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I think when you're knee-deep in coming up with editorial plans, the desire to sit down and pencil something is pretty strong.
I think up until the point when we started in the business, which was in the early '70s, most of the humor was political. The smart humor was political satire.
I used to be really fat, but now I'm not. I used to have hair, but now I don't. I used to be able to see without corrective lenses, but now I can't. One of these this is exacerbated by the fact that I'm an editor. One of these things is true despite the fact that I'm an editor. One of them has nothing to do with me being an editor.
The type of band that I have now, the type of music that we're playing you either like it or you dislike it. If you dislike it, you probably don't know why. By the same token, you can't even really say why you like it.
If you want to see mankind fully, look at a family. Within the family minds become organically one, and for this reason the family is total poetry.
We go along, without a fixed itinerary, yet at the same time with an end (what end?) in mind, and with the aim of reaching the end. A search for the end, a dread of the end: the obverse and the reverse of the same act.
No man was ever yet a great poet, without being at the same time a profound philosopher.
We shouldn't be saying 'Save the planet'; we should be saying: 'Save viable conditions in which people can live.' That's what we're dealing with here.
I really want as many people as possible to relate to something, without compromising or dumbing down.
