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A Sunday Times Culture cover feature and two‑page spread unveiling the story behind Welcome 2 America — the prophetic Prince album recorded in 2010 but withheld during his lifetime. The article traces the origins of Welcome 2 America, exploring Prince’s political urgency, his mistrust of technology, and the reasons he may have chosen to shelve the album — all illuminated through interviews with Morris Hayes, Tom Jones, and those who witnessed the record’s creation. 📰 Overview Published in July 2021, five years after Prince’s death, this Sunday Times feature positions Welcome 2 America as more than a posthumous curiosity. It frames the album as a prescient, socially charged work — one that anticipated misinformation, technological overreach, and deepening racial divides. Through first‑hand accounts, the piece reconstructs the moment Prince played the album for Morris Hayes in a Paisley Park car park, the political climate that shaped its lyrics, and the mystery of why he chose not to release it. 📰 Source Details Publication: The Sunday Times (Culture section) Date: July 18, 2021 Format: Culture cover + two‑page feature Provenance Notes: UK print edition; part of the paper’s ongoing coverage of major archival releases and legacy artists. 📰 The Story In 2010, Prince summoned longtime musical director Morris Hayes to Paisley Park — not to the studio, but to the car park. Sitting together in Prince’s car, they listened to Welcome 2 America, a sharp, politically charged album critiquing misinformation, surveillance, and the creeping dominance of tech giants. Prince asked Hayes to produce the record, and he did. Then the album disappeared into the vault. The feature situates the album within Prince’s broader activism. It recalls his 2015 Grammy appearance, his benefit performance for Freddie Gray, and the pointed lyrics that echo through the title track: “Land of the free / Home of the slave.” Hayes describes the record as Prince’s most sustained political statement — a warning delivered before the fractures of the mid‑2010s widened into chasms. The article also explores theories about why Prince withheld the album. Some believe he simply moved on; others suggest he didn’t want to overshadow Barack Obama’s presidency with a critique of America’s racial and political landscape. Hayes entertains the idea, noting Prince’s instinctive sense of timing and his belief that “a strong spirit transcends rules.” A second thread follows Tom Jones, who speaks warmly and humorously about his encounters with Prince — from the aloof young star he thanked for “Kiss” to later meetings in Europe. Jones recalls recognizing Prince’s charisma instantly: “This guy has more sex appeal!” Their stories add texture to the portrait of an artist who could be both distant and deeply engaged, depending on the moment. 📰 Key Highlights • Behind‑the‑scenes account of Welcome 2 America’s creation • Morris Hayes describes the album’s political urgency and prophetic themes • Exploration of why Prince may have withheld the record • Reflections on Prince’s activism in the mid‑2010s • Tom Jones shares personal memories and insights into Prince’s charisma • Contextualization of the album’s release five years after Prince’s death Culture cover and two‑page feature from The Sunday Times, July 18, 2021. 📰 Related Material • Explore the tags below for connected themes and artists. 📰 Closing Notes This feature captures Prince at a pivotal moment — politically alert, creatively restless, and attuned to the fractures forming in American life. Welcome 2 America emerges not as a vault oddity but as a deliberate, timely statement from an artist who saw the future coming and chose, for reasons still mysterious, to wait. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only.

A twelve‑page Record Collector cover story marking ten years since the deaths of David Bowie and Prince, exploring the creative parallels and shared mythologies of two artists whose influence remains immeasurable. 📰 Excerpt The feature reflects on Bowie and Prince’s final years and the uncanny common ground between them — two visionaries who reshaped popular music through reinvention, discipline, and a refusal to be ordinary. 📰 Overview Published in early 2026, this Record Collector cover story revisits the cultural shockwaves of losing Bowie and Prince within weeks of each other in 2016. Rather than dwelling on tragedy, the piece examines the connective tissue between their careers: the shapeshifting personas, the meticulous craft, the restless experimentation, and the way each artist built a universe entirely his own. It positions them as parallel constellations — distinct, yet orbiting similar creative truths. 📰 Source Details Publication: Record Collector (UK) Issue: No. 580 Date: February 2026 Format: Twelve‑page cover story Provenance Notes: Contemporary UK print edition; part of the magazine’s ongoing archival retrospectives on major 20th‑ and 21st‑century artists. 📰 The Story The article opens by acknowledging the emotional weight of the tenth anniversary of Bowie and Prince’s deaths — a moment that reignited global reflection on their legacies. From there, it traces the parallels in their artistic philosophies: the constant reinvention, the meticulous control over image and sound, the ability to merge the avant‑garde with the accessible. It highlights how both artists cultivated mythologies that were simultaneously intimate and otherworldly, and how their late‑career work — Blackstar and HITnRUN Phase Two — revealed creators still pushing boundaries until the very end. The piece also touches on the cultural void left in their absence, and the way their influence continues to ripple through music, fashion, and performance. A wry aside warns readers of the “god‑awful AI imagery” sprinkled throughout the feature — a reminder that even in memorial, the modern media landscape can’t resist a questionable algorithmic flourish. 📰 Key Highlights • Ten‑year anniversary reflection on Bowie and Prince’s deaths • Examination of shared creative philosophies and artistic parallels • Discussion of their late‑career output and enduring influence • Commentary on the cultural impact of losing two icons in the same year • Noted presence of low‑quality AI imagery in the magazine layout Twelve‑page cover story from Record Collector, February 2026. 📰 Article Text Paste your cleaned transcription here. (Short excerpts only — no full copyrighted reproduction.) 📰 Related Material • Other GlamSlamChronicles entries on Bowie, Prince, and late‑career retrospectives • GlamSlamEscape posts exploring Blackstar, HITnRUN, and related archival releases • External references on 2016’s cultural impact • Explore the tags below for connected themes and artists. 📰 Closing Notes This cover story frames Bowie and Prince not as isolated geniuses but as parallel forces — two artists who reshaped the possibilities of pop, performance, and persona. A decade on, their work remains a compass for musicians and fans navigating the ever‑shifting landscape of modern culture. 📰 Sources & Copyright All original text and images remain the copyright of their respective publishers and creators. This post is presented for historical, educational, and archival purposes only. 📰 Tags #GlamSlamChronicles #MusicEphemera #DavidBowie #Prince #RecordCollector #Blackstar #HITnRUN #GlamSlamEscape

A deep‑cut megamix bridging studio, vault, and rehearsal energy — released as part of NPGMC Edition 12, and later reborn inside the Glam Slam VIP experience. ✦ — SUMMARY Released on January 17, 2002 as part of NPG Music Club Edition 12, NPG Ahdio Show 11 arrived alongside a major batch of new downloads: Madrid 2 Chicago, Breathe, One Nite Alone…, U’re Gonna C Me, Here On Earth, and A Case Of U. Because Edition 9 did not include an Ahdio Show, the numbering of editions and Ahdio Shows fell out of sync — a quirk that became part of NPGMC lore. Thirteen days later, additional audio and video content was added, including Anotherloverholenyohead (Live), Face Down (Per4mance), and the video documentary Prince: Musical Portrait. Ahdio Show 11 is a hybrid: part megamix, part archival showcase, part rehearsal‑room document. In 2003, segments of the show were streamed in the Glam Slam VIP Room as the “Glam Slam VIP Mix,” and were later announced for inclusion in the cancelled Chocolate Invasion 7‑CD set under the name Glam Slam Club Mix. The final fifteen minutes feature rehearsal recordings — likely from 1998–2000 at Paisley Park — including an instrumental groove resembling both “Groove On” and “The Undertaker,” though its identity remains ambiguous. No official artwork exists for this or any Ahdio Show. ✦ — HIGHLIGHTS • Released January 17, 2002 (NPGMC Edition 12) • Numbering mismatch due to Edition 9 lacking an Ahdio Show • Additional downloads added January 30, 2002 • Includes megamix of Prince + related artists • 2003: streamed in segments as Glam Slam VIP Mix • Announced (but unreleased) for Chocolate Invasion 7‑CD set • Final 15 minutes: rehearsal recordings (likely 1998–2000) • No official artwork issued ✦ — TRACKLIST AHDIO SHOW CONTENT • P. Control • The Human Body • Hot Wit U (unnamed remix) • New World • Partyman • Raspberry Beret • High • Undisputed (The Moneyapolis Mix) • Prettyman • The Work Part 1 • Spoken segue • The Question Of U (Rehearsal) • Groove On / The Undertaker (Rehearsal — identity unclear) • Spoken segue • Whole Lotta Shakin’ Goin’ On / Courtin’ Time (Rehearsal) ✦ — ADDITIONAL DOWNLOADS (JANUARY 17, 2002) • Madrid 2 Chicago • Breathe • One Nite Alone… • U’re Gonna C Me • Here On Earth • A Case Of U ✦ — ADDITIONAL DOWNLOADS (JANUARY 30, 2002) Audio • Anotherloverholenyohead (Live) Video • Face Down (Per4mance) • Prince: Musical Portrait (video only) ✦ — REISSUES & DIGITAL CONTEXT • Exclusive to NPGMusicClub.com • Segments re‑streamed in 2003 as Glam Slam VIP Mix • Announced for the cancelled Chocolate Invasion 7‑CD set • Never reissued on mainstream platforms • No official artwork created ✦ — PRODUCTION AND CONTEXT • Curated and mixed by Prince / NPG • Ahdio Shows functioned as hybrid radio shows, vault samplers, and narrative segues • Rehearsal recordings likely sourced from Paisley Park (1998–2000) • The ambiguous “Groove On / The Undertaker” rehearsal remains one of the more debated NPGMC mysteries • Edition 12 marks a transitional moment leading into the One Nite Alone… era and the digital groundwork for The Chocolate Invasion ✦ — ALT TEXT (SEO) ✦ — DISCOGRAPHY SIDEBAR NPG Music Club Edition 11 — 2001 NPG Ahdio Show 11 — 2002 One Nite Alone… — 2002 The Chocolate Invasion — 2004 ✦ — PRINCE ERA MINI‑TIMELINE 2001 — NPGMC Editions 1–11 Jan 2002 — Edition 12 + Ahdio Show 11 2003 — Glam Slam VIP Mix streams 2004 — The Chocolate Invasion released digitally ✦ — GLAM FLASHBACK Ahdio Show 11 is Prince’s digital universe at full tilt — remixes, segues, deep vault pulls, and rehearsal‑room electricity stitched into a single, flowing experience. A snapshot of the NPGMC at its most adventurous. ✦ — COPYRIGHT NOTICE All audio, video, and related materials referenced remain the property of their respective copyright holders. Included strictly for historical, educational, and archival purposes under fair‑use principles.

✦ — SUB‑HEADLINE A late‑2001 digital drop blending Ahdio, vault cuts, live heat, and early blueprints for what would become The Chocolate Invasion. ✦ — SUMMARY Released to NPG Music Club members on December 15, 2001, Edition 11 delivered a substantial package of new audio, video, and premium‑tier exclusives. The centrepiece was NPG Ahdio Show 10, a 56‑minute mix weaving together deep cuts, segues, and vault material in the signature NPGMC style. Supplemental tracks — “High,” “Silicon,” “Gamillah,” and a live version of “Poorgoo” — expanded the drop on release day, with video content following on December 19, 2001. Premium members received an additional live performance of “Gett Off” from the December 3, 2000 Ruby Skye show in San Francisco. Several tracks from this edition, including “High,” “Gamillah,” and “When Eye Lay My Hands On U,” would later form the backbone of The Chocolate Invasion (2004), making Edition 11 a key moment in the evolution of Prince’s early‑2000s digital era. ✦ — HIGHLIGHTS • Released to NPGMC members: December 15, 2001 • Video content added: December 19, 2001 • Includes NPG Ahdio Show 10 • Studio tracks: “High,” “Silicon,” “Gamillah” • Live audio + video: “Poorgoo” • Premium bonus: “Gett Off” (Live, Ruby Skye 2000) • Several tracks later appear on The Chocolate Invasion • A defining moment in Prince’s early digital‑only distribution ✦ — TRACKLIST AUDIO • NPG Ahdio Show 10 — 56:39 • Silicon — 4:47 • High — 5:05 • Gamillah — 3:18 • Poorgoo (Live) — 4:38 VIDEO • Poorgoo (Live) — 4:38 • Dolphin — 5:06 PREMIUM BONUS — AUDIO • Gett Off (Live — December 3, 2000, Ruby Skye, San Francisco) — 3:03 PREMIUM BONUS — VIDEO • Gett Off (Live — December 3, 2000, Ruby Skye, San Francisco) — 3:03 ✦ — REISSUES & DIGITAL CONTEXT • Original release exclusive to NPGMusicClub.com • Several tracks later re‑curated for The Chocolate Invasion (2004) • No physical edition • Ahdio Shows remain unavailable on mainstream platforms ✦ — PRODUCTION AND CONTEXT • All tracks produced by Prince / The New Power Generation • Edition 11 sits in the transitional period between The Rainbow Children (2001) and the digital‑first era of The Chocolate Invasion and The Slaughterhouse • “High,” “Gamillah,” “Supercute,” and others were originally intended for the unreleased High album • The Ruby Skye performance (Dec 3, 2000) was a fan‑favourite club show, often cited as one of the tightest NPG lineups of the era • Ahdio Shows functioned as Prince’s hybrid of radio, mixtape, and vault showcase — a precursor to modern artist‑curated streaming drops ✦ — THE CHOCOLATE INVASION — RELATED TRACKS Edition 11 contains early versions or final mixes of several tracks later included on The Chocolate Invasion: • When Eye Lay My Hands On U — 3:41 • Judas Smile — 6:34 • Supercute — 4:13 • Underneath The Cream — 4:01 • Sexmesexmenot — 5:42 • Vavoom — 4:36 • High — 5:05 • The Dance — 4:40 • Gamillah — 3:18 • U Make My Sun Shine — 7:06 These tracks form the backbone of Prince’s early‑2000s digital catalogue — a period defined by independence, experimentation, and direct‑to‑fan distribution. Digital‑era NPG Music Club artwork associated with Edition 11, featuring tracks like “High,” “Silicon,” “Gamillah,” and Ahdio Show 10. ✦ — DISCOGRAPHY The Rainbow Children — 2001 NPG Music Club Edition 11 — 2001 The Chocolate Invasion — 2004 ✦ — PRINCE ERA MINI‑TIMELINE 2000 — Ruby Skye performance (Dec 3) 2001 — NPG Music Club launches Dec 2001 — Edition 11 released 2004 — The Chocolate Invasion and The Slaughterhouse released digitally ✦ — GLAM FLASHBACK Edition 11 captures Prince in full digital‑vision mode — vault gems, live fire, and future‑album seeds all delivered directly to the fans who followed him into the online frontier. Ahdio, attitude, and the blueprint of a new era. ✦ — COPYRIGHT NOTICE All images, artwork, logos, and related materials referenced or displayed in this entry remain the property of their respective copyright holders. They are included strictly for historical, educational, and archival purposes under fair‑use principles.

O(+> ’s Emancipation Advert " The Album O(+> Was Born 2 Make" 1996.

one-page review titled “Salacious,” December 1, 1992.

The Face magazine — Issue No. 24, September 1990 cover only This places it right in the Graffiti Bridge era — a moment of transition, reinvention, and intense creative output for Prince. The issue also includes: Paul Gascoigne — “Shooting star or just a dribbler?” KLF — “Sheep dip and acid baths” Going Green — Tom Cruise, Robert Downey Jr., McDonald’s Plus: James, British rap, Kiss FM, Deviated Denim, Deee‑Lite

Prince’s Come one-page August 15, 1994.

0(+>'s Rave Un2 The Joy Fantastic one-page advert November 10, 1999.

T he controversial new album from Prince, available now. one-page press advert UK Virgin Megastore, Prince's album The Rainbow Children was released on November 20, 2001, by NPG Records and Redline Entertainment. Earlier in the year, it was also made available through Prince's website. This album marks the first release outside of the NPG Music Club under the name Prince, following his return to his former stage name after a year using a symbolic moniker. Initially available on double vinyl with a glossy color booklet, it wasn't reissued on vinyl until the Legacy release in 2020. This concept album explores Prince's recurring themes of spirituality, human sexuality, love, and racism, through a fictional narrative about a social movement aiming for a Martin Luther King Jr.-inspired utopian society. The album appears to reference his recent conversion to the Jehovah's Witnesses, while also incorporating Egyptian monotheism and New Age ideas like the Akashic records as metaphors. With a jazzier style than his previous works, it received mixed reviews. Some fans viewed it as a musical and spiritual progression for Prince.[citation needed] "The Rainbow Children" was distributed independently by Redline Entertainment. At Prince's request, it had minimal promotion, as he wanted to emphasize the music over commercialism. By summer 2007, it had sold 158,000 copies in the US and an estimated 560,000 copies worldwide. A dedicated promotional website for the album offered the tracks "She Loves Me 4 Me" and "Mellow" as free MP3 downloads. The album cover features Cbabi Bayoc's "The Reine Keis Quintet." Prince appreciated the painting of a women's band, as he was supported by an all-female ensemble.

The article in Tudum (January 5, 2026) by Keisha Hatchett detailed how the Duffer Brothers secured two Prince songs — "When Doves Cry" and "Purple Rain" — for the Stranger Things series finale. They chose the tracks from Prince and the Revolution’s 1984 album Purple Rain for their celebratory-to-weighty structure, aligning perfectly with the bomb trigger and somber gate collapse scenes. The brothers called it a “real long shot” due to Prince’s estate rarely licensing the songs outside the film, but after Kate Bush’s “Running Up That Hill” success in Season 4, the rights were granted. Article Overview Publication Details Magazine/Outlet: Tudum (Netflix). Date: January 5, 2026. Format: Online article with major spoilers. ( Full Article Here )

A strutting Minneapolis funk parade — The Time on the label, Prince in the studio, delivering one of the sharpest cuts from What Time Is It? ✦ — SUMMARY Released in the US on January 14, 1983 by Warner Bros. Records (catalogue 7‑29856), “The Walk” was the second single from The Time’s sophomore album What Time Is It? Although credited to the band, both “The Walk” and its B‑side “Onedayi’mgonnabesomebody” were largely written, performed, and produced by Prince (uncredited), with Morris Day providing vocals and comedic flair. The single reached No. 104 on the Billboard Hot 100 and No. 24 on the Billboard R&B Chart. Issued in multiple formats — US 7", US promo, Japanese 7", and 12" variants — the release captures the tight, humorous, and musically intricate style that defined The Time’s early catalogue. ✦ — HIGHLIGHTS • Released January 14, 1983 (US) • Second single from What Time Is It? • Written and performed largely by Prince (uncredited) • B‑side: “Onedayi’mgonnabesomebody” • Formats: 7", 12", promo, Japan editions • Billboard R&B peak: #24 • Billboard Hot 100 peak: #104 • A signature early‑Time blend of funk, humour, and Minneapolis attitude ✦ — TRACK DETAILS 7" Single — Warner Bros. 7‑29856 (US) Side A • The Walk (Edit) — 3:24 Side B • Onedayi’mgonnabesomebody — 2:27 Both tracks: • Written, performed, and produced by Prince (uncredited) • Vocals credited to The Time ✦ — GLOBAL VARIANTS 12" Promo — US (PRO‑A‑1080) • Extended promotional issue for radio and DJs 12" — Benelux (92.9826‑0) • European 45 RPM edition 7" — US (7‑29856) • Commercial styrene pressing 7" Promo — US (7‑29856) • Mono/Stereo promotional pairing 7" — Japan (P‑1730) • Stereo commercial edition • Promo variant also issued 7" — US ARC Pressing • Alternate US manufacturing variant ✦ — REISSUES & GLOBAL NOTES • Multiple 7" and 12" pressings across US, Europe, and Japan • No standalone CD single • Later included in What Time Is It? reissues and compilations • Promo 12" remains a collector favourite due to scarcity ✦ — PRODUCTION AND CONTEXT • Prince wrote, arranged, produced, and performed the majority of instrumentation • Morris Day contributed vocals and comedic ad‑libs • Recorded during the What Time Is It? sessions (1982) • Reflects Prince’s dual‑project creativity — shaping The Time’s sound while building his own catalogue • “The Walk” is notable for its extended spoken‑word breakdown in the album version, showcasing the band’s humour and chemistry ✦ — CHART PERFORMANCE United States • Billboard Black Singles (R&B) — #24 (11 weeks) Entry: November 20, 1982 • Billboard Dance/Disco Top 80 — #42 (7 weeks) Entry: October 9, 1982 (Listed with “777‑9311” and “I Don’t Wanna Leave You”) • Billboard Hot 100 — #104 (1 week) Entry: December 18, 1982 (No major international chart entries) ✦ — DISCOGRAPHY SIDEBAR 777‑9311 — 1982 The Walk — 1983 Gigolos Get Lonely Too — 1983 ✦ — PRINCE ERA MINI‑TIMELINE 1982 — What Time Is It? released Late 1982 — “The Walk” enters R&B and Dance charts Jan 1983 — US single release 1983 — The Time continue touring with Prince ✦ — GLAM FLASHBACK A swaggering Minneapolis strut, “The Walk” is The Time at their funniest and funkiest — with Prince pulling the musical strings behind the scenes. A cult favourite that captures the chemistry of the early‑80s Minneapolis explosion. ✦ — COPYRIGHT NOTICE All images, artwork, logos, and related materials referenced or displayed in this entry remain the property of their respective copyright holders. They are included strictly for historical, educational, and archival purposes under fair‑use principles. ✦ — SOURCES Prince Vault Warner Bros. Records catalogue Billboard chart archives