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

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

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

This Austin American‑Statesman feature by Michael MacCambridge reviews Graffiti Bridge, describing Prince’s renewed creative energy and calling the project a “full‑blown call to funk‑rock arms.” The article positions the soundtrack and film as a confident return to form after Batman, reaffirming his genius and musical range. Publication: Austin American‑Statesman Date: August 23 1990 Country: United States The review highlights Graffiti Bridge as Prince’s latest double‑album and film project, featuring contributions from The Time, George Clinton, Mavis Staples, and Tevin Campbell. MacCambridge praises the album’s 17‑song suite for its spiritual depth and funk‑driven vitality, noting standout tracks such as Release It, Love Machine. The critic contrasts the new work with the darker Batman soundtrack, describing Graffiti Bridge as a reaffirmation of Prince’s creative brilliance and his ability to merge faith, funk, and flamboyance. CONTEXT AND NOTES By 1990, Prince was re‑establishing his independence through Paisley Park. Graffiti Bridge bridged his 1980s legacy with a new spiritual direction, marking a turning point in his late‑career resurgence. The review’s tone reflects renewed critical respect, positioning the project as a comeback and a celebration of his artistry. FEATURE HIGHLIGHTS Event: Prince’s return to the spotlight with Graffiti Bridge Era: 1990 – Graffiti Bridge  Tone: Analytical, celebratory, and reverent Photography: Promotional artwork and film stills from Graffiti Bridge WHAT THE CLIPPING SHOWS Newspaper review headlined “‘Graffiti’ puts Prince back on track” Commentary on Prince’s creative rebirth and musical range Mentions of collaborators including The Time, George Clinton, and Mavis Staples Three‑star rating for Graffiti Bridge across all formats 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 Province feature by Tom Harrison reviews Prince’s new album Graffiti Bridge, describing it as a bold, spiritual, and myth‑laden project that opens the 1990s with renewed purpose. The article contrasts Prince’s moral and mystical themes with the usual rock tropes of sex and drugs, calling the record a striking departure from Lovesexy and Batman. Publication: The Province Date: August 23 1990 Country: Canada Harrison’s review explores Graffiti Bridge as both an album and a film soundtrack, noting Prince’s attempt to replace “sex and drugs and rock ’n’ roll” with a more personal concept of “sex, God and rock ’n’ roll.” The critic highlights Prince’s mythological self‑portrayal and his continued spiritual evolution. Songs such as Thieves in the Temple, Round and Round, and Still Would Stand All Time are cited as examples of his blend of pop, rock, and gospel influences. The article mentions returning collaborators The Time, Mavis Staples, and George Clinton, and describes Graffiti Bridge as adventurous, provocative, and thematically ambitious. CONTEXT AND NOTES By mid‑1990, Prince was redefining his artistic identity through Paisley Park, merging faith and funk in equal measure. Graffiti Bridge represented his fourth film and a continuation of the Purple Rain mythology. The review’s tone reflects both admiration and curiosity about his evolving message, positioning the album as a complex, introspective work that bridges his 1980s legacy with a new decade’s vision. FEATURE HIGHLIGHTS Event: Release of Graffiti Bridge album and film soundtrack Era: 1990 – Graffiti Bridge / Spiritual Reinvention Era Tone: Analytical, reflective, and slightly skeptical Photography: Black‑and‑white performance photo of Prince gesturing dramatically on stage 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 Lancaster New Era feature by Gary Graff and W. Kim Heron reviews Prince’s new album Graffiti Bridge, describing it as a creative and accessible return to form. The article praises the record’s 17 songs for their spiritual undertones, musical diversity, and seamless blend of rock, R&B, and funk. Publication: Lancaster New Era Date: August 23 1990 Country: United States The review highlights Graffiti Bridge as Prince’s most focused and consistent effort since Purple Rain. It notes that the album doubles as the soundtrack to his upcoming film and features collaborations with Mavis Staples (Melody Cool), Tevin Campbell (Round and Round), and George Clinton (We Can Funk). The writers describe the record as a master stroke that merges house‑style drums, bright melodies, and Hendrix‑influenced guitar solos. They emphasise Prince’s ability to mix rock and R&B into a distinctive sound while maintaining his role as producer and songwriter. The review concludes that Graffiti Bridge is creative, commercially accessible, and a defining work for Prince entering the 1990s. CONTEXT AND NOTES By 1990, Prince was expanding his Paisley Park vision through both film and music. The article positions Graffiti Bridge as a continuation of his spiritual and artistic evolution, combining faith‑based themes with funk‑rock energy. The tone reflects admiration for his renewed focus and craftsmanship. FEATURE HIGHLIGHTS Event: Release of Graffiti Bridge album and film soundtrack Era: 1990 – Graffiti Bridge / Creative Resurgence Era Tone: Positive, analytical, and celebratory Photography: Black‑and‑white portrait of Prince accompanying the review Newspaper review headlined “Prince returns to his top form with ‘Graffiti Bridge’” Praise for Prince’s musical focus and spiritual depth Mentions of collaborators Mavis Staples, Tevin Campbell, and George Clinton Description of the album’s mix of rock, R&B, and funk elements 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 Huntsville Times review by Tom Moon examines Prince’s Graffiti Bridge soundtrack album, describing it as a bold reinvention of his musical approach. The article praises his minimalist style, playful tone, and refusal to conform to pop expectations, calling the record a creative and subversive statement. Publication: The Huntsville Times Date: August 23 1990 Country: United States THE STORY Moon’s review opens with Prince’s provocative line from We Can Funk and frames Graffiti Bridge as a confident declaration of artistic independence. The critic notes that only nine of the album’s seventeen songs feature Prince’s lead vocals, with the remainder showcasing The Time, George Clinton, Mavis Staples, and Tevin Campbell. The piece highlights Prince’s shift from choreographed perfection to a freer, groove‑based minimalism, describing the music as innocent, playful, and complex. Tracks such as Love Machine are cited as examples of his ability to merge sensuality with philosophical depth. Moon concludes that Prince continues to “write his own rules,” refusing to pander and tackling big‑picture ideas like motivation and free expression. CONTEXT AND NOTES By 1990, Prince was exploring new creative territory through Graffiti Bridge, blending spiritual and sensual themes while collaborating with his musical peers. The review positions the album as a turning point, showcasing his evolution from precision to spontaneity and reaffirming his role as a fearless innovator. FEATURE HIGHLIGHTS Event: Release of Graffiti Bridge album and film soundtrack Era: 1990 – Graffiti Bridge / Artistic Reinvention Era Tone: Analytical, admiring, and reflective Photography: Black‑and‑white portrait of Prince accompanying the review WHAT THE CLIPPING SHOWS Newspaper review headlined “Prince rewrites his rules in ‘Graffiti’” Discussion of Prince’s minimalist and experimental approach Mentions of collaborators The Time, George Clinton, Mavis Staples, and Tevin Campbell Praise for his refusal to conform and continued artistic independence 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 Voice is the eighth solo studio album by Mavis Staples, and her second and final release on Paisley Park Records. It is also her second album to feature creative contributions from Prince, who wrote eight of the twelve tracks. Prince also performed on several tracks, while Ricky Peterson produced the five newly written Prince compositions and added production to the vault track A Man Called Jesus. The album blends newly recorded material with earlier Prince‑related tracks completed over several years. Two singles were issued — The Voice and Blood Is Thicker Than Time — but the album did not chart. In early 1995, the album was reissued by NPG Records with a revised running order and an additional track, Come Home, previously included on Time Waits For No One. Two of these, Melody Cool and Positivity, had previously appeared in different forms on Prince’s own releases. Album Details Released: 24 August 1993 Early 1995 (NPG Records reissue — exact date needed) Recorded: Studios: Paisley Park Studios, Chanhassen, MN, USA Length: 53:44 (1993) / 59:13 (1995) Labels: Paisley Park Records Producer: Prince; Ricky Peterson Track List The Voice (4:14) 1 House In Order (4:44) 2 Blood Is Thicker Than Time (3:13) 2 You Will Be Moved (4:12) 2 All Because Of You (5:06) The Undertaker (7:26) 3 Melody Cool (3:46) 2 Kain’t Turn Back (4:03) I’ll Be Right There (4:03) A Man Called Jesus (3:56) 2 Why (4:27) Positivity (4:34) 2 CD Reissue - NPG Records release (1995) Blood Is Thicker Than Time (3:13) 2 I’ll Be Right There (4:03) Why (4:27) House In Order (4:44) 2 All Because Of You (5:06) A Man Called Jesus (3:56) 2 Kain’t Turn Back (4:03) Come Home (5:29) 2 You Will Be Moved (4:12) 2 The Voice (4:14) 1 The Undertaker (7:26) 3 Melody Cool (3:46) 2 Positivity (4:34) 2 1 Written by Prince, Rosie Gaines and Francis Jules 2 Written by Prince 3 Written by Prince, Tommy Barbarella, Michael B., Levi Seacer, Jr. and Sonny T. Music Cassette Side 1: The Voice (4:14) 1 House In Order (4:44) 2 Blood Is Thicker Than Time (3:13) 2 You Will Be Moved (4:12) 2 All Because Of You (5:06) The Undertaker (7:26) 3 Side 2: Melody Cool (3:46) 2 Kain’t Turn Back (4:03) I’ll Be Right There (4:03) A Man Called Jesus (3:56) 2 Why (4:27) Positivity (4:34) 2 Personnel (Full Track‑Specific Credits) Mavis Staples • vocals Prince • all instruments on The Voice, Melody Cool, A Man Called Jesus, Positivity • all instruments on Come Home (1995 reissue) Levi Seacer Jr. • guitar, background vocals on The Voice • guitar on House In Order, Blood Is Thicker Than Time, You Will Be Moved, The Undertaker Rosie Gaines • keyboards, background vocals on The Voice • background vocals on House In Order Kirk Johnson • background vocals on The Voice • percussion on You Will Be Moved • keyboards on Positivity Tony M. • background vocals on The Voice Michael B. • drums on House In Order, Blood Is Thicker Than Time, The Undertaker Paul Peterson • bass on House In Order, Blood Is Thicker Than Time, You Will Be Moved, The Undertaker, Melody Cool • guitar on A Man Called Jesus Tommy Barbarella • keyboards on The Undertaker • additional keyboards on House In Order Eric Leeds • saxophone on House In Order • saxophone on Come Home (1995 reissue) Ricky Peterson • organ on House In Order, The Undertaker • organ/keyboards on You Will Be Moved • bass, drum programming, synthesizer, organ on A Man Called Jesus • keyboards on Positivity The Steeles (Jevetta, Fred, JD, Jearlyn) • background vocals on House In Order, Blood Is Thicker Than Time, You Will Be Moved, The Undertaker, Melody Cool, Positivity • JD Steele — background vocal arrangement Billy Franze / David Barry • guitar on Blood Is Thicker Than Time, You Will Be Moved Pops Staples • background vocals on You Will Be Moved • guitar/background vocals on The Undertaker Sonny T. • bass on The Undertaker Horn Section (The Undertaker) • Brian Gallagher • Dave Jensen • Kathy Jensen • Michael Nelson • Steve Strand Candy Dulfer • saxophone on A Man Called Jesus Margie Cox • background vocals on A Man Called Jesus Sheila E. • background vocals on A Man Called Jesus • drums/background vocals on Positivity Boni Boyer / Janice Steele • background vocals on Positivity Atlanta Bliss • trumpet on Come Home (1995 reissue) Singles from The Voice CD single (5") - Germany - 0060795NPG The Voice (4:14) You Will Be Moved (4:12) Come Home (5:28) CD single (5") - Germany - EDEL 0061385NPG Blood Is Thicker Than Time (3:13) The Undertaker (7:24) House In Order (4:13) SOURCES Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2 All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

Released: 24 August 1999 (UK / USA) Length: 80 minutes Country: United Kingdom / United States Label(s): NPG Video Director(s): Prince (assumed, uncredited) Produced by: [Not supplied] Starring: Prince, Chaka Khan, Doug E. Fresh Music by: Prince Distributed by: [Not supplied] Related: New Power Soul Tour Beautiful Strange contains material filmed at an invitation‑only performance at Café de Paris, London, in August 1998, combined with an interview between Prince and Mel B. The video also includes the promotional videos for Beautiful Strange and Come On, the latter filmed in London on 28 August 1998 and presented as a bonus segment after the credits. The live material was filmed on 28 August 1998 (a.m.) at Café de Paris, London, England. The interview with Mel B was filmed at Paisley Park Studios, Chanhassen, MN, USA, on 30 July 1998. The VHS was sold exclusively through 1800NewFunk.com and The New Power Generation Store in Minneapolis, making it one of Prince’s rarest home video releases. The video blends intimate club‑performance footage with candid interview material. Prince performs a mixture of deep cuts, improvisations, and collaborations with Chaka Khan and Doug E. Fresh. The interview segments provide insight into Prince’s creative process during the late‑1990s, while the bonus Come On video adds a playful, street‑shot visual coda. Production Notes • Live performance filmed at Café de Paris, London (28 August 1998) • Interview filmed at Paisley Park Studios (30 July 1998) • VHS‑only release sold through Prince’s official retail channels • Includes bonus promotional videos for Beautiful Strange and Come On Formats Commercially released on VHS (NTSC, PAL). Not released on Laserdisc, DVD, or Digital. Beautiful Strange is considered one of Prince’s most elusive home video releases due to its limited distribution. The combination of club performance, interview, and bonus videos makes it a unique document of Prince’s late‑1990s creative period. • Beautiful Strange Intro (I) (1:33) • Interview (19:06) • Beautiful Strange (5:01) • Beautiful Strange Intro (II) (0:39) • Push It Up (2:25) • Jam Of The Year (2:44) • Talkin’ Loud And Sayin’ Nothing (3:07) • Instrumental (2:14) • Sweet Thing [feat. Chaka Khan] (5:46) • Baby, I Love You (5:20) • Don’t Talk 2 Strangers (4:23) • Free (4:46) • Party Time – The Show [feat. Doug E. Fresh] (3:23) • Come On (7:18) • Mad (incl. La‑Di‑Da‑Di) [feat. Doug E. Fresh] (5:40) • Credits (1:12) • Come On (5:02) Sources Discogs, 45 World, Wikipedia, BBC Official Charts, Prince Vault, Sleeveographia2All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non‑commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This Star Tribune article by Michael Russo, dated August 24 2016, reports that the Minnesota Wild hockey team officially adopted Prince’s “Let’s Go Crazy” as its goal song following a fan vote. The decision honours the late Minneapolis icon and reflects his enduring influence on the city’s culture. Publication: Star Tribune Date: August 24 2016 Country: United States he Minnesota Wild announced that it would change its goal song to Prince’s “Let’s Go Crazy!” after surveying season‑ticket holders. Fans voted nearly two‑to‑one in favour of the change. The team had first used the song during its season‑ending playoff loss to Dallas shortly after Prince’s death in April 2016. Vice President John Maher explained that the move was both a tribute and a gesture of community pride: “It’s our privilege to celebrate an iconic hometown artist that clearly has had an incredible impact on our community and the world.” The article closes with a note that single‑game tickets for the upcoming season would go on sale September 24. CONTEXT AND NOTES Prince’s passing in April 2016 prompted widespread tributes across Minnesota. The Wild’s adoption of “Let’s Go Crazy” as its goal anthem symbolized the state’s collective remembrance and the artist’s deep connection to Minneapolis sports and culture. The choice also reinforced Prince’s legacy as a unifying figure for his hometown. FEATURE HIGHLIGHTS Event: Minnesota Wild adopt “Let’s Go Crazy” as goal song Era: 2016 – Tribute / Legacy Era Tone: Respectful, civic, and celebratory Photography: Text‑only newspaper column layout WHAT THE CLIPPING SHOWS Headline: “Wild fans have spoken, ‘Let’s Go Crazy’ it is” Article by Michael Russo detailing the fan vote and team statement Reference to Prince’s death and community impact 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 Sneak Peek EP was released on 24 August 2005 as the first and only single from How Late Do U Have 2BB4UR Absent?, the studio album by George Clinton and the P‑Funk All‑Stars. Issued two weeks ahead of the album, the EP appeared exclusively as a digital release through iTunes and was credited solely to George Clinton. The EP contained three tracks taken directly from the album, including Paradigm, a collaboration co‑written and co‑produced by , who also contributed vocals and instrumentation. The credit reflected the period in which the track was recorded, during the time Prince used that name professionally. No physical edition of the EP was issued, and the release did not enter any charts. RELEASE HISTORY Released 24 August 2005 as a digital‑only single in the USA. Issued two weeks before the album How Late Do U Have 2BB4UR Absent?. Credited solely to George Clinton. Included three tracks taken from the album. No physical format released. Did not chart. Artist: George Clinton Title: The Sneak Peek EP Label: The C Kunspyruhzy Date: 24 August, 2005 Format: Digital Tracklist (Digital): 1 — Sexy Side Of You — George Clinton 2 — Paradigm (6:50) — George Clinton featuring 3 — U Ain’t Runnin’ Shit — George Clinton featuring Jazze Pha 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. George Clinton, George Clinton Singles, The Sneak Peek EP (Single), How Late Do U Have 2BB4UR Absent? (Album), 2005, Era Tag

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