Not any specific one, but I was a huge fan of Frank Jacobs, I guess he wrote the plurality of the song parodies for MAD, Sam Hart, a few others, but that was also where I was first exposed to the art form of song parodies.
I think I'm equally as abusive as the editors normally are for the "Letters and Tomatoes" column, which is the fan mail part of MAD Magazine and an ongoing feature.
I decided that I wanted to be a voice on every animated cartoon in the history of the world - even shows that haven't been on the air for a very long time, that's going to be harder to pull off.
I'm always a little leery about doing shows where I'm not the headliner because when I first started playing in 1982 I opened for Missing Persons and got pelted for 45 minutes. After that, I made the decision to headline no matter what, even if I was playing to seven people. I wanted people to be there to see me.
I'd like to be able to be more topical and timely and more of-the-moment and I think the way to do that is, instead of waiting until I have twelve songs to release all at once, just to release them as I come up with them.
I tend to enunciate pretty well. It's always seemed that my voice is one of those voices that people can recognize pretty easily - which has been a bit of a drawback for some characters because you're supposed to lose yourself in the character, but sometimes people look at a character and go "Oh, it's 'Weird Al.'"
There's a lot of different ways that a song would be a challenge to parody. There are a lot of songs that would ostensibly be a good candidate for parody, yet I can't think of a clever enough idea. Some songs are too repetitive for me to be able to fashion a humorous set of lyrics around. Some songs flat-out just don't work creatively for me.
So that's why one of my rules of parody writing is that it's gotta be funny regardless of whether you know the source material. It has to work on its own merit.