DOI Page / Citation link:
https://doi.org/10.11588/diglit.21216#0077
populär singer of "hits" (Schlager) caused many to ask: what's Baez doing giving
a concert with Maffay? Some press reviews handled the concert as more of a
competition between Baez and Maffay, than a joint effort, where Baez came out
the victor; and this in spite of Maffay's current popularity. In an article titled
"Der 'alte Maffay' ist der bessere Maffay" (Junge Leute, journalist "sab", un-
dated xerox) Maffay is seen as having the edge on Baez at the Start, with the
audience divided into two camps:
Noch bevor die Song poetin angefangen hatte, schrien bereits jugendliche
Anhänger des Deutsch Rock nach der unumstrittenen Nr. 1 auf diesem
Gebiet. Maffay schien die besseren Karten zu haben. . .
The open air concert in the Kalkbergstadion was sold out with ca 12,000 attend-
ing. The advance sale and inquiries about tickets gave the Impression that more
people were coming on Maffay's account (this according to personal communica-
tion with the promoters and Jeanne Murphey). This means that Baez had to win
over part of the audience which was waiting to hear Maffay. She did.
At the beginning of the concert there were shouts of "hinsetzen" from parts
of the crowd who had difficulty seeing because of others who remained Stand-
ing. Düring the first three songs of her set Baez was confronted with the task of
getting the crowd quiet by getting those Standing to sit down, a central concert
problem. Baez has been faced with this problem before in solo-open air concerts
(e.g. her previous concert in Bad Segeberg where the rain made it difficult for
some to sit down). Baez methods at solving the problem are various, creative and
usually successful. But here the audience was not there solely to see her, thus
making the challenge greater.
2) the confrontation
In the following I will quote extensively, giving a transcription of Baez'
transactions with the audience during the beginning of her set (the first three
songs) to show how she came to achieve her goal of establishing good conditions
for the rest of her part of the concert. I will also show what connection her style
of speaking with the audience and her choice of songs have with our topic in
this chapter.
Baez. Guten Abend meine Damen und Herren [jovial voice]
Crowd: cries of "Hinsetzen" as well as applause
Baez: Baez begins to play the introduction to her first song on the guitar,
72
a concert with Maffay? Some press reviews handled the concert as more of a
competition between Baez and Maffay, than a joint effort, where Baez came out
the victor; and this in spite of Maffay's current popularity. In an article titled
"Der 'alte Maffay' ist der bessere Maffay" (Junge Leute, journalist "sab", un-
dated xerox) Maffay is seen as having the edge on Baez at the Start, with the
audience divided into two camps:
Noch bevor die Song poetin angefangen hatte, schrien bereits jugendliche
Anhänger des Deutsch Rock nach der unumstrittenen Nr. 1 auf diesem
Gebiet. Maffay schien die besseren Karten zu haben. . .
The open air concert in the Kalkbergstadion was sold out with ca 12,000 attend-
ing. The advance sale and inquiries about tickets gave the Impression that more
people were coming on Maffay's account (this according to personal communica-
tion with the promoters and Jeanne Murphey). This means that Baez had to win
over part of the audience which was waiting to hear Maffay. She did.
At the beginning of the concert there were shouts of "hinsetzen" from parts
of the crowd who had difficulty seeing because of others who remained Stand-
ing. Düring the first three songs of her set Baez was confronted with the task of
getting the crowd quiet by getting those Standing to sit down, a central concert
problem. Baez has been faced with this problem before in solo-open air concerts
(e.g. her previous concert in Bad Segeberg where the rain made it difficult for
some to sit down). Baez methods at solving the problem are various, creative and
usually successful. But here the audience was not there solely to see her, thus
making the challenge greater.
2) the confrontation
In the following I will quote extensively, giving a transcription of Baez'
transactions with the audience during the beginning of her set (the first three
songs) to show how she came to achieve her goal of establishing good conditions
for the rest of her part of the concert. I will also show what connection her style
of speaking with the audience and her choice of songs have with our topic in
this chapter.
Baez. Guten Abend meine Damen und Herren [jovial voice]
Crowd: cries of "Hinsetzen" as well as applause
Baez: Baez begins to play the introduction to her first song on the guitar,
72