□面的血蛮□和肖玉龙二人,则依旧□若无人□谈笑着。cinu□percoutl□lt“所有玫瑰花数”getRoseNum□ower,□ppervoidget□oseNu□i□tlower,i□tupperif□owerl□1000upper9999cout□tlt“上下界□□”□tltendlreturnfori□ti=lowerilt=upper□++一位(🤳)身穿苍蓝色长衫、面貌俊逸□□年男子□□在秋水□的指引□下,□入了苏生三人的眼帘。“笨□,人家□大势□自□就可以炼制这样的□□)丹(🐈)药,而且还会不定时的(🚿)拿一(❤□些出□拍卖,□说人□的精英□子会稀□这□东西吗!”"Bob Dylan going electric" at the □96□ Ne□port Fo□k□Fes□iva□ is o□e o□ those ep□chal□□o□ents in r□ck□history t□at se□mi□gly ev□ryone ha□ heard □□out, but what □e□ people seem□t□□know is that □t was□□;t□so□□□ephe□eral even□ that we o□ly k□ow□from □or□ of□mouth□□□□fil□make□ Murray Lerner documented t□□ perf□r□a□□es at the Newp□rt□□esti□□l for several years □u□nin□, and□The Other Side of □he Mirror co□lect□ fo□t□ge from the thre□ y□ar□ D□lan appe□re□ at□the cel□brated fol□ gather□ng, a□lowi□g us to s□e Dylan's rise thro□□h th□ folk□□cene for ours□l□es□ W□tching□L□rner's documentar□, wh□t□#39;s most rem□rkable□□s□how m□□h Dylan□chan□ed over the course of 36□mon□hs; the young □olkie□p□rforming at the afternoon □q□o□;work□hop□quot; □t the□side of □□an□Baez in 1963 □s □t once nervy and hesitan□, singing his wordy tunes w□ile choppi□g away□at□his acous□i□□guit□r a□d□ener□izing□the crowd□wi□h□ut □eeming t□ know j□st wha□ he□;s d□i□g. In 1964, Dylan a□□ but □wns□Newport, and he clear□y knows it; h□□;s th□ talk of the Festiv□l, w□□h Baez□□nd J□hnn□□□ash singing his pr□ises (and his songs), and his □omma□d of the stage is□visibly stron□er□and m□r□ confiden□□wh□le his ne□ material □includin□□"Mr□ Tam□□urine□Man"□ a□d □quot;It□Ain't Me, Babe") s□e□ him moving □□ay from the &q□ot;p□o□□st□so□gs&□uot; that f□□st ma□e □i□ name.□When t□□ audi□nc□□d□□a□□s□an e□co□e□after Dylan□9;s ev□ni□g s□t (□□ett□ □nd Dave Van R□nk w□re scheduled to follow him), Pet□r Yarrow □ries to□□eep the sh□w m□v□ng along while□□ylan bea□s □t the crowd□#39;s adulation, like the rock sta□ he was qu□□kly becoming.□□y the□tim□ the 1965 Newport Festi□□l r□lle□ ar□und, D□lan'□ epochal &□uot;Like a R□□□ing □tone" was□st□rting to scale the s□ng□es charts, an□□the □□rd□□re folk audience w□s clearly □f tw□ mi□ds ab□ut □is □opular□(and□popu□ist) su□ces□. W□□n □y□an, Fender Strato□a□ter in hand, perform□ "Mag□ie□9;s F□rm"□ backed □y□Al Kooper, Mike Bloomfield and th□ rhythm sec□ion from□the Paul Butterfield □□ues Band, the raucous□b□□ hard-driv□ng numbe□ inspires □□curious mixture of e□thusiastic che□ring and equally emp□□tic booing, and while□□egend has□it tha□ the □ersion of &q□□t;Like a Rolling Stone&□uo□; th□t □□l□o□e□ was a sham□les, the s□ng □ooks des□i□e dru□m□r □□□□Lay'□ dif□ic□lty i□ finding the g□o□ve, t□□u□h if□anyt□ing □□e d□visi□□ o□ the□crowd&□□9□□ loyalties is eve□ stronger□aft□rwar□. After t□□se two numbers, Dyl□n a□d his□□□nd le□□e the stag□, with Y□rr□w (once again se□ving□a□ M□) □iting□technica□ problem□ (i□ P□te Seeger r□ally pulled the power on D□lan, as□l□gend □as it, th□re□#39;□ no□s□gn of□it her□); Dy□a□ retu□ns t□ □he□stage with an acousti□□six-s□□ing□to sing "Mr. Tam□ourine Man&qu□□;□and "It&□39;s □ll O□er □o□,□Ba□y Bl□e&□□ot;□befor□ van□sh□□g into t□e night wit□out □o□me□t□ □hi□e much of□the a□die□c□ at N□wport□in 1965 w□nted the "old&□uo□□ □yl□n□b□□k, his st□□ng, willful □er□or□ances even on the □c□u□tic stu□f□makes it obvious that the□scrappy semi-amateu□ we □aw at the□beginni□g o□ the □ovie was gone fo□ever,□an□ t□e □□a□ions s□ggest more□than a□few□□□ople wanted to s□e Dyl□n ro□k. Lerner□9;□□film tells□us a□cer□□in a□o□nt□of what we alread□ □n□ws, □ut□it gently debun□s a few□myths about D□l□n during th□s piv□tal□mo□ent in his□caree□□ a□d his perform□nc□s are commit□ed□an□ □orc□ful□through□ut; no matter □ow many □imes □ou&□39;ve rea□ about D□□an□□s Ne□por□ s□o□t-out of□1965,□seein□ i□ is □ re□elatory exper□e□ce, and L□rner h□s assembled□□his□a□chiv□l materi□□ with i□tell□gence□□nd t□ste.□This is must-see v□ewing□for □nyone intere□ted □n D□lan□or the fo□k □□ene of th□ '6□s.