How many times must a man look up
Before he can see the sky?
Yes, ”n” how many ears must one man have
Before he can hear people cry?
Yes, ”n” how many deaths will it take till he knows
That too many people have died?
How many years can a mountain exist
Before it is washed to the sea?
Yes, ”n” how many years can some people exist
Before they”re allowed to be free?
Yes, ”n” how many times can a man turn his head
Pretending he just doesn”t see?
ODPOWIEDŹ JEST W WIETRZE - Sylwek Szweda
Blowing In The Wind (Live On TV, March 1963)
Blowin' In The Wind lyrics (Bob Dylan)
Blowin in the wind lyrics
Blowing in the wind - Bob Dylan
Blowin' in the Wind - Bob Dylan (Dresden 2012)
Bob Dylan & Ron Wood & Keith Richards-Blowin' in the Wind (Live aid 1985)
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Blowing in the wind
Bob Dylan predicts Obama victory - Blowin' in the Wind - Madison, Wisconsin
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Joan Baez - blowing in the wind (English & Japanese) (live in France, 1970)
(Katie Melua - Blowing in the wind)
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The Beatles - Blowin' In The Wind (Bob Dylan Cover)
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PS22 Chorus "BLOWIN' IN THE WIND" Bob Dylan (2002)
Blowin' In The Wind
”Blowin' in the Wind” is a song written by Bob Dylan and released on his 1963 album The Freewheelin' Bob Dylan. Although it has been described as a protest song, it poses a series of questions about peace, war, and freedom. The refrain „The answer, my friend, is blowin' in the wind” has been described as „impenetrably ambiguous: either the answer is so obvious it is right in your face, or the answer is as intangible as the wind”.
In 1999, the song was inducted into the Grammy Hall of Fame. In 2004, it was ranked #14 on Rolling Stone magazine's list of the „500 Greatest Songs of All Time”.
In 2009, the song was licensed for commercial use when The Co-operative Group used it as the soundtrack to a £10 million brand re-launch.
Dylan originally wrote and performed a two-verse version of the song; its first public performance, at Gerde's Folk City on April 16, 1962, was recorded and circulates among Dylan collectors. Shortly after this performance, he added the middle verse to the song. Some published versions of the lyrics reverse the order of the second and third verses, apparently because Dylan simply appended the middle verse to his original manuscript, rather than writing out a new copy with the verses in proper order. The song was published for the first time in May 1962, in the sixth issue of Broadside, the magazine founded by Pete Seeger and devoted to topical songs.
In June 1962, the song was published in Sing Out!, accompanied by Dylan's comments:
There ain’t too much I can say about this song except that the answer is blowing in the wind. It ain’t in no book or movie or TV show or discussion group. Man, it’s in the wind—and it’s blowing in the wind. Too many of these hip people are telling me where the answer is but oh I won’t believe that. I still say it’s in the wind and just like a restless piece of paper it’s got to come down some …But the only trouble is that no one picks up the answer when it comes down so not too many people get to see and know …and then it flies away I still say that some of the biggest criminals are those that turn their heads away when they see wrong and know it’s wrong. I’m only 21 years old and I know that there’s been too many …You people over 21, you’re older and smarter.
In his sleeve notes for The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991, John Bauldie writes that it was Pete Seeger who first identified the melody of „Blowin' in the Wind” as Dylan's adaptation of the old Negro spiritual „No More Auction Block”. According to Alan Lomax's The Folk Songs of North America, the song originated in Canada and was sung by former slaves who fled there after Britain abolished slavery in 1833. In 1978, Dylan acknowledged the source when he told journalist Marc Rowland: „'Blowin' in the Wind' has always been a spiritual. I took it off a song called 'No More Auction Block' — that's a spiritual and 'Blowin' in the Wind' follows the same feeling.” Dylan's performance of „No More Auction Block” was recorded at the Gaslight Cafe in October 1962, and appeared on The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991
Dylan critic Michael Gray has suggested that the lyric is an example of Dylan's incorporation of Biblical rhetoric into his own style. A particular rhetorical form deployed time and again in the New Testament and based on a text from the Old Testament book of Ezekiel (12:1–2) is: „The word of the Lord came to me: 'Oh mortal, you dwell among the rebellious breed. They have eyes to see but see not; ears to hear, but hear not.” In „Blowin' in the Wind”, Dylan transforms this into „Yes'n' how many ears must one man have …?” and „Yes' n' how many times must a man turn his head / Pretending he just doesn't see?”
”Blowin' in the Wind” has been described as an anthem of the 1960s civil rights movement. In Martin Scorsese's documentary on Dylan, No Direction Home, Mavis Staples expressed her astonishment on first hearing the song, and said she could not understand how a young white man could write something which captured the frustration and aspirations of black people so powerfully.
Sam Cooke was also deeply impressed by the song and began to perform it in his live act. A version was included on Cooke's 1964 album Live At the Copacabana. He later wrote the response „A Change Is Gonna Come”, which he recorded on January 24, 1964.
”Blowin' in the Wind” became world famous when it was recorded by Peter, Paul and Mary, who were also represented by Dylan's manager, Albert Grossman. The single sold a phenomenal three hundred thousand copies in the first week of release. On July 13, 1963, it reached number two on the Billboard pop chart, with sales exceeding one million copies. Peter Yarrow recalled that, when he told Dylan he would make more than $5,000 from the publishing rights, Dylan was speechless. Peter, Paul & Mary's version of the song also spent five weeks atop the easy listening chart.
Critic Andy Gill wrote: „'Blowin' in the Wind' marked a huge jump in Dylan's songwriting. Prior to this, efforts like 'The Ballad of Donald White' and 'The Death of Emmett Till' had been fairly simplistic bouts of reportage songwriting. 'Blowin' in the Wind' was different: for the first time, Dylan discovered the effectiveness of moving from the particular to the general. Whereas 'The Ballad of Donald White' would become completely redundant as soon as the eponymous criminal was executed, a song as vague as 'Blowin' in the Wind' could be applied to just about any freedom issue. It remains the song with which Dylan's name is most inextricably linked, and safeguarded his reputation as a civil libertarian through any number of changes in style and attitude.