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The July 9, 1990 edition of the Irish Independent reviews Prince’s “Nude” tour concert at Páirc Uí Chaoimh in Cork, celebrating a massive 50,000-strong crowd and Prince’s electrifying performance. Publication: Irish Independent Date: July 9, 1990 Country: Ireland Location: Dublin / Cork Section: Entertainment / Music Review THE STORY The article describes Prince’s raunchy and provocative set in Cork as a huge success, with over 50,000 fans roaring in approval. Despite some local opposition, the crowd was enthusiastic and the show was described as a “wonderful, chaotic, extraordinary excursion.” CONTEXT AND NOTES This review covers Prince’s major outdoor concert during the 1990 Nude Tour in Ireland. The piece highlights the contrast between moral objections and the overwhelming positive response from fans, capturing the excitement and controversy surrounding Prince’s live shows at the time. FEATURE HIGHLIGHTS Event: Concert review Era: 1990 (Nude Tour) Tone: Excited, vivid, celebratory Photography: Large live photo of Prince performing on stage WHAT THE CLIPPING SHOWS Bold headline “Prince rolls in and rocks the town” Dramatic photo of Prince on stage Detailed review by Miriam Lord and Tony O’Brien Descriptions of the crowd size, atmosphere, and Prince’s performance style All magazine scans, newspaper cuttings, scrapbook items, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. Tags: Prince, Prince Scrapbook, Irish Independent, 1990, Concert Review

Released July 9, 1982 7" Vinyl Single Reference: US: 7-29955 A. He’s So Dull (2:32) B. Make-Up (2:40) Notes: He’s So Dull was the first single from Vanity 6’s only album. Prince appears as a musician on the A-side. The B-side Make-Up was written by Prince. US VARIANTS: • USA - Warner Bros. - 1982 (Mono promo) - 7-29955 A Side He's So Dull (Stereo 2:31) B Side He's So Dull (Mono 2:31) CHART PERFORMANCE Netherlands (Nederlandse Top 40): Peak position 16 (1983 re-release) INTERNATIONAL VARIANTS: • Australia - Warner Bros. Records – 729955 - 1982 • Benelux - Warner Bros. Records – WB 17.983 / 17.983 - 1982 • Ecuador - Warner Bros. Records – 7-29955 - 1982 • Europe - Warner Bros. Records – 17.983 / WB 17.983 - 1982 • Netherlands - Warner Bros. Records – WB 17.983 - 1982 • New Zealand - Warner Bros. Records – 7-29955 - 1982 • Portugal - Warner Bros. Records – WAR 17983 - 1982 • UK - Warner Bros. Records – K 17983 - 1982 • UK - Warner Bros. Records – K 17983T / FWBD 0712 - 1982 (12") RELEASE This single was released four weeks before the album Vanity 6. It was re-released in the Netherlands and UK in early 1983. PERSONNEL Vanity – lead and backing vocals Brenda Bennett – lead, co-lead and backing vocals Susan Moonsie – lead and backing vocals BACKGROUND He’s So Dull was written by Dez Dickerson. The single did not chart in the USA but performed better in the Netherlands upon re-release. Prince contributed to Make-Up and Wet Dream (the latter included on the UK 12" version). SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts Prince Vault, Sleeveographia2 All album artwork, photographs, labels, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

The July 9, 1990 edition of the Evening Herald celebrates Prince’s massive concert at Páirc Uí Chaoimh in Cork, with over 50,000 fans turning out for his high-energy “Nude” tour performance. Publication: Evening Herald Date: July 9, 1990 Country: Ireland Location: Dublin / Cork Section: Entertainment / Music Review THE STORY The article describes the huge turnout and electric atmosphere as Prince delivered a raunchy, sensational show. It highlights the crowd’s enthusiasm, Prince’s dynamic stage presence, and the mix of rock, funk, and provocative energy that defined the night. CONTEXT AND NOTES This review covers one of the standout dates on Prince’s 1990 Nude Tour in Ireland. The Cork concert drew a record-breaking crowd and became a major event in Irish rock history, showcasing Prince at his most charismatic and controversial. FEATURE HIGHLIGHTS Event: Concert review Era: 1990 (Nude Tour) Tone: Excited, celebratory Photography: Multiple live black & white photos of Prince and fans RELATED MATERIAL July 9, 1990 Irish Independent “Prince rolls in and rocks the town” July 13, 1990 The Kerryman “Prince earns roars of approval” For other relevant posts, see the tags at the foot of the page. WHAT THE CLIPPING SHOWS Bold headline “Thousands flock to hear the Prince of raunchy rock” Large dramatic photo of Prince performing Sub-headline “Lark in the Pairc!” Fan photos and detailed review by Eugene Moloney All magazine scans, newspaper cuttings, scrapbook items, 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 third studio album by The Time, released in conjunction with the band’s appearance in the movie Purple Rain. Largely written, recorded, and produced by Prince (under the pseudonym Jamie Starr), Ice Cream Castle features the hits “Jungle Love” and “The Bird” and marked the group’s biggest commercial success. Artist: The Time Title: Ice Cream Castle Date: July 2/9, 1984 Label: Warner Bros. Records Format / Type: LP / Cassette / CD Country: USA TRACK LIST LP / MC Side One Ice Cream Castles – 7:33 My Drawers – 4:04 Chili Sauce – 5:45 Side Two Jungle Love – 5:29 If The Kid Can’t Make You Come – 7:33 The Bird – 7:40 CD (same sequence as LP) US VARIANTS Standard LP sleeve with inner sleeve Test pressing (June 18, 1984), Colored LP reissue (July 20, 2018) Japanese remastered CD (August 19, 2015) THE STORY Sessions began in late March 1983 at Sunset Sound with “Jungle Love.” Other tracks like “Chili Sauce” and “If The Kid Can’t Make You Come” followed in mid-April. “The Bird” was recorded live at First Avenue in early October 1983 and chosen over the studio version. The album was largely created by Prince with input from Morris Day and Jesse Johnson. PERSONNEL Musicians Morris Day – Lead Vocals, Drums on My Drawers Prince (uncredited) – All other instruments and background vocals Jesse Johnson – Guitar, Drums on If The Kid Can’t Make You Come Sharon Hughes – Dialog on Chili Sauce, Background Vocals Novi Novog – Violin on Chili Sauce Mark Cardenas, Paul Peterson – Keyboards on The Bird Jellybean Johnson – Drums on The Bird Jerome Benton – Percussion on The Bird Jill Jones – Background Vocals (uncredited) CONTEXT & NOTES The album reached #24 on the Billboard 200 and #3 on the Billboard Soul LPs chart. It was certified Gold in September 1984 and Platinum in January 1985. “Jungle Love” and “The Bird” were featured in the film Purple Rain. A 2015 Japanese digitally remastered reissue was released with no additional tracks. A colored LP reissue appeared in 2018. PRODUCTION Produced by: Prince (as Jamie Starr) and Morris Day Engineers: David Leonard, Peggy McCreary (“Peggy Mac”), Terry Christian Mastered by: Bernie Grundman CHARTS USA Billboard 200: Peak #24 USA Billboard Soul LPs: Peak #3 CERTIFICATIONS RIAA (USA): Gold (September 18, 1984) RIAA (USA): Platinum (January 10, 1985) SINGLES TAKEN FROM Ice Cream Castles Jungle Love The Bird RELATED MATERIAL What Time Is It? (1982) Pandemonium (1990) Purple Rain film and soundtrack (1984) SOURCES Discogs, Warner Bros. Records, Wikipedia, Prince Vault, sleevographia2 All album artwork, photographs, labels, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

The Daily Mirror offers readers a free CD of Prince’s brand new album 20Ten as a special promotional giveaway bundled with the newspaper. Publication: Daily Mirror Date: Saturday, July 10, 2010 Country: United Kingdom Location: London, England Section: Promotional poster / In-store newsagents display THE STORY A vibrant, full-color promotional poster advertises that a free CD of Prince’s latest album is included inside the Daily Mirror newspaper that day. The eye-catching design features an illustrated portrait of Prince in his signature flamboyant style, with bold text announcing “FREE CD INSIDE THE NEW PRINCE ALBUM.” CONTEXT AND NOTES In 2010, Prince partnered with the Daily Mirror to distribute his album 20Ten (his 34th studio album) as a free cover-mounted CD — a major promotional move typical of the era when physical album sales were declining. This was part of a broader strategy by Prince to reach a wide audience directly through mainstream media. The album was also released in other European countries with similar newspaper tie-ins. FEATURE HIGHLIGHTS Event: Promotional newspaper giveaway of Prince album 20Ten Era: 2010 / Prince’s independent / newspaper-distribution era Tone: Exciting, commercial, promotional Photography: Stylized color illustration of Prince in a vibrant vest and open shirt with chest tattoos, purple symbol logo, and a colorful sunset-style background with a CD graphic. WHAT THE CLIPPING SHOWS Prince’s continued innovation in album distribution methods in the digital age High-profile mainstream media partnership (tabloid newspaper) Classic Prince visual aesthetic — dramatic, colorful, androgynous imagery Physical media promotion strategy still being used in 2010 RELATED MATERIAL This continues the long arc of Prince’s UK press coverage and promotional tactics. It pairs well with earlier 1970s–1990s clippings showing his evolution from emerging artist to global superstar using unconventional release strategies. 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.

20Ten is Prince’s 35th studio album, a vibrant, funk-rock driven release issued as a free covermount with several European newspapers — continuing the innovative distribution strategy he pioneered with Planet Earth. RELEASE DETAILS Artist: Prince Label: NPG Records Format: CD (newspaper covermount) Catalogue: UP20TEN001 (promo) Country: Europe (primarily Belgium & UK) Released: 10 July 2010 (Belgium & UK newspapers) / 22 July 2010 (Germany & France) Genre: Rock, Funk, Soul Length: 39:18 THE STORY A tight, energetic album blending sleek funk, rock edge, and soulful grooves. Standouts include the spiritual “Compassion,” the soaring “Future Soul Song,” the playful “Sticky Like Glue,” and the powerful “Act Of God.” The album ends with the hidden track “Laydown.” CONTEXT & NOTES Released during Prince’s 20TEN Tour in Europe, the album served more as a promotional tool for the tour than vice versa. It was given away with major newspapers (Het Nieuwsblad, de Gentenaar, Daily Mirror, Daily Record, Rolling Stone magazine, etc.), generating huge publicity but making it ineligible for official charts. A rumored 20Ten Deluxe companion album was announced but never materialized. TRACK LISTING (CD) Compassion — 3:57 Beginning Endlessly — 5:27 Future Soul Song — 5:08 Sticky Like Glue — 4:46 Act Of God — 3:14 Lavaux — 3:04 Walk In Sand — 3:30 Sea Of Everything — 3:49 Everybody Loves Me — 4:09 Laydown — 3:07 (hidden track – listed as track 77; tracks 11–76 are silence) Total Length: 39:18 PERSONNEL Musicians Prince — all vocals and instruments (except where noted) Vocals Shelby J., Liv Warfield, Elisa Dease — background & additional vocals Horns (on Compassion) Maceo Parker — saxophone Greg Boyer — trombone Ray Monteiro — trumpet Production Prince — producer, arranger James “Fluff” Harley — engineer Debbie McGuan — design Anthony Malzone — additional design PACKAGING & VISUALS The striking cover art (shown in your image) is a vibrant, hand-drawn illustration of Prince in a flamboyant multicolored outfit with a prominent 20Ten logo and the Love Symbol. The design features bold colors, flowing shapes, and Prince’s signature aesthetic. CHARTS Not eligible for official charts due to its free newspaper distribution model. 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

The fourth studio album by The Time, released in conjunction with the band’s appearance in the movie Graffiti Bridge. Unlike previous albums, Pandemonium featured significant input from band members alongside Prince’s contributions. It became the group’s highest-charting album to date. RELEASE / PUBLICATION DETAILS Artist: The Time Title: Pandemonium Date: July 10, 1990 Label: Warner Bros. Records / Paisley Park Format / Type: LP / Cassette / CD Country: USA / Worldwide TRACK LIST LP / MC Side One Dreamland – 3:09 Pandemonium – 4:12 Sexy Socialites – 0:23 Jerk Out – 7:12 Yount – 0:22 Blondie Donald Trump (Black Version) – 4:33 Chocolate – 7:30 Side Two Cooking Class – 0:43 Skillet It’s Your World Sometimes I Get Lonely Data Bank – 5:35 My Summertime Thang – 6:50 Pretty Little Women CD (same sequence as LP) SINGLES TAKEN FROM Jerk Out (b/w Mo’Jerk Out) Chocolate (b/w My Drawers) THE STORY Developed from the aborted Corporate World project, Pandemonium marked a return for The Time with more band involvement. It includes reworked Prince material and was promoted heavily during the Graffiti Bridge era. CONTEXT & NOTES The album reached #18 on the Billboard 200 and #9 on the R&B Chart. It was certified Gold in October 1990. Frictions in the band led to Jesse Johnson’s departure and the end of promotion in early 1991. A 2015 Japanese remastered reissue was released with no additional tracks. A Japanese digitally remastered reissue was released (August 19, 2015). PERSONNEL Musicians Morris Day – Lead Vocals Prince (uncredited) – Instruments and background vocals on select tracks Jesse Johnson – Guitar, Backing Vocals Jimmy Jam – Keyboards, Backing Vocals Monte Moir – Keyboards, Backing Vocals Terry Lewis – Bass, Lead Vocals, Backing Vocals Jerome Benton – Percussion, Voice Jellybean Johnson – Drums, Backing Vocals Candy Dulfer – Saxophone on select tracks Additional female vocalists including Jill Jones, Karyn White, Margie Cox, and others PRODUCTION Produced by: The Time (Pandemonium tracks) and Prince (uncredited on select tracks) Engineers: Steve Hodge, Femi Jiya, Tom Garneau, and others Mastered by: Brian Gardner at Bernie Grundman Mastering CHARTS USA Billboard 200: Peak #18 USA Billboard R&B Chart: Peak #9 UK Albums Chart: Peak #66 CERTIFICATIONS RIAA (USA): Gold (October 12, 1990) SOURCES Discogs, Warner Bros. Records, Prince Vault, sleevographia2 RELATED MATERIAL What Time Is It? (1982) Ice Cream Castle (1984) Graffiti Bridge film and soundtrack (1990) 2015 REMASTER 1990 LONGBOX TC All album 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.

Pop Life was the third single (second in North America) to be released from Prince’s eighth album Around The World In A Day, the second to be credited to Prince and the Revolution. The single included a non-album track b-side, Hello. RELEASE INFORMATION Released July 10, 1985 7" Vinyl Single Reference: US: 7-28998 A. Pop Life (3:42) B. Hello (3:23) 7" Promo A. Pop Life (3:42) B. Pop Life (3:42) US VARIANTS: • US - Warner Bros. 7-28998 - 1985 (Commercial) • US - Warner Bros. 7-28998 - 1985 (Promo) CHART PERFORMANCE USA: Billboard Hot 100 – Peak 7 (14 weeks) USA: Billboard Hot Black Singles – Peak 8 (13 weeks) USA: Billboard Hot Dance/Disco - Club Play – Peak 5 (9 weeks, listed with Hello) RELEASE This single was released three months after the album Around The World In A Day. Raspberry Beret was released concurrently in the UK (with Hello as the b-side), so when Pop Life was released there, Girl was used as the b-side instead. BACKGROUND Unusually, different versions of Pop Life were used on the 12" in different countries. The U.S. and Europe received Pop Life (Fresh Dance Mix) remixed by Sheila E., while the UK, Australia and New Zealand received Pop Life (Extended Version), which was Prince’s own original version. This was the first Prince single to include more than one remix of the same track, although not all remixes were issued in the same territory. The cover art is an enlarged detail from the album Around The World In A Day, painted by Doug Henders. SOURCES Discogs, 45 World, Wikipedia. BBC Official Charts Prince Vault, Sleeveographia2 All album 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.

Publication: The Forum  (Fargo, North Dakota) Date: Thursday, July 21 1994 Country: United States Section / Pages: Rise – Page 5 Title: The Performer Formerly Known  As Prince Finally Offers An Explanation Author: Chuck Klosterman This mid‑1994 feature captures Prince’s public attempt to explain his name change and artistic reinvention. The the article situates Prince within the broader pop‑culture landscape, referencing his recent interviews and magazine appearances in Vibe and Spin. Klosterman notes that Prince’s decision to adopt the glyph symbol was both mystifying and deliberate — a rejection of industry control and a statement of creative autonomy. The piece contrasts Prince’s introspective tone with the chaotic energy of his Palladium performances earlier that month, describing him as lucid, self‑aware, and determined to redefine his identity. Klosterman writes that Prince’s explanation was “cryptic yet oddly human,” emphasizing his desire to move beyond fame and reclaim artistic purity. A sidebar column recounts his New York shows, noting that his concerts had become more unpredictable and intimate, with stripped‑down funk arrangements and flashes of humor. It highlights his benefit performance for the Harlem Dance Theater, where tickets sold for $60 each, and his evolving stage persona — playful, eccentric, and deeply personal. CONTEXT AND NOTES This article represents one of the earliest regional press interpretations of Prince’s transformation into TAFKAP. Klosterman’s writing balances skepticism with admiration, capturing the tension between public confusion and artistic freedom. The accompanying AP column reinforces how Prince’s live performances mirrored his evolving identity — less about spectacle, more about expression. 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.

Publication: Newsday (New York, NY) Date: Friday, July 15 1994 Country: United States Section / Pages: Arts / Music Feature Title: The Prince Is Dead, Long Author: David Herndon – Staff Writer This mid‑1994 feature reviews Prince’s transformation into TAFKAP  and his benefit concert for the Dance Theater of Harlem at the Palladium, Manhattan. The article opens with the line “Prince is dead,” marking his symbolic rebirth under the unpronounceable glyph identity. Critic David Herndon frames the performance as both obituary and celebration — a farewell to the old Prince and a welcome to his new incarnation. He recalls the artist’s earlier excesses, from the Purple Rain triumph to the self‑indulgent Arabian Nights stage show of 1993, describing the Palladium concert as a return to focus and vitality. The review praises the stripped‑down New Power Generation ensemble — go‑go dancer, piano, organ, drums, bass, and Prince on guitar — for delivering a loose, funky set anchored by “Days of Wild,” whose George Clinton‑esque groove underscored Prince’s renewed connection to raw funk. CONTEXT AND NOTES This article captures a pivotal moment in Prince’s career when he shed his name to protest record‑label control and reinvented himself as a symbol. The review’s tone — half elegy, half celebration — mirrors the tension between public perception and artistic liberation. It stands as one of the earliest mainstream press accounts of his TAFKAP era. 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 July 13, 1990 edition of The Kerryman reviews Prince’s “Nude” tour concert at Páirc Uí Chaoimh in Cork, Ireland, praising the massive crowd’s enthusiastic response despite some local objections. Publication: The Kerryman (Kerry North ed.) Date: July 13, 1990 Country: Ireland Location: Tralee / Cork Section: News / Entertainment THE STORY The article reports that over 50,000 fans roared in approval for Prince’s raunchy and provocative set in Cork. Despite protests from a lord mayor and moral concerns, the crowd gave Prince a huge reception. Reviewer Paschal Sheehy describes the high-energy performance, noting Prince’s showmanship, footwork, and crowd interaction. CONTEXT AND NOTES This review covers one of the major European dates on Prince’s 1990 Nude Tour. The Cork concert at Páirc Uí Chaoimh drew a huge audience and became a memorable event in Irish music history, showcasing Prince at his most charismatic and controversial FEATURE HIGHLIGHTS Event: Concert review Era: 1990 (Nude Tour) Tone: Excited, vivid Photography: Dramatic black & white live photo of Prince on stage WHAT THE CLIPPING SHOWS Bold headline “Prince earns roars of approval” Large photo of Prince performing Detailed review by Paschal Sheehy describing the atmosphere and performance References to Prince’s provocative stage style and the crowd’s reaction RELATED MATERIAL June 24, 1990 The Independent “The brocade showman strips down” review For other relevant posts, see the tags at the foot of the page. All magazine scans, newspaper cuttings, scrapbook items, 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 1985 clip marks Prince’s first black‑and‑white promotional video, created specifically for the worldwide Live Aid broadcast. Instead of appearing at the Philadelphia or London concerts, Prince contributed a filmed studio performance of 4 The Tears In Your Eyes, recorded on 4 June 1985 at SIR Studios, Los Angeles. The intimate trio arrangement with Wendy Melvoin and Lisa Coleman became one of the most widely seen Prince performances of the mid‑’80s, later issued in audio form on The Hits / The B‑Sides and the Around The World In A Day 40th Anniversary Deluxe Edition. Publication: Live Aid Broadcast (Los Angeles, California, USA) Date: Saturday, July 13 1985 Country: United States Section / Pages: Worldwide Telecast – Promotional Clip Title: 4 The Tears In Your Eyes The performance was filmed during a concentrated three‑day period at SIR (3–5 June 1985), when Prince also shot The Screams Of Passion and Raspberry Beret. Notably, this clip marks the first appearance of the purple Taylor 12‑string acoustic guitar, custom‑built for Prince and played here by Wendy Melvoin. The stripped‑down trio format was unusual for Prince at the time — his first clip since I Wanna Be Your Lover not to feature the full band. A different studio version of the song had previously appeared on the charity album We Are The World, but the Live Aid performance became the definitive visual document. The 1985 video resurfaced decades later on Prince’s streaming platforms (2017) and as a standalone iTunes release. FEATURE HIGHLIGHTS Event: Prince’s studio performance aired during Live Aid Era: 1985 – Around The World In A Day period Tone: Spiritual, intimate, humanitarian Photography: Black‑and‑white studio performance Audience: Global Live Aid viewers and Prince fans SHOOTING INFORMATION Date: 4 June 1985 Location: SIR Studios, Los Angeles, CA Additional Info: Live performance in studio Cast: Prince Wendy Melvoin Lisa Coleman Crew: More information needed RELEASED VERSIONS 4 The Tears In Your Eyes — 3:25 Released on Prince streaming platforms (2017) Available as a standalone iTunes track (2017) CONTEXT & NOTES The clip’s Live Aid broadcast placed Prince in front of a global audience without requiring his physical presence at the concerts. Its stark black‑and‑white aesthetic, spiritual tone, and minimal arrangement made it one of the most distinctive visual statements of his mid‑’80s period. The performance also foreshadowed the more intimate, musician‑focused imagery he would explore later in the decade. Source: Live Aid Broadcast, 13 July 1985; SIR Studios session logs, Los Angeles, CA. Copyright © 1985 Paisley Park / Live Aid. Archival reproduction for educational and historical reference only.