It’s hard to believe that it’s been 10 whole years since “Weird Al” Yankovic released Mandatory Fun. Al’s 14th full-length studio album made history at that time, becoming the very first comedy LP to ever debut in the top spot of the Billboard 200. And then… Yankovic never released a full-length studio album ever again.

“It was actually a wonderful mic-drop to be able to have my last album debut at No. 1,” says Yankovic, who’s celebrating Mandatory Fun‘s anniversary this week with “Polkamania!,” a medley of the past decade’s biggest pop hits.

Of course, Yankovic has hardly faded away or entered retirement — in fact, after his Mandatory Fun chart milestone, his career has only gone from strength to strength. He has showcased his often-underrated original material on two Ridiculously Self-Indulgent, Ill-Advised Vanity Tours and one orchestral tour; his brilliant satirical biopic, Weird: The Al Yankovic Story, won Emmy, Producer Guild, and Critics’ Choice awards; and he has even received a star on the Hollywood Walk of Fame.

It seems that an induction into the Rock & Roll Hall of Fame would be the next logical honor for the 12 million-selling five-time Grammy-winner, whose career has actually outlasted many of the Hall inductees whose work he has parodied. He points out that no comedians have ever entered the Hall, so his induction would be another historic first.

“I suppose there’s a chance,” Yankovic shrugs with his typical affable modesty. “I know I’m sort of a fan favorite and there’ve been petitions going around. I think last time I checked, they have a touchscreen at the museum where fans can say, ‘Who do you think should get into the Rock Hall?’ And I’m consistently around No. 10, I think. So, it’s not out of the question. I will say I’m not losing any sleep over it. It’s nice to have an accolade like that, and I would be, of course, very honored if that ever happened. But at the same time, it’s one of those things where I’m also fine if that never happens. My life goes on.

“I mean, I’m not like a traditional rock act like Dolly Parton!” Yankovic adds with a chuckle. “Um, that’s probably a bad example. My point being that their definition of ‘rock’ is pretty fuzzy at this point, so I think it wouldn’t be totally out of the question for them to consider me. But that’s their call.”

To be fair, Al did record Pixies, Foo Fighters, Southern Culture on the Skids, Crosby, Stills & Nash, and Yusuf Islam/Cat Stevens parodies for Mandatory Fun, so he can’t say he doesn’t rock. But then he humbly gasps, “Wait, [the Pixies are] not in the Hall yet? Oh, my goodness. Well, they should definitely be in the Hall way before me.”

Interestingly, those above-mentioned parodies weren’t tweaked covers of existing hits, but original “In the Style Of” compositions. Yankovic actually cites his Cat Stevens homage, the epic, nine-minute “Jackson Park Express,” as one of his favorite originals of all time. Unsurprisingly, he says this sort of parody is much more difficult to pull off. But it’s also seemingly more rewarding, and actually a bigger honor for the artist being spoofed.

“With the pastiches, there’s a lot more work involved. It’s more of a labor of love, because I try to familiarize myself with an artist’s entire body of work and study every song and make notes and try to figure out what are that artist’s idiosyncrasies. What are the little stylistic things that make that artist recognizable as that artist? And then I take all those notes and I hopefully have a good idea for the song and I put it all together. Sometimes I’ll spend months working on one song. I think when I did [2002’s] ‘Genius in France,’ my Frank Zappa pastiche, that literally took several months to write and arrange.”

Yankovic says there’s no artist, no matter how legendary, that he considers off-limits or untouchable when comes to any sort of spoof. “There’s a few that I haven’t gotten around to, but not because I revere them so much that I think they’re beyond parody. I think that anybody is fair game. … It’s pretty rare if and when I go for the jugular; it is mostly just all done in good fun. And even when it’s snarky like with Nirvana or Lady Gaga, it’s still all done in good fun. My famous line is it is more of a poke on the ribs than a kick in the butt.”

That being said, Yankovic says that “there are certain situations, certain songs, that probably would be tasteless to do parodies of,” and he does admit that certain songs in his back catalog feature humor that doesn’t quite fly today. “I don’t want to give specific examples, but certainly in the ‘80s and ‘90s there was some language which was apparently OK at the time and is not so OK in present day,” he explains. “And there’ve been a couple of times when I’d be playing one of those songs in concert and I would stop the song dead in the middle and say, ‘I’m sorry about using that word. When I wrote the song in the ‘90s, it had a different connotation.’ That kind of thing. I have to look at my songs as products of their age, and some of them didn’t age as well as others.”

Yankovic says he does still “wrestle” with “the whole thing of ‘can you really separate the artist from the art?’” – for instance, this writer’s past favorite Al song parody, “Trapped in the Drive-Thru,” based on the disgraced R. Kelly’s “Trapped in the Closet,” is unlikely to ever be played in concert again. But he does note that his Michael Jackson parody “Eat It,” which he stopped performing live for a while after the explosive Jackson exposé Leaving Neverland docuseries came out, “figured very heavily in the [Weird] biopic. … You just kind of have to gauge how the public feels at any particular time. … I’m not going to discuss what is or isn’t on the setlist for the next tour, but I would say that everything’s on the table.”

One Mandatory Fun track that actually seems more relevant than ever, and would probably go over well in concert now, is a spoof of Lorde’s “Royals,” titled “Foil,” which pokes fun at tin-hatted conspiracy theorists. But, just like some clueless casual fans thought Weird was 100 percent non-fiction, some people took “Foil” a bit too seriously.

“I didn’t do it to put out some very heavy social commentary. … Certainly, I have my own political opinions, but I don’t think anybody really needs to know what ‘Weird’ Al’s hot take on anything is! I’m here to just supply an escape for people that want to get away from hearing about politics all the time,” Yankovic says. “But it’s been amusing to me that some people think I’m being ironic with that song and some people think I’m being serious: ‘Is Al really part of the Illuminati?’ Or, ‘Is he telling secrets at a school?’ ‘Is he drinking the adrenochrome?’”

Switching subjects, there’s another Al-centric petition that regularly circulates: To get the comic legend to play the Super Bowl half-time show. Yankovic has previously envisioned a half-time show that would incorporate “duets with the artists that I’ve lampooned over the years” — before Coolio’s death in 2022, Al’s dream Super Bowl spectacle even included “thousands of dancing Amish people” and “Coolio coming in on wires” during “Amish Paradise” — and he while still doesn’t think the NFL would ever seriously consider him, if there’s anyone could unite this politically fragmented nation, it’s him. No one doesn’t like “Weird” Al  Yankovic.

“Aw, thanks, that’s nice to hear,” Yankovic says.

In the meantime, Miley Cyrus is currently the frontrunner to headline next year’s Super Bowl LIX in New Orleans. And Yankovic does cover Cyrus’s Grammy-winning “Flowers” (along with songs by Adele, Ariana Grande, Billie Eilish, Cardi B, Olivia Rodrigo, Taylor Swift, and Lil Nas X) on “Polkamania!” So, would Al at least consider doing a cameo with Miley during her hypothetical half-time? “I suppose so, sure. I mean, if Miley Cyrus really needs accordion backup, I suppose I could fill that job,” he laughs.

“Polkamania!” is Yankovic’s first polka medley since 2018 and first single since the original Weird movie theme “Now You Know,” but — unlike Mötley Crüe, who decided to resume making music after the success of their TV biopic The Dirt — Yankovic isn’t interested in recording full albums again. That’s a decision he made actually before Mandatory Fun’s release, and he still hasn’t changed his mind.

“I thought [in 2014], ‘OK, this is the last album on my contract after this. I don’t want to be beholden to anybody.’ I’d been under the same record contract for 32 years — it was a 14-album deal, and Mandatory Fun was the last album. I mean, that was maybe part of the reason for the title!” Al explains. “I just thought, ‘OK, this is it. I’m not retiring, but I don’t think I want to be on a label after this. I don’t want to have to ask permission to do things. I don’t want to owe anybody anything.’ I figured, ‘I’ll just release things on my own terms after this.’ … The thought of doing a full album doesn’t excite me anymore. … I think that the best thing for me to do is just to release material whenever I think of it, whenever I feel like it, and not have to wait around.”

“Weird Al” Yankovic in 2024 (photo: Sam Jones)

As Al takes stock of his career with a celebration of his final studio album, an upcoming greatest-hits tour, a semi-accurate but award-winning biopic, and semi-serious Rock & Roll Hall of Fame and Super Bowl speculation, the obvious final question must be asked: When he started off in Lynwood, just a boy and his accordion, did he think he would still be doing this almost a half-century later?

“No, obviously not!” he chucklingly exclaims. “I was doing it for fun, just to amuse myself and my friends, and I thought it’d be cool to get some airplay on the radio through The Dr. Demento Show. Maybe I had rock-star fantasies, but I never really thought that I was going to have a career in show business. I always thought, ‘OK, I’m a good student and I study hard and I work hard, and I’m going to grow up and be an adult and have a real job. And when I was 12 years old, I said, ‘OK, well, I’m going to be an architect.’

“I went to school, got my degree, and by the time I graduated from college, I was like, ‘I don’t think I want to be an adult. I think I’d rather give this comedy musician thing a shot first and see if that pans out.”

This interview has been edited for brevity and clarify. Listen to audio of Al’s full conversation in the video at the top of this article!

“Weird Al” Yankovic’s Emmy- winning biopic spoof, Weird: The Al Yankovic Story, took more liberties with the facts that even typical tall-tale rock ‘n roll biopics like Bohemian Rhapsody or Rocketman, and some humorless viewers still quite haven’t figured out that Weird bears precious little resemblance to Yankovic’s rather PG-rated real life.

“That’s the problem when you’re trying to be ironic: There’s always going to be a few people that just take it at face value. I mean, I get assassinated at the end of the movie!” Yankovic spoiler-alertingly tells Lyndsanity, laughing. “And yet, I guarantee you there are some people out there going, ‘Oh, yes, the whole thing is absolutely true! It has to be true! Why wouldn’t it be true?’ It seems like people buy into it more than they should, but there’s always a different point at which they realize it’s not 100 percent accurate. I mean, when the first trailer came out, one of the biggest Google searches was, ‘Did Weird Al and Madonna have an affair?’ And I guarantee you there are still people out there that think we did.”

However, there’s one stranger-than-fiction, totally-true Yankovic story that made it into Weird, and it could soon become an answer/question on Amazon Prime Video’s just-announced Jeopardy! spinoff, Pop Culture Jeopardy!:

“This Greg Kihn Band spoof inspired a reboot of the original Jeopardy! game show in 1984.”

“What is ‘I Lost on Jeopardy,’ by ‘Weird Al’ Yankovic?”

That is correct!

So, here’s what happened: A new daily syndicated version of Jeopardy!, which had been off the air since 1979, premiered in September 1984, just three months after the success of Yankovic’s “I Lost on Jeopardy,” which will celebrate its 40th anniversary on June 4. Jeopardy! remains on the air to this day, still averaging 25 million viewers a week, and that’s largely down to the phenomenon that’s known in Weird as the “Yankovic Bump.”

“According to [Jeopardy! creator] Merv Griffin, I was on his TV [talk] show and he gave me credit for helping to bring Jeopardy! back on the air,” Yankovic reveals. “Because when I did ‘I Lost on Jeopardy,’ it was a nostalgia piece — it was referencing the old show from the ‘60s that I grew up with, with Art Fleming as the host and Don Pardo as the announcer. It was not on the air at that time. Maybe Merv was just being nice, but he said because of the public reaction to ‘I Lost on Jeopardy,’ that helped bring Jeopardy! back.”

(See Griffin credit and warmly thank Yankovic at the 4:50 mark in the vintage clip below.)

Amusingly, in another surreal art-imitating-life moment, Al later appeared on another Jeopardy! spinoff, VH1′s Rock & Roll Jeopardy!, playing against KC from the Sunshine Band and Howard Stern Show star Gary “Baba Booey” Dell’abate… and, yes, he lost. “I was killing it in the practice, but when the show actually started, my buzzer was just not doing it. So, I actually did lose on Jeopardy! — and everybody was very happy about that,” Yankovic chuckles.

One half- or perhaps three-quarter-truth that did make it into Weird was the fact that the young Al really did acquire his first beloved accordion through a door-to-door salesman. Yankovic of course clarifies that “my father didn’t beat the ever-loving crap out of the accordion salesman; we had that twisted in the film, because obviously in a musical biopic, you can’t have loving, supportive parents that want to see you flourish in music!” But the rest of that scene did indeed take place at the Yankovic family home, straight out of Lynwood.

“This would’ve been 1966, I think, and the whole concept of door-to-door salesmen feels so alien now. You would never let a stranger into your home now! But that was a thing in the ‘60s,” Al recalls. “In fact, Judy Tenuta had a very similar experience — she learned accordion because of a door-to-door salesman. I don’t remember if this salesman literally brought an accordion to our door, but he was trying to hawk music lessons. His conservatory offered both accordion lessons and guitar lessons, and my parents wisely decided accordion — because it was the ‘60s, after all, and what’s more cutting-edge than an accordion? It might’ve been a little bit to do with the fact that I shared a last name with Frankie Yankovic, the polka king, so they thought, ‘Oh, there should be at least two accordion-playing Yankovics in the world.’ And I suppose they figured when you play the accordion, you’re a one-man band and the life of every party. I guess they wanted me to be extremely popular in high school. What better way than to give your child accordion lessons?”

In Weird, the teenage Al does become Lynwood High’s BMOC thanks to his accordion-playing prowess, but in real life, he admits, “In my early teens, I was thinking, ‘Man, I wish I had a guitar, because nobody wants to be in a rock band with me for some crazy reason!’ But it ultimately wound up being great for me, because it made me stand out. It made me learn that I had to kind of go my own way, to quote Fleetwood Mac, and figure out something else I could do. I was a big fan of The Dr. Demento Show and I loved comedy music, and the accordion apparently lent itself well to that. In fact, Dr. Demento told me that when he got my first tape in the mail — and it was a very amateurish, poorly recorded tape of teenage me — if I had been playing a guitar, he would’ve thrown the tape right in the trash. But because I played the accordion, he thought, ‘Oh, this kid is playing the accordion and thinking he’s cool! That’s a pretty novel concept, so I want to give this guy a little exposure.’”

As for Weird’s many hilarious non-truths, Al says he’s surprisingly not heard from Madonna or her camp about her reaction to their fake onscreen affair, but he was worried about a couple of Weird’s other superstar plot twists — namely the one about Michael Jackson plagiarizing Al’s “Eat It” to create the Thriller smash “Beat It.” Yankovic had already received “a lot of flak” from “really upset” Jackson fans when — after HBO’s bombshell documentary Leaving Neverland came out — he decided to retire his MJ parodies from his concert setlists. But both Jackson’s fans and the Jackson family themselves “were somehow fine with me ragging on Michael and claiming that I wrote ‘Eat It’ before ‘Beat It.’ I think it was such an obvious joke that nobody really got upset about that.”

However, Yankovic confesses, “I was really concerned, because we’d gotten preliminary permission to use ‘Eat It’ in the movie, but after we had a final cut, I was told they had to play the movie for both the Michael Jackson camp and the Queen camp [whose “Another One Bites the Dust” had been spoofed by Al as “Another One Rides the Bus”]. We had to make sure they were OK with it. And I was like, what? Because I thought everything had been nailed down. But they had apparently final say, so if they didn’t like something in the movie, they’d have us take it out. I had my fingers crossed very tightly that they weren’t going to be offended by it. Thankfully, both camps had really good senses of humor about it.”

Al says Jackson’s people “made us take out one thing,” although he won’t specify what it was. But he does reveal, “With Queen, I will tell you, the only thing they said before we shot was there could be no mention at all of Freddie Mercury in the movie. Because in the original script, in the pool-party scene, instead of me doing battle with Wolfman Jack and John Deacon, it was me having a sing-off with Freddie Mercury. We had found a guy that sounds just like Freddie Mercury who would’ve dubbed in the singing parts, and we were ready to shoot it, but then we had to do a very last-minute kind of major rewrite for that scene, because Queen said, ‘No — no Freddie in the movie. You can’t even reference him.’ … And for whatever reason, we also weren’t legally allowed to show a Queen album cover, which seems kind of crazy, but that was another thing. So, knowing all that, I was thinking, ‘Oh, they are going to tear this movie apart! They’re just going to hate this!’ They let us get away with everything else, but there was about a week where I was on the floor in a fetal position going, ‘They’re going to kill this movie.’”

Unlike Michael Jackson — or another artist Al once parodied, R. Kelly (Yankovic says his Kelly send-up, “Trapped in the Drive-Thru,” is one he’ll probably never play live again) — Yankovic has not led a particularly controversial or R-rated life. That’s why he never considered making a traditional biopic. However, he did record an original in the ‘80s that many radio stations surprisingly refused to play. Al’s label, Scotti Brothers Records, didn’t even want to put it out at the time, although you might hear it in light rotation this month: the forgotten holiday classic, “Christmas at Ground Zero.”

“I think part of that was me rebelling against my record label, because ever since my first album, they were on my back about recording a Christmas album. That’s sort of the thing you do with any kind of novelty hit — like, the next thing you do is a Christmas song. It’s basically a quick cash-grab, evergreen. But I just didn’t want to do a parody of ‘Jingle Bells’ or whatever they had in mind,” Al explains, “So, I thought, ‘Oh, if you want a Christmas song, I’ll give you a Christmas song — but you’re not gonna like it!’ And I gave them ‘Christmas at Ground Zero.’ They didn’t even want to spend money on the music video, so I paid for one out of my own pocket, very low-budget, mostly just cutting together public domain clips. And then it got banned by a lot of radio stations, who didn’t really think it was appropriate to have a song about nuclear annihilation during the holidays, for some reason! The label actually did put it out, I guess under duress; they didn’t love it, but they thought, ‘Let’s give it a shot,’ because they’d been wrong before. But no, it didn’t really work. It didn’t burn up the airwaves or anything like that. It wasn’t what they were looking for.”

Yankovic has played “Christmas at Ground Zero” on his recent originals-heavy Ridiculously Self-Indulgent, Ill-Advised Vanity Tours, although now he prefaces the song by stressing that it was written years before 9/11, the tragedy with which the term “Ground Zero” is now mainly associated. That being said, he does say that his Vanity treks made him realize that despite his squeaky-clean image, much of his own music is quite dark — check out some of the gross-out lines in “One More Minute,” for example — and even potentially controversial.

“I’m a pretty happy guy, but yeah, I guess I’ve got these dark thoughts. Or maybe it’s just funnier from coming from a happy guy like me, to hear all these dark songs,” Yankovic muses. “There’s no profanity, it’s not sexual in nature, but there’s a lot of violence! It may fall under the general umbrella of ‘family-friendly,’ but there are certainly songs that you probably wouldn’t want to play for young kids, because there’s some seriously twisted stuff going on there.”

So… what’s Al’s most R-rated song, the least child-friendly composition in his catalog? That could make for a great Pop Culture Jeopardy! answer/question as well.

“Oh, gosh, that depends on how you raise your kids, I guess,” Yankovic laughs. “I saw online at one point, somebody had made a chart where they showed my songs and listed them in order by the body count — by how many people died! And I think that the No. 1 song was ‘One of Those Days,’ because at the end, the world blows up and everybody’s dead. That would be like 7 billion people, so that was at the top of the list.”

There is no premiere date set yet for Pop Culture Jeopardy!, but the pop-culture-reference-packed Weird: The Al Yankovic Story is available on Blu-ray now.

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“Weird Al” Yankovic in 2010 (Photo: Paul Natkin/Getty Images)

“Weird Al” Yankovic is known for his hilarious parody songs and G-rated, family-friendly fare, but one of his greatest recordings — and one of the greatest anti-Valentine’s anthems ever — is an original song, “One More Minute.” And it’s probably the only “Weird Al” song that, incredibly, was censored by network television.

“That came from a pretty honest place, because I wrote that song right after the woman that I’d been dating had broken up with me. I was just about to start writing an album, and I was not feeling funny,” Yankovic tells Yahoo Entertainment and Sirius XM’s Volume. (Editor’s note: “One More Minute” is very, very funny.) “I was like, ‘Hmm, maybe I’ll just take all my bitterness and resentment, and channel it into this one song.’”

The resulting bitter ballad featured many classic kiss-off lines, with Al declaring that he would rather “spend eternity eating shards of broken glass,” “rip out [his] intestines with a fork,” have his “blood sucked out by leeches,” “dive into a swimming pool filled with double-edged razorblades” or “get a 100,000 paper cuts on [his] face” than spend one more minute with his ex. But it was a certain particularly nasty line — “I’d rather clean out all the bathrooms in Grand Central Station with my tongue than spend one more minute with you” — that got beeped out by Dick Clark and ABC.

“I’ll tell you a funny story about that particular line,” says Yankovic. “I played that song on a Dick Clark special, Dick Clark’s Rock ‘N’ Roll Summer Action, one of those primetime rock ‘n’ roll shows  in the ’80s … and for that particular line, after we had already shot it, two weeks later the censors, the network, called up and said, ‘We ran this by Standards and Practices, and we can’t have that line in the show.’ I said, ‘Well, we already shot it. What do you want me to do about it?’ They said, ‘We’re going to have to censor it. We just wanted to let you know.’ I said, ‘Well, do what you gotta do, I guess.’

“Then I watched it on TV, on the broadcast — because that’s what you did back then. You didn’t DVR it, you actually had to watch it when it aired. I see the performance and that line comes up, and it goes, ‘I’d rather clean all the bathrooms in Grand Central Station with my BEEEEEEP!!!!!’” (Watch the uncensored, home-VHS version below.)

Obviously, viewers with active imaginations probably assumed that line was way racier than it  was. Thankfully, Yankovic survived any potential scandal, and 34 years later, his career is stronger than ever. He’s even embarking this summer on his “Strings Attached” tour, for which he will be accompanied by a full symphony. “You can’t really appreciate the subtle nuances of songs like ‘Amish Paradise’ unless you hear it with an 85-piece orchestra,” he notes.

As for his longevity, he says, “I’m still amazed that people aren’t completely sick of me. … There’s no accounting for it. I’m just grateful that I’ve been able to eke out a career all these years.” Yankovic even just expanded career by picking up his fifth Grammy, this one for his Best Packaging for his limited-edition, accordion-shaped box set Squeeze Box. “Yeah, that’s right. I’ve been putting in my time as a recording artist for four decades or so, and I figured it’s about time that I go toward my true goal, which is being an art director,” he chuckles.

Yankovic’s latest onscreen endeavor was popping up in the music video for Weezer’s “Africa” cover, but years ago, there was another minor Yankovic scandal of sorts that involved Rivers Cuomo and company. “Back in the ’90s, I had a polka medley, and I wanted to include ‘Buddy Holly’ by Weezer,” Al recalls. “There must have been some kind of mixed messages, because I was told at the time that they were OK with it, but then after we recorded, we heard back and they said, ‘No, no, you can’t use this,’ so we had to take it out at the last minute. That was sort of a bummer for a while. I’ve become friends with the guys in Weezer over the last couple of years, and Rivers sent me a nice text saying, ‘Hey, sorry about the whole Buddy Holly thing.’”

Yankovic is obviously having the last laugh over the mystery woman who inspired “One More Minute” (which will surely sound even more epically wrathfully with orchestral accompaniment). He’s been happily married since 2001, he just received a star on the Hollywood Walk of Fame, and after this year’s poorly received Super Bowl halftime show by Maroon 5, a long-running petition to have the Grammy-winner play Super Bowl 54 is recirculating. (“I have a sneaking suspicion I’m just never going to be on the NFL shortlist,” Yankovic quips.)

All this raises the questions: Did that ex-girlfriend ever hear “One More Minute” and know it was about her? And if so, how did she react?

“Oddly enough, I haven’t spoken to her lately!” Yankovic chuckles.

Full audio of this conversation is available on demand via the SiriusXM app, on Volume channel 106.

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This article originally ran on Yahoo Entertainment.

In late 2014, before it was confirmed that Katy Perry would perform at Super Bowl XLIX, more than 100,000 fans signed a Change.org petition urging the NFL to book “Weird Al” Yankovic as 2015?s halftime show entertainer instead. Sadly, those signatures were ignored – despite the fact that Al had the best year of his career yet in 2014, thanks to his Grammy-nominated smash album Mandatory Fun. Apparently the NFL powers-that-be didn’t consider fun to be mandatory at all.

But the day after the Super Bowl last year, when asked about Katy’s halftime spectacle, Al gave Yahoo Music the best answer ever: “I was the shark on the left in Katy Perry’s show. Not many people know that. I figured, people want to see me in the Super Bowl, let’s throw them a bone. Why not?”

Why not, indeed. But what if Al really got to play the Super Bowl one day? What sort of show could we expect?

“I would think I’d do some kind of duets with the artists that I’ve lampooned over the years,” Al answered, bringing to mind all sorts of amazing possibilities like Joan Jett jamming on “I Love Rocky Road” or an Adam Lambert-fronted Queen doing “Another One Rides the Bus.” Al continued: “I foresee thousands of dancing Amish people, Coolio coming in on wires. The thing is, that’s not ever going to happen. I don’t think I’m on the NFL shortlist, frankly.”

Well, while we all wait for the day when Al gloriously plays Super Bowl LI with an all-star cast, fans can soon hear him voicing the lead character in Disney XD’s Milo Murphy’s Law, an animated comedy series from the creators of Phineas and Ferb.

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This article originally ran on Yahoo Music.

Yahoo Music was thrilled to have a little pre-Grammy celebration with Al this week, as he invited us into his home to check out his private Grammy collection. Many questions were asked and answered: What did he wear to the ceremony, and whom did he thank, when he won his first Grammy back in 1985? Will he really wear his lucky Hawaiian-print underwear to the Grammys this week? Why are Grammy statuettes from 2003 so much bigger than the ones handed out in 1989? Will an awkward moment ensue if he runs into Lady Gaga at this year’s awards? How did he master the Michael Jackson choreography for the video for his Grammy-winning “Eat It”? And how long did it take for him to squeeze into the fat suit he wore in the Grammy-winning “Fat” video?

It’s mandatory that you watch this interview. It’s a lot of fun. And for more fun, you can see Al on tour starting May 12; go to weirdal.com/tour for all the dates.

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This article originally ran on Yahoo Music.