COMLLEHCTS IONS Patty Dean n the mid- 1970 s and early 1980 s, the creative explosion in Minnesota’s I thriving black and white rock music scenes expanded the state’s cultural identity far beyond the shores of Lake Wobegone. This era witnessed the worldwide emergence of new and synthesized styles of popular music. Black music, particularly funk, vibrantly reflected social conditions, building on James Brown’s declaration of disasso - ciation: “Say It Loud—I’m Black and I’m Proud.” Similarly, white punk rock thunder - ously denounced the status quo. A number of Minnesota bands formed in those years signed recording contracts with major labels: Minneapolis skyline mural from First Avenue, the nightclub that hosted many of Minneapolis’s popular black and white bands Patty Dean, supervisory curator for museum collections at the Minnesota Historical Society, is combining two of her life’s grand passions—music and social history—and writing a book on Minneapolis’s black and white music scenes, circa 1975 –85. Prince and The Time (with Warner Avenue North and Glenwood Bros. in 1978 and 1981, respectively0 Avenue, now the site of a Target The Suburbs(with Mercury/Polygram Center parking ramp. The club’s six- in 1983 ); The Replacements (Sire, inch-high stage encouraged the 1985 ); Hüsker Dü (Warner Bros., physically intense audience-band 1986 ); and Soul Asylum (A&M, 1988 ). interaction that was obligatory for In 1984 three of the top 10 releases this new, in-your-face music. listed in the Village Voice ’s highly The new club commissioned regarded “Pazz & Jop” critics’ poll Matt Feazell, an aspiring comic- were Minnesota products: Prince’s book author and employee at nearby “Purple Rain” was in the # 2 spot, Shinder’s bookstore, to produce a right behind Bruce Springsteen’s cartoon for a t-shirt. Some of the behemoth hit “Born in the U.S.A.”; figures are Minnesota musicians who “Let It Be” by The Replacements was played regularly at Goofy’s. Leading slotted at # 4, and Hüsker Dü’s “Zen the charge is Curtiss A (rock and Arcade” occupied # 8. (Other bands roller extraordinaire, renowned as represented were R.E.M., Tina the “dean of scream”); close behind Turner, and Los Lobos.) is a bespectacled Pat Woods of Man The objects pictured on the fol - Sized Action, wielding a microphone lowing pages manifest the multiple stand. The Hüsker Dü trio of Bob facets of a musician’s life and work: Mould playing his signature “Flying the “certifiable riot” that marred the their clothing, the DIY (do-it-your - V” guitar, Greg Norton clutching his three-day wake scheduled to mark self) ethos, the venues and bands, bass, and long-haired drummer the club’s closing in 1983 .2 Accounts and the fans. Recent gifts to the Grant Hart brandishing drumsticks of the evening of August 30 vary, but Minnesota Historical Society from wear t-shirts with the band’s logo. the music ended when a bouncer members of the Suicide Comman dos, Feazell, now a Michigan cartoon - pulled the plug on local band Final Hüsker Dü, The Time, Soul Asylum, ist and Cynicalman comic author, Conflict. Approximately 100 frus - Babes in Toyland, the cofounders of remembers “seeing the Hüskers [at trated fans, one smoke bomb, $ 3,000 the Minnesota Black Music Awards, the Upper Deck]. and thinking in damages, one dozen Minneapolis and the legendary First Avenue/ what a remarkably good punk band Police Department officers, one Seventh Street Entry clubs ensure they were.” 1 He also included ren - arrest, and one excessive-force com - that this vital and culturally signifi - derings of fellow cartoonist David plaint later, the Upper Deck was cant period in Minnesota history will Roth of Minneapolis’s Ferret Comix closed for good. be preserved for the future. and Power for Living fanzine (at the rear with his pet ferret on his shoul - Guitar Pick Souvenir T-shirt, Goofy’s Upper Deck der) and Henry Rollins, the bare- Originally calling its music “under - In 1982 the Upper Deck, a Minne - chested frontman for the California ground,” the Suicide Commandos, apolis punk music club, opened on band Black Flag. Minnesota’s first punk band, was the second floor of Goofy’s, a blue- The damaged instruments under founded in 1974 by three friends: collar bar and strip joint on Second the feet of this rabble foreshadowed guitarist Chris Osgood, bass player 30 Steve Almaas, and drummer Dave Ahl. Osgood liked to play with white picks, which he used and gave away as souvenirs, because they were easier to find when he lost them on stage floors during his energetic perfor - mances. The emblazoned picks, manufactured by Ernie Ball of Santa Barbara, California, exemplified good fun and affability, a contrast to the aggression and discontent later associated with punk music. Over the next four years the trio, augmented by lighting wizard Linda Hultquist, expanded its audiences from Minneapolis’s Blitz Bar to New Chris Osgood of the Suicide Commandos, opening for The Ramones at Kelly’s York City’s pioneering rock club Pub, St. Paul, July 1–2, 1977 CBGB’s, the Albert Lea Ice Arena, and Minneapolis’s Uncle Sam’s (renamed First Avenue in 1982 ). In addition to headlining at Jay’s For the Fans, from the Fans Before the band’s demise in 1978 , Longhorn, just off Nicollet Mall in “Fan” is short for “fanatic,” and The Commandos recorded two LP’s, downtown Minneapolis, the Com - Minneapolis bands—present and an EP, and a single, enjoyed the adu - mandos also opened for internation - past—have had their share. The lation of an official fan club, and, al stars Iggy Pop and Patti Smith and range of mementoes available for with Minneapolis filmmaker Chuck toured with Pere Ubu. In July 1977 , fans to purchase at concerts, on offi - Statler, made “Burn It Down,” proba - the Commandos opened at Kelly’s cial websites, and at record shops has bly Minnesota’s first music video. Pub, St. Paul, for punk pioneers The gone far beyond the common t- Ramones: “The crowd did go berserk shirt silk-screened with a band’s . [for] the Suicide Commandos. name and logo. And then there are So much so that after their trium - the objects that fans make, either for phant final set . people were hol - themselves or as gifts to their favorite lering for the Commandos, even as musicians. The Ramones were mounting the The Hüsker Dü sign, made from stage. Lead guitarist Chris a drawer front, was given to singer- Osgood, in teen heaven having drummer-songwriter Grant Hart in shared the bill with The Ramones about 1984 . Its reverse side wishes and held his own, was heard to him “Happy 5th Anniversary!” and is remark that he shoulda just killed signed by his friends. himself on stage, ’cause life just Besides dissecting lyrics and cop - doesn’t get any better.” 3 ping guitar riffs, some fans spend 31 hours making and personalizing gifts for their favorite bands and musi - cians. A Boston woman in about 1993 recycled a Star Wars lunch box and thermos into a montage of punk rockers Soul Asylum, packed with photocopied photographs, backstage passes, in-jokes, and quips. For example, “BiL” refers to Bill Sulli - van, the band’s road manager for eight years, and is a take-off on the logo for PiL, Public Image Ltd., formed by ex-Sex Pistol punk musi - cian John Lydon (aka Johnny Rotten) in 1978 . Songwriter-singer- instrumentalist Dave Pirner’s t-shirt is decorated with the cover of Ferret, a 1982 –89 Minneapolis comic that featured an interview with the band; 4 on the thermos, Minneapolis’s famed Twin/Tone Record logo is superimposed on bass player Karl Mueller’s t-shirt. Between 1984 and 1989 , Soul Asylum issued six releases on the Twin/Tone label. for playing in Chicago. The writer Cozy Bar and Lounge, and, later, the The Boston fan also included took pains to identify himself: “I was Thunderbird Motel on the Interstate several interview excerpts summariz - the one in the back of the van that 494 strip in Bloomington. “Choco - ing the band’s playful, devil-may-care didn’t say anything. I think I was sort late” was released as a single from attitude (“Beer’s the best. They have of messed up.” Pandemonium, The Time’s 1990 it everywhere and it goes good with The iconic Hershey bar inspired album that reunited comedic singer sand and water”) and the link giveaway items intended to promote Morris Day, guitarist Jesse Johnson, between fans and a band (“We still releases by the R&B/funk band, The keyboardist Monte Moir (the sole like best when we’re playing in a Time, and by punk rockers Soul white member), drummer Jellybean small room with everyone drinking. Asylum. The Time’s members hailed Johnson, “valet”-straight man Jerome . We’re a bar band, basically”). originally from Grand Central and Benton, and internationally Fan mail to artists also frequently Flyte Tyme, mid- 1970 s basement renowned producers and songwrit - displays a personal, homemade bands that formed in the black ers Jimmy Jam and Terry Lewis. touch. This December 7, 1985 , neighborhoods of north and south Like The Time, Soul Asylum was letter, enclosed in a colorful, over - Minneapolis and played at private also formed from a teenaged neigh - sized envelope, thanked Soul Asylum parties and dances, VFW halls, the borhood band, Loud Fast Rules, 32 which played at party houses, the hats. Jewelry, clocks and watches, scent reflect the flirty androgyny that Seventh Street Entry club in down - temporary tattoos, holographic Prince frequently incorporates in his town Minneapolis, and VFW and guitar picks, purses, scented oils appearance and music.