Partyman / Cool (Prince Du Parc) purple‑vinyl 7", released 7 May 2021. Track Listing — Purple 7" Vinyl A. Partyman (Single Edit) — 3:12 (Actual audio: Album Version from Batman) B. Cool (Live at Le Zénith, Paris, 1 June 2014 – 2nd Show) — 4:54 Catalogue: RCV7 655945 / 081227879174 Format: 7" Vinyl • Purple Vinyl Label: NPG / Warner Records Country: France (Exclusive) Release Date: 7 May 2021 Catalogue: RCV7 655945 / 081227879174 Also Known As: Prince Du Parc Overview Released on 7 May 2021, Partyman / Cool is a Paris Saint‑Germain–exclusive 7" single, sold only through the football club’s official website and in‑person at launch. The release coincided with the unveiling of a collaborative apparel collection between Paris Saint‑Germain and The Prince Estate, with the single acting as a promotional tie‑in. The A‑side features Partyman (Single Edit) — although the disc actually contains the album version from Batman, complete with its film‑sampled intro. The B‑side contains a previously unreleased live version of “Cool”, recorded during Prince & 3rdEyeGirl’s final Paris performance on 1 June 2014, Le Zénith (2nd show). Although labelled “previously unreleased,” the performance had been broadcast in 2015 as part of the Crazy2Cool medley on 89.3 The Current, with video later streaming on Tidal. The single was pressed only on purple vinyl, with no advance notice before release. The nickname “Prince Du Parc” is a pun on PSG’s stadium, Parc des Princes. The Jeff Katz cover image had previously been used to promote Prince’s 1990 Nude Tour show at the same venue. Context & Significance Released 7 May 2021 exclusively through Paris Saint‑Germain Promotional tie‑in for the PSG × Prince Estate apparel collection A‑side uses the album version of Partyman, not the Single Edit as labelled B‑side is a previously unreleased live version of Cool Live performance originally broadcast in 2015 as part of the Crazy2Cool medley Pressed only on purple vinyl No advance announcement; available in‑person on release day Cover photo by Jeff Katz, previously used for Prince’s 1990 Parc des Princes concert promotion Neither track was recorded at Parc des Princes Sources Prince Vault (release chronology, track information) Paris Saint‑Germain official store archives The Prince Estate promotional materials 89.3 The Current broadcast history Tidal streaming archive (Crazy2Cool medley) All artwork, photographs, and original text excerpts 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.

A surprise 40th‑anniversary release of Prince’s intimate 1979 demo — issued on limited purple vinyl and cassette RELEASE DETAILS Date: October 14, 2021 Catalogue: RSD 21-04 Format: 7" Vinyl Single (Limited Purple) + Cassette Country: United Kingdom A-Side: “Do Me, Baby (Demo)” – 4:47 B-Side: Etching THE STORY Released without prior announcement on October 14, 2021 by Warner Records to celebrate the 40th anniversary of the Controversy album, “Do Me, Baby (Demo)” features a previously unreleased 1979 recording of the track. The limited 7" purple vinyl and matching cassette (1,981 copies each) were available exclusively via Prince.com for one week. The track also became available digitally and on streaming platforms on release day. CONTEXT & NOTES Recorded in April 1979, this early demo predates the polished Controversy version by two years. Stripped back and emotionally exposed, it highlights Prince’s vocal vulnerability and sensual phrasing long before the song became one of his signature slow jams. The 2021 release forms part of the Estate’s ongoing archival strategy, spotlighting formative recordings that reveal Prince’s creative evolution. TRACK LIST 7" Vinyl Single A. Do Me, Baby (Demo) – 4:47 B. Etching CHART PERFORMANCE Not applicable (limited anniversary release) PERSONNEL Prince – vocals, all instruments (1979 demo) PACKAGING HIGHLIGHTS Limited purple 7" vinyl (1,981 copies) Matching limited cassette (1,981 copies) Available exclusively via Prince.com for one week Standard sleeve for the 7" with anniversary artwork . WHAT THE LABEL / SLEEVE SHOWS Purple vinyl with custom 2021 anniversary artwork. The release echoes the aesthetic of Prince’s early-’80s era. RELATED MATERIAL Controversy (1981 album) Do Me, Baby (Album Version, 1981) Prince’s 1979–1981 early recordings For other relevant posts, see the tags at the foot of the page. SOURCES Prince Vault • Sleevographia2 • Warner Records / Prince Estate official announcement • Discogs COPYRIGHT NOTICE 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

A smooth, late‑period R&B jewel from Prince’s vault — unveiled in pristine high‑resolution audio. RELEASE DETAILS Date: April 26, 2024 Format: Digital Single (High-Resolution WAV, 24-bit / 96 kHz) Country: Worldwide Track: “Magnificent” – 4:35 THE STORY Released digitally worldwide on April 26, 2024 by NPG Records (distributed by Legacy Recordings), “Magnificent” is a previously unreleased 4:35 contemporary R&B track drawn from Prince’s vast vault. This polished, soulful recording showcases Prince’s unmistakable vocal finesse, melodic warmth, and late-period production sensibility. CONTEXT & NOTES “Magnificent” emerges from Prince’s later creative period — a time defined by deep vault activity, genre-blending experimentation, and a renewed focus on soulful, intimate songwriting. The clean production and warm vocal delivery reflect Prince’s continued evolution as a producer and arranger well into the 2000s and 2010s. This release forms part of the ongoing digital vault series, offering fans a steady stream of previously unheard gems. TRACK LIST Digital Single Magnificent – 4:35 CHART PERFORMANCE No official chart entries reported (archival vault release) PERSONNEL Prince – vocals, instruments, production RELATED MATERIAL HITnRUN Era Vault Releases Late-period Prince digital singles (2024 series) For other relevant posts, see the tags at the foot of the page. SOURCES Prince Vault • Sleevographia2 • Legacy Recordings / NPG Records official announcement COPYRIGHT NOTICE All images, recordings, 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. ARTIST — Prince ARTIST CATEGORY — Prince Scrapbook ARTIST ITEM — Magnificent (Digital Single) ARTIST ATTACHMENT — NPG Records / Legacy Recordings ARTIST YEAR — 2024

A newly unearthed acoustic gem from Prince’s 1982 vault sessions — intimate, raw and emotionally resonant RELEASE DETAILS Date: June 6, 2025 Format: Digital Single Country: Worldwide Track: “Free (Acoustic Version)” – 4:09 THE STORY Released digitally worldwide on June 6, 2025 by Legacy Recordings, “Free (Acoustic Version)” presents a previously unheard stripped-down take of the 1982 album track from 1999. This vault recording showcases Prince alone with his guitar, delivering a tender, unembellished performance that reframes one of his most uplifting anthems as a personal, introspective confession. CONTEXT & NOTES Recorded during the early 1980s 1999 sessions — a period of explosive creativity — this acoustic version highlights the purity of Prince’s voice and the emotional clarity of the song’s message. The release continues Legacy’s commitment to presenting Prince’s vault material with care, offering fans a deeper understanding of his songwriting craft in its most minimal form. TRACK LIST Digital Single Free (Acoustic Version) – 4:09 CHART PERFORMANCE Not applicable (archival digital vault release) PERSONNEL Prince – vocals, acoustic guitar RELATED MATERIAL 1999 (1982 album) Free (Album Version, 1982) Prince Vault releases For other relevant posts, see the tags at the foot of the page. SOURCES Prince Vault • Sleevographia2 • Legacy Recordings official announcement COPYRIGHT NOTICE All images, recordings, 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.

Prince’s 21‑minute Minneapolis‑funk odyssey returns in a newly remastered high‑resolution digital edition for the 40th anniversary of Around the World in a Day RELEASE DETAILS Date: July 4, 2025 Format: Digital Single (High-Resolution WAV, 24-bit / 44.1 kHz) Country: Worldwide (excluding US) Track: “America (12" Version)” – 21:41 THE STORY Released on July 4, 2025 by Warner Records, this newly remastered digital single revives the legendary 21:41 extended version of “America.” Credited to Prince and The Revolution, the track appears here in high-resolution audio, offering the cleanest and most dynamic digital presentation of the full-length jam to date. It serves as a precursor to the Around the World in a Day: The Singles vinyl box set. CONTEXT & NOTES Originally released in 1985 as part of the Around the World in a Day campaign, “America” is one of Prince’s most ambitious extended jams — a politically charged, hypnotic funk workout that showcases The Revolution at their most explosive. The 2025 remaster restores clarity, punch, and warmth, making this sprawling masterpiece widely accessible again after decades of rarity. TRACK LIST Digital Single America (12" Version) – 21:41 CHART PERFORMANCE Not applicable (archival digital reissue) PERSONNEL Prince – vocals, guitar, all instruments The Revolution (full band) RELATED MATERIAL Around the World in a Day (1985 album) America (1985 7" Single) Around the World in a Day: The Singles (2025 7" Box Set) For other relevant posts, see the tags at the foot of the page. SOURCES Prince Vault • Sleevographia2 • Warner Records official announcement • Discogs COPYRIGHT NOTICE All images, recordings, 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.

A newly unearthed live cut from Prince’s legendary 1987 tour — raw, urgent, and electrifying RELEASE DETAILS Date: August 29, 2025 Format: Digital Single Country: Worldwide Track: “Sign O’ The Times (Live In Rotterdam 1987)” – 5:26 THE STORY Released digitally on August 29, 2025 by Legacy Recordings, “Sign O’ The Times (Live In Rotterdam 1987)” presents a previously unreleased performance from Prince’s iconic 1987 Sign o’ the Times Tour. Captured at the Rotterdam Ahoy, this 5:26 live version showcases Prince and his band delivering the title track with fierce intensity, expanded arrangements, and the unmistakable electricity of the era. CONTEXT & NOTES The 1987 Sign o’ the Times Tour is widely regarded as one of Prince’s greatest live periods — known for its dynamic stage arrangements, fearless experimentation, and powerful band chemistry. This official release offers fans a pristine, high-quality glimpse into that legendary tour, long celebrated through bootlegs but seldom heard in this clarity. It forms part of the ongoing archival programme between NPG Records and Legacy Recordings. TRACK LIST Digital Single Sign O’ The Times (Live In Rotterdam 1987) – 5:26 CHART PERFORMANCE Not applicable (digital archival release) PERSONNEL Prince – vocals, guitar, all instruments Full 1987 Sign o’ the Times Tour band RELATED MATERIAL Sign o’ the Times (1987 album) Sign o’ the Times Tour (1987) Live recordings from the 1987 era For other relevant posts, see the tags at the foot of the page. SOURCES Legacy Recordings / NPG Records official announcement • Prince Vault COPYRIGHT NOTICE All images, recordings, 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

To celebrate the 40th anniversary of the album by Prince and the Revolution, the Prince Estate in partnership with Warner Records and Legacy Recordings releases a stunning limited 7" singles box set exclusively for RSD Black Friday. RELEASE DETAILS Artist: Prince and the Revolution Title: Around The World In A Day: The Singles Release Date: RSD Black Friday 2025 Format: Limited Edition 5 × 7" Box Set (Clamshell) Country: Worldwide (RSD exclusive) THE STORY Marking 40 years since the original release of Around The World In A Day (April 22, 1985), the Prince Estate, Warner Records, and Legacy Recordings have produced this exclusive limited-edition 7" box set. Newly remastered by Bernie Grundman with additional mastering by Chris James, the set contains all four singles from the album — “Raspberry Beret,” “Paisley Park,” “Pop Life,” and “America” — each pressed on a unique colored vinyl with its original 7" sleeve. It also includes a brand new exclusive 7" of the 1985 track “4 The Tears In Your Eyes,” originally contributed to the We Are The World project. The entire collection is housed in a beautiful clamshell box featuring elements of Doug Henders’ iconic album artwork. CONTEXT & NOTES Around The World In A Day marked a bold creative shift for Prince and the Revolution just ten months after Purple Rain. The album blended psychedelic textures, world music influences, and spiritual themes, expanding Prince’s sonic palette. This RSD box set celebrates that adventurous spirit while making the singles available in a premium physical format for the first time in decades. The inclusion of the previously unreleased-on-vinyl “4 The Tears In Your Eyes” adds significant collector appeal. PACKAGING HIGHLIGHTS Limited-edition clamshell box set Each 7" on unique colored vinyl Faithful reproductions of the original 1985 single sleeves Artwork elements from Doug Henders’ Around The World In A Day design Strictly RSD Black Friday exclusive – not available separately RELATED MATERIAL Around The World In A Day (1985 album) Purple Rain (1984 album) Raspberry Beret (1985 single) Paisley Park (1985 single) For other relevant posts, see the tags at the foot of the page. SOURCES Prince Estate / Warner Records / Legacy Recordings official announcement COPYRIGHT NOTICE All images, artwork, 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. TRACK LIST 7" Box Set Contents Raspberry Beret (original single version) – Unique color vinyl Paisley Park (original single version) – Unique color vinyl Pop Life (original single version) – Unique color vinyl America (original single version) – Unique color vinyl 4 The Tears In Your Eyes (exclusive 7" version) – Unique color vinyl Raspberry Beret 7” Side A 1. Raspberry Beret Side B 1. She's Always In My Hair Paisley Park 7” Side A 1. Paisley Park Side B 1. She's Always In My Hair Pop Life 7” Side A 1. Pop Life Side B 1. Hello America 7” Side A 1. America Side B 1. Girl 4 The Tears In Your Eyes 7” Side A 1. 4 The Tears In Your Eyes (“We Are The World” Version) Side B 1. 4 The Tears In Your Eyes (“The Hits/The B-Sides” Version)

An early career profile celebrating Prince as a musical prodigy who had already sold nearly three million records, written, produced, and performed all instruments on three albums before turning 20 SOURCE DETAILS Publication: Unspecified local / syndicated profile (likely Minneapolis-area publication) Date: February 5, 1981 Country: United States Section / Pages: Artist Profile THE STORY This concise profile highlights Prince’s remarkable early achievements: three self-produced albums (For You, Prince, and Dirty Mind), multiple hit singles including “I Wanna Be Your Lover,” and nearly three million records sold — all before the age of 20. It traces his self-taught beginnings on piano at age seven, his first band Champagne, and his determination to produce his own music despite early record deal challenges. CONTEXT & NOTES February 1981 came during the Dirty Mind era, when Prince was still an emerging but rapidly rising artist. This piece reflects local pride in Minneapolis while acknowledging his extraordinary talent and independence. It captures him at a transitional moment — already a proven hitmaker and multi-instrumentalist, yet still on the cusp of the massive breakthrough that 1999 and Purple Rain would bring. FEATURE HIGHLIGHTS Event: Early career retrospective profile Era: 1981 – Dirty Mind period Tone: Admiring and proud Photography: Likely accompanied by a portrait of Prince Audience: Local and general music readers WHAT THE CLIPPING SHOWS A straightforward, text-focused artist profile emphasising Prince’s prodigious talent, DIY approach in the studio, and impressive commercial success at a young age. The article stresses his creative control and self-reliance. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. COPYRIGHT NOTICE All magazine 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. 5 February 1981 Hometown Artist Sold 3 Million Records Before Age 20 To say that Warner Brothers recording artist Prince is a musical prodigy is almost an understatement. Before he turned 20, Prince had sold nearly three million records. He had recorded three LPs, playing all the instruments and writing and singing all the songs himself. And he'd gotten his first number one Single – "I Wanna Be Your Lover." One might expect a musician who plays 26 instruments and records his albums in a home-made Minneapolis studio to have a lot of formal training. But as Prince confesses, "I had one piano lesson and two guitar lessons as a kid." At the age of seven, Prince first started teaching himself to play. "My dad left home for the first time and left his piano," Prince says. "He never let anyone play it before. So I taught myself songs from the television — Batman, Man From UNCLE. I learned to play them by ear." By fifth grade Prince (his real name) was playing piano in talent shows, and soon after started writing original songs. By 13, he had his first band — Champagne. Champagne played hotels and high school dances, but by the time Prince finished high school, he realized he had far greater ambitions. A break came when Christ Moon, proprietor of a local Minneapolis studio, asked Prince to add some piano tracks to a guitar and voice demo Moon had made. After he put down to piano part, Prince asked Moon if he wanted bass. Moon accepted, and by the time Prince was done, he'd added bass, drums, guitar lead and overdubbed his own backing vocal. To return the favor, Moon let Prince have some free studio time. After Prince recorded some demo tapes, he said out for New York to find fame and fortune, and even though he was offered two record deals, Prince turned them down because "they wouldn't let me produce myself. They had a lot of strange ideas — tubas and cellos and stuff. I knew I was going to have to do it myself if it was going to turn out right." Prince returns to Minneapolis where meanwhile Moon had played Prince's work for a local manager. The manager was impressed enough to help Prince get his recording deal with Warner Brothers, and became at 18 the youngest artist on the label to ever produce his own record. Although he makes it sound like a modest achievement, Prince's records have already make a splash. The singles "Soft and Wet" (off For You, his debut) and "I Wanna Be Your Lover" were both R&B hits. "Uptown," off his latest — Dirty Mind — marks Prince's third hit. At 20, Prince may still just be a kid. But it's clear this is one kid who knows what he's doing.

A vivid and influential early profile capturing Prince at age 20 during the Dirty Mind era, highlighting his androgynous stage persona, provocative lyrics, and fierce independence. SOURCE DETAILS Publication: Rolling Stone Date: February 19, 1981 Country: United States Section / Pages: Feature Article THE STORY Bill Adler’s piece paints a striking portrait of Prince as a boundary-pushing, androgynous performer who blends funk, rock, and explicit sexuality. The article contrasts his flamboyant, barely-clothed stage presence with his soft-spoken, thoughtful offstage demeanor. Prince discusses his Minneapolis roots, his self-contained creative process, and his refusal to compromise his vision, even as Dirty Mind faced radio bans for its explicit content. CONTEXT & NOTES This Rolling Stone feature came at a crucial moment — just as Prince was transitioning from a promising young talent to a truly provocative and influential artist. The Dirty Mind album had shocked many with its raw themes, yet Prince remained unapologetic. The piece captures the mystique, ambition, and contradictions that would define his entire career. FEATURE HIGHLIGHTS Event: Major profile during the Dirty Mind era Era: 1981 – Early breakthrough period Tone: Vivid, descriptive, and intrigued Photography: Likely included striking live and portrait shots Audience: National rock and pop culture readership WHAT THE CLIPPING SHOWS A detailed, narrative-driven feature article with vivid descriptions of Prince’s stage performance, background, and artistic philosophy. The piece includes direct quotes from Prince and explores his rapid creative evolution and cultural impact. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. COPYRIGHT NOTICE All magazine 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 Rolling Stone February 19, 1981 Bill Adler Snaking out from the wings toward center stage at the Ritz, prancing like a pony with his hands on his hips and then flinging a clorine kick with a coquettish toss of his head, Prince is androgyny personified. Slender and doe-eyed, with a faint pubescent mustache, he is bare-chested beneath a gray, hip-length Edwardian jacket. There’s a raffish red scarf at this neck, and he’s wearing tight black bikini briefs, thigh-high black leg-warmers and black-fringed go-go boots. With his racially and sexually mixed five-piece band churning out the terse rhythms of “Sexy Dancer” behind him, the effect is at once truly sexy and more than a little disorienting , and his breathy falsetto only adds to his ambiguity – for sheer girlish vulnerability, there’s no one around to touch him: not Michael Jackson, not even fourteen-year-old soul songbird Stacy Lattisaw. At age twenty, Prince may be the unlikeliest rock star, black or white, in recent memory—but a star he definitely is. As quickly becomes apparent, Prince’s lyrics bear little relation to standard AM radio floss. In addition to bald sexual come-ons and twisted love plaints, he champions the need for independence and self-expression. And one song, “Uptown,” is, among other things, an antiwar chant. Further complicating the proceedings are the heavy-metal moans Prince wrenches out of his guitar and the punchy dance-rock rhythms of his band (bassist Andre Cymone, guitarist Dez Dickerson, keyboardists Lisa Coleman and Dr. Fink and drummer Bobby Z.), all of whom are longtime cohorts from Prince’s hometown—Minneapolis, of all places. “I grew up on the borderline,” Prince says after the show. “I had a bunch of white friends, and I had a bunch of black friends. I never grew up in any one particular culture.” The son of a half-black father and an Italian mother who divorced when he was seven, Prince pretty much raised himself from the age of twelve, when he formed his first band. Oddly, he claims that the normalcy and remoteness of Minneapolis provided just artistic nourishment he needed. “We basically got all the new music and dances three months late, so I just decided that I was gonna do my own thing. Otherwise, when we did split Minneapolis, we were gonna be way behind and dated. The white radio stations were mostly country, and the one black radio station was really boring to me. For that matter, I didn’t really have a record player when I was growing up, and I never got a chance to check out Hendrix and the rest of them because they were dead by the time I was really getting serious. I didn’t even start playing guitar until 1974.” With his taste for outlandish clothes and his “lunatic” friends, Prince says he “took a lot of heat all the time. People would say something about our clothes or the way we looked or who we were with, and we’d end up fighting. I was a very good fighter,” he says with a soft, shy laugh. “I never lost. I don’t know if I fight fair, but I go for it. That’s what ’Uptown’ is about—we do whatever we want, and those who cannot deal with it have a problem within themselves.” Prince has written, arranged, performed and produced three albums to date (For You, Prince and Dirty Mind), all presenting the same unique persona. Appearances to the contrary, though, he says he’s not gay, and he has a standard rebuff for overenthusiastic male fans: “I’m not about that; we can be friends, but that’s as far as it goes. My sexual preferences really aren’t any of their business.” A Penthouse “Pet of the Month” centerfold laid out on a nearby table silently underscores his point. It took Prince six months alone in the studio to concoct his 1978 debut album, because, he says, “I was younger then.” Prince required six weeks. He controlled the making of both records, but notes that they were “overseen” by record company and management representatives. Dirty Mind, however, was made in isolation in Minneapolis. “Nobody knew what was going on, and I became totally engulfed in it,” he says. “It really felt like me for once.” The result of this increased freedom was a collection of songs celebrating incest ("Sister") and oral sex ("Head") in language raw enough to merit a warning sticker on the album’s cover. “When I brought it to the record company it shocked a lot of people,” he says. “But they didn’t ask me to go back and change anything, and I’m real grateful. Anyway, I wasn’t being deliberately provocative. I was being deliberately me.” Obviously, judging by the polished eclecticism of Dirty Mind, being himself is the best course. “I ran away from home when I was twelve,” Prince says. “I’ve changed address in Minneapolis thirty-two times, and there was a great deal of loneliness. But when I think about it, I know I’m here for a purpose, and I don’t worry about it so much.”

A revealing early interview with a 20-year-old Prince during the Dirty Mind era, in which he discusses his provocative lyrics, creative independence, and refusal to conform. SOURCE DETAILS Publication: Blues & Soul Date: February 24, 1981 Country: United Kingdom Section / Pages: Feature Interview THE STORY In this candid conversation with John Abbey, Prince defends the controversial content of his Dirty Mind album, explains his spontaneous recording process, and discusses his desire to push boundaries without compromise. He addresses radio bans, his stage persona versus offstage personality, his Minneapolis upbringing, and his vision for connecting with young audiences through honest, outspoken music. CONTEXT & NOTES February 1981 was a pivotal time for Prince. Dirty Mind had just been released to both acclaim and controversy due to its explicit themes. This UK interview captures Prince at age 20 — already fiercely independent, self-producing, and playing nearly all instruments — as he began to articulate his artistic philosophy and resist being boxed into categories like R&B or punk. FEATURE HIGHLIGHTS Event: In-depth career and philosophy interview Era: 1981 – Dirty Mind period Tone: Honest, thoughtful, and defiant Photography: Likely accompanied by live or portrait shots Audience: UK soul and R&B readership WHAT THE CLIPPING SHOWS A substantial, text-heavy feature interview with Prince’s direct quotes on his music, image, background, and creative process. The piece contrasts his flamboyant, sexually charged stage presence with his soft-spoken, polite offstage demeanor. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. COPYRIGHT NOTICE All magazine 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. Blues & Soul February 24, 1981 John Abbey His album, titled "Dirty Mind", has been banned by radio stations across America because of its lyric content but Prince aims to promote it on the road until people get behind it... THROUGHOUT the long and varied history of Black music, I don't think there has ever been a more controversial artist than Prince, the highly talented and individualistic genius from Minneapolis, Minnesota. He has to his credit three albums — with the newest, titled "Dirty Mind", being by far the most pro-vocative. Because of some of the lyric content, the album has been banned by several radio stations — a dubious honour that has previously only been afforded to white acts! "I think this album is the most direct of the three and that I have really found myself," the softly-spoken twenty-year-old says in his defence. "This album deals with more definite events and not so much with fantasies and dreams. For the listener. I believe I have covered a wider range of subjects. too — though that wasn't something I planned consciously in advance. "The funny thing about the album, though, is the fact that l actually never planned to release these songs — they were really only demos that I had recorded for my own satisfaction. The two albums before were completely planned and thought out — this one was totally spontaneous. In a lot of cases. I recorded the tracks first and then just added the lyrics as I went along — often making them up as I went along, too. That's why there are some really strange lines in there!" As with its two predecessors, "Dirty Mind" can well and truly claim to be 'all his own work'. All of the songs are Prince creations and the versatile youngster also played all of the instruments, too. It was actually recorded back in the summer of 1980 — straight after Prince's first American tour. The album has also paved the way for the recent and far more successful nationwide tour. As those who have seen the show will willingly testify, his is a magnificently different show. Having never witnessed a Punk concert. I can't honestly say whether Prince took his ideas from that area of music — suffice to say that I have never witnessed an R&B type concert of this ilk! The whole thinking behind the tour is for Prince to support this album. "And I'm going to stay out there until the people get behind the album," he states firmly. "So far, airplay has been limited and so actual sales have only been mode-rate. A lot of radio people are so used to playing junk than when something different comes along they are frightened to programme It. "Probably, if I had actually planned a new album in advance — the way I did with the other two — I wouldn't have used any of these songs. But, once they were done, I realised that this was the real me. It deals with real subjects and the language is the way we really talk. When I say 'we', I mean young people. Everything is so much more to the point, I believe. Obviously, Prince's frame of mind was considerably different at the time of his recording this set. For example, the album lacks those sparkling ballads that have been a hallmark of the previous two. "I guess I just wasn't in that mood." he smiles softly. "When I did the other two albums. I think I was in love — and I wasn't when I did this one. You see, I think I always tend to write what I feel at that given moment." ANOTHER pet peeve of this forthright young man Lis in being labelled. Just about everywhere you look, he has been termed 'Punk'. "That's just a fad," he points out — almost as a put-down! I hate being put into any specific category so I never planned to get caught up in that punk thing. But then I'm not an R&B artist either — because I'm a middle-class kid from Minnesota, which is very much White America. "My background has restricted me to some degree and, frankly, my family don't understand what I am doing one little bit. In fact, they don't understand me!" One of the intriguing things about this ninth child (he has four sisters and four brothers) is the amazing Mr. Hyde and Dr. Jekyll transition that takes place once the stage lights are switched on. Sitting with him backstage after witnessing his amazingly extrovert show, it's hard to imagine this gentle, softly-spoken and highly sensitive young man swaggering around on stage exposing the majority of his booty for girls and guys alike to howl with uncontrollable desire over. "Once I'm on stage, I do change." he agrees. "A lot of what we do on stage is not planned — and that helps, I think. For example, we wear what we feel comfortable in. A lot of clothes would be restricting because the show is so... athletic, shall I say. Sometimes, sure — I get nervous. But I think I get more nervous about interviews than I do about being on stage! "I used to be even worse with interviews, though! Now I guess I've got more to talk about. Before, well, what was there I could say about 'Sexy Dancer'? With the album, I've got things that I can actually talk about and discuss. "Songs such as Party Up' – it deals with a seventy-five year old politician type guy who's got of foot in the grave and sipping Pina Coladas in Palm Springs and he's ready to press the button and start a war that the young people are going to have to go out and fight for him. It's never his son... oh, no, he pays off the right people so that his son doesn't have to go! I just believe that this kind of a decision shouldn’t be left to one person to make - especially someone of that age PRINCE'S visual image is " outrageous as his verbal image is outspoken. It has often crossed my mind whether his actual raw and basic talent " afforded the correct credit because of his wild and rebellious image. Or it, in fact, this image detracts from the considerable talent that is so obviously there in abundance. "I think so — yes" Prince almost hesitantly responds. "But it really doesn't bother me any longer. It were to come out in a three-piece suit, it wouldn't have the kind of effect on people that I want to have. You see, I hate to see people standing still. Things start to get boring and so movement is a necessity for me. With ticket prices being up at $8 or $9 each, I want everything to be just perfect. The sound, the lights — everything!" The band are really excellent musicians — and they are all open-minded people. — like me. That's one of the reasons why we all still live in Minneapolis - it keeps our minds free. Everything there is five or six months behind the rest of the country so it encourages us to think for ourselves. When I was about twelve years old, my sister went to live in New York and she started sending me records and things back home. That was when I realised that if I was seriously going to do anything in life. I'd have to come out of the box and do it for myself.Because in Minneapolis, there is no real competition and so nobody else can really have an effect on us. "That also accounts for why we could never be termed an R&B group, for example, too. Like I said, categories are stupid anyway. But we tend to attract all kind of people — white, black; gay, straight; male, female. But all young — that's important! For me, music is music and you can miss a great deal by categorising things." PRINCE has been acclaimed on many occasions as being precocious. Though the dictionary states that precocious is"remarkable for early development", it is a term that is usually reserved for childhood film stars who come across as being spoilt brats!" At times, I can be." Prince confesses. "In the beginning, it was more so and I still can be if I feel in that mood. It all depends on the vibe I get from the people I'm with — and if anybody starts attacking me verbally, that's when I'm at my most precocious. You see, it is important to me that I am taken seriously. Young people today are not taken seriously enough. "I ran away from home when I was twelve years old because I knew what I wanted to do in life and because nobody would take me seriously. Yes, I was misunderstood. At school, I was always ridiculed because of my name.Prince. Now, today, it's the thing that people remember about me first. It's my real name and though I could have changed it at school, I never wanted to. Now, today, I just do what I want to do, what feels right to me. "I don't accept the morals and standards that have been laid down before me. I have my own morals and my own standards to live up to.Right now, my strongest feeling is my fear of war breaking out. I find it repulsive that we have to live with that fear. Other than that, I try to take every day as it comes. I try not to look ahead and prefer to wait until something happens before I react. It can vary at times — depending on how I feel at any given moment. "Business? No. I'm not really into that. I have a good manager who is an even better friend to me so I trust her. Right now, the uppermost thing in my mind is this album. It is the most important event of my life and I'm going to keep playing these songs across America until everybody has heard what I want them to hear. It's important that I get this combination of messages over to the young people out there. "Basically, I don't claim to speak for everybody — but I do believe that in speaking for myself, I am also speaking for a lot of the young people of America. And since I have always found it difficult to relate to people on a one-to-one basis, I relate to the masses through my songs. And that's why I am outspoken in what I sing about." FOR THOSE of you interested in facts and figures, Prince's father was a prominent jazz band leader in the Minneapolis area and it was on his dad's piano that he made his first musical steps. His mother also sang with a band in her younger years. At the tender age of 12, Prince and Andre Samone (who plays bass with Prince's band today) formed their own band, called Champagne, and spent the next five years playing local hotels and high school dances. When seventeen, he started his recording career — by trading with an engineer friend for time! Prince provided music to his friend's lyrics. However, since he had no producer, arranger or musicians, he simple decided to do it all himself. Armed with these tapes, he then headed East to New York and returned to Minneapolis with two definite offers from record companies. However, since neither allowed him to produce himself, he turned them both down. "They had a lot of strange ideas — tubas. cellos and such — and I knew I'd have to do it myself if it was to come out right." So, it was back to the studio for Prince and this time he came up with three songs that earned him a contract with Warner Brothers Records and that yielded the excellent "Soft & Wet" success that paved the way for the "For You" album. As successful as that first album was, it was the second one — or more specifically the "I Wanna Be Your Lover" track — that really carried Prince into the big league. However,with "Dirty Mind"this provocative young Gemini (born June 7) has really given the world something to think about. And, judging by the response to his music that I witnessed, Young America (and therefore, presumably, the world) is giving serious consideration to this deep young man.

A candid and revealing early interview with a 20-year-old Prince, capturing his bold artistic philosophy, stage persona, and rapid rise just after the release of Dirty Mind. Aquarian Night Owl February 25, 1981 Gene Kalbacher “I DON’T CARE WHAT PEOPLE expect,” proclaims Prince, the provocative 20-year-old musician who has emerged as perhaps the most versatile and engaging performer on the pop/soul scene. “They don’t expect me to wear what I wear, they don’t expect me to say what I say—but I’m doing it.” Indeed. One must expect the unexpected from Prince. Onstage, Prince is a brash, flamboyant, scantly clad guitarist/vocalist, singing about such unholy subjects as “Head” (not the anatomical part of the human body the top of the spinal column, but deep intimate human activity) and incest, throwing barbs at and catching return volleys from his audience, and leading an oddly attired band that is recently and sexually mixed (blacks and whites, men and women). But offstage, curled up in an armchair in a suite at the Malloran House, Prince is as reserved in repose as he is frenetic in action. A visitor half expects to encounter Prince sprawled across [text missing] White suit and black vest. Where the onstage Prince is brash and saucy, the offstage Prince is composed and polite. And while his statement “I don’t care what people expect” is declarative in content it is subdued in tone. His smile is benign, almost meek, beneath his wispy black mustache. His smile may be shy but his music is outspoken and his credits astonishing. He’s three albums for Warner Bros. have sold close to three million copies. Moreover, he not only wrote, arranged and produced every song, but played virtually every instrument as well. At this stage of his career it would not be an exaggeration to say he is the most prodigiously talented black youngster to bask in the bright light since Little Stevie Wonder. BUT EVEN MORE IMPRESSIVE THAN his blend of sultry throbbing funk and sweet soul, however, is his resolve to speak his piece without pulling any punches. “I Wanna Be Your Lover,” from his second album, was a platinum smash single and a radio mainstay in 1979. His most recent effort, last years Dirty Mind, has sold Robert risky but flunked on the radio. The warning label on the album jacket reads: “Programmers please audition briar to airing.” Songs about incest, oral sex and homosexuality aren’t your standard broadcast fair, and Prince remains philosophical about the cool radio reception. His record company, his management and he himself were mindful of the eventual outcome, but, he points out, “everyone felt it was probably more an extension of me and my audience than anything I’ve ever done.” Prince is quick to point out that the album started as a series of demo tapes, “not all of which I intended on using.” Unlike his two earlier efforts, Dirty Mind what sequenced according to the order in which the songs were recorded. “On the other albums,” he says,” I used to sit down and say, ’What’s gonna sound best?’ I’d make sure it was in a relative key and things like that. I tried to do it from an intellectual point of view, and I don’t think that was so wise. Now I tend now to analyze my own stuff. I just do it!” Does he have any regrets about having released such a controversial songs when he could’ve taken a safer route? “No,” he answers decisively. “Only because it’s real to me. “I knew I was going to get in trouble for them, and I subsequently did. I knew it then, but I didn’t know whether or not I was ready to stand up for them. Now I feel strongly about them after listening to them.” Although he refuses to restrict the subject matter of his songs, Prince admits that, for now, he is restricting the lengths of his songs. He credits his former manager for convincing him that he “couldn’t continue writing seven-minute terror songs.” Explains Prince: “I wrote a lot of strange things. I’ll probably start again when I’m excepted for what I am rather [text missing] time of day. “I’m trying to look at it realistically,” he says, “In time I’ll be able to do exactly what I wanted to do.” Considering the controversy already stirred up by “Head,” “Sister” and “Uptown” (a national rock-concert TV program deleted the word “gay” from Prince’s performance of the song), how much more expressive can he be? “’Head’ was a lot longer,” he answers. “When I first cut it, it went on and on. See, well,” he proceeds, laughing and then stopping himself. “I was trying to take a real life experience—there are parts of the longer version that are sometimes shocking to me. “That would never have made it on an album. No one would ever put it out. It (’Head’) doesn’t get on the radio now. All I’m saying is that now I’m trying to condense everything a little bit more only so that—I don’t want to be stupid about it; I don’t want to make so many songs that are so long that they never get heard at all. “I want to be listened to first. Then I can give longer, detailed versions of things.” FOR A MUSICIAN WHO DESCRIBES HIS childhood as “depressing,” his music is anything but. The son of a jazz band-leader, Prince taught himself to play to piano at age seven and let his first band, Champagnee, by 12. By the time he was a teenager, he had run away from home and picked up the guitar, the instrument with which he feels more comfortable. Although he describes his native Minneapolis as a musically circumscribed market, Prince maintains that the competitiveness among the local bands not only fostered but mandated originality. “Have you ever been to Minneapolis? He asks. “It’s a really small joint and if you really dig country & western music, that’s the place to go. The radio stations don’t play any new-wave music; they only play country & western music. The clothes, the dance, the music—everything is so behind. “I’d call my sister, who lives here (in Manhattan) and ask her what was going on. I was shocked because we got everything (in Minneapolis) she talked about six months later.” As a teenager, Prince attended very few concerts and listened to few records. How, one wonders, did he develop such an understanding of and proficiency with so many different instruments and styles of music? “We jammed a lot with other bands,” Prince recalls. “There was a lot of competition around ’75. It was a time when there was a lot of spirit. It was nice back then. “I think that helped me come out of myself,” he continues. “We got in a lot of trouble from other band members if we copied anything (from them), and we gave them a lot of trouble if they copied anything (from us), so it was a real competitive thing. You had to be at out as you could and as different, and as much you as possible.” After playing original material with the group Champagne for five years, Prince left the fold to follow his own career. [text missing] producing all the tracks. Several major labels expressed interest in his work, but Prince held back until he landed a deal with a company (Warners) that would enable him to produce his own records. Upon the release of his debut effort, For You, Prince assembled a touring band. His current road group (Andre Samone, bass; Dez Dickerson, guitar; Gail Chapman, keyboards; Matt Fink, keyboards, and Bobby Lee, drums) is pictured on the sleeve of Dirty Mind, but played a very insignificant role in the actual recording of the lp. Fink it’s credited as the co-writer of “Dirty Mind” and as the synthesizer player on the title track and “Head,” Lisa Coleman contributes backing vocals on “Head,” but that’s the extent of the members’ musical input. Does Prince plan to employ these musicians on his fourth album? It’s hard to say,” he replies. “They're on this record because they're my friends. I see my band differently than most bands, I guess. “They’re just my friends,” he adds obliquely. “I think maybe I might meet new friends sometime, so maybe I’ll get new band members. They all have aspirations of being big in their own right; they want to do other things, so it’s hard to say.” PRINCE MAY BE UNCERTAIN ABOUT the recording status of his road band, but he’s positive that listeners are looking for something new. They make a lot of noise, they shout a lot of obscenities and good things. “It’s a free crowd,” he adds. “They’re ready for change. I can sense it.” For what change is the audience ready? “Change in music, change in lifestyle. They wanted to be open and they want to dress anyway they want you at the gigs and stuff like that,” he remarks. “Tradition at black concerts a lot of times wants to wear your best clothes, to come looking really dapper. It’s not like that at our concerts. There are a lot of black kids out there, but they are like open-minded and free, and they want to have a good time… “Especially where I lived, there were very few events that you got to go to. So any chance you got to show off your best clothes, you did. It was basically for ego.” When asked how the record business difference in actuality from the way he'd envisioned it when he began his career, Prince reveals the motivation behind his music. “I imagined more spirit over all. I guess I got even more hip do it once I got into it and started talking to people who’d been through all the things that happened before me—like Woodstock and all the festivals that used to have. “That’s kind of what I envisioned.” He points out, leaning forward in his chair. “I always wanted to do outdoor gigs. But they don’t do that so much anymore, only the big giant groups. It’s hard for upcoming groups to get brakes like [text missing] [text missing] feel inside and speaking for the time.” “That’s the way I always thought it was supposed to be. See, we didn’t hear (in Minneapolis) about all the money that was to be made. We just heard about acts that were being followed. We all knew we wanted to be an act that people followed. We don’t talk a lot about material things—we talk about people we meet.” Prince claims that he spends most of his money on himself. “I give away a lot of my money to friends,” he notes. “So you might say I spend it on myself.” At what point did he feel he had made his mark in the record business? Did any particular instance drive that point home? “You can never really tell,” he muses. Records are like writing letters to somebody, and doing a gig is like talking to the person face to face. The difference is that you feel the response right away when you’re in concert. I think that when you get your first fan letter, you start thinking you’re reaching somebody, and it makes you want to keep going.” Besides spending money on his friends ( and thus he avows, on himself) Prince derives the most satisfaction from “just knowing that somebody is listening.” He may not care what people expect from him, “and I don’t care if they don’t like it,” he contends, but adds: “I just want them to hear it and know that I have the privilege of telling them.” SOURCE DETAILS Publication: Aquarian Night Owl Date: February 25, 1981 Country: United States Section / Pages: Feature Interview THE STORY In this in-depth conversation with Gene Kalbacher, Prince discusses his provocative lyrics, onstage flamboyance, and offstage reserve. He addresses the controversy surrounding songs like “Head,” “Sister,” and “Uptown,” explains his creative process, and reflects on his upbringing in Minneapolis. The piece highlights his independence, musical versatility, and determination to create music on his own terms without compromising his vision. CONTEXT & NOTES February 1981 came during the Dirty Mind era, when Prince was still an emerging artist pushing boundaries with explicit content and a highly sexualized image. This interview offers a rare early glimpse into his mindset — confident yet thoughtful — as he navigated commercial expectations while refusing to tone down his artistic expression. It remains one of the more substantial conversations from this formative period. FEATURE HIGHLIGHTS Event: In-depth interview with Prince Era: 1981 – Dirty Mind period Tone: Candid and introspective Photography: Likely accompanied by live or portrait shots of Prince Audience: Alternative music readers in the New York/New Jersey area WHAT THE CLIPPING SHOWS A lengthy, text-heavy feature article with Prince’s quotes and reflections on his music, career, and personal philosophy. The piece contrasts his wild onstage persona with his more reserved, polite offstage demeanor, painting a complex portrait of the young artist. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. COPYRIGHT NOTICE All magazine 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.

A bold full-page hometown promotional advert announcing Prince’s major return to Minneapolis for a Met Center concert with The Time and the taping of a television special. SOURCE DETAILS Publication: Star Tribune Date: March 7, 1982 Country: United States Section / Pages: Full-page promotional advertisement THE STORY This eye-catching advert promotes two special events: Prince recording and taping material for an upcoming television special, and a full-scale concert at the Met Center featuring special guests The Time. Tickets for the 7:30 PM show were priced at $10 with all seats reserved. The ad emphasises the excitement of Prince “finally coming home” to perform for his hometown audience. CONTEXT & NOTES In early 1982, Prince was gaining significant national momentum following the release of Controversy. This advertisement reflects local pride as he prepared to showcase his evolving sound and growing creative circle — including The Time — on a major stage in his hometown. The dual promotion of a TV taping and arena concert highlights his expanding ambitions beyond traditional club performances. FEATURE HIGHLIGHTS Event: Met Center concert + TV special taping announcement Era: 1982 – Early 1999 / Controversy period Tone: Celebratory and urgent Photography: Dramatic portrait of Prince Audience: Local Minneapolis concertgoers and fans WHAT THE CLIPPING SHOWS A full-page newspaper advertisement with bold typography, a striking image of Prince, and clear promotion of both the television taping and the Met Center concert featuring The Time. Classic early-80s promotional design with high-energy layout and ticket information. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. COPYRIGHT NOTICE All magazine 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.