SpiritOtter said:

I guess the question is, when has Prince really ever been so "graceful" with social etiquette? My recollection is that that is rarely the case, so whilst I don't agree with him regarding older people, I think the point he is actually genuinely trying to communicate is just how much he is being invigorated by his new band, who as a matter of fact are all considerably younger than he is. Anyone who has borne witness to the 3rd Eye Girl concerts, or previewed the bootlegs, can clearly how DIFFERENT the vibe is, and there are certainly moments of spine tingling inspiration that we haven't seen in quite some time. Back in the early Gold era, few hardcore fans complained about hearing that similar vibe and inspiration off the back of his live shows covering mostly new material prior to the potential release of Come and The Gold Experience. Even Bream is conscious of the fact that "Daddy" P is clearly proud of this new band's talent, making the point clear "like a proud father". I think the comment about old people, whilst unfortunate in certain respects, is being taken somewhat out of context. Within the same article, as others have alluded, Prince clearly has respect for an elder, wiser, crowd, naming Larry Graham once again in such terms. The fact that he is stating out loud a clear intention to release a record, citing a potential new partner in distribution, is to be positively viewed in my opinion, and it is a shame that it seems to be getting lost in the largely unneccesary dialogue about other matters, including Dylan. It is clear that Prince was heavily influenced by many other greats, more explicitly, than someone like Dylan, so it really is no surprise that he does not include him in his list of influences.

Spirit

Hm... not sure I hear that. Which moments are you thinking of?

The latest tour isn't bad, by any means. But I don't think Prince sounds more inspired than he did at the Melkweg show or the Conga room, to name but a few examples.

andykeen said:

Hmmmm, Prince comes off as a bit of a prick and an old perv.

He's probably both. So what?

paulludvig said:

IstenSzek said:

the weird thing is, i love him for being such a dick. but it's a bit much these days. it'd just

be nice to get him to talk about music again, new ideas, new songs, new deals, about the

plans for the future, about anything really, except jail bait and pseudo science/religion.

Has he ever done that?

Many times but usually he just won't do most of what he says he's gonna do and do something else instead

databank said:

paulludvig said:

Has he ever done that?

Many times but usually he just won't do most of what he says he's gonna do and do something else instead

OldFriends4Sale said:

2elijah said:

purple1968 said:

---------- You need to pull your head out of your ass. Prince said Bob Dylan was not a crossover artist.

This is a true statement. Bob Dylan never put a song on the RnB chart the masses of African-American back in the day could not tell you who BoB Dylan was and I doubt many can tell you today.

It does not mean Bob was not talented just means he was not appealling to all racial groups.

P modeled his whole carreer after Sly in terms of crossover appeal. He certainly was not thinking about Bob Dylan.

Well, actually, many Blacks knew who Bob Dylan was, because depending on where you lived at the time, there wasn't that many 'Black radio stations', so many Blacks were pretty much familiar with mainly hearing maintream music from White musicians/artists on radio stations, that played mostly music from White musicians/artists. That may be surprising to some, but many Blacks were certainly familiar with the music of the the Beatles, Janis Joplin, Beach Boys, Simon & Garfunkel, the Righteous Brothers, Bob Dylan, and so many other White musicians.

Although, I agree, Dylan did not have a major crossover into the Black community, as a whole, with his music, but his name was familiar to some within the Black community, althhough, it didn't necessarily mean many Black Americans were buying Dylan's music.

I believe most Blacks in the mid 60s early 70s were more into Motown and soul ballads of Black male/female groups, but yes, I just remember Dylan as being among many, socially-conscious musicians, who sang songs in relation to social issues, like Joan Baez, Ritchie Havens, and others, that's just about it.

[Edited 5/15/13 8:51am]

Good information

*

I know that people catagorize artists as Black or white, but Dylan as a Folk artist, in my opinion fell into a different catagory, there were also many 'black' folk artists that didn't or wouldn't have that 'crossover' affect either.

*

Tracey Chapman is considered a Folk artist, and I doubt anyone will say she is predominately listened to by 'black' americans. She had that 1 period of 'crossover' appeal in the 1980s with her song:Fast Car.

*

If we go by Dylans most active time period, Black americans should be very knowledgable about him. Many of his songs directly speak to situations events and people connected to 'Black Americans'

*

He's someone who heard Dr Martin Luther Kings speach on Washington and performed there, and lives to see a African-American president and sings for him too

Dylan in the 1960s into the 70s was into politicle activism, and connected to the Civil Rights Movement.

I guess we could say he had his crossover in the 1960s during the Civil Rights movement

But I don't think Dylan, had a push for that kind of wide audience acceptance. His style and motivations, I don't think could be compared to what Hendrix or Sly were doing. And definately Prince, I don't believe had the same motivations as Dylan to be compared to.

He has a pretty interesting career, and I don't believe he looked for a 'crossover' effect, that Prince did.

paulludvig said:

SpiritOtter said:

I guess the question is, when has Prince really ever been so "graceful" with social etiquette? My recollection is that that is rarely the case, so whilst I don't agree with him regarding older people, I think the point he is actually genuinely trying to communicate is just how much he is being invigorated by his new band, who as a matter of fact are all considerably younger than he is. Anyone who has borne witness to the 3rd Eye Girl concerts, or previewed the bootlegs, can clearly how DIFFERENT the vibe is, and there are certainly moments of spine tingling inspiration that we haven't seen in quite some time. Back in the early Gold era, few hardcore fans complained about hearing that similar vibe and inspiration off the back of his live shows covering mostly new material prior to the potential release of Come and The Gold Experience. Even Bream is conscious of the fact that "Daddy" P is clearly proud of this new band's talent, making the point clear "like a proud father". I think the comment about old people, whilst unfortunate in certain respects, is being taken somewhat out of context. Within the same article, as others have alluded, Prince clearly has respect for an elder, wiser, crowd, naming Larry Graham once again in such terms. The fact that he is stating out loud a clear intention to release a record, citing a potential new partner in distribution, is to be positively viewed in my opinion, and it is a shame that it seems to be getting lost in the largely unneccesary dialogue about other matters, including Dylan. It is clear that Prince was heavily influenced by many other greats, more explicitly, than someone like Dylan, so it really is no surprise that he does not include him in his list of influences.

Spirit

Hm... not sure I hear that. Which moments are you thinking of?

The latest tour isn't bad, by any means. But I don't think Prince sounds more inspired than he did at the Melkweg show or the Conga room, to name but a few examples.

Hi Paul,

Can I possibly ask you, or someone, to post the setlist of Melkweg? I am familiar with the Conga (and associated shows) and whilst I agree that that was spectacular and not-to-be repeated, I also believe they were somewhat out of the blue/one off concerts at the time, so whilst for rarity value during that era, they are to be prized, I do think the new 3rd Eye Girl setlist demonstrates a consistently ballsy gusto that, as hardcore fans, we haven't seen from Prince for the main shows/setlists in a long time (hence, I reminisced about the early Gold era gigs). In terms of spine tingling touches, I personally feel them throughout the whole show, interspersed in moments admittedly, but typically featuring on Let's Go Grazy, Endorphinmachine, She's Always In My Hair, Liathach, I Could Never Take The Place Of Your Man, I Like It There, and Cause and Effect, as well as a few lesser played additions such as Crimson and Clover, Dolphin and The Love We Make.

Spirit

[Edited 5/15/13 11:21am]

paulludvig said:

I think Prince is going for the "white" demographic again. That's why we get a rock tour, and it's also the reason he's emphasising the importance of crossover success in his interview. In that light it's a mistake to criticise Dylan, who is a hero to most self styled intellectual, middle class white people (as some of the responses to this thread show)

True, and since Prince supposedly isn't into the bigness of superstardom, he should have praised Dylan & Hendrix for their stance and parts in music history.

*

Dylan was in a league by himself

Jon Bream ‏@jonbream

.

I'll be talking about my 2-hr-plus interview w Prince on @chadhartman show on @wccoradio at 2:35 pm today. Tune in 830 AM

http://betaplayer.radio.c...r/830-wcco

[Edited 5/15/13 11:23am]

SpiritOtter said:

paulludvig said:

Hm... not sure I hear that. Which moments are you thinking of?

The latest tour isn't bad, by any means. But I don't think Prince sounds more inspired than he did at the Melkweg show or the Conga room, to name but a few examples.

Hi Paul,

Can I possibly ask you, or someone, to post the setlist of Melkweg? I am familiar with the Conga (and associated shows) and whilst I agree that that was spectacular and not-to-be repeated, I also believe they were somewhat out of the blue/one off concerts at the time, so whilst for rarity value during that era, they are to be prized, I do think the new 3rd Eye Girl setlist demonstrates a consistently ballsy gusto that, as hardcore fans, we haven't seen from Prince for the main shows/setlists in a long time (hence, I reminisced about the early Gold era gigs). In terms of spine tingling touches, I personally feel them throughout the whole show, interspersed in moments admittedly, but typically featuring on Let's Go Grazy, Endorphinmachine, She's Always In My Hair, Liathach, I Could Never Take The Place Of Your Man, I Like It There, and Cause and Effect, as well as a few lesser played additions such as Crimson and Clover, Dolphin and The Love We Make.

Spirit

[Edited 5/15/13 11:21am]

Set list for the Melkweg shows, taken from PrinceVault. The 26 july show, especially, was spectacular, based on the boots I've heard.

http://www.princevault.co...y,_2011-am

http://www.princevault.co...y,_2011-am

GoldenParachute said:

What is up with Prince hanging out with a bunch of kids? I can't believe his current manager is only 22. From what I read thats how old every one is around him right now.

Except for Larry Graham. And so prince once again contradicts himself, saying he just talks with young people, but Larry is still around.

Thanks, Paul! Oh my word - they do look like rather good shows indeed. I will need to see if I can still track them down...

Love the groovy Picture!

SpiritOtter said:

ROLLING STONE (1985)

PRINCE TALKS

BY NEAL KARLEN

Prince is fiddling with the tape deck inside the T-Bird. On low volume comes his unreleased "Old Friends 4 Sale," an arrow-to-the-heart rock ballad about trust and loss.

Unlike "Positively 4th Street" -- which Bob Dylan reputedly named after a nearby Minneapolis block -- the lyrics are sad, not bitter. "I don't know too much about Dylan," says Prince, "but I respect him a lot. 'All Along the Watchtower' is my favorite of his. I heard it first from Jimi Hendrix."

Although Bob Dylan gained a superficial political worldview through Woody Guthrie's musical influence back in Minneapolis, when he arrived in New York in January 1961, he had no stance on the issues. By all accounts, it was Dylan's girlfriend, Suze Rotolo, that nudged him down the road as an activist singer. The daughter of union organizers, and a volunteer for the Congress of Racial Equality, Rotolo encouraged Dylan to perform at political rallies. At a February 1962 CORE benefit, he introduced his just-written broadside, “The Death of Emmitt Till,” his very first "protest" song.

A Songwriting Activist Emerges

Rapt with newfound idealism and hitting exciting new plateaus with his craft, the next 18 months became a songwriting bonanza as the young lyricist scratched out a raft of his finest topical songs. Recorded between April 24,1962 and May 27, 1963, Dylan's second album, The Freewheelin' Bob Dylan, only catalyzed the 21-year-old's plunge into politics and his growing allegiance with the civil rights movement.

While “Oxford Town” examined the September 1962 clash between federal marshals and the Mississippi National Guard over James Meredith's right to attend the all-white university, it was “Blowin' in the Wind” that put Dylan on the map as a folk activist and popular musician. Already popularized by Peter, Paul and Mary, this career crown jewel quickly became one of the movement's principal anthems.

The Real Deal or Fame-Seeker?

Throughout 1962, Dylan had been performing benefits regularly around New York with the Student Nonviolent Coordinating Committee (SNCC), the grassroots group he most firmly aligned himself with, along with Joan Baez, Pete Seeger, and The Staples Singers. While Dylan's detractors claim he was a fame-seeker, posturing to cash in on the folk movement, this was untrue. Dylan was a bona fide believer in the power of song to create change.

When he was invited to promote Freewheelin' on the Ed Sullivan Show on May 13, he chose to play “Talkin' John Birch Society Blues,” a track that lampooned the ultra-conservative reactionary group. When the producers got nervous and asked him to change songs, Dylan stalked away and his appearance was canceled.

Deeper Involvement

Enter the 1963 Newport Folk Festival. Pretty much Pete Seeger's showcase, Dylan's debut appearance was more than just an initiation into the club, but another shove toward the throne as the movement's celebrity poster boy. Joined onstage by Joan Baez, Pete Seeger, Peter, Paul and Mary, and the SNCC's Freedom Singers, Dylan wrapped up his set with “Blowin' in the Wind.” And for an encore, the group held hands, invoking the audience in a singalong of "We Shall Overcome"

Caught in the whirlwind, on August 28, Dylan and Baez would soon perform at the Freedom March in Washington, D.C., when Martin Luther King Jr. gave his legendary “I Have a Dream” speech. Introduced by actor Ossie Davis, Dylan performed “When the Ship Comes In,” and “Only a Pawn in Their Game,” also joining Len Chandler for the song “Hold On.”

In late fall, Dylan finally got his baptism into the everyday realities of southern blacks when he performed the Greenwood, Mississippi voter registration rally, where he played “With God on Our Side” to around 300 black farmers. He also did “Only a Pawn in Their Game,” a freshly-penned song about the slaying of civil rights leader Medgar Evers that occurred weeks earlier. Both of these tracks would appear on his next album, the socially critical January '64 release, The Times They Are A-Changin'.

Political Disenchantment

While 1963 was Dylan's most active year in politics, it was also his most disillusioning. Feeling co-opted by white movement leaders and despising their expectations of him to become its star champion, Dylan began his retreat. Although he never stopped supporting the black struggle, becoming a Pied Piper for liberal guilt-afflicted whites was a hypocritical role he was unwilling to play.

He voiced his disenchantment with the movement during his acceptance speech at the lavish December 1963 award ceremony for the Emergency Civil Liberties Committee, when Dylan alienated the mostly white audience, criticizing the recent freedom march on Washington: “I looked around at all the Negroes there and I didn't see any Negroes that looked like none of my friends. My friends don't wear suits.” Obviously addressing his own suit-wearing audience, he then shocked the crowd further by saying he and Lee Harvey Oswald had a lot in common. As the booing started, he walked off.

Another Side of Bob Dylan

Ever-evolving as a songwriter, Bob Dylan's dip into politics had always been a segue to greater destinations. During the height of his activism in fall of 1963, he was already soaking up Beat influences and French modernism, and his craft was becoming less literal and much more poetic and literary, as reflected in his next release, the politically vacant August 1964 release, Another Side of Bob Dylan.

Reactions to the album from folk purists were immediate and harsh. Bob Dylan was abandoning the cause, they said. He wasn't living up to his responsibilities as a protest songwriter. He'd fallen into the fame trap. Of those who criticized him, to expect a 22-year-old artist at the peak of his creative prowess to remain stationary in dead-end politics was not only foolish, but naïve.

Dylan's Apolitical Future

Although Dylan stepped out of activism in 1964, throughout the rest of his career he would make subtle political gestures and write the occasional topical ballad. For instance, 1971 's “George Jackson,” about the militant black Marxist's execution in a prison shootout, followed by the 1976 song and tour championing the release of wrongly imprisoned boxer, Rubin “Hurricane” Carter.

More, when Dylan received a Lifetime Achievement Award at the 1991 Grammys, with Desert Storm in full swing, he performed “Masters of War” —the same song he ironically played during a 1990 West Point concert. And on election night 2008, as Barack Obama's victory was announced, Dylan deviated from his usual live encore of “Like a Rolling Stone” to play the rare “Blowin' in the Wind”

ludwig said:

GoldenParachute said:

What is up with Prince hanging out with a bunch of kids? I can't believe his current manager is only 22. From what I read thats how old every one is around him right now.

Except for Larry Graham. And so prince once again contradicts himself, saying he just talks with young people, but Larry is still around.

Very much around...Larry Graham and GCS will b at the Dakota MPLS May 27th and 28th...4 shows. So...

IstenSzek said:

IstenSzek said:

purple1968 said:

"dissing some artists " He did not dis anyone in this article. He ignores questions about gays because it is a powder keg and he is only going to get himself into trouble by discussin it with a journalist. In addtion, it has nothing to do with his music at all.

----- Some of fans are really making up things and reading some other interview!!! What is going on?

well you're right, my comments are not just about this interview, true. it's more a global idea

i get about prince through his interviews these last 10 years.

global. because the interviews that do appear in print are always all over the place and never

really go in depth on a certain topic. it's just quips and short lines. and that's as much a fault

of the interviewer/writer than prince's. so we can't blaim prince for that.

but there are certain themes that keep popping up over and over again. also probably due to

the interviewers asking him the same questions again and again. but also because prince has

a way of stearing interviews in a certain direction. if he feels uncomfortable with a question or

just doesn't feel like talking about a certain topic he simply answers an entirely different set

of questions, as if that's what the interviewer was asking him about

i used to think that was pretty clever and balsy, in a way i still think it is. he has that power of

persona, to simply dismiss questions as unworthy of his time and then school people on what

he feels they should actually know or be interested in.

i just wish he had a bit more to say, that's all.

------- I think he just does not answer questions he thinks are stupid or he just does not want to answer at all. The interviews are done via note taking since he will not let his voice be recorded so the interviews may not be completly accurate but in this case some people are reading way to much into this interview.

Emancipation89 said:

Julia Ramadan I don't think is anywhere near "manager" to Prince. Doesn't she work for Controversy music and isn't her main job finding video clips on the net that contain P's music and report them to her boss? I thought Kiran was the one still arranging his interviews and public appearances?

"they don't care about the world, they care about music", "I don't have time for old people" - um these probably just came out wrong and a further proof that Prince has got to work on his communication skills. Does he even read up his own interviews afterwards? Does he know interviewers and magazines always take advantage of these kinds of ambiguous and rather bold statements by excluding all his explanations to make it sound sensational and downright stupid?
Regardless, I don't think it's appropriate for a musician who doesn't have a hardcore fan under 30 to offend "old people"...I can see why fans are pissed at this
If anything I can see why he wants to work with younger people and good for him for wanting to create legacy for them and lead them in the right direction. They don't always carry the best and most fresh ideas though and I'm sure deep down Prince knows this damn well and him praising the young like that is nothing to freak out about...This is just how he feels at the moment and considering his attention span I could see him changing his mind about next year or so.

So who's gonna be the vocalist in this new 3rd eye girl album? Prince...right?

Really, why should a so called fan be pissed? Doesn't make sense. If you are offended, you are a pussy~1

including the playful, poopy but rocking “Screwdriver,”

including the playful, poppy but rocking “Screwdriver,”

Emancipation89 said:

Julia Ramadan I don't think is anywhere near "manager" to Prince. Doesn't she work for Controversy music and isn't her main job finding video clips on the net that contain P's music and report them to her boss? I thought Kiran was the one still arranging his interviews and public appearances?

"they don't care about the world, they care about music", "I don't have time for old people" - um these probably just came out wrong and a further proof that Prince has got to work on his communication skills. Does he even read up his own interviews afterwards? Does he know interviewers and magazines always take advantage of these kinds of ambiguous and rather bold statements by excluding all his explanations to make it sound sensational and downright stupid?
Regardless, I don't think it's appropriate for a musician who doesn't have a hardcore fan under 30 to offend "old people"...I can see why fans are pissed at this
If anything I can see why he wants to work with younger people and good for him for wanting to create legacy for them and lead them in the right direction. They don't always carry the best and most fresh ideas though and I'm sure deep down Prince knows this damn well and him praising the young like that is nothing to freak out about...This is just how he feels at the moment and considering his attention span I could see him changing his mind about next year or so.

So who's gonna be the vocalist in this new 3rd eye girl album? Prince...right?

No he hired a lawyer to take care of the video clips. Do you not understand the he means he will not be working with older musicians in this group?

paulludvig said:

I think Prince is going for the "white" demographics again. That's why we get a rock tour, and it's also the reason he's emphasising the importance of crossover success in his interview. In that light it's a mistake to criticise Dylan, who is a hero to most self styled intellectual, middle class white people (as some of the responses to this thread show)

Yes, it does seem that is the target audience he is trying to attract with his 'rock' venture right now, but it kind of also plays into the stereotype, that Blacks don't listen to rock music, even though many do. I guess if we went by statistics, it may very well show that more White audiences listen to rock than Black audiences though. So I expect his audiences with this new group, will be more White audience, and younger fans with the rock music, than the more-diverse audience he's had in the past. Nothing wrong with that, if that's what the plan is.

ludwig said:

GoldenParachute said:

What is up with Prince hanging out with a bunch of kids? I can't believe his current manager is only 22. From what I read thats how old every one is around him right now.

Except for Larry Graham. And so prince once again contradicts himself, saying he just talks with young people, but Larry is still around.

In the black community we respect our elders. I suppose Prince should throw Larry down the stairs despite the fact that he has stated that Larry is like a father to him. In addtion, Larry is not in this band.

IstenSzek said:

i first read about Kobalt when the new pet shop boys album was said to be released

throug them and already thought back then that this would probably be a good label

for prince to work with. nice to see that he's going to. now let's just hope that he is

going to make most of this 'relationship' and find a partner in them to release more

than 1 album.

];

They have a helluva roster..

wasn't Kiran Sharma his manager during that LotusFlow3r period

purple1968 said:

ludwig said:

Except for Larry Graham. And so prince once again contradicts himself, saying he just talks with young people, but Larry is still around.

In the black community we respect our elders. I suppose Prince should throw Larry down the stairs despite the fact that he has stated that Larry is like a father to him. In addtion, Larry is not in this band.

U mean like the 'brotha' that robbed Rosa Parks, even after he recognized who she was?

OldFriends4Sale said:

purple1968 said:

In the black community we respect our elders. I suppose Prince should throw Larry down the stairs despite the fact that he has stated that Larry is like a father to him. In addtion, Larry is not in this band.

U mean like the 'brotha' that robbed Rosa Parks, even after he recognized who she was?

What does that have to do with Prince, me or millions of other black people? For the record I would bet that brother got his ass kicked in jail. Picking on old people and children usually get you a butt whipping in jail.