often had little if any ventilation. The PA system would frequently shut down because of the enormous demands we placed on a hall's power supply. Rented speakers would blow.

Perhaps our biggest financial gamble was putting on the Crucifucks show. The gig was set to follow shortly after a huge Dead Kennedys concert and we hoped that we could attract a few hundred of the few thousand that would show up to see the Kennedys. We plastered the town and the DKs show with our masterpiece "Jesus-with-a-mohawk" flyer designed by artist Paul Hamerlinck.

The Crucifucks had just released a killer record on Alternative Tentacles and singer Doc Dart had a reputation for being quite the front man, with his shrill and whiny delivery and middle-aged escaped mental patient look. As it turned out, perhaps 65 people showed up. Mostly our regulars and the ever-present volunteer security
force. The Crucifucks were awesome – one of the best gigs I've ever seen. The Tar Babies were awesome, too, as well as our local Tucumcari Rattlers. Most of Minneapolis missed it! We had already taken a blow to the bank account because of the expense

of printing three color flyers and leaving a damage deposit on the hall. Because of the small crowd, we ended the evening struggling to meet our financial obligations. To pay the Tar Babies we depended on getting our damage deposit returned. For that to happen the buckets and mops had to come out right away. We quickly cleaned the place while the crotchety VFW guy and the tired band stood and watched, waiting to get paid and get back on the road.

The show we did with The Freeze from Boston was probably our biggest and, as it turned out, bloodiest disaster. We had penciled the gig in our calendar as a tentative show; the band's manager had it confirmed and the band called nearly a week out of Minneapolis to re-confirm. We quickly found a too-small venue and got flyers out on the street less than a week before the show. I remember hanging out of a moving car passing out flyers to a line outside of the First Avenue nightclub. The Freeze had sound system requirements that included a 16 channel board with four to five monitors that further crowded the already too small stage and venue when everything was loaded in and set up. Local luminary Terry Katzman of Oarfolkjokeopus Records (owner of Garage D'Or records) thankfully came down to run the board, as no one else would have known what to do. The early part of the evening went fine, albeit for the incredibly hot and humid atmosphere and the loud-as-shit PA in a hall the size of a small studio apartment.