But I'm able to just keep going, and that's the challenge. It's the next song. And then just enjoying the shows and people who come out to the shows. It's pretty organic, really.

I don't cringe when I think of doing old material. A lot of the people have been with me through the years.

Folk-rock hasn't changed much over the decades since the Byrds started it.

There was just no way I could leave this little Martin guitar in my apartment overnight or even in the afternoon, and expect to find it there when I got back.

I just play, and I'm always trying to write songs.

So I played the acoustic guitar and harmonica and stomped my foot and I think I was right in assuming that Greenwich Village would be the best place to perform my own material and possibly get some attention, move on to making records and all.

I've had an advantage; I've had a sort of open public acceptance in New York that doesn't happen to just anyone trying to make the transition you were talking about.

I wouldn't be interested in just doing a show that's mapped out and choreographed with a set list. That would've been boring so long ago it just wouldn't be any fun.

And the music, as far as a type of music, it's still pretty viable.

You don't see a lot of difference between the Gin Blossoms and the Byrds.

I'm not trying to be the new anybody.

I relate to the audiences and they know me. It's pretty real.

But I'm able to just keep going, and that's the challenge. It's the next song. And then just enjoying the shows and people who come out to the shows. It's pretty organic, really.

It's often said that life is strange. But compared to what?

As you get out and try to do things, you always find that in order to make an idea a reality, it goes through some changes. It doesn't always come out exactly like you envisioned it.

For as long as I'm able to write songs and sing them, it's just about making them ones I feel proud to sing again and again.

I have a knack for writing tribute songs for people who will never know about them.

I like getting requests from audience members.

I'm never gonna be a Carlos Santana - an instrumentalist. I just like songs. It's three minutes of something that can be very powerful.

I'm still trying to make it. I'm still trying to get this over and do it and hopefully leave some kind of a mark on the course of American music, particularly in the tradition of what you might call the singer-songwriter.

If something doesn't work, you have to admit it. Always try to find what's going right and what's going wrong with your music. If you can, pool your resources and record yourself; do that frequently.

It's not like making records is terrible. Still, I do find the writing of the songs and the live shows to be the things that give you the most clear picture of what it's all about.

Music should be truthful and real, but it should also be healing and uplifting.

My priority doesn't lie with the whole website and Facebook and such; I'm still walking down the road in a pair of real shoes. You need to just play as much as you can. Get in front of people, as I've always said. It doesn't matter if it's ten people at an open mic or opening a show for someone. Play all the time.

People can't stay out of their cars. I do think we have a real problem staying out of our automobiles. We have a real dependency on them, and it may be for more than just transportation.

You have a song, and people know it. It's like a calling card for you.

You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.

Roosevelt's magic lay in one facet of his personality: He knew how to take the risk. No other man in public life I knew could so readily take the challenge of the new.

To do the Ozzfest again would be great. I'd like to finish with a final Sabbath album. You always feel that it is still a challenge.

People are not perfect... very often the relationships that are strongest are those where people have worked through big crises, but they've had to work through them. So the challenge to us is to work through that.

Every single book is a challenge.

Critics are sentinels in the grand army of letters, stationed at the corners of newspapers and reviews, to challenge every new author.

The lopsided attitudes of college professors pose a serious challenge to learning because students are so susceptible to becoming lopsided sheep.

I really enjoy comedy. It's a real challenge.

I had a hard time with that hockey. I hadn't grown up skating, so that was my biggest challenge. We worked on it and worked on it. But then when we first shot it, it was so hard for me.

The challenge is to practice politics as the art of making what appears to be impossible, possible.

Change can either challenge or threaten us. Your beliefs pave your way to success or block you.

My greatest challenge has been to change the mindset of people. Mindsets play strange tricks on us. We see things the way our minds have instructed our eyes to see.

I'd say that it's important for music to be there that gives you a challenge, that rearranges things in your head.

I like good stories. Quality products and character are what's important. Even if the script isn't that strong, if I challenge myself with a great character, I'll go for it.

I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge.

I'm not looking to set a standard... but, I believe I have offered a challenge to others with my work.

If you live a life of make-believe, your life isn't worth anything until you do something that does challenge your reality. And to me, sailing the open ocean is a real challenge, because it's life or death.

And, I'd never done Tennessee Williams, and I had done Broadway musicals, so it was a challenge.

When you remove the risk, you remove the challenge. When you remove the challenge, you wither on the vine.

After Land I wanted to continue exploring the theme but I needed a new challenge so turned to colour. I explored Bradford and produced a series of urban landscapes that I liked, but because Land had made such an impact on the general public my colour work wasn't reviewed.

The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting. I think getting beyond the four edges of an opportunity or challenge is one of the basic skills you need in business.

For me, it's a bigger challenge, it's much harder to do and much more rewarding to do well, then just to think up stuff of your own, hit or miss, because you've got to see to it that you don't torpedo any of his punch lines.

This same habitual blindness to spiritual, substantive dimensions of every significant challenge continues to handicap Hollywood.