Podcast Summary: Joan Baez Is Still Protesting

Podcast: The New Yorker Radio Hour
Host: David Remnick
Guest: Joan Baez
Date: October 16, 2018

Overview

This episode of The New Yorker Radio Hour is a rich, intimate conversation between host David Remnick and folk icon Joan Baez. They explore Baez's remarkable journey—from the rapid rise of her career in the 1960s to her current tour and the reflective, socially conscious themes of her latest (possibly final) album, Whistle Down the Wind. The episode features live performances by Baez and honest reflections on protest, political engagement, aging, and the meaning of legacy.

Key Discussion Points and Insights

The Making of Whistle Down the Wind (01:22–03:15)

• Conscious Bookending of Her Career:
  Baez reveals that Whistle Down the Wind was created to reflect her first album—simple and rooted in social consciousness.
  • "The very first thought about it was of some kind of bookend. Cause I'd already started thinking about pretty much winding down. It's like the first album. It's simple." (01:22, Baez)
  • She believes the songs "Another World" and "The President Sang Amazing Grace" give the album its essential depth.

On Songwriting and Creativity (02:03–02:56)

• Transition from Writing to Interpreting:
  Baez stopped writing songs and poetry over 25 years ago:
  • "I didn't quit it. It quit. Yeah, the channeling or whatever was going on just stopped." (02:18, Baez)
  • She now invests creative energy in painting when not touring.
• Candid Acceptance:
  She realized it was time to stop writing after penning a few subpar songs:
  • "I didn't realize it until I'd written to some couple that were so bad it was really time to move on." (02:38, Baez)

The Power of Song Selection and Interpretation (03:15–06:41)

• Collaboration Across Generations:
  Baez connects deeply with songs from younger artists, notably Anoni's "Another World," which she describes as voicing her own thoughts about environmental crisis.
  • "Somebody wrote down all of my thoughts in a simple song." (03:33, Baez)
  • She performs "Another World" live, suffusing the room with her trademark clarity and emotional force.

Political Moments Then and Now (06:52–08:43)

• Parallels and Distress:
  Baez compares past political activism to today's climate:
  • "It's the year of the bully. And to bully people now seems to be okay. To lying, no problem...That is the new normal." (07:32, Baez)
• Coping with Anxiety in Troubled Times:
  She shares the emotional toll this era takes:
  • "Oftentimes just hits in the night in the form of this terrible anxiety...it's not some neurotic anxiety. I'm anxious about the state of the world." (08:11, Baez)
  • Suggests: "Spend a lot of time in denial...keep the bar really low. Keep laughing." (08:36, Baez)

Reflections on Historic Moments (08:43–10:10)

• March on Washington, Woodstock, and Legacy:
  • On iconic performances: "Sometimes going into a, quote, historic moment, you know it, and other times you don't know it. In that case...we all knew it." (09:14, Baez)
  • Woodstock's scale impressed her only later: "It was after the fact that you realize...that's made a dent in people's lives forever." (09:45, Baez)

On "The President Sang Amazing Grace" and Presidential Empathy (10:12–15:41)

• Empathy in Political Leadership:
  Remnick and Baez reflect on President Obama's grace after the Charleston shooting.
  • Remnick: "...the idea of a president capable of showing empathy...as opposed to issue a tweet that depresses." (10:42, Remnick)
• Choosing the Song:
  Baez was moved to cover Zoe Mulford’s "The President Sang Amazing Grace" due to its emotional truth.
  • "This song just dropped out of the sky." (11:13, Baez)
• Connection to Obama:
  • "He was a statesman. He was smart, he was caring. And in spite of whatever the warts were...he was just somebody I liked, I like." (14:45, Baez)
  • Memorable anecdote about meeting Obama barefoot at his inauguration due to shrinking feet in the cold. (15:18–15:51, Baez)

Political Songwriting, Bob Dylan, and Old Grudges (15:54–17:40)

• Differing Approaches to Activism in Music:
  Baez embraced political songwriting; Dylan shunned its label.
  • "It was too beautiful. What we got from him, it doesn't matter. He wrote us our arsenal. And then we went on and did the work." (17:18, Baez)
• Letting Go of the Past:
  Old resentments toward Dylan "just absolutely melted" as she immersed herself in his music again. (16:29–17:40, Baez)

Adapting to an Aging Voice (17:40–19:57)

• Adapting Performance:
  • New arrangements allow other singers to hit high notes Baez can no longer reach.
  • "We took her [Grace] out of the box and put her on stage...She takes that note that I'll, you know, never ever be able to make again." (18:07–18:21, Baez)
• Physical Realities of Performing:
  Baez compares aging as a singer to athletes confronting their limits.
  • "There's a thing called cellular memory. And there are some songs that I can do...from cell memory." (18:31, Baez)
  • Medical check-up confirmed: "You're exactly where you should be at 71." (19:02, Baez)

Preparing for the Stage and Farewell (20:00–20:36)

• Readiness and Ease:
  She feels well prepared for concerts and lets go of minor on-stage slip-ups.
  • "There's nothing I fret about." (20:10, Baez)
• Sense of Closure:
  As Baez embarks on her Fare Thee Well tour, she hints at both a sense of peace and lingering humor about the unpredictability of live performance.

Memorable Quotes

• "It's the year of the bully...That is the new normal." (07:32, Joan Baez)
• "I didn't quit it. It quit." (02:18, Joan Baez)
• "Somebody wrote down all of my thoughts in a simple song." (03:33, Joan Baez)
• "Keep the bar really low. Keep laughing." (08:36, Joan Baez)
• "We took her out of the box and put her on stage...She takes that note that I'll, you know, never ever be able to make again." (18:07–18:21, Joan Baez)
• "He [Obama] was a statesman. He was smart, he was caring...he was just somebody I liked, I like." (14:45, Joan Baez)
• "It was too beautiful. What we got from him, it doesn't matter. He wrote us our arsenal. And then we went on and did the work." (17:18, Joan Baez)

Notable Timestamps

• Album Genesis: 01:22–03:15
• Songwriting Cessation: 02:11–02:56
• "Another World" Performance: 03:38–06:41
• Climate Change, Anxiety, and Denial: 06:52–08:43
• March on Washington & Woodstock: 08:43–10:10
• "The President Sang Amazing Grace" Performance: 12:00–14:31
• Obama Reminiscences: 14:31–15:51
• Reflections on Dylan: 15:54–17:40
• On an Aging Voice: 17:40–19:57
• Farewell Tour and Closing: 20:00–20:36

Tone and Atmosphere

The discussion is warm, unvarnished, and deeply personal, marked by Baez’s characteristic wit, honesty, and humility. Remnick brings out both nostalgia and sharp contemporary resonance, resulting in a conversation full of wisdom and gentle humor.

For Listeners New and Old

Whether you’re a lifelong fan or new to her story, this episode is a moving meditation on art, activism, and aging—anchored by Baez’s unwavering commitment to justice and beauty. Both her performances and reflections serve as a reminder that protest, in her hands, is an enduring act of hope.