NeoSoul said:

I just scanned two pages of the July 8, 1995 Prince Family newsletter

Links to http://www.neosoul.com/mu...nce07.html

it has articles about Gold Experience concerts at Paisley Park and Glam Slam

I'll add more pages and improve the page as it goes on.

http://www.neosoul.com

wow

thanks 4 taking the time 2 do this for everyone

I will be setting aside some read time later today

so 10 pages in of the Gold Experience, the album is officially released on September 26, 1995

http://freedomtrainonline...opic=648.0


On December 22, Paisley Park issued a press release that read as follows:

"0+> has officially given notice to Warner Brothers Records (WBR) of his desire to terminate his recording agreement with the company. Over the course of their nearly two decade long relationship, The Artist and WBR have developed irreconcilable differences. Most recently, the unstable and ever changing management structure within WBR has made it impossible for the company to effectively market and promote its flagship artists, including 0+>.

The Artist is prepared to deliver the three (3) remaining albums under his former name Prince which will fulfill his contractual to WBR. Currently, the albums are titled: Prince - The Vault - Volumes I, II and III.
0+>
will release a recording entitled Emancipation once he is free from all ties with Time Warner."

The press release wasn't very detailed, but it outlined my feelings as the Holiday week approached. While it was a message to everyone, it was more for the ears of the entertainment industry, and specifically it was geared towards the music industry and its musicians - both young and old, green and seasoned, struggling and successful. These words from Paisley Park are from me. My ultimate message is a cry for solidarity amongst artists and a reprieve from the greed of entertainment executives.

My message stems from a lifetime of development as an artist and as a businessman, and my increasing awareness of a greedy structure within the music industry that unjustly rewards large, slow corporate management teams, while overlooking and not protecting its bread and butter - the artists.

As difficult as it is to admit now, when I began my career with Warners in 1978, I had a lot to learn. The transition into the artist I am now hasn't been a smooth one. I don't want other young artists to be mislead in the same way. I'm expressing my feelings so that others will learn from my mistakes. I also want all established artists to understand the issues and know that there should be a better way and to join with me to create that new path.

A little history.

At 37 years old, I have been a recording artist for Warner Music for what will be seventeen years this April. I was only 19 when I recorded my first album as Prince. Recording for a large label was new and exciting. I had an opportunity to reach millions of people around the world, not just my faithful following here in Minneapolis around the club scene. As time passed, the realities of the music industry and its current hierarchal pecking system sunk in. Artists are last on the totem pole in terms of recoupment.

My path has been a long and arduous one. In the beginning, both youth and excitement towards the opportunity to have an album produced made me, as Prince, naive. Savvy lawyers claiming to have my interest at heart, long in bed with the record companies they pimp, offered me what seemed to be a lucrative contract, without fully explaining the ramifications of its terms. I wrote an album a year for many years until I realized a trap had been laid. I would never be able to leave the legacy of my music to my family, my future children or anyone, because "Prince" did not own the Masters-I did not, and still do not, own my Art.

For most of all my adult life, I have labored under one construct. I compose music, write lyrics, and produce songs for myself and others. My creativity is in my life; it is what guides me everyday, my sleepless nights. My songs are my children. I feel them, I watch them grow and I nurture them to maturity. I deliver them to my record company, and suddenly, they are no longer mine. The process is painful. I have been long ready for a new program. The time is now.

As an artist, I want to share my music with others. I crave the experience of writing and sharing with others. It is what I do as an artist; as a human being. I take pleasure in the fact that others are able to share in my joy once the process is complete. My fans are my children's friends; I respect them and want to communicate with them.

As a businessman and the owner of NPG Records-the label that released "The Most Beautiful Girl In The World"-the 1994 number One release by an independent, I realize that record companies are a natural part of the food chain. It is the record label that allows a musical artist to reach out to his or her audience, but that does not mean that whichever organization markets and distributes the music should own the final product, i.e.: The Masters.

What I have learned both as an artist and a businessman is that a middle ground must be developed. All artists, whether new or established, must have a substantial ownership interest in the music they create. Conversely, all record labels need an incentive to market music and push it thorough their distribution systems; still, that incentive should not be ultimate control. Record labels have no right to enslave the creators.

The first step I have taken towards the ultimate goal of emancipation from the chains that bind me to Warner Bros, was to change my name from Prince to 0+>. Prince is the name that my Mother gave me at birth. Warner Bros. took the name, trademarked it, and used it as the main marketing tool to promote all of the music that I wrote. The company owns the name Prince and all related music marketed under Prince. I became merely a pawn used to produce more money for Warner Bros.

By my 35th birthday, June 7, 1993, I was beyond frustrated with my lack of control over my career and music. It seemed reminiscent of much that had been experienced by other African Americans over the last couple of hunderd years. They had turned me into a slave and I wanted no more of it. The dilemma had only one clear solution. I was born Prince and did not want to adopt another conventional name. The only acceptable replacement for my name, and my identity was 0+>, a symbol with no pronunciation, that is a representation of me and what my music is about. This symbol is present in my work over the years; it is a concept that has evolved from my frustration; it is who I am. It is my name.

I look forward to the release of Emancipation in the near future. It will be The Dawn of the next phase of my life as a musician. It will represent my freedom from the past and it will be a continuum of what I have started here today.

PHILADELPHIA INQUIRER

Tuesday, September 26, 1995
Section: FEATURES ENTERTAINMENT
Page: E03

ON MUSIC

LATEST ALBUM FROM THE ERSTWHILE PRINCE IS GOOD THEATER

By Tom Moon

We start where we left off last time: Trying to decide what to call this sometimes confused, sometimes brilliant musician-singer-savant. Once Prince, then a symbol, he's identified by Warner Brothers Records as "AFKAP," the Artist Formerly Known as Prince.

That shouldn't matter much to the people formerly known as his audience, except right now he's creating music that doesn't really reflect any name change. The Gold Experience, which arrives in stores today, is a Prince record. Through and through.

It's naughty. It does, at times, objectify women - but then the 37-year-old Prince never could resist putting his scantily clad heroines on a pedestal. It's got the most potent hip-hop-rock hybrid jam to hit the streets in years. It is unrepentantly sexy. It's got a few of those big production-number ballads, a specialty that he hasn't attempted since Diamonds and Pearls. (These include "The Most Beautiful Girl in the World," the only previously released Gold Experience track.)

Mostly, though, it's theater. And at his best and worst, Prince always was dramatic. The author of both a modern rock opera (Purple Rain) and one of the most indulgent vanity projects of modern film (Graffiti Bridge), Prince has envisioned himself as a storyteller-slash-philosopher, a sage whose job is more than just songwriting. He's tried, over and over again, to wrangle larger themes out of smallish songs, and to make his music say something, spiritual or otherwise. Sometimes the songs cooperate; just as often, the concept feels overblown and contrived.

For The Gold Experience, his songs are connected by a dispassionate computer voice prompt that guides the listener through a menu of "experiences" - love, hate, revenge.

But like multimedia computing and so much modern art, these songs are not always linear: There's no attempt to link them into a conventional unifying theme. They're a series of atmospheres, celebrating lust one minute and rapping about virtue the next. The contradictions could fill a psychologist's journal: The opening selection (whose un-PC title is not printable) champions female sexual power, but "Shhh" finds the male in control of every aspect of lovemaking. One track is an ode to a tough woman named "Billy Jack Bitch," while another, "We March," contains this surprisingly enlightened advice to gangsta rappers:

If this is the same sister that you cannot stop calling a bitch
It will be the same one that will leave your broke ass in a ditch

The adolescent computer fantasy scenario will no doubt bring Prince more ridicule: He's just using new media to let his twisted, one-track mind roam free. Why, goes one line of thinking, doesn't he just get into the pornography business? Because even when he veers off color, when his lyrics take you to intimate places you might not want to go, his creative music tests the edges of pop like nobody else's, taking the music to places it needs to go.

It's chops in the service of raunch, and as has been the case throughout Prince's career, the raunch tends to obscure the compositional advances underneath. Unlike the nervous and audience-obsessed Michael Jackson, whose new album was heralded with a lyric controversy that smelled like a publicity stunt, Prince follows his gut, marketplace be damned. He then supports his impulses with taut, fiery music that defies quick categorization, effortless music that recalls his confident Purple Rain stride. After a long stretch of mostly unfruitful experimentation, The Gold Experience shows that this is one fallen mega-star who is still in touch with the simple truth of a slamming backbeat.

At a time when pop music (and black pop, in particular) seems stuck on rote expressions of devotion, this renewed attention to the visceral side of music, to how things feel rather than what they mean, is welcome. Prince sounds like he's enjoying it, too: Comfortable paying homage to a powerful woman, he raps with a rhythmic dexterity that shames Snoop Doggy Dogg. At home with a rock- funk pocket ("Endorphinmachine") that rivals "1999," he plays enough ferociously inventive guitar to send Eddie Van Halen back to the practice room.

Though his writing is more direct than in the recent past, Prince still finds ways to flesh out his songs with imaginative musical touches: The syncopated "Shhh" is punctuated by the work of drummer Michael Bland. He plays the most riveting drum solo to hit pop music since Steve Gadd's trip through Steely Dan's Aja, while "319" contains some of the most taut, restrained guitar playing Prince has committed to tape in years.

And, of course, he sings. Passionately. Despite its campy courtroom interlude, "I Hate U," the breathtaking ballad that is Gold's first single, captures Prince essaying vividly on the feeling of betrayal. Unafraid to pour his heart into what would, in other hands, be a commonplace plea, he phrases with a hurt powerful enough to stop time. Elsewhere, he creates a chorale of gently cooing voices to celebrate physical love on "Shhh," and then turns that choir loose on a political pursuit, for the new-jack shuffle "We March."

So he's back doing what he's good at. That's a relief. The Gold Experience may not be the deepest collection of songs Prince has offered, but it's certainly the loosest - and the most accessible - in quite some time. It most certainly won't benefit from a "King of Pop" $30-million marketing campaign, but with music this compelling, that hardly matters: When he says, on the opening track, "I need another piece of your ear," give it up. This time old-what's-his-name has earned it.

9.1.1995 @ Paisley Park

1. Get Loose

2. Pussy Control

3. Days of Wild

4. We March

5. Love, Thy Will Be Done

6. Funky

7. Honky Tonk Women

8. Jailhouse Rock

9. the Ride

10. M'Lady

11. Now

12. Funky Stuff

13. Sex Machine

14. the Cross

9.8.1995 @ Paisley Park

1. Shy

2. People Get Ready

3. the Jam

4. You Have the Love

5. instrumental

6. Sweet Thing

7. Heaven Must Be Like This

8. Hide the Bone

9. Funky Design

10. Santana medley

11. the Undertaker

12. instrumental

13. Sometimes It Snows In April

9.9.1995 @ Paisley Park
1. Purple Medley

2. Endorphinmachine

3. Shhh

4. Now

5. Funky Stuff

6. Days of Wild

7. Pussy Control

8. LetitGo

9. Pink Cashmere

10. Return of the Bump Squad

11. 777-9311

12. Get Wild

13. Race / Girls & Boys

B-side "I Hate U" (Quiet Night Mix by Eric Leeds) (7")
"Endorphinmachine" (Japan CD)
Released September 12, 1995

Recorded Paisley Park Studios, September 1993–1994

I Hate U" was nearly a solo effort from Prince, although he credited Minneapolis musician Ricky Peterson with co-production and arranging, as well as providing additional keyboards.


I Hate U

U have just accessed the Hate Experience
Do U wish 2 change your entry?
Very well, please enjoy your experience
I never thought that U would be the one
After all the things that we've been through
U gave your body 2 another in the name of fun
I hope U had some baby, if not, boo hoo

CHORUS:
It's so sad but I hate U like a day without sunshine
It's so bad but I hate U cuz U're all that's ever on my mind
Honey, I hate U - Now everyday would be a waste of time
Cuz I hate U

I never thought that I could feel this way
2 fall in love was a table reserved 4 fools
Say U're sorry if U wanna but it's all in vain
I'm out the door sweet baby, that's right, we're through

CHORUS

This court is now in session
Would the defendant please rise?
State your name 4 the court
Never mind (Billy Jack Bitch)
U're being charged with one 2 many counts of heartbreaking
In the 1st degree
I don't give a damn about the others
My main concern is U and me

Your honor, may I call 2 the stand my one and only witness?
A girl that know damn well she didn't have no damn business
I know what U did, how U did it and uh.. who U did it with
So U might as well plead guilty cuz U sure can't plead the 5th
Now raise your right hand
Do U swear 2 tell the whole truth
Not the half truth like U used 2 so help U God?
Nod your head one time if U hear me
If U don't, I'll have 2 use the rod
Anything 2 make U see that uh.. U're gonna miss me
Yeah, U're gonna miss me
Uh, uh, uh, oh!

If it please the court
I'd like 2 have the defendant place her hands behind her back
So I can tie her up tight and get into the act
The act of showing her how good it used 2 be
I want it 2 be so good she falls back in love with me

Close your eyes
I'm gonna cover your ass with this sheet
And I want U 2 pump your hips like U used 2
And, baby, U better stay on the beat
Did U do 2 your other man the same things that U did 2 me?
Right now I hate U so much I wanna make love until U see
That it's killin' me, baby, 2 be without U
Cuz all I ever wanted 2 do was 2 be with U ... ow!

I hate U (I hate U)
Because I love U (Because I love U)
But I can't love U (I can't love U)
Because I hate U (I hate U)

Because I love U
I love U, baby
I love U {x3}

I love U cuz U're all that's ever on my mind
I hate U because I love U

© 1995 Controversy Music - ASCAP

12.3.1995 tv VH-1 Fashion & MusicAwards
P Control (House Mix)

Prince performs with Mayte and other dancers during the VH1 Fashion & Music Awards show in New York on Dec. 3, 1995.

ADAM NADEL / ASSOCIATED PRESS

PHILADELPHIA DAILY NEWS

Tuesday, September 26, 1995
Section: FEATURES YO!
Page: 29

NEW DISC IS A WINNER FOR PRINCE
GO FOR THE GOLD

by Jonathan Takiff, Daily News Staff Writer

THE GOLD EXPERIENCE
PRINCE
(WARNER BROS.)
* * * *

What in blazes were those Warner Brothers Records executives thinking when they gave the Artist Formerly Known as Prince a hard time over the release of "The Gold Experience"?

Anyone with ears to hear, a sense of history, and more than a passing appreciation of Prince should be delighted by this new set hitting stores today. Richly referenced to golden soul, folk and rock influences - chock-full of memorable tunes, imagery and invigorating arrangements - it's a veritable pot of gold at the end of the rainbow. And guaranteed, the set will help you forgive and forget his recent spate of one-dimensional, beat-centered musical disappointments that tried too hard to be "street"-wise.

While he's never going to be accused of being a saint, some of his new raunchy stuff (like the rap-pounded show opener "P**** Control" ) rises above the lascivious by slipping in lines designed to put tough guys in their place and women back on a pedestal: "Hooker, bitch, 'ho/I don't think so."

And the Princely one stretches out in new/old directions with songs like "Dolphin," a haunting reverie about reincarnation, and the moralistic title track, "Gold," which asks, "What's the use of money if you're not gonna break the mold?"

Both are more than a little reminiscent of Crosby, Stills and Nash's best folk-pop, and reveal a previously repressed side.

Also harking back to the golden age of progressive album music is the potent "We March," a dynamic, gospel-tinged soul funker in the protest vein of Sly and the Family Stone: "If this is the same avenue my ancestors fought to liberate, how come I can't buy a piece of it even if my credit's straight?"

Classic '70s soul is evoked with ballads like "The Most Beautiful Girl in the World" - successfully released as an independent single last year during the artist's falling out with Warners. It harks back to the testifying soul of Al Green and Teddy Pendergrass.

The theme tying these elements together is the recurring sound of His Royal Badness tapping away on a computer, accessing elements of a program called The Gold Experience in search of "courtship, sex, commitment, fetishes, loneliness, vindication, love and hate."

Love and hate come together in the standout "I Hate U," a comically twisted, yet heart-grabbing ballad set in a courtroom. It's a song so vivid that no music video is needed to unfold the plot. In an angelic voice, our hero bemoans his cheatin' girlfriend, and then gruffly calls her to the stand. "If it pleases the court," he intones with a slightly veiled smirk, "I'd like to have the witness place her hands behind her back so I can tie her up tight and get into the act."

Dirty minds will also delight in a visit to hotel room "319," where the randy one is shooting pictures of a model-for-hire and marveling at her attributes.

Rich polyphonic keyboard lines and fiery, jazz- and rock-flavored guitar breaks are abundant throughout. In sum, the man's hungry again, snapped out of his lethargy and living up to the credo, "Write about what you know best."

There's a mountain and it's mighty high
U cannot see the top unless U fly
And there's a molehill of proven ground
There ain't no where 2 go if U hang around
Everybody wants 2 sell what's already been sold
Everybody wants 2 tell what's already been told
What's the use of money if U ain't gonna break the mold?
Even at the center of fire there is cold
All that glitters ain't gold
All that glitters ain't gold, mmm

There's an ocean of despair
There are people livin' there
They're unhappy each and every day
But hell is not fashion so what U tryin' 2 say?

Everybody wants 2 sell what's already been sold
Everybody wants 2 tell what's already been told
What's the use of money if U ain't gonna break the mold?
Even at the center of fire there is cold
All that glitters ain't gold, no no
All that glitters ain't gold, no no

There's a lady, 99 years old
If she led a good life, heaven takes her soul
Now that's a theory and if U don't wanna know
Step aside and make a way 4 those who want 2 go

Everybody wants 2 sell what's already been sold (Sold)
Everybody wants 2 tell what's already been told (Told)
What's the use of bein' young if U ain't gonna get old? (Old)
Even at the center of fire there is cold (Cold)
All that glitters (glitters) ain't gold, no no no no no
All that glitters ain't gold
Alright

All that glitters, all that glitters, all that glitters.. ain't gold

Na na na na na na na (Gold {x4})
Na na na na na na na (Gold {x4})
Gold, gold, gold
All that glitters ain't gold, gold, gold
All that glitters ain't gold, gold, gold (Na na na na na na na)
All that glitters ain't gold, gold, gold (Na na na na na na na)
All that glitters ain't gold, oh
Oh yeah
1 2.. 1 2 3, let's go!

(Na na na na na na na) {repeat}

U are now an official member of the New Power Generation
Welcome 2 The Dawn

All that glitters ain't gold (Gold) {repeat & loop}

© 1995 Controversy Music - ASCAP

Rock 'N' Roll Is Alive! (And It Lives In Minneapolis) was released as the b-side of the single Gold, the second commercial single to be released from The Gold Experience, released worldwide. In 1996, the song was also included in the TV movie Love 4 One Another.

Initial tracking took place on 12 September, 1995 at Paisley Park Studios, Chanhassen, MN, USA (on the same day Hate U was released as a single), incorporating an audience chant of "Rock 'n' roll is alive! And it lives in Minneapolis" from the 9 September, 1995 show at Paisley Park Studios, and the song premiered on KDWB-FM radio in Minneapolis the following day. A separate instrumental version, containing the audience chants and the DJ's voiceover sampled from the initial broadcast, premiered on KDWB-FM two days later.

The song was recorded in direct response to Lenny Kravitz's song Rock And Roll Is Dead (from the 1995 album Circus, also released as a single), which had just been released, and received some press coverage as a result. A lyric sheet given to attendees at a listening party for The Gold Experience (where this song was also played), ended with the credit "Thanx Lenny, call me in Minneapolis".

-PrinceVault

(Rock 'n' roll is alive!)
Rock 'n' roll is alive!
(Rock 'n' roll is alive!)

Rock 'n' roll is alive and it lives in Minneapolis
Rock 'n' roll is alive and it lives in Minneapolis

From all over the world the people came
Even the President flies in to worship a thing called fame
Red, white, and blue boy, girls, tonight everyone's the same
Some people say it's dyin', but we don't wanna play that game

Rock 'n' roll is alive and it lives in Minneapolis
(Sing)
Rock 'n' roll is alive!
(And it lives in Minneapolis)
Rock 'n' roll is alive and it lives in Minneapolis
(Sing)
Rock 'n' roll is alive!
(And it lives in Minneapolis)

Sure as the drive around Lake of the Isles is cool I know
(Oh)
Rock 'n' roll will never die like the Minne, haha flow
(Oh)
Sure as the land of a thousand lakes is sometimes made of snow
There'll always be another king 2 die butt-naked on the floor
(Oh)

Rock 'n' roll is alive and it lives in Minneapolis
(Sing)
Rock 'n' roll is alive!
(And it lives in Minneapolis)
(Oh)

Rock, rock
(Very impressive)
Rock, rock
(Sing)

Rock 'n' roll is alive and it lives in Minneapolis
Sing damn it

Rock, rock
Rock 'n' roll is alive!
(Yeah)
(Rock 'n' roll is alive and it lives in Minneapolis)
(Rock 'n' roll is alive and it lives in Minneapolis)
(Rock 'n' roll is alive and it lives in Minneapolis)
(Rock 'n' roll is alive and it lives in Minneapolis)

Rock 'n' roll is alive and it lives in Minneapolis
Rock 'n' roll is alive and it lives in Minneapolis
Rock 'n' roll is alive and it lives in Minneapolis
Rock 'n' roll is alive and it lives in Minneapolis

GUITAR WORLD NOVEMBER 1995

February 17. 1996
Gold Tour

1.Purple Medley (PA)
2.Endorphinemachine
3.Shhh
4.Days Of Wild
5.Now/Babies Makin' Babies
6.Funky Staff
7.Get Up/Sex Machine
8.Take Me With U
9.Funky
10.The Most Beautiful Girl In The...
11.Pussy Control
12.Letitgo
13.Starfish & Coffee
13.The Cross
14.The Jam
15.One Of Us
16.Do Me, Baby
17.Sexy MF
18.If I Was Your Girlfriend
19.Vicki Waiting
20.Purple Medley
21.7
22.Billy Jack Bitch
23.I Hate U
24.319
25.Gold

2.17.1996 Gold Tour

1.Purple Medley (PA)
2.Endorphinemachine
3.Shhh
4.Days Of Wild
5.Now/Babies Makin' Babies
6.Funky Staff
7.Get Up/Sex Machine
8.Take Me With U
9.Funky
10.The Most Beautiful Girl In The...
11.Pussy Control
12.Letitgo
13.Starfish & Coffee
13.The Cross
14.The Jam
15.One Of Us
16.Do Me, Baby
17.Sexy MF
18.If I Was Your Girlfriend
19.Vicki Waiting
20.Purple Medley
21.7
22.Billy Jack Bitch
23.I Hate U
24.319
25.Gold

OldFriends4Sale said:

1. 8. 1996 @ the Nippon Budokan Hall in Tokyo Japan

Gold Tour

1. Purple Medley (PA)
2. Endorphinemachine
3. Shhh
4. Days Of Wild
5. Now/Babies Makin' Babies

6. Funky Stuff
7. the Most Beautiful Girl in the World
8. Pussy Control
9. Let It Go
10. Starfish & Coffee
11. the Cross
12. We March
13. Love, Thy Will Be Done
14. Funky
15. the Ride
16. the Jam
17. Sexy MF
18. If I Was Your Girlfriend
19. Vicki Waiting
20. I Hate U
21. 7
22. Billy Jack Bitch
23. Gold

From the S&S archives: Ex-Prince treats Japan to royal concert of past and present hits

http://www.stripes.com/ne...ts-1.74180

If the spectacular musical performance of The New Power Generation music group is any indication of what to expect from concerts for 1996, hold on to your hats for a refreshing and heart rocking year.

The NPG, led by its lead singer, "The artist formerly known as Prince," will clearly be a hard act to follow as they opened their five-night Japan concert tour to an enthusiastic and near capacity crowd at the Nippon Budokan Hall.

During the event, sponsored by concert promoter UDO Artist Inc., "The artist formerly known as Prince" was exhilarating, while displaying sense of being born again. He announced with great vengeance that Prince is dead! He also went on to express his displeasure with record companies by saying "they have no place in his equation." His new equation as he put it involves only him and his fans.

The New Power Generation lead singer graced the stage looking better than ever. The band opened with a medley of past and present hits, highlighted by a high-tech laser and light show.

In addition to the glitter, NPG showed why it has secured an everlasting place among the Pop, Rock, Rhythm & Blues and Funk musical giants. Unlike the new bands, many of which rely heavily on looped computer sequencing to produce an average sound, NPG showed that it is composed of accomplished musicians with years of experience.

The band played several hits from its current release entitled "The Gold Experience," some of which will prove to be timeless. But it also kept the audience dancing in the aisles with some of its funky, old-school hits such as "Seven," "If I Was Your Girlfriend" and the very popular "The Most Beautiful Girl."

iZsaZsa said:

OldFriends4Sale said:

February 17. 1996
Gold Tour

Newlyweds.

Yep and I guess the Japan / Hawaii Gold tour was their honeymoon and the end of the Gold Experience

but still the Slave

Glam Slam Reopening

The biggest news of the week is that Glam Slam — the exceedingly grand South Beach club that was closed by the state in January after a police raid — looks like it will reopen soon. We can't tell you how psyched we are. Warsaw & Les Bains owner Yves Dilena says he is quietly taking over management of the three-story Art Deco-era club as soon as the state reinstates the liquor license; the target is Memorial Day.

Still owned by rock star Prince [sic], Glam Slam will focus on live entertainment, including an as-yet-unbooked concert by the newlywed musician, says Yves. In the works for Saturday is a gay night [used to be Friday] says general manager Maxwell Blandford, who, along with GM Gary Santis, Yves and new promotions specialist Kevin Crawford (from the club's previous management group) will form the team. "People will be happy to see the Beach back to the way it was, says Yves. We couldn't agree more.

February 19 1996
( Gold Tour)
"Neil S.Blaisdell Center"Honolulu
1.Purple Medley (PA)
2.Endorphinemachine
3.Shhh
4.Days Of Wild
5.Now/Babies Makin' Babies
6.Race
7.The Most Beautiful Girl In The...
8.Pussy Control
9.Letitgo
10.Starfish & Coffee
11.Sometimes It Snows In April
12.The Ride
13.Get Up/Sex Machine
14.Johnny
15.Take Me With U
16.Funky
17.The Jam
18.One Of Us
19.Do M, Baby
20.Sexy M.F.
21.If I Was Your Girlfriend
22.Vicki Waiting
23.Purple Medley
24.7

February 14. 1996
Park Avenue United Methodist
Church Minneapolis Wedding
Prince & Mayte Jannell Garcia

Farfunknugin said:

OldFriends4Sale said:

Had this poster back in the day, too cool

It is a really cool image