A June 7, 1993 feature in the Star Tribune marking Prince’s 35th birthday, reflecting on his career, public image, and pondering what the next chapter might hold for the artist. Publication: Star Tribune Date: June 7, 1993 Country: United States Section / Pages: Feature / Entertainment Title: HAPPY BIRTHDAY: FACE THE MUSIC THE STORY The article discusses Prince turning 35 and questions whether he is entering “middle age.” It explores his recent comments about possibly quitting conventional studio recordings, his interest in a Prince TV series or another movie, and includes opinions from industry figures such as Neil Selting and Paul Westerberg. The piece is accompanied by live performance photos of Prince. CONTEXT AND NOTES Published on Prince’s actual birthday in his hometown newspaper, this piece captures a transitional moment in his career — after the success of The Love Symbol Album and during a period of creative experimentation. It reflects the public’s fascination with Prince’s ever-evolving persona and future plans. RELATED MATERIAL Prince O(+> (June 7, 1996) “Dinner With Delores” – Promo Cassette Single US Prince and the New Power Generation (June 7, 1992) “Sexy M.F.” – 12" Single US Prince and the New Power Generation (June 7 1991) “Gett Off” – 12" Single PR US See tags at foot of 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 groundbreaking, computer-interface styled mail-order catalogue from Prince’s New Power Generation, showcasing his expanding multimedia empire of music, fashion, and merchandise during the early Symbol era. PUBLICATION Publication: NPG (New Power Generation) Official Catalogue Date: Fall/Winter 1993 (Volume 1) Country: United States Section / Pages: Full Multi-Page Catalogue Title: NPG Catalogue – Fall/Winter ’93 THE STORY This innovative catalogue is designed like an early-90s computer desktop, complete with menu bar (“File • Edit • Jam • Funk • Style • Volume • Impact”) and pixelated graphics. It promotes a wide range of exclusive NPG products including jewelry, videos, CDs, cassettes, photos, books, posters, clothing, and more. The vibrant layout features the Love Symbol prominently and the slogan “We are the New Power Generation,” reflecting Prince’s vision of a complete artistic and commercial universe. CONTEXT AND NOTES Released in late 1993, this was one of the earliest major NPG catalogues, marking Prince’s increasing focus on direct-to-fan sales and brand expansion. It perfectly captures his fascination with technology, futurism, and self-contained creative control as he moved toward greater independence from traditional record labels. FEATURE HIGHLIGHTS Event: Official NPG Fall/Winter Merchandise Catalogue (Vol. 1) Era: Early 1990s / Pre-Symbol / New Power Generation Tone: Futuristic, playful, high-tech Photography / Design: Computer desktop aesthetic, collage-style product layouts, purple and gold color scheme Audience: Dedicated NPG fan club members and collectors WHAT THE CLIPPING SHOWS A multi-page catalogue with a striking cover showing a pixelated interior view, a purple guitar, and NPG branding. Interior spreads display detailed product listings for clothing (jackets, hats, t-shirts), jewelry, tambourines, drumsticks, posters, videos, and more, all presented in a stylish, digital-themed layout. RELATED MATERIAL Prince O(+> (1994/95) NPG Stock List – Mail Order Catalogue Leaflet (US) Prince O(+> (August 12, 1994) 1-800-NEW-FUNK – Call Now! Advert (US) Prince O(+> (April 30, 1994) New Power Generation Store Opens in London – Italian Magazine (Italy) 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.

A Hits‑era revival that turned a 1981 classic into a Top 5 UK smash. RELEASE DETAILS Date: December 6, 1993 Catalogue: W0215 (7"/Cassette), W0215CD1 / W0215CD2 (CD), SAM 1278 (12" Promo) Format: 7" Single, Cassette Single, CD Single (2 editions), 12" Promo, 7" Picture Disc Country: United Kingdom Label: Warner Bros. / Paisley Park Album: The Hits 1 / The Hits / The B-Sides (1993) A-Side: Controversy (Edit) THE STORY Released on December 6, 1993 in the UK, this reissue of the 1981 classic Controversy was issued to promote The Hits 1, The Hits 2, and The Hits / The B-Sides box set. It paired the classic edit with a strong selection of deep cuts and remixes not heavily featured on the compilations, creating an appealing package for both new and longtime fans. CONTEXT & NOTES This UK-exclusive release capitalized on the momentum of the Hits compilations. The curated B-sides highlighted tracks from various eras, helping the single reach No. 5 on the UK Gallup Singles Chart — one of Prince’s strongest UK performances of the early 1990s. Multiple formats were issued, including two distinct CD editions and a 7" picture disc. TRACK LIST 7" Single / Cassette Single (W0215 / W0215C) A. Controversy (Edit) — 3:35 B. The Future (Remix) — 6:25 CD Single – Edition 1 (W0215CD1) Controversy (Edit) — 3:35 The Future (Remix) — 6:25 Glam Slam — 5:04 D.M.S.R. — 8:15 CD Single – Edition 2 (W0215CD2) Controversy (Edit) — 3:35 Anotherloverholenyohead — 3:58 Paisley Park — 4:41 New Power Generation (Part II) — 2:57 12" Promo (SAM 1278) A. Controversy (Edit) — 3:35 B. D.M.S.R. — 8:15 7" Picture Disc Same tracklist as standard 7" Single CHART PERFORMANCE UK Singles Chart: Peak No. 5 PERSONNEL Prince – vocals, instruments, production, arrangement (original 1981 tracks) Additional production/remixing on select tracks PACKAGING HIGHLIGHTS Front sleeve: Striking close-up portrait collage with bold “CONTROVERSY” typography Back sleeve: Detailed track credits and imagery Picture disc features live performance shots WHAT THE LABEL / SLEEVE SHOWS Multi-panel artwork with intense close-up portraits, live performance shots, and full track credits across the various editions. RELATED MATERIAL Prince (April 1994) Pope - Promo Single UK/Spain Prince (February 9, 1994) The Most Beautiful Girl in the World - Single US Nona Gaye & Prince (1994) Love Sign - Promo Single SOURCES Prince Vault • Discogs • Official Charts Company 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.

An article reporting on Prince’s name change to the Love Symbol and his decision to break with the New Power Generation, published shortly after his 35th birthday. Publication: Duluth News-Tribune Date: June 9, 1993 Country: United States Section / Pages: Entertainment / News Title: Prince changes THE STORY The article announces that Prince no longer wishes to be called by his birth name and will now be referred to by his unpronounceable Love Symbol. It also notes his separation from the New Power Generation (while keeping the door open for future collaborations) and mentions his upcoming European tour. CONTEXT AND NOTES This piece was published just two days after Prince’s 35th birthday, during the period when he officially adopted the Love Symbol as his name (often called “The Artist Formerly Known as Prince”). It reflects the public confusion and fascination surrounding this major identity shift. RELATED MATERIAL See tags at foot of 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.

An article reporting on Prince’s decision to change his name to the unpronounceable Love Symbol, published days after his 35th birthday. Publication: The Albert Lea Tribune Date: June 9, 1993 Country: United States Section / Pages: Entertainment News Title: Prince changes name, but can’t speak it THE STORY The piece explains that Prince no longer wants to be referred to by his birth name and will now be known by the symbol that combines male and female signs. It notes that the symbol also serves as the title of his latest album and quotes his publicist Karen Lee saying the change is “very serious.” CONTEXT AND NOTES Published in Prince’s home state of Minnesota shortly after his birthday, this article reflects the widespread media bewilderment and curiosity surrounding one of the most famous (and controversial) name changes in music history — the beginning of the “Artist Formerly Known as Prince” era. RELATED MATERIAL See tags at foot of 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 12" single was released as part of the continued promotion for the hugely successful Diamonds and Pearls album, highlighting Prince and the New Power Generation’s socially conscious side with a powerful mid-tempo funk track that addressed materialism and inequality. Artist: Prince and the New Power Generation Label: Paisley Park / Warner Bros. Date: March 16, 1992 Catalogue: W 0091 T / 9362-40417-0 Format: 12" Single Country: Germany / Europe Written by: Prince Produced by: Prince and the New Power Generation TRACK LIST Germany/Europe 12" Single (W 0091 T) Side A Money Don’t Matter 2 Night (LP Version) (4:48) Side B Push (LP Version) (5:56) Call The Law (Non-LP Track) (4:19) LINKED RELEASES / VARIANTS Album version on Diamonds and Pearls (1991) Various international 7", cassette, and CD maxi-singles PERSONNEL Produced, arranged, composed and performed by Prince and The New Power Generation THE STORY “Money Don’t Matter 2 Night” was issued as a later single from Diamonds and Pearls in early 1992. The song’s thoughtful lyrics about the emptiness of materialism, delivered over a smooth, mid-tempo groove with strong live band energy, showcased the maturing sound of Prince and the New Power Generation. This European 12" edition paired the album version with “Push” and the non-album track “Call The Law,” providing fans with additional material from the Diamonds and Pearls sessions. CONTEXT & NOTES The striking black-and-white cover image captures Prince in a dramatic pose, continuing the stylish visual campaign for the album. This pressing was part of the European rollout and included standard Paisley Park label design with full credits. The single helped sustain the massive commercial momentum of Diamonds and Pearls across Europe. CHART PERFORMANCE Germany MusikWoche Top 100 Singles – #21 (peaked October 7, 1991) 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 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

b/w “Whispering Dandelions” — A key 1992 release featuring multiple Prince-remixed versions and two Prince-written productions. RELEASE DETAILS Artist: Ingrid Chavez Label: Paisley Park / Warner Bros. Records Date: March 5, 1992 Catalogue: 0-40270 (12"), 940 270-2 (CD), 4-19082 (Cassette), WPCP-4849 (Japan CD) Format: 12" Single, CD Single, Cassette Single, Promo Country: United States / Japan THE STORY Hippy Blood was the second and final commercial single from Ingrid Chavez’s self-titled debut album. While the album version contains no Prince involvement, the single is significant for featuring multiple remixes by Prince, along with “Whispering Dandelions,” a track co-written, produced, and performed by Prince. The Japanese edition expands into a full EP with exclusive remixes of “Elephant Box,” another Prince co-write. CONTEXT & NOTES This release highlights Prince’s behind-the-scenes work during the early 1990s, contributing remixes and original productions to Chavez’s project. The single did not chart but remains a sought-after collector’s item due to the exclusive Prince material. TRACK LIST 12" Single (0-40270) A1. Hippy Blood (Keep Pumpin’ It Mix) — 6:35 A2. Hippy Blood (Club Mix) A3. Hippy Blood (Happy Hippy Mix) A4. Hippy Blood (Funky House Edit) — 6:00 B1. Hippy Blood (Commune Mix) B2. Hippy Blood (Free Spirit Mix) B3. Whispering Dandelions (Album Version) — 1:59 B4. Hippy Blood (Freedom’s Beating Heart Mix) CD Single (940 270-2) Hippy Blood (Free Spirit Edit) Hippy Blood (Keep Pumpin’ It Mix) — 6:35 Hippy Blood (Commune Mix) Hippy Blood (Album Version) Whispering Dandelions (Album Version) — 1:59 Hippy Blood (Funky House Edit) — 6:00 Hippy Blood (Club Mix) Hippy Blood (Happy Hippy Mix) Hippy Blood (Freedom’s Beating Heart Mix) Japan CD EP (WPCP-4849) Hippy Blood (Keep Pumpin’ It Mix) — 6:35 Hippy Blood (Club Mix) Hippy Blood (Happy Hippy Mix) Hippy Blood (Funky House Edit) — 6:00 Hippy Blood (Commune Mix) Hippy Blood (Free Spirit Edit) Hippy Blood (Freedom’s Beating Heart Mix) Elephant Box (Elephant House Mix) — 6:36 Elephant Box (Bee Bop Mix) — 6:13 Elephant Box (Full Pass Mix) — 6:15 Elephant Box (The Solo) — 6:28 12" Promo (PRO-A-5155) A1. Hippy Blood (Free Spirit Mix) A2. Hippy Blood (Happy Hippy Mix) A3. Hippy Blood (Commune Mix) A4. Hippy Blood (Free Spirit Edit) B1. Hippy Blood (Keep Pumpin’ It Mix) — 6:35 B2. Hippy Blood (Commune Instrumental) B3. Hippy Blood (Free Spirit Dub) B4. Hippy Blood (Latin Light Edit) CD Promo (PRO-CD-5155) Hippy Blood (Album Edit) Hippy Blood (Free Spirit Edit) Hippy Blood (Keep Pumpin’ It Edit) — 4:37 Hippy Blood (Latin Light Edit) Cassette Single (4-19082) A. Hippy Blood (Album Edit) B. Whispering Dandelions — 1:59 All Variants 12" Single (0-40270) CD Single (940 270-2) 12" Promo (PRO-A-5155) CD Promo (PRO-CD-5155) Cassette Single (4-19082) Japan CD EP (WPCP-4849) CHART PERFORMANCE Did not chart PERSONNEL Ingrid Chavez – vocals Prince – remixes, writer/producer/performer on “Whispering Dandelions” and “Elephant Box” PACKAGING HIGHLIGHTS Striking torn-paper design with Deborah Allen-style portrait (wait, Ingrid Chavez portrait) Bold typography and vibrant color scheme WHAT THE SLEEVE SHOWS Front cover features a dramatic portrait of Ingrid Chavez against a purple and red background with torn-paper effects and bold title lettering. RELATED MATERIAL Ingrid Chavez – Ingrid Chavez (Album, 1991) Prince – Various productions and remixes for associated artists (early 1990s) SOURCES Prince Vault, Discogs, Wikipedia COPYRIGHT NOTICE All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

A colourful 1993 “Special” book dedicated entirely to Prince, featuring a vibrant torn-paper collage cover and detailed sections on his career, with official publication by Grandreams Limited. PUBLICATION Publication: Prince Special (Book) Date: 1993 Country: United Kingdom Section / Pages: Front Cover + Copyright Page + Contents + Interior Photo Page Title: PRINCE SPECIAL THE STORY This fan-oriented publication opens with a striking cover using a torn-paper design that juxtaposes two classic Prince portraits — one with a leopard-print guitar strap and another close-up with dramatic eye makeup. Inside, it includes a formal copyright page from Grandreams Limited, a full contents listing covering topics from “Prince: Year By Year” to “Prince In Private,” and glossy live performance photography. CONTEXT AND NOTES Released in 1993 by Grandreams Limited (London), this book captures Prince at the height of his early-90s popularity during the The Hits era and major touring. It serves as a comprehensive visual and biographical tribute aimed at fans, with sections on his stage presence, film work, personal life, and collectibles. FEATURE HIGHLIGHTS Event: Dedicated Prince Special Book Era: 1993 Tone: Colourful, celebratory, fan-focused Photography: Collage-style cover + high-quality live and portrait shots Visual Motifs: Bright polka dots and swirls, torn-paper effect, purple typography WHAT THE CLIPPING SHOWS Full front cover with “PRINCE” and “SPECIAL” in bold purple lettering Copyright and publishing information page (© 1993 Grandreams Limited) Contents page listing all sections Interior live performance photo of Prince singing in a light jacket RELATED MATERIAL Prince (January/February 1993) “In the Land of Paisley” – Creem Magazine (US) Prince (June 1993) “My Name Is God!” – VOX Magazine (UK) Prince (1993) MF Music Festival 93 Cover – Capital FM (UK) 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.

Jazz-funk reflections shaped at Paisley Park and beyond. RELEASE DETAILS Artist: Eric Leeds Label: Paisley Park / Warner Bros. Records Date: February 16, 1993 Catalogue: 9 45199-2 (US CD) Format: CD Album / Cassette Country: United States / Europe / Japan THE STORY Things Left Unsaid is the second solo album by saxophonist Eric Leeds, best known for his work with Prince and the New Power Generation. Released on Paisley Park Records in 1993, the album delivers a sophisticated blend of jazz, funk, and atmospheric world textures, showcasing Leeds’ expressive saxophone and expansive compositional style. CONTEXT & NOTES The track “Aguadilla” carries a co-writing credit to Prince, as it incorporates musical elements from his unreleased composition “Desire.” Most of the album was recorded at Paisley Park Studios, Skyline Studios, and Centerfield Recording. It reflects the exploratory, cosmopolitan side of the early-’90s Paisley Park aesthetic. TRACK LIST Isla Mujeres — 6:04 Two Sisters — 7:24 Things Left Unsaid — 6:57 Aguadilla — 5:36 (Co-written by Prince) Woman In Chains — 5:44 Times Gift — 4:07 Yaoundé — 5:44 Soldiers Things — 4:30 Commuting — 5:42 All Variants CD Editions US: Paisley Park 9 45199-2 Europe: Paisley Park / Warner Bros. 9362-45199-2 Japan: Paisley Park WPCP-5238 Cassette Editions US: Paisley Park 9 45199-4 / 4-45199 US Promo Cassette: Paisley Park 4-45199 PACKAGING HIGHLIGHTS Standard jewel case with booklet Atmospheric artwork reflecting the album’s moody, cosmopolitan tone WHAT THE SLEEVE SHOWS Front cover features evocative, atmospheric imagery consistent with early ’90s Paisley Park jazz releases, emphasizing mood and sophistication. RELATED MATERIAL Eric Leeds – Times Squared (1991) Prince – Various unreleased compositions from the late 1980s/early 1990s SOURCES Prince Vault, Discogs, Wikipedia COPYRIGHT NOTICE All album artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Prince’s dance-floor protégée steps into the spotlight with a high-energy, NPG-driven debut crafted almost entirely by Prince and the New Power Generation. RELEASE DETAILS Artist: Carmen Electra Label: Paisley Park / Warner Bros. Records Date: February 9, 1993 Catalogue: 9 45020-2 Format: CD Album / Cassette Country: United States THE STORY Carmen Electra is the self-titled debut (and only) studio album by model, singer, and dancer Carmen Electra. Produced and largely written by Prince with heavy involvement from the New Power Generation, the album delivers a playful mix of hip-hop, funk, dance, and Minneapolis sound grooves designed to showcase Electra’s bold persona. CONTEXT & NOTES Originally titled On Top, the project was delayed from a planned July 1992 release. Several tracks originated from earlier Prince sessions (1988–1989). The album spawned four singles, including “Go Go Dancer” and “Fantasia Erotica.” Despite strong production, it received limited promotion and did not chart. TRACK LIST Go Go Dancer — 4:45 Good Judy Girlfriend — 1:59 Go On (Witcha Bad Self) — 4:09 Step To The Mic — 3:16 S.T. — 4:03 Fantasia Erotica — 4:36 Everybody Get On Up — 4:01 Segue — 0:29 Fun — 3:42 Just A Little Lovin’ — 4:02 Segue — 0:46 All That — 4:29 Segue — 0:12 This Is My House — 3:28 PACKAGING HIGHLIGHTS Standard jewel case with 8-page booklet Striking photography featuring Carmen Electra WHAT THE SLEEVE SHOWS Front cover shows Carmen Electra in a dramatic pose with bold “carmen electra” typography and a large “C” graphic overlay. RELATED MATERIAL Carmen Electra – Go Go Dancer (Single, 1992) Carmen Electra – Fantasia Erotica (Single, 1992) Carmen Electra – Everybody Get On Up (Single, 1993) Prince and The New Power Generation – Diamonds And Pearls (1991) Prince and The New Power Generation – [Love Symbol] (1992) SOURCES Prince Vault, Discogs, Wikipedia COPYRIGHT NOTICE All album artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied. ARTIST: Carmen Electra ARTIST CATEGORY: Prince Associated Artists / NPG Projects ARTIST ITEM: Carmen Electra (Album) ARTIST ATTACHMENT: Paisley Park / Warner Bros. ARTIST YEAR: 1993 ALBUM: Carmen Electra (1993)

The first single from True Confessions — built, shaped, and supercharged by Prince. RELEASE DETAILS Artist: T.C. Ellis Label: Paisley Park / Warner Bros. Records Date: March 12, 1991 Catalogue: 0-21770 (12"), 4-21770 / 4-19557 (Cassette), PRO-CD-4785 (CD Promo) Format: 12" Single, Cassette Single, CD Promo, 12" Promo Country: United States THE STORY Miss Thang was released as the lead single from T.C. Ellis’s debut album True Confessions. Written, produced, and largely performed by Prince, the track introduced Ellis to the public with a strong Minneapolis funk sound typical of early ’90s Paisley Park releases. CONTEXT & NOTES This single features an extensive suite of Prince-influenced remixes. It served as the public launch for the True Confessions album. Despite strong promotional support, the single did not chart. TRACK LIST 12" Single (0-21770) A1. Miss Thang (The Big Thang Mix) — 5:30 A2. Miss Thang (Vasquez Ice Mix) — 5:37 A3. Miss Thang (Bonus Beats) — 3:25 B1. Miss Thang (The Swang Thang) — 6:10 B2. Miss Thang (Instrumental Mix) — 3:41 Cassette Single (4-19557) A. Miss Thang (Album Version) — 3:28 B. Excerpts From the Forthcoming Album (Pussycat / Bustin’ / For The Record / Love / Brothers And Sisters (Reprise)) CD Promo (PRO-CD-4785) Miss Thang (The Big Thang Remix Edit) — 3:33 Miss Thang (The Big Thang Mix) — 5:30 Miss Thang (The Swang Thang) — 6:10 Miss Thang (Vasquez Ice Mix) — 5:37 Miss Thang (Bonus Beats) — 3:25 Miss Thang (Instrumental Mix) — 3:41 12" Promo (PRO-A-4471) A. Miss Thang (Album Version) — 3:28 B. Miss Thang (Album Version) — 3:28 All Variants 12" Single (0-21770) Cassette Single (4-21770) Cassette Single (4-19557) CD Promo (PRO-CD-4785) 12" Promo (PRO-A-4471) CHART PERFORMANCE Did not chart PERSONNEL T.C. Ellis – vocals Prince – writer, producer, majority of instruments PACKAGING HIGHLIGHTS Standard Paisley Park single packaging Promotional white labels on 12" and CD promos WHAT THE SLEEVE SHOWS Promotional sleeves are plain with track information. Commercial releases use standard Paisley Park design. RELATED MATERIAL T.C. Ellis – True Confessions (Album, 1991) Prince – Various productions for Paisley Park artists (early 1990s) SOURCES Prince Vault, Discogs, Wikipedia COPYRIGHT NOTICE All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.