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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.

Girl Talk

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Girl Talk
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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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Fair use is a part of United States copyright law. You don't know if it falls under fair use until you go to court. Someone has to sue you and then you have to challenge 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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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'd been to a lot of shows and I was just tired of people being jaded about music in general. Just a lot of pretensions, a lot of the attitude that goes along with it was a little difficult for me to deal with.
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Samples are kind of my instrument of choice.
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As the times are changing, you don't hear as many sample issues with rap artists. Part of that has to do with production styles these days, but the nature of copyright is also changing as the internet becomes more of a giant.
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I use minimal software to make my music - a wav editor and a calculator for my beats to make sure everything falls on mathematical precision. If you were just mapping this out visually, it works by math. I guess it's slightly engineering influenced.
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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 can't edit live as meticulously as I can for an album.
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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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In the past, hearing music had more value.
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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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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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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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The goal of the work is always for it to come across as original material, as transformative material.
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When there's something negative in my life, be it in the art or the music world or in my personal life, I really just want to face it as immediately as possible. I don't run from it. I just want to immerse myself in it, get through it as quickly as possible, understand it, and look into what is positive about it.
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I always like to borrow bits and pieces of things. There's a line between jumping on something that's happening and incorporating bits and pieces of it into my work.
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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've been approached about doing some live performance collaborations with DJ's. That is something I'd be interested in getting into down the line, but I've worked very hard to distinguish myself as a laptop artist.
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