"I think it really helped set the tone of inclusiveness," she says.

"People that had been nervous before, there was this sudden feeling of being emboldened."

"I have always pointed out the fact that punk really grew in Chicago out of queer culture," says Oz owner Dem Hopkins, who booked the bar's bands and briefly managed the Effigies. Nancy suggested Clancy host a punk night at O'Banion's, and enlisted Ellis and another La Mere doorman, Bob Bell, to help make her case.

Hopkins ruffled more feathers when he ditched the Greenleaf's name for Oz, shortly after La Mere burned down.

(Fox helped so many folks he knew from La Mere move in there that he nicknamed it the "punk-rock dorm.") Hopkins also co-owned queer hiring agency Lend-a-Man, but because his business partner, Dick Nielsen, oversaw day-to-day operations, Hopkins could focus on the Greenleaf.

"They're inextricably linked," he says. "I was like, 'Why do I have these?' "I had some drag queen threaten to slice my throat open 'cause I wouldn't let him in—he didn't want to pay the buck-fifty, two-buck cover charge." Ken Mierzwa was a student at Northeastern Illinois University when he discovered O'Banion's in summer 1978. That stopped being an issue shortly after the bar became Oz—the punks were happy to fight back. O'Banion's changed that. Late Bar draws goths, arty types and indie music fans with a playlist of punk, goth, rockabilly, soul, reggae and new independent releases.

Rapchak couldn't make it—she'd been juggling DJ gigs at lesbian bar Marilyn's and gay bar Sunday's. The club was already a punk hot spot by the time Ralph Paul O'Banion's booked Minor Threat, Hüsker Dü, and Dead Kennedys. Here we present the best of the Chicago goth scene: Many of those bands contributed to a live 1981 compilation album recorded at Oz's third and final location, called "I would refer to it like the summer of love, punk style—it's exactly what it was like. They were just intelligent people that were fun to talk to—bias never had a chance to get started, at least in the crowd that I moved with in those places, because it was not why we were there.

"We were a total island there," Hopkins says.

The scene hadn't yet developed a "look," so the models dressed however they pleased; Miglio wore a parachute fitted to his body like a hooded cassock, with scraps of raw meat sewn to the front. Hopkins also kept Oz's staff majority queer. By that spring, Boudreau and Wroblewski were already struggling to stay in the black at La Mere Vipere. With “The Dutchman” and other widely recorded songs, he created emotional realities that let you feel along with his characters. Late Bar draws goths, arty types and indie music fans with a playlist of punk, goth, rockabilly, soul, reggae and new independent releases. I thought that was a great thing, but at the time, the queer bars were very segregated. "I lifted my leg and tried to pee on Beluga, so I got fired," he says.

The shop's gay disco fans didn't seem to mind punk.


Letiecq remembers that the Effigies were asked to play a fundraiser to help keep O'Banion's open. By viewing our video content, you are accepting the terms of our DJs reigned supreme at La Mere, though the nature of the music made their jobs unusually taxing.

"Eventually, we put a little platform in."

How a doughnut-shop parking lot became a confluence of Chicago youth subcultures—and what killed it off In the mid-1970s, Dem Hopkins paid around $10,000 to buy a Rogers Park gay bar called the Greenleaf, where he was already bartending. "But gay culture and gay clubs always said, 'The DJ is a very important fixture.' "It was paradise," he says.
And though it might seem too on the nose to be true, Fox swears the song that brought him into La Mere was the Sex Pistols' debut single, "Anarchy in the U.K."

"One of the things I always remember is when Jeanne looked at me and said, 'Oh my God, look around, we're the kids nobody wanted to be friends with in high school—we're the misfits,'" Ramel-Hoeksema says.

During the Iran-Contra hostage crisis, Oz promoted a themed party with a satirical window display at the Wax Trax! Photo: Take a trip west to the Avondale neighborhood for this nightspot.

As Hopkins tells it, Chicago police were largely indifferent when the Greenleaf was the target of abuse, but once the bar went punk, they took an unwelcome interest in it. "It was a place we could go, that we could play, that we could do whatever you wanted."

Hopkins packed the Greenleaf's jukebox with glam and added Ramones and Sex Pistols records as he found them. It's cool.'" They took out an ad in the

Rivers was bartending at La Mere when he pitched Boudreau and Wroblewski the idea of hosting a punk night. your own Pins on Pinterest "I thought that was the nicest thing anyone could say to me." He said, 'Punk rock, man. Shanahan noticed the prominence of the DJ booth, which sat in an elevated box on the west wall of La Mere's lower level.

If there's anything to learn from the new Fat Boys reissue, it's that funny rappers aren't necessarily unserious At first the punk scene coalesced around records and DJs, not shows—at the time, clubs booked mostly cover bands, and hardly any local punk bands existed yet anyway.

After the fire at La Mere, Rapchak broke into the burned-out building and took some keepsakes, including a few melted bottles. He remembers deliberately annoying dancers with "Ska Wars," a 12-inch ska cover of the

La Mere's first punk night didn't cause much commotion in Chicago's mainstream gay community, to the extent that anyone noticed it at all.

If so, this list is for you. On a Sunday night in August 1977, Fox and a couple friends were walking north on Halsted Street in Lincoln Park when someone opened the front door of a squat A-frame nearby and a burst of noise rushed out. One thing dancers did need, though, was stamina.

Because it was already a welcoming space for people cut off from the mainstream, it made a natural home for a fringe subculture with queer roots.



People out in front listening."

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