Sunday, November 19, 2006

Wolfmother Interview

This is my interview with Chis Heskett, the drummer of Wolfmother. It will probably be appearing in an upcoming issue of The DePaulia.

S: How’s the tour been going?
W: Great, it’s been cool. We played new states and the crowds have been awesome. Excellent.
S: Did you guys do anything for Thanksgiving?
W: Not really, we kind of had a day off and everything was shut which mean we could sleep. We were in New York and we went to friend’s house and he cooked a vegetarian Thanksgiving feast, it was great. We didn’t get a turkey but it was still really good.
S: Was it your first Thanksgiving?
W: Yeah! We gave thanks.
S: What’s your favorite animal?
W: (Pause) um, I like dogs.
S: Dogs? Did the other guys want it to be Wolfmother and you wanted it to be Dogmother?
W: Yeah (laughs)
S: What is it about wolves that make it so popular for band names, like Wolf Eyes and Wolf Parade?
W: I don’t know, I’m not sure. There’s a bunch of bands in Australia that have wolf names as well that we didn’t know about either. I think there’s something in the water. I’m not sure, I guess it’s a cool animal.
S: It is pretty cool, yeah.
W: Sounds cool (laughs).
S: I think last time you were here was for Lollapalooza. How was that?
W: That was amazing, that was great. Perry Ferrell came up and met us before we went onstage.
S: What is he like?
W: He was great, he was very cool, he was like when he was announcing us, he gave a little speech, he was like ‘combing the past and the future!’ ????
S: I was actually at the show, I saw you guys it was really cool. Did you get to see any other bands there?
W: Um, we saw um, um we really didn’t get to see a lot. We saw Gnarls Barkley, we didn’t get to see too much other than when we were walking around. I love that festival, such a cool spot.
S: It’s so cool with the city in the background.
W: And the water on the other side. It’s cool.
S: What’s a typical day on tour like for you?
W: It depends what were doing. At the moment were on the bus, which is coo. You wake up and then you’re in the next city. Kind of wander around, get something to eat, sound check, hang around waiting, play the show and get back on the bus.
S: Do you get sick of the other band members?
W: Oh yeah, we all get sick of each other. (Shouts in the background) (Laughs).
S: What’s your favorite song to play live?
W: Um, um, um I like Pyramid and Joker and the Thief, it changes from night to night.
S: Do you get tired of playing the same songs every night?
W: Sometimes, we’ve been playing them over and over again. You do, it’s only like every now and then. (Laughs)
S: Speaking of Joker and the Thief, what was it like working with the Jackass guys?
W: They flew out to Sydney to film it, it was filmed over two hometown shows, we had two sold out shows in Sydney and they just came and hung out and filmed around backstage. They had their own band room, it was like a circus, it was amazing.
S: Did they try to get you guys to do any stunts?
W: Wee-man kind of leap out from underneath the couch I was on once and tried to get me in the nuts. That was about it, they were super cool guys, they were hilarious. It was kind of like when you’re crazy and the rest of the weekend you freak out. But then when they go you miss them. They’re like constant amusement at all times. You pass their van and it would smell like vomit and they’d drink all your beer and they were beating each other up all the time, it was great.
S: What was it like introducing Led Zepplin to the UK Hall of Fame?
W: Aw man, that was the most high pressured, scariest night of my life. There were so many big wigs there like Jimmy Page, who was there to get inducted and accept the award. Tony Iamai from Black Sabbath, David Gilmour, Brian Wilson, George Martin, Prince, Beyonce, Bon Jovi, they were all there and watching. We had to play a Led Zepplin song and I fucked up the start of it, it was scary. (Laughs) It was cool.
S: Did you get to meet any of those guys?
W: Not really, I was a bit scared.
S: Everyone always says that your influenced by people like Zepplin, Black Sabbath, AC/DC, what kind of music do you actually listen to?
W: I guess that we do listen to that stuff, but it’s one tiny little sliver of what we listen to. I like psychedelic music, kind of everything from the ‘60’s up to now. I like jazz and hip hop and rock. There’s good stuff in all the genres.
S: What was the last CD you bought?
W: I bought Small Faces but I haven’t really listened to it, Ogden’s Nut Gone Flake or something. It’s like an old ‘60’s album.
S: What is it about Wolfmother that appeals to such a large audience?
W: I don’t know, it’s pretty straightforward rock music, so I guess its accessible. When we started we played in little clubs around Sydney and we had these biker dudes with black hair at the show freaking out and also really young people. I guess because it does have an old school sound so people that were around in the ‘60’s and ‘70’s can access us right away, they know what it’s all about, and also young kids who have never heard it before can get into it for the first time.
S: How do the crowds in America compare to the Australian ones?
W: They’re pretty close, I think rock crowd are pretty similar around the world. I think its different city to city rather than country to country. I think the real major cities the crowds are more relaxed. All the shows here have been amazing, we’ve had such a great response. Once the people get to know the music better after the album has been out for a while it get better.
S: What’s something Americans don’t know about Australia?
W: I don’t know. (Laughs) I think there’s funny TV footage that shows America doesn’t know much about anywhere but America (Laughs). But that’s really generalizing (laughs). I haven’t done any surveys, I should get a video camera out and start interviewing our fans.
S: What do you consider to be the highlight of your career so far?
W: I think just getting the copy of the album for the first time, getting the finished product that’s been imprinted enmarked and getting a copy on vinyl. Getting a copy on double vinyl, that’s alright for me, that’s what it’s all about, that the finished product.
S: Since you released the EP in 2004, you’ve become pretty big pretty quick, do you think you’ve “made it?”
W: I don’t know what that means really, I don’t know. What do you mean ‘made it?’
S: Do you feel like this is what you always wanted to do and now you did it?
W: Yeah, I guess so, to be in a band touring the world, recording music, I guess we have made it, we’re playing music full time, we don’t have other jobs, we’re traveling around the world. So yeah, for me, this is a dream come true.
S: Is this what you wanted to do when you were a kid?
W: Yeah, but it’s something you never thought you could, to me it’s always been this kind of magic thing that you want to be part of but you don’t really know how. I guess we just spent a lot of time jamming and discovered music and how to play music. I think it’s something we’ve always wanted to do. It’s like a childhood dream really. I remember I used to sit in school and draw guitars and bands and hair bands, metal bands.
S: I read that you designed the cover of the debut album…
W: No, no I didn’t, the first EP in Australia I designed the cover, it was like a white cover with a triangle, kind of psychedelic volcanoes looking thing, it was actually Frank Frenzetta who designed that, so I can’t take credit for that because its incredible.
S: So your not still doing design anymore?
W: I think music has kind of taken over, when we had a lot of time, when we were starting out, I kind of had a lot of things going on. The music has kind of taken over. Maybe in the future. (Laughs)
S: What do you have planned for 2007?
W: I’m not sure yet, I’m not sure. Management wants to tour our asses off again. Our manager was saying that bands put in all the groundwork and they tour their asses off, especially bands from Australia because its so far, you have to work a lot harder. You put in all this ground work and play so many shows and by the time it gets kind of playing the shows where you get the big money, hopefully we can pace ourselves, not go insane.
S: Do you think you guys will work on any new material?
W: Yeah, we just kind of started to, it’s cool, especially when you’ve been playing the same songs every night. But yeah, we’ve been jamming, it’s exciting, it’s fun.

Friday, November 3, 2006

The Rapture Interview Uncut

Getting Ready for The Rapture

Coming of their 2003 album Echoes, which was named Album of the Year by Pitchfork Media, New York quartet The Rapture released Pieces of the People We Love, which continues the catchy indie dance music from their previous release. They their high energy live show to The Metro on Sunday, November 5th. I called saxophone/keyboard/percussionist Gabe Andruzzi when he on the tour bus in Boston.

Gabe Andruzzi: Are you calling from Lincoln Park right now?
DePaulia: Oh, you know Chicago?
GA: Yeah, I used to live in Chicago a long time ago. I had maybe one or two friends that went to DePaul.
D: Where did you live?
GA: I lived a bunch of different places. More or less like around Wicker Park and Humboldt Park, like Ashland and Chicago, and then way down Damen by the United Center and then I lived in Humboldt Park right near the Empty Bottle.
D: You guys were supposed to play Lollapalooza this year, what happened?
GA: Our schedule was really crazy at the time, and Luke had just had a child, I don’t really remember exactly what it was we just kind of became overbooked, and part of it had to do with us in personal.
D: Any chance we will see you there over the next five years?
GA: Probably, I’d say there’s probably a good chance, were you there?
D: Yeah, I was there, it was pretty cool.
GA: Was it fun?
D: Yeah it was great, lots of people there, more than I thought there would be.
GA: That’s cool. I can’t even imagine it, Chicago being overrun by a festival like that. Seems crazy.
D: It’s in Grant Park, and you look around and the city is all there, and there’s a huge swarm of people, and all the bands are playing, it’s surreal.
GA: It is weird, I’ve actually played in the bandshell once in Grant Park.
D: When was that?
GA: It was part of a protest that a convention was there in ’96 and it was like a bunch of weird Chicago bands. I don’t know if you know any of them, but like Flying Luttenbachers and Bobby Khan.
D: What were you like in college?
GA: I only went to college for a year and a half, and I went five years ago, so I was in my mid-twenties.
D: What were you majoring in?
GA: Ethnomusicology and religious studies.
D: What were you studying in religious studies?
GA: I was just beginning, I was studying the basics of how religious studies works, it’s a very broad field, but I was going to do something dealing with ritual music, like ritual religious music.
D: How did you get started with the saxophone?
GA: I think I’ve been listening to a lot of music with saxophones and my roommate at the time had a horn he played all through high school and college and I was like nineteen. I always jumped from instrument to instrument. I played like guitar and bass and drums all while I was a teenager and I picked up this horn and played it a bunch, got into it and decided I wanted to be a horn player.
D: How often do you hear “more cowbell?”
GA: A lot, actually, but not much in the past week. I used to hear it all the time.
D: I imagine it’s real annoying.
GA: Yeah, I guess it’s kind of annoying, it can be, it depends on who’s saying it.
D: So Will Ferrell has had an influence on the cowbell industry?
GA: He has definitely had an influence on the culture of the cowbell and how people think about the cowbell and relate to it. It’s a funny fuckin’ skit. He’s a funny man so you can’t really be mad at him.
D: Does The Rapture have beef with Jessica Simpson over the “Get Myself Into It” video?
GA: I don’t know. Not in particular, we had already set up it up a week before we shot it and we found out Jessica Simpson was doing a roller skating video, and we’re like ‘aw fuck, Jessica Simpson is doing a roller skating video and we’re doing a roller skating video?’ So it kind of made us feel a little dumb. But we found out what she was wearing and the director and Mattie (Safer) wanted to have her in the video and just kind of do something fun with it. And it’s fuckin’ Jessica Simpson. You can’t take her seriously as a musician, she’s just like a big cultural icon. I don’t think we were really trying to take a cheap shot at her or anything, we were just trying to do something goofy. I mean her videos, she’s trying to be funny. Have you seen her video?
D: Yeah.
GA: She’s trying to be clever and self depreciating at the beginning and then the whole video is like a big piece of pop candy. I kind of feel like she’s the polar opposite of what we do and what our roller skating video is like. Whatever, I’m fine having beef with her and I’m fine not having beef with her, it’s not really worth much of my time.
D: So we’re not going to see tabloids about a feud with the Rapture and Jessica Simpson?
GA: Oh no, we could go on tour together, that might be fun. Or do a movie together. I would love to do a movie with Jessica Simpson.
D: What’s the best part and the worst part of touring?
GA: The best part is really playing the shows and being able to play to a different audience every night as well as also kind of seeing places, or seeing cities. The worst part is not actually getting to really see cities, going somewhere and only being there for half a day, and a lot of that day your working. Waking up on the bus is always slightly alienating. The best part is definitely playing the shows, definitely performing, playing music.
D: Do you have a favorite song to play live?
GA: I think right now I really like playing “Get Myself Into It” and “The Sound.” I just really like playing the horn on “Get Myself Into It.” It’s a lot of fun to play it for some reason.
D: Is it hard to go out night after night and give a high energy performance, or does it come naturally with the music?
GA: It can be hard. Because the days when you are usually on tour are pretty low energy and then you get really amped up. So, when you come right out at first, it takes a little time. In the big picture of things being hard, its not that hard. It’s a weird thing to do. It’s a weird thing to do, it’s a very strange thing to do, to get up and perform and have lots of energy and have this rapport with audience for an hour, hour and a half every night. It’s hard to explain. It’s definitely like a weird kind of high. It’s kind of like sports in a way, when your adrenaline really starts pumping, and if it’s going good you get slightly euphoric.
D: In the last three years since the record, how long did you actually have off from The Rapture?
GA: I don’t know, maybe all in all, not seeing anybody, maybe two and a half month.
D: What did you do in those two and a half months?
GA: Probably one or two of them were Christmas vacations. You know, get out of town for a couple days here and there, go to the beach. I sat in front of my computer a lot, making music. There was never a stretch more than a month long. Like when we finished touring off of Echoes we took a month off.
D: Everyone seems to be making a big deal about switching producers, and the three new ones on the album, how much of an effect did it really have on the new album?
GA: I think it had a big effect. Part of a general approach to the new album was that in Echoes half the song were songs that the band had performed a lot and then the other half were songs the band kind of played and started writing and took shape in the studio. Whereas on the new album, we wrote tons and tons of songs before we got into the studio. We didn’t really write anything in the studio, everything had been demoed and played and that was central to the approach of making this record was to really have it be band focused. So starting there was in some ways the bigger thing. The relationships we had with the producers were all people we knew and were all friends, so we just pretty much just went into the studio and started working. With the DFA it was a long process before we started even recording Echoes and it was recorded over a longer period of time because everybody had day jobs. We weren’t in too much of a hurry. It’s hard to really say in that respect to really say what the difference is as far as what did each of the producers bring to the record that made it so different as opposed to when we worked with the DFA, because there’s so many other variables.
D: You seem to be always compared to bands like Gang of Four, is that annoying or do you feel flattered?
GA: For me it’s never really here or there, I’m not all that flattered, I mean they’re good band, but they never really hit me personally.
D: What do you listen to?
GA: I listen to a lot of different stuff. I listen to a lot of like, prog and prog disco, a lot of spacey disco. A lot of electronic music, and like house and electro. I listen to a lot of hip hip. I listen to a lot of early renaissance music. I started getting back into jazzy recently which I haven’t to really listened to in years. I started pulling out my old jazz record. I listen to a lot of west Africa music. Phillip Glass, that’s my dude. We all listen to a lot of different stuff. Luke (Jenner) listens to a lot of metal. He’s been getting into like shredding on the guitar.
D: Do you think it helps to have different musical backgrounds?
GA: Yeah, it does, it helps. It can get in the way as well, I mean we all listen to a lot of different music, we all have different approaches to even to listening to music and thinking of music. I think what we have in common is we’re familiar with a lot of different stuff. We all really love music, I don’t know if we’re record nerds, but we’re music nerds in different ways. It makes it easier, it can mean that we’re all open so we’re all open to each other and each others ideas. But what’s central to the band is our love of rhythm and our love of rhythms that makes people move.
D: What’s Robert Smith like?
GA: I only met him a couple times, he seems like a very nice shy person, who is possibly slightly paranoid.
D: Did you guys do anything special for Halloween?
GA: We played a show at the Bowery Ballroom. We wore skeleton costumes and wore these skull masks that would light up. They had a little battery in it. We did a dance to the “Monster Mash” before we played. I don’t know if it worked or what it looked like, not one person actually commented on it to me. We didn’t really decide on the dance moves until right before the show. We’ve been on tour so we did have time to work things out and kind of one of our qualities is that extra things like that we always kind of do half-assed with a lot of sense of humor. I don’t know how it went over I’m really curious. (Laughs)
D: I’ll be looking for it on YouTube.
GA: Somebody must have shot it on there with their camera or their phone or something.

An exerpt of this appeared in the November 3, 2006 issue of The DePaulia.

Demetri Martin Interview Uncut

These Are Questions…And Answers

Demetri Martin performed at The Vic on Thursday, November 2nd behind his new CD/DVD, These Are Jokes. Martin recorded the CD over a couple of nights at the Lakeshore Theater in Chicago last February. Since then, he has been working at “The Daily Show” as a Trendspotter and also signed on to be the spokesman for the new Microsoft Windows operating system, Windows Vista. He called me from the tour bus on his way from Boston to Albany.

Scott: Why did you choose Chicago to record your CD?
Demetri: I choose Chicago because the summer before I tried to record my CD on my own, I didn’t have a deal with Comedy Central or anything, and the emails I’ve got the last two years were generally Texas, like Austin, Seattle, San Francisco, and Chicago, so that summer, when I first tried it I went to San Francisco, I booked my own little gig…I just checked where I got emails from and the city the people generally wanted me to come to and I never got to perform in Chicago, and I didn’t like the way the recording came out (in San Francisco) because I didn’t hear it right, there were not enough microphones in the room, I mean the crowds were awesome, but the quality wasn’t good, like I don’t want to put this out. So then I ended up getting a deal with Comedy Central so I got better help so they could give me a good sound engineer. And I said I’ll do Chicago, ‘cause I haven’t been there and I bet you that’s the biggest crowd. So my first gig ever in Chicago are the ones that are recorded for my CD.
S: It seems like a lot of comedians are doing Chicago now for whatever reason.
D: The crowds are awesome, they’re great. They’re just, really like, warm, and into it.
S: What were you like in college?
D: I’m a dork, I procrastinated a lot, I liked hanging out with my friends, I got good grades. I did a lot of activities.
S: What were you involved in?
D: Student government, soup kitchen, I ran the soup kitchen, I started a youth group for Greek kids, what else did I do? I did some intramural stuff. Um, I can’t remember, it’s a long time ago now.
Scott: What’s the biggest difference between working for Conan and The Daily Show?
D: The biggest difference is I don’t have to spend that many hours at the Daily Show. I was a full time staff writer for Conan. It was about sixty hours a week. The Daily Show is once a month. Just go in the office, know what I mean?
S: Do you get to choose the Trendspotting topics or do they kind of suggest them to you?
D: It’s 50/50. I started by pitching them, and I get to pitch them and then sometimes they give it to me. It goes back and forth, like something is coming out and they’ll be like ‘Why don’t you do this?’ And it could be cool, and other times they’re like ‘What about this?’ and then they’re like good, light it up, let’s see what you got.
S: Have you noticed a lot more increase in your popularity since you started doing the Daily Show?
D: There’s a slight increase. It’s all on a small scale. When you’re in comedy, you tend to think things are bigger than they actually are. But every now and then you get a glimpse from the outside, in the regular world, and I’m really flying under the radar. So then in comedy, you can feel yourself kind of getting more exposure, but outside it’s just like a little drop, a blip.
S: Have you met anyone from working with TV that you were in awe of meeting?
D: No, but I got to meet Woody Allen and that was pretty cool. I don’t tend to get too star struck but he was pretty interesting. And I met (Steven) Spielberg. Those are a few biggies that I was just lucky to be in the presence of people with that are that accomplished. Even if it’s just like a half an hour, it’s just like ‘Wow, that’s great’. They were both gracious and they seemed like normal cool people, like nice people. You read so many things about people and you just know them as a weird public figure, not that I know them personally, but to be able to talk directly to that person, it’s a little bit surreal. They were really nice, Woody Allen was very friendly and outgoing and talkative, and I had read things like he doesn’t look at you, you know, he’s weird, blah, blah, blah. He was really nice, taller than I thought he would be, and he seemed like a really well spoken older guy. Steven Spielberg was very relaxed, kind of soothing, calming, you know? They’re self possessed; they’ve made so many things in their lives they just really know who they are.
S: How did you get hooked up with Windows Vista?
D: I got an email out of the blue and it said “Would you be interested in doing an ad campaign?” I said, ‘maybe I don’t know,’ and it went further and further and I ended up pitching them an idea and they liked it, so it kind of went forward.
S: The website is pretty cool, you can’t even tell it’s an ad almost. The webisodes are really cool too, it seems like you have a lot of creative control.
D: Yeah, it was awesome. I didn’t get to direct, but I got to get my input on almost every part of it. And I got to write and act in it. So they were amazing, like I thought it was so cool they said ‘don’t worry, we’re going to be really hands off they just want something out there that’s very soft, the product placement is not obnoxious, and sure enough they stuck to their word, it’s really cool.
S: Are you going to be doing more with them in the future, like television ads or are you just going to stick to the webisodes?
D: For Microsoft, it’s just the web. They’re sponsoring an hour-long special I’m doing for Comedy Central. So again, that will be kind of soft advertising. To me it’s all very tasteful. I think it was a good decision in the end.
S: How did you get started with the glockenspiel and all the other instruments?
D: I did a one man show in 2002, and I wanted to score it, I wanted to make a real one man show, and it involved creating as many aspects of it as I could. So in addition to writing and performing the show, I thought I could put music in the show that I write myself and play. I made the clothes I wore in the show, I painted the postcard that would be posters for the show, I did some drawings for the show, but I didn’t know how to play music or anything, I didn’t have any instruments, I Started from scratch at that point. And I just fell in love with trying to learn and play music. So I just decided to try to put more and more of it in my act because I liked how it set the mood and it’s fun for me onstage to try to do a couple things at once.
S: Who do you listen to, as far as music goes?
D: I love the Beatles. And a lot of indie rock stuff. I kind of go through favorites, like Granddaddy, Elliott Smith. I’ve been listening to Leonard Cohen lately, ‘cause I never really listened to him. Jeremy Enigk, he has a new album coming out, he’s like a lo-fi singer songwriter kind of guy. I like Death Cab, I just watched the Bob Dylan documentary, awesome.
S: I saw Bob Dylan last night, he was here in Chicago, it was pretty cool.
D: You saw him? Really. How was it, did he do a lot of weird mumbling?
S: Yeah, he like barks the words almost, it’s kind of awkward. But at the same time you feel like, ‘wow that’s Bob Dylan’ and you’re so entranced by the whole experience. But as far as musically, it was kind of a disappointment.
D: Yeah, I heard that from somebody else. Did he do “Like a Rolling Stone?”
S: Yeah he did, he played some of his new stuff too and that was pretty cool too.
D: How big was the venue?
S: About four-thousand seats or so it was pretty intimate.
D: That’s pretty cool. Sweet. It’s too bad I missed it. It would be like ‘holy s***.’ It’s so cool to see Bob Dylan, there’s certain people that are just a part of history, on that level like that. I’d like to see (Paul) McCartney, I think that would be cool.
S: I saw McCartney last year, it was a lot better than Dylan, but he played a much bigger venue so you didn’t feel as connected. Anyways, what’s the best and worst part about being a comedian?
D: The best part about it is that it often doesn’t feel like work. It just feels like thinking and talking. The worst part about it is when it feels like work, because you can’t stop thinking or talking, it stays with you all the time. You don’t really leave the office, you kind of go everywhere with it. You can lose the other part of just having a life. I think that’s the danger of it.
S: How long of a process is it to be able to write a joke and then actually perform it?
D: Sometimes I think of one just before I go on. And then other times it will be in my notebook for a couple years, just trying to figure it out and fix it. You kind of find it’s very non-linear, it’s just trusting your own little head to go where it takes you, and then recording what you find when you go there. Then you say it to other people and see if they think it’s funny too, if they don’t then you learn quickly, ‘ok then that shouldn’t go in the act.’ Yeah, it’s very simple.
S: What are you working on now?
D: I’m halfway through a screenplay, after the tour I’ll finish that one. Then I’ll have the holidays, then I’ll rewrite another movie, that I actually wrote a script for with my friend. Then after that I’ll probably rewrite the first draft of the screenplay, then after that I’ll write the first draft of the third one, and then it’ll be the summertime, and I’ll take a break.
S: Is writing screenplays harder than writing a standup act for you?
D: Yes. It’s definitely harder for me. It’s incremental, you know? I guess a screenplay can be, but it’s one big piece, whereas a joke is short and if it’s no good then you can just move on.
S: How hard was it to try to get your mom and your grandma to participate on the CD?
D: They were willing. They were like ‘yeah we’ll do whatever you want, let us know.’
S: Are you surprised you got a parental advisory sticker on the CD?
D: Yeah, I knew that, I was there for the edit, and I kept a couple jokes that curse in there, part of me wanted to have no curses on the CD, but I wanted it to be kind of honest, I just wanted it to be like one of my shows. Yeah, I curse a little bit, I don’t do too much dirty stuff, but there’s some curses and stuff.
S: I was kind of shocked that they gave you an advisory sticker, but I could see how they did.
D: Yeah, I’m not a big dirty comic, for better or worse I do curse sometimes, but if I do another one maybe I’ll do it with no curses, who knows.
S: One last question and I’ll let you go, are you doing anything for Halloween?
D: I thought I was going to, I didn’t know what I was going to be but I would just go to my friend’s, my friend has a Halloween party every year, it’s really fun and you see a lot of people there in New York, but I’ll be in Columbus, doing a Daily Show spot.
S: What are you doing for the Daily Show?
D: I’m doing a Trend Spotting piece, So I don’t know if I’ll be in the edit room that night, so I might be dressed as a guy trying to edit his piece.

An exerpt of this appeared in the November 3, 2006 issue of The DePaulia