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.

There has to be a certain amount of love just in order for you to survive together. I think a lot of groups have gone down the tubes because they were not able to relate to one another.

If you're serious about singing or acting, which are two art forms that get repetitive, the way to keep the music fresh is to recognize that it is totally impossible for it to ever be the same, night after night. You open your mouth and you'd like a certain sound to come out of it, but it doesn't always come out exactly like you thought it was going to come out!

Looking out at this quarter of a million people,... I truly believed, at that moment, it was possible that human beings could join together to make a positive social change.

I was raised on Josh White, the Weavers and Pete Seeger. The music was everywhere. You'd go to a party at somebody's apartment and there would be fifty people there, singing well into the night.

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.

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