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.

I was raised to believe that everybody has a responsibility to their community and I use the word very loosely. It's a big community. If I get recognized in the middle of the Sinai Desert I have a big community.

All of us are subject to being passive to the social ills around us. It's a struggle not to become, by staying silent, an accomplice.

We’ve learned that it will take more than one generation to bring about change. The fight for civil rights has developed into a broader concern for human rights, and that encompasses a great many people and countries. Those of us who live in a democracy have a responsibility to be the voice for those whose voices are stilled.

Folk music has always contained a concern for the human condition. And since it brings people into it from different points of view, that can help illuminate what a consensus might be to important issues.

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.

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.