I'm a music fan, and I can listen to the radio, or music, without thinking, "How am I going to screw this up?" [Laughs] If I'm really actively trying to think of a parody, then I'll have my antenna out, and be a little more proactive about it.
I like to think that I've gotten better at what I do. I spend more time and pay more attention to detail album after album. But pretty much it's stayed the same.
One of the hardest things I've had to deal with in my career is keeping my material topical even though I only release albums every three or four years.
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'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 cut my teeth playing rock songs on the accordion when I was a teenager and my friends always thought that was extremely amusing. I think that was the genesis of my polka medleys, because every rock song I played on the accordion just sounded like a polka and my friends thought it was funny. So that was a joke that I continue up to this very day.
I can't say enough good things about my band. I feel very fortunate that I found them when I did, very early in my career. Not only are they just great, nice guys; they're some of the best musicians you're likely to find. They do everything from gangsta rap to polka music and every genre in between. It's amazing.
Somebody will come up to me after a show and have me sign their arm, and the next time I see them my autograph has been permanently inscribed on their arm.
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.