Show Notes: Twin Cities Daily Planet: "Green Day played there — for $100. Bikini Kill and Arcwelder played there. Fugazi wanted to play there, but owner Paul Dickinson turned them down because he didn't want to violate the fire code that badly. It was started as an 'art gallery' that would be a front for rock shows, but then to everyone's surprise it turned into a respected art space that served as an incubator for now-established artists including Frank Gaard, Michael Thomsen, and Sean Smuda."

Letoile Magazine: "We had Green Day play there twice, and we paid them $100 the first time, and $150 the second time. And that was a good paying night! You could tell they were different because they knew how to harmonize. I think rock 'n' roll belongs in a firetrap. If you wanna go to see an opera, [then] you go to the opera house, you know? We had so many amazing shows down in that cramped basement, because of the intimacy, and because of the lack of oxygen. These are all environmental advantages to seeing a show! There were couches that people could make out on – we certainly wanted to encourage that. It was a truly liberating environment. And amazingly, it was a very peaceful bunch. I come at putting on rock shows from a real criminal standpoint, where you’re always running from the cops. Its almost like you’re a graffiti artist, or something. You’re putting on these shows, and - technically - they weren’t happening. I’d tell the bands 'I will pay you on the night of the show. Don’t come back here looking for the money.' And these idiots would leave, and then a week later they’d come in saying, 'We want to get paid.' I'm like, 'I don’t even know what you’re talking about, dude. That didn’t happen.' [Laughs.] It was like the CIA. Cash-and-carry. And we paid extremely well, I thought. 'Cause we’re all in bands ourselves."

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