Those things interest me a lot in songwriting - the human nature of how people think, and the muck that we wind up in.

To us, there was Bob Dylan, and there was dad. As for what he meant to other people, that was never glorified in our house. There were no accolades there, no gold records.

I'm realistic. Getting to everybody is not the goal here. The people you can affect in any way - that's who you want to get to.

I'm talking about the '60s really. People go interview these guys and ask them, "Do you still think music can change the world?" I mean, go talk to Graham Nash about that. What's he going to tell you? Ask David Crosby. These guys are still out there. They're playing their hits at Staples Center and those are really valuable songs. I'm talking about a couple of the guys who got knee-deep into really believing music had a great service beyond radio. I believe it did. And I think a lot of those songs are great.

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.

You have to have a work ethic and you have to be educated in what you're doing. You have to take it seriously. It doesn't mean that everything you do has to be serious. But you've got to have the tools.

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.