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peter honeyman

40 years old!

it stands up pretty well, especially branford marsalis' contributions on soprano sax, although maybe the song about reagan and gorbachev is a little dated heh

STING: the dream of the the blue turtles
#nowplaying#vinyl#vinylrecords
··Ivory for Mac
4boosts·7favorites
peter honeyman

i'm playing old rock/pop records this evening, looking to weed out LPs i never play (bc i need the space) so that i can sell them to the used record store up the street, or put them in storage if i can't bear to let go of them.

this record is actually still in semi-active rotation, side one, anyway. one of the really talented musicians from my college days

The photo shows someone holding a vinyl record album titled “Stephen Stills 2” by Stephen Stills. The cover features a profile image of Stephen Stills sitting at a table, looking out of a window with his arms resting on the tabletop. He has medium-length hair and sideburns, wearing a dark, relaxed-fit garment. The photo is warm-toned and has a contemplative mood. In the background, you can see a bookshelf filled with books, LP records, and some framed art or photographs — including a recognizable image of Albert Einstein. The setting gives off a cozy, vintage, and intellectual atmosphere. [lololol]
#nowplaying#vinyl#vinylrecords
peter honeyman

i lost interest in playing records that i never play ha ha i wonder why and i'm playing my favorite records instead

i maintain that the stones' first four records are their best work (and the rest can mostly be ignored)

i didn't care for the stones at all in the sixties: i was so tribal back then and committed my teeny bopper self to the beatles

still tribal like that lol

This photo shows a hand holding a vinyl record album by The Rolling Stones. The album cover features a blurred, dreamlike image of the five band members standing outdoors in front of leafless trees under a moody, blue-tinted sky. The photo is stylistically distorted, with the left side especially fuzzy, contributing to a surreal or psychedelic effect. In the bottom corners of the cover are the logos for “ABKCO Records” and “The Rolling Stones.” This is the 1967 album “Between the Buttons.” [It's a late-model re-release.] In the background, there’s a well-curated shelf filled with eclectic items: • A framed black-and-white photo of Albert Einstein • A bronze bust sculpture • Small framed photos and objects • A carved wooden head wearing a hat on the left • A stack of compact discs • Books and binders The space appears cozy, intellectual, and full of character — reflecting both artistic taste and a deep appreciation for music and culture. [ha ha ha yay me]
#nowplaying#vinyl#vinylrecords
peter honeyman

music to jubilate to.

i'm sorta celebrating yesterdays's positive i mean negative news — i am not gonna die of that, not this week, anyway. yay. let's dance.

This photo shows a hand holding a picture disc vinyl record of UB40’s album “Little Baggariddim.” The disc is packaged in a clear plastic sleeve, and the artwork on the vinyl itself features bold white text on a black background. The album title, LITTLE BAGGARIDDIM, is printed in all caps below the large “UB40” band logo. In the middle of the vinyl is a small black-and-white photo of the band. A green sticker on the front promotes hit songs from the album, reading: “Includes the hit singles: I GOT YOU BABE / DON’T BREAK MY HEART.” In the background: • You can see shelves filled with vinyl records. • A quirky, painted papier-mâché or carved wooden head figure stands on a shelf nearby. • There’s a “Radiation Records” slipmat on a turntable platter to the right. • The space has a warm, eclectic, and music-focused vibe, with exposed brick, artistic decor, and a cozy, collector’s ambiance.
#nowplaying#vinyl#vinylrecords
peter honeyman

meanwhile, i'm decorating audio cassette labels and J-cards. it's not like i'm not getting anything done here!

This photo captures a creative workspace, likely an artist's [oh ha ha you flatter me!] desk, filled with various art supplies and personal items. In the foreground and center, there's an open watercolor paint set, featuring two rows of vibrant, solid watercolor pans. Above it rests a white plastic mixing palette, which appears to be empty and clean, ready for use. To the left, there are two colorful, hand-decorated or painted panels, possibly made of cardboard or thick paper, showcasing geometric designs and abstract patterns. One has a grid-like pattern of squares in various colors, while the other features stripes and more organic shapes. Scattered around these central items are several other tools and objects. A pair of white-handled scissors and a roll of white tape are visible near the mixing palette. Various markers and pens, including Sharpies in different colors (purple, blue, red, black, green), are also present. Some are lying on what appears to be a laptop keyboard, which is partially visible on the left side of the frame. On the right side of the image, part of a black computer keyboard is visible, and on top of it, a book titled "WHEN I WAS A POET" by David Meltzer, from "THE POCKET POETS" series, is open. The overall impression is one of an active and engaged creative process, with a mix of tools for painting, drawing, and possibly writing or other artistic endeavors.
peter honeyman

scuse me while i run out to the garage and grab that cigar box with my works in it

(it's not original issue )

This is a close-up photo of the front cover of The Velvet Underground & Nico album, produced by Andy Warhol. The album cover is held up, obscuring most of the background, but hinting at a room with shelves and artwork. The album cover itself is prominently displayed. At the top left, the "Verve" record label logo is visible. The title "THE VELVET UNDERGROUND & NICO" is printed in large black letters, with "PRODUCED BY ANDY WARHOL" directly below it. "STEREO" is also printed in the top right corner. The main image on the cover is a dark, somewhat abstract group portrait of the band members, bathed in reddish and orange hues. Lou Reed is centrally positioned, looking up. Below the main band photo, there are five individual, square portraits of the band members, each with a distinct, slightly blurred or painterly quality, typical of the era's photographic techniques and Warhol's influence. From left to right, these appear to be John Cale, Sterling Morrison, Maureen Tucker, Lou Reed, and Nico. The background, partially visible around the edges of the album, suggests an indoor setting. On the left, there are shelves filled with books. On the right, there's a dark blue wall with several framed artworks hanging on it. The bottom of the image shows a hint of a chair and a colorful rug or mat on the floor.
#nowplaying#vinyl#vinylrecords
*
peter honeyman

i used to listen to this album a lot in college and grad school. upon re-listening, i see (hear) why!

collaborators include alice coltrane (who went to my high school!), herbie mann, leon thomas, flora purim, and john mclaughlin

This photo features a piece of light-colored cardstock or paper with the word "Welcome" elegantly written in a script font across its center. The "Welcome" sign is being held up, largely filling the foreground of the image. [It's an album cover, Santana is the lead artist.] The background reveals an indoor setting, likely a room with a warm, inviting atmosphere. The dominant feature in the background is a large, tall white bookshelf filled with numerous books, stretching almost to the ceiling. The shelves appear well-stocked, suggesting a personal library or study. To the left of the bookshelf, a section of an exposed brick wall is visible, adding a rustic or industrial touch to the space. Below the bookshelf, there are white cabinets and some electronic equipment, including what looks like a monitor or speaker. On one of the lower shelves of the bookshelf, there's a small, illuminated display of items, possibly decorative figures or other objects, creating a cozy glow. The floor below shows a patterned rug in warm tones, contributing to the lived-in feel of the room. Overall, the photo conveys a sense of hospitality and a personal space filled with books and character.
#nowplaying#vinyl#vinylrecords
*
peter honeyman

i'm bouncing in my chair, transported back to high school.

[A lot of people don't bother about their friends in the vegetable kingdom. They think, "Ah, what can I say? What can a person like myself say to a vegetable?"]

i'm pretty sure lynn is asleep ...🤞🏽

This photo features a vintage album cover for The Mothers of Invention - Absolutely Free, held up in the foreground, largely obscuring the background. The album cover itself features a collage-like design. The top section is dominated by a black and white image of Frank Zappa with the word "MOTHERS" in a stylized, somewhat psychedelic font above him. The album title "ABSOLUTELY FREE" is also visible. Below this, there's another black and white photograph depicting several band members with various instruments. The bottom portion of the album cover is highly graphic and colorful, with elements that evoke a counter-culture aesthetic. It includes graffiti-like text, a stylized American flag, and illustrations of buildings and figures, all rendered in vibrant pinks, purples, and reds, giving it a somewhat chaotic and energetic feel. A hand is visible on the left side, holding the album cover. The background, though mostly out of focus, reveals an indoor space similar to the previous images. On the left, a brick wall is visible, along with a glimpse of a framed artwork or poster with colorful, abstract shapes. On the right, a large white bookshelf filled with books is clearly seen, with some decorative items and a glowing light on one of the shelves, similar to the setting in the "Welcome" sign photo. The floor below the bookshelf has a patterned rug. The overall impression is of an eclectic and artistic environment, with the album cover serving as a central piece of art.
This photo shows the open gatefold of the The Mothers of Invention - Absolutely Free vinyl album, revealing its internal artwork and text. On the right panel of the gatefold, the album cover's original artwork is visible: a large, striking black and white portrait of Frank Zappa with his distinctive mustache and beard, looking directly at the viewer. Below his image, the text "THE MOTHERS TODAY" and a list of band members are present. The phrase "KILL UGLY RADIO" is prominently displayed in a bold, stylized font towards the top right of this panel. The left panel of the gatefold contains various textual and graphical elements, designed to look like a "LIBRETTO" or manifesto. It features the title "ABSOLUTELY FREE" and mentions "all the words on the record." There are sections with a "CLEAN LYRIC VERSION" and a "SEND money as much as you can get +$1" offer. The tracklisthoto provides a glimpse into a room with an artistic and well-read aesthetic. A brick wall dominates the left side, adorned with several framed artworks. One dark, abstract piece is prominently centered on the brick. Further to the right, a large white bookshelf filled with books stretches vertically, and a white ladder is leaning against it, suggesting it's used to reach higher shelves. The overall impression is of a rich, lived-in space that blends art, music, and literature. [ooh la la]
#nowplaying#vinyl#vinylrecords
peter honeyman

it's so funny how music can transport you to a time, to a place ...i'm back in new jersey, taking the PATH into the city to hear ska bands at the peppermint lounge

This photo displays the album cover for The Selecter - Too Much Pressure, held by a hand on the left. The cover features a black and white checkerboard border, framing a stylized black and white image of a person in a suit and hat, leaning forward as if against a strong force. The band's name, "THE SELECTER," is in a distinctive font at the top, and "TOO MUCH PRESSURE" is centered on the right. The background shows a wall with several framed artworks, primarily portraits or busts, in warm, neutral tones. Below, a wooden display cabinet with many small compartments, each holding miniature figures or objects, adds to the room's eclectic decor.
#nowplaying#vinyl#vinylrecords
peter honeyman

my then-wife and i were friends with julie brill, who went on to become an Actually Important Person, and her bf, who loved p-funk, so the four of us used to regularly hang and listen to a stack of parliament / funkadelic discs

this LP survived. it is remarkably unscratched.

This photo features the album cover for Parliament - Mothership Connection, held by a hand on the bottom left. The album is tilted slightly, showcasing its vibrant and iconic artwork. The cover depicts a large, light grey, saucer-shaped spaceship with a smaller, cone-like structure on top, resembling a UFO. Emerging from an opening in the spaceship is a figure dressed in a white and silver, futuristic-looking costume, with arms outstretched, seemingly "landing" or "emerging" from the vessel. The background is a dark, starry cosmic scene with nebulae or distant galaxies. Above the spaceship, the word "PARLIAMENT" is written in large, stylized, orange and yellow block letters. Below it, in a cursive, lighter font, is "Mothership Connection." The album is nestled among other books and records on a shelf, which forms the background of the image. Visible book spines include "SAVAGE ART ROBERT POLITO," "WITTGENSTEIN TRACTATUS LOGICO PHILOSOPHICUS," and "Quotations from Chairman Mao." This suggests the album is part of a larger collection within a library or personal study space.
#nowplaying#vinyl#vinylrecords
peter honeyman

oh cool, the eight-page,multicolor insert is intact

This photo shows the cover of the insert to the vinyl album Parliament - Mothership Connection, featuring a deep space background, filled with stars and nebulae, typical of Parliament's sci-fi funk aesthetic. Dominating the upper half of the cover is a narrative text, written in a white, somewhat fragmented font, describing the album's concept: "...and it came to pass that upon his return, Dr. Funkenstein did find the planet to have completely lost the beat of the funkentelechy and had fallen prey to the placebo syndrome spread throughout the galaxy by the infamous Sir Nose D'Voidoffunk. Driven by the genius of desperation, Funkenstein sends Starchild to do battle, armed with his greatest invention of all time — the Bop Gun." In the bottom right corner, a small illustration of a metallic, futuristic vehicle, somewhat resembling a small spaceship or hovercraft, is depicted flying through space, with a figure inside it. The overall design is rich in detail and plays into the elaborate mythology created by Parliament for their albums. The album cover is leaning against a shelf or a wall, with a hint of other items, possibly more records or books, visible along the left and right edges of the frame.
This photo displays a vibrant, two-page, open insert from an album. The art style is bold and colorful, featuring psychedelic and funk-inspired aesthetics. On the left page, Starchild is depicted with a wide, joyful smile, elaborate hair, and a flowing cape, making a "rock on" hand gesture. Speech bubbles contain text: "Y'ALL A LITTLE LATE...." and "NEVERTHELESS, MY MELLOW MAGGOTS, YOU'RE JUST IN TIME TO CATCH THE LAST CHAPTER 'BOUT THAT SUPER COOL OH-SO-FUNKY SIR NOSE D'VODOFFUNK GOIN HEADS UP WITH OUR OFFICIAL REPRESENTATIVE OF FUNKENTELECHY THE STUPENDOUS STARCHILD HISSELF!!" Another text box states: "O!! SIR NOSE HAD BEEN WOOFIN' FOR DAZE ON HOW HE COULD WIPE THE FUNK OFF STARCHILD'S FACE WITH A BLAST FROM HIS SNOOZE GUN AT THE DROP OF A 'J'." The right page features a scene dominated by a tall, pyramid-like structure. In the foreground, a figure in a pink suit—Sir Nose D'Voidoffunk—stands prominently, with other more ethereal or shadowy figures behind him. A thought bubble at the top right contains text: "TINY DID HE REALIZE—THE STAR CHILD INDEED HAD EYES IN THE BACK OF HIS HEAD, AND COULD READ THOUGHT CLOUDS, WITH AN ALMOST ACUTE TYPE ACCURACY...." The overall impression is of a visually rich and narrative-driven piece of art, deeply ingrained in the Parliament/Funkadelic mythology. The comic is laid flat on a surface, with glimpses of other items on a desk or table around it, including what looks like a laptop and other papers.
This photo showcases another colorful and elaborate illustrated spread from the Parliament-Funkadelic comic book insert. The left page is divided into multiple panels, reminiscent of a traditional comic strip, with a predominant light blue border suggesting thought bubbles. The title "Funkadelic Thoughtz Funny's Presents!!!" is at the top. The scene depicts various characters in detailed, eccentric attire interacting within different fantastical settings. Speech bubbles convey dialogue, though the text is small. Sir Nose is featured prominently in the bottom left, and another section shows figures emerging from a cloud. The artwork is highly detailed, with dynamic poses and expressive faces. The right page features a larger,unified illustration with a dark purple background at the top transitioning to a sunset-like landscape at the bottom left. Starchild is depicted in a large, pink hooded outfit with glowing eyes, smiling. To his right, another character with a dark complexion and intricate face paint is seen. At the top right, the wild-haired Sir Nose is present in a cloud. A thought bubble above the central figure reads: "THUS, STARCHILD PEEPED THAT PLACEBO WAS GAME TO ICE HIS OWN SELF RATHER THAN GET BOPPED UPSIDE THE HEAD BY THE BOP GUN!!" Another speech bubble near the central figure exclaims: "OKAY Y'ALL WHEN I DROP THIS I GET READY FOR THE COUNT!!" The artwork is rich in detail, color, and character, perfectly aligning with the Parliament-Funkadelic universe.
This photo displays another vivid two-page spread from the Parliament-Funkadelic comic book insert, rich with psychedelic and fantastical imagery. The left page is dominated by a large, stylized number "1" in light blue with "ONE" written on it, emerging from a speech bubble at the top left. Several highly detailed, elongated figures in various states of distress are depicted in shades of red and purple, outlined in black. Sir Nose is rendered in pink tones with a wide hat and mustache within a glowing red border. The overall impression is dynamic and slightly chaotic, with a sense of energy. The right page features a more central composition with multiple characters. A flamboyant and expressive Starchild is shown mid-air, with one leg extended, making a "rock on" hand gesture. A speech bubble exclaims, "AIN'T NOTHIN' BUT A PARTY!" To his right, two other highly stylized figures in red, angular costumes, interact. One has a mischievous grin. In the bottom left, another stylized number "1" is visible. Text at the bottom right states, "DON'T BE SERIOUS," and across the very bottom, a narrative line reads: "AND IN A FLASH OF LIGHT, SIR NOSE GIVES UP THE FUNK......" The comic is laid open on a dark surface, with hints of a desk and other items in the periphery. The artwork is characterized by its intricate detail, vibrant colors, and exaggerated, grotesque, yet captivating character designs, all contributing to the unique visual storytelling of Parliament-Funkadelic.
#nowplaying#vinyl#vinylrecords
peter honeyman

think i'll mellow down with this sarah vaughan record i picked up at noise 'n' toys in alpena, i mean it's after 2, i guess I have celebrated enough, right? (lynn just popped out to say that she certainly thinks so.)

i think i identified only one record to move to cold storage

wow the sound quality on this record is really bad. i'm usually insensitive to that kind of thing, but her voice sounds clipped or something. i'll trade it in. too bad.

This photo prominently features the album cover for Sarah Vaughan - Sweet 'n' Sassy, held by a hand on the bottom left. The album cover is predominantly dark blue. In the center of the cover, there is a large, rectangular framed portrait of Sarah Vaughan. She is smiling gently at the viewer, wearing a light-colored, possibly white or cream, draped top that exposes one shoulder. Her hair is styled in a classic, elegant bob. The background of her portrait is an abstract blend of warm, earthy tones, suggesting an outdoor or natural setting. Above her portrait, in large white letters, is "SARAH VAUGHAN". Below her image, in yellow text, is the album title "SWEET 'N' SASSY". At the very bottom of the framed portrait, "Arranged and Conducted by LALO SCHIFRIN" is credited. In the top right corner of the album cover, "STEREO" and the "ROULETTE BIRDLAND SERIES" logo are visible. A price tag of "$5.00" is also present in the top right. The catalog number "SR 52112" is in the top left corner. The background of the photo is somewhat out of focus but shows a room with a bookshelf filled with books on the right, and hints of a brick wall and other decor on the left, similar to the setting in previous images. The overall impression is that the album is part of a personal collection in a well-decorated space. [oh you flatterbot, you]
#nowplaying#vinyl#vinylrecords
Erich Z

@peterhoneyman I let my son pick the record tonight - They Might be Giants, Flood

peter honeyman

@Erich i don't have ANY music like that!

Steve Bellovin

@peterhoneyman I did not know you knew Julie! She was a Commissioner while I was at the FTC.

peter honeyman

@SteveBellovin i knew you before you became an Actually Important Person, too!

Steve Bellovin

@peterhoneyman Hey—you were the senior author on my first published paper. I owe you for that.

noplasticshower

@peterhoneyman just got married at the warhol museum in Pittsburgh. They have some great velvets footage and pix.

peter honeyman

@noplasticshower mazal tov on the union!

i should visit pittsburgh one more time before i die. and cleveland.

*
noplasticshower

@peterhoneyman Pittsburgh is great these days. We had a blast...

even saw some baseball. 100 guests all told. Zero from Pittsburgh. Nine countries tho.

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