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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.

This limited edition one-sided picture disc 12" was released exclusively in the UK to coincide with the Diamonds and Pearls Tour, serving as the fifth single from the album in that territory and a special collector’s item for fans. Artist: Prince and the New Power Generation Label: Paisley Park / Warner Bros. Date: June 15, 1992 Catalogue: W0113TP Format: Picture Disc 12" Single (Collector’s Edition, One-Sided) Country: UK Producer, Arranged By, Composed By, Performer – Prince, The New Power Generation TRACK LIST UK Picture Disc 12" (W0113TP) Side A Thunder (5:45) Violet The Organ Grinder (4:59) Gett Off (Thrust Dub) (7:20) LINKED RELEASES / VARIANTS Album version on Diamonds and Pearls (1991) Promotional releases in other territories Standard 7" and CD singles PERSONNEL Produced, arranged, composed and performed by Prince and The New Power Generation THE STORY “Thunder” was issued as a UK-exclusive single in June 1992, eight months after the Diamonds and Pearls album. The powerful, rock-tinged funk track captured the live energy of the New Power Generation and was timed to promote the UK leg of the Diamonds and Pearls Tour, which began on the same day as the single’s release. This collector’s picture disc format bundled the album track with two additional mixes, including the previously released “Violet The Organ Grinder” and a dub version of “Gett Off.” CONTEXT & NOTES This striking one-sided picture disc features group imagery from the Diamonds and Pearls era and comes in a PVC sleeve with a numbered insert (some copies unnumbered). It was marketed as a “Collector’s Edition” and is highly sought after by fans for its visual appeal and tour connection. The release included a Parental Advisory sticker on some copies. CHART PERFORMANCE UK Gallup Singles Chart – #28 (peaked June 27, 1992) RELATED MATERIAL Prince and the New Power Generation (1991) Diamonds and Pearls (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 1992 cover of Black Beat Magazine features Prince in a dynamic pose with his yellow guitar, headlining “Ultra Exclusive! PRINCE Invites Black Beat To Paisley Park!” alongside “The Royal Rocker And His Ladies DIAMONDS & PEARLS!” Publication: Black Beat Date: January 1992 Country: United States Location: New York Section: Front Cover THE STORY This exclusive cover story captures Prince during the height of his Diamonds and Pearls era, inviting Black Beat to his legendary Paisley Park. The vibrant cover showcases Prince performing with two female dancers/models, emphasizing his flashy stage presence and the glamorous entourage surrounding him. CONTEXT AND NOTES 1991–1992 marked one of Prince’s biggest commercial comebacks with the album Diamonds and Pearls and the New Power Generation. This Black Beat cover reflects the strong connection Prince maintained with Black media outlets while promoting his high-energy funk/hip-hop influenced sound and flamboyant visual style. FEATURE HIGHLIGHTS Event: Exclusive Paisley Park cover story Era: 1992 (Diamonds and Pearls era) Tone: Energetic, glamorous, celebratory Photography: Bold, colourful studio/performance shot Prince opens Paisley Park doors, just a man doing his thang! Behind more than a decade of pomp and circumstance is a man simply trying to do his thang – Prince invites Black Beat magazine to Paisley Park for an exclusive visit and interview, featured in the January 1, 1992 issue. The invitation came through a publicist. which was fairly odd in itself, considering that the only real need Prince ever had for one was to say, in various ways, the word no. Nevertheless, here one was on the phone from New York, inviting me to Paisley Park, Prince’s corporate Disneyland in Minneapolis. the idea was that I’d fly into town. watch Prince rehearse for his fall U.S. tour—designed to promote his Diamonds And Pearls LP—and interview members of his band the New Power Generation. And maybe, just maybe Prince, in a fit of infinite generosity, would say hello. My answer was as peculiar as the proposition itself: no. It wasn’t like l wasn’t interested. Since his debut in 1978 with his For You album, I’d written volumes on Prince for various publications. Heck, in 1984. The year of his triumphant Purple Rain. I wrote a paperback book on the man. It was just that, for most of his career, Prince has been manipulatively indifferent with the press, particularly the Black press. The brothers in the ‘hood were buying Prince records long before white audiences even knew who he was, or cared, for that matter (Detroit has been a big town for Prince since his days of bikinis and knee-high boots, and ain’t nothin’ but some brothers there), yet The Kid has made a habit of largely ignoring the publications these people read. The Black press never had a problem with him not doing interviews: we had a problem with him telling us no and then seeing his mug on the cover of Rolling Stone under the heading, “Prince Talks.”· It was as if the Black press didn’t matter. According. to Prince’s camp. the consensus was that the musician didn’t think Black journalists “got it”—that we didn’t understand the music or the vibe. Fact is, perhaps we got too much. For instance, ain’t no Black music critic worth his word processor going for that stuff about Prince being from a mixed family-the kind of muck white writers gobbled up whole; we know Black folks come in all shades. Besides, I thought, why should I fly to Minneapolis and hope that Prince graces me with a nod when I could shoot the breeze attitude-free with someone like Eddie LeVert, Luther Vandross or the Jacksons (most of ‘em, anyway)? I declined. What ultimately turned me around was the mere idea of taking in yet another Prince performance. I never tire of watching him do his thing onstage. I figured that spectacle alone was worth the three hour flight from L.A. to Minneapolis, whether Prince spoke or not. I accepted the invitation. Considering that The New Power Generation is Prince’s Blackest band since he headed up garage bands in Minneapolis with Andre Cymone, Diamonds And Pearls is a subtle album. There isn’t much rock and roll, and aside from the rhythm rituals “Jughead,” “Gett Off” and “Push,” there isn’t a lot of all-out funk, either. There is, however, an abundance of melodic material, all of it held together with juicy musical undercurrents. There’s the folky “Walk Don’t Walk”, a song about doing things your way as opposed to what an unfair society dictates. There’s “Money Don’t Matter 2 Night” and “Strollin’,” both so easy-going that they’d sound quite normal coming out of the radio sandwiched. between songs of Anita Baker and Luther Vandross, while songs like the power pop of “Cream” and the majestic title track both adequately demonstrate why Prince remains one of the most inventive, musically agile artists in pop music. * * * I walked into Minneapolis’ Hotel Sofitel and ran into a publicist for the musician who went right to work. “Prince wants to meet you,” he said, as if I were the inside man in a spy ring. “But he’s in the middle of rehearsals as we speak, so we’ll have to leave right now.” In the cab on the way to Paisley Park, the PR man took a look at my tape recorder and told me I could have left it at the hotel; Prince wouldn’t be speaking into it, and besides, this wouldn’t be an interview, anyway, but at best a chat. I was told not to pry. “Just go with the flow,” he advised. Gee, Guy-mind if I breathe? When you walk into Paisley Park you feel as if you’ve entered Oz. There are offices, but execs are dressed casually. In the wardrobe department, a group hovered over designs and fabric. There are studios-MC Hammer was in one of them, putting the finishing touches on his new album-and on the dark soundstage with the PRIVATE SESSION sign on the door is Prince and the New Power Generation. I’m seated not more than 15 feet from the stage, yet Prince, running through some random guitar riffs during rehearsal down time, doesn’t look my way once. Finally, he takes off his guitar, jumps off the stage and starts striding my way. He’s smiling. The publicist tries to make an introduction, but Prince interrupts him. “Oh I know this guy,” he says, extending a firm handshake. “I read your stuff, man.” The first thing you notice about Prince is how good he smells. Really. He walks around, shrouded in a fragrance that is tantalizing and exotic. Didn’t smell familiar. Let’s just say it wasn’t Brut. Much has been made about his dimunitive size, but in person Prince’s presence is imposing. The guy oozes charisma. It was two in the afternoon, yet Prince is resplendent in his idea of jeans and sneakers: form-fitting fushia-colored pants, matching boots and a silk shirt in his color of the moment, canary yellow. WHAT THE CLIPPING SHOWS Prince in a white embellished outfit playing a bright yellow guitar Two stylish female dancers/models flanking him Eye-catching headlines including “Ultra Exclusive! PRINCE Invites Black Beat To Paisley Park!” and “DIAMONDS & PEARLS!” Additional teasers for other artists and features RELATED MATERIAL This Black Beat cover complements other 1990s Prince magazine features in the scrapbook. For other relevant posts, see the tags at the foot of the page. He turned to a visiting Warner Brothers record executive and said, “Did you tell him what I told you?” The exec looked sheepishly puzzled, as if he was about to be reprimanded. “Did you tell him I’m not the strange guy he thinks I am?” Prince laughed. The exec laughed. From there, Prince proceeded to be the perfect, albeit somewhat distant host. He joked about the sound (“If it’s too loud for you, we can turn it down”). When I told him I’d originally thought his trademark custom guitar was built more for looks than sound, he logged the comment away in his head. When he picked up the instrument to take to the stage, he looked at me and teased, “It looks good—it’s a shame it don’t sound like nothin’.” Rehearsal continued on schedule, with Prince and his band ripping through new songs like “Daddy Pop” and old favorites like “Let’s Work,” and a rendition of “Nothing Compares 2 U,” his composition made famous by Sinead O’Connor. What’s remarkable is Prince’s driving sense of commitment to his work. He’s jammed “Purple Rain” more times than even I have cared to hear it, yet in rehearsal he serviced it as if it were a brand new song. It was also interesting to see that all those seemingly “spontaneous” moments in any Prince performance are anything but; virtually every little onstage gesture, his playing to the audience—it’s all rehearsed to the tee. Another sign of a true showman.After running through his set for about an hour complete with lighting and smoke, the band adjourned and toweled down while making small talk. Prince has disappeared. An interview was out of the question after all, I told the publicist. “Hey, I was surprised,” he countered. “You got more time with him than most people do." I was scheduled to leave for L.A. in the morning; the PR man said that after dinner we could spend some hang time downtown at Glam Slam, Prince’s club. The music would be good, he said; “Wednesday is funk night at the club. Prince might even be there.” He was. He and the Warners exec sat upstairs under the watchful eye of a bodyguard in the VIP area overlooking the crowded dance floor below. Prince gauged reaction to the then-unreleased steamy video for “Violet The Organ Grinder,” which played on video monitors throughout the club. They loved it, of course. I hadn’t heard the track before either; I went over and asked Prince what it was. “None of your business,” he replied. He chased the line with a smile, but there was no denying the edge on it. “You can have a copy of it, if you don’t write something crazy about it.” This was the Prince I was ready for at the rehearsal, but got Sir Lancelot instead. This Prince, however, obviously had some points to make. The Warner exec got visibly nervous all over again, poor guy. “Let me ask you something?” Prince continued. “Why is it your stuff always has a strange slant on it when it comes to me?” “That’s not true,” I replied, surprised that this guy was even paying attention to what is written about him. “Oh yeah, man. Your stuff seems to have a strange vibe on it when it comes to me.” I told him I was one of his biggest fans, though I admitted that my biggest crime was in periodically writing that he should get back to the kind of stuff he built a foundation on, like his landmark 1999 album. This incensed him. “That’s why I stay here in Minneapolis and do my work, and block out you critics. Let me tell you something: 1999 amounts to me being in the third grade musically. That’s where I was then, and I had to grow musically from where I was before it to make it. I had to push aside 1999 to get where I am now. It’s called growth. You wanna hear stuff like 1999 again, then listen to 1999. I’m someplace else now.” The conversation limped uncomfortably on about music, but it was clear that Prince had heard enough. He became indifferent, asked why I wasn’t out on the dance floor, and then excused himself to sit alone, a table away. I’d apparently worn out my welcome. Nevertheless, I didn’t really realize what a showman Prince was until I’d met him. Forget the stage; I’m talking image-building. The guy spent years orchestrating this aura of mystery and drama, when in reality he’s just a cat trying to do his thing. Perhaps he doesn’t grant interviews because he feels his music alone exposes him far more than anyone should ‘have to endure. If what I considered my personal growth as an artist were constantly slammed by people who didn’t always understand it, maybe I’d be a bit gun-shy, too. I decided I liked this guy. In any case, before heading back to the hotel, I went over to Prince and thanked him for having me down. He didn’t have to do it, I told him, and I appreciated the hospitality. I then reminded him of the hypnosis-inducing .vamp he found earlier in rehearsal during “Gett Off” and how that moment alone was worth the price of admission. He seemed pleased. “Man,” he said, easing a smile, “that’s what I’m down here doing everyday. For me, that’s what it’s all about.” I can believe it. Black Beat January 1, 1992 Steven Ivory

The July 24, 2010 edition of The Times Saturday Review features an in-depth profile titled “At home with Prince”, offering a rare glimpse into Prince’s world during his 20Ten era. Publication: The Times Saturday Review Date: July 24, 2010 Country: United Kingdom Location: London Section: Arts & Ideas / Saturday Magazine Feature THE STORY This extensive feature includes a striking portrait of Prince alongside a detailed interview and profile. It explores his life, music, and private world, with additional photography showing him in colourful attire playing guitar. The piece captures Prince during a period of independent releases and renewed creative focus. CONTEXT AND NOTES By 2010 Prince had returned to independent music releases with the 20Ten album and was known for being highly private. This Times feature is one of the rarer mainstream media sit-downs of his later career, highlighting his enduring mystique and artistic independence. FEATURE HIGHLIGHTS Event: Major newspaper profile / “At home with” feature Era: 2010 (20Ten era) Tone: Intimate, respectful, insightful Photography: Striking colour portraits including Prince in a blue jacket with guitar WHAT THE CLIPPING SHOWS Large headline “At home with Prince” with close-up portrait Full-page colour photo of Prince in a vibrant blue jacket playing guitar Extensive interview text and additional images The Times Saturday Review layout with arts & ideas section branding RELATED MATERIAL This 2010 Times feature captures Prince in his later independent era and pairs well with other late-career pieces 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 December 1992 issue of Q Magazine features a bold review of Prince’s Love Symbol album under the provocative headline “SALACIOUS: His name is Prince and he’s got a huge libido.” Publication: Q Magazine Date: December 1992 Country: United Kingdom Location: London Section: Album Review / Interior Feature THE STORY T his in-depth review examines Prince’s The Love Symbol Album (with the New Power Generation), praising its mix of stud songs, pumping funk, soul ballads, and boundary-pushing themes. The piece highlights Prince’s irrepressible libido, sexual charisma, and musical versatility while offering a four-star assessment of the album. CONTEXT AND NOTES Released in October 1992, The Love Symbol Album marked Prince’s continued experimentation during his final years with Warner Bros. This Q review captures the provocative, sexually charged reputation Prince cultivated in the early 1990s while acknowledging his enduring musical brilliance. FEATURE HIGHLIGHTS Event: Major album review Era: 1992 (Love Symbol / New Power Generation era) Tone: Provocative, vivid, appreciative Photography: Striking black & white portrait of Prince in a white shirt WHAT THE CLIPPING SHOWS Bold headline “SALACIOUS” with subhead “His name is Prince and he’s got a huge libido” Large atmospheric black & white photo of Prince looking directly at the camera Detailed review text by David Sinclair focusing on the album’s themes and the New Power Generation Pull quotes and critical analysis of the album’s sensual and musical content RELATED MATERIAL This Q Magazine review of the Love Symbol album pairs well with other 1992 Prince features, including the Black Beat Diamonds & Pearls cover. 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. FEATURE HIGHLIGHTS Event: Major album review Era: 1992 (Love Symbol / New Power Generation era) Tone: Provocative, vivid, appreciative Photography: Striking black & white portrait of Prince in a white shirt WHAT THE CLIPPING SHOWS Bold headline “SALACIOUS” with subhead “His name is Prince and he’s got a huge libido” Large atmospheric black & white photo of Prince looking directly at the camera Detailed review text by David Sinclair focusing on the album’s themes and the New Power Generation Pull quotes and critical analysis of the album’s sensual and musical content RELATED MATERIAL This Q Magazine review of the Love Symbol album pairs well with other 1992 Prince features, including the Black Beat Diamonds & Pearls cover. For other relevant posts, see the tags at the foot of the page. COPYRIGHT NOTICE 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 July 1992 issue of VOX Magazine features Prince on the cover with the intriguing headline “The Secret Life Of PRINCE”, exploring why he is one of the most bootlegged artists in the world and delving into his mysterious persona. Publication: VOX Date: July 1992 Country: United Kingdom Location: London Section: Front Cover + Interior Feature THE STORY This major feature examines Prince’s prolific output, his vast vault of unreleased material at Paisley Park, multiple alter egos, and the inner workings of his creative empire. It includes insights from associates like Eric Leeds and details about his bootlegged recordings and the New Power Generation. CONTEXT AND NOTES 1992 was a highly active year for Prince as he released the Love Symbol Album and continued expanding the New Power Generation. This VOX piece highlights the growing fascination with Prince’s secretive recording habits and his status as a musical enigma during the early 90s. FEATURE HIGHLIGHTS Event: Major cover story on Prince’s private world Era: 1992 (Love Symbol / New Power Generation era) Tone: Investigative, intriguing, detailed Photography: Striking colour portrait of Prince in a bright yellow lace-up shirt WHAT THE CLIPPING SHOWS VOX cover with Prince in yellow outfit alongside Nirvana’s Kurt Cobain Bold interior headline “The Secret Life Of PRINCE” Large colour photo of Prince in yellow shirt with dramatic lighting In-depth article text discussing bootlegs, Paisley Park vault, and alter egos RELATED MATERIAL This VOX feature pairs well with the Q Magazine Love Symbol review and other 1992 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.

This striking one-page advert promotes Prince and the New Power Generation’s concert at the Zénith in Paris on Friday 21 August 1998, presented by Gérard Drouot Productions and ICO. Publication: Concert Promotion Advert (Magazine / Programme) Date: August 1998 Country: France Location: Paris Section: Full-page concert advertisement THE STORY The advert features a seductive portrait of Prince in a red top with multiple silver chains, pointing directly at the viewer. It announces the New Power Generation live show at the iconic Zénith venue with special guest Larry Graham, highlighting Prince’s continued power and mystique in the late 1990s. CONTEXT AND NOTES By 1998 Prince was performing as Prince & The New Power Generation after the end of his Warner Bros. contract. This Paris date was part of his independent touring era, showcasing his enduring popularity in Europe and his collaboration with funk legend Larry Graham. FEATURE HIGHLIGHTS Event: Live concert promotion at Paris Zénith Era: 1998 (NewPower Soul touring era) Tone: Bold, seductive, energetic Photography: Dramatic, high-contrast promotional portrait WHAT THE CLIPPING SHOWS Prince in a striking red-and-gold pose with multiple necklaces and intense gaze Large “New Power Generation” logo in red and white Event details: Vendredi 21 Août, Paris Zénith, 20h Special guest announcement: Larry Graham Sponsor logos including M6, NRJ, Rock & Folk, and ticket information RELATED MATERIAL This 1998 Paris Zénith concert advert captures Prince & The New Power Generation live during their late 90s European tour. 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 April 26, 1986 cover of NME boldly declares “FLESH FOR FANTASY PRINCE EXPOSED!”, featuring a striking close-up portrait of Prince alongside an extensive interior feature exploring his persona, music, and androgynous image. Publication: NME (New Musical Express) Date: April 26, 1986 Country: United Kingdom Location: London Section: Front Cover + Major Interior Feature THE STORY This in-depth NME cover story delves into Prince’s enigmatic world with provocative photography and analysis. The feature examines his boundary-pushing artistry, sexual ambiguity, and cultural impact through sections like “The Voice of Androgyny”, accompanied by multiple striking portraits and stills from his performances and videos. CONTEXT AND NOTES 1986 was a high point in Prince’s career following the massive success of Purple Rain and Around the World in a Day. This NME piece captures the intense media fascination with Prince’s mystique, fashion, and deliberate blurring of gender and sexual lines during the height of his 1980s dominance. FEATURE HIGHLIGHTS Event: Major cover story and photo feature Era: 1986 (Prince’s mid-80s peak) Tone: Provocative, analytical, sensual Photography: Close-up blurred portraits, multiple studio and performance shots WHAT THE CLIPPING SHOWS Iconic NME cover with extreme close-up of Prince’s face and bold headline “FLESH FOR FANTASY PRINCE EXPOSED!” Extensive interior spreads with large portraits and montages Sections including “The Voice of Androgyny”, “Flesh on Parade”, and various Prince images (Shock Head Monarch, Hamlet Prince of Madness, etc.) Detailed text exploring Prince’s image, sexuality, and artistic evolution RELATED MATERIAL This 1986 NME cover story complements other Prince magazine features from the 1980s 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. Tags: Prince, Prince Scrapbook, NME, 1986, Flesh For Fantasy, Prince Exposed, New Musical Express, 1980s Prince

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

The December 14-27 1999 issue of Blues & Soul Magazine features Prince (credited as The Artist) on the cover with an in-depth interview titled “Interview With The Artist”. Publication: Blues & Soul Date: December 14-27, 1999 Country: United Kingdom Location: London Section: Front Cover + Interior Feature THE STORY This extensive cover story and interview explores The Artist’s creativity, independence, and return to mainstream visibility. It includes striking portraits in various outfits, discussion of his music, Paisley Park, band dynamics with the New Power Generation, and reflections on legacy, spirituality, and artistic freedom. CONTEXT AND NOTES By late 1999 Prince (as The Artist, formerly known as Prince) had regained creative control and was actively touring and recording independently. This Blues & Soul feature captures him during the final phase of his O(+> symbol era, highlighting his enduring influence across soul, funk, and R&B. FEATURE HIGHLIGHTS Event: Cover story and major interview Era: 1999 (O(+> era) Tone: Intimate, respectful, insightful Photography: Dramatic studio portraits including hooded black outfit and white shirt looks WHAT THE CLIPPING SHOWS Iconic cover portrait of Prince in a black hooded outfit with gold trim Bold headline “FANTASTIC VOYAGE THE ARTIST” Interior interview spreads with multiple photos and pull quotes In-depth conversation covering music, legacy, Paisley Park, and personal philosophy RELATED MATERIAL This 1999 Blues & Soul cover story provides a strong late-90s perspective on Prince/The Artist and complements other O(+> era 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.

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