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Negativland

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Experimental music and art collective

In response to an age of information overload, a self-professed group of musical/cultural terrorists known as Negativland employed the art form of collage—mixing sounds from eclectic sources—to its fullest extent, pushing the limits of popular music to expose the contradictions inherent to mainstream cultural consumption. Although the concept sounds a bit serious, Negativland are actually both humorous and thought-provoking. For over two decades, the "culture jamming" collective has exposed the effects of media, specifically radio and television advertising and the music industry, on consumerism, manipulating sounds and images with a joking irreverence. According to the Negativland website, the group "covets insightful wackiness from anywhere, low-tech approaches whenever possible, telling humor, and vital social targets of any kind. Without ideological preaching, Negativland often becomes a subliminal culture sampling service concerned with making art about everything we aren’t supposed to notice."

Not surprisingly, Negativland are avid defenders of fans’ rights, fair use, and freedom of expression. "Negativland believes that collage has a well-established artistic license to work in mass media or anywhere else free of charge and free of [legal] charges," said the band, as quoted by Fredrick L. McKissack, Jr., in the Progressive. This belief, however, led to fleeting but disabling celebrity in 1991 when Island Records sued Negativland for creating an artistic joke with a record by the popular Irish rock band U2. Negativland’s former label, SST, also sued the group for damages. In the end, Island dropped the suit on the condition that thousands of copies of Negativland’s U2 EP, which contained a parody of the song "I Still Haven’t Found What I’m Looking For," be recalled and destroyed. After the incident, Negativland began releasing subsequent material on their own Seeland label.

Interestingly, much of their appeal derives from the group’s own nostalgic attraction to the advertising and popular music of their youth, the same media forms they spent their adult lives ripping apart. According to Spin magazine’s D. Strauss, Negativland’s dirty secret "is that they love the media more than Joanie loves Chachi," proving that advertising does, indeed, actually work. Formed in 1979 near San Francisco in Berkeley, California, by Mark Hosier, David Wills, and Richard Lyons, Negativland started out using tape loops to create rather formless cut and paste exercises. They released their first album, Negativland, in 1980, followed by Points in 1981.

Also in 1981, the trio began hosting and producing the ongoing program Over the Edge, a weekly, three-hour long live radio show featuring a chaotic mix of skits, music, phone-ins, and sampling. Not long after debuting the show, they were joined by tape manipulator Don Joyce of the KPFA Berkeley community radio station, and the group’s mission become more clear. He provided the group with a catalogue of radio sound effects and jingles that complemented the existing trio’s irreverent take on media manipulation.

Drawing their influence primarily from the output of the music industry, while also incorporating radio and television samples, Negativland developed an approach they called "culture jamming." Since then, critics have adopted the term not only to describe the work of Negativland, but in reference to the work of other media artists and activists as well. The first example of Negativland’s mix-and-match noise/idea sculptures on compact disc arrived in 1983 with A Big 10-8 Place. In 1984, Negativland released the first volume of the Over the Edge compilations, edited versions of the foursome’s radio show comprising looped noise, pranks, puns, tape manipulation, evidence of copyright infringement, and other media mischief.

Much of Negativland’s output thereafter would similarly result in comic sequences and sketches rather than "music" per se. Nevertheless, they soon amassed a sizable following among the rock counterculture. Pockets within the mainstream, too, took notice. Pop star Marky Mark, also known as actor Mark Wahlberg, even used a sample from Escape from Noise, Negativland’s next album, on his debut. Released in 1987, Escape from Noise featured "Christianity Is Stupid," the song central to a prank that gave Negativland their first instance of widespread attention. After reading a news story about a teenager who murdered his parents with an axe, the group issued a phony press release stating

that Negativland’s song had instigated the killing. The press took the statement seriously, causing the story to escalate out of control.

However, a news furor was just what Negativland wanted. For their next album, 1989’s Helter Stupid, a funny yet troubling commentary about the state of the media, the group widely sampled takes from the frenzy. In 1991, following the release of the EP U2, Negativland again found themselves at the center of media attention. Containing parodic versions of the U2 song "I Still Haven’t Found What I’m Looking For" and out-takes from Casey Kasem’s American Top 40 radio show, the record angered both Kasem and U2’s label, Island Records. Consequently, U2 and their label and music publisher, as well as Kasem, sued Negativland for copyright and trademark infringement, leading to the near collapse of SST Records.

Throughout the ordeal, Negativland garnered a groundswell of public sympathy, and articles in support of the group ran in Rolling Stone, Wired, and Creem, among others. Many rock fans chastised U2 for their passive role in attacking artistic expression, criticisms that peaked with U2’s Zooropa tour, for which they used cut and paste exercises similar to the previous work of Negativland. At one point, fair-use fans took to wearing "Kill Bono" T-shirts. Negativland later documented the incident by publishing a 270-page book in 1995 called Fair Use: The Story of the Letter U and the Numeral 2, compiling legal documents, press releases, correspondence, and articles relating to the legal battle between Negativland and Island, SST, Kasem, and other parties. Packaged with a CD that deliberately used samples drawn from several high-profile musicians, the book was an expanded version of Negativland’s CD/magazine package The Letter U and the Numeral 2, which was released in 1992.

However, the encounter did little to curb Negativland’s appetite for exercising their freedom of expression and fighting for fair use. According to the band, copyright laws should distinguish incidents of bootlegging or piracy from collage. Since the U2 ordeal, the group continued to release material from their Over the Edge show, trample over the existing copyright laws, and expose media hypocrisy. In 1997, Negativland released a full-length ode to a soft drink entitled Dispepsi, hoping to enlighten listeners about how advertising intrudes on their lives.

"What we’re talking about is the presence of advertising in our brains and in our lives," Hosier told McKissack. "What’s happening to our public lives? You can get away from some advertising by not watching television. Fine. But what about when you’re walking down the street? And I ask, ‘What gives you the right to enter my head?’" But in an ironic twist, the album actually helped rather than hurt the corporate cola giant. Apparently, the band began hearing reports that some people, after seeing a Pepsi can, began to say to friends," Hey, have you heard the new Negativland CD?" In response to such reports, Hosier gleefully replied," That is so cool."

In addition to releasing 18 CDs, including the EPs Happy Heroes in 1998 and The ABCs of Anarchy in 1999, a collaboration with British pop stars Chumbawamba, Negativland were the subjects of the 1995 feature film Sonic Outlaws by Craig Baldwin and composed the soundtrack for a 1997 documentary about advertising entitled The Ad and the Ego. In the spring of 2000, the group embarked on their first tour in seven years, the epic True/False 2000 Tour, complete with advertising and instructional films, slides, tape collages, and some "straight" songs. Not conceived to promote any particular release, most of the show’s material had never been heard before. Negativland released a new book/CD project, Death Sentences of the Polished and Structurally Weak, later that year.

Selected discography
Negativland, 1980; reissued, Seeland, 1993.
Points, 1981; reissued, Seeland, 1992.
A Big 10-8 Place, 1983; reissued, Seeland, 1993.
Over the Edge Volume 1: Jamcon ’84, SST, 1984; reissued Seeland, 1994.
Escape from Noise, SST, 1987; reissued, Seeland, 1999.
Helter Stupid, SST, 1989.
U2, (EP), SST, 1991.
Guns (EP), Seeland, 1992.
The Letter U and the Numeral 2 (magazine/CD), Seeland, 1992.
Free, Seeland, 1993.
Over the Edge Volume 5: Crosley Bendix, Seeland, 1993.
Over the Edge Volume 6: The Willsaphone Stupid Show, Seeland, 1994.
Over the Edge Volume 7: Time Zones Exchange Project, Seeland, 1994.
Fair Use: The Story of the Letter U and the Numeral 2, (book/CD), Seeland, 1995.
Over the Edge Volume 8: Sex Dirt, Seeland, 1995.
Dispepsi, Seeland, 1997.
Happy Heroes (EP), Seeland, 1998.
The ABCs of Anarchy (EP), Seeland, 1999.
Death Sentences of the Polished and Structurally Weak (book/CD), Seeland, 2000.

Video
No Other Possibility, Seeland, 1989.

Sources
Books
Buckley, Jonathan and others, editors, Rock: The Rough Guide, Rough Guides Ltd., 1999.

Periodicals
Los Angeles Times, June 4, 1999.
Progressive, November 1997.
Spin, July 2000, p. 68.

Online
DIW Magazine, http://www.diwmagazine.com(August 11, 2000).
NegativWorldWideWebland, http://www.negativland.com (August 11, 2000).
Wired News, http://www.wired.com/news/(August 11, 2000).
Yahoo! Music, http://www.musicfinder.yahoo.com (August 11, 2000).
AMG AllMusic Guide: Pop Artists:

Negativland

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  • Genres: Rock

Biography

Some will always say that practical jokers should expect to get attacked back themselves at some point. Others may note that within any jokes there are some human truths. Still others will just want to enjoy the jokes for themselves as jokes and nothing more. Three differing statements, all valid truths when applied to one of America's most curious, clever, and inventive bands in the last 20 years of the 20th century and beyond, Negativland. Though named after a track by cult Krautrock band Neu!, who also inadvertently provided the moniker of the band's label, Seeland, Negativland's origins can be seen more in the cut-ups of early Faust, the radio drama on acid approach of the devilishly funny Firesign Theatre and any number of sonic experimentalists and musique concrète composers. Sometimes appearing only to please themselves, other times perhaps willfully courting adverse attention without expecting the possible results, Negativland's saving grace has always been the sheer hilarity of its work. Without being a comedy band per se, and at many points making rather serious observations on the world around it, Negativland's cock-eyed, satiric vision of a barely sane planet often results in the best kind of humor -- the kind that can be enjoyed again and again, especially because of the textured, complex sound of their many astonishing releases.

Formed in the San Francisco area, Negativland originally revolved around the talents of Mark Hosler and Richard Lyons, multi-instrumentalists with an ear for tape manipulation of all sorts. Their inspired stroke of genius was to recruit David Wills, more famously known as the Weatherman in later years, to make up the original trio. Wills, a cable TV repairman by trade, was just as obsessed with home recording and experimentation as the other two, and his wry, drawling vocals became the core trademark for many of Negativland's most notorious releases. Working with a few guests such as Peter Dayton on guitar, the trio released its debut self-titled release in 1980, notable as much for its packaging (each album featured individually wallpapered covers) as for its fragmented songs and textures. Apparently the still-teenage Hosler wanted it completed in part so he could feel he had accomplished something by the time he graduated from high school, a reasonable enough goal. Released in 1981, Points featured the same general lineup, with a new notable guest performer being Ian Allen, credited with tape processing on one track. However, an even more important bond was made that year -- the recruitment of Don Joyce. Joyce had started a free-form radio show, Over the Edge, on the Bay Area's KPFA station that also explored fried humor and social commentary much like Negativland itself. As a result, Hosler and company appeared one day on the show shortly after it began, and since then Joyce has not only been the only constant member of Negativland aside from Hosler, but Over the Edge has become the regular sonic testing ground for most of the band's releases, still running strong after 20 years.

The next official Negativland album was the group's unquestionable breakthrough, 1983's A Big 10-8 Place, created by the core of Hosler, Allen, and Wills, with Lyons and Joyce as guests, along with a new face, Chris Grigg. Synthesizing the band's love of aural theater and subversion of expected pop and rock approaches, it was at an once hilarious and quietly harrowing vivisection of suburbia, winning them new fans and a growing reputation. Allen formerly departed after that point, while Joyce and Grigg became full-fledged members. The ensuing five-piece lineup -- Grigg, Hosler, Joyce, Lyons, and Wills -- kept up their various explorations on the air and in the studio, not to mention irregular but creative and well-received live performances and occasional dabbling in video work. Their reputation grew to the point where they were formally signed to Greg Ginn's legendary punk label SST, a decision that would have unexpected consequences some time later.

The band saw out the '80s with two major releases on SST, not counting a variety of tape-only efforts showcasing some of the best Over the Edge sessions. Issued in 1987, Escape from Noise took the scope of A Big 10-8 Place to even wider levels, touching on everything from how many time zones Russia covers to a rendition of "Over the Rainbow" sung by a little girl plagued with hiccups. Maintaining Negativland's blend of wit and darker themes, it might have simply remained a cult classic were it not for the appearance of the throbbing, creepy "Christianity Is Stupid" and, a few months after the album's release, a mass murder in Minnesota committed by a teenager against his family. Having seen tour plans fall through at around the same time, Negativland decided to distribute a fake press release hinting that the killer had in fact been arguing with his parents over "Christianity Is Stupid," which resulted in a slew of publicity and confusion over what the truth of the situation was. Some condemned the group's actions as tasteless exploitation, but Negativland preferred to think of it as an examination of media assumptions, and the whole affair became the backbone of 1989's Helter Stupid.

As if the storm of controversy over "Christianity Is Stupid" wasn't hectic enough, what the band did next was nearly enough to do itself in permanently. With barely any advance publicity -- but all too suspiciously timed to appear just before U2's long-awaited 1991 album Achtung Baby -- Negativland (with Lyons taking a temporary break) let a two-song single slip out in the summer of that year called U2. The contents turned out to be two radically different versions of the Irish band's anthem "I Still Haven't Found What I'm Looking For," using and chopping up the original beyond recognition, as well as splicing in bits from a notorious underground tape featuring legendary -- or at least long-lived -- American DJ Casey Kasem obscenely ranting about nearly everything.

What happened over the next few months is still the subject of legal threats on all sides, but first U2's label crashed down hard on the release, forcing it to be withdrawn after only a few days of being in the stores (all of which occurred without the knowledge of U2's members themselves, by all accounts). Kasem found out what happened as well and launched his own lawyers onto the case. Things then got even more hairy for the band when SST suddenly turned on the group, with Ginn seeking to recoup his financial losses via the bandmembers (even as a follow-up EP, Guns, slipped out). The ensuing barrage of claims and counterclaims, documented first in the band's 1992 CD/book The Letter U and the Numeral 2 and then in even more detail three years later in an expanded release called Fair Use, found Negativland beset by legal and monetary woes that almost sank it. At the same time, what had been a joke and a dare soon became a new focus for the bandmembers, who inadvertently made a name for themselves as crusaders for both artistic integrity and a freer interpretation of copyright law in opposition to corporate control.

This fresh direction, though one which grew naturally out of Negativland's previous work, helped reinvigorate the group, which reactivated the Seeland label with the release of Free in 1993. Accompanying tours found the band delivering both older hits (if you will) and extended meditations on the whole U2 saga (a notable though unofficial release, Negativconcertland, presented a typical show over its two discs). Perhaps most notable of all was Wills' live work -- for any number of rumored personal reasons, he refused to tour, so the band did the next best thing and simply videotaped his parts for playback.

After further extricating itself as much as it could from the matter, as well as completely severing all links with Ginn and SST, Negativland kept on keeping on. Joyce's Over the Edge show continued as always, with an increasing number of old and new shows edited for presentation as formal releases, though 1996 brought the departure of Grigg from the band. Negativland's next formal release in 1997 looked to be another red-flag-to-the-bull effort, though whether out of foolhardiness or calculation is up to the individual to decide. Regardless, Dispepsi, featuring the guest contributions of newest member Peter Conheim, didn't bring down the wrath of Pepsi-Cola on the band's head even though the cover art was clearly a riff on the distinctive brand's logo while the content explored the very concept of advertising and its potentially destructive nature. 1998 featured a follow-up EP, Happy Heroes, while the following year saw the appearance of a full collaboration single with British radical stalwarts (and longtime Negativland fans) Chumbawamba, The ABCs of Anarchism.

The turn of the millennium brought a new, if generally lower-key, era to Negativland, with the group's most notable later work being a well-received tour, True/False 2000, featuring much newer material as well as an old standby or two, not to mention some amazingly nutty between-set skits and films (and, as always, Wills only turning up on video). In 2001 the band released a sort-of bootleg, These Guys Are from England and Who Gives a Shit, revisiting the whole U2 blow-up with numerous alternate versions (and the originals) of Negativland's most (in)famous effort. The following year saw the release of Death Sentences of the Polished and Structurally Weak, and in 2005 the band issued No Business and celebrated its 25th anniversary by curating an art exhibit in New York City called Negativlandland, which contained artwork that was inspired by the band's music, as well as Negativland music videos and original art created specifically for the event. Three years later, Thigmotactic was released on Seeland Records. ~ Ned Raggett, Rovi
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Negativland

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This article is about the band. For the album, see Negativland (album). For the Neu! song, see Neu! (album).
Negativland
Background information
Origin Contra Costa County, CA, USA
Genres Experimental
Sound collage
Alternative
Industrial
Years active 1979 to present
Labels Seeland
SST
Lumberjack Mordam Distribution
Website negativland.com
Members
Mark Hosler (1979-present)
Don Joyce (1983-present)
Richard Lyons (1979-present)
David "The Weatherman" Wills (1979-present)
Peter Conheim (1998-present)
Tim Maloney (2005-present)
Tom Koch
Stukke and Stakke
Jonathan Land (1996-present)
Past members
Ian Allen (1981-1987)
Chris Grigg (1980-1998)
Joan (1979-1980)
Peter Dayton (1979-1980)

Negativland is an experimental music and sound collage band which originated in the San Francisco Bay Area in the late 1970s. They took their name from a Neu! song,[1] while their record label is named after another Neu! song. The current[when?] core of the band consists of Mark Hosler, Richard Lyons, Don Joyce, David Wills, and Peter Conheim.

Negativland has released a number of albums ranging from pure sound collage to more musical expositions. These have mostly been released on their own label, Seeland Records. In the late 1980s and early 1990s, they produced several recordings for SST Records, most notably Escape from Noise, Helter Stupid, and U2. Negativland became involved in a lawsuit with U2's record label, Island Records, which brought them widespread publicity and notoriety.

Contents

History

1980s

Negativland started in Concord, California, in 1979 around the core founding members of Lyons and Hosler (who were in high school at the time), and released an eponymous debut in 1980.

A number of releases followed in the early 1980s, but it wasn't until after the release of their breakthrough sample and cut-up sonic barrage Escape from Noise in 1987 that Negativland gained wider attention. Vinyl copies of the album came with "CAR BOMB" bumper stickers, in reference to the album's song "Car Bomb".

Following the somewhat unexpected success of this album, Negativland faced the prospect of going on a money-losing tour. To prevent this, they created a press release which said Negativland were prevented from touring by “Federal Authority Dick Jordan" due to claims that Negativland's song "Christianity Is Stupid" had inspired David Brom to kill his family. The press release went on to denounce the purported connection between Negativland and the murders. While Brom had in fact argued with his father about music shortly before Brom killed his family, no one had ever claimed that Brom was spurred to murder by Negativland's music. The claim that Brom's crimes were inspired by Negativland was disseminated and discussed in the mass media, seemingly with little to no fact-checking.[2] Soon the world was informed of the "Killer Song" that caused a kid to murder his parents with an ax.

The scandal became the foundation for Negativland's next release, Helter Stupid, which featured a cover photo of TV news anchorman Dave McElhatton intoning the Brom murder story, with the news station's caption "Killer Song" above his head, and a photo of the ax murderer.

U2 record incident

Negativland's next project was the U2 EP, with samples from American Top 40 host Casey Kasem. In 1991, Negativland released a single with the title "U2" displayed in very large type on the front of the packaging, and "Negativland" in a smaller typeface. An image of the Lockheed U-2 spy plane was also on the single cover.

The songs within were parodies of the group U2's well-known 1987 song, "I Still Haven't Found What I'm Looking For", including kazoos and extensive sampling of the original song. The song "The Letter U And The Numeral 2" features a musical backing to an extended profane rant from well-known disc jockey Casey Kasem, lapsing out of his more polished and professional tone during a frustrating rehearsal which had gone out to many stations as raw feed and was taped by several engineers, who had been passing it around for a number of years. One of Kasem's milder comments was "These guys are from England and who gives a shit?" (U2 was actually formed in Ireland.)

U2's label Island Records quickly sued Negativland, claiming that placing the word "U2" on the cover violated trademark law, as did the song itself. Island Records also contended that the single was an attempt to deliberately confuse U2 fans, awaiting the impending release of Achtung Baby, into purchasing what they believed was a new U2 album called Negativland.

In June 1992, R. U. Sirius, publisher of the magazine Mondo 2000, came up with an interesting idea. Publicists from U2 had contacted him regarding the possibility of interviewing Dave "The Edge" Evans, hoping to promote U2's impending multi-million dollar Zoo TV Tour, which featured found sounds and live sampling from mass media outlets (things for which Negativland had been known for some time). Sirius, unbeknownst to Edge, decided to have his friends Joyce and Hosler of Negativland conduct the interview. Joyce and Hosler, fresh from Island's lawsuit, peppered the Edge with questions regarding his ideas about the use of sampling in their new tour, and the legality of using copyrighted material without permission. Midway through the interview, Joyce and Hosler revealed their identities as members of Negativland. An embarrassed Edge reported that U2 were bothered by the sledgehammer legal approach Island Records took in their lawsuit, and furthermore that much of the legal wrangling took place without U2's knowledge: "by the time we [U2] realized what was going on it was kinda too late, and we actually did approach the record company on your [Negativland's] behalf and said, 'Look, c'mon, this is just, this is very heavy...'" Island Records reported to Negativland that U2 never authorized samples of their material; Evans' response was, "that's complete bollocks, there's like, there's at least six records out there that are direct samples from our stuff." [3]

In August 2007, Don Joyce of Negativland provided an audio cassette copy of the original Mondo 2000 interview with Dave "The Edge" Evans to the U2 fan website U2Interview.com. The interview is freely available from this website.[4]

The "U2" single (along with other related material) was re-released in 2001 on a "bootleg" album entitled These Guys Are from England and Who Gives a Shit, released on "Seelard Records" (a parody of Negativland's record label Seeland Records). Negativland may have themselves been responsible for the re-release with U2 giving their blessing; although the Negativland website refers to this release as a bootleg, it is available from major retailers like Best Buy, Amazon, and Tower Records, as well as Negativland's own mail-order business.

Negativland are interested in intellectual property rights, and argue that their use of U2's and others' material falls under the fair use clause. In 1995, they released a book, with accompanying CD, called Fair Use: The Story of the Letter U and the Numeral 2, about the whole U2 incident (from Island Records first suing Negativland for the release to Negativland gaining back control of their work four years later). The book ends with a large appendix of essays about fair use and copyright by Negativland and others, telling the story with newspaper clippings, court papers, faxes, press releases and other documents arranged in chronological order. An unfortunate side effect of the Negativland-Island lawsuit was another one brought on between Negativland and SST, which served to sever all remaining ties the two had. To get back at Negativland (while wryly circumventing their name), SST founder Greg Ginn later released the Negativ(e)land: Live on Tour album on SST.

Negativland were the main subjects of Craig Baldwin's documentary Sonic Outlaws, detailing the use of culture jamming to subvert the messages of more traditional media outlets. They also made an appearance in Brett Gaylor's 2009 copyright issue documentary, RiP: A Remix Manifesto.

ABCs and Teletubbies

In 1999 Negativland collaborated with UK anarchist band Chumbawamba to produce the EP The ABCs of Anarchism, which is largely based around the writings of Alexander Berkman and cut-up versions of Chumbawamba's hit song "Tubthumping", the theme tune to the children's program Teletubbies and the Sex Pistols' "Anarchy in the UK".

Recent developments

In 2003, members of Negativland contributed their efforts to Creative Commons, a non-profit organization devoted to expanding the range of creative works available for others to legally build upon and share by providing alternative copyright licenses. In September 2002, Negativland spoofed Clear Channel radio stations in an audio track broadcast by pirate radio broadcasters jamming a Seattle Clear Channel station while the National Association of Broadcasters met in the city.[5]

Member Don Joyce has long hosted a weekly radio show called Over the Edge most Thursdays at midnight on KPFA. Recordings of some noteworthy episodes of the show have been released by Seeland in its Over the Edge series.

In September 2005, to celebrate the 25th anniversary of the band, Negativland curated an art exhibit in Manhattan's Gigantic Artspace gallery.[6] The exhibit, Negativlandland, included a number of pieces of artwork from and inspired by Negativland recordings, video projection of music videos created by the band and others, and some artwork created specifically for the show, such as an animatronic Abraham Lincoln figure (inspired by the band's Lincoln cut-up piece God Bull) and a hands-on exhibit featuring the Booper, the audio-processing unit that band member David Wills (a.k.a. The Weatherman) assembled out of old radio parts. The show appeared in Minneapolis on May 12, 2006, at Creative Electric Studios.

Discography

Albums

Videos

Over the Edge radio series

(CDs edited from Negativland's weekly live radio show)

EPs

Live albums

See also

References

  1. ^ allmusic
  2. ^ Helter Stupid: 20 years later.
  3. ^ "Negativland Interviews U2's The Edge". Negativland.com. http://www.negativland.com/news/?page_id=19. Retrieved 2011-06-24. 
  4. ^ "Negativland And The Edge". U2Interview.com. http://www.u2interview.com/negativland-mondo-2000-interview/. Retrieved 24 June 2011. 
  5. ^ "News Archive: August 2003". Diymedia.net. http://www.diymedia.net/archive/0803.htm. Retrieved 2010-08-31. 
  6. ^ "gigantic artspace". gigantic artspace. http://www.giganticartspace.com/. Retrieved 2010-08-31. 

External links

Interviews

Negativland
Albums
Live albums and DVDs
EPs
Over the Edge

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