{{{High, here a very differnt concert review.
Enjoy | Peace and b wild | fran

Auch Sarkasmus kann ein Antrieb sein
Die Welt ist in Schwierigkeiten, doch Pop eine heilende Kraft: Prince, wie er singt und philosophiert, im Frankfurter Konzert

Die vielleicht grösste Kunst der Popmusik ist es, den Augenblick zu gestalten – und in der Erinnerung Ewigkeit werden zu lassen. Über die Jahrzehnte ist diese Kunst in dem Maße verlorengegangen, wie sich die Industrie der Musik bemächtigt und ihr Rituale aufgezwungen hat, die man heute deshalb als konstituitionell zu nehmen bereit ist – weil keiner es mehr anders kennt. Das Grundmodell funktioniert so: Der Künstler veröffentlicht eine Platte und geht auf Tournee. Im Konzert nimmt das Publikum die neuen Stücke als Preis dafür, die alten Songs wieder zu hören. Und mit jeder weiteren Veröffentlichung wird das eben noch Neue ganz selbstverständlich zum Klassiker – allein durch den Umstand, dass es nicht mehr ganz neu ist. Billiger als im Pop ist die Aura des Ewigen nicht zu haben. Womöglich ist das die allergrösste Kunst der Musikindustrie.
Prince, der Popstar aus Minneapolis, bei dem zwischen Alt und Neu schon immer alles ganz anders war als bei den anderen, steht auf der Bühne der Frankfurter Festhalle, erste deutsche Station auf einer überraschend angesetzten Tournee, und provoziert die Sehnsucht der Fans nach seinem allergrössten Hit, "Purple Rain". Als die Rufe dann ertönen, wiegelt er ab. Nein, dieses Stück werde er nicht spielen, das stamme aus den Achtzigern. Jetzt sei 2002. Das Argument leuchtet ein, nicht minder sein unlängst im Interview geäußerter Hinweis darauf, den Zustand der Welt bereits vor zwanzig Jahren in dem Song "1999" beschrieben zu haben.
Dass er "Purple Rain" keine zehn Minuten später doch spielt, ist so erstaunlich, wie es das genau nicht ist. Die allergrösste Kunst von Prince ist es seit je, aus dem Selbstreferentiellen unmittelbar Kapital zu schlagen. Die zweite Säule seines Rangs sind musikalische Kompetenz und multiinstrumentale Versiertheit. Prince ist nichts weniger als ein ganz eigener Poporganismus. Er singt, spielt und atmet Musik, stets im Hier und Jetzt und doch immer auch mit jenem Hauch von Unwiederholbarkeit, der im Pop Legendenurfutter ist.}}}
Mit jedem Auftritt gestaltet Prince sein OEuvre neu. Dies ist eigens zu betonen, denn in der Reproduktionsmaschinerie des Pop ist die Neuerfindung eher ein Handwerk, das man nebenbei erledigt. "Purple Rain" klingt an diesem Abend wie gerade erfunden – mit krachenden Gitarrensplittern von der Bühne und schwebenden Publikumschören –, und auch den anderen Hits gewinnt er neue Facetten ab: schneller, höher, bunter. Ein Abend mit Prince ist immer anders aufregend.
Wie gross der Anteil des alten Materials im Konzert ist, spielt keine Rolle. Bei ihm klingt alles neu. Auch das unterscheidet den heute Vierundvierzigjährigen von Madonna oder Michael Jackson, mit denen er anfangs oft verglichen wurde. Künstlerisch hat er die beiden längst hinter sich gelassen. Dass sein Stern unterwegs nie so hell strahlte, liegt womöglich am bizarren Verständnis der eigenen Position in der Musikindustrie, die er notorisch hinterfragt – dabei hat er sich zuweilen selbst ins Abseits gestellt. Fast die ganzen Neunziger über war er damit beschäftigt, seine Unabhängigkeit von den Strukturen des Popmarkts zu betonen, bis hin zur Preisgabe seines Künslternamens: nichts weniger als auch eine Art künstlerischen Selbstmords. Seine Musik ist dabei eher zu kurz gekommen.
Heute steht er wieder auf der Bühne, als sei nichts geschehen. Er ist neuerlich Prince und nicht mehr die Symbolfigur in der Wüste des Pop, als die er sich selbst zuweilen stilisiert hatte. Dafür ist der Anteil dramatischer Gesten auf der Bühne grösser geworden. Die Welt sei in argen Schwierigkeiten, sagt er, und bittet zehn Zuschauer zum Vortanzen aufs Podium. Sie machen ihre Sache ordentlich und müssen dann wieder verschwinden – ein Volk, eine Liebe, ein Gott. Es ist, als habe Prince inzwischen auch den Sarkasmus als Antriebskraft seines Popuniversums entdeckt, die Ironie fügt seinem Konzert neue dunkle Farben hinzu.
Musikalisch klingt das Disparate wie aus einem Guss. Gospel und Blues, Hardrock und Funk – alles wird eins und bleibt doch stets ganz besonders. Immer neue Lunten legen die sieben Musiker der "New Power Generation". Die Songs explodieren in grellen Blitzen. Was bleibt, sind die Melodien. Ihre eingentliche Schönheit ist erst im Nachklang zu erkennen. Sie ähneln Adern in der Unendlichkeit des Nachthimmels.

No spaken zie deutch. (spelling)

Hey guys, is this a private message only to those that speak your native tounge.

Can we get a translation or something?


Thanks

hi tacham HELP


Tacham

said ealier

do this again pls.

Please TRANSLATE

tankxxx(xxx)

I don't have the time now to translate this properly, but let me tell you all out there: That's one of the most positive, poetic(!) and heartfelt reviews I've ever read.

Sorry but I just don't have the time for a translation. On top of it, although I lived in the US for 4 years this article is pretty difficult to translate.

fran said:

GLAD U HAD FUN THANKU 4 POSTING !

Here is the translation (sort of):

Also sarcasm can drive the world in difficulties, but a healing power chirped: Prince how he sings and philosophizes, in the Frankfurt concert



It is perhaps largest art of the Pop musik to form the moment – and lets it become a memory for eternity. Over the decades, this art in the mass media is how the industry of the music seizes itself and has its ritual aufgezwungen to take that one today therefore as a konstituitionell it is ready because none knows it more differently. The reason model functions so: the artist publishes a disk and goes on tour. In the concert, the public takes sing the new pieces as a price for that, the old to hear again. And with each further publication, that becomes just yet new entirely obvious the classic – alone through the circumstance that it is entirely new no longer. Approier as in that did not chirp is the auras of the eternal to have. If possible that is the allergrösste art of the music industry.
Prince, the Popstar out of Minneapolis stands on the stage of that Frankfurt festival hall, first German station on a surprisingly prepared tour, and the longing of the fans after its Hit, "Purple Rain". When the calls sound then, wiegelt it off. he would not play this piece. Now is 2002. The argument does not illuminate the accrued singer described on, few its reference expressed lately in the interview on that, that already twenty years ago in that to "1999" to the world to have. That it plays "Purple Rain" no ten minutes later yet, is so astonishing how it exactly is not that. It is the art of Prince to strike out of the Selbstreferentiellen directly capital. Musical competeece are the second column of its rank and multi instrumentale Versiertheit. Prince is nothing less than an entirely characteristic Poporganismus.
He sings, plays and breathes music, always in the now and yet always also with that breath of Unwiederholbarkeit, With each entrance, Prince forms its OEuvre newly. This is to be emphasized expressly, for in the reproduction machinery the the Neuerfindung is chirped sooner a craft that one settles incidentally. "Purple Rain" sounds invented how just at this evening – with krachenden guitar greeel of the stage and floating public scissors –, and it wins also the other Hits new facets off: faster, more highly, more colorful.
An evening with Prince is always differently exciting. How large the share of the old material in the concert is, no roll plays. With it, all sounds newly. Also that distinguishes that today forty-four year-old by madonna or Michael Jackson, with which it often was compared originally. Artistically it let both a long time behind itself. That its star radiated underway never so brightly, lies questioned itself if possible at the bizarre understanding of the characteristic position the music industry, that notorious it – at the same time it sometimes even in that to one side of. Almost the entire Neunziger over it was busied therewith to emphasize its independence of the structures of the Pop markts, until there to the surrender of its Künslternamens: nothing less than also a type of artistic suicide. Its music came sooner to shortly. Today it stands had happened again on the stage, as to nothing. He is lately Prince and no longer the symbol figure in the desert the chirped when that he had stylized himself sometimes. For that the share of dramatic gestures became on the stage larger. Let the world be in bad difficulties, says he, and on the platform to ten spectators to the Vortanzen. They make its matter orderly and must disappear then again – a people, a love, a God. he had discovered as Prince in the mean time also the sarcasm as a driving force of its Pop universums, joins the irony his concert colors new dark thereto. Musically the Disparate sounds as well as out of a shower. Gospel and Blues, Hardrock and radio – everything one becomes and remains yet always very especially. The seven musicians of the "New Power generation" put always new Light. The singer explode in harsh flashes. The melodies are what remains. Your beauty is to be recognized first in the Nachklang. They resemble vein in the infinity of the night sky.
[This message was edited Wed Oct 16 11:08:03 PDT 2002 by softNwet]

This is the best translation i can provide sorry if it is hard to understand. Good luck

fran said:

This is definitely true. This magazine and the article from the mag posted in the
Frankfurt-concert-review-by-German-newspaper-FR-(in german)-thread are neither music magazines nor tabloid press but serious newspapers. writing with full knowledge of their native tongue, rather political and so...

in general, all reviews in germany so far of the frankfurt concert were extremely positive!

well, this is a very! positive review, on a high intelectual standard... u can b proud of it, showing around, it makes the 2days pop business and its mtv,
viva and so on, looks like a disney channel, and madonna and micheal j. like goofies...

very nice story!
prince & the band deserves it!

purplefab said:

Fab is definitely right, to have such reviews should suffice to everybody to admit that prince is the only artist who remains so commited and above all so funky... a musical gift to all of us and also a philosopher... If the guy reads it, it is sure he will come down here soon!!!

thanxxx(xxx) softNwet

*****
*****
[Edited 5/26/12 7:02am]

leibfrei said:

As a dolphin?!

As a dolphin?![/quote]


Yeah.

Frankfurter Allgemeine 15.10.02 Concert Review

Hi, I’ve been 2 the concert and loved every minute of it! Also, to practice my english I’ve tried another translation, which I hope makes a bit more sense than GOOGLE’s?
Grin & bear with me, I’m an alien! Here goes:


Sarcasm, too, can be a stimulus
The world is in trouble, but Pop’s a healing power: Prince singing and philosophizing at Frankfurt concert.

Perhaps the greatest art of Pop music is the fashioning of moments- and turning them into eternal memories. Over the decades this art has been lost, as the industry took over music and forced it into rituals that nowadays are only being accepted as constitutional because noone remembers any better. The basic pattern works this way: The artist releases a record and goes on tour. At the concerts the audience will accept the new songs as the price for hearing the old ones once again. That way every new release will automatically turn the formerly new material into new classics. There is no easier way to achieve an aura of eternity than through Pop. And that might be music industry’s most eminent art.
Now Prince, Popstar from Minneapolis, whose old and new creations have always differed from other’s, climbs the stage at the Festhalle in Frankfurt as first stop of an impromtu tour, and provokes fans to yearn for his hugest hit "Purple Rain".
As calls for it arise, he plays it down. No, he won’t play 80ies material in 2002, which makes sense, just like his recent statement of having correctly predicted todays conditions in the song "1999" 20 years ago. Yet him playing "Purple Rain" not merely ten minutes later, does not surprise anybody, as it’s surprising. Prince’s greatest art is his skill in immediately successful self-reference. The second pillar of his art are his musical competence and instrumental versatility. He is nothing less than his very own Pop-organism. He sings, plays and breathes music, always present in the very now, yet with a hint of irretrievable uniqueness, from which Pop legends spring.
With each performance Prince generates his work as Oeuvre anew. This can not be emphasized enough, since Pop’s reproductional machinery uses reinvention in a minor and subordinate way. That night, "Purple Rain" sounds like it has just been invented- with crackling splinters of guitar playing from the stage and floating choirs from the audience-, as well as additional facets to all his other hits: Faster, higher, more colorful. An evening with Prince is always exciting in a new way.
The amount of old material in his concerts is of no consequence, since everything sounds fresh. That, too, sets the 44 year old apart from other artists as Madonna or Michael Jackson, to whom at the beginning of his career he was often compared to. Artistically he has long ago left them way behind him. The fact that his star never sparkled just as bright along the way, may have its cause in the bizarre perception of his own position in the music industry, which he notoriously questions- thus sometimes putting himself into an offside position. For most of the nineties he strifed to accentuate his independence from Pop market’s structures, going as far as abandoning his stagename: In a way an act of artistical suicide, because his music did not get the right attention.
Nowadays he takes the stage as if nothing had happened. He is Prince again, not the stylized symbol in the desert of Pop, that he sported for a while. Instead the gestures on stage have grown. He says the world is in big trouble, then asks 10 people in the audience to dance in front of him on the podium. They do well and are afterwards asked to step down again- one people, one love, one God. It seems as if Prince even discovered sarcasm as an additional drive in his Pop-universe, irony adds new dark colors to his concert. Musically, the disparate blends and sounds homogenous. Gospel, Blues, Hardrock, Funk- all styles unite and still remain unique. Fuse after fuse is laid by the seven musicians of the "New Power Generation". The songs explode in bright flashes. What remains, are the melodies.Their true beauty becomes apparent in their own echoes. They resemble veins in the infinity of the nightly sky.
LOVE!