Janis Joplin: In your opinion, what was the greatest time or era for music?
Well, most of my music taste is based in the 80s and 90s, so I would say that era. But, the 50s and 60s is what paved the way for the bands from the 80s and 90s that I listen to. So it’s a toss up between those two periods.
Deep Purple: 3 of your greatest fears
1. Becoming a disappointment to the people that matter to me the most
2. Being rejected as a result of that disappointment
3. Being lonely and never experiencing true happiness for the rest of my life
The Tragically Hip: 6 things you want to accomplish
1. Find love
2. Find happiness
3, Make beautiful music
4. Help my parents in any ways that I can
5. Meet the people that have inspired me the most
6. Experience sex
Madonna: Describe your crush
Ya know that anon from last night? Yeah, that’s the closest thing I’ve felt to a crush in a while. Fuck everybody else who’ve let me down these past few days. They don’t deserve my time any more. I’ll just start crushing on ppl I don’t know over the internet. B^)
This took so long because when I was half way through it, the Internet connection cut out and I had to wait and I am v sorRY
De:Bug: When you see your own show, do you ever wonder in what way you could have had the chance to intervene? The light technology seemed adjusted and programmed, can you spontaneously intervene music-wise at all?
Thomas Bangalter: First, I want to make this clear: we are the creators of this show. The way we present ourselves in our performance is characterized in the same light as the music; they are of equivalence. So we see that our area of expertise is also located there.
This concept [that I speak of] is based more on a total experience - for us, it was mainly about developing a global event. More like a Broadway musical, for example. We also found it interesting that if you see a big event, such as ‘The Phantom of the Opera’ or 'CATS’, it is structurally the same thing every night, but the event does not decrease in its effect as a consequence. It is a spectacle; the show is very structured and precise. We’re the operators of the music system and we’re trying to deliver a constant result.
I think the show was not very ordinary. It has shown the future, but maintains a traditional aspect of entertainment. Entertainment, design and programming - and of course, opportunities for improvisation.
Thomas Bangalter, 2008 De:Bug Interview [German], being very insistent on correcting the mistaken perception that the Alive 2007 shows may have been of a fixed and non-autonomous nature with references to postmodernist spectacle and Gesamtkunstwerk