Why I Love Weirdos.TV

The origin summary I usually tell is how 1-800-Weirdos was created to sell Verge's "Little Idiot" CD, and before we even began to promote it, people started calling the number as a "prank". I soon began to create music featuring samples of the callers, and then began to make podcast recordings and do live Internet radio shows where I sometimes interacted with the callers.

Then I added video.

The floating head is mainly just a way to have a sustainable persona. I had already rejected the idea of a costume, as it would require maintenance, and continuity was a risk. So I went shirtless originally, though that clearly lacked visual panache.

But even then the show was set to be self-contained with zero running costs, and always completely under my control. Most of my artistic work had been collaborative; Weirdos.TV was designed to be the opposite. Not only did I not require the participation of anyone else, I also didn't consult anyone else on the choices I made.

To the extent that there's a plot, it takes place many years in the future, where my consciousness has been uploaded to a quantum computer system connected to a sort of Internet that's comprised of all the atoms in the Universe. I've discovered a way to send my thoughts to computers in the past, and the show is the result.

I'm happily trapped in the eternal present with all my thoughts and musical ideas (and occasionally a guest).

In some episodes my body is back on Earth in stasis in the East Village. In others, it's with me, suspended in cryosleep as my space/time/inter-dimensional ship hurtles toward Douglas Adams' fabled "Restaurant at the End of the Universe" (where I am of course scheduled to perform).

In the live show in 2013, the finale included the ship getting to the end of time, only to deposit me back at the theatre, where I escorted the audience out the back way, through a hallway with psychedelic lighting out onto the street (after singing "Psycho Killer" by Talking Heads).

Weirdos History

Weirdos.TV Manifesto

It seemed impossible to balance art and commerce,

knowing how much to sacrifice for art based on what little rewards most of us are willing to call enough to make it worth it.

And I've always been protective of my art when even considering the "entertainment industry"

because I'd rather find it satisfying than lucrative.

Sometimes I walk through a location shoot here in NYC, or a friend is working in a Broadway show, or on a TV show, and I wonder if that's what I should be doing. I tried it for a bit and found it very unpleasant. And I would really prefer not to stain my experience of Art by forcing it to make money.

And what is artistic success anyway, etc.,

clearly it's something each artist defines for themselves.

But therapy had me rethinking a lot of my assumptions about what it would take for art I create to satisfy me.

So the big factors in creating Weirdos.TV were:

And, (as it is):

It's a synthesis of my artistic: