Being in a band, a lot of times people think of what you're doing in terms of a competition. They talk about where you are professionally in your career, and all this other stuff. And if you're a lifer, you know it's going to be ups and downs. It's not like anybody is always just steady on.
This happened years and years ago, right as our videos were first being played on MTV. The interviewer said, "You guys are getting famous now. Are you going to be riding around in limousines, doing drugs, and sleeping with beautiful women?" And I was a precocious young man, and my snappy comeback to that cheerful question was, "We're willing to sleep with beautiful women." But no part of the question was in the article.
I read The Onion, and I've read a lot of interviews that are very direct, often with people who are never direct. Which is interesting. But somehow the A.V.Club part of The Onion, I don't think is telegraphed into the popular culture.
That really sums up the strange bluntness that a really prime German interview can have. They're really interested in your cultural velocity in this way that I don't think people in the United States even necessarily think about alternative-rock bands. So it's not like we're against regular rock. We're not like a battling army shaking our weapons against The Rolling Stones.
In Germany there's something about rock music much more political than it really is - like everything you were doing was an indictment of the American culture. I read an interview with one of the members of Sebadoh. He was saying he had just got back from touring Germany for the first time in five years or whatever, and one of the interviewers asked him, "Why aren't you still relevant?"
It's always interesting to me when one platform of media crosses into another. We've been on the Terry Gross show Fresh Air a couple of times, and I suddenly felt like we could actually represent ourselves as exactly who we are, in this sort of ultra-vivid way. But the weird thing to me is that the questions she asks are in some ways no different than the questions the guy from the high-school paper asks. She might even ask us where we got our name. But something about it, it's like the pH balance of the trajectory of the questions. Maybe it's just her voice.
You're like, "I don't want to argue with Dr. Drew on national radio." You're like the invited guest. But at the same time, as a thinking person, it's very difficult just to stand by and go, "Yeah, man, it's cool."
You have to define how much of a cultural politician you are as a performer. There are times where I just want to remain a civilian.
All rock music is fake news.
I think that the most effective social protest that any artist can do would be things that come naturally and feel obvious. I think the Resist movement will continue among people who believe in science, who believe in rights for women, who believe in civil rights.
The main thing that we're doing is thinking we can control anything, which is the biggest false assumption we can make. I think we can figure out how to tread a lot more lightly on the environment, and we'll be a lot better off.
I feel like the future is unwritten. So many of the things that we write now haven't been about educating people on the environment, they've been about disseminating facts. But I feel like it could be productive to write something that explored directly the idea of fragility.
Actually, on a slightly more serious but kind of parallel level, I remember being on Loveline before both hosts ascended into loftier places in the culture. But I remember being shocked by Dr. Drew. He went into this extended monologue about how anyone with a baby voice is probably the victim of child abuse or has some daddy issue. As an intellectually curious person, all I could think is that there isn't any clinical evidence about that. But to be the guy wearing the doctor's hat on the radio and teaching everybody about this? It just seemed like a parody of good advice.
Sometimes people will ask a real "Why are you beating your wife?" question where there's some assumption built into it, and all you're trying to do is kind of re-contextualize it with some element of truth, and it comes across as incredibly defensive, or just really weird.
Bill O'Reilly knew he could just filibuster and enjoy all the airtime that a full interview would give him, and then also grab the sensationalist headlines that he enjoys creating. He used this as fodder for his show for weeks. I wouldn't want to be on the bad side of Bill O'Reilly. But then again, maybe I am now. By giving this interview.
We're affable guys in They Might Be Giants. We're not gonna do the periscope-down thing, but it's a little bit mind-bending. The biggest struggle is trying to figure out a way to back up far enough in your answer that it can be read without the context of the question. Every declarative statement you see that comes out of an interview with somebody is actually in response to a question. So it's sort of like this very real interpersonal dance where one of the people involved is invisible.
There is a fact-based belief system available to you if you want to believe in facts. But this is the weirdest time. I mean, after Nixon I thought nothing could be weirder. Then there was Reagan, and after Reagan I thought nothing could be weirder. Then there was Bush and Bush's son, and it all just seemed like nothing could be a badder joke than George W. Bush. And now we're here. It seems to just yo-yo around, but hopefully we'll get to another level.
If you're looking at the array of performers, there's just a lot of people that it's about getting closer to them. That's not really our focus. It's funny, with the kids' stuff, we really sell ourselves as the MC, but it's much more like we're Ed Sullivan than we're like Sting. We're just the presenters. And that's an idea that we're very comfortable with.
It sucks to think about, honestly, but when you really consider the resources that it takes to press vinyl records, or the amount of gas that it takes to tour, it's really quite scary.
So we've done science songs. We've done historical songs. A lot of people would like us to do more historical songs. Our history record would probably be like the people's history of the United States, set to music.
People love fact-based songs, which is a very funny idea.
A lot of times I'll post things on Facebook, and the immediate response will be like, "Stick to the music!"
