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Also, each night you spend most of the concert onstage next to the guy and his laptop, which has its pluses and minuses, the pluses being the eighty or so amped-up young people up there with you the whole time, a lot of them cute girls, all jumping up and down and sweating and taking off various articles of clothing and occasionally singing, en masse and at the top of their lungs, lyrics like But there’s one part of the job David Scheid just can’t get comfortable with, and that’s the five minutes each night where it falls to him to instruct the local security crew on the details of working a Girl Talk show. Judging by the thousands of sweaty, writhing bodies packed in at every show and the women leaping onstage to get next to his near-clothesless body, we’re going to say yeslook, it’s not like it’s a bad job, being tour manager for Girl Talk. If you’ve tour-managed for, say, Broken Social Scene (and David Scheid has), where you’ve got, like, twenty people in the band and vanloads of guitar pedals and high hats and trombones to keep track of, it’s a relief to manage a tour where the entire band is one guy and the sum total of his equipment is one Panasonic Toughbook laptop.They’re looking up at Scheid, skeptically, as he crouches down on the edge of the stage, and you can tell they’re all thinking more or less what Scheid thinks they’re thinking, which is: Shouldn’t we be beating the crap out of you for resisting arrest or something?

He’s 27, with shaggy brown hair and a scruffy beard and blue eyes; a gentle-looking guy, intense and ironic, cool and nerdy at the same time.

He was wearing glasses and a Nirvana tee and a flannel shirt and gray jeans and white Air Jordans, and he was folded deep into the couch, staring intently at the laptop balanced on his knees.

If you are not in this sin, then thank the Lord for His mercy and continue to seek the Holiness of the Lord.

Girl Talk—wasn’t the first guy to splice a few songs together, but he’s taken the mash-up to obsessive and euphoric new heights. He’s wearing jeans and a faded Metallica T-shirt and a black baseball cap that reads ready to die, and it’s not inconceivable that he sold his soul for rock ’n’ roll at some point fifteen or twenty years ago, maybe at a Dokken concert.

Sometimes we need the strength of the body of Christ.

If you are a Christian involved in sexual sin then you know that the Holy Spirit has been convicting you.

And yet he is one of the biggest “alternative” live acts in the country, selling out more than a hundred shows last year in venues that held anywhere from 800 to 4,500, his legend spreading by word of mouth and, of course, on the now, an hour before his show began, Gillis was doing what, for him, amounts to tuning up.

He had a shareware music-editing program called Audio Mulch open on his computer, and he was drawing up the digital-age equivalent of a set list, lining up the samples and loops and combinations of samples and loops (some drawn from his albums, some newly created for the show) that he would trigger with a click of his Dynex mouse, live, one by one after he took the stage: Slash’s guitar riff from “Sweet Child o’ Mine” snaking in and out of Eminem’s rap from “Crack a Bottle”; “Single Ladies (Put a Ring on It)” married to “It’s Goin’ Down”; “Tiny Dancer” pirouetting around “Juicy,” by Biggie Smalls. ” Scheid and Gillis made their way down the spiral staircase, and Scheid ambled out onstage and placed the mummified laptop on the long cafeteria-style table that Girl Talk uses.

This is what Gregg Gillis does: he samples, blends, loops, recombines, and reconstitutes the popular music of the past fifty years or so into strange and beautiful new creations.

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