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Jon Bream reports on the star-studded Hollywood premiere of Purple Rain at the Mann Chinese Theatre, followed by a lavish purple-themed party at the Palace. Celebrities, fans, and industry figures turned out as Prince’s hometown film took Hollywood by storm. Publication: Minneapolis Star and Tribune Date: Saturday, July 28, 1984 Country: United States Section: Entertainment (Page 7C) Byline: Jon Bream, Staff Writer THE STORY The article captures the electric atmosphere of the July 27, 1984 premiere: Stars in attendance included Morgan Fairchild, Christopher Reeve, Donna Mills, Lisa Hartman, Harold Ramis, and others. Prince’s mother attended and expressed pride. The party featured purple orchids, lavender feathers, searchlights, and a dramatic entrance by Prince in a purple limousine. Reactions were overwhelmingly positive; many praised the film as an extension of Prince’s life and a major contribution to music and movies. Prince made a brief on-stage appearance with Sheila E. and the Revolution before retreating backstage. MTV’s Mark Goodman and other figures commented on the excitement. CONTEXT AND NOTES Published the day after the premiere, this piece reflects the instant cultural impact of Purple Rain. It marks the official launch of the film that would become a box-office hit and cement Prince’s status as a multimedia superstar in the summer of 1984. FEATURE HIGHLIGHTS Event: World Premiere of Purple Rain (Mann Chinese Theatre + Palace party) Era: Peak Purple Rain phenomenon (July 1984) Tone: Excited, proud hometown reporting on Hollywood’s embrace of Prince Photography: Five celebrity headshots (Morgan Fairchild, Christopher Reeve, Donna Mills, Lisa Hartman, Harold Ramis) Visual Motifs: Multi-photo layout with bold headline and detailed event coverage WHAT THE CLIPPING SHOWS Hollywood validation of Prince as a major force Star power and spectacle surrounding the premiere Local pride in Minneapolis’s “Royal Rocker” conquering the entertainment capital RELATED MATERIAL This follows the July 25 in-depth production features and the July 22 “Prince reigns as nation’s top pop music figure” article — documenting the triumphant theatrical release. 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.

Anotherloverholenyohead is the fourth and final single (third and final in North America) to be released from Prince’s eighth album Parade, the third album credited to Prince and the Revolution, and was released three months after the album’s release. The b-side, Girls & Boys, was also taken from the album Parade. In the UK, where Girls & Boys was released as a single, the b-side instead was I Wanna Be Your Lover, taken from Prince’s second album Prince. The 12" release contained an extended version of Anotherloverholenyohead, unavailable elsewhere. The single reached number 63 on the US Billboard Pop Chart, and number 18 on the Billboard R&B Chart. Artist: Prince and The Revolution Title: Anotherloverholenyohead Label: Paisley Park / Warner Bros. Country: US Catalogue: 0-20516 Date: July 30, 1986 Format: 12" Tracklist (12"): A — Anotherloverholenyohead (Extended Version) (7:52) B — Girls & Boys (5:30) RECORDING Studio: Sunset Sound (Hollywood, California) STYLE & THEMES The song is essentially a solo performance by Prince, with backing vocals from Susannah Melvoin and the horn section of Eric Leeds and Atlanta Bliss on the extended version. The song also features a string arrangement by Clare Fischer. The song is set in a minor key and written around a piano chord sequence, although the arrangement emphasizes an upfront guitar synth and a drum machine. The lyrics are about a man trying to reclaim a lover who is intent on leaving him for another. The song's title is a combination of the main idea of the song, and the line "U need another lover like u need a hole in yo head" from the chorus. TRACK‑BY‑TRACK NOTES • Anotherloverholenyohead — Extended version features intricate piano work, a horn overdub, and some dance commands from Prince. • Girls & Boys — LP version. RELEASE HISTORY Released July 2, 1986 (7") / July 30, 1986 (12"). Music video filmed on June 7, 1986 (Prince's birthday), featuring a live performance from the one-off set at Cobo Arena, Detroit, Michigan. CHARTS & CERTIFICATIONS US Billboard Hot 100: Peak 63 (entry 19 Jul. 1986, 10 weeks) US Billboard Hot Black Singles: Peak 18 (entry 6 Sep. 1986, 12 weeks) US Billboard Hot Dance/Disco – Club Play (listed with Girls & Boys): Peak 21 (entry 6 Sep. 1986, 6 weeks) PERSONNEL Prince – lead and backing vocals, Roland G-707 electric guitar, Roland GR-700 guitar synthesizer, piano, bass guitar, Linn LM-1, handclaps Susannah Melvoin – backing vocals Clare Fischer – orchestral arrangements Eric Leeds and Atlanta Bliss – horn section (extended version) PRODUCTION Produced by Prince Label: Paisley Park / Warner Bros. Catalogue numbers: • US: 0-20516 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.

This Japanese enhanced CD edition marks the retail release of Prince’s all-instrumental album N.E.W.S., featuring four extended 14-minute tracks representing the cardinal directions. Artist: Prince Label: Victor / NPG Date: July 29, 2003 Catalogue: VICP-62523 Format: Enhanced CD (Digipak) Country: Japan Genre: Jazz / Funk / Instrumental Style: Extended instrumental jams Written by: Prince Produced by: Prince TRACK LIST Japan Enhanced CD (VICP-62523) North (14:00) East (14:00) West (14:00) South (14:00) PERSONNEL Prince – guitar, Fender Rhodes, digital keyboards & percussion Eric Leeds – tenor & baritone saxophone John Blackwell – drums Renato Neto – piano & synthesizers Rhonda Smith – acoustic & electric bass THE STORY N.E.W.S. is Prince’s 27th studio album and his second successive all-instrumental project. Initially released to NPG Music Club members in June 2003, it received a wider retail release the following month. The album consists of four extended 14-minute tracks, each representing a cardinal direction. It continued Prince’s exploration of jazz and funk territories during this period before he returned to vocal pop/rock with Musicology the following year. CONTEXT & NOTES This Japanese Digipak edition features striking satellite imagery of Earth on the cover and a detailed booklet with liner notes in Japanese. It is an enhanced CD containing additional multimedia content. The packaging includes a unique fold-out design with atmospheric space/earth visuals. RELATED MATERIAL Prince (2003) N.E.W.S. (Album) For other relevant posts, see the tags at the foot of the page. SOURCES Prince Vault, Discogs, sleevographia2. All single artwork, photographs, labels, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

The debut studio album by The Time, largely written, performed, and produced by Prince (uncredited), marking the first full album project he was involved in outside his own work. Publication / Source: Warner Bros. Records Date: July 29, 1981 (US) Format: Vinyl LP - BSK 3598 THE ALBUM TRACKLIST The Time was the first album by The Time. Recorded at Prince’s Kiowa Trail Home Studio in April 1981 (with one track from earlier sessions). No songwriting credits are given, but Prince is believed to have performed most instruments. Only “After Hi School” was written by Dez Dickerson. Side 1 1. Get It Up (9:05) 2. Girl (5:34) 3. After Hi School (4:20) Side 2 1. Cool (10:06) 2. Oh, Baby (4:57) 3. The Stick (8:23) US VARIANTS 1981 Vinyl Stickered BSK 3598 1981 Vinyl Promotional Gold Stamp BSK 3598 1987 CD - 3598-2 1981 Tape Cassette USA - M5 3598 2021 2LP Reissue Expanded Edition Side 1: Get It Up (9:08) Girl (5:36) After Hi School (4:22) Side 2: Cool (10:06) 2 Oh, Baby (4:59) The Stick (8:22) Side 3: Get It Up (Single Edit) (3:01) Girl (Edit) (3:40) Cool (Part I) (3:12) Side 4: Cool (Part II) (3:06) After Hi School (Single Edit) (2:48) The Stick (Single Edit) (3:06) CONTEXT AND NOTES RELATED MATERIAL Released just weeks after the single “Get It Up”, this self-titled debut album introduced The Time as a key part of Prince’s expanding Minneapolis Sound universe. It reached No. 50 on the Billboard 200 and No. 7 on the Soul Chart, and was certified Gold in the US. For more Prince-related and 1981 releases, check out the tags at the bottom of the page. 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. Tags: The Time, The Time Album, 1981, Warner Bros, Prince, Minneapolis Sound, Get It Up

N.E.W.S. is Prince’s twenty-seventh studio album and his second fully instrumental release in succession. It consists of four 14-minute tracks named after the cardinal directions, forming a continuous jazz-funk exploration. RELEASE DETAILS Artist: Prince Label: NPG Records Catalogue: n/a (club) / 85337 70712-8 (retail) Format: CD (Compass-style folding card case) Country: Worldwide Released: June 30, 2003 (NPG Music Club) / July 29, 2003 (retail) Genre: Jazz, Funk, Instrumental Length: 56:00 CONTEXT & NOTES A bold, improvisational instrumental album recorded in a single day at Paisley Park. Each track represents a direction (North, East, West, South), creating a conceptual “journey” with tight band interplay and extended grooves. THE STORY Following the jazz-leaning Xpectation, N.E.W.S. continued Prince’s instrumental explorations. It was primarily a club-exclusive release with limited retail distribution. The packaging opens like a compass, reflecting the album’s theme. Prince performed at the 2004 Grammys around this period, helping reintroduce him to a wider audience. TRACK LISTING (2003 Original CD) Side / Track North — 14:00 East — 14:00 West — 14:00 South — 14:00 Total Length: 56:00 PERSONNEL Musicians Prince — guitar, Fender Rhodes, digital keyboards, percussion ADDITIONAL MUSICIANS AND BACKGROUND John Blackwell — drums Renato Neto — piano and synthesizers Rhonda Smith — acoustic and electric bass Eric Leeds — tenor and baritone saxophone Production Prince — producer, arranger, mixer, package design Jess Sutcliffe — engineer Joseph Lepinski, Takumi — musical technicians Jeremy Gavin — package design PACKAGING HIGHLIGHTS Unique folding card case designed to mimic a compass (opens on all four sides) Striking Earth-from-space cover with “n.e.w.s.” title Includes enhanced CD content with the message “He causes 2 become” CHARTS Germany: Top 100 Album-Chart | 11 Aug. 2003 | 93 | 2 weeks The Netherlands: Album Top 100 | 23 Aug. 2003 | 83 | 2 weeks 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

Prince And The Revolution: Live was the second Prince and the Revolution home video to be released and their first live concert released on home video format. The footage comes from a live broadcast of a Purple Rain Tour concert in Syracuse, on 30 March 1985. It was first released on 2 cassettes under the name of “Double Live” before being re-released as Prince And The Revolution: Live on one cassette and laserdisc. The home video reached the number 1 spot (where it remained for 13 weeks) on the Billboard Top Music Videocassettes chart and number 2 on the Billboard Top Videocassettes Sales. It was certified 2x Platinum by the RIAA. In 2017, the video was restored and released on a DVD included on Purple Rain Deluxe Expanded Edition. The audio was released digitally as Prince And The Revolution: Live on 15 May 2020. The audio of this release has been remixed from the original 2" master reels and the film has been digitally enhanced onto Blu-ray video for the 2022 re-release of Prince And The Revolution: Live. Several countries around the world, amongst them Germany (on TV program Rockpalast), broadcast the concert live. France TV channel Antenne 2 broadcast the concert a few days later. Track Listing All songs written by Prince, except where indicated. • Let’s Go Crazy — 5:30 • Delirious — 2:46 • 1999 — 4:15 • Little Red Corvette — 5:10 • Take Me with U — 4:15 • Yankee Doodle (Interlude) — 6:10 • Do Me, Baby (includes “Purple House” spoken intro) — 4:40 • Irresistible Bitch — 2:00 • Possessed — 4:24 • How Come U Don’t Call Me Anymore? — 5:05 • Let’s Pretend We’re Married — 4:15 • International Lover — 1:00 • God — 8:30 Side two • Computer Blue — 4:30 • Darling Nikki — 4:00 • The Beautiful Ones (includes backwards “The Dance Electric” and wind chime intro) — 7:30 • When Doves Cry — 8:15 • I Would Die 4 U — 3:50 • Baby I’m a Star — 10:00 • Purple Rain — 18:24 Total length: 116:00 COUNTRY VARIANTS • VHS x2 (PAL/SECAM) — Warner Music Video — 041 308 2 — UK/FR — 1985 • VHS (one cassette, NTSC/PAL/SECAM) — Warner Music Video — 3-38102 / CMV 01292 / CMV 1031 — US/CA/UK/AU/FR — 1985 • Laserdisc / Betamax (NTSC) — Warner Music Video — PA-86-163 / SM037-3472 / SM0048-3254 / PILP-2004 — US/CA/JP — 1985 • DVD (restored) — included on Purple Rain Deluxe Expanded Edition — 2017 • Blu-ray (digitally enhanced) — Legacy / NPG — 2022 2020 Digital Audio / 2022 CD Release • Let’s Go Crazy — 5:30 • Delirious — 2:46 • 1999 — 4:15 • Little Red Corvette — 5:10 • Take Me with U — 4:15 • Yankee Doodle (Interlude) — 6:10 • Do Me, Baby — 4:40 • Irresistible Bitch — 2:00 • Possessed — 4:24 • How Come U Don’t Call Me Anymore? — 5:05 • Let’s Pretend We’re Married — 4:15 • International Lover — 1:00 • God — 8:30 • Computer Blue — 4:30 • Darling Nikki — 4:00 • The Beautiful Ones — 7:30 • When Doves Cry — 8:15 • I Would Die 4 U — 3:50 • Baby I’m a Star — 10:00 • Purple Rain — 18:24 UK Albums (Official Charts) — 21 UK R&B Albums (Official Charts) — 1 US Billboard 200 — 22 US Top R&B/Hip-Hop Albums (Billboard) — 11 Personnel (Full Track‑Specific Credits) Prince And The Revolution Prince — lead vocals, guitar, tambourine and keyboards Bobby Z. — drums Brown Mark — bass guitar Wendy Melvoin — guitar Lisa Coleman — keyboards Dr. Fink — keyboards Eric Leeds — saxophone Additional Personnel Jerome Benton — dancer Greg Brooks — dancer Wally Safford — dancer Sheila E. — percussion Miko Weaver — guitar Eddie M. — saxophone Juan Escovedo — percussion Susie Davis — tambourine Apollonia Kotero — vocals, dancer and tambourine Susan Moonsie — vocals, dancer and tambourine Brenda Bennett — vocals, dancer and tambourine 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.

A major world-exclusive cover story and in-depth interview in Vibe magazine where Prince (O(+>) finally breaks his long silence, speaking candidly about his name change, identity, the Warner Bros. battle, and his vast unreleased music. PUBLICATION Publication: Vibe Magazine Date: August 1994 Country: United States Section / Pages: Front Cover + Multi-page Feature Title: ♫ Breaks the Silence THE STORY This powerful Vibe cover features a striking close-up portrait of Prince in a textured purple top, with the bold headline “EXCLUSIVE ♫ breaks the silence.” Inside, journalist Alan Light’s extensive interview — conducted in Monte Carlo — captures O(+> discussing his new identity, artistic freedom, the music industry, and his plans for the future. The piece includes vivid details from his hotel room, rehearsals, and performances. CONTEXT AND NOTES Published in August 1994 during the peak of Prince’s public conflict with Warner Bros., this interview is one of the most significant of the Symbol era. It offers rare insight into his mindset as he transitioned away from his birth name and fought for control of his music catalog and release schedule. FEATURE HIGHLIGHTS Event: World Exclusive In-Depth Interview Era: Mid-1990s / Symbol Era / Warner Bros. Dispute Tone: Candid, introspective, defiant Photography: Striking, intimate close-up cover portrait Audience: Hip-hop, R&B, and urban music culture readers WHAT THE CLIPPING SHOWS The full Vibe magazine cover with Prince staring intensely at the camera, plus excerpts from the long-form interview detailing his thoughts on identity, freedom, and new music. RELATED MATERIAL Prince O(+> (July 1994) “I am normal!” – Q Magazine (UK) Prince O(+> (July 1994) Die Sensation. – Max Magazine (Europe) Prince O(+> (July 6, 1994) Clone Prince and the Court Jesters – Manchester Evening News Magazine (UK) PRINCE DESPERATELY WANTS TO PLAY A club show after the San Francisco gig, but his throat is too sore. Instead, there’s a party at the DV8 club. He arrives with a phalanx of bodyguards, clears out half the room, and sits alone on a sofa. One of the security guys grabs me and sits me on the couch. Prince hands me a banana-flavored lollipop. “I would have brought you a cigar, but I didn’t think you smoked,” he says. He pours us each a glass of port ("I learned about this from Arsenio"). Occasionally, acquaintances manage to make their way through the wall of security, but he is wary of touching them. “I don’t like shaking hands,” he says. “Brothers always feel like they got to give you that real firm handshake. Then you can’t play the piano the next day.” We chat about the new contract he signed with Warner Bros., which was reported to be worth as much as $100 million. He says the deal is nothing like it is being reported, and though he wants most of the conversation to remain “just between us – I just wanted to talk about some of these things,” he makes a few mysterious comments that will prove crucial to the next stage of his continual metamorphosis. “We have a new album finished,” he says conspiratorially, “but Warner Bros. doesn’t know it. From now on, Warner’s only gets old songs out of the vault. New songs we’ll play at shows. Music should be free, anyway.” Before he heads off into the night, Prince lifts his glass of port and offers a toast. Leaning closer, he whispers, “To Oz.” INTERLUDE June 7 1993 HAVING ANNOUNCED HIS RETIREMENT from studio recording on April 27, Prince takes the occasion of his 35th birthday to inform the world that he is changing his name to O(+>, a symbol that, in one form or another, has been part of his iconography in recent years. (After starting as a simple combination of the symbols for male and female, it sprouted another flourish when it became the title of his last album; he has also signed autographs with the symbol for some time.) He adds that he will no longer be performing any of his old songs, as they belong to the old name. The rumor floats that he wants to be called Victor (which, happily, proves untrue), while the media struggles with the whole idea; Warner Bros. sends out software allowing the new name to be printed, but many jokes and frequent references to “Symbol Man,” “the Glyph,” and “What’s-His-Symbol” start turning up in the press. Some in the industry combine the two announcements and speculate that changing his name might be a way to finesse his way out of his Warner’s contract. With 500-plus finished songs in the vault, is Prince, or O(+>, or whoever, planning to use the name-change as a renegotiation strategy or some kind of scheme to get out of the Warner deal? ACT II Chanhassen, Minn. July 12 1993 PAST THE CHANHASSEN DINNER THEATRE, past the American Legion post where a Little League game is in progress, after miles of fields and open spaces lies the gleaming, towering Paisley Park, the studio and office complex that houses Paisley Park Enterprises. There are dozens of people on the Paisley staff – an entire industry built around one man in heels – working to keep the studio and the songs and, mostly, the person at the center of it all humming and creating at their maximum potential. There’s a lot that seems like star-tripping inside O(+>’s world, lots that can make you impatient – and multiple costume changes, even on off days, don’t help matters – but over time it becomes clear that the whole structure exists so that absolutely nothing gets in the way of the music, nothing touches O(+> that he doesn’t choose to address. Tonight O(+>> will go through his final rehearsal for a greatest hits tour of Europe. Several hundred tickets have been sold to benefit local radio station KMOJ, and the mixed-race, well-to-do crowd mills around the Paisley Park soundstage in flowery prints and orange suits, waiting for Minneapolis’s favorite son. The NPG and gospel singers the Steeles play brief opening sets. O(+> makes no reference to the name-change or the retirement when he ambles onstage to the opening chord of “Let’s Go Crazy.” In fact, he hardly talks at all through a loose 90-minute set. He closes the show with two new songs: a sexy shuffle called “Come” that he occasionally dropped into the U.S. concerts, and “Endorphinmachine,” a metallic rave-up that kicks and stomps like the Purple Rain hits that made him a household name exactly 10 years ago. But as always, what it really seems to come down to is the music. Prince decided that it was time to close the book on one stage of his musical development and find a way to move on to the next. “Prince did retire,” says O(+> emphatically in the Cote Jardin, waving away the pastry delivered with his tea. “He stopped making records because he didn’t need to anymore.” Later, at the Sporting Club, he’ll add that “it’s fun to draw a line in the sand and say, ’Things change here.’ I don’t mind if people are cynical or make jokes – that’s part of it, but this is what I choose to be called. You find out quickly who respects and who disrespects you. It took Muhammad Ali years before people stopped calling him Cassius Clay.” He is, quite simply, fixated on one thing: He has too much music sitting around, and he wants people to hear it. As O(+> explains it, Warner Bros. says it can handle only one album per year from him, while he’s recording the equivalent of at least three or four every year. By the time an album makes its way through the corporate machine for release, he’s finished another one. By the time he goes on tour to promote the first album, he’s done with a third. So what’s a O(+> to do? The plan he is devising works like this: He will fulfill his Warner’s contract – he still owes them five albums – with Prince material from the vaults at whatever rate they want (and, he adds, “the best Prince music still hasn’t been released"). Meanwhile, O(+> will work with a smaller label to put out new music under his new name. From almost anyone else, the whole thing would seem like a scam; from someone with a legitimate claim to having wrested the Hardest-Working-Man-in-Show-Business title from James Brown, it starts to sound a little more reasonable. Reasonable, that is, to everyone but his bosses at Warner’s. “I knew there would come a phase in my life when I would want to get all this music out,” he says. “I just wish I had some magic words I could say to Warner’s so it would work out.” O(+> emphasizes that he has no beef with Warner Bros. or chairman Mo Ostin, that he understands their concerns about this proposed plan and respects them for allowing him to try out this arrangement with Bellmark for “Beautiful Girl.” “I really think they would find a way to let me do this,” he says, “but they’re afraid of the ripple effect, that everybody would want to do it.” His problem, ultimately, is with the structure of the music industry. “Did you see The Firm?” he asks. “I feel like the music business is like that – that they just won’t let you out once you’re in it. There’s just a few people with all the power. Like, I didn’t play the MTV Music Awards; suddenly, I can’t get a video on MTV, and you can’t get a hit without that. I’ve come to respect deeds and actions more than music – like Pearl Jam not making videos.” What is seeking is the opportunity to get more involved in the presentation of the music, which is why an indie label like Bellmark appeals to him. He’s shot a video for a song called “Love Sign,” directed by Ice Cube, and he’s looking into possible outlets for its release. He wants to be able to sell records at concerts and in clubs – a logical move, especially for someone like George Clinton, best known for his tireless touring – but Warner Bros. feels, according to O(+>, that such a move would cause problems with retailers. He wants to use his music to raise money for charities, but “they don’t want to hear about giving music away.” “Shouldn’t it be up to the artist how the music comes out?” he asks, shaking his head and staring at the floor of the spartan Sporting Club dressing room. Several times, he points to George Michael’s lawsuit with Sony Music U.K. over “restraint of trade” as an example of how twisted things have gotten in the biz. “They’re just songs, just our thoughts. Nobody has a mortgage on your thoughts. We’ve got it all wrong, discouraging our artists. In America, we’re just not as free as we think. Look at George Clinton. They should be giving that man a government grant for being that funky! “People think this is all some scheme. This isn’t a scheme, some master plan. I don’t have a master plan; maybe somebody does.” He shakes his head again. “I just wish I had some magic words,” he repeats. “It’s in God’s hands now.” He has asked me to fly out for this show, but we never speak. After the performance, his publicist says that O(+> wants to know what I thought of the NPG’s set and how I liked the new songs. What really happened tonight, though, was O(+>’s final appearance in this country as part of what is now a farewell tour. Which means that if he keeps to his word, this is the last time he will ever play such songs as “Purple Rain,” “Kiss,” and “Sign O’ the Times” in America. INTERLUDE Fall/Winter 1993-94 ON SEPTEMBER 14 PRINCE RELEASES THE Hits/The B-Sides, which sells steadily, if unspectacularly for such a long-awaited retrospective. Two new singles, “Pink Cashmere” and “Peach” – the last he will issue under the name Prince – are released; “Cashmere” grazes the pop charts, “Peach" doesn’t even do that well. It is subsequently announced that his label, Paisley Park Records, is being dissolved, leaving Mavis Staples and George Clinton temporarily without a home and putting an album by former backup singer Rosie Gaines on permanent hold. In the winter, ads turn up in several national magazines saying, “Eligible bachelor seeks the most beautiful girl in the world to spend the holidays with,” and asking that photos be sent to the Paisley Park address. On Valentine’s Day, O(+> drops his first single under the new name. It is a pleasant enough trifle, a Philly-soul-style ballad titled “The Most Beautiful Girl in the World,” and it is debuted at the Miss U.S.A. pageant. The video features some of the women who responded to the ads. “Beautiful Girl” is released not on Warner Bros. but on NPG/Bellmark Records. (Bellmark, whose president, Al Bell, was the pilot of the legendary Stax Records in the ’60s, stormed the charts last year with “Whoomp! (There It Is)” and “Dazzey Duks.”) “Beautiful Girl” climbs to No. 3 on the U.S. pop charts, the biggest hit for O(+> under any name in several years (although 1994 also marks the 12th year in a row that he has landed a single in the Top 10). It is also, believe it or not, his first No. 1 ever in the U.K. And suddenly, the artist formerly known as Prince is a hot commodity again. ACT III Monte Carlo May 2 1994 SCENE I So how do you pronounce it? “You don’t.” And is that ever a problem when people around you want to address you? “No.” A very final, definite no. But what becomes clear is that there are reasons for the name-change, and after sitting with O(+> for several hours, it even starts to make some kind of sense. “I followed the advice of my spirit,” is the short answer. But it is, first of all, about age-old questions of naming and identity. The man born Prince Rogers Nelson goes on to explain, “I’m not the son of Nell. I don’t know who that is, ’Nell’s son,’ and that’s my last name. I asked Gilbert Davison [ O(+>’s manager and closest friend, and president of NPG Records] if he knew who David was, and he didn’t even know what I was talking about. I started thinking about that, and I would wake up nights thinking, Who am I? What am I?” SCENE II There are three DO NOT DISTURB signs on the door. A desk and a white upright Yamaha piano face the floor-to-ceiling windows with a breathtaking view of the Mediterranean Sea. A bowl of Tootsie Pops and assorted sweets sits on a coffee table. Tostitos, Sun Chips, and newspapers lie scattered in the corners. 7Up fills the bar, and various colored cloths are draped over all the furniture in the room. O(+>’s room in the Hôtel de Paris is fancy, if not exactly elegant. It is here that he wants me to check out two albums that may or may not see the light of day: the next Prince album, Come, scheduled for an August release, and the first O(+> collection, titled The Gold Album, both pressed on CDs with hand-drawn cover art. This time I’m the one fighting a cold, and he expresses concern, keeping the tea flowing, pouring for us both when it arrives. First comes the Prince album, which includes “Endorphinmachine” and “Come” and a fleshed-out version of “Dark,” complete with a slinky horn arrangement that completes the sketch I heard a year before. O(+> skips back and forth between tracks. It all sounds strong – first-rate, even – but he seems impatient with it, like it’s old news. The Gold Album is another matter. He lets the songs run, playing air guitar or noodling along at the piano. The songs are stripped-down, taut, funky as hell, full of sex and bite. “Days of Wild” is a dense, “Atomic Dog"-style jam with multiple, interlocking bass lines. “Now” (which he debuted on Soul Train this same week) is a bouncing party romp; “319” is rocking, roaring, and dirty; and “RIPOPGODAZIPPA” is just dirty. This album is more experimental, more surprising structurally and sonically. Hearing the two albums back-to-back, it’s clear that the Prince album may be more commercial than O(+>’s, but it’s also more conventional – as conventional as he gets, anyway. O(+> says that since the name-change, he’s writing more about freedom and the lack thereof, and that’s it exactly: The O(+> songs sound freer than he has in years. He sounds energized, excited, and also humbler and more focused than he did a year ago in San Francisco. His album covers used to include the phrase “May U live 2 see the dawn.” This album opens with the words “Welcome 2 the dawn.” That night, the songs take on even more life at a late gig at a Monte Carlo “American blues and sports bar” called Star’s n Bars. The occasion is a private party for Monaco’s Prince Albert. Earlier in the evening, O(+> committed a faux pas that received international coverage when, dressed in see-through gold brocade and toting one of those lollipops, he left a royal reception before Albert did. To make up for his breach of protocol, O(+> is on especially good behavior at the show. “MUCH PROPS TO PRINCE ALBERT FOR HAVING us in his beautiful country!” are his first words onstage, and he later refers to Albert as “the funkiest man in show business.” After the show, he autographs a tambourine for our host, inscribing inside, “You’re the real Prince!” The NPG are lean and in prime fighting shape, trimmed down to just Tommy Barbarella and newcomer Morris Hayes on keyboards, Sonny Thompson on bass, monster drummer Michael Bland, and dancer/visual foil Mayte. No more rappers, extra dancers, or percussionists. “This band is just beginning to play to its strength,” O(+> said earlier. “The Lovesexy band was about musicality, a willingness to take risks. Since then I’ve been thinking too much. This band is about funk, so I’ve learned to get out of the way and let that be the sound, the look, the style, everything. They’ve never played together like this before.” They storm through 11 new songs, winding things up at 3 a.m., a pretty early night by O(+> standards. The next night, they’re back at Star’s n Bars, and even at sound check this time he’s really ready to rip. We talked earlier about the title track to The Gold Album, which members of his entourage were raving about but he didn’t play for me. He said then that he’s worried about playing some of the new songs because the bootleggers will have them out on the market before he will. Here in sound check, though, he lets it go, and it’s a stunner – a soaring anthem of “Purple Rain” scale, a gorgeous warning that “all that glitters ain’t gold.” (He recently quoted these lyrics as part of his speech at the Celebrate the Soul of American Music show, directing his comments toward the music industry.) O(+> bounds off the club’s stage and strides over, greeting me with a big smile and even a handshake. He’s excited for tonight’s show because “tonight we’re playing for real people.” Well, as real as people get in Monaco, anyway. Before the band starts, at around 1:30, talk of international finance and the restaurant business fills the air. You could choke on the Chanel in here, and the number of coats and ties makes it feel like a boardroom instead of a barroom. But let me tell you: People in Monaco are ready to party. Soon they’re dancing three and four to a tabletop, screaming along chants, soul-clapping straight outta Uptown. “Days of Wild” goes on for 20 minutes, and an obviously impressed O(+> says from the stage, “I didn’t know I had to come all the way over here to get a crowd this funky!” They don’t respond as much to the slower songs, though, not even to a drop-dead knockout version of “Dark,” a reminder that this man not only has the most emotionally complex falsetto since Al Green but plays the baddest guitar this side of Eddie Van Halen. But when he takes the tempo up, they can’t get enough. “Don’t you got to go to work tomorrow?” he asks. “Oh, I see. I’m in Monte Carlo – everybody just chills.” Finally, at 3:30, he closes with “Peach” ("an old song"), and everyone puts their heels and sweat-stained blazers back on and calls it a night. He has played 14 songs, and – other than snippets of John Lee Hooker’s “I’m in the Mood” (a longtime jamming favorite) and Sly Stone’s “Babies Makin’ Babies” – no one had heard a note of them before. No one was calling out for “Little Red Corvette.” No one seemed to mind. Earlier, I asked if the idea of never playing all those Prince songs again made him sad at all. “I would be sad,” he replied, “if I didn’t know that I had such great shit to come with.” SCENE III At the Monte Carlo Sporting Club, O(+> is checking out the set for his performance at the Awards. The backdrop is a big, silver, fuzzy O(+> symbol. “They got my name looking like a float,” he whispers, more amused than annoyed. But then, if your tolerance for tackiness is low, the World Music Awards is no place to be. The nominal point here is to honor the world’s best-selling artists by country or region, plus some lifetime-achievement types. The presenters and hosts – the most random aggregate of celebrities imaginable – seem to have been chosen based on who would accept a free trip to Monaco. Ursula Andress? Kylie Minogue? And in clear violation of some Geneva convention limit on cheesiness, Fabio and David Copperfield are both here to present awards. Honorees include Ace of Base, smooth-sounding Japanese R&B crooners Chage & Aska, Kenny G (who annoys everyone backstage by wandering around tootling on that damn sax), and six-year-old French sensation Jordy (who runs offstage and kisses Prince Albert in mid-performance, which somehow does not create an international scandal). Whitney Houston wins her usual barrelful of trophies, and the whole thing is almost worth it to hear Ray Charles sit alone at the piano and sing “Till There Was You.” O(+> sits patiently through it all, not something he usually does (but again, this is royalty, you know). Before receiving his award from Placido Domingo (!), he puts as much as he can into “Beautiful Girl,” though the show is making him do something he hates: lip-synch. “It’s cheating!” he says backstage, adding slyly, “Lip-synchers, you know who you are. See, if I would lip-synch, I’d be doing backflips, hanging from the rafters, but to cheat and be tired!” I ask if he thinks people feel too much pressure to live up to the production quality of their videos. “Concerts are concerts and videos are videos. But I’m guilty of it myself, so that’s going to change. “Concerts, that whole thing is old, anyway. To go and wait and the lights go down and then you scream, that’s played. Sound check is for lazy people; I want to open the doors earlier, let people hang out. Make it more like a fair.” In his room, he has a videotape of the stage set he’s having built for the next tour – a huge, sprawling thing, something like an arena-size tree house. But still, the first thing O(+> does when he finishes “Beautiful Girl” at the Awards is ask for a videotape, wondering how one dance step looked, concerned that he has reversed two words and rendered the lip-synch imperfect. Even here, he is simply incapable of just walking through it. And that’s what it always comes back to. There is only the music. Look at him, putting more into a sound check than most performers put into their biggest shows. Laugh at his ideas, his clothes, his name. But look at what he is doing: He’s 15 years into this career, a time when most stars are kicking back, going through the motions. But he is still rethinking the rules of performance, the idea of how music is released, the basic concepts about how we consume and listen to music, still challenging himself and his audience like an avant-garde artist, not a platinum-selling pop star. And we still haven’t talked about his plans for simulcasts and listening booths in his Glam Slam clubs in Minneapolis, L.A., and Miami, or about the 1-800-NEW-FUNK collection of other artists he’s working with for NPG Records, or his thoughts on music and on-line and CD-ROM systems, or the two new magazines he’s started.... Of course, from where it stands, Warner Bros.’ objections to his ambitious (some would say foolish) plans make conventional business sense: Would the increase in new music, coming from so many media, create a glut and cut into the sales of all the releases? Is it financially feasible? But these kinds of questions seem to be the furthest thing from O(+>’s mind. And okay, maybe the unpronounceable name is a little silly, and let’s not forget – he retired from performances once before, back in 1985, and how long did that last? But there’s no arguing with the effort, the seriousness, the intensity with which he is approaching this new era in his life. “There’s no reason for me to be playing around now,” says O(+>, laughing. “Now we’re just doing things for the funk of it.”

A fiery two-page review in MOJO magazine celebrating Prince’s return to loud, guitar-driven rock on his album Chaos and Disorder, praising the raw energy and creativity during his post-marriage “honeymoon” period with Mayte. PUBLICATION Publication: MOJO Date: August 1, 1996 Country: United Kingdom Section / Pages: Album Review / Two-page spread Title: This Time, He Rocks THE STORY In this enthusiastic MOJO review, Charles Shaar Murray dives into Prince’s (TAFKA) new album Chaos and Disorder. The writer highlights Prince’s return to cranking up his guitar “to 11,” blending rock, funk, and raw energy. The piece portrays the album as a creative outburst following his marriage to Mayte, featuring the reunited NPG with Rosie Gaines, and positions it as a strong rock statement during a time when many thought Prince had drifted away from his roots. CONTEXT AND NOTES Published in August 1996, this review covers Chaos and Disorder — Prince’s final album under his Warner Bros. contract. It reflects the transitional and often misunderstood period of his career, where he was rebelling against the label while delivering high-energy rock-funk material. MOJO’s coverage shows the respect Prince still commanded in the UK rock press. FEATURE HIGHLIGHTS Event: In-depth review of Chaos and Disorder album Era: Mid-1990s / Chaos and Disorder / TAFKA Prince era Tone: Energetic, appreciative, rock-critic enthusiastic Photography: Large artistic graphic illustration by Ian Wright (purple/green abstract design) Audience: Serious rock and funk music fans WHAT THE CLIPPING SHOWS A bold two-page MOJO spread with the striking headline “This Time, He Rocks,” dense text by Charles Shaar Murray, and a massive, colorful abstract illustration by Ian Wright dominating the right side. The layout captures the loud, rebellious spirit of the album. RELATED MATERIAL Prince (October 23, 1996) Prince cambia – Scrapbook Entry (Italy) Prince / Various Artists (March 19, 1996) Girl 6 – Soundtrack Album Prince O(+> (November 19 1996) Emancipation - 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. In other words, this one rocks. In the vernacular, it rocks like a bastard, and that's 'rock' as in P-Funk, Sly and live Cameo (in their hot phase between She's Strange and Word Up!, natürlich) as well as 'rock' in the guitar-crunching tradition of Who-Hendrix-Pistols and the little guy's own Dirty Mind and Purple Rain phases. Check it out: 30 seconds into the stomping Hendrix- plus-Hammond opening title track and it's like Lenny Kravitz never happened. Apart from the occasional poppy, radio-friendly pace- changer - Dinner With Dolores, complete with R.E.M. ish acoustic arpeggios, sounds like a trailer for some forthcoming TAFKAP Unplugged special; Into The Light and I Will are faintly twee inspirational piano ballads which itch to be covered by Meat Loaf or Cher; Had U is a string-laden throwaway closing snippet yer man has his funny-shaped guitars plugged in and cranked all the way to 11. He hasn't spanked this much plank on record for a very long time, and the range displayed here stretches from scratchy nuevowavo rhythm guitar in the Cars-Costello bag through lotioned funk motion to 57 varieties of hardrock filth: Jimiesque wah-wah gobbles, Billy Gibbons squeals, Creamy Claptonian woman-tones, Stevie Ray Vaughan snarls, Santana rhapsodics, Townshend chord-monoliths. And if you've had enough of Himself being pompous (about sex, God, his career and everything), then rest assured that he appears to feel the same way. Chaos And Disorder is as light of heart and feet as it's heavy on the one, and on the loud pedal. Zannalee, for example, is an exuberantly rocking blues shuffle which sounds like a young T-Bone Walker high on E in the year 2000, I Like It There is as free-flowingly carnal as rock gets these days, and Dig U Better Dead is a way-cool exercise in post- P-Funk dancefloor candy. But the album's real murderer is I Rock Therefore I Am, the 'dopest, flyest, O.G. pimp hustler gangster player ILLUSTRATION BY IAN WRIGHT

A very special edition of Planet Earth produced exclusively for ticket holders of Prince’s historic “21 Nights” residency at the O2 Arena in London. This version features the same 10-track album as the free Mail on Sunday giveaway but comes in a distinctive rounded-edge slipcase with no newspaper references. RELEASE DETAILS Artist: Prince Label: NPG Records Date: August 2007 Catalogue: None Format: CD, Album, Special Edition (Rounded Edge Slipcase) Country: United Kingdom CONTEXT & NOTES During the sold-out 21 Nights residency in August 2007, Prince gifted this exclusive CD to attendees. It is essentially identical to the widely distributed Mail on Sunday version but was customized for the London shows (no newspaper branding, no text around the CD rim, and a rounded slipcase). This remains one of the most sought-after physical editions of the album by collectors. TRACK LIST Planet Earth – 5:51 Guitar – 3:45 Somewhere Here On Earth – 5:45 The One U Wanna C – 4:29 Future Baby Mama – 4:47 Mr. Goodnight – 4:26 All The Midnights In The World – 2:21 Chelsea Rodgers – 5:41 Lion Of Judah – 4:10 Resolution – 3:40 PACKAGING HIGHLIGHTS Special rounded-edge slipcase (unique to this edition) Lenticular-style or standard cosmic front cover artwork No booklet Plain disc with minimal or no rim text WHAT THE SLEEVE SHOWS Front Cover: Prince in red shirt with Love Symbol necklace, hands over his heart, above Planet Earth in glowing cosmic background (same iconic image as the main release) Back / Slipcase: Minimal design with rounded corners and no Mail on Sunday references Disc: Standard Planet Earth label without newspaper branding RELATED MATERIAL Planet Earth Free Mail on Sunday Edition (July 2007) Planet Earth European Lenticular Digipak Reissue (2019) Planet Earth Japanese Blu-spec CD2 (2019) Q Magazine Full-Page Advert (2007) SOURCES Discogs, Prince Vault, fan documentation from 21 Nights residency 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 rare, intimate early interview with 21-year-old Prince as he began to capture the hearts of a new generation of fans. SOURCE DETAILS Publication: Right On! Date: August1980 Country: United States Section / Pages: Main Feature THE STORY This in-depth profile by Cynthia Horner presents Prince as both a musical genius and an enigmatic personality. The article explores his self-produced debut album For You, his multi-instrumental talent, his reluctance to discuss his personal life, and his views on fame, relationships, and the music industry. CONTEXT & NOTES By early 1980, Prince had released his debut album For You and was beginning to build a cult following. This Right On! feature is significant as one of the earliest major magazine interviews with him, capturing the young artist at a pivotal moment — already highly talented but still somewhat mysterious to the wider public. FEATURE HIGHLIGHTS Event: Major early career interview with Prince Era: 1980 – Post-For You / Early career Tone: Curious and admiring Photography: Striking colour portrait of Prince on the cover + additional photos inside Audience: Young Black music fans and Right On! readers WHAT THE CLIPPING SHOWS A vibrant Right On! magazine feature with a large, eye-catching colour portrait of Prince on the cover and several pages of interview text inside. The layout includes bold headlines, personal quotes from Prince, and classic late-1970s/early-1980s teen magazine design. RELATED MATERIAL For other relevant posts, see the tags at the foot of the page Prince is a mystery man. His record company biography is a collection of information similar to a Right On! fact sheet. It simply tells his name (the name he chooses to use), his age, and the fact that he’s the youngest producer in the history of Warner Bros. Records. When you finally meet him; he’s still a mystery. It’s no wonder that Right On! (one of his favorite magazines) is one of the few publications that’s granted the opportunity to meet him, because those who have, have gone away unsatisfied. hy? Because Prince refuses to talk about himself. Getting answers from him is like trying to pry open a clam. It’s not that he’s trying to keep himself a mystery, he just doesn’t have much to say. Sometimes it’s because he’s being a tease, and other times because he really doesn’t know what to say. When I was sitting in a recording studio listening to him play an intricate piece of music on equipment I’ve never even seen before, I was amazed at the talents this eighteen-year-old genius possesses. His finesse on these instruments is better than musicians twice his age. Sunglasses temporarily hide his resemblance to one of the Sylvers, but outside in the bright sunlight, your struck by his handsome looks, his wistful, longing expression, and his glorious head of hair. Surprisingly, this strong masculine figure is really short—no more than about 5'2" probably. “Prince’s home is in Minneapolis, Minn., a city, not typically known for producing music giants the way California and New York churn them out. His musical background consists of pianoplaying father (the person who insisted his first name be Prince) and a mother who sings. No, he didn’t grow up taking music lessons. “I took one piano lesson and one guitar lesson/’ he recalls. “I didn’t learn anything. I taught myself.” Thinking back, he laughs for a second and reveals a tiny part of his nature. “I’m stubborn,” he said, his brown eyes boring right through me. ”I took a few music classes in school but mainly, I worked on my own.” As the amazing success story unfolds I find it necessary to tell you that Prince not only wrote, composed, arranged, and produced all the tunes on his debut album, For You, but he also played all the instruments. Funny that he never had. anybody teach him how to use any of them. When questioned about the amount of instruments he plays, he shrugs nonchalantly and says, ’I don’t know, I never counted. I am learning to play the flute, though,” he offered. A teenager’s deep immersion into the recording business is indeed rare. While other young men are exploring the wonder of the opposite sex or trying to prepare themselves for a career, Prince was creating an album which was so exciting, that it immediately drew interest from multiple record companies. The fact that his parents aren’t musical giants on a level of Maurice White or a Stevie Wonder makes it even more of a phenomenon. His personal manager Owen Husney, the person Prince turns to the most, explains. "Prince is from a regular family, depending on how you define ‘regular,’ Compared to having been born in a Maurice White family, yes. But I think that the best thing Prince had was that he knew how to work with the right people intuitively in making the kinds of decisions that furthered him. This know-how helps him get to the right places at the right time.’’ Besides being at the right place at the right time, Prince’s self-confidence (even though outwardly he appears to be very withdrawn and reticent) has taken him to unbelievable heights. After all, how many musicians would be bold enough to produce their very first album? As Prince sees it, “I thought I knew my material better than any other producer and it seemed like I was best suited for the job,” Obviously, Warner Bros. agreed since there was no hesitation in allowing this Gemini to produce his package the way he saw fit. In fact, his disco tune “Soft And Wet” which incidentally, is one of the tunes he sent to the record companies on demo tapes, is rapidly climbing record charts as well as being played constantly. How does he feel about it? “It doesn’t seem like me,” Prince admitted, moistening his lips. Without meaning to, he does it very sensually. “Mainly because where I live is kind of isolated from the musical scene in itself. I can only tell what’s going on from reading magazines. When I hear ’Soft And Wet’ on the radio, it seems like someone else is singing.” I’m inclined to agree because even though Prince, the singer, belts out his tune in a very high falsetto tone, his speaking voice is low and deep. On a not-so-serious side, I ask Prince what are his interests besides music? Not a bit hesitantly, he replies, “Women, all kinds.” When prodded, he elaborates, “I like the ones with nice personalities.” “Do you get out much?” “No. Not really.” “What age range of young ladies do you like?” “It doesn’t matter.” What are some of his “favorites"? He ponders but can’t think of any special activities or movies. No favorite musicians either because as he puts it, “I haven’t had a lot of time to develop a favorite artist. I try not to listen to too many people. It’s distracting.” Spoken like a dedicated musician. “What kinds of clothes do you like to wear?” “I hate clothes.” Then you Probably seldom shop.” “Well, no, not really, somebody goes for me.” He looks down at his slacks and his nearly open-to-the-navel shirt over which a scarf rests fashionably. “And foods?” “Mashed yeast,” he says seriously, with eyes sparkling in humor. “I don’t know,” he laughs.” “You just like to play around. Now tell me some of your favorite foods.” “Bubble yum.” “Okay, you win,” I tell him. “Tell me what your favorite subjects were in school besides music and I’ll stop.” “Dismissal,” he says. “I didn’t like school or sports. Only when I was younger.” Has success changed the Minneapolis boy wonder? He shakes his head no. “But it changes everybody else,” ,he observed. “How they treat you. It’s not bad though,” he screws up his brow trying to figure out how to explain the phoniness of people involved with show business. “I don’t dislike it yet. The only thing I have disliked is the late hours. Not that I like to go to bed early, it’s just that when I’m working, it gets pretty weird.” When told he’s becoming a sex symbol probably faster than he’s becoming a respected musician, his eyes naively widen in amazement. He’s not sure how he feels about it but he does know he won’t be getting married soon. When? “By the time I’m ready to get married, there won’t be marriage,” he said philosophically. “Probably in the year 2066.” “I wouldn’t mind having a child though, a test tube baby,” he said looking at me through those , that could turn a body to jelly. “And I just want to say one last thing,“ added, taking over the tape recorder " I really want to thank everybody for buying my album.” After all, it was written for you! Cynthia Horner Right On! January 1980 All magazine 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 12" maxi-single was the lead release from the Graffiti Bridge album and film. Artist: Prince Label: Paisley Park / Warner Bros. Date: August 2, 1990 Catalogue: 0-21598 Format: 12" Single Country: USA Written by: Prince Produced by: Prince TRACK LIST USA 12" Single (0-21598) Side A Thieves In The Temple (Remix) (8:03) Side B Thieves In The House Mix (6:50) Temple House Dub (5:06) LINKED RELEASES / VARIANTS Album version on Graffiti Bridge (1990) Various international 7" and 12" releases PERSONNEL Produced, arranged, composed and performed by Prince (Remixed by Paisley Park) THE STORY “Thieves In The Temple” was the first single from Prince’s Graffiti Bridge project. Released five weeks before the album, it showcased a return to a more dance-oriented funk sound. The 12" featured extended remixes, continuing Prince’s tradition of offering club-friendly versions on maxi-singles. CONTEXT & NOTES This US 12" pressing includes the long remix on the A-side and two house-influenced mixes on the B-side. The striking cover artwork features Prince in a black leather jacket. CHART PERFORMANCE US Billboard Hot 100 – #6 (peaked August 4, 1990) US Billboard Hot Black Singles – #1 (peaked August 4, 1990) US Billboard Hot Dance Music – Club Play – #9 RELATED MATERIAL Prince (1990) Graffiti Bridge (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.

Prince released “Sexuality” as a single in Australia on August 2, 1982, backed with “I Wanna Be Your Lover” (unlike the German and Japanese releases which used “Controversy” as the B-side) RELEASE DETAILS Artist: Prince Label: Warner Bros. Records Format: 7" Vinyl Single Country: Australia Released: August 2, 1982 Genre: Funk, Rock, Minneapolis Sound A-Side: “Sexuality” Written by: Prince Produced by: Prince B-Side: “I Wanna Be Your Lover” Written by: Prince Produced by: Prince TRACK LIST Australia 7" Commercial Single (WB 0636) A. Sexuality – 4:20 B. I Wanna Be Your Lover – 5:47 CHART PERFORMANCE Did not chart INTERNATIONAL VARIANTS Germany – Warner Bros. – WB 17869 / WB 26197 (October 1981) Japan – Warner Bros. – P-1619 (February 1982) (both featuring "Controversy" as the B-side.) PERSONNEL Prince – lead and backing vocals, all instruments Production Produced by Prince THE STORY “Sexuality” was released as a limited international single in only a few territories. The Australian edition is unique for pairing it with “I Wanna Be Your Lover” as the B-side instead of “Controversy”. CONTEXT & NOTES This was one of the final releases from the Controversy album campaign. The Australian pressing used a generic WEA company sleeve and is relatively rare compared to other international variants. RELATED RELEASES Prince (February 1982) Sexuality / Controversy – Single 7" JP Prince (October 1981) Sexuality / Controversy – Single 7" DE Prince (November 1981) Controversy / When You Were Mine – Single 7" FR SOURCES Prince Vault Discogs 45cat Wikipedia Sleevographia2 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.