All language subtitles for sem-bddlb.1080p.English

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

It's gone.

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

My cane.

- Shit.
- It's gone.

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

When? Today?

- Oh, it's in back of this door.
- He's got it.

It's in back of this door here.

Will you remember?

Can you smoke here?

London Bridge is falling down,
falling down, falling down

London Bridge is falling down

My fair lady

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

What's the reason for the change this time?

Why are you so big this time?
What do you think?

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

I figured just do the same thing I did before.

What's happening here?

What are we gonna do?

How long is it
since you were last in London?

- About a year.
- About a year.

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

I thought you would ask me that.

No, I usually carry a light bulb.

Somebody gave it to me, you know?

Sorry, I didn't quite catch the answer.

Somebody gave it to me,
a very affectionate friend.

I see.

Are you the folk?

- Who? Am I folk?
- Yeah.

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

What is your real message?

My real message?

Keep a good head
and always carry a light bulb.

Well, I plugged it in my socket
and the house exploded.

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

understand a single word
of what you're singing?

- Sure.
- You reckon they do?

Sure.

Why do you say they do?
How can you be so sure?

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

Yeah, but they understand them.

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

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

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

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

Would you say that you cared about
people particularly?

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

"Care" and "people" and...

Surely, I mean, we know what people are.

Well...do we?

You sound angry in your songs,

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

I'm not angry.

- I'm delightful.
- I see.

- Thank you very much.
- OK.

Do you ever read the Bible?

What about the Bible?

Do you ever read the Bible?

- No.
- Have you ever read it?

Have I ever? I've glanced through it.

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

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

Put your hands up to your face.

Like that?

Well, as I was saying to him...

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

Just do it and I'll shoot.

- And again.
- Sorry?

- Be all solemn.
- I can't do it.

We publish these things, you know.

You're so cute, you know.

- Your name, please?
- Joan Baez.

Joan“.

B, A, E, Z.

Strewth!

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

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

This is the part where I don't write.

I'm not gonna...

Anything that happens now, I'll just remember.

Whereas, when I'm living, doing my own thing,

doing what I do,
this is never around me.

I mean, I accept everything, I accept this...

Why?

Because, it's here, it's real, it exists,

just as much as the buses outside exist.

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

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

If I do go insane.

When and if the time comes...

for me to go insane.

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

I'm glad I'm not me.

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

Donovan. Who is this Donovan?

Let's put him right on the sideboard.

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

- He's a young Scottish...
- Bloke.

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

- Bloke.
- Bloke. Anyway,

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

- He's better than you.
- Yeah.

- All right?
- Right away I hate him.

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

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

He's right there.

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

That's what I call a loser.

No, I'm serious. No, listen...

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

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

In a short time. That's America,
we're talking about England.

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

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

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

...started working 26 years ago...

Where we going to, CBSO?

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

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

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

promising artist of the year

and the best-selling folk record, Freewheelin'.

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

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

Tell them to give it to Donovan.

Groovy, man!

Donovan.

Donovan, next target.

He's our target for tomorrow.

This is for the African Service of the BBC,
Mr. Dylan.

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

And the questions are four in number

for your approval before we ask them.

The first one's a very general journalistic one.

Just how did it all begin for you?
What triggered it off?

How do you see the art of the folk song
in contemporary society?

Has it a very real social impact?

Something that will certainly interest
our listeners in Africa

is your deeply humanitarian attitude

to a number of public matters.

For instance, you are quoted as saying,

"People talk about negroes
as if they were objects."

Does this sort of compassion on your part

present any problems for you in America?

OK.

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

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

Evan and I went to school in Jamaica together.

Castle Street, wasn't it?

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

Going ahead in about five seconds from now,

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

Pete Myers and Colin Wilde producing,

in approximately five seconds.

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

Sentence.

"He is not so much singing
as sermonizing."

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

Paragraph. "So the bearded boys

"and the lank-haired girls,

"all eye shadow and undertaker make-up,

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

"they are there." Colon.

"They are with it."
Sentence.

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

"and life." Paragraph.

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

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

Be aware that tonight at the City Hall here,

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

And more appreciation
than has been heard there.

I've never heard so much applause here.

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

Are you religious?

Well, what does that mean, "religious"?

Does it mean you bow down to an idol

or go to church every Sunday
or that kind of stuff?

- No.
- Believe in something.

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

I don't see anything to believe in.

Do you think you're cynical?

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

that I'm gonna put all my trust and faith in.
Nothing is sacred.

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

Who is in charge of this room?

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

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

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

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

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

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

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

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

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

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

You stupid nut.

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

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

Don't adopt that attitude.

Would you get out of this room?

You get out of this room also.

I don't care about your fop manager.

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

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

"In his hands was an iris.

"Bob, who arrived 90 minutes before his British
tour was to open at Sheffield City Hall,

"said he wanted to rest.

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

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

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

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

"This, swears my 17-year-old son,

"is what the kids who used to scream
at the Beatles now go for,

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

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

"but without one single scream and rapt
attention to every word. It was very impressive.

"Dylan, alone with his guitar and mouth organ
for an hour and a half, earned himself £2,000

"and a foot-stamping ovation."
That's all.

- Where you staying tonight?
- Hotel.

- Where?
- Near the theater.

In a hotel?

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

- Is that him?
- No.

- Isn't he handsome?
- Isn't he lovely?

Pinch me, pinch me.

Come down.

My dream's come true.

Are you gonna sing
Times They Are A-changin'?

You want me to sing that, huh?

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

What do you like about it?

I don't like any of the
Subterranean Homesick Blues.

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

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

My friends were playing with me on that song.

I have to give some work to my friends.

You don't mind that, right?

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

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

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

Some people might take you seriously
and think...

You know different, though, right?

Yeah.

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

People take care of themselves.

Got any brothers and sisters?

Have you any brothers and sisters?

God, I don't even know that.

I have lots of brothers and sisters.

Lots.

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

Is this called Merseyside?

Yeah.

What the hell's wrong with the mic?
You can't hear him.

What the hell's happened?

- No sound here at all.
- OK.

Nobody's pulled anything out, except that one.

For crying out loud.

Is he down there?

Is he down there?

This one was off as well.

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

The Times They Are A-changin'.
Caroline fans...

- What number was the other one?
- What?

- What number was the other one?
- 31.

On the fab chart.

Straight across the front.

We do...

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

We give them all a big band sound.

You probably think we're ruining your material

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

Thank you.
Are you playing around anywhere?

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

You play with rhythm guitar and electric guitar?

Yeah.

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

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

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

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

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

Step over here.

Oh, bless his heart!

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

Bye.

See you now.

See you later.

Oh, God.

- Watch out, watch out!
- That chick is on the back of the car.

- There's a guy on our car, will you get him off?
- Get that ch... Take her off.

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

It's a girl.

Take that girl off our car, please.

Will you please take her off the car?

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

She's off.

OK, how you doing?

We'll see you later. Bye.

I don't remember that song.

I haven't touched that song. Did I?

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

Oh, God. You finished it
about eight different ways.

Yeah.

- That's a good song.
- It's beautiful.

If you finish it, I'll sing it.

I can finish that.

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

Bill Anderson wrote it.

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

Oh, that's it. That was it.

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

What about the...

Welcome home.

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

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

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

Oh, God. I'm sleepy. I mean I'm fagging out.

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

Sure.

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

Oh, my God, there she is - Fang.

Do you have
one of those see-through blouses?

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

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

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

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

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

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

Are you expectin' to get it all written
on that paper'?

I've got all these songs written.

Have to write small or something.

Can I finish this?

Come on.

On with Queen Lucy.

Out of place, baby!

Crowned my daughter queen of the festival.

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

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

Wanna do it now'?

Oh, concert.

I knew there was something.

I knew it wasn't the hotel.

Where is it?

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

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

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

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

Why don't we ask for 2,000?

Well, I had that figure in mind,
strangely enough.

Get it settled.

Great.

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

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

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

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

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

He's in the studio, but his secretary said
if you could hold,

she might get him to the phone.

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

Two grand, Johnny. Yeah, on an exclusive.

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

You want to leave that with you, John?

- Hello.
- Hello.

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

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

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

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

- Bob Dylan?
- Yes.

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

I know he is...with rope.

Right?

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

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

OK. I'll try and get him.

Will you tell him, Chris, that I have
Mr. Grossman with me, Bob's manager?

He's with me now.

- OK.
- OK. Bye.

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

What do you think, Stuart?

Oh, dear.

Now for the two...

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

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

Then give you a call back? God bless you.

1,250. He probably could stretch
to fifteen hundred.

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

Maybe for one show, but not for two.

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

That's what they offered Peter, Paul and Mary
for two shows on the BBC.

This seems to be their...their top.

I think we really...

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

Pleasure.

Because he called me in the States, you know.

- Who? Stuart or Johnny?
- Stuart.

Stuart? All right.

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

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

It's the number, yeah.

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

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

that we were somewhere in that vicinity.

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

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

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

Well, the minimum that I would consider

would be the fee that you mentioned
for each half-hour.

No, no. I wouldn't. 1,250 for each half-hour.

Well...

Thank you very much. Bye.

He says he'll put it to them,
but it almost certainly will be...

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

Then we're no better off.

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

I don't know.

Can we, without being in bad taste,

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

I'll tell him.

No?

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

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

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

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

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

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

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

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

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

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

"so you've got to top it."

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

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

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

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

Very truthfully, as you know, two months ago,

Granada came on
when they heard he was coming.

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

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

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

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

Yeah, but have you seen today's chart?

Dylan, number six,
Subterranean Homesick Blues.

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

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

- Which one'?
- This one right there.

Do you believe that guitar?

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

They're incredible. 20 grand?

Here he comes.

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

Do you think the bottom rule of it
is you dislike me?

No, but there's some people that might.

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

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

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

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

What was it like
when you didn't have any friends?

I can't remember not having any friends.

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

Because I reached a stage

where I suddenly realized what a friend was,
and then I probably had one or two.

Before that,
I didn't understand what a friend was.

Now, do you talk to them?

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

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

That's why your friends are your friends,
because you can talk to them?

- I think a friend is a friend because...
- Communicate with them?

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

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

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

No, I'm just a guitar player, that's all.

Man, you're trying to knock me.

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

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

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

- Yeah.
- Yeah. Those weren't right.

You know that, right?
You know that was all...lies.

Well, I don't know.

Lies and rubbish. You know that.

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

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

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

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

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

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

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

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

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

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

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

I don't know. Ask me another question.

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

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

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

Name me one thing I'll gain.

You might learn something
from my attitude to life.

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

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

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

- I am?
- Yeah.

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

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

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

What does that mean?
Just what does that mean?

What do you do?
What's your purpose in the world?

- What's my purpose in the world?
- Yeah.

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

- Like everybody else.
- Just like me.

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

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

All the time.

But this is interesting.

When I go to interview some groups,

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

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

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

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

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

Can you write them up in your paper?

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

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

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

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

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

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

Well, there's...

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

Everyone is out for what they can get.

Well, I might be able to get
something material.

Do you want to get a chick?

Do you want to pick up a chick?

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

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

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

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

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

Why don't you try?

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

- Be silent?
- Yeah.

And just watch and don't say one word.

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

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

- Knocking?
- Yeah.

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

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

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

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

I didn't misquote you, I interpreted you.

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

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

Why? Why do you have to give some answer?

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

Besides, it's impossible!

You should have said
you didn't want an answer.

- Do you try to satisfy everybody?
- No.

Do you every once in a while, try?

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

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

No matter how hard I try,
I couldn't satisfy them.

How do you know that?

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

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

Yeah.

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

You find a field
on which you can communicate.

What's a deep friend?

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

so you can communicate with them very well.

Somebody that's just like you.

- No.
- Looks like you?

- No.
- No?

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

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

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

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

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

That wouldn't be a bad idea.

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

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

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

- But I didn't...
- I think somebody's calling for you.

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

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

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

Who's the high sheriff's lady?

Would I know?

Do I look like Robin Hood?

Who the hell is the high sheriff?

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

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

She's next door. She's next door.

Is this Jim Clarke?

Jim Clarke is the high sheriff of Nottingham?

Oh, deary me.

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

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

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

I'm the sheriff's lady and on behalf
of all of them,

I've come to say how happy we are
to have you here,

and I hope you have a very successful night.

Everybody loves you,
there's thousands outside.

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

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

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

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

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

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

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

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

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

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

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

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

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

Here's my friend.
He's got something for you too.

How do you do?

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

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

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

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

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

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

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

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

Thank you very much. Goodbye.

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

- What song is that?
- George Formby.

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

Oh, yeah, by Herman and the Hermits.

Have you seen that on television? Dave Berry.

He does all these slow actions
like the human sloth.

He does...

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

What do the Animals do
for a piano player now'?

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

Aren't you playing with them no more?

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

It's king-size.

Oh, man. I don't feel like singing.

You will when you get out there.

Two encores or one, man?

Maybe one. You know...

Maybe. I would like to do one.

Who did I give the matches to before? OK.

There it is. I want that.

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

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

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

What?

What are you doing?

Where are you? I'm talking to you over here.

- Keep it like that.
- Oh, are you over here now'?

- Yeah.
- All right.

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

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

Sorry.

- Straight through?
- Yes.

Up these steps.

Sorry.

Get in a taxi, Pete, come on!

Pete! Pete! Get in a taxi!

Where is he? Where is he?

Oh, he's going.

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

I wanna know who threw that glass!

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

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

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

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

I was out there in the bathroom going out.

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

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

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

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

You know who?

Yeah, I'm in a bit of bother.

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

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

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

tell them who it was.

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

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

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

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

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

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

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

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

you'd better take responsibility for it.

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

- I wouldn't do that.
- Hey, man, I'm not kidding you.

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

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

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

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

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

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

- Talk just like you
- Oh, fuck off!

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

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

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

That's right.

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

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

- Nothing!
- I believe you, man.

- Boys...
- Bobby Dylan...

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

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

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

you know, and if you'd wanted to, you know,

come at me for fucking glasses,

- you know...
- Just a minute.

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

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

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

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

There's a gentleman here
inquiring about a glass.

Right.

Hey, a lot of people can stay, man.

Whoever did that glass...

They damaged the car.

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

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

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

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

I got a record of yours and Jack's.

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

- Also...
- Rambling Boys.

Rambling Boys and The Cowboys.

I just wanted to meet you sober, man.

Not to hurt anybody.

Just didn't want the glass to hurt anybody.

- Me too.
- OK.

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

OK.

Are there any poets
like Allen Ginsberg around?

No. No, nothing like that.

- Dominic Behan.
- Yeah. You know what?

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

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

I just don't wanna hear anybody
like that though.

That's OK.

He plays like Jack, man.

Yeah, man.

Yeah, that's a good song, man!

Sing, Bob.

Well done!

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

- Go on, Bob.
- Yeah.

I've done that thing with the strings.
D tuning.

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

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

Is that the stage door?

Please, yes.

I don't care what they see.

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

So can you sort of expect us?

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

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

Beautiful day, man.

I've been in offices all day
since ten this morning.

Organizing my other tour.

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

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

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

"and put just Donovan all on his own?"
I said, "I can't see it for two hours."

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

I said, "I think we should book about four."

This must be a very old theater.

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

Get up there, get a touch of reality.

Look at all the boxes!

God!

Hello?

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

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

Have you finished rehearsing now,
have you finished rehearsing?

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

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

Are you going to see the concert tonight?
Are you going to hear it?

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

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

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

I mean, I just write 'em.

I'm not gonna say anything about them,
I don't write them for any reason.

There's no great message.

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

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

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

You couldn't care less about that either.

You don't know the people that read you.

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

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

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

but the other people know better.

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

You know the audience
that subscribe to Time magazine?

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

week by week, the people that work
during the day and can read it.

It's small, right, and it's concise,

and there's pictures in it.

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

that take the magazine seriously.

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

if I wanna find out anything
I'm not gonna read Time magazine,

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

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

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

On anything! Even on a worldwide basis.

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

- What is really the truth?
- Just a plain picture.

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

I should say, you know...

a tramp vomiting, man, into the sewer.

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

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

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

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

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

it can't be a good article.

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

without leaving his office.

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

- You know?
- That's not true.

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

and another week will have some space
in the magazine.

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

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

You know?

But, if you have to do this, be honest about it.

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

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

just by looking, you know,

than you'll ever know about me. Ever.

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

but you wouldn't really understand.

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

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

there's certain things which -
every word has its little letter and big letter.

Your friend had the right word - pigeonhole.

No, it's not pigeonhole, it's not the word at all.

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

- The word K-N-O-W?
- Yes.

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

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

Right, but we all think we know things.

And we really know nothing.

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

No, I was saying,

I was saying that you're gonna die and you're
gonna go off the earth, you're gonna be dead,

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

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

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

you know, you decide for yourself.

OK? I'll decide for myself.

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

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

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

So...

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

all your ideas in your own head,

somehow, wherever they are...

Do you care about what you sing?

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

What a nerve asking me a question like that!

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

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

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

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

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

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

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

is coming for any other reason
except entertainment, really?

They'll tell you they come for different reasons.

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

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

People say all kinds of things.

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

I don't know how you weed it out.

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

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

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

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

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

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

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

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

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

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

You have to listen closely,

but I hit all those notes.

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

Is it gonna start on time?

Is it gonna start on time?
Miss anything different?

What time does it start? Seven o'clock?

- 7:30.
- That's it.

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

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

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

We got special speakers on each...

All the seats are sold, anyway.

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

Hey, the Beatles are here.

This should be a lousy place,
I'll have to be able to hear myself.

- You hear yourself?
- There you go.

Stay right in back here.

About two minutes.

A minute and a half.

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

So be ready.

OK now? Get the harps.

The hall is dark, come on.

Let's go.

I looked in the closet, there was Donovan.

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

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

Actually, the applause, it's kinda bullshit.

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

See ya!

Go, driver, go!

Go, driver!

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

That was a good concert.

Beautiful!

They were all there, man.

All of them.

Goddamn!

- The vanishing American.
- Yeah.

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

You have!

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

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

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

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

Two or three.

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

- You're kidding.
- Of course.

- An anarchist?
- Yeah.

Give me the cigarette.
Give the anarchist a cigarette.

Anarchist!

A singer such as I!

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

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

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

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

- Oh, it's cool.
- Yeah.

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

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