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Was this line directed at the press? I somehow never noticed it b4, but it was pointed out 2 me 2day that during the closing of "All The Critics Love U in New York" Prince apparently goes, "Take a bath, hippies!" It was also pointed out 2 me that in an old European interview from a few years back in The Guardian with Prince, the author in question was claiming that the statement was supposedly a jab at joirnalists at the time. (???) I personally disagree with this idea; 2 my mind, it just strikes me as Primce's sense of humour & has nothing at all 2 do with journalism. Prince has always made very enthusiastic nods towards the hippy movement, from peace symbols 2 such fun lines as "all the hippies sing 2gether" (1 of my fave lines he EVER wrote! I don't know of any1 personally who can resist singing along 2 that bit!). I can easily see Prince saying the "bath" line just 2 be silly, just as that goofy sped-up siren in that song was. I just get the impression he was enjoying himself. So I just personally can't imagine that line being in any way, shape, of form being some sort of "jab" at journalists. Any1 else agree with me? | |
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Agree. I really doubt that it was a jab at journalists. I don't think he was having problems with the press at the time this album was released- all of that trouble came later on. He was the music critics darling back then so he was getting good press. This type of thinking is the same as saying Prince didn't like tourists either- 'Tourists. 89 flowers on their back. Inventors of the Acu-Jack.' | |
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Weird question... the whole song is a jab at journalists, music journalists to be exact. The kind of warmed over semi-hippies that were discussing everything on the basis of Dylan, Hendrix, the Beatles and the Beach Boys. There still are a few left of those, but in the early 80s, they were the norm. . And that line.. it is similar to "get a job, hippies" or "get a haircut!" which were (are?) very common expressions. I do believe that it is a jab towards journalists, but only in somuch as the song is. At that point, Prince considered himself more avantgarde, closer to Devo and Gary Numann than to "the old school", being bands like EWF, GCS, Sly, P-Funk... you know, bands he held up as shining examples later in his career. . During musicology and later era, I always wanted to play him New Power Generation (or even Bold Generation) as a joke, to see if he could take it as such as well. Paisley Park is in your heart - Love Is Here! | |
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Hmm. It could be. Rock n' Roll journalism started in the 60's and the crowd from Rolling Stone and Creem and so on had a certain look by the 80's where they were trapped in 1975. Writers in general looked like that with the oversized wire glasses and shaggy dandruff hair. | |
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"if you can't clap on the one, then don't clap at all" | |
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. Plenty others I didn't name. Anyway, who do I know this? In part in the way that Rick James, who looked back quite blatantly, was described. But I think if you listen to the "song" Grace, by The Time, it is blatantly obvious. The reporter asks about their "funky" sound and Morris (so Prince..) goes off on how they are not funk artists. . He wanted to be on the vanguard and be something new. By the way, I do not mean to imply he forgot about the funk in his music, just that he felt he was part of the "new thing" more than that he was old school. The lyrics to Bold Generation and New Power Generation are quite clear on that as well. Paisley Park is in your heart - Love Is Here! | |
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[Edited 6/1/20 4:34am] "if you can't clap on the one, then don't clap at all" | |
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poppys, I'm not sure I follow your logic? How is what I said like the critics Prince was making fun of? Also.. what did he do wrong according to me? Let's not play strawman here. Are you saying ATCLYINY is to be considered a joke? . Are you saying it is impossible to know what Prince wanted or how he considered himself in the music pantheon? If so, I guess we have different opinions. If you are saying you can't have a good picture of what he was thinking, to me that's like saying the success of Purple Rain was a lucky coincidence instead of Prince working extremely hard to finetune his music, image and band to achieve it (and then getting bored with it quickly after he got there, although seemingly unwilling to let go of his new status...) . If you want to discuss it, I'm here. If not, let people respond in the thread about the topic and stay away. Paisley Park is in your heart - Love Is Here! | |
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"if you can't clap on the one, then don't clap at all" | |
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I presume you're painting me a critic then? Your remarks seemed to be mere trolling, but I'm willing to take in it's not, so please elaborate. Paisley Park is in your heart - Love Is Here! | |
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Already asked and answered - you painted yourself a critic below. Nice try on the trolling comment.
"if you can't clap on the one, then don't clap at all" | |
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oh well, you can't distinguish between critical thinking and being a critic. And Prince was known as a practical joker (see many many interviews with people he worked with) and I wonder if he could take a joke as well as he gave... but nevermind, you don't want to discuss. Paisley Park is in your heart - Love Is Here! | |
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I’ve always felt it was a parody directed at both - the rock & roll journalists and audience - seeing that he recorded it right after the infamous concert with RS. White journalists at the time didn’t get him, in all fairness, a lot of white journalists still don’t get him. Great song. | |
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"if you can't clap on the one, then don't clap at all" | |
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Hamad, good read, as usual. "if you can't clap on the one, then don't clap at all" | |
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. You may be right. Prince wasn't above trying to create an image, wether for himself of anyone around him, which may or may not have reflected reality. So the correct wording should have been that he portrayed himself as being more of the time than bands/artists that came before him, especially artists considered black music artists, as he was, at the time of the release of 1999 still working hard at crossing over and getting as big an audience as he could. . Prince definitely changed with regards to what tradition he placed himself in (although the MTV "interview" from the Under The Cherry Moon era did have him say he considered the Around The World In A Day album funky (which I agree with, btw), although he consistently contradicted himself as well, depending on how he felt that day or what he wanted to bring across. . And yes, Hamad, you are probably right when you say it's a dig directed at the audience as well. Paisley Park is in your heart - Love Is Here! | |
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It's funny that, i'm not saying you're wrong but at the time white journalists loved him, look at the review of Dirty Mind in Rolling Stone! He was on the cover of both the NME and Sounds in the UK in 1980/81. Of course that doesn't mean they got him, but it's interesting that they definitely loved what they saw. He was very much a critics darling for a good while before blowing up proper. [Edited 6/5/20 12:16pm] | |
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I don't think there is just one idea going on in this song. He's describing the NY culture, critics, stiff bootlickers, etc. He's an artist considered rather weird and counter culture at the time and of course the hipsters in NY are so into him, even though people on the street heckle him (I believe the hippy line is directed at himself). | |
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jaawwnn said:
It's funny that, i'm not saying you're wrong but at the time white journalists loved him, look at the review of Dirty Mind in Rolling Stone! He was on the cover of both the NME and Sounds in the UK in 1980/81. Of course that doesn't mean they got him, but it's interesting that they definitely loved what they saw. He was very much a critics darling for a good while before blowing up proper. [Edited 6/5/20 12:16pm] Oh definitely! They did love him and the live performance in NYC’ Ritz for the Dirty Mind album was all he needed to keep them in the palm of his hand. And he did throughout his career despite his many antics. But you have to remember that Prince also constantly pushed back on their narratives, even if many of it came from praise mostly, he treated their work with adversary for reasons of his own and always gave a counter point to what they thought he was conveying in his music. Whether it’s something like his remark about them calling his work “experimental”, or his feelings about being lazily regarded as the new Jimi Hendrix. They loved him alright, but when I read those old album reviews, I get so many Scooby Doo’s “Huh?!” moments, a lot of them reek of presumptuousness and that’s just one jarring factor out of many it almost feels like they listen with their pre-conceived ideas, as opposed to their ears. | |
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As for the song “All the critics”, it feels like he was taking a shot at mainstream arts critics for embracing everything blindly as long as it’s trendy (“You can cut all you hair, I don’t think they care,,”) without decoding those trends or where they came from, and the subtext is, they don’t fully understand what they’re embracing, and to add to his claim, “it’s not about the tripping, but sexuality”. Sexuality is an attitude and it’s a defiant statement in that context, seeing that he was a black artist with an androgynous image doing raunchy funk & rock & roll music, two genres that have been stigmatized (or lauded, depending on the writer/publication) because of their history with drugs, which he scoffed at. There’s so many dimensions to this song, and there are 3 primary perspectives: Prince, the writers and the audience. I’m thinking outloud obviously and this all could be wrong. A lot to unpack in this song, but it’s also testimonial to how prolific of a lyricist he was. | |
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Hamad said: As for the song “All the critics”, it feels like he was taking a shot at mainstream arts critics for embracing everything blindly as long as it’s trendy (“You can cut all you hair, I don’t think they care,,”) without decoding those trends or where they came from, and the subtext is, they don’t fully understand what they’re embracing, and to add to his claim, “it’s not about the tripping, but sexuality”. Sexuality is an attitude and it’s a defiant statement in that context, seeing that he was a black artist with an androgynous image doing raunchy funk & rock & roll music, two genres that have been stigmatized (or lauded, depending on the writer/publication) because of their history with drugs, which he scoffed at. There’s so many dimensions to this song, and there are 3 primary perspectives: Prince, the writers and the audience. I’m thinking outloud obviously and this all could be wrong. A lot to unpack in this song, but it’s also testimonial to how prolific of a lyricist he was. Well said! | |
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