When I'm playing comedy, I never do 'jokes.' Sometimes I'll deliver a line in a way I think is more likely to get a laugh, but all the best comedy is played straight. What's funny is the way it hits the world around it or the way it hits the other characters.
I've always kind of been a little skeptical about bands that won't play their hits. That's really arrogant to me as a music fan. I do want to hear obscure songs, but like most people, I want to hear the hits, so we always play them.
There will always be economic pressure to make hits, identify hits, and then exploit hits. And you're going to exploit them with as many episodes as you probably can.
Everybody can't come to New York and take the hits, take the hits of the city, take the hits of the media, take the hits of the fans. It's real.
You go to any Jay-Z concert, and he plays his hits. Comedians don't have hits. You have to have a whole brand-new hour. You have no hits to rely on. It's the hardest thing.
Me, I'm not a guy who's dealt with a lot of death in my life, so when it hits you, it hits hard, you question different things.
Sometimes when a thing hits you, it hits you in levels, and the reality of what's happening has been a progression for me.
It's kind of weird. You can have hits, but it's hard to sustain a career. I went through that period where I didn't have a lot of hits, although people were still buying the records.
It's the subconcussive hits, the constant bam, bam, bam that linemen like Suh give and receive. Those are the hits scientists say cause the lasting damage to the brain, the kind of injuries that made guys like Mike Webster, Terry Long, and so many others go crazy. The subconcussive hits - every single play.
If you take a band like Nirvana, their biggest hits are structurally the same as even a hair metal band's biggest hits. The structure's not different - the attitude was different. Except it really wasn't. It seemed a little more human.
Fame is always a shock to the system; there's no school to go to, there are no books to read, and when it hits you, it's a surprise. You could be working for 10, 20 years and when it finally hits you, you get knocked down.
When 'stuff' hits the fan, it has a way of making you stronger.
Most of the time, when I had hits as a soloist - maybe not so much with Simon & Garfunkel - I was surprised they were hits. I didn't know what the hits were. I never thought that 'Loves Me Like A Rock' was going to be a hit, or 'Mother And Child Reunion,' or '50 Ways To Leave Your Lover.' They didn't sound like what the hits sounded like at the time. Radio was more open to things that weren't exactly what every other hit was.
I have many hits, big hits, that have been written by people I don't know. In almost all my shows, people say, 'Chente, here's a CD.' When I get home, I listen to them all, and what I like, I record.
Truth is, you make albums, and some of those songs are hits, and some of the greatest hits albums have songs that weren't hits. You have a career, the reason why we're still around 10 years is that we do have successful songs.
I'm not one of those artists who refuses to play their hits. I find that ridiculous. Hits are a blessing.