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It featured many popular Child Ballads of the day and was recorded in only four days in the ballroom of New York City's Manhattan Towers Hotel.
The album also included "El Preso Numero Nueve", a song sung entirely in Spanish, which she would re-record in 1974 for inclusion on her Spanish-language album, Gracias a la Vida.
The audience consisted of her parents, her sister Mimi, her boyfriend, and a few friends, resulting in a total of eight patrons. Baez was later asked back and began performing twice a week for per show.
A few months later, Baez and two other folk enthusiasts made plans to record an album in the cellar of a friend's house.
She declined to play in any white student venues that were segregated, which meant that when she toured the Southern states she would play only at black colleges.
Baez also performed fourteen songs at the 1969 Woodstock Festival and has displayed a lifelong commitment to political and social activism in the fields of nonviolence, civil rights, human rights and the environment. Her father, Albert Baez (1912–2007), was born in Puebla, Mexico Albert first considered becoming a minister but instead turned to the study of mathematics and physics and received his Ph. Her mother, Joan Baez (née Bridge), referred to as Joan Senior or "Big Joan", was born in Edinburgh, Scotland in 1913 as the second daughter of an English Anglican priest who claimed to be descended from the Dukes of Chandos.
When designing the poster for the performance, Baez considered changing her performing name to either Rachel Sandperl, the surname of her long-time mentor, Ira Sandperl, or Maria from the song "They Call the Wind Maria".