A brief but significant update announces the planned reopening of Prince’s Paisley Park Studios in mid-June 1996, along with rare sales figures for his recent releases. SOURCE DETAILS Publication: Star Tribune Date: April 26, 1996 Country: United States Section / Pages: Popular Music column (Page 57) THE STORY Prince’s publicist confirmed that Paisley Park Studios in Chanhassen will reopen in mid-June after a period of closure due to cash-flow issues. The report also notes recent sales: Prince has sold 219,000 albums since January 1, with The Gold Experience at 332,000 copies and the Girl 6 soundtrack at 42,000. CONTEXT AND NOTES In spring 1996, Prince (then known by his symbol) was in the midst of his independent era following his departure from Warner Bros. The planned reopening of Paisley Park symbolised a renewed focus on his creative headquarters during a challenging transitional period. FEATURE HIGHLIGHTS Event: Announcement of Paisley Park Studios reopening Era: 1996 – Independent / Post-Warner Bros. period Tone: Optimistic and factual Audience: Music industry observers and Prince fans THE ANNOUNCEMENT The short news brief reports that Paisley Park will reopen in mid-June and provides updated sales figures for Prince’s recent projects, highlighting ongoing activity despite industry challenges. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page 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 glowing review praises Prince’s substantial and sensual contributions to the Girl 6 soundtrack, calling his work the standout element of the project. SOURCE DETAILS Publication: The State (Weekend) Date: April 26, 1996 Country: United States Section / Pages: Pop Music / Album Review THE STORY This enthusiastic review celebrates Prince’s dominant presence on the Girl 6 soundtrack, describing his music as “erotic yet funky” and crediting his involvement with elevating the entire album. The writer highlights how Prince’s tracks, recorded with The New Power Generation, give the soundtrack its distinctive edge. CONTEXT AND NOTES Released in 1996 for Spike Lee’s film Girl 6, the soundtrack featured several new Prince songs during a transitional period as he navigated his departure from Warner Bros. This review reflects the positive critical response to his continued high-quality output despite the well-publicised label tensions. FEATURE HIGHLIGHTS Event: Album review of the Girl 6 soundtrack Era: 1996 – Independent / Post-Warner Bros. period Tone: Positive and appreciative Audience: General pop and film music fans WHAT THE CLIPPING SHOWS A newspaper album review headlined “Princely touch makes album a jewel” with a large photo of Prince. The piece focuses on how Prince’s funky, sensual contributions transformed the Girl 6 soundtrack into something special. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. 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 candid mid-90s review of the Girl 6 soundtrack praises Prince’s contributions while expressing disappointment in the overall track selection and cohesion. SOURCE DETAILS Publication: Northwest Herald Date: April 26, 1996 Country: United States Section / Pages: Pop Music / New Tracks column THE STORY This album review of the Girl 6 soundtrack acknowledges Prince’s strong, sexy contributions but criticises the compilation’s lack of cohesion and the absence of certain fan-favourite tracks. The reviewer notes the film’s theme of phone sex and questions some of the song choices despite Prince’s prominent involvement. CONTEXT AND NOTES Released during Prince’s independent era and his complicated final period with Warner Bros., the Girl 6 soundtrack (for Spike Lee’s film) featured several Prince tracks and vault material. This review reflects the mixed critical reception the album received, highlighting both appreciation for Prince’s talent and frustration with the project as a whole. FEATURE HIGHLIGHTS Event: Album review of the Girl 6 soundtrack Era: 1996 – Independent / Post-Warner Bros. period Tone: Mixed / Slightly disappointed Audience: General pop and film music fans THE ANNOUNCEMENT The review appears under the “NEW TRACKS” heading and discusses Prince’s sexy, high-quality songs on the soundtrack while noting that the overall package feels uneven and lacks some expected material. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. 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 agreement returns control of Prince’s classic catalogue to the artist, marking a major turning point in his long battle for artistic ownership. SOURCE DETAILS Publication: Various newspapers (U.S. press) Date: April 18, 2014 Country: United States Section / Pages: Entertainment / Music News THE STORY Multiple outlets reported that Prince had reached a new agreement with Warner Bros. Records, granting him ownership of the master recordings from his original tenure with the label (1978–1996). The deal also paved the way for future reissues and deluxe editions of his classic albums. CONTEXT AND NOTES This announcement represented a significant reconciliation between Prince and Warner Bros. after years of public disputes over ownership and artistic control. It came during a period of renewed activity for Prince, including work with 3RDEYEGIRL and plans for new releases, including a 30th-anniversary edition of Purple Rain. FEATURE HIGHLIGHTS Event: Announcement of Warner Bros. masters ownership agreement Era: 2014 – Artist rights / Catalogue reclamation period Tone: Optimistic and historic Audience: Prince fans and music industry observers THE ANNOUNCEMENT Press reports confirmed that Prince now owns the rights to the music he recorded for Warner Bros. Records. The agreement allows for future reissues and previously unheard material, symbolizing a new chapter in Prince’s relationship with his legacy. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. 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.

Nelson George profiles the rising 22-year-old superstar, exploring his controversial lyrics, raw talent, and uncompromising vision on the Dirty Mind album. SOURCE DETAILS Publication: Record World Date: January 24, 1981 Country: United States Section / Pages: Feature Article THE STORY This in-depth profile by Nelson George examines Prince’s rapid rise, his multi-instrumental genius, and the provocative nature of his Dirty Mind album. Prince discusses writing truthfully about his experiences, his refusal to compromise for commercial success, and his unique approach to recording and performance. CONTEXT & NOTES By early 1981, Prince was gaining critical acclaim and commercial momentum with Dirty Mind. This Record World feature captures him at a pivotal moment — pushing boundaries with explicit themes while earning respect from critics for his raw talent and authenticity. FEATURE HIGHLIGHTS Event: Major profile on Prince and Dirty Mind Era: 1981 – Dirty Mind era Tone: Insightful and appreciative Photography: Black-and-white portrait of Prince Audience: Music industry professionals and serious fans WHAT THE CLIPPING SHOWS A full-page feature article with extensive text by Nelson George, discussing Prince’s background, recording process, controversial lyrics, and artistic philosophy. Includes a striking portrait of Prince and quotes from the artist himself. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. Controversy – Prince’s controversial genius explodes! “With controversial lyrics, striking musical ability, and an eye-popping stage presentation, Prince is one of the most intriguing figures in pop music today. His latest Warner Bros. album, ‘Dirty Mind,’ cracked the Black Oriented Album top ten; the single “Uptown” reached #5 on the BOS chart, while also garnering considerable disco play.” Nelson George’s The ‘real reality’ of Prince’s music, a one-page article in Record World, January 24, 1981. More early Prince provocations added weekly. Nelson George “With controversial lyrics, striking musical ability, and an eye-popping stage presentation, Prince is one of the most intriguing figures in pop music today. His latest Warner Bros. album, ‘Dirty Mind,’ cracked the Black Oriented Album top ten; the single “Uptown” reached #5 on the BOS chart, while also garnering considerable disco play. “But Prince’s appeal doesn’t end on the dance floor. Critics from the Village Voice, Rolling Stone, the Soho Weekly News and the Real Paper have all praised him. A typical comment is that he is a mix of Smokey Robinson’s falsetto, Jimi Hendrix’s rock sensibility, and Sly Stone’s onstage outrageousness. Prince himself sees his music “as an expression of myself and my experiences. I always write truthfully about myself. Some don’t understand what I’m saying, but I find when I speak to people that I’m saying things they think, couldn’t say. It reflects what my generation is about, I think.” “Despite his musical prowess (he plays 26 instruments), Prince’s lyrics, especially on ‘Dirty Mind’ have attracted the most attention – and sparked controversy. For example, “Sister, Sister” deals with incest, hardly an everyday topic for a pop songwriter. Prince says the song is “a plea to my sister to be my friend” and it is “only strange by weak people’s standards.” His position on all his material, be it the anti-draft “Party Up” or the sexually explicit “Head,” is that as long as it deals “with real reality and not some imaginary place” any song is right. “Many of his lyrics are improvised in the studio. In fact his entire recording process is haphazard in comparison to many acts. “I just get a burst of energy and creativity and do it,” he says. His three Warners albums (‘Dirty Mind,’ ‘Prince,’ ‘For You’) were recorded in an average of 12 days and mixed in about the same time. Because of this approach, he says he finds it easier to play all the instruments on his albums. Later he teaches his five-piece touring band the parts.” “Prince grew up in Minneapolis, Minnesota. His father was a musician and Prince experimented on the family piano. Songwriting came easy to him and he slowly began learning other instruments. Minnesota radio “was so slow we’d be six months behind the rest of the country,” so his musical taste became insular. “Today I really don’t listen to anyone special. It keeps me from being influenced by others.” “At 18 he signed with Warners, becoming probably the youngest artist to ever produce his own album. His ‘Prince’ album spawned the million-selling single ‘I Want To Be Your Lover.’ Prince says he enjoys touring “but we still haven’t done enough. Touring is the difference between writing a letter and visiting someone in person.” When not on the road he lives in Minnesota. “I still don’t have my own place,” he says. “I live with various people, free loading, and staying inside most of the time”. Record World 24 January 1981 C

A vivid early-80s concert review highlights Prince’s bold stage persona, skimpy tiger-striped briefs, and unapologetic approach to performance and sexuality. SOURCE DETAILS Publication: Kingsport Times-News (via UPI) Date: January 10, 1981 Country: United States Section / Pages: Entertainment / Feature THE STORY This colourful review describes Prince’s provocative concert in Nashville, focusing on his revealing tiger-striped bikini briefs, energetic stage show, and explicit lyrics. Prince defends his style and music, rejecting commercial constraints and emphasizing authenticity over mainstream acceptance. CONTEXT & NOTES By early 1981, Prince was promoting his Dirty Mind album and pushing boundaries with overtly sexual themes and outrageous stage outfits. This article captures the shock and fascination he generated during his first major tours, as he carved out a unique, rebellious identity in the music world. FEATURE HIGHLIGHTS Event: Concert review of Prince in Nashville Era: 1981 – Dirty Mind era Tone: Sensational and intrigued Photography: Black-and-white live photo of Prince performing Audience: General newspaper readers and music fans WHAT THE CLIPPING SHOWS A full newspaper feature with the bold headline “Prince shocks Nashville – tiger-striped briefs and zero apologies!”. It includes a striking black-and-white live photo of Prince on stage and several columns of text discussing his image, music, and attitude. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. 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 glowing early concert review hails 19-year-old Prince as a prodigious talent destined for stardom after his performance opening for Rick James. SOURCE DETAILS Publication: Fort Worth Star-Telegram Date: February 24, 1980 Country: United States Section / Pages: Entertainment / Concert Review THE STORY This enthusiastic review praises Prince’s opening set for Rick James, describing him as a multi-talented “one-man band” who writes, produces, and plays nearly every instrument. The writer notes Prince’s charisma, stage presence, and the strong reaction from the audience despite technical issues. CONTEXT & NOTES In early 1980, Prince was promoting his self-titled second album and the hit single “I Wanna Be Your Lover”. This Fort Worth review is one of the earliest major out-of-town concert reviews, capturing the growing national buzz around the young Minneapolis artist. FEATURE HIGHLIGHTS Event: Concert review of Prince opening for Rick James Era: 1980 – Prince album / Early breakthrough Tone: Impressed and excited Photography: Black-and-white portrait of Prince Audience: Texas music fans and concertgoers WHAT THE CLIPPING SHOWS A full newspaper review with the headline “A new ‘Prince’ of soul arrives on the scene” by Roger Kaye. It includes a striking black-and-white photo of Prince and detailed commentary on his performance, talent, and potential. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. February 24, 1980 Roger Kaye They’re calling him the next Stevie Wonder, and perhaps with a good reason. The singer-composer known simply as Prince appears to be on his way to becoming the biggest solo solo artist in years. The credits on his current hot selling self titled second LP tell the story. It was produced, arranged, composed and performed by one person—Prince, Who says he doesn’t want his real name known “because it’s too hard to remember.“ The album already has yielded one big pop single, “I Wanna Be Your Lover,” which reached No. 11 on the charts. And a second single, “Why You Wanna Treat Me So Bad,” Is bulleting up the charts and could go higher than the first hit. All this and Prince has yet to reach his 20th birthday. In fact, the multi talented artist received a six figure contract to sign with Warner Bros. when he was 18 and then became the youngest person ever in the labels history to produce his own album. THAT LP, “PRINCE–FOR YOU” Included the disco oriented hit single “Soft And Wet,” which gave Prince his first musical recognition when it reached the soul top 20. But prince can’t be considered simply a disco artist. This music is a fusion of blues, jazz, rock, pop and funk that defies categorization. And that’s just the way he wants it. “I don’t like categories at all,” said the young entertainer who open for Rick James at the Tarrant County Convention Center, Friday night. “I’m not soul and I’m not jazz, but everyone wants to put one of those labels on me. “They don’t call the Bee Gees soul. They are either pop or something else. It’s hard to classify Earth, Wind and Fire, but you always know it’s them when your hear them.“ And that’s the type of musical recognition prince is seeking. He wants to develop his own sound and identity. “There’s just not one category that all of my tracks fit into,” he pointed out. “Some are funk, some hard rock and roll and others like ‘For You’ could be classical.“ *** BORN AND RAISED IN Minneapolis, Prince was introduced to music in a hurry because his father was a jazz band leader and his mother sang in the band. At the age of seven, prince begin picking out themes from his favorite television shows on the piano. “I had one piano lesson and two guitar lessons as a kid,” recalled the singer who was heading up his own rock band by the time he was 12. That band initially called Grand Central and then named Champagne went to when the group members entered high school, began playing hotels and high school dances, and about half of the groups material was original songs written by Prince. After mastering the guitar by the age of 13, prince learned the drums at 14 and then moved onto the bass, saxophone and an assortment of keyboards. Finally, by the time he was 16, Prince had his eyes set on signing with a major record company. He needed some sort of break, though, and he got it in the summer of '76 when he hooked up with Chris Moon, the proprietor of a Minneapolis recording studio who earlier had recorded some tapes by Champagne. Hoping to sell some of his own original material, Moon had made a demonstration deep of his songs back to only buy his own acoustic guitar. Realizing that he needed some more music on the tape to sweeten the sound, Moon called on Prince to add some backing piano tracks. Prince then ask the producer if he wanted bass on the tapes. Moon excepted the offer. And before he was through, Prince also laid down some drums, an electric guitar lead and some multiple tracks as a back up singer. Amazed by the youth’s first eternity, moon took the tape to his musician-manager friend, Owen Husney, a 12 year veteran of the music scene. “Not bad. Who are they?” Husney asked Moon after listening to the tape. When told it was just one teenager, Husney immediately offered to be Prince’s manager. In the winter of 1977 he produced a professional demo tape of the young singer and then took the tape to the West Coast, played it for a few of the major record companies and watched the tape sell itself. The tape immediately netted Prince two big contract offers,But he turned them down. *** “I DIDN'T TAKE EITHER one of them because they wouldn’t let me produce myself. They had a lot of strange ideas… tubas and cellos and such. I knew I’d have to do it myself if it was going to come out right.” Warners afforded him that opportunity and sign him up. He’s already achieved a certain amount of success with his health records, and that Stevie Wonder-style stardom many are predicting for him may not be that far away. However, princess taking it all in stride. “I just don’t think about it,“ he says, “it’s all just part of the dream factory. If it happens, it happens. It’s best not to worry about it, though, because if you strive for it and then don’t get it, you end up disappointing and feeling like a failure.“ But many record people are betting that won’t happen. They feel that Prince could be a king before it’s all over. 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.

Jon Bream’s feature captures the growing local excitement around 21-year-old Prince as his hit “I Wanna Be Your Lover” climbs the charts and he prepares for major performances. SOURCE DETAILS Publication: The Minneapolis Star Date: February 6, 1980 Country: United States Section / Pages: Entertainment / Feature THE STORY This profile explores the rising stardom of Prince, describing him as a multi-talented “one-man band” who writes, produces, and performs his own music. The article highlights his dynamic, sexy stage presence, his unique fashion, and the challenge older audiences have in understanding his boundary-pushing sound. CONTEXT & NOTES By early 1980, Prince had scored a major hit with “I Wanna Be Your Lover” (No.1 R&B / No.11 Pop). This Minneapolis Star feature reflects the local pride and growing national attention as Prince transitioned from a hometown prodigy to a rising star with Warner Bros FEATURE HIGHLIGHTS Event: Major local profile on Prince’s rising career Era: 1980 – “I Wanna Be Your Lover” / Early breakthrough Tone: Admiring and slightly bewildered Photography: Black-and-white portrait of Prince Audience: Minneapolis readers and music fans WHAT THE CLIPPING SHOWS A full newspaper feature with the headline “World of music sets a sexy Prince”. It includes a striking black-and-white photo of Prince and several columns of text discussing his talent, image, and the buzz surrounding his live shows. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. hey don’t understand his music, they don’t understand the unusual outfits he wears and they don’t understand how such an extraordinary young talent could come from Minneapolis. “That tripped me out when Dick Clark asked how I could come from Minneapolis, of all places,” said Prince, recalling his interview and performance of his hit single, “I Wanna Be Your Lover,” on television’s “American Bandstand.” “That really gave me an attitude for the rest of the talk. TV personalities are hard to talk to. They come out of certain bags. Music is music. A place is a place.” Yet, Prince’s recent appearances on “Bandstand” and “The Midnight Special” have people asking who is this guy and where is he coming from? The 20-year-old musician (who doesn’t use his last name) is from Minneapolis, where he will perform Saturday at the Orpheum Theater. He plays more than 20 instruments; has written, performed and produced two entire albums by himself, and his “I Wanna Be Your Lover” climbed to No. 1 on the soul charts and No. 11 on the pop charts this winter. In short, Prince is the most important young recording wiz to emerge since Michael Jackson and Stevie Wonder. Like Wonder’s music, Prince’s material seems to elude classification. When he took his band on a brief concert tour this winter (it was cut short by illness), the audiences and critics didn’t quite know what to make of Prince, he says. "They didn’t understand that we are trying to bridge the worlds of rock, funk, jazz and whatever,” Prince explained this week. “The critics were led to believe we would be laid-back because of the albums. The albums are not as fiery as the concert. Older people found it hard to get into us. The kids were the smartest. They are ready for a change. you have to tell them the truth, whether it’s politics, lyrics, music, school, busing. Kids are a lot more aware.” Offstage, Prince is shy. He says he would rather listen than talk--he learns more that way. Onstage, however, he is dynamic, energetic and undeniably sexy. Just ask the teen-age girls, who make up a large part of his following. Yet, for older, second-generation rock fans, Prince says he is “shock treatment.” “They thought we were gay or freaks. We’re wild and free. It’s no holds barred.” Part of the stir is over Prince’s outfits, which have been described as tight, scanty and provocative. “We can’t dress in three-piece suits or glitter outfits or raggedy clothes. It’s (the outfits are) basically us. I wear what I wear because I don’t like clothes. this is what’s most comfortable. “People should wake up and not worry about what people think about them. Like it was in the ’60s.” The crowds at concerts were wilder than the acts sometimes. It was live. Now it’s all commercial and cool. We’ll suffer a slow death like that.” Now that Prince is comfortable with his image, he says, he has become more comfortable onstage. Last January in Minneapolis’ Capri theater, when he gave his first performance since high school, the recording studio wizard was nervous. Now, he says, he “can find fire” with the young Minneapolis musicians in his band (with whom he may even record parts of his next album). And he is looking forward to his concert Saturday, even though few people in the Twin Cities have heard his hit. Only one local radio station--a disco-oriented one --regularly played the record, but Prince didn’t expect much air play here anyway. “Until radio programmers wake up to the fact that we are far behind here, people will probably want to leave if they can,” he says. “I’d play their (programmers’) record even if its wasn’t good music. If it’s good music, it’s good music. I’m not saying mine is good. But if it’s charted, it must be good. “It surprised me that it (’I Wanna Be Your Lover’) became a hit. I basically make songs I like. And I like excitement and surprise.” 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 passionate early profile that hails 19-year-old Prince as a prodigious talent destined for greatness, capturing the excitement in his hometown as his debut album For You begins to make waves. SOURCE DETAILS Publication: Twin Cities Reader Date: January 19, 1979 Country: United States Section / Pages: Feature Article THE STORY This in-depth piece celebrates Prince as a multi-talented “one-man band” who wrote, produced, and played nearly every instrument on his debut album For You. The article highlights his remarkable abilities, his decision to stay based in Minneapolis, and the growing buzz around his potential as a major star. CONTEXT & NOTES Published shortly after Prince’s first major hometown concert at the Capri Theater, this feature reflects the local pride and astonishment as Minneapolis began to realize one of its own was on the verge of national breakthrough. It is one of the more substantial early press pieces on Prince. FEATURE HIGHLIGHTS Event: Major early career profile on Prince Era: 1979 – For You debut era Tone: Admiring and enthusiastic Photography: Black-and-white portrait of Prince Audience: Twin Cities readers and local music fans WHAT THE CLIPPING SHOWS A full newspaper feature with the headline “The power and the glory, the Minneapolis story”. It includes a striking black-and-white photo of Prince and several columns of text exploring his background, talent, and future prospects. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. When local disc jockey Kyle Ray introduced Prince’s debut concert at the Capri Theater in north Minneapolis earlier this month, he hallelujahed in the tradition of Muhammad Ali: “The power and the glory, the Minneapolis story—PRINCE.” He wasn’t just fanning the audience. At 18, this young black wizard from the Twin Cities plays countless instruments, and wrote, arranged, produced, played and sang everything on his first album. He is indeed powerful. Another new album has been written, and is ready for production sometime this winter, and when a tour that Warner Brothers is preparing for him commences, Prince will stand realistically on glory’s doorstep. His prodigious talents drew four Warner Brothers executives from California to his premier engagement here. Coming all the way from the sunny west coast to the frozen, below zero confines of Minnesota, the record moguls reportedly left the Twin Cities satisfied that their “client” could perform well with a band and entertain with a great degree of professionalism. They left convinced, in other words, that Prince is going to be a star. Sitting quietly at a friend’s house before a practice session with his new band, Prince quickly dismissed any talk of stardom and the particulars that accompany it. “I don’t think about it,” he said in a low voice which sometimes is almost a whisper. “It’s all just part of the dream factory. If it happens, it happens. It’s best not to even worry about that, ’cuz if you strive for it and don’t get it, you’ll be disappointed and feel like a failure.” Even with that kind of mature realism working in his favor, though, Prince is already conscious of the effect he might have once he begins the rounds as a full-time performer. Dressed like Jimi Hendrix on opening night, and wearing his hair in falling braids for the interview, it was hard not to think of him as another Stevie Wonder. He admitted, somewhat unabashedly, that he would like “to appeal to as many people as possible and keep them on his side.” He may not be thinking about stardom, but his strategy is geared toward that end. Prince is the sixth youngest in a family of ten, mother and father included. His father plays piano and writes music, and at one time performed in a swing band. “My dad called my piano playing ‘banging,’ and didn’t pay much attention to it. I guess I was seven then. I never really listened to music, either, and I still don’t very much. There’s never nothin’ I can get into. If I listen to a record, I head something that I’d like to do differently, and I become too critical of it. You shouldn’t be that way, ‘cuz the group took their time and effort and worked on it. I’d rather just do my own thing.” Doing what pleased him, Prince picked up instrument after instrument and mastered them all. His high school days at Minneapolis Central thoroughly bored him, and once his music teachers discovered they had a monster talent on their hands, they left him completely alone. “They’d just lock me in a room, once they understood what I was doing. I skipped school a lot, but I graduated early; dismissal was my favorite time of day. I believe in teachers, but not for me. Anything creative I don’t think can be taught, otherwise you get somebody else’s style; it’s not yours, it’s theirs.” Undoubtedly, this philosophy propelled Prince in the recording studio at Sound 80 where he began work on his debut record, For You. He literally took charge of the whole process. Calling him self-reliant is a gross understatement. The demo tapes from For You were taken to a number of record companies before Warner Brothers agreed to give Prince what he wanted: a sizable advance and full control of the production, playing, singing, and arrangement on the LP. “I’ve written 20 songs for the next album, and I think Warners is going to let me handle all of the record again. I didn’t have any particular thing I was trying to accomplish on the first record—I was just putting down what I heard in my head. I wouldn’t say the second one will be like the first, but it’ll sound like me,” Prince said, toying with a tambourine. His debut concerts surprised many. He and his five piece band chose to play a heavy metallic series of songs mixed in with the “soft and wet” textures that color the disco and funk pieces on For You. “I like to play a lot of guitar. That heavy sound goes better in concert than it does on record. I guess synthesizer is my favorite instrument now, and that’s part of the reason for two keyboard players. I really like working with this band, and I’m gonna do an album with them where everyone writes and I’m just there playing with them. They’re really great individually as well as collectively.” Despite Warner Brothers’ attempt to solicit L.A. musicians, Prince finally settled on Minnesota talent. The record company flew him out to Los Angeles with Bobby Z., a drummer from Minneapolis, and a local bass guitarist Andre, a longtime friend and a great showman himself. The three of them spent a couple of tedious days auditioning players. Gail Chapman, keyboard player in the band, moved from Duluth where she had played with “eight commercial-sounding groups,” and met a cousin of Prince’s while living on the northside. She jammed with Prince, and eventually was invited to join. “This whole band was formed from jamming,” Bobby noted. Dez Dickerson got his job after playing just 15 minutes with Prince, while the other keyboard player, Matt Fink, persistently called Prince’s former management company six months before the band even formed. Prince’s quiet manner may be the ideal stance in the face of the towering music industry, where talent is often less important than the machinations of the biz. “The music end of my life I’ll probably always do, but not the business end,” said Prince softly. “I hate plane rides, too. I’d rather stay at home and rehearse, or play in the studio by myself. I like the quiet here in Minneapolis, and nobody bothers me; I’ll always keep a place here.” The multi-talented prodigy, who once dreamed of becoming a cowboy or a fireman, lives alone with a couple of pet alligators, and chooses not to make the scene very much. He’s still under age for most bars in this state. “I used to hang out at the Infinity (a St. Louis Park disco which recently closed) but I’d rather hear loud, live music if I go out at all. Actually, I spend a lot of time in the bathtub thinking. Music and playing is almost like breathing for me,” he said shyly in the low voice that belies his performing falsetto. Prince plans to play here again soon, once the tour is set. “But before I can do that, I have to go to New York and L.A. and that means more plane rides,” he winced. Since his career might rest on the wings of those planes, I urged him to get used to it. “Well, I may not stay in music, you know. If I get bored, I may become an artist, a painter—I do that too. Or I might become a janitor or something else,” he shrugged. Given Prince’s age and his remarkable abilities, it’s safer to assume that “the Minneapolis story” will spend more time in the air and on the airways than he will mopping up.” Twin Cities Reader January 19, 1979 Martin Keller 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 heartfelt local feature welcomes 19-year-old Prince back to Minneapolis for a rare hometown performance as his debut album For You begins to make waves. SOURCE DETAILS Publication: The Minneapolis Star Date: January 5, 1979 Country: United States Section / Pages: Entertainment / Feature THE STORY This warm profile celebrates Prince’s return to Minneapolis for a live performance. It highlights his extraordinary talent as a self-taught multi-instrumentalist who wrote, produced, and played almost everything on his debut album For You, while noting his quiet, introspective personality offstage. CONTEXT & NOTES By early 1979, Prince had just released his debut album For You on Warner Bros. This Minneapolis Star feature is one of the earliest substantial local pieces on him, capturing the pride and growing recognition in his hometown as he transitioned from local prodigy to national recording artist. FEATURE HIGHLIGHTS Event: Early hometown feature and performance preview Era: 1979 – For You debut era Tone: Proud and admiring Photography: Striking black-and-white portrait of 19-year-old Prince Audience: Minneapolis readers and local music fans WHAT THE CLIPPING SHOWS A full newspaper feature with the headline “Our teen-age virtuoso is home to play at last” by Jon Bream. It includes a large, expressive black-and-white photo of Prince and several columns of text exploring his background, talent, and return to the city. 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.

One of the earliest major newspaper features on a 19-year-old Prince, introducing Minneapolis readers to a prodigious young musician already producing his own Warner Bros. album. THE STORY This in-depth feature profiles 19-year-old Prince Rogers Nelson, describing him as “literally a one-man band” who wrote, produced, and played nearly every instrument on his upcoming debut album For You. The article explores his early life, musical development, and remarkable self-sufficiency in the studio. CONTEXT & NOTES Published just weeks before the release of For You, this piece is one of the very first substantial local press profiles on Prince. It captures him at the absolute beginning of his professional career, already being recognised as a musical prodigy in his hometown. FEATURE HIGHLIGHTS Event: Major early career feature on Prince Era: 1978 – Pre-For You / Early career Tone: Astonished and admiring Photography: Large black-and-white portrait of young Prince Audience: Minneapolis readers and music fans WHAT THE CLIPPING SHOWS A full-page feature with the headline “Prince: A one-man band and a whole chorus, too” by staff writer Tim Carr. It includes a striking large portrait of Prince and extensive text detailing his talent, recording process, and ambitions. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. 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.

An early promotional announcement teasing readers with the story of an extraordinary 18-year-old Minneapolis musician named Prince — already a self-produced Warner Bros. artist and one-man band SOURCE DETAILS Publication: Minneapolis Star / Minneapolis Tribune Date: April 29, 1978 Country: United States Section / Pages: Entertainment / Arts Preview THE STORY This small but significant teaser box announces an upcoming Sunday feature on Prince, describing him as “literally a one-man band” and noting that he is the youngest person ever to have produced a Warner Bros. album. The piece promises insights into how he got his start, what instruments he plays, and what he says about his debut album. CONTEXT & NOTES In April 1978, Prince (still just 19) was preparing for the release of his debut album For You. This teaser represents one of the very earliest major local press mentions of him, capturing the moment the Minneapolis public was first formally introduced to his prodigious talent. FEATURE HIGHLIGHTS Event: Promotional teaser for Prince feature Era: 1978 – Pre-For You / Early career Tone: Intrigued and anticipatory Photography: Text-only teaser box Audience: Minneapolis readers WHAT THE CLIPPING SHOWS A clean newspaper teaser box in the entertainment section with bold text highlighting Prince as a one-man band and Warner Bros. recording artist. It promises an in-depth feature by staff writer Tim Carr in the upcoming Sunday edition. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page. 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