Folk legend Baez is back in the spotlight
http://www.montgomeryadvertiser.com/article/20090222/LIFESTYLE/902210341
By Larry Rodgers • The Arizona Republic
February 22, 2009
Like many of her fans, folk icon and social activist Joan Baez has a
tough time grasping the fact that she has been performing for five decades.
"It's hard to imagine when I listen to something from 45 years ago
that it's the same person," said Baez, 68, who performed at the
Lincoln Memorial when the Rev. Martin Luther King Jr. delivered his
"I have a dream" speech, brought such folk classics as "House of the
Rising Sun" into popular music and helped introduce onetime lover Bob
Dylan to the masses in the early '60s.
In many ways, the confident performer who is on tour in North
America through March 31 to spotlight her first new album in five
years, "Day After Tomorrow," is quite different from the artist who
was at the forefront of the early-'60s folk revival and popular
music's foray into social issues.
"I had such terrible stage fright (then) that it wasn't much fun,"
Baez said. "I was riddled with neuroses and sleeplessness and panic
attacks and all this stuff."
Not only was she trying to build a career and deal with her
relationship with Dylan, Baez also was increasingly consumed by the
civil-rights struggle and her opposition to the Vietnam War.
It took two decades of living through some of America's more
turbulent times, a period that included a six-year marriage to war
protester David Harris, before Baez dealt with her inner issues.
"Twenty years ago, when I hired my wonderful new manager (Mark
Spector), I started to tackle that stuff in a serious, therapeutic
way, which I hadn't done before, and I highly recommend it," said
Baez, who lives in Northern California.
"Most of those things have vanished completely -- fear of flying,
fear of this, that and the other. And so is stage fright gone. So in
a sense, starting maybe 10 years ago, I began to really understand
what it was like to just walk on the stage and have a wonderful time."
Baez has described herself as a glass-half-empty type, and she
doesn't feel the need to be defensive about it.
The woman who founded the Institute for the Study of Nonviolence and
the Humanitas International Human Rights Committee said, "Maybe
(that description) was all to do with politics and social change, and
I think I'm reasonable not being optimistic."
A master at interpreting traditional folk and gospel songs, Baez has
performed such classics as "We Shall Overcome," "Swing Low," "Sweet
Chariot" and "Amazing Grace" at events supporting causes from
environmentalism to pacifism to gay rights to fighting poverty to
opposing the death penalty.
Despite her activism, Baez said she never endorsed a presidential
candidate until November's election. Given her stance on various
issues, it's no surprise that she backed Barack Obama over the more
conservative John McCain.
"It's fascinating to change the face of the world in a matter of a
minute (by electing a new president)," Baez said. "It's crazy, and
it's absolutely wonderful. I'm enjoying the ride."
Baez also is enjoying a musical partnership with Steve Earle, a
highly respected singer-songwriter in roots and rock music.
The "Day After Tomorrow" album, on which Baez interprets favorite
tunes by the likes of Tom Waits, Patty Griffin, Eliza Gilkyson and
Elvis Costello, is the pair's third recording project.
Earle nudged Baez to include such instruments as mandolin, Hawaiian
guitar, Dobro and harmonium, putting a rootsy spin on her folk
inclinations. Baez sees the album as an updated way to bookend the
storytelling and commentary that launched her career.
"That was the trick," said Baez, who's touring with a small acoustic
ensemble. "Rose of Sharon" (penned by Gilkyson), I would have sworn
it was a 200-year-old English folk song.
"But we also realized (that), because of Steve, it had to be current
and totally contemporary, which it is."
-------
Dancing at 68: the night they drove Joan Baez down… here
by Stephanie Garcia
February 20th 2009
It's been fifty years since she took the stage at Boston's legendary
Club 47, and folk icon Joan Baez is still celebrating. After more
than two decades off the major pop charts, her twenty-fourth studio
release, Day After Tomorrow, released in September, has put her back
in the limelight.
With a voice that has endured decades of musical variation, a
passionate activism that continues to fight for equality and justice,
and a spunk that has yet to dim, Baez shows no signs of slowing.
"I'm happy to be be here singing after so many years," Baez says of
her half-century musical reign. "I think it's a little nuts to be
doing it all these years, but what's even nuttier is that people come
to hear it."
One of the leading voices of the '60s folk revival, Baez solidified
her iconic revolutionary persona while on the front line of numerous
political and social issues: walking alongside the likes of Martin
Luther King, Jr. and Cesar Chavez during the Civil Rights movement,
protesting America's involvement in Vietnam, and speaking out for gay
rights experiences that still contribute to the words she sings today.
The Hook: You were friends with Martin Luther King, Jr., and very
involved in civil rights how do you feel about the country's first
African American president?
Joan Baez: I've never endorsed anybody on any level, but there's
something about this man that made me feel irresponsible if I didn't
support him publicly. When someone can come along and unify people in
this extraordinary way I haven't seen that since King.
The Hook: You've come upon fifty years in the public spotlight as a
performer what kind of fulfillment does that bring?
JB: It's become more and more important to follow your heart. People
have been too busy making money, and it's time to go back to our
roots of human decency and making music from the earth. But do I feel
fulfilled? In some ways I do, though I never thought I would. There's
a contentment I've found during meditation.
The Hook: You've always been involved in activism; what's your
passion right now?
JB: The one I'm focusing on now is my family they kind of got gypped
during the '60s and '70s. I'm not out on the front lines at the
moment, but anything I've ever supported has been in the context of
non-violence. I'm always anti-death penalty, anti-torture.
The Hook: How has the Greenwich Village scene changed throughout the
years? Has it changed at all to you?
JB: If it hadn't, we'd be in an odd pickle things have to change. I
was in the Village when we called ourselves bohemian, then 'hippie'
came along fairly quickly, then yuppie. How we describe ourselves is
in the context of where the world has put us in in the moment.
The Hook: How does it feel to be constantly compared to Bob Dylan?
JB: There are worse things that could happen, like being compared to
Genghis Khan. He was the best writer we've had in the movement. I
knew that I had brought him completely out of a shadow and it was my
pleasure to bring him along to concerts. The whole time I watched
[Martin Scorsese's documentary No Direction Home], I felt like his
grandmother, watching this kid grow.
The Hook: You've said in interviews that after the Vietnam War, you
went through an identity crisis. How were you able to overcome that,
and what advice do you have for a country going through a similarly
complex situation?
JB: The first thing that comes to my mind is meditation it's the
only way we slow our brain down to let it figure itself out from
within. With so much happening in the world, it's so pleasant to have
our country in a decent context. Now when I travel, I don't have to
be embarrassed! If the country is in an identity crisis, it should be
attempting to turn in the direction of hope and decency.
The Hook: How was growing up Hispanic in the '50s and '60's political
and cultural environment?
JB: It was '50s Southern California so not the best place to be a
Mexican. I don't consider it crippling, but it did make things
difficult, and it took a long time to overcome, to feel that you're
as good as everybody. Musically, I haven't taken that much advantage
of it I might still do it.
The Hook: What kind of reactions have Day After Tomorrow garnered? It
was your first album to hit the charts in twenty-nine years, and it's
been said to sound most like your earliest work.
JB: Well, in those initial albums, my voice was about an octave
higher than it is now. There's a feeling with those early songs,
something really truthful. Some of it sounds like the a 200-year-old
English folk song, but with a really contemporary sound.
The Hook: What can we expect from you at The Paramount?
JB: I have a guitar player from Ireland, a bass player, mandolin,
banjo, accordion… they're the best band I've ever had. We just play
for three hours while the bus is rolling; and it can't get any
lovelier than that. If the roads are good, we can dance, at 70 miles
per hour, no problem.
The Hook: What will we be seeing from you in the next couple of months?
JB: We're making a documentary on me it's done in the form of
conversations, interviews. With my life being parallel to so many
other beings, it's exciting. It's an American Masters Production,
done by PBS, and it should be out next fall.
~
Joan Baez performs at The Paramount on Tuesday, March 3. Show starts
at 8 pm, and tickets are $39-65.
--------
Joan Baez at the Lobero
http://www.independent.com/news/2009/feb/20/joan-baez-lobero/
Iconic Folk Songstress Pays a Visit to S.B.
Friday, February 20, 2009
By Brett Leigh Dicks
While Joan Baez's musical delivery typically revolves around airy
acoustic orchestration, her songs carry an undeniable weight so
much so that engaging with the tales she so eloquently presents can
leave a listener exhausted. The level of communication that Baez
conveys is astonishing. Her songs are intricate stories that wander
the social, political, and emotional spectrum. From a plea for
guidance from past activists ("Christmas in Washington") to a
heartfelt lullaby composed for her son ("Honest Lullaby"), Baez's
elegance and musical prowess not only pulls you in, it effortlessly
captures you until the very end.
In reaching back to "Lily of the West" from Ring Them Bells to open
the evening's proceedings, Baez declared, "We have many years to
traverse this evening." From there, Baez turned her attention to her
most recent recorded undertaking, the Steve Earle-produced Day After
Tomorrow and the beautifully delivered "Scarlet Tide." The musical
chemistry between Baez and Earle is undeniable, something that her
subsequent rendition of Earle's "God Is God" ably displayed.
In an evening brimming with musical highlights, Baez's howling
rendition of another Earle song, "Christmas in Washington," ranks
amongst one of the night's finest. While her rendering of Danny Dill
and Marijohn Wilkin's timeless murder ballad "Long Black Veil" was
equally exceptional, nothing in the night surpassed her own "Diamonds
and Rust." As the notes cascaded and frets squeaked, Baez took the
audience to the emotional core of the song, written about her complex
relationship with Bob Dylan via a moment shared from a Midwest telephone booth.
In a time defined by sound bites and punch lines, the experience of
sharing the lyrical substance that has defined Baez's musical career
for some five decades is certainly one to be cherished. And that was
a sentiment clearly shared by the at-capacity audience Tuesday night.
A standing ovation heralded the closing of Baez's set, but an equally
enthused reception greeted her return to the stage and execution of
The Band's "The Night They Drove Old Dixie Down." Baez has always had
a lot to say, and this week the Lobero gave her a fitting platform
from which to speak.
--------
Joan Baez remains more than the song
http://latimesblogs.latimes.com/music_blog/2009/02/joan-baez-remai.html
Feb 18 2009
by Randy Lewis
The singer-songwriter, who performs Thursday at UCLA, has found a new
intimacy in her music and her life.
If all the stars had aligned for her, Joan Baez would have come away
from this year's Grammy Awards with the first recording academy
trophy of her long and distinguished career. She was nominated for
her critically lauded album "Day After Tomorrow," a sparsely produced
collection of pointed and illuminating songs by contemporary writers
including Steve Earle (who produced it), Patty Griffin, Tom Waits,
Elvis Costello and Eliza Gilkyson.
As it happened, Baez, along with Ry Cooder, Emmylou Harris and Rodney
Crowell, had the misfortune of being nominated in the contemporary
folk/Americana category with Robert Plant and Alison Krauss, whose
"Raising Sand" superstar collaboration turned into the unstoppable
juggernaut of this year's Grammy ceremony.
But Baez, who plays a UCLA Live concert Thursday at Royce Hall in
Westwood, always has set her sights on loftier goals than music
industry awards, and to her 68-year-old eyes and ears, "Day After
Tomorrow" doesn't need any additional validation.
"Most people seem to have gotten the feeling of what we intended to
do," Baez said by phone recently from the home outside San Francisco,
which she shares with her 95-year-old mother. "We took songs that
sound as though they were written a long time ago and we made them
feel contemporary."
There's the internal spiritual confidence of Earle's "God Is God,"
Costello and T Bone Burnett's haunting portrait of unbridled power,
"Scarlet Tide," and the Waits-Kathleen Brennan title tune, a song
that takes the form of a heartbreaking letter from a soldier in Iraq.
Earle stripped away all the sonic sweetness that's often been applied
to Baez's heavenly soprano voice, opting for a dry aural ambience
that resulted in one of the most intimate recordings of her career.
"What was daunting was that this particular engineer wanted me to be
one-quarter of an inch from the mike," she said. "He would keep
coming into the booth and saying, 'Can you get a little closer?' I
couldn't get any closer without bumping my nose into it."
Since the album came out last fall, Baez has been weaving the new
songs into her concert set lists, even though she might easily, and
comfortably, assemble several nights' worth of music from material
she recorded decades earlier.
"Sometimes you feel people just itching to get to the songs they came
to hear," Baez said. "But, with this thing, people are very
attentive. It's a record I'm really very pleased with . . . I'm being
cautious," she added with a little laugh. "I'm delighted with it."
The same could be said of her reaction to the election of Barack Obama.
"I was a big Barack Obama supporter from the beginning," she said,
noting that during George W. Bush's administration, "for a number of
years I haven't sung the really blunt protest songs. When Bush came
into office the second time around, I started singing things like
[Bob Dylan's] 'With God on Our Side' again, because we needed them.
Now I could even do some of those old songs in that sense of joy,
that sea change that this election represents."
Baez seems to keep her focus closer to home these days, on her mother
and her own children. From her nonagenarian mother, "I'm studying to
see how to get old." And with her son, she's made an attempt to make
up for some of the time she felt she lost when she was often in the
spotlight as one of the leaders of the political and social protest movement.
"I spend a lot of time with them when I'm home, because I didn't
spend that time with them in the '60s and '70s when I was doing
everything else," she said. "I had a talk with my son one time and
told him 'I feel guilty for not being around so much when you were
growing up.'
"He said, 'Look, it was an important time in the world, and you
played a key role. Don't sweat it,' " Baez said. "That was so nice of
him. . . . What a beautiful gift."
--------
Joan Baez and politics strike a melodic chord
http://www.austin360.com/xl/content/music/stories/xl/2009/02/0219xlmusic.html
By Ed Crowell
AMERICAN-STATESMAN STAFF
Thursday, February 19, 2009
This fall, Joan Baez celebrated her 50th year as a performer - and
she put out one of the best, most spiritual albums of her career. On
Wednesday , her tour behind "Day After Tomorrow" reaches Austin's
Paramount Theatre. With so many Texas connections on this Steve
Earle-produced CD, that was the subject of our first question for a
recent phone interview from Baez's home base in Northern California.
American-Statesman: Your new CD is sort of a made-in-Nashville Austin
album. Two songs from Eliza Gilkyson, one from Patty Griffin. And we
like to claim Steve Earle because he grew up in San Antonio. All
those Austin ties coincidental or did Steve bring you the songs?
Baez: We found them. We being managers, assistants, me, except for
Steve's songs, which he brought. I wasn't really familiar with Eliza,
but her "Rose of Sharon" in any case would have drawn me. It was like
a 200-year-old folk song. The aim of this album was some kind of
reminder of the feeling that was there 50 years ago but having it be
totally contemporary.
Many of the songs reference a God of some kind or Mary or Biblical
places like Jericho. Have you felt yourself turning to help from
those quarters more in recent times?
You know sometimes what we do is not even conscious, what we chose
and so on. It turns out there was a lot of God and Mary on this
album, and we hadn't even noticed it. There was actually another song
about a Mary that didn't make it. So I don't know where that comes
from, and then I realize that the end result maybe is a little more
spiritual than a lot of the things I've done. I heard someone
interviewing Steve if he believed in God and he said, "I don't have
any problem with God." And I thought that being an old lefty he would
shrug it off and say that's just a song.
There's some hopeful sentiments on the album after eight years of
things going in the wrong direction. This fall, when it was released,
did you think Obama would win?
No, I argued with friends of mine who were Hillary supporters and
were saying wasn't I betraying the cause? I said, "Which one?" My
fear was that he would be outfoxed and out-moneyed but that turned
out to be a joke, and it became more and more of a serious hope. I
don't get hopeful about governmental stuff, ever really.
I think it's not just a phrase thing now. He's gonna need us.... It
is going to be as hard as he says, but already there are some things
that bring a light back to your eyes - Guantánamo (closing) and
things like that are a huge relief. I don't have to be embarrassed
when I travel to other countries now.
Did you go to the inauguration?
Yes, I ended up behind the stage, so I could see the podium, barely,
and I probably was looking out at a million people - when I wasn't
crying. That's part of the phenomenon that I don't really understand
except that he's so real, so intelligent, such a statesman. He is the
glue we have been missing for so many years. I do think there is a
lot of hope with someone who has in his top 10 books "The Life of
Ghandi." He has a pretty good leg up.
Will you be singing "Oh, Happy Day" on this part of the tour?
(Laughs) No, but you'll see, it comes out no matter what we sing. The
last (live) CD I made, it was the day after Bush was re-elected and
it was in New York and the audience was as depressed as I was. I
don't know how we ever made that album. It's hard to sing when
something is that depressing. This is the opposite here.
Obama's moving fast on the economy. Do you think he'll be able to do
the same to end the wars in Iraq and Afghanistan? Do you sense any
more pressure from the public on that count?
The public is there, that's my own conjecturing, but it's a question
of how much people who say, "I really hope this will happen," how
much are they willing to do and participate?
There are some great, timeless anti-war songs on the album about
lives torn apart. Will you keep singing such songs after these wars are over?
I don't know. I don't know what makes a song stick and makes it
relevant again after so many years. I didn't sing "With God On Our
Side" for 20 some years and then all of a sudden during the Bush era
it was sort of desperately needed. And if I sang it now it would be a
jubilation. Whatever I sing now takes a different meaning.
You've sung at anti-landmine concerts and for other issues. What are
the priorities for you now?
I don't know how you're going to tackle the list. There are so many
things. Maybe at this point all the work people did fighting against
interrogation and the CIA stuff ? I wonder if what those people did
year after year doesn't somehow form the possibility of what comes next.
This album is dedicated to your 96-year-old mother who lives with you
in California. Do those good genes from her mean you expect to be
performing into your 90s, like Pete Seeger?
I don't know. I read a long article in the New Yorker about how we
all assume longevity is about that and it isn't.
What's a fun day at home for you?
A fun day at home is something I've had to learn to do - which is not
to overschedule myself. If I succeed at that, there's a lot of
puttering, visiting with my mom, puttering in the garden, drawing.
It's a challenge not to plan what I'm supposed to be doing.
Bob Dylan recently sold `Blowin' in the Wind' for British
advertising. Are you getting used to such things or does it grate to
hear such commercials?
No, it didn't surprise me at all? after the Victoria's Secret ad.
Have you sold any of your classics for commercial use?
No, no. I did one ad in my lifetime and that was for Apple - "Think
Different." That's the only one because Steve Jobs is a friend, and
he's given me computers for years and the company wasn't bad, so I said OK.
What did you think of Todd Haynes' Dylan film `I'm Not There' and
Julianne Moore's character of you?
I didn't see it. I heard it was, uh, interesting.
Any chance Steve Earle will play with you on this tour?
We've talked about it and if he's in shouting range I'll try to get him.
--------
CAPA Presents An Evening With Joan Baez 3/9
http://broadwayworld.com/article/CAPA_Presents_An_Evening_With_Joan_Baez_39_20090217
February 17, 2009
"A half century into her career, folk icon Joan Baez is making a
return of sorts-not to vintage material, but to songs that evoke the
spirit and message of her defining early work...Baez has never
sounded wiser, or more deeply human." - The Boston Globe
Singer, musician, social activist, and goodwill ambassador Joan Baez
has had a profound and durable influence on American and
international music for 50 years. She celebrates that anniversary
with a 2008 Grammy nomination for Best Contemporary Folk/Americana
Album for her 24th studio album, Day After Tomorrow, and a tour stop
at Columbus' Southern Theatre.
CAPA presents An Evening with Joan Baez at the Southern Theatre (21
E. Main St.) on Monday, March 9, at 8 pm. Tickets are $52.50, $47.50,
and $42.50 at the Ohio Theatre Ticket Office (39 E. State St.), all
Ticketmaster outlets, and www.ticketmaster.com. To purchase tickets
by phone, please call (800) 745-3000 or (614) 469-0939. The Southern
Theatre Ticket Office will open two hours prior to the performance.
Students between the ages of 13-19 may purchase $5 High Five tickets
while available.
In 1958, a 17-year-old Joan Chandos Baez moved with her family from
Palo Alto to Boston where she entered Boston University School of
Drama. At 18, she was introduced onstage at the first Newport Folk Festival.
Baez recorded her first solo LP for Vanguard Records in 1960. Her
earliest records-with their mix of traditional ballads, blues,
lullabies, Carter Family, Weavers and Woody Guthrie songs, cowboy
tunes, ethnic folk staples of American and non-American vintage, and
much more-won strong followings in the US and abroad.
In 1963, Baez began touring with Bob Dylan and recording his songs, a
bond that came to symbolize the folk music movement for the next two
years. At the same time, she began her lifelong role of introducing
songs from a host of contemporary singer-songwriters.
Baez sang about freedom and Civil Rights from the backs of flatbed
trucks in Mississippi to the steps of the Lincoln Memorial at Rev.
Dr. Martin Luther King's March on Washington in 1963. In 1964, she
withheld 60% of her income tax from the IRS to protest military
spending and participated in the birth of the Free Speech movement at
UC Berkeley. A year later, she co-founded the Institute for the Study
of Nonviolence near her home in Carmel Valley. In 1966, Baez stood in
the fields alongside Cesar Chavez and migrant farm workers striking
for fair wages and opposed capital punishment at San Quentin during a
Christmas vigil. As the Vietnam War escalated, Baez traveled to Hanoi
with the US-based Liaison Committee and helped establish Amnesty
International on the West Coast.
In the wake of the Beatles, the definition of folk music-a singer
with an acoustic guitar-broadened and liberated many artists. Rather
than following the pack into amplified folk-rock, Baez recorded three
remarkable LPs with classical instru ment ation. Later, she began
recording in Nashville. The "A-Team" of Nashville's session musicians
backed Baez on her last four LPs for Vanguard Records including her
biggest career single, a cover of the Band's "The Night They Drove
Old Dixie Down" in 1971 and her first two releases on A&M.
Within the context of those albums and the approaching end of
hostilities in Southeast Asia, Baez turned to the suffering of those
living in Chile under the rule of Augusto Pinochet. To those people,
she dedicated her first album sung entirely in Spanish. One of the
songs on that album, "No Nos Moveran" (We Shall Not Be Moved) was
banned from public singing in Spain for more than 40 years under
Generalissimo Franco's rule and excised from copies of the LP sold
there. Baez became the first major artist to sing the song publicly
when she performed it on a controversial television appearance in
Madrid in 1977, three years after the dictator's death.
In 1975, Joan's self-penned "Diamonds & Rust" became the title song
of an LP with songs by Jackson Browne, Janis Ian, John Prine, Stevie
Wonder & Syreeta, Dickey Betts of the Allman Brothers Band, and Bob
Dylan. His Rolling Thunder Revues of late '75 and '76 (and resulting
movie Renaldo & Clara, released in 1978) co-starred Baez.
In 1978, she traveled to Northern Ireland and marched with the Irish
Peace People, calling for an end to violence. She appeared at rallies
on behalf of the nuclear freeze move ment and performed at benefit
concerts to defeat California's Proposition 6 (Briggs Initiative),
legislation that would have banned openly gay people from teaching in
public schools. Baez received the American Civil Liberties Union's
Earl Warren Award for her commitment to human and civil rights issues
and founded Humanitas International Human Rights Committee, which she
headed for 13 years. She won the San Francisco Bay Area Music Award
(BAMMY) as top female vocalist in 1978 and 1979.
In 1983, Baez performed on the Grammy awards telecast for the first
time. In the summer of 1985, after opening the US segment of the
worldwide Live Aid telecast, she later appeared at the revived
Newport Folk Festival, the first gathering there since 1969. In 1986,
Baez joined Peter Gabriel, Sting, and others on Amnesty
International's Conspiracy of Hope tour; her subsequent album was
influenced by the tour, as it acknowledged artists and groups whose
lives in turn were influenced by her, with songs from Gabriel, U2,
Dire Straits, Johnny Clegg, and others.
After attending an early Indigo Girls concert in 1990, Joan teamed
with the duo and Mary Chapin Carpenter (as Four Voices) for a series
of benefit performances.When her album, Play Me Backwards, was
released in 1992, it featured songs by Carpenter, John Hiatt, John
Stewart, and others.
In 1993, Baez became the first major artist to perform in Sarajevo
since the outbreak of the civil war as she traveled to war-torn
Bosnia-Herzegovina at the invitation of Refugees International. In
1994, Baez and Janis Ian sang for the National Gay and Lesbian Task
Force's Fight the Right fundraising event in San Francisco.
In 1995, Baez received her third BAMMY as Outstanding Female
Vocalist. Her nurturing support of other singer-songwriters came full
circle with her next album, Ring Them Bells. This idea of collabo
rative mentoring was expanded on 1997's Gone From Danger, where Joan
was revealed as a lightning rod for young songwriting talent, with
compositions from Dar Williams, Sinead Lohan, Kerrville Music
Festival newcomer Betty Elders, Austin's The Borrowers, and Richard Shindell.
In 2003, Baez released Dark Chords on a Big Guitar supported with a
22-city US tour.
In 2007, the 49th annual Grammy Awards presented Baez with the
Lifetime Achievement Award.
In advance of Day After Tomorrow's 2008 release, Baez launched the
2008-09 lecture season at New York City's 92nd Street Y (where she
made her official NY concert debut in 1960). She also received the
2008 Spirit of Americana Free Speech Award at the Americana Music
Association's 7th annual awards show in Nashville. The honor
"recognizes and celebrates artists who have ignited discussion and
challenged the status quo through their music and actions."
The Ohio Arts Council helped fund this program with state tax dollars
to encourage economic growth, education excellence, and cultural
enrichment for all Ohioans. CAPA also appreciates the support of the
Robert Bartels, Virginia Hall Beale, and Barbara Clement Memorial
Funds of The Columbus Foundation, assisting donors and others in
strengthening our community for the benefit of all of its citizens,
and the Greater Columbus Arts Council, supporting the city's artists
and arts organizations since 1973.
Owner/operator of downtown Columbus' magnificent historic theatres
(Ohio Theatre, Palace Theatre, Southern Theatre) and manager of the
Riffe Center Theatre Complex (Columbus) and the Shubert Theater (New
Haven, CT),CAPA is an award-winning presenter of national and
international performing arts and entertainment. For more
information, visit www.capa.com.
CAPA presents AN EVENING WITH JOAN BAEZ
Monday, March 9, 8 pm
Southern Theatre (21 E. Main St.)
Singer, musician, social activist, and goodwill ambassador Joan Baez
has had a profound and durable influence on American and
international music for 50 years. She celebrates that anniversary
with a 2008 Grammy nomination for Best Contemporary Folk/Americana
Album for her 24th studio album, Day After Tomorrow, and a tour stop
at Columbus' Southern Theatre. Tickets are $52.50, $47.50, and $42.50
at the Ohio Theatre Ticket Office (39 E. State St.), all Ticketmaster
outlets, and www.ticketmaster.com. To purchase tickets by phone,
please call (800) 745-3000 or (614) 469-0939. The Southern Theatre
Ticket Office will open two hours prior to the performance. Students
between the ages of 13-19 may purchase $5 High Five tickets while
available. www.capa.com
.
No comments:
Post a Comment