I can never tell when something is funny. I just have to do it onstage and find out.

I could definitely rock out to Kraftwerk's "Tour De France," Tubeway Army, or Gary Numan. All of that stuff has an infectious beat, but with "Oh Yeah," I can't even identify what's going on. It sounds like typewriter keys, a couple of synth notes and then this really deep "Oh yeah," which I always picture as Andre The Giant on vocals.

I think reality television is such a special talent.

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.

That's the nature of comedy. You always want to be improving and growing and changing with what's happening in the world. That's when comedy is most effective.

I think that sometimes people [who overreact or lash out] will hang on to their point just because they're so embarrassed that they made it. They won't set it down because they are the authors of these [disproportionate responses] and they have a lot to be embarrassed about.

I think comedy is an angry art form; it's an outsider art form. Anger and comedy are really connected. If I'm angry about something I will try to think about something funny about it to lighten the load of the anger and cope with the anger.