All language subtitles for Dont.Look.Back.eng.DVDRip

(d Bob Dylan: Subterranean Homesick Blues)

d John is in the basement
mixing up the medicine

d I'm on the pavement
thinking about the government

d The man in a trench coat
badge out, laid off

d Says he's got a bad cough
wants to get it paid off

d Look out, kid, it's something you did

d God knows when but you're doing it again

d You better duck down the alleyway

d Looking for a new friend,
a man in a coonskin cap

d In a pig pen, wants 11 dollar bills

d But you only gotten

d Maggie comes fleet foot,
face full of black soot

d Talking that the heat put
plants in the bed, but

d Phone's tapped anyway,
Maggie says that many say

d They must bustin early May,
orders from the DA

d Look out, kid, it don't
matter what you do

d Walk on your tiptoes,
don�t try No Dose

d Better stay away from those
that carry around a fire hose

d Keep a clean nose,
watch the plain clothes

d You don't need a weatherman
to know which way the wind blows

d Oh, get sick, get well

d Hang around an inkwell

d Hangin' bell, hard to tell
if anything is gonna sell

d Try hard, get barred, get back, ride rail

d Get jailed, jump bail,
join the army if you fail

d Look out kid, you're gonna get hit

d By losers, cheaters, six-time users

d Hangin' round the theaters

d Girl by the whirlpool
is looking for a new fool

d Don't follow leaders,
watch the parking meters

d Oh, get born, keep warm,
short pants romance

d Learn to dance, get dressed,
get blessed, try to be a success

d Please her, please him, buy gifts

d Don't steal, don't lift, 20 years of
schoolin' and they put you on the day shift

d Look out, kid, they keep it all hid

d Better jump down a manhole,
light yourself a candle

d Don't wear sandals,
you can't afford the scandals

d Don't want to be a bum,
you better chew gum

d The pump don't work
cos the vandals took the handles d

(d Guitar)

(Indistinct lyrics, voice cracks)

- Did you see my cane?
- Yeah, it was right there.

It's gone.

- You didn't see it, did you?
- What?

My cane.

- That piece of shit.
- It's gone.

- Is it here?
- It's not there. I left it right there.

When? Today?

- (Dylan) It's in back of the door.
- He's got it.

It's in back of this door here.

Will you... will you remember?

(Applause)

(d All I Really Want To Do)

- d I ain't lookin' to compete with you d
- (Crowd whistles)

d Beat or cheat or mistreat you

d Simplify you, classify you

d Deny, defy or crucify you

d All I really wanna do

d Is, baby, be friends with you d

(d Harmonica solo)

Can you smoke here?

d London Bridge is falling down,
falling down, falling down

d London Bridge is falling down

d My fair lady d

- You came here two years ago, didn't you?
- Yes, I did.

What's the reason for the change? Why are
you so big this time? What do you think?

I have absolutely no idea.
I don't even know about it.

I figured just do the
same thing I did before.

(Cheering)

(Girls cheering excitedly)

What's happening here?

What are we gonna do?

How long is it
since you were last in London?

- About a year.
- About a year.

- What's your light bulb for?
- What's the light bulb for?

I thought you would ask me that.

No, I usually carry a light bulb.

Somebody gave it to me, you know?

Sorry, I didn't quite catch the answer.

Somebody gave it to me,
a very affectionate friend.

I see.

Are you the folk?

- Who? Am I folk?
- Yeah.

No, no, no. Not me, I'm not folk.

- (Woman) What is your real message?
- My real message?

(Giggling)

Keep a good head
and always carry a light bulb.

- You tried it?
- I plugged it in my socket, the house exploded.

Do you think a lot of the young people
who buy your records

understand a single word
of what you're singing?

- (Dylan) Sure.
- You reckon they do?

Sure.

(Man) Why do you say they do?
How can you be so sure?

They're quite complicated
songs, aren't they?

(Dylan) Yeah, but they understand them.

How do you know they do?
Have they told you?

They told me, haven't you heard of that song?
"She said so..."

- What did it say?
- You got it wrong.

Do you think they understand you
because they don't see you?

Would you say that you cared about people.
Particularly?

Well, yeah, but we all have
our own definitions of all those words.

"Care" and "people" and...

Surely, I mean, we know what people are.

Well... do we?

You sound angry in your songs.

Are you protesting against certain things
that you're angry about?

I'm not angry.

- I'm delightful.
- I see.

- Thank you very much.
- OK.

Do you ever read the Bible?

What about the Bible?

Do you ever read the Bible?

- Um... no.
- Have you ever read it?

Have I ever? I've glanced through it.

Because, you see, a lot
of the things you say...

I've glanced through it, I haven't read it.

- Put your hands up to your face like that.
- Like that?

Well, as I was saying to him...
I said... (Laughs)

- I can't pose.
- You don't have to pose.

Just do it and I'll shoot.

- And again.
- Sorry?

- (Woman) Be all solemn.
- I can't do it.

We publish these things, you know.

You're so cute, you know.

- Your name, please?
- Joan Baez.

Joan...

- B-A-E-Z.
- Oh!

Strewth!

- I didn't recognize you, I'm sorry.
- Good.

Nice to see you,
I've been looking for you all day.

This is the part where I don't write.

I don't, you know... I'm not gonna...

Anything that happens
now, I'll just remember.

But whereas, when I'm living,
doing my own thing,

doing what I do, this is never around me.

I mean, I accept everything, I accept this...
I'll accept it.

Why?

Well, because, it's here,
it's real, it exists,

just as much as, uh... you know,
just as much as the buses outside exist.

I mean, I can't turn myself off to it
because, you know, if I try to fight it

I'm just gonna end up going insane
faster than I eventually will go insane.

If I do go insane.

When and if the time comes...

for me to go insane.

(Laughs) "Puffing heavily on his
cigarette, he smokes 80 a day."

Oh, I'm glad I'm not me.

(Baez) d Sally go round the roses

d Sally gonna tell her secret

d Sally, go tell your secret

d Roses, they can't hurt you

d Roses, they can't hurt you d

- D'you know that song, Sally?
- Yeah, I like it.

Donovan. Who is this Donovan?

Let's put him right on the sidewalk.

- He's a good guy.
- I'd like to meet him.

- (Man) He's a young Scottish...
- Bloke.

I was gonna say that
but I didn't know if you'd understand.

- Bloke. Bloke! Bleu-rk.
- Bloke. Anyway...

He's singing bit of folk music and he's been
around and he's a very good guitar player.

- He's better than you.
- Yeah.

- All right?
- Right away I hate him.

He's all right, I like him anyway.
He's not a fake. He's all right.

- Well, I got him up on the wall. Anybody I...
- Where?

He's right there.

"Is Donovan deserting his fans?"
He's only been around for three months.

(Laughter)

That's what I call a loser.

(d Bob Dylan: Maggie's Farm)

d I ain't gonna work
on Maggie's farm no more

d I ain't gonna work
for Maggie's brother no more

No, listen...

- In the South, they get it.
- London, they get it. London...

It's ridiculous to say that.
They've done so much...

In a short time. That's
America, this is England.

Not a short time. 26 years.

When did Abraham say that we're all equal?
When was the Declaration?

- That was 200 years ago.
- Well, he said that, didn't he?

- He said that but he never does nothing.
- Nobody ever does without the vote.

..started working 26 years ago...

Where we going to, CBSO?

- He's not with us.
- He's not with us.

We're all thin, he's...

I've got an award for him for the most...

uh... promising artist of the year.

And the best-selling folk record,
Freewheelin'.

- I just don't want them.
- Just have them mailed?

- I don't even wanna see them.
- OK. All right.

- Tell them to give it to Donovan.
- (Laughs)

(d Piano jazz)

(Finger clicking)

Groovy, man!

(d Man singing jazz)

(Laughter)

Donovan.

Donovan, next target.

He's our target for tomorrow. Yeah.

Uh, this is for the African
Service of the BBC, Mr. Dylan.

Uh, West African listeners,
and it's going out this evening.

And the questions are four in number

for your approval before we ask them.

The first one's a very
general journalistic one,

just how did it all begin for you?

What triggered it off?

Uh... Just how do you see the art
of the folk song in contemporary society?

Has it a very real social impact?

Something that will interest our listeners in
Africa is your deeply humanitarian attitude

to a number of public matters.

You are quoted as saying, "People talk
about negroes as if they were objects."

Does this sort of compassion on your part

present any problems for you in America?

OK.

By the way, you took part in a play
in Britain some time ago,

- by a school friend of mine, Evan Jones.
- Oh, yeah.

Evan and I went to school
in Jamaica together.

Castle Street, wasn't it?

- Yeah, the Madhouse on Castle Street.
- Yes.

(Clears throat)

Going ahead in about five seconds from now,

with this interview with Mr. Bob Dylan
for the African Service of the BBC.

Pete Myers and Colin Wilde producing,

in approximately five seconds.

How did it all begin for you, Bob?
What actually started you off?

Um...

d From the poverty shacks
he looks from the cracks to the tracks

d And the hoof beats pound in his brain

d And he's taught how to walk in a pack

d Shoot in the back, with
his fist in a clinch

d To hang and to lynch

d With his head 'neath a hood

d To kill with no pain

d Like a dog on a chain

d He ain't got no name

d But it ain't him to blame

d He's only a pawn

d In their game

d Today Medger Evers was buried
from the bullet he caught

d They lowered him down as a king

d But when the shadowy sun

d Sets on the one that fired the gun

d He'll see by his grave

d On the stone that remains

d Carved next to his name

d His epitaph plain

d Only a pawn

d In their game d

(Applause and cheering)

(Rapturous applause)

(d The Times, They Are A-Changin')

d Come gather round, people,
wherever you roam

d And admit that the waters
around you have grown

d And accept it that soon
you'll be drenched to the bone

d If your time to you is worth saving

d Then you better start swimming
or you'll sink like a stone

d For the times, they are a-changin' d

(Applause)

(d Single note)

(d To Ramona)

d Ramona, come closer,
shut softly your watery eyes

d The pangs of your sadness
will pass as your senses will rise d

Sentence.

"He is not so much
singing as sermonizing"

Colon. "His tragedy, perhaps, is that
the audience is preoccupied with song."

Paragraph. "So the bearded boys

"and the lank-haired girls,

"all eye shadow and undertaker make-up,

"applaud the songs
and miss, perhaps, the sermons.

"They are there" colon,
"they are with it." Sentence.

"But how remote they really are from sit-ins
and strikes and scabs and life." Paragraph.

"'The times, they are
a-changing', sings Dylan.

"They are when a poet
and not a pop singer fills a hall."

Be aware that tonight
at the City Hall here,

you had a greater audience
than has been seen there for many years.

And more appreciation
than has been heard there.

I've never heard so much applause here.

That makes me feel good, you know.
Makes me feel good.

Are you religious?

Well, what does that mean, "religious"?

Does it mean you bow down to an idol or go to
church every Sunday or that kind of stuff?

- No.
- Believe in something.

- Do you believe in...
- I don't believe in anything, no. Why should I?

I don't see anything to believe in.

Do you think you're cynical?

No, I just can't see anything
anybody's offered me to believe in

that I'm gonna put all
my trust and faith in.

Nothing is sacred.

- Who is in charge?
- In charge of what?

Who is in charge of this room?

What do you mean, in charge of this room?
It's rented to Bob Dylan.

- Are you Bob Dylan's manager?
- Yes, but I'm not in charge of his room.

- No, you're in charge of Bob Dylan.
- No, I'm not.

We have had complaints
about the noise above, below...

That's unfortunate, we�ve
try to hold it down.

If it isn't organized within five minutes,
I will ask you to leave.

- Why don't you get a constable?
- I will.

Please do.
There's been no noise in this room.

You're one of the dumbest assholes
I've ever spoken to.

What's going on?

(Manager) If we were someplace else
I'd punch you in your goddamn nose.

You stupid nut.

We've rented this room
and I'm asking you to leave.

We have valuables in here
and I don't want you in here.

Don't adopt that attitude.

Would you get out of this room?

You get out of this room also.

I don't care about your fop manager.

As soon as we're clear of the town...
There's one in there. Shall I read it out?

"American folk singer Bob Dylan sat
scowling in a hotel armchair last night.

"In his hands was an iris.

"Bob, who arrived 90 minutes before his
British tour opened at Sheffield City Hall

"said he wanted to rest.

"Asked to pose for a relaxing picture, he seized
a flower and said, 'This is how I like to relax.

"'I've been through all
this in the States.'

"The harsh, rasping, haranguing voice
of self-styled guitar-strumming poet Dylan

"started with The Times
They Are A-changin'".

"They certainly are."

"This, swears my 17-year-old son, is what the
kids who used to scream at the Beatles go for,

"and if Dylan is a trend, not just a cult,
parents need not be so condescending.

"His tour, opening at the 2,700-seat hall
was a sellout

"but without one single scream and rapt
attention to every word.

"It was very impressive.

"Dylan, alone with his guitar and
mouth organ for an hour and a half,

"earned L2,000 and a
foot-stamping ovation."

That's all.

(Whistle)

- (Scouse accent) Where you staying tonight?
- Hotel.

- Where?
- Erm, near the theater.

In a hotel?

- You're staying in a hotel?
- Don't be personal.

- Is that him?
- No.

(Gasps) Oh!

Oh, hell!

- Isn't he handsome?
- Oh, isn't he lovely?

Oh, he can't look at me, he can't!

Pinch me, pinch me.

Come down.

Oh!

Oh, me dream's come true.

- Will you sing Times They Are A-changin'"?
- (Dylan) You want me to sing that, huh?

- You really like that song?
- It's fantastic.

- What do you like about it?
- I don't like the Subterranean Homesick Blues.

You're that kind of person,
I understand right now.

(Girl) It's not you,
it doesn't sound like you at all.

My friends were playing
with me on that song.

I have to give some work to my friends.

- You don't mind that, right? Huh?
- No.

You don't mind them playing the guitar and
drums and all that kind of stuff with me?

It just doesn't sound like you, it sounds
as if you're having a good old laugh.

Don't you like me to have
a good old laugh once in a while?

Some people might take you seriously
and think...

You know different, though, right?

Yeah.

As long as you know you don't have
to worry about anybody else.

People take care of themselves.

(Girl) Got any brothers and sisters?
(Dylan) Huh?

Have you any brothers and sisters?

God, I don't even know that.

I have lots of brothers and sisters.

Lots.

I've got a little sister, she's mad on you.

Is this called "Mercy-side"?

(Girl) Yeah.

(Cheering and applause)

(Faint) d Come gather round, people,
wherever you roam

d And admit that the waters around you
have grown... d

(Man) What the hell's wrong with the mike?
You can't hear him.

What the hell's happened?

- (Man) No sound here at all.
- OK.

Nobody's pulled anything
out, except that one.

Can you just... face that way?

Oh, for crying out loud.

Is he down there?

Is he down there?

(Music suddenly gets louder)

(Cheering)

This one was off as well.

d For the times they are a-changin'" d

(Dylan on radio)
d For the times, they are a-changin'"d

(Man) Bob Dylan in the number 16 slot
with his own composition, entitled,

The Times They Are A-changin'".

Caroline fans...

- What number was the other one?
- What?

- What number was the other one?
- 31.

- On the fab chart.
- ..Caroline T-shirt, travel bag...

Straight across the front.

(d The Lonesome Death of Hattie Carroll)

d William Zanzinger killed
poor Hattie Carroll

d With a cane that he twirled
around his diamond ring finger

d At a Baltimore hotel society gathering

d And the cops were called in
and his weapon took from him

d As they rode him in custody
down to the station

d And booked William Zanzinger
for first-degree murder

d And you who philosophize disgrace

d And criticize all fears

d Take the rag away from your face

d Now ain't the time for your tears

d William Zanzinger who at just 24 years

d Owns a tobacco farm of 600 acres

d With rich wealthy parents
who provide and protect him

d And high-office relations
in the politics of Maryland

d Reacted to his deed
with a shrug of his shoulders

d And swearwords and sneering
and his tongue it was snarling

d And in a matter of minutes on bail
was out walking

d And you who philosophize disgrace

d And criticize all fears

d Take the rag away from your face

d Now ain't the time for your tears

d Hattie Carroll was a maid of the kitchen

d She was 51 years old
and gave birth to ten children

d Who cleaned up the dishes
and hauled out the garbage

d And never sat once at
the head of the table

d And didn't even speak
to the people at the table

d Who just cleaned up
all the food from the table

d And emptied the ashtrays
on a whole other level

d Got killed by a blow, lay slain by a cane

d That sailed through the air
and came down through the room

d Doomed and determined
to destroy all the gentle

d And she never done nothing
to William Zanzinger

d And you who philosophize disgrace

d And criticize all fears

d Take the rag away from your face

d Now ain't the time for your tears d

We do...

- about 20, 30 of your numbers.
- Really?

We give them all a big band sound.

You probably think we're
ruining your material

but we're doing it because
we're idols of you.

Thank you.
Are you playing around anywhere?

When we play we try and tell them
it's the words they ought to listen to.

- You play with rhythm guitar or electric guitar?
- Electric.

We find it's very difficult to get people to listen
to words, all they want to do is listen to...

I don't really... It's beyond me.

I don't... I just go out there and
sing 'em, if the people are...

If I was booked to play,
I just go out there and sing.

I'm not gonna try and
get anybody to listen.

(Loud shouting and whistling)

(Man) Hey, hey, hey, hey, hey.

- Step over here.
- Hey, hey, hey.

(Woman) Oh, bless his heart!

(Man) Let him have a bit of room.
That's it.

(Dylan) Bye.

See you now.

- See you later.
- (Banging)

(Baez) Oh, God.

(Man) Watch out, watch out! (Baez)
That chick is on the back of the car.

(Dylan) There's a guy on our car,
will you get him off?

(Baez) Get that ch... Take her off.
(Dylan) Stop, Bobby.

- Hey, Bobby, tell the guy to stop.
- (Baez) She's gonna get hurt.

(Man) The chick.
(Baez) It's a girl.

(Dylan) Take that girl off our car, please.
Will you please take her off the car?

You gotta get her off.
Will you get that girl off our car?

(Baez) She's off.

(Dylan) OK, how you doing?

We'll see you later. Bye.

(Baez) d Bad news, bad news
came to where I sleep

d Turn, turn, turn again

d Saying one of your
friends is in trouble deep

d Turn, turn to rain and the wind d

- (Typewriter keys tapping)
- d Tell me the trouble, tell me once to my ear

d Turn, turn, turn again

d Joliet prison for 99 years

d Turn, turn to the rain and the wind

- d Tell me once how this came to be d
- (Typewriter bell)

d Turn, turn, turn again

d It was manslaughter in the highest degree

d Turn, turn to the rain and the wind

d Sat down and wrote
the best words I could write

d Turn, turn, turn again

d Asked the judge to see me
on Wednesday night

d Turn, turn to the rain and the wind

d Without a reply I left by the moon

d Turn, turn, turn again

d I was in the judge's chamber
by the next afternoon

d Turn, turn to the rain and the wind

d Tell me now why I asked without fear

d Turn, turn, turn again

d How one of my friends could get 99 years

d Turn, turn to the rain and the wind

d A crash on the highway
threw a car into a field

d Turn, turn, turn again

d Four people killed with him at the wheel

d Turn, turn to the rain and the wind d

- I don't remember that song.
- d Love is just a four-letter word... d

I haven't touched that song. Did I? Huh?

(Baez) d Outside a rambling store-front
window cats meowed at the break of day

d Me, I kept my mouth shut too,
I had no words to say

d My experience was limited and underfed

d You were talking while I hid

d To the one who was the father of your kid

d You probably didn't think that I did
but I heard

d You say that love is
just a four-letter word d

- Do you remember any more?
- No, I never finished it.

- God. You finished it eight different ways.
- (Dylan) Yeah.

- Yeah, that's a good song.
- It's beautiful.

If you finish it, I'll
sing it, on a record.

I can finish that.

(d Baez singing)

Have you ever heard
She Died For Love At 3am?

- Huh?
- No, I missed that.

It's a great song. You remember that song
in the Shadows Of The Warm Red Wine?

d Long black veils, long black veils d

(Man) Oh, don't sing it.

d Long, black veils... my boy d

d Mama took sick along in December

d February brought us broken hearts d

d I was just a lad, nearly 22

d Neither good nor bad, just a kid like you

d Then I got lost, too late to pray

d I started goin' down that lost highway

d Now, boys, don't start to ramble around

d On this road of sin
or you're sorrow bound

d And you'll get lost
till you curse the day

d You started going down
that lost highway d

- It's another verse. "I'm a rolling stone..."
- Yeah.

(Dylan) d I'm a rolling
stone, all alone and lost

d For a life of sin I've paid the cost

d Take my advice

d You... (Mumbles) ..curse the day

d You started going down
that lost highway d

What about the...

d You got lost somewhere

d With sounds too good to cry

d That midnight train took the road away

d I'm so lonesome I could cry d

Welcome home.

It's the first time this room hasn't been full
of insane lunatics, man, that I can remember.

Bobby, it was almost so nice
that you don't know.

Yeah, it's the first time
it's been cool around here.

(Baez) Oh, God. I'm sleepy.
I mean I'm fagging out.

Let me tell you, sister,
you were fagged out a long time ago.

Sure.

You fagged out before you even thought
you were fagged out.

Oh, my God, there she is - Fang.

Do you have one
of those see-through blouses?

She has one of those see-through blouses
that you don't even wanna...

- Such pain, Baez!
You wouldn't hurt his guitar, would you?

No. Uh-uh.

- (Baez) Oh, pardon me.
- I didn't mean to hurt you.

(Singing softly) d ..take
what you want... d

Do you have somewhere maybe
I can write out these things?

- Do you have any paper?
- Oh, yeah. OK.

- You'll have to make the most of that.
- Really? Do we have any more?

- Are you expectin' to get it all on that paper?
- I've got all these songs written.

Have to write small or something.

d Understand your old man with his gun...

d Kind of like a banana in the sun... d

Can I finish this?

d Here, comes the night, whoo! d

(Laughter)

Aah!

- d Here comes... d
- Come on.

d Here comes the night, whoo! d

On with Queen Lucy.

Out of place, baby!

Crowned my daughter queen of the festival.

Did you see that man on the platform,
reachin' in his pocket,

pulled out a speech and said,
"So happy to be here."

- Bob...
- Wanna do it now?

Oh, concert.

I knew there was something.

(Laughter)

I knew it wasn't the hotel.

Where is it?

(Applause)

What kind of money?
How far do you think we can push them?

I tell you, as far as Granada goes,
they were talking 12, 1300 pounds.

- There's 1500 there, I know.
- You don't think we can do better?

Possibly, yeah,
but I know that he's talking 12, 13.

Why don't we ask for 2000?

- I had that figure in mind, strangely enough.
- Get it settled.

Great.

- Why don't we get an answer?
- Right.

Tell them that I have to present it to Bob
before we can give them an answer,

- but we'll give it to them by tomorrow.
- Fine.

I'll get Johnny and Granada. The other one
was Re-diffusion, but they're the same...

Johnny, urgently.
Wherever he is, track him down, dear.

(Woman) He's in the studio but his secretary
said if you have an idea what it's about,

she might get him to the phone.

- Just say, "Bob Dylan", he'll be there in a shot.
- OK.

Two grand, Johnny. Yeah, on an exclusive.

And it would be very much exclusive -
he's not going to do anything else. Yeah.

You want to leave that with you, John?

- Hello.
- Hello.

- Yes?
- This is Chris, Stuart's PA.

- Yes, Chris?
- He's not been available at the moment.

He's a bit tied up down at the theater.
Can I help?

I think he may untie himself. Tell him this is
the call he was expecting regarding Bob Dylan.

- Bob Dylan?
- Yes.

Well, you know, when I say he's tied up,
I really mean it. I'm not kidding.

I know he is... with rope. Right?

No, we've got another show on
in the theater, you know.

Don't get upset, don't get upset,
I'm only kidding you.

Oh. OK. I'll try and get him.

Will you tell him, Chris,

that I have Mr. Grossman with me,
Bob's manager?

Albert Grossman's with me now.

- OK.
- OK. Bye.

How about that? He thinks
I'm putting him on.

What do you think, Stuart?

Mm-hm.

Uh-huh. Oh, dear.

That for the two...

Not bad for me. I'd take it for
a week's work, I don't mind.

Um, Stuart, shall I just check this out now
with Albert, to save you hanging on?

Then give you a call back? God bless you.

1250. He probably could stretch to 1500.

So I'd think of this, you know. BBC.

Maybe for one show, but not for two.

I had a feeling that Granada would come up
with the best money. They have in the past.

I remember what they offered Peter,
Paul And Mary for two shows on the BBC.

This seems to be their... their top.

I think we really...

If you get him back, why don't you let me
take a crack at him on the phone?

Pleasure.

Because he called me in
the States, you know.

- Who? Stuart or Johnny?
- Stuart.

Stuart? All right.

Stuart, I've got Mr. Grossman for you.
Will you hold on a second?

I spoke to you in New York, didn't I?

It's the number, yeah.

And at that time I indicated the kind of
money that we're looking for for Bob,

and I assumed that when Tito told me
you were interested,

that we were somewhere in that vicinity.

And I was personally kind of surprised
at the nature of the offer.

And much as we'd like to do a show for the BBC,
I think we can't consider it at that money

because it doesn't come anywhere near
the other offers that we have.

Well, the minimum that I would consider
would be, uh...

the fee that you mentioned
for each half-hour.

No, no. I wouldn't. 1250
for each half-hour.

Well, uh...

Thank you very much. Bye.

He says he�ll put it to them,
but he's almost certain it will be... no.

But I think he's gonna come back
with 2,000 for that. For two shows.

Then we're no better off.

We're still better off with the other one
with one show. Aren't we?

I don't know.

I don't...

- Beg them myself.
- Hm.

Can we, without, uh... acting in bad taste,

can we get Johnny back on the phone and tell him
it looks like we have a better offer from...

I'll tell him.

No?

Albert, if I may... Go along with me. Because
I know Johnny and Johnny's a good guy.

Johnny is not about to save them money,
you know.

We only asked for two. He's not going
to come back with more than that.

He hasn't said, "We'd like to give you
a little more than you asked for."

What we can do is this. If we want to hold
on, Johnny will be back in the morning.

If he comes up with the two and if they
turn around and say, "Forget it"...

If they come up with the two, I'll say, "Johnny,
because Albert wants to do it with you,

"we're not saying no to you and doing the
other one, we�ll tell you what happened.

"We were ready to do yours
if you came back with two

"but then the BBC got mad
and came up with two,

"so you've got to top it."

Albert. Stuart, I'll be with Albert
in a few moments and I'll put it to him,

and, er... you know, I'm sure he�ll come up
with a decision very quickly.

Yeah. Well, now, Stuart, let me tell you...

Yeah. No, let me tell you something,
Stuart, between you and I.

Very truthfully, as you know,
ooh, two months ago,

Granada came on
when they heard he was coming.

And you know them, they pay, you know...

Well, they pay for the taxi as well,
if you know what I mean.

And they've been on there
hammering away like mad.

So Albert does have
a pretty tough decision in a way.

Yeah, but have you seen today's chart?

Dylan, number six,
Subterranean Homesick Blues.

Yeah, it jumped from like 45
or something to six.

I'll be with Albert
within ten minutes or so.

Look at that guitar.

- Which one?
- This one right there.

Do you believe that guitar?

(Laughs)

They don't have those guitars
in the States, man.

They're incredible. 20 grand?

(d Sings indistinctly)

Here he comes.

- I don't know.
- Had it cut down, dead long sideboards.

- Is the bottom rule that you dislike me?
- No, but there's some people that might.

Oh, no. You know, I've got my friends.

I mean, I'm, you know, I'm well situated.

What about before you had any friends?
Were you worried then?

I was not worried. I wasn't worried about it, no.
I was lucky. Weren't you?

- What was it like when you had no friends?
- I can't remember not having any friends.

- Have you got a lot of friends now?
- No.

Because I reached a stage where I
suddenly realized what a friend was,

and then I probably had one or two.

- Before, I didn't understand what a friend was.
- Do you talk to them?

- I didn't know who they were then.
- Now do you talk to your friends?

There are one or two people
I believe I can talk to.

Your friends are your friends
because you can talk to them?

- A friend is a friend because...
- Communicate with them?

To a certain extent.
They understand me more than anybody else.

We come from two different worlds,
you come from England, I come from the US.

That's true, but we're still human beings and
there's some sort of connection between us.

- (d Strumming)
- No, I'm just a guitar player, that's all.

Man, you're trying to knock me.

No, believe me, I'm not trying to do that.

What if somebody comes to interview you,
what's your attitude?

You read those interviews that were done
on the first few days I was here.

- Erm, yeah.
- Yeah. Those weren't right.

- You know that. You know that was all... lies.
- Well, I don't know.

Lies and rubbish. You know that.

After the first few lines,
I didn't read much of it.

Why I came in here, I don't know.
Being regaled with all this...

- Are you going to the concert?
- Yeah, I'm gonna watch.

- I mean, this is what I came to see...
- Well, listen. OK, listen.

I came to see you but I thought
I'd like to have a word with you first.

What is your attitude to life? When you meet
somebody, what is your attitude to them?

- I don't like them.
- You don't like them?

I mean, I come in here,
what's your attitude towards me?

I don't have attitude towards you at all.
Why should I? I don't even know you.

No, but it would be an attitude if you
wanted to know me or didn't want to know me.

- Why should I want to know you?
- That's what I'm asking.

Well, I don't know. Hey?
Ask me another question.

Just give me a reason
why I should want to know you.

- Erm... I might be worth knowing.
- Why? Why?

Tell me why. What difference is
it gonna make for me to know you?

- Name me one thing I'll gain.
- You�ll learn something from my attitude to life.

- What is your attitude to life?
- I can't explain that in two minutes.

All you're getting is two minutes. You're asking
me to explain something in two minutes too.

You're the artist,
you're supposed to be able to.

- I am?
- Yeah.

- What about you? Aren't you an artist?
- Oh, no.

- What are you?
- I'm a science student.

- Let's hear it again. A what student?
- A science student.

Just what does that mean? What do you do?
What's your purpose in the world?

- Erm, what's my purpose in the world?
- Yeah.

- What do you do in the world?
- I'm in the world for me, I guess.

- Like everybody else.
- Just like me.

- So we're just alike, aren't we?
- I guess so.

- We don't come from two different worlds.
- You were wrong. I was right.

All the time.

But this is interesting.

When I go to interview some groups,

if I go to interview Alan and his mob, I don't
think they could care less about me, you know.

Well, you know,
haven't you ever stopped to wonder why?

(Laughter)

There's got to be some
reason, doesn't there?

But it's nothing to do with me because
they don't want to know me before I go in.

- They don't know me...
- What are you after?

Can you write them up in your paper?

- No, I don't think of myself as necessarily...
- Get into the science.

- I'm a person, you know.
- Well, so what?

There's a million thousand billion of us,
so many persons outside.

- I agree.
- You can't know them all, can you?

No. But if I meet somebody,
I speak to them for a few minutes,

I think, "That guy might be able
to give me something."

Well, there's... Oh-ho!

Whoa!

Now I'm getting down to it.
Yeah. What is it that you want?

Everyone is out for what they can get.

- I might be able to get something material.
- Do you want to get a chick?

Do you want to pick up a chick?

I don't want it. I don't want it.
I don't want it. I can't play the thing.

- I don't want it either.
- Well, I can't play it.

They may give me something material,
but I'm not necessarily interested.

- What do they give you spiritually?
- I might learn something.

- What do you want them to give you?
- Well, I won't know if I don't try to find out.

- Why don't you try?
- Huh?

Don't you ever... Do you
ever just be quiet?

- Be silent?
- Yeah.

And just watch and don't say one word.

Yeah, the whole thing that gets me
about you and about Alan,

is that you're knocking
from the minute I come in.

- Knocking?
- Yeah.

I don't think you know when you're liked,
that's all.

If we wanted to knock you,
we could put you on.

Yeah, but I mean he's just said
that I'm talking a load of rubbish.

I never said that,
you're misquoting me already.

I didn't misquote you, I interpreted you.

You interpreted him to your own...
to your own thing, right?

- Your own rules, of your own images.
- I had to give some answer.

Why? Why do you have to give some answer?

- Well, to satisfy you.
- You don't have to satisfy me.

Besides, it's impossible!

If you said you didn't want an answer
I wouldn't have given one.

- Do you try to satisfy everybody?
- No.

Do you ever once in a while try?

- Once in a while try to satisfy somebody?
- Somebody, not everybody.

- A few people.
- But some people I can't satisfy.

- No matter how hard I try, I can't satisfy them.
- How do you know that?

If you get to know somebody for a
little while, you can guess just how...

Are you still friends with them,
even though you can't satisfy them?

Yeah.

- Friends. Not deep friends.
- What do you talk about?

- You find a field where you can communicate.
- What's a deep friend?

Somebody that you're on almost
exactly the same plane with them,

so you can communicate with them very well.

Somebody that's just like you.

- No.
- Looks like you?

- No.
- No?

- Talks like you? How do you like somebody?
- No. Thinks the same way.

Thinks the same way? Like what? Like people
think... Both are happy about a green door?

- No, think in the same language.
- Think in the same language?

So you can understand each other.
And you know what each other think.

Let's try and understand
each other, shall we?

That wouldn't be a bad idea.

It wouldn't be a bad idea.
How are we gonna understand each other?

You can ask your first question. Go ahead,
you've got a question to ask, come on.

- No.
- You haven't got a question?

- (Knock at door)
- I didn't...

Somebody's calling for you.

- You want me to go? OK, I'll go.
- You don't have to go.

I didn't come in here... He thinks of me
as a journalist, but I'm not a journalist.

The high sheriff's lady
would like to talk to you.

Who's the high sheriff's lady?

Would I know?

Do I look like Robin Hood?

Who the hell is the high sheriff?

- Who's the high sheriff?
- Her name is Sarah Lee.

- Who is this high sheriff?
- I think she's a big cheese.

- She's next door.
- She's 13.

Is this Jim Clarke?

Jim Clarke is the high
sheriff of Nottingham?

Oh, deary me.

- Better get your boots on.
- She wants to say hello.

- Who is she?
- The high sheriff... The guard just told me.

The high sheriff's lady. You might get
knocked out by the high sheriff's lady.

I'm the sheriff's lady and I've come to say
how happy we are to have you here,

and I hope you have a
very successful night.

Everybody loves you,
there's thousands outside.

And these are my three boys.
David, Stephen and Stephen.

And they think you're so marvelous
that they've left all their exam papers,

they've left everything to come
and listen to you.

- OK. I better be good.
- You better be good.

I don't think you can help being good.
But we're thrilled to have you here.

If you come after May, again, then I'll
have you as my guest in the mansion house.

- This lady will be lord mayor.
- After May.

- This lady will be lord mayor.
- I think the songs you sing are very wonderful.

- And you write them yourself sometimes?
- I write them all.

Do you really?
They've got feeling and they're marvelous.

And I really mean this, I think you're
a really good example for the youth.

- Thank you.
- So if you come back again,

I shall be delighted to have you both
as my guests in the mansion house.

- Here's my friend. He's got something for you.
- How do you do?

- Here's a harmonica.
- Would you like it?

I'd love it. Is this from you? Thank you
very much indeed. That's very lovely of you.

You're his friend. I've just invited your friend.
If he comes any time after May,

he can come with you
and stay in my mansion house.

It's a beautiful place. I shall be lord mayor
after May, God willing, of this lovely city.

- Yeah, we'll come back.
- And I really mean it.

And I want everyone to know what a wonderful
city this is and what hospitality we give,

and also want you to know how very thrilled
we are to have you.

Thank you. Goodbye. He's charming!

It's 7:30 now? Oh, shit.

d I'm sitting on a little lonely corner on
the street when this little old lady goes by

d Oh me, oh my d (Laughs)

- What song is that?
- George Formby.

He's the one that did
Mrs. Brown, You've Got A Lovely Daughter.

Oh, yeah, by Herman And The Hermits.

d Little thing that you do d

(Laughs)

Have you seen that on television?
Dave Berry.

He does all these slow actions
like a human sloth.

He does...
d Little things that you do

d Make me glad I'm in love with you

d Little things... d

He's great and he has a microphone
and he drops it down his back.

d Make me glad that I feel this way and...

d I wanna hold your hand

d ..to say, make me glad
that I feel this way

d Little things, little...

d When you hold my hand...

d And oh, I love those little things

d In my head d

What do the Animals
do for a piano player now?

They've got one. There's a good friend of mine
going to go in later on for good, you know.

- Aren't you playing with them no more?
- No.

I haven't seen them. It
just happens, you know.

(d Dylan strums guitar)

(d Plays funky glissandos)

It's king-size.

d Oh, baby

d Oh, whoa, whoa, whoa, whoa d

- Oh, man. I don't feel like singing.
- You will when you get out there.

Two encores or one, man?

(d Man singing gospel style)

Maybe one. You know...

Maybe. I would like to do one.

Who did I give the matches to before? OK.

There it is. I want that.

- Have you got your rum in here?
- I'm not sure what's going on.

I'm thinking about a song that has to work.

- Did you get glass in that?
- Yeah, and wood.

d And it ain't no use
in callin' out my name, babe

d Like you never did before

d And it ain't no use
in callin' out my name, babe

d I can't hear you any more

d I'm a-thinkin' and a-wonderin'

d Walkin' all the way down the road

d I once loved a woman, a child I'm told

d I give her my heart
but she wanted my soul

d But don't think twice it's all right d

- (Man) Bob!
- What?

- (Man) Keep playing.
- What are you doing?

- I wanna work out what it sounds like.
- Where are you? I'm talking to you over here.

- Keep it like that.
- Oh, are you heading over this way now?

- Yeah.
- All right.

- Where's the door?
- Down the stairs.

- Where, man?
- Come on, get up the stairs.

Sorry.

- Straight through?
- Yes.

Up these steps.

Sorry.

(Girls squealing)

Get in a taxi, Pete, come on!

Pete! Pete! Get in a taxi!

Where is he? Where is he?

Oh, he's going.

- Come on, down here!
- Come on, quick!

- Anyway...
- (d Guitar strumming)

(d Humming)

d Hey, hey

d Why do you treat me like you do? d

I wanna know who threw that glass!

- Yeah, this is...
- Who did it? Tell me!

If somebody don't tell me who did it,
you're all gonna get the fuck outta here!

Now, who did it? I don't care who did
it, man, I just wanna know who did it!

I'm pissed, but I didn't do it.

I was out there in the bathroom going out.

Careful. Hey, don't tell
me you're pissed, man!

Don't tell me you're pissed,
I don't wanna hear it.

- Who threw the glass?
- I didn't throw the glass.

Well, who did? Tell me, you were there,
who threw it?

You know who?

Yeah, I'm in a bit of bother.

All right. Hey, I don't care who did it.

If you know who did it,
tell them to get out there

and tell the cats that come up here
to ask who did it, tell them who it was.

I'm not taking no fucking responsibility
for cats I don't know, man.

I got enough responsibility with my friends
and my own people.

- I know. I agree.
- Now, come on.

- I was out there...
- I don't care who it was...

I don't want none of your shit, man.
I don't want glass in the street.

- I'm not giving you shit.
- What did you do it for?

- What did you throw a glass for?
- I didn't.

Well, show me who did, if he's not
here by the time I count to ten,

you'd better take responsibility for it.

All right, one, two, three, four, five, six,
seven, eight, nine, ten - you got him here?

- No. I wouldn't do that.
- Hey, man, I'm not kidding you.

- I'm going!
- He's gonna clean up that glass, man!

- I'll clean it up! I'll clean up your glass, man!
- I'll help you, man.

- I wouldn't clean your...
- I believe he's all right, man.

- OK? I believe...
- Listen...

Don't, "come on, listen" me,
I've heard it a thousand times, man!

- Listen. I'm going.
- I know a thousand cats that look just like you.

- Talk just like you.
- Oh, fuck off!

- Well, well.
- You're a big noise, you know.

I know it, man, I know I'm a big noise.

- I'm a bigger noise than you, man.
- I'm a small noise. I'm a small cat.

That's right.

- If I'd have thrown a fucking glass...
- You're anything you say you are, man.

- I'm nothing!
- You're nothing? I believe you.

- Nothing!
- I believe you, man.

- Boys...
- Bobby Dylan...

- you're a big international noise!
- Could we have a drink over here?

I'm nothing. I didn't throw any
fucking glass in the street, man!

You know, if I had, and I
wanted to believe it,

- you know, and if you'd wanted to, you know...
- Well, who did, man?

..come at me for fucking glasses,

- you know...
- Just a minute.

- ..you know, I'd have had a go at you.
- All right, man. Cool it, man.

- I will go down and sweep it up for you.
- No, you don't have to, just tell me.

- Be groovy, right?
- Yeah, either be groovy, or leave, man.

You don't have to be groovy for me,
just be groovy for anybody.

There's a gentleman here
inquiring about a glass.

Right.

Hey, a lot of people can stay, man.

Whoever did that glass...

They damaged a car.

- Oh, man.
- Now we've got trouble, you see.

Oh, OK, I'll find out who did it.

We won't find out who did
it today, I'm sorry.

I used to wear a cowboy
hat like Jack, right?

I got a record of yours and Jack's.

- I have one called The Cowboys.
- You're joking!

- The Cowboys and also...
- Rambling Boys.

Rambling Boys and The Cowboys.

I just wanted to meet you sober, man.

Not to hurt anybody.

Just didn't want the glass to hurt anybody.

- Me too.
- OK.

Listen, man, why don't we get together,
and I'll turn you on to some things?

OK.

- Are there poets like Allen Ginsberg around?
- No. No, nothing.

- Dominic Behan.
- Yeah. You know what?

I don't wanna hear nobody
like Dominic Behan, man.

- Dominic Behan is a friend of mine.
- That's fine, man.

- I just don't wanna hear anybody like that.
- That's OK.

He plays like Jack, man.

Keep coming. Yeah, man.

d When the night has left you
cold and feeling sad

d I will show you that it cannot be so bad

d Forget the one who went and made you cry

d I'll sing a song for you

d That's what I'm here to do

d To sing for you... d

(Dylan) Yeah, that's a good song, man!

Sing, Bob.

d When you feel
you just can't make it any more

d With your head bowed down
you're starin'' at the floor

d Search out to me with your weary eyes

d I'll sing a song for you

d That's what I'm here to do

d To sing for you

d Now, every man, he has his work, you know

d And to find out mine
you ain't got far to go

d Just call out to me with your weary eyes

d I'll sing a song for you

d That's what I'm here to do

d To sing for you

d To sing for you d

- Yeah.
- Well done!

- Play another one.
- I wanna do It's All Over Now Baby Blue.

- Go on, Bob.
- Yeah.

Why don't you have a play?

I've done that thing with the strings.
A de-tune.

d You must leave now, take what you need

d You think will last

d But whatever you wish to keep

d You better grab it fast

d Yonder stands your orphan

d With his gun

d Crying like a fire in the sun

d Look out, the saints are comin' through

d And it's all over now, Baby Blue

d The highway is for gamblers

d Better use your sense

d Take what you have gathered
from coincidence

d The vagabond is rapping at your door

d He's standing in the clothes
that you once wore

d Strike another match, go start anew

d And it's all over now, Baby Blue d

- Great, Bob!
- That was nice, Bob.

- I used to...
- You wanna hear another song?

Is that the stage door?

Please, yes.

I don't care what they see.

This is the Savoy Hotel here. We're on our
way in about ten minutes with Mr. Bob Dylan.

So can you sort of expect us?

Through the stage door - there's not many kids there?
OK, right, thanks very much. Bye.

Yes, very few there, apparently, so...

- Beautiful day, man.
- I've been in offices since ten this morning.

Organizing my other tour.

- The other folk singer?
- Donovan. The other folk singer, yeah.

- How's that tour doing?
- Not so good. (Laughs)

He said, "What do you think if we booked a
theater in Scarborough for a Sunday concert

"and put Donovan on his own?"

I said, "I can't see it for two hours."

He said, "Do you think
we should book one other act?"

I said, "I think you should book
about four other acts." (Laughs)

This must be a very old theater.

- Sure. Victoria died in 1894.
- Queen Victoria built it for her... dude.

Get up there, get a touch of reality.

Look at all the boxes!

- God!
- (Woman) Do they close off?

Hello?

- They're here?
- All over the place.

Yeah, I'll use it, man, you know?
I'll use it.

Have you finished rehearsing now,
have you finished rehearsing?

- Rehearsing? We're finished with the stage.
- Right, right.

(d Piano)

Yeah, I'll use it, it's passable,
it's just a drag there's no new one.

Are you gonna see the concert tonight?
Are you gonna hear it?

OK, you hear and see it,
and it's gonna happen fast.

And you're not gonna get it all. And you
might even hear the wrong words. You know?

I won't be able to talk to you afterwards, I
got nothing to say about these things I write,

I mean, I just write 'em.

I'm not gonna say anything about 'em, I don't
write 'em for any reason. There's no message.

If you wanna tell other people that,
go ahead and tell 'em.

But I'm not gonna have to answer to it.

And they're just gonna think,
"What's Time magazine telling us?"

You couldn't care less about that either.

You don't know the people that read you.

Cos, you know, I've never been in Time
magazine, and yet this hall is filled twice.

You know? I've never been in Time magazine,
I don't need Time magazine.

And I don't think I'm a folk singer.
You'll probably call me a folk singer,

but other people know better.

Cos the people that buy my records,
listen to me, don't read Time magazine.

You know the audience
that subscribe to Time Magazine?

The people that want to know
what's happening in the world,

week by week, the people that work during the
day and can read it small, and it's concise,

and there's pictures in it.

I mean, those kind of people,
it's a certain class of people,

that take the magazine seriously.

Sure, I can read it, I read it on the
airplanes, but I don't take it seriously.

If I wanna find out anything
I'm not gonna read Time Magazine,

I'm not gonna read Newsweek
or any of these magazines,

they just got too much to lose
by printing the truth.

- You know that.
- What kind of truths are they leaving out?

On anything! Even on a worldwide basis.

They'd just go off the stands in a day
if they printed the truth.

- What is really the truth?
- The truth is just a plain picture.

- Of what?
- Of, you know, a plain picture, of, uh...

I should say, you know...

a tramp vomiting, man, into the sewer.

You know, and next door to the picture,
you know, Mr. Rockefeller, or, you know,

Mr. C.W. Jones, you know,
on the subway going to work.

Uh...

You know, any kind of picture, just make some
sort of collage of pictures, which they don't do.

There's no ideas in Time magazine,
there's just these facts.

You know, because even the article
you're doing, the way it's gonna come out,

it can't be a good article.

Because the guy that's writing the article
sits at a desk in New York,

without leaving his office.

He's just gonna get all these 15 reporters,
and they're gonna send him a quota.

- You know?
- That's not true.

He's gonna put himself out,
he's gonna put all his readers on it,

and in another week will be, "Have
some space in the magazine."

But that's all! It means nothing
to anybody else.

I'm not putting that down, because people
have got to eat and live. You know?

But, at least be honest about it.

- I mean, sure...
- I don't think...

I know more about what you do, and you don't
even have to ask me how or why or anything,

just by looking, you know,

than you'll ever know about me, ever.

I mean, I could tell you I'm not a
folk singer, and explain to you why,

but you wouldn't really understand.

- All you could do, you could nod your head.
- You could be willing to try.

No, I couldn't even be willing to try,
because it would be...

there's certain things which...

Every word has its little
letter and big letter.

- Your friend had the right word, pigeonhole.
- No, it's not pigeonhole, it's not the word at all.

Every word has its little letter and
big letter, like the word "know".

- The word "know", K-N-O-W?
- Yes.

OK. The word "know" - capital K-N-O-W.

- Yes.
- Like each of us really knows nothing.

- OK.
- Right, but we all think we know things.

And we really know nothing.

You're saying you know more
about what I do...

No, I was saying that you're gonna die and are
gonna go off the earth, you're gonna be dead,

and it could be 20 years, it could
be tomorrow, any time, so am I.

We're just gonna be gone,
the world's gonna go on without us.

Now, you do your job in the face of that,
and how seriously you take yourself,

you know, you decide for yourself.

- OK.
- OK? I'll decide for myself.

Now, you're not gonna make me feel unhappy
by anything you print about me,

or anything like that, you know,
you couldn't offend me.

I'm sure, you know, I couldn't offend you.

So, uh... uh...

All I can hope for you to do, is, you know,

all your ideas in your own head,

somehow, wherever they are...

Do you care about what you sing?

How could I answer that,
if you got the nerve to ask me?

What a nerve, asking me
a question like that!

- I have to ask...
- Do you ask the Beatles that?

I ask because you have
the nerve to question...

I'm not questioning you,
I don't expect any answers from you.

Do you think somebody wouldn't go see
somebody if they didn't want entertainment?

- Of course not.
- Who wants to go get whipped?

And if you do wanna go get whipped,
aren't you gonna be entertained?

Right? OK, so do you think anybody
that comes to see me

is coming for any other reason
except entertainment?

They'll tell you they come
for different reasons.

- Well, who cares what they tell you?
- They think they know why they're doing it.

- Do you know why they're doing it?
- I know...

People say all kinds of things.

The answer is to weed it out -
can you weed it out?

I don't know how you weed it out.

Yeah, well, you see, you're not gonna
learn, I can't teach you to weed it out.

I didn't say that I couldn't weed it out,
I said I don't know yet.

Yeah, I have no idea.
First of all, I'm not even a pop singer.

- Do you think you'll ever be that?
- I don't know. I have no idea.

Every singer is in some sense a pop singer,
even if it's Caruso.

- He's appealing to a popular...
- He's a pop singer.

Yeah, I'm just as good a singer as Caruso.
Have you heard me sing?

- Have you ever heard me sing?
- I like Caruso better.

Well, you see right there
we have a little disagreement.

I happen to be just as good as him.
A good singer.

You have to listen closely,

but I hit all those notes.

And I can hold my breath
three times as long if I want to.

(Dylan) Is it gonna start on time?

Is it gonna start on time?
Miss anything different?

What time does it start? Seven o'clock?

- 7:30.
- That's it.

That's it. Ten minutes late.

- Donovan not playing?
- Yeah, keep seeing him.

- Don't start till he arrives, Bob.
- Yeah.

People who like Donovan, man,
they just like everybody.

We got special stewards on each...

All the seats are sold, anyway.

- Are you gonna go on set or not?
- Yes, I am.

Hey, the Beatles are here.

This should be a lousy place,
I'll not be able to hear myself.

- You can hear yourself.
- There you go.

Stay right in back here.

(d Strums guitar)

About two minutes.

A minute and a half.

Next time I come in, man,
it'll be time to go.

So be ready.

OK now? Get the harps.

Come on, the hall is dark, come on.

Let's go.

The hall is dark?

(Cheering and applause)

d Come gather round, people,
wherever you roam

d And admit that the waters
around you have grown

d And accept it that soon
you'll be drenched to the bone

d If your time to you is worth saving

d Then you'd better start swimming
or you'll sink like a stone

d For the times, they are a-changin' d

d One time a crazy dream came to me,
I dreamt I was walking into World War III d

(Cheering and whistling)

d I went to the doctor the very next day

d To see what kind of things he had to say

d He said it was a terrible dream

d I looked in the closet,
there was Donovan d

(Laughter and whistling)

(Applause)

d Some of the people
can be half right part of the time

d All of the people
can be part right some of the time

d Half the people can be quite right
all of the time

d But all of the people can't be all right
all of the time

d TS Eliot said that d

(Laughter and applause)

d I'll let you be in my dream
if I can be in your dream

d I said that d

This is called It's Alright Ma
(I'm Only Bleeding Ho Ho Ho).

d Darkness at the break of noon,
shadows even the silver spoon

d The hand-made blade, the child's balloon

d Eclipses both the sun and moon

d To understand, you knew too soon,
there is no sense in trying

d As pointed threats, they bluff with scorn

d Suicide remarks are torn

d From the fool's gold mouthpiece
the hollow horn

d Plays wasted words, proves to warn

d That he not busy being born is busy dying

d Temptation's page flies out the door

d You follow, find yourself at war

d Watch waterfalls of pity roar

d You feel to moan but unlike before

d You discover that you'd
just be one more person crying

d So don't fear

d If you hear

d A foreign sound

d In your ear

d It's all right, Ma

d I'm only sighing d

(d Gates Of Eden)

d Of war and peace, the truth just twists

d Its curfew gull just glides

d Upon four-legged forest clouds

d The cowboy angel rides

d With his candle cradled into the sun

d Though its glow is waxed in black

d All except beneath the trees of Eden

d The savage soldier sticks his
head in sand and then complains

d Unto the shoeless hunter who's gone deaf

d But still remains

d Upon the beach where hound dogs bay

d At ships with tattooed sails d

Blinds out, house lights and the Queen.
OK? Fair enough.

(Applause)

- (Man) Ha-ha-ha!
- Actually, applause is kinda bullshit.

Better be something else,
they're just sat there waiting.

d In the dime stores and bus stations

d People talk over situations

d Read books and repeat quotations

d Draw conclusions on the wall

d Some speak of the future

d My love, she speaks softly

d She knows there's no success like failure

d And that failure's no success at all

d The bridge at midnight trembles

d The country doctor rambles

d Bankers' nieces seek perfection

d Expecting all the gifts
that wise men bring

d The wind howls like a hammer

d The night blows cold and rainy

d My love, she's like some raven

d At my window with a broken wing d

(Applause)

- (Coughing)
- See ya!

Go, driver, go!

Go, driver!

- Ah, beautiful, beautiful, man!
- That was a good concert.

- Huh?
- That was a good concert.

Beautiful!

They were all there, man.

All of them.

Goddamn!

- The vanishing American.
- Yeah.

God, I feel like I've been through
some kind of, uh... thing, man!

You have!

I know, but I mean,
there's something special about it, man.

- They've started calling you an anarchist.
- Who?

- Papers, that's the word now.
- Anarchist!

- Yeah.
- You're kidding, what paper's this?

Two or three.

Today, yeah.
Just cos you don't offer any solutions.

- You're kidding.
- Of course.

- An anarchist?
- Yeah.

Huh. Give me the cigarette.
Give the anarchist a cigarette.

Whoo!

Anarchist!

A singer such as I!

Yeah, I was surprised to see it myself,
but there you go.

It took 'em a while to think of that name.

- No, they couldn't say communist.
- Didn't they say that yesterday?

Communists... in England,
communists really aren't, you know...

- (Baez) Oh, it's cool.
- Yeah.

I don't think it's cool to
be an anarchist though.

- No, I'm sure it is!
- I hope it's not, I don't think it is.

(Man) d It's all over now, Baby Blue d

English SDH