I love Prince and I always have. I stuck with him through all of his different personas, albums, and musical phases. He was one of the most talented musicians and songwriters of my, or any other, generation. Whatever mood I am in, there is a Prince song to go with it. I can’t believe that he has left us already. I needed to take some time after his passing to process that loss before writing this piece. So almost four years later, here are my thoughts about Prince and my life-long experience with his music.
Dearly beloved, we are gathered here today to get through this thing called life
I was probably about 10 years old when I first started hearing Prince songs. I would have seen the Solid Gold dancers do their sultry routines to his music as the show charted what number in the top 10 he reached this week. American Bandstand also was playing his songs for the youth to dance to on camera. I finally got a compilation record from
K-Tel called NEON NIGHTS. They just put together some of the biggest hits of the day on one record and made money selling it. This was the precursor to the mix tape that you recorded and gave to somebody you liked in the 80s, the burned CD of music in the 90s, and the internet and YouTube mixes after that. I still have this album on vinyl. It turned me on to lots of funk and soul that my little white middle-class suburban upbringing wouldn’t have typically known about. The standout songs were “Whip It” from the Dazz Band, “Superfreak” by Rick James, “Get Down on it” by Kool and the Gang, and “Controversy” by Prince. Guess which song I played the most?
Prior to MTV launching in 1981, watching music videos was a difficult task. I lucked out and was able to watch a locally-produced show called simply Video Music Channel. There was no host, it just showed music videos from all genres. And honestly, since there weren’t that many music videos being produced yet, if a band had a video they got played. Pure scarcity created the popular bands of the day. Lots of them were culled from a live concert that the band already had. Only a few were specifically created for use as a marketing tool, or had an actual storyline. Some were staged live videos; where they rented out a hall and filled it with their friends dancing while the band lip-since the song onstage, replicating a live concert. Or just setting up in a garage or abandoned warehouse and performing the song to the camera with minimal edits. This is how I first got turned on to artists like Pat Benatar, Kate Bush, The Specials, Elvis Costello, The Police, The Pretenders, and Fishbone. And this is probably why I still have such a strong love for these artists. Their music and imagery were burned into my brain lobes at a very impressionable age. I owned albums from all of these artists first on cassette, then vinyl, then compact disc. Luckily I still have crates full of these records from decades ago.
The beautiful ones always smash the picture. Always, every time.
The early videos from Prince are so fun to watch. The earliest one I saw would have been for the 1979 song, “I Wanna Be Your Lover.” This was the first video that he ever put out, so it was most people’s first exposure to the man. He’s doing everything in the video. Prince is singing and dancing, but also you see him play the drums, bass, keyboards, and guitar. Some of the shots are close up so you don’t see his face, but some aren’t and you can see that it is all him. It’s almost like there are five different Princes, which is a very interesting idea.
In the 1980 video for the title song from “Dirty Mind”, Prince is starting to figure out what his image is. He is now starting to wear eyeliner, thigh-high socks with heels, and a tan trenchcoat with some heavy metal studs stitched onto it. He also is either wearing a g-string, thong, or women’s bikini underwear. He isn’t wearing a shirt, so his abs are on full display. He’s dancing around with amazing confidence and stage presence, doing the splits and jumping off the drum riser.
The lyrics to the 1981 title song “Controversy” may have been the first time a song made me think about sexuality, racism, and religion/athiesm. Prior to entering puberty I just listened to songs for entertainment and nothing more. Prince’s sexy yet ambiguous appearance shocked and confused people in the late 70’s. Wearing eye makeup and high heel boots while presenting as male wasn’t new (David Bowie, The New York Dolls), but Prince took it to a whole new level by wearing thigh-high kink boots and chaps (note that I didn’t say assless chaps, because all chaps are assless). He also was addressing prejudice from the perspective of being a light-skinned African American man. These lyrics can be seen as the groundwork for my adult interest in gay rights, feminism, equality, and alternatives to anachronistic guilt-based religions.
I just can’t believe all the things people say
Am I black or white, am I straight or gay?
Do I believe in god, do I believe in me?
Some people want to die so they can be free
I said life is just a game, we’re all just the same, do you want to play?
In 1982 his album 1999 was released with the accompanying videos. By now music videos were essential, and any major album release needed mandatory videos of the singles. We got glimpses of Prince’s command of the stage, dance moves, and burgeoning confidence. We also got to see more of his backing band, including the two keyboard players Lisa Coleman and Jill Jones. They would both play the same keyboard standing very close to each other wearing revealing clothing and garish makeup. They would move in sensual unison while vamping and looking right into the camera. Their gyrating and pouting in close proximity made us all think they were lesbian lovers off-camera, which was by design. You can see them both in the videos for “1999” and “Automatic”, and then just Lisa in the video for ‘Little Red Corvette” and “Let’s Pretend We’re Married.” While Lisa had been in Prince’s band for years, Jill was Prince’s new girlfriend and was used as a backup singer on a few songs on the 1999 album.
Excuse me but I need a mouth like yours
The video for “Automatic” shows a young man becoming an icon. This is where he started adopting purple as his chosen visual motif. Most of the first half is just Prince on stage hitting different poses with dramatic lighting showing him mostly in silhouette. He dances, grabs his hat, and seriously strikes the pose. But he can do a lot with just his body posture and stance. Watch how he pivots and sticks his heels, puts out an elbow perfectly with a percussion accent, and works his fingers amidst all the stage lights and fog. He graduated to being a pop music superstar in this video. Yet MTV refused to show this video at all. For one thing it’s eight minutes long, which doesn’t fit with their 3.5 minute song format. But also it got a little too hot. In the second half of the video, a guy with aircraft marshaling batons guides a king bed out onto center stage. Prince appears to be knocked back onto the bed by the power of the music. Lisa and Jill sit down and join Prince on it. They remove his gloves and shirt, tie his hands to the metal bedpost, and Lisa then removes her belt. Instead of the threesome that you expect to happen next, Lisa starts whipping Prince’s naked chest with her belt. She tortures him for the remainder of the song, along with the moaning and crying sounds from the original track. In 1982, MTV wasn’t much for kink.
Is the water warm enough? Yes, Lisa.
At this point I must admit that 12 year old me developed a huge crush on Lisa Coleman. She had been in Prince’s band and videos since 1980’s Dirty Mind, but was woefully underutilized. Sometimes she would get a brief eight second shot of her playing keyboards while every other band member received all the focus. I watched the ‘1999’ music video often, since MTV played that gem about once every 30 minutes. Lisa is (finally) heavily featured in this video, as she is one of the main singers. I vividly recall her purple dress with large openings at her waist, the purple dress gloves she wore, and her big hair flipped up off to the side. The holes in her dress were perfectly positioned so that, if you were dancing with her, your hands would naturally land there. She also starred in the film Purple Rain as herself. I wisely put on my headphones and listened to the salacious pornographic lyrics of songs like “Let’s Pretend We’re Married”, “Lady Cab Driver”, and “International Lover.” Lisa was also featured earlier on the super funky and lyrically scandalous song from Dirty Mind called “Head”, which is about what you think it’s about. Lisa softly speaks lines like, “I’m just a virgin, and I’m on my way to be wed.”
“I must confess, I wanna get undressed and go to bed.”
The catchy chorus is:
Now morning, noon, and night
I give you head till you’re burning up
Head till you get enough
Head till your love is red
Head, love you till you’re dead
With all these sexy videos and graphic lyrics coinciding with puberty, it’s no wonder that I credit Lisa Coleman with leading me by the hand down the purple velvet-curtained hallway of adolescence.
Isn’t it a shame this ain’t a movie? Then U could rewrite my every line.
One thing that I loved about Prince is that although he could, and often did, play every instrument on some albums, he didn’t hesitate to give the spotlight to his bandmates. On the song “1999”, arguably one of his biggest hits, he shares vocals with Lisa Coleman, Dez Dickerson, and Jill Jones. Also the album cuts were often extended versions with additional verses, instrumental jams, or spoken word portions. He was smart to always release a 3:30 minute long radio friendly version of the singles, then reward the fans with an 8 minute version of the same song on the album.
Related to that, Prince enjoyed taking young artists or bands under his wing. He loved to be a mentor to others. With his tutelage, numerous bands benefitted from at least a gifted song he wrote, a spot performing on his tour, an appearance in one of his films, or him performing/producing their albums. Bands that got vetted by Prince, or were associated with him or his label Paisley Park, include: The Time, Jesse Johnson, The Family, Vanity 6/Appolonia Kotero, Sheila E., Carmen Electra, Sheena Easton, The Bangles, Sinead O’Connor, Chaka Khan, Patti LaBelle, Martika, Wendy and Lisa, Janelle Monae.
One example of his amazing silent contributions is regarding the funk band The Time. Morris Day was their singer, but on their debut album every single instrument is played by Prince. He wrote the songs and sang backup for this record (you can totally recognize his voice on several songs), yet his name is not anywhere on the album. He used one of his stage names, Jamie Starr. There are band photos including the other members that joined later, including Jimmy Jam, Terry Lewis, Jesse Johnson, Jerome Benton, and Monte Moir. But the album is all Prince. I reveled in the huge raging guitar solos, overly sexual lyrics, and catchy funk songs. Listen to the blazing guitar solo Prince gives us on the song “Get it Up.” It’s almost two full minutes of pure power, with intensity reminiscent of some heavy metal guitar solos. I spent many a teenage afternoon playing air guitar along to this particular song.
Prince cast the members of The Time as themselves in his huge 1984 film Purple Rain. They were his competitors in the club scene, and their two featured songs were ‘The Bird” and “Jungle Love.” For a while I loved The Time almost as much as Prince. I wonder why. Their debut record could reasonably be considered an alternative Prince album, since he did everything on it except record the lead vocals.
Dig if you will, the picture of you and I engaged in a kiss
Purple Rain was amazing. This had to be one of the first R-rated films that I was allowed to see. The live concert footage is still staggeringly good today. This was most people’s only idea of what Prince was like in concert. I was too young to go see concerts, and the internet didn’t exist yet. So the only way we knew what the shows looked like were fan magazines, the few live performance music videos he released early on, and then the film Purple Rain. This album is still one of my favorite and most listened to albums. Every single track is genius. That album deservedly went 25X Platinum, which means that 25 million people purchased it. Buying this album was a rite of passage, a zeitgeist moment, a turning point, a shared musical experience.
I got this album on vinyl when it came out in 1984, and still have this and many other Prince records in my collection today. I upgraded to CDs for just about all of them, but the vinyl holds a special place for me. In high school I was a Disc Jockey on our radio station. I remember bringing in Purple Rain on vinyl to discover what the backwards message was at the end of the song “Darling Nikki.” Played forward it sounds like a bizarre alien chorale. When an artist records something and then reverses it in the studio it’s called backwards masking. Today you could just take a moment to get the music software needed and reverse the track. But back in the 80’s, you had to work harder. You need to put it on a turntable, change the motor to neutral, then put your finger on the matrix of the record (the part after the last song where there is no music) and push it around counterclockwise. You had to try to keep your finger pushing the record around at about the same speed to get it to sound the best. Only by doing this could we hear these harmonized lines:
Hello. How are you? I’m fine. Because I know that the Lord is coming soon. Coming, coming soon.
I’m sure everyone remembers the huge hit “When Doves Cry.” It was the top-selling single of 1984. The distinctive video for the song was directed by Prince himself. An interesting bit of trivia that blew me away when I first had it pointed out to me is that there is no bass line in the song. This is likely the only pop/dance song of the 80s with no bass at all. There was actually a bass track recorded but Prince decided to remove it. I like to imagine him defying all of the industry logic and advice of label executives by saying, “I’m motherfucking Prince, I don’t have to have a bass line if I don’t want to.” What’s fun about this is that the Prince tribute bands that cover this song get to make up their own bass line. I’ve seen a few bands take on this song, and having a bass player drastically changes the feel. I’ll often try humming along a bass line that I make up when I play it in my truck. But this only confirms to me that Prince was right to take it out.
When I bought my first CD player somewhere around 1985 the first CD that I purchased was 1999. The other first CDs that I bought were Frankie Goes to Hollywood’s “Welcome to the Pleasuredome,” and the soundtrack to the film 1984 by The Eurythmics. All three are amazing albums that I still listen to. Prince’s 1999 was missing the great song “DMSR” due to length restrictions of CDs back then. You just couldn’t fit all of Prince’s sweet funk on one disc. On subsequent CD releases of this 1982 classic, technology changed and they were able to make room to add the song back in. I played this album endlessly and loved deciphering the lyrics. Lyrically, this was probably the most sexual album that I had ever heard. All of the songs (except perhaps two) are explicitly about having sex. There was a photo of Prince laying provocatively on a bed with purple sheets with his ass exposed.
She had the cutest ass he’d ever seen. He did 2, they were meant 2 be
When his double album “Sign O’ The Times” was released in 1987, I rode my trusty ten-speed bike all the way downtown to The Record Garden to buy it on the day it came out. Riding back home, I felt like I had a coveted prize in my backpack that needed safe delivery back to the cave. A record release was a bigger deal back then. You really wanted to get a physical copy in your hands and listen to it before all your friends did. Sometimes you’d buy a new album and call your friends (on a rotary phone) to come over and listen to it together. The first listening session for a new album from a beloved artist was a serious matter. Almost holy in it’s reverence. There was no talking allowed, and no stopping after a song or repeating a song. You dropped the needle on the record and laid down and closed your eyes to absorb it all in one listen. Or you poured over the record sleeve looking at photos or album art, and if you’re lucky, a lyric sheet. It was a magical thing, listening to a vinyl record from your favorite performer for the first time. I didn’t understand how a needle dragged through a groove on a vinyl platter could transmit music through a stereo. Hell, I still don’t really understand that. I’m just sticking with the idea that it’s magic.
This double album was the first release after The Revolution disbanded. Amazing drummer Shiela E was brought onboard, who Prince mentored and dated. This album has so many great songs on it. It was also the debut of Prince’s androgynous alter ego, Camille. Certain songs were sung in a female-sounding voice and sped up in the studio to sound different. These tracks are “If I Was Your Girlfriend”, “Strange Relationship”, “Housequake”, and “U Got the Look.” I could listen to this album every day of my life. Thirty years after this album came out, my kids and I will sing “Starfish and Coffee” in the kitchen in the morning. And that’s one of the only songs from this album I would feel comfortable hearing them sing.
Starfish and coffee, Maple syrup and jam.
Butterscotch clouds, a tangerine and a side order of ham
I was such a Prince fan that I found a copy of the infamous unreleased Black Album. This album was scheduled to come out after Sign o’ The Times in 1987. But at the last minute Prince changed his mind and held it back, releasing Lovesexy instead in 1988. The Black Album didn’t officially come out until 1994. Honestly all the hype and mystery of the album eclipsed the album itself. While the scant 8 songs are fun, it honestly isn’t nearly as scandalous or different from his previous ten releases. Prince sings to supermodel Cindy Crawford, raps in an affected voice, and digitally lowered his voice for the spoken word experiment “Bob George.” Had he just released it as a regular album on the timeline that he intended, it would have been a decent album (with some B-sides thrown in to flesh it out). I think that “When 2 R In Love” is the best song on this album. But like most Prince devotees, we accept all of his varied output with affection. Even a mediocre album from Prince still towers over a lot of other artists’ most respected records.
Every time I comb my hair thoughts of you get in my eyes
I only got to see Prince perform in concert once. But it truly was one of the best concerts I’ve ever seen in my life, still to this day. He performed at the Rose Garden in Portland, Oregon on September 28th, 1997 with Chaka Khan opening up for him. This was his Jam of the Year tour. My birthday was just a few days prior, so this was a big birthday present for me. I was giddy to finally see the man who wrote the soundtrack to my adolescence performing up on the stage. He wore all white and played a white grand piano that said the word BEAUTIFUL across it. He would often climb up on top of the piano and sing standing up there. He may have even done the splits on top of that Steinway. I couldn’t see this at the time, but looking at photos later he was singing with a specialized mic. He had the pistol grip of a revolver attached to the mic, making the microphone the barrel of the gun. When he held the mic using this gun grip, it looked like he was aiming a gun at his mouth.
He performed almost all the songs that I hoped and expected him to play, plus songs I didn’t even recognize. One highlight was Prince covering James Brown’s “Talkin’ Loud and Sayin’ Nothing.” He played a portion of his big huge epic song “Purple Rain” near the start; maybe the fourth song of the set. Most of us assumed he would wait until the encore for that one. He played certain songs that made me lose my shit due to their imprinting on my brain. Super sexy songs like “Do Me, Baby”, “If I Was Your Girlfriend”, “Erotic City” and “Sexy Motherfucker” gave me Princegasms all night. He worked in pieces of songs like “The Glamorous Life” by Sheila E., and then played the entire Joni Mitchell classic “A Case of You.” A highlight was when he brought out Chaka Khan to perform a duet of the huge hit from Joan Osbourne, “One of Us.” He did a solo set on the piano where he played stripped-down versions of “Girls and Boys” and “The Beautiful Ones.” He played a beautiful solo acoustic guitar version of “When You Were Mine.” Strangely, he did not play his huge hit, “Kiss.” But he did it all, flying around the stage, hanging out with all of his band members giving them time to shine. He sang, danced, played guitar, and played piano, all with equal mastery. And he made it look easy. I believe he was even wearing heels. I was in awe of the man’s talent, he had such a gift.
Prince was infamous for playing afterparties after the concert ended, sometimes into the wee hours of the morning. Some tiny warehouse/venue in Portland got Prince to have his afterparty there. If memory serves, this space became an all-ages music venue called Meow Meow for a few years in the 2000s. We bought tickets to this special afterparty, hoping to see a second, more private show from him. We got in and immediately saw the mighty (but diminutive) Purple One hanging out in a roped-off area with his entourage and security team. I’m pretty sure that cameras weren’t allowed, so I don’t have any photos of this event. We ended up just dancing with the crowd for a long time, as Prince did not feel compelled to grab any instruments and start performing. He would, however, stand up and raise his glass cane to ‘direct’ the crowd during songs that he really liked. The whole place would freak out and cheer each and every time he did this, especially when he danced along at his table. I still remember vividly that he had a great smile. Bodyguards were all around him, offering no chance to even get near him, let alone talk to him. He wasn’t there to sign autographs or be fawned over by fans. Since he did get up and dance to certain songs, I can kind of say that I hung out at an afterparty and danced, with Prince.
You don’t have to be beautiful to turn me on
In 2019, Prince’s most famous backing band, The Revolution, went on tour and came through Portland to perform at the venue I work at. Some people had a negative opinion of the whole idea, thinking that they were somehow merely trying to capitalize on his legacy after his death. That couldn’t be further from the truth. In my position I often have the opportunity to meet and chat with the artists. We are, of course, instructed not to ever ask for an autograph or intrude on them in any way. We are just supposed to treat them like any normal person and not to be a fanboy at all, ever. But sometimes, the artists want to reach out and talk to the staff.
After soundcheck, the drummer Bobby Z was walking around near the green rooms and struck up a conversation with me. He was a tall good-looking guy that I easily recognized from all the Prince videos from the 80s. He would have been 63 at the time but looked much younger. We had a good chat about the Minneapolis sound that Prince is credited with starting. Bands like Prince, The Time, The Family, and early Janet Jackson. We also touched on Bob Mould from Husker Du, and Paul Westerberg from The Replacements. Bobby Z was Prince’s original drummer, and he started talking about drums and warming up his hands. He had no idea that I also was a drummer, the conversation just organically went there. I tried to ask intelligent questions related to drums and bands from Minneapolis, and I hope I succeeded. I think he appreciated talking to staff people who were in the music world, but weren’t gushing fans that only asked about Prince stories. I asked him how previous nights of the tour were, wished him good luck, and told him how excited I was to see them perform tonight. I fought the temptation to ask him to introduce me to Lisa Coleman, even though it entered my mind about a dozen times during our chat.
During the show I was posted right up at the stage where I usually am. I am there for crowd control and to respond to any emergencies or issues that come up during the show. The band moves right by me to walk onstage, and I’ll light up the steps with my flashlight for them as I’m calling over the security radio that the headliner is starting their set. Bobby Z recognized me from our earlier conversation and smiled at me and clapped me on the shoulder as he walked by and up the steps to the stage.
The crowd absolutely loved The Revolution, and it was great to finally see them in concert. I was too young to go see big concerts when The Revolution toured with Prince from 1979 to 1986. All of the musicians have been playing for decades now, and were at home and happy onstage. You could tell from their faces and their short stories that they were honored to still be playing the music of Prince. They still loved him deeply. The whole night had a feeling of a respectful tribute and celebration. When they finally played “Purple Rain” and the purple lights cascaded raindrops down the walls, the whole crowd, as one, lost it. The emotion in the hall was palpable and many people in the crowd were crying. Even though I had seen Prince in concert once in 1997, I had never seen The Revolution at all until now. So I had been waiting decades to actually see them perform in concert. It was one of the most meaningful and emotional shows that I’ve ever seen.
Wendy and Lisa were both located on stage left, which is where I was stationed. So I got to watch them closely during the show. They were in a romantic relationship for years, and put out albums together after The Revolution disbanded. Wendy seems to be the spokesperson of the band now, as she talked the most over the mic. Lisa remained near the back behind her keyboards, just like in the videos. I have to admit, I spent a substantial amount of the show watching her. I mean, I’ve had a crush on her since the early 80s.
As the show ended the group came off the stage and walked down the steps right behind me. I called over the radio that the show was over and the house lights were up. The crowd was still roaring, hoping for another encore. I kept looking straight out into the crowd when I felt someone grab my forearm. I turned around expecting to see the stage manager or another member of the security team. Instead I was looking directly into the face of Lisa Coleman. She was smiling at me. She kept one hand on my forearm and grabbed my shoulder with her other hand. She smiled wider and her eyes sparkled as she said, “Thank you.”
I smiled back at her and said, “You’re welcome.” I felt both of her hands release my arm, then she and the rest of the band sauntered away to the green rooms. At that moment I swear I felt 14 years old again, all awkward and not knowing what to say to a pretty girl. If, somehow, she would have grabbed my arm back in 1983, I likely would have just exploded. I have no idea why she came over and thanked me, but it was a highlight of my year. Maybe she saw me watching her during the show and mouthing along most of the lyrics. Maybe she saw a deep history of appreciation for her, the music, and Prince. Maybe she’s just a super-nice person and likes to thank the venue staff. Or perhaps she saw an expression of a little boy in awe peeking out of the face of a middle aged man.
I love you more than I did when you were mine
One of the music venues I work at had a Prince Tribute dance party where they played music videos on big screens all over the room. But what’s great about Prince is the current availability of so many songs and different versions of his songs. Instead of just playing all the videos that we’ve seen a thousand times from Prince, they delved deep into the internet and found lots of rare live footage that even I had never seen before. Songs from his concert film Sign O’ the Times, live television appearances, and live concert footage from unknown sources were played. Not only that, but any artist that was associated with Prince was mixed into the playlist that night as well. So the crowd got tons of Prince songs along with The Time and Sheila E. If there wasn’t a video to go with the song, they would just show a collage of great photos of Prince. Even if the patrons weren’t dancing, they were still glued to the screens watching this tribute to him.
I loved working this event, and I would have attended it if I wasn’t working it. I loved seeing people coming together to enjoy the music that Prince gave us over the decades. If you were alive in the 80s, Prince songs left a mark on you and undoubtedly accompanied some great memories. For me, he created the soundtrack to some of the best years of my young life.
The most moving part of the night was when they played the music video to “Let’s Go Crazy.” This video is just footage from the film Purple Rain. No new content was created, it’s really just a commercial to get you to go see the movie. But that movie contains some of the most electrifying live footage of Prince and the Revolution. The four-minute song comes to a screeching halt at about the three-minute mark, when Prince plays a blistering guitar solo. He climbs up on the piano and digs into his guitar like Jimi Hendrix. All the other musicians stop and the entire spotlight is on Prince soloing. We are shown a montage of Prince playing guitar in every outfit from different songs in the film. And he dances and rubs his hands all over his hair, stomach, and groin. An interesting thing happened in the crowd at this point. Since there is no longer a beat in the song, you literally cannot dance to this part of it. So the hundreds of people who were previously jumping all over, abruptly stopped along with the song. Everybody was just watching the video screens absorbing the immeasurable talent of this man who recently left us. They wanted to soak in every frame of this video. Nobody was texting on their smart phones, ordering a drink, or even having a conversation. Everyone froze. There is a quick shot of the Appolonia character watching Prince from the crowd with awe and lust, which is honestly how we all were looking at the screens as well. People put their arms around each other and leaned their heads onto each other’s shoulders in a mixture of sadness and amazement. Like good friends standing around a bonfire after a memorial wake, deep in thought. Everybody slightly leaned in towards the video screens to get closer to this moment. Whether people had seen this movie before or not, it was as if we all were watching it for the first time. With Prince gone, none of us will ever have the chance to see him play like this again. So these videos are to be even more appreciated as a document and a testament to his magic and talent. The song ended and everybody applauded and cheered as if they were at a live concert and not a video dance party. I saw some tears in the crowd, and if anybody had looked back towards me, they would have seen mine.
4 all time I am with U
U are with me
(until the end of time)
U are with me, U are with me