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Samples are kind of my instrument of choice.

Girl Talk

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Girl Talk
Choices
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Samples
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I hear something I like, and sometimes, I think it's gonna work, and I will cut it up, try it out, try to work with other material. Sometimes, it falls flat, and other times, it works out, so in that way, I'm constantly listening to music because I enjoy it.
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My dad's been one of those dads who loves showing newspaper articles to the neighbors.
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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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The whole point of doing the pay what you want is to be reasonable with the fans.
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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 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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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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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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Me and my friends would drive for eight hours to play for twenty people. That was cool, and if a couple of people bought t-shirts, that would be the greatest thing. We could go eat some hamburgers that night.
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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 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 wanted to make experimental music out of pop.
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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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It's weird for me when someone asks me to do a remix as Girl Talk and not use samples.
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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 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 the past, hearing music had more value.
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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 love getting out there and traveling and doing shows and all of that. But when I can be home, it's a special time.
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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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