The artist never really has any control over the impact of his work. If he starts thinking about the impact of his work, then he becomes a lesser artist.
The only people I would care to be with now are artists and people who have suffered: those who know what beauty is, and those who know what sorrow is: nobody else interests me.
The label's going great, because we're not idiots. We're not trying to sue everyone that downloads everything. We try to give the fans a bunch of free stuff, and then have them buy the record. Without buying the record, it doesn't support your artist. These idiots like Radiohead and Sharon Osbourne that are like, "Free Ozzfest!", "Pay what you can for a record!" - Radiohead's already got their yachts and mansions. Sharon Osbourne already has her empire.
I feel ever so strongly that an artist must be nourished by his passions and his despairs. These things alter an artist whether for the good or the better or the worse. It must alter him. The feelings of desperation and unhappiness are more useful to an artist than the feeling of contentment, because desperation and unhappiness stretch your whole sensibility.
I think there was a point in the past when I felt that my options as an artist were either to make race a nonissue and deny its impact on life and just say, "Don't think of me as an Asian cartoonist. Just think of me as a cartoonist."
Beauty is for the artist something outside all orders of rank, because in beauty opposites are tamed; the highest sign of power, namely power over opposites; moreover, without tension: - that violence is no longer needed: that everything follows, obeys, so easily and so pleasantly - that is what delights the artist's WILL TO POWER.