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==Music career== The opening line of Baez's memoir ''And a Voice to Sing With'' is "I was born gifted" (referring to her singing voice, which she explained was given to her and for which she can take no credit).<ref>{{cite book|url=https://books.google.com/books?id=4Lw5Y0nsWd0C&q=Joan+Baez+%22I+was+born+gifted%22&pg=PR25|title=And A Voice to Sing With: A Memoir|first=Joan|last=Baez|year=2012|publisher=Simon and Schuster|via=Google Books|isbn=9781451688405}}</ref> 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]].<ref name="DemNow2009">[http://www.democracynow.org/2009/5/4/legendary_folk_singer_activist_pete_seeger Democracy Now, May 4, 2009] {{Webarchive|url=https://web.archive.org/web/20150123092723/http://www.democracynow.org/2009/5/4/legendary_folk_singer_activist_pete_seeger |date=January 23, 2015 }} (transcript). Interview with Joan Baez, by [[Amy Goodman]] at Pete Seeger's 90th birthday celebration.</ref> When Baez was 13, her aunt took her to a concert by [[folk music]]ian [[Pete Seeger]], and Baez found herself strongly moved by his music.<ref>Hajdu, David. ''Positively Fourth Street: The Lives and Times of Joan Baez, Bob Dylan, Mimi Baez Fariña and Richard Fariña'' (New York: Farrar, Straus and Giroux, 2001). [https://books.google.com/books?id=t4I1CQyVFkEC&q=thirteen The passage about that Pete Seeger concert's effect] on Baez starts on p. 7 of the book. The concert was in 1955 at Palo Alto High School. It was a fundraiser for the California Democratic Party.</ref> <!--EDITOR NOTE: The sentence of this Wikipedia article that I am replacing (on January 5, 2014) with the sentence to which this footnote applies states mistakenly that Baez was eight years old when she went to that Pete Seeger concert. The source that was given, in this Wikipedia article, for that mistaken information is this webpage: <http://www.democracynow.org/2009/5/4/legendary_folk_singer_activist_pete_seeger>. If you read the paragraph at that webpage that mentions going to Seeger's concert and the paragraph after it, you will see why the inference that Baez was eight at the time is a mistake. --> She soon began practicing the songs of his [[Musical repertoire|repertoire]] and performing them publicly. One of her earliest public performances was at a retreat in [[Saratoga, California]], for a youth group from Temple Beth Jacob, a [[Redwood City, California]], Jewish congregation. A few years later, in 1957, Baez bought her first [[Gibson Guitar Corporation|Gibson]] acoustic guitar. ===College music scene in Massachusetts=== After graduating from high school in 1958, Baez and her family moved from the San Francisco area to [[Boston|Boston, Massachusetts]], after her father accepted a faculty position at [[Massachusetts Institute of Technology|MIT]].<ref name=badass/> At that time, it was in the center of the up-and-coming folk-music scene and she began performing near home in Boston and nearby [[Cambridge, Massachusetts|Cambridge]]. She also performed in clubs and attended [[Boston University]] for about six weeks<ref name="American Masters" /> before she gave her first concert at the [[Club Passim|Club 47]] in Cambridge. When designing the poster for the performance, Baez considered changing her performing name to either Rachel Sandperl, the surname of her longtime mentor [[Ira Sandperl]], or Maria from the song "[[They Call the Wind Maria]]". She later opted against doing so, fearing that people would accuse her of changing her last name because it was Spanish. The audience consisted of her parents, sister Mimi, her boyfriend, and a few friends, resulting in eight patrons. Baez was paid ten dollars before she was later asked back and began performing twice a week for $25 per show.<ref>{{cite book |title= And A Voice To Sing With|last= Baez|first= Joan |year= 1987|publisher= Summit Books|isbn= 978-5-551-88863-5|page= 63 |url= https://books.google.com/books?id=v2tocQYV1owC&q=joan+baez+mitch+miller&pg=PA63|access-date=August 1, 2010}}</ref> 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 trio sang solos and duets and a family friend designed the album cover, which was released on Veritas Records that same year as ''[[Folksingers 'Round Harvard Square]]''. Baez later met [[Bob Gibson (musician)|Bob Gibson]] and [[Odetta]], who were at the time two of the most prominent vocalists singing [[folk music|folk]] and [[gospel music]]. Baez cites Odetta as a primary influence along with [[Marian Anderson]] and Pete Seeger.<ref>Baez, Joan. ''And a Voice to Sing With: A Memoir''. New York: Simon & Schuster, 2009, p. 43</ref> Gibson invited Baez to perform with him at the 1959 [[Newport Folk Festival]], where they sang two duets, "Virgin Mary Had One Son" and "We Are Crossing Jordan River".<ref name=pc19 /> 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,<ref>{{cite book |title= And A Voice To Sing With|last= Baez|first= Joan |year= 1987|publisher= Summit Books|isbn= 978-5-551-88863-5|page= 62 |url= https://books.google.com/books?id=v2tocQYV1owC&q=joan+baez+mitch+miller&pg=PA61|access-date=August 1, 2010}}</ref> although [[Columbia Records]] tried to sign her first.<ref>Baez, Joan (1987). ''And A Voice to Sing With'', pp. 61–62. Baez describes the afternoon when she met with first Mitch Miller at Columbia, then Maynard Solomon at Vanguard.</ref> Baez later claimed that she felt she would be given more artistic license at a more "low key" label.<ref>{{cite book |title= How the Beatles Destroyed Rock n Roll: An Alternative History of American Popular Music|last= Wald|first= Elijah|year= 2009 |publisher= Oxford University Press, USA|isbn= 978-0-19-534154-6|page= [https://archive.org/details/howbeatlesdestro00waldx/page/226 226]|url= https://archive.org/details/howbeatlesdestro00waldx|url-access= registration|quote= joan baez mitch miller.|access-date=August 1, 2010}}</ref> Baez's nickname at the time, "Madonna", has been attributed to her clear voice, long hair, and natural beauty,<ref>Abbe A. Debolt, James S. Baugess – The Encyclopedia of the Sixties: A Decade of Culture 1440801029 Page 48 "She received the nickname "Madonna" because of the soulful clarity of her soprano voice, long hair, and natural beauty."</ref> and to her role as "Earth Mother".<ref>Terrie M. Rooney Newsmakers 1998: The People Behind Today's Headlines 0787612308 – 1999 p. 17 "With her pure, three-octave soprano voice, her long hair and natural good looks, and her unpretentious presence, she came to earn the nickname "Madonna" because she represented the "Earth Mother" for the 1960s generation."</ref> ===First albums and 1960s breakthrough=== [[File:Joan Baez 1963.jpg|right|thumb | alt=Baez stands behind a too-tall podium bristling with microphones, wearing a plaid sleeveless top, longish hair in a feather cut |Baez playing at the [[March on Washington for Jobs and Freedom|March on Washington]] in August 1963]] Her true professional career began at the 1959 [[Newport Folk Festival]]. Following that appearance, she recorded her first album for Vanguard, ''[[Joan Baez (album)|Joan Baez]]'' (1960), produced by [[Fred Hellerman]] of [[The Weavers]], who produced many albums by folk artists. The collection of traditional folk [[Ballad (music)|ballads]], blues, and [[lament]]s sung to her own guitar accompaniment sold moderately well. It featured many popular [[Child Ballads]] of the day and was recorded in only four days in the ballroom of New York City's Manhattan Towers Hotel. The album also included "[[Gracias a la Vida (album)#Track listing|El Preso Numero Nueve]]", a song sung entirely in Spanish, which she would re-record in 1974 for inclusion on her Spanish-language album ''[[Gracias a la Vida (album)|Gracias a la Vida]]''. [[File:JoanBaez1966-1a.jpg|thumb|left|200px|[[Ira Sandperl]] and Baez (center) at the [[Frankfurt]] Easter March 1966]] She made her New York concert debut on November 5, 1960, at the [[92nd Street Y]]<ref>{{cite web|url=http://www.joanbaez.com/chronology.html|title=The Joan Baez Web Pages|website=joanbaez.com|access-date=February 16, 2018|archive-url=https://web.archive.org/web/20160817040215/http://www.joanbaez.com/chronology.html|archive-date=August 17, 2016|url-status=dead}}</ref> and on November 11, 1961, Baez played her first major New York concert at a sold-out performance at [[The Town Hall (New York City)|Town Hall]]. Robert Shelton, folk critic of the ''[[New York Times]]'', praised the concert, saying, "That superb soprano voice, as lustrous and rich as old gold, flowed purely all evening with a wondrous ease. Her singing (unwound) like a spool of satin."<ref>{{cite web |url=http://www.thisdayinrock.com/index.php/general/1961-joan-baez-plays-her-first-major-new-york-concert-at-a-sold/ |author=Stu Steadman |title=1961 – Joan Baez plays her first major New York concert |year=2017 |work=thisdayinrock.com |access-date=June 27, 2021 |archive-date=June 27, 2021 |archive-url=https://web.archive.org/web/20210627171618/http://www.thisdayinrock.com/index.php/general/1961-joan-baez-plays-her-first-major-new-york-concert-at-a-sold/ |url-status=usurped }}</ref> Years later when Baez thought back to that concert, she laughed, saying: "I remember in 1961 my manager sending me this newspaper (clipping) in the mail (which) read, 'Joan Baez Town Hall Concert, SRO.' I thought SRO meant 'sold right out.' I was so innocent of it all."<ref>David A. Maurer (March 10, 2016). "Joan Baez: Folk Singer, Hereditary Activist". ''The Daily Progress''.</ref> [[File:Joan_Baez_(1966).jpg|thumb|upright|Baez at [[Amsterdam Airport Schiphol|Amsterdam Airport]], 1966]] Her second release, ''[[Joan Baez, Vol. 2]]'' (1961), went [[Music recording sales certification|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 the mid-1960s, Baez emerged at the forefront of the American [[roots revival]], where she introduced her audiences to the then-unknown [[Bob Dylan]] and was emulated by artists such as [[Judy Collins]], [[Emmylou Harris]], [[Joni Mitchell]], and [[Bonnie Raitt]]. On November 23, 1962, Baez appeared on the cover of ''Time Magazine''—a rare honor then for a musician. Although primarily an album artist, several of Baez's singles have charted, 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 Canada, and a top-ten single in the United Kingdom. [[File:Joan Baez 1966.jpg|thumb|left|upright|Baez in 1966]] Baez added other instruments to her recordings on ''[[Farewell, Angelina]]'' (1965), which features several Dylan songs interspersed with more traditional fare. Deciding to experiment with different styles, Baez turned to [[Peter Schickele]], a classical music composer, who provided classical orchestration for her next three albums: ''[[Noël (Joan Baez album)|Noël]]'' (1966), ''[[Joan (album)|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]]. ''Joan'' featured interpretations of work by contemporary composers, including [[John Lennon]] and [[Paul McCartney]], [[Tim Hardin]], [[Paul Simon]], and [[Donovan]]. In 1968, Baez traveled to [[Nashville, Tennessee]], where a marathon recording session resulted in two albums. The first, ''[[Any Day Now (Joan Baez album)|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 (protester)|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|country-rock]] influences beginning with ''David's Album''. Later in 1968, Baez published her first memoir, ''Daybreak'' (by [[Dial Press]]). In August 1969, her appearance at [[Woodstock]] in upstate New York raised her international musical and political profile, particularly after the successful release of the documentary film ''[[Woodstock (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; "Sweet Sir Galahad" was written about her sister Mimi's second marriage, while "A Song For David" was a tribute to Harris. ''One Day at a Time'', like ''David's Album'', featured a decidedly country sound. Baez's distinctive vocal style and political activism had a significant impact on American 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. [[Pete Seeger]], [[Odetta]], and decades-long friend [[Harry Belafonte]] were her early social justice advocate influences.<ref name=":0">{{cite web|url=http://www.biography.com/people/joan-baez-9195061|title=Joan Baez|website=Biography.com|access-date=February 28, 2017|archive-date=March 2, 2017|archive-url=https://web.archive.org/web/20170302233744/http://www.biography.com/people/joan-baez-9195061|url-status=live}}</ref> Baez came to be considered the "most accomplished interpretive folksinger/songwriter of the 1960s".<ref name="Baez1941">[http://www.u-s-history.com/pages/h3830.html Joan Baez] {{Webarchive|url=https://web.archive.org/web/20120131042744/http://www.u-s-history.com/pages/h3830.html |date=January 31, 2012 }}. United States History. History.com.</ref> Her appeal extended far beyond the folk music audience.<ref name="Baez1941" /> 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.<ref>{{cite web |author=Artist Biography by William Ruhlmann |url=http://www.allmusic.com/artist/joan-baez-p1917/charts-awards |title=Joan Baez: Charts and Awards, All Music. Retrieved December 1, 2011 |work=AllMusic |date=January 9, 1941 |access-date=December 5, 2013 |archive-date=March 1, 2011 |archive-url=https://web.archive.org/web/20110301025442/http://www.allmusic.com/artist/joan-baez-p1917/charts-awards |url-status=live }}</ref> ===1970s and the end of Vanguard years=== [[File:Joan Baez Hamburg 1973 2811730005.jpg|thumb|left|upright=0.8|Baez playing in Hamburg, 1973| alt=Joan Baez playing on stage in a Hamburg TV studio, 1973]] After eleven years with Vanguard, Baez decided in 1971 to cut ties with the label that had released her albums since 1960. She delivered Vanguard one last success with the gold-selling album ''[[Blessed Are...]]'' (1971), which included a top-ten hit in "[[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 "The Story of Bangladesh" in 1971. This song was based on the Pakistani army crackdown on unarmed sleeping Bengali students at Dhaka University on March 25, 1971, which ignited the prolonged nine-month [[Bangladesh Liberation War]].<ref>{{cite web|url=http://www.mukto-mona.com/Articles/avijit/joan_baez260306.htm|archive-url=https://web.archive.org/web/20140407094644/http://www.mukto-mona.com/Articles/avijit/joan_baez260306.htm|url-status=dead|archive-date=April 7, 2014|title=Joan Baez and our Liberation War Avijit Roy|date=April 7, 2014}}</ref> The song was later entitled "The Song of Bangladesh" and released in a 1972 album from Chandos Music.<ref>[http://www.joanbaez.com/Lyrics/bangladesh.html Words and Music by Joan Baez, Song of Bangladesh] {{Webarchive|url=https://web.archive.org/web/20120210083940/http://www.joanbaez.com/Lyrics/bangladesh.html |date=February 10, 2012 }}, lyrics joanbaez.com.</ref> During this period in late 1971, she reunited with composer [[Peter Schickele]] to record two tracks, "Rejoice in the Sun" and "Silent Running" for the [[science fiction|science-fiction]] film ''[[Silent Running]]''. The two songs were issued as a single on [[Decca Records|Decca]] (32890). In addition to this, another LP was released on Decca (DL 7-9188) and was later reissued by [[Varèse Sarabande]] on black (STV-81072) and green (VC-81072) vinyl. In 1998, a limited release on CD by the "Valley Forge Record Groupe" was released. Baez's first album for A&M, ''[[Come from the Shadows]]'', was recorded in Nashville, and included a number of more personal compositions, including "Love Song to a Stranger" and "Myths", as well as work by Mimi Farina, John Lennon, and Anna Marly. ''[[Where Are You Now, My Son?]]'' (1973) featured a 23-minute title song which took up all of the [[A-side and B-side|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]].<ref>[http://www.democracynow.org/2002/12/26/joan_baez Democracy Now, December 26, 2002] {{Webarchive|url=https://web.archive.org/web/20100509070826/http://www.democracynow.org/2002/12/26/joan_baez |date=May 9, 2010 }} (audio). Interview with Joan Baez by Amy Goodman. ''[[Democracy Now]]''. Retrieved June 17, 2010.</ref><!-- See Vietnam War in [[Joan Baez#Civil rights|Civil rights]] section below. --> ''[[Gracias a la Vida (album)|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 included 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 [[Sony Music Entertainment|CBS Records]] for ''[[Blowin' Away]]'' (1977) and ''[[Honest Lullaby]]'' (1979). ===1980s and 1990s=== In 1980, Baez was given honorary [[Doctor of Humane Letters]] degrees by [[Antioch University]] and [[Rutgers University]] for her political activism and the "universality of her music". In 1983, she appeared on the [[Grammy Awards]], performing Dylan's anthemic "[[Blowin' in the Wind]]", a song she first performed twenty years earlier. 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. [[File:Dylan-Baez-Santana.jpg|thumb|right | alt=On stage outdoors, Dylan in a leather jacket and iconic porkpie hat & scarf, Baez wears a peasant skirt, sarape, tassled scarf around neck, her arm around Dylan's shoulder. Santana in workman's shirt & knit cap. | [[Bob Dylan]], Baez, and [[Carlos Santana]], performing in 1984]] Baez found herself without an American label for the release of ''[[Live -Europe '83|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 (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 [[The New York Times Best Seller list|''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 [[Palestinian people|Palestinians]]. In May 1989, Baez performed at a music festival in [[Communist Czechoslovakia]] called Bratislavská lýra. While there, she met future [[List of Presidents of Czechoslovakia|Czechoslovak 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 (Joan Baez album)|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 former-[[Socialist Federal Republic of Yugoslavia|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 wars|Yugoslav civil war]]. In October 1993, 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. ===2000s=== Beginning in 2001, Baez has had several successful long-term engagements as a lead character at San Francisco's [[Teatro ZinZanni]].<ref name="BaezSFChron">{{cite web |url= http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2001/10/12/DD231448.DTL |title= Now it's Countess Baez |first= Steve |last= Winn |work= [[San Francisco Chronicle]] |date= October 12, 2001 |access-date= August 21, 2007 |archive-date= October 12, 2007 |archive-url= https://web.archive.org/web/20071012170932/http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2001/10/12/DD231448.DTL |url-status= live }}</ref> 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 notes|liner-note]] essays written by Arthur Levy. Likewise, her six A&M albums were reissued in 2003. In 2003, Baez was also a judge for the third annual Independent Music Awards to support independent artists' careers.<ref>[http://www.independentmusicawards.com/ima_new/imajudges2004.asp 3rd Annual Independent Music Awards – Judges] {{webarchive|url=https://web.archive.org/web/20151112142917/http://www.independentmusicawards.com/ima_new/imajudges2004.asp |date=November 12, 2015}} ''Independent Music Awards''; Music Resource Group, LLC, 2004. Retrieved June 17, 2010.</ref> [[File:HSB 2005 - Joan Baez.jpg|thumb|upright|alt=Baez plays in blue jeans and orange waist jacket, against a backdrop of lush trees | [[Hardly Strictly Bluegrass Festival]] 2005 at [[Golden Gate Park]]]] Baez's 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. On October 8, 2006, Baez appeared as a special surprise guest at the opening ceremony of the [[Forum 2000]] international conference in [[Prague]]. 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 Music Bar#Lucerna Palace|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 (Oakland, California)|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]]". [[File:Dresden 07 2008 135 (2684499251).jpg|thumb|left | alt=Baez plays outdoors in brown wide-leg pants, white top, brown waistcoat, blue pearls, and a long orange neck scarf. To her left, a male accompanist in a vest plays a small wooden cigar-box-style guitar | Joan Baez concert in [[Dresden]], Germany, July 2008]] In February 2007, [[Proper Records]] reissued her 1995 live album ''Ring Them Bells'', 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. In addition, Baez recorded a duet of "Jim Crow" with [[John Mellencamp]] which appears on his album ''[[Freedom's Road]]'' (2007). 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]].<ref>{{Cite news |last=Nichols |first=John |date=February 12, 2007 |title=America's Not Ready to Make Nice |url=https://www.thenation.com/article/archive/americas-not-ready-make-nice/ |access-date=June 8, 2024 |language=en-US |issn=0027-8378 |archive-date=June 8, 2024 |archive-url=https://web.archive.org/web/20240608164532/https://www.thenation.com/article/archive/americas-not-ready-make-nice/ |url-status=live }}</ref> September 2008 saw the release of the studio album ''[[Day After Tomorrow (Joan Baez album)|Day After Tomorrow]]'', produced by [[Steve Earle]] and featuring three of his songs. The album was Baez's first charting record in nearly three decades.<ref>[http://www.joanbaez.com/DAT.html Day After Tomorrow] {{Webarchive|url=https://web.archive.org/web/20160209223524/http://www.joanbaez.com/dat.html |date=February 9, 2016}}. ''joanbaez.com''; Joan Baez official website. Retrieved June 17, 2010.</ref><ref>Bronson, Fred (September 19, 2008). [https://www.reuters.com/article/idUSN1929946520080919 Joan Baez back on chart after 29 years] {{Webarchive|url=https://web.archive.org/web/20210308233700/https://www.reuters.com/article/idUSN1929946520080919 |date=March 8, 2021 }}. ''Reuters/Billboard''. Retrieved June 18, 2010.</ref> On June 29, 2008, Baez performed on the acoustic stage at the [[Glastonbury Festival 2008|Glastonbury Festival]]<ref>{{Cite web |url=http://www.glastonburyfestivals.co.uk/performance.aspx?id=2179 |title=Acoustic Stage lineup, 2008 |access-date=July 2, 2008 |archive-date=May 1, 2008 |archive-url=https://web.archive.org/web/20080501112515/http://www.glastonburyfestivals.co.uk/performance.aspx?id=2179 |url-status=dead }}. Glastonbury Music Festival. Archived from the June 25, 2008.</ref> playing out the final set to a packed audience.<ref>{{cite web |title=Joan Baez plays closing set at Glastonbury 2008 |url=https://www.nme.com/news/music/glastonbury-267-1323676 |website=NME |date=June 30, 2008 |access-date=October 26, 2022 |archive-date=October 26, 2022 |archive-url=https://web.archive.org/web/20221026084936/https://www.nme.com/news/music/glastonbury-267-1323676 |url-status=live }}</ref> 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.<ref>{{cite web |url=http://www.montreuxjazz.com/news/index_fr.aspx |title=Montreux Jazz festival |publisher=Montreuxjazz.com |access-date=November 12, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20111105212332/http://www.montreuxjazz.com/news/index_fr.aspx |archive-date=November 5, 2011 }}</ref> 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.<ref>WFUV (August 2, 2009). [https://www.npr.org/templates/story/story.php?storyId=111395125 Joan Baez: Newport Folk Festival 2009] {{Webarchive|url=https://web.archive.org/web/20131227171638/http://www.npr.org/templates/story/story.php?storyId=111395125 |date=December 27, 2013 }}.(MP3) ''npr.org''; NPR – Music. Retrieved June 17, 2010.</ref> 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 soundtrack were released at the same time.<ref name="American Masters" /><!--Joan Baez: How Sweet the Sound</ref>--> ===2010s and 2020s=== [[File:Joan_Baez_performs_We_Shall_Overcome_Feb_09_2010.webm|thumb|Baez sings "We Shall Overcome" at the [[White House]], 2010]] On April 4, 2017, Baez released on her Facebook page her first new song in 27 years, "Nasty Man", a protest song against US President [[Donald Trump]], which became a viral hit.<ref>{{cite news|url=https://www.huffingtonpost.com.au/entry/joan-baez-donald-trump-song_us_58e73645e4b00de141020429|title=Joan Baez Tears Into 'Future Dictator' Donald Trump In New 'Nasty Man' Song|work=[[HuffPost]]|date=April 7, 2017|first=Lee|last=Moran|access-date=May 25, 2018|archive-date=September 11, 2018|archive-url=https://web.archive.org/web/20180911191234/https://www.huffingtonpost.com.au/entry/joan-baez-donald-trump-song_us_58e73645e4b00de141020429|url-status=live}}</ref><ref>{{cite web|url=https://www.telegraph.co.uk/music/artists/joan-baez-virgin-mary-outrageous-flirt/ |archive-url=https://ghostarchive.org/archive/20220111/https://www.telegraph.co.uk/music/artists/joan-baez-virgin-mary-outrageous-flirt/ |archive-date=January 11, 2022 |url-access=subscription |url-status=live|title=Joan Baez: 'I'm the Virgin Mary ... and an outrageous flirt'|work=[[The Daily Telegraph]]|date=March 4, 2018|first=Helen|last=Brown|access-date=February 4, 2020}}{{cbignore}}</ref> On April 7, 2017, she was inducted into the [[Rock and Roll Hall of Fame]].<ref>{{cite news|url=https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/04/08/pearl-jam-tupac-journey-and-joan-baez-inducted-into-rock-and-roll-hall-of-fame|title=Pearl Jam, Tupac, Journey and Joan Baez inducted into Rock and Roll Hall of Fame|newspaper=[[The Washington Post]]|date=April 8, 2017|first=Ellen|last=McCarthy|access-date=May 25, 2018|archive-date=May 26, 2018|archive-url=https://web.archive.org/web/20180526112832/https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/04/08/pearl-jam-tupac-journey-and-joan-baez-inducted-into-rock-and-roll-hall-of-fame/|url-status=live}}</ref> On March 2, 2018, she released a new studio album entitled ''[[Whistle Down the Wind (album)|Whistle Down the Wind]]'',<ref>{{cite web|url=https://www.allmusic.com/album/whistle-down-the-wind-mw0003141770|title=Whistle Down the Wind – Joan Baez|website=[[AllMusic]]|access-date=May 25, 2018|archive-date=May 26, 2018|archive-url=https://web.archive.org/web/20180526042523/https://www.allmusic.com/album/whistle-down-the-wind-mw0003141770|url-status=live}}</ref> which charted in many countries and was nominated for a Grammy, and undertook her "Fare Thee Well Tour" to support the album.<ref>{{cite web|url=https://www.pastemagazine.com/articles/2018/02/joan-baez-announces-final-north-american-tour.html|title=Joan Baez Announces Final Career Tour Dates|work=[[Paste (magazine)|Paste]]|date=February 26, 2018|first=Matthew|last=Oshinsky|access-date=May 25, 2018|archive-date=May 25, 2018|archive-url=https://web.archive.org/web/20180525204727/https://www.pastemagazine.com/articles/2018/02/joan-baez-announces-final-north-american-tour.html|url-status=dead}}</ref> On April 30, 2019, Baez told ''[[Rolling Stone]]'' that she had been approached to perform at the [[Woodstock 50]] festival, but had turned the offer down for "it was too complicated to even get involved in" and her "instincts" were telling her "no".<ref name="Rolling Stone">{{cite magazine |last1=Greene |first1=Andy |title=Joan Baez Reflects on the End of Her Farewell Tour and What's Next |url=https://www.rollingstone.com/music/music-features/joan-baez-interview-farewell-tour-rolling-thunder-trump-828142/ |magazine=[[Rolling Stone]] |date=April 30, 2019 |access-date=May 1, 2019 |archive-date=May 1, 2019 |archive-url=https://web.archive.org/web/20190501053330/https://www.rollingstone.com/music/music-features/joan-baez-interview-farewell-tour-rolling-thunder-trump-828142/ |url-status=live }}</ref> On July 28, 2019, following dates across Europe, Baez performed her final concert at Madrid's Teatro Real.<ref name="Rolling Stone"/> In January 2021, it was announced that Baez would receive a 2020 [[Kennedy Center Honors|Kennedy Center Honor]] in a ceremony that was postponed because of the [[COVID-19 pandemic]].<ref>{{cite news|url=https://pitchfork.com/news/joan-baez-to-receive-kennedy-center-honor/|title=Joan Baez to Receive Kennedy Center Honor|date=January 13, 2021|work=Pitchfork|first=Madison|last=Bloom|access-date=January 15, 2021|archive-date=January 14, 2021|archive-url=https://web.archive.org/web/20210114055602/https://pitchfork.com/news/joan-baez-to-receive-kennedy-center-honor/|url-status=live}}</ref> She was honored along with Debbie Allen, Garth Brooks, Midori, and Dick Van Dyke in May 2021.<ref>{{cite news|url=https://www.washingtonpost.com/entertainment/43rd-annual-kennedy-center-honors/2021/05/22/7259ab90-baff-11eb-96b9-e949d5397de9_story.html|title=Emerging from a long pause, the return of the Kennedy Center Honors is a breath of fresh air|newspaper=The Washington Post|date=May 22, 2021|access-date=March 8, 2023|author=Peggy McGlone|archive-date=February 25, 2023|archive-url=https://web.archive.org/web/20230225110214/https://www.washingtonpost.com/entertainment/43rd-annual-kennedy-center-honors/2021/05/22/7259ab90-baff-11eb-96b9-e949d5397de9_story.html|url-status=live}} (subscription required)</ref>
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