جوآن بائز

جوآن چاندوز بایز (به انگلیسی: Joan Chandos Báez)‏ (زاده ۹ ژانویه ۱۹۴۱) خواننده نامدار و اسطوره ای موسیقی فولک و ترانه‌نویس موسیقی فولک آمریکایی و فعال اجتماعی ضد جنگ است. وی به سبک متمایز خواندن و بیان بی‌پردهٔ نظرات سیاسی انسان‌دوستانه‌اش مشهور است.[۱]
بایز بارها به دخالت آمریکا در جنگ ویتنام و قوانین تبعیض‌آمیز نژادی اعتراض کرد[۲]. او در مبارزه برای دفاع از حقوق همجنس‌گرایان نیز مشهور است.[۱]
محتویات [نهفتن]
۱ زندگی
۱.۱ انتقاد از حضور امریکا در جنگ ویتنام
۱.۲ انتقاد از حکومت شاه ایران
۱.۳ حمایت از راهپیمایی‌ها و تظاهرات مردمی خرداد ۱۳۸۸ در ایران
۲ آثار
۲.۱ آلبوم‌های استودیویی و اجراهای زنده
۲.۲ Compilations
۲.۳ ترانه‌های تکی
۳ جستارهای وابسته
۴ منابع
۵ پیوند به بیرون
زندگی [ویرایش]

در سال ۱۹۶۲ به طور فعال در جنبش حقوق مدنی(به انگلیسی: Civil Rights Movement)‏ آمریکا شرکت کرد و در اجراهای خود به قوانین تبعیض‌آمیز نژادی آمریکا اعتراض کرد[۲].


جوآن بائز و باب دیلان
جوآن در سال ۱۹۶۳ به همراه باب دیلن در فستیوال فولک مونتری آواز خواند و در تابستان به‌طور مشترک یک تور کنسرت داخلی آمریکا برگزار کردند[۲].
انتقاد از حضور امریکا در جنگ ویتنام [ویرایش]
در سال ۱۹۶۴ جوآن بائز به دخالت آمریکا در جنگ ویتنام اعتراض کرده و نود درصد از مالیات بر درآمدش را (که برای کمک به بودجه نظامی آمریکا است) پرداخت نکرد. همان سال در تظاهرات برای حق آزادی بیان که در دانشگاه برکلی کالیفرنیا برگزار شده‌بود شرکت کرد. پلیس آنقدر صبر کرد تا جوآن بائز از دانشگاه خارج شود و سپس حدود ۸۰۰ دانشجو را بازداشت کرد[۲].
انتقاد از حکومت شاه ایران [ویرایش]
جوان بائز در سال ۱۹۷۷ با گروه‌های بین‌المللی مدافع حقوق بشر در ایران همکاری داشت و حتی در ترانه «آهنگ مرغان دریایی» در آلبوم «بادهای خلیج» خود آشکارا به محمدرضا شاه پهلوی تاخته بود و عبارت «و شاه ایران کودکان را در برابر چشمان والدینشان می‌کشد» را در ترانه‌ای که شعرش را خود گفته بود، نیز خوانده بود. او در یک برنامه تلویزیونی بی‌بی‌سی، با اطلاق صفت «قاتل کودکان در برابر چشمان والدینشان» به محمدرضا شاه، رسما اعتراض نمود که موجب احضار رسمی آنتونی پارسونز، سفیر بریتانیا در تهران و ابلاغ اعتراض رسمی دولت ایران شد. شاه و وزیر دربار به طور جداگانه نسبت به این اظهار بائز و همچنین برخی از گزارش های انتقادی بخش فارسی رادیو بی‌بی‌سی درباره حکومت ایران انتقاد کرده و آن ها را مغرضانه خطاب کرده بودند. اما این اتهام از سوی مسئولان شبکه جهانی بی‌بی‌سی رد شد.[۳]
حمایت از راهپیمایی‌ها و تظاهرات مردمی خرداد ۱۳۸۸ در ایران [ویرایش]
در ۲۵ ژوئن سال ۲۰۰۹ بائز ترانهٔ «We Shall Overcome» را به همراه چند خط شعر فارسی، در حمایت از جنبش مدنی مردم ایران بازخوانی کرد و نسخه‌ای از ویدئوی آن را-که در خانه‌اش ضبط کرده بود-برروی یوتیوب و وب‌گاه شخصی‌اش قرار داد.[۴]
او همچنین با پیامی که در وب‌سایتش با رنگ سبز نقش بست، از جنبش مسالمت‌آمیز و مدنی مردم ایران حمایت کرد و به آنان درود فرستاد. او با کلماتی سبز نوشت:
به مردم ایران: جهان با دیدن شما به قدرت رفتار غیر خشونت‌آمیز پی برد. ما آن را در غرش سکوت شما می شنویم و در چشمان شما می‌بینیم، آن گاه که آرام رو در روی رعب و دهشت می‌نشینید. شجاعت شما به شوقمان می‌آورد و فداکاری‌تان الهام بخشمان می‌شود. چه سعادتمندم من که زنده‌ام تا شاهد این جنبش باشم. دعاهایم، عشقم و حمایتم را به سوی‌تان روانه می‌کنم.
[۵][۶]
آثار [ویرایش]

آلبوم‌های استودیویی و اجراهای زنده [ویرایش]
Joan Baez, Vanguard (November 1960)
Joan Baez, Vol. 2, Vanguard (October 1961)
Joan Baez in Concert, Vanguard (September 1962)
Joan Baez in Concert, Part 2, Vanguard (November 1963)
Joan Baez/5, Vanguard (November 1964)
Farewell Angelina, Vanguard (November 1965)
Noël, Vanguard (December 1966)
(Joan, Vanguard (August 1967
Baptism: A Journey Through Our Time, Vanguard (June 1968)
Any Day Now (Songs of Bob Dylan), Vanguard (December 1968)
David's Album, Vanguard (May 1969)
(I Live) One Day at a Time, Vanguard (January 1970)
Carry It On (Soundtrack Album), Vanguard (1971)
Blessed Are..., Vanguard (1971)
Come from the Shadows, A&M (April 1972)
Where Are You Now, My Son?, A&M (March 1973)
Gracias A la Vida, A&M (July 1974)
Diamonds & Rust, A&M (April 1975)
From Every Stage, A&M (February 1976)
Gulf Winds, A&M (November 1976)
Blowin' Away, CBS (July 1977)
Honest Lullaby, CBS (April 1979)
Live -Europe '83, Gamma (January 1984)
Recently, Gold Castle (July 1987)
Diamonds & Rust in the Bullring, Gold Castle (December 1988)
Speaking of Dreams, Gold Castle (November 1989)
Play Me Backwards, Virgin (October 1992)
Ring Them Bells, Guardian (August 1995)
Gone from Danger, Guardian (September 1997)
Dark Chords on a Big Guitar, Koch (October 2003)
Bowery Songs, Proper Records (September 2005)
Ring Them Bells (reissue double-disc with bonus tracks), Proper Records (February 2007)
Compilations [ویرایش]
Folksingers 'Round Harvard Square (1959)
The First 10 Years, Vanguard (November 1970)
The Joan Baez Ballad Book, Vanguard (1972)
Hits: Greatest and Others, Vanguard (1973)
The Contemporary Ballad Book, Vanguard (1974)
The Joan Baez Lovesong Album, Vanguard (1976)
The Joan Baez Country Music Album (1977)
Best of Joan C. Baez, A&M (1977)
Joan Baez: Classics, A&M (1986)
Brothers in Arms, Gold Castle (1991)
No Woman No Cry, Laserlight (February 1992)
Rare, Live & Classic (boxed set), Vanguard (1993)
Greatest Hits, A&M (1996)
Joan Baez Live At Newport, Vanguard (1996)
Best of Joan Baez: The Millennium Collection, A&M/Universal (1999)
The Complete A&M Recordings, Universal/A&M (2003)
ترانه‌های تکی [ویرایش]
We Shall Overcome (1963) US #90, UK #26
There But For Fortune (1965) US #50, UK #8
It's All Over Now, Baby Blue (1965) UK #22
Farewell Angelina (1965) UK #35
Pack Up Your Sorrows (1966) UK #50
Love Is Just A Four Letter Word (1969) US #86
The Night They Drove Old Dixie Down (1971) US #3, UK #6
Let It Be (1971) US #49
In The Quiet Morning (1972) US #69
Blue Sky (1975) US #57
Diamonds and Rust (1975) US #35
جستارهای وابسته [ویرایش]

وودستاک
منابع [ویرایش]

↑ ۱٫۰ ۱٫۱ ویکی‌پدیای انگلیسی
↑ ۲٫۰ ۲٫۱ ۲٫۲ ۲٫۳ اشعار جوآن بائز. ترجمهٔ م.آزاد و صالحی علامه، مانی. چاپ اول. تهران: نشر آتیه. ص۵. ISBN 964-6373-78-X.
↑ سیاست خارجی بریتانیا و حقوق بشر در ایران در آرشیو بریتانیا در وب‌گاه فارسی شبکه بی بی سی
↑ ویدئوی «We Shall Overcome» در وب‌گاه یوتیوب در یوتیوب
↑ جون بائز: چه سعادتمندم که زنده‌ام و شاهد جنبش مردم ایران
↑ وب سایت شخصی جون بائز
پیوند به بیرون [ویرایش]

در ویکی‌انبار پرونده‌هایی دربارهٔ جوآن بائز موجود است.
مجموعه‌ای از گفتاوردهای مربوط به جوآن بائز در ویکی‌گفتاورد موجود است.
مراجع کتابداری
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برگه‌دان مجازی: 112435547
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رده‌ها: زادگان ۱۹۴۱ (میلادی)افراد زندهجوآن بائزآمریکایی‌های اسکاتلندی‌تبارآمریکایی‌های بریتانیایی‌تبارآهنگسازان اهل آمریکااهالی استاتن آیلندبرندگان جایزه یک عمر دستاورد گرمیحامیان خشونت‌پرهیزیخوانندگان اسپانیایی‌زبانخوانندگان انگلیسی‌زبانخوانندگان زن اهل آمریکاخوانندگان فولک اهل آمریکاخواننده-ترانه‌سرایان اهل آمریکافعالان اجتماعیفعالان حقوق شهروندیفعالان حقوق همجنس‌گرایان در ایالات متحدهموسیقی‌دانان آمریکایی مکزیکی‌تبارنیکوکاران اهل آمریکاهنرمندان ویرجین رکوردزطرفداران مبارزه با فقر

قس انگلیسی

Joan Baez (pron.: /ˈbaɪ.ɛz/) (born January 9, 1941 as Joan Chandos Báez) is an American folk singer, songwriter, musician, and a prominent activist in the fields of human rights, peace, and environmental justice.
Baez has a distinctive vocal style, with a strong vibrato.[1] Her recordings include many topical songs and material dealing with social issues.
Baez began her career performing in coffeehouses in Boston and Cambridge, and rose to fame as an unbilled performer at the 1959 Newport Folk Festival. She began her recording career in 1960, and achieved immediate success. Her first three albums, Joan Baez, Joan Baez, Vol. 2, and Joan Baez in Concert all achieved gold record status, and stayed on the charts of hit albums for two years.[2]
Baez has had a popular hit song with "Diamonds & Rust" and hit covers of Phil Ochs's "There but for Fortune" and The Band's "The Night They Drove Old Dixie Down". Other songs associated with Baez include "Farewell, Angelina", "Love Is Just a Four-Letter Word", "Joe Hill", "Sweet Sir Galahad" and "We Shall Overcome". She performed three of the songs at the 1969 Woodstock Festival, helped to bring the songs of Bob Dylan to national prominence, and has displayed a lifelong commitment to political and social activism in the fields of nonviolence, civil rights, human rights and the environment.[3]
Baez has performed publicly for over 53 years, releasing over 30 albums. Fluent in Spanish as well as in English, she has also recorded songs in at least six other languages. She is regarded as a folk singer, although her music has diversified since the 1960s, encompassing everything from folk rock and pop to country and gospel music. Although a songwriter herself, Baez is generally regarded as an interpreter of other people's work, having recorded songs by The Allman Brothers Band, The Beatles, Jackson Browne, Bob Dylan, Violeta Parra, Woody Guthrie, The Rolling Stones, Pete Seeger, Paul Simon, Stevie Wonder, Leonard Cohen, and many others. In recent years, she has found success interpreting songs of modern songwriters such as Ryan Adams, Josh Ritter, Steve Earle and Natalie Merchant.
Contents [hide]
1 Early life
2 Music career
2.1 Early years
2.2 College music scene in Massachusetts
2.3 First albums and 1960s breakthrough
2.4 1970s and the end of Vanguard years
2.5 1980s and 1990s
2.6 2000 to present
3 Social and political involvement
3.1 1950s
3.2 Civil Rights
3.3 Vietnam War
3.4 Human rights
3.4.1 Opposing death penalty
3.4.2 Gay and lesbian rights
3.4.3 Iran
3.5 Environmental causes
3.6 War in Iraq
3.7 Poverty
3.8 2008 Presidential election
3.9 Joan Baez Award
3.10 Occupy Wall Street
4 Personal life
4.1 Early relationships
4.2 Bob Dylan
4.3 David Harris
4.4 Steve Jobs
5 2000s-2010s
6 Popular culture
7 Discography
8 See also
9 References
10 Further reading
11 External links
[edit]Early life

Baez was born on Staten Island, New York in 1941.[4] Her father, Albert Baez, was born in 1912 in Puebla, Puebla, Mexico, and died March 20, 2007.[5] His father, Joan's grandfather, the Reverend Alberto Baez, left Catholicism to become a Methodist minister and moved to the U.S. when Albert was two years old. Albert grew up in Brooklyn, New York, where his father preached to—and advocated for—a Spanish-speaking congregation.[6] Albert first considered becoming a minister but instead he turned to the study of mathematics and physics, where he later became a co-inventor of the x-ray microscope[7][8][9] and author of one of the most widely used physics textbooks[10] in the U.S. The Baez family converted to Quakerism during Joan's early childhood, and she has continued to identify with the tradition, particularly in her commitment to pacifism and social issues.[citation needed]
Her mother, Joan (Bridge) Baez, referred to as Joan Senior or "Big Joan", was born in Edinburgh, Scotland, the second daughter of an English Anglican priest descended from the Dukes of Chandos.[11] Joan Senior and Albert met at a high-school dance in Madison, New Jersey, and quickly fell in love. After their marriage, the newlyweds moved to California.[citation needed]
Baez had two sisters — the elder, Pauline, and the younger, Mimi Fariña. Mimi, also a musician and activist, died of cancer in California in 2001.[12]
Because of her father's work in health care and with UNESCO, the family moved many times, living in towns across the U.S, as well as in England, France, Switzerland, Spain, Canada, and the Middle East, including Iraq, where they were in 1951. Joan became involved with a variety of social causes early in her career, including civil rights and non-violence.[13] Social justice, she stated in the PBS series American Masters, is the true core of her life, "looming larger than music".[14]
[edit]Music career

[edit]Early years
A friend of Joan's father gave her a ukulele. She learned four chords, which enabled her to play rhythm and blues, the music she was listening to at the time. Her parents, however, were fearful that the music would lead her into a life of drug addiction.[15] When she was 8, at her aunt's behest, Baez attended a concert by folk musician Pete Seeger, and found herself strongly moved by his music.[15] She soon began practicing the songs of his repertoire and performing them publicly. One of her very earliest public performances was at a retreat in Saratoga, California, for a youth group from Temple Beth Jacob, a Redwood City, California, congregation. In 1957, Baez bought her first Gibson acoustic guitar.
[edit]College music scene in Massachusetts
In 1958, her father accepted a faculty position at MIT, and moved his family to Massachusetts. At that time, it was within the center of the up-and-coming folk-music scene, and Baez began performing near home in Boston and nearby Cambridge. She also performed in clubs, and attended Boston University for about six weeks.[14] In 1958, at the Club 47 in Cambridge, she gave her first concert. When designing the poster for the performance, Baez considered changing her performing name to either Rachel Sandperl, the surname of her long-time mentor, Ira Sandperl or Maria from the song "They Call the Wind Maria". She later opted against doing so, fearing that people would accuse her of changing her last name because it was Spanish. The audience consisted of her parents, her sister Mimi, her boyfriend, and a small group of friends, resulting in a total of eight patrons. She was paid ten dollars. Baez was later asked back and began performing twice a week for $25 per show.[16]
A few months later, Baez and two other folk enthusiasts made plans to record an album in the cellar of a friend's house. The three sang solos and duets, a family friend designed the album cover, and it was released on Veritas Records that same year as Folksingers 'Round Harvard Square. Baez later met Bob Gibson and Odetta, who were at the time two of the most prominent vocalists singing folk and gospel music. Baez cites Odetta as a primary influence along with Marian Anderson and Seeger.[17] Gibson invited Baez to perform with him at the 1959 Newport Folk Festival, where the two sang two duets, "Virgin Mary Had One Son" and "We Are Crossing Jordan River". The performance generated substantial praise for the "barefoot Madonna" with the otherworldly voice, and it was this appearance that led to Baez signing with Vanguard Records the following year[18] although Columbia Records tried to sign her first.[19] Baez later claimed that she felt she would be given more artistic license at a more "low key" label.[20]
[edit]First albums and 1960s breakthrough


Baez playing at the March on Washington in August 1963.
Her true professional career began at that 1959 Newport Folk Festival; following that appearance, she recorded her first album for Vanguard, Joan Baez (1960), produced by Fred Hellerman of The Weavers, who produced many albums by folk artists. The collection of traditional folk ballads, blues and laments sung to her own guitar accompaniment sold moderately well. It featured many popular Child Ballads of the day, such as "Mary Hamilton" and was recorded in only four days in the ballroom of New York City's Manhattan Towers Hotel. The album also included "El Preso Numero Nueve", a song sung entirely in Spanish. (She would rerecord the later song in 1974 for inclusion on her Spanish-language album, Gracias a la Vida)
Her second release, Joan Baez, Vol. 2 (1961) went "gold", as did Joan Baez in Concert, Part 1 (1962) and Joan Baez in Concert, Part 2 (1963). Like its immediate predecessor, Joan Baez, Vol. 2 contained strictly traditional material. Her two albums of live material, Joan Baez in Concert, Part 1 and its second counterpart, were unique in that, unlike most live albums, they contained only new songs, rather than established favorites. It was Joan Baez in Concert, Part 2 that featured Baez's first-ever Dylan cover. From the early-to-mid-1960s, Baez emerged at the forefront of the American roots revival, where she introduced her audiences to the then-unknown Bob Dylan (the two became romantically involved in late 1962, remaining together through early 1965), and was emulated by artists such as Judy Collins, Emmylou Harris, Joni Mitchell and Bonnie Raitt.
Though primarily an albums artist, several of Baez' singles have charted and the first being her 1965 cover of Phil Ochs' "There but for Fortune", which became a mid-level chart hit in the U.S. and a top-ten single in the United Kingdom. Baez added other instruments to her recordings on Farewell, Angelina (1965), which features several Dylan songs interspersed with more traditional fare. Deciding to experiment after having exhausted the folksinger-with-guitar format, Baez turned to Peter Schickele, a classical music composer, who provided classical orchestration for her next three albums: Noël (1966), Joan (1967) and Baptism: A Journey Through Our Time (1968). Noël was a Christmas album of traditional material, while Baptism was akin to a concept album, featuring Baez reading and singing poems written by celebrated poets such as James Joyce, Federico García Lorca and Walt Whitman.
In 1968, Baez traveled to Nashville, Tennessee, where a marathon recording session resulted in two albums. The first, Any Day Now (1968), consists exclusively of Dylan covers. The other, the country-music-infused David's Album (1969) was recorded for husband David Harris, a prominent anti-Vietnam War protester eventually imprisoned for draft resistance. Harris, a country-music fan, turned Baez toward more complex country-rock influences beginning with David's Album. Later in 1968, she published her first memoir, Daybreak (by Dial Press). In 1969, her appearance at Woodstock in upstate New York afforded her an international musical and political podium, particularly upon the successful release of the documentary film Woodstock (1970). Beginning in the late 1960s, Baez began writing many of her own songs, beginning with "Sweet Sir Galahad" and "A Song For David", both songs appearing on her 1970 (I Live) One Day at a Time album; the former song was written about her sister Mimi's second marriage, while the later was a tribute to Harris.
Baez's distinctive vocal style and political activism had a significant impact on popular music. She was one of the first musicians to use her popularity as a vehicle for social protest, singing and marching for human rights and peace. Baez came to be considered the "most accomplished interpretive folksinger/songwriter of the 1960s."[21] Her appeal extended far beyond the folk-music audience.[21] Of her fourteen Vanguard albums, thirteen made the top 100 of Billboard's mainstream pop chart, eleven made the top forty, eight made the top twenty, and four made the top ten.[22]
[edit]1970s and the end of Vanguard years


Baez playing in a Hamburg TV studio, 1973
After eleven years with Vanguard, Baez decided in 1971 to cut ties with the label that had released her albums since 1960. She delivered them one last success with the gold-selling album Blessed Are... (1971) which spawned a top-ten hit in Robbie Robertson's "The Night They Drove Old Dixie Down", her cover of The Band's signature song. With Come from the Shadows (1972), Baez switched to A&M Records, where she remained for four years and six albums.
Joan Baez wrote and performed "The Story of Bangladesh" at the Concert for Bangladesh, Madison Square Garden in 1971. This song was based on the Pakistan Army crackdown on unarmed sleeping Bengali students at Dhaka University on March 25, 1971, which ignited the prolonged nine-month Bangladesh Liberation War.[23] The song was later entitled "The Song of Bangladesh" and released in a 1972 album from Chandos Music.[24]
During this period, in late 1971, she reunited with Schickele to record two tracks, "Rejoice in the Sun" and "Silent Running" for the science-fiction film, Silent Running. The two songs were issued as a single on Decca (32890). In addition to this, another LP was released on Decca (DL 7-9188), and was later reissued by Varèse Sarabande on black (STV-81072) and green (VC-81072) vinyl. In 1998 a limited release on CD by the "Valley Forge Record Groupe" was released.
Baez' first album for A&M, Come from the Shadows, was recorded in Nashville, and included a number of more personal compositions, including "Love Song to a Stranger" and "Myths", as well as work by Mimi Farina, John Lennon, and Anna Marly.
Where Are You Now, My Son? (1973) featured a 23-minute title song which took up all of the B-side of the album. Half spoken word poem and half tape-recorded sounds, the song documented Baez's visit to Hanoi, North Vietnam, in December 1972, during which she and her traveling companions survived the 11-day long Christmas Bombings campaign over Hanoi and Haiphong.[25] (See Vietnam War in Civil rights section below.)
Gracias a la Vida (1974) (the title song written and first performed by Chilean folk singer Violeta Parra) followed and was a success in both the U.S. and Latin America. It included the song "Cucurrucucú paloma". Flirting with mainstream pop music as well as writing her own songs for Diamonds & Rust (1975), the album became the highest selling of Baez's career and spawned a second top-ten single in the form of the title track.
After Gulf Winds (1976), an album of entirely self-composed songs, and From Every Stage (1976), a live album that had Baez performing songs "from every stage" of her career, Baez again parted ways with a record label when she moved to CBS Records for Blowin' Away (1977) and Honest Lullaby (1979).
[edit]1980s and 1990s
In 1980, Baez was given honorary Doctor of Humane Letters degrees by Antioch University and Rutgers University for her political activism and the "universality of her music". In 1983, she appeared on the Grammy Awards, performing Dylan's anthemic "Blowin' in the Wind", a song she first performed twenty years earlier.


Bob Dylan, Joan Baez, Carlos Santana, performing in May 1984, Hamburg.
Baez also played a significant role in the 1985 Live Aid concert for African famine relief, opening the U.S. segment of the show in Philadelphia, Pennsylvania. She has toured on behalf of many other causes, including Amnesty International's 1986 A Conspiracy of Hope tour and a guest spot on their subsequent Human Rights Now! tour.
Baez found herself without an American label for the release of Live Europe 83 (1984), which was released in Europe and Canada, but not released commercially in the U.S. She did not have an American release until the album Recently (1987) on Gold Castle Records.
In 1987, Baez's second autobiography called And a Voice to Sing With was published and became a New York Times bestseller. That same year, she traveled to the Middle East to visit with and sing songs of peace for Israel and the Palestinians.
In May 1989, Baez performed at a music festival in communist Czechoslovakia, called Bratislavská lýra. While there, she met future Czechoslovakian president Václav Havel, whom she let carry her guitar so as to prevent his arrest by government agents. During her performance, she greeted members of Charter 77, a dissident human-rights group, which resulted in her microphone being shut off abruptly. Baez then proceeded to sing a cappella for the nearly four thousand gathered. Havel cited her as a great inspiration and influence in that country's Velvet Revolution, the revolution in which the Soviet-dominated communist government there was overthrown.
Baez recorded two more albums with Gold Castle, Speaking of Dreams, (1989) and Brothers in Arms (1991). She then landed a contract with a major label, Virgin Records, recording Play Me Backwards (1992) for Virgin shortly before the company was purchased by EMI. She then switched to Guardian, with whom she produced a live album, Ring Them Bells (1995), and a studio album, Gone from Danger (1997).
In 1993, at the invitation of Refugees International and sponsored by the Soros Foundation, she traveled to the war-torn Bosnia and Herzegovina region of then-Yugoslavia in an effort to help bring more attention to the suffering there. She was the first major artist to perform in Sarajevo since the outbreak of the Yugoslav civil war.
In October of that year, Baez became the first major artist to perform in a professional concert presentation on Alcatraz Island (a former U.S. federal prison) in San Francisco, California, in a benefit for her sister Mimi's Bread and Roses organization. She later returned for another concert in 1996.
[edit]2000 to present
Beginning in 2001, Baez has had several successful long-term engagements as a lead character at San Francisco's Teatro ZinZanni.[26] In August 2001, Vanguard began re-releasing Baez's first 13 albums, which she recorded for the label between 1960 and 1971. The reissues, being released through Vanguard's Original Master Series, feature digitally restored sound, unreleased bonus songs, new and original artwork, and new liner-note essays written by Arthur Levy. Likewise, her six A&M albums were reissued in 2003.


Hardly Strictly Bluegrass Festival 2005 at Golden Gate Park.
In 2003, Baez was also a judge for the third annual Independent Music Awards to support independent artists' careers.[27] Her album, Dark Chords on a Big Guitar (2003), features songs by composers half her age, while a November 2004 performance at New York City's Bowery Ballroom was recorded for a live release, Bowery Songs (2005).
On October 1, 2005, she performed at the Hardly Strictly Bluegrass festival, at San Francisco's Golden Gate Park. Then, on January 13, 2006, Baez performed at the funeral of Lou Rawls, where she led Jesse Jackson, Sr., Wonder, and others in the singing of "Amazing Grace". On June 6, 2006, Baez joined Bruce Springsteen on stage at his San Francisco concert, where the two performed the rolling anthem "Pay Me My Money Down". In September 2006, Baez contributed a live, retooled version of her classic song "Sweet Sir Galahad" to a Starbucks's exclusive XM Artist Confidential album. In the new version, she changed the lyric "here's to the dawn of their days" to "here's to the dawn of her days", as a tribute to her late sister Mimi, about whom Baez wrote the song in 1969. Later on, October 8, 2006, she appeared as a special surprise guest at the opening ceremony of the Forum 2000 international conference in Prague, Czech Republic. Her performance was kept secret from former Czech Republic President Havel until the moment she appeared on stage. Havel was a great admirer of both Baez and her work. During Baez's next visit to Prague, in April 2007, the two met again when she performed in front of a sold-out house at Prague's Lucerna Hall, a building erected by Havel's grandfather. On December 2, 2006, she made a guest appearance at the Oakland Interfaith Gospel Choir's Christmas Concert at the Paramount Theatre in Oakland, California. Her participation included versions of "Let Us Break Bread Together" and "Amazing Grace". She also joined the choir in the finale of "O Holy Night".


Joan Baez concert in Dresden, Germany, July 2008
In February 2007, Proper Records reissued her live album Ring Them Bells (1995), which featured duets with artists ranging from Dar Williams and Mimi Fariña to the Indigo Girls and Mary Chapin Carpenter. The reissue features a 16-page booklet and six unreleased live tracks from the original recording sessions, including "Love Song to a Stranger", "You Ain't Goin' Nowhere", "Geordie", "Gracias a la Vida", "The Water Is Wide" and "Stones in the Road", bringing the total tracklisting to 21 songs (on two discs). In addition, Baez recorded a duet of "Jim Crow" with John Mellencamp which appears on his album Freedom's Road (2007). He has called the album a "Woody Guthrie rock album". The recording was heavily influenced by albums from the 1960s, which is why he invited an icon from that era to appear with him.[citation needed] Also in February 2007, she received the Grammy Lifetime Achievement Award. The day after receiving the honor, she appeared at the Grammy Awards ceremony and introduced a performance by the Dixie Chicks.[citation needed]


August 13, 2009, Seattle.
September 9, 2008, saw the release of the studio album Day After Tomorrow, produced by Steve Earle and featuring three of his songs.[28][29] On June 29, 2008, Baez performed on the Acoustic Stage at the Glastonbury Festival in Glastonbury, U.K.,[30] playing out the final set to a packed audience.[citation needed] On July 6, 2008, she played at the Montreux Jazz Festival in Montreux, Switzerland. During the concert's finale, she spontaneously danced on stage with a band of African percussionists.[31]
On August 2, 2009, Baez played at the 50th Newport Folk Festival, which also marked the 50th anniversary of her breakthrough performance at the first festival.[32] On October 14, 2009, PBS aired an episode of its documentary series, American Masters, entitled, Joan Baez: How Sweet the Sound. It was produced and directed by Mary Wharton. A DVD and CD of the sound track were released at the same time.[14]
[edit]Social and political involvement

[edit]1950s
In 1956, Baez first heard Martin Luther King, Jr. speak about nonviolence, civil rights and social change which brought tears to her eyes.[14] Several years later, the two became friends,[14] with Baez participating in many of the Civil Rights Movement demonstrations that Dr. King helped organize.
In 1957, at age 16, Joan committed her first act of civil disobedience as a conscientious objector by refusing to leave her Palo Alto High School classroom in Palo Alto, California for an air-raid drill.[33]
[edit]Civil Rights
The early years of Joan Baez's career saw the civil-rights movement in the U.S. become a prominent issue. Her performance of "We Shall Overcome", the civil-rights anthem written by Pete Seeger and Guy Carawan, at the 1963 March on Washington for Jobs and Freedom permanently linked her to the song. Baez again sang "We Shall Overcome" in Sproul Plaza during the mid-1960s Free Speech Movement demonstrations at the University of California, Berkeley in Berkeley, California, and at many other rallies and protests.
Her recording of the song "Birmingham Sunday" (1964),written by her brother-in-law, Richard Fariña, was used in the opening of 4 Little Girls (1997), Spike Lee's documentary film about the four young victims killed in the 1963 bombing.
Baez joined Dr. King, James Bevel, and many others on their 1965 march from Selma to Montgomery, Alabama. She sang for the marchers in the town of St. Jude, Alabama, as they camped the night before arriving in Montgomery. She also linked arms with Dr. King to protect African-American schoolchildren in Grenada, Mississippi who were trying to attend "white" schools.[clarification needed]
In 1966, she stood in the fields alongside César Chávez and California's migrant farm workers as they fought for fair wages and safe working conditions and performed at a benefit on behalf of the United Farm Workers (UFW) union in December of that year. In 1972, she was at Chávez's side during his 24-day fast to draw attention to the farmworkers struggle and can be seen singing "We Shall Overcome" during that fast in the film about the UFW, "Si Se Puede" ("It can be done").[clarification needed]
"I went to jail for 11 days for disturbing the peace; I was trying to disturb the war."
Joan Baez, 1967 Pop Chronicles interview.[34]
[edit]Vietnam War
Highly visible in civil-rights marches, Baez became more vocal about her disagreement with the Vietnam War. In 1964, she publicly endorsed resisting taxes by withholding sixty percent of her 1963 income taxes. In 1964, she founded the Institute for the Study of Nonviolence (along with her mentor Sandperl) and encouraged draft resistance at her concerts.
Baez was arrested twice in 1967[35] for blocking the entrance of the Armed Forces Induction Center in Oakland, California and spent over a month in jail. (See also David Harris section below.)
She was a frequent participant in anti-war marches and rallies, including:
numerous protests in New York City organized by the Fifth Avenue Vietnam Peace Parade Committee, starting with the March 1966 Fifth Avenue Peace Parade,[36]
a free 1967 concert at the Washington Monument in Washington, D.C., that had been opposed by the Daughters of the American Revolution which attracted a crowd of 30,000 to hear her anti-war message,[37]
the 1969 Moratorium to End the War in Vietnam protests.
There were many others, culminating in Phil Ochs's The War Is Over celebration in New York City in May 1975.[38]
During the Christmas season 1972, Baez joined a peace delegation traveling to North Vietnam, both to address human rights in the region, and to deliver Christmas mail to American prisoners of war. During her time there, she was caught in the U.S. military's "Christmas bombing" of Hanoi, North Vietnam, during which the city was bombed for eleven straight days.
Her disquiet at the human-rights violations of communist Vietnam made her increasingly critical of its government and she organized the May 30, 1979, publication, of a full-page advertisement (published in four major U.S. newspapers)[39] in which the communists were described as having created a nightmare.
[edit]Human rights
Baez was instrumental in founding the USA section of Amnesty International in the 1970s, and has remained an active supporter of the organization.
Baez' experiences regarding Vietnam's human-rights violations ultimately led her to found her own human-rights group in the late 1970s, Humanitas International, whose focus was to target oppression wherever it occurred, criticizing right and left-wing régimes equally.
In 1976, she was awarded the Thomas Merton Award for her ongoing activism.[40]
She toured Chile, Brazil and Argentina in 1981, but was prevented from performing in any of the three countries, for fear her criticism of their human-rights practices would reach mass audiences if she were given a podium. While there, she was kept under surveillance and subjected to death threats. A film of the ill-fated tour, There but for Fortune, was shown on PBS in 1982.
In 1989, after the Tiananmen Massacre in Beijing Baez wrote and released the song "China" to condemn the Chinese government for its bloody slaughter of thousands of student protesters who called for establishment of democratic republicanism.
In a second trip to Southeast Asia, Baez assisted in an effort to take food and medicine into the western regions of Cambodia, and participated in a United Nations Humanitarian Conference on Kampuchea.
On July 17, 2006, Baez received the Distinguished Leadership Award from the Legal Community Against Violence. At the annual dinner event they honored her for her lifetime of work against violence of all kinds.
[edit]Opposing death penalty
In December 2005, Baez appeared and sang "Swing Low, Sweet Chariot" at the California protest at the San Quentin State Prison against the execution of Tookie Williams.[41][42] She had previously performed the same song at San Quentin at the 1992 vigil protesting the execution of Robert Alton Harris, the first man to be executed in California after the death penalty was reinstated. She subsequently lent her prestige to the campaign opposing execution of Troy Davis by the State of Georgia.[43][44]
[edit]Gay and lesbian rights
Baez has also been prominent in the struggle for gay and lesbian rights. In 1978, she performed at several benefit concerts to defeat the Briggs Initiative, which proposed banning all gay people from teaching in the public schools of California. Later that same year, she participated in memorial marches for the assassinated San Francisco city supervisor, Harvey Milk, who was openly gay.
In the 1990s, she appeared with her friend Janis Ian at a benefit for the National Gay and Lesbian Task Force, a gay lobbying organization, and performed at the San Francisco Lesbian, Gay, Bisexual and Transgender Pride March.
Her song "Altar Boy and the Thief" from Blowin' Away (1977) was written as a dedication to her gay fanbase.[citation needed]
[edit]Iran
On June 25, 2009, Baez created a special version of "We Shall Overcome" with a few lines of Persian lyrics in support of peaceful protests by Iranian people. She recorded it in her home and posted the video on YouTube[45] and on her personal website. She dedicated the song "Joe Hill", to the people of Iran during her concert at Merrill Auditorium, Portland, Maine on July 31, 2009.
[edit]Environmental causes
On Earth Day 1999, Baez and Bonnie Raitt honored environmental activist Julia Butterfly Hill with Raitt's Arthur M. Sohcot Award in person on her 180-foot (55 m)-high redwood treetop platform, where Hill had camped to protect ancient redwoods in the Headwaters Forest from logging.[46]
[edit]War in Iraq
In early 2003, Baez performed at two rallies of hundreds of thousands of people in San Francisco protesting the U.S. invasion of Iraq (as she had earlier done before smaller crowds in 1991 to protest the Gulf War).
In August 2003, she was invited by Emmylou Harris and Steve Earle to join them in London, U.K., at the Concert For a Landmine-Free World.
In the summer of 2004, Joan joined Michael Moore's "Slacker Uprising Tour" on American college campuses, encouraging young people to get out and vote for peace candidates in the upcoming national election.
In August 2005, Baez appeared at the Texas anti-war protest that had been started by Cindy Sheehan.
[edit]Poverty
On May 23, 2006, Baez once again joined Julia "Butterfly" Hill, this time in a "tree sit" in a giant tree on the site of the South Central Farm in a poor neighborhood of downtown Los Angeles, California. Baez and Hill were hoisted into the tree, where they remained overnight. The women, in addition to many other activists and celebrities, were protesting the imminent eviction of the community farmers and demolition of the site, which is the largest urban farm in the state. Because many of the South Central Farmers are immigrants from Central America, Baez sang several songs from her 1974 Spanish-language album, Gracias a la Vida, including the title track and "No Nos Moverán" ("We Shall Not Be Moved").
[edit]2008 Presidential election

"We Shall Overcome"

Joan Baez performs "We Shall Overcome" at the White House in front of President Barack Obama, at a celebration of music from the civil rights era (February 9, 2010).
"We Shall Overcome"
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Throughout most of her career, Baez remained apprehensive about involving herself in party politics. However, on February 3, 2008, Baez wrote a letter to the editor at the San Francisco Chronicle endorsing Barack Obama in the 2008 U.S. presidential election. She noted: "Through all those years, I chose not to engage in party politics.... At this time, however, changing that posture feels like the responsible thing to do. If anyone can navigate the contaminated waters of Washington, lift up the poor, and appeal to the rich to share their wealth, it is Sen. Barack Obama."[47]
Playing at the Glastonbury Festival in June, Baez said during the introduction of a song that one reason she likes Obama is because he reminds her of another old friend of hers: Martin Luther King, Jr.[48]
Although a highly political figure throughout most of her career, Baez had never publicly endorsed a major political party candidate prior to Obama. She performed at The White House on February 10, 2010 as part of an evening celebrating the music associated with the civil rights movement, performing "We Shall Overcome".[49]
[edit]Joan Baez Award
On March 18, 2011 Joan Baez was honored by Amnesty International at their 50th Anniversary Annual General Meeting in San Francisco. The tribute to Joan Baez was the inaugural event for the Amnesty International Joan Baez Award[50] for Outstanding Inspirational Service in the Global Fight for Human Rights. Joan Baez was presented with the first award in recognition of her human rights work with Amnesty International and beyond, and the inspiration she has given activists around the world. In future years, the award is to be presented to an artist - music, film, sculpture, paint or other medium - who has similarly helped advance human rights.
[edit]Occupy Wall Street
On November 11, 2011, Joan Baez played as part of a musical concert for the protestors at Occupy Wall Street.[51] Her three-song set included "Joe Hill", a cover of the Rolling Stones' "Salt of the Earth" and her own composition "Where's My Apple Pie?".
[edit]Personal life

[edit]Early relationships
Baez's first real boyfriend was Michael New, a young man whom she met at college. Years later in 1979, he inspired her song "Michael". New was a fellow student from Trinidad, West Indies, who, like Baez, attended classes only occasionally. The two spent a considerable amount of time together, but Baez was unable to balance her blossoming career and her relationship. The two bickered and made up repeatedly, but it was apparent to Baez that New was beginning to resent her success and new-found local celebrity. One night she saw him kissing another woman on a street corner. Despite this, the relationship remained intact for several years, long after the two moved to California together in 1960.
[edit]Bob Dylan


Joan Baez with Bob Dylan at the civil rights March on Washington, August 28, 1963.
Baez first met Dylan in 1961 at Gerde's Folk City in New York City's Greenwich Village. At the time, Baez had already released her debut album and her popularity as the emerging "Queen of Folk" was on the rise. Baez was initially unimpressed with the "urban hillbilly", but was impressed with one of Dylan's first compositions, "Song to Woody", and remarked that she would like to record it.
At the start, Dylan was more interested in Baez's younger sister, Mimi, but under the glare of media scrutiny that began to surround Baez and Dylan, their relationship began to develop into something more.
By 1963, Baez had already released three albums, two of which had been certified gold, and she invited Dylan on stage to perform alongside her at the Newport Folk Festival. The two performed the Dylan composition "With God on Our Side", a performance that set the stage for many more duets like it in the months and years to come. Typically while on tour, Baez would invite Dylan to sing on stage partly by himself and partly with her, much to the chagrin of her fans.[14]
Before meeting Dylan, Baez's topical songs were very few: "Last Night I Had the Strangest Dream", "We Shall Overcome", and an assortment of negro spirituals. Baez would later say that Dylan's songs seemed to update the topics of protest and justice.
By the time of Dylan's 1965 tour of the U.K., their relationship had slowly begun to fizzle out after they had been romantically involved off and on for nearly two years. The tour and simultaneous disintegration of their relationship was documented in D.A. Pennebaker's documentary film Dont Look Back (1967).
Baez toured with Dylan as a performer on his Rolling Thunder Revue in 1975–76. She sang four songs with Dylan on the live album of the tour, The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue, released in 2002. Baez appeared with Dylan in the one hour TV special, Hard Rain, filmed at Fort Collins, Colorado, in May 1976. Baez also starred as 'The Woman In White' in the film Renaldo and Clara (1978), directed by Bob Dylan and filmed during the Rolling Thunder Revue. Dylan and Baez toured together again in 1984 along with Carlos Santana.
Baez discussed her relationship with Dylan in Martin Scorsese's documentary film No Direction Home (2005), and in the PBS American Masters biography of Baez, How Sweet the Sound (2009).
Baez penned at least three songs about Dylan. In "To Bobby", written in 1972, she urged Dylan to return to political activism, while in "Diamonds & Rust", the title track from her 1975 album, she revisited her feelings for him in warm, yet direct terms.[52] "Winds of the Old Days", also on the Diamonds & Rust album, is a bittersweet reminiscence about her time with "Bobby".
References to Baez in Dylan's songs are far less clear. Baez herself has suggested that she was the subject of both "Visions of Johanna" and "Mama, You Been on My Mind", although the latter was more likely about his relationship with Suze Rotolo.[53][54] As for "Visions of Johanna", "She Belongs to Me" and other songs alleged to have been written about Baez, neither Dylan nor biographers such as Clinton Heylin and Michael Gray have had anything definitive to say one way or the other regarding the subject of these songs.
[edit]David Harris
In October 1967, Baez, her mother, and nearly 70 other women were arrested at the Oakland, California, Armed Forces Induction Center for blocking the doorways of the building to prevent entrance by young inductees, and in support of young men who refused military induction. They were incarcerated in the Santa Rita Jail, and it was here that Baez met David Harris, who was kept on the men's side but who still managed to visit with Baez regularly.
The two formed a close bond upon their release and Baez moved into his draft-resistance commune in the hills above Stanford, California. The pair had known each other for three months when they decided to wed. After confirming the news to Associated Press, media outlets began dedicating ample press to the impending nuptials (at one point, Time magazine referred to it as the "Wedding of the Century").
After finding a pacifist preacher, a church outfitted with peace signs and writing a blend of Episcopalian and Quaker wedding vows, Baez and Harris married each other in New York City on March 26, 1968. Her friend Judy Collins sang at the ceremony. After the wedding, Baez and Harris moved into a home in the Los Altos Hills on 10 acres (40,000 m2) of land called Struggle Mountain, part of a commune, where they tended gardens and were strict vegetarians.
A short time later, Harris refused induction to the armed forces and was indicted. On July 16, 1969, Harris was taken by federal marshals to prison.[55] Baez was visibly pregnant in public in the months that followed, most notably at the Woodstock Festival, where she performed a handful of songs in the early morning. The documentary film Carry It On was produced during this period, and was released in 1970.[56] The film's behind-the-scenes looks at Harris's views and arrest and Baez on her subsequent performance tour was positively reviewed in Time magazine and The New York Times.[57][58]
Among the songs Baez wrote about this period of her life are "A Song for David", "Myths", "Prison Trilogy (Billy Rose)" and "Fifteen Months" (the amount of time Harris was imprisoned).
Their son, Gabriel, was born in December 1969. Harris was released from Texas prison after 15 months, but the relationship began to dissolve and the couple divorced amicably in 1973. They shared custody of Gabriel, who primarily lived with Baez.[59] Explaining the split, Baez wrote in her autobiography, "I am made to live alone."[60] Baez and Harris remained on friendly terms throughout the years; they reunited on-camera for the 2009 American Masters documentary for PBS. As of 2012, she has not remarried. Their son Gabriel is a drummer and occasionally tours with his mother.
[edit]Steve Jobs
She dated Apple Computer cofounder Steve Jobs during the early 1980s.[61] A number of sources have stated that Jobs had considered asking Baez to marry him, except that her age at the time (early 40s) made the possibility of their having children unlikely.[62] Baez mentioned Jobs in the acknowledgments in her 1987 memoir, And a Voice to Sing With, and performed at the memorial for him in 2011. After Jobs' death, Baez spoke fondly about him, stating that even after the relationship had ended, the two remained friends, with Jobs having visited Baez shortly before his death, and stating that "Steve had a very sweet side, even if he was as...err...erratic as he was famous for being." [1]
[edit]2000s-2010s

Baez is a resident of Woodside, California, and lives with her mother in a house that has a backyard tree house in which she spends a good deal of time meditating, writing, and "being close to nature."[63] She remained close to her younger sister Mimi, up until Mimi's death in 2001, and as Baez described in the 2009 American Masters documentary, she has also become closer to her older sister Pauline.
Baez's son, percussionist Gabriel Harris, has been a member of her touring bands.
[edit]Popular culture

The comedy album National Lampoon's Radio Dinner (1972) includes a Baez parody, "Pull the Triggers, Niggers" (deliberately misspelled as "Pull the Tregroes" on the album's outside liner notes), performed by Baez sound-alike Diana Reed. The satiric song made specific reference to Baez's ex-boyfriend Dylan's defense of Black Panther and convicted murderer, George Jackson.
A character based on Baez appears in I'm Not There and is portrayed by Julianne Moore.
"Here's to You" (music by Ennio Morricone, lyrics by Baez), a song Baez originally performed for the Italian film Sacco e Vanzetti (1971), became a hymn for the 1960s and 1970s civil-rights movement. It also appears on the soundtrack for the film The Life Aquatic with Steve Zissou (2004). The song is also played over the credits of the quasi-documentary film Deutschland im Herbst (1977) and was recently used in the video game Metal Gear Solid 4: Guns of the Patriots and for the trailer of Metal Gear Solid: Ground Zeroes.
Cartoonist Al Capp, creator of the comic strip Li'l Abner, during the 1960s satirized Baez as "Joanie Phoanie". Joanie was an unabashed communist radical who sang songs of class warfare while hypocritically traveling in a limousine and charging outrageous performance fees to impoverished orphans.[64] Capp had this character singing bizarre songs such as "A Tale of Bagels and Bacon" and "Molotov Cocktails for Two". Although Baez was upset by the parody in 1966, she admits to being more amused in recent years. "I wish I could have laughed at this at the time", she wrote in a caption under one of the strips, reprinted in her autobiography. "Mr. Capp confused me considerably. I'm sorry he's not alive to read this, it would make him chuckle".[65] Capp stated at the time, "Joanie Phoanie is a repulsive, egomaniacal, un-American, non-taxpaying horror, I see no resemblance to Joan Baez whatsoever, but if Miss Baez wants to prove it, let her."[66]
Baez was featured in the Joan Didion essay "Where the Kissing Never Stops" (1966), in Didion's compilation Slouching Towards Bethlehem (1968).
Baez has been lampooned multiple times on Saturday Night Live by comedienne Nora Dunn. One skit features a game show entitled Make Joan Baez Laugh! where a dour Baez is ushered onstage while celebrity guests try their hand at getting her to a crack a smile.
[edit]Discography

Main article: Joan Baez discography
[edit]See also

List of peace activists
[edit]References

^ Westmoreland-White, Michael L. (February 23, 2003). Joan Baez: Nonviolence, Folk Music, and Spirituality[dead link]. ecapc.org; Every Church A Peace Church. Retrieved 2007-06-26.
^ Ruhlemann, William (May 6, 2009). "Joan Baez – Biography". allmusic.com. Rovi Corporation. Retrieved 2009-12-13.
^ Brown, Mick (September 15, 2009). "Joan Baez interview". London: The Telegraph. Retrieved 2009-12-13.
^ "Chronology from her web-page".
^ Liberatore, Paul (May 20, 2007). "Noted scientist was father of Joan Baez and Mimi Farina". Marin Independent Journal. Retrieved 2010-05-08.
^ Baez, Rev. Alberto (October 11, 1935). Clergy letter to Franklin D. Roosevelt, FDR Personal File Newdeal.feri.org; New Deal Network. Retrieved 2007-05-10.
^ Baez, Albert V. Anecdotes about the Early Days of X-Ray Optics Journal of X-Ray Science and Technology, ISSN: 0895-3996. Volume 8, Number 2, 1998. Pages: 90...
^ Recognition of: Albert V. Baez[dead link]. National Society of Hispanic Physicists. Retrieved 2010-06-17.
^ Albert V. Baez (June 7, 1952). Resolving Power in Diffraction Microscopy with Special Reference to X-Rays Nature 169, 963–964; doi:10.1038/169963b0
^ Albert V. Baez (1967). The New College Physics: A Spiral Approach. W.H.Freeman & Co Ltd. ISBN 0-7167-0316-5; Library of Congress: LC Control No.: 67012180. Retrieved 2010-06-17.
^ Londoner's Diary (March 19, 2012) From hippy trail to the aristocracy thisislondon.co.uk
^ "Folk Artist Mimi Farina Dies". billboard.com. Billboard Magazine. July 20, 2001. Retrieved 2012-10-29.
^ Jackson, Ernie (2007).The Everything Guitar Book: Joan Baez. Adams Media; 2nd ed. ISBN 1-59869-250-X. Retrieved 2010-06-17.
^ a b c d e f "Joan Baez: How Sweet The Sound". American Masters. October 14, 2009. PBS. Retrieved 2009-12-17.
^ a b Democracy Now, May 4, 2009 (transcript). Interview with Joan Baez, by Amy Goodman at Pete Seeger's 90th birthday celebration.
^ Baez, Joan (1987). And A Voice To Sing With. Summit Books. p. 63. ISBN 5-551-88863-0. Retrieved 2010-08-01.
^ Baez, Joan. And a Voice to Sing With: A Memoir. New York: Simon & Schuster, 2009, p. 43
^ Baez, Joan (1987). And A Voice To Sing With. Summit Books. p. 62. ISBN 5-551-88863-0. Retrieved 2010-08-01.
^ Baez, Joan (1987). And A Voice to Sing With, pp 61–62. Baez describes the afternoon when she met with first Mitch Miller at Columbia, then Maynard Solomon at Vanguard.
^ Wald, Elijah (2009). How the Beatles Destroyed Rock n Roll: An Alternative History of American Popular Music. Oxford University Press, USA. p. 226. ISBN 0-19-534154-6. Retrieved 2010-08-01.
^ a b Joan Baez. United States History. History.com.
^ Joan Baez: Charts and Awards, All Music, accessed 2011-12-01.
^ Avijit Roy, Joan Baez and our Liberation War, mukto-mona.com.
^ Words and Music by Joan Baez, Song of Bangladesh, lyrics joanbaez.com.
^ Democracy Now, December 26, 2002 (audio). Interview with Joan Baez by Amy Goodman. Democracy Now. Retrieved 2010-06-17.
^ Steve Winn (October 12, 2001). "Now it's Countess Baez". San Francisco Chronicle.
^ 3rd Annual Independent Music Awards – Judges Independent Music Awards; Music Resource Group, LLC, 2004. Retrieved 2010-06-17.
^ Day After Tomorrow. joanbaez.com; Joan Baez official website. Retrieved 2010-06-17.
^ Bronson, Fred (September 19, 2008). Joan Baez back on chart after 29 years. Reuters/Billboard. Retrieved 2010-06-18.
^ Acoustic Stage lineup, 2008. Glastonbury Music Festival. Archived from the original[dead link] 2008-06-25.
^ "Montreux Jazz festival". Montreuxjazz.com. Retrieved 2011-11-12.
^ WFUV (August 2, 2009). Joan Baez: Newport Folk Festival 2009.(MP3) npr.org; National Public Radio – Music. Retrieved 2010-06-17.
^ "'Conscientious objector' stays at school during test". Palo Alto Times (archived w/clipping at Conelrad.com). February 7, 1958. Retrieved 2012-09-12.
Sweeney, Louise (November 13, 1979). "Joan Baez on the hunger front". The Christian Science Monitor (via Proquest). p. B6. Retrieved 2012-09-12.(subscription required)
"Joan Baez Appears At Stamford Palace". Stamford, Connecticut: The Hour (Google News Archive). November 14, 1989. Retrieved 2012-09-12.
^ "Show 19 - Blowin' in the Wind: Pop discovers folk music. [Part 2] : UNT Digital Library". Digital.library.unt.edu. Retrieved 2011-11-12.
^ "1967: Joan Baez arrested in Vietnam protest". BBC News. October 16, 1967. Retrieved 2010-05-06.
^ Douglas Robinson (March 26, 1966). "Antiwar Protests Staged in U.S.; 15 Burn Discharge Papers Here; Hundreds Cheer at Union Square Rally Arrests Made Across the Country 5th Avenue Parade Set Today" ($). The New York Times. Retrieved 2008-02-03.
^ B. Drummond Ayres Jr. (August 15, 1967). "30,000 in Capital at Free Concert by Joan Baez; Folk Singer Chides D.A.R., Which Protested U.S. Site" ($). The New York Times. Retrieved 2008-02-03.
^ Paul L. Montgomery (May 12, 1975). "End-of-War Rally Brings Out 50,000; PEACE RALLY HERE BRINGS OUT 50,000". The New York Times.
^ "Joan Baez starts protest on repression by Hanoi". The New York Times: p. A14. May 30, 1979.
^ "Joan Baez". Nndb.com. Retrieved 2012-04-09.
^ Jenifer Warren, Jenifer and Dolan, Maura (December 13, 2005). Tookie Williams is executed. Los Angeles Times. Retrieved 2010-06-17.
^ Felix (December 13, 2005). Thousand Protest Execution of Stan Tookie Williams (photo). Indybay.org. Retrieved 2010-06-17.
^ Amnesty International|source=Open letter of May 4, 2011|content="Dear (Recipients)Any day now, an execution date could be set for Troy Davis. On March 28, 2011 the U.S. Supreme Court declined to hear Troy Davis' appeals, setting the stage for Georgia to try to execute him again.Thousands of you have once again rallied to ward off the unthinkable. Music artists such as R.E.M.'s Michael Stipe, the Indigo Girls, and rapper Big Boi (all Georgians), as well as Steve Earle, Joan Baez, State Radio and actor Tim Roth have joined us by signing the petition..."|author= Laura Moye|title=Director, Death Penalty Abolition Campaign Amnesty International USA|retrieved=September 21, 2011
^ "Joan Baez, Amnesty and You | Human Rights Now - Amnesty International USA Blog". Blog.amnestyusa.org. 2011-09-08. Retrieved 2011-11-12.
^ Baez, Joan (June 25, 2009). Joan Baez "We Shall Overcome" (2009) youtube.com; Google Inc. Retrieved 2010-06-17.
^ Rising Ground, Michael. (1999). Bonnie Raitt and Joan Baez Tree-sit in protest. EcoMall; Ecology America. Retrieved 2010-06-18.
^ Baez, Joan (February 3, 2008). "Leader on a new journey (Letter to the editor)". San Francisco Chronicle. Retrieved 2008-02-03.
^ Mills, Paul (2008). "Joan Baez". Review. Glastonbury Festival. Retrieved 2008-07-27.
^ "The White House". Retrieved 2011-11-03.
^ "Joan Baez Award of Amnesty International 2011". Amnestyusa.org. 2011-03-09. Retrieved 2011-11-12.
^ "Folk music legend Joan Baez to perform at Occupy Wall Street rally". NY Daily News. 2009-12-14. Retrieved 2011-11-12.
^ Gray, Michael (2006). The Bob Dylan Encyclopedia. London: The Continuum International Publishing Group Ltd. pp. 30–31. ISBN 0-8264-6933-7.
^ Gray p 30
^ Heylin, Clinton (2003). Behind the Shades Revisited. London: HarperEntertainment. pp. 158–159. ISBN 0-06-052569-X.
^ "People: July 25, 1969". (Paragraph 2) Time. July 25, 1969. Retrieved 2010-06-18.
^ "Carry It On" Directed by Chris Knight. The New Film Co., 1970. Official website.
^ "J. C. (August 24, 1970). "Cinema: Something More Than Love". Time. Retrieved 2010-06-18.
^ Wilson, John S. (August 27, 1970). Joan Baez and Her Challenge:'Carry It On' Follows Singer and Husband. New York Times. Retrieved 2010-06-19.
^ James F. Clarity (March 27, 1973). "Joan Baez Sues for a Divorce". The New York Times: p. 43. Retrieved 2008-02-03.
^ Baez, Joan (1987). And a Voice to Sing With: A Memoir. New York: Summit Books. p. 160. ISBN 0-671-40062-2.
^ Invasion of Texaco Towers, One afternoon, when the project was in its advanced stages, Steve burst through the door, unannounced, in an exuberant mood. He had two guests... Joan Baez and her sister, Mimi Farina, Author: Jerry Manock, Date: June 1982, Folklore.org
^ Young, Jeffrey S.; Simon, William L. (2005). Con Steve Jobs: The Greatest Second Act in the History of Business. Wiley. ISBN 0-471-72083-6.
^ Hayes, John (March 8, 2002). Music Preview: Joan Baez says hard times are over Post-gazette.com
^ Comics: Which One Is the Phoanie?. time.com; Time magazine. January 20, 1967. Retrieved 2010-06-18.
^ UPI (January 11, 1967).Al Capp denies his character "Joanie Phoanie" looks like Joan Baez upi.com; United Press International. Retrieved 2010-06-17.
^ Nixonland: the rise of a president ... - Rick Perlstein - Google Books. Books.google.com. Retrieved 2011-11-12.
[edit]Further reading

Baez, Joan. 1968. Daybreak — An Intimate Journal. New York City, New York: Dial Press.
Baez, Joan, 1987. And a Voice to Sing With: A Memoir. New York City, New York: Summit Books. ISBN 0-671-40062-2
Baez, Joan. 1988. And a Voice to Sing With: A Memoir. Century Hutchinson, London, U.K. ISBN 0-7126-1827-9
Fuss, Charles J., 1996. Joan Baez: A Bio-Bibliography (Bio-Bibliographies in the Performing Arts Series). Westport, Connecticut: Greenwood Press.
Garza, Hedda, 1999. Joan Baez (Hispanics of Achievement). Chelsea House Publications.
Hajdu, David. 2001. Positively 4th Street. The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña And Richard Fariña. New York City, New York: Farrar, Straus and Giroux. ISBN 0-86547-642-X
Heller, Jeffrey, 1991. Joan Baez: Singer With a Cause (People of Distinction Series), Children's Press.
Jaeger, Markus. 2006. Joan Baez and the Issue of Vietnam. ibidem-Verlag, Austria. (book is in English)
Romero, Maritza, 1998. Joan Baez: Folk Singer for Peace (Great Hispanics of Our Time Series). Powerkids Books.
[edit]External links


This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (August 2012)
Wikimedia Commons has media related to: Joan Baez
Wikiquote has a collection of quotations related to: Joan Baez
Main links
Joan Baez — official website
Joan Baez in Vietnam 1972
Joan Baez page by Richard L. Hess
"Joan Baez: The Folk Heroine Mellows With Age" 1984 article and interview, reprinted in 2007 by Crawdaddy!
Ira Sandperl's web site including photos with Baez
"Carry It On", 1970 documentary film of Joan Baez and David Harris produced by The New Film Company, Inc., Cambridge, Massachusetts
Joan Baez in Palo Alto
Video links
It Ain't Me Babe (Live 1965)
End of tour interview with Youth Peace Ambassador (November 21, 2008)
Joan Baez BBC Concert Live 1965
Audio links
Joan Baez interviewed on the Pop Chronicles (1969).
Awards
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Categories: Joan Baez1941 birthsLiving peopleAmerican anti–death penalty activistsAmerican anti–Iraq War activistsAmerican anti–Vietnam War activistsAmerican buskersAmerican environmentalistsAmerican female guitaristsAmerican folk singersAmerican folk rock musiciansAmerican humanitariansAmerican people of English descentAmerican musicians of Mexican descentAmerican people of Scottish descentAmerican pacifistsAmerican QuakersAmerican singer-songwritersAmerican sopranosAmerican tax resistersAnti-poverty advocatesA&M Records artistsCivil rights activistsE1 Music artistsFeminist musiciansGrammy Lifetime Achievement Award winnersHispanic and Latino American women activistsLGBT rights activists from the United StatesNonviolence advocatesOrden de las Artes y las Letras de España recipientsPalo Alto High School alumniPeople from Staten IslandSpanish-language singers of the United StatesVanguard Records artistsVirgin Records artists

قس آلمانی

Joan Baez [dʒoʊn ˈbaɪəz] (* 9. Januar 1941 in Staten Island, New York City als Joan Chandos Báez) ist eine US-amerikanische Folk-Sängerin, Bürgerrechtlerin und Pazifistin, die vor allem durch ihre starke, klare Sopran-Stimme und ihr politisches Engagement gegen den Vietnamkrieg und die Rassentrennung bekannt wurde. Sie wird auch als „das Gewissen und die Stimme der 1960er“ bezeichnet.
Inhaltsverzeichnis [Verbergen]
1 Biografie
1.1 Musik
1.2 Politik
1.3 Privates
1.3.1 Lampenfieber und Agoraphobie
1.4 Joan Baez Award
2 Auszeichnungen
3 Diskografie
4 Literatur
5 Film
6 Weblinks
7 Einzelnachweise
Biografie [Bearbeiten]

Joan Baez kam 1941 im US-Staat New York als zweite Tochter von Albert Vinicio Báez und Joan Bridge Báez zur Welt. Ihr Großvater väterlicherseits trat in Mexiko aus der katholischen Kirche aus, wurde methodistischer Pastor und zog 1914 nach New York City. Die Eltern von Joan Baez waren ursprünglich Methodisten, traten aber noch in der frühen Kindheit Joan Baez’ zum Quäkertum über.
Ihre Mutter war Schottin und in Edinburgh geboren. Ihr Vater, ein Physiker mexikanischer Abstammung, weigerte sich, für die lukrative Rüstungsindustrie zu arbeiten. Diese idealistische Einstellung des Vaters mag Einfluss auf Baez’ späteres politisches Engagement gegen den Vietnamkrieg und für die Bürgerrechte gehabt haben. Wegen ihrer dunkleren Hautfarbe wurde sie während ihrer Kindheit öfter als „Nigger“ bezeichnet, Nachbarskindern wurde untersagt, mit ihr zu spielen.[1]
Aus beruflichen Gründen des Vaters zog die Familie häufig um. Stationen waren u. a. Palo Alto, Boston, Paris, Rom und Bagdad. Besonders letztgenannter Ort prägte sie durch die Armut und menschenverachtende Behandlung der dortigen Bevölkerung, die sie damals als 10-Jährige erlebte. 1956 hörte sie zum ersten Mal eine Rede des jungen Martin Luther King und bekam von den Eltern ihre erste Gitarre geschenkt, wodurch der Grundstein für die beiden wichtigsten Aktivitäten ihres Lebens gelegt wurde. Zuvor hatte sie sich das Musizieren auf einer Ukulele selber beigebracht. Später kaufte sie sich vom ersten selbst verdienten Geld eine Gibson-Gitarre. Erste musikalische Einflüsse durch Platten, die sie im Elternhaus hörte, waren der Folkmusiker Pete Seeger und der afroamerikanische Sänger Harry Belafonte. Auf einigen frühen Aufnahmen imitiert Baez hörbar Belafontes Calypso-Sound; Baez und Belafonte kamen sich in späteren Jahren durch gemeinsame politische Aktivitäten näher. Wichtig wurde für die junge Sängerin nach eigenen Angaben auch Rhythm and Blues, so, wie insgesamt die Musik des schwarzen Amerika sie mehr beeinflusst habe als die des weißen.
Da ihr Vater eine Stelle als Dozent am Massachusetts Institute of Technology erhalten hatte, zog die ganze Familie im Spätsommer 1958 erneut um, diesmal nach Belmont, Massachusetts.
Musik [Bearbeiten]
Die junge Joan hatte schon als Schülerin ihre Mitschüler mit Schulhof-Konzerten unterhalten. Nach Beendigung der High School schrieb sie sich zwar an der Boston University ein, konzentrierte sich aber bald nur noch auf ihre Gesangskarriere. Diese begann 1959 mit einigen Auftritten im Club 47, einem Folk-Club in Cambridge, der Hochburg des US-amerikanischen Folk-Revivals. Filmaufnahmen aus dieser Zeit zeigen die Sängerin beim Vortrag traurig-melancholischer alter Traditionals; eigene Songs oder solche von Kollegen ihrer Zeit hatte sie noch nicht in ihrem Repertoire. Bald hatte sie erste Fans und nahm an den Aufnahmen der Langspielplatte LP Folksingers ’Round Harvard Square teil, die bei einem kleinen Plattenlabel aus Boston erschien. Ebenfalls 1959 erreichte sie auf dem renommierten Newport Folk Festival zum ersten Mal ein größeres Publikum. Gemeinsam mit Bob Gibson, der während seines Auftrittes Baez als unangemeldeten Überraschungsgast auf die Bühne geholt hat, sang sie zwei Duette (Virgin Mary Had One Son, We Are Crossing The Jordan River), was sie laut ihrer Autobiografie über Nacht zum gefeierten Folkstar gemacht hat.


Joan Baez und Bob Dylan 1963 bei dem vom Civil Rights Movement organisierten Marsch auf Washington
Ihre erste Solo-LP erschien ein Jahr später unter dem Titel Joan Baez bei Vanguard Records. Das Nachfolgealbum Joan Baez Vol. 2 (1961) erhielt in den USA Goldstatus, genauso wie beide Teile von Joan Baez In Concert von 1962. 1961 ging sie außerdem auf eine USA-Tournee und lernte dabei Bob Dylan kennen, der im Vorprogramm von John Lee Hooker auftrat. Sie begann, seine Songs zu interpretieren, und stellte ihn ihrem Publikum vor. Aus der anfänglich beruflichen wurde bald auch eine private Beziehung; die beiden wurden ein Paar. Joan Baez bezeichnete 2009 in dem Dokumentarfilm Joan Baez von Mary Wharton die Begegnung mit Bob Dylan als ihren künstlerischen Durchbruch. Bob Dylan erinnert sich im selben Film vor allem an den harmonischen Zusammenklang ihrer Stimmen und das Besondere an Baez’ Gitarrenspiel, das keiner außer ihr, auch er nicht, in dieser Form beherrscht habe.
In der ersten Hälfte der 1960er stand sie mit an der Spitze der Folkbewegung. Bereits zu dieser Zeit beeinflusste ihr Stil Künstlerinnen wie Joni Mitchell, Bonnie Raitt und Judy Collins. 1962, auf einer Tournee durch die Südstaaten, entschloss sich Joan Baez, nur noch dort aufzutreten, wo es keine Rassenschranken gab. Somit blieben ihr in den USA nur die schwarzen Universitäten. Am 28. August 1963 sang sie auf dem Civil Rights March das berühmte We Shall Overcome, das in den folgenden Jahren quasi zu ihrem sängerischen Markenzeichen wurde. Außerdem trat sie dort zusammen mit Bob Dylan auf.
Genau wie Dylan wurde auch sie von der British Invasion beeinflusst und begann ihre akustische Gitarre durch Bass und E-Gitarre zu verstärken, was bereits auf Farewell, Angelina (1965) zu hören ist. Kurz zuvor hatte Dylan begonnen, Folk mit Rockmusik zu verknüpfen, indem auch er seine Gitarre elektrisch verstärkte und mit einer Begleitband auftrat. Da Joan Baez sich von Dylan auf dessen Englandtour 1965 vernachlässigt fühlte, er sie auch kein einziges Mal bat, mit ihm aufzutreten (sie, die damals bereits erfolgreich war, hatte Jahre zuvor den noch unbekannten Dylan sehr gefördert), ging die Beziehung im folgenden Jahr in die Brüche. Nach eigenen Angaben hatte Joan Baez, die selber keine Drogen nahm, zudem Probleme mit dem hohen Drogenkonsum der Bandmitglieder während der Tournee.
Gegen Ende des Jahrzehnts experimentierte Baez mit Lyrik, zu hören auf Baptism; A Journey Through Our Time (1968). Das Album ist eine Sammlung von Gedichten, die entweder gesprochen oder mit orchestraler Begleitung vorgetragen wurden.
Im selben Jahr heiratete sie den Kalifornier David Harris, einen bekannten Gegner des Vietnamkrieges und Kriegsdienstverweigerer. Als Fan der Country-Musik beeinflusste er ihre Musik in diese Richtung, was auf David’s Album aus dem Jahr 1969 hörbar ist. Dieses Album enthält unter anderem das Traditional Poor Wayfaring Stranger, bei dem sie von ihrer Schwester Mimi Fariña begleitet wird, und Will The Circle Be Unbroken mit Elvis Presleys ehemaligen Backgroundsängern The Jordanaires.
1969 trat sie auf dem Woodstock-Festival auf. Die schwangere Sängerin nutzte dieses große Forum, um die Missstände in der Welt anzuprangern. Sie thematisierte zudem die Inhaftierung ihres Ehemanns, der zu dieser Zeit eine dreijährige Freiheitsstrafe verbüßte und einen Hungerstreik unter den Mithäftlingen initiiert hatte, nachdem er aus einem Bezirksgefängnis in ein schärfer bewachtes Bundesgefängnis verlegt worden war. Anschließend nahm sie ihre Gitarre herunter und sang a cappella den Gospel Swing Low, Sweet Chariot. Nachdem ihr Sohn geboren war, besuchte sie mit ihm den Vater im Gefängnis; 1973 wurde die Ehe geschieden.
1971 coverte sie The Night They Drove Old Dixie Down von The Band, die damit einen Top-10-Hit in den USA gehabt hatten. Mit dem 1972er-Album Come From The Shadows wechselte sie zu A&M Records, wo sich ihre Musik ein wenig in Richtung Mainstream-Pop veränderte und sie begann, selbst Songs für das 1975er-Album Diamonds & Rust zu schreiben. Der Titelsong behandelt ihre missglückte Liebesbeziehung zu Bob Dylan. Die Zeile „My poetry is lousy you’ve said.“ („Meine Lyrik sei miserabel, hast du mir gesagt.“) deutet auch auf künstlerische Differenzen der beiden hin.
1972 trat sie zusammen mit B. B. King und den Voices of East Harlem im berühmten Gefängnis „Sing Sing“ im Bundesstaat New York auf. Anders als viele ihrer Kollegen waren sie bereit, eine Filmprojektgruppe aus dem Gefängnis zu unterstützen und bei einem Abschlusskonzert mitzuwirken. Dort trat Baez für Toleranz und Verständnis für Strafgefangene ein. Für den Film, der aus Interviews mit den Gefangenen und Gefängnispersonal, Aufnahmen der Vorbereitungen für das Konzert und eben den Auftritten der Künstler selbst besteht, hat sie den Titelsong Sing Sing Ossining eingespielt.
1975/76 folgte mit der Rolling Thunder Revue ihre zweite Tournee mit Bob Dylan. Auf dieser Tournee, die unpolitisch war und viele clowneske Elemente enthielt, war Baez laut Dylan so unbeschwert und innerlich gelöst wie noch nie. Filmaufnahmen zeigen eine tanzende, springende und herum albernde Joan Baez, gegen ihre Gewohnheit in verrückten Outfits, stark geschminkt, mit Modeschmuck und lackierten Fingernägeln. Baez erinnert sich, dass sie diese von Politik unbeschwerte Tournee als Erholung empfand; über einen längeren Zeitraum hätte sie eine unpolitische Lebensweise allerdings nicht ausgehalten. 1978 spielte Baez als „Frau in Weiß“ gemeinsam mit Dylans Ex-Frau Sarah in dessen Film Renaldo and Clara mit.
Joan Baez wechselte kurz zu CBS Records, war aber für ihr Live Europe ’83 von 1984 ohne ein US-amerikanisches Label. Dafür eröffnete sie 1985 das Live-Aid-Konzert, nachdem sie im Jahr zuvor erneut auf Europatournee mit Bob Dylan gewesen war. 1987 folgte das nächste Album in den USA, Recently, auf dem Label Gold Castle Records.
1988 trat sie unter dem Namen 3 Voices auf einigen Konzerten gemeinsam mit Konstantin Wecker und Mercedes Sosa auf. Ihr 30-jähriges Bühnenjubiläum feierte sie 1989 mit dem Album Speaking of Dreams. Für das 1992er-Album Play Me Backwards wechselte sie erneut die Plattenfirma, diesmal ging sie zu Virgin Records. Play Me Backwards brachte Joan eine Grammy Nominierung ein.


Joan Baez in Charlotte (2003)
Kurz vor ihrem 50. Geburtstag 1991 begann ein neuer Schub an Professionalität ihr Leben zu verändern. Sie nahm sich zum ersten Mal einen professionellen Manager und absolvierte ein Gesangstraining. Außerdem unterzog sie sich einer Psychotherapie. Seit dieser Zeit spielt sie bei Plattenaufnahmen nur noch sehr selten Instrumente, sondern konzentriert sich weit mehr auf ihren Gesang. Bei Live-Tourneen spielt sie die Gitarre nach wie vor selbst.
Ring Them Bells, ein vielbeachtetes Baez-Live-Album, veröffentlichte sie 1995 gemeinsam mit einigen Freundinnen und Kolleginnen (Dar Williams, Indigo Girls, Tish Hinojosa, Janis Ian, Mary Black, Kate & Anna McGarrigle und Mary Chapin Carpenter) sowie ihrer Schwester Mimi Fariña. Mit den Indigo Girls ist sie mehrfach bei Konzerten aufgetreten, mit Janis Ian 1994 bei einem Benefizkonzert für die National Gay and Lesbian Task Force.
2004 und 2005 tourte sie durch die USA, 2006 durch mehrere Städte Deutschlands, 2008 gab sie Konzerte beim Glastonbury Festival in England und beim Montreux Jazz Festival in der Schweiz. 2009 stand sie beim 50sten Jubiläum des Newport Folk Festivals, das ihr 50 Jahre zuvor den Durchbruch beschert hatte, auf der Bühne. Zu ihren Interpretationen gehören klassische US-Traditionals und -Folksongs wie House Of The Rising Sun, Barbara Allen, Lieder von Pete Seeger, Woody Guthrie und Bob Dylan, aber auch zahlreiche Lieder auf Spanisch und vereinzelt in anderen Sprachen wie Italienisch, Französisch, Russisch und Deutsch (Kinder von Bettina Wegner). Baez belässt es aber nicht bei traditionellem Liedgut: So interpretiert sie auf ihrem letzten Album Day After Tomorrow (2008) zeitgenössische Folk-Songs, u. a. aus der Feder von Steve Earle, der auch das Album produzierte. Auch dieses Album wurde für einen Grammy nominiert. Baez war zum ersten Mal seit vielen Jahren wieder in den Billboard Charts platziert.
Sie sang die Lieder des Soundtracks in dem Science-Fiction-Film Lautlos im Weltraum. Sie interpretierte auch vielfach (zum Beispiel in Woodstock) den berühmten Folksong über den amerikanischen Arbeiterführer Joe Hill mit dem Titel I dreamed I saw Joe Hill last night aus der Feder von Pete Seeger. Auch trug sie wesentlich dazu bei, das ursprünglich jiddische Lied Donna Donna weltweit bekannt zu machen.
War der klare, vibrierende Sopran lange Zeit das Markenzeichen von Joan Baez, rutschte ihre Stimme Mitte der Achtziger in einen satten Alt.
Politik [Bearbeiten]
Neben ihrer Musik engagierte sich Joan Baez früh politisch und setzte sich für Minderheiten auf der ganzen Welt, für den Pazifismus und gegen die Rassentrennung in ihrer Heimat ein. Nachhaltig beeinflusst wurde sie durch den afroamerikanischen Sprecher der US-amerikanischen Bürgerrechtsbewegung (Civil Rights Movement) Martin Luther King, den sie bei einem Quäker-Seminar als Schülerin zum ersten Mal reden hörte. Baez blieb King bis zu dessen Ermordung verbunden und arbeitete bei zahlreichen politischen Aktionen mit ihm zusammen. Ihr politisches Engagement begann 1957, als sie sich aus zivilem Ungehorsam weigerte, das Klassenzimmer während einer Luftschutzübung zu verlassen, da die Übung sinnlos sei. Zuvor hatte sie mit ihrem Vater ausgerechnet, dass die Schüler unmöglich die Schutzräume erreichen könnten, bevor, wie in der Übung suggeriert, Raketen aus der Sowjetunion ihren damaligen Wohnort Palo Alto in Kalifornien erreicht hätten. Der Vorfall um die „besserwisserische“ Schülerin wurde in der Lokalpresse groß aufgemacht und brachte Baez den Ruf ein, Kommunistin zu sein. Kurz darauf verließ die Familie den Ort. Noch im selben Jahr traf sie Ira Sandperl. Dieser Schüler Mahatma Gandhis wurde zu ihrem aktivistischen Mentor. Er half ihr durch seine Lehren vom Pazifismus auch dabei, das zeitweise schwierige Verhältnis zu ihrer Schwester Mimi zu verbessern. Joan Baez sollte sich, so Sandperl, bei jeder ihrer Aktivitäten immer vorstellen, dass es die letzte Stunde ihres Lebens sei, was ihr offenbar im Umgang mit Mimi half. Außerdem gründete er mit ihr zusammen das kalifornische Institut zur Untersuchung von Gewaltlosigkeit, The Institute for the Study of Nonviolence, aus dem später das Resource Center for Nonviolence erwachsen sollte, das im Jahre 2005 über den Golfkrieg und seine Auswirkungen berichtete. Gewaltlosigkeit wurde zu einer wichtigen Vokabel in Joan Baez’ politischem Wortschatz, auch gegenüber dem politischen Gegner und, zum Beispiel bei Demos, gegenüber der Polizei. Bürgerrechtler Jesse Jackson, Weggefährte und Freund, erinnert sich in Mary Whartons Joan Baez-Dokumentation daran, dass bei politischen Veranstaltungen auch unter schwierigen, politisch-emotional aufgeladenen Bedingungen (z. B. als Steine auf schwarze Schüler geworfen wurden, die in eine weiße Schule gingen), Joan Baez immer darauf gedrängt habe, dieses Wort mehrfach in die Reden einzuflechten, um die angespannte Situation zu deeskalieren. Dass die politischen Veränderungen in den USA, zum Beispiel in Bezug auf Rassenkonflikte und Anti-Vietnam-Bewegung, in den USA bis auf Ausnahmen weitgehend friedlich verliefen, ist auch Joan Baez’ Vorbildfunktion als Ikone dieser Bewegung zu verdanken.


Auftritt Joan Baez’ beim Marsch auf Washington für Arbeit und Freiheit am 28. August 1963
In den 1960er Jahren zahlte sie einen Großteil ihrer Lohnsteuer auf ein Sperrkonto, um den Vietnamkrieg nicht mitzufinanzieren, unterstützte das Free Speech Movement – eine für Meinungsfreiheit und gegen den Krieg in Vietnam eintretende Studentenorganisation – und nahm an Ostermärschen in Deutschland teil. 1963 weigerte sie sich, in Shows von ABC aufzutreten, da der Sender den linken Musiker Pete Seeger boykottierte. Im selben Jahr sang sie auch zusammen mit Bob Dylan am Lincoln Memorial, als Martin Luther King nach Washington, D.C. marschierte. Nachdem sie während der Beteiligung an einer Blockade der Zufahrt zu einem Armeekomplex (am 16. Oktober 1967) zu einer Freiheitsstrafe von 10 Tagen verurteilt worden war, wurden alle ihre Platten aus den PX Stores in Europa entfernt. Sie wurde ein zweites Mal verhaftet und verbrachte insgesamt einen Monat im Gefängnis. Weiterhin gründete sie die West-Coast-Abteilung von Amnesty International. 1967 verweigerte ihr der konservative Frauenverein „Daughters of the American Revolution“ („Töchter der Amerikanische Revolution“) einen Auftritt in der Constitution Hall, wie es diese Frauenvereinigung bereits 1939 mit Marian Anderson wegen deren Hautfarbe getan hatte.
Joan Baez war an zahlreichen Protestmärschen und anderen politischen Aktionen gegen den Vietnamkrieg beteiligt. 1972 reiste sie in der Weihnachtszeit mit einer Friedensdelegation nach Nordvietnam. Dort wurde sie von der US-Militäraktion Operation Linebakker II (bekannt auch als Christmas Day Bombing) überrascht, bei dem die US-Luftwaffe zwölf Tage lang Hanoi massiv bombardierte; viele Menschen wurden dabei getötet, die Stadt schwer beschädigt. Baez und ihre Mitreisenden überlebten den Angriff. Nach eigenen Angaben wurde sie vom Erlebnis schwer traumatisiert. Auch nach Beendigung des Vietnamkriegs engagierte sich Baez weiterhin in Südostasien. In den 1980er Jahren reiste sie mit einer humanitären Organisation nach Kambodscha, um Lebensmittel und Medikamente in den besonders Not leidenden Westen des Landes zu bringen.
Als ihre Schwester Mimi 1972 die Organisation Bread & Roses gründete, half Joan Baez dabei intensiv mit. Die Organisation veranstaltet seitdem Konzerte in Krankenhäusern und Gefängnissen. Im August 1975 erhielt sie bei den ersten Rock Music Awards eine Auszeichnung für ihren Dienst an der Öffentlichkeit und wurde außerdem mit einem Feiertag (Joan Baez Day, am 2. August 1975) in Atlanta geehrt. Nachdem sie 1972 in einem Interview gesagt hatte, dass sie 10 Jahre zuvor eine lesbische Beziehung unterhalten hatte und sich als bisexuell sieht, gab sie 1978 einige Benefizkonzerte gegen die Proposition 6 (die sogenannte Briggs-Initiative), die es vorsah, allen homosexuellen Lehrern den Unterricht an öffentlichen Schulen in Kalifornien zu verbieten. Im selben Jahr beteiligte sie sich an Gedenkmärschen für den bei einem Attentat zusammen mit George Moscone, dem Bürgermeister San Franciscos, getöteten Politiker Harvey Milk, der sich als Schwuler geoutet hatte.
In Madrid sang sie 1977 nach dem Ende der Diktatur Francisco Francos unter anderem den Song We Shall Not be Moved (spanisch No nos moverán), der 40 Jahre lang in Spanien verboten gewesen war. Sie sang gegen Diktaturen und Militärputsche in Südamerika und gründete 1979 die Menschenrechtsorganisation „Humanitas International Human Rights Committee“, die sich um Boatpeople aus Vietnam kümmerte. Sie leitete die Organisation, bis diese 1992 ihre Dienste einstellte.
In den 1980er Jahren unterstützte sie die Friedensbewegung. Sie spielte 1986 auf der von Amnesty International veranstalteten Tour Conspiracy of Hope, zusammen mit Sting, Peter Gabriel und anderen. Václav Havel bezeichnete sie als „entscheidenden Einfluss auf die samtene Revolution“ in der Tschechoslowakei von 1989. Im selben Jahr veröffentlichte sie den Protestsong China, in dem sie die blutige Niederschlagung des Volksaufstandes auf dem Platz des himmlischen Friedens (Tian’anmen-Massaker) anprangerte. 1993 war sie eine der ersten Künstlerinnen, die Bosnien-Herzegowina besuchten. Im kriegszerstörten Sarajevo ging sie, geschützt durch eine kugelsichere Weste, mit Begleitschutz durch die Straßen, sprach mit den Menschen und musizierte mit Straßenmusikern.
Im Jahre 2003 gab sie zusammen mit Steve Earle, Emmylou Harris und Billy Bragg Konzerte gegen den Einsatz von Landminen.
Auch gegen den Irakkrieg meldete sie sich am 20./21. August 2005 zu Wort, als sie Cindy Sheehan, die Mutter eines getöteten Soldaten, bei ihrem Camp an der Zufahrt zu George Bushs Ranch besuchte. Außerdem ist sie bis heute Sponsorin des Zentralkomitees für Kriegsdienstverweigerer in den USA. 2010 zeigte sich Baez in der Öffentlichkeit kritisch gegenüber dem neuen verschärften Einwanderungsgesetz für Mexikaner im US-Bundesstaat Arizona und nutzt dazu Konzertauftritte in ihrer Heimat, so im Juli 2010 in Salt Lake City[2]
Privates [Bearbeiten]
Ihre ältere Schwester, Pauline (Tia), wurde zwei Jahre vor Joan Baez geboren. Die jüngere Schwester, Margarita Mimi, die spätere Frau von Richard Fariña, kam vier Jahre nach Joan zur Welt (* 30. April 1945). Mimi Fariña war ebenfalls Sängerin und spielte Gitarre – mit dem Swallow Song findet man ein Duett der beiden Schwestern auf der Baez-Live-CD Ring Them Bells von 1995. Mimi starb am 18. Juli 2001 an Lungenkrebs. Der mathematische Physiker John Baez ist Joans Cousin.
Joan Baez brachte 1969 ihren Sohn Gabriel Earl aus der Ehe mit David Harris zur Welt, der sie heute als Perkussionist ihrer Band begleitet.
Nach der Scheidung von Harris hatte sie kurze und wechselnde Beziehungen zu verschiedenen Partnern – so hatte sie eine Beziehung mit Steve Jobs –, lebt aber seither als Single.
Derzeit lebt sie gemeinsam mit ihrer Mutter und ihrem Sohn mit Schwiegertochter und Enkelin in Woodside, Kalifornien. Auf dem Grundstück hat sie ein Baumhaus, in dem sie einen großen Teil ihrer freien Zeit verbringt, meditiert und schreibt.
Lampenfieber und Agoraphobie [Bearbeiten]
In den Anfangsjahren ihrer Karriere litt Joan Baez an schweren Lampenfieber-Attacken, zeitweise verstärkt durch Agoraphobie. Dies erzählt sie in dem Dokumentarfilm von Mary Wharton. Manchmal habe sie vor lauter Angst einen Konzertauftritt unterbrechen müssen („Von der Bühne runter bin ich immer gekommen“), habe sich im Waschraum mit Wasser erfrischt, etwas geweint und sei dann wieder auf die Bühne gegangen. Niemand habe etwas bemerkt oder bemerken wollen. Manchmal sei die Angst vor einem Konzert so groß geworden, dass sie noch nicht einmal das elterliche Haus habe verlassen können. Den Weg durch die Diele zur Haustür habe sie kaum bewältigt und eine Art schweren Stein in sich gefühlt. Erst wenn sie sich umgedreht und einen letzten Blick auf die Wohnungseinrichtung und ihre Mutter geworfen habe, sei es besser geworden. Nur ihre Schwester Mimi, die sie zu den Konzerten begleitete und die sie bei der Bewältigung dieses Problems sehr unterstützt habe, habe davon gewusst. Das Lampenfieber habe sie noch lange begleitet. Heute sei sie davon befreit und gehe entspannt auf die Bühne.
Joan Baez Award [Bearbeiten]
Anlässlich des 50. Jubiläums der Menschenrechtsorganisation Amnesty International erhielt Joan Baez als erste am 18. März 2011 in San Francisco den nach ihr benannten „Joan Baez Award“[3]. Sie erhielt diese Ehrung für ihren herausragenden Einsatz im weltweiten Kampf für Menschenrechte und ihre mutige Menschenrechtsarbeit bei Amnesty International. In den kommenden Jahren soll diese Auszeichnung an Künstler aus den Bereichen Musik, Film u. ä. verliehen werden, die sich auf ähnliche Weise für Menschenrechte einsetzen.
Auszeichnungen [Bearbeiten]

Goldene Schallplatte (8x Album, 1x Single)
Grammy Nominierungen (7x)
John-Steinbeck-Award (2003)
Move For Vietnam Peace Award, Chicago Business Executives (1971)
Public Service Award (Rock Music Awards; 1975 oder 1977)
Thomas Merton Award (1975);
Bambi (1978, 1979, 1996)
Earl Warren Civil Liberties Award (1979)
Ehrendoktorwürde (2x, 1980)
Jefferson Award, American Institute of Public Service (1980)
Lennon Peace Tribute Award (1982)
Americans For Democratic Action Award (1982)
SANE Education Fund Peace Award (1983)
Chevalier, frz. Legion d'Honneur (1983)
Best Live Album, Academy Charles Cros (1983)
Leadership Award, ACLU of Southern California (1989)
Death Penalty Focus of California Award (1992)
Award of Achievement, The Gleitsman Foundation (1994)
Golden Achievement Award, WXPN-FM Radio, Philadelphia (1996)
World Peace Music Award 2004
Grammy für ihr Lebenswerk 2007
Joan Baez Award von Amnesty International 2011
Diskografie [Bearbeiten]

Folksingers 'Round Harvard Square (1959); Aufnahmen von Joan Baez, Bill Wood und Ted Alevizos
Joan Baez (1960)
Joan Baez, Vol. 2 (1961)
Joan Baez in Concert, Pt. 1 [Vanguard 1963] (1963)
Joan Baez in Concert, Pt. 2 [live] (1963)
Joan Baez in San Francisco (1964 - mit ihren ersten Studioaufnahmen von 1958)
Five (1964)
Farewell, Angelina (1965)
Sagt mir, wo die Blumen sind (1965)
Noël (1966)
Joan (1967)
Any Day Now (1968)
Baptism: A Journey Through Our Time (1968)
David's Album (1969)
Joan Baez in San Francisco [live] (1969)
In Concert 2 [live] (1970)
One Day at a Time (1970)
Sacco and Vanzetti [Original Soundtrack] (1971)
Blessed Are (1971)
Carry It On (1971)
Joan Baez in Italy [live] (1971)
Songs zum Film Lautlos im Weltraum (1972)
Come from the Shadows (1972)
Joan Baez Ballad Book (1972)
Where Are You Now, My Son? (1973)
Hits / Greatest & Others (1973)
Gracias a La Vida [Here's to Life] (1974)
The Contemporary Ballad Book (1974)
Live in Japan (1975)
Diamonds & Rust (1975)
The Lovesong Album (1975)
Gulf Winds (1976)
From Every Stage [live] (1976)
Joan Baez in Concert [live] (1976)
Blowin’ Away (1977)
The Songbook (4 LP – Box) (1977)
House of the Rising Sun (1978)
The Joan Baez Country Music Album (1979)
The Night They Drove Old Dixie Down (1979)
Honest Lullaby (1979)
Live in Concert: European Tour (1980)
Live in Europe '83: Children of the Eighties (1983)
Recently (1988)
Speaking of Dreams (1989)
Diamonds & Rust in the Bullring [live] (1989)
Ballad Book, Vol. 2 (1990)
Brothers in Arms (1991)
No Woman No Cry (1992)
Play Me Backwards (1992)
Ring Them Bells [live] (1995)
Live at Newport (1996)
Gone from Danger (1997)
Live in Europe ’83: Children of the Eighties… (1999)
Joan Baez [Expanded] (2001)
Joan Baez, Vol. 2 [Expanded] (2001)
Dark Chords on a Big Guitar (2003)
Bowery Songs [LIVE] (2005)
Ring them bells (live) (2007)
Day After Tomorrow (2008)
Literatur [Bearbeiten]

Joan Baez:
Tagesanbruch. Zweitausendeins, Frankfurt/M, 1978 (amerikanischer Originaltitel: Daybreak – An Intimate Journal. The Dial Press, New York, 1968)
We Shall Overcome – Mein Leben. Gustav Lübbe Verlag, Bergisch Gladbach, 1988 (amerikanischer Originaltitel: A Voice To sing With. Summit Books, 1987)
Im Gefängnis war es wunderbar. Interview in: KulturSPIEGEL, November 2008, Heft 11, Seite 62
Wolfgang Biederstädt: Joan Baez, Fischer Verlag, Frankfurt/Main, 1987, ISBN 3-596-22996-0
David Hajdu: Positively 4th Street – The Lives And Times Of Joan Baez, Bob Dylan, Mimi Baez Fariña And Richard Fariña. Farrar, Straus & Giroux, New York, 2001 (Leseprobe - Rezension)
Markus Jäger: Joan Baez and the Issue of Vietnam. Ibidem Verlag; 2003. 92 Seiten. ISBN 3-89821-297-1 (engl.)
Carl-Ludwig Reichert: Folk. Von Joan Baez bis Adam Green. dtv. 2007. 280 Seiten. ISBN 3-423-24587-5
Jutta Kamke: Schule der Gewaltlosigkeit. Das Modell Palo Alto. Mit einem Nachwort von Theodor Ebert. Hamburg: Hoffmann und Campe, 1974, 186 Seiten. ISBN 3-455-09095-8
Film [Bearbeiten]

Mary Wharton (Regie, Buch): Joan Baez. Übersetzung Eva Riekert. Dokumentation, USA, 2009 (Original: Joan Baez. How Sweet the Sound. WNET.), 84 Min. SWR (Erstsendung arte, 8. Juli 2010) – Video. pbs, Prod.
Weblinks [Bearbeiten]

Commons: Joan Baez – Sammlung von Bildern, Videos und Audiodateien
Literatur von und über Joan Baez im Katalog der Deutschen Nationalbibliothek
Joan Baez in der deutschen und englischen Version der Internet Movie Database
Offizielle Webseite von Joan Baez mit ausführlicher Diskographie
Interview mit dem Stern vom 19. Juli 2004
Interview mit dem Tagesspiegel vom 5. April 2006
Rückblick über ihre Karriere
Einzelnachweise [Bearbeiten]

↑ laut.de: Joan Baez (Biographie), abgerufen am 21. Juni 2009
↑ Arthur Raymond für Deseret News über das Joan Baez-Konzert in Salt Lake City am 7. Juli 2010, publiziert am 7. Juli 2010, abgerufen am 9. Juli 2010
↑ Joan Baez Award von Amnesty International 2011
Dieser Artikel wurde am 28. September 2005 in dieser Version in die Liste der lesenswerten Artikel aufgenommen.
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Kategorien: Wikipedia:LesenswertSongwriterFolksängerInterpret von ArbeiterliedernGewaltfreiheitPerson der FriedensbewegungLGBT-AktivistUS-amerikanischer MusikerMitglied der Ehrenlegion (Ritter)Träger des Thomas Merton AwardPerson (New York City)US-AmerikanerGeboren 1941