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.

A chronicle of Bob Dylan's strange evolution between 1961 and 1966 from folk singer to protest singer to "voice of a generation" to rock star.

1967 film directed by D. A. Pennebaker

Pat Garrett is hired as a lawman on behalf of a group of wealthy New Mexico cattle barons to bring down his old friend Billy the Kid.

1992年10月16日，为庆祝Bob Dylan进入歌坛三十周年的一场纪念演唱会在纽约麦迪逊广场展开，吸引了超过一万八千人的观众前往观赏。参与演出的歌者包括有：John Mellencamp、盲人歌手 Stevie Wonder 、The Velvet Underground主唱Lou Reed、Pearl Jam 的 Eddie Vedder 和 Mike Mccready、黑人民谣歌手Tracy Chapman、Johnny Cash 与妻子 June Carter Cash（Johnny 在’69年 Dylan 的专辑封面提了一首诗，而得到了葛莱美奖「Best Album Note」的殊荣）、老牌乡村乐手 Willie Nelson 、另外一位横跨电影与音乐的乡村艺人 Kris Kristofferson、来自德州的已故蓝调吉他英雄Stevie Ray Vaughan、老石头 Ron Wood 、曾经风靡了 Woodstock 演唱会的艺人Richie Havens、三位当代杰出的年轻女艺人Shawn Colvin、Mary Chapin Carpenter以及Rosanne Cash、伟大的词曲创作家兼歌手 Neil Young 、Pretenders主唱Chrissie Hynde、颇受此间欢迎的吉他之神 Eric Clapton 、和 Bob Dylan有长久合作关系的 The Band 和老披头 George Harrison、著名的摇滚乐手Tom Petty、老牌民谣摇滚乐团 Byrds 的一员Roger Mcgainn等等相继以抢眼表现风靡全场；末了，Dylan和众乐手合唱了「 My Back Pages」、「 Knockin’ On Heaven’s Door」结束了这场耐人寻味的演唱会。综观而言，这些乐手不俗的表现和 Dylan 词曲的功力，将演唱会带入了高 潮而丝毫没有冷场，是一场值得一听再听的演唱会，Sony唱片公司特别录下了全部的过程，并加以重新付梓以飨大众, 作为永久的典藏。