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He grabbed the handheld mike sitting next to his laptop, strode to the lip of the stage, and yelled, “Mississippi, make some fucking noise! 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. He’s tall and skinny, in his late thirties, with long, stringy Axl Rose hair.Then came fourth grade and Public Enemy and Metallica, and then, in fifth grade, Nirvana led to Sonic Youth, which led to Gregg and his friend Matt saving up to buy tickets to Lollapalooza when it came through Pittsburgh in the summer of 1995.By the end of the all-day concert, when Sonic Youth took the stage, they had edged their way up to the front row, where Thurston Moore’s guitar feedback cascaded over them in crashing waves.If someone told you he was a musician, you’d probably guess, looking at him, that he played bass for an emo band from Portland and wrote sensitive ballads with a lot of literary allusions.And the weird thing was that Raekwon wasn’t rapping over a regular hip-hop beat but over the bass part from the Boston song “Foreplay/Long Time” mid with a single repeated inhalation by Ciara, the R&B singer, clipped out of her song “Goodies” and looped into a symphony of rhythmic heavy breathing.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.As Gillis clicked and dragged and copied and pasted, David Scheid drifted upstairs and found a spot on the opposite couch, and for a while the two men reminisced about Girl Talk shows past—the All Points West festival in Liberty State Park in New Jersey last year, where they fired 200 beach balls and dozens of rolls of toilet paper into the audience; the Lollapalooza show a few days earlier, when Gillis set sail from the stage on an inflatable life raft and floated over the crowd, propelled hand by outstretched hand all the way back to the sound booth. Gillis traded in his glasses for contact lenses, stripped down to his bors, and put on his stage clothes, which are unlike anyone else’s stage clothes: a basic white V-neck T-shirt; long, shiny basketball shorts, still sweaty from last night’s show in Little Rock; and then a baby blue hoodie and dark red sweatpants, which he buys, thirty or forty at a time, from a store near his home in Pittsburgh that specializes in factory rejects. He plugged it in and pushed a button and Ciara started her breathing, and backstage Gillis started bouncing, his hood pulled low, looking like a featherweight bor before a fight.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.You’d think he could maybe be a biomedical engineer—which in fact he was until about a year ago.

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