吉他之神1999年6月30日纽约麦迪逊广场花园慈善演唱会实况纪录
民谣教父巴布迪伦，葛莱美奖摇滚女歌手雪瑞儿可洛、节奏蓝调天后玛丽布莱姬、萨克斯风手戴维山朋共襄盛举
艾力克莱普顿于1999年6月30日在纽约麦迪逊广场花园(MADISON SQUARE GARDEN, NEW YORK CITY)所举办了一场定名为「Eric Clapton & Friends In Concert」的慈善演唱会，这是为Crossroads Centre所举办的义演募捐活动。Crossroads Centre是艾力克莱普顿创设在Antiqua的非营利性收容机构，为有酒瘾及毒瘾的人提供治疗。
首先是克莱普顿的访谈前言，接下来就是收录在「From The Cradle」中，由蓝调巨人Willie Dixon所写的 "Hoochie Coochie Man" ，在 "River Of Tears" 之后，克莱普顿开始介绍当晚第一位特别来宾—著名的萨克斯风手戴维山朋(David Sanborn)，他不仅演奏一首自己所写的 "Going Down Slow" 也是整晚伴奏乐团中的一员。第二位出场的特别来宾是葛莱美奖得主雪瑞儿可洛(Sheryl Crow)，她一共表演三首歌，其中和艾力克合唱的 "Little Wing" 是已逝的吉米亨德里克斯招牌曲之一。近年来走红的黑人女歌手玛丽布莱姬(Mary J. Blige)也是来宾名单之一，在她的两首节奏与蓝调歌曲之后，克莱普顿放下电吉他，仿MTV Unplugged的阵式演唱了大家相当熟悉的 "Tears In Heaven" 、 "Change The World" 。
演唱会进入后段，艾力克的招牌曲、为爱慕的对象所写的 "Layla" 响遍全场，紧接着最后一位来宾-民谣教父巴布迪伦出场，老而弥坚的迪伦口齿不清的唱着 "Don’t Think Twice, It’s All Right" 时依然掌声不断。演唱会在迪伦与艾力克合唱蓝调之根Robert Johnson的 "Crossroads" 声中结束，不过放心，还没完，安可曲是艾力克在奶油合唱团(Cream)时代的经典曲 "Sunshine Of Your Love" ，在吉他绕梁中结束这场精彩义唱会
曲目：
01. Intro / Driftin’ / Eric Clapton
02. Hoochie Coochie Man / Eric Clapton
03. River Of Tears / Eric Clapton
04. Going Down Slow / Eric Clapton & David Sanbon
05. My Favorite Mistake / Eric Clapton & Sheryl Crow
06. Different Kind / Eric Clapton & Sheryl Crow
07. Little Wing / Eric Clapton & Sheryl Crow
08. Be Happy / You Bring Me Joy (Medley) / Mary J. Blige
09. Not Gon’ Cry / Eric Clapton & Mary J. Blige
10. Tears In Heaven / Eric Clapton
11. Change The World / Eric Clapton
12. Old Love / Eric Clapton
13. Wonderful Tonight / Eric Clapton
14. Layla / Eric Clapton
15. Don’t Think Twice, It’s All Right / Bob Dylan
16. Crossroads ("Cross Roads Blues") / Eric Clapton & Bob Dylan
17. Sunshine Of Your Love / Eric Clapton

摇滚乐传奇人物鲍勃·迪伦主演的喜剧。故事发生在某年某月某个内战连绵不断的国家，绰号“甜心大叔”的经理人正在筹划一场慈善音乐会，其实这只是一场所谓的慈善音乐会罢了，既没有明确的口号，而收入也最终将落入主办者的囊中。电视制作人妮娜受雇以确保将此次演出推广成一次国际盛会，而当甜心大叔请出了新近刚从牢里被释放的传奇乐手杰克·命运后，这场演出注定将成为一场闹剧。

关于演员

大概是被鲍勃·迪伦的魅力所感召，这部投资仅不足1000万美元、用24帧DV拍摄的小成本独立制作，竟然请到了无数大明星加盟助阵，除了主演的杰西卡·兰格、杰夫·布里奇斯、佩内洛普·克鲁兹外，尚有艾德·哈里斯、方·基墨、查理·辛、米基·洛克等人客串小角色，这些演员多数都只领取了演员公会的最低工资。

据闻，片中有长约40分钟的鲍勃·迪伦演唱的歌，其中既包括那些经典曲目，也有不少他为这部片子新写的作品。另外编剧在创作时将鲍勃·迪伦的部分歌词作为对白编入了剧本，而且鲍勃·迪伦本人也出了不少点子。

导演拉里·查尔斯在国际电视圈小有名气，并和独立制片界里不少大腕级人物如迈克尔·摩尔、爱德华·伯恩斯等有过合作，《蒙面与匿名》是他的首部剧情长片。

他是一个信徒，也是一个无神论者；是一个恪守传统的人，又是一个反叛者；一个悲剧人物，一个独自离去的人；同时又是一个激进主义者和一个愤世嫉俗的人。

这是鲍勃·迪伦在影片《蒙面与匿名》中给人的假象，事实上，他只是想这样说自己，又不好意思说而已。

在2003年的美国圣丹斯电影节上，摇滚乐坛老将鲍勃·迪伦主演的影片《蒙面与匿名》吸引了广泛的关注，最终却被评论界骂得一塌糊涂，甚至有人刻薄地说：“现在唯一的问题，就是决定这部影片要在我看过的最差影片里排第几了。”也许，这一次鲍勃·迪伦真的没有把自己藏好。

虽然这是鲍勃·迪伦首次出演主角，虽然他是一位受人尊敬的民谣老将，但是他的出演却真地证明了这句话：隔行如隔山。鲍勃·迪伦在片中扮演的角色名叫“杰克命运”，他有着一张鲍勃·迪伦惯有的死鱼脸和一身牛仔行头以及辉煌的过去。有人说，这部影片更像是一部鲍勃·迪伦的传记片，不过老鲍勃却耍了一个失败的花招：他很想掩饰自己的真实身份，又生怕别人看不出来自己是谁，结果，前后矛盾的心理彻底葬送了这部影片。套用片中一场音乐会的主办者“甜心大叔”的话就是：“许多人都试过了很多遍，但是遗憾的是，他们都不喜欢你。”这是“杰克命运”在影片中的遭遇，同样也是发生在鲍勃·迪伦自己身上。

很少有人喜欢听说教，但是喜欢说教的人却不少。在影片《蒙面与匿名》里，每一个人物都是个不知不扣的哲学家。无论是暴徒、赞助者、记者、女朋友，还是革命家、电视制片人、独裁者、监狱看守，无一例外都有着圣人的学识和律师的口才，从他们嘴里传出来的，不是寓言警句，就是典故和俏皮话，每一句都充满了思想的光辉。熟悉鲍勃·迪伦曲风的人都知道，那些台词真是和他的歌曲如出一辙，连语调都是时而高吭时而低沉，围绕那些有关自由、爱、政治、时代、道德以及死亡的话题娓娓道来。

关于导演

剧本是鲍勃·迪伦和导演拉里·查尔斯共同的杰作，或者干脆说，这是鲍勃·迪伦自己的想法，拉里·查尔斯只是个有些导演权利的玩偶。

影片发生在美国的“某个不知名的地方”，而且年代也相当隐讳。在那里，电台用西班牙语和英语播放节目，当地正在如火如荼地进行着一场血腥的革命。曾经的摇滚明星“杰克命运”就恰好在这个时候从监狱里被放出来，以前的老朋友、音乐会策划人“甜心大叔”找到他，盛情邀请他加入一场慈善演出。随后的故事一直在追寻“杰克命运”入狱的原因，同时还有形形色色的角色出场，电视制作人、记者、歌迷，所有人的故事都一锅粥地搅和在一起。

纵观整部影片，身份对于老鲍勃而言只是一个骗局。“你可以叫我泰瑞，也可以叫我蒂米或者是波比，总之都无所谓”，重要的是，“杰克命运”始终在闪躲着耍些花招，迷惑他的听众。《蒙面与匿名》，光是这个名字就足以让观众领略到鲍勃·迪伦自己是多么喜爱他在剧中捉摸不透的身份，但是这些把戏很容易被拆穿，他那独一无二的声音和曲风还是让他暴露了身份。很多人都不明白，他为什么要拍这样一部剧情片而不是纪录片，如果是后者，他完全可以更投入也更自我，而且完全不会受人囹圄。难道他这样做只是为了创造一个让人捉摸不透的历史背景，才能逃避任何受牵制的机会？

幕后

鲍勃·迪伦当然知道自己在歌迷心中的名望早已根深蒂固，因此他毫不忌讳人们的负面评论。其实，这并不是他首次出演电影，只不过以前只是扮演一些零星角色。早在上个世纪60年代，鲍勃·迪伦就曾偶尔在一些电影中露面，但都没有太大影响力，人们更关注的是他的音乐。但是鲍勃·迪伦不服老，他亲自操刀撰写剧本，并招募来专业摄影队伍和大牌明星。终于在今年把影片《蒙面与匿名》拿到了圣丹斯电影节。然而事与愿违，在这个以追求独立精神为原则的电影节上，没有人买这个老歌手的帐。

“每一个历史时期都或多或少地有它的悲剧性”，《纽约时报》的这个评价已经很给鲍勃·迪伦留情面了。事实上，扑朔迷离的情节线索和隐晦的笑话实在让观众乐不起来。在影片最后，“杰克命运”饱经沧桑的脸上写上了某种满足，他说：“有时，仅仅了解事情的本身意义还不够，我们还必须知道那些没有意义的事。”弦外之音就是，你大不要管影片再说些什么，因为知道了也没有用；你只要知道，这是一部鲍勃·迪伦自说自话的影片就行了，尽管这些话对你来说意义不大。

安妮（朱迪·福斯特 Jodie Foster 饰）是一名才华横溢的艺术家，一次偶然之中，她目睹了黑帮杀人灭口的场景，成为了这起事件唯一的目击者。安妮来到警局报案，被告知当局追查这支黑帮已久，一直苦于没有证据无法起诉他们，警方希望安妮能够出庭作证。很快，安妮的身份便在黑帮之中暴露了，他们派出了经验丰富的杀手米罗（丹尼斯·霍珀 Dennis Hopper 饰）想要除掉安妮。
就这样，安妮踏上了逃往之旅，但她的一举一动哪里逃得过黑帮的眼睛。在米罗的第一次暗杀行动失败之后，黑帮又追加一群杀手继续迫害安妮。就在安妮即将被杀死的节骨眼上，良心发现的米罗出手相救。

Andy Warhol´s Screen Tests were filmed from early 1964 to November 1966. Factory visitors who had potential "star" quality would be seated in front of a tripod mounted camera, asked to be as still as possible, and told not to blink while the camera was running. Warhol manipulated light and shadow in increasingly inventive ways to capture the appearance, style, personality, and mood of both famous and lesser-known visitors to his studio, the Factory. His subjects included Dennis Hopper, Gerard Malanga, Edie Sedgwick, Susan Sontag, and Salvador Dalí. Although each film was shot at standard sound speed, or twenty-four frames per second, Warhol specified that prints be projected at a slower speed of sixteen frames per second, a rate used in the projection of silent films. The result is an unusual fluidity of pace, a rhythm gently at odds with the starkness of the lighting and the boldness of the close-ups of face and hair.
In total more than 500 Screen Tests were made. Helmut was the seventh.

A look at America's struggles with war, class, race and women's rights. based on Howard Zinn's "A People's History of the United States."

The history of rock n' roll and pop music are explored are explored via interviews and footage of well-known music stars.

As our country continues to embroil itself in foreign wars and pins its hopes on a new leader's promise for change, Phil Ochs: There But For Fortune is a timely and relevant tribute to an unlikely American hero. Over the course of a meteoric music career that spanned two turbulent decades, Phil Ochs sought the bright lights of fame and social justice in equal measure - a contradiction that eventually tore him apart. From youthful idealism to rage to pessimism, the arch of Ochs' life paralleled that of the times, and the anger, satire and righteous indignation that drove his music also drove him to dark despair. In this brilliantly constructed film, interview and performance footage of Ochs is illuminated by the ruminations of Joan Baez, Tom Hayden, Pete Seeger, Sean Penn, Peter Yarrow, Christopher Hitchens, Ed Sanders, and others.

它将讲述一个从支持鲍勃·迪伦到成为其时代最具影响力的团体之一的团体的故事。

1.Songs Include
2.Tombstone Blues
3.Shooting Star
4.All Along The Watchtower
5.The Times They Are A-Changing
6.John Brown
7.Desolation Row
8.Rainy Day Women #12 e 35
9.Love Minus Zero/No Limit
10.Dignity
11.Knockin On Heavens Door
12.Like A Rolling Stone
13.With God On Our Side

In the first comprehensive documentary to chronicle the private life and public career of Joan Baez, How Sweet The Sound examines her history as a recording artist and performer as well as her remarkable journey as the conscience of a generation.
How Sweet The Sound features interviews with David Crosby, Bob Dylan, the Reverend Jesse Jackson, Roger McGuinn and others, as well as a candid conversation between Joan and ex-husband David Harris. The film is rich is historic archival material including footage of Baez' controversial visit to North Vietnam, Martin Luther King Jr. outside a California prison, where he visited Joan to offer his support after she was jailed for protesting the draft during the Vietnam War, and never-before-seen film of Joan as a teenager performing at Club 47 in Cambridge, where her career was launched in 1958.
"Joan Baez: How Sweet The Sound" Original Soundtrack includes material spanning Joan's career, including many rare, previously unreleased performances.
1. Man Smart Woman Smarter
2. I Never Will Marry
3. Barbara Allen
4. Silver Dagger
5. Fennario
6. Oh Freedom
7. With God On Our Side
8. A Song for David
9. The Night They Drove Old Dixie Down
10. I Pity The Poor Immigrant (Duet w/ Bob Dylan)
11.Carry It On
12.Diamonds & Rust
13.Love Song To A Stranger
14.Day After Tomorrow
15.Jerusalem
Also includes: Conversations with:
Dar Williams
Bill Fegan and Bishop Earnest Palmer
Vaclav Havel
Steve Earle

This uninspiring drama was unfortunately the last feature film directed by Richard Marquard and was released posthumously. Bob Dylan plays the retired and reclusive rock star (there's a stretch) Billy Parker who falls for aspiring rocker Molly McGuire (Fiona) and takes her under his wing on his tour of England to benefit from his experience. When Molly is "discovered" by lecherous music promoter James Colt (Rupert Everett), Billy flies the coop back to his stateside chicken farm while Molly makes music magic. Billy and Molly are eventually reunited when she returns for a triumphant tour of the United States. Songs from Dylan, Neil Young, Shel Silverstein, Andy Goldmark, Tony Swan, Wang Chung, John Dexter, Cyril Neville, John Hiatt, and Steve Jolley help the thin script and uninspired thesping. The film opens up with the 1982 hit Tainted Love from Soft Cell. Musicians Ian Dury and Richie Havens are included in the acting cast. One can only wonder if the feature was just wrapped up too quickly after the untimely death of Marquand from a stroke at age 49 on September 4th, 1987.

Live Aid was a dual-venue concert that was held on 13 July 1985. The event was organized by Bob Geldof and Midge Ure to raise funds for relief of the ongoing Ethiopian famine. Billed as the "global jukebox", the event was held simultaneously in Wembley Stadium in London, England, United Kingdom (attended by 72,000 people) and John F. Kennedy Stadium in Philadelphia, Pennsylvania, United States (attended by about 100,000 people). On the same day, concerts inspired by the initiative happened in other countries, such as Australia and Germany. It was one of the largest-scale satellite link-ups and television broadcasts of all time: an estimated global audience of 1.9 billion, across 150 nations, watched the live broadcast.[2

本片是美国摇滚乐队“THE BAND"在三藩市作告别演出音乐会的纪录片。 片中的大腕实在太多了。
马丁．史高塞斯的导演手法出色，在把握节奏、色彩运用方面掌握得非常有尺度；鲍里斯．李文的摄影技术也是炉火纯青，使得本片成为摇滚乐纪录片的代表作之一。

影片以作家詹姆斯·鲍德温未完成的小说《记住这个房子》为切入点，片中还涉及马丁·路德·金、马尔克姆·X、梅加·埃弗斯的故事。

该片改编自迪伦1975年至1976年的《奔雷秀》巡演，片中将包括迪伦本人的幕前采访。本片被描述为捕捉到了1975年陷入困境的美国精神以及迪伦在那年秋天演奏的欢乐音乐。据悉本片不会以传统纪录片的形式展开叙述。

本集介绍美国乐坛重量级的民谣摇滚歌手鲍伯迪伦，他在1960年代中期为美国摇滚乐坛注入民谣的乐风，让整个乐坛有着不同以往的气息。有着“民谣摇滚诗人”之称的鲍伯迪伦在1965年的民歌演唱会还差点引发暴动，而为他刚起步的歌唱生涯掀起旋风。摇滚乐在1960年代接受了嬉皮与反战运动的洗礼后，经历了一次转型。
片中还为观众介绍难得一见的抒情摇滚先驱“柏德合唱团”的演唱片段；The Mamas & the Papas创造了新的California Dreamin版本；海滩男孩的布莱恩威尔森回忆当年面对披头四的压力。而影片的重头戏就是美国最伟大的吉他手吉米汉醉克斯，他神乎其技的弹指神功可说是四十年来无人能出其右，片中介绍他在蒙特娄流行音乐节时所引发的风潮，以及多位音乐人表达对他的景仰与敬意，这其中当然必包括贯穿全集访谈片段的吉他之神艾力克莱普顿。

"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.

本部纪录片用长达约4个小时的时间讲述了鲍勃·迪伦，这位美国民谣大师的传奇音乐生涯。鲍勃·迪伦，这位堪称美国六十年代反叛文化代言人的传奇歌手，他对音乐的理解和分析从他深刻寓意的歌词中可见一斑。影片聚焦鲍勃·迪伦在六十年代初期成为民谣英雄开始叙述，并穿插多段从未曝光的访问片段，首次真实地披露很多他鲜为人知的画面，记录下这位历久弥新的音乐大师从1961年到1966年间的的传奇历程。
由著名导演马丁·斯科塞斯执导的首部人物传记长片《没有家的方向》，荣获2006年第58届黄金时段艾美奖其他和技术类奖项-非剧情类节目最佳混音、其他和技术类奖项-非剧情类节目最佳导演提名、其他和技术类奖项-非剧情类节目最佳剪辑提名等多项大奖。