#Live at First Avenue Minneapolis

[rastronomicals]

11:37 PM EDT May 27, 2023:

The Jayhawks - "Revolution Blues" Live at First Avenue, Minneapolis (September 9, 2000)

Last song scrobbled from iTunes at Last.fm

The only cover I know of Neil Young's most powerful, and most cynical tune ---

[doomandgloomfromthetomb]

Shellac - 7th. Street Entry, Minneapolis, Minnesota, October 29, 1994

Guest post! This one comes from friend-of-the-blog Xopher Besinger — a loving tribute to Shellac of North America and the late/great Steve Albini ...

When Steve Albini passed away this past spring the underground music world lost a champion and a crucial resource, both technological and philosophical. But he wasn’t only an engineer, studio owner, and opinionated online presence Albini was also a singular guitar player and for the last 33 years member of the power trio Shellac along with Bob Weston of Volcano Suns and Todd Trainer from Rifle Sport & Brick Layer Cake. The band carved out a special niche, where Wire and Gang of Four overlapped with AC/DC, shearing away all unnecessary elements until the music was compressed down to a single razor blade guitar spinning off coruscating shards of metallic sound over a massive, unstoppable rhythm section and sometimes some yelling.

They made several studio albums, but Shellac was primarily a live band, part comedy act, part blistering noise unit, always conducting shows with the laid-back ease of a long running house band. Toward the end shows were as full of familiar bits and gags as much as new songs but this show, from October 1994 in front of a rowdy home turf crowd (c’mon everyone knows the 7th St Entry was their home) approaching Halloween the band is still very new, a couple of singles had appeared the year prior and the first full-length, At Action Park, came out that month but not everything had completely settled just yet, even the infamous Q & A sessions appear here in nascent form as Albini just fields specific questions about Montana.

This show probably isn’t a holy grail to anyone except for me, I remember seeing the show flyers up around Dinkytown when I was briefly attending the University of Minnesota, but I was still 18, not old enough and without a fake id. The sound is a bit rough on this audience tape, plenty of dance music bleeding in from the First Avenue main room next door (a normal hazard throughout the 90s) and drunken crowd chatter but the band is clearly in their element, teasing Minneapolis icons Morris Day & Arcwelder’s Bill Graber and battering the hell out of the songs. Albini has obviously been listening to the also recently released Jon Spencer Blues Explosion album Orange as he exhorts “blues explosion! number one blues singer!” several times. The setlist draws mainly from the singles & first LP but there are a few surprises, such as the mellow coda to “Rambler Song” from their split single with P.W. Long, an early version of “Disgrace” and of course “Spoke”, which was the normal closer in the early years but didn’t appear on an album until 2007.

As always there is a healthy amount of back-and-forth between the band and crowd and even amongst the band onstage, but Shellac always made it clear that those interactions were as much a part of the gig as anything. This holistic view might be one of the reasons the shows were so memorable, it wasn’t just a band playing music to an audience, the talking, the tuning up, the waiting for the show to start, the lines to the bathroom, the obnoxious people in the crowd, the songs you had never heard before, were all given equal weight as components to the experience. And that to me is what this recording captures, the full weight of seeing them, with all those other things included.

I am going to miss seeing them dismantle the hecklers, I am going to miss the way they could flip from goofy to visceral to transcendent in the matter of seconds, but more than anything I am going to miss that biting, clanging guitar at the start of “Billiard Player Song” cutting straight through everything. Everything. So, grab a cigar, a match, and people who don’t care if you smoke it and loudest speakers you can find. Requiescat!

[ericdeggans]

Purple Rain at 40: Speaking with The Revolution on the film which made Prince a pop superstar and changed my life

I sat in a darkened movie theater 40 years ago, transfixed by a story that felt like it was centered on my pop culture life. Only years later, would I wind up living a reality that felt imported straight from the film’s narrative.

The movie was Prince’s introduction to superstardom, Purple Rain.

That film is now celebrating its 40th anniversary – the actual date was Saturday – and to mark the occasion for NPR, I caught up with two of Prince’s bandmates from The Revolution, guitarist Wendy Melvoin and drummer Bobby Z Rivkin -- with Morris Day, lead singer/leader of the Purple One’s funk band offshoot The Time chiming in through email. (read the story here)

Back then, I was a straight up disciple of Prince’s Minneapolis sound – a fan after listening to his 1981 album Controversy, I sifted through albums like 1999, Dirty Mind and For You for the funk bits that made an aspiring drummer sit up and take notice. To be honest, like a lot of Black folks back then, I was little more into the hardankle funk of The Time, with me and my friends growing up in Gary Indiana regularly sporting the Stacy Adams shoes and baggy pants favored by the group.

So imagine my surprise when I saw all that pop culture uniqueness splashed all over a movie screen in July 1984 courtesy of Purple Rain. Prince charged through scenes on a custom-made, lavender colored motorcycle like a guitar playing superhero, thundering through dazzling musical sequences like a new school James Brown, while Day and his onstage foil Jerome Benton provided the kind of comic relief needed to keep the whole scene from taking itself too seriously.

As someone who had just started a funk band in college at Indiana University, I was in awe of the powerful pop tunes and kinetic, sharp performances in the film’s musical moments. And backstage scenes where Wendy fought with Prince – known only as The Kid onscreen – urging him to play a song she and her girlfriend/keyboardist Lisa Coleman had written together, felt like 100 arguments I’d seen in all the band I’d ever played in.

“It was sort of the perfect mix of time, place and people,” Wendy told me a few weeks ago, when I interviewed her by Zoom about the experience of making Purple Rain. “They wanted the dynamic to be as real as possible. So they did, when they were writing the script, come to us and say, okay, what would you say if this situation happened? Or how would you act if that happened? So they were able to capture a kind of authenticity and put in into the script.”

The film turned Prince into a superstar, powered by a simple story: The Revolution is on the verge of failure until The Kid agrees to play Wendy and Lisa’s song – Purple Rain, of course—at the legendary Minneapolis club First Avenue. His emotional performance kicks off a scorching finale that galvanizes the crowd and saves the band.

Just a few years later, I would live that same storyline when the group I co-founded in college, Voyage Band, was on the verge of failure, rescued by a hit single written for a charity record that exploded over local radio in 1986. When we played a show at a local club that we expected to be lightly attended, and the place instead packed with fans who sang along with our song when we played it onstage, I felt like I was living the story of Purple Rain in real time. Eventually, we signed contract with Motown Records, though our record was never released - the song Strange Situation, can be heard here.

Back in the mid-1980s, MTV had only recently begun playing videos by Black artists. And there was nothing like the level of information available to fans now about their favorite performers via social media. So seeing music videos and a film that provided a fictionalized history for Prince – showing him struggling with an abusive father and navigating tensions with his band – felt like a brief window into an artistic world fans had previously only seen through listening to the music and poring over album liner notes.

All of it was shrouded by a mystique in which Prince and his collaborators rarely talked with the press, which helped stoke interest in the work, but also made it tough for some musicians from The Revolution when Prince decided to disband the group in 1986.

“I kind of resented the fact that, you know, people just thought I turned on a machine and went to play and then turned it off,” said Bobby, who began working with Prince in the late 1970s and stayed friends with him until the pop icon’s death in 2016 of an accidental fentanyl overdose. “There was a lack of transparency about how it all went down…But I knew the mystique was cool…definitely didn’t want to blow that. And he trusted us to not give out the secret sauce.”

I actually met Prince months before his death at his home studio in Minneapolis, Paisley Park. He had invited the National Association of Black Journalists, which had a conference in the city, to his facility, sitting down with a small crowd of us to talk passionately about the need for artists to retain control of their work in the face of the streaming revolution (here’s the story I wrote for NPR about it).

Wendy says The Revolution had talked with Prince about year before his death about reuniting; her last conversation with him was about plans to visit him at his home studio Paisley Park with her young son. Bobby recalls hearing local news reports in Minneapolis about an ambulance called to Paisley Park and then later learning of Prince’s death.

“This shy kid that I met…turned into one of the greatest entertainers of all time,” Bobby says. “I got to know him. He was probably my best friend….someone that people just revere and are mystified by and I got to have an intimate relationship musically and personally [with him.] He changed the world. And it’s just incredible to have lived that moment with him.”

All of this explains why Purple Rain was such a landmark for me personally and pop music in general. It’s an achievement worth remembering, at a time when the march of technology and pop culture too often threatens to erase the memory of how we all got here, in the first place.

[dispactke]

How to Live Free in a Dangerous World: A Decolonial Memoir by Shayla Lawson

What a profound work.

While traveling through France I took along Shayla Lawson's How to Live Free in a Dangerous World to read to get me in proper "other places" mode, and it did not disappoint. A section that should have been about getting married, relocating, and acclimating to the small town life of Roosteren, Netherlands ― and all that entails ― instead becoming a wrenching rumination on African refugees in Dutch asylum centers. A recollection of a Butoh performance in Osaka sends Lawson into deep reflection on the nature of performance (rather than this particular performance) and the kind of spiritual intimacy it all reminds Lawson of.

The book starts off in a snow storm on the way to a Prince performance at the First Avenue club in Minneapolis, circa 1983, from the point-of-view of Lawson inside their mother's womb, endearing me from the jump. But the book becomes so much more: deep ruminations on spirituality, mental and physical survival, love. Written with a subtle expertise, all its disparate chapters thematically cohesive in an almost praeternatural manner. What a great read.

"Everyone living is dying. And because I am dying, I desire pleasure as proof that I have lived. The nearness of death to sex drives us to feel love. / ...sex is an alignment of our spiritual and political selves."

"I've been traveling the world looking for salvation, only to find the only salvation we are each guaranteed is the one we give birth to in our own bodies. How we present or choose to believe is irrelevant. It's about how far we've come in removing our sense of responsibility to death."

[popentertainmentconcertreviews]

Cold War Kids – First Avenue – Minneapolis, MN – February 24, 2024

California indie rock band Cold War Kids made their 15th stop on tour at First Avenue in Minneapolis. Since they formed their band in 2004, they've released 12 albums and one live album. 

To say I was excited for this show is an understatement. Cold War Kids has been a staple indie band for me since high school and with every album they've released, I keep coming back and enjoying their music. By the time I arrived at the venue, it was packed, and you could feel the energy radiating off of each individual. When the lights went dark and the band took the stage, it was an immediate blast of positive power, not only from the crowd but from the band as well. You could tell that they were excited to be there and play a fun show. That's such a fun feeling, especially from a band that isn't new to the music scene. 

Their set started with "You Already Know" which was included on the New Age Norms 2 album released in 2020. New Age Norms 2 is a part of a trio of albums released over the span of three years. This tour was not only meant to celebrate their new 12-song self-titled album released in 2023, but also to celebrate and pay tribute to 20 years as a band. Their set was a fun mix of a little bit of everything, from every album and every era and accompanied by the perfect stage energy and lighting set up to match the vigor of each song. Overall, their Minneapolis show was the perfect ode to 20 years of Cold War Kids and a great celebration of their recently released album. Cold War Kids are definitely a band I'm more than excited to have seen.

Maddy Loch

Copyright ©2024 PopEntertainment.com. All rights reserved. Posted: February 27, 2024.

Photos by Maddy Loch © 2024. All rights reserved.

[ardathksheyna]

South Minneapolis in a nut-shell.

I miss South Minneapolis.

That picture is 100% mine. I took it while sitting in my laser blue straight-piped '06 Monte Carlo (it had the 3.9L V6) at the light at 2nd Avenue & East 36th Street—or maybe it was 35th? I can't remember which intersection but I know I was on my way to work because I frequently took 35W to the 3rd Street exit in the morning.

Fuck, I miss those days. This was a few weeks before my life to went to hell in a hand-basket. I think looking back at those times, the deal with ADHD brains not developing fully until mid 30s makes a lot of sense.

Welcome to Hell

That "hell in a hand-basket" deal was me realizing that the status quo of my life as it had been then could not continue. I was 38 years old, yet still thought of myself as 17 and thus still a kid—DESPITE having put myself through school and maintaining a career as a software engineer.

That status quo that I was talking about? Well, I made a decision in my early 20s that I now realize I did not have the adult experience necessary to make.

Long story short, I cosigned a mortgage with my father on a house in South Minneapolis—on Nicollet Avenue roughly a mile south of That Fucking K-Mart.

That was the biggest fuckup of my adult life. What it came down to is that I had to essentially commit financial seppuku to break that status quo.

The reason why I had to take such drastic lengths? Despite promises when we bought the house, dad decided that he didn't want to sell even if I moved out. If I moved in with my boyfriend, I was still on the hook for the mortgage—which meant that there would be no way for my boyfriend and I to build our own life.

What ended up happening was a lot of bad feeling and fighting back and forth not only between my dad and I, but my sisters as well. I was told that it was selfish of me to want to move out without providing for dad first.

When I repeated that line to my mostly male friends—here was their take: your father is a whole grown-ass man. He's able-bodied, and can fucking take care of himself.

After the last fight, I packed up my important shit, got in my car and left. On the drive to Forest Lake, I knew then that I was starting the rest of my life.

Looking back on it, I think if it hadn't been for both my friends and my boyfriend, I probably never would have had the courage to do what I did.

I realize now that all I had been doing up until that point was waiting for my family's permission to live my life and that is not a way to live at all.

The lesson learned from this is one that I'll pass on to anyone under the age of 30 being pressured by their parents to cosign loans for them.

Don't do it.

No, seriously.

Do not do it.

Why? You have no idea where your life is going, or who you'll meet and possibly want to spend the rest of your life with. Maybe you'll want kids, maybe you'll want to travel. You just never know.

The saga of my old pad in South Minneapolis is a long and drawn out one so I'll keep it short.

But I will say this. It does have a happy ending.

[chillwill707]

8

Prince and the Revolution, ‘Purple Rain’

WARNER BROS., 1984

I think Purple Rain is the most avant-garde, ‘purple’ thing I’ve ever done,” Prince told Ebony in 1986. He was still a rising star with only a couple of hits when he got the audacious idea to make a movie based on his life, and make his next LP the movie’s soundtrack. When it was released in 1984, he became the first artist to have the Number One song, album, and movie in North America.

But Purple Rain was so much more than a huge movie soundtrack: It was a testament to Prince’s dream of creating a utopian Top 40, a place where funk, psychedelia, heavy-metal shredding, huge ballads, and daring experimentalism could coexist. “Listening to Purple Rain now, it’s kind of like a Beatles album,” keyboardist Matt Fink of the Revolution told Rolling Stone shortly after Prince’s death in 2016. “Every song is just so brilliant in its own way — all so unique and different.”

It’s an incredible balance of contradicting impulses — from the pornographic “Darling Nikki” to the sparkling innocence of “Take Me With You.” When Purple Rain director Albert Magnoli asked for a good song to back a montage sequence, Prince came in the next day with “When Doves Cry,” a stark, eccentric-sounding brokenhearted song that became his first Number One single.

The title track was one of several songs recorded live at his hometown club, First Avenue, in Minneapolis (strings and overdubs were added later in the studio). It was inspired by Bob Seger, of all people — when Prince was touring behind 1999 [see No. 130] in 1983, Seger was playing many of the same markets. Prince didn’t understand the Midwestern rocker’s appeal, but decided to try a ballad in the Seger mode — the result may be the greatest rock ballad of all time.

[judaisim]

Outside of the Twin Cities' Jewish Community

The arrival of the first Jews in Minnesota may be traced back to the middle of the 19th century. Jewish pioneers, most of whom were of German and Eastern European heritage, established communities in places like Duluth, Rochester, and Winona in Minnesota.Synagogues, schools, and other cultural institutions were founded by the early settlers, who were responsible for the formation of close-knit communities that supported Jewish traditions and ideals.

Outside of the Twin Cities, Jews also established communities. The first permanent Jewish migrants arrived in Duluth in 1869, and it was there that the greatest population could be found. After another decade had gone, a sizable number of Jewish people finally joined them. Jews from Germany and Central Europe were the first to arrive, followed ten years later by Jews from Eastern European countries. The relatively low number of Jewish residents in Duluth served to forestall a schism among the community.

After the Mesabi Iron Range opened for business in the 1890s, the city of Duluth, Minnesota, as well as Superior, Wisconsin, experienced explosive growth as a commercial center. In 1885, Jews with roots in Lithuania laid the groundwork for what would become the Adas Israel Congregation. In 1891, Jews from Hungary and Germany came together to construct Temple Emmanuel, a Reform synagogue. The community of Eastern European immigrants settled in Duluth's West End, which is now known as the Central Hillside neighborhood. This area is located between Twelfth and Twenty-fourth Avenues.

Residents of Duluth who were Jewish were given opportunities to participate in the city's political and economic life. Twenty-three hundred people identified as Jewish called Duluth home by the time World War I came to a close. In the 1930s, when it was at its peak, there were approximately three thousand five hundred people. During this time period, Duluth was home to four synagogues, two cemeteries, a Talmud Torah, three social clubs, and four lodges, in addition to a number of philanthropic organizations and social clubs. The number of Jews living in Duluth has dropped to 2,633 by the year 1940.

During the 1890s, a number of Jews from the Duluth–Superior area relocated to the Iron Range, where they established retail and other enterprises that supplied the burgeoning mining towns in the area. Iron Range Jews were just 1,112 strong at their population's highest point in 1920, but they were able to keep a thriving Jewish community alive for decades. Eveleth, Hibbing, Virginia, and Chisholm were all places that saw the establishment of new synagogues.

At the start of the twentieth century, various towns in the southern part of Minnesota, such as Faribault, Mankato, Albert Lea, and Austin, saw the establishment of modest Jewish populations. Jews congregated for religious purposes in each of these locations. Only in Rochester, where the demand for a local congregation that could serve Jewish patients was created by the creation of the Mayo Clinic in 1905, was a synagogue (Bnai Israel) founded.

In the 1920s, the rate at which Jews were relocating to other parts of the state reached its highest point. At the conclusion of World War I, there were a total of around 4,000 soldiers counted in 145 smaller communities outside of Minneapolis, St. Paul, and Duluth.

The Jewish communities in Minnesota are spread out across the state in a variety of locations. Each community, from the lakeshores of Duluth to the grasslands of Rochester, has a distinct personality that is formed by the environment in which it is located.The Jewish population of Minnesota represents a diverse array of cultural and ethnic traditions, including Ashkenazi, Sephardic, and Mizrahi Jews, amongst others. This variety contributes to the richness of the fabric that is Jewish life in the state.

Synagogues such as Temple Israel in Duluth, Adath Jeshurun Congregation in Rochester, and Shir Tikvah in the Twin Cities are essential components of Jewish community life since they offer both religious direction and social assistance.Jewish residents from all throughout the state of Minnesota are brought together via the efforts of community centers and organizations, which helps to promote a sense of belonging and solidarity.

There is a wide variety of Jewish educational institutions in Minnesota, ranging from Sunday schools to day schools. These schools ensure that the Jewish heritage will be passed down to subsequent generations.The participation of Jewish communities across the state in a wide variety of cultural pursuits, such as music, painting, and literature, contributes to the overall enhancement of Minnesota's cultural landscape.

Jews make up a small percentage of the population in many of these towns and cities, making it more difficult for them to maintain their traditions and fight against negative perceptions.In spite of these obstacles, the Jewish communities of Minnesota have shown extraordinary resiliency and flexibility, which has contributed to the state's total cultural diversity.

The tenacity and variety of Jewish life in the North Star State are on display in the Jewish communities that may be found throughout the state of Minnesota outside of the Twin Cities. These communities contribute to the richness of Minnesota's cultural fabric in a variety of ways, ranging from their historical roots to their modern difficulties.

[rastronomicals]

12:43 PM EDT April 13, 2023:

The Jayhawks - "Revolution Blues" Live at First Avenue, Minneapolis (September 9, 2000)

Last song scrobbled from iTunes at Last.fm

The only cover I know of Neil Young's most powerful, and most cynical tune

[livinginhisgratefulness]

Driver still at large after deadly Minneapolis crash involving stolen Hyundai

MINNEAPOLIS — People in Minneapolis were frustrated Wednesday after police said someone driving a stolen vehicle took an innocent life. The accident occurred at North Washington Avenue and 21st Avenues around 7:30 pm on Tuesday. Paper Cutz Barber Shop is owned by Jaycee Cargill, a barber. Cargill stated, “We keep a pretty positive vibe here.” Tuesday was a very heavy day – and a really sad one. The crash occurred just feet away from the front door of the shop. Cargill stated, “All of a sudden, you hear…I don’t think I even heard brakes…it just sounded like ‘boom’.” CBS The police say a driver in a Hyundai that was stolen crashed into a classic vehicle’s driver, and then fled. Cargill stated, “By time I got out of the house he had already started running up the road.” The victim was the most dramatic part of the scene. Cargill said he saw first responders try CPR but it was already too late. He said, “As soon as I saw the guy on the ground…I knew he was severely hurt.” “This car theft situation, we have to act now.” The police tell WCCO that this is a part of a larger problem they’re trying to solve, as dozens of vehicles are stolen every day. Between July 11-17, 163 vehicles were taken – 63% of which were either KIAs and Hyundais. WCCO reported that Hyundais and KIAs were more susceptible to theft. Now, the hope is that no more lives will be lost. Cargill stated, “We need to act now on this stolen car issue.” The Minnesota Attorney General Keith Ellison said his office was still conducting a civil investigation into the automakers KIA & Hyundai. Ellison stated that “at the end of it all, they have moral responsibility and we will find out if they have legal responsibility.” He claims that the companies are partly responsible for the increase in thefts, including the more than 100 reported in Minneapolis last week. “The thieves who steal cars are wrong in every way and should be held responsible. Ellison added that corporate responsibility was also an issue. “They need to make the cars as safe as any other car on the road. But they aren’t doing that.” Ellison, along with other attorneys general, were denied a recall request in March. Ellison insists that this will not stop his office from pursuing a possible lawsuit. Ellison stated that “they still may be sued under theories such as negligence, nuisance, and other things.” Ellison refused to say when or if a suit would be filed. However, he said that if your KIA, Hyundai, or other vehicle has been stolen, you should call his office. No arrests have been made in the deadly accident that occurred on Tuesday. The victim is yet to be identified. Source

[deprived-gay]

Driver still at large after deadly Minneapolis crash involving stolen Hyundai

MINNEAPOLIS — People in Minneapolis were frustrated Wednesday after police said someone driving a stolen vehicle took an innocent life. The accident occurred at North Washington Avenue and 21st Avenues around 7:30 pm on Tuesday. Paper Cutz Barber Shop is owned by Jaycee Cargill, a barber. Cargill stated, “We keep a pretty positive vibe here.” Tuesday was a very heavy day – and a really sad one. The crash occurred just feet away from the front door of the shop. Cargill stated, “All of a sudden, you hear…I don’t think I even heard brakes…it just sounded like ‘boom’.” CBS The police say a driver in a Hyundai that was stolen crashed into a classic vehicle’s driver, and then fled. Cargill stated, “By time I got out of the house he had already started running up the road.” The victim was the most dramatic part of the scene. Cargill said he saw first responders try CPR but it was already too late. He said, “As soon as I saw the guy on the ground…I knew he was severely hurt.” “This car theft situation, we have to act now.” The police tell WCCO that this is a part of a larger problem they’re trying to solve, as dozens of vehicles are stolen every day. Between July 11-17, 163 vehicles were taken – 63% of which were either KIAs and Hyundais. WCCO reported that Hyundais and KIAs were more susceptible to theft. Now, the hope is that no more lives will be lost. Cargill stated, “We need to act now on this stolen car issue.” The Minnesota Attorney General Keith Ellison said his office was still conducting a civil investigation into the automakers KIA & Hyundai. Ellison stated that “at the end of it all, they have moral responsibility and we will find out if they have legal responsibility.” He claims that the companies are partly responsible for the increase in thefts, including the more than 100 reported in Minneapolis last week. “The thieves who steal cars are wrong in every way and should be held responsible. Ellison added that corporate responsibility was also an issue. “They need to make the cars as safe as any other car on the road. But they aren’t doing that.” Ellison, along with other attorneys general, were denied a recall request in March. Ellison insists that this will not stop his office from pursuing a possible lawsuit. Ellison stated that “they still may be sued under theories such as negligence, nuisance, and other things.” Ellison refused to say when or if a suit would be filed. However, he said that if your KIA, Hyundai, or other vehicle has been stolen, you should call his office. No arrests have been made in the deadly accident that occurred on Tuesday. The victim is yet to be identified. Source

[cedlens]

Cure Hunger- Salvation Army

The Salvation Army was created in 1878 with the purpose to meet the needs of human beings by acting through God's message of healing and providing. Since it's foundation, the Salvation Army has been able to help provide services to humans in 133 countries. One of the current services that the Salvation Army offers is the Cure Hunger campaign.

Cure Hunger is a service at select locations across the United States that provides free and nutritious meals that can provide health and wellness for those who are faced with food insecurity.

COVID-19 shook up everyone and everything. Systems and establishments that were securely in place were forced to shift. Similar to the rest of the world, Cure Hunger was not able to escape the impact of COVID-19. While myself, most of the nation, and the content of the media, were able to retreat into our homes and learn new ways to spend our "quarantine " times, panic about not being able to have enough toilet paper to last the year, and figure out what TV show to binge watch next, the challenges for some on how to meet their basic needs everyday did not disappear. Cure Hunger could not disappear and return with the rest of the world weeks later back to "reality". I reached out to the spokesperson for Cure Hunger to learn more about what their experience was like during the pandemic and how their services were shifted. I wanted to know more about if there were any closures or lack of volunteers, did they limit the amount of people that they could serve, did they experience food shortages? Unfortunately I was unable to connect with Cure Hunger in time for the deadline of this post. What I did learn from their website, however, was that free community meals are now being given as to-go bags at the same locations prior to COVID-19.

Everyone's experience and need for interacting with Cure Hunger is unique and independent to their life circumstances. Weather that be, homelessness, LGBTQ+ youths who are not welcome home, refugees, travelers who are trying to find a permanent place that will provide a better life, families in financial struggles, etc. Cure Hunger does not discriminate against circumstances and just want to provide as many people with nutritious meals as possible.

If you or anyone that you know is in current need of utilizing Cure Hunger please explore and share these resources:

La Crosse, WI

Free lunch hours: Monday – Saturday 11:00am– 12:30p 

Drive Through Food Distribution Days 1x monthly

Contact: 608-782-6126

Address: 223 North 8th Street, La Crosse

Rochester, MN

Free lunch hours: Monday -Friday 11:00am-12:30pm

Bread Pantry hours: Monday- Friday: Opens 8am

Contact: 507-288-3663

Address:  Social Services Center at 115 First Avenue NE

Minneapolis, MN

Free lunch hours: Monday-Friday 11:30am-12:30pm

Food Shelf hours: Monday- Thursday 9:00am-11:30am and 1:00pm-3:00pm

Contact: 612-522-6581

Address: 2024 Lyndale Avenue N, MINNEAPOLIS

St. Paul, MN

Free dinner hours: Every Wednesday at 5:30pm

Food fair hours: Every Friday at 11:00am

Food shelf hours: Monday and Wednesday, 9 – 11 a.m., Tuesday and Thursday 1 – 3 p.m.

Contact: 651-224-4316

Address: 401 West 7th Street, SAINT PAUL

[hanns-solo]

Hannah’s big book of concerts

Dayglow • 10/27/21 • First Ave, MN

[ausetkmt]

Oct. 5, 2022

Suzan-Lori Parks is drawn to archways. Early on in her New York life, long before she became one of the nation’s most acclaimed playwrights, she lived above a McDonald’s on Sixth Avenue — the Golden Arches. Then she moved out by Brooklyn’s Grand Army Plaza, with its triumphal Soldiers and Sailors Memorial Arch. Now she lives in an apartment overlooking the marble monument honoring the nation’s first president at the entrance to Washington Square Park.

“It’s very symbolic,” Parks told me. “I’m always orienting myself to arches.”

Arches, of course, are gateways, portals between one world and another, and Parks is endlessly thinking about other worlds.

This season, audiences will have ample opportunity to join her.

A starry 20th-anniversary revival of “Topdog/Underdog,” her Pulitzer Prize-winning fable about two brothers, three-card monte and one troubling inheritance, is in previews on Broadway. “Sally & Tom,” a new play about Parks’s two favorite subjects, history and theater, but also about Thomas Jefferson and Sally Hemings, has just begun performances at the Guthrie Theater in Minneapolis. “Plays for the Plague Year,” Parks’s diaristic musings on the first year of the Covid-19 pandemic and a coincident string of deaths, including those of Black Americans killed by police officers, is to be presented next month at Joe’s Pub, with Parks onstage singing and starring. And “The Harder They Come,” her musical adaptation of the 1972 outlaw film with a reggae score, will be staged at the Public Theater early next year.

“I’m like a bard,” she said. “I want to sing the songs for the people, and have them remember who they are.”

At this point in her career, Parks, who in 2002 became the first African American woman to win the Pulitzer Prize in drama, is a revered figure, regularly described as one of the greatest contemporary playwrights.

“She occupies pretty hallowed air: She’s the one who walks among us,” said the playwright Branden Jacobs-Jenkins, who teaches playwriting and performance studies at Yale.

“She’s the reigning empress of the Black and weird in theater,” he said. “And she really is the most successful dramatist of the avant-garde working today.”

PARKS HAS BEEN TELLING STORIES since she was a child. She wrote songs. She tried writing a novel. There was a period when she made her own newspaper, called The Daily Daily, reporting on what she saw through a Vermont attic window. (She was born in Kentucky, and moved frequently because her father was in the military.)

While an undergraduate at Mount Holyoke, she had the good fortune to take a creative-writing class at nearby Hampshire College with James Baldwin, who suggested she try playwriting, and, even though she feared he was just trying to politely steer her away from prose, she did. “That’s what I’m doing still,” she said. “Trying theater.”

Her apartment is filled with evidence of a furiously busy creative life: shelves heaving with plastic crates containing thoughts on pending and possible projects; elements of a second novel marinating on a wallboard cloaked by a blanket; index cards in Ziploc bags; a laptop perched on a crate atop the dining table; lyric revisions in notebooks on a music stand by an ever-at-the-ready guitar. (She is a songwriter who occasionally performs with a band; this season’s four productions all feature music she wrote.)

“Writing, I think, is related to being kind of like a witch,” she said as she showed me around. “Writing is magical. I loved mythology, and folk tales, and I could hear them — old stories — not in a recording of something that somebody living in my presence had told me, but if you listen, you can hear organizational principles of nature, which includes the history of people, which is narrative.”

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So writing is listening? “Not in a passive way,” she said. “I’m on the hunt.” By this point, she was on her feet, pantomiming the stalking stance of a wild cat, preparing to pounce. “You’re being drawn toward it, and you’re reeling it in at the same time, like a fisher.”

As she talked, she kept cutting herself off, reaching for ways to differentiate her craft. “There’s a lot of writers who have ideas, and they have an agenda, and that’s cool,” she said. “I think I’m something else.”

Digging in to the question of why she writes, she became more and more expansive, reflecting on the songlines of Indigenous Australians, which connect geography and mythology.

“We have our songlines too — we just forgot them a long time ago,” she said. “They’re encoded in all the religious texts. They’re in African folk tales. They’re in the stories that your mom or your grandmother taught you. They’re there, and I can’t get them out of my head.”

“If you can hear the world singing,” she added, “it’s your job to write it down, because that’s the calling.”

PARKS IS NOW 59, and her work has been in production for 35 years. In 1989, the first time The New York Times reviewed her work, the critic Mel Gussow declared her “the year’s most promising new playwright.” In 2018, my critic colleagues at The Times declared “Topdog/Underdog” the best American play of the previous quarter century; explaining the choice, Ben Brantley, who was then the paper’s co-chief theater critic, described Parks as “a specialist in the warping weight of American history,” and declared, “Suzan-Lori Parks has emerged as the most consistently inventive, and venturesome, American dramatist working today.”

“She is a genre in and of herself,” said the playwright James Ijames, who won this year’s Pulitzer Prize in drama for “Fat Ham.” And what is that genre? “It is formally really dazzling, in terms of how she structures the play; there is humor underpinned with horror and political satire; there’s this real thread of the blues and folkways and things that are just root Black American signifiers; it’s musical, it’s whimsical, it’s playful, and it’s dangerous — all of the stuff that’s so exciting to see onstage.”

Her early plays were experimental (“opaque,” Brantley once wrote). The recent plays have been more accessible, for which Parks makes no apologies.

“People — not you, but people — when they ask that question, they’re like, ‘Oh, so now you’re selling out! You’re getting more mainstream and you’re not being true to your roots!’” she said. “Oh, no. I’m becoming more and more and more true. Trust me on this one: I’m following the spirit, no doubt. So, yeah, ‘Plays for the Plague Year’ looks like real life, cause it is. So maybe we ought to think about what am I writing about, and if I’m true to what I’m writing about.”

Reflecting her singular stature, Parks has an unusual perch from which to work: She is a writer in residence at the Public Theater, where she receives a full-time salary and benefits. At the Public, she also conducts one of her great ongoing experiments, “Watch Me Work,” a series of events, in-person before the pandemic and online now, at which anyone can work on their own writing while she works on hers, and then they talk about creativity. Early in the pandemic, Parks held such sessions online every day.

“Her great subject,” said the Public’s artistic director, Oskar Eustis, “is freedom. It’s both what she writes about, and how she writes.”

As part of her arrangement with the Public, Parks is also an arts professor at N.Y.U., which is how she wound up across from Washington Square Park, where she lives in faculty housing with her husband, Christian Konopka, and their 11-year-old son. For years, they shared one bedroom; this summer, they finally scored an upgrade, just 70 steps down the hall (their son counted), but now with a bit more space and that archward view.

She has surrounded herself with a striking number of good-luck charms: not only the pink unicorn balance board on which she stands while typing, but also a tray of unicorn plushies; James Baldwin and Frida Kahlo votive candles; a hamsa wall hanging she picked up at a flea market; milagro hearts from Mexico; Buddha, Ganesh, rabbit and turtle figurines; and a deck of tarot cards (yes, she did a basic reading for me; I drew the high priestess card). Also: she has tattooed into one arm, three times, a yoga sutra in Sanskrit that she translated as “submit your will to the will of God.” (She calls herself a “faith-based, spiritual-based person,” and is also a longtime practitioner of Ashtanga yoga, which she does every morning, after meditation and before writing.)

“All the help I can get, baby,” she said.

THE MANY ARTIFACTS on display in her apartment include a shelf set up as a shrine to Baldwin, a dollar bill Parks collected when, feeling the need to perform, she tried busking in a subway station, and a “Black Lives Matter” placard she held at protests during the summer of 2020, when she also signed the “We See You White American Theater” petition, written by an anonymous collective, calling for changes in the industry.

“Hey, I’m angry as the next Black woman,” she said. “And yet, to get through this, we need to also listen — listen to the voice of anger, listen to the voice of love, listen to the voice of wisdom, listen to the voice of history.”

She added, “Let’s not just stand around telling people that they suck. At least where I come from, that’s not a conversation, and, at least where I come from, that’s not good dialogue.”

The tone of some of the conversation around diversity in theater is clearly a concern of hers — that’s obvious in “Plays for the Plague Year,” which, in the most recent draft, contains a playlet called “The Black Police,” in which three “Black Cops” approach a “writer,” played by Parks, and say, “We’re here to talk with you about your blackness/Why you work with who you work with.”

In our interview, Parks said she was troubled by “the policing of Black people by Black people, and not just in the arts,” adding, “we have to wake up to the ways we are policing each other to our detriment.”

“No more trauma-based writing!” she said. “These are rules. And Suzan-Lori Parks does not like to be policed. Any policing cuts me off from hearing the spirit. Sometimes the spirit sings a song of trauma. I’m not supposed to extend my hand to that spirit that is hurting because it’s no longer marketable, or because I should be only extending my hand to the spirits who are singing a song of joy? That’s not how I want to conduct my artistic life.”

She also said she is troubled by how much anger, at the Public Theater and elsewhere, has been directed at white women. “Not to say that Karen doesn’t exist. Yes, yes, yes. But it’s interesting that on our mission to dismantle the patriarchy, we sure did go after a lot of white women. If you talk about it, it’s ‘You’re supporting white supremacy.’ No, I’m not. I’m supporting nuanced conversation. And I think a lot of that got lost, and lot of times we just stayed silent when the loudest voice in the room was talking, and the loudest voice in the room is not always the voice of wisdom.”

THIS SEASON, SHE’S PIVOTING back toward the stage after a stretch of film work in which she wrote the screenplay for “The United States vs. Billie Holiday,” and was a writer, showrunner and executive producer of “Genius: Aretha,” both of which were released last year.

At the start of the pandemic, she assigned herself the project that became “Plays for the Plague Year,” writing one short play each day for 13 months. The discipline was a familiar one: In 2002, after winning the Pulitzer, she began “365 Days/365 Plays,” then she did another daily playwriting exercise during the first 100 days of the Trump presidency. The pandemic play is part personal history — how the coronavirus affected Parks and her family — and part requiem for those who died during that period, from George Floyd to Parks’s first husband. The play, like much of Parks’s work, features songs she wrote. “I was moved into other states, where I wasn’t just documenting what happened that day, but I wanted to sing,” she said.

She’s got plenty still to come — she’s still polishing “The Harder They Come,” which will feature songs by Jimmy Cliff and others, including Parks, who said the story, set in Jamaica, “really captures a beautiful people in their struggle.” She’s then hoping to turn to that second novel (a first, “Getting Mother’s Body,” was published in 2003).

She is planning a screen adaptation of “Topdog,” as well as a new segment of her Civil War drama “Father Comes Home From the Wars” (so far, three parts have been staged; she said she expects to write nine or 12). Also: she’s writing the book, music and lyrics for an Afrofuturist musical, “Jubilee,” that she’s developing with Bard College; “Jubilee,” inspired by “Treemonisha,” a Scott Joplin opera that was staged on Broadway in 1975, is about a woman who establishes a new society on the site of a former plantation.

On a recent afternoon in Minneapolis, Parks settled in behind a folding table to watch a stumble-through of “Sally & Tom,” which is being developed in association with the Public, where it is expected to be staged next fall. The work, directed by Steve H. Broadnax III, is structured as a play-within-a-play — it depicts a contemporary New York theater company in the final days of rehearsing a new play about Jefferson’s relationship with Hemings, an enslaved woman. Parks has had a longtime interest in Jefferson and Hemings, and at one point had worked on a television project about the relationship that never got made; the play, she said, is not a straight historical drama, but “about how the world is made, and how we live in this country.”

The protagonist is a playwright who, like Parks, is warm but exacting, and is rewriting and restructuring the show as opening night nears. When I asked Joseph Haj, the Guthrie’s artistic director, how much he thought the play was about Parks, he at first shrugged it off, saying artists are always present in their work. After the run-through, he grabbed me to amend his remarks. “I take back everything I said,” he said. “I see her all over this.”

Kristen Ariza, who is playing the playwright as well as Hemings (the fictional playwright stars in her own play) said “the play is full of humor, until it’s not.”

“It feels so meta, because we’re doing the play, within the play, and we’re doing all these things like within the play,” she said. “She’s constantly questioning, ‘Does this fit? Is it working? Is it flowing correctly? She’s hearing our voices and adding things and making things work better as we go.”

A few days later, Parks was in Times Square, watching an invited dress rehearsal for “Topdog/Underdog.” The set is draped in a floor-to-ceiling gold-dipped American flag, meant, the director, Kenny Leon, told me, to reflect the way commerce infuses the culture.

Two actors who have enjoyed success onscreen, Corey Hawkins (“In the Heights”) and Yahya Abdul-Mateen II (“Watchmen,” “Aquaman”), play the story’s brothers, mischievously named Lincoln and Booth. They share a shabby apartment; Lincoln, fatefully, works as a Lincoln impersonator at an amusement park where patrons pretend to assassinate him, while Booth makes ends meet by shoplifting. Their relationship to each other, to truth-telling, and to their shared history is at the heart of the story.

Both actors encountered the play as undergraduates; Hawkins was a stagehand on a production at Juilliard, and Abdul-Mateen read a few scenes as Booth while at Berkeley. “It’s the first piece of material that I ever performed on a stage that I felt like was written for someone like me,” Abdul-Mateen said.

Like many people I spoke with, Abdul-Mateen was particularly struck by Parks’s ear for dialogue. “It’s as if she eavesdropped on these two characters,” he said, “and just wrote everything down as she heard it.”

Hawkins called the play “an ode to young Black men who don’t always get to live out loud.” And he is embracing that opportunity — one night, he called Parks at 2 a.m. to discuss a section of the play; she has also helped him learn the guitar, which he had not played before getting this role. “There’s something very grounding about that peace that she carries,” he said. “When she walks in the room, she carries the ancestors, the people we’re trying to honor, with her.”

Shortly after we hung up, my phone rang: Hawkins again, this time with a reverential plea. “Make us proud, man,” he said. “She’s a national treasure for us.”

[dem-khuya]

the memory i always play and replay is of january 2020, before covid happened, when i visited my dad’s foster mother and my foster cousins and we spent one of the coldest days in my immediate memory taking the train from cherry hill to philly and walking around. that month is my foster grandmother’s and my birthday month, hence the visit, and she was happy to see me.

we had overpriced pasta in a corner of little italy, but it was really good—of course i had aglio e olio. then trying to get to washington avenue only to find all the viet stores there were packed and feeling guilty i’d dragged them along. we went to the philly aids thrift @ giovanni’s room, where i bought carmen maria machado’s memoir, and the man at the register told me that she actually frequents them regularly. i was kinda blushy and surprised, i’ve always loved her work and it felt special to have gotten her book there. n then hearing the first few chords of bambi while i was freezing to my death on the philly streets lol.

i remember looking so gross, my nose was running and i was wearing two jackets and i was jobless at the time so i was eternally depressed which showed on my face i think. bambi’s first few notes made me suddenly warm, and the first line—i swear to god i wasn’t born to fight…i couldn’t forget it even if i wanted to.

i was never raised in philly but it was a big deal to go there when i was small. it had, and still has, a huge vietnamese + chinese marketplace. something i’ve never seen to the same extent here. i’d been born in new jersey but my family moved to bethlehem when i was little so pennsylvania as a state has always been terribly nostalgic to me. if it wasn’t so cold i think that i would have seriously considered moving back to that area, it might be the only place i really consider home in the US.

to have heard bambi that day and, after flying back home, eventually listening to much of hippo campus’s discography, always felt so strange and special to me. i read that the band came from minneapolis. that’s why they’re dressed in big winter jackets in one or two of their music videos, it’s just so awfully cold there in the winter. they’re only two years older than me too. i was really at a crossroads at that moment of my life. uncertain, lonely, resentful. and i was freezing cold wandering around a city that i felt i would always be bound to in some indirect and unconscious way—a place i should have grown up in, a place that would have made me a little happier, or that i associate with more happiness in an unfair way, by simply not having lived my life there. surrounded by loose ends of my mother and father’s past, and at the unhappiest i ever felt in my life. thats where i first heard bambi and that’s why i can’t stop thinking about it.

[warped-historian]

Warped Tour, 2006

Dates:

June 15: Columbia, MD

June 16: Columbus, OH

June 17: Milwaukee, WI

June 18: Minneapolis, MN

June 19: Bonner Springs, KS

June 21: Nashville, TN

June 22: Jacksonville, FL

June 23: St. Petersburg, FL

June 24: Miami, FL

June 25: Orlando, FL

June 26: Ladson, SC

June 27: Raleigh, NC

June 28: Atlanta, GA

June 30: Houston, TX

July 1: Dallas, TX

July 2: Selma, TX

July 3: Las Cruces, NM

July 4: Phoenix, AZ

July 6: Chula Vista, CA

July 7: Pomona, CA

July 8: San Francisco, CA

July 9: Fresno, CA

July 11: Ventura, CA

July 12: L.A, CA

July 13: Marysville, CA

July 14: Nampa, ID

July 15: George, WA

July 16: St. Helens, OR

July 18: Vancouver, BC

July 20: Calgary, AB

July 22: Salt Lake City, UT

July 23: Denver, CO

July 25: Maryland Heights, MO

July 26: Cincinnati, OH

July 27: Pittsburg, PA

July 28: Noblesville, IN

July 29: Detroit, MI

July 30: Tinley Park, IL

August 1: Darien, NY

August 2: Fitchburg, MA

August 3: Camden, NJ

August 4: Scranton, PA

August 5: Uniondale, NY

August 6: Englishtown, NJ

August 8: Charlotte, NC

August 9: Virginia Beach, VA

August 10:Bristow, VA

August 11: Cleveland, OH

August 12: Barrie, ON

August 13: Montreal, QC

Lineup:

The Academy Is... (Played 6/15, 6/18, 6/23, 6/30 and 7/2)

Against Me!

Aiden (Played 7/2, 7/12, 7/15 and 7/22)

Armor for Sleep (Played 6/30, 7/2 and 8/3)

The Bouncing Souls

Bullet for My Valentine (Played 8/5)

Buzzcocks (Played 6/15-6/28)

The Casualties (Played 6/15-8/5)

The Early November (Played 7/20)

Emery (Played 6/25 and 7/13)

Every Time I Die (Played 7/1, 7/22 and 8/12)

Greeley Estates (Played 6/19)

Gym Class Heroes (Played 6/30)

Hellogoodbye (Played 6/16, 6/28 and 7/3)

Helmet

Joan Jett and the Blackhearts (Played 6/15-6/28, 7/6-7/18 and 7/22-8/13)

Less Than Jake

The Living End (Played 7/3-7/30)

NOFX

Paramore (Played 7/6)

Pistolita (Played 8/6)

Plain White T's (Played 7/1)

Silverstein (Played 6/24, 7/1 and 7/3)

The Sounds (Played 7/18-8/13)

30 Seconds to Mars (Played 8/1-8/2 and 8/8-8/12)

The Academy Is... (Played 7/15 and 8/5)

AFI (Played 6/27, 6/30, 7/2-7/3, 7/14, 7/16-7/20, 7/26-7/28 and 8/1)

After It's Over (Played 6/25)

Aiden (Played 7/25)

Amber Pacific (Played 7/15)

Anti-Flag

Armor for Sleep (Played 6/15, 6/23-6/24 and 7/8)

Billy Talent (Played 7/22-7/24, 7/26-8/2, 8/4-8/5 and 8/7-8/13)

The Bled (Played 7/13)

Bullet for My Valentine (Played 8/3)

The Dan Band (Played 7/12)

Danny Diablo (Played 6/19)

Evaline (Played 8/6)

Every Time I Die (Played 6/16, 6/18, 6/24, 6/28, 7/25 and 8/6)

From First To Last (Played 6/16, 6/18 and 6/23)

The Germs (Played 7/6)

Gogol Bordello (Played 8/6)

Greeley Estates (Played 7/1 and 8/5)

Hellogoodbye (Played 6/19, 6/30 and 7/8)

Jack's Mannequin (Played 7/6)

Motion City Soundtrack

Paramore (Played 6/25)

The Pink Spiders (Played 7/12)

Pistolita (Played 8/3)

Plain White T's (Played 7/6)

Rise Against

Saosin (Played 7/1)

Saves the Day

Senses Fail

Silverstein (Played 6/15, 6/28, 7/13, 7/18-7/20 and 8/12)

State Radio (Played 7/2)

Talib Kweli (Played 8/11)

Thursday

Underoath (Played 6/15-7/27)

Valient Thorr (Played 7/3)

The Academy Is... (Played 6/16-6/17, 6/19-6/22, 6/24-6/28, 7/1, 7/3-7/14, 7/16-8/4 and 8/6-8/13)

Aiden (Played 6/15-6/24, 6/26-6/28, 7/1, 7/3-7/11, 7/13-7/14, and 7/16-8/13)

Armor for Sleep (Played 6/16-6/22, 6/24-6/28, 7/1, 7/3-7/7, 7/9-8/2 and 8/4-8/13)

Between the Trees (Played 6/25)

Billy Talent (Played 7/25, 8/3 and 8/6)

Bullet for My Valentine (Played 8/1-8/2 and 8/4-8/13)

Danny Diablo (Played 6/15-6/18 and 6/21)

Dropping Daylight (Played 6/28-6/30)

The Early November (Played 7/15-7/18, 7/22-8/2 and 8/4-8/13)

Eighteen Visions (Played 7/26-8/13)

Emery (Played 7/2)

Evaline (Played 8/3-8/5 and 8/7-8/13)

Every Time I Die (Played 6/15-6/17, 6/19-6/27, 6/30, 7/2-8/5 and 8/7-8/13)

From First To Last (Played 6/19 and 6/24)

Greeley Estates (Played 6/15-6/18, 6/21-6/30, 7/2-8/4 and 8/6-8/13)

Gym Class Heroes (Played 7/1-7/24 and 7/26-8/3)

Hellogoodbye (Played 6/15, 6/17-6/18, 6/21-6/27, 7/1-7/2, 7/4-7/7 and 7/9-8/13)

The Lordz (Played 8/5)

Paramore (Played 6/15-6/24, 6/26-6/28, 7/1-7/5 and 7/7-7/11)

Patent Pending (Played 7/1 and 7/8)

Plain White T's (Played 6/15-6/30, 7/2-7/5 and 7/7-7/20)

The Pink Spiders (Played 6/30-7/11 and 7/13-8/13)

Saosin (Played 6/30 and 7/2-7/16)

Silverstein (Played 6/18-6/19 and 7/25)

Spitalfield (Played 6/17-6/24 and 6/30)

State Radio (Played 6/15-7/1)

The Stiletto Formal (Played 8/12-8/13)

Total Chaos (Played 7/20)

Zox (Played 6/15-6/26)

Aiden (Played 6/25 and 6/30)

Amber Pacific (Played 6/15-7/14 and 7/16-7/20)

ASG (Played 6/21-6/28 and 7/27-8/10)

Chiodos (Played 8/12)

Dropping Daylight (Played 6/15-6/18, 6/21, 6/27 and 6/30-7/16)

Eighteen Visions (Played 7/25 and 8/12)

Emery (Played 6/18-6/19, 6/23 and 6/28-7/3)

Evaline (Played 6/15-6/19, 6/28 and 7/3)

Family Force 5 (Played 6/28

Flashlight Brown (Played 7/18-8/6)

From First to Last (Played 6/15, 6/17 and 6/20-6/22)

Gym Class Heroes (Played 7/25)

Ill Scarlett (Played 8/12-8/13)

Kandi Coded (Played 7/6-7/18)

The Knives (Played 6/28)

Mute Math (Played 8/8-8/13)

Over It (Played 6/15-7/20)

Paramore (Played 6/18, 6/30 and 7/2-7/3)

Patent Pending (Played 6/30 and 7/2)

Pistolita (Played 7/22-8/2 and 8/4-8/13)

The Red Jumpsuit Apparatus (Played 6/22-6/25 and 7/18-8/13)

Riverboat Gamblers (Played 7/1-7/2)

The Sainte Catherines (Played 8/12-8/13)

Side 67 (Played 7/18-7/20 and 8/11-8/13)

The Spill Canvas (Played 6/15-6/19)

Spitalfield (Played 6/15-6/16, 6/18 and 6/25-6/28 and 7/1)

Stretch Arm Strong (Played 7/22-8/13)

The Summer Obsession (Played 6/25)

Sydney (Played 8/12-8/13)

Ted (Played 6/23 and 6/25)

Valient Thorr (Played 6/15-7/2 and 7/4-8/13)

Vaux (Played 6/15-7/5 and 7/20-7/30)

Voltera (Played 6/30-7/15)

A Static Lullaby (Played 7/7 and 7/12)

All Time Low (Played 8/4-8/6)

And Then I Turn (Played 6/18)

As Cities Burn (Played 6/15-6/28)

The Audition (Played 7/15-7/30)

Big City Dreams (Played 6/22-6/23)

The Bleeding Alarm (Played 7/18-7/20)

Brighten (Played 7/13)

Britt Black (Played 6/16)

Chasing Victory (Played 6/27)

Chiodos (Played 6/30-7/15)

The Classic Crime (Played 7/16-7/30)

The Confession (Played 6/15-6/26)

Dear Jane, I... (Played 8/13)

Dear Whoever (Played 7/16)

Eighteen Visions (Played 6/30-7/15)

Emery (Played 7/16-7/30)

Escape the Fate (Played 7/8-7/15)

From Aphony (Played 7/15)

The Fully Down

Goodbye Tomorrow (Playd 7/4)

Halifax (Played 8/1-8/13)

Hit the Lights (Played 6/30-7/15)

Hometown Anthem (Played 6/15)

The Honour Recital (Played 7/28-7/29)

Horse the Band (Played 8/1-8/13)

I Am Ghost (Played 6/22-7/8)

I Am The Avalanche (Played 8/1-8/13)

It Dies Today (Played 6/30-7/15)

Ivory (Played 6/17)

June (Played 6/15-6/28)

The Junior Varsity (Played 7/25-7/30)

The Killing Moon (Played 8/1)

Last Winter (Played 6/25)

Liam and Me (Played 8/3)

Lydia (Played 6/30-7/7)

Maylene and the Sons of Disaster (Played 6/15-6/28)

MeWithoutYou (Played 8/1-8/11)

Misery Signals (Played 7/18-7/30)

My American Heart (Played 7/16-7/30)

Normal Like You (Played 7/8)

Quietdrive (Played 6/19-6/21)

The Real You (Played 7/6)

Remembering Never (Played 6/30-7/15)

Rookie of the Year (Played 6/15-6/28)

Royden (Played 6/15-6/21)

Scary Kids Scaring Kids (Played 6/15-7/6, 7/8-7/15 and 8/5-8/13)

Showbread (Played 6/28)

The Sleeping (Played 8/1-8/13)

So They Say (Played 8/1-8/13)

Somerset (Played 6/16)

The Stiletto Formal (Played 6/30-7/15)

The Sunstreak (Played 8/12)

Transition (Played 7/27)

Valencia (Played 8/8-8/13)

YouInSeries (Played 8/1-8/13)

Alexisonfire (Played 7/12-8/3 and 8/6-8/13)

Biology

The Bled (Played 6/15-7/12 and 7/14-8/13)

The Departed (Played 7/8)

DORK (Played 7/3)

Down to Earth Approach

Emanuel (Played 6/17-8/13)

From Autumn to Ashes

Gym Class Heroes (Played 8/12-8/13)

Meg and Dia (Played 7/1)

Moneen

Protest the Hero

Saves the Day (Acoustic) (6/15 and 6/17-8/12)

Senses Fail (Acoustic) (6/16-6/27, 6/30, 7/2, 7/4-7/7, 7/9-7/12, 7/14, 7/16, 7/20-8/2, 8/4 and 8/8-8/11)

Silverstein (Played 6/16)

The Summer Obsession (Played 6/28)

The Sunstreak (Played 7/13)

A Change of Pace (Played 7/3-7/14)

Adair

All Time Low (Played 6/15 and 8/9-8/10)

Britt Black (Played 8/13)

Cartel

Catch 22 (Played 6/22-7/2)

Crowned King (Played 7/15, 7/18-7/20)

Dirty Little Monkey (Played 7/15)

Downtown Brown (Played 7/29 and 8/11)

Eight Fingers Down (Played 8/13)

Family Force 5 (Played 6/16-6/22, 6/25-6/27)

The Felix Culpa (Played 6/15-6/19)

Forgive Durden (Played 7/14-7/23

Glass Intrepid (Played 6/26-7/2)

Gym Class Heroes (Played 6/15-6/27 and 7/8)

Heavy Heavy Low Low (Played 7/13)

Ice Nine Kills (Played 8/2)

Lorene Drive (Played 8/3-8/10)

Love Equals Death (Played 7/8)

Lydia (Played 8/3-8/10)

Meter Maid (Played 7/30)

Monty Are I (Played 6/15-6/23)

Mute Math (Played 7/13-8/2)

My American Heart (Played 7/4-7/13 and 8/1-8/2)

Nural (Played 7/12)

The Panic Division (Played 6/30-7/3)

Phathom (Played 8/13)

Race the Sun (Played 8/8-8/12)

Rediscover (Played 6/23-6/27)

Rock Hard Power Spray (Played 6/22-6/25)

Ronnie Day (Played 7/25-7/27)

The Salads (Played 7/18-7/20 and 8/11-8/13)

The Scotch Greens (Played 6/15-7/2 and 7/8)

Sherwood (Played 7/13-7/23)

The Smashup

So They Say (Played 7/25-7/30)

The Stick Up (Played 8/13)

Sunset West (Played 8/13)

The Sunstreak (Played 6/15-7/12, 7/14 and 7/16-8/11)

Throwdown (Played 7/3-7/13)

Valencia (Played 8/3)

The Vincent Black Shadow (Played 8/13)

We are the Fury

Your Name in Lights (Played 7/3 and 8/3-8/6)

Zebrahead (Played 7/16-7/30)

2nd Day Crush (Played 7/11)

A Chance Without (Played 7/15)

A Heartwell Ending (Played 7/7)

A Kiss for Jersey (Played 6/27)

A Red Carpet Affair (Played 6/18)

Abby Normal (Played 7/22)

Aetrium (Played 7/6)

Affirmative Cameraman (Played 7/13)

Alesana (Played 6/27)

The Alibi (Played 7/20)

Amory (Played 8/6)

Anachondo (Played 6/19)

And the Hero Fails (Played 7/4)

And Then There Was You (Played 6/24)

The Argyle Pimps (Played 7/9)

The Arrival (Played 6/21)

As Blood Runs Black (Played 7/12)

Asian (Played 6/26)

Asking Abby (Played 6/18)

Ava Wait (Played 7/25)

The Avenue Memphis (Played 6/21)

Awake (Played 7/11)

Bank (Played 7/14)

Blane (Played 7/15]]

Bleeding Orange (Played 8/13)

Bless the Broken (Played 7/1)

Blessthefall (Played 7/4)

Blinded Black (Played 7/25)

The Bright Red (Played 7/20)

Brightwood (Played 7/16)

Broken Image (Played 6/23)

The Brotherhood Of Dae Han (Played 7/23)

Capitol Risk (Played 8/4)

Castles in the Sky (Played 7/15)

Celeste (Played 6/28)

Centreline (Played 8/9)

Choad Effect (Played 7/7)

Continent Of Ash (Played 7/23)

Crash Boom Bang (Played 8/9)

Dance Gavin Dance (Played 7/13)

Dash the Assassin (Played 6/16)

Dawn of the Dude (Played 8/8)

Dead Ellington (Played 8/2)

Death in December (Played 7/14)

Deathwish Nine (Played 7/12)

Demas the Thief (Played 8/9)

Dirty Larry (Played 8/3)

The Dog and Everything (Played 7/30)

Don't Die Cindy (Played 6/22)

The Drama Club (Played 8/4)

Dreams of Reality (Played 7/11)

Driven Under (Played 7/14)

Driving East (Played 8/10)

The Drugstore Cowboys (Played 6/15)

Easton (Played 6/24)

Eclectic Approach (Played 7/15)

Ekotren (Played 6/25)

The Elliot Project (Played 7/1)

Ellison (Played 7/26)

Enter (Played 6/17)

Ericson (Played 8/2)

Ever Since Radio (Played 6/15)

Exit This Side (Played 7/18)

Eyes Catch Fire (Played 6/19)

Eyes Set to Kill (Played 7/4)

Fail to Follow (Played 7/22)

Falling For Yesterday (Played 6/21)

Fear From Falling (Played 7/23)

Fermata (Played 7/11)

Fijar (Played 6/23)

The Florence (Played 8/13)

Forever in Effigy (Played 7/28)

Four Stories (Played 8/9)

Fully Loaded (Played 7/18)

Furthest From the Star (Played 7/2)

Gates Called Beautiful (Played 8/11)

Gatsby Gets the Green Light (Played 6/15)

Ghost Town Locals (Played 8/3)

Gloria (Played 6/18)

The Good Cheer (Played 7/11)

The Goodbye Celebration (Played 8/12)

Goodbye Soundscape (Played 8/4)

Goodbye Tiger (Played 7/15)

The Grillers (Played 8/5)

Guns Like Girls (Played 8/6)

Hand Me Down Buick (Played 8/3)

Handgun Sonata (Played 6/26)

The Hanks (Played 7/12)

Headsnap (Played 6/26)

Heisley Amor (Played 8/11)

Hello Tokyo (Played 8/10)

Hit By A Bus (Played 7/3)

Hometown Anthem (Played 8/6)

The Honour Recital (Played 7/30)

Hope All Is Well (Played 7/16)

Hopefield (Played 7/7)

The Hottness (Played 8/8)

Human Flight Committee (Played 8/2)

In Case You're Curious (Played 7/23)

In Reverent Fear (Played 7/6)

In Theory (Played 7/1)

Inner Surge (Played 7/20)

The International Drive (Played 8/8)

It's Like Love (Played 7/4)

Ivoryline (Played 6/30)

Jetpack (Played 7/25)

Juniper (Played 8/5)

Karate High School (Played 7/8)

Kill Your Ex (Played 7/16)

The Killer Apathy (Played 6/17)

Killing Santa Clara (Played 6/16)

Kings Field (Played 7/4)

Kohabit (Played 7/22)

Last Conservative (Played 8/1)

Last November (Played 6/28)

Latefallen (Played 8/12)

Later Days (Played 6/23)

The Letter Red (Played 7/12)

The Lifeline (Played 7/29)

Lights Below (Played 7/16)

Loko Phylum (Played 7/27)

Love Me Destroyer (Played 7/23)

lowerDefinition (Played 7/6)

Ludo (Played 7/25)

Madelyn (Played 6/24)

Madison East (Played 8/11)

Makeshifte (Played 6/30)

Marilyn Avenue (Played 7/26)

Mayday Parade (Played 6/22)

Mercury Bullet (Played 7/9)

Meriwether (Played 6/30)

The Midnight Renewal (Played 8/2)

Missing Six (Played 7/28)

Moments in Tragedy (Played 7/2)

Monarch (Played 8/4)

Morning Abroad (Played 8/3)

Morningside Drive (Played 6/30)

Mouse Fire (Played 6/23)

My Fair Verona (Played 6/24)

My Favorite Highway (Played 8/10)

My Former Self (Played 7/8)

My Getaway (Played 6/25)

My Hero Is Me (Played 6/27)

Natives of the New Dawn (Played 7/29)

Nerve Damage (Played 7/30)

New Repulic (Played 6/16)

The New Sincerity (Played 8/13)

Noon Blue (Played 6/25)

[Nothing Left to Lose]] (Played 6/19)

Nothing Still (Played 7/25)

Of Hearts and Shadows (Played 7/6)

Of the Son (Played 7/28)

On Holiday (Played 7/18)

Once Nothing (Played 7/27)

Once Over (Played 7/13)

The Paper Exit (Played 6/18)

Parlour Boys (Played 7/26)

Patterns in Static (Played 6/17)

Pheen (Played 6/16)

Pictures in Pieces (Played 8/10)

Playing With Matches (Played 6/19)

Prevail Within (Played 7/2)

Quick and the Dead (Played 7/8)

The Radio Fix (Played 6/21)

Radio for Help (Played 7/20)

Reclaim the Fallen (Played 7/16)

Red Handed (Played 6/26)

Red October (Played 8/13)

Redflecks (Played 6/21)

Renour (Played 8/1)

Rounding 3rd (Played 8/11)

Sandbar (Played 6/30)

Search the City (Played 7/29)

Secondhand Serenade (Played 7/8)

Second Shift (Played 6/28)

Shadeland (Played 7/28)

Shadow Agency (Played 6/22)

Shaunteclair (Played 7/7)

Shotgun Rules (Played 8/12)

Signal the Escape (Played 8/6)

Silica (Played 7/14)

Simon Stinger (Played 7/8)

Sincerely (Played 7/3)

The Skunk 11 (Played 7/27)

Skylines End (Played 7/1)

Social Ghost (Played 6/25)

Someday (Played 7/3)

The Sophomore Attempt (Played 6/22)

Sound of Surrender (Played 7/6)

Speakers for the Dead (Played 7/9)

The Spotlight (Played 6/15)

The Starrs (Played 6/17)

Stemm (Played 8/1)

Stereotatic (Played 7/9)

The Story Changes (Played 6/16)

Summerside (Played 8/12)

The Tale Of (Played 7/2)

Ten Falls Forth (Played 7/13)

Ten Missing Days (Played 6/28)

Ten Pound Strike (Played 8/5)

This Solemn Vow (Played 6/25)

Therefore I Am (Played 8/2)

Thoughts Lost (Played 8/1)

Tonight the Riot (Played 8/1)

The Trademark (Played 7/22)

The Translation (Played 7/30)

Treaty of Paris (Played 7/30)

Two Shots of Rye (Played 8/5)

Upside (Played 7/1)

We Were Born As Ghosts (Played 7/3)

The Weakend (Played 7/29)

Wired (Played 8/5)

The Varsity (Played 8/8)

Vaya (Played 6/28)

Very Emergency (Played 7/26)

Victory Lane (Played 7/27)

Voodoo Blue (Played 8/9)

Your Name In Vain (Played 6/27)

A Farewell Sets Fire

A Life in Vain

A Loss For Words

The Ackleys

After Drama

Agynst

Alabaster

The American Black Lung

The Appreciation Post

As Seasons Fall

The Bangkok Five

Bedouin Soundclash

The Black Out Pact

Black Sunday

Blackfire

Building a Better Spaceship

The Burning Room

Calico Drive

The Campaign 1984

Cauterize

Chaplan

The Chop Tops

Cities Apart

Class of Zero

Close to Home

Code 4-15

Corrupted Youth

Crazy Anglos

Crash Romeo

Curt Phillips

Dark Sunrise

DBK

The Distance

Dog Fashion Disco

Dynamite 8

Eight Fingers Down

Entice

Everdae

Every Dreams Another Nightmare

Everybody Else Wins

The Fallen Lie

Faulter

Feature Presentation

Final Round

The First Burning

Fist Full of Knuckles

Flashlight Brown

The Fold

Fuscia

GoodYear

Grounded

Happy Tragedy

Heart of a Failure

High School Football Heroes

Hourcast

The Hush Sound

I Am Ghost

I Voted for Kodos

Inamere

Index Case

It's Pouring on Our Heads

J4

Jay Tea

Jealousy Curve

Jet Lag Gemini

Kennedy

Kincaide

L-10 Project

The Last Car in Alaska

Left Alone

Listed M.I.A.

Los Kung Fu Monkeys

The Loved Ones

The Lovekill

MacKenzie First

Manic Sewing Circle

Maple Street Impressions

Mastema

Milk Carton Mug-Shots

Minutes Too Far

Modern Day 84

Morgan and Me

Morgan Knockers

Mourningstar

Nadafinga

Near Miss

Nightlife

No Trigger

No Way Jose

Nural

OK Stranger

Outernational

Patterns

Post Bliss

Pretty in Stereo

Promise Divine

RAC

The Randies

Rayfield

Roses Are Red

Round Three Fight

Safety

Septic Tank Disasters

Shanti

Single File

Skint

Sorry About Your Couch

Space Pilot

Split Fifty

Starving Goliath

Stigma 13

Strap-On Tools

Stuckbackwards

Super Geek League

SWAK 13

Take The City

Tokyo Rose

Transfusion M

Typecast

Ultimate Power Duo

The University

Vampire Dolphin Repellant

Variety Workshop

Verbana Darvell

Verge of Ruin

Victory Within

Wheels on the Bus

X-Ray Cat

The Years Gone By

8-Bit

A Common Hope

All or Nothing HC

Anti-Hero

Blameshift

Bogart

Britt Black

Bullets on Broadway

Flash Bathory

Johnnie Burton

By Blood and Fire

Calentura

Candy From Strangers

Chumleys Toy

Coinslot

Crazy Pineapple

Damone

The Dollyrots

Fallopian

Five Star Affair

Handcuffs and Heels

The Harletts

The Hatchetwounds

Hit By A Bus

Hydraulic Sandwich

Jungle Junkies

Kara Dupuy

Kenotia

KHZ

Killbourne

Lia Fail

The Lookaways

The Lorrainas

Meghan Storm

Mental Hygiene

Merit

Motorpsychos

Mr. Gnome

Mr. Guy

Mystery Hangup

Naked Aggression

Ottos Daughter

Ouija Radio

Outlett

Overrated

Paper Doll

Pink Stik

Princess Riot

The Pristines

Punk Bunny

Red Knife Lottery

Robots & Butterflies

Rubbing Down Debbie

Same Day Service

Shiragirl

So Unloved

Stacey Clark

Sunset Grey

The Swear

TAT

Tip the Van

Traeh

The Twats

The Two-Bit Terribles

The Vincent Black Shadow

The Voodoo Dollies

The Winks

X Tropos

Youth Decay

Zoeys Picnic

The Expos (Played 8/12-8/13)

Exterio (Played 8/12-8/13)

The Flatliners (Played 8/12-8/13)

General Rudie (Played 8/12-8/13)

The Johnstones (Played 8/12-8/13)

The One Night Band (Played 8/12-8/13)

The Planet Smashers (Played 8/12-8/13)

Subb (Played 8/12-8/13)