But now, with the last two years of touring and being on the road, I've learned that a live show should never sound like a record; a record should sound like a live show.
In terms of what happened to Amy [Schumer], if that happened to me I would be like, "Yes, please leave." But I toured a lot. I started as an opening feature act touring a lot during the [George W.] Bush years, like around 2007. I was touring during the [Barack] Obama election - the first one with [Sarah] Palin and [John] McCain - and I talked to crowds about that and they were always split down the middle.
Vaudeville could not vouch for the honesty, the integrity, or the mentality of the individuals who collectively made up the horde the medium embraced. All the human race demands of its members is that they be born. That is all vaudeville demanded. You just had to be born. You could be ignorant and be a star. You could be a moron and be wealthy. The elements that went to make up vaudeville were combed from the jungles, the four corners of the world, the intelligentsia and the subnormal.
I'm like an old vaudeville act. They'll have to pull me off the stage with a hook.
Although I have been pretty vocal about hating touring, the only part of touring I don't like is being on the bus and bouncing around.
I enjoy a third act, and I like stories with ending. A lot of my frustration with serialized storytelling is a lot of shows don't have a third act. They have an endless second act, and then they find out it's their last year and often have to hustle to invent a third act, but they were never necessarily organically meaning to begin with.
The ultimate [act] that would be the taboo, to show how bad some villain is, was to have somebody being raped, you know? I don't really think it matters. It's the same as, like, a decapitation. It's just a horrible act to show that somebody's a bad guy.
There were a great many in vaudeville - people who never quite came through. But they had their place, and they filled it. They kept theatres open. Those pan-timers, those interstate-timers, those four-a-dayers, those six-a-dayers - they were an integral part of that endearing merry-go-round called vaudeville.
Dear Mama, don't cry, your baby boy's doin' good, Tell the homies I'm in heaven, and they ain't got hoods. Seen a show with Marvin Gaye last night, it had me shook, Drippin' peppermint Schnapps, with Jackie Wilson, and Sam Cooke.
Each couple is its own vaudeville act.
It's strange because even in the vaudeville days, ventriloquists were never the main attraction. They were the guys brought out to stand in front of the curtain while sets were being changed. Ventriloquism wasn't even celebrated as an art until Edgar Bergen came along in the 1930s.
There's just something about being on stage and being with the people that, once that camera turns on, you find the strength to keep it cool, look good, act like you're not cold, act like you ain't nervous, act like you aren't scared. I think that comes with confidence and practice.
I always say that I love magic but I hate magicians. I like being fooled. If you wave your hands in front of my face and I think you're doing a trick, I'm easily impressed. If you pull a quarter out of my ear, I'm quite certain you're a wizard. But I don't like the way most magicians don't act like they're magical; they act like show business dicks.
For me, my preference for comedy is grounding it in the psychology of the character, and not just kind of making faces. Even when it's a crazy character, grounded comedy resonates more with people because it doesn't look like you're watching someone do vaudeville. No offense to vaudeville.
I claimed identity as Jewish musicians for political reasons, because most of us were touring in Germany and, at this time, twelve years ago, there was a strong resurgence of Nazism in the places we were touring and part of that was on the music scene.
I've always been a cabaret-vaudeville artist - an hourlong cabaret and a floor show in a hotel - somebody like that. That's my main forte.