#H’ART

[dutchjan]

October 06, 2023

[victorysp]

At the H’ART Museum, Queen Máxima (UNSGSA) spoke with Robert Swaak, CEO of ABN AMRO, about the role of banks in developing financial products and services that contribute to financial health and meet people's needs. October 10, 2024.

📷 Royal House of Netherlands

[loop-deloo]

no idea what album thing that anon was referring to but BOY DO I HAVE RECS:

hopping off their billy joel talk, MY personal favorite bj album is glass houses. some of his best work, everyone’s a banger. i feel like i have some credibility here being from long island, so i have many opinions about our boy billy and their all right.

other albums hmmm. i LOVE the kink’s village green. mystery jet’s twenty one is one of the best early band albums out there, the shit that they pulled being so new is INSANE. also the doors’ soft parade.

one of my favorite albums of all time has to be the lemon twigs’ go to school. it’s an experimental musical about a chimp raised by humans who experiences culture shocks and it’s insane. those boys are my everything, THE THEORY. THE KEY CHANGES UGHHHH

what else what else uhhh talking heads’ more songs about buildings and food is up there for me. moondog’s h’art songs. PAUL MCCARTNEY’S RAM THAT’S THE ONE THAT’S IT.

kinda went off oops my bad. these are just some off the top of my head 🤪 anyways love you let me know if you take a listen i love music talk <333

ok claude you sent this like a month ago, i’m so sorry. it takes me SO long to listen to albums bc i have to listen at least 5 times to be confident that i’ve actually listened to most of it. i get distracted :/ i’m sorry. anyway. i am very much working my way through

here are my thoughts so far but i’ll keep going later.

you definitely have lots more authority than me i’m from philly. tell me more opinions on bj though i’d love to hear. i think i was like a solid 8/10 on glass houses. good story. fantastic work album listened to it for most of the day while i organised boxes of pipette tips and inputted hours of mind numbing data oh my god. also some bangers for cleaning the kitchen. i liked you may be right (kitchen dancing). honestly i liked all for leyna even though it was giving slightly musical theatre vibes. just. solid. and erm also v much enjoyed sleeping with the television on. c’etait toi was very sweet and the smooth voice mm, his accent threw me off a bit but that’s my problem. and close to the borderline was a good second-to-last always brought me back when i’d zoned out. did catch myself singin along when my coworker came in the back room where i was which was. er. we’ll oh well (i can’t fucking sing).

ok i have to go now but i’ve been alternating village green and twenty one in the shower (i lost the songs a lot in here so my thoughts are really jumbled and half done but i’ll write me down soon) and making my sister play doors n lemon twigs in the car. bops. i drive in a car like maybe once a week though so it’s slow going. i will sit perhaps soon and report back.

jesus that was a lot. oh welll. there’s more coming ;D

p.s. thank for this message it’s been making me happy when i come back to it.

GIVE ME MORE (not just putting this on claude. all of u come broaden my horizons pls)

[ingek73]

Hmm..

In the Netherlands the van Gogh museum had(has?) an interesting exhibition of different methods used for drawing/printing etc

The nearby Rijksmuseum has these handouts in fhe Honour Galery which tells you more about the painting and what to look out for. They also do a great guided tour for 7.50 which shows you several highlights and you hear more information

My favourite though was the Hermitage, now H’art, and their audiotour*. During the an exhibition you could have more info of the artist, a story about what is depicted in the painting (‘my brother Joseph..) or a song to have music ehilst looking at the painting. On an earlier exhibition, about Greek mythology, they also asked schoolchildren ehat they thought the paintings/statues were about which gave some great insights!

*)audiotours are generally great, esp. the ones where you can choose extra info

Btw Science Museums and National History Museums are different arent they?

I would be very interested in hearing the museum design rant

by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat

so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.

meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)

with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this

(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)

i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).

even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.

oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!

or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.

also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.

tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?

also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!

[magheteenonsjeminderzijn]

Om 9.25 lopen we de deur uit zodat we rond 10.30 arriveren bij de Hermitage. We hebben vrijkaartjes van de Vriendenloterij om naar de open dag te gaan en dan kunnen we naar H’ART Museum, Amsterdam Museum en Museum van de Geest. En het H’ART is de Hermitage.

Snel een kiwi gegeten en een zakje yoghurt mee. Na de ervaring van gisteren eet ik maar even geen crackers. Ik kom veilig en schoon aan bij de Hermitage 😅

We zijn zeker niet de enige genodigden dus we moeten in lijn wachten tot het onze beurt is om te registreren.

We beginnen echter niet in de Hetmitage blijkt, we zitten opeens in het Amsterdam museum 😅 Voordat we naar binnen gaan drink ik mijn zakje yoghurt leeg.

Achteraf gezien vind ik dit ook het leukste museum. Daarna gaan we door naar het H’ART museum oftewel de Hermitage. Er is een tentoonstelling over Julius Caesar.

Vooral de korte film over hoe hij vermoord wordt vind ik mooi (zegt wellicht wel iets over mij). En dan hebben we nog Museum van de Geest. De tentoonstelling gaat over de tweede wereldoorlog maar dan met name hoe psychiatrische patiënten werden behandeld. Niet al te best kan ik je vertellen.

Na de 3 musea lopen we naar de Kerkzaal voor de gratis koffie/thee en een muffin. De muffin is voor Marcel, ik hou het op een kopje thee.

Rond 13.15 zijn we weer thuis. Marcel zet mij thuis af en hij rijdt zelf door naar TICA. Ik gooi alles in de pan voor een broccoli spinaziesoep en terwijl het kookt ga ik snel naar AH om de boodschappen te doen voor de komende 2 dagen.

Bij thuiskomst pureer ik de soep en eet ik meteen een kommetje soep leeg. Het ziet eruit als die vieze drankjes van het begin maar het smaakt prima. Nog 1 portie over, dat gaat de vriezer in. Nog een gekookt eitje toe en ik ben weer klaar met de lunch.

Even uitbuiken en dan is het tijd voor mijn halfuurtje loopband. Lekker zweten maar toch weer gedaan. Mijn auto doet de laatste paar dagen raar bij optrekken. Het lijkt of ik constant in de verkeerde versnelling rij. Dus ik heb gevraagd aan Marcel om ook eens met mijn auto te rijden zodat hij ook kan voelen wat ik bedoel. Marcel krijgt de auto niet gestart 😅 Die denkt dat het wellicht de accu is maar ik denk zelf dat het iets is met de versnelling/koppeling. Marcel belt de ANWB. De monteur krijgt de auto meteen aan de praat 😅 maar gaat wel een rondje rijden om te kijken wat ik bedoel. En idd het is een versleten koppeling. Natuurlijk, dat kan er ook nog wel bij deze maand!

Maar kijken of Jos het kan repareren en dan kan hij meteen de APK doen want dat moet ook binnenkort gebeuren. Beetje vervelend met de 2 dagen kantoor die ik heb komende week. Morgen zet Marcel mij af bij het busstation en hopelijk haalt hij mij ook op.

Morgen wordt ook de nieuwe vaatwasser bezorgd 🎉 Daar ben ik wel blij om want dat afwassen en afdrogen en de rommel in de keuken dat vind ik maar niks. Marcel heeft vandaag de vaatwasser vast losgekoppeld. Er kwam nog behoorlijk wat water uit want de vaatwasser hield er natuurlijk mee op tijdens het spoelen.

Marcel zijn telefoon is tijdens het ontmantelen op de grond terecht gekomen. Marcel had dat niet meteen door dus dat ding heeft een halfuur in het water op de grond gelegen. Het ziet ernaar uit dat dat niet prettig was voor de telefoon want die vertoond kuren. Dat zou dan grote uitgave 3 worden deze week 😅

Ik eet nog een bakje kwark en rond 16.45 vertrekken we naar Frank en Ditte. Lekker gegeten ( courgettesoep, gegrilde groenten en veel salade), gezellig gekletst en qwirkle gespeeld. Om 21.45 uur weer huiswaarts gegaan. Over 2 weken zien we ze weer, dan gaan we een weekend naar ze toe als ze in Roodkapje zitten, het vakantiehuisje van de hele familie in Ommen.

Na thuiskomst even lekker gedoucht en daarna vast voor Marcel het eten voor morgen gemaakt (fussili Rosso).

[genelvavirtualstudio-blog]

Lydol Réinvente Ancien Combattant de Zao en Un Chef-d'Œuvre Gospel Acoustique : Na So E Dey

Contexte Historique et Réappropriation Artistique Originaire de l’Ouest du Cameroun, Lydol, slameuse au talent inégalé 🎤, revisite brillamment “Ancien Combattant” dans un clip captivant dirigé par H’ART Stories. 🎶✨ Explorez avec nous cette reprise magistrale et plongez dans l’univers musical unique de Lydol ! 🌟 #LydolSlam #AncienCombattantRevisitée 🎵🔥 …De Ancien Combattant à Na So E…

[antonio-velardo]

Antonio Velardo shares: After Cutting Ties With Russia a Hermitage Museum Outpost Rebrands by Nina Siegal

By Nina Siegal The Hermitage Amsterdam broke away from its St. Petersburg mother ship and will now be called H’Art Museum, presenting works from the Smithsonian, the Centre Pompidou and the British Museum. Published: June 26, 2023 at 05:30AM from NYT Arts https://ift.tt/AvaMwr1 via IFTTT

[mollyclaudeteam]

H’art of the Day Full house by @alicatart #ottawa #ottawaart #ottawaartist #ottawarealtor #yow (at Molly & Claude Team, Ottawa Realtors) https://www.instagram.com/p/CoXkvmZOm6X/?igshid=NGJjMDIxMWI=

[stranger-chichka]

"Never Surrender" by Corey Hart ("heart" without an E)

Next weekend = in a week = 7 days; ten hours. Each day of covering costs 10 bucks; another week = 7 days; goddamn Nintendo. The week is long.

"Just a little uncertainty can bring you [upside] down"

"And nobody wants to show you how"

“Wall of H’arts” by Alison Fowler behind El's back (credits to @doriandrifting). Hearts without an E. And one more cool detail - the actress who plays Vickie is most famous for her role in the show called "Anne with an E."

"And if your path won't lead you home You can never surrender"

"And when the night is cold and dark You can see, you can see light"

"Cause no one can take away your right To fight and to never surrender"

[yukinotrinko]

Ana Roxanne

Album: 『H’art Songs』 - Moondog 

Moondog Memory

　A memory that springs from hearing H’art Songs by Moondog is when I was living in Minneapolis, Minnesota from 2008 to 2011. I had dropped out of a jazz school in rural Iowa I had been attending for 3 years, and decided to move to Minneapolis instead of back home to California.

 Minneapolis seemed like a more interesting place than my home to me and I was enjoying finding my own path away from where I grew up. But also I was feeling quite lost, in my early 20s, trying to figure out my life, living in a strange town away from family and everything familiar to me.

 I was taking music classes here and there but not fully in school at first in Minneapolis. Spent most of my time working at a coffee shop and playing bass in a prog-rock/math band. I was mostly playing music with other people and not really writing anything original. I would contribute with the writing process here and there with my band, but in the end it wasn’t really my project. I wasn’t sure how to write music of my own, having been to jazz school as a singer and not too proficient at piano or other instruments. I wasn’t sure if I even had the ability to write my own music.

 I think most of my conflicts at the time were based on not feeling as though I belonged. I had moved there, knowing a few friends but the majority of my experience in Minnesota felt quite lonely. I think there is something about the weather in combination with small town culture that makes people stick together in cliques and not really branch out to newcomers. I also struggled with not really having direction, and felt pressure to find a “real” job, both internally and probably from my parents.

During my time there I would often spend afternoons in bookstores, collecting poems and excerpts from books here and there. Whenever I read something that inspired me, I would write down a quote in my journal. I followed this same practice with music and lyrics. I recall sitting in a bar by myself, maybe waiting for friends to arrive, writing out the lyrics to "High on a Rocky Ledge," as I listened on my headphones. It was loud, but I was able to tune things out.

 This was the first album by Moondog I had ever heard, and probably the first example of music from this particular lineage of avant garde music (before I knew what avant garde meant) that I came across. What I love about the album is its simplicity as well as its earnest, positive and tender lyrics. From beginning to end, I think this album is really wonderful. “Do Your Thing” is an inspirational anthem, encouraging confidence in one’s individuality. “I’m This, I’m That” is a sweet little tune that reflects on the duality of human nature. But the song that has stayed with me the most from this album is "High on a Rocky Ledge." If I were to make a list of the best love songs ever written, this would be in the top 5 or 10 perhaps. I think this song is one of those love songs that crosses over into the spiritual realm. Where the love you feel for someone is on a higher plane… it is true devotion. I found the poetry of the lyrics to be so beautiful. I recall rereading them to myself, thinking what it would feel like to have that level of devotion for someone, and wishing that I could write a song like that one day. The song helped me when I was feeling down or needing some kind of encouragement. It felt, and still feels, like a perfect song.

 I eventually ended up taking a year to study early childhood education and began working with children as a way to feel grounded/stable. It was very rewarding and that experience helped me to get a job in San Francisco, so I left the midwest in the summer of 2011.

 Text by Ana Roxanne

https://popeyemagazine.jp/en/post-91462/

---------------------------------------------------------

      ムーンドッグとの思い出

　アイオワ州の田舎を離れ、故郷のカリフォルニアに戻らず、ミネアポリスへの移住を決めたのは2008年のことだった。

　ミネアポリスに移った当初の私は、たまに音楽の授業を受けていたものの、学校に入学することはなく、主にコーヒーショップで働き、プログレやマスバンドでベースを弾いていた。その時は誰かと一緒に演奏することがほとんどで、バンドの曲作りに参加することはあったけど、自分のプロジェクトのための作曲はしていなかった。

　過去にはシンガーとしてジャズスクールに通ったこともあった。でもピアノなどの楽器は特別上手くなかったから、どのように作曲すればいいか分からず、そもそも自分に作曲する能力があるかも分からなかった。

　引っ越してきたばかりの頃は、ミネアポリスの生活の方が故郷のカリフォルニアよりも���白いと感じていたし、生まれ育った場所から離れ自分の道を見つけることにとてもワクワクしていた。

　しかし時が経つにつれ、慣れ親しんだものや家族の元を離れて、見知らぬ町で暮らす二十歳そこそこの私は、自分の人生を見極めようとすることで思い悩むようになっていた。

　友人はいるはずなのにミネアポリスでの多くの経験��孤独で、私は自分の居場所がないと葛藤していた。それに人生の方向性が定まらないが故、ちゃんとした仕事に就かなければというプレッシャーを、自分自身からだけでなく両親からも感じるようになっていた。

　そんな頃、私は午後になると本屋を訪れ、いろんな本で読んだ詩や文章から心に残った文を見つければ、それを日記帳に書き留めていた。それに倣うように、音楽を聴くときもインスピレーションを受けた歌詞に出会えば、その抜粋を日記帳に書き記していた。

　あるとき、私は一人でバーの席に座り友人が来るのを待っていた。私はムーンドッグの「High on a Rocky Ledge」を聴きながら曲の歌詞を書き出している。店内は騒がしかったけど、私は騒音を無視して音楽に集中していた。

　ムーンドッグのアルバムを聴いたのはその時が初めてだった。アヴァンギャルド・ミュージックに触れること自体もおそらく初めてで、その時の私は「アヴァンギャルド」という言葉の意味さえ知らなかった。 

　終始素晴らしいこのアルバムの中で、私が特に気に入ったのは、そのシンプルさと前向きな優しい歌詞だ。

　"Do Your Thing "は自分の個性に自信を持つことを促す刺激的なアンセム。

　"I'm This, I'm That "は人間の二面性を反映した甘い小曲。

　でもこのアルバムの中で最も私の心に響いたのは”High on a Rocky Ledge “だった。

　もし私が史上最高のラブソングのリストを作るとしたら、この曲をトップ5か10に入れると思う。この曲はスピリチュアルな領域に達しているラブソングの一つで、誰かを愛する気持ちがより高次元にあることこそ、真の献身であることを私に教えてくれた。

　書き出した歌詞を読み返す私は、真の献身を想像しながら、いつかこんな素晴らしい曲を自分でも書けたらと願っていた。

　ムーンドッグの音楽は何かに励まされたいと落ち込んでいた私を慰め支えてくれた。

　その後、一年間幼児教育を学び、地に足をつけた生活を送るため、私は保育所で働き始めた。やりがいのあったその経験のおかげで、サンフランシスコでの仕事を得た私は、2011年の夏にミネアポリスを離れた。

Text : アナ・ロクサーヌ

[thephilosopheroftheboudoir]

Moondog

Enough About Human Rights

from the lp H’art Songs

[dutchjan]

September 04, 2023

[cricketpress]

Our poster design for the now canceled 2020 H’Artful of Fun.

Thanks pandemic!

[dustedmagazine]

Listed: Flat Worms

Flat Worms—that’s guitarist Will Ivy, drummer Justin Sullivan and bass player Tim Hellman—arose out of a fertile LA punk scene in the mid-teens. Band members are well-connected, having put in time with Sic Alps, the Ty Segall Band, Kevin Morby’s band and Thee Oh Sees, and Segall has helped record all three of their albums. But for their latest, Antarctica, Steve Albini was enlisted to give their dystopian Fall-esque rants an extra vigor. In her review, Jennifer Kelly observed, “The sound is harder, more precise and altogether more of a sock in the gut.” All three members of Flat Worms contributed to this hard-hitting Listed.

We decided to share some of our “van favorites” from being on tour. Here are our picks.

Tim:

Moondog—H’Art Songs

A semi-straightforward 1979 release from the Viking Of 6th Avenue. “Do Your Thing” and “High On Rocky Ledge” are beautiful standouts.

Bill Evans/Jim Hall—Undercurrent

Music to soothe souls even in the most relentless metro traffic.

Various Artists—BMN Ska and Rocksteady: Always Together 1964-1968

A wonderfully curated comp that keeps the spirits in the van elevated.

The Wire—Complete Series

The greatest tv show. 60+ hours of your life worth sacrificing, especially if those hours are tour van hours.

Justin:

Billie Holiday—Lady Day: The Complete Billie Holiday on Columbia

This is my favorite thing to put on after a show or for any night drive on tour.

Sam Cooke—Ain’t That Good News

Any and all, always. Though on the last European tour we did in June 2019, the Ain’t That Good News album was a definite van staple.

Will

The Fall—Hex Enduction Hour

The Fall is a Flat Worms mainstay, so I felt they had to be included. I remember listening to this one driving out of Leeds on one tour.

Dirty John Podcast

We listened to this podcast on a tour of the southwest we did with Ty Segall and the Freedom Band. We were so gripped by the story we were actually excited to get back in the van every day.

Simon Reynolds—Rip It Up and Start Again

This was a great read and gave me a lot of excellent context and stories about a lot of post punk bands and records I love, as well as exposing me to new bands or re-introducing me to bands I hadn't spent much time with previously.

Joe Carducci—Enter Naomi: SST, LA, and All That...

Another great musical tour read. The story of the life of resident SST photographer Naomi Peterson, with a lot of great SST history. Includes a lot of great flyers from shows during that time and photos by Peterson.

[scorrigan]

Does anyone else remember on saturday morning cartoons they would put the Looney tunes first at the ungodly hour of like 6:30 or 7am because the cartoons were old and had no advertising dollars attached, and the first thing you would see as you raced to the wood paneled TV console was

OVERTURE! CURTAIN, LIGHTS! THIS IS IT! TONIGHTS THE NIGHT! THERES NO MORE CURSING, REHEARSING THE PART! WE KNOW EV’RY PART BY H’ART! ON WIT’ DA SHOW THIS IS IIIITT!!!”