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    Prince Interviews

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    theartistcamille

    Posts : 432
    Join date : 2009-06-12
    Age : 29
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    Prince Interviews

    Post by theartistcamille on Thu Dec 03, 2009 5:27 pm

    Collection of interviews with Prince from magazines, radio, etc.



    Prince Interview in Paris

    PARIS (AFP) – Paris is “erotic” and “inspirational”, US pop star Prince said Monday after wowing city audiences in a venue never formerly used as a concert hall — the landmark glass-and-iron Grand Palais exhibition centre.
    Prince’s Sunday concerts were last-minute affairs, organised in four to five days, after the 51-year-old artist visited and fell in love with the vast hall on the banks of the Seine river.
    On Monday he met a small group of journalists, including AFP, in a chic Paris hotel. Following are excerpts from the hour-long chat.
    Q: Why did you choose the Grand Palais?
    A : When I did “21 nights” in London, the sound of the audience was so powerful that I needed something better and bigger. And when I saw the Chanel fashion show (last week) and Karl (Lagerfeld) came out and there was this roar that came up, I was jealous.
    Q: You fell in love with the Grand Palais. Do you fall in love often?
    A: I needed some place to stay and that was the best that you could do, so…
    Q: What did you think about yesterday’s shows?
    A: They were my favourite so far. I always try to outdo the different shows that I’ve done.
    Q: Can you define the pleasure of being on stage and making music?
    A: I was telling a friend of mine recently that it feels like I’m in a dream and I don’t like to go to sleep anymore, because the dream is never as good as real life.
    Q: What did you think about the crowd last night?
    A: Amazing. It is actually indescribable, that much love. They were very respectful. We asked that no one used camera phones and they honoured that request, unlike Americans who are so obsessed with technology. We don’t like to have our concert filmed that way because it sounds so bad and then you give all the footage to somebody like YouTube who is run by Universal Publishing, and some of those same lawyers.
    Q: What about your time in Paris? Does the city bring you inspiration?
    A: It’s a very erotic town, so it’s very inspirational.
    Q: Do you like French food?
    A: No.
    Q: When you sing “Dance For Me”, are you thinking about somebody special?
    A: Yes. I was looking in the mirror when I wrote it.
    Q: You struggled a lot for you artistic freedom and now it seems you are totally free. How does it feel?
    A: These are the days I was looking forward to. It’s hard to sleep because the options are so numerous. It was worth the fight, it was worth the struggle. I advise every artist to go through it if they can. The cream rises to the top anyway. A real free music doesn’t mean that you don’t pay for it, it just means there are no authoritarian figures telling you what you’re supposed to do with it.
    Q: Is the Internet opening new doors for you?
    A: It’s a tool. It’s not a means to an end. My concerts have always been dear to me and it’s almost a shame I got so good at making records because the media is dying now, so until something new happens and we get some laws and restrictions to how the media is used and the revenue is shared, then I’ll just stick with the live stuff and every once in a while I’ll do records.
    Q: Are you a happy man today?
    A: Very happy. More happy than ever actually.
    Q: If you changed your name again today, what would you change it for?
    A: I like this name. I think it fits.
    Q: If you were to write the definition of funky in a dictionary, what would the definition be?
    A: If you can describe it, you ain’t funky.
    Q: Are there any questions you want us to ask you?
    A: Ask me about God. We need him. We all do.
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    theartistcamille

    Posts : 432
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    Re: Prince Interviews

    Post by theartistcamille on Thu Dec 03, 2009 5:30 pm

    Oprah (TV Interview) |
    Article publication date: November 21, 1996

    OPRAH WINFREY voiceover: He used to be a mystery.

    0{+> : I'd sort of shied away from doing interviews.

    OPRAH voiceover: He used to be Prince.

    OPRAH: What do I call you?

    OPRAH voiceover: Now in his first TV interview, he reveals his new identity.

    0{+> : That's the other person in me. We haven't determined what sex that other person is yet.

    OPRAH voiceover: Meet his new bride.

    OPRAH: And what do you call him?

    OPRAH voiceover: Go inside his fascinating world. Hear your favorite song.

    OPRAH: Can I hear a little bit of "Purple Rain"?

    OPRAH voiceover: And experience a concert you'll never forget. (Footage of performing). You'll be talking about this one.

    0{+> : I have something for you.

    OPRAH: I will keep this.

    OPRAH: What a day, what a day, what a day, what a day. What a day. It is an event. The artist formerly known as Prince is here! And whether you're a fan or not, his first TV interview is full of surprises. This is one everybody's going to be talking about. Wish I was in a beauty shop later today, honey. He is shy talking in front of an audience; however, he is anything but that on stage. His extraordinary talents began at a very early age.

    OPRAH voiceover: He was born Prince Rogers Nelson in 1958. Never the typical boy next door, Prince was a young musical genius who used music as an escape from life in a turbulent household. Prince ruled pop music in the '80s, thrilling audiences with his risqué performances and his sexual lyrics. (Excerpt from "Cream" video)

    When he wasn't turning out his own top 10 hits, he was spinning gold for others like Sinead O'Connor... (Footage from O'Connor's "Nothing Compares 2 U" video) ...Sheena Easton... (Footage from Easton's "U Got the Look" video ...and Chaka Khan. (Footage from Khan's "I Feel For You" video). Millions of fans literally worship the Prince of "Purple Rain." (Footage of Prince singing Purple Rain")

    In 1992, he signed the biggest record contract in the business, but things soured and Prince spent the last few years battling his record label. (Excerpt from "Controversy" video)

    The controversy was over artistic control. Prince protested by scrawling 'Slave' on his cheek. He also changed his name to an unpronounceable symbol. Today he is a new man with a beautiful bride who just gave birth to their first child. Now he's finally free from his record contract and is celebrating with a new CD set called, appropriately enough, "Emancipation."

    OPRAH: Well, because -- because he changed his name to a symbol, everybody was asking me, "What are you going to call him?" I had no idea until our first meeting at his recording studio.

    OPRAH voiceover: Paisley Park is an impressive 65,000 square foot complex The Artist built to be his state-of-the-art music video and film recording palace in suburban Minneapolis. The building is seen in his latest video, "Bet Ya [sic] By Golly, Wow." I went there for our first meeting.

    0{+> : Hey, hey, hey.

    OPRAH: Hey, hey, hey. Great to see you.

    0{+> : Thanks so much for coming.

    OPRAH: Oh, I'm thrilled to be here.

    0{+> : Look at you.

    OPRAH: Look at you. Oh, you're pretty.

    0{+> : ...(Unintelligible).

    OPRAH: You're pretty--really pretty. How's every little everything?

    0{+> : Couldn't be better.

    OPRAH: Really? Couldn't be better?

    0{+> : Yeah.

    OPRAH: This is a nice place you've got here. I thought I had a nice place.

    0{+> : It was all plain before, but we colored it up for...

    OPRAH: This is cool. First of all, what do I call you?

    0{+> : Friend, I hope.

    OPRAH: Friend. Friend's good. Friend's good. You know that a lot of America and the world is confused about this whole name--what should, how to address you. What the symbol means. And I want you to clarify it for us all.

    0{+> : Well, just like Muhammad Ali...

    OPRAH: Mm-hmm.

    0{+> : ...and Malcolm X...

    OPRAH: Mm-hmm.

    0{+> : ...people like that change their name, and some people take names that are hard to pronounce.

    OPRAH: Mm-hmm.

    0{+> : And it just so happens I picked one that you can't pronounce. I don't know how to pronounce it even. If ever...

    OPRAH: You don't even know to pronounce it.

    0{+> : Yeah. If ever--if ever I'm told, you'll be the first to know.

    OPRAH: Uh-huh. How to pronounce it.

    0{+> : Yeah.

    OPRAH: So how did it come about? The symbol came to you and the symbol is like a combination of female and male?

    0{+> : Yes.

    OPRAH: And that is why you're now --we-- we have no name for you.

    0{+> : Well, you do have a name for me. And the interesting thing about it is that some people think sometimes it's me trying to pull a power play or something like that.

    OPRAH: Oh...

    0{+> : I mean, you can type it on a type writer. I can give you the computer font.

    OPRAH: Yeah. I've seen how you do it.

    0{+> : And so...

    OPRAH: We're going to show you right now on the screen how you do it on the typewriter.

    TYPED ON TV SCREEN: 0(+>

    OPRAH: So it wasn't about publicity or did you even recognize or think that it would cause this much of a stir about what your name was or what you were no longer?

    0{+> : On the publicity tip, I --I could...

    OPRAH: It wasn't calculated.

    0{+> : Yeah, I could do without that, yeah.

    OPRAH: Yeah. I've seen you referred to many times as The Artist, but what do your friends call you, just folks I've seen around here?

    0{+> : I find it quite interesting some people now call me 'Sir.'

    OPRAH: They just call you 'Sir'?

    0{+> : Mm-hmm. They've never called me that before.

    OPRAH: That's interesting.

    0{+> : Yeah.

    OPRAH: Do you think it left some people around here a little confused?

    0{+> : At first, yeah.

    Kirk Johnson: I was his best man at his wedding. I co-produced the "Emancipation" album. I'm now his drummer, used to be his dancer. I called him... 'Hey, boss. Hey, man. Hey, bro.'

    Annie: This is Arlene and I'm Annie.

    Arlene: I'm his personal assistant. How we call him? Very hard question. Sometime we walking down the hall and I will have to say, 'Excuse me, can I talk to you?'

    Annie: And when I talk to him I say, 'Sir?' that way, I got his attention.

    Ms. Kim Berry: My name is Kim Berry. I'm his personal hairstylist, and I call him 'Boss.'

    Ms. Nelle Garcia: I'm Nelle Garcia. I'm Mayte's mother. He is my son-in-law. I sometimes call him son-in-law and sometimes I call him son.

    OPRAH: Well, most people call him simply The Artist. He describes his new three-D -- CD set "Emancipation" as the album he was born to make. I've been listening to it during my workouts every day. (Footage of OPRAH working out [to the title track])

    OPRAH: It's great to work out to. I've been listing to it. (From footage) Ow! Free, free, free, freedom.

    Loving every--loving every cut. Feeling freedom myself. Here to perform some of his hits from the Prince days is The Artist and New Power Generation, welcome The Artist!


    performs ["Do Me, Baby" - "If I Was Your Girlfriend"]


    OPRAH: Next, you'll meet the woman who entered the Artist's soul and captured his heart. We'll be right back. We'll be right back.


    0{+> : This album is probably the most joyous one I've made. It's by far the most romantic because I've never been this much in love.

    OPRAH: Mm-hmm. Did you think you'd find a love like this?

    0{+> : Yeah, it was a dream

    OPRAH: It was a dream?

    0{+> : Right, I -- almost willed her to me.


    (Footage performing "I Would Die 4 U)


    OPRAH: Well, his erotic onstage image is quite different than the soft-spoken man I talked with who dreams of having a big family.

    OPRAH: "Sex in the Summer." This is a song that featured the ultrasound heartbeat of your baby?

    0{+> : Yeah. What we did was take a microphone and place it on Mayte's stomach and move it around with the gel until we got the right spot. And then (imitates heartbeat) you know, you start to hear that And then we put the drums around that. That's the baby.

    OPRAH: When you heard that sound for the first time, what did you think or feel about yourself?

    0{+> : I was pretty much speechless.

    OPRAH: Mm-hmm.

    0{+> : It--it really grounds you, it makes you realize that things you thought wee important aren't really. That's what it meant to me.

    OPRAH: "Let's Have a Baby" is such a beautiful song. I've got to tell you, my friend The Artist is in love, you-all--in love--gone, in love. I met his new bride during my visit to Paisley Park.

    OPRAH voiceover: If you spend any time around the newlyweds, it's very clear that he has found his 'most beautiful girl in the world.' They first met in 1990 and married just this year on Valentine's Day.

    OPRAH: Tell us the story when you saw her outside at a concert. I think it was in Germany, and you just said in passing to a friend...

    0{+> : I saw her and her mother outside a concert in Frankfurt. And I said, 'That's my future wife.' Just as, you know...

    OPRAH: Mm-hmm. And what did you think? First of all, you're introduced to Prince, and I understand you-all became friends. Did you think. 'This is my future husband'?

    MAYTE: No.

    OPRAH: You didn't? What did you think?

    MAYTE: Well, I mean, I was 16 when I met him, so just the idea of meeting him -- I was really scared before I met him.

    OPRAH: Mm-hmm

    MAYTE: And then when I met him, I just felt this -- I was just calm and I didn't feel nervous.

    OPRAH: Mm. The couple say they are soul mates and believe they knew each other in a previous life.

    0{+> : I feel like she was either my sister or we were the same person or something in another life. It -- there's a closeness that -- that you know is right and you don't argue with.

    OPRAH: Well, isn't this all kind of weird?

    0{+> : Well, it depends on how you look at life.

    OPRAH: Yeah.

    0{+> : Yeah.

    OPRAH: It seems to me -- I would just s -- say this is a description of the two of you. I'm -- when he talks about you, there's a thing that happens in his eyes.

    0{+> : I -- I do feel that I've come closer to who I aspire to be by being with her.

    OPRAH: Really?

    0{+> : Mm-hmm.

    OPRAH: And what does she do for you that you didn't -- that you didn't have alone?

    0{+> : She makes it easier to talk to God.

    OPRAH: Really?

    0{+> : Yeah.

    OPRAH: Oh, I could cry. Was it like a traditional ceremony? Like there's a minister and...

    0{+> : Yes.

    OPRAH: ...'You take and you say and until death do us' -- the whole thing?

    0{+> : Mm-hmm. Mm-hmm. We had a very small wedding. We only invited friends and family -- mostly family. And there was a big empty section in the church. And she said that she's glad that it was empty because it left room for the angels.

    OPRAH: Is he romantic?

    MAYTE: He's romantic, yeah.

    OPRAH: Yeah. I'm thinking, if he ain't romantic, who is?

    MAYTE: He's very romantic.

    OPRAH: Like romantic how? Life rose petals in the -- you know, in the bed and the bathtub and the...

    MAYTE: Well, that's just -- well, roses. But for me, the most romantic thing that he's done is -- is write these beautiful songs for me.

    OPRAH: Mm-hmm.

    0{+> : You know? "Let's -- Let's Have a Baby," because of that, I mean, I got pregnant. (Excerpt from "Let's Have a Baby")

    OPRAH voiceover: It's been rumored that the couple's baby boy was born with health problems, and the reports have fans concerned.

    What is the status of your -- your -- your baby, your pregnancy, your...

    0{+> : Well, our family exists.

    OPRAH: Mm-hmm.

    0{+> : We're just beginning it.

    OPRAH: Mm-hmm.

    0{+> : And we've got many kids to have, a long way to go.

    OPRAH voiceover: And that's all The Artist and his wife choose to say at this time. But while touring Paisley Park, he showed me their newly decorated playroom.

    Oh, wow.

    0{+> : And here's my favorite room.

    OPRAH: The children's to be, the children's to come?

    0{+> : Yes, ma'am.

    OPRAH: The child in you, or just the children?

    0{+> : Oh, the children, yeah.

    OPRAH voiceover: And all those rumors about their baby -- well, the Artist shared this with us.

    0{+> : It's all good. Never mind what you hear.

    OPRAH: He said that he wants to -- in 10 years, he's going to have babies crawling all over him, on his ears and around his neck and calling him 'Daddy.' Do you want the same thing?

    MAYTE: Oh, yeah. I never wanted it more.

    OPRAH: Ten -- you really want 10, you think?

    0{+> : It's up to her.

    MAYTE: I hope I get some twins in there so I can...

    OPRAH: Take a break. When you call him, what do you call him?

    MAYTE: When I met him, I didn't call him Prince. I never called him that. Because I didn't see him as that person.

    0{+> : She slipped out of that, didn't she?

    MAYTE: What did I call him? I never -- I -- I just talk to him. You know, people always say, 'Well -- well, what if you need him to bring you something, pass the tea or something?'

    OPRAH: That's right.

    MAYTE: I just say...

    0{+> : She sa -- you say, 'Hey.'

    MAYTE: Hey, Hey.

    0{+> : She says, 'Hey.'

    OPRAH: So you just go around the house -- you -- so you never call him -- you never -- you never slip and say...

    MAYTE: Because I never did.

    OPRAH: Because you never did call him.

    MAYTE: So it's not a...

    OPRAH: 'Hey, you.'

    MAYTE: ...big issue for me. It's, 'Hey.'

    0{+> : Man, I would drop -- I would drop the tea if I heard 'Prince' come from the kitchen. I'd (imitates dropping something).

    OPRAH: Would you really?

    0{+> : Oh, man. It would scare me to death.

    OPRAH: Does he make you laugh?

    MAYTE: Oh, yeah.

    OPRAH: Is he fun?

    MAYTE: Yeah.

    OPRAH: Does he tell jokes?

    0{+> : No, I'm not.

    MAYTE: Yes, you are.

    0{+> : I don't tell jokes. I'm serious.

    OPRAH: Yeah.

    MAYTE: No.

    OPRAH: Really? (Excerpt from "U Got the Look" video)

    OPRAH: When we knew him as Prince, he was romantically linked with Sheena Easton, Kim Basinger, Vanity... (Excerpt from Vanity's "Nasty Girl" video)

    OPRAH: ...and Apollonia.

    Do you ever, you know, run into your past girlfriends or...

    0{+> : Very seldom.

    OPRAH: Very seldom.

    0{+> : No. When I got married...

    OPRAH: What's your relationship with them?

    0{+> : None.

    OPRAH: None?

    0{+> : I mean, once -- once I got married, it just -- the phone stopped ringing.

    OPRAH: Really?

    0{+> : It stopped ringing, yeah.

    OPRAH: Uh-huh. What would you like to say about your relationship? Will it be forever?

    MAYTE: Just -- yes, it -- it will be forever.

    OPRAH: Well, you know, many people think the artist formerly known as Prince is flat-out weird. You-all know a lot of people think that. So I asked him how he responds to those opinions. And you'll find out if he regrets anything from his sexy, sexy past. But first, remember this one? (Excerpt from "Kiss" video)


    (Excerpt from Little Red Corvette" video)


    OPRAH: We're talking to the usually reclusive and media-shy artist formerly known as Prince, who's famous for singing about sex and sex and sex and more sex.

    OPRAH: I wanted to know do y -- what all the sexually provocative song titles over the years have meant. You know, where -- does it mean that you were just really into sex? We have this image of you behind the purple doors just kind of having sex.

    0{+> : Oh, my goodness.

    OPRAH: The wildest -- swinging from the -- there are doves in the ceiling and it's just the -- that's the image.

    0{+> : Well, hey...

    OPRAH: "Horny Toad." "Jerk Out," "Private Joy," "Sex Shooter," "Do It All Night," "Do Me, Baby" -- you know all those.

    0{+> : Yeah, but you know, I've written some -- thousand some-odd songs.

    OPRAH: Mm-hmm.

    I went to a Prince concert probably -- oh, m -- must have been 10 years ago. I felt parts -- that it touched parts of myself that I didn't know I had.

    0{+> : Mm-hmm

    OPRAH: And I ended up going out doing things I didn't normally do. (Footage from "Prince & The Revolution Live")

    OPRAH: Do you ever regret anything?

    0{+> : No, because I think it's all part of the experience of life and growing. And it's gotten me to this place. You take one thing out of that and the structure falls, you know?

    OPRAH: Mm-hmm

    0{+> : So, I'm -- I'm quite content.

    OPRAH: The creative environment is like a wild wonderland that some may find a little unusual.

    OPRAH: I'm thinking I must be very attractive in this light.

    0{+> : How do I look?

    OPRAH: Yeah, you're looking good. Yi, yi, yi, yi. What is this?

    0{+> : Studio B.

    OPRAH: Studio B.

    0{+> : For black light.

    OPRAH: I must say, you have a very interesting place. It's just like your mind -- very interesting.

    0{+> : I'll take that as a compliment.

    OPRAH: Just in case you were wondering, there really are doves at Paisley Park.

    OPRAH: Have you ever perceived yourself as being -- I know you must perceive yourself as being different. Have you ever perceived yourself as being weird in any way?

    0{+> : Mm, yeah.

    OPRAH: Yeah?

    0{+> : Yeah. But, understand, everything is relative. Not weird to me...

    OPRAH: Yeah.

    0{+> : ...but probably weird as compared to...

    OPRAH: And you're living in Minneapolis of all places.

    0{+> : Minneapolis, yeah.

    OPRAH: Yeah.

    0{+> : I will always live in Minneapolis.

    OPRAH: Right. Do you -- do you -- you will always live here?

    0{+> : Mm-hmm.

    OPRAH: Why?

    0{+> : It's so cold, it keeps the bad people out.

    OPRAH: I believe that. When you go -- do you like go to the mall?

    0{+> : The last time I went to the mall I took about 400 people out with me, so I don't do that much anymore.

    OPRAH: You don't do that?

    0{+> : No

    OPRAH: Really? Do you do like when we would perceive to be normal, everyday stuff? I mean, are you always this pretty? On a -- like on a normal day, I mean, I -- you would -- you would look this good.

    0{+> : On a normal day, I'm clean.

    OPRAH: You're clean?

    0{+> : I'm clean on a normal day. I'm -- it...

    OPRAH: All the time. What do you most want people to k now about you? What do you -- first of all, what do you think the perception is?

    0{+> : Well, I'm sure after the past two years or so, it's become quite strange.

    OPRAH: Yeah.

    0{+> : I hear -- I hear they're calling Diana the artist formerly known as princess now. I mean, it it's gotten to that point, then...

    OPRAH: OK. So people think you're weird.

    0{+> : Yeah

    OPRAH: They think you're strange. What do you want them to know?

    0{+> : The -- the music.

    OPRAH: Well, The Artist is known for his imaginative outfits, you all know. Next, we're going to go inside his special wardrobe room where all of his clothes are made. That's why he's always so pretty.


    (Footage of performing "Purple Rain")


    OPRAH: But during our conversation. The Artist shared a very personal discovery he's recently made about himself. This is very interesting.

    0{+> : Recent analysis has proved that there's probably two people inside of me. There's a Gemini. And we haven't determined what sex that other person is yet.

    OPRAH: did you say, 'I'm not even sure what sex it is -- or he or she or -- is'? Did you say that?

    0{+> : Yeah.

    OPRAH: I thought I heard that. What I'm getting from you is that you are very much in touch with both sides of yourself, your masculine and feminine side.

    0{+> : Mm-hmm.

    OPRAH: Uh-huh. And so people grew up thinking that you're weird or that you're gay because of it. And that never bothered you?

    0{+> : Hey, whatever floats the boat, you know.

    OPRAH: Whatever peanut butter's your jelly.

    0{+> : Yeah.

    OPRAH: Yeah.

    0{+> : There you go.

    OPRAH: It's literally like another personality you're talking about?

    0{+> : Well, what they seem to find was that it was some -- someone I had created when I was five years old.

    OPRAH: Really?

    0{+> : Mm-hmm. For whatever reason, I'm not sure yet. But I hope to find out.

    OPRAH: 'They,' like psychologists, therapists?

    0{+> : Well, actually, I found out...

    OPRAH: Uh-huh.

    0{+> : ...because I took some -- I took some -- went through therapy.

    OPRAH: Uh-huh.

    0{+> : So...

    OPRAH: And you found out that...

    0{+> : Yeah.

    OPRAH: ...there is another person...

    0{+> : Yeah.

    OPRAH: ...living inside you?

    0{+> : This is turning into a Sybil interview.

    OPRAH: Yeah, really. Does that person have a name that we could call?

    0{+> : That -- that -- that's what is so interesting to me, is that I -- that I think that that's why I changed my name. I think that's who I am now.

    OPRAH: Really?

    0{+> : I -- I -- yeah. I very much feel divorced from Prince.

    OPRAH: You really do?

    0{+> : Yes.

    OPRAH: Being sm -- being of smaller stature, did it ever make you question yourself, question your -- I don't know -- ability to -- to get dates, get women in the beginning?

    0{+> : No. N -- No. It questioned my ability to play basketball, because I like to hoop, but...

    OPRAH: Did you ever feel ridiculed as a child because of your size?

    0{+> : Mm-hmm.

    OPRAH: You did?

    0{+> : Oh, yeah. All the time.

    OPRAH: And how did you handle that?

    0{+> : That's probably when that person got created...

    OPRAH: Yeah.

    0{+> : ...you know, somebody to care about you and love you and be your friend and not ridicule you.

    OPRAH: Uh-huh. OK, what would they call you?

    0{+> : Just everything they could think of -- anything small.

    OPRAH voiceover: In 1984 Prince starred in the movie "Purple Rain" about a singer from an abusive household, a story much like his own.

    OPRAH: Your father was an abusive man, right? That's what I've read, but I nev -- never know what's true and what's not.

    0{+> : He -- he had his moments.

    OPRAH: What is the most autobiographical scene in "Purple Rain" for you?

    0{+> : I -- I'll say that it was probably the scene with -- with me looking at my mother, crying. (Excerpt from "Purple Rain," courtesy Warner Bros. Pictures)

    0{+> : There was a time when we didn't live together.

    OPRAH: Mm-hmm.

    0{+> : When I met him again he was the -- a jewel. He was the most beautiful person I knew. And we are again en -- estranged. But hopefully we can hook up again. If not, you know, this is his experience, you know? And he is living his experience and what he wants. I'm living mine the way I want. You know, it would be cool if they hooked up, but, hey, you can only hope.

    OPRAH: Well, have you ever wondered where The Artist gets all his clothes? Well, on a tour of Paisley Park, I found out .

    0{+> : Let me show you these.

    OPRAH: Let me get this straight. There's just a department that just makes your clothes?

    0{+> : Just me. This spells, 'Welcome.'

    OPRAH: This does? Yeah.

    0{+> : "Raspberry Beret." (Excerpt from "Raspberry Beret" video)

    OPRAH: What size is your waist?

    0{+> : Twenty-seven.

    OPRAH: Twenty-seven. Isn't that delightful?

    0{+> : Yeah, I like that. That I'd wear again. (Excerpt "Sexy MF" video)

    0{+> : We don't wear this no more.

    OPRAH: We don't wear this no more, no.

    Well, when you want something new, do you just come up and say, 'You know what I'm feeling like? I'm going to do OPRAH. I need something in cream.' Did you tell her...

    0{+> : They are constantly making clothes, every week.

    OPRAH: That's nice. (Photographs of in different outfits)

    OPRAH: Somebody is on staff making the clothes every day. Next, one of my favorite experiences with the artist formerly known as Prince. This would be a dream come true for any of his fans. It certainly was for me.


    (Excerpt from "Diamonds and Pearls" video)


    OPRAH: Well, one of my favorite experiences at Paisley Park was going to the place where The Artist creates his music.

    0{+> : Let me show you my piano.

    OPRAH: What are you going to play for me?

    0{+> : What do you want to hear?

    OPRAH: Can I hear a little bit of "Purple Rain"? We have a purple piano. ( plays "Purple Rain" on the piano)

    OPRAH: Thank you for doing that.

    0{+> : You're welcome.

    OPRAH: Was music an escape for -- for you in childhood?

    0{+> : Yes...

    OPRAH: It was?

    0{+> : ...very much so.

    OPRAH: And it was a way you took yourself away?

    0{+> : Hours and hours and hours away.

    OPRAH: You taught yourself to play at seven years old.

    0{+> : Yes.

    OPRAH: Do you remember your first song?

    0{+> : Yeah.

    OPRAH: You do? ( plays the theme from "Batman")

    OPRAH: The music comes to your head and then you come here, or sometimes you're here and then the music just comes out.

    0{+> : Mm-hmm. ( sings a song ["Forever In My Life"])

    0{+> : It's -- JFK...

    OPRAH: Played this at his wedding.

    0{+> : Right.

    OPRAH: That was his first dance.

    0{+> : Phew. Yeah.

    OPRAH: Thank you, Prince. Oh, thank you -- why don't -- you should slap me. You should just slap me.

    0{+> : No, I won't do that.

    OPRAH: OK. You should just -- I -- thank you, friend.

    0{+> : Friend.

    OPRAH: Thank you, friend.

    OPRAH: What a gentle, sweet man. Wonderful soul, he is. In 1992 Prince -- he was Prince then -- signed a $100-million contract with Warner Bros. Records, the biggest deal in the industry. But their deal turned into a public feud over who would have the control. In protest of that contract, The Artist scrawled the word 'Slave' on his face. You all remember this phase. (Footage of Performing)

    OPRAH: All those years before -- all those years -- times you were walking around with 'Slave' on the side of your face, what was that all about?

    0{+> : To clarify that so many people don't get the wrong impression, I -- I never meant to be compared to any slave in the past...

    OPRAH: Mm-hmm.

    0{+> : ...or any slave in the future. The slavery that I had undergone was in my mind and -- as well as the business that I was in. We inked a $100-million deal with Warner Bros....

    OPRAH: Mm-hmm.

    0{+> : ...or any slave in the future. The slavery that I had undergone was in my mind and -- as well as the business that I was in. We inked a $100-million deal with Warner Bros....

    OPRAH: Mm-hmm.

    0{+> : ...and that turned out to be a little less than desirable.

    OPRAH: A hundred million dollars did?

    0{+> : The deal.

    OPRAH: The whole deal...

    0{+> : Yeah.

    OPRAH: ...what all that meant?

    0{+> : Yeah. It's like I was saying before, you -- you can go in to record, you can go in to do some form of art, and if you -- you have any sort of chains on you, it's not going to come out as cool as it could be.

    OPRAH: So you felt, as an artist , enslaved?

    0{+> : Yes.

    OPRAH: Mm-hmm. It sounds like you've grown.

    0{+> : No, I'm pretty much the same size.

    OPRAH: You know.

    0{+> : Yeah.

    OPRAH: Yeah.

    0{+> : I -- I -- I really do feel I have, inside.

    OPRAH: Do you think that it would have happened to you had you not been enslaved?

    0{+> : Oh, no. Absolutely not. And I -- you know, I -- some days I want to just call up the folks at Warner Bros. And just. 'I love you, man.'

    OPRAH: Really?

    0{+> : Yeah, just...

    OPRAH: Because?

    0{+> : Of the journey, and they're are part of the experience. I -- I'm thankful to them for giving me the opportunity to be here talking to you, you know? This record is really important for me because it's the first time that I've recorded an album, a complete album, in a state of complete freedom.

    OPRAH: Will we feel the emancipation?

    0{+> : Yeah, I think so. What -- what you have to understand is I play most of the instruments myself. So when I go in to do the guitar track, this is a happy, free man recording.

    OPRAH: We're going to hear what freedom sounds like, America. (Footage and OPRAH in the recording studio)

    OPRAH: That's fabulous.

    0{+> : Freedom is a beautiful thing.

    OPRAH: Freedom is a beautiful thing. (Footage of and OPRAH in the recording studio)

    OPRAH: That's fabulous, isn't it? That is fabulous. 'Emancipation, break the chain, break the chain.'

    OPRAH: Next, The Artist performs a new dance song he wrote about the way a man should treat a woman. It's on the album -- CD set "Emancipation." We'll be right back.


    (Excerpt from "1999" video)


    OPRAH: Well, The Artist wrote many songs on the latest three-CD set "Emancipation" that are very personal and reflect where he is in his life today. And we know he's in love. Well, this one is called "Sleep Around" and tells how to keep a woman happy. "Sleep Around" from the CD -- three-CD set "Emancipation." The Artist.


    performs ["Sleep Around"]


    OPRAH: The Artist! What fun. Next, highlights from our visit with my new friend. Back in a...

    OPRAH: I just have one question. I want to ask one question. How many -- ho -- I wanted to ask him one question before we left. How many more songs do you think you have inside yourself?

    0{+> : Oh, one a day at...

    OPRAH: One a day?

    0{+> : ...I hope, until I die.

    OPRAH: One a day. The CD is called "Emancipation." You're going to love it. You can work out to it. It's a spiritual kind of thing. You can do the -- whatever you want to do to it. It's a fabulous new CD set. Thank you, friend, and New Power Generation.
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    theartistcamille

    Posts : 432
    Join date : 2009-06-12
    Age : 29
    Location : WA

    Re: Prince Interviews

    Post by theartistcamille on Thu Dec 03, 2009 5:32 pm

    The Man Who Would Be Prince
    DETAILS * NOVEMBER 1991

    ----------------------------------------------------------------------------------------------------------------
    By Chris Heath

    Prince. He never writes, he never phones.

    After six days of waiting, of standing in the same room as him, of being passed in corridors, of being blanked at nightclubs, I am getting touchy and I am getting paranoid.

    I sit in the Paisley Park boardroom. As usual, I am waiting. In a few minutes, I am told, I can hear Prince's new LP, Diamonds and Pearls. But I've been told that before and there's always been some problem: busy studios, incorrectly sequenced CDs, missing CD players. So I wait, not expecting anything to happen, and spend some of Prince's royalties phoning up friends in London. As I chat, one of the other phone lines flashes, but I ignore it. A few seconds later, in strides Gilbert. Gilbert used to be Prince's bodyguard; he is now president of Paisley Park Enterprises and Prince's closest confidant. I look guilty. I think he is going to tell me off for using the phone.

    He gestures toward the flashing light. He looks surprised by what he is about to say.

    "That's Prince. For you."

    Six days. Forever breathing the same air but ignoring each other, I out of etiquette and he out of...well, those are the sort of things I'm here to find out. I've come halfway around the world and we're going to talk...on the phone.

    "Hello, Chris. This is Prince."

    He says he just wants "to say hello." Still, I am talking-to him. It's the first time we've spoken since Prince seemed to finger me as a disciple three years ago, after I had given Lovesexy one of its few positive reviews. (Apparently, he had appreciated my interpreting his nude cover pose as a spiritual statement.) In Paris, on the opening night of the Lovesexy tour, Prince and I were introduced. He stood and grasped my hand for an unusually long period of time and said, quietly, with a smile, "You understand." There was no irony; this was some form of induction. By way of a reply, I simply mumbled, "I hope so."

    Drifting in and out of Prince's world over the next few years, visiting Paisley Park and talking to those around him, I began to see that understanding is only the first obstacle. The destination that Prince has in mind for his disciples is belief-unconditional, devotional, and just slightly kooky. As a journalist, I was never going to qualify. Besides, living so deep inside Prince's head didn't seem a good prescription for anyone's mental health.

    Like his records, like his stage shows, Prince's Paisley Park headquarters is a monument to this system of beliefs. It's a strange place, even to visit. Something in the water, as Prince once so memorably put it, does not compute. It's not anything physical, not the two doves in their cage or the purple galaxy painted on the boardroom ceiling or the obsessive cleanliness. It's something more intangible, and you see it in the faces of the people who work there. They're like students taking a long, perplexing exam, trying to work out what the question means before they can start writing. And the question is this: What does Prince want? "Ask him!" you want to shout. But there are few, if any, people here who can ask him a straight question or demand a straight answer. There was a tabloid story once that claimed Prince fired employees because they weren't telepathically responsive. It wasn't true, but they were onto something. There's a lot of second guessing going on-a lot of people who believe but are still muddling through the messy, day to-day business of understanding.

    The last time I was here was the summer of 1990, just before the release of the Graffiti Bridge movie and album. Things then had seemed a little fractured, and those around Prince didn't always contribute the most flattering portraits. He was a genius, yes, but one who had exiled himself from all but his own brand of reality-and, by extension, from all but his most devout followers. There was, of course, no testimony from Prince.

    Before this year he has answered questions publicly only four times since 1984's Purple Rain. Now, it appears, some effort is being made. Those around Prince, if not Prince himself, clearly feel that there is some work to be done on his image, some transformation from what Boy George once called "a midget dipped in oil and rolled in pubic hair." Though "Gett Off" is Prince at his most lewd, his staff play down what they see as his sexual threat. They gloss over his more spiritual leanings, the core of his finest music, and treat the mixed-up, muddled-up Graffiti Bridge as an unfortunate incident best forgotten. Not a failure, mind you. Prince doesn't have failures. Ingrid Chavez, his co-star in the film, told me that Prince would never admit Graffiti Bridge was a failure-he would simply blame the world for not "getting it." Nevertheless, it's clear that Diamonds and Pearls is a crucial LP for Prince. Lovesexy, a religious record with a naked man on the cover, did little to consolidate his superstar status. Batman, a success, was associated more with a hit film and a comic-book hero than Prince. Graffiti Bridge was a multi-artist soundtrack saddled with a flop film. Diamonds and Pearls, however, is a Prince LP. Pure and simple. If it sells poorly there are no excuses. If it sells poorly it will be because people don't want to buy a Prince LP. So I wait to hear Diamonds and Pearls. The proffered deal was that I'd spend a week at Paisley Park, listen to the record, talk to his band, go into rehearsals, and, perhaps, if things go well, if the stars are right, Prince will talk to me. A little. Perhaps. Without it being recorded, of course.

    It doesn't start well. I arrive on Tuesday night, and when I call in on Wednesday I'm told I wasn't expected until Thursday. Oh. And when Prince was told I was coming, he apparently moaned that I had "dogged him in Rio," where I hadn't enjoyed his show, and that I obviously wasn't a fan. Oh. So I wait. Can I go into rehearsals? No, not just now. Er, Prince isn't in a very good mood this week. Oh. I pass the days mooching around and talking to his employees. Though they must have his consent to speak to me, when they do talk they're sweet and loyal, but also quite open. Prince is a workaholic. He expects you to work Saturdays. Prince always tells you that he works you so hard because he knows you've got it inside of you. The people who have trouble with him are the people who can't accept that he's the boss. They tell you all this, patiently and with good humor, but it's embarrassing. They know why you're talking to them, and in Prince's absence the conversations take on a disconcertingly religious tone. Because it is obvious who you are both talking about, it isn't necessary to mention Prince by name. It is just Him and He. The one whom you can't see but who's the reason for everything you're both doing. Rosie Gaines is the keyboard player and singer Prince drafted for 1990's Nude tour. This afternoon Prince has been asking her questions on camera for a documentary he's making. I ask her whether she asked him any questions.

    "Nooo," she says, grinning. "I wish I could have."

    Like?

    "I want to ask him just to come out to my house and meet my husband and have a barbecue, just not be Prince for a day."

    He has been around her place once, actually. In the driveway, anyhow. Prince called up one night after midnight. He'd just done some new music, and it was so funky he had to play it to someone. She was the closest. So she gave him directions. When he was outside he phoned from the car and she came down and sat for half an hour in his blue BMW, listening to new tunes: "The Flow," "Walk Don't Walk." While the music played they didn't say anything. It was so funky Rosie didn't want to get out of the car. Rosie listens to Prince's music and knows he has love in his heart. Also, he made her feel good about her looks; he told her she was sexy inside. Prince calls Rosie "cousin." She calls him "Prince" but says she'd like to call him "baby."

    Tony M. (for Mosley) is another initiate in the New Power Generation. Tony has written some of the raps on the new LP. Prince coaches him. Tony tends to write "straight from the 'hood." Prince steers him toward a more "worldly aspect." But one day Prince asked him to write a "Gil Scott-Heron thing on black- on-black crime, cops, and the community." I ask him why he thinks Prince wanted something like that. "I think black awareness is really taking an upturn today," Tony replies, "and he really wants to be a part of that." Tony knows a lot of people in his neighborhood who don't like Prince, who think he's just a pop thing. "They didn't get Van Gogh, did they?" he asks rhetorically.

    THAT NIGHT I GO TO GLAM SLAM, THE CLUB opened last year by Prince and Gilbert. Downstairs, where the normal people mingle, Prince's Purple Rain bike sits behind a chain fence, and there's a shop selling Prince-style designer clothes from cheap T-shirts to customized leather jackets with fractured Minnesota license plates on the back (a snip at $1,500). If you go up the back stairs-and you can only if you're a member or a special guest-then you can see lots of graffiti on the stairwell: "Music will guide us and love is inside us," "It's almost 1999" (in mirror writing), "New Power Soul," and "For a good time phone 777-9911" (don't bother-it's been disconnected). Upstairs is the members' balcony, from which you can lean down and watch the action below.

    Prince likes to watch. He's famous for it. One night in Minneapolis, eating dinner, I'm served by a waitress who's wearing a Glam Slam badge. "I like the club," she tells me, "but not the owner." She should. Everyone in Minneapolis should. Prince deserves to be a hometown hero. He has stayed here, built a studio and film complex that has attracted performers as diverse as R.E.M. and Barry Manilow. He regularly plays local club concerts and supports local charities. He loves this town. But he's not a hero here. At best, he's ignored. Minneapolis radio is white FM rock at its most pure. You hear "Gett Off" only on KMOJ-FM, an urban radio station supported by donations, and even they are far more likely to be playing D.J. Jazzy Jeff and the Fresh Prince. At worst-and one fears Prince doesn't even realize this-a lot of people here despise him. They think he's a snooty weirdo, cruising around in his limousine with his bodyguards. Sitting in clubs and summoning girls to do his bidding. Creepy. The waitress thinks so: "I introduced him to my friend and told him she was a big fan. He didn't say anything." So the waitress gave Prince a piece of her mind. "I said, 'You're always in clubs and you don't drink, you don't dance, you don't do anything, you just sit in the corner...' "

    What did he say?

    "Nothing. His bodyguard said, 'He likes to people watch.' I said, 'Why doesn't he go people watch on a park bench?' "

    IS THIS THE REAL PRINCE? IT S HARD TO KNOW for sure, not least because many of those in a position to know-the people from his past-now work for him. As soon as he became successful enough, Prince began reeling in his competitors and childhood heroes, giving them jobs, setting them up in bands. He talks now of Paisley Park being "much more than a studio." It is; it has become Prince's extended family, over which he presides as benevolent patriarch. When a new member is to be brought in, Prince insists on issuing the invitation personally. (Seduction, in all its forms, is one of his favorite acts.) Once in the family, everyone is looked after. All that's expected in return is a limitless belief in Prince.

    Creating a model family seems like a natural impulse for someone who never had one.

    Though he has always denied that Purple Rain is autobiographical, the troubled father-son relationship the movie depicted has a strong grounding in fact. Prince's father had been an unrecognized jazz musician whose relations with his son deteriorated disastrously as Prince came of age. On at least one occasion, he was thrown out of the house. Pleading to be allowed back, Prince spent two hours in a phone booth crying. He later claimed that this was the last time he ever cried.

    He has said that he was able to forgive once he had a record contract and money in his pocket. A less charitable view would be that he found peace when he acquired the power to control. Prince's immediate world-Paisley Park, his various bands, and side projects-is driven by the controlling power of his talent and originality. It is the uncontrollable world that causes problems. Even as he puts himself beyond the media's reach, he obsessively monitors everything that's written about him. And though he regards his failures as the world's failure to "get it," it apparently doesn't ease his pain. To Prince, every career setback assumes the dimensions of a personal betrayal. Most pop stars want the world, and they want it now. Prince also wants the world, but he has the hardest time tuning in to it.

    ON SUNDAY, I'M SUPPOSED TO HEAR THE LP, but it doesn't happen. The next day, when I'm once again installed in Paisley Park's boardroom, Prince calls.

    I pick up the telephone and we exchange pleasantries. His voice is huskier, more manly than you might imagine. He says he just phoned to say hello and to tell me about his LP. He says he's sorry that he can't be there to play it to me but that he has to go into town. Right about now he starts moving into good-bye mode. Quietly I begin to panic at what I'll be taking home: "Prince speaks! He says 'Hello! How are you?' " So I try to engage him, desperately following any line of conversation from his last answer so he has no chance to sign off. Surprisingly, it works.

    We talk about his new LP. "All my last records...have been connected to films. This is just my music... I just wanted to tell you how long we took making this."

    It seems silly, but the point seems to be that Prince views Diamonds and Pearls as a collection of songs that showcases the breadth of his talents as a songwriter, producer, and performer, a record that would express many perspectives, not a single theme. He contrasts this with Lovesexy. After recording The Black Album, with its hard beats and rough language, he shelved it and resolved to make a very different sort of record, one that would celebrate a particular idea. It flew out of him. "I did Lovesexy in seven weeks from start to finish, and most of it was recorded in the order it was on the record," he tells me. "There were a couple of funky things I did at the end and put earlier on, but it's pretty much how you hear it." The Lovesexy tour was part pop spectacle, part evangelical fervor. Prince would beseech the crowds to love God, over and over. I mention that people thought in his more recent work he'd backed off from his evangelical position. It's something he jumps on.

    "People got that wrong," he insists. "Batman was all about that same feeling. Graffiti Bridge was probably more about that feeling than Lovesexy was. Lovesexy was a state of mind I've come to, and I know it is still there." He gets increasingly impassioned. "If I didn't have it, I wouldn't make records anymore. When you have that...you know who you are, and you know what your name is. I didn't know that before. I thought there were places I had to get to. I thought there were things I had to do. I was a lot more competitive because of it. Now I realize that's not what's important."

    I ask him whether he minds having records that aren't very successful. "No," he says. "They all serve a purpose. I've already made money, all the money I need. I was never that interested in money anyway." He launches into his thoughts on critics. Though his tone is more playful than resent- ful, he has a genuine, almost beautifully naive anger toward them. "I would never criticize someone else who gave me something for my head," he says. "I remember what happened to Stevie Wonder when he did the Secret Life of Plants record. Stevie was our friend and we'd gone through so many things, and then we turned our back on him. The critics said it was no good. But we can't say that if he's our friend, and if we do say that, he won't be our friend anymore, and he doesn't want to play music for us...

    "It was the same with Joni Mitchell," he continues. "They said she was off her rocker and that she'd gone away. And the more they said that, the more she went away."

    It seems appropriate to mention Graffiti Bridge. He is not the slightest bit defensive.

    "Some people got it," he counters. "Martika saw it six times."

    His own mention of Martika leads him into a rapturous appreciation of the young Cuban pop singer. She is clearly the type of person he wishes all his audience, all the world, might be. "She is," he says, "like a flower unfolding."

    "That's nice," says Martika when I speak to her a few days later. "I feel the same way about him. Though he's sort of unfolded already, I guess." Martika had been thinking about calling Prince for months. When she saw Graffiti Bridge (she says it's true, she has seen it six times) she noticed that a lot of the words were about the same things she had been jotting in her notebooks. So last December she flew out to Minneapolis to be with Prince. They sat down and she showed him her notebooks. He was impressed. She visited several times, taking four tracks they worked on together away to New York to finish on her own. She flew back to play him the whole LP and the video for their hit collaboration, "Love. . .Thy Will Be Done." When he watched the video, he was moved.

    Martika asks me about my time in Minneapolis, and I hint at some strangeness. Sometimes, I say, you have to think: he's a person, and I'm a person...and he's rude.

    "I know what you're saying. He's difficult to understand like that. But I don't think he means to be." Her position is clear. If he was rude, so what? You can excuse all that, you must excuse all that, because what it allows to exist-his music-is ultimately much more important.

    Prince enjoys explaining why he makes music. His first explanation is flip: "I like music to play in my car, and when I need something new to play I record something. Instead of buying a tape, I make music." And at the moment in his car?

    "Diamonds and Pearls, of course." He usually cues up "Push," a frantic band-rap business, then goes from there. Unless it's sunny, in which case he plays "Strollin'."

    There's nothing else he could play.

    "I don't listen to any of my old music, you know," he announces with strange pride, as though it would be some awful thing to do.

    And as far as other people's music?

    "You know when you buy someone's record and there's always an element missing? The voice is wrong or the drums are lame or something? On mine there's nothing missing."

    He talks some more about his new projects. I mention the possible video with Kate Bush. Frequent transatlantic phone conversations with the floaty Ms. Bush have been openly alluded to during my tenure at Paisley Park, but Prince denies any knowledge. Strange. I mention Spike Lee's video and he is a little more open. "It's scheduled, hopefully," he says. I ask whether they share a common thread. Prince draws his breath playfully, as though I'm asking naughty questions.

    "Oooh," he says finally. "I don't know that I want to answer that. That's getting into philosophy."

    No harm in philosophy, I say.

    "I don't think so," says Prince with a chuckle, meaning he does. I ask him whether he feels the public's perception of him is accurate. "There's not much I want them to know about me," he says, "other than the music."

    I'm not controlling this conversation, just clinging onto it by my fingertips. He mentions his work with other artists and says he writes songs for them "because they ask me." He names Paula Abdul, Louie Louie, and Carmen, whom, rather disingenuously (as though I wouldn't have noticed her walking around the office or seen her photo on the hallway wall- the latest female protege on the scene), he describes as "this new girl out of Cincinnati." He raves about the New Power Generation, genuinely thrilled. "Rosie," he says, "is like a tornado. There's never enough hours in the day for her voice. There's never enough tape for her voice.. .and my dancers, they've waited seven years for this..."

    Eventually, after several more desperate pieces of stalling from me, he really is going. He signs off by breaking out of his conversational tone and heading into declamatory soul-star theatrics. "Don't come to the concert, y'all," he shouts down the phone, laughing. "Don't come to the concert! I've got a band of assassins..."

    I FINALLY GET TO HEAR THE LP. GILBERT LEADS me into Studio A and gives me a copy of the Lyrics to borrow during the listening, but tells me I mustn't write any down. Prince and the New Power Generation have been in here working on some new songs. One seems to be called "Standing at the Altar." On the soundboard Prince has four channels for himself: two for his vocals, one for "guitar," and another for "guitar/dirty."

    The record sounds fantastically good, and after spouting quite genuine overenthusiasm, I go out to lunch. I'm expecting to be here a few more days. But on my way out Gilbert says good-bye in what seems a very conclusive manner. I put it down to Paisley Park paranoia, but when I phone later I discover I was right, I'm to leave. Later I find out that Prince has been asking how much longer I'm going to be in town. I head home. I don't know if I found anything. I don't know if I fitted into some little game of Prince's, or whether I've caused upset in it. He's made a record that the world will like, and that's a good thing. But can a record alone redraw Prince's personality, make him more human? His music, sleeves, videos- even his films-are littered with clever, sweet, sharp messages, but most of the world just picks up a picture of an awkward, pervy, self-indulgent geek. The man I talked to on the phone was smart, polite, charismatic, and playful, but it's another man-the people watcher, the one who doesn't say hello, the narcissist who's so into himself all he needs is mirrors and foot servants-that so many people imagine being the real Prince. There's one bit of our conversation that keeps playing over in my head. Written down, now, it looks a bit silly and precious and all those things that people who don't like Prince don't like about him. But at the time it was moving. He was telling me, in a different, more intense way than the first time, why he makes music.

    "I make music because if I don't, I'd die. I record because it's in my blood. I hear sounds all the time. It's almost a curse: to know you can always make something new."

    Have you always been like that? I ask him.

    "No. When I was younger I had...other interests...but you know how the very first song I learned to play was 'Batman'...?"

    He leaves the sentence open. Yes, I say, and I fill in the inference. You don't think that's an accident, do you?

    "There are no accidents," he says. "And if there are, it's up to us to look at them as something else. And..." At this point he pauses, and even though we're talking over the phone I can see him do one of those long fawn-eyed stares that make you believe every curious syllable he speaks. "And that bravery is what creates new flowers."

    Whenever I tell anyone about it, they say it sounds weird. It sounds like he should grow up. But it sounds like the real Prince. It makes perfect sense to me.

    Copyright ©️ Details 1991
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    Re: Prince Interviews

    Post by Guest on Tue Dec 08, 2009 1:12 pm

    Thanks for these...I was lucky enough to attend the Oprah taping. In fact, I saw P twice that day, as he did a 'surprise' show at a tiny club in Chicago that night.
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    theartistcamille

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    Re: Prince Interviews

    Post by theartistcamille on Tue Dec 15, 2009 6:29 pm

    jackmitz wrote:Thanks for these...I was lucky enough to attend the Oprah taping. In fact, I saw P twice that day, as he did a 'surprise' show at a tiny club in Chicago that night.

    WOW! It must have bn a surreal day 4 u:) SO cool!! Thanx 4 sharing and glad u like the interviews...eye have many more but eye'll post them l8r when eye find them:)

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    Re: Prince Interviews

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