A Quote by Hoodie Allen
I think the craziest thing I've seen is probably a fan sleeping overnight for two nights before a show, which was probably a bit excessive - they still probably could have been first either way! But I guess it turned into a really exciting, sort of, camping-out trip for them so it was cool.
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I don't want to say I was a big Shinya Aoki fan, but it's just that I felt like he got out and was able to do a lot of the tricks that I like to do before I was able to do them. I guess you can say, a little bit jealous in a way that he was making that sort of show before I was.
I remember my first trip to Toronto. There was this street musician playing an instrument I've never seen before - like, he had a hang drum on the left side and this random bagpipe, bodhran stick type of thing. It was the craziest thing ever! So I sampled it for a beat.
I'm not saying that I'm the grand genius that came in on a float and made it happen, but they liked my pitch. I was on my way to a camping trip with my daughter when my agent called and said, "This thing came up and it's really wild and crazy, do you want to read it?" And, I said, "Yeah, why don't you just send it to me? But, I'm going on this camping trip, so I probably won't be able to read it until I get back."
I had a couple of really cool friends when I was a kid, and we'd find cool music and movies and show them to each other. My friend Dennis had a copy of 'A Clockwork Orange' and he'd already seen it once, and he was like, 'We need to watch this.' I was sleeping over his house - and I think we were literally 15 - and we watched it.
I'm a huge 'Nightmare before Christmas' fan, but that was also Henry Selick. I'm a really big fan of 'Sleepy Hollow.' I love 'Big Fish,' too, which is a bit different. There's a really cool era of early-Burton stuff like 'Ed Wood' that I'm a big fan of.
CBGB was a wild place, ... The first time I ever played there was in 1987, I think, with my hardcore band, Scream. And I remember the craziest [thing] about that club was you could be in
front of the stage and it could be louder than any show you've ever been to in your life. But if you were towards the back of the club at the bar, you could sit and have a conversation with
someone. It was the weirdest thing to me.
The really cool thing about festivals is that you're getting to play in front of a whole lot of people who have never heard of us before. That's exciting. At the same time, it's a little bit of a challenge to capture the attention of people who have already seen a lot of bands.
I would say we had two goals when doing this CD. The first goal is to introduce people who have never seen the show before to the best comics that are on the show. And goal number two is to introduce people that they never heard of before and give you a bit more flavor of what the show is actually like. And those goals are very much in line with the philosophy of the show from the very beginning. It's the very best people who are out there.
You know, John Coltrane has been sort of a god to me. Seems like, in a way, he didn't get the inspiration out of other musicians. He had it. When you hear a cat do a thing like that, you got to go along with him. I think I heard Coltrane before I really got close to Miles [Davis]. Miles had a tricky way of playing his horn that I didn't understand as much as I did Coltrane. I really didn't understand what Coltrane was doing, but it was so exciting the thing that he was doing.
I can honestly say that in The Murder City Devils band we achieved everything that I could've ever hoped for or wanted. We did all that, which is the luckiest, craziest, and weirdest thing. Essentially, it was sort of like my dream come true in a way, so once that's happened, you sort of stop being surprised.
I'm more of a thriller-horror fan - things that could really happen. I don't like scary movies, the 'Saw' movies scare the crap out of me - I think I've seen two of them and I wanted to go crawl in a hole.
Everybody wants the quick fix, but it doesn't happen overnight. You have to be willing to put it out there. I call it 'the secret to being an overnight success,' which means there really isn't a such thing as an overnight success. ! The secret is you work really hard for 10 years, and then you become an overnight success.
I don't know what started me, I just wrote poetry from the time was quite small. I guess I liked nursery rhymes and I guess I thought I could do the same thing. I wrote my first poem, my first published poem, when I was eight-and-a-half years old. It came out in The Boston Traveller and from then on, I suppose, I've been a bit of a professional.
There's that weird and cool line that music can cross where it still gives you the goosebumps and you think it's cool but on the other hand it's sort of like also letting you off the hook a little bit with the ironic aspects of the thing. I think that's the inexplicable, the smell of a movie. That's the taste of the movie.
If you are a true fan, you're a fan for one of two reasons. You either support what I do or you support me as a person. If you support what I do, the quality of work speaks for itself. If you support me as a person, my personal and political views won't alienate you. If you find a way to be turned off, that means you were never a fan in the first place. You were just riding the wave.
There are two singles I did with Noah Breakfast, ["Talkin Greezy" and "New Phone (Who Dis),"] which was a cool experience. So it's cool either way, I think. It depends on the relationship you have with the other person - not everybody is going to work the same way.
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