It became a question of do I want to be on a label where it could take three years to put out a record instead of putting out three records over the same period of time on my own.

When I did the record, I was coming off a time when my contract had been sold and the music industry had changed a lot. I didn't understand how to make records for big labels. I was waiting for a new kind of record label to emerge.

When I go to Japan and do shows I play for 1,000 to 1,500 people. I like a lot about Japan. Their popular culture and mass commercialization appeals to me.

My family lives there, so I come back sometimes between shows for a couple days. I get back a couple times a year. When I was 30 to 34 I was weirded out when I came back - you know, how your past gets away from you. It's grown so much.

The openness of rural Nebraska certainly influenced me. That openness, in a way, fosters the imagination. But growing up, Lincoln wasn't a small town. It was a college town. It had record stores and was a liberal place.

He wanted to play accordion on something of mine and I said you can play accordion, but I want you to play piano and organ on some stuff. He came over a couple times a week for two weeks and gave me therapy as to whether I should do The Thorns or not.

Girlfriend and 100 Percent Fun were my two peeks, around '92 and '96. The reality is that the times I had the most media success, sold lots of records and played bigger shows, I had the least control of my own life.

It wasn't so much that I had to leave to make it in the music business as I was curious to be out on my own and sort of explore. I never felt that where I was ever influenced my songwriting.

He helped make Living Things even more crazy than I wanted it to be. He added old-fashioned piano and classical folk music - that weird otherworldly vibe - all these elements got onto the record.

First off, I don't want anyone to think I'm this huge thing in Japan. Every group from here that's made any records over any length of time - even indie bands - have a Cheap Trick effect in Japan.

I had no allusions of radio success. I just loved being in studios. I was having fun and in that sense I now feel a lot like I did when I did that record.

Back then, we could drive a mile from home and there was nothing. Now it's grown in every direction and is populated and modernized. I guess I have mixed feelings about it, but I'm not someone that thinks everything should stop growing.

More labels should be like that. Instead of putting these records out myself, I should have just signed with them, but they probably don't like my music (laughs).

I have more perspective now, and am happier now. It's not that I don't want success, but I now know I can have success at a lower level and make much more money doing it by myself. I make $6 or $7 bucks a record vs. nothing off those other records.

They said, 'If we put you in first class with Brian, will you do it?' So I flew after not having flown in eight years. If there's one person who doesn't like flying as much as me, it's Brian.

I figured if the plane goes down, I'll go with a great genius and will always have my name connected with his.

There are things that I value now that I didn't when I first went over there, like Zen Buddhism, which has become part of my life over the last couple years.

It became a question of do I want to be on a label where it could take three years to put out a record instead of putting out three records over the same period of time on my own.

So it helped me to just let go of all my tensions and feelings about that world and say 'OK, this is for my fans in Japan. They'll be nice and get into it and have fun.' And it was the first record I made at my home studio.

You know that they're not just into it for the moment, they really care about it and value it over time.

I wanted Kimi to be a Japanese record with a Japanese title. I wanted it to be for them. They appreciate things on a different level, and take their art very seriously - that's special if you're an artist.

I went to a rare live Van Dyke show and met him there. And then he came to a show of mine and we spoke back stage. The third time was at Brian Wilson's birthday party.

The summer of 2002 at the Wilson birthday party I met Van Dyke again and I made plans to have dinner with him.

Creativity is much better when it's free. Someone can take it and sell it if that's what it needs, and from that standpoint, you have to have a label. If you could make your music and just give it away and somehow make a living - that would be the best scenario.

There are two sides to every question.

You look at the whole Human Rights questions, I happened to be there at just the right time when the country was awakening - this goes to the first question you asked - the whole country was awakening to a hundred years of injustice that hadn't been resolved yet.

So, for example, a country was into recession right after I was sworn in, a dot-com bust had taken place. Then the attacks of September the 11th, and then of course the great financial meltdown in the -the fundamental question facing any presidency is how do you deal with the hand you're dealt?

If not for music, I would probably be a very frustrated scientist. It's one way to answer the question, 'What is the meaning of life?' I feel music answers it better.

Did you hear that? I didn't hear anything. Put that question another way.

If you do not know how to ask the right question, you discover nothing.

The real question isn't whether you love your kids or not, but how well you are able to demonstrate your love and caring so that your children really feel loved.

There is no question that everybody who works in show business is lucky because of the number of people who wish they where working in show business.

A single question can be more influential than a thousand statements.

He said there is 80 of us, ready to come down and the next thing I knew is that Jo Brown dashed in and said your family has already moved and you have to move, the boat is ready to take you out. I didn't have time to ask, even ask a question.

So begins a question which has of late become more and more urgent: what is the relation of aesthetics to politics?

When artists make art, they shouldn't question whether it is permissible to do one thing or another.

There's another issue here - and I have some limits as to what I can say - but there's some real question as to the viability of the chemical masks, the protective gear used by our soldiers.

This is largely the methodology I've used throughout my career - that is, starting with a question as to what might be the properties of a set of compounds that could be invented which were unusual and unpredictable. Many times I've felt a bit like Columbus setting sail.

In mathematics the art of proposing a question must be held of higher value than solving it.

The question is: Where would it get you if something that's a little bit ambiguous in the movie is made clear? It doesn't get you anywhere.

Well, WorldCom's growth exploded in the Clinton years, there's no question, there's no disputing that.

Fix reason firmly in her seat, and call to her tribunal every fact, every opinion. Question with boldness even the existence of a God; because, if there be one, he must more approve of the homage of reason, than that of blindfolded fear.

People of little understanding are most apt to be angry when their sense is called into question.

By asking a novel question that you don't know the answer to, you discover whether you can formulate a way of finding the answer, and you stretch your own mind, and very often you learn something new.

Slavery is not the only question which comes up in this controversy. There is a far more important one to you, and that is, what shall be done with the free negro?

Will dissent be permitted? The answer to that question will determine whether the society is a free society or a fear society.

Faulkner turned out to be a great teacher. When a student asked a question ineptly, he answered the question with what the student had really wanted to know.

The question was heatedly debated of how much Western culture should be brought into China.

Rock and roll doesn't necessarily mean a band. It doesn't mean a singer, and it doesn't mean a lyric, really. It's that question of trying to be immortal.