Prince was a massive Joni Mitchell fan, with a particular affection for her 1975 album 'The Hissing of Summer Lawns.'

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.

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.

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."

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").

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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."

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 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.

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 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.

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.

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 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.

Listen to any rock music from the past century and you’ll likely hear some trace of Dylan’s influence. This massive list, released back on Dylan’s 80th birthday, offers objective data to back that up. Its 80 participants include David Byrne, Michael McDonald, and dozens more. The best part? The article also includes a playlist, so you can listen to the songs while you read about their impact.

Bob Dylan remained unpredictable, even 40 years into his career. Look no further than his satellite radio show from the 2000s, which found the legendary singer-songwriter riffing on a different theme every week. In this episode that theme is “Nothing.” He talks about Dr. Dre’s “Nuthin’ but a G Thang,” quotes several lines from Shakespeare, and speaks at length about his love for the musical “Porgy and Bess.” It’s a wild, unpredictable ride, just like the rest of his career.

The singer-songwriter self-released cassettes in the early '80s that were not fit for the radio—their sound quality was poor, and the songs were often little more than an organ and Johnston's high-pitched voice, singing about things like Casper the Friendly Ghost. The tapes eventually found their way to alternative tastemakers, who lauded the songs' brilliance and inspired a cult following that has admired Johnston's music for decades.

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.

After years of relentless bootlegging of the notoriously deleted album, Prince and Warner Bros. finally released the album in 1994—for just two months. As part of a promotional campaign, the record label took out a full-page ad in Billboard announcing that the first 1,000 fans to turn in their bootlegged copies would receive official, legal copies of the album.

The song, which tells the story of the titular "sex friend," was repeatedly cited by Elizabeth "Tipper Gore," the wife of then Senator Al Gore, in her work leading the Parents Music Resource Center, a group of women advocating for parental advisories on explicit music recordings. "Darling Nikki" was included on the group's "Filthy 15" list, alongside songs by Madonna, Cyndi Lauper, and others.

Sun Ra is one of jazz's most storied cult acts, with a career that spans multiple decades, dozens of hard-to-find self-released albums, and a sound that challenged even the most adventurous listeners. Ra, born Herman Blount, claimed to be from Saturn and once told an interviewer that "Star Wars" was "very accurate."

Davis was an adept bebop trumpet player, but he grew tired of the style. With 1959's "Kind of Blue," he pioneered a new style of jazz, called modal jazz, that focused less on improvising on chord progressions and more on open, tone-based expression.

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.

Nirvana's breakout album inspired other major labels to hunt for similarly loud, countercultural bands. That led to a fascinating period in popular music that found defiantly anticommercial indie acts like the Melvins, the Butthole Surfers, and Ween (among many, many others) suddenly offered lucrative contracts.

Dylan's groundbreaking approach to songwriting didn't just change his career; it changed the trajectory of American popular music. This podcast from the National Association of Music Merchants' oral history project features interviews with several Dylan compatriots and fans–including Pete Seeger, Emmylou Harris, and Robbie Robertson–who detail how Dylan changed their careers and how they viewed songwriting.

Fresh off the success of Nirvana's "Nevermind," band frontman Kurt Cobain reached out to his literary idol, the Beat writer William S. Burroughs, suggesting a collaboration. The correspondence led to "The 'Priest' They Called Him," a hard-to-find recording featuring Burroughs reading a story and Cobain on dissonant guitar.

Miles Davis might be the most recognizable name in jazz history, renowned for his landmark albums "Kind of Blue" and "Bitches Brew," and his unceasing artistic experimentation. By the 1980s, however, Davis was a pariah in jazz circles, causing him to set his sights on the poster child for the genre's purists: the much younger Wynton Marsalis. This overview of the rivalry by journalist James Kaplan details the origins—and the apex—of this now legendary beef.