This Daily News entertainment front page from August 1990 spotlights new releases from two musical legends — Prince and Elvis Presley. The feature pairs Prince’s Graffiti Bridge double album with a retrospective Elvis package, The Great Performances, under the shared headline “New Tunes from Prince and the King.” Publication: Daily News (EXTRA Section) Date: August 20 1990 Country: United States The left‑hand article, “A ‘Bridge’ of Size & Scope from the Kid” by Jim Farber, reviews Prince’s Graffiti Bridge soundtrack album, describing it as a sequel to Purple Rain and “the world’s first funk musical.” Farber notes that the 17‑song double album expands on the spiritual and musical themes of Purple Rain, blending funk, gospel, and pop into a nonstop celebration. He highlights Prince’s collaborations with George Clinton, Tevin Campbell, and Mavis Staples, and praises the record’s ambition and energy. The right‑hand column, “Early Acetate Highlight of Elvis Package” by David Hinckley, reviews The Great Performances, a collection of rare Elvis Presley recordings and home‑video footage. Hinckley describes the release as a treat for casual fans, featuring early acetates and live performances of classics like My Happiness and Blue Suede Shoes. The layout juxtaposes two eras of musical royalty — Prince, the modern innovator, and Elvis, the enduring icon — each redefining their legacy through new releases. The page features a large monochrome portrait of Prince on the left and a photo of Elvis playing guitar on the right, symbolizing their shared stature as transformative figures in popular music. CONTEXT AND NOTES By August 1990, Prince was promoting Graffiti Bridge as both a film and an album, continuing his multimedia approach to storytelling. The Daily News feature situates him alongside Elvis Presley, underscoring his cultural significance and his role as a successor to rock’s royal lineage. The EXTRA section, known as “New York’s Best Entertainment Section,” often paired contemporary and classic artists, and this issue captures a moment of generational continuity — the King of Rock ’n’ Roll and the Kid from Minneapolis, each commanding their own musical universe. FEATURE HIGHLIGHTS Event: Release of Graffiti Bridge album and The Great Performances Elvis collection Era: 1990 – New Power Generation / Post‑Purple Rain  Era Tone: Comparative, celebratory, and journalistic Photography: Large black‑and‑white close‑up of Prince’s face Image of Elvis Presley performing with acoustic guitar All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Star Tribune feature from August 1990, written by Jon Bream, reviews Prince’s Graffiti Bridge soundtrack album, predicting it could be his most successful release since Purple Rain. The article praises the record’s musical focus, collaborative spirit, and its balance between funk, spirituality, and accessibility. Publication: Star Tribune Date: August 20 1990 Country: United States Under the headline “‘Graffiti Bridge’ Soundtrack Album May  Be Prince’s Top Winner Since ’84,” Bream reports that the soundtrack would arrive in stores that week, ahead of the film’s release later in the year. He describes the 17‑track, 68‑minute double album as one of Prince’s most fully realized works, combining contributions from The Time, George Clinton, Mavis Staples, Tevin Campbell, and others. The review highlights Prince’s thematic ambition — a search for utopia through the “New Power Generation” — and notes his narrowing of sound toward accessible funk‑rock reminiscent of Purple Rain. Bream commends Prince’s integration of hip‑hop elements and his continued mastery of musical storytelling. The continuation of the article discusses standout tracks such as Thieves in the Temple, Round and Round, Shake, Can’t Stop This Feeling I Got, and Melody Cool. Bream observes that the album’s diversity and collaborations ensure its longevity, comparing it to Prince’s earlier double albums 1999 and Sign o’ the Times. He concludes that Graffiti Bridge reaffirms Prince’s status as pop music’s most inventive auteur, regardless of the film’s success. CONTEXT AND NOTES By 1990, Prince was expanding his creative universe through multimedia projects, blending film and music as he had with Purple Rain and Under the Cherry Moon. Graffiti Bridge represented both a continuation and reinvention of his Minneapolis sound, introducing new artists while revisiting familiar themes of faith, desire, and redemption. This Star Tribune review captures the anticipation surrounding the release, reflecting Prince’s enduring influence on pop and funk as he entered the 1990s with renewed artistic clarity. FEATURE HIGHLIGHTS Event: Release of Graffiti Bridge soundtrack album Era: 1990 – New Power Generation   Post‑Purple Rain Era Tone: Analytical, optimistic, and musically detailed Photography: Black‑and‑white image of the Graffiti Bridge album cover featuring Prince’s portrait and collage artwork WHAT THE CLIPPING SHOWS Review of Prince’s Graffiti Bridge soundtrack and its creative scope Discussion of collaborations with The Time, Mavis Staples, and Tevin Campbell Comparison to Purple Rain and earlier double albums All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Never Forget: A Journey Of Revelations is the second album by Cornel West and the first credited to Cornel West & BMWMB (“Black Men Who Mean Business”). At the time of release, West was serving as the Class of 1943 University Professor at Princeton University, teaching in the Center for African American Studies and the Department of Religion. The album features sixteen tracks, largely rooted in rap and hip‑hop, with West collaborating with Black artists to address social conditions affecting African‑Americans. Prince contributed “Dear Mr. Man”, originally released on Musicology, with Cornel West adding spoken vocal overdubs; Prince was unlikely to have participated in recording these additions. Track Listing All songs written by Cornel West, except where indicated. • Bushonomics — feat. Talib Kweli • America (400 Years) — feat. IRIZ, Lucky Witherspoon, Black Thought, Rah Diggah — • Still Here — feat. Ambassador & Paul Woodruff • Dear Mr. Man — feat. Prince — 4:14 • 911 — • N Word — feat. Tavis Smiley & Michael Eric Dyson • Welcome 2 The Chi — feat. Rhymefest, Malik Yusef, Neo Abyss • Mr. President — feat. KRS‑One & M1 • Keep’in It P.I. — feat. Lucky Witherspoon, Doey Rock & Killer Mike supplied] • Chronomentrophobia — feat. André 3000 • What Time It Is — feat. Jill Scott • Soul Sista — feat. Darryl Moore • America (400 Years) Reprise • Everything Gone Be Alright — feat. David Hollister & Chuckii Booker • Man Gonna Getcha — feat. Gerald Levert & Waynee Wayne • Everything Gone Be Alright — feat. Lenny Williams Total length: 77:26 Charts Chart (2008–2008) — Peak Position USA: Billboard Rap Albums Chart — 14 USA: Billboard R&B/Hip‑Hop Albums Chart — 87 Entry Date: 8 March 2008 Weeks in Chart: 1 SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Event: Glam Slam Ulysses was a 1993 stage production loosely inspired by Homer’s Odyssey. Combining live performance and video, it was advertised as “The Homer‑Erotic Odyssey of Ulysses and His Gang, ‘Strays of the World’, Through the Universe of Glam Slam,” presented in “Glam‑o‑Rama” and featuring “13 new songs.” Each song represented an episode or theme from Homer’s epic. The production premiered on 21 August 1993 at Glam Slam, Los Angeles, California, with a capacity of 400 people per performance. Tickets cost $19.99 for evening shows and $15.00 for Sunday matinees. Starring Carmen Electra as both Penelope and Calypso, the show ran until 4 September 1993. Frank Williams performed the male lead, with Jamie King providing choreography. Although Prince did not appear, all music was composed and performed by him. The production was expected to tour the United States but was discontinued after unfavourable reviews. Setlist • The Ship – Strays of the World • Interlude – Come • The Cyclops – Interactive • Lotus Land – Dolphin • Circe – Pheromone • Penelope – Dark • Hades – Loose! • The Sirens – Space • Interlude – Poem • Scylla – What’s My Name • Calypso – Endorphinemachine • Interlude – Come • The Suitors – Race • The Trojan Horse – Come • The Homecoming – Strays of the World • Finale – The Celebration – Pope Advert / Ephemera : Promotional poster featured a muscular figure raising a Symbol above his head, captioned “A combination of live performance and video introducing 13 new songs.” Performances were held on multiple dates between 22 August and 4 September 1993, including matinees and evening shows. Surrounding Dates: • 22 August 1993 – First recorded performances (5 p.m. & 7:30 p.m.) • 24 August 1993 – Second performance (7:30 p.m.) • 4 September 1993 – Final performance at Glam Slam Los Angeles Chronicle Note: Glam Slam Ulysses represented Prince’s experimental fusion of mythological narrative and multimedia stage art. Though short‑lived, it showcased his creative ambition to merge classical storytelling with modern music and choreography, extending his artistic reach beyond traditional concert formats. SSOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Ultimate is Prince’s fifth compilation of his Warner Bros. studio material, arriving in August 2006, five years after The Very Best Of Prince. The collection focuses exclusively on recordings from the Warner Bros. era, covering twelve studio albums released between 1979 and 1993. Several tracks appear in extended or remixed form, sourced from 12" and CD singles, and each disc presents its selections in a loose chronological sequence based on their original single release dates. The first disc contains single edits or album versions, while the second disc features remixes and extended versions previously available only on singles. There is no overlap between the discs. Disc one includes seventeen tracks, sixteen of which had appeared on The Hits 1 or The Hits 2, and ten of which were included on The Very Best Of Prince. Disc two contains eleven tracks; although none had appeared on a prior compilation in their extended or remixed form, seven had appeared on The Hits 1 or The Hits 2 in album or single‑edit versions, one (“She’s Always In My Hair”) had appeared on The B‑Sides, and seven had appeared on The Very Best Of Prince in their standard versions. Only “My Name Is Prince,” “Let’s Work,” and “Hot Thing” had never appeared on any previous compilation in any form. An early configuration was prepared in late 2005–early 2006 with a different tracklist, planned for release on 21 March 2006. Prince cooperated with the project and revised the proposed tracklist. When his new album 3121 was announced with the same release date, Ultimate was postponed. Packaging had already been printed and CDs pressed, and because the recall occurred at short notice, more than 1,000 copies reached shops in the USA and Australia in mid‑March 2006, and in Greece on 17 April 2006. Stickered slipcase 2 x CD album - European Union - 8122 73381 2 Disc 1 • I Wanna Be Your Lover — 2:57 • Uptown — 4:09 • Controversy — 7:15 • 1999 — 3:37 • Delirious — 2:38 • When Doves Cry — 3:47 • I Would Die 4 U — 2:56 • Purple Rain — 8:40 • Sign O’ The Times — 3:42 • I Could Never Take The Place Of Your Man — 3:39 • Alphabet St. — 5:38 • Diamonds And Pearls — 4:19 • Gett Off — 4:31 • Money Don’t Matter 2 Night — 4:47 • 7 — 5:08 • Nothing Compares 2 U — 4:57 • My Name Is Prince — 4:03 Disc 2 • Let’s Go Crazy (Special Dance Mix) — 7:36 • Little Red Corvette (Dance Remix) — 8:22 • Let’s Work (Dance Remix) — 8:02 • Pop Life (Fresh Dance Mix) — 6:18 • She’s Always In My Hair (12" Version) — 6:31 • Raspberry Beret (12" Version) — 6:34 • Kiss (Extended Version) — 7:16 • U Got The Look (Long Look) — 6:40 • Hot Thing (Extended Remix) — 8:30 • Thieves In The Temple (Remix) — 8:08 • Cream (N.P.G. Mix) — 4:50 Musicians Prince - all vocals and instruments, except where noted (credited as Camille for lead vocals on U Got The Look (Long Look)) Lisa Coleman - background vocals on Controversy, Little Red Corvette (Dance Remix), Raspberry Beret (12” Version), co-lead vocals on 1999, keyboards and background vocals on Let’s Go Crazy (Special Dance Mix), Pop Life (Fresh Dance Mix), I Would Die 4 U and Purple Rain Morris Day - drums on Controversy (uncredited, possible involvement on the album version) and Let’s Work (Dance Remix) Dez Dickerson - co-lead vocals on 1999, guitar and vocals on Little Red Corvette (Dance Remix) Jill Jones - co-lead vocals on 1999, vocals on Kiss (Extended version) (uncredited) Jesse Johnson - background vocals on 1999 (uncredited) Wendy Melvoin - guitars and background vocals on I Would Die 4 U, Purple Rain, Let’s Go Crazy (Special Dance Mix) and Pop Life (Fresh Dance Mix), background vocals on Raspberry Beret (12” Version) Brown Mark - bass guitar and background vocals on I Would Die 4 U, Purple Rain, Let’s Go Crazy (Special Dance Mix) and Pop Life (Fresh Dance Mix), Dr. Fink - keyboards on I Would Die 4 U, Purple Rain, Let’s Go Crazy (Special Dance Mix) and Pop Life (Fresh Dance Mix) Bobby Z. - drums and percussion on I Would Die 4 U, Purple Rain and Let’s Go Crazy (Special Dance Mix) Novi Novog - violin on Purple Rain and Raspberry Beret (12" Version) Suzie Katayama - cello on Purple Rain and Raspberry Beret (12" Version) David Coleman - cello on Purple Rain and Raspberry Beret (12" Version) Sheila E. - drums on Alphabet St. and U Got The Look (Long Look), synth drum fills on Diamonds And Pearls (uncredited), drums and background vocals on Pop Life (Fresh Dance Mix) Jonathan Melvoin - tambourine on Pop Life (Fresh Dance Mix) (uncredited) Eric Leeds - saxophone on Alphabet St. and Kiss (Extended version), flute on Gett Off, sampled on Cream (N.P.G. Mix) (from ♥ Or $) Atlanta Bliss - trumpet on Alphabet St. Cat - vocals on Alphabet St. Boni Boyer - vocals on Alphabet St. Ingrid Chavez - vocals on Alphabet St. Rosie Gaines - co-lead vocals on Diamonds And Pearls, co-lead vocals and keyboards on Gett Off, Nothing Compares 2 U and Cream (N.P.G. Mix) Michael B. - drums on Diamonds And Pearls, Gett Off, Money Don’t Matter 2 Night, Nothing Compares 2 U and Cream (N.P.G. Mix) Levi Seacer, Jr. - guitar on Diamonds And Pearls, Gett Off, Nothing Compares 2 U and Cream (N.P.G. Mix), bass on Money Don’t Matter 2 Night Sonny T. - bass guitar on Diamonds And Pearls, Gett Off, Nothing Compares 2 U and Cream (N.P.G. Mix) Tommy Barbarella - keyboards on Diamonds And Pearls, Gett Off, Nothing Compares 2 U and Cream (N.P.G. Mix) Kirk Johnson - percussion and background shouts/vocals on Gett Off and Cream (N.P.G. Mix) Damon Dickson - percussion and background shouts/vocals on Gett Off Tony M. - vocals on Gett Off and rap on My Name Is Prince Chuck Thomas - drums (uncredited, sampled loop from Tramp by Lowell Fulson) on 7 Michael Nelson - trombone on Nothing Compares 2 U Brian Gallagher - tenor saxophone on Nothing Compares 2 U Kathy Jensen - baritone saxophone on Nothing Compares 2 U Dave Jensen - trumpet on Nothing Compares 2 U Steve Strand - trumpet on Nothing Compares 2 U Susannah Melvoin - background vocals on Raspberry Beret (12" Version) Sid Page - violin on Pop Life (Fresh Dance Mix) Marcy Dicterow-Vaj - violin on Pop Life (Fresh Dance Mix) Denyse Buffum - viola on Pop Life (Fresh Dance Mix) Laury Woods - viola on Pop Life (Fresh Dance Mix) Tim Barr - Stand-up bass on Pop Life (Fresh Dance Mix) Annette Atkinson - Stand-up bass on Pop Life (Fresh Dance Mix) Tony Christian - background vocals (as Mazarati) on Kiss (Extended Version) Craig "Screamer" Powell - background vocals (as Mazarati) on Kiss (Extended Version) Jerome "Romeo" Cox - background vocals (as Mazarati) on Kiss (Extended Version) Marr Starr - background vocals (as Mazarati) and keyboards (uncredited) on Kiss (Extended Version) Aaron Paul "Ace" Keith - background vocals (as Mazarati) and keyboards (uncredited) on Kiss (Extended Version) Kevin "Blondie" Patricks - drums (uncredited) on Kiss (Extended Version) Sheena Easton - co-lead vocals on U Got The Look (Long Look) Camille - lead vocals U Got The Look (Long Look) Lester Chambers - harmonica (sampled from I Can’t Stand It by The Chambers Brothers, uncredited) on Thieves In The Temple (Remix) Jevetta Steele - backing vocals (as part of The Steeles) on Thieves In The Temple (Remix) Fred Steele - backing vocals (as part of The Steeles) on Thieves In The Temple (Remix) JD Steele - backing vocals (as part of The Steeles) on Thieves In The Temple (Remix) Jearlyn Steele - backing vocals (as part of The Steeles) on Thieves In The Temple (Remix) Bonnie Raitt - sampled slide guitar (uncredited) on Cream (N.P.G. Mix) Clare Fischer - string orchestration on Cream (N.P.G. Mix) (sampled from High Fashion) George Brown - drums on Cream (N.P.G. Mix) (uncredited, sampled loop from Chocolate Buttermilk by Kool & the Gang) Charts & Certifications Table Region Country / Chart Peak Weeks America The Billboard 200 61 5 Billboard Top R&B/Hip Hop Albums 31 7 The Billboard 200 (re‑entry) 55 6 The Billboard 200 (re‑entry) 6 10 Europe Austria 46 3 Belgium (Flanders) 46 11 Belgium (Wallonia) 52 4 Denmark 6 9 France 12 6 Netherlands 39 7 Portugal re‑entry 14 4 Switzerland 58 2 UK 6 12 Pacific New Zealand 3 (1 week at #1) 10 SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Released (Original VHS): 6 October 1992 (USA) — NTSC, PAL Released (DVD Reissue): 22 August 2006 (USA) Length: 58 minutes Country: United States Language: English Label(s): Paisley Park / Warner Reprise Video (US) Director(s): Rebecca Blake, Spike Lee, Larry Fong, Scott McCullough, Sotera Tschetter Starring: Prince & The New Power Generation Music by: Prince Diamonds And Pearls Video Collection compiles the promotional videos from the Diamonds And Pearls album, interspersed with interview segments featuring members of The New Power Generation discussing their roles in the band. Prince filmed these interview inserts himself, creating a hybrid documentary‑style presentation. The collection also includes live tour footage from the 1992 Diamonds And Pearls Tour: • Thunder — Sydney Cricket Ground, Australia (3 May 1992) • Dr. Feelgood — Flinders Park Tennis Centre, Melbourne (18 April 1992) • Live 4 Love — Earls Court, London (24 June 1992), edited with Paris footage The home video reached #13 on the Billboard Top Music Videos chart and #22 on the Top Video Sales chart. Initially released on VHS and Laserdisc in 1992. Reissued on DVD on 22 August 2006. Remastered in 1080p HD for the 2023 Diamonds And Pearls Super Deluxe Edition Blu‑ray. Laser disc - Germany - 7599-38291-6 The video collection blends music videos, live performances, and interview segments to present a behind‑the‑scenes portrait of Prince’s early‑90s band. Each band member offers commentary on their contributions, while the videos illustrate the visual identity of the Diamonds And Pearls era. The live footage adds energy and context, showcasing the tour’s scale and Prince’s performance style during 1992. Production Notes • Interviews filmed by Prince • Live footage sourced from Sydney, Melbourne, London and Paris • Originally released on VHS and Laserdisc (1992) • DVD reissue released 22 August 2006 • Remastered in 2023 for Blu‑ray inclusion in Diamonds And Pearls Super Deluxe Edition The home video reached #13 on the Billboard Top Music Videos chart and #22 on the Top Video Sales chart. The 2023 HD remaster significantly improves clarity and color grading, making it the definitive version of the collection. Formats Commercially released on VHS, Laserdisc, and DVD in the USA, Europe, Japan and Australasia. Remastered for Blu‑ray in 2023. Track Listing • Introduction (1:24) • Thunder (Live) (0:52) • Gett Off (5:31) • Cream (9:16) • Diamonds And Pearls (5:16) • Dr. Feelgood (Live) / Interviews with Rosie Gaines & Tony M. (Incl. Turn Your Lights Down Low — unlisted) (2:25) • Call The Law / Interview with Damon Dickson (4:54) • Willing And Able / Interview with Kirky J. (5:30) • Jughead (Live) / Interview with Tommy Barbarella (2:07) • Insatiable / Interview with Levi Seacer Jr. (5:44) • Strollin’ / Interview with Michael B. (1:58) • Money Don’t Matter 2 Night / Interview with Sonny T. (5:52) • Live 4 Love (Live) (6:43) VHS — NTSC / PAL References: USA: 38291‑3 • EUR: 7599 38291‑3 • AUS: 7599 38291‑3 Laserdisc — NTSC / PAL References: US: 9 38291‑6 • JP: WPLP‑9085 • EUR: 7599 38291‑6 ZM • Introduction (1:24) • Thunder (Live) (0:52) • Gett Off (5:31) • Cream (9:16) • Diamonds And Pearls (5:16) • Dr. Feelgood (Live) / Interviews with Rosie Gaines & Tony M. (Incl. Turn Your Lights Down Low — unlisted) (2:25) • Call The Law / Interview with Damon Dickson (4:54) • Willing And Able / Interview with Kirky J. (5:30) • Jughead (Live) / Interview with Tommy Barbarella (2:07) • Insatiable / Interview with Levi Seacer Jr. (5:44) • Strollin’ / Interview with Michael B. (1:58) • Money Don’t Matter 2 Night / Interview with Sonny T. (5:52) • Live 4 Love (Live) (6:43) DVD — NTSC References: US: R2 971644 • EUR: 0349 71644‑2 • AUS: 0349716442 • Introduction (1:24) • Thunder (Live) (0:52) • Gett Off (5:31) • Cream (9:16) • Diamonds And Pearls (5:16) • Dr. Feelgood (Live) / Interviews with Rosie Gaines & Tony M. (Incl. Turn Your Lights Down Low — unlisted) (2:25) • Call The Law / Interview with Damon Dickson (4:54) • Willing And Able / Interview with Kirky J. (5:30) • Jughead (Live) / Interview with Tommy Barbarella (2:07) • Insatiable / Interview with Levi Seacer Jr. (5:44) • Strollin’ / Interview with Michael B. (1:58) • Money Don’t Matter 2 Night / Interview with Sonny T. (5:52) • Live 4 Love (Live) (6:43) Sources Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

The Family’s self‑titled debut album was released in the US on August 19 1985. Conceived and produced by Prince, the project introduced a new Minneapolis‑based group featuring St. Paul Peterson, Susannah Melvoin, Jerome Benton, Jellybean Johnson, and Eric Leeds. Although Prince was officially credited only for writing Nothing Compares 2 U, he composed seven of the eight tracks and played nearly all instruments. The record marked the first Prince‑related release to feature Eric Leeds on saxophone and Clare Fischer’s orchestral arrangements, and was the second album issued on Paisley Park Records after Around the World in a Day. Recording sessions took place between June and August 1984 at Flying Cloud Drive Warehouse, with mixing completed in April–May 1985. The album blends funk, soul, jazz, and new‑wave influences, foreshadowing Prince’s later Parade era. Despite limited promotion, The Family reached No. 62 on the US Billboard Top Pop Albums chart and No. 17 on the Top Black Albums chart. Album Details Released: 12 August 1985 (UK) | 19 August 1985 (USA) Recorded: June–August 1984 Studios: Flying Cloud Drive Warehouse, Minneapolis Genre: Funk / Soul / Jazz / New Wave Length: Labels: Paisley Park / Warner Bros. Producer: Prince (credited to David Z. Rivkin & The Family) Track Listing Side One • High Fashion — Prince (credited to Jerome Benton & St. Paul Peterson) — 5:06 • Mutiny — Prince (credited to Jerome Benton) — 3:57 • The Screams of Passion — Prince (credited to St. Paul Peterson & Susannah Melvoin) — 5:26 • Yes — Prince & Eric Leeds (credited to Jellybean Johnson & Jerome Benton) — 4:27 Side Two • River Run Dry — Bobby Z. — 3:31 • Nothing Compares 2 U — Prince — 4:31 • Susannah’s Pajamas — Prince & Eric Leeds (credited to Eric Leeds) — 3:58 • Desire — Prince (credited to St. Paul Peterson) — 4:58 Total length: 36:01 Chronology: Around the World in a Day (1985) → The Family (1985) → Parade (1986) Packaging Issued on vinyl LP, cassette, and compact disc (reissue). The original LP featured minimalist Paisley Park design elements and a monochrome cover photograph of the band. Reception Although critically praised for its lush arrangements and sophisticated production, the album’s commercial performance was modest due to minimal promotion. The group performed live just once, at First Avenue in Minneapolis on August 13 1985. LP Catalogue Numbers UK release: Paisley Park / Warner Bros. Warner Bros. Records – 925 322-1, US release: Paisley Park / Warner Bros. Paisley Park – 9 25322-1, Warner Bros. Records – 9 25322-1. CD (reissue) — Paisley Park / Warner Bros. — Germany — 7599-25322-2 Full Track‑Specific Credits The Family St. Paul Peterson — lead vocals Susannah Melvoin — co‑lead vocals on The Screams of Passion; background vocals on High Fashion, River Run Dry, Nothing Compares 2 U, Desire Prince — all instruments (except where noted); background vocals (uncredited) Eric Leeds — saxophone on High Fashion, Mutiny, Yes, Nothing Compares 2 U, Susannah’s Pajamas, Desire Clare Fischer — string orchestration on High Fashion, The Screams of Passion, River Run Dry, Nothing Compares 2 U, Desire Wendy Melvoin — rhythm guitar on Yes Additional Personnel Jellybean Johnson — credited but did not perform Jerome Benton — credited but did not perform Miko Weaver — credited but did not perform Technical David Z. Rivkin — engineer Susan Rogers — engineer Bernie Grundman — mastering Charts USA Billboard Top Black Albums Chart (1985) — No. 17 USA Billboard Top Pop Albums Chart (1985) — No. 62 Singles from The Family The Screams of Passion — Released 1985 (b/w Yes) High Fashion — Released 1985 (b/w Susannah’s Pajamas) SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

CD single (Digipack) - USA - 9 40170-2 Elephant Box was issued on 22 August 1991 as the lead single from Ingrid Chavez’s self‑titled debut album. Released four weeks ahead of the album, it marked her first official appearance in any format. The single was available exclusively in the USA and featured multiple remixes of the track, all co‑written and produced by Prince, who also performed the music. Although the release introduced Chavez’s sound and artistic identity, it did not enter the charts. The single’s various formats included extended mixes, alternate versions and promotional configurations, reflecting the remix‑driven approach Prince often applied to early 1990s singles. CD single (Digipack) - USA - 9 40170-2 Elephant Box (Elephant House Mix 6:37) Elephant Box (Bee Bop Mix 6:13) Elephant Box (Full Pass Mix 6:15) Elephant Box (The Solo 6:29) The single appeared in several US formats, including 12", cassette, CD, and multiple promotional editions. Each configuration offered different mixes of Elephant Box, ranging from album versions and edits to extended remixes, dub treatments and instrumental variations. A 12" variant also appeared with slight timing differences on select tracks. Released 22 August 1991 in the USA. First single from Ingrid Chavez’s debut album. First official release credited to Ingrid Chavez. Co‑written and produced by Prince. Did not chart. Cassette single - USA - 4-19213 A Side Elephant Box (Edit 3:52) B Side Elephant Box (Hip Hop 7" 3:55) Promotional 12" - UK - A Side Elephant Box (Elephant House Mix) - Elephant Box (Bee Bop Mix) B Side Elephant Box (Full Pass Mix) - Elephant Box (Solo) Promotional 12" - UK - information sheet 12" - USA - 9 40170-0 Elephant Box (Elephant House Mix 6:37) - Elephant Box (Bee Bop Mix 6:13) - Elephant Box (Full Pass Mix 6:15) - Elephant Box (The Solo 6:29) Promo CD single - USA - PRO-CD-4929 1 — Elephant Box (Edit) (3:52) 2 — Elephant Box (Hip Hop 7") (3:55) USA: PRO‑CD‑4929 TRACKLIST TABLE (ALL FORMATS) Format Tracks Catalogue Numbers 12" A1 — Elephant Box (Elephant House Mix) (6:36) A2 — Elephant Box (Bee Bop Mix) (6:13) B1 — Elephant Box (Full Pass Mix) (6:15) B2 — Elephant Box (The Solo) (6:28) USA: 0‑40170 12" Promo A1 — Elephant Box (Elephant House Mix) (6:36) A2 — Elephant Box (The Solo) (6:28) B1 — Elephant Box (Hip Hop Mix) (7:04) B2 — Elephant Box (Bee Bop Mix) (6:13) C1 — Elephant Box (Full Pass Mix) (6:15) C2 — Elephant Box (Ivory Dub) (6:33) D1 — Elephant Box (Full Pass Instrumental) (6:15) D2 — Elephant Box (Dub Box) (6:04) USA: PRO‑A‑4929 5" CD 1 — Elephant Box (Album Version) (4:28) 2 — Elephant Box (Elephant House Mix) (6:36) 3 — Elephant Box (The Solo) (6:28) 4 — Elephant Box (Bee Bop Mix) (6:13) 5 — Elephant Box (Full Pass Mix) (6:15) 6 — Elephant Box (Dub Box) (6:04) USA: 9 40170‑2 Cassette A — Elephant Box (Edit) (3:52) B — Elephant Box (Hip Hop 7") (3:55) USA: 9 19213‑4 12" Variant A1 — Elephant Box (Elephant House Mix) (6:37) A2 — Elephant Box (Bee Bop Mix) (6:13) B1 — Elephant Box (Full Pass Mix) (6:15) B2 — Elephant Box (The Solo) (6:29) USA: 9‑40170‑4 5" CD Promo 1 — Elephant Box (Edit) (3:52) 2 — Elephant Box (Hip Hop 7") (3:55) USA: PRO‑CD‑4929 SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Observer Music Monthly issue from February 2006 celebrates Prince’s dazzling return to form. The cover, shot by Martin Schoeller, presents him in full electric charisma — guitar in hand, eyes locked on the viewer — under the headline “Small but still perfectly formed – the irresistible return of a pop genius.” Barney Hoskyns’ feature inside explores the enduring mystery of Prince’s artistry, faith, and reinvention. Publication: The Observer Music Monthly Date: February 2006 (No. 30) Country: United Kingdom The article, titled “Genius in Short,” opens with Hoskyns’ vivid account of Prince’s surreal Saturday Night Live appearance — a mix of comedy, spectacle, and self‑parody that underscores his enigmatic persona. It traces his journey from Minneapolis prodigy to global icon, touching on his spiritual transformation as a Jehovah’s Witness and his renewed creative energy leading up to the release of 3121. Photographs throughout the spread capture Prince’s evolution: early 1970s portraits, Purple Rain‑era performances, his 2004 Grammy duet with Beyoncé, and intimate close‑ups revealing his timeless magnetism. The accompanying sidebar, “Purple Reign: 10 Essential Albums,” highlights milestones from Prince (1979) and Dirty Mind (1980) to “Prince is gazing into the mirror of reflection,” intones the article, capturing his self‑aware mystique and theatrical introspection. Sign O’ the Times (1987) and 3121 (2006), charting nearly three decades of innovation. The feature portrays Prince as a paradox — disciplined yet flamboyant, spiritual yet sensual — whose music bridges funk, rock, soul, and pop with unmatched precision. Hoskyns describes him as “a continuing enigma,” a phrase that perfectly encapsulates the artist’s refusal to be defined. “Prince is gazing into the mirror of reflection,” intones the article, capturing his self‑aware mystique and theatrical introspection. “Gone were the X‑rated lyrics that had dominated so many of his songs… Instead the new record pursued a narrative about the Wise One and his struggle with the Banished Ones.” CONTEXT AND NOTES By 2006, Prince had re‑emerged as a commanding live performer, reclaiming his place among pop’s elite after years of relative quiet. His 3121 era marked a creative renaissance, blending spiritual introspection with the exuberant funk that first made him famous. The Observer feature situates this comeback within a broader cultural legacy — from Purple Rain’s cinematic triumph to his influence on artists like Beyoncé, Alicia Keys, and OutKast. It also reflects the British press’s long‑standing fascination with Prince’s duality: the sacred and the sensual, the private and the spectacular. FEATURE HIGHLIGHTS Event: Prince’s return to the spotlight and release of 3121 Era: 2006 – 3121 / Late Career Resurgence Era Tone: Analytical, celebratory, and reverent Photography: Portraits by Martin Schoeller and archival images spanning Prince’s career WHAT THE CLIPPING SHOWS Cover feature announcing Prince’s return as a “pop genius” Multi‑page profile by Barney Hoskyns examining his career and faith Visual retrospective of Prince’s iconic moments and essential albums All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

A report in The Atlanta Voice highlighting the strong, enthusiastic reception Prince received during his first European tour in support of Dirty Mind, with major UK music papers and audiences praising his outrageous sexual frankness, multi-instrumental talent, and electrifying live performances. Publication: The Atlanta Voice Date: Saturday, July 25, 1981 Country: United States Section / Pages: Entertainment Title: Prince Hailed In Europe THE STORY The article details Prince’s breakthrough shows in London, Amsterdam, and Paris. It quotes glowing reviews from British papers like New Musical Express (calling him “a new sex symbol”) and Sounds, noting the frenzy over his explicit stage antics and music. British stars like Bob Geldof, Hazel O’Connor, and others attended and were impressed. The piece emphasizes the contrast between his growing international acclaim and domestic challenges. CONTEXT AND NOTES This coverage appeared during the Dirty Mind Tour as Prince began expanding his audience overseas. European critics and fans responded more openly to his provocative style and sexuality than some American markets, helping build his global reputation early in his career. The Atlanta Voice, as a Black newspaper, highlights the pride in his success abroad. FEATURE HIGHLIGHTS Event: Report on Prince’s first European tour success Era: Dirty Mind Tour (1981) Tone: Celebratory and proud Photography: Black & white photo of Prince performing (captioned “Photo By Dexter Hall”) Visual Motifs: Bold headline with prominent photo in a newspaper entertainment layout WHAT THE CLIPPING SHOWS Early international breakthrough and enthusiastic European reception Focus on Prince’s sexual imagery, stage energy, and multi-talented reputation Positive coverage in the Black press celebrating his overseas acclaim RELATED MATERIAL 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

David Bowie wins top honors at the third annual Yahoo! Internet Life Online Music Awards at Studio 54, while Prince receives recognition for his Internet‑only single “One Song.” Publication: Statesville Record and Landmark Date: Wednesday, July 26, 2000 Country: USA THE STORY The article reports on the third annual Yahoo! Internet Life Online Music Awards, held at Studio 54 in New York. Singer David Bowie received the Online Pioneer of the Year Award, and his website BowieNet was named Best Artist Site. The event, hosted by actor John Leguizamo, honored artists at the forefront of the Internet music industry. Among the winners, Prince’s “One Song” was named Best Internet‑Only Single, alongside Aimee Mann’s Bachelor No. 2 for Best Internet‑Only Album, and Paul McCartney’s Cavern Club performance for Best Live Online Event. Nominees were selected by the editorial staff of Yahoo! Internet Life Magazine and voted on online, with final winners chosen by members of the music, online, and entertainment industries. CONTEXT AND NOTES This clipping captures a pivotal moment in music history when established artists embraced the Internet as a creative and promotional platform. Prince’s win for One Song highlights his early adoption of digital distribution, years before streaming became mainstream. Bowie’s recognition for BowieNet underscores his pioneering role in artist‑run online communities. FEATURE HIGHLIGHTS Event: Yahoo! Internet Life Online Music  Awards Era: 2000 – Early Internet music innovation Tone: Celebratory, forward‑looking Photography: Text‑only news report WHAT THE CLIPPING SHOWS Bowie honored as Online Pioneer of the Year Prince wins Best Internet‑Only Single for One Song Yahoo! Internet Life Magazine’s editorial staff and online voters select winners All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Planet Earth is the 32nd full‑length studio album by Prince. It was initially made available on CD with the 15 July 2007 edition of the Mail on Sunday newspaper in the UK and Ireland (using simple slipcard packaging), with a retail release (using a full CD case containing a lenticular cover) following a week later in the rest of the world (sixteen months after the previous album, 3121). The album (using slightly different slipcard packaging to the Mail on Sunday edition) was given to every audience member at each night of Prince’s 21 Nights In London: The Earth Tour residency in August and September 2007. Strangely, the album’s packaging on each edition does not include a tracklist, indicating that the final tracklist may have been decided upon at a very late stage. Side one • Planet Earth — Prince — 5:51 • Guitar — Prince — 3:45 • Somewhere Here On Earth — Prince — 5:46 • The One U Wanna C — Prince — 4:29 • Future Baby Mama — Prince — 4:47 Side two • Mr. Goodnight — Prince — 4:27 • All The Midnights In The World — Prince — 2:22 • Chelsea Rodgers — Prince — 5:41 • Lion Of Judah — Prince — 4:11 • Resolution — Prince — 3:41 Released: 24 July 2007 (USA retail release) Recorded: November 2004 – Spring 2007 Studios: Paisley Park Studios; 3121 at The Rio Las Vegas; Circle House, Miami Genre: Length: Labels: Producer: Prince Chronology 3121 (2006) → Planet Earth (2007) → Lotusflow3r (2009) Personnel (Full Track‑Specific Credits) Prince and the New Power Generation Prince All vocals and instruments except where noted. Michael B. Drums on Planet Earth and Guitar Sonny T. Bass guitar on Planet Earth and Guitar Shelby J. Background vocals on Planet Earth, The One U Wanna C, Future Baby Mama, Mr. Goodnight, Lion Of Judah and Resolution; co‑lead vocals on Chelsea Rodgers Bria Valente Background vocals (likely on Mr. Goodnight; involvement uncertain on other tracks) The Twinz Background vocals on Lion Of Judah (assumed) C.C. Dunham Drums on Somewhere Here On Earth, The One U Wanna C, Chelsea Rodgers and Resolution Joshua Dunham Bass guitar on Somewhere Here On Earth, The One U Wanna C, Chelsea Rodgers and Resolution Renato Neto Keyboards on Somewhere Here On Earth (assumed) Christian Scott Trumpet on Somewhere Here On Earth Wendy Melvoin Acoustic guitar on The One U Wanna C and Resolution; mandolin on All The Midnights In The World Lisa Coleman Additional keyboards on The One U Wanna C and Resolution Mr. Hayes Drum programming and keyboards on Mr. Goodnight Sheila E. Percussion on Chelsea Rodgers Mike Phillips / Maceo Parker / Greg Boyer / Lee Hogans Horns on Chelsea Rodgers Marva King Background vocals (unidentified tracks) Technical Kevin “KD” Davis — assistant engineer Ian Boxill — assistant engineer Eddy Schreyer — mastering Sam Jennings — package design Afshin Shahidi — photography Charts USA: The Billboard 200 — 3 (1 week) USA: Billboard Top R&B/Hip Hop Albums — 1 (1 week) USA: Billboard R&B/Hip-Hop Catalog Albums — 5 Certifications Region — Certification — Units Singles from Planet Earth Guitar Chelsea Rodgers SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.