Original subtitles

♪ Ah... ♪

[older Dylan] Seeing Ginsberg was like going to see the Oracle of Delphi.

He didn't care about material wealth or political power.

He was his own kind of king.

But... he wanted to play music.

He had already achieved what any national poet

could hope to achieve.

"I saw the best minds of my generation destroyed by madness."

Very few poets have done that.

Robert Frost, maybe.

"Promises to keep, miles to go before I sleep."

Whitman said, "I am large, I contain multitudes."

We still remember those lines today.

Today's poets don't reach into the public consciousness that way.

So it was remarkable that Allen had actually broken through.

Nowadays, lines that people remember are lines from songs, lyrics from songs...

"Your cheatin' heart will make you weep."

"Don't change your hair for me, not if you care for me."

"I'm in the mood for love." "What a difference a day makes."

"Ain't misbehavin'."

Allen wanted his lines to be remembered like that,

but he was a poet.

He wasn't a songwriter.

[Ginsberg] By 1970 through 1975,

all of the, uh, heroes of song and poetry

were out on their own,

uh...

in the solitude...

doing their art.

The people that were going to die or drink themselves to death,

as many great artists did, or get strung out...

uh, went down to... uh...

She'ol, as Kerouac did,

105 miles from this ocean, buried in Lowell.

But that's where I got all my poetry, out of Mexico City Blues.

You ever read this?

-Sure. -This book...

-This is my favorite. -Yeah, I-- I read this. Uh...

My good friend Dave Whitaker gave me a copy of this book.

-When? -Uh, in Minneapolis in 1959.

Uh-huh.

I remember when David gave me this book, it just blew a hole in my mind.

Really?

Yeah. "What's been buried in the grave?

Dust.

-Perfect--" -"Perfect dust."

"Perfect dust in time." [chuckles]

He wrote a lot about being dead.

"Once I went to a movie At midnight, 1940,

Mice and Men, the name of it.

The Red Block Boxcars Rolling by (on the Screen)

Yessir

life finally gets tired of living -

On both occasions I had wild Face looking into lights

Of streets where phantoms

Hastened out of sight Into Memorial cello time."

-[Dylan] Oh, yeah. -[Ginsberg chuckles]

[Dylan] Here's one. "Dead and don't know it,

Living and do.

The living have a dead idea.

A person is a living idea;

after death, a dead idea.

When rock becomes air..."

[both] "I will be there."

[both laugh]

-He's here. -Yeah, this is where he is.

-Yeah. So rock has become air. -Yeah.

-Let's sit down a minute, relax. -Well, this is...

-Yes, it's not every day... -[older Dylan] Kerouac, he honored life.

I had to read everything again, that Kerouac wrote.

Not that I did, but I thought about it differently.

All of a sudden, On the Road,

he was talking about the road of life.

[light melody playing]

[Ginsberg] "Strange now to think of you,

gone without corsets and eyes,

while I walk on the sunny pavement

of Greenwich Village,

downtown Manhattan,

clear winter noon,

and I've been up all night talking,

talking,

reading the Kaddish aloud,

listening to Ray Charles

blues shout blind on the phonograph

The rhythm, the rhythm

and your memory in my head..." "like a poem in the dark--

escaped back to Oblivion--

No more to say,

and nothing to weep for but the Beings in the Dream,

trapped in its disappearance,

sighing,

screaming with it,

buying and selling pieces of phantom,

laughing and weeping over mahjong,

worshipping each other,

worshipping the God included in it all--

longing or inevitability?--

while it lasts, a Vision--

Death, stay thy phantoms!

O mother what have I left out

O mother what have I forgotten

O mother farewell

with a long black shoe

farewell with Communist Party

and a broken stocking

farewell with six dark hairs

on the wen of your breast

farewell with your old dress

and a long black beard around the vagina

with your eyes with your eyes of Russia

with your eyes of no money

with your eyes of Aunt Elanor

with your eyes of shock

with your eyes of lobotomy

with your eyes of divorce with your eyes of stroke

with your eyes alone

with your eyes

with your eyes

with your death full of flowers."

[applause]

["A Simple Twist of Fate" playing]

♪ She walks alone Through the city blocks ♪

♪ Oh, hears the tickin' of the clocks ♪

♪ Hunts for her by the waterfront docks ♪

♪ Where the sailors all come in ♪

♪ Maybe he'll see her there once again ♪

♪ How long must he wait? ♪

♪ One more time For a simple twist of fate ♪

[Sloman on phone] Tell me a bit about the spirit of the tour.

-'Cause you're doing new songs, right? -[Dylan on phone] Yeah.

[Sloman] And a lot of people in the audience expected the old songs.

[Dylan] But Ratso, you know, that's the first--

-one of the first rules-- -[Sloman] What's that?

[Dylan] The expectations, you know?

If you have big expectations, you're gonna be let down.

You can't have any expectations.

[Sloman] But people do have preconceptions.

[Dylan] That's their problem, Ratso. That's their own problem.

We can't account for everybody who's walking around, you know?

Like having expectations.

I mean, who gives a shit?

[Sloman] Yeah.

♪ They sat together in the park ♪

[audience cheers]

♪ As the evening sky got dark ♪

♪ She looked at him and he felt a spark ♪

♪ Tingle to his bones ♪

♪ 'Twas then he felt alone ♪

♪ And he wished he'd gone straight ♪

♪ And watched out For a simple twist of fate ♪

♪ They walked along by the old canal ♪

♪ A little confused, I remember well ♪

♪ And stopped into a strange hotel ♪

♪ With a neon burnin' bright ♪

♪ He felt the heat of the night ♪

♪ Hit him like a freight train ♪

♪ Moving with a simple twist of fate ♪

♪ A saxophone someplace softly played ♪

♪ As she was walkin' on by the arcade ♪

♪ She heard the melody rise and fade ♪

♪ The sun was coming up ♪

♪ She dropped a coin into the cup ♪

♪ Of a blind man at the gate ♪

♪ And forgot about A simple twist of fate ♪

♪ He woke up, she was gone ♪

♪ He didn't see nothing but the dawn ♪

♪ He got out of bed And put his clothes back on ♪

♪ Pushed back the blinds ♪

♪ Found a note she'd left behind ♪

♪ To which he just could not relate ♪

♪ All about a simple twist of fate ♪

♪ He hears the ticking of the clocks ♪

♪ And walks alone Through the city blocks ♪

♪ Hunts her down by the waterfront docks ♪

♪ Where the sailors all roll in ♪

♪ Maybe he'll spot her once again ♪

♪ How long must he wait? ♪

♪ One more time For a simple twist of fate ♪

♪ People tell me it's a crime ♪

♪ To know too much for too long a time ♪

♪ She should've caught me in my prime ♪

♪ She would've stayed with me ♪

♪ Instead I'm going off to sea ♪

♪ And leaving me to meditate ♪

♪ Upon that simple twist of fate ♪

[audience applauds]

[Nixon] I shall resign the presidency effective at noon tomorrow.

Vice President Ford will be sworn in as president

at that hour in this office.

[Dylan and Baez] ♪ I dreamed I saw Saint Augustine ♪

♪ Alive as you or me...♪

[Gerald Ford] Thomas Jefferson said, "The people...

are the only sure reliance for the preservation of our liberty."

[Dylan and Baez] ♪ With a blanket underneath his arm ♪

♪ And a coat of solid gold... ♪

[Ford] Abraham Lincoln renewed this American article of faith

asking, "Is there any better way or equal hope in the world?"

[bodyguard] Go!

Everybody get out of the way, now!

Get down!

Get out of the way!

[inaudible]

♪ Come out ye gifted kings and queens... ♪

[Graham] We've got too many people who are knocking every institution,

including the Congress, the president, the flag,

everything.

I think it's time to stand up and say,

"Well, we believe in these institutions, and we believe in America."

And I think America ought to sing a little bit.

[Dylan and Baez] ♪ ...accordingly ♪

♪ And know you're not alone ♪

[man] Now, we're talking about Bob Dylan the man,

that's who we're talking about, the message he preaches when he sings...

-You can't use microscopes on everything. -The happiness...

You're not using microscopes.

-You can't use a scalpel that way. -You're using the message.

I thought it was sort of depressing...

that people would stand in line for two days to see a man.

It just so-- shows...

they have that need for something or somebody to...

bring salvation or something. You know?

But I did it, too.

[both chuckle]

I don't know.

About five in the afternoon, the day before the show, right?

-Yeah. -You were there,

you'd been there for a couple of days, you hit on me right away.

You said you wanted this button, right?

Thought I was Dylan or some shit like that.

-Yeah, right. Mm-hmm. -Yeah.

[van Dorp] A lot of people think you are, Larry.

Well, it's pretty obvious. [laughs]

[man] Take your glasses off for a minute.

-I'm not him. -[man] Well, anyways...

[van Dorp] That little shit Ratso, he was the worst.

He dressed like Dylan, he tried to talk like Dylan,

always trying to ingratiate himself.

He thought he was Hunter Thompson

just because he was writing for Rolling Stone.

He didn't want anyone else with vision around.

[interviewer] Did he wind up causing problems for you?

Please.

Does the cockroach really cause problems for the house?

No, it's just a nuisance.

[older Dylan] Van Dorp was an unusual guy.

He's one of those kind of people who's trying to... just needs an enemy.

And...

uh, he was trying to make enemies where there weren't any,

and, uh, he-- he was--

he was successful at that.

He-- He angered a lot-- lots of people, especially in catering.

He would eat two or three, uh, meals

that really... really were for somebody else.

So, he ate more than he was supposed to,

and I think-- and I think he...

[inhales sharply]

...uh, I think he stuck his nose in places it might've should not have been.

He was also a very paranoid person.

Complained to people that his room was bugged.

Uh, which, you know, McGuinn was on that tour,

and McGuinn who at that point was into, uh, very sophisticated electronics.

So I'm not saying it wasn't bugged but...

but I'm not saying that it was bugged,

because I don't know that for a fact.

[man] All tickets are $8.50 a ticket.

[interviewer] What were the audiences like...

that you played to?

Well, they would all be...

hysterically happy.

So, I mean, you can't really judge much

from saying, "What would the audiences be like?"

They would all be people who would've slit each other's throats to get there.

[audience applauds]

-[man shouts] What a lovely couple! -[audience laughs and claps]

-Don't make myths. A couple of what? -A couple of what?

["I Shall Be Released" playing]

[laughs]

♪ They say ev'rything can be replaced ♪

♪ That ev'ry distance is not near ♪

♪ So I remember ev'ry face ♪

♪ Of ev'ry man who put me here ♪

[older Dylan] Joan Baez and me could sing anything.

We could sing together in our sleep.

As a matter of fact,

lot of times when I was sleeping, I'd hear her voice.

♪ Yonder down here in this lonely crowd ♪

♪ Is a man who swears he's not to blame ♪

♪ All day long I hear him shouting loud ♪

♪ Crying out that he been framed ♪

♪ I see my light... ♪

[older Dylan] Joan was so courageous.

Self-disciplined.

When I first met her, it seemed like she'd come down to Earth from a meteorite.

And she's never changed.

She always seems like she's just come down from a meteorite.

[audience cheering and applauding]

[interviewer] You had no reservations about going on tour?

Well...

[sighs] Sure.

I mean...

I think it probably sounded like... fun, but I also had experienced Dylan,

and, you know, how much fun that can be on any tour or not. [chuckles]

So, um...

But I think, know-- knowing that it was gonna be a lot of people,

and I was gonna have my own family with me...

[up-tempo music playing]

[Baez] It sounded exciting, you know.

I had my own freedom...

to sing and dance in a way that I didn't do on my own stage.

[older Dylan] Maybe there wasn't enough for her to do

and she'd begin to go a little stir-crazy.

Started doing, uh...

boogaloo and hanging out with people maybe she shouldn't be hanging out with,

and, um...

Ugh.

I don't know what happened.

Boy, sitting right next to Bob Dylan, man. Whew.

[man] I got a light if you got a smoke.

[Baez] One time, I got all dressed up as Bob,

which I would do periodically.

I used to put these little beard markings all over and have a mustache on.

[laughing] And then I'd put his hat on

and some whiteface.

♪ All the time you dress so fine ♪

♪ Threw the bums a dime in your prime... ♪

[Baez] I walked over with nobody really paying attention,

and I'd be Bob.

And there was this table of, like, food and catering and coffee,

and Louie was there, and I said...

[imitating Dylan] "Handsome, give me some coffee."

[in normal voice] Instantly, people got me some coffee like that.

"D'you want this? D'you want this? You want milk? Do you want sugar?"

And I just had a cigarette in my hand, going like that,

and they treated me the way they treat Bob.

"D'you want this? D'you want that? What can we do?"

It was amazing.

It was amazing until finally I said something like,

"Oh, for Christ sake, Louie." [gasps] And then he realized.

Oh, yeah, and I had a little wig on with my hair coming out underneath it.

[clicks tongue] Terrible.

[laughs]

[man] It's like the court of Henry VIII or something, you know?

Who's Anne Boleyn, you know? Which one is gonna get the ax, you know?

[laughs] You know what I mean? You know, there's that kind of dynamic.

And people are maneuvering to get closer,

and then there are the people who are using you to maneuver.

David Mansfield wanted to sing a song with me, uh...

Ugh. God.

That, uh, a drummer did.

I didn't see what the point of it all was.

-[van Dorp] What does makeup do for you? -I don't know.

Just hides, you know, the ugliness a little bit.

[woman] Everyone, of course, you know, wanted their shot,

wanted their time in the sun.

But we all know that, you know, you have to...

give for the good of the show.

And it was such an honor to be there,

so that was no problem.

[indistinct chatter]

[interviewer] Who were the people you were closest with on the tour?

[Blakley] I know this sounds funny, but I felt close to Bob.

I just always felt close to him from the moment I met him.

Um, I'm sure many people that feel that way.

Um...

I know Mick Ronson told me, however, when I said, um...

you know, "Don't you love Bob?" and he said, "I don't know.

He's never spoken to me."

Um, and then once we were in Massachusetts,

and people were about to arrive.

I don't know who they were, but not our little group.

Bob and I were alone in the basement, and Bob said, "Ronee, help."

And I said, "Help what?"

And-- And I felt so bad about that afterwards because I didn't mean to be...

cruel or thoughtless to Bob, but I always thought, you know,

I had to treat him just like a regular person

if I were going to be friends with him.

But later on, I understood a little more what he might be asking help for.

[interviewer] What was he asking help for?

I think the onslaught of strangers.

[children playing]

[boy] Hello, take my picture, please!

[Dylan] Hiya, man.

[Stone] I was in the park with another one of my modeling jobs.

Of course, the whole park is full of everybody doing

whatever they're doing, and suddenly I hear, "Hey, Kiss,"

and I'm just, of course, mortified.

[laughing] And then I realize...

that it's him.

So, of course, I'm even more mortified.

[older Dylan] I think I met her with her mother.

She was a nice girl.

Uh...

She was so young, anyway, you know.

But she seemed old for her age.

[Stone] Everybody wants to be a movie star...

don't they?

But, you know, when you live in the middle of nowhere,

when you tell somebody you wanna be a movie star, they think you're...

insane.

[older Dylan] She, uh, used to tell me,

uh, someday she's going to be a famous actress.

Uh, okay.

A couple of days later he said, um...

"You know, hey...

how about if you just come on the road with us?"

And I thought, "And do what?"

[crowd cheering]

[Stone] "You know, you could help out with the costumes

and help out backstage and stuff."

-[man shouts] "Just Like a Woman." -What?

-"Just Like a Woman"? -[woman] Yeah!

-Do we know that song? -[man] I don't know, we could fake it.

[Stone] It was one of the first shows.

-I was backstage. -[Dylan] ...we'll try it.

[Stone] Joan Baez had asked me to iron her shirt.

A second later I hear, "Hey... Sharon."

And there was this, um, really decrepit old piano

shoved off to the side, and Bob was kinda hunched over it.

And he gives me that-- that look.

He's like, "I wrote a song about you."

♪ Nobody feels any pain ♪

♪ Tonight as I stand inside the rain ♪

[Stone] And then he gets to the line...

♪ And she makes love just like a woman ♪

♪ But she breaks ♪

♪ Just like a little girl ♪

I just broke out crying. You know? Full-on tears. [laughs]

I get-- I think T Bone's the one who told me that the song was...

ten years old. [laughs]

[man shouts] "Just Like a Woman."

-[woman] Yeah! -[audience cheers]

[Dylan] What's just like a woman?

What's just like a woman?

-[audience laughs] -[Dylan] Nothin' like a woman.

[strums guitar]

[man] Do a protest song!

[audience laughs]

Yeah, here's the one for you.

["Oh, Sister" playing]

[audience cheering]

♪ Oh, sister, when I come To lie in your arms ♪

♪ You should not treat me Like a stranger ♪

♪ Our Father would not like The way that you act ♪

♪ And you must realize the danger ♪

♪ Oh, sister, am I not a brother to you ♪

♪ And one deserving of affection? ♪

♪ And is our purpose not the same On this earth ♪

♪ To love and follow His direction? ♪

♪ We grew up together ♪

♪ From the cradle to the grave ♪

♪ We died and were reborn ♪

♪ And then mysteriously saved ♪

[audience whoops]

[Dylan clears throat]

♪ Oh, sister, when I come To knock on your door ♪

♪ Don't turn away, you'll create sorrow ♪

♪ Time is an ocean But it ends at the shore ♪

♪ You may not see me tomorrow ♪

[audience applauds]

[man shouts] Bob Dylan for president!

-[Dylan laughs] -[audience cheers and applauds]

[Dylan] President of what?

[interviewer] Was he in a special mode of singing at that time?

Was he different than you'd seen him before?

It was-- There was a Rolling Thunder energy.

That was his invention, you know, and all these people showed up.

So, yeah.

-What do you got, Larry? -[Sloman] The tour was very open-ended,

so whatever city they went to,

if there was a local friend and musician,

there would be a slot for them to come up and play.

For example, uh, in Connecticut, Joni Mitchell...

came up, did a couple of songs,

and loved it so much that she stayed on for the rest of the tour.

She just became part of the... this experience.

-[train rumbling] -[indistinct chatter]

[van Dorp] How did you two end up on the road?

-I don't know-- -I came through Allen.

She came through Allen Ginsberg.

Um... I had finished a project and...

was, you know,

in a kind of a postnatal state

and wanted to come and see a concert,

and, uh, got sucked into it.

You know, just shelved everything that...

Everything else seemed, uh, minorly important

compared to this, like, as an experience,

and an experiment in communal existence. You know?

What do you think?

I think you've gotta come on the stage right now.

[Mitchell] Okay, I'm coming.

[singers intoning] ♪ Ah ♪

[all harmonizing]

[Waldman] Some days, I'd see it as this kind of allegorical thing

or as this group of pilgrims on a kind of journey and quest.

Of course, you-- you know, you-- the deal is you find yourself back home,

but you have to take this whole journey.

And then when you open it up to, you know, here you are in America,

and-- and all the things that Bob seemed to care about

in terms of these other... the-- the folk culture

is getting thrown in there.

[indistinct cheering]

[Waldman] And that's another weave. This sort of...

This-- This American yearning for, I don't know, redemption.

[indistinct shouting]

♪ ...circle be unbroken ♪

♪ By and by, Lord, by and by ♪

♪ There's a better... ♪

[man] Columbus didn't discover America. There were people here already.

Even though they stole most everything they could get their hands on.

Our land, children, women, whatever, they took it.

Left us very poor people.

A lot of our people homeless in our own country.

But the best things of all,

that they had no value,

was our way of life.

-[drumming] -[people singing]

[Rolling Thunder] It's beautiful music when that thunder rolls.

And that's the way I got my name.

I used to scream like a little eagle is what they told me.

Even when I was a baby in diapers, run right out in the storm.

Yeah, I love it.

And that lightning flash, there's a lot of power in it, I tell you.

[singing continues]

[older Dylan] This tour was named after Chief Rolling Thunder.

So, it made sense that we go to the Tuscarora Indian Reservation and...

and play.

We're gonna let our guests get their food.

I was just told it's gonna be cafeteria style.

[Elliot] Bob was seated right across the table from me,

and he said,

"You remember Peter's song about Ira Hayes?"

[Peter La Farge] And even today, there are things to write about...

for a cowboy, and I'm a cowboy.

An Indian, and I'm part Indian.

Or a human being.

This is a song about a human being,

who is also an Indian.

And if you don't remember his name,

I think you may after this song.

It's called Ira Hayes.

[acoustic guitar playing]

-Where would you want me to stand? -Anywhere you want. It'll be all right.

♪ Come gather 'round me, people And a story I will tell ♪

♪ About Ira Hayes, an Indian You should remember well ♪

♪ From the tribe of Pima Indians A proud and a peaceful band ♪

♪ They farmed the Phoenix Valley In the Arizona land ♪

♪ Down their ditches for a thousand years The running water rushed ♪

♪ Till the white man Stole the water rights ♪

♪ And the running water hushed ♪

♪ Now Ira's folks were hungry And their farms grew crops of weeds ♪

♪ But when war came, Ira volunteered And forgot the white man's greed ♪

♪ Now they started up Iwo Jima hill With two hundred and fifty men ♪

♪ But only twenty-seven lived To walk back down that hill again ♪

♪ And when the fight was over And Old Glory raised ♪

♪ One of the men that held it high Was the Indian Ira Hayes ♪

♪ Call him drunken Ira Hayes ♪

♪ He won't answer anymore ♪

♪ Not the whiskey-drinkin' Indian ♪

♪ Or the Marine that went to war ♪

♪ Call him drunken Ira Hayes ♪

♪ He won't answer anymore ♪

♪ Not the whiskey-drinkin' Indian ♪

♪ Or the Marine that went to war ♪

[Chief Mad Bear] This is a United States diplomatic medal.

It has-- It has, uh...

an Indian and the first diplomatic team of-- of the United States,

was given in Philadelphia on July the 4th, 1776.

Also, been told that there's a possibility

that these could be the same beads,

these, uh, larger ones, that Peter Minuit

traded the-- our people for Manhattan Island.

-[crowd laughs] -[Chief Mad Bear] Will you accept this?

Thanks for everything. What do you say, folks?

[Chief Mad Bear] But somewhere along the line,

something has failed, and...

we hope that this country can straighten out before too long,

because there are many things that's going to happen to shape

not only this country but the world.

[van Dorp] Bob.

What you-- You guys still here?

[van Dorp] Can I ask just one question?

["The Lonesome Death of Hattie Carroll" playing]

♪ William Zanzinger Killed poor Hattie Carroll ♪

♪ With a cane that he twirled Round his diamond ring finger ♪

♪ At a Baltimore hotel Society gath'rin' ♪

♪ And the cops were called in And his weapon took from him ♪

♪ As they rode him in custody Down to the station ♪

♪ And booked William Zanzinger For first-degree murder ♪

♪ Yes, and you who philosophize disgrace ♪

♪ And criticize all fear ♪

♪ Take the rag away from your face ♪

♪ Now ain't the time for your tears ♪

[Baez] Everything is forgiven whenever I would see Bob sing.

It is so...

the charisma...

that he has, I've never seen anywhere,

before or since.

And the beauty of those songs...

[imitates rapid typing sounds]

I don't.

Jack Kerouac, uh, writes like ticker tape.

I used to see you write like ticker tape.

I used to feed you salad and red wine while you wrote like ticker tape.

Yeah, I remember.

Brilliant stuff. William Zanzinger.

Overlooking the Pacific.

The wild Pacific Ocean in Big Sur, right?

-William Zanzinger. -Where was that written?

"Hattie Carroll." One of the best songs I think you ever wrote.

I think it's one of the best songs you sing.

Thank you. How come you take it on the stage now?

-'Cause you won't sing it. -[laughs]

Oh, Bob.

Sure, I will.

Just 'cause I screwed up the words.

-Well, it really... -How do you like my dress?

...displeases me that you-- that you went off and got married

and-- and, uh...

You went off and got married first and didn't tell me.

Yeah, but-- [stammers]

-You should have told me or something. -But I married the woman I loved.

I know, that's true.

That's true. And I married the man I thought I loved.

See, that's what thought has to do with it.

Thought will fuck you up.

You're right. I agree with that.

See, it's heart, it's not-- it's not head.

["The Lonesome Death of Hattie Carroll" resumes]

♪ Hattie Carroll was A maid of the kitchen ♪

♪ She was fifty-one years old And gave birth to ten children ♪

♪ She cleaned up the dishes Hauled out the garbage ♪

♪ And never sat once At the head of the table ♪

♪ She just cleaned up All the food from the table ♪

♪ And emptied the ashtrays On a whole other level ♪

♪ Got killed by a blow Lay slain by a cane ♪

♪ That sailed through the air And came down through the room ♪

♪ Doomed and determined To destroy all the gentle ♪

♪ And she never done nothing To William Zanzinger ♪

♪ Yes, and you who philosophize disgrace And criticize all fears ♪

♪ Take the rag away from your face ♪

♪ Now ain't the time for your tears ♪

♪ In the courtroom of honor The judge pounded his gavel ♪

♪ To show that all's equal And that the courts are on the level ♪

♪ That the strings in the books Ain't pulled and persuaded ♪

♪ And that even the nobles Get properly handled ♪

♪ Once that the cops Have chased after and caught 'em ♪

♪ That the ladder of law Has no top and no bottom ♪

♪ Stared at the person Who killed for no reason ♪

♪ Who just happened to be feelin' That way without warnin' ♪

♪ And he spoke through his cloak So deep and distinguished ♪

♪ Handed out strongly For penalty and repentance ♪

♪ William Zanzinger With a six-month sentence ♪

♪ Yes, and you who philosophize disgrace ♪

♪ And criticize all fear ♪

♪ Bury the rag deep in your face ♪

♪ Now is the time for your tears ♪

[audience cheering]

♪ But sleep won't come ♪

♪ The whole night through ♪

♪ Your cheatin' heart ♪

♪ Will tell on you ♪

♪ You'll walk the floor ♪

♪ And shout my name ♪

[man on phone] The hours are creeping down.

-We got to get the story. -[Sloman on phone] I'm getting it!

I'm only up all fuckin' night when the hours are creeping down.

[man] Well, I mean, you had two fuckin' weeks, Larry.

[Sloman] To do what?

-[man] To get a story, instead of-- -[Sloman] I gave you a story, I gave you--

[man] That had a lot of fuckin' holes in it.

-[Sloman] Well, but you're a bureaucrat. -[man] Oh, bullshit.

-Where do you get that crap? -[Sloman] You ask--

You are a bureaucrat. You ask me fuckin'...

uh, Wall Street Journal questions.

-[man] Bullshit. -[Sloman] Those are the questions--

[man] Everybody in the fuckin' country wants to know--

[Sloman] You're asking me music business questions, man.

[man] That's part of it, isn't it?

[Sloman] But that's not what the kids wanna read.

-[man] How do you know? -[Sloman] I know kids, man! I ask them.

[Dylan] ♪ ...and call my name ♪

[Sloman] Rolling Stone magazine was interested in the economics,

how much are these people getting paid...

You know, why are they playing bigger halls as the tour went on?

Those were the kind of questions they were asking,

and I didn't give a shit about that.

I mean, what I was concerned with was, you know, chronicling this...

this, uh, cultural event.

-[man] Can I offer you a beer? -[van Dorp] Sure.

-[man] There we go. -[van Dorp] Thank you.

[Gianopulos] There ain't too many Medicis around these days,

and whether you're out on the road with a lot of people,

or you're making a movie,

or any kind of creative endeavor that takes resources,

you need money.

And you gotta go to somebody who believes

that they're gonna get their money back and maybe a little more.

So, yeah, there's always this natural tension

between art and commerce.

[man 1] Okay, how 'bout-- We gotta cut one of Jack's.

-[Ginsberg] He says to cut "Muleskinner." -[man 2] He wants to cut "Muleskinner."

[man 1] All right. Okay.

[Kemp] I'll talk to Bob about this.

-All right, Allen's gonna do something? -Five minutes. Very brief.

[Kemp] You got a whole different audience. Did you look at those people?

They're not familiar with Dylan or Baez or anybody else.

Right.

[Kemp] If you go up and spill poetry for any length of time,

they're gonna be, you know, gone, you know?

[man 1] Make it two minutes, Allen.

[Kemp] Two minutes is plenty, I'm telling you.

-Okay. -[man 1] What about more cuts?

-Two minutes. -[Neuwirth] We're still cutting.

[Blakley] The show was originally three hours.

Ginsberg, who appeared in the show originally,

there was not enough time for him to perform during the show,

so his section was cut.

[Blakley] He and Peter Orlovsky became the baggage handlers.

We would put our bags outside the door, and he would take them every day.

You're a fuckin' luggage handler?

-God, yeah, and I give massages sometimes. -You're a poet!

I make myself useful around, on the, uh...

Uh... helping Chris with the newsletter and putting out the newsletter.

-You do errands? -Errands, right.

I can't believe this shit.

What kind of tour is this? You're a fuckin' great poet, Peter.

I'm learning-- Been practicing banjo, and I've been sitting every morning...

Uh, tomorrow morning, we're gonna sit with Allen for one hour.

-To do what? -After we wake up, sit and meditate.

[van Dorp] At a party at Gordon Lightfoot's house,

Toronto, Canada.

-[folk music playing] -[indistinct chatter]

[indistinct vocalizing]

[McGuinn] Joni Mitchell, she would go out and do her new songs.

She wouldn't do any hits.

And the audience reaction was a little sort of muted

for these new songs,

as it usually is when artists try to do new songs.

And I remember, she came off and she said,

"McGuinn, I don't know why I'm so scared out there. I just don't..."

I said, "You're just doing new songs.

You ought to do something that they recognize,

and then they'll, you know, loosen up."

She said, "No, no, I-- I can't do that. I think that's a bad idea."

[laughs]

[McGuinn] I admired her for her courage to do the new stuff only.

[McGuinn] Joni wrote this song about this tour,

and on this tour, and for this tour.

[continues strumming guitar]

Okay, D-minor now.

Yeah, some dissonance.

[Sloman] I had been loudly proclaiming that my three favorite male songwriters

were Bob Dylan, Leonard Cohen, and Kinky Friedman.

So, Joni started interrogating me backstage one day, saying,

"What do you mean, male?

Why do you make that distinction, male songwriters?

I mean, what about my stuff?

I mean, don't you characterize my stuff, like, you know,

in the same league as Bob and Leonard Cohen?"

[guitar playing]

[Sloman] And we got into this long discussion about,

well, the male versus female perspective, and anima-animus,

and, you know, male-female dynamic, and everything, you know.

But it became this long, drawn-out confrontation,

and we bonded on that.

♪ No regrets, Coyote ♪

♪ We just come from such different sets Of circumstance ♪

♪ I'm up all night in the studios ♪

♪ And you're up early on your ranch ♪

♪ Brushing out a broodmare's tail ♪

♪ While the sun is ascending ♪

♪ And I'll just be getting home With my reel-to-reel ♪

♪ There's no comprehending ♪

♪ Just how close To the bone and the skin ♪

♪ And the eyes and the lips you can get ♪

♪ And still feel so alone ♪

♪ And still feel related ♪

♪ Like stations in a relay ♪

♪ You're not a hit-and-run driver No, no ♪

♪ Racing away ♪

♪ You just picked up a hitcher ♪

♪ A prisoner of the white lines On the freeway ♪

♪ We saw a farmhouse burning down ♪

♪ In the middle of nowhere In the middle of the night ♪

♪ And we rolled right past that tragedy ♪

♪ Till we came to some roadside lights ♪

♪ And a local band was playing ♪

♪ Locals were mincin' And shakin' on the floor ♪

♪ The next thing I know ♪

♪ That Coyote's at my door ♪

♪ And he pins me in a corner And he won't take no ♪

♪ He drags me out on the dance floor ♪

♪ And we're dancin' close and slow ♪

♪ He's got a woman at home ♪

♪ One for the night And now he wants one for the day ♪

♪ Oh, why'd you have to get so drunk And lead me on that way? ♪

♪ You just picked up a hitcher ♪

♪ A prisoner of the white lines And the freeway ♪

[song ends]

[chuckles]

[Dylan] Let's call Hopper, man.

[McGuinn] Fuck yeah. Let me change channels.

[Blakley] Why do you have that?

[man 1] What are you on, channel 31?

-[man 2] Uh, give me, uh... -[Dylan] Okay.

[man 1] Okay.

[group] ♪ I took my troubles Down to Madame Rue ♪

♪ You know that gypsy With the gold-capped tooth ♪

♪ She's got a pad Down on Thirty-Fourth and Vine ♪

♪ Sellin' little bottles Of Love Potion Number Nine ♪

[Ginsberg] What poetry is,

the natural object, where we are now,

is always adequate symbol,

so you don't have to invent romantic myths,

diamond dancers on oceansides.

The scratching of the pen or the noise in the back of the bar

is part of the music.

♪ She bent down, turned around And gave me a wink ♪

♪ She said, "I'm gonna mix it up Right here in the sink" ♪

♪ It smelled like turpentine... ♪

[Jimmy Carter] I've never had more faith in America

than I do today.

We have an America

that, in Bob Dylan's phrase,

is busy being born,

not busy dying.

[audience applauds]

[man] I was very enamored of Jimmy Carter.

He-- I thought he was a really soulful, interesting guy,

and he liked me.

So, you know, I maintained a relationship with him for a long time.

And he's the guy

who got me into the Rolling Thunder concert that night.

Jimmy Carter. [chuckles]

Which is another story.

I was-- I was one of the youngest members of the Congress.

And so I was, um...

Yeah, I mean, I was torn between two generations there.

I was being pulled in both... You know, you want to get anything done,

you have to get along with people in the Congress.

You know, you don't get anything done anymore because nobody wants to, but...

in my day you, you know, you made an effort

to get along with these guys.

And most of them were considerably older than I was.

And Dylan was considered the enemy, really, by a lot of these guys.

I had grown up in this era where, you know, you wanted to be an adult,

you wanted to drink a martini with your dad, you know.

And now...

you know, "Never trust anybody over 30." Right?

And I'm caught in the middle of this, and I'm dealing in the Congress

with all these old guys, and...

[laughs] You know, it's an interesting conundrum.

[Jimmy Carter on recording] My own interest in the criminal justice system

is very heartfelt.

One of the sources for my understanding about

what's right and wrong in this society

is from a personal, very close friend of mine

a great poet named Bob Dylan.

After listening to his records about "The Ballad of Hattie Carroll"

and "Like a Rolling Stone,"

I've learned to appreciate the dynamism of change in a modern society.

I grew up as a landowner's son,

but I don't think I ever realized that the proper interrelationship

between the landowner and those who worked on a farm

until I heard Dylan's record,

"I Ain't Gonna Work On Maggie's Farm No More."

[Tanner] So I went to this meeting, I believe it was in Atlanta.

Jimmy was there, and he and I spoke about a few things.

And I can't remember exactly what was left unsaid,

but I told him that I would call him back that night,

and we were gonna finish this conversation.

I had to get to the airport.

So I get on the flight, I'm trying to get home.

And I got caught in a storm, and we got diverted to Niagara Falls.

And I get stashed in this cheesy little motel

that the airline put us up in.

I called Jimmy to say I hadn't reached home,

but we could talk tomorrow, and he said, "Where are you?"

And I said, "I'm in Niagara Falls." And he says, "Well,

you just hit the jackpot because--

because Bob Dylan's doing this Rolling Thunder concert

there tonight, and you can go."

[laughs] He said, "I'll call him and I'll get you in."

-[indistinct chatter] -[man] Dylan!

[woman] Dylan, you're beautiful!

[fanfare plays]

[Hurdley] Uncle Sam is going to sing

one of his versions of "The Star-Spangled Banner."

Ladies and gentlemen...

[Ginsberg] I saw the best minds of my generation

destroyed by madness,

starving hysterical...

[La Farge] This song about a human being

who is also an Indian.

-[man] "Let America be America again." -[La Farge] And if you don't remember...

[man] "Let it be the dream it used to be."

[intro to "Hurricane" playing]

[woman] No, I'm sorry, you-- you can't...

-Excuse me. You can't shoot in here. -[man] You need authorization.

[woman] You cannot shoot in here, sir.

-[van Dorp] Why can't I shoot in here? -He's running the camera.

[man] What organization are you from?

[indistinct murmuring]

[man 2] Do you know where you're going to?

I don't know. You'll have to ask him.

I'm sorry you had the hassle. Uh, we didn't know you were coming.

Obviously.

[Kemp] We just happened to be in the neighborhood.

-I heard it was you. -I brought a friend if you don't mind.

No, I don't mind, but I'm sorry you had any trouble downstairs.

Uh, Irwin, this is Bob.

-How are you? -[Dylan] Good.

But if you're looking...

to help the guy, in effect,

you know, and your purpose is a social one rather than a record one,

then I think it probably would make sense, you know, to comment, you know, early.

You know what I'm saying? I don't know what your motivations are.

You're kind of throwing it out and I haven't given a lot of thought.

I think there's a Top 40 AM problem.

Conversely, there may be a lot of black radio play,

for example, in the east.

-[Yetnikoff] Or you make it AM play. -So WWRL would--

[Yetnikoff] It's a Bob Dylan statement, that it is unique.

Whoever wants to play it can play it,

but the idea is he wants it on the streets,

so people can do with it what they want.

[Yetnikoff] But with those caveats,

your motivation is to try to do what you can for the guy,

then it probably makes sense to do it as quickly as possible.

-That's the motivation. -[Yetnikoff] Uh...

[Dylan] ♪ Pistol shots ring out In a barroom night ♪

♪ Enter Patty Valentine From the upper hall ♪

♪ She sees the bartender In a pool of blood ♪

♪ Cries out, "My God They killed them all"... ♪

If they can get it out on the street in a week that's, you know, that's good.

That's what they were talking about.

[Sloman] Rubin Carter was an amazing boxer,

middleweight,

who had been framed

for a murder in New Jersey

and was languishing now in Rahway State Prison.

[Sloman] Bob wrote this incredible song,

"Hurricane," and was very concerned about getting him out.

I'd written songs about boxers before, so that was nothing new, but, uh...

I hadn't really thought about, uh, Hurricane...

because I didn't know about Hurricane.

Uh...

It...

It never really crossed my path.

[young Dylan] I got the book. I read it.

Um, I, you know, made a mental note that if I was coming east,

or if I was east, I would, uh, visit him.

We were there for, you know, most of the day,

as far as I can remember.

Uh, we got there in the morning and then left him when it was dark.

I realized the man's philosophy

and my philosophy were running on the same road.

You know, and, uh, you don't meet too many people like that,

you know, that you just know that kinda on the same path, mentally, you know.

[Sloman] Yeah.

Dylan was different than other people who came to see me.

I mean, other people would ask the obvious questions.

"Rubin, are you guilty?"

You know, "Did you commit this crime?" "Did you do that?" You know.

But Dylan wasn't asking that.

Not at all. It seemed like he was searching for something else.

It was as if he was saying,

"Who are you, man?"

You know, "Are you what I see?"

I had a friend of mine send me his lyrics to his songs,

and so I could read his lyrics,

so I can get an-- an idea of who I'm talkin' to here, you know.

And...

I found something that was, uh, very interesting. Very...

That really connected us.

Both of us were... were performers and crowd-pleasers.

You know, me with the vicious left hook,

you know, whose parents grew up in the Jim Crow South,

and Dylan, uh, you know, with his... uh... the troubadour.

[Sloman] So you got back, and you had the germ of an idea to do a song?

-[Dylan] Yeah. -[Sloman] Why?

I mean, you know, is this a return to protest...

I mean... [chuckles]

You know, is this, uh, "Hattie Carroll" revisited?

[Dylan] Um, there's an injustice that has been done, you know.

And the fact is that it can happen to anybody.

-[Sloman] Mm-hmm. -[Dylan] You know?

-And we have to be confronted with that. -[Sloman] So-- So--

[Dylan] This song is called "Hurricane."

[audience cheers]

If you got any political pull at all,

maybe you can help us get this man out of jail,

back onto the streets.

["Hurricane" playing]

♪ Pistol shots ring out In the barroom night ♪

♪ Enter Patty Valentine From the outer hall ♪

♪ She sees the bartender In a pool of blood ♪

♪ Cries out, "My God, They've killed 'em all!" ♪

♪ Here comes the story of the Hurricane ♪

♪ The man the authorities came to blame ♪

♪ For somethin' that he never done ♪

♪ Put in a prison cell But one time he coulda been ♪

♪ The champion of the world ♪

♪ Three bodies lyin' there Does Patty see ♪

♪ And another man named Bello Movin' mysteriously ♪

♪ "I didn't do it," he says And he throws up his hands ♪

♪ "I was only robbin' the register You understand ♪

♪ I saw them leave, though" he says And he stops ♪

♪ "One of us had better Call on the cops" ♪

♪ And so Patty calls the cops ♪

♪ And they arrive on the scene With their red lights flashin' ♪

♪ In the hot New Jersey night ♪

♪ Meanwhile, far away In another part of town ♪

♪ Rubin Carter and a couple of friends Are drivin' around ♪

♪ Number one contender For the middleweight crown ♪

♪ Had no idea what kinda shit Was about to go down ♪

♪ When a cop pulled him over To the side of the road ♪

♪ Just like the time before And the time before that ♪

♪ In Paterson, that's the way things go ♪

♪ If you're black, you might as well Not show up on the streets ♪

♪ 'Less you want to draw the heat ♪

♪ Alfred Bello, he laid this rap On the cops ♪

♪ "Me and Arthur Dexter Bradley Were in here prowlin' around ♪

♪ We saw two men runnin' out of here They looked like middleweights ♪

♪ Jumped into a white car With out-of-state plates" ♪

♪ And Miss Patty Valentine Just nodded her head ♪

♪ Cop said, "Wait a minute, boys This one's not dead" ♪

♪ So they took him to the infirmary ♪

♪ And though this man could hardly see ♪

♪ They told him that he could identify The guilty men ♪

♪ Four in the mornin' And they haul Rubin in ♪

♪ Took him to the hospital And they brought him upstairs ♪

♪ The wounded man looks up Through his one dyin' eye ♪

♪ Says, "Why'd you bring him in here for? He ain't the guy!" ♪

♪ Yes, here's the story of the Hurricane ♪

♪ The man the authorities came to blame ♪

♪ For somethin' that he never done ♪

♪ Put in a prison cell But one time he coulda been ♪

♪ The champion of the world ♪

♪ Four months later The ghettos are in flame ♪

♪ Rubin's in South America Fightin' for his name ♪

♪ Arthur Dexter Bradley's Still in the robbery game ♪

♪ And the cops are Puttin' the screws to him ♪

♪ Lookin' for someone to blame ♪

♪ "Remember that murder That happened in a bar? ♪

♪ Remember you said you saw The getaway car? ♪

♪ You think you'd like to play ball With the law? ♪

♪ Think it mighta been that fighter That you saw runnin' that night? ♪

♪ Don't forget now, you're white" ♪

♪ Arthur Dexter Bradley said "I'm really not sure" ♪

♪ Cops said "A poor boy like you could use a break ♪

♪ We got you for the motel job We're talkin' to your friend Bello ♪

♪ You don't wanna have to go back to jail Be a nice fellow ♪

♪ You'll be doin' society a favor ♪

♪That son of a bitch is brave And gettin' braver ♪

♪ We want to put his ass in stir ♪

♪ We want to pin this triple murder On him ♪

♪ He ain't no Gentleman Jim" ♪

♪ All of Rubin's cards were marked In advance ♪

♪ The trial was a pig-circus He never had a chance ♪

♪ The judge made Rubin's witnesses Drunkards from the slums ♪

♪ To the white folks who watched He was a revolutionary bum ♪

♪ And to the black folks He was just a crazy nigger ♪

♪ No one doubted That he pulled the trigger ♪

♪ And though they could not produce The gun ♪

♪ The DA said he was the one Who did the deed ♪

♪ And the all-white jury agreed ♪

♪ Rubin Carter was falsely tried ♪

♪ The crime was murder one Guess who testified? ♪

♪ Bello and Bradley, and they both lied ♪

♪ And the newspapers They all went along for the ride ♪

♪ How can the life of such a man ♪

♪ Be in the palm of some fool's hand? ♪

♪ To see him obviously framed ♪

♪ Couldn't help but make me feel ashamed To live in a land ♪

♪ Where justice is a game ♪

♪ Now all the criminals In their coats and their ties... ♪

[Tanner] "Now all the criminals in their coats and ties

are free to drink martinis and watch the-- and watch the sun rise."

"While Rubin sits like Buddha in a ten-foot cell,

an innocent man in a living hell."

I thought that was great.

Because the ballad of the Hurricane...

uh, sent an indelible message of justice gone awry,

you know what I mean?

So... So...

Dylan doing that spread the word far and wide.

[Dylan] ♪ That's the story of the Hurricane ♪

♪ But it won't be over Till they clear his name ♪

♪ And give him back the time he's done ♪

♪ Put in a prison cell But one time he coulda been ♪

♪ The champion of the world ♪

[audience cheers]

[both speaking indistinctly]

Let me introduce you to everybody.

[chuckles, speaks indistinctly]

[Carter] Many of the people who came to help me were white people,

which must have surprised the authorities,

because the authorities claimed that I committed this crime

because of my hatred for white people.

But here's all these white folks

coming to help this poor black man

who's in prison for something that he didn't do,

something that he didn't do. I mean, it-- it was great.

[reporter] What happens if the courts say no, where do you go from there?

Are you gonna go back into the courts once again?

If the courts say no, we just keep on fighting.

There's no such-- There's no such thing as no.

There's just yes,

and the road is straight ahead, and we keep on going.

Bob always been searching.

Every time I see Bob now, and which we don't see each other frequently,

but every time I see him, I ask Bob, "Have you found it yet, Bob?"

And Bob says, "Yeah, I found it."

But I know he hasn't, 'cause he keeps searching. [laughs]

[older Dylan] He'd always say, "Hey, what are you searching for today?"

I'd say, "What?"

He'd say, "I know you're a searcher. What are you searching for?"

I'd say, uh, "Well, Hurricane, I'm searching for the Holy Grail."

And he'd say, "What?"

I said, "I'm gonna search until I find it, like Sir Galahad."

That's what I'm looking for.

[indistinct chatter]

-[man] Five minutes. Five minutes. -[interviewer] Do you think he's a genius?

Is Bob Dylan a genius?

[van Dorp] I don't know. That's a strange word.

Maybe.

I think the most brilliant thing he did was putting a group of highly motivated

and ambitious people on a train with no supervision,

and then let them become the most extreme versions of themselves.

[interviewer] Is that how you'd describe what happened?

I know that's what happened to me.

-[people laughing] -[man] Let's go. Let's go.

Let's go.

[interviewer] So, why did you come here to speak to me?

[van Dorp] Well, to try and, you know, stake my claim

and say, "Here I am, this is me. I'm the one who made this.

You're using it.

This wouldn't exist without me. I'm the filmmaker here."

[van Dorp] December 4th, 1975, Montreal, Canada,

last scheduled concert for the Rolling Thunder Revue.

We phantoms are assembled at the end of the Rolling Thunder tour.

[man] Roger? Let's go. Luther?

[Ginsberg] We started out trying to recover America.

We discovered a certain amount of truth about ourselves.

Old friends who thought their loves had been lost

were able to get together and, uh, face each other eye to eye

and sing over an electrical microphone

to please the desires of myriad young yearners,

who had been seeking some kind of union and community

and saw therein an image of that community.

[interviewer] Was the tour a success?

[Gianopulos] The tour was a disaster, it was a catastrophe.

-[interviewer] Why? -Well,

I told 'em we should be playing to 20,000-seaters,

but instead, you know, they wanted to play all these small joints.

Now you've got 16 to 18 people onstage,

and you got 15 people on the back line.

Buses and hotel rooms and catering, and you're only playing to houses

with 3,000 seats, so you're gonna hemorrhage money.

We were in the red before we even got on the road.

No, it wasn't a success.

Not if you measure success in terms of profit.

But it was a sense of adventure.

So, in many ways, yes, it was very successful.

[Ronson] Let's go.

[Dylan] Time to go.

-[man 1] Come on. We're on. -[man 2] Yeah, Rob, you look pretty.

["Knocking on Heaven's Door" playing]

[older Dylan] What remains of that tour to this day?

Nothing.

Not one single thing.

Ashes.

♪ Mama, wipe the blood off of my face ♪

♪ I can't see through it anymore ♪

♪ I need someone to talk to And a new hiding place ♪

♪ I feel like I'm knockin' On heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

♪ Mama, I can hear that thunder roll ♪

♪ Echoing down from God's distant shore ♪

♪ I can hear Him calling out for my soul ♪

♪ l feel I'm knocking on heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

You who saw it all, or saw flashes and fragments,

take from us some example,

try and get yourselves together,

clean up your act, find your community,

pick up on some kind of redemption of your own consciousness,

become more mindful of your own friends,

your own work,

your own proper meditation,

your own proper art,

your own beauty.

Go out and make it for your own eternity.

♪ Knock, knock, knockin' On heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

♪ Knock, knock, knockin' On heaven's door ♪

["The Water is Wide" playing]

[Dylan and Baez] ♪ The water is wide ♪

♪ And I can't cross over ♪

♪ I've neither wings ♪

♪ That I could fly ♪

♪ Build me a boat ♪

♪ That can carry two ♪

♪ And both shall row ♪

♪ My love and I ♪

♪ There is a ship ♪

♪ And it sails on the sea ♪

♪ Loaded deep ♪

♪ As deep can be ♪

♪ But not as deep ♪

♪ As the love I'm in ♪

♪ And both shall row ♪

♪ My love and I ♪

[audience applauds]

-[crowd cheering] -[man] Bob!

[woman] Encore!

[crowd applauding and cheering]

["Romance In Durango" playing]

♪ Hot chili peppers In the blistering sun ♪

♪ Dust on my face and my cape ♪

♪ Me and Magdalena on the run ♪

♪ I think this time we shall escape ♪

♪ Sold my guitar to the baker's son ♪

♪ For a few crumbs and a place to hide ♪

♪ But I can get another one ♪

♪ And I'll play for Magdalena as we ride ♪

♪ No llores, mi querida ♪

♪ Dios nos vigila ♪

♪ Soon the horse will take us to Durango ♪

♪ Agárrame, mi vida ♪

♪ Soon the desert will be gone ♪

♪ Soon you will be dancing the fandango ♪

♪ Past the Aztec ruins And the ghosts of our people ♪

♪ Hoofbeats like castanets on stone ♪

♪ At night, I dream of bells In the village steeple ♪

♪ Then I see the bloody face of Ramon ♪

♪ Was it me that shot him down In the cantina? ♪

♪ Was it my hand that held the gun? ♪

♪ Come let us fly, my Magdalena ♪

♪ The dogs are barking And what's done is done ♪

♪ No llores, mi querida ♪

♪ Dios nos vigila ♪

♪ Soon the horse will take us to Durango ♪

♪ Agárrame, mi vida ♪

♪ Soon the desert will be gone ♪

♪ Soon you will be dancing the fandango ♪

♪ At the corrida, we'll sit in the shade ♪

♪ And watch the young torero stand alone ♪

♪ Drank tequila Where our grandfathers stayed ♪

♪ When they rode with Villa into Torreón ♪

♪ And the padre will recite The prayers of old ♪

♪ In the little church this side of town ♪

♪ I'll wear new boots And an earring of gold ♪

♪ You'll shine with diamonds In your wedding gown ♪

♪ Was that the thunder that I heard? ♪

♪ My head is vibrating I feel a sharp pain ♪

♪ Come sit by me, don't say a word ♪

♪ Oh, can it be that I am slain? ♪

♪ Quick, Magdalena, take my gun ♪

♪ Look up in the hills That flash of light ♪

[man whoops]

♪ Aim well, my little one ♪

♪ We may not make it through the night ♪

[audience applauds and cheers]