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Girl Talk, the king of mash-ups, sweaty on the floor all out crazy performances and the quintessential hipster mix tape maker made a new album. We want you to have the freshest mp3's on your ipodso that you look cool in frontof your friends. The New LoFi acknowledges that the majority of its content comes from copywritten and protected sources. Subscribe to The New LoFi's mailing list by entering your email above, and get our mixes and monthly updates sent to your email as soon as they are released. Last Friday I played Coachella with the legends E-40, Too $hort, Juicy J, and Busta Rhymes.
When you're making music as complex as yours, what's your basic process for choosing what to use? I'm a fan and seen you at several festivals and they're always fun and you always seem super pumped to play. First of all, anything in your pipeline for the near future besides touring and supporting Broken Ankles? I feel like in certain parts of the world, I've had a chance to continually tour and build up a following over the years. Hey man, idk if you remember every college you've gone to but I went to Knox College in Galesburg IL. I do think small, overly crowded clubs or house parties can be the ultimate way to experience what I do.
Seriously though, love the music and have heard you use that sample many times in different contexts. What do you think about the samples sites breaking dahn your albums, are they accurate, or do you make more beats then they show? Oftentimes, there's like 3 kick drums layered on top of each other to get the sound I'm looking for. You have an amazing ear for music- What is one song you've always wanted to mash-up but haven't been given permission to use? With so very few artist in your style of music where do you find influence and inspiration? The first sample-based stuff I was doing probably wouldn't be considered a mash-up, but in the late 90's, I remember destroying Hole's "Celebrity Skin" with 4-track manipulate, layered synths and circuit-bent.
With all of my previous releases, other than Broken Ankles EP, there was no music tracking software used. Quick back story, I first came across your music through a Communications Professor who was teaching a class on Freedom of Expression.
So my question is, since you've encountered these issues in your career, have you seen a noticeable change in how record companies handle music licensing? What has been the biggest challenge in moving from playing a Mexican restaurant in Athens Ohio to playing a giant stage at Coachella? The biggest challenge as things have progressed for me is just dealing with the business side of this.
I love going to the movies, playing basketball at the park near my house, going to Sandcastle water park. First of all, huge fan, you're albums are the ultimate pick me up, and I'm physched to see you at Pemberton this summer!
My friends who work with me go into the crowd 15-30 minutes before the show and grab some enthusiastic looking people. What famous personality would we be surprised to hear you keep in touch with on a regular basis? Also, as a fellow dude named Gregg (not Greg) does it bother you when people leave off the extra 'G'? Can you describe what specifically you're doing when you're doing a live show, for those who don't understand how a mash-up artist can produce music live?

And real quick, as ad agencies have started using Diplo and other artists in TV ads, would you ever be cool with your music being used in an ad? Is the inclusion of the Dottie West "Lesson in Leaving" drum sample in Broken Ankles an indication that you'll be including more country music in future mixes?
Hi Gregg, I am a huge fan - partially due to seeing you and the movie RIP a Remix Manifesto, I am currently writing my dissertation on fair use, copyright, and mashups.
I've always wanted to ask you this question: When you're just out and about and you hear a song, maybe at the store, who cares, what goes through your head?
What song(s) have you sampled and put together to become a part of your music that you are most proud of? You played a free show at SMU with Big Boi a few years back and the cops shut it down before you got to go on. What sort of advice do you have for people who are interested in learning how to create mashups?
Would you ever consider do more songs like Touch 2 Feel and the tracks that were on the Unstoppable album?
What was it like early in your career when you were both playing shows and working as a biomedical engineer? I read that you were working on a new type of sampling, akin to creating entire new realized songs from prerecorded samples. Hey man, I know some other people asked already about live sets, but I thought I'd bring it up again: how often do you record live shows? No disrespect to your official albums, which are undeniably masterpieces, but some of your live shit kills it. I drove all the way from NJ to see you play at the Harrah's in Council Bluffs Iowa in October 2011. Hey Gregg, I'm Steph, friends with Nicola and we all hung out after the Beck gig in London about 6yrs ago when you were about to go full time with music.
You don't understand how much my group of people spent highschool and college just jamming to your stuff.
Yo Gregg, I've got the Bone Hard Zaggin 7", the Secret Diary Picture 12", the Night Ripper 12", and i'm missing Feed the Animals and All Day and i'm not okay with this. Thank you for your truly outstanding music, and providing some of the best live performances ever witnessed. The weather was miserable, and I was really surprised by how enthusiastic the audience was with the horrible conditions. Did you teach yourself everything you know making mashups, or did you have someone who helped you get started? I don't really automate anything live, but there are some moments in the show where I can't physically do everything I want.
They were not thrilled when I quit my job, but now, they are always up on any news that I'm involved with. Playing festivals with the legends as you referred to them, have you ever had a conversation with an artist you sampled about the track you made? Also I saw you with Grand Buffet a few years back and know your friends with them and produces some of their stuff. The biggest change with the sets over the last few years has been trying to choreograph specific events and incorporate larger visual production. I thought it was an interesting idea to try to start a project like Negativland (who are entirely sample-based) but focus it around pop music. Thanks to our friends over at you can play, pause, fast foward, or rewind through our entire site.
When I was in 6th or 7th grade you were playing Sun God Festival at UCSD and I got to hang out in your trailer after your show for a bit because my sister is close friends with David. Second, I graduate from Pitt next week with a major in digital media, no doubt inspired a bit by a lot of stuff you've done.

It was one of my favorite sets from the weekend and the best ending to a show I've ever seen. You came to a frat house instead and took over the stage for the night, it was amazing (found this: Spring 2008). Girl Talk Pandora is the go-to station at my gym (CrossFit), and we all thank you for getting us through some serious sessions.
Are you contractually required to play the same set or are you free to mix it up from last weekend? Her point was regarding the use of published music and your way of getting around licensing was to provide your albums as a free download.
Even 6 years ago, I always found myself trying to convince people that you can create new, transformative works from pre-existing media.
My question is, how do you choose who gets to dance on stage with you, and has it ever gone wrong?
I just wanted to let you know that I've been listening to your stuff since I first heard Night Ripper, and I've loved it ever since.
I love live music and I don't think I'll ever see a show as fun as yours, and I'm okay with that. I had a piece of animation featured in "RIP: A Remix Manifesto", and that really opened a lot of doors for me as an animator; big BIG thanks to you and Brett Gaylor for doing what you do!
Do you have a lot of input on that, or do you let JP Coakley and those guys steer the direction?
I don't just mean being there, I mean listening to the ones that are good quality and available online. I can listen to that twice in one day and it's better than most live DJ shit I have clear memories of.
You played a rad set at a tiny basement bar and I held off some people trying to pull your pants down (you're welcome). It's gotta be exhausting making those tracks, let alone performing live and going nuts on stage with fans. I have not been able to see you live, but I imagine you will come back to Chicago at some point.
I used to also love what Oh Astro was doing back in the day, reminded me of the aesthetic on Unstoppable.
You can download all of the tracks at the illegal art website, or you can download the album as a single mp3 here. If for any reason there is an issue with posted content, please contact us immediately and the content will be removed from the site. With that said, some of the content on the site also comes from copywritten and protected sources. I just wanted to say thanks for the case of Red Bull and you were fucking awesome at Coachella last weekend.
It just reached a point around 2009 that so many shows were ending prematurely, I decided to start having a barricade. The show should have ended, but then you said "Orlando the party doesn't have to stop if you don't want it to!" AND YOU KEPT IT GOING!
It's been awesome seeing each of them also find a following since that tour and growing as well! If for any reason there is an issue with any copy written content, please contact us immediately and the content will be removed from the site. I think you also used some shit that night that I haven't heard you use in the dozen or so other times I've seen you.

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