Diplo

I remember being in the studio with her.

I introduced her to Sia.

I was like, I had met, I had worked with Sia a couple of times when she wasn't really a huge songwriter here, like in my little studio in Atwater.

I used to have the Beastie Boys studio.

It was called, um,

was it Grand Royal Studios, I think?

I had like just built my studio there.

I was like working with like Usher out of there, like Charles Gambino came out of there, stuff I did with him, but just a lot of DJ stuff.

A lot of like the time we had this label called Mad Decent.

So I'm bringing a lot of artists in and like Dylan Francis and Skrillex.

And it was like a little home where we make, you know, weird music.

And so he had come a couple of times and worked on stuff.

Actually, the day after she did Titanium, she came to my studio and we made this Rusko record called Hold On.

She did.

She was like, I just worked with this David Guetta guy.

And at the time, I loved David Guetta, too.

At the time, he was, like, the enemy, though, because it was, like, we were, like, from this underground world and David Guetta's, like, he had just done Black Eyed Peas and, like...

In the end of the day, I owe David Guetta so much for really introducing house music to America.

And you look back at some of the catalog, you're like, Danny's records are fucking timeless.

And that one record is, like, Titanium.