This Kansas City Star article from September 6 1991 reports on Prince’s decision to release his new Gett Off video directly to home video, following the success of Madonna’s Justify My Love. The piece highlights Prince’s innovative approach to distribution and his continued experimentation with visual formats tied to his upcoming Diamonds and Pearls album. Publication: The Kansas City Star Date: September 6, 1991 Country: United States Written by Scott Hettrick, the article explains that Prince’s thirty‑minute video, titled Nothing Can Stop … Prince and the  New Power Generation ‘Gett Off’, would be released through Warner Reprise Video at $14.98. The project includes several new songs not featured on Diamonds and Pearls, filmed at both Prince’s home and Paisley Park Studios. The report situates Prince’s release within a growing trend of direct‑to‑video music projects, noting Madonna’s precedent and Warner’s simultaneous release of other artist profiles. The article also mentions that the Gett Off video would feature exclusive performances and carry a Parental Advisory label due to its provocative content. CONTEXT AND NOTES By 1991, Prince was redefining multimedia artistry, merging music, film, and performance into cohesive visual experiences. The Gett Off Maxi Video marked a turning point in how artists used home video to reach audiences beyond television censorship. The Kansas City Star coverage underscores Prince’s role as a pioneer in music marketing, blending sensual imagery with creative independence. His direct‑to‑video release strategy mirrored his broader artistic philosophy — control over both sound and vision. FEATURE HIGHLIGHTS Event: Announcement of Prince’s Gett Off Maxi Video release Era: 1991 – Diamonds and Pearls  New Power Generation Era Tone: Informative, industry‑focused, and forward‑looking Photography: Black‑and‑white portrait of Prince accompanying the article WHAT THE CLIPPING SHOWS Kansas City Star feature announcing Prince’s direct‑to‑video release Details of the Gett Off project and its exclusive tracks Context linking Prince’s innovation to broader entertainment trends SOURCES Prince Vault, Sleevographia2, Discogs. All single artwork, photographs, logos, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

How Late Do U Have 2BB4UR Absent? is a double studio album by George Clinton and the P‑Funk All‑Stars. The album contains Paradigm, co‑written and co‑produced by Prince, who also appears as a singer and musician on the track. As the first studio album by George Clinton and the P‑Funk All‑Stars in nine years, the album compiles tracks recorded over the course of a decade. Prince’s contribution was most likely recorded in 2000, but this is unconfirmed. Clinton noted they worked separately, writing on the Paradigm CD‑R label: “I peed on it, sent it to him, he peed on it, and sent it back.” The album was preceded by the Sneak Peek EP, featuring three tracks from the album including Paradigm. Paradigm had previously appeared as a limited CD‑R sold at George Clinton shows in early 2001. The album did not chart. Track Listing (CD Format — Full Expansion) Disc 1 • Bounce 2 This — Kendra Foster featuring P‑Funk All Stars • Su, Su, Su — P‑Funk All Stars featuring Trey Lewd • Paradigm (6:50) — George Clinton featuring Prince — Written by George Clinton, Tracey “Trey Lewd” Lewis and Prince • U Can Depend On Me — Kendra Foster • U Ain’t Runnin’ Shit — George Clinton • Inhale Slow — P‑Funk All Stars featuring Paul Hill • Because / Last Time Zone — Funkadelic • Never Ending Love — Funkadelic • Sexy Side Of You — George Clinton • Saddest Day — Belita Woods • I Can Dance — P‑Funk All Stars featuring Susy’s Posse • I’ll Be Sittin’ Here — George Clinton featuring Joi Total length: 76:02 All songs written by George Clinton, except where indicated. Disc 2 • Don’t Dance Too Close — Belita Woods • More Than Words Can Say (Live) — Belita Woods featuring Parliament/Funkadelic • Butt‑A‑Butt — Parliament • Something Stank — Sativa • Our Secret — P‑Funk All Stars featuring Trey Lewd • Viagra — Funkadelic • Gypsy Woman — George Clinton • Whole Lotta Shakin’ — P‑Funk All Stars featuring Bobby Womack • Goodnight Sweetheart, Goodnight — Parliament • Whatchamacallit — George Clinton • Trust In Yourself — Kendra Foster featuring George Clinton • Booty — Louis “Babbling” Kabbabie featuring P‑Funk All Stars • The Other Side Of The Door (Live) Total length: 76:03 Album Details Released: 6 September 2005 Recorded: Over a decade Studios: DARP Studios (Atlanta GA); Paisley Park Studios (Chanhassen MN) Length: 76:02 / 76:03 Labels: The C Kunspyruhzy Producer: George Clinton Singles from How Late Do U Have 2BB4UR Absent? Sneak Peek EP — b/w Paradigm Paradigm (promo only) — b/w None 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 West Central Tribune article from September 16 1988 reports on Prince’s triumphant opening of his Lovesexy U.S. tour in Bloomington, Minnesota. The hometown concert marked his first American tour in four years, greeted by an ecstatic crowd at the Met Center. Publication: West Central Tribune Date: September 16 1988 Country: United States The piece describes Prince’s return to the stage before a near‑capacity audience, celebrating the “Minneapolis sound” he helped create. Performing on a $2 million theatre‑in‑the‑round stage, Prince mixed spiritual themes with sensual energy, urging fans to chant “Love is God. God is love.” His set blended virtuoso guitar work, soulful vocals, and dance moves reminiscent of James Brown. The article highlights his dynamic interplay with dancer Cat Glover, who joined him in the opening number amid a giant urban playground set. Prince’s charisma and message of love and unity defined the night, reaffirming his status as Minneapolis’s most electrifying musical export. CONTEXT AND NOTES By 1988, Prince was evolving from the provocative imagery of Sign O’ the Times toward the spiritual and theatrical vision of Lovesexy. This hometown kickoff symbolized his creative renewal and deep connection to Minneapolis, the city that shaped his sound and identity. The performance’s mix of faith, funk, and flamboyance reflected Prince’s ongoing artistic transformation. FEATURE HIGHLIGHTS Event: Opening night of Prince’s Lovesexy U.S. tour Era: 1988 – Lovesexy / Spiritual Funk Period Tone: Celebratory and reverent Photography: Black‑and‑white image of  Prince and Cat Glover performing on stage WHAT THE CLIPPING SHOWS - Prince performing with Cat Glover at the  Met Center in Bloomington - Coverage of his first U.S. tour in four years - Quotes emphasizing his message of love  and faith 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.

Advertisement for Prince’s personal appearance and autograph signing at the Record Factory in Oakland, California, on Saturday, September 16, 1978, from 3 PM to 5 PM. The ad promotes his debut album For You and highlights that he “produced, arranged, composed and performs on his first album.” Publication: Oakland Tribune Date: Friday, September 15, 1978 Country: United States Location: Oakland, California Section: Entertainment / Concert & Appearance Promotio THE STORY The ad is paired with an Al Jarreau in-store event earlier that same day (1–3 PM). It features photos of both artists and describes Prince as “nothing short of amazing,” while promoting the single “Soft and Wet” from For You. CONTEXT AND NOTES This is an extremely early promotional appearance for Prince, just five months after the release of his debut album For You (April 1978). At age 20, he was doing grassroots in-store signings to build a fanbase on the West Coast while still relatively unknown nationally. The event occurred the day after this ad ran. FEATURE HIGHLIGHTS Event: Prince in-store autograph signing / meet-and-greet Era: Very early career (For You album promotion) Tone: Enthusiastic promotional hype Photography: Two black-and-white photos — one of Al Jarreau and one of Prince playing guitar Visual Motifs: Classic 1970s newspaper ad layout with bold “APPEARING IN PERSON!” headline WHAT THE CLIPPING SHOWS Prince’s early promotional efforts in the Bay Area Confirmation of the exact date, time, and location of this rare 1978 in-store event Continued push for his debut album and single “Soft and Wet” RELATED MATERIAL This follows the May 14, 1978 negative review of For You in the Nevada State Journal and precedes his 1980 touring activity. For other relevant posts, see the tags at the foot of the page. All magazine scans, photographs and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

This Duluth News‑Tribune article from September 16 1984 profiles Vanity, the former Prince protégé, as she embarks on her solo career. Written by Lynn Van Matre of the Chicago Tribune, the piece explores Vanity’s decision to leave Vanity 6 and Prince’s circle to pursue independence in music and film. Publication: The Duluth News‑Tribune  News‑Tribune and Herald Date: September 16 1984 Country: United States The article recounts Vanity’s reflections on her time with Prince, who gave her the stage name “Vanity.” She describes her transformation from the lingerie‑clad frontwoman of Vanity 6 to a more self‑directed artist, trading the provocative image for a confident solo identity. Vanity explains that she left just before Purple Rain was filmed, knowing it would succeed but feeling ready to move on. She expresses no regrets, noting her new record deal with Motown and her debut album Wild Animal, alongside her upcoming film The Last Dragon. The tone is assertive and self‑assured, portraying Vanity as a woman reclaiming her artistry and autonomy. CONTEXT AND NOTES By 1984, Vanity had become a symbol of female empowerment within the pop‑funk world, stepping out from Prince’s shadow to define her own creative path. This feature captures that pivotal moment of transition, reflecting the broader cultural shift toward women asserting control over their careers in the music industry. Her comments reveal both gratitude for her beginnings and determination to succeed on her own terms. FEATURE HIGHLIGHTS Event: Vanity’s departure from Prince and  launch of solo career Era: 1984 – Motown Debut  Post‑Prince Transition Tone: Confident and reflective Photography: Black‑and‑white portrait of Vanity in dark attire, posed against a shadowed background 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.