
Joan Baez on her Boston roots, a new exhibit about her life, and ‘A Complete Unknown'
Advertisement
For Baez fans, this looks to be a walk through her life.
For Baez herself, 84, the items and the location of the exhibit itself are a trip back in time.
Get Starting Point
A guide through the most important stories of the morning, delivered Monday through Friday.
Enter Email
Sign Up
'Mostly all of this just brings me back to Cambridge, my Boston days, because they were such an important part of my life. It was the beginning of the folk boom, and I was the right person at the right place at the right time,' says the former Belmont resident, Cambridge Folk scenester, singer and ('for about six hours') a Boston University College of Fine Arts student.
I called Baez to comb through her memories of the exhibited items. We also talked 'A Complete Unknown,' painting with lipstick in France, and 84 years of attempting to save the world.
Q.
I love that you agreed to do this exhibit. People must ask you to do things like this all the time like this.
A.
Well, yes.
Q.
[laughs]
A.
One of my [assistant] Nancy's jobs is to figure out amusing, polite, interesting ways of saying 'no.' It's almost always 'No.'
Artwork by Joan Baez.
Courtesy
Q.
So most of these items are from your home?
A.
Most of them came from my home. Like the Einstein thing I gave my mom — I don't know where Nancy found it.
Q.
The Einstein drawing is from 1957. So Nancy really looked through your archives.
Advertisement
A.
And my mom kept everything.
Q.
What are a few items that stand out from this exhibit? Do any bring back particular memories?
A.
Anything written in my original handwriting — those remind me of different eras of my life and what I went through. I think probably the most interesting is the photo of me in a bathing suit on the beach.
I remember the photo; I don't remember the day. We were gonna start a revolution and have world peace. How'd that work out?
Q.
The March on Washington photos must strike a chord.
A.
Sure. I mean, that's one of those universal things that will always be top of the list. I'm looking at the list now to see. Oh, you know what? 'Military Man with Angel Child' I painted with food on the wall of a French cafe. All the dark stuff was chocolate. I squished up vegetables to try to make green. I used my makeup for skin tones. Lipstick for the reds.
Q.
Also on this list: 'the Rolling Thunder Revue bath towel.' I didn't even know there were concert towels.
A.
You know, I don't remember that, but apparently there were. At least it means some of us took baths.
The Rolling Thunder Revue towel.
Matthew Pacific
Q.
What did you think of 'A Complete Unknown'?
A.
I thought it was a good movie. It was a fun movie. I couldn't get involved with people who are fact-checking and all that stuff, because it's a movie. The music was fantastic. I've become friends with Monica [Barbaro, who played Baez]; she's a sweetheart. I think people did a fairly good job in it. [Ed Norton as] Seeger was fantastic.
Advertisement
Q.
Did Monica ask to study with you?
A.
I offered. I wanted to make myself available. I got to know her a little bit. She was a little shy. She came to
Q.
You must be getting peppered with questions about the movie and accuracy.
A.
Well, yeah. Yourself, for instance.
Q.
[laughs]
Exactly.
A.
It's front and center. If there's any criticism, it's that the Civil Rights Movement was going on at the same time— there was no real mention of it. On the other hand, Dylan was a bubble. You were either in it, or you weren't. And when you're in it, nobody's paying attention to anything else. I managed to keep feet in both camps for a long time.
Q.
True. I interviewed Elijah Wald, who wrote 'Dylan Goes Electric!,' which the biopic is based on.
A.
Awww. Yeah, I didn't move to New York. That's a whole fantasy. I was a Boston/ Cambridge girl until I moved west with my boyfriend. We bought a Corvair and drove cross-country, to the dismay of my father.
Q.
Since the last time we talked, you were
A.
It's always lovely to go back to that area, my stomping ground. I have different little stomping grounds, but the Cambridge/Boston area is really a big home-base.
Advertisement
I mean, the first night I sang at Club 47, my family was there — that was it. My boyfriend was outside, walking back and forth in the snow. He didn't want to come in. He didn't want me to do all that
commercial
stuff — like singing for my family. [laughs] Then by the next week, there were plenty of people there. That was my beginning.
Q.
Any cause that you're feeling right now?
A.
It's a
world.
Almost everything else is irrelevant at the moment. I'm making a [protest] t-shirt and sign. I'm just gonna f—g walk around with it. What have I got to lose? We're losing everything. Might as well go down with some grace.
Interview has been edited and condensed. Exhibit information at
(Children $17 - Adults $25)
Lauren Daley can be reached at ldaley33@gmail.com. She tweets
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


National Geographic
6 hours ago
- National Geographic
Who were the original showgirls?
Can-Can dancers at the Moulin Rouge, 1952. Photograph by AA Film Archive, Alamy Taylor Swift is just the latest artist to be enchanted by the iconic entertainers, with their glittering costumes and racy moves. When Taylor Swift announced her 12th album was entitled 'The Life of a Showgirl,' speculation raged as to its contents. Is Swift in her extravagantly feathered, bare-chested era? Though the singer's announcement elicited images of sequins, plumes, and not much else, it also put the spotlight on the trope of the showgirl, a Vegas beauty now vanished from modern performances. Who was the showgirl, anyway? And why is the idea of her so persistent? Like Swift herself, showgirls are revered for beauty, bling, and the ability to bare it all to their fans. Here's a brief history of the iconic performers. Women have long been formidable entertainers, but the original term 'show girl' emerged around 1750, and was first used pejoratively to describe a woman who dressed or behaved showily. 'The girls are mere show girls—like a myriad of others—sing, play, dance, dress, flirt, and all that,' complains a character in Maria Edgeworth's 1841 Patronage, one of the earliest uses of the term. Meanwhile, social changes in the 18th and 19th century birthed the predecessor of the review show, and of showgirls. In England, pubs began expanding into music halls in response to a growing demand for quick-moving shows featuring exciting entertainers. In France, cafés and cabarets became popular venues along with the chanteuses who performed there. Paris' showgirls inspired famous artists at the time—including Henri de Toulouse-Lautrec—and continue to enchant present-day audiences in movies like Baz Lurhmann's Moulin Rouge, which also birthed a Broadway musical. Photograph by Elliott Franks, eyevine/Redux In 1881, French artist Rudolf Salis took the cabaret one step further when he opened Le Chat Noir (The Black Cat), a cabaret he envisioned as a haven for his fellow artists. At first, the venue operated like an artistic salon, but soon Salis realized he had a potential moneymaker on his hands. Over time, the café became one of Paris' most popular, and its variety programming sparked imitators like Joseph Oller and Charles Zilder, who opened their own venue in 1889. They named it after a red windmill, and the Moulin Rouge was born. Can-can dancers and the birth of Burlesque Inside, daring female dancers lifted their skirts to perform the newest dance, the 'Can-Can,' showing their petticoats and more intimate undergarments as they kicked their legs in the air. The club's racy demi-monde of dancers and patrons was a favorite subject for Parisian artists, most notably Henri de Toulouse-Lautrec. The shows also included satirical skits that 'burlesqued' the political and social figures of the day. Other venues quickly followed suit as music halls and cabarets became havens for both poorer city-dwellers who could not afford the theater or opera and wealthy people eager to 'slum it' in artsy Montmartre. One of the most famous was the Folies Bergère, which had gotten off to an uninspiring start as a theatrical venue in the 1860s. In 1886, impresario Edouárd Marchand took over as manager, introducing a new show and a new kind of female performer. Taking inspiration from his own love of women and the popularity of dancers and chanteuses, Marchand decided to center the revue on the female form, with nearly nude women a scandalous part of the show. (How to plan a Belle-Époque walking tour in Paris) Showgirls on display The idea soon hopped the Atlantic, and by the 20th century the word 'showgirl' was part of the American vernacular. Theaters touted well-dressed women entertainers in advertisements and show titles, promising a 'Celebrated Chorus of Stunning ShowGirls Gorgeously Gowned,' according to one 1902 ad. It would take an American impresario—and the advice of a shrewd woman—to birth the glamorous showgirl we know today. Florenz Ziegfeld had gained acclaim first by showcasing bodybuilder Eugene Sandow, then by bringing Anna Held, a Polish-French singer and Ziegfeld's mistress, to the U.S., tempting audiences with photos of the nude singer bathing in milk. She suggested he use the formula so popular at the Folies-Bergère, writes historian Eve Golden: 'part girlie show, part fashion show, with some comedy thrown in.' He tried it out, and won big: The Ziegfeld Follies was born, and it would run for over 30 years. This color printed lithograph from 1912 showcases the growing popularity of showgirls in America. (Photo by The New) Illustration by The New York Historical, Getty Images Ziegfeld's 'Follies Girls' were beautiful. But they were known for more than their looks. Fashion and glamour were a critical part of the revue show. As historian Elspeth H. Brown notes, some of the women in such reviews were actually tasked with being fashion models instead of dancers or actresses, putting the 'show' in 'showgirl' as they 'paraded clothing before the audience.' Ziegfeld's shows would give hundreds their start in showbiz. Though some became celebrities, other showgirls were stigmatized for putting their bodies on display. Longstanding connections between the theater, prostitution, and sexual exploitation plagued showgirl revues, and sexual abuse was rife within the profession. Wealthy patrons expected to be able to court—and exploit—dancers who caught their attention, and the musical revue genre coexisted with burlesque shows, strip teases, and other titillating forms of entertainment. That connection remained as showgirls made their way to Sin City in the 1940s and 1950s, chasing the wealth and glamour of a rapidly growing Las Vegas strip. The first modern casino there, El Rancho Vegas, featured the 'El Rancho Starlets,' a group of showgirls renowned for being scantily clad. As Vegas grew and celebrity investment yielded an entire strip of casinos, nightclubs and performance venues, showgirls grew more popular, sometimes even eclipsing the big-name performers on the bill. Casinos became notable for choosing only the most beautiful women to process in feathers and sequins, dazzling showgoers and helping give Las Vegas its reputation for entertainment. Indeed, showgirls are credited with helping the city weather a rough recession, though the genre declined during the 1970s and 1980s. Eventually, though, longstanding shows like the Tropicana's Folies-Bergere began shutting down, and the opulent showgirl revue is now a thing of the past. (The ultimate guide to Las Vegas) But the showgirl's legacy remains. The performers have a long love affair with filmmakers, who have featured their lives in movies like 1995's Showgirls and 2024's The Last Showgirl. Still famed for their over-the-top style, glamorous moves, and bare bodies, their legacy still lives in live theater today. Just don't use the word as shorthand for something seedy. 'None of us like being called chorus girls,' Tropicana showgirl Felicia Atkins told a reporter in 1959. 'It implies a girl with no class. We want to be known as showgirls.' Perhaps Swift will transform the term again, one track at a time.

Hypebeast
7 hours ago
- Hypebeast
Dior Opens Four-Story New York City Flagship With Luxurious Spa
Diorhas opened the doors to its freshly-renovated New York City flagship, situated just a couple of doors down from Christian Dior's first retail space in the American fashion capital (opened in 1948!), on the corner of 57th Street and Madison Avenue. Spanning four floors, the shop, formally titled 'House of Dior,' was designed by world-renowned architectPeter Marino, who curated the space with a 'pared-down yet warm' aesthetic. Inside a striking white stone facade, featuring floor-to-ceiling windows with extravagant garden sceneries built by landscaper Peter Wirtz, the retail outpost showcases theJonathan Anderson-led House's latest women's and men's ready-to-wear, leather goods, jewelry, and fragrances. On the fourth floor, however, the shop welcomes something completely different: the first-ever Dior Spa in the United States. There, the French label offers in-depth skin diagnoses as part of Dior Measurements, its advanced tool that can analyze your skin's collagen, hydration, pH levels, and elasticity, as well as numerous other treatments, like facials (with tech including Cold Laser, Ultrasound, Microcurrent, LED, Cryotherapy, and Oxygen Infusion), light therapy, and serotonin-boosting 'Happiness' sessions. Last but not least, around the corner from the main boutique, shoppers can find the brand's first standalone Dior Maison shop, which houses an assortment of bespoke decorative pieces, such as floral vases, wooden watch boxes, bronze trays, and brass candlesticks. See Dior's New York City flagship for yourself at the address below. House of Dior23 E 57th StreetNew York, NY 10022
Yahoo
9 hours ago
- Yahoo
Anna Wintour ‘lining up Chloe Malle as frontrunner to succeed her at Vogue'
Anna Wintour is said to be lining up Chloe Malle as the frontrunner to succeed her at Vogue. The 75-year-old is stepping down as editor-in-chief of the fashion bible after 37 years, and is said by Page Six to have narrowed the shortlist to a small group of candidates. Chloe, 39, is the daughter of actress Candice Bergen and French film director Louis Malle, currently serves as editor of Sources told Page Six that she is in the 'final rounds' of interviews to become head of editorial content at US Vogue. She recently interviewed Lauren Sanchez for her Vogue cover ahead of Sanchez's Venetian wedding to Amazon billionaire Jeff Bezos. According to insiders, Nicole Phelps, global director of Vogue Runway – the online platform dedicated to fashion shows – also remains in the running for the top job. A final decision is expected by the start of New York Fashion Week, which runs from 11 to 16 September. Sources say there are four to five leading candidates left, including some from outside the company. Instagram's Eva Chen, previously linked to the role, is said to be no longer considered likely to move, with an industry insider telling Page Six: 'Eva is making a ton of money at Instagram. There is no reason for her to move over.' Eva, who is 42 and Head of Fashion Partnerships at Instagram, previously worked at Condé Nast's Teen Vogue and Lucky. W Magazine owner Sara Moonves, 45, has also been suggested as a contender, but sources say she is too tied to her own publication to make the shift. Similarly, Chioma Nnadi, who replaced Edward Enninful as head of editorial content at British Vogue in October 2023, remains in London and reportedly happy in her role. Anna broke the news of her departure as editor-in-chief in June. She told staff: 'When I became the editor of Vogue, I was eager to prove to all who might listen that there was a new, exciting way to imagine an American fashion magazine. 'Now, I find that my greatest pleasure is helping the next generation of impassioned editors storm the field with their own ideas, supported by a new, exciting view of what a major media company can be.' The incoming editor will hold the title of head of editorial content, rather than editor-in-chief, and will report to Anna, who is remaining as Vogue's global editorial director and chief content officer for Condé Nast. Anna has said: '(I'll be) paying very close attention to the fashion industry and to the creative cultural force that is our extraordinary Met Ball, and charting the course of future Vogue Worlds, and any other original fearless ideas we may come up with.'