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

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.

A friend never defends a husband who gets his wife an electric skillet for her birthday.

I had been offered a Hollywood contract before my 18th birthday. It gave me the spark I needed.

I told my father I wanted to play the banjo, and so he saved the money and got ready to give me a banjo for my next birthday, and between that time and my birthday, I lost interest in the banjo and was playing guitar.

I love photography. My boyfriend's got a great camera, which I bought for his birthday.

The best way to remember your wife's birthday is to remember it once.

It was my 16th birthday - my mom and dad gave me my Goya classical guitar that day. I sat down, wrote this song, and I just knew that that was the only thing I could ever really do - write songs and sing them to people.

Well, I started conducting kind of by accident. I wanted to give myself a special birthday present for my fortieth birthday, and I was living in San Francisco at the time and I started attending some of the concerts and then simply dropping hints.

This is a wonderful way to celebrate an 80th birthday... I wanted to be 65 again, but they wouldn't let me - Homeland Security.

You know, we'd just had a birthday, he was... you know, he still had a future out of him, and all I can is he was just one of the most beautiful people in the world... a very gifted man, and it's a loss to the world, not just for us.

It is ironic that the one thing that all religions recognize as separating us from our creator, our very self-consciousness, is also the one thing that divides us from our fellow creatures. It was a bitter birthday present from evolution.

With a recent birthday, I've been acting now for twenty years.

On my birthday, I was in Milan for the collections.

I crashed my boyfriend's birthday when I was 12 years old. He didn't invite me and so I showed up.

I wasn't very good about juggling family and my career. I was interested in who was coming to the children's birthday party, what my son was writing. I was thinking about Legos.

I remember when the candle shop burned down. Everyone stood around singing 'Happy Birthday.'

My mother asked me what I wanted for my birthday, so I said I wanted to read poetry with her.

The way I see it, you should live everyday like its your birthday.

I'm trying to get the record that I made at my birthday party last year, trying to get that out, and the lawyers are diddling around with it and it probably won't be out until next year. I don't know.

I had arranged a birthday party for him and my children, who are all Aquarians. Instead, we got married. I ran out of excuses. It was just us and my children.

My second play, The Birthday Party, I wrote in 1958 - or 1957. It was totally destroyed by the critics of the day, who called it an absolute load of rubbish.

Every year on your birthday, you get a chance to start new.

My best kiss was on stage. Kelly Rowland from Destiny's Child gave me a really nice soft kiss on my lips during a performance on my birthday. It was amazing.

I had a birthday one night on a farm we were shooting on. I walked into the tent, and there were 150 people waiting for me, all wearing masks of my face.

I play PC and Xbox games at home, and I just got a PSP as a birthday present.

I trained to be a priest - started to. I went to seminary school when I was 11. I wanted to be a priest, but when they told me I could never have sex, not even on my birthday, I changed my mind.