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These are the user uploaded subtitles that are being translated: Eߣ�B��B��B�B�B��matroskaB��B��S�g M�t�M��S��I�fS��M��S��T�kS���M��S��S�kS��+�M��S��T�gS����O�I�f�*ױ�B@M��libebml v1.3.10 + libmatroska v1.5.2WA�mkvmerge v44.0.0 ('Domino') 64-bitD��A`��Da��M�"?Ls��rP��C�Ye`�-��1�T�k���ׁsňvɠ���R���������S_TEXT/UTF8Sn�English�D%C�u��\������Bicentennial hats here!��Ҡ����iBicentennial hats.��C�u��x�����Excuse me, do you feel patriotic?��%�ȡ �Patriotic is-- is not the real feeling that I have right now.�� �C�u@���6�ǡ��People like bicentennial hats, I sell 'em bicentennial hats.�� Ǡ���� Uh-huh.��������Ladies and gentlemen, of this beautiful day�� >C�u���f�̡Ɓand this bicentennial day, right here, downtown in New York City,���������ladies and gentlemen.��=C�u���砻���Joseph Hurdley Jr., songwriter of New York City.�� 堯��� 8Otherwise, Uncle Sam is going to sing��C�u@���v�����one of his versions of "The Star-Spangled Banner."�� 2�ˡŁ �Ladies and gentlemen, "The Star-Spangled Banner" with new music.�� �C�u@���(�ơ��Words by Francis Scott Key and music by Joseph Hurdley Jr.,��Q�š���dedicated to the future of America, God save the republic.�� 8C�u@��X�����Are you ready, maestro?��6������No maestros? I'll sing it myself.��O�ơ��,♪ O say, can you see By the dawn's early light ♪�� bC�u��,9�����It's one dollar.�� ������Get your copies here.������� 3I've got four versions of...���C�u��FȠ����♪ Hey! Mr. Tambourine Man ♪�� ������♪ Play a song for me ♪�� C�u��a-�ˡŁ♪ I'm not sleepy And there is no place I'm going to ♪���C�u��~������♪ Hey! Mr. Tambourine Man ♪�� ������♪ Play a song for me ♪�� DC�u��� �����♪ In the jingle jangle morning ♪�� ����� b♪ I'll come followin' you ♪�� �C�u���������♪ Though I know that evenin's empire ♪�� ������♪ Has returned into sand... ♪�� �C�u���:�����We're gathered in this historic house��O������for the celebration of the 200th anniversary��C�u���3�����of the United States,��6����� sbut I refer to the words that were spoken�� �C�u����ơ��by those who at the time of the Declaration of Independence���C�u��蠬���thought of the mission of America,�� J����� �what America could mean to the world.��UC�u��0@�á��And one of them said that we act not just for ourselves,���C�u��Dt�����but for all mankind.��1������♪ Hey! Mr. Tambourine Man ♪��-C�u@��Yx�����♪ Play a song for me... ♪��&�����ySaigon had fallen.��������People had seemed to, uh, lost their sense of,�� �C�u@�v%�����uh, conviction for...��Z������for just about anything.�������♪ Hey! Mr. Tambourine Man... ♪�� �C�u���0�����Lot of arguments about why...��P����� >America was chased out of Vietnam...���C�u��������in such a humiliating way.��ݠ�����Two people tried to shoot the president in one month.�� 8C�u���L�����♪ Take me on a trip Upon your magic... ♪��������PLet us set for our goal in 1976���C�u���p�����to move forward in the realm of the American spirit.�� ����� b♪ My hands can't feel to grip ♪���C�u@���͠ơ��That the opportunity that everybody in this room has had...�� ������ �is something that is a realizable dream���C�u��젞���that can be achieved��6�ʡāUfor anyone who has the good fortune to be born in this country,�� C�u@��(b�ơ��or anyone who has the good fortune to come to this country.�� ����� 8♪ Ready for to fade Into my own parade...♪���C�u��G-�����The idea was to put a tour up,���������combination of different acts on the same stage���C�u��c2�����for a variety of, uh, musical styles.�� ������oI wouldn't say it was a, uh, traditional revue,�� 8C�u���-�����but it was in the, uh, traditional... um...���C�u��������form of, uh, of a revue.��[������That's all clumsy bullshit.��,�����-- Okay. - Y'know.�� C�u@���������- So what-- - I'm trying to get to the...��Ҡ����&To the core thing.����ǡ��-To the core of what this Rolling Thunder thing is all about,��C�u@��������and I don't have a clue,��U������because it's not... It's about nothing.����á���It's a-- It's just something that happened 40 years ago.�� DC�u@���X�����And that's the truth of it.��1������- Why don't we go down that road? - Okay, we can.������� �Let's go.�� �����:All right, let's go.��BC�u@���'�����I don't remember a thing about Rolling Thunder.�������U- Okay. - I mean, it-- it happened��+������so long ago, I wasn't even born, you know?�� C�u��b�����Uh, I... So, what do you wanna know?�� ������ ♪ And take me disappearing ♪�� �C�u��)y�����♪ Through the smoke rings of my mind ♪�� ������ �♪ Down the foggy ruins of time ♪��VC�u��E������♪ Far past the frozen leaves ♪�� ������♪ The haunted, frightened trees ♪�� 3C�u��a������♪ Out to the windy beach ♪�� ��ġ�� �♪ Far from the twisted reach Of crazy sorrow ♪��C�u���������♪ Yes, to dance beneath the diamond sky ♪�� ������ �♪ With one hand waving free ♪�� 2C�u���L�����♪ Silhouetted by the sea ♪�� 2����� �♪ Circled by the circus sands ♪�� �C�u���������♪ With all memory and fate ♪�� ������♪ Driven deep beneath the waves ♪�� �C�u��ۍ�¡��♪ Let me forget about today Until tomorrow ♪���C�u��� �����♪ Hey! Mr. Tambourine Man ♪��-������♪ Play a song for me ♪�� �C�u@��Ƞ����♪ I'm not sleepy... ♪���������- Is that Bob Dylan? - That is Bob Dylan!�� 񠮡��!Life isn't about finding yourself...��yC�u��--�����or finding anything. Life is about creating yourself.�� ������ - Playing tonight? - And creating things.�� sC�u��C�����And I want to introduce another fine...��&�����yentertainer here at Folk City,�� ������so everybody...��7C�u��Zw�����Summer, 1975.�� t����� �It was a very odd scene in New York.���C�u��n.�¡��Unusual. Sort of. The folk era had died out. Or did it?�� �����!Joan Baez��aC�u@��������and her friend Bob Dylan!��������Let's have a nice hand for Joan Baez...��0����� �Rumor came around that the inspired Dylan was back,�� bC�u���>�����gathering all-- all his forces.���������♪ When ev'rything that I'm sayin' ♪�� �C�u���l�����♪ You can say it just as good ♪���C�u@���_�����Woo!���������And pretty soon, they were all jamming together��������as if they were young musicians having fun,�� �C�u���A�����actually in direct contact with each other.��U����� ♪ And all the hills echoèd ♪���C�u��#�����♪ And all the hills echoèd ♪��򠵡��E♪ My name is Juanano de Castro ♪�� C�u��,&�����Lord...��l������♪ My father was a Spanish grandee ♪���C�u@��@נ����Excuse me, please!����á��We're really running short of time. I wanna introduce...��y�����uMiss Patti Smith and Eric Anderson.��+C�u��Xʠ����Let's have a nice hand.��a������Let's hear it! Get up here!��̠�����There was a...���C�u��r5�����There was an archer...��ݠ���� �There was an archer who was in love with his sister.�� C�u���{�����So, the archer looked at his sister������� �and he said,���C�u@���������"All the madness between me and you is real private."��Ԡ����But the sister was too scared, so the sister...�� �C�u@����ȡthe sister put down her cigarette and she married the sultan.��������So the archer became a... the archer for the king.��-C�u���ܠơ��So, it was the wedding night, and the sultan and the sister�� 8����� �were gonna get married.���C�u���������And so...�������ythe archer went out the door, and he had on his armor,�� bC�u@��꠲���and he was going. There was all, like...�� s�ɡÁ �You know how like the gran-- ground was in 16th-century Japan?�� 2C�u@��(������It was black and green like a chessboard.�� �ɡÁ sSo the archer was walking on the black part of the chessboard,��-C�u@��@������and he looked at the black part of the chessboard,��O������and it looked like the back of his sister's hair.�� 𠓡���And so...��C�u��\������You know how it is.��`������Yeah.�������� �Anyway, it looked... Oh, what a mess.�� �C�u@��u������Looked like the back of his sister's hair,����ǡ���and so he couldn't advance and be the king's archer no more,�� hC�u���E�ȡbecause he looked over at the palace, and over at the palace,�� ߠ���� 3he saw his sister undressing��%C�u@���񠙡��for the sultan.�������fSo the prince took off a-- took off all his armor,�� 2������and he started walking toward the palace.�� JC�u���y�����He started walking in another direction,�� J����� �started walking in another dimension,�� �C�u@���Z�����started walking in another dimension.�� I����� �He moved in another dimension.�� t�����c♪ I move in another dimension ♪�� 2C�u���C�����♪ I move in another dimension ♪���������♪ I move in another dimension ♪���C�u�� �����♪ I move in another dimension ♪�� ������ ♪ And he kept on walking ♪��PC�u�� (̠����♪ And he walked real slow ♪���C�u�� =������♪ Here is the first archer ♪�������� ♪ In rock 'n' roll ♪�� IC�u�� Y֠����♪ He walked toward the palace ♪�� m�����'♪ Toward the palace of answers ♪�� C�u�� xM�����♪ He took big steps ♪��Ҡ����Q♪ He took big steps ♪���C�u�� �B�����♪ He walked seven ways ♪���������♪ He walked seven ways ♪�� mC�u�� �������♪ He freed the elements ♪��ݠ����0♪ The hurricane just burst From his hands ♪�� �C�u�� ����♪ You are my sunshine ♪�� ����� s- ♪ My only sunshine ♪ - Let's go!�� �C�u�� �L�����♪ You make me happy ♪�� ����� h- ♪ When skies are gray ♪ - Whoopee!�� �C�u�� �������♪ You'll never know, dear How much I... ♪���������October, November, uh...��[C�u�� O�����Dylan might have some idea to do something.�� 𠤡�� DSort of like a... con man,���C�u@�� #ܠ����carny medicine show of old,��O������where you just get in a bus and go from town--��נ�����or a carriage, and go from town to town.���C�u�� ♪ I live in an apartment ♪��yC�u@�� ������♪ Sink leaks through the walls ♪��+�����~♪ Lower East Side full of bedbugs ♪��U�����'♪ Junkies in the halls ♪��TC�u@�� �Ԡ����♪ House been broken into ♪��U������♪ Tibetan thangkas stole ♪���������♪ Speed freaks took my statues ♪��+C�u@�� �������♪ And made my love a fool ♪��,�����♪ Speed freaks took my statues ♪��������{♪ And made my love a fool ♪�� 8C�u@�� 򠲡��- Do you wanna hear more or...? - Yeah.��O������I got this big audition.��������There was this party at Allen Ginsberg's apartment.�� 8C�u@�� o�����And that's where you met Dylan?��������Uh, yes.��������- What did you think of him? - Uh, Dylan was fine.�� �C�u@�� =ᠬ���There were all these crazy people,��������all getting high and coming up to him��+������and spinning faster and faster, and Bob didn't react.�� �C�u@�� Y@�����I think he just, uh, watched the whole thing.��&�����yI think he liked the chaos.��1������♪ I am a rake and a rambling boy ♪��{C�u@�� {������♪ There's many a city I did enjoy ♪��E�š���- Woo! - ♪ But now I married me a better wife ♪��C�u�� �٠á��♪ And I love her dearer Than I love my life ♪��!C�u@�� �j�����My idea was to have a kind of a jug band,�� D����� �uh, for the whole show,����ˡŁ@something, uh, along the lines of maybe, uh, Kweskin Jug Band...���C�u�� �>�����but that didn't happen.����á�� �They were in the middle of the rehearsals at SIR Studio,�� C�u@�� s�סсand I talked to Levy, and he asked Dylan if it was all right for me to shoot��E������B-roll of the rehearsal.���C�u@�� -��͡ǁDylan was all right with it, but Levy told me there was no budget.��V�ȡ�Because I thought that this was really going to go somewhere,�� �C�u�� Gr�����I took all the money that I had,���������and I paid for everything out of my own pocket.�� nC�u@�� `5�����- Did Bob like you? - I don't know, who knows?�� D����� �He was-- It was like looking into a mirror.��U�����@You either saw what you wanted to see,��C�u@�� yʠ����or you hated what you saw.��ݠ�����I can tell you this, back then I used to smoke,�� �������and I held my cigarette like this,��C�u@�� ������you know, the European style.��+�ѡˁ~After that night at Ginsberg's, Bob started holding it like that, too.���C�u@�� �W�����That was me.��㠫���6♪ Rita May, Rita May ♪��������♪ How did you ever get that way? ♪���C�u�� ̷�����♪ When'd you ever see the light? ♪��U�����-♪ Don't you ever feel afraid? ♪��%C�u@�� �������♪ You got me burning and a-turning ♪��&�����y♪ But I know I must be learning ♪��ؠ�����♪ Rita May ♪���C�u�� <�����♪ And I don't sense affection ♪�� ����� \♪ No gratitude or love ♪�� �C�u�� '#�����♪ Your loyalty is not to me ♪��-������- ♪ But to the stars above ♪ - Yeah!�� C�u�� Dʠ����♪ One more cup of coffee for the road ♪���C�u�� aw�����♪ One more cup of coffee 'fore I go ♪��C�u�� xp�����♪ To the valley below ♪�� sC�u�� �z�����I was going to a jazz musician friend of mine house�� ߠ���� 2in the Lower East Side,��[C�u�� �Z�ʡāand I was just about to cross the street, and a car cut me off.���C�u�� �M�����It was Bob.��䠗���7It was Dylan.��=������And...���C�u@�� ������It was never verbalized.���������I knew who he was, or he knew I knew.�� I�����zJust sort of passed, you know.���C�u@�� ������We just played music all day and all night.��-�á���We went to The Bottom Line and played with Muddy Waters,���C�u�� ������and we went that night to Victoria Spivey's house.�� ٠����!She's an old blues singer.���C�u��%v�����And, um...��<������we played music till about six in the morning.��KC�u@�:������It was really great.�� �����`She wears a turtle...��y�����-♪ She wears a turtleneck sweater ♪�� 8C�u��U\�����♪ And a nylon shoe ♪��������♪ She wears a turtleneck sweater ♪�� �C�u��s������♪ And a nylon shoe ♪�� sC�u���������♪ There's nothing she won't say ♪��P������♪ And there's nothing that she won't do ♪�� �C�u@����á��There are 52 people. If each person asks him is he okay,����ơ��iit becomes a long, hard question and answer period for him.�� C�u���ڠ����Is the light bothering him?��נ����+Is the guitar right?��������Does he like the lighting?��6C�u���g�����Is the sound monitor okay?���������He's a big man, and he knows what he wants.�� C�u��񛠧���♪ No llores, mi querida ♪�������� �♪ Dios nos vigila ♪��UC�u��������♪ Soon the horse will take us to Durango ♪��C�u��&�����Five ten.������� n- Five ten? - Yeah.��6C�u��/נ����So what does he do?��������He's a director.�� �������Theater.��BC�u@��Cd�����Theater?��l������But that's not...����Ρȁ �That's why I'm saying it's tricky because it's not marriage, is it?�� C�u��[������I mean, unless you actually make it--��������Well, I mean, maybe marriage to the theater.���C�u@��p2�����But when you said marriage,��f������I assumed you-- you meant marriage between two people.�� ������- Yeah. - Did you?��CC�u���������Well, no, mental marriage.��������- Mental marriage? - Yeah.��������zAh, well, that's interesting.�� �C�u���t�����♪ Some speak of the future ♪�� Ǡ����{♪ My love, she speaks softly ♪�� sC�u@���'�����♪ 'Cause there's no success like failure ♪�� ������♪ And failure's no success at all ♪�� �C�u@�쁠����Hey!���͡ǁI'm doing a-- a thing on a tour for Rolling Stone magazine.�� m������- Yes. - Okay?��=C�u@��٠����And-- And basically, I saw Bob leave,��&�סс �uh, after that... uh, um, the dialogue you did with him, the marriage thing.��C�u@��8�����Yes.��l�ԡ΁�And he said to one of the cameramen, "That is hot. That was a hot scene."��-�����@- Okay. - Oh, I'm really flattered. I'm touched.���C�u@��6������Okay, now, look, I-- I-- I just wanna know,�� 𠾡�� Chow did-- how did it happen? I mean, was it set up?��������?- It happened-- No. - Was it a set up scene?���C�u@��O㠥���It was totally spontaneous.���������I was on my way to the bathroom...��U������Yeah.��k�͡ǁ@...when, uh, on my way, uh, Mel Howard introduced me to Bob Dylan.��KC�u@��r������What-- What did you say? And what was your point--��O������- What did I say to-- - In the conversation to Bob?��T�����KWell, it was a sort of free...�� IC�u@��� �����- uh, going from one thing to another. - Freewheeling?��������O- Freewheeling. - It wasn't--���¡�� �It wasn't meant to be specifically-- specifically that.�� nC�u@��������Yeah, but you started talking about marriage.��������Out of the blue,����š�� �- the subject of marriage came up. - But what did you say?�� �C�u���T�����♪ Come gather 'round, fellers ♪���������♪ So young and so fine ♪��^C�u��������♪ And seek not your fortune ♪�� �������♪ Down in the mine ♪��WC�u�� "�����♪ It will form... ♪��~�š���Was the idea to make a behind-the-scenes film of the tour?��,C�u@��t�����I think that's what they were expecting.����ȡ�They just thought that I was going to make it a concert film,�� ��ɡÁ�but I was trying to make something really serious out of this.�� IC�u@��=�ǡ��First, what I wanted to show was musicians working together,�� ������ making music together.��`������That was them doing their job.���C�u@��WӠ����That was, you know,����š�� that was as if I went to film my father in his shoe store.�� 8�����:Focus in on that.���C�u��s\�����What is that, Patti?��㠨���6I seen th-- this Rimbaud book,�� s������and I saw this picture.���C�u@���Z�ơ��I saw this vogue picture, and I thought it looked like you,�� n����� �- and I thought he was a neat guy, y'know? - Yeah?��Ҡءҁ�And I thought you were neat, so I used to, like, pretend he was my boyfriend.���C�u@����ơ��Or if-- Or if you were. You know, it doesn't matter, right?�� ������ �So anyway...��B����� �What did you say?��<�����- What did I say? - Yeah.��`C�u���ݠ����I gave my thoughts on...�� ������ �He spoke about mental marriage.�� �C�u@��ز�����- When he asked me-- - Mental marriage?���������Uh, Superman takes a piece of coal,��~�¡�� �and he puts it in his hand, and he starts squeezing it,�� C�u@���Ϡ����and squeezing it, and squeezing it, and squeezing it,���������and then it becomes like a diamond.��`������- It's real hard. - Yeah.���������And then, like, he drops it on the ground,���C�u@�� ������- on the baseball diamond. - Yeah.���̡Ɓ6And the kids, the kids keep kicking it, the kids keep kicking it.�� Ǡ����P- Yeah. - Then it goes round and round.���C�u@�� 8�����And after years and years of kids kicking it around,��Ҡ����&it gets smooth, but it's not... It's just changed.�� ƠСʁ@It's still the same crystal, but it's smooth, so it's a crystal ball.�� =C�u@��> �����So it's sitting there in the middle,����ӡ́�the crystal ball is sitting there in the middle of the baseball diamond.�� �������- Right. - Okay? Now you can look in.���C�u@��d������I hated the ristelaars...�� 𠰡�� Dthe, you know, the-- the facilitators.���������You know, the-- the people hanging around him.�� sC�u@���R�����People pretending that they had access,�������� Jso that they could behave badly.��U������This film was going to show��1C�u@���Ƞš��the counterpoint between the... the excesses of the people�� ������on the tour and the dissolution of society.�� >C�u@���]�����- Come on, everybody. - Allen!��x������I wanted to show the land of Pet Rocks�� I�����iand Super Slurpees from 7-Eleven.�� IC�u��Ъ�����L'Amérique insolite.��a����� �I would go on the road with the Rolling Thunder Revue.�� C�u��磠����Right here.��[�����See you Thursday.�� CC�u����á��This is a true story. Actually, they're all true.�� �������Boy. Sure hope we get to Boston on time.�� �C�u@��`]�����♪ I married Isis ♪���������♪ On the fifth day of May ♪��ݠ�����♪ But I could not hold on ♪��+C�u@��xP�����♪ To her very long ♪�� �����+♪ So I cut off my hair ♪�������'♪ And I rode straight away ♪��[C�u@���������♪ For the wild, unknown country ♪��+�����~♪ Where I could not go wrong ♪��ؠ�����♪ I came to a high place ♪���C�u@���`�����♪ Of darkness and light ♪�������U♪ The dividing line ran ♪��������Q♪ Through the center of town ♪��ZC�u@��������♪ I hitched up my pony ♪�������U♪ To a post on the right ♪��O������♪ Went into a laundry ♪���C�u@���Ϡ����♪ To wash my clothes down ♪�������� I♪ A man in the corner ♪��Ҡ����o♪ Approached me for a match ♪��1C�u@���:�����♪ I knew right away ♪���������♪ He was not ordinary ♪���������♪ He said, "Are you looking ♪���C�u@��������♪ For something easy to catch?" ♪��&�����y♪ I said, "I got no money, man" ♪��������♪ He said, "That ain't necessary" ♪�� sC�u@��_������♪ We set out that night ♪��ؠ����,♪ For the cold in the north ♪��נ�����♪ I gave him my blanket ♪��C�u@��w �����♪ And he gave me his word ♪�������y♪ I said, "Where we goin'?" ♪��[�����'♪ He said, "We be back by the fourth" ♪���C�u@���g�����♪ I said, "That's the best news ♪�������T♪ That I've ever heard" ♪�������&♪ I was thinkin' about turquoise ♪��C�u@���_�����♪ I was thinkin' about gold ♪���������♪ I was thinkin' about diamonds ♪��+�����{♪ And the world's biggest necklace ♪��OC�u@���|�����♪ As we rode through the canyons ♪��Ҡ����&♪ Through the devilish cold ♪��~������♪ I was thinkin' about Isis ♪���C�u@���u�����♪ How she thought I was so reckless ♪�� s�ҡ́ �♪ She told me, though, that one day We would meet up again ♪�� �C�u@��� �����♪ And things would be different ♪��������♪ The next time we wed ♪�������'♪ If I could only just hang on ♪��&C�u@��������♪ And be her friend ♪��ؠ�����♪ I still can't remember ♪��1�����'♪ All the best things she said ♪���C�u@��^z�����♪ We came to the pyramids ♪��ؠ����+♪ All embedded in ice ♪��������♪ He said, "There's a body ♪���C�u@��s������♪ That I'm tryin' to find ♪�������� I♪ If I carry it out ♪��������♪ It'll bring a good price" ♪���C�u@���f�����♪ 'Twas then that I knew ♪��1������♪ What he had on his mind ♪���������♪ Well, the wind, it was howlin' ♪���C�u@���5�����♪ And the snow was outrageous ♪��Ҡ����%♪ We chopped through the glades ♪��,������♪ And we chopped through the dawn ♪���C�u@���������♪ When he died, I was hopin' ♪���������♪ That it wasn't contagious ♪���������♪ But I made up my mind ♪���C�u���򠭡��♪ That I had to get on ♪���C�u@��H�����♪ I picked up his body ♪���������♪ And I dragged him inside ♪��ݠ�����♪ Threw him down in a hole ♪���C�u@��2Ġ����♪ And I put back the cover ♪���������♪ I said a quick prayer ♪��[�����P♪ Just to feel satisfied ♪��&C�u@��J������♪ Then I went back to find Isis ♪���������♪ Just to tell her I love her ♪���������♪ She was there in the meadow ♪��+C�u@��aڠ����♪ Where the creek used to rise ♪�� I����� �♪ Blinded by sleep ♪��������♪ And in need of a bed ♪���C�u@��y������♪ I came in from the East ♪��������♪ With the sun in my eyes ♪�� I�ġ���♪ I cursed her one time Then I rode on ahead ♪���C�u@���������♪ She said, "Where you been?" ♪��������O♪ I said, "No place special" ♪��U�Сʁ�♪ She said, "You look different" I said, "Well, I guess" ♪�� 3C�u@���W�����♪ She said, "You been gone" ♪����ӡ́♪ I said, "That's only natural" She said, "You gonna stay?" ♪���C�u���[�����♪ I said, "If you want me to, yeah!" ♪�� C�u@��������♪ Isis, oh, Isis ♪��������♪ You a mystical child ♪��+�����Q♪ What drives me to you ♪��~C�u@��/ɠ����♪ Is what drives me insane ♪�������� s♪ I still can remember ♪��������♪ The way that you smiled ♪���C�u��G栰���♪ On the fifth day of May ♪��+�����~♪ In the drizzlin' rain ♪�� sC�u@�ӆ�����Hi, Bob.��������- Hi, what you guys want? An interview? - Sure.�� n������- Ah, wh-- - How was it, Bob?���C�u@��� �����How was what?��f����� What did Bob say about the tour?��x������I never asked him anything because, you know,��OC�u��������he wouldn't answer direct questions.��������Dylan, you're beautiful.��+C�u��������Bob!�� ������A legend is in town,���C�u@��/i�����and it's not just another... rock 'n' roll show.�� ����� DI mean, it's rock 'n' roll, but it's a special event.��̠����dWhere rock 'n' roll has four or five legends,���C�u��L�Ρȁthis is one of them, and maybe the biggest one at the present time.�� �C�u@��}t�ȡNot to brag, but Rolling Thunder was kinda my idea, you know.��V������Bob had done that tour with The Band a few years back,���C�u@���=�����and that was super successful,��U�ӡ́�and then Crosby, Stills, Nash & Young were filling 50,000 seats a night.�� �C�u@��� �š��And Zeppelin was huge. I mean, there was money everywhere.�� ������ You know, all you had to do was bend down, pick it up.�� C�u@��ˆ�ӡ́So, I had an idea that some kind of revue with Bob would be a gold mine.��Π����So I went off and pitched the idea,���C�u@��۟�����and a bunch of local promoters were interested.��%�ʡā And then by the time I was done, I ended up with 15 headliners.�� �C�u�����ˡŁ♪ I'm gonna have to go to college 'Cause you are... ♪�� C����� �Now you've asked for it!���C�u@��t�����We took a big risk. And, uh, you know,��O�ҡ́�you had to put up the money, get everybody, you know, hotels, catering,�� �C�u��$I�����cars, all this stuff, buses.����ˡŁ�And you had to keep all these guys happy and, you know, focused.���C�u@��;�ѡˁAnd so... And that was, you loaded up before you went out on the road.��,�ġ���Then you hope you got paid. And you hope the show worked.�� �C�u@��Z������Did you have any interaction with Bob?��Ҡ����&The only time I saw Bob was when he was onstage�� s������or driving the bus.���C�u@��q֠����You know? Bob kept to himself.��Ҡ����%How did it become "Rolling Thunder Revue"?��͠š��EWell, I asked Bob. He said originally he was gonna call it�� C�u@���������Montezuma's Revue,��㠧���7but then he said he was home,��7�ʡā �and he was just kind of trying to think of a name for the tour,�� �C�u@���]�����when all of a sudden in the sky, he heard, "Boom!"�� s����� �And then, from left to right,��������punctuating the sky,��=C�u@���������"Boom, boom, boom, boom!"�� ������So he said, "Hey, let's call it 'Rolling Thunder.'"�� �����ESo before we even left,���C�u@���I�����Chesley Millikin, who was on the tour, says,��U�ǡ���"Bob, you know what 'rolling thunder' means to the Indians?"����ȡ�And he goes, "What, man?" And Chesley goes, "Speaking truth."�� C�u@������And then Bob goes, "I'm glad to hear that, man."�� ��͡ǁ �Of course, later on we found out that Rolling Thunder was actually�� �C�u@��������the code name for, uh, Nixon's bombing of Cambodia.�� �աρ 2And that Guam, the backup band, was the base that, uh, they took off from.���C�u@��!������So, who knows what the real story is.����ΡȁThis is the leaflet for a concert they're having in town next week.�� \C�u@��8q�����Bob Dylan, Joan Baez, and Jack Elliott.�� g����� �Right in the Civic Center.�������You know me, I'm too old for that kind of stuff.��yC�u��SR�����Oh, well.��g����� J- Okay. - So...��f�����when did you first hear about Bob?���C�u��i������This is like a... a... It sounds like a fairy tale,�� �������but all... a lot of the...�� �C�u����͡ǁIt doesn't happen continuously for more than a few days at a time,�� ������ �but a lot of my life,��+C�u@���[�����I feel like I really am leading a charmed life,�� 𠿡�� Dbecause miracles start happening in threes or fours.���C�u���������One thing I could tell you about Ramblin' Jack,�� I����� ahe's more of a sailor than a singer.��UC�u���<�ѡˁHe can tie a bowline, a clove hitch, and he could tie a rolling hitch,��t�����all blindfolded.��fC�u@��������If you're ever on a boat or sailing ship,�� �ϡɁ'you would rather have Ramblin' Jack there as a sailor than a singer.���C�u@��������♪ Now, London is a fine town For sailors ♪�� �����J♪ California and back to France, so... ♪��'C�u��"f�¡��Which would you rather be, the Pilgrims or the Indians?�� Ơ���� - Pilgrims. - Why the Pilgrims?��OC�u@��6à����Why do you wanna be the Pilgrims?�� �š��a'Cause the Pilgrims all land and they turn into wax dolls,�� I������and they're wax dolls for the rest of the universe.���C�u��O �����So the Indians.�� �֡Ё`Well, you know, the Indians, that's true-- Well, we're all wax dolls, so...�� 3C�u��c䠻���The first concert will take place in Plymouth...��C�u@��x�ʡāUh, where the, uh, Pilgrims stepped off their Mayflower.���������We're... as if we're-- we're Pilgrims.��%C�u���*�����Pilgrims in the sense of searchers,��+����� Ilooking for the, uh, kingdom of a nation���C�u@���4�����with maybe a different intention.��נ�����Making America a kingdom of poetry,��[�����za nation of poetry.��fC�u@���U�����Well, look at this. Lookit.�� ����� sHave you ever heard of Bob Dylan?��������K- Yeah. - Yeah, I've heard of Bob Dylan, Joan Baez,�� IC�u�� =�����Bob Neuwirth.��B������...performing at Memorial Auditorium. Anybody?�� \C�u��!������Pass 'em out.��<������♪ I left Rome ♪��yC�u��8������♪ And pulled into Brussels ♪��������!♪ On a plane ride ♪��+C�u��PK�����♪ So bumpy that I almost cried ♪�� hC�u��f������♪ Clergymen in uniform ♪�������� J♪ Young girls pullin' muscles ♪�� �C�u���������♪ Well, it sure has been ♪�������� g♪ One hell of a ride ♪�� C�u���������♪ Newspapermen ♪�������� ♪ Eating candy, ooh ♪�� C�u���2�����♪ They had to be held back ♪�� ����� m♪ By big police ♪���C�u���ޠ¡��♪ Someday Everything is gonna be different ♪���C�u���������♪ When I paint that masterpiece ♪��C�u��ꠥ���♪ Train wrecks ♪�������[♪ Running through the back of my memory ♪�� 2C�u��(������♪ When I ran on the hilltop ♪��y������♪ Following a pack of wild geese ♪�� �C�u��Fy�¡��♪ Someday Everything is gonna be beautiful ♪���C�u��_f�����♪ When I paint that masterpiece ♪���C�u��{l�����♪ When I paint ♪�� Ơ���� 8♪ That masterpiece ♪���C�u���������Any idea why he would wear a mask?��������OAre you being funny?�� �C�u���������Well, it was kind of a leading question.��ؠ����+Yeah, okay. Well, get to the point.�� IC�u��고����We didn't have enough masks on that tour.�� g������We should have had masks for everybody.�� C�u��������When somebody's wearing a mask,��ؠ����,uh, he's gonna tell you the truth.��Ҡ����Uh...��fC�u��������when he's not wearing a mask, it's highly unlikely.�� 8����� �Shocking Blue!�� mC�u��G䠺���♪ Her weapons were her crystal eyes ♪�� m������♪ Making every man mad ♪���C�u��d������I'd been filming Shocking Blue.�� Ǡ���� Their song "Venus" was at the top of the charts.�� �C�u��z������- Wow! - And we needed more footage.��������OAnd at the time, I liked psychedelics.�� IC�u��������Oh, LSD was my drug of choice.�� ꠲��� >You know, it was trans-- transformative.�� sC�u@�����á��And I filmed a lot of newspeople and things from the TV,�������Vlike camera right on the TV, like kinescoped,�� hC�u@���͠ҡ́and I cut these serious things, these speeches, with the rock 'n' roll.�� ������ ♪ A goddess on a mountaintop ♪�� C�u��������♪ Was burning like a silver flame ♪�� D����� �♪ Well, I'm your Venus ♪���C�u@���T�ߡف- ♪ I'm your fire at your desire ♪ - It was brood en spelen, uh...��젭���@You know, like, "bread and circus."���C�u��������I made an indictment of popular culture.�� ����� gI called it "Burning Like A Silver Flame."�� >C�u��(f�����It played the local art film circuit,��O����� uh, and it started to have a life of its own.�� �C�u��>������Um, later, when I won the Heinrich Greif Award,�� >����� �America came calling.��`C�u���B�����Van Dorp,��7������I hadn't even heard of him before,��ؠ�����but, uh, he seemed like an okay guy.���C�u���������I liked his film history.��`������He did some film work at Madame Tussauds Wax Museum.���C�u@��ξ�����His idea was to, uh, make this film...�� ��Ρȁ�appear to be like old newsreels we used to see at movie theaters...���C�u���}�����growing up,��l�����which I thought was a splendid idea.���C�u�� ������Van Dorp, I wanted to tell you something.�� bC�u�� ��СʁI thought Sam would be perfect for van Dorp to, uh, collaborate with,���C�u�� ,��š��because Sam's got that special knowledge of the underworld��zC�u@�� AĠ����that van Dorp didn't seem to have a clue about.�� s�ʡā�I think I asked him once, "Sam, how you write all those plays?"�� �C�u�� [������And he said...��������"Man," he said,��������"It's like I commune with the dead."��+C�u�� |k�����I said, "Yeah, yeah,�� �����+uh, you'd have to to write plays like that."�� �C�u@� ������And I asked him if he wanted to, uh, write for, uh,�� =������this movie that this guy van Dorp was making.�� �C�u�� ���סсAnd he went to meet with van Dorp, and then he came back, and he said, uh...���C�u@�� £�����he didn't know where the guy was coming from,��,�����but if I wanted him to do it, he would.��������uSo, that's how Sam got involved.�� sC�u�� �Ӡ����I was living in Homestead Valley, California,��̠���� >running a horse boarding farm.��iC�u@��!��ΡȁIt was a little bit unclear what-- what exactly he wanted me to do.����¡��JI was like a screenwriter or writer for hire, you know.�� 8C�u��!c�����So, sure. So, I joined up.�� I����� bI was just kind of there for the ride, basically,�� �C�u��!7񠢡��and-- and as an observer��U������and trying to make sense of something, you know.���C�u��!_ܠ����New England was just experiencing the backbone�� ������of that economic fallout,���C�u@��!v�����you know, way back then, it was, you know, desolate...���������Uh, really, really difficult economic times, you know.�� bC�u��!�������People suffering behind that, you know.�� \������Rock 'n' roll was some kind of, a...�� C�u@��!�������I don't know, a kind of medicine or something.��+�����Do you have tickets for the concert?��������- Yeah. - How come he's coming here?���C�u@��!Ű�����I know, how come he picked such a small place?�� C�Ρȁ �Tickets are on sale at the collis-- the little Plymouth auditorium.�� �C�u@��!�u�����Wasn't that the year of the bicentennial, also?�� ����� �The bicentennial,�������Eparticularly in the little towns, you know,���C�u@��!�������they didn't give a shit, you know.��ݠ����0"What is the bicen--" You know what I mean?����ڡԁzThey-- They certainly weren't celebrating the-- the birth of America. You know?��C�u��"b�����- We love you, Bobby! - Yeah!�� bC�u��"0�����♪ How many roads must a man walk down ♪��QC�u��"Dq�����♪ Before you call him a man? ♪�� �������♪ How many seas must a white dove sail ♪���C�u@��"gˠ����♪ Before she sleeps in the sand? ♪�� �����i♪ How many times Must the cannonballs fly ♪���C�u��"�J�����♪ Before they're forever banned? ♪�� ������♪ The answer, my friend ♪��OC�u��"�������♪ Is blowin' in the wind ♪�������� I♪ The answer is blowin' in the wind ♪�� �C�u��"ƞ�ɡÁIt always had this feeling of-- of almost a circus atmosphere,��.C�u@��"������a dog and pony show sort of thing.��ޠ�����It's the first song I ever heard Woody Guthrie sing��&�����Eon a little radio station.���C�u��"�Ҡ����He was telling a story...��������,about traveling across the country on freight trains,�� �C�u��#נ����and he had a fiddle with him...��������in a violin case.��C�u@��#/6�����Every time the train would stop,��,�١Ӂ hpolice would come on and look through, they'd see him with that violin case...���C�u��#T������make him open it up,��f����� and look inside.��g������They was looking for an outlaw...���C�u��#r������named Pretty Boy Floyd,�������� �who was also traveling with a violin case.���C�u��#�l�����♪ If you'll gather 'round me, children ♪��;C�u��#ĝ�ϡɁ♪ A story I will tell About Pretty Boy Floyd, an outlaw ♪��XC�u��#㻠����♪ Oklahoma knew him well ♪�� C�u@�#�H�����I do recall sort of looking over,�� s�ˡŁ �from a distance, Jack Elliott's shoulder as he did his solo set.��,C�u@��$N�����You know, that was something so new to me, and...��y����� 2gee, it seemed so authentic,����СʁI had no idea he was, you know, a Jewish dentist's son from Brooklyn.��9C�u@��$8�סсYou know, you could've knocked me over with a feather when I found that out.�� ������ Ramblin' Jack! Take a bow, Jack.���C�u��$Y3�����I got another friend for you to meet now.���C�u��$������They-- They had an entity about them, you know.�� ������ �It wasn't stardom.��1C�u@��$�`�����It wasn't people were looking at,��6������"Oh, there's Dylan and there's Joan Baez."������� �No, they were looking at a band.���C�u��$�ᠻ���♪ Well, I ride on a mail train, baby ♪��&����� �♪ Can't buy a thrill ♪���C�u��$�ʠ����♪ I been up all night, baby ♪�� s����� �♪ Leanin' on a windowsill ♪�� �C�u@��$�ݠɡÁOnce again, good night on behalf of the Rolling Thunder Revue.�� ����� mWe thank you for coming. Good night. Go in peace.���C�u��%n������And particularly with those songs��ؠ¡��+that had this kind of saga element about 'em, you know,��'C�u@��%�N�աρit had a rejuvenating effect, I think, you know, it was very exhilarating.����ơ���It was a feeling of exhilaration, of-- of-- of being alive.��|C�u��%������It... That sounds corny, but it's true, you know.�� �����JTake, uh, Shakespeare, Will.��C�u��%ô�����He grew up in, uh, uh, Stratford-on-Avon,�� ������ you know, where the... where these rivers cross,�� �C�u��%ڭ�����and it was on the way outskirts of London.�� ����� �And these troubadours and vagabonds�� >C�u��%��Сʁand carnival people from all over were coming into London to perform.���C�u@��& :�¡��And they would stop at this crossroads of these rivers.�� ��ҡ́ �And as a kid, he's seeing this, and then he writes those fucking plays.��C�u��&+|�����You know?�������� �That's... extraordinary.��OC�u@��&@�����You know, that somebody is charged up like that�� ����� hfrom something passing through their lives, you know.�� �C�u��&XJ�����- Let me ask you a question. - Sure.�� Ơ���� �What were you gonna do on Halloween night?�� �C�u��&p�����What was I gonna do on Halloween night?��&����� Just get a buzz on.���C�u��&������Nothing else to do.��㠚���%Yep, just party.��+C�u@��&�������♪ Where have you been My blue-eyed son? ♪�� �á���♪ Where have you been My darling young one? ♪�� 2C�u@��&� �͡ǁ♪ I've stumbled on the side Of twelve misty mountains ♪���ɡÁ�♪ Walked and I've crawled On six crooked highways ♪���C�u@��&�Ԡ����♪ Been in the middle Of seven sad forests ♪�� ��¡��♪ Been out in front Of a dozen dead oceans ♪�� �C�u��' ��͡ǁ♪ Been ten thousand miles In the mouth of a graveyard ♪�� ����� b♪ And it's a hard ♪��=C�u@��'C�����♪ Well, it's a hard ♪�������[♪ Well, it's a hard ♪���������♪ And it's a hard ♪���C�u��'2Š����♪ Well, it's a hard rain gonna fall ♪�� �C�u@��'K������♪ What did you see My blue-eyed son? ♪�� ������ �♪ What did you see My darling young one? ♪��"C�u@��'p��ˡŁ♪ Saw a newborn baby With wild wolves all around it ♪�� ��ǡ��V♪ I saw a highway of diamonds With nobody on it ♪�� �C�u@��'�[�ʡā♪ Saw a black branch With blood that kept drippin' ♪�� ��̡Ɓ♪ Saw a room full of men With their hammers bleedin' ♪�� aC�u@��'�������♪ Saw a white ladder Covered in water ♪�� ߠϡɁ 2♪ Saw ten thousand talkers Whose tongues are all broken ♪���C�u@��'�7�Ρȁ♪ Guns and sharp swords In the hands of young children ♪�� ������ �♪ And it's a hard ♪��������9♪ Well, it's a hard ♪�� C�u@��'�������♪ Well, it's a hard ♪�� �����U♪ And it's a hard ♪��Z�����♪ Oh, it's a hard rain gonna fall ♪�� �C�u@��(b�����♪ What did you hear My blue-eyed son? ♪�� >�����♪ What did you hear My darling young one? ♪�� \C�u@��(,^�Сʁ♪ Heard the sound of a thunder That roared out a warnin' ♪�� ٠Ρȁ-♪ Heard the roar of a wave Could drown the whole world ♪�� \C�u@��(I��ɡÁ♪ One person starved I heard many people laughin' ♪�� \�ɡÁ �♪ Heard the song of a poet Who died in the gutter ♪�� �C�u@��(e:�ȡ♪ Heard the sound of a clown Crying in the alley ♪�� ������ �- ♪ And it's a hard ♪ - Yeah!�������:♪ And it's a hard ♪���C�u@��(������♪ And it's a hard ♪��ؠ����+♪ Well, it's a hard ♪��������♪ And it's a hard rain gonna fall ♪�� 8C�u@��(�������♪ Who did you meet My blue-eyed son? ♪�� �����V♪ Who did you meet My darling young one? ♪���C�u@��(�ޠ����♪ Met a young child Beside a dead pony ♪�� ����� 3♪ Met a white man Who walked a black dog ♪�� 8C�u@��(������♪ Met one woman Whose body was burning ♪�� ����� \♪ Met a young girl She gave me a rainbow ♪�� 2C�u��)������♪ I met one man Wounded in love ♪��,������♪ Met another man Wounded in hatred ♪�� �C�u@��)Z�����♪ And it's a hard ♪���������♪ Well, it's a hard ♪�������� �♪ Well, it's a hard ♪���C�u��)0������♪ And it's a hard ♪��ؠ����+♪ And it's a hard rain gonna fall ♪�� �C�u@��)������♪ What'll you do now My blue-eyed son? ♪�� ��¡�� �♪ What'll you do now My darling young one? ♪��-C�u@��)�r�ˡŁ♪ I'm goin' back out When the rain starts a-fallin' ♪�� ��ǡ���♪ Walk to the depths Of the deepest dark forest ♪�� bC�u@��)���ѡˁ♪ Where the people are many And their hands are all empty ♪�� \�ϡɁ �♪ Where the pellets of poison Are flooding their waters ♪�� �C�u@��*0�ӡ́♪ Where the home in the valley Meets the damp, dirty prison ♪�� �̡Ɓ \♪ Where the executioner's face Is always well-hidden ♪�� \C�u@��*5<�̡Ɓ♪ Where the hunger is ugly Where souls are forgotten ♪���š��V♪ Where black is the color None is the number ♪�� �C�u@��*Q��ӡ́♪ And I'll tell it and think it And speak it and breathe it ♪�� ��ˡŁ♪ Reflect from the mountain So all souls can see it ♪�� �C�u@��*m��̡Ɓ♪ Then I'll stand on the ocean Until I start sinkin' ♪�� ��ˡŁ �♪ But I'll know my song well Before I start singin' ♪�� �C�u@��*�Y�����♪ And it's a hard ♪�������♪ And it's a hard ♪�������� ♪ Well, it's a hard ♪���C�u��*�������♪ And it's a hard ♪��[������♪ It's a hard rain gonna fall ♪�� �C�u@��+D������- Hello? - Bob?��ݠ����1- Yeah. - This is Larry.��f����� �- Larry, how you doing? - You got a minute?��OC�u��+X7�����I gotta do a story in an hour,��Ҡ����%and I just need about two or three paragraphs.�� sC�u��+m������- Okay. - Are you up?���������Yeah, sort of.���C�u@��+�֠ǡ��What do you-- Why don't you just talk about the music, okay?�� D����� �What do you wanna know?���������I've never seen you so fuckin' great onstage.��&C�u@��+�󠱡��I've never seen you so loose. How come?����ۡՁ �Jesus Christ, you really got me early in the morning, I can't even think.�� bC�u��+�������Uh...��U�ǡ���Well, it's just the element I work best in, you know?�� �C�u@��+�h�����You seen those Italian...��������those Italian troupes that go around in Italy,��O������- those Italian street theaters... - Yeah.��~C�u@��+��á��The wagon, the wagon troupes, Commedia dell'arte?�� Ơ���� Yeah, right.���ǡ���This is kind of an extension of that, only musically.�� �C�u@��,T�����- Music Commedia dell'arte? - Yeah.���������Come on, Red!�������� �Riva!��f������- Jane! - Jane!���C�u@��,���Get it, Merty!����á��If somebody told you Bob Dylan was coming to Providence,�� I�ϡɁ�you probably wouldn't believe them, but he is, along with Joan Baez,�� C�u@��,4������Ramblin' Jack Elliott, and Bob Neuwirth,��&�ߡف Dand it's called the Rolling Thunder Revue at the Providence Civic Center, Tuesday...��?C�u@��,QР����You'd book the venues,��ݠ����1make deals with each of the local promoters,�� 𠡡��tand then you'd show up.��&C�u@��,j������And, you know, you'd have a deal for the gate.���������And, you know,��㠼���-hopefully everything would go out, would go well,���C�u@��,������and everybody'd make a little money.���������Hey, man, it wasn't your door and you weren't invited.����ȡ�- Hey, don't yell at me, all right? - Oh, I am yelling at ya.�� �C�u@��,�͠����- Okay. - Go get your cop,�������U- so you can get some fuckin' help. - Okay.��1����� �The overall promoter was a longtime friend of Bob's�� �C�u@��,�������and a fishmonger.���������I mean, he never had managed a tour before,��~����� �let alone one of this size.��㠶����It's bad for your, uh, high blood pressure.���C�u@��,�s�����- Yeah, okay. - Bad for your high blood pressure.��%�š��y- Read him some poetry, Allen. - Anything you wanna say...��O�����So he was out of his element and underprepared,���C�u@��,�ݠ����and he wasn't very well-liked on the tour.����ϡɁ�Then tell him the ushers left. Tell him-- Tell him we're framing it.�� �C�u��,�_�����- Hi, Barry. - Nice.��ݠ���� �This guy, Barry Imhoff, was his second-in-command,�� nC�u@��-������and he'd worked for Bill Graham for years,��������but just prior to Rolling Thunder��������had got out on his own and started Zebra Productions.�� tC�u@��--E�ɡÁAnd this was one of, you know, if not exactly, his first tour.�������VWhat kind of jobs would the promoter do?���C�u��-C꠬���I did whatever needed to get done.�� ������ �So one day, you're delivering pizza to the band,�� �C�u@��-XŠ����and the next day,��������I'm... got a bag full of $15,000,�� I�ʡā �and I'm walking through a parking lot looking over my shoulder,�� sC�u@��-p;�����thinking everybody knows exactly what I'm doing.�� I�͡ǁ �Well, you did what you had to do. Some things we don't talk about.�� �C�u��-�㠬���My mom wanted to go see this tour.�� �ɡÁ ]Now, you know, nobody wants to go to a concert with their mom.��tC�u��-�������Especially when they're 19 years old.�� ����� �So, rebelliously, I-- I wore a KISS T-shirt.���C�u��-�D�����So, I don't know which one of us was more embarrassed,�� 8����� �whether it was me or my mom.���C�u@��-�������And we went to this concert.������� sWe're trying to get in,��������Eand the guy's giving us kind of a hard time��C�u@��. �ˡŁand looking at our tickets and the thing, and we can't get in...�� 8����� �And then, this guy comes walking up,�� �C�u@��.������and he doesn't have tickets, and he tries to get in.�� ����� nAnd the cop at the door is not letting him in,��ؠ�����and not letting him in.���C�u@��.4d�����And so, finally, like, a bunch of people come out,�� �¡�� sand they get Bob, and Bob turns around and he's like...�� �C�u@��.O�¡��And I'm just like this... And my mom's like, "Come on."�� ����� mAnd I don't wanna, "come on,"��ҠСʁ�but my mother pushes us through, and so we go in with Bob, and, um...���C�u��.p֠����Bob turned around and he saw my shirt,�� I����� �and he was like,��C�u@��.�������"Do you like them?"��7������And then I realized he wanted to talk about KISS.�� Ǡ�����I think I was trying to-- to sound like I was...�� �C�u@��.�������smart, and so I started saying,����֡Ё�"Well, you know, I think that they paint their faces in this Kabuki style."���C�u��.�Ԡ����And he said,��C������"Oh, I bet Okuni never spit blood into the audience."���C�u��.ր�����And I was like, "Okuni?"�� ꠪��� >And he's like, "Izumo no Okuni."�� sC�u@��.�������Oh, and that's, you know,��a������it's one of the guys who started, uh, Kabuki.�� J�����QSo...��������:♪ I wanna rock and roll all night ♪��C�u��/������♪ And party every day ♪�������U♪ I wanna rock and roll all night ♪�� �C�u��/-V�����♪ And party every day ♪�������U♪ I wanna rock and roll all night ♪�� bC�u@��/A`�����I can't hear you!���������♪ And party every day ♪��`����� �♪ I wanna rock and roll... ♪��%C�u@��/Uj�����Scarlet Rivera was some piece of work.��ҠɡÁ&Most people'd kind of stay away from Scarlet, but, uh, not me.�� �C�u��/p󠼡��Her boyfriend at the time was the leader of KISS.��WC�u@��/�������And she took me over to Queens to see them play.��&�š�� �They were playing in a small club. They had face paint on,�� hC�u��/�������and I thought that was kind of interesting.��U����� �I kind of filed that away somewhere.���C�u��/�Ѡ����Clap your hands!���������♪ I wanna rock and roll all night ♪���C�u��/�\�աρYeah, I remember a lot of things. They-- They said I had a wonderful time.��Ԡ����'I think I did.�� JC�u@��/� �����They said every time we used to do any interviews,�� s�ѡˁ �all they wanted to know was, "Ronnie, we wanna hear about the orgies."�� C�u@��0 C�����I said, "Orgies?"���ѡˁfI said, "Goddamn, we never had any orgies. That sounds nasty as hell."�� ��ܡցPI said, "We might have had 14 or 15 people in love a time or two, but no orgies."���C�u��02-�����Look who's here.��������[Yo, man.��B����� �Well, Ronnie Hawkins, now,���C�u��0F7�ϡɁhe looked like a shitkicker, but he spoke with the wisdom of a sage.��������He was like a...���C�u��0a������a...�������� Igladiator or something...�� ������that wrestled and raced��1C�u@��0y �����in, uh, in-- in some nondescript Roman arena.�� ������Uh...��B������you expected Ronnie to, uh, to wear a toga...�� >C�u��0�&�����instead of that ratty cowboy hat.�������� �- Remember Scarlet Rivera? - Oh, yeah.���C�u@��0�Z�����She fell in love with my rhythm man��O������from my band, Scarlet did.����ϡɁYeah, they put on some interesting shows there, up there in my room.���C�u@��0�{�����I think I narrated a couple of 'em. I'm not sure.�� t����� hBut, uh, yeah, she was something else... wore a sword.�� �C�u@��0�������She had-- She wore a sword everywhere she went,��+�����~that girl, so I didn't...���¡�� �I was a little bit uneasy about trying to slip her out,�� bC�u��1,�̡Ɓ'cause, boy, if you didn't satisfy her, she's liable to stab you.�� �C�u@��1+������She was unusual.�������6I went to her room once, and there was a box of stuff.�� ������Like, chains and mirrors...�� �C�u��1OK�����candelabras and...��f����� �She had swords.���������She had a snake.���C�u��1eǠ����Just, uh...��<�����1many things in... in a trunk.�� �C�u��1|��͡ǁAnd, uh, that told me more about her than anything she had to say.��VC�u��1�������She didn't say much.��6����� �But she didn't have to.��aC�u��1�$�����- What's that? - This? This is my friend.���C�u��1σ�����He keeps me company while I play.��&����� He's playing the dance beyond his limits.�� DC�u@��1깠����Something that most people would say is impossible.�� Ơ�����But artists like to challenge the impossible, I guess.��tC�u��2 Ơ����That's why we wear the makeup we wear, I guess, too.�� �C�u��2"�����It's a striking image you have onstage.�� J������Mr. Tambourine Man gives us the opportunity�� �C�u��2>#�����to be whoever we wish to be.�� DC�u��2�n�ǡ��This, uh, young, beautiful, young lady over here is Scarlet.�� ����� \She plays with us, too.���C�u��2��ϡɁI'd been at the high holy gypsy holiday at Saintes-Maries-de-la-Mer,��������South of France.��BC�u��3%�ơ��It happens to be on my birthday, so it was like going home.�� C�u��3b�����Manitas de Plata was there,��1������and he played all night along the campfire.�� IC�u��3u������I mean, he was fantastic.���š�� CAnd, uh, I stayed up till dawn just listening to him play.���C�u��4$M�š��Some time after that, couldn't have been more than a week,�� ꠪��� that song came to me in a dream.�� �C�u��4>������♪ Your breath is sweet ♪��נ¡��+♪ Your eyes are like Two jewels in the sky ♪�� �C�u@��4]��á��♪ Your back is straight Your hair is smooth ♪�� n����� �♪ On the pillow where you lie ♪�� �C�u��4zS�����♪ But I don't sense affection ♪�� ����� \♪ No gratitude or love ♪��+C�u��4������♪ Your loyalty is not to me ♪�� D����� �♪ But to the stars above ♪�� >C�u��4�砼���♪ One more cup of coffee for the road ♪��uC�u��4������♪ One more cup of coffee 'fore I go ♪���C�u��4������♪ To the valley below ♪�� �C�u��5 ������♪ Your daddy, he's an outlaw ♪�� \����� �♪ And a wanderer by trade ♪��yC�u��5@�����♪ He'll teach you how to pick and choose ♪�� ������ ♪ And how to throw the blade ♪�� �C�u��5]������♪ He oversees his kingdom ♪�� ������ h♪ So no stranger does intrude ♪�� gC�u��5x������♪ His voice, it trembles as he calls out ♪�� ������ ♪ For another plate of food ♪�� �C�u��5�X�����♪ One more cup of coffee for the road ♪��uC�u��5�^�����♪ One more cup of coffee 'fore I go ♪��!C�u��5ǀ�����♪ To the valley below ♪�� �C�u��6u�����♪ Your sister sees the future ♪�� ߠ���� 3♪ Like your mama and yourself ♪���C�u@��6"�����♪ You've never learned to read or write ♪�� n����� �♪ There's no books upon your shelf ♪�� �C�u��6=u�����♪ And your pleasure knows no limits ♪�� ߠ���� 3♪ Your voice is like a meadowlark ♪�� C�u��6Y{�����♪ But your heart is like an ocean ♪�� ������ b♪ Mysterious and dark ♪�� �C�u��6uW�����♪ One more cup of coffee for the road ♪��KC�u��6�������♪ One more cup of coffee 'fore I go ♪��oC�u��6�������♪ To the valley below ♪�� �C�u��7e}�����Are you used to going to rock shows?�� J�����No, it's one of the very few I've seen.�� �C�u��7���СʁI finally realized, after last night, I've been missing an awful lot.���C�u��7�������I thought it was the most unusual occurrence.���������I never-- I never noticed...���C�u��7�\�����as a-- as a part of an audience,��y������I never paid attention to a...��C�u��7�b�š��to a response between an audience and people on the stage,�� ����� bperformers onstage.���C�u��7ܖ�����That, to me, was like a show all by itself.�� �������It was like one battery charging another.�� DC�u��8(�����And...���ԡ΁+you not only could feel the vibes, you could-- you could almost see them.�� 2C�u��8"Q�����There was a...������� a love affair between the performers and the audience.�� �C�u@��8N̠����Uh, I was thinking about the forces��������Othat draw people together.�� �ҡ́'The magnetism that makes the unit that's now formed as Rolling Thunder.��pC�u��8x������And, uh...��f������to me, the future already exists.�� mC�u��8�������For some people, maybe for everyone.�� �C�u��8�������It's just a matter of tuning yourself to it.��,C�u��8Ý�ǡ��"I saw the best minds of my generation destroyed by madness,��cC�u��8�S�����starving hysterical naked,�� ����� 8dragging themselves through the negro streets at dawn�� �C�u��8𾠦���looking for an angry fix..."��O����� �Allen Ginsberg was a saintlike figure.�� IC�u��9 (�����It was like having a... kinda like a father figure.�� ����� bHe was always very sober.�� C�u��9!!�����No, Allen Ginsberg was anything but a father figure.�� ������He was definitely not a father figure.���C�u��9=Q�����Allen Ginsberg,���š��6a guy I really-- I really miss, of the ones that are gone.��-C�u@��9R������We became very friendly, I mean, you know, he-- he...�� 3�̡Ɓ �I wasn't a bad-looking, you know, little 19-year-old at the time,��-C�u��9n������and he had a thing for straight,�� n����� �talented...��������um...��lC�u��9�������teenage boys.��[������So, that probably added to it, I suppose.���C�u@��9�������One thing people don't know about Ginsberg��O������is that he was an incredible dancer.��[�����QUm... who...��`C�u@��9Ĵ�ʡāhe would just do these steps that were so unusual and exciting.����ġ��You know, and he'd always have a good dance partner, too.�� DC�u@��9�[�ӡ́Uh, usually somebody from the tour, somebody we'd pick up along the way.��u������Uh... He danced a lot, Ginsberg.�� sC�u��:�����"& shaman he swings a skinny leg to the sky�� ������ & shaman he desires you be there watching��yC�u@��:䠬���shaman don't care about eating now�������Uhe's got his paint on he's ready for jive�� m�����& shaman's going to sway & gesture in space�� sC�u��:6������& shaman's shouting yeah for you & singing your sorrow�� ߠ���� 3shaman's not faithful except to you��C�u��:KG�����shaman does it for you you know all this��Ҡ����&shaman's got his eyes on the violin."�� C�u��:fР����There was this yearning, Allen's yearning,�� 𠠡�� 8to either be Bob or...��1C�u@��:}"�����have Bob love him more.��������And I remember Bob saying,��������"Just go out and sing on the street corners."��OC�u@��:�i�����So Allen was essentially doing that.��ݠ����1♪ Ah... ♪��O�ơ���Seeing Ginsberg was like going to see the Oracle of Delphi.��VC�u��:�]�á��He didn't care about material wealth or political power.�� ������ �He was his own kind of king.���C�u��:�i�����But... he wanted to play music.��̠����iHe had already achieved what any national poet�� C�u��:�E�����could hope to achieve.���ȡ7"I saw the best minds of my generation destroyed by madness."�� �C�u@��:�������Very few poets have done that.������� IRobert Frost, maybe.��䠺����"Promises to keep, miles to go before I sleep."�� �C�u��;%�����Whitman said, "I am large, I contain multitudes."�� t����� �We still remember those lines today.��+C�u@��;1�̡ƁToday's poets don't reach into the public consciousness that way.�� ��ǡ���So it was remarkable that Allen had actually broken through.�� 9C�u��;PŠڡԁNowadays, lines that people remember are lines from songs, lyrics from songs...��oC�u@�;gk�����"Your cheatin' heart will make you weep."����á��O"Don't change your hair for me, not if you care for me."�� C�u@��;}�ǡ��"I'm in the mood for love." "What a difference a day makes."�� ������ "Ain't misbehavin'."�� �����uAllen wanted his lines to be remembered like that,�� \C�u��;�)�����but he was a poet.�������� sHe wasn't a songwriter.��`C�u��;�������By 1970 through 1975,��Π����"all of the, uh, heroes of song and poetry��,C�u��;ֲ�����were out on their own,��ݠ�����uh...���������in the solitude...���C�u��;񽠚���doing their art.��l�ʡā �The people that were going to die or drink themselves to death,�� �C�u��<������as many great artists did, or get strung out...�� s����� uh, went down to... uh...��zC�u��<'-�����She'ol, as Kerouac did,�� ������ �105 miles from this ocean, buried in Lowell.�� �C�u��Mexico City Blues.�� �����!You ever read this?��fC�u��Mice and Men, the name of it.��ݠ�����The Red Block Boxcars Rolling by�� �C�u@��<�b�����Yessir��B������life finally gets tired of living -��U����� On both occasions I had wild Face looking into lights�� �C�u��=������Of streets where phantoms��`������Hastened out of sight Into Memorial cello time."�� >�����EOh, yeah.��1C�u��=w�����Here's one. "Dead and don't know it,�� ����� tLiving and do.��`�����'The living have a dead idea.���C�u��=0������A person is a living idea;�������Uafter death, a dead idea.��������When rock becomes air..."��C�u@��=E������"I will be there."��<�����%- He's here. - Yeah, this is where he is.��������'- Yeah. So rock has become air. - Yeah.�� C�u@��=iĠ����- Let's sit down a minute, relax. - Well, this is...����á�� - Yes, it's not every day... - Kerouac, he honored life.�� �C�u@��=�������I had to read everything again, that Kerouac wrote.�� ������ Not that I did, but I thought about it differently.�� C�u��=�4�����All of a sudden, On the Road,��U����� he was talking about the road of life.��C�u@��=� �����"Strange now to think of you,�������Ugone without corsets and eyes,��O������while I walk on the sunny pavement��C�u��=�W�����of Greenwich Village,���������downtown Manhattan,��ؠ�����clear winter noon,���C�u��>[�����and I've been up all night talking,��Ҡ����&talking,��頤��� breading the Kaddish aloud,��+C�u��><�����listening to Ray Charles��ݠ����1blues shout blind on the phonograph�� ������The rhythm, the rhythm��C�u��>4q�ȡ- and your memory in my head..." - "like a poem in the dark--��̠���� escaped back to Oblivion--�� C�u@��>I"�����No more to say,��㠿���7and nothing to weep for but the Beings in the Dream,�� ������trapped in its disappearance,���C�u��>dԠ����sighing,���������screaming with it,���������buying and selling pieces of phantom,��WC�u@��>|t�����laughing and weeping over mahjong,�� D����� �worshipping each other,��ؠ�����worshipping the God included in it all--�� �C�u��>�K�����longing or inevitability?--�� ����� mwhile it lasts, a Vision--�� C�u��>�%�����Death, stay thy phantoms!�� 3�����{O mother what have I left out�� �C�u��>�ؠ����O mother what have I forgotten�� ����� gO mother farewell�� hC�u��>�������with a long black shoe��Ҡ���� �farewell with Communist Party�� sC�u��>􇠟���and a broken stocking��ޠ�����farewell with six dark hairs��x�����uon the wen of your breast���C�u��? u�����farewell with your old dress�� I����� �and a long black beard around the vagina�� C�u��?$m�����with your eyes with your eyes of Russia�� ������with your eyes of no money���C�u��?;f�����with your eyes of Aunt Elanor�� Ǡ���� with your eyes of shock��Ҡ����@with your eyes of lobotomy�� IC�u��?WB�����with your eyes of divorce with your eyes of stroke�������jwith your eyes alone���C�u��?r������with your eyes��ݠ����1with your eyes��`����� �with your death full of flowers."�� mC�u@��?�A�����♪ She walks alone Through the city blocks ♪�� ߠ�����♪ Oh, hears the tickin' of the clocks ♪�� �C�u��@������♪ Hunts for her by the waterfront docks ♪�� ������ �♪ Where the sailors all come in ♪�� C�u��@������♪ Maybe he'll see her there once again ♪�� Ơ�����♪ How long must he wait? ♪�� �C�u��@?�¡��♪ One more time For a simple twist of fate ♪���C�u@��@\������Tell me a bit about the spirit of the tour.����ȡ�- 'Cause you're doing new songs, right? - Yeah.�� I�͡ǁ�And a lot of people in the audience expected the old songs.�� �C�u@��@zg�����But Ratso, you know, that's the first--���¡��U- one of the first rules-- - What's that?��+������The expectations, you know?��`C�u@��@��ɡÁIf you have big expectations, you're gonna be let down.�� Ơ���� You can't have any expectations.��������But people do have preconceptions.���C�u@��@���ȡThat's their problem, Ratso. That's their own problem.�� ��Сʁ �We can't account for everybody who's walking around, you know?�� C�u@��@� �����Like having expectations.���������I mean, who gives a shit?�������� �Yeah.���������♪ They sat together in the park ♪�� bC�u��@������♪ As the evening sky got dark ♪�� ������♪ She looked at him and he felt a spark ♪�� �C�u��@�A�����♪ Tingle to his bones ♪�� Ơ����P♪ 'Twas then he felt alone ♪�� C�u@��A������♪ And he wished he'd gone straight ♪�� 8�ġ��♪ And watched out For a simple twist of fate ♪���C�u@�AN^�����♪ They walked along by the old canal ♪�� 堻����♪ A little confused, I remember well ♪�� �C�u��Anv�����♪ And stopped into a strange hotel ♪�� 렳��� 3♪ With a neon burnin' bright ♪�� �C�u��A�ʠ����♪ He felt the heat of the night ♪�� ������P♪ Hit him like a freight train ♪��FC�u��A�������♪ Moving with a simple twist of fate ♪���C�u@��A�g�����♪ A saxophone someplace softly played ♪�� 堼���z♪ As she was walkin' on by the arcade ♪�� �C�u��A������♪ She heard the melody rise and fade ♪�� >�����♪ The sun was coming up ♪�� �C�u��B 2�����♪ She dropped a coin into the cup ♪�� �����!♪ Of a blind man at the gate ♪�� C�u��B,E�����♪ And forgot about A simple twist of fate ♪���C�u��BPà����♪ He woke up, she was gone ♪�� �����'♪ He didn't see nothing but the dawn ♪�� C�u@�Bo��ǡ��♪ He got out of bed And put his clothes back on ♪�� b������♪ Pushed back the blinds ♪��OC�u��B�;�����♪ Found a note she'd left behind ♪�� 䠺���'♪ To which he just could not relate ♪�� �C�u��B�B�����♪ All about a simple twist of fate ♪���C�u@��B������♪ He hears the ticking of the clocks ♪�� �������♪ And walks alone Through the city blocks ♪�� �C�u��B�E�����♪ Hunts her down by the waterfront docks ♪�� ������ �♪ Where the sailors all roll in ♪�� �C�u��C������♪ Maybe he'll spot her once again ♪�� �������♪ How long must he wait? ♪���C�u��C6R�¡��♪ One more time For a simple twist of fate ♪���C�u��CX������♪ People tell me it's a crime ♪�� D�����'♪ To know too much for too long a time ♪�� �C�u��Cxx�����♪ She should've caught me in my prime ♪�� �������♪ She would've stayed with me ♪�� IC�u��C������♪ Instead I'm going off to sea ♪�� ������&♪ And leaving me to meditate ♪��'C�u��C�[�����♪ Upon that simple twist of fate ♪���C�u@��D�ܠġ��I shall resign the presidency effective at noon tomorrow.�� \����� �Vice President Ford will be sworn in as president�� hC�u��D�砦���at that hour in this office.�� D����� �♪ I dreamed I saw Saint Augustine ♪���C�u��D�|�����♪ Alive as you or me... ♪�� 8����� �Thomas Jefferson said, "The people...�� C�u@��D�X�ˡŁare the only sure reliance for the preservation of our liberty."��i������♪ With a blanket underneath his arm ♪��{C�u��E⠴���♪ And a coat of solid gold... ♪��������OAbraham Lincoln renewed this American article of faith���C�u��E.�ȡasking, "Is there any better way or equal hope in the world?"�� C�u��E/������Go!��頬���<Everybody get out of the way, now!��+����� �Get down!��f�����tGet out of the way!��C�u@��EN-�����♪ Come out ye gifted kings and queens... ♪�� \�ȡ �We've got too many people who are knocking every institution,��C�u@��Ej3�����including the Congress, the president, the flag,�� I����� �everything.��f�����VI think it's time to stand up and say,��1C�u@��E �ϡɁ"Well, we believe in these institutions, and we believe in America."�� 堺����And I think America ought to sing a little bit.��C�u��E�������♪ ...accordingly ♪��1������♪ And know you're not alone ♪��C�u@��E�������Now, we're talking about Bob Dylan the man,�� �ӡ́ nthat's who we're talking about, the message he preaches when he sings...�� gC�u@��E�̠ȡ- You can't use microscopes on everything. - The happiness...��̠���� You're not using microscopes.�� �ʡā�- You can't use a scalpel that way. - You're using the message.�� �C�u��E�T�����I thought it was sort of depressing...��Ҡš�� that people would stand in line for two days to see a man.�� 8C�u��F������It just so-- shows...��`����� 8they have that need for something or somebody to...�� mC�u��F$k�����bring salvation or something. You know?�� Ǡ���� bBut I did it, too.���C�u@��F9p�����I don't know.��f�ǡ���About five in the afternoon, the day before the show, right?�� D�����P- Yeah. - You were there,��l�ˡŁyou'd been there for a couple of days, you hit on me right away.�� �C�u@��FV������You said you wanted this button, right?�������ZThought I was Dylan or some shit like that.�������� 2- Yeah, right. Mm-hmm. - Yeah.��C�u��Fl�����A lot of people think you are, Larry.�� Ǡ���� Well, it's pretty obvious.�� �C�u��F�O�����Take your glasses off for a minute.��Ҡ���� 8- I'm not him. - Well, anyways...��%C�u��F������That little shit Ratso, he was the worst.�� b����� �He dressed like Dylan, he tried to talk like Dylan,�� DC�u@��F�L�����always trying to ingratiate himself.���������He thought he was Hunter Thompson��������just because he was writing for Rolling Stone.���C�u��FØ�����He didn't want anyone else with vision around.�� ������WDid he wind up causing problems for you?���C�u@��F�>�����Please.����¡�� Does the cockroach really cause problems for the house?�� �������No, it's just a nuisance.���C�u@��F������Van Dorp was an unusual guy.�� s�ӡ́ �He's one of those kind of people who's trying to... just needs an enemy.�� �C�u@��G ������And...��B�š���uh, he was trying to make enemies where there weren't any,�� a�����Kand, uh, he-- he was--�� C�u��G$_�����he was successful at that.��[�ʡā�He-- He angered a lot-- lots of people, especially in catering.���C�u��GA������He would eat two or three, uh, meals�� ������ �that really... really were for somebody else.�� �C�u��G`Ѡ����So, he ate more than he was supposed to,�� D����� �and I think-- and I think he...���C�u��G~��סс...uh, I think he stuck his nose in places it might've should not have been.��C�u��G�蠭���He was also a very paranoid person.��+����� Complained to people that his room was bugged.���C�u@��G�������Uh, which, you know, McGuinn was on that tour,�� 2�֡Ё �and McGuinn who at that point was into, uh, very sophisticated electronics.��]C�u��Gп�����So I'm not saying it wasn't bugged but...��Ҡ���� �but I'm not saying that it was bugged,��yC�u@��G�u�����because I don't know that for a fact.��1������All tickets are $8.50 a ticket.��%������What were the audiences like...��~C�u��G�ࠝ���that you played to?��<����� Well, they would all be...���C�u@��HǠ����hysterically happy.���������So, I mean, you can't really judge much��ؠ����from saying, "What would the audiences be like?"���C�u��H.�ءҁThey would all be people who would've slit each other's throats to get there.�� aC�u��He�ġ��- Don't make myths. A couple of what? - A couple of what?�� �C�u��H������♪ They say ev'rything can be replaced ♪��?C�u��H������♪ That ev'ry distance is not near ♪��'C�u��H�`�����♪ So I remember ev'ry face ♪��KC�u��H�㠴���♪ Of ev'ryman who put me here ♪��Π�����Joan Baez and me could sing anything.��yC�u@��I������We could sing together in our sleep.������� �As a matter of fact,��f�����olot of times when I was sleeping, I'd hear her voice.�� C�u��I6ڠ����♪ Yonder down here in this lonely crowd ♪���C�u��IT-�����♪ Is a man who swears he's not to blame ♪���C�u��IrΠ����♪ All day long I hear him shouting loud ♪��oC�u��I�Q�����♪ Crying out that he'd been framed ♪���C�u��I� �����♪ I see my light...♪���������Joan was so courageous.��Ҡ����oSelf-disciplined.���C�u@��I���ڡԁWhen I first met her, it seemed like she'd come down to Earth from a meteorite.�� ������'And she's never changed.����ǡ��9She always seems like she's just come down from a meteorite.�� hC�u��I󮠷���You had no reservations about going on tour?�� ����� �Well...��C�u@��J᠏���Sure.��a�����OI mean...��C�աρ'I think it probably sounded like... fun, but I also had experienced Dylan,���C�u��J, �ơ��and, you know, how much fun that can be on any tour or not.��������So, um...���C�u@��JA��̡ƁBut I think, know-- knowing that it was gonna be a lot of people,�� ������ �and I was gonna have my own family with me...�� �C�u��Jmb�����It sounded exciting, you know.�� �C�u��J�<�����I had my own freedom...��[�ǡ���to sing and dance in a way that I didn't do on my own stage.���C�u@��J�ɠ����Maybe there wasn't enough for her to do��U������and she'd begin to go a little stir-crazy.��Z�����WStarted doing, uh...��f�ءҁboogaloo and hanging out with people maybe she shouldn't be hanging out with,���C�u��J񭠔���and, um...��頎���Ugh.���������I don't know what happened.��7C�u��K ������Boy, sitting right next to Bob Dylan, man. Whew.�� Ơ���� I got a light if you got a smoke.���C�u@��K!i�����One time, I got all dressed up as Bob,�� J����� �which I would do periodically.���աρ�I used to put these little beard markings all over and have a mustache on.�� �C�u@��K@^�����And then I'd put his hat on�� I����� hand some whiteface.��ݠ�����♪ All the time you dress so fine ♪��&C�u@��K_|�����♪ Threw the bums a dime in your prime... ♪�� 8����� �I walked over with nobody really paying attention,�� �C�u��KwF�����and I'd be Bob.����ˡŁAnd there was this table of, like, food and catering and coffee,���C�u@��K�D�����and Louie was there, and I said...��U������"Handsome, give me some coffee."��~�����Instantly, people got me some coffee like that.�� C�u@��K���Сʁ"D'you want this? D'you want this? You want milk? Do you want sugar?"�� >�¡�� �And I just had a cigarette in my hand, going like that,�� C�u@��Kµ�����and they treated me the way they treat Bob.��Ҡ����%"D'you want this? D'you want that? What can we do?"��������!It was amazing.��fC�u@��K������It was amazing until finally I said something like,�� >����� �"Oh, for Christ sake, Louie." And then he realized.�� �C�u��K�աρOh, yeah, and I had a little wig on with my hair coming out underneath it.�� ߠ���� 2Terrible.���C�u@��L��ġ��It's like the court of Henry VIII or something, you know?�� \�Сʁ �Who's Anne Boleyn, you know? Which one is gonna get the ax, you know?�� �C�u@��L/��ȡYou know what I mean? You know, there's that kind of dynamic.�� ڠ����-And people are maneuvering to get closer,�� C�u@��LGS�ǡ��and then there are the people who are using you to maneuver.�� ����� hDavid Mansfield wanted to sing a song with me, uh...�� �C�u��L_������Ugh. God.���������That, uh, a drummer did.�� Ǡ����I didn't see what the point of it all was.���C�u��L�֠����- What does makeup do for you? - I don't know.�� 3����� �Just hides, you know, the ugliness a little bit.�� DC�u��L�l�����Everyone, of course, you know, wanted their shot,��Ӡ����'wanted their time in the sun.��C�u@��L������But we all know that, you know, you have to...�� ����� mgive for the good of the show.��1������And it was such an honor to be there,��%C�u��L�Y�����so that was no problem.���C�u@��L�ʠ����Who were the people you were closest with on the tour?�� ����� mI know this sounds funny, but I felt close to Bob.�� �C�u@��M�š��I just always felt close to him from the moment I met him.�� ������ �Um, I'm sure many people that feel that way.�� gC�u��M"������Um...���¡��+I know Mick Ronson told me, however, when I said, um...�� 8C�u��M9��ơ��you know, "Don't you love Bob?" and he said, "I don't know.�������� JHe's never spoken to me."���C�u��MM������Um, and then once we were in Massachusetts,�� �������and people were about to arrive.��[C�u@��Mc#�����I don't know who they were, but not our little group.�� >�͡ǁ 2Bob and I were alone in the basement, and Bob said, "Ronee, help."��-C�u@��M~֠����And I said, "Help what?"����סс �And-- And I felt so bad about that afterwards because I didn't mean to be...��{C�u@��M���ǡ��cruel or thoughtless to Bob, but I always thought, you know,���������I had to treat him just like a regular person���C�u@��M�Π����if I were going to be friends with him.��U�աρ�But later on, I understood a little more what he might be asking help for.��!C�u��M������What was he asking help for?��7������I think the onslaught of strangers.��+C�u��M�!�����Hello, take my picture, please!��̠���� Hiya, man.��=C�u��N��¡��I was in the park with another one of my modeling jobs.���C�u@��N٠����Of course, the whole park is full of everybody doing��Ҡġ��%whatever they're doing, and suddenly I hear, "Hey, KISS,"���C�u��N7C�����and I'm just, of course, mortified.���������And then I realize...���������that it's him.���C�u��NN�����So, of course, I'm even more mortified.�� m�����JI think I met her with her mother.��yC�u��Ng*�����She was a nice girl.��6������Uh...��B����� She was so young, anyway, you know.���C�u��N������But she seemed old for her age.��ޠ�����Everybody wants to be a movie star...�� IC�u@��N�X�����don't they?��l�����~But, you know, when you live in the middle of nowhere,�� �ѡˁ�when you tell somebody you wanna be a movie star, they think you're...�� �C�u��N�������insane.��B����� �She, uh, used to tell me,��O�����:uh, someday she's going to be a famous actress.�� �C�u��Nٳ�����Uh, okay.���������A couple of days later he said, um...�� �C�u��N�۠����"You know, hey...��<����� �how about if you just come on the road with us?"���C�u��Ov�����And I thought, "And do what?"�� 3C�u��O%򠺡��"You know, you could help out with the costumes�� D����� �and help out backstage and stuff."�� DC�u��O? �����- "Just Like a Woman." - What?�� ������ - "Just Like a Woman"? - Yeah!���C�u��OT�ġ��- Do we know that song? - I don't know, we could fake it.�� ������ �It was one of the first shows.���C�u��Oi<�����- I was backstage. - ...we'll try it.�� ������ �Joan Baez had asked me to iron her shirt.���C�u��O�������A second later I hear, "Hey... Sharon."�� �������And there was this, um, really decrepit old piano���C�u��O���š��shoved off to the side, and Bob was kinda hunched over it.��:C�u��O�"�����And he gives me that-- that look.��O�����VHe's like, "I wrote a song about you."�� �C�u��O������♪ Nobody feels any pain ♪��9C�u��O������♪ Tonight as I stand inside the rain ♪���C�u��Pz�����And then he gets to the line...��U����� ♪ And she makes love just like a woman ♪���C�u��P+������♪ But she breaks ♪��O����� �♪ Just like a little girl ♪��)C�u��PT������I just broke out crying. You know? Full-on tears.���C�u��Pi̡֠ƁI get-- I think T Bone's the one who told me that the song was...�� b����� �ten years old.�� �C�u��P�|�����"Just Like a Woman."�������ZYeah!��������What's just like a woman?��6C�u��P�������What's just like a woman?��ݠ����1Nothin' like a woman.�� mC�u��P������Do a protest song!���C�u��P�)�����Yeah, here's the one for you.���C�u��QAߠš��♪ Oh, sister, when I come To lie in your arms ♪���C�u��Q]�����♪ You should not treat me Like a stranger ♪��C�u��Qy�ȡ♪ Our Father would not like The way that you act ♪���C�u��Q�Ǡ����♪ And you must realize the danger ♪���C�u��R!䠾���♪ Oh, sister, am I not a brother to you ♪���C�u��R=������♪ And one deserving of affection? ♪���C�u��RZD�ǡ��♪ And is our purpose not the same On this earth ♪���C�u��Ru������♪ To love and follow His direction? ♪���C�u��S�����♪ We grew up together ♪�� m����� �♪ From the cradle to the grave ♪�� �C�u��S������♪ We died and were reborn ♪�� 렴��� >♪ And then mysteriously saved ♪��5C�u��SW�ǡ��♪ Oh, sister, when I come To knock on your door ♪��^C�u��Ss%�����♪ Don't turn away, you'll create sorrow ♪���C�u��S���á��♪ Time is an ocean But it ends at the shore ♪���C�u��S� �����♪ You may not see me tomorrow ♪��C�u��TU�����Bob Dylan for president!��������iPresident of what?��1C�u@��Tw�����Was he in a special mode of singing at that time?�� 𠷡�� CWas he different than you'd seen him before?��������?It was-- There was a Rolling Thunder energy.��OC�u��T���̡ƁThat was his invention, you know, and all these people showed up.�� b������So, yeah.��lC�u��T�n�ġ��- What do you got, Larry? - The tour was very open-ended,�� ������ �so whatever city they went to,�� �C�u@��Tȡ�����if there was a local friend and musician,�� ����� sthere would be a slot for them to come up and play.���������For example, uh, in Connecticut, Joni Mitchell...�� mC�u@��T������came up, did a couple of songs,��O�̡Ɓ�and loved it so much that she stayed on for the rest of the tour.�� Ǡ�����She just became part of the... this experience.�� JC�u@��UM�����How did you two end up on the road?��O������- I don't know-- - I came through Allen.���������She came through Allen Ginsberg.��UC�u��U.������Um... I had finished a project and...�� ������Vwas, you know,��B������in a kind of a postnatal state���C�u��UG������and wanted to come and see a concert,�� ������ �and, uh, got sucked into it.�� mC�u��U]7�����You know, just shelved everything that...�� ����� 8Everything else seemed, uh, minorly important�� 9C�u��Uu������compared to this, like, as an experience,��̠���� and an experiment in communal existence. You know?��zC�u��U������What do you think?�������fI think you've gotta come on the stage right now.�� s�����,Okay, I'm coming.���C�u��U�B�����♪ Ah ♪�� >C�u@��U��¡��Some days, I'd see it as this kind of allegorical thing�� >�ǡ�� �or as this group of pilgrims on a kind of journey and quest.��EC�u@��U� �ԡ΁Of course, you-- you know, you-- the deal is you find yourself back home,�� ٠����-but you have to take this whole journey.���C�u@��V��ΡȁAnd then when you open it up to, you know, here you are in America,�� ����� 8and-- and all the things that Bob seemed to care about�� �C�u��V.?�����in terms of these other... the-- the folk culture�� ����� mis getting thrown in there.���C�u@��VG������And that's another weave. This sort of...����ǡ���This-- This American yearning for, I don't know, redemption.��-C�u��Vd������♪... circle be unbroken ♪���������♪ By and by, Lord, by and by ♪��C�u@��V�������♪ There's a better... ♪����̡Ɓ�Columbus didn't discover America. There were people here already.��VC�u@��V�-�СʁEven though they stole most everything they could get their hands on.��'�����9Our land, children, women, whatever, they took it.���C�u��V�A�����Left us very poor people.���������A lot of our people homeless in our own country.�� �C�u��Vۙ�����But the best things of all,��U����� �that they had no value,�� �����was our way of life.��,C�u��W������It's beautiful music when that thunder rolls.�� 8�����And that's the way I got my name.�� C�u@��W-��š��I used to scream like a little eagle is what they told me.�� ٠ɡÁ-Even when I was a baby in diapers, run right out in the storm.���C�u��WNu�����Yeah, I love it.����ΡȁAnd that lightning flash, there's a lot of power in it, I tell you.���C�u@��Wm@�����This tour was named after Chief Rolling Thunder.�� s�ҡ́ >So, it made sense that we go to the Tuscarora Indian Reservation and...���C�u@��W�蠓���and play.�������gWe're gonna let our guests get their food.�������� �I was just told it's gonna be cafeteria style.��C�u@��W�f�����Bob was seated right across the table from me,�� I����� �and he said,�������� �"You remember Peter's song about Ira Hayes?"���C�u��W�𠽡��And even today, there are things to write about...��V�����?for a cowboy, and I'm a cowboy.��yC�u��W�𠩡��An Indian, and I'm part Indian.��̠���� Or a human being.��������This is a song about a human being,���C�u��X������who is also an Indian.��1�����KAnd if you don't remember his name,���C�u��X+ߠ����I think you may after this song.�� 8����� �It's called "Ira Hayes."�� hC�u��X\�סс- Where would you want me to stand? - Anywhere you want. It'll be all right.�� C�u@��X�R�ϡɁ♪ Come gather 'round me, people And a story I will tell ♪��Q�͡ǁ�♪ About Ira Hayes, an Indian You should remember well ♪��KC�u��X햠ԡ΁♪ From the tribe of Pima Indians A proud and a peaceful band ♪��oC�u��YG�̡Ɓ♪ They farmed the Phoenix Valley In the Arizona land ♪���C�u��Y�ڡԁ♪ Down their ditches for a thousand years The running water rushed ♪��cC�u@��Y+��á��♪ Till the white man Stole the water rights ♪�� ����� m♪ And the running water hushed ♪���C�u��YI&�١Ӂ♪ Now Ira's folks were hungry And their farms grew crops of weeds ♪���C�u��Y`I�ݡׁ♪ But when war came, Ira volunteered And forgot the white man's greed ♪���C�u��Yx��ڡԁ♪ Now they started up Iwo Jima hill With two hundred and fifty men ♪���C�u@��Y�@�סс♪ But only twenty-seven lived To walk back down that hill again ♪���ʡā:♪ And when the fight was over And Old Glory raised ♪���C�u��Y��ӡ́♪ One of the men that held it high Was the Indian Ira Hayes ♪��!C�u��Yǽ�����♪ Call him drunken Ira Hayes ♪�� ������ �♪ He won't answer anymore ♪���C�u��Y�i�����♪ Not the whiskey-drinkin' Indian ♪��O������♪ Or the Marine that went to war ♪�� JC�u��Y�m�����♪ Call him drunken Ira Hayes ♪�� ����� m♪ He won't answer anymore ♪���C�u��Zl�����♪ Not the whiskey-drinkin' Indian ♪�������� I♪ Or the Marine that went to war ♪�� �C�u��Z!�����This is a United States diplomatic medal.�� �������It has-- It has, uh...��+C�u��Z;�͡ǁan Indian and the first diplomatic team of-- of the United States,�� C�u��ZOu�����was given in Philadelphia on July the 4th, 1776.��3C�u��Zf렴���Also, been told that there's a possibility�� g����� �that these could be the same beads,���C�u��Z{������these, uh, larger ones, that Peter Minuit�� >�����-traded the-- our people for Manhattan Island.�� C�u��Z�*�����Will you accept this?�� �������Thanks for everything. What do you say, folks?��~C�u@��Z�������But somewhere along the line,��נ����+something has failed, and...���ȡ �we hope that this country can straighten out before too long,���C�u@�Z��ȡbecause there are many things that's going to happen to shape�� ����� \not only this country but the world.��+C�u��Z�������Bob.��B������What you-- You guys still here?���C�u��[X�����Can I ask just one question?���C�u@��["q�ơ��♪ William Zanzinger Killed poor Hattie Carroll ♪�� �ӡ́�♪ With a cane that he twirled Round his diamond ring finger ♪��&C�u@��[@������♪ At a Baltimore hotel Society gath'rin' ♪�� \�ҡ́�♪ And the cops were called in And his weapon took from him ♪��'C�u@��[_��ɡÁ♪ As they rode him in custody Down to the station ♪����Ρȁ�♪ And booked William Zanzinger For first-degree murder ♪��tC�u��[�9�����♪ Yes, and you who philosophize disgrace ♪��������Q♪ And criticize all fear ♪�� gC�u��[�Ԡ����♪ Take the rag away from your face ♪���������♪ Now ain't the time for your tears ♪�� \C�u��[�Ӡ����Everything is forgiven whenever I would see Bob sing.��C�u��[�+�����It is so...���������the charisma...��6�����Kthat he has, I've never seen anywhere,�� IC�u��\1�����before or since.��`������And the beauty of those songs...�� >C�u@��\)������I don't.��f������Jack Kerouac, uh, writes like ticker tape.�� s�����I used to see you write like ticker tape.��PC�u��\G��ҡ́I used to feed you salad and red wine while you wrote like ticker tape.�������KYeah, I remember.��lC�u��\[������Brilliant stuff. William Zanzinger.���������Overlooking the Pacific.��%C�u@��\o������The wild Pacific Ocean in Big Sur, right?���������- William Zanzinger. - Where was that written?��U�ʡā�"Hattie Carroll." One of the best songs I think you ever wrote.�� CC�u��\�Ԡ����I think it's one of the best songs you sing.���������Thank you. How come you take it on the stage now?�� �C�u��\�ޠ����'Cause you won't sing it.��y����� �Oh, Bob.���C�u@��\�������Sure, I will.��B������Just 'cause I screwed up the words.��ؠ�����- Well, it really... - How do you like my dress?��+C�u��\��ȡ...displeases me that you-- that you went off and got married�� ������ �and-- and, uh...���C�u��\� �����You went off and got married first and didn't tell me.�� Ǡ���� �Yeah, but--���C�u��]o�աρ- You should have told me or something. - But I married the woman I loved.�� ������ �I know, that's true.���C�u��]t�����That's true. And I married the man I thought I loved.�� C�u@��]4������See, that's what thought has to do with it.���������Thought will fuck you up.��ޠ����9You're right. I agree with that.��7C�u��]M[�����See, it's heart, it's not-- it's not head.���C�u@��]x��¡��♪ Hattie Carroll was A maid of the kitchen ♪�� �ԡ΁ g♪ She was fifty-one years old And gave birth to ten children ♪��C�u@��]��ʡā♪ She cleaned up the dishes Hauled out the garbage ♪����š��K♪ And never sat once At the head of the table ♪�� gC�u@��]�ܠɡÁ♪ She just cleaned up All the food from the table ♪�� �ɡÁP♪ And emptied the ashtrays On a whole other level ♪�� �C�u@��]�֠¡��♪ Got killed by a blow Lay slain by a cane ♪��'�ԡ΁z♪ That sailed through the air And came down through the room ♪��{C�u@��]��ɡÁ♪ Doomed and determined To destroy all the gentle ♪��-�ɡÁ�♪ And she never done nothing To William Zanzinger ♪��'C�u��^-�ءҁ♪ Yes, and you who philosophize disgrace And criticize all fears ♪��;C�u��^8u�����♪ Take the rag away from your face ♪��z������♪ Now ain't the time for your tears ♪�� �C�u@��^�R�ϡɁ♪ In the courtroom of honor The judge pounded his gavel ♪�� ڠסс�♪ To show that all's equal And that the courts are on the level ♪���C�u@��^��ҡ́♪ That the strings in the books Ain't pulled and persuaded ♪�� \�ǡ��{♪ And that even the nobles Get properly handled ♪��PC�u@��^�<�͡ǁ♪ Once that the cops Have chased after and caught 'em ♪��ӠɡÁ&♪ That the ladder of law Has no top and no bottom ♪�� �C�u@��_��ǡ��♪ Stared at the person Who killed for no reason ♪����ҡ́�♪ Who just happened to be feelin' That way without warnin' ♪��'C�u@��_-*�ҡ́♪ And he spoke through his cloak So deep and distinguished ♪��K�ȡ�♪ Handed out strongly For penalty and repentance ♪��,C�u��_LI�š��♪ William Zanzinger With a six-month sentence ♪��zC�u��_f�����♪ Yes, and you who philosophize disgrace ♪��������P♪ And criticize all fear ♪�� hC�u��_�������♪ Bury the rag deep in your face ♪��'�����{♪ Now is the time for your tears ♪�� �C�u��_�������♪ But sleep won't come ♪�� ������♪ The whole night through ♪��OC�u��` �����♪ Your cheatin' heart ♪��t������♪ Will tell on you ♪���C�u��`A������♪ You'll walk the floor ♪�� �������♪ And shout my name ♪�� C�u@��`c������The hours are creeping down.����š��- We got to get the story. - I'm getting it!�� C�ѡˁ�I'm only up all fuckin' night when the hours are creeping down.�� �C�u@��`�N�����Well, I mean, you had two fuckin' weeks, Larry.��Ҡ����%To do what?��C�ڡԁ �- To get a story, instead of-- - I gave you a story, I gave you--�� bC�u@��`�������That had a lot of fuckin' holes in it.��O�ɡÁ�- Well, but you're a bureaucrat. - Oh, bullshit.�� s�¡��i- Where do you get that crap? - You ask--��UC�u@��`�Рġ��You are a bureaucrat. You ask me fuckin'...���������uh, Wall Street Journal questions.��������- Bullshit. - Those are the questions--���C�u@��`͙�¡��Everybody in the fuckin' country wants to know--��������You're asking me music business questions, man.�� �C�u@��`�Ǡ����That's part of it, isn't it?���������But that's not what the kids wanna read.����ˡŁ �- How do you know? - I know kids, man! I ask them.�� �C�u��`�������♪ ...and call my name ♪����ɡÁ�Rolling Stone magazine was interested in the economics,�� C�u@��a�����how much are these people getting paid...��~�ˡŁ�You know, why are they playing bigger halls as the tour went on?�� �������Those were the kind of questions they were asking,���C�u@��a/נ����and I didn't give a shit about that.����ϡɁ�I mean, what I was concerned with was, you know, chronicling this...���C�u��aHĠ����this, uh, cultural event.��U����� �- Can I offer you a beer? - Sure.�� C�u��afk�����- There we go. - Thank you.��ؠ���� 8There ain't too many Medicis around these days,�� nC�u@��a}d�á��and whether you're out on the road with a lot of people,�� ������ �or you're making a movie,�� �����@or any kind of creative endeavor that takes resources,�� �C�u@��a�Š����you need money.��頳���<And you gotta go to somebody who believes�� ��ˡŁ,that they're gonna get their money back and maybe a little more.�� �C�u@��a������So, yeah, there's always this natural tension�� ������ between art and commerce.��㠸���EOkay, how 'bout-- We gotta cut one of Jack's.���C�u��a�j�ˡŁ- He says to cut "Muleskinner." - He wants to cut "Muleskinner."�� ����� bAll right. Okay.���C�u��a균����I'll talk to Bob about this.����ϡɁ m- All right, Allen's gonna do something? - Five minutes. Very brief.�� �C�u@��bb�̡ƁYou got a whole different audience. Did you look at those people?�� ��á�� They're not familiar with Dylan or Baez or anybody else.�� gC�u@��b1�����Right.��B������If you go up and spill poetry for any length of time,�� ����� they're gonna be, you know, gone, you know?���C�u@��b,5�����Make it two minutes, Allen.��ޠ����1Two minutes is plenty, I'm telling you.��+����� �- Okay. - What about more cuts?��C�u@��b@?�����- Two minutes. - We're still cutting.��������The show was originally three hours.��͠�����Ginsberg, who appeared in the show originally,�� C�u��b_��ȡthere was not enough time for him to perform during the show,�������Vso his section was cut.���C�u@��b�������He and Peter Orlovsky became the baggage handlers.�� �ԡ΁uWe would put our bags outside the door, and he would take them every day.��'C�u@��b�������You're a fuckin' luggage handler?����ǡ���- God, yeah, and I give massages sometimes. - You're a poet!�� Ǡ�����I make myself useful around, on the, uh...�� C�u@��b�[�ҡ́Uh... helping Chris with the newsletter and putting out the newsletter.�������o- You do errands? - Errands, right.���C�u@��bܧ�����I can't believe this shit.���ɡÁ[What kind of tour is this? You're a fuckin' great poet, Peter.�� ��סсoI'm learning-- Been practicing banjo, and I've been sitting every morning...�� \C�u@��b�ƠɡÁUh, tomorrow morning, we're gonna sit with Allen for one hour.�� ������ �- To do what? - After we wake up, sit and meditate.�� C�u��c������At a party at Gordon Lightfoot's house,�� ����� sToronto, Canada.���C�u��c�٠����Joni Mitchell, she would go out and do her new songs.�� 2����� �She wouldn't do any hits.��ZC�u@��c� �����And the audience reaction was a little sort of muted�� a����� �for these new songs,�� �����as it usually is when artists try to do new songs.�� �C�u@��c�<�����And I remember, she came off and she said,����ϡɁO"McGuinn, I don't know why I'm so scared out there. I just don't..."�� �C�u@��c־�����I said, "You're just doing new songs.�������ZYou ought to do something that they recognize,������� �and then they'll, you know, loosen up."��+C�u��c��ΡȁShe said, "No, no, I-- I can't do that. I think that's a bad idea."�� �C�u��de�¡��I admired her for her courage to do the new stuff only.��KC�u��d+#�����Joni wrote this song about this tour,�������� Iand on this tour, and for this tour.�� DC�u��d�r�����Okay, D-minor now.���C�u��d�G�����Yeah, some dissonance.����Сʁ �I had been loudly proclaiming that my three favorite male songwriters���C�u@��d�$�����were Bob Dylan, Leonard Cohen, and Kinky Friedman.�� D�ǡ�� ]So, Joni started interrogating me backstage one day, saying,��9C�u@��d橠����"What do you mean, male?��1������Why do you make that distinction, male songwriters?��y�����PI mean, what about my stuff?��C�u@��d�N�á��I mean, don't you characterize my stuff, like, you know,�� h����� �in the same league as Bob and Leonard Cohen?"�� �C�u@��e�����And we got into this long discussion about,��&�ơ��ywell, the male versus female perspective, and anima-animus,�� �C�u@��e3f�ȡand, you know, male-female dynamic, and everything, you know.�� 𠼡�� CBut it became this long, drawn-out confrontation,���C�u��eL������and we bonded on that.�������� C♪ No regrets, Coyote ♪���C�u@��e`��ϡɁ♪ We just come from such different sets Of circumstance ♪�� 堸��� 9♪ I'm up all night in the studios ♪��������:♪ And you're up early on your ranch ♪��VC�u@��e�_�����♪ Brushing out a broodmare's tail ♪�� I����� �♪ While the sun is ascending ♪��1�̡Ɓ!♪ And I'll just be getting home With my reel-to-reel ♪���C�u��e�Š����♪ There's no comprehending ♪�������� �♪ Just how close To the bone and the skin ♪�� C�u��e�Ϡ����♪ And the eyes and the lips you can get ♪�� ������ �♪ And still feel so alone ♪�� �C�u��e�?�����♪ And still feel related ♪��O����� ♪ Like stations in a relay ♪�� C�u��e�̠����♪ You're not a hit-and-run driver No, no ♪�� ������-♪ Racing away ♪��1C�u@��e�f�����♪ You just picked up a hitcher ♪��+�ơ�� s♪ A prisoner of the white lines On the freeway ♪���C�u@��fA������♪ We saw a farmhouse burning down ♪����͡ǁ >♪ In the middle of nowhere In the middle of the night ♪�� �C�u@��fWؠ����♪ And we rolled right past that tragedy ♪�� ����� s♪ Till we came to some roadside lights ♪�� �C�u@��fmY�����♪ And a local band was playing ♪�� J�ơ�� �♪ Locals were mincin' And shakin' on the floor ♪�� �C�u��f�)�����♪ The next thing I know ♪��ݠ���� �♪ That Coyote's at my door ♪��C�u@��f�W�ɡÁ♪ And he pins me in a corner And he won't take no ♪�� 8����� �♪ He drags me out on the dance floor ♪��+C�u��f�a�����♪ And we're dancin' close and slow ♪�� ������ ♪ He's got a woman at home ♪�� IC�u@��f��̡Ɓ♪ One for the night And now he wants one for the day ♪�� ��աρ♪ Oh, why'd you have to get so drunk And lead me on that way? ♪���C�u@��f溠����♪ You just picked up a hitcher ♪���ǡ�� ♪ A prisoner of the white lines And the freeway ♪��KC�u��gpf�����Let's call Hopper, man.��Z������- Fuck yeah. - Let me change channels.�������Why do you have that?���C�u@��g�j�����What are you on, channel 31?�������[- Uh, give me, uh... - Okay.��������VOkay.��C������♪ I took my troubles Down to Madame Rue ♪�� �C�u@��g�Рȡ♪ You know that gypsy With the gold-capped tooth ♪�� �ȡW♪ She's got a pad Down on Thirty-Fourth and Vine ♪�� C�u��g�$�ˡŁ♪ Sellin' little bottles Of Love Potion Number Nine ♪��4C�u��gث�����What poetry is,���������the natural object, where we are now,�� hC�u��g�\�����is always adequate symbol,��ؠ����+so you don't have to invent romantic myths,�� bC�u��h<�����diamond dancers on oceansides.�� n�ȡQThe scratching of the pen or the noise in the back of the bar���C�u��h"y�����is part of the music.��f�ɡÁ m♪ She bent down, turned around And gave me a wink ♪���C�u@��h;��Сʁ♪ She said, "I'm gonna mix it up Right here in the sink" ♪��,������♪ It smelled like turpentine... ♪��~C�u��hR �����I've never had more faith in America�� 8������than I do today.��C�u��hh �����We have an America�� �����,that, in Bob Dylan's phrase,���������is busy being born,���C�u��h������not busy dying.��㠮���I was very enamored of Jimmy Carter.�� C�u��h���á��He-- I thought he was a really soulful, interesting guy,��Q������and he liked me.���C�u@��h�ߠΡȁSo, you know, I maintained a relationship with him for a long time.�� ����� bAnd he's the guy��a�¡��who got me into the Rolling Thunder concert that night.���C�u@��h������Jimmy Carter.��������Which is another story.����š��QI was-- I was one of the youngest members of the Congress.��VC�u��h������And so I was, um...����¡�� gYeah, I mean, I was torn between two generations there.�� 8C�u@��i�ѡˁI was being pulled in both... You know, you want to get anything done,�� 8����� �you have to get along with people in the Congress.���C�u@��i%��ءҁYou know, you don't get anything done anymore because nobody wants to, but...��Ԡ����'in my day you, you know, you made an effort�� C�u@��i>�����to get along with these guys.�������� And most of them were considerably older than I was.����Ρȁ \And Dylan was considered the enemy, really, by a lot of these guys.���C�u@��i[ƠѡˁI had grown up in this era where, you know, you wanted to be an adult,�� ����� >you wanted to drink a martini with your dad, you know.�� �C�u@��ip������And now...��㠺���7you know, "Never trust anybody over 30." Right?�� C�Сʁ�And I'm caught in the middle of this, and I'm dealing in the Congress�� >C�u��i�S�����with all these old guys, and...���������You know, it's an interesting conundrum.�� >C�u@��i�������My own interest in the criminal justice system�� h����� �is very heartfelt.��7������One of the sources for my understanding about���C�u@��i�������what's right and wrong in this society��ؠ����+is from a personal, very close friend of mine�� ������:a great poet named Bob Dylan.���C�u@��i�|�աρAfter listening to his records about "The Ballad of Hattie Carroll"�� ������and "Like a Rolling Stone,"��TC�u��i��ءҁI've learned to appreciate the dynamism of change in a modern society.��#C�u@��j������I grew up as a landowner's son,�� �աρ \but I don't think I ever realized that the proper interrelationship�� bC�u��j(��ơ��between the landowner and those who worked on a farm�� ����� buntil I heard Dylan's record,�� �C�u@��j? �����"I Ain't Gonna Work On Maggie's Farm No More."�� s�¡�� �So I went to this meeting, I believe it was in Atlanta.�� �C�u@��jX��¡��Jimmy was there, and he and I spoke about a few things.��u������And I can't remember exactly what was left unsaid,��-C�u@��jw�����but I told him that I would call him back that night,�� ����� nand we were gonna finish this conversation.��~�����@I had to get to the airport.��C�u@��j�$�����So I get on the flight, I'm trying to get home.��P�͡ǁ DAnd I got caught in a storm, and we got diverted to Niagara Falls.���C�u@��j�Ơ����And I get stashed in this cheesy little motel�� g����� �that the airline put us up in.��ݠ����cI called Jimmy to say I hadn't reached home,���C�u@��j��ġ��but we could talk tomorrow, and he said, "Where are you?"��̠¡�� And I said, "I'm in Niagara Falls." And he says, "Well,��������iyou just hit the jackpot because--���C�u��j泠����because Bob Dylan's doing this Rolling Thunder concert�� ����� bthere tonight, and you can go."��OC�u��j�/�����He said, "I'll call him and I'll get you in."��,������Dylan!�� �C�u��kY�����Dylan, you're beautiful!��������Uncle Sam is going to sing�� �C�u@��k3�ġ��one of his versions of "The Star-Spangled Banner."�� ߠ���� 3Ladies and gentlemen...��������EI saw the best minds of my generation�� �C�u@��kOL�����destroyed by madness,��������starving hysterical...��䠮��� 8This song about a human being�� �C�u@��ke������who is also an Indian.���١Ӂ �- "Let America be America again." - And if you don't remember...�� �C�u��k2�����"Let it be the dream it used to be."��%C�u@��k������No, I'm sorry, you-- you can't...��[�ʡā�- Excuse me. You can't shoot in here. - You need authorization.�� �����You cannot shoot in here, sir.��UC�u��k� ¡��- Why can't I shoot in here? - He's running the camera.�� >����� �What organization are you from?���C�u@��k�Π����Do you know where you're going to?���������I don't know. You'll have to ask him.���̡ƁiI'm sorry you had the hassle. Uh, we didn't know you were coming.��zC�u@��k�󠔡��Obviously.��������We just happened to be in the neighborhood.����ġ�� I heard it was you. I brought a friend if you don't mind.�� >C�u@��l��ʡāNo, I don't mind, but I'm sorry you had any trouble downstairs.�� =����� �Uh, Irwin, this is Bob.���������- How are you? - Good.���C�u@��l+>�����But if you're looking...��㠥����to help the guy, in effect,��[�ϡɁ�you know, and your purpose is a social one rather than a record one,���C�u@��lJ٠ܡցthen I think it probably would make sense, you know, to comment, you know, early.�� ��̡Ɓ You know what I'm saying? I don't know what your motivations are.�� >C�u@��lcs�ϡɁYou're kind of throwing it out and I haven't given a lot of thought.�� ������ �I think there's a Top 40 AM problem.���������Conversely, there may be a lot of black radio play,���C�u@��l�������for example, in the east.��1������- Or you make it AM play. - So WWRL would--�� ������oIt's a Bob Dylan statement, that it is unique.�� C�u@��l�b�����Whoever wants to play it can play it,�� �����abut the idea is he wants it on the streets,��Z����� so people can do with it what they want.���C�u@��l�������But with those caveats,��ޠġ��1your motivation is to try to do what you can for the guy,�� �ȡithen it probably makes sense to do it as quickly as possible.�� JC�u��lі�����- That's the motivation. - Uh...����¡�� J♪ Pistol shots ring out In a barroom night ♪�� �C�u@��l鉠á��♪ Enter Patty Valentine From the upper hall ♪��Πá��"♪ She sees the bartender In a pool of blood ♪�� �C�u@��m��š��♪ Cries out, "My God They killed them all"... ♪���ءҁVIf they can get it out on the street in a week that's, you know, that's good.�� bC�u��m#������That's what they were talking about.�������� Rubin Carter was an amazing boxer,�� hC�u��m9������middleweight,��l������who had been framed�������� �for a murder in New Jersey���C�u��mO������and was languishing now in Rahway State Prison.��,�����Bob wrote this incredible song,��1C�u@��mk9�š��"Hurricane," and was very concerned about getting him out.��ԠաρEI'd written songs about boxers before, so that was nothing new, but, uh...��C�u��m�������I hadn't really thought about, uh, Hurricane...�� s����� �because I didn't know about Hurricane.��PC�u��m�栏���Uh...��B������It...��l����� �It never really crossed my path.��,C�u@��m�K�����I got the book. I read it.���ɡÁZUm, I, you know, made a mental note that if I was coming east,�� ������ior if I was east, I would, uh, visit him.�� C�u@��m�'�����We were there for, you know, most of the day,�� ꠣ��� >as far as I can remember.��`�Ρȁ�Uh, we got there in the morning and then left him when it was dark.�� C�u��m�i�����I realized the man's philosophy��������and my philosophy were running on the same road.�� �C�u@��ns�ǡ��You know, and, uh, you don't meet too many people like that,�� >�ءҁ �you know, that you just know that kinda on the same path, mentally, you know.��]C�u��n/������Yeah.��g�ġ���Dylan was different than other people who came to see me.���C�u@��nE������I mean, other people would ask the obvious questions.�� 렢��� >"Rubin, are you guilty?"��+�Ρȁ�You know, "Did you commit this crime?" "Did you do that?" You know.�� �C�u��neP�����But Dylan wasn't asking that.����ʡā�Not at all. It seemed like he was searching for something else.���C�u��n{������It was as if he was saying,��ؠ���� >"Who are you, man?"��頩���You know, "Are you what I see?"�� JC�u��n��¡��I had a friend of mine send me his lyrics to his songs,��񠩡��9and so I could read his lyrics,��[C�u��n�Ѡʡāso I can get an-- an idea of who I'm talkin' to here, you know.��C�u��nɂ�����And...��B�ġ��7I found something that was, uh, very interesting. Very...��PC�u��n�]�����That really connected us.��1������Both of us were... were performers and crowd-pleasers.��cC�u��n�������You know, me with the vicious left hook,�� ������ �you know, whose parents grew up in the Jim Crow South,���C�u��o3�š��and Dylan, uh, you know, with his... uh... the troubadour.��RC�u@��o0P�ɡÁSo you got back, and you had the germ of an idea to do a song?�� 렙��� >- Yeah. - Why?��<������I mean, you know, is this a return to protest...�� C�u��oI������I mean...�� �����`You know, is this, uh, "Hattie Carroll" revisited?�� �C�u@��o_������Um, there's an injustice that has been done, you know.�� g����� �And the fact is that it can happen to anybody.�� �C�u@��oud�����- Mm-hmm. - You know?��a������- And we have to be confronted with that. - So-- So--�� 𠪡���This song is called "Hurricane."��yC�u��o�Р����If you got any political pull at all,��������Pmaybe you can help us get this man out of jail,�� sC�u��o������back onto the streets.��C�u@��py�ġ��♪ Pistol shots ring out In the barroom night ♪�� �á�� ♪ Enter Patty Valentine From the outer hall ♪�� �C�u@��p,�á��♪ She sees the bartender In a pool of blood ♪�� h�ơ�� �♪ Cries out, "My God, They've killed 'em all!" ♪�� �C�u@��pF�����♪ Here comes the story of the Hurricane ♪�� ������ 2♪ The man the authorities came to blame ♪�� JC�u@��p`�����♪ For somethin' that he never done ♪��Ҡʡā �♪ Put in a prison cell But one time he coulda been ♪���C�u��p{������♪ The champion of the world ♪���C�u@��p�b�����♪ Three bodies lyin' there Does Patty see ♪����ɡÁ �♪ And another man named Bello Movin' mysteriously ♪�� �C�u@��p� �Ρȁ♪ "I didn't do it," he says And he throws up his hands ♪�� ��ɡÁ ♪ "I was only robbin' the register You understand ♪�� �C�u@��p��ȡ♪ I saw them leave, though" he says And he stops ♪�� ������ \♪ "One of us had better Call on the cops" ♪�� CC�u@��p������♪ And so Patty calls the cops ♪��y�աρ �♪ And they arrive on the scene With their red lights flashin' ♪��-C�u��q~�����♪ In the hot New Jersey night ♪��C�u@��q8��š��♪ Meanwhile, far away In another part of town ♪�� �ѡˁ m♪ Rubin Carter and a couple of friends Are drivin' around ♪�� 3C�u@��qPz�ɡÁ♪ Number one contender For the middleweight crown ♪�� 8�ʡā �♪ Had no idea what kinda shit Was about to go down ♪�� bC�u@��qk��̡Ɓ♪ When a cop pulled him over To the side of the road ♪�� Ơ̡Ɓ 8♪ Just like the time before And the time before that ♪�� gC�u@��q�y�����♪ In Paterson, that's the way things go ♪�� C�סс �♪ If you're black, you might as well Not show up on the streets ♪���C�u��q�+�����♪ 'Less you want to draw the heat ♪�� �C�u@��q�4�ġ��♪ Alfred Bello, he laid this rap On the cops ♪�� �ԡ΁ m♪ "Me and Arthur Dexter Bradley Were in here prowlin' around ♪�� C�u@��q���ۡՁ♪ We saw two men runnin' out of here They looked like middleweights ♪�� ��ˡŁ ♪ Jumped into a white car With out-of-state plates" ♪���C�u@��q� �ǡ��♪ And Miss Patty Valentine Just nodded her head ♪�� ��͡ǁ �♪ Cop said, "Wait a minute, boys This one's not dead" ♪�� �C�u@��r�����♪ So they took him to the infirmary ♪�� n�����Q♪ And though this man could hardly see ♪���C�u��r)T�͡ǁ♪ They told him that he could identify The guilty men ♪���C�u@��rYd�ġ��♪ Four in the mornin' And they haul Rubin in ♪�� �Сʁ �♪ Took him to the hospital And they brought him upstairs ♪�� C�u@��rq��̡Ɓ♪ The wounded man looks up Through his one dyin' eye ♪�� g�ԡ΁ �♪ Says, "Why'd you bring him in here for? He ain't the guy!" ♪�� �C�u@��r�h�����♪ Yes, here's the story of the Hurricane ♪�� s����� �♪ The man the authorities came to blame ♪�� DC�u@��r�������♪ For somethin' that he never done ♪��%�ʡā b♪ Put in a prison cell But one time he coulda been ♪�� �C�u��r������♪ The champion of the world ♪�� �C�u@��r�àġ��♪ Four months later The ghettos are in flame ♪�� >�ȡ �♪ Rubin's in South America Fightin' for his name ♪�� >C�u@��sڠˡŁ♪ Arthur Dexter Bradley's Still in the robbery game ♪�� m�ġ�� �♪ And the cops are Puttin' the screws to him ♪��ؠ�����♪ Lookin' for someone to blame ♪��+C�u@��sE�ǡ��♪ "Remember that murder That happened in a bar? ♪�� ��ġ�� a♪ Remember you said you saw The getaway car? ♪�� C�u@��s3�ɡÁ♪ You think you'd like to play ball With the law? ♪�� �ܡց �♪ Think it mighta been that fighter That you saw runnin' that night? ♪�� \C�u��sMs�����♪ Don't forget now, you're white" ♪�� 2C�u@��sw|�ʡā♪ Arthur Dexter Bradley said "I'm really not sure" ♪�� �ʡā 8♪ Cops said "A poor boy like you could use a break ♪�� gC�u@��s�o�١Ӂ♪ We got you for the motel job We're talkin' to your friend Bello ♪�� ߠҡ́ 2♪ You don't wanna have to go back to jail Be a nice fellow ♪�� �C�u@��s�������♪ You'll be doin' society a favor ♪�� �ɡÁ �♪ That son of a bitch is brave And gettin' braver ♪�� 8C�u@��s������♪ We want to put his ass in stir ♪��O�¡�� �♪ We want to pin this triple murder On him ♪�� �C�u��s�̠����♪ He ain't no Gentleman Jim" ♪�� �C�u@��t��š��♪ All of Rubin's cards were marked In advance ♪�� ��ʡā �♪ The trial was a pig-circus He never had a chance ♪�� C�u@��t��ӡ́♪ The judge made Rubin's witnesses Drunkards from the slums ♪�� �ӡ́ 8♪ To the white folks who watched He was a revolutionary bum ♪�� �C�u@��t9 �ˡŁ♪ And to the black folks He was just a crazy nigger ♪�� D�á�� 2♪ No one doubted That he pulled the trigger ♪�� sC�u@��tR �á��♪ And though they could not produce The gun ♪�� I�š�� b♪ The DA said he was the one Who did the deed ♪�� C�u��tkޠ����♪ And the all-white jury agreed ♪�� C�u@��t�ᠷ���♪ Rubin Carter was falsely tried ♪�� �ǡ�� D♪ The crime was murder one Guess who testified? ♪�� >C�u@��t�������♪ Bello and Bradley, and they both lied ♪�� �͡ǁ �♪ And the newspapers They all went along for the ride ♪�� �C�u��t� ����♪ How can the life of such a man ♪��x����� �♪ Be in the palm of some fool's hand? ♪�� �C�u@��t�ޠ����♪ To see him obviously framed ♪����ҡ́ 3♪ Couldn't help but make me feel ashamed To live in a land ♪��C�u��t�g�����♪ Where justice is a game ♪�� DC�u@��u#R�Сʁ♪ Now all the criminals In their coats and their ties... ♪�� �������"Now all the criminals in their coats and ties�� C�u@��u?��Ρȁare free to drink martinis and watch the-- and watch the sun rise."��z������"While Rubin sits like Buddha in a ten-foot cell,�� \C�u@��u\������an innocent man in a living hell."��y������I thought that was great.��Ҡ����iBecause the ballad of the Hurricane...�� bC�u��u �����uh, sent an indelible message of justice gone awry,���C�u��u������you know what I mean?��f������So... So...��f����� sDylan doing that spread the word far and wide.��C�u@��u�Š����♪ That's the story of the Hurricane ♪����ǡ�� 8♪ But it won't be over Till they clear his name ♪�� �C�u@��u։�����♪ And give him back the time he's done ♪��y�ʡā ♪ Put in a prison cell But one time he coulda been ♪���C�u��u񔠲���♪ The champion of the world ♪�� �C�u��v!Q�����Let me introduce you to everybody.��[�ġ�� �Many of the people who came to help me were white people,�� �C�u@��v8񠴡��which must have surprised the authorities,�� s�ơ�� �because the authorities claimed that I committed this crime�� 8C�u@��vOC�����because of my hatred for white people.��~������But here's all these white folks���������coming to help this poor black man�� �C�u@��vk�����who's in prison for something that he didn't do,��̠¡�� something that he didn't do. I mean, it-- it was great.�� �C�u@��v)�ɡÁWhat happens if the courts say no, where do you go from there?�� ����� bAre you gonna go back into the courts once again?�� IC�u��v�(�����If the courts say no, we just keep on fighting.�� ������ There's no such-- There's no such thing as no.�� CC�u��v�J�����There's just yes,�������7and the road is straight ahead, and we keep on going.�� CC�u@�v�+�����Bob always been searching.����ҡ́�Every time I see Bob now, and which we don't see each other frequently,���C�u��v���͡ǁbut every time I see him, I ask Bob, "Have you found it yet, Bob?"���C�u��v�L�����And Bob says, "Yeah, I found it."��������OBut I know he hasn't, 'cause he keeps searching.���C�u@��w R�ġ��He'd always say, "Hey, what are you searching for today?"�� 䠚��� 8I'd say, "What?"��<�̡Ɓ�He'd say, "I know you're a searcher. What are you searching for?"�� �C�u��w%.�̡ƁI'd say, uh, "Well, Hurricane, I'm searching for the Holy Grail."�� ����And he'd say, "What?"���C�u��w;��ȡI said, "I'm gonna search until I find it, like Sir Galahad."���C�u��wT������That's what I'm looking for.��6�ơ���- Five minutes. Five minutes. - Do you think he's a genius?��'C�u��wv������Is Bob Dylan a genius?������� �I don't know. That's a strange word.�� �C�u��w�������Maybe.��=�ڡԁ�I think the most brilliant thing he did was putting a group of highly motivated���C�u@��w�`�����and ambitious people on a train with no supervision,�� b�̡Ɓ �and then let them become the most extreme versions of themselves.�� C�u@��w������Is that how you'd describe what happened?��O������I know that's what happened to me.��������Let's go. Let's go.�� JC�u@��w������Let's go.��C������So, why did you come here to speak to me?��%�����WWell, to try and, you know, stake my claim��oC�u��x �ơ��and say, "Here I am, this is me. I'm the one who made this.���������You're using it.���C�u��x$�á��This wouldn't exist without me. I'm the filmmaker here."��WC�u��x*X�����December 4th, 1975, Montreal, Canada,�� ������ last scheduled concert for the Rolling Thunder Revue.�� CC�u��xDi�̡ƁWe phantoms are assembled at the end of the Rolling Thunder tour.�������dRoger? Let's go. Luther?���C�u@��x^Π����We started out trying to recover America.�� �á�� hWe discovered a certain amount of truth about ourselves.�� C�u@��xw�����Old friends who thought their loves had been lost�� ��ȡ were able to get together and, uh, face each other eye to eye��QC�u��x�͠����and sing over an electrical microphone�� I����� �to please the desires of myriad young yearners,���C�u@��x�[�����who had been seeking some kind of union and community�� 9����� �and saw there in an image of that community.���C�u��x������Was the tour a success?��������The tour was a disaster, it was a catastrophe.�� m������- Why? - Well,���C�u@��x�蠽���I told 'em we should be playing to 20,000-seaters,�� h�͡ǁ �but instead, you know, they wanted to play all these small joints.�� �C�u��x󎠱���Now you've got 16 to 18 people onstage,�� ������ and you got 15 people on the back line.�� DC�u@��y {�СʁBuses and hotel rooms and catering, and you're only playing to houses�� ������ �with 3,000 seats, so you're gonna hemorrhage money.�� �C�u��y%������We were in the red before we even got on the road.��&�����yNo, it wasn't a success.���C�u��y9Ơ����Not if you measure success in terms of profit.�� �����-But it was a sense of adventure.���C�u��yS������So, in many ways, yes, it was very successful.��KC�u��yiY�����Let's go.��������Time to go.��䠽���z- Come on. We're on. - Yeah, Rob, you look pretty.�� C�u��y�������What remains of that tour to this day?��y������Nothing.��B�����oNot one single thing.���C�u��y�>�����Ashes.��B������♪ Mama, wipe the blood off of my face ♪���C�u��y�������♪ I can't see through it anymore ♪�� �C�u��y� �ʡā♪ I need someone to talk to And a new hiding place ♪���C�u��z��á��♪ I feel like I'm knockin' On heaven's door ♪�� �C�u��z5*�����♪ Knock, knock, knockin' On heaven's door ♪��C�u��zQנ����♪ Knock, knock, knockin' On heaven's door ♪��,C�u��zn������♪ Knock, knock, knockin' On heaven's door ♪���C�u��z������♪ Knock, knock, knockin' On heaven's door ♪���C�u��z�0�����♪ Mama, I can hear that thunder roll ♪�� �C�u��z������♪ Echoing down from God's distant shore ♪��VC�u��z�������♪ I can hear Him calling out for my soul ♪���C�u��z�������♪ I feel I'm knocking on heaven's door ♪�� �C�u��{6�����♪ Knock, knock, knockin' On heaven's door ♪���C�u��{8 �����♪ Knock, knock, knockin' On heaven's door ♪���C�u��{U �����♪ Knock, knock, knockin' On heaven's door ♪��C�u��{qf�����♪ Knock, knock, knockin' On heaven's door ♪��iC�u��{ܚ�����You who saw it all, or saw flashes and fragments,��K������take from us some example,�� �C�u��{�|�����try and get yourselves together,���������clean up your act, find your community,�� �C�u@��| ��ȡpick up on some kind of redemption of your own consciousness,���������become more mindful of your own friends,�� C�u@��|%������your own work,��=������your own proper meditation,������� �your own proper art,��㠚���your own beauty.��C�u��|;C�����Go out and make it for your own eternity.�� �C�u��|X������♪ Knock, knock, knockin' On heaven's door ♪��@C�u��|u������♪ Knock, knock, knockin' On heaven's door ♪��EC�u��|�Ơ����♪ Knock, knock, knockin' On heaven's door ♪��cC�u��|�Ơ����♪ Knock, knock, knockin' On heaven's door ♪��cC�u��|�E�����♪ The water is wide ♪��cC�u��|�������♪ And I can't cross over ♪�� �C�u��|�頫���♪ I've neither wings ♪��zC�u��}������♪ That I could fly ♪���C�u��}(������♪ Build me a boat ♪���C�u��}>%�����♪ That can carry two ♪���C�u��}S������♪ And both shall row ♪�� �C�u��}iϠ����♪ My love and I ♪��?C�u��}�Ƞ����♪ There is a ship ♪��EC�u��}�������♪ And it sails on the sea ♪�� C�u��}������♪ Loaded deep ♪���������♪ As deep can be ♪���C�u��}񆠨���♪ But not as deep ♪��iC�u��~ �����♪ As the love I'm in ♪���C�u��~������♪ And both shall row ♪�� �C�u��~/젦���♪ My love and I ♪��MC�u��~�蠎���Bob!��P�����Encore!��UC�u��~�ɠ����♪ Hot chilipeppers In the blistering sun ♪�� IC�u��~�z�����♪ Dust on my face and my cape ♪�� �C�u��������♪ Me and Magdalena on the run ♪�� �C�u�������♪ I think this time we shall escape ♪���C�u��04�����♪ Sold my guitar to the baker's son ♪�� �C�u��E������♪ For a few crumbs and a place to hide ♪���C�u��Z㠲���♪ But I can get another one ♪�� >�����♪ And I'll play for Magdalena as we ride ♪���C�u���������♪ No llores, mi querida ♪�� ������ �♪ Dios nos vigila ♪���C�u���O�����♪ Soon the horse will take us to Durango ♪��������o♪ Agárrame, mi vida ♪�� >C�u���O�����♪ Soon the desert will be gone ♪��&����� �♪ Soon you will be dancing the fandango ♪���C�u@���d�ˡŁ♪ Past the Aztec ruins And the ghosts of our people ♪�� 䠺���9♪ Hoofbeats like castanets on stone ♪�� 3C�u@�烀_�ˡŁ♪ At night, I dream of bells In the village steeple ♪�� �������♪ Then I see the bloody face of Ramon ♪��QC�u�烀E�ơ��♪ Was it me that shot him down In the cantina? ♪�� �C�u�烀[T�����♪ Was it my hand that held the gun? ♪�� b������♪ Come let us fly, my Magdalena ♪�� C�u�烀�P�ơ��♪ The dogs are barking And what's done is done ♪�� ������E♪ No llores, mi querida ♪�� >C�u�烀�񠡡��♪ Dios nos vigila ♪��ؠ���� I♪ Soon the horse will take us to Durango ♪�� 3C�u�烀�������♪ Agárrame, mi vida ♪�� 𠵡�� D♪ Soon the desert will be gone ♪���C�u�烀ͳ�����♪ Soon you will be dancing the fandango ♪�� �C�u@�烁H�����♪ At the corrida, we'll sit in the shade ♪�� �������♪ And watch the young torero stand alone ♪�� C�u@�烁*��š��♪ Drank tequila Where our grandfathers stayed ♪�� ߠ����♪ When they rode with Villa into Torreón ♪�� �C�u@�烁O�ơ��♪ And the padre will recite The prayers of old ♪�� ٠�����♪ In the little church this side of town ♪���C�u@�烁t��ġ��♪ I'll wear new boots And an earring of gold ♪�� ��ɡÁ@♪ You'll shine with diamonds In your wedding gown ♪���C�u@�烁�J�����♪ Was that the thunder that I heard? ♪�� �¡��?♪ My head is vibrating I feel a sharp pain ♪�� �C�u�烁�u�����♪ Come sit by me, don't say a word ♪�� �������♪ Oh, can it be that I am slain? ♪�� �C�u@�烁嚠����♪ Quick, Magdalena, take my gun ♪�� Ǡ¡��i♪ Look up in the hills That flash of light ♪�� �C�u�烂 =�����♪ Aim well, my little one ♪�� D������♪ We may not make it through the night ♪�� �S�k Ԕ����\�����������һ���o��������(������x�����,����%�����������,��2�� 뻕���6���������� ǻ����P��������N�������Է�������a�� >�����f�����L����������W�����L��S��=�����緎�������� 廕�����������B�������v�����=���� 2�����������=��D�� ڻ����(����������Q����̷�������M�� 8����X�����n����6����ⷎ���n��(��O����������n��U�� b����,9��������� ����3�������!������9l�������B�������Fȷ��������� 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