I put my name on that Occupy Musicians list because someone wrote to me and said, "Would you do this?" I said, "Yeah sure, I support this." What artist wouldn't support that? What's the big deal? But then people wrote to me, "Wow! You're on that list!" And I'm like, "Who isn't on that list?" That would be more shocking.

The archiving industry, much like the funeral industry and the wedding industry, these industries can be very exploitative.

When you're in a band and write a song on your own, it isn't fully realized until it goes into somebody else's ears.

People ask me: ‘What is punk? How do you define punk?' Here's how I define punk: It's a free space. It could be called jazz. It could be called hip-hop. It could be called blues, or rock, or beat. It could be called techno. It's just a new idea. For me, it was punk rock. That was my entrance to this idea of the new ideas being able to be presented in an environment that wasn't being dictated by a profit motive.

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.

Major labels didn't start showing up really until they smelled money, and that's all they're ever going to be attracted to is money-that's the business they're in- making money.

You had bands like D.O.A., or Black Flag, and a whole network opened up to trailblazer a counter culture movement. I'm more interested in the less sensational type of stories.