The people before in the place the scrapbook was left, Part Five

One of the things about writing this series surrounding a scrapbook connected with a 1930-‘50s Afro-American Jazz combo is to observe the risk of writing here as an old white guy in the 21st century about a bunch of young Black Chicago musicians and what I might suppose about their lives. The Cats and the Fiddle in the scrapbook took their shot in the world of art and entertainment, but they’re not famous guys. They lived their lives, as I’ve lived mine, as you likely will live yours, with few persisting details or indelible marks. Perhaps I’m overly fixated with looking for those marks.

In today’s piece I’m going to look at the house where that scrapbook was found. It still exists: 3132 Park Ave South in Minneapolis. I’ve looked to see what I could find out about that inanimate place and the people who passed through it. I hoped any details might help me figure out who collated and left that scrapbook. I found what preceded the scrapbook’s discovery sustained my interest.

Back in the first part of the series I recounted that I lived there briefly in 1976 while helping a friend whose words, voice, and keyboard playing has appeared here over the years, Dave Moore. Dave and his then wife had purchased the somewhat rundown house at an attractive price for their planned little family and their small business. I helped a bit with their work in fixing it up and getting the business going.

The house had character, and this young couple, my friends, hoped to honor part of it by making it look a little more like it did in the house’s youthful years at the beginning of the century, looking for clues in old style books and in the “bones” of the house. Similarly, today’s post is going to start as far back as I can find information.

As Minneapolis started to grow as an upper-Midwest business hub, Park Avenue was a broad, tree-lined boulevard that ran north-south through the middle of the city from the southern neighborhoods to the rail depot and centers of government, business, and milling which were fast being established in Minneapolis’ downtown. Park Avenue became a prime site for the commerce titans to build their mansions. In the mid-70s you could still sort of squint and image that era: the trees were still there, elder elm branches arched much of the way over the wide street, and a handful of the mansions still remained.*

3132 was not one of the mansions. In 1902 it was built by an A. E. Rydlum (or Rydlun) who was a builder, and it was complete and offered for sale in the Spring of 1903 by Thorpe Brothers, who were an active real estate sales firm in this era of rapid growth and building of new housing in Minneapolis. Here’s how Thorpe listed it:

For Sale-Modern house, ten rooms, hardwood finish throughout; full basement, nickel open plumbing, hot water heating plant, sideboard, china closet, mantels, bookcase. Location 3132 Park Av; easy terms; will be sold soon.”

The next notice of the house I found was a birth announcement later that year. A Mr. and Mrs A. J. MacDougall were listed as living there in that announcement. Next year, 1903, they place an ad seeking “a nurse girl, 12 to 15 years old” for service at 3132. In 1904 they place another, similar, ad: “A nurse girl from 14 to 16 years old for 3-year-old boy.”

When I was working on the house, an attic servant’s quarters and separate stairway were part of the house. There was still a bell in the pantry off the kitchen that had a ringer button on the floor of the dining room. How many servants eventually lived there? How long did a 12 or 14 year old childcare worker likely stay an employee? The McDougall child had a theater birthday party at the downtown Orpheum Theater in 1908. The original Minneapolis Orpheum was a 1500 seat, ornate vaudeville house that had been built in 1904.

3132 Park Ave South Streetview

A recent Streetview picture of 3132 Park Ave S, servants quarters behind the three dormered windows at top.

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I pictured a somewhat prosperous young family, that kind that the house seemed to be built for in this location. So, I thought Mr. MacDougall, the first owner of a fine large house with its attic servant’s quarters, was perhaps a middle-manager, a businessman, or the like. Then earlier this year I began to look at the city directories that are available from the Minnesota Historical Society. It might be helpful to my generation to say that these Directories were like the phone books of their time, a combination Yellow and White Pages of a city’s residents, businesses, and organizations — but younger readers will find that obsolete image useless. So let me reset: they were large books issued yearly, or near so, listing alphabetically by name the head of each household in a city, followed sometimes by the name of their spouse, sometimes by the name of their company or employer, and almost always by a general classification of their job.

No one is just their job, but as a shortcut to figuring out, however roughly, where someone and their family was in the class structure, city directories are a data source for everyday people in the past. Here’s what a series of annual Minneapolis city directories say about our MacDougall (whose first name was Allan or Allen — the first spelling used in earlier entries, and then the other):

1903 not in the directory. Likely the directory’s data predates his moving into 3132 Park
1904 he’s listed as “miller” living at our 3132 Park Ave. house
1905 his occupation is “lab,” short for laborer, living at 3132
1906 the “lab” adds that he works at “Washburn C” — Washburn Crosby was a large milling firm in Minneapolis that is now the corporation General Mills
1907 laborer again, no mention of what company, still living at 3132 Park
1908 job now changed to “foreman,” continues living at 3132 Park
1909 looks like he, still a foreman, (and likely his family, though none of these listings mentions his wife) now live at 3436 Columbus Ave, about three blocks away

This scant info tells me little and makes me wonder. Does a miller or an ordinary laborer afford this large new house — much less, live-in help, and theater birthday parties for his kid? Does the later classification as foreman tell us he wasn’t just a line worker? Was there a blip in the market that caused Thorpe to sell under normal market prices, or would they possibly rent an unsold house? Mortgage terms were shorter then, but moving a young family from a fine house in a great location after only 5 years could mean it turned out to be only aspirationally affordable to MacDougall.

The next residents appear in 1910 from the records I’ve found. A Mr. and Mrs. Peter W. Campbell — leaving a gap, 1909 is unaccounted for. The 1910 city directory lists him living at 3132 Park, and his daughter Elizabeth is married at the home that year. The newspaper account lists 25 guests at the wedding. The house I later knew had a big dining room and parlor joinable by opening a large set of pocket doors. I imagined that many guests, the bride and groom, the officiant. It’d be a cozy affair, but they’d probably all fit.

Peter Campbell is confirmed to be living at 3132 Park in the 1910 directory, but there’s no Peter Campbell in the 1911 Minneapolis directory at all, and he’s a boarder elsewhere in the city in 1912. These listings don’t list his job. This short-term occupancy for someone that doesn’t seem clearly homeowner class testifies against his ownership.

In 1910, during the same summer as the Campbell wedding, 3132 Park is listed for sale again: “”Elegant 8 room all modern home, fine lot, reduced price $6,250.” The house isn’t yet a decade old. It’s a fine upper middle class home in a desirable location in a growing city, and in this time servants-wanted ads were placed, and then placed again, curious residents arrive and leave. If this was a Stephen King novel, I could see the haunted story potential, but I don’t really know the story, just these little points.

I can’t say when the house sold but by 1913 we have yet another servants wanted ad, “girl for general housework.” This ad is likely announcing the family that would be the home’s longest occupants, The McLeods: husband John, wife Elizabeth. I note there have been three Scottish names in the house’s history: MacDougall, Campbell, McLeod. John McLeod was certainly Scottish, born on the Island of Lewis, a very northwestern part of the Outer Hebrides. McLeod was said to have built several grain elevators in North Dakota, but his job now in Minneapolis’ downtown was as an “independent grain trader.”**  The McLeod’s were a middle-aged couple when they lived there, and Mrs. McLeod was an active clubwoman, holding regular meetings for the Columbian Club and her Presbyterian church at 3132. In 1921 the Columbian Club agenda was a talk on “Greece, the Reign of Pericles, the Glory of Phidias.”   Rather than thinking of cursed winds crying “Heathcliff” around 3132 Park, the next 21 years record the kind of stable middle-class life the house’s builders might have expected.

In 1934 Mrs. McLeod dies. Then five years later, in April 1939. this headline appears in the local paper “Trader Collapses at Grain Exchange.” John McLeod was 77, still apparently working as a grain trader. He died the next day in an oxygen tent at the Swedish Hospital in South Minneapolis.

This more-or-less ends the upper middle-class phase of the fine house on 3132 Park. In May 1941 it’s listed for sale as a “very livable home” and “interior in excellent condition….must be sold to close an estate.” I think of all the hardwood trim, doors, built-ins — much of which Dave and I were chemically stripping of layers of paint in 1976. It was likely still pristine then, and still echoing with talk of Phidias and perhaps John McLeod’s mumbles about the Non-Partisan League’s pressures on his trading margins.

Two years past McLeod’s death to settle an estate? You got me on that, but there are indications that the Great Depression isn’t the best time to be selling a big house. The house is listed again in August and September of ’41, this time in the for rental ads. Rent? $50.

Yet in 1942 someone else is having social club meetings at 3132 Park: a Mrs. Jewell Bliss is holding a meeting there for the Juline Burr Tent, DUV to be followed by a social hour and cards. DUV is probably Daughters of Union Veterans and Mrs. Juline Gales Burr (who died in 1906) was a Minneapolis resident and the first state president of the Minnesota Grand Army of the Republic (another Union Civil War veterans organization). Also that year a luncheon for “past president of D. of H.” hosted by Jewell again. D of H is likely “Degree of Honor” a Catholic female fraternal benefit society.

Yet the house on 3132 remains in a murky state in 1942 as I look for mentions. I’ve found records for Jewell Bliss, who was married to a Norland (who went by Noel) Eldred Bliss. Since city directories are alphabetical by head of household (often husband) I looked for Noel Bliss. Throughout the entire US WWII years he lived on Penn Ave North, not Park Ave, and Jewell is listed as his wife, same address in 1942, ’44, and ’45 in the city directory. Noel’s occupation is listed as “beverages” and his business address seems to be 2501 Marshall in Minneapolis.***  Bliss was in the news in 1936 for being a liquor dealer indicted for perjury in Minneapolis. He pled not guilty — but alas, I have no more information on this case.

Noel Bliss perjury charge

Noel Bliss: liquor dealer three years after the end of Prohibition, but facing charges.

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But the situation at 3132 Park remains unclear. Jewell is holding meetings there, though she apparently doesn’t live there. In post-WWII years larger houses on Park Ave were used for offices of various organizations. Was 3132 Park being used at least temporarily in this way, or was Jewell an organizer using someone else’s home or apartment? Again, I think of the home’s two large main rooms, a good place to hold your social gathering.

1943, a short newspaper story about one of our house’s residents links to some fascinating details. A 14-year-old boy named Bruce Dybvig who lives at 3132 Park Ave stumbles on the shores of one of Minneapolis’ urban chain of lakes. He breaks his foot falling into Lake Nakomis where his injury inhibits his ability to swim. OK. I’m not trying to stress a 3132 Park Ave curse theme — and look, the newspaper story I found says a boy lifeguard, only 16 himself in these wartime years of military mobilization, pulls Dybvig out of the lake. Bruce is treated and released from a hospital, and surviving he soon goes on to become another teenage Jazz musician with a story comparable to our Cats and the Fiddle main thread this February.

A year after his accident, Dybvig takes up alto sax, and by 1946 he’s organizing Minneapolis high school students into a 16-piece Jazz orchestra to play the “books” of the hippest white Jazz big bands of that year: Stan Kenton and Woody Herman. What happens to Bruce and those kids? If I haven’t exhausted you with this thread about a house, you may be the kind to enjoy the Jazz-in-Minnesota side-trip to be found at this link.

Bruce Dybvig and his teenage Jazz band

Boy saved from drowning, the teenager then starts playing modern Big Band Jazz. Bruce Dybvig at the left of each picture. What’s with the Carnegie Hall sign behind him? I’ll tell you again, you might want to read that above link.

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By 1953 the Park Avenue house is on the market listed again as “Lge. Inc. home, full basmt, gas heat, partly furnished, in excel repair, Ideal for rest home.” Two elderly men with different last names died in 1950 with 3132 Park as their address. This indicated to me that sometime in the early Fifties it may have become a “rest home,” a midcentury type nursing home/elder care facility.

In 1956 another for sale listing: “3132 Park Av S. See this lg, well kept home, 8 BRs, 2 1/2 baths, completely furnished for income, has gas HW heat, nice yard & gar.” It appears that sometime in the mid-50s the house’s rooms were subdivided or areas in attic and possibly the basement became living areas. In the mid ‘70s Dave was told the place had been a Black-owned rooming house.

In 1963 a teenager, Roosevelt Gains, likely a son living with his mother, a hotel maid, at 3132 Park, gets convicted of robbery.

In 1973 I found one more appearance of a 3132 Park resident in the newspapers, Bill Wilson, a house painter doing a little frozen lake winter fishing. In Minnesota this sometimes involves big trucks and semi-elaborate shacks pulled out on sledge runners, but Wilson is equipped with just regional hardiness and a hand-auger. Dave Moore, and then I, will be arriving soon to the Park Avenue house. The scrapbook that’s the idée fixe of this series will be uncovered there. Did 3132 Park Ave have a curse, or is the nature of the place simply the nature of the struggles and reprieves of life? I will be returning to the Black History focus of this series next, but leaving today’s stories of inconclusive fates and historical lacunae of largely white residents who lived at 3132 Park Ave, I’ll summarize. I don’t know even the names of everyone who lived in that house: those teenage servants advertised for (likely newly arrived European immigrants), other old people who may have lived in a midcentury rest home, the transient renters. I’ll leave you tonight as I go to sleep, saying these clippings of life collected here, outside the scrapbook that started things off, are exhibits of working class people in my South Minneapolis — Black, white, Asian, Latin and Native American — saying that our histories have commonalities of dreams (and yes, blunted dreams) passing under all our shades of eyelids, closed in our place across time.

Bill Wilson is ready to go ice fishing

Bill Wilson, one of the last tenants at 3132 Park Ave S. in its rooming house days.

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If you want a short poem performed with original music after these decades, here’s the young Langston Hughes preparing to close his dark lids amidst his neighborhood in the last decade called the Twenties. Backup link in case you can’t see the audio player the rest of you will see below.

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*Rather shortly after I arrived, nearly all of the remaining mansions were torn down, as they had no clear commercial or residential usage by then. We’ll discuss South Minneapolis in the later 20th century later in this series, but in 1976 as it is now, this Park Ave area is a series of varied working class to under and unemployed ethnic mix neighborhoods. Over in the other twin city in the 1960s and ‘70s, St. Paul’s similar Summit Ave, was preserving their grand pre-WWI houses which became once again homes to upper middle-class owners.

A surviving Park Avenue mansion is now the Swedish Institute. It was built by a Swedish immigrant businessman in 1908. It’s five blocks from where 3132 went up a few years earlier.

As to the tree canopy, most of the old trees were elms, and Dutch Elm disease wiped most of them out after I arrived. The city’s urban foresters have tried to replant, but it’s trees, and old trees take time.

**Noting McLeod’s North Dakota and Minneapolis connections, I think of the history of the successful organization of the Non-Partisan League in the Dakotas. Farmers there rankled at the low prices they got for their crops, and high markup profits by traders and middlemen who owned the grain elevators, the railroads, and the grain processing mills. Those latter folks often worked out of Minneapolis, but the eventual NPL elected governing majorities in state government, built their own elevators, and pressed with more leverage and bargaining power to improve the farmer’s lot.

***As late as 2022 Bliss’ old business address was the location of Betty Danger’s Country Club, a hip and eccentric restaurant. The owner listed it for sale that year, citing the reason for the sale in this report: her mental health. However many levels this is removed from 3132 Park, it’s another reason for Stephen King to contact me about that gothic novel.

The Story of Dave Moore and Politically Pointed Songs

Today we’re going to have our first Parlando Project double-header, two pieces whose words and music were written by Dave Moore back in the 1979-1982 era and both of which appeared on the Lose Your Lunch Band’s only official release, the cassette-only Driving the Porcelain Bus  in 1982 1980*.

The LYL Band and Porcelain Bus  were not entirely political, but the elements of political protest and social commentary were a big part of it. Some of this was based around the election of Ronald Reagan as US President in late 1980 which at the time seemed to be the culmination of a long conservative struggle dating back to the early ‘50s.**  You could say it was like today’s post-Trump election era, and one could point to similarities, although the pendant in me could list considerable differences too. I’ll just let that rough likeness stand to simplify the history for our younger readers. It’s close enough for rock’n’roll.

Dave also points out that his spouse and her relatives at the time were politically interested, and discussions in their circle often included political analysis and issues. I’d add, knowing Dave from a decade before that, that the same could be said about him. Let’s just say that around 1980 it wouldn’t be strange for political dialectics to be part of a casual conversation in South Minneapolis, again, just as today.

But here’s something interesting I noted as I rethought those years, the local music scene really didn’t reflect that directly. I recall folk-singer Larry Long, a man who has sought to continue the legacy of Pete Seeger, as being around the cities during this era, but at least as far as recordings he comes later. John Trudell an activist and singer was based out of the region later in his career, but in the early 80s his musical expression was just beginning, and he was living in California then.

Of course, artists portraying the world and how people relate to it cannot help but reflect political and social connotations in their work, and to that degree that any of the biggest bands to eventually emerge out of the Twin Cities indie scene were political, it was largely that.***  Those bands had something to say about life: what they opposed, what they preferred. An argument can be made on both artistic and commercially-distributed subversion levels for that. But the songs Dave was writing then were sometimes upfront about their political stance. In those songs, subtext, which was also there, was what was beneath the politics, not the other way around.

See the LYL Band Modern Times Cafe Ash Wednesday by Dave Moore

Traveling to a telephone pole of the past, we see a Dave Moore Dada poster for an early ‘80s show

 

So, let’s step out of the history and into the songs.

Here’s “Scrap”  a companion song to “The Night Inspector”   which you’ve already heard here, inspired by Dave’s work in a machine shop in this era. There was a good live version sung by Dave on Porcelain Bus,  but I don’t have access to a digital copy of it right now, so in its place here’s a later solo acoustic guitar version where I sing it.

 

And here is an actual cut from the Porcelain Bus,  engineered by Colin Mansfield, just after he was helping Husker Du get underway, a song asking the rhetorical question “What’s Wrong with That?”

 



 

If you’re asking yourself, where’s the poetry and various musical settings that you’ve seen here before, know that I plan only about one more history-of-a-band post before returning to our regularly scheduled programing. If, on the other hand, you wonder how this all turned out, the next post will be about that.

 

And, of course, footnotes, but we reject the hierarchy of superscript numbers for asterixis!

*I’ve just located a few digital scans I made years back of the even then moldering materials form this era, and they show the the Twin City Reader reviewed Porcelain Bus (see footnote below) in their issue that covered the upcoming week interval of January 7th to the 13th 1981. This would mean we recorded it in late 1980 and probably released it before the turn of the year.

**for a detailed history of this conservative effort, I recommend Before the Storm  by Rick Perlstein. For me a lot of what he covers was current events, but for most present-day Americans, it’s history. His two follow-up books are good too, but why not start at the beginning?

***Two exceptions I can note, even if neither are the best-known songs in their respective catalogs: Paul Westerberg’s “Androgynous”  from the 1984 Replacements LP Let It Be,  a heart-felt yet casual sounding and appropriately ambiguous song about busting gender roles, and then Prince’s arch “Ronnie Talk to Russia”  from 1981’s Controversy,  where Prince sounds like the LYL Band would sound if they had Prince’s skills, work-ethic and recording studio (or at least a drummer and bass player). Perhaps Mr. Nelson was paying tribute to The LYL Band and our sound, but Prince’s song was released a little less than a year before “Driving the Porcelain Bus.”  OK, the new date for Porcelain Bus  means that theoretically Prince could  have heard Dave’s Farisa drenched sound before he used a similar punky combo organ sound on “Ronnie Talk to Russia.” File this under “improbable.”

OK, that last part is irony for you English majors, but Porcelain Bus  was reviewed and got a cover blurb on the local alternative weekly in 1982 January 1981, along with Prince protégé’s The Time’s LP. The blurb said “The Time Ain’t No Lose Your Lunch Band,” a statement that I think we can all agree on. The review said we might become a cult band. If you’ve read this far, you’re our last chance as cult adherents. You don’t have to shave your head, sell tracts, move to a compound in the country, or worship Dave as a semi-divine incarnation—unless you think it’ll really help. I believe Dave would rather be worshiped as an Andy Devine incarnation anyway.

Love Song for a Woman I Do Not Love

One joy of this project’s exploration has been coming upon poets I know nothing about and acquiring their words in my bloodless version of that conqueror on the “peak in Darien.” Writing about Frost, Pound, HD and Eliot in England early in the 20th Century lead me to T. E. Hulme, an Englishman of pugnacious artistic pronouncements and surprisingly modest and moving poetry. And T. E. Hulme led me to F. S. Flint, another British writer and literary theorist in this circle in the years just before WWI.

Last month I introduced readers here to Flint’s amazing rise from Victorian poverty. In the interim I’ve been reading more of his work, including his 1920 collection of poems (he called them “cadences”) titled “Otherworld.”  Since Flint is not commonly studied or anthologized, each poem as I encountered in the collection was a fresh experience, no different than reading a new poet’s chapbook published this year. I could start a poem of his in “Otherworld”  about a confused midnight awakening, and come to find it’s a first-hand account of a deadly London air-raid by a German Zeppelin.

Today’s piece, in the same collection, held another surprise. It tells you it’s a Love Song, but contradicts that before the end of the title. What it is instead is an unstinting examination of the corrosion class and gender inflict on the grail of love. The singer of this song lays bare a combination of disgust at how he’s judged as a poor man, with an undisguised desire to own the things he does not have, including this other human being, the woman of the title.

Bright Coloured Cretonnes!

“Bright-coloured cretonnes…” What is the erotic despair of draperies and upholstery?

I can think of dozens of popular songs that deal in some variation of this, but it’s harder to come up with 100-year-old poems, much less ones as good as this one, that talk of this. Ignore a handful of references to the interior decorating trends of Flint’s time, and this poem could have been written yesterday, except few writers of any time would be as acute as Flint is in observing this.

What new poets of the Modernist movement do I get to discover and share with you in the upcoming year? I can’t be sure, but I noted that Flint’s “Otherworld”  is dedicated to Herbert Read, and from what few poems of his I can find online, Read seems just as fresh and fascinating.

But let’s not get ahead of ourselves. Musically I’ve been telling myself I want to utilize some of the methods of hip-hop records, and yet each time I set out to do this, I get side-tracked by my own idiosyncratic musical muse. The melodic top line is my appreciation of early 1960s hard-bop organ playing. The bass part is a combination of a left-hand organ part with electric bass. Two bass lines shouldn’t work, but I think it does here. That’s not the only duality in this: the drum machine beat is augmented by some percussion which keeps the drum machine from ruling the groove “correctly.” The hip-hop rhythm flow eludes me again, though maybe I recall some predecessors like Dr. John the Night Tripper?

To hear my performance of F. S. Flint’s “Love Song to a Woman I Do Not Love,”  use the player below.