In terms of playing with the limits, Mars similarly proclaims the importance of encouraging fan involvement as a way of further blurring the boundary between performer and spectator. Long before Wolfgang’s official release, the band made the track “1901” available for download and urged people to contribute remixes. Phoenix has also voluntarily posted fans’ homemade videos, like the “Brat Pack Mash-up”, which depicts Molly Ringwald and her ’80s brethren dancing to “Lisztomania” on their official MySpace page. Such acts of conflation are only too fitting, given how Mars depicts Liszt himself as some biographical, cultural mash-up.
     “[When] we put out a record, we are always frustrated because you have to wait four or five months before people hear it. Right when the record is finished you want to share it with people,” Mars says. “In France we are used to this chaotic — in France [anyone] is allowed use yours songs on TV shows [and remixes]. They do not need to ask your permission. So we grew up with this idea that once your record is done it is everywhere. There’s no control. That Brat Pack video, when we discovered it we were so happy. It was perfect. It’s like giving songs different lives.”
     Of course, upon hearing Mars mull over the idea of giving life an interviewer would be remiss not to inquire about the singer’s other notable creation as of late, his daughter Romy, as well as his Oscar-winning companion Sofia Coppola. Asked about how fatherhood has impacted his songwriting and life as a burgeoning rock star, Mars shrugs his shoulders and (justifiably) shrinks at the mention of his personal life: “It is really hard to say. I know it changes my schedule.” Perhaps sleep deprivation and schedule upheaval elicit a new kind of anarchy for the chaos-loving Mars? “I have no idea,” he continues. “I just have more beauty in my life.”