Top 99 Quotes & Sayings by Joan Baez - Page 2

I was addicted to rhythm 'n' blues pretty much directly into folk music. I had my little 45s of mostly black artists. That was as close as I got. I've never listened to heavy rock or stuff that jangles my nerves, because I'm already jangled.

Peace might sell, but who's buying?

It sounds corny, but it's absolutely true: A song chooses me. I don't go looking for a certain kind of lyric. It kind of develops its own little arc and I'll just see what happens.

Living so fully, I can't imagine what any drug could do for me.

When I was 16, the guest speaker was King. And I was completely overwhelmed because I had been studying nonviolence, talking about it, reading about it, but here it was happening, here it was people boycotting the buses and people on the streets and taking risks, which I think was the key.

My life is a crystal teardrop. There are snowflakes falling in the teardrop and little figures trudging in slow motion.

Put tattoos all up and down our thighs, do anything our parents would despise. Take uppers, downers, blues, and reds and yellows, our brains are turning into jello.

There's very little I can sing now. When I asked my first voice teacher, who was the best one, "When will I know when to stop singing?" he said, "Your voice will tell you." And it is very, very difficult to sing now.

I think the question that nobody wanted to deal with is the question they're posing: did my kid die in vain? Because the answer is too awful.

We both know what memories can bring / They bring diamonds and rust.

"Nasty Man" isn't a laughing matter, but you have to laugh anyway. The song, itself, becomes something of a laughing matter because we'd go crazy if we didn't keep laughing.

It [my vocal] didn't sound like what I wanted to hear; the vibrato isn't what I liked anymore. So I got myself to an ear, nose and throat guy who does a lot of work with singers, and I was hoping there was a big wart on my vocal cords or something and they could scrape it off and I could have the voice I wanted. But he said, "No, for 71, that's your voice."

I was trying to disturb the war.

I've been obsessed with stopping people from blowing each other's brains out since I was ten.

There are good guys, and there are congressional people who are good guys, and I certainly vote in those elections. You know, my fondest dream would be if Obama, when he got out of office, decided he was going to go back and organize on the streets. He'd be the only person I could imagine who could really create a movement similar to what King did, and God knows we need that now.

"Diamonds & Rust" started off as another song. Then the words started to morph. When you write a song that deep, the words come from some place else. But when the songs stop coming, it would be so contrived to try and force it. Since then I've just been doing other people's music.

I'm not a rock and roller, a hitmaker. I'm highly dependent on what's coming out of these vocal cords.

Seeing you sleeping peacefully on your back among your stuffed ducks, bears and basset hounds, would remind me that no matter how good the next day might be, certain moments were gone forever because we could not go backwards in time.

I was writing "Diamonds and Rust' and it had nothing to do with what it turned out to be. I don't remember what it is, but I think I was writing a song. It was literally interrupted by a phone call, and it just took another curve and it came out to be what it was.

I didn't study anything really. I didn't learn out of the books because I couldn't read music very well, so it is what they say it is - you learn from other people. And my cohorts and I would sneak around the coffee shops and hear stuff we wanted to learn, and then you ask whoever was playing it to teach you.

The only thing that's been a worse flop than the organization of nonviolence has been the organization of violence.

I never pretended to be rock star. I would make a lousy rock star. I don't have the right voice for it. I don't have the "sex, drugs and rock 'n' roll" spirit. But the greatest flattery in the last couple of years is being called a "badass" by young singers.

I think I would have had an easier time of it if I had had training much earlier. Because when I got to the training, it was in my late 30s and I already probably had every bad habit a singer could have. In fact, it still goes on. It's un-training those habits and retraining new ones - the breathing, the relaxation, the tongue, the lungs, the everything.

I love the lower ranges of my new voice. I really enjoy that. It's a challenge, and I accept the challenge. I sort of enjoy it now to reach notes that maybe four years ago I couldn't reach. I don't mean to grumble about it. I'm past that critical period and have gone on to a whole new field. And we go everywhere. We travel around the world, and I learn songs from every place we go, and it's a joyful process.

I am so disconnected from the world of rock 'n' roll. I was always peripheral, partly because of the drug culture. I was not involved in that.

There is chaos. There's bloodshed. There's carnage.

The white music was melodic and pretty, and you had beautiful women's voices like Gogi Grant and even the Andrews Sisters. Then I went directly to rhythm and blues, which had beautiful voices but not much melody in particular and pretty much the same chord pattern. I loved it, I was entrenched in it, but then folk music came in the middle of that for me, and made its own path. And it was part of the rebellion against bubblegum music, or music that is pretty but doesn't say anything.

Back then I was still listening to rhythm and blues, and my aunt took me to see a Pete Seeger concert. And it gelled. He made all the sense in the world to me. I got addicted to his albums, and then Belafonte and Odetta - they were the people who seemed to fuse things that were important to me into music. I think Pete the most because he did what he did to the point where he took those enormous risks and then paid for them.

Somebody else does the rigor and then I listen. I have an assistant, and my manager, and other people who hunt and find and send it to me, and then I just figure out which ones I can do justice to.

If you swing both ways, you really swing. I just figure you double your pleasure.

Now I know I understand that it was Sgt. Pepper's Band, that put the sixties into song, where have all the heroes gone?

We need to have faith in the people who are giving this movement direction to be smart enough to stay one step ahead of what's coming up next.

And my voice now is a struggle, it's a daily struggle to keep it up. Gravity has begun to fight the vocal cords the way it does with everybody. So I have a vocal therapist, and we record the sessions and I use them on tour every day.

If it came back I would be thrilled. I would be delighted to write more songs. I need them now because I want to make an album and I have to depend on other people's music, which I've done for years. But still, it'd be really nice to be able to sprinkle it with my own.

In other words, it is what I do in the world that matters. When I traveled for three months in the Mideast, the places I wanted to go back to were Turkey and the Gaza Strip. It has to do with what Gandhi said: he found God in the eyes of the poor. Those are the places which were so moving that they were just unbearable.

I wish it was clear for me how it happened [stop writing songs], then maybe I could start writing again. But it's kind of an "it." It just submerged itself. Because the way I had always written was just that it came out. It just happened.

That was sheer luck that it [being immersed into folk scene] happened when my voice began to develop. I don't know exactly what would have happened if I hadn't been alive and well and really lively in the Cambridge scene. But (the folk scene) was, and I fell into it absolutely naturally in the little coffee shops, and pretty soon it was Newport and then it was an overwhelming response internationally, actually.

Some people don't even notice. "Oh, you sound exactly like you did!" And I say, "OK, if that's what you want to believe, that's fine."

I'd hear a tune in my head and the words would come. And then, very suddenly it just stopped. It seemed too stilted to try and learn how to write a song, to go to round robins and to learn things from other people on how to write a song. So I just stopped and did other things.