And yet, Prince's actions were in some respects even more erratic and unpredictable than Brown's.

On a gray late-winter day, as a snowstorm gained force and began coating the Minneapolis suburb of Eden Prairie, Leeds was happy to have a day off from the hectic and exhausting routine of catering to Prince's every whim. It was warm inside, an NFL game was on, and Leeds was home with his family.

Then the phone rang.

As always, there were no pleasantries, no introductions. "I want to shoot a video," Prince said in a quiet, clipped voice. Leeds had to press to find out exactly what this meant. Did he want to make a clip for Alphabet Street, after all? Prince said yes, and Leeds asked if he had spoken to Fargnoli about this. No, Prince responded, he wanted to shoot without meddling from the managers or Warner Bros. They would just screw things up. Leeds cautioned that this meant the budget for the video would come out of Prince's pocket-didn't it make more sense to contact Warners, which would readily approve financing for the video?

No, Prince said. He wanted to do it on his own.

"Ok, when?" Leeds asked.

"Today."

Incredulous, Leeds did everything he could to dissuade Prince from making the video. It was mid-afternoon on a stormy Sunday. No respectable team of filmmakers could be assembled, particularly in Minneapolis where, as Leeds reminded Prince, there was not a film crew on every block as in Los Angeles. Even if a crew agreed to do the shoot, it was unlikely that adequate equipment could be rented and that everyone would make it through the snow to the set. How could this possibly be pulled off?

"Sounds to me like that's your problem, not mine," Prince retorted.

Leeds realized that, at the very least, he would have to placate Prince by placing some phone calls. Although the local community was not large, Leeds knew several skilled directors. Predictably, they refused the assignment. Working through his Rolodex, Leeds called filmmakers whom he considered B-List, and began to worry that even if someone agreed to take the job, the end result wouldn't be worth the time, effort, or money. As Leeds waited for callbacks, Prince continued to hector him by phone, "When are we shooting?" he asked repeatedly, undeterred by Leeds' warnings that no top-flight filmmakers were available. Prince told him to keep trying.

Frustrated that a rare day off was being spoiled, Leeds continued his efforts and finally found a director, Michael Barnard, who was eager for the assignment. But the question remained: Could Barnard locate a facility and equipment? The afternoon dragged into evening, and the snow kept falling. Prince kept barraging Leeds with phone calls. Finally, Barnard called: The shoot was a go. He had located a facility owned by a cable television company, as well as a truck full of basic equipment typically used to cover city council meetings for local access channels. Leeds, not surprised that matters had come to this, called Prince and told him the shoot was on.

By eleven p.m., with most of the city under snow, film was rolling. Prince had rounded up Sheila E and Cat Glover to participate. The video was shot against a blue screen, with the result that the footage looked startlingly amateurish and homemade. During the post-production process, Prince had Barnard jazz up the video by having various textual phrases dart across the screen, including "Don't buy The Black Album, I'm sorry," and "Ecstasy."

OldFriends4Sale said:

Alphabet St. was the first music video I saw in my life. I was 11 and it was on breakfast TV in the summer of '88

30 years ago and yet I still remember it so vividly. When I saw the "funny guy" and his moves I said "That is my brother". And I still call him that.

Basic tracks were recorded on 30 December, 1987 at Paisley Park Studios, Chanhassen, MN, USA (the day before the 31 December, 1987 show where Prince and Miles Davis performed together for the first and only time). Cat's rap on the track was originally used in the unreleased song Bloody Mouth, recorded the previous month. - taken from princevault

Then Prince dropped another bombshell: He didn't want to shoot any videos for the album. He boldly claimed to Warners' incredulous marketing team that the absence of a video would distinguish him from other pop stars, as well as create a sense of mystery about the album. No one accepted the argument, but the label couldn't force an artist of his stature to go in front of a camera. There would be no videos.

Chapter 10: Black

March 20, 1988: Alan Leeds' residence, Eden Prairie, Minnesota

p 125

Possessed: the Rise & Fall of Prince

Alan Leeds was among those beginning to harbor doubts about the direction of Prince's career. After working for many years with James Brown, Leeds accepted inconsistent behavior, arbitrary demands, and frequent bouts of hubris as part and parcel of a brilliant artist's character. And yet, Prince's actions were in some respects even more erratic and unpredictable than Brown's.

On a gray late-winter day, as a snowstorm gained force and began coating the Minneapolis suburb of Eden Prairie, Leeds was happy to have a day off from the hectic and exhausting routine of catering to Prince's every whim. It was warm inside, an NFL game was on, and Leeds was home with his family.

Then the phone rang.

As always, there were no pleasantries, no introductions. "I want to shoot a video," Prince said in a quiet, clipped voice. Leeds had to press to find out exactly what this meant. Did he want to make a clip for Alphabet Street, after all? Prince said yes, and Leeds asked if he had spoken to Fargnoli about this. No, Prince responded, he wanted to shoot without meddling from the managers or Warner Bros. They would just screw things up. Leeds cautioned that this meant the budget for the video would come out of Prince's pocket-didn't it make more sense to contact Warners, which would readily approve financing for the video?

No, Prince said. He wanted to do it on his own.

"Ok, when?" Leeds asked.

"Today."

Incredulous, Leeds did everything he could to dissuade Prince from making the video. It was mid-afternoon on a stormy Sunday. No respectable team of filmmakers could be assembled, particularly in Minneapolis where, as Leeds reminded Prince, there was not a film crew on every block as in Los Angeles. Even if a crew agreed to do the shoot, it was unlikely that adequate equipment could be rented and that everyone would make it through the snow to the set. How could this possibly be pulled off?

"Sounds to me like that's your problem, not mine," Prince retorted.

Leeds realized that, at the very least, he would have to placate Prince by placing some phone calls. Although the local community was not large, Leeds knew several skilled directors. Predictably, they refused the assignment. Working through his Rolodex, Leeds called filmmakers whom he considered B-List, and began to worry that even if someone agreed to take the job, the end result wouldn't be worth the time, effort, or money. As Leeds waited for callbacks, Prince continued to hector him by phone, "When are we shooting?" he asked repeatedly, undeterred by Leeds' warnings that no top-flight filmmakers were available. Prince told him to keep trying.

Frustrated that a rare day off was being spoiled, Leeds continued his efforts and finally found a director, Michael Barnard, who was eager for the assignment. But the question remained: Could Barnard locate a facility and equipment? The afternoon dragged into evening, and the snow kept falling. Prince kept barraging Leeds with phone calls. Finally, Barnard called: The shoot was a go. He had located a facility owned by a cable television company, as well as a truck full of basic equipment typically used to cover city council meetings for local access channels. Leeds, not surprised that matters had come to this, called Prince and told him the shoot was on.

By eleven p.m., with most of the city under snow, film was rolling. Prince had rounded up Sheila E and Cat Glover to participate. The video was shot against a blue screen, with the result that the footage looked startlingly amateurish and homemade. During the post-production process, Prince had Barnard jazz up the video by having various textual phrases dart across the screen, including "Don't buy The Black Album, I'm sorry," and "Ecstasy."