mnfriend said:

Dear moderators, I have but a sense of humor.

From the new book, copied from page 273, lest anyone think I am off topic:

"Let's Go Crazy"

This handwritten version adds another foreboding line to the preacherly monologue that opens the song:

"So u better try to be happy 'cause one day the sun may set for good."

And this is why I think a fan wants to buy this book. In my short time with it, I read 1 handwritten page of Prince being open, honest, intelligent introspective about himself - it is the WAY he puts his own thoughts together, word selection, sentence structure- Like his song writing. His.
Thank you.

Okay my last comment, it's on topic, with no spoilers:

word to the wise, do not read/ look at book, and then listen to 'Purple Rain', unless you need a good cry.

I love the pictures of his mother as a young woman. I can see her in Prince.

[Edited 10/30/19 20:58pm]

[Edited 10/30/19 21:34pm]

I got mine from K Mart on the Morning of 29th here in Australia...

read it in one sitting....

Dan is a wonderful writer....

overall a bitter sweet experience....

Hes gone, and there are things we will never know...

He did drop one huge Bombshell though...

Love you Pwince....

Is there going to be another thread where we can actually discuss content

and that one big bombshell ?

mantaray31 said:

I received my copy on the 28th, finished it the same evening and haven't been able to stop thinking about certain parts of it. Firstly, it feels weird that his memoir exists at all. It seemed unbelievable when he announced the project three years ago and it still seems that way to me now. I never thought that I would ever be privy to facsimiles of handwritten pages containing some of his life's most intimate memories. This is Prince--a man who seemed to delight in the myths we created about him; who gave few interviews if any at all during certain eras of his career; who told us that everything we needed to know about him could be unearthed in his music. So even after reading the book, I was left to ponder the impetus for him to share the narrative of his life with us and it made me sad and inspired at the same time. Sad because of the circumstances in which he left and seemed prepared to leave this plane of existence and inspired because he left us with the same exhuberance to create as he did when he was here. From Dan Piepenbring's account, he seemed so hyped to author many more books.

Perhaps the most salient theme that P writes about besides creative ownership is the power of imagination and "visualization" in his memoir. This book resides among a lifetime of examples that demonstrate his uncanny ability to conceptualize something and bring it to fruition. According to Piepenbring, the memoir germinated out of an idea for a lyric/photo book(!). The treatment for Purple Rain was initially entitled "Dreams" and despite all odds, became the cornerstone for his most commercially successful work. I think it was Steve Parke who wrote about part of P's creative process in his photo book in which they spent many hours just spitballing ideas of cool ways to promote or present his music to his audience and then saw those ideas come to life in real time. A former associate (I don't remember who it was now) said P told her he wanted to form an all female rock band and a few years later, 3rdeyegirl was born. It made me think of that interview he did in the 90's(?) in which he said half-jokingly that he "willed" his entire career into being. The mantra he had emblazoned on his bedroom wall, "Everything U Think Is True" has perhaps never been truer for anyone else, at least as far as music is concerned.

The part of the book that is most empowering to me is where he lets us know that we all have the ability to create the life that we want to live and create the communities that we want to live in. There is something very uplifting and gracious in the way that he decided to peel back the curtain of his life (the beginning of which was difficult, if not traumatic) in part, to tell us that we always have the power to chart our own destiny as well. (He mentions "free will" in the book. I have no idea how his interpretation of "free will" reconciles with the ideology of fate in the Bible, but that's another thread.)

By now, I've heard so many anecdotes by former associates about the human being P was that it has begun to tarnish my immaculate picture of who Prince the icon was, but in a healthy way. I've heard enough rehearsal bootlegs of him working on songs, I've seen rehearsal footage of him leading his various bands, and I've read enough testemonies of his work ethic to understand why he chafed at the word "magic" when it was used by white critics to describe him or his music. Once, I pictured Prince as the magical embodiement of effortless cool and preternatural virtuosity, but the beautiful ones "always smash the picture, always everytime".

Did anybody else read too much into the fact that his handwriting in cursive looks almost identical to his mother's?

blackmoondaughter said:

I received my copy on the 28th, finished it the same evening and haven't been able to stop thinking about certain parts of it. Firstly, it feels weird that his memoir exists at all. It seemed unbelievable when he announced the project three years ago and it still seems that way to me now. I never thought that I would ever be privy to facsimiles of handwritten pages containing some of his life's most intimate memories. This is Prince--a man who seemed to delight in the myths we created about him; who gave few interviews if any at all during certain eras of his career; who told us that everything we needed to know about him could be unearthed in his music. So even after reading the book, I was left to ponder the impetus for him to share the narrative of his life with us and it made me sad and inspired at the same time. Sad because of the circumstances in which he left and seemed prepared to leave this plane of existence and inspired because he left us with the same exhuberance to create as he did when he was here. From Dan Piepenbring's account, he seemed so hyped to author many more books.

Perhaps the most salient theme that P writes about besides creative ownership is the power of imagination and "visualization" in his memoir. This book resides among a lifetime of examples that demonstrate his uncanny ability to conceptualize something and bring it to fruition. According to Piepenbring, the memoir germinated out of an idea for a lyric/photo book(!). The treatment for Purple Rain was initially entitled "Dreams" and despite all odds, became the cornerstone for his most commercially successful work. I think it was Steve Parke who wrote about part of P's creative process in his photo book in which they spent many hours just spitballing ideas of cool ways to promote or present his music to his audience and then saw those ideas come to life in real time. A former associate (I don't remember who it was now) said P told her he wanted to form an all female rock band and a few years later, 3rdeyegirl was born. It made me think of that interview he did in the 90's(?) in which he said half-jokingly that he "willed" his entire career into being. The mantra he had emblazoned on his bedroom wall, "Everything U Think Is True" has perhaps never been truer for anyone else, at least as far as music is concerned.

The part of the book that is most empowering to me is where he lets us know that we all have the ability to create the life that we want to live and create the communities that we want to live in. There is something very uplifting and gracious in the way that he decided to peel back the curtain of his life (the beginning of which was difficult, if not traumatic) in part, to tell us that we always have the power to chart our own destiny as well. (He mentions "free will" in the book. I have no idea how his interpretation of "free will" reconciles with the ideology of fate in the Bible, but that's another thread.)

By now, I've heard so many anecdotes by former associates about the human being P was that it has begun to tarnish my immaculate picture of who Prince the icon was, but in a healthy way. I've heard enough rehearsal bootlegs of him working on songs, I've seen rehearsal footage of him leading his various bands, and I've read enough testemonies of his work ethic to understand why he chafed at the word "magic" when it was used by white critics to describe him or his music. Once, I pictured Prince as the magical embodiement of effortless cool and preternatural virtuosity, but the beautiful ones "always smash the picture, always everytime".

Did anybody else read too much into the fact that his handwriting in cursive looks almost identical to his mother's?

yessir!

PeggyO said:

I love the pictures of his mother as a young woman. I can see her in Prince.

My favorite part of the book too!

I haven't really read the book yet but just flipping through it. The mindgames/dickishness with the writer was my favorite part. Tried to get dude fired! 'I trust you, you have power now. Tell your bosses blah blah blah'

Slate review: https://slate.com/culture...-ones.html

.

EW (Entertainment Weekly) review: https://ew.com/book-revie...ew-review/

.

Vulture distills some stories from the book: https://www.vulture.com/2...takes.html

.

Europe1 item on the book (in French): https://www.europe1.fr/em...ce-3928505

.

Le Point review (in French): https://www.lepoint.fr/cu...4489_3.php

.

Article in Belgian newspaper Het Nieuwsblad on the making of the book (in Dutch): https://www.nieuwsblad.be...0_04693536

.

RTBF / Classic21 review (in French): https://www.rtbf.be/class...d=10355075

.

AFP (Agence France Presse) review: https://www.france24.com/...-own-words

.

France Culture review (in French): https://www.franceculture...tobre-2019

.

WebWire article on the making of the book (mainly a long quote by Chris Jackson): https://www.webwire.com/V...aId=249276

Why is anyone concerned with spoilers? When an album came out, we all wanted the reviews... we talked about it. We should freely discuss this book here.

Kirkus article on the book: https://www.kirkusreviews...takeaways/

.

Rock & Folk review in French: https://www.rocknfolk.com...-pop/39605

.

Crooner review (in French): https://www.crooner.fr/20...nd-prince/

.

blackmoondaughter said:

I received my copy on the 28th, finished it the same evening and haven't been able to stop thinking about certain parts of it. Firstly, it feels weird that his memoir exists at all. It seemed unbelievable when he announced the project three years ago and it still seems that way to me now. I never thought that I would ever be privy to facsimiles of handwritten pages containing some of his life's most intimate memories. This is Prince--a man who seemed to delight in the myths we created about him; who gave few interviews if any at all during certain eras of his career; who told us that everything we needed to know about him could be unearthed in his music. So even after reading the book, I was left to ponder the impetus for him to share the narrative of his life with us and it made me sad and inspired at the same time. Sad because of the circumstances in which he left and seemed prepared to leave this plane of existence and inspired because he left us with the same exhuberance to create as he did when he was here. From Dan Piepenbring's account, he seemed so hyped to author many more books.

Perhaps the most salient theme that P writes about besides creative ownership is the power of imagination and "visualization" in his memoir. This book resides among a lifetime of examples that demonstrate his uncanny ability to conceptualize something and bring it to fruition. According to Piepenbring, the memoir germinated out of an idea for a lyric/photo book(!). The treatment for Purple Rain was initially entitled "Dreams" and despite all odds, became the cornerstone for his most commercially successful work. I think it was Steve Parke who wrote about part of P's creative process in his photo book in which they spent many hours just spitballing ideas of cool ways to promote or present his music to his audience and then saw those ideas come to life in real time. A former associate (I don't remember who it was now) said P told her he wanted to form an all female rock band and a few years later, 3rdeyegirl was born. It made me think of that interview he did in the 90's(?) in which he said half-jokingly that he "willed" his entire career into being. The mantra he had emblazoned on his bedroom wall, "Everything U Think Is True" has perhaps never been truer for anyone else, at least as far as music is concerned.

The part of the book that is most empowering to me is where he lets us know that we all have the ability to create the life that we want to live and create the communities that we want to live in. There is something very uplifting and gracious in the way that he decided to peel back the curtain of his life (the beginning of which was difficult, if not traumatic) in part, to tell us that we always have the power to chart our own destiny as well. (He mentions "free will" in the book. I have no idea how his interpretation of "free will" reconciles with the ideology of fate in the Bible, but that's another thread.)

By now, I've heard so many anecdotes by former associates about the human being P was that it has begun to tarnish my immaculate picture of who Prince the icon was, but in a healthy way. I've heard enough rehearsal bootlegs of him working on songs, I've seen rehearsal footage of him leading his various bands, and I've read enough testemonies of his work ethic to understand why he chafed at the word "magic" when it was used by white critics to describe him or his music. Once, I pictured Prince as the magical embodiement of effortless cool and preternatural virtuosity, but the beautiful ones "always smash the picture, always everytime".

Did anybody else read too much into the fact that his handwriting in cursive looks almost identical to his mother's?

blackmoondaughter said:

I received my copy on the 28th, finished it the same evening and haven't been able to stop thinking about certain parts of it. Firstly, it feels weird that his memoir exists at all. It seemed unbelievable when he announced the project three years ago and it still seems that way to me now. I never thought that I would ever be privy to facsimiles of handwritten pages containing some of his life's most intimate memories. This is Prince--a man who seemed to delight in the myths we created about him; who gave few interviews if any at all during certain eras of his career; who told us that everything we needed to know about him could be unearthed in his music. So even after reading the book, I was left to ponder the impetus for him to share the narrative of his life with us and it made me sad and inspired at the same time. Sad because of the circumstances in which he left and seemed prepared to leave this plane of existence and inspired because he left us with the same exhuberance to create as he did when he was here. From Dan Piepenbring's account, he seemed so hyped to author many more books.

Perhaps the most salient theme that P writes about besides creative ownership is the power of imagination and "visualization" in his memoir. This book resides among a lifetime of examples that demonstrate his uncanny ability to conceptualize something and bring it to fruition. According to Piepenbring, the memoir germinated out of an idea for a lyric/photo book(!). The treatment for Purple Rain was initially entitled "Dreams" and despite all odds, became the cornerstone for his most commercially successful work. I think it was Steve Parke who wrote about part of P's creative process in his photo book in which they spent many hours just spitballing ideas of cool ways to promote or present his music to his audience and then saw those ideas come to life in real time. A former associate (I don't remember who it was now) said P told her he wanted to form an all female rock band and a few years later, 3rdeyegirl was born. It made me think of that interview he did in the 90's(?) in which he said half-jokingly that he "willed" his entire career into being. The mantra he had emblazoned on his bedroom wall, "Everything U Think Is True" has perhaps never been truer for anyone else, at least as far as music is concerned.

The part of the book that is most empowering to me is where he lets us know that we all have the ability to create the life that we want to live and create the communities that we want to live in. There is something very uplifting and gracious in the way that he decided to peel back the curtain of his life (the beginning of which was difficult, if not traumatic) in part, to tell us that we always have the power to chart our own destiny as well. (He mentions "free will" in the book. I have no idea how his interpretation of "free will" reconciles with the ideology of fate in the Bible, but that's another thread.)

By now, I've heard so many anecdotes by former associates about the human being P was that it has begun to tarnish my immaculate picture of who Prince the icon was, but in a healthy way. I've heard enough rehearsal bootlegs of him working on songs, I've seen rehearsal footage of him leading his various bands, and I've read enough testemonies of his work ethic to understand why he chafed at the word "magic" when it was used by white critics to describe him or his music. Once, I pictured Prince as the magical embodiement of effortless cool and preternatural virtuosity, but the beautiful ones "always smash the picture, always everytime".

Did anybody else read too much into the fact that his handwriting in cursive looks almost identical to his mother's?

Yes, he was a master 'manifestor.'

I have studied handwriting analysis for many years and there is a strong similarity between his cursive handwriting and his mother's. Both are artistic, rhythmic, very emotional, (strong rightward slant) and passionate. Check out Vanity's handwriting; it is very similar to both of them.

BartVanHemelen said:

Belgian magazine Humo has an interview with Dan Piepenbring (BEWARE: likely SPOILERISH): https://www.humo.be/humo-...ft-gegeven

.

Now, I've read this. And quite frankly, I doubt the veracity of large sections of this. Because a lot of this interview is completely unlike other Piepenbring interviews. I've regularly suspected Serge Simonart to enhance his interviews with quotes from other interviews and/or by adding a lot of stuff to his own questions that he never asked that way. Quite frankly I'd be amazed if the tape of this interview contained the same words as they are written down here, because I cannot imagine Piepenbring expressing some of these thoughts.

.

If you've read it, please do not use this thread to discuss the most salacious bits; start separate ones for those. I'm including the link here since this is an interview that is part of the publicity wave for the book, and Piepenbring does discuss the book and its contents.

.

But again: some parts of this interview sound wildly out of character for Dan when you compare them to the dozens of other interviews he's done or to the introduction of the book.

.

Some excerpts (in Dutch):

.

De bottomline is volgens mij wat hij tegen z’n tourmanager Alan Leeds zei: ‘Je hebt geen idee wat het met me doet als weer eens een pseudo-artiest die niet eens zijn eigen songs schrijft toch een hit scoort.’ Ik bespeurde ook competitie met Bruce Springsteen. Het irriteerde Prince dat hij met hem werd vergeleken. Prince liet duidelijk voelen dat hij zichzelf beter vond dan Bruce, en niet onterecht: Prince arrangeerde z’n eigen platen, Bruce niet; Prince kon dansen, Bruce niet; Prince lanceerde de carrière van een dozijn andere artiesten, Bruce niet; Prince was sexy, Bruce een stuk minder; Prince beheerste een dozijn instrumenten, Bruce slechts één of twee; Prince kon alle stijlen aan, Bruce enkel rock en blues. Morris Day vertelde me hoe Prince ooit Bruce op het podium riep en hem zijn gitaar in de handen duwde. Bruce improviseerde een riff, maar hij is geen sologitarist, dus dat klonk niet echt indrukwekkend. Waarop Prince zijn gitaar terugvroeg en er vervolgens zelf een stomende solo op speelde, suggererend: kijk, dit instrument komt wel tot leven wanneer het wordt bespeeld door een échte artiest. Competitief? You bet. Maar ik voelde goed aan dat Prince zou dichtklappen als ik al zo vroeg in het proces te opzichtig zou hengelen naar anekdotes.

.

[...]

.

Hij hintte er die eerste ontmoetingen ook op dat er een nog onverteld verhaal school achter het niet uitbrengen van ‘The Black Album’ en de rol van zangeres Ingrid Chavez daarin. Hij had het over ‘Blue Tuesday’, een dag waarop hij met Ingrid een soort mystieke ervaring had gehad, al dan niet onder de invloed van drugs, die hem had doen besluiten alles om te gooien. Hij sprak over ‘spooky electric’, een duistere energie.

.

[...]

.

HUMO: Welke kamer van Paisley Park maakte de grootste indruk op jou?

.

Piepenbring: Zijn slaapkamer: een grote ruimte waar bijna alles wit was, alsof er ooit een sneeuwstorm had gewoed en die sneeuw nooit was gesmolten. Alle muren waren kaal op één opschrift na: ‘Everything you think is true.’ Het leek een tempel, kitsch en puur en minimalistisch tegelijk. Daar stond ook een draaitafel met twee gigantische luidsprekers en een stapel vinylplaten. De laatste die hij gespeeld had was ‘I Want You’ van Marvin Gaye. Ook de aangrenzende grote badkamer was leeg, op een enorme stenen badkuip en een vracht kaarsen na. Na zijn dood ben ik zijn enorme kleedkamer binnengewandeld. Dat was bizar, omdat al die kleren geparfumeerd waren: toen ik binnenkwam, overspoelde die geur me, alsof hij nog in die kamer aanwezig was.

.

[...]

.

Wat me nu te binnen schiet is een notaboek uit de periode van ‘Purple Rain’, waarin hij naast zwaarwichtige songteksten ook heel wat grapjes had genoteerd: ‘Hij was zo oud dat het nummer van zijn verzekeringspolis 3 was.’ Had hij die oneliners bedoeld als dialogen voor personages zoals Christopher Tracy in de film ‘Under the Cherry Moon? Of waren het aanzetten tot bindteksten tijdens optredens? Ik stuitte ook op aantekeningen voor ‘The Dawn’, de werktitel voor wat ‘Graffiti Bridge’ zou worden. Hij had iets met de zonsopgang als metafoor, het aanbreken van een nieuw tijdperk. Ook later, in de jaren 90, zei hij tijdens optredens dingen als: ‘Welcome to the dawn.’

.

[...]

.

Hij is een aantal keer verraden. Door zijn vader, door zogenaamde vrienden en vertrouwelingen, door muzikanten, door medewerkers van Paisley Park, door advocaten… Zijn kapster Kim Berry, die nu haarlokken van hem verkoopt die ze stiekem heeft gehamsterd: dat zou Prince geháát hebben! Hij was trots en schermde zijn privacy zozeer af dat niemand te dicht mocht komen. En hij had zelf zo’n imago van onfeilbaarheid en ongenaakbaarheid geschapen dat hij misschien bang was dat iemand zou ontdekken dat hij ook maar een gewone, kwetsbare sterveling was.

.

[...]

.

Na de dood van Prince kreeg ik een rondleiding door The Vault, de kluis waar behalve duizenden tapes ook persoonlijke spullen rondslingerden. Er lag kinderspeelgoed, en een prachtig lederen fotoalbum waarin Prince en Mayte het opgroeien van hun kind wilden documenteren, maar het was leeg gebleven – een gruwelijk simpel beeld dat hun tragedie perfect vatte. Maar hij heeft het wél bewaard.

.

BartVanHemelen said:

BartVanHemelen said:

Belgian magazine Humo has an interview with Dan Piepenbring (BEWARE: likely SPOILERISH): https://www.humo.be/humo-...ft-gegeven

.

Now, I've read this. And quite frankly, I doubt the veracity of large sections of this. Because a lot of this interview is completely unlike other Piepenbring interviews. I've regularly suspected Serge Simonart to enhance his interviews with quotes from other interviews and/or by adding a lot of stuff to his own questions that he never asked that way. Quite frankly I'd be amazed if the tape of this interview contained the same words as they are written down here, because I cannot imagine Piepenbring expressing some of these thoughts.

.

If you've read it, please do not use this thread to discuss the most salacious bits; start separate ones for those. I'm including the link here since this is an interview that is part of the publicity wave for the book, and Piepenbring does discuss the book and its contents.

.

But again: some parts of this interview sound wildly out of character for Dan when you compare them to the dozens of other interviews he's done or to the introduction of the book.

.

Some excerpts (in Dutch):

.

De bottomline is volgens mij wat hij tegen z’n tourmanager Alan Leeds zei: ‘Je hebt geen idee wat het met me doet als weer eens een pseudo-artiest die niet eens zijn eigen songs schrijft toch een hit scoort.’ Ik bespeurde ook competitie met Bruce Springsteen. Het irriteerde Prince dat hij met hem werd vergeleken. Prince liet duidelijk voelen dat hij zichzelf beter vond dan Bruce, en niet onterecht: Prince arrangeerde z’n eigen platen, Bruce niet; Prince kon dansen, Bruce niet; Prince lanceerde de carrière van een dozijn andere artiesten, Bruce niet; Prince was sexy, Bruce een stuk minder; Prince beheerste een dozijn instrumenten, Bruce slechts één of twee; Prince kon alle stijlen aan, Bruce enkel rock en blues. Morris Day vertelde me hoe Prince ooit Bruce op het podium riep en hem zijn gitaar in de handen duwde. Bruce improviseerde een riff, maar hij is geen sologitarist, dus dat klonk niet echt indrukwekkend. Waarop Prince zijn gitaar terugvroeg en er vervolgens zelf een stomende solo op speelde, suggererend: kijk, dit instrument komt wel tot leven wanneer het wordt bespeeld door een échte artiest. Competitief? You bet. Maar ik voelde goed aan dat Prince zou dichtklappen als ik al zo vroeg in het proces te opzichtig zou hengelen naar anekdotes.

.

[...]

.

Hij hintte er die eerste ontmoetingen ook op dat er een nog onverteld verhaal school achter het niet uitbrengen van ‘The Black Album’ en de rol van zangeres Ingrid Chavez daarin. Hij had het over ‘Blue Tuesday’, een dag waarop hij met Ingrid een soort mystieke ervaring had gehad, al dan niet onder de invloed van drugs, die hem had doen besluiten alles om te gooien. Hij sprak over ‘spooky electric’, een duistere energie.

.

[...]

.

HUMO: Welke kamer van Paisley Park maakte de grootste indruk op jou?

.

Piepenbring: Zijn slaapkamer: een grote ruimte waar bijna alles wit was, alsof er ooit een sneeuwstorm had gewoed en die sneeuw nooit was gesmolten. Alle muren waren kaal op één opschrift na: ‘Everything you think is true.’ Het leek een tempel, kitsch en puur en minimalistisch tegelijk. Daar stond ook een draaitafel met twee gigantische luidsprekers en een stapel vinylplaten. De laatste die hij gespeeld had was ‘I Want You’ van Marvin Gaye. Ook de aangrenzende grote badkamer was leeg, op een enorme stenen badkuip en een vracht kaarsen na. Na zijn dood ben ik zijn enorme kleedkamer binnengewandeld. Dat was bizar, omdat al die kleren geparfumeerd waren: toen ik binnenkwam, overspoelde die geur me, alsof hij nog in die kamer aanwezig was.

.

[...]

.

Wat me nu te binnen schiet is een notaboek uit de periode van ‘Purple Rain’, waarin hij naast zwaarwichtige songteksten ook heel wat grapjes had genoteerd: ‘Hij was zo oud dat het nummer van zijn verzekeringspolis 3 was.’ Had hij die oneliners bedoeld als dialogen voor personages zoals Christopher Tracy in de film ‘Under the Cherry Moon? Of waren het aanzetten tot bindteksten tijdens optredens? Ik stuitte ook op aantekeningen voor ‘The Dawn’, de werktitel voor wat ‘Graffiti Bridge’ zou worden. Hij had iets met de zonsopgang als metafoor, het aanbreken van een nieuw tijdperk. Ook later, in de jaren 90, zei hij tijdens optredens dingen als: ‘Welcome to the dawn.’

.

[...]

.

Hij is een aantal keer verraden. Door zijn vader, door zogenaamde vrienden en vertrouwelingen, door muzikanten, door medewerkers van Paisley Park, door advocaten… Zijn kapster Kim Berry, die nu haarlokken van hem verkoopt die ze stiekem heeft gehamsterd: dat zou Prince geháát hebben! Hij was trots en schermde zijn privacy zozeer af dat niemand te dicht mocht komen. En hij had zelf zo’n imago van onfeilbaarheid en ongenaakbaarheid geschapen dat hij misschien bang was dat iemand zou ontdekken dat hij ook maar een gewone, kwetsbare sterveling was.

.

[...]

.

Na de dood van Prince kreeg ik een rondleiding door The Vault, de kluis waar behalve duizenden tapes ook persoonlijke spullen rondslingerden. Er lag kinderspeelgoed, en een prachtig lederen fotoalbum waarin Prince en Mayte het opgroeien van hun kind wilden documenteren, maar het was leeg gebleven – een gruwelijk simpel beeld dat hun tragedie perfect vatte. Maar hij heeft het wél bewaard.

.

Thank U Bart !..one of the best interviews ...Can U post the full interview?

yello1 said:

BartVanHemelen said:

.

Thank U Bart !..one of the best interviews ...Can U post the full interview?

Just a paragraph with a link. The org does not have written permission to post the interview in it's entirety.

A bit of Dutch to English:

There was also a turntable with two giant speakers and a stack of vinyl records. The last one he had played was "I Want You" by Marvin Gaye. 

Mine arrived today. Can't wait to dig in.

Do we post spoilers on this thread or not?

donnyenglish said:

Do we post spoilers on this thread or not?

I don't think so. I'd love a spoiler-zone thread, though. I don't get down with this modern day chicken little freak out over any tangential spoiler or fragment of a spoiler. It's out, let's go.

I finished reading the book and want to talk about a few things but want to wait a few days for others to read it so the conversation is fuller.

TheTruth123 said:

There no Book Discussion yet? Well, if this isn’t the place to talk about the book, I think we should have one too. This is The Org. If anyone should have one it should be us. The world is watching. Let’s go.

I have a lot to say...so go for it!

TheTruth123 said:

Princes a great author. His grandma is not always perfect but that doesn’t matter in this case..........