Part 3 (2/2)

I have added copious footnotes to this story where they were necessary, which is pretty much everywhere.

TO BE SCENE, OR NOT TO BE SEEN UNDERGROUND ROCK IS ALIVE AND LOUD IN FARGO-MOORHEAD ...

BUT WHO'S LISTENING?

(SEPTEMBER 1995) Whenever you get into a discussion about the Fargo-Moorhead music climate,1 the word you most often hear is not the word you most often hear is not alternative, hardcore, grunge, alternative, hardcore, grunge, or even or even music. music. The word you hear the most is The word you hear the most is scene. scene. Regardless of whether the context is positive (”We've really got a nice scene developing here”), negative (”Those kids are just into the scene without caring about the music”), or merely expository (”Our band seems to get slagged on by a lot of the local scenesters”), the F-M alt-movement Regardless of whether the context is positive (”We've really got a nice scene developing here”), negative (”Those kids are just into the scene without caring about the music”), or merely expository (”Our band seems to get slagged on by a lot of the local scenesters”), the F-M alt-movement2 is obsessed with the concept of establis.h.i.+ng an underground scene-the people, the atmosphere, and the perceptions that go hand-in-hand with subterranean rock 'n' roll. is obsessed with the concept of establis.h.i.+ng an underground scene-the people, the atmosphere, and the perceptions that go hand-in-hand with subterranean rock 'n' roll.3 It's probably the clearest local ill.u.s.tration of youth culture: the backbone of the establishment is created by kids under eighteen, and the major players are all in their early to midtwenties. Outsiders tend to view this faction as ”the Ralph's Bar4 punk clique,” which really isn't accurate. Contemporary punk rock is more of a philosophy than a sound, punk clique,” which really isn't accurate. Contemporary punk rock is more of a philosophy than a sound,5 and-unlike the late-'70s British scene-it doesn't have much to do with fas.h.i.+on. and-unlike the late-'70s British scene-it doesn't have much to do with fas.h.i.+on.6 Modern punk is just stripped-down, straightforward music with no frills and few compromises. Modern punk is just stripped-down, straightforward music with no frills and few compromises.7 How accurately that label fits the F-M music fraternity is unclear; some bands are straightforward simply because they lack talent, and some are uncompromising because they're never in a position to be tempted by success. Nonetheless, the current status of the F-M music scene is thriving. How accurately that label fits the F-M music fraternity is unclear; some bands are straightforward simply because they lack talent, and some are uncompromising because they're never in a position to be tempted by success. Nonetheless, the current status of the F-M music scene is thriving.8 As the gap between mainstream and alternative culture closes, more and more young people are drawn to what gra.s.sroots, underground rock represents. As the gap between mainstream and alternative culture closes, more and more young people are drawn to what gra.s.sroots, underground rock represents.

There is also a solid base of local musicians; although promoter Jade Nielson admits the scene has grown stagnant,9 he thinks the level of virtuosity has never been higher. ”There has kind of been an overkill because there have been too many shows without enough different bands,” Nielson he thinks the level of virtuosity has never been higher. ”There has kind of been an overkill because there have been too many shows without enough different bands,” Nielson10 said. ”But, at this point in time, there's no question that there is more talent in town than ever before, simply because the musicians are a little older and more mature.” said. ”But, at this point in time, there's no question that there is more talent in town than ever before, simply because the musicians are a little older and more mature.”

Nielson tends to get most of the credit for shaping the current musical direction of Fargo-Moorhead, and it's easy to understand why. The twenty-four-year-old promoter has turned the back room of Ralph's Bar in Moorhead into one of the Midwest's premier underground venues; in the past year, he's produced shows by Jon Spencer Blues Explosion, Southern Culture on the Skids, Mule, Railroad Jerk, and last Monday's Killdozer concert (as well as an outdoor summer rock festival headlined by the Jesus Lizard11). He began seriously promoting bands in 1993 at the now-defunct Elks Club in downtown Fargo.

”When I first starting doing these shows-especially the all-ages shows-it didn't matter who was playing. The audience was basically kids who wanted to hang out with their friends and be seen, along with a small core who were really into the music. We'd get a bigger crowd if I brought in somebody established, like Arcwelder,12 but it was basically the same people going to every show,” Nielson said. ”Now, the crowd is definitely affected by the music itself. People are picking and choosing what they'll pay to hear. I even see that at Ralph's.” but it was basically the same people going to every show,” Nielson said. ”Now, the crowd is definitely affected by the music itself. People are picking and choosing what they'll pay to hear. I even see that at Ralph's.”

In terms of influence, however, the biggest single show was probably put on by rival promoter Bjorn Christianson and G.o.dheadSilo13 drummer Dan Haug. Their 1991 Fugazi concert at the Elks is consistently mentioned as the primary catalyst for the subsequent proliferation of F-M hardcore interest. drummer Dan Haug. Their 1991 Fugazi concert at the Elks is consistently mentioned as the primary catalyst for the subsequent proliferation of F-M hardcore interest.

”I think we had about five hundred people at that show, which was a surprise to both of us. I know a lot of people seem to consider that a starting point for what has happened since, but I don't,” Christianson14 said. ”I think this whole situation predates the Fugazi said. ”I think this whole situation predates the Fugazi15 show, and by quite a bit. Things around here really started with bands like Floored and Hammer-head and b.u.t.tchuck. show, and by quite a bit. Things around here really started with bands like Floored and Hammer-head and b.u.t.tchuck.16 I think Floored started playing live in the late '80s.” Not surprisingly, locating the conception of Fargo's scene depends on who you want to use as a source. Several contemporary scenesters cited a teen center on Fargo's Fiechtner Drive called Exit 99 as the catalyst. Before closing in 1992, Exit 99 was home to several noteworthy shows such as Cop Shoot Cop and Bikini Kill. It acted as the breeding ground for the current generation of local artists. I think Floored started playing live in the late '80s.” Not surprisingly, locating the conception of Fargo's scene depends on who you want to use as a source. Several contemporary scenesters cited a teen center on Fargo's Fiechtner Drive called Exit 99 as the catalyst. Before closing in 1992, Exit 99 was home to several noteworthy shows such as Cop Shoot Cop and Bikini Kill. It acted as the breeding ground for the current generation of local artists.

”Exit 9917 was done well, and it was done professionally. And-for a lot of bands in town-that was the first place they played at. But it turned into too much of a young kids' club,” Nielson said. ”Since they couldn't serve alcohol, it was hard to get college students to go there. A lot of the time, it was just teenagers who were sitting around and smoking cigarettes.” was done well, and it was done professionally. And-for a lot of bands in town-that was the first place they played at. But it turned into too much of a young kids' club,” Nielson said. ”Since they couldn't serve alcohol, it was hard to get college students to go there. A lot of the time, it was just teenagers who were sitting around and smoking cigarettes.”

In reality, the ”scene” has probably always existed in one form or another. Yahtzene Yahtzene editor Phil Leitch (at the ripe old age of twenty-six) is considered the oldest active member of the Fargo underground. ”I would certainly say there was a scene before the 1990s. For me, the scene began in about 1984, but there were a lot less people involved,” Leitch editor Phil Leitch (at the ripe old age of twenty-six) is considered the oldest active member of the Fargo underground. ”I would certainly say there was a scene before the 1990s. For me, the scene began in about 1984, but there were a lot less people involved,” Leitch18 said. ”I put on a show in 1985-the band was called Vampire Lesboes-and I think about a hundred people showed up.” said. ”I put on a show in 1985-the band was called Vampire Lesboes-and I think about a hundred people showed up.”

At least superficially, the so-called scene has more members now than ever before. There's no question about the current popularity of underground culture, and that's exactly what this local movement offers young people. However, there are some problems. Fargo-Moorhead has a limited number of bands in the area, and they play so often that the novelty has worn off. Moreover, they're forced to play at the same places over and over (this area has very few available venues). The biggest problem is probably a question of sincerity; while most of the bands are fairly serious about playing, it's hard to gauge if the audiences are interested in the music or just the trendiness of the spectacle. Dean Sime19 manages Disc & Tape Masters in Fargo and produces a public-access video program called manages Disc & Tape Masters in Fargo and produces a public-access video program called Eyeball Injection. Eyeball Injection. He perceives a predictable schism in the local punk packs and questions the amount of sonic diversity from the musicians. He perceives a predictable schism in the local punk packs and questions the amount of sonic diversity from the musicians.

”Like any scene, it's divided. There are certain bands that have legitimate followings-Orange 17 has an excellent following, Bossk has a growing following, and Seven O'clock Sucker has a good following. But there are still a lot of people going to these shows who just want to be seen,” Sime said. ”I think interest in the scene may be growing, but that goes along with the growth of alternative culture. The problem is that-musically-the number of bands is shrinking. There are fewer bands in town than there were two years ago, and only five or six of them play consistently. It also seems like the bands aren't writing enough new songs, and too many of their songs sound alike.”

With its fuzzy past and vague present,20 speculating on the future of the F-M scene is virtually impossible. Leitch thinks local interest is fading and doubts if any major shows could succeed in the near future. Christianson was more optimistic and said the cla.s.s of young bands currently emerging in the area is more exciting and experimental than ever before. For someone like Brian Eveslage, however, the dynamic of the scene is ultimately inconsequential. Eveslage plays guitar for Bossk and was formerly in Blockhead and Haul. As far as he's concerned, it's not his job to figure out who likes his music. speculating on the future of the F-M scene is virtually impossible. Leitch thinks local interest is fading and doubts if any major shows could succeed in the near future. Christianson was more optimistic and said the cla.s.s of young bands currently emerging in the area is more exciting and experimental than ever before. For someone like Brian Eveslage, however, the dynamic of the scene is ultimately inconsequential. Eveslage plays guitar for Bossk and was formerly in Blockhead and Haul. As far as he's concerned, it's not his job to figure out who likes his music.

”I have no idea who our audience is. A lot of our friends go to the shows, I guess. When we play all-ages shows, the audience tends to be younger, but-since we usually play at Ralph's Bar-it's hard for me to gauge,” Eveslage said. ”There may be fewer bands right now than there were a couple of years ago, but the ones who are left are more serious. The bands who managed to stick around aren't just playing for the h.e.l.l of it.”21 [What follows is the completely unnecessary sidebar to this story.]

So who are all of these local underground bands? That's a valid question. Here's a painfully pithy description of a dozen bands that bounce around the area. (Readers note: It's possible some of these bands no longer exist or have changed names; it's often difficult to tell if a band is dead or merely inactive at the moment.) Orange 1722: The most popular local act in town, especially among junior high kids. They seem to have a sense of humor (they ended last Monday's set with ”Smokin' in the Boys Room”), and many people think their vocalist looks like Kurt Cobain. The most popular local act in town, especially among junior high kids. They seem to have a sense of humor (they ended last Monday's set with ”Smokin' in the Boys Room”), and many people think their vocalist looks like Kurt Cobain.

Bossk23: A cla.s.sic hardcore trio. Their ba.s.s player is a little scary. A cla.s.sic hardcore trio. Their ba.s.s player is a little scary.

Standard24: Bossk, but without the guitar player. Bossk, but without the guitar player.

Bootlick25: An unorthodox blues-grunge band. An unorthodox blues-grunge band.

Bombsh.e.l.l: The best-known all-female punk trio in Fargo history. The best-known all-female punk trio in Fargo history.26 John Smith: In July of 1994, local promoter Jade Nielson predicted John Smith would ”take over the world.” In July of 1994, local promoter Jade Nielson predicted John Smith would ”take over the world.”

Seven O'clock Sucker: The prototypical garage band. I'm pretty sure their drummer is from Milnor, ND, and-if I recall correctly-he used to have a decent jump shot in high school. The prototypical garage band. I'm pretty sure their drummer is from Milnor, ND, and-if I recall correctly-he used to have a decent jump shot in high school.27 Gummi: Definitely not a punk band, Definitely not a punk band,28 as they supposedly dig KISS. as they supposedly dig KISS.

Pathos: A South Fargo band, described by Bombsh.e.l.l drummer Sarah Ha.s.sell as ”underrated.” A South Fargo band, described by Bombsh.e.l.l drummer Sarah Ha.s.sell as ”underrated.”

Martian: A West Fargo high school outfit. They're cutting a seven-inch on Meat Records. A West Fargo high school outfit. They're cutting a seven-inch on Meat Records.29 Whirl: A high school skater band. A high school skater band.30 Trans Am: Yet another high school skater band. Karl Qualey of Orange 17 (a.k.a. the aforementioned Cobain clone Yet another high school skater band. Karl Qualey of Orange 17 (a.k.a. the aforementioned Cobain clone31) once said he was a fan of their music.

1. Which I'm sure happens to you all the time.

2. It remains unclear what this movement was the ”alternative” to ... I suppose going to the mall, although I recall seeing a lot of these same rock kids at JCPenney.

3. In retrospect, it is hard to understand why anyone would actively try to ”establish” other people's ”perceptions,” but it seemed like it at the time.

4. This was a bar in Moorhead where all the local punk bands performed, but it also hosted some surprising national acts, most notably a very early performance by the White Stripes. When the city decided to destroy Ralph's in 2004, someone tried to make a doc.u.mentary film about the bar that would somehow save it from destruction. I was drunkenly interviewed for this doc.u.mentary, and I think I may have claimed I saw this aforementioned White Stripes show. I did not.

5. Trenchant!

6. This was not the only difference.

7. Jesus Christ.

8. Sort of.

9. Despite the fact that I just called it ”thriving.”

10. At the time I wrote this story, Jade Nielson was perceived as the hippest person in Fargo. Considering how young he was at the time, it seemed rather amazing that he could actually convince s.h.i.+tty communist grindcore bands like Killdozer to play in North Dakota. The key, as it turns out, was geography. Bands would have dates in Minneapolis and Missoula, and they needed a place to perform in between. Jade was apparently the first human who ever figured this out.

11. This was Jade's biggest gambit. The event was earnestly called something along the lines of ”Fargo-palooza,” and it was an all-day outdoor show on the banks of the Red River. Unfortunately, the success of the event was dependent on walk-up ticket sales, and the show happened to fall on an afternoon when it was over 95 degrees. Hardly anyone showed up, and it was a financial disaster. The entire scene kind of caved in soon after (at least for a while). The Jesus Lizard were pretty awesome, though.

12. Arcwelder was never particularly beloved by anyone except bookish dudes working at college radio stations, but they were still ”established,” somehow. They also had cross-demographic name recognition, since most farm kids in North Dakota know how to arc weld.

13. G.o.dheadSilo was a local drum-ba.s.s two-piece who actually moved to Seattle and were signed by Sub Pop. With the exception of Kid Jonny Lang, I suppose this makes them the most successful North Dakota rock act of the past twenty-five years.

14. This guy was really blond and snarky.

15. I am often p.r.o.ne to make fun of Fugazi, but I must give them credit: they really would play anywhere, and they'd play for virtually no money. It seemed like at least one member of every band in Fargo-Moorhead saw this particular concert. What's interesting is the scene's second-most influential moment was the 1994 Jon Spencer show, which prompted many of the acts in Fargo to combine Fugazi with the Blues Explosion. The problem was that all of those bands dreamed of moving to Minneapolis and signing with Amphetamine Reptile Records, so they also tried to play like Helmet. As a consequence, many bands at Ralph's Bar seemed like superheavy, straight-edge power trios with unorthodox taste in trousers.

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