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I ran into my friend Andrew, who works as a gallery attendant in the museum, and asked him to send me music while I perused the new exhibition. I first heard of Arthur Russell in late 2019 while strolling through the Speed Art Museum in Louisville, Kentucky. Ernie Brooks is said to have yelled after him, “Arthur, you can’t do this!” Their aesthetic tensions mounted at the mouth of the Holland Tunnel when Russell grabbed his cello and jumped out of the tour van. His work up to that point was far more experimental than that of his bandmates, and the prospect of mainstream success with the Necessaries did not suit his radically obstinate sensibility. As noted by biographer Tim Lawrence in his 2009 biography Hold on to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973–1992, Russell procured a position in the Necessaries through sheer, aggravating insistence and immediately catalyzed tensions in the group. Yet all of this acclaim did not stop the newest member of the band, Arthur Russell, from nurturing a litany of doubts about the aesthetic viability of the group. They were arguably on the edge of a breakthrough into the mainstream. At the time, they were signed to the Warner Brothers subsidiary Sire Records, had just finished their first studio album, and were well-received by the CBGB crowd who recognized a few of the members from their previous pop act, The Flying Hearts. In the spring of 1981, New Wave group the Necessaries piled into their tour van and set out from New York City toward Washington D.C.