PRINCE TALKS
BY NEAL KARLEN
ROLLING STONE, APRIL 26TH, 1985
----------------------------------------------------------------------------------------------------------------
John Nelson turns sixty-nine today, and all the semiretired piano man wants for his birthday is to shoot some pool with his firstborn son. "He's real handy with a cue," says Prince, laughing, as he threads his old white T-bird through his old black neighborhood toward his old man's house. "He's so cool. The old man knows what time it is."
Hard time is how life has traditionally been clocked in North Minneapolis; this is the place 'Time' forgot twelve years ago when the magazine's cover trumpeted "The Good Life in Minnesota," alongside a picture of Governor Wendell Anderson holding up a walleye. Though tame and middle-class by Watts and Roxbury standards, the North Side offers some of the few mean streets in town.
The old sights bring out more Babbitt than Badass is Prince as he leads a leisurely tour down the main streets of his inner-city Gopher Prairie. He cruises slowly, respectfully: stopping completely at red lights, flicking on his turn signal even when no one's at an intersection. Gone is the wary Kung Fu Grasshopper voice with which Prince whispers when meeting strangers or accepting Academy Awards. Cruising peacefully with the window down, he's proof in a paisley jump suit that you can always go home again, especially if you never really left town.
Tooling through the neighborhood, Prince speaks matter-of-factly of why he toyed with early interviewers about his father and mother, their divorce and his adolescent wanderings between the homes of his parents, friends and relatives. "I used to tease a lot of journalists early on," he says, "because I wanted them to concentrate on the music and not so much on me coming from a broken home. I really didn't think that was important. What was important was what came out of my system that particular day. I don't live in the past. I don't play my old records for that reason. I make a statement, then move on to the next."
The early facts, for the neo-Freudians: John Nelson, leader of the Prince Rogers jazz trio, knew Mattie Shaw from North Side community dances. A singer sixteen years John's junior, Mattie bore traces of Billie Holiday in her pipes and more than a trace of Indian and Caucasian in her blood. She joined the Prince Rogers trio, sang for a few years around town, married John Nelson and dropped out of the group. She nicknamed her husband after the band; the son who came in 1958 got the nickname on his birth certificate. At home and on the street, the kid was "Skipper." Mattie and John broke up ten years later, and Prince began his domestic shuttle.
"That's where my mom lives," he says nonchalantly, nodding toward a neatly trimmed house and lawn. "My parents live very close by each other, but they don't talk. My mom's the wild side of me; she's like that all the time. My dad's real serene; it takes the music to get him going. My father and me, we're one and the same." A wry laugh. "He's a little sick, just like I am."
Most of North Minneapolis has gone outside this Sunday afternoon to feel summer, that two-week season, locals joke, between winter and road construction. During this scenic tour through the neighborhood, the memories start popping faster. The T-Bird turns left at a wooden two-story church whose steps are lined with bridesmaids in bonnets and ushers in tuxedos hurling rice up at a beaming couple framed in the door. "That was the church I went to growing up," says Prince. "I wonder who's getting married." A fat little kid waves, and Prince waves back.
"Just all kinds of things here," he goes on, turning right. "There was a school right there, John Hay. That's where I went to elementary school," he says, pointing out a field of black tar sprouting a handful of bent metal basketball rims. "And that's where my cousin lives. I used to play there every day when I was twelve, on these streets, football up and down this block. That's his father out there on the lawn."
These lawns are where Prince the adolescent would also amuse his friends with expert imitations of pro wrestlers Mad Dog Vachon and the Crusher. To amuse himself, he learned how to play a couple dozen instruments. At thirteen, he formed Grand Central, his first band, with some high school friends. Grand Central often traveled to local hotels and gyms to band-battle with their black competition: Cohesion, from the derided "bourgeois" South Side, and Flyte Time, which, with the addition of Morris Day, would later evolve into the Time.
Prince is fiddling with the tape deck inside the T-Bird. On low volume comes his unreleased "Old Friends 4 Sale," an arrow-to-the-heart rock ballad about trust and loss. Unlike "Positively 4th Street" -- which Bob Dylan reputedly named after a nearby Minneapolis block -- the lyrics are sad, not bitter. "I don't know too much about Dylan," says Prince, "but I respect him a lot. 'All Along the Watchtower' is my favorite of his. I heard it first from Jimi Hendrix."
"Old Friends 4 Sale" ends, and on comes "Strange Relationships," and as-yet-unreleased dance tune. "Is it too much?" asks Prince about playing his own songs in his own car. "Not long ago I was driving around L.A. with [a well-known rock star], and all he did was play his own stuff over and over. If it gets too much, just tell me."
He turns onto Plymouth, the North Side's main strip. When Martin Luther King got shot, it was Plymouth Avenue that burned. "We used to go to that McDonald's there," he says. "I didn't have any money, so I'd just stand outside there and smell stuff. Poverty makes people angry, brings out their worst side. I was very bitter when I was young. I was insecure and I'd attack anybody. I couldn't keep a girlfriend for two weeks. We'd argue about anything."
Across the street from McDonald's, Prince spies a smaller landmark. He points to a vacant corner phone booth and remembers a teenage fight with a strict and unforgiving father. "That's where I called my dad and begged him to take me back after he kicked me out," he begins softly. "He said no, so I called my sister and asked her to ask him. So she did, and afterward told me that all I had to do was call him back, tell him I was sorry, and he's take me back. So I did, and he still said no. I sat crying at that phone booth for two hours. That's the last time I cried."
In the years between that phone-booth breakdown and today's pool game came forgiveness. Says Prince, "Once I made it, got my first record contract, got my name on a piece of paper and a little money in my pocket, I was able to forgive. Once I was eating every day, I became a much nicer person." But it took many more years for the son to understand what a jazzman father needed to survive. Prince figured it out when he moved into his purple house.
"I can be upstairs at the piano, and Rande [his cook] can come in," he says. "Her footsteps will be in a different time, and it's real weird when you hear something that's a totally different rhythm than what you're playing. A lot of times that's mistaken for conceit or not having a heart. But it's not. And my dad's the same way, and that's why it was hard for him to live with anybody. I didn't realize that until recently. When he was working or thinking, he had a private pulse going constantly inside him. I don't know, your bloodstream beats differently."
Prince pulls the T-Bird into an alley behind a street of neat frame houses, stops behind a wooden one-car garage and rolls down the window. Relaxing against a tree is a man who looks like Cab Calloway. Dressed in a crisp white suit, collar and tie, a trim and smiling John Nelson adjusts his best cuff links and waves. "Happy birthday," says the son. "Thanks," says the father, laughing. Nelson says he's not even allowing himself a piece of cake on his birthday. "No, not this year," he says with a shake of the head. Pointing at his son, Nelson continues, "I'm trying to take off ten pounds I put on while visiting him in Los Angeles. He eats like I want to eat, but exercises, which I certainly don't."
Father then asks son if maybe he should drive himself to the pool game so he won't have to be hauled all the way back afterward. Prince says okay, and Nelson, chuckling, says to the stranger, "Hey, let me show you what I got for my birthday two years ago." He goes over to the garage and gives a tug on the door handle. Squeezed inside is a customized deep-purple BMW. On the rear seat is a copy of Prince's latest LP, Around the World in a Day. While the old man gingerly back the car out, Prince smiles. "He never drives that thing. He's afraid it's going to get dented." Looking at his own white T-Bird, Prince goes on: "He's always been that way. My father gave me this a few years ago. He bought it new in 1966. There were only 22,000 miles on it when I got it."
An ignition turns. "Wait," calls Prince, remembering something. He grabs a tape off the T-Bird seat and yells to his father, "I got something for you to listen to. Lisa [Coleman] and Wendy [Melvoin] have been working on these in L.A." Prince throws the tape, which the two female members of his band have mixed, and his father catches it with one hand. Nelson nods okay and pulls his car behind his son's in the alley. Closely tailing Prince through North Minneapolis, he waves and smiles whenever we look back. It's impossible to believe that the gun-toting geezer in Purple Rain was modeled after John Nelson.
"That stuff about my dad was part of [director-cowriter] Al Magnoli's story," Prince explains. "We used parts of my past and present to make the story pop more, but it was a story. My dad wouldn't have nothing to do with guns. He never swore, still doesn't, and never drinks." Prince looks in his rearview mirror at the car tailing him. "He don't look sixty-nine, do he? He's so cool. He's got girlfriends, lots of 'em." Prince drives alongside two black kids walking their bikes. "Hey, Prince," says one casually. "Hey," says the driver with a nod, "how you doing?"
Passing by old neighbors watering their lawns and shooting hoops, the North Side's favorite son talks about his hometown. "I wouldn't move, just cuz I like it here so much. I can go out and not get jumped on. It feels good not to be hassled when I dance, which I do a lot. It's not a think of everybody saying, 'Whoa, who's out with who here?' while photographers flash their bulbs in your face."
Nearing the turnoff that leads from Minneapolis to suburban Eden Prairie, Prince flips in another tape and peeks in the rearview mirror. John Nelson is still right behind. "It's real hard for my father to show emotion," says Prince, heading onto the highway. "He never says, 'I love you,' and when we hug or something, we bang our heads together like in some Charlie Chaplin movie. But a while ago, he was telling me how I always had to be careful. My father told me, 'If anything happens to you, I'm gone.' All I thought at first was that it was a real nice thing to say. But then I thought about it for a while and realized something. That was my father's way of saying 'I love you.'"
BY NEAL KARLEN
ROLLING STONE, APRIL 26TH, 1985
----------------------------------------------------------------------------------------------------------------
John Nelson turns sixty-nine today, and all the semiretired piano man wants for his birthday is to shoot some pool with his firstborn son. "He's real handy with a cue," says Prince, laughing, as he threads his old white T-bird through his old black neighborhood toward his old man's house. "He's so cool. The old man knows what time it is."
Hard time is how life has traditionally been clocked in North Minneapolis; this is the place 'Time' forgot twelve years ago when the magazine's cover trumpeted "The Good Life in Minnesota," alongside a picture of Governor Wendell Anderson holding up a walleye. Though tame and middle-class by Watts and Roxbury standards, the North Side offers some of the few mean streets in town.
The old sights bring out more Babbitt than Badass is Prince as he leads a leisurely tour down the main streets of his inner-city Gopher Prairie. He cruises slowly, respectfully: stopping completely at red lights, flicking on his turn signal even when no one's at an intersection. Gone is the wary Kung Fu Grasshopper voice with which Prince whispers when meeting strangers or accepting Academy Awards. Cruising peacefully with the window down, he's proof in a paisley jump suit that you can always go home again, especially if you never really left town.
Tooling through the neighborhood, Prince speaks matter-of-factly of why he toyed with early interviewers about his father and mother, their divorce and his adolescent wanderings between the homes of his parents, friends and relatives. "I used to tease a lot of journalists early on," he says, "because I wanted them to concentrate on the music and not so much on me coming from a broken home. I really didn't think that was important. What was important was what came out of my system that particular day. I don't live in the past. I don't play my old records for that reason. I make a statement, then move on to the next."
The early facts, for the neo-Freudians: John Nelson, leader of the Prince Rogers jazz trio, knew Mattie Shaw from North Side community dances. A singer sixteen years John's junior, Mattie bore traces of Billie Holiday in her pipes and more than a trace of Indian and Caucasian in her blood. She joined the Prince Rogers trio, sang for a few years around town, married John Nelson and dropped out of the group. She nicknamed her husband after the band; the son who came in 1958 got the nickname on his birth certificate. At home and on the street, the kid was "Skipper." Mattie and John broke up ten years later, and Prince began his domestic shuttle.
"That's where my mom lives," he says nonchalantly, nodding toward a neatly trimmed house and lawn. "My parents live very close by each other, but they don't talk. My mom's the wild side of me; she's like that all the time. My dad's real serene; it takes the music to get him going. My father and me, we're one and the same." A wry laugh. "He's a little sick, just like I am."
Most of North Minneapolis has gone outside this Sunday afternoon to feel summer, that two-week season, locals joke, between winter and road construction. During this scenic tour through the neighborhood, the memories start popping faster. The T-Bird turns left at a wooden two-story church whose steps are lined with bridesmaids in bonnets and ushers in tuxedos hurling rice up at a beaming couple framed in the door. "That was the church I went to growing up," says Prince. "I wonder who's getting married." A fat little kid waves, and Prince waves back.
"Just all kinds of things here," he goes on, turning right. "There was a school right there, John Hay. That's where I went to elementary school," he says, pointing out a field of black tar sprouting a handful of bent metal basketball rims. "And that's where my cousin lives. I used to play there every day when I was twelve, on these streets, football up and down this block. That's his father out there on the lawn."
These lawns are where Prince the adolescent would also amuse his friends with expert imitations of pro wrestlers Mad Dog Vachon and the Crusher. To amuse himself, he learned how to play a couple dozen instruments. At thirteen, he formed Grand Central, his first band, with some high school friends. Grand Central often traveled to local hotels and gyms to band-battle with their black competition: Cohesion, from the derided "bourgeois" South Side, and Flyte Time, which, with the addition of Morris Day, would later evolve into the Time.
Prince is fiddling with the tape deck inside the T-Bird. On low volume comes his unreleased "Old Friends 4 Sale," an arrow-to-the-heart rock ballad about trust and loss. Unlike "Positively 4th Street" -- which Bob Dylan reputedly named after a nearby Minneapolis block -- the lyrics are sad, not bitter. "I don't know too much about Dylan," says Prince, "but I respect him a lot. 'All Along the Watchtower' is my favorite of his. I heard it first from Jimi Hendrix."
"Old Friends 4 Sale" ends, and on comes "Strange Relationships," and as-yet-unreleased dance tune. "Is it too much?" asks Prince about playing his own songs in his own car. "Not long ago I was driving around L.A. with [a well-known rock star], and all he did was play his own stuff over and over. If it gets too much, just tell me."
He turns onto Plymouth, the North Side's main strip. When Martin Luther King got shot, it was Plymouth Avenue that burned. "We used to go to that McDonald's there," he says. "I didn't have any money, so I'd just stand outside there and smell stuff. Poverty makes people angry, brings out their worst side. I was very bitter when I was young. I was insecure and I'd attack anybody. I couldn't keep a girlfriend for two weeks. We'd argue about anything."
Across the street from McDonald's, Prince spies a smaller landmark. He points to a vacant corner phone booth and remembers a teenage fight with a strict and unforgiving father. "That's where I called my dad and begged him to take me back after he kicked me out," he begins softly. "He said no, so I called my sister and asked her to ask him. So she did, and afterward told me that all I had to do was call him back, tell him I was sorry, and he's take me back. So I did, and he still said no. I sat crying at that phone booth for two hours. That's the last time I cried."
In the years between that phone-booth breakdown and today's pool game came forgiveness. Says Prince, "Once I made it, got my first record contract, got my name on a piece of paper and a little money in my pocket, I was able to forgive. Once I was eating every day, I became a much nicer person." But it took many more years for the son to understand what a jazzman father needed to survive. Prince figured it out when he moved into his purple house.
"I can be upstairs at the piano, and Rande [his cook] can come in," he says. "Her footsteps will be in a different time, and it's real weird when you hear something that's a totally different rhythm than what you're playing. A lot of times that's mistaken for conceit or not having a heart. But it's not. And my dad's the same way, and that's why it was hard for him to live with anybody. I didn't realize that until recently. When he was working or thinking, he had a private pulse going constantly inside him. I don't know, your bloodstream beats differently."
Prince pulls the T-Bird into an alley behind a street of neat frame houses, stops behind a wooden one-car garage and rolls down the window. Relaxing against a tree is a man who looks like Cab Calloway. Dressed in a crisp white suit, collar and tie, a trim and smiling John Nelson adjusts his best cuff links and waves. "Happy birthday," says the son. "Thanks," says the father, laughing. Nelson says he's not even allowing himself a piece of cake on his birthday. "No, not this year," he says with a shake of the head. Pointing at his son, Nelson continues, "I'm trying to take off ten pounds I put on while visiting him in Los Angeles. He eats like I want to eat, but exercises, which I certainly don't."
Father then asks son if maybe he should drive himself to the pool game so he won't have to be hauled all the way back afterward. Prince says okay, and Nelson, chuckling, says to the stranger, "Hey, let me show you what I got for my birthday two years ago." He goes over to the garage and gives a tug on the door handle. Squeezed inside is a customized deep-purple BMW. On the rear seat is a copy of Prince's latest LP, Around the World in a Day. While the old man gingerly back the car out, Prince smiles. "He never drives that thing. He's afraid it's going to get dented." Looking at his own white T-Bird, Prince goes on: "He's always been that way. My father gave me this a few years ago. He bought it new in 1966. There were only 22,000 miles on it when I got it."
An ignition turns. "Wait," calls Prince, remembering something. He grabs a tape off the T-Bird seat and yells to his father, "I got something for you to listen to. Lisa [Coleman] and Wendy [Melvoin] have been working on these in L.A." Prince throws the tape, which the two female members of his band have mixed, and his father catches it with one hand. Nelson nods okay and pulls his car behind his son's in the alley. Closely tailing Prince through North Minneapolis, he waves and smiles whenever we look back. It's impossible to believe that the gun-toting geezer in Purple Rain was modeled after John Nelson.
"That stuff about my dad was part of [director-cowriter] Al Magnoli's story," Prince explains. "We used parts of my past and present to make the story pop more, but it was a story. My dad wouldn't have nothing to do with guns. He never swore, still doesn't, and never drinks." Prince looks in his rearview mirror at the car tailing him. "He don't look sixty-nine, do he? He's so cool. He's got girlfriends, lots of 'em." Prince drives alongside two black kids walking their bikes. "Hey, Prince," says one casually. "Hey," says the driver with a nod, "how you doing?"
Passing by old neighbors watering their lawns and shooting hoops, the North Side's favorite son talks about his hometown. "I wouldn't move, just cuz I like it here so much. I can go out and not get jumped on. It feels good not to be hassled when I dance, which I do a lot. It's not a think of everybody saying, 'Whoa, who's out with who here?' while photographers flash their bulbs in your face."
Nearing the turnoff that leads from Minneapolis to suburban Eden Prairie, Prince flips in another tape and peeks in the rearview mirror. John Nelson is still right behind. "It's real hard for my father to show emotion," says Prince, heading onto the highway. "He never says, 'I love you,' and when we hug or something, we bang our heads together like in some Charlie Chaplin movie. But a while ago, he was telling me how I always had to be careful. My father told me, 'If anything happens to you, I'm gone.' All I thought at first was that it was a real nice thing to say. But then I thought about it for a while and realized something. That was my father's way of saying 'I love you.'"