This Tennessean review from August 1994 assesses Come, the final album Prince recorded before adopting his symbolic moniker. The piece praises its boldness and emotional range, describing it as a restless, hard‑edged work that reaffirms Prince’s mastery as songwriter, performer, and producer. Publication: The Tennessean Date: August 15 1994 Country: United States The review opens by noting that Come was the last album Prince completed before “glyphing out” — changing his name to the unpronounceable symbol — in 1993. It contrasts the record’s sharper, more direct tone with his 1992 release alongside the New Power Generation. The critic highlights the album’s stylistic diversity: the sensual allure of the title track, the gospel‑infused Solo, and the dance‑floor intensity of Pheromone, Race, and Loose. The piece describes Come as “a restless record that pushes the limits of the artist’s talents,” emphasizing Prince’s ability to blend genres and moods seamlessly. The closing lines affirm that, despite his constant reinvention, Prince remains “one of the greatest in the business,” underscoring his enduring influence and creative vitality. CONTEXT AND NOTES Released in August 1994, Come marked a transitional moment in Prince’s career — the end of his Warner Bros. contract and the beginning of his identity as “The Artist Formerly Known as Prince.” The album’s darker, introspective tone reflected both artistic liberation and frustration with industry constraints. This Tennessean review captures the critical recognition of Prince’s evolving sound, situating Come as a bridge between his early ’90s funk experimentation and the more independent, symbol‑era releases that followed. FEATURE HIGHLIGHTS Event: Release of Come album Era: 1994 – Symbol Period / Post‑Warner Bros. Transition Tone: Analytical, admiring, and reflective Photography: None included; text‑only album review WHAT THE CLIPPING SHOWS Review of Prince’s Come album following his name change Praise for its musical range and emotional depth Recognition of Prince’s continued artistic excellence 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 vibrant 2004 cover story and extensive interview feature in Word magazine titled “Meet the New Prince,” capturing The Artist in a reflective and charismatic phase as he continued to evolve creatively and spiritually in the new millennium. Publication: Word – Music and More Date: Issue 18, August 18, 2004 Country: United Kingdom Section / Pages: Cover Story + Multi-page Feature Title: Meet the New Prince (“We don’t roll like that no more!”) THE STORY The striking cover shows Prince wearing a bright red suit and matching hat, pointing directly at the viewer with a confident expression. Inside spreads include multiple high-quality portraits (including one in a black sleeveless top with the Love Symbol necklace) and a detailed article discussing his return to his given name, life at Paisley Park, live performances, and views on music, spirituality, and the industry. CONTEXT AND NOTES Published in August 2004, this feature came during a period when Prince was actively touring, releasing music independently, and embracing a more spiritually focused public persona. The article explores his past controversies, current outlook, and renewed creative energy, including references to his Musicology album and live shows. FEATURE HIGHLIGHTS Event: Major Prince Cover Story & Interview Era: Musicology Tour / 2004 comeback period Tone: Respectful, engaging, and celebratory of his reinvention Photography: Bold, colorful studio portraits emphasizing style and charisma Visual Motifs: Strong red color theme on cover, elegant black-and-white and color interiors, symbolic imagery WHAT THE CLIPPING SHOWS Full front cover with Prince in red suit and hat, “Meet the New Prince” headline Interior portraits of Prince in various stylish outfits Extensive interview text with pull-quotes and career retrospective Timeline/sidebar “A Royal Progress” detailing key moments in Prince’s career RELATED MATERIAL Prince (March 27 / April 20 2004) Musicology - Album Prince (April 22, 2004) Musicology - Single Prince (September 28, 2004) Cinnamon Girl - Single 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.

Partyman was released on 18 August 1989 as the second single from Prince’s Batman soundtrack, arriving two months after the album. The track was prominently featured in the film during the Joker’s museum sequence, and was inspired by Prince’s encounter with Jack Nicholson on set. The B‑side, Feel U Up, was previously unreleased, originally intended for the abandoned Camille project. The 12" releases included several Prince‑created remixes, such as The Purple Party Mix, which opens with samples from Prince’s earlier hits. The single continued the commercial tie‑in with Tim Burton’s film, and its artwork again used the Batman logo. Artist: Prince Title: Partyman Label: Warner Bros. Country: UK Catalogue: W2814 Date: 18 August, 1989 Format: 7" Single 7" Single — UK A — Partyman (3:11) B — Feel U Up (Short Stroke) (3:44) Cat #: UK: W2814 12" — UK A — Partyman (The Video Mix) (6:20) B — Feel U Up (Long Stroke) (6:28) 12" Picture Disc — UK A — Partyman (The Video Mix) (6:20) B — Feel U Up (Long Stroke) (6:28) Cat #: UK: W2814TP Additional Formats & Variants Cassette Single — UK A — Partyman (3:11) B — Feel U Up (Short Stroke) (3:44) Cat #: UK: W2814C CD Mini‑Single 1 — Partyman (The Video Mix) (6:20) 2 — Feel U Up (Long Stroke) (6:28) Cat #: UK: W2814CD CD Mini-Single 1 — Partyman (Video Mix 6:17) 2 — Feel U Up (Long Stroke 6:30) Cat #: UK: W2814CDX 12" — UK Remixes A1 Partyman (The Purple Party Mix) 6:02 A2 Partyman (Partyman Music Mix) 4:31 B1 Partyman (The Video Mix) 5:40 B2 Feel U Up (Short Stroke) 3:42 RELEASE HISTORY Released 18 August 1989 in the UK. Issued worldwide as part of the Batman soundtrack campaign. B‑side Feel U Up previously unreleased. Maxi‑single included multiple Prince‑created mixes. CHARTS & CERTIFICATIONS USA: Billboard Hot 100 — Peak: 18 USA: Billboard Black Singles — Peak: 5 UK: Gallup Singles Chart — Entry: 9 Sep 1989 — Peak: 16 — Weeks: 11 PERSONNEL Prince — lead & backing vocals, Fairlight CMI, synthesizers, piano, electric guitars, bass guitar, Dynacord ADD‑One, Linn LM‑1, Publison IM90 Infernal Machine Anna Fantastic — spoken word Femi Jiya — spoken word Candy Dulfer — saxophone (12" and video versions) 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.

Letitgo was the first single issued from Prince’s 15th full-length album Come. It appeared one week before the album (on the same day as both the Blankman soundtrack featuring Super Hero and the Super Hero single, both credited to the New Power Generation featuring The Steeles). The single was released worldwide. The B-side Solo was also taken from the album. A maxi-single followed later with several remixes of Letitgo; none were created by Prince or anyone working for him. Notably, the Original Album Version on the maxi-single fades out completely rather than overlapping with Orgasm as it does on the album. In the UK and Europe the CD single additionally included Alexa De Paris (Extended Version), previously unavailable on CD, and Pope. The single reached number 31 on the US Billboard Hot 100 Chart and number 10 on the Billboard Hot R&B Singles Chart. The cover photograph, like that of the album Come, was taken by Terry Gydesen and came from the book The Sacrifice Of Victor (published the same year), which documented the 1993 Act II tour; the image used for Letitgo was the same one that appeared on the book’s cover. The single (and the album that followed) were credited to “Prince,” which caused some confusion because he had publicly changed his name to the unpronounceable symbol a year earlier and had achieved worldwide success with The Most Beautiful Girl In The World under the new name. The official explanation was that the tracks on this album had been recorded before the name change, yet Letitgo was in fact recorded in March 1994, more than eight months after the change. For reasons unknown the maxi-single contains two remixes with slightly different names and durations (Caviar Radio Edit and Cavi ’Street Edit) that are identical. Those Caviar remixes were created by Q.D. III, son of producer Quincy Jones. The Sherm Stick Edit and the (-) Sherm Stick Edit both rely on looped uncredited samples of The Ballad Of Dorothy Parker and Grand Funk Railroad’s Nothing Is The Same (from their 1970 album Closer To Home), which run throughout the track. COUNTRY VARIANTS Artist: Prince Title: Letitgo Label: Warner Bros. Country: US Catalogue: 7-18074 / 5439-18074-2 / WPDR-3006 / PRO-CD-7000 Date: August 9, 1994 Format: 7" / CD Promo Tracklist (7"): A — Letitgo (Edit) (4:15) B — Solo (3:48) Tracklist (CD Promo): 1 — Letitgo (Edit) (4:15) 2 — Solo (3:48) Tracklist (CD Promo): 1 — Letitgo (Edit) (4:15) 2 — Letitgo (Original Album Version) (5:33) RELEASE HISTORY Released 9 August 1994 in the US as a 2-track single. A maxi-single containing multiple remixes followed later. UK/European CD singles also included Alexa De Paris (Extended Version) and Pope. CHARTS & CERTIFICATIONS US Billboard Hot 100: Peak 31 US Billboard Hot R&B Singles: Peak 10 PRODUCTION Label: Warner Bros. Catalogue numbers: • US: 7-18074 • US: 5439-18074-2 • JAP: WPDR-3006 • US: PRO-CD-7000 Notes: Cover photograph by Terry Gydesen, taken from the book The Sacrifice Of Victor. 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.

Blankman is the official soundtrack to the 1994 superhero comedy film starring Damon Wayans. It features the New Power Generation (with Prince) performing the track Super Hero (featuring The Steeles). RELEASE DETAILS Artist: Various Artists (Prince / New Power Generation) Label: Epic Soundtrax / Sony Music Format: CD, MC (Cassette) Country: Worldwide Released: 9 August 1994 Genre: Funk, R&B, Hip-Hop, Soul Length: 48:45 THE STORY A fun, upbeat soundtrack mixing hip-hop, R&B, and funk to match the film’s comedic superhero theme. The standout Prince-related track is the uplifting and funky Super Hero, which was also released as a promotional single. CONTEXT & NOTES "Super Hero" was originally written and recorded by Prince in 1992 (intended for Earth, Wind & Fire), then re-recorded in 1994 for this soundtrack. A third version later appeared in development for the NPG album Exodus. This marks one of Prince’s contributions to a major Hollywood comedy soundtrack during the symbol era. Prince / NPG Contribution: Super Hero — The New Power Generation featuring The Steeles (5:01) SINGLES Super Hero (promo single) PACKAGING & VISUALS The dynamic cover (as shown) features bold comic-book-style graphics with a stylized city skyline, the film title “Blankman,” and artist credits on a red-and-black background. PERSONNEL (Super Hero) Sonny T. — vocals, bass guitar The Steeles (Jevetta, Jearlyn, JD, Fred Steele) — vocals Prince (as ) — all other instruments, production Michael B. — drums Tommy Barbarella — keyboards Mr. Hayes — keyboards Production Prince — producer, arranger Steve Noonan — engineer CHARTS Did not chart on the Billboard 200. 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

Gett Off is a video EP presenting music videos for most of the tracks featured on the Gett Off maxi‑single, released four weeks earlier. The feature runs approximately 30 minutes and showcases the visual identity of Prince’s early‑1990s transition into the Diamonds And Pearls era. All footage was filmed at Paisley Park Studios and Prince’s Galpin Blvd. House, capturing the raw, stylised, club‑driven aesthetic of the period. The home video reached #1 on the Billboard Top Music Videos chart and #6 on the Top Video Sales chart. Certified Gold by the RIAA. Released exclusively on VHS and Laserdisc. Released: 10 September 1991 (USA) Length: 30 minutes Country: United States Language: English Label(s): Paisley Park / Warner Reprise Video (US) Director(s): Randee St. Nicholas, Paisley Park Starring: Prince & The New Power Generation Music by: Prince The video EP presents a sequence of stylised performance and conceptual videos tied to the Gett Off maxi‑single. Each track receives its own visual treatment, blending choreography, fashion, and Prince’s evolving New Power Generation aesthetic. The project serves as a bridge between the Graffiti Bridge era and the forthcoming Diamonds And Pearls era. Production Notes • Filmed at Paisley Park Studios • Additional footage shot at Prince’s Galpin Blvd. House • Released only on VHS and Laserdisc • Certified Gold by the RIAA • Reached #1 on Billboard Top Music Videos Formats Commercially released on VHS (NTSC, PAL/SECAM) and Laserdisc (NTSC). Not released on DVD or Digital. Laser disc - Japan - WPLP-9069 Track Listing VHS — NTSC / PAL / SECAM References: USA: 38259 • UK/FR: 7599 38259‑3 AUS: 759938259‑3 JAP: WPVP‑9069 • Gett Off (5:32) • Gett Off (Houstyle) (8:35) • Violet The Organ Grinder (4:58) • Gangster Glam (6:11) • Clockin’ The Jizz (4:54) Laserdisc — NTSC References: JP: WPLP‑9069 • Gett Off (5:32) • Gett Off (Houstyle) (8:35) • Violet The Organ Grinder (4:58) • Gangster Glam (6:11) • Clockin’ The Jizz (4:54) Notes The Gett Off home video was a major commercial success, topping the Billboard Top Music Videos chart for 15 weeks. Its Gold certification reflects the strong momentum Prince carried into the Diamonds And Pearls era. The EP remains a key visual document of Prince’s early‑1990s stylistic shift. 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 Hartford Courant feature from September 10 1987 reports on Prince’s surprise live appearance in suburban Minneapolis, thrilling fans with an impromptu full‑set performance while other scheduled acts, including Engelbert Humperdinck, faced cancellations. The article captures Prince’s enduring mystique and his connection to hometown audiences during the Sign o’ the Times era. Publication: Hartford Courant Date: September 10 1987 Country: United States Written by Roger Catlin, the piece opens with Prince’s chart‑climbing single “U Got the Look” and describes how, despite his national fame, he remained rooted in Minneapolis. Instead of performing at major venues like First Avenue, Prince appeared at Rupert’s, a suburban bar in Golden Valley, following a show by the Dead Milkmen. Fans were ecstatic as Prince delivered two full sets mixing his own hits with covers such as Al Green’s “Love and Happiness” and Sly and the Family Stone’s “I Want to Take You Higher.” His band, fresh from the MTV Video Music Awards, joined him for the performance. The article notes that Prince had been working on his concert film Sign o’ the Times, scheduled for release on November 11, and rehearsing for his upcoming European tour. A black‑and‑white photo shows Prince standing near a window, light streaming in, captioned: “Prince popped up in a suburban Minneapolis bar Saturday and performed, much to the delight of regulars and the chagrin of those who couldn’t get in.” CONTEXT AND NOTES By late 1987, Prince was balancing global superstardom with local spontaneity. His surprise appearances reinforced his reputation as an unpredictable performer who valued intimate connections with fans. The article also situates his activity within the broader concert landscape, mentioning cancellations and upcoming shows by artists like R.E.M., U2, and David Bowie, reflecting the vibrant touring scene of the era. FEATURE HIGHLIGHTS Event: Prince’s surprise performance at Rupert’s bar in Golden Valley Era: 1987 – Sign o’ the Times Film and Tour Period Tone: Excited, local, and observational Photography: Black‑and‑white portrait of Prince by  Warner Bros., window‑lit and reflective 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 Vincennes Sun‑Commercial television listing from September 5 1991 highlights the MTV Video Music Awards, noting Prince’s first appearance as a performer at the event. Hosted by Arsenio Hall, the broadcast marked a major moment in Prince’s Diamonds and Pearls era, coinciding with his Gett Off single and the debut of the New Power Generation. Publication: The Vincennes Sun Commercial Date: September 5, 1991 Country: United States The listing promotes the eighth annual MTV Video Music Awards airing at 8 p.m., emphasizing Prince’s live performance alongside other major acts including L.L. Cool J and Poison. The awards featured 22 categories, introducing the new Best Long Form Video honor, with R.E.M. receiving the most nominations. Prince’s participation was widely anticipated, marking his return to MTV’s stage after years of cultivating a more independent artistic identity. His performance of Gett Off became one of the night’s defining moments, blending provocative choreography with the sleek funk sound of his new band. CONTEXT AND NOTES By 1991, MTV’s Video Music Awards had become a cultural touchstone, showcasing the intersection of music, fashion, and performance art. Prince’s appearance symbolized his re‑engagement with mainstream pop audiences while maintaining his creative autonomy. The Vincennes Sun‑Commercial listing reflects how local newspapers helped build anticipation for televised music events, connecting regional readers to national pop culture milestones. FEATURE HIGHLIGHTS Event: 1991 MTV Video Music Awards broadcast Era: 1991 – Diamonds and Pearls   New Power Generation Era Tone: Promotional, concise, and anticipatory Photography: Text‑only listing; no accompanying image 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.

This Boca Raton News article from September 5 1991 announces the release of Prince’s Gett Off Maxi Video, a thirty‑minute visual collection featuring exclusive tracks tied to his upcoming Diamonds and Pearls album. The piece highlights Prince’s innovative decision to make several new songs available only through video format. Publication: Boca Raton News Date: September 5, 1991 Country: United States The article explains that fans eager to hear Prince’s latest material would have to “see it” rather than find it on television, as the videos were unavailable for broadcast. Conceived and directed by Prince at both his Minneapolis home and Paisley Park Studios, the Gett Off video includes five segments: Gett Off, Violet the Organ Grinder, Gangster Glam, Clockin’ the Jizz, and Gett Off (Housestyle). Warner Reprise Video promoted the release as a five‑song “EP” featuring four tracks not included on the forthcoming Diamonds and Pearls LP. The videocassette, running approximately thirty minutes, was scheduled for release on September 10 1991 at a retail price of $14.98, complete with a Parental Advisory label. CONTEXT AND NOTES By 1991, Prince was redefining how music and visuals intertwined, using filmic storytelling to expand his artistic reach. The Gett Off Maxi Video represented a bold marketing move — a hybrid of music video and short film that previewed the sensual, cinematic tone of Diamonds and Pearls. The Boca Raton News coverage reflects the growing anticipation for Prince’s new era with the New Power Generation, emphasizing his control over every creative detail from concept to execution. FEATURE HIGHLIGHTS Event: Announcement of Prince’s Gett Off Maxi Video release Era: 1991 – Diamonds and Pearls  New Power Generation  Era Tone: Promotional, informative, and anticipatory Photography: Black‑and‑white portrait of Prince accompanying the article WHAT THE CLIPPING SHOWS Boca Raton News feature announcing Prince’s video‑only release Details of the five included tracks and production at Paisley Park Release date and pricing information for the videocassette 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.

This Star Tribune advertisement from September 8 1986 promotes the final weekends of the Valleyfair Family Amusement Park season, featuring a special live performance by Mazarati, the Minneapolis funk band associated with Prince and the Paisley Park sound. Publication: Minneapolis Star and Tribune Date: September 8, 1986 Country: United States The advert announces “ONLY 5 DAYS LEFT” for the park’s 1986 season, listing the closing dates — September 13–14, 20–21, and 27. The central image shows Mazarati, captioned “Sept. 13th Only.” Beneath, bold text reads: “Plus MAZARATI – If you love the sound of Prince, you’ll love Mazarati!” The band was scheduled to perform two shows at 6 PM and 8 PM on  September 13,included in the regular  admission price of $11.95. The lower section lists park hours for each remaining date, followed by the Valleyfair logo and slogan “Now That’s Entertainment!” — emphasizing the park’s blend of rides, shows, and live music. CONTEXT AND NOTES Mazarati, formed by BrownMark of The Revolution, was part of Prince’s Minneapolis music circle and known for their self‑titled 1986 album featuring the original version of “Kiss.” This advert captures their local prominence and the city’s pride in its homegrown funk scene, linking Paisley Park’s sound to Minnesota’s family entertainment culture. FEATURE HIGHLIGHTS Event: Valleyfair Season  Finale with Mazarati Live Era: 1986 – Paisley Park / Minneapolis Sound Peak Tone: Promotional, energetic, and local Photography: Group portrait of Mazarati within advert layout WHAT THE CLIPPING SHOWS Valleyfair’s closing weekend announcement Mazarati live performance details (Sept. 13 only) Park hours and admission information Valleyfair logo and slogan “Now That’s Entertainment!” All newspaper 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 full‑page advertisement from September 8 1984 promotes Prince’s debut motion picture Purple Rain, celebrating its seventh consecutive week in theatres. The ad features the bold endorsement from Newsweek critic David Ansen, who hailed Prince as “The New Prince of Hollywood.” Publication: Minneapolis Star and  Tribune Date: September 8, 1984 Country: United States The advertisement highlights Purple Rain’s enduring success in Minneapolis cinemas, listing six local venues — Skyway 5, Southdale, Northtown, Hopkins 4, Apache 4, and Brookdale Square — under the banner “7th Week!” The layout combines striking black‑and‑white typography with the film’s iconic logo and Warner Bros. insignia. The quote from Newsweek underscores Prince’s meteoric rise from local musician to international film star. The tagline “in his first motion picture” emphasizes the cultural milestone of his cinematic debut, which blended autobiographical drama with electrifying live performances. CONTEXT AND NOTES By September 1984, Purple Rain had become a phenomenon, dominating box offices and solidifying Prince’s dual legacy as musician and actor. The Star Tribune advert reflects Minneapolis pride in its hometown hero’s global breakthrough, marking the film’s sustained popularity well beyond its initial release. FEATURE HIGHLIGHTS Event: Purple Rain Film Promotion – 7th Week Run Era: 1984 – Minneapolis Sound / Film Debut Period Tone: Celebratory, cinematic, and local Photography: Text‑based layout with film logo and cinema listings WHAT THE CLIPPING SHOWS Newsweek quote: “The New Prince of Hollywood.” Purple Rain title and Warner Bros. logo Minneapolis cinema listings for the film’s 7th week run 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 Atlanta Journal review from September 11 1991 critiques Prince’s thirty‑minute Gett Off video collection, released to promote his Diamonds and Pearls album. Written by Steve Dollar, the piece assesses the production’s sensual imagery and choreography, concluding that despite its racy presentation, it lacks genuine provocation or originality. Publication: The Atlanta Journal Date: September 11, 1991 Country: United States The article describes Gett Off as a “Caligula‑inspired orgy too hot for MTV,” yet notes that viewers will find little truly shocking beyond Prince’s familiar flirtations with eroticism. Dollar writes that the video’s two versions — one aired on MTV and one sold commercially — feature soft‑core frolic rather than explicit content. The review highlights several segments from the Maxi Video, including Violet the Organ Grinder, Gangster Glam, and Clockin’ the Jizz, each tied to the Diamonds and Pearls sessions. Prince’s recurring muses, Diamond and Pearl, appear throughout, gradually stripped to designer lingerie in stylized scenes meant to evoke fleeting encounters. Despite the visual flair, Dollar argues that the production “smacks of retread,” recycling familiar imagery from Prince’s earlier work. CONTEXT AND NOTES By September 1991, Prince was transitioning into his New Power Generation era, experimenting with multimedia releases that blurred the line between music and film. The Gett Off Maxi Video was among the first long‑form video projects marketed alongside an album, reflecting his ambition to merge visual storytelling with pop performance. The Atlanta Journal review captures the mixed critical response to Prince’s evolving style — admired for its polish and daring, yet critiqued for repetition. It also situates the release within the broader conversation about censorship and sexuality in early‑1990s music videos. FEATURE HIGHLIGHTS Event: Review of Prince’s Gett Off Maxi Video Era: 1991 – Diamonds and Pearls  New Power Generation Era Tone: Analytical, skeptical, and culturally reflective Photography: Black‑and‑white portrait of Prince accompanying the review WHAT THE CLIPPING SHOWS Atlanta Journal review of Prince’s Gett Off Maxi Video Commentary on its sensual imagery and artistic intent Mention of featured tracks and recurring characters Diamond and Pearl 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.