My 10 year old daughter thinks he's cool and the songs Push and Jughead off Diamonds & Pearls are hilarious.

Push is only the third Prince song to be requested for her ipod. The other two were Art Official Cage and Funknroll (Art version).

She only has 3 eighties songs on her ipod, Billie Jean, Thriller and Sweet Dreams by the Eurithmics.

Her favourite artist is Will Smith.

omnithanos said:

My 10 year old daughter thinks he's cool and the songs Push and Jughead off Diamonds & Pearls are hilarious.

Push is only the third Prince song to be requested for her ipod. The other two were Art Official Cage and Funknroll (Art version).

She only has 3 eighties songs on her ipod, Billie Jean, Thriller and Sweet Dreams by the Eurithmics.

Her favourite artist is Will Smith.

Jughead, Push, AOC and FunkNRoll? Some people here are liable to call Children Aid on you.

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[Edited 3/10/15 21:17pm]

I've been meaning to share this story for awhile, but now that you mention Tony M.

*

I just happened to get a free ticket (aisle seat) to the Vh-1 honors in 1994, where Prince performed "Interactive and Endorphin Machine." While Prince was performing on stage, I just happened to look to my left, there was Tony M just sitting there, barely watching the performance. Everyone was on their feet, so I know he couldn't see anything. Just the look on his face, was like someone told him his dog was just hit by a car. The disbelief, frustration and a little anger was written all over his face, as visible as the word Slave written on Prince's face.

*

By this time, Prince fired most of the NPG, written Slave on his face and was going in another direction.

I'm assuming he was there to try to talk to Prince or whatever. Just so sad to see him sitting in the audience with the regular folks and just a year or so before he was on stage right next to him.

*

Prince left the stage and he just sat for the next performance, then just disappeared before the end of the taping. I think he got too emotionally attached, sad story but one I'll never forget.

*

[Edited 3/1/15 12:07pm]

Did Tony M write any of his own lyrics?

Did he release any music that Prince didn't have a hand in?

JoshuaWho said:

Who gives a damn what your little children like?

JoshuaWho said:

Who gives a damn what your little children like?

You meant to type this with a winky, don't you?

G3000 said:

I've been meaning to share this story for awhile, but now that you mention Tony M.

*

I just happened to get a free ticket (aisle seat) to the Vh-1 honors in 1994, where Prince performed "Interactive and Endorphin Machine." While Prince was performing on stage, I just happened to look to my left, there was Tony M just sitting there, barely watching the performance. Everyone was on their feet, so I know he couldn't see anything. Just the look on his face, was like someone told him his dog was just hit by a car. The disbelief, frustration and a little anger was written all over his face, as visible as the word Slave written on Prince's face.

*

By this time, Prince fired most of the NPG, written Slave on his face and was going in another direction.

I'm assuming he was there to try to talk to Prince or whatever. Just so sad to see him sitting in the audience with the regular folks and just a year or so before he was on stage right next to him.

*

Prince left the stage and he just sat for the next performance, then just disappeared before the end of the taping. I think he got too emotionally attached, sad story but one I'll never forget.

*

Thanks for sharing that. I think we rag on him so much we forget that he has emotions. Hopefully he never peeps his head into the org to the probably 100's of pages devoted to just how horrible he was.

JoshuaWho said:

Who gives a damn what your little children like?

Noodled24 said:

Did Tony M write any of his own lyrics?

.

http://en.wikipedia.org/w...eacer,_Jr.

.

In October 1998, Seacer (along with Tony M.) filed a lawsuit against Prince, claiming that Prince hadn't shared royalties that Levi and Tony were owed for songs they had co-written for Prince's NPG Publishing, including "Sexy MF" and "My Name Is Prince". In the end Mosely and Seacer settled for approximately $40,000 each (apparently, not even enough to pay their legal expenses), having sued Prince for $800,000.

.

Unfortunately the source link is now dead (thanks for nothing, Google), but I did encounter this related story:

.

CJ's column 10/20/98 Minneapolis Star Tribune

.
"Just shocking. A lawyer trying to serve a lawsuit to Prince alleges that Symbolina 'conceals himself within the state of Minnesota with the intent to avoid personal service of process.' Either attorney Timothy Matson is not up on how Prince operates -- the pop singer has an unlisted phone number to his Chanhassen recording studio! -- or the attorney is being tongue-in-cheek in the affidavit attached to a suit filed in Hennepin County last week by Levi Seacer Jr. and Anthony Mosley [Tony M.]. They claim that Prince has not shared royalties they are owed for songs they've cowritten for Prince's NPG Publishing. The suit lists 75 songs, including 'Sexy M.F.,' and 'My Name Is Prince,' for which Seacer and Mosley are alleging that Prince Rogers Nelson is being funky about money."

FragileUndertow said:

Although this thread is sort of a hot mess, I just had to click on it based on the thread title alone.

https://groups.google.com...rc58ria6YJ

.

From the very beginning, though, Prince saw talents in Tony Mosley that no one else could detect. “I thought he was a Dr. Dre wannabe,” said Rosie Gaines in a typical appraisal. Throughout Mosley’s tenure, reactions to his contributions – from fans, critics, and Prince’s associates – would be almost monolithically negative, and with good reason: Mosley’s delivery was sloppy and dull, his image contrived and generic. His sudden prominence in Prince’s music had little to do with Mosley himself – it was instead a historical accident explained only by Prince’s haste to exploit the commercial appeal of rap. Because Prince had never understood rap, and in fact disliked it, he failed to perceive the vast gulf between his new recruit and much more skilled rappers, like Chuck D. and Ice-T, to whom Mosley’s stylings bore a superficial resemblance.

.

But Mosley had the boss’ ear, and he knew it. Several band members recall that Mosley exclaimed one day to his colleagues regarding Prince (who was not present): “I’m gonna shove black down that nigga’s throat if it kills me.” This declaration was a rallying cry to bring Prince back to his roots in African-American music.

.

And Mosley’s impact quickly became apparent. Prince, in a visual emulation of gangsta rap, began singing into a microphone shaped like a gun and also began favoring more masculine clothing. Quite consciously, he was updating himself to attract younger consumers and to reconnect with African-American fans who might have been turned off by his movement toward rock and pop in the mid-1980s. “He wanted other black artists to look at him as ‘hard’ and as ‘street’ as they were,” studio engineer Michael Koppelman said. “I remember he kept using the word ‘hard.’”

.

(An excerpt from Alex Hahn's book.)

JoshuaWho said:

Who gives a damn what your little children like?

I guess a degree education doesn't come with class. What a horrible response to op and adding nothing to the conversation. Why post anything if it's only going to be nasty?

It's good to hear about kids liking Prince. My ten year old son loves Prince music and has his iPod filled up with it. My 3 year old, not so much

BartVanHemelen said:

it was instead a historical accident explained only by Prince’s haste to exploit the commercial appeal of rap. Because Prince had never understood rap, and in fact disliked it,

.

(An excerpt from Alex Hahn's book.)

That's why i dislike the era. He wasn't being true to himself. To fans from the start it came across too. To the fans he picked up from say, 'Batman' onwards, I suppose he just might have got away with it.

Oh dear, Im gonna say it.... I didnt think Tony M was that bad. I quite liked some of the stuff he brought to the table.

BartVanHemelen said:

https://groups.google.com...rc58ria6YJ

.

From the very beginning, though, Prince saw talents in Tony Mosley that no one else could detect. “I thought he was a Dr. Dre wannabe,” said Rosie Gaines in a typical appraisal. Throughout Mosley’s tenure, reactions to his contributions – from fans, critics, and Prince’s associates – would be almost monolithically negative, and with good reason: Mosley’s delivery was sloppy and dull, his image contrived and generic. His sudden prominence in Prince’s music had little to do with Mosley himself – it was instead a historical accident explained only by Prince’s haste to exploit the commercial appeal of rap. Because Prince had never understood rap, and in fact disliked it, he failed to perceive the vast gulf between his new recruit and much more skilled rappers, like Chuck D. and Ice-T, to whom Mosley’s stylings bore a superficial resemblance.

.

But Mosley had the boss’ ear, and he knew it. Several band members recall that Mosley exclaimed one day to his colleagues regarding Prince (who was not present): “I’m gonna shove black down that nigga’s throat if it kills me.” This declaration was a rallying cry to bring Prince back to his roots in African-American music.

.

And Mosley’s impact quickly became apparent. Prince, in a visual emulation of gangsta rap, began singing into a microphone shaped like a gun and also began favoring more masculine clothing. Quite consciously, he was updating himself to attract younger consumers and to reconnect with African-American fans who might have been turned off by his movement toward rock and pop in the mid-1980s. “He wanted other black artists to look at him as ‘hard’ and as ‘street’ as they were,” studio engineer Michael Koppelman said. “I remember he kept using the word ‘hard.’”

.

(An excerpt from Alex Hahn's book.)

All those attempts would have been moot if he had released the Black Album in 1988. At that time, it would have been the "hardest" and "blackest" that a mainstream top 40 pop star was putting out. Can you imagine if Michael Jackson or Madonna put out something like "Bob George" or "Superfunkycalifragisexy" in 1988? Those were his two peers.

She had "Like A Prayer" or "Express Yourself" and Jackson had "Man in the Mirror" and "Smooth Criminal" type stuff going on.

1988: On the top 40 front you had Run DMC, but things like NWA or Public Enemy were still more obscure (but of course they soon surprisingly exploded with white mainstream audiences in the USA). You had Tone Loc and 2 Live Crew about to hit with teenyboppers with a more minimal "black" sound.

BartVanHemelen said:

https://groups.google.com...rc58ria6YJ

.

From the very beginning, though, Prince saw talents in Tony Mosley that no one else could detect. “I thought he was a Dr. Dre wannabe,” said Rosie Gaines in a typical appraisal. Throughout Mosley’s tenure, reactions to his contributions – from fans, critics, and Prince’s associates – would be almost monolithically negative, and with good reason: Mosley’s delivery was sloppy and dull, his image contrived and generic. His sudden prominence in Prince’s music had little to do with Mosley himself – it was instead a historical accident explained only by Prince’s haste to exploit the commercial appeal of rap. Because Prince had never understood rap, and in fact disliked it, he failed to perceive the vast gulf between his new recruit and much more skilled rappers, like Chuck D. and Ice-T, to whom Mosley’s stylings bore a superficial resemblance.

.

But Mosley had the boss’ ear, and he knew it. Several band members recall that Mosley exclaimed one day to his colleagues regarding Prince (who was not present): “I’m gonna shove black down that nigga’s throat if it kills me.” This declaration was a rallying cry to bring Prince back to his roots in African-American music.

.

And Mosley’s impact quickly became apparent. Prince, in a visual emulation of gangsta rap, began singing into a microphone shaped like a gun and also began favoring more masculine clothing. Quite consciously, he was updating himself to attract younger consumers and to reconnect with African-American fans who might have been turned off by his movement toward rock and pop in the mid-1980s. “He wanted other black artists to look at him as ‘hard’ and as ‘street’ as they were,” studio engineer Michael Koppelman said. “I remember he kept using the word ‘hard.’”

.

(An excerpt from Alex Hahn's book.)

Interesting!

If you ask me...that's what Prince's music is lacking these days is that "hardness"! Don't get me totally wrong. I like the music I hear but there's a part of me that's offput by songs like Breakfast Can Wait, Clouds, and the tempo of most of the other songs...slow, gentle.

That Gett Off shit and Violet the Organ Grinder and Gangster Glam...that's the business!

Return to those days Prince!!!

On a side note, Levi and Tony M sued Prince?! Interesting...I wondered what happened to them.

Willing & Able. A sublime song and Tony M does well on it.

From the very beginning, though, Prince saw talents in Tony Mosley that no one else could detect. “I thought he was a Dr. Dre wannabe,” said Rosie Gaines in a typical appraisal. Throughout Mosley’s tenure, reactions to his contributions – from fans, critics, and Prince’s associates – would be almost monolithically negative, and with good reason: Mosley’s delivery was sloppy and dull, his image contrived and generic. His sudden prominence in Prince’s music had little to do with Mosley himself – it was instead a historical accident explained only by Prince’s haste to exploit the commercial appeal of rap. Because Prince had never understood rap, and in fact disliked it, he failed to perceive the vast gulf between his new recruit and much more skilled rappers, like Chuck D. and Ice-T, to whom Mosley’s stylings bore a superficial resemblance.

.

But Mosley had the boss’ ear, and he knew it. Several band members recall that Mosley exclaimed one day to his colleagues regarding Prince (who was not present): “I’m gonna shove black down that nigga’s throat if it kills me.” This declaration was a rallying cry to bring Prince back to his roots in African-American music.

.

And Mosley’s impact quickly became apparent. Prince, in a visual emulation of gangsta rap, began singing into a microphone shaped like a gun and also began favoring more masculine clothing. Quite consciously, he was updating himself to attract younger consumers and to reconnect with African-American fans who might have been turned off by his movement toward rock and pop in the mid-1980s. “He wanted other black artists to look at him as ‘hard’ and as ‘street’ as they were,” studio engineer Michael Koppelman said. “I remember he kept using the word ‘hard.’”

.

(An excerpt from Alex Hahn's book.)

Began favouring more masculine clothing?

Really? Maybe some outfits. Many others were the type of stuff that even most women wouldn't dare to wear. The heels got higher too. They were basically women's stiletto heel boots by that point, not the "cuban heels" or whatever people used to call those things from the PR days.

I personally believe Tony M is cool. His vocals were hot in "Gett Off" ("baby, here I am" in that booming voice).

Also a goofy guy. His interrogation in "Love 2 The 9's" was hilarious.

I liked some of his contributions but there were moments also that took me out of the song (or album) was that it stopped feeling like a Prince record. NPG may have been a band but even in acts like The Beatles or Stones where there is more than one lead vocalist, you need to make it apparent there is one person at the front and centre of it. Sometimes it felt like Prince just left the room for the NPG to take over.

BartVanHemelen said:

https://groups.google.com...rc58ria6YJ

.

From the very beginning, though, Prince saw talents in Tony Mosley that no one else could detect. “I thought he was a Dr. Dre wannabe,” said Rosie Gaines in a typical appraisal. Throughout Mosley’s tenure, reactions to his contributions – from fans, critics, and Prince’s associates – would be almost monolithically negative, and with good reason: Mosley’s delivery was sloppy and dull, his image contrived and generic. His sudden prominence in Prince’s music had little to do with Mosley himself – it was instead a historical accident explained only by Prince’s haste to exploit the commercial appeal of rap. Because Prince had never understood rap, and in fact disliked it, he failed to perceive the vast gulf between his new recruit and much more skilled rappers, like Chuck D. and Ice-T, to whom Mosley’s stylings bore a superficial resemblance.

.

But Mosley had the boss’ ear, and he knew it. Several band members recall that Mosley exclaimed one day to his colleagues regarding Prince (who was not present): “I’m gonna shove black down that nigga’s throat if it kills me.” This declaration was a rallying cry to bring Prince back to his roots in African-American music.

.

And Mosley’s impact quickly became apparent. Prince, in a visual emulation of gangsta rap, began singing into a microphone shaped like a gun and also began favoring more masculine clothing. Quite consciously, he was updating himself to attract younger consumers and to reconnect with African-American fans who might have been turned off by his movement toward rock and pop in the mid-1980s. “He wanted other black artists to look at him as ‘hard’ and as ‘street’ as they were,” studio engineer Michael Koppelman said. “I remember he kept using the word ‘hard.’”

.

(An excerpt from Alex Hahn's book.)

[Edited 3/8/15 15:18pm]

TryWhistlingThis said:

I liked some of his contributions but there were moments also that took me out of the song (or album) was that it stopped feeling like a Prince record. NPG may have been a band but even in acts like The Beatles or Stones where there is more than one lead vocalist, you need to make it apparent there is one person at the front and centre of it. Sometimes it felt like Prince just left the room for the NPG to take over.

I'm just going to say it no matter what the consequences.

I LOVED Tony's rap on "The Flow" from the Symbol album.

Blixical said:

I'm just going to say it no matter what the consequences.

I LOVED Tony's rap on "The Flow" from the Symbol album.

I think "The Flow"is good too. But it's the whole thing that makes it good.

I finally tracked down Gold Nigga not long ago; now I wanna give it back.