A dramatic and provocative cover story from Sounds questioning whether Prince’s reign was ending, featuring striking photography and in-depth analysis during a transitional phase of his career. SOURCE DETAILS Publication: Sounds Magazine Date: May 17, 1986 Country: United Kingdom Section / Pages: Front Cover + Multi-page interior feature (including “Badness” spread) THE STORY This major Sounds cover story explores Prince at a critical juncture, asking if the Purple Rain era was coming to a close. The article combines high-impact photography (including a powerful shirtless live shot) with thoughtful commentary on his artistry, mystique, and evolving public persona. It portrays Prince as a “monster monarch” and “vermin in ermine,” blending admiration with provocative analysis of his boundary-pushing style and cultural impact. CONTEXT & NOTES In mid-1986, Prince was transitioning after the massive success of Purple Rain and the release of Parade. This Sounds feature captures the British music press’s fascination and occasional scepticism toward his increasingly experimental and enigmatic direction. The cover and interior spreads reflect the intense media interest in Prince during this pivotal year. FEATURE HIGHLIGHTS Event: Major cover story and multi-page feature on Prince Era: 1986 – Post-Purple Rain / Parade period Tone: Provocative, dramatic, and analytical Photography: Iconic black-and-white live and portrait shots, including the famous microphone/raised-arm image Audience: UK rock and alternative music readers WHAT THE CLIPPING SHOWS A complete package: the eye-catching front cover with Prince in a dramatic pose and the bold headline “PRINCE THE END OF A PURPLE REIGN?”; plus interior pages featuring large photos, the “Badness” section, and extensive text analysing his career, image, and musical evolution. Classic mid-80s Sounds magazine design with bold typography and high-contrast imagery. 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 striking one-page promotional advert for Prince and The Revolution’s three-night stand at Wembley Arena in August 1986, during the Parade / Under the Cherry Moon era. SOURCE DETAILS Publication: Music press advert (likely NME, Melody Maker or similar UK weekly) Date: August 1986 Country: United Kingdom Section / Pages: One-page concert advertisement THE STORY This bold black-and-white advert announces Prince and The Revolution’s highly anticipated performances at Wembley Arena on Tuesday 12th, Wednesday 13th, and Thursday 14th August 1986. The dramatic portrait of Prince, hands raised in signature theatrical pose, promotes the Parade album alongside the new single “Girls & Boys” / “Under the Cherry Moon,” tying into the film Under the Cherry Moon. CONTEXT & NOTES In summer 1986, Prince was at the height of his creative and commercial powers following the success of Purple Rain and the release of Parade. This three-night residency at Wembley Arena was part of the European leg of the Parade Tour, marking one of the most eagerly awaited live runs of the year in the UK. The advert captures the excitement and mystique surrounding Prince at this pivotal moment. FEATURE HIGHLIGHTS Event: Wembley Arena three-night residency advert Era: 1986 – Parade / Under the Cherry Moon period Tone: Dramatic and theatrical Photography: Iconic high-contrast black-and-white portrait of Prince Audience: UK concert-goers and Prince fans WHAT THE CLIPPING SHOWS A full-page concert advertisement featuring a powerful image of Prince with hands raised, bold purple typography announcing “THE NEXT ROYAL EVENT • PRINCE • AND THE REVOLUTION”, venue dates, and promotion for the Parade album and new single. Classic mid-80s music press promotional design. 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 vibrant and extensive French magazine feature on Prince from the October 1986 issue of Rock & Folk, including the cover promotion and several interior pages profiling his career and mythology. SOURCE DETAILS Publication: Rock & Folk Date: October 1986 (Issue N°234) Country: France Section / Pages: Front Cover + Multi-page interior feature THE STORY This major French music magazine spread celebrates Prince as a groundbreaking artist, dubbing him a spiritual heir to rock legends like Little Richard, Sly Stone, Jimi Hendrix, and others. The coverage includes a striking cover mention, a large “PRINCE” headline section, and multiple pages exploring his background, creativity, and boundary-pushing persona. The article delves into Prince’s Minneapolis roots, early career, and artistic evolution. CONTEXT & NOTES In late 1986, Prince was at a creative peak following the success of Parade and Sign o’ the Times. Rock & Folk, one of France’s leading rock magazines, gave him extensive coverage, reflecting his strong international appeal in Europe. The feature mixes biography, analysis of his music, and striking photography, capturing the mystique and innovation that defined Prince in the mid-80s. FEATURE HIGHLIGHTS Event: Major cover promotion and multi-page career feature on Prince Era: 1986 – Post-Parade / pre-Sign o’ the Times era Tone: Admiring, analytical, and slightly mythic Photography: Multiple dramatic black-and-white and colour images of Prince across the pages Audience: French rock music fans and Rock & Folk readers WHAT THE CLIPPING SHOWS The full package includes: The eye-catching front cover with a dynamic photo of a bearded rock artist and a prominent “PRINCE story poster” box. Several interior pages with large “PRINCE” headlines, biographical text, concert photos, and artistic portraits. The layout is classic late-80s French rock magazine style — bold colours, dynamic typography, and in-depth coverage. 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 landmark Billboard cover and major feature celebrating Prince and the explosive rise of the Minneapolis Sound as America’s newest musical wonderland. SOURCE DETAILS Publication: Billboard Date: April 25, 1987 Country: United States Section / Pages: Front Cover + Interior Feature (two-page spread) THE STORY This iconic issue of Billboard shines a national spotlight on Prince and the vibrant Minneapolis–St. Paul music scene. The striking cover features a dramatic portrait of Prince, while the two-page interior spread, titled “America’s Newest Musical Wonderland,” explores how the Twin Cities became a creative powerhouse producing chart-topping hits and groundbreaking talent. CONTEXT & NOTES By spring 1987, Prince had become a global superstar following the success of Purple Rain and Sign o’ the Times. This Billboard feature captures the moment when the “Minneapolis Sound” — a rich fusion of funk, rock, pop, and R&B — gained mainstream recognition. It highlights Prince as the central catalyst while showcasing a diverse ecosystem of artists including Jimmy Jam & Terry Lewis, Morris Day, Jesse Johnson, The Jets, and Hüsker Dü. WHAT THE CLIPPING SHOWS A complete Billboard magazine issue: the front cover shows Prince in a dramatic, colour-saturated portrait with the headline “PRINCE and the Minneapolis Music Scene.” The two-page interior spread includes a large “Spotlight on the Twin Cities” graphic, in-depth text by Jon Bream, and a collage of photos featuring Prince, Morris Day, The Jets, Jesse Johnson, Hüsker Dü, and others. It vividly documents the city’s sudden emergence as a major force in American music. 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. Spotlight on the Twin Cities: When Minneapolis Became America’s New Musical Wonderland In the mid‑1980s, something extraordinary was happening in Minneapolis–St. Paul. What had long been considered a quiet Midwestern region suddenly erupted into one of the most influential music hubs in the United States. The Billboard feature you see here — boldly titled “America’s Newest Musical Wonderland” — captures that moment of ignition, when the Twin Cities weren’t just producing hits; they were reshaping the sound of American pop, R&B, funk, and rock. This wasn’t a scene built on hype. It was built on craft, community, and a fiercely independent creative spirit. Prince: The Catalyst and the Conduit At the centre of this musical supernova was Prince — not just as a chart‑topping artist, but as a gravitational force. His success didn’t simply elevate his own career; it pulled an entire city upward with him. The article frames him as the spark that lit the fuse, the artist whose vision and work ethic created a blueprint others could follow. Prince didn’t just make hits. He made infrastructure — studios, bands, protégés, and a sonic identity that became known worldwide as the Minneapolis Sound. The Producers Who Rewrote the Rulebook The feature highlights a remarkable statistic: in a single month, three Black singles produced in Minneapolis broke into the Billboard Hot 100 Top 10. That wasn’t a fluke. It was the result of a production culture that valued innovation over imitation. Enter Jimmy Jam and Terry Lewis — alumni of The Time, protégés of Prince, and soon to become two of the most important producers in pop history. Their presence in the spread signals the moment they stepped out from behind the curtain and into the mainstream spotlight. Their work would soon dominate the charts, shaping the careers of Janet Jackson, Human League, and countless others. A City of Scenes, Not Just Stars What makes this page so compelling is the breadth of artists it showcases: Morris Day, the charismatic frontman of The Time Jesse Johnson, the guitar‑slinging architect of Minneapolis funk The Jets, bringing polished pop to the masses Hüsker Dü, proving the Twin Cities weren’t just about funk — they were a punk powerhouse too This wasn’t a monoculture. It was a creative ecosystem, where R&B, funk, rock, pop, and punk thrived side by side. Why Minneapolis? The article hints at a deeper truth: Minneapolis succeeded because it wasn’t trying to be Los Angeles or New York. It had: - affordable studio spaces - a tight‑knit community - a willingness to experiment - musicians who played together, learned together, and pushed each other It was a city where boundaries blurred — between genres, between races, between mainstream and underground. A Moment That Became a Movement Looking back, this Billboard feature reads like a snapshot taken just as the wave crested. Prince was already a superstar, but the full impact of the Minneapolis Sound was still unfolding. Jam & Lewis were only beginning their ascent. The Time, The Jets, and Hüsker Dü were all on the brink of national recognition. The Twin Cities weren’t just producing hits. They were producing culture. And this page captures the moment the rest of America finally noticed.

A stylish, in-depth profile on Prince’s longtime protégés SOURCE DETAILS Publication: Q Magazine Date: September 1987 Country: United Kingdom Section / Pages: Two-page feature THE STORY This extensive article presents Jill Jones as an engaging, gifted, and independent artist who has long been part of Prince’s inner circle. It traces her journey from singing backup on the Dirty Mind tour (alongside Teena Marie), through vocal contributions on 1999, to the release of her solo debut on Paisley Park. The piece highlights Prince’s role as mentor and co-writer while celebrating Jones’ strong personality, eclectic tastes, and sensual, self-assured style. CONTEXT & NOTES By 1987, Jill Jones had been connected to Prince for nearly a decade. This Q feature captures her at the pivotal moment of stepping into the spotlight with her own album, offering rare insight into the “Paisley Park family” dynamic and the creative support Prince provided to his protégées. The article also contrasts Jones with earlier Paisley acts like Vanity 6 and Apollonia 6, noting her greater artistic depth. FEATURE HIGHLIGHTS Event: Major profile on Jill Jones’ debut solo album Era: 1987 – Paisley Park golden period Tone: Sophisticated, admiring, and slightly irreverent Photography: Multiple striking images of Jill Jones across both pages Audience: Serious music fans and Q readers WHAT THE CLIPPING SHOWS A glossy two-page spread featuring large, stylish photographs of Jill Jones. The layout includes bold headlines, detailed text exploring her long relationship with Prince (“like his sister”), her personality, songwriting, and the making of her debut album. Classic high-production Q Magazine design from the late 1980s. 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. Jill Jones is an engaging, gifted, and eclectic person, who knows all about Tennessee Williams, and has no qualms whatsoever about displaying what might most decorously be described as an old-fashioned cleavage. Each of these qualities marks her self-titled debut album, the latest piece of output from the Paisley Park label, the regular showcase for friends and protégés of Prince. "With Prince, it's like I'm his sister," she explains, casually, of a relationship that goes back to the Dirty Mind era, circa 1980, when the Minneapolis mogul first achieved his remarkable crossover from the black music audience to the wider, richer white one. Since that liaison, when she and Teena Marie comprised the support act for the Dirty Mind tour, Jill Jones has maintained her Minneapolis connection, contributing vocals to the 1999 album and its accompanying concert dates, and generally keeping in touch throughout the rude one's ascent to glorious infamy. As such, hers is a typical Paisley Park career, partly the product of benevolent patronage, partly the expression of a work-related friendship which has endured over a suitable period of time. The fruits of this relationship are also pretty much standard for the Paisley operation. Most of the tracks, including her current single, the frothy and capricious Mia Boccia, have been co-written with the maestro. He has provided the music while she delivers self-composed words which read like the work of a true disciple: "for love, I would suffer kisses from another, if that was what turned you on." Well, really! "It just happened because I wasn't that serious about singing," she says of an involvement with pop music which began by accident when Teena Marie suggested she help her out years back, when barely a dot on Rick James' horizon. Cruelly, it might be said that an interest in singing has not always been the prime characteristic of the lady friends of Prince. The camisoled nymphettes of Vanity 6 provided perfect visual decoration for his rather muddled sexual politics, but precious little creative output of comparable value. The same goes for Apollonia 6, the instant group formulated during the filming of Purple Rain after Vanity absented herself permanently from the set. Jill Jones though is different in that, indelibl

A striking full-page advertisement promotes the home video release of Prince’s acclaimed Sign o’ the Times concert film. SOURCE DETAILS Publication: New Musical Express (NME) Date: October 1, 1988 Country: United Kingdom Section / Pages: Full-page advertisement (Page 28) THE STORY This eye-catching advert promotes the VHS release of Prince’s groundbreaking Sign o’ the Times concert film. It highlights 13 tracks from the show, a glowing quote from Sky Magazine calling it “the greatest concert movie ever made,” and a special offer for a free T-shirt with purchase. CONTEXT & NOTES Released in 1988, the Sign o’ the Times film documented Prince’s critically acclaimed 1987 European tour. The movie was a commercial and artistic success, showcasing Prince at the peak of his creative powers with a spectacular live band. This NME advert reflects the heavy promotion Virgin Records gave the video release in the UK. FEATURE HIGHLIGHTS Event: Full-page advert for Sign o’ the Times video Era: 1988 – Sign o’ the Times era Tone: Bold and promotional Photography: Dramatic black-and-white live shot of Prince performing with guitar Audience: NME readers and Prince fans WHAT THE CLIPPING SHOWS A full-page advertisement dominated by a large, powerful image of Prince in a dramatic stage pose with guitar. Bold typography announces “PRINCE SIGN O’ THE TIMES the video of the tour”, with track listings, a glowing review quote, a free T-shirt offer, and the price of £11.99. 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 provocative headline captures the growing tension as Prince publicly signals his frustration with Warner Bros. and traditional album releases. SOURCE DETAILS Publication: Post Bulletin (Rochester, Minnesota) Date: April 28, 1993 Country: United States Section / Pages: News / Entertainment THE STORY This news feature reports on Prince’s announcement that he may stop making conventional studio albums until the year 1999. Despite signing a massive $100 million deal with Warner Bros., he expressed a desire to explore theater, film, and other media, citing his vast library of unreleased material. CONTEXT & NOTES In spring 1993, Prince was becoming increasingly disillusioned with Warner Bros.’ control over his output and release schedule. This announcement marked one of the earliest public signs of the conflict that would escalate into his name change to a symbol and the famous “SLAVE” protest. FEATURE HIGHLIGHTS Event: Announcement of shift away from studio albums Era: 1993 – Early Warner Bros. contract rebellion Tone: Speculative and intrigued Photography: Striking black-and-white portrait of Prince Audience: General newspaper readers WHAT THE CLIPPING SHOWS A newspaper article with the bold headline “Maybe Prince won’t record until 1999” and a strong, direct black-and-white portrait of Prince. The piece discusses his recent $100 million deal and his plans to move beyond traditional album releases. 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 major feature questions the motives behind Prince’s surprise announcement that he is stepping away from traditional studio recording. SOURCE DETAILS Publication: The Evening Telegram (Superior, Wisconsin) Date: April 28, 1993 Country: United States Section / Pages: News / Feature THE STORY This in-depth article explores Prince’s recent announcement that he is retiring from studio recording to focus on theater, film, and other ventures. It discusses his $100 million Warner Bros. deal, his vast unreleased catalogue, and the growing mystery surrounding his career direction. CONTEXT & NOTES In spring 1993, Prince was beginning to publicly challenge the constraints of his Warner Bros. contract. This feature reflects the confusion and intrigue in the press as he shifted away from conventional album releases, foreshadowing the intense battles and identity changes that defined the rest of the decade. FEATURE HIGHLIGHTS Event: In-depth feature on Prince’s career shift Era: 1993 – Early Warner Bros. contract rebellion Tone: Curious and speculative Photography: Striking black-and-white portrait of Prince Audience: General newspaper readers WHAT THE CLIPPING SHOWS A full newspaper feature with the bold headline “What is Prince really up to?” and a strong portrait of Prince. The article examines his announcement, recent achievements, and future plans. 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 dramatic announcement shocks the music world as Prince declares he is stepping away from traditional studio albums to focus on film, theater, and other ventures. SOURCE DETAILS Publication: The Cincinnati Post Date: April 28, 1993 Country: United States Section / Pages: People / Entertainment News THE STORY Prince announces he is quitting studio recording to concentrate on theater, film, and other creative projects. The statement comes just seven months after signing a massive $100 million deal with Warner Bros., despite having over 500 unreleased recordings in his vault. CONTEXT & NOTES This headline-making announcement marked one of the first major public signs of Prince’s growing dissatisfaction with Warner Bros. and the traditional album-release model. It foreshadowed the intense contract battles, name change to a symbol, and “SLAVE” protest that would define much of the 1990s. FEATURE HIGHLIGHTS Event: Announcement of retirement from studio recording Era: 1993 – Early Warner Bros. contract rebellion Tone: Surprising and provocative Photography: Striking black-and-white portrait of Prince Audience: General newspaper readers WHAT THE CLIPPING SHOWS A newspaper article with the bold headline “Prince says he will retire from recording” and a strong portrait of Prince. The piece details his recent $100 million deal, his plans for other ventures, and his vast unreleased catalogue 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 headline announces Prince’s decision to step away from traditional album recording, signalling the beginning of his long battle for artistic freedom with Warner Bros. SOURCE DETAILS Publication: The South Bend Tribune Date: April 28, 1993 Country: United States Section / Pages: News / Entertainment THE STORY This news article reports that Prince is quitting conventional studio recording to focus on theater, film, and other ventures. Despite signing a massive $100 million deal with Warner Bros., he expressed a desire to explore less traditional approaches, citing his vast library of over 500 unreleased recordings. CONTEXT & NOTES In spring 1993, Prince was growing increasingly frustrated with Warner Bros.’ control over his output and release schedule. This announcement marked one of the first public signs of the conflict that would escalate into his name change to a symbol and the famous “SLAVE” protest. It came shortly after the release of his The Symbol Album (O(+>). FEATURE HIGHLIGHTS Event: Announcement of shift away from studio albums Era: 1993 – Early Warner Bros. contract rebellion Tone: Surprised and intrigued Photography: Striking black-and-white portrait of Prince Audience: General newspaper readers WHAT THE CLIPPING SHOWS A newspaper article with the prominent headline “Prince says sayonara to studio recording” and a strong black-and-white photo of Prince staring directly at the camera. The piece details his plans and the context of his recent achievements. 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 mixed but insightful review of Prince’s Wembley Arena show captures the brilliance, chaos, and creative tension of his mid-90s “Artist” era performance. SOURCE DETAILS Publication: Evening Standard Date: March 6, 1995 Country: United Kingdom Section / Pages: Critics / Concert Review THE STORY Max Bell’s review of Prince’s Wembley Arena concert acknowledges moments of dazzling musicianship and charisma while criticising the show’s lack of focus, extended improvisations, and heavy reliance on older material. The piece notes the strength of Prince’s band but questions the overall structure and direction of the performance. CONTEXT & NOTES In early 1995, Prince (performing as The Artist Formerly Known As Prince) was in the midst of his public battle with Warner Bros. and his “SLAVE” protest period. This Wembley show was part of The Ultimate Live Experience tour, reflecting his artistic restlessness and refusal to simply play the hits. FEATURE HIGHLIGHTS Event: Concert review of Prince at Wembley Arena Era: 1995 – The Artist / SLAVE protest era Tone: Mixed (admiring yet critical) Photography: Black-and-white live photo of Prince on stage Audience: London music fans and Evening Standard readers WHAT THE CLIPPING SHOWS A two-column concert review with the headline “Power to the past” by Max Bell. It includes a striking live photo of Prince performing and detailed commentary on the strengths and weaknesses of the show. 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 provocative NME cover and explosive interview capture Prince at the height of his “SLAVE” protest against Warner Bros., openly discussing his name change, contract battle, and desire to be seen as “insane.” SOURCE DETAILS Publication: New Musical Express (NME) Date: March 11, 1995 Country: United Kingdom Section / Pages: Cover + Major Feature THE STORY This landmark issue features Prince on the cover with “SLAVE” written across his cheek, paired with the bold headline “I want people to think I’m insane — PRINCE SPEAKS!”. The extensive inside interview explores his bitter dispute with Warner Bros., his decision to change his name to a symbol, his views on the music industry, and his plans for the future. CONTEXT & NOTES In early 1995, Prince was in open rebellion against Warner Bros., refusing to release new material under his name and publicly protesting his contract. This NME cover and interview became one of the defining visual and journalistic moments of his mid-90s “SLAVE” era, as he fought for artistic freedom and control of his masters. FEATURE HIGHLIGHTS Event: Major cover story and in-depth interview with Prince Era: 1995 – SLAVE protest / Name change period Tone: Provocative and confrontational Photography: Iconic cover image of Prince with “SLAVE” on his face Audience: UK alternative and rock music fans WHAT THE CLIPPING SHOWS A bold NME cover with Prince wearing sunglasses and a beige outfit, the word “SLAVE” clearly written on his cheek. The inside spread features a lengthy, revealing interview accompanied by multiple photos and detailed discussion of his contract war with Warner Bros. 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. March 1 1995. A stretch black limousine is purring gently in a London car park. Two young men stand nearby, pressing their faces against a high steel fence that is dwarfed by the neighboring twin towers of Wembley Stadium. They talk in quick voices, check their watches and anxiously wait for a glimpse of their hero. Andy Richardson As the limousine door opens. they pull harder on the railings but then a large hand reaches down. I think it’s time both of you left now,” booms a deep voice. They turn around and stare into the eyes of the security man. Momentarily, they are confused. Then they hear the thud of the limousine door. They spin around, their hearts sink when they realize it’s too late. The man they were waiting to see has gone. Beyond the gates lie a connection of executive cars, a swish coach with tinted-glass windows and an open door that leads to the belly of Wembley Arena four people venture past the door, step over miles of black cable, past the naked mannequin which lies on top of a flight case and walk towards a dimly-lit corridor blocked by two sharp suited guards. Suddenly a small man appears from behind a grey door. He is wearing a long velvet coat and eating bread wrapped in a pink napkin. As the foursome step a little closer, they recognize the wire thin moustache, immaculate black hair, huge brown eyes and elegant gold jewelry. “Who are these?” the diminutive star demands, glimpsing the people who have crossed his no-go threshold. His publicist explains they are journalists. The superstar nods approval and then climbs a set of stairs to the Wembley Arena stage. “I’ll see you in a minute,” he says, and then disappears from view. REWIND TO December 1994. The Artist Formerly Known As Prince is locked in conversation with his publicist. He is talking about his on-going battle with his record company, Warner Bros. Music, his new, unreleased album, The Gold Experience’, and his forthcoming world tour. He is asking what people think of him. What people expect of a multimillion dollar megastar who is preparing for an unequaled four-year world tour. Do the public want him to break his legendary silence? To talk about his music, dispel the myths and explain why he killed the artist known as Prince? “Do you think I should do interviews again?” he asks, though in his mind he has decided the answer is yes. His publicist says he should talk, explaining that being remote is an ’80s thing and the public expect to hear from their heroes. “Even Michael Jackson has done a TV interview,” the publicist adds. I think you should.” Fast forward to February 20 1995, and Prince and his publicist are sharing a table at the UK Brit Awards. Their $350-a-head seats are just a few feet from the official Warner Bros. table, which both men snub, and TAFKAP/Symbol has written ’SLAVE’ on his right cheek. The word is an apparent protest at his record company’s refusal to issue a backlog of albums which he has made. Eventually he leaves his table and makes his way to the stage to receive his award as best international male artist. Once there he makes a typically elliptical speech: “Prince best, Gold experience better. Get Wild. In concert free. On record slave. Peace.” The assembled guests quietly mock him, wondering how a man who signed a $100 million record deal could consider himself a ’slave’. Worse still Dave Rowntree of Blur, has scribbled the word ’Dave’ on his cheek, and it is Dave, not Symbol, who’ll make the morning headlines. “I’ll talk,” says Symbol as the night wears on. “I’ll talk before the tour.” Two days before the tour and Symbol is rehearsing his band into the ground. Wembley Arena has been fitted with his $250,000 ’Endorphinmachine’ – a stage set mimicking the human endorphin glands which produce morphine like hormones - and Symbol has been working his band until 2am each night, by which time he is too tired to continue. He has been in London for a week practicing, partying and watching Eric Clapton at the Albert Hall and fake lesbian group Fem 2 Fem at the London Astoria. Today, though, his thoughts center on the launch of his gargantuan tour. “It’ll end in New York In 1998,” he says later. “We’ve already booked Madison Square Garden for the final date. We’re bringing all our friends. It will be special.” Symbol’s entourage is vast. There are five bodyguards stationed outside his dressing room door; all of them well dressed and wearing small brown earphones that link them to a production room. One sports a six-inch scar from his ear to his chin, another drips with expensive jewelry a third has a skinhead crop, immaculately pressed suit and piercing eyes that say: “Don’t even think about it.” Outside the dressing room is a long corridor with white walls and a blue rubberized floor. It leads to six rooms where his dancers and backing band are busying themselves in make-up rooms, hair-dressing booths and enormous walk-in costume wardrobes. One of thew rooms contains a chaise longue draped with a red velvet square. in another, two women laugh and exchange jokes as they change. The whole place is heavy with the smell of incense, an odour like fresh flowers. Before we are granted permission to speak to Symbol, we are handed a document outlining a list of preconditions. There are to be no tape recorders, no notepads, no writing implements and no cameras. The interview is to last a strict 20 minutes and can be terminated at any point. “You’ll be searched before you go in,” comes the warning. And the warning is correct. Outside Symbol’s door the bodyguard stands your correspondent against a wall and begins a thorough body search. Appeased, he taps on Symbol’s door, presses a code into the security lock and hovers close behind. Symbol stands as the journalist steps inside, extends a warm hand by way of greeting and then sits down. His room is surprisingly small; the size of an average front room in a terraced house. Against one wall there is a vast mirror and a table top which holds oranges, bread, china cups and saucers, an ordinary electric kettle and an abundance of candles. There are two sprawling house pants in the corners of the room, a medium- sized table in the center and two large leather sofas which are covered in purple, red and green velvet drapes. Inevitably, there Is a huge TV/stereo in one corner, with two large speakers on the floor. And built into one wall are two sliding double doors which lead into Symbol’s personal changing room; a space bedecked with mirrors and innumerable hair sprays, moisturizers, restless of makeup and bottles of cologne. Symbol is sitting in the center of the one of the sofas with the word ’SLAVE’ written on his left cheek. He is dressed in a blue all-in-one which is cut to the waist revealing his taut, lean physique He wears blue suede ankle boots, chunky black wraparound shades and a gold necklace with coin- like circles that hang into his chest. His publicist leaves the room, the boom of the rehearsal disappears as the door closes and Symbol relaxes into his seat. Finally, it’s time to talk... THE BIG issue for Symbol is his recording contract with Warner Bros. It demands four new albums at a rate of no more than one a year. The record company, ideally, would like to release one LP every two or three years to ensure maximum sales. With Symbol’s cooperation, it would release a single, an album, and then further singles and watch as the records reached the ten-million-plus sales of ’Purple Rain’. Symbol, however would like to release one LP every six months to keep up with his prolific songwriting and recording output, or maybe even more. He sits on the board of WB and the 2 sides have tried many times to reach an agreement. But on every occasion the talks breaks down. Now he wants out. “There’s a brilliant Prince and the NPG album waiting to be released,” he says, but WB won’t release it. See, if they give me control and let me release this (holds up a copy of his new ’The Gold Experience’ CD) then Madonna would be straight in wanting the same. “I’d like to put out 700,000 copies of some blues guitar music with a guitar magazine but Warner won’t let me. I’d give away a single with just the A-side and tell people to come back next year and buy the B-side. Record companies are run by men who think they run America. They think they’re the smartest but they’re not. They don’t know what’s going on in my mind.” Symbol says he can release music on the Internet (’The Gold Experience’ was recently advertised on the Internet as having a release date of “Never!”). When it’s suggested that most people cannot get access to the Internet he scoffs “We’ll fix it.” “Once the Internet is a reality the music business is finished. There won’t be any need for record companies. if I can send you my music direct. what’s point of having a music business?” His main bugbear with Warners is that they don’t understand. He repeats he doesn’t mind the situation and says the problem has had no effect on his ability to write and record. In simple terms, it’s not something that gets him down. “They don’t understand me. I understand them. I’ll just give there one album every year for the next four years. I’m not going to take them to court and the stories saying I will have just been made up. I won’t do that. I could give them four albums tomorrow but they don’t want that.” And what will you do while you’re waiting for your contract to expire in 1998? “I’m going to say on the road until the contract ends. I’ve already booked a show for Madison Square Garden in 1998. We’re going to get loads of people down there. I can keep touring until then. I love being on stage, I love touring and I’m strong enough. I never get tired.” Symbol says one of his reasons for breaking his silence is to make sure young musicians don’t ever experience the contract war he has become embroiled in. “I want to help young musicians. I don’t want people to be in the same position. I’ve been doing this for 16 years now, I know how it works. A manager knows thinks when you start out that he ain’t gonna tell you because it isn’t in his interests. He’s only gonna tell you the things he wants you to know. You understand what I’m saying? “But I’m not bitter. I’m not angry. Mo Austin (Warners boss) gave me ’The Most Beautiful Girl In The World’ to release as Symbol. And I will love that man forever because of that. I don’t have a problem with Warners. I’m content with them.” So why do you scrawl that slogan across your face? “Because I am a slave to the truth. It’s there to remind myself. I’m not a slave to Warner Brothers. It’s not there to embarrass Warners – why would I do that? You gotta understand that. I don’t need to. It’s not about that. I’m not angry with them. It’s just there as a reminder.” Symbol is animated when he talks about his contract. He sits forward on the edge of his sofa, his hands wave about in the air, he is imploring the world to listen. He also knows that there is no quick legal fix to beat Warner. American contract law is far more stringent than that in the UK and he has seen what happened to George Michael: a costly legal battle which ended in defeat and which could now take up to five years to resolve. (If Michael is to overturn his judgement tying him to Sony Music, his only hope is a victory in the European Courts. But before that he would face probable and costly legal defeats in the Court Of Appeal and the House of Lords.) “I’ve seen what happened with that case,” Symbol adds. “And I don’t want to go down the George Michael row.” Face to face, Symbol is far removed from the unworldly public image built around him steadily since his recording career began in 1978. It is difficult to equate the man sitting on the sofa with the pop star who apparently dreams of reincarnation as a dolphin, who inspires national radio polls in Australia - where the nation wants to name him ’Davo’ (an affectionate, if unimaginative, colloquial nickname for people called, er, Dave) – and who mumbles ’Thank You, God’ acceptance speeches at major awards. His dressing room is essentially a slightly tacky boudoir with a cheap-looking rug that could have been bought from IKEA for $35. So does it worry you that people think you are mad? “No,” he laughs, crumpling into the sofa in a heap. “I don’t care. If people think I’m insane, fine. I want people to think I’m insane. But I’m in control. It was different before I became this (points to the Symbol on the cover of ’The Gold Experience’). I didn’t have control. I didn’t know what was happening beyond the next two albums. But now I know exactly what the next two albums will be. I’m not playing anyone else’s game. I’m in control. I don’t care if people say I’m mad. It don’t matter.” But if your sanity is intact, why did you change your name from Prince to Symbol? “I got a whole new mindset when I became Symbol. I can’t explain how I feel now compared to then. I don’t want to destroy the mystique by revealing everything. And if people come to see me just to hear ’Purple Rain’ then I’m sorry. I’m playing these (Symbol) songs now. I’ll play Prince songs occasionally. I just want people to understand who I am. See, you could go away and tell people I am stupid. I just want you to help me I want people to understand The only thing I care about is your journalistic ability. Your ability to articulate.” But if you’re so keen to let people understand you, why won’t you let journalists take notes or record their interviews with you? “You don’t need to do that. The mind is perfect.” The mind isn’t perfect! “You will only remember the things that are important.” There is a knock on the door. The 20 minutes is nearly up and there is an abundance of questions still unasked. But Symbol is happy, he’s jovial, falling about on the sofa and making the points he wants to make. His publicist stands at the door and is motioned away by the small one’s left hand. “A few more minutes,” he says. And again we are alone. So tell me about your vices. “What’s a vice?” A habit that can be self-destructive. “I don’t know about those.” Well how about your obsession with sex? The mood stiffens and Symbol slaps his boot in apparent agitation He refuses to say whether he slept with Kylie Minogue (as it was rumored) or his dancer Mayte Garcia. “I won’t use the word ’sex’ and I won’t use the word ’beauty’. Those are two I can’t use because people have different tastes and they ask you what kind of sex you have.” Again, Symbol falls over in the chair laughing and clapping his hands together. What about drugs? Do you take drugs? “I’m interested in all experiences.” Can I take that as a yes? “I didn’t say that. I don’t think people are interested. I’m not interested if you take drugs. I think we’d better chill it there.” But you’re an icon... Symbol stops laughing. “What did you say?” I said, a lot of people see you as an icon. There’s only a handful of people in the world in your position. “I don’t see myself as an icon. I don’t see that. Do people care if I take drugs? People aren’t interested in me. I didn’t put myself on a pedestal. If I’m on a pedestal it’s because other people have put me there.” Do you feel anything for a person like Michael Jackson? “I could talk to you about Michael Jackson but I would just be doing the job that a journalist does so there’s no point. I met Michael, if other people talked then he’d say something that would tear the house down from what everyone else would say anyway.” Throughout the interview Symbol has been wearing shades. I ask him to take them off, trying to reason they are defensive and they make it easy for him to hide. “OK,” he says, and lowers them to the bridge of his nose. “I’m only wearing them because I’m tired. My eyes are red. It’s because we’ve been rehearsing. It’s just to protect my eyes,” and then he puts them back on. Do you ever relax? “No.” Do you wish you could? “Yes.” How do you try? And suddenly Symbol’s veneer dissolves. He no longer appears as the invincible round-the-clock superstar. He lowers his voice, sits upright at the front of his sofa and looks to the floor. He Is suddenly fallible. “The only time you can get tranquil is when you are at one. And the only time that happens is when you are with God I do that sometimes. When I’m like that I’m not happy. He tells me to carry on doing what I’m doing, which is my music. I’m always happy I’m never sad I never slow down. I’m constantly occupied with music.” And what about...? “Look, they’re calling me. I’ve got to get back to rehearsal.” THE INTERVIEW over – Symbol refuses a direct request for a follow-up conversation tomorrow - five journalists huddle around a table in a room marked ’Catering’. They chain smoke each other’s cigarettes, desperately scanning their memories trying to recall every quote from their individual interviews. One talks about how strange and detached from reality the whole situation was “It’s difficult to remember everything. I was just sitting there thinking. ’I’ll have to remember this’, and impossible!” Across a table, a group of American roadies are talking to their two English counterparts about bubbly beer, the strongest coffee in the world and the number of drive-by shootings in the USA. A member of Symbol’s crew walks in, scans the room, exclaims, “Oh shit,” and walks out. In the dressing rooms and wardrobe areas five people walk by dressed as devils or in skimpy dresses. And then the journalists are returned to Symbol’s now-empty dressing room to listen to ’The Gold Experience’ LP in the company of his bodyguard. Two women walk in and head straight for his changing room to re-stock the cosmetics and his publicist returns, sits on the floor and shakes his head in awe of the new album. As we leave, Symbol is still rehearsing on the vast Wembley stage and we leave with impressions of a control freak who has banished really from his life in his quest for invincibility A man with a paranoia so deep- seated that he killed his own identity and refuses to recognize the name – Prince Rogers Nelson – with which he was born. And a man who is a creative and commercial colossus who considers himself no more than a slave.