Original subtitles

Ladies and gentlemen, Woody Guthrie.

I sung this song, but I'll sing it again

of the place that I lived on the wild winded plains

in the month called April.

County called Gray, and here's what all of the people there

say.

So long, it's been good to know you.

So long, it's been good to know you.

So long, it's been good to know you.

This dust, the old dust is again my home.

And I've got to be drifting over.

He sang a country song that doesn't

mean he's not still a Catholic or a communist.

You're boxing him in.

Exactly what you said.

He's not so boxing in.

Nobody has to do boxing.

You get that.

There you go.

Hey, Mr. You know who this place is?

It's called Greystone.

It's like what he got for us in there.

I'd say a hospital, pal, in Morris Plains.

Where is it?

Up town?

Woody's across the river in New Jersey.

Crazy.

He's came from New Jersey.

So go back.

All rise.

Mr. Seger, do you have anything to say

before I pronounce your sentence?

In my whole life, I've never said or done anything subversive

to my country, Your Honor.

It's not why I'm here.

I'm here because some second-rate politician

from Louisiana decided that he don't like a song that he's doing.

Or maybe he don't like some of the folks that might have sung it to you.

Mr. Seger, a jury has found you guilty of contempt of Congress.

I refuse to name names, and I present attention to America.

I refuse questions under a federal subpoena.

Your Honor, you may know a friend of mine, Woody Guthrie.

Great songwriter and great American, and Woody's not well.

But he's been much on my mind as I've been going through this,

because Woody once said that a good song can only do good.

And the song I'm in hot water for here, it's a good song.

It's a patriotic song, in fact.

And I thought, maybe you'd like to actually hear the words,

and I can play it for you.

And you'll know, Woody, you're not crazy.

Fire! I said, fire!

I'm sure it's free.

Now look at that. The skies are clearing. See?

Hey, hey, hey, you got a fair shake?

What did you feel about the judgment?

Didn't get the result that we thought was right,

but we're free to fight another day.

I often play a song for the judge up there, but he didn't want to hear it.

But I feel like singing, so I'm going to sing it for you.

You know the words.

This land is your land.

This land is my land.

From California to the New York Islands.

From the Redwood Forest to the Gulf Stream waters.

This land was made for you and me.

That's all you got?

Yeah.

to see what oh

is best

Oh, I've gotta be drifting along

Hello.

Excuse me, Mr. Guthrie.

Well, no one calls him that except the government.

I'm not the government.

Well, come on over then.

(footsteps thudding)

I'm Pete, by the way.

Yes, sir, no question about it.

How about you?

I'm Bobby.

Something come after that?

Dylan.

Mm-hmm.

Woody would like to know more about that, let me know.

Oh, I sang in a play,

and I write some, it was actually a couple friends of mine,

Paul and John out in Minneapolis.

Midwestern boy?

Yeah, and they showed me some of Woody's records,

Folkway ones, you know, Yours and Leadbelly,

and I listened to them while they struck me

down in the ground.

I like yours too, Pete.

Oh, that's fun.

Anyways, Paul, my friend,

he said you was in the hospital,

so I hitched myself here.

Who was that?

Well, I wanted to meet Woody.

Maybe catch a spark.

That's for damn sure.

(Pete coughing) We had those printed up for visitors.

It's mostly family now.

Woody wants to hear something.

You shy?

Not usually.

(Pete coughing)

(paintbrush scraping)

(pensive music)

Well, this is one I wrote for him.

Uh, no review.

(pensive music)

I'm out here a thousand miles from my home

I'm walking the road

All the men have gone down

I'm gonna see a new world

Of the people and things

Your poppers

And peasants and princes and kings

Hey, hey Woody, got three I wrote you a song

Not a funny old world

It's a commitment long

Seems sick and it's hungry

It's a tired, it's a torn

It looks like

It's dying and it's a heart-lipping part

Hey, hey Woody, got three but I know that you know

All the things I'm saying in a minute, times more

I'm a-singing you this song but I can't sing enough

Cause there's not

Many men that done the things that you've done

Here's to Cisco and Sunny and Lead and

All those good people that travel with you

Here's to the hearts and the hands of the men

And come

The dust and her dawn with the wind

You mad?

Oh, oh.

Suspected of collaborating with the Viet Cong.

Look at you, fat boy.

That's Little Richard.

Is he flip side on one tall Sally?

Like that rock and roll music, huh?

Well, I like everything.

Is it maybe Teddy Tade and that doggy in the window?

(laughing) Bottom on the road, but I like tiny cats.

You're hearing him?

Sure.

You know, I hate the way he's talking.

I hate talking.

Man, if you're talking about rock and roll specifically,

you gotta be talking about Buddy Holly.

Think of yourself as a folk musician, huh?

Well, I don't think to myself as a folk singer,

you know, folk music thing.

I mean, I do sing folk music.

When I do, it's sort of a modified version.

You know, not a modified version.

Well, a good song, really good song.

It can get the job done without the frills,

without drums or electrified instruments or anything.

Sometimes it's not good.

(engine revving)

Hey, Tosh.

This is Bobby, fellow traveler.

He paid a visit to Woody and he had nowhere to sleep.

All right.

Hi, Bob.

Toshi.

Hello.

Now we finally got a drill.

Hard enough to get through all this rock

and now we got water like a Swiss photo.

We'll set you up here.

I snore and Toshi kicks me out here all the time

so I can vouch it's comfortable.

The toilet's off the hall there.

It's a new composter.

It's amazing.

It doesn't smell just, yes it does.

Yes it does, it smells awful.

Go to bed.

Go to bed.

Okay, all of you.

Can you go outside to smoke?

Oh, sorry.

If you get cold, just throw that in the end.

Blanket over you.

Is he going to bed?

He'll settle down.

He's just excited because he met one of his heroes tonight.

Not me, Woody.

He played us a hell of a song.

Here's your pen.

(light music)

If you're traveling to the North Country Fair

Where the winds hit heavy on the border land

Remember me to the one who lives there

For she once was a true love night

I'm wondering if she remembers me at all

Many times I've often prayed

In the darkness of my life

In the brightness of my day

That's how I got so far.

Good start.

Now those of you who can't say not low,

we're going to make you sopranos.

You sing.

A-w-w-w-w

A-w-w-w-w

A-w-w-w-w

Very nice.

A-w-w-w

And back in the low

A-w-w-w

A-w-w-w

A-w-w-w

We're coming from the way

We're coming from the way

We're coming from the way

Way

Way way

Way Way

Oh, baby.

We'll get some out there.

Damn it.

John, John, John.

This guy is.

Oh, my head.

You're like, "You're fine. You can sign this for me."

Baez sends one scurrying to the thesaurus for some purlatives.

That's the New York Times, John.

Bob Sheldon is a fan.

Five minutes, John.

Bob Sheldon's back. He's at the bar.

So is John Hammond.

Joni, Columbia Records.

I have a label. And a manager.

Columbia's not a label.

Columbia is Mount Rushmore.

Tony Bennett, Johnny Mathis, Doris Day, Miles Davis.

They have everyone except their folks in here.

Albert. Mm-hmm.

Please leave.

Other girls strum.

You know, they smile, not choney.

She acts depressed, looks at her shoes, makes men crazy.

[guitar music]

If I had listened to what my mother said

I'd have been at home today

When I was young and foolish, oh God

Let her ever leave me astray

Go to my baby sister

Don't do what I have done

But shut my house in new leaves

They call the rising sun

I'm going back to new Orleans

My race is almost rung

I'm going back to spend my life beneath

That rising sun

[cheers and applause]

[cheers and applause]

See you, man. No, I am!

She's gone yet. Yes, please do.

Thanks, Matthew. This is my friend, Bob.

Oh. Thanks, Rick.

Thanks.

Now a special guest is going to introduce open mic tonight.

Don't run, I ain't passing the basket tonight.

A voice we already know and love, Mr. Pete Seeger.

[cheers and applause]

Not so though, Woody and I met a young man.

He kind of just dropped in on us and he sang us a song.

Well, it fairly struck us to the ground.

And Woody and I felt that maybe we were getting a glimpse of a new road.

This young man, he's been playing around town a bit,

but I thought it was high time he took the stage at Folk City,

so I want you to give a warm welcome to Bob Dylan.

[cheers and applause]

Thanks, folks.

Thanks, Pete.

Boy, that's a lot to live up to.

Well...

I hope this goes better than East Orange, New Jersey.

How about that John Baez, folks?

Pretty good.

She's pretty.

She sings pretty.

Maybe a little too pretty.

Anyway, here's a little something out of the road.

I hope you think it's good.

It's gotta be good for somebody.

I was young when I left home

And I'd been out of rambling around

And I never wrote a letter

To my home

To my home

Lord, to my home

I never wrote a letter to my home

It's just the other day

I was bringing home my pay

And I met an old friend I used to know

I'd say, "Your mother's dead and gone

Sisters are gone run

And your daddy needs you home by the way"

Not a shirt on my back

Not a penny on my name

And I can't go home this way

This way

If I find love, love, love

And I can't go home this way

Love me

Love me

What does two o'clock mean to you?

Because I'll tell you what it means to John and Hannah.

It means two fucking o'clock.

And right now, it's five minutes past three.

Are you packing heat, Albert?

Get out of here!

It's like a snug number.

I cross between a choirboy and a beatnik.

Mr. Dillon has a cherubic look

And a mop of tousled hair

Stop now, man.

Tousled hair.

And he keeps me at the hot thin cap

His clothes need tailoring

But when he works his guitar

There's no doubt he's bursting at the seams with talent

His voice

Hey

I'm right from the times

This is our floor

Okay, Bob. Let's lay one down, yeah?

Okay

C-O-7-6-6-7-1

Fixing to die

Take one

Feeling funny in my mind, Lord

I believe that fixing to die

Feeling funny in my mind, Lord

I believe that fixing to die

Well, I'm...

Sorry?

Can we start again?

You keep turning from the mic.

Oh, yeah.

I'm...

Mm.

Fixing to die

Take two

Hey

[guitar]

Feeling funny in my mind, Lord

I believe that fixing to die

He has originals, too, you know?

And they're really good.

Traditional repertoire for now, Albert.

We're putting a younger face on folk.

Well, everybody's got something

That they're looking forward to

I'm looking forward to it

I can do it all again

Cause, babe, I'll do it all over you

Let me tell you, little lover

That you better run for cover

Cause, babe, I'll do it all over you

[guitar]

Alright.

[applause]

Thank you so much.

Thank you.

Thank you.

That was so great.

Thank you, Brownie.

It's my best treat.

I hope I got to see you guys again.

Bye-bye.

Ladies and gentlemen, Bobby Dylan.

[applause]

That boy plays sub-hoc.

People, if you want to go somewhere

And you don't have plain fair,

Train fair, bus fair, cab fair, no fair whatsoever

There's one way of getting there.

You just walk on.

[guitar]

Walk on.

Walk on.

Walk on.

Walk on.

Walk on.

Walk on.

Walk on.

Walk on.

I'm gonna be gone walking behind my way there for you.

So, what do you?

Twenty.

Do you love those songs?

Yeah, I love those too.

You okay?

My move, my age.

Shh.

Thank you.

Thank you.

That's Alan Long-Pix.

That's what he does.

He runs the archive of American folk.

They record folk music.

He knows so much.

My sister likes to hear.

I'm gonna be gone walking

And I'll find my way back home.

Walk on, Cindy-1.

Walk on.

Want a peanut?

I used to eat all these things in the work of the carnival.

You worked at the carnival?

Strong men, fighter-eaters.

One lady, her skin is all burned off.

She looked like a grown-up, wrinkly baby.

Ooh!

Yeah.

He made me think about people on stage.

But anyone who gets on stage, you know,

Anyone's gonna hold your attention on stage.

You have to kind of be a freak.

Not everyone.

Amy's good.

Are you a freak?

Yeah, I hope so.

Frank Sinatra's not a freak.

No, I have a way of seeing you.

You could be beautiful or you could be ugly,

But you can't be clean.

You gotta be some people can't stop looking at it,

Like a train wreck or a car crash.

Oh, you seen this?

No.

I thought we were going to see Guerna at the museum.

Ah, the castle's overrated.

You got a dollar?

Two for the matinee.

[music]

Will you be happy, Charlotte?

Jerry, don't let us for the moon.

We have the stars.

[music]

So,

Betty Davis was a mousy girl

Who had to escape her domineering mother to find herself.

She runs away, becomes beautiful,

returns home, destroys her mom,

and adopts a child the man she could never have.

She could find herself, like herself was a missing shoe or something.

She just made herself into something different.

Something better.

Different.

Okay.

You know what she wanted to be

in that moment.

What do you want to be?

A musician.

An instance.

Well, I like your songs.

My record comes out in a couple weeks.

Some of the songs you played today on your record?

Well, it's mostly covers.

It's traditional stuff.

You know, folk songs are supposed to stay on the test of time,

like,

Shakespeare or something.

This thing no one wants to hear what a kid wrote last month.

Who's that?

A record company.

A manager.

I'm sorry, but

where have all the flowers gone is not Shakespeare.

I mean,

there was a time when the old songs were new, right?

Someone at some point had to give the songs a chance.

I mean,

there's a civil war going on down south.

Biggest military buildup in history.

Nuclear bombs hanging over us.

It's not all about the Dust Bowl and

Johnny Apples even more.

Monday to Thursday, I'm at school.

Then I volunteer at CORE,

Fridays and Saturdays.

And I take a painting class Sunday mornings in Queens.

What's CORE?

Congress of Racial Equality.

Oh, yeah.

We organize the Freedom Rights.

All right.

This is me.

Dwight McDonald wrote a wonderful piece in here.

I think you'll like him.

He's contrarian.

Like you.

All right. Take a look.

What are you doing tomorrow?

I told you my schedule.

Oh, yeah.

Painting in Queens.

I met my mom.

See you in the afternoon.

Call me there.

Hi.

Package for a ride.

Is that a woman?

Oh, yeah.

Thanks.

You need to sleep, babe.

Yeah, I know.

That's enough.

That's enough now.

I'm gonna finish the verse.

Mr. Guthrie needs quiet now.

Whoa.

You got a lot of nerve taking a cigarette out of a man's mouth.

There's another gentleman in this room, and he's trying to rest.

Yeah, you've been resting six months.

I don't think it's working.

I'm trying to look out for your health, Mr. Guthrie.

You know, the last guy I let us sing.

Do I look like the last guy?

No, you look like a bona fide asshole.

Oh, easy, Bob.

Hello, George.

Mr. Guthrie is here for treatment, Mr. Seeker.

That's true.

He has a serious disease, and he's sharing his room with the guests.

Yeah, guests in a coma.

George, reasonable people can--

What's a hot dog?

Not a nightclub.

Well, I guess every deck come with two jokers, don't you?

She's a new favorite.

I call her Jane.

I'm moving away from the abstract event.

We're trying to move into the--

What about Hank Williams, Tom?

In your estimate opinion, is he country or folk?

He's country.

Because he's going to--

Can I stand behind you?

What?

Tell me who's going to do it.

You got to hear this, dude.

You can call it country or blues or rock and roll,

but we all keep rewriting the same song.

It's a philosophical question.

You're getting a lot of hands.

The lady has more country than us.

Country singer that's a sound.

He does have a country singer.

He does have a country singer.

That's good.

What's a country?

Isn't that a thought?

Isn't that a treat?

He uses friends from a circus phase.

Stop it, Jane.

Is this real name's element?

I don't know.

But your music is totally made of transition over in--

I'm no transition.

I got a label for that.

Please remember garbage on Tuesdays.

Acceptive Monday's a holiday, which it will be next week.

I got it.

I have to do this.

It's a school trip.

It's required.

I already said that.

I've got three times.

It's only 12 weeks.

God made the world in six days.

So?

So 12 weeks is a lot longer.

What am I supposed to do with the extra 65 days?

Are you God, Bob?

How many times do I have to say this?

Yes.

Yes.

Think about how much I'm going to miss you.

And I realize I don't know you.

There's a face on your driver's license.

He's different.

He has a different name.

When I get back, I'd like to get to know that guy.

Don't do this.

You wrote a five minute song about this girl in Minneapolis.

Who was that?

What happened?

You tell me you dropped out of college.

You dropped out of college.

You came here with nothing but a guitar.

You never talk about your family, your past, besides the car--

People make up their past, Sylvia.

They remember what they want.

They forget the rest.

I tell you everything.

My folks, my sister, the street I grew up on--

Yeah, they never asked you about anything.

What, you think that stuff defines you?

What I come from?

What I want and what I don't want, what I reject?

Yes.

Well, good thing you're going to the room.

And then what?

I come back and live with a mysterious minstrel.

No, mysterious minstrel is still more than a thousand records.

Maybe you just don't come back at all.

Christ, come on, subby.

Stop hiding.

You both know you can't wait to have your place here, subby.

Jesus.

Pardon me.

Not all of me.

Why, you don't make sense at the same time?

There's a line I want.

You do too.

You're ambitious.

I think that scares you.

The line has been drawn.

The curse has been cast.

The slow one now will later be--

Your record was all other people's music.

Good evening, my fellow citizens.

This government, as promised, has maintained and coaches surveillance

of the Soviet military buildup on the island of Cuba.

Within the past week, unmistakable evidence has established the fact

that a series of offensive missile sites is now in preparation

on that imprisoned island.

The purpose of these bases can be none other than to provide

a nuclear strike capability against the Western Hemisphere

on receiving the third preliminary hot information.

5.20.1 at 9 a.m.

I, Director Dr. David Depp,

shall we

If invasion is undertaken, the Russians have said that they would retaliate

with the rocket fire.

They said that there's rocket fire from Cuba, we will retaliate,

and there goes the poor ball game.

So how do we relate?

I'm asking a question of immediate relief for optimism here

that nobody in the White House is going to see that these are issues

that have been backed by the fact that they do not believe

that the important ground of the war is to continue to be

in the national confrontation with the county of North Africa.

Yes, it's not.

[indistinct radio chatter] [indistinct radio chatter]

[indistinct radio chatter]

[indistinct radio chatter]

[indistinct radio chatter]

[indistinct radio chatter]

[indistinct radio chatter]

[indistinct radio chatter]

[indistinct radio chatter]

[indistinct radio chatter]

Who taught you to play?

Well, I taught myself, really.

I think there were a few things at the carnival.

As a carnival.

Oh yeah, I was singing cowboys that come through

and teach me how sorts of funny chords.

And they passed through in the shows in Kansas,

here at the Dakotas.

Yeah, these chords I learned from a cowboy named Wigglefoot.

You were in a carnival.

You were so completely full of shit.

I had lessons as a kid, you know more than I ever did. I write too, I'm not sure there's a way to win that.

Too hard?

Excuse me?

You tried too hard to write.

Really?

Yeah, if you're asking.

I wasn't.

Sunsets and seagulls, the smell of buttercups.

Your songs are like an oil painting at the dentist's office.

You're kind of an asshole, Bob.

Yeah, I guess.

Play this.

"How Many Roads Must a Man Walk Down" plays] The answer is blowing in the wind

How many years must a mountain exist

Before it is washed to the sea?

How many years can some people exist

Before they're allowed to be free?

Yes, and how many times can a man turn his head

Pretend that he just doesn't see?

The answer, my friend, is blowing in the wind

The answer is blowing in the wind

How many times must a man look up

Before he can see the sky?

How many years must one man have

Before he can hear people cry?

Yes, and how many deaths will it take

Till he knows that too many people are dying?

The answer, my friend, is blowing in the wind

The answer is blowing in the wind

So this is... what?

I don't know.

Have you recorded that song?

Not yet.

You should let me try it.

Okay, um, shit.

I gotta go.

Yeah, I gotta go.

Sorry.

(footsteps)

Hey!

Hey, I'll take it.

Oh, it's beautiful!

Hey, come on!

Hey, I'll take it.

Thank you.

You okay?

I'll take your stuff.

Okay.

(door opens)

Welcome home.

Did you teach yourself to make coffee?

Oh, yeah.

(guitar music)

Well, it ain't no use to sit and wonder why, babe

Even you don't know by now

And it ain't no use to sit and wonder why, babe

It'll never do somehow

When you stir up a cruise at the bridge

Hey, you wrote this.

I got you in your hand, I'll be gone

You're the reason I'm a-traveling on

Hey, I had to fill the gate again.

What?

(guitar music)

You look good.

And it ain't no use in turning on your light, babe

The light I never know

And it ain't no use in turning on your light

I'm on the dark side of the road

Still, I wish there was something you could do or say

Make me want to change my mind and stay

We never did do that shocking anyway

Don't think twice, it's all right

I'm feeling the hands.

Look at the master at work here.

Hold up.

Albert, yes, sir.

I want to shoot my desk, man.

Al, what did I say?

No desk.

You can plug that here.

So you want to bring me here?

I didn't bring them, Bob. You did.

They're here for you.

That for Woody?

Yeah, we're dropping off all over the airport.

Here. Put your finger there.

Is that Joan?

Yeah.

So she's covering your song?

Yeah.

Before your version comes out?

Albert thinks it helps.

Helps her. Helps him sign her.

She's famous, silly.

Been on the cover of Time Magazine.

They recorded it live, so you know they're gonna put it on the radio.

Of course not.

So you gave her the song?

I didn't give her the song.

Bobby, we're ready over here, pal.

I'm gonna see her in California.

Well, it's her festival.

I'm just trying to get on the plane and do shows, Woody.

You're in the shots for that.

Hey, there.

It's a great place, Joan.

Want me to show you the rest?

Mr. Plane these days?

Talk to her and get a little buzz to it.

Not when I play it.

The new record is beautiful.

You think? If you're traveling in the North Country Fair,

Where the winds hit heavy on the borderline,

Remember me to the one who is there.

If I see you once, was it true of mine?

Please see if her hands long.

If they roll the floss off down her brows,

Please see if her hands long.

That's the way I remember her best.

John Hammond sent you a message for me.

I know who you are.

Oh, boy.

Oh, and Mr. Hammond's office sent a piece of sign for you.

Dear Bob, I won't grope for the words to tell you how great your writing is.

I'll just say, your freewheeling album is my most prized position.

John Hammond. Six crooked highways.

I stepped in the middle of seven set forests.

A repeated thousand marches descended on Washington today,

and around the end were segregation.

From New York, Bob Miller.

Heading to my shoes and cuffs to get the scene.

I met one man, he was wounded in love.

Son newborn baby was by the walls all around me.

Saw a highway of diamonds with nobody on it.

Dear John, thanks for that letter.

I am now famous,

famous by the rules of public faniosity.

It snuck up on me and pulverized me.

Of course, Mr. Freud, I get quite paranoid.

Bob got me the letter.

Tonight I sit in the wake of one more hard ring.

I was in New York last week.

Saw a bunch of folk singers that couldn't hold a chigger on their ends.

Well, I see a Newport come spring.

Until then, track mud on somebody's car.

I'm tired and think it and speak it and breathe it.

And reflect from the mountains so all souls can see it.

This is future music, folk music, and reaching everybody.

I know my song will before I start singing.

And it's hard, it's hard, it's hard, it's hard, it's hard rain.

Gonna fall.

Thank you.

Newcomb portable, eh?

You're getting fancy on me.

Toshi and I, we think it's a good moment after Newport to do a tour.

But we're thinking we should do a world tour.

Take the music out to more people.

I'm thinking we see Toshi's family in Japan and we want to take the kids.

You gotta hold on.

You gotta do what they tell you to do. You gotta take your medicine and...

You wanna play?

No, right, I know, I gotta fix that one. I need to read.

Boom.

Boom.

Sure. You gotta know how...

I'll see that he gets it.

From Dallas, Texas, the flash, apparently official,

President Kennedy died at 1 p.m. Central Standard Time.

2 o'clock Eastern Standard Time, 7, 8 minutes ago.

Drunkard as he stumbles out the door.

And I'll show you he unmet with so many reasons why.

That there but for fortune go you or I.

Show me the country where the bombs had to fall.

Show me the ruins of the buildings once so tall.

And I'll show you your land with so many reasons why.

That there but for fortune go you and I. You and I.

Thank you.

Thank you.

Thank you so much.

Thank you.

Excuse me, you feel that? You're holding the best of the world right now, for John?

Yes, sir. I'm holding it right now.

Thank you.

You're holding it.

Just hold it.

Thank you.

He's coming. He's coming.

Alright, Bobby's coming.

Fear not. Fear not.

But now listen, we got a surprise appearance.

If you look on your program, you'll see

someone who was supposed to be here last night.

He was absolutely an official lead, as they say.

Hey, Danny.

We have the pen and the card.

Bobby Dylan. Come here.

You know I read that last letter six times.

That thing was a product, you said.

How about we get us a drink after the show?

Yeah, I think it would be better for you.

Alright, Bobby.

But he's here and all the sweeter for the waiting, as they say.

And so please give a warm welcome to Johnny Cash and the Tennessee Three.

Now, whoa.

Alright, Dylan.

Let's get these big exciters sing real quick.

Time went on.

Now I talk a weeping willow, I cry.

And I show the clouds on the cover of a clear blue sky.

And here's a private woman, I'm gonna flood you river.

And I'm gonna sit right here until I die.

I'm gonna pull some bridge, that's where I want to stay.

And I wake up and I'm gonna whistle, blow my blues away.

Alright, alright, thank you very much.

Thank you very much.

Thank you, thank you.

So the next fella up is my pen pal.

And sometimes when I read his letters, I think I can see his brain.

Anyway, all I know is you better sing

about that rooster crow until it break a dome,

because I need to learn those damn words.

Ladies and gentlemen, Mr. Bob Dylan.

[cheering]

Thank you, Johnny.

And thank you to our World Festival.

And we'll be here by that rooster a little bit later on.

Here's a new one.

[guitar music]

Come gather round people wherever you roam,

and admit that the waters around you have grown,

and accept it that soon you'll be drenched to the bone.

If your time to you is worth saving,

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

for the times they already did.

[cheering]

Come writers and critics, you prophesize with your pen,

and keep your eyes wide, the chance won't come again,

and don't speak to sin, for the wheels still in spin,

and there's no telling who that it's naming.

Father loser now, we'll be later to win,

for the times they already did.

[cheering]

Come writers and writers throughout the land,

and don't criticize what you can't understand, your size,

your daughters are beyond your command.

The order is rapidly aging,

please get out of the new one if you can't lend a hand,

for the times they already did.

[cheering]

The line it is drawn, the curse it is cast,

there's no one now,

but later, bit fast, as the present now,

will later be passed.

The order is rapidly fading,

and the first one now, will later be passed,

for the times they already did.

[cheering]

[cheering]

[bell ringing]

[cheering]

You got kids?

Yeah.

Thousands of them.

[engine revving]

We miss you, the archives.

How are you working with strangers?

You're making quite a noise down there in the city of A, huh?

Mrs. Baker, Beverly.

Nice to meet you.

Mrs. and Bob, you don't have to compete with the Beatles, okay?

You are better than that shit.

Yes, that's what the Beatles, please.

Harold, you did two blasts of Red Lion King.

You didn't bring your guitar with you, Bobby.

What are you saving yourself for your little tour with Joey?

Little Harold sold out.

Listen, that's wonderful.

Honestly, the last thing I want to do now is put the pressure on me,

but the dirty little secret is most everybody here is here.

Because they're helping me play a little something.

Where did they get that idea, Harold?

What did you pull into me? Is that a fucking gator?

It's a protocol.

Anything you want.

Hey, Pete.

Hi.

How you doing?

Good.

Nice to see you.

Hey, me around the world, lady, these, huh?

Imagine carpet.

This is full of wonder.

Full of wonder.

This is Baker, Beverly.

Nice to meet you.

This is my wife, Tochi.

Nice to meet you.

I absolutely love your music.

You're such a big fan, Mr. Seager.

Pete, Pete.

[laughs]

Harold, putting the lean on you?

Yeah.

I'll get you to plan.

Yeah, I'll get you to plan.

All right.

Well, don't hold it against them.

For a good cause.

Want to use this beauty?

[laughs]

They always keep it handy, don't you?

It feels like a gunfire over here.

You're sick of it.

[laughs]

[music]

Oh, the time will come up when the winds will stop

And the breeze will cease to de-breeze

Like the stillness in the wind for the hurricane begins

The hour that the ship comes in

When the seas will split and the ship will hit

And the sands of the shoreline will be shaken

And the tide will sound and the wind will pound

And the morning will be breaking

[music]

[music]

Okay, wait for morale.

Hey, thank you, don't forget to sing out that thing.

Talk to me about that.

Have fun.

Have a good night.

You were amazing.

Two hundred people in that room.

Each one wants me to be somebody else.

I mean, she just fucked off and made me be.

You would?

Excuse me?

At least you'd fuck off and let you be what?

I don't know.

Whatever it is they don't want me to be.

You know, I'm not a horse, so I don't like carrying other people's weight.

You know, I got a hundred pounds on me that we show them that skill.

How do you sing then?

I put myself in another place.

But I'm a stranger there.

Hey, what's your name, man?

Bobby.

Like you, man.

Bobby Newworth.

Where you going?

I got a gig with some guys in the East Village.

Why call McCands?

Hey.

Hey!

You have a tour with John Baez.

What are you going to tell me about that?

Am I just more weight?

They want to own me.

They're not going to vote you up.

I love you.

Is that scary to you?

I just met you, so...

Yeah.

Yeah.

Yeah, one million bags of the best sligo bags.

Yeah, two billion barrels of stone.

Yeah, three million size of my horse's hide.

Yeah, two billion barrels of foam.

That's him.

That's Bob fucking Dylan right there.

That's him.

Come on.

Take your glasses off.

Can you see your eyes?

Get off.

Fuck off.

Right here.

Bob, it's 4 a.m.

Bob.

We broke up, remember?

Can I just get a towel for this?

Thanks.

Everyone asks where these songs come from slowly.

But when you watch their faces, they're not asking where the songs come from.

They're asking where songs come from.

Why is it so big?

You know they right before you thought they wrong

Can you

You used to be the person

Once upon a time you're just so fine

You're the most diamond you've tried

And you

It's not Mike Bloom's show,

it's Mike Bloom's field.

He's a Chicago blues guitar player.

Okay, I can't get him tomorrow.

I could get another guitar.

No, I don't want any of your old session musicians, man.

I want young guys with hair on their heads,

a guitar player, a bass player,

an organ player, and a drum player.

I'm gonna try my best, but I can't guarantee

that we're gonna get it done.

I don't wanna hear it, get it done.

Come on, it's me, me, me

Ain't no money, ain't no money

Ain't no how to tell if anything is gonna sell

Try hard, get my head back, crack, real

Give, give, jump, build

Do anything on me if you say it's a down kill

You got it hit, believe me

The list is gonna piss people off.

George, Victor said he went by the shop

and got a bid for your daughter's wife.

There he is.

Welcome to the Center of the Universe.

Alan, let's talk to you, Paul.

Hello, Harold.

Peter?

All right, give me a shout out,

day nine, and then please.

Yes, we have Ian and Sylvia Odetta,

Donovan, Johnny Cash, and Questkin.

And Theodore Macal.

Yes, I was just getting to be.

I also have this proposal on the table

for the Butterfield Blues Band.

Remind you who they are.

Chicago Blues Band.

Electric Blues Band.

A white Electric Blues Band.

They're hot, Alan.

The guitarist Mike Bloomfield is on the move floor.

Yeah, I'm sure he is.

He comes from that Albert Grossman stable,

like you, Peter.

Knock it off.

I hear Bob is playing electric now.

Not on stage, he isn't.

There's no rock and roll in Newport.

Don't need to be dogmatic.

Okay.

So what is the verdict on the Butterfields?

We already have blues players, and we got real ones.

Never heard them, Alan.

Newport Folk Festival was created

to fight a ripped out of inauthentic shit.

I understand that.

No, you don't understand, Peter.

I'm sorry, but Peter Paul and Mary is a confection.

Paul's name in the hall.

Okay, Alan.

Albert Grossman changed his name

because he thought it sounded better.

Thank you so much.

It's like a rich cracker.

Now stop it, stop it.

Peter. Don't go, don't go.

Peter, work it out.

Don't work it out.

Okay, okay.

We are here to celebrate folk music

from the people, for the people, Pete,

the sound of a guitar and a man's voice.

More women.

Alan, please, let's talk that.

Don't talk about ticket sales.

Okay.

Shit.

Okay.

All right.

Tom, give me a second.

I wanna try some.

All right.

(siren blaring)

(laughing)

Highway 61, take seven.

No, you can't look at me like that.

Do it.

Okay, don't look at me like that

because I gotta get through the tape.

You got that thing on your face,

so I'm like, it's blue.

(laughing)

This is doing it before this thing crashes into the ground.

One, two, three.

(siren blaring)

All God said to Abraham

Kill me and son

Abe said, man, you must be putting me on

God said, no

Abe said, what

God said, you can do what you want

Abe, but the next time you see me coming

You better run

All rainbow design

Thanks for tuning in this evening.

Even though I can't see you out there

through this little magic box,

tonight we'll continue our rainbow quest together

to seek out all the songs and colors

and kinds of human beings that live in this land of ours.

Now, if you tuned in tonight,

hoping to hear our friend Bob Dylan,

well, I don't want to disappoint you,

but Bob's been hung up in the studio in New York.

He'll come another time,

he'll come another time,

but tonight we've got a very special guest,

a good friend of mine from the deep Mississippi Delta

named Jesse Maffet.

And when he heard we had a gap,

he jumped in a cab and he came right over

and he's live with us at NJU.

Thanks for being here.

Well, thanks for having me.

So good to be with you.

Well, have a drink with me.

Oh, no, no, not while I'm working, no?

What kind of station is this anyway?

This is educational, Jesse.

This is a local public educational town.

Educational, shit, I do educational.

All the blues lessons in the province of your own home.

You want to learn the blues?

Sure.

Call me at Rylander 80602 and do me a favor.

Brand me a bottle of, I hear them.

All right.

That ain't that's right.

Let's play something, let's play something.

Okay, I play for you.

Let's play, give us something deep.

(guitar music)

Baby, in my heart

A fan in my soul

Tell me baby

Oh Lord

In all, yeah

Lord girl I've been loving you

So sorry.

We're live.

Interesting.

That's a good one, I'm not gonna do anything right.

I don't know what you mean, I don't know.

Lord girl

(guitar music)

It's just wonderful, it's manly.

Now, hold on one second folks.

We've got a really, really special treat.

Bob did make it.

Oh, I did.

Bob, Bob's here, Bob, come on.

I'm sorry, man.

No, come on out, come on out.

It's all right.

I'm glad you came.

I am glad you came, yeah.

Jesse Sayhi had a really good friend of mine.

This is Bobby Dylan.

Uh-oh, Bob, what kind of music do you play?

Well, I play all sorts of music.

What music do you play all sorts of music?

Bob plays a lot of kinds and he plays all of them well.

You trying to steal my spot?

No, I'm not trying to steal your spot Jesse.

I was really trying to figure out

what kind of tuning you were using.

I don't think I ever heard it before.

Nobody can, only me.

Look here, how close were you watching me?

I was, I was watching real close to,

see, I got these special binoculars, right?

And they allowed me to see into your soul.

Really?

That's exactly what you're playing.

It's like a microscope, right?

Is that right?

Yeah.

Do my favor, take my good time.

Show me, I'll close you really wide.

I couldn't do that, Jesse.

That's like touching your one.

It's okay, I just don't squeeze her too tight.

It's all right, Pete?

Oh yeah, it's a family station.

Well, I know, don't squeeze her too tight.

(laughing)

It's all right.

(laughing)

(upbeat guitar music)

Oh!

Hey, in my heart

Hey, in my soul

Oh baby, I don't know

Hey, Lordy, oh baby, have you done it?

I ride on a mad train, man

I'm here by no fair

And I dig up all night, man

I'm leaning on the window sill

Oh, man.

(knocking)

My second guest.

Hi.

What?

You want me to catch up with you or something?

Yeah.

(soft music)

(soft music)

Bob.

Right.

Nevermind.

(soft music)

(soft music)

Why did you come here?

What?

To make me watch you ride?

What are you doing?

It's all right.

What's the matter?

Why did you come here?

I came to see you.

You're acting like a jerk.

Why did I get out of your bed?

Get out.

Get out.

You kidding?

No, Bob.

I'm not kidding.

Get out.

Now.

Okay.

I mean, I'd better buck this on a tour, Tim.

People, you know, on tours,

they typically sing songs together.

Somebody's got right to the songs.

It's my second guitar.

(clicking)

See you on tour.

(audience cheering)

I don't wanna fake you out

Take a shake if I've saved you out

I ain't looking for you to feel like me

See you like me, you'll feel like me

All I really wanna do

Is baby be friends with you

(audience cheering)

Thank you.

I know, Tim.

You are a

(audience cheering)

I'm right here, Joe.

You guys are tuning, right?

That's nice.

(guitar strumming)

Okay, I already got that song on the record.

Give me that song.

Give me two songs.

You guys wanna hear "Blowin' in the Wind," right?

(audience cheering)

It's why they came here, Bob.

No, I don't believe they came here yet.

It's not like it's, I don't believe the setlist.

I don't believe the setlist is advertised.

No, no setlist unless that draconian figure

from Chicago, United States of their private songs,

that weren't gonna be played.

What?

I don't know what I'm gonna fuck now, man.

It's not a request type concert.

If you wanna do that, go see Donovan.

But here, we're gonna play new songs.

Pick something else, Joe.

Pick something else.

(guitar strumming)

(audience cheering)

Oh boy.

Okay, well, I think my guitar broke.

Yeah, now, hey, listen, man.

I'm giving it, hey, the truth.

The truth is it broke on the way here.

You know, listen, hey, the bus that came to actually

caught fire on the way here.

My guitar didn't even know me right now,

so I was gonna go see the guitar doctor based here.

You know?

Well, gee, I hope the doctor can save his guitar.

I'll play it for you.

(audience cheering)

How many rows

(guitar strumming)

Wait, no, no, no, no, no, no, no, no, no, no.

Come on.

Welcome back, New Earth.

Is that yours?

Bob's, part of London.

(guitar strumming)

Railroad bill, railroad bill

Never worked any

Never willed

And it's ride ride ride

(guitar strumming)

Railroad bill was a mighty bean man

The afternoon I went and had a break man's hand

It's ride ride ride

Can you beat up a bit?

Railroad bill, you know you took it right

Said it's right, it ain't like it would take my life

I'm gonna ride, ride, ride

(guitar strumming)

Who are you?

I'm Al Cooper.

You're Al Cooper?

I look like a dark player.

Yeah, Tom told me to fall by.

You already have to be dark player, man.

Like Bloomfield.

He really good.

Man, to be better than him,

you'd have to be blind, Willie McTill.

I don't care about money, I wanna play, man.

No one's on order.

You don't play keyboard, dawg.

That's what I'm thinking.

Don't even worry about it.

It's really cute.

Let's scratch the little thing.

Yes, go back to what we were doing before.

Yeah, I think it's gonna sound better.

A little slower.

Yeah, a little slower.

You know, not in that crazy pace.

Yeah, not in that crazy pace.

Yeah.

Like a rolling stone, take it.

One, two, two, one, two, three.

(guitar strumming)

Once upon a time, you're just so fine

You the bums of diamond, you're crying

Didn't you

You poor never-seen threads like these, man.

Hey, Bobby, give me that compass, man.

Oh, yeah, yeah, yeah.

No, I need someone.

Right there, thank you.

What are you doing downtown?

I mean, you'd already be a new park.

Trying to get together with the pros.

Talk about your set, but I'd rather not talk

to the middleman, you wanna get a cup of coffee?

We're still closing, right?

Oh, yeah.

This is the type of a new park,

you don't need any plans or anything.

It's not set yet.

Yeah, okay.

You know, sort of living day to day these days, you know?

Sure.

Yeah, it's all right.

Be careful on that thing.

(engine revving)

Hey, Sylvie.

Hey, Sylvie.

Hey, Sylvie.

Sylvie!

What are you doing here?

I'm going to Newport, you wanna come?

What?

I'm going to Newport, come on.

There she is.

Okay. (car beeping)

Come on, take.

Hey, Mr. Tamarind Man

Play your songs with me

I'm less sleepy

And there is no place I'm going to

Hey, Mr. Tamarind Man

Play your songs with me

In the tingle tangle mine

I'll come following you

Wow.

Oh, to the next one.

Oh, you're good.

You're looking at like yourself.

What are you doing here?

I'm going to wow Jesse.

Is she wild too?

Only when the moon's full.

Ah!

Kinda smells weird.

Thanks, not bad.

Does this make me Bette Davis?

She ended up alone in that movie.

Yes, it didn't.

They got together when they were older.

Knock, knock.

Choose your weapon, General.

Get this guest thing with General in a half hour.

No, sir.

I'll meet you back here later.

Why?

I'd like to catch that.

You're on right now.

Let's go, you're running.

Running, running.

Okay, all right.

Here we go.

Hi, Sylvie.

I haven't seen you in a while.

How's it going?

It's all just jubilation through and through.

It couldn't be better.

Hey, Bobby.

Hello, Bobby.

Don't they know

That Tino type tango's

While the makeup man's hands

Shot the eyes of the dead

Not to embarrass anyone

But farewell, Angelina

The sky's changing color

And I must leave fast

The machine guns are roaring

And the puppets he frocks

And the feet's nailed time bombs

To the hands of the claws

Great.

Sure, why not?

For you, Auntie.

Great.

But farewell, Angelina

The sky is erupting

I must go where it's quiet

(audience cheering)

Thank you.

How about saying hello to the man who wrote that one?

Come on out, Bobby.

(audience cheering)

I picked something appropriate.

Just fuck off and sing.

Away from my window

You can't leave at your own chosen speed

I'm not the one you want, babe

I'm not the one you need

You say you're looking for someone

Never weak but always strong

To protect you and defend you

Whether you are right or wrong

Someone to open each and every door

But it ain't me, babe

No, no, no, it ain't me, babe

It ain't me you're looking for, babe

We'll be here

We'll be here

Go lightly from the ledge, babe

Go lightly on the ground

I'm not the one you want, babe

I'll only let you down

You say you're looking for someone

Who will promise never to part

Someone to close his eyes for you

Someone to close his heart

Someone who'll drive through and fall

But it ain't me, babe

No, no, no, it ain't me, babe

It ain't me you're looking for, babe

So, I'm gonna ask where you are.

Tell him I went home.

Why?

I can't do it.

I thought I could, but--

Just stay and talk to him, all right?

He's got a lot of people to talk to, like 100,000.

I can't take a cab to the village from here.

It's a ferry to Providence, it leaves every other hour.

You can take a train from there, just take a second.

I say and I can't forget you

I do not walk with love out there in bed

But yet, I'm only living on my mind

Play basketball with those polka dots.

I don't think that shit off on a goddamn clown.

Anybody here to see where Sylvia went?

Hey, Bobby.

Hey, you know where Sylvia is?

Is she split while you were playing with Joan?

What do you mean she splits?

I didn't wanna sink you.

Everybody home, hello Albert.

Oh, my God.

She was headed through a ferry,

but I still got time to catch her.

Head out now.

Christ, buddy.

Bobby, can I have a word?

Can we just turn that down, please?

There's pee, isn't that in on this?

In on what, exactly?

Possum is charity.

Got a little beer on her own.

Sorry.

There you go.

All we wanna know is what you're playing

on to in the world, Bobby.

If you're gonna play the new songs, that's all.

You wanna be playing the old ones?

All right, let's just cut the crap, Bob.

Come on.

You're gonna be playing noise like this.

This is the kink.

I'm supposed to introduce you, and if you are,

just let me know, and we'll get Dick Clark in.

Woo-hoo, hear that?

You wanna get Dick Clark in Newport Folk Festival?

I don't know if you know this.

There's just a lot of fucking people here.

How could I know?

I'd rather have 10 faithful and 10,000 groupies.

It was the Newport Folk Festival then, Bob,

and it still is the Newport Folk Festival.

Not the Team Green Wheel Building,

Top 40 British Invasion Festival, a folk festival.

Do you remember folk music, Bob?

What's that?

You can sing me something.

(dramatic music)

(engine revving)

Hey.

Hey, see you.

Come here.

Uh-oh.

What are you doing?

Where are you going?

I'm going home.

Why?

It was fun being on the carnival train with you, Bobby.

But I think I gotta step off.

I feel like one of those plates, you know,

that the French guy spends on those sticks

on the Sullivan show.

Oh, I kinda like that guy.

I'm sure it's fun to be the guy, Bob.

But I was a plate.

(muffled voices)

(dramatic music)

(muffled voices) Stay.

Come on.

Don't ask for the moon.

We have the stars.

(muffled voices)

(buzzing)

Sylvie.

Sylvie.

(dramatic music)

Morning.

We could have a chat, so I brought you

a cup of hot black and one with milk for Sylvie.

What the fuck?

Morning, Albert.

Seven o'clock in the morning.

Whatever this is, Pete, maybe you could wait another

few goddamn hours.

Well, it's the last day of our festival, Albert.

I think people would like to know what's coming,

so I'm here to have a conversation with my old friend.

Bob, did I ever tell you my parable

at the T-spoon brigade?

It's a parable of the fucking, what?

It's the crack of fucking dawn here.

It's a good story.

Okay.

Bob needs his rest, all right?

We all need our rest.

All right.

Until story out.

Come on, get to me, good Pete.

All right, imagine we got a seesaw.

Seesaw?

Okay.

Okay.

One end of it, it's anchored firm to the ground

because it's got a basket full of rocks on it.

The other end, it's floating up here, way up in the air,

and wishing it could come down, but all it's got

is a basket that's half full of sand,

and the sand is leaking out all the time, okay?

You're gonna see it right now?

We see this situation, and say, well,

maybe we should do something about this.

And all we got with us is some T-spoons,

but we take them out, and we start putting sand

up into that basket, and it's running out

as fast as we can put it in.

There's all kinds of people, they're looking at us,

and they're laughing, they're saying,

jeez, you're wasting your time.

But every day, few new people show up,

and they bring their spoons, and they start pitching in.

You know why?

Why?

Because one of these days, enough people are gonna put

sand in that basket at the same time,

that the whole damn thing just goes zoop,

and they level things out.

Okay, thanks, Pete, we get the story.

I don't think you do, Albert, Bobby, you do, poor.

We built it for the purpose of sharing

traditional folk music.

We started it six years ago, and every year since then,

more and more people have been showing up,

and they're bringing their teaspoons.

Teaspoons for justice, and teaspoons for peace,

and teaspoons for love, and that's what we do.

Gosh, you showed up, Bobby, and damn it,

if you didn't bring a shovel.

Hmm, really, I mean, we're all here,

just lay brand with our little teaspoons,

and you come and bring a shovel.

And thanks to you, we're almost there.

We're on the verge of tipping it, Bob,

and you're our closing act.

And tonight, if you could just get up there one more time

and use that shovel in the right way.

The right way?

You could level things out, Bob.

You know, since you're in advance of my new record.

Sure, yeah, sure, I got it.

Did you ever listen to the music

you're telling me not to play?

I can see the direction you're going in,

I can see it on the last record.

(dramatic music)

You know, it's not,

no, don't take it that way.

Bobby, you write great songs that are leading to change.

It's changing, the festival-wise,

it's not just changing, but not at all.

Kennedy's dead, they just shot Malcolm X.

Well, not all the more reasons.

You know, there's more to sing about than Justice Pete.

There's more than one way to play a song.

You ever just take a second to think

that maybe it's more fun to be in a fucking band, man?

Man, stand, Bobby, they just want me singing,

blowing in the wind, all alone

for the rest of my goddamn life.

All we're talking about is tonight.

He's scared of your music, Bob.

Nobody's scared of anybody's music.

You are, you're scared that the kid's out on that lawn.

Might like it.

And why would I be afraid of that?

Because you're pushing candles and you saw them light bulbs.

Albert, there's only one of us who's focused

on how much we're selling, and it ain't me.

Hey, Bobby, Bobby.

Christ, man, shit.

I'm blocking you in, pal.

Hey, yeah, Junie, it's me, it's Bobby.

Hey, shit, yeah.

I thought you left town already.

Well, we loaded out last night.

June left for New York with her momma.

Pete asked me to stay for the finale today, you know?

I couldn't sleep.

Just took a drive.

That's not all yours.

Okay.

This is yours?

Yeah.

And you got a cigarette?

Yeah.

Thanks.

Get out of your way.

The guy I knew from the Air Force had to try, huh?

(engine revving)

You gotta prime it up.

(engine revving)

(metal clanging)

Oops.

I wanna do one.

Yeah.

I'm playing tonight.

Yeah, that's the problem.

I guess the program says about it.

I'm not sure they wanna hear,

but I wanna play, Junie.

Who's they?

Oh, you know, the man who decided what folk music is.

Well, up in, I wanna hear.

Make some noise, B.D.

Track some mud on the carpet.

Getting nuts out there.

Three signs, get out.

Think you can make electric acoustic.

How crazy is it gonna be in my mouth?

Oh, pretty crazy.

Check it out.

So, we can't hear it.

Nothing matters.

So?

I won't.

I think he understood.

(engine revving)

(dramatic music)

B.D. thinks we're gonna be okay.

(dramatic music)

(crowd cheering)

Let's hear it for the Texas Web Sofro

all the way from Emily Texas.

(crowd cheering)

And one more round now.

I don't even need to say his name anymore.

All right, you wonder what you're gonna have for my building.

(crowd cheering)

B.D.

I ain't gonna work on making fun no more

What the hell is this?

I ain't gonna work on making fun no more

Yeah, I work a bit of money

For my hands and bravery

I got a handful of ideas

I'm telling me I'm saying

It's the same way she makes me struggle for

I ain't gonna work on making fun no more

I ain't gonna work on making fun no more

You know he doesn't promote any shit.

He doesn't promote any fucking jukebox.

When's the last time he saw a jukebox, man?

Hell, man, then turn the fucking sound mill.

Sounds perfect to me.

What are you doing?

Fix it, dude.

We just like to say what you say

Why don't you get bored

I ain't gonna work on making fun no more

How you doing?

What?

How the fuck are you doing?

Hey, John, you work for the wrong thing.

Who raps?

You know, he's saying this after never.

Don't be touched to the board.

(dramatic music)

What the hell is going on?

You know I--

(people yelling)

Sorry, dude.

Sorry.

Hey!

Keep playing.

John, we're in there!

Come on!

For this

For this

Well, I wanna make a train, baby

Keep my friend

It's enough, enough.

Well, I've been up all night, baby

I'm going to sleep

I'm going to sleep

Why did you turn it down?

Because it sounds fucking great, but he--

Look out, man!

It is in order for the festival board!

Fuck the board!

You're on the board!

Fuck him, fuck him!

You're on now, fuck him!

I can't believe it!

I can't believe it!

I can't believe it!

(dramatic music)

This is chaos, you've got to turn it down.

I can't do that!

You know I got a son, you'll let me out of here!

(dramatic music)

This is crazy!

Open your fucking ears, man!

(dramatic music)

(dramatic music)

Peace!

All right, all right.

(dramatic music)

You're too nice!

You're too nice!

(dramatic music)

I don't believe it.

(dramatic music)

Yeah!

(dramatic music)

Once upon a time you're just so fine

Do the bums a dime in your pride

In you

People call, say be left out of your power

To find that they're wrong

Can you

You used to laugh about

I'm running away

We're hanging out

Now you know

Talk so loud

Now you know

Soon so proud

To be scrounging around

For your next meal

How do you feel

In your new world

I'll be right you and I

Like a fucking needle in your nose

Like a old baby stone

Let's get the fuck outta here.

(crowd cheering)

Bobby, you broke your damn and blew my mind.

You okay?

Did you get hit?

Are you okay?

(crowd cheering)

Okay, listen, can somebody get you three songs

and maybe you wanna go back out there

and let out a little steam.

What the hell are you talking about?

I don't wanna do that, Albert.

It ends the show.

We just ended the show, man.

It's done.

Let's go, back up.

That crowd is not gonna let up, okay?

We need a finale, boss.

You know what they want, please.

Bobby, let's go.

Come get him, Dylan.

You know what, it's coming.

I'll kill you.

(crowd cheering)

You must leave now

Take what you need

You think will last

But whatever you wish to keep

You better grab it fast

He understands your orphan with his gun

Try it out.

Crying like a fire

Take that, here.

We'll pull this back together.

Together, it's done.

Bigger, more just tore it down.

Look out

The saints are coming through

And it's all over now

Baby, blue

(crowd cheering)

That's us, we're getting out of here.

Are you in there with you?

There's something that costs for you

Not that fast.

Forget the debt you left

They will not follow you

The vagabond who's writing at your door

Is standing in the clothes that you once wore

Striking in the mess

Girls starting new

And it's all over now

Baby, blue

(crowd cheering)

(dramatic music)

(mumbling)

It's Jane, got the line.

Bob.

Bob!

It's over, Trusy.

Go, go.

(dramatic music)

(mumbling)

Thank you, thank you.

Where is it?

You're going?

It's okay.

(mumbling)

Oh good, good.

Yeah, yeah, yeah.

All right, just see.

You look good.

Thank you, you look good.

(dramatic music)

(mumbling)

(dramatic music)

Let go of it, Bobby, you won.

What did I win to?

Freedom from all of us and our shit.

Isn't that what you wanted?

(dramatic music)

See you soon, Joe.

(dramatic music)

(engine revving)

(dramatic music)

I've sung this song but I'm singing again

All the people I've met and the places I've been

I've had the trouble and fired my mind

And I've had the good people that I've met

And I've been singing so long

Been good to know you so long

Been good to know you so long

It's been good to know you

This dusty old dusty

I'm getting my own

I got to be dressed in a long

A dust storm hit and a dead light thunder

It dusted us over and it covered us under

Clocked out the traffic and blocked out the sun

Strange go home all of these oogee brunks

I've been singing so long

It's been good to know you so long

It's been good to know you so long

It's been good to know you

This dusty old dusty

I'm getting my own

And I got to be dressed in a long

We talk at the end of the world and then

We sing a song and then sing it again

We sit for an hour and not say a word

And then these words would be heard

Singing so long

It's been good to know you so long

It's been good to know you so long

It's been good to know you

This dusty old dusty

I'm getting my own

And I got to be dressed in a long

So long

It's been good to know you so long

It's been good to know you so long

It's been good to know you so long

This dusty old dusty

I'm getting my own

And I got to be dressed in a long

(engine revving)