I think what you see [in Salome the play backstage] is an artist having this fit of temperament.

The interesting thing about this is I don't know what my vision [ in Salome the play and Salomaybe] is yet about. I'm sensing something and I'm going along with it. It reminds me of a painting, the way Jackson Pollack painted - Jackson Pollack, the great, great artist.

Our label is very digital-friendly. We try to provide some free stuff to get interest in the band, but we have to pay our artists. They have to get paid.

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.

You have too take from each artist what works for you, and then create your own sound. You put different combinations in the mix and it becomes something unique in the end.

Of course, you have to have a good reputation, especially as an artist, as a musician, so that other musicians would like to play with you.

I lived there [ in New York City] as an artist, but never as a Chinese artist.

Even though everybody who looked at me would call me a Chinese artist, that's the 1980s. New York in the '80s was not so interesting. I think it's quite narrow-minded. There wasn't much encouragement or opportunities for any artist - not just Chinese artists.

I don't think [price] reflects if the work is good or bad.A good artist shouldn't be nervous about that.

To call yourself a Chinese artist or woman artist or African artist reflects a certain kind of condition. To me, that is not necessary.