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Nude Tour-Graffiti Bridge era 1990 - 1991 the NUDE Tour and accompaning videos and photoshoots
Music is the Power. Love is the message. Truth is the answer.
NUDE WORLD TOUR Starring PRINCE
"I'm going to make a film about it -- not the next one, but the one after that. I've wanted to make it for three years now..." Prince 1985
rel 8.21.1990
1.Can't Stop This Feeling I Got Can't Stop This Feeling I Got" was from 1982, but later updated in 1986 for his unrel project Dream Factory, The Question of U was from 1985 during the Parade sessions, surviving with little updating 2 the original version. We Can Funk was from 1982, but later updated in 1986 for his unreleased project Dream Factory, Joy In Repetition" was a Crystal Ball outtake from 1986 that survived unchanged. Tick, Tick, Bang" was originally from 1981 during the Controversy sessions
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1990 Nude tour
02 JUN, 1990 ::::: Rotterdam, The Netherlands – Feyenoord Stadion
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Estadio Maracana: Rio de Janeiro Brazil
1.Something Funky
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PRINCE TALKS BY NEAL KARLEN
THE PHONE RINGS at 4:48 in the morning.
"Hi, it's Prince," says the wide-awake voice calling from a room several yards down the hallway of this London hotel. "Did I wake you up?"
Though it's assumed that Prince does in fact sleep, no one on his summer European Nude Tour can pinpoint precisely when. Prince seems to relish the aura of night stalker; his vampire hours have been part of his mad-genius myth ever since he was waging junior-high-school battles on Minneapolis's mostly black North Side.
"Anyone who was around back then knew what was happening," Prince had said two days earlier, reminiscing, "I was working. When they were sleeping, I was jamming. When they woke up, I had another groove. I'm as insane that way now as I was back then."
For proof, he'd produced a crinkled dime-store notebook that he carries with him like Linus's blanket. Empty when his tour started in May, the book is nearly full, with twenty-one new songs scripted in perfect grammar-school penmanship. He has also been laboring over his movie musical Graffiti Bridge, which was supposed to be out this past summer and is now set for release in November. Overseeing the dubbing and editing of the film by way of dressing-room VCRs and hotel telephones, Prince said, has given him an idea. "One of these day," he said, "I'm going to work on just one project, and take my time."
Despite his all-hours intensity, the man still has his manners. He wouldn't have called this late, Prince says apologetically, if he didn't have some interesting news. He'd already provided some news earlier in the week, detailing, among other things, a late-night crisis of conscience a few years back that led him not only to shelve the infamous Black Album but also to try and change the way he wrote his songs -- and led his life.
The crisis didn't involve a leap or a loss of faith, Prince has said, but simply the realization that it was time to stop acting like such and angry soul. "I was an expert at cutting off people in my life and disappearing without a glance back, never to return," he'd said. "Half the things people were writing about me were true."
But what's never been true, he felt, was what people have written about his music. Until, that is, just this minute. It seems that a fresh batch of reviews of the soundtrack of Graffiti Bridge were faxed from Minneapolis to the hotel while Prince was performing one of his fifteen sold-out concerts in England.
What Prince has read in the New York Times has astounded him. "They're starting to get it," he says from his phone in the Wellington Suite, which he has turned into a homey workplace with the addition of some bolts of sheer rainbow-colored cloth, film equipment, a stereo and tacked-up museum-shop posters of Billie Holiday and Judy Garland. "I don't believe it," he says again, "but they're getting it!"
They, in this case, are members of the rock intelligentsia who have alternately canonized and defrocked Prince. In the past, he has derided his professional interpreters as "mamma jammas" and "skinny sidewinders." Two days ago, it became obvious that his epithets, but now his feelings, had tempered concerning those who would judge him.
"There's nothing a critic can tell me that I can learn from," Prince had said earlier. "If they were musicians, maybe. But I hate reading about what some guy sitting at a desk thinks about me. You know, 'he's back, and he's black,' or 'He's back, and he's bad.' Whew! Now, on Graffiti Bridge, they're saying I'm back and more traditional. Well, 'Thieves in the Temple' and 'Tick, Tick, Bang' don't sound like nothing I've ever done before."
But hadn't he been cheered by the album's almost uniformly rave notices? "That's not what it's about," Prince had said. "No one's mentioning the lyrics. Maybe I should have put in a lyric sheet." Now, in predawn London, he's called to say he was wrong. "They're starting to get it," he says one last time, unbothered by the fact that the Times article trashes his lyrics. That's okay, he says, because "they're paying attention." Sounding more amazed than pleased, Prince hangs up the phone and goes back to his dime-store notebook.
FIVE YEARS HAVE PASSED since Prince opened the passenger door to his 1966 Thunderbird and took me on a three-day schlep around the hometown he has never left. When I finally got out, I felt like Melvin Dummar, the doofus milkman who claimed to have driven through the Nevada desert with a surprisingly human Howard Hughes. No one had believed Melvin, and no one, I thought, would believe Prince was a being orbiting so close to planet Earth.
Not that Prince hadn't shown some signs of unease with his still-new superstardom. Alone, he's been animated, funny and self-aware. But out in public, even walking into places as hospitable as Minneapolis's First Avenue club, he would palpably stiffen at the first sign of a gawk, his face set in granite, his voice reduced to a mumble.
Now Prince seems more open and comfortable, less likely to slip into stridency. "You have a few choices when you're in that position," he says, remembering the first year after Purple Rain. "You can get all jacked up on yourself and curse everybody, or you can say this is the way life is and try to enjoy it. I'm still learning that lesson. I think I'll always be learning that lesson. I think I'm a much nicer person now."
This isn't to say that Prince has turned into Dale Carnegie -- he still has the hauteur of a star. But something has changed; his philosophy no longer seems to hinge on things like the size of one's boot heels. "Cool means being able to hang with yourself," he says. "All you have to ask yourself is 'Is there anybody I'm afraid of? Is there anybody who if I walked into a room and saw, I'd get nervous?' If not, then you're cool."
Many things, however, have stayed the same. Prince is still very funny. ("You can always renegotiate a record contract. You just go in and say, 'You know, I think my next project will be a country & western album.'")
He can still play the cocky rocker. "I don't go to awards shows anymore," he says. "I'm not saying I'm better than anybody else. But you'll be sitting there at the Grammys, and U2 will beat you. And you say to yourself, 'Wait a minute. I can play that kind of music, too. I played La Crosse [Wisconsin] growing up, I know how to do that, you dig? But you will not do 'Housequake.'"
His grasp of history and current events remains quirky. Prince can cite chapter and verse from biographies of Little Richard and Jerry Lee Lewis, but he seems genuinely unaware that his own life story was turned into a book by an English rock critic. He knows, blow by blow, the events in the Mideast, relating the crisis to everything from the predictions of Nostradamus to the drug-interdiction policy of George Bush. But he hasn't yet heard of 2 Live Crew.
There is still some residue of emotional pain. "What if everybody around me split?" he asks. "Then I'd be left with only me, and I'd have to fend for me. That's why I have to protect me."
Prince's detractors might diagnose these words as the classic pathology of a control freak. His high-minded supporters might say those are normal protective feelings for somebody who was kicked onto the streets by his beloved father at age fourteen. Prince himself, however, echoes Popeye more than Freud as he analyzes just who he is. "I am what I am," he says. "I feel if I can please myself musically, then I can please others, too."
Finally, there is one more philosophy unchanged with the years. "I play music," Prince has said. "I make records. I make movies. I don't do interviews."
So what are we doing? "We're just talking," he says. Hence, his decision not to be taped or allow notes to be taken or even a pad of questions to be brought out. That would inhibit him, he says; that would mean doing the thing that he just doesn't do.
No, Prince vows, he isn't trying to be a purposeful pain. What he says he simply wants to avoid is "that big Q followed by that big A, followed by line after line of me either defending myself or cleaning up stories that people have told about me."
No matter what he might say in a traditional interview, Prince continues, he'd only end up looking ridiculous. "Some magazine a little while ago promised me their cover if I answered five written questions," he says. "The first one was 'What are your exact beliefs about God?' Now how can I answer that without sounding like a fool?"
True. But isn't he afraid of being misquoted? No, he says softly, staring at the holstered tape recorder on the table before him. When Prince says no, with pursed lips and a slight shake of the head, it carries a certain finality.
Still, in the coming days he addresses just about everything short of Kim Basinger ("I really don't know her that well") or anybody else he's dating ("I never publicize that. My friends around town are surprised when I introduce them to someone I'm seeing").
"And you really would feel better having your words taken down the second you say them?"
"No."
Okay.
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July 29. 1990
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I went to all the three concerts on Holland. You can see how big Prince was at the time....3 sold out concerts in big venues (Feyenoord is about 40.000 people) and the Tokyo concert on Dutch tv...great time. | |
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I have this copy somewhere. Thanks for posting. Prince's Sarah | |
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I know it's not everyone's favourite era, but lately I've really been digging both the album and the tour. It was probably his first non-concept tour (well obviously being a stripped down greatest hits tour), but the attitude on some of the shows and the heaviness of the music is intoxicating. The opening segment from The future to Housequake/Sexy dancer is amazing. Would love to actually have been there to feel it.
The Madrid and Tokyo recordings are prime examples of how good this tour could be, but from reading certain reviews and looking at setlists from some of the other shows, I can see how anti climatic it must've seemed in comparison to the Lovesexy tour. I just think it was nice for PRince to take a step back from the theatrics of his previous tours and go back to basics like all tours before the Purple Rain by removing the horns and playiong full renditions.
I've set up a facebook page of Prince magazine and Newspaper articles. Already I've added a number of Nude tour articles from Holland and London. Feel free to join and enjoy
https://www.facebook.com/groups/184498445001877/ | |
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I've always loved the Nude tour a lot. The vibe and look of it is great, the setlist was good but I would have liked to see Electric Chair+Vicki Waiting included as well.
Thanks for posting this =) | |
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i remember the wembley gigs so well
i had just been predicted an A in my politics A level.........but never sat the mocks cos i went to see Prince
my teacher fuckin killed me!!
but hey! it was a great gig | |
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8.31.1990 Nude World Tour Starring PRINCE Tokyo, Japan
1.The Future
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A Preview of the Nude World Tour Starring PRINCE St Paul Civic Center Arena 5.6.1990
1.Intro
Michael B.: Drums
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OldFriends4Sale,
Is it from the Batman era though?
love, Spirit | |
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I thought so too, but its the GB era, this is the new look, he did a lot of tying of his shirts at the navel, the jackets etc during the Batman era, he had suites that were longer, these are half way the GBridge album came midway the Nude tour, | |
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One tour I would love to go back in time and attend! | |
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8.31.1990 Nude World Tour Starring PRINCE Tokyo, Japan | |
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Very nice | |
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This was the era when I really started to get into Prince's music pretty heavy. I enjoyed the era. Heck I liked the movie. One thing I remember about this time that I was so excited to be a part of the Controversy Fan club. Though we didn't have as many channels as we do now, Prince was on TV a lot. Great memories. | |
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I saw the Buenos Aires leg of this show. It was my 1st ever Prince show and it was farken amazing.
Loving P since 83 and living in Australia, we never got to see him live, so when I was on hols in Chile and heard he was going to Argentina, I quickly packed my bags and caught the next bus.
It was part of a Summer Festival and was held at the Estadio Monumental where River Plate play.
They started of with Somthing Funky which was new but exciting. ANd the rest of the show was farken awesome! Mind you, he didnt do an encore which obviously peed off the locals, which led them to throwing objects on to the stage and roadcrew as they were packing up. They also tore down a MASSIVE symbol banner that covered the soundboard section, which was funny to watch. But I had seen my 1st show, so left with the biggest smile in my face.
A month prior to this, I visited Minneapolis and all the P tourist locations (Paysley Park, Glam Slam etc), so this era is VERY special to me. Graffitti Bridge was on my walkman 24/7 and I saw the movie in MN so as lousy as it was, it will always be my fav.
Hec. I even looked like P back then with the hair, beard and physique. hehe
Good times.
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June 13, 1990
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