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Sobre un descapotable, Gabriela Mistral cruzaba la larga avenida de Santiago.

Ella dice que fue la contingencia. Se trataba de la marcha NiUnaMenos. Y nada que ver. Buscando las razones de esta muerta, revisan aspectos y temas del temple mistraliano de sus poemas: En Paraguay, al terminar uno, se le acercaban con libros de la poetiza.

Yo no soy la Mistral. La acusan en medio del patio y la apedrean camino a su casa. Baez at her home in the hills above Palo Alto, Calif. Ramona Rosales for The Washington Post. On her final tour, her irony-free mix of politics and song seems as relevant as ever. And yet here she was, doing again what is the essence of her legend: The occasion was a rally to mark the third anniversary of the massacre at nearby Emanuel African Methodist Episcopal Church, where a white man killed nine African American congregants during a Bible study.

Una fuerza natural: la vida de Oriana Fallaci

Baez had come from Paris — taking a break from her worldwide farewell tour, the last sustained series of concerts of her nearly six-decade career. Zoe Mulfordan obscure folk singer three decades younger than Baez, wrote the piece. Mulford was in the audience at the rally, slightly dazzled. She has been one of my heroes. Singer and activist Joan Baez opens up about the importance of music. Baez strapped on a borrowed guitar. Her voice, an increasingly fragile instrument, felt tight from fallaci lag, she told me later.

Masking her doubts behind a bright smile, she announced the song. So he sang instead.

As she fingerpicked the opening lick, I wondered how a simple song could live up to the emotions of the event — grief, loss, hope. Local performers today had brought their beats and loops, their soundtracks and videos.

And here was Baez with only a guitar. She sang a little huskily at first: A young man came to a house of prayer They did not ask what brought him there He was not friend, he was not kin But they opened the door and let him in. Many in the crowd were standing, staring intently as they took in the words. After three verses came the chorus, the voice strong now: When she finished, the crowd whooped and cheered. Bennett, who works at Z93 Jamz radio in Charleston and hosts a YouTube series on local hip-hop, told me she started following Baez on Instagram when she noticed the singer being tagged in videos posted by younger activists since President Trump was elected.

Afterward, Baez walked to the church, where she met some family members of those who were murdered. Martin Luther King Jr. It was Joan Baez playing Joan Baez, the woman being the legend; and somehow — after incalculable changes to the music industry, the splintering of social movements, the dislodging of protest anthems from their central role in activist culture — that still mattered.

It all started with her first act of civil disobedience, when Baez was attending Palo Alto High School in California in the mids. The school announced that there would be a drill to prepare for a nuclear missile attack. The students were to go home and take shelter in basements.

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Baez refused to leave her classroom. It was futile, she said. She had calculated that a missile from Moscow would reach Palo Alto before anyone got to a basement. Her resistance made headlines and, not for the first time, critics called her a Communist. Actually, she was influenced by Quaker teachings, as she had been ever since her family had started attending a local meeting. By she was attending, then quickly dropping out of, Boston University, as she spent most of her time walking with her guitar, often barefoot, from gig to gig at Cambridge coffeehouses.

Harvard lads in sweaters and wanna-beatniks in black turtlenecks swooned over her solemn stage persona and mellifluous soprano renderings of antique English murder ballads and grim Appalachian love dirges.

For young rebels, folk was a passage to authenticity from an increasingly plastic land. Her albums scaled the Billboard chart and went gold, and inwhen she was 21, she landed on the cover of Time magazine.

She was an enchantress. It took two albums of apolitical folk before Baez found a way to merge her passion for that music with her social conscience. The missing link was fresh, politically aware material, and Dylan provided it. She brought Dylan on stage with her and practically commanded her audiences to take heed of his genius. Soon, they needed no convincing. While Baez would record and perform many of her own songs during her career, she focused her talent mainly on interpretation.

The songs she chose for social causes conjured the solidarity of the singalong; they were tools to ease tension at demonstrations, and they lent beauty and a sense of mission to the daily incremental drudgery of activism.

Over the next several years, she founded a school for the study of nonviolence, announced she would withhold the 60 percent of her taxes that she estimated went to armaments, and spent 11 days in and out of shelters in Hanoi singing freedom songs while American bombs rained down. She made a record that featured a sound collage of bombs, poetry, reportage and singing. In she did stints of 10 and 30 days in a detention center for blocking the entrance of a draft-induction facility in Oakland, Calif.

The Force of Reason by Oriana Fallaci

Has any other multiple-gold-record-earning musician ever spent a month in jail for protesting anything? At Woodstock she was one of the highest-paid performers — behind Jimi Hendrix but ahead of big names including Janis Joplin and Jefferson Airplane. Between songs, she treated the muddy hippies to a lively account of the arrest of her then-husband — activist David Harris, who was in prison for refusing his draft summons — and his attempts to organize his fellow inmates. Amy Ray and Emily Saliers of the Indigo Girls remember touring the Southeast in the early s in a van with Baez singing gospel songs in the back.

Baez put out several well-regarded albums and built a solid touring schedule, both solo and with younger proteges. Just as older socially conscious influences like Woody Guthrie filtered through Baez to the next generation of singer-songwriters, those artists in turn processed Baez for a new crop of fans.

She first met Baez at 16, when the singer visited her high school and sang an impromptu duet with the teenager. And Joan Baez, to me, is the example of that. When Ginger lost the sight in her second eye a year ago, she used her other senses to map the couple of acres of property.


Baez has been adapting similarly with her peerless soprano as it has deepened. Working with a vocal therapist, she has found a different way to do many of the old songs, while selecting new pieces that profit from her lower range. The work has extended the life of her singing.

Still, the daily challenge of keeping her voice up to her own high standards is the main reason she plans to cease touring after the current run ends next year.

She speaks in a soft voice and laughs a lot. I just want to pop up to that note and know I can hang on to it for like a quarter of a second and then come back down — and even that is getting beyond my reach. I like the sound of it. Everything has to be in order. The body has to be in order, the breathing, the throat, everything, to get happily to those notes. And I can still do that. A lot of it is cellular memory.

Songs that have cellular memory otiana are easier to get up there and actually hang out for a minute. She sees painting as part of a second career as she prepares to retire from touring.

The Force of Reason

But if she was not nostalgic, I was curious why there was a photo of Dylan stuck to the kitchen refrigerator. It showed a poofy-haired, tweedy, s Dylan. The former First Couple of Folk had their ups and downs over the years.

Baez does an excellent Dylan impersonation: Ya gonna do that one about the blue eyes? And then painting his portrait a few months ago, it all just went. I listened to linro music straight through. And I would cry periodically at the beauty of it, really, the magic of it.

And all of that resentment dissolved. I have nothing left except glad that I was able to be there and be me at that time, and that he was doing what he was doing. Dylan, remote and reclusive, took his voice down idiosyncratic byways, not seeming to care that to some fans it was getting harder and orianw to understand.

Baez, who cherished a close relationship with her public, has continued using her voice — the fallqci and the message — to reach the people for as long as she can. The hall had been filled the night before — it had felt like a 5,voice singalong at times — and it would be tonight as well. The first time she packed Albert Hall was in — a consolation after leaving that horrible Dylan tour — and this was likely oriaan be the last. The stage design was as spare as her Harvard Square days, and for many songs she stood alone.

On others she played with different combinations of just three musicians — her son, Gabriel Harris, on percussion; Dirk Powell on a variety of instruments; and Grace Stumberg on vocals and guitar. In many ways, the set list served as an argument that some songs may always be oriaba.

Woody Guthrie wrote the song about a California falaci crash of migrant farmworkers being deported to Mexico. A scholar recently researched the names of the deportees, and Baez told the London crowd that she sang the song at a reunion of their homber. And now, here it was again: Baez had seen it, too.

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