As we know, forgiveness of oneself is the hardest of all the forgivenesses.

I have hope in people, in individuals. Because you don't know what's going to rise from the ruins.

"Diamonds & Rust" started off as another song. Then the words started to morph. When you write a song that deep, the words come from some place else. But when the songs stop coming, it would be so contrived to try and force it. Since then I've just been doing other people's music.

To love means you also trust.

I didn't study anything really. I didn't learn out of the books because I couldn't read music very well, so it is what they say it is - you learn from other people. And my cohorts and I would sneak around the coffee shops and hear stuff we wanted to learn, and then you ask whoever was playing it to teach you.

Some people don't even notice. "Oh, you sound exactly like you did!" And I say, "OK, if that's what you want to believe, that's fine."

The white music was melodic and pretty, and you had beautiful women's voices like Gogi Grant and even the Andrews Sisters. Then I went directly to rhythm and blues, which had beautiful voices but not much melody in particular and pretty much the same chord pattern. I loved it, I was entrenched in it, but then folk music came in the middle of that for me, and made its own path. And it was part of the rebellion against bubblegum music, or music that is pretty but doesn't say anything.