Showing posts with label Joan Baez. Show all posts
Showing posts with label Joan Baez. Show all posts

Sunday, March 25, 2007

Albert Baez, scientist, pacifist and parent

Albert Baez (left) has died age 94. A remarkable scientist and pacifist, he was also father of folk singers Joan Baez and Mimi Fariña. Follow this link to the San Francisco Chronicle for an excellent celebration of a remarkable life.

Now read why we aren't marching in the streets anymore.
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Sunday, March 04, 2007

Why aren't we marching in the streets?

It took me more than three decades to see Joan Baez live, but the wait for tonight's concert in Cambridge was well worth it - what an artist! Here are some thoughts prompted by the concert we've just returned from:

Three decades later, it’s terribly clear that my generation hasn’t changed the world very much. The question is, how much has the world changed us? As young “radicals,” we considered ourselves the conscience of the nation. To us, the Vietnam War was a moral offense, not a question of politics; and we reacted to it in primarily moral, rather than political, terms. Somehow, by the strength of our youth, the nation would be wrenched from the grip of death, cleansed, made new. A “movement” without politics or program, we were defined largely by our shared lives on the campus – millions of us getting stoned and listening to the Beatles – and by our opposition to the war. Now that war is long over, and we inhabit private worlds.

Still when I speak with my old “radical” friends – none of whom are leading noticeably radical lives – I find that our basic values haven’t changed that much. We’re dismayed by the country’s swing to the right and appalled by slashes in social programs. Why then aren’t we heard from? Why aren’t we marching in the streets?

Paradoxically, we felt a more excruciating responsibility for the acts of our nation as 18-year-olds who couldn’t even vote than we do now. We took things more personally. We felt that we were bombing Vietnam, and we were allowing the less well-connected of our generation to die there. Now, we say, it’s those Republicans who have declared all-out war on the poor and powerless.

We no longer believe that we can remake the world. Instead we adapt to it and act cautiously, because we have much more to lose. We have our careers. In the booming economy of the ‘60s, the affluent youth’s greatest concern about a career was how to avoid one. A career was part of the System, within which success and exploitation, work and war, were inextricably linked. ( “Work! Study! Get ahead! Kill!” we used to chant at demonstrations.) Also, embarking on a career meant accepting the constraints of adulthood. I thought if I’d settle down, I could stay young forever. I was wrong. You get old whether you’re wearing a necktie or not.

When I was a “kid” – a word we applied to ourselves well into our twenties – I avowed a profound aversion to wealth. All I wanted, I used to say, was to raise a family in a decent home and be able to spend a few weeks at the beach. That’s all I want now, but I find that these modest ends require massive means. It’s hard to renounce materialism when materialism is renouncing you.

Our middle-class instinct (subliminal, unshakable) to “make something of yourself” and contribute to society, has led almost all of us down the Establishment road – what we used to call selling out. We like to think that our careers give us more effective ways to act on our values than we had as students. We try to do good and do well at the same time.

Meanwhile, people sleep on the streets. We know we really ought to find the time and courage to do something about it. (Things to do today: call insurance broker, add to Individual Retirement Account, smash the state.)

At least we have a past to live up to. We helped end one war, and the continuing effect of our action restrains our country from getting into new ones. It’s good that there was a time when we stood up for what we believed in – which, as you get along and go along, is not something you do every day.


From James S. Kunen’s pre-Iraq 1995 introduction to his 1968 book The Strawberry Statement, Notes of a College Revolutionary. After writing the Strawberry Statement Kunen registered as a conscientous objector and worked as a counsellor at a group home for young offenders in Lancaster, Mass. He graduated from New York University Law School, and became a public defender in the criminal courts of Washington, DC, an experience retold in his book "How Can You Defend Those People". He then left the practice of law and returned to journalism. Kunen's 1994 book "Reckless Disregard" was an exposé of the Ford Motor Company's role in a Kentucky school bus fire which killed 24 children and three adults.

Now playing - Joan Baez's 2006 release Bowery Songs. This album is a product of the 2004 Presidential election. In July and August, conventioneering and electioneering fever grew more heated in the US, as a pall of desperation seemed to grip the country. Michael Moore's Fahrenheit 9/11 stirred the pot, and Baez joined Rage Against The Machine's Tom Morello for the West Coast leg of Moore's 'Slacker Uprising Tour.' The tour's ad hoc appearance at Cal S U. San Marcos outside San Diego was banned by the administration. The result was that the students rented the nearby Del Mar Fairgrounds and attracted ten times as many to the event, upward of 10,000 people. The album, which was recorded live at the Bowery Ballroom on New York City's Lower East Side, is classic Joan Baez. Stand-out track for me is Steve Earle's 'Christmas in Washington' ('So come back Woody Guthrie/ Come back to us now ...'), which Baez sang in her concert in Cambridge tonight.

I can only agree with Ezra Pound when he wrote - 'One of the pleasures of middle age is to find out that one was right, and that one was much righter than one knew at say 17 or 23'.

And I was 23 in 1972, so I will end by taking you back to when The Year is '72

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Thursday, January 11, 2007

A song of peace for lands afar and mine

From James Primosch: Sent 08 January 2007 06:12:19
To overgrownpath@hotmail.co.uk:
Subject - Finlandia:

Hello, in reference to your recent Finlandia post - the words Joan Baez (right) sings are actually by Lloyd Stone, and date from 1934. For more details follow this link. May I say that I enjoy your blog very much, with good wishes,

Dr. James Primosch, Robert Weiss Professor of Music, Department of Music, University of Pennsylvania - composer website

James, many thanks for clarifying that. Below are the words by Lloyd Stone that Joan Baez sings to the music of Sibelius. These are words that are terribly relevant today:

This is my song, Oh God of all the nations,
A song of peace for lands afar and mine.
This is my home, the country where my heart is;
Here are my hopes, my dreams, my sacred shrine.
But other hearts in other lands are beating,
With hopes and dreams as true and high as mine.
My country's skies are bluer than the ocean,
And sunlight beams on cloverleaf and pine.
But other lands have sunlight too and clover,
And skies are everywhere as blue as mine.
Oh hear my song, oh God of all the nations,
A song of peace for their land and for mine.


Now, to mark today's dreadful anniversary of the five years that have passed since the US authorities first transferred "war on terror" detainees to the detention camp in Guantánamo Bay, Cuba, read about a land afar in Baghdad’s Spring.



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Thursday, December 28, 2006

Sibelius – his genius remains unrecognised

The history of the rise of Sibelius in the good opinion of the fashionable intelligence makes an interesting story. Thirty years ago he was known in the parks, around the bandstands, as the composer of ‘Finlandia’; at concerts he was occasionally represented on the less austere evenings by the ‘Valse Triste’. Outside Finland a few musicians had studied the scores of the First and the Second of the symphonies; and the one in E minor was confidently supposed to be written in the manner and idiom of Tchaikovsky. Not until after the war of 1914-1918 was Sibelius taken up by the best people of Great Britain and America; on the continent in general his genius remained (and remains) more or less unacknowledged or unrecognised.

The remarkable fact is that the more bald and taciturn Sibelius’s music became, the more and more his public grew in the places where it was played at all. The critics and the coteries of London were condescending about the First and Second symphonies, in which he exploits spacious tunes and strong and palpable and far-flung rhythms. It was only after he had pared his music down to the bone and adopted the aspect of aloof austerity that he interested the post-1918 leaders of what is what in the arts. Then the gramophone companies surprisingly ventured on his symphonies, all of them, even the grim and forbidding Fourth. Sibelius the swooning voluptuary of the ‘Valse Triste’; Sibelius the military-band rhetorician of ‘Finlandia’; and Sibelius the big-fisted and big-chested extravert of the E minor symphony lived to see himself drawn in as a heavy reinforcement to aid the reaction against romanticism.


Neville Cardus, celebrated music critic of the then Manchester Guardian, writes in 1944, at a time when music critics were wordsmiths rather than HTML wizards. In 2007 we celebrate important anniversaries for both Jean Sibelius and Edvard Grieg. By a strange coincidence these two Scandinavians died almost exactly fifty years apart, Sibelius on September 20th 1957 and Grieg (right) on September 4th 1907. Sibelius’ lifespan was extraordinary. He was born in 1865, the year when the American Civil war ended. He did not compose at all for the last thirty years of his life, and when he died in 1957 the Korean War had been ended for four years, and Elvis Presley’s Heartbreak Hotel had sold more than a million copies.

Let me make my own position on Sibelius clear. I stood in the grounds of Sibelius' house in Järvenpää and heard the beating of the swans' wings, and I felt the force - give me one bar of Sibelius for one symphony of Shostakovich. And for those who think the music of Sibelius and Grieg is just Scandinavian bombast here are three thought provoking CDs for their anniversary year.

* Edvard Grieg – Lyric Pieces played by Emil Gilels. These pieces are often thought to be the province of children and music teachers, but these juvenile connotations are quite wrong. These exquisite piano miniatures combine lyricism with a deep maturity, and Gilels 1974 recording made in Berlin by legendary DG producer Gunther Breest is a classic of the gramophone.



* Jean Sibelius – Works for String Orchestra played by Ostrobothnian Chamber Orchestra conducted by Juha Kangas. A wonderful selection of little known Sibelius including incidental music for the stage and his little Suite in D Minor for violin and strings. The Suite lasts for less than eight minutes, but it is tremendously important. It was composed in 1929, five years after the Seventh Symphony. Soon after writing the Suite Sibelius the composer fell silent, although he continued to work on the Eighth Symphony in secret. The Eighth disappeared in the flames of the composer’s self-criticism, which at least spares us a BBC commissioned completion for the 2007 Proms.

* Joan Baez - Bowery Songs. This live album is a the product of the 2004 Presidential election. As conventioneering and electioneering fever grew more heated in the US Michael Moore's Fahrenheit 9/11 stirred the pot, and Baez joined Rage Against The Machine's Tom Morello for the West Coast leg of Moore's 'Slacker Uprising Tour.' For the opening track of the live album Baez sings an a cappella version of Finlandia to which she has added her own words which start with: "This is my song, a song of peace for lands afar and mine." Sibelius composed Finlandia to express his opposition to Russian influence over Finland, and his hymn to peace remains as relevant today as it was in 1899. Listen to Joan Baez's unique take on Finlandia here (1' 50") -

Now read an American critic’s opinion of Sibelius in Pliable’s Path
Neville Cardus quote from Ten Composers published by Jonathan Cape, 1945. Audio sample linked from Joan Baez.com. Any copyrighted material on these pages is included for "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk