Mary Travers Quotes

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.

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.

If we are going to teach the world to stop hating the different, the other, then we’re going to have to start with children.

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.

I was raised to believe that everybody has a responsibility to their community.

It was like a miracle. I'm just feeling fabulous. What's incredible is someone has given your life back. I'm out in the garden today. This time last year I was looking out a window at a hospital.

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.

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

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.

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.

It is one thing to read about the world, but quite another to see and hear for oneself.

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 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.

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!

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.

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.

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.

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

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.