Keep in mind that in 1985, I had a potential readership of over 50 million Americans. At that time, a good portion of those were under 30.
BERKELEY BREATHEDIf you’ll read the subtext for many of those old strips, you’ll find the heart of an old-fashioned Libertarian. And I’d be a Libertarian, if they weren’t all a bunch of tax-dodging professional whiners.
More Berkeley Breathed Quotes
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Harry Potter’ shouldn’t be children’s first experience with suspense and plot turns.
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I could draw Bloom County with my nose and pay my cleaning lady to write it, and I’d bet I wouldn’t lose 10% of my papers over the next twenty years. Such is the nature of comic-strips. Once established, their half-life is usually more than nuclear waste.
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I’d be a Libertarian, if they weren’t all a bunch of tax-dodging professional whiners.
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The fan letters were mostly answered by professional people that’d done them for a living. And I didn’t have any daily connection with their response to my work. I didn’t have a relationship with my audience. And every artist should have it.
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If I could have drawn a cat yelling for lasagna every day for 15 years and have them pay me $30 million to do so, I would have.
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I was never asked to join the Editorial Cartoonists Of America. No fraternity would have me in college, either. I think they know something.
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I don’t get fan mail. It disappeared with the digital revolution.
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I’ll confess right here that I secretly wish I’d have drawn a strip about a little boy with a fake tiger, going for adventures throughout the universe in spaceships of his imagination.
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Dear Lord, I’ve been asked, nay commanded, to thank Thee for the Christmas turkey before us…
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I paint digitally now. A pity, in some ways, as the biggest price one pays is that you no longer have a finished piece of physical art to hang on a wall. I miss that terribly.
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My kids hear me behind my door, giggling like an idiot, and they roll their eyes at the blatant indignity of it all.
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I will go to my grave in a state of abject endless fascination that we all have the capacity to become emotionally involved with a personality that doesn’t exist.
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The cartooning was always just an abstraction. It was an income. It was making me famous. It was allowing me to go and do other things that I’d wanted to do.
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The universe throws us some obvious little pitches sometimes, and we need to be awake enough not to let them slip by.
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Doonesbury had the requisite and overwhelming influence in 1980, as it did on any college cartoonist who was paying attention, of course.
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