http://www.elmundo.es/lal...54515.html

Expediente Prince
CAÍDA EN DESGRACIA. Era un creador de pop excitante con fama de genio y ventas masivas, un provocador en los edulcorados años 80, un icono sexual... Pero tras una década cuesta abajo, Prince parece hoy una mala imitación de sí mismo, consumido por el ego y la confusión. La próxima semana publica el primer disco bajo su nombre en 12 años, su último intento por volver a triunfar
JAVIER BLÁNQUEZ

EL FANTASMA. Ha vagado tanto como ánima en pena en los últimos años que ver de nuevo a Prince como centro de atención sobresalta (¡uh!) un punto, como si su regreso fuera la aparición de un espectro que creíamos olvidado para siempre. Pero claro, tras su sonora decadencia tenía que venir lo inevitable cuando la industria del espectáculo aplica sus leyes: el regreso anunciado con el intento de vender la moto de una rehabilitación artística también anunciada pero nunca confirmada. La noticia es que Prince vuelve a ser Prince en este 2004 con Musicology, el primer elepé que graba con su nombre artístico en 12 años y no con ese símbolo cripto-religioso e impronunciable que se inventó cuando se le cruzaron los cables y decidió que a partir de aquel día (1992 y The Love Symbol Album, o como demonios se llamara el disco jeroglífico) iba a firmar como Prince su tía.

La mala noticia es que Musicology está muy lejos de sorprender o excitar. Suena antiguo y soso, casi parece una colección de descartes. Es su mismo estilo de siempre, con baladas, pop y funk grueso, pero sin el punch de sus tiempos gloriosos y con un primer single, Cinnamon Girl, que no dice nada.

Podría parecer que toda esta década Prince no ha sido Prince. Es decir, lo que se dice Prince, lo ha sido siempre, pero para el caso, desde que se rebotó con Warner por no ceder el sello a los caprichitos del nene, ha sido NPG, New Power Generation, The Symbol, The Artist Formerly Known As Prince, TAFKAP y el susodicho garabato. Sin embargo, el chaparro de Minneapolis no ha parado de grabar, de editar y de proclamar que sigue siendo un genio y que, cuando le dejáramos de verdad campar a sus anchas y soltarse, nos íbamos a enterar. Ahora, tras el anuncio de su primera gira en seis años y de su primer disco bajo paraguas multinacional tras el fallido Rave Un2 The Joy Fantastic, que dejó bien escaldada a la mastodóntica BMG, quiere volver a ser el que era: un ídolo de masas. Sólo que lo lleva claro.

Su historia en la última década es la del Imperio Romano en los años posteriores a los del emperador Constantino: decadencia y caída. El que había sido amo absoluto de los 80 (o eso dijo David Bowie; cada uno tiene sus gustos) empezó a perder la inspiración, primero, el norte, después, y los papeles en última instancia, hasta acabar como lo que es ahora: un diminuto alfeñique con un gigantesco ego que lo fue todo pero que ahora no es nada. Es hora de explicar, en tres sencillos pasos, cómo demonios se pasa de príncipe a mendigo tan rápida y catastróficamente.

1. SOY DIOS

El ascenso de Prince Rogers Nelson fue lento al principio y meteórico a partir de Purple Rain, en 1984. Hasta entonces, no era más que uno de los muchos probables relevos de George Clinton como rey del funk. Pero giró al pop y al rock, lo masticó con música negra y letras cargadas de X, y se elevó hasta la cumbre, gracias por supuesto también a una perspicacia única para tender puentes entre estilos y públicos.

Como un corredor de maratón, nuestro taponcillo de Minneapolis fue de menos a más, entregó posteriormente Around The World in A Day, Parade, Sing o’ The Times, Lovesexy y la banda sonora de Batman. Tocó su techo.

Consiguiente subidón de autoestima: en el tramo final de la década, Prince ya se ponía farruco con Warner. Verbigracia, insistió en editar el triple álbum Crystal Ball en 1987 (perdió el pulso: se editó como doble bajo el título de Sing o’ The Times, su obra maestra), presionó para que no saliera a la luz The Black Album, su disco más explícitamente sexual (ganó: no se editó hasta 1994) y se montó su mansión Paisley Park, en la que se rodeaba de huríes, tipo marajá en su harén. Como un Tony Montana en la cumbre, soltando risotadas y enseñando todos los dientes, Prince se creyó Dios y, partiendo de esa condición, con derecho de darle al mundo cualquier cosa, buena o tiña, que naciera de su mente.

Tras remontar el vuelo artístico en 1991 con Diamonds And Pearls, su primer superventas tras un par de batacazos comerciales que no justificaban su multimillonario contrato con Warner, se tomó licencias que sólo alguien muy pagado de sí mismo puede permitirse.
La primera, firmar un elepé con un símbolo. La segunda, registrar legalmente en ?993 esa especie de colgante con cabeza de aguja y rabo de punta de flecha como su único nombre artístico. Prince pasaba a mejor vida. Semióticamente, se estaba convirtiendo en marca, como una Nike sin pedigrí.

El colmo de la rabieta llegó cuando Warner no consintió tolerar sus manías de niño mimado y dijo que no a incrementar el ritmo de ediciones. La protesta fue de las que pasarán a la historia universal del cinismo. En sus apariciones públicas se mostraba siempre con la palabra slave (esclavo) pintada en uno de sus mofletes e inició una batalla legal por su libertad que para muchos marca el comienzo de una nueva forma de relación entre sellos y artistas (algo así como la Ley Bosman del rock) y, para otros, un circo sin sentido más allá del de conseguir promoción extra por la vía del escándalo. En realidad, era curioso que se presentara como esclavo quien, por contrato, exigió a su discográfica ser vicepresidente honorario de la compañía y quien tenía, por aquel entonces, las mejores ventajas económicas del mundillo.

Prince sostenía que Warner coartaba su libertad, que por su cuenta podía hacer virguerías, que el público iba a enterarse de lo que valía un peine. En Warner, hartos ya de tanta tontería, decidieron ir al grano y meterle mano al tema: dos discos más y sería libre. Llegaron, y a cada cual peor: The Gold Experience y Chaos & Disorder. En el verano de 1996, ya era legalmente libre. Había logrado la ansiada emancipación.

2. COMPONGO COMO DIOS

Emancipation, precisamente, era como se llamaba el mamotetro triple que editó El Símbolo en New Power Generation Records. Se suponía que aquello tenía que demostrar que Él era una máquina de fabricar hits y de renovar estilos, aunque en realidad era un trabajo de concepto organizado en pop, funk y baladas que celebraban su reciente matrimonio con la bailarina Mayte García. Por un lado, demostró que era prolífico, pero también disperso y, una vez estallada la burbuja de su autobombo («Cuando haga las cosas a mi manera vais a ver y bla bla bla»), un compositor con el arroz pasado.

Lo que vino después fue peor, sin embargo. En comparación con el siguiente triple de descartes, Crystal Ball, Emancipation parece el nuevo testamento de la música negra (que ya pasaba por otras manos; búsquese en las estanterías de hip hop y r&b o en el último de Outkast). Poco a poco se confirmaba que la supuesta rehabilitación artística de Prince era un farol: New Power Soul, Rave Un2 The Joy Fantastic, N.E.W.S… Un descenso a los infiernos de la mediocridad sin singles, sin chispa, sin ganas de avanzar, obcecado en la falacia de que cantidad es igual a calidad.

Por otro lado, la estrategia de vender sus discos y, desde este año, las entradas de sus conciertos por internet, tampoco ha significado una gran liberación: aunque sigue forrado, necesita una distribución fuerte y un gancho comercial que le haga llegar más allá de los fans de siempre. De ahí su acuerdo con Sony para comercializar Musicology y el rescate del nombre de Prince: un grito de-sesperado de socorro.

3.CREO EN DIOS

Buena parte de su valor estaba en el atrevimiento, en cómo escribía letras cochinas y las rebozaba de funk cerdo, cómo jugaba con la moral imperante en los EEUU de Reagan y Bush padre como si fuera un yo-yó. También ha cambiado en eso. Ahora asegura que la televisión es inmoral («En los 80, lo más sexy que daban por la tele era Dinastía») y que está cargada de vídeos guarros (lo dice paradójicamente el que institucionalizó el rol de la mujer como florero en los clips).

«Mi canción Darling Nikki se consideró porno porque aparecía la palabra “masturbarse”. Yo ya no soy aquél», afirma. Sí, amigas, Prince reniega de su pasado como ídolo sexual. Todo viene de su reciente conversión en testigo de Jehová, fe que abraza desde que falleció su madre y después de casarse (tras pagar un divorcio carísimo) con la fan convertida en asistente personal Manuela Testolini. Dicen que incluso los vecinos de Minneapolis se lo encuentran a veces llamando a su puerta los domingos y preguntando amablemente si quieren hablar de Dios.

«La diferencia entre el Prince del pasado y el de ahora es que antes sólo tenía ganas de clavar su cara entre tus piernas tan pronto como te conocía y que ahora prefiere casarse primero», argumentaba una tal ColdCoffee en el foro de su club de fans no oficial hace escasos días. En efecto, Prince ya no es el mismo: se cree Dios y cree en Dios, pero con su conversión se ha ido parte de la fuerza de ese minúsculo guitarrista técnicamente perfecto y más caliente que un termo, esa trituradora de sonidos y morales.

Es muy curioso que en su reaparición pública, el pasado mes de febrero en la apertura de los premios Grammy, cuando interpretó Purple Rain con la jamona Beyoncé ayudando en el dueto, ni siquiera intentara soltar un pellizco. Se ha convertido en un juguete para nostálgicos, en una máquina de lanzar discos para fans y conformarse con esa cuota. Su entrada en el Rock and Roll Hall of Fame confirma que estamos ante el pasado, ante carne de museo. A sus 45 años le ha llegado, snif, el momento de vivir de las rentas.

This is all like greek to me.

I cant believe this. This article is plain stupid, full of shit and lies. It doesnt say shit about the album, it just says it sucks. I believe they did not even heard it.

They say this is Prince's first album after he re-changed his name.
"Cinnamon girl" is the first single.
Bla bla bla.

To whoever understands spanish, I'll paste a reply I've sent to the newspaper about this article.


[This message was edited Sat Apr 17 1:09:44 2004 by DaIllest]

I have to concentrate too much to read this, so I can't be bothered. Cinnamon girl first single? Not worth my time.

bkw said:

---

Grrrrr, I'm really furious with this text. It's true that when you are a fan you cannot be objective, and Prince has made a lot of mistakes. That's sure. It's sure his hits time has gone, and that the best Prince happened in the 80's.
But this journalist is very unfair, and he's saying some lies. For example he remember the sentence David Bowie said ("the 80's belong to Prince") and adds "well, anyone has got their tastes". Well, Miles Davis said Prince was one of the best musicians. is this journalist trying to tell us he knows more about music than Miles Davis knew?
It's true the most original Prince has gone, but all the article is really negative, unfair, non accurate...

I really doubt this journalist/critic/whatever has ever liked Prince. This review is
really unfair and insulting ( numerous tasteless jokes about his short height all around) and not even one mention to The Rainbow Children or ONA

Well, who really cares? For some reason many Spanish journalists dislike Prince and
are always eager to criticize the persona rather than the musician. A shame, really

Great and truthful response, Daniel. It's all that needs to be said.

DaIllest said:

Gracias Daniel.

This reminds me of that 1999 SEPTIMO per4ormance, it was laced with a lot of negativity from the Spanish press and musical stars back then, all very condescending 2wards our boy.

I'm sure the true Spanish fans/fams don't read or listen 2 this B.S.

Ronaldo - CHILE/AUSTRALIA...

Yeah, thanx Daniel. Good work mate.

What a shite article. It's amazing how crap like this makes it out the door.

um I'm latino myself, and even thou their are some latins who love prince, their are even more that hate him!


He's awesome, but for some odd reason alot of us don't really care for PRINCE, just speaking from experiences with other latins and family members from dominican republic!

They just don't understand him

BUT I DO AND ALWAYS WILL!

.
[This message was edited Sat Apr 17 8:18:37 2004 by sataninas]

DaIllest said:

Good letter Daniel! I couldnt even finish reading that article! True, a lot of people will not jump on the "bandwagon", but come on, this article is so negative...anyhow, good response Daniel

I could have translated this myself but i am too lazy. Therefore, I used a web page translator engine. I hope it make sense.

Expedient Prince
FALL IN MISFORTUNE. It was a creator of pop stimulating with fame of genius and massive sales, an agitator in them sweetened years 80, a sexual... icon But after a decade costs down, Prince a bad imitation of itself seems today same, consumed by the ego and the confusion. The next week publishes the first disk under its name in 12 years, its last intent by returning to succeed

JAVIER BLÁNQUEZ



Prince



THE GHOST. It has wandered so much as soul in grief in recent years that to see again to Prince as center of attention startles (¡uh!) a point, as if its return went the apparition of a spectrum that believed forgot for always. But clear, after its sonorous decadence had to come the inevitable thing when the industry of the spectacle applies its laws: the return announced with the intent to sell the motorcycle of an artistic rehabilitation also announced but never confirmed. The news is that Prince returns to be Prince in this 2004 with Musicology, the first one elepé that records with its artistic name in 12 years and not with that cripto-religious symbol and impronunciable that was invented when they were crossed it the cables and decided that from that day (1992 and The Love Symbol Album, or as devils the disk hieroglyphic was called) was going to sign as PrinceAunt.

The bad news is that Musicology is very far from surprising or to excite. It sounds old and dull, almost a collection seems of rule out. It is its same same old style, with ballads, pop and funk thick, but without the punch of its glorious times and with a first one single, Cinnamon Girl, that does not say anything.

Would be able to seem that all this decade Prince has not been Prince. That is to say, what is said Prince, has been it always, but for the case, since bounced with Warner by not yielding the seal to the caprichitos of the nene, has been NPG, New Power Generation, The Symbol, The Artist Formerly Known Ace Prince, TAFKAP and the susodicho hook. Nevertheless, the squat one of Minneapolis has not stopped to record, to publish and to proclaim that it continues being a genius and that, when we left truly camping to its wide and to be freed, we were going to inform us. Now, after the announcement of its first tour in six years and of its first disk under multinational umbrella after the failed one Rave Un2 The Joy Fantastic, that left well scalded to the mammoth one BMG, wants to return to be the one that was: an idol of masses. Only that it carries it clear.

Its history in the last decade is that of the Roman Empire in the years after the of the emperador Constantino: decadence and fall. The one that had been I love absolute of the 80 (or that said David Bowie; each one has its inclinations) began to lose the inspiration, first, the north, later, and the roles in last instance, until finishing as what is now: a tiny one alfeñique with a gigantic one ego that all was it but that now is not swum. It is hour to explain, in three simple steps, how devils is passed from prince to so quick beggar and disastrousally.

1. I AM GOD

The ascent of Prince Rogers Nelson was slow al principle and meteórico from Purple Rain, in 1984. Up till then, was not more than one of the many probable changeovers of George Clinton as king of the funk. But it rotated al pop and al rock, chewed it with black music and loaded letters of X, and was elevated to the summit, thanks of course also to an unique insight to spread bridges among styles and public.

As a runner of marathon, our taponcillo of Minneapolis went of less to more, delivered subsequently Around The World in TO Day, Parade, Sing o' The Times, Lovesexy and the sonorous band of Batman. It touched its ceiling.

Consequent subidón of self-esteem: in the final section of the decade, Prince already was put farruco with Warner. Verbigracia, insisted in publishing the triple album Crystal Ball in 1987 (lost the pulse: was published as double under the title of Sing o' The Times, its master work), pressured so that did not you leave to the light The Black Album, its more explicitly sexual disk (gained: was not published to 1994) and its mansion was mounted Paisley Park, in which surrounded by herself huríes, type maharajah in its harem. As a Tony Montana in the summit, freeing risotadas and teaching all the teeth, Prince God was believed and, leaving from that condition, with right of giving him al world any thing, good or he stain, that to be born of his mind.

After mending the artistic flight in 1991 with Diamonds And Pearls, his first one superventas after a pair of batacazos commercial that they did not justify his multimillionaire contract with Warner, was taken licenses that only someone very full of itself same can be permitted.
The first one, to sign an elepé with a symbol. The second, to register legally in? 993 that species of hanging with head of needle and arrow tip tail as its artistic only name. Prince passed to better life. Semiotic, it was becoming marks, as a Nike without pedigrí.

The peak of the tantrum arrived when Warner did not consent to tolerate its manias of boy spoiled and said that not to increase the rhythm of editions. The protest went of the ones that will pass to the universal history of the cynicism. In its public apparitions was shown always with the word slave (slave) painted in one of its mofletes and initiated a legal battle by its liberty that for many marks the beginning of a new form of relation among seals and artists (something as well as the Law Bosman of the rock) and, for other, a meaningless circus beyond that of obtaining promotion extra through the. In reality, was curious that was presented like slave who, by contract, required to its record one to be honorary vice president of the company and who had, by that then, the better economic advantages of the mundillo.

Prince maintained that Warner limited its liberty, that by its account could do virguerías, that the public was going to inform of what was worth a comb. In Warner, full already of so much foolishness, they decided to go al grain and to put him hand al fear: two disks more and would be free. They arrived, and to each which worse: The Gold Experience and Chaos & Disorder. In the summer of 1996, already was legally free. It had achieved it desired emancipation.

2. I COMPOSE LIKE GOD

Emancipation, exactly, was as was called the mamotetro triple that published The Symbol in New Power Generation Records. It was supposed that that had to show that He was a machine to manufacture hits and to renew styles, although in reality was a work of concept organized in pop, funk and ballads that celebrated its recent marriage with the dancing one Mayte Garcia. On the one hand, showed that was prolific, but also dispersed and, once exploded the bubble of their autobombo («When do the things to my way you are going to see and bla bla bla»), a composer with the passed rice.

What came later was worse, nevertheless. In comparison with the following triple of rule out, Crystal Ball, Emancipation the new testament of the black music seems (that already passed for other hands; búsquese in the bookcases of hip hop and r&b or in the last one of Outkast). Little to little it was confirmed that the supposed artistic rehabilitation of Prince was a lantern: New Power Soul, Rave Un2 The Joy Fantastic, N. AND. W. S… A descent to the hell of the mediocrity without singles, without spark, without desires to advance, obcecado in the fallacy that quantity is equal to quality.

On the other hand, the strategy to sell its disks and, since this year, the entrances of its concerts by internet, neither meaning a great liberation: although continues lined, needs a strong distribution and a commercial hook that cause arrive it beyond the fans same old. From there its agreement with Sony to market Musicology and the rescue of the name of Prince: a help of-sesperado shout.

3. I BELIEVE IN GOD

Good part of its value was in the boldness, in how wrote filthy letters and the rebozaba of funk hog, how played with the prevailing morale in the US of Reagan and Bush father as if was an I-went. Has also changed in that. Now it assures that the television is immoral («In the 80, it more sexy than gave for the television was Dynasty») and that is loaded of disgusting videos (says it paradoxical the one that institutionalized the role of the woman as flower pot in the clips).

«My song Darling Nikki was considered porno because appeared the word “to be masturbated”. I no longer am that», affirms. Yes, friends, Prince denies of its past as sexual idol. All it comes from her recent conversion in witness of Jehovah, faith that embraces since its mother passed away and after being married (after paying a divorce carísimo) with the fan become assistant personal Manuela Testolini. They say that even the neighbors of Minneapolis are found it at times calling to theirDoor the Sundays and asking kindly if want to speak of God.

«The difference among the Prince of the past and that of now is that before only wanted to nail its face among your legs as soon as knew you and that now prefers to be married first», argued a such ColdCoffee in the forum of its club of fans not official does scarce days. In fact, Prince no longer is the same one: God is believed and believes in God, but with its conversion has gone part of the force of that small hotter and technically perfect guitarist than a termo, that crusher of sounds and moral.

It is very curious that in its reaparición public, the passed month of February in the opening of the prizes Grammy, when interpreted Purple Rain with the jamona Beyoncé helping in the duet, not even tried to free a pellizco. It has become a toy for nostalgic, in a machine to launch disks for fans and to be conformed with that quota. Its entrance in the Rock one and Roll Foyer of Fame confirms that we are before the past, before meat of museum. To its 45 years has arrived it, snif, the moment to live on the incomes.







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NPD313 said:

Very true it seems, I am latina, and I have 2 sisters that are really into Prince, but other than that, I dont really see many latinos into Prince, which is a shame, they dont even give him the chance. Where I work it is about 90% Latino, and no one here can understand me being a Prince fan, I have to take alot from everyone. Oh well, they dont know what they are missing

Aparentemente este individuo, en vez de hacer una crítica constructiva, lo tomo personal, como si viviera enamorado de Prince y su Little Red Corvette. O mejor aún, la motora de Purple Rain. Un individuo que vive del pasado, y que pretende que Prince se ponga unos bikinis y baile sensualmente como en Dirty Mind, o que se tire al piso y haga movimientos sexuales como en Darling Nikki. En fin, si lo dejan pelearia con el porque ya no es el Prince que el quiere y ama.

This was a biased and unprofessional COMMENTARY that apparently passed itself off as a review.

To those of yo who can't read Spanish...don't fret - you didn't miss anything. Just a bunch of nonsense. Shame to the paper that published it.

This commentary is written in Spanish! - In that Spanish I have to learn still. This is ussual in Spain, to talk and be like that "kind".