Director:
As for the songs themselves, they are what they are: it's Dylan in both his prime as a strong storyteller and folk singer and as a burgeoning rock star that got a lot of "pure" fans very angry. The argument can be made both ways with 1965: taken out of context the performance of Maggie's Farm is one of the most highly charged live rock songs ever recorded, taken in context it wasn't exactly the right time with such a picky crowd. It took guts on Dylan's end though, which is something that does come through consistently in the documentary. I mean this by what he sings about: his range is incredible when it comes to writing lyrics and relaying his stories and ideas, from Medgar Evers to his World War 3 Dream to Blowin' in the Wind, and then on to something traditional but powerful like Chimes of Freedom... leading all the way up to what many consider his masterpiece, Like a Rolling Stone. If nothing else, the performances are essential, even if the film overall works better alongside Scorsese's No Direction Home, which is, of course, the definitive Dylan doc."
Bob Dylan Live sa Newport Folk festivala iz '63, '64 i '65 godine, znači radi se o najjačem akustičarskom periodu njegovog stvaralaštva, koji najviše volim, i zapravo samo to i slušam kada je Dylan u pitanju, no već sam pisao o tome. Iako baš matori, ovo su skroz odlični snimci, možda i najbolji Dylanovi LIVE snimci iz tog perioda, uostalom ripovano je sa DVD-a koji je izašao 2007. Dylanu na nekim pesmicama pomaže i Joan Baez svojim predivnim glasom, a tu je i PPM trio. Nadam se da ćete uživati bar upola ko ja jer ovo je TA muzika, jednostavna a savršena. Par pesama odavde možete naći i u video verziji u dokumentarcu Festival (1967).
"Matched only by the Beatles and Elvis Presley, Bob Dylan continues to captivate music and pop culture fans with a seemingly never-ending stream of new and old recordings, books, documentaries, feature films, and more. The Other Side of the Mirror - Live at Newport Folk Festival 1963-1965 is a worthy addition to the canon; whether this 83-minute compilation will serve to illuminate the Dylan myth or merely perpetuate it is open to question, but without a doubt there's plenty of fascinating material here. There are nearly 20 songs represented, covering three consecutive years of Dylan appearances at the famed Rhode Island festival. Some are from Dylan's daytime "workshops," others from his nighttime main stage performances. Some are complete, others oddly truncated. Some are terrific (like "Chimes of Freedom," 1964), others not so much (cf. the turgid "With God on Our Side" from '63, with Joan Baez adding shrill harmony). In any case, these were the years when Dylan assumed the mantle of "spokesman of a generation," whether he wanted it or not. We hear him evolving from the earnest young protest singer of '63 to the visionary artist of the following year who, with the astonishing torrent of rhymes, alliterations, symbols, and brilliant turns of phrase in "Chimes" and "Mr. Tambourine Man," turned the whole notion of songwriting on its ear. And, of course, we also hear Dylan's turn from acoustic to electric guitar, when he was joined onstage by members of the Paul Butterfield Blues Band (sans Butterfield himself) in 1965; only two songs from that legendary (and, at the time, infamous) gig are heard here, and four decades after the fact, neither "Maggie's Farm" nor "Like a Rolling Stone" is all that special, notwithstanding some searing solo work by guitarist Mike Bloomfield. This has to rank as a must-have for Dylanologists of every stripe."
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Ovde se nalaze video zapisi sa 4 festivala (1963-1966), ima dosta LIVE muzike ali tu su i intervjui sa nekim od muzičara, npr. jedan baš odličan sa Joan Baez, a tu je i publika, uglavnom sastavljena od mladih ljudi, i oni nam govore o svojim pogledima na ovaj muzički pravac, i protestne pesme koje su izbile u prvi plan zahvaljujući prvenstveno Dylanu.13.jpg)
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Izdvojio bih samo par najjačih momenata, npr. kada 'Peter, Paul and Mary' izvode Dylanovu vanvremensku "The Times They Are a-Changin" gde Mary briljira, zapravo uopšte njen nastup ima neku svoju specifičnu draž, pa onda Joan Baez i Peter Yarrow sa "Go Tell Aunt Rhody" Woody Guthriea, gde Baezova baca par prejakih prijava, skroz onako spontano, kako samo ona to ume. Dakle, totalno genijalan festival, i to samo par godina pre Haight Ashbury-a i svog pozitivnog ludila koje je usledilo, zapravo ovo mu dođe ko neka prethodnica hipi revoluciji, videćete te face.14.jpg)
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Još bi da pojasnim zašto ja ova akustičarska muzika toliko jaka. Mislim da se tu radi samo o toj jednostavnosti, jer bukvalno svako ko iole zna da svira gitaru može da se dovati akustare i da skine par pesmica od Dylana, pa i da napravi par svojih, što da ne, i da ih svira gde god mu volja, i u tome je najbitnija prednost akustične muzike nad električnom. Znači gde god da odeš možeš da poneseš gitaru, na planinu, na more, na selo, i svuda, i svi će to dobro prihvatiti jer tu nema nimalo agresije niti bilo kakvih negativnih akcija, i svako može to da sluša pa i da zapeva, pa čak i stariji ljudi koji inače ne bi prihvatili neki rok ili tako nešto. I ja prosto obožavam ovaj fazon, jer meni je ovakva muzika lek za dušu, a posebno kad se svira uz nežne ženske vokale poput Joan Baez, Judy Collins i Mary Travers. Znači, akustična gitare, bendžo, usna harmonika i da te bog vidi. (97 min)21.jpg)
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Director:
Sve je počelo davne '63 godine na Folk festivalu u Newportu, Rhode Island, kada se Bob Dylan prvi put predstavio svetu svojom okultnom pesmom "Blowin' in the Wind", koja je inače jedna od najobrađivanijih pesama ikada, a u šta ćete imati priliku i da se uverite u ovom dokumentarcu. Ta full akustična Dylanova faza koja je potrajala samo par godina mi je i njegova najbolja, jer ako poslušamo ta prva 4 albuma to je u principu to, to su sve te pesme, nema dalje. Naravno ima pesama i iz kasnijeg perioda kao što su npr. "Hurricane" i "Shelter from the Storm" koja mi je jedna od njegovih najlepših ali i te pesmice su u suštini akustičarske. No dobro, to su sad neki moji lični tripovi.
Dakle, ovaj dokumentarac govori o korenima tog novog talasa u američkoj folk muzici koji je započeo upravo Dylan a nadovezali se akustičari poput Peter, Paul and Mary, zatim moja najomiljenija Joan Baez, Judy Collins, i još mnogi drugi. 
U to doba njihova "protestna" muzika je predstavljala soundtrack za velike turbulencije u američkom društvu, za civil-rights pokret, za anti-ratni pokret i sve one pobune koje su se odigravale po Univeritetima širom SAD.
Najjači detalj ovde je snimak nastupa Dylana i Baezove na istorijskom Maršu na Vašington 28. avgusta '63, kada su otpevali "When the Ship Comes In" i još par udarnih pesama, posle čega je Martin Luther King održao čuveni govor "I have a dream".
U ovom filmu ćete takođe čuti i videti par izuzetnih live izvedbi Joan Baez i Judy Collins, pa možda i skontati zašto su žene sa gitarama zaposele posebno mesto u mom srcu, što verovatno ima i neku frojdovsku pozadinu, al' ne bih sad o tome.
Dalje, tu je i praotac protestnih pesama Pete Seeger koga najpre znamo kao autora vanvremenske pesme "Where Have All the Flowers Gone?" koju je prva izvodila Marlene Dietrich na francuskom i nemačkom, i podarila joj svetsku slavu. I tako...inače za ljubitelje Dylanove muzike preporučujem i Scorseseov dokumentarac No Direction Home: Bob Dylan (2005). I za kraj re'ću ono što možda i nije prikladno : Nek umre svako ko ne voli Joan Baez! Toliko, hvala. (40 min)
"Documentary about the American folk revival, the milieu from which the nascent Bob Dylan emerged in the early 1960s and whose crucible was the Newport folk festival. In 1963 it provided the perfect platform for Dylan, under the patronage of Pete Seeger and Joan Baez, to be acknowledged as the principal voice of folk music at the age of just 22. Other stars of the time such as Baez, Seeger, Peter Paul and Mary, Judy Collins, Muddy Waters and Mahalia Jackson are also featured."
Director:
No Direction Home is a documentary film by Martin Scorsese that traces the life of Bob Dylan, and his impact on American popular music and culture of the 20th century. The film does not cover Dylan’s entire career; rather, it focuses on his beginnings, his rise to fame in the 1960s, his transformation from an acoustic guitar-based musician and performer to an electric guitar-influenced sound and his “retirement” from touring in 1966 following an infamous motorcycle accident. The film was first presented on television in both the United States (as part of the PBS American Masters series) and the United Kingdom (as part of the BBC Two Arena series) on September 26–27 2005. A DVD version of the film and accompanying soundtrack album (The Bootleg Series Vol. 7: No Direction Home: The Soundtrack) were released that same month.
