The Hang! As Seen On Almost Famous Magazine!
Nov 5, 2026 · 45 min · 13 segments
John Flansburgh, co-founder of They Might Be Giants, joins Scott Saldinger on The Hang! to talk about 40 years of making music, the unlikely beginnings of Dial-A-Song, their new album \*The World Is…
John FlansburghGuest
Scott SaldingerHost
We had to wait to learn about it as opposed to today's immediate, like what's in today is out tomorrow and it's literally, it could be a 24 to 48 hour period, right? Ideas and concepts had much more time to percolate and permeate out there.

i mean i remember living in new york and i'm big madness fan and it would take you know they would release something but it took a while for it to even hit a store in the states right and thankfully you could at least see a video on mtv so you could put it on your you know record it on your vcr and play through that tape as much as you wanted to so you could get it and then back in the fanzine days those had to go in the you know the post office right and now it somebody could try something today right or wrong it could be tomorrow's big thing or it could be tomorrow's immediate failure but we don't have that same scenario going where you had time to really build and really you know allow things to trickle in as opposed to just having a flood of content constantly

it's i mean it's so different it's hard to even say which you know i'm not it's not at all clear to me like what's better or what's worse like there was so much gatekeeping going on when we were coming up, like it was, there were, there were just as many people in the music business whose job it was to just kind of, you know, stand with their arms folded and keep everybody who, who wanted to have their stuff heard, kind of keep that at bay.

It sort of seemed like that was the business of the music industry was, was like crushing dreams.

It's, I don't think it's any better today, but it's sort of, at least maybe it's more mercifully direct, you know, like you actually, I mean, we, you know, I mean, we, we had such a strange, well, ask your

Had you been making music back in the day and had the opportunity to do some of the things you could today, given that there were so many guardrails and so many roadblocks and controllers, do you think you would have done what you could to subvert those to just get your music out quickly and buck that system?

One thing about knowing you're never going to make it is that it's extremely liberating in terms of what your behaviors are.

And I think starting our dial-a-song service, which sort of retrospectively, people kind of frame it as if it's this masterstroke of branding and marketing for the band, I think for us, we were pretty sure that we weren't really going to get signed.

And, and nothing really happened without labels behind them, even indie labels back then.

So it was like, it was, it was, you know, vaguely pathetic to do something like dial a song, but it was a way for us to kind of, claw our way to the middle and just kind of get some notice and become a more established New York band.

I mean, really, the whole focus was on finding people to come to our shows.

And because you couldn't hear our music any other way, it was just a way to kind of roll out the welcome mat to potential concert goers.

So we ran ads in the back page of The Village Voice, so they had a big classified page.

So it was like a kind of a curious, you know, kind of tail wagging the dog perception of what was really going on.

We had to wait to learn about it as opposed to today's immediate, like what's in today is out tomorrow and it's literally, it could be a 24 to 48 hour period, right? Ideas and concepts had much more time to percolate and permeate out there.

i mean i remember living in new york and i'm big madness fan and it would take you know they would release something but it took a while for it to even hit a store in the states right and thankfully you could at least see a video on mtv so you could put it on your you know record it on your vcr and play through that tape as much as you wanted to so you could get it and then back in the fanzine days those had to go in the you know the post office right and now it somebody could try something today right or wrong it could be tomorrow's big thing or it could be tomorrow's immediate failure but we don't have that same scenario going where you had time to really build and really you know allow things to trickle in as opposed to just having a flood of content constantly

it's i mean it's so different it's hard to even say which you know i'm not it's not at all clear to me like what's better or what's worse like there was so much gatekeeping going on when we were coming up, like it was, there were, there were just as many people in the music business whose job it was to just kind of, you know, stand with their arms folded and keep everybody who, who wanted to have their stuff heard, kind of keep that at bay.

It sort of seemed like that was the business of the music industry was, was like crushing dreams.

It's, I don't think it's any better today, but it's sort of, at least maybe it's more mercifully direct, you know, like you actually, I mean, we, you know, I mean, we, we had such a strange, well, ask your

Had you been making music back in the day and had the opportunity to do some of the things you could today, given that there were so many guardrails and so many roadblocks and controllers, do you think you would have done what you could to subvert those to just get your music out quickly and buck that system?

One thing about knowing you're never going to make it is that it's extremely liberating in terms of what your behaviors are.

And I think starting our dial-a-song service, which sort of retrospectively, people kind of frame it as if it's this masterstroke of branding and marketing for the band, I think for us, we were pretty sure that we weren't really going to get signed.

And, and nothing really happened without labels behind them, even indie labels back then.

So it was like, it was, it was, you know, vaguely pathetic to do something like dial a song, but it was a way for us to kind of, claw our way to the middle and just kind of get some notice and become a more established New York band.

I mean, really, the whole focus was on finding people to come to our shows.

And because you couldn't hear our music any other way, it was just a way to kind of roll out the welcome mat to potential concert goers.

So we ran ads in the back page of The Village Voice, so they had a big classified page.

So it was like a kind of a curious, you know, kind of tail wagging the dog perception of what was really going on.
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