The states in dark red are almost always included in modern day definitions of the Southern United States, while those in medium red are usually included. Those cross-shaded are sometimes included due to their historic connections to the South.^[1][2][3]

Dixie is a nickname for the Southern United States.

Origin of the name[link]

According to the Oxford English Dictionary, the origins of this nickname remain obscure. According to A Dictionary of Americanisms on Historical Principles (1951), by Mitford M. Mathews, three theories most commonly attempt to explain the term:

1. The word "'Dixie'" refers to privately issued currency originally from the Citizens State Bank (located in the French Quarter of New Orleans) and then other banks in Louisiana.^[4] These banks issued ten-dollar notes,^[5] labeled "Dix", French for "ten", on the reverse side. The notes were known as "Dixies" by English-speaking southerners, and the area around New Orleans and the French-speaking parts of Louisiana came to be known as "Dixieland". Eventually, usage of the term broadened to refer to most of the Southern States.
2. The word preserves the name of a "Mr. Dixy", a slave owner on Manhattan Island^{[citation needed]}, where slavery was legal until 1827. His rule was so kind that "Dixy's Land" became famed far and wide as an elysium abounding in material comforts.
3. "Dixie" derives from Jeremiah Dixon, a surveyor of the Mason-Dixon line which defined the border between Maryland and Pennsylvania, and, for the most part, free and slave states (Delaware, a Union border state, and slave state up to the ratification of the Thirteenth Amendment, lay north and east of the famous survey line.)

Dixie as a region[link]

Bayou Navigation in Dixie, engraving of a Louisiana Steamboat, 1863.

As a definite geographic location within the United States, "Dixie" is usually defined as the 11 Southern states that seceded to form the Confederate States of America. They are (in order of secession): South Carolina, Mississippi, Florida, Alabama, Georgia, Louisiana, Texas, Virginia, Arkansas, North Carolina, and Tennessee. This definition is strongly correlated with history and, in the minds of many Southerners, remains the traditional South.

In other ways however, the location and boundaries of Dixie have become, over time, more limited, vernacular, and/or mercurial. In popular mindset today, it is most often associated with those parts of the Southern United States where traditions and legacies of the Antebellum South live most strongly.

In this particular contemporary realm, there are no hard and fast lines. Roughly, however, it might be an area which begins in the Eastern Shore of Maryland (and the southern parts of West Virginia), then extends south into Central Florida. On the northern boundary it sweeps west to take in Tennessee and southern parts of Kentucky, then continues through Arkansas, possibly taking in southern Missouri and also Oklahoma. On the southern end it would run through the Gulf states until the northern and southern boundary lines connect to include East Texas. For a more detailed description and delineation, see The Nine Nations of North America by Joel Garreau.

Many businesses in the South contain "Dixie" in their name as an identifier, e.g. "Dixie Produce". One of the more famous is supermarket chain Winn-Dixie.

Related to this fact, cultural sociologist and "Southernologist" Dr. John Shelton Reed has attempted to locate Dixie by a criterion measuring the ratio of business listings containing the term as compared to those utilizing "American". First published in a 1976 article in Social Forces, this particular study was updated in 1988. In contrasting the two, the delineating lines measuring over 6% of Dixie to American remained fairly constant in covering the Old Confederate States, with the exception being in Texas where, in both surveys, it was fairly well limited to eastern parts of the state.^{[citation needed]}

Anomalies were the inclusion of, and later even slight extension into, parts of the lower Midwest, particularly southern Indiana and southwestern Ohio. Neither of these areas can be properly considered a part of the South, so one explanation could be the extent of the "Dixie Highway" into those locales and therefore into the names of businesses there. The red areas in Utah are explained by the locals' choice of the nickname Dixie for the low-lying and thus very warm areas in the southwestern part of the state.^{[citation needed]}

In using a yardstick of 15%, all but a tiny slice of northeast Texas drops out of the picture. Also losing considerable ground were Virginia and most of Florida save the panhandle. Notable losses also occurred in North Carolina and Kentucky. As Reed stated, Dixie "dissolves as a coherent region" when the even more demanding standard of 25% was applied. In 1988, with the exception of small and isolated parts of adjoining states, only in Mississippi, Alabama, Georgia, and South Carolina were large areas still recorded on the data map.^{[citation needed]}

Dixie, in another definition (meaning the areas where Neo-Confederate or Pro-American sympathies are strong) could also encompass not only the South, but large parts of Michigan, Ohio, Indiana, and Illinois.

Songs[link]

I Wish I Was in Dixie[link]

Main article: "Dixie (song)"

"I Wish I Was in Dixie's Land" sheet music

Sheet music version

"I Wish I Was in Dixie" is a popular song about the South. It was allegedly written by composer Daniel Emmett, a Northerner from Ohio, and published in 1859. Emmet's claims of the origin of the song were many and varied. According to one such version, Emmett was taught the song by the Snowden family of African American musicians, then freemen of color, with the lyrics coming from a letter written longingly of life in the south by Evelyn Snowden to her father. Emmett's blackface minstrel-show troupe debuted the song that same year in New York City when they needed a song to lengthen their presentation and it became an immediate hit. As with other minstrel show numbers, the song was performed in blackface and in exaggerated Black English vernacular. The song proved extremely popular and became widely known simply as "Dixie". The song has also been published as "Dixie's Land".

The song became the unofficial anthem of the Confederate States of America during the American Civil War. The tune's minstrel-show origins have created a strong association of "Dixie" with the Old South, despite the fact that it was written in the North. As a result, some today perceive the song as offensive and racist while others see it as an honorable part of Southern heritage. Abraham Lincoln, upon hearing of the Confederate surrender at Appomattox, asked the military band to play Dixie.^[6][7]

	"Dixie" 1916 rendition of Dixie by the Metropolitan Mixed Chorus with Ada Jones and Billy Murray
Problems listening to this file? See media help.

See also[link]

• Black Belt Region
• Bible Belt
• Deep South
• Dixie Chicks
• Dixie Dregs
• Dixie Mafia
• Dixieland Jazz
• Little Dixie (disambiguation)
• Mason-Dixon line
• Utah's Dixie
• Dixie Station
• Hart of Dixie

References[link]

Notes[link]

Bibliography[link]

• John Shelton Reed (with J. Kohl and C. Hanchette) (1990). The Shrinking South and the Dissolution of Dixie. Social Forces. pp. 69 (September 1990): 221–233. 
• Sacks, Howard L. and Judith Rose. Way Up North In Dixie. (Smithsonian Institution Press, 1993)

External links[link]

• "Dixie's Land" Sheet music from the United States Library of Congress
• Lyrics to "I Wish I Was in Dixie"
• clip of "The Carter Family" singing about Dixie

Armand Edward Blackmar, born in Vermont in 1826, to parents Reuben Harmon and Amanda (Cushman) Blackmar, was, with his brother,Henry, the founder of Blackmar Brothers, a (popular music)|music publishing]] company. Begun in 1860, this publishing company was originally based out of New Orleans, Louisiana, and later Augusta, Georgia. This would become the most successful publisher of music of the Confederacy American Civil War,^[1][2] issuing about half the songs released during that era.^[3] A.E. was best known for the patriotic songs he wrote.

Armand and Henry were music teachers before entering the publishing business. When Northern troops took over the city of New Orleans, Henry Blackmar moved the business to Augusta, while Armand - due to his Northern accent - managed to continue working out of New Orleans for a time, but a Union raid on his business forced him to cease working. He continued to live in Louisiana and published songs of his own, under a pseudonym, through his brother.^[3]

Blackmar's published work included, among others, The Bonnie Blue Flag, Dixie War Song (arranged and published), (State Song)Maryland! My Maryland!, Southern Marseillaise, and The Beauregard Manassas.^[4]

Henry Blackmar continued to operate the Blackmar publishing house out of Augusta, Georgia, extending their distribution chain throughout the South. Following the Civil War, in addition to efforts in the game of chess, Armond continued to publish music and sell it in several sites in the United States. He returned to New Orleans and reopened a music store there. Additionally, his brother, Henry operated an additional music store of his own that was also located in New Orleans. Armond died several years after returning to New Orleans.

During the contentious Civil War years, Armand Edward additionally worked as a lawyer in New Orleans. In 1881 and 1882, A.E. Blackmar created Blackmar's Gambit, a chess opening, and published his work in the July 1882 issue of Brentano’s Chess.^[4] Armand Edward Blackmar was married to Margaret Bridget Meara of New Orleans, Louisiana.

References[link]

• Abel, E. (2000). Singing the New Nation: How Music Shaped the Confederacy, 1861-1865. Mechanicsburg, Pennsylvania: Stackpole Books. ISBN 0-8117-0228-6. 
• Cornelius, Steven (2004). Music of the Civil War Era. Greenwood Publishing Group. ISBN 0-313-32081-0. 
• Sanjek, Russel (1988). American Popular Music and Its Business: The First Four Hundred Years. Oxford University Press. ISBN 0-19-504310-3. 

External Links[link]

• Sheet music for "Beauregard Manassas Quick-step.", Augusta, GA: Blackmar & Bro., 1861. From Confederate Imprints Sheet Music Collection.

Notes[link]

Joan Baez
Baez performing in 2003
Background information
Birth name	Joan Chandos Báez
Born	(1941-01-09) January 9, 1941 (age 71)
Origin	Staten Island, New York City, New York, United States
Genres	Folk, folk rock, country
Occupations	Musician, songwriter, activist
Instruments	Vocals, guitar, piano, ukulele
Years active	1958–present
Labels	Vanguard (1960–1971) A&M (1972–1977) Portrait/CBS (1977–1981) Gold Castle (1987–1991) Virgin (1991–1993) Guardian (1995–2002) Koch (2003–present)
Associated acts	Jackson Browne, Mary Chapin Carpenter, Judy Collins, Donovan, Bob Dylan, Steve Earle, Mimi Fariña, the Grateful Dead, Janis Ian, the Indigo Girls, Odetta, Pete Seeger, Paul Simon, Rocker T, Dar Williams
Website	joanbaez.com

Joan Chandos Baez ( /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 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.

Early life[link]

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.

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.

Baez had two sisters — the elder, Pauline, and the younger, Mimi Fariña. Mimi died of cancer in California in 2001.

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.^[12] Social justice, she stated in the PBS series American Masters, is the true core of [her] life, looming larger than music.'^[13]

Music career[link]

Early years[link]

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.^[14] 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.^[14] 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.

College music scene in Massachusetts[link]

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 walking near home in Boston and nearby Cambridge. She also performed in clubs, and attended Boston University for about six weeks.^[13] 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 it, fearing that people would accuse her of changing her last name because it was Spanish. The audience consisted of her parents, her sister Mimi, and a small group of friends to 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.^[15]

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 was at the time one of the most prominent vocalists singing folk and gospel music. Baez cites Odetta as a primary influence along with Marian Anderson and Seeger.^[16] 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^[17] although Columbia Records tried to sign her first.^[18] Baez later claimed that she felt she would be given more artistic license at a more "low key" label.^[19]

First albums and 1960s breakthrough[link]

Joan Baez 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. That same song later appeared on her Spanish-language album, Gracias a la Vida (1974).

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."^[20] Her appeal extended far beyond the folk-music audience.^[20] 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.^[21]

1970s and the end of Vanguard years[link]

Baez playing in Hamburg, 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.^[22] The song was later entitled "The Song of Bangladesh" and released in a 1972 album from Chandos Music.^[23]

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, another LP was released on Decca (DL 7-9188), and was later reissued by Varese 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.

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.^[24] (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).

1980s and 1990s[link]

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.

2000 to present[link]

Beginning in 2001, Baez has had several successful long-term engagements as a lead character at San Francisco's Teatro ZinZanni.^[25] 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.^[26] 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.^[27][28] On June 29, 2008, Baez performed on the Acoustic Stage at the Glastonbury Festival in Glastonbury, U.K.,^[29] 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.^[30]

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.^[31] 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.^[13]

Social and political involvement[link]

1950s[link]

In 1956, Baez first heard Martin Luther King, Jr. speak about nonviolence, civil rights and social change which brought tears to her eyes.^[13] Several years later, the two became friends,^[13] with Baez participating in many of the demonstrations that King had planned and organized.

In 1957, at age 16, Joan committed her first act of civil disobedience by refusing to leave her Palo Alto High School classroom in Palo Alto, California for an air-raid drill. After the bells rang, students were to leave the school, make their way to their home air-raid shelters, and pretend they were surviving an atomic blast. Protesting what she believed to be misleading government propaganda, Baez refused to leave her seat when instructed and continued reading a book. For this act she was punished by school officials, and was ostracized by the local population for being a supposed "Communist infiltrator."

Civil Rights[link]

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, at King's 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 King on his 1965 march from Selma to Montgomery, Alabama, singing for the marchers in the town of St. Jude, Alabama, as they camped the night before arriving in Montgomery. She linked arms with 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]}

Vietnam War[link]

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^[33] 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,^[34]
• 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,^[35]
• the 1969 Moratorium to End the War in Vietnam protests.

There were many others, culminating in Ochs's The War Is Over celebration in New York City in May 1975.^[36]

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)^[37] in which the communists were described as having created a nightmare.

Human rights[link]

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, 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.^[38]

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 Communist Party 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.

Opposing death penalty[link]

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.^[39][40] 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.^[41][42]

Gay and lesbian rights[link]

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]}

Iran's people[link]

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^[43] 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.

Environmental causes[link]

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.^[44]

War in Iraq[link]

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.

Poverty[link]

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").

2008 Presidential election[link]

	"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" Audio Only
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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."^[45]

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.^[46]

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".^[47]

Joan Baez Award[link]

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 ^[48] 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.

Occupy Wall Street[link]

On November 11, 2011, Joan Baez played as part of a musical concert for the protestors at Occupy Wall Street.^[49] 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?".

Personal life[link]

Early relationships[link]

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.

Bob Dylan[link]

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.^[13]

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.^[50] "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.^[51][52] 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.

David Harris[link]

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 The 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.^[53] Baez was visibly pregnant in public in the months that followed, most notably at 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.^[54] 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.^[55][56]

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.^[57] Explaining the split, Baez wrote in her autobiography, "I am made to live alone."^[58] 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^[update], she has not remarried. Their son Gabriel is a drummer and occasionally tours with his mother.

Later-life relationships[link]

She dated Apple Computer cofounder Steve Jobs during the early 1980s.^[59] 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.^[60] 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.

Recent years[link]

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."^[61]

Baez's son, percussionist Gabriel Harris, has been a member of her touring band in recent years; he and his wife Pamela live with their daughter Jasmine, in close proximity to Baez' home in Woodside.

Popular culture[link]

• 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.
• 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.^[62] 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".^[63] 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."^[64]
• 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.

Discography[link]

References[link]