I play a couple basic folks songs and break them down. I did that on a six string. I can't recall all the songs on it. There's some finger picking on it.

But in my imagination this whole thing developed and I started mixing up old folk songs with the Beatles beat and taking them down to Greenwich Village and playing them for the people there.

Yes, basically, like you said, I'll work out a chord pattern and work out the lyrics over that.

Once I've written a song, I sometimes refine them.

Leadbelly's guitar is in the Rock n' Roll Hall of Fame.

Now, you can just get a laptop, get some software, put a microphone on it and make a record. You have to know how to do it. It does help if you've had 35 or 40 years of experience in the studio. But, it still levels the playing field so artists can record their own stuff.

I play a couple basic folks songs and break them down. I did that on a six string. I can't recall all the songs on it. There's some finger picking on it.

I always got a kick out of it when they called it the California Sound because it really came out of Liverpool and Greenwich Village.

I don't really collect guitars.

Well, I guess that early 12 string. The first Martin I bought. I bought it around 1957 with money I earned as a janitor assistant. I bought brand new. I still have that.

The first 12-string guitar I bought was probably around 1957.

I got into computers back in the early '80s, so it was a natural progression of learning about e-mail in the mid-'80s and getting into the Internet when it opened up in the early '90s.

I love being on the sea and the rolling of the ship, and for me, it's not really happening until we get a little wave action going, I love that feeling.

I started playing guitar back in '56. I was a teenager, and guitars had just come in, and I had a thing for it and got one. Started learning lead breaks from songs, because that was the easiest thing to do at the time. I had the guitar for two years before I learned any chords. Really.

I think Wilco is going to definitely stand the test of time - no question - and Uncle Tupleo, and the whole No Depression scene, which is now alt-country. I think that's going to be around a long time.

I think the Internet is an awful lot like FM radio was when it broke out in the late '60s. It's kind of a wild and wily kind of format. They could play 20 songs in a row that had the word 'blue' in them, or whatever they wanted to do.

I think what makes the Byrds stand up all these years is the basis in folk music. Folk music, being a timeless art form, is the foundation of the Byrds. We were all from a folk background. We considered ourselves folk singers even when we strapped on electric instruments and dabbled in different things.

I was raised a Roman Catholic and had to go to the eight o'clock Mass every morning and have communion and wear a tie, kind of like a restricted life style. Then in the '60s, we got wild and let it go and started looking in other places to see where God really was, and I came back to the Christian thing.

I'm a huge fan of home recording. I think it levels the playing field. You don't need $100,000 to record a studio CD.

I've always considered myself a folk singer, even though we strapped on Rickenbacker guitars and played pretty loud.

I've always loved the songs of the sea. I was first introduced to them back in 1957, at the Old Town School of Folk Music. I used to go to Pete Seeger concerts, and he would do songs like 'Ruben Ranzo' and talk about how the sailors sang songs to do their work - to raise the anchors, pull up the sails and that sort of thing.

One of my favorite albums is Bob Gibson and Bob Camp, 'At the Gate of Horn.' It was a really dynamic album, almost like The Beatles, and way before its time... around 1960 or so.

People have told me that other artists have been influenced by my music, and it's flattering. It's a wonderful thing.

That's one of the things I like best about folk music is the beautiful melodies - and the harmonies - that exist in it. And of course, some of the stories, the story songs.

The original Byrds were very much Beatles-influenced, and then we gradually got our own sound. We started mixing things together more.

To me, being in the big time is not that big of a deal. I've been there; I know what it is. It's exciting, but it's also a lot of work and pressure. I love sort of flying under the radar where we can play theaters and sell CD's on the Internet, and it's really kind of a cool time.

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.

Well, I play Jews and parrots. Parrots are how I've branched out.

We just have to get it going and play hard every time out.

Art is an expression of who you are. Parts that I play are my sculptures.

There is an audience for every play; it's just that sometimes it can't wait long enough to find it.

I'll play it and tell you what it is later.

I wish the Libertarian Party would get more play in the media but they don't.