08.04.2017.

JOAN BAEZ - ROCK'N'ROLL HALL OF FAME

Jackson Browne's Laudatory Joan Baez Rock Hall Induction Speech

The changes that began happening in the Sixties: the civil rights movement, opposition to the Vietnam War, the sexual revolution, the spiritual exploration and consciousness expansion, women's liberation. None of that can be separated from the folk music that was being rediscovered and brought to the forefront of popular culture. On college campuses, in coffee houses, at folk festivals, a new generation was discovering the true history of this country through the music of people who built it.

And we weren't just listening to it. We were learning to sing and play these songs that contained the hardship and the struggles of the hopes of people who had come to this country as immigrants and as slaves. [Applause]

Folk musicians began traveling to parts of the country where people still made this music and they began finding out who was actually here and that was something you couldn't find out in those days by watching TV or going to the movies. Of all the many great artists who were singing and recording this music and who embodied the search for what was real, historic and eternal, the one who suddenly emerged and came to national prominence was Joan Baez.

From the moment she appeared in the Cambridge folk scene, she had a spellbinding effect on her audiences. In 1960, at the age of 19, she released her first album, and then a second album, and then a live album, and then she was on the cover of TIME Magazine as the face and voice of a new folk movement.

The first record I ever bought with my own money was Joan Baez's second album. I was 14. I went down to a record store in Fullerton, out in Orange County where my I had just moved with my family from L.A., and they had a listening booth where you could play records before buying them and I saw this album with her picture on it. She looked like the girls I had grown up with in Highland Park in my old neighborhood in L.A. I went into that listening booth and right away I was taken with what was for me completely new music. Just voice and guitar, but so ethereal. Powerfully in tune. Deeply expressive. Dramatic. Hypnotic.

By the third song, I was completely mesmerized. I took the record home and starting learning to play that third song. It was called "Lily of the West." The purity of her voice was intoxicating. Her enormous dynamics and the command she had as a singer mixed with the drama and mystery of those old songs led me into the world of folk and blues and the voice and guitar-driven narrative became the center or my musical quest for my whole life.

Almost immediately she introduced her audience to the songs of Bob Dylan. Joan Baez gave Bob Dylan a national audience. When she began singing his songs those who had been time traveling through folk music and discovering all the human drama and the eternal truths of our shared mystery were suddenly in the present "With God on Our side."

"With God on Our Side," this Dylan song which summarized and examined the history of U.S. wars and the supposed rationale for each of them was one of the two songs that Joan and Bob sang on their concert tour in 1963 catapulting the broad side or what is now known as the protest song into the consciousness of a whole generation.

Her second live album, released that year, contained her rather shy, almost casual invitation to join her in singing "We Shall Overcome." Both of these songs had a galvanizing effect on me and my friends. We joined CORE, the congress of racial equality. We joined hands and we sang and we demonstrated and we started writing songs and we were doing this out of Orange County, the bastion of the ultra-conservative John Birch society. But it was happening all over America and when I saw that Joan Baez was marching with Martin Luther King, I felt that I was represented there and that they were marching for all of us.

And that they were marching for, to paraphrase Langston Hughes, the America that has never been yet and yet must be. [Applause] There's not a way to quantify what Joan Baez means to people of my generation who grew up listening to her voice, leading us in singing "We Shall Overcome." And when I hear the recording now I feel a deep sadness that the song is as needed now as it was then. Now even more. [Applause]

The changes that began happening in the Sixties are still happening and the injustice we opposed then we must still oppose and we need to be empowered now as much as we have ever needed to be empowered.

To track Joan Baez's involvement in human rights and social justice is to chart the evolution of our own moral awakening and of our own growing planetary consciousness. Her example has been, from the beginning, empowering for women and for man. Of course, women are smarter and it's taken men a little longer to realize that we were being empowered too. But that's right. Joan Baez empowered me and countless people like me to sing and play guitar when I was a kid not that much younger than her and to find my voice and to eventually try to use it to make the changes I need to see in the world.

So, it is my honor and my pleasure, and a recognition long, long overdue, to welcome Joan Baez to the Rock and Roll Hall of Fame.

Joan Baez Pleads for Social Justice in Moving Rock Hall of Fame Speech

It gives me enormous pleasure to accept this prestigious and very cool award tonight. Thank you to the Hall of Fame for this somewhat unlikely induction. Especially thanks to my manager, Mark Spector, for having kept my career visible, viable and vibrant.

I'm aware that I'm speaking to many young people who, without this induction to the Rock and Roll Hall of Fame, would have no clue who I am. [Laughter] My granddaughter had no clue who I was. [Laughter] Until I took her backstage at the Taylor Swift concert where she got a selfie, an autograph, a T-shirt and newfound respect for her grandmother.

While one cannot say I'm a rock & roll artist, one cannot overlook the folk music of the 'Sixties and the immense effect it had on popular music including rock & roll. Nor can anyone overlook the roll that I played in that phenomenon. I was lucky enough to have found my voice when coffee shops were the order of the day. My first job in music was on Tuesday nights at Club 47 in Harvard Square where I sang three sets, made 15 dollars a night, all as I gleefully flunked out of college.

I owe my beginnings to the friends and folk artists whom I picked up the chords, the melodies, the finger pickings and the budding repertoire. Again, at the right place and time, I knew and was friends with most of the rock & roll idols of the Sixties and Seventies. Some of those friendships I treasure to this day. Most of us in the community of both folk and rock music share with each other the similarities and differences of how we got to where we are today. We also share the awareness of the blessed and the bizarre, which accompanies us in our everyday lives. Lives which are seldom really final.

Once a friend said to me when I was recognized at a post by a fan on the street, "Oh, come on. Admit it. You like this." And I said, "There was nothing to admit. It was a fact." My public is a kind of family. I'm beholden to those rock & rollers who are long gone, and to those who live on who have enriched and brightened my life from vinyl to digital and everything in between and back to vinyl. [Laughter].

My childhood was filled with classical, country and western, rhythm and blues and a hit parade. When I was 16, my aunt took me to see a Pete Seeger concert. And my mom brought me a Harry Belafonte album. Though Pete was not in any way gorgeous like Harry, he was already committed to making social change. He paid a high price for holding fast to his principles. I learned the meaning of taking a risk from Pete. The Cold War was getting a foothold and ushering a shameful period in this country. My family was then Quaker and socially and politically active. Pete's influence on me took like a good vaccine, and I turned my attention to folk music and political activism.

My voice is my greatest gift. I can speak freely about the uniqueness of it precisely because it's just that. A gift. The second greatest gift was the desire to use it the way I have since I was 16 and became a student and practitioner of nonviolence, both in my personal life and as a way of fighting for social change. [Applause.] Thank you. It has given my life deep meaning and unending pleasure, has been to use my voice in the battle of injustice. It has brought me in touch with people of every background. With open, generous, hardworking, fun-loving people here in this country and around the world. It has brought me in touch with the wealthy, the ones who are stuck in selfishness and the ones who give their generosity of their time and resources to benefit the less fortunate and light the way for others to do the same. [Applause]

And I've met and tried to walk in the shoes of those who are hungry, thirsty, cold and passed out. People imprisoned for their beliefs and others who have broken the law, paid the price and now live in hopelessness and despair. I've exonerated prisoners who have spent decades in solitary confinement, awaiting execution. Of exhausted refugees, and immigrants. Those who have fought for this country, sacrificed and now live in the shadows of rejection. [Applause]

People of color, the old, the ill, the physically challenged, the LGBTQ community. And now, in the new political, cultural reality in which we find ourselves, there's much work to be done. Where empathy is failing and sharing has become usurped by greed and lust for power, let us double, triple and quadruple our own efforts to empathize and to give our resources and ourselves.

Let us together repeal and replace brutality and make them passionate priorities. Together, let us build a bridge, a great bridge, a beautiful bridge to once again welcome the tired and the poor. And we will pay for that bridge with our commitment. We, the people, must speak truth to power and be ready to make sacrifices. We, the people, are the only ones who can create change. I'm ready. I hope you are, too.

I want my granddaughter to know that I fought against an evil tide and had the masses by my side. When all of these things are accompanied by music, every genre, the fight for a better world, one brave step at a time becomes not just bearable, but possible and beautiful. Thank you.

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FERESHTEH ROSHAN: "ANOTHER SKY"
FERESHTEH ROSHAN: "DRUGO NEBO"

ŠEHER HANUMA
OCT 13, 2013
FEB 27, 2013
DRUGO NEBO
SEP 28 ANNO DOMINI
PETAK TRINAESTI.....
DAN TREĆI
DAN
LJUDI
CATHARSIS
PRIJATELJSTVO
MOJA RAJA
FAKTOR IZNENAĐENJA
JOŠ SAM TAMO
KAKO DOĆI DO HRVATSKE
KAKO DOĆI DO HRVATSKE - NASTAVAK
NA KRILIMA OVOG LJETA
GOST A.
IMA LI IŠTA LJEPŠE
BITI NAŠ
NOUVELLE VAGUE – DANCING WITH MYSELF
SKAPINO
2008
KAZNA
KONFERENCIJA
TRG RATNIKA
SARAJEVO
JA
DODIR SVILE
ŠEHERGRAD
409, 410, 411, 412…
ILIDŽA
MAČAK U ČIZMAMA
ZENICA
SUBOTNJE BAKANALIJE
O SARAJEVU
KOKOŠKA
KAO RANI MRAZ
E SAD… DA KRENEM NATRAG?
SIMIN HAN
PROSLAVA UZ SARAJEVSKO
BEZ ODGOVORA
SLIKE
THE VOICE
MILJACKA
THE SARAJEVO HAGGADAH
HABEAS CORPUS
POKLON POD BOROM
BRDO
ĆIRO
ĆIRO 2
ĆIRO 3
PRIČAM
PRIČAM 2
PRIČAM 3
PRIČAM 4
PRIČAM 5
PRIČAM 6
PRIČAM 7
PRIČAM 8
PRIČAM - ODGOVORI
DOČEKUŠA, RAZGOVORUŠA, SIKTERUŠA
THE LIST
PRVI DAN
DAN DRUGI
DAN TREĆI
DAN ČETVRTI
DAN PETI
OBLACI I MEŠTROVIĆ
LJUBAV
SVUDA POĐI U ŠEHER DOĐI
MICHAEL SCHUMACHER vs TIME
MALI OD SCHUMACHERA
24 – DRUGI DIO
KRUG
24 – PRVI DIO vs KUNTA KINTE
DUŠA
ANGELINA JOLIE I JA….
ČETRDESET
PUNA USTA
REPORT
POZDRAV
ZA
RAZGOVORUŠA
INDIJA I DIVOTA PRAŠINE
WALTER, UDAJA,… GROUNDHOG DAY
DAN ŠTIKLI
TEX-MEX STYLE
VOZ
GRAD OD PESKA
MIRIS DUŠE
KOKOŠKA
OD BACHA DO SEVDAHA
ZELENA SI RIJEKA BILA
KESTENI I KOTROMANIĆ
HOR GAZEL
MARATON
ROĐENDANI
TRENUTAK
GODOT I JA
BOGATSTVO 2012
CRTICE IZ NENAPISANOG DNEVNIKA
CRTICE IZ NENAPISANOG DNEVNIKA - 2
CRTICE IZ NENAPISANOG DNEVNIKA - 3
CRTICE IZ NENAPISANOG DNEVNIKA - 4
CRTICE IZ NENAPISANOG DNEVNIKA - 5
CRTICE IZ NENAPISANOG DNEVNIKA - 6
CRTICE IZ NENAPISANOG DNEVNIKA - 7
PET DANA - TUZLA
PET DANA - ZVORNIK
PET DANA – TUZLA (još uvijek)
PET DANA – GORAŽDE
PET DANA – SARAJEVO - ČARŠIJA
PET DANA – SARAJEVO – DOBRINJA – VOGOŠĆA
KIŠA IZNAD SARAJEVA
KIŠA IZNAD SARAJEVA - 2
PODRINJE 7/2013 – FATIMA broj 403
PODRINJE 7/2013 – ZVORNIK I DIVIČ
PODRINJE 7/2013 – SLIKE
PODRINJE 7/2013 – PET MINARETA
PODRINJE 7/2013 – SVADBARSKIM SOKAKOM
CRTA OKO PRAZNINE
SVE NEŠTO PRVO
KLAUSTROFOBIJA
STRADUN NA DRINI
AUGUST I DRINA
MERAK
GDJE JE PROMING
GDJE JE PROMING -2
GDJE JE PROMING -3
TAKSI - 1
TAKSI - 2
TAKSI - 3
TAKSI - 4
TAKSI – 4 a
U ZNAKU BROJA 13
TEBI PRIJATELJICE MOJA
NE DAJ DA TE DIRA
NE DAJ DA TE DIRA - 2
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NE DAJ DA TE DIRA - 4
NE DAJ DA TE DIRA - 5
NE DAJ DA TE DIRA - 6
OGLEDALO GODINA
OGLEDALO GODINA - 2
OGLEDALO GODINA - 3
OGLEDALO GODINA - 4
I TAKO.....
KIŠOBRAN, DUKSERICA, ŠEHER HANUMA
KIŠOBRAN, DUKSERICA, ŠEHER HANUMA -2
KIŠOBRAN, DUKSERICA, ŠEHER HANUMA -3
KIŠOBRAN, DUKSERICA, ŠEHER HANUMA -4
KIŠOBRAN, DUKSERICA, ŠEHER HANUMA -5
KIŠOBRAN, DUKSERICA, ŠEHER HANUMA -6
IMA NEKA TAJNA VEZA
IMA NEKA TAJNA VEZA - 2
IMA NEKA TAJNA VEZA - 3
IMA NEKA TAJNA VEZA – 3a
IMA NEKA TAJNA VEZA – 4
PUN PJAT
PUN PJAT - 2
PUN PJAT - 3
PUN PJAT - 4
AL TEBE VOLEM... TO JE FAKAT.....
AL TEBE VOLEM... TO JE FAKAT.... - 2
AL TEBE VOLEM... TO JE FAKAT..... - 3
TURNEJA BROJ JEDAN
TURNEJA BROJ DVA
TURNEJA BROJ TRI
DAN BEZ KRAJA
O UMJETNOSTI I MLADOSTI
GALEBOVI
TURNEJA BROJ ČETIRI
TURNEJA BROJ ČETIRI -2
LJETO I DUGI RUKAV
NERAZLIVENE BOJE
IVO ANDRIĆ, ENES KARIĆ I PENELOPE CRUZ
GLAS
KAKO SE OPET (NISAM) UDALA :D
SARAJEVO GREEN DESIGN BIENNALE
GRBAVICA
ANDRIĆU U POHODE
ANDRIĆU U POHODE - 2
ANDRIĆU U POHODE - 3
ANDRIĆU U POHODE - 4
ANDRIĆU U POHODE - 5
BRAD PITT I JA
BRAD PITT I JA - 2
BRAD PITT I JA - 3
BRAD PITT I JA - 4
BRAD PITT I JA - 5
ŠETNJA ZAGREBOM
ŠETNJA SAMOBOROM
ŠETNJA HRVATSKIM ZAGORJEM
ŠETNJA HRVATSKIM ZAGORJEM - 2
SVUDA POĐI, KUĆI DOĐI
SVUDA POĐI, KUĆI DOĐI - 2
BLOGERSKA TURNEJA
BLOGERSKA TURNEJA - 2
BLOGERSKA TURNEJA - 3
BLOGERSKA TURNEJA - 4

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