I was on the steering committee of the New York City Coalition on Muslim School Holidays.

I have my own support network of other organizers, activists, and attorneys.

We have our own agency; we should be judged by our own work.

It makes me sad that our kids are growing up in a country where they are American but, in a sense, have to prove it. They can't just be who they are like everyone else. Who they are is something suspicious, something scary, something misunderstood.

Americans - in general, we are very steadfast people: we know what we want; we get what we want.

My American side makes me fearless.

There's a conflation between the critique of the state of Israel and their policies with anti-Semitism, which I think is really flawed and inaccurate.

I have no problem with people challenging my views and my positions. I want to be clear that I'm not asking anybody to stop challenging me. But I will not accept being called an anti-Semite.

Wearing hijab made you know that I was Muslim.

When you're trying to inspire individuals across the country, you have to have a reflection that people can see themselves in.

If you have a march that's entirely white women or a march that maybe is entirely black women, it's going inspire those who look like them, which is fine. Our idea is that we want to inspire as diverse of a group of people as possible.

Do you care about climate justice? Are you about women's rights and women's reproductive rights? Do you care about civil liberties and the Voting Rights Act? There are so many opportunities for people to go back and be inspired and plug into their own community.

I'm not just a token Muslim.

Intersectional organizing is the new agenda. And if we're gonna lose, we're gonna lose together. If we win, we're gonna win together.

It is powerful to know what it feels like to be in community with people who will show up and fight for each other.

None of us live single-issue lives... That is why intersectionality is a strength, not a weakness.

We at the Women's March tried intersectionality, and we were the group that said we're going to do it right, and we're going to defy our women-of-color elders who told us, 'We did this with the white woman before, and it doesn't work.'

Confounding people's expectations was a way to maintain integrity.

Most people don't know who the hell I am. But that's not really important.

They tried to get me to use a pick when I first joined the band. They had certain things they thought were appropriate. I tried to adapt as much as I could.

My personal life is fairly barren.

Years on, Christine and John still have a deep love for each other, as do Stevie and I - we've been working together since I was 17.

It's always been based around the song, and guitar-playing in the service of the song... The sensibility is about songs. I like to think of it as kind of 'refined primitive.'

One thing I admire about the Eagles is they always seem to know what they want. They always seem to know why they want it. They always seem to want it at the same time.

A lot of people who have gone to music school have gotten their individuality stomped out of them. It becomes harder to find those instincts.

'Big Love' was originally an ensemble song, but it's done now as a single guitar piece.

I have an amazing wife and three beautiful children, and that certainly makes you less obsessive about your art as a musician - which I've always felt was more like painting than anything.

'Tusk' was clearly a line in the sand that I drew.

I feel like fifteen years with Fleetwood Mac was like working on my thesis, doing research for some kind of paper.

When I was in a band after high school and in college, I didn't even play the guitar. I played the bass because I couldn't play lead, and I didn't have the gear.

We're not one of those bands that throws the names of all their songs in a hat and pulls them out right before they go on stage.

After the success of 'Rumours,' we were in this zone with this certain scale of success. By that point, the success detaches from the music, and the success becomes about the success. The phenomenon becomes about the phenomenon.

I'm very fortunate.

There is a real joy to be able to get up and react to each other and appreciate the whole being greater than the sum of the parts, just the chemistry of the group.

That's the only way to do it. Just like an actor. You can get a great performance if you do a bunch of takes and edit it. You find the moments and string them together.

The only way I've been able to keep my sanity is to pull back when I feel like it's time to pull back.

The want to return to the fold doesn't mean you can repeat history.

I'm not that knowledgeable with the guitar - I just find ways that are pretty creative, but it's all within the framework and the limitations of what I can do.

I put out an album once every four or five years and it's kind of like starting over every time.

That's basically what's going on now: Everything is propaganda.

There were a number of false starts where I was trying to make solo albums. They would get constantly folded into group efforts. In retrospect, I can say fair enough, that you call yourself a band member, and you've got to step up to the plate when the need arises.

The most disappointing thing to me after 'Tusk' was the politics in the band. They said, 'We're not going to do that again.' I felt dead in the water from that. On 'Mirage,' I was treading water, saying, 'Okay, whatever,' and taking a passive role.

You work in a band, and it tends to be more like moviemaking, I think. It tends to be more of a conscious, verbalized and, to some degree, political process.

When I was a kid, and Elvis Presley broke through to a middle class, white audience, it was a sociological phenomenon that lasted through the Beatles and even a bit through Fleetwood Mac.

Another thing that was unique about working on this stuff was that I was engineering it. I used many of the things I had learned while I was away from the band. It sort of vindicated my decision to leave in '87.

What happens with artists, or people who start off doing things for the right reasons, is that you slowly start to paint yourself into a corner by doing what people outside of the creative world are asking you to do, and I think that's antithetical to being an artist.

I was playing a Fender Telecaster when I first joined.

There is nothing like this extended family that is Fleetwood Mac. And I think you have to say, for all the perceived and real dysfunction that there has been, underneath that, there is and always has been a great deal of love. And that keeps pulling us back together.

All of my style came from listening to records.

That really was a lot of the appeal of 'Rumours.' The music was wonderful, but the music was also authentic because it was two couples breaking up and writing dialogue to each other. It was also appealing because we were rising to the occasion to follow our destiny.