Interview with Girl Talk - Podcast 87

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Sound Scene Revolution, thanks for tuning in today on Election Day. Very important day in a lot of our nation's history. If you're American, if you're in all other parts of the world, you probably have no idea what the hell I'm talking about. But today is Election Day, so get out and vote. If you haven't voted yet, and you can vote, stop listening and go vote. If you can't vote, get ten more of your friends who can't vote and get them to listen to the podcast. Because that's like voting, in that it really doesn't make a difference in the grand scheme of things. Aw, I just, a little bit of cynicism there to crush your patriotic spirit. Anyhow, being a land-owning white male, I did go out and exercise my right today.

But for those of you who can't, or who already have, we have an interview today with Girl Talk, whose real name I can't remember at the moment. But he's got a real name, Girl Talk. He's one dude, there's no actual women, and he does techno-based music. It's called, I guess you could call it Mash Up, I don't know. He makes awesome music, combining beats and music and lyrics from a bunch of different musical samples, and it's all pretty awesome. His last album, Feed the Animals, came out via illegal art records. I don't know if it's illegal art records or just illegal art, but it came out via illegal art for download. You could offer to donate for it. And if you donated, I think it was $10 or more, you pre-ordered the CD, which I think should be on its way.

They said they had a couple of issues. They were hoping to have it out to people before October, or before the end of October, but they had some issue. He'll talk about it. Anyhow, it may or may not be here soon, but it should be here before Christmas. That's my guess. But, so, enjoy the interview. We have a, there's a pretty good amount of the interview. Some of it got cut in the beginning, because this is why we hire Sound Guy Nehrman. This is why I keep him on staff at minimum wage. He does this actually for school credits. Um, I didn't record about 10 minutes of the beginning of our phone interview. And here's the fun part. I didn't tell him, uh, that we didn't record that. I just let it roll like everything was going normal.

I thought about, you know, just kind of nonchalantly asking the same questions again, but I felt he might catch on to that. But the first 10 minutes was all the typical, oh, how'd you get started? What motivated you to do this? You know, blah, blah, blah, you know, it's the shit you could find anywhere. The, the interesting part came when we started to ask him about when he got $500 worth of Taco Bell to give out at a show, because that's what he does, and how he opened for Blues Traveler. And, yeah, dude, he opened for, you know, with the fat dude with the harmonica, who almost had a stroke while masturbating. I'm not making that up. Check out their behind the music on Blues Traveler. Once you're done with this interview.

That's right. So, uh, enjoy the interview. We're going to play some clips from, uh, his album, Feed the Animals. Uh, I don't know what song titles per se, because really, if you've heard him, he doesn't really qualify them as songs. They're just kind of indiscriminate breaks that he puts there. So, if you have a favorite part, you don't have to fast forward through 55 minutes of music to get to it. You can kind of just skip through. But, uh, enjoy it. Uh, download his album. I think it's still up for download. Uh, download Feed the Animals. It's really, I enjoy it, and so if you don't like it, you're, if you don't pay, you're not out anything. And if you do pay, you're not a dick. So, there you go. Enjoy the songs, and we'll be back.

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You know, I think going to Best Buy or your local independent CD store and picking some up is... Yeah, that's not too bad. Now, would you say, like, on average, do you keep it all? Like, if you buy a CD, do you keep it, or have you ever just gone in and you exchange them in kind of mass? Yeah, yeah, I've never gotten rid of it. You know, there are periods after, like, mitigating a lot where I've wanted to maybe cash in on it, but I'm really happy.

You know, I'm not embarrassed about anything. I think everything's part of that journey. I'm not doing anything, you know what I mean? Yeah. It's just, I'm excited about everything. I think it's, you know, it's all... Absolutely, absolutely. Now, especially with your last album being download-based and just kind of the format in general, a lot of people would associate it being highly digital. Do you happen to collect vinyl at all? I know that's kind of making a resurgence in a lot of communities. Yeah, not as much. I mean, just because I grew up with CDs, but I love picking up vinyl, especially from, like, getting, like, 60s, 70s, 80s pop. It's just so cheap a lot of times, just vinyl. So that's something I've been getting into a bit more and more, and I think I could actually see that.

It's not something I've ever collected because I've never spun records live or anything like that. I think CDs will be my primary medium until they die. But, yeah, I love looking at the artwork on vinyl on certain albums. I really like the way they sound on the actual vinyl. Cool, cool. Speaking about your live show, I mean, I'm assuming, like you mentioned, you're probably not going to incorporate vinyl in your live show. What would you say differentiates, like, a Girl Talk live show from opposed to if someone was just playing, you know, one of your albums? Yeah, I mean, for me, it's all live sample triggering. So on the albums, like, those are constructed very meticulously, and I'll sit down for eight hours and put together one minute of those albums.

And there are things that are all thought out beforehand, and I sit down and edit it piece by piece by piece, whereas live, it's, you know, a lot of the ideas are already thought out. Like, I don't really like it to be an exercise in improvisation. I like to have a lot of the arrangements done. And so I can kind of equate it to, you know, a jam band or something where you have this template that you know you're going to go, and you have these, you know, these chord progressions and these ideas that you're going to get to these landmarks. But how you're going to get there and what you're going to do in the meantime kind of changes up every single night. So it's all very live, and in the live setting, I really can't edit as quickly as I do on record.

So it's more loose, and I think that makes it easier for people to process it. So a lot of times I'll, like, play an acapella, and everyone will recognize that chunk from an album of mine. And then I'll loop it over and then introduce a melody, so you'll hear the same acapella twice. You know, I mean, I'll just stay on themes for longer, things like that, just because I like to make every show different. And on album, I think of it as, you know, a whole, it's confusing. So if one night I'm really drunk or I'm really in the mood to do whatever, you know, I might stay on something for a bit longer. So because of that, even if I'm playing through the same source material night after night, I really can't replicate the exact show on twice.

That's cool, that's cool. And I would imagine, like, I've heard from the shows, like you mentioned, you stay on things a bit longer, whereas on possibly the album, it's, I don't want to say the word frantic, but, you know. So something's used for five to ten seconds, you might leave it in a little bit longer, let people, you know, pick up on it a little bit more in a live setting type thing. Yeah, absolutely, yeah. I think I threw it out, and I think that's partially because I can't move as quickly as I would even like it. Also because it's just so chaotic, like people around me, and I think everyone's experienced that. You know, you're dancing, you're getting a drink, you're talking to your friend.

There's just so much going on where I think, like, if the album was going on, if it was that piece and that specific, it would just be too much, you know. It'd be an overloaded, and that's why I think the albums are things that I don't really make to be played necessarily in a dance club. I think of it more of an album that you can even put on headphones and really sit down and piece apart in your mind. And I can see people kind of partying to them, but almost once you have it memorized. Yeah. I mean, it's just like, it's like listening to Yes. You know, the first time you listen to any particular Yes record, it's, you know, things don't really jump out at you immediately, but once you have it memorized and you know all the intricate nature of it, you can really kind of jam out and wait for your favorite, you know, specific parts.

Oh, yeah, absolutely. About that, I was going to ask, when you construct a record like Feed the Animals, do you do it basically as one entire piece, or do you, I mean, because it is broken apart into tracks, but do you, you know, when you put it together, do you do it as tracks, or do you kind of as one piece and then break the tracks apart later? For Feed the Animals and for Night Ripper, for the last two albums, I've built them as one whole piece of music, like, and that kind of stems from where it is just working towards a whole, so the track separation is somewhat arbitrary, you know what I mean? I kind of have divisions in my mind that make sense, like I worked on this part for a week and took a break and move on to this part, and just small things like that are tempo changes, so my mind there's small divisions of just in time, but overall, it's a whole piece of music, and it's intended to, as a whole, I just, you know, actually include the track.

Yeah, absolutely, absolutely. I was going to say, because, I mean, I'm sure you get criticism from people who say, oh, well, it's not real music, I mean, hopefully it's getting less at this point where the people have either accepted or they moved on, but, yeah, but I mean, in that regard, I mean, bands get to play three-minute songs, they kind of can figure it out and rearrange it as they want, but you don't really get that luxury when you're assembling an album, it sounds like. Right, right, and I think it's interesting, I think one thing I like to play upon is that there's just so many standards of music that are kind of ridiculous, like even the notion of an album's supposed to be 30 to 60 minutes, you know, and that's just a standard, and I don't know why that was set, but it is, and you just, I mean, that kind of goes along with CD length, but now digital music exists, it's like, why aren't there more 200-minute albums, or, you know what I mean, and I think coming from the music, more of an underground music scene, I think you kind of get that ingrained in you, that you can play a show for 30 seconds if you want, or the show can be three hours, there's really no rules, so I think, you know, just in terms of that, I like playing with that too, just because, you know, it takes me two years to assemble music, and that's, you know, it has definitely existed before, I'm into that idea of, there's just so many, yeah, well, it seems like it's one of those things that stems from just the technology base, like when, you know, music first started getting recorded, there were seven inches, and they can hold like five minutes on each side, and then you can do an LP, which could hold, I think, a grand total of 44 minutes, and so, absolutely, you know, yeah, I mean, it's a huge evolution based on the technology that's available, and that's kind of going hand-in-hand with, you know, people not even making as many albums anymore, you know, it's all based around the individual song, just like this is the internet, so I would like to see people kind of take advantage to the flip side of that, and just make massive, you know, elaborate albums that, you know, wouldn't be able to be held on. That'd be really cool, I mean, hopefully people will use it instead of just using an excuse not to make albums, because they don't sell, so. Yeah, it's, I mean, I guess I'm not in tune as much with, you know, fringe musicians, but there's got to be someone out there making, like, four-hour albums these days. I imagine there's got to be Melvin's or Mike Patton or someone's doing it. Yeah, absolutely, someone's going there. Yeah.

So, I wanted to ask, since we're talking about digital music, I mean, your last album, obviously, was put up for donation-based download. How's that been working out for you thus far? I mean, we had no gauge of any, you know, how much it was supposed to download or sell or anything like that, especially because it's been a steady ramp of popularity, along with the project of Girlcock, and just the show that's been bigger. So, there's no standard to compare it to. Yeah. So, going into that, especially because, you know, it's pretty DIY, like, the label's a small label, and I kind of handle a lot of stuff on my own, so we had no, like, marketing analysis telling us, you know, how much we're supposed to make or anything like that. But, you know, how quickly it spread and everywhere it ended up was fantastic. In my mind, a lot better than I even expected.

It was just, I wasn't sure how it was going to go. Even, like, the day I put it online, I wasn't sure what would happen. But, you know, in my little corner of the internet, it was just insane. You know what I mean? It was just a lot of coverage. It was in magazines. Within, you know, a couple weeks, everyone was writing reviews. It just kind of went off. So, that was really exciting, and it seemed like, you know, I played shows the weekend after I released it, and everyone already knew it, and we're chanting out song titles, and we're ready for it. So, it seemed to spread like wildfire, and, you know, like I was saying, from the financial end, I had no idea. Literally no clue on, you know, or goal or anything like that, as far as how much we were going to make. But the money came in was really decent, and, you know, came in very quickly. So, you know, in my eyes, it's been a success.

That's excellent. Now, is there going to be, I know there's been talks about a CD for it. Is that in the works, or is it out? Yeah, it's definitely in the works, because on the pay-for-you-want option, if you went over $10, it's like you're guaranteed the CD. So, that was basically, but unfortunately, we had a, during the CD, we had some very specific ideas of what the album artwork and what the CD should look like, some slightly non-traditional things, and they screwed it up, and we weren't being very particular about it. The way it came out, I think a lot of people would have been convinced that their CD wasn't playing properly, just based on the way the, kind of the CD artwork came out. So, we had to send it back, and it's going to be like a two to three week delay. So, it'll be out, and it'll be, you know, it will exist within the month.

Yeah, well, that's not too bad. Any plans to do any vinyl pressing of it, or any of your, I don't think any of your stuff is pressed yet. Yeah, I've never, because I've released a little bit of vinyl in the past, but nothing for my official album, so I'm pretty excited that there's a label called Wham City, based out of Baltimore, that Dan Deacon and some of his buddies out there run. So, they're putting out the vinyl, which I'm very excited about, and I think the way they're going to do that is pretty soon they're going to announce a pre-order, like, announcement, where you can go ahead and order the CD before it's actually manufactured, and I think they're going to give it a couple weeks, and depending on how many people order, they're going to keep it limited to that exact amount.

Oh, wow. So, if, like, you know, 666 people order it, that's how many will be made, and if there's, you know, 10,003, that's how many will be made. So, I think that was just kind of a fun idea. Yeah, I mean, that's cool, and I mean, I think that'll get the people who are really interested in it, like, on it, instead of, you know, waiting four or five weeks to pick it up or something, so. Yeah, yeah, and I think, you know, the people running the label, the Wham City label, doing it as a fun project, and clearly, you know, there's some money to be made there, but it's also more about just releasing music in a unique way and having fun with it. So, you know, I think kind of doing that boutique-style label thing can be, you know, really fun, so I think they're just trying to have as much fun with it as possible. Yeah, absolutely. Well, it sounds like a good plan, and I posted on a couple of places asking if people had questions, and that was one of the big ones, so some people are going to be really excited about that. Get the word out, yeah. Yeah, absolutely.

Taking a little break there in the middle of the interview, the phone-based interview, because Greg Gillis, that's right, SoundGuyNairman looked it up on his fancy-ass iPhone while I was talking, so Greg Gillis of Girl Talk, who is Girl Talk, essentially. Taking a break, we will have more, more songs, more music coming up from his latest album, Feed the Animals. I was going to say something else, but I don't recall, so we'll just go into the music and the rest of the interview, and we'll catch you guys all at the end. Bye. Bye.

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You've done all sorts of different things from house parties to art houses. I believe you even played a 16th birthday once. What's kind of the weirdest show that you've played before? Oh, man, that's tough. I mean, I'll throw out a couple there. Because they're weird for different levels. I'll keep them quick. I played with Blues Traveler on the 4th of July at Red Rocks Amphitheater. Two 4th of Julys ago. And they put me on. I was opening the show. And I don't think they knew me that well. Someone just told them they should play and give me money. And they put me on right when they opened the doors. And I've never... I just have always gone 100% whether there's one person or 1,000 people there. So literally, they opened the doors at Red Rocks, which is the most beautiful place I've ever played at.

There's like 10 people walking in. And I already had my shirt ripped off. And that one was just really uncomfortable and weird. You know, I'm trying to thank some other ones. A really... One that's not that weird but turned out really weird was Wired Magazine had a party for the rave awards. So they give away awards to different people in a hotel. And I was kind of like just raging in front of all these people drinking martinis and suits. And they kept lowering and lowering my volume. So it was like almost not audible. And I was just like, you know, like smashing wine glasses over my head and jumping in people's faces. And you couldn't even hear the music. It was just really crazy. One time I went to Japan and played a bunch of kind of DIY shows over there with some friends.

And one was in a place called Harmony No. 22.

Harmony was the name of a karaoke spot. And it was kind of set up like a motel where there's just different rooms. And No. 22 is the room number. And we went in there and you had to take your shoes off. And these, like, Japanese punks just had a PA that they ran in and put it in this karaoke room. And there was just all of these young Japanese punks just, like, moshing with their socks, jumping around this karaoke room. There was, like, 50 kids in a room that could fit 25. Oh, my God. It was just countless.

Yeah, well, I mean, I imagine it sounds like, you know, now you're doing a little more larger, a little more legit style venues. But, I mean, you know, a few years ago it sounds like pretty much whatever would come along you were willing to do. Yeah, yeah. I mean, in the past couple of years I've been pretty steady with some, you know, relatively normal shows. Yeah. You know, I have the opportunity to actually turn down a couple of shows comfortable. But, yeah, back in the day I would, you know, do any show anyone would ask me to do. Very cool. I wanted to ask, so I've heard you used to work as a biomedical engineer, is that correct? Yeah. And since, I guess, probably a couple of years back you've been able to quit that job and you've been doing this kind of full-time, right?

Yeah, I quit last June. Okay. How has that kind of affected your, like, day-to-day? Is it, you know, is it still strange getting up and realizing you don't have to, like, dress up and go down? Yeah, I mean, at first I thought it was going to be more vacation city than it actually is. You know what I mean? I mean, I'm having a great time and I feel like I don't have a job. It's just, like, I think it's just in my blood to kind of stay busy. Yeah, yeah, yeah. And so now it's like I just have very weird hours, but they're just kind of common. I end up staying up until 6 a.m. every night, not because I'm partying or anything like that, just because I'm, you know, making a beat that I need to perfect by the end of the night.

You know what I mean? I just kind of get caught up. I get excited about so many things. I'll rent a movie or be making music or be talking to a friend. And I just get caught up and end up staying up early. I just don't get tired. So these days I wake up every day at, like, 2 o'clock in the afternoon and, you know, just get some cereal and start working on music. So it's been great because when I had the day job, it was funny, you know, doing the shows on the weekend and doing the job, but it was just fatiguing. And for me, the music I make is so trial and error that it's like the more time I put into it, the more potential, the better the product comes out. It's just very black and white like that. So back then it was like I was always just trying to squeeze in at any time to make music, and it just wasn't coming together.

Where now it's just crazy to me that I'm able to just spend, you know, 8 to 10 hours down music if I really want to. So it's been great. Looking back, I honestly don't know how I was doing it before. I think it's just, you know, one of those things when you start out and you're like, oh, yeah, I can do this. And then at some point you're just like, this is far. Yeah, it becomes the norm and you become very dependent on it. And, you know, even now I feel like, oh, man, I never have time, enough time to do this music. And, you know, it's like, what the hell am I doing all day? Yeah, it just gets wrapped up in it. Has anyone from your former job found out what you do? Like, or do they know? Yeah, because I didn't tell them when I left.

I just told them that I was quitting to travel the world and to explore my youth, which is, you know, kind of a half-truth, I guess. Yeah, it's not totally false. Right. But since then, one of the guys, actually one of the guys I got along pretty well, who's like an older guy, like maybe 45, 50, kind of like an old rocker from the 70s in a band, she used to be a roadie or whatever. And we talk about music a lot, but I never really told him what I was into. But he found my Facebook profile. On Facebook, of course, you know, there's just everyone can tag you in a photo. So I have like 600 photos of me shirtless, sweaty, jumping on top of people at shows. So he hit me up and was just like, Greg, what the hell is going on, man?

You know what I mean? Just like looking through the photos. So he was really pumped about it. And he said that everyone wanted to come and check out my next Pittsburgh show. And I haven't had a show since then. That could be interesting. Yeah. I knew when I was working there that they were cool guys, you know what I mean? And I think they would have all been really into it. It was just too hard to explain it. I just had been working there for too long to explain it once it got big. Yeah. So I knew I was positive that if they could see it, they'd have been so into it. Yeah. They would have probably made fun of my band name a lot. But outside of that, I knew they would have loved it. So yeah, if they roll out, I think they'd get a kick out of it.

Cool, cool. So speaking about Pittsburgh Show's hometown, I heard you won $500 worth of Taco Bell gift cards or whatever gift certificates, correct? Mm-hmm. And you were going to use those for a show in Pittsburgh? Yeah, I did it. It panned out? I won the Taco Bell Feed the Beat contest because I wrote a really nice entry about all my favorite Taco Bell items. And I actually took out a solid two-hour chunk to write this essay. Seriously? And yeah, and my booking agent was like, because I like all sorts of fast food. I like Taco Bell. Yeah. And my booking agent hit me up with an email. I was like, you need to enter this. So I wrote a nice essay the best I could, and I ended up winning. So they gave me $500 worth of Taco Bell.

And the week before my last Pittsburgh show, I went to my local Taco Bell in the Edgewood Town Center shopping plaza. And I went in there. I was like, hey, I won $500 worth of Taco Bell. How can I get it all at once? And they weren't believing me. So I had to go home and actually get the Taco Bell box that they sent me. And I showed it to them. And I told them my band. They had never heard of it. But they knew the venue I was playing at. So everyone there was really pumped about it. And the manager actually offered to drive it to us because that was the problem, Mike. Because I wanted to get it there as late as fast when I wanted to talk about it. It would be sitting around for six hours. So she told me she had a pickup truck and offered to drive it there at like 11 o'clock.

Oh, that's awesome. So yeah, while I was playing, she pulled up and she had a friend of mine's phone number. And they unloaded all the Taco Bell into the back. And at the end of the show, I made an announcement that I had $500 worth of Taco Bell sitting out on the curb. And everyone went and feasting. That's awesome. Yeah, it was great, man. Because I mean, I love Pittsburgh and I love playing here. It's just, you know, I don't get to play here really more than anywhere else. You know what I mean? Just because I'm traveling all the time. So yeah, anytime I can step back. It was like, you know, when you have $500 worth of free Taco Bell, like I felt I should really take advantage of that. Yeah, you don't get that opportunity.

And plus, I mean, Taco Bell, that's probably the best, you know, advertisement they're ever going to get for $500, you know? Right, right. Yeah. I mean, that's why they gave that away. You know what I mean? And they were waiting for that home run and I wanted to give it to them. Yeah, well, I mean, that's cool though. But I mean, it's nice. I mean, how many people would get something worth $500 and give it away to a crowd? I think that's kind of cool. Yeah, it felt good, man. And it was just like, you know, I think it's just a lot of kids. You know, I have always felt a lot of support from Pittsburgh. So it's nice to, you know, make up the show in any way possible. Oh, yeah, absolutely, absolutely. Also, I've heard, I haven't had a chance to see it, but I've heard you're in a Windows commercial.

Is that true? Yeah, I'm in the new on-the-PC ads. How'd that come about? It was pretty weird because I've gotten a handful of sponsorship offers and they're usually not that interesting to me. It usually kind of seemed corny and I don't think there's anything wrong with it. I'm very open to people selling their songs for commercials. I think that's cool and I think it's, you know, a new way to get your music exposed and it's almost like you're taking advantage of those people. But regardless, they reached out and I've always been a PC user and that's what I kind of liked about it because I think if you're nerdy about, you know, computer software and things like that, most, a lot of musicians and DJ types use Mac.

So, yeah, I've always been openly into PC-based software. So, yeah, they contacted me and I thought it was something that applied, something that I wouldn't be embarrassed about. So, yeah, they saw a YouTube friend in the background and they wanted to, like, replicate a little scene with some random girls hanging out on this bed in this hotel room behind me. And, yeah, it's just like a one-second spot, but I actually just caught it on TV to get out. Yeah, yeah, absolutely. It was, you know, it was just kind of goofy to me and it was just a chance to get my face on TV for once, which I just, you know, kind of thought was hilarious. Yeah, I mean, probably don't get that opportunity every day. I mean, now, so, like you mentioned, a lot of people, musical editing and all that, they do, a lot of them are, you know, Mac users.

There's, you know, what, not to get into the product push here, but, you know, what keeps you with a PC? I mean, it seems kind of atypical. Yeah, I mean, I just grew up using a PC and then the software I got into to perform live is called Audio Mulch. And it was always PC only. They're releasing a new version of it. I think by the end of this year, maybe early 2009, but Audio Mulch 2.0 is coming out. And now it's for Macs as well, but that's the first time. So I actually took to the software and I had, you know, played a number of shows and I've never had issues with the system crashing or anything like that or latency. So it's kind of still, you know, once you have a few hundred shows under your belt, it's very hard to even imagine switching up software to issues a lot.

That's cool. Well, I mean, I think that's pretty, you know, that's good because there are a lot of people who just kind of, that's what they expect. You know, if I'm going to do audio editing or recording or anything, I just have to use a Mac. And so it's nice to know that. I mean, I'm really not that like, you know, nerdy about this stuff. I have a lot of friends who do computer music who are way morons and, you know, fine tuning the perfect operating system for me. And, you know, doing music like me, so thus far, it's been primarily a cut and paste exercise. So it doesn't take that much, you know what I mean? I kind of had a vision on a particular software that really worked for me and I had that, so yeah.

Cool, cool. Real quick here, I think we're going to start wrapping up. But I had read, I can't remember, it was some interview doing research for all this, that you're a huge fan of Son of the Mask. Is that true? Yeah, yeah, I saw it on opening day in Cleveland, Ohio. And it totally melted my mind. And at the end of the movie, I loved it. I loved the whole thing. I was there with a crew, really into it. And at the very, like a kid's movie, there was a lot of young people there. And when it ended, this like young girl sitting right in front of us just like looked at her mom with the most serious look.

And that's all she said. And to me, that's just like some ride. It's really, there is a plot, but it's just linear. It's just like, it's, you know, it's just like an extra computer animations with a very loose plot. It's like a completely like crazy experimental movie. And that like kind of occurs. I own two copies. I own a bootleg copy and a real copy. I think you may be the only person on earth to own two copies of that movie. Yeah, I was very pumped when I saw a bootleg copy on the street and I had to buy it. And then I ended up, you know, just going for the, the quality wasn't where I wanted it to be. So I, you know, threw down some more money and got the official copy. Got the real one. Well, that's cool.

I mean, it sounds, the movie from what I've seen, it does. It looks like the plot is reasons to do CG graphic, you know, like that's it. Like, it's really nuts. I would say, you know, I would say sit down with an open mind. I've, I've watched it alone and loved it, but I've, where I really hit it off was with a group of people. So I would say, you know, maybe get a group of friends and, uh, you know, just be prepared to let your mind launch off. And I think you can get into it. I think I'd have a real hard time convincing a group of my friends to watch it. I'll do what I can though. You got to trick them. You got to tell them, you got to tell them they're syncing up the Wizard of Oz live, the Dark Side of the Moon and just put that on instead.

Just be like, hold on, we're going to watch this first and then it'll all come together. Trust me. Right. Nice, nice. All right, cool. Well, uh, I want to thank you so much for taking the time. Is there anything else you want to add before we wrap this up? Uh, no, I think that was cool. All right, excellent. Sounds great. Well, thank you so much for your time and, uh, good luck on your tour and, you know, future albums and the Vinyl release of Feed the Animals and all that. So, thanks for coming out. Cool. Nice shot. Later.

That's it. That's the whole interview. That's all the music. Oh, wait, no, we got one more song at the end. Well, song, if you want to call it that, section off of his album, Feed the Animals. I'm putting this one up. We're not going to do any of the other ones like Night Reaper or anything simply because this is up for free and I feel by adding it to the interview. We're not really screwing him out of anything. We're not giving you anything you couldn't find already if you weren't so lazy. So, that's it. Um, we do have the MC Chris contest still going on. Uh, listen to that interview, even if it's a little not so relevant this week. But, uh, you could still win a copy of MC Chris's MC Chris is Dead, the CD.

Um, and again, if you haven't taken the chance and it is still, your local polling place is still open and you haven't voted and you are registered, please, please, please vote. Uh, I just, I've pretty much every national election since I've been 18 and most non-national elections have taken the opportunity to vote. And it pretty much just ensures your ability to continue to complain about the government. That's the only reason I do it. Um, rarely do the people I vote for get elected. But, uh, at least when people are like, oh, the government's all wrong. I could be like, I didn't vote for Bush twice, motherfucker. You're the one who put that guy back in fucking office. So, don't look at me. I didn't vote for the fucking retard.

I voted for the other retard who didn't win. Who I could say is infinitely better hypothetically because we have no idea what that guy would have been like. Uh, but hopefully my guy wins this time. Um, I haven't really checked lately to see if he is ahead because after the 2004 election, I was so epically bummed that I'm just probably going to wait for the news to tell me tomorrow morning. Because sitting up watching polling places when they're like, oh, it's up by 14 points in Florida. Oh, now it's down by 12 points in Florida. Oh, and fucking Florida can't make up its fucking mind. You'd think with rascals and, like, fucking segues, all those old people would be able to get to the polling place on the same time.

Fuck. Y'all got walkers and... I hate you, Florida. I hate you. I'm just kidding. How was the fest? Fest was excellent. In Florida, by the way. I like that area of Florida. The southern-ass part. The part of Florida that's still kind of Georgia-Alabama-esque. Bearded Florida. Yes. Florida with a beard, not Florida, the old retired people. So, anyhow, enjoy this, the last of Girl Talk. Check him out. He's got a website. We'll have that linked. Go download the album, make a donation, and support good, free music. All right, we'll see you guys next week. Enjoy.

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