Prince performs during his 'Welcome 2 America' tour at The Forum on April 14, 2011 in Inglewood, California. (Kevin Mazur/WireImage for NPG Records 2011)
With more rewards and accolades, than anyone before or after
21st century, oh what a shame, what a shame
Race, race still matters
A race to what, and where we going?
We in the same boat, but I'm the only one rowing
Last time I checked, you were sleeping, but you can call me a dreamer too...
-Prince, "Dreamer" (2009)
Politics and art are indistinguishable in the cultural consciousness of the African Diaspora. Art about "secular" ideas are inherently tied to spiritual concepts, and social commentary is embedded in the fabric of the artistic commentary on our experiences. In the black art tradition, the very nature of how we interpret the experiences around us is inherently political -- and the artist is its agent.
Enter Prince.
As an artist of undeniable talent and musical curiosity, Prince has flirted with virtually every genre of
music, bending its arc until something new emerges. Last month, Prince announced an unprecedented 21 Night Stand at The Forum in Inglewood, California as part of his "Welcome 2 America" tour. Though he has branched out to include several concerts in the Bay Area, the semi-residence at the Forum apparently represents more than just an ode to the Old School. It seems to represent something more.
On more than one occasion, Prince has shared with crowds of screaming fans that he wants to help
save the Forum from its relative obscurity and underutilization. "I've seen a lot of great performers here," he said, among the cheers. "I saw Michael Jackson here -- not just Michael, but all the Jacksons. Earth, Wind and Fire. Morris Day and The Time...Prince and the Revolution."
Is saving the Forum personal? I imagine it is -- as is saving any
home to some of the greatest moments not just in music; but also in sports. That's the beauty of our artistic tradition -- "secular" moments are inherently spiritual. Public moments intentionally personal.
While better known as a musical genius for pioneering the Minneapolis Sound, Prince's social consciousness has been a recurring theme of his music from the beginning. On his 1981
Controversy album was
"Ronnie Talk to Russia," where he repeats, "Ronnie Talk to Russia before it's too late" so many times that even as I child I was want to explore why Ronald Reagan's foreign policy seemed wrapped in a cloak of violence and a contentious "Cold War," rather than any real expression of diplomacy.
On the B-Side of 1995's Pop Life, was "Hello," on which Prince offered a challenging, "We're against hungry children, our record stands tall, but there's just as much hunger here at home." This was the natural precursor to the more recent commentary in 2010's Ol' Skool Company, a track on which he declares, "The people I know, they been strugglin', at least it seems that way. Fat cats on Wall Street, they got a bailout. Why somebody else got to wait. 700 billion, but my old neighborhood, ain't nothin' changed but the date."
Like any artist, the political consciousness of Prince's music has evolved along with his experiences; but even when he was slapping a bass, there has always been an undercurrent of rebellion. Think 1997's "Days of Wild," where behind a funky bass riff is the chant, "Free the Slave"-- a nod to a fight with his record company, which led Prince to abandon his name for a while and write "S.L.A.V.E." on his cheek. Then there was The Rainbow Children (2001), a full collection of songs that spoke to the need for social consciousness, and the forum he held in 2002 at Paisley Park during a "Celebration," during which Tavis Smiley moderated a panel of thought leaders that included Dr. Michael Eric Dyson and Dr. Cornel West.
http://www.thegrio.com/entertainment/why-prince-deserves-props-for-his-political-activism.php?page=1
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