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A lot of people aren't aware of the years and years of humiliation and horrible shows I've played.

Girl Talk

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Girl Talk
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It's easy to hate on things that are close to your world that aren't exactly what you're doing.
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When I would play pop music at underground shows, it was offensive to some people. I wasn't doing it to piss people off: I just didn't believe in those strong divisions that you're supposed to listen to this or that.
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It's weird for me when someone asks me to do a remix as Girl Talk and not use samples.
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I'm trying to separate myself from other people by having songs that would be considered - technically - original things. I don't seek out mashups. I'm associated with the whole mashup movement, and it's too bad because I'm not a huge fan of them.
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I have my small little cult following, I play random shows from house parties to opening up for rock bands.
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When someone is buying a sample-based album, they are investing in the concept of that album. If they really like the original source material, they can go buy it.
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When I'm performing, this is what everything builds up to, and everything has allowed me to be here.
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Sharing information, art, music, and everything on the internet now has become a part of everyone's lives.
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Anytime there is any lyrical meaning or combination in my mixes, it's very blatant. I'm not trying to make any statement or anything like that.
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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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I've always enjoyed taking pre-existing sound, songs I like, songs I want to share, and manipulating them and trying to do my own version. So just knowing there's that potential for that thing out there that I haven't discovered yet, really gets me motivated every day.
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Something that distinguishes my solo work from normal rap production is that it has a lot of melody - it's not just cutting up a song and having someone rap over it.
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The goal of the work is always for it to come across as original material, as transformative material.
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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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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 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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I can't edit live as meticulously as I can for an album.
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When people come to my shows they know there is a distinct beginning and end. It's difficult for me to play for much more than an hour, so people kind of come out and treat it like a rock show. They're fiending and ready to dance.
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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.
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Samples are kind of my instrument of choice.
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