I'm really respectful of creativity. My whole waking day is based on the idea that we are here to create something. What happens with the majority of… - Susan Silver

When the bands and the Seattle scene started taking off, I had been at it for so long that it felt very natural - it was just 'this is another day in the life'. Not having been through it before, there wasn't the perspective to say,' Oh my God, we're in the eye of the hurricane.' It was just, 'This is what we do today. Okay, just one more thing. One more thing to accomplish today'. I guess the part that felt...the only thing that started to feel strange, this could be strange or this could be detrimental to people, was when the press started taking pot shots at people personally. Digging for dirt in the artists' private lives, being exploitative of the artist. That was the hardest part. Suddenly this private world that we had was public. Which was okay, that was exciting, except when the press got...when they looked for sensational avenues to report on. Which there wasn't for a long time. There really wasn't [any]. They had to keep coming back and saying, 'I guess all they know how to do up there is make amazing music'. Which is what continues to happen. The Seattle backlash and highly circulated reports that there was nothing new in Seattle after '93 just keep getting proved wrong again and again. I love that.

After Metropolis was forced to close, I was putting shows on wherever I could find a venue, not working in a particular club. And then on bigger shows I was doing production work, whether it was running or catering, working in the production office - different aspects of working for the biggest promoters in town. The shows that I was putting on were, at the time, very underground. Shows like Soul Asylum, Faith No More, Meat Puppets, Sonic Youth. I never worked for any record companies though. The only contact that I had with record companies was in the'70s, being an impressionable teenager and all the promotion people from the different record companies happened to live in this neighbourhood that I lived in. It was an easy call for me to say, "I wouldn't want to do that!" [laughing]. You have to remember the '70s were a strange time in history, let alone in music history.

I remember this guy came up to me and said 'Gee, you sure don't look like a hard rock manager,' and I said, 'I am. And you don't look like an idiot, but you are'.