IstenSzek said:

FunkySideEffects said:

To add more to my case:

Our fault: for not buying/supporting his protoge's as we know we're the main ones who keep up to date with what he's doing.

Jealousy maybe? I know I am LOL!

Their fault: for not putting their foot down & demanding better management off Prince;

lack of talent Prince's fault: picking girls based on looks not talent, mis-management Anyone want to add anything?

as far as the 1980's proteges the Time Vanity 6 Sheila E (even Apollonia 6) they did get a lot of exposure via the tours and doing shows throught the US & Europe

they dropped the ball with the Family

I also think they did 'put their foot down' but then you were still dealing with the puppet master, as far as I know Prince has still left the idea that it was Morris who fired Jimmy & Terry and that the Time broke up because they ran out of ideas.

Sheila E is the one that still has remained very 'loyal to the mystery of Prince and the proteges' She has never talked much about life during the 1983-1989 years outside of stuff that feels good

I don't know if Jill Jones talked much about her place in the puzzle or the albums/songs that were to be

As far as Vanity 6:Vanity Susan & Brenda they did well, they are a part of the reason its called (unofficially) the Triple Threat tour

Mazarati had what it took as well, but those were just really good years to be a Prince protege

As far as the female proteges, Prince again (had some kind of romantic/sexual relationship with Susan Vanity Sheila Susannah Jill supposedly) I think Prince might have used the 'chaos' of those dealings for inspiration of sorts. Like Sheila had always kept up the mystery of their relationship even in songs like Sister Fate and others, or that they were just good friends.

...

the 1990's proteges came into a Prince camp with no 'vision' or direction as far as I'm concerned. How did they or would they fit within what his music was saying.

Who are the 1990's proteges outside of Carmen Electra?

If U put together a What Time Is It, Vanity 6, 1999 playlist, you can actually hear a story same with the PR and Parade era

It dropped off after he desolved the Revolution, we then lost Sheila E and Jill Jones wasn't for whatever reason apart of the SOTT/Madhouse move and Taj was out there but there wasn't any connection.

2000's Tamar, Bria, Andy, who else?

cbarnes3121 said:

yall saying a bunch of bull shit shoulda coulda woulda shit but the face remains they all moved on outside of prince and people still didnt give a hot damn about em and most of em had the most sucess with prince .u cant blame prince cuz not one of em moved and was able 2 say damn prince im hotter than u im more respecte din the business than u

My Google Translate is broken.

OldFriends4Sale said:

Not pointing the finger at Prince but, looking at his past up till now, mostly I would have to say Prince,

1.) the Time (Prince had to many insecurities & control issues, firing 2 of its main players right before their 3rd album and the break out movie Purple Rain wasn't a good move, I would say Morris Day would have still be there if he hadn't made that move)

I guess in technical terms, "The Time" is a considered a Prince protege group, however, I always saw it as Prince and Morris were supposed to had been equals and created the band together, thus The Time isn't really part of the "Prince protege" list. Isn't that how it all started out when they were playing in the same band together (before Prince's solo album)?

I don't know, I guess in my eyes, I've never considered Morris as "under" Prince in any kind of way. They both contributed...Prince of course with the connections through record deals and management and Morris through picking and choosing the best musicians and bandmates. They always seemed more like stubborn step brothers rather than boss and employee. I don't put it past Morris to have cursed out Prince more than once like nobody's business.

[Edited 10/23/12 6:45am]

missfee said:

OldFriends4Sale said:

Not pointing the finger at Prince but, looking at his past up till now, mostly I would have to say Prince,

1.) the Time (Prince had to many insecurities & control issues, firing 2 of its main players right before their 3rd album and the break out movie Purple Rain wasn't a good move, I would say Morris Day would have still be there if he hadn't made that move)

I guess in technical terms, "The Time" is a considered a Prince protege group, however, I always saw it as Prince and Morris were supposed to had been equals and created the band together, thus The Time isn't really part of the "Prince protege" list. Isn't that how it all started out when they were playing in the same band together (before Prince's solo album)?

I don't know, I guess in my eyes, I've never considered Morris as "under" Prince in any kind of way. They both contributed...Prince of course with the connections through record deals and management and Morris through picking and choosing the best musicians and bandmates. They always seemed more like stubborn step brothers rather than boss and employee. I don't put it past Morris to have cursed out Prince more than once like nobody's business.

[Edited 10/23/12 6:45am]

If I'm not mistaken Morris Day got the Time in exchange for Party Up(Morris wrote it)

No Morris & Prince weren't equals on this, it the reason the Time can't use that name for the album they just released and had to call themselves the Original7, because the band officially belonged to Prince

Yes they are Prince proteges, Morris Day did the vocals probably played drums on songs, according to Lisa Coleman Prince had her and Morris Day work along with him on the Time stuff

Dez Dickerson, Lisa Coleman also contributed to music of Vanity 6 & the Time

Prince fired Jimmy Jam & Terry Lewis, Monte Moore left as a result and Prince had to replace them

Morris Day was angry with Prince decision, and was done with the Time

the Time is a Prince group, Like all the other groups, Prince tried to put it out as if they were solitary bands that were just connected: Jamie Starr, Alexander Nevermind is the producer name that Prince hid behind for the Time, Vanity 6, Sheila E etc

PRINCE TALKS

BY NEAL KARLEN

Rolling Stone 1990

When Prince is amused, which is almost every time Morris Day comes on the screen, he slaps his hands, shakes his head and throws himself back in his seat. "I hope Morris steals this movie," he says, recalling the charge made after Purple Rain. "The man still thinks he can whup me!"

Prince pushes rewind, searching for a scene with the Time. Waiting, he reminisces about the old days, when he oversaw the band. For a tutorial on the proper onstage attitude, Prince remembers, he showed the Time videos of Muhammed Ali trouncing, and then taunting, the old champ Sonny Liston. "To this day," he says, "they're the only band I've ever been afraid of."

At first it seems strange for to hear Prince talking in such fond and nostalgic terms about Day and the band. Day left the Minneapolis fold right after Purple Rain, with some nasty words about the boss's supposedly dictatorial ways. Now, Prince says, "I honestly don't remember how we got it together again."

Day's old charge of overbossing, however, brings a quirkier and crosser memory. "That whole thing came from my early days, when I was working with a lot of people who weren't exactly designed for their jobs," Prince says. "I had to do a lot, and I had to have control, because a lot of them didn't know exactly what was needed."

The most often-told tale involves Prince firing the then-unknown Jimmy Jam and Terry Lewis from the Time in 1982. Jam and Lewis, all parties now agree, left a Time tour on a day off to produce their first record for the SOS Band. A freak snowstorm in Atlanta grounded them for an extra day, and the two missed a gig. When Jam and Lewis returned, they were summarily fired. Jobless, the two missed Purple Rain, so they set up as producers and went scrounging for clients. In the years since, they've produced everyone from Janet Jackson to Herb Alpert, becoming the other superpower on the Minneapolis music scene.

"I'm playing the bad guy," says Prince, "but I didn't fire Jimmy and Terry. Morris asked me what I would do in his situation. Remember, it was his band."

Despite the rap, Prince says, he harbors no ill will toward the now-famous producers working across town from Paisley Park at their Flyte Time studios. "We're friends," he says. "We know each other like brothers. Jimmy always gave me a lot of credit for getting things going in Minneapolis, and I'm hip to that. Terry's more aloof, but I know that." And their music? "Terry and Jimmy aren't into the Minneapolis sound," Prince says. "They're into making every single one of their records a hit. Not that there's anything wrong with that, we're just different."

With this, Prince cues up the Graffiti Bridge movie to the sequence in which the Time performs "Shake!" The scene looks like something Busby Berkeley would have cooked up if he had choreographed funk.

The Time, Prince says, is proof of the good that can come from a group dissolving and eventually coming back together. "They broke up because they'd run out of ideas," he says. "They went off and did their own thing, and now they're terrifying."

MTV reprinted in ROCK & SOUL * APRIL 1986

THE PRINCE INTERVIEW
Mr. Purple Discusses His Movies, His Music, His Musicians
And More, More, More.

By Michael Shore

How do you feel about Jesse Johnson leaving the Time? Have you heard his album, and if so, what do you think of it?

Jesse and Morris and Jerome and Jimmy and Terry had the makings of one of the greatest R&B bands in history. I could be a little pretentious in saying that, but it's truly the way I feel. There's no one that could wreck a house like they could. I was a bit troubled by their demise, but like I said before, it's important that one's happy first and foremost. And, as far as Jesse's record goes, chocolate. You know.

PRINCE TALKS

BY NEAL KARLEN

Rolling Stone 1985

Why did Morris say such negative things about you after he left the band?

People who leave usually do so out of a need to express something they can't do here. It's really that simple. Morris, for example, always wanted to be a solo act, period. But when you're broke and selling shoes someplace, you don't think about asking such a thing. Now, I think Morris is trying to create his own identity. One of the ways of doing that is trying to pretend that you don't have a past.

Jesse [Johnson, former guitarist for the Time] is the only one who went away who told what happened, what really went down with the band. He said there was friction, because he was in a situation that didn't quite suit him. Jesse wanted to be in front all the time. And I just don't think God puts everybody in that particular bag. And sometimes I was blunt enough to say that to people: "I don't think you should be in the frontman. I think Morris should."

What about the other bands? Apollonia, Vanity, Mazarati, the Family? What are you trying to express through them?

A lot has to do with them. They come to me with an idea, and I try to bring that forth. I don't give them anything. I don't say, "Okay, you're going to do this, and you're going to do that." I mean, it was Morris' idea to be as sick as he was. That was his personality. We both like Don King and get a lot of stuff off him.

Why?

Because he's outrageous and thinks everything's so exciting --even when it isn't.

Prince's Hot Rock
Rolling Stone 1983
The secret life of America's sexiest one-man band

By DEBBIE MILLER

What Time Is It?

Morris didn't exactly put the group together -- all but guitarist Jesse Johnson had been playing around Minneapolis in a band called Flyte Tyme (known familiarly as the Tyme even then). But it is Morris who has led the band to the point where it now often steals the show from the scantily clad Vanity 6 and even from Prince. Morris, the former drummer, has stayed closer to traditional R&B but, by injecting his good humor, has developed one of the best live acts in the country.

Prince, says Morris, helped the band get its Warner Bros. contract in 1981. Asked why the Time shares the same teenage-sex themes as Prince, Morris says, "Sex is present in everybody's life. I don't think anybody owns the rights to that." Asked if Prince influenced their sound, Morris says what Vanity says: "We believe in the same things." Asked about Jamie Starr, an icy tension descends. Although Morris Day and one Jamie Starr are credited as producers on the Time's first record, there is reason to believe that the record was, in fact, produced by Prince. One source very close to the situation says that not only is all the material written by Prince (mysteriously, there are no writing credits on the LP), but that the instruments are played by Prince and the voice is Prince's doubled with Morris Day's. This insider claims that the record -- a more commercial, more straightforward R&B album -- is a project Prince offered Warner Bros. because his own bolder stuff wasn't selling impressively. So, goes this theory, Prince set the Time in motion -- and created a pseudonym, Jamie Starr, for his new project.

Prince did tell a reporter in an early interview with the Minnesota Daily, when he was just seventeen, that someday he would make jazz recordings under an alias. (In that same interview, Prince claimed not to be averse to choreography, but he drew the line at spins -- "I get nauseated.") So the idea of working with a fictitious name had occurred to him at the beginning of his career.

And although Morris says that he and the band wrote the songs on their first LP, The Time, a call to the American Society of Composers, Authors and Publishers (ASCAP), with whom the songs are registered, casts some doubt. The composer of the hits "Get It Up" and "Cool" is Prince Rogers Nelson (with Dez Dickerson on "Cool"), says an ASCAP spokesman. Prince's manager says that the fact that Prince's name is registered for the Time's record is "a filing mistake."

"Let me clear up a few rumors while I have the chance," Prince told the Los Angeles Times. "One, my real name is Prince. Two, I'm not gay. And three, I'm not Jamie Starr."

"Jamie Starr is an engineer, the coproducer of our record. Of course he's real," says Morris Day, whose band now outplays whoever it was on the first Time record.

But if there is a Jamie Starr, why can't he be reached? Manager Steve Fargnoli says it's because he's "in and out of Minneapolis," because he's "a reclusive maniac" like Prince) and because "it could be months before I see him." Can he be reached by phone? "No." Well, you wouldn't need to call him over to Prince's home studio if he's already there. "Prince is Jamie Starr" says former Warner Bros. artist and fellow Minneapolitan Sue Ann (Carwell), who has been a friend of Prince's for years -- ever since he wrote and produced her first demo tape. Others who are close to Prince also say that he is Jamie Starr, but they refuse to be quoted in print. But, says one, "everybody knows who's the main man behind everything."

^^^Yes I already knew the whole story on how The Time came to be, I was just giving my opinion of the perception of Morris' and Prince's relationship. When I say "equal" I meant as in Prince didn't discover Morris or vice versa...they were equals where in they were both musicians. I don't see Morris Day in any way as a "Prince protege". "The Time", as I said before, technically is a Prince protege group, but Morris made just as many contributions to The Time that Prince did. When you say "Morris Day got the Time in exchange for Party Up(Morris wrote it)" this is exactly what I mean. Prince didn't come out of thin air with the idea for The Time...yet he does legally own the name, group, songs, etc.

its Annie Christians fault

missfee said:

^^^Yes I already knew the whole story on how The Time came to be, I was just giving my opinion of the perception of Morris' and Prince's relationship. When I say "equal" I meant as in Prince didn't discover Morris or vice versa...they were equals where in they were both musicians. I don't see Morris Day in any way as a "Prince protege". "The Time", as I said before, technically is a Prince protege group, but Morris made just as many contributions to The Time that Prince did. When you say "Morris Day got the Time in exchange for Party Up(Morris wrote it)" this is exactly what I mean. Prince didn't come out of thin air with the idea for The Time...yet he does legally own the name, group, songs, etc.

Well by the time the Time came into existance, Prince was already 3 album in deep the Time was released along with Controversy

Prince 'discovered' the Time, he might have worked with Morris on who and what, but Flytime was ready to be plucked up

Sheila Escovedo was an 'equal' as far as being musicians but Prince still created Sheila E the protege

So if he legally owns the name/group/songs then how does that make Morris and equal partner?

Prince and some of his band member wrote 95% of the music, performed the music etc

Any of the proteges could have made contributions but it's still Prince's brand

I agree that a lot of what you see with morris jesse jerome and the Time came from them, but the overall image and direction was Prince and they had to fit into that

Ever notice the Time never had any social/spiritually conscious songs?

Once upon a time ... exactly in April 1981 [Prince] creates THE TIME as an outlet for some of his most funky and danceable R&B material. The project was made possible when he signed a contract with Warner Bros. Records, that allowed him to develop and record other acts. After the considerable success the record company had achieved with his 1979 album "Prince" and the hit-single "I wanna be your lover" (which sold more than 1 million copies and hit #1 at the R&B Charts and #11 at the Pop-Charts) in the black marketplace, the record company was very interested when [Prince] presented them with more of the same. By creating THE TIME, [Prince] was able to continue on the path of his 1980 album "Dirty Mind" and explore other musical genres that would not label him as a R&B artist. His ideas about creating an alter-ego group was reinforced by a 1980 motion picture entitled "The Idolmaker". Directed by Taylor Hackford, this movie is a revealing and entertaining glimpse of the process behind the invention of pop stars. It was based on the career of Bob Marcucci, who pulled the strings for Fabian and Frankie Avalon in the '50s.

Sue Ann Carwell did a stint as lead singer before getting a solo contract, and also Alexander O'Neal took over. He was [Prince]'s first choice as lead singer for THE TIME, but he finally declined his offer by saying "If there isn't going to be a bunch of money, then I'm not in.". Alexander O'Neil later released more than 10 albums and collected three gold records - THE TIME released only 4 albums but got three gold and one platinum.

Finally [Prince] envisioned THE TIME as a cool, street-wise funk band, with [Morris Day] as the lead singer. The songs [Prince] tailored for the band were unpretentious and well humored, mostly concerned with love, sex, style, attitude, partying and money. Containing none of the spiritual or socio-political concerns that he dealt with on his own albums. Part of [Prince]'s incentive for involving [Morris Day] in THE TIME was to repay him for the use of his track "Partyup" on [Prince]'s 1980 album "Dirty Mind".

THE TIME's further line-up was basically created around a Minneapolis funk band called Flyte Tyme. This band, named after a song by jazz artist Donald Byrd, was founded by [Jellybean Johnson] (drums) and [Terry Lewis] (bass) and had exist in different incarnations since around 1973. [Monte Moir] and [Jimmy Jam] (both keyboards) had also played with Flyte Tyme many times ago. [Jesse Johnson] (guitar) was finally enlisted by [Morris Day], who remembered him from an audition for his former band Enterprise. Cynthia Johnson was one of Flyte Tyme's early lead singers until she left to sing with Lipps Inc., who had a huge hit with "Funkytown" in 1980.

Andre Cymone, who played bass in [Prince]'s band, had been very involved in THE TIME project from the beginning. He was also assembling a girl group, called "The Girls", and saw the side projects as an opportunity to supplement his relatively small income from being a band member only. Andre claimed that he came up with many of the ideas for THE TIME before being muscled out of the project, wich led into falling out with [Prince]. The relationship between Andre Cymone and [Prince] had been deteriorating for some time. Andre felt, that he didn't receive enough credits for his input into [Prince]'s music and stage act, even accusing [Prince] of knowing stealing his ideas. He decided to leave [Prince]'s band and embark a solo-career. He accepted to participate in the upcoming european tour, but he left the band immediately afterwards.

Lisa Coleman later also reported, that [Prince] pulled stunts like turning home studio jams with [Morris Day] and her into material for THE TIME and another side-project, Vanity 6.

OldFriends4Sale said:

missfee said:

^^^Yes I already knew the whole story on how The Time came to be, I was just giving my opinion of the perception of Morris' and Prince's relationship. When I say "equal" I meant as in Prince didn't discover Morris or vice versa...they were equals where in they were both musicians. I don't see Morris Day in any way as a "Prince protege". "The Time", as I said before, technically is a Prince protege group, but Morris made just as many contributions to The Time that Prince did. When you say "Morris Day got the Time in exchange for Party Up(Morris wrote it)" this is exactly what I mean. Prince didn't come out of thin air with the idea for The Time...yet he does legally own the name, group, songs, etc.

Well by the time the Time came into existance, Prince was already 3 album in deep the Time was released along with Controversy

Prince 'discovered' the Time, he might have worked with Morris on who and what, but Flytime was ready to be plucked up

Sheila Escovedo was an 'equal' as far as being musicians but Prince still created Sheila E the protege

So if he legally owns the name/group/songs then how does that make Morris and equal partner?

Prince and some of his band member wrote 95% of the music, performed the music etc

Any of the proteges could have made contributions but it's still Prince's brand

I agree that a lot of what you see with morris jesse jerome and the Time came from them, but the overall image and direction was Prince and they had to fit into that

Ever notice the Time never had any social/spiritually conscious songs?

Never said I thought Morris was an equal "partner"...I meant equal as in on the same page of musicianship. Prince didn't "discover" Morris nor Sheila E. but like you mentioned about Sheila E....she was already a musician when they met, just as Morris was already a musician when he and Prince met. This is why I say in my opinion, I personally don't see Morris or The Time as Prince proteges...they were just molded in Prince's "vision". That's all I'm saying. Everything else you said I agree...Prince did create the "image" of The Time just as he created Sheila's image. I think you thought I meant that Morris should had been co-founder of the Time or something...I'm not saying that, but we also can't ignore that Morris contributed just as much to The Time as Prince did...even though Prince held more weight because he had more control of the group.

missfee said:

OldFriends4Sale said:

Well by the time the Time came into existance, Prince was already 3 album in deep the Time was released along with Controversy

Prince 'discovered' the Time, he might have worked with Morris on who and what, but Flytime was ready to be plucked up

Sheila Escovedo was an 'equal' as far as being musicians but Prince still created Sheila E the protege

So if he legally owns the name/group/songs then how does that make Morris and equal partner?

Prince and some of his band member wrote 95% of the music, performed the music etc

Any of the proteges could have made contributions but it's still Prince's brand

I agree that a lot of what you see with morris jesse jerome and the Time came from them, but the overall image and direction was Prince and they had to fit into that

Ever notice the Time never had any social/spiritually conscious songs?

Never said I thought Morris was an equal "partner"...I meant equal as in on the same page of musicianship. Prince didn't "discover" Morris nor Sheila E. but like you mentioned about Sheila E....she was already a musician when they met, just as Morris was already a musician when he and Prince met. This is why I say in my opinion, I personally don't see Morris or The Time as Prince proteges...they were just molded in Prince's "vision". That's all I'm saying. Everything else you said I agree...Prince did create the "image" of The Time just as he created Sheila's image. I think you thought I meant that Morris should had been co-founder of the Time or something...I'm not saying that, but we also can't ignore that Morris contributed just as much to The Time as Prince did...even though Prince held more weight because he had more control of the group.

Well all the bandmembers and proteges were already trained learned or experienced via singer and/or instruments or charisma:Vanity and Susan Moonsie might not have been the best singers but they had good acting skills and could hold a note to really be considered a part of the Triple threat

Being a protege doesnt mean you have no skill or talent whatsoever

later in Princes 1988/89 and later years he had many artist starting out who got a record contract thru Princes Paisley Park label, Prince might have given them a song for their album, but he had no other connection with them outside of that.

the proteges were a part of his vision connected to his image and direction:the Time, Vanity 6, Sheila E Jill Jones, the Family, Madhouse, Mazarati

Rick James proteges: Tina Marie, Mary Jane Girls, (Eddie Murphy)

Its actually the vision that makes them proteges which is why the Time are Prince proteges

Morris didnt contribute just as much as Prince because 90% of the music/instruments Prince played, even most of their Graffiti Bridge album music Prince already wrote the songs, some with the Revolution -era such as Chocolate & Jerk Out

OldFriends4Sale said:

missfee said:

Never said I thought Morris was an equal "partner"...I meant equal as in on the same page of musicianship. Prince didn't "discover" Morris nor Sheila E. but like you mentioned about Sheila E....she was already a musician when they met, just as Morris was already a musician when he and Prince met. This is why I say in my opinion, I personally don't see Morris or The Time as Prince proteges...they were just molded in Prince's "vision". That's all I'm saying. Everything else you said I agree...Prince did create the "image" of The Time just as he created Sheila's image. I think you thought I meant that Morris should had been co-founder of the Time or something...I'm not saying that, but we also can't ignore that Morris contributed just as much to The Time as Prince did...even though Prince held more weight because he had more control of the group.

Well all the bandmembers and proteges were already trained learned or experienced via singer and/or instruments or charisma:Vanity and Susan Moonsie might not have been the best singers but they had good acting skills and could hold a note to really be considered a part of the Triple threat

Being a protege doesnt mean you have no skill or talent whatsoever

later in Princes 1988/89 and later years he had many artist starting out who got a record contract thru Princes Paisley Park label, Prince might have given them a song for their album, but he had no other connection with them outside of that.

the proteges were a part of his vision connected to his image and direction:the Time, Vanity 6, Sheila E Jill Jones, the Family, Madhouse, Mazarati

Rick James proteges: Tina Marie, Mary Jane Girls, (Eddie Murphy)

Its actually the vision that makes them proteges which is why the Time are Prince proteges

Morris didnt contribute just as much as Prince because 90% of the music/instruments Prince played, even most of their Graffiti Bridge album music Prince already wrote the songs, some with the Revolution -era such as Chocolate & Jerk Out

We'll just agree to disagree.

[Edited 10/23/12 16:13pm]

More the protege. Prince gives them a album and releases too, then its up to them to do what they need to do create there own career to become more famous/popular etc. Prince can't carry and baby them forever.

missfee said:

OldFriends4Sale said:

Well all the bandmembers and proteges were already trained learned or experienced via singer and/or instruments or charisma:Vanity and Susan Moonsie might not have been the best singers but they had good acting skills and could hold a note to really be considered a part of the Triple threat

Being a protege doesnt mean you have no skill or talent whatsoever

later in Princes 1988/89 and later years he had many artist starting out who got a record contract thru Princes Paisley Park label, Prince might have given them a song for their album, but he had no other connection with them outside of that.

the proteges were a part of his vision connected to his image and direction:the Time, Vanity 6, Sheila E Jill Jones, the Family, Madhouse, Mazarati

Rick James proteges: Tina Marie, Mary Jane Girls, (Eddie Murphy)

Its actually the vision that makes them proteges which is why the Time are Prince proteges

Morris didnt contribute just as much as Prince because 90% of the music/instruments Prince played, even most of their Graffiti Bridge album music Prince already wrote the songs, some with the Revolution -era such as Chocolate & Jerk Out

We'll just agree to disagree.

[Edited 10/23/12 16:13pm]

yeah, definately not arguing, It just seems we have 2 different perspectives on what and who is a protege

catpark said:

More the protege. Prince gives them a album and releases too, then its up to them to do what they need to do create there own career to become more famous/popular etc. Prince can't carry and baby them forever.

Depends on what time period of proteges you're dealing with

contract terms, label restraints and Prince are at least 3 areas they had to deal with in promoting the music

the 1980's proteges it was clear there was never any 'carrying or babying' but cashflow is a part of the promoting, and Prince might have had an unrestraint flow but that might not have been given to the protege groups, also their managers were Prince's managers, I don't believe they had their own