Bruce Springsteen’s just released “Streets of Minnesota” appears to be galvanizing for most every friend I have. For me the song is nostalgic. In a previous life, Minneapolis was my weekend getaway of choice.
These were the Carter years when our vice-president was a low-key, affable Minnesotan, and when A Prairie Home Companion began airing every Saturday night across the river in St. Paul. I was across the state’s western border in Dakota–first South, then North, then South again–listening in, always eager to trek to the Twin Cities. Back then, it was easy to hitchhike. All that flat farmland and everyone going some distance. Your thumb was an offer of someone to talk to. And I enjoyed making shaded cardboard signs with the “l” in “Mpls” turned into an arrow pointing ahead on US. 14.
Minneapolis was a cultural wonderland: As You Like It, Measure for Measure, Twelfth Night, and an adaptation of Jane Austen’s Pride and Prejudice at the Guthrie, Jean-Pierre Rampal and the St. Paul Chamber Orchestra at Orchestra Hall, Jethro Tull in some civic arena, the Flamin Os with their South Dakota keyboardist who got us in as their roadies, Schmitt Music Company with a sheet for Maurice Ravel’s “Gaspard de la Nuit” blown up as a mural on its brick wall facing a parking lot, the Twins versus the White Sox at the old Metrodome, a speech at the university by Eugene McCarthy, and how many dinners and Hamm’s lagers at Estaban’s down on Nicollet, or was it Hennipen?
And then there was the time that three rather young women mistook me for Cat Stevens in a lounge at the Minneapolis Airport as I awaited a connection to home to Bismarck. Back then, I had long black hair, a pony tail, and I traveled with a dulcimer which, in its case, seen at certain angles, is easily mistaken for a guitar. Next day I would learn that he played Orchestra Hall that very night. Since then, I’ve spent four decades wishing I told them that I was instead of that I wasn’t.
Leaving a performance of Measure for Measure, a busload of South Dakota State English majors, grad students, and faculty walked past the Post Office building that filled a block. Past 11:00 pm, postal workers were in the streets to receive tax filings from motorists needing to beat the deadline. Handed out the car windows, no need to park, just keep the line moving.
Leaving Orchestra Hall after hearing Rampal, two of us–and I think everyone else–could sense that something had gone wrong while we were all mesmerized by one of history’s finest flautists–a man who 40 years earlier was part of the French resistance. We heard it as we stepped out into the January night: Hubert Humphrey had died after a long bout with cancer in a hospital just around the corner. The feeling was palpable. Even the few cars that rolled by seemed to be in the sorrowful pace of a funeral.
Humphrey was actually a native of Huron, South Dakota, but he attended the U. of Minnesota and made an impression on the Democrat Farm Labor Party. Not long out of college, he was Minneapolis’ mayor who gained a national reputation when he sided with Civil Rights leaders against landlords and businesses that preferred segregation. While other American cities suffered unrest from Black soldiers returning from Europe, Minneapolis became a model of fairness. That propelled Humphrey into the senate, the vice-presidency, and to a presidential nomination.
No one knew it the time, nor would it be known for another 15 years, but also at that hospital to spend an afternoon reminiscing with Humphrey was Richard Nixon who flew in from California when he heard his former rival had taken a turn for the worse. Their battles were over. It was a time to heal, a time to die. No mention of it in the 48-page pull-out section of the Minneapolis Star & Tribune that I bought as a souvenir for my father the next day, but they had prepared in advance, just as the city had prepared in advance.
Minneapolis was then as it is now, unified.
In a life even more previous, I was a student at Salem State eager to attend every anti-war demonstration, including Mayday in 1971 in DC where I was one of 14,000 protesters arrested for blocking traffic. These were the Johnson and Nixon years when protests were almost exclusively attended by young people fueled, not by any lust for confrontation, but by music.
Several songs served as anthems, starting with The Chambers Brothers’ “Time Has Come Today” and the Young Rascals’ “People Got to Be Free,” as diverse as Marvin Gaye’s “What’s Goin’ On?” and Jefferson Airplane’s “Volunteers,” and as piercing as Buffalo Springfield’s “For What It’s Worth.” What a field day for the heat…
Most compelling of all was Crosby, Stills, Nash & Young’s “Ohio,” often called by the last line of the chorus that is repeated as a one-line refrain as the song fades out, “Four dead in Ohio.” The reference is to the National Guard shootings at Kent State on May 4, 1970.
Difference between this and the other songs I just mentioned is that it dramatizes a specific incident. So, too, is “Streets of Minneapolis” a response to state-sponsored murder. From CSNY’s “tin soldiers and Nixon” to “King Trump’s private army,” from “Soldiers are cutting us down” to “Here in our home, they killed and and roamed,” Springsteen has given us a full-blooded anthem, combining defiance with hope and turning the tables of patriotism away from those who only mouth the words of our National Anthem toward those willing to give it life:
Against smoke and rubber bullets
In the dawn’s early light
Citizens stood for justice
Their voices ringing through the night
All he needed to counter the glaring lie of “domestic terrorist” was to state the glaring truth of “federal thugs.” And as always from Springsteen, an irresistible beat gives it an attitude that could not be more potent.
Personally, I could thank The Boss for this trip down memory lane. (Or is it LaSalle Ave?) Best of all, his anthem reassures me that Minneapolis is now as it was then, unified.
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