Minneapolis, MN
Letter from Minneapolis: The Legacy of Highway Construction — Streetsblog USA
This piece originally appeared on Streets.mn.
Cities in the United States underwent major surgery between 1940 and 1970 to make way for the construction of the interstate highway system.
In the Twin Cities, highway construction displaced 30,000 residents, many of whom were Black residents living in neighborhoods that planners considered disposable. The highways were also convenient tools to rid the cities of perceived social ills, a mindset deeply embedded in white supremacy.
Today, the legacy of these planning decisions is clear. Communities along highways face intersectional health, environmental, equity and mobility harms. This land no longer serves communities in adjacent neighborhoods with multimodal transportation, community business space and housing, instead prioritizing suburban commuting and car-oriented development.
But maps and data tell only part of the story of the neighborhoods damaged by highways, missing the cultural landscape of Twin Cities neighborhoods, their people, and past and ongoing harms and resistance.
Rich public history work has been done to tell the story of Rondo and Union Park in St. Paul and South Minneapolis along I-35, but the stories of other communities remain hidden from our collective memory. Our Streets Minneapolis has collaborated with the University of Minnesota’s Public History and Heritage Studies Program, the Mapping Prejudice Project, student researchers, neighborhood organizations, and residents to investigate the history and present of life along these concrete rivers. These histories tell the story of Sixth Avenue North, destroyed to construct Olson Memorial Highway (Minnesota State Highway 55) and Cedar-Riverside, partially destroyed and divided to construct I-94.
Sixth Avenue North
The intersection of Olson Memorial Highway and I-94, where you can now hear the roar of traffic through the Harrison Neighborhood and downtown Minneapolis, was once the epicenter of Black and Jewish life in Minneapolis.
The Corner of Sixth Avenue North and Lyndale Avenue, from a portion of Clarence Miller’s memory map (depicting the neighborhood in the 1920s). Courtesy Hennepin County Libraries.
The Corner, as it was known, at old Sixth Avenue and Lyndale, was packed with small groceries, diners, houses of worship and bars. Jewish delis and grocery stores helped immigrant families escaping pogroms in Eastern Europe, and “black and tan” (mixed race) jazz clubs connected new and touring talent. Nearby was the Black Elk’s club, a movie theater, bathhouses, schools, settlement houses that supported a wealth of youth and adult programming, the NAACP’s favorite ice cream parlor meeting place and Sumner Library (the only remaining building from those days). In the 1930s the houses (built primarily by earlier wealthy settlers in the 1880s) were also poor and run-down, as Black and Jewish residents had harder times finding employment, business and home loans, and improvement funds.

In the 1920s, music and bootlegging both thrived in North Minneapolis as rare employment opportunities for Black and Jewish residents, but morality squads and city planners deplored racial mixing and bar culture. These factors made the area prime cheap real estate for the city’s earliest highway, Olson Memorial, today’s MN 55.
The first phase of construction razed the northern half of the street in the late 1930s and the southern half in the 1950s. In the late 1960s, I-94 would complete the destruction of the corner and affect other North Minneapolis establishments like the Phyllis Wheatley House (a center for the city’s growing Black population) and other neighborhood gathering places. Jewish families had already begun to move to the western suburbs, and remaining residents were concentrated in new public housing developments. Community centers like The Way and Glenwood fostered music talent (and KMOJ radio), and the neighborhood became home to Hmong and Hispanic communities in the 1970s.
Heritage Park replaced Sumner Field public housing, and although it connects many families in the neighborhood, the public-private development project appears to be poorly managed and maintained. The neighborhood is not the walkable, accessible hub that it once was, and the tangle of highways presents hazards to health, pedestrian safety and community connection.
Cedar-Riverside
A similar pattern emerged in Cedar-Riverside, southeast of old Sixth Avenue North and downtown, along the Mississippi River. The Seven Corners and Riverside area were the city’s earliest immigrant neighborhoods, where Slavic, Bohemian, Scandinavian, Jewish and other immigrants found labor jobs and housing along the river flats and “uptown” near the many mills, breweries and train tracks.
As in North Minneapolis, the lack of racial covenants meant that Black families and immigrant families packed in here. Swedish churches and bakeries, Augsburg Seminary and Trinity Lutheran Church, brewery bars like Palmer’s, the city’s first Black Congregation at St. James AME and Pillsbury United Community’s settlement house, plus three elementary schools and the diverse Seven Corners Library, all supported the dense, vibrant neighborhood. In the 1950s, a Black-owned music club called the Key Club offered employment and entertainment to many Black Minnesotans near Seven Corners, and the Holland Bar was a safe haven for queer clientele.
The neighborhood was massively disrupted beginning in 1957 by the twin displacement efforts of the University of Minnesota’s West Bank expansion and two interstates. Eminent domain meant residents in the path of the West Bank, I-94 and I-35 were forced to sell their homes and move. The population of Cedar-Riverside plummeted, and the area lost its elementary schools, library, several keystone churches and its walkability.
Affordable housing and a welcoming, diverse and fringe-friendly atmosphere means that Cedar-Riverside has remained a haven for decades, as the counterculture epicenter in the 1960s and ’70s (featuring worker-owned cafes, anarchist and student resistance to so-called urban renewal development, folk and rock clubs, leftist theaters and book and record shops), a landing place for refugees from the Vietnam War in the ’70s and from the Somali Civil War in the 1990s, and an ongoing hub for arts, music and mutual aid. But it is cut off from its neighbors and ringed with retaining walls and the fortress of the university, and still lacks public education institutions and libraries for its many young residents.
In an effort to elevate these stories, our work has culminated in two virtual history museums, one for Cedar Riverside and the other for Near North Minneapolis. These online exhibits share community history, historic and ongoing harms of highway construction, and ongoing resistance and efforts to repair harms and restore communities.
Car culture and the ever-increasing demand for efficiency that supported the highway boom have diminished quality of life. Considering the foundation of these systems, which rely on the fracturing of some of the city’s most vibrant neighborhoods and continues to harm them, what can we imagine for a better shared future? Can we contest the speed based urban transportation logic that prioritizes moving quickly moving cars through urban communities at their expense?
Collage of historic photographs from the neighborhood: All images courtesy Hennepin County Libraries, except: North Country Anvil (Graytown, Stop Heller), Augsburg Archives (Trinity Lutheran Church), Mining Discovery Center (cross-dressers), Jessie Merriam (Edna’s garden sign, Mayday Books).
Minneapolis, MN
10 years later, our Prince superfan shares his Prince Pilgrimage
April 21, 2016.
Ten years later, that day still doesn’t seem real to me.
I was sitting in the newsroom of The Montclair Times in the early afternoon when word came that Prince had died.
I was incredulous. One of my musical heroes was gone. No way.
I was skeptical because I am a reporter. But also because it was Prince — a superstar so secretive and controlling of his music and public image that you could imagine he would have to give his permission to let the world know of his demise.
As the day passed, videos showed grieving fans standing outside his home and music studio complex, Paisley Park, not far from his beloved Minneapolis. That’s when the reality dawned on me.
Prince Rogers Nelson had gone 2 the afterworld at only 57 years old.
He was gone so young — he had so much more music in him to record, release and perform in public for an adoring audience. He died alone after collapsing in an elevator at his complex.
Those things made me sad.
But I was also annoyed at myself. For not being a better aficionado of his music — by never seeing him in person and not collecting every piece of music he ever recorded.
After a few days of listening to the radio and online to “Purple Rain” and “1999” being played ad nauseam, I also heard lesser-known cuts like the heartbreakingly melancholic and sadly appropriate “Sometimes It Snows In April.”
When I heard the depressing reports that he died due to an accidental fentanyl overdose, I resolved to pay proper tribute to The Purple One.
I would go to Minnesota on a Prince Pilgrimage.
‘Nothing Compares 2 U’
April to June 2016.
I said I would go to Minneapolis, to Prince’s home ground, to pay my respects to him. I didn’t think I would go through with booking a ticket on United Airlines from Newark for the weekend before his birthday.
I had used up most of my vacation days and had one to spare, but not another to stay through Prince’s actual born day. Just my luck.
At least I was fulfilling a commitment to an artist I adore.
I wouldn’t say I was a fanatic for his Royal Badness (one of the many nicknames he carried in his lifetime). But he’s one of the few musicians who really moved me.
I heard his music growing up in the 1980s in Jersey City as a matter of course when the radio dial was set on R&B or pop music stations like KISS-FM and Z-100.
When Prince’s sixth studio album, “Purple Rain,” was released in the summer of 1984, it was a revolution that pushed the rising star into the stratosphere.
I couldn’t go anywhere without hearing the screeching guitar and chanting of Prince that provided the intro to “When Doves Cry,” or the rhythmic strumming of the guitar and the clashing electric drums that start off the album’s title song.
However, it was watching “Purple Rain,” the movie, that put me on the Prince Express. It didn’t matter that he couldn’t act to the satisfaction of critics or that the plot seemed corny. I was just absolutely enthralled by him and his band, The Revolution, tearing through numbers that were a mélange of funk, rock and new wave, while in a musical rivalry with another badass, Morris Day, and his group.
My 13-year-old self also developed a crush on the leading lady, Apollonia Kotero, for her sultry voice and because she stripped nude to purify herself in the waters of Lake Minnetonka. It blew my mind then (and still blows my mind now).
Prince would remain in the background of my music listening as the years passed.
If it wasn’t his voice, it was the voice of others singing his songs, because he was as adept a songwriter as he was a performer. “I Feel for You” (Chaka Khan), “Manic Monday” (The Bangles) and “Nothing Compares 2 U” (Sinéad O’Connor) are some of the major hits that came from his pen.
The first vinyl album I ever got, in my teens was “Around the World in a Day,” his 1985 anti-commercial and purposely obscured follow-up to “Purple Rain.”
In college and afterward, whenever I had a few bucks in my pocket, I bought various albums on CD: “Diamonds and Pearls,” “The Black Album,” “The Gold Experience” and “Rave Un2 the Joy Fantastic,” and “Lovesexy” on cassette. I paid for a ticket to watch what may be Spike Lee’s worst movie, “Girl 6,” in part to hear Prince’s music.
But it wasn’t just Prince’s virtuoso musicianship that made me a believer. It was also his personality, confounding and infuriating at the same time, that intrigued me.
I chatted with NYU classmates about how he slept no more than two hours a day because he worked so hard in the studio, playing all the instruments and producing every track. Yet he looked like he hadn’t aged a minute.
You would hear stories of him boosting artists that he admired by having them play on his albums and in concert. Then you would hear stories of his unkindness and controlling nature toward his bandmates and others in his inner circle.
He was a man who attained a level of stardom that demanded he bask in the spotlight at all times. Then there was the man who operated in secrecy and would alternate between the public, large-scale appearances and his surprise late-night concerts at small venues.
He was a true Gemini.
In the late spring of 2016, I was taking in all of who Prince was, as he was no longer among us mere mortals, while preparing to pay homage to him.
‘MPLS’ and ‘Uptown’
June 3 to 5, 2016.
“Rock ‘n’ Roll Is Alive! (And It Lives in Minneapolis)”
Prince’s 1993 song popped into my head as the United Airlines plane landed at Minneapolis-Saint Paul International Airport around 10:30 p.m. on June 3.
In the morning, my Prince Pilgrimage was underway as I took a bus near my hotel toward downtown Minneapolis.
While on the bus, I could see out my window why he spent nearly his entire life in or near this city, and created songs like “MPLS” and “Uptown” that presented his hometown to the world.
The widest boulevards I have ever seen outside of Paris. The streets where you saw yards with no fences and many trees. The heat normally expected in late spring was tempered by the Minnesota coolness.
I had an itinerary of the stops I needed to make on a sunny Saturday.
First Avenue and 7th Street Entry was a Greyhound bus depot converted into two music venues starting in the early 1970s. On the wall outside, a giant painted gold star etched with the name PRINCE. Only fitting, as the “Purple Rain” movie was filmed inside First Avenue.
539 North Newton Ave. in the northern part of Minneapolis is where a teenage Mr. Nelson lived with his dad for a short time until he was thrown out.
When I stopped by to view the three-bedroom house, an African American couple was chatting up a man standing outside the house. After they were done, it was my turn to engage Maurice Phillips, Prince’s former bodyguard, who married his boss’ sister Tyka.
I went into reporter mode to get the inside scoop from him on my favorite recording artist.
What was Prince like? “He’s just a normal kind of guy like us. He put on his pants the same kind of way.”
Are there other thoughts about Prince you want to share? “No. But I know Prince is looking down. I got to get done with this yard work.”
Later, I made my way to the Parkway Theater in South Minneapolis for what I thought was the best way to mourn the man: “This Thing Called Life — The Prince Tribute.”
Julius Collins, on lead vocals, was backed by members of Prince’s 1990’s band, the New Power Generation, along with other singers and instrumentalists. They regaled attendees with renditions of Prince songs while photos and videos of him played on a screen behind them.
Collins’ voice boomed as he sang, “Good times were rolling/She started dancing in the streets,” (“Uptown”), “Do I believe in God?/Do I believe in me? — Controversy” (“Controversy”), and “Police ain’t got no gun/You don’t have to run” (“DMSR”).
It was the perfect end to day one of the pilgrimage. I got back to my hotel in the late evening to have a meal and prepare for day two.
I should have skipped the takeout from the nearby fast-casual joint, because the resulting heartburn had me down for the count — and nixed plans to visit the last stop on the pilgrimage: Paisley Park.
Yet I had a Plan B for the following day, so I wouldn’t let Prince down.
At 2000 Fourth Avenue South in Minneapolis is Electric Fetus, the iconic record store where Prince reportedly made his last public appearance and last music purchases five days before he died.
On my shopping list was his shopping list:
- Stevie Wonder, “Talking Book.”
- Chambers Brothers, “The Time Has Come.”
- Joni Mitchell, “Hejira.”
- The Swan Silvertones, “Inspirational Gospel Classics.”
- Missing Persons, “The Best Of Missing Persons.”
- Santana, “Santana IV.”
I got only three of those CDs, as the others were (unsurprisingly) sold out. I couldn’t have regrets, because, in a weird way, it was the closest to being there when he was there, the closest I would ever get to meeting him.
His famous opening line to “Let’s Go Crazy” also came to mind: “Dearly beloved. We are gathered here today to get through this thing called ‘life.’”
RIP Prince (June 7, 1958-April 21, 2016).
Ricardo Kaulessar covers race, immigration, and culture for NorthJersey.com. For unlimited access to the most important news from your local community, please subscribe or activate your digital account today.
Email: kaulessar@northjersey.com
Twitter/X: @ricardokaul
Minneapolis, MN
Man convicted of murdering Mariah Samuels set for sentencing Monday after skipping previous court date
A Minneapolis man convicted of murdering his ex-girlfriend is set to learn his fate Monday after he skipped his original sentencing date on Friday.
A jury found 51-year-old David Wright guilty of first-degree premeditated murder, first- and second-degree murder and illegal possession of a firearm last week. The premeditation conviction automatically triggers a life sentence without the possibility of parole.
Wright was scheduled to be sentenced Friday afternoon, but did not show up to court. The judge asked Wright’s attorney if he was ill or refusing to show up, but the attorney declined to answer on grounds of attorney-client privilege.
Monday’s sentencing is scheduled for 2:30 p.m.
Wright killed 34-year-old Mariah Samuels in September outside her home in the Willard-Hay neighborhood of Minneapolis, minutes after she posted about his abuse on social media. Family members said Samuels had broken up with him after a few months of dating. She had a restraining order against him.
Samuels’ sister Simone Hunter called Wright “a dangerous person” who “should never see the light of day again” after his conviction.
Friends and family say Wright acted out throughout the trial, including missing previous court dates and removing himself from the stand.
Both Samuels’ family and Hennepin County Attorney Mary Moriarty criticized the court for not doing more to ensure Wright showed up at the sentencing.
“This is why people think they can murder people in front of their dad’s house and get away with it. There’s no repercussions for these things, they don’t care about these women who are dying on a daily basis. And the least that they could have done is demanded that he come over here in shackles like the monster that he is,” Hunter said Friday. “I’m astounded.”
Samuels’ family has also accused the Minneapolis Police Department of not doing enough to keep her safe. Chief Brian O’Hara last year ordered her case to be reviewed and officers to be retrained on domestic violence.
For anonymous, confidential help, people can call the National Domestic Violence Hotline at 1-800-799-7233 or 1-800-787-3224.
Minneapolis, MN
Motorcyclist killed in crash on I-35W in Minneapolis
MINNEAPOLIS (FOX 9) – A 21-year-old man was killed after a motorcycle crash early Friday morning in Minneapolis, according to the Minnesota State Patrol.
Fatal motorcycle crash
The backstory:
The State Patrol responded to the crash at about 1:20 a.m. on April 17 on northbound I-35W at Johnson Street in Minneapolis.
Authorities say a man operating a Suzuki motorcycle was heading northbound on I-35W when it made contact with the left side median guard rail before it continued to head north. It traveled for about another quarter mile before coming to rest on the right side guard rail.
Authorities located the motorcycle’s operator on the left side shoulder. He was pronounced dead at the scene.
Crash under investigation
Crash victim ID’d:
The State Patrol identified the motorcyclist as 21-year-old Andrew James Neuberger of Minneapolis. According to a GoFundMe set up for the family, Neuberger is the oldest of seven children.
What led up to the crash remains under investigation.
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