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It's hard to play a laptop in the midst of band and have people want to buy your t-shirts and CD's.

Girl Talk

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Girl Talk
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I wasn't trying to make a following. I was just trying to make interesting music. That's not being modest, that's just being realistic.
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I think we're approaching an era where there's a consistent dialogue going on between artists and consumers. And I think that's going to be part of the solution to actually selling music.
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I was a jaded high schooler, I was still into pop music, though not as sincerely as I am now. It was more tongue-in-cheek back then.
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Samples are kind of my instrument of choice.
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People see me on stage and sometimes they think, Who's this hotdog thinking that he's the best. They miss the point that what I'm doing now comes from a whole different world of doing it for no one with nobody caring.
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I make a living off of playing shows the albums only make me a fraction of what I make off of shows, especially since I'm doing around 100 shows a year.
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In the two years of preparing material for shows, I realized there are elements that are definitely going to work live, but might not be the most exciting thing to put on a record. And there's stuff that I really love but it falls flat live.
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I still like weird music but there's such an overabundance that it's hard for me to stay enthusiastic about it.
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I'll put out an album, and people review it, and some people love it, and some people tear it apart. By nature of the project, I've always wanted this to be something where people react strongly to it.
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In 1990 if you heard a song on the radio and you really wanted to hear it again you'd have to buy it on tape or CD. Hearing music doesn't hold that kind of value anymore because anyone can hear it. It's going to become even easier.
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I've been cataloguing samples for years, I have this massive library. Songs come out everyday so it's never ending.
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I wanted to make experimental music out of pop.
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I think it's an interesting thing to have to produce an album that you'll want to listen to for 50 minutes.
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A lot of artists are used to their music being reused online and have come to accept and embrace it. You have a generation who go on YouTube and remake and remix music online all the time. They remake and upload songs and videos, and then other people remake the remakes it just keeps going.
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I feel like all the artists that I really love, they've had a strong contingent of people who really hate their work as well.
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I didn't change much in terms of my setup or how I was making my music. It's evolved to this point where I think people look at it as one big traveling party.
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The point has always been to make music, it's not like I've always been running a giant money making scheme.
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The whole basis of the music is that people have these emotional attachments to these songs - whether they love it or hate it. Being able to manipulate that is a really easy way to connect with people.
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You can feel a little vulnerable when you see people tearing you apart on the internet or saying, It's the end of music. This guy is a total hack. I've read it all. But at the same time, even though I feel a little vulnerable with that, I do feel comfortable.
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I like to use recognizable songs, but other than that, this song would be perfect.
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