I've been vegetarian for many years and only eat fish if I have to.

When I was a boy, I had a grand, big tape recorder, and I made late-night radio shows with glasses of water and funny voices. I just loved radio plays.

Blues and jazz are such a root to music.

I first met Linda Lawrence in March 1965 in the green room of 'Ready Steady Go!,' the British pop TV show. Linda was a friend of one of the co-hosts. She had an art-school vibe, and after a brief conversation, I asked her to dance to a soul record playing. As we jazz danced, I fell in love.

The 'Bohemian Manifesto' represents those that actually have to step out of society because they cannot join, but then they become the saviors of society because they create the actual possibilities of change.

My dad would always ask, 'How's the money?' but I was never interested. Millions came and went, stolen by the robbers in the music industry. But as someone said, 'You'll never be poor as long as you can pick up a guitar.'

I found in Rick Rubin a kindred soul. When I visited his home and looked in his library, I saw he was reading the very same New Age books I had picked up the month before.

I am so highly skilled that when I pick up a phrase and then pick up my guitar, a form comes out almost immediately - a song - and once I start, I have to finish it.

I was a virtuoso of all the folk-blues guitar styles by the time I reached 17.

Rock and jazz came together in a very powerful way on 'Barabajagal.'

The idea of the mystic solo, meditating away on his own, is only one path of yoga. Very early on, I chose the path of Life. One path is austerity and isolation, the other is Life. But they both lead to the same place.

Before, it had been fame, and then super-fame came. And then it became super-super-fame. One loses one's personal life, really; you're recognized everywhere. But I embraced that.

Any nobody from the folk blues world could avoid being influenced by Woody Guthrie, who is actually of Scottish-Irish ancestry.

Songwriting is a burst of inspiration and then a long bit of work and a tremendous bit of desperation.

I have to say, post-fame was difficult because it wasn't just fame: it was super-fame of a kind that few have. It was attached to a generation's dreams, and my own personal dreams were mixed up in it, too.

My music translates again and again to younger generations of players because I broke all the rules, and they can break all the rules now, too.

Most people think that I heard Bob Dylan first and got a cap and harmonica. Really, it was Woody Guthrie. He was so influential.

I learned that if you wait long enough, you just grow older.

I have always just experimented, and I come from a very ancient, acoustic root. It was very hard to put a finger on me.

Spiritually, I'm a floating entity, but Buddhism is as close as I can get to describing it.

In bohemian circles, we were very aware that poetry was missing from popular culture.

In my time, we didn't know songs could last. All we ever thought of was next Tuesday. You never imagined a future.

I've experimented with so many different sounds, it's difficult to say what the Donovan sound really is, but it's essentially my voice and guitars.

Publishers and record companies love a broken heart.

I can't help it: when something strikes me, I write it down.

Some music will make you dance. Other music helps you release tension.

I sounded like Bob Dylan for about five minutes, and it was blown out of all proportion.

Part of being a pop star is image. I'm told by many of my female fans that I was the poster on their bedroom walls. But if I only had that - the image and the beauty and the curly locks - I would have been a 'normal' pop star, one who comes and goes after one hit record.

I wasn't perfect, although during the '60s, I may have appeared to be. After all, I was partying away there for awhile. From age 17 to 25, I worked only on the outer man, and I did pretty well, but I needed to go back and work on the inside.

Myself and The Beatles thought surely there was a way through our fame and success to bring something to our generation to help chill the future out.

My guitar-playing always included bass lines, melody lines, and rhythm-guitar grooves.

Honors and awards are very interesting, and I truly accept them. I have very high regard for what they mean. What they mean is that they're pointing to the work.

Sometimes the songs just come to me. I don't sit down to write like you'd sit down to make a pair of boots.

I think of myself as a poet. I grew up with poetic influences - what I know from my background is the bardic poetry, which came down through oral tradition.

I'm probably the most successful Celtic bard of my generation, who projected this style and this image and this casketful of magical songs all around the world.

The way I sing my songs leads the listener into a place of introspection, a state of mind that can trigger self-healing and the kind of profound rest you cannot get from sleep alone.

Meditation is certainly not a religion, cult, or spiritual path: it's actually a very basic practice to reduce stress.

My particular space has always been quite unique in popular music. I have a background in R&B and hard rock and straight pop, but I never went all the way with any of those genres.

I didn't know until later, but my uncle was quite a famous bohemian in Glasgow, and he played guitar. My father was a kind of a poetic bohemian, and he read me poetry.

I was making the music and writing the songs which reflected the emerging consciousness of my generation.

In the 1960s, I was convinced that the world was extremely mentally ill.

The planet is alive, and it's a woman.

What I needed and actually need is a discipline of tradition, which is lacking in our civilization. Discipline of tradition and the ceremony of humbleness.

If you have a loved one, you can survive anything.

Linda's in all the songs. 'Sunshine Superman,' 'Hampstead Incident,' 'Young Girl Blues'... Linda's the muse.

The songs I write and sing try to say important things with a lightness.

I wasn't trying to sound like anybody else. Basically, I was just experimenting all over the place.

With songwriters like me who are prolific, you just write the song and then put it on tape.

I've exhibited quite a few of my photographs. I expand them digitally till they're very big. It's an art school thing, I suppose.

I went on the Andy Williams show, the Smothers Brothers show, and maybe I shouldn't have. But regrets - I don't think I have any.