Sing Out! November 1965: Special Newport 65 Issue
Vol. 15, no. 5

(David Gahr's cover photo of Richard and Mimi facing the crowd was also printed in his book, The Face of Folk Music.)

Review of Newport 65
By Irwin Silber. p. 4-6.
As one might expect, the review focused on Dylan's controversial electric set. But there were a couple of references to Richard and Mimi:

Among professional revivalists, it was the new generation of singers who were most interesting and most successful. Len Chandler, Mark Spoelstra, the Kweskin Jug Band, and Mimi and Dick Farina--these were the ones to provoke the sparks of excitement and the sense of artistic discovery.

By and large, the Festival's most disappointing moments were provided by the "headliners"-- Ian and Sylvia, Josh White, and Odetta (to name a few), mostof whom seemed like premature anachronisms of once memorable experiences.

The most rewarding moments of the Festival came at some of the Friday and Saturday workshops when, on occasion, folk music seemed to become that intensely communicative personal art that has survived the centuries. Ballads under a tree and blues in the sun ran continuously, while one could wander around and dig group singing styles, Bluegrass banjo, folk wind instruments, and country guitar almost without a stop. Best-attended of the workshops was one on contemporary songs where a small army (largely attracted by the promised unveiling of the "new" Dylan) gathered to hear songs of protest and current relevance. Mimi and Dick Farina did their best to uphold the tradition, but, by and large, it turned into an exercise in pseudo-social realism and trite poetry.

Another Review
By Paul Nelson. p. 6-8.
Once again, the focus was on Dylan. But Nelson echoed Silber's observation that there was diminished enthusiasm for the old stars of previous Newport festivals:

Such city performers as Jim Kweskin and the Jug Band, Mimi and Richard Farina, the Chambers Brothers, and John Koerner held a greater rapport with this year's audience than did yesteryear's darlings.
Noting that "the festival burned with excitement and controversy," Nelson pitched a very stark contrast between Pete Seeger and Bob Dylan, representing the old and the new, the idealistic and the selfish, the political and the artistic, ultimately siding with the latter: "It was a sad parting of the ways for many, myself included. I choose Dylan. I choose art. I will stand behind Dylan and his "new" songs, and I'll bet my critical reputation (such as it may be) that I'm right."

"Birmingham Sunday."
Lyrics and melody. Page 14.

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