This 2001 promotional advert announces Prince’s new album The Rainbow Children, featuring a striking illustrated portrait and highlighting the album as his controversial new release. Publication: Promotional Advert (Magazine / Print) Date: 2001 Country: United States Location: NPG Records / Redline Entertainment Section: Full-page album advertisement THE STORY The advert showcases an intense, painted portrait of Prince with dramatic makeup, a tall black hat, and a purple fur-like garment. It promotes The Rainbow Children as Prince’s latest studio album, with additional artwork from the album cover shown in the corner and availability details for the release. CONTEXT AND NOTES The Rainbow Children (released in 2001) marked Prince’s return to a jazzier, spiritually-themed sound after the end of his symbol era. It was released independently through NPG Records and represented a bold artistic statement rooted in his faith and musical evolution. FEATURE HIGHLIGHTS Event: Album promotional advert Era: 2001 (The Rainbow Children era) Tone: Mysterious, artistic, spiritual Photography: Dramatic illustrated/painted portrait WHAT THE CLIPPING SHOWS Striking painted portrait of Prince with black hat, dramatic eye makeup, and purple attire Bold yellow headline “Prince” with “the rainbow children” and “The controversial new album from Prince” Mini album cover artwork in the corner Release information: “Available now at” with NPG / Redline Entertainment logos and website RELATED MATERIAL This 2001 promotional advert for The Rainbow Children captures Prince’s independent spiritual era and pairs well with other early 2000s entries in the scrapbook. For other relevant posts, see the tags at the foot of the page. All magazine scans, photographs 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 high‑energy Hit N Run Tour stop at the Atlanta Civic Center, the performance showcased Prince and The New Power Generation in full 2001 form — tight musicianship, deep catalogue exploration, and a fluid blend of funk, soul, and improvisation. The show is historically notable as the first night where three exclusive CD singles were made available at merchandise stands: Peace, The Daisy Chain, and Supercute. 🟣 Event Details Date: April 14 2001 Location: Atlanta Civic Center, Atlanta, Georgia, USA Tour / Era: Hit N Run Tour Event Type: Concert Attendance: ? / 5,500 🟣 The Story Prince’s 14 April 2001 Atlanta performance delivered a dynamic, extended set blending classics, deep cuts, and reimagined arrangements. The show featured a strong band lineup, including John Blackwell, Rhonda Smith, Morris Hayes, Kip Blackshire, Najee, and the vocal group Milenia. The setlist moved between high‑tempo funk, intimate ballads, and extended instrumental passages. This concert is also historically significant for merchandise reasons: three exclusive CD singles — Peace, The Daisy Chain, and Supercute — were sold for the first time at this show, marking a unique moment in the Newpower Soul era’s physical‑media history. The opening act, Fonky Bald Heads, performed “Rowdy Mac” — its first known performance, with no direct input from Prince. 14 APRIL: Civic CENTER, ATLANTA Introduced by a D) frorn the Kiss 104 radio station, Millenia took the stage at the 5,500-seat Civic Center in Atlanta at 9:20 pm. Be- tween their songs, people were yelling for them to get off the stage. The Fonky Baldheads played for 40 minutes to a far better response. Prince's set began at 10:45 pm. Prince gave many props to At- lanta during the show, pointing out that T-Boz (TLC), Dallas Aus- tin, and Chuck D. were in the house. He tried to get T-Boz onstage during “Sexy Dancer” but she refused. The set included Donny Hathaway's “Someday We'll All Be Free.” The sound appeared to bother Prince throughout the night, as he continuously motioned for certain instruments to be turned up or down. He even joked to Dallas Austin to go to the soundboard to help out. At another paint, he joked with T-Boz, saying that he "may not sell as many albums” but he takes home more of his paycheck. The show ended at 1:50 pm. Prince attended the Club NV after the concert. (extract from Uptown magazine issue 48 Summer 2001) 🟣 Setlist Pre‑recorded Intro Uptown Controversy Mutiny The Work Pt. 1 Cream Little Red Corvette I Wanna Be Your Lover Sexy Dancer Housequake The Ballad Of Dorothy Parker / Four Talkin’ Loud And Sayin’ Nothing (instrumental) Someday We’ll All Be Free — Kip Blackshire lead vox U Make My Sun Shine I Could Never Take The Place Of Your Man Summertime Do Me, Baby Scandalous Diamonds And Pearls The Beautiful Ones Nothing Compares 2 U Let’s Go Crazy Take Me With U [P] Raspberry Beret [P] Darling Nikki When Doves Cry — incl. Father’s Song & Computer Blue (instrumental coda) The One (Intro) — incl. I Would Die 4 U lyrics & “Baby I’m A Star” line coda God (Instrumental) — Najee Purple Rain 🟣 Band & Personnel Prince: Vocals, Guitar, Piano, Direction John Blackwell: Drums Rhonda Smith: Bass, Vocals Morris Hayes: Keyboards Kip Blackshire: Keyboards, Vocals Najee: Saxophone Geneva: Dance Mikele White: Vocals Malikah White: Vocals Niyoki White: Vocals Tia White: Vocals (Together as Milenia) 🟣 Related Material Additional material connected to this entry is listed in the tag index at the foot of the page. 🟣 Mini‑Timeline ✦ 2001 — Hit N Run Tour active ✦ 14 April 2001 — Atlanta performance takes place ✦ 14 April 2001 — Three exclusive CD singles sold for the first time ✦ 2001 — First known performance of “Rowdy Mac” (opening act) 🟣 Glam Flashback A night of purple electricity — funk, fire, and three rare CDs debuting under the Civic Center lights. 🟣 Sources Primary reference sources: Prince Vault, Ticket scan, eyewitness accounts, setlist documentation, archival notes.

This NPG Music Club exclusive promo CD single was the first commercial release from Prince’s 2001 album The Rainbow Children, featuring the lead track alongside the duet “U Make My Sun Shine” with Angie Stone. Artist: Prince Label: NPG Records Date: Spring 2001 Catalogue: 27Y61 7135 THEWORK Format: Promo CD Single (Cardboard Slip Sleeve) Country: USA A-Side: “The Work Part 1” (3:39) B-Side: “U Make My Sun Shine” (with Angie Stone) (5:52) Written by: Prince Produced by: Prince TRACK LIST The Work Part 1 (3:39) U Make My Sun Shine (with Angie Stone) (5:52) PERSONNEL Prince – vocals, guitar, Fender Rhodes piano, production John Blackwell – drums Larry Graham – bass Kip Blackshire & Milenia – backing vocals The Hornheadz – horns THE STORY “The Work Part 1” was the first single released from Prince’s critically acclaimed album The Rainbow Children. It was made available exclusively through the NPG Music Club as a limited CD single in spring 2001. The B-side, the soulful duet “U Make My Sun Shine” with Angie Stone, had previously been released as a standalone single. Due to its exclusive NPG Music Club distribution, the single was not eligible for Billboard charts. CONTEXT & NOTES Housed in a cardboard slip-in sleeve with striking Rainbow Children era artwork of Prince. This was Prince’s primary method of releasing music directly to fans during this independent period. The disc is a vibrant pink/magenta color with white text. CHART PERFORMANCE None (limited NPG Music Club release) RELATED MATERIAL Prince (2001) The Rainbow Children (Album) For other relevant posts, see the tags at the foot of the page. 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.

This UK promotional 12" focuses exclusively on the Jason Nevins remixes of the lead single from Prince O(+>’s 1999 album Rave Un2 The Joy Fantastic. Artist: Prince O(+> Label: Arista / NPG Records Date: February 14, 2000 Catalogue: ARDP-3783 Format: Promo 12" Single Country: UK Written by: Prince Produced by: Prince TRACK LIST UK Side A The Greatest Romance Ever Sold (Jason Nevins Mixes Vocal) (6:40) The Greatest Romance Ever Sold (Jason Nevins Mixes Beats) (6:47) Side B The Greatest Romance Ever Sold (Jason Nevins Mixes Dub) (5:49) The Greatest Romance Ever Sold (Jason Nevins Mixes Instrumental) (6:47) LINKED RELEASES / VARIANTS US 2×12" Vinyl (07822-13750-1) EU Double 12" Single (74321 72704 1) EU Remix CD Single (74321 72704 2) Album version – Rave Un2 The Joy Fantastic (1999) PERSONNEL Prince O(+> – vocals, production Remixer: Jason Nevins THE STORY “The Greatest Romance Ever Sold” was the lead single from Rave Un2 The Joy Fantastic. This UK promo 12" was sent to DJs and clubs, featuring four variations of the Jason Nevins mixes. CONTEXT & NOTES Promotional text from the release states: “THE ARTIST ‘THE GREATEST ROMANCE EVER SOLD’ RELEASE DATE: 14TH FEBRUARY 2000 The Artist greets the new millennium as only he can with a new single ‘The Greatest Romance Ever Sold’... The single is taken from his new album ‘Rave Un2 The Joy Fantastic’, a brilliant collection of music that marks his first affiliation with a major label since 1996. Mark Goodier made the album track ‘Baby Knows’ his ‘Big Tune of the Week’ in late December & great support has come from Trevor Nelson, Mark Goodier, Kiss FM, Radio 1 & Virgin...” This promo was part of the continued push for the single in early 2000. CHART PERFORMANCE US Billboard Hot 100 – #63 US Billboard Hot R&B/Hip-Hop Songs – #23 UK Singles Chart – #65 RELATED MATERIAL Prince O(+> (1999) Rave Un2 The Joy Fantastic (Album) For other relevant posts, see the tags at the foot of the page. 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 January 2000 issue of Guitar Player Magazine features Prince on the cover under the triumphant headline “PURPLE REIGN: The King of Funk-Rock Guitar Reclaims His Crown”. Publication: Guitar Player Date: January 2000 Country: United States Location: New York Section: Front Cover THE STORY This striking cover showcases Prince in a dazzling silver sequined outfit passionately holding a blue electric guitar, celebrating his return as one of the greatest guitarists in funk-rock. The issue highlights his virtuosity and enduring influence on the instrument. CONTEXT AND NOTES At the dawn of the new millennium, Prince was reasserting his guitar-god status after years of being known more for his symbol-era mystique. This Guitar Player cover marks a strong recognition of his instrumental prowess entering the 2000s. FEATURE HIGHLIGHTS Event: Guitarist-focused magazine cover feature Era: 2000 (Millennium / Return to guitar prominence) Tone: Celebratory, powerful, iconic Photography: Dynamic, colourful studio portrait WHAT THE CLIPPING SHOWS Prince in a shimmering silver sequined coat and white ruffled shirt holding a blue guitar Bold yellow headline “PURPLE REIGN” Sub-headline: “The King of Funk-Rock Guitar Reclaims His Crown” Additional cover lines including gear reviews and other artists RELATED MATERIAL This January 2000 Guitar Player cover pairs excellently with the Black Diaspora “A New Era” cover from the same period in the scrapbook. For other relevant posts, see the tags at the foot of the page. All magazine scans, photographs 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 Artist looks wizard-like in the soft glow of Paisley Park’s Studio A. Clad in red satin and seated behind the mammoth SSL console, he cues up some cuts from his new album, Rave Un2 the Joy Fantastic. “There’s guitar madness all over this,” he warns, firing up the title track at ear-splitting volume. Destined to be one of the album’s sing-along hits, it features grinding guitar work and a lead melody that sounds as if a snake charmer is playing through a pair of flanged Marshalls. “I recorded that in 1988,” he quips, pulling down the volume. “It has two guitars going through Leslies. One was the Auerswald [the custom symbol guitar shaped like his unpronounceable name]. It’s made of one piece of wood—and doesn’t have much guts—but if you crank it, it sounds like a car is running over it!” The preview continues. On “So Far, So Pleased” and “Baby Knows,” I’m pinned to my chair by hurricane-force guitars over pounding rhythms. On “Tangerine,” The Artist deftly picks fingerstyle acoustic over a trippy kick and fretless-bass figure. As the songs unfold, Rave Un2 the Joy Fantastic proves to be full of contrasts and revivals for the 41-year-old Artist Formerly Known As Prince. It’s the hardest-edged guitar record he has ever made, he performed all of the tracks by himself (something he hasn’t done since the 1982 smash 1999), and it’s his first major-label release since he jettisoned his Warner Bros. contract in 1995 (which involved legally changing his name to a symbol). There’s more: Production credit on the new album goes to the now returned Prince (apparently The Artist’s fave producer), and there are cameo performances by Sheryl Crow, Ani DiFranco, Chuck D, Gwen Stefani, and Maceo Parker. Explaining why his former personality nixed guest appearances, The Artist revealed, “I’m competitive, and I’ve definitely let my ego control me. But I’ve discovered that when it comes to music, ego has to sit down.” Rave punctuates this collaborative spirit with a cover of Crow’s “Everyday Is a Winding Road”—a track that finds The Artist riffing over hip-hop beats with a stinging attack worthy of Albert King. Is the notoriously sly funkster really the “brand new kid” he now claims to be? Perhaps. After all, a lot has changed in his world over the last few years. The split with Warner initiated a four-year span in which his only major-label affiliation was a distribution deal with EMI for the album Emancipation. Subsequent releases on his own NPG-label— including the five-disc Crystal Ball (which sold more than 250,000 copies at $50 a pop), the EP The New Master (which features seven fresh versions of the hit) and the New Power Generation album Newpower Soul—have been marketed via the Internet. By all accounts, The Artist has been successful at managing his own affairs. In fact, he talks of owning his masters (the original recordings) with the zeal of someone who’s discovered the secret of eternal youth. But with all the complexities of running an operation the size of Paisley Park, who could blame him for inking a saccharine-sweet deal with a major record company and getting back to doing what he does best—writing and producing cutting-edge funk-rock, and playing awfully good guitar. As if to underscore this last point, The Artist played a video clip from a recent live performance that showed him shredding like a madman. When the solo ended, he flicked off the VCR and said with a grin, “I just wanted you to see that I can do it live, too.” Why did you decide to play the majority of instruments on Rave? I had always planned to revisit my sound. This year felt like the time to do it. You mentioned coming full circle with your guitar playing. What is exciting you most about guitar now? Habibe [a custom Schecter guitar], and the doors that metal has opened for harder-edged records. Do you conceive songs and arrangements in their entirety, or do you play around with the music and lyrics until you get what you want? I always know what the whole thing is going to sound like. It’s all in here [taps his head], but it’s here, too [points at the console]. Recording hardware is part of the songwriting process? I use punch-ins and spot-erasing as a compositional style—that’s how I build and edit arrangements and performances. I’m quick enough with the Record button that I can shave a letter off a word. But that’s because I’ve been doing it for 20 years. How do you create rhythm tracks? I generally build my tracks one at a time, but sometimes I use the band to get the rhythm down. In a way, it’s more fun to get it out of people. You know, an idea is still yours even if you give it to someone. Is it easier for you to play all the instruments? It’s not easier, but when I play all the instruments I’m not as greedy. I’m more greedy when we play live. [Laughs.] I like your solo on “Baby Knows.” I tried to go after Chuck Berry for that one. I think I used my Tele through a small amp. Sheryl Crow played harp on that song—she nailed it in one take. Who’s playing guitar on “I Love You, But I Don’t Trust You Anymore”? That’s Ani DiFranco. I showed her the chords to the song, but I didn’t tell her how it actually went. If I’d told her too much, then silence wouldn’t have been one of the sounds. How did you get such a massive tone on “So Far, So Pleased”? I ran my guitar through a Boss Vibrato and Flanger. The octave and delay effects are from the Zoom 9030. Do you double your guitar lines? A lot of times, I’ll sample a guitar that I’ve recorded, and then overdub the same part with a keyboard. The attack of the keyboard gives guitar lines more impact and punch. Did you do that on “Man O’ War”? Yeah. I also had my Cry Baby cracked halfway open for that one. Do you have any special ways of recording acoustic guitar? Sometimes I record the guitar and vocals live—just sitting here at the console. That’s how I recorded The Truth [the acoustic-only disc on Crystal Ball]. Speaking of Crystal Ball, how did you get that eerie lead tone in “Animal Kingdom” and the incredible rhythm guitar sound in “Da Bang”? If I told you, you’d have to die. Are you still playing the Cloud guitar? Yeah, but it’s painted blue now. Who built that guitar? It was made by David Rusan. Do some instruments have a more spiritual vibe than others? I’m spiritual by nature, and I appreciate the time it took someone to make an instrument. It doesn’t matter if it’s a guitar or a synthesizer, someone still had to take the time to make it. What’s one of the most important qualities for a musician to have? You have to respect your spiritual base. You have to respect the instrument. The volume and tone of an instrument is so important. You’ve recently produced albums by Chaka Khan and Larry Graham. Are there any guitarists that you’d like to produce? Carlos Santana. I love his playing—especially on his early albums. What guitarists have most influenced your funk rhythm style? Sonny T. [one of the early members of The Artist’s backup band, New Power Generation], Freddie Stone [Sly Stone’s brother], and Tony Maiden [of Rufus]. How do you create such freedom in your songs without sacrificing the groove? God gives you everything, and one of those things is freedom. Art Thompson Guitar Player January 1, 2000

The June 15, 2000 edition of The Duluth News Tribune features a review of a Prince concert during the Celebration event, describing it as more of a chaotic party and extended jam session than a traditional show, perfectly capturing the freewheeling spirit of the gathering. Publication: The Duluth News Tribune Date: June 15, 2000 Country: United States Location: Duluth, Minnesota Section: Entertainment / Concert Review THE STORY Reviewer Josh D. Dickey recounts the energetic, unpredictable atmosphere of the Prince-led event, noting spontaneous jams, audience participation, and a loose “anything goes” vibe. The piece highlights Prince’s playful interaction with the crowd and the festive, non-traditional concert experience at the Celebration. CONTEXT AND NOTES This review covers one of the early Celebration events at Paisley Park shortly after Prince’s return to his original name. These gatherings became annual fan pilgrimages, blending concerts, listening sessions, and community around Prince’s music and legacy in Minnesota. FEATURE HIGHLIGHTS Event: Prince concert review during Celebration Era: 2000 (Prince Return / Celebration era) Tone: Vivid, lively, observational Photography: Black & white or color image accompanying the review (Prince performing) WHAT THE CLIPPING SHOWS Bold headline “Prince concert more like chaotic party, jam session” Sub-headline referencing Celebration’s “Anything goes” theme Detailed first-hand account of the concert atmosphere and highlights Byline by Josh D. Dickey RELATED MATERIAL This June 15, 2000 Duluth News Tribune review captures the joyful chaos of Prince’s early Celebration events and pairs well with other Minnesota-based Prince coverage in the scrapbook. For other relevant posts, see the tags at the foot of the page. All magazine scans, photographs 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.

Rave Un2 The Year 2000 is Prince’s electrifying live concert home video capturing a special New Year’s Eve 1999 performance (filmed December 18, 1999 at Paisley Park Studios). RELEASE DETAILS Artist: O(+> Label: Eagle Vision Date: June 5, 2000 (Europe) / Early Spring 2006 (re-release) Catalogue: EREDV121 (UK DVD) / ID9723ER (US DVD) / others Format: DVD / VHS Country: United Kingdom / Europe / USA CONTEXT & NOTES Directed by Geoff Wonfor, the footage originated from the pay-per-view broadcast Rave Un2 The Year 2000 on December 31, 1999. The home video includes a main 113-minute concert feature plus special features and “Bonus Groovez.” A 2006 reissue used the name Prince on the cover. In 2019 it was included in the Ultimate Rave box set alongside the related albums Rave Un2 The Joy Fantastic and Rave In2 The Joy Fantastic. The release perfectly captures Prince at the end of the 1990s, blending his classic hits with fresh material in a celebratory atmosphere. THE STORY Rave Un2 The Year 2000 is Prince’s electrifying live concert home video capturing a special New Year’s Eve 1999 performance (filmed December 18, 1999 at Paisley Park Studios). The 132-minute release features an edited version of the full show with high-energy hits, guest appearances by Lenny Kravitz, Morris Day & The Time, George Clinton, Rosie Gaines, Maceo Parker, and the Excelsior Choir. It was released shortly after Prince’s return to his original name and remains one of his most vibrant documented live performances from the turn of the millennium. PACKAGING HIGHLIGHTS Standard DVD case (with slipcase on some editions) featuring striking colorful artwork and live photography. Includes booklet with liner notes/essays (“Work 4 Hire?” and “What Should B Souled?”) plus a promotional spot for the New Funk Sampling Series. TRACK LIST Main Feature Let’s Go Crazy (2:22) She’s Always In My Hair (2:36) U Got The Look (2:37) Kiss (3:27) Jungle Love (4:33) – Morris Day & The Time The Bird (4:45) – Morris Day & The Time American Woman (6:54) – Lenny Kravitz Fly Away (5:22) – Lenny Kravitz Gett Off (2:39) Gett Off (Houstyle) (6:44) – Medley Talkin’ Loud And Sayin’ Nothing / It’s Alright (2:46) Everyday People (8:44) I Want To Take You Higher (6:02) Purple Rain (10:37) The Christ (4:19) Purple House (9:27) – Blues Medley Nothing Compares 2 U (4:02) Take Me With U / Raspberry Beret (4:46) The Greatest Romance Ever Sold (3:04) Baby Knows (4:03) 1999 Intro (2:01) Baby I’m A Star (1:39) 1999 (8:28) End Credits (1:26) Special Features • Innerviews (8:34) – George Clinton, Lenny Kravitz, Morris Day & Prince Bonus Groovez • Flash Light (4:30) – George Clinton • The Undertaker (Sax Solo) (1:06) • The Undertaker (Harmonica Solo) (1:04) • Release Yourself (3:41) – Larry Graham, Prince & NPG WHAT THE SLEEVE SHOWS Front cover displays Prince in dynamic live performance pose with vibrant 1999–2000 era graphics and the distinctive Rave Un2 The Year 2000 title treatment. Back cover lists track highlights and features additional concert shots. The overall design reflects the festive, high-energy millennial theme with bold colors and Prince’s iconic imagery. SOURCES Discogs • Prince Vault • Wikipedia • Eagle Vision 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.

This UK promotional CDr is a 4-track radio edit-focused version of the lead single from Prince O(+>’s 1999 album Rave Un2 The Joy Fantastic. Artist: Prince O(+> Label: Arista / NPG Records Date: February 14, 2000 Catalogue: none Format: CDr Promo (Slimline Jewel Case) Country: UK Written by: Prince Produced by: Prince TRACK LIST The Greatest Romance Ever Sold (Radio Edit w/Eve Rap) (4:36) The Greatest Romance Ever Sold (Jason Nevins Remix Edit) (3:52) The Greatest Romance Ever Sold (Neptunes Remix Edit Featuring Q-Tip) (3:44) The Greatest Romance Ever Sold (Original Radio Edit) (4:30) LINKED RELEASES / VARIANTS EU Remix CD Single (74321 72704 2) Double 12" Single (74321 72704 1) Album version – Rave Un2 The Joy Fantastic (1999) PERSONNEL Prince O(+> – vocals, production Eve – rap (on select versions) Q-Tip – vocals (on Neptunes remix) Remixers: Jason Nevins, The Neptunes THE STORY “The Greatest Romance Ever Sold” was the lead single from Rave Un2 The Joy Fantastic. This UK CDr promo, released in February 2000, was sent to radio stations and featured the most radio-friendly versions, including the popular Eve rap edit and key remixes. CONTEXT & NOTES Housed in a slimline jewel case. This promo was part of the continued push for the single in early 2000, following the initial November 1999 release. CHART PERFORMANCE US Billboard Hot 100 – #63 US Billboard Hot R&B/Hip-Hop Songs – #23 UK Singles Chart – #65 RELATED MATERIAL Prince O(+> (1999) Rave Un2 The Joy Fantastic (Album) For other relevant posts, see the tags at the foot of the page. 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 June 15, 2000 edition of the Star Tribune features Jon Bream’s review of Prince’s intense hometown show during “Prince’s Celebration,” describing a sprawling, high-energy jam session that thrilled over 5,000 fans at Northrop Auditorium. Publication: Star Tribune Date: June 15, 2000 Country: United States Location: Minneapolis, Minnesota Section: Music Review THE STORY The review details Prince’s masterful three-hour performance, blending funk, spirituality, and nostalgia. It highlights guest appearances, extended jams, covers like “Delirious” and “Purple Rain,” and duets with Sly Stone and Larry Graham. Bream notes the $50 ticket price delivered exceptional value in a loose, celebratory atmosphere. CONTEXT AND NOTES This concert was part of the first major “Prince’s Celebration” event at Paisley Park in 2000, marking Prince’s return to performing for fans after a period of relative seclusion. The review captures the excitement of his hometown audience and the special communal energy of these early Celebration gatherings. FEATURE HIGHLIGHTS Event: Prince concert review – Celebration 2000 Era: 2000 (Prince Return / Celebration era) Tone: Enthusiastic, detailed, appreciative Photography: Black & white portrait of Prince WHAT THE CLIPPING SHOWS Bold headline “Prince pays back fans with sprawling jam” Large photo of Prince performing In-depth review by Jon Bream covering the show’s highlights and atmosphere Fan reactions and details about the Celebration event RELATED MATERIAL This June 15, 2000 Star Tribune review complements the Duluth News Tribune piece from the same day and other Celebration-era coverage in the scrapbook. For other relevant posts, see the tags at the foot of the page. All magazine scans, photographs 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 January 2000 issue of Black Diaspora Magazine features Prince on the cover under the striking headline “A NEW ERA”, marking the start of the new millennium with a powerful portrait of the artist. Publication: Black Diaspora Date: January 2000 Country: United States Location: New York Section: Front Cover THE STORY This millennium issue presents Prince as a symbol of artistic reinvention and cultural significance. The cover showcases him in a sparkling, high-collared outfit with a direct, intense gaze, positioning him as a visionary entering the new decade. CONTEXT AND NOTES At the turn of the millennium, Prince was transitioning out of his O(+> symbol period and embracing new creative chapters. This Black Diaspora cover reflects his enduring status as a global Black icon and his relevance into the 2000s. FEATURE HIGHLIGHTS Event: Millennium cover feature Era: 2000 (A New Era) Tone: Iconic, forward-looking, celebratory Photography: Striking close-up colour portrait WHAT THE CLIPPING SHOWS Close-up portrait of Prince with long dark hair, goatee, and sparkling high-collared top Bold headline “A NEW ERA” with the Prince love symbol Magazine masthead “BLACK DIASPORA – A GLOBAL BLACK MAGAZINE” Additional cover lines including Disney Celebration, Third World Cop, and more RELATED MATERIAL This January 2000 Black Diaspora cover beautifully marks the new millennium and complements other late 1990s / early 2000s Prince features in the scrapbook. For other relevant posts, see the tags at the foot of the page. All magazine scans, photographs 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. Some have called him eccentric, others have dubbed him a musical genius. There was​ ​a time when he​ answered ​to his given​ name—Prince—before changing​g it to ​an unpronounceable glyph. But here,​ on the brink of a new millennium, at what might be a new phase in his professional career, there is now one term used to describe The Artist, as he is now known, on which all can agree. He is, in a nutshell, a free man. Freedom for The Artist has manifested itself in a number of wa​ys. Once notoriously aloof, reclusive and painfully camera-shy, ​The Ar​tist now seems quite unrestricted and at ease in his​ own​ skin as ​we​ll as in the ​public eye​, where he routinely displays a playfulness and sense of humor that is both surprising and refreshing to strangers in his presence​. Additionally, The Artist is no longer stifled by the creative choke hold he felt was inflicted on him by Warner Bros., his former recording label. After severing a nearly 2​0-​year-old, ​often contentious relationship with the label in​ 1995, The Artist now celebrates a new​ deal inked with Arista Records and his​ own New Power Generation label. The arrangement grants him the ultimate freedom to retain ownership of his​ master recordings as well as giving him the option to independently sell his records via direct mail or through the Internet. This new-found professional flexibility seems to have also inspired The Artist creatively,​ evidenced by the​ release​ last November of his newest​ album. ​Rave Un​2 the Jo​y ​Fantastic​, a delicious fusion of funk, rock, R&B​, this. album​ features The Artist performing​ e​very track and​, with a nod and a wink​, acknowledges "Prince" as the album's​ producer. The collaboration between​ both personalities makes for a piece of work that's both fun and inspirational to groove to. Lounging in a suite at the New York​ Palace Hotel in New York City, the Artist is​, as always​, the image of serene royalty.​ Dressed stylishly, yet casually in flowing black, from the neck of his mohair tunic ​to the tips of his Cuban-heeled boots​, he exudes power and strength, despite his slight built and diminutive height. His face stands out in stark contrast to his dark outfit—light complexioned and slightly powdered, dominated by those famous doe eyes and accompanying shy smile. The symbol that now represents his name hangs from​ his neck as a diamond-encrusted gold pen​ant. ​One is never quite prepared for the startlingly deep bass voice that reverberates from this seemingly frail frame upon greeting,reminding you that, despite appearances, the Artist is the biggest thing in the room. Yet the expense of hid presence comes nowhere near close to matching the size of his legacy within the music industry. At 41, The Artist has spent halt his life in the limelight, starting with his breakthrough chart-topping hit in 1979, "I Wanna Be Your Lover." His astounding proficiency on vocals, keyboards, strings, percussion and lyrics demonstrated on masterpiece albums such as 1980's Dirty Mind,.1982's 1999 and 1987's Sign of the Times soon earned the young Minneapolis, MN native the same "artistic genius" accolade reserved for the likes of Marvin Gaye and Stevie Wonder. At this juncture, The Artist still remains one of the-few recording artists to make an appearance on Billboards' pop and R&B ' singles and album charts every single year since 1978. And he shows no signs of reining himself in. "I really don't know what number of releases I've made," The Artist admits, when pressed to give a tally. ''I've often made records just for friends, full albums that I've given as gifts." The Artist's generosity doesn't stop with his close friends .. A diverse array of musicians, including Mariah Carey, Chaka Khan, TLC, Sinead O'Connor and Herbie Hancock have benefited from his talent by covering The Artist's songs, while other performers such as Madonna, Sheena Easton, Patti LaBelle and the Bangles have claimed him as their producer. And scores of younger artists, from Maxwell to D'Angelo to Lenny Kravitz consistently show and tell how heavily he has influenced' their music and stage performances. These days, The Artist is a study in tranquility and contentment. No longer a frustrated artist at war with his professiona1 obligations and his personal integrity (he once wore the word 'slave' emblazoned down his face to protest his perceived indentured servitude at the hands of his record label), he now seems centered and grounded at this point in his life's journey, having found himself as well as inner joy.in the process. His union with his wife Mayte, in 1996, might have much to do with the transformation. So might his increased immersion into spirituality and his adoption of a vegan lifestyle. 'You've gotta have belief. It's the only way to make it through the maze,' The Artist has said. "We don't eat anything with parents," he has also said. "Thou shalt not kill, means just that. We don't have to kill things to survive.This cleansing of his mind, body, and spirit, coupled with the sobering effects of adversity, have all contributed to shaping The Artist into the socially conscious, and strongly convicted man he is today. His much publicized fight with Warner Bros. over artistic freedom and ownership.of his product left him bitter, an wary of the industry at large. "What I had with Warner Bros: was a contract. i"rn a real.stickier about words and the prefix lot contract is 'con'," he says in retrospect. And the joy he felt upon becoming a father in 1996 was short-lived after his infant son died shortly after his birth, reportedly the victim of Pfeiffer's syndrome, a rare deformity in which the skull hardens prematurely. But The Artist appears to have risen from the ashes, bruised, but not broken, with a renewed enthusiasm surrounding his new album and the path it might take-him into the year 2000 and beyond. "The message of this album is to be joyful for life," he says. Indeed,, the sampling of cuts-from Rave Un​2 the Jo​y ​Fantastic, including its. first single, the lushly orchestrated, "The Greatest Romance Ever Sold," tells as only The, Artist can. of the many facets of relationships and the impact they have on our lives. Featuring a number' of collaborations with disparate artists such as Chuck D., Ani Difranco, Gwen Stefani, Sheryl Crow, Maceo.Parker and Eve, this new album appears to have allowed' The Artist 'to do something professionally that perhaps he hadn't done in quite some time—just have fun. "I, real!y just wanted to work' with my friends," he says. "The whole idea is about ownership— claiming it and knowing that your art is.completely yours. I can't wait to step out on tour with this project!" For him, freedom, to just create and be, is the ultimate expression of joy. But even In midst of having fun, The Artist is ever mindful of the adage that to whom much is given is much required, as well as the one that admonishes that, in order to know where you are going, you must know from whence you came. At this point in his life, The Artist acknowledges a newfound connection with the Motherland, particularly after making a visit to Giza to visit the Egyptian pyramids. He jumps up to demonstrate-how he physically experienced seeing the pyramids for the first time, which felt like a rumbling sensation throughout his whole being. The reaction was so vivid, he recounts, that.he found himself asking his traveling companions, "Did you feel that?" Despite making millions of dollars .from his art, The Artist is known for giving a lot of his wealth, away. He once said, "Thirty million people in the world have AIDS and 21 million of them are in Africa, You see folks with flies on 'em, then who are you? You'd better help somebody.' And help others he does. Recently, he played host to a number of high school students from around the United-States at his Paisley Park recording studios in Minneapolis. The students, who were selected to attend based on their grades and written essays, were treated to a private audience with The Artist, as well as Artist-related paraphernalia. And with Mayte, he has founded the Love 4 One Another foundation, which was established to offer assistance to underprivileged children and adults. Through his official websites www.love4oneanother.com and www.newfunk.com, The Artist is now positioned to his reach out to his followers in even new different ways. "My audience now has a direct line to talk to me without some writer interpreting who I am for them," he says.' His message to them is simple: "The millennium is not the end of time," he says. "Hopefully, it will be a chance for us to finally, close the divide between the sexes." From the look of things, If there is anyone up for the challenge, it would be The Artist. Black Diaspora January 1, 2000 The Artist - A New Era Dawn M. Baskerville

A millennium-timed reimagining of a classic, rebuilt with NPG family fire. RELEASE DETAILS Date: February 2, 1999 Catalogue: 7-85337-19991-6 (12") / 7-85337-19992-3 (CD) Format: 12" Vinyl (Purple), CD Single Country: United States Label: NPG Records A-Side: 1999 (The New Master) THE STORY Released on February 2, 1999 on NPG Records, 1999 (The New Master) is a complete re-recording of Prince’s 1982 classic. Featuring new vocals and instrumentation with guest appearances from Rosie Gaines, Larry Graham, and Doug E. Fresh, this version was issued just weeks after Warner Bros. re-released the original. The single includes multiple remixes ranging from deep house to hip-hop influenced takes. CONTEXT & NOTES This release represents Prince O(+>’s independent era drive to reclaim and reinvent his catalogue. Without major label support or a music video, it still managed modest chart placement and stands as a creative statement heading into the new millennium. TRACK LIST US 12" Vinyl (Purple, 7-85337-19991-6) Side A 1999 (The New Master) – 7:09 Rosario (1999) – 1:19 1999 (The Inevitable Mix) – 5:46 1999 (Keep Steppin’) – 4:33 Side B 1999 (Rosie & Doug E. In A Deep House) – 6:23 1999 (The New Master: Single Edit) – 4:30 1999 (Acapella) – 5:11 US CD Single (7-85337-19992-3) 1999 (The New Master) – 7:09 Rosario (1999) – 1:19 1999 (The Inevitable Mix) – 5:46 1999 (Keep Steppin’) – 4:33 1999 (Rosie & Doug E. In A Deep House) – 6:23 1999 (The New Master) (Single Edit) – 4:30 1999 (Acapella) – 5:11 All Variants 12" Commercial Vinyl – Purple (NPG 7-85337-19991-6) CD Single (NPG 7-85337-19992-3) 12" Promo Vinyl CHART PERFORMANCE Billboard 200: Peak No. 150 Billboard Top R&B Albums: Peak No. 58 PERSONNEL Prince O(+> – vocals, instruments, production, arrangement Rosie Gaines – vocals Larry Graham – bass Doug E. Fresh – beatbox / rap PACKAGING HIGHLIGHTS Front sleeve: Futuristic collage with band photos and cybernetic imagery Back sleeve: Tracklist with NPG family credits WHAT THE LABEL / SLEEVE SHOWS Distinctive purple-themed design with “THE NEW MASTER” and “PRINCE AND THE REVOLUTION” branding. RELATED MATERIAL U Make My Sun Shine (with Angie Stone) (2000) When Will We B Paid? (with Audio Stepchild) (2000) Supercute (2001) The Work, pt. 1 (2001) SOURCES Prince Vault • Discogs • Billboard charts COPYRIGHT NOTICE All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

The Hits Collection, a 61-minute compilation of fifteen music videos drawn from The Hits 1 and The Hits 2, is released on DVD for the first time, following its original 1993 VHS and Laserdisc editions. It showcases Prince’s most iconic promotional videos spanning his groundbreaking late 1970s to early 1990s era Release: Paisley Park / Warner Reprise Video Date: June 8, 1999 (DVD) Country: United States (primary) Format: DVD-V (NTSC/PAL) Catalogue: US: 38371-2 / EUR: 7599-38371-2 Length: 61 minutes THE STORY This official video anthology collects key promotional clips for Prince’s biggest hits, including “Peach,” “Uptown,” “1999,” “Alphabet St.,” “Sign ‘O’ The Times,” “Diamonds And Pearls,” “Controversy,” “Dirty Mind,” “I Wanna Be Your Lover,” “Little Red Corvette,” “I Would Die 4 U,” “Raspberry Beret,” “Kiss,” “Cream,” and “7.” Originally issued on VHS and Laserdisc in September 1993 alongside the companion albums, the 1999 DVD edition brought the collection to the burgeoning digital home video format. CONTEXT AND NOTES The Hits Collection serves as the visual counterpart to the The Hits / The B-Sides album set. It arrived during a period of renewed interest in Prince’s catalog and helped preserve his groundbreaking music video work for a new generation. The compilation reached strong chart positions (#2 on Billboard Top Music Videos) and earned RIAA Gold certification. TRACK LISTING (DVD) Peach (3:56) Uptown (4:06) 1999 (3:40) Alphabet St. (2:25) Sign ‘O’ The Times (3:41) Diamonds And Pearls (4:51) Controversy (3:35) Dirty Mind (4:06) I Wanna Be Your Lover (2:52) Little Red Corvette (3:07) I Would Die 4 U (4:33) Raspberry Beret (4:17) Kiss (3:53) Cream (6:01) 7 (6:02) PACKAGING HIGHLIGHTS Standard DVD case with Prince imagery consistent with the Hits era aesthetic. Back cover features full track listing and production credits. WHAT THE SLEEVE SHOWS Close-up portrait-style imagery of Prince (matching the era’s promotional photography), with clean, elegant design typical of 1990s Warner home video releases. CHARTS & CERTIFICATIONS Billboard Top Music Videos, USA: #2 (peaked October 2, 1993) Billboard Top Video Sales, USA: #10 (peaked October 9, 1993) RIAA (USA): Gold (December 6, 1993) RELATED MATERIAL For other relevant posts, see the tags at the foot of the page 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.