[INTRO]

???
???
There were things that we all felt we are right and the truth is I don't think w
e were wrong about hardly any of them.
I had to watch the fights the eagles the drugs, the alchol, the paranoia that ca
me along with all of that.
And it scared me.
Ten million girls and two thousands bumps down the light.
You don't know who you are anymore.
What's happening in the proccess which I served gladly is that corporatization o
f rock.
We just took it to the bank.
In 1965, Manhattan and London monoporized the music bussiness.
A decade later, for musicians ??? alike, there was only one place to be.
And it wasn't ??? London or ??? New York.
This is the story of how a small community of singer-song-writers exiled in a ??
? paradise of heart of the metropolice.
Transform Los Angles into the music capitol of the world.
It's a tail about artistic brilliance and a decadent decline
of how a bunch of hippies gave rise to the biggest selling record of all the tim
e,
of the birth of the corporate rock music,
and death of the dream.
[PART ONE]
At 3 AM on the 18th of August 1969, a new group from Los Angles took the stage o
f the Wood-stock music festival.
They faced audience of several hudread thousand, and the cross-section of then m
usical heroes.
This is the second time we've ever played in front of the people, men.
We're scared ???.
There's a remark by Stephen about, you know, this is a second gig and we are sca
red ???.
You know, I mean he was right.
We played a couple of nights before in Chicago.
And notice that was a second gig.
I mean everybody that ??? we really thought was good to stare.
Hendrix, Airplane, Gratefull dead, the band, the band!
Did I mention the band?
All standing around, right behind us.
Okay, ??? was okay.
Let's... common, show us.
We knew who we were, we knew what we could do. But nobody else did.
Woodstock marked collective climax of the hippie dream.
And Crosby, Stills, Nash & Young along with their friend Johni Mitchell and the
manager David Geffin
with the altanative generations hit new disciples.
(By the time we got to Woodstock,
we were half a million strong...)
We arrived at ??? airport and I looked at New York Times.
And it says 4 hundred thousand people sitting in mud.
And I said forget it, I'm not going.
And Johni and I stayed in New York at my apartment where she wrote the song, Woo
dstock.
David Crosby, Stephen Stills, Graham Nash, Neil Young, David Geffen, Johni Mitch
ell.
Six rising stars of the counter culture who came together in the city where ambi
tion and idealism went hand in hand.
And help put Los Angels on the musical map.

The man on the end is Jim McGuin.

The man playing the bass is Chris Hillman.
Who playing the drums is Micael Clark.
And I'm David Crosby.
And when we're toghether, they call us the Byrds.
You'll be driving down to Sunset stlip and your car ??? you'll hear that you kno
w the beginning notes of that.
???
Quite essential folk rock music.
May 1965 the Byrds, the Los Angels beat group released Mr. Tumblin' man,
a song written by the definitive hero of 60's folk.
The condensing case, the QED for the singer-song-writer was Bob Dylan.
We ?? words are more important than band music.
Um... the words are just as important as music.
There'll be no music without words.
I got tuned on the Byrds because I was a Dylan fan.
And the music was important to ???
Music was saying something.
Something that might move you, might change you, might change the world, might p
ush buttons.
And there was a sense that something very important was going on.
The Byrds transformed Dylan's acoustic folk barrad into a number one pops single
,
directly inspired by another revolutionary team of song writers.
George Harrison, John Lennon, Paul McCartney, Ringo Starr.
We just were in all of them.
They were so good.
They put ??? song like Paper-back writer.
I'd want to just give up 'cause I can never do that, I can never get close to th
at.
Probably the things John and I will do will be to write songs as we have been do
ing ???
We probably develop it a little bit more.
You could be an artist who did songs that were written for you.
But you really wanted to be the kind of the artist that the Beatles were.
Because they wrote all the stuffs.
You could really express yourself if you could do it.
Everyone was so throwed.
And nobody was throwed about folk music at all, ???
It didn't exist.
???
For the generation schooled in the folk tradition of the east coast,
the Byrds artisticly credibled the commercialy successful pop, opend up a whole
new world.
Imaged the singer song writer???
Musical life in Los Angels would never be the same again.
And small streach of Hollywood became the only place to be.
(Just get an electric guitar
And take some time and learn how to play... (So You Want to Be a Rock'n'Roll Sta
r))
The Sunset strip is just ???, physically a part of the city.
But politicaly unincorporated.
And from 30's to 50's, essentially governed by the ???.
But the early 60's ??? declined.
And so what happend is that the folk rock scene inherited what was the ruins
(9:30)