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I was into punk rock back when I was in high school. I used to go around to dive venues and take photographs. But now it's been just much more about the country stuff and soulful folk.

When you were a teenager in Colorado, the way to be a punk rocker was to rip on Reagan and Bush and what they were doing and talk about how everyone in Colorado's a redneck with a gun and all this stuff.

I'm not an anarchist any more. I still love the Sex Pistols, but I don't want to be a punk rocker all the time, but I do want to carry on exploring new forms of acting.

I was in a little punk band and we put out a few punk records that weren't very political, at all.

People can talk about punk all they want, but after new wave put that down, metal is the voice of the disenfranchised and that need to become unhinged. That's why it appeals to so many people when they are younger and carries over when those people, at 40, don't want to grow up.

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.

When we started to do punk, we put all of these things together to create the look of an urban guerrilla - a rebel.

Where there is young people and vitality, you're going to find punk rock.

My sense of politics and justice was deeply shaped in adolescence by my involvement with the underground punk - rock scene, and though lots of social and political issues had come forth in my comics, it wasn't until my late 20s that I felt properly equipped to address certain issues of race, power, and violence in my work.

I wanted to emulate music from America - young punks playing rock n' roll is what it was. I read part of Keith Richards' autobiography, and it was totally parallel with me, learning from American records.