Multi-hyphenate musician Prince was trained in classical ballet during high school, which critics say informed his later dancing.

The son of two Minneapolis jazz musicians, Prince was surrounded by music from a young age. His full name, Prince Rogers, was actually derived from his father's group, the Prince Rogers Trio. He eventually learned how to play his father's piano, teaching himself the themes to popular TV shows. Eventually, he learned other instruments and expanded his music tastes, indulging in records by Sly and the Family Stone, Jimi Hendrix, Joni Mitchell, and more. Below is his junior high school yearbook photo.

Early in his career, Prince would sometimes claim in interviews that he didn't listen to much music outside of his own. In later years, he'd admit that was a lie born out of arrogance. In reality, he listened to a wide array of artists, with great admiration for people like the Cocteau Twins, D'Angelo, Led Zeppelin, Joni Mitchell, Miles Davis, De La Soul, and many others. This survey of his career's interviews collects all those mentions of other artists, creating a fascinating database of the music that inspired Prince.

Inspired by eclectic artists like Sly and the Family Stone, as well as lesser-known mentors and peers in the Twin Cities, Prince blended R&B, rock, pop, new wave, soul, funk, punk, and more, creating a sound that defied easy categorization.

Prince was seemingly everywhere in the '80s, though his ubiquity wasn't always apparent on the surface, thanks to a number of pseudonyms he used when contributing to other artists' projects.

A production manager at the city's CBS affiliate was looking through the archives for footage of a 1970 teacher strike when he noticed a young boy he believed was Prince. The newsroom worked to extract the audio and identify the childhood friends of the famous musician, who confirmed it was indeed him in the video.

The label scooped the young artist in 1977, eager to ink a deal with the promising young savant. In response, Prince wrote a song called "I Hope We Can Work It Out," which suggested together they'd make "Music for the young and old, music bound to be gold." An official recording of the song was never released, but the Minnesota Historical Society acquired the original handwritten lyrics in 2017. You can see them below.

The semi-autobiographical film featured a first-time director and an amateur cast, yet it became a box-office hit, grossing over $70M. Likewise, the accompanying album was a huge success, with four songs reaching the top 10 of the Billboard Hot 100. It was a watershed moment for Prince, who became a bona fide pop superstar.

Prince might be the most famous and influential musician from a city brimming with them. This interactive map from Prince's estate lets you explore the city's locales that shaped him, from early residences to concert halls and recording studios.

Prince appeared on "The Midnight Special" on Jan. 11, 1980, and played two songs from his self-titled album, "I Wanna Be Your Lover" and "Why You Wanna Treat Me So Bad." It's a goofy, lip-synced performance, as was not uncommon for music on TV at the time, but the 21-year-old, clad in thigh-high boots and leopard print, made the most of the performance, offering a preview of the over-the-top persona he'd refine over the next few decades.

Prince often avoided press junkets, especially after he became a superstar. In 1999, though, in advance of a televised New Year's Eve concert, he sat down for a lengthy interview with Larry King, speaking about his childhood, career, and his conflicts with Warner Bros. He noted that it was uncharacteristic for him to spend so much time reflecting. "As I go through this journey, I don't look back much at all," he told King. "I try to stay in the now and live in the now."

The Purple One was often compared to the King of Pop, but Prince considered himself the superior artist. This retrospective details the many contentious encounters between the two giants, but it also highlights the sincere admiration they had for each other's work.

The compound, located in the suburbs of Minneapolis, was Prince's residence, recording studio, and a concert venue. (In the '80s and '90s, it was also Prince's record label, funded by Warner Bros.) After his death in 2016, it was turned into a museum for the Purple One. In the video below, a Vice journalist takes a tour of Paisley Park, allowing you to see the grounds without traveling to Minnesota.

Prince wrote and recorded music at a fever pitch. That kind of prolific output, however, concerned his label, Warner Bros., which believed that too many releases might oversaturate the market. That eventually led to tensions between Prince and the label, with Prince asking for his master recordings, which would give him full control over how his music would be used. Warner Bros. declined, and Prince changed his name to the unpronounceable symbol that he'd used on album covers in the past, believing it would void his record contract. It didn't, but Warner Bros. eventually released him, though he began going by Prince in 2000 and resigned with Warner Bros. in 2014.

Prince is renowned as a performer, but he's also one of the great American songwriters, having penned career-defining songs for acts like Sinead O'Connor ("Nothing Compares 2 U"), the Bangles ("Manic Monday"), and many others.

Staring down Prince's catalog, which includes over 40 studio albums alone, can be intimidating for listeners looking to explore the Purple One's work. (It can also be intimidating for fans looking to dive into its depths!) This guide from the AV Club provides a framework for your Prince studies, with entry points for newcomers, casual fans, and more serious listeners alike.

After his death in 2016, the public revisited Prince's catalog in a big way. For the first time in modern Billboard history, half of the magazine's Billboard 200 was concurrently occupied by a single artist. Three of those titles were compilations ("The Very Best of Prince," "The Hits/The B-Sides," and "Ultimate"), with the remaining two taken by studio albums ("Purple Rain" and "1999").

The Parents Music Resource Center targeted the "Purple Rain" cut as being a particularly dangerous example of sexually explicit music. The song ends with nearly 30 seconds of indecipherable backwards vocals. When they're reversed, however, you can hear a Christian message: "Hello, how are you? / Fine, fine, 'cause I know that the Lord is coming soon / Coming, coming soon." That might've surprised the members of the PMRC, but it wouldn't have surprised fans of Prince, who spoke often about being a Christian.

Prince's 2008 headlining set at Coachella is one of the most legendary in the history of the festival—in no small part because of this eight-minute cover of Radiohead's "Creep." His version turns the grunge-era classic into a tortured R&B ballad.

The double album was an ambitious collection of songs that traversed musical styles—drawing on the emerging hip-hop records of the genre's golden age and technological experimentation—and explored social issues, including the AIDS epidemic, addiction, and violence. It would go on to be one of the most critically acclaimed albums of the year and eventually be considered one of the most important in pop music history.

Charlie Murphy's story about Prince on "Chappelle's Show" became an oft-quoted touchstone in the 2000s, but it's not the only funny story a comedian has about the Purple One. This article collects some of the best from Conan O'Brien, David Alan Grier, and, yes, Charlie Murphy.

The 2004 Rock and Roll Hall of Fame ceremony paid tribute to the recently deceased Beatle with a rendition of one of his most famous songs by Tom Petty, Jeff Lynne, Steve Winwood, and George Harrison's son, Dhani. Several minutes into the performance, Prince suddenly appeared center stage for a virtuosic solo. He ended it by tossing his guitar into the crowd. Tom Petty's drummer would later say, "Everybody wonders where that guitar went, and I gotta tell you, I was on the stage, and I wonder where it went, too."

As the producer and director of iconic shows like "West Side Story," "Sweeney Todd," and "Evita," Hal Prince made a huge impression on Broadway history. This episode of the "Anything Goes" podcast is part of a three-part series that highlights the songs that defined Prince's career.

The music legend was found dead in an elevator at his Paisley Park residence on April 21, 2016. The cause of death was an accidental overdose from taking pills he believed to be Vicodin, but were actually counterfeit pills laced with fentanyl. Law enforcement was unable to determine who provided him with those pills. He was 57 at the time of his death.

Hot on the heels of the success of "Sign O' the Times," Prince planned to release "The Black Album" in December 1987. But days before it was supposed to hit stores, Prince asked Warner Bros. to cancel the release, leading the company to destroy hundreds of thousands of copies. According to some, Prince had heard the album while on the drug MDMA and believed it was an evil force that he did not want in the world. A two-part episode of the podcast "Disgraceland" unravels the strange story.

Ballet prized lightness, but Graham's choreography emphasized weight. This essay explores how her work broke from European influences to embrace American idioms, much as her American contemporaries in jazz and literature did.

The 2007 performance was idiosyncratic, featuring a handful of songs by other artists (including Foo Fighters' "Best of You" and Jimi Hendrix's rendition of "All Along the Watchtower" and a torrential rainstorm. Its differences, along with Prince's legendary stage presence, have led many critics to call it the best Super Bowl halftime performance ever.

Picasso’s talent was evident from an early age. With the encouragement and instruction of his father, an artist and art instructor, he developed classical techniques that often surprise those only familiar with his abstract works.

The dancer and choreographer created a uniquely American form of ballet that brought together stories from the country's history, abstract expressionism, modern psychological ideas, and collaborations with other major artists.

The innovative choreographer encouraged her dancers to tune into their bodies' natural movements. According to Kimerer L. LaMothe, author of "What a Body Knows," that kind of mindfulness made them better able to communicate a piece's symbolic meaning.

When legendary musician Prince died in 2016, he left behind thousands of unreleased songs in a locked vault, and no one knew the combination (even Prince had forgotten it before his death). Safecracker Dave McOmie was called in to break the 6,000-pound Mosler American Century vault by microdrilling into it and using a periscope to view the combination lock.

The "symphonic dance of threeness" brought together Bauhaus' varied artistic interests and offered a fable in which collectivism wins. This history and timeline of the work details its origins as well as its near-destruction at the hands of the Nazis, who considered it profane.

Throughout history, crowded, dimly lit, sweat-filled, and loud spaces that have hosted dance music have mirrored and shaped social change. Tracing the evolution of dance and club culture from the 1950s to today reveals changes in youth culture and desires over time. Read this article to learn more about how dance floors have reflected societal movements.

The prolific artist loved music, obsessing over David Bowie, Aretha Franklin, and numerous jazz figures. Many of his favorites appeared in his paintings, creating a body of work that also acts as a glossary of influences. Below is a 1984 portrait of Max Roach, the jazz drummer.

Although jazz was once a popular art form, it has largely been confined to the margins of pop culture, with many of the genre's current bestselling albums from previous decades. Some critics argue that this is because the music betrayed its position as dance music and focused instead on musical proficiency.

Stravinsky's "The Rite of Spring" is famously chaotic, making it an odd choice for Graham's highly precise style. Her 1984 choreography for it, however, redefined how people saw the ballet's score. Graham's version is still performed today; below is an excerpt from a 2018 performance in Paris.

Ballet dancer Theresa Farrell meticulously manages her diet to achieve her performance weight goal for the American Contemporary Ballet season in Los Angeles. She tracks calories, relies on pre-packaged meals, and calculates every intake. This regimen allows her to stay focused on training and rigorous dance routines, ensuring she's prepared physically for performances. Watch a day in the life here.

Actor Timothée Chalamet's comments that "no one cares" about ballet and opera led to a number of responses from people in the theater world, including critic Marianka Swain, who argued that Chalamet's statement was a predictable yet tone-deaf Hollywood evaluation of art forms that exist outside of the celebrity-centered industry.

His pointe shoes feature a support structure to protect ballet dancers' toes during performance. The throwing technique trainer guides athletes in achieving the optimal form for throwing a ball, while the educational magnifying glass made from a plastic bag and water featured on his show.

This clip from the 1957 documentary "A Dancer's World" features the dancer explaining why she has committed all of her energy to her art. "Spontaneity … is something arrived at over years and years of training," she says. "It's not a mere chance."

This history of the modern dancer's life uses archival photos and videos to illustrate how Graham's childhood, especially her upbringing by a psychiatrist and her early dance performance, set the stage for her career.

The enigmatic artist was wildly prolific and, when he wasn't churning out his own records, often wrote and produced other people. He contributed "You're My Love" to country icon Kenny Rogers' 1986 album "They Don't Make Them Like They Used To," though you wouldn't have known that reading the record's credits because the song was attributed to Joey Coco, a pseudonym Prince sometimes used.

In the 1920s, Henry Ford did his best to promote square dancing—particularly dances that he learned in his childhood—by teaching lessons twice a week. He believed square dancing was the "correct" way of dancing and was fiercely opposed to jazz music, which was rising in popularity at the time.

For some people, DJing is nothing more than pressing play on a few songs, but for hip-hop DJs, it’s a precise art form that requires real skill. Need proof? Watch this 1983 tutorial from Grandmaster Flash, one of the genre’s pioneering DJs, as he walks you through beatmatching and mixing on his spartan set-up of two turntables and a basic mixer.

The classically trained cellist moved to San Francisco in the early 1970s, mingling with the hippie movement and the Beat Generation. After arriving in New York in 1973, he began exploring the nascent punk and disco scenes, infusing them with his classical training; however, his eclectic style might've been part of the reason he never broke through during his lifetime. That variety, though, is what draws so many devoted listeners to his work today.

Raphael was a prolific and versatile painter who worked as a sponge, adopting the practices of other great painters while making them his own. Thanks to his creating many iterations of the same scene, we can analyze how his mastery evolved over his career.