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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.

Girl Talk

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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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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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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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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 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.
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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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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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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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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'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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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'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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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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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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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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I like to use recognizable songs, but other than that, this song would be perfect.
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The point of making records for me isn't to hear 300 songs in 50 minutes it's to hear the 50-minute piece of music.
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