Released on October 12, 1993, Hey Man... Smell My Finger was George Clinton's second and final studio album issued through Paisley Park Records. The project is particularly notable within the Prince chronology because it contains significant Prince contributions, most prominently the Prince and George Clinton co-written and co-produced track "The Big Pump". Prince also appeared uncredited on the album, providing background vocals and keyboards on "Get Satisfied". According to George Clinton, Prince additionally contributed to "Way Up", although the extent of that involvement has never been fully documented. CD album - Germany - 7599-25518-2 The album featured an extensive cast of guest musicians and vocalists drawn from the worlds of funk, hip-hop and rock. Contributors included members of the Red Hot Chili Peppers, Dallas Austin, Chuck D, Flavor Flav, Humpty Hump, Ice Cube, Yo-Yo, MC Breed, Herbie Hancock, Bootsy Collins, Bernie Worrell, Maceo Parker, Fred Wesley, members of The Steeles, and Prince associates Eric Leeds and Atlanta Bliss. Although primarily a George Clinton project, the album maintained strong links to Prince's musical circle through its personnel, production involvement and several Prince-related compositions. CD album - Germany - 7599-25518-2 RECORDING Recording sessions for the album took place between 1990 and 1992. "The Big Pump" was recorded in early 1990 and became the most significant Prince-related track on the final release. Recording dates for "Get Satisfied" are not known, although Prince began incorporating chants from the song into live performances during early 1993, suggesting the track may have been completed late in the album's development. Prince also contributed the song "My Pony", although it was ultimately omitted from the finished album. An earlier album configuration included a different version of "We Can Funk" than the version later released on Graffiti Bridge. The album was recorded at Paisley Park Studios in Chanhassen, Minnesota. CD album - Germany - 7599-25518-2 STYLE & THEMES The album combined funk, hip-hop and contemporary R&B influences while bringing together musicians from several generations of Clinton's musical network. Prince's involvement is most evident on "The Big Pump", while additional Prince-related elements appear throughout the project. "Dis Beat Disrupts" contains repeated samples from Prince's song "Housequake", further strengthening the connection between the two artists' catalogues. CD album - Japan - AVCD-11426 TRACK-BY-TRACK NOTES • Way Up — Features possible Prince participation, although the exact nature of his contribution remains uncertain. • Get Satisfied — Includes uncredited background vocals and keyboards by Prince. The track later became a recurring musical reference within Prince's live performances and later recordings. • The Big Pump — Co-written and co-produced by Prince and George Clinton. Prince performed all instruments on the track. CD album - Japan - AVCD-11426 RELEASE HISTORY Hey Man... Smell My Finger was released on October 12, 1993 through Columbia Records and Paisley Park Records. The album produced two commercially issued singles, "Paint The White House Black" and "Martial Law". A third Prince-related release, "The Big Pump", was issued only as a promotional radio single in Germany. An NPG Records reissue followed in early 1995. Several tracks from the album continued to have an influence within Prince's world after release. The video for "Paint The House Black" was shown before concerts on The Ultimate Live Experience tour, while Prince later performed or referenced "Martial Law" and "Get Satisfied" in live settings. "Hollywood" also appeared on the NPG Records compilation 1-800 New Funk in 1994. CHARTS & CERTIFICATIONS AMERICA USA: Billboard Top Pop Albums Chart — Entry: October 30, 1993 — Peak: 145 — Weeks: 3 USA: Billboard R&B Chart — Entry: October 30, 1993 — Peak: 31 — Weeks: 11 CD album - Japan - WPCP-5637 PERSONNEL George Clinton — lead vocals Prince — background vocals and keyboards on "Get Satisfied" (uncredited), all instruments on "The Big Pump", contribution unknown on "Way Up" Fred Steele — background vocals on "Way Up", "Get Satisfied" and assumed on "The Big Pump" JD Steele — background vocals on "Way Up", "Get Satisfied" and assumed on "The Big Pump" Jearlyn Steele — background vocals on "Way Up", "Get Satisfied" and assumed on "The Big Pump" CD album - Japan - WPCP-5637 Jevetta Steele — background vocals on "Way Up", "Get Satisfied" and assumed on "The Big Pump" Foley — drums, bass, guitar and vocals on "Way Up" and "Get Satisfied" Michael "Clip" Payne — vocals on "Way Up", co-lead vocals on "Get Satisfied" Garry Shider — vocals on "Way Up" and "Get Satisfied" Robert "Peanut" Johnson — vocals on "Way Up" and "Get Satisfied" Sandra Feva — vocals on "Way Up" and CD album - Japan - WPCP-5637 "The Big Pump" Atlanta Bliss — trumpet on "Way Up" Eric Leeds — saxophone on "Way Up" Maceo Parker — saxophone on "Get Satisfied" Fred Wesley — trombone on "Get Satisfied" PRODUCTION George Clinton — co-producer Prince — co-producer on "The Big Pump" Foley — co-producer on "Way Up" and "Get Satisfied" Eric Leeds — horn arrangements on "Way Up" and "Get Satisfied" Labels: Columbia Records / Paisley Park Records Studio: Paisley Park Studios, Chanhassen, Minnesota, USA RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format George Clinton Hey Man... Smell My Finger Columbia Records / Paisley Park Records USA October 12, 1993 CD George Clinton Hey Man... Smell My Finger Columbia Records / Paisley Park Records USA October 12, 1993 LP George Clinton Hey Man... Smell My Finger Columbia Records / Paisley Park Records USA October 12, 1993 Cassette George Clinton Hey Man... Smell My Finger NPG Records USA Early 1995 Reissue TRACKLIST TABLE (PRINCE-RELATED TRACKS) Format Catalogue Tracklisting CD 3. Way Up (5:08) 5. Get Satisfied (3:55) 8. The Big Pump (3:33) LP Side 2: Way Up (5:08) Side 2: Get Satisfied (3:55) Side 3: The Big Pump (3:33) Cassette Side 1: Way Up (5:08) Side 1: Get Satisfied (3:55) Side 2: The Big Pump (3:33) SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

"The Belle Of St. Mark" was released in the United States on October 12, 1984 as the second single from Sheila E.'s debut album, The Glamorous Life. Arriving approximately four months after the album's release, the single continued the promotional campaign surrounding the successful debut record.The release featured both an edited version of the title track and the previously unreleased song "Too Sexy" as its B-side. Unlike much of Sheila E.'s associated work from the period, "Too Sexy" had no involvement from Prince. 7" - USA - 7-29180 Although issued in several territories including North America and Germany, the single's initial focus was the American market, where it became a moderate chart success. The release reached the Billboard Hot 100 and Billboard Black Singles chart, while later enjoying even greater success in parts of Europe and the United Kingdom. The single showcased material drawn from The Glamorous Life, while its accompanying formats offered alternate versions of the title track. Several releases included extended and dance-oriented mixes, giving the song a broader club presence beyond the original album version. TRACK-BY-TRACK NOTES • The Belle Of St. Mark (Edit) — The shortened single version issued on the standard 7-inch release. • Too Sexy — Previously unreleased track selected as the single's B-side. • The Belle Of St. Mark (Full Length Version) — Extended album-length version issued on selected 12-inch editions. 7" - USA - 7-29180 • The Belle Of St. Mark (Dance Remix) — Exclusive remix version issued on selected 12-inch releases. RELEASE HISTORY Released in the United States on October 12, 1984 through Warner Bros. Records, "The Belle Of St. Mark" became the second commercial single from The Glamorous Life. The release was issued across multiple formats and territories. The standard American 7-inch single paired the edited version of the title track with "Too Sexy". Additional 12-inch editions appeared featuring both full-length and dance remix versions of the song. Promotional 7-inch and 12-inch editions were also distributed in North America. The single later received a United Kingdom release on January 28, 1985. 12" - USA - 0-20285 CHARTS & CERTIFICATIONS AMERICA USA: Billboard Hot 100 — Entry: October 27, 1984 — Peak: 34 — Weeks: 15 USA: Billboard Black Singles — Entry: November 24, 1984 — Peak: 68 — Weeks: 6 EUROPE Belgium: Ultratop 50 Singles — Peak: 5 — Weeks: 11 Netherlands: Nederlandse Top 40 — Peak: 5 — Weeks: 11 UK: Gallup Singles Chart — Entry: February 3, 1985 — Peak: 18 — Weeks: 11 UK: Gallup Singles Chart (Re-entry) — Entry: April 28, 1985 — Peak: 82 — Weeks: 1 NOTES Released in the USA on October 12, 1984. Second single from The Glamorous Life. "Too Sexy" was previously unreleased and had no input from Prince. Associated non-album tracks and versions included "The Belle Of St. Mark (Dance Remix)" and "The Belle Of St. Mark (Edit)". See individual tracks and related albums for full credits. Promotional 12" - USA - PRO-A-2201 12" - UK - W9180T RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format Sheila E. The Belle Of St. Mark Warner Bros. USA 9 29180-7 October 12, 1984 7" Single Sheila E. The Belle Of St. Mark Warner Bros. Canada 92 91807 1984 7" Single Sheila E. The Belle Of St. Mark Warner Bros. UK W9180 January 28, 1985 7" Single Sheila E. The Belle Of St. Mark Warner Bros. Germany 929 180-7 1984 7" Single Sheila E. The Belle Of St. Mark Warner Bros. USA 9 20285-0 A 1984 12" Single Sheila E. The Belle Of St. Mark Warner Bros. Canada 9 20285-0 1984 12" Single Sheila E. The Belle Of St. Mark Warner Bros. UK W9180T 1985 12" Single Sheila E. The Belle Of St. Mark Warner Bros. Germany 920 285-0 1984 12" Single Sheila E. The Belle Of St. Mark Warner Bros. Italy 920 285-0 1984 12" Single Sheila E. The Belle Of St. Mark Warner Bros. USA 7-29180 1984 7" Promo Sheila E. The Belle Of St. Mark Warner Bros. USA PRO-A-2201 1984 12" Promo TRACKLIST TABLE Format Catalogue Tracklisting 7" Single 9 29180-7 A. The Belle Of St. Mark (Edit) (3:38) B. Too Sexy 7" Single 92 91807 A. The Belle Of St. Mark (Edit) (3:38) B. Too Sexy 7" Single W9180 A. The Belle Of St. Mark (Edit) (3:38) B. Too Sexy 7" Single 929 180-7 A. The Belle Of St. Mark (Edit) (3:38) B. Too Sexy 12" Single 920 285-0 A. The Belle Of St. Mark (Full Length Version) (5:08) B. Too Sexy 12" Single 9 20285-0 A A. The Belle Of St. Mark (Dance Remix) (7:42) B. Too Sexy 12" Single W9180T A. The Belle Of St. Mark (Dance Remix) (7:42) B. Too Sexy 12" Single 9 20285-0 A. The Belle Of St. Mark (Dance Remix) (7:42) B. Too Sexy 7" Promo 7-29180 A. The Belle Of St. Mark (Edit) (3:38) B. Too Sexy 12" Promo PRO-A-2201 A. The Belle Of St. Mark (Edit) (3:38) B. The Belle Of St. Mark (LP Version) (5:08) SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2,All single artwork, label designs, 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.

"Come On" was released on October 16, 1998 in Europe as the first commercial single taken from Newpower Soul by The New Power Generation. The release marked the first commercially available single from the album, although "The One" had previously been issued as a promotional-only release in the United States. The single was released across Europe, North America and Australia. Multiple editions were made available, featuring an extensive collection of remixes and alternate versions of "Come On" created by Prince, Kirk Johnson and Doug E. Fresh. CD single (Cardboard) - European Union - 74321607172 The American edition differed from international releases by being available exclusively through the 1-800 New Funk mail-order service. This version included additional material unavailable on other editions, including a remix of "The One". Although released internationally, the single achieved only limited chart success, reaching number 65 on the UK Gallup Singles Chart. RECORDING "Come On" originated from the Newpower Soul album. Various releases included alternate versions of the track, including the Album Edit, Radio Edit, Acapella, Doug E. Fresh Mix, Remix, Hypermix and Latenitemix. The American mail-order edition also included a remix of "The One". CD single (Cardboard) - European Union - 74321607172 STYLE & THEMES The release focused heavily on remix interpretations of "Come On". Different editions expanded the original album track into multiple configurations, ranging from radio edits and acapella versions to extended club-oriented remixes. The package offered an unusually broad range of alternate versions built around a single song. TRACK‑BY‑TRACK NOTES • Come On (Radio Edit) — A 4:30 edit prepared for commercial single release. • Come On (Album Edit) — A 4:30 edit derived from the album recording. • Come On (Doug E. Fresh Mix) — A remix version running 4:57. • Come On (Remix) — An extended remix running 8:14. • Come On (Hypermix) — Extended remix version running 7:58. • Come On (Latenitemix) — Alternate remix version running 4:10. • Come On (Acapella) — Vocal-only version running 3:27. • The One (Remix) — Included exclusively on the US mail-order edition. CD single - European Union - 74321 63472 2 RELEASE HISTORY CD single - European Union - 74321 63472 2 "Come On" was released in Europe on October 16, 1998 and later in the United Kingdom on November 9, 1998. The release became the first commercial single from Newpower Soul. Multiple CD, cassette and vinyl configurations were issued internationally, while a special American edition was made available exclusively through the 1-800 New Funk mail-order service. The release campaign was supported by several remix packages and promotional editions. According to the supplied source, "Come On" was performed extensively during the New Power Soul Festival Tour in late 1998, with both the album version and Remix version appearing in live performances. CD single - European Union - 74321 62918 2 CHARTS & CERTIFICATIONS EUROPE UK: Gallup Singles Chart — Entry: November 15, 1998 — Peak: 65 — Weeks: 1 PERSONNEL Prince — performer, remixer Kirk Johnson — remixer Doug E. Fresh — remixer The New Power Generation — credited artist PRODUCTION Produced by Prince Label: NPG Records NOTES "Come On" was the first commercial single issued from Newpower Soul. The release contained multiple remixes created by Prince, Kirk Johnson and Doug E. Fresh. The US edition was available through 1-800 New Funk mail-order and included exclusive content unavailable on other editions. The single was heavily featured during the New Power Soul Festival Tour in late 1998, with both the album version and Remix version performed live. This single was not released on 7-inch vinyl or digital formats. CD single (Cardboard) - USA - None CD single (Cardboard) - USA - None 12" - USA - none 12" - USA - none RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format The New Power Generation Come On NPG Records Europe 74321634722 October 16, 1998 CD Single --- INTERNATIONAL VARIANTS --- --- --- --- --- The New Power Generation Come On NPG Records UK 74321 634724 November 9, 1998 Cassette Single The New Power Generation Come On NPG Records Europe 74321629182 1998 CD Maxi Single The New Power Generation Come On NPG Records Europe 74321607161 1998 12" Single The New Power Generation Come On NPG Records Europe 74321607162 1998 Promo CD The New Power Generation Come On NPG Records USA 78533792222 4 1998 CD Single (1-800 New Funk Edition) The New Power Generation Come On NPG Records USA 980-087 1998 Promotional 12" The New Power Generation Come On NPG Records USA WHAT A LIFE! 1998 Promotional 12" TRACKLIST TABLE (ALL FORMATS) Format Catalogue Tracklisting CD Single 74321634722 1. Come On (Radio Edit) (4:30) 2. Come On (Remix) (8:14) 3. Come On (Latenitemix) (4:10) CD Maxi Single 74321629182 1. Come On (Doug E. Fresh Mix) (4:57) 2. Come On (Remix) (8:14) 3. Come On (Album Edit) (4:30) 4. Come On (Hypermix) (7:58) 5. Come On (Latenitemix) (4:10) 6. Come On (Acapella) (3:27) US CD Single 78533792222 4 1. Come On (Doug E. Fresh Mix) (4:57) 2. Come On (Remix) (8:14) 3. Come On (Album Edit) (4:30) 4. Come On (Hypermix) (7:58) 5. Come On (Latenitemix) (4:10) 6. Come On (Acapella) (3:27) 7. The One (Remix) (7:09) 12" Single 74321607161 A1. Come On (Doug E. Fresh Mix) (4:57) A2. Come On (Remix) (8:14) A3. Come On (Album Edit) (4:30) B1. Come On (Hypermix) (7:58) B2. Come On (Latenitemix) (4:10) B3. Come On (Acapella) (3:27) Promo CD 74321607162 1. Come On (Album Edit) (4:30) Cassette Single 74321 634724 1. Come On (Radio Edit) (4:30) 2. Come On (Late Nite Mix) (4:10) Promotional 12" 980-087 A. Come On (Album Edit) (4:30) B. Come On (Album Edit) (4:30) Promotional 12" WHAT A LIFE! A1. Come On (Doug E. Fresh Mix) (4:57) A2. Come On (Remix) (8:14) A3. Come On (Album Edit) (4:30) B1. Come On (Hypermix) (7:58) B2. Come On (Latenitemix) (4:10) B3. Come On (Acapella) (3:27) B4. The One (Remix Edit) (2:14) SOURCES Prince Vault, Discogs, sleevographia2. All single artwork, photographs, labels, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

The Rainbow Children is Prince’s twenty-fourth studio album, a conceptual work with strong spiritual and religious themes influenced by his Jehovah’s Witnesses faith. It was his first album released under the name Prince since 1996. RELEASE DETAILS Artist: Prince Label: NPG Records / Redline Entertainment Catalogue: 70004-1 Format: 2×LP Country: Worldwide Released: October 16, 2001 (NPG Music Club download) / November 20, 2001 (retail) Genre: Rock, Funk / Soul, Jazz, Gospel Length: 68:49 THE STORY A narrative-driven album telling the story of the Rainbow Children, spiritual enlightenment, temptation, banishment, and redemption. The album features extended jams, jazz influences, and a continuous conceptual flow, highlighted by tracks like “Rainbow Children,” “The Work Pt. 1,” and “Family Name.” CONTEXT & NOTES Recorded primarily at Paisley Park in late 2000–early 2001, this was Prince’s return to using his birth name. The album was previewed during the 2001 Celebration event and served as the foundation for the One Nite Alone... Tour. It was initially available as a single untracked download to NPG Music Club members. Side A A1 Rainbow Children — 10:04 A2 Muse 2 The Pharaoh — 4:21 A3 Digital Garden — 4:07 Side B B1 The Work Pt. 1 — 4:28 B2 Everywhere — 2:55 B3 The Sensual Everafter — 2:58 B4 Mellow — 4:24 Side C C1 1+1+1 Is 3 — 5:17 C2 Deconstruction — 2:00 C3 Wedding Feast — 0:54 C4 She Loves Me 4 Me — 2:50 C5 Family Name — 8:17 Side D D1 The Everlasting Now — 8:18 D2 Last December — 7:58 D3 untitled track (Last December reprise) — 0:38 Total Length: 68:49 PERSONNEL Musicians Prince — all vocals and instruments (except where noted) ADDITIONAL MUSICIANS AND BACKGROUND John Blackwell — drums Larry Graham — bass guitar (select tracks) Najee — saxophone, flute The Hornheadz — horns Milenia — background vocals Kip Blackshire — background vocals Mr. Hayes, Femi Jiya — spoken vocals Clare Fischer — orchestration (sampled) Production Prince — producer, arranger Femi Jiya — engineer Brian Gardner — mastering Cbabi Bayoc — cover art and illustrations PACKAGING HIGHLIGHTS Single sleeve gatefold-style jacket with vibrant, colorful original painting by Cbabi Bayoc on the front Back cover features tracklist, barcode, and credits Includes full lyric/conceptual booklet inside CHARTS America USA: Billboard 200 | 8 Dec. 2001 | 109 | 2 weeks USA: Billboard Top R&B/Hip Hop Albums | 8 Dec. 2001 | 33 | 7 weeks USA: Billboard Independent Albums | 8 Dec. 2001 | 4 | 17 weeks It was also released through Prince's website earlier in the year. It is the first album released outside of the NPG Music Club to be released under the name of Prince again, as he had reverted to his previous stage name from his symbolic moniker a year earlier. It was released on double vinyl with a glossy color booklet, and was not available on vinyl again until the Legacy release in 2020. This concept album illustrates common Prince themes of spirituality and human sexuality, as well as love and racism, through the fictitious story of a social movement toward a Martin Luther King Jr.-inspired utopian society. The album seems to allude to his recent intrest in the Jehovah's Witnesses denomination, but Egyptian monotheism and New Age concepts such as the Akashic records are used as metaphors as well. Jazzier than any of his previous efforts, it was met with mixed reactions. Some fans saw the album as a musical and spiritual evolution for Prince. The Rainbow Children was released through the independent distributor Redline Entertainment. At Prince's decision, it received minimal promotion, as he wanted to focus more on the music and avoid commercialism. The album sold 158,000 copies in US stores as of summer 2007, with an estimated 560,000 copies worldwide. The album also had a dedicated promotional website that offered the tracks "She Loves Me 4 Me" and "Mellow" as free MP3 downloads. The domain is currently for sale. The album cover features Cbabi Bayoc's "The Reine Keis Quintet". Prince favored the painting of a women's band, as he was backed by an all-female ensemble. SOURCES Album liner notes, official discography, Discogs, 45cat, Official Charts, Wikipedia, Prince Vault. COPYRIGHT NOTICE All album 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

"Sexuality" was released as the second single from Prince's fourth studio album, Controversy. The single was issued in West Germany on October 16, 1981, around the same period that the Controversy album was released in the United States on October 14, 1981. Unlike many Prince singles of the period, "Sexuality" was only issued in selected international territories. The release appeared in West Germany, Japan and Australia, while other territories did not receive the single in the same format. 7" - Germany - WB 17 869 The release paired the album version of "Sexuality" with material drawn directly from the Controversy album. In West Germany and Japan, the B-side featured an edited version of "Controversy", while the Australian release used "I Wanna Be Your Lover" as its companion track. The single did not chart in the United States, but achieved a chart position in Australia, reaching number 88. RECORDING Both "Sexuality" and "Controversy" originated from the Controversy album. No non-album tracks were included on the release. 7" - Germany - WB 17 869 STYLE & THEMES "Sexuality" was issued in its album form as the featured A-side. The release paired the track with recordings drawn from Prince's existing catalogue, including both an edited version of "Controversy" and, in Australia, "I Wanna Be Your Lover". TRACK‑BY‑TRACK NOTES • Sexuality — Released as the A-side in all territories. The album version running 4:20 was used. • Controversy (Edit) — Featured as the B-side on the West German and Japanese 7-inch releases. Running time: 3:35. • I Wanna Be Your Lover — Used as the B-side on the Australian release. • Controversy — Included in full-length form on the West German 12-inch release, running 7:14. 7" - Germany - WB 17 869 RELEASE HISTORY Released on October 16, 1981, the single served as the second release from the Controversy album. The record was issued only in West Germany, Japan and Australia during the initial release campaign. Its release coincided with the launch of the Controversy album in the United States, while many international markets did not receive the album until several weeks later. West German releases were issued in both 7-inch and 12-inch formats. Japanese issues mirrored the German 7-inch configuration, while Australia received a unique pairing featuring "I Wanna Be Your Lover" on the reverse side. 7" - Germany - WB 17 869 CHARTS & CERTIFICATIONS Australia: Top 100 Singles — Peak: 88 — Weeks: 3 (tbc) PERSONNEL Prince — vocals, songwriter, performer PRODUCTION Produced by Prince Label: Warner Bros. Records NOTES No non-album tracks were issued on the West German or Japanese configurations. The single was released only in West Germany, Japan and Australia. The Australian issue used a different B-side from the European and Japanese editions. The release coincided with the launch of the Controversy album in the United States during October 1981. See individual tracks and related albums for additional recording credits. 12" - Germany - WB 26197 12" - Germany - WB 26197 7" - Australia - WB 0636 7" - Australia - WB 0636 7" - Japan - P-1619 7" - Japan - P-1619 RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format Prince Sexuality / Controversy (Edit) Warner Bros. West Germany WB 17869 October 16, 1981 7" Single Prince Sexuality / Controversy Warner Bros. West Germany WB 26197 October 16, 1981 12" Single --- INTERNATIONAL VARIANTS --- --- --- --- --- Prince Sexuality / Controversy (Edit) Warner Bros. Japan P-1619 1981 7" Single Prince Sexuality / I Wanna Be Your Lover Warner Bros. Australia MX205217-8 1981 7" Single TRACKLIST TABLE Format Catalogue Tracklisting 7" Single WB 17869 A. Sexuality (4:20) B. Controversy (Edit) (3:35) 7" Single P-1619 A. Sexuality (4:20) B. Controversy (Edit) (3:35) 7" Single MX205217-8 A. Sexuality (4:20) B. I Wanna Be Your Lover (5:47) 12" Single WB 26197 A. Sexuality (4:20) B. Controversy (7:14) SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

"The Arms Of Orion" was issued as the third single from Prince's eleventh studio album, Batman. The single was released in the United States on October 16, 1989, approximately four months after the release of the parent album and continued the commercial association between the Batman album and the 1989 film. The release featured the edited single version of "The Arms Of Orion" backed with the previously unreleased track "I Love U In Me". The appearance of "I Love U In Me" made the release particularly notable, as the song had not previously appeared on album or single. 7" - USA - 7-22757 The single received worldwide distribution. It was subsequently issued in the United Kingdom on November 6, 1989 and was released in multiple formats including 7-inch vinyl, 12-inch vinyl, cassette single and CD single. The release achieved moderate chart success internationally, reaching number 36 on the US Billboard Hot 100, while also charting in Belgium, Ireland, the Netherlands and the United Kingdom. 7" - USA - 7-22757 RECORDING "The Arms Of Orion" originated from the Batman album. The commercial 7-inch release used a dedicated edit running 3:52 rather than the full album version. "I Love U In Me" was issued as a previously unreleased recording. STYLE & THEMES The single combined the edited version of "The Arms Of Orion" with the previously unreleased "I Love U In Me". Various formats expanded the package through inclusion of both the full-length album version and the shorter single edit, allowing listeners access to multiple versions of the title track. Promo CD single - USA - PRO-CD-3787 TRACK‑BY‑TRACK NOTES • The Arms Of Orion (Edit) — The 3:52 single version selected for the commercial 7-inch release and featured across multiple formats. • I Love U In Me — A previously unreleased recording issued as the principal B-side. • The Arms Of Orion — The full-length 5:03 album version included on 12-inch and CD configurations. Promo CD single - USA - PRO-CD-3787 RELEASE HISTORY Released in the United States on October 16, 1989, "The Arms Of Orion" became the third commercial single taken from Batman. The release followed Partyman and continued promotion of the Batman project around the world. A United Kingdom release followed on November 6, 1989. The single was issued on 7-inch vinyl, 12-inch vinyl, cassette and CD formats. As with Partyman, the CD edition was available as a 3-inch CD single. The artwork continued the visual themes associated with the Batman campaign and utilised a variation of the familiar Batman logo. An experimental multimedia component was included on the CD single. When inserted into a computer, an unlisted CDI file displayed a slideshow accompanied by "The Arms Of Orion". According to the supplied source, the feature was an experiment by Warner Bros. and was not created with input from Prince. CHARTS & CERTIFICATIONS AMERICA USA: Billboard Hot 100 Chart — Entry: October 21, 1989 — Peak: 36 — Weeks: 14 USA: Billboard Adult Contemporary Chart — Entry: October 28, 1989 — Peak: 21 — Weeks: 13 EUROPE Belgium: Ultratop Flanders — Entry: December 2, 1989 — Peak: 33 — Weeks: 3 Ireland: IRMA Singles Chart — Entry: November 9, 1989 — Peak: 5 — Weeks: 3 Netherlands: Dutch Top 40 — Entry: November 11, 1989 — Peak: 15 — Weeks: 5 UK: Gallup Singles Chart — Entry: November 18, 1989 — Peak: 27 — Weeks: 5 PACIFIC CERTIFICATIONS This single did not receive any certifications in the USA or elsewhere. AWARDS This single did not receive any awards in the USA or elsewhere. PERSONNEL Prince — vocals, songwriter, performer PRODUCTION Produced by Prince Label: Warner Bros. Records NOTES "I Love U In Me" was previously unreleased at the time of the single's release. The single was the third release taken from the Batman album. The commercial 7-inch issue used a 3:52 edit of "The Arms Of Orion". Like Partyman, the CD edition was released as a 3-inch CD single. The CD format contained an unlisted CDI file featuring a slideshow experiment created by Warner Bros. using available CD technology. According to the source, the feature did not involve Prince and was not intended as an official promotional video. This single was not released in digital format. RELEASE VARIANTS TABLE Artist Title Label Country Catalogue Date Format Prince The Arms Of Orion / I Love U In Me Warner Bros. USA 7-22757 October 16, 1989 7" Single Prince The Arms Of Orion / I Love U In Me Warner Bros. USA 4-22757 October 16, 1989 Cassette Single Prince The Arms Of Orion Warner Bros. USA 7-22757 1989 Promo 7" Single Prince The Arms Of Orion Warner Bros. USA PRO-CD-3787 1989 Promo CD Single --- INTERNATIONAL VARIANTS --- --- --- --- --- Prince The Arms Of Orion / I Love U In Me Warner Bros. UK W2757 November 6, 1989 7" Single Prince The Arms Of Orion / I Love U In Me Warner Bros. UK W2757C November 6, 1989 Cassette Single Prince The Arms Of Orion / I Love U In Me Warner Bros. UK W2757T 1989 12" Single Prince The Arms Of Orion / I Love U In Me Warner Bros. UK W2757TP 1989 12" Picture Disc Prince The Arms Of Orion / I Love U In Me Warner Bros. UK W2757CD 1989 CD Single Prince The Arms Of Orion / I Love U In Me Warner Bros. UK W2757CDX 1989 Collectors Edition CD Single Prince The Arms Of Orion / I Love U In Me Warner Bros. Germany 922 757-7 1989 7" Single Prince The Arms Of Orion / I Love U In Me Warner Bros. Germany 921 394-0 1989 12" Single Prince The Arms Of Orion / I Love U In Me Warner Bros. Germany 921 394-2 1989 CD Single Prince The Arms Of Orion / I Love U In Me Warner Bros. Canada 922 757-7 1989 7" Single Prince The Arms Of Orion / I Love U In Me Warner Bros. Australia MX304357-8 1989 7" Single Prince The Arms Of Orion / I Love U In Me Warner Bros. Japan 09P3-6208 1989 CD Single TRACKLIST TABLE (ALL FORMATS) SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This feature examines Morris Day's career in the aftermath of Purple Rain and his decision to pursue a solo path outside Prince's immediate circle. Despite speculation surrounding their professional separation, Day makes it clear that he remained grateful for the opportunities and experience he gained while working alongside Prince. Publication: News-Tribune and Herald Date: October 20, 1985 Country: United States THE STORY Written by Steve Morse of The Boston Globe, the article focuses on Morris Day, whose profile had risen dramatically following the success of Purple Rain. The feature notes that Day had been the lead singer of The Time, a group produced by Prince, and had spent years working within Prince's creative orbit. Their association stretched back to their teenage years when both musicians performed in Minneapolis-area bands. The article explains that Purple Rain elevated Day's public profile by giving him a prominent acting role opposite Prince and Apollonia Kotero. Day's portrayal of the smooth-talking rival and his performance of "Jungle Love" gained significant attention, with the song becoming a major radio hit after its exposure in the film. Reflecting on the sudden increase in fame, Day remarks that the attention seemed almost too sudden, noting that he felt he had already possessed the same abilities before wider audiences recognised him. At the time of the interview, rumours persisted that a feud had developed between Day and Prince. Day rejects that interpretation, explaining that his departure was not about hostility but rather the need to develop independently as an artist. According to Day, there was simply no room within the existing arrangement for him to express everything he wanted creatively. He states that he needed the opportunity to grow and communicate his own ideas rather than remain dependent on another artist's vision. Despite moving away from Prince's immediate organisation, Day repeatedly expresses appreciation for what he learned. He credits Prince with teaching him valuable lessons about studio work, performance techniques and the music business. The article concludes with Day acknowledging that Prince handled much of the writing and production connected with his early success, while comparing the experience to an education that helped prepare him for a career on his own. CONTEXT AND NOTES Published little more than a year after the release of Purple Rain, the article captures a period in which Morris Day was attempting to establish an independent identity while still being strongly associated with Prince and The Time. Rather than dwelling on rumours of conflict, the feature focuses on Day's efforts to explain the professional reasons behind the separation. His comments reveal admiration for Prince's abilities while simultaneously expressing a desire to pursue his own creative direction. The article also serves as an interesting contemporary assessment of Prince's influence within the Minneapolis music scene, highlighting both his role as mentor and producer and the challenges faced by artists working under his creative leadership. FEATURE HIGHLIGHTS Event: Morris Day discusses life after Purple Rain Era: 1985 Purple Rain aftermath Tone: Reflective and appreciative Photography: No photograph appears in the supplied clipping WHAT THE CLIPPING SHOWS • Morris Day reflecting on his relationship with Prince • Discussion of Day's rise to prominence through Purple Rain • References to The Time and "Jungle Love" • Day rejecting rumours of a feud with Prince • Insight into why Day chose to pursue a solo career • Day expressing gratitude for lessons learned from Prince All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Minneapolis Star feature documents the fallout from Prince's controversial appearances as the opening act for The Rolling Stones in Los Angeles. Drawing on comments from members of Prince's band, the article examines the hostile audience reaction, the media response and Prince's determination to continue performing despite the difficult experience. Publication: The Minneapolis Star Date: October 20, 1981 Country: United States Written by Jon Bream, the article reports on Prince's appearances as support act for The Rolling Stones at the Los Angeles Coliseum on October 9 and 11, 1981. Under the headline “Cast before Stones, Prince gets hurt”, the feature discusses the hostile audience reaction that greeted Prince's abbreviated performance. According to the article, Prince played a shortened set and was booed by sections of the crowd. The piece includes extensive reactions from members of Prince's band, particularly drummer Bobby Z. and guitarist Dez Dickerson, who offered their perspective on the events. Bobby Z. argued that Prince represented a completely new experience for what he described as a predominantly white rock audience. He explained that Prince required audience attention and involvement, but believed the crowd's focus was overwhelmingly fixed on seeing The Rolling Stones. The article reports that a relatively small section of the audience created the negative atmosphere. Bobby Z. estimated that approximately 10,000 concertgoers disrupted the performance while the remaining 90,000 were not responsible for the hostility. Dez Dickerson explained that after the first two songs on one of the performances, Prince decided to alter the set. According to Dickerson, the crowd appeared confused, Prince spoke very little and promoter Bill Graham eventually addressed the audience directly, urging support for the act. The article notes that Prince did not return to the stage after leaving early and reports that discussion of the incident spread rapidly over the following days. Despite the negative publicity, both Bobby Z. and Dez Dickerson attempted to place the incident into perspective. Dickerson described the experience as unusual rather than devastating, while suggesting that the concerts attracted a crowd very different from Prince's established audience. The article also reveals that Prince had recently received critical acclaim despite the hostile reception and that discussions were taking place regarding additional Rolling Stones dates. At the time, Prince was scheduled to open several further Stones concerts beginning in late November. Dickerson expresses some uncertainty about whether Prince would continue with the remaining dates or concentrate on his own tour, reflecting the lingering impact of the Los Angeles experience. CONTEXT AND NOTES The clipping captures one of the most discussed incidents of Prince's early career. The Los Angeles Coliseum appearances have since become part of Prince history because of the contrast between the negative audience reaction and the enormous success he would later achieve. Rather than focusing on Prince directly, the article is particularly valuable because it preserves contemporary comments from Bobby Z. and Dez Dickerson immediately after the incident. Their remarks provide insight into how Prince's band interpreted the audience response at the time. The feature is accompanied by two photographs. One shows Prince in a portrait image, while the larger image features Mick Jagger performing with The Rolling Stones. FEATURE HIGHLIGHTS Event: Reaction to Prince opening for The Rolling Stones Era: Controversy era Tone: Candid, defensive and reflective Photography: Portrait of Prince alongside a large Rolling Stones performance photograph WHAT THE CLIPPING SHOWS • Jon Bream reporting on Prince's Los Angeles appearances with The Rolling Stones • Comments from Bobby Z. and Dez Dickerson • Discussion of audience hostility and booing • Reference to promoter Bill Graham addressing the crowd • Prince's scheduled future Rolling Stones appearances • Contemporary reaction to one of the defining episodes of Prince's early career All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

“When You Were Mine” was released as a promotional 12" single in the US only on October 8, 1980 — the exact same day as the Dirty Mind album — to help in the promotion. RELEASE DETAILS Artist: Prince Label: Warner Bros. Records Format: 12" Vinyl Promo Country: USA (Promo Only) Released: October 8, 1980 Genre: Funk, New Wave, Pop Rock A-Side: A1. When You Were Mine – 3:42 A2. Gotta Broken Heart Again – 2:12 Written by: Prince Produced by: Prince Arranged by: Prince B-Side: Uptown – 5:29 Written by: Prince Produced by: Prince Arranged by: Prince TRACK LIST US 12" Promo Single (PRO-A-916) Side 1 A1. When You Were Mine – 3:42 A2. Gotta Broken Heart Again – 2:12 Side 2 B. Uptown – 5:29 CHART PERFORMANCE Not eligible for commercial charts (promotional release only). PERSONNEL Prince – lead and backing vocals, Oberheim OB-X, ARP Omni, electric guitar, bass guitar, drums Production Prince – producer, arranger, composer, performer THE STORY Released on October 8, 1980 simultaneously with the Dirty Mind album, this promotional 12" single served as club and radio promotion for the project (following the same strategy as the “Head” promo). The record features three album tracks and came without a picture sleeve. “When You Were Mine” later became better known through Cyndi Lauper’s popular 1983 cover version. CONTEXT & NOTES This was a typical Warner Bros. album promotion tactic for Prince at the time — using 12" promos with multiple album cuts to generate interest in clubs and among DJs. The track stands out for its jangle-pop/power-pop energy and distinctive organ sound within the Dirty Mind era’s raw, minimalist production. RELATED MATERIAL Album: Dirty Mind (1980) Previous Single: Prince (1980) Head – 7" PH / 12" Promo US Next Single: Dirty Mind (1980) SOURCES Prince Vault • Discogs • 45cat • Sleevographia2 • Warner Bros. Records • Wikipedia. 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.

Dirty Mind is Prince's third studio album and one of the most important releases of his early career. Released on October 8, 1980, the album marked a dramatic shift away from the smoother R&B sound of For You and Prince, introducing a stripped-down blend of funk, punk, new wave and provocative lyricism. The album's minimalist approach, controversial themes and unconventional production style helped establish Prince as one of the most daring artists of the 1980s Stickered sleeve promotional LP - USA - BSK 3478 Entirely written, produced and arranged by Prince, Dirty Mind became a defining artistic statement, setting the stage for the creative explosion that would follow with Controversy, 1999 and Purple Rain. Described as a groundbreaking eight-track collection, Dirty Mind fused raw funk grooves with punk aggression, synthesizer-driven new wave textures and sexually charged subject matter. Stickered sleeve promotional LP - USA - BSK 3478 Songs such as Head, Sister, Uptown and the title track challenged social and musical conventions, while Prince's increasingly bold image and lyrical content pushed boundaries rarely explored in mainstream popular music at the time. The album's now-iconic cover photograph, featuring Prince wearing bikini briefs, a trench coat and leg warmers, immediately signalled a new artistic direction. What initially shocked audiences would later be recognised as one of the most influential recordings of the decade. Stickered sleeve promotional LP - USA - BSK 3478 RECORDING AND PRODUCTION Recording took place primarily during May and June 1980. Prince recorded much of the album using a TEAC 4-track recorder at his home studio in Wayzata, Minnesota, creating an intentionally sparse and direct sound. Additional overdubs and production work were completed at Hollywood Sound Recorders in Los Angeles. Stickered sleeve promotional LP - USA - BSK 3478 The album's minimalist production became one of its defining characteristics. By stripping arrangements down to their essentials, Prince created a sound that combined funk, punk and new wave influences while maintaining an unmistakably personal musical identity. Prince performed the majority of the instrumentation himself, handling vocals, guitars, bass, drums and synthesizers. Additional contributions were provided by Dr. Fink and Lisa Coleman. MUSICAL STYLE Dirty Mind represented a radical departure from Prince's earlier work. The album combined: • Funk • New Wave • Punk • R&B • Synth-pop influences The result was a distinctive punk-funk aesthetic that would become highly influential throughout the decade. Its raw sound, stripped-back arrangements and provocative subject matter helped redefine expectations of what a mainstream R&B artist could create. RELEASE HISTORY Released worldwide on October 8, 1980 through Warner Bros. Records. The album was issued on LP, cassette and later compact disc, with all formats maintaining the same eight-track running order. Several reissues followed, including a remastered CD edition released in 2022. Cassette album - USA - M5 3478 CHARTS & CERTIFICATIONS AMERICA Country Chart Peak PositionUSA Billboard 200 45 USA Top R&B Albums 7 EUROPE Country Chart Peak PositionUK UK Albums Chart 7 Netherlands Albums Chart 18 Germany Albums Chart 34 PERSONNEL Prince • Lead vocals • Backing vocals • Guitar • Bass • Drums • Keyboards • Synthesizers Dr. Fink • Keyboards Lisa Coleman • Backing vocals PRODUCTION Written by Prince Produced by Prince Arranged by Prince Recorded at: • Prince's Home Studio, Wayzata, Minnesota • Hollywood Sound Recorders, Los Angeles, California CHARTS & CERTIFICATIONS AMERICA Country Chart Peak Position USA Billboard 200 45 USA Top R&B Albums 7 EUROPE Country Chart Peak Position UK UK Albums Chart 7 Netherlands Albums Chart 18 Germany Albums Chart 34 PACIFIC Country Chart Peak Position Australia Albums Chart 22 New Zealand Albums Chart 29 CERTIFICATIONS Country Certification USA Gold Canada Gold RELEASE VARIANTS TABLE Format Country Catalogue Number LP USA BSK 3478 LP UK K 56855 Cassette USA M5 3478 Cassette UK K 456855 CD Reissue Europe 7599-27408-2 CD Reissue (2022) Worldwide 603497839704 TRACKLIST TABLE (ALL FORMATS) Format Tracklisting LP / CD / Cassette SIDE ONE • Dirty Mind (4:14) • When You Were Mine (3:47) • Do It All Night (3:42) • Gotta Broken Heart Again (2:16) SIDE TWO • Uptown (5:32) • Head (4:44) • Sister (1:31) • Partyup (4:24) Format Catalogue Number(s) Features Vinyl LP BSK 3478 (USA) K 56855 (UK) • 33⅓ RPM stereo pressing • Black-and-white cover photograph • Lyric inner sleeve • Promotional sticker on selected pressings Cassette M5 3478 (USA) K 456855 (UK) • Standard cassette shell • Fold-out J-card Compact Disc 7599-27408-2 • Mid-1980s CD reissue • Lyric booklet and album artwork 2022 CD Reissue 603497839704 • Remastered audio • Updated packaging • Expanded booklet and artwork presentation SINGLES RELEASED Single Release Uptown September 1980 Dirty Mind November 26, 1980 Do It All Night UK Exclusive Head Promo Only When You Were Mine Promo Only Gotta Stop (Messin' About) June 1981 SINGLE NOTES Uptown • Released in the USA, Japan, Netherlands and New Zealand • Reached No. 5 on the US R&B chart • Issued in multiple 7-inch and 12-inch formats Dirty Mind • Commercial US release • B-side: When We're Dancing Close And Slow • Reached No. 5 on the US Disco Top 100 Do It All Night • UK-exclusive commercial single Head • Promotional release only When You Were Mine • Promotional release only Gotta Stop (Messin' About) • Stand-alone UK release from the Dirty Mind era • Issued in multiple 7-inch and 12-inch configurations Longbox CD - USA - 3478-2 (no cutout for sleeve) NOTES • Prince's third studio album. • First release to fully embrace the punk-funk style that would define much of his early 1980s work. • Recorded largely using a TEAC 4-track recorder. • One of the earliest major-label albums to successfully blend funk and new wave aesthetics. • The album cover became one of Prince's most iconic images. • Explicit songs such as Head and Sister generated significant controversy upon release. • When You Were Mine later became one of Prince's most frequently covered compositions. • The album reached the Top 10 in the United Kingdom. • Certified Gold in both the United States and Canada. • Frequently cited as one of the most influential albums of Prince's career. • Its stripped-down sound directly influenced Controversy, 1999 and the broader Minneapolis Sound movement. SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

A local cinema advertisement promoting the continuing theatrical run of Purple Rain, showing Prince's film entering its third successful week at the Broadway Twin Theatre in Albert Lea, Minnesota. Publication: The Albert Lea Evening Publication Date: October 10, 1984 Country: USA Event Date: October 1984 – Purple Rain theatrical run This cinema advertisement appeared in The Albert Lea Evening Tribune and promotes the ongoing screening of Purple Rain at the Broadway Twin Theatre in Albert Lea, Minnesota. The advert highlights Purple Rain as being in its “3rd Big Week”, with evening showings scheduled at 7:15 pm and 9:00 pm. Prince is prominently featured beside the familiar Purple Rain title logo and the phrase: “Prince in his first motion picture Purple Rain” Sharing the theatre listing is an advertisement for Tightrope, starring Clint Eastwood, which was scheduled to begin on Friday. The continued promotion of Purple Rain several months after its summer release demonstrates the film's strong audience appeal and ongoing commercial success in local markets across the United States. CONTEXT AND NOTES By October 1984, Purple Rain had become one of the year's biggest film and soundtrack successes. Newspaper cinema advertisements such as this provide a snapshot of how the film continued attracting audiences well after its initial release. Unlike national reviews or feature articles, local theatre listings document the day‑to‑day exhibition history of the film and show how long it remained in active circulation across North Americ FEATURE HIGHLIGHTS Event: Purple Rain cinema screening Era: 1984 – Purple Rain era Tone: Promotional Photography: Small promotional image of Prince used alongside the official Purple Rain logo WHAT THE CLIPPING SHOWS Broadway Twin Theatre advertisement Purple Rain listed in its third week of exhibition Showtimes of 7:15 pm and 9:00 pm Prince promoted in his first motion picture Contemporary local cinema advertising from October 1984 SOURCES Prince Vault, Sleevographia2, Discogs. All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

A major newspaper advertisement promotes the forthcoming Minneapolis engagement of the Joffrey Ballet's acclaimed rock ballet Billboards, set entirely to the music of Prince. The production brought together contemporary dance and some of Prince's best‑known songs for a week‑long run in his home state of Minnesota. Publication: Star Tribune Publication Date: October 10, 1993 Country: USA Event Date: October 19–24, 1993 This full‑page advertisement promotes The Joffrey Ballet's production of Billboards, a rock ballet choreographed by Laura Dean, Charles Moulton, Peter Pucci, and Margo Sappington, with music by Prince. The advert highlights a selection of Prince songs used in the production, including: Purple Rain Trust Baby I'm A Star The promotional text describes the performance as combining the artistry of the Joffrey Ballet with the power and energy of Prince's music. A review quotation from the Chicago Sun‑Times praises the production as: “An immediate hit!” Performances were scheduled at Northrop Auditorium in Minneapolis between October 19 and October 24, 1993, with additional ticket outlets and telephone booking information prominently displayed. A dramatic photograph of a ballet dancer is incorporated into the word “BILLBOARDS”, visually reinforcing the fusion of dance and popular music that defined the production. CONTEXT AND NOTES Originally created by the Joffrey Ballet, Billboards became one of the most celebrated examples of rock music being adapted for the ballet stage. Prince's catalogue provided the musical foundation for the production, demonstrating the growing recognition of his work beyond traditional pop and rock audiences. The Minneapolis engagement carried additional significance because it brought a ballet based on Prince's music to his home city during one of the most successful periods of his career. Newspaper advertisements such as this document the promotion and local excitement surrounding the event. FEATURE HIGHLIGHTS Event: Joffrey Ballet presentation of Billboards Era: 1993 – Love Symbol era Tone: Promotional and celebratory Photography: Large advertising image featuring a ballet dancer integrated into the Billboards title design WHAT THE CLIPPING SHOWS Advertisement for Billboards Music by Prince Joffrey Ballet production Northrop Auditorium engagement Performance dates of October 19–24, 1993 References to Purple Rain, Trust and Baby I'm A Star Ticket and booking information for Minneapolis audiences SOURCES Prince Vault, Sleevographia2, Discogs. All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.