Magazine & Newspaper Articles on Mimi Fariña

Articles are listed chronologically:
Mimi in the Sixties
Mimi and Tom Jans
Mimi in the Seventies
Mimi in the Eighties
Mimi in the Nineties
Mimi in the 2000s
See also:
Articles on Richard and Mimi
Album Reviews

Note: I don't have some of the articles listed.
If you can provide them, please write to me at
doug@richardandmimi.com


Mimi in the Sixties

San Francisco Chronicle
[uncertain date]
Sometime in June 1966 John Wasserman reviewed Mimi's debut as a rock singer at the Fillmore.
I'm looking for this article

Sing Out!
September 1966. vol. 16, no. 4.
The San Fransisco section of the "What's Happening" news column reports that "Mimi Farina is now living in San Francisco." It also reports that "The Big Sur Folk Festival with Joan Baez, Mimi Farina, Judy Collins, Mark Spoelstra, Malvina Reynolds, Nancy Carlen, and others took on greater importance and size in its third year."

San Francisco Chronicle
"A Girl Who's Finding Herself as a Single." By John L. Wasserman.
September 28, 1966.
Discusses Mimi's emergence as an individual apart from Joan and Richard. Announces her forthcoming appearance at San Francisco State University with The Only Alternative and her plans to make a solo album for Vanguard.

Newport Daily News
Monday, July 17, 1967, p. "The Lady and the Tigers."
Local coverage of the Newport festival, concentrating on Joan Baez. Excerpt:

"When asked if she [Joan] would do more work with her sister, she said, 'I don't know. I enjoy singing with my outrageously beautiful sister, but I don't know what her plans are. I don't think she does either at the moment.'"

Berkeley Barb
Vol. 5, no. 14. October 13-20, 1967.
Mimi is mentioned along with Malvina Reynolds and Will Geer in an article about a Woody Guthrie memorial.
I'm looking for this article.

Key: This Week In San Francisco
December 4, 1967. p. 2.
"This Week's Interesting Events."
The all new revue opening December 6 at THE COMMITTEE--cabaret theater at 622 Broadway--is anticipated to far outstrip their heretofore highly successful venture into the realm of ingeniously clever barbed wit and satirical lampooning of sacred cows, fetishes, political issues and timely topics. The closely knit and highly talented cast, comprised of Mimi Farina, Peter Bonerz, Barbara Bosson, Carl Gottlieb, Garry Goodrow, and Morgan Upton (backed by musicians Ellsworth Millburn and Mathieu), merrily skitters from treacherous innocence to side-splitting blockbuster with a wry humour, bright, brittle and boistrous.

Los Angeles Times
January 24, 1968.
"The Committee Plays at UCLA's Royce Hall," by Linda Mathews.
Very positive review of an L.A. appearance praises The Committee for their "fresh, irreverent, always pertinent view of life," their 30-second phillippics, their subtlety and ability to switch characters effortlessly. "They are all sure and confident, and in the best tradition of improvisation, eager to incorporate a missed cue or an audience suggestion into the act."

Eye Magazine
November 1968. By Michael Thomas.
Mimi at Newport Folk Festival.
I'm looking for this article.

Glamour
March 1969.
I'm looking for this article.

Los Angeles Free Press
September 19-25, 1969.
"Woodstock Without Mud."
A review of the Big Sur Folk Festival. There is a small photo of Mimi on the cover.
I'm looking for this article.

Rolling Stone
no. 44, October 18, 1969.
"Big Sur," by Jerry Hopkins.
Reports on the 6th annual Big Sur Folk Festival, with Joan Baez, Mimi, John Sebastian, Stephen Stills, and others.


Mimi Fariña & Tom Jans

Los Angeles Times
October 23, 1970.
"Mimi Farina, Sister of Joan Baez, Appears," by Michael Sherman.
Review of an early Mimi & Tom gig at the Ash Grove. Excerpt:

Mimi's voice, while not so strong, true or pure as Joan's, has its own warm, soft and extremely melodic qualities which are quite moving...

As a vocal duo, Miss Farina and Jans produce as soft, pleasant blend which is made the more interesting by Mimi's good ear for harmony. As their 45-minute set proceeded, it became apparent that Miss Farina could easily work alone (and more effectively) and that Jans' voice was something of a hindrance. It is mediocre and rather colorless and Jans constantly sang out of tune. The fact that the two sound as well together as they do is due only to the undeniable beauty of Miss Farina's voice.

The very shy Miss Farina and the somewhat flip Jans both play better than average acoustic folk guitar and while not the most unforgettable folk team they are better than a good deal of the competition.

Sing Out!
vol. 20, no. 2, Nov/Dec 1970, p. 31.
Very brief mention of Mimi and Tom Jans in Happy Traum's "What's Happening" column, in a review of the Big Sur Folk Festival: "In the same vein, Mimi Farina who showed up at the festival with her newest addition, Tom Jans, a young guitarist-singer from the San Francisco Bay area."

Chicago Tribune
Friday, November 20, 1970.
"Mimi and Tom 'carry it on'," by Lynn Van Matre.
A favorable review of the new folk duo's engagement at The Quiet Knight. Excerpt:

Miss Farina's voice is a shade lower than her sister's but as clear and direct as the expression in her eyes and her sweet smile. Jans' voice is soft and mellow. Together these tremendously talented folk guitarists, singers and composers create a harmony of mood and music that spreads from the Knight's small stage to the not-so-small audience. A lot of the good feeling is due to their total unself-consciousness. Mimi and Tom are solidly themselves; they need to "hard times" trappings [Miss Farina's image Wednesday night was that of a well-dressed and straight arrow co-ed] or irritating "with it" raps. They're naturally with it.

Boston After Dark
December 15, 1970(?)
"Beaming Mimi." By Howard Hussock. Photo by Michael Dobo.
A review of Mimi and Tom Jans' performance at the Boston Tea Party. Describes Mimi's growth as a singer and songwriter.

New York Times
December 29, 1970, p. 35.
"Farina and Baron, Folk Singers, Team With a Rapid-Fire Comic," by Mike Jahn.
Notice of a cabaret show with Mimi, Tom Jans, Steve Baron, Jef Lowell (on bass) and comedian Uncle Dirty at the Gaslight.

Village Voice
January 14, 1971.
"Riffs," by Kit Rachlis.
Review of Mimi and Tom Jans' "oddly beautiful" two-week gig at The Gaslight.

Boston After Dark
"Is Mimi Farina Growing Again?" By Steven Sorensen.
February or March 1971.
Review of Mimi and Tom at Stonehenge in Ipswich, Boston.

Rolling Stone
April 1, 1971.
Brief notice states that Mimi and Tom Jans have signed a recording contract with A&M.

Los Angeles Free Press
May 7, 1971.
Brief review of a concert featuring Joan, Mimi, and Stoneground.

Melody Maker
1971 (date uncertain)
"The Trouble with Having Joan Baez as a Sister." By Rosalind Russell.
This and several other articles on Mimi and Tom Jans are available on the
Tom Jans Website.

1971 Cambridge Folk Festival (program booklet)
An article on the new folk duo reads:

Mimi Farina appears as she sounds. Each smile is a touch of summer, and her voice is as beautifully clear and direct as the expression in her eyes. Tom Jans's voice is soft and mellow, as yan to yin. They compose, play guitars and sing, and let you come with them into the refreshing beauty of their music. The songs they perform are written by themselves or by friends, or 'borrowed' from records. (They are also salted very occasionally with 50's rock-and-roll). Much of their harmony with their audience is due to a complete lack of affectation and self-consciousness; they need no 'hard-time' trappings or hip patter. Their music and themselves is enough.

Miss Farina made several albums with her late husband Richard Farina, who was highly respected in the folk world. Comparison with her sister, Joan Baez, is inevitable, and it is fortunate that Mimi is both musically captivating and beautiful. Prepare to have your heart stolen.

Sing Out!
vol. 20, no. 6, July/August 1971, p. 9.
In a review of the Monterey Folk Festival Herbert Wise remarks that Mimi and Tom Jans were "wonderful."

Melody Maker
vol. 46, Aug 14, 1971. p. 15.
"Two's Company." By Andrew Means.
A brief discussion of the new team-up of Mimi and Tom Jans. Mimi notes that she is more of an equal partner in this duo.
Full text on Tom Jans Website.

Stereo Review
August 1971.
A review of Celebration: Big Sur Folk Festival, 1970.

Beat Instrumental
October 1971, p. 20.
"Jet-Set Folkies: Not us, say Tom Jans & Mimi Farina." By Steve Turner.
Introduces Mimi and Tom to British audiences, with background info on both.

Guitar Player
October 1971. p. 27, 28, 36.
"Mimi Fariña & Tom Jans Together." By Mike Brooks and Jim Crockett.
Brief overview of Mimi and Tom's lives individually, and a discussion of their work together. Includes some discussion of their guitar styles.

Rolling Stone
October 28, 1971.
"A Secret Festival at Big Sur." By Bob Chorush.
Review of the eight, "and possibly last," Big Sur Folk Festival, which not promoted, but was given free as a gift to Big Sur residents. The event was kept quiet to insure a "small, comfortable concert."

Variety
no. 264, Nov 3, 1971, p.43.
Very brief review of Mimi & Tom Jans concert at Philharmonic Hall in New York, opening for Cat Stevens.

Earth
November 1971.
Untitled, by Jeremy Joan Hewes.
A profile of Mimi and Tom's career, in which they also express their objections to the rising prices of albums and concerts and discuss their efforts to lower prices.

Rainbow
December, 1971.
This is actually more of a program booklet rather than a magazine. It advertises a December 20th concert with Mimi and Joan at the Rainbow Theatre in Finsbury Park, North London.

Billboard
December 18, 1971, p. 18.
"Talent in Action." by Nat Freedland
A review of a Cat Stevens concert at Greek Theater, LA, where Mimi and Tom Jans opened: "The bill was opened by Tom Jans & Mimi Fariña with some pleasantly harmonized morality songs."

Crawdaddy
Mar 19, 1972, p. 46-47.
"Mimi Farina, Tom Jans: Life After Birth," by Robert Beers.
Rambling interview with the duo, with lots of stoned blather.

The Phoenix
March 22, 1972.
"Mimi and Tom...Mimi and Tom." By Howard Levitt.
A review of a Mimi & Tom concert at the Stonehenge in Ipswich, Boston. The reviewer mischievously plays up the tension between the two, especially regarding the effect of the Richard Fariña legend on them.

Time Out
Wednesday, March 25, 1972.
"Mimi: Present Tense," By Bruce Sylvester.
Review of a Mimi & Tom concert at the Stonehenge in Boston. Comparing the concert to their last Boston appearance, the reviewer says, "Mimi's melancholy is less oppressive, and they have gained polish from touring Europe and North America with Cat Stevens."

Variety
April 21, 1972. p. 61.
Review of a Mimi & Tom concert at the Bitter End in New York City.
Click here for full text.

Billboard
April 29, 1972, p. 37.
"Talent in Action," by Dan Bottstein.
A review of the same concert as above.

Popular Music and Society
vol. 2, no. 1, Fall, 1972, p. 62-79.
Interview with Patrick Morrow.
Click here for full text.


Mimi in the Seventies

Films and Filming
May, 1971. no. 200.
Coverage of the movie, Fools, in which Mimi appeared briefly. Includes a picture of Mimi.

New York Times
November 24, 1972, p. 41.
"Inmates and Entertainers Mix at Ossington Prison," by Gerald Fraser.
Reports of a concert given by Joan, Mimi, B.B. King, and the Voices of East Harlem at Sing Sing Prison.

Los Angeles Times
January 18, 1973, section IV, p. 11.
"Troubadour Review: Double Bill of Axton and Mimi Farina." By Richard Cromelin.
This cranky reviewer vents most of his spleen on Axton, but saves a little bit for Mimi at the end:

"Mimi Farina can obviously be better than she was on Tuesday, when she seemed to be straining just a bit. As a result there was something icy and perfunctory about her delivery that thwarted the emotional flow between artist and audience. A measure of looseness, along with more spirit and less purity on the part of her band, should remedy the situation."

Billboard
no. 85, Jul 7 1973, p. 19.
"Talent in Action," by Bob Kirsch.
A review of a Phil Ochs concert at Ash Grove, Los Angeles, where Mimi opened.

Mimi Farina was in her usual fine vocal form, mixing some strong original material with some chart tunes and arranged in her own fashion. Always a fine singer, her set was well-received and contributed to a rare and entertaining folk night in Los Angeles.

Buffalo Courier Express
September 6, 1973.
"Farina, Croce Did Fine Job, But Where Were the People?" by Roberta Plutzik.
Concert review laments the poor turnout on the first schoolnight of the semester. Excerpt:

Those who came this hot night were welcomed by Mimi Farina's full and masterful first performance on a tour which should make her familiar to lots of new fans. She is cutting a new album when she finishes. For my money, let it be a double--filled with all the songs she sang here in Buffalo.

Ms. Farina has been Joan Baez' sister too long: she can stand alone securely. There is a sense of complete guilelessness in her presentation, a combination of talk to the audience which always is real, a deftness with her lone guitar which could teach the overloaded group-oriented signers who proliferate today what singularity means; and a voice clear, filled with nuance.

She is at home with selected tunes by others and with some very fine self-written numbers, including one called "The Big Party."

Cash Box
November 20, 1973.
"Talent on Stage," by P.S.
Excerpt:

Mimi Farina's opening night performance can be described as perfect if that is possible. Despite the show being an hour late Mimi was so exceptionally fine that the wait didn't even mater. On this tour, she accompanies herself with an amplified acoustic guitar. Opening with a tune "she learned off the radio," Johnny Nash's smash "I Can See Clearly Now" the audience just knew the rest of the show would excel as this was so good. Telling stories in between tunes is her manner; this time however they were shorter and funnier than usual. This provided for more music as well. "Best of Friends" and "In the Quiet Morning" were amongst the folk standouts. Mimi also gave a great rendition of Elton John's "Daniel" and Hoyt Axton's "Less Than The Song." With a beautifully pitched voice and some fine guitar playing, Mimi Farina was unquestionably brought back and she knocked us out with an acapella version of "Amazing Grace." We brought her back again and this time an oldie "Pack Up Your Sorrows" was given the nod. What a great show from a highly attractive, great artist--Mimi Farina; she records for A&M.

Zoo World
October 25, 1973. p. 22, 26.
"Mimi Farina," by Jennie Baughman.
This profile includes an informal review of a benefit concert in L.A. (no date given), a brief summary of her career, and a conversation with Mimi on her current plans and her views on the contemporary scene. The article states that Mimi is working on an album for CBS (the album was never completed). This piece is interesting in retrospect for documenting Mimi's growing disenchantment with the music industry, which would soon materialize in her creation of Bread & Roses.

Rolling Stone
October 11, 1973, p. 24.
"Random Notes."
Describes Joan, Mimi, Judy, and Joni Mitchell sponteneously breaking into "Amazing Grace" at Universal Cafe restaurant in San Francisco.

San Francisco Chronicle
Friday, February 8, 1974. p. 42.
An open letter from Mimi Fariña to Bob Dylan appeared in John L. Wasserman's "On the Town" column. Mimi objected to Dylan's use of tour profits to contribute to a foreign war and asked him to give his fans an explanation.

San Francisco Chronicle
Friday, February 15, 1974. p. 60.
Jeremy Larner, novelist and screenwriter, responds to Mimi's letter, defending Dylan's support Israel.

Variety
no. 274, Apr 24, 1974, p. 50.
A mixed review of a Phil Ochs concert at Avery Fisher Hall, Lincoln Center, Manhattan, on April 17, in which Mimi was the opening act:

"Mimi Farina, Joan Baez's sister, in her gentle manner, appeared more effective as she dedicated Johnny Nash's "I Can See Clearly Now" to children of Vietnam and Cambodia. Her set lacked drive, but was pleasantly appealing. She made a strong pitch to spur A&M to cut a Farina solo album."

Billboard
no. 86, Aug 3 1974, p. 18.
"Talent in Action," by Nat Freedland.
A review of a Gordon Lightfoot concert at the Snowmass Pop Festival, Colorado, where Mimi opened:

Mimi Farina, reviewed in Billboard July 20, was welcomed by the crowd as long as she stuck to her pleasant guitar picking and high soprano vocals. But when she insisted on going into dreary post-Vietnam guilt raps, they yelled for more music and Ms. Farina's return hostility was no attractive example of her pacifist cause.

Great Speckled Bird
September 2, 1974. vol. 7, no. 35, p. 10-11.
"Mimi Farina, Tom Flower--Non-violence, Tax Resistance, and Other Things," by Roger French and Joe Shifalo.
Following a concert in Atlanta, GA, with Steve Martin, Mimi tells the local underground newspaper about her recent activities.
Full Text.

Folk Scene
September 1974. vol. 2 no. 7.
I'm looking for this article

Rolling Stone
February 13, 1975, p. 28.
Random Notes. After a concert at San Quentin prison is cancelled, Joan, Mimi, and others record Guthrie's "Pretty Boy Floyd" to be broadcast on the prison radio station.

Bugle American
August 13, 1975.
"Mimi Farina: Making it up and Living it out." By Bobbin.
Despite the date, there is no mention of Bread & Roses, so this interview must date earlier than its publication, by at least a year. Since this issue also has an interview with Joan, it's possible that the Mimi interview was pulled out of the vault to go with it. It is probably from 1973, and shows Mimi at a rather awkward stage in her life and career, talking about her problems with the recording industry and her lack of direction. Includes a photo by Mark Goff.

East West Journal
August 15, 1975, p. 38-39.
"Mimi Farina: On the Inside."
Interview with Mimi on the philosophy behind Bread & Roses. Includes a photo by Miller. (This issue of the New Age/spiritual journal was a special "Women's Issue" that included an interview with Joan Baez.)

New York Times
Nov. 13, 1975. p. 53.
"Mimi Farina Sings At The Other End; Often Provocative." By John Rockwell.
Excerpt:

"Mrs. Farina almost overflows with on stage charm, especially in her between-songs remarks. She has a smile that could outdazzle Linda Ronstadt's, and a mixture of intelligence, wit and good sense that is unusual to hear in a nightclub. Maybe she ought to go into politics."

Variety
no. 281, Nov 26, 1975, p. 44.
Review of a concert at Avery Fisher Hall, Lincoln Center, in Manhattan, on Nov. 21, when she opened for Gordon Lightfoot:

"Mimi Farina made only an oblique reference to her sister Joan Baez as she drew her warmup set to a close. Someone asked for "Poor charlotte" and she replied: "It's in too high a key for me to sing anymore. Besides, it's about two sisters who hate each other. I don't know why I wrote it." She was at her best in an a capella blues number which led into a song about despair that she had written for Janis Joplin."

BAM (Bay Area Music)
vol. 1, no. 11, November 1976.
Brief notice of a concert:

We saw lovely Mimi Farina (the founder of Bread and Roses) recently at the Circle Star in San Carlos with Gordon Lightfoot. We were surprised when she announced the name of her on-stage companion. It's been a while since we've heard musically from Banana (of the Youngbloods) but it sure was fine to hear him playing and singing again. We've heard that "Mimi Farina and Friend" will be playing more gigs together. It's great to get Banana off of his hang-glider for a while and sharing his music with us.

Stars & Stripes
Pacific edition, Sunday, April 17, 1977.
"Wavy Gravy: Just call him the 'psychedelic relic'." By Sarah J. Weeker.
Reports that Mimi participated with Richie Havens and Wavy Gravy (Hugh Romney) in an anti-whaling benefit concert in Mitaka, Japan.
Full text on Stars and Stripes website:
http://www.stripes.com/news/from-the-s-s-archives-wavy-gravy-just-call-him-the-psychedelic-relic-1.25422

Los Angeles Times
June 15, 1977, section IV, p. 23.
"Folk Pairing of Andersen, Farina." By Terry Atkinson.
Excerpt:

The pairing of Eric Andersen and Mimi Farina last weekend at McCabe's in Santa Monica offered two interesting but limited veteran folk singer-songwriters continuing to move in a pop direction....

It's time to start thinking of Farina as more than Joan Baez's sister and as the wife and singing partner of the late author/folk artist Richard Farina. She has just signed with Columbia, where--with proper guidance--she could do some interesting things. Accompanied tamely by her new three-piece band and playing guitar herself, Farina's performance indicated a lack of confident direction. She was relaxed, sturdy and sure-voiced on some Jesse Winchester, Hoyt Axton and Shel Silverstein songs and on a capella renditinos of "Amazing Grace" and "Daniel Prayed." Her timbre and phrasing resembled her sister's, though with a harder edge. But her own compositions were uneven folk-pop tunes and her vocal treatment of them was less assured. A couple--particularly "Sad Cities"--were effective lyrically, but others seemed ill-suited to her vocal style."

Rolling Stone
June 16 1977, p. 22.
"The Soledad Concert: A Gift of Bread & Roses." By Merrill Shindler.
Review of a Joan Baez / Santana concert at Soledad prison. Discusses some of the difficulties of organizing a prison show. During the Santana set Joan and Mimi danced with some black prisoners, upsetting a gang called the Aryan Brotherhood.

Los Angeles Times
August 6, 1977, p. B10.
"Lightfoot/Amphitheater," by Robert Hilburn.
A review of a Gordon Lightfoot concert covers Mimi's opening set. "A pleasant, but hardly compelling, folk-tinged set."

Variety
no. 288, Aug 10, 1977, p. 52.

Billboard
no. 89, Aug 27 1977, p. 56.
"Talent in Action," by Ed Harrison.
A brief review of a Gordon Lightfoot concert at Universal Amphitheatre in LA, where Mimi opened.

Mimi Farina opened the show with a 30-minute set of folk songs that often sounded off-key, misarranged and generally flat. On the club circuit for many years, the sister of Joan Baez still needs to do some homework before she steps out by herself.

Art for Humanity
no. 3, 1977, p. 10-15.
Interview with Mimi on Bread & Roses. P. Abernathey
I'm looking for this article

San Francisco Chronicle
Wednesday, October 12, 1977, p. 58.
"A Personal Triumph for Mimi Farina," by John L. Wasserman.
A report of the (first) Bread & Roses Festival declares it "an extraordinary accomplishment; a less spectacular but no less triumphant equivalent of Bill Graham's star-studded SNACK benefit concert of March, 1975." Reports 22,000 paid attendances and a box office gross of $110,000, plus a $20,000 contribution from Columbia Records. After $80,000 in expenses (transportation and room and board for the performers), Bread & Roses netted about $50,000. Quotes Jim Marshall, who called it "the best festival of the last ten years," and Mickey Newbury, who declared it "the best festival I've ever seen."

BAM: The California Music Magazine
November, 1977. p. 37-41.
"Bread & Roses: A Three Day Festival of Music, A Year Long Festival of Giving."
By Joan Borus.
A review of the Bread & Roses Festival of Acoustic Music, which raised $45,000. Discusses Mimi's success in organizing the complex event, noting in particular that "Bread & Roses overcame a myriad of red tape hassles to broadcast the festival to seven of California's twelve state prisons. It was an unprecedented feat and the resulting publicity has prompted more people to offer to do prison work." The article also discusses the mission and philosophy of Bread & Roses, and includes many photos of Mimi and other performers.

Los Angeles Times
February 5, 1978. p. M70.
"The Young Hitmakers: It's All in the Family."
By Michael Barackman.
A survey of sibling rivalry among professional singers includes quotes by Mimi.

Songwriter
May, 1978. no. 3, p. 34-35.
"Bread & Roses," by Helen King.
Explains the origin and purpose of B&R. Excerpt: "Mimi feels that the time and energy it takes to develop the technique of "hype" is time and energy spent in acutally destroying the art itself. Responsibility to a small, caring audience tends to force the audience to strip away whatever superficial glitter he or she was developing, leaving music to serve its true purpose; human communication." Also comments on "the sophisticated sound of Mimi's own compositions, unique vocal qualities and brilliant guitar playing." Includes uncredited photo.

CoEvolution Quarterly
Summer, 1978. no. 18. pp. 70-79.
"Bread & Roses--Not a Marginal Act."
Steward Brand interviews Mimi, Lucie Alexander, and Dan O'Neill. The focus is on Bread & Roses, but there is also some discussion of Mimi's solo career. This article shows how Bread & Roses grew out of Mimi's struggles with the music industry and her frustration with its ruthless, bottom-line fixation on profit.

Bread & Roses Program Book
Selections from this booklet are reprinted on the Joni Mitchell Website: http://jonimitchell.com/library/view.cfm?id=46&from=search

San Francisco Chronicle
Monday, September 4, 1978, p. 37.
"Bread & Roses--Great Music in Berkeley," by Conrad Silvert.
A review of day one of the Bread & Roses Festival, a sellout show attended by 9000. Reviews performances by John McEuen, Mimi, Kenny Rankin, David Bromberg, The Dirt Band, Joni Mitchell and Herbert Hancock. Mimi was backed by Banana, Jim Rothbill, and Peter Marshall, "who among them must have played a dozen instruments." Her set included "I Can See Clearly Now," "Sad Cities," "Paranoia," "Darlin'," and "Will the Circle be Unbroken."

Wearing a lovely wine-red dress, wide-brimmed hat and lei, and singing in her straightforward, wholly unaffected manner, Mimi epitomized the gracious hostess. She didn't rouse and rally the audience as her sister, Joan Baez, did at last year's first Bread & Roses festival. She was just herself, and that was fine.

Berkeley Monthly
September 7, 1978.
"Days of Bread and Roses," by Joe Flower.
A behind-the-scenes look at the difficulties of organizing the second annual Bread & Roses festival.
Available on the Joni Mitchell website: http://jonimitchell.com/library/view.cfm?id=52&from=search

New Times
October 16, 1978.
"Pieces of Pynchon," by Robert Goolrick.
Recounts a search for information or photos of Thomas Pynchon. The author briefly interviews Mimi, who tells him that Pynchon looked like Bugs Bunny. Available at http://americanfiction.wordpress.com/2009/06/16/robert-goolrick-pieces-of-pynchon/

BAM: The California Music Magazine.
Novmeber 17, 1978. p. 14.
A brief note on a benefit concert at San Francisco Civic Arena on Nov. 4. A photo by Roger Ressmeyer shows Joan and Mimi singing together backstage.

BAM: The California Music Magazine.
September 1, 1979.
A review of the third annual Bread and Roses fundraiser concert.

San Francisco Chronicle
September 28, 1979, p. 62.
"A Plug For Mimi," by Gerald Nachman.
Click here for full text.

People
October 22, 1979, p. 48-49.
"With a Cause No One Can Dispute, Mimi Farina Stages a Folkie Reunion at Berkeley."
Full Text:

Who says they don't give concerts the way they used to back in the golden '60s? On the university campus at (where else?) Berkeley last weekend, 18,000 picnickers—young and old, denimed and chic—were treated to a three-day music test pulsating with nostalgia for an era long believed extinct.

The benefit was staged by singer Mimi Fariña, 34, whose 300-member troupe of musicians, jugglers and comics perform for free in prisons, convalescent homes, hospitals and facilities for other shut-ins around San Francisco. Traveling under the name Bread and Roses (after an old labor union song that goes "Hearts starve as well as bodies"), Fariña's six-year-old group has always operated on the edge of insolvency. The annual Berkeley gig was staged when the bank account was down to its last $1,000.

It was a cause no performer is likely to protest, and Fariña, a distinguished folkie in her own right, assembled a first-rate roster of talent. Peter, Paul and Mary, Pete Seeger, Hoyt Axton, Graham Nash and David Crosby, John Hammond Jr., the Chambers Brothers and the Persuasions all sang their hardest sans fee (though tickets ran from $8.50 to $11). Even Bob Dylan showed up via a gravel-voiced impersonation by Mimi's elder sister, Joan Baez.

Peaceful from the start, the weekend concert nonetheless swayed with the spirit of counterculture and protests past. Plain apple cider was passed as freely as the antidraft leaflets and fliers for a handicapped rights rally. Sign-language experts translated song lyrics for the deaf, and Seeger explained his crutches by announcing, "I stepped on a bottle I should have recycled." The finale said it all. No commands to boogey or exhortations to "feel good"—but a medley of Blowin' in the Wind and This Land Is Your Land. The Movement marches on.


Mimi in the Eighties

Christian Science Monitor
January 16, 1980, p. B6.
"To the Prisoners: A Gift of Music." Interview by Stewart Dill McBride.

MadCity Music Guide
March 7-20, 1980.
Notes a concert by Mimi at Church Key in Madison the week before. Photo by Keith Wessel.

Variety
March 19, 1980. v. 298, p. 146. New Acts.
Review of a concert in Church Key, Madison:

Mimi Farina has resumed her performing career after five years, singing solo with her own acoustic guitar accompaniment, as opposed to earlier teamings first with late husband Richard Farina, then with singer-songwriter Tom Jans. Material includes best-known songs from these collaborations, but bulk of set is of her own material, with newer songs showing a jazzier, more upbeat style than the often sorrowful ballads she centered on before.... Farina, a striking brunette, has a warbling low register supporting a delicate high range. She doesn't yet seem comfortable back on stage, though her delivery will likely improve as she gets around.

Boston Globe
April 23, 1980.
"Mimi Farina Smiles Again," by Steve Morse.
Full text:

Old friends, she says, don't believe how she's changed. Once fraught with insecurity from being Joan Baez's little sister and Richard Farina's "sad-eyed widow," Mimi Farina today buzzes with commitment and purpose. Now 34, the one-time Cambridge folkie turned her back on the music industry six years ago to form the nonprofit Bread & Roses, a Marin County, Calif., organization that brings free live entertainment to those in prisons, hospitals and convalescent homes.

"I got tired of seeing what happened when human beings tried to sing from the heart and were opposed by the corporate industry. Bread & Roses was my nonviolent response," says Farina, who is back in Cambridge tonight for two solo concerts (8 & 10:30 p.m.) at Passim's. It is a rare visit, for she last appeared locally three years ago with Gordon Lightfoot at Symphony Hall.

Farina, who feels she has discovered an untapped source of organizational ability through her social work, is the executive director of Bread & Roses. She leads a five-person staff that coordinates 30 performances a month - by community artists of all sorts - within California institutions, including San Quentin prison.

In addition, each October for fund-raising purposes, a three-day Bread & Roses acoustic music festival is held at the 8000-seat Greek Theater in Berkeley. Artists like Joan Baez, Jackson Browne, Maria Muldaur, Joni Mitchell and Hoyt Axton have participated, and an excellent live double-album ("Bread & Roses") was released last year.

"I tagged along with a lot of political activity, but wasn't an initiator. Nothing really struck me as my own until Bread & Roses," says Farina, who adds that, "I'm doing something similar to my sister Joan in social consciousness, but she's big enough to be an international activist. I feel terribly lucky just to take on my own backyard."

After her performing partner and husband, Richard, died of injuries from a motorcycle accident in 1966 (on her birthday), Farina furthered her recording career by teaming with singer Tom Jans. Then in the early '70s she made a solo album for CBS Records, which was never released. "The industry wanted me to be another Bonnie Raitt or Linda Ronstadt and do my hair in a certain way and get a certain drum sound, and so on. After being called a little sister' for so long, I was then called a marginal act' and that really hurt . . . I wasn't about to go into pop or punk rock, so I had to make a clean break."

So why, particularly in view of her success with Bread & Roses, is she touring now? "It's a creative side in me that I want to acknowledge," she says. "And I don't feel on the spot anymore. I have no huge responsibility to a record company or to a grand public that hangs on every word."

Aquarian
April 30, 1980. vol. 17, no. 313.
"Mimi Farina Gives Both Bread and Roses," by Asia Locke.
A career retrospective following a recent concert appearance by Mimi in Philadelphia. Includes some tantalizing discussion of a coming album, which didn't materialize until 1985. Excerpt:

Last year I started spending four days at the office, taking one day off to write and practice my music. I'm not doing a lot of writing. I have a lot of songs I want to get recorded first.... I find myself leaning more and more toward jazz. The songs I am writing these days have a jazz lilt. I like jazz and the idea of the voice as an instrument. It also relieves some of the pressure of being Joan Baez's sister. I have a determination to develoop on my own. The way I'm going now feels right; it's a natural progression.... I would like to work with a small label and put out an album that I like. That's the most important thing to me, not how many units I sell.

Come for to Sing
vol. 6, no. 3, Summer 1980, p. 26.
"Passing Through: Mimi Farina and Bread & Roses," by Lawrence Rand.
Catches up with Mimi as she passes through the midwest, appearing at Gaspars', a bar in Chicago, and Milwaukee Summerfest. Excerpt:

Both experiences showed a side of her that tends to be overshadowed by her lyrical music and beauty: the woman has a mordant wit. For example, when Gaspar's failed to provide someone to introduce her, she went on stage and mispronounced her own name, just to provide the proper feeling of being on the road....Her voice is not the shining instrument of her sister's, but it isn't as cold either, either. Her guitar work is pretty sneaky at times, and the songs are a good mix of new material, with an occasional Richard Farina song for good measure. Her shows tend to start up-tempo and detatched, and become more lyrical and personal as they develop, which is all as it should be.

Rolling Stone
November 13, 1980.
"Neil Young and Van Morrison headline Bread and Roses festival." By Liz Lufkin.
A report on the fourth annual Bread & Roses festival notes difficulties in planning the event due to a slump in the music business that year. Once B.B. King was booked, other artists were easier to recruit, and the festival raised $192,000. Artists appreciated B&R's "no hustle" policy, which prevented promoters and businessmen from bothering the performers. The festival's all-acoustic tradition was waved this year. Performers noted were Joni Mitchell, Robin Williams (MC), Kris Kristofferson, Bobby Bare, Leonard Cohen, Jennifer Warnes, Passenger, Norton Buffalo (MC), San Francisco Gay Freedom Day Marching Band and Twirling Corps, Taj Mahal, Tom Rush, Kingston Trio, Tom Paxton and Bob Gibson, Howard Hesseman (MC), Etta James, Angela Bofill, Herbie Hancock, Mose Allison, Chambers Brothers, Joan Baez, Maria Muldaur, and Country Joe McDonald. The article included a photo of Mimi and Joan by Roger Ressmeyer.

Rolling Stone
November 12, 1981.
"Bread & Roses Keeps the Faith," by Michael Goldberg.
A review of the fifth annual B&R Festival. Reports that last year's festival turned a profit of $50,000, but this year's may only break even. Includes a photo of Mimi with emcee Howard Hesseman, by Tom Kasser.

San Francisco Chronicle
Friday, October 8, 1982, p. 59.
"Career Takes Back Seat for Bread and Roses' Mimi," by Joel Selvin (photo by Steve Ringman).
Discusses the financial challenges of Bread & Roses: the previous festival only broke even, so the 1982 festival will be cut back to one day. Scheduled performers include Peter, Paul and Mary, Roomful of Blues, Etta James, Tracy Nelson, and Hoyt Axton, and also an increased emphasis on comedians, including Robin Williams, the Smothers Brothers, Mike Pritchard (Father Sarducci from Saturday Night Live), and Howard Hesserman (from WKRP in Cincinnati). Notes plans to televise the festival through San Quentin Prison, and her hopes that funds will allow her to hire an assistant director for Bread & Roses. Also reports that Mimi has begun to record an album with producer John Nagy.

Rolling Stone
February 17, 1983.
"Jailhouse Rock: Boz Scaggs shakes San Quentin"
Reports on Bread & Roses' show at San Quentin prison, featuring Boz Scaggs, Cesar's Latin All Star Band, the soul group Mae, and the belly dancer Jamie Miller. Comments on racial tensions among the audience. A photo shows Mimi posing with Scaggs and two inmates.

Boston Globe
June 11, 1983.
"Havens and Friends Have a Whale of a Night." Review of "Whalves Alive - A Performing Arts Gala in Celebration of the Living Whale," featuring Richie Havens and others. Brief mention of Mimi: "Mimi Farina followed, singing songs about facing situations alone - "The Ballad of Lucy Jordan," "Old Woman," "Come-and-Get-Me Shoes." Pretty, straight-ahead folk."

Boston Globe
December 28, 1983, p. 52.
"Tom Rush in Concert a too-rare treat." By Steve Morse.
A review of Tom Rush's third annual Symphony Hall mini-folk fest, with Steve Goodman, Mimi, Jennifer Warnes, Beverly Rush, David Buskin and Robin Batteau. Mimi is only briefly mentioned: "Mimi Farina, just arrived from San Francisco, scored eloquently with Jesse Winchester's "Defying Gravity" and the sad, mystical "A Swallow Song.""

New York Tribune
June 1984(?)
"Mimi Fariña graces Folk City with her gentle, moving talent." By William Ruhlmann.
Review of a June 2, 1984 concert. Comments that Richard Farina Senior was in the audience and Mimi played "Swallow Song," "Children of Darkness," and "Pack Up Your Sorrows."

Boston Globe
January 28, 1985, p. 24.
"Cameraderie in Arlington." By Susan Wilson.
A review of the two-night Festival of Women in Music. Friday night featured Mimi, Nanci Griffith, Priscilla Herdman, Rory Block and Kim Wallach. Saturday featured Odetta, Lui Collins, Cindy Mangsen, Cindy Kallet, and Gail Rundlett. Excerpt: "Headling West Coast luminary Mimi Farina--once known as a demure, shy personality, but now zinging off pithy one-liners with Carsonian skill--gave her best performance in recent memory."

Sojourner: The Women's Forum
"Women in Music: Night One," by Sara Seward.
March 31, 1985. v. 10, no.5, p. 38.
Another review of the "Women in Music" festival in Arlington, Mass. Excerpt:

Show headliner Mimi Farina followed Block and restored the more contemplative mood of the concert. Farina, younger sister of Joan Baez, is herself a twenty-year veteran of the folk music scene. From the old days when she was a long-haired and ethereal presence on the stage of Club 47 (now Passim's) in Cambridge, Farina emerged in Arlington as a mature individual who has undergone an immense amount of personal and artistic growth. But Farina did not seem afraid of her past, performing "The Swallow Song" and "Children of Darkness" from the time of her marriage to poet and singer Richard Farina. She also performed "In the Quiet Morning," a tribute to the late Janis Joplin, from a subsequent collaboration with Tom Jans. Farina's new material is a commentary on life, both inner and outer experiences. Most popular with the audience was a sweet little samba about the testing period of a new relationship. "I'm going to get to know you/ I'm going to hold you/ I'm going to run away/ I'm going to run away." "Blue Prelude" also presented a bittersweet view of love: "What is love but a prelude of sorrow with heartache for a goal."

Farina knit the performances of five diverse women together by revealing the topic of conversation in the dressing room. "We were talking about relationships, what else?" she said. "And no matter what our differences, we all agreed that the love songs we sang for you tonight are a lot different than they would have been five years ago!" Farina's statement was true except for the last song, the finale. All the performers gathered onstage, the audience rose, and everyone joined in a love song of a different sort, "Amazing Grace." And the women and their audience raised the roof.

Los Angeles Times
Tuesday, June 11, 1985. Part VI, p. 2.
"Desire to Shine Means More Than Being a Star," by Terry Atkinson.
Career retrospective in anticipation of appearances at Vine Street Bar & Grill. Discusses her relationship with Joan. Includes a beautiful photo by Phillip Davies.

Variety
June 19, 1985. v. 319. p. 95.
"Vine Street Bar and Grill."

Bread & Roses Newsletter
Number 20, Summer 1985.
"Mimi Sez..." by Mimi Fariña.
Mimi announces her forthcoming Solo album.

People
August 24, 1985. p. 84-87.
"After 15 Years Music Triumphs Again at Newport." Brief coverage of the festival, with photos by David Gahr. Includes one photo of Mimi with Judy Collins.

Boston Globe
January 24, 1986, p. 36.
"Mimi Farina goes solo at last." By Susan Wilson.
Discusses Mimi's move in a solo direction with her new album.

Boston Globe
May 19, 1986, p. 12.
"East and West Combine Talents for the Confined." By Jeff McLaughlin.
Reports on the planning of a Boston organization modeled after Bread & Roses. Meetings were held between Mimi, Helmi Pucino, Stephen Baird of Folk Arts Network, and Bill Nowlin, co-founder of Rounder Records.

San Francisco Chronicle
June 8, 1986. In the "Datebook" magazine supplement, pp. 25, 26.
"Mimi and her Sister." Interview with Ben Fong-Torres.
Discusses her career, her album, Solo, and her relationship with Joan. There was also a related interview with Joan by Gene Stone. p. 25, 30, 32. This was an excerpt from Interview magazine.

San Francisco Chronicle
Sunday, November 2, 1986. "Datebook" magazine supplement, p. 33-34.
"Where Have All the Protest Songs Gone?" by Sandra Hansen Konte.
An article on folksingers' disenchantment with the dwindling political engagement of songwriters and their audiences, with quotes from Baez, Mary Travers, Pete Seeger, and Jesse Colin Young. Mimi comments on the isolation of the "Me Generation":

But Mimi Farina, Baez's folksinging sister and widow of Richard Farina, who wrote the classic civil rights song "Birmingham Sunday," worries about the upshot of such isolation. "We wear such armor around outselves. It's so deep," she says. "There's so much we want to block out. Like that war that everybody cared so much about. We stopped it, but the veterans who came back were destroyed in body and mind. Who wants to hear about that stuff?"

San Francisco Chronicle
June 17, 1987, p. 52, 53.
"Bread and Roses Back in Jail," by Peter Stack.
Reports Bread and Roses' return to San Francisco County Jail after a year's absence. Reports on the organization's continuing financial difficulties (budget was reduced from $225,000 to $219,000 and three staff members were laid off) and the discontinuation of the fundraising festivals: "Those were great shows we put on as fundraisers at the Greek Theater, but they wound up costing more than we got back in revenues. Maybe charity went out the window for a while, and it will stay that way until the rock-and-roll business decides to make it fashionable again for performers to play for causes."

Variety
December 2, 1987, p. 94.
"Frisco Sets AIDS Gig."
Announces a benefit concert with Mimi, Joan, and members of the Grateful Dead.

Bay Area Reporter, December 24, 1987.
"AIDS Emergency Fun Benefit: An Evening of Good Intentions," by Steve Silberman.
San Francisco Sentinel, December 25, 1987.
Relix, March 1988, "It's Alive," by Jimbo Juanis.
Reviews of the AIDS Emergency Fund benefit concert at Warfield Theater, in which Mimi & Joan sang "In the Quiet Morning" and "Bread & Roses."

San Francisco Chronicle
October 5, 1989, p. C3, C5.
"Songs for the Lonely: Bread and Roses celebrates a shaky 15 years," by Torri Minton (photo by John O'Hara).
Announces the return of the Bread & Roses Festivals to the Greek Theater, starring Bonnie Raitt, Graham Nash, David Crosby, Boz Scaggs, and Kris Kristofferson. Describes the growing pains of Bread & Roses, and the hiring of Lana Severn as associate director in 1982, who helped bring the budget up to about $300,000 by 1989.


Mimi in the Nineties

Sunday Times Magazine (London Times?)
September 10, 1995.
"Relative Values."
On Mimi and Joan. Two pages with three photos.
I'm looking for this article.

Folk Roots
November 1995. no. 149. p. 55.
Review of Ring Them Bells.

San Francisco Chronicle: Examiner (Sunday supplement)
Sunday, December 17, 1995, p. 20-23, 39, 45.
"Rosebud," by Joan Smith (photo by John Werner).
A very interesting biographical profile of Mimi, from Baghdad to Bread & Roses. Highly recommended.

Dirty Linen
February/March 1997. vol. 68. p. 14, 98.
"Bread & Roses: Mimi Fariña Keeps On Truckin'." By Mitch Ritter.

Performing Songwriter
September/October 1997. 5:26. pl 54-57.
"Festival Spotlight: Bread & Roses," by Holly Crenshaw.
I'm looking for this article

Anchorage Daily News
April 29, 1998.
"Music Lifts Spirits Locked Behind Closed Doors." By Max Millard.
Discusses the mission of Bread & Roses.
Click here for full text.


Mimi in the 2000s

San Francisco Chronicle
February 18, 2000, p. 1.
"Bread & Roses Helps the Lonely Hearts," by Jeannine Yeomans.
Covers a dinner party for celebrities scheduled to appear at Bread & Roses' 25th Anniversary Celebration in March.

San Francisco Chronicle
March 4, 2000, p. A1.
"Mimi's New Struggle: Bread & Roses founder who brought music to many is now battling lung cancer."
By Joel Selvin. Photos by Steve Castillo.
Reports that Mimi, 54, has been diagnosed with lung cancer, after spending two years planning the Bread & Roses 25th Anniversary Celebration and a $3 million fund-raising campaign to create an endowment that would keep Bread & Roses solvent for the next 25 years. Reports that Mimi is trying conventional treatments, herbal treatments, cancer dance-therapy workshops, and a Native American sweat lodge healing ceremony.

San Francisco Chronicle
March 22, 2000, p. C1.
"Musical Sustenance: Big names lend songs and laughs to benefit Mimi Farina's Bread & Roses." By Joel Selvin.
A review of the 25th Anniversary Celebration for Bread & Roses.

Boston Globe
Mar 24, 2000, p. A3.
"A Rose Blooms Concert Pays Tribute to Charity's Ailing Founder." By Yvonne Daley
Full Text:

You could almost hear the sighs as Mimi Farina strolled to center stage, radiant despite her battle with lung cancer. There she stood in the gold-encrusted San Francisco Opera House, wearing a glamorous white and silver gown and grinning broadly as the crowd of about 3,500 applauded for a full five minutes.

Many in the audience would have given Farina a standing ovation for the work she has done for 25 years as the founder of Bread and Roses, a nonprofit organization that brings musicians and other performers into institutions around the Bay Area.

But, as word spread in recent weeks of her illness, the annual benefit concert took on new significance. It was no longer just an opportunity to congratulate Farina and the 2,000 or so volunteers who have put on about 500 shows a year in prisons, mental hospitals, con valescent centers, elderly care facilities, and homeless shelters for a quarter of a century.

By Monday night's concert, the event had become a lovefest for Farina, 54, the little sister of Joan Baez who first won the hearts of the counterculture crowd singing antiwar anthems with her husband, Richard.

Farina performed sporadically after her husband's death in 1966 at age 29; he was killed in a motorcycle crash as he drove home from the first book signing for his novel, "Been Down So Long It Looks Like Up To Me." But she soon tired of the musical scene.

The idea for Bread and Roses germinated in the early 1970s when she and her sister attended a show organized by B.B. King at New York's Sing Sing prison. In 1974, her cousin Skip Henderson, an executive director of a halfway house, suggested she perform for people in institutions as an antidote to her disenchantment.

"I realized how many people were living in institutions and how isolated they were," Farina explained in the concert program notes. Since being diagnosed with cancer in December, Farina has given up her workaholic life at Bread and Roses and retreated to her hillside home in Mills Valley to continue her treatment. "Monday night was an unusual treat for her these days," said Lana Severn, executive director of Bread and Roses.

Dawn Bail, activities director at Burt Children's Center in San Francisco, said Tuesday that the impact of Bread and Roses has been tremendous. For many in the audience, the performances are a rare chance for contact with the outside world and an even rarer moment of joy.

The children's center, for example, is home and school for children ages 4 to 13 who haven't been able to live successfully in group homes or attend public school.

"Bread and Roses has been coming here once a month for many years," Bail says. "After one performance, a boy wrote a note saying, `You don't come here because you have to. You come because you want to.' It makes the kids feel good to know that." Seeing that effect prompted the center to develop a music therapy program, she added.

Baez, Jackson Browne, Boz Scaggs, Pete Seeger, and Tao Rodriguez had long planned to take part in Monday's concert; as it was being organized, other friends and admirers of Farina and her cause asked to join in, and Kris Kristofferson (recovering from heart surgery), Tom Johnston of The Doobie Brothers fame, Bonnie Raitt, Lily Tomlin, Father Guido Sarducci (a.k.a. Don Novello), and Robin Williams ended up participating as well.

The event was a trip down memory lane, interjected with hilarious skits that often poked fun at a graying hippie generation that stays connected via cell phones and computers as much as through good vibrations.

For those who cut their musical teeth on songs of oppression and overcoming, however, the concert provided a pointed reminder of unsettling injustices, still unresolved. It began with Baez's rendition of Phil Ochs's haunting "There but for Fortune" and ended with Seeger, the grandfather of the folk music movement, leading the audience and the entire cast of performers through heartfelt renditions of "If I Had A Hammer," "Turn, Turn, Turn," and "Guantanamera."

John Earl, a patient at the Hillside Care Center San Rafael, a rehabilitation and treatment center where Bread and Roses volunteers frequently perform, called the concert "bone-chilling, an experience I wish everyone could have."

"When they sang `Amazing Grace,' it was just perfect," he said. "I'm a fan of all of them and of the work. We're all praying for Mimi. She deserves only the best for all the good she's done for so many others."

San Francisco Chronicle
May 10, 2000, p. B2.
"Focus on Quality is Trailblazing Technique," by Peter Stinton.
Reports that Mimi and two others have won the Woman Entrepreneur of the Year Award of the San Francisco chapter of the National Association of Women Business Owners. Judith Thompson wins the "Trailblazer" Award, Joanna Rees Gallanter wins the "Rising Star" Award, and Mimi wins the "Community Advocate" Award.

San Francisco Chronicle
April 6, 2001, p. A2.
"Let's Trade a Billion Big Macs for our Plane," by Rob Morse.
Rob Morse (who had written about Mimi a couple times in the Boston Globe back in the 80s) opines on assorted local topics in his own column, and includes a paragraph on Mimi:

"Best wishes to Mimi Farina, a Bay Area great who has been under the weather. Mimi's Bread & Roses provides live performances for people in institutions. Recently, Jean and Michael Strunksy (he's Ira Gershwin's nephew) made a generous donation to Farina's organization from the Ira and Leonore Gershwin Philanthropic Fund. A blues musician once said, "Mimi Farina, man, she's the kind of person you just behave better if she's in the room.""

San Francisco Chronicle
June 29, 2001, p. 1.
"Bread, Roses and Prayers for Farina," by Jeannine Yeomans.
A note on Mimi's illness.

OBITUARIES:
Marin News, Thursday, July 19, 2001.
"Bread & Roses founder Mimi Farina dead at 56." By Beth Ashley.

Boston Herald, Friday, July 20, 2001.
"Appreciation: Fariña touched souls with music, charity." By Daniel Gewertz.

New York Times, Friday, July 20, 2001, p. B7.
"Mimi Fariña, 56, Folk Singer Who Founded Bread & Roses."

Los Angeles Times
July 20, 2001, p. B13.
"Mimi Fariña: Folk Singer Staged Concerts for Inmates." By Geoff Boucher.

Milwaukee Journal Sentinel, July 20, 2001.
"Mimi Fariña."

The Independent, July 20, 2001, p. 6.
By Karl Dallas.

San Francisco Chronicle, Saturday, July 21, 2001, p. B3.
"Bread & Roses: A Legacy of Mimi Fariña's Generous Spirit." By Philip Elwood.
In this obituary, Elwood remembers meeting Mimi on a plane headed for a gig at the Bottom Line in Greenwich Village, and she outlined her plan for what would eventually become Bread & Roses.

Toronto Star, Saturday, July 21, 2001, p. NE27.
"Mimi Fariña Gave Hope to 'Empty Souls'."

London Times, July 21, 2001, p. 27.

Grand Rapids Press
July 22, 2001, p. A24.
"Joan Baez's Sister."

The Glasgow Herald
July 23, 2001, p. 14. "Mimi Fariña."

The Scotsman (Edinburgh), July 24, 2001, p. 14.
"Mimi Fariña," by Kenny Matheison.

Austin American-Statesman, July 26, 2001, p. 10.
"Mimi and Me: A Remembrance," by Steve Uhler.
A personal reminiscence of the author's friendship with Mimi since 1974
Click here for full text.

Daily Telegraph (London), August 1, 2001.
"Mimi Fariña, Folk singer who brought art to the disadvantaged."

Billboard,
August 4, 2001. vol. 113, no. 31, p. 66.
"Folk Artist Mimi Fariña Remembered." By Chris Morris.

On The Tracks
vol. 9, no. 2. Fall, 2001. p. 25.
Standard obituary from Associated Press, but notable for a rare photo by Ed Grazda of Mimi at the Afternoon Blues Workshop, Newport Folk Festival, 1965.

Mojo, September 2001, no. 94.
"Bring Her Roses," by Joel Selvin.

Pulse, no. 207, Sep 2001.

Non-Violent Activist: The Magazine of the War Resisters League
September-October 2001.
http://www.warresisters.org/nva0901-9.htm (scroll down)

Neue Musikzeitung, Oct. 2001, p. 2.

Folk Roots, Oct. 2001, p. 12.

Dirty Linen, Oct-Nov 2001, p. 8.

Sing Out! vol. 45, no. 3, Fall 2001.
"Last Chorus"
An edited version of the obituary on the Bread & Roses website.

Acoustic Guitar, Nov. 2001. p. 17-18.
"Mimi Fariña, 1945-2001." By Rick Turner (photo by Sherry Rayn Barnett).
This article describes Mimi's guitar playing as "innovative," "fully formed and very original," and "sophisticated and driving." Concluding paragraph:

"But the best way to honor her memory is to follow her lead and strive to leave the world a better place than it would be without your having been here. Pick up your guitar and play a few songs for someone who can't get out and needs the healing power of music in their life."

Rolling Stone, 27 Dec 01-3 Jan 02, p. 116.
"Tributes," by Jenny Eliscu. Rock & Rap confidential, Feb 2002, no. 188, p. 2-3.
"Prophets and Loss." By Sue Martinez.



2000s, continued

San Francisco Chronicle
August 8, 2001, p. D1.
"Tribute for a Beloved Singer: Musicians, Friends Remember Fariña," by Leah Garchik.
A report on the memorial service for Mimi at Grace Cathedral with a crowd of 2000 people. Includes a story by novelist Tom Sanchez, who recalls that he was at the Big Sur hot springs in 1964 or 1965, when

"suddenly appeared this extraordinary apparition, a luminous creature." She reached down and lifted up a "small black cat, and picked it up to her face. There was all of this black hair flowing down around her and the cat, and I thought, 'Oh, I've met the woman of my dreams.'" And then Richard Fariña (her husband at the time) appeared "and he said, 'Come on, baby, let's go.' ...I'm sure everyone has a story. You could put a book together: the first time I fell in love with Mimi Fariña."

San Francisco Chronicle
August 17, 2001, p. 1.
"Generosity Flows for Fariña," by Jeannine Yeomans.
Reports that Huey Lewis, a longstanding supporter and performer for Bread & Roses, has donated $125,000, which he won on the TV quiz show "Millionaire." Also reports on Paul Liberatore's plans to put a memorial bench on the Redwood Trail on Mount Tamalpais, where they used to walk near Mimi's cottage:

"During the hard times, we spent a lot of time there," Liberatore says of a dilapidated wood bench that he hopes to replace with something more permanent. From the bench, they could look out over the Muir Beach to the ocean. "We could go there and breathe and be quiet, and I just thought it would be a fitting tribute to her and something she would appreciate." Liberatore is thinking of putting a plaque on it that might say: "In loving memory of Mimi Fariña, who loved this place, and received strength and solace here."

Boston Herald
February 19, 2002, p. 35.
"Come from the shadows: Despite constant sorrow after sister's death, Joan Baez is back on tour and in the studio." By Daniel Gewertz.
Excerpts:

Baez spent much of her 16 months off the road caring for her dying younger sister, the singer and social activist Mimi Farina. After her sister died of cancer last summer, Baez was certain about what she felt. "It was pure sorrow, as if someone took a limb off. It's as if Mimi was my twin. And the sorrow still comes and goes in big waves," Baez said....

Before her sister's ordeal, Baez hadn't known much tragedy directly. "Though I put myself in the middle of a lot of indirect tragedy, like refugee camps in Cambodia," she said. "It's not fun to watch someone in pain," said Baez. "With Mimi, the whole time we were thinking: Maybe something might happen. Even when she couldn't talk anymore, somewhere in your psyche, you think maybe a miracle might happen. And then it was over. And the miracle was her life, and what she gave people."

Rolling Stone
September 16, 2003.
"Emmylou Finds "Grace": New album honors Carter Cash, features old friends." By Colin Devenish.
Reviews Emmylou Harris' CD, Stumble into Grace, which includes a song written for Mimi, "O Evangeline." Excerpt:

"Strong Hand (For June)," inspired by the death of June Carter Cash in May, and "O Evangeline," inspired by Mimi Farina, the activist sister of Joan Baez and founder of Bread and Roses who died in 2001, set the album's melancholy tone. "With June," Harris says, "I got the news she was gravely ill and going to die. At that point I felt the record was finished, but I picked up the guitar and the song came out."
"Mimi was kind of a left-field inspiration," Harris continues. "I was working on the song and I started thinking about the journey that we make, especially from the point of view of women. Sometimes someone gets frozen in time at a particular moment in your mind. When I think of Mimi I tend to think of a beautiful young girl who lost the love of her life on her twenty-first birthday [her husband/musical partner Richard Farina died in a motorcycle accident in 1966], and people tend to think of that as the end of the story. But she actually had an extraordinary life and helped so many people very quietly."

Bread & Roses Newsletter
Summer 2005.
"Bench on Mount Tamalpais Dedicated to Mimi Fariña," by Paul Liberatore.
Announces the dedication of a memorial bench on Mimi's 60th birthday. The bench was placed on her favorite trail in Mount Tamalpais. The ceremony was presided over by Joan Baez, Paul Liberatore, who initiated the project, Dan Nowell, a former B&R board member who installed the bench, and Baez cousin Skip Henderson, who read a poem Mimi had written for an English class in 1960.

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Contact me at doug@richardandmimi.com