Prince Thread - † RIP 21.04.16

[rip.michael]

13 min Purple Rain ...

Der 3.8.1983 gilt als livegeburtsstunde von "Purple Rain" ... dem soll heute meine aufmerksamkeit gelten.

(Info princevault)


33 total purple-Let's-go-crazy-Electric-Intercourse-I-Would-Die-4-U-Computer-Blue-Baby-I'm-A-Star-jahre ...


Kudo, fettes danke und





PRINCE CONCERT 1983 August 3 Minneapolis zum ankucken auf tudou.com

Rest in purple peace

[rip.michael]

100/10

"Sometimes It Snows In April" (Parade, 1986). Der einzige Song überhaupt, in dem Wendy und Lisa gleichberechtigt mit Prince klingen. Nur von Gitarre und Klavier begleitet (im Film "Under The Cherrymoon" ist kurzzeitig Clare Fischers Orchester zu hören), singt Prince von seinem Traum von Unsterblichkeit. Eines der letzten Lieder, die Prince vor seinem Tod aufführte. Im April. Damals kannten es vor allem Fans. Heute die ganze Welt.

Ein schmankerl ... P performed "Soul Sacrifice" von Santana

P mit Andy Allo
Collaborateure 2012 album "Superconductor"









Rest in purple peace

[rip.michael]

@ rip.michael..... Danke für deine Beiträge hier. Ich habe sie mit Genus gelesen. Ich habe Prince 2010 und 2014 live gesehen. Und muss sagen, es waren meine besten Konzerte von einen Musiker, die ich je gesehen habe. Er war seinen Fans sehr nahe und war auch nicht puplikums scheu

Danke Sylvie ... es macht mir freude manches zu sammeln und hier zu teilen.
2010 ... Berlin, Waldbühne?

Ich hab damals mit mir gerungen ... und konnte doch nicht. MJs tod wahr noch so furchtbar nahe und konnte die energie nicht aufbringen.

Toll, dass du Prince live erleben durftest!
Diese eindrücke haften für immer.



Ich komme grad gar nicht los von dem zauberhaften duett mit Sheena Easton "The Arms Of Orion" /Album Batman, 1989.
Traumhaft.



“Did you know that the album was supposed to be a duet between Michael Jackson and me? He as Batman, me as the Joker?”

- sagte Prince in einem 2001 Rolling Stone interview.

Gut, dass es nie zu einer derartigen cooperative kam.
Blödsinn zwischen beiden die verkörperung des guten und des bösen vereint im Batman thema auf ein album zu bringen.

Es ist gut so, wie es schliesslich gekommen ist.
Ich mag das Batman album von Prince sehr ... nicht nur wegen "The Arms Of Orion"


Edit:
Hier kann man das duett anhören *klick*

(Damit's nicht wegen der bilder im video irrtümlich rumkommt: Das duett war nicht teil des Batman 1989 movies.)

Vicky Vale wurde im film von Kim Basinger gespielt. Zwischen ihr und Prince soll's heftig geknistert haben ... also doch temporäre verbindung in den armen des Orion

Lyrics *klick*

"Arms Of Orion"


'Orion's arms are wide enough'
'2 hold us both together'
'Although we're worlds apart'
'I'd cross the stars 4 U'

"In the heart of a sleepless moon"
"I'll be with U 4 ever"
"This is my destiny"
"'Till my life is through"

The arms of Orion that's where I wanna be
Since U've been gone
I've been searching 4 a lover
In the Sea of Tranquility
I'm drowning without U here, my dear

'When I am lost and feeling alone'
'I just look to heaven'
'I find my comfort there'
'God only knows where U are 2 night'

"God only knows where U are 2 night"
"Maybe time will tell me"
"'Till then I'll close my eyes and say a prayer 4 U"
('I'll say a prayer 4 U 2')

The arms of Orion that's where I wanna be
Since U've been gone
I've been searching 4 a lover
In the Sea of Tranquility
I'm drowning without U here, my dear

Orion's heart is bright enough
2 shine on both of us
The constellations never fail
2 light the way 4 love

'Orion's arms are wide enough'
2 hold us both together
"Although we're worlds apart"
('I'd cross the stars 4 U')
"I'd cross the stars 4 U"

The arms of Orion that's where I wanna be
Since U've been gone
I've been searching 4 a lover
In the Sea of Tranquility
I'm drowning without U here, my dear

The arms of Orion that's where I wanna be
"Since U've been gone I've been drowning" ('lost')
"In the sea of tranquility" ('lonely')
"Drowning without U here my dear" ('baby')

'The arms of Orion'
'That's where I wanna be'
'That's where I wanna be' ("the arms of Orion")
'That's where I wanna be' ("the arms of Orion")
'Since U've been gone, babe'
"Since U've been gone"
"I've been drowning", ('drowning'), "drowning"
Drowning without your love
"The arms of Orion" ('arms of Orion')

Rest in purple peace

[Sylvie]

Ich? Nein, es war striktes Handy verbot. Es stand so gar auf der Eintrittskarte und in der Halle standen jede Menge Securities rum.

[Memphis]

Hast Du Bilder gemacht?

[Sylvie]

@ rip.michael..... Danke für deine Beiträge hier. Ich habe sie mit Genus gelesen. Ich habe Prince 2010 und 2014 live gesehen. Und muss sagen, es waren meine besten Konzerte von einen Musiker, die ich je gesehen habe. Er war seinen Fans sehr nahe und war auch nicht puplikums scheu

[rip.michael]

"Wir starten mit 12 von Princes beliebtesten Seiten. Aber nach über 20 Jahren online, veröffentlichte Prince fast 20 verschiedene Seiten, pflegte ein Dutzend verschiedene Social-Media-Auftritte, nahm an unzähligen Internetchats teil und verband sich unmittelbar mit Fans auf der ganzen Welt", sagte Sam Jennings, der Direktor des Online-Museums, im Gespräch mit "Billboard".

"Das Museum ist ein Archiv dieser Arbeit und eine Erinnerung an all das, was er als unabhängiger Künstler mit der Unterstützung seiner dynamischen und engagierten Online-Community erreicht hat."

... heisst es in diesem artikel.



Hier geht's zum Prince Online Museum *klick*

Rest in purple peace

[rip.michael]

HIStory 20: Michael Jackson’s secret meeting with Prince, and other memories from the King of Pop’s recording engineers

By
Damien Shields
Posted on June 20, 2015


(...)

Engineer Brian Vibberts on HIStory & Michael’s meeting with PrinceThis album was made in a time when Michael Jackson could do anything he wanted creatively without worrying about the budget. In the words of Jurassic Park, he “spared no expense…” Recording choirs, orchestras, multiple guitarists and drummers for each song to then choose the right fit, using multiple studio rooms.

Since Michael did not have to worry about the budget, he was free to use his imagination and explore the sonic landscapes with sounds and rhythms. This type of exploration takes time and, in the studio, time is money; money spent!

On July 14, 1994, Prince came to visit Michael in the early afternoon to discuss recording a song together. It was five years after the release of Prince and Madonna’s duet (“Love Song”), so he was probably more open to the idea. Michael and Prince had discussed doing a song before (the song “Bad”) but nothing had ever been recorded.On that day, Prince arrived with two huge bodyguards. The three of them walked right by me and into Michael’s lounge, which was the Studio 3 lounge at the Hit Factory at 421 West 54th Street in New York City. It was a private meeting, so I continued my work in Studio 4 – working on new music for HIStory.

Prince talked with Michael for a few hours before leaving. That night, Prince played a show at the Palladium at 126 East 14th Street, which held between 2500-3000 people.
Prince’s set list that night:

(...)

Prince only visited that one time during the HIStory sessions. No songs were ever worked on, written, or recorded for this potential collaboration, and unfortunately there is no Michael and Prince duet in the vault.
On a side note, since I am a big fan of Prince and of course Michael, I really wanted this collaboration to happen! I think it would have been fantastic. Michael and Prince would have brought out the best in each other musically.
I believe that HIStory was the last album that Michael made with complete creative freedom and control. By having multiple studios working at the same time he was able to go from room to room throughout the Hit Factory and keep the creative energy flowing.
(...)




Der artikel enthält bilder.





Schön, dass es zu dieser ära ergiebigen gesprächsstoff zwischen den beiden gab.

Nur mal so ...



Edit:

Ein neuseeländischer künstler hat ein purple wandgemälde mit Prince' konterfei realisiert. Das kino in Chanhassen hat dem künstler die gestaltung einer aussenwand für das projekt überlassen, im gedenken an Prince, welcher häufig vorstellungen im Paisley Park nahe gelegenen kino besuchte.

In Chanhassen, a purple mural for the Purple One *klick*

Im rahmen einer zeremonie wurde die widmung vollzogen und gefeiert.

Das fertige werk:



2 weitere bilder *klick*




Gestern hatte der schwarz-weiss-kinofilm "Under The Sherry Moon" 30j. release jubi.


MOUNTAINS ... ein titel des soundtracks

(Album PARADE / 1986)


Rest in purple peace

[rip.michael]

Dancers recall Prince as a hard-working 'darling' in tights and ballet slippers The Twin Cities dance community recalls another side of the artist who first took ballet lessons as a kid.


By CAROLINE PALMER
Special to the Star Tribune
May 5, 2016 — 12:53pm





HERBERT MIGDOLL

Prince donated the music for the Joffrey Ballet's 1993 work "Billboards," which became a huge hit and helped save the company.

Prince not only found his voice in Minneapolis, but also his moves.

In the days after his death, the stories keep coming about how Prince honed his craft and encouraged potential in others, urging protégés to dance like it’s a higher calling. He certainly set a great example, drawing upon a range of influences, including singer/dancer extraordinaire James Brown, to create his own sort of funky grace.

Prince’s excellence inspired others. Jessica Cressey, a dancer drawn to Minneapolis because of her idol, recounted a conversation in which choreographer Morgan Thorson asked her, “What motivates you through hard shows?” Cressey replied, “I have to set the stakes really high. What if Prince shows up?”
It was an unwritten rule that everyone danced on Prince’s stage, from the band members to the unparalleled Cat Glover (“Sign o’ the Times”) and Misty Copeland, the first black woman promoted to principal at American Ballet Theatre. Prince’s first wife, Mayte Garcia, was a dynamo who reflected every rhythm in her body. He seemed to appreciate anyone who could get in a groove with him — and keep up.


While growing up, Prince had ballet training through an initiative called the Urban Arts Program. It connected students “who didn’t fit into the traditional academic world” with local arts institutions, explained Minnesota Dance Theatre (MDT) artistic director Lise Houlton.


Prince took classes with MDT in Dinkytown. Houlton’s mother, company founder Loyce Houlton, became a mentor and close friend.





Minnesota Dance Theatre founder Loyce Houlton with Prince at the MDT benefit Aug. 3, 1983 at First Avenue. She later wrote of that moment: "Prince came out to sing several encores. Then the high-flying evening was coming to an end. My staff had 'choreographed' that I should go on stage and present Prince with a single purple rose. They told me to say nothing. But when Prince came back to the stage, I stepped up to the microphone and said 'He's not a Prince -- he's a King.' And then Prince ran to me, and with a hug and kiss I gave him the rose."


“He was very good to her,” said Lise. “He would bring her out to Los Angeles for film premieres. They shared stories and dance information. He would bring people who influenced him to the sound checks of his performances, which were even more interesting than the shows. He really used everything he experienced in those dance classes.”

She continued with a catch in her voice, “It makes me so proud of my mother.”


Prep for ‘Purple Rain’

Prince’s loyalty to Loyce continued as his star rose. He headlined a benefit concert for MDT at First Avenue in 1983 that rang up $23,000 for the company’s coffers. The evening included choreography by Loyce to “D.M.S.R.” while Prince made history with the first live performance of his anthem “Purple Rain.”

During this period Prince used the MDT studios at Hennepin Center for the Arts to rehearse for his film debut. John Command, an actor and choreographer with a résumé stretching from Hollywood to the Chanhassen Dinner Theatres, was teaching jazz dance at MDT when Loyce called with a unique offer.
“She told me there’s a rock band that wants to take dance classes,” Command said. “They were willing to pay $150 an hour for four hours a week. They would pay whether they took the class or not, and it would be for six months.” According to Command, members of the Revolution showed up, along with the Time, Denise “Vanity” Matthews and Apollonia Kotero.

Command said he didn’t know who Prince was.

“He was so shy, and so dear. He wore pedal-pusher tights, T-shirts and ballet slippers. He was so darling, it took him two months to look me in the eye.” Command snagged a job choreographing for “Purple Rain” (and also wound up dancing in Michael Jackson’s “Thriller” video).
Ballet of the Dolls dancer Valerie Torres-Comvalius studied at MDT as a girl.

“My sister Vanessa and I would sneak up to the studio to spy, watching him in his skintight purple pants, heels and matching bandanna on his head, gold cross necklace hanging from his neck, practicing his turns over and over,” she said.

“His bodyguard, Big Chick, would come out and yell in a booming voice, ‘What are you kids doing here?!’ scaring the hell out of us, but then would proceed to let us stay and continue watching.”

Prince “had such a phenomenal work ethic, and so do most dancers,” she said. “So I suppose he could really relate to just how much goes into it all.”


Saving the Joffrey Ballet

MDT wasn’t the only dance company Prince cared about. During the early 1990s, Joffrey Ballet donor Patricia Kennedy brought him to a performance in Los Angeles. Prince was so inspired he offered to write music for a new piece.

He not only wrote an extended version of his song “Thunder” from the album “Diamonds and Pearls” but also permitted use of his music free of charge for five years with no royalty expectations. It helped save the financially foundering company.

Prince’s generosity led to the rock ballet “Billboards.” When it premiered in 1993 in Iowa City, the audience roared. “We were used to hearing some ‘bravos’ and polite applause,” said longtime company member Suzanne Lopez. “But this was like being at a rock concert. We knew it would be a hit. And for five years that is almost exclusively what we did.”




Prince at a benefit concert for Minnesota Dance Theatre at First Avenue on Aug. 3, 1983, when he premiered (and recorded) much of his music for "Purple Rain," including the title song.



As “Billboards” sold out theaters across the nation, it became “a testament to [Prince’s] artistic ability to bring attention to our community and enhance new aspects of our dance world,” said Lynn Von Eschen, executive director of the Cowles Center in Minneapolis.

Washington Post dance journalist Sarah Kaufman observed that “Billboards” was “emblematic of his genius in that each song was a whole universe of feeling and imagery and atmosphere without being prescriptive. Prince had such a poetic style that it could inspire another creative response from the dancers.”

Forming his own troupe

During the early 1990s, when Prince was affiliated with the Minneapolis nightclub Glam Slam, he formed a dance company, led by choreographer Kat Carroll, with Jamie King, Leah Nelson and others also contributing. The troupe had various names including Glam Slam, Erotic City and Club 110 dancers.
Prince “was as meticulous with the dancers as he was with the musicians,” Carroll said. “We worked very hard, and he treated us very well and he paid us very well. But he also expected us to be on top of things, just like his musicians. We worked long hours, many times during the week.”

Company member Colleen McClellan Ueland remembers his openness to ideas. “He really appreciated your individual style. He did not stock his club with dancers who all looked the same. I was a plain Jane girl, but I got to stay because I could really dance to that music. I could have gone to Los Angeles with my looks and not gotten any work.”

Prince was battling with his label Warner Bros. Records at the time and much of the music the dancers used was unreleased. In addition to top-notch hairstyling and make-up, they had access to a dazzling array of costumes — including clothes that had been designed personally for Prince. (Many of these “rejects” were tight on even the smallest dancers, McClellan Ueland recalled.

A favorite memory is Prince performing an entire set behind a curtain, showing only his guitar and hands briefly, driving the crowd crazy.




An MDT call sheet for the day of Prince's 1983 benefit, which included a performance of his song "D.M.S.R." choreographed by Loyce Houlton. (courtesy of Minnesota Dance Theatre Records Performing Arts Archives, University of Minnesota)



“That’s the kind of power he had,” she said. “No one could get mad at him, and people would go home with a story. His sense of humor was so special. He was always [messing] with everybody.”

She said, “Those two years dancing for him were so formative. It was all I needed to catapult my dance career for the next 25 years.”
The dancers also appeared in videos and were tasked with summoning fans to Paisley Park performances. Carroll was a key collaborator in 1994’s “Prince Interactive” CD-ROM that included video games, music and a virtual tour of Paisley Park. She credited Prince with instilling in her a strong “work ethic, artistry, drive and passion,” and for reminding her to always look to others for inspiration as well as herself.

“He believed in me and taught me that if I would eat, sleep and drink my work, I could reach my biggest potential.”
Caroline Palmer is a longtime Twin Cities dance critic.


Quelle


Prince in radlerhosen und ballettschläppis ... *kicher*


War mir vollkommen neu, dass Prince mit seinen songs den soundteppich für das rock ballet BILLBOARDS lieferte. Link hier *klick*



Live performance von D.M.S.R. (was Dance Musik Sex Romance meint) Detroit 2004.

Immer mächtig was los auf der bühne, Prince kommunikativ unterwegs immer am draht zum publikum.
Man merkt, dass er selbst und seine band spass an dem ganzen tohuwabohu haben und weiss, wie er das publikum auf touren bringt.
Geniale spielfreude nenne ich sowas !!




Rest in purple peace

[rip.michael]

Na ja ... eine gewisse situationskomik kann man der szene mit der fakelaterne nicht absprechen ...
Das war anno 1983.

Sollten die zitierten sprüche beiderseits tatsächlich irgendwann gefallen sein ... na ja, ein bisschen unreifes und eigentlich überflüssiges gegockel von den beiden.
Welche faktoren beim einen oder anderen zu reichlich schrägen äusserungen führte ... man kann es einfach nicht umfassend umreissen.
'He feels like I'm his opponent. I hope he changes because boy, he's gonna get hurt. He's the type that might commit suicide or something.'
Sowas rauszulassen ist schon starker tobak ... MJ, warum??

MJ hatte zu dem zeitpunkt 'Thriller' schon mega erfolgreich draussen .... Prince 'Purple Rain' noch nicht.
Hätte gerne mal MJs mimik und gestik gesehen, während Prince die bühne an diesem abend 1983 in besitz nahm.

1987 bot MJ Prince die teilhabe am BAD video an ... ist allen längst bekannt und in die geschichte beider eingegangen ... "Your butt is mine" wäre im video an den charakter gegangen, den Prince hätte geben sollen. Nachdem Prince das geplante video von MJ vorgestellt wurde und in dieser form Prince eine teilhabe abgelehnte, schickte Prince das von ihm bearbeitete videomaterial an MJ zurück. Diese modifizierung wäre wohl echt sehenswert ... wird aber wohl ein gut gehütet geheimnis zwischen beiden bleiben. Weiss nicht, ob sich alles exakt so abgespielt hat ... hab's so gelesen.

Aber: was hatte sich MJ nur dabei gedacht? Verstehe ich bis heute nicht.
Dass Prince ihm wegen dieses angebots nicht völlig begeistert und voller zustimmung um den hals fallen würde, hätte er sich ausrechnen können.
Wer weiss ... vielleicht war eine demütigung auf dieser schiene zu dem zeitpunkt wichtiger, als einem angebot einer cooperative tatsächlich professionelle substanz zu geben.
Ein affront nennt man wohl sowas.

Alte stories ... beide sind tot.

Samtliche rivalität sollte damit auch auf der nulllinie angekommen sein.
Es wird immer wieder leute geben, die dieses revialitätsding immer weiter köcheln ... zu welchem zweck auch immer.



Ich habe nicht das gefühl, dass Tavis Smiley (selbst im showgeschäft und autor des buchs 'Before You Judge Me: The Triumph and Tragedy of Michael Jackson's Last Days') solches im sinn hat. Er war mit Prince 20 jahre befreundet und hatte MJ bis dahin einige male getroffen.
Neben den IV inhalten zu seinem buch spricht er auch über das verhältnis MJ / Prince und den besonders prägnanten moment, als Prince von MJs tod erfuhr.
Er war zu der zeit gerade in Montreux, um sich auf seinen auftritt als hauptact beim Jazz festifal vorzubereiten.
Tavis erzählt, dass Prince alle proben absagte und seine bandkollegen nach hause schickte. Er habe für tage in seinem hotelzimmer eingeschlossen und habe sich nicht blicken lassen.
Tavis habe einen anruf von Prince erhalten und sei dessen vorschlag/bitte gefolgt, nach Montreux zu kommen.
Prince legte eine glänzende show hin und nach der aftershowparty so 2 uhr morgens begaben sich beide in die von Prince belegte präsidebtenensuite. Es gab dort einen zugang zum dach (ich nehme an dachterasse) und sie sassen bis zum sonnenaufgang in den schweizer bergen dort. Und Prince öffnete sich und redete über stunden von Michael. Tavis sagt, dass er in dieser surrealen situation keine zehn worte sprach, es war Prince, der seinen achtung für Michael ausdruck brachte, vor seinem talent und seinen fähigkeiten als showman und ihn als genie bezeichnete. Travis sagt, dass er das nie im leben vergessen wird und immer bewahren wird.

(Einfach mal ab ca. 13:00 reinhören ..)

Zurück zur kunst von Prince ...

'Forever In My Life' ..... live

(Der song ist auf dem album SIGN O' THE TIMES /1987 und ausserdem bestandteil des gleichnamigen konzertfilms)

Augen zu .... und sich führen lassen ...




Noch eins ... PAPA ... erschien auf dem album COME / 1994

Aber auch das ist Prince


'Shades of umber'

Rest in purple peace

[cyplone]

jup, ist nix neues.....hierrüber lacht sich mj schepp http://www.stuff.co.nz/entertainment...onwalker-audio

verstehe nur nich was daran jetzt sooooo lustig sein soll.....komischer humor in der hinsicht

[Memphis]

Hat das Michael wirklich über Prince gesagt bzw. so über ihn gedacht?


"King of Pop" hasste Vergleich Michael Jackson war kein Fan von Prince

Michael Jackson hasste Prince-Vergleich. Der "Billie Jean"-Interpret, der 2009 verstarb, ist auf einer vom englischen "Mirror" veröffentlichten Aufnahme zu hören, wie er gegen den "Purple Rain"-Sänger wettert, der laut Jackson eine der "unhöflichsten Personen" ist, die er je traf.

In den Aufnahmen bezeichnet der King of Pop den im Mai verstorbenen Prince unter anderem als "widerlich" und "gemein".

Es ist außerdem zu hören: "Ich mag es überhaupt nicht, mit Prince verglichen zu werden. Ich habe mich seit meiner Kindheit beweisen müssen. Es ist nicht fair. Er denkt ich wäre sein Konkurrent. Ich hoffe, er ändert sich, denn ansonsten wird er sich ziemlich wehtun. Er ist einer von denen, die sich umbringen oder so. Er war so unhöflich, einer der unhöflichsten Menschen, die ich je getroffen habe. Prince ist unglaublich ehrgeizig. Er war sehr gemein und widerlich zu meiner Familie."

Jackson machte sich außerdem über einen Unfall lustig, bei dem Prince von der Bühne fiel, als er versehentlich eine Pappmaché-Laterne mit einer echten verwechselte und sich dagegen lehnte. Der "Thriller"-Interpret sagte: "Er machte sich zum Affen. Er war ein Witz. Die Leute liefen weg und haben geschrien. Es war so peinlich. Es war alles auf Video."

Quelle:
http://www.heute.at/stars/internatio...t23693,1306170

[rip.michael]

Conchita Wurst verblüfft und überzeugt immer wieder und lässt es herzergreifend purple regnen.

Tribute performance vom 23.04.2016 in Linz:

100 / 9 *klick*

09. "The Future" (Batman, 1989). Ein Meisterwerk des Minimalismus. Es heißt, weil Prince die falschen Pillen einwarf, zog er das "dämonische" "Black Album" zurück. Er erklärt den Kampf gegen Drogen, skizziert dennoch ein düsteres Zukunftsbild – und fordert eine neue Spiritualität.


THE FUTURE / live 1990

Sorry ... leider keine gute wiedergabequalität.











Die 16. BET Awards 2016 (Microsoft Theater, L.A.) sind geschichte, nominees/winners und mehr hier.


PRINCE tribute bestand aus einem set diverser künstler:

The Roots / Erykah Badu / Bilal / Stevie Wonder, Tori Kelly, Jennifer Hudson, Maxwell, Janelle Monae, Sheila E

Performt wurden:

“The Ballad of Dorothy Parker”
“The Beautiful Ones”
“Purple Rain”
“Nothing Compares 2 U” ( .. It's been 7 hours and 66 days since you took your music away ...)
“Kiss”
“Pop Life”
“Erotic City”
“U Got The Look”
“A Love Bizarre”
“The Glamorous Life.”


5 videos zum BET / PRINCE TRIBUTE kann man hier sehen *klick*







Rest in purple peace

[Jackie2010]

Wohl aber vergleiche ich, was ich von einer live show erwarte ... vom einen oder anderen.

Achso. Dann bin ich raus. Ich habe sehr wenige Live shows in meinem Leben erlebt, die empfand ich allerdings
immer als etwas sehr Aufregendes. Michael habe ich leider nicht live erlebt. Ich sehe ihn, nach nunmehr fast 7 Jahren
"Studiums" seiner Person, als dermaßen besonderen Menschen, ich käme nicht auf die Idee ihn mit einer anderen
Person egal in welcher Hinsicht zu vergleichen.

Und obwohl ich den einen oder anderen Song von Prince sehr gern höre, ist er für mich nicht vergleichbar mit Michael,
weder menschlich noch musikalisch.

[rip.michael]

I Was on That Fateful Flight With Prince: A Protégée Tells Her Story

LOS ANGELES — It’s the moment that Judith Hill has been replaying in her mind for the last two months: She was sitting on a plane with a man she loved, talking, having dinner, when suddenly he lost consciousness. She shouted his name: Prince. She shook him. But he didn’t come to.

Her swift reaction may have helped save Prince’s life that night, six days before he died of an accidental overdose of the opioid painkiller fentanyl.

“His eyes fixed,” just before he nodded off across a table from her, Ms. Hill, 32, recalled in an interview here, speaking for the first time about her presence on the April 15 flight from Atlanta, after Prince’s two shows there. Only one other passenger was on the private jet, Prince’s longtime friend and aide Kirk Johnson. They were bound for Paisley Park, Prince’s estate outside Minneapolis. Over vegetables and pasta, Prince and Ms. Hill discussed his performances that night, which turned out to be his last public concerts; other musicians like the funk singer Betty Davis; and photography, one of Prince’s hobbies.

According to flight-tracking reports, the chartered 1988 Dassault Falcon 900 took off at 12:51 a.m. from Hartsfield-Jackson Atlanta International Airport and was near Chicago, less than an hour from its destination, when Ms. Hill witnessed Prince fall unconscious. If she had glanced away in that instant, down at her phone or purse, she might have thought he had simply dozed off. “Thankfully, I happened to be looking into his face,” she said.

She immediately got Mr. Johnson, who was near the front of the plane. And when they couldn’t rouse Prince, they alerted the pilot, who called air traffic controllers in Chicago for help at 1:12 a.m., reporting an unresponsive man on board. “We knew it was only a matter of time; we had to get down,” Ms. Hill said. “We didn’t have anything on the plane to help him.”

Ms. Hill was “very freaked out,” she said, as they kept trying to wake him, shaking him and calling his name, while the plane descended. At 1:17 a.m., it made an emergency landing in Moline, Ill., where an ambulance met them. Paramedics and Mr. Johnson carried Prince, 57, into the vehicle, and he was revived on the tarmac with a shot of Narcan, which is typically used to treat opioid overdoses. Eighteen minutes after landing, the ambulance took him to nearby Trinity Moline Hospital.

By the time they arrived, he was awake and talking, Ms. Hill said, “which was such a relief to me, because I thought he was gone.” She had never seen anything like that happen to him and had no idea what caused his condition. Mr. Johnson’s lawyer declined to comment.

For the world, Prince’s sudden emergency landing, initially attributed to the flu but later revealed to have been related to a painkiller overdose, was the first real sign of his abrupt decline. He was an extremely private star who had hidden his pain — and his addiction to prescription drugs to treat it — from even his inner circle.

Ms. Hill, a rising, Grammy-winning artist in her own right, was an intimate and trusted collaborator. “I was with Prince the last two years of my life,” she said. She recorded and performed with him at Paisley Park, leaving her home near Los Angeles to spend half of most months there, and opened for him in concert, in Baltimore, Detroit and Washington. He co-produced her 2015 debut album, “Back in Time”; advised her as she disentangled herself from a major-label record contract; and was helping plan her tour.

When Prince introduced Ms. Hill to an audience at a private Paisley Park event in March 2015, he announced: “Ask your questions now. She’s going to be a superstar, and you won’t be able to talk to her,” according to The Star Tribune. He even arranged for her album to be sold at the Minneapolis record shop Electric Fetus. “He asked that we treat her album like we would treat his,” said Jim Novak, the store’s music buyer, who had known Ms. Hill to be around town regularly. She was photographed at the small, private memorial gathering of family and friends there for Prince.

“Now he’s gone, and I realize I was leaning on him a lot,” she said. “And that’s what’s scary. I’m on my own.”

She is leaning on his lessons still, she said, as she begins a short East Coast tour this week, with a show at the Highline Ballroom in Manhattan on Wednesday. “He was such a warrior, and it’s inspiring me to be that person,” she said.

Ms. Hill has experienced the loss of a musical superstar before: Working as a background vocalist in 2009, she was chosen to duet with Michael Jackson on “This Is It,” his planned concert series in London. He died less than three weeks before its start. Ms. Hill performed an emotional rendition of “Heal the World” with a children’s choir at his televised memorial service.

But “Michael was different,” she said in another interview late one night, after a rehearsal with her band in Pasadena, Calif. “I didn’t know Michael,” she continued, except “as a fan and as someone that worked for him.” Her grief for Prince was much more personal.

Asked if their connection was romantic, Ms. Hill said only: “There was a very intense relationship. I deeply cared for him.” In a conversation not long before he died, Ms. Hill said, “He told me that he loved me and that he would always be there for me.”

Her parents, also musicians, met him in January, when they went to Paisley Park and performed alongside their daughter, in a bill with Morris Day and the Time. Ms. Hill’s father, the bassist Robert Hill, known as PeeWee, and mother, the keyboardist Michiko Hill, are part of her touring band, which she said had delighted Prince. The couple had played with Sly and the Family Stone and Chaka Khan. Judith wrote her first song, a gospel number, at the age of 4.

Ms. Hill appeared on the 2013 season of “The Voice,” the TV singing competition, and, the same year, in the Oscar-winning documentary about backup singers, “20 Feet from Stardom,” earning a Grammy for her work. In an interview around that time, she was asked about her dream collaborator: “Prince,” she replied. By chance, he saw the interview and called her up, soon inviting her to jam at Paisley Park. By the winter of 2014, they were busy arranging and recording the funky, soulful album she’d written, “Back in Time.”

He played guitar, bass and drums, and sang. “He was my background vocalist for a lot of the songs,” she said, smiling.

While they were establishing their professional rapport, they were also creating a routine at Paisley Park, rehearsing on the soundstage into the wee hours. He made her omelets (good) and smoothies (not so good), and beat her at Ping-Pong, often. And “he was always dressed up, always, always,” she said, even if they were just going to the drive-through at Dairy Queen.Marcus Anderson, a horn player for Prince who also backed Ms. Hill, said Prince had held her musical sensibilities in uniquely high esteem. “He respected her opinion a lot,” he said. She would come into the recording studio and make suggestions, which were often heeded. “That was kind of a first,” Mr. Anderson said. Yet Ms. Hill said that Prince had never revealed to her that he was in pain, after decades of high-wattage performance and hip surgery.
“I only know what everyone knows about his pain — I read about it,” she said. In person, “he was quick on his feet. Never said anything, that this is hurting, never a sign of struggle. That’s why it’s all very shocking.”
Prince had a reputation for clean living, largely followed a vegan diet and frowned on musicians who worked with him using any recreational drugs. But other friends have acknowledged that Prince apparently became dependent on painkillers. Investigators are looking into where he obtained the fentanyl that resulted in his death. They have not discussed whether it was legally prescribed or perhaps bought on the street or online.
Ms. Hill did not want to discuss the details of Prince’s medical treatment in Moline. It was, she said, the first time she had ever seen him in distress, and she felt overwhelmed and panicked. He wanted to leave the hospital, but at the urging of his companions, he remained there until morning. Mr. Johnson stayed close, and Ms. Hill said she, too, was at his side, comforting him through the night.

“He wasn’t dreary or drowsy, or anything,” she said. The mood was peaceful, and Prince seemed like his old self. “He wanted to watch ‘Zootopia,’” the animated movie. “He loved those films. I was going to pull it up on my phone. He said: ‘No, no, no, not here. We’re going to pick a special time and place to watch that.’”

Ms. Hill felt that Prince had suffered a close call, one that wouldn’t be repeated. “He was very cooperative that whole night,” she said, “serious about getting help.” By 10:57 that same morning, the ordeal was over, and the plane took off for Paisley Park once again. Ms. Hill returned to Los Angeles soon after.

Still, Prince initially played down the hospital incident to his camp, Ms. Hill said. Worried, she helped tip off others that he was in a serious situation. Friends ultimately reached out to an addiction specialist in California, Dr. Howard Kornfeld. Prince also came around to the notion that he needed help. As he’d promised Ms. Hill, he began taking steps to heal himself. He underwent tests administered by Dr. Michael Schulenberg, a local physician he had seen earlier.

“He did it because he was concerned, and he wanted to do the right thing for his own body,” Ms. Hill said. “And that’s the part that breaks my heart, because he was trying. He was trying.”

Dr. Schulenberg arrived at Paisley Park with the results of some tests, officials have said, just after Prince had been declared dead.

Back in California, Ms. Hill learned the news when she woke up to texts from friends. She drove straight to her parents’ house. “That was definitely the worst day of my life,” she said. “I couldn’t believe anything that painful could happen.”

Onstage, singing the songs they created, Ms. Hill said she will be buoyed by his creativity, and his spirit in their last moments together. In the hospital, he said, “It’s only by God’s grace that I’m even here,” she recalled.

He told her: “‘I had to fight for my life. I remember hearing your voices from afar and saying to myself, ‘Follow the voices, follow the voices, get back in your body, you gotta to do this.’ And he said it was the hardest thing he’d ever done, to get back into his body like that.”

(Bilder und videomat. enthalten)

Quelle




Prince Estate Names 2 to Manage Entertainment Assets


After Prince died on April 21, one of the most urgent questions for the music industry was how quickly the estate could hire professionals to handle the star’s vast collection of songs and other media content.

The answer was two months. On Friday, Bremer Trust, a Minnesota bank that is acting as the special administrator for Prince’s estate, confirmed that it had appointed two seasoned executives, L. Londell McMillan and Charles A. Koppelman, to manage Prince’s entertainment assets, according to Marcia A. Jensen, a spokeswoman for the bank.

The appointments, for an initial term of 90 days, were announced a week after the probate judge overseeing the estate gave the bank authorization to name experts from the entertainment industry who could “take all prudent steps to monetize the estate’s intellectual property.”

Prince, who died at age 57 from an accidental overdose of fentanyl, an opioid painkiller, left no will, and estimates of his estate have varied widely. In a recent court hearing, a lawyer for Bremer Trust said that the estate’s tax bill in January could range from $47 million to $146 million, depending on the estate’s ultimate value.

Both Mr. McMillan, a lawyer who had a long association with Prince, and Mr. Koppelman, a former chairman of EMI Records, are well-known figures in the entertainment world, and their appointments should establish confidence in the handling of the music side of the estate. (Prince also had tens of millions of dollars in real estate holdings.)

Much of the estate’s value could depend on the management of Prince’s music, including his storied vault of unreleased recordings. Contained at Prince’s studio complex outside Minneapolis, the sheer size of the vault is legendary in the music world; musicians and producers who have worked with Prince say it may include thousands of recordings and even unreleased films.

The material in the vault could supply years’ worth of posthumous releases, but it would need to be handled tastefully, music executives said.

For Mr. McMillan and Mr. Koppelman, the job should involve quickly organizing the unreleased material as well as setting up appropriate deals to manage Prince’s music assets. Although Prince was well known for maintaining strict control over his music rights, he also died with few of the standard licensing and management deals in place that would be necessary for further releases.

Mr. McMillan represented Prince when he battled Warner Bros. Records in the 1990s, and he is now the chief executive of NorthStar Enterprises Worldwide, a media company. While at EMI, Mr. Koppelman negotiated with Prince to release “Emancipation,” his first album after leaving Warner Bros.

Both declined to comment on their appointment.

For Mr. McMillan and Mr. Koppelman, the standard they will be compared to is the management of the Michael Jackson estate. It had more than $500 million in debt when Jackson died in 2009, but it was righted through a series of media deals.

This year, the Jackson estate also reached a deal with Sony to end its partnership in the Sony/ATV music catalog for $750 million, which, according to representatives, should leave the estate debt-free.
Correction: June 17, 2016 An earlier version of this article misstated the first album that Prince released after leaving Warner Bros. Records, which came out through EMI. It was “Emancipation,” not “Crystal Ball.”


Quelle




A MILLION DAYS / album MUSICOLOGY / 2004

100/8 *klick*

08. "Let's Go Crazy" (Purple Rain, 1984). Das pastorale Orgel-Intro „Let’s Go Crazy“, eine vom-Himmel-in-die-Hölle-und-zurück-Story, markiert seine vielleicht explosivste Zeit. Mindestens so sehr wie "When Doves Cry" zeichnet dieses Stück den Aufstieg zum Megastar, die Lust am Sündenfall.


...... CRAZY *klick*




Rest in purple peace