Folk music is not for a select group of people who feel that maybe he taught them about this music and that it belongs to them. It doesn't belong only to them. It belongs to everyone who's interested in the blueprints of good songwriting.

I'm waiting for my kids to grow up and get into the Offspring and look at me like I'm a total candy-ass.

I'm allowing myself every opportunity, every tool that every other artist should allow themselves to use. If anybody expects me to not use certain language or certain words, like I have some kind of penalty restriction, it's completely unrealistic.

I think that these are different times, and different things are available to artists, and certain things have become passé. You've already seen the outcome of a lot of things that seemed to have a lot of potential. We've already heard that, and I can't tell you if it made a difference or not. But we already know that artists can do that, and they shouldn't feel threatened by doing it. They're probably not going to change the world. They're going to change a few people's perspectives and maybe make somebody's day at times, if they can.

I always saw songwriting as the top of the heap. No matter what else you were going to do creatively-and there were a lot of choices-writing songs was king.

I see myself as a traditionalist. I like traditional things. I like things of substance and value that have been proven. Conceptually, as the songs started to come together, I followed that lead, which is the language I work in.

But there's got to be an opening somewhere here in front of me. Through this maze of ugliness and greed.