I listen to everything that comes in. I'm not real worried about demo sound quality. I can hear through that sort of thing. If a band can play, then they can play.

Punk rock really came out of N.Y. as a philosophy before the groups were ever recorded. I had a kind-of intellectual interest in the idea of creating a new scene that could be a grassroots thing.

The REM and Nirvana successes don't mean much to me except as a potential distraction for bands who want to cash in on the trend. Don't try to sound like someone else. REM and Nirvana don't sound like anyone else.

Putting out the things that I like best hasn't been the easiest way to run a label, and it still isn't because it requires finding an audience for each record.

There are several books out on punk history, but I haven't read any of them. I was there.

People from major labels were afraid to go to Black Flag gigs throughout most of the band's existence. They treated our gigs as something threatening. I'm sure that it probably was. They probably had reasons to be scared.

As a label, you have to treat every group and every record as a unique entity. I think that that has been our success, rather than relying upon a fan base.

The public is usually slow to catch on to new things, and it's important that musicians stick to their guns and not look for that instant gratification.

The Minutemen were seen as more of an art thing than Black Flag, although I didn't see them that way. It confused people when we put out Saccharine Trust, too.

The English scene got more media attention with their emphasis on fashion, with the safety pins and all. There were some really good bands over there. The Sex Pistols were great.

If people are really excited about their music, and that's their primary motivation, then that comes through in demo tapes. That's the most important ingredient.

We're not good at propping up old carcasses. We want to be on top of what's vital at any particular time, and not just hold onto something because it has a name.

We've gotten involved in cat rescue - we take them in and find homes for them. I've always loved cats. I saw how homeless cats were living out there. We take them in, put out flyers.

We aren't as concerned about the live aspect as other labels. The best live bands are the easiest to record.

I didn't want to wait around for some business entity to come around and give me money and tell me what to do. We just started releasing records as best we could.

There's not much music I'll listen to if it doesn't have pretty heavy swing. Rhythm is so important. Punk rock would have more power and feeling if it had swing.

I listen to everything that comes in. I'm not real worried about demo sound quality. I can hear through that sort of thing. If a band can play, then they can play.

Black Flag was formed in 1977. We first recorded in 1978.

It took us two years to get our first real gig. That was a big dream. We ended up booking a lot of our own gigs and putting on a lot of our own shows. We were trying to get our actual music across, trying to make a connection there.

The biggest disappointment has been seeing the number of people in this business with very shortsighted views.

You have to keep the business side together as well as the creative side. We have constantly surprised people and stayed with bands until they have grown on people.

We had a lot of riots. We came under attack from many of the police departments. It certainly wasn't some publicity thing. I was afraid for many years. We couldn't play in LA for many years. A lot of people got very cynical.

The small companies who feel that the majors are a threat, or are predators, will use that as an excuse for their eventual downfall. Don't blame others for your own inadequacies.

I like a lot of electronica. I like older jazz rather than newer.

SST was formed to put out the first Black Flag record. Basically, there wasn't anyone else to do it. I felt that what I was doing with Black Flag was very worthwhile, and I wanted to get it out there.

I still think the best metal bands have a blues feel. The first Black Sabbath album is kind of a bludgeoning of blues. Deep Purple also started out as a blues band.

Stores can be indifferent to something new.

I had business experience. I had made my living designing and building electronic equipment. Basic business was not new to me, but the music business was completely new to me. I knew nothing about distribution, or any of those things.

We were excited when we sold our first 10 records. I always felt that if we could get the music out there, and if people became accustomed to it, then a substantial number of them would enjoy it.

I didn't have a lot of overtly political songs. I think it was more the actions of the group that were threatening to the authorities, and also our political philosophies apart from the music.

Most good things happen with time; especially music, which needs time to breathe and to find its own way.

There aren't enough people who are scaring the kind of people who work at these record companies.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

A play is much easier to maintain your personal life with because if you're rehearsing, you're working like from 11 to 6 or 11 to 5 and you get to have your whole morning and your whole evening. When you're doing the play, you have all day.

I'd like to one day play Amanda, the mother, in The Glass Menagerie.

I couldn't be happier about being a part of 'Hunger Games' and to play Katniss. I have a huge responsibility to the fans of this incredible book and I don't take it lightly. I will give everything I have to these movies and to this role to make it worthy of Suzanne Collins' masterpiece.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

Genius is not a possession of the limited few, but exists in some degree in everyone. Where there is natural growth, a full and free play of faculties, genius will manifest itself.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

If Davis Cup was a little bit less or once every two years, I would be more inclined to play. But the way it is now, it is too much tennis for me.

I remember him watching me through the crack of a door singing with a hairbrush. I was in front of his mirror. I think he wanted me to sing. He would get me on the table and make me sing sometimes or play the piano. He was very encouraging on that front.

If you watch a game, it's fun. If you play it, it's recreation. If you work at it, it's golf.

You have to like the characters you play.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

The value of music is to be able to play one note at the right time in the right way.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.