Beej Chaney

Chaney described himself as "a very angry, scared young man in high school," which he said helped give him the drive to succeed as a musician.

"[5] He and Poling moved to California in 1974 to attend art school, where they both found inspiration in the Los Angeles punk scene.

"[4] Chaney described his guitar style in a 1983 interview with Cashbox magazine as "a lot of emotion just brought through strings and a couple of pickups and a piece of wood.

"[7] With a sound that crossed the sophisticated glam rock of Roxy Music and David Bowie with the rawer energy of punk-inflected groups like Talking Heads and Devo,[5] the band found great success in Minneapolis and the Midwest, and scored radio and dance-club hits with the songs "Music for Boys", "Waiting", and "Love Is the Law".

[6] Cyn Collins, author of Complicated Fun: The Birth of Minneapolis Punk and Indie Rock, 1974–1984, described Chaney as "a riveting front man, menacing and hilarious at the same time.

[8] As part of the Suburbs, Chaney was honored with a star on the outside mural of the Minneapolis nightclub First Avenue,[9] recognizing performers that have played sold-out shows or have otherwise demonstrated a major contribution to the culture at the iconic venue.

"[13] Billboard said that the song was "bolstered by a catchy, singalong chorus" and compared Chaney's "heavily stylized vocal" to Warren Zevon.

[14] Cashbox was less positive, saying that Chaney's vocals sounded "gimmicky and dated, almost more reminiscent of Bobby 'Boris' Pickett on 'The Monster Mash'".

[19][20] Musicians that recorded there during his ownership included Weezer, Metallica, Kings of Leon, and Dire Straits' Mark Knopfler.

[3] After his death, Suburbs bandmate Klaers told the Minnesota Star Tribune that Chaney's contributions to the band were "priceless.

The Suburbs' star on the outside mural of the Minneapolis nightclub First Avenue