Born in 1922 in New York City, Hewitt left New York University after one year to pursue a career in journalism. His first job was as a copy boy with THE NEW YORK HERALD TRIBUNE. From 1943 to 1945 Hewitt was a war correspondent in both the European and Pacific theaters. After the war, he worked as an editor for the Associated Press’ Memphis bureau, and remained in publishing until 1948. It was then that Hewitt began his long-term association with CBS News, as an associate director of DOUGLAS EDWARDS WITH THE NEWS. He continued with the show for fourteen years as both a producer and director.

In the early sixties Hewitt played a pivotal role in framing politics for a growing television audience. He directed and produced the now famous first presidential debate between John Kennedy and Richard Nixon. Around the same time he became the executive producer of CBS EVENING NEWS WITH WALTER CRONKITE. Within these many positions, Hewitt advanced the art of news broadcasting. Among his most influential contributions was the appropriation of the lower half of the screen for printed information. He created a more savvy generation of news “anchors” (a term coined by Hewitt), through his use of cue cards and multiple filming angles. It was this redefinition of the role of the news anchor that opened up the field for Hewitt’s major contribution.

In 1968 Hewitt created the first newsmagazine, 60 MINUTES. Using multiple anchors, each concentrating on a separate story, the program worked to provide in-depth coverage on a number of different topics. Unlike the nightly news, 60 MINUTES had the time to provide both the history and editorial commentary on the issues at hand. Having a greater leeway with the timeliness of their articles, 60 MINUTES could tackle systemic social and political issues in a way that had only been done before in print. This mixture of up-to-date reporting and extensive investigation gave 60 MINUTES an aura of knowledge and respectability previously unseen on television. In its first ten years the show rocketed to the top of the Neilsen ratings and remains there to this day.

Throughout the years, Hewitt has received every honor that can be given to a man in his position. The winner of eight Emmys, he was awarded the Founders Emmy by the International Council of the National Academy of Television Arts and Sciences in 1995. He has been honored by nearly every major university journalism program, including Columbia, the University of Missouri, Brandeis, and the University of California at Berkeley. Though Hewitt has remained out of the public eye for most of his career, his innovative spirit is at the core of much of the news that informs the country. His tireless pursuit of fair and effective reporting has led him into continued experimentation with the forms of broadcast news. His innovations have had countless effects on how the news is both reported and viewed. If imitation is the highest form of flattery, then one need only to turn on the television to understand how highly America thinks of Don Hewitt.

From the late 1930s to the early 1960s, Billy Wilder dominated Hollywood’s Golden Age. With over fifty films and six Academy Awards to his credit, he is one of Hollywood’s all-time greatest directors, producers and screenwriters. His films range from stark melodrama, like DOUBLE INDEMNITY (1944), THE LOST WEEKEND (1945) and SUNSET BOULEVARD (1950), to antic farce, such as THE SEVEN YEAR ITCH (1955) and SOME LIKE IT HOT (1959), to satiric comedy, like A FOREIGN AFFAIR (1948) and THE APARTMENT (1960). Billy Wilder has had a powerful creative influence on both the experimental and traditional film industries in America.

He was born Samuel Wilder on June 22, 1906 in Sucha, then part of the Austro-Hungarian Empire. His father, Max Wilder, who died in 1926, ran a chain of railway cafes. His mother Eugenia had spent several years in the United States in her youth. She nicknamed her younger son “Billy” because of her fascination with legendary American hero, Buffalo Bill. Wilder briefly studied law in Vienna before obtaining a newspaper job writing interviews, crime and sports stories, and hard-hitting personal profiles. In 1926, Wilder’s interests led him to a publicity job with the American jazz bandleader Paul Whiteman in Berlin. He remained in Berlin writing for the city’s largest tabloid.

In 1929 Wilder had his first break working on the German film MENSCHEN AM SONTAG (People on Sunday). He remained in Germany co-writing and directing films until the rise of the Nazis forced him to move to France, and ultimately to the United States. Wilder arrived in Hollywood in 1934 with virtually no money and little knowledge of English. He worked on and off until 1938, when he began a long and fruitful collaboration with Charles Brackett. Their partnership, which lasted twelve years, produced a succession of box office hits including HOLD BACK THE DAWN (1941), DOUBLE INDEMNITY, THE LOST WEEKEND, and SUNSET BOULEVARD. DOUBLE INDEMNITY, co-written with Raymond Chandler was a tense and thrilling film noir, while SUNSET BOULEVARD investigated the bizarre and tragic life of a once famous silent movie star. Both proved Wilder’s ability to create successful and artistic cinema.

The 1950s saw Wilder produce several films alone including STALAG 17 (1953) and THE SEVEN YEAR ITCH, before teaming up with the writer/producer I.A.L. Diamond in 1957. The two would collaborate for over twenty years, producing such major hits as WITNESS FOR THE PROSECUTION (1954), SOME LIKE IT HOT and THE APARTMENT. Wilder’s career was one of the most various and successful in the business. While he often wrote and directed penetrating films about the shallowness of modern life, he was capable of creating equally successful comedies. Often running into criticism for his presentation of taboo topics such as alcoholism and prostitution, the high quality of the films redeemed him in the eyes of both the public and the industry. Of the many great stars he directed, Marilyn Monroe, Marlene Dietrich, Shirley MacLaine, Jimmy Stewart and Jack Lemmon are only a few.

The late 1960s and 1970s, however, were not as kind to Wilder. His brand of cynicism, irony and satire were out of step with this generation’s view of peace, love, revolution and individual experimentation. Nonetheless, in 1964 the Museum of Modern Art in New York presented a sixteen-film, thirty-five-year, retrospective of Wilder’s work. Similar showings were later held in Paris, Berlin and Los Angeles. He has received many awards and tributes including the National Medal of Honor (awarded by President Clinton). Today, Wilder’s films remain an important part of American culture, and he is viewed as one of Hollywood’s greatest successes.

He was born in Okemah, Oklahoma, on July 14, 1912, 12 days after the Democrats nominated his namesake for the presidency of the United States.

Woodrow Wilson Guthrie — “Woody” almost immediately — was Charley Guthrie’s son and like his father ever the optimist. He was Nora’s son too, hers the gift of old songs, and a dreadful fear he would inherit her madness.

Together they raised Woody, his two brothers and two sisters in a middle-class, foredoomed home the neighbors judged one of the finest in that farming community turned oil boom town.

Life in Okemah might have been comfortable, with cotton prices up and beef down, but for the fires.

Fire was to dog Woody, boy and man. A kerosene lamp shattered – the OKEMAH LEDGER reported it as an accident, while folks in town whispered otherwise – and flames consumed his beloved older sister Clara, the one who called him “Woodblock,” when the boy was just months shy of his seventh birthday.

Another blaze leveled the family home, sending the Guthries to live in the weathered London house, high on the weedy hillside overlooking the Fort Smith and Western depot at the foot of Columbia Street.

There were other fires, unexplained. Woody was not yet 15 when his mother hurled a kerosene lamp at a dozing Charley, searing his chest from neck to navel. Members of Charley’s Masonic Lodge arranged to send Nora to the state asylum in Norman.

Years later, and half a continent distant, a short circuit in a newly repaired radio sent flames racing through the child’s bedding, and took the life of Woody’s charming daughter Cathy Ann, “Stackabones,” the youngster who inspired so many of her father’s magical songs for children.

And near the end of his wanderings, Woody splashed gasoline on a Florida campfire; it flared and severely burned his right arm. The puckered scars would leave him unable play guitar. He was left mute, the once restless youth turned rebel now a man resigned to his mother’s fate.

Guthrie was just 42 when he entered the hospital for the last time in 1954. His period of true creativity had spanned no more than eight or nine years, though in that time, he had traveled far, seen wonders and known defeats, and written as many as 1,400 songs. He had traveled Route 66, he boasted, enough to run it up to 6,666, back and forth, across the county as whim and winds took him.

All the while, he never seemed to find what he was looking for.

Marjorie, his second wife, came closest to replacing the mother Woody had lost when Nora was committed to the asylum. But Marjorie put their children first.

Woody sought, needed, so desperately a cause to believe in. Advocating a program of social and economic justice, the Communist Party, USA, offered that and more, but party apparatchiks never asked him to be a member.

Woody reached out to acquaintances – he who knew almost everyone – but could allow close only a bare handful of those he had called upon. There was Huddie Ledbetter, the huge black man pardoned from Louisiana’s dreaded Parchman Farm, and Huddie’s wife, Martha, who opened their Greenwich Village flat to Guthrie. There was Pete Seeger, who would later make Guthrie’s songs so well known; and actor Will Geer, Guthrie’s tutor in Marxist orthodoxy; Jim Longhi, a merchant marine buddy and future lawyer; and Gilbert Houston, stalwart, handsome, the would-be movie star they all called “Cisco.” Those few Woody let in, and damned few others, including the succession of women who sought to mother him and ended up in his bed.

Despite the rich legacy of his songs, still sung four decades after his death from Huntington’s disease, Guthrie was at best an indifferent guitar player, his efforts at Mother Maybelle Carter’s “lick” haphazard.

At the same time, he was a sterling musician. He played harmonica well, if backwards, with the bass notes on the right rather than the left. At other times he played bass fiddle, washboard, spoons, bones, straws, whatever came to hand, rhythmically underpinning other, better players. It bothered him not at all.

He might have been a middling fiddle or mandolin player had he practiced, but he knew he would never be as good as his boyhood friend Matt Jennings. Over the years Matt the butcher would master as many as 600 fiddle tunes. Woody probably never used more than 30 or 40, mostly borrowed melodies, for his 400-plus-recorded songs. Good enough was good enough for Woody Guthrie.

Come spring, an itch came over him, a need to see beyond the next hill, beyond the county line to the next town and the next. He hated riding the rails, fearing railroad bulls and mutilation if he fell beneath a freight car. He preferred instead to travel by thumb, with a handful of paintbrushes shoved in a back pocket. If a song or two didn’t earn a meal in a café or a drink in a bar, he could always paint a few signs or a storefront for 50 cents – enough to last him for a day or two if he didn’t share it with the other hobos camped along a siding just out of town. Mostly he shared it, if he didn’t plain give it away.

He was, like Walt Whitman, whose “swimmy” poetry he disdained, a tangle of unresolved contradictions. And like Whitman, he embraced multitudes.

He was a faithful correspondent, writing, pouring on the page word pictures of startling beauty, letters so compelling that friends kept them for years to read and reread.

He was an unfaithful husband, flitting from lover to lover as easily and as often as he pawned his Sears Roebuck guitar.

He fathered eight children by three wives, and perhaps a ninth, unacknowledged. He left the raising of the first three to his first wife, doted on the next four with Marjorie, and, lost in illness, ignored the last of the children by a third wife. Yet he had such regard for his “manly seed” that he refused to pay for a hotel-room abortion when one of his on-again lovers discovered herself pregnant. His singing companion Cisco Houston secretly gave the frightened girl the $500.

Unconcerned about money, he was generous – to a fault. Guthrie would give away his day’s wages to a migrant family when his own children had to rely on an aunt for dinner. He was just as likely to give his jacket to a shivering fruit picker, his meal to a gaunt mother, or his last pennies to a grimy kid who had never eaten a Tootsie Roll, or drunk a Delaware Punch.

A radio-wise professional by the time he landed in New York City, he played the country boy just off the turnip truck. Well read – particularly in psychology and Eastern religions – he drawled terse comments and aphorisms seemingly sprung from the wind-whipped soil of the Dust Bowl, but more often his own droll wordplay.

Guthrie walked out on a weekly CBS radio show — and its lavish salary — because a sponsor wanted to tell him what to sing on the air. Yet he would meekly accept Communist Party censorship of his unpaid articles for THE DAILY WORKER.

He knew drifters and movie stars, migrant workers and Skid Row barflies, Martha Graham dancers and dance hall floozies, abstract expressionists Jackson Pollack and Robert Motherwell, as well as their wives, girl-friends, and lovers.

And he wrote about them all – in diaries, on random sheets of wrapping paper, on paper bags laid open to catch his torrent of words, his cascade of images, metaphors, allusions, and illusions. He put his name to his autobiography, but shared his royalties with the editor who transformed his bulky manuscript into a rambling narrative. The book was largely fiction – an “autobiographical novel,” Guthrie called it – while his unpublished fiction was real, the stuff of his own life and times.

He was Woody in all his contradictions and complexities – the man you see and hear in Peter Frumkin’s sterling documentary.
– Ed Cray

A professor of journalism at the University of Southern California, Ed Cray is the author of RAMBLIN’ MAN: THE LIFE AND TIMES OF WOODY GUTHRIE.

Below are the full music credits for NO DIRECTION HOME, as well a list of uncredited appearances.

Music
(in order of appearance)

Like a Rolling Stone
Written and Performed By Bob Dylan

Drifting Too Far From The Shore
Written by Chas Moody
BMG Film and TV Music
Performed by Bill Monroe and His Bluegrass Boys
Courtesy of Universal Music Group

Ac-Cent-Tchu-Ate The Positive
Written by Harold Arlen & John Mercer
Harwin Music Corp.
Performed by Bing Crosby
and The Andrews Sisters
Courtesy of Universal Music Group

Ha Ha Ho Ho
Written by Dick Metko & Barbara Kienast
Unichappell Music Inc.
Performed by Lawrence Duchow
and His Red Raven Orchestra
Courtesy of Sony BMG

Beloved Be Faithful
Written by Erwin Drake & Jimmy Shirl
Universal MCA Music Publishing
And Lindabet Music Corp.
Performed by Lawrence Duchow
and His Red Raven Orchestra
Courtesy of Sony BMG

Amapola
Written by Joseph Lacalle
Edward B. Marks Music Co.
Performed by Jesse Crawford
Courtesy of Sony BMG

Cold, Cold Heart
Written and Performed by Hank Williams
Sony/ATV Acuff Rose Music

The Little White Cloud That Cried
Written and Performed by Johnnie Ray
Carlyle Music Publishing

There Stands The Glass
Written by Russ Hull, Mary Jean Shurtz & Audrey Grisham
Jamie Music Publishing & Unichappell Music
Performed by Webb Pierce

Got My Mo Jo Working
Written by Preston Foster
Dare Music Inc.
Performed by Muddy Waters

Rip It Up
Written by Robert Blackwell And John Marascalco
Sony/ATV Songs
Performed by Gene Vincent and The Blue Caps

Little Richard
Written and Performed by Bob Dylan
Courtesy of John Bucklen

How Much Is That Doggie In The Window
Written by Bob Merrill
Golden Bell Songs, US Music and Chappell and Co.
Performed by Patti Page

When I Got Troubles
Written and Performed by Bob Dylan
Courtesy of Ric Kangas

Teen Love Serenade
Written and Performed by Bob Dylan
Courtesy of Ric Kangas

Mr. Tambourine Man
Written and Performed by Bob Dylan

Suzie Baby Written by Robert Velline
Saima Music Co.
Performed by Bobby Vee
Courtesy of EMI Film and TV Music

Walkin’ With My Angel
Written by Gerry Goffin and Carole King
Screen Gems – EMI Music Inc.
Performed by Bobby Vee

Praised Be Man
Written and Performed by Jack Kerouac
SLL/Sterling Lord Literistic
Courtesy of Universal Music Group

Go ‘way From My Window
Written and Performed by John Jacob Niles
Music Sales Corp. and Piedmont Music Co.

The Waterboy
Written and Performed by Odetta Felious Gordon
Sanga Music, Inc.

Muleskinner Blues
Written by Jimmie Rodgers And George Vaughn
Peer International Corp.
Performed by Odetta
Courtesy of Rykodisc/Tradition and Performed by Bob Dylan

Streets Of Glory
Traditional, Arranged and Performed by Bob Dylan
Courtesy of Cleve Pettersen and The Minnesota Historical Society

John Henry
Written and performed by Woody Guthrie
Woody Guthrie Publications Inc.

Johnny I Hardly Knew You
Written and Performed by Liam, Pat and Tom Clancy and Tommy Makem
Tiparm Music Pubilshers Courtesy of Legacy International and Performed by Bob Dylan
Courtesy of Cleve Pettersen and The Minnesota Historical Society

KC Moan
Written by Tewer Blackman
Peer International Corp.
Performed by The Memphis Jug Band
Courtesy of the RCA Record Label
by arrangement with Sony BMG and Performed by Bob Dylan
Courtesy of Cleve Pettersen and The Minnesota Historical Society

Jesus Christ
Written and Performed by Woody Guthrie
Ludlow Music, Inc.
Courtesy of Smithsonian Folkways Recordings and Performed by Bob Dylan

Talking Columbia and Pastures of Plenty
Written and Performed by Woody Guthrie
Ludlow Music, Inc.
Courtesy of Smithsonian Folkways Recordings

Leopard-Skin Pill-Box Hat
Written and Performed by Bob Dylan

Ramblin’ Round
Written by Woody Guthrie, Huddie Ledbetter & John A. Lomax
Ludlow Music, Inc.
Performed by Bob Dylan

Little Margaret
Traditional
Performed by Bascom Lamar Lunsford
Courtesy of Smithsonian Folkways Recordings

Rambler, Gambler
Written and Performed by Bob Dylan
Courtesy of Cleve Pettersen and The Minnesota Historical Society

The Virgin Mary Had One Son
Traditional
Performed by Joan Baez

Memphis Blues
Written by W.C. Handy & George Norton
Performed by Phil Napoleon
Courtesy of Jazzology Records

Mad Mamma’s Blues
Performed by Josie Miles
Courtesy of Document Records

America
Written and Performed by Allen Ginsberg
The Wylie Agency
Courtesy of Concord Music Group, Inc

Brennan On The Moor
Written and Performed by Liam, Pat, and Tom Clancy and Tommy Makem
Tiparm Music Publishers
Courtesy of Legacy International

Haul Away Joe
Written by Liam, Pat, and Tom Clancy and Tommy Makem
Tiparm Music Pubilshers
Performed by Liam Clancy

My Long Journey Home
Written by Charlie Monroe
Berwick Music Corp.
Performed by The New Lost City Ramblers
Courtesy of Smithsonian Folkways Recordings

Big Fat Woman Blues
Traditional
Performed by Maria Muldaur and the Jim Kweskin Jug Band

Girl I Left Behind
Traditional
Performed by The New Lost City Ramblers

Baby Please Don’t Go AKA Turn The Lamps Down Low
Written by Joseph Lee Williams
EMI Full Keel Music
Performed by Bob Dylan

Dink’s Song
Traditional
Arranged and Performed by Bob Dylan

Desolation Row
Written and Performed by Bob Dylan

This Land Is Your Land
Written by Woody Guthrie
Ludlow Music, Inc.
Performed by Bob Dylan
Courtesy of Toni Mendell

Gettin’ Nearer
Traditional
Performed by Brother John Sellers
Courtesy of The Estate of Cynthia Gooding

The Ballad Of Ira Hayes
Written and Performed by Peter La Farge
Edward B. Marks Music Co.

Dust Bowl Refugee
Written by Woody Guthrie
Ludlow Music, Inc.
Performed by Cisco Houston
Courtesy of Vanguard Records

Coplas De Amor
Traditional
Performed by Cynthia Gooding
Courtesy of Warner Strategic Marketing

Waly Waly
Traditional
Performed by Peter Yarrow

He Was A Friend Of Mine
Written and Performed by Dave Van Ronk
Folklore Music Productions, Inc.
Courtesy of Concord Music Group, Inc

The Wild Colonial Boy and Butcher Boy
Written and Performed by Liam, Pat, and Tom Clancy and Tommy Makem
Tiparm Music Publishers

Man Of Constant Sorrow
Traditional
Arranged and Performed by Bob Dylan
Universal MCA Music Publishing

1913 Massacre
Written and Performed by Woody Guthrie
Woody Guthrie Publications Inc.
Courtesy of Smithsonian Folkways Recordings

Song to Woody
Written and Performed by Bob Dylan
Universal MCA Music Publishing
Courtesy of Columbia Records
by arrangement with Sony BMG

Talking Bear Mountain Picnic Massacre Blues
Written and Performed by Bob Dylan
Universal MCA Music Publishing

Sally Gal
Written and Performed by Bob Dylan
Courtesy of Oscar Brand and WNYC Radio

A Lovely Way To Spend An Evening
Written by Harold Adamson & Jimmy McHugh
Harold Adamson Music
Performed by Johnny Mathis
Courtesy of Columbia Records
by arrangement with Sony BMG

I’m A Man Of Constant Sorrow
Written by Carter Stanley
Peer International Corp.
Performed by Mike Seeger

The Coo Coo Bird
Written by Clarence Ashley
Stormking Music, Inc.
Performed by The New Lost City Ramblers

Bald Headed Woman
Arranged and Performed by Harry Belafonte
Sanga Music, Inc.

Strange Fruit
Written by Lewis Allan
Music Sales Corp. and Piedmont Music Co.
Performed by Billie Holiday

Baby Let Me Follow You Down
Written by Rev. Gary Davis
Additional lyrics, arrangement by Eric Von Schmidt, Dave Van Ronk
Chandos Music Co.
Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

House Of The Risin’ Sun
Traditional
Arranged and Performed by Bob Dylan
Universal MCA Music Publishing
Courtesy of Columbia Records
by arrangement with Sony BMG

Fixin’ To Die Blues
Written by Booker T White
Universal MCA Music Publishing
Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Baby Let Me Follow You Down
Arranged and Performed by Bob Dylan

Baby Let Me Follow You Down
Written by Rev. Gary Davis
Additional lyrics, arrangement by Eric Von Schmidt, Dave Van Ronk
Chandos Music Co.
Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Festival Of Flowers
Written by Pete Seeger & Jesus Monge
Peer International Corp.
Performed by Pete Seeger

Hard Times in New York Town
Written and Performed by Bob Dylan
Universal MCA Music Publishing

Penny’s Farm
Traditional
Performed by The Bentley Boys
Courtesy of Smithsonian Folkways Recordings

Let Me Die In My Footsteps
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

No More Auction Block For Me
Traditional
Performed by Odetta
Courtesy of Vanguard Records

Blowin’ in the Wind
Written and Performed by Bob Dylan

Don’t Think Twice, It’s All Right
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Autobiography
Written and Performed by Lawrence Ferlinghetti
Courtesy of Fantasy, Inc.

A Hard Rain’s A-Gonna Fall
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Ballad of a Thin Man
Written and Performed by Bob Dylan

Rainy Day Women #12 & 35
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Blowin’ in the Wind
Written by Bob Dylan
Performed by Peter, Paul and Mary
Courtesy of Warner Strategic Marketing
and Performed by Bobby Darrin
Courtesy of EMI Film and TV Music
and
Performed by Trini Lopez
Courtesy of Warner Music Group
and
Performed by Duke Ellington
Courtesy of Warner Strategic Marketing
and
Performed by The Caravans
Courtesy of Savoy Record Company
by arrangement with Sony BMG

Masters of War
Written and Performed by Bob Dylan

Oxford Town
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Which Side Are You On
Written by Florence Reece
Stormking Music, Inc.
Performed by The Weavers
Courtesy of Vanguard Records

Goodnight Irene
Written by Huddie Ledbetter & John Lomax
Ludlow Music, Inc.
Performed by Leadbelly
Courtesy of Liquid8 Records and Entertainment
and
Performed by The Weavers

If I Had A Hammer (The Hammer Song)
Written by Lee Hays & Pete Seeger
Ludlow Music, Inc.
Performed by Pete Seeger

Only a Pawn in Their Game
Written and Performed by Bob Dylan

With God on Our Side
Written and Performed by Bob Dylan

All My Trials
Traditional, Arranged, Adapted, and Performed by Joan Baez

When the Ship Comes In
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

I Walk The Line
Written by John R. Cash
Bug Music Inc.
on behalf of House of Cash, Inc.
and Unichappell Music
on behalf of Hi-Lo Music, Inc.
Performed by Johnny Cash

I Have A Little Girl
Written by Chester Burnett
Arc Music Corp.
Performed by Howlin’ Wolf
Courtesy of MCA

Help Me Jesus
Written by Roebuck Staplse
Performed by The Staple Singers

With God on Our Side
Written by Bob Dylan
Performed by Bob Dylan and Joan Baez

Talkin’ World War III Blues
Written and Performed by Bob Dylan

Blowin’ in the Wind
Written by Bob Dylan
Performed by Bob Dylan, Joan Baez,
Peter, Paul and Mary, Pete Seeger and The Freedom Singers

PART 2

Just Like Tom Thumb’s Blues
Written and Performed by Bob Dylan

Blowin’ in the Wind
Written by Bob Dylan
Performed by Peter, Paul and Mary
Courtesy of Warner Strategic Marketing

When the Ship Comes In
Written by Bob Dylan
Performed by Bob Dylan and Joan Baez
and
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

A Hard Rain’s A-Gonna Fall
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Chimes of Freedom
Written and Performed by Bob Dylan

All I Really Want to Do
Written and Performed by Bob Dylan

Don’t Think Twice, It’s All Right
Written by Bob Dylan
Performed by Johnny Cash
Courtesy of Columbia Records
by arrangement with Sony BMG

It’s Alright, Ma (I’m Only Bleeding)
Written and Performed by Bob Dylan

Gates of Eden
Written and Performed by Bob Dylan

It Ain’t Me, Babe
Written by Bob Dylan
Performed by Bob Dylan and Joan Baez
Courtesy of Columbia Records
by arrangement with Sony BMG

All My Trials
Traditional, Arranged, Adapted, Performed by Joan Baez

With God on Our Side
Written by Bob Dylan
Performed by Joan Baez

Subterranean Homesick Blues
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Maggie’s Farm
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Bob Dylan’s 115th Dream
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Love Minus Zero/No Limit
Written and Performed by Bob Dylan

How Long, How Long Blues
Written by Leroy Authur Carr
Universal MCA Music Publishing

Percy’s Song
Written by Bob Dylan
Performed by Joan Baez

Love Is Just a Four Letter Word
Written by Bob Dylan
Performed by Joan Baez

Mr. Tambourine Man
Written by Bob Dylan
Performed by The Byrds

Like a Rolling Stone (Session Outtakes)
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

It Takes Time
Written by Otis Rush
Arc Music Corp.
Performed by Mike Bloomfield
Courtesy of Columbia Records
by arrangement with Sony BMG

Like a Rolling Stone
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Green Corn
Written by Huddie Ledbetter, John A. and Alan Lomax
Folkways Music Publishers, Inc.
Performed by Pete Seeger

It’s All Over Now, Baby Blue
Written and Performed by Bob Dylan

Highway 61 Revisited
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Ballad of a Thin Man
Written and performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Desolation Row (Session outtakes)
Written and performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

It Takes a Lot to Laugh, It Takes a Train to Cry
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

It Takes a Lot to Laugh, It Takes a Train to Cry
Written and performed by Bob Dylan
Courtesy of Columbia Records

Just Like Tom Thumb’s Blues
Written and performed by Bob Dylan

Tell Me, Momma
Written and Performed by Bob Dylan

I’m So Lonesome I Could Cry
Written by Hank Williams
Sony/ATV Acuff Rose Music
Performed by Johnny Cash and Bob Dylan

Visions of Johanna
Written and Performed by Bob Dylan

Like a Rolling Stone
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Lay Down Your Weary Tune
Written and Performed by Bob Dylan
Courtesy of Columbia Records
by arrangement with Sony BMG

Uncredited Appearances in Archival Footage and Photographs

Jones Alk
Steve Allen
George Avakian
James Baldwin
Jug Band Stompers
Tony Bennett
Pavel Beran
Theodore Bikel
Mike Bloomfield
Norman Bluhm
Doc Boggs
Sonny Bono
Marlon Brando
Martin Bronstein
James Brooks
Paul Butterfield
Gaither Carlton
Johnny Cash
Gregorio Cavellon
Cher
Buck Clayton
Irwin Corey
Hubert Crehan
Arline Cunningham
Karen Dalton
Rick Danko
Ossie Davis
Doris Day
James Dean
Donovan
Jack Elliott
Billy Faier
Percy Faith
Mimi Farina
John Henry Faulk
Ronnie Gilbert
Harvey Goldstein
Cynthia Gooding
Bobby Gregg
Paul Griffin
Miguel Grinberg
Philip Guston
Red Grooms
Albert Grossman
Sally Grossman
Philip Guston
John Hammond
John Hammond, Jr.
Levon Helm
Echo Helstrom
John Herald
Thomas B. Hess
Roscoe Holcomb
Harry Holtzman
Cisco Houston
Garth Hudson
Corliss Lamont
Sam Lay
Lead Belly
Tommy Makem
Gerald Malanga
Richard Manuel
Johnny Mathis
Mercedes Matter
John Mayall
Victor Maymudes
Charley McCoy
Brownie McGhee
Sal Mineo
Moondog
Charlotte Morman
Fred Neil
Peter Orlovksy
Frank Owens
John Pankake
Nicanor Parra
Carl Perkins
Ken Petersen
Kenneth Rexroth
Ralph Rinzler
Robbie Robertson
Hugh Romney
Maria Rosa
Barbara Rubin
Morley Safer
Russ Savakus
Mario Savio
Brother John Sellers
Aaron Siskind
Maynard Solomon
Victoria Spivey
Noel “Paul” Stookey
Studs Terkel
Sonny Terry
Tiny Tim
Mary Travers
Jack Tworkow
Bobby Vee
Frank Wakefield
Andy Warhol
Arnold Watson
Doc Watson
Tom Wilson
Natalie Wood
Abe Zimmerman