you have been invoking more and more the tradition of woody guthrie, which is another, it seems to meficant change in the direction of your work. >> yeah, yeah, i've always been a fan of heavy music. you know, i grew up in suburban parking lot heavy metal. and then, you know, transferred to sort of punk and aggressive hip-hop music. and it was only in the last, you know, sort of 10 or 12 years, where i realized that folk music like the music of woody guthrie or the early bob dylan or bruce springsteen "nebraska" records or phil ochs, that that music could be just as heavy or heavier than anything that's played through a wall of marshall stacks. >> how so? >> that the right turn of phrase and the right couplet can cut to the core of your heart in a way that a searing, you know, guitar solo sometimes can't -- sometimes can, but sometimes can't. you know, the music of johnny cash. like, i delved deeply, you know, into these artists and found, at their core, you know, a heart that was a lot darker than in metallica records, you know? and was very much drawn to that. and i think for me it'

going back to woody guthrie and going back to other artists. we're going to focus on the revival of folk music in the 1950s and '60s, modern jazz, the spirituals. african-american spirituals and the freedom summits of the civil rights movement. now, i just wanted to give you a brief glimpse of some of the figures who were prominent in the move, and you can see this -- this pete seger recording is from a live concert. in 1963, june 8, 1963, so that would have been happening in the midst of the whole birmingham campaign and very close, i think, very approximate to the time of medgar evers' assassination. odetta sings bob dylan. highly recommend this record. sings bob dylan, and this recording was done in 1965, a real endorsement of dylan as a voice of protest, a voice of conscience and then over there kind of a little bit off stage peter, paul and mary. in jazz you had protests coming from folks who had been on the scene like duke ellington. i don't know if any of these faces are duke ellington. there are lots of african-american historical lumin

lyrics lyrics begin here is mental blunder at work as he mixes together scraps of selenium, brecht, woody guthrie and robert johnson. the song is modernist and avant-garde, country western. would dylan did, and this is why he is bob dylan, he spun the strange thread connecting different voices. in this frantic first minutes of writing he found a way to make something new out of this diverse list of influences drawing them together into a catchy song. when dylan gets to the courts any know it's the courts as soon as he commits it to paper, the visual power of the song becomes obvious. how does it feel to be without a home, like a complete unknown, like a "rolling stone"? the following week on june 15, 1965 dylan brings his sheet of paper into the cramped space of studio a at columbia records. musicians are only beginning to learn their parts. like a "rolling stone" is cut on acetate. those six minutes of raw music would revolutionize rock 'n roll. bruce springsteen the later described him on the radio is one of the most important moments of his life. the story of like a "rolling stone" and the rea