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Carmen Electra says Prince gave her an ULTIMATUM after finding out she'd been seeing another man: move back to Minnesota, CUT HER HAIR and dye it RED, or stay in LA. 💀 During an interview, Carmen opened up about their complicated relationship. She says she'd discovered Prince was seeing other women, despite telling her she was his only girlfriend. Eventually, she started seeing someone else herself. Prince wasn't happy. According to Carmen, he told her she could return to Minnesota and change her hair, or stay in Los Angeles. She chose LA. And she believes Prince's song "I Hate U" was written about her. "I think everyone at this point knows that song was written about me."

You know there is a certain type of man that is just not about to play with you in any level. He was one of them dudes.

#PrinceOnThisDay - Crucial: Baby, Our Love Has Got to Be Everything from A to Z In the autumn of 1986, after the Parade Tour closed in Japan and The Revolution began to dissolve, Prince returned to the one-man method that had defined his earliest recordings. At his Galpin Boulevard home studio in Chanhassen he tracked “Crucial” on 13 September, laying drums, bass, keys, and vocals himself. Two days later he rewrote nearly all the lyrics. What emerged was a lush, mid-tempo ballad whose central demand is absolute: the love must be crucial, every little thing from A to Z, a mind and body well-made, a jack of all trades who will not hold anything back. The music itself is the argument. Prince’s falsetto floats above a warm, spacious bed of Linn LM-1 drums, Prophet synth pads, acoustic guitar, and a patient bass line. The verse imagery is both martial and intimate—“just one look from you could make an army surrender”—before the pre-chorus refuses easy hierarchy: “I ain’t sayin’ you’re better, baby, but I ain’t sayin’ you’re not.” The chorus then opens into pure insistence. Later, “Old Man River” knocks at the door, demanding that more than feelings show. The released Crystal Ball version (1998) stretches past five minutes largely because of Prince’s guitar solo, which answers the lyric’s call for total exposure with long, singing lines that rise, bend, and finally settle. Longer circulating takes keep an even more expansive instrumental coda. Early November brought the song to Sunset Sound in Hollywood, the three-room complex on Sunset Boulevard that had been Prince’s primary Los Angeles base since 1981. Studio 3—his preferred room—was windowless, lockout-friendly, and engineered for the long nights he preferred. Eric Leeds, the jazz-trained saxophonist introduced to Prince by his brother Alan, was summoned for overdubs. On 8 November Leeds recorded a substantial saxophone solo at Prince’s request. When Prince heard it he realized the part occupied the space he had already reserved for his own guitar. The main solo was therefore set aside; Leeds returned the next day to cut a different, more supportive sax part that remained in the mix. The discarded longer saxophone version still circulates among collectors and is widely regarded as one of Leeds’ finest contributions of the period—fluid, emotionally precise, and fully in dialogue with Prince’s vocal. Clare Fischer later added orchestral colors, and the track was briefly considered for the abandoned Dawn project and, according to the Crystal Ball notes, for Sign o’ the Times before “Adore” took its place. Yet the music never needed those frames. What matters is the sound of a man who could play every instrument demanding that love do the same: show everything, hold nothing back, be crucial from A to Z. At Sunset Sound that November, Leeds’ horn and Prince’s guitar briefly argued over the same melodic territory; the guitar won the official cut, but the argument itself remains audible in every version that still exists. #PrinceVault #SunsetSound @prince

Listen....this sounds sooo good it made my day. Something as beautiful as a great melody like this is enough to make my day!!! If you don't got yourself a great playlist then I'm advising you to get one. And order an old school mp3 player that doesn't need to stream to store your music. A good playlist makes a comparable difference similar as the difference between sleeping on the concrete or sleeping on a mattress.

Théâtre de Verdure - The Video Shoot and Mini-Concert. That same evening, the Théâtre de Verdure was opened to roughly 2,000 local fans who had received free tickets announced on Radio de la Côte. What they witnessed was both a professional video shoot and a short, high-energy mini-concert by Prince and the Revolution. The primary purpose was to capture live footage for the “America” single — the first time Prince staged a concert specifically for a performance video, and one of the few live clips from the Around the World in a Day period to use the actual concert audio rather than a studio track. They filmed two full takes of “America.” Prince appeared in black trousers with white buttons down the legs, a long overcoat, and a red bandana, playing his blue floral-airbrushed Fender Telecaster. An early forerunner of the Love Symbol (male and female glyphs combined with a peace sign, with the word “PEACE” projected beneath it) appeared on screen as he cued the band. Near the end of the performance he removed the coat, played bare-chested, and took over the drums from Bobby Z. for a driving outro reminiscent of “Tambourine.” The version that became the official video remains a kinetic document of the song’s extended jam spirit — guitar, saxophone, and the Revolution’s locked groove all intact. After the takes, the band continued with a mini-set of roughly 55 minutes total for the free crowd. “Paisley Park” was also filmed, followed by “Let’s Go Crazy,” “Delirious” (with an “Automatic” interpolation), “Little Red Corvette,” and a closing “Purple Rain.” The sequence blended the newer psychedelic material with the hits that had defined the previous year, played with the precision and showmanship of a band still at its peak. An MTV interview with Prince and some of the young audience members was shot afterward. The official “America” video (widely available, including in 4K) is the lasting public record of the night. While full audience recordings of the mini-concert have not widely circulated, the combination of the staged video takes and the subsequent short set gave the Nice crowd a rare, free glimpse of the Revolution in the middle of movie production — a brief, bright interruption that still stands as one of the era’s most distinctive live documents. #PrinceOnThisDay

امرأة بيضاء تزوجت من رجل أبيض، لكن لحظة ولادة طفلهما ذي البشرة السوداء قلبت حياتها رأسًا على عقب! وأهل زوجها اتهموها بالخيانه، وهنا كانت الصدمه 😳

#PrinceRelatedOnThisDay On a cool October night in 1998, the CSU Convocation Center in Cleveland became a temporary cathedral of classic funk and soul before the main event. The bill was no ordinary opening act arrangement: Larry Graham (with NPGCS) and Chaka Khan delivered short, high-impact sets that connected the audience to the roots of what would follow. The show had been rescheduled from late September after Prince’s foot injury in Atlantic City, so the room carried an extra charge of anticipation mixed with relief that the night was finally happening. Larry Graham took the stage first with the New Power Generation Contingent of Sly-era veterans and current collaborators. The bass pioneer’s thump was immediately physical—deep, rubbery, and precise. He moved through Graham Central Station and Sly & the Family Stone material with the authority of someone who helped invent the style. “Free” stood out as a clear highlight; the groove locked in and the crowd responded with the kind of full-body participation that only happens when the rhythm section is elite. Graham’s voice carried the sermon-like quality of the original while the band kept everything tight and danceable. There was no wasted motion. Even in a relatively brief window, he reminded the room why Prince had brought him into the NPG orbit and produced GCS 2000. The set functioned as both history lesson and warm-up, laying down the pocket that the rest of the evening would ride. Chaka Khan followed and shifted the temperature. Her voice remains one of the most powerful and flexible instruments in R&B, and she used every bit of it. Drawing from Rufus-era hits and her own catalog, she moved between the gritty funk of “Tell Me Something Good” and the soaring, emotional reach of ballads and mid-tempo material. The standout moment arrived when Prince joined her for “I Feel for You”—the song he wrote that became one of her signature hits. The collaboration felt natural rather than forced; Prince’s guitar and vocal contributions locked with Khan’s lead without either side dominating. She handled the classic material with confidence and still left room for the newer work from the recently released Come 2 My House, the NPG album on which Prince had produced and played. The set was concise (roughly thirty minutes) yet complete. Khan projected both star power and genuine musical joy, treating the arena like a club without losing any of the scale. Together the two openers created a multi-generational funk summit. Graham supplied the foundational slap and pocket; Khan supplied the soaring vocal fire. Audience response was strong throughout—people stood, sang along, and stayed engaged rather than treating the supports as something to wait through. By the time the stage was reset for the headliner, the room was already warm, primed, and connected to the lineage. These were not afterthought openers; they were essential parts of the evening’s argument that funk, soul, and R&B still had living masters who could command a large arena on their own terms.

SHOW YOUR LOVE! 36 Years Ago Today, The Time performed on Saturday Night Live performing Chocolate from their Pandemonium album. Introduced by the legendary George Steinbrenner by the way!

Cherrelle released ‘Affair’ 38 years ago on October 19, 1988 | Listen to the album + revisit our tribute here: album.ink/ChrrllAffr

32 years ago today, Digable Planets' "Blowout Comb" was released. Digable Planets’ second album, darker and more jazz-oriented than the first. Conscious writing set against heavier, less radio-friendly grooves.

2Pac at Gund Arena in Cleveland, Ohio, on January 4, 1996, during the Tribute to Eazy-E Tour. Pac was captured riding a tricycle across the stage in an Oakland Raiders jersey, a memorable moment from his Death Row era, just months before his death.