Prince: Chaos, Disorder, and Revolution
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(Book). Prince has cut a singular path through the heart of popular music for more than 30 years. After making some of the most inventive albums of the '80s including 1999 , Purple Rain and Sign of the Times he turned his attention to redefining his role in the music industry, changing his name to an unpronounceable symbol, declaring war on his record label, Warner Bros., and leading the internet revolution. His subsequent career has had many ups and downs, but he remains a major commercial and artistic force, as evidenced by his ability to sell out the O2 Arena in London for 21 nights in succession in 2007. In 2010 he announced that the internet was "over" and released his latest album, 20Ten , as a free cover-mounted CD with several European publications. Prince: Chaos, Disorder, and Revolution is an authoritative chronicle of one of popular music's true mavericks. Covering every album, every movie, and every tour, it includes profiles of various key collaborators, assesses the artist's various business dealings, and details his many and varied side projects on stage, on record, on screen, and beyond.
hometown and the people who helped him in his early days. Most of the characters and musical acts in the film—The Revolution, The Time, Apollonia 6, and even First Avenue club owner Billy Sparks—use their real names, and are essentially extensions of themselves. Prince plays The Kid, a semi-autobiographical construction with an almost magical air. He seems to have the ability to appear and disappear at will, whether on side streets, on his purple motorcycle, or in scenes such as the one in which
Boyer on keyboards and backing vocals. Jerome Benton, Wally Safford, and Greg Brooks reprised their dancing roles, but were often sidelined to make way for Prince’s new foil, Cat Glover. A longtime fan, Glover choreographed the shows and brought a charged sexuality to the performances, which saw Prince slide through her legs, tear off her skirt, and emerge with it in his mouth during ‘Hot Thing.’ The European tour took in 34 concerts during May and June (surprisingly missing out Britain), and
wound up on September 10 at Japan’s Yokohama Stadium, Prince returned home and immediately began working on his next record. It would be his first with a band’s input since Dream Factory, and would bring him back to his black roots like nothing since the shelved Black Album. In the past few years, Prince’s singles had seemed to perform better on Billboard’s R&B chart than the Hot 100, and it now seemed that he was returning to the idea of recording songs for songs’ sake, and not to serve grand,
year later, he told the Spanish newspaper El País that it would be “fantastic” if one day artists could achieve independence from their record labels. “But that is a very delicate question,” he said, “because many artists are too weak and frightened to just go outside.”28 A decade on, Prince has emerged as the pioneering champion of business practices such as these. “It was through Prince that I think I gained my own sense of what people say,” Terence Trent d’Arby has said. “Forget what the
he made everything sound much too clinical. There’s none of the fun, spontaneity, or trust in happy accidents that so benefited the likes of Sign “O” The Times. “Once again I don’t follow trends, they just follow me,” he sings on the hip-hop-edged ‘Undisputed,’ but the album’s musical content does nothing to back up the claim. “I’ve gotten some criticism for the rap I’ve chosen to put in my past work,” Prince told Interview magazine in 1997. But there again, it came during my friction years …