So, Rockafeller Skank, I kind of feel that put you on the map…

Yes, I think that was my crossover track that took me out of the dance charts and into the pop charts. It’s the first record I’ve ever done when me and my engineer when we finished with it, looked at each other and went, “Actually that sounds like a hit.” Normally when we’ve finished a tune, we’ve heard it so many times, we’re bored witless of it, never want to hear it again. But that one we listened to it and said, “That actually does sound like a hit record”, which I thought was tempting fate, but obviously not. But yeah that was the track that got me on the radio, out of the nightclubs and onto the radio.

How about the impact it had on your personal life, because you’re quite a private person?

Well, unfortunately almost the same week that it came out, I met a girl called Zoe Ball in Ibiza and going out with her… kind of took me out of Mixmag and the dance magazines and into the tabloids, which took a bit of getting used to, but you have to live with it.

And is this around the time that you had Brad Pitt and Jennifer Anniston listening to your music, or does that come a little bit later?

It was kind of on the back of that album, after Praise You and everything, that really broke me in America and yeah all of a sudden I was in. You know it was quite funny being this 34 year-old new kid on the block, I seemed to be the toast of Hollywood and Brad Pitt and Jennifer Anniston would come to my show. They actually asked if they could come and say hello back stage, and I said no because I was knackered - I think I was just too nervous.

’Praise You’, I noticed that this was a time in your career when people were actually taking those words on board, and were actually praising you. You became like a superstar DJ, the whole way people responded to you…

Yeah, well if ‘Rockerfeller Skank’ broke me on the radio, that broke me definitely in the charts, and yeah that was when my manager turned round to me and said “I’m not in control of this anymore”, he said I had all these schemes where we were going to go and it’s just snowballed out of control. He said, “Sorry, you know, I can’t control it anymore.” I mean ‘Praise You’ is probably what I’ll be remembered for and the video of course had a huge impact and yeah that’s probably my greatest hit.

Did you never feel tempted to just sneak in and join them in that video?

No, I was there but I didn’t want to do any dancing. My dancing is actually worse than theirs. No, I made my cameo and in fact they had to edit out my main cameo, I was supposed to go up and put a dollar in the hat, and Spike was supposed to dance into me, clumsily dance into me. But he did it so hard that he knocked me flying and I landed on the ghetto blaster that was playing the backing track and broke it.

Is there any particular reason why you don’t like being in your own videos?

Yes, there’s many, many, many reasons why I don’t like being in my videos. There isn’t a role for me in most of them, because I don’t sing the songs, I don’t play the guitar. I DJ’d in ‘Rockerfella Skank’ and I suddenly realised what do I do? They said do some scratching, I said there isn’t any scratching, so I just stood there winding the records backwards really quickly. So there isn’t a role for me, I’m not very comfortable in front of the camera, I’m not an actor, I can’t dance very well and also in terms of the anonymity stakes, if you’re in your videos, you get recognised a lot more. And plus I’m lazy, and making videos is my least favourite thing, the whole video music business, because you’re just sitting around for hours and hours and hours, either freezing cold or baking hot. And then all of a sudden they go ‘Perform’ and you get the jitters and then they make you do the same thing over and over again. I’m really glad that I don’t have to waste three days of my life on every video.

’Brimful of Asha’, that was an amazing turnaround for them as well, you’re little magic touch…

Yeah, I’m not sure if anybody’s greatest hits have actually featured a track that’s actually by somebody else, but obviously my contribution to it, helped some. They were very kind, allowing me to put it on my greatest hits. Yeah, that was what caused the album title to be changed, because originally the album was going to be called ‘Viva La Underachiever’, and I had Rockerfella Skank, Brimful of Asha, and Renegade Master and the first interview I did somebody said, so, who exactly is the underachiever around here? And I went ‘errrr actually that could be a bit uncomfortable’, so it was because Brimful Of Asha that I changed the title to ‘You’ve Come Along Way Baby.

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You did it for free initially, so why was that, was it because you were starting out and you felt you could do it or what…

No it was because I asked them if I could do it, rather than the other way round and they didn’t, because Wiiija is quite a small independent label. I loved the tune and I wanted to play it at The Big Beat Boutique but it was a little bit too slow and it wasn’t punchy enough. So I said I really want to do a dance mix, you know a club mix, and they said, well we haven’t got any money, and I said well, will you just give me the parts so I can do a remix myself. They kind of liked it, it was technically the B side, their version was the A side, but radio picked up on the B side and it went thermo nuclear global. I’ve a lot of affection for that track. Funnily enough it was one of the quickest remixes I’ve ever done.

How long did it take?

Probably about seven hours from start to finish. All that needed doing was put a bass line on it, put some drums on it and speed it up.

I bet Cornershop were like, ‘darn it’…

Well that’s why I didn’t charge them, because I didn’t spend long on it, but they were very kind and when it was such a big hit, they did pay me.

’Weapon of Choice’, I think even though ‘Praise You’ has been voted like the number one video…

Of all time!

That is, it is a close second, it’s got to be, how you managed to get Christopher Walken to perform?

He didn’t need much persuasion; everyone asks that question, how on earth did you do it? He didn’t need much talking into it, basically he met Spike and they were just chatting, and he talked about how he loved his dancing, because he trained as a dancer, like Fred Astaire style. But then found out he was a better actor than he was a dancer, and he said to Spike, “I’d like to get my dancing down on tape, just whilst I’m still young enough to do it.” Spike just went, “Hold on a sec,” ran outside, phoned me up said Christopher Walken, tap dancing, and I went yes fine and it was as easy as that.

Didn’t you think though when he said Christopher Walken tap dancing eh? What?

Yeah, I thought how deliciously absurd and how deliciously surreal that a person known for playing psychopaths and lunatics, with quite scary face, the idea of him doing camp dancing to one of my tunes is fantastic.

How many takes were there?

I don’t know. My cameo in that, was Hoovering and was dressed as a bell hop. I was supposed to just walk past him Hoovering, but unfortunately my wife decided to have a son that weekend and so I couldn’t get to New York for the filming. Most of my videos I’m not even there at the shoot, which suits me great.

Have you had any more contact with Christopher since then?

Well, I spent a glorious three hours at the American MTV awards sitting next to him, we had a really good chat, so yeah I was with him for three hours, had a few drinks after we’d won, but apart from that no. The last thing he said was, “We should do something together again sometime,” but the phone’s never rung. We’ve been in touch recently because I think he’s going to be the cover of the American version of the greatest hits.

Did Christopher get an award as well…

Yes.

Along with all his other awards…

He got a Grammy. MTV awards are all right but a Grammy is pretty special. When I got sent it I said I do hope Christopher got one as well, and they said yes. Spike got one, Chris got one and you get one, you know if there’s four people in the group, you don’t have to share the Grammy, you know what I mean? You can imagine the groups actually splitting up because like “You’ve had the Grammy for six months now, it’s my turn”.

’Gangster Trippin’’ came at another kind of frantic time in your life I should imagine, it was like picking up pace…

Yeah Gangster Trippin’. They wanted Praise You as the second single after Rockerfeller Skank and I said no - the way momentum was going, we could kind of go with one less. We kind of knew Praise You was a hit, so I stuck my neck out and said I reckon we can consolidate it with Gangster Trippin’ before we drop Praise You. It worked because Gangster Trippin’ still got to No. 3 and set Praise You up for No. 1. So yeah, out of all my tunes it’s probably the most unlikely to get to No. 3 in the charts, because it’s fairly banal, repetitive, you know not much happens, but there was a momentum there that Fat Boy Slim was the next big thing.

I did think there was a sneaky little swear word in there that you could play with…

Well the other bit is that ‘you got kick that gangster shit’, where we did do a radio version where it was ‘kick that gangster it’.

’Now I See You Baby’, Groove Armada, which is in the UK a lot because it’s been used for adverts and stuff, how did it sound when you first got your hands on it?

It was a B side, I think. Again I approached them, I just said “That hook’s very good” but their original’s just very minimal acid house, and I just said “I think you can turn that into a hit.” That’s why they graciously allowed me to use it on the thing, basically I redid all the music and just kept the hook, but the hook was such a brilliant hook already, but yeah that one had legs, it’s very big in America, because it’s used in a lot of TV adverts over there. So again thank you very much to Groove Armada for allowing me to steal one of your records to put on my Greatest Hits.

’Wonderful Night’, kind of breaks down in several places, it’s got a different vibe…

Breaks down? I thought it worked.

It’s got different moods to it. It seems a like a slightly different sound, at the time for you, which was good to show that you just didn’t do the big beat thing…

Yeah well it was by then that I’d kind of realised that the good ship Big Beat had gone down and I’d managed to stay afloat, because a lot of people did go down with the ship. I think I was consciously trying to avoid going down, but also the whole idea of Big Beat was to reinvent dance music by mixing around all the different genres and again it was sort of Northern Soul beat, a bit similar to Rockerfella Skank. Lateef kind of set the tone a bit, I sent him the rhythm track and when he sent back a demo for me to listen to, I just thought oh yeah, this is gonna work, it’s just got that kind of toe tapping style.

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’Right Here, Right Now’, which came before ‘HALFWAY BETWEEN THE GUTTER AND THE STARS.’ I wanted to ask you about when you came up with that idea, the name of the album?

HALFWAY BETWEEN THE GUTTER AND THE STARS I nicked out of a Will Self book, just one character said “Oh, I felt halfway between the gutter and the stars”, obviously it starts from some of us are in the stars and some of us are in the gutter, Oscar Wilde I think. But he turned that around and I just thought ‘God, that’s how I feel,’ because it was after the whole explosion and I just wrote down the expression in one of my little notebooks. I found myself staying at the Chateau Marmont in LA, walking down the Hollywood Boulevard, looking for Vodka, and I wasn’t physically in the gutter, but I was kind of. I was trying to find a liquor store, to get some hairy dog, because I’d been partying the other night with God knows who and celebrities. And I just thought God you can take the boy out the gutter, but you can never take the gutter out the boy and I don’t know, but it just sounded like a good album title, but also it was very autobiographical - there I was one minute, hobnobbing with Brad Pitt and Jennifer Anniston and the next minute I’m on a 48 hour bender, lost in Chateau Marmont.

’Going Out Of My Head’, is that also autobiographical?

Yeah, pretty much…

Does it sum up your life?

Yeah, yeah, at that point in my life, I was going out of my head, on a regular basis.

’Sunset Bird of Prey’, nice mellow moment, Jim Morrison, shame he was not alive to hear it…

Well I did get to hear a very nice quote from Ray Manzarek, that said when they sent it to him, he said, “Bird Of Prey was a tune we working on, just when he died and he said, ‘I’d just like to thank Fatboy Slim for finishing it for us”, which I thought was really touching - for them to give permission. We didn’t think we were going to get permission, but to do that, for him to thank me for finishing off an unfinished Doors track…

Were you aware that they were working on it at that time?

No I wasn’t, it was on a bootleg called American Prayer, a bootleg of just his poetic ramblings about Indians in the desert and all that and at one point he just started singing. They’d been rehearsing it that day or something and he just started singing to himself and I just set it to music, but it was never, there was never any music to it, it was just him singing.

How did that work then with you then putting the music to it, was that hard …or was it easier because…

No, I’d actually done it before, I did my long lost chill-out album, which is an album I did during the nutty days of freaky chilled out stuff, which was never intended to be released, but it was. I just made copies for all my mates, and because of that, it had lots of samples in it, but one of the tracks on it was Praise You. I was listening to it one day and I was thinking, ‘you could redo that,’ but a bit faster and a bit more up-tempo, change the chords a bit. So I think the chill-out version of Praise You did get released on a B side, so you could hear how it changed. After Praise You was a hit I thought ok let’s go back to that album and see if there’s anything else that I can finish off and there was Bird of Prey. So there’s an ambient version of Bird of Prey as well, which we’ve never released, but it will probably get recycled by the record company, if they ever get their hands on it.

That brings me onto ‘Everybody Loves A Carnival’ which I’ve never seen you play at Rio, but I have seen you on the beach, and I can’t imagine what it would be like actually being in Rio doing it. Take me through the first one that you did there.

The first one, the Rio beach party, I opened with ‘Girl from Ipanema’ because we were on Ipanema Beach and I’d been there for a week setting it all up. I talked to a few people and I said is that cheesy? And they said no, I think they’ll like it, especially because it starts in Brazilian. All day I’d been really nervous and they actually gave me a Valium, because I was just pacing the floors, biggest gig of my life, 360,000 and so I put that on and it’s a boot loop that goes into a like a hip hop beat and when they, the Brazilian bit, they all sung, which just made me think this is gonna work, this is gonna be good. I can see the whole audience singing along and cheering and then when the hip hop beat came in, they just went absolutely ballistic. It was fantastic, because all my nerves went. So by the time I played ‘Everybody Loves A Carnival’, I was in 7th heaven, with no nerves about the size of the crowd. Brazilians are the greatest audience to play too, they just love partying and dancing, they’re all really good looking and yeah, I played it again at the Salvador Carnival, this year, and everyone just went absolutely ballistic.

Because it lends itself so brilliantly as well to the sun, colours and beautiful people…

Yeah but it also works in a really heavy hectic dark club as well, it’s got quite a grunge to it, it’s not totally jolly, it’s still got that kind of edge to it.

You said that once you’d played that track then your nerves go, is that generally what happens?

No, generally I don’t even get nervous because I been doing this for 20 years now.

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’Don’t Let The Man Get You Down’, Glastonbury 2005…

Yeah I had to play it. I wasn’t going to play it, because it’s in a completely different vibe to the rest of my set, I was going to play Praise You as that kind of second-to-last record kind of thing. I just thought the sentiment and the sound of it, is all about Glastonbury. It’s all about hippies and Woodstock and Glastonbury, so I kind of had to play it and luckily people got the message. I thought at that point no-one had heard it, that was it’s actual debut, so I thought God it’s a slow song, no-one’s heard it before, it might just absolutely bomb, but I think they realised it was me and I think they realised the reason I was playing it.

And the whole visual display of that gig was unbelievable, I’ve never seen it before in my life, can you explain actually, what you actually did?

We built a wall of LED screens, basically like Plasma screen TVs but modular, you just build them into a huge wall and then you can turn it into one huge screen, but we had a hole in the middle of the screen, with me on a platform about 30’ up, DJ’ing in the middle of the screen. it was pretty freaky for me because I couldn’t really see or hear anyway, it was just me and my mate Jim who looks after me, just sitting there putting on records and having a chat. We worked out it’s not good for me to be 30 feet in the air and 60 feet from the audience because they don’t get much vibe, but visually, because I was the only person who couldn’t actually see it. What we do now is, I have a monitor, so I can see what’s going on behind me, but that I didn’t realise what it looked like until, I went to the TV interview straight afterwards and they showed me some of the footage and I’m like ‘bloody hell!’ We mocked it up in a studio, but we couldn’t afford to hire the LEDs, we just mocked up how comfortable I felt on the stage, whether the decks would wobble, stuff like that, but I’d never seen LED, because LED is so much brighter than projection. If you put flash white on LED it’s like a Queen concert that lights the whole crowd, so we use it as a light source. A bloke called Tim, a friend of mine, does it all live, and he’s got certain gags, when I play certain tracks he does things. If I’m playing Praise You, he’ll scratch the video or something and we pluck slogans. I still do my FatBoy cam occasionally but less nowadays, but yeah there’s only so far you can take the show as a DJ and we decided just to put more into the production. The thing was because Glastonbury was shown right round the world, we then got phone calls from every other single festival saying ‘Will you do it at our festival?’ This year, every single gig I’m doing, whereas before we were doing it for the really big festivals.

A lot of your songs want to make you shake your backside really, don’t they?

My songs aren’t there to make you think about things, they’re more for the hips than the head. I pretty much shake my arse to all of them, because I have to, because if you dance up and down, then you risk jogging the records. I did a gig the other week in Brazil, we invited the BA crew, well the BA crew asked if they could come to the gig, so they were standing on the side of the stage. What no-one can see is, that when I’m DJ’ing I’m shaking my arse the whole time which the crowd can’t see, but of course if you’re standing, so all she could see was my arse shaking and when I came off she said, “That was great, but what what’s all that arse shaking about?” And I just said, “Because that’s the only way you can dance without jogging the decks.”

And there’s a really good one for getting really sexy, that track ‘Sho Nuff.’

I don’t know. I never listen to my own records for pleasure, I listen to them to check them when we’ve finished and normally unless I hear them on the radio or they’re in my DJ set, I normally don’t ever hear them again. I just don’t enjoy listening to my records because I always think, ‘oh I should have done that and I should have done that’ and you always kind of think it wasn’t good enough. ‘Sho Nuff’ is the one with the David Dundas Jeans sample in it isn’t it? I don’t know maybe I should put it back in my live set. I sort of played it to death for a year and got a bit bored of it. I shall dig that out on your recommendation.

Is ’Santa Cruz’ where it all started?

Yeah, it was my first ever Skint Record, my first ever record as Fatboy Slim and it came from Damian just came round and said I want to start this label but it’s not house but it’s not rap, it’s a mixture of everything, how about trying it and doing a track that has elements of house music, elements of rap, elements of whatever you want. So I came up with Santa Cruz and it’s called that because I’d just come back from a holiday driving around California and I thought Santa Cruz was a cool place.

Was that the kind of start of the whole dance fraternity, formation of the dance fraternity with all the other…

Yes, well that begat my relationship with the Chemical Brothers and Jon Carter, because it was just after I’d made it. Lindy Layton, who I was still friends with, phoned me up and she said ‘You never guess what, you know that kind of music that you really like, that no-one else likes,’ I said ‘Yeah’, she said ‘Well I’ve just found a club in London where they like it too.’ So she dragged me to The Social, the Heavenly Social, and when I walked in Santa Cruz was playing. So I went up to the Chemical Bros and said this is me and they said “You’re Fatboy Slim, we love your stuff,” so that’s how we met. Then they said “Oh, do you want to DJ here next week?” I started DJ’ing in The Social, but I didn’t really have enough records to play a full two hours, so I started making more records, simply for what I wanted to play at the club. So that’s why the first album is all banging club tunes, it was so I had enough records to do a two-hour set.

How did you feel like meeting people who had like similar tastes and stuff?

It was brilliant, it was like meeting your long lost family, because I’d heard of them, and they’d heard of Fatboy Slim, but didn’t realise it was me. They said, “So, you’re Norman Cook, so you did, oh right.” They were fans of other stuff I’d done as Norman Cook, they used to play a lot of my remixes. We all swapped phone numbers at the end of the night and kept in touch and ended up going on holiday with each other. After Glastonbury one year, we were talking about the previous year’s Glastonbury comedown and decided to get on a plane straight from Glastonbury. The next day we fly to Tuscany and when the comedown hit, we were sitting by a pool, my crew and the Chems and their crew. So yeah we got to be very good friends in the end, simply because we shared a common interest in music. When me and Tom especially start talking about music, everyone leaves the room, because we just talk for hours, swapping ideas and just ‘How did you do that?’ on that track, you know…

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How long ago was that time? Can you remember?

NC: It must have been ten years ago. No no no longer than that, because the Boutique is ten years ago and we started the Boutique about six months after we started going to The Social because, basically to save driving up to London every weekend. So we decided, we were gonna call it Social on Sea and we actually asked if they would mind us calling it Social on Sea and they said we prefer you didn’t. Yeah, so it would be over 10 years ago.

’Champion Sound’, it’s got a kind of a hippy hop feel to it…

Champion Sound is one of the new ones, it’s obligatory when you do your greatest hits that you have to do 2 new tracks but it’s quite weird, because thinking about doing it. I didn’t know if because it’s greatest hits whether it should be a retrospective track or where the next direction is. So I thought I’d do one of each so That Old Pair of Jeans is more classic Fatboy, and Champion Sound has got sort of a different edge to it. I’m not sure if its more hip hoppy, I mean, it’s probably more urban than I normally do. I was thinking more urban as in terms of R and B but, it’s nowhere near R and B but it’s a bit nearer it than I normally do - I’m not a big fan of R&B. But yes, Champion Sound is the sound of the new Fatboy Slim and sets the sound for the new album and That Old Pair of Jeans is just a classic Fatboy remakes ‘Sympathy for the Devil‘ again blueprint.

With a lovely positive message…

Yes that’s always good isn’t it?

Yes nice, to end on an up.

Yes I think lyrics ‘la la la, la la la la’ are very uplifting.

No, there’s a lyric that says, ‘life’s too short to be unhappy’.

And I also realised it never actually says ‘that old pair of jeans’.

Anywhere in it?

It’s like a worn pair of jeans that you can’t give up. We’ve got a history of missed titles of Fatboy tracks, because ‘Everybody Needs A 303’ should have been called ‘Everybody Loves A 303, Damian.’

With a Greatest Hits often people think it’s the end of an era, or you’re hanging up your headphones…

Well yes, it’s not me hanging up my headphones or my studio but I always hate it when people go greatest hits so far or greatest hits 1982 to 2004.

Or volume one.

Yeah or volume one. I thought it’s an excuse to take some time for a retrospective. You know I was amazed when we started compiling it, I was amazed how many hits we’d had, I thought we’d struggle to fill it. In fact we couldn’t include all the singles, there was, some of the lesser singles didn’t make it. So no it’s not, I think after ten years and four albums, I deserve it, and it also gives me two years off to do other things. I’ve been writing this musical with David Byrne and I’ve been working on the soundtrack of a film in Cuba, working with Cuban musicians and working in a studio in Cuba is so much more fun that sitting and knocking out another Fatboy Slim album. It’s a good chance to give me a pause from being Fatboy Slim for a couple of years and after ten years and four albums, I deserve a break I think.

When you’re writing for a musical how different is it from when you’re writing an album?

No different, I mean the musical, the theatrical performance side of it, is all David Byrne’s concept and baby. I’m just doing the music, so to me I’m making a CD of songs with David Byrne that just all happen to be about Imelda Marcos. I’m not thinking theatre and the production, it’s not West End, Broadway material, it’s more for the Boy George thing. It’s called Taboo, it’s more for that kind of audience and that size theatre, there’s no narrative, there’s no acting in it at all, it’s just songs, 23 songs, but it’s been incredible fun. To meet David Byrne is an honour, to work with him is an honour, to have him live at your house for weeks on end, and work all day with him, he’s a fantastic bloke to work with. So yeah, things like that I wouldn’t have had time to do. I’d have Skint breathing down my next saying “Come on, when’s the next Fatboy Album?”

Has it been plain sailing making a musical?

No, it’s been very complicated just because DB lives in New York and I live in Brighton, so I went to New York for a bit, then we did it by post and mpegs and emails and whatever, and then he’s been over here twice. I think it’s my turn to go to New York to record the vocals, but we’ve written it, arranged it, done all the music and all DBs vocals and all DBs backing vocals. We’ve just got to find a good female vocalist and then it’s finished. But the next window is when me and DB are both free isn’t for about 6 weeks, so, but we’ve been doing it in very little chunks, little at a time, over a year.

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Who is going to sing it?

Well somebody who doesn’t over-sing it, like a Broadway singer, someone, everyone we’ve tried …they all sing like that…because they’re used to singing on the stage. So we want somebody vaguely Filipino because it makes it more believable; someone with that kind of accent and we found one girl who really looked like Imelda Marcos but we couldn’t stop her over-singing. I never thought anyone could suck the soul out of a song quite so badly. DB’s auditioning people at the moment in New York, so at some point I have to go out to New York to do the vocals, then we’ll bring it back here, mix it in Brighton, it’s all very convoluted.

And finally, Loch Ness. What a great idea.

Well, we’ve done Brighton beach, we’ve done Bondi beach, we’ve done Ipanema beach, we’ve done Argentina, Chile, we’ve done pretty much all the famous beaches in the world and it’s the only one we haven’t done, even though technically, it’s a shoreline, not a beach. But what the hell, we are invited to do it and I just said yes.

The Greatest Hits album has got your nice little Fatboy back again….

The idea was because of the Greatest Hits is sort of recycling what we have done before we thought the Fat kid is probably the greatest icon of me, me not having had my picture on any of the covers. So I just had the idea of deification celebrating even more, you know, viva la underachiever, it’s okay to be a slob, you know.

Did anyone actually ever think that was you?

Yes, lots of people thought he was me, including various members of Zoë’s family. Someone said “Zoë’s going out with the Fatboy Slim bloke” and they said “he’s the one on the album cover” and they said “yeah”, and then everyone was looking at the album cover and saying “oh my God Zoë’s done well for herself” and a lot of people come up to me and go “you’re not fat at all”.

How long did it take to get this done, cos it’s actually painted, it’s a piece of art?

It is painted by a friend of mine called Julie-Anne, we did various drafts and tried out various things. She spent about two, three weeks on it. The inner sleeve is even funnier and has the fat kid reclining on a sofa with classical traditional grapes and drapes around him. All the artwork is kind of Renaissance, Renaissance Fat kid.

So Norman, what’s the relevance to the title?

The title, obviously it’s on his t-shirt again, it’s recycling an iconic statement but the most important thing about it is that there is no question mark after it. It’s not a question, it’s my statement.

Of life?

Yeah.