We hadn't sung together in six years. We realized that we'd missed each other personally and musically, so we decided to try a limited reunion tour. We wanted to work together enough to have it be a meaningful part of our lives, but not so much that it wouldn't be fun.

The fact that there are singer-songwriters dealing with substantive issues is encouraging. It's important for young people to perceive that there are acceptable avenues of dissent, because we live in a world where dissent is hard-pressed; treated as if it were unpatriotic. I've always liked the concept of the loyal opposition. It allows for dissent to be a respectable part of the whole.

Singing 'Blowin' in the Wind' all the places we've been, it takes on a different meaning everywhere. When you sing the line, 'How many years can a people exist, before they're allowed to be free?' in a prison yard for political prisoners in El Salvador; if you have sung it to a group of union organizers, who have all been in jail, in South Korea; if you've sung to Jews in the Soviet Union who have been refused exit visas; if you've sung it with Bishop Tutu protesting apartheid, the song breathes, it lives, it has a contemporary currency.

Folk music has a sort of a bubbling-under quality. The stream runs through the cultural consciousness, and whether or not it's on the radio is not the issue. Folk music is always there.

Folk Music Has Always Contained a Concern for the Human Condition.

We’ve always been involved with issues that deal with the fundamental human rights of people, whether that means the right to political freedom or the right to breathe air that’s clean.

When the fad changed from folk to rock, they didn't take along any good writers.