[{"alt":"A sign with text and a color image stands on two wooden supports in front of a grassy background. A historical marker set into the earth is visible at left.","author":[{"name":"Kristen Zschomler","slug":"https://www.mnhs.org/mnopedia/search/index/author/kristen-zschomler"}],"categoryTag":[{"id":186625246074,"name":"Place","slug":"https://www.mnhs.org/mnopedia/search/index"}],"date":"April 02, 2026","eraTag":[{"id":186622056201,"name":"1754–1800 (Revolution and a New Nation)","slug":"https://www.mnhs.org/mnopedia/search/index"}],"keydate":"","name":"21-MO-20 (archaeological site)","postbody":"At the confluence of the Little Elk and Mississippi rivers (present-day Morrison County), a fur trade post was established and occupied in the mid-to-late eighteenth century. Ojibwe ...","searchtext":"At the confluence of the Little Elk and Mississippi rivers (present-day Morrison County), a fur trade post was established and occupied in the mid-to-late eighteenth century. Ojibwe trappers and hunters gathered there to offer furs to white traders in exchange for beads, blankets, fabric, and other goods. The confluence of rivers is an ideal place for human settlement, offering strategic, spiritual, and practical reasons for occupation. One such location is two miles north of the modern-day city of Little Falls, where the Little Elk River flows into the west bank of the Mississippi River. The place occupies a unique environmental setting: a 340-mile-long band encompassing a patchwork of forests, wetlands, and prairie openings rich with game. Access to abundant natural resources, as well as transportation along the waterways, has made the confluence a place of human occupation since approximately 400 BCE, as shown by the presence of archaeological sites containing ceramics and other artifacts. The Indigenous peoples who lived there throughout the Woodland period (1,000 BCE to 1,000 CE) were semi-nomadic hunters and horticulturalists. When the Ojibwe moved west from Gichi Gamii (Lake Superior) due to pressures from European settlement beginning in the 1690s, they pushed the Dakota farther south. The band of mixed environs that extends from the southeast to the northwest across what is today the state of Minnesota became a contested zone between the Dakota and Ojibwe. Both nations vied for access to game, including beavers. The fur trade, which began in Minnesota in the mid-1600s, brought French explorers to the area, and by the mid-1700s, a fur-trading fort was built near the confluence of the Little Elk and Mississippi rivers. Three buildings were constructed, along with a pallisade. The buildings included a large central structure, 16.4 feet by 24.6 feet, consisting of two rooms. The first featured a stone hearth, around which occupants played games or made trade goods; the second was a smaller space used for storing trade goods, furs, and supplies. Two smaller buildings that stood to the north and south of the central structure, both with a fireplace, likely provided living quarters. The leader of the fort lived in the northern structure, while workers occupied the southern building. Since most beaver trapping was done during the winter, traders occupied the fort between the fall and the spring. In the spring, the fort’s occupants made arduous journeys back to their trading home posts to deliver their furs. There, they stocked up on new trade goods for the next season, such as beads, fabric, metal goods, guns, and gun flints. The fort was only briefly occupied. The reasons for its abandonment are unclear; some of the buildings burned. It is unknown if the fire was deliberate or accidental. 21-MO-20 underwent intensive and rigorous archaeological excavation during the 1980s under the guidance of the Institute for Minnesota Archaeology’s Douglas Birk. Birk hypothesized that the site was Fort Duquesne, a French fur trade post operated by Joseph Marin de la Malgue. Marin, as he was known, was a French military officer, trader, and explorer. According to extant documents, Marin’s post was built in 1752. Many aspects of the site support the idea that the site is Marin’s post, including its location, the number and types of buildings, and artifact assemblages. Birk, however, stated in 1991 that his working hypothesis needed to be tested with every new turn of a trowel or archival page. While the site was extensively excavated, no final site analysis and report was completed. In 2023, archaeologist Robb Mann presented an analysis of ceramic sherds from 21-MO-20 and concluded that they were British Delftware rather than French faience, as Birk has classified them. Mann’s study raises questions, since British Delftware is not known in this area until about 1760. The fort’s location was not only contested between the Ojibwe and Dakota, it was also a contested zone between British and French traders until the 1780s, when British dominance took hold. The presence of several British ceramic items could indicate that the British occupied the site after the French abandoned it, which was a common practice.","src":"https://21588026.fs1.hubspotusercontent-na1.net/hubfs/21588026/MNopedia/MNopedia%202026/21-MO-20/960px-Fort_Duquesne_signs.jpg","topicsTag":[{"id":186622056200,"name":"Business and Industry","slug":"https://www.mnhs.org/mnopedia/search/index"},{"id":186625246059,"name":"Native Americans","slug":"https://www.mnhs.org/mnopedia/search/index"}],"url":"https://www.mnhs.org/mnopedia/search/index/place/21-mo-20-archaeological-site"},{"alt":"The Replacements at First Avenue","author":[{"name":"Kristen Zschomler","slug":"https://www.mnhs.org/mnopedia/search/index/author/kristen-zschomler"}],"categoryTag":[{"id":186625246075,"name":"Group","slug":"https://www.mnhs.org/mnopedia/search/index"}],"date":"January 22, 2025","eraTag":[{"id":186625246056,"name":"1980–Present (US in a New Global Age)","slug":"https://www.mnhs.org/mnopedia/search/index"}],"keydate":"","name":"Replacements (band)","postbody":"The Replacements (1979–1991) were an influential Minneapolis-based band that fused punk, rock, country, and blues to capture the teenage angst of the 1980s. Founded by innovative guitarist ...","searchtext":"The Replacements (1979–1991) were an influential Minneapolis-based band that fused punk, rock, country, and blues to capture the teenage angst of the 1980s. Founded by innovative guitarist Bob Stinson, the band also included bassist Tommy Stinson, drummer Chris Mars, and dynamic singer/songwriter Paul Westerberg. Known for their electric, erratic live shows, the Replacements attracted a devout fan base. They were foundational pioneers of the alternative rock genre of the late 1980s and the 1990s, most notably the Seattle grunge scene, as well as alternative country. In the late 1970s, guitarist Bob Stinson wanted to start a band, so he made his half-brother, Tommy, learn the bass, and recruited neighbor Chris Mars as drummer. Paul Westerberg heard their group, Dog Breath, through a basement window while walking home from his janitorial job in Minneapolis. He returned to listen to them for days, met them, and soon became the frontman of the group, replacing Mars as the main songwriter. They renamed themselves the Impediments, and after that, the Replacements. In 1980, the quartet recorded a demo tape that Westerberg gave to Peter Jesperson, whose famed record store, Oar Folkjokeopus (2557 Lyndale Avenue South), was packed with punk and new wave records from New York City and England. Jesperson was also the DJ at the Minneapolis venue Jay’s Longhorn, where touring punk and new wave bands like the B-52s, the Ramones, Blondie, and the Buzzcocks played. Owners Jay Berine and Al Wodtke also let local musicians perform. In fact, most of the bands that defined the Minneapolis punk and alternative rock scene of the 1980s started at Jay’s: the Suburbs, Flamingo/the Flaming Oh’s, Hüsker Dü, and the Hypstrz. Jesperson loved what he heard on the demo tape and became the Replacements’ biggest cheerleader and manager, advocating for them to play the Longhorn and sign to Twin/Tone, the label he’d founded with reporter Charley Hallman and sound engineer Paul Stark. Jesperson got his wish on both counts—Twin/Tone signed the Replacements after their first performance on the Longhorn stage in July 1980. The band recorded their first albums at the Dinkytown studio Blackberry Way: Sorry Ma, Forgot to Take Out the Trash (1981) and Stink (1982). The former packed eighteen fast, fiery songs into thirty-seven minutes, and the latter featured eight hardcore punk tracks. Hootenanny, released the following spring, showed that the band was evolving away from hardcore punk and blending rock, country, and blues into their aesthetic. The Replacements returned to Blackberry Way to record their final album for Twin/Tone. Released in October 1984, Let It Be was a critical success. The buzz around the album—more nuanced and eclectic than their previous punk efforts while still capturing the band’s characteristic humor and anti-establishment sentiment—caught the ear of major record labels. The Replacements signed with Sire Records and released four albums on the label between 1985 (Tim, their last recorded in Minneapolis) and 1990 (All Shook Down). Signing with a major label was both a major accomplishment and the beginning of the end for the band. While they were gaining more fans through wider distribution, their hardcore base and even band members themselves felt they were selling out. The tension that once fueled the band’s special angst and creativity—Stinson’s maniacal guitar playing contrasted against Westerberg’s vulnerable lyrics—grew into unsustainable artistic differences. Even though Tim was a critical success, by 1986, Bob Stinson was out, replaced by Bob “Slim” Dunlap, and manager Jesperson soon followed. When Pleased to Meet Me (1987) was released, many fans and critics felt the Replacements had lost their unique spark. The band’s disintegration continued when Mars left in 1990, frustrated by Westerberg’s direction for the group. By the following year, the Replacements were done. Westerberg went on to have a successful solo career, including his 1992 hit song “Dyslexic Heart” on the Singles movie soundtrack. Tommy Stinson also had a solo career and played with Guns N’ Roses, Soul Asylum, and other groups. In 1995, after playing with Static Taxi and the Bleeding Hearts, his brother Bob succumbed to organ failure after years of substance abuse. Mars released solo work in the 1990s, but primarily focused on his fantastical art and filmmaking. Often referred to as “one of the best bands to never make it,” a reference to their self-sabotage when presented with opportunities and their slow collapse after signing with Sire, the Replacements’ legacy lives on in their pioneering sounds, lyrics, and working-class aesthetics. Their high-school-dropouts vibe, fierce rhythms, and lyrics (which ranged from vulnerable and heartfelt to crude and confrontational) inspired the Bay Area punk scene, the Seattle grunge scene, and alt-country bands.","src":"https://21588026.fs1.hubspotusercontent-na1.net/hubfs/21588026/Mnopedia%20Blogs/06-18_Corrigan.jpg","topicsTag":[{"id":186622056208,"name":"Arts","slug":"https://www.mnhs.org/mnopedia/search/index"}],"url":"https://www.mnhs.org/mnopedia/search/index/group/replacements-band"},{"alt":"Purple Rain album cover","author":[{"name":"Kristen Zschomler","slug":"https://www.mnhs.org/mnopedia/search/index/author/kristen-zschomler"}],"categoryTag":[{"id":186625246090,"name":"Thing","slug":"https://www.mnhs.org/mnopedia/search/index"}],"date":"July 26, 2024","eraTag":[{"id":186625246056,"name":"1980–Present (US in a New Global Age)","slug":"https://www.mnhs.org/mnopedia/search/index"}],"keydate":"","name":"Purple Rain (film and album)","postbody":"Purple Rain is the title of both a film and an album by Prince, released in 1984. The album gave the twenty-six-year-old Minneapolis native his first Number One hits, and the movie, while ...","searchtext":"Purple Rain is the title of both a film and an album by Prince, released in 1984. The album gave the twenty-six-year-old Minneapolis native his first Number One hits, and the movie, while not critically lauded, was a box office success. The film, album, and subsequent worldwide tour propelled Prince’s rising star into the stratosphere, making him as famous as contemporaries like Michael Jackson and Madonna. By his late teens, Prince had already worked as a session musician, recorded original songs, and learned studio recording techniques. He produced, arranged, composed, and performed all the songs on his demo tapes, which landed him a three-record recording contract with Warner Bros. His first five albums were released between 1978 and 1982; to promote the last of these (1999), he filmed music videos that aired on the newly launched MTV. He achieved growing success with each release but was by no means a household name. The young artist envisioned a major motion picture as early as 1982, sketching out a story he called |||Dreams.||| After he pitched the idea to Warner Bros., the studio hired screenwriter William Blinn and director Albert Magnoli to develop Prince’s story into the plot of Purple Rain. In the movie, Prince’s character, known simply as the Kid, is a struggling musician who leads the band the Revolution. The charismatic Morris Day and his band The Time are their rivals, and both bands are fighting to stay on the bill at Minneapolis’s biggest club, First Avenue. The two male leads fight for the affections of Apollonia, a dancer and singer also hoping to make it big at the famous club. The Kid struggles at home, where he witnesses his father abusing his mother, and with his band members, whose musical ideas he discounts. Ultimately, the Kid confronts and overcomes patterns of intergenerational abuse, learns to be vulnerable and trust others, and triumphs over the critics who had written him off. While the script was being finalized, Prince spent 1983 writing and recording songs not only for the Revolution, but for Morris Day and The Time and Apollonia’s group, Apollonia 6. An astute businessperson, Prince realized he could put out three albums instead of one soundtrack. Purple Rain was not a soundtrack; the album contained only songs by Prince and the Revolution, presented in a different order than in the movie. The songs by Morris Day and The Time and Apollonia 6 were released as separate albums and were essentially Prince releases. Prince wrote, performed, and engineered all of the music, with Day and the Apollonia 6 singers providing only vocals. To prepare for filming, all the Purple Rain musicians took acting and dancing classes (the latter with the Minnesota Dance Theatre, MDT). Prince wanted to support the financially struggling MDT, so on August 3, 1983, the Revolution headlined a fundraiser for them at First Avenue. The impact of that night, which raised $23,000 for MDT, extended beyond fundraising. When Prince listened to a recording of the live performance, he realized the audio quality was high, and the reaction from the crowd was electric. As a result, he used the versions of “I Would Die 4 U,” “Baby I’m A Star,” and “Purple Rain” recorded that night at First Avenue on the album and in the movie. The album was released on June 25 and the movie on July 27, 1984. Although it was a relatively low-budget production with a rookie cast, the movie grossed $70 million at the box office, and the album sold millions of copies by the fall. The album also gave Prince his first Number One hits: “Let’s Go Crazy” and “When Doves Cry.” While the movie’s climactic song of the same name reached only Number Two on the charts, in 1985 it brought Prince another accolade: the Oscar for Best Original Song Score for “Purple Rain.” The Purple Rain worldwide tour, launched that fall and continued through April 1985, solidified Prince as a superstar. The Purple Rain album consistently ranks highly among the entertainment industry’s lists of the top albums of all time. The album’s significance has been recognized not only in popular culture, but also by the National Recording Preservation Board, which included it in the National Recording Registry in 2012.","src":"https://21588026.fs1.hubspotusercontent-na1.net/hubfs/21588026/Mnopedia%20Blogs/c58e57-20220830-prince-purple-rain-album-webp1500.jpg","topicsTag":[{"id":186622056208,"name":"Arts","slug":"https://www.mnhs.org/mnopedia/search/index"}],"url":"https://www.mnhs.org/mnopedia/search/index/purple-rain-film-and-album"},{"alt":"Jimmy Jam and Terry Lewis","author":[{"name":"Kristen Zschomler","slug":"https://www.mnhs.org/mnopedia/search/index/author/kristen-zschomler"}],"categoryTag":[{"id":186625246090,"name":"Thing","slug":"https://www.mnhs.org/mnopedia/search/index"}],"date":"July 02, 2024","eraTag":[{"id":186625246056,"name":"1980–Present (US in a New Global Age)","slug":"https://www.mnhs.org/mnopedia/search/index"}],"keydate":"","name":"Minneapolis Sound (music genre)","postbody":"The Minneapolis Sound is a music genre popularized by Prince and his many side bands, including Morris Day and The Time, the Family, Vanity 6, and Apollonia 6, as well as Jimmy Jam and ...","searchtext":"The Minneapolis Sound is a music genre popularized by Prince and his many side bands, including Morris Day and The Time, the Family, Vanity 6, and Apollonia 6, as well as Jimmy Jam and Terry Lewis (working most notably with Janet Jackson) and the Jets. The Minneapolis Sound defined the sonic landscape of the 1980s and 1990s with its heavy punk- and rock-guitar solos, hard-driving, funky bass lines, and synth-forward, new-wave pop sensibilities. In the twenty-first century, it continues to influence artists like Janelle Monáe, Lizzo, Bruno Mars, and Brittany Howard. The unique blending of musical styles that became the Minneapolis Sound has its foundations in the geography, demography, and culture of its namesake city. Racial housing covenants concentrated African Americans into the Northside and Southside neighborhoods, where the artists associated with it grew up; the white rock music dominating the radio airwaves influenced their sound aesthetic; and the strong Minneapolis school-music programs taught by Jimmy Hamilton educating them in the business of music and music theory. But perhaps the most crucial ingredient in the development of the Minneapolis Sound was the community center The Way. Created after the civil unrest in the Near North neighborhood in 1966 and 1967, The Way was the cornerstone of local arts and music. Musically inclined kids from the Northside such as Prince, Terry Lewis, Morris Day, and André Cymone hung out with local musicians like Pierre Lewis and Sonny Thompson. They absorbed the rhythm and blues, soul, and funk grooves of the house band the Family, while playing on instruments The Way provided. They then took their skills to the street, playing in Battles of the Bands throughout the city. While these young artists were honing their musical skills, another key ingredient of the genre’s unique sounds developed. In the 1970s, the LinnDrum machine and Polymoog synthesizers revolutionized the sonic landscape of popular music. Even folk singer Cat Stevens experimented with these instruments on his pioneering pop-synth album Izitso (1977), partially recorded at Minneapolis’s premier recording studio, Sound 80. At the same time, a young, local musical prodigy named Prince Rogers Nelson was also recording in the studio, “got hip to Polymoogs,” and became a master of the drum machine. Prince, and then, later, James “Jimmy Jam” Harris III and Terry Lewis, infused these emerging technologies into their funk, rock, soul, punk, and new wave sensibilities to create a layered, complex synthesis of music never heard before. The 1980s were the heyday of the Minneapolis Sound. Prince’s popularity grew with each album he released that decade—Dirty Mind (1980), Controversy (1981), and 1999 (1982)—and his striking looks, fashion, and dancing spurred MTV to play his videos in heavy rotation. He was such a prolific artist that he wrote more songs that his record label allowed him to release, so he created numerous side projects with artists like Morris Day and the Time (which included Jimmy Jam and Terry Lewis), Jill Jones, and Sheila E. With no Number One hits and only one Top Ten album (1999), Prince pitched the idea of a major motion picture to accompany his fifth album to his label, Warner Bros. The movie and album Purple Rain were released in 1984 and were instant hits, making Prince an international superstar and putting Minneapolis on the musical map. During the last half of the 1980s and throughout the rest of his life, Prince continued to explore new musical styles, and to evolve the Minneapolis Sound. After being fired by Prince in 1983, Jimmy Jam and Terry Lewis started Flyte Tyme Productions and opened a recording studio in South Minneapolis. The songwriting and producing duo had success with the Human League and S.O.S., but it was their work with Janet Jackson in the mid-1980s that catapulted them and their version of the Minneapolis Sound into worldwide fame. Infusing their New Jack Swing with Jackson’s neo-soul innovations, the trio went on to create numerous hit albums throughout the early 2000s. Jam and Lewis are among the most successful songwriting and producing duos of all time. Another popular Minneapolis Sound band was The Jets—eight Tongan American siblings who had attended Robbinsdale Cooper High School together. Having started out as a family band in 1977, they released the hit “Crush On You” in 1986 and performed on three subsequent world tours.","src":"https://21588026.fs1.hubspotusercontent-na1.net/hubfs/21588026/Mnopedia%20Blogs/141_A_1_6.jpg","topicsTag":[{"id":186622056216,"name":"African Americans","slug":"https://www.mnhs.org/mnopedia/search/index"},{"id":186622056208,"name":"Arts","slug":"https://www.mnhs.org/mnopedia/search/index"}],"url":"https://www.mnhs.org/mnopedia/search/index/thing/minneapolis-sound-music-genre"},{"alt":"Prince performing “Purple Rain” at First Avenue, 1983.","author":[{"name":"Kristen Zschomler","slug":"https://www.mnhs.org/mnopedia/search/index/author/kristen-zschomler"}],"categoryTag":[{"id":186625246088,"name":"Person","slug":"https://www.mnhs.org/mnopedia/search/index"}],"date":"November 17, 2017","eraTag":[{"id":186625246056,"name":"1980–Present (US in a New Global Age)","slug":"https://www.mnhs.org/mnopedia/search/index"}],"keydate":"","name":"Prince (1958–2016)","postbody":"Prince was a Minnesota-based singer, songwriter, musician, studio engineer, actor, director, dancer, and music legend. Over his nearly forty-year career, he sold more than100 million ...","searchtext":"Prince was a Minnesota-based singer, songwriter, musician, studio engineer, actor, director, dancer, and music legend. Over his nearly forty-year career, he sold more than100 million albums; he also won seven Grammys and an Oscar. He was the main creator of the Minneapolis Sound, a blending of rhythm and blues, funk, rock, pop, punk, and new wave that defined the music of the 1980s. Prince Rogers Nelson was born in Minneapolis on June 7, 1958. Growing up on the city||s Northside, he taught himself the piano, guitar, bass, drums, and other instruments at a young age. His early musical influences included R&B, funk, rock, and soul music. Older local musicians and neighbors, like Sonny Thompson, exposed him to rock—an important component in his development of the Minneapolis Sound. After Prince landed a major recording contract with Warner Brothers at nineteen, his first albums—For You (1978) and Prince (1979)—made their mark on the R&B charts but did not see the crossover to white audiences that he wanted. His early recordings did show his musical virtuosity and included the soon-to-be-common credit “produced, arranged, composed and performed by Prince.” Prince’s commercial and critical success grew in the early 1980s with the release of albums that solidified the Minneapolis Sound: Dirty Mind (1980), Controversy (1981), and 1999 (1982). His videos with his “multicultural, rainbow-coalition” and mixed-gender band, The Revolution, on the new music channel MTV, helped define the fashion, dance moves, and sounds of the new decade. With no number-one hits and only one top-ten album (1999) under his belt, Prince pitched the idea of a major motion picture to his label. While initially unsure, Warner Brothers eventually backed the artist’s effort, and Prince spent much of 1983 and early 1984 writing and recording songs for, and filming, the movie Purple Rain. Prince and The Revolution recorded three of the soundtrack’s songs live at the Minneapolis nightclub First Avenue in 1983 and shot over half of the movie at the venue. The film and soundtrack, released in June 1984, were instant commercial and critical successes. Prince’s impact on music, fashion, and sexuality made him a cultural icon in league with Michael Jackson and Madonna. During the last half of the 1980s, Prince continued to explore new musical sounds and switched between collaborative and solo works. He disbanded The Revolution in 1986 after the release of Parade. He returned to his roots by completing his next studio album (Sign o’ the Times) alone, but he also collaborated with other side bands and projects. He ushered out the most successful decade of his career with a number-one soundtrack for the Tim Burton movie Batman. In 1991, Prince formed his next band, The New Power Generation, and began incorporating hip-hop and rap into his work, which he had previously resisted. With his superstar status, he took on the music industry’s contracting procedures, changing his name to an unpronounceable symbol to escape his recording contract with Warner Brothers. He often appeared with the word “slave” drawn on his face to underscore the unfair practices he saw in the recording industry. In the early 2000s, Prince influenced the business side of the music industry more than the sonic landscape of the times. With slipping record sales but continuing success touring, Prince found innovative ways to distribute his albums and reach number one, such as selling them with concert tickets (Musicology) and giving people the chance to enter a sweepstakes to win a private performance (3121). Prince was an early supporter of directly streaming music to his audience. He changed his mind, however, when he saw his work pirated on the internet. He eventually came to terms with the new technology and released albums online via a subscription service, which sold his music as well as tickets to his shows. He continued to collaborate extensively, including with his last band, 3rdEyeGirl, and performed massive worldwide tours as well as more intimate performances at his Paisley Park compound in Chanhassen. Prince died at Paisley Park on April 21, 2016, from an accidental overdose of the opioid fentanyl. He was fifty-seven years old.","src":"https://www3.mnhs.org/hubfs/Mnopedia%20Blogs/Prince%20performing%20%E2%80%9CPurple%20Rain%E2%80%9D%20at%20First%20Avenue%2c%201983..jpg","topicsTag":[{"id":186622056216,"name":"African Americans","slug":"https://www.mnhs.org/mnopedia/search/index"},{"id":186622056208,"name":"Arts","slug":"https://www.mnhs.org/mnopedia/search/index"}],"url":"https://www.mnhs.org/mnopedia/search/index/person/prince-1958-2016"}]

Kristen Zschomler

Biography:

Kristen Zschomler is a professionally qualified historian, architectural historian, and registered professional archaeologist. She has worked in cultural resources management for over thirty-five years throughout the nation. Kristen also researches and writes about Prince, the Minneapolis Sound, and Twin Cities music history. Her innovative app, SoundAround Music Tours, provides self-guided, curated tours of places associated with Twin Cities music history. Her work also includes a National Register of Historic Places multiple-property documentation form on Prince which has resulted in the recognition of three places associated with him as historically significant: his childhood home in Minneapolis’s Northside neighborhood, First Avenue in downtown Minneapolis, and a href="https://npgallery.nps.gov/NRHP/GetAsset/47ac4339-883c-4e98-9499-ef514206e9bf">Sound 80 Studios in Minneapolis’s Seward neighborhood. She is also a founding member of the International Centre 4 Prince Studies, which builds and sustains Prince’s legacy through interdisciplinary scholarship. She also collaborated with the People’s Museum for Prince to put on in-person and online exhibits on the houses of Prince.

Kristen Zschomler

Biography:

Articles