April 2006

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Why nobody sings "We Shall Overcome" anymore

A brief history of the dead song Bruce Springsteen has revived.

http://www.highlandercenter.org/

Posted by Peter S. Scholtes at April 27, 2006 6:24 PM | Comments (0)

 

Tuesday audio: James Baldwin and Malcolm X

I've posted this here before, but the 1961 debate (more audio here, here, and here) between James Baldwin and Malcolm X is worth many replays. It captures both electrically articulate men ahead of their time, and very much of it, in different ways. Baldwin, who eight years later wrote the film script that would become the uncredited basis of Spike Lee's Malcolm X*, answered the other speaker's disdain for nonviolent confrontation this way:

I don't think that a warrior is necessarily a man. And, in fact, it has been proven that football players, and all these people in teams and in armies, are not men. It is very difficult to be a man. And what it involves, for me anyway, is an ability to look at the world, to look at whatever it is, and to say what it is, and to deal with it, to face it, even if it does mean laying down your life, and in a way it always does mean that.

He struck a similar point in a 1986 interview (listen to that audio) with Terry Gross:

In America, in any case, the homosexual question is tied up with the whole American idea of masculinity, the whole infantile idea [that], according to me, [is] absolutely untrue. To be a man is much more various than the American myth has it. It seems to me, in the life I myself have lived, in the life that I've observed, that love is like the lightening--love is where you find it, you know. And your maturity, I think, is signaled by the depth of, or extent to which, you can accept the dangers, and the power, and the beauty of love.

I wonder whether Malcolm--who, the late Benjamin 2X Karim once told me, was a big Coltrane fan--read Baldwin's typically confessional 1962 novel Another Country, in which a suicidal black jazz drummer prostitutes himself to white men rather than turn to his white friend for help. According to Bruce Perry's 1991 biography, Malcolm had similarly sold himself as a street hustler. I wonder if he was as dismissive toward Another Country's frank treatment of homosexuality as Martin Luther King was. (King reportedly barred Baldwin from speaking at the 1963 March on Washington over the issue, though the event was orchestrated by a homosexual man, King's trusted friend Bayard Rustin.)

In any case, Baldwin called Malcolm "one of the most beautiful, and one of the most gentle, men I met in all my life" (video here). And there was an instinct in both Malcolm and Baldwin for zeroing in on the unmentionable.

From Another Country:

"Have you ever wished you were queer?" Rufus asked, suddenly.

Vivaldo smiled, looking into his glass. "I used to think maybe I was. Hell, I think I even wished I was." He laughed. "But I'm not. So I'm stuck."

Rufus walked to Vivaldo's window. "So you been all up and down that street, too," he said.

"We've all been up the same streets. There aren't a hell of a lot of streets. Only, we've been taught to lie so much about so many things, that we hardly ever know where we are."

Against the endorsements of the U.S. Postal Service and Christopher Hitchens, Baldwin has been largely shunned from the canon--the homophobia of critical dismissals through the '90s is pungent. All the more reason to track down the maligned Another Country, which I'm partway through.

Or, if you're in Minneapolis, check out Sedat Pakay's documentary film James Baldwin: From Another Place at Minneapolis Community and Technical College, which interviews Baldwin at his Istanbul home in 1973. Here's an information link (I missed an earlier screening of The Price of the Ticket). Pakay will speak after the screenings, and brings an exhibit of his Baldwin photographs. The events are free, and take place (according to a notice in the Pulse of the Twin Cities) today (Tuesday) at 1:30 p.m., Wednesday April 26 at 9:00 a.m., and Thursday April 27 at 7:00 p.m., all in Room L3100, 1501 Hennepin Ave. 612.659.6000.

_____________________________________
*You can imagine Baldwin bristling at a scene that was cheered by many blacks at a screening I attended at the late Skyway theater in Minneapolis. When a white student asks what she can do to help the cause for black equality, Malcolm answers: "Nothing." A similar exchange with Baldwin himself, related via anecdote at the ILX board, offered another answer, one Malcolm might have found funny in the last year of his life:

My grandmother once met James Baldwin after a lecture. As she tells it, she innocently asked him, "Mr. Baldwin, what can I do to help your cause?" He replied, "Honey, whatever you do, don't do it for me. Do it for yourself."

Forest for the Trees director Maren Ade

Recommendations from MSPIFF, the Minneapolis St. Paul International Film Festival (read the whole City Pages package, including Rob's interview with Al Franken, plus Dan Corrigan's great portrait, and check out the MNFilmarts and Save the Oak Street sites):

North Korea, A Day in the Life (2004, Netherlands, directed by Pieter Fleury) Absolutely stunning and chilling film made in cooperation with the North Korean government, which is apparently deluded enough to think that its presentation of itself as a model of socialist efficiency will be taken at face value. In fact, we get an unfiltered vision of an entirely regimented society, in which the memory of the Korean War, and America's part in it, is kept fresh in the minds of young children. Shot on 16mm and presented on video.

Forest for the Trees (2003, Germany, directed by Maren Ade)
As singular a work in the cinema of loneliness as Taxi Driver, this absorbing German film (shot and presented on video) concerns a young teacher from the country who arrives in the city alone, and forms an uncertain connection with a more sophisticated female neighbor. The acting safely keeps the proceedings within the realm of things that probably happen every day, everywhere. City Pages review here.

God Wears My Underwear (2004, U.S., directed by Leslie Streit)
It lost me with the reincarnation part, but this is otherwise a fairly absorbing experimental video recreating the odd crossover history between the Nazis and Tibetan monks.

Posted by Peter S. Scholtes at April 25, 2006 1:30 AM | Comments (4)

 

Monday video: The Monks' "Complication"

Watch it! Sing along! "We will die/We will kill for you!" With banjo! (Photo link here.) Then watch "Monk Chant" and "Oh, How to Do Now" and more! Oh, thank you thank you thank you Youtube (via ILM)! See also the Monks' official site, my 2004 Monks interview/tribute here, and my 2003 interview with the Spectors, the Minneapolis band that helped get the Monks back onstage. This is my first glimpse of Gary Burger singing since he performed "Oh, How to Do Now" with the Spectors at their 2003 First Avenue reunion. Until somebody digs up footage somewhere of these guys playing "I Wanna Fuck Your Hand" at the Top Ten Club in Hamburg, this is the visual record to beat of one of the world's weirdest bands.

Posted by Peter S. Scholtes at April 24, 2006 8:48 PM | Comments (1)

 

Never you change

I'll miss tonight's early-evening Toots and the Maytals show at First Avenue, but you shouldn't if you're in Minneapolis. I'm taking a week off from blogging, but will be back to the daily posts on April 24. Life is fun. Be good.

Posted by Peter S. Scholtes at April 13, 2006 7:39 PM | Comments (0)

 

Duluth did Dylan again at the Turf Club

(Click the above photo for larger image.) Duluth rumor holds that Bob Dylan himself bought out all the old T-shirts of the first Duluth Does Dylan compilation, still available on Spinout. The north country label's second compilation of locals covering Dylan is just as great. So with Toasty sick at home, I ventured out on Saturday to the beautifully refurbished Turf Club to catch the end of Jamie Ness's band's set (sounds good--he's back) and stick around for Charlie Parr (with Brad Nelson drumming on a couple songs), Boy Girl Boy Girl (who were Boy Girl Boy Boy that night, minus an even sicker Jenny Jones back home in Duluth), and Erik Koskinen (above). I soaked up the Duluth love-in vibe and caught up with old friends, including two who drove in together from Sioux Falls. I didn't know they knew each other; they hadn't before they moved there. Sometimes life just works out.

I'll be in Costa Rica during Duluth singer Sara Softich's CD release party at the 400 Bar on Friday, April 21. Looking forward to seeing her during Duluth's local music festival, Homegrown (schedule here, links here), which runs from Sunday, April 30 through Sunday, May 7. In the meantime, here's Chris Godsey's article about Duluth Does Dylan Revisited at MNArtists.org, a review from the Duluth News Tribune, and some more photos:

Dan and Amy

(Click the above photo for larger image.) Charlie Parr

(Click the above photo for larger image.) Boy Girl Boy Girl

(Click the above photo for larger image.) Erik Koskinen and band. Note the overlap: BGBG's Brad Nelson played drums with Charlie Parr, Koskinen played in BGBG, and BGBG's Tim Nelson played guitar with Koskinen.

Posted by Peter S. Scholtes at April 12, 2006 4:54 PM | Comments (2)

 

50 comics in a box

The International Cartoonist Conspiracy has issued another collectible box of mini-comics by local artists, a follow-up to last year's Lutefisk Sushi Volume A, available at Creative Electric Studios (gallery hours: Saturdays, 11:00 a.m. to 4:00 p.m.). Lutefisk Sushi Volume B contains 50 comix for $25, including such items as Maxeem Konrardy's The Brown Blood--a satire of coffee's accepted/destructive role in the Third World ("Ahh, that's a good village")--bound in what looks like basket-weaving, and Jenny Schmid's 2-square-inch-sized The Last Supper, about the guinea pig's place in Czech art--"It's a long story."

Lutefisk participants show their original art at Creative Electric through April 22 (a week from this weekend), including a special display of work by box designer and "Roadkill Bill" cartoonist Ken Avidor. Amid Avidor's covers for Screw and Pulse of the Twin Cities in the newly expanded backroom, you'll find his 1987 album cover for Halo of Flies' Garbage Rock (Twin Tone) and a cartoon of Ronald McDonald threatening First Avenue with a Hard Rock Cafe guitar. Climb the ladder to the "smut hut" of the loft, and you'll see a Screw-published caricature of Andrea Dworkin, a cartoon of Mikhail Gorbachev sodomizing George Herbert Walker Bush, and (if these put you in the mood) a bed. (Note: This article appeared recently in City Pages, but not online.)

Posted here and elsewhere recently: Jack Brass Band: Livin' For the City (City Pages 2/1/06), Not saints, exactly, but still marching in... (Complicated Fun 2/1/06), Coretta Scott King: "You can't do it all by yourself" (Complicated Fun 2/3/06), Prince on 'SNL': Scott Seekins's red twin? (Culture to Go 2/6/06), review of new Trampled By Turtles (City Pages 2/15/06), review of DUNation.com: Volume Won (City Pages 2/15/06), Rev. Charlie Jackson, R.I.P. (Culture to Go 2/16/06), Mardi Gras in Minneapolis and New Orleans (Complicated Fun 2/22/06), Schoolhouse Rap: Unknown Prophets teach the children, rock with the force of prophecy (City Pages 3/1/06), Truth Is: debut solo album from Truth Maze (City Pages/Culture to Go 3/1/06), Atmosphere mashed up with 50 Cent (Culture to Go 3/6/06)

Want to donate these Stax albums to the Stax Museum? (Culture to Go 3//9/06), City Pages cover-model trivia (Culture to Go 3/9/06), Gordon Parks, 1912-2006 (Culture to Go 3/13/06), review of Shite 'N' Onions Vol. 2: What the Shite (City Pages 3/15/06), review of Moochy C's "R.A.S.B." (City Pages 3/15/06), A review of all 30 Fugazi live CDs (Culture to Go 3/16/06), First Avenue to scan thumb prints (Culture to Go 3/17/06), Al Milgrom still "calling the shots" at MSPIFF (Culture to Go 3/27/06), How do you create art that's Minneapolis? (Culture to Go 4/3/06), Is Ice Cube from Minneapolis? (Culture to Go 3/29/06), Tell me something good: 5 things to remember about race and hip hop (MNArtists.org 4/3/06), 30 years of TC punk on 'Radio Riot' (Complicated Fun 4/4/06), Can't Go Home: Juvenile's New Orleans, the Ghost Town America Made (City Pages 4/5/06)

Calling all my people, come back home: more scenes from the drive to New Orleans (Complicated Fun 4/4/06), In Da Club: Metallagher at the Triple Rock (City Pages 4/5/06), More scenes from Metallagher's last show (Culture to Go 4/5/06), Link Wray: "Armed to the Teeth" (Complicated Fun 4/5/06), Hip-hop intellectual death match (Culture to Go 4/5/06), Matos and Bream on Prince (Complicated Fun 4/6/06), Public forum on race and hip hop doesn't suck (Culture to Go 4/7/06), I don't want to grow up: "Grups" in New York Magazine (Complicated Fun 4/7/06), Mason Jennings on 'CBS Sunday Morning'; Atmosphere on Kimmel (Culture to Go 4/8/06), The Shoe Bomber (Culture to Go 4/10//06), Monday video: Bow Wow Wow's "Do You Wanna Hold Me?" (Complicated Fun 4/10/06), Big Proof, R.I.P. (Culture to Go 4/11/06)

Posted by Peter S. Scholtes at April 11, 2006 7:36 PM | Comments (0)

 

Skip rope

http://www.nyupress.org/product_info.php?cPath=&products_id=3804

Posted by Peter S. Scholtes at April 11, 2006 11:50 AM | Comments (0)

 

Monday video: "Do You Wanna Hold Me"

Who couldn't love Afropop-meets-Duane Eddy-meets-Bo Diddley-meets-Girl Groups-era-Lesley Gore in mohawks, singing, "Do you wanna hold me/hold me there"? Though overshadowed by their cover of "I Want Candy," Bow Wow Wow's "Do You Wanna Hold Me?" was better music and music video (thank you, Youtube) in '83, from the video pastiche to the proto-Point Break rubber Reagan mask on late guitarist Matthew Ashman.

Apparently what's left of the band (myspace page here with more video) is touring the U.S. and recently taped a VH1 reality television show, so maybe I should recount some of the group's controversial legend, which goes like this: Sex Pistols manager Malcolm McLaren was hired by Adam and the Ants for advice, which apparently included kicking out Adam Ant. The remaining Ants (Ashman, drummer Dave Barbarossa, and bassist Leigh Gorman) needed a lead singer, and McLaren presented Rangoon-born 14-year-old Myant Myant Aye (Burmese for "Cool Cool High"), whom an assistant discovered singing in a north London dry cleaner (where she worked), and who was convinced to pose nude on several of the band's record sleeves (her mother sued over it). Better known as Annabella Lwin, she returns with the band minus Ashman, who died in 1995 of complications from diabetes, and with No Doubt's Adrian Young replacing drummer Dave Barbarossa, who now performs with Chicane. More about the video here, more photos here and here, and more history here, here, and here. (Thanks to Ralphadeus.)

Posted by Peter S. Scholtes at April 10, 2006 1:55 PM | Comments (0)

 

I don't want to grow up

I'm not affluent, high-tech, or stylish enough to be a "grup," but I do see something of my 36-year-old self (or future) in this silly New York magazine article, which begins: "He owns eleven pairs of sneakers, hasn't worn anything but jeans in a year, and won't shut up about the latest Death Cab for Cutie CD. But he is no kid. He is among the ascendant breed of grown-up who has redefined adulthood as we once knew it and killed off the generation gap." Nothing in that first sentence describes me, in fact, but I have worn a commuter bag well past the time when I bicycled everywhere, and I am also often the oldest guy at the rap show or punk show. Music journalism keeps you young. To tell the truth, I skipped most of this article. It's filled with people who make me want to flip the old Dead Kennedys lyric from "Life Sentence" ("I'd rather stay a child and keep my self-respect/If being an adult means being like you"): I'd rather grow up if being a child means being like these knobs. But the ILM discussion is hilarious, and there's no question that the "generation gap" increased for a few generations there (after the social invention of "childhood" in the first place in recent centuries) and that in many ways childhood and adulthood have blurred again.

Posted by Peter S. Scholtes at April 7, 2006 12:53 PM | Comments (2)

 

Matos and Bream on Prince

Listen here to a show with Star Tribune writer Jon Bream and longtime City Pages contributor Michaelangelo Matos talking about Prince and his new album, 3121, with fans on New York Public Radio. Bream remembers Prince not meeting his eyes for years, and calling Bream a friend--until a bad review, which Prince burned on Arsenio. Above: photo of Prince's first "official" gig, at the Capri Theater in 1979 (that last link is to a b-boy/b-girl dance company at the Capri today).

Posted by Peter S. Scholtes at April 6, 2006 2:17 PM | Comments (1)

 

Link Wray: "Armed to the teeth"

Was Link Wray the father of violence in rock and roll? Sometimes truth is better than fiction. Here's a passage from the George P. Pelecanos novel Hard Revolution (Warner Books, 2004 ), where characters show up at a 1959 Link Ray concert that makes Black Flag's 1980 shows look touchy-feely: "They switched cars at the doughnut shop, bought more beer down below the line, and drove into the District, looking for something or someone to fuck up... Their next stop was the Rendezvous, down on 10th Street in Northwest. The bar was jammed with rough old boys, bikers, and women who liked their type. The place smelled like alcohol and sweat. Link Wray and his Raymen were up on the bandstand. Link was wearing leather and rocking the house."

Stewart and Hess stepped up to the bar and ordered a couple of drafts. Stewart got a man's size and Hess ordered a fifteen-center. It looked like a girl's glass, but Hess didn't care. The fifteen-cent glass was tall, fragile, and skinny. You could break the head off it easy, if you had to, and use the jagged edge to open up some joker's face. Hess had a sip and put his back to the bar.

The band did a number with sometime vocalist Bobby Howard, then another. The Raymen were at their most raucous on their instrumentals, but Howard had a good voice for this kind of rock. It was known that Link couldn't sing. He had caught TB overseas when he was in the service, and the doctors had removed one of his lungs.

"Here he goes, " said Stewart happily, and they watched Link use a pen to punch a couple of holes in the bands' speakers. It was how he got that fuzz tone out of his ax, and it was a signal that the band was about to lift off.

Which is how it went as the band kicked into "The Swag" and then an extended version of "Rawhide." It was a sound that no one else could seem to get, a primal, blood-kicking kind of rock and roll, and it energized the room. People were dancing into one another, and soon punches were thrown, and many of the people who were fighting still had smiles on their faces. Link himself was said to be a peaceable man, but sometimes his music incited righteous violence.

"You in?" said Hess, his eyes on a fight that was building in numbers on the edge of the room.

"Nah," said Stewart, who just wanted to enjoy the music for now. "I'm good."

Hess put his glass down on the bar, made his way into the crowd and started swinging. His first punch met the temple of some guy who turned his head right into it, knocking him clean off his feet. Hess thinking, Some nights you just get luckier than shit, right before some other guy, looked like Richard Boone, up and split his lip with a straight right.

Now here's Jimmy McDonough's new 2006 biography Be Wild, Not Evil: The Link Wray Story, which just went online at Perfect Sound Forever (thanks to Patti Pagan at TCPunk for the heads up). This article draws heavily on candid 1997 interviews with the "Rumble" guitarist himself:

To play notorious DC clubs like the 1023 or Vinnie's, a Rayman had to be prepared. "If anything was gonna go down, we were cocked and locked," said Ellwood Brown. "Armed to the teeth." If things didn't seem quite right out in the street after the gig and you had the ears of a bat, you just might hear the collective click of the band's switchblades. One night, bassist Ed Cynar even had to pack real heat: a loaded Rutger .22 he kept onstage and within reach atop his bass speaker cabinet. Link had been dating a blonde bombshell named Kay, and one of her hoodlum ex-boyfriends didn't take the news well. "Several threats were made against Link," said Cynar, adding that Wray "was sneering from the bandstand that night with a 'bring-it-on' look... It was a tense night."

Located at 1023 Wahler Place in Southeast DC, the 1023 was "a squat, deep cinderblock cave built into the side of a hill," as the Washington City Paper put it. Link and the Ray Men played there Tuesday through Saturday, five sets a night with Link occasionally showing for a Sunday afternoon jam session as well. Surrounded by housing projects, the 1023 was a stomping ground for gangs like the Pagans, the Kamikazes and Satan's Few, and a haven for "throwbacks to another long-gone era where hillbillies and greasers ruled the neighborhood streets," as historian Mark Opsasnick puts it. "People got knifed in the club, people got knifed outside the club," recalled Ellwood Brown. The Ray Men's tenure finally ended at the 1023 when a brick came flying through the window and nearly connected with Link's cranium. Race riots all but demolished the club in the late summer of 1966.

With a bandstand about the size of a postage stamp, Vinnie's, at 10th and H streets NW, was a much smaller, even more intense place, frequented by the sort of customer who got their unsmiling photo taken not only head-on but in profile. The 1023 had its bikers, but also welcomed young semi-innocents who just wanted to cut the rug. Vinnie's catered to thugs. "One could be pretty sure he or she would leave the 1023 alive or at least not too bloody," said Ed Cynar. "That was not the case at Vinnie's." Link wisely planted himself onstage near an exit, and if things got too rough the band would rip their guitar cords right out of their amps and hightail it over to DeVito's, an Italian joint across the street. The bouncer at Vinnie's was a bruiser named Dutch, and Ray Man bassist Richie Mitchell recalled a particular rumble between Dutch and some reprobate. "This guy takes a razor, cuts his face, and just lays his cheek open to where you could literally see his tongue."

"I drew all these here bikers, different gangs from different parts of the city," said Link. "While I played 'Jack the Ripper' they'd be down in the audience cuttin' each other. A lot of those guys coulda said, 'Oh fuck, let's cut Link Wray.' I guess God just had an invisible net between them and me. They loved my music. One night a stranger came in sayin', 'Link Wray is tryin' to imitate Elvis.' When I went outside he was layin' there. They beat the shit outta him 'cause he ridiculed me. So he was in the wrong place at the wrong time, y'know?"

Posted by Peter S. Scholtes at April 5, 2006 8:04 PM | Comments (2)

 

Calling all my people, come back home

Listen to about a minute of audio from Mardi Gras 2006, the Mardi Gras Indians in Treme singing:

Calling all the people
Come back home
New Orleans
Where you belong

My article on Juvenile and New Orleans in City Pages was boiled down from too many words to count. It is what it is, but if you check out the links on the side of the article, you'll find some of the substance behind it, including this video for "Get Ya Hustle On" (thanks Youtube). Add www.reconstructionwatch.org and www.commongroundrelief.org to your links.

Below are more photos I took while in New Orleans in the days before Mardi Gras. Audio added to the end of the main article. More hip-hop and New Orleans articles here.

Above: Girls in tattoo parlor on Rampart, Royal Pendletons reunion at the Circle Bar (an old house converted to a bar on Lee Circle), upside down street sign on Rampart.

(Click the above image for a larger photo.) Above: An emptied and fenced-off Calliope housing project. From Loss and Displacement at the Calliope by Jennifer Vitry and Jordan Flaherty, January 12, 2006:

The B.W. Cooper Housing Development--popularly known as the Calliope projects--was home to 1,400 African American working-class households in 1,546 units on 56 acres of land. It is the third largest housing development in Louisiana and the largest tenant-managed housing development in the country. Most of the complex was not damaged in Hurricane Katrina or the subsequent flooding.

After Hurricane Katrina, residents were scattered throughout the United States, including many in shelters and motels here in Louisiana. Although most of these dispersed residents ache to return to their communities, the Housing Authority of New Orleans (HANO) posted a general notice in the projects informing residents that they may not move back, and some Cooper tenants report receiving notice that they have to clear out their possessions.

HANO has also hired a Las Vegas company named Access Denied to install 16-gauge steel plates over windows and doors at B.W. Cooper and other city projects, including the Lafitte projects in the Treme neighborhood. One housing activist remarked, "they finally invested money in the projects, and it’s to keep residents out."

Above: The Backstreet Cultural Museum in the Treme is open, while this trashed bar on Music Street is not.

(Click the above image for a larger photo.) Above: Scenes from the Upper and Lower Ninth Ward on the day before Mardi Gras, including a Common Grounds Relief outpost.

Above: A downed tree branch in City Park, Orpheus parade in Uptown, Hot 8 Brass Band at the Blue Nile, all on the eve of Mardi Gras.

(Click the above image for a larger photo.)

Above: On Mardi Gras morning, drums outside St. Augustine (which was shut down after the Archdiocese cut short a mass on March 27, meeting peaceful protesters with armed guards; a week earlier, protesters barricaded themselves in the church), a parade led by Congo Nation Big Chief Donald Harrison (notice all the microphones and cameras--I counted 20. This was easily the most documented Mardi Gras in history), Asali DeVan of the New Orleans Jazz and Heritage Festival.

(Click the above image for a larger photo.)

(Click the above image for a larger photo.)

(Click the above image for a larger photo.) Above: Scenes from the Zulu and Rex parades on Mardi Gras.

Thank you to beloved Machelle and Vatulblog's Maitri for your conversation, courage, and hospitality. I will keep the heat on from up here. Thank you to Ibby and David, too, for a place to stay. Thank you, Toasty, for coming with me. (And thanks, Jeff Chang, for the link, and Jay Smooth for this one.)

See also: Adam Craven's engrossing series at Blotter, beginning here, here, and here, about his recent week in Louisiana as a cleanup volunteer.

Now it looks as if FEMA is going to be kicking out volunteers. The fight continues...

Posted by Peter S. Scholtes at April 4, 2006 8:39 PM | Comments (0)

 

30 years of Minneapolis punk

I didn't tape it (fuck!), but last night KFAI's "Radio Riot" played the hits and rarities from punk rock's first 30 years in Minneapolis/St. Paul (including some from this list). You can listen here until this coming Monday, at KFAI's audio archive (where the show will be up at a different link for an additional week). The program starts with the Suicide Commandos' "Monster a Go-Go" and rips from there, through Dillinger Four's first single, Babes in Toyland's Peel Session single, and favorites of both the TCPunk.com crowd and the TCHardcorejournal. It's pledge week, so show some love to the show next Monday night, midnight to 2:00 a.m. Update: Check out the playlist here.

Posted by Peter S. Scholtes at April 4, 2006 6:04 PM | Comments (0)

 

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