The Minutemen - Double Nickels On the Dime

THE PEOPLE WILL SURVIVE.

The Minutemen made a double album unlike any other with Double Nickels On the Dime - and they did it completely by accident.

D. Boon: guitar, lead vocals

Mike Watt: bass, lead vocals on "Take 5 D," "Dr. Wu," and "The Politics of Time"

George Hurley: drums

Guests: Dirk Vandenberg, Joe Baiza, Joe Rocknowski; guitar on “Take 5 D”

Produced and engineered by Ethan James

art by Dirk Vandenberg

Side D

The Double Nickels On the Dime cover is deceptive. At first glance it looks like a Norman Rockwell, a clean-cut kid behind the wheel of his car. But the harder you look, the goofier it gets.

The title “Double Nickels On the Dime” is part-slang, part an elaborate in-joke devised by bassist Mike Watt. “Double nickels” was slang for the standard freeway speed limit: 55 miles per hour. The “dime” is the Harbor Freeway, AKA Highway 10: where you get off to go to the Minutemen’s hometown of San Pedro (pronounced “Peedro,”) California. The Minutemen’s “double nickels on the dime,” however, is a spoof on Sammy Hagar’s “I Can’t Drive 55.” The guys thought the sentiment behind this song – not breaking the speed limit – was just the lamest and most un-rock-and-roll thing ever. So they took the piss.

Shot by friend of the band Dirk Vandenberg, Mike Watt is behind the wheel of his 1963 Volkswagen Beetle under the San Pedro sign on the Harbor Freeway. It’s out of focus, but if you look hard at the speedometer, Mike is driving at exactly 55 miles per hour to spoof Hagar. But since he was going 55 miles per hour, his face had to be in the rear view mirror, Dirk needed the daylight, and they had to be lined up with the sign, it took two whole days of driving and four passes on the freeway to get the shot! (Thankfully, getting the photos of George Hurley and D. Boon for the back cover was much easier.)

Pictured: Double Nickels On the Dime verso, with drummer George Hurley (L) and guitarist D. Boon (R)

Side Mike

As stated by the de-facto narrator of today's story, the inimitable...okay maybe Thurston Moore can do it pretty well…the mostly inimitable Mike Watt,

“It doesn’t seem like anything got out that was understood by people easily. From our name to the records to our songs, it all got twisted up.”

quoted from: We Jam Econo: The Story of The Minutemen (dir. Tim Irwin, 2005)

“...to really know about us, I guess you have to ask about us.” That’s exactly what I did after watching a video by Robert’s Record Corner last year, in which he listed Double Nickels On the Dime as his favorite double album of all-time. Seeing as his top three was rounded out by Exile on Main St. and Blonde on Blonde, I knew this guy knew ball. I had to ask, “If this record is so important and so good, how haven’t I heard of the Minutemen? As put by Michael Azzerad, “They were the band that was good for you, like dietary fiber. The only thing was most people wanted a cheeseburger instead.”

Thankfully, I’m a vegetarian. So I asked, “Who are these guys?”

I know I’m skipping way ahead in my usual format, I usually save lyrical analysis for the back half of my reviews. But the Minutemen answer this question for us, right here on this very album. Understanding who these guys are and how they work is essential for understanding their work and why Double Nickels is the way it is. Simple and sweet, the side two (or “side Mike”) closer, History Lesson Part 2, is the ballad of the Minutemen.

“Me and Mike Watt, we played for years.”

The Minutemen were built on the childhood friendship of guitarist D. Boon and bassist Mike Watt, with the working-class neighborhood of Pedro in the backdrop. They discovered rock-and-roll together; Mike introduced Boon to Cream and the Who. They discovered classical texts together, they were history nerds together. And as they pored over shared issues of Creem, they discovered punk rock together.

“Punk rock changed our lives.”

Discovering groups like Richard Hell and the Voidoids, the Clash, and Wire was a watershed for the budding Reactionaries. They didn’t really become the Minutemen until the addition, departure, and re-addition of surfer-turned-drummer George Hurley. They’d gradually built from playing untuned guitars (Mike didn’t even know a bass guitar was its own instrument, he was playing a guitar with two strings missing!) to cover songs. But punk blew the lid off everything they were doing.

Sharing a space with Black Flag also profoundly affected their music. Among the Black Flags, Husker Dus, Meat Puppets, and Saint Vituses on SST, the Minutemen were truly unique for a hardcore band. Mike described, “When you play with a band like that, you don’t want to sound like them. If they were going to play that fast heavy metal, then we couldn’t do it. So we got this other stuff going.” The “other stuff” in question were touches of funk, jazz, and the country music Boon grew up with. The Minutemen were a “hardcore” band, yes. But their eclectic style far transcended the label. You know how Turnstile are hardcore? The Minutemen were the original hardcore band.

“We were fucking corndogs.”

The Minutemen were no Joe Strummers or Richard Hells, or even Black Flag. They did not look “cool” and they did not play “cool” music. They weren’t accepted by the hardcore scene or the punks. They got banned from the “cool” venues like the Whiskey. “Hollywood shut us out,” Mike observed. “We were forced to make things happen.”

“Mr. Narrator, this is Bob Dylan to me!

My story could be his songs.”

As far as writing goes, the only “giant” that really spoke to Mike was Bob Dylan. “(He) was probably the only person who I listened to the words in the Seventies.”

“Our band could be your life.”

This lyric is an expression of the all-encompassing message of the Minutemen, a phrase that almost precedes them: we jam econo. This one of many, many Mike Watt-isms you’ll encounter in this piece – econo (pronounced “eeconno,” spiel, (), boozsh. The guy has a lexicon like few others on the planet.

We: this was a democratic band. As put by Corporate Rock Sucks: The Rise and Fall of SST Records author Jim Ruland, “Although there were times when all three members wanted to steer the ship, there were no rock stars in the Minutemen.” For example, if Mike wrote himself a really complicated bassline, he’d have Boon sing the lyric. It wasn’t “my” song so much as it was “our” song.

A jam is what these guys call a song. Not a “jam” like we’re used to on this series, not by a long shot! We’re talking minute-long, if that, bursts of energy and sideways wisdom.

Econo is the ultimate philosophy of the Minutemen. Self-sufficiency and self-efficacy. It comes from the band’sworking-class background: they all came from blue-collar families and held day jobs. It’s how they communicated through their music. Econo is short, sharp, stripped-down, efficient shit. It’s political. This mindset was a reaction to Reagan-era America. Joni Mitchell said something like, “The sixties were about saving the world, the seventies were about helping each other, and the eighties were about helping ourselves.” I love that quote because it shows even the so-called “artists for the people” were becoming capitalists. Yoko Ono was casting her works in bronze. Andy Warhol had a big corporate office decked out in that horrendous mid-eighties pink linoleum tile. It’s a world away from the counterculture of the now, the Minutemen.

Econo was a reaction to the state of music in the mid-eighties. Their signature jagged sound was “a metaphor for the kind of alertness required to fight back against the encroaching mediocrity” (of rock music,) according to Azzerad. “Short songs not only reflect a state of dissatisfaction and noncomplacency; they simulate it.” Econo isunpretentious, occasionally having friends of the band guest-write lyrics. And of course, econo is budget. These guys were not rolling the high life. They were borrowing Black Flag’s van and cutting holes in the dash to let air in when the piece of shit van’s catalytic converter inevitably died!

You can record econo; take no less than twenty minutes in the studio, spend no more than $1,500, mix in a day or two, and it’s done. Touring econo consisted of crashing at people’s houses, driving their own van, and being their own roadies. Econo was how they dressed. Mike’s flannel shirts an ode to one of his heroes, John Fogerty of Creedence Clearwater Revival. Boon wore wack shoes just because. For the Minutemen, “jamming econo” wasn’t just how they worked. It was their way of being.

“You could jam econo on your job, in your buying habits...You could take this particular approach to music and apply it to just about anything else you wanted to. You could be beholden only to yourself and the values and people you respected. You could take charge of your own existence.”

quoted from: Michael Azzerad, Our Band Could Be Your Life: Scenes From the American Indie Underground 1981-1991 (2001.)

In short, this band was their lives. “Our band could be your life.”

This brings us to around late 1983. The Minutemen are on – and working for – their label, SST Records. It’s shaping up to be a big year for SST; with releases by Saint Vitus, Black Flag, The Meat Puppets, and Husker Du all on the roster. The Minutemen had a whole album’s worth of songs ready to go. They cut it back in November with producer and engineer Ethan James. It was done in in typical econo fashion: recorded in one session, mixed in one day, and it was done. But once they heard what Husker Du had gotten up to – double concept album Zen Arcade – the Minutemen scrapped their project. “If Husker Du can do a double album, why can’t we?”

Because the guys already had twenty-something songs, what became Double Nickels On the Dime was a “concept” album in the loosest sense of the word. Take-no-shit opener D.'s Car Jam/Anxious Mo-Fo starts with an engine revving, each side opens with an engine, and closer Three Car Jam is, well, three cars.

In about a month, a twenty-something-track album (remember, these guys average like a minute and ten seconds per jam) swelled to over forty tracks. George remembered,

“Remembering 46 songs for a record is kinda crazy! It took us a long time. I think about a week or two.”

quoted from: We Jam Econo: The Story of the Minutemen (dir. Tim Irwin, 2005.)

Well, I guess two weeks is an eternity in Minutemen time!

What else inspired this prolific output? A pretty unlikely text. Around the time the guys recorded Double Nickels, Mike had read James Joyce’s Ulysses; infamous for being a book people say they’ll read, but never finish. Ulysses spoke to Mike because, in his eyes, it was a book about everything. “And in a way, the Minutemen were trying to do the same…the whole world, the history, the future, what can be, could be, would be, what might have been.” It’s low culture meets high art. The original Warhol banana, if you will. This notion that art could be both is the thesis of Double Nickels.

The second leg of the record was cut in one more session in April of 1984 at Radio Tokyo in Venice Beach. This, too, was econo through-and-through; recorded on 8-track, mixed in one day, and cost just $1,100 to record total.

Pictured: the Minutmen playing Project Space in Eugene, Oregon (photographed by Hank Trotter, 7/3/1984)

The album didn’t really become what it is until the guys sat down to sequence it. Instead of consulting with a producer or the record execs for a perfect track listing – remember, the guys sitting at the board room table were the same guys driving the van – they did something positively democratic and unique.

If you’ll remember from our excursion through Pink Floyd’s experimental period last summer, each of the guys got about twelve minutes’ worth of run time on the studio record of Ummagumma for their own material. Results varied, with highs as high as “The Narrow Way” and lows as low as “Several Species.” Each Minuteman got to sequence “their” side of the record. All the song titles were laid out on a table “like a potluck, and each member took turns selecting his favorite dish until his plate was full.”

“Wait, so if there’s two sides of a record, three Minutemen, and a double album has four sides, what happens to the fourth side?”

Well, that side of the record is called “Chaff,” Minuteman slang for crap. It’s the leftovers. All the songs no one picked!

In taking up the friendly challenge from Husker Du, Double Nickels On the Dime was unlike any other album the Minutemen ever made – and completely by accident.

Side George

Double Nickels On the Dime produced a very unique challenge for me. I’ve encountered this on a smaller scale before, but nothing like this! Considering the sheer amount of material here – a whopping 45 tracks – there was no way I could do my usual track-by-track breakdown format without it getting tedious and repetitive. So I’m executing what I now call the Mellon Collie defense: fleshing out major points with specific examples from the track listing, focusing on my favorite jams. Why bog this thing down by being tedious and repetitive? This is the spirit of Minutemen I’m channeling here! This is econo!

But before that, I have to talk about the utter fucking experience I had with Double Nickels. I typically listen to the album while I write about it. This is what I call passive listening; all the everyday listening that isn’t sitting down with the express purpose of writing a review. It’s what gets the music in my ear. I could not do that with Double Nickels! Everything, from Boon’s unbelievably trebley guitar, to the busy bass and energized, precise drums with lots of toms, the everyman voice declaring “I am fucking overwhelmed!!” “I must look like a dork.”and “We were fucking corndogs,” all the forms and shapes and statements was complete overload. I have to admit, I see what Azzerad meant by the Minutemen being the healthy shit while most people want a cheeseburger. Double Nickels doesn’t just get in the ear, it fills the ear. It demands your attention. I was fucking overwhelmed! I saw the track listing go into the forties and just about had a panic attack!!

Once I calmed down and found my footing, man, I had fun. The music is fun and the writing totally embodies the one thing I love about rock-and-roll: the human element.

The music, to begin with. Since there’s like no space on the record between songs, Double Nickels is accidental prog. It reminded me a lot of my experience with the equally fearsome but much harder to pin down Trout Mask Replica. (In what world do I find Trout Mask a source of comfort and familiarity? Apparently this one!) I hear a lot of Beefheart in Boon’s vocals. Every line is delivered with utter conviction and a fair amount of beet-faced sweat. Both albums feel like a yarn ball of music. Everyone’s playing random shit on top of each other. Think of the shock of the first few bars of Viet Nam before it gets into the angular groove, or the back half of “Take 5 D.” Tell me that’s not a Trout Mask outtake!

But it’s not “just random shit.” The music is, in fact, written and rehearsed to be this way. These guys are accomplished musicians. Someone in We Jam Econo, I forget who, described how Boon could plow through a crowd of people like a linebacker and never miss a lick. He was so in-tune with his instrument. Mike called this band’s rhythm section the “engine room.” Hot, sweaty, and toiling. While Boon and Mike’s friendship built the spirit of the Minutemen, Mike and George built the music. They do weird math to build positively weird equations throughout Double Nickels, but the outcome is always prime. The Roar Of The Masses Could Be Farts is George’s best playing on the record, he’s playing pockets all over the place. Add Boon’s guitar in and the Minutemen feel like way more than three guys playing. They feel like a militia. They could play nice and they could play fucking fierce; I got bodied by The World According To Nouns. It’s mathematical and menacing.

These guys can groove too, in that weird kind of Talking Heads “white people emphasis on the downbeat” way. Once you find the groove that gets you into the record – this will be different for everyone! – you can’t help but dance like no one is watching.

That’s how the Minutemen themselves moved to their music!

The Glory of Man is danceable in the way something is danceable when someone tells you you cannot dance to a song. You will find a way, and the engine room finds it. Boon’s fast riffing is a shot of energy right to the body.

In how utterly inspired the music is, Double Nickels positively human. Think about the playlists you make for yourself, right? Not the curated shit you make for other people. I have Swans and Addison Rae in the same playlist! This album combines all manner of influences, from hardcore to jazz to funk, Wire’s brand of punk, and oddball country played so fast it’s basically fucking polka. You think a song that’s a minute and thirty seconds long can’t possibly go on a tangent? Think again! There are moments like Cohesion, a wonderful classical acoustic guitar interlude, and “Do You Want New Wave or Do You Want The Truth.”

In how eclectic any given jam on Double Nickels is, I see a kinship to another punk double-album: London Calling. The Clash did punk with rockabilly, new wave, ska, and a reggae twist. Both records employ a radical approach, busting “punk” expectations while carrying some of the ethos. Double Nickels challenges the so-called punks to walk the walk. They cover the groups punks hated, like Van Halen and CCR!

“One of the reasons we play all these different kinds of musics is for them – to see how seriously they take ‘No Rules’ and ‘Anarchy.’ We throw all this soft music, folk music, jazz, et cetera, not only to avoid getting caught in just one style, but also to show them that ‘See, you didn’t want any rules…this is what you wanted.”

quoted from: Michael Azzerad, Our Band Could Be Your Life: Scenes From the American Indie Underground 1981-1991 (2001.)

Malicious compliance, if you will.

This album has the sense of humor to carry off this genre goofing – and to make a banana high art. # 1 Hit Record takes the piss out of the music industry with the obligatory “You and me, baby!” hook and lyrical slop like, “Twinkle, twinkle, blah blah, blah. E! T! C!” It reads like notes passed back and forth between friends; a lexicon so convoluted and rooted in context it’d take years for an outsider to decipher. The guys can also take the piss out of themselves too, like absolute gem One Reporter's Opinion:

“What can be romantic to Mike Watt?

He’s only a skeleton

His body is a series of points”

Later,

“He’s chalk, he’s a dartboard,

His sex is a disease, he’s a stop sign!”

What a way to say he gets no bitches! “He’s a stop sign!” God, that’s good!

So, what is the grounding force of Double Nickels On the Dime? The potency of Boon and Mike’s writing. It’s Expected I’m Gone is all Minutemen: very audible bass guitar playing a deliberate, repetitive, econo bassline. George plays a sturdy, heavy-footed, funky groove. Boon is doing his Beefheart thing and his guitar cuts angular shapes. The music is typically zany, but the lyric reads like a grounding exercise in the face of uncertainty. “I can make seconds feel hours/I make certain that my head is connected to my body!/No hope, see that’s what gives me guts.” It’s an assertion of humanity.

Viet Nam invokes CCR’s slamming of the Vietnam War; urging the listener to think of the overall loss of lives in the terms of a high school math problem. "Let's say I got a number/That number's fifty-thousand/That's ten percent of five-hundred-thousand/Oh, here we are in French Indochina."

On the surface, West Germany is about the Cold War. In reality, it speaks to a very relevant feeling to our times:

“A people are battlefields,

East and west,

The lines are drawn,

How are you to live?”

We watch human tragedy play out on our screens and feel powerless to stop it.

Untitled Song For Latin America is an ode to one of Boon’s chosen causes; the liberation of central and South American countries from puppet governments installed by Western superpowers. He was a member of the Committee in Solidarity with the People of El Salvador and often had “FREE EL SALVADOR” signs with him on stage. This Ain’t No Picnic is about racism; tearing into a former boss who forbade employees from playing “black music” on the shop radio. They stand against a capitalistic music industry on Do You Want New Wave or Do You Want The Truth. Mike said, “I purposely wrote ‘New Wave’ to be a calmer one, to take us down a little bit. But it really ain’t a ballad – in some ways, it’s one of the most angry songs.” “New Wave” is about keeping artistic integrity in an industry built on squashing that spirit to make a buck. Shimmering guitar and bass and cymbal washes expand under inspiring convictions, “I stand for language, I speak for truth, I shout for history.” But it also seems to recognize how difficult it is to stand for these things when you’re the little guy. “I am a cesspool for all the shit to run down in.” I’m the one at the bottom of the pile.

Even the Minutemen’s most accessible and best-known song, Corona, is a protest song. The lyric is something like poetry. It does the absolute most with the absolute least amount of lines. Econo!! Boon wrote “Corona” about a trip to Mexico, and the weird feeling you get being on vacation while the people who live across from your hotel are living in shacks. Our narrator only has his Corona bottle, worth five cents, to offer a less-fortunate woman he comes across on the beach. “The people will survive in their environment,” thanks to their resourcefulness and kindness towards your fellow man. That’s a counterculture statement if I’ve ever heard it. The polka-country hillbilly-hardcore romp makes “Corona”’s message palatable to the ear...

...and made it the perfect theme song for the show that’s the reason kids born between 1994 and 2002 have some of the weirdest injuries you’ll ever hear about...

Above: the opening sequence of Jackass, featuring "Corona" by the Minutemen

The Minutemen have a leftist slant for sure (more than welcome in these parts,) but the core sentiment of their writing is encouraging the listener to think for themselves. Look at the world with a critical eye.

So you may be asking yourself, “Where the hell does James Joyce come in on Double Nickels?” There are nods; see June 16^th. It’s more in the portraits of an everyman’s life. In a classical art gallery, there’s a hierarchy of paintings dictating how high on the wall any work is hung. History paintings go on top: war scenes, stories from the Bible and the like. Then portraiture, with genre paintings below. Scenes of a farmer tending to his crops, or a well-built woman with flour on her cheek as she kneads bread. Double Nickels is an ode to the humble genre painting.

Pictured: Giovanni Paolo Panini, Interior of a Picture Gallery with the Collection of Cardinal Silvio Valenti Gonzaga (oil on canvas, 1749)

Not to go totally art historian again, but of my favorite cuts on the record, Take 5 D, reminds me of dada. The dada quality carries through a lot of Double Nickels songs; Mike’s schpiels (more Minutemen lingo) would be chopped up by him and Boon into lyrics. The “lyric” of “5 D,” however, was lifted from a landlord’s note about a leaky shower! Recited over bells and thin arches of guitar that sound like a fiddle, it sounds like a folk benediction. Something lowlife and gross like “don’t use shower” meets finery.

Side Chaff

The three things I will take away from Double Nickels are:

1. The fun I had shouting out Boon’s exclamations to no one in particular. Double Nickels On the Dime is a constant conversation; between the unit of the band and the world around them, and between the band and the listener. It’s a constant sharing of ideas. Once I stopped balking at the forty-something-jam-long track listing, Double Nickels made me feel welcomed into that conversation between the Minutemen. Like I was in on the joke.

2. The utterly life-affirming statements. “Being born is power,” “The people will survive,” “I stand for language, I speak for truth.” That resilience is punk as fuck. It’s the fortitude needed to be a fucking corndog in a world full of cool people.

And 3. The childlike joy I hear in the music and see in the footage of these guys playing it. Boon in particular had this childlike joy. He was a big guy bouncing around stage like a kid while people threw shit at him and spat in his face. Bouncing like a kid in your garage with your dorky best friends in the face of all that is trying to bring you down. That’s punk.

Everything the Minutemen did was utterly self-sufficient. This was a little three-man machine that, with love and a whole lot of work, could sustain itself. It was independent and equal parts overload and sharp. In the ethos of the thing, the guys show you don’t have to “look the part” or have the connections to do whatever you want to do, no matter how genre-busting or ambitious it is. You don’t have to be the protege of a world-famous pop artist, the son of a modeling agent, an ivy league dropout, or the ex-husband of a Tiffany heiress to make it. You can be Joe Schmoe from a working class neighborhood like San Pedro. Double Nickels is a mishmash of seemingly disparate elements. It’s like the clearance aisle of the big box store. All the stuff that isn’t “cool” anymore. Do it punk. Do it like the sale rack. Do it econo.

With melodic bass lines, short, sharp guitar solos, instrumentals that border on pretty, dada poetry, and Mike’s political spiels with a heartfelt biographical moment, Double Nickels should be fucking chaos. Sometimes it is a three-car jam! This thing is held together tenuously, by a “concept” little more than engines revving. But as stated by author Jim Ruland, “the effect of these disparate elements is one of convergence rather than collision.” It’s the collective spirit of brotherhood, what the Minutemen were all about. It makes you feel welcome; like you hopped in the front seat of the van they borrowed from Black Flag to hitch a ride and each side of the album is the mix tape they brought to listen to. Living in this current world that’s individualistic to a fault, I found myself so charmed by this quality. It gives you this shot of altruism to do better and do different and do you.

As our narrator Mike Watt said to Rolling Stone, “Music can inspire people to wake up and say, ‘Somebody’s lying.’ This is the point I’d like to make with my music. Make you think about what’s expected of you, of your friends. What’s expected of you by your boss. Challenge those expectations. And your own expectations. Man, you should challenge your own ideas about the world every day.” This album challenged my own ideas about what I could handle from a double album! And I’m glad I took this leap on a recommendation from a YouTube video I saw a year ago, because I couldn’t help but be charmed. Riddled with idiosyncrasies, fierce in its conviction and ambition, oddball in the best way, Double Nickels On the Dime are all the most joyous things about being totally human.

Personal favorites: “D.'s Car Jam/Anxious Mo-Fo,” “Theater is the Life of You,” “Viet Nam,” “Cohesion,” “It’s Expected I Go,” “# 1 Hit Song,” “Do You Want New Wave Or Do You Want The Truth,” “The Big Foist,” “Corona,” “The Glory of Man,” “Take 5 D.,” “History Lesson Part 2,” “This Ain’t No Picnic,” “The World According To Nouns”

Honorable mention: “Ain’t Talkin’ ’Bout Love"

– AD ☆

Watch the full episode above!

Azerrad, Michael. Our Band Could Be Your Life: Scenes From the American Indie Underground 1981-1991. New York: Little, Brown and Company, 2001.

Blush, Steven. American Hardore: A Tribal History. Los Angeles: Feral House, 2001. https://archive.org/details/americanhardcore00blus

Fournier, Michael T. 33 1/3: Double Nickels on the Dime. London: Bloomsbury, 2007.

Goldberg, Michael. “Black Flag, Husker Du and the Replacements Lead Punk’s New Wave.” Rolling Stone, 7/18/1985. https://www.rollingstone.com/music/music-news/black-flag-husker-du-and-the-replacements-lead-punks-new-wave-117690/

Irwin, Tim, dir. We Jam Econo: The Story of the Minutemen. Rocket Fuel Films, 2005. https://www.youtube.com/watch?v=HmKGusadv08

Ruland, Jim. Corporate Rock Sucks: The Rise and Fall of SST Records. New York: Hachette Books, 2022.

Smith, Stewart. “I Live Sweat But I Dream Light Years: Minutemen’s Double Nickels On The Dime at 40.” The Quietus, 7/3/2024. https://thequietus.com/opinion-and-essays/anniversary/the-minutemen-double-nickels-on-the-dime-review/