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 was able to come up with a couple articles for the magazine, I was able to solicit help from a bunch of my friends to contribute pieces: Patton Oswalt, Seth Green, Emo Phillips, Chris Hardwick, John Hodgman, and more. It's very much a "Weird Al" themed issue, so I'd like to think that there's a lot of "Weird Al" flavor throughout but I think it'd be generous really to call me an editor.
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 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.
What kind of morons do you have working at newspapers in Austin that would base an entire review of an artist's performance on whether or not they had a good seat?
It's hard to say, I picked one of my favorite articles for the MAD vault. Which is one of the features of the Magazine so they don't have to actually pay artists or writers to come up with new stuff.
Well I've made no secret of my life long love of MAD Magazine, it's probably my first and greatest influence in terms of my comic sensibilities. I've known John [Ficarra] for many years, and we've been friends. About four or five months ago, at a dinner in New York, John made the very nice offer of my being guest editor for an issue of MAD and I thought about it for about half a nanosecond and decided that was a pretty good idea.