From: (tadream mailing list)
Date: Fri, 22 May 98 18:28:18 EDT
Subject: I Have 900 Lines of TD-related Articles 

Really-From: Steven Feldman 

     I *finally* cleaned up some downloads of Tangerine Dream-related
articles I got from the NEXIS/LEXIS pay database service three years
ago.  They total 900 lines of text.  I sent a copy of the entire thing
to Scott Plumer, so you can ask him his opinion of what I should do
with it all.  (Where *does* one archive TD-related stuff these days???)
     Anyways, below is the stuff that *I* found interesting:

                         -- Steven Feldman 
+          +          +          +          +          +          +

USA TODAY, December 6, 1994, Tuesday, FINAL EDITION
HEADLINE: Boxed sets play to musical memories / Sample the roots of rock,
synth sound and the industrial offbeat
BYLINE: Edna Gundersen

(. . .)
   Tangerine Dream, Tangents 1973-1983 (Virgin, 59 tracks, 5 CDs, $ 59.95).
Tangerine's groundbreaking electronic soundscapes aren't for synth fetishists
only. The Berlin group, founded in 1967, sold 10 million albums, paved the way
for hot ambient/house acts like the Orb and Aphex Twin and influenced
everything from the mind-numbing cadence of disco to the sonic beatfests of
   Remastered by Dream leader Edgar Froese using new technology, the set, with
12 re-recorded tunes, boasts spectacularly crisp sound quality. Though
incomplete (it excludes material before and after their Virgin Records years,
including debut album Electronic Meditation), the set captures their prime in
three discs of studio work, one of soundtrack material and one of previously
unreleased tracks.
(. . .)

Billboard, May 22, 1993
SECTION: FRANCE; Spotlight; Pg. F4
HEADLINE: Around The French Companies;

(. . .)
   Girl singer Enzo Enzo is also winning acceptance abroad, having completed a
successful tour of Japan; and the Basque group Oio, whose melodic music has
been compared to that of  Tangerine Dream,  sold 50,000 copies of the "Anima"
album in Germany.
(. . .)

USA TODAY, August 30, 1990, Thursday, FINAL EDITION
HEADLINE: A sneak peek at 'Chukker'
BYLINE: Jeannie Williams

    Aspen's celebrity crowd has been invited to a Labor Day weekend screening
of The Great Chukker, which producer/director Larry Spangler calls the first
''rock-doc(umentary)'' on polo, with music by Tangerine Dream.
   Goldie Hawn, Kurt Russell, Don Johnson and Danny Sullivan have been invited
for the sneak peek.
   Spangler's film, due by Christmas, has its own share of stars: famed 10-
goal Mexican polo player Memo Gracida, actor/player William Devane and
socialite Marylou Whitney.
   Devane chats in the film about days when polo was big in Hollywood. ''Will
Rogers had a field at his house ... and Walt Disney kept a stable of horses
for friends to use.''
   Devane adds that polo ''keeps you on the edge all the time ... important if
you are an artist.'' Sylvester Stallone, he says, is ''a wonderful player --
strikes well, rides well.''
   Prince Charles also appears in clips as a very young player and from 1988
-- saying so far he'd been lucky enough not to break a leg or an arm. He'll
get a wry chuckle out of it - he broke his arm in a polo fall two months ago.
In the film he says polo, in general, ''shakes up my liver.''
   Spangler also is readying an animated, seven-minute cartoon of the Rudyard
Kipling story, The Maltese Cat, about polo ponies. It's Charles' favorite
story, says Spangler, and will be shown with Chukker.

The Washington Post,  September 7, 1988, Wednesday, Final Edition
HEADLINE: Spotlight;
The Group With a Synth Of Adventure;
Tangerine Dream's Long Electronic Music Quest
BYLINE: Mike Joyce, Special to The Washington Post

   Synthesist Edgar Froese, the founder of Tangerine Dream, remembers all too
well the response the group received at its debut performance in Berlin in
1969, including the "apples, oranges and bananas" that pelted the stage.
Although the concert was scheduled to run for 1 1/2 hours, the response was so
negative that the band walked off stage after only 20 minutes.
(. . .)
"I realized when [new age music] came on the market four or five years ago
that it would be commercially successful," he explains in a thick German
accent. "But I also knew that many people would understand that music to be
coming from someone who had just smoked a ton of marijuana and was pressing
down three keys. That's exactly what we're not into ... If you have something
to say musically, it's important not to lose sight of that."
   Froese's disdain for music designed as some sort of sonic backdrop or
yuppie therapy can be traced back to the band's first album, "Electronic
Meditations," which in spite of its title was more stormy than soothing.
Synthesist Claus Shulze, then the drummer, dubbed it the "punk album of
electronic music," and Froese is delighted that it's become something of a
cult hit in England recently.
   "It was wild," he concedes. "An experiment against everything. Maybe it had
the same root that punk came from. You stand up and you're against everything
-- the establishment, some social movements, tastes in music, the mainstream.
And you say, 'Okay, let's turn everything upside down and start again.' "
   West Germany was a particularly healthy incubator for electronic music,
Froese believes. After all, he says, there was no native rock tradition to
draw on. Nearly everyone who took up music seriously was classically trained,
and while many, including Froese, were drawn to rock and blues, in the end
those styles always sounded alien to their own culture. "That's why so many
German rock bands sound too German," he says, laughing.
   The turning point for Froese came when he opened a couple of concerts for
Hendrix. "I really saw, just a few feet away, what he did, but I never figured
out how he did it." More importantly, Froese says, Hendrix showed him that
"music doesn't have to follow along the same known routes, that you can leave
those routes and get something entirely different out of it. It's sort of like
traveling in open space."
(. . .)
   "The films help pay our bills," he says flatly. "We've never had a Top 10
hit in America, and we may never have one. I'm not sure about that. Therefore,
the films help us make a living and pay for our equipment ... But touring is
something I enjoy. This may be computer music, but we feel a real contact with
the audience at our shows. There's this electricity ..."

Newsday, September 6, 1988, Tuesday, ALL EDITIONS
HEADLINE: The Dream: Still Human, After 20 Years
BYLINE: By Stephen Williams

(. . .)
   "I personally feel prostituted by new age," said Froese, shifting about in
his seat. "With few exceptions, there is no quality in what today is called
new age. I love rock and roll, where you can feel emotion." Eddie Van Halen,
Jimi Hendrix, Stevie Nicks and Cyndi Lauper are among Froese's favorites, as
is Bruce Springsteen, although Froese has yet to see the Boss in performance.
   "He is one of the last blood, sweat and tears artists around . . . maybe
the last one," he said. "If you get touched by it, and thousands of people
stand up at the same moment, it must be something other than just three-chord
(. . .)

The Washington Post, February 2, 1987, Monday, Final Edition
HEADLINE: Singular Pleasures;
'Tonight's the Night': Pickup Bar Froth
BYLINE: Tom Shales, Washington Post Staff Writer

   It's cool and creamy and it takes about two hours to melt. No, not Hamagen-
Dazs chocolate chocolate chip. Well, that too. But also the "ABC Monday Night
Movie," "Tonight's the Night," at 9 on Channel 7. What a yummily
pleasurable, superficial experience it is.
   Originally titled "Single Bars, Single Men," and thus something of a
companion piece to the 1984 ABC movie "Single Bars, Single Women," tonight's
film follows the "Grand Hotel" blueprint as it convenes a gaggle of California
singles at a smart-deco place called Henry's, all of 'em there in the hope of
making longingly desired connections.
   The script by Steven Humphrey and Sue Grafton does drop expectable
buzzwords such as "commitment" and "involvement" and "relationship," butthe
characters come attractively alive and don't just seem like pop-sociological
statistics. The director, Bobby Roth, exhibits very nice moves as he maneuvers
his searchers around the bar and into and out of one another's beds.
(. . .)
Much to its benefit, the film is wall to wall with music. Billy and the
Beaters, as the band playing at Henry's, perform several friendly tunes. The
house deejay (Henry G. Sanders), who also seems to be the only black person in
the place, offers a heady stream of balmy Motunes. And additional, if
fleeting, background music is supplied by Tangerine Dream. Channel 7 really
ought to invest some of its enormous profits in stereocasting equipment if the
network is going to send down movies as musical as this.
(. . .)

Los Angeles Times, July 4, 1986, Friday, Home Edition
SECTION: Calendar; Part 6; Page 9; Column 1; Entertainment Desk

   Film music purists despise them. Studio heads view them as the pulse of
teen audiences. Whatever your feelings about Tangerine Dream, they're
probably extreme.
(. . .)
   "We got offers from the producers of 'Death Wish' and said no. Whoever
wants to see such films can, and we've done films that had violence, but it
was shown with a more social aspect. We also turned down the 'Conan' films --
a lot of people thought we were crazy."
   As for critics who feel  Tangerine Dream's  music is mindlessly repetitive,
"believe it or not, I respect them, if they're serious," Froese said. "Sure I
disagree, but I don't make a lot of noise about it. Obviously it doesn't mean
it's the view millions of others have."

The New York Times, June 1, 1986, Sunday, Late City Final Edition
SECTION: Section 2; Page 23, Column 1; Arts and Leisure Desk

(. . .)
   ''I had to learn to write 12-tone music at Juilliard and I greatly resented
it,'' he continued. ''I hope that my work won't be used as a recipe for
academic music in the conservatories.'' Still, Mr. Reich is pleased that
composers such as John Adams and Arvo Paert have admitted a debt to his work.
''They clearly have their own voices, but if my music can be useful to them in
any way, then I am delighted.''
   He is less happy with some other appropriations. ''I should be receiving
royalties for the theme to 'Adam Smith's Money World,' and the whole
soundtrack to the film 'Risky Business,' supposedly by a group called
Tangerine Dream, was an out and out ripoff of 'Music for 18 Musicians.' I
should have sued.
   ''Still, if I had a dime for every trace of 'The Rite of Spring' I've heard
in movie soundtracks, I'd be rich,'' he added. ''I don't think imitations will
sap the power of the originals. If anything, because of familiarity with the
sound, the original will come through more clearly. It will be approachable,
but particularly engaging, focused and musically cogent. Ezra Pound once said
that a classic is something that remains news and the best work is capable of
re-creating the context of its times.''
(. . .)

Chicago Tribune, June 15, 1986 Sunday, FINAL EDITION
BYLINE: By Lynn Van Matre, Pop music critic.

(. . .)
     After "Thief," Mann went on to make a bigger mark in television with
"Miami Vice," featuring a score by Jan Hammer. Does Froese, who arguably
helped pioneer the musical strategy that has contributed so much to the
success of "Vice," feel just a little ripped off that Tangerine Dream didn't
get in on the "Vice" action?
    "It's a funny thing about that," Froese says. "The truth is that we
were supposed to do 'Miami Vice.' But Michael (Mann) was starting the pilot
for that show at the same time we had signed up to do the music for another
television series called 'Street Hawk.'
    "The producer of that show told Michael that we couldn't do 'Vice'
because we were doing 'Street Hawk.' As it turned out, that wasn't true at
all; we could have done both shows. But we didn't hear about all of this until
sometime later, and when we found out we were not very happy. Because, of
course, 'Street Hawk' turned out to be a flop and 'Miami Vice' took off.
    "But Jan did a fairly good job, and the series got what it needed,"
adds Froese. "So, it's OK."
    Today's dance-oriented synth-pop scene is OK with Froese, too--for other
people, that is. You won't find him listening to any of it.
    "I would not want to say the music is bull----," he says, "because a
lot of people love it. But it's repetitious, and, to be honest, I have
absolutely no interest in it."
(. . .)
In the early days of Tangerine Dream, Froese's "spacey ideas" were, often as
not, arrived at with help from psychedelic drugs. These days he takes a pass
not only on drugs but on cigarettes and alcohol. "Today, I even think about
whether or not tea and coffee qualify as drugs," he says with a laugh.
    "The funny thing is, most of my friends went the same way that I did,"
he adds. "A few of them eventually killed themselves with drugs, but most of
the others figured out that having a clear mind and a clear consciousness is
the best of all, because that means that you can be influenced more easily by
spiritual forces that can help you more than drugs ever could."

From: (tadream mailing list)
Date: Fri, 22 May 98 18:49:27 EDT
Subject: Whoops, I Forgot the Funniest Quote 

Really-From: Steven Feldman 

|Los Angeles Times, July 4, 1986, Friday, Home Edition
|SECTION: Calendar; Part 6; Page 9; Column 1; Entertainment Desk
|   Film music purists despise them. Studio heads view them as the pulse of
|teen audiences. Whatever your feelings about  Tangerine Dream,  they're
|probably extreme.
|   In films like William Friedkin's "Sorcerer," Michael Mann's "Thief" and
|Paul Brickman's "Risky Business," the German keyboard group -- made up of
|Edgar Froese, Christoph Franke and Paul Haslinger -- has crafted sound tracks
|of dense electronic effects that some critics brand hypnotic, others moronic.