Podcasts about mark hosler

Negativland has always been about media literacy; their pranks are not only humorous but reveal something about how media function. But in recent years, as the world has changed around them, their  relationship to this aspect of their practice has had to evolve. What was subversive in the 80s is mostly met with a shrug today. While sampling has become less essential to their work, the group continues to reappropriate and recontextualize human speech, and in an age of AI voice clones, the importance of using actual voices becomes even more significant. Last fall, I sat down with Negativland's Mark Hosler and Jon Leidecker (Wobbly) at Krakow, Poland's Unsound festival to discuss the history of their long running group, the importance of radio, and how the changing mediascape has transformed the meaning of their work as collage has gone mainstream. TRACKLIST ARTIST – “TITLE” (ALBUM, LABEL, YEAR) Negativland - “Is It Or Isn't It” (Speech Free: Recorded Music For Film, Radio, Internet and Television, Seeland, 2022) SP INTRO Don Joyce - “We'll Be Right Back [excerpt]” (Mort Aux Vaches, Mort Aux Vaches,  2020)Negativland - “Content” - (The World Will Decide, Seeland, 2020) Negativland - “5” (Negativland, Seeland, 1980)Negativland - “The Answer Is…” (Points, Seeland, 1981) Negativland - “Christianity is Stupid” (Escape from Noise, SST/Seeland, 1987) New Order - “Blue Monday” (Blue Monday 12”, Factory, 1983) Negativland - “I Still Haven't Found What I'm Looking For” (U2, Seeland, SST, 1991)Sarah Davachi - “ghosts and all” (Vergers, Important Records 2016) iPad Synth demo youtube Ipad Synth or Original IVCS3 compared to EMS Synthi AKS Negativland - “[Excerpt]” (Live at Unsound, 2023) Edgard Varèse  - “Poème électronique” [1958] (Poème Electronique And Other Selections, EAV Lexington, 1973) Karlheinz Stockhausen  - “Kontakte” [1958–60] (Kontakte, WERGO, 1963)Wobbly - Failure Analyst (Failure Analyst, Bandcamp, 2024)Christian Marclay - “Excerpt” (Live on Night Music 1988)Charli - “Apple” [tiktok] (brat, 2024)Negativland - “Failure” (The World Will Decide, Seeland,2020)Negativland - “True or False” (True False, Seeland, 2019) Negativland - “The Stain of Music”  (Over The Edge Vol. 9: The Chopping Channel, Seeland, 2016)Negativland - “Death Is Optional” (Speech Free: Recorded Music For Film, Radio, Internet and Television, Seeland, 2022)Negativland - “I Still Haven't Found What I'm Looking For” (U2, Seeland, SST, 1991)Negativland - “Algorithmic Me” (Speech Free: Recorded Music For Film, Radio, Internet and Television, Seeland, 2022) Chopping Channel - “Happiness Is The New Productivity” (Independent Therapy, 2016) Bana Haffar - “Castles in Beirut” (Castles in Beirut, Bandcamp, 2019) Negativland - “The World Will Decide” (The World Will Decide, Bandcamp, 2020) Over the Edge - “1991/06/06” (The Best of Over the Edge, Archive.org, 6 June 1991) E L U C I D  - “[excerpt]” [2020] (SEERSHIP!, PTP, 2022) Ween - “I Hate Morrissey (Home Demo)” (Boognish Rising 2013 Sampler, 2013) Negativland - “A Nice Place To Live” (Points, Seeland, 1981) Chopping Channel - “Safe Place Orientation” (Independent Therapy, Seeland, 2016) Don Joyce - “We'll Be Right Back [excerpt]” (Mort Aux Vaches, Mort Aux Vaches,  2020) —-Sound Propositions is written, recorded, mixed, and produced by Joseph Sannicandro. --- Support this podcast: https://podcasters.spotify.com/pod/show/soundpropositions/support

Pump up the jams with Ryan, Brant, Mark Hosler and The Weatherman! . . . . YOU DON'T KNOW MOJACK is a podcast dedicated to exploring the entire SST catalogue, in order, from start to finish. During the podcast we will discuss all the releases that are part of our core DNA, as well as many lesser-known releases that deserve a second chance, or releases that we are discovering for the very first time (we actually don't know Mojack!). First and foremost we are fans, and acknowledge that we are not perfect and don't know everything – sometimes the discussion is more about a time, place, feeling, personal experience or random tangents, and less about the facts (but we will try to get to the facts too). Facebook: www.facebook.com/mojackpod/ Twitter: @mojackpod Instagram: www.instagram.com/mojackpod/ Blog: www.mojackpod.com/ Tumblr: www.tumblr.com/blog/mojackpod Theme Song: Shockflesh

We sat down with the king in the found sound crown, Mark Hosler, to talk about the art collective known as Negativland. Negativland has been relentlessly active since the mid-70s to today, jamming the culture, fighting copyright law, and bugging Bono all along the way. We discuss the undeserved distaste for the suburbs, the changes the collective has undergone since their founding, and collaborating with various video/visual artists over the years. We bring along Nolan of One Star Podcast, a man very much influenced by Negativland's goofs and gaffs, to discern true from false on our journey Negativland and Mark Hosler's work can be found on negativland.com One Star Podcast can be found at @onestarcast and their email is onestarpod@gmail.com Topics: protest, intellectual property, collage, Pepsi, noise, Over The Edge, Don Joyce, The Weatherman, Jon Leidecker, Wobbly, The World Will Decide, abstract, crossing the rubicon, marketing, advertising, Reagan, capitalism, U2, lawyers, strife, Coca-Cola, music videos, mass media, Sue-C, It's Normal For Things To Come To Your Attention, stupid, dumb, A Bag Is Coming

Mark Hosler, one of the founding members of Negativland, joins the podcast to talk about audio collage, art, legal potholes and using technology to make mind blowing sound. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Playlist Chamberlin Rhythmate Two Times The Trauma, “Freak Show” from I Fell In Love With An Ocean (2006 Starfly). There is an original Chamberlin Rhythmate at Roth Händle Studios in Stockholm, plus some other precious vintage equipment used in the making of the first album by Two Times The Trauma. Double Bass, Vocals, Magnus Eugensson; Drums, Percussion, Optigan, Mellotron, Tin Whistle, Turntables, Chamberlin Rhythmate, Mattias Olsson; Electric Guitar, Eric Fallope; Mellotron, Orchestron, Tobias Ljungkvist; Tuba, Fredrik Wennström; Vocals, Cecilia Åhlfeldt; Vocals, Acoustic Guitar, Mattias Eriksson; Xylophone, Daniel Kåse. Recorded at Roth Händle Studios 3 & 4, Stockholm. Mellotron bee tape set used with kind permission from Gaby Stenberg. Yamaha GX-1 used with kind permission from Benny Andersson. Orchestron French Horn disc on 'In Your Eyes' used thanks to Zac Rae. All Optigan, Mellotron and Chamberlin Rhythmate service and maintenance was performed way beyond the call of duty by Markus Resch. Wurlitizer Side Man and Swingin' Rhythm LCD Sound System, “Somebody's Calling Me” from This Is Happening (2010 Parlophone). Somebody's Calling Me; Finger Snaps Snaps, Matt Thornley; Finger Snaps Snaps, Synthesizer Casio MT-68, Wurlitzer Sideman, EMS VCS3 Putney, Korg Poly Ensemble, Bass, Piano Acoustic, Keyboards Roland System 100, Vocals, James Murphy; Mixed By, DS; Trombone, Jason Disu; Written-By, J. Murphy. Glenn Derringer, “The Girl From Ipanema” from Wurlitzer Swingin' Rhythm (1968 Wurlitzer). Glenn Derringer at the Wurlitzer electronic organ, demonstrating the Wurlitzer Electronic Swingin' Rhythm attachment with an unspecified Wurlitzer electronic organ. Each track on this demonstration disc explains the Swingin' Rhythm settings that were used. For “The Girl From Ipanema,” the settings were: “Moderate Bossa Nova. The Swingin' Rhythm was set at Latin, tempo control set to 1 o'clock.” What more can I say? Dick Hyman, “Strobo” from the single Strobo/Lay, Lady, Lay (1969 Command). Dick told me about this track, which was one of his Moog experiments that didn't make it onto his two albums around this time. Normally, he produced his Moog tracks with the help of synthesizer programmer Walter Sear. But in the case of this single, he did all the programming. For “Strobo,” he used a drum machine. It sounds like a Swingin' Rhythm. Jean-Pierre Sabar, “Fool on the Hill” from Super-Danse/Les Orgues Électroniques De Jean Pierre Sabar (1969 Sava). French LP of instrumental cover versions of popular music, all played on the Wurlitzer 4300 electronic organ with integrated Multi-Matic Percussion unit and Swingin' Rhythm, which was also sold as a standalone drum machine. In this case, I'm having a little trouble telling the difference between the drum machine and what sometimes sounds like a drum set with bass and toms. The settings on the organ indicate that the pedals can be used to play “drum” and “cymbal” sounds, and the Swingin' Rhythm unit had buttons for drum, brush, snare, block, and cymbal. Still, I can't account for the tambourine sound but so much of this rhythm section sounds like a drum machine repeating sounds robotically that I must assume that this is a combination of live drummer and drum machine. Jerry Styner And Larry Brown, “Dock of the Bay” from Orbit III (1971 Beverly Hills). Album produced to showcase the sounds of the Wurlitzer Orbit III organ, the “orbit” portion being a a third, two-octave keyboard that was a monophonic synthesizer. The instrument was equipped with the latest Wurlitzer rhythm machine built in. On this track, you not only hear sounds of a drum machine that sounds similar to the Wurlitzer Swingin' Rhythm machine introduced in 1969. Although the liner notes suggest that all of the sounds were created using the organ, there appears to be a regular human drummer playing along (probably percussionist and co-producer Larry Brown). I say this because there is a hit hat heard throughout and although Swingin' Rhythm had setting for a Snare, Brush and Cymbal sounds, as fills for the rhythm settings, they really did not reproduce the hit hat sound that is heard here. That and the miscellaneous drum fills added throughout sound more “played” than mechanized. Anyway, that's my take after examining this recording as compared to the actual sounds of the Swingin' Rhythm unit. Thomas Organ Byron Melcher, “Spanish Flea” from The Entertainers (1966 Thomas Organ Co.). Thomas Organ was one of the leading makers of electronic organs for the home. On this track, you can hear the Playmate rhythm component, a drum machine with 15 preset rhythms. The Thomas organ drum machine, circa mid-1960s. Thomas Organ was another maker of electronic organs for the home market. By 1966 they had created the Playmate rhythm component, a drum machine with 15 preset rhythms and a standalone device called the Band Box that had 10 preset rhythms. These were often sold as part of their Color-Glo line of transistorized organs. Color-Glo helped amateur musicians by lighting up the keys for preprogrammed melodies and chords to guide them along. Lowrey Organ Johnny Kemm “Taboo” from Latin Days (1970 Concert Recording). This album was created using the Lowrey Theater Console Deluxe organ model H25R-2 equipped with the built-in Automatic Rhythm drum machine feature. Not Sure Which Drum Machine Robin Gibb, “Mother and Jack” from the single Saved by the Bell/Mother and Jack (1969 Polydor). There was brief period in 1969 when the Brothers Gibb, otherwise known as the Bee Gees, had a sibling riff and Robin went off on his own to record some solo projects while Barry and Maurice completed a two-man Bee Gee album called Cucumber Castle. Perhaps because he was working along, Robin used a drum machine to mark time while recording various tracks and in the case of a few songs, he kept the mechanical rhythm as part of the finished recording. This might be the earliest purposeful use of a drum machine on a pop hit. I include it hear because it is probably a Swingin' Rhythm, although it might also be a Seeburg Select-A-Rhythm, also available at the time. Bruce Haack “Saint Basil” from The Electronic Record For Children (1969 Dimension 5). Tape composition, drum machine, and synthesis by Bruce Haack; Directed by P. Pandel; Performer, The Children Of Holy Trinity Cathedral School. Bruce used an unidentified drum machine on this album of children's music. Roland (Various) Michael Iceberg, “Mexican Hat Dance” from Does It Live: 100th Week At Walt Disney World (1977 Hihomusic). This album was only sold to tourists as a souvenir at Walt Disney World during the Michael Iceberg residency as a performer at Tomorrowland Terrace during the late 70's through the late 80's. Unknown drum machine, but likely a Roland Rhythm TR-55. Miha Kralj, “Apokalipsa” from Andromeda (1980 PGP). Yugoslavian record from synthesist Miha Kralj features a Roland CompuRhythm CR-78. Composer, producer, Synthesizer, Vocoder, Sequencer, Drum Machine, Effects, Miha Kralj. Gary Numan, “Slowcar To China” from Dance (1981 Atco). Bass , Mick Karn; Percussion, Gary Numan, Tim Steggles; Polymoog, Prophet 5, Roland JP 4, CP30, Claptrap, Electronic Drums Roland CR78, Gary Numan; Viola, Chris Payne. The Noyes Brothers, “Byte to Beat” from Sheep From Goats (1980 Object Music). Synthesizer and electronic drums, Solamar. The Noyes Brothers had two members, Steve Miro and Steve Solamar. They were from the UK and Solamar seems to be the only artist on this track and uses an non-specific Roland drum machine. This track is taken from a double LP, the only record I know of for the Noyes Brothers. Comateens, “Ghosts” from Comateens (1981 Cachalot Records). Here is a group who's unofficial fourth member was a Roland Compu-Rhythm CR-78. The inner notes for the album featured profiles of all of the artists, including Lyn Byrd on synthesizers and vocals, Oliver North on guitar and vocals, Nic North on bass, and vocals and the Roland machine, which was described as having a square black head, no body, with red, blue, and yellow buttons. In addition, the notes state that the Roland drum machine was born in Japan and existed as 3,468 separate pieces before assembled and called upon to serve with the Comateens. Joël Fajerman, “Espace – Oiseaux” from Azimuts (1981 PSA). French record by Fajerman featuring a Roland TR 808 Rhythm composer, and instruments such as the Multimoog, Prophet 5, Korg polyphonic 3100, Clavinet D6, ARP sequencer, Oberheim module. SPK (System Planning Korporation), “Emanation Machine R. Gie 1916” from Information Overload Unit (1981 Side Effects). Australian industrial sounds released in the UK. Guitar, Bass, Tape, Vocals, Mike Wilkins; Synthesizer, Roland Drum Programming, Effects, Vocals, Graeme Revell; Synthesizer, Effects, Dominic Guerin. Rüdiger Lorenz, “Out of the Past” from Invisible Voices (1983 Syncord). This late pharmacist/synthesist from Germany played all the instruments on this album, including Korg Polysix, Formant Synthesizer, Roland Vocoder VC 10, Roland TR-808 Rhythm Composer, Moog Sample & Hold, MXR Stereo Chorus, Electro-Harmonix Flanger, PPG Sequencer, Elektor Ringmodulator, and Pearl Vorg Echo-Orbit. Other analog drum machines Bob Hacker, “Careless Hands” from One Man Opry: Bob Hacker Plays The Yamaha Electone D (1980 Yamaha). This album, produced by Yamaha, features some of the wacky analog synth effects it could produce as well as its built-in drum machine. This was a spinet style organ, a small upright keyboard with pedals for the home market. Arthur Brown and Kingdom Come, “Time Captives” from Journey (1973 Polydor). Brown used Bentley drum machine to provide drums on this track. The Bentley was actually a UK version of the Roland TR-77 which was the very first product Roland released under they own name. In the US this same unit was sold by Hammond as the Auto-Vari 64. The unit has 5 faders for Volume, Tempo, Cymbal/HH/Maracas, Guiro, Snare, Bass Drum. The TR-77 has 6 faders for Tempo, Fade Time, Volume, Bass D, Snare D, Guiro & Hi-Hat/Cymbal/Maracas. Bass, Percussion, Vocals, Phil Shutt; Bentley Rhythm Ace, Vocals, Arthur Brown; Electric Guitar, Vocals – Andy Dalby; Mellotron, Synthesizer [Arp 2600, Vcs3], Piano, Theremin, Percussion, Vocals, Victor Peraino. Kraftwerk, “Radioactivity” from Kraftwerk – Radio-Activity (1975 Capitol).Electronics, Florian Schneider, Ralf Hütter; Lyrics by Emil Schult, Florian Schneider, Ralf Hütter; music by Florian Schneider, Ralf Hütter; Electronic Percussion Karl Bartos, Wolfgang Flür; Vocals, Florian Schneider, Ralf Hütter. Schoolly D, “P.S.K.-What Does It Mean? (instrumental version)” from‎ P.S.K.-What Does It Mean? / Gucci Time (1986 Schooly D Records). A remix of this track that features only the drum sounds of the The Roland TR-909 Rhythm Composer. This drum machine was one of the first Roland instruments to be equipped with MIDI, and was the first analog/digital hybrid machine, combining analog circuits for its drums with digital samples for its cymbal and hi-hat sounds. You can hear how Schooly D isolated the cymbals and drums on this track. Pixie Ninja, “Leng Plateau” from Colours Out Of Space (2020 Apollon Records). Another recording using the Chamberlin Rhythmate in the Roth Händle Studio in Stockholm. Roth Händle studios is run by producer and musician Mattias Olsson who collects, restores, and offers vintage musical gear for use by visiting bands. There is so much to listen to here with Pixie Ninja's hard-driving and somewhat deranged mix of vintage, cranky electronic instruments and modern guitars and synthesizers. You can hear the Chamberlin Rhythmmate in this track, a Bandmaster Powerhouse Drum Machine (the one that used 8-track tapes), and an Electro-Harmonix DRM-16 Drum Machine. Godin Shifter 4 Bass, Korg Krome 61, Korg Volca Keys, Korg Monotribe, Nord Lead A1, Glockenspiel, Polar Circle Bells, Kalimba, Marius Leirånes; Drums, Percussion, Mother Modular System, Mellotron M400, Philicorda Organ, Chamberlin Rhythmate, Fender Rhodes, Hohner Clavinet, Blind Typemachine, EMS VCS3, Casio PT-88, Roland JV-8080, Roland SH-101, Electro-Harmonix DRM-16 Drum Machine, Moog Taurus, Korg MS-10, Optigan, Roland VP-330+, Bandmaster Powerhouse Drum Machine, E-Bow (Bass Gizmotron), Jenco Celeste, Grand Piano, Mattias Olsson; Fender Stratocaster, Gretsch G5320T, TC Electronic AEON Infinite Sustainer, Korg Krome 61, Korg microKORG, Nord Lead A1, Arturia Microbrute, Stylophone 350s, Glockenspiel, Jostein Haugen; Rickenbacker 12 String Electric Guitar, Fender Rhodes, Philicorda Organ, Mellotron M400, Hampus Nordgren-Hemlin. Background Sounds Opening: Negativland, “Side 1, Track 3” from Negativland (1980 Seeland). An unidentified drum box is heard throughout this track. It sounds a lot like the Wurlitzer Swingin' Rhythm. Recorded Dec. 1979-April 1980. This privately release album had a hand-made sleeve made of cut-and-paste artwork assembled with xerox, wallpaper, black construction paper, and magazine photos. Beneath these pasted portions, the cover itself is spray painted and stenciled with parts of the band name, as well as hand-numbered. Synthesizer, edited by, voice, tape, David Wills; Tape, Electronics, drum machine rhythms, Booper (an electronic oscillator), Clarinet, Organ, Viola, Loops, Guitar, Mark Hosler, Richard Lyons. Description of previous way of producing drum sounds: George Wright, “Happy Talk” from Goes South Pacific (1958 HiFi Records). George Wright on the Mighty Wurlitzer theater organ, an electronic organ popular in the 1950s. Introductory dialog: Johnny Kemm “I Say a Little Prayer” from Latin Days (1970 Concert Recording). This album was created using the Lowrey Theater Console Deluxe organ model H25R-2 equipped with the built-in Automatic Rhythm drum machine feature. Description of Chamberlin Rhythmate: Audio track demo of the  Chamberlin Rhythmate  from the YouTube video posted by instrument collector Dan Hicks (aka Peahix), a collector in California. Description of Wurlitzer Side Man: Audio track demo of the Wurlitzer Side Man from the YouTube video posted by instrument collector Dan Hicks (aka Peahix), a collector in California. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.  

This episode, guest hosted and produced by Eli Moore, is an interview with Negativland co-founder Mark Hosler. Since the late 1970s, the art collective known as Negativland has been sticking it to the status quo through their albums, radio program, live performances and visual art for over 40 years. Hosler tells Eli of the group’s beginnings in the San Francisco suburbs, their inevitable involvement with the punk scene there, the lawsuits they have had thrown at them, the evolution of their creative process over the years, and collaborating on new material with bandmates who have passed away for their latest albums True False and The World Will Decide. An extended, unedited version of this interview is available for Patreon supporters, at patreon.com/lowprofile. Follow us on IG @lowpropodcast The illustration for this episode was drawn by Taylor W. Rushing. http://www.lowprofilepodcast.com and on IG @twrushing

This episode, guest hosted and produced by Eli Moore, is an interview with Negativland co-founder Mark Hosler. Since the late 1970s, the art collective known as Negativland has been sticking it to the status quo through their albums, radio program, live performances and visual art for over 40 years. Hosler tells Eli of the group’s beginnings in the San Francisco suburbs, their inevitable involvement with the punk scene there, the lawsuits they have had thrown at them, the evolution of their creative process over the years, and collaborating on new material with bandmates who have long passed away for their latest albums True False and The World Will Decide. An extended, unedited version of this interview is available for Patreon supporters, at patreon.com/lowprofile.

Mark Hosler is a founding member of the audio-visual collage group Negativland. Their newest album is called The World Will Decide. Mixing original materials and original music with things taken from  mass culture and the world around them, Negativland creates surreal rearrangements that say and suggest things that the pieces never originally intended. In doing this kind of cultural archaeology and "culture jamming" (a term they coined way back in 1984), Negativland have been sued twice for copyright infringement. After being sued, by the band U2, Negativland became more publicly involved in advocating significant reforms of copyright laws. Mark even found himself in Washington DC on Capitol Hill as a citizen lobbyist for copyright and art issues. All of their art and media interventions have intended to pose both serious and silly questions about the nature of sound, media, control, ownership, propaganda, power, and perception in the United States of America. 

Dr. Zomb and I – Radio Lost & Found – had a lively chat with Negativland’s Mark Hosler, David ‘The Weatherman’ Wills, and Jon ‘Wobbly’ Leidecker via Zoom, for inclusion in our Xmas Eve broadcast, A Very Negativland Xmas. Regrettably, the entire interview had to be truncated somewhat to fit the two hour live format […]

Is there any Escape From Noise?! With special guest Mark Hosler. . . . . . YOU DON’T KNOW MOJACK is a podcast dedicated to exploring the entire SST catalogue, in order, from start to finish. During the podcast we will discuss all the releases that are part of our core DNA, as well as many lesser-known releases that deserve a second chance, or releases that we are discovering for the very first time (we actually don’t know Mojack!). First and foremost we are fans, and acknowledge that we are not perfect and don’t know everything – sometimes the discussion is more about a time, place, feeling, personal experience or random tangents, and less about the facts (but we will try to get to the facts too). Facebook: www.facebook.com/mojackpod/ Twitter: @mojackpod Instagram: www.instagram.com/mojackpod/ Blog: www.mojackpod.com/ Tumblr: www.tumblr.com/blog/mojackpod Theme Song: Shockflesh

Mark Hosler of Negativland joins Doktor Faux and Caller23 on the HyperCOMM. Mark recounts his recent European tour and the utilization of anchor-gigs. Faux asks why Negativland put out a new album (TRUEFALSE), and the duties of being a surviving member of an aging avant-garde performance troupe. Caller23 follows up with questions like "who is suing you now?" and what it's like meeting the guy who had been pirating your music for a decade. Stickerguy is a nice guy.

The Don Joyce and Negativland Episode: A Cut-Up Record, Big 10-8, Negativland, Over the Edge, A Private Song in a Jamaican Club, Mark Hosler, Negativland Sleepover, Don's New Hangout, Goodbye Don, Moving the Archives, A Little More. An episode about my favorite band and one of its members, Don Joyce, who spent over 30 years making a radio masterpiece. When I do my livestreams, I tend to put selections from this archive as the soundtrack, and there's always a few new fans born of it. The Over the Edge archives are at https://archive.org/details/ote - over 1,500 hours are up there.

Mark Hosler: “We’re Dumbing It Up” This is an interview with Mark Hosler, recorded over Skype on 25 October 2017. This program is sponsored by J Jean Portraits, & Peggy’s Vegan Hot Sauce. For more information about our sponsors, follow the link. We are also now a part of the They Might Be Giants Dial-a-Song Network!  This […]

This is the eightieth full episode of The Depression Session Podcast, with guest, Mark Hosler, and host, Laura Milkins. Also broadcast live on 99.1FM Downtown Radio in Tucson. Unsure, by host, Laura Milkins. Our guest, Mark Hosler (co-founder of the audio-visual group Negativland), tells the story of his depression and grief, after the loss of 6 people he was close to, and how the death of his brother years before gave him some strategies for coping. Sunday, February 18, 2018. The Depression Session is dedicated to de-stigmatizing depression through storytelling. Each week we'll have a new guest tell the story of their depression.

Composer Scott Watson is my guest on this episode. Scott has over 60 published works, mostly through by Alfred Music. In this diverse episode we discuss Scott's impressive career including his musical background, his compositional process, acquiring commissions and using consortiums, guest conducting, technology in the classroom, project based learning, graded band music, learning one instrument very well, and finding inspiration in writing music for young players. Links: Scott Watson, composer Scott's works at Alfred Music Queen Mab Composers and Schools in Concert Project Based Learning Scott's Book: Using Technology to Unlock Musical Creativity Michael Colgrass: Old Churches John Kinyon's Biography at Alfred Music Copland: Lincoln Portrait (US Marine Band) Biography: Scott Watson, born 1962 in Upper Darby, Pennsylvania has composed for concert, radio, and theater and received recognition for his work from ASCAP, the American Composers Forum, the American Music Center, the Pennsylvania Council on the Arts and others. Watson's music for band is published primarily by Alfred Publications, for whom he an exclusive composer. Other music for concert band is published by Wingert-Jones Publications, TRN, C. L. Barnhouse, Hal Leonard, Concert Works Unlimited (a division of Shawnee Press, now distributed by Hal Leonard), and Jon Ross Music. His string/orchestra music is published by Alfred Publications and Wingert-Jones Publications Publications, and his chamber music is published by Trillenium Music Company. You can hear excerpts of Watson's compositions by clicking on the Music links above. About Watson's music, The Instrumentalist says "outstanding...with beautiful melodies and interesting harmonies" (Mark Hosler, 2004), Percussive Notes says "written with supreme craft" (Cort McClaren, 1993), the Allentown Morning Call says "Watson exhibited a great deal of skill in managing the resources of the orchestra...a very well-crafted piece...he will very likely become a force to be reckoned with" (Philip A. Metzger, 2000), and PMEA News says "Watson skillfully transforms his zest for life into his own brand of unique musical exuberance. His scoring for winds, brass, and percussion is excellent" (Kenneth Laudermilch, 1998). His music for band has several times been performed at the Midwest Band and Orchestra Clinic (Chicago) and named to several Bandworld Top 100 and Japan Band Clinic Yamaha Recommends 100 Pieces for Band listings. Recent projects include Youth/Student Concert performances of his Aesop's Fables by the Allentown Band, with dance choreographed by Repertory Dance Theater, as well as commissions by the MusicAlliance Honor Band Camp (Cleveland, OH, made possible by a grant from the National Endowment for the Arts), Lehigh County (Pennsylvania) Bandmasters Association, Massachusetts Instrumental & Choral Conductors Association (Spring 2007, concert band and chorus); International Horn Society Meir Rimon Fund (Spring 2006, solo horn and concert band); an American Composers Forum Continental Harmony project commission, Magic Valley, (2004, concert band); Figurations (for winds and percussion), commissioned by the West Chester University Wind Ensemble, Kenneth Laudermilch, Director; Concerto for Trumpet and Orchestra, for the Temple University Symphony Orchestra, Luis Biava conductor and Terell Stafford, trumpet soloist; and Hymn and Declaration, commissioned by the Lehigh Valley Chamber Orchestra, Donald Spieth, Director. Watson has been pleased and honored to serve as guest conductor or adjudicator at various band festivals. Watson received his MM and DMA in Composition from Temple University, where his composition teachers include Maurice Wright and Matthew Greenbaum. Watson teaches instrumental and elective music in the Parkland School District (Allentown, PA), and serves as adjunct professor teaching music education/music technology courses for University of the Arts, Cairn University, and Central Connecticut State University and Applied Composition for University of Valley Forge. During the 2001-02 academic year, he served as Assistant Professor of Music Theory and Technology at Temple University's Esther Boyer College of Music (Philadelphia, PA). Additionally, his book, Using Technology to Unlock Musical Creativity, which focuses on project-based, creative music learning facilitated by technology, is published by Oxford University Press.    

It's the big messy Synchronize season finale! Mark Hosler of Negativland asks the last question at the Radio8Ball show hosted by Andy Shmushkin with Peter David Connelly of The Mona Reels. Alan Abbadessa-Green pays tribute to Negativland with a t...

It's the big messy Synchronize season finale! Mark Hosler of Negativland asks the last question at the Radio8Ball show hosted by Andy Shmushkin with Peter David Connelly of The Mona Reels. Alan Abbadessa-Green pays tribute to Negativland with a t...

Mark Hosler, one of the founding members of Negativland, joins the podcast to talk about audio collage, art, legal potholes and using technology to make mind blowing sound. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Mark Hosler, Don. (Almost Negativland) Mark Hosler, founder of Negativland, joins me for an electronics-heavy mix of past and present. Together, we delve into the hip side of the early 60's with “How To Speak Hip,” and beat poets and ranters like Kerouac, William Borroughs, and Lord Buckley. Jean Shepherd returns on location, covering the '64 New York World's Fair for his radio show, nuclear civil defense and discernment, and a few songs to evoke the era. 3 Hours The post Over the Edge – “Universe” Part 16 What About The 60's? F” appeared first on KPFA.

Episode 90, Some Assembly Required (featuring our 2004 interview with Negativland's Mark Hosler) 01 Negativland – “Theme from a big 10-8 place” 02 Negativland – “(debut CD, track 2)” 03 Negativland – “(debut CD, track 7)” 04 Negativland – “Dear Mary” 05 Negativland – “Christianity is stupid” 06 Negativland – “The Perfect Cut (rooty poops)” 07 Negativland – “The Way of It” 08 Negativland – “You Must Respect Copyright” 09 Negativland – “The gun and the Bible” 10 Negativland – “Why is this commercial” 11 Negativland – “Our National Anthem” Use this address, for your pod software: http://feeds.feedburner.com/some-assembly-required/JSpD

Two talk shows are interspersed with collage and music. One talk show is Puzzling Evidence (KPFA Berkeley) with Dr. Philo Drummond and Dr. Hal, talking about digestive disorders. The other is Rational Radio (Dallas) host Jack E. Jett & friends interviewing Rev. Stang. Music is by Rev. Max Slack, Rev. Joe Newman's The Rudy Schwartz Project, Perry-Kingsley, The Attery Squash with Rev. Diva Schematic, Thigmotactic (Rev. Mark Hosler), Rev. Phat Mandee and Tommy Amoeba, Slack-T, plus clips from ZZZ Top and The Fleischer 1939 movie of "Gulliver's Travels." Collages are by Mr. Rection, The Large, The Bishop, Rev. Stang, and, of course, the great Mr. Fernandinande LeMur.

Once again we pull the best Spouting from The Puzzling Evidence Show, of January 8, 2010, with Puzzling and his guests Dr. Hal, Dr. Philo Drummond, Rev. Phineas Narco, Justin Credible and Empress Zoey.  Interspersed with that are dozens of  songs, collages, and god-only-knows-what by Rural War Room, Mark Hosler, Fernandinande LeMur, The Attery Squash, Local Color, Pilgrim Speakeasy, and frequent caller Bernard. We'll bet the Attery Squash song gives you a brainworm.    

About half of this episode is yanked from the womb of KPFA-Berkeley, The Puzzling Evidence Show, of January 8, 2010. Puzzling and his guests Dr. Hal, Dr. Philo Drummond, Rev. Phineas Narco, Justin Credible and Empress Zoey drag the show across battlefields and through jungles, ever striving to reach "Bob." Or escape him. The movie "Avatar" is discussed. The other half of the show involves music, collages, and music/collages by Rural War Room, Mark Hosler, LeMur, The Psycho Skeletons, Local Color, frequent caller Bernard, Rev. Wilhelm Stahlhelm, and Rev. Outa Spaceman.

1. Bleek / Vicki Bennett, Copyright Copyleft Interview, Interview2. People Like Us, All Together Now, Blue Bayou3. Holtzkopf, Credit Card Ache, Memorabilia4. David Shea, Satyricon, Trimalchio5. Bleek / Mark Hosler, Copyright Copyleft Interview, Interview6. Negativland, No Business, My Favorite Things,

Here we have DEVOtional Report #2 plus misc. weird covers of everything from Nancy Sinatra to Negativland, with new material from Little Fyodor, Rural War Room, Rev. Wilhelm Stahlhelm, The Mutant Mountain Boys and a whole bunch a really good bands that we heard at the DEVOtional or else the latest NNBBM collection. A visit from Rev. Mark Hosler resulted in our acquisition of a whole album of Negativland covers by "The 180 Gs" of Detroit. There is also a 1950s German cover of "El Paso" by Lolita.

"How Radio Was Done" Part 27 (Mark Hosler, Don.) More Beatles on the Magical Mystery Tour, The Porch Patrol's Oldie McOlderson is live in the studio to interview Izzy Isn't concerning his draft dodging days, the San Francisco music scene continues to develop, and it's a 1967 New Years celebrity explosion at KRLA in Los Angeles. The post Over the Edge – December 29, 2006 appeared first on KPFA.