Johnny's in the basement
Mixing up the medicine
I'm on the pavement
Thinking about the government
The man in the trench coat
Badge out, laid off
Says he's got a bad cough
Wants to get it paid off!
Look out, kid
It's somethin' you did
God knows when
But you're doin' it again
You better duck down the alleyway
Lookin ' for a new friend
The man in the co*n-skin cap
In the big pen
Wants eleven dollar bills
You only got ten
Maggie comes fleet foot
Face full of black soot'
Talkin' that the heat put
Plants in the bed but
The phone's tapped anyway
Maggie says that many say
They must bust in early May
Orders from the DA
Look out, kid
Don't matter what you did
Walk on your tiptoes
Don't try NoDoz
Better stay away from those
That carry around a fire hose
Keep a clean nose
Watch the plainclothes
You don't need a weatherman
To know which way the wind blows
Oh, get sick, get well
Hang around a ink well
Ring bell, hard to tell
if anything is gain' to sell
Try hard, get barred
Get back, write braille
Get jailed, jump bail
Join the army, if you fail
Look out, kid
You're gonna get hit
But losers, cheaters
Six-time users
Hangin' 'round the theaters
Girl by the whirlpool's
Lookin' for a new fool'
Don't follow leaders
Watch your parkin' meters
Ah, get born, keep warm
Short pants, romance,
learn to dance
Get dressed, get blessed
Try to be a success
Please her, please him, buy gifts
Don't steal, don't lift
Twenty years of schoolin'
And they put you on the day shift
Look out, kid
They keep it all hid
Better jump down a manhole
Light yourself a candle
Don't wear sandals
Try to avoid the scandals
Don't wanna be a bum
You better chew gum
The pump don't work
'Cause the vandals
took the handles
You will start out standing
D-Did you see my cane?
- Yeah, it was right here.
- It's gone.
- You didn't see it, did you?
- What?
My cane.
Oh, shit.
He said it's gone. Is it here?
- It's not -- I left it right there.
- When, today?
- Oh, it's in back of the door.
- He's got it.
It's in back of this door here.
Will you -- Will you remember
to get the cane?
I ain't lookin' to compete with you
Beat or cheat or mistreat you
Simplify you, classify you
Deny, defy or crucify you
All I really want to do
Is, baby, be friends with you
Can you smoke here?
London Bridge is falling down,
falling down, falling down
London Bridge is falling down
My fair lady
Huh?
- Uh, you came here two years ago, didn't you?
- Yes, I did.
What's the -- 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 figure 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 lightbulb for?
- What's the lightbulb for?
I thought you would ask me that.
No, I usually carry a lightbulb.
Somebody gave it to me, you know?
What? Sorry.
I didn't quite catch the answer.
Somebody gave it to me,
a very affectionate friend.
I see.
- Are you 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 lightbulb.
Well, I plugged it into 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 understand?
Have they told you that they do?
They told me.
Haven't you ever heard that song?
"She said so."
- What did it say?
- You got it wrong.
Do you think that they understand you
because they don't want to 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, uh --
Well, we 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.
Do you ever read the Bible?
What about the Bible?
Do you ever read the Bible?
Urn, 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 said --
- I can't pose.
- You don't have to pose.
But just do it and I'll sh**t.
And again.
- Sorry?
- You got solemn.
I can't do it.
We publish these things, you know.
They'll shake you, you know.
- Your name, please?
- Joan Baez.
- Joan --
- B-A-E-Z.
Oh! Strewth!
- I didn't recognize you, I'm sorry.
- Good.
Nice to see you.
I've been looking for you all day.
Well, this is the part
where I don't write.
I don't -- I'm not gonna --
Anything that happens now,
I'll just remember, you know.
But when I'm living, doing
my own thing, doing what I do --
- Yes.
- this is never around me.
I mean, I accept everything.
I accept this, you know, I'll accept that.
- Why?
- Well, because it's here. it's real.
It exists just as much as, uh --
you know, just as much
as the buses outside exist.
I mean, I can't turn myself off to it...
because 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 -- Puffing heavily on
his cigarette. He smokes 80 a day."
I'm glad I'm not me.
Sally go 'round the roses
Sally won't tell her secret
Sally, don't tell your secret
Roses they can't hurt you
Roses they can't hurt you
- Do you know that song, "Sally"?
- Yeah, I like that song.
Donovan. Who's this Donovan?
- Let's put him right on the sidewalk.
- He's a good guy actually.
- 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.
- Bloke.
- "Blech."
- Anyway, he's singing a bit of folk music...
and he's been around
and he plays very good guitar.
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.
- Yeah.
- He's all right.
Well, I got him up on the wall,
you know.
- Anybody I --
- Where? Where? Where? Where?
- He's right there.
- Yeah. "Is Donovan Deserting His Fans?"
He's only been around for three months.
Well, that's what I call a loser.
I ain't gonna work
on Maggie's farm no more
I ain't gonna work
for Maggie's brother no more
- No, listen.
- In the South, they get it, you know?
- London, they get it.
- Oh, hey. It's ridiculous to say that.
- They've done so much --
- In a short time.
- That's America. We're talking about England.
- Not a short time, 26 years.
I was thinking, when did Abraham say
that we're all equal and all that?
- When was the Declaration?
- That was 200 years ago.
Yeah, well, he said that, didn't he?
He said that,
but he never does nothing.
- Nobody ever does anything without the vote.
- People 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, um --
uh, promising artist of the year...
and the best-selling
folk record, Freewheelin'.
- I just don't want them.
- Just have them mail it to you?
- I don't even wanna see 'em.
- Okay. 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.
Uh, West African listeners,
and it's going out this evening.
And the questions
are four in number...
for your approval before we ask them.
The first one's
a very general journalistic one.
Just how did it all begin for you?
What started you off?
What triggered it off?
Uh, 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, Bob...
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."
Now, does this sort of compassion
on your part...
present any problems
for you in America?
Okay.
Oh, by the way, you took part in a play
in Britain some time ago...
written by a school friend of mine,
Evan Jones.
- Oh, yeah.
- Evan and I went to school in Jamaica together.
Yeah.
Castle Street, wasn't it?
- Yeah, Madhouse on Castle Street.
- Yes.
Going ahead in about, say,
five seconds from now...
with this interview with Mr. Bob Dylan
for the African Service of BBC.
Pete Myers and Colin Wilde producing,
in approximately five seconds.
How did it all begin for you, Bob?
What actually started you off?
Um --
From the poverty shacks, he looks
from the cracks to the tracks
And the hoofbeats
pound in his brain
And he's taught
how to walk in a pack
sh**t in the back
With his fist in a clinch
To hang and to lynch
With his head 'neath a hood
To k*ll with no pain
Like a dog on a chain
He ain't got no name
But it ain't him to blame
He's only a pawn in their game
Today, Medgar Evers was buried
from the b*llet he caught
They lowered him down as a king
But when the shadowy sun
sets on the one
That fired the g*n
He'll see by his grave
On the stone that remains
Carved next to his name
His epitaph plain
Only a pawn in their game
Thank you. Thanks.
Come gather 'round, people
Wherever you roam
And admit that the waters
Around you have grown
And accept it that soon
You'll be drenched to the bone
If your time to you is worth saving
Then you better start swimming
or you'll sink like a stone
For the times they are a-changin'
Ramona, come closer
Shut softly your watery eyes
The pangs of your sadness
Will pass as your senses will rise
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 makeup...
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."
Are you aware of the fact 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.
The applause was fantastic. I've
never heard so much applause there.
- I've been coming here for quite a while.
- That makes me feel good, you know.
Makes me feel good.
Are you religious?
Well, I don't know.
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 believe in anything?
I don't see anything to believe in.
Do you think you're cynical?
No, I'm not cynical. I just can't see
anything anybody's offered me to believe...
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.
What do you mean, who's in charge of it?
- Are you Bob Dylan's manager?
- Yes, I'm Bob Dylan's manager.
- But I'm not in charge of his room.
- No, you're in charge of Bob Dylan.
No, I'm not in charge of Bob Dylan.
We have had complaints
about the noise above, below --
Oh, that's unfortunate.
We'll try to hold it down.
- If it isn't organized within
five minutes, I will ask you to leave.
- What noise? What noise?
Why don't you get a constable?
Would you, please?
- I will.
- Please do that.
There's been no noise in this room.
And you're one of
the dumbest assholes...
and most stupidest persons
I've ever spoken to in my life.
If we were someplace else,
I'd punch you in your g*dd*mn nose.
You stupid nut.
We've rented this room,
and I'm asking you to leave this room.
We have valuables in here,
and I don't want you in here.
- Don't you 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 get clear of the town --
There's one in there. Shall I read it out?
- Yeah.
- "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 quickly for a relaxing picture,
he seized a flower from a vase in the room...
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 off his show 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 quite so condescending.
His tour, opening at
the 2,700-seat hall, was a sellout...
but without one single scream
and with 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 more than 2,000
and a foot-stamping ovation."
That's all.
- Do you know where he's staying tonight?
- The hotel.
- Where?
- Um, near the theater.
In a hotel?
- You staying in a hotel?
- Don't be personal.
- Is that him?
- No.
Oh!
Oh, hell!
- Isn't he handsome?
- Isn't he lovely?
Oh, it can't be.
- Pinch me. Pinch me.
- Come down.
Ohh!
Oh, me dream's come true. Oh!
Are you gonna sing
"Times They Are A-Changin'"?
You want me to sing that, huh?
- You really like that song?
- Yeah, it's fantastic.
What do you like about it?
I don't like any of the, um,
"Subterranean Homesick Blues."
Oh, you're that kind of --
I understand right now.
It's not you.
It doesn't sound like you at all.
But my friends were playing with me
on it though.
You know, I have to get
some work to my friends.
- You don't mind that, right?
- Right.
Huh? You don't mind
them playing with me...
if they play the guitar and drums
and all that kind of stuff, right?
It just doesn't sound like you at all.
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?
- Isn't that all right with you?
- Some people might not take you seriously --
- 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?
- Huh?
- Have you any brothers and sisters?
God, I don't even know that.
I have lots
of brothers and sisters. Lots.
I've got a little sister.
She's mad on you.
- Is this called Merseyside?
- Yeah.
Come gather 'round, people
Wherever you roam
And admit that the waters
Around you have grown
What the hell's wrong with the mic?
I can't hear him.
- What the hell's happened?
- No sound here at all.
Okay.
For the times they are a-changin'
Nobody's pulled anything out, except that one.
- Oh, for crying out loud.
- Come on!
- Is he down there?
- Is he down there?
Is he down there?
Don't block up the hall
For he that gets hurt
Will be he who has stalled
There's a battle outside ragin'
it'll soon shake your windows
and rattle your walls
For the times they are a-changin'
For the times they are a-changin'
Bob Dylan in the number 16 slot...
with his own composition entitled,
"The Times They Are A-Changin'."
Caroline fans, it's all happening --
What number was the other one?
- What?
- What number was the other one?
- Thirty-one.
- Thirty-one?
On the Fab chart.
Straight across the front.
William Zanzinger
k*lled poor Hattie Carroll
With a cane that he twirled
around his diamond ring finger
At a Baltimore hotel
society gathering
And the cops were called in
and his w*apon took from him
As they rode him in custody
down to the station
And booked William Zanzinger
for first-degree m*rder
And you who
philosophize disgrace
And criticize all fears
Take the rag away from your face
Now ain't the time for your tears
William Zanzinger,
who at just 24 years
Owns a tobacco farm of 600 acres
With rich, wealthy parents
who provide and protect him
And high office relations
in the politics of Maryland
Reacted to his deed
with a shrug of his shoulders
And swear words and sneering,
and his tongue it was snarling
And in a matter of minutes
on bail was out walking
And you who
philosophize disgrace
And criticize all fears
Take the rag away from your face
Now ain't the time for your tears
Hattie Carroll was a maid
of the kitchen
She was 51 years old
and gave birth to 10 children
Who cleaned up the dishes
and hauled out the garbage
And never sat once
at the head of the table
And didn't even speak
to the people at the table
Who just cleaned up all the food
from the table
And emptied the ashtrays
on a whole other level
Got k*lled by a blow,
lay slain by a cane
That sailed through the air
and came down through the room
Doomed and determined
to destroy all the gentle
And she never done nothing
to William Zanzinger
And you who
philosophize disgrace
And criticize all fears
Take the rag away from your face
Now ain't the time for your tears
We do about 20, 30 of your numbers.
- Really?
- We give them all a big band sound.
You'd probably think
we're ruining your new material.
But we're doing it because it --
We're doing it because --
idols of you.
Thank you.
Are you playing around anywhere?
When we play 'em though, we try and tell 'em
it's the words they ought to listen to.
You play with rhythm guitar
and electric guitar too?
Yeah, we play electric guitar.
We find it's very difficult to get
people to listen to words though.
All they want to do is just listen to --
I don't really --
it's beyond me. I don't --
I just go out there
and sing 'em, you know?
If the people are --
If I was booked to play,
I just go out there and sing 'em.
I'm not gonna try
and get anybody to listen.
Hey, hey, hey, hey, hey, hey, hey.
Step out of my way.
- Hey, hey, hey, hey.
- Oh, bless his heart!
Bye!
Bye. See you now.
See you later.
- 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.
- The chick.
- 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.
- Okay, how you doing?
We'll see you later, man. Bye.
Bad news, bad news
Came to where I sleep
Turn, turn, turn again
Sayin' one of your friends
is in trouble deep
Turn, turn to the rain
and the wind
Tell me the trouble
Tell me once to my ear
Turn, turn, turn again
Joliet prison for 99 years
Turn, turn to the rain
and the wind
Tell me once
how this came to be
Turn, turn, turn again
It was manslaughter
in the highest degree
Turn, turn to the rain
and the wind
I sat down and wrote
the best words I could write
Turn, turn, turn again
Asked the judge to see me
on Wednesday night
Turn, turn to the rain
and the wind
Without a reply
I left by the moon
Turn, turn, turn again
I was in the judge's chamber
by the next afternoon
Turn, turn to the rain
and the wind
Tell me now
I asked without fear
Turn, turn, turn again
How one of my friends
could get 99 years
Turn, turn to the rain
and the wind
A crash on the highway
threw a car into a field
Turn, turn, turn again
Four people k*lled
with him at the wheel
Turn, turn to the rain
and the wind
I don't remember that g*dd*mn song.
That love is just a four-letter word
I haven't touched that song.
Did I? Huh?
Outside a rambling
storefront window
cats meowed to the break of day
Me, I kept my mouth shut too
I had no words to say
My experience
was limited and underfed
You were talking while I hid
To the one who was
the father of your kid
You probably didn't think I did
But I heard
You say that love is just
a four-letter word
- Do you remember any more, Bobby?
- No, I never finished it.
Oh, God. You finished it
about eight different ways.
Yeah.
- Yeah. That's a good song.
- It's beautiful.
If you finish it,
I'll sing it on a record.
Yeah, I can -- I can finish that.
Have you ever heard
"She Died for Love at 3:00 AM"?
Huh? Bill Anderson wrote it.
You know what's a great song.
You remember that song...
"In the Shadows
of the Warm Red Wine"?
"Long Black Veil."
Sing "Long Black Veil."
Oh, don't say that.
Play "Long Black Veil."
Morn took sick along in December
February brought us
broken heart
I was just a lad
Nearly 22
Neither good nor bad
Just a kid like you
Then I got lost
Too late to pray
I started goin' down
That lost highway
Now, boys don't start
To ramblin' around
On this road of sin
Are you sorrow bound
And you'll get lost
Till you curse the day
You started gem' down
That lost highway
- I know there's another verse.
"I'm a rolling stone."
- Oh, yeah.
I'm a rolling stone
All alone and lost
For a life of sin
I have paid the cost
Take my advice
You -- You'll curse the day
You started goin' down
That lost highway
What about that --
Hear that lonesome whip-poor-will
He sounds too blue to cry
That midnight train
Just rolled away
I'm so lonesome I could cry
Welcome home.
First time that this room hasn't been full of
a bunch of insane lunatics, man...
that I can remember.
Bobby, it was all so nice.
You don't know.
- Wow.
- 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.
Scheherazade.
You fagged out before you even
thought you were faggin' out.
Oh, my God. There she is, fagging.
Fagging --
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 your turtle.
God.
You must leave, take what you want,
you think will last
Do you have somewhere maybe
I can write out these things here?
- Just paper.
- Oh, yeah. Good. Okay.
- You'll have to make the most of that.
- Really? You don't have any more?
That'll do it.
- You're expectin' you won't
get ripped out of that paper?
- I've got all these songs written.
Have to write small or something.
Yonder stands your orphan
with his g*n
Crying like a banana in the sun
Can I finish this?
Here comes the night
Whoo
Here it comes
No, no!
Here comes the night
Whoo
Long live Queen Lucy!
Out of place, baby!
Crowned my daughter queen
of the "Scheherazadie" festival.
Did you see
that man on the platform...
reached in his pocket,
pulled out a speech and said...
"So happy to be here"?
- Wanna do it now?
- Oh, concert. Yes.
Yeah, we can do that.
I knew there was something.
I knew we were here for some reason.
I knew it wasn't the hotel.
Do good.
What kind of money, do you think?
How far do you think we can push them?
I tell you, as far as Granada goes,
they were talking 1,200, 1,300.
There's 1,500 there. I know.
- You don't think we can do better?
- Possibly, yeah.
But I know that
he's talking 1,200, 1,300.
Why don't we ask for 2,000?
Well, I had that figure in mind,
strangely enough.
- We'll get it settled.
- Great.
- Why don't we get an answer from him?
- Right.
Just tell him that
I have to present it to Bob...
before we can give him a final answer,
but we'll give it to him by tomorrow.
Fine.
I'll get Johnnie and Granada.
The other one was Rediffusion,
but they're the same as --
Johnnie Hamp, please, urgently.
Wherever he is, track him down, dear.
Johnnie Hamp is in the studio.
His secretary said...
if you could tell somebody what this is about,
she might be able to get him to the phone.
Just say "Bob Dylan."
He'll be there in a shot.
Two grand, Johnnie.
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, please, Stuart's PA.
- Yes, Chris.
- He's not' available at the moment.
He's a bit tied up down at the theater.
Can I help?
Well, I think he might untie himself.
Would you tell him this is the call he was
expecting regarding Bob Dylan?
- Bob Dylan?
- Yes.
Okay. Well, you know, when I say
he's tied up, I really mean it.
- You know, 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.
Okay, I'll try and get him.
Will you tell him, Chris, that I
have Mr. Grossman with me, Bob's manager?
- Albert Grossman's with me now.
- Okay.
Okay, bye.
How about that?
He thinks I'm putting him on.
What do you think, Stuart?
Mm-hmm.
Uh-huh. Oh, dear.
Now for the two --
Hmm.
Well, not bad for me.
I'll take it for a week's work.
I don't mind.
Urn, Stuart --
Look, 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. You probably
could stretch him to 1,500.
So I figured this.
You know, it's BBC.
- Maybe for one show, but not for two.
- No.
I had a feeling that Granada would come up
with the best money. They have done in the past.
Remember what he offered Peter,
Paul and Mary for two shows, BBC.
This seems to be their -- their top.
But I imagine we really, uh --
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 Johnnie?
- Stuart.
Stuart? All right.
Listen, 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 were looking for for Bob...
and I assumed that when Tito told me
you were interested...
that we were somewhere
in that vicinity.
And I was personally kind of surprised
at the nature of the offer.
And as much as we'd like to do
a show for BBC...
I think we can't consider it
at that money...
'cause 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, no. I wouldn't --
1,250 for each half hour.
Well, uh --
Thank you very much. Bye.
He said he'll put it to them,
but he's almost certain it'll be 1,200 even.
But I think he's gonna come back
with 2,000 for two shows.
Then we're no better off.
We're still better off with
the other one with one show.
Are we, Albert?
I don't know.
- Don't know myself.
- Hmm.
- I mean, I don't --
- Can we, without acting in bad taste --
Can we get Johnnie Hamp
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 --
- Yes?
Go along with me. I know Johnnie,
and Johnnie's a good guy.
Johnnie is not about to
save them money, you know.
But we only asked for 2,000.
He's certainly not going to come back
with more than that.
He's certainly not gonna come back
and say...
"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,
Johnnie will be back in the morning.
If he comes up with the 2,000, and if
they turn around and say, "Forget it" --
if they come up with the 2,000, I'll say,
"Look, Johnnie.
Albert wants to do it with you.
We're not saying no to you
and doing the other one.
We're gonna tell you straight
what happened.
We were ready to do yours if
you came back with 2,000...
but then the BBC got raving mad
and came up with 2,000...
so you've got to top it."
Albert. Um -- Albert. Stuart.
I'll be with Albert in a few moments...
and I'll put it to him...
and, uh, you know, I'm sure he'll come up
with a decision very quickly.
Uh -- Well, now, Stuart,
let me tell you --
Yeah. No, let me tell you something,
between you and I.
Very truthfully, as you know, um,
two months ago...
Granada came on
when they heard he was coming.
And you know them,
they pay, you know --
Uh, well, they pay for the taxi as well,
if you know what I mean.
Uh, 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. Yeah.
I'll be with Albert
within 10 minutes or so.
- Look at that guitar, man.
- Which one?
This one right there.
Do you believe that guitar?
They don't have those guitars
in the States, man.
Jesus!
They're incredible.
Twenty grand?
Here he comes!
- I did not!
- Had a cut-down bend and long sideburns.
Do you think it would bother me
one little bit if you disliked me?
Uh, no. But if it were some people,
it might bother you.
No, no, uh, you know --
I've got my friends.
I-I mean, I --
You know, I'm well situated.
What about before you had any
friends? Were you worried then?
Was I worried?
I wasn't worried about it, no.
I was lucky then.
Weren't you?
- I think I've got very few friends now.
- Was it lucky when you didn't have any friends?
- I don't really have any friends.
- Huh?
- Do you have a lot of friends now?
- No.
Because, um, I reached the stage when
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 anyway.
- You talk to your friends?
- I didn't know who they were then.
- Now, your friends. You talk to your friends?
- Do I talk to them? Yeah.
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?
Um, I think a friend
is a friend because --
- You can communicate with them?
- Uh, to a certain extent.
They can understand me
more than anybody else.
Oh. Well, you see, we differ. We differ.
We come from two different worlds.
- You come from England,
I come from the United States.
- That's true. That's true.
But I -- We're still human beings,
so there's some sort of connection between us.
Nah, I'm just a guitar player.
That's all.
Man, you're trying to knock me.
I'm -- Believe me,
I'm not even trying to do that.
I mean, when somebody comes in to
interview you, normally what's your attitude?
Oh, you just read those interviews
that were the first few days I was here.
- Um, yeah. Yeah.
- Yeah. Those weren't right.
You know that, right?
You know that that was all lies.
- Li -- Well, I don't know.
- Lies and rubbish! You know that.
I got the first few lines
and didn't read much more.
Why I came here, I don't know.
I've been regaled with all this --
- Are you going to the concert?
- Yeah, I'm going to watch.
- I mean, I-I --
- Listen.
- This is what I came to see, mostly.
- Okay, just listen.
I came to see you, but I thought
I'd like to have a word with you first.
What is your whole attitude to life?
- When you meet somebody,
what is your attitude towards them?
- I don't like them!
- You don't --
- No!
I mean, I thought I'd come in here --
What's your attitude towards me?
No, I haven't got attitude
towards you at all.
Why should I have an attitude
towards you? I don't even know you.
It'd be an attitude if you wanted to
know me or didn't want to know me.
- Why should I want to know you?
- I don't know! That's what I'm asking.
Well, I don't know! Right?
Ask me another question.
Just give me a reason
why I should want to know you.
- I might be worth knowing.
- Why?
- Huh?
- Why? Tell me why.
What good is it gonna be for me to know you?
Name me one thing I'm gonna gain.
Well, you might learn something
from my attitude to life.
- Well, what is your attitude to life?
- I can't explain that in two minutes.
Well, what are you asking me
to explain in two minutes?
All you're getting is two minutes. You're asking
me to explain something in two minutes too.
But you have the answers. You're supposed
to be able to explain it in two minutes.
- 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.
What are you?
- A what student?
- A science student.
- Now, just what does that mean?
- Hmm?
What does that mean?
What do you do?
What's your purpose in the world?
- What's my purpose?
- Yeah.
How do you help --
What do you do in the world?
Well, I'm in the world for me, I guess,
just like everybody else.
- Just like me.
- Yeah. Yeah.
- So we're just alike, aren't we?
- I guess so.
We don't come from two different worlds.
We both come from Prussia.
You were wrong. You were wrong.
I was right all the time.
No, but this is interesting.
I mean, I go -- I go to interview --
If I go to interview Alan and his mob,
they couldn't care less about me.
Well, you know, why don't you --
Haven't you ever stopped to wonder why?
There's gotta be some reason,
doesn't there?
- Yeah, yeah.
- I mean, it just doesn't happen.
But it's nothing to do with me, because they
don't want to know me before I go in.
- Huh?
- Before I go in --
Well, what can you offer them?
Can you write them up in your paper?
That's not -- What is that?
No, I-I-I don't think of myself
as necessarily a journalist.
- You gonna give 'em some science?
- I'm a person, you know.
Well, so what?
There's a million, thousand, billion --
- There's so many persons outside.
- Yeah, I agree. Absolutely.
- I mean, you can't know them all, can you?
- No. No.
But if I meet somebody, speak to
them for a few minutes and I think...
that guy might be able
to give me something.
Well, then -- Oh-ho!
Whoa!
- Yeah!
- Nitty-gritty!
Now I'm getting down there, huh?
Yeah!
- Well, what is it that you want?
- Um, everyone wants --
- Everyone is out for what they can get.
- Well, what is it?
I might be able to get, um,
something material --
You wanna be able to get a chick.
You wanna be able to get a chick?
Right there. Here. You got it.
I don't want it.
I can't play that thing.
- We don't want it either.
- Well, I can't play it.
They may be able to give me
something material, but I'm not
necessarily interested.
- What are they gonna give you spiritually?
- Urn, I might learn something.
What? What don't you know
that you want to know?
You get a kick out of
interviewing people?
Well, I won't know
if I don't try to find out.
- Well, you try.
- Huh?
- Don't you ever --
- Wait --
Do you ever just be quiet, silent and
just watch and don't say one word?
Yeah, the whole thing that gets me
about you, and about Alan...
is the fact that you're knocking
from the minute I come in.
- Knocking?
- Yeah. You're not interested.
I don't think you know
when you're liked. That's all.
If we, you know -- If we wanted to
knock you, we could put you on.
Yeah, but he just said
that I'm talking a lot of rubbish.
I never said that.
You're misquoting me already.
No, I didn't misquote you.
I interpreted you.
You interpreted him to your own --
to your own thing, right?
Your own, uh -- Your own --
Your own rules of, uh --
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!
Well, if you'd said you didn't want
an answer, I wouldn't have given one.
- You always try to satisfy everybody?
- No.
- Do you every once in a while try?
- Hmm?
- Do you every once in a while
try to satisfy somebody?
- Somebody, yeah. Not everybody.
- A few people though, huh?
- There's some people I can't satisfy
because that's the way I'm made.
- Yeah.
- No matter how hard I try,
I couldn't satisfy them.
- How do you know that?
- Hmm?
- How do you know that?
- Um, I can --
Well, after you get to know somebody for a
little while, you can guess just, um --
Are you -- Are you still friends with them,
even though you can't satisfy them?
Yeah.
- What do you talk about --
- Friends. Not deep friends.
Not deep friends?
What's a deep friend?
Somebody that you can --
You're almost on exactly the same plane with them.
- Somebody that you're just like?
- You can communicate with them very well.
Somebody that you're --
They're just like you. Right?
- Looks like you?
- No. No.
- Talks like you?
- Um --
- How do you mean, "like somebody"?
- Thinks the same way.
Thinks the same way?
Like what? They both think that --
Both are happy about a green door?
No, think in the same language.
- Think in the same language.
- Yeah.
So you can understand each other and
you know what each other are thinking.
Well, let's try and understand
each other, shall we?
That wouldn't be a bad idea.
That wouldn't be a bad idea.
And how are we gonna set about
understanding each other?
- Well, you can ask your first question.
- Hmm?
You can ask your first question. Oh, yeah.
Have you got a question to ask? Come on.
You haven't got any questions?
- Well, I didn't --
- I think somebody's calling for you.
- You want me to go? I'll go.
- No, you don't have to go.
No, I didn't -- I didn't come in here --
I mean, I don't consider myself --
He thinks of me as a journalist,
but I'm not a journalist.
Hey, man. 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?
We're all the high sheriff, man.
- Where is this high sheriff's lady?
- I think she's the big cheese.
- She's next door.
- I think she's 13 years old.
Is this Jim Clarke?
Jim Clarke
is the High Sheriff of Nottingham?
Oh, dearie me.
- Get your boots, Alan.
- She wants to say hello to you.
- Well, who is she?
- I don't know. The guard just told me.
The high sheriff's lady. I thought
you might get knocked out by that.
The high sheriff's lady wants to say hello to you!
The high sheriff!
But I'm the sheriff's lady...
and so on behalf of all of them I'm come to say
how very happy we are to have you here.
I hope you have
a very successful night.
Because everybody loves you.
There are thousands outside.
These are my three boys.
Matthew, Stephen and Stephen.
- Hi. Hi.
- And they think you're so marvelous...
that they've left all their exam papers.
They've got terribly important exams,
and they've left everything to come listen to you.
- Ah. Okay, I hope --
- So I do --
You'd better be good. You are good!
I don't think you can help being good.
But we're really very thrilled indeed
to have you here.
And if you come after May again, then I'll
have you as my guest in the mansion house.
- This lady will be lord mayor.
- Oh! I'll come right over.
After May.
When you come back.
You see, I think the songs
you sing are very wonderful.
- Thank you.
- And you write them yourself too,
don't you sometimes?
- I wrote 'em all, yeah.
- Have you really?
Yes, because they've got feeling
and they're really marvelous.
And, uh, I really mean this. You're
a really good example for the youth.
Thank you.
So if you'll come back again,
I shall be delighted...
to have you both as my guests
in the mansion house.
- Oh, here. Here's my friend.
- We have something for you too.
- How do you do? How do you do?
- Would you like that?
- Ooh, love it! Is this from you?
- Yeah, it's mine. it's a used one.
Thank you very much indeed.
That's very lovely of you.
Now, if you're his friend,
I've just invited your friend --
if he comes any time after May,
to come with his manager and 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.
I want everyone to know
what a wonderful city this is...
and what hospitality we give...
and also want you to know
how very thrilled we are to have you.
Thank you very much.
Good-bye. Good-bye. He's charming!
it's 7:30 now? Oh, shit.
I'm sittin' on the lamppost
on the corner of the street
When a certain little lady
comes by
Oh, me, oh, my
- What song is that?
- George Formby.
He's the one who does
"Mrs. Brown, You've Got a Lovely Daughter."
I've heard it
by Herman and the Hermits.
Little things
That you do
- That is --
- This is gonna be on television.
Dear Billy, he does all
these slow actions, man.
He's like a human sloth.
You know? He does --
Little things
That you do
Make me glad
I'm in love with you
- Little things that you say
- it's great!
He has the microphone,
and he drops it down his back and --
Make me glad
That I feel this way
When you walk
I wanna hold your hand
They
Make me glad
That I feel this way
Little things
That you do
Make me thrilled
I'm in love with you
When we walk
And when you hold my hand
And when we talk
You say that I'm your man
And oh, I love those little things
In my head
What are the Animals doing
for a piano player now?
Uh, they've got one.
There's a good friend of mine
going later on for good, you know.
Yeah. Aren't you playing
with them no more?
No.
It's all right.
It happens. You know.
it's king-size!
Whoa, baby
Whoa-ohh-ohh-ohh-ohh
- Oh, man. Sure don't feel like singing.
- You will when you get out there.
Two encores or one, man?
Maybe one.
Yeah, I don't know. Maybe.
I would like to do one.
Who'd I give the matches to before?
Where is -
Is there an opener somewhere?
Shh. You got your opener here?
What the hell is going on?
Taking a bottle of sauce to work.
You get glass in there?
Wood.
And it ain't no use
in callin' out my name, babe
Like you never did before
And it ain't no use
in callin' out my name, babe
I can't hear you anymore
I'm a-thinkin' and a-wonderin'
Walkin' all the way down the road
I once loved a woman
A Child, I'm told
I give her my heart
but she wanted my soul
But don't think twice
it's all right
What about that?
- Bob!
- What?
- Keep playing.
- What are you doing?
Bob. Bob. I wanna find out
where the sound --
Well, where are you?
I'm acting like I can hear over here.
- Are you here for the rehearsal now?
- Yeah.
All right.
- Where's the door?
- Downstairs.
- Be clear, man. I got things on my --
- Go down the stairs.
Sorry.
- You got 'em?
- Yeah, I got 'em here.
I got 'em.
- Straight through.
- Got it.
- Oh!
- Get in the taxi, Pete! Come on!
Pete! Pete, get in the taxi!
Holy shit! it's him!
Oh, he's going.
- Come on! Down here!
- Quick!
Anyway --
Let's write it in depth.
Hey, hey, hey
Why do you treat me like you do?
- I want to know who threw that glass in the street?
- Yeah, this is --
Who did it?
You'd better tell me, man!
If somebody don't tell me who did it, you're all
gonna get the f*ck out of here and never come back!
Who did it? I don't care who did it!
I just wanna know who did it!
I'm pissed. All right?
I was out there, in the bathroom going out.
Hey, don't tell me you're pissed, man!
Don't tell me you're pissed.
I don't wanna hear you're pissed.
- Who threw the glass in the street?
- I didn't throw the glass.
Well, who did? Tell me.
You were there. Who threw it?
- You know who?
- Yeah, I know who, Bob, but --
All right. Hey, I don't care who did it.
If you know, you better tell
whoever did it to get out there and --
Tell the cats that come up here
to ask who did it -- Tell 'em who it was.
I'm not takin' no f*ckin' responsibility
for cats I don't know, man!
I got enough responsibility
with my friends and my own people.
- I agree.
- No, no. Come on.
- I was out there --
- I don't care who -- Hey, don't --
I don't want none of your shit, man.
I'm not flashing shit.
I'm not giving you shit.
What'd you do it for? What'd
you throw a glass at people for?
- I didn't throw a glass --
- Well, show me the person that did.
If you don't have him here by the count of 10,
you'd better take responsibility for it.
One, two, three, four, five, six, seven,
eight, nine, 10. You got him here?
No. I wouldn't know.
Hey, man, I'm not kidding.
You think I'm kidding?
Who's gonna clean up
that glass, man?
I'll clean it up.
I'll clean up your glass.
Hey, I'll help you, man.
- I wouldn't clean your --
- Hey, I believe he's all right, man.
- Hey, I believe he's all right. Okay.
- Listen.
- No! I've heard it a thousand times!
- Oh, for f*ck's sake!
- Listen, I'm --
- I know a thousand cats that look just like you.
- Talk just like you.
- Oh, f*ck off.
- Wow.
- You're a big noise. You know?
- I know it, man. I know I'm a big noise!
- I know you do!
- I'm a bigger noise than you, man.
- I'm a small noise. I'm a small cat.
That's right.
Listen, if I'd have thrown
a f*cking glass --
Hey. You're anything
You say you are, man!
- I'm nothing! I'm nothing!
- I believe you.
- Nothing!
- I believe you.
- Boys -- Boys.
- Listen, Bobby Dylan --
- Could we have a drink over here?
- You're a big international noise. You know?
- Right. Right.
- I'm nothing.
I didn't throw any f*cking glass
in the street, man.
You know, if I had
and I wanted to believe it --
- Well, who did, man?
- You know?
If you'd have wanted to, you know,
come at me for f*cking glasses --
Frank. Hang on. Frank.
- You know?
- Just a minute. Frank.
- I'd have had a go at you.
- It's all over, man. It's over.
Just tell the cats
they don't have to sweep it up.
- I will go down and sweep it up.
- No, you don't have to.
- Just tell 'em we'll do it.
- Be groovy.
Yeah, either be groovy or leave, man.
You don't have to be groovy for me. Just be
groovy to anyone you wanna be groovy for.
There's a gentleman here
inquiring about a glass.
- Right.
- Tell people to go, man.
Hey, a lot of people can stay, man.
Whoever did that glass thing --
it appears there was a glass --
- Oh, man --
- No, they've got several, you see.
Oh, okay. We'll find out who did it.
We won't find out who did it,
but, hey, I'm sorry about it.
I used to wear a cowboy hat
like Jack. Right?
I got a record of yours and Jack's.
- Oh, yeah?
- I have one called The Cowboy --
The Cowboys, and also, uh --
- Ramblin' Boys. Yeah.
- The Ramblin' Boys and the Cowboys.
I just wanted to --
Just didn't want the glass
to hurt anybody.
- Huh?
- Didn't want the glass to hurt anybody.
- Yeah, me too.
- Yeah, okay.
Listen, man, why don't we get together and
I'll turn you on to some things.
Okay.
- Are there any poets like
Allen Ginsberg around, man?
- No. No, nothing like that.
- Dominic Behan.
- Yeah, no, no, I --
No, I don't wanna hear nobody
like Dominic Behan, man.
- Dominic Behan is --
- Dominic Behan is a friend of mine!
That's fine, man. I just don't wanna
hear anybody like that though.
- Hey, man, that's okay. Keep on.
- He plays like Jack, man!
When the night has left you cold
and feeling sad
I will show you
that it cannot be so bad
Forget the one
who went and made you cry
I'll sing a song for you
That's what I'm here to do
To sing for you
Hey, that's a good song, man.
Sing, Bob.
When you feel you just can't
make it anymore
With your head bowed down
You're staring at the floor
Search out to me
with your weary eyes
I'll sing a song for you
That's what I'm here to do
To sing for you
Now, every man,
he has his work, you know
And to find out mine
You ain't got far to go
Just call out to me
with your weary eyes
I'll sing a song for you
That's what I'm here to do
To sing for you
To sing
For you
- Yeah.
- Well done!
Don --
- Play one.
- "It's All Over Now, Baby Blue."
- You wanna hear that one?
- Yeah.
Do you have a flat pick?
Play it, Bob!
- What key did you tune it down to?
- A "D" tuning.
You must leave now
Take what you need
You think will last
But whatever you wish to keep
You better grab it fast
Yonder stands your orphan
With his g*n
Crying like a fire in the sun
Look out
The saints are coming through
And it's all over now
Baby Blue
The highway is for gamblers
Better use your sense
Take what you have gathered
From coincidence
The vagabond
who's rapping at your door
Is standing in the clothes
That you once wore
Strike another match
Go start anew
And it's all over now
Baby Blue
Great, Bob.
That was nice, Bob.
- I used to know --
- Wanna hear that song --
Is that the stage door?
Please, yes.
This is the Savoy Hotel. We're on our way
in about 10 minutes with Mr. Bob Dylan.
So can you have someone expect us?
Through the stage door?
There's not many kids there?
Okay, right. Thanks very much. Bye.
Very few there, apparently, so --
Beautiful day, man.
I've been in offices all day, since 10:00
this morning, organizing my other tour.
The other folk singer.
Donovan.
Yeah, the other folk singer, yeah.
- How's that tour doing?
- Uh, 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,
"Well, I can't see it for two hours."
He said, "We should put one other act?".
I said, "We should put about four other acts."
God, this must be
a very old theater, huh?
Sure. Victoria died in 1894.
Queen Victoria built it for her --
Dude.
Whoo. Look up there, man.
A touch of reality.
Look at this place.
Look at these old boxes. That's wild.
God.
Hello?
- Is it here?
- It's all over the place.
Yeah, I'll use it, man.
You know. I'll use it.
Oh, man, that's great.
Go pick one up.
We'll just try to run
some warm water through it.
You finished rehearsing, are you?
- Finished rehearsing?
- We're finished with the stage.
Right. Right.
I can't use it, you know.
It's passable. it's just, you know --
it's a drag. Get a new one.
Okay.
Send it over here.
- Are you gonna see the concert tonight?
- Yes.
- Are you gonna hear it?
- Well --
Okay. You hear it and see it.
It's gonna happen fast,
and you're not gonna get it all.
And you might even hear
the wrong words. You know?
And then afterwards -- I won't
be able to talk to you afterwards.
I got nothing to say about these things
I write. I mean, I just write 'em.
I'm not gonna say anything about 'em.
I don't write 'em for any reason.
There's no 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 this Time magazine telling us?
But you couldn't care less
about that either.
You don't know
the people that read you.
- Oh --
- 'Cause, you know, uh --
I've never been in Time magazine...
and yet this hall's 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 will know better.
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 the people that want to know
what's happening in the world week by week...
the people that work during the day
and can read it --
It's small. Right? And it's concise.
And there's pictures in it.
I mean, those kind --
that certain class of people.
That's a class of people
that take the magazine seriously.
Sure, I could 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,
any of these magazines.
'Cause they just got too much to lose
by printing the truth. You know that.
What kinds of truth
are they leaving out?
Anything, even on a worldwide basis.
They'd go off the stands in a day
if they printed, really, the truth.
- What is really the truth?
- Really the truth is just a plain picture.
Mm-hmm. Of what, for example?
Of -- Of, you know --
A plain picture of, uh -- of, uh --
Let's say, uh --
uh, you know, a tramp vomiting, man,
into the sewer.
And next door to the picture,
you know...
Mr. Rockefeller or, you know...
Mr., uh, C.W. Jones, you know,
on the subway going to work.
Uh, you know, any kind of picture.
Just make some sort of collage
of pictures, which they don't do.
There's no ideas in Time magazine.
There's just these facts
which too are switched.
Because even the article you're doing,
the way it's gonna come out...
don't you see,
it can't be a good article...
because the guy that's writing the article
is sitting at a desk in New York.
He is not even going out of his office.
He's just gonna get these 15 reporters
and they're gonna send him a quota.
Well, that's
actually not true because --
He's gonna put himself on.
He's gonna put all his readers on.
And in another week will be --
have some space in the magazine.
But that's all.
It means nothing to anybody else.
I'm not putting that down, because
people have got to eat and live.
You know?
But, uh, let's at least
be honest about it.
- I mean, sure --
- Listen, I don't know that you --
I know more about what you do --
And you don't even have to ask me
how or why or anything --
uh, just by looking --
than you'll ever know about me, ever.
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.
It would be -- it's --
There's certain things which --
Every word -- Every word has
its little letter and big letter.
Your friend had
the right word -- "pigeonholed."
No, that's not the word at all.
Every word has its little letter
and big letter, like the word "know."
The word "know" -- K-N-O-W?
You know the word "Know" --
capital K-N-O-W?
- Yes.
- Like, each of us really knows nothing.
- Yes.
- Right?
We all think we know things,
but we really know nothing.
But you're saying you know
more about what I do --
- No, no, no, no!
- No, I'm saying -- I'm saying --
I'm saying that you're gonna die.
You're gonna go off the earth.
You're gonna be dead. It could
be 20 years, tomorrow, anytime.
So am I. We're just gonna be gone.
The world's gonna go on without us.
- Right.
- All right.
You do your job in the face of that,
and how seriously you take yourself...
you decide for yourself.
Okay? And I'll decide for myself.
You're not gonna make me feel unhappy
by anything you print about me.
I just can't -- It couldn't, you know --
You couldn't offend me.
And I'm sure, you know, I couldn't offend you.
So, uh, uh...
all I can hope for you to do
is, uh, 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?
- Well, then you'll have to --
- You got a lot of nerve asking me
a question like that.
Do you ask the Beatles that?
I have to ask you that because you have
the nerve to question whether I care --
I'm not questioning you because
I don't expect any answers from you.
Did 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 want to go get whipped,
aren't you being entertained?
- All right, so, fine.
- Right?
So you think anybody
that comes to see me...
is coming for any other reason
except entertainment, really?
They'll tell you they're coming
for different reasons.
Who cares what they tell you?
Who cares what anybody --
Well, they think they know
why they're doing it.
- Do you know why they're doing it?
- I know some of the things they say --
People say all kinds of things.
You have to sort of weed it out.
- Can you weed it out?
- No, I don't read.
Well, see, you're not gonna learn --
I can't teach you how to weed it out.
I didn't see that I couldn't weed it out.
I said I don't read.
Yeah, well, you know,
I-I-I have no idea.
First of all, I'm not even a pop singer.
- You think you'll ever be one?
- I don't know. I have no idea.
Everyone performing in front of audiences
is in some sense a pop singer.
Even if it's Caruso,
he's appealing to a popular --
And he's a pop singer.
I'm just as good a singer as Caruso.
Have you heard me sing?
Have you ever heard me sing?
- I like Caruso better.
- Oh, well, you see, right there now --
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?
Anybody say anything different?
- What time is it supposed to start? 7:00?
- 7:30.
- Okay, okay, okay.
- That's it. That's the time.
Yeah.
- Donovan not playing yet?
- Yeah, I can't --
They'll start when he arrives, Bob.
- Well -- Yeah.
- People like Donovan --
Man, they look just like
everybody out there.
You're special street police.
I like how -- I mean,
all the seats are sold anyway, isn't it?
- Are you gonna go out soon or not?
- Yes, I am.
Hey, the Beatles are here.
They didn't want to stand.
Jackie!
I'm not with 2O people!
This sure be a lousy place, man,
not to be able to hear myself.
You hear yourself.
Really.
I'm standing right in back of you.
You ready?
Are you ready?
- Ready?
- About two minutes.
Then we'll have to --
Next time I come in, man, it'll be time to go.
So be ready.
- Not gonna come?
- Keep it closed.
Come on.
The hall's dark.
Let's go.
Let me see.
Is the hall dark?
Come gather 'round, people
wherever you roam
And admit that the waters
around you have grown
And accept it that soon
you'll be drenched to the bone
if your time to you
is worth saving
Then you better start swimming
or you'll sink like a stone
For the times
they are a-changing
One time a crazy dream
came to me
I dreamt I was walkin'
to World w*r III
I went to the doctor
the very next day
To see what kind of things
he had to say
He said it was a terrible dream
I looked in the closet
There was Donovan
Well, some of the people
can be half right part of the time
All of the people can be part right
some of the time
Half the people
can be part right all of the time
But all of the people
can't be all right all of the time
T.S. Eliot said that
I'll let you be in my dream
if I can be in your dream
I said that
This is called, "It's Alright, Ma
." Ho-ho-ho.
Darkness at the break of noon
Shadows even the silver spoon
The handmade blade
The child's balloon
Eclipses both the sun and moon
To understand you know too soon
There is no sense in trying
As pointed threats
they bluff with scorn
su1c1de remarks are torn
From the fool's gold mouthpiece
the hollow horn
Plays wasted words,
proves to warn
That he not busy being born
is busy dying
Temptation's page
flies out the door
You follow, find yourself at w*r
Watch waterfalls of pity roar
You feel to moan
but unlike before
You discover that you'd just be
one more person crying
So don't fear
If you hear
A foreign sound
In your ear
It's alright, Ma
I'm only sighing
Of w*r and peace
the truth just twists
Its curfew gull just glides
Upon four-legged forest clouds
The cowboy angel rides
With his candle
cradled into the sun
Though its glow is waxed in black
All except when 'neath the trees
Of Eden
The savage soldier
Sticks his head in sand
And then complains
Unto the shoeless hunter
Who's gone deaf
But still remains
Upon the beach
where hound dogs bay
At ships with tattooed sails
Liam's out. House lights on
the queen. Okay? Fair enough.
Ladies and gentlemen --
Actually, applause is kinda bullshit.
That'd be something else, man,
if they just sat there and waited.
In the dime stores
and bus stations
People talk over situations
Read books and repeat quotations
Draw conclusions
On the wall
Some speak of the future
My love, she speaks softly
She knows there's
no success like failure
And that failure's
no success at all
The bridge at midnight trembles
The country doctor rambles
Bankers' nieces seek perfection
Expecting all the gifts
that wise men bring
The wind howls like a hammer
The night blows cold and rainy
My love, she's like some raven
At my window with a broken wing
Hey, man!
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.
g*dd*mn.
The vanishing American.
Man, I feel like I've been through
some kind of a... thing. Right?
You have!
No, but there was something --
something special about that.
They've started
calling you an anarchist.
- Who?
- The papers. That's the word now.
- "Anarchist."
- Right.
- You're kidding. Which papers did you see that in?
- Oh, two or three.
- Today, yeah.
- "Anarchist."
Just 'cause you don't
offer any solutions.
- You're kidding.
- Of course.
- An anarchist.
- Yeah.
Sure.
Give me a cigarette.
Give the anarchist a cigarette.
Whoo.
"Anarchist."
A singer such as I.
Well, I was
a little surprised to see it myself.
It probably took 'em a while, man,
to think up that name.
"Anarch" --
No, they couldn't say "communist."
Well, didn't they say that yesterday?
- Communists aren't in --
- Communists --
I-In England, communists
really aren't, you know --
- Oh, it's cool here.
- Yeah.
- It's cool being --
- I don't think it's cool to be an anarchist though.
No, I'm sure.
I don't think it is.
It's all over now
Baby Blue