Gotta Make Polls for the Polls I Make - ILM HUSKER DU POLL RESULTS

There's a great oral history on the '80 Minneapolis scene by Magnet, but the Hüsker Dü parts do get uncomfortable in how contentious they are:

https://magnetmagazine.com/2005/06/12/a-tale-of-twin-cities-husker-du-the-replacements-and-the-rise-and-fall-of-the-80s-minneapolis-scene/

For example:

Norton: When Bob said we were going to do the individual songwriter credits, I thought it was just Bob being pissed off at Grant, not realizing I was the only one who thought the songs the three of us worked on were collaborations. I mean, it said, “All songs by Hüsker Dü.” Bob went back and changed it, so he got all the money.

Hart: Bob can stink up a room without saying a word. The guy has an intimidation factor that’s exponentially greater than anyone I’ve ever met in my life. He can loathe you through a wall. Bob had all of this contempt. It was like, “Why are you in a band with me if you fucking hate me so much?”

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Mould: When David committed suicide, that was the beginning of the end. Everyone sort of retreated into their own corners and dealt with that in their own particular ways.

Hart: That makes a great fucking story. Bob, I’m sorry your friend died and everything, but you’re still a prick.

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Hart: Bob said, “It’s up to you, Grant. Should we go on and play, or do you just want to head home?” And I’m like, “Hell, man, let’s go play.” “Well, Grant, we already canceled it.” “OK, so you wanted to give me the fucking opportunity to think you gave a fuck.”

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Norton: I was pissed off at Grant. I was pissed off at Bob, too. It got to the point with Bob that I realized I had nothing in common with him. It was obvious he didn’t give a shit about me anymore, so whatever. It was fine.

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Norton: Grant would say he quit the band in December when we were on the last tour. Then Bob got himself a lawyer and had himself removed from the contract. So according to Grant, he broke the band up. According to Bob, he quit the band. Bob would probably say he fired me. Leading up to when Bob withdrew from the contract, I had had conversations with him about me and him keeping the band together with a new drummer. At the same time, Bob told Grant, “Let’s you and me keep the band going and kick Greg out and get a new bass player.” Basically, it comes down to this: Who do you believe? I don’t doubt Bob had plans for a solo career and this was a great time for him to get it started.

(I should add, this was published in 2005, when relations between all three were probably at an all-time low.)

I'm essentially hate reading this thing at this point, but gah, when he hits his pro wrestling writing stint, or dalliance with electronic music, or the death of his fucking dog, he just becomes even more insufferable. He's always right, only he knows what's going, all he's doing is the right thing, why do other people keep messing it up? He alludes to the lawsuit Hart and Norton tried to file to get the SST rights:

I offered to pay for the lawsuit, but in return Grant and Greg would have to stay uninvolved so that I could sue SST myself without encumbrances, changes, or midstream indecision. I had Josh Grier draw up an offer for a one-time payment of $15,000 each to Grant and Greg. As ever, they would retain co-ownership of the Hüsker Dü name, but would be silent partners in this lawsuit.

I didn’t care about the name Hüsker Dü, nor holding sole ownership of the SST catalog. I had, and still have, no interest in the name Hüsker Dü or in recreating or revisiting that part of my life. But while conducting research for this book, I found and reviewed the document, and it most certainly appeared as if I was trying to buy them out. And yet it meant so little to me that I’d forgotten about it until seeing the document.

Yeah, no shit, Bob.

Always wondered what Gibby Haynes meant when he said "he went all Bob Mould on me"