BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby BEGIN:VEVENT LOCATION:The Moore Theatre\n\n\nSeattle\, WA SEQUENCE:0 CLASS:PUBLIC DTEND:20081124T220000 URL:http://culturemob.com/events/153805-joan-baez-the-moore-wa-seattle-down town-the-moore-theatre?s=ical DTSTART:20081124T200000 UID:November 21\, 2009 22:25:16_299155265@diamond.culturemob.com DTSTAMP:20091121T222516 DESCRIPTION:The most accomplished interpretive folksinger of the 1960s\, Jo an Baez has influenced nearly every aspect of popular music in a career sti ll going strong. Baez is possessed of a once-in-a-lifetime soprano\, which\ , since the late '50s\, she has put in the service of folk and pop music as well as a variety of political causes. Starting out in Boston\, Baez first gained recognition at the 1959 Newport Folk Festival\, then cut her debut album\, Joan Baez (October 1960)\, for Vanguard Records. It was made up of 13 traditional songs\, some of them Child ballads\, given near-definitive t reatment. A moderate success on release\, the album took off after the brea kthrough of Joan Baez\, Vol. 2 (September 1961)\, and both albums became hu ge hits\, as did Baez's third album\, Joan Baez in Concert\, Pt. 1 (Septemb er 1962). Each album went gold and stayed in the bestseller charts more tha n two years. \n \nFrom 1962 to 1964\, Baez was the popular face of folk mus ic\, headlining festivals and concert tours and singing at political events \, including the August 1963 March on Washington. During this period\, she began to champion the work of folk songwriter Bob Dylan\, and gradually her repertoire moved from traditional material toward the socially conscious w ork of the emerging generation of '60s artists like him. Her albums of this period were Joan Baez in Concert\, Pt. 2 (November 1963) and Joan Baez 5 ( October 1964)\, which contained her cover of Phil Ochs' "There But for Fort une\," a Top Ten hit in the U.K. \n \nLike other popular folk performers\, Baez was affected by the changes in popular music wrought by the appearance of the Beatles in the U.S. in 1964 and Dylan's introduction of folk-rock i n 1965\, and she began to augment her simple acoustic guitar backing with o ther instruments\, initially on Farewell\, Angelina (October 1965). It was followed by a Christmas album\, Noël (October 1966)\, and Joan (August 196 7)\, albums on which she was accompanied by an orchestra conducted by Peter Schickele. Baez continued to experiment in the late '60s\, releasing Bapti sm (June 1968)\, in which she recited poetry\, and Any Day Now (December 19 68)\, a double album of Dylan songs done with country backing\, which went gold. \n \nIn March 1968\, Baez had married antiwar protest leader David Ha rris\, who was imprisoned as a draft evader. Harris was a country music fan \, and Baez's turn toward country\, which continued on David's Album (June 1969) and One Day at a Time (March 1970)\, reflected his taste. Blessed Are ... (August 1971) was a gold-selling double album that spawned a gold Top T en hit in Baez's cover of the Band's "The Night They Drove Old Dixie Down." It was followed by Carry It On (December 1971)\, the soundtrack to a docum entary about Baez and Harris. Baez switched record label affiliation to A&M Records with Come from the Shadows (May 1972)\, which moved her in a more pop direction. Where Are You Now\, My Son? (May 1973) included sounds taped during Baez's visit to Hanoi in December 1972. \n \nIn the late '60s and e arly '70s\, Baez moved toward pop/rock music and also began to write her ow n songs\, culminating in the gold-selling Diamonds & Rust (April 1975)\, wh ich was followed by the entirely self-written Gulf Winds (October 1976). Ba ez moved to the Portrait label of CBS Records with Blowin' Away (June 1977) \, but she left the label after Honest Lullaby (May 1979)\, and her next al bum\, European Tour (1980)\, was released only outside the U.S. It was anot her seven years before she found an American record label\, Gold Castle\, f or Recently (1987)\, which was followed by the live album Diamonds & Rust i n the Bullring (January 1989) and Speaking of Dreams (October 1989). Baez m oved to Virgin Records for Play Me Backwards (August 1992). \n \nIn 1993\, Vanguard released Rare\, Live & Classic\, a three-CD boxed set retrospectiv e. Ring Them Bells\, a live album on which Baez was joined by musical desce ndants like Mary Chapin Carpenter and Indigo Girls\, came out on Guardian R ecords in 1995. Gone from Danger\, her first studio album in five years\, f ollowed in 1997\, and it was another six years before the release of Dark C hords on a Big Guitar in 2003. A November 2004 concert in New York was docu mented on the 2005 release Bowery Songs. (AMG - by William Ruhlmann) SUMMARY:Joan Baez @ The Moore END:VEVENT END:VCALENDAR