A rare promotional cassette single sent to Prince/O(+> Family Newsletter subscribers on Prince’s 38th birthday, serving as the lead single for the album Chaos and Disorder. RELEASE DETAILS Artist: O(+> Label: Warner Bros. / Paisley Park Date: June 7, 1996 Catalogue: PRO-C-8287 Format: Promo Cassette Single Country: United States THE STORY “Dinner With Delores” was released as the only single from Chaos and Disorder. This promo cassette version was mailed to select fans and media as a birthday gift, featuring the album version on both sides. It was also one of the first Prince tracks to be officially streamed online in RealAudio format. CONTEXT & NOTES The single received limited promotion and peaked at #36 in the UK but did not chart in the US. Chaos and Disorder was O(+>’s final album under his Warner Bros. contract, marking the end of that era. TRACK LIST Side A Dinner With Delores (Album Version) – 2:46 Side B Dinner With Delores (Album Version) – 2:46 PERSONNEL O(+> – vocals, all instruments PACKAGING HIGHLIGHTS Standard white cassette in cardboard mailer Front card with blue silhouette of O(+> with guitar, Cancer & Libra symbols Back card with promotional text for the upcoming album WHAT THE SLEEVE SHOWS Front: Blue silhouette of O(+> playing guitar with zodiac symbols and title “Dinner With Delores” Back: Promotional text highlighting the album and O(+>’s guitar work SOURCES Prince Vault, Discogs, Warner Bros. Records, Sleevographia2. 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.

Girl 6 is the soundtrack album for Spike Lee’s 1996 film of the same name. It is a celebration of Prince’s music, featuring a mix of classic hits, deep cuts, and three previously unreleased tracks. RELEASE DETAILS Artist: Prince & Associated Artists Label: Warner Bros. Records Format: CD, MC (Cassette) Country: Worldwide Released: 19 March 1996 Genre: Funk, R&B, Pop, Rock Length: 62:11 THE STORY A vibrant collection showcasing Prince’s versatility across different eras. The album blends sensual ballads, funky grooves, and high-energy tracks. Highlights include the new song “She Spoke 2 Me,” the sultry “Pink Cashmere,” the NPG’s “Girl 6,” and timeless favorites like “Adore,” “Erotic City,” and “How Come U Don’t Call Me Anymore.” CONTEXT & NOTES Spike Lee approached Prince in 1990 about using his music for a film, and Prince personally selected the tracks. While most songs were previously released, the album includes three new recordings. It was released while Prince was using his symbol name, causing some marketing confusion. The project served as a strong retrospective during a transitional period in Prince’s career. TRACK LISTING (CD) She Spoke 2 Me — Prince (4:19) Pink Cashmere — Prince (6:15) Count The Days — New Power Generation (3:26) Girls & Boys — Prince and the Revolution (5:31) The Screams Of Passion — The Family (5:27) Nasty Girl — Vanity 6 (5:14) Erotic City — Prince and the Revolution (3:53) Hot Thing — Prince (5:41) Adore — Prince (6:31) The Cross — Prince (4:46) How Come U Don’t Call Me Anymore — Prince (3:53) Don’t Talk 2 Strangers — Prince (3:11) Girl 6 — New Power Generation (4:04) Total Length: 62:11 SINGLES Girl 6 (The NPG) PACKAGING & VISUALS The vibrant purple cover (as shown) features a striking image of actress Theresa Randle on the phone, surrounded by film stills, with bold “Girl 6” typography and a prominent “Songs by Prince” starburst. It includes a Parental Advisory sticker. PERSONNEL Prince is the central figure across nearly all tracks, with contributions from: The Revolution, The Family, Vanity 6, New Power Generation Key musicians: Sonny T., Michael B., Tommy Barbarella, Rosie Gaines, Eric Leeds, etc. New recordings feature NPG members and Nona Gaye (on “Girl 6”) Production Prince — primary producer Various engineers from Paisley Park and other studios Spike Lee — film director / executive input CHARTS USA Billboard 200 — Peak: 75 Billboard Top R&B Albums — Peak: 15 SOURCES Album liner notes, official discography, Discogs, 45cat, Official Charts, Wikipedia, Prince Vault. 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

A striking NME cover from late 1996 featuring Prince during his Symbol era, with the playful headline “Never Mind the Symbolics, Here’s… Prince” capturing his enduring mystique amid a year of pop star turmoil and reinvention. PUBLICATION Publication: NME (New Musical Express) Date: December 14, 1996 Country: United Kingdom Section / Pages: Front Cover Title: Never Mind the Symbolics, Here’s… Prince THE STORY This iconic NME cover presents a close-up, intense portrait of Prince against a bright yellow background. Dressed in a textured knit sweater with a distinctive bindi and earrings, Prince stares directly at the camera while making a symbolic hand gesture. The cover playfully references his name change (“the Symbol”) while placing him at the center of a turbulent 1996 music landscape, alongside the year-end theme “Stress for Success!” and the NME Readers Poll. CONTEXT AND NOTES Published at the end of 1996, this cover reflects Prince’s continued relevance and intrigue in the British music press during his independent/Symbol era. It coincides with his battles against Warner Bros. and the release of albums like Chaos and Disorder and the upcoming Emancipation. NME’s mix of respect and cheeky humor perfectly encapsulates the British press’s long-standing fascination with Prince. FEATURE HIGHLIGHTS Event: NME Cover Story / Year-End Issue Era: Late 1990s / Symbol / Emancipation period Tone: Playful, iconic, slightly irreverent Photography: Striking, intimate close-up portrait Audience: UK indie/alternative music fans WHAT THE CLIPPING SHOWS The full front cover of NME magazine with Prince prominently centered. Bold yellow and purple typography, the iconic “PRINCE” logo treatment, and supporting headlines including the NME Readers Poll, “Stress for Success,” and other 1996 artists (Sleeper, Aphex Twin, Snoop Dogg, etc.). Price shown as 90p (UK). RELATED MATERIAL Prince (August 1, 1996) This Time, He Rocks – MOJO magazine (UK) Prince (October 23, 1996) Prince cambia – Scrapbook Entry (Italy) Prince / Various Artists (March 19, 1996) Girl 6 – Soundtrack Album 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. ‘I feel like this is my last time on earth...’ He’s The Artist Formerly Known As Bonkers. That’s right, PRINCE is back, free of that pesky Warners’ (hence the title of his new album ’Emancipation’) and he is talking... to us! Or more precisely to SYLVIA PATTERSON, who found the funky l’il fella has gone, like, New Age. Man. Which means incarnation theories, inner peace, humility(!) and a new use for his erections... Sylvia Patterson For the man from The Sun, it’s all going horribly O(+>-shaped. Already, he’s moist of brow, on tip-toe in a kaleidoscopic side-room of the Paisley Park studio complex in the midst of a scrum of 100 pan-global journalists, the sole representative here of the British tabloid populace. He knows his job. Knows he’s flown several thousand miles to ask one of the biggest superstars in the history of popular culture just one question. A question which probably won’t be, “So, just how irreversibly brain-damaged is your child anyway?” but that will be the subtext. Trouble is, he can’t get a word in edgeways for the Dutch fellow. “You are the greatest live performer of all time!” he’s shouting. “So I have to ask, why no live alboom? I have to say now, ’Sorry’ because I myself have many bootleg albooms!” ’Prince’, for it is not he any more, oh no, not under any circumstances, gives a huge-toothed grin and quips, “Security!?” The world’s tough-jibbed global media population keels over at the funniest joke ever told. Evidently. Last questions!” barks a besuited gent with a walkie-talkie stapled to his ear. lt’s the man from The Sun’s last chance. “What’s it like being a fath... ”’Ee’s so great you are talking to us!” squawks the Dutchman, “and to see you are normal because you have not spoken before and this is why we have rumours you are a crazy guy and we see now you are a nice guy!” Gawdalmighty. The first 15-minute press conference the man they’re all calling The Artist has ever given in almost 20 years of pop genius celebrity and the man from the ’Dam has used it all up in a preposterous attempt to become the pop star’s pal. One minute to go. “What’s fff... father like...”squeaks the man from The Sun, fluffing his opener. “Excuse me?” says the superstar. Silence falls. He’s on his own. You can hear hair grow. “Are you enjoying being a father, PRINCE?” OhmiGod. He spake the unspeakable! The roof caves in, sucked to the floor by a unanimous, incoming gasp. “Of course.” says the little fella, unflustered, “that’s why we do it. I had a playpen built here even before the birth.” The suit steps in – ’Thank you all for coming! – and Unpronounceable name disappears under cover of a many-legged, fast-moving blanket of omnipotent keepers. Next morning, the ’all-powerful’ pop column in the soaraway Sun will whimper: ’Showbiz shock of the year TAFKAP talks sense.’ The last outrage of the ’weirdo’ is. of course, not being ’weird’ any more. WE’RE IN Minneapolis, Minnesota, the sub-zero hinterland of Midwest America, where the pleasure of our company has been requested at the biggest coming-out party in history; a global satellite’ simulcast celebration of The Artist Formerly Known As Prince’s long-awaited freedom from the confines of his old Warner Brothers’ contract, the one which ’imprisoned’ the purple perv by owning the master tapes to his music and refused to allow the problematically prolific tiddler to release music when he wanted. Thus he wrote ’Slave’ on his cheek and killed off Prince forever. They called it Cosmic Stalemate, now he’s a comet loose in the heavens, his all-new triple CD cavalcade, ’Emancipation’, brought to you on his very own NPG (New Power Generation) label, distributed and marketed by EMI, using his millions to finance his very own revolution. He hopes one day to spearhead some kind of “alternative music industry” where creative freedom is all. Which makes him, by all accounts, a multimillionaire punk rocker. It’s been eclipsed, of course, by the dread worldwide news of his new baby’s illness. Clover Leaf skull syndrome (a condition which compresses the brain and which led to the baby’s death at two weeks old; although this was not made public until a month later to give the couple time to grieve). It appears to be true though no official statements are made, other than The Artist’s declaration in USA Today. “I’ve heard rumours that my baby died. My skin is so thick now. I care more about my child than what anyone says or thinks.” Which is, of course, exactly as it should be. Meanwhile, The Artist, said to be ’hopeful’, went ahead with his do. Along the Chanhassen freeway towards Paisley Park there’s a neon sign which gives indication of entry into the Prince-zone of yesteryear. It says, “LIFE IS TOO SHORT TO BE LITTLE.” Or rather it used to be there; there’s been a lot of changes round these parts since then. Paisley Park, often described as a corporate carbuncle or .a carpet warehouse, has been transformed into a playgtound of luscious fondant fancy. From the outside, it’s a huge, white, angular-blocked complex and, just as one is informed by Buck Palace that the Queen is in and having her tea by a flapping flag on the roof, here a glass pyramid crowns the premises, glowing with a purplish light when The Artist is in and having his ginseng mouthwash. Now that’s what we call Pop Star. The interior now hosts a wonderland of pastel-hued tomfoolery, all pillars and gold and murals of The Purple One’s great big Bambi eyes beaming out from the walls. Tiled floors spell out the Symbol. A painted flock of silvery doves flutters down the wall, painted light blue with little fluffy clouds on. Gold, silver, platinum, triple-platinum discs line the walls trumpeting pop-defining moments of two decades. ’Purple Rain’. ’Sign ’O’ The Times’. ’Lovesexy’. ’Diamonds And Pearls’. The Gold Experience’. A thousand others. Three million sales. Two million sales. Five million sales. Millions and millions and millions of sales. And, right now, several hundred members of the music industry are imbibing the spoils of their host’s generous hospitality and vomiting copiously all over the birdcage on an upper balcony, housing the studio dove. Divinity (aged I5). Except they’re doing nothing of the sort. because there is no booze allowed. Instead, you can make yourself royally ill on 10,000 Parmesan vol-au-vents, skipfuls of Cap’n Crunch cereal (The Artist’s favourite) and a flagon of supersweet apple juice. All the while. ’Emancipation’ floats down from the speakers, as smooth and polished as the floorboards underfoot. Too smooth, however, and you fall over on your neck. Whether The Artist will break a collarbone here or not, will be decided by the public. It’s all a ludicrous lark, of course, and none of it matters, really, when, on the stroke of midnight, in the cavernous, blinding white of the Paisley Park sound room, the reason we’re all here finally happens. The Artist plays his music. For us. ”Free at last!” booms Martin Luther King and The Artist emerges from the snow-white backdrop in purple velvet, flared trews, purple flared-cuff silken blouson open to the waist (2in span) and purple high-heeled pixie boots. Blimey. His name is not Prince. And he is not chunky. And he’s standing so close you could reach out and touch him. But you daren’t, lest you flick him accidentally off the floor-long catwalk with a wayward pinkie. And, you know what? His name ruddy well IS Prince! No matter what he says! And he IS funky! No matter what anyone else says! The old magic flicks from his fingers, fingers which he licks, plucks on a guitar string and then smooths on a pipe-cleaner thigh as new song. ’Jam Of The Year’, whisks the industry toffs into meringue. He even plays ’Purple Rain’ and ’if l Was Your Girlfriend’. breaking his own Prince-is-dead embargo. An hour later, he plays a further half, closing his Big Night In with ’The Cross’ from” Sign ’O’ The Times’, a huge evangelical juggernaut of soul-empowerment which sees Paisley elevate all the way to the top of the Rocky Mountains. His relatively namby-pamby efforts of recent times are forgotten. Prince is dead. Long live the real King Of Pop. DEARLY BELOVED, we are gathered here today to get through this thing called a 15-minute interview with no photos and no tape-recorded evidence whatsoever of the small man’s very existence. He has, however, changed his mind, expanded his audience to a full half-hour, including photos, and allows pen and paper note-taking – a breakthrough; he used to confiscate reporter’s pens. Once, he even banned the asking of any questions. With ’freedom’ has come media almost-friendliness, the colourific Paisley Park foyer a-swarm with audience waiting US and European press pundits. Chris Evans should’ve been here and blew a ginger raspberry after hearing the communication limitations, branding him, unpoetically, a “purple git". One hour before our time is called, The Artist changes his mind again and cancels all photographer’s sessions. Later, he hand-picks one American photographer to take pictures for everyone else, arranges his session for another day, only to blow the blighter out again. Chris Evans, it seems, has a point. The Artist is late. So we wait. Suddenly, in some bizarre ’beam me up Scotty’-energised materialisation routine, he wanders in, alone, hands stuffed in the pockets of a beautiful, floor-length fawn coat. He appears not so much to walk, as glide into the area. And then he glides out again. Not a word spoken. So you wait. Go to the loo. And emerge, walk out into a disc-festooned corridor and... it’s him! Three feet away, bowling down the corridor, still alone, still on castors, looks into your correspondent’s eyes and his, for a second, glow fluorescent purple - like, they really do - then he swivels on his heels, bowls off in the opposite direction and disappears into a room on the right. The man’s a Jiving X File. A full half-hour later the summons occurs. Escorted to a conference room upstairs, a young man possibly known as Footservant No 43 motions to a comfy chair by a huge rectangular glass table. The comfy chair opposite, clearly His seat, is positioned 6ft away. Footservant No 43 loiters, edgily, by the door. “He’s on his way,” he says, peering out the door. “He’s coming up the stairs... He’s coming along the corridor...” At this point, NME chokes to death from internal laughter suppression injuries. And in he glides, fawn coat still on, smiles, proffers a handshake (hearty, ungloved), descends into the seat opposite and folds his hands in his lap, eerily serene. He’s so familiar and yet so alien, like a hologram in sharp focus. He wears a tight mauve suit, mauve skinny tie, mauve pixie boots and a black and gold shirt. He’s far paler than you’d think, } though he is liberally powdered. The ’ black hair is short, slicked back, glitter i behind the ears, goatee beard meticulously trimmed. And his supernaturally enormous brown eyes really are all filled up with internal glitter, the eyes of a person who knows something the rest of us do not. And you wonder if you should begin with a jaunty, “how’s it goin’. Art?” when a low rumble booms up from the bowels of the Earth. “Do you like my house?” He spoke! First! And it’s in his low frequency drool, more lustsome ’Gett Off’ than the falsetto trill of ’Kiss’. Yes, it’s very... special. And he’s off. On about his ’house’, ie, Paisley Park, and how it was all his wife’s idea to “introduce some colour". Soon, he will open it to the public, invite tours,so the young folk can see how the work is done here. Bit strange, though, that your house should be barren and colourless; when we think of you, we think of colour – you’re His Royal Purpleness! “Hmm,” says The Artist, who registers nil thus far on the mirthometer. “Y’know, when I got this place I was just ; so excited to have a studio I forgot all about what it could look like. I didn’t really care. I only saw the inside of myself.” Clearly The Artist has gathered his flock to spread the good news; he is not the man he used to be. He has seen The Light; marriage, ’Emancipation’ and the previously unthinkable opening of his very own front door are all proof. In the olden days, you couldn’t get a syllable out of Prince, today, you can’t get The Artist to shut up. And now he’s talking about being a punk rocker (he’s an Offspring fan to prove it). “I do feel like a punk,” he beams, and then stops and beams a-fresh, “because no-one believes in God any more.” Erk. "What we’re doing here is gospel music,” he breezes, “which is the original rebel music, so in that sense, yes, I am a punk rocker. Gospel was once the alternative and once again that’s the stuff people are scared of, that’s what the non-conformists are doing. I’m not conforming to anything any more. Except the universe.” Is that you, Crispian Kula Shaker in disguise??! This relentless, one-voiced spiritual pop star proclamation of our times is veering out of control, frankly. The Artist, of course, was always one of the originals, a man who would pronounce ’God is Love’ on his sleevenotes (still his ’simple’ theological explanation) and sign his autograph, ’Love God’ (as opposed, thankfully, to ’Love, God’). What can he mean, one wonders, by “conforming to the universe"? “Well,” he says, still eerily becalmed, ’I think one of the greatest songs ever written, and for the lyrics alone, is Paul McCartney’s ’Let It Be’, ’cos, boy, let me tell you, that’s what you have to do, you yjst have to let it be. “Like, if you put a loaf of bread on the table, it turns into medicine and to me that is incredible. The bread will eventually take care of itself. That’s nature, that’s the Truth. Everything happens for a reason and if you know that then you will be free. That’s what I had to know in order to free myself.” A knock at the door. Good God. It’s it all over after nine minutes, just when a mouldy old loaf in the bread bin was about to become the secret of the universe. The door opens and Mayte Garda, 24, font of all The Artist’s light, emerges. She’s wearing a silvery jacket, purple flowery skirt stopping half-way up the thigh (positively Victorian by her standards) and a beam stretching from here to Australia. “This is my wife,” he smiles. Wife:"...” (huge beam) The Artist: “We’re nearly done. I’ll see you in your office.” Wife: “...” (beam) The Artist: “....” (beam) Wife: “...” (beam) And she’s off, wafting out the door with nary one vocal squeak unbound. The Artist looks faintly annoyed. “Now I’ve gone totally off my train of thought...” Damn these things called wives, eh? “Oh no,” he says, frowning, for he has taken genuine offense, “thank God for these things called wives.” Gifted dancer of the perverted pelvis, Mayte has been The Artist’s working colleague as well as “friend and sister” for years, since Mayte was what’s been dubbed a “famously virginal” I 7-year-old. Not for long, etc. Unquestionably, she has changed his life, he’s “never been happier. Now I am complete". Of the nuptial certainty, he says he couldn’t argue with the “the coincidences". He was christened Prince. Her childhood nickname was Princess. Both dads are called John. His mum is Mattie, she is Mayte. Her middle name is Janelle. His father’s name is John L Her mother’s name is Nell, he was born a Nelson. They were married this year on February 14, naturally, and she was carried across the Paisley Park threshold, besieged with gifts, the last of which was a crib. Then they sat on the floor, bowed to God and blubbed their eyes out. “I’m so in love with love now,” he swoons, “and I just wonder what kind of a life we’d all have if we did all love each other, not just one person or the family, but everyone. We’re here to learn how to get along with one another. I believe that is the purpose and I believe it’s possible, I really believe that now. And I didn’t before.” From here he tells a story of how he and Mayte walked through the doors in the ’7’ video in 1992 where they embarked on some kind of personal Truth. He’s lost us here, frankly, and does not return for some time. “I’ll give you an example,” he says, finally, “Top Of The Pops.” Hello? “They asked for an exclusive little thing for the single, so we put together some exclusive footage from the video and they said that wasn’t good enough. So I have to say to myself, ’Let it be, it was not supposed to happen’, that’s all I can do.” He pauses, on the brink of revelation. “It’s all about trying to get out of your box.” Liam Gallagher writes, ’See? I was right all along!’ “Each of us lives in our own little box,” burrs The Artist, “and we think that is the whole world and it’s only our own prison. We put ourselves in prison and we can get ourselves out of prison. With Warners, I put myself in that box. I had ’Slave’ written on my face but I agreed to the terms. The time came when I wanted out. And the time comes when everyone wants out, that’s what we have to do. And then you are free, because it frees your emotions.” These days you’re advocating a life of self-control and sobriety. "It’s not very funky, really, is it? “I think it is,” he grins, “see, it’s all about paths. Now I know that those paths of excess, drugs, sex, alcohol - all those experiences can be funky, they can be very funky, but they’re just paths, a diversion, not the answer, because a lot of the time, people don’t come back. That’s the end of their road, there was no fulfillment there, so the search goes on. And the search won’t leave you, let me tell you, it’ll hunt you down, like a stalker.” Hold your miniature ponies there, shorty. This is all a bit rum; you have, after all, built a 20-year career on being one of the most voracious advocates of sexual permissweness in modern-day history! "...” You’re The Purple Perv! "...” The Valentino of pop! "...” The Errol Flynn of funk! “Eheheh. That may be so.” Too right it’s so. You’re the man who once said. ’I never waste an erection"! “Oh boy,” he says, teeth eclipsing the sun. “Oh man. That’s right, I said. (thinks) ’I hate to see an erection go to waste’. Eheheh. Well, 1 feel I’ve just as much sexual energy as I ever had, j just find other things sexy these days.” So what d’you do with an ill-timed erection these days? “The energy goes on other things,” he lies, “look at this.” He reaches over to a small orange box on the table and flicks over some cards therein: they are cards with the ’Emancipation’ sleeve on and dates on the bottom, counting down to the release date of the LP. a cute marketing device for record shops. “That’s what I find sexy,” he glows, “that is so sexy to me. I couldn’t do that before. I find freedom sexy. I find freedom so sexy l can’t even explain it to you. You wake up every day and feel like you can do anything.” D’you feel as though you were another person, back then? “No, I wasn’t another person,” he says, “but I see now that I was searching for my freedom in sex.” He stops, takes a worryingly huge pause. “It’s very hard for a man to have another man... denounce you.” Whatever do you mean? “Before, I would do whatever it takes to get the job done.” ????? “Now I see I was hiding from myself. But, hey, that was my experience. (Chortles) Everyone has their own experience. That’s why we are here. to go through i our experience, to learn, to go (down those paths and eventually you have gone down so many paths and learned so much that you don’t have to come back again. "That’s the point. I think I got it right this time, I don’t think I’m coming back. This is it for me, I feel like this is my last time on Earth. I won’t have to come back any more.” How many times d you reckon you ve been here before? The Artist looks at NME as if it is a buffoon of the highest disorder and cocks a beautifully sculpted eyebrow. A h. lt’s an infinite number of times, isn’t it? An infinite number,” he nods. “yes. I didn’t choose this life for me no more than yours was chosen for you. It was chosen for me and I have no idea why “ Whooo. Other than it was chosen and I was supposed to learn from it. And that’s what I’ve done. We’re here to learn, he implores, how to “empty our hearts of hate", become a Force for Good. His ’Emancipation’ reflects his own personal, sexual, spiritual and emotional rebirth, a new disciple of the Buddhist ways in negation of Ego. He is, quite simply, a born-again good guy. And he recommends it to everyone.” People better start looking back,” he says, actually giggling, “dates, times, names, they better see those coincidences, man, it’s so simple, like a video game total recall. That happened, and because of that, that. In terms of the world and in terms of yourself. (Shakes head in awestruck glee) It’s all lining up, it’s all there for you to see, to help you, if your eyes are open. There was a time when The Artist was one of the bad guys. A megalomaniac rumoured to fire people just for being ’telepathically unresponsive’. His couchings in the reality-buffer of ’yes’ men are legendary. He never used the telephone because “I didn’t have to". He was a compulsive voyeur, sexually and socially, preferring to “people-watch” in clubs, sat in a corner, saying nothing. He freaked people out. Creeped people out. Perhaps the greatest example of egocentric Small Man Syndrome gone berserk since Napoleon. He thought he was fabulous. Where in actual fact, he despised himself. I had a massive ego,” he nods. How massive? “Massive,” he says and pauses. And then grins. “But that’s not such a bad thing to have. Because at least you’re aspiring to be something, you consider yourself great because you want to be great, in all respects. But it is not great at all to see yourself as superior to anyone else. That’s the mistake. "I’m no different to anyone. Yes, I have fame and wealth and talent, but I certainly don’t consider myself any better than anyone who has no fame, wealth or talent. People fascinate me. They’re amazing! Life fascinates me! And I’m no more fascinated by my own life than anyone else’s.” Was your “massive ego” born out of massive insecurity, as is traditional? Yes,” he says, and leans forward in his seat, best to thwart any queries as to what insecurities these were, exactly, and I don’t have any insecurities about anything any more.” There was a time where he asked himself what it was he was running from. He wondered, “Am I lonely? Is that why I surround myself with so many friends?” He felt he didn’t know the answer until he decided to marry and “make the commitment” which meant “I will take care of you forever . He knew she was The One because “she was the only person who never showed me any malice. She showed no malice towards anyone. And he’s off, talking about magic, about how Mayte was the one who made ’Emancipation’ possible, the 36 songs he was ’born 2 make’ as the publicity has it, some of which he’ll agree are “sentimental", inspired by a love which made the flavour simply flood out. Today, he has over I ,000 songs recorded in his vault. He can now make an LP every six months if he wants; we can expect new LPs whenever the time is right. He’ll be playing more and more old songs on tour because now he is free. Every day he makes music. Sometimes he studies ancient Egyptian architecture. He loves Björk: “that’s an innovation, that’s songwriting and songwriting is what I understand". A knock at the door. “Last questions’” comes a call from the yonder. And you close your notebook, it’s all too hopeless. Twenty-eight minutes gone and 10,000 questions left unasked. You make it very difficult Tor us joumos, pal. “This is my way,” he grins, “there are no tapes because nothing I could ever say could ever be faithful to the spirit of the music. I don’t speak in the studio, y’know? The only thing I like talking about is the business and how it works against the artist and the spirit. And against music itself. But...” He eyes the NME, throws it to the back of the wall with a laser beam and says, “We II talk again". Struck, then, by lightning, the mind goes blank, emptied of all sometime ’important’ questions, like who was taller, him or Kylie; if he really did, as is rumoured, divest early-’90s Cuban songstress Martika of her cumbersome virginity when they were both on acid (no wonder she had a funny jaw, etc); and what the hell did he ever see in Sheena Easton, and is filled up, instead, with the Prince classic of yesteryear, * 1999’, thundering into the consciousness. We’ll do it his way, take it as a sign. "1999’, eh? It’ll be played all over the globe, surely, as the first song of that year. one second after the global New Year bells of 1998. What will you feel? Pride? “That song was not created by me, he smiles, ever-serenely, “it was a gift to me from the higher powers, so I can only be grateful to be given that position.” Then again, maybe it’ll be the last song played on the global wheels of steel on New Year 1999. The last song ever played, all around the world, of the whole millennium! That’s a fairly big concept. Man. “That s,” he says, eyes glimmering, “a fairly... big... concept. Well, what can I say? It wasn’t me. It’s only a privilege.” An older footservant, possibly No 7, strolls into the room and thrusts some papers under The Artist’s beautifully powdered nose. “Good shoes!” says No 7, eyeing NME’s stupid platforms approvingly, on their way to the door. Why thank you. Shoes are important. “Yes, they are,” says The Artist from his seat, talking into his papers, as No 7, gently but firmly, doses the door. OUTSIDE PAISLEY Park in the arctic afternoon, The Photographer Formerly Known As Employed, takes a snap of a pigeon, keeled over on the driveway, legs in the air, frozen in ice. ’Very symbolic,” he sniffs and saunters off. The bird who was free is dead. The perv who was imprisoned is born again. Funny old life. “We’ll talk again", he’d said. And the pyramid on the rooftop glows ever more purple. “That’ll be him now, then,” you guffaw. And. suddenly, if only for a moment or two, you actually believe it is.

A powerful and symbolic full-page advertisement for Prince’s triple album Emancipation, featuring the Love Symbol breaking free from chains against a dramatic fiery sky. PUBLICATION Publication: Magazine / Press Advert (UK) Date: November 1996 Country: United Kingdom Section / Pages: Full-page advertisement Title: The Album ♫ Was Born 2 Make THE STORY This striking 1996 advertisement promotes Prince’s highly anticipated album Emancipation. The visual is dominated by the large black Love Symbol (♫) set against a burning orange and red sky with clouds and broken chains. Two clenched fists appear to be breaking free from shackles at the bottom, visually representing Prince’s liberation from Warner Bros. The bold text reads “emancipation” at the top and “the album ♫ was born 2 make” below. CONTEXT AND NOTES Released in November 1996, Emancipation was Prince’s first album after fulfilling his Warner Bros. contract — a symbolic “breaking free” moment he emphasized heavily in the marketing. The imagery of chains and liberation directly references his public battle with the label and his desire for artistic independence. FEATURE HIGHLIGHTS Event: Promotional advertisement for Emancipation album Era: Mid-1990s / Emancipation / Post-Warner era Tone: Dramatic, symbolic, triumphant Photography: Powerful conceptual imagery with fists and chains Audience: Prince fans and mainstream music press WHAT THE CLIPPING SHOWS A full-page advert with a fiery orange-red background, broken chains floating in the sky, two strong fists breaking free at the bottom, and the iconic Love Symbol prominently displayed in the center. Minimal but impactful text reinforces the theme of artistic freedom. RELATED MATERIAL Prince (October 23, 1996) Prince cambia – Musica (Italy) Prince (December 14, 1996) Never Mind the Symbolics, Here’s… Prince – NME (UK) Prince (August 1, 1996) This Time, He Rocks – MOJO (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.

A lush symbol‑era cover becomes Emancipation’s first single and a UK chart success. RELEASE DETAILS Date: December 2, 1996 Catalogue: CDEM 463 / CDEMS 463 (Limited) Format: CD Single, Limited CD Single (with poster), Cassette Country: United Kingdom (also Australia) Label: EMI / NPG Records Album: Emancipation (1996) A-Side: Betcha By Golly Wow! THE STORY Released on December 2, 1996 as the lead single from Emancipation, “Betcha By Golly Wow!” is Prince O(+>’s stylish reinterpretation of the 1972 Stylistics classic. Featuring rich harmonies and warm production, it became his first-ever cover version released as a single. The B-side was the original track “Right Back Here In My Arms”. CONTEXT & NOTES This release marked the official launch of the Emancipation campaign. A limited edition CD came in a special orange slipcase with a fold-out poster. While commercially released in the UK and Australia, the US only received promotional copies. The single performed strongly in the UK, reaching No. 11. TRACK LIST UK CD Single (CDEM 463) Betcha By Golly Wow! — 3:30 Right Back Here In My Arms — 4:33 Limited Edition CD Single (CDEMS 463) Same tracks + fold-out poster in orange slipcase All Variants CD Single (CDEM 463) Limited CD Single with Poster (CDEMS 463) Cassette Single Australia CD Single US Promo CD Single WHAT THE LABEL / SLEEVE SHOWS Vibrant orange packaging with striking Prince photography and symbolic elements. CHART PERFORMANCE UK Singles Chart: Peak No. 11 US Billboard Hot 100 Airplay: No. 31 US Billboard R&B Airplay: No. 10 PERSONNEL Prince O(+> – vocals, instruments, production, arrangement Written by Thom Bell & Linda Creed (A-side) PACKAGING HIGHLIGHTS Front sleeve: Bold orange design with Prince imagery and classic typography Limited edition includes fold-out poster RELATED MATERIAL Dinner with Delores (1996) (UK & Australia only) Betcha By Golly Wow! (1996) The Holy River (1997) NYC (1997) The Truth (1997) 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.

Margie Cox’s standout moment from the 1-800 New Funk project — the fifth and final single from the Prince-curated compilation, and the only one to receive a full commercial release. RELEASE DETAILS Artist: Margie Cox Label: NPG Records / Bellmark Date: February 7, 1995 Catalogue: BR 72531 (US Promo) Format: 7" Promo, 12" Promo, Cassette Promo Country: United States / United Kingdom / Europe THE STORY Standing At The Altar is the fifth and final single released from the Prince-curated compilation 1-800 New Funk. Featuring a powerful vocal performance by Margie Cox, the single includes Prince-influenced production and was the most visible commercial release from the project. CONTEXT & NOTES While the main album featured various NPG-associated artists, this single received wider distribution than most tracks from the compilation. US promotional formats include the exclusive, previously unreleased track “Whistlin’ Kenny.” The B-side in commercial releases was “17” by Madhouse. TRACK LIST 7" Promo (NPG 60667D0) A. Standing At The Altar — 3:54 B. Love Sign — 4:33 (Nona Gaye & Prince) 12" Promo (BR 72531-1) A. Standing At The Altar — 3:54 B. Whistlin’ Kenny — 2:45 (Previously unreleased) Cassette Promo (BR 72531-4) A. Standing At The Altar — 3:54 B. Whistlin’ Kenny — 2:45 (Previously unreleased) All Variants 7" Promo (NPG 60667D0) 12" Promo (BR 72531-1) Cassette Promo (BR 72531-4) UK/Europe Commercial Releases (exact catalogue not supplied) CHART PERFORMANCE UK Singles Chart: Peak No. 100 (1 week) US Charts: Did not chart PERSONNEL Margie Cox – vocals Prince – production / songwriting influence across the 1-800 New Funk project Madhouse – “17” (B-side) PACKAGING HIGHLIGHTS Standard promotional sleeves US promos feature plain white labels with track information WHAT THE SLEEVE SHOWS Promotional sleeves are typically plain with artist and track information printed in standard NPG/Bellmark style. RELATED MATERIAL Nona Gaye & Prince – Love Sign (Promo Single, 1994) Various Artists – 1-800 New Funk (Compilation, 1994) 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 spectacular fold-out poster supplement from Top Of The Pops Magazine featuring Prince in full flamboyant stage glory during his Symbol era, complete with a large commemorative tribute spread inside. PUBLICATION Publication: Top Of The Pops Magazine Date: March 3, 1995 Country: United Kingdom Section / Pages: Special Pullout Supplement / Fold-out Poster Title: Prince Souvenir Pullout THE STORY This eye-catching supplement folds out into a huge poster of Prince performing live in a shimmering gold and purple outfit, playing his bass guitar with arms outstretched. The inside spread includes a major photo montage and text tribute covering his life and career up to that point, featuring multiple iconic images from different eras alongside detailed biographical content CONTEXT AND NOTES Released in early March 1995, this special pullout coincided with Prince’s (O(+>) Wembley Arena concerts in London. It reflects the UK’s enduring love for Prince and capitalizes on the excitement around his live shows during The Gold Experience period. The “R.I.P.” section in the spread appears to be a career retrospective rather than a literal obituary. FEATURE HIGHLIGHTS Event: Exclusive Souvenir Pullout Poster Era: Mid-1990s / Symbol Era / The Gold Experience Tone: Celebratory, fan-focused, glamorous Photography: Dynamic live stage shots and career montage Audience: Teenage and young pop music fans WHAT THE CLIPPING SHOWS The full front of the pullout poster with Prince in a sparkling gold costume under dramatic lighting, plus the interior spread with a large “R.I.P. Prince Rogers Nelson 1958-1993” tribute layout filled with photos and text. Bold pink and white typography with the Love Symbol. RELATED MATERIAL Prince O(+> (March 15, 1995) Sex Symbol or Slave? Prince Tells All – Time Out London (UK) Prince O(+> (March 17, 1995) Final Concerts at Wembley Arena – Advert Evening Standard (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.

The October 1995 issue of Rock & Folk Magazine features a striking cover dedicated to Prince’s return, prominently displaying his iconic purple love symbol over a mirrored portrait with the bold French headline “LE RETOUR DE LA MARQUISE ATOMIQUE !” Publication: Rock & Folk Date: October 1995 (Issue No. 314) Country: France Location: Paris Section: Front Cover THE STORY T his special cover celebrates Prince’s highly anticipated return during the mid-1990s. The dramatic mirrored image with the oversized purple symbol captures the mystique and excitement surrounding his comeback, positioning him as a revolutionary figure in music once again. CONTEXT AND NOTES 1995 was a pivotal year for Prince as he continued his battle for artistic freedom and released new material independently. This French magazine cover reflects the strong European appreciation for his artistry and the anticipation for his next creative phase. FEATURE HIGHLIGHTS Event: Special Prince comeback cover feature Era: 1995 (O(+> era) Tone: Mysterious, celebratory, iconic Photography: Artistic mirrored portrait with purple love symbol overlay WHAT THE CLIPPING SHOWS Iconic mirrored close-up portrait of Prince with curly hair Large purple Prince love symbol centered between the two faces Bold blue headline “LE RETOUR DE LA MARQUISE ATOMIQUE !” Rock & Folk masthead and additional teaser lines for Reverend Horton, Crossroads, and Stevie Ray Vaughan RELATED MATERIAL This 1995 Rock & Folk cover captures Prince during a key moment in his independent O(+> era and pairs well with other mid-90s European coverage. 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.

Newpower Soul is the third and final "solo" album by the New Power Generation (heavily driven by Prince). A vibrant, funk-filled party record that marked the end of the NPG’s independent album era under that banner. RELEASE DETAILS Artist: New Power Generation (Prince as ) Label: NPG Records Format: CD, MC (Cassette) Country: Worldwide Released: 30 June 1998 Genre: Funk, R&B, Soul Length: 59:54 THE STORY A high-energy funk album showcasing Prince’s signature grooves, playful lyrics, and guest collaborations. Standouts include the title track “Newpower Soul,” the steamy “Mad Sex,” the uplifting “Until U’re In My Arms Again,” and the hidden track “Wasted Kisses.” The album features a strong party vibe with contributions from Larry Graham, Chaka Khan, and Doug E. Fresh. CONTEXT & NOTES Recorded primarily at Paisley Park Studios between late 1996 and early 1998. Although credited to the New Power Generation, Prince is the dominant creative force. The album was supported by the New Power Soul Tour and New Power Soul Festival Tour, which also promoted companion albums by Chaka Khan (Come 2 My House) and Graham Central Station (GCS 2000). It reached No. 22 on the Billboard 200. SINGLES Come On (commercial single) The One (US promo only) TRACK LISTING (CD) Newpower Soul — 5:00 Mad Sex — 5:12 Until U’re In My Arms Again — 4:47 When U Love Somebody — 5:56 Shoo-Bed-Ooh — 3:23 Push It Up — 5:28 Freaks On This Side — 5:42 Come On — 5:59 The One — 7:04 ( Like) Funky Music — 4:31 Wasted Kisses — 2:58 (hidden track) Total Length: 59:54 PACKAGING & VISUALS The bold, sensual cover (as shown) features a shirtless Prince holding a gun-shaped microphone, wearing a thick gold chain, with the iconic Love Symbol tattoo visible — one of Prince’s most memorable late-90s images. PERSONNEL Prince (as ) — all vocals & instruments, producer Kirk Johnson (KAJ) — drum programming Rhonda Smith — bass Mr. Hayes — keyboards, background vocals Rev. Scott — rhythm guitar Hornheadz — horns Larry Graham, Chaka Khan, Doug E. Fresh — special guests Marva King, Kat Dyson — additional vocals/guitar Production Prince — producer, engineer, photography Hans-Martin Buff — engineer Clare Fischer — orchestral arrangements CHARTS USA Billboard 200 — Peak: 22 Billboard Top R&B Albums — Peak: 8 Europe Strong Top 40 entries in UK, Germany, France, Belgium. SOURCES Album liner notes, official discography, Discogs, 45cat, Official Charts, Wikipedia, Prince Vault. 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

This was the second commercially released single from Prince O(+>’s 19th studio album Emancipation, the third album credited to , and formed part of a two-disc CD set that included exclusive ♀ prints for collectors. Released two months after the album, it was available primarily in the UK and Japan, with only promotional copies in the US. Artist: Prince O(+> Label: NPG Records / EMI Date: January 13, 1997 Catalogue: 72438 83765 2 5 (Part 1) Format: CD Single (Part 1 of 2CD Set) Country: UK TRACK LIST UK CD Single Part 1 The Holy River (Radio Edit) (4:00) Somebody’s Somebody (Edit) (4:30) Somebody’s Somebody (Livestudio Mix) (3:47) Somebody’s Somebody (Ultrafantasy Edit) (3:45) LINKED RELEASES / VARIANTS Album version on Emancipation (1996) Part 2 of the 2CD set US promotional singles Borders Books & Music cassette single (with exclusive “Welcome 2 The Dawn (Acoustic Version)”) PERSONNEL Prince O(+> – vocals, all instruments, production THE STORY “The Holy River” was issued as the second commercial single from Emancipation in January 1997. The spiritually themed, mid-tempo track reflected the album’s themes of independence and rebirth following Prince O(+>’s departure from Warner Bros. This UK Part 1 CD single focused on an edited version of the title track paired with several remixes/edits of “Somebody’s Somebody.” A companion Part 2 CD was released simultaneously, and the set included three exclusive ♀ prints for collectors. In May 1997, a special Borders Books & Music cassette version added the previously unreleased “Welcome 2 The Dawn (Acoustic Version).” CONTEXT & NOTES Part of a limited 2CD collector’s set released to support the Emancipation album and the associated tour. The striking cover artwork features a serene waterfall scene with the iconic ♀ symbol. This UK edition is sought after by collectors for the exclusive prints and packaging. CHART PERFORMANCE UK Gallup Singles Chart – #19 (peaked March 2, 1997) RELATED MATERIAL Prince O(+> (1996) Emancipation (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.

A substantial 16-page special feature in the February 1997 issue of Mojo magazine titled “Prince: The Truth,” offering an in-depth look at The Artist Formerly Known As Prince during a pivotal and mysterious period at Paisley Park. Publication: Mojo – The Music Magazine Date: February 1997 Country: United Kingdom Section / Pages: 16-Page Special Insert / Feature Title: Prince: The Truth THE STORY While the main cover features Nick Drake, the magazine includes a dedicated 14-page section on Prince. It features striking imagery (including a silhouetted figure with arms outstretched inside the Love Symbol) and explores Paisley Park, Prince’s identity struggles, his battle with Warner Bros., creative practices, and interviews with those close to him. The piece delves into his music, spirituality, and the “purple reign” at that time. 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 advance promotional cassette was issued in 1997 to promote Prince O(+>’s acoustic album The Truth, originally intended as a standalone release before being included in the Crystal Ball box set. Artist: Prince O(+> Label: NPG Records Date: January 29, 1998 Catalogue: none Format: Promo Cassette Country: USA Written by: Prince Produced by: Prince TRACK LIST US Promo Cassette Side A / Side B (Program repeats) The Truth (3:34) Don’t Play Me (2:48) Circle Of Amour (4:44) 3rd Eye (4:54) Dionne (3:14) Man In A Uniform (3:08) Animal Kingdom (4:01) The Other Side Of The Pillow (3:22) Fascination (4:55) One Of Your Tears (3:27) Comeback (2:00) Welcome 2 The Dawn (Acoustic Version) (3:18) LINKED RELEASES / VARIANTS 2021 Record Store Day LP 2023 Retail LP Original 1998 release (as part of Crystal Ball box set) PERSONNEL Prince O(+> – vocals, acoustic guitar, all instruments, production Rhonda Smith – bass (on select tracks) Various additional musicians THE STORY The Truth... is Prince O(+>’s raw, predominantly acoustic album recorded in late 1996 and early 1997. This promo cassette was distributed in advance of the planned standalone release (which was later canceled in favor of inclusion in the Crystal Ball box set). CONTEXT & NOTES Housed in a standard Maxell cassette shell with a custom J-card labeled “4 PROMOTION ONLY / DO NOT DUPLICATE.” This is a rare early promotional item from the Symbol era, featuring the full album program on both sides. CHART PERFORMANCE None (promotional release only) RELATED MATERIAL Prince O(+> (1998) Crystal Ball (Box Set) 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