Top 106 Quotes & Sayings by Girl Talk - Page 2

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.

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.

A lot of times when I say I didn't do anything I was actually in Miami doing a show.

I typically get around to most major cities at least once a year. I think people see that as their chance to go nuts for the year if they're into the style of music.

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.

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.

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.

The whole point of doing the pay what you want is to be reasonable with the fans.

I make a living off of playing shows; the albums only make me a fraction of what I make off of shows, especially since I'm doing around 100 shows a year.

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.

That's something I've always been down with: creative commons and people being able to license their music and allow other people to reuse it and recycle it.

I think it's an interesting thing to have to produce an album that you'll want to listen to for 50 minutes.

It's hard to play a laptop in the midst of band and have people want to buy your t-shirts and CD's.

When you're playing for 30 people and you're jumping around stage, screaming, getting in peoples faces and acting cocky you're kind of poking fun at yourself.

My dad's been one of those dads who loves showing newspaper articles to the neighbors.

The goal for me is, I build the record that I put out as one individual song. Even though it's broken up into tracks, to me it's like one hour-long piece of music. In assembling the whole thing, I'm really thinking, okay, it's gonna end here, it's gonna start here, and I kind of have the idea of the journey.

It's easy to hate on things that are close to your world that aren't exactly what you're doing.

I feel like all the artists that I really love, they've had a strong contingent of people who really hate their work as well.

To get 300 songs to fit together on an album, it's not like I choose 300 songs and say these are the ones I wanted to pick. To get those 300 songs I sampled 1000's of songs and narrowed down the ones I felt worked the best musically.

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.

I can't edit live as meticulously as I can for an album.

When I'm performing, this is what everything builds up to, and everything has allowed me to be here.

It's rare when I feel like I can extract a lyrical message out of combining two things together.

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

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.

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.

I sampled a bit of stuff from my dad's collection. He has probably a bigger record collection than I do. I try to buy as much as possible, because I've never been able to keep an MP3 collection organized. I like to keep my computers as clean as possible.

Sharing information, art, music, and everything on the internet now has become a part of everyone's lives.

It's hard enough to get things to work in a musical way.

I can't wait to wake up in the morning and listen to music in order to try to find something to work with.

I am ultimately comfortable with what I'm sampling.

I have my small little cult following, I play random shows from house parties to opening up for rock bands.

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.

I wanted to make experimental music out of pop.

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.

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.

CDs are clearly dying out, and it's going to be moving to an all-digital format. Along with it, you raise this interactivity with the music. I feel that it's not stealing sales from anyone; it's turning people on to the music.

You can write very obtuse and abstract lyrics, and if they want to, people are going to find something amazing that you're saying.

I sometimes get in the car [and] jump all around hunting for a sample, and then I can get really annoying if anyone's in the car with me. But if I'm actually listening to music, I have a pretty solid attention span.

I was into alternative stuff, but I was also open to a little bit of hard rock and metal, like Guns N' Roses, Metallica.

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.

The goal of the work is always for it to come across as original material, as transformative material.

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.

I want the material I make to be mine; that's always the goal of the record and of the show.

I feel like there's always something to prove.

I guess people naturally try to find meaning in music.