Magazine & Newspaper Articles on Richard & Mimi

The Cornell Years
The Wandering Years
Richard & Mimi Fariña, folk duo
Richard's Death
Into History: The 1960s
1970s
1980s
1990s
2000s
See also:
Articles on Mimi after Richard
Album Reviews
Literary Criticism
Reviews of Positively 4th Street
Articles I'm Looking For


The Cornell Years

Cornell Daily Sun
Monday, April 7, 1958.
"Modern Techniques in Short Stories." By Kirkpatrick Sale.
This article includes the following comment on Fariña's three contributions to the March 1958 issue of Cornell Writer:

"If there is any one person in this issue of The Cornell Writer who really shows the ability to become a first rate author, it is Fariña. He has a grasp of both style and message, of what to say and how to say it, that is rare and valuable among college writers. And, most important, there is none of the simple surface glitter, the empty polish, the pseudo-stylization that is too often found in the false and phony prose of the collegiate literati."

New York Times
Friday, May 23, 1958. p. 46.
"Cornell Ban on Rooming-House Parties Is Attacked by Non-Fraternity Students"
Saturday, May 24, 1958. p. 23.
"Cornell Dean Hit in Egg Throwing."
Sunday, May 25, 1958. p. 80.
Cornell Drops 4 After New Riots
Tuesday, May 27, 1958. p. 20.
"Cornell Students Planning a Strike."

Los Angeles Times
May 25, 1958.
"Students Stone Cornell President; 4 Suspended."

Cornell Daily Sun
Thursday, May 29, 1958, p. 1.
"MJB Paroles Farina, Sale on Riot Charge; Leders See Malott."
A headline article in Cornell's campus newspaper reports: "In decisions handed down yesterday by the Men's Judiciary Board, J. Kirk Sale '58 and Richard Farina '59 were given Paroles for their actions in last weekend's demonstrations." There are a couple of other related articles, one reporting that 36 women were reprimanded for "intentional violation of the Women's Student Goverment Association's rules on closing hours Friday evening," and another reporting on a meeting of student leaders with the University President to discuss "current student-Administration problems."

Cornell Alumni News
June 15, 1958. Vol. 60, no. 18. p. 621-623.
"Students Protest University Relations; President Promises Conference Group."
Details events of the riot and briefly mentions Fariña's suspension and four other students.


The Wandering Years

Ithaca Journal
November 10, 1959.
"Jazz-Poetry Reading Set."

A jazz-poetry reading, the first event of its kind ever held at Cornell University, will be held at 4:30 p.m. Wednesday in the Willard Straight Memorial Room. The readings, which will attempt to incorporate original poetry and jazz rhythms, will be done by six Cornell undergraduates, a CCNY undergraduate, and a former Cornell student. The former Cornell student is Richard Farina, an advertising copywriter in New York City, and a member of the Class of 1960. Farina will soon be published in New Campus Writing and was a frequent contributor to the Cornell Writer magazine as an undergraduate. The six students from Cornell include the managing editor of the Writer, and an assistant editor of Epoch Magazine, a literary quarterly published by members of the Cornell English department. T.S. Eliot and e.e. cummings selections will also be read. The CCNY student is Cassandra Miriam Kosiner, a junior from New York City, who has published in the "Provinceotown Annual" and the CCNY undergraduate literary magazine. Three Cornell undergraduates will provide the music.

New York Times
June 18, 1960. p. 15.
"Carolyn Hester is Bride."

"The marriage of Miss Carolyn Hester, daughter of Mr. and Mrs. Gordon Hester of Austin, Tex., to Richard Farina took place here yesterday in the St. Ambrose Chapel of the Cathedral of St. John the Divine. Canon Edward Nason West performed the ceremony. Mr. Farina is the son of Mrs. Theresa Farina of Brooklyn and Richard Farina of Jamaica, Queens."

Ithaca Journal
Wed, August 3, 1960.
"Folk Singer to Perform."
Announces a concert by Carolyn Hester at the International Lounge of Willard Straight Hall in Woodstock on August 4. Notes that she is married to Richard Fariña, "a former Cornell University student who has appeared here several times as a poetry reader. He is now working on a novel in New York City."

Ithaca Journal
February 25, 1961.
"Alumnus, Wife To Perform."
Announces an appearance by Carolyn Hester at The Gatehouse coffeehouse on Friday and Saturday, March 3 and 4. Excerpt:

Miss Hester's husband, Richard Farina, a poet and former Cornell University undergraduate, will read selections from his own and other works in another feature....He is currently compiling a collection of short stories and has a novel in progress. The Farinas make their home in Charlottsville, Va.

Radio Times
Tuesday, August 30, 1962, p. 25.
"Rory and Alex at the Festival."
A brief notice in England's TV listings announces the program, Plain Song and All That Jazz, a recording of Rory and Alex McEwen's Edinburgh Festival performance, described as "a light-hearted mixture of folk music, blues, and mainstream jazz," featuring "American folk-singers Carolyn Hester and Dick Farina."

Time Magazine
November 23, 1962. p. 54-56, 59, 60.
The famous Joan Baez issue, which reflected the soaring popularity of folk music, included an early picture of sister Mimi (with her parents) on page 56.

Sing Out
November 1964
"Frets and Frails"
Izzy Young's column reports:

"Bob [Dylan] and Dick Farina are doing a movie concerning a lot of people you read about, including myself...Dick and Mimi Farina have just recorded for Vanguard. The LP consists mostly of instrumentals..."
(Note that this was the Greenwich Village tourist episode that Hajdu tells in his book, p. 215.)


The Achievement: Richard & Mimi Fariña

Broadside of Boston
January 6, 1965.
"Judy Collins, Eric Andersen, Dick and Mimi Farina To Do Benefit."
The complete article:

A Benefit concert will be presented at Memorial Hall (Sanders Theatre) in Harvard Square on Saturday night, January 16th. Money collected will be used to pay legal fees facing the eleven students under indictment by the State Department for defying the travel ban which has been placed on the visiting of certain countries. The students involved and their supporters demand the freedom to be able to travel anywhere they desire as long as they are allowed to enter by that country. Judy Collins, whose last Boston concert was sold out, Eric Andersen, and Dick and Mimi Farina will be the artists who donate their talent to the cause.

Broadside of Boston
March 17, 1965.
"Broadside Poll Results: Favorite Boston Folk Performers"
Announces that Dick and Mimi won second place in the "New Performer" category, and third place in the "Group" category, and that Mimi won first place in the "Female" category.
Full Text

Broadside of Boston
April 14, 1965.
"Loft Hosts Farinas, Villagers."
A news item makes the following announcement:

On successive weeks, the Loft will present first Dick and Mimi Farina, and then the following week the Villagers. Dick and Mimi will open on Tuesday, Feb. 16, and continue through Saturday, Feb. 20th. The duo has been recorded by Vanguard Records, and their first record is scheduled for release before March 1st.

Broadside of Boston
April 28, 1965.

Folkin' Around. May 21, 1965, vol. 1, no. 3.
This issue includes sheet music for "Reno, Nevada," a photo of Richard, Mimi and Joan on the cover, a capsule review of Celebrations (see album reviews), and an "On Our Cover" note:

"ON OUR COVER are Mimi & Richard Farina with a freind of the family relaxing at Big Sur, California, last summer.... Richard's dulcimer playing must be heard to be believed. From traditional mountain tunes to rock&roll and Indian ragas, he produces a range of music that few suspected could be found in that instrument. Mimi plays excellent guitar and autoharp, has a lovely clear voice, helps with the arrangements of their songs, and is also an excellent dancer. And when they feel in the mood, they may send their audience into helpless laughter with an improvised Nichols-and-May-type dialogue. Although they have performed chiefly in the New England area thus far, they will be traveling around the country after the Newport Festival. They are currently handling their own bookings (Richard Farina, 11 Putnam St., Cambridge, Massl 02138), but will soon be managed by a major national agency."
Variety
no. 239. June 2, 1965. p. 60. "New Acts"
A review of a concert at the New Gate of Cleve in Toronto, to an audience of six!
Full Text.

Broadside of Boston
vol. IV, no. 9. June 23, 1965.
"Newport Folk Festival." Lists Mimi and Dick Fariña on the proposed Sunday Afternoon schedule.
A schedule of events in Boston lists Mimi and Richard Fariña at Club 47 on Monday, June 28.

Broadside of Boston
vol. IV, no. 11. July 21, 1965.
"New Folks at the Newport Folk Festival."
More Info

Broadside of Boston
vol. IV, no. 13. August 19, 1965.
"On the Scene." By Robert J. Lurtsema.
A brief but somewhat poetic account of Sunday concerts at Newport 65, including brief description of Richard and Mimi's set, and Dylan's electric set.

New York Times
August 29, 1965, p. X18.
"A Fine Kettle of Folk Music," by Robert Shelton.
An overview of recent folk and folk-rock releases by Dayle Stanley, Mark Spoelstra, Patrick Sky, Eric Andersen, Jean Ritchie, Mimi & Richard Fariña, Sandy Bull, Pete Seeger, and Jose Feliciano. Excerpt:

A new duo that caused a storm at the recent Newport Folk Festival, Mimi and Richard Fariña, made its debut on Celebrations for a Grey Day (Vanguard 9174 mono; stereo 79174). Mimi's voice may have a familiar ring because she is the younger sister of Joan Baez. The couple's chief innovations lie in two directions, the use of dulcimer and guitar to give an American-based Indian-raga sound, and the subtle use "folk rock" music, with elecric guitar, piano, and bass backing. The Fariñas have made an important debut disk--we can expect to hear a lot more about this talented couple.

Sing Out!
vol. 15, no. 4, September 1965.

Broadside of Boston
September 1, 1965.
The "Bits and Pieces" news column reports that "DICK & MIMI will return to Boston for a few nights to play at 47 and take part in the club's sponsored benefit for the "BREATH OF LIFE CLUB" at the War Memorial Auditorium on October 2."

Sing Out!
vol. 15, no. 5, November 1965.
This issue was largely devoted to Newport 65, and the cover sported a David Gahr photo of Richard and Mimi playing to the crowd.
More Info

Broadside of Boston
November 24, 1965.
"47 Announces Prestige Schedule."
Announces that Dick and Mimi will appear at Club 47 on December 2nd and 3rd.
Full Text

New York Times
November 28, 1965.
Robert Shelton's list of the top ten folk records of the year lists Celebrations for a Grey Day. The date given above is derived from the liner notes of Reflections in a Crystal Wind. However, I have not been able to find this article in the newspaper of this date, which I searched on microfilm. The list in the next article (see below) may be the one that was referred to.

New York Times
December 19, 1965, p. X27.
"A Critic's Choice." List of ten country and ten folk albums, including Celebrations for a Grey Day.

Broadside of Boston
January 19, 1966
"Folk City USA Picks 1965 Favorites"
A notice listing winners of CRB radio program Folk City U.S.A. year-in-review awards. Celebrations for a Grey Day was voted Favorite Album of the Year.
Full Text

New York Times
January 30, 1966, p. X21.
"On Records: The Folk-Rock Rage," by Robert Shelton.
A review of the folk-rock trend, citing some albums as good representatives of the potential of the new style (Highway 61 Revisited, Paul Butterfield Blues Band, Turn! Turn! Turn!, Songs of Our Times (P.F. Sloan), Reflections in a Crystal Wind, Do You Believe in Magic, Animal Tracks, Having a Rave-Up with the Yardbirds) and some bad ones (by Barry McGuire, the Spokesman, Sonny & Cher, and the Surfaris). Shelton's review of Reflections:

...is a beautifully wrought set of vocals and instrumentals to give to anyone who says that folk music or folk-rock has reached the end of the line. Wild, imaginative, poetic, surprising, a completely unusual use of all the resources, from rock to raga to dulcimer to jazz, at the disposal of today's young musicians.

Hoot
January 1966, p. 2.
A review of the year 1965 includes the following note:

Newport also swung with Richard Farina's fast-flowing poetry, which, contrasted with the raucous twang of his dulcimer, struck yet another contemporary influence. With his wife Mimi, Dick induced the sky to cry on a Sunday afternoon, incited an on-stage frug orgy starring a barefoot Baez, and sent everyone home packing up their sorrows.

Broadside of Boston
vol. iv, no. 26. February 16, 1966.
The "Bits and Pieces" news column reports that "THE MAIN POINT in Bryn Mawr, Pennsylvania will have Dick & Mimi Farina, Feb. 17 to 20."

Sing Out!
vol. 16, no. 1. February/March 1966.

Bring the Troops Home Now Newsletter
March 7, 1966, p. 5.
"Ballad of the Green Beret meets up with Anti-War Songs."
Reports on a February 26 concert at Boston War Memorial Auditorium, in which Barry Sadler had a "folk music showdown" with Phil Ochs and Richard & Mimi.

New York Times
March 14, 1966; p. 37. "Joan Baez Sings at Philharmonic."
Excerpt:

"...A delightful change of pace followed the intermission. Miss Baez ushered on stage her sister and brother-in-law, the team of Mimi and Richard Fariña. They accompanied Miss Baez in a couple of numbers, then launched an energetic, not to say frenetic, balld, which seemed to be called "The House Un-American blues Activities Dream." It was, to quote a phrase from the tune, "a hippy, hoppy" sort of affair, with Richard strumming his home-made dulcimer, Mimi singing with guitar and Joan herself whopping a tambourine and doing some of the niftiest dance steps west of Arthur. It is hardly a masterpiece but it gave the program a rhythmic lift, and a vivacity it had lacked earlier.... The able accompanist on string bass (and electric guitar during the Fariña segment) was Russ Savakus."

Variety
Mar 16, 1966, p. 54. "Joan Baez Artistry Hits New Zenith in SRO Gig at Philharmonic Hall, N.Y."
Excerpt:

"Surprise element in the concert was the appearance after the intermission of Mimi & Dick Fariña, Miss Baez's sister and brother-in-law, both of whom have also scored on the Vanguard label. Miss Baez picked up the tempo in this sequence and Fariña contributed one humorous song that needled the House Un-American Activities Committee."

New York Herald Tribune [uncertain date] by Dick Shaap
New York World Telegram [uncertain date] by Bruce Porter
These two articles apparently discussed the forthcoming Baez album produced by Fariña. Sorry, no dates available.

San Francisco Chronicle
April 15, 1966, p. 52.
"A Couple Who Combine Scores of Talents," by John L. Wasserman.
Full Text.

San Francisco Chronicle
April 28, 1966, p. 3.
"It's Richard Farina! He's Here! Call of a Dulcimer Rebel," by Michael Grieg.
Nice profile of Richard and Mimi, with a beautiful, uncredited photo.
(See link above for full text.)

Daily Californian
April 29, 1966, p. 14.
"Phil Ochs, Richard and Mimi Farina on Folk Music."
Ochs, Richard and Mimi discuss new songwriters such as Eric Andersen and David Blue.

San Francisco Chronicle
April 29, 1966.
"Autographing Session for Farina."

Richard Farina, the singer and writer, will autograph copies of his new novel from 7:30 to 10:30 p.m. Sunday at the Discovery Book Shop, 245 Columbus avenue. The novel is titled: "Been Down So Long It Looks Like Up To Me."

Hoot
May 1966. p. 38-39.
"Mimi & Richard Fariña," by Chuck Klein.
A brief profile. This issue also includes:

New York Times
May 8, 1966.
"At Random: Author, Author."
An obviously belated publicity bio of Richard from Random House, with no mention of his death.


Obituaries

Los Angeles Times
May 1, 1966.

Chicago Tribune
May 2, 1966.
"Folk Singer Dick Farina Dies in Crash."

Cornell Sun
May 2, 1966.
"Farina Dies in Cycle Crash."

Ithaca Journal
May 2, 1966.
"Novelist Dies After Mishap."

Miami Herald
May 2, 1966.

Monterey Peninsula Herald
May 2, 1966. p. 1, 3.

Morning Advocate (Baton Rouge, LA)
May 2, 1966.

New York Post
May 2, 1966.

New York Times
May 2, 1966, 15:6.
"Folksinger Killed in Crash on Coast."

San Francisco Chronicle
May 2, 1966, p. 2.
"Farina Died of Head Injuries"

San Jose Mercury
May 2, 1966, p. 1-2.
"First Book, Fast Ride; Author Dies."

Patriot Ledger (Quincy, Mass.)
Tuesday, May 3, 1966. p. 28.
"Folksinger Killed in Cycle Accident."

Carmel Valley Outlook
May 4, 1966.

Carmel Valley Pine Cone-Cymbal
May 5, 1966.

Publishers Weekly
May 9, 1966, p. 53.
Obituary.

Variety
vol. 242, May 11, 1966, p. 79.

Time Magazine
May 13, 1966. p. 102.
"Milestones."

New Yorker
May 14, 1966, p. 37.

Carmel Valley Outlook
June 15, 1966.
Reprinting of New Yorker article.

Cornell Alumni News
July, 1966. p. 64.

Cornell Alumni News
September 1966. p. 60.


Into History: The Sixties

Broadside of Boston
May 25, 1966
"Memorial to Richard Farina," by Mel Lyman.

Dear Dick,

I'm just writing this because tonight I found out how much I really love you and how much everybody who knows you loves you, I know I can't feel this much grief by myself, I know I'm feeling the tears of everyone who ever knew you and who is crying for you tonight. I don't even know why we're crying, it just hurts so much that you're gone.

Love,
Mel

Sing Out!
vol. 16, no. 3, June/July 1966.
Sing Out!
vol. 16, no. 4, August/September 1966.

Esquire
September 1966.
"Introduction to (and Conclusion of) a Future Hero." By Joan Baez.
This was of course the essay that Joan later included in her autobiography, Daybreak. It was also included in Long Time Coming and a Long Time Gone, where it served as the introduction.
More Info

Sing Out
February/March 1967. p. 49. "Cavalier."
An excerpt from an article by Robert Shelton in Cavalier magazine, criticising Sing Out! for its increasingly "sour-apple tone" regarding new folk singers:

"Sing Out! is an example of what has become the malaise of folk song in general; nay-saying and destructive criticism. The closest we may have toward potential leaders in this field were Richard Fariña and Jim Rooney...Dick Fariña seemed to be the only one of the folk-rock theorists and practitioners that the old-guard could stand. When they mounted a personal attack against this writer for supporting, with qualifications, the potential of folk-rock, Fariña told me, in a taped interview just days before his death, that "all fundamentalists, political or musical, tend to be paranoid."

Crawdaddy
no. 8, March 1967, p. 28.
"Outside Looking In," by Larry McCombs
An editorial objecting to Joan Baez's decision not to release the album she recorded with Richard as producer: "...with that selfish decision to soothe her own conscience (making money seems to bother Joan), she denied us our last record of where Richard was at when he left us."

Broadside of Boston
March 29, 1967. p. 4-5.
"Fifth Annual Broadside Poll Results"
Announces that Reflections in a Crystal Wind won the award for Favorite Folk Recording of 1966. (Technically, the album was released in December of 1965).
Also in this issue:
"The Richard Fariña Annual Award Competition."

"In order to encourage the writing of songs pertinent to contemporary circumstances and, at the same time, to create a memorial to a songwriter who was not only a prolific and much admired member of the craft, but also an outspoken critic and an active opponent of many of the unworthy characteristics to be found in this unequal world, the editor of this magazine has initiated an annual award."
The announcement also lists the rules for entering the contest. This announcement was repeated in several other issues in the spring.

Broadside of Boston
[uncertain date] p. 17.
"The Lost Baez Album; or, Ghandi Versus Folk-Rock." By Larry McCombs.
Discusses the Fariña/Baez recording sessions.
Full Text

Freak Out USA, Fall 1967.
"The Mamas and Papas Talk about Kooks We Have Known and Loved."
Excerpt

Los Angeles Times
August 31, 1969. Calendar section, p. 1, 30-31.
"Young Folk Hero Even Without the Baez Marriage," by Nathaniel Freedland.
A retrospective of Richard's career, with several quotes from Mimi.
Full Text

Alternative Society
September 1969.
"Subversive Aspects of Popular Songs," by Kenneth Rexroth.
Excerpt:

The folklore movement, partly scholarly, partly social in inspiration, but certainly as square as could well be, burst its confines at about the same time and suddenly became an international expression of the counterculture. Joan Baez was soon able to command audiences almost as big as those of the Beatles, although her repertory was largely traditional English and American folk song. It is interesting that her sister and brother-in-law Mimi and Richard Fariña were amongst the very first of the new generation with its own new folklore. Their repertory gave expression to a new set of values, a new way of life which, so short a time ago, commanded very large audiences. Fariña died, but today he is unknown to the very young who listen to the Doors or the Serpent Power, and is remembered by connoisseurs in their twenties whom the mass audience considers already middle-aged. (Recently the Fariñas have been rediscovered.)

Cavalier
October, 1969. p. 33, 55, 56, 58, 61, 62.
"For Who So Loved Richard Fariña That He Should Not Perish But Have Everlasting Life?" by Robert Greenfield.
A biography of Fariña, including much information that has never appeared anywhere else, not even in Hajdu's book. Unfortunately, Greenfield seems bent on exposing only Fariña's negative side, and concludes that he was a con artist.

Harvard Crimson
October 25, 1969.
"More American Images: Richard Farina, Cultural Hero," by Andrew G. Klein.
A response to the meanness of the Cavalier article listed above. Available online:
www.thecrimson.com/article/1969/10/25/more-american-images-richard-farina-cultural



The Seventies

Saturday Review
March 28, 1970, p. 61.
"Joan Baez: 'One Day at a Time'," by Ellen Sander.
A review of Joan's album begins with a paragraph on Richard, which segues into a description of "Sweet Sir Galahad" as "a rare and beautiful Baez original with a melody so supple, lyrics so feeling, and a vocal treatment so silken it heralds the most beautiful Baez album since Farewell, Angelina.

Village Voice
August 5, 1971.
"Making of a Myth," by Tom Costner.
A review of the musical, Richard Fariña: Long Time Coming and a Long Time Gone.
Full Text.
A list of other reviews of the musical can be found here.

Village Voice
October 7, 1971.
Tom Costner's review of the film adaptation of Been Down So Long It Looks Like Up To Me.
Full Text.
A list of other reviews of the film can also be found there.

Rock (New York City-based newspaper)
October 25, 1971 (vol. 3, no. 6)
There is something about Richard Fariña in this issue, but I don't know what exactly. Judging from the year, it may have been a review of the Best of album, or the film adaptation of Been Down (which premiered in New York and never got any further) or the musical, Long Time Coming.

Billboard
Nov. 20, 1971
"'Farina' Getting Cast LP Bids"
Full Text:

Jay K. Hoffman, who is co-producing "Richard Farina--Long Time Coming and a Long Time Gone" with Free Flow Productions, is taking bids from record companies for the original cast album rights, and will wrap up the bidding two days before the production's scheduled opening here Wednesday (17). The show will open at the off-Broadway Fortune Theater. The play will feature 15 songs composed and originally recorded by Richard and Mimi Farina. Nancy Greenwald did the adaptation. A second company will begin a West Coast college tour on Feb. 1.

Melody Maker
vol. 50, May 3, 1975. p. 41.
"A Walking Atmosphere." Allan Jones.
This column was a "series on the underrated musicians of yesterday." It presents a brief biography of Fariña (which seems to be based on the Cavalier article) and an appreciation of his lyrics and music. ("Bold Marauder" is incorrectly quoted, saying "list the prayers of murder" instead of "lift the praise of murder.")

Village Voice
November 4th, 1971.
"Scenes."
Announces the forthcoming musical (which, oddly, was already reviewed a few weeks ago) and a biography on Richard written by his father and Mimi. "If it's a success, along with the forthcoming book, it should really get the cult-myth under way, and bring Farina the belated recognition he deserves as one of the originals on the post-beat, pre-counter-culture scene."

Soho Weekly News
"The Ghost of Richard Fariña." By John Calvin Batchelor.
A biography of Fariña based on interviews with his father, Mimi, and friends. An important article, with information not found elsewhere. This article was an outgrowth of a conspiracy theory Batchelor had devised in the same newspaper a year earlier, in which he claimed that Thomas Pynchon's novels were written by J.D. Salinger.


The Eighties

Praxis: A Cornell Journal of Literature & Review
vol. 8, no. 2, Winter 1983. p. 51-53, 65.
"Selections From the Cornell Archives: RICHARD FARINA 1937-1966." By W.M. Flanagan.
A very good overview of Fariña's life and career precedes a selection of three poems and a story (p. 54-64).
And in the same issue, p. 66-68:
"INSIDE and OUTSIDE: A Fariña Perspective," by Joseph Tabbi.
A brief discussion of some themes in the novel and the short story "God Bless America and All the Ships at Sea."

Occasionally
no. 4, January, 1984, p. 20-21.
"The Festival Was Over." By Ian Woodward.
A re-examination of the myth that Dylan's electric performance at Newport 65 was the defining moment of the festival that propelled folk music into the age of rock.
Full Text.

Cornell Alumni News
July, 1984. Vol. 86, no. 10. p. 20-23.
"Pynchon Remembers Fariña: A noted colleague recalls the writer-musician who died young in his twin careers." By Thomas Pynchon '59.
This was a reprint of the introduction Pynchon wrote for the 1983 edition of Fariña's novel. The article included a picture of Celebrations for a Grey Day and the 1983 edition of the book.
And in the same issue, p. 23-26:
"Long Time Gone." By William Flanagan '80.
This important article contains comments from Fariña's father, a reprint of the 1958 Cornell Daily Sun headline that announced Fariña's parole after the riot, and a picture of Fariña with Prof. Peter Kahn and other Cornellians. Flanagan discusses a display of Fariña's life that he created for Cornell and the difficulty of gathering information. (See also the Broadside article by the same author, below.)

Buscadero
February 1985.
Brief profile of Richard along with Fred Neil, Judy Collins and others, in an Italian magazine. By Franco Ratti.

Cornell Alumni News
September 1984. p. 15-18.
"Can Peter Kahn Retire?" By William K. Hathaway, '67.
A review of the career of the painter and art history professor. There is mention of a farmhouse that Kahn owned which was "for ten years a prominent off-campus hangout for a wonderful assortment of gifted and zany students...Scenes of the Dryden barn are in Richard Fariña's famous novel, Been Down So Long It Looks Like Up To Me. Students just started living out there, so the Kahns with typical generosity started making the place liveable....It disappointed Peter when Fariña wind-broke the family horse by riding it too hard, but then he knew Dick Fariña as a precocious student--not as a famous novelist."

Cornell Alumni News
October 1984. p. 14-16.
"Other Sides of Fariña." By Stephanie Greene, '59, and Jerry Teitelbaum, '61.
Two letters to the editor from Cornell alumni in response to Pynchon's essay. Greene was in a Spanish class with Fariña and recalls his charisma and attention-drawing persona. She also discusses the sexist elements of his novel. Teitelbaum says that he was at the '58 riots, and as a native of Brooklyn (Bedford-Stuyvesant), he appreciated the street theatre of the event. He notes several parallels between Fariña and Dylan.

Cornell Alumni News
November 1984. p. 14.
"The Old Rules." By Deborah Kaufman Kirschner, '61.
Another letter in response to Pynchon's article. There is no mention of Fariña, but she corrects a few points, explaining that girdles were common, and that most of her friends did not find the in loco parentis rules odd. She also notes that Peter Yarrow was Class of '59.

The Telegraph, no. 18, Winter 1984, pp. 62-68.
Interview with the Clancy Brothers.
Click here for excerpt.

Syracuse Post Standard
February 2, 1986.
"Tracking Free Spirit on Bright Tragic Road," by Eric Lichtblau.
A profile of William Flanagan, a Cornell library manager who was working on a biography of Richard Fariña. Reports that he had "conducted more than 40 interviews with Farina's parents, his first and second wives, his classmates and his fellow writers and musicians."

Broadside
vol. 175, August-September, 1986. p. 4-5.
"Been Gone So Long: The Life of Richard Fariña." By William N. Flanagan.
A brief overview of Fariña's life, and discussion of his current obscurity and the difficulty of finding information. Mentions some of the rarer material, such as the scripts for children's records and the play, The Shelter. Flanagan announces that he is working on a biography of Fariña and concludes the article with a request for further information.

Washington Post
July 23, 1989. "Book World," p. x10.
"Books That Helped Make the Age of Aquarius." By Michael Dirda.
A list of influential books of the sixties, including Been Down So Long It Looks Like Up To Me.
Full Text.

Goldmine
August 25, 1989. p. 98ff.
"Joan Baez: An American Artist." By Charles J. Fuss.
Career retrospective concentrating on her rare recordings, including the sessions with Fariña in 1966.


The Nineties

Goldmine
January 26, 1990. p. 76, 84.
"Carolyn Hester: Thirty Years of Folk Music." By William Ruhlmann.
Brief career retrospective and discography. This article clarifies that Hester first saw Richard Fariña at Folk City but they met (were introduced by Bob Shelton) at the White Horse Tavern, and that this was somewhat earlier than the January 1961 date given in Shelton's No Direction Home. Richard "was a very dramatic person, with the dark eyes," she recalls. She also notes that it was Fariña who showed John Hammond the Shelton article that brought Dylan to the producer's attention.It is reported that "Hester vehemently disputes the account of the recording session given in Bob Spitz's recent biography, Dylan," but there are no further details about what she disputes.

Cornell Alumni News
October, 1991. vol. 94, no. 3. p. 20-29.
"The King of Cool: Remembering Richard Fariña '59." By Jaime Wolf.
This article is comprised mostly of quotes by Fariña's friends, enemies, and acquaintances. Jaime Wolf's research seems to have been a major source for Hajdu's book (in the acknowledgements of his book, on page 302, he describes Wolf's "extensive research materials" as a "priceless resource"). This published article, however, probably only represents a small portion of that research. The cover of the magazine featured the famous David Gahr photo that was used for the 1983 edition of Been Down So Long, along with a blurb, "The coolest Cornellian ever?"

Cornell Alumni News
March, 1992.
"Fariña's Vision." By John H. Mauldin.
A student from the class of '64 writes to the editor in response to the Fariña article. He says that the article inspired him to finish reading Fariña's novel; he found it prescient but too pessimistic. "Fariña may have helped to wake up the 1960s, but some leaders and movements of the late 1960s were much more positive than anything since."

Cornell Alumni News
January/February 1992. p. 10.
"Fariña Fan." By Jeff Calder.
Another letter in response to Wolf's article: "Thanks for the wonderful story on Richard Fariña. [Author Jaime] Wolf should be encouraged to pursue a full-length biography."
"THe Riot of '58." Kenneth E. Ackley.
Also of interest on this same page is this letter from a class of 1960 alumnus who gives an eye-witness account of the 1958 campus riot initiated by Kirk Sale that resulted in Fariña's suspension. However, there is no mention of Fariña in this letter. He reports that it started out as a gathering in front of a girls' dorm, with Kirk Sale speaking through a bullhorn, then migrated to President Malott's house, where a couple eggs (no rocks, Ackley assures us) were thrown. He describes the incident as being rather uneventful. "Most Cornell students would have been glad to riot for sex if it would have helped us get some but it didn't seem to work."

Folk Roots
October, 1993. vol. 15, no. 4:124. p. 22-23, 25-26.
"That's My Song." By John Tobler.
A profile of Carolyn Hester, including her marriage and divorce with Richard. She states that "Richard went to the White Horse [a tavern in Greenwich Village] because he heard that Dylan Thomas was hanging out there and met him and I think went to the hospital to visit him when he was ill at the last, probably very much like Bob going to visit Woody." She also talks about Richard's involvement with the IRA, and the incident that he used as the basis of his story, "The End of a Young Man." She suggests that Fariña's singing career began in Ireland: "Eventually we went over to Ireland to visit his relatives in the North and we played a lot of places--he would sing with me because he'd said to Anthea that if she booked us both, that would be double the money. That's how he came to sing with me, and that also led to his career with Mimi. He started using one of the dulcimers that I had, and we'd play "Bile Them Cabbage Down" and such and had a wonderful time."

Dirty Linen
no. 51, April/May 1994.
"Dirty Linen Classics: Shaking Out the Sheets." By Tom Nelligan.
Career retrospective of Richard and Mimi, with fewer factual mistakes than most such articles. A good evaluation of their music and of Richard Fariña's achievement as a songwriter and dulcimer player, but it underestimates Mimi's contributions, calling her "just an average guitarist." Time to kick some ass...

The Telegraph
No. 49, Summer 1994, pp. 8-14.
Interview with Ron Gould (by Brian Wells), who recalls the recording sessions for Dick Fariña & Eric von Schmidt. There is a brief extract from this interview
here.
Folk Roots
April, 1997. vol 18, no. 166. p. 24-26.
"Folk Blues Here." By Nick Crews.
Career retrospective of Eric von Schmidt, with brief references to Fariña. Most of this material is familiar from Baby, Let Me Follow You Down, Positively 4th Street, and the liner notes of Dick Fariña & Eric Von Schmidt.



2000 and Beyond

Dulcimer Players News
vol. 25, no. 4, November 1999-January 2000. pp. 24-27.
"Terry Hennessy--Luthier of the Fariña Legend." By John Blosser.
Full Text.

Pulse
February, 2000.
I'm not sure what this article is--possibly a review of the Pack Up Your Sorrows compilation, which was released in 1999.

Goldmine
November 2, 2001. p. 74.
"Vanguard: Lesser-Known Recordings." By Dave Thompson.
Part two of a survey of lesser-known recordings from Vanguard. This article reviews Memoriesand describes "Morgan the Pirate" as a precursor to Fairport Convention's style. The first two albums by Richard and Mimi are said to "rank among the the most audacious, and certainly the most fascinatingly progressive, records of the entire folk boom."

UPI Arts & Entertainment
Wednesday , December 26, 2001
"Rock 'n' Roll," by John Swenson.
A top ten list of best re-issues of 2001 cites The Complete Vanguard Recordings:

Buffalo Springfield, "The Buffalo Springfield Box Set"
Elvis Costello, "My Aim Is True"
Mimi & Richard Farina, "The Complete Vanguard Recordings"
Four Tops, "Fourever"
The Grateful Dead, "The Golden Road (1965-1973)"
Ian & Sylvia, "The Complete Vanguard Studio Recordings"
Simon & Garfunkel, "The Columbia Studio Recordings 1964-1970"
Various artists, "Say It Loud: A Celebration of Black Music in America"
Various artists, "The Philadelphia Folk Festival 40th Anniversary"
Various artists, "The '70s Soul Experience"

The Independent (London newspaper)
Friday, December 27, 2002. Features , Page: 14
"Pop: The 10 Best Box Sets of 2002," by Chosen Andy Gill.
The Complete Vanguard Recordings is cited:

Mimi Baez was Joan's younger sister, swept off her teenage feet by the dashing bohemian writer Richard Farina, author of the campus cult classic Been Down So Long It Looks Like Up To Me (and close friend of Thomas Pynchon, best man at their wedding). Inspired by the success of Bob Dylan, Farina made the short move from poetry to songwriting, opting to accompany himself on dulcimer, which he strummed alongside Mimi's guitar, giving the duo's performances a mountain-music flavour, with hints of a Middle-Eastern drone that set them apart from their contemporaries. They recorded two albums together, both released in 1965: Celebrations for a Grey Day featured simple arrangements of the two instruments, but by the time of Reflections in a Crystal Wind they were borrowing not just Dylan's laconic song style, but also his distinctive lead guitarist Bruce Langhorne.

Sing Out!
Winter 2002, vol. 45, no. 4, p. 5-6.
"One Man's Beef..." by George Lyon.
A letter to the editor objects to comments made in the review of Positively 4th Street in the previous issue. He defends Richard's musicianship and songwriting, the duo's originality, and the importance of Mimi's work with Bread & Roses.

Pittsburgh Post-Gazette
Friday, March 8, 2002.
"Music Preview: Joan Baez says hard times are over."
An interview with Joan Baez, with some commentary on Richard Fariña. Ironically, this article appeared on what would have been Richard's 65th birthday. The full text is available at www.post-gazette.com
The passage pertaining to Fariña is as follows:

Q:
I was sorry to hear about your sister [Mimi] dying last year. There's a rock 'n' roll myth, from the days when rock and folk were on opposite sides of a spectrum, about you and Mimi and her one-time husband Richard [Fariña]. The story is that Richard was talking about blending the intellectual lyrics of folk with more commercial pop music long before anybody started doing it. Was that his idea?

JB:
An antidote to the bubble-gum era? I don't think so. He was an interesting guy. He was pretty wacky. He mostly just talked. Out of that often came some very interesting things. I was in high school on the West Coast [when the folk movement started], and when I hit Cambridge, there was the phenomenon of the coffeeshops. But I didn't hang out with intellectuals, so I wouldn't have heard about it, anyway. I never knew anything about the songs that I sang. I never talked about music. A lot of things just slipped past me.

Q:
You were recording with Richard when he died [in a 1966 motorcycle accident]. Some people have speculated that it could have been an important album.

JB:
That's funny. I'm glad it never got out.

Q:
It was that bad?

JB:
Yeah. [Laughs.] It was a very strange place, musically. We were just hanging out in the house together -- Mimi and him and other folks and myself. What I was listening to was [Burt Bacharach] and Dionne Warwick, so that's what I sang. But I wasn't any good at it.

The Independent Online
May 1, 2002.
"The Times They Aren't a Changin'," by David Potorti.
http://www.indyweek.com/indyweek/the-times-they-arent-a-changin/Content?oid=1186436
Reports on the Broadside recordings held at the University of North Carolina at Chapel Hill, which include some Fariña recordings. Quotes lyrics from an unreleased Fariña song, "Death Row:"

If you're white you got some chance to beat this death row
If you're white you might get loose from off this death row
But a man that's partly black, partly dark chocolate brown
He ain't got an earthly chance to beat this death row.

San Francisco Magazine
February 2004.
"Forever Young," by Andrew Nelson.
A brief retelling of the Autograph Party, apparently drawn from Hajdu's account, with two photos by Dick Waterman.

New York Observer
July 12, 2004. p. 1.
"It’s 30 Years Later! Bob Dylan’s Tracks Gloriously Bloody," by Ron Rosenbaum.
Posits a "wild conjecture" that the song "Up To Me" which was excluded from Dylan's Blood on the Tracks album was about Richard Fariña. There is also a reference to a "Thunderbird Cafe" in the lyrics.

Literary Kicks (website)
"Still Down So Long: Appreciating Richard Farina," by April Rose Schneider.
November 29th, 2010.
http://www.litkicks.com/StillDownSoLong
A short appreciation of the novel.

The Guardian
March 25, 2016.
"Richard Fariña: lost genius who bridged the gap between beats and hippies," by David Barnett.
theguardian.com/books/2016/mar/25/richard-farina-lost-genius-bridged-gap-beats-hippies
A summary of Fariña's life from a fan who discovered his novel in the 1980s. Enthusiastic, but with a few errors.

Folk New England (website)
April 26(?), 2016.
"The Whisper of a Hundred Thousand Wings: In memory of Mimi and Richard Farina," by Thomas Curren.
folknewengland.org
An eloquent, loving tribute from a folkie who grew up amid the Cambridge folk revival.

The Paris Review Blog
April 29, 2016.
"A Maker of Mirros: Richard Fariña's Been Down So Long It Looks Like Up To Me turns fifty," by Robert Cohen.
theparisreview.org/blog/2016/04/29/a-maker-of-mirrors
An appreciation by the novelist Robert Cohen.

Rick Turner Blog
December 14, 2016.
"Richard and Mimi Farina and the 6 1/2th Fret," by Rick Turner.
The great guitarist and luthier active in the Cambridge folk revival recalls an impromptu, last-minute upgrade to Richard's dulcimer with long-lasting influence.
https://rickturnerblog.com/2016/12/14/richard-and-mimi-farina-and-the-6-12th-fret/


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