moussemaker said:

I found this special issue of People at ebay:

[img:$uid]http://i65.tinypic.com/1z4wlkw.jpg[/img:$uid]

WHEN did this one come out? I need to get my a$$ to Barnes asap!

I thought they were just doing the regular issue that featured him on the front cover with that fedora hat and only had 4 pages of him inside

feeluupp said:

Identity said:

I'll have to thumb through the pages before paying $15 for the special collector's edition.

haven't seen that PEOPLE PRINCE edition in stores, or online... the one in store's has the pic of him wearing a hat from the musicology era.

Me too! I'm kinda on the fence with the price of that special edition though

Anyone in the UK know where I can buy magazines online without having to subscribe?

[img:$uid]http://i63.tinypic.com/34qjng8.jpg[/img:$uid]

lastdecember said:

I saw the Rolling Stone issue in Barnes and Noble today and sorry but it is very very flimsy, I am shocked at how little thought was put in. I passed on it. I havent bought any yet, because I have been looking at what everyone is saying, my impulse is to just get them, but I think NEWSWEEK and TIME look amazing at this point and worth it. The Rolling Stone is 4.99 and honestly seems like something that falls out of magazines.

I just realized the mag is thin because it's their standard bi-weekly issue; I bought a copy this morning. I'm certain a special tribute edition is in progress.. They did the same thing when MJ passed: first came the cover story and the special tribute one week later.

Rebeljuice said:

Anyone in the UK know where I can buy magazines online without having to subscribe?

http://www.newsstand.co.uk/

DoItAllNight4U said:

I just bought the People and Time commerative issues at Rite Aid. Both are similar in content,price, etc., but I'd give the edge to the People issue.

So fair I bought Who Mag tribute, Ok Magazine and today I got Prince: A Revolutinary Icon

Like with Bowie I will try and get the good tributes eg. Time, Rolling Stone etc.

DoItAllNight4U said:

moussemaker said:

I found this special issue of People at ebay:

[img:$uid]http://i65.tinypic.com/1z4wlkw.jpg[/img:$uid]

WHEN did this one come out? I need to get my a$$ to Barnes asap!

I thought they were just doing the regular issue that featured him on the front cover with that fedora hat and only had 4 pages of him inside

Anyone know if this is available to order online???

[img:$uid]http://i.imgur.com/SIgX2Cl.jpg[/img:$uid]

Tempo Magazine [Turkey] (May 2016)



[img:$uid]http://i.imgur.com/dsemiHJ.jpg?1[/img:$uid]


Who Magazine [Australia] (9 May 2016)

Finally!! After hitting up my local book stores and supermarkets I finally found most of what I'm looking for...

I got Time, Billboard, Rolling Stone & Entertainment Weekly.
I'm still on the look-out for People's commemorative edition, then, I might be set.

Thanks to everyone for their reports on what is out and when it is available. You've been very helpful.

djThunderfunk said:

.
I'm still on the look-out for People's commemorative edition, then, I might be set.

Check your local Rite Aid. They should have it if it's not sold out.

I wonder if they'll reissue that Billboard issue.

At my B&N Time & People Commmorative editions hit the shelves today. So I'm hoping I can still get Billboard this weekend

I thought this was a great article in yesterdays Mpls. Star & Tribune

http://m.startribune.com/dancers-recall-prince-as-a-hard-working-darling-in-tights-and-ballet-slippers/378179261/

Dancers recall Prince as a hard-working 'darling' in tights and ballet slippers

Prince not only found his voice in Minneapolis, but also his moves.

In the days after his death, the stories keep coming about how Prince honed his craft and encouraged potential in others, urging protégés to dance like it’s a higher calling. He certainly set a great example, drawing upon a range of influences, including singer/dancer extraordinaire James Brown, to create his own sort of funky grace.

Prince’s excellence inspired others. Jessica Cressey, a dancer drawn to Minneapolis because of her idol, recounted a conversation in which choreographer Morgan Thorson asked her, “What motivates you through hard shows?” Cressey replied, “I have to set the stakes really high. What if Prince shows up?”

It was an unwritten rule that everyone danced on Prince’s stage, from the band members to the unparalleled Cat Glover (“Sign o’ the Times”) and Misty Copeland, the first black woman promoted to principal at American Ballet Theatre. Prince’s first wife, Mayte Garcia, was a dynamo who reflected every rhythm in her body. He seemed to appreciate anyone who could get in a groove with him — and keep up.

While growing up, Prince had ballet training through an initiative called the Urban Arts Program. It connected students “who didn’t fit into the traditional academic world” with local arts institutions, explained Minnesota Dance Theatre (MDT) artistic director Lise Houlton.

Prince took classes with MDT in Dinkytown. Houlton’s mother, company founder Loyce

Houlton, became a mentor and close friend.

“He was very good to her,” said Lise. “He would bring her out to Los Angeles for film premieres. They shared stories and dance information. He would bring people who influenced him to the sound checks of his performances, which were even more interesting than the shows. He really used everything he experienced in those dance classes.”

Prep for ‘Purple Rain’

Prince’s loyalty to Loyce continued as his star rose. He headlined a benefit concert for MDT at First Avenue in 1983 that rang up $23,000 for the company’s coffers. The evening included choreography by Loyce to “D.M.S.R.” while Prince made history with the first live performance of his anthem “Purple Rain.”

During this period Prince used the MDT studios at Hennepin Center for the Arts to rehearse for his film debut. John Command, an actor and choreographer with a résumé stretching from Hollywood to the Chanhassen Dinner Theatres, was teaching jazz dance at MDT when Loyce called with a unique offer.

“She told me there’s a rock band that wants to take dance classes,” Command said. “They were willing to pay $150 an hour for four hours a week. They would pay whether they took the class or not, and it would be for six months.” According to Command, members of the Revolution showed up, along with the Time, Denise “Vanity” Matthews and Apollonia Kotero.

Command said he didn’t know who Prince was.

“He was so shy, and so dear. He wore pedal-pusher tights, T-shirts and ballet slippers. He was so darling, it took him two months to look me in the eye.” Command snagged a job choreographing for “Purple Rain” (and also wound up dancing in Michael Jackson’s “Thriller” video).

Ballet of the Dolls dancer Valerie Torres-Comvalius studied at MDT as a girl.

“My sister Vanessa and I would sneak up to the studio to spy, watching him in his skintight purple pants, heels and matching bandanna on his head, gold cross necklace hanging from his neck, practicing his turns over and over,” she said.

“His bodyguard, Big Chick, would come out and yell in a booming voice, ‘What are you kids doing here?!’ scaring the hell out of us, but then would proceed to let us stay and continue watching.”

Prince “had such a phenomenal work ethic, and so do most dancers,” she said. “So I suppose he could really relate to just how much goes into it all.”

Saving the Joffrey Ballet

MDT wasn’t the only dance company Prince cared about. During the early 1990s, Joffrey Ballet donor Patricia Kennedy brought him to a performance in Los Angeles. Prince was so inspired he offered to write music for a new piece.

He not only wrote an extended version of his song “Thunder” from the album “Diamonds and Pearls” but also permitted use of his music free of charge for five years with no royalty expectations. It helped save the financially foundering company.

Prince’s generosity led to the rock ballet “Billboards.” When it premiered in 1993 in Iowa City, the audience roared. “We were used to hearing some ‘bravos’ and polite applause,” said longtime company member Suzanne Lopez. “But this was like being at a rock concert. We knew it would be a hit. And for five years that is almost exclusively what we did.”

As “Billboards” sold out theaters across the nation, it became “a testament to [Prince’s] artistic ability to bring attention to our community and enhance new aspects of our dance world,” said Lynn Von Eschen, executive director of the Cowles Center in Minneapolis.

Washington Post dance journalist Sarah Kaufman observed that “Billboards” was “emblematic of his genius in that each song was a whole universe of feeling and imagery and atmosphere without being prescriptive. Prince had such a poetic style that it could inspire another creative response from the dancers.”

Forming his own troupe

During the early 1990s, when Prince was affiliated with the Minneapolis nightclub Glam Slam, he formed a dance company, led by choreographer Kat Carroll, with Jamie King, Leah Nelson and others also contributing. The troupe had various names including Glam Slam, Erotic City and Club 110 dancers.

Prince “was as meticulous with the dancers as he was with the musicians,” Carroll said. “We worked very hard, and he treated us very well and he paid us very well. But he also expected us to be on top of things, just like his musicians. We worked long hours, many times during the week.”

Company member Colleen McClellan Ueland remembers his openness to ideas. “He really appreciated your individual style. He did not stock his club with dancers who all looked the same. I was a plain Jane girl, but I got to stay because I could really dance to that music. I could have gone to Los Angeles with my looks and not gotten any work.”

Prince was battling with his label Warner Bros. Records at the time and much of the music the dancers used was unreleased. In addition to top-notch hairstyling and make-up, they had access to a dazzling array of costumes — including clothes that had been designed personally for Prince. (Many of these “rejects” were tight on even the smallest dancers, McClellan Ueland recalled.

A favorite memory is Prince performing an entire set behind a curtain, showing only his guitar and hands briefly, driving the crowd crazy.

“That’s the kind of power he had,” she said. “No one could get mad at him, and people would go home with a story. His sense of humor was so special. He was always [messing] with everybody.”

She said, “Those two years dancing for him were so formative. It was all I needed to catapult my dance career for the next 25 years.”

The dancers also appeared in videos and were tasked with summoning fans to Paisley Park performances. Carroll was a key collaborator in 1994’s “Prince Interactive” CD-ROM that included video games, music and a virtual tour of Paley Park. She credited Prince with instilling in her a strong “work ethic, artistry, drive and passion,” and for reminding her to always look to others for inspiration as well as herself.

A favorite memory is Prince performing an entire set behind a curtain, showing only his guitar and hands briefly, driving the crowd crazy.

“That’s the kind of power he had,” she said. “No one could get mad at him, and people would go home with a story. His sense of humor was so special. He was always [messing] with everybody.”

She said, “Those two years dancing for him were so formative. It was all I needed to catapult my dance career for the next 25 years.”

The dancers also appeared in videos and were tasked with summoning fans to Paisley Park performances. Carroll was a key collaborator in 1994’s “Prince Interactive” CD-ROM that included video games, music and a virtual tour of Paisley Park. She credited Prince with instilling in her a strong “work ethic, artistry, drive and passion,” and for reminding her to always look to others for inspiration as well as herself.

“He believed in me and taught me that if I would eat, sleep and drink my work, I could reach my biggest potential.”

Caroline Palmer is a longtime Twin Cities dance critic.

bigtimefan said:

I thought this was a great article in yesterdays Mpls. Star & Tribune

http://m.startribune.com/...378179261/

Dancers recall Prince as a hard-working 'darling' in tights and ballet slippers

Nice to see an orger quoted in that article.

[Edited 5/7/16 20:42pm]

nammie said:

At my B&N Time & People Commmorative editions hit the shelves today. So I'm hoping I can still get Billboard this weekend

I gave in and got everything except Billboard. It's only a few pages. I think he deserved more but then again, Billboard was never a good magazine to begin with.

Did anyone go to see Prince when he was at the Rio??? I wanted to and back then assumed he'd be there for longer than 6 months.

Another should have, could have f--- up." />

By John Katsilometes (contact)

Published Thursday, April 21, 2016 | 12:07 p.m.

Updated Thursday, April 21, 2016 | 2:20 p.m.

THE RIO

Prince headlines at the Rio in Las Vegas in 2006.

THE RIO

Prince headlines at the Rio in Las Vegas in 2006.

THE RIO

Prince headlines at the Rio in Las Vegas in 2006.

The night Prince opened as a Las Vegas headliner was actually the morning, past midnight in a retrofitted showroom at the Rio. It was dubbed Club 3121 for this series of shows, which began in November 2006 and ended the following April.

The schedule was loose, the shows rowdy and freewheeling. What Prince produced in that rounded room for less than 1,000 fans was mind blowing.

The superstar took the stage with no announcement and ripped into an unbroken, 2 1/2 hour jam. Segments of “Purple Rain” roared into a nondescript musical foray lasting several minutes, then landing at “When Doves Cry.” There were segments of “Cream” moving effortlessly toward “Black Sweat” and the cover of Wild Cherry’s “Play That Funky Music.”

He ran the track encircling that theater-in-the-round, playing an orange Fender — at least on this night — as the spotlight struggled to keep up. He spoke to the audience sparingly, shouting, “We want to see you here every weekend.”

At one point, the star of the evening bravely waded into the standing crowd near the main stage, vanishing in a wave of revelers.

That show was finished before he was. Afterward, Prince took to the smaller nightspot next door, 3121 Jazz Cuisine. As folks left that second jam session, the sun was rising over the hotel. Everyone was exhausted, save Prince, who seemed as if he could play forever.

So once more, in this year of terrible news of the deaths of legendary artists, we are numb to know that Prince has died at age 57. Reports surfaced this morning that he was found at his Paisley Park home in Minnesota. No cause of death has been announced.

Prince’s hit-making heyday was the 1980s, as he dominated the charts with “Purple Rain,” the soundtrack to the film of the same name. Earlier, he’d broken through with “1999” and stormed through a remarkably artistically rewarding and prolific period where he also soared as a video star on MTV and earned an Academy Award for Best Original Score for “Purple Rain.”

He remained creatively profound throughout his career, beyond changing his name to that unpronounceable androgynous symbol, which he carried to Las Vegas as the brand of 3121 (which was the title of Prince’s 31st studio album, released the spring before he started his run in Las Vegas).

The Prince ride at the Rio was just those six months, weekends mostly, but he made an indelible impression. When it came time for our sister pub Las Vegas Weekly to take on the task of listing the Top 25 headliners, ever, in Las Vegas, Prince was on that list at No. 12. This is for all time; every star that ever fronted a headline residency in Las Vegas was in play for that list.

It can be argued, and will be here, that Prince was nothing short of the greatest artist of his generation. He was a fantastic dancer (copping freely the spins and splits of James Brown), vocalist and showman (Little Richard was an early and constant influence).

He was an expert songwriter who penned career-making hits for other artists (“U Got the Look” for Sheena Easton, “Manic Monday” for The Bangles, “Nothing Compares 2 U” for Sinead O’Connor and even “The Bird” for Morris Day and The Time were such instances).

Prince’s musicianship was unquestioned. His backing musicians were known to stop playing their own instruments during rehearsals when he cut loose on the guitar. Before a performance by the Prince lineup 3rdEyeGirl at the Joint in April 2013, his backing guitarist Donna Grantis rolled through all of Prince’s artistic attributes.

“He really has it all. He’s a phenomenal guitarist, bassist, drummer, singer, producer, bandleader, entertainer,” Grantis said. “Did I throw songwriter in there? Songwriter, too. Oh, wow, and a dancer. ... Even if he was just a guitarist, he’d be known as one of the greatest guitarists, ever.”

What remains is this long stretch of brilliance, all that great outpouring of art that covered 35 years. We have a Prince tribute at Westgate Las Vegas, “Purple Reign,” that is far more entertaining than skeptics might believe. For those who want to reminisce, start there.

As for the real man, we’ll always have that fleeting period of brilliance, at once weird and wonderful, when Prince ruled Las Vegas. It lasted not long enough, ending abruptly and before we were ready, same as the life of the artist himself.

http://lasvegassun.com/blogs/kats-report/2016/apr/21/remembering-prince-his-breathtaking-run-rio-vegas

[Edited 5/8/16 21:25pm]

bigtimefan said:

Did anyone go to see Prince when he was at the Rio??? I wanted to and back then assumed he'd be there for longer than 6 months.

Another should have, could have f--- up." />

By John Katsilometes (contact)

Published Thursday, April 21, 2016 | 12:07 p.m.

Updated Thursday, April 21, 2016 | 2:20 p.m.

THE RIO

Prince headlines at the Rio in Las Vegas in 2006.

THE RIO

Prince headlines at the Rio in Las Vegas in 2006.

THE RIO

Prince headlines at the Rio in Las Vegas in 2006.

The night Prince opened as a Las Vegas headliner was actually the morning, past midnight in a retrofitted showroom at the Rio. It was dubbed Club 3121 for this series of shows, which began in November 2006 and ended the following April.

The schedule was loose, the shows rowdy and freewheeling. What Prince produced in that rounded room for less than 1,000 fans was mind blowing.

The superstar took the stage with no announcement and ripped into an unbroken, 2 1/2 hour jam. Segments of “Purple Rain” roared into a nondescript musical foray lasting several minutes, then landing at “When Doves Cry.” There were segments of “Cream” moving effortlessly toward “Black Sweat” and the cover of Wild Cherry’s “Play That Funky Music.”

He ran the track encircling that theater-in-the-round, playing an orange Fender — at least on this night — as the spotlight struggled to keep up. He spoke to the audience sparingly, shouting, “We want to see you here every weekend.”

At one point, the star of the evening bravely waded into the standing crowd near the main stage, vanishing in a wave of revelers.

That show was finished before he was. Afterward, Prince took to the smaller nightspot next door, 3121 Jazz Cuisine. As folks left that second jam session, the sun was rising over the hotel. Everyone was exhausted, save Prince, who seemed as if he could play forever.

So once more, in this year of terrible news of the deaths of legendary artists, we are numb to know that Prince has died at age 57. Reports surfaced this morning that he was found at his Paisley Park home in Minnesota. No cause of death has been announced.

Prince’s hit-making heyday was the 1980s, as he dominated the charts with “Purple Rain,” the soundtrack to the film of the same name. Earlier, he’d broken through with “1999” and stormed through a remarkably artistically rewarding and prolific period where he also soared as a video star on MTV and earned an Academy Award for Best Original Score for “Purple Rain.”

He remained creatively profound throughout his career, beyond changing his name to that unpronounceable androgynous symbol, which he carried to Las Vegas as the brand of 3121 (which was the title of Prince’s 31st studio album, released the spring before he started his run in Las Vegas).

The Prince ride at the Rio was just those six months, weekends mostly, but he made an indelible impression. When it came time for our sister pub Las Vegas Weekly to take on the task of listing the Top 25 headliners, ever, in Las Vegas, Prince was on that list at No. 12. This is for all time; every star that ever fronted a headline residency in Las Vegas was in play for that list.

It can be argued, and will be here, that Prince was nothing short of the greatest artist of his generation. He was a fantastic dancer (copping freely the spins and splits of James Brown), vocalist and showman (Little Richard was an early and constant influence).

He was an expert songwriter who penned career-making hits for other artists (“U Got the Look” for Sheena Easton, “Manic Monday” for The Bangles, “Nothing Compares 2 U” for Sinead O’Connor and even “The Bird” for Morris Day and The Time were such instances).

Prince’s musicianship was unquestioned. His backing musicians were known to stop playing their own instruments during rehearsals when he cut loose on the guitar. Before a performance by the Prince lineup 3rdEyeGirl at the Joint in April 2013, his backing guitarist Donna Grantis rolled through all of Prince’s artistic attributes.

“He really has it all. He’s a phenomenal guitarist, bassist, drummer, singer, producer, bandleader, entertainer,” Grantis said. “Did I throw songwriter in there? Songwriter, too. Oh, wow, and a dancer. ... Even if he was just a guitarist, he’d be known as one of the greatest guitarists, ever.”

What remains is this long stretch of brilliance, all that great outpouring of art that covered 35 years. We have a Prince tribute at Westgate Las Vegas, “Purple Reign,” that is far more entertaining than skeptics might believe. For those who want to reminisce, start there.

As for the real man, we’ll always have that fleeting period of brilliance, at once weird and wonderful, when Prince ruled Las Vegas. It lasted not long enough, ending abruptly and before we were ready, same as the life of the artist himself.

http://lasvegassun.com/blogs/kats-report/2016/apr/21/remembering-prince-his-breathtaking-run-rio-vegas

[Edited 5/8/16 21:25pm]

I have 7 of these now, and it seems really that the ones that are worth it are the Commemorative Editions. I like the Time & Newsweek but the layout and design on the People one is ugly.

I'm guessing we'll see these type editions from Rolling Stone & maybe Billboard down the road as I keep seeing a Rolling Stone Commemorative Edition for Bowie.

Don't understand all of the hate for the Rolling Stone cover by legendary photographer Richard Avedon. One of the best photos of Prince -- ever.

[img:$uid]http://static.seattletimes.com/wp-content/uploads/2016/04/ab26a2de-0808-11e6-8182-4f5a03d9d2e5-1560x1560.jpg[/img:$uid]

This was in the Seattle Times.

suomynona said:

Don't understand all of the hate for the Rolling Stone cover by legendary photographer Richard Avedon. One of the best photos of Prince -- ever.

I've always thought the pix from that photo-shoot are great, however, this one seems a bit tasteless under the circumstances, no? Great shot for a single cover, not so much for a posthumous tribute.

http://www.laweekly.com/music/henry-rollins-prince-took-us-to-places-we-never-knew-existed-6896091

Henry Rollins

"No one lasts forever, but music never dies. With Prince’s death, there is reason to mourn, but with all that music, there’s far more cause to celebrate. Prince put his entire life into those songs. He didn’t “leave them behind.” He wrote them for you to play right now. There it is: Miss the man, but get down with the jams."

I just returned from Barnes and Noble and they had a nice selection Prince mags *finally*!

Billboard, Rolling Stone, Entertainment Weekly

+Commemorative Issues: Newsweek, Time, People

I passed on the RS and EW as I felt that the content was lacking. Billboard’s content was only a bit more, in comparison, but really love the cover so bit the bullet. Newsweek, Time and People are all true commemoratives. If you are only going to invest in a few I would suggest going with one of those.

suomynona said:

This was in the Seattle Times.

the article is a good read.