Mark Mothersbaugh

lg · Post by lg » Thu Aug 17, 2006 1:33 pm

I do hope that any article on DEVO gives props to Alan Myers. His signature drum work on 'Satisfaction' (among others) really contributed to DEVO's sound, imho. Funny, he was the electrical subcontractor on our design studio when we moved about 6 years ago. He was just a nice guy in a sikh's turban, whom i happened to overhear talking about tablas with his associate. We later got into a discussion about music in general and he mentioned that he was originally from Akron, Ohio and had "been in a band" once. After putting two and two together, he and I had several wonderful conversations about the experiences of that life, including going for long, contemplative walks with Brain Eno during recording of their first album. On top of that, he was a damn fine electrician!

Michael.E · Post by **Michael.E** » Mon Sep 25, 2006 8:26 pm

I agree! I would love to see his Tape-Op interview.
Been a fan of Mothersbaugh since his Devo days and really dug his film
work over the years. Especially his scores for all of Wes Anderson's films.
Even his television days of "Pee Wee", which I recently found out about.
Was pretty excited to hear that one; since I practically grew up with that show.

Post by **TapeOpLarry** » Sat Sep 30, 2006 4:42 pm

Nutra man is gonna try to do this, so post questions for him to ask Devo/Mark M here.

drumsound · Post by **drumsound** » Sat Sep 30, 2006 5:34 pm

I'd like to know about how Devo approached covers. I think their covers are brilliant!

Knights Who Say Neve · Post by **Knights Who Say Neve** » Sat Sep 30, 2006 5:45 pm

I'd love to know what the hell they were thinking w/ "Post-Post Modern Man", "Disco Dancer", et al. - that era.

It's a respectful question.

jamoo · Post by **jamoo** » Mon Oct 02, 2006 7:06 pm

I'd basically like to know two things (I can think of):

- What about his background, art school, Akron, etc., is present but not evident in Devo? (context: frat boys or derelicts who wanna 'rawk' don't usually write ostensibly willfully existential lyrics. I hate using the term, but I choose it because it's pretty accurate and to-the-point.)

- How has working with technology (midi, etc.) changed over the years? What career-long habits have 'stuck'? What has technology (d)evolution motivated him to pursue? Do he think his approach is inherently different out of habit or rememberance of how things 'had to be done' because there wasn't a handy plug-in? (for example)

'Succinctify' if you wish.

NU-TRA · Post by **NU-TRA** » Mon Oct 02, 2006 7:48 pm

Knights Who Say Neve wrote:I'd love to know what the hell they were thinking w/ "Post-Post Modern Man", "Disco Dancer", et al. - that era.

It's a respectful question.

I don't find it respectful if you ask someone that question in those words. Who am I or you to judge what they did musically in the late 80's early 90's. It's history. That was a very dark period for Devo.

V

jamoo · Post by **jamoo** » Mon Oct 02, 2006 11:20 pm

lol. great paradox.

on the one hand, the public figure needs a thick skin.

on the other hand, the desire to become a public figure is usually based on wanting to be influential/loved (meaning no thick skin).

i'd just consider 'knights' a heckler in this case.

devo pushed boundaries and expressly swore off the rock-star cliche, so i think we can assume that everything they do is not going to be consistent or consistently palatable... which is even the case for 'conventionally inclined' musicians (tho perhaps to a lesser extent).

Michael.E · Post by **Michael.E** » Wed Oct 04, 2006 2:58 pm

questions in regards to...

his work in devo;
his approach to film scoring;
the process; i..e. compositional, recording, etc..

Knights Who Say Neve · Post by **Knights Who Say Neve** » Wed Oct 04, 2006 4:43 pm

Err, that question was a bit abrupt. As I've said before, I'm a big fan of DEVO.

I guess what I meant was, what was going on in that "dark era", and why did they write those songs and make those videos? They don't seem to even be the same band as the earlier albums, and nowadays they don't play those songs, so I guess they don't like them either. Admittedly it's an unusual question, but it might elicit a very interesting answer. What happens to bands in "dark times"?

And no, I'm not a heckler. I'm sure you're not a dismissive asshole either.

DryCounty · Post by **DryCounty** » Thu Oct 12, 2006 7:13 pm

I'm a sucker for gear, and would love to know more about what he uses lately, how it's evolved, etc. -- the usual stuff.

But what I'd really love to see is photos -- uncensored pix of the boys in the studio. There MUST be a photo of Eno and Devo in existence? That would make a real nice spread.

dogcow · Post by **dogcow** » Tue Oct 17, 2006 12:01 pm

I heard he bought all of Raymond Scott's old synths. I can't even imagine how much labor would be involved in getting those back up and working. Is that even something there are plans for? I would love even to just see them in a museum at some point, working or not. I'm sure Raymond Scott influenced them, but I'm curious to what extent.

Mike Manewitz
San Diego, CA

NU-TRA · Post by **NU-TRA** » Tue Oct 17, 2006 5:08 pm

Mark is heavily influenced by Raymond Scott. I think he is in some Raymond Scott Society club kinda thing.

V

Michael.E · Post by **Michael.E** » Wed Oct 18, 2006 2:27 pm

Those old proto-synths are incredible; I'm floored to hear this.
That must've been a hard thing to come by; not only because of rarity,
but the sheer mass of some of those old modular synths/racks.
Maybe Nutra man will ask Mark a bit more about this.
Like some of the quirkier instruments he uses, ray's influence,
parts of his lab/studio salvaged, etc.

Edweird · Post by **Edweird** » Thu Oct 19, 2006 10:30 am

What's the one piece of equipment that Mark hasn't been able to work without, or let go of, throughout his career?

For me it's a ProCo RAT distorion box. I don't use it on everything, but it was my first stomp box and I couldn't bare to let it go. A close second is my Rickenbacker 3001 (not a misprint kids, look it up). Still the best instrument I've ever owned.

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