♪♪ I HAD AMBITIONS TO, UH, SET OUT AND FIND, LIKE, AN ODYSSEY OF GOING HOME SOMEWHERE.

I SET OUT TO FIND, UH, THIS HOME THAT I'D LEFT A WHILE BACK AND COULDN'T REMEMBER EXACTLY WHERE IT WAS, BUT I WAS ON MY WAY THERE, AND, UH, ENCOUNTERING WHAT I ENCOUNTERED ON THE WAY WAS HOW I ENVISIONED IT ALL.

I DIDN'T REALLY HAVE ANY AMBITION AT ALL.

I WAS BORN VERY FAR FROM WHERE I'M SUPPOSED TO BE.

AND SO I'M ON MY WAY HOME, YOU KNOW?

[ PLAYING "LIKE A ROLLING STONE" ] ♪♪ ♪ ONCE UPON A TIME, YOU DRESSED SO FINE ♪ ♪ YOU THREW THE BUMS A DIME IN YOUR PRIME ♪ ♪ DIDN'T YOU?

♪ ♪ PEOPLE'D CALL, SAY, "BEWARE, DOLL, YOU'RE BOUND TO FALL" ♪ ♪ YOU THOUGHT THEY WERE ALL ♪ ♪ KIDDIN' YOU ♪ ♪ YOU USED TO ♪ ♪ LAUGH ABOUT ♪ ♪ EVERYBODY THAT WAS HANGIN' OUT ♪ ♪ NOW YOU DON'T ♪ ♪ TALK SO LOUD ♪ ♪ NOW YOU DON'T ♪ ♪ SEEM SO PROUD ♪ ♪ ABOUT HAVIN' TO BE SCROUNGIN' AROUND FOR YOUR NEXT ♪ ♪ MEAL ♪ ♪ HOW DOES IT FEEL?

♪ ♪ HOW DOES IT FEEL?

♪ ♪ TO BE ON YOUR OWN ♪ ♪ WITH NO DIRECTION HOME ♪ ♪ LIKE A COMPLETE UNKNOWN ♪ ♪ LIKE A ROLLING STONE?

♪ ♪♪ ♪♪ Dylan: TIME, YOU CAN DO A LOT OF THINGS THAT SEEM TO MAKE TIME STAND STILL.

BUT, OF COURSE, NO ONE CAN DO THAT.

[ BILL MONROE AND THE BLUEGRASS BOYS SINGING ] ♪ DRIFTING TOO FAR FROM THE SHORE ♪ ♪ YOU'RE DRIFTING TOO FAR FROM THE SHORE ♪ Dylan: MAYBE WHEN I WAS ABOUT 10 I STARTED PLAYING THE GUITAR.

I FOUND A GUITAR IN THE HOUSE THAT MY FATHER BOUGHT, ACTUALLY.

I FOUND SOMETHING ELSE IN THERE.

IT HAS KIND OF MYSTICAL OVERTONES.

THERE WAS A GREAT BIG MAHOGANY RADIO.

IT HAD A 78 TURNTABLE WHEN YOU OPENED UP THE TOP.

AND I OPENED IT UP ONE DAY.

AND THERE WAS A RECORD ON THERE, A COUNTRY RECORD, THIS SONG CALLED "DRIFTING TOO FAR FROM SHORE."

♪ YOU'RE DRIFTING TOO FAR FROM THE SHORE ♪ THE SOUND OF THE RECORD MADE ME FEEL LIKE I WAS SOMEBODY ELSE.

AND THEN, UH... YOU KNOW, THAT I, I WAS MAYBE NOT EVEN BORN TO THE RIGHT PARENTS OR SOMETHING.

Bing Crosby: ♪ YOU'VE GOT TO ACCENTUATE THE POSITIVE ♪ ♪ ELIMINATE THE NEGATIVE ♪ ♪ LATCH ON TO THE AFFIRMATIVE ♪ ♪ DON'T MESS WITH MISTER IN-BETWEEN ♪ Dylan: IT LOOKED LIKE ANY OTHER TOWN OUT OF THE '40s OR '50s.

JUST SOME RURAL TOWN.

IT WAS ON THE WAY TO NOWHERE.

AND YOU PROBABLY COULDN'T FIND IT ON A MAP.

[ LAWRENCE DUCHOW AND THE RED RAVEN ORCHESTRA PLAYING POLKA ] ♪ HO HO ♪ Dylan: MAYBE THREE BLOCKS ONE WAY, AND MAYBE THREE BLOCKS THE OTHER WAY, AND THAT WAS LIKE A MAIN STREET, WHERE ALL THE DEPARTMENT STORES WERE, THE DRUGSTORES, THE -- THAT'S ABOUT IT, YOU KNOW.

♪ HA HA ♪ ♪ HO HO ♪ WHAT HAPPENS TO A TOWN AFTER THEIR LIVELIHOOD IS GONE?

IT JUST SORT OF DECAYS AND BLOWS AWAY, DOESN'T IT?

THAT'S THE WAY IT GOES.

MOST OF THE LAND WAS EITHER FARM LAND OR JUST COMPLETELY SCAVENGED BY THE MINING COMPANIES.

VERY HOT IN THE SUMMERTIME.

IN THE WINTER, IT WAS JUST RIGHTLY COLD, YOU KNOW.

AND JUST ALL, ALL WINTER IT WAS JUST, I MEAN -- WE DIDN'T HAVE THE CLOTHES THEY HAVE NOW, SO, I MEAN, YOU JUST WORE TWO OR THREE SHIRTS AT A TIME, SLEPT IN YOUR CLOTHES.

THE PIT WAS ON THE OUTER LIMITS OF THE TOWN.

THAT'S WHERE EVERYBODY WORKED.

WELL, YOU COULDN'T BE A REBEL.

IT WAS SO COLD THAT YOU COULDN'T BE BAD.

THE WEATHER EQUALIZES EVERYTHING VERY QUICKLY.

NOBODY WAS GOING TO REALLY PULL A STICK UP.

THERE REALLY WASN'T ANY PHILOSOPHY, ANY IDIOM, ANY IDEOLOGY TO REALLY, UH, UH, GO AGAINST.

MY FATHER AND HIS BROTHERS, THEY HAD AN ELECTRICAL STORE.

WELL, THE FIRST JOB I EVER HAD WAS SWEEPING UP THE STORE.

AND I WAS SUPPOSED TO LEARN, UH, THE, UH, DISCIPLINE OF HARD WORK OR SOMETHING, YOU KNOW.

AND THE MERITS OF, UH, OF EMPLOYMENT.

CIRCUSES CAME THROUGH.

THERE WERE THE TENT SHOWS AT THE CARNY MIDWAYS.

AND THEY HAD BARKERS.

Barker: GOT A HORSE WITH TWO HEADS!

GOT A CHICKEN IN THERE WITH A MAN'S FACE!

COME SEE THE GIRL-BOY!

Dylan: IT WAS JUST MORE RURAL BACK THEN.

THAT'S WHAT PEOPLE DID.

YOU COULD SEE GUYS IN BLACKFACE.

GEORGE WASHINGTON IN BLACKFACE.

OR NAPOLEON WEARING, UH, BLACKFACE.

THIS, LIKE, WEIRD SHAKESPEAREAN THINGS, STUFF THAT DIDN'T REALLY MAKE ANY SENSE AT THE TIME.

AND PEOPLE HAD OTHER JOBS IN THE CARNY SCENE.

I SAW SOMEBODY PUTTING MAKEUP ON, GETTING BACK FROM RUNNING THE FERRIS WHEEL ONCE.

AND I THOUGHT THAT WAS PRETTY INTERESTING, YOU KNOW, WOW.

GUY'S GOT, UH, YOU KNOW, OH, HE DOES TWO THINGS, YOU KNOW, OR SOMETHING LIKE THAT.

Hank Williams: I'VE GOT A SONG HERE THAT I'D LIKE TO DO THAT'S BEEN AWFUL KIND TO ME AND THE BOYS.

IT'S A LITTLE TUNE CALLED "COLD COLD HEART."

♪ I TRIED SO HARD, MY DEAR, TO SHOW ♪ ♪ THAT YOU'RE MY EVERY DREAM ♪ ♪ YET YOU'RE AFRAID EACH THING I DO ♪ ♪ IS JUST SOME EVIL SCHEME ♪ ♪ A MEMORY FROM YOUR LONESOME PAST ♪ ♪ KEEPS US SO FAR APART ♪ ♪ WHY CAN'T I FREE YOUR DOUBTFUL MIND ♪ ♪ AND MELT YOUR COLD, COLD HEART?

♪ Dylan: WE'D HAVE TO, LIKE, LISTEN LATE AT NIGHT FOR OTHER STATIONS TO COME IN FROM OTHER PARTS OF THE COUNTRY, PLACES THAT WERE FAR AWAY.

50,000-WATT STATIONS COMING OUT THROUGH THE ATMOSPHERE.

Johnnie Ray: ♪ HE TOLD ME HE WAS... ♪ Dylan: JOHNNIE RAY, HE HAD SOME KIND OF STRANGE INCANTATION IN HIS VOICE, LIKE HE'D BEEN VOODOOED, AND HE CRIED, KIND OF, WHEN HE SANG.

♪ HAVE FAITH IN ALL KINDS OF WEATHER ♪ ♪ FOR THE SUN WILL ALWAYS SHINE ♪ Announcer: IT'S "GRAND OLE OPRY" TIME.

ANOTHER BIG FOLK MUSIC SHOW, STARRING WEBB PIERCE.

♪ MOJO WORKIN' ♪ ♪ GOT MY MOJO WORKIN' ♪ ♪ B-B-B-B-B-B-B... WORKIN' ♪ ♪ GOT MY MOJO WORKIN' ♪ ♪ I GOT MY MOJO WORKIN' ♪ ♪ GOT MY MOJO WORKIN' ♪ ♪ B-B-B-B-B-B-B-B WORKIN' ♪ ♪ GOT MY MOJO WORKIN' ♪ ♪ I GOT MY MOJO WORKIN' ♪ ♪ GOT MY MOJO WORKIN' ♪ ♪ GOT MY MOJO WORKIN', BUT IT ♪ ♪ JUST DON'T WORK ON YOU ♪♪ Dylan: IT WAS THE SOUND THAT GOT TO ME.

IT WASN'T WHO IT WAS, OR, IT WAS THE SOUND OF IT.

Announcer: THIS IS OUR TOWN, HIBBING, MINNESOTA, U.S.A. Dylan: WHEN I BEGAN LISTENING TO THE RADIO, I BEGAN TO GET BORED BEING THERE.

I THOUGHT ABOUT GOING TO MILITARY SCHOOL, BUT THE MILITARY SCHOOL THAT I ENVISIONED MYSELF GOING TO, I, UH, COULDN'T GET IN, WHICH WAS WEST POINT.

YOU KNOW, I COULD ALWAYS ENVISION MYSELF DYING IN SOME HEROIC BATTLE SOMEWHERE.

SO I MEAN -- BUT MAYBE THAT, THOSE, THAT ERA, IS, IS, HAS GONE.

Gene Vincent: ♪ WELL, IT'S SATURDAY NIGHT ♪ ♪ AND I JUST GOT PAID ♪ ♪ I'M A FOOL 'BOUT MY MONEY, DON'T TRY TO SAVE ♪ ♪ CATS ALL JUMPIN', GOIN' TO HAVE A TIME ♪ ♪ SATURDAY NIGHT, AND, HONEY, I'M FEELIN' FINE ♪ ♪ GOIN' TO ROCK IT UP ♪ ♪ GOIN' TO RIP IT UP ♪ ♪ GOIN' TO SHAKE IT UP ♪ ♪ GOIN' TO BALL IT UP ♪ ♪ I'M GOIN' TO RIP IT UP ♪ ♪ AND ROCK TONIGHT ♪ ♪♪ ♪♪ ♪ NOW I GOTS ME A DATE AND I WON'T BE LATE ♪ ♪ I PICKS HER UP IN MY 88 ♪ Dylan: THE FIRST TIME I HEARD ROCK 'N' ROLL ON THE RADIO, I FELT IT WAS PRETTY SIMILAR TO THE COUNTRY MUSIC WHICH I'D BEEN LISTENING TO.

I FORMED A COUPLE OF GROUPS GROWING UP, AND WE REHEARSED AND PLAYED WHERE WE COULD PLAY.

THERE WASN'T MUCH OPPORTUNITY TO, TO REALLY BREAK OUT OF THAT AREA.

ROBERT WAS IN MY CLASS, AND THAT WAS THE ERA THAT THEY HAD THE TALENT SHOW.

ROBERT, OF COURSE, HE WAS UP ON STAGE.

Dylan: ♪ LITTLE RICHARD IN HIS TWO STORY HOUSE ♪ ♪ HEY, LITTLE RICHARD, WHOA, LITTLE RICHARD ♪ Rolfzen: HIS CONCERT BEGAN.

AND IT WAS QUITE SURPRISING.

I SAW ROBERT STAND THERE AT THE PIANO.

AND MY GUESS IS THAT HE WAS TRYING TO DESTROY IT.

HE WAS PUMPING ON THE THING.

IT WAS A MOST UNUSUAL THING TO OBSERVE.

THE PRINCIPAL PULLED THE CURTAIN ON IT.

HE SAID TO ME THAT HE DIDN'T THINK THAT MUSIC WAS SUITABLE FOR THE AUDIENCE, SO I PULLED THE CURTAIN.

Dylan: NOBODY LIKED COUNTRY MUSIC OR ROCK 'N' ROLL, OR RHYTHM AND BLUES.

THAT KIND OF MUSIC WASN'T WHAT WAS HAPPENING UP THERE.

♪ HOW MUCH IS THAT DOGGIE IN THE WINDOW?

♪ Dylan: THE MUSIC THAT WAS POPULAR WAS, "HOW MUCH IS THAT DOGGIE IN THE WINDOW?"

THAT WASN'T OUR REALITY.

OUR REALITY WAS BLEAK TO BEGIN WITH.

OUR REALITY WAS FEAR.

AT ANY MOMENT THIS BLACK CLOUD WOULD EXPLODE WHERE EVERYBODY WOULD BE DEAD.

[ EXPLOSION ] THEY WOULD SHOW YOU IN SCHOOL HOW TO DIVE FOR COVER UNDER YOUR DESK.

WE GREW UP WITH ALL THAT, SO IT CREATED A SENSE OF PARANOIA THAT, I DON'T KNOW, PROBABLY UNFORESEEN.

♪ WELL, GOT TROUBLES ♪ ♪ TROUBLES ON MY MIND ♪ Man: IN MAY 1959, I RECORDED A TAPE FOR BOB ZIMMERMAN.

BOB WAS REAL EXCITED TO LEARN I HAD A TAPE RECORDER.

AND HE WANTED TO KNOW WHAT HE SOUNDED LIKE.

♪ FORGET MY TROUBLES... ♪ Dylan: I REALLY CAN'T SAY THE GIRLS TOOK A LIKING TO ME OR NOT FROM PLAYING AROUND TOWN.

THE FIRST GIRL THAT EVER TOOK A LIKING TO ME, HER NAME WAS GLORIA STORY.

GLORIA STORY, I MEAN, THAT WAS HER REAL NAME.

SECOND GIRLFRIEND WAS NAMED ECHO.

NOW, THAT'S PRETTY STRANGE.

I'VE NEVER MET ANYBODY NAMED ECHO.

♪ LITTLE DARLING ♪ I SERENADED HER UNDERNEATH THE LADDER THAT WENT UP TO HER WINDOW.

AND BOTH THESE GIRLS, BY THE WAY, BROUGHT OUT THE POET IN ME.

LONG AFTER WE HAVE GONE, WHILE THE FLASH OF OUR BEGINNING HAS NOT YET TRAVELED THE LIGHT YEARS INTO DISTANCE, IT WILL DISAPPEAR INTO THE BLACKNESS OF THE SPACE FROM WHICH WE CAME, DESTROYED AS WE BEGAN, IN A BURST OF GAS AND FIRE.

Dylan: JAMES DEAN, BRANDO, "THE WILD ONE."

IT DIDN'T KILL ALL THE ENTIRE PAST.

IT'S NOT LIKE THEY JUST APPEARED AND, OH, LIKE, THERE'S A NEW SCENE HAPPENING NOW.

TIME, YOU KNOW, A TIME KIND OF OBLITERATED THE PAST THAT WAS AROUND WHEN I WAS GROWING UP.

JUST TIME AND PROGRESS, REALLY.

♪ HOW DOES IT FEEL?

♪ ♪ OH, HOW DOES IT FEEL?

♪ ♪ TO BE ON YOUR OWN?

♪ ♪ WITH NO DIRECTION HOME?

♪ ♪ LIKE A COMPLETE UNKNOWN?

♪ ♪ LIKE A ROLLIN' STONE?

♪ ♪♪ ♪♪ ♪♪ ♪♪ [ CHEERS AND BOOS ] THANK YOU VERY MUCH.

[ CHEERS AND BOOS ] HE JUST CHANGED ALTOGETHER.

HE'S CHANGED FROM WHAT HE WAS.

HE'S NOT THE SAME AS WHAT HE WAS AT FIRST.

Fan: I DON'T EVEN RECOGNIZE HIM.

NO.

Man: ABOUT A YEAR AGO, I SAW HIM HERE IN SHEFFIELD AT CITY HALL, AND I THOUGHT HE WAS MAGNIFICENT.

AND, YOU KNOW, I THOUGHT HE JUST COULDN'T IMPROVE IF HE TRIED.

THEN THE NEXT THING THAT HAPPENED WAS HE WENT REALLY COMMERCIAL, WITH THIS BACKING GROUP.

AND I DIDN'T LIKE THAT VERY MUCH.

I DON'T KNOW WHAT HE'S TRYING TO DO.

I THINK HE'S CONCEDING TO SOME SORT OF POPULAR TASTE.

I THINK IT'S A BAD THING.

I THINK HE'S, I THINK HE'S PROSTITUTING HIMSELF.

I DON'T THINK THE, THE SPIRIT OF THE DYLAN SONGS IS BEING PORTRAYED IN HIS, UH, WITH THIS INCREDIBLY CORNY, UM, GROUP BEHIND HIM.

I LIKE HIS EARLIER RECORDS AS, ON HIS, UH, "FREEWHEELIN'" LPs, ET CETERA.

BUT THIS, I JUST CAN'T STICK.

UM, I FOUND IT RATHER BORING.

I FOUND THERE WAS TOO MUCH IMPROVISING ON HIS, UH, WRETCHED HARMONICA.

HE TENDED TO LOSE THE, THE, THE RHYTHM ON HIS GUITAR ALTOGETHER AT TIMES.

♪ HEY, MR. TAMBOURINE MAN, PLAY A SONG FOR ME ♪ ♪ I'M NOT SLEEPY AND THERE IS NO PLACE I'M GOING TO ♪ ♪ HEY, MR. TAMBOURINE MAN, PLAY A SONG FOR ME ♪ ♪ IN THE JINGLE JANGLE MORNING I'LL COME FOLLOWING YOU ♪ ♪ THOUGH I KNOW THAT EVENING'S EMPIRE HAS RETURNED INTO SAND ♪ ♪ VANISHED FROM MY HAND ♪ ♪ LEFT ME BLINDLY HERE TO STAND BUT STILL NOT SLEEPING ♪ ♪ MY WEARINESS AMAZES ME, I'M BRANDED ON MY FEET ♪ ♪ I HAVE NO ONE TO MEET ♪ ♪ AND THE ANCIENT EMPTY STREET'S TOO DEAD FOR DREAMING ♪ ♪ HEY, MR. TAMBOURINE MAN, PLAY A SONG FOR ME ♪ ♪ I'M NOT SLEEPY AND THERE IS NO PLACE I'M GOING TO ♪ ♪ HEY, MR. TAMBOURINE MAN, PLAY A SONG FOR ME ♪ ♪ IN THE JINGLE JANGLE MORNING, I'LL COME FOLLOWING YOU ♪ Dylan: GOT OUT OF HIGH SCHOOL, AND LEFT THE VERY NEXT DAY.

I'D GONE AS FAR AS I COULD IN MY PARTICULAR ENVIRONMENT.

I WAS GOING TO TRY TO JOIN SOME OTHER BAND.

Bobby Vee: ♪ SUZIE BABY ♪ ♪ WHERE ARE YOU?

♪ ♪ HAVE YOU LEFT ME ♪ ♪ FOR SOMEONE NEW?

♪ THERE WAS ONLY ONE GUY THAT EVER CAME OUT OF THERE.

AND HE WAS OUT OF FARGO.

I'D ACTUALLY GONE THERE TO PLAY WITH HIM.

HE HAD A REGIONAL HIT CALLED "SUZIE BABY."

AT THAT POINT I WAS JUST PLAYING TRIPLETS ON THE PIANO.

I DIDN'T HAVE MY OWN PIANO.

SO THEY WEREN'T GOING TO BUY A PIANO.

BUT I DID PLAY SOME SHOWS WITH THEM.

NOTHING MUCH CAME OF IT.

♪ AIN'T NO GUY IN TOWN ♪ Kangas: HE WOULD LET PEOPLE KNOW THAT HE WAS MAYBE BOBBY VEE.

BOB TOLD EVERYONE, INCLUDING HIS, LIKE, COUSINS AND RELATIVES, THAT, YOU KNOW, HE WAS BOBBY VEE.

AND, UH, I GUESS HE LIKED THAT RECOGNITION OF BEING FAMOUS.

'CAUSE PEOPLE LOOKED AT HIM, SAY, "HEY, THAT'S A PRETTY GOOD SONG YOU GOT OUT, BOBBY VEE."

I WAS A MUSICAL EXPEDITIONARY.

I HAD NO PAST, REALLY, TO SPEAK OF, NOTHIN' TO GO BACK TO, NOBODY TO LEAN ON.

I CAME DOWN TO MINNEAPOLIS.

I DIDN'T GO TO CLASSES.

I WAS ENROLLED.

BUT I DIDN'T, UH...

I DIDN'T GO TO CLASSES.

I JUST DIDN'T FEEL LIKE IT.

WE WERE SINGING AND PLAYING ALL NIGHT, SLEEPING MOST OF, YOU KNOW, THE MORNING.

I DIDN'T REALLY HAVE ANY TIME FOR STUDY.

Kerouac: "PRAISED BE MAN, HE IS EXISTING IN MILK "AND LIVING IN LILIES, AND HIS VIOLIN MUSIC "TAKES PLACE IN MILK AND CREAMY EMPTINESS.

"PRAISED BE THE UNFOLDED INSIDE PETAL "FLESH OF TEND'REST THOUGHT.

"PRAISED BE DELUSION, THE RIPPLE.

"PRAISED BE THE HOLY OCEAN OF ETERNITY.

"PRAISED BE I, WRITING, DEAD ALREADY, AND DEAD AGAIN."

Dylan: I FELL INTO THAT ATMOSPHERE OF WHERE EVERYTHING KEROUAC WAS SAYING ABOUT THE WORLD BEING COMPLETELY MAD.

AND THE ONLY PEOPLE FOR HIM THAT WERE INTERESTING WERE, WERE THE MAD PEOPLE, THE MAD ONES, THE ONES WHO, UH, YOU KNOW, MAD TO LIVE, AND...MAD TO TALK, MAD TO BE SAVED, DESIROUS OF EVERYTHING AT THE SAME TIME.

THE ONES WHO NEVER YAWN, ALL THOSE MAD ONES.

AND, UH, I FELT LIKE I FIT RIGHT INTO THAT BUNCH.

♪ GO 'WAY FROM MY WINDOW ♪ ♪ GO 'WAY FROM MY DOOR ♪ ♪ GO 'WAY 'WAY 'WAY FROM MY BEDSIDE ♪ ♪ AND BOTHER ME NO MORE ♪ ♪ AND BOTHER ME NO MORE ♪ ♪ I'LL GIVE YOU BACK YOUR LETTERS ♪ ♪ I'LL GIVE YOU BACK YOUR RING ♪ ♪ I'LL NE'ER FORGET MY OWN TRUE LOVE ♪ ♪ AS LONG AS SONGBIRDS SING ♪ ♪ AS LONG AS SONGBIRDS SING ♪ ♪ I'LL GO TELL ALL MY BROTHERS ♪ Dylan: I HAD HEARD FOLK MUSIC BEFORE LEAVING THE IRON RANGE.

I'D HEARD JOHN JACOB NILES SOMEWHERE, STRANGELY ENOUGH.

I DON'T KNOW, FOLK MUSIC WAS DELIVERING ME SOMETHING, YOU KNOW, UH, WHICH WAS, UH...

WHICH WAS THE WAY I ALWAYS FELT ABOUT LIFE, YOU KNOW, AND PEOPLE... AND, YOU KNOW, INSTITUTIONS, AND, UH, IDEOLOGY.

AND IT WAS JUST, YOU KNOW, UNCOVERING IT ALL.

♪ THERE AIN'T NO HAMMER ♪ ♪ ON THIS MOUNTAIN ♪ ♪ THAT RING LIKE MINE, BOY ♪ ♪ THAT RING LIKE MINE ♪ ♪ BUST THIS ROCK, BOY ♪ ♪ FROM HERE TO THE MACON ♪ ♪ ALL THE WAY TO THE JAIL, BOY ♪ ♪ ALL THE WAY TO THE JAIL ♪ ♪ WATERBOY ♪ ♪ WATERBOY ♪ Dylan: SHE PLAYED THAT UPSTROKE/DOWNSTROKE KIND OF RHYTHM WHERE YOU DON'T NEED THE DRUM.

IT'S KIND OF LIKE A TEX-MEX RHYTHM.

I HEARD THAT RHYTHM, AND I THOUGHT, WELL, I COULD USE THAT RHYTHM FOR ALL KINDS OF THINGS.

I DON'T EVEN REMEMBER, YOU KNOW, BUYING ANY RECORDS.

I WENT INTO THE BOOTH.

I HAD A VERY AGILE MIND.

I COULD LEARN A SONG BY MAYBE HEARING IT ONCE OR TWICE.

Odetta: ♪ GOOD MORNIN', CAPTAIN ♪ ♪ GOOD MORNIN', CAPTAIN ♪ Dylan: I TRADED MY ELECTRIC EQUIPMENT FOR ACOUSTIC GUITAR.

STARTED PLAYING ALMOST IMMEDIATELY.

Man: THERE HE IS, DOWN AT THE END OF THE BAR.

DYLAN, HOW ARE YOU?

DYLAN THOMAS, AND HE'S LOOKING SHOCKED.

OUT IN MINNESOTA, THERE WAS A YOUNG MAN WHO WAS INSPIRED TO CHANGE HIS NAME TO DYLAN BECAUSE OF THE POET DYLAN THOMAS.

"PIETY SINGS, "INNOCENCE SWEETENS MY LAST BLACK BREATH.

"MODESTY HIDES MY THIGHS IN HER WINGS "AND ALL THE DEADLY VIRTUES PLAGUE MY DEATH!"

Dylan: WHY IT BECAME THAT PARTICULAR NAME, I REALLY CAN'T SAY.

THERE WAS SOME INTIMATION THAT MAYBE HE WAS CHANGING HIS NAME 'CAUSE OF A, OF A RACIAL THING.

'CAUSE, UH, I LATER FOUND OUT THAT MINNEAPOLIS HAD A FAIRLY BIG HISTORY OF BEING ANTISEMITIC, WHICH I WASN'T AWARE OF AT ALL, BUT... Dylan: THE NAME JUST POPPED INTO MY HEAD ONE DAY.

BUT IT DIDN'T REALLY HAPPEN ANY OF THE WAYS THAT I'VE READ ABOUT IT.

I MEAN, I JUST DON'T FEEL LIKE I HAD A PAST, AND, UH, YOU KNOW, I COULDN'T RELATE TO ANYTHING, UH, OTHER THAN WHAT I WAS DOING AT THE PRESENT TIME.

AND, AND, UH, I DON'T, YOU KNOW -- DIDN'T MATTER TO ME WHAT I SAID.

YOU KNOW, IT STILL DOESN'T, REALLY.

♪ I'M GOING TO WALK THE STREETS OF GLORY ♪ Man: HE SOUNDED LIKE, AVERAGE, I WOULD SAY.

HE WASN'T THE WORST, HE WASN'T THE BEST.

BUT THE REPERTOIRE WAS SIMILAR TO EVERYBODY ELSE'S REPERTOIRE.

JOSH WHITE, ODETTA, BELAFONTE.

RIGHT THEN AND THERE, I HAD NO GOAL EXCEPT LEARNING ALL THESE SONGS I COULD.

Memphis Jug Band: ♪ I THOUGHT I HEARD THAT KC WHEN SHE BLOWED ♪ Dylan: ♪ LORD, I THOUGHT I HEARD THAT KC WHEN SHE BLOWED ♪ ♪ SHE BLOW LIKE MY WOMAN'S ON BOARD ♪ Nelson: HE WAS HUNGRY, HUNGRY IN A LOT OF WAYS, NOT JUST FOR MONEY, NOT JUST FOR FAME, BUT HE WAS HUNGRY FOR EXPERIENCE, FOR GETTING OUT, FOR DOING IT, FOR, UH, SEEING WHAT WAS OUT THERE, SEEING WHO HE COULD BE.

♪ WHERE ARE THE EYES THAT LOOKED SO MILD, HURROO, HURROO ♪ Glover: HE WAS LIKE A SPONGE IN A WAY, LIKE PICK UP PEOPLE'S MANNERISMS, ACCENTS.

Dylan: ♪ WHERE ARE YOUR EYES THAT SHONE SO MILD ♪ ♪ WHEN YOU FIRST MY HEART BEGUILED ♪ ♪ WHY DID YOU RUN FROM ME AND THE CHILD?

♪ Dylan: I'D FORGOTTEN ALL ABOUT THE IRON RANGE, WHERE I GREW UP.

I'D FORGOT ABOUT IT ALL.

IT DIDN'T EVEN ENTER MY MIND.

♪ JOHN HENRY WHEN HE WAS A BABY ♪ ♪ SETTIN' DOWN ON HIS DADDY'S KNEE ♪ ♪ PICKED UP A HAMMER IN HIS LITTLE RIGHT HAND ♪ ♪ HAMMER'S GOING TO BE THE DEATH OF ME ♪ ♪ HAMMER BE THE DEATH OF ME ♪ Dylan: WOODY GUTHRIE HAD A PARTICULAR SOUND.

AND BESIDES THAT, HE SAID SOMETHING TO GO ALONG WITH HIS SOUND.

THAT WAS HIGHLY UNUSUAL TO MY EARS.

Guthrie: ♪ JESUS CHRIST WAS A MAN THAT ♪ ♪ TRAVELED THROUGH THE LAND ♪ ♪ HARD WORKIN' MAN AND BRAVE ♪ Dylan: ♪ BUT THAT DIRTY LITTLE COWARD NAMED JUDAS ISCARIOT ♪ ♪ HE LAID JESUS CHRIST IN HIS GRAVE ♪ Dylan: HE WAS A RADICAL.

HIS SONGS HAD A RADICAL SLANT.

OOH, YOU KNOW, THAT'S WHAT I WANT TO SING.

I WANT TO SING THAT.

Guthrie: ♪ DOWN ALONG THE RIVER, JUST SETTIN' ON A ROCK ♪ ♪ I'M A-LOOKIN' AT THE BOATS AND THE BONNEVILLE LOCK ♪ ♪ GATE SWINGS OPEN AND THE BOAT SAILS IN ♪ ♪ IT TOOTS THAT WHISTLE, SHE'S GONE AGAIN ♪ Dylan: I COULDN'T BELIEVE THAT I'D NEVER HEARD OF THIS MAN.

YOU COULD LISTEN TO HIS SONGS AND ACTUALLY LEARN HOW TO LIVE.

ONE GUY SAID, "OH, UH, YOU'RE SINGIN' A WOODY GUTHRIE SONG."

HE GAVE ME A BOOK THAT HE WROTE CALLED "BOUND FOR GLORY," AND I READ IT.

I IDENTIFIED WITH THAT "BOUND FOR GLORY" BOOK MORE THAN I EVEN DID WITH "ON THE ROAD."

THESE SONGS SOUNDED ARCHAIC TO MOST PEOPLE.

I DON'T KNOW WHY THEY DIDN'T SOUND ARCHAIC TO ME.

THEY SOUNDED LIKE THESE SONGS WERE HAPPENING AT THE MOMENT TO ME.

♪ WELL, I SEE YOU GOT YOUR BRAND NEW LEOPARD-SKIN PILL-BOX HAT ♪ ♪ YES, I SEE YOU GOT YOUR BRAND NEW LEOPARD-SKIN PILL-BOX HAT ♪ ♪ WELL, YOU MUST TELL ME, BABY ♪ ♪ HOW YOUR HEAD FEELS UNDER SOMETHIN' LIKE THAT ♪ ♪ UNDER YOUR BRAND NEW LEOPARD-SKIN PILL-BOX HAT ♪ ♪ WELL, YOU WEAR IT SO PRETTY ♪ ♪ HONEY, CAN I JUMP ON IT SOMETIME?

♪ ♪ YES, I JUST WANNA SEE ♪ ♪ IF IT'S REALLY THE EXPENSIVE KIND ♪ ♪ YOU KNOW IT BALANCES ON YOUR HEAD JUST LIKE ♪ ♪ A MATTRESS BALANCES ON A BOTTLE OF WINE ♪ ♪ YOUR BRAND NEW LEOPARD-SKIN PILL-BOX HAT ♪ ♪ I ASKED THE DOCTOR IF I COULD SEE YOU ♪ -Fan: RANK.

-EXCELLENT.

Woman: IT WAS LOUSY, IT WAS PATHETIC.

HE WAS GREAT!

Fan: WE CAME TO SEE BOB DYLAN, NOT A POP GROUP.

NOT A POP GROUP.

SOUVENIR... [ INDISTINCT CONVERSATIONS ] ♪ RAMBLIN' AROUND YOUR CITIES ♪ ♪ RAMBLIN' AROUND YOUR TOWNS ♪ ♪ I NEVER SEE A FRIEND I KNOW ♪ Dylan: I WAS JUST LEARNING SONGS AND PLAYING THEM, AND TRYING TO FIND OUT WHO WOODY GUTHRIE WAS.

♪ AS I GO RAMBLIN' ROUND ♪ WOODY'S RECORDS WERE ALMOST IMPOSSIBLE TO FIND.

THEY DIDN'T HAVE ANY OF HIS RECORDS IN RECORD STORES.

PAUL WAS A FOLK MUSIC SCHOLAR.

HE DIDN'T PLAY AT ALL.

HE HAD A WHOLE LOT OF RECORDS WHICH PROBABLY COULDN'T BE FOUND ANYWHERE ELSE IN THE MIDWEST EXCEPT AT PAUL'S HOUSE, AND HE LIVED THERE WITH SOMEBODY ELSE.

AND, UH, I, YOU KNOW.

I WAS, UH, LISTENING TO RECORDS AT HIS HOUSE ONCE.

I KNEW THEY'D BE AWAY FOR THE WEEKEND.

SO I WENT OVER THERE AND HELPED MYSELF TO A BUNCH MORE RECORDS.

♪ LITTLE MARGARET IS SITTING IN HER HIGH HALL DOOR ♪ Nelson: ABOUT 25 RECORDS DISAPPEARED, MOSTLY THE STUFF THAT DYLAN WAS LISTENING TO.

AND WE SORT OF FIGURED OUT THAT HE'D TAKEN THEM.

THOSE RECORDS WERE EXTREMELY HARD TO FIND.

THEY WERE LIKE HEN'S TEETH.

UM, EVEN IF YOU CAME ACROSS THEM, SOMEBODY LIKE MYSELF, WHO WAS A MUSICAL EXPEDITIONARY, UH, YOU KNOW, YOU JUST WOULD HAVE TO, UH, IMMERSE YOURSELF IN THEM.

Nelson: SO WE STARTED TRYING TO TRACK DYLAN DOWN.

WE TRIED THE FRATERNITY HOUSE WHERE HE HAD ONCE BEEN.

NO LUCK THERE.

WE GOT ANOTHER ADDRESS AND THEN YET ANOTHER.

AND EVERYBODY SAID, "BOY, THIS KID MUST BE POPULAR, YOU KNOW.

YOU'RE ABOUT THE TENTH GUY LOOKIN' FOR HIM, YOU KNOW," AT EVERY PLACE WE WENT.

AND I DON'T KNOW HOW WE FINALLY FOUND HIM, BUT WE GOT A CURRENT APARTMENT.

THIS WAS A JOHN WAYNE PRODUCTION NUMBER THAT JOHN DID.

HE GOT A BOWLING PIN, AND HE GOT A BIG CIGAR.

AND JOHN WAS 6' 4" OR SOMETHING LIKE THIS.

AND, UH, AND IT WASN'T EVER INTENDING TO HIT DYLAN WITH THE BOWLING PIN OR ANYTHING, BUT IT WAS REALLY GOING TO DO THE BIT.

JOHN JUST STARTED WAVING THE BOWLING PIN OVER HIS HEAD AND JUST SAYING, "I'M GOING TO BEAT THE HELL OUT OF YOU.

WHERE ARE MY RECORDS?"

AND DYLAN WAS VERY SCARED, FOR THE FIRST TIME.

AROUND THIS ROUTINE WENT, BUT HE MAINTAINED HIS COOL SOMEHOW.

AND IT SOMEHOW SETTLED INTO SORT OF AN ABSURDIST DRAMA, WHERE THEY WOULD SORT OF TALK.

DYLAN WOULD SAY SOMETHING INTERESTING, AND JOHN WOULD GET INTERESTING, AND THEY'D START TO TALK, AND THEY'D START TO SORT OF LIKE EACH OTHER A LITTLE BIT, AND THEN JOHN WOULD REMEMBER WHY HE WAS THERE, AND HE'D START BRANDISHING THE PIN AGAIN.

AND THEY'D PLAY THE WHOLE SCENE OUT AGAIN.

♪ I'M A RAMBLER, I'M A GAMBLER ♪ ♪ I'M A LONG WAY FROM MY HOME ♪ ♪ IF THE PEOPLE DON'T LIKE ME ♪ ♪ THEY CAN LEAVE ME ALONE ♪ Dylan: I WANTED TO GET TO THE EAST COAST TO VISIT WOODY GUTHRIE.

WHEN I FIRST HEARD HIM, I DIDN'T KNOW IF HE WAS DEAD OR ALIVE, REALLY.

BUT THEN I DISCOVERED THAT HE WAS DEFINITELY ALIVE, AND HE WAS, UH, IN A, A HOSPITAL WITH SOME KIND OF AN AILMENT.

SO I THOUGHT IT'D BE A NICE GESTURE TO GO VISIT HIM.

HITCHHIKING BACK THEN WAS VERY ACCEPTABLE.

I HAD A SUITCASE AND A GUITAR.

AND I DON'T KNOW, MAYBE I HAD 10 BUCKS IN MY POCKET.

♪ VIRGIN MARY HAD ONE SON ♪ ♪ OOOH, GLORY HALLELUJAH ♪ ♪ OOOH, PRETTY LITTLE BABY ♪ ♪ GLORY BE TO THE NEWBORN KING ♪ ♪ SOME CALL HIM JESUS ♪ ♪ THINK I'LL CALL HIM SAVIOR ♪ ♪ OOH, I THINK I'LL CALL HIM SAVIOR ♪ ♪ OOH OOH, I THINK I'LL CALL HIM SAVIOR ♪ ♪ GLORY BE TO THE NEWBORN KING ♪ Dylan: JOAN BAEZ.

SHE WAS STAGGERING.

KIND OF LIKE HIT MY WORLD FROM A DIFFERENT ANGLE.

♪ THERE CAME THREE WISE MEN ♪ Dylan: SHE WAS COMPLETELY ABOUT FOLK MUSIC.

SHE, SHE WAS A, LIKE, EXCELLENT, REALLY EXCELLENT GUITAR PLAYER.

WHEN I SAW HER ON TELEVISION, I THOUGHT, HM, YOU KNOW, LIKE, THAT GIRL LOOKS LIKE SHE MIGHT NEED A SINGING PARTNER.

I'D SAY SHE WAS SOME PLACE IN THE BACK OF MY MIND, YOU KNOW?

President Kennedy: LET THE WORD GO FORTH FROM THIS TIME AND PLACE, TO FRIEND AND FOE ALIKE, THAT THE TORCH HAS BEEN PASSED TO A NEW GENERATION OF AMERICANS.

ASK NOT WHAT YOUR COUNTRY CAN DO FOR YOU, ASK WHAT YOU CAN DO FOR YOUR COUNTRY.

Dylan: GOT OUT OF THE CAR ON GEORGE WASHINGTON BRIDGE.

TOOK A SUBWAY DOWN TO THE VILLAGE.

WENT TO THE "CAFE WHA?"

I LOOKED OUT AT THE CROWD.

I MOST LIKELY ASKED FROM THE STAGE, DOES ANYBODY KNOW WHERE A COUPLE OF PEOPLE COULD STAY TONIGHT?

Allen Ginsberg: IT WAS IN OLD GREENWICH VILLAGE, WHICH WAS THE '20s BOHEMIA.

AND HAD A VERY VENERABLE HISTORY.

I FIRST CAME DOWN IN 1948, WITH A RED BANDANA AROUND MY NECK, ON THE SUBWAY, TO GO TO SEE IF I COULD FIND POETS IN GREENWICH VILLAGE.

BUT THERE HAD BEEN POETS.

Man: I PROBABLY CAME INTO THE VILLAGE AROUND 1952 OR '53.

I WAS A KID WHO WAS LIVING IN QUEENS, NOT LIKING IT VERY MUCH.

AND FOR ME, IT WAS VERY SOPHISTICATED -- I LIKED THAT.

[ "MEMPHIS BLUES," PHIL NAPOLEON ] I WAS INTO JAZZ AT THE TIME.

I DIDN'T LIKE THE FOLK MUSIC THING MUCH AT ALL.

I WAS VERY SNOBBISH.

OVER ACROSS THE STREET, THERE WAS NICK'S.

I ACTUALLY MET TONY SPARGO, WHO WAS THE DRUMMER ON THE VERY FIRST JAZZ RECORDS.

IT WAS THE ORIGINAL DIXIELAND JAZZ BAND IN 1917.

WHEN I WAS YOUNG, IT WAS A VERY LAID-BACK PLACE.

INTERMINGLED WITH VARIOUS ETHNIC GROUPS WERE, UH, LOTS OF WHAT WE CALLED BOHEMIANS, DOING THEIR ART, WALKING THEIR DOGS.

♪ THAT IS MY ONE MAD DESIRE ♪ ♪ I'M A DEVIL ♪ Man: THERE WAS A WONDERFUL CREATIVE CLIMATE THERE, ALTHOUGH I DIDN'T -- I WASN'T FULLY AWARE OF IT.

BUT IT WAS THE CENTER OF THE ART WORLD, HAPPENINGS, THE FIRST ART MOVEMENTS WERE GOING ON.

IT WAS ALL THERE.

YOU WERE SUDDENLY ABLE TO TAKE YOUR CLOTHES OFF.

YOU WERE SUDDENLY FREE OF ALL THE SHACKLES OF FAMILY.

THE BAGGAGE OF, OF, OF TRADITION, OF BAD TRADITION.

I WAS LOOKING FOR FREEDOM, BUT FREEDOM DIDN'T EXIST ALL OVER AMERICA.

FREEDOM ONLY EXISTED, REALLY, HERE IN THE VILLAGE, IN GREENWICH VILLAGE.

Ginsberg: AMERICA, I'VE GIVEN YOU ALL, AND NOW I'M NOTHING.

AMERICA, $2.27, JANUARY 17, 1956.

I CAN'T STAND MY OWN MIND.

AMERICA, WHEN WILL WE END THE HUMAN WAR?

GO [BLEEP] YOURSELF WITH YOUR ATOM BOMB.

I DON'T FEEL GOOD -- DON'T BOTHER ME.

I WON'T WRITE MY POEM TILL I'M IN MY RIGHT MIND.

THE BIG BREAKTHROUGH WAS IN AN EX-GAY BAR ON MACDOUGAL STREET, FORMERLY THE MACDOUGAL STREET BAR -- I THINK IT WAS '58 OR '59 -- THEN CALLED THE GASLIGHT.

AND IT WAS THE FIRST POETRY READING IN ONE OF THESE SORT OF COFFEE SHOP BARS, THAT WAS SORT OF A FOLK CLUB/COFFEE SHOP/BAR.

AND IT WAS SO ASTONISHING THAT THERE WAS A STORY ON PAGE THREE, A WHOLE PAGE, IN THE DAILY NEWS -- "POETS READING IN THE COFFEE SHOP."

AMERICA, WHEN WILL YOU BE ANGELIC?

WHEN WILL YOU TAKE OFF YOUR CLOTHES?

WHEN WILL YOU LOOK AT YOURSELF THROUGH THE GRAVE?

WHEN WILL YOU BE WORTHY OF YOUR MILLION TROTSKYITES?

AMERICA, WHY ARE YOUR LIBRARIES FULL OF TEARS?

AMERICA, WHEN WILL YOU SEND YOUR EGGS TO INDIA?

I'M SICK OF YOUR INSANE DEMANDS.

WHEN CAN I GO INTO THE SUPERMARKET AND BUY WHAT I NEED WITH MY GOOD LOOKS?

DOWN THE BLOCK HERE WAS THE SAN REMO.

AND EVERY SATURDAY NIGHT, YOU'D HAVE THE RIOTS BETWEEN THE STALINISTS AND THE TROTSKYITES.

GLASSES FLYING, AND THAT SORT OF THING.

Clancy: THERE'S AN OLD BITCH UPSTAIRS WHO KEEPS POUNDING THE FLOOR.

AND SHE'S THREATENING TO CALL THE POLICE ALL THE TIME.

WE USED TO BE OUT AT THE BAR HERE WITH JAMES BALDWIN THE WRITER.

AND HE USED TO PUFF SMOKE.

"THIS [BLEEP] DAMN IRISH MUSIC!"

♪ WHEN I WAS A LITTLE BOY ♪ ♪ SO MY MOTHER TOLD ME, TIMMY ♪ ♪ WAY HAUL AWAY, WE'LL HAUL AWAY, JOE ♪ AND THE WHOLE PLACE WOULD ERUPT.

♪ WAY HAUL AWAY ♪ ♪ THE GOOD SHIP NOW IS ROLLIN', TIMMY ♪ ♪ WAY HAUL AWAY ♪ ♪ WE'LL HAUL AWAY, JOE ♪ [ "MY LONG JOURNEY HOME," THE NEW LOST CITY RAMBLERS ] Cohen: IN WASHINGTON SQUARE, EARLY DAYS, IT WAS JUST A PLACE FOR PEOPLE TO HANG OUT ON SUNDAYS, AND TALK AND PLAY MUSIC, AND KIND OF JOCKEY AROUND AND EXPRESS THEMSELVES.

IT WAS A PLACE WHERE YOU COULD PUT IT TOGETHER SO SOMEONE COULD HEAR A LITTLE BIT.

THERE WEREN'T MANY CONCERTS IN THOSE DAYS.

♪ BIG FAT WOMAN ♪ ♪ WITH THE MEAT SHAKIN' ON HER BONES ♪ ♪ DOGGONE MY SO LONELY MAMA ♪ ♪ BIG FAT WOMAN ♪ ♪ WITH THE MEAT SHAKIN' ON HER BONES ♪ Muldaur: PEOPLE WERE STARTING TO PLAY LITTLE GIGS IN THESE COFFEE HOUSES IN THE VILLAGE.

WE CALLED 'EM "BASKET HOUSES."

WE DIDN'T GET PAID A DIME, BUT WE WOULD PASS A LITTLE BREAD BASKET AROUND AFTER THE SET, AND PEOPLE WOULD THROW CHANGE IN, AND THEN WE'D PACK UP OUR GUITARS AND GO TO, AROUND TO THE NEXT CLUB.

♪ I AIN'T GOING TO MARRY ♪ ♪ I AIN'T GOING TO SETTLE DOWN ♪ ♪ NO, NO, MY SO LONELY MAMA ♪ Van Ronk: THEY'D PUT THE SINGERS ON IN BETWEEN BEAT POETS TO TURN THE HOUSE, ESSENTIALLY.

SO YOU'D GET... THREE SONGS -- YOU COULD SING THREE SONGS.

AND WHAT IT CAME DOWN TO IS, IF AT THE END OF YOUR THREE SONGS THERE WAS STILL ANYBODY SEATED IN THE HOUSE, YOU WERE FIRED.

YOU WEREN'T DOING YOUR JOB.

NEEDLESS TO SAY, WE DIDN'T GET FIRED.

WE, WE -- THAT, WE COULD DO.

♪ NOW, IF YOU SEE THAT GIRL OF MINE ♪ ♪ THERE'S SOMETHING I WANT YOU TO TELL HER ♪ ♪ TELL HER NOT TO BE WASTING HER TIME ♪ ♪ RUNNIN' ROUND WITH SOME OTHER FELLER ♪ ♪ IF I WAS ON SOME FOGGY MOUNTAIN TOP ♪ ♪ I'D SAIL AWAY TO THE WEST ♪ Cohen: WHEN WE PLAYED IN THE CITY, WHO WAS THE AUDIENCE?

WHO WERE THOSE PEOPLE WALKING UP AND DOWN MACDOUGAL STREET?

THERE WAS A LOT OF 'EM.

SOME WERE PEOPLE FROM THE SUBURBS COMING IN TO LOOK AT THE WEIRD SCENE.

SOME WERE FROM THE CITY LOOKING AT THE WEIRD SCENE.

SOME WERE THE WEIRD SCENE.

IT WAS NEVER CLEAR THAT THIS WAS THE AUDIENCE, AND THIS WAS THE SINGER, BECAUSE MAYBE HALF THE AUDIENCE, IF THEY HAD THEIR DRUTHERS, THEY'D BE UP ON THE STAGE SINGING AS WELL.

IT WAS VERY INTERESTING.

Dylan: I WAS READY FOR NEW YORK.

♪ BABY, PLEASE DON'T GO ♪ ♪ BABY, PLEASE DON'T GO ♪ I STARTED PLAYING IMMEDIATELY AND I REALIZED RIGHT AWAY THAT, OH, I'D COME TO THE RIGHT PLACE, BECAUSE THERE WERE MANY PLACES TO PLAY.

♪ JACK O' DIAMONDS IS HARD ♪ ♪ JACK O' DIAMONDS IS HARD ♪ I PLAYED WITH FREDDY NEIL.

HE WAS A BIG STAR DOWN THERE.

I DID THAT UNTIL ABOUT 8:00.

AND HE WOULD GIVE ME WHAT HE COULD.

THE PLACES WERE USUALLY PACKED FROM 12:00 TO 8:00 WITH TOURISTS AND LUNCH HOUR SECRETARIES.

AND THEN AT 8:00, ALL THE REST OF THE HOUSES WOULD OPEN.

THERE WERE -- YOU'D PASS THE BASKET AND PLAY.

THERE'D BE A CARNY ON THE STREET BRINGING PEOPLE DOWN.

"HEY, YOU KNOW, YOU GOT TO COME DOWN HERE AND SEE THIS.

THERE'S SO MUCH WEIRDNESS, YOU'VE NEVER SEEN IN YOUR LIFE."

THERE WERE JUST ALWAYS PEOPLE COMIN' AND GOIN'.

Man: I HAVE STUDIED AT OXFORD UNIVERSITY AND DONE MY RESEARCH IN THE BRITISH MUSEUM AND HAVE MATRICULATED AT BROOKLYN COLLEGE.

Dylan: SAWDUST ON THE FLOOR.

TOURIST TRAPS.

LIKE A POET, SOMEBODY SINGIN' A SONG WITH A PARROT ON A SHOULDER.

TINY TIM-TYPE CHARACTERS.

NO ONE WHO HAD ANY RECORDINGS OUT EVERY PLAYED THEM.

YOU ONLY PLAYED THOSE IF YOU HAD TO.

♪ IF I HAD WINGS ♪ ♪ LIKE NOAH'S DOVE ♪ YOU WOULD HAVE TO MAKE AN IMPRESSION ON SOMEBODY.

IT WAS A, MANY, MANY SINGERS WHO WERE GOOD, BUT THEY COULDN'T FOCUS THEIR ATTENTION ON ANYBODY.

THEY COULDN'T REALLY GET INSIDE SOMEBODY'S HEAD.

♪ FARE THEE WELL, MY HONEY, FARE THEE WELL ♪ YOU GOT TO BE ABLE TO PIN SOMEBODY DOWN.

Man: I REMEMBERED HIM BECAUSE HE WAS DIFFERENT.

HE WAS DOING WOODY GUTHRIE SONGS.

HE HAD ON A LITTLE HAT, HE HAD A BRACE.

THERE'S A QUALITY OF DETERMINATION, AND OF WILL, THAT SOME PEOPLE HAVE, YOU KNOW, WHERE WHEN THEY'RE DOING SOMETHING, THEY'RE REALLY DOING IT, AND YOU KNOW THAT, UH, YOU HAVE TO PAY ATTENTION TO THEM.

♪ MY HONEY ♪ Spoelstra: I FIRST MET BOB IN THE WINTER OF 1961.

WE WERE AWKWARD.

NEITHER OF US REALLY KNEW QUITE WHAT TO SAY.

SO AS A PROP, HE PULLED OUT THIS CARD.

AND HE WAS MOVIN' HIS LEG LIKE THAT, AND HE JUST HANDS ME THE CARD.

AND AFTER HE HANDED IT TO ME, HE KIND OF GLANCES, AND THEN CONTINUES TO SORT OF TALK ABOUT WOODY GUTHRIE.

AND ON THE CARD IT SAID, "I AIN'T DEAD YET," SIGNED WOODY GUTHRIE.

AND IT WAS ACTUALLY WOODY'S HANDWRITING, I GUESS, BECAUSE BOB CLAIMED IT WAS.

WOODY WAS VERY IMPORTANT TO BOTH OF US.

BOB, I THINK, WANTED TO BE MORE LIKE WOODY THAN I DID.

HE WAS ABLE TO ADOPT A KIND OF THEATER ABOUT HIMSELF.

ACTUALLY, THE VERY FIRST TIME THAT I MET HIM, HE WAS REALLY ACTING, IN A WAY.

AND THAT WAS GOOD, BECAUSE YOU CAN GO ANYWHERE WHEN YOU'RE SOMEBODY ELSE.

♪ CINDERELLA, SHE SEEMS SO EASY ♪ ♪ "IT TAKES ONE TO KNOW ONE," SHE SMILES ♪ ♪ AND PUTS HER HANDS INTO HER BACK POCKETS ♪ ♪ BETTE DAVIS STYLE ♪ ♪ AND IN COMES ROMEO, HE'S MOANING ♪ ♪ "YOU BELONG TO ME, I BELIEVE" ♪ ♪ AND SOMEONE TURNS AND SAYS TO HIM ♪ ♪ "MY FRIEND, YOU'D BETTER LEAVE" ♪ ♪ AND THE ONLY SOUND THAT'S LEFT ♪ ♪ AFTER THE AMBULANCES GO ♪ ♪ IS CINDERELLA SWEEPING UP ♪ ♪ ON DESOLATION ROW ♪ ♪ NOW THE MOON IS ALMOST HIDDEN ♪ ♪ THE STARS, THEY'RE JUST PRETENDING TO HIDE ♪ ♪ THE FORTUNE-TELLING LADY ♪ ♪ HAS EVEN TAKEN ALL HER THINGS INSIDE ♪ ♪ ALL EXCEPT FOR CAIN AND ABEL ♪ ♪ AND THE HUNCHBACK OF NOTRE DAME ♪ ♪ EVERYONE IS EITHER MAKING LOVE ♪ ♪ OR ELSE EXPECTING RAIN ♪ ♪ AND THE GOOD SAMARITAN, HE'S DRESSING ♪ ♪ HE'S GETTING READY FOR THE SHOW ♪ ♪ HE'S GOING TO THE CARNIVAL TONIGHT ♪ ♪ ON DESOLATION ROW ♪ Dylan: I WANT TO SEE THIS PERSON IMMEDIATELY.

WHOEVER'S GOING TO SHOOT ME.

HOW'D YOU FIND THAT OUT, ALBERT?

THEY PHONED THE BOX OFFICE AND SAID THEY'RE GOING TO SHOOT ME?

WELL, DO THEY DO THIS OFTEN?

I DON'T MIND BEING SHOT, MAN, BUT I DON'T DIG BEING TOLD ABOUT IT.

Jones: OH, MAN, I CAN'T BELIEVE THAT.

Dylan: DON'T WORRY, MICKEY, I'LL PROTECT YOU.

I HOPE SO.

I HOPE SO.

DON'T TELL ME I PUSH TOO HARD, MAN, I'M WORRIED ABOUT GETTING SHOT.

TELL ME NOT TO PUSH TOO HARD.

♪ I ROAMED AND RAMBLED ♪ ♪ AND I FOLLOWED MY FOOTSTEPS ♪ ♪ TO THE SUNNY BRIGHT SANDS OF ♪ ♪ THE DIAMOND DESERTS ♪ Woman: OBVIOUSLY, HE WAS CHANNELING WOODY GUTHRIE.

HE WAS LITERALLY CHANNELING HIM, EVERYTHING ABOUT HIM.

AND I THINK IT WAS PART OF HIS WAY OF FINDING WHO HE WAS IN THE END BY IMITATING AND ASSIMILATING WOODY GUTHRIE.

Dylan: SO I FOUND OUT WHERE WOODY GUTHRIE WAS, AND I TOOK A BUS OUT TO MORRISTOWN.

BASICALLY, I THINK IT WAS AN INSANE ASYLUM.

I THOUGHT ABOUT IT LATER, IT WAS A SAD THING.

THEY PUT HIM IN A MENTAL HOME, BECAUSE HE JUST HAD THE JITTERS.

♪ THIS LAND IS YOUR LAND ♪ ♪ AND THIS LAND IS MY LAND ♪ HE ASKED FOR CERTAIN SONGS, AND I'D PLAY THEM.

I WAS YOUNG AND IMPRESSIONABLE, AND I THINK I MUST HAVE BEEN SHOCKED IN SOME KIND OF WAY TO FIND HIM WHERE I FOUND HIM.

♪ THIS LAND WAS MADE FOR YOU AND ME ♪♪ ♪ NO MO' ♪ ♪ NO MO' IN THIS OL' LINE ♪ Dylan: BROTHER JOHN SELLERS.

HE WAS THE MASTER OF CEREMONIES AT GERDE'S FOLK CITY.

AND THERE WAS ONE NIGHT CALLED HOOTENANNY NIGHT WHERE ANYBODY COULD PLAY.

♪ CALL HIM DRUNKEN IRA HAYES ♪ ♪ BUT HIS LAND IS JUST AS DRY ♪ ♪ AND HIS GHOST IS LYIN' THIRSTY ♪ ♪ IN THE DITCH WHERE ♪ ♪ IRA DIED ♪ Muldaur: WE'D GO DOWN THERE EVERY MONDAY NIGHT.

PETER LaFARGE, WHO WAS SORT OF A COWBOY/INDIAN.

AND CISCO HOUSTON.

A LOT OF THE OLD WOODY GUTHRIE CROWD WAS STILL HANGING OUT THERE.

♪ I'M A DUST BOWL REFUGEE ♪ [ "COPLAS DE AMOR," CYNTHIA GOODING ] Dylan: WE JUST WATCHED, AND YOU PICKED OUT THE PERFORMERS THAT WERE DOING IT FOR REAL, AND TRIED TO PICK UP WHAT THE ESSENCE OF WHAT THEY WERE DOING WAS.

ALL OF US WERE INTERESTED IN SEEING WHAT THE OTHER GUY WAS DOING ONSTAGE, BECAUSE THERE WAS A LOT MORE TO BE LEARNED THAN JUST SONGS OR, UH, PICKING STYLES.

♪ HE WAS JUST A PO' BOY ♪ ♪ AND A LONG WAY FROM HOME ♪ Dylan: DAVE VAN RONK, HE HAD THAT BIG GRUFF THING, BUT HE HAD THIS VERY SWEET, SENSITIVE THING GOING ON AT THE SAME TIME.

HE WAS A DICHOTOMY OF A PERFORMER.

♪ HE WAS A FRIEND OF MINE ♪♪ Dylan: HE COULD TAKE THE ESSENCE OF THE SONG AND ONLY GO AFTER THAT, NOT GO AFTER THE FRILLS.

Clancy: ON MONDAY NIGHTS, BOB DYLAN USED TO COME OVER THERE.

AND HE WOULD ALWAYS, LIKE, HE WAS ALWAYS JUST HANGIN' AROUND.

SOMETIMES YOU WANTED TO SAY, "GO AWAY."

♪ AT THE EARLY AGE OF 16 YEARS ♪ ♪ HE LEFT HIS NATIVE HOME ♪ ♪ AND TO AUSTRALIA'S SUNNY SHORE ♪ ♪ HE WAS INCLINED TO ROAM ♪ ♪ HE ROBBED THE RICH, HE HELPED THE POOR ♪ ♪ HE SHOT JAMES MCEVOY ♪ ♪ A TERROR TO AUSTRALIA WAS ♪ ♪ THE WILD COLONIAL BOY ♪ LIAM WAS PROFOUND.

HE WOULD, YOU KNOW, BESIDES ALL OF HIS REBEL SONGS, AND HIS ACTING CAREER, HE WOULD HAVE THESE INCREDIBLE SAYINGS.

LIKE ONCE, HE SAID TO ME, AFTER ABOUT 30 PINTS OF GUINNESS, HE WAS SAYING, "REMEMBER, BOB, NO FEAR, NO ENVY, NO MEANNESS."

I SAID, "RIGHT."

♪ IN LONDON CITY ♪ ♪ WHERE I DID DWELL ♪ ♪ A BUTCHER BOY ♪ ♪ I LOVED RIGHT WELL ♪ ♪ HE COURTED ME ♪ ♪ MY LIFE AWAY ♪ ♪ BUT NOW WITH ME ♪ ♪ HE WILL NOT STAY ♪ ♪ I WISH, I WISH ♪ ♪ I WISH IN VAIN ♪ Dylan: WHAT I HEARD IN THE CLANCY BROTHERS WAS ROUSING, REBEL SONGS, NAPOLEONIC IN SCOPE.

AND THEY WERE JUST THESE MUSKETEER-TYPE CHARACTERS.

AND THEN, ON THE OTHER LEVEL, YOU HAD THE ROMANTIC BALLADS THAT WOULD JUST, YOU KNOW, SLAY YOU RIGHT IN YOUR TRACKS, THE SWEETNESS OF TOMMY MAKEM AND LIAM.

I MEAN, IT WAS JUST LIKE TAKE A SWORD, CUT OFF YOUR HEAD, AND THEN WEEP, YOU KNOW?

THAT'S SORT OF WHAT THEY WERE ABOUT.

♪ AT EVERY WORD ♪ ♪ SHE DROPPED A TEAR ♪ ♪ AND EVERY LINE ♪ ♪ CRIED "WILLIE DEAR" ♪ ♪ "OH, WHAT A FOOLISH" ♪ ♪ "GIRL WAS I" ♪ ♪ "TO BE LED ASTRAY" ♪ ♪ "BY A BUTCHER BOY" ♪ ♪ HE WENT UPSTAIRS ♪ ♪ AND THE DOOR HE BROKE ♪ Dylan: ALL THE GREAT PERFORMERS THAT I'D SEEN, WHO I WANTED TO BE LIKE, WERE THOSE KIND OF PERFORMERS, THEY ALL HAD ONE THING IN COMMON -- IT WAS IN THEIR, UH, EYES.

AND THERE WAS SOMETHING IN THEIR EYES THAT WOULD SAY, YOU KNOW, "I KNOW SOMETHING YOU DON'T KNOW."

AND I WANTED TO BE THAT KIND OF PERFORMER.

♪ I ♪ ♪ AM A MAN OF CONSTANT SORROW ♪ ♪ I'VE SEEN TROUBLE ALL MY DAYS ♪ ♪ I'LL ♪ ♪ SAY GOODBYE TO COLORADO ♪ ♪ WHERE I WAS BORN AND PARTLY RAISED ♪ ♪ THROUGH ♪ ♪ THIS OPEN WORLD I'M BOUND TO RAMBLE ♪ ♪ THROUGH ICE AND SNOW ♪ ♪ SLEET AND RAIN ♪ ♪ I'M ♪ ♪ ABOUT TO RIDE THAT MORNING RAILROAD ♪ ♪ PERHAPS I'LL DIE UPON THAT TRAIN ♪ Glover: HE WAS PLAYING AT SOME PARTY OR SOMETHING, AND IT WAS LIKE A WHOLE DIFFERENT GUY.

YOU HEAR THOSE STORIES ABOUT THE BLUESMEN WHO GO OUT TO THE CROSSROADS AND SELL THEIR SOUL TO THE DEVIL, AND COME BACK, ALL OF A SUDDEN ABLE TO DO STUFF.

ROBERT JOHNSON, TOMMY JOHNSON, THAT WHOLE MYTHOLOGY.

IT WAS ONE OF THOSE KIND OF DEALS, ALMOST.

WHEN HE LEFT MINNEAPOLIS, HE WAS JUST AVERAGE, YOU KNOW.

THERE WAS FIVE, SIX OTHER GUYS DOING THE SAME THING.

WHEN HE CAME BACK, HE WAS DOING WOODY, AND HE WAS DOING VAN RONK, AND HE WAS FINGERPICKING.

HE WAS PLAYING CROSSHARP.

AND THIS IS A MATTER OF A COUPLE OF MONTHS.

I MEAN, THIS IS NOT LIKE HE WAS GONE A YEAR OR ANYTHING.

HE WAS GONE A COUPLE OF MONTHS, AND APPARENTLY WHATEVER HE GOT INTO, HE GOT INTO SO INTENSELY THAT HE WAS LIKE A REAL INTERESTING PERFORMER.

THAT'S WHEN I WENT TO THE CROSSROADS AND MADE A BIG DEAL.

YOU KNOW, LIKE, SHEWWW, YOU KNOW.

ONE, ONE NIGHT.

AND THEN, UH, WENT BACK TO MINNEAPOLIS, AND IT WAS LIKE, "HEY, UH, WHERE'S THIS GUY BEEN?"

YOU KNOW, "YOU'VE BEEN TO THE CROSSROADS."

Woody Guthrie: ♪ TAKE A TRIP WITH ME IN 1913 ♪ ♪ TO CALUMET, MICHIGAN, IN THE COPPER COUNTRY ♪ ♪ I'LL TAKE YOU TO A PLACE CALLED ITALIAN HALL ♪ Dylan: I WASN'T SEEING WOODY GUTHRIE ANYMORE.

I WAS STILL SINGING A LOT OF HIS SONGS, BUT I'D REPLACED THEM WITH A LOT OF THE OTHER SONGS ALL OF A SUDDEN.

I KIND OF WENT THROUGH WOODY GUTHRIE IN A KIND OF WAY.

BUT I DIDN'T REALLY WANT TO GO THROUGH WOODY GUTHRIE.

I DIDN'T WANT TO FEEL THAT IT WAS SOMETHING JUST NEGLIGIBLE.

♪ HEY, HEY, WOODY GUTHRIE, I WROTE YOU A SONG ♪ ♪ 'BOUT A FUNNY OL' WORLD THAT'S A-COMIN' ALONG ♪ ♪ SEEMS SICK AND IT'S HUNGRY, IT'S TIRED AN' IT'S TORN ♪ ♪ IT LOOKS LIKE ♪ ♪ IT'S A-DYIN' AND IT'S HARDLY BEEN BORN ♪ BUT I REALLY CARED, I REALLY WANTED TO PORTRAY MY GRATITUDE IN SOME KIND OF WAY, BUT I KNEW THAT I WAS NOT GOING TO BE GOING BACK TO GREYSTONE ANYMORE.

♪ ALL THE THINGS THAT I'M A-SAYIN' ♪ I FELT LIKE I HAD TO WRITE THAT SONG.

I DIDN'T, NOT CONSIDER MYSELF A SONGWRITER AT ALL.

BUT I NEEDED TO WRITE THAT, AND I NEEDED TO -- NEEDED TO SING IT.

SO, SO THAT'S WHY I NEEDED TO WRITE IT, UH, 'CAUSE IT HADN'T BEEN WRITTEN.

AND THAT'S WHAT I NEEDED TO SAY, I NEEDED TO SAY THAT.

♪ HERE'S TO CISCO AND SONNY AND LEAD BELLY TOO ♪ ♪ AND ALL THE GOOD PEOPLE THAT TRAVELED WITH YOU ♪ ♪ HERE'S TO THE HEARTS AND THE HANDS OF THE MEN ♪ ♪ THAT COME WITH THE DUST ♪ ♪ AND ARE GONE WITH THE WIND ♪♪ Man: SO THIS GUY COMES IN.

HE DIDN'T LOOK TOO PREPOSSESSING.

HE DIDN'T LOOK TOO INTERESTING TO ME.

HE DIDN'T LOOK WILD OR...

HE LOOKED LIKE AN ORDINARY KID.

HE DIDN'T HAVE A COMMANDING PRESENCE.

AND HE SAID, "LISTEN, I GOT SOME SONGS I WANTED YOU TO HEAR."

I SAYS, "OH, GOD, CAN YOU COME TOMORROW?"

I SAYS, "GET OUTTA HERE."

HE SAYS, "NO, I WANT TO SING YOU A SONG."

SO I LET HIM SING THE SONG, THEN I KICK HIM OUT, THEN HE COMES BACK, THEN HE CAME BACK.

AND THEN I STARTED POINTING TO PEOPLE, I SAID, "LISTEN, SEE THAT GUY IN THE BACK ROOM?

"HIS NAME IS BOB DYLAN.

YOU SHOULD LISTEN TO HIM.

THE GUY'S WRITING GOOD SONGS HE'S TERRIFIC."

HE TOLD ME HE NEVER KNEW THE WORD "FOLK MUSIC" BEFORE HE CAME TO NEW YORK CITY, WHAT BULL [BLEEP], GOD.

AND HE'D NEVER SEEN SOMEBODY PLAYING A BANJO BEFORE HE CAME TO NEW YORK CITY, HE'D NEVER SEEN ALL THESE THINGS BEFORE HE CAME TO NEW YORK CITY.

IT OPENED HIS EYES SO WIDE TO WHAT FOLK MUSIC IS.

AFTER HAVING LIVED ON THE MISSISSIPPI RIVER.

"I WAS BORN IN DULUTH, MINNESOTA, IN 1941, "MOVED TO GALLUP, NEW MEXICO, THEN, UNTIL NOW, "LIVED IN IOWA, SOUTH DAKOTA, "KANSAS, NORTH DAKOTA FOR A LITTLE BIT.

"STARTED PLAYING IN CARNIVALS WHEN I WAS 14, WITH GUITAR AND PIANO."

ARVELLA GRAY TAUGHT HIM BLUES SONGS.

"A BLIND STREET SINGER FROM CHICAGO, ABOUT 4 OR 5 YEARS AGO.

"USED TO KNOW A GUY NAMED MANCE LIPSCOMB, "FROM NAVASOTA, TEXAS -- LISTENED TO HIM A LOT.

MET HIM THROUGH HIS GRANDSON, A ROCK 'N' ROLLER."

NOW, LISTENING TO ARVELLA GRAY IN CHICAGO, MANCE LIPSCOMB IN TEXAS, I SHOULD HAVE FIGURED OUT RIGHT AWAY HE'S BULL [BLEEP] ME.

AND I ONLY FOUND OUT LATER THAT HE HAD BORROWED 400 RECORDS FROM TONY GLOVER, OR SOMETHING LIKE THAT, WHICH HE STILL HASN'T RETURNED AND THINGS LIKE THAT.

SO I WAS A SETUP, A VERY EASY SETUP.

AND I'M PROUD OF IT, BECAUSE THE GUY WROTE GOOD SONGS.

I DIDN'T CARE WHAT HE WAS TELLING ME.

♪ I SAW IT ADVERTISED ONE DAY ♪ ♪ BEAR MOUNTAIN PICNIC WAS COMIN' MY WAY ♪ ♪ COME ALONG WITH US AND TAKE A TRIP ♪ ♪ WE'LL TRANSPORT YOU UP THERE ON A SHIP ♪ ♪ BRING THE WIFE AND KIDS ♪ ♪ FUN FOR ALL ♪ ♪ YIPPEE ♪ Dylan: AND THE OWNER OF THE PLACE FINALLY GAVE ME A TWO-WEEK RUN.

HE HAD ME OPEN FOR JOHN LEE HOOKER.

♪ WELL, IT DON'T SEEM TO ME QUITE SO FUNNY ♪ ♪ WHAT SOME OF THESE PEOPLE ARE GOING TO DO FOR MONEY ♪ ♪ THERE'S A BRAND-NEW GIMMICK EVERY DAY ♪ ♪ JUST TO TAKE SOMEBODY'S MONEY AWAY ♪ I DIDN'T REALLY FEEL LIKE I WAS MAKING A STEP FORWARD ANYWHERE.

THINGS WERE TAKING ITS NATURAL COURSE.

Man: NOW, NOVEMBER 4th, BOB DYLAN WILL BE SINGING.

AND THAT SHOULD BE A VERY EVENTFUL OCCASION.

BOB WAS BORN IN DULUTH, MINNESOTA.

BUT, BOB, YOU WEREN'T RAISED IN DULUTH, WERE YOU?

Dylan: I WAS RAISED IN GALLUP, NEW MEXICO.

Brand: AND DID YOU GET MANY SONGS THERE?

Dylan: GOT A LOT Of COWBOY SONGS THERE, INDIAN SONGS.

♪ WELL, I'M GOING TO GET YOU, SALLY GAL ♪ ♪ I'M GOING TO GET YOU, SALLY GAL ♪ ♪ I'M GOING TO GET YOU, SALLY GAL ♪ ♪ I'M GOING TO GET YOU, SALLY GAL ♪ Dylan: I DIDN'T START TO HAVE ANY AMBITION UNTIL I STARTED WORKING MORE AND MORE.

I WONDERED HOW PEOPLE RECORDED.

I WONDERED HOW YOU GET TO DO THAT.

THERE WERE ALWAYS TALENT SCOUTS IN THE CLUBS.

NO ONE HAD EVER SPOKEN TO ME DIRECTLY ABOUT MAKING ANY RECORDS, SO I JUST ASSUMED THEY'D PASSED ON ME.

♪ SOME LIKE A NIGHT AT THE MOVIES ♪ Announcer: THE MOST IMPORTANT NEW VOCAL PERSONALITY OF RECENT YEARS, JOHNNY MATHIS, WHO VAULTED OVER A COLUMBIA MICROPHONE TO STARDOM.

I ALWAYS LOOKED FOR SONGS THAT HAD A KIND OF EXCELLENCE, A LASTING QUALITY, AND ARTISTS WHO PRODUCED A BEAUTIFUL SOUND WITH THEIR VOICE.

FROM 1953, I WAS THE HEAD OF A&R AT COLUMBIA.

♪ COLUMBIA, THAT'S THE MAGIC WORD FOR THE GREATEST RECORDS ♪ ♪ YOU'VE EVER HEARD ♪ ♪ YOU EVEN GET POP STAR [HI-LO] ♪ ♪ ON COLUMBIA ♪ ♪ HERE'S LITTLE SISTER DORIS DAY ♪ ♪ FOR HOLLYWOOD, A BIG HOORAY ♪ ♪ "SOUTH PACIFIC'S" CAST IS BACK ♪ ♪ AND PERCY FAITH IS ON THE TRACK ♪ Dylan: THAT WAS THE SOUND OF THE DAY.

PEOPLE WOULD WANT TO HEAR A BEAUTIFUL VOICE SING A MELODIC SONG.

JOHN, WERE YOU GOING TO DO ONE OR WAS I?

YOU WILL.

OH, OKAY, I'LL DO "MAN OF CONSTANT SORROW," THEN, WITH THE AUTOHARP.

♪ I AM A MAN ♪ ♪ OF CONSTANT SORROW ♪ ♪ I'VE SEEN TROUBLE ♪ ♪ ALL MY DAYS ♪ Cohen: WE RECORDED FOR FOLKWAYS.

WE LIVED IN THE CLEAR, PURE LIGHT OF NONCOMMERCIAL, LONG-PLAYING, SHORT-SELLING RECORDS FOR FOLKWAYS.

I LEARNED IT FROM A RECORD THAT WAS MADE DOWN IN THE SOUTHERN MOUNTAINS, OH, IN THE LATE 1920s.

WE ALSO SEEMED TO REPRESENT SOME IDEA ABOUT -- EXCUSE THE EXPRESSION -- INTEGRITY, OR STANDING FOR SOMETHING AUTHENTIC OR REAL IN MUSIC.

♪ GOING TO BUILD ME LOG CABIN ♪ ♪ ON THE MOUNTAIN SO HIGH ♪ WE WERE ALWAYS POINTING TO OTHER PEOPLE'S MUSIC -- POINTING TO OLD SINGERS, APPALACHIAN SINGERS, BLUES SINGERS.

I THINK WE WERE SET UP AS A...

PILLAR OF VIRTUE.

♪ I DON'T WANT NO BALD-HEADED WOMAN ♪ ♪ SHE TOO MEAN, LORD, LORDY, SHE TOO MEAN ♪ Dylan: THE FOLKSINGING SCENE WAS EITHER COMMERCIAL FOLKSINGING FOR LIKE A COLLEGE KIND OF CROWD.

HARRY BELAFONTE, BROTHERS FOUR, YOU KNOW, THAT COMMERCIAL.

THEY HAD RECORDS THAT WERE ON THE POP CHARTS.

AND THEN THERE WAS THE OTHER SIDE, WHICH WAS INTELLECTUAL.

PEOPLE WOULD JUST SIT THERE.

YOU KNOW, I THINK, UH... AND PLAYING IN AN ENVIRONMENT THAT I WAS PLAYING IN WAS NEITHER OF THOSE.

I TOOK HIM UP TO FOLKWAYS RECORDS -- AND THAT'S WRITTEN IN ABOUT IN MY NOTEBOOK HERE -- WHERE THEY TREATED HIM LIKE [BLEEP], THEY WOULDN'T TALK TO HIM.

AND HE WRITES, "GOD, I THOUGHT I CAME IN THE WRONG PLACE.

"SING OUT!

ON THE DOOR?

FOLKWAYS" ON THE DOOR?

MOE ASCH, IRWIN SILBER REJECTS HIM, THROW HIM OUT ON THE STREET.

AND HE REALLY FELT BAD ABOUT IT, AND I FELT BAD ABOUT IT 'CAUSE I DON'T PUSH PEOPLE EVERY DAY.

I'VE ONLY PUSHED TWO PEOPLE IN MY LIFE.

I TAKE HIM UP TO MAYNARD SOLOMON, UH, MAYNARD SOLOMON, AT VANGUARD RECORDS.

AND THEY SAY NO.

AND MANY YEARS LATER, I SAID, "WHY DID YOU SAY NO TO HIM?"

AND HE SAID, "WELL, IZZY, WE DON'T RECORD FREAKS AT VANGUARD RECORDS."

I SAID, "I SEE, UH, YOU KNOW, JOAN BAEZ, NOT A FREAK.

NOBODY'S A FREAK, JUST BOB DYLAN."

Cohen: I WAS STANDING IN THE AUDIENCE WITH MAYNARD SOLOMON.

MAYNARD SAYS, "WELL, WHAT DO YOU THINK OF HIM?"

I SAID, "THAT'S GOOD."

I SAID, "WHAT DO YOU THINK OF HIM?"

HE SAYS, "IT'S TOO VISCERAL."

♪ SOUTHERN TREES ♪ ♪ BEAR STRANGE FRUIT ♪ ♪ BLOOD ON THE LEAVES ♪ ♪ AND BLOOD AT THE ROOT ♪ ♪ BLACK BODIES SWINGIN' ♪ ♪ IN THE SOUTHERN BREEZE ♪ ♪ STRANGE FRUIT HANGIN' ♪ ♪ FROM THE POPLAR TREES ♪ Miller: JOHN DISCOVERED BILLIE HOLIDAY, BLIND BOY FULLER, LENA HORNE, COUNT BASIE.

YEAH, HE WAS KIND OF LIKE A DAMON RUNYON CHARACTER, IS THAT THE WORD?

ONE OF THESE OLD BROADWAY GUYS.

BUZZCUT HAIRCUT.

HE WAS VERY SPECIAL IN A LOT OF WAYS.

HE WAS VERY ENTHUSIASTIC, AND HE HAD GREAT LOVE OF MUSIC.

AND IT JUST RADIATED OUT OF HIM.

WHEN I MET HIM, A REVIEW HAD JUST COME OUT OF THE NEW YORK TIMES OF THE SET I'D PLAYED AT GERDE'S THE PREVIOUS NIGHT.

HAMMOND HAD SEEN THE ARTICLE, AND ASKED ME RIGHT THEN AND THERE WHETHER I WANTED TO RECORD FOR COLUMBIA RECORDS.

I THOUGHT IT WAS ALMOST UNREAL.

I MEAN, NO ONE WOULD THINK THAT THIS KIND OF FOLK MUSIC WOULD BE RECORDED ON COLUMBIA RECORDS.

JOHN CALLED ME IN MY OFFICE AT COLUMBIA.

HE SAYS, "COME ON DOWN, I WANT YOU TO HEAR SOMETHING."

HE DIDN'T TELL ME WHO IT WAS OR ANYTHING.

I COME DOWN, THERE'S THIS KID ALL DRESSED UP WITH THE BOOTS AND THE SUEDE JACKET.

AND HE HAD THE HARMONICA ON.

AND HE WAS SINGING, IN THIS, YOU KNOW, ROUGH-EDGED VOICE.

I WILL ADMIT, I DIDN'T SEE THE GREATNESS OF IT.

THEY RECORDED THE POPULAR HITS OF THE DAY OF PEOPLE USUALLY WITH BEAUTIFUL TONES OF VOICES.

AND GREAT, GREAT ARRANGEMENTS, AND, UH...I DON'T KNOW WHAT THEY THOUGHT OF MY STUFF UP THERE.

HE HAS NO VOICE, YOU KNOW.

I MEAN, HE DOESN'T PRODUCE A BEAUTIFUL SOUND.

I WAS USED TO STUFF, YOU KNOW, FINDING GUYS LIKE BENNETT AND DAMONE AND MATHIS.

BUT WHEN SOMEBODY LIKE JOHN HAMMOND IS SO CONFIDENT OF SOMEBODY'S TALENT, YOU HAVE TO RESPECT THAT FOR NO OTHER REASON THAN HIS TRACK RECORD.

I DIDN'T TELL ANYBODY FOR A BIT, BECAUSE, YOU KNOW, I ALMOST WASN'T SURE IT WAS HAPPENING MYSELF.

SO NO, I DON'T THINK I REALLY TOLD ANYBODY UNTIL I ACTUALLY, UH, WENT THROUGH WITH THE SESSIONS.

I FIRST HEARD THIS FROM, UH, RICK VON SCHMIDT.

HE LIVES IN CAMBRIDGE.

I MET HIM ONE DAY IN THE GREEN PASTURES OF, UH, HARVARD UNIVERSITY.

I HAD A HABIT THAT I PICKED UP SOMEPLACE ALONG THE WAY.

WHATEVER WORKS FOR ME, NOT TO GIVE THAT AWAY SO EASILY, YOU KNOW.

♪ BABY, LET ME FOLLOW YOU DOWN ♪ ♪ BABY, LET ME FOLLOW YOU DOWN ♪ ♪ WELL, I'LL DO ANYTHING IN THIS GOD ALMIGHTY WORLD ♪ ♪ IF YOU JUST LET ME FOLLOW YOU DOWN ♪ WHEN I DID MAKE THAT FIRST RECORD, I USED SONGS WHICH I JUST KNEW.

BUT I HADN'T REALLY PERFORMED THEM A LOT.

I WANTED JUST TO RECORD STUFF THAT WAS OFF THE TOP OF MY HEAD, SEE WHAT WOULD HAPPEN.

♪ THERE IS A HOUSE ♪ ♪ DOWN IN NEW ORLEANS ♪ ♪ THEY CALL THE RISIN' SUN ♪ ♪ AND IT'S BEEN THE RUIN ♪ ♪ OF MANY POOR GIRLS ♪ ♪ AND ME, OH, GOD, I'M ONE ♪ "THE HOUSE OF THE RISING SUN" IS ON THAT RECORD.

I'D NEVER DONE THAT SONG BEFORE, BUT I HEARD IT EVERY NIGHT 'CAUSE VAN RONK WOULD DO IT.

SO, YOU KNOW, I THOUGHT HE WAS REALLY ON TO SOMETHING WITH THE SONG, SO I JUST RECORDED IT.

BOBBY PICKED UP THE CHORD CHANGES... FOR THE SONG FROM ME.

IT REALLY ALTERED THE SONG CONSIDERABLY, ALTHOUGH THE LYRIC WAS...

PRETTY MUCH THE STRAIGHT "HOUSE OF THE RISING SUN" LYRIC, AND SO WAS THE MELODY.

AND WHEN HE WAS DOING -- I GUESS IT WAS HIS FIRST ALBUM -- HE ASKED ME IF I WOULD MIND, IF I, YOU KNOW, IF HE RECORDED MY VERSION OF "HOUSE OF THE RISING SUN."

AND I HAD SOME PLANS TO RECORD IT.

SO I SAID, "WELL, GEE, BOB, I'D RATHER YOU DIDN'T, BECAUSE I'M GOING TO RECORD IT MYSELF SOON."

AND BOBBY SAID, "UH-OH."

Dylan: THE MYSTERY OF BEING IN A RECORDING STUDIO DID SOMETHING TO ME.

AND THOSE ARE THE SONGS THAT CAME OUT.

♪ NOW THE ONLY THING ♪ ♪ A GAMBLER NEEDS ♪ ♪ IS A SUITCASE AND A TRUNK ♪ AFTER HE RECORDED IT, I HAD TO STOP SINGING THE SONG, BECAUSE PEOPLE WERE CONSTANTLY...

UH, ACCUSING ME OF HAVING GOT THE SONG FROM BOBBY'S RECORD.

NOW, THAT WAS VERY, VERY ANNOYING.

BUT I COULDN'T BLAME THAT ON HIM.

AND I DIDN'T.

THE WHOLE THING WAS A TEMPEST IN A TEAPOT.

LATER ON, WHEN ERIC BURDON AND THE ANIMALS PICKED THE SONG UP FROM BOBBY AND RECORDED IT, BOBBY TOLD ME THAT HE HAD HAD TO DROP THE SONG BECAUSE EVERYBODY WAS ACCUSING HIM OF RIPPING IT OFF OF ERIC BURDON!

♪ FEELIN' FUNNY IN MY MIND, LORD ♪ ♪ I BELIEVE I'M FIXIN' TO DIE ♪ Dylan: WHEN I GOT THE DISK, I PLAYED IT, AND I WAS HIGHLY DISTURBED.

I JUST WANTED TO CROSS THIS RECORD OUT AND MAKE ANOTHER RECORD IMMEDIATELY.

I THOUGHT I'D RECORDED THE WRONG SONGS, AND, UM, I'D ALREADY WRITTEN A FEW OF MY OWN, MAYBE, THAT I THOUGHT MAYBE I COULD, I SHOULD HAVE STUCK ON THERE.

I WAS WAY PAST THAT RECORD.

OR PART OF ME WAS JUST SAYING THAT I DIDN'T WANT TO RECORD THAT RECORD ANYWAY, THAT I JUST DID IT, I DIDN'T WANT TO GIVE AWAY ANYTHING THAT WAS REALLY, UH... YOU KNOW, DEAR TO ME, OR SOMETHING.

Van Ronk: WHEN BOBBY SIGNED WITH COLUMBIA, IT WAS BIG NEWS ON THE STREET.

EVERYBODY WANTED THAT.

PEOPLE COULDN'T BRING THEMSELVES TO ADMIT... THAT THEY WERE THAT HUNGRY.

THEY TURNED IT INTO A MORAL ISSUE.

THEY HAD TO.

BECAUSE OTHERWISE, THEY WERE GOING TO HAVE TO TAKE LONG LOOKS AT THEMSELVES AND MIGHT NOT LIKE WHAT THEY SAW.

♪ BABY, LET ME FOLLOW YOU DOWN ♪ ♪ BABY, LET ME FOLLOW YOU DOWN ♪ ♪ WELL, I'D DO ANYTHING IN THIS GOD ALMIGHTY WORLD ♪ ♪ IF YOU JUST LET ME FOLLOW YOU DOWN ♪ ♪ WELL, I'LL BUY YOU A DIAMOND RING ♪ ♪ YES, I'LL BUY YOU A WEDDING GOWN ♪ ♪ I'LL DO ANYTHING IN THIS GOD ALMIGHTY WORLD ♪ ♪ IF YOU JUST LET ME FOLLOW YOU DOWN ♪ ♪ YES, I'D DO ANYTHING IN THIS GOD ALMIGHTY WORLD ♪ ♪ IF YOU JUST LET ME FOLLOW YOU DOWN ♪♪ Man: TO THINK THAT ENTERTAINERS ALWAYS HAVE TO BE HAPPY AND FUNNY IS KIND OF A SHALLOW THING.

IN FACT, I'VE OFTEN REMEMBERED ONE OF BOB'S QUOTES IS, "HAPPY?

ANYBODY CAN BE HAPPY.

WHAT'S THE PURPOSE OF THAT?"

THE ORIGINAL MEXICAN NAME WAS LA FERIA DE LOS FLORES, FESTIVAL OF FLOWERS.

♪ ONE SUDDEN WARM DAY IN JUNE ♪ ♪ WE DROVE FAR OUT IN THE COUNTRY ♪ Seeger: THE MOMENT I BECAME ACQUAINTED WITH THE OLD SONGS, I REALIZED PEOPLE WERE ALWAYS CHANGING THEM.

♪ THE SUN ROSE HIGH ABOVE US ♪ THINK OF IT AS AN AGE-OLD PROCESS.

IT'S BEEN GOING ON FOR THOUSANDS OF YEARS.

PEOPLE TAKE OLD SONGS, CHANGE THEM A LITTLE, ADD TO THEM, ADAPT THEM FOR NEW PEOPLE.

IT HAPPENS IN EVERY OTHER FIELD.

LAWYERS CHANGE OLD LAWS TO FIT NEW CITIZENS.

SO I'M ONE IN THIS LONG CHAIN, AND SO ARE MILLIONS OF OTHER MUSICIANS.

AND WOODY STEPPED RIGHT INTO THAT.

HE WAS ALWAYS MAKING UP VERSES, SONGS ABOUT REAL LIFE, REAL PEOPLE, REAL EVENTS.

THE IDEA IS THAT YOU MAKE UP A SONG ABOUT SOMETHING REAL, DON'T EXPECT THAT IT'LL EVER MAKE ANY MONEY.

IT MAY NEVER BE HEARD BY MORE THAN A FEW DOZEN PEOPLE, BUT WHO KNOWS?

WHO KNOWS?

AND I LOOKED UPON US ALL AS WOODY'S CHILDREN.

Gooding: BOB DYLAN IS, YOU MUST BE 20 YEARS OLD NOW, AREN'T YOU?

Dylan: YEAH, I MUST BE 20.

[ LAUGHTER ] Gooding: ARE YOU?

Dylan: YEAH, I'M 20.

Gooding: TELL ME ABOUT THE SONGS THAT YOU'VE WRITTEN YOURSELF THAT YOU SING.

Dylan: WELL, I DON'T CLAIM TO CALL 'EM FOLK SONGS OR ANYTHING.

I JUST CALL 'EM CONTEMPORARY SONGS.

♪ COME, YOU LADIES AND YOU GENTLEMEN, LISTEN TO MY SONG ♪ ♪ I SING IT TO YOU RIGHT, BUT YOU MIGHT THINK IT'S WRONG ♪ ♪ JUST A LITTLE GLIMPSE OF A STORY I'LL TELL ♪ ♪ 'BOUT AN EAST COAST CITY THAT YOU ALL KNOW WELL ♪ ♪ IT'S HARD TIMES FROM THE COUNTRY ♪ ♪ LIVIN' DOWN IN NEW YORK TOWN ♪ ♪ COME, YOU LADIES AND GENTLEMEN, LISTEN TO MY SONG ♪ Cohen: THE TRADITIONAL SONGS GAVE US IDEAS AND ATTITUDES ABOUT LIFE THAT YOU COULD BORROW FROM, THAT YOU COULD BUILD YOUR SONGS ON.

♪ I WILL NOT GO DOWN UNDER THE GROUND ♪ ♪ 'CAUSE SOMEBODY TELLS ME THAT DEATH'S COMIN' ROUND ♪ Dylan: I WROTE 'EM ANYWHERE I WAS.

YOU COULD WRITE THEM ON THE SUBWAY OR IN A CAFE, OR WHEREVER, YOU KNOW.

YOU COULD WRITE THEM TALKING TO SOMEBODY ELSE, YOU KNOW, AND BE SCRIBBLING DOWN A SONG.

♪ LET ME DIE IN MY FOOTSTEPS ♪ ♪ BEFORE I GO DOWN UNDER THE GROUND ♪ Cohen: THE FIRST TIME, I THINK, I EVER SAW HIM PERFORM A TOPICAL SONG HE WAS SINGING, "LET ME DIE WITH MY BOOTS ON BEFORE I GO UNDER THE GROUND."

AND THAT WAS A REAL FEELING IN NEW YORK AT THAT TIME.

PEOPLE WERE BUILDING BOMB SHELTERS EVERYWHERE, AND THAT WE'LL LIVE OUT OUR LIVES IN PREPARATION FOR THAT KIND OF CRAP.

AND HERE WE WERE IN THE MIDDLE OF GREENWICH VILLAGE LIKE A LITTLE PUS PIMPLE IN THE MIDDLE OF THIS HUGE SOCIETY SAYING, "THIS HAS, UH, GOT TO GO.

"WE DON'T, UH, I DON'T AGREE WITH THAT.

I'M NOT GOING TO LIVE MY LIFE THAT WAY."

[ "NO MORE AUCTION BLOCK FOR ME," ODETTA ] Rotolo: I WAS WORKING AT C.O.R.E.

AND THAT WAS AN INCREDIBLE TIME.

A CALL WOULD COME IN, AND PEOPLE WOULD SAY, OH, MY GOD, SO-AND-SO WAS BEATEN TO A PULP, AND SO-AND-SO'S IN THE HOSPITAL.

THESE WERE TRAUMATIC TIMES TO LIVE THROUGH.

AND JUST THE WAY I FELT WAS THE INSANE -- IT WAS INSANE.

WHY SHOULD THIS BE HAPPENING?

AND I'M SURE BOB HAD THAT SAME THING.

YOU JUST CAN'T LIVE THROUGH THIS.

YOU LIVE IN YOUR OWN LITTLE WORLD, IN YOUR INTERESTS, BUT THE OUTER WORLD IS DEFINITELY PART OF IT.

♪ HOW MANY ROADS MUST A MAN WALK DOWN ♪ ♪ BEFORE YOU CALL HIM A MAN?

♪ ♪ YES, AND HOW MANY SEAS MUST A WHITE DOVE SAIL ♪ ♪ BEFORE SHE SLEEPS IN THE SAND?

♪ ♪ YES, AND HOW MANY TIMES MUST THE CANNONBALLS FLY ♪ ♪ BEFORE THEY'RE FOREVER BANNED?

♪ ♪ THE ANSWER, MY FRIEND, IS BLOWIN' IN THE WIND ♪ ♪ THE ANSWER IS BLOWIN' IN THE WIND ♪ Dylan: I DIDN'T REALLY KNOW IF THAT SONG WAS GOOD OR BAD.

IT JUST FELT RIGHT.

BUT I DIDN'T REALLY KNOW, UH, THAT IT HAD ANY KIND OF ANTHEMIC QUALITY OR ANYTHING.

♪ HOW MANY YEARS MUST A MOUNTAIN EXIST ♪ ♪ BEFORE IT IS WASHED TO THE SEA?

♪ I WROTE THE SONGS TO PERFORM THE SONGS.

AND I NEEDED TO SING, LIKE, IN THAT LANGUAGE.

WHICH IS A LANGUAGE THAT I HADN'T HEARD BEFORE.

♪ THE ANSWER, MY FRIEND, IS BLOWIN' IN THE WIND ♪ ♪ THE ANSWER IS BLOWIN' IN THE WIND ♪ Woman: HOW COULD HE WRITE, "HOW MANY ROADS MUST A MAN WALK DOWN BEFORE YOU CALL HIM A MAN"?

THIS IS WHAT MY FATHER WENT THROUGH.

HE WAS THE ONE WHO WASN'T CALLED A MAN, YOU KNOW?

SO, SO HOW, WHAT, WHAT, WHERE IS HE COMIN' FROM?

WHITE PEOPLE DON'T HAVE HARD TIMES, YOU KNOW.

THIS WAS MY THINKIN' BACK THEN, BECAUSE I WAS A KID, TOO.

WHAT HE WAS WRITING WAS INSPIRATIONAL.

YOU KNOW, THEY WERE INSPIRATIONAL SONGS.

AND THEY WOULD INSPIRE.

YOU KNOW, IT'S THE SAME AS GOSPEL.

HE WAS WRITING TRUTH.

BY WRITING GOOD SONGS AND WRITING ABOUT CONTEMPORARY IDEAS IN TRADITIONAL FORMS, WHICH I UNDERSTOOD, HE MADE IT LIKE IT WAS WRITTEN TODAY, BUT IT SOUNDED LIKE IT COULD HAVE BEEN WRITTEN 200 YEARS AGO ALSO.

IT SOUNDED CURRENT AND OLD AT THE SAME TIME.

SO IT WASN'T JUST LIKE SINGING SONGS THE WAY PETE SEEGER WOULD SING IT, YOU KNOW, 'CAUSE IT'S IMPORTANT THAT YOU SING THESE SONGS.

HE SANG SONGS THAT AFFECTED US.

♪ WELL, IT AIN'T NO USE TO SIT AND WONDER WHY, BABE ♪ ♪ IF'N YOU DON'T KNOW BY NOW ♪ ♪ AND IT AIN'T NO USE TO SIT AND WONDER WHY, BABE ♪ ♪ IT'LL NEVER DO SOMEHOW ♪ ♪ WHEN YOUR ROOSTER CROWS AT THE BREAK OF DAWN ♪ ♪ LOOK OUT YOUR WINDOW AND I'LL BE GONE ♪ ♪ YOU'RE THE REASON I'M TRAVELIN' ON ♪ ♪ BUT DON'T THINK TWICE, IT'S ALL RIGHT ♪ NEITHER ONE OF US HAD A FIXED PLACE TO LIVE.

WE WERE BOTH A BIT NOMADIC.

SO WE KIND OF HAD THIS PRIVATE LITTLE EXISTENCE IN A WAY.

Man: I AM LEADING A QUIET LIFE ON LOWER EAST BROADWAY.

I WAS AN AMERICAN.

I AM AN AMERICAN BOY.

I READ THE AMERICAN BOY MAGAZINE AND BECAME A BOY SCOUT IN THE SUBURBS.

I THOUGHT I WAS TOM SAWYER, CATCHING CRAYFISH IN THE BRONX RIVER, AND IMAGINING THE MISSISSIPPI.

I HAD A BASEBALL MITT AND AN AMERICAN FLYER BIKE.

Dylan: EVERYTHING WAS MESHED UP AT THAT TIME.

EVERYTHING WAS LIKE, JUST ALL IN A WHOLE, IN LIKE A BLENDER.

EVERYONE WAS INTERESTED IN WHATEVER WAS GOING ON.

I STAYED AT A LOT OF PEOPLE'S HOUSES WHICH HAD, YOU KNOW, POETRY BOOKS AND POETRY VOLUMES.

AND I'D READ WHAT I FOUND.

AND YOU KNOW, I FOUND, UH, YOU KNOW, VERLAINE POEMS, OR RIMBAUD, "THE DRUNKEN BOAT," "ILLUMINATIONS."

WHETHER IT WAS THESE WILD AND CRAZY POETS THAT WERE GETTING UP ON STAGE, AND WHETHER IT WAS A MUSICIAN PLAYING SOME RIFF IN A JAZZ CLUB, OR SOME BLUEGRASS GUY, OR SOME OLD ROOTS MUSIC, IT FILTERS THROUGH YOU, AND YOU SPEAK THEM WHEN THEY COME OUT VERBALLY, AND YOU PLAY THEM.

Clancy: WE WERE DOING THINGS TOTALLY INSTINCTIVELY.

IT WAS AN INSTINCTIVE AWAKENING.

LIGHTNING STRIKES EVERY ONCE IN A WHILE IN A DIFFERENT PLACE.

NOBODY KNOWS WHY.

THE NIGHT OF THE CUBAN MISSILE CRISIS.

THE GENERAL FEELING WAS, THE WORLD WAS GOING TO END OR SOMETHING LIKE THAT.

I MEAN, IT'S QUITE HEAVY.

I WALKED INTO GASLIGHT, AND BOB WAS THERE.

JUST A FEW PEOPLE LISTENING TO HIM SING.

HE SAID, "WHY DON'T YOU COME UP?

WE'LL SING SOME SONGS TOGETHER.

"LET'S DO THAT OLD CARTER FAMILY SONG, YOU'RE GOING TO MISS ME WHEN I'M GONE."

I WAS PLAYING THE NICE CARTER FAMILY THING, AND WE'RE SINGING, SINGING, SINGING.

AND I'M THINKING, "WHO'S GOING TO MISS US WHEN WE'RE GONE?

WE'LL ALL BE GONE."

YOU KNOW, WHAT THE HELL IS THIS?

♪ OH, WHERE HAVE YOU BEEN, MY BLUE-EYED SON?

♪ ♪ AND WHERE HAVE YOU BEEN, MY DARLING YOUNG ONE?

♪ ♪ I'VE STUMBLED ON THE SIDE OF TWELVE MISTY MOUNTAINS ♪ ♪ I'VE WALKED AND I CRAWLED ON SIX CROOKED HIGHWAYS ♪ ♪ I'VE STEPPED IN THE MIDDLE OF SEVEN SAD FORESTS ♪ ♪ I'VE BEEN OUT IN FRONT OF A DOZEN DEAD OCEANS ♪ ♪ I'VE BEEN 10,000 MILES IN THE MOUTH OF A GRAVEYARD ♪ ♪ AND IT'S A HARD, IT'S A HARD ♪ ♪ IT'S A HARD, IT'S A HARD ♪ ♪ IT'S A HARD RAIN'S A-GOIN' TO FALL ♪ Ginsberg: WHEN I GOT BACK FROM INDIA AND GOT TO THE WEST COAST, THERE'S A POET, CHARLIE PLYMELL, AT A PARTY IN BOLINAS PLAYED ME A RECORD OF THIS NEW YOUNG FOLK SINGER.

AND I HEARD... "HARD RAIN," I THINK.

AND WEPT.

'CAUSE IT SEEMED THAT THE, UH... TORCH HAD BEEN PASSED TO ANOTHER GENERATION, FROM EARLIER BOHEMIAN, OR BEAT, ILLUMINATION AND SELF-EMPOWERMENT.

♪ AND WHAT'LL YOU DO NOW, MY BLUE-EYED SON?

♪ ♪ AND WHAT'LL YOU DO NOW, MY DARLING YOUNG ONE?

♪ ♪ I'M GOIN' BACK OUT 'FORE THE RAIN STARTS A-FALLIN' ♪ ♪ AND I'LL HEAD FOR THE DEPTHS OF THE DEEPEST DARK FOREST ♪ ♪ WHERE THE PEOPLE ARE MANY AND THEIR HANDS ARE ALL EMPTY ♪ ♪ WHERE THE PELLETS OF POISON ARE FLOODING THEIR WATERS ♪ ♪ AND I'LL TELL IT AND THINK IT AND SPEAK IT AND BREATHE IT ♪ ♪ AND REFLECT FROM THE MOUNTAIN SO ALL SOULS CAN SEE IT ♪ ♪ THEN I'LL STAND ON THE OCEAN UNTIL I START SINKIN' ♪ ♪ BUT I'LL KNOW MY SONG WELL BEFORE I START SINGIN' ♪ ♪ AND IT'S A HARD, AND IT'S A HARD ♪ ♪ AND IT'S A HARD, AND IT'S A HARD ♪ ♪ AND IT'S A HARD RAIN'S A-GOING TO FALL ♪♪ Ginsberg: A VERY FAMOUS SAYING AMONG THE TIBETAN BUDDHISTS -- "IF THE STUDENT IS NOT BETTER THAN THE TEACHER, THEN THE TEACHER IS A FAILURE."

AND I WAS REALLY KNOCKED OUT BY THE, UH, ELOQUENCE, PARTICULARLY "I'LL KNOW MY SONG WELL BEFORE I START SINGING," AND "WHERE ALL SOULS SHALL REFLECT IT," OR, YOU KNOW, "STAND ON THE MOUNTAIN WHERE EVERYBODY CAN HEAR."

IT'S SORT OF THIS BIBLICAL PROPHECY.

POETRY IS WORDS THAT ARE EMPOWERED THAT MAKE YOUR HAIR STAND ON END, THAT YOU RECOGNIZE INSTANTLY AS BEING SOME FORM OF SUBJECTIVE TRUTH THAT HAS AN OBJECTIVE REALITY TO IT BECAUSE SOMEBODY'S REALIZED IT.

THEN YOU CALL IT POETRY LATER.

BUT TAKE THIS ONE YOU SANG, THIS "HARD RAIN'S GOING TO FALL."

EVEN THOUGH IT MAY HAVE COME OUT OF YOUR FEELINGS ABOUT ATOMIC RAIN.

Dylan: NO, NO, IT WASN'T ATOMIC RAIN.

SOMEBODY ELSE THOUGHT THAT, TOO.

YEAH, IT'S NOT ATOMIC RAIN, IT'S JUST A HARD RAIN.

IT'S NOT ATOMIC RAIN, NO.

Terkel: ALL YOUR SONGS ARE ABOUT MORE THAN THE ACTUAL EVENT THAT MAY HAVE CAUSED IT.

DO YOU KNOW WHAT I MEAN?

Dylan: I'M NOT A TOPICAL SONGWRITER.

Terkel: SO YOU'RE NOT A TOPICAL SONGWRITER.

Dylan: NO, I DON'T REALLY EVEN LIKE THAT WORD.

Terkel: I MEAN, IT'S NOT A SONG ABOUT A CERTAIN EVENT?

Dylan: YEAH, IT'S NOT, NO.

'CAUSE THE FOLK IDIOM IS SO WIDESPREAD THAT YOU COULD TAKE ANY PART OF IT, AND REWORK A SONG.

I NEVER THOUGHT THAT I WAS BREAKING THROUGH ANYTHING.

I WAS JUST WORKING WITHIN EXISTING FORM THAT WAS THERE.

I WAS DEFINITELY NOT INVENTING ANYTHING THAT HADN'T BEEN TRIED BEFORE, SOME PART OF THE PICTURE, YOU KNOW.

[ APPLAUSE ] JUST CONTROL YOURSELVES.

IS THIS ONE ON?

[ FEEDBACK ] CHECK.

RICHARD?

IS THIS MIC ON?

RICHARD, RICHARD?

♪ YOU WALK INTO THE ROOM ♪ ♪ WITH YOUR PENCIL IN YOUR HAND ♪ ♪ YOU SEE SOMEBODY NAKED ♪ ♪ YOU SAY, "WHO IS THAT MAN?"

♪ ♪ YOU TRY SO HARD ♪ ♪ BUT YOU DON'T UNDERSTAND ♪ ♪ JUST WHAT YOU'LL SAY ♪ ♪ WHEN YOU GET HOME ♪ ♪ YES, BECAUSE YOU KNOW SOMETHING IS HAPPENING HERE ♪ ♪ BUT YOU DON'T KNOW WHAT IT IS ♪ ♪ DO YOU, MISTER JONES?

♪ ♪ YOU HAVE MANY CONTACTS ♪ ♪ OUT THERE AMONG THE LUMBERJACKS ♪ ♪ TO GET YOUR FACTS WHEN SOMEONE ATTACKS YOUR IMAGINATION ♪ ♪ BUT NOBODY HAS ANY RESPECT ♪ ♪ ANYWAY THEY JUST EXPECT ♪ ♪ YOU TO TAKE YOUR CHECK ♪ ♪ AND GIVE THEM TO TAX-DEDUCTIBLE ♪ ♪ CHARITY ORGANIZATION ♪ DON'T BOO ME ANYMORE.

DON'T BOO ME.

GOD, THAT BOOING, I CAN'T STAND IT, OH, MY GOD.

IT'S HARD TO GET IN TUNE WHEN THEY'RE BOOING.

Dylan: YEAH, I CAN'T GET IN TUNE AT ALL WHEN THEY'RE BOOING.

I CAN'T, UH -- I CAN'T, UH, HEAR ANYTHING.

I DON'T EVEN WANT TO GET IN TUNE.

AND THEY YELL IN THIS WEI-- WEIRD NASAL TONE... Dylan: UH, JESUS, YOU KNOW, I DON'T UNDERSTAND WHY THEY -- HOW CAN THEY BUY THE TICKETS UP SO FAST?

I MEAN, YOU KNOW.

LET'S GET THAT LIGHT OFF.

[ BEEP ] Radio announcer: BOBBY DYLAN, CBS LABEL, BRAND NEW ONE, IN THE COUNTDOWN, LYING AT NUMBER 18.

"LET'S GO AND GET STONED."

NOT THIS TIME, SURELY.

♪ WELL, THEY'LL STONE YOU WHEN YOU'RE TRYING TO BE SO GOOD ♪ ♪ THEY'LL STONE YOU JUST LIKE THEY SAID THEY WOULD ♪ ♪ THEY'LL STONE YOU WHEN YOU'RE TRYING TO GO HOME ♪ ♪ THEY'LL STONE YOU WHEN YOU'RE THERE ALL ALONE ♪ ♪ BUT I WOULD NOT FEEL SO ALL ALONE ♪ ♪ EVERYBODY MUST GET STONED ♪ Mitch Miller: DYLAN'S FIRST ALBUMS DID NOT SELL.

I DON'T THINK WE SOLD AN ALBUM PER STORE IN AMERICA.

I THINK 2,500.

SALESPEOPLE, YOU KNOW, WHO SAY, "THIS IS HAMMOND'S FOLLY."

SINCE HE COSTS SO LITTLE TO RECORD, LET JOHN HAVE HIS FOLLY.

Dylan: ON MY SECOND ALBUM, THAT WAS WHEN PEOPLE STARTED TO TAKE NOTICE THAT NEVER NOTICED BEFORE.

GROSSMAN CAME INTO THE PICTURE AROUND THERE.

HE WAS KIND OF LIKE A COLONEL TOM PARKER FIGURE.

ALL IMMACULATELY DRESSED, EVERY TIME YOU SEE HIM.

YOU COULD SMELL HIM COMING.

AL GROSSMAN WAS THE FIRST SUCCESSFUL FOLK MANAGER WHO KNEW HOW TO MAKE MONEY OUT OF THE SINGERS.

HE WOULD OWN THE RECORDING STUDIO, HE WOULD OWN THE MUSIC PUBLISHING COMPANY, HE WOULD OWN BOB DYLAN, HE WOULD OWN PETER, PAUL AND MARY.

HE WOULD SELL A BOB DYLAN SONG TO PETER, PAUL AND MARY, WHO WOULD SING ON A RECORDING IN HIS STUDIO, WHICH HE WAS GETTING THE RIGHTS.

SO HE WOULD GET A SALAMI, HE HAD A SALAMI TECHNIQUE GOING.

HE WOULD GET A PIECE OF THE ACTION FROM SIX OR SEVEN DIFFERENT DIRECTIONS.

Langhorne: HE CREATED PETER, PAUL AND MARY.

BECAUSE HE SAW PEOPLE REALLY WANTED A FRESH, YOUNG GROUP LIKE THIS, THAT THEY COULD RELATE TO.

HE CHANGED PAUL'S NAME TO PAUL, FROM NOEL.

SO IT WOULD BE THAT, HAVE THAT BIBLICAL INFERENCE.

HE WAS A GENIUS.

Cohen: I KNEW MARY TRAVERS, YOU KNOW, OF PETER, PAUL AND MARY.

I HAD KNOWN HER WHEN SHE WAS YOUNGER.

SHE USED TO SING IN WASHINGTON SQUARE PARK.

AND SHE WAS A NICE PERSON, AND VERY, YOU KNOW, LIVELY, A TEENAGER.

ONE TIME, IN THE MIDDLE OF WINTER, AND IT WAS COLD ON MACDOUGAL STREET, YOU KNOW, LIKE FEBRUARY.

I SAW HER, AND I SAID, "WHERE HAVE YOU BEEN, MARY?"

SHE SAYS, "WELL, I'VE BEEN IN FLORIDA FOR THE LAST COUPLE OF --" I DON'T KNOW IF IT WAS WEEKS OR MONTHS.

"A MAN NAMED ALBERT GROSSMAN HAS -- "PUTTIN' ME TOGETHER WITH SOME OTHER GUYS "FROM THE COFFEEHOUSES, "AND WE'RE TRYING OUT A NEW GROUP THERE.

UH, AND WE'RE SINGING."

AND I SAID, "YOU MEAN YOU WERE IN FLORIDA ALL THIS TIME?

WHERE'S YOUR TAN?

DIDN'T YOU EVER GO OUT IN THE SUN?"

SHE SAYS, "OH, NO, ALBERT TOLD ME "I SHOULDN'T GO OUT IN THE SUN, THAT I WAS SUPPOSED TO BE THE PALE, BLONDE, INDOOR TYPE."

AND IT REALLY MADE MY FLESH CREEP, TO PUT IT TRUTHFULLY.

BECAUSE I WAS SHIVERING COLD, IN NEW YORK.

AND SHE HAD THE CHANCE TO GET OUT IN THE SUN.

BUT THAT SHE WAS BEING MANIPULATED, THAT THE WHOLE THING HAD AN IMAGE, IT HAD A LOOK.

IT JUST, I JUST FELT THAT THIS WAS A BAD SIGN.

I DIDN'T FEEL THAT ALBERT MANIPULATED BOB, BECAUSE I THINK BOB WAS WEIRDER THAN ALBERT, SO THAT HE COULDN'T MANIPULATE HIM.

AND BY "WEIRD," I DON'T MEAN IN A BAD WAY.

BUT I MEAN THAT HE HAD ENOUGH GAMES.

NOW, BOB WAS ALSO A TERRIFIC OPPORTUNIST.

SO IF SOMEONE GAVE HIM AN OPPORTUNITY TO DO SOMETHING, HE COULD USE IT.

I DON'T KNOW IF BOB WAS A HUSTLER.

I THINK HE JUST KNEW WHAT HE WANTED, AND HE COULD FOCUS.

AND HE WAS VERY ASTUTE -- HE COULD PICK OUT SOMEBODY WHO WAS IMPORTANT.

I MEAN, ANY MUSICIAN WOULD.

BUT HE WAS REALLY GOOD AT IT.

Mogull: ALBERT TELLS ME ONE DAY HE'S GOING TO SEND A GUY OVER TO SEE ME NAMED BOB DYLAN.

HE'S GOT A GUITAR, WITH SOME KIND OF CONTRAPTION AROUND HIS NECK SO THAT THE HARMONICA IS UP TO HIS MOUTH.

NOW, BELIEVE ME WHEN I TELL YA, NOBODY HAD EVER SEEN THIS ON BROADWAY BEFORE.

AND HE STARTS SINGING FOR ME.

AND ONE OF THE THINGS THAT I PRIDE MYSELF ON IS THAT I THINK I'M ONE OF THE FEW -- AT THAT TIME, I MAY HAVE BEEN THE ONLY ONE IN THE MUSIC BUSINESS -- WHO LISTENED TO THE WORDS.

AND WHEN I HEARD, "HOW MANY YEARS MUST ONE MAN HAVE BEFORE HE CAN HEAR PEOPLE CRY," I FLIPPED.

I CAN'T EVEN REMEMBER WHAT THE SONGS WERE THAT HE PLAYED ME THAT DAY, BUT I SAID, "OKAY, THAT'S IT, I WANT YOU."

Peter, Paul and Mary: ♪ HOW MANY ROADS ♪ ♪ MUST A MAN WALK DOWN ♪ Bobby Darin: ♪ BEFORE THEY CALL HIM A MAN ♪ [ TRINI LOPEZ, "BLOWIN' IN THE WIND" ] Mogull: THE MUSIC BUSINESS PER SE WAS DOMINATED BY MUSIC PUBLISHERS.

IN THOSE DAYS, THE SONG WAS IMPORTANT.

YOU WOULD PICK A SONG, AND WORK ON IT.

The Caravans: ♪ HOW ♪ ♪ HOW MANY YEARS ♪ Mogull: HISTORICALLY, WHENEVER YOU SEE DYLAN MENTIONED IN PRINT, IT'S ALWAYS JOHN HAMMOND WHO DISCOVERED BOB DYLAN.

I THINK THE GUY WHO MADE DYLAN POPULAR WAS ME, IF I SAY SO MYSELF.

I'M THE ONE WHO STARTED TO GET HIS SONGS ALL OVER THE PLACE.

WE NEVER HAD RESISTANCE WITHIN THE COMPANY TO HIM.

MY BOSS, THE OLD MAN, HERMAN STARR, GOT ON IT RIGHT AWAY.

WHY?

BECAUSE THEY SMELLED DOLLARS, THAT'S WHY.

Dylan: I GOTTA SING YOU SOMETHING TO TELL YOU SOMETHIN'.

IT'S CALLED "MASTERS OF WAR."

♪ COME, YOU MASTERS OF WAR ♪ ♪ YOU THAT BUILD THE BIG GUNS ♪ ♪ YOU THAT BUILD THE DEATH PLANES ♪ ♪ YOU THAT BUILD ALL THE BOMBS ♪ ♪ YOU THAT HIDE BEHIND WALLS ♪ ♪ YOU THAT HIDE BEHIND DESKS ♪ ♪ I JUST WANT YOU TO KNOW I CAN SEE THROUGH YOUR MASKS ♪ ♪ AND I HOPE THAT YOU DIE ♪ ♪ AND YOUR DEATH WILL COME SOON ♪ ♪ I'LL FOLLOW YOUR CASKET ♪ ♪ ALL THE PALE AFTERNOON ♪ ♪ AND I'LL WATCH WHILE YOU'RE LOWERED ♪ ♪ DOWN TO YOUR DEATHBED ♪ ♪ AND I'LL STAND OVER YOUR GRAVE ♪ ♪ TILL I'M SURE THAT YOU'RE DEAD ♪ Leventhal: I DID A CONCERT OF HIS IN TOWN HALL, IT MIGHT HAVE BEEN '63.

AND WHEN THE CONCERT WAS OVER, UH, BOB CALLED ME OVER AND HE SAID, "IS ANYBODY IN THE STAGE DOOR, WAITING FOR ME?"

THE FACT IS THAT I DO NOT BLAME ANY ARTIST FOR SEEKING FAME, WHICH IS, IN A SENSE, RECOGNITION.

YOU WANT TO KNOW THAT YOU'VE PLEASED AN AUDIENCE, YOU WANT TO KNOW THAT THE AUDIENCE IS INTERESTED IN YOU.

HE WAS, IN HIS WAY, A DYNAMIC PERFORMER.

BUT I THINK MOSTLY THE MATERIAL THAT HE WAS DOING WAS SO GREAT, THAT EVERYBODY RESPONDED TO IT.

♪ OXFORD TOWN, OXFORD TOWN ♪ ♪ EV'RYBODY'S GOT THEIR HEADS BOWED DOWN ♪ ♪ THE SUN DON'T SHINE ABOVE THE GROUND ♪ ♪ TODAY WE'RE GOIN' DOWN TO OXFORD TOWN ♪ Leventhal: THE TOPICAL SONG MOVEMENT WAS A PRODUCT OF THE LEFT.

Weavers: ♪ WHICH SIDE ARE YOU ON?

♪ ♪ WHICH SIDE ARE YOU ON?

♪ Leventhal: AND THE LEFT, AT THAT TIME, WOULD HAVE BEEN PETE SEEGER, AND THE WEAVERS, AND WOODY GUTHRIE.

THESE PEOPLE CREATED MATERIAL BASED ON TOPICAL SITUATIONS.

♪ I'LL TELL OF HOW THE GOOD OL' UNION... ♪ Dylan: PETE SEEGER, VERY TALL.

LIKE A TOWERING FIGURE.

WELL, I DIDN'T REALIZE HE WAS A COMMUNIST.

I REALLY WASN'T SURE, EVEN, WHAT A COMMUNIST WAS.

UH, UH, YOU KNOW, UH...

IF HE WAS, IT WOULDN'T HAVE MATTERED TO ME ANYWAY, YOU KNOW, I, UH...YOU KNOW, I REALLY DIDN'T THINK ABOUT PEOPLE IN THOSE TERMS.

BOBBY WAS NOT REALLY A POLITICAL PERSON.

HE WAS, HE WAS THOUGHT OF... AS BEING A...

POLITICAL PERSON, AND A MAN OF THE LEFT.

AND IN A, YOU KNOW, IN A GENERAL SORT OF WAY, YES, HE WAS.

BUT HE WAS NOT INTERESTED IN, UH, THE TRUE NATURE OF THE SOVIET UNION, OR ANY OF THAT CRAP.

WE THOUGHT HE WAS HOPELESSLY POLITICALLY NAIVE.

BUT IN RETROSPECT, I THINK HE MAY HAVE BEEN MORE SOPHISTICATED THAN WE WERE.

Lead Belly: ♪ IRENE, GOOD NIGHT ♪ ♪ IRENE, GOOD NIGHT... ♪ Van Ronk: THE FOLK MUSIC REVIVAL WAS POSTPONED BY ALMOST 10 YEARS, BY THE WITCH HUNT.

I MEAN, WHEN U.S. ARMY PUBLISHES PAMPHLETS ON HOW TO SPOT A COMMUNIST, THAT HAVE LINES IN THEM LIKE, "HE WILL SOMETIMES PLAY THE GUITAR," THAT KIND OF THING HAD A, HAD A VERY, UH...

REPRESSIVE AND SUPPRESSIVE EFFECT.

Weavers: ♪ IRENE, GOOD NIGHT ♪ ♪ IRENE, GOOD NIGHT ♪ Seeger: THE SONG "GOOD NIGHT, IRENE" WAS ALL OVER THE COUNTRY.

YOU COULDN'T ESCAPE THAT SONG IN THE UNITED STATES OF AMERICA IN THE SUMMER OF 1950.

RIGHT THEN, THE VERY MOMENT THAT "IRENE" WAS AT THE TOP OF THE TOP 40, A BUNCH OF BLACKLISTERS PROBABLY SAID TO THEMSELVES, "HOW DID WE LET THESE COMMIE SO-AND-SOS SLIP THROUGH OUR FINGERS?"

THEY STARTED OUT TO SEE THAT WE WERE BLACKLISTED, AND ABOUT TWO YEARS LATER, INSTEAD OF SINGING IN THE WALDORF-ASTORIA, OR CIRO'S IN HOLLYWOOD, WE WERE SINGING IN DAFFY'S BAR AND GRILL ON THE OUTSKIRTS OF CLEVELAND, AND DECIDED TO TAKE A SABBATICAL.

LEE SAYS IT TURNED INTO A MON-DICAL AND A TUES-DICAL.

Van Ronk: BY THE TIME THE McCARTHYITE THING STARTED TO WANE, THE FOLK MUSIC THING STARTED TO COME UP.

Seeger: I SAY IT'S IN THE INTEREST OF EVERY HUMAN BEING IN THE UNITED STATES OF AMERICA TO GET SOME GOOD SENATORS OUT OF MISSISSIPPI FOR A CHANGE.

AND YOU CAN DO IT, AND YOU WILL DO IT SOON, I KNOW.

♪ IF I HAD A HAMMER ♪ ♪ I'D HAMMER IN THE MORNIN' ♪ ♪ I'D HAMMER IN THE EVENIN' ♪ ♪ ALL OVER THIS LAND ♪ I'D HAMMER OUT FREEDOM!

♪ I'D HAMMER OUT FREEDOM ♪ HAMMER OUT JUSTICE!

♪ I'D HAMMER OUT JUSTICE ♪ HAMMER OUT LOVE!

♪ I'D HAMMER OUT LOVE ♪ ♪ BETWEEN MY BROTHERS AND MY SISTERS ♪ ♪ ALL OVER THIS LAND ♪ Leventhal: I GOT HIM TO GO WITH PETE AND THEODORE BIKEL.

AND THEY WERE BOTH GOING DOWN SOUTH.

♪ TODAY, MEDGAR EVERS WAS BURIED ♪ ♪ FROM THE BULLET HE CAUGHT ♪ Leventhal: AND I ENCOURAGED HIM TO GO WITH THEM.

AND HE DID, AS PART OF AN EDUCATION.

THE CIVIL RIGHTS MOVEMENT WAS IN FULL SWING.

AND THERE WAS A BIG FIELD OUTSIDE GREENWOOD, WITH SEVERAL HUNDRED PEOPLE.

I HEARD SOME SPEECHIFYING THERE THAT I'LL NEVER FORGET IN ALL MY LIFE.

AND I REMEMBER BOB SINGING A SONG WHICH REALLY CAUSED PEOPLE TO THINK.

"HE'S ONLY A PAWN IN THE GAME."

HE WAS SINGING ABOUT THE MAN WHO KILLED MEDGAR EVERS.

IN OTHER WORDS, DON'T JUST THINK OF THIS ONE MAN, WHO DID THIS MURDER.

BUT THINK OF THE WHOLE SITUATION.

Dylan: TO BE ON THE SIDE OF PEOPLE WHO ARE STRUGGLING FOR SOMETHING DOESN'T NECESSARILY MEAN YOU ARE BEING POLITICAL.

♪ OH, MY NAME, IT AIN'T NOTHIN' ♪ ♪ MY AGE IT MEANS LESS ♪ ♪ THE COUNTRY I COME FROM ♪ ♪ IS CALLED THE MIDWEST ♪ ♪ I WAS TAUGHT AND BROUGHT UP THERE ♪ ♪ THE LAWS TO ABIDE ♪ ♪ AND THAT THE LAND THAT I LIVE IN ♪ ♪ HAS GOD ON ITS SIDE.

♪ Spoelstra: I WOULD SAY THAT BOB WAS GIFTED.

AND IT WAS FLOWERING.

HE HAD A GREAT DESIRE TO CHANGE THE WORLD.

WE EVEN TALKED ABOUT IT.

WE THOUGHT THAT SEGREGATION WASN'T GOING TO LAST AND THAT WE WERE GOING TO HAVE SOMETHING TO DO WITH ENDING IT.

WE REALLY BELIEVED WE WERE GOING TO HAVE A PART, AS SONGWRITERS, IN CHANGING THE WORLD.

[ APPLAUSE ] ♪ HUSH, LITTLE BABY, DON'T YOU CRY ♪ ♪ YOU KNOW YOUR MAMA ♪ ♪ WAS BORN TO DIE ♪ Baez: I FIRST LAID EYES ON BOB IN GERDE'S FOLK CITY.

I HAD BEEN TOLD ABOUT HIM.

THIS GUY'S A GENIUS, AND HE WRITES THESE INCREDIBLE SONGS.

AND, UH, HE ADMIRES WOODY GUTHRIE, AND ALL THIS STUFF.

I WAS ALWAYS VERY DUBIOUS, YOU KNOW, WHEN PEOPLE RAVED ABOUT SOMEBODY OTHER THAN MYSELF.

BUT I WENT, AND SURE ENOUGH, HE WAS EVERYTHING THAT THEY HAD SAID HE WAS.

WE BOTH HAD OUR BABY FAT.

THAT'S WHAT I THINK OF WHEN I LOOK AT THE EARLY PICTURES.

SMOOTH SKIN, BABY FAT.

WE WERE REALLY YOUNG.

BOB LOOKED LIKE A RAGAMUFFIN.

PROBABLY ONE OF THE THINGS I FOUND SO APPEALING ABOUT HIM.

HE WOULD BRING OUT THE MOTHER INSTINCT IN A WOMAN WHO THOUGHT HER MOTHER INSTINCT WAS DEAD.

HE CAME OUT AND STAYED WITH ME IN A BEAUTIFUL HOUSE, IN CARMEL VALLEY.

BOB LIKED TO WRITE THERE.

AND HE WOULD JUST STAND, TAPPING AWAY AT THE TYPEWRITER.

HE WOULD ALWAYS SAY, "WHAT DO YOU THINK OF THIS?"

AND I WOULDN'T UNDERSTAND THE THING AT ALL.

BUT I LOVED IT.

UM, SO I WENT, OKAY, I'M GOING TO FIGURE THIS ONE OUT.

SO I READ THROUGH IT, AND I GAVE BACK MY INTERPRETATION OF WHAT I THOUGHT IT WAS ABOUT.

HE SAID, "OH, THAT'S PRETTY [BLEEP] GOOD."

YOU KNOW, HE SAID, "SEE, NOW, A BUNCH OF YEARS FROM NOW, "ALL THESE PEOPLE, ALL THESE [BLEEP], ARE GOING TO BE "WRITING ABOUT ALL THE [BLEEP] I WRITE.

"I DON'T KNOW WHERE THE [BLEEP] IT COMES FROM.

"I DON'T KNOW WHAT THE [BLEEP] IT'S ABOUT.

AND THEY'RE GOING TO WRITE ABOUT WHAT IT'S ABOUT -- HEH HEH HEH!"

[ LAUGHS ] ♪ OH, THE TIME WILL COME UP WHEN THE WINDS WILL STOP ♪ ♪ AND THE BREEZE WILL CEASE TO BE BREATHIN' ♪ ♪ LIKE THE STILLNESS IN THE WIND BEFORE THE HURRICANE BEGINS ♪ ♪ THE HOUR THAT THE SHIP COMES IN ♪ ♪ AND THE SEA WILL SPLIT AND THE SHIPS WILL HIT ♪ ♪ AND THE SANDS ON THE SHORELINE WILL BE SHAKING... ♪ Baez: BOB WOULD WRITE, JUST WRITE AND WRITE AND WRITE.

AND ONE TIME, WE PULLED INTO SOMEPLACE.

AND I WAS OKAY BY THEN.

YOU KNOW, BARE FEET OR NOT, I WAS FAMOUS.

BUT THIS SCRUFFY-LOOKIN' GUY I HAD WITH ME, AND THE PEOPLE BEHIND THE DESK WERE HAVING NONE OF IT.

AND THEY SAID THEY DIDN'T HAVE A ROOM, DIDN'T HAVE A... AND NOW OF COURSE I WAS LIVID.

AND PULLED ALL MY PUNCHES, AND GOT HIM A ROOM.

AND, AND HE WROTE A SONG THAT JUST WAS DEVASTATING -- "THE HOUR THE SHIP COMES IN."

AND I COULD SEE HIM HANGING THEM ALL.

HE'D NEVER SORT OF FESS UP TO THAT SORT OF THING, BUT THAT'S WHAT IT SEEMED LIKE TO ME.

WORKING UP, WORKING OUT WHATEVER FEELINGS... UM, HE MIGHT HAVE HAD ABOUT NOT BEING GIVEN A ROOM, IN A, IN A BRILLIANT SONG, IN ONE NIGHT.

Dylan: ♪ AND THEY'LL RAISE THEIR HANDS ♪ ♪ SAYIN', "WE'LL MEET ALL YOUR DEMANDS" ♪ ♪ BUT WE'LL SHOUT FROM THE BOW, "YOUR DAYS ARE NUMBERED" ♪ ♪ AND LIKE PHARAOH'S TRIBE ♪ ♪ THEY'LL BE DROWNDED IN THE TIDE ♪ ♪ AND LIKE GOLIATH, THEY'LL BE CONQUERED ♪ Seeger: YOU HAD COUNTRY FOLKS AND CITY FOLKS THERE.

WE PURPOSELY TRIED TO MIX IT UP AT NEWPORT.

♪ YOU GOT A WAY TO KEEP ME ON YOUR SIDE ♪ ♪ YOU GIVE ME CAUSE FOR LOVE THAT I CAN'T HIDE ♪ ♪ FOR YOU I KNOW I'D EVEN TRY TO TURN THE TIDE ♪ ♪ BECAUSE YOU'RE MINE ♪ ♪ I WALK THE LINE ♪ ♪ MMMM... ♪ Seeger: THERE WAS JOHNNY CASH.

♪ I KEEP A CLOSE WATCH ON THIS HEART OF MINE... ♪ Seeger: AND THEN YOU HAD O. J. ABBOTT, SINGING SOME OF THE BALLADS HE KNEW AS A YOUNG MAN WORKING IN THE LUMBER CAMPS.

RIGHT SIDE BY SIDE.

♪ I LOVE THE WAY SHE KISS ♪ ♪ SHE LOVES ME ALL THE TIME ♪ ♪ I LOVE THE WAY SHE KISS... ♪ Baez: THERE WERE 15,000 PEOPLE, AND THAT SEEMED TO ME JUST IMMENSE.

EVERYONE WAS THERE WHO, WHO PLAYED FOLK MUSIC, YOU KNOW.

OLD AND NEW.

YOU KNOW, SORT OF YOUNGER PEOPLE, TOO.

♪ OH, LORD!

♪ ♪ OH, LORD!

♪ ♪ JESUS... ♪ Staples: WE KIND OF BONDED IN A WAY THAT, THAT MUSIC-WISE, YOU KNOW, WHAT WE WERE SINGING AND WHAT HE WAS WRITING.

♪ A BULLET FROM THE BACK OF A BUSH ♪ ♪ TOOK MEDGAR EVERS' BLOOD ♪ ♪ A FINGER FIRED THE TRIGGER TO HIS NAME ♪ ♪ A HANDLE HID OUT IN THE DARK ♪ ♪ A HAND SET THE SPARK ♪ ♪ TWO EYES TOOK THE AIM ♪ ♪ BEHIND A MAN'S BRAIN ♪ ♪ BUT HE CAN'T BE BLAMED ♪ ♪ HE'S ONLY A PAWN ♪ ♪ IN THEIR GAME ♪ Dylan: I WAS THE ONLY SINGER THERE PROBABLY SINGING THE SONGS THAT HE'D WRITTEN.

AND, THE MOST LIKELY, TWO YEARS EARLIER TO THAT, I WOULDN'T HAVE BEEN ABLE TO GET INTO NEWPORT.

♪ "YOU GOT MORE THAN THE BLACKS, DON'T COMPLAIN" ♪ ♪ "YOU'RE BETTER THAN THEM" ♪ ♪ "YOU BEEN BORN WITH WHITE SKIN" ♪ ♪ THEY EXPLAIN... ♪ Van Ronk: IT WAS QUITE A SENSATION.

HE WAS SINGING A LOT OF WHAT THEY CALLED THEN "PROTEST SONGS."

I'VE ALWAYS HATED THAT, THAT DESIGNATION.

AND UH, IT, IT WAS VERY MUCH, UH, IN THE SPIRIT OF THE TIME.

PETE, AND THE, UH, CROWD AROUND BROADSIDE MAGAZINE HAD FALLEN HEAD OVER HEELS IN LOVE WITH HIM.

♪ TODAY, MEDGAR EVERS WAS BURIED ♪ ♪ FROM THE BULLET HE CAUGHT ♪ ♪ THEY LOWERED HIM DOWN AS A KING ♪ ♪ BUT WHEN THE SHADOWY SUN SETS ON THE ONE ♪ ♪ THAT FIRED THE GUN ♪ ♪ HE'LL SEE BY HIS GRAVE ♪ ♪ ON THE STONE THAT REMAINS ♪ ♪ CARVED NEXT TO HIS NAME ♪ ♪ HIS EPITAPH PLAIN ♪ ♪ "ONLY A PAWN IN THEIR GAME" ♪ Leventhal: THERE WAS WOODY GUTHRIE, TRANSITION TO PETE SEEGER, WHO CARRIED ON WOODY'S TRADITION.

NOW, WHO WAS TO CARRY ON FROM PETE SEEGER?

AND IN THAT SPOT, REALLY, CAME BOB DYLAN.

SO WE BEGAN TO RECOGNIZE THAT BOBBY WOULD BE THE CONTINUATION IN THAT TRADITION.

Dylan: I WROTE THIS SONG.

IT TELLS A STORY, IF YOU...

IF YOU LIKE STORIES.

WELL, MAYBE IT DOESN'T TELL A STORY.

Baez: IT WAS A VERY, VERY EXCITING...I FELT, YOU KNOW, IT WAS LIKE, BOB WAS MY PAL.

WE WERE INVOLVED IN THE SAME THING.

AND I KNEW HE WAS GOING TO BE A MASSIVE STAR, AND I, YOU KNOW, AND I LIKED THAT.

[ AUDIENCE CHEERING ] WANT ME TO SAY SOMETHING?

WE JUST HAVE TO SING ONE, THAT'S ALL.

THAT'S THE INTRODUCTION.

♪ OH, MY NAME, IT IS NOTHIN' ♪ ♪ MY AGE IT MEANS LESS ♪ ♪ THE COUNTRY I COME FROM ♪ ♪ IS CALLED THE MIDWEST ♪ ♪ I'S TAUGHT AND BROUGHT UP THERE ♪ ♪ THE LAWS TO ABIDE ♪ ♪ AND THAT THE LAND THAT I LIVE IN ♪ ♪ HAS GOD ON ITS SIDE ♪ ♪ OH, THE HISTORY BOOKS TELL IT ♪ ♪ THEY TELL IT SO WELL ♪ ♪ THE CAVALRIES CHARGED ♪ ♪ THE INDIANS FELL ♪ ♪ THE CAVALRIES CHARGED ♪ ♪ AND THE INDIANS DIED ♪ ♪ OH, THE COUNTRY WAS YOUNG ♪ ♪ WITH GOD ON ITS SIDE ♪ Dylan: I WROTE A LOT OF SONGS IN A QUICK AMOUNT OF TIME.

I COULD DO THAT THEN.

BECAUSE...THE PROCESS WAS NEW TO ME.

I, I FELT LIKE I'D DISCOVERED SOMETHING NO ONE ELSE HAD EVER DISCOVERED, AND, AND...AND I WAS IN A CERTAIN ARENA ARTISTICALLY THAT NO ONE ELSE HAD EVER BEEN IN BEFORE, EVER.

AND, ALTHOUGH I MAY HAVE BEEN WRONG ABOUT THAT.

♪ ONE TIME AGO A CRAZY DREAM CAME TO ME ♪ ♪ I DREAMT I WAS WALKIN' IN WORLD WAR THREE ♪ ♪ I WENT TO THE DOCTOR THE VERY NEXT DAY ♪ ♪ TO SEE WHAT KIND OF WORDS HE HAD TO SAY ♪ ♪ HE SAID IT WAS A BAD DREAM ♪ Clancy: I WAS ON TOP OF THIS 12-FOOT STATION, AND I HAD A LONG LENS.

I WAS LOOKING AT BOB DYLAN COMING OUT ON STAGE.

♪ WELL, DOWN THE CORNER BY THE HOT-DOG STAND ♪ ♪ I SEEN ANOTHER MAN I SAID, "HOWDY, FRIEND" ♪ ♪ "I GUESS THERE'S JUST US TWO" ♪ ♪ AND HE SCREAMED, AND DOWN THE ROAD HE FLEW ♪ ♪ THOUGHT I WAS A COMMUNIST ♪ Clancy: HE WAS CHARLIE CHAPLIN.

HE WAS DYLAN THOMAS.

HE TALKED LIKE WOODY GUTHRIE.

HE WAS CONSTANTLY MOVING.

♪ MORE TIME PASSED AND NOW IT SEEMS ♪ ♪ EVERYBODY'S HAVING THEM DREAMS ♪ ♪ EVERYBODY SEES THEYSELF ♪ ♪ WALKIN' AROUND WITH NOBODY ELSE ♪ ♪ AND ALL THE PEOPLE CAN BE HALF RIGHT SOME OF THE TIME ♪ ♪ SOME OF THE PEOPLE CAN BE ALL RIGHT PART OF THE TIME ♪ ♪ BUT ALL THE PEOPLE CAN'T BE ALL RIGHT ALL OF THE TIME ♪ ♪ ABRAHAM LINCOLN SAID THAT ♪ ♪ I'LL LET YOU BE IN MY DREAM IF I CAN BE IN YOURS ♪ ♪ I SAID THAT ♪ Clancy: IN OLD IRISH MYTHOLOGY, THEY TALK ABOUT THE SHAPE-CHANGERS.

HE CHANGED VOICES.

HE CHANGED IMAGES.

IT WASN'T...NECESSARY FOR, FOR HIM TO BE A DEFINITIVE PERSON.

HE WAS, HE WAS A RECEIVER.

HE WAS, HE WAS POSSESSED.

AND HE ARTICULATED WHAT THE REST OF US WANTED TO SAY, BUT COULDN'T SAY.

♪ HOW MANY ROADS MUST A MAN WALK DOWN ♪ ♪ BEFORE YOU CALL HIM A MAN?

♪ ♪ HOW MANY SEAS MUST A WHITE DOVE SAIL ♪ ♪ BEFORE SHE SLEEPS IN THE SAND?

♪ Van Ronk: IT'S ALMOST ENOUGH TO MAKE YOU BELIEVE IN JUNG'S NOTION OF COLLECTIVE UNCONSCIOUS.

AND IF THERE IS AN AMERICAN COLLECTIVE UNCONSCIOUS, IF YOU COULD BELIEVE IN SOMETHING LIKE THAT, THEN BOBBY HAD SOMEHOW TAPPED INTO IT.

AND THERE WERE ALWAYS THESE, THESE, THESE, UH, SOMETIMES VERY FAINT RESONANCES.

♪ ...IS BLOWING IN THE WIND ♪ Dylan: IN TAKING ALL THE ELEMENTS THAT I'VE EVER KNOWN TO MAKE WIDE, SWEEPING STATEMENTS, WHICH CONVEYED A FEELING THAT WAS IN THE GENERAL ESSENCE OF THE SPIRIT OF THE TIMES.

I THINK I MANAGED TO DO THAT.

I THOUGHT THAT, UH, I NEEDED TO PRESS ON, YOU KNOW, AND GET AS FAR INTO IT AS I COULD.

♪ ...IS BLOWIN' ♪ ♪ IN THE WIND ♪ [ APPLAUSE ] Peter Yarrow on stage: I WOULD LIKE TO SAY THAT HE HAS HIS FINGER ON THE PULSE OF OUR GENERATION.

BOB DYLAN.

[APPLAUSE] AND THERE WILL BE SINGING THROUGH THE NIGHT IN THE TOWN OF NEWPORT.

[ CROWD CHEERING ] [ FOOTSTEPS ] [ INDISTINCT CONVERSATIONS ] Dylan: "I'M LOOKING FOR A PLACE THAT WILL COLLECT, CLIP, BATH, AND RETURN MY DOG, KN1 7727, CIGARETTES AND TOBACCO."

"ANIMALS AND BIRDS BOUGHT OR SOLD ON COMMISSION."

I WANT A DOG THAT'S GOING TO COLLECT AND CLEAN MY BATH, RETURN MY CIGARETTE, AND GIVE TOBACCO TO MY ANIMALS AND THEN GIVE MY BIRDS A COMMISSION.

I WANT -- I'M LOOKING FOR SOMEBODY TO SELL MY DOG, COLLECT MY CLIP, BUY MY ANIMAL, AND STRAIGHTEN OUT MY BIRD.

I'M LOOKING FOR A PLACE TO BATHE MY BIRD, BUY MY DOG, COLLECT MY CLIP, SELL ME CIGARETTES, AND COMMISSION MY BATH.

I'M LOOKING FOR A PLACE THAT'S GOING TO COLLECT MY COMMISSION, SELL MY DOG, BURN MY BIRD, AND SELL ME TO THE CIGARETTE.

GOING TO BIRD MY BUY, COLLECT MY WILL, AND BATHE MY COMMISSION.

I'M LOOKING FOR A PLACE THAT'S GOING TO ANIMAL MY SOUL, KNIT MY RETURN, BATHE MY FOOT, AND COLLECT MY DOG.

COMMISSION ME TO SELL MY ANIMAL TO THE BIRD TO CLIP AND BUY MY BATH AND RETURN ME BACK TO THE CIGARETTES.

[ CROWD ROARING ] THESE ARE ALL PROTEST SONGS, NOW, COME ON.

THIS IS NOT BRITISH MUSIC.

IT'S AMERICAN MUSIC, NOW, COME ON.

[ CHEERING ] ♪♪ ♪ WHEN YOU'RE LOST IN THE RAIN IN JUAREZ ♪ ♪ AND IT'S EASTERTIME, TOO ♪ ♪ WHEN YOUR GRAVITY'S DOWN ♪ ♪ AND NEGATIVITY DON'T GET YOU THROUGH ♪ ♪ JUST DON'T PUT ON ANY AIRS ♪ ♪ WHEN YOU'RE DOWN ON RUE MORGUE AVENUE ♪ ♪ THEY GOT SOME HUNGRY WOMEN THERE ♪ ♪ AND THEY REALLY MAKE A MESS OUT OF YOU ♪ [ CAMERA SHUTTERS CLICK ] ♪ SWEET MELINDA ♪ ♪ THE PEASANTS CALL HER ♪ ♪ THE GODDESS OF GLOOM ♪ ♪ SHE SPEAKS GOOD ENGLISH ♪ MY LEFT FINGERTIP?

YEAH, LET ME FEEL IT.

GOD, MAN.

I WON'T LET YOU TOUCH... YEAH!

♪ PICKING UP ANGEL ♪ ♪ WHO JUST ARRIVED HERE FROM THE COAST ♪ ♪ WHO LOOKED SO FINE AT FIRST ♪ ♪ BUT LEFT LOOKING JUST LIKE A GHOST ♪ OH!

Woman: BOB!

PLEASE!

♪♪ EVERY SINGLE ONE OF THEM.

THAT'S, UH -- THAT'S ALL I DO, IS PROTEST.

[ CAMERA SHUTTER CLICKS ] Peter, Paul and Mary: ♪ HOW MANY ROADS ♪ ♪ MUST A MAN WALK DOWN ♪ ♪ BEFORE THEY CALL HIM ♪ ♪ A MAN?

♪ Yarrow: THE MARCH ON WASHINGTON WAS NOT ONLY A MOMENT OF EXTREME HOPEFULNESS, IT WAS A MOMENT OF THE CONFIRMATION OF THE POSSIBILITY OF THAT HOPE BECOMING A REALITY.

THAT WAS THE MOMENT OF RECOGNITION OF WHAT PEOPLE COULD DO TO CHANGE HISTORY.

Martin Luther King Jr.: I HAVE A DREAM THAT ONE DAY, THIS NATION WILL RISE UP AND LIVE OUT THE TRUE MEANING OF ITS CREED -- "WE HOLD THESE TRUTHS TO BE SELF-EVIDENT, THAT ALL MEN ARE CREATED EQUAL."

Dylan: I WAS UP CLOSE WHEN KING WAS GIVING THAT SPEECH.

TO THIS DAY, IT STILL AFFECTS ME IN A PROFOUND WAY.

I WOULD LIKE NOW TO INTRODUCE A YOUNG SINGER FROM NEW YORK, BOB DYLAN.

Dylan: I LOOKED OUT THE PODIUM, I LOOKED OUT AT THE CROWD, I REMEMBER THINKING TO MYSELF, MAN, I NEVER SEEN SUCH A LARGE CROWD.

♪ OH, THE TIME WILL COME UP ♪ ♪ WHEN THE WINDS WILL STOP ♪ ♪ AND THE BREEZE WILL CEASE TO BE BREATHIN' ♪ ♪ LIKE THE STILLNESS IN THE WIND ♪ ♪ OOH, AH ♪ ♪ BEFORE THE HURRICANE BEGINS ♪ ♪ THE HOUR THAT THE SHIP COMES IN ♪ King: FREE AT LAST!

FREE AT LAST!

THANK GOD ALMIGHTY, WE ARE FREE AT LAST!

Dylan: ♪ AND THE SHIP'S WISE MEN ♪ ♪ WILL REMIND YOU ONCE AGAIN ♪ ♪ THAT THE WHOLE WIDE WORLD ♪ ♪ IS WATCHING ♪♪ [ PLAYS HARMONICA ] Young: HE WOULD TAKE INDIVIDUALS AND INFUSE THEM WITH LIFE THAT YOU COULD UNDERSTAND.

SO EVEN IF HE NEVER CONSIDERED HIMSELF A PROTEST SINGER, HE WAS A PROTEST SINGER.

AND HE SAW WHAT WAS HAPPENING ALL AROUND HIM, AND EVERYBODY ELSE SAW WHAT WAS HAPPENING ALL AROUND THEM, BUT HE VOICED THAT FOR THE FIRST TIME.

Dylan: "A HARD RAIN'S GONNA FALL" MEANS SOMETHING'S GONNA HAPPEN.

[ APPLAUSE ] ♪♪ ♪ OH, WHERE HAVE YOU BEEN, MY BLUE-EYED SON?

♪ ♪ AND WHERE HAVE YOU BEEN ♪ ♪ MY DARLING YOUNG ONE?

♪ ♪ I'VE STUMBLED ON THE SIDE ♪ ♪ OF TWELVE MISTY MOUNTAINS ♪ ♪ I'VE WALKED AND I'VE CRAWLED ♪ ♪ ON SIX CROOKED HIGHWAYS ♪ ♪ I'VE STEPPED IN THE MIDDLE ♪ ♪ OF SEVEN SAD FORESTS ♪ ♪ I'VE BEEN OUT IN FRONT OF ♪ ♪ A DOZEN DEAD OCEANS ♪ ♪ I'VE BEEN 10,000 MILES ♪ ♪ IN THE MOUTH OF A GRAVEYARD ♪ ♪ AND IT'S A HARD ♪ ♪ AND IT'S A HARD ♪ ♪ AND IT'S A HARD ♪ ♪ AND IT'S A HARD ♪ [ GUNSHOT ] Announcer: OSWALD HAS BEEN SHOT!

Dylan: ♪ RAIN'S ♪ ♪ A-GONNA FALL ♪ Yarrow: WE WERE GOING TO MAKE THIS WORLD A DECENT, BETTER PLACE, BUT THAT LOSS, I THINK IT TRAUMATIZED THE NATION TERRIBLY.

THE EMERGENCY CIVIL LIBERTIES UNION WAS PEOPLE WHO WERE REALLY DEEPLY INVOLVED IN PROGRESSIVE POLITICS, WERE IDEALISTS, AND HAD A DREAM ABOUT FAIRNESS AND JUSTICE.

WELL, HERE'S BOBBY, HE'S 21 YEARS OLD OR WHATEVER, HE GETS UP THERE AND THEY'RE GIVING HIM AN AWARD, AND HIS DISCOMFORT WAS EXTRAORDINARY.

AND HE POINTED HIS FINGER AT THEM AND HE SAID -- Scorsese as Dylan: I HAVEN'T GOT ANY GUITAR.

I CAN TALK, THOUGH.

I WANT TO THANK YOU FOR THE TOM PAINE AWARD ON BEHALF OF EVERYBODY THAT WENT DOWN TO CUBA.

FIRST OF ALL, BECAUSE THEY'RE ALL YOUNG AND IT TOOK ME A LONG TIME TO GET YOUNG, AND NOW I CONSIDER MYSELF YOUNG, AND I'M PROUD OF IT.

I'M PROUD THAT I'M YOUNG.

AND I ONLY WISH THAT ALL YOU PEOPLE WHO ARE SITTING OUT HERE TONIGHT WEREN'T HERE, AND I COULD SEE ALL KINDS OF FACES WITH HAIR ON THEIR HEAD, AND EVERYTHING LIKE THAT, EVERYTHING -- EVERYTHING LEADING TO YOUNGNESS.

Dylan: YOU KNOW, THEY WERE TRYING TO BUILD ME UP AS A TOPICAL SONGWRITER.

I WAS NEVER A TOPICAL SONGWRITER TO BEGIN WITH.

FOR WHATEVER REASON THEY WERE DOING IT, WAS REASONS NOT REALLY -- THAT DIDN'T REALLY APPLY TO ME.

Scorsese as Dylan: OLD PEOPLE, WHEN THEIR HAIR GROWS OUT, THEY SHOULD GO OUT.

I LOOK DOWN TO SEE THE PEOPLE THAT ARE GOVERNING ME AND MAKING MY RULES, AND THEY HAVEN'T GOT ANY HAIR ON THEIR HEAD.

I GET VERY UPTIGHT ABOUT IT.

THERE'S NO BLACK AND WHITE, LEFT AND RIGHT TO ME ANYMORE, THERE'S ONLY UP AND DOWN.

AND DOWN IS VERY CLOSE TO THE GROUND, AND I'M TRYING TO GO UP, WITHOUT THINKING ABOUT ANYTHING TRIVIAL, SUCH AS POLITICS.

THE EVENING THAT DYLAN WAS GIVEN THE FREEDOM AWARD FROM THE EMERGENCY CIVIL LIBERTIES COMMITTEE, APPARENTLY, HE GOT UP, STOOD ON HIS HIND LEGS, AND SAID HE WAS NOT A POLITICAL POET AND NOBODY'S LEFT-WING SERVANT, BUT AN INDEPENDENT MINSTREL OR SOMETHING.

AND ASTONISHED AND PISSED EVERYBODY OFF BY NOT BEING A NICE TRAINED SEAL.

PEOPLE WERE EXPECTING HIM TO GIVE THE SAME THING OVER AND OVER AGAIN, AND IN A PRECISE MANNER AND A PRECISE THEORY AND IN A PRECISE WAY, AND IT GOT CREEPY, BECAUSE WHY SHOULD YOU HAVE TO PUSH YOURSELF INTO A TUNNEL THAT ISN'T YOURS?

YOU'RE DRIVING ALONG AND ALL THESE ROADS ARE APPARENT.

WHY DO YOU HAVE TO TAKE THAT TUNNEL AND GO IN?

AND IT'S LITERALLY A TUNNEL, BECAUSE IT'S POLITICAL IN ITS THEORY.

WHEREAS YOU'RE OUT THERE, DRIVING AROUND, WITH ALL THIS OTHER SCENERY GOING ON, AND THAT'S WHAT YOU'RE BRINGING OUT.

I WAS LIKE AN OUTSIDER ANYWAY.

I'D COME TO TOWN AS AN OUTSIDER, AND I STILL, IN A LOT OF WAYS, I WAS STILL MORE OUTSIDE THAN I EVER WAS, REALLY.

THEY WERE TRYING TO MAKE ME AN INSIDER TO SOME KIND OF TRIP THEY WERE ON.

I DON'T THINK SO.

♪♪ ♪ THROUGH THE MAD MYSTIC HAMMERING ♪ ♪ OF THE WILD RIPPING HAIL ♪ ♪ THE SKY CRACKED ITS POEMS ♪ ♪ IN NAKED WONDER ♪ ♪ THAT THE CLINGING OF THE CHURCH BELLS ♪ ♪ BLEW FAR INTO THE NIGHT ♪ ♪ LEAVING ONLY BELLS OF LIGHTNING ♪ ♪ AND ITS THUNDER ♪ ♪ STRIKING FOR THE GENTLE ♪ ♪ STRIKING FOR THE KIND ♪ ♪ STRIKING FOR THE GUARDIANS ♪ ♪ AND PROTECTORS OF THE MIND ♪ ♪ AND THE POET AND THE PAINTER ♪ ♪ WHO LIGHTS UP HIS RIGHTFUL TIME ♪ ♪ AND WE GAZED UPON ♪ ♪ THE CHIMES OF FREEDOM FLASHING ♪♪ Muldaur: BOB HAD A CONCERT AT THE SANTA MONICA CIVIC AUDITORIUM, WHERE HE TOLD EVERYBODY HOW HE AND NEUWIRTH AND THEM HAD TRAVELED ACROSS THE COUNTRY.

AND HE SANG "CHIMES OF FREEDOM FLASHING," AND IT WAS INCREDIBLE.

[ SHOUTING AND APPLAUSE ] Muldaur: AFTER THE CONCERT, ALL OF A SUDDEN, WE FOUND OURSELVES TRAPPED.

THERE WAS A PRESS OF PEOPLE OUTSIDE.

WE MADE IT INTO THE STATION WAGON, AND THEN ALL THE PEOPLE CAME RUSHING OVER TO THE STATION WAGON.

AND WE SLOWLY STARTED TO MOVE THE STATION WAGON OUT.

AND I TURNED AROUND AND SAW THERE WAS AN AMP AND THERE'S GUITARS AND THERE'S SUITCASES IN THE BACK WITH A LITTLE TARP OVER IT, AND I SAW THE TARP MOVING.

TWO YOUNG GIRLS STOWED AWAY UNDER THE TARP, SO WE HAD TO STOP AND GENTLY EJECT THEM, AND, OF COURSE, THEN, ALL THE PEOPLE WERE PRESSING AROUND.

[ CROWD ROARING ] Man: BOBBY!

Muldaur: ALL OF A SUDDEN, HE HAD BECOME AN IDOL.

THAT WAS THE BEGINNING OF PEOPLE WANTING MORE FROM HIM, YOU KNOW, AS IF JUST THE SONGS WEREN'T ENOUGH.

EVERYBODY WANTED TO SLEEP WITH BOBBY, TO GET HIGH WITH BOBBY.

THE REVERENCE WAS FOR BOBBY, BUT IT WAS ALSO FOR WHAT HE HAD CREATED, AND EVERYBODY WANTED TO GET CLOSE TO IT.

THE DESIRE TO BE NEXT TO HIM PRODUCED A HUGE MAGNET WHICH DREW EVERYBODY, YOUNG AND OLD.

Steve Allen: GENIUS MAKES ITS OWN RULES, AND DYLAN IS A GENIUS, A SINGING CONSCIENCE AND MORAL REFEREE, AS WELL AS A PREACHER.

HE'S ALSO A VERY EMBARRASSED YOUNG MAN NOW, BECAUSE IT'S ALWAYS EMBARRASSING TO SIT THERE WITH YOUR FEET IN CEMENT WHILE SOMEBODY COMPLIMENTS YOU, EITHER CASUALLY OR LAVISHLY.

BUT, UH -- I'VE BEEN READING A NUMBER OF STORIES ABOUT BOB THIS AFTERNOON, AND THEY ARE ALL OF THAT ORDER.

A COMMENT IN BILLBOARD, THE TRADE PUBLICATION, SAYS, "DYLAN'S POETRY IS BORN OF A PAINFUL AWARENESS "OF THE TRAGEDY THAT UNDERLIES THE CONTEMPORARY HUMAN CONDITION."

BOB, DO YOU SING PARTLY YOUR OWN SONGS AND PARTLY OTHER PEOPLE'S, OR WHERE DO YOU GET YOUR MATERIAL?

WELL, THEY'RE ALL MINE NOW.

YOU SING ALL YOUR OWN MATERIAL?

AND HOW LONG HAVE YOU BEEN WRITING YOUR OWN MUSIC?

UH -- FOR ABOUT TWO YEARS.

[ PLAYING HARMONICA ] Woman: HE CAME TO BE AS HE IS BECAUSE THINGS NEEDED SAYING AND THE YOUNG PEOPLE WERE THE ONES WHO WANTED TO SAY THEM.

HE SOMEHOW HAD AN EAR ON HIS GENERATION.

I DON'T HAVE TO TELL YOU, YOU KNOW HIM, HE'S YOURS -- BOB DYLAN.

♪ I AIN'T LOOKIN' TO COMPETE WITH YOU ♪ ♪ BEAT OR CHEAT OR MISTREAT YOU ♪ ♪ SIMPLIFY YOU, CLASSIFY YOU ♪ ♪ DENY, DEFY, OR CRUCIFY YOU ♪ ♪ ALL I REALLY WANT TO DO ♪ ♪ IS, BABY, BE FRIENDS WITH YOU ♪ ♪♪ I WANT TO SAY THANK YOU.

I WANT TO SAY THANK YOU.

I WANT TO SAY THANK YOU.

I LOVE YOU.

[ CHUCKLES ] ♪ WELL, IT AIN'T NO USE TO SIT AND WONDER WHY, BABY ♪ ♪ IF YOU DON'T KNOW BY NOW ♪ Dylan: JOHNNY CASH WAS MORE LIKE A RELIGIOUS FIGURE TO ME.

AND THERE HE WAS AT NEWPORT, YOU KNOW, STANDING SIDE BY SIDE.

AND MEETING HIM WAS THE HIGH THRILL OF A LIFETIME.

AND JUST THE FACT THAT HE HAD SUNG ONE OF MY SONGS WAS JUST, UH -- WAS UNTHINKABLE.

Glover: JOHNNY CASH AND JUNE CARTER CAME BY AFTER BOB HAD PUT A COUPLE OR THREE TUNES ON TAPE FOR HIM, THIS LITTLE PORTABLE MACHINE.

JOHNNY CALLED HIM OUT IN THE HALL AND BOB CAME BACK IN A FEW MINUTES LATER AND HE WAS HOLDING THIS GUITAR AND HE SAYS, "HE GAVE ME HIS GUITAR."

NEUWIRTH WAS SAYING, WOW, THAT'S AN OLD COUNTRY TRADITION.

IF SOMEBODY GIVES YOU A GUITAR, THAT'S A BIG HONOR, YOU KNOW?

THIS IS CALLED, "HEY, MR. TAMBOURINE MAN, PLEASE PLAY A SONG FOR ME."

[ PLAYING HARMONICA ] ♪ HEY, MR. TAMBOURINE MAN, PLAY A SONG FOR ME ♪ ♪ I'M NOT SLEEPY AND THERE IS NO PLACE I'M GOING TO ♪ ♪ HEY, MR. TAMBOURINE MAN, PLAY A SONG FOR ME ♪ ♪ IN THE JINGLE JANGLE MORNING, I'LL COME FOLLOWING YOU ♪ ♪ THOUGH I KNOW THAT EVENING'S EMPIRE ♪ ♪ HAS RETURNED INTO SAND ♪ ♪ VANISHED FROM MY HAND ♪ ♪ LEFT ME BLINDLY HERE TO STAND ♪ ♪ BUT STILL NOT SLEEPING ♪ ♪ MY WEARINESS AMAZES ME ♪ ♪ I'M BRANDED ON MY FEET ♪ ♪ I HAVE NO ONE TO MEET ♪ ♪ AND THE ANCIENT EMPTY STREET'S TOO DEAD FOR DREAMING ♪ Leventhal: WHEN BOB BEGAN TO IGNORE TOPICAL MATERIAL, IT BOTHERED ME, BECAUSE HE WROTE SUCH MARVELOUS MATERIAL, YOU KNOW?

AND SUDDENLY TO STOP THAT MEANT THAT HE WAS GOING AWAY FROM A POLITICAL CONSCIOUSNESS THAT WE FELT WE ALL HAD.

ONE CAN ATTRIBUTE THAT AS GOING COMMERCIAL, AS GETTING AWAY FROM THIS, AND THAT BOTHERED US.

♪ AND TAKE ME DISAPPEARING ♪ ♪ THROUGH THE SMOKE RINGS OF MY MIND ♪ ♪ DOWN THE FOGGY RUINS OF TIME ♪ ♪ FAR PAST THE FROZEN LEAVES ♪ ♪ THE HAUNTED, FRIGHTENED TREES ♪ ♪ OUT TO THE WINDY BEACH ♪ ♪ FAR FROM THE TWISTED REACH OF CRAZY SORROW ♪ ♪ YES, TO DANCE BENEATH A DIAMOND SKY ♪ ♪ WITH ONE HAND WAVING FREE ♪ ♪ SILHOUETTED BY THE SEA ♪ ♪ CIRCLED BY THE CIRCUS SANDS ♪ ♪ WITH ALL MEMORY AND FATE ♪ ♪ DRIVEN DEEP BENEATH THE WAVES ♪ ♪ LET ME FORGET ABOUT TODAY ♪ ♪ UNTIL TOMORROW ♪ AN ARTIST HAS GOT TO BE CAREFUL NEVER REALLY TO ARRIVE AT A PLACE WHERE HE THINKS HE'S AT SOMEWHERE.

YOU ALWAYS HAVE TO REALIZE THAT YOU'RE CONSTANTLY IN THE STATE OF BECOMING, YOU KNOW?

AND AS LONG AS YOU CAN STAY IN THAT REALM, YOU'LL SORT OF BE ALL RIGHT.

I CAN'T SELF-ANALYZE MY OWN WORK, AND I WASN'T GOING TO CATER TO THE CROWD BECAUSE I KNEW CERTAIN PEOPLE WOULD LIKE IT AND CERTAIN PEOPLE DIDN'T LIKE IT.

I MEAN, I HAD GOTTEN IN THE DOOR WHEN NO ONE WAS LOOKING.

I WAS IN THERE NOW, AND THERE WAS NOTHING ANYBODY FROM THEN ON COULD EVER DO ABOUT IT.

THERE'S A TIME WHEN THE OPERATION OF THE MACHINE BECOMES SO ODIOUS, MAKES YOU SO SICK AT HEART, THAT YOU CAN'T TAKE PART, YOU CAN'T EVEN PASSIVELY TAKE PART, AND YOU'VE GOT TO PUT YOUR BODIES UPON THE GEARS AND UPON THE WHEELS, UPON THE LEVERS, UPON ALL THE APPARATUS AND YOU'VE GOT TO MAKE IT STOP AND YOU'VE GOT TO INDICATE TO THE PEOPLE WHO RUN IT, TO THE PEOPLE WHO OWN IT, THAT UNLESS YOU'RE FREE, THE MACHINE WILL BE PREVENTED FROM WORKING AT ALL!

[ CROWD CHEERS ] Reporter: THE POLICE HAVE GOT MARIO AWAY, THEY ARE PULLING HIM AWAY FROM THE SCENE.

THE POLICE HAVE PULLED MARIO AWAY FROM THE -- Yarrow: ALL OF US FELT THAT THOSE FOLKS BEFORE DIDN'T GET IT.

WE WERE SURROUNDED BY PEOPLE WHO WERE INSENSITIVE TO THE NEED FOR CHANGE, AND THAT'S WHY PETER, PAUL AND MARY AND BOB DYLAN AND JOAN BAEZ -- ALL OF WHOM WERE ABOUT THE SAME AGE -- WERE PUT IN POSITIONS OF LEADERSHIP, BECAUSE THERE WAS AN IDENTIFICATION AMONGST THE COLLEGE STUDENTS.

Dylan: I FELT IT ALL OVER AMERICA.

YOU KNOW, WHEREVER IN AMERICA YOU WENT, YOU FELT THAT THINGS WERE HAPPENING IN AN OLYMPIAN TYPE OF WAY, WHICH, CHILDREN WERE BEYOND THEIR PARENTS' COMMAND.

Man: HE TRIED TO EXERCISE FREE SPEECH!

Neuwirth: SOMETIME AROUND THAT PERIOD OF TIME, I WAS PAINTING IN BERKELEY AND THE PHONE RANG.

AND I THINK THIS WAS 1964.

THE PHONE RANG, IT WAS BOB, AND HE SAID, "I HAVE TO DO THESE SHOWS.

DO YOU WANT TO COME?"

I SAID, "WELL, I'M PAINTING PICTURES."

HE SAID, "I'LL BUY YOU A LEATHER JACKET AND..." HE SAID, "ALL THE PAINT YOU NEED."

THE NEXT THING I KNEW, YOU KNOW, I GOT ON A PLANE AND I FLEW TO NEW YORK.

IN THOSE DAYS, ARTISTIC SUCCESS WAS NOT DOLLAR-DRIVEN.

IT WAS, YOU KNOW -- THOSE WERE SIMPLER TIMES.

IF YOU HAD SOMETHING TO SAY -- WHICH WAS BASICALLY THE WAY PEOPLE WERE RATED, YOU KNOW.

THEY WOULD SAY, "HAVE YOU SEEN ORNETTE COLEMAN?"

"DOES HE HAVE ANYTHING TO SAY?"

AND IT WAS THE SAME WITH, LIKE, WITH BOB OR ANYBODY ELSE, YOU KNOW, DID THEY HAVE ANYTHING TO SAY OR NOT?

♪ DARKNESS AT THE BREAK OF NOON ♪ ♪ SHADOWS, EVEN THE SILVER SPOON ♪ ♪ THE HANDMADE BLADE, THE CHILD'S BALLOON ♪ ♪ ECLIPSES BOTH THE SUN AND MOON ♪ ♪ TO UNDERSTAND YOU KNOW TOO SOON ♪ ♪ THERE IS NO SENSE IN TRYING ♪ [ STRUMMING ] ♪ AS POINTED THREATS, THEY BLUFF WITH SCORN ♪ ♪ SUICIDE REMARKS ARE TORN ♪ ♪ FROM THE FOOL'S GOLD MOUTHPIECE, THE HOLLOW HORN ♪ ♪ PLAYS WASTED WORDS, PROVES TO WARN ♪ ♪ THAT HE NOT BUSY BEING BORN IS BUSY DYING ♪ [ STRUMMING ] Neuwirth: NOBODY HAD HEARD ANYTHING LIKE THIS BEFORE.

NO ONE HAD HEARD ANYTHING LIKE THIS BEFORE.

THERE WAS A WORD OF MOUTH.

AND, BY THE WAY, A CROWD OF 1,200 PEOPLE ISN'T THAT BIG A CROWD, IF YOU STOP AND THINK ABOUT IT.

THAT'S ABOUT HOW MANY PEOPLE ARE WAITING FOR THE D TRAIN AT SHERIDAN SQUARE RIGHT NOW.

♪ WHILE PREACHERS PREACH OF EVIL FATES ♪ ♪ TEACHERS TEACH THAT KNOWLEDGE WAITS ♪ ♪ CAN LEAD TO HUNDRED-DOLLAR PLATES ♪ ♪ GOODNESS HIDES BEHIND ITS GATES ♪ ♪ BUT EVEN THE PRESIDENT OF THE UNITED STATES ♪ ♪ SOMETIMES MUST HAVE TO STAND NAKED ♪ Ginsberg: AROUND THAT TIME, HE ASKED ME IF I WANTED TO GO WITH HIM TO -- HE HAD A DATE IN CHICAGO.

DID I WANT TO COME ALONG?

WHAT STRUCK ME WAS THAT HE WAS AT ONE, OR BECAME IDENTICAL WITH, HIS BREATH.

AND DYLAN HAD BECOME A COLUMN OF AIR, SO TO SPEAK, AT CERTAIN MOMENTS, WHERE HIS TOTAL PHYSICAL AND MENTAL FOCUS WAS THIS SINGLE BREATH COMING OUT OF HIS BODY.

HE HAD A FOUND A WAY IN PUBLIC TO BE ALMOST LIKE A SHAMAN, WITH ALL OF HIS INTELLIGENCE AND CONSCIOUSNESS FOCUSED ON HIS BREATH.

♪ SO DON'T FEAR ♪ ♪ IF YOU HEAR ♪ ♪ A FOREIGN SOUND TO YOUR EAR ♪ ♪ IT'S ALRIGHT, MA ♪ ♪ I'M ONLY SIGHING ♪ Glover: HE WAS DOING MORE AND MORE PROSE WRITING, I THINK, AT THE TIME, TOO.

I THINK HE WAS SPENDING MORE TIME ACTUALLY SITTING DOWN WRITING STUFF THAT HE WASN'T NECESSARILY GOING TO SING, AND THEN FINDING OUT THAT SOME OF THAT COULD BE SUNG AS WELL.

Dylan: ♪ OF WAR AND PEACE ♪ ♪ THE TRUTH JUST TWISTS ♪ ♪ ITS CURFEW GULL JUST GLIDES ♪ ♪ UPON FOUR-LEGGED FOREST CLOUDS ♪ ♪ THE COWBOY ANGEL RIDES ♪ THE IDEAL PERFORMANCES OF THE SONGS WOULD THEN COME ON STAGES THROUGHOUT THE WORLD.

VERY FEW COULD BE FOUND ON ANY OF MY RECORDS.

EVERY, EVERY SECOND, EVERY, EVERY -- YOU KNOW, REACHING THE AUDIENCE IS WHAT IT'S ALL ABOUT.

♪ ALL EXCEPT WHEN 'NEATH THE TREES OF EDEN ♪♪ [ STRUMMING ] Baez: THERE ARE NO VEILS, CURTAINS, DOORS, WALLS -- ANYTHING -- BETWEEN WHAT POURS OUT OF BOB'S HAND ONTO THE PAGE, AND WHAT IS SOMEHOW AVAILABLE TO THE CORE OF PEOPLE WHO ARE BELIEVERS IN HIM.

SOME PEOPLE ARE, YOU KNOW, NOT INTERESTED.

BUT IF THEY'RE INTERESTED, HE GOES WAY, WAY DEEP.

Dylan: ♪ GO AWAY FROM MY WINDOW ♪ [ APPLAUSE ] ♪ LEAVE AT YOUR OWN CHOSEN SPEED ♪ Baez: A TYPICAL EVENING.

I GUESS THERE WOULD BE SOUND CHECK, AND THERE WOULD BE ME DEALING WITH WHAT KIND OF MOOD BOB WAS GOING TO BE IN.

I WAS ALREADY DOING THAT, YOU KNOW.

AND WHEN HE WAS CHEERFUL AND UP, IT WAS JUST SPECTACULAR.

AND IF HE WAS DARK, THERE WASN'T ANY WAY TO REACH HIM.

Dylan: ♪ NEVER WEAK, BUT ALWAYS STRONG ♪♪ Baez: BOB SEEMED TO IGNORE WHATEVER WAS COMING TOWARDS HIM.

HE COULD LITERALLY -- AND I'D SEEN HIM DO IT -- TURN HIS BACK AND PLAY A WHOLE SONG, PLAY TWO SONGS, FIDDLING AROUND WITH THE EQUIPMENT ON THE STAGE AND NEVER EVEN LOOK AT THE PUBLIC.

AND IT DOESN'T MAKE THE SLIGHTEST BIT OF DIFFERENCE IN THE MAGNETIC DRAW.

IT'S AS THOUGH THE PUBLIC WASN'T EVEN THERE, HE'S JUST GOING TO DO WHAT HE'S GOING TO DO, AND HE HAS TO CHANGE AND HE HAS TO KEEP MOVING AND HE HAS TO ADD THIS AND HE HAS TO CRANK THE SOUND.

AND IF YOU EVER WORK WITH HIM -- IF HE DID THE SONG THE NIGHT BEFORE AS A WALTZ, TONIGHT, HE'S GOING TO DO IT IN 2/4 TIME JUST TO [BLEEP] YOU UP, YOU KNOW?

AND SO, WITH SOMEBODY WHO MOVES LIKE THAT, I NOW SEE IT, THAT IT'S VERY UNIQUE AND IT'S ADMIRABLE, AND IT'S A PAIN IN THE ASS IF YOU'RE TRYING TO WORK WITH HIM.

OR IT'S A PAIN IN THE ASS IF YOU WERE EXPECTING SOMETHING ELSE FROM HIM.

IF EVERYBODY REALLY LISTENED TO HIS OWN CONSCIENCE AND REALLY ACTED UPON WHAT HE THOUGHT WAS RIGHT AND WRONG, RATHER THAN BEING SO HOPELESSLY PASSIVE -- WHICH I THINK JUST ABOUT EVERYBODY IS.

I THINK IT'S PROBABLY THE MAIN DISEASE, IS THE PASSIVITY, WHERE WE WILL LISTEN TO WHATEVER ANYBODY ELSE SAYS.

IT'S DADDY AND MOMMY AND SCHOOLTEACHER AND SUNDAY SCHOOL TEACHER AND PRESIDENT.

[ NEWS THEME SONG PLAYS ] Morley Safer: THIS IS WHAT THE WAR IN VIETNAM IS ALL ABOUT.

[ MAN SPEAKING VIETNAMESE ] THE OLD AND THE VERY YOUNG.

THE MARINES ARE BURNING THIS OLD COUPLE'S COTTAGE BECAUSE FIRE WAS COMING FROM HERE.

THE DAY'S OPERATION BURNED DOWN 150 HOUSES, WOUNDED THREE WOMEN, KILLED ONE BABY, WOUNDED ONE MARINE, AND NETTED THESE FOUR PRISONERS, FOUR OLD MEN WHO COULD NOT ANSWER QUESTIONS PUT TO THEM IN ENGLISH.

Baez: ♪ HUSH, LITTLE BABY ♪ ♪ DON'T YOU CRY ♪ ♪ YOU KNOW YOUR MOTHER ♪ ♪ WAS BORN TO DIE ♪ ♪ ALL MY TRIALS, LORD ♪ ♪ WILL SOON BE OVER ♪♪ Baez: I WAS FEELING THIS POLITICAL PULL VERY, VERY STRONGLY, AND I WAS THINKING WHAT THE TWO OF US COULD DO TOGETHER, YOU KNOW, AS FAR AS ANY KIND OF MOVEMENT AND THAT.

AND SO WE -- OUR TOUR HAD COME TO AN END, AND BOB SAID SOMETHING LIKE, HEY, WE OUGHT TO DO CARNEGIE HALL OR SOME BIG PLACE LIKE THAT.

AND I SAID, "WHAT ARE WE GOING TO DO WITH IT?"

[ CHUCKLES ] AND THAT'S A PRETTY COLD THING TO SAY.

BUT THEN, WE DID TALK ABOUT, YOU KNOW, THAT HE WANTED TO DO HIS MUSIC AND I WANTED TO DO ALL THIS OTHER STUFF, AND HE SAID HE DIDN'T WANT TO DO ALL THAT OTHER STUFF, YOU KNOW, SO THAT'S PRETTY CLEAR.

AND I -- YEAH, I WAS DISAPPOINTED.

♪ OH, MY NAME, IT IS NOTHING ♪ ♪ MY AGE, IT MEANS LESS ♪ I MEAN, HE'D GIVEN US, BY THAT POINT, THE GREATEST SONGS IN OUR ANTI-WAR/ CIVIL-RIGHTS ARSENALS.

THIRTY-SOME YEARS, WHENEVER I'D GO TO A MARCH OR A SIT-IN OR A LIE-IN OR A BE-IN OR A JAIL-IN, PEOPLE WOULD SAY, "IS BOB COMING?!"

I'D SAY, "HE NEVER COMES, YOU MORON."

YOU KNOW, WHEN ARE YOU GOING TO GET IT?

NEVER DID, PROBABLY NEVER WILL.

AND SO, I THINK HE -- I THINK HE COULDN'T HAVE WRITTEN SONGS LIKE THE ONES HE WROTE IF HE DIDN'T FEEL GENERALLY, I THINK, SORT OF FOR THE UNDERDOG, BUT I THINK THAT HE DIDN'T WANT TO HAVE TO BE THE GUY PEOPLE WERE GOING TO GO TO.

I MEAN, TIMES THEN WERE CUT AND DRY -- YOU WERE EITHER FOR THE WAR OR YOU WERE AGAINST IT.

YOU EITHER HATED NIGGERS OR, YOU KNOW, OR YOU SUPPORTED KING.

AND YOU HAD -- YOU WERE FORCED TO TAKE A SIDE.

[ GUITAR PLAYS "SUBTERRANEAN HOMESICK BLUES" ] ♪ JOHNNY'S IN THE BASEMENT MIXIN' UP THE MEDICINE ♪ ♪ I'M ON THE PAVEMENT THINKIN' ABOUT THE GOVERNMENT ♪ ♪ A MAN IN A TRENCHCOAT, BADGE OUT, LAID OFF ♪ ♪ SAYS HE'S GOT A BAD COUGH, WANTS TO GET IT PAID OFF ♪ ♪ LOOK OUT, KID, IT'S SOMETHING YOU DID ♪ ♪ GOD KNOWS WHEN, BUT YOU'RE DOIN' IT AGAIN ♪ ♪ YOU BETTER DUCK DOWN THE ALLEY WAY ♪ ♪ LOOKIN' FOR A NEW FRIEND ♪ ♪ THE MAN IN THE COONSKIN CAP IN A PIGPEN ♪ ♪ WANTS ELEVEN DOLLAR BILLS, YOU ONLY GOT TEN ♪ [ PLAYING HARMONICA ] ♪ MAGGIE COMES FLEET FOOT, FACE FULL OF BLACK SOOT ♪ ♪ TALKING THAT THE HEAT PUT PLANTS IN THE BED BUT ♪ ♪ PHONE'S TAPPED ANYWAY, MAGGIE SAYS THAT MANY SAY ♪ ♪ THEY MUST BUST IN EARLY MAY, ORDERS FROM THE D.A.

♪ ♪ LOOK OUT, KID, DON'T MATTER WHAT YOU DID ♪ ♪ WALK ON YOUR TIPTOES, DON'T TIE NO BOWS ♪ ♪ BETTER STAY AWAY FROM THOSE THAT CARRY AROUND A FIRE HOSE ♪ ♪ KEEP A CLEAN NOSE, WATCH THE PLAINCLOTHES ♪ ♪ YOU DON'T NEED A WEATHERMAN ♪ ♪ TO KNOW WHICH WAY THE WIND BLOWS ♪ WORDS HAVE THEIR OWN MEANING, OR THEY HAVE DIFFERENT MEANINGS, AND THEN, ALL -- AND WORDS CHANGE THEIR MEANINGS.

WORDS THAT MEANT SOMETHING TEN YEARS AGO DON'T MEAN THAT NOW, THEY MEAN SOMETHING ELSE.

♪ DON'T STEAL, DON'T LIFT -- TWENTY YEARS OF SCHOOLIN' ♪ ♪ AND THEY PUT YOU ON THE DAY SHIFT ♪ ♪ LOOK OUT, KID, THEY KEEP IT ALL HID ♪ ♪ BETTER JUMP DOWN A MANHOLE, LIGHT YOURSELF A CANDLE ♪ ♪ DON'T WEAR SANDALS, TRY TO AVOID THE SCANDALS ♪ ♪ DON'T WANT TO BE A BUM, YOU BETTER CHEW GUM ♪ ♪ THE PUMP DON'T WORK ♪ ♪ 'CAUSE THE VANDALS TOOK THE HANDLES ♪ [ PLAYING HARMONICA ] "SUBTERRANEAN HOMESICK BLUES," I MEAN, I DON'T THINK I WOULD HAVE WANTED TO DO IT ALL BY MYSELF.

I THOUGHT I'D GET MORE POWER OUT OF IT, YOU KNOW, WITH A SMALL GROUP IN BACK OF ME.

IT WAS ELECTRIC, BUT THAT DOESN'T NECESSARILY MEAN THAT IT'S MODERNIZED, JUST BECAUSE IT'S ELECTRIC, YOU KNOW?

IT WAS -- YOU KNOW, LIKE COUNTRY MUSIC WAS ELECTRIC, TOO.

♪ I AIN'T GONNA WORK ON MAGGIE'S FARM NO MORE ♪ Langhorne: THE "BRINGING IT ALL BACK HOME" SESSION WAS REALLY FUN, BECAUSE IT WAS THIS SORT OF SPONTANEOUS, TELEPATHIC THING, YOU KNOW?

LIKE HE MIGHT HAVE, YOU KNOW, PLAYED THROUGH A SONG VERY BRIEFLY, AND THAT WAS ALL THE REHEARSAL OR PREPARATION THAT ANYONE HAD FOR THE SONGS.

EVERYONE WAS REALLY GOOD, EVERYONE WAS REALLY FUNKY, YOU KNOW, EVERYONE HAD A GREAT TIME, AND, YOU KNOW, AND EVERYONE REALLY GOT BEHIND BOBBY'S SONGS.

IT WAS ALMOST LIKE JUST GETTING TOGETHER AND JAMMING, WITHOUT A -- YOU KNOW, WITHOUT ANY MANDATE OR ANY CHARTS OR ANYTHING.

Dylan: ♪ I WAS RIDING ON THE MAYFLOWER ♪ ♪ WHEN I THOUGHT I SPIED SOME LAND ♪ [ LAUGHING ] Langhorne: HE WAS PLAYING ALL BY HIMSELF AT FIRST.

AND THEN, HE STOPPED AND EVERYBODY LAUGHED, AND THEN, TWO SECONDS LATER, HE STARTED IT AGAIN AND EVERYBODY CAME IN, JUST, BANG, LIKE GANGBUSTERS.

Dylan: ♪ I WAS RIDING ON THE MAYFLOWER ♪ ♪ WHEN I THOUGHT I SPIED SOME LAND ♪ ♪ I YELLED FOR CAPTAIN AHAB, I'LL HAVE YA UNDERSTAND ♪ ♪ WHO CAME RUNNING TO THE DECK ♪ ♪ SAID, BOYS, FORGET THE WHALE ♪ ♪ LOOK ON OVER YONDER ♪ ♪ CUT THE ENGINES, CHANGE THE SAIL ♪ ♪ HAUL ON THE BOWLINE -- WE SANG THAT MELODY ♪ ♪ LIKE ALL TOUGH SAILORS DO WHEN THEY'RE FAR AWAY AT SEA ♪♪ I MEAN, THE WHOLE CULTURE HAS MOVED AND CHANGED.

THIS IS REALLY WHAT WE'RE ANNOUNCING.

THE ENTIRE CULTURE, BOTH IN AMERICA AND ENGLAND, HAS CHANGED.

THERE'S A WHOLE NEW GENERATION THAT'S GROWN UP, EVERYBODY.

Woman: DO THE PEOPLE AT THE MUSEUM OF MODERN ART AND THE METROPOLITAN KNOW ABOUT THIS, DO YOU THINK?

DO THEY KNOW CULTURE'S CHANGED, THAT THERE'S A NEW GENERATION?

Ginsberg: WELL, THEY HAVE BEEN IN THE FOREGROUND OF SHOWING ALL THIS NEW POP ART THEMSELVES, YOU KNOW?

WARHOL WILL BE IN ALBERT HALL, AND WARHOL'S ON THE WALLS OF THE MUSEUM OF MODERN ART FOR THE LAST FIVE YEARS.

♪♪ Ginsberg: THERE WERE SIGNS OF NEW LIFE, YOU KNOW, OF ANOTHER GENERATION PICKING UP A REVOLUTION AND CONSCIOUSNESS.

A BLOODLESS REVOLUTION, YOU KNOW, LIKE THE FIRST REVOLUTION THAT NEVER SHED ANY BLOOD.

THAT WAS THE IMPORTANT THING.

I HAD JUST BEEN KICKED OUT OF CUBA, FOR JUST TALKING PRIVATELY ABOUT CASTRO'S PERSECUTION OF GAY PEOPLE.

AND THEN I WENT TO CZECHOSLOVAKIA, WAS ELECTED KING OF MAY ON MAY DAY.

A WEEK LATER, WAS KICKED OUT BY THE MINISTER OF EDUCATION AND DEPORTED TO LONDON, AND THEN, I LANDED AROUND THE TIME OF DYLAN'S CONCERTS AT ALBERT HALL.

THERE WAS A VERY EXCITING SCENE BACK AT THE HOTEL, AND DYLAN WAS DOWN THE HALL WITH THE BEATLES.

THEN A MESSAGE CAME THAT I WAS SUPPOSED TO COME IN THERE.

SO I CAME INTO THE ROOM AND EVERYBODY WAS SITTING THERE, TOTALLY STONE-COLD SILENT, FROZEN, PARANOID.

NOT QUITE KNOWING MY PLACE, KNOWING BOB, I SAT DOWN ON THE SIDE OF HIS ARMCHAIR.

JOHN LENNON SAID SNIDELY, "WHY DON'T YOU SIT A LITTLE CLOSER?"

AND I SUDDENLY REALIZED THEY WERE JUST SO NAIVE, THEY WERE YOUNG.

SO, ACTUALLY, I FELL OVER LAUGHING, ONTO JOHN'S LAP.

LOOKING UP AT HIM, AND ASKED HIM, "DO YOU EVER READ WILLIAM BLAKE?"

HE SAID, "NEVER HEARD OF HIM!"

AND HIS WIFE SAID, "OH, JOHN, STOP LYING."

THEN EVERYBODY BEGAN LAUGHING, AND THEN, THE SCENE SORT OF BROKE UP, YOU KNOW, THE ICE WAS BROKEN.

IT STRUCK ME AS FUNNY THAT THESE GUYS AT THE SUMMIT OF POWER -- SPIRITUAL POWER, MUSICAL POWER -- WORLD THEME, '65, MAY TO JUNE -- WERE SO UNSURE OF THEIR MINDS AND SPEECH.

Pennebaker: IT INTERESTED ME JUST TO WATCH DYLAN.

I COULD SORT OF SEE THAT THINGS THAT HE DID AND SAID WERE INTERESTING TO ME.

AND I DIDN'T KNOW WHY, AND SO THAT GOT ME HOOKED ON MAKING A MOVIE.

Dylan: DO YOU REALLY LIKE THAT SONG?

WHAT DO YOU LIKE ABOUT IT?

I DON'T LIKE "SUBTERRANEAN HOMESICK BLUES."

OH, YOU'RE THAT KIND OF -- OKAY, SEE, I UNDERSTAND RIGHT NOW.

Pennebaker: WHEN WE'D GO INTO A TOWN, THERE WOULD BE NO SIGN, AND THERE WOULD BE PEOPLE KIND OF JUST HANGING OUT AT THE STEPS, WAITING FOR HIM TO -- YOU KNOW, NOT WAITING TO CROWD AROUND OR SEE HIM OR GET HIS AUTOGRAPH, JUST WAITING FOR HIM.

AND IT GAVE YOU A FEELING THAT THERE WAS SOME SUBSTANCE THAT YOU -- YOU HAD TO REALLY SEE THROUGH.

THAT YOU WEREN'T GOING TO FIND OUT ABOUT THIS QUICKLY, BUT YOU HAD TO KIND OF SEE IT THE WAY THEY DID.

♪ IN THE DIME STORES AND BUS STATIONS ♪ ♪ PEOPLE TALK OVER SITUATIONS ♪ ♪ READ BOOKS AND REPEAT QUOTATIONS ♪ ♪ DRAW CONCLUSIONS ON THE WALL ♪ ♪ SOME SPEAK OF THE FUTURE ♪ ♪ MY LOVE, SHE SPEAKS SOFTLY ♪ ♪ SHE KNOWS THERE'S NO SUCCESS LIKE FAILURE ♪ ♪ AND THAT FAILURE'S NO SUCCESS AT ALL ♪ DO YOU CARE ABOUT WHAT YOU SING?

HOW COULD I ANSWER THAT IF YOU GOT THE NERVE TO ASK ME?

I MEAN, YOU GOT A LOT OF NERVE, ASKING ME A QUESTION LIKE THAT.

DO YOU ASK THE BEATLES THAT?

I HAVE TO ASK YOU THAT, BECAUSE YOU HAVE THE NERVE TO QUESTION WHETHER I CAN.

I'M NOT QUESTIONING YOU, BECAUSE I DON'T EXPECT ANY ANSWER FROM YOU.

BUT DO YOU THINK SOMEBODY WOULDN'T GO SEE SOMEBODY IF THEY DIDN'T WANT ENTERTAINMENT?

♪ IN THE DIME STORES AND BUS STATIONS ♪♪ Pennebaker: WE SHOWED HIM THE FIRST ROUGH CUT.

WHAT HE SAW MUST HAVE MADE HIM LOOK LIKE HE WAS BARE BONES, AND I THINK THAT WAS A BIG SHOCK TO HIM.

BUT THEN HE SAW, I THINK THE SECOND NIGHT, HE SAW THAT IT WAS TOTAL THEATER.

IT DIDN'T MATTER -- HE WAS LIKE AN ACTOR, AND HE SUDDENLY HAD REINVENTED HIMSELF AS THE ACTOR, WITHIN THIS MOVIE, AND THEN IT WAS OKAY.

THAT'S WHAT HE'S GOOD AT, IS GETTING USED TO THE WAY THINGS ARE.

I MEAN, HE UNDERSTANDS THAT TIME CHANGES EVERYTHING.

Dylan: THEY DIDN'T LIGHT PLACES, THEY DIDN'T HAVE TO STOP FILMING.

IF YOU RAN, THEY RAN.

IF YOU WENT IN A ROOM, THEY WENT INTO THE ROOM.

AND YOU KNOW, AT A CERTAIN POINT, YOU JUST BECAME OBLIVIOUS TO THAT.

[ LAUGHTER ] Man, English accent: HEY!

ASK WHAT THE [BLEEP] GOING ON BACK THERE.

ASK HIM WHAT HE KNOWS.

Baez: I WAS YOUNG, AND I HAD EXPECTATIONS AND WANTED TO BE WHERE THE ACTION WAS, AND I SHOULD NOT HAVE BEEN THAT...THERE AT THAT TIME.

EVERYBODY WAS HAVING A WONDERFUL TIME AND THEY WERE ALL SMASHING THINGS UP IN THE HOTEL ROOM, AND I WAS THIS WEIRD SQUARE OVER IN MY ROOM, WHO DIDN'T DO ALL THAT STUFF.

I WAS VERY CRITICAL OF EVERYBODY WHO DID AND WANTED MY TIME WITH BOB, BECAUSE I THOUGHT HE WAS A SPECIAL FRIEND.

AND HE HAD MOVED ON.

AND IT WAS AWFUL.

I MEAN, IT JUST HURT LIKE HELL.

I THOUGHT, I ASSUMED, THAT SINCE I'D INVITED HIM ON THE STAGE IN THE STATES, HE WOULD INVITE ME ON THE STAGE THERE.

HE HAD NO INTENTION OF DOING THAT.

Reporter: BOB.

BOB.

[ GIGGLES ] HE WAS READY TO HAVE THAT WHOLE STAGE ALL TO HIMSELF, THAT'S WHAT I'D SAY.

HE DIDN'T WANT ANYBODY COMPETING WITH IT.

THAT'S AS CLOSE AS I CAN GET.

YOU KNOW, I -- [ SIGHS ] YEAH, IT WAS PROBABLY A STUPID THING TO DO, BUT -- NOT LETTING HER PLAY -- BUT YOU CAN'T BE WISE AND IN LOVE AT THE SAME TIME, SO, UH, I MEAN, I HOPE SHE'LL SEE THE LIGHT SOONER OR LATER ON THAT.

BOB IS ONE OF THE MOST COMPLEX HUMAN BEINGS I'VE EVER MET, AND I THINK AT FIRST, I REALLY TRIED TO FIGURE THIS GUY OUT.

AND I GAVE IT UP, AND SO I DON'T KNOW.

I DON'T KNOW WHAT HE THOUGHT ABOUT, ALL I KNOW IS WHAT HE GAVE US.

♪ THE CRASH ON THE HIGHWAY ♪ ♪ THREW A CAR INTO A FIELD ♪ ♪ TURN, TURN, TURN AGAIN ♪ ♪ FOUR PEOPLE KILLED WITH HIM AT THE WHEEL ♪ ♪ TURN, TURN ♪ ♪ TO THE RAIN AND THE WIND ♪♪ THE POETRY, IT TUMBLES OUT.

AND I WATCHED HIM WRITE AT THE TYPEWRITER, "ALL RIGHT.

[ WHISTLES ] IT'S DONE."

Dylan: YOU REMEMBER THAT [BLEEP] SONG?

♪ LOVE IS JUST A FOUR-LETTER WORD ♪ I NEVER FINISHED THAT SONG.

DID I?

HUH?

NO, I NEVER FINISHED IT.

OH, GOD -- YOU FINISHED IT ABOUT EIGHT DIFFERENT WAYS.

I STOLE "FOUR LETTER WORD."

I TOOK THAT AND DISAPPEARED WITH IT AND SANG IT.

AND I THINK THE NEXT BOB KNEW ABOUT IT, HE HEARD IT ON THE RADIO.

I WAS WITH HIM WHEN HE HEARD IT ON THE RADIO AND HE WAS LISTENING, HE SAID, "THAT'S A GREAT SONG.

THAT'S A GREAT SONG."

HE DIDN'T REMEMBER HE HAD WRITTEN IT.

I SAID, "YEAH, YOU WROTE IT, YOU DOPE."

♪ STRANGE IT IS TO BE BESIDE YOU ♪ ♪ MANY YEARS THE TABLES TURNED ♪ ♪ YOU'D PROBABLY NOT BELIEVE ME ♪ ♪ IF I TOLD YOU ALL I'VE LEARNED ♪ ♪ AND IT IS VERY, VERY WEIRD INDEED ♪ ♪ TO HEAR WORDS LIKE "FOREVER" AND "FREE" ♪ ♪ SO SHIPS RUN THROUGH MY MIND, I CANNOT CHEAT ♪ ♪ IT'S LIKE LOOKING IN THE TEACHER'S FACE COMPLETE ♪ ♪ I CAN SAY NOTHING TO YOU BUT REPEAT ♪ ♪ WHAT I HEARD ♪ ♪ THAT LOVE IS JUST A FOUR LETTER ♪ ♪ LOVE IS JUST A FOUR LETTER ♪ ♪ LOVE IS JUST A FOUR LETTER WORD ♪♪ [ STRUMMING ] The Byrds: ♪ HEY, MR. TAMBOURINE MAN ♪ ♪ PLAY A SONG FOR ME ♪ ♪ I'M NOT SLEEPY ♪ ♪ AND THERE AIN'T NO PLACE I'M GOING TO ♪♪ Dylan: A LOT OF MY SONGS, THEY WERE BECOMING HITS FOR OTHER PEOPLE.

THERE WAS, UH, THE BYRDS HAD A BIG HIT.

SOME GROUP CALLED THE TURTLES HAD SOME HIT.

SONNY AND CHER WERE, UH, HAD A HIT WITH A SONG OF MINE.

PEOPLE WERE SORT OF WRITING A JINGLY-JANGLY KIND OF SONG, WHICH SEEMED TO HAVE SOMETHING TO DO WITH ME.

YOU KNOW, LIKE, OKAY -- YOU KNOW, "I GOT ME, BABE," IS SOME KIND OF TAKEOFF OF ME, YOU KNOW, ON SOMETHING I WROTE.

WELL, I DON'T KNOW WHAT IT WAS A TAKEOFF ON THAT I WROTE, YOU KNOW?

LIKE, I DIDN'T REALLY LIKE THAT SOUND, YOU KNOW, OR THAT FOLK ROCK, WHATEVER THAT WAS.

I DIDN'T FEEL THAT HAD ANYTHING TO DO WITH ME.

IT GOT ME THINKING ABOUT THE BILLBOARD CHARTS, SONGS WHICH BECOME POPULAR, WHICH, I HADN'T THOUGHT OF THAT BEFORE.

♪ ONCE UPON A TIME, YOU DRESSED SO FINE ♪ ♪ YOU THREW THE BUMS A DIME IN YOUR PRIME ♪ ♪ DIDN'T YOU?

♪ [ CLEARS THROAT ] AND I FOUND MYSELF WRITING THIS SONG, THIS STORY, THIS LONG PIECE OF VOMIT, TWENTY PAGES LONG.

AND OUT OF IT, I TOOK "LIKE A ROLLING STONE," AND MADE IT AS A SINGLE.

AND I'D NEVER WRITTEN ANYTHING LIKE THAT BEFORE.

AND SOMETHING CAME TO ME, THAT THAT WAS, THAT WAS WHAT I SHOULD DO.

AFTER WRITING THAT, I WASN'T INTERESTED IN WRITING A NOVEL OR A PLAY OR ANYTHING.

LIKE, I KNEW, LIKE, I JUST HAD TOO MUCH, I WANTED TO WRITE SONGS.

♪ ABOUT HAVING TO SCROUNGE ♪ ♪ YOUR NEXT ♪ ♪ MEAL ♪♪ [ PLAYING "IT TAKES TIME" ] ♪♪ Dylan: MIKE BLOOMFIELD SAID HE'D HEARD MY FIRST RECORD -- [ LAUGHING ] AND SAID HE WANTED TO SHOW ME HOW THE BLUES WERE PLAYED.

YOU KNOW, I DIDN'T FEEL MUCH COMPETITIVE, I DIDN'T FEEL MUCH COMPETITIVE WITH HIM, I MEAN, HE COULD OUTPLAY ANYBODY, EVEN AT THAT POINT, YOU KNOW.

BUT WHEN IT WAS TIME TO BRING IN A GUITAR PLAYER ON MY RECORD, I COULDN'T THINK OF ANYBODY BUT HIM.

I MEAN, HE JUST WAS THE BEST GUITAR PLAYER I EVER HEARD.

Wilson: OKAY, BOB, WE GOT EVERYBODY HERE, LET'S DO ONE.

Man: A PRODUCER NAMED TOM WILSON INVITED ME TO A RECORDING SESSION.

AND ME BEING 21 YEARS OLD AND INCREDIBLY AMBITIOUS AND A BIG BOB DYLAN FAN, I DECIDED I WAS GOING TO PLAY ON THAT SESSION.

THERE WAS ANOTHER GUITAR PLAYER WHO SAT DOWN AND WAS WARMING UP, AND JUST WAS PLAYING FAR BEYOND MY ABILITIES.

AND HE TURNED OUT TO BE MIKE BLOOMFIELD.

I PACKED UP MY GUITAR AND I WENT INTO THE CONTROL ROOM, WHERE I BELONGED.

AFTER THE FIRST COUPLE OF HOURS OF THE SESSION, THEY MOVED THE ORGAN PLAYER OVER TO PIANO.

AND I SAID, WELL, HERE'S ANOTHER CHANCE FOR ME.

SO I SAID TO TOM WILSON, "WHY DON'T YOU LET ME PLAY THE ORGAN, I GOT A GREAT PART FOR THIS," WHICH WAS TOTAL [BLEEP].

AND TOM WILSON SAID, [ Southern accent ] "OH, MAN, YOU DON'T PLAY THE ORGAN, YOU'RE A GUITAR PLAYER."

I SAID, "I GOT A REALLY GOOD PART FOR THIS, I CAN PLAY IT."

HE SAID, "AL --" AND JUST THEN, SOMEONE CAME AND GOT HIM TO TAKE A PHONE CALL THAT CAME IN FOR HIM.

SO HE DIDN'T SAY NO.

Wilson: "LIKE A ROLLING STONE," REMAKE, TAKE ONE.

WHAT ARE YOU DOING THERE?

Kooper: AT THAT POINT, HE REALLY COULD HAVE JUST BUSTED ME AND GOT ME BACK IN THE CONTROL ROOM.

BUT HE WAS A VERY GRACIOUS MAN, AND SO HE LET IT GO.

AND SO I BEGAN TO PLAY.

IN THE VERSES IN THE BEGINNING, YOU HEAR ME COME IN, ALWAYS AN EIGHTH NOTE BEHIND THE BAND.

TO MAKE SURE THAT I PLAYED THE RIGHT CHORD.

THE BAND WOULD GO, BOM BOM, AND I'D GO LIKE THAT.

BOM, HUH; BOM, HUH.

LIKE THAT.

THEY STARTED PLAYING IT BACK.

AFTER ABOUT A VERSE OR TWO, BOB SAID TO TOM WILSON, "HEY, TURN THE ORGAN UP."

AND TOM WILSON SAID TO BOB, "OH, MAN, THAT GUY'S NOT AN ORGAN PLAYER, HE'S JUST --" AND THEN BOB SAID, "I DON'T CARE, TURN THE ORGAN UP."

[ BAND PLAYS "LIKE A ROLLING STONE" ] ♪♪ Dylan: ♪ ONCE UPON A TIME, YOU DRESSED SO FINE ♪ ♪ THREW THE BUMS A DIME IN YOUR PRIME ♪ ♪ DIDN'T YOU?

♪ ♪ PEOPLE'D CALL ♪ ♪ SAY, "BEWARE DOLL, YOU'RE BOUND TO FALL" ♪ ♪ YOU THOUGHT THEY WERE ALL ♪ ♪ KIDDIN' YOU ♪ ♪ YOU USED TO ♪ ♪ LAUGH ABOUT ♪ ♪ EVERYBODY THAT WAS HANGIN' OUT ♪ ♪ NOW YOU DON'T TALK SO LOUD ♪ ♪ NOW YOU DON'T SEEM SO PROUD ♪ ♪ ABOUT HAVIN' TO BE SCROUNGING ♪ ♪ YOUR NEXT MEAL ♪ ♪ HOW DOES IT FEEL?

♪ ♪ HOW DOES IT FEEL?

♪ ♪ TO BE WITHOUT A HOME ♪ ♪ LIKE A COMPLETE UNKNOWN ♪ ♪ LIKE A ROLLING STONE?

♪♪ [ HARMONICA ] "LIKE A ROLLING STONE" DEFINITELY BROKE THROUGH SOMEWHERE.

I DIDN'T FEEL LIKE RADIO HAD EVER PLAYED A SONG LIKE THAT BEFORE.

I KNOW I'D NEVER HEARD A SONG LIKE THAT BEFORE.

SO, UH -- YOU KNOW, AND EVERYTHING I'D DONE UP TO THAT POINT HAD LED UP TO WRITING A SONG LIKE THAT, JUST EFFORTLESSLY.

"LIKE A ROLLING STONE" ORIGINALLY HAD ABOUT 50-SOMETHING VERSES, AS I RECALL.

AND PEOPLE WHO THINK IT'S LONG NOW, YOU KNOW, SHOULD HAVE HAD A LOOK AT IT WHEN IT WAS RAW.

I THINK HE ALWAYS MADE EXACTLY THE WORKS THAT HE WANTED TO MAKE, AT THE TIME HE WANTED TO MAKE IT.

THE AUDIENCE CAME TO BOB.

AND THAT'S ONE OF THE THINGS THAT MAKES HIM SO UNIQUE IN THE HISTORY OF AMERICAN MUSIC, BECAUSE THE AUDIENCE CAME TO BOB DYLAN.

I'VE NEVER BEEN THAT KIND OF PERFORMER THAT WANTS TO BE ONE OF THEM, YOU KNOW, LIKE ONE OF THE CROWD.

UH -- I DON'T TRY TO ENDEAR MYSELF THAT WAY.

NOW, DO PERFORMERS LOOK FOR APPLAUSE?

YEAH, YES AND NO.

IT REALLY DEPENDS WHAT KIND OF PERFORMER YOU ARE.

LIKE THIS STORY OF BILLIE HOLIDAY, YOU KNOW, WHEN SHE SANG "STRANGE FRUIT" FOR THE FIRST TIME, NOBODY APPLAUDED.

YOU KNOW, IF YOU LEAVE SOMEBODY KIND OF IN A SPELLBOUND WAY, AND, UH -- I DON'T KNOW.

IT'S -- THERE'S A LOT OF THINGS GOING ON WHEN THERE'S A PERFORMER ONSTAGE AND THERE'S AN AUDIENCE OUT THERE.

♪ GREEN CORN ♪ ♪ GREEN CORN ♪ ♪ GREEN CORN ♪ ♪ GREEN CORN ♪ ♪ NOW ALL I NEED IN THIS CREATION ♪ ♪ IS THREE MONTH'S WORK, NINE VACATION ♪ ♪ TELL THE BOSS ♪ ♪ ANY OLD TIME IN THE DAYTIME IS HIS ♪ ♪ BUT THE NIGHTTIME'S MINE ♪ Cohen: THAT WEEKEND, MY DAUGHTER HAD BEEN BORN.

PETE SEEGER HAD MADE A RECORDING OF HER.

AND HE PLAYED IT.

HE OPENED THE NIGHT ON SUNDAY NIGHT AT NEWPORT, AND HE PLAYED THIS LITTLE RECORDING OF A NEW BABY.

HE SAYS, "HERE'S THE FIRST FOLK SONG, THE FIRST VOICE, "AND WE'RE DEDICATING THIS FESTIVAL AND THIS MUSIC "AND OUR PURPOSES TO THIS NEW CHILD, AND NEW WORLD THAT SHE'S GOING TO GROW UP IN."

AND THAT WAS KIND OF, YOU KNOW, THAT'S THE WAY THE EVENING BEGAN.

Kooper: I WAS WALKING AROUND IN THE AFTERNOON, AND ALBERT GROSSMAN TOOK ME ASIDE AND SAID, "BOB IS LOOKING FOR YOU."

AND HE TOOK ME TO BOB AND BOB SAID, "I WANT TO PLAY SUNDAY NIGHT, AND TRY AND REPRODUCE WHAT WE DID ON THE ALBUM."

AND I SAID, "OKAY, SOUNDS GREAT."

LADIES AND GENTLEMEN, THE PERSON THAT'S GOING TO COME UP NOW... HAS A LIMITED AMOUNT OF TIME.

[ CHEERING ] HIS NAME IS BOB DYLAN.

[ SCREAMING AND WHISTLING ] [ PLAYING "MAGGIE'S FARM" ] ♪♪ ♪♪ ♪ I AIN'T GONNA WORK ON MAGGIE'S FARM NO MORE ♪ ♪ I AIN'T GONNA WORK ON MAGGIE'S FARM NO MORE ♪ ♪ WELL, I TRY MY BEST ♪ ♪ TO BE JUST LIKE I AM ♪ ♪ BUT EVERYBODY WANTS YOU ♪ ♪ TO BE JUST LIKE THEM ♪ ♪ THEY SAY, "SING WHILE YOU SLAVE," I JUST GET BORED ♪ ♪ I AIN'T GONNA WORK ON MAGGIE'S FARM NO MORE ♪ Cohen: HE SANG THAT SONG, "I AIN'T GONNA WORK ON MAGGIE'S FARM NO MORE."

I SAID, HEY, LOOK, HE'S TAKEN THAT OLD PENNY'S FARM, AND PUTTING IT SOMEWHERE ELSE -- THAT'S TERRIFIC.

I THOUGHT THAT WAS INTERESTING.

BUT THE VOLUME OF THE BLUES BAND WAS KIND OF WILD.

YOU COULDN'T GET THE WORDS TOO CLEARLY.

♪ I AIN'T GONNA WORK FOR MAGGIE'S MA NO MORE ♪ ♪ NO, I AIN'T GONNA WORK FOR MAGGIE'S MA NO MORE ♪ ♪ WELL, SHE TALKS TO ALL THE SERVANTS ♪ ♪ ABOUT MAN AND GOD AND LAW ♪ ♪ EVERYBODY SAYS SHE'S THE BRAINS BEHIND PA ♪ ♪ SHE'S 72, BUT SHE SAYS SHE'S 24 ♪ ♪ I AIN'T GONNA WORK FOR MAGGIE'S MA NO MORE ♪ Yarrow: IT WAS NOT POSSIBLE TO SHARE THE KIND OF INTIMACY THAT WE WERE SHARING WITH FOLK MUSIC WHEN YOU'VE GOT THOSE ELECTRIC INSTRUMENTS GOING.

THE MOMENT YOU'VE GOT DRUMS THERE, EVERYTHING HAS GOT TO COME UP IN LEVEL.

[ PLAYING "MAGGIE'S FARM" ] Muldaur: THE SOUND WAS A BIT HARSH.

BUT WE THOUGHT IT WAS WAY COOL.

AND WHAT WE NOTICED WAS, ABOUT A THIRD OF THE AUDIENCE WAS BOOING, WHICH WAS UNHEARD OF, NOT IN ALL OUR DAYS OF SEEING WHATEVER KIND OF SHOW, HAD WE EVER SEEN THAT.

[ PLAYING "MAGGIE'S FARM" ] Baez: I REMEMBER UNDERSTANDING THAT DRUGS WERE BAD AND ALCOHOL WAS BAD AND ROCK 'N' ROLL WAS WICKED AND SEX WAS BAD.

AND SO, I THOUGHT, OH, MY GOODNESS, HOW DEPRAVED THIS IS ALL GETTING.

ALL RIGHT!

I WAS THINKING THAT SOMEBODY WAS SHOUTING, "ARE YOU WITH US?

ARE YOU WITH US?"

AND, AND, UH -- YOU KNOW, I DON'T KNOW WHAT THAT -- YOU KNOW, LIKE, WHAT WAS THAT SUPPOSED TO MEAN?

I HAD NO IDEA WHY THEY WERE BOOING.

I DON'T THINK ANYBODY WAS THERE HAVING A NEGATIVE RESPONSE TO THOSE SONGS, THOUGH.

I MEAN, WHATEVER IT WAS ABOUT, IT WASN'T ABOUT ANYTHING THAT THEY WERE HEARING.

♪ WELL, HE HANDS YOU A NICKEL, HANDS YOU A DIME ♪ ♪ ASKS YOU WITH A GRIN IF YOU'RE HAVING A GOOD TIME ♪ ♪ AND HE FINES YOU EVERY TIME YOU SLAM THE DOOR ♪ ♪ I AIN'T GONNA WORK FOR MAGGIE'S BROTHER NO MORE ♪♪ YOU COULD NOT UNDERSTAND THE WORDS.

AND I WAS FRANTIC.

I SAID, "GET THAT DISTORTION OUT."

IT WAS SO RASPY, YOU COULD NOT UNDERSTAND A WORD.

AND I RAN OVER TO THE SOUND SYSTEM.

"GET THAT DISTORTION OUT OF BOB'S VOICE."

"NO, THIS IS THE WAY THEY WANT TO HAVE IT."

I SAID, "[BLEEP] IT, IT'S TERRIBLE, "YOU CAN'T UNDERSTAND IT.

IF I HAD AN AX, I'D CHOP THE MIC CABLE RIGHT NOW."

♪ OH, YOU'VE GONE TO THE FINEST SCHOOL ♪ ♪ ALL RIGHT, MISS LONELY ♪ ♪ BUT YOU KNOW YOU ONLY USED TO GET ♪ ♪ JUICED IN IT ♪ ♪ NOBODY'S EVER TAUGHT YOU HOW TO LIVE OUT ON THE STREET ♪ ♪ AND NOW YOU'RE GONNA HAVE TO GET USED TO IT ♪ Muldaur: WE RAN BACKSTAGE, AND THERE WAS MAYHEM GOING ON.

PETE SEEGER AND THEODORE BIKEL, AND ALL THE OLD GUARD, THE OLD LEFTIST, PROTEST-SINGING FACTIONS, WERE HORRIFIED, AND THOUGHT, "THIS IS POP MUSIC, THIS ISN'T FOLK MUSIC."

AND THERE WAS JUST A BIG BATTLE RAGING BACKSTAGE.

AND PETE -- I UNDERSTAND PETE SEEGER HAD AN AX AND WAS GOING TO GO CUT THE ELECTRIC CABLES AND HAD TO BE, YOU KNOW, SUBDUED.

AND, UH -- AND THEODORE BIKEL WAS SAYING, "THIS IS WHAT THE YOUNG PEOPLE WANT!

WE HAVE TO GO WITH THE CHANGE, THIS IS WHAT'S HAPPENING NOW."

SO THEY WERE ALL ARGUING AMONG THEMSELVES.

SEEGER... FROM ALL REPORTS, WAS VERY, VERY UPSET BY THIS.

AND I HAD HEARD THAT HE TRIED TO CUT THE WIRES AND THAT HE'D GONE INTO A CAR AND WOULDN'T COME OUT AFTER THIS WHOLE THING.

THAT'S NOT MY INTERPRETATION.

YOU SEE, PETE'S FATHER WAS THERE, CHARLIE SEEGER, AND HE HAD A HEARING AID.

AND CHARLIE WAS VERY DISTRESSED WHEN HE COULDN'T HEAR THINGS CLEARLY.

AND WITH ALL THIS SOUND COMING FROM THE SPEAKERS, CHARLIE SEEGER WAS QUITE UPSET, AND I THINK THAT AFFECTED PETE.

♪ YOU USED TO RIDE THE CHROME HORSE ♪ ♪ WITH YOUR DIPLOMAT ♪ ♪ WHO CARRIED ON HIS SHOULDER A SIAMESE CAT ♪ ♪ AIN'T IT HARD WHEN YOU DISCOVER THAT ♪ ♪ HE REALLY WASN'T WHERE IT'S AT ♪ ♪ AFTER HE'S TAKEN FROM YOU ♪ ♪ EVERYTHING HE COULD STEAL ♪ ♪ HOW DOES IT FEEL?

♪♪ Nelson: ROCK 'N' ROLL WAS CONSIDERED A REAL SELL-OUT MUSIC FOR A LOT OF FOLK FANS, AND "LIKE A ROLLING STONE" SEEMED LIKE THE DIRECT SLAP IN THE FACE TO EVERYTHING THAT TOPICAL SONGS REPRESENTED.

"HOW DOES IT FEEL TO BE ON YOUR OWN?"

AND THEY TOOK IT AS THIS MOST EXTREMELY NEGATIVE, UH, YOU KNOW, SELFISH STATEMENT, BASICALLY.

AND IT WAS, YOU KNOW, IT WAS NOT "BETTER WORLD A-COMIN,'" YOU KNOW, IT WAS NOT THAT.

[ SCATTERED APPLAUSE, WHISTLING ] Dylan: LET'S GO, MAN, THAT'S ALL.

Kooper: I THOUGHT HE WOULD GO OUT AND PLAY SOME OTHER STUFF BY HIMSELF, AND THEN, WE'D COME OUT AND PLAY THESE THREE SONGS.

[ CHEERING AND APPLAUSE ] BUT WE JUST CAME OUT AND PLAYED THESE THREE SONGS AND THEN HE SAID, "GOOD NIGHT."

AND WE'D BEEN OUT THERE FOR A TOTAL OF 15 MINUTES.

AND EVERYBODY ELSE HAD PLAYED FOR AN HOUR.

SO THAT WAS PRETTY WEIRD.

AND HE WAS THE HEADLINER.

[ CHEERING, APPLAUSE, AND BOOING ] BOBBY, CAN YOU DO ANOTHER SONG, PLEASE?

HE'S GOING TO GET HIS AXE.

[ BOOING ] HE'S COMING.

[ YELLING ] Yarrow: BOBBY WAS TERRIBLY SHAKEN, AND I RAN BACKSTAGE.

AND HE SAID TO ME, "WHAT HAVE YOU DONE TO ME?"

PETER YARROW CAME OUT AND SAID, "OKAY, EVERYBODY, CALM DOWN, BOB'S GONE TO GET HIS ACOUSTIC GUITAR," AND EVERYBODY, "WHEE, YAY!"

♪ THE HIGHWAY IS FOR GAMBLERS ♪ ♪ BETTER USE YOUR SENSE ♪ ♪ TAKE WHAT YOU HAVE GATHERED FROM COINCIDENCE ♪ ♪ THE EMPTY-HANDED PAINTER FROM YOUR STREETS ♪ ♪ IS DRAWING CRAZY PATTERNS ON YOUR SHEETS ♪ ♪ THE SKY, TOO, IS FOLDING OVER YOU ♪ ♪ AND IT'S ALL OVER NOW, BABY BLUE ♪ [ STRUMMING ] I'D HEARD A RUMOR THAT PETE WAS GOING TO CUT THE CABLE.

AND I HEARD IT LATER, YOU KNOW.

AND IT WAS LIKE, IT DIDN'T MAKE SENSE TO ME.

YOU KNOW, LIKE, PETE SEEGER, LIKE SOMEONE WHO WAS LIKE A -- WHOSE MUSIC I CHERISH, YOU KNOW, LIKE SOMEONE WHO I HIGHLY RESPECT IS GOING TO CUT THE CABLE, IT WAS LIKE, OH, GOD.

IT WAS LIKE, WELL, IT WAS LIKE A DAGGER, YOU KNOW, IT WAS -- JUST THE THOUGHT OF IT, IT WAS, YOU KNOW.

YOU KNOW, MADE ME GO OUT AND GET DRUNK.

♪ STRIKE ANOTHER MATCH, GO START ANEW ♪ ♪ AND IT'S ALL OVER NOW ♪ ♪ BABY BLUE ♪♪ ♪♪ [ APPLAUSE ] Seeger: I REMEMBER SEEING BOB LATER ON THAT EVENING, LOOKING KIND OF BLUE, AS THOUGH HE HADN'T MADE THE POINT THAT HE WANTED TO MAKE PROPERLY.

HE DIDN'T WANT TO FEEL THAT HE WAS LIMITED HERE, OR LIMITED THERE.

HE WANTED TO DO SOMETHING WITH THE BUTTERFIELD BLUES BAND.

AND IT WAS GREAT.

Muldaur: EVERY NIGHT AFTER THE CONCERTS, THE FESTIVAL PEOPLE WOULD HAVE A PARTY.

AND BOB WAS SITTING IN THE CORNER, I GUESS THINKING ABOUT WHAT HAD HAPPENED.

I SAID, "HEY, BOB, DO YOU WANT TO DANCE?"

AND HE LOOKED UP AT ME AND SAID, "I'D DANCE WITH YOU, MARIA, BUT MY HANDS ARE ON FIRE."

AND IT'S SORT OF LIKE, THAT WAS A CRYPTIC REMARK, BUT I KIND OF KNEW EXACTLY WHAT HE MEANT, YOU KNOW.

SO I SAID, "OKAY, MAN," AND I JUST LEFT HIM ALONE.

[ CROWD CHANTING "WE WANT DYLAN!"

] Nelson: A COUPLE OF MONTHS LATER, HE PLAYED FOREST HILLS.

THERE, THE FIRST HALF WAS ACOUSTIC, THE SECOND HALF WAS ROCK AND ROLL.

THE ELECTRIC HALF -- SILENCE, BOOING, AT LEAST 15, 20 KIDS RAN ON THE STAGE THROUGH THE WHOLE ELECTRIC SET.

THERE WOULD BE SOMEBODY, TWO, THREE TIMES DURING A NUMBER, ACTUALLY JUMPING ON THE STAGE, AND RUNNING AROUND AMONGST THE MUSICIANS.

AND AN INCREDIBLE ANIMOSITY IN THE AUDIENCE.

I THINK IT WAS THE ONLY CONCERT I HAVE EVER BEEN AT WHERE THAT ANIMOSITY WAS THAT STRONG, AND YOU ACTUALLY FELT A LITTLE THREATENED IF YOU APPLAUDED DURING THIS, WHICH I DID.

WHEN WE PLAYED FOREST HILLS, "LIKE A ROLLING STONE" WAS NUMBER ONE.

AND SO WHEN WE PLAYED "LIKE A ROLLING STONE," THEY STOPPED BOOING AND SANG ALONG.

AND THEN WHEN WE FINISHED, THEY STARTED BOOING AGAIN.

I THOUGHT THAT WAS GREAT.

I ENJOYED THAT, BUT AT THE PARTY, AFTER THE SHOW, BOB CAME RUNNING UP TO US, AND GAVE US BIG HUGS, AND HE SAID, "THAT WAS FABULOUS.

"IT WAS GREAT.

IT WAS LIKE A CARNIVAL.

IT WAS FANTASTIC!"

HE REALLY ENJOYED THE SHOW.

THE BOOING DIDN'T REALLY, YOU KNOW...

I HAD A PERSPECTIVE ON THE BOOING.

BECAUSE I KNOW... YOU GOT TO REALIZE YOU CAN KILL SOMEBODY WITH KINDNESS, TOO.

♪♪ ♪ GOD SAID TO ABRAHAM, "KILL ME A SON" ♪ ♪ ABE SAID, "MAN, YOU MUST BE PUTTIN' ME ON" ♪ ♪ GOD SAY, "NO" ♪ ♪ ABE SAY, "WHAT?"

♪ ♪ GOD SAY, "YOU CAN DO WHAT YOU WANT, ABE ♪ ♪ "BUT THE NEXT TIME YOU SEE ME COMIN' ♪ ♪ "YOU BETTER RUN" ♪ ♪♪ ♪ WELL, ABE SAYS, "WHERE DO YOU WANT THIS KILLIN' DONE?"

♪ ♪ GOD SAYS, "OUT ON HIGHWAY 61" ♪ Johnston: I WALKED IN THE STUDIO, AND HE WAS OUT THERE IN THE CORNER, AND I WALKED UP, AND I SAID, "BOB, I'M BOB JOHNSTON."

HE SAID, "HOW YOU DOIN'?"

AND HE SMILED AT ME.

ALL I REMEMBER IS DYLAN DOING THAT, AND STARTING IN, AND FROM THAT MOMENT, UH, I REALLY HAVE NO MEMORY.

UH, NOBODY EVER COUNTED OFF FOR DYLAN, HE ALWAYS DID WHAT THE [BLEEP] HE WANTED TO.

AND I ALWAYS JUST GOT THE SOUND PRETTY WELL.

AND HE SEEMED TO LOVE THE SOUND.

♪ YOU WALK INTO THE ROOM ♪ ♪ WITH YOUR PENCIL IN YOUR HAND ♪ ♪ YOU SEE SOMEBODY NAKED ♪ ♪ AND YOU SAY, "WHO IS THAT MAN?"

♪ Kooper: I WAS JUST CAUGHT IN THIS WHIRLWIND OF, YOU KNOW, OF BEING TACKED ON TO THIS MUSIC THAT WAS GOING TO BE FOREVER.

AND BEING INVOLVED IN IT.

AND KNOWING THAT IT WAS GOING TO BE FOREVER.

♪ BECAUSE SOMETHING IS HAPPENING HERE ♪ ♪ BUT YOU DON'T KNOW WHAT IT IS ♪ Johnston: THE MUSIC ACTUALLY CHANGED BY, I THINK THE WORD IS FREEDOM.

EVERYTHING WAS CHANGING.

IT WASN'T LIKE FOUR SONGS A SESSION.

THERE WASN'T ANY CLOCK.

I TOOK ALL THE CLOCKS DOWN.

NOBODY HAD A [BLEEP] CLOCK IN THERE.

IT'S JUST LIKE, PLAY SOME MUSIC.

WHAT ABOUT THIS THING?

WHAT ABOUT THIS?

Johnston: WE'RE ROLLIN' EIGHT SIX, EIGHT FOUR FIVE.

NUMBER ONE.

♪ EINSTEIN DISGUISED AS ROBIN HOOD ♪ ♪ WITH HIS MEMORIES IN HIS TRUNK ♪ ♪ PASSED THIS WAY AN HOUR AGO ♪ ♪ WITH HIS FRIEND, A JEALOUS MONK ♪ Johnston: I BELIEVE IN GIVING CREDIT WHERE CREDIT'S DUE.

I DON'T THINK DYLAN HAD A LOT TO DO WITH IT.

I THINK, UH, GOD, INSTEAD OF TOUCHING HIM ON THE SHOULDER, HE KICKED HIM IN THE ASS, REALLY.

AND THAT'S WHERE ALL THAT CAME FROM.

HE CAN'T HELP WHAT HE'S DOING.

I MEAN, HE'S GOT THE HOLY SPIRIT ABOUT HIM.

YOU CAN LOOK AT HIM AND TELL THAT.

♪♪ ♪♪ ♪ WELL, I RIDE A MAILTRAIN, BABY ♪ ♪ CAN'T BUY NO THRILL ♪ "IT TAKES A LOT TO LAUGH, IT TAKES A TRAIN TO CRY."

IN FACT THERE WAS TWO VERSIONS I CUT.

THE FIRST VERSION, WHICH TURNED UP ON BOOTLEGS, WAS LIKE A FAST, IT WAS A MUCH FASTER AND MUCH MORE JIVEY VERSION THAT SOUNDED KIND OF A LOT LIKE THE OTHER THINGS THAT HAD BEEN DONE.

[ DYLAN LAUGHING ] WHAT THE [BLEEP] ARE WE DOING WITH THIS SONG, MAN?

IT'S NOT SUCH A TERRIBLE SONG TO DO.

THEN HE SAID, "LET'S TAKE A BREAK."

AND HE SENT EVERYBODY OFF.

AND HE SAID IT WAS A LUNCH BREAK, OR WHATEVER.

PEOPLE WENT OUT FOR AN HOUR.

HE WAS SITTING ALONE AT THE PIANO, WORKING OVER, JUST PLAY A FEW CHORDS, AND HE'D SCRIBBLE SOMETHING DOWN.

AND THEY CAME BACK, AND THEY DID THAT OTHER TAKE AFTER THE LUNCH BREAK, AND IT WAS LIKE A MUCH SLOWER, BLUESIER VERSION YOU HEAR ON THE ALBUM, AND IT'S REALLY CHANGED THE WHOLE CHARACTER AND THE FEEL OF THE SONG, IT WAS REALLY, REALLY NICE.

♪♪ ♪ WELL, I RIDE ON A MAILTRAIN, BABY ♪ ♪ CAN'T BUY A THRILL ♪ Man: I'D LIKE TO KNOW ABOUT THE COVER OF YOUR ALBUM.

I'D LIKE TO KNOW ABOUT THE MEANING OF THE PHOTOGRAPH OF YOU AND THE WEARING THE TRIUMPH T-SHIRT -- WHAT DID YOU WANT TO KNOW ABOUT IT?

WELL, I'D LIKE TO KNOW IF THAT'S AN EQUIVALENT PHOTOGRAPH, IT MEANS SOMETHING, IT'S GOT A PHILOSOPHY IN IT.

AND I'D LIKE TO KNOW VISUALLY WHAT IT REPRESENTS TO YOU BECAUSE YOU'RE A PART OF THAT.

UM...

I HAVEN'T REALLY LOOKED AT IT THAT MUCH.

I'VE THOUGHT ABOUT IT A GREAT DEAL.

IT WAS JUST TAKEN ONE DAY WHEN I WAS SITTING ON THE STEPS, YOU KNOW.

I DON'T, UH...

I DON'T REALLY REMEMBER TOO MUCH ABOUT IT.

BUT WHAT ABOUT THE MOTORCYCLE AS AN IMAGE IN YOUR SONG WRITING?

YOU SEEM TO LIKE THAT.

OH, WE ALL LIKE MOTORCYCLES, TO SOME DEGREE.

I DO.

DO YOU PREFER SONGS WITH A SUBTLE OR OBVIOUS MESSAGE?

WITH A WHAT?

A SUBTLE OR OBVIOUS MESSAGE.

WITH A MESSAGE, YOU MEAN LIKE, WHAT SONG WITH A MESSAGE?

WELL, LIKE, "EVE OF DESTRUCTION," AND THINGS LIKE THAT.

DO I PREFER THAT TO WHAT?

I DON'T KNOW, BUT YOUR SONGS ARE SUPPOSED TO HAVE A SUBTLE MESSAGE.

A SUBTLE MESSAGE?

WELL, THEY'RE SUPPOSED TO.

[ LAUGHTER ] WHERE'D YOU HEAR THAT?

IN A MOVIE MAGAZINE.

OH, MY GOD.

Man: DO YOU THINK OF YOURSELF PRIMARILY AS A SINGER OR A POET?

I THINK OF MYSELF MORE AS A SONG AND DANCE MAN, YOU KNOW.

[ LAUGHTER ] MR. DYLAN, I KNOW YOU DISLIKE LABELS, AND PROBABLY RIGHTLY SO, BUT FOR THOSE OF US WHO ARE WELL OVER 30, COULD YOU LABEL YOURSELF, AND PERHAPS TELL US WHAT YOUR ROLE IS?

WELL, I SORT OF LABEL MYSELF AS WELL UNDER 30.

[ LAUGHTER ] AND MY ROLE IS TO, YOU KNOW, TO JUST STAY HERE AS LONG AS I CAN.

Man: YOU'RE CONSIDERED BY MANY PEOPLE TO BE SYMBOLIC OF THE PROTEST MOVEMENT IN THIS COUNTRY, FOR THE YOUNG PEOPLE.

ARE YOU GOING TO PARTICIPATE IN THE VIETNAM DAY COMMITTEE DEMONSTRATION IN FRONT OF THE PARAMOUNT HOTEL TONIGHT?

I'LL BE BUSY TONIGHT.

THINGS HAD GOTTEN OUT OF HAND.

YOU KNOW, IT FELL INTO THE -- YOU KNOW, YOU'D ASK ME WHY I WRITE SURREAL SONGS OR WHATEVER.

I MEAN THAT TYPE OF ACTIVITY IS SURREAL.

I HAD NO ANSWERS TO ANY OF THOSE QUESTIONS, ANY MORE THAN, UH, ANY OTHER PERFORMER DID, REALLY.

BUT, UH... YOU KNOW, THAT DIDN'T STOP THE PRESS, OR PEOPLE, OR WHOEVER THEY WERE, FROM ASKING THESE QUESTIONS.

THEY, FOR SOME REASON, THE PRESS THOUGHT THAT, UH, PERFORMERS HAD THE ANSWERS TO ALL THESE, UH, PROBLEMS IN THE SOCIETY.

AND, UH, YOU KNOW, LIKE, WHAT CAN YOU SAY THING TO SOMETHING LIKE THAT?

I MEAN, IT'S JUST KIND OF ABSURD.

Woman: PHIL OCHS WROTE SOMETHING IN A RECENT BROADSIDE MAGAZINE TO THE EFFECT THAT YOU HAVE TWISTED SO MANY PEOPLE'S WIGS, THAT HE FEELS THAT IT BECOMES INCREASINGLY DANGEROUS FOR YOU TO PERFORM IN PUBLIC, BEFORE AN AUDIENCE.

WELL, THAT'S THE WAY IT GOES, YOU KNOW.

I DON'T, I CAN'T APOLOGIZE, CERTAINLY.

Man: DO YOU FEEL THAT PART OF THE POPULARITY IS BECAUSE OF AN IDENTIFICATION OF YOUR AUDIENCE WITH YOU, OR WITH WHAT YOU ARE SAYING, OR WHAT YOU'VE BEEN WRITING ABOUT?

I HAVE NO IDEA.

Man: MR. DYLAN, YOU SEEM VERY RELUCTANT TO TALK ABOUT THE FACT THAT YOU'RE A POPULAR ENTERTAINER, AND YOU'RE A MOST POPULAR ENTERTAINER.

WELL, WHAT DO YOU WANT ME TO SAY?

I DON'T UNDERSTAND WHY YOU ARE RELUCTANT TO -- Dylan: WHAT DO YOU WANT ME TO SAY ABOUT IT?

YOU SEEM ALMOST EMBARRASSED, TO ADMIT, TO TALK ABOUT IT.

WELL, I'M NOT EMBARRASSED, I MEAN, YOU KNOW.

WHAT DO YOU WANT EXACTLY FOR ME TO SAY?

DO YOU WANT ME TO JUMP UP AND SAY HALLELUJAH, AND CRASH THE CAMERAS, AND DO SOMETHING WEIRD?

TELL ME.

TELL ME.

I'LL GO ALONG WITH YOU -- IF I CAN'T GO ALONG WITH YOU, I'LL FIND SOMEBODY TO GO ALONG WITH YOU.

NO, BUT I FIND THAT YOU REALLY HAVE NO IDEA AS TO WHY -- OR NO THOUGHTS ON WHY YOU'RE POPULAR.

I JUST HAVE -- I HAVEN'T REALLY STRUGGLED FOR THAT.

I DON'T -- IT HAPPENED, YOU KNOW.

IT HAPPENED LIKE ANYTHING ELSE HAPPENS.

Man: HOW MANY PEOPLE WHO LABOR IN THE SAME MUSICAL VINEYARD IN WHICH YOU TOIL, HOW MANY ARE PROTEST SINGERS?

THAT IS, PEOPLE WHO USE THEIR MUSIC, AND USE THE SONGS, TO PROTEST THE SOCIAL STATE IN WHICH WE LIVE TODAY.

THE MATTER OF WAR.

THE MATTER OF CRIME, OR WHATEVER IT MIGHT BE.

UM, HOW MANY?

YES.

ARE THERE MANY?

YEAH.

WELL, I THINK THERE'S ABOUT, UH, 136.

YOU SAY ABOUT 136?

YEAH.

OR DO YOU MEAN EXACTLY 136?

UH, IT'S EITHER 136, OR 142.

Dylan: AT A CERTAIN POINT, PEOPLE SEEMED TO HAVE A DISTORTED, WARPED VIEW OF ME, FOR SOME REASON.

AND, UH, THOSE PEOPLE WERE USUALLY OUTSIDE OF THE MUSICAL COMMUNITY.

"THE SPOKESMAN OF THE GENERATION."

THE CONSCIENCE OF A THIS AND THAT AND THE OTHER.

I MEAN, THAT I COULD NOT RELATE TO.

I JUST COULDN'T RELATE TO IT.

AS LONG AS I COULD CONTINUE DOING WHAT IT IS THAT I LOVED TO DO, I DIDN'T CARE WHAT KIND OF LABELS WERE PUT ON ME.

OR HOW I WAS PERCEIVED IN THE PRESS, BECAUSE I WAS PLAYING TO THE PEOPLE EVERY NIGHT.

[ "JUST LIKE TOM THUMB'S BLUES" ] ♪♪ Kooper: I PLAYED AT THE HOLLYWOOD BOWL.

THEN I LEFT THE ORGANIZATION.

I ACTUALLY WAS FRIGHTENED, WHEN I GOT THE TOUR ITINERARY, TO SEE THAT WE WERE GOING TO PLAY DALLAS, WHERE THEY HAD JUST KILLED THE PRESIDENT.

AND I THOUGHT, YOU KNOW, IF THEY DIDN'T LIKE THAT GUY, WHAT ARE THEY GOING TO THINK OF THIS GUY?

AND I DIDN'T WANT TO, YOU KNOW, I DIDN'T WANT TO BE THE, UH, ANALOGY TO JOHN CONNELLY.

I DIDN'T WANT TO BE THE GUY NEXT TO HIM.

♪ I STARTED OUT ON BURGUNDY ♪ ♪ BUT SOON HIT THE HARDER STUFF ♪ ♪ EVERYBODY SAID THEY'D STAND BEHIND ME ♪ ♪ WHEN THE GAME GOT ROUGH ♪ Dylan: THE GUYS THAT WERE WITH ME ON THAT TOUR, WHICH LATER BECAME THE BAND, YOU KNOW, WE WERE ALL IN IT TOGETHER.

WE WERE PUTTING OUR HEADS IN THE LION'S MOUTH.

AND I HAD TO ADMIRE THEM FOR STICKING IT OUT WITH ME.

JUST FOR DOING IT, IN MY BOOK, THEY WERE, YOU KNOW, GALLANT KNIGHTS FOR EVEN, YOU KNOW, STANDING BEHIND ME.

Jones: BY THE TIME WE GOT TO ENGLAND, IT WAS OUT OF CONTROL.

AND I DON'T KNOW IF WORD OF MOUTH PRECEDED OUR CONCERT TOUR.

BUT, UH...

IT, UH...

IT REALLY WAS PRETTY REVOLUTIONARY IN THE FACT THAT, HERE WAS SOMEONE WHO EVERYONE LOVED, AND THEY DIDN'T LIKE WHAT HE WAS DOING.

AND THEY WERE SHOWING IT.

Dylan: THESE STAGES WERE CREATED FOR PEOPLE WHO STOOD ON THE STAGE AND RECITED SHAKESPEAREAN PLAYS.

THEY WEREN'T MADE FOR THIS KIND OF MUSIC WE WERE PLAYING.

THE SOUND WAS PRETTY ARCHAIC, REALLY.

THE SOUND REALLY HADN'T BEEN PERFECTED, THE SOUND QUALITY HADN'T BEEN PERFECTED, MANY YEARS AFTER THAT.

Jones: THE FIRST HALF OF THE CONCERT WAS BOB DYLAN, ALONE, ACOUSTIC, AND HARMONICA.

WHEN WE KICKED OFF THE SECOND HALF, I MEAN, WE DID KICK ASS AND TAKE NAMES.

AND, UH, WE GOT EVERYONE IN THERE'S ATTENTION.

THEY KNEW THAT WE HAD ARRIVED.

BECAUSE THEY WERE SUCH FANS OF HIS ACOUSTIC SET, THAT WHEN WE CAME IN AND DID THE ELECTRIC SET, PEOPLE HAVE SAID THE WORD TO ME THAT, UH, HE WAS A TRAITOR TO FOLK MUSIC.

THE PURE MUSIC.

AND I'D JUST ABOUT HAD IT, THOUGH.

I'D HAD IT WITH THE, WITH THE WHOLE SCENE.

YOU KNOW.

WHETHER I KNEW IT OR DIDN'T KNOW IT, I WAS LOOKING TO JUST QUIT FOR A WHILE.

Man: WHAT ABOUT THE SCENE?

WHAT HAD YOU HAD IT WITH?

WHAT ABOUT THE SCENE YOU WERE SICK OF?

WELL, YOU KNOW, PEOPLE LIKE YOU.

PEOPLE LIKE, UH, YOU KNOW, LIKE JUST, YOU KNOW, LIKE JUST BEING PRESSED, AND HAMMERED, AND, UH, YOU KNOW, EXPECTED TO ANSWER QUESTIONS.

YOU KNOW.

YOU KNOW, LIKE, IT WAS ENOUGH TO MAKE ANYBODY SICK, REALLY.

♪♪ ♪ OL' BLACK BASCOM, DON'T BREAK NO MIRRORS ♪ ♪ COLD BLACK WATER DOG, MAKE NO TEARS ♪ ♪ YOU SAY YOU LOVE ME WITH WHAT MAY BE LOVE ♪ ♪ DON'T YOU REMEMBER MAKIN' BABY LOVE?

♪ ♪ GOT YOUR STEAM DRILL NOW YOU'RE LOOKIN' FOR SOME KID ♪ ♪ TO GET IT TO WORK FOR YOU LIKE YOUR NINE-POUND HAMMER DID ♪ ♪ BUT I KNOW THAT YOU KNOW THAT I KNOW THAT YOU SHOW ♪ ♪ SOMETHING ♪ ♪ IS TEARING UP YOUR ♪ ♪ MIND ♪ ♪ TELL ME, MOMMA ♪ ♪ TELL ME, MOMMA ♪ ♪ TELL ME, MOMMA, WHAT IS IT?

♪ ♪ WHAT'S WRONG WITH YOU THIS TIME?

♪ HE'S A FAKE.

HE'S CHEAP.

HE'S A FAKE NEUROTIC.

AND HAVING A HALF CONCERT.

HALF ONE, AND HALF THE OTHER.

[ INDISTINCT SHOUTING ] HYPOCRITE!

THAT'S WHAT HE IS.

♪ EVERYBODY'S WONDERING WHEN YOUR ♪ ♪ FRIENDSHIP'S GONNA END ♪ ♪ BUT COME ON, BABY ♪ ♪ I'M YOUR FRIEND!

♪ ♪ AND I KNOW THAT YOU KNOW THAT I KNOW THAT YOU SHOW ♪ ♪ SOMETHING ♪ ♪ IS TEARING UP YOUR ♪ ♪ MIND ♪ CRAP.

CRAP.

RUBBISH.

CRAP.

RUBBISH.

COMPLETE RUBBISH.

PATHETIC.

MORONIC.

WE PAID TO SEE A FLIPPIN' FOLK SINGER, NOT A BIG GROUP.

♪♪ Dylan: DIDN'T YOU BOO ME LAST NIGHT?

Woman: I DIDN'T.

Woman #2: WE DIDN'T BOO YOU, BOB.

Woman #1: I DIDN'T.

PLEASE, JUST A MINUTE.

Dylan: WELL, I WANT THE NAMES OF ALL THE PEOPLE THAT BOOED ME.

WE DIDN'T BOO YOU!

COME BACK SOON.

OKAY.

I'LL SEE -- I'LL BE BACK IN A MONTH OR TWO.

SO LONG, BOB!

Dylan: SO LONG, CHEERIO!

WHAT SWEET, LOVELY PEOPLE.

HELLO, BOB!

Dylan: FOR THE FIRST HALF, WHEN THEY'RE ALL SO QUIET, I'LL PLAY FOUR OR FIVE SONGS, AND THEY JUST DON'T MAKE A SOUND.

ALL OF A SUDDEN, "BOO."

AND THEN ALBERT'LL COME OUT AND THEY GO, "BOO."

AND I LOVED THE DESCRIPTION IN THE PAPER LAST NIGHT.

WHERE THEY SAID THAT WAS CLASSIC.

THERE WASN'T ONE TRUTH IN THE ENTIRE -- IT WAS ALL THE MOST FANTASTIC LINES THEY COULD CONCOCT.

Dylan: WELL, FROM WHAT TOWN, MAN?

THE LAST ONE, EDINBURGH.

"ANOTHER NIGHT OF CAT CALLS FOR DYLAN."

OH, I DIDN'T SEE THAT.

Man: "MANY OF THE AUDIENCE WALKED OUT."

I SAW ONE, MAN -- DID YOU SEE ONE PAPER THAT SAID "EVERYBODY WALKED OUT"?

I HAVEN'T SEEN THAT ONE.

"EVERYBODY WALKED OUT."

SAW A PAPER, IT SAID, "EVERYBODY WALKED OUT."

IN LIVERPOOL I SAW IT.

THEY'RE REALLY LOSING THEIR MINDS.

TOTALLY INSANE.

I'M GOING TO WALK OUT.

Danko: WE WANT THE REAL DYLAN.

Robertson: WILL THE REAL DYLAN STAND UP?

I DECIDED JUST TO TELL THEM, MAN, THAT DYLAN GOT SICK.

WHAT DO YOU THINK?

JUST, JUST I WON'T TELL ANYBODY WHAT YOU SAY, WHAT DO YOU THINK?

Man: NOT YOUR PERSONAL COMMENT?

YEAH.

WHAT DO YOU THINK?

Man: I HAVE NO OPINION ABOUT THAT.

WELL, WHY?

Man: BECAUSE I HAVEN'T HEARD YOU SING, ACTUALLY.

YOU'VE NEVER HEARD ME SING?

AND HERE YOU ARE, SITTING HERE AND ASKING ME ALL THESE QUESTIONS.

Man: WELL, THIS IS MY JOB.

Man: JUST PUT THEM IN YOUR MOUTH FOR ONE SECOND.

PUT THE CORNER OF YOUR GLASSES IN YOUR MOUTH, THAT'S IT.

JUST SUCK YOUR GLASSES.

I DON'T WANT TO SUCK THEM -- JUST LIKE THAT.

DOES ANYBODY WANT TO SUCK MY GLASSES?

WHO SAID THAT?

Interpreter: THIS ONE HERE.

THIS FELLOW HERE.

YOU?

ASK HIM IF HE'S AMERICAN.

ARE YOU AMERICAN?

Man: I'M FRENCH.

WELL, THAT'S WHY YOU PROBABLY THINK THE FIRST RECORDS ARE BETTER.

Dylan: THIS IS CALLED... [ AUDIENCE BOOING ] THIS IS A FOLK SONG.

THIS IS A FOLK SONG.

I WANT TO SING A FOLK SONG NOW.

[ APPLAUSE ] I KNEW THAT WOULD MAKE YOU HAPPY.

THIS IS CALLED, "YES, I SEE YOU'VE GOT YOUR BRAND NEW LEOPARD-SKIN PILL-BOX HAT."

♪ SEE ♪ ♪ THAT LONESOME ♪ ♪ WHIPPOORWILL?

♪ HE SOUNDS TOO BLUE TO CRY.

♪ HE SOUNDS TOO BLUE ♪ ♪ TO CRY ♪ IT MEANS HE'S LOST THE WILL TO LIVE.

♪ IT MEANS ♪ ♪ HE'S LOST ♪ ♪ THE WILL ♪ ♪ TO LIVE ♪ ♪ I'M SO LONESOME ♪ ♪ I ♪ ♪ COULD CRY ♪ SIGN IT!

YOU'RE SO MISERABLE.

Boy: COME ON, IT WON'T TAKE LONG.

Girl: IT WON'T TAKE HALF AN HOUR TO SIGN IT.

THEY DON'T ASK ME, THOSE OTHER TWO PEOPLE DON'T ASK ME, WHY DO YOU?

WHY SHOULDN'T YOU GIVE IT?

WHY ARE YOU SO MISERABLE?

WHAT DID WE COME OUT TO SEE YOU FOR?

WELL, BECAUSE THEY LIKE ME, THEY SAID -- WE DON'T LIKE YOU ANYMORE.

CALLED ME A BUM.

WELL, MAY I HAVE YOUR AUTOGRAPH, PLEASE?

WE'LL CALL YOU A BUM, YOU DON'T SIGN THE AUTOGRAPH.

COME ON, BOB.

YOU DON'T NEED MY AUTOGRAPH.

IF YOU NEEDED IT, I'D GIVE IT TO YOU.

JUST GIVE US THE AUTOGRAPH, WILL YOU?

WHAT'S WRONG WITH HIM TODAY, EH?

♪ AIN'T IT JUST LIKE THE NIGHT ♪ ♪ TO PLAY TRICKS WHEN YOU'RE TRYING TO BE SO QUIET ♪ ♪ WE SIT HERE STRANDED ♪ ♪ THOUGH WE ALL DO OUR BEST TO DENY IT ♪ ♪ AND LOUISE HOLDS A HANDFUL OF RAIN ♪ ♪ TEMPTING YOU TO DEFY IT ♪ ♪ LIGHTS FLICKER FROM THE OPPOSITE LOFT ♪ ♪ IN THIS ROOM THE HEAT PIPES JUST COUGH ♪ ♪ THE COUNTRY MUSIC STATION PLAYS SOFT ♪ ♪ BUT THERE'S NOTHING, REALLY NOTHING TO TURN OFF ♪ ♪ JUST LOUISE ♪ ♪ AND HER LOVER SO ENTWINED ♪ ♪ AND THESE VISIONS OF JOHANNA ♪ ♪ THAT CONQUER MY MIND ♪ ♪♪ ♪♪ Dylan: HEY, WE'VE BEEN ON THE ROAD A LONG TIME, RIGHT?

Man: I DON'T KNOW.

I DON'T REMEMBER.

I GUESS MAYBE WE HAVE.

Dylan: WE'VE BEEN ON THE ROAD A VERY LONG TIME.

MAN, I CAN'T MAKE IT TONIGHT.

I DON'T KNOW HOW TO COVER UP FOR IT.

IT'S SOMETHING I NEVER FIGURED OUT.

THERE'S NOTHING I CAN DO ABOUT IT.

I JUST SHOULDN'T BE SINGING.

MAN, I'M GONNA GET ME A NEW BOB DYLAN NEXT WEEK.

GET ME A NEW BOB DYLAN AND USE HIM.

USE THE NEW BOB DYLAN.

SEE HOW LONG HE LASTS!

♪ HE BRAGS OF HIS MISERY ♪ ♪ HE LIKES TO LIVE DANGEROUSLY ♪ ♪ AND WHEN BRINGING HER NAME UP ♪ ♪ HE SPEAKS OF HER FAREWELL KISS TO ME ♪ ♪ HE'S SURE GOT A LOT OF GALL ♪ ♪ TO BE SO USELESS AND ALL ♪ ♪ MUTTERING SMALL TALK AT THE WALL ♪ ♪ WHILE I'M IN THE HALL ♪ ♪ OH, HOW CAN I EXPLAIN ♪ ♪ IT'S SO HARD TO GET ON ♪ ♪ AND THESE VISIONS ♪ ♪ OF JOHANNA ♪ ♪ THEY KEPT ME UP ♪ ♪ PAST THE DAWN ♪ ♪♪ Dylan: I WANT TO GO HOME.

YOU KNOW WHAT HOME IS?

I DON'T WANT TO GO TO ITALY NO MORE.

I DON'T WANT TO GO NOWHERE NO MORE.

YOU END UP CRASHING IN A PRIVATE AIRPLANE IN THE MOUNTAINS OF TENNESSEE.

OR SICILY.

Man: WHEN YOU STAY IN THE STATES, I MEAN, WHEN YOU COME BACK?

I DON'T KNOW.

I JUST WANT TO GO HOME.

[ BAND WARMING UP ] ARE YOU IN THE CONTROLS AT ALL?

YES.

WHAT DOES IT SOUND LIKE?

LIKE YOU'RE IN A RECORDING STUDIO DOWNSTAIRS.

SON OF A BITCH PICKS UP GREAT HERE.

THE ACOUSTICS ARE FANTASTIC.

Man: FELLOWS, CAN WE HAVE YOU, PLEASE?

IT'S ABOUT TWO MINUTES.

Man #1: OKAY.

Man #2: WE GOT TWO MINUTES.

Man: NO, I MEAN, BY THE TIME YOU GET DOWN THERE, IT'LL BE TWO MINUTES, NOT TWO MINUTES YOU'LL START TO GO DOWN.

Jones: OH, IT'LL BE TWO MINUTES FROM NOW.

Man: YEAH, TWO MINUTES.

Jones: HEY, TWO MINUTES, MAN!

Man: WAIT, WAIT, WAIT, SORRY.

LAST ON THE BILL, NOT LEAST, LADIES AND GENTLEMEN...

HERE HE IS, BACK FROM THE GRAVE, RIGHT STRAIGHT FROM THE GRAVE.

[ APPLAUSE AND BOOING ] I DON'T BELIEVE YOU.

[ PLAYING "LIKE A ROLLING STONE" ] ♪♪ YOU'RE A LIAR!

♪♪ ♪♪ ♪ ONCE UPON A TIME, YOU DRESSED SO FINE ♪ ♪ THREW THE BUMS A DIME IN YOUR PRIME ♪ ♪ DIDN'T YOU?

♪ ♪ PEOPLE'D CALL ♪ ♪ SAY, "BEWARE, DOLL, YOU'RE BOUND TO FALL" ♪ ♪ YOU THOUGHT THEY WERE ALL ♪ ♪ KIDDIN' YOU ♪ ♪ YOU USED TO ♪ ♪ LAUGH ABOUT ♪ ♪ EVERYBODY THAT WAS HANGIN' OUT ♪ ♪ NOW YOU DON'T TALK SO LOUD ♪ ♪ NOW YOU DON'T SEEM SO PROUD ♪ ♪ ABOUT HAVIN' TO BE SCROUNGING AROUND ♪ ♪ FOR YOUR NEXT ♪ ♪ MEAL ♪ ♪ HOW DOES IT FEEL?

♪ ♪ HOW DOES IT FEEL?

♪ ♪ TO BE ON YOUR OWN ♪ ♪ WITH NO DIRECTION HOME ♪ ♪ LIKE A COMPLETE UNKNOWN ♪ ♪ LIKE A ROLLING STONE?

♪ [ PLAYS HARMONICA ] ♪ LAY DOWN YOUR WEARY TUNE ♪ ♪ LAY DOWN ♪ ♪ LAY DOWN THE SONG YOU STRUM ♪ ♪ AND REST YOURSELF 'NEATH THE STRENGTH OF STRINGS ♪ ♪ NO VOICE CAN HOPE TO HUM ♪ ♪ STRUCK BY THE SOUNDS BEFORE THE SUN ♪ ♪ I KNEW THE NIGHT HAD GONE ♪ ♪ THE MORNING BREEZE LIKE A BUGLE BLEW ♪ ♪ AGAINST THE DRUMS OF DAWN ♪ ♪ LAY DOWN YOUR WEARY TUNE, LAY DOWN ♪ ♪ LAY DOWN THE SONG YOU STRUM ♪ ♪ AND REST YOURSELF 'NEATH THE STRENGTH OF STRINGS ♪ ♪ NO VOICE CAN HOPE TO HUM ♪ ♪ THE OCEAN WILD LIKE AN ORGAN PLAYED ♪ ♪ THE SEAWEEDS WOVE ITS STRANDS ♪ ♪ THE CRASHIN' WAVES LIKE CYMBALS CLASHED ♪ ♪ AGAINST THE ROCKS AND THE SANDS ♪ ♪ LAY DOWN YOUR WEARY TUNE, LAY DOWN ♪ ♪ LAY DOWN THE SONG YOU STRUM ♪ ♪ AND REST YOURSELF 'NEATH THE STRENGTH OF STRINGS ♪ ♪ NO VOICE CAN HOPE TO HUM ♪ ♪ THE LAST OF LEAVES FELL FROM THE TREES ♪ ♪ AND CLUNG TO A NEW LOVE'S BREAST ♪ ♪ THE BRANCHES BARE LIKE A BANJO MOANED ♪ ♪ TO THE WINDS THAT LISTENED THE BEST ♪ ♪ I GAZED DOWN IN THE RIVER'S MIRROR ♪ ♪ AND WATCHED ITS WINDING STRUM ♪ ♪ THE WATER SMOOTH RAN LIKE A HYMN ♪ ♪ AND LIKE A HARP DID HUM ♪ ♪ LAY DOWN YOUR WEARY TUNE, LAY DOWN ♪ ♪ LAY DOWN THE SONG YOU STRUM ♪ ♪ AND REST YOURSELF 'NEATH THE STRENGTH OF STRINGS ♪ ♪ NO VOICE CAN HOPE TO HUM ♪