“S.S.T.” was released as a standalone Prince single, independent of an album, with proceeds from the release donated to the Hurricane Katrina Relief Fund. The project emerged particularly quickly. “S.S.T.” was initially made available through the NPG Music Club within 24 hours of being recorded, while “Brand New Orleans” was simultaneously offered as streaming audio. Two days later, both Prince tracks became available for purchase alongside “You Will Be Moved”, a Prince-written track performed by Mavis Staples. The initial downloadable release of “S.S.T.” was dated September 5, 2005. Eight weeks after its original appearance, “S.S.T.” and “Brand New Orleans” were brought together for the commercial physical CD single released in the USA on October 25, 2005. The physical release was issued through Columbia Records and NPG Records under catalogue number 38K 675152 and retained the charitable purpose of the original project, with proceeds benefiting the Hurricane Katrina Relief Fund. Neither “S.S.T.” nor “Brand New Orleans” was associated with an album, making this a self-contained Prince release. TRACK-BY-TRACK NOTES • S.S.T. — The 3:39 title track was recorded and released with unusual speed, becoming available through the NPG Music Club within 24 hours of its recording. It initially appeared as a download on its own before subsequently being coupled with “Brand New Orleans” on the commercial CD single. • Brand New Orleans — Running 6:37, this non-album recording was initially made available as streaming audio when “S.S.T.” first appeared. It was subsequently offered for purchase and became the second track on the October 25 physical single. • You Will Be Moved — A 4:12 Prince-written Mavis Staples track offered alongside “S.S.T.” and “Brand New Orleans” through the NPG Music Club. It was part of that digital offering but was not included on the two-track commercial CD single. RELEASE HISTORY “S.S.T.” first appeared as a download on September 5, 2005. Its initial NPG Music Club availability followed extremely quickly after its creation, with the title track released within 24 hours of being recorded. At the same time, “Brand New Orleans” was available as streaming audio. Two days later, the two Prince recordings could both be purchased, together with the Prince-written Mavis Staples recording “You Will Be Moved”. This early digital configuration had no catalogue number. An additional reference supplied for the three-track digital configuration is Amazon B000BLI34I. Eight weeks later, “S.S.T.” and “Brand New Orleans” received a physical release in the United States. The commercial CD single was issued on October 25, 2005 through Columbia Records and NPG Records with catalogue number 38K 675152. The physical release contained “S.S.T.” at 3:39 followed by the 6:37 “Brand New Orleans”. The single was not issued in 7", 12" or cassette formats. Its wider CD release also affected its chart eligibility. Although “S.S.T.” did not enter the Billboard Hot 100, the supplied information states that it was only eligible following the wider physical release. It instead reached No. 111 on Billboard's Bubbling Under The Hot 100 chart. CERTIFICATIONS The single received no certifications in the USA or elsewhere according to the supplied information. AWARDS The single received no awards in the USA or elsewhere according to the supplied information. PRODUCTION Label: Columbia Records / NPG Records NOTES “S.S.T.” was conceived as a benefit release, with proceeds directed to the Hurricane Katrina Relief Fund. The charitable purpose therefore formed a central part of the project rather than the single serving as promotion for an album. The speed with which “S.S.T.” moved from recording to release was also notable. The supplied information states that the track became available through the NPG Music Club within 24 hours of its recording. “Brand New Orleans” initially accompanied the project as streaming audio before becoming available for purchase. The two songs were ultimately paired on the October 25, 2005 physical CD single. The NPG Music Club offering also incorporated the Prince-written Mavis Staples recording “You Will Be Moved”, although this third song was not carried across to the commercial CD. The physical single was restricted to CD in the supplied release information. No commercial 7", 12" or cassette editions were issued. CHARTS & CERTIFICATIONS AMERICA USA: Billboard Bubbling Under The Hot 100 — Entry: October 1, 2005 — Peak: 111 — Weeks: 1 USA: Billboard Hot Digital Songs — Entry: October 1, 2005 — Peak: 56 — Weeks: 1 USA: Billboard Pop 100 — Entry: October 1, 2005 — Peak: 67 — Weeks: 1 USA: Billboard Hot R&B/Hip-Hop Singles Sales — Entry: November 12, 2005 — Peak: 22 — Weeks: 10 The single did not enter the US Billboard Hot 100. RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format Prince S.S.T. NPG Music Club — No catalogue number September 5, 2005 Download Prince S.S.T. / Brand New Orleans / You Will Be Moved NPG Music Club — No catalogue number September 2005 Digital Prince S.S.T. / Brand New Orleans / You Will Be Moved — — B000BLI34I September 2005 Amazon Digital Prince S.S.T. b/w Brand New Orleans Columbia Records / NPG Records USA 38K 675152 October 25, 2005 CD Single TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting NPG Music Club Download No catalogue number 1. S.S.T. (3:39) NPG Music Club Digital No catalogue number 1. S.S.T. (3:39) 2. Brand New Orleans (6:37) 3. You Will Be Moved (4:12) – Mavis Staples Digital B000BLI34I 1. S.S.T. (3:39) 2. Brand New Orleans (6:37) 3. You Will Be Moved (4:12) – Mavis Staples USA CD Single 38K 675152 1. S.S.T. (3:39) 2. Brand New Orleans (6:37) SOURCES Prince Vault, Sleevographia2, Discogs. All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This substantial Southern Illinoisan feature by Nancy Weil examines Prince's extraordinary rise during the Purple Rain phenomenon and asks whether Prince could challenge Michael Jackson's position at the top of American pop music. The article compares the two performers' audiences, personalities and commercial appeal while documenting the continuing success of the Purple Rain album and film and the rapidly selling forthcoming Prince tour. Publication: Southern Illinoisan Date: October 25, 1984 Country: United States Published in the Carbondale Streets section under the dramatic headline “Prince is giving Michael a run for the money”, Nancy Weil opens by asking whether Prince could “dethrone the king of Pop?” The feature presents Prince as taking an increasingly prominent position within American popular music through the combined success of the Purple Rain album and film. Michael Jackson provides the obvious comparison. The article notes that Thriller remained extremely successful, but argues that Prince had developed substantial momentum of his own. Record-store manager Steve Emery discusses the similarities and differences between the two artists. According to Emery, marketing and timing had played important roles in the success of both. The article also identifies a difference between their audiences. Michael Jackson is described as possessing a broader appeal across multiple age groups, while Prince's particularly loyal audience is characterised as ranging from the early teens into the mid-twenties. PURPLE RAIN The commercial success of Purple Rain forms the central evidence for Prince's growing position. The article reports that the album was selling briskly, while Jackson's Thriller records continued selling from store shelves. Prince's latest release from Purple Rain is identified as the biggest seller at Emery's shop, although sales are described as beginning to decline as the initial novelty faded. The accompanying film is also central to the discussion. Prince's success is presented as extending beyond records into cinema, helping create the wider cultural impact surrounding Purple Rain during 1984. THE REVOLUTION AND FORTHCOMING TOUR The feature looks ahead to Prince's national tour with The Revolution. Tickets are described as selling extremely quickly. Prince was scheduled to perform in St. Louis during early December, illustrating the strong demand surrounding the tour before it had even begun nationally. The article contrasts this touring activity with Prince's reserved public persona. Despite enormous visibility through the record and film, Prince is described as reluctant to participate in interviews. Both Prince and Michael Jackson are portrayed as comparatively private performers who tightly controlled their public exposure. PRINCE AND MICHAEL JACKSON The article repeatedly returns to the question raised by its headline: could Prince genuinely overtake Michael Jackson? Rick Bird, a radio disc jockey, argues that a direct comparison is difficult because the two artists appeal to audiences in different ways. Jackson's popularity is associated with the enormous international impact of Thriller, while Prince's strength is presented as coming from the combination of recordings, Purple Rain, The Revolution and rapidly increasing public interest. Bird also places the comparison within a broader historical context. The feature references earlier major-selling albums from artists including Fleetwood Mac and Carole King, noting that even exceptional commercial achievements are difficult to repeat. The conclusion is therefore more cautious than the headline. Prince had clearly become a major challenger within American pop, but the extraordinary scale of Thriller remained an extremely high commercial benchmark. PHOTOGRAPHY Two large black-and-white photographs dominate the page. The Prince photograph is reproduced from Rolling Stone and consists of a tightly cropped portrait. The Michael Jackson photograph, credited as an AP photo, shows Jackson during a public appearance. The two images are positioned side by side, visually reinforcing the article's central comparison between the two performers. CONTEXT AND NOTES Published during the height of the Purple Rain phenomenon, the feature provides a useful contemporary snapshot of the moment when Prince was increasingly being discussed alongside Michael Jackson at the highest level of American popular music. Importantly, the newspaper does not simply declare one performer more successful than the other. Instead, the article examines differences in audience demographics, record sales, marketing, touring and public personality. The clipping demonstrates how extraordinary Prince's rise appeared in October 1984. Within the space of the Purple Rain campaign, Prince had moved into a position where American newspapers were openly asking whether Prince could challenge the commercial dominance established by Michael Jackson. FEATURE HIGHLIGHTS Event: Comparison of Prince and Michael Jackson at the height of Purple Rain Era: 1984 Purple Rain era Tone: Analytical, commercial and comparative Writer: Nancy Weil Photography: Large Prince portrait alongside a Michael Jackson photograph WHAT THE CLIPPING SHOWS • Prince presented as a major challenger to Michael Jackson's position in American pop • Continuing strong sales for the Purple Rain album • Discussion of the audiences attracted by Prince and Michael Jackson • Thriller used as the commercial benchmark for comparison • Tickets for Prince and The Revolution's national tour described as selling quickly • Prince scheduled to perform in St. Louis in early December • Discussion of Prince's reluctance to give interviews • Side-by-side photographic presentation of Prince and Michael Jackson All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Star-Phoenix review focuses on Sheila E. and her album The Glamorous Life, placing particular emphasis on the funky, upbeat character of the record and Prince’s involvement in its production. Reviewer Terry Craig also highlights Sheila E.’s musicianship, percussion and vocals, while recognising the title track as the recording that had brought her considerable attention. Publication: Star-Phoenix Date: October 25, 1984 Country: Canada Appearing in the newspaper’s Reviews section under the heading “Glamorous Life”, Terry Craig examines Sheila E.’s album The Glamorous Life. The review opens by describing Sheila E. as making a determined attempt to capture the wider rock market. The Glamorous Life is characterised as a “saucy, frothy brand of upbeat funk”, establishing the musical direction Craig hears throughout the record. Prince’s involvement is also specifically acknowledged. The review links the album to the Minneapolis music scene and states that Prince “had a hand in the production of the record.” However, the review does not treat Sheila E. simply as an extension of Prince’s work. Craig gives particular attention to her own abilities as a musician and performer, highlighting her percussion and vocal work. THE GLAMOROUS LIFE The title track “The Glamorous Life” receives particular attention. Craig identifies the song as the recording that had captured public attention and helped introduce Sheila E. to a much wider audience. The review presents the track as an important part of the album’s appeal while also looking beyond the hit single to assess Sheila E. as a performer in her own right. The record’s funk-based sound, percussion and vocals are all treated as central elements of its identity. PRINCE CONNECTION Prince’s involvement provides an important part of the album’s background. The newspaper specifically states that Prince “had a hand in the production of the record,” connecting The Glamorous Life with the expanding Minneapolis music scene surrounding Prince during 1984. At the same time, Craig keeps the focus firmly on Sheila E. and her own musicianship. The result is a contemporary review that acknowledges the importance of the Prince connection without allowing it to overshadow Sheila E.’s role as the album’s principal artist. CONTEXT AND NOTES The Sheila E. review appears alongside several other album assessments on the newspaper’s record-review page. The large photograph occupying the upper part of the page belongs to the separate Guess Who review. No Sheila E. photograph accompanies the supplied review. The clipping is therefore primarily a text-based review of The Glamorous Life, with Sheila E.’s music, percussion, vocals and growing profile providing the main focus. FEATURE HIGHLIGHTS Event: Review of The Glamorous Life Era: 1984 Sheila E. / Prince period Tone: Positive and music-focused Reviewer: Terry Craig Photography: No Sheila E. photograph accompanies the review WHAT THE CLIPPING SHOWS • Review of Sheila E.’s The Glamorous Life • The album described as an upbeat funk recording • Prince credited with having a hand in the record’s production • “The Glamorous Life” highlighted as the important title track • Particular attention given to Sheila E.’s musicianship • Recognition of Sheila E.’s percussion and vocal abilities • A contemporary assessment of Sheila E. establishing her own recording career All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Back In Time is the debut solo studio album by Judith Hill. The eleven-track collection was produced by Prince and Judith Hill, with Prince also contributing extensively as a musician and vocalist. The album first appeared on March 23, 2015 as a free download made available for 48 hours through Prince's Live Nation email list and Judith Hill's website. The complete album was subsequently streamed through Hill's SoundCloud page before receiving its wider retail release seven months later on October 23, 2015. Prince co-wrote four of the album's songs with Hill: As Trains Go By, Turn Up, Wild Tonight and Back In Time. He also contributed guitar, bass, drums and background vocals throughout the project. RECORDING Basic tracking is believed to have taken place during January and February 2015 at Paisley Park Studios in Chanhassen, Minnesota. Prince stated that the album was completed in approximately two or three weeks. Beautiful Life and My People had previously been recorded by Judith Hill without Prince and appeared on the soundtrack to the 2012 film Red Hook Summer. Both songs were re-recorded with Prince for Back In Time. The original download concluded with Back In Time represented by approximately half a second of silence. Prince related this idea to Sly And The Family Stone's There's A Riot Goin' On, whose title track was also presented as silence. For the wider retail release, the silent track was replaced by a complete studio recording of Back In Time. STYLE & THEMES The sessions were approached with the intention of creating an album in the spirit of Sly And The Family Stone. With Prince contributing guitar, bass, drums and vocals, the album also incorporates keyboards, horns and strings through a large supporting group of musicians. RELEASE HISTORY The original version was made available as a free download for 48 hours beginning March 23, 2015. The album was previewed for music critics at Paisley Park Studios on the night before the download became available, followed by a short live performance by Judith Hill. A wider retail release followed on October 23, 2015. The retail release was preceded by the digital single Cry, Cry, Cry, issued one month before the album. The original download runs 37:30, while the wider release runs 41:14. CHARTS & CERTIFICATIONS AMERICA US Billboard Top R&B/Hip-Hop Albums: No. 28 Chart Entry: November 14, 2015 Weeks On Chart: 1 PERSONNEL Judith Hill – lead vocals, background vocals Prince – guitar, bass guitar, drums, background vocals John Blackwell – drums Andrew Gouché – bass Robert Hill – bass on Angel In The Dark Xavier Taplin – keyboards Marcus Anderson – saxophone, flute Adrian Crutchfield – saxophone BK Jackson – saxophone Lynn Grissett – trumpet Joshua Welton – keyboards Stringenius – strings PRODUCTION Produced by: Prince, Judith Hill Arrangements: Prince, Judith Hill Horn Arrangements: NPG Hornz String Arrangement on Angel In The Dark: Judith Hill Co-Production and Drum Programming on Angel In The Dark: Trooko Assistant Recording / Co-Production / Programming: Joshua Welton Recording Engineer: Booker T. Assistant Recording Engineer: Tipz Orchestra Arrangements: Mike Nelson, Stringenius Mixing and Mastering: Joshua Welton Photography: Randee St. Nicholas Art Direction & Design: Annie Madison Label: NPG Records Recorded At: Paisley Park Studios, Chanhassen, Minnesota, USA Retail Release Date: October 23, 2015 Original Free Download: March 23, 2015 Retail Running Time: 41:14 Original Download Running Time: 37:30 SONGWRITING All tracks were written by Judith Hill except where otherwise credited. As Trains Go By, Turn Up, Wild Tonight and Back In Time – Judith Hill and Prince Angel In The Dark and Jammin' In The Basement – Judith Hill, Guy Tevateua Roche and Steven Diamond Cure – Judith Hill and Stefan Skarbek Cry, Cry, Cry – Judith Hill, Makeba Woods, Janice Combs and Kerry Brothers Jr. with Joel Whitley NOTES • Debut solo studio album by Judith Hill. • Produced by Prince and Judith Hill. • Prince performs guitar, bass guitar, drums and background vocals. • Initially released free for 48 hours on March 23, 2015. • Wider retail release followed on October 23, 2015. RELEASE VARIANTS TABLE Artist Title Label Country Date Format Judith Hill Back In Time NPG Records USA March 23, 2015 Free Digital Download, 48-hour release Judith Hill Back In Time NPG Records USA October 23, 2015 Retail CD / Digital TRACKLIST TABLE RETAIL CD / DIGITAL ORIGINAL DOWNLOAD • As Trains Go By – 4:34 • Turn Up – 3:28 • Angel In The Dark – 4:08 • Beautiful Life – 4:02 • Cure – 2:42 • Love Trip – 3:01 • My People – 2:43 • Wild Tonight – 4:18 • Cry, Cry, Cry – 5:06 • Jammin' In The Basement – 3:32 • Back In Time – 3:45 • As Trains Go By – 4:34 • Turn Up – 3:28 • Angel In The Dark – 4:08 • Beautiful Life – 4:02 • Cure – 2:42 • Love Trip – 3:01 • My People – 2:43 • Wild Tonight – 4:18 • Cry, Cry, Cry – 5:06 • Jammin' In The Basement – 3:32 • Back In Time – 0:01 SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2, RockfilesUK. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

"New Power Generation" was released as a US 7-inch single on October 23, 1990, approximately two months after the release of Graffiti Bridge. It was the third single from the album in the United States, while its place within the European campaign differed because releases by Mavis Staples and Tevin Campbell were also drawn from the project. The standard single paired "New Power Generation" with "New Power Generation Part II". The campaign subsequently expanded considerably through maxi-single editions containing a collection of additional recordings and remixes based around "New Power Generation". Several of these pieces received individual titles, effectively expanding the single into a much larger companion project. The resulting material included "N.P.G. (Funky Weapon Remix)", "T.C.'s Rap", "Brother With A Purpose", "Get Off", "The Lubricated Lady" and "Loveleft, Loveright". 7" - USA - 7-19525 (release in non picture sleeve) RECORDING The standard 7-inch featured "New Power Generation" at 3:39 backed with "New Power Generation Part II" at 2:57. Much more material was prepared for the maxi-single campaign. Several of the additional tracks developed the musical foundation of "New Power Generation" into separate pieces, an approach Prince would subsequently revisit with later maxi-single projects. Two earlier proposed maxi-single configurations were also assembled during October 1990 before the final configuration was established. 7" - USA - 7-19525 (release in non picture sleeve) STYLE & THEMES The standard single presented "New Power Generation" as a concise 3:39 recording, while the maxi-single took a much broader approach. Rather than simply repeating the same song through conventional remixes, the expanded release developed its musical framework into individually titled pieces featuring additional performers and contrasting arrangements. This created a release that functioned both as a single and as a wider collection of interconnected recordings. Cassette single - USA - 195254 TRACK-BY-TRACK NOTES • New Power Generation — The 3:39 A-side of the standard 7-inch and cassette single. • New Power Generation Part II — A 2:57 companion recording used as the standard B-side. • N.P.G. (Funky Weapon Remix) — A 5:01 remix forming part of the expanded maxi-single programme. • T.C.'s Rap — A 3:11 recording featuring T.C. Ellis. Cassette single - USA - 195254 • Brother With A Purpose — A 4:18 recording featuring Tony Mosley. • Get Off — A 4:41 non-album recording included on the maxi-single. • The Lubricated Lady — A 2:39 non-album recording. • Loveleft, Loveright — A 5:00 non-album recording included within the extended sequence. • Melody Cool (Extended Remix) — A 6:04 Mavis Staples recording included on selected international configurations. RELEASE HISTORY "New Power Generation" was issued in the United Kingdom on October 22, 1990, followed by the American 7-inch release on October 23, 1990. This Chronicle focuses specifically on the October 23 US 7-inch release, issued under catalogue number 7-19525. All other supplied releases and formats are treated below as variants. The original American single featured "New Power Generation" backed with "New Power Generation Part II". A US cassette used the same two-track configuration. The American maxi-single followed on November 29, 1990. Its considerably expanded programme featured six predominantly non-album tracks connected to the "New Power Generation" project. Internationally, formats included 7-inch and 12-inch vinyl, cassette, maxi-cassette, picture disc and CD. A Japanese CD edition followed on March 25, 1991. CHARTS & CERTIFICATIONS AMERICA USA: Billboard Hot 100 — Entry: November 3, 1990 — Peak: 64 — Weeks: 5 USA: Billboard Hot R&B Singles — Entry: November 3, 1990 — Peak: 27 — Weeks: 11 EUROPE Belgium: Ultratop Flanders — Entry: November 24, 1990 — Peak: 42 — Weeks: 5 Ireland: IRMA Singles Chart — Entry: November 8, 1990 — Peak: 11 — Weeks: 2 Netherlands: Dutch Top 40 — Entry: November 17, 1990 — Peak: 21 — Weeks: 5 UK: Gallup Singles Chart — Entry: November 10, 1990 — Peak: 26 — Weeks: 4 PERSONNEL Prince — performer T.C. Ellis — featured performer on "T.C.'s Rap" Tony Mosley — featured performer on "Brother With A Purpose" Mavis Staples — performer on "Melody Cool (Extended Remix)" PRODUCTION Labels: Warner Bros. / Paisley Park Records NOTES This Chronicle specifically commemorates the October 23, 1990 US 7-inch release. All other supplied editions are documented as variants. "New Power Generation" was released approximately two months after Graffiti Bridge. The regular 7-inch and cassette formats paired "New Power Generation" with "New Power Generation Part II". The later maxi-single substantially expanded the project through several individually titled recordings developed around the musical foundation of "New Power Generation". Two earlier maxi-single sequences were assembled during October 1990 but were not commercially issued in those configurations. One proposed sequence included additional material such as "My Tree", "A Positive Place", "Play", "Oobey Doop" and "Heaven Is Keeping Score". A second configuration rearranged the material and incorporated alternate versions of some of these recordings. A handwritten Prince track list corresponding to one of the early configurations omitted "Heaven Is Keeping Score". On some editions, the ending of "The Lubricated Lady" is indexed as the beginning of "Loveleft, Loveright". The single was not issued digitally. RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format Prince New Power Generation / New Power Generation Part II Warner Bros. / Paisley Park USA 7-19525 October 23, 1990 7" Single Prince New Power Generation / New Power Generation Part II Warner Bros. / Paisley Park USA 4-19525 1990 Cassette Single Prince New Power Generation Maxi-Single Warner Bros. / Paisley Park USA 0-21783 November 29, 1990 12" Maxi-Single Prince New Power Generation Maxi-Single Warner Bros. / Paisley Park USA 4-21783 November 29, 1990 Cassette Maxi-Single Prince New Power Generation Maxi-Single Warner Bros. / Paisley Park USA 9 21783-2 November 29, 1990 5" CD Maxi-Single Prince New Power Generation Warner Bros. / Paisley Park USA PRO-A-4515 1990 Promo 12" Prince N.P.G. (Funky Weapon Remix) Warner Bros. / Paisley Park USA PRO-A-4578 1990 Promo 12" Prince New Power Generation Warner Bros. / Paisley Park USA PRO-CD-4515 1990 Promo CD Prince N.P.G. (Funky Weapon Remix) Warner Bros. / Paisley Park USA PRO-CD-4578 1990 Promo CD INTERNATIONAL VARIANTS Prince New Power Generation / New Power Generation Part II Warner Bros. / Paisley Park UK W9525 October 22, 1990 7" Single Prince New Power Generation / New Power Generation Part II Warner Bros. / Paisley Park UK W9525C 1990 Cassette Single Prince New Power Generation Warner Bros. / Paisley Park UK W9525T 1990 12" Single Prince New Power Generation Warner Bros. / Paisley Park UK W9525TP 1990 12" Picture Disc Prince New Power Generation Warner Bros. / Paisley Park UK W9525CD 1990 5" CD Prince New Power Generation / New Power Generation Part II Warner Bros. / Paisley Park Germany 5439-19525-7 1990 7" Single Prince New Power Generation Warner Bros. / Paisley Park Germany 7599-21801-0 1990 12" Single Prince New Power Generation Maxi-Single Warner Bros. / Paisley Park Germany 7599-21783-1 1990 12" Maxi-Single Prince New Power Generation Warner Bros. / Paisley Park Germany 7599-21801-2 1990 5" CD Prince New Power Generation / New Power Generation Part II Warner Bros. / Paisley Park Australia MX306045-6 1990 7" Single Prince New Power Generation Warner Bros. / Paisley Park Australia MX306085-6 1990 12" Single Prince New Power Generation / New Power Generation Part II Warner Bros. / Paisley Park Japan WPDP-6259 March 25, 1991 3" CD TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting US 7" Single 7-19525 A. New Power Generation (3:39) B. New Power Generation Part II (2:57) US Cassette Single 4-19525 A. New Power Generation (3:39) B. New Power Generation Part II (2:57) US Maxi 12" 0-21783 A1. N.P.G. (Funky Weapon Remix) (5:01) A2. T.C.'s Rap (3:11) A3. Brother With A Purpose (4:18) B1. Get Off (4:41) B2. The Lubricated Lady (2:39) B3. Loveleft, Loveright (5:00) US Maxi Cassette 4-21783 A1. N.P.G. (Funky Weapon Remix) (5:01) A2. T.C.'s Rap (3:11) A3. Brother With A Purpose (4:18) B1. Get Off (4:41) B2. The Lubricated Lady (2:39) B3. Loveleft, Loveright (5:00) US Maxi CD 9 21783-2 1. N.P.G. (Funky Weapon Remix) (5:01) 2. T.C.'s Rap (3:11) 3. Brother With A Purpose (4:18) 4. Get Off (4:41) 5. The Lubricated Lady (2:39) 6. Loveleft, Loveright (5:00) US Promo 12" PRO-A-4515 A. New Power Generation (3:39) B. New Power Generation (3:39) US Promo 12" PRO-A-4578 A. N.P.G. (Funky Weapon Remix) (5:06) B. N.P.G. (Funky Weapon Remix) (5:06) US Promo CD PRO-CD-4515 1. New Power Generation (3:39) 2. New Power Generation Part II (2:57) US Promo CD PRO-CD-4578 1. N.P.G. (Funky Weapon Remix) (5:01) UK 7" Single W9525 A. New Power Generation (3:39) B. New Power Generation Part II (2:57) UK Cassette W9525C A. New Power Generation (3:39) B. New Power Generation Part II (2:57) UK 12" Single W9525T A1. New Power Generation (3:39) B1. New Power Generation Part II (2:57) B2. Melody Cool (Extended Remix) (6:04) UK Picture Disc W9525TP A1. New Power Generation (3:39) B1. New Power Generation Part II (2:57) B2. Melody Cool (Extended Remix) (6:04) Germany 12" 7599-21801-0 A1. New Power Generation (3:39) B1. New Power Generation Part II (2:57) B2. Melody Cool (Extended Remix) (6:04) German Maxi 12" 7599-21783-1 A1. N.P.G. (Funky Weapon Remix) (5:01) A2. T.C.'s Rap (3:11) A3. Brother With A Purpose (4:18) B1. Get Off (4:41) B2. The Lubricated Lady (2:39) B3. Loveleft, Loveright (5:00) UK / German 5" CD W9525CD / 7599-21801-2 1. New Power Generation (3:39) 2. New Power Generation Part II (2:57) 3. Melody Cool (Extended Remix) (6:04) Japan 3" CD WPDP-6259 1. New Power Generation (3:39) 2. New Power Generation Part II (2:57) SOURCES Prince Vault, Discogs, sleevographia2. All single artwork, photographs, labels, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

A striking two-page feature in Italian music magazine Musica reflecting on Prince’s evolution as an artist at age 38, positioning him as a mature, boundary-pushing figure transitioning from his earlier wild image to a more philosophical and independent creator ahead of his album Emancipation. PUBLICATION Publication: Musica Date: October 23, 1996 Country: Italy Section / Pages: Feature / Two-page spread Title: Prince cambia THE STORY This October 1996 Italian magazine feature takes a deep look at Prince’s artistic transformation. The article discusses how the once flamboyant “Purple Rain” superstar had evolved into a more controlled, introspective artist at 38 years old. It covers his shift away from major label constraints, his upcoming album Emancipation, and his ability to blend genres while maintaining a unique, genre-defying voice. The piece is richly illustrated with dramatic black-and-white and color photos of Prince, emphasizing his iconic image and charisma. CONTEXT AND NOTES Published in late 1996 during Prince’s independent era (post-Warner Bros.), this feature captures a moment when Prince was actively reshaping his public narrative and preparing for Emancipation — his first album released under his own label after the famous “slave” period. Italian music press often gave Prince thoughtful, long-form coverage during this transitional phase of his career. FEATURE HIGHLIGHTS Event: In-depth career retrospective and preview of Emancipation era Era: Mid-1990s / Emancipation period Tone: Respectful, analytical, appreciative of his evolution Photography: Dramatic close-ups and artistic portraits (including the iconic wide-brim hat shot) Audience: Italian music fans and Prince enthusiasts WHAT THE CLIPPING SHOWS A classic two-page magazine spread with dense Italian text, bold headlines (“Prince cambia”), and striking photography. The layout features Prince in various intense poses, including a large close-up portrait on the left page and dynamic images across the spread, typical of 1990s European music journalism. RELATED MATERIAL Prince (1996) Emancipation era coverage Other 1996 Italian/European magazine features on Prince COPYRIGHT NOTICE All magazine scans, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

They Don’t Make Them Like They Used To is the nineteenth studio album by Kenny Rogers. Released by RCA Records, the album is particularly significant within the Prince-associated catalogue because it contains You’re My Love, a composition Prince supplied under the pseudonym Joey Coco. Rogers’ management approached Prince seeking material for the project. Prince responded with You’re My Love, a song originally recorded in 1982 and later considered for The Family. The composition marked the first use of the Joey Coco pseudonym. Prince did not participate directly in Kenny Rogers’ released recording of the song. RECORDING The album was recorded across several studios in California and Tennessee: Garden Rakes in Sherman Oaks, Conway and Oceanway in Hollywood, Can/Am in Tarzana, House Of Gold in Nashville and The Garage in Nashville. The released version of You’re My Love was performed by Kenny Rogers and the musicians involved with his album rather than Prince. STYLE & THEMES As a country artist, Kenny Rogers represented an unusual destination for a Prince composition during this period. The connection came through Rogers’ management rather than a direct collaboration between the two artists, resulting in a Prince composition becoming part of a mainstream country album while retaining its connection to Prince through the Joey Coco songwriting credit. RELEASE HISTORY They Don’t Make Them Like They Used To was released on October 23, 1986 through RCA Records. The compact disc edition was released at the same time as the LP. Two singles were issued from the album: They Don’t Make Them Like They Used To and Twenty Years Ago. Neither single contained a Prince contribution. CHARTS & CERTIFICATIONS AMERICA USA Billboard Top Pop Albums Chart: No. 137 Chart Entry: December 13, 1986 Weeks On Chart: 15 USA Billboard Country Albums Chart: No. 16 Chart Entry: January 24, 1987 Weeks On Chart: 7 PERSONNEL Kenny Rogers – lead vocals El DeBarge – background vocals Carlos Vega – drums Abraham Laboriel – bass guitar Robbie Buchanan – piano, synthesizer Michael Landau – guitar PRODUCTION Produced by: Jay Graydon Arranged by: Robbie Buchanan Engineered by: Jay Graydon, Ian Eales, Tom Singers, Kenny Mims Mastered by: Doug Sax at Mastering Lab, Hollywood, California Production Assistants: Valerie Hoebei, Gail Pierson A&R Coordination: Marge Metill Photography / Photographic Process: Bernie Boudreau Design: John Coulter / John Coulter Design Styling: Bill Whitten Lettering: Michael Manoogian Management: Ken Kragen / Kragen & Company Public Relations: PMK Label: RCA Records Release Date: October 23, 1986 Running Time: 41:29 Recorded At: Garden Rakes, Sherman Oaks, CA; Conway, Hollywood, CA; Can/Am, Tarzana, CA; Oceanway, Hollywood, CA; House Of Gold, Nashville, TN; The Garage, Nashville, TN PRINCE CONNECTION You’re My Love was written by Prince under the pseudonym Joey Coco. The song had originally been recorded in 1982 and was subsequently considered for The Family before being supplied to Kenny Rogers after Rogers’ management requested a song from Prince. Prince had no direct involvement in the version released on the Kenny Rogers album. NOTES • Nineteenth studio album by Kenny Rogers. • Released October 23, 1986. • Includes the Prince composition You’re My Love. • You’re My Love marked the first use of Prince’s Joey Coco pseudonym. • Prince did not perform on the released version. • CD and LP editions were released at the same time. • The back cover presents the songs in a different order from the actual running order. • They Don’t Make Them Like They Used To and Twenty Years Ago were released as singles from the album. • Reached No. 16 on the US Billboard Country Albums Chart. • Reached No. 137 on the Billboard Top Pop Albums Chart. RELEASE VARIANTS TABLE Artist Title Label Date Format Kenny Rogers They Don’t Make Them Like They Used To RCA Records October 23, 1986 LP / MC Kenny Rogers They Don’t Make Them Like They Used To RCA Records October 23, 1986 CD TRACKLIST TABLE LP / MC CD SIDE ONE • This Love We Share • If I Could Hold On To Love • You’re My Love – 4:06 • Time For Love • They Don’t Make Them Like They Used To SIDE TWO • Life Is Good, Love Is Better • Just The Thought Of Losing You • Anything At All • After All This Time • Twenty Years Ago • This Love We Share • If I Could Hold On To Love • You’re My Love – 4:06 • Time For Love • They Don’t Make Them Like They Used To • Life Is Good, Love Is Better • Just The Thought Of Losing You • Anything At All • After All This Time • Twenty Years Ago SOURCES Prince Vault, Discogs, sleevographia2. All single artwork, photographs, labels, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

This short Minneapolis Star and Tribune music item reports strong chart activity for two Minneapolis acts closely connected with Prince. The Time's “777-9311” and What Time Is It? were both at No. 2 on Billboard's respective Black singles and albums charts, while Vanity 6's album was identified as a strong Warner Bros. seller and a Top 10 dance-chart release. The clipping closes by noting that both local records were produced by Prince. Publication: Minneapolis Star and Tribune Date: October 24, 1982 Country: United States Appearing in the newspaper's Music section, the item opens with the playful declaration “The time has come for the Time.” The article reports that the Minneapolis soul band's single “777-9311” had reached No. 2 on Billboard's Black or Soul chart that week. The success extended to the group's album What Time Is It?, which the clipping also places at No. 2 on the Black albums chart. The article identifies Morris Day as The Time's singer while describing the other members collectively as the singer's musical associates. The feature then turns to Vanity 6, another local act. The group's self-titled album Vanity 6 is described as the fourth-hottest-selling Warner Bros. album during the previous week. The clipping also states that the album was a Top 10 hit on the dance charts. For comparison, the newspaper notes that other Warner Bros. releases selling strongly at the time included records by Fleetwood Mac, Michael McDonald and The Who. The important Prince connection is saved for the final sentence, where the newspaper states clearly that both local records were produced by Prince. CONTEXT AND NOTES Although Prince is not the principal subject of the short item, the clipping documents Prince's production work behind two successful Minneapolis projects in October 1982. The newspaper gives specific contemporary chart positions for The Time: “777-9311” at No. 2 on Billboard's Black or Soul singles chart and What Time Is It? at No. 2 on the Black albums chart. For Vanity 6, the newspaper does not give an exact dance-chart position beyond describing the album as a Top 10 hit, but it does identify Vanity 6 as Warner Bros.' fourth-hottest-selling album during the preceding week. The clipping therefore provides a concise contemporary snapshot of Prince's production activity extending beyond Prince's own recordings and into other Minneapolis acts. FEATURE HIGHLIGHTS Event: Chart success for Prince-produced recordings by The Time and Vanity 6 Era: 1982 Prince period Tone: Informative and chart-focused Photography: No photograph appears in the supplied clipping; the item consists entirely of text WHAT THE CLIPPING SHOWS • “777-9311” by The Time at No. 2 on Billboard's Black or Soul singles chart • What Time Is It? by The Time at No. 2 on the Black albums chart • Vanity 6 identified as Warner Bros.' fourth-hottest-selling album during the previous week • Vanity 6 described as a Top 10 dance-chart hit • Both local records explicitly credited as being produced by Prince All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This extensive Detroit Free Press feature examines Prince at a difficult but highly productive point in his career. Against the backdrop of the Lovesexy era, the article considers declining American record sales and concert attendance alongside Prince’s formidable musical output, Paisley Park activities and continuing determination to pursue artistic success rather than simply repeat the commercial formula of Purple Rain. Publication: Detroit Free Press Date: October 24, 1988 Country: United States Published under the headline “Prince composes his own musical journey”, the feature considers the changing commercial position of Prince four years after Purple Rain had turned Prince into one of the biggest stars in popular music. The article acknowledges that Prince continued to produce successful records and receive critical acclaim, but argues that the scale of Prince’s American popularity had declined. Album sales were lower, concert attendance had fallen and more recent films had been commercially unsuccessful. Radio programmer Rick Gillette argues that Prince could no longer rely simply upon celebrity, saying audiences were increasingly judging each recording on its musical merits. The article backs this assessment with contemporary sales figures. Around The World In A Day is reported as selling 3.4 million copies in 1985, Parade 1.9 million in 1986, and the double album Sign O’ The Times 1.7 million. At the time of writing, Lovesexy had yet to receive million-selling certification. THE LOVESExY PERIOD The article also looks at the American Lovesexy Tour, described as Prince’s first extensive U.S. tour in four years. Despite Prince’s reputation as a live performer, the newspaper reports that the tour was having difficulty selling tickets. Prince had already removed hometown appearances scheduled for September and was facing additional problems in other cities. The article contrasts this situation with Prince’s extraordinary Detroit popularity in 1984. The photograph caption recalls that during that year Prince was sufficiently successful to perform seven sold-out Detroit concerts. Prince himself is quoted discussing commercial considerations in much broader terms, emphasising that money and record sales were secondary to the music and to Prince’s desire to continue producing work. A CAREER AFTER PURPLE RAIN The feature identifies Purple Rain as creating an almost impossible commercial standard for Prince’s subsequent releases. Other artists are used to demonstrate how difficult it can be to follow an enormous breakthrough record. The article argues that even successful performers rarely match the sales of their biggest albums every time. Prince’s output since Purple Rain is described as exceptionally prolific. Alongside the albums, Prince had completed two films, toured Europe and recorded The Black Album, which was withdrawn shortly before its intended release. The article suggests that the volume of work may itself have contributed to Prince’s changing commercial position. PAISLEY PARK AND OTHER ARTISTS Another important part of the feature concerns Prince’s work beyond Prince’s own recordings. The article notes the establishment of Paisley Park Records and Prince’s songwriting and production involvement with artists including Sheila E., The Bangles, Sheena Easton, Kenny Rogers, The Family, Madhouse, The Three O’Clock, Taja Sevelle and Nona Hendryx. While acknowledging the generally high quality of much of this material, the feature questions whether Prince’s extraordinary workload may have created professional exhaustion. Radio programmer Chuck Beck describes the possibility of burnout, while music writer Jon Bream identifies several factors that may have damaged Prince’s American commercial position, including single choices, the lack of extensive U.S. touring and Prince’s continuing reluctance to give interviews. PRINCE’S OWN VIEW Prince’s comments provide an important counterpoint to the commercial analysis. Prince speaks about striving for perfection while admitting to a stubborn streak. Rather than expressing concern about sales statistics, Prince talks about wanting the freedom to pursue whatever creative direction feels appropriate. The article also includes comments from musicians who had worked closely with Prince. Sheila E. recalls Prince encouraging Sheila E. towards greater independence, while Lisa Coleman describes Prince as “a true artist” and suggests that Prince’s body of work would ultimately be judged through the albums rather than simply through immediate sales figures. CONTEXT AND NOTES The feature offers a detailed snapshot of Prince’s American career in October 1988, balancing evidence of reduced commercial momentum against the extraordinary amount of music Prince continued to create. Rather than presenting Prince as an artist whose career was simply in decline, the article asks whether changing public tastes, relentless productivity and Prince’s refusal to repeat earlier formulas had altered the scale of Prince’s mainstream success. The accompanying photograph shows Prince performing with a guitar. Its caption contrasts the situation in 1988 with 1984, when Prince played seven sold-out concerts in Detroit. WHAT THE CLIPPING SHOWS • Assessment of Prince’s changing commercial position following Purple Rain • Reported sales of Around The World In A Day, Parade and Sign O’ The Times • Discussion of difficulties affecting the American Lovesexy Tour • Reference to Prince’s seven sold-out Detroit concerts in 1984 • Discussion of The Black Album being withdrawn before release • Prince’s work through Paisley Park with numerous other artists • Comments from Sheila E., Lisa Coleman, Jon Bream, Rick Gillette and Chuck Beck • Prince emphasising artistic freedom and music over sales statistics FEATURE HIGHLIGHTS Event: Career assessment during the Lovesexy era Era: 1988 Lovesexy period Tone: Analytical, questioning and ultimately respectful Photography: Large black-and-white performance photograph of Prince with guitar All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Beautiful Strange was a television special created for UK television and first broadcast on Channel 4 on October 24, 1998. A US broadcast followed on October 27, 1998. Running for approximately 80 minutes, the programme combined an interview with Mel B of the Spice Girls with Prince concert footage recorded at the Café de Paris in London during the early hours of August 28, 1998. The special also incorporated the “Beautiful Strange” and “Come On” videos, with “Come On” appearing after the programme's closing credits. The complete television special was subsequently issued as a home video through Prince's 1-800-NEW-FUNK website. SPECIAL DETAILS UK Broadcast: October 24, 1998USA Broadcast: October 27, 1998Director: Prince, assumed and uncreditedProducer: PrinceProduction Company: Paisley Park EnterprisesRuntime: 80 minutesOriginal Channel: Channel 4Country: UKLanguage: EnglishSound Mix: Dolby DigitalColour: ColourAspect Ratio: 4:3 FILMING & PRODUCTION Different elements of Beautiful Strange were assembled from material filmed in the United States and the United Kingdom during July and August 1998. The interview with Mel B was recorded at Paisley Park Studios in Chanhassen, Minnesota on July 30, 1998. Concert footage was filmed during Prince's performance at the Café de Paris in London in the early hours of August 28, 1998. Additional filming took place in Hyde Park, London on August 28, 1998 for the “Come On” video. Date Location Material July 30, 1998 Paisley Park Studios, Chanhassen, Minnesota, USA Interview with Mel B August 28, 1998 (a.m.) Café de Paris, London, UK Concert footage August 28, 1998 Hyde Park, London, UK “Come On” video PROGRAMME CONTENT No. Content 1 Beautiful Strange Intro (I) 2 Interview 3 Beautiful Strange 4 Beautiful Strange Intro (II) 5 Push It Up 6 Jam Of The Year 7 Talkin’ Loud And Sayin’ Nothing 8 Instrumental 9 Sweet Thing featuring Chaka Khan 10 Baby, I Love You 11 Don’t Talk 2 Strangers 12 Free 13 Party Time – The Show featuring Doug E. Fresh 14 Come On 15 Mad, including La-Di-Da-Di, featuring Doug E. Fresh 16 Credits 17 Come On CAST & PERFORMERS Prince THE NEW POWER GENERATION Morris “Mr.” HayesKirk JohnsonMarva KingRev. Mike ScottRhonda SmithJerry MartiniCynthia RobinsonChaka KhanLarry GrahamDoug E. Fresh CHAKA'S BAND Mike CampbellPenny FordTony MorrisMark StevensLisa VaughnBobby WatsonAudrey Wheeler CREW & CREDITS NPG RECORDS Hans Martin-BuffTraci BransfordSerena KarlenLondell McMillanJacqui ThompsonManuela Testolini Max Carlish – 4M ProductionsSteven Keene – Channel 4, UKGabby Sappington – BMGSonny Takhar – BMG-UKRaeven Productions Café de Paris – Nightclub SECURITY Earl GabbidonAaron LiepinsTrevor Allen CREW Kim BerryAndrew “Griff” KistnerMark MillerYevette RamanoJim SilviaWil SkyeTakumi SuetsuguWilliam “Viggy” VignolaJason “Chief” WilkiesJames Woolley RELEASE HISTORY Beautiful Strange made its original UK television appearance on Channel 4 on October 24, 1998. The special was shown in the USA three days later, on October 27, 1998. The complete television programme was later made available as a home-video release through Prince's 1-800-NEW-FUNK website. SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2, RockfilesUK. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

On October 24, 2013, Prince released The Breakfast Experience, a five-track digital EP centred on “Breakfast Can Wait”. The EP combined the original 3:55 recording with four additional versions: “Grits‘N’Gravy”, “Espresso”, “Honey” and “Buttermilk”. “Breakfast Can Wait” had first been made available as an individual download through 3rdEyeGirl.com on February 5, 2013. It was subsequently re-released through 3rdEyeTunes.com on August 17, 2013. The artwork accompanying the August release featured comedian Dave Chappelle dressed as Prince and serving pancakes. The image came from the Chappelle’s Show sketch broadcast on February 18, 2004 in which Chappelle portrayed Prince as part of the “Charlie Murphy’s True Hollywood Stories” series. The artwork generated considerable positive media attention for Prince and highlighted his willingness to embrace the humour surrounding the sketch. According to the supplied information, this attention was likely one of the reasons “Breakfast Can Wait” subsequently received an official single release. The standalone digital single was released on September 3, 2013. The Breakfast Experience followed on October 24, expanding the original track into a five-track digital EP. “Breakfast Can Wait” was subsequently included on Art Official Age the following year. This retrospectively made it the first single associated with the album, although the supplied information indicates that the album is not believed to have been conceived when the single originally appeared. TRACK-BY-TRACK NOTES • Breakfast Can Wait — The original 3:55 version and the recording around which The Breakfast Experience was constructed. • Breakfast Can Wait (Grits‘N’Gravy) — A 3:29 alternative version included on the EP. • Breakfast Can Wait (Espresso) — A further alternative treatment running for 3:33. • Breakfast Can Wait (Honey) — A 3:38 version included as the fourth track. • Breakfast Can Wait (Buttermilk) — The fifth and shortest version on the EP, running for 2:47. RELEASE HISTORY “Breakfast Can Wait” initially appeared as an individual download through 3rdEyeGirl.com on February 5, 2013. It was re-released through 3rdEyeTunes.com on August 17, 2013, accompanied by the Dave Chappelle artwork that subsequently attracted significant media attention. The official standalone digital single was released on September 3, 2013 through NPG Records. The digital version contained the 3:55 recording of “Breakfast Can Wait”. On October 24, 2013, The Breakfast Experience followed on iTunes. Rather than simply repeating the original single, the EP expanded the release to five tracks by adding the “Grits‘N’Gravy”, “Espresso”, “Honey” and “Buttermilk” versions. Amazon availability followed on October 25, 2013. The EP was subsequently made available through 3rdEyeTunes.com on November 5, 2013. Other digital outlets identified in the supplied information include Google Play, BPM, Qobuz, Amoeba and Spotify. A UK promotional CDR containing “Breakfast Can Wait” was also produced without a catalogue number. The supplied information states that the record was not released commercially on vinyl. CHARTS & CERTIFICATIONS AMERICA USA: Billboard Adult R&B Songs — Entry: December 28, 2013 — Peak: 26 — Weeks: 8 USA: Billboard Hot R&B/Hip-Hop Singles Sales — Entry: November 9, 2013 — Peak: 1 — Weeks: 4 USA: Billboard Bubbling Under R&B/Hip-Hop Songs — Entry: September 21, 2013 — Peak: 9 — Weeks: 1 USA: Billboard R&B/Hip-Hop Digital Song Sales — Entry: September 21, 2013 — Peak: 27 — Weeks: 1 EUROPE Belgium: Ultratop Urban Flanders — Entry: September 14, 2013 — Peak: 38 — Weeks: 7 Belgium: Ultratop Ultratip Flanders — Entry: October 5, 2013 — Peak: 80 — Weeks: 2 CERTIFICATIONS The single received no certifications in the USA or elsewhere according to the supplied information. AWARDS The single received no awards in the USA or elsewhere according to the supplied information. PRODUCTION Label: NPG Records NOTES On the release date, a link promoting “Breakfast Can Wait” was posted through the 3rdEyeGirl Twitter account. Members of 3rdEyeGirl also shared the link through their individual Facebook accounts, while Kobalt Music Group promoted the single's worldwide availability. The artwork used in connection with “Breakfast Can Wait” featured Dave Chappelle portraying Prince and serving pancakes. The image originated from the Chappelle’s Show sketch “True Hollywood Stories: Prince & Red Balls Energy Drink”, broadcast on February 18, 2004 as part of the “Charlie Murphy’s True Hollywood Stories” series. RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format Prince Breakfast Can Wait NPG Records USA B00EV51PPY September 3, 2013 Digital (.mp3) Prince Breakfast Can Wait NPG Records USA — September 3, 2013 Digital (.wav) Prince Breakfast Can Wait NPG Records UK No catalogue number 2013 Promotional CDR Prince The Breakfast Experience NPG Records USA B00G5Q0HUQ October 24, 2013 Digital EP (.mp3) TRACKLIST TABLE Format Catalogue Tracklisting Digital Single US: B00EV51PPY UK: B00EVME5V8 FR: B00EVLSWU4 DE: B00EVTUQDW ES: B00EVKVEQE JP: B00EV4E5NY 1. Breakfast Can Wait (3:55) Digital EP – The Breakfast Experience US: B00G5Q0HUQ UK: B00G6TWZ6G FR: B00G7HT3UI DE: B00G5WLQVO ES: B00G5N5G4G JP: B00G5MIWCK 1. Breakfast Can Wait (3:55) 2. Breakfast Can Wait (Grits‘N’Gravy) (3:29) 3. Breakfast Can Wait (Espresso) (3:33) 4. Breakfast Can Wait (Honey) (3:38) 5. Breakfast Can Wait (Buttermilk) (2:47) UK Promotional CDR No catalogue number 1. Breakfast Can Wait (3:55) TAGS SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2, RockfilesUK. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Kansas City Star article from September 6 1991 reports on Prince’s decision to release his new Gett Off video directly to home video, following the success of Madonna’s Justify My Love. The piece highlights Prince’s innovative approach to distribution and his continued experimentation with visual formats tied to his upcoming Diamonds and Pearls album. Publication: The Kansas City Star Date: September 6, 1991 Country: United States Written by Scott Hettrick, the article explains that Prince’s thirty‑minute video, titled Nothing Can Stop … Prince and the  New Power Generation ‘Gett Off’, would be released through Warner Reprise Video at $14.98. The project includes several new songs not featured on Diamonds and Pearls, filmed at both Prince’s home and Paisley Park Studios. The report situates Prince’s release within a growing trend of direct‑to‑video music projects, noting Madonna’s precedent and Warner’s simultaneous release of other artist profiles. The article also mentions that the Gett Off video would feature exclusive performances and carry a Parental Advisory label due to its provocative content. CONTEXT AND NOTES By 1991, Prince was redefining multimedia artistry, merging music, film, and performance into cohesive visual experiences. The Gett Off Maxi Video marked a turning point in how artists used home video to reach audiences beyond television censorship. The Kansas City Star coverage underscores Prince’s role as a pioneer in music marketing, blending sensual imagery with creative independence. His direct‑to‑video release strategy mirrored his broader artistic philosophy — control over both sound and vision. FEATURE HIGHLIGHTS Event: Announcement of Prince’s Gett Off Maxi Video release Era: 1991 – Diamonds and Pearls  New Power Generation Era Tone: Informative, industry‑focused, and forward‑looking Photography: Black‑and‑white portrait of Prince accompanying the article WHAT THE CLIPPING SHOWS Kansas City Star feature announcing Prince’s direct‑to‑video release Details of the Gett Off project and its exclusive tracks Context linking Prince’s innovation to broader entertainment trends SOURCES Prince Vault, Sleevographia2, Discogs. All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.