This page has been set up to provide inside information to those who want to know more about the music and the character behind Tangerine Dream. Here you will find answers to letters by fans, e-mails and interviews. As each question and answer is given equal importance, the text is not divided into topics.

Answers are given by Edgar directly or by the Administrator of this website.


# 31 What do you think about money? Do you charge a lot of money for your music?


I want to answer an intelligent question like this one with an even better citation of Kurt Schwitters, one of the greatest dadaists: „We invest our money in Dada. Dada is the only savings bank that will pay interests in eternity.“ If anybody believes now that I didn’t understand the question, he is absolutely right.


# 32 According to TD, is there beauty in music?


Beauty exists just because there is ugliness, how could you define beauty otherwise? Beauty is as abstract as the pretended ugliness. In music, beauty is mostly kitsch, but for the only reason that you consider the noise of a tram on the rails to be “ugly”. Ergo:
Beauty can only exist in music, if the listener has a more complex perception capacity, that is, if kitsch and dissonance neutralize one another. Whoever thinks this is too complicated for him shall drop a hammer on his toe and forget the pain in a fit of laughter.


# 33 In most productions where you can hear songs you work only with women. Tyger, Shy People, Dante Trilogy etc. Is there any reason for that?


I don’t know how other groups handle this, but we have experienced that working with women makes a very good atmosphere. There might be exceptions, but fortunately we have never had any real stress situations. According to our experience, women are much more disciplined workers. They never came to the recording dates without preparation. In the Dante Trilogy, however, there were also other reasons for working only with women, related to the pitches of the voice of alto, soprano and mezzo-soprano. Furthermore, it is an excellent way of understanding the intuition of women. But you must not try to stick to the archaic patterns of behavior that are common in most relationships. It’s not for nothing that Iris and Linda have been working with us as guest musicians for years. It is just very much fun, and at the same time we are doing professional work with them.


# 34 Within your Press Clips Library you must have tons of stuff that’s not even worth reading twice, but some of it would be quite interesting to if released to the public to give others an impression of how you’ve been treated around the world by the professional critics. If you had to say just one good thing about their work, what would it be?


Yes, definitely not everything that’s been written about us is crap and I’ve never claimed that it was. Unfortunately, in the public eye, the positive side of something isn’t half as interesting than dirtying someone’s reputations. Is that odd? But one should never forget about the way most critics were before becoming critics. Most critics come from the same background they now criticise. It’s best not to forget one important factor: they’ve gotten through one of the most uncomfortable experiences in life, the lack of acknowledgement in their own efforts to become a successful artist.
Very often some frustrated individual tries to save his artistic and philosophical integrity by tearing up a rock act or a theatre premiere with a pen. The way we hate critics for that gives them some inexplicable satisfaction. A writers has an orgasm for 20 bucks per line – at the most.
There’s one thing a critic should always keep in mind: “If there is any real doubt as to whether or not an artist has delivered a true piece of work, it is better to vote for than against him; why ? As a writer, you always have a second chance to correct yourself. The artist, once torn apart by the media, doesn’t have the same luxury.
Because many critics are quite cynical, here a word from Oscar Wilde: “A cynical critic is one who knows the price of everything and the value of nothing.”
By the way, some time next year a documentary will be released featuring some of the most bizarre statements that the media has expressed about TD.


# 35 Why TD did never get into making scores for video games or producing music and sounds for PC entertainment in general?


There is definitely good earning potential in that, but the price you have to pay as an artist is far too high in my eyes. I don’t want to see all of the violence and crap that characterizes most of the games that exist. Killing, fighting, monsters against monsters, does anyone cool and intelligent need that at the outset of the 21st century? I’m not talking about this from a moral or ethical point of view; nothing is really ethical on this planet. What my concern is, is very simple to explain: you have to devote your artistic, mental and emotional skills to something which in most cases isn’t even worth a dime. Besides that, force and the unlimited power of using it even on a virtual level will sooner or later destroy all these very sensitive feelings within you. There’s an very old saying: force creates force.
What fun is it to kill others even on a virtual level?
What’s so cool about it?
Can anybody explain it logically?


# 36 What if you composed, improvised and produced some music in the way you did your masterpieces within the seventies and early eighties?


As you said, we did that over and over again back in the seventies and eighties.
These products are all spread out nearly everywhere. It doesn’t make any sense to reproduce yourself again and again. It also makes no sense to compare the different TD line-ups and the technical arrangements with each other. To make it absolutely clear, there is nothing wrong if someone dislikes the newer stuff. But there is a very simple and very effective solution to solve such “problems”: Just buy what you like!
No one can force you to spend your hard earned money on something you feel uncomfortable with. Nobody but you can take your credit card out of your wallet and hand it over to the cashier or make online purchases. It’s as simple as that, isn’t it?


# 37 There are a few paperbacks about TD on the market. Anything you like?


The covers of these books are too far apart (note by Ambrose Bierce).
I can´t think of a better answer.


# 38 Can I record and/or videotape a TD show I am attending for my personal use?


It wouldn’t be a very wise decision. A recording of live concerts is against the law in most countries (all of the EU and, nowadays also most South American and former countries of the Eastern Block). Your recording will likely be confiscated and the sound or video carrier will be destroyed by the security staff.


# 39 What is TD’s stance on bootlegs?


The group accepts and tolerates the deep desire of many die hard fans to obtain every single note ever performed. Thus, as long as no one is earning a profit and as long as no recordings are commercially available are exchanged, we tend not to overdramatize the criminal aspect of such things. Nonetheless, I have to mention that any form of unauthorized distribution of someone’s intellectual or artistic property is illegal. However, when it comes to commercial distribution (i.e. CD’s, DVD’s that are manufactured and mass-distributed and sold for money), the group’s legal adviser will give anybody involved in the production or distribution of such material a very hard time. It is not advisable to consider getting involved in this kind of activity, as it will most likely result in a fine or prosecution.


# 40 Are the names Tangerine Dream, TDI and Eastgate registered trademarks?


Yes, they are all officially registered trademarks worldwide. Thus, anyone naming his or her product directly or with a title closely resembling such names runs a good chance of getting into a legal conflict with us. There’ve already been some companies who had to remove their products from the marketplace.

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