A lot of comedians, when they have a bad gig, will blame everything but themselves. They'll blame the crowd, or the room was wrong, it had a weird vibe, or the promoter promoted a weird atmosphere.
He helped make Living Things even more crazy than I wanted it to be. He added old-fashioned piano and classical folk music - that weird otherworldly vibe - all these elements got onto the record.
I've known Clinton for probably the last year that he was in office and stuff. The vibe that I always got from Clinton was, you-know, he never gave me a president-vibe.
I don't understand the interweb.
The problem with depicting what's weird and what isn't is that it's got to this point of near total oversaturation. There's definitely a threshold at which that language and experience becomes tedious. How can something be weird if everything is apparently weird?
If I feel there's any weird tension or not a very nice vibe going on, I just remove myself from the situation.
It's completely unsexy [Yello, "Oh Yeah" 1985]. It does capture that weird '80s materialism and "We're gonna get it on now" vibe. But it's a very juvenile approach. It also became a weird signal for comedy, in the sense that when you heard the song, it meant comedy was happening on screen. I feel like this song was probably done in a couple of minutes in a studio.
One of the things about crowd work that's so exciting is when you discover a character in the audience who's interesting or funny, who you can vibe off of. If someone's got a weird job that you can make reference to throughout, or you can bring that person onstage - humiliate them, or celebrate them! You can put people in conversation with one another. The best is when something that they're doing can reflect back on something that you're doing.
A big part of making a good record is really getting a vibe, and a vibe is a mysterious thing. The vibe kind of exists in the air in the room. It's not just all the stuff you put on there, and the specific notes and arrangements and all that. That's like half of it. The other half is just the air, and just the spirit.
It's the most dangerous world for bands nowadays because everybody's branding and trying to steal your vibe as soon as you do anything that anyone cares about. It's very weird.
I did Vibe, and I felt old and paternal. I've got ties older than people in that audience. I had a talk with myself. I said, You've got to deal with this better.
I grew up with the Boston vibe and the Catholic vibe. I don't want to put anybody out.
I used to think anyone doing anything weird was weird. Now I know that it is the people that call others weird that are weird.
The great thing about living today is that there is this thing called the Interweb, and you can just look up anything.