The Corcoran show was actually almost a reportage. The exhibit was, in many ways, pretty unique. It was one of the first pieces about DC culture that doesn't include some marble building or the Kennedy Center.

What people don't understand is that the underground that existed was created in the early 80s and was thriving throughout the 80s. Until the industry showed up it was a pretty significant network. It was all happening, but the smell of money had not wafted up high enough for the industry. It wasn't really until they came descending on Seattle that things really got out of control.

I work so I don't need to make rent through my songs, and I think if more people engaged with music without needing it to provide for their welfare, you're not beholden to anyone.

You can hear a real shift. You listen to the late 80s recordings, you'll hear us engaging with the audience, dealing with the issues surrounding punk shows at the time. Back then, people thought you had to be a skinhead and beat the crap out of everybody when you went to a punk show. Come the early 90s, when you had this so-called grunge stuff and when videos became so dominant, you had this totally huge shift in the culture of shows.

We were not a band that typically would say, "Hello, Whatever Town!"

The fact that the U.S. government spends millions of dollars to send murderous robot planes into other people's land to murder them, into other countries, that's a problem. That's what people should be concerned about. The fact that other people don't understand me is not a problem. I keep things in perspective.

Getting your letters or pictures digitized. I don't think it's that important. The more you spend on your materials, you're given the sense that those things are more important due to the total amount spent. You'd probably be better off giving that money to a soup kitchen.