I remember being fascinated with "Groove is in the Heart." Do you ever get tired of performing it?

I never get tired of performing it because I haven't performed it or any of the Deee-Lite songs in ten years. I just started doing that. So, I think I waited long enough so I could concentrate on studying music and learning production . . . I didn't really want to go back and play the old stuff, but now that I'm playing new stuff I realize that (the audience) wants to hear some of the old songs too. So, I play just enough keep the crowd happy.

What type of vocal training do you have? Do you have formal training?

LSD if you call that vocal training!

Do you have any dance training?

Well, I've always been a club dancer. I used to go out dancing in the clubs like four or five days a week. I didn't come from the most stable home, so going out to the clubs was my escape. I was doing that for years and then some drag queens said, "Why don't you come dance in our club?" So I used to dance in the drag bars. I started vogue dancing in a bunch of different clubs. I'm kind of an enthusiastic dancer.

What other dance tracks do you think come close to the greatness of "Groove is in the Heart"?

Well, I'm a DJ too, so, I've got millions of songs that I just love that I play to get a dance floor going. The first one I can think of is like Salt-n-Pepa's "Push It", "Block Party" by Lisa Lopez . . . I mean that's why I love to DJ because I just love music. There are a lot of tracks that I know I can just put on . . . "It Takes Two", "Nasty Girl", "Prince Charming", B-52s - that always works. Beyonce's "Crazy in Love" - that always works. You know, I'm not a snob about pop music, but I do like to throw in obscure dance tracks. A lot of disco-y punk I've been playing the last 3 or so years. I can go on and on and on.

Speaking of your DJing, was that a smooth transition for you?

Well, no. Most DJs do it for years and build their way up. I was already well-known so as I was learning my technique there were a lot of people watching me. It took me a while . . . It was like learning how to do it in public. And I'm not one to rehearse at all. I don't have the attention p to rehearse at anything. I just get up and do it.

I'm only concerned with really good tracks. I was never good at mixing because I don't really care about mixing. I only care about the selection . . . If you're mixing one type of music, anyone can do that. I like to switch tempo. I go from R&B to techno soul to breakbeats to broken beats, so I mix so all these styles. Most of the DJs that are that diverse, they don't mix very well either. I mean, I don't want to stop the dancers, but the people that come to my dance floor need to be very creative. So, that's why I don't play in like huge, huge clubs that just play one genre. I really don't like clubs like that. As a dancer, I need to switch it up. You know, get down and vogue, jazz, and techno. Real diversity is what works.

What do you think about the House community and how do you think it's changed since the early '90s?

I think there was a lot more diversity in the production in the past - a lot more experimentation. It's kind of the same with every new genre that starts. It starts off really sweet and good, corny and funny, and you have all kinds of people from the buster to the sophisticated to the jazz to the cartoon-y - goofy stuff. And then, people think it's a fad . . . and then a lot of producers want to get serious and try to make it go hard. And that's what happened to House, that's what happened to hip-hop, that's what happened to jungle, that's what happened to rock. So, the beginning to me is always sweet. You know, people aren't afraid to be corny. They're not afraid to be goofy. The beginning is always the most exciting time. Like, I got bored with House Music around 10 years ago. I'll still do an old school House set. I just get really bored with formula stuff. But I understand the theorists because the culture means a lot. Just the sound of it will say that a lot of people are invited. So, I mean, I respect it, but I started playing a variety of sounds like 10 years ago. Having strictly House Music just bores me, but every once in a while I'll do an old school house set and play everything from Acid House to some contemporary stuff.

I know that you write a lot of your lyrics. What is your process of writing? Do you envision the music while you're writing?

I write lyrics just kind of a stream of consciousness. And then I write music on its own without thinking of the lyrics. But then, once I have a melody that I like, then I'll try to look to my lyrics and find the more meaningful ones and then I'll try and fit those lyrics to the melody. So, they're both happening simultaneously, but some lyrics I'm like, "This lyric is good, I've got to fit it in" and then I make sure I find a melody for it. So, they're both equally important. For a long time I used to spend a lot of time on the lyrics, but when I met the band, I spent a lot of more time trying to write the music.