Sex Shooter was released on 31 August 1984 as the first single from Apollonia 6’s debut album Apollonia 6. Arriving four weeks before the album, the single marked the first commercial release credited to the group. The B‑side, In A Spanish Villa, was also taken from the album. Both tracks were written, produced and largely performed by Prince, although his involvement was uncredited. A long version of Sex Shooter appeared on the 12" single and was unavailable elsewhere at the time. The song gained significant attention due to its appearance in the film Purple Rain, performed by Apollonia 6 during one of the movie’s key club sequences. The film’s success during Summer 1984 helped drive interest in the single and the group’s debut release. TRACK‑BY‑TRACK NOTES • Sex Shooter — Written, produced and largely performed by Prince; issued in multiple edits and mixes including a long version exclusive to the 12". • In A Spanish Villa — Album track written and produced by Prince; served as the B‑side across all formats. RELEASE HISTORY 12" - USA - 0-20274 Released 31 August 1984 in the USA. Released 7 September 1984 in the Netherlands. Released 14 September 1984 in the UK. Issued in 7", 12", and promo formats across multiple territories. First release credited to Apollonia 6. Boosted by the group’s appearance in Purple Rain. CHARTS & CERTIFICATIONS USA Billboard Black Singles Chart — Entry: 29 Sep 1984 — Peak: 19 — Weeks: 14 Billboard Hot 100 — Entry: 20 Oct 1984 — Peak: 85 — Weeks: 6 12" - USA - 0-20274 Billboard Hot Dance/Disco — Entry: 3 Nov 1984 — Peak: 32 — Weeks: 13 Europe Belgium (Ultratop 50) — Entry: 6 Oct 1984 — Peak: 15 — Weeks: 7 Netherlands (Top 40) — Entry: 29 Sep 1984 — Peak: 14 — Weeks: 7 PERSONNEL Apollonia 6 — vocals Prince — writer, producer PRODUCTION Produced by Prince Label: Warner Bros. Catalogue numbers: • USA: 9 29182‑7 • CAN: 92 91827 • USA Promo: 7‑29182 • USA 12": 9 20274‑0 • USA 12" Promo: PRO‑A‑2190 Artist: Apollonia 6 Title: Sex Shooter Label: Warner Bros. Country: USA Catalogue: 9 29182‑7 Date: August 31, 1984 Format: 7" Single US Variants Table (Sex Shooter — 1984) Format Variant A‑Side B‑Side 7" Single Sex Shooter (Edit) (3:00) In A Spanish Villa (2:15) 7" Promo Sex Shooter (3:39) In A Spanish Villa (2:15) 12" Single Sex Shooter (Long Version) (6:45) In A Spanish Villa (2:15) 12" Promo Sex Shooter (Edit) (3:00) Sex Shooter (3:39) International Variants (Non‑US — 1984) Country Variant Label Year Notes Australia Warner Bros. 1984 7" single, Apollonia 6 — Sex Shooter — Warner Bros 6 Brazil Warner Bros. 1984 7" single, Apollonia 6 — Sex Shooter — 1984 12 Canada Warner Bros. 1984 7" single, Apollonia 6 — Sex Shooter — 1984 6 Germany Warner Bros. 1984 7" single, Apollonia 6 — Sex Shooter (Disparador Sexy) — Warner Bros Guatemala Warner Bros. 1984 7" single, Apollonia 6 — Sex Shooter — 1984 27 Japan Warner Bros. 1984 7" single, Apollonia 6 — Sex Shooter — Warner Bros 7 Philippines Warner Bros. 1984 7" single, Apollonia 6 — Sex Shooter — Warner Bros 8 Spain Warner Bros. 1984 7" single, Apollonia 6 — Sex Shooter — Warner Bros CONTEMPORARY PRESS ARCHIVE The Ann Arbor News Ann Arbor, Michigan · Saturday, October 13, 1984 The Paducah Sun Paducah, Kentucky · Sunday, December 23, 1984 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 NPG Dance Company was a short‑lived dance ensemble conceived, led, and directed by Mayte in 1997. Inspired after seeing the Joffrey Ballet perform Billboards — a ballet set entirely to Prince’s music — Mayte envisioned a dedicated troupe performing original choreography built around Prince’s work. Prince supported the project and contributed ideas, but Mayte retained full artistic control, overseeing direction, choreography, stage coordination, staging, and lighting. Prince helped shape the visual identity of the troupe, suggesting that each dancer adopt a distinctive look, including brightly coloured hair in shades like purple, electric blue, and shocking pink. Members were also given nicknames derived from Prince song titles. The ensemble included former Erotic City dancers Carla (Garrido) Kama, Lindsley Allen, and Melissa Williams, alongside dancers recruited through auditions held in New York in August 1997. The company brought together performers from the United States, France, Germany, and beyond, some of whom also appeared with Prince in select stage and television performances. The troupe’s signature production was Around The World In A Day, a stage show built around Prince’s music and featuring a section set to material from Kamasutra. Under Prince’s supervision, the dancers recorded vocals for a new version of Raspberry Beret, used within the production. At the end of August 1997, Mayte learned she was pregnant for the second time. Although she chose not to perform as a dancer, she refused to cancel the project, believing the ensemble had worked too hard to abandon the show. Prince accompanied her to the opening night in Chicago, where she directed lighting cues from the audience. Accounts differ regarding the troupe’s end. Some report that the NPG Dance Company continued into 1998 and was disbanded after the failure of the Around The World In A Day tour. In her memoir, Mayte recalled that she and Prince decided to disband the company immediately after the Chicago opening in 1997, intending to revisit the project after the birth of their child. The production was expensive to tour, required significant time and energy, and Mayte wished to focus on her pregnancy. Any plans to revive the project were ultimately abandoned following the loss of their child and the subsequent deterioration of her marriage to Prince. MEMBERS • André Fuentes — “Scandalous” • Carla (Garrido) Kama — “Anna Stesia” • Melissa Williams — “Shockadelica” • Brian Friedman — “Billy Jack Bitch” • Kamilah Woolfolk — “Sexy Dancer” • Salvatore Vassallo — “Saviour” • Lindsley Allen — “Darling Nikki” • Kyndra Monet — “Insatiable” • Gabriel “Kwikstep” Dionisio — “Pop Life” • Karine Luquet — “Zannalee” • Stephane Boko — “Style” • Marcella Lehner — “Curious Child” • Buddy Mynatt — “Mr. Happy” • Vergi Therese — “Melody Cool” • Kim Cottom — “Hot Thing” • Gabriel A. Paige — “Sexy MF” • Bethania Nascimento Gomez — “Soft ’n’ Wet” • Christian Vincent — “Thunder” • Cubie Burke — “Emale” • Yolanda Martin Garcia — “Venus de Milo” • Desmond Richardson — “Solo” (select performances) • Jacques Jean F. Emile — “Solo” (replacing Richardson in selected shows) PERFORMANCES • 1997 — Around The World In A Day (stage production)

April 20, 1998 – August 28, 1998 TOUR DATES — USA • April 20, 1998 — Washington, D.C. — Capitol Ballroom • April 21, 1998 — Philadelphia, PA — Electric Factory • April 24, 1998 — Chicago, IL — The Aragon Ballroom • May 7, 1998 — Chattanooga, TN — Soldiers and Sailors Memorial Auditorium • May 8, 1998 — Huntsville, AL — Von Braun Civic Center Arena • May 12, 1998 — Collinsville, IL — Gateway Center • May 13, 1998 — Columbus, OH — Battelle Hall at G.C.C.C. • June 1, 1998 — Indianapolis, IN — Indiana Convention Center TOUR DATES — EUROPE • August 8, 1998 — Marbella, Spain — Plaza de Toros • August 11, 1998 — Rotterdam, Netherlands — Ahoy’ • August 13, 1998 — Brussels, Belgium — Forest/Vorst Nationaal • August 16, 1998 — Stockholm, Sweden — Hovet • August 18, 1998 — Copenhagen, Denmark — Valby‑Hallen • August 21, 1998 — Paris, France — Le Zénith • August 23, 1998 — Zürich, Switzerland — Hallenstadion • August 26, 1998 — London, England — Wembley Arena • August 28, 1998 — London, England — Brixton Academy Prince (September 23, 1998) — New Power Soul Festival Tour (USA & Europe) TOUR DATES — USA • September 23, 1998 — Washington, D.C. — MCI Center • September 25, 1998 — New York, NY — Madison Square Garden • September 26, 1998 — Atlantic City, NJ — Trump Marina (Grand Cayman Ballroom) • October 17, 1998 — Concord, CA — Concord Pavilion • October 22, 1998 — Cleveland, OH — CSU Convocation Center • October 24, 1998 — Detroit, MI — Joe Louis Arena BAND LINEUP Prince — Vox, Guitar, Piano Kirk Johnson — Drums Rhonda Smith — Bass Morris Hayes — Keyboards Mike Scott — Guitar Marva King — Backing Vox TOUR DATES — EUROPE • December 15, 1998 — Lisbon, Portugal — Pavilhão Atlântico Multiusos • December 17, 1998 — Zaragoza, Spain — Sala Multiusos • December 18, 1998 — Barcelona, Spain — Palau Sant Jordi • December 20, 1998 — Madrid, Spain — Palacio de los Deportes de la Comunidad • December 22, 1998 — Frankfurt, Germany — Festhalle • December 23, 1998 — Utrecht, Netherlands — Prins van Oranjehal (Jaarbeurs) • December 26, 1998 — Stuttgart, Germany — Schleyer‑Halle • December 27, 1998 — Cologne, Germany — Kölnarena • December 28, 1998 — Ghent, Belgium — Flanders Expo

"Cry, Cry, Cry" served as the debut single from Judith Hill's first album, Back In Time. Although the album was initially issued as a surprise free download for a 48‑hour period in March 2015, the single appeared digitally ahead of the album's broader official release later that year. The title track featured Prince in both musician and producer roles. The track first appeared as a streaming release on Spotify on July 28, 2015, using alternative artwork. It also became available on Tidal beginning September 15, 2015, before being issued as an official digital download the following week. Despite artwork designed to resemble a 7‑inch vinyl single sleeve, the release was distributed exclusively as a digital single. RECORDING The title track featured Prince as both a musician and producer. TRACK‑BY‑TRACK NOTES • Cry, Cry, Cry — Lead single from Judith Hill's debut album Back In Time. Released digitally following earlier streaming availability on Spotify and Tidal. RELEASE HISTORY • July 28, 2015 — Available for streaming on Spotify using alternate artwork. • September 15, 2015 — Made available on Tidal. • September 21, 2015 — Official digital download release. PERSONNEL Judith Hill — Artist, vocals Prince — Musician, producer PRODUCTION Produced by Prince Label: NPG Records Catalogue numbers:• USA: B015LJ01YO (Amazon) Artist: Judith Hill Title: Cry, Cry, Cry Label: NPG Records Country: USA Catalogue: B015LJ01YO (Amazon) Date: September 21, 2015 Format: Digital Tracklist (Digital):1 — Cry, Cry, Cry (5:06) SOURCES Official Prince Estate release materials, Discogs, Warner Bros. Records and sleevographia2 All album artwork, photographs, labels, and original text excerpts remain the property of their respective copyright holders. This entry is a transformative, non-commercial archival summary created for historical documentation and educational reference.

On 22 September 2004, the NPG Music Club made available a download of Prince's MuchMoreMusic Live! television performance, originally recorded on 28 July 2004 at the MuchMusic Studios in Toronto, Canada. The short live set captured Prince and his touring band performing three songs from the ongoing Musicology era. This NPG Music Club download release presented Prince's MuchMoreMusic Live! performance, which had been recorded on 28 July 2004 at MuchMusic Studios in the CHUM-City Building in Toronto, Ontario, Canada. The performance featured Prince alongside John Blackwell, Rhonda Smith, Renato Neto, Chance Howard, Mike Scott, Maceo Parker, Greg Boyer and Candy Dulfer. The televised appearance lasted approximately fifteen minutes and was performed entirely live. Prince opened the set with "Musicology", the same song that regularly opened concerts on the Musicology Tour. Wearing a knitted hat and a Toronto Raptors jersey beneath his jacket, Prince performed surrounded by a predominantly female audience positioned around the studio set. The performance emphasised audience interaction and reflected the confident and well-rehearsed nature of the touring band at that point in the tour. The set continued with a shortened version of "Kiss", presented in a relaxed and playful style, before concluding with "D.M.S.R." During the final song, Prince encouraged the audience to join him and dance within the performance space. The expanded funk arrangement was further enhanced by contributions from Maceo Parker and Candy Dulfer. The programme itself also included an extended interview and retrospective look at Prince's career, although the live performances formed the centrepiece of the special. CONTEXT AND NOTES The performance was recorded while the Musicology Tour was in full swing and followed Prince's live appearances in Canada. The television special first aired on the MuchMoreMusic channel on 1 August 2004 and subsequently became available as a download through the NPG Music Club on 22 September 2004. The accompanying description highlights the immediacy of internet fan communities during the period, noting how television performances could quickly become accessible to audiences beyond their original broadcast territory. The release also documents the touring line-up of Prince's 2004 band and captures a live presentation closely associated with the successful Musicology era. All magazine scans, photographs, and original text excerpts referenced in this entry remain the property of their respective copyright holders. This Chronicle entry is a transformative, non-commercial archival summary created for historical documentation and educational reference. No ownership of the original material is claimed or implied.

This review and feature celebrates Prince's record-breaking run of performances at London's O2 Arena during the summer of 2007. The article reflects on the impact of the concerts, describing them as a historic achievement and highlighting both the main arena shows and the accompanying aftershows that made the residency one of the most talked-about live music events of the year. Publication: The Daily TelegraphDate: September 22, 2007Country: England The feature, written by Matt Thorne, looks back at Prince's remarkable series of 21 concerts at the O2 Arena in London. The article states that no previous concert residency by major performers such as Eric Clapton, Phil Collins or Bob Dylan had captured the public imagination in the same way. It describes Prince's declaration that "everything's changed this summer" and recounts how the O2 effectively became "Prince's house" during the run. The article notes that Prince performed 52 shows and spent approximately four and a half hours on stage each night, playing a total of 504 songs to audiences numbering half a million people. Particular attention is given to the enthusiasm of audiences and the consistency of the performances. The review section by novelist Ali Smith praises the atmosphere of the concerts, describing Prince as a performer who controlled the entire venue and delivered a show that extended beyond simply playing music. The review highlights songs including Kiss, Raspberry Beret, Little Red Corvette, The Work, Dearly Beloved and a version of Come Together. Accompanying the article is a large concert photograph showing Prince performing with a guitarist on stage during the O2 residency. CONTEXT AND NOTES The clipping documents the closing stages of Prince's celebrated 2007 London residency, a concert series that dominated music coverage throughout the summer. The article focuses entirely on the scale, success and critical acclaim of the performances, presenting them as a defining live achievement. Considerable attention is given to both the main arena concerts and the smaller Indigo aftershows, which are described as rewarding dedicated fans with memorable performances. The overall feature portrays the concerts as a landmark moment in Prince's live career and an event that left a lasting impression on audiences and critics alike. FEATURE HIGHLIGHTS Event: Prince's O2 Arena London residency and concert series Era: 2007 London concert residency Tone: Celebratory, admiring and reflective Photography: Large live performance photograph showing Prince playing guitar on stage during an O2 Arena concert, accompanied by another musician WHAT THE CLIPPING SHOWS • Feature reflecting on Prince's record-breaking run of concerts at London's O2 Arena • Review praising the quality, energy and musical range of the performances • Large concert photograph capturing Prince performing live during the residency 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.

The 2009 French release of Lotusflow3r / MPLSound / Elixer arrived in several configurations. A 2CD edition paired Lotusflow3r with MPLSound, while a separate single‑disc edition titled Lotusflow3r was issued but contained only the MPLSound disc — a deliberate marketing choice rather than an error. Later in November, a 2LP vinyl edition was released in France, again combining Lotusflow3r with MPLSound. Elixer, Bria Valente’s companion album, remained part of the overall project and was included in the French CD configuration. Album Details Released: 17 September 2009 (French release) Recorded: Studios: Paisley Park Studios, Chanhassen, MN, USA; 77 Beverly Park Ln., Beverly Hills, CA, USA; Sunset Sound, Hollywood, CA, USA Length: 48:40 (physical) / 46:54 (digital) Labels: NPG Records Personnel (Full Track‑Specific Credits) Musicians Marva King - background vocals on 4ever and Colonized Mind Bria Valente - background vocals on 4ever and Colonized Mind Támar Davis - background vocals on 4ever and Colonized Mind Maceo Parker - saxophone on Feel Better, Feel Good, Feel Wonderful, saxophone and party vocals on $ (credited for "hornz and party vocals") Greg Boyer - trombone on Feel Better, Feel Good, Feel Wonderful, trombone and party vocals and $ (credited for "hornz and party vocals") Prince - all vocals and instruments, except where noted Michael B. - drums on From The Lotus..., Colonized Mind, Love Like Jazz, Wall Of Berlin and ...Back 2 The Lotus Sonny T. - bass guitar on From The Lotus..., Colonized Mind, Love Like Jazz, Wall Of Berlin and ...Back 2 The Lotus C.C. Dunham - drums on Boom, The Morning After, 4ever, $ and Dreamer Joshua Dunham - bass guitar on Boom, The Morning After, 4ever, $ and Dreamer Mr. Hayes - keyboard effects on Boom, The Morning After and Colonized Mind Shelby J. - background vocals on 4ever and Colonized Mind Mike Phillips - saxophone on Feel Better, Feel Good, Feel Wonderful, saxophone and party vocals on $ (credited for "hornz and party vocals") Lee Hogans - trumpet on Feel Better, Feel Good, Feel Wonderful, trumpet and party vocals on $ (credited for "hornz and party vocals") Charts America Chart Entry Date Peak Weeks Billboard 200 18 Apr 2009 2(1) 13 Billboard Top R&B/Hip Hop Albums 18 Apr 2009 1(1) 23 Billboard Independent Albums 18 Apr 2009 1(1) 20 Europe Country / Chart Entry Date Peak Weeks Belgium Flanders – Ultratop Albums 25 Apr 2009 44 6 Belgium Wallonia – Ultratop 200 18 Apr 2009 78 2 France – SNEP Top Album 200 12 Sep 2009 14 17 France – SNEP Top Albums Téléchargés 7 Sep 2009 3(1) 5 France – SNEP Top Format Longs 7 Sep 2009 26 8 Netherlands – Album Top 100 18 Apr 2009 23 7 France – SNEP Top Album 200 (Re‑Entry) 27 Jun 2011 191R 1 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.

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.

A local cinema advertisement promoting the continuing theatrical run of Purple Rain, showing Prince's film entering its third successful week at the Broadway Twin Theatre in Albert Lea, Minnesota. Publication: The Albert Lea Evening Publication Date: October 10, 1984 Country: USA Event Date: October 1984 – Purple Rain theatrical run This cinema advertisement appeared in The Albert Lea Evening Tribune and promotes the ongoing screening of Purple Rain at the Broadway Twin Theatre in Albert Lea, Minnesota. The advert highlights Purple Rain as being in its “3rd Big Week”, with evening showings scheduled at 7:15 pm and 9:00 pm. Prince is prominently featured beside the familiar Purple Rain title logo and the phrase: “Prince in his first motion picture Purple Rain” Sharing the theatre listing is an advertisement for Tightrope, starring Clint Eastwood, which was scheduled to begin on Friday. The continued promotion of Purple Rain several months after its summer release demonstrates the film's strong audience appeal and ongoing commercial success in local markets across the United States. CONTEXT AND NOTES By October 1984, Purple Rain had become one of the year's biggest film and soundtrack successes. Newspaper cinema advertisements such as this provide a snapshot of how the film continued attracting audiences well after its initial release. Unlike national reviews or feature articles, local theatre listings document the day‑to‑day exhibition history of the film and show how long it remained in active circulation across North Americ FEATURE HIGHLIGHTS Event: Purple Rain cinema screening Era: 1984 – Purple Rain era Tone: Promotional Photography: Small promotional image of Prince used alongside the official Purple Rain logo WHAT THE CLIPPING SHOWS Broadway Twin Theatre advertisement Purple Rain listed in its third week of exhibition Showtimes of 7:15 pm and 9:00 pm Prince promoted in his first motion picture Contemporary local cinema advertising from October 1984 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.

A major newspaper advertisement promotes the forthcoming Minneapolis engagement of the Joffrey Ballet's acclaimed rock ballet Billboards, set entirely to the music of Prince. The production brought together contemporary dance and some of Prince's best‑known songs for a week‑long run in his home state of Minnesota. Publication: Star Tribune Publication Date: October 10, 1993 Country: USA Event Date: October 19–24, 1993 This full‑page advertisement promotes The Joffrey Ballet's production of Billboards, a rock ballet choreographed by Laura Dean, Charles Moulton, Peter Pucci, and Margo Sappington, with music by Prince. The advert highlights a selection of Prince songs used in the production, including: Purple Rain Trust Baby I'm A Star The promotional text describes the performance as combining the artistry of the Joffrey Ballet with the power and energy of Prince's music. A review quotation from the Chicago Sun‑Times praises the production as: “An immediate hit!” Performances were scheduled at Northrop Auditorium in Minneapolis between October 19 and October 24, 1993, with additional ticket outlets and telephone booking information prominently displayed. A dramatic photograph of a ballet dancer is incorporated into the word “BILLBOARDS”, visually reinforcing the fusion of dance and popular music that defined the production. CONTEXT AND NOTES Originally created by the Joffrey Ballet, Billboards became one of the most celebrated examples of rock music being adapted for the ballet stage. Prince's catalogue provided the musical foundation for the production, demonstrating the growing recognition of his work beyond traditional pop and rock audiences. The Minneapolis engagement carried additional significance because it brought a ballet based on Prince's music to his home city during one of the most successful periods of his career. Newspaper advertisements such as this document the promotion and local excitement surrounding the event. FEATURE HIGHLIGHTS Event: Joffrey Ballet presentation of Billboards Era: 1993 – Love Symbol era Tone: Promotional and celebratory Photography: Large advertising image featuring a ballet dancer integrated into the Billboards title design WHAT THE CLIPPING SHOWS Advertisement for Billboards Music by Prince Joffrey Ballet production Northrop Auditorium engagement Performance dates of October 19–24, 1993 References to Purple Rain, Trust and Baby I'm A Star Ticket and booking information for Minneapolis audiences 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.

A New York Times News Service feature examining Minneapolis as one of America’s fastest‑growing music centres, with Prince and the emerging “Minneapolis Sound” credited as the driving force behind the city’s national and international reputation. Publication: Post‑Bulletin Date: Saturday, October 10, 1987 Country: USA Written by Dirk Johnson for the New York Times News Service, this feature explores how Minneapolis evolved into one of the most important music cities in America during the 1980s. The article points to the extraordinary impact of Prince Rogers Nelson, whose success with Purple Rain transformed the city's reputation and attracted musicians, producers and record companies to Minnesota. The story notes that nearly two dozen recording artists had secured national recording contracts in the years following Prince’s breakthrough. Billboard magazine is quoted as describing the city as “America’s Newest Musical Wonderland”, largely due to the success of Prince and his protégés. The article also highlights the influence of producers Jimmy Jam and Terry Lewis, whose growing success further strengthened Minneapolis’s standing within the music industry. Particular attention is given to the development of Paisley Park in Chanhassen. Described as a post‑modern multimedia complex, the facility is presented as both Prince’s creative headquarters and a major recording centre capable of attracting artists from across the United States and beyond. Industry figures quoted in the article suggest that the studio ranks among the finest recording facilities in the world. The feature also explores Minneapolis’s wider cultural environment, including its independent music venues, supportive arts community and thriving live‑music scene. Local musicians are portrayed as benefiting from an environment where emerging talent can develop without immediately relocating to Los Angeles or New York. CONTEXT AND NOTES Published in 1987, the article captures the height of Prince’s influence on Minneapolis. By this point he had already transformed the city into a recognised music hub through Purple Rain, Paisley Park and a growing network of associated artists, producers and musicians. The feature is noteworthy because it documents how national newspapers viewed Minneapolis during the late 1980s, presenting the city as an unlikely but highly successful centre for popular music. Prince is positioned as the key catalyst behind this transformation. FEATURE HIGHLIGHTS Event: National feature on Minneapolis and its music industry Era: 1987 – Paisley Park era Tone: Analytical, celebratory, civic pride Photography: Newspaper feature layout without a featured artist portrait, focused on editorial commentary regarding Minneapolis and its music scene WHAT THE CLIPPING SHOWS Prince credited with helping transform Minneapolis into a major music centre Reference to the success of Purple Rain Discussion of Paisley Park and its recording facilities Recognition of Jimmy Jam and Terry Lewis Billboard describing Minneapolis as “America’s Newest Musical Wonderland” Examination of the wider Minneapolis music community 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.