I was never enthusiastic about being somebody who was supposed to be silent about being a member of something.

Make the kind of music you love even if you never hear it on the air. This was the basic lesson I'd gotten from Alan [Lomax]. Alan said, Pete, look at all this great music around. You never hear it on the radio, but it's right there, great music.

The world would never amount to a hill of beans if people didn't use their imaginations to think of the impossible.

Work in nightclubs was interesting. There were interesting people and places, but by and large, the commercial music experience.

Just as with other great words, the word environment means different things. You might say that a cave woman twenty thousand years ago sweeping out the cave was improving the environment. Many people improving the environment think only in terms of the air they breathe in their hometown and the water in the aquifer under their hometown. My guess is very few are thinking centuries ahead or thousand of years ahead, but that's what we have to do.

I came from an intellectual family. Most were doctors, preachers, teachers, businessmen. My grandfather was a small businessman. His father was an abolitionist doctor, and his father was an immigrant from Germany.

In the United States, many people said you can't have folk music in the United States because you don't have any peasant class. But the funny thing was, there were literally thousands, tens of thousands, hundreds of thousands of people who loved old time fiddling, ballads, banjo tunes, blues played on the guitar, spirituals and gospel hymns. These songs and music didn't fit into any neat category of art music nor popular music nor jazz. So gradually they said well let's call it folk music.