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I've been dedicating my life to doing remixes and sample based music. Whether you're into it or not I'm going to continue to pump it out.

Girl Talk

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Girl Talk
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I think there's always room to grow.
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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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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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In 2008 it's easy to get huge before you have an album out with the Internet. I think that's great and you see a lot of artists like that. It seems like it's becoming rarer to find a band that has been touring for six years, doing small shows and then breaking out.
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My start came with experimental musicians and live bands. I never played with DJ's because it wasn't really the correct fit. It fit in more with someone using a laptop to create their own electronic music. When you're doing music like that, it's hard to get more than 20 people to come to your show.
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Sometimes the show needs that kick in the ass so being able to sing a Nirvana song kind of takes it there. I've grown up putting on extravagant shows with Girl Talk so when I'm playing I like to go nuts. After 30 minutes of pointing and clicking it's nice to scream into a microphone for three minutes.
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Throughout hip-hop people have been putting different elements with different types of music.
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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've been cataloguing samples for years, I have this massive library. Songs come out everyday so it's never ending.
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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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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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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 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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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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In the past, hearing music had more value.
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I am always excited for gaps of time where I can actually hang out with my friends.
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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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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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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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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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