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best time to play jili slot Atalanta goes from the Europa League trophy to the top of Serie A. Inter routs Verona 5-0Canada's top military commander calls out US senator for questioning a woman's role in combatHow Old Is North West? Kim Kardashian's Viral Video With Daughter Sets Social Media Buzzing

Meet This New AI Stock That Could Become a Wall Street Darling in 2025. It Has the Full Support of Nvidia and Trades at a Massive Bargain.While without another key performer, the Vancouver Canucks hope to have two others along for the ride when they open a six-game trip against the Ottawa Senators, who are mired in their longest slide of the season. The struggling Canucks will try to right the ship by handing the Senators a fifth straight loss Saturday night. Vancouver has lost two straight and four of six following a 7-1-1 stretch, and the team announced this week that star J.T. Miller will take a leave of absence for personal reasons. It's reported he likely won't be available through this road stretch. "We don't know when he'll be back," Canucks coach Rick Tocchet said of Miller, who is second on the team with 16 points. Vancouver has also been without fellow All-Star Brock Boeser (upper-body injury), who has 11 points in 12 games, for the past six contests. But it's been reported Boeser is with the team for this trip and could be set for a return to the ice. Also, fellow star Thatcher Demko is expected to join the Canucks on this Eastern road trip. However, it's uncertain when he'll make his season debut following a knee injury suffered in the 2024 playoffs. "I definitely know that I'll be playing here," said Demko, who set career bests with 35 wins, a 2.45 goals-against average and a .918 save percentage last season. "I can't give you the timeline yet, but I'll definitely be back. (I'm) just enjoying being where I am today and keep making progress." In the meantime, veteran Kevin Lankinen has been solid in Vancouver's net with a 2.71 goals-against average in 13 starts. However, he's allowed four goals apiece in each of his last two. Backup Arturs Silovs, who made 29 saves in Tuesday's 4-3 loss to the New York Rangers, is 1-3-1 with a 3.91 GAA in six games (five starts) this season. The Canucks have not suffered three consecutive regulation losses in 2024-25. The club has won four in a row amid a 5-0-1 stretch versus Ottawa. Quinn Hughes has a team-leading 19 points, and 18 in 17 career games against the Senators. Meanwhile, teammate Elias Pettersson, with five goals and four assists in the last eight games, has recorded 10 goals and 10 assists in 13 games versus Ottawa. The Senators have struggled to win consistently. They've allowed 17 goals while mired in an 0-3-1 rut after winning two straight. That said, Ottawa battled Vegas hard during Thursday's 3-2 home loss. "We just need to keep working, keep believing in each other," said the Senators' Drake Batherson, who scored his eighth goal Thursday. "You can't get down. Just come to the rink positive and work hard." Former Vezina Trophy winner Linus Ullmark has allowed 13 goals during his current 0-2-1 starting stretch for the Senators, but made 29 saves against the Golden Knights. Teammate Anton Forsberg has yielded three goals apiece in losing his last two starts. Despite Ottawa's middling performance to begin the season, Tim Stutzle has recorded 17 of his team-leading 23 points at home. He has a goal and five assists spanning his last five games versus Vancouver. This article first appeared on Field Level Media and was syndicated with permission.

Adams 1-3 2-4 4, Anderson 1-7 4-6 6, Doty 0-2 0-0 0, Pass 2-3 1-2 5, Preston 6-11 1-2 14, Dereje 2-3 0-0 4, Wadkovsky 0-0 0-0 0, Angel 7-13 3-5 20, Ervin 3-6 3-4 10, Khalil 0-0 0-0 0, Morrow 0-1 3-4 3, Shaw 0-0 3-3 3, Walton 0-1 0-0 0, Willard 0-2 0-0 0, Totals 22-52 20-30 69 Baker 3-7 1-2 7, Micheaux 8-12 3-7 19, Ekh 5-12 2-2 16, Wenzel 2-10 6-8 11, Lani White 2-7 2-2 7, Ramiya White 0-1 0-0 0, Nelson 5-7 2-2 12, Petersen 2-6 0-0 4, Suffren 2-2 2-2 6, Wells 2-3 1-1 5, Totals 31-67 19-26 87 3-Point Goals_Elon 5-15 (Anderson 0-2, Preston 1-3, Angel 3-7, Ervin 1-2, Willard 0-1), Virginia Tech 6-18 (Baker 0-2, Ekh 4-8, Wenzel 1-4, L.White 1-1, Nelson 0-1, Petersen 0-2). Assists_Elon 9 (Pass 4), Virginia Tech 21 (Micheaux 10). Fouled Out_Elon Adams, Virginia Tech Suffren. Rebounds_Elon 30 (Angel 6, Preston 6), Virginia Tech 42 (Micheaux 14). Total Fouls_Elon 21, Virginia Tech 19. Technical Fouls_None. A_5,156.A fragile global order

Remembering ABS Jafri Part - II Author says perhaps his best book is ‘Behind the killing fields of Karachi: A city refuses to surrender’ ABS Jafri’s first book that I read was ‘Here lies India’, containing his columns about the India-Pakistan War of 1965. During and after the war he wrote columns seven days a week blending grave news with humour. One can’t imagine how in that inflammable atmosphere he could harness his muse and achieve the remarkable feat of producing a column a day, nearly always with something laughable. Reading these columns, I wondered how a steadfast journalist like ABS Jafri could overnight turn into a patriot and wholeheartedly support all war efforts without presenting or questioning the background to the war. The answer Jafri gives in his apology at the beginning of the book: “War is a serious business: the act of the aggressor, diabolical; as the struggle of the defender, angelic. Particularly so, when the aggressor is several times the more powerful. And that is always the case. So it was on the morning of September 6, 1965... Of course, you can’t laugh in times of war unless you see something funny about the enemy. In our case, the enemy’s lies were so surpassingly amusing. And so, reader, all I can say about the pages that follow is that ‘here lies India’. Just that.” In his first column ‘India Attacks’ on September 6, this is how ABS outlines the day’s journey: “The treacherous, desperate, three-pronged Indian invasion on Pakistan has been repulsed and the indiscriminate enemy air attack has been beaten back with 22 Indian fighter-bombers in ashes at a cost of two Pakistani F-86 (Sabre) fighters. The Indians launched their unprovoked, undeclared, unannounced attack on Pakistan in the vicinity of Lahore, the country’s second largest city, under the cover of pre-dawn darkness. Their aircraft strafed undefended land targets, finding nothing better than two stationary railway trains for a strike.” Perhaps his best book is ‘Behind the killing fields of Karachi: A city refuses to surrender’. Though the book is mostly about the Karachi of the 1990s, it offers much more than just the killing fields of Karachi. For instance, just read the following extract: “...look at this incredible spectacle: Dr Khan Saheb, the traitor and Indian agent of 1947, rising to be the chief minister of One Unit, that is, the whole of what is now Pakistan. “H S Suhrawardy, the traitor of 1947-49, rising to be the fifth prime minister of Pakistan in 1956; Zulfikar Ali Bhutto, the Indian citizen and Indian agent and traitor of 1967-69, rising to be the first elected Prime Minister of Pakistan in 1971; the terror chief of AZO {Al-Zulfikar Organization} an Indian agent, Benazir Bhutto of early 1980s, becoming prime minister in 1988; then once again becoming an AZO chief and Indian agent...until elected a second time Prime Minister in 1993...” This is the sad story of calling political leaders ‘traitors’ and when need be co-opting them to serve as cogs in the state machinery and then declaring them Indian agents to malign their credentials and again whitewashing them for the benefit of the state. The story is succinctly presented with examples by ABS Jafri in the above excerpt. ‘Behind the killing fields of Karachi’ offers not only views but a well-reasoned theory too about the character of the ‘Karachi crisis’ that dominated the journalistic and political parlance of the 1990s. The book begins with a brief and crisp introduction to the Karachi phenomenon by refreshing the memory of the reader with pertinent developments and events which had a decisive bearing on Karachi. Then it gives chronologies of events spanning nearly 50 pages and covering the 1990-94 half decade. The first chronology, ‘Waltzing with criminals’, refers to editorials and news stories published in major English and Urdu newspapers discussing criminal activities during the early 1990s. The second chronology, ‘Criminals in the administration/ politics’, outlines the criminal activities of public officials both in and out of uniform. The third chronology is ‘Army operation: all adrift’, which charts the journey of the army operation that began in January 1990 and the repeated and prolonged curfews that Karachi had to endure for years. We get to know that prime minister Benazir Bhutto opposed extraordinary powers for the army deployed in Sindh but by July president Ghulam Ishaq Khan (GIK) and army chief Gen Aslam Beg somehow managed to arm-twist or persuade the PM to grant such powers to the army. The stage was being set to topple the PPP government in August 1990 after just 20 months in power. The fourth chronology, ‘Living in their own paradise’, caricatures personalities such as General Asif Nawaz, president GIK, chief ministers Jam Sadiq and Muzaffar Ali Shah, prime minister Nawaz Sharif, and Chaudhry Shujaat Ali. The last chronology, ‘Some significant landmarks’, narrates the story of nearly all major events taking place during the early 1990s in Karachi or related to its management or lack thereof. These chronologies are very well-researched and make this book an invaluable source for researchers and students of the history and politics of Karachi as both the federal and provincial governments tried to control -- or rather mismanage -- the city. Then in the chapter, ‘The true story’, the book moves back to the Karachi of the pre-partition days when “...Karachi was a non-Muslim majority city. It was almost totally owned and almost exclusively run as a non-Muslim city by non-Muslims for non-Muslims. A majority of these [were] Hindus. Then there were Sikhs, Parsis, Christians and other smaller non-Muslim minorities. It was a flourishing seaport, a big financial, industrial and banking centre. Karachi was then rated as the cleanest city in the subcontinent. And indeed it was not only clean, but also orderly, quiet, even leisurely. The other most remarkable aspect of [] Karachi’s character was that it was without any notable presence of Muslims in any significant sense.” The book concludes with more than 50 pages of an appendix containing details and photos of governors-general of Pakistan, presidents, chief ministers, and important documents and speeches by prominent leaders from G M Syed to Altaf Hussain, and the MQM’s Charter of Demands. Finally, the postscript adds some more details about the developments taking place in 1995 just before the book went to the press. This book is a treasure trove of information and analysis about the Karachi of the early 1990s. I wonder how many college libraries have the privilege of having this book in their collection. ‘Snapshots of Shame: 1996’ published in 1997 is a sort of sequel to the previous book about Karachi. The book recounts events in 1996 involving the government, the nation, and the state in a less than flattering light. It was an eventful year as it saw the dismissal of the second Benazir government by its old guard Farooq Leghari who was president of Pakistan. Then the caretaker administration by Malik Meraj Khalid took over. Before that in the 1990s, the country had witnessed three caretaker governments. The first was sworn in under the prime ministership of Ghulam Mustafa Jatoi, the second under Balkh Sher Mazari (April 18-May 26, 1993), and the third under Moeen Qureshi (July 8-October 19, 1993). ‘Snapshots...’ is a collection of columns ABS Jafri wrote from January to December 1996 commenting on nearly all major developments of the year. In the first column of the year in January 1996, Jafri writes: “The killing fields of Karachi began the new year 1996 with what looks very much like a record. That, too, with a difference: two army officers among 18 killed on January 1. This is to greet Interior Minister Gen Babar, if you please. He says he has made a conquest of Karachi and its terrorists. So much then for Emperor Babar’s triumphs over terror.” ‘Jinnah Betrayed’ carries the journey forward to the late 1990s as most of the columns included in this collection ABS Jafri wrote in 1999. Just to give you some flavour of his writings: “This country is now among the most corrupt, most cruel, most crime-ridden, poverty-stricken, frustrated, and benighted in the world. Nature has so lavishly endowed it that this Pakistan could be rich, beautiful, and secure. It was not meant to be so wretched. But that is just what it is. Every aspect of life in Pakistan mocks [] its inimitable founder, Mohammad Ali Jinnah...” The last book by Jafri, ‘Diary of a wicked war’, chronicles the three months from March to May 2003 when the US and its allies invaded and conquered Iraq and removed Saddam Hussain from power on the pretext that he was developing ‘weapons of mass destruction’. In short, the books by ABS Jafri – not all discussed here -- remain highly useful in understanding political developments in Karachi, Pakistan, and the region. Concluded The writer holds a PhD from the University of Birmingham, UK. He tweets/posts @NaazirMahmood and can be reached at: mnazir1964@yahoo.co.ukThe Associated Press NEW YORK (AP) — What a wonderful year 2024 has been for investors. U.S. stocks ripped higher and carried the S&P 500 to records as the economy kept growing and the Federal Reserve began cutting interest rates. The year featured many familiar winners, such as Big Tech, which got even bigger as their stock prices kept growing . But it wasn’t just Apple, Nvidia and the like. Bitcoin , gold and other investments also drove higher. Here’s a look at some of the numbers that defined the year. All are as of Dec. 20. 1998 Remember when President Bill Clinton got impeached or when baseball’s Mark McGwire hit his 70th home run against the Montreal Expos? That was the last time the U.S. stock market closed out a second straight year with a leap of at least 20%, something the S&P 500 is on track to do again this year. The index has climbed 24.3% so far this year, not including dividends, following last year’s spurt of 24.2%. 57 The number of all-time highs the S&P 500 has set so far this year. The first came early, on Jan. 19, when the index capped a two-year comeback from the swoon caused by high inflation and worries that high interest rates instituted by the Federal Reserve to combat it would create a recession. But the index was methodical through the rest of the year, setting a record in every month outside of April and August, according to S&P Dow Jones Indices. The latest came on Dec. 6. 3 The number of times the Federal Reserve has cut its main interest rate this year from a two-decade high, offering some relief to the economy. Expectations for those cuts, along with hopes for more in 2025, were a big reason the U.S. stock market has been so successful this year. The 1 percentage point of cuts, though, is still short of the 1.5 percentage points that many traders were forecasting for 2024 at the start of the year. The Fed disappointed investors in December when it said it may cut rates just two more times in 2025, fewer than it had earlier expected. 1,508 That’s how many points the Dow Jones Industrial Average rose by the day after Election Day, as investors made bets on what Donald Trump’s return to the White House will mean for the economy and the world . The more widely followed S&P 500 soared 2.5% for its best day in nearly two years. Aside from bitcoin, stocks of banks and smaller winners were also perceived to be big winners. The bump has since diminished amid worries that Trump’s policies could also send inflation higher. $100,000 The level that bitcoin topped to set a record above $108,000 this past month. It’s been climbing as interest rates come down, and it got a particularly big boost following Trump’s election. He’s turned around and become a fan of crypto, and he’s named a former regulator who’s seen as friendly to digital currencies as the next chair of the Securities and Exchange Commission, replacing someone who critics said was overly aggressive in his oversight. Bitcoin was below $17,000 just two years ago following the collapse of crypto exchange FTX. 26.7% Gold’s rise for the year, as it also hit records and had as strong a run as U.S. stocks. Wars around the world have helped drive demand for investments seen as safe, such as gold. It’s also benefited from the Fed’s cut to interest rates. When bonds are paying less in interest, they pull away fewer potential buyers from gold, which pays investors nothing. $420 It’s a favorite number of Elon Musk, and it’s also a threshold that Tesla’s stock price passed in December as it set a record. The number has a long history among marijuana devotees, and Musk famously said in 2018 that he had secured funding to take Tesla private at $420 per share . Tesla soared this year, up from less than $250 at the start, in part because of expectations that Musk’s close relationship with Trump could benefit the company. $91.2 billion That’s how much revenue Nvidia made in the nine months through Oct. 27, showing how the artificial-intelligence frenzy is creating mountains of cash. Nvidia’s chips are driving much of the move into AI, and its revenue through the last nine months catapulted from less than $39 billion the year before. Such growth has boosted Nvidia’s worth to more than $3 trillion in total. 74% GameStop’s gain on May 13 after Keith Gill, better known as “Roaring Kitty,” appeared online for the first time in three years to support the video game retailer’s stock, which he helped rocket to unimaginable heights during the “ meme stock craze ” in 2021. Several other meme stocks also jumped following his post in May on the social platform X, including AMC Entertainment. Gill later disclosed a sizeable stake in the online pet products retailer Chewy, but he sold all of his holdings by late October . 1.6%, 3.0% and 3.1% That’s how much the U.S. economy grew, at annualized seasonally adjusted rates, in each of the three first quarters of this year. Such growth blew past what many pessimists were expecting when inflation was topping 9% in the summer of 2022. The fear was that the medicine prescribed by the Fed to beat high inflation — high interest rates — would create a recession. Households at the lower end of the income spectrum in particular are feeling pain now, as they contend with still-high prices. But the overall economy has remained remarkably resilient. 20.1% This is the vacancy rate for U.S. office buildings — an all-time high — through the first three quarters of 2024, according to data from Moody’s. The fact the rate held steady for most of the year was something of a win for office building owners, given that it had marched up steadily from 16.8% in the fourth quarter of 2019. Demand for office space weakened as the pandemic led to the popularization of remote work. 3.73 million That’s the total number of previously occupied homes sold nationally through the first 11 months of 2024. Sales would have to surge 20% year-over-year in December for 2024’s home sales to match the 4.09 million existing homes sold in 2023, a nearly 30-year low. The U.S. housing market has been in a sales slump dating back to 2022, when mortgage rates began to climb from pandemic-era lows. A shortage of homes for sale and elevated mortgage rates have discouraged many would-be homebuyers.LeBron James is going to have to make room for the NFL . Wednesday's doubleheader on Netflix set records as the most-streamed NFL games in U.S. history, with numbers nearly five times more than the NBA . The Baltimore Ra ve ns' 31-2 victory over the Houston Texans averaged 24.3 million while Kansas City's 29-10 win at Pittsburgh averaged 24.1 according to early viewer figures released by Nielsen on Thursday. Nielsen also said there were 65 million U.S. viewers who tuned in for at least one minute of one of the two games. The NBA's five-game slate averaged about 5.25 million viewers per game across ABC, ESPN and its platforms, according to the league and Nielsen. “I love the NFL,” James said in his televised postgame interview Wednesday night. “But Christmas is our day.” While the NBA's Christmas lineup has its best viewer numbers in five years, the NFL has made Christmas one of its tentpole events during the regular season, joining Kickoff Weekend and Thanksgiving. “The numbers speak for themselves and LeBron can have his own view, and I’m sure more people will look at that because of this," said Hans Schroeder, the executive vice president of NFL Media. "But, you know, we’re focused on the NFL and we’re thrilled with the results this year with the Christmas on Netflix and we’re excited to continue to build that over the next couple of years.” Both NFL games surpassed the previous mark of 23 million for last season’s AFC wild-card game between the Miami Dolphins and Chiefs on Peacock. Viewership for Ravens-Texans peaked with the Beyoncé Bowl. The 20-minute halftime performance averaged over 27 million viewers. The viewer figures include the audience on Netflix, mobile viewership on NFL+ and those who tuned in on CBS stations in Pittsburgh, Kansas City, Baltimore and Houston. Global ratings and final U.S. numbers are expected to be available on Tuesday. The NFL's Christmas numbers decreased from last season, but not at the rate that usually happens when something goes from broadcast to streaming. Last year’s three games averaged 28.68 million viewers. The early afternoon contest between the Las Vegas Raiders and Chiefs led the way, averaging 29.48 million on CBS. Once global and Netflix's first-party data is released, both Christmas games should surpass 30 million. The NBA's lineup saw an 84% rise over 2023. One reason for the increase is that all five games were on ABC, compared to two last year. The Los Angeles Lakers’ 115-113 victory over the Golden State Warriors — a game pitting Olympic teammates LeBron James and Stephen Curry — averaged 7.76 million viewers and peaked with about 8.32 million viewers toward the end of the contest, the league said. Those numbers represent the most-watched NBA regular season game in five years. The NBA said all five Christmas games on its schedule — San Antonio at New York in Victor Wembanyama's holiday debut, Minnesota at Dallas, Philadelphia at Boston, Denver at Phoenix and Lakers-Warriors — saw year-over-year viewership increases. Wednesday's numbers pushed NBA viewership for the season across ESPN platforms to up 4% over last season. The league also saw more than 500 million video views on its social media platforms Wednesday, a new record. For the NBA, those are all good signs amid cries that NBA viewership is hurting. “Ratings are down a bit at beginning of the season. But cable television viewership is down double digits so far this year versus last year," NBA Commissioner Adam Silver said earlier this month. “You know, we’re almost at the inflection point where people are watching more programing on streaming than they are on traditional television. And it’s a reason why for our new television deals, which we enter into next year, every game is going to be available on a streaming service.” Part of that new package of television deals that the NBA is entering into next season also increases the number of regular season games broadcast on television from 15 to 75.

At least 6,000 inmates escaped from a high-security prison in Mozambique’s capital Maputo on Christmas Day after a rebellion, the chief of police has said, as widespread post-election riots and violence continue to engulf the country. The police general commander, Bernardino Rafael, said 33 prisoners had died and 15 others were injured during a confrontation with the security forces. The prisoners fled during violent protests in which police cars, stations and general public infrastructure were destroyed after Mozambique’s constitutional council confirmed the ruling Frelimo party as the winner of the 9 October elections. The escape from Maputo’s central prison, located 14km south-west of the city, started about midday on Wednesday after “agitation” by a “group of subversive protesters”, Rafael said. He said prisoners at the facility had snatched weapons from prison officers and began freeing other detainees. Rafael said: “A curious fact is that in that prison we had 29 convicted terrorists, who they released. We are worried, as a country, as Mozambicans, as members of the defence and security forces. “They[protesters] were making noise demanding that they be able to remove the prisoners who are there serving their sentences”, said Rafael, adding that the protests led to the collapse of a wall, allowing the prisoners to flee. He called for the voluntary surrender of the escaped prisoners and for the population to be informed about the fugitives. Videos circulating on social media showed the moment inmates left the prison, while other recordings revealed the captures made by military personnel and prison guards. Many prisoners tried to hide in homes, but some were unsuccessful and were detained. In an amateur video, one prisoner, still with handcuffs on his right wrist, said he had been in the disciplinary section of the maximum security prison and had been released by other inmates.The Associated Press NEW YORK (AP) — What a wonderful year 2024 has been for investors. U.S. stocks ripped higher and carried the S&P 500 to records as the economy kept growing and the Federal Reserve began cutting interest rates. The year featured many familiar winners, such as Big Tech, which got even bigger as their stock prices kept growing . But it wasn’t just Apple, Nvidia and the like. Bitcoin , gold and other investments also drove higher. Here’s a look at some of the numbers that defined the year. All are as of Dec. 20. Remember when President Bill Clinton got impeached or when baseball’s Mark McGwire hit his 70th home run against the Montreal Expos? That was the last time the U.S. stock market closed out a second straight year with a leap of at least 20%, something the S&P 500 is on track to do again this year. The index has climbed 24.3% so far this year, not including dividends, following last year’s spurt of 24.2%. The number of all-time highs the S&P 500 has set so far this year. The first came early, on Jan. 19, when the index capped a two-year comeback from the swoon caused by high inflation and worries that high interest rates instituted by the Federal Reserve to combat it would create a recession. But the index was methodical through the rest of the year, setting a record in every month outside of April and August, according to S&P Dow Jones Indices. The latest came on Dec. 6. The number of times the Federal Reserve has cut its main interest rate this year from a two-decade high, offering some relief to the economy. Expectations for those cuts, along with hopes for more in 2025, were a big reason the U.S. stock market has been so successful this year. The 1 percentage point of cuts, though, is still short of the 1.5 percentage points that many traders were forecasting for 2024 at the start of the year. The Fed disappointed investors in December when it said it may cut rates just two more times in 2025, fewer than it had earlier expected. That’s how many points the Dow Jones Industrial Average rose by the day after Election Day, as investors made bets on what Donald Trump’s return to the White House will mean for the economy and the world . The more widely followed S&P 500 soared 2.5% for its best day in nearly two years. Aside from bitcoin, stocks of banks and smaller winners were also perceived to be big winners. The bump has since diminished amid worries that Trump’s policies could also send inflation higher. The level that bitcoin topped to set a record above $108,000 this past month. It’s been climbing as interest rates come down, and it got a particularly big boost following Trump’s election. He’s turned around and become a fan of crypto, and he’s named a former regulator who’s seen as friendly to digital currencies as the next chair of the Securities and Exchange Commission, replacing someone who critics said was overly aggressive in his oversight. Bitcoin was below $17,000 just two years ago following the collapse of crypto exchange FTX. Gold’s rise for the year, as it also hit records and had as strong a run as U.S. stocks. Wars around the world have helped drive demand for investments seen as safe, such as gold. It’s also benefited from the Fed’s cut to interest rates. When bonds are paying less in interest, they pull away fewer potential buyers from gold, which pays investors nothing. It’s a favorite number of Elon Musk, and it’s also a threshold that Tesla’s stock price passed in December as it set a record. The number has a long history among marijuana devotees, and Musk famously said in 2018 that he had secured funding to take Tesla private at $420 per share . Tesla soared this year, up from less than $250 at the start, in part because of expectations that Musk’s close relationship with Trump could benefit the company. That’s how much revenue Nvidia made in the nine months through Oct. 27, showing how the artificial-intelligence frenzy is creating mountains of cash. Nvidia’s chips are driving much of the move into AI, and its revenue through the last nine months catapulted from less than $39 billion the year before. Such growth has boosted Nvidia’s worth to more than $3 trillion in total. GameStop’s gain on May 13 after Keith Gill, better known as “Roaring Kitty,” appeared online for the first time in three years to support the video game retailer’s stock, which he helped rocket to unimaginable heights during the “ meme stock craze ” in 2021. Several other meme stocks also jumped following his post in May on the social platform X, including AMC Entertainment. Gill later disclosed a sizeable stake in the online pet products retailer Chewy, but he sold all of his holdings by late October . That’s how much the U.S. economy grew, at annualized seasonally adjusted rates, in each of the three first quarters of this year. Such growth blew past what many pessimists were expecting when inflation was topping 9% in the summer of 2022. The fear was that the medicine prescribed by the Fed to beat high inflation — high interest rates — would create a recession. Households at the lower end of the income spectrum in particular are feeling pain now, as they contend with still-high prices. But the overall economy has remained remarkably resilient. This is the vacancy rate for U.S. office buildings — an all-time high — through the first three quarters of 2024, according to data from Moody’s. The fact the rate held steady for most of the year was something of a win for office building owners, given that it had marched up steadily from 16.8% in the fourth quarter of 2019. Demand for office space weakened as the pandemic led to the popularization of remote work. That’s the total number of previously occupied homes sold nationally through the first 11 months of 2024. Sales would have to surge 20% year-over-year in December for 2024’s home sales to match the 4.09 million existing homes sold in 2023, a nearly 30-year low. The U.S. housing market has been in a sales slump dating back to 2022, when mortgage rates began to climb from pandemic-era lows. A shortage of homes for sale and elevated mortgage rates have discouraged many would-be homebuyers.

“How does it feel?” is one way by which to measure a movie. But if you’ve seen “ A Complete Unknown ,” the Bob Dylan biopic that opened on Christmas Day, you may have left the theater singing to yourself (to the tune of “Like a Rolling Stone”): How much is reeeaaallll? The short response is: A lot. But the long answer involves acknowledging director James Mangold ’s film taking liberties in terms of a condensation of timelines, the conjoining of separate incidents, fictional character names in a couple of cases, and moments of sheer imagination and fictionalization. It’s certainly possible to enjoy “A Complete Unknown” without stressing too much over which parts are fact and which are fanciful. But for those who want to take a deep dive into how much the movie aligns with the known historical record, we looked to several Dylan experts to help sort it out. Our primary guide is Elijah Wald, who literally wrote the book on this subject — as in, the 2015 book that was optioned and gets a “based on” credit at the beginning of the film: “Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties.” He’s very high on the film, even though he’s independent enough from it to point out areas where the screenplay deviated from his source material. We also talked with David Browne, author of the recently released “Talkin’ Greenwich Village: The Heady Rise and Slow Fall of America’s Bohemian Music Capitol,” who is similarly a fan of the film, even if it sketches the folk scene in shorthand. Finally, we discussed it with Ian Grant, a Dylan buff who is the co-host of two Dylan-centric podcasts, one of which, “Jokermen,” last week featured a heated discussion of the movie’s accuracy and one sticking point in particular that Grant couldn’t get past. Mangold recently told Variety that the film is “not a Wikipedia entry” and he didn’t feel a fealty to a documentary level of facts — but also pointed out that, besides relying on Wald’s book and other historical source material, he based his version of the script (co-written with Jay Cocks) on many hours he spent personally talking with Dylan. In any case, many of those who’ve been in Dylan’s orbit over the years have given it high marks. Kevin Odegard, who played guitar on “Blood on the Tracks,” wrote, “We loved every minute... Critics who pick apart the imaginative world of composite characters and compacted historical footnotes are the dogs who caught the car. They miss the emotional punch of James Mangold’s poignant Hollywood movie.” And Ronee Blakley, a veteran of the Rolling Thunder Revue tour, wrote, “I am happy for Bob to be so carefully portrayed that his legacy stirs excitement today just as it did then, his magic and greatness self-evident and timeless. And we get a glimpse of what it cost him. Timothée Chalamet deserves an award, as does the picture.” Here are some burning questions viewers might have after seeing the film, followed by some burning answers. At the Newport Folk Festival of 1965, did a dismayed fan yell out “Judas!” — to which Dylan replied, “I don’t believe you... you’re a liar”? No... not there. But as most hardcore Dylan fans will know, that exact exchange with the audience did happen a year later, at a 1966 U.K. gig in Manchester that was widely distributed as a bootleg and eventually officially released. So Mangold has combined two incidents in which at least some of the audience was rebelling against Dylan transforming himself into a rock ‘n’ roller. Podcaster Grant, who has a few other problems with the film, doesn’t think this conflation counts as one. “Ultimately, that’s just sort of nerdy fan trivia-type stuff, so I don’t really think that has a fundamental impact one way or another on the quality of the movie,” he says. How accurate, otherwise, is the climactic depiction of Dylan’s appearance at Newport in 1965 ... especially the crowd reaction, booing included? Says Browne, “If any moment in music history was born to be a scene in a biopic, it’s Dylan plugging in at that Newport — from (Pete) Seeger and the ax to the crowd reactions to Dylan returning to the stage with ‘It’s All Over Now, Baby Blue’ (as a comment to the crowd ... or not). Overall, I thought the film did a good job recreating that explosion at Newport, even if the crowd shots seem a bit over the top.” In his “Dylan Goes Electric” book, Wald devotes thousands of words to recounting that fateful day, based on first-hand accounts... many of which substantially differ from others. “There were 17,000 people there,” the author points out. “Depending on where you were standing, I’m sure there were people who were surrounded by people booing, people who were surrounded by people cheering, people who heard a bit of both, people who thought everyone was just confused. Those are all accurate memories of the people around you, in a crowd of 17,000, right?” The problem in coming up with any kind of accurate consensus reaction, he says, is that “during the electric set, the microphones were turned way down because the amps were so loud on stage, so there’s no record recorded of what was happening in the audience. But critic Robert Shelton was in the audience, covering it for the New York Times. He was keeping a notebook at the time, and after ‘Maggie’s Farm,’ he writes in his notebook: ‘Some booing.’ He was writing that as things were happening, so that’s not hindsight. But none of that’s on tape. Once the band got off stage and Peter Yarrow came up to try to quiet the crowd, the microphones were turned up and then you can hear the crowd. And there are people yelling for Dylan to come back. There are also people yelling, ‘Bring back Pete Seeger.’ There are people yelling for (Dylan) to get ‘a wooden box,’ which I take to mean an acoustic guitar. There are people yelling at the other people to shut up. I mean, it was a very confusing scene.” Wald adds, “The best example I have of that is a friend of mine who was there, who has absolutely clear memories of how much he loved Dylan’s electric set — and also absolutely clear memories of coming back from Newport with a picture of Dylan on the inside of his guitar case, which he’d crossed out because he was so angry about Dylan’s electric set. And I think that’s not atypical. There were a lot of people who were upset in the moment and very quickly fell in love with the electric stuff.” A complicating factor in telling this story: Prior to the contentious Sunday electric set, Dylan had done an acoustic performance at the festival, on Saturday ... during which some people attending Newport for the first time were unhappy he wasn’t doing his new electric material! “When he went on for his acoustic set on Saturday afternoon, you can hear the audience (on tape) — there are all these people yelling for him to play ‘Like a Rolling Stone,’ because that was the hit on the radio right then. There were a lot of people who had come to Newport just to hear Bob Dylan, the friend of the Beatles, play ‘Like a Rolling Stone’ and who were being really obnoxious about the other acts. Some of the people at his afternoon set were yelling at the people on the banjo stage to quiet down so they can hear Bob Dylan. So there was already a lot of irritation at the festival before he ever got on stage the next night.” Did Pete Seeger really think about taking an ax to cut the cables as Dylan was alienating some festivalgoeers with his electric set? In the film, this legend is given a nod just by Seeger (played by Edward Norton) glancing at an ax, but not actually picking it up. “I thought how they handled the ax thing in the film was pretty goddamn smart,” says Wald, even though his book goes to great lengths to discredit the idea that Seger was ever in danger of picking one up. Even Seeger eventually “said that ‘if I had an ax, I’d have cut the sound cable’ — which is just an invention. I mean, the whole ax thing was just because Peter Yarrow said (on the microphone to the crowd), ‘He’s gone to get his ax,’ when Dylan went to get a guitar” to perform the solo acoustic encore festival producers were begging for. Some heard the “ax” comment and believed Yarrow was referring to Seeger and a literal blade. One thing Wald says is completely accurate in that moment: “I love that they show that Toshi (Seeger’s wife) is the one who calms him down, which, according to their daughter, is exactly what happened — that Pete was really upset and was trying to shut things down and Toshi said, ‘Hey, cool it.’” Were Dylan and Johnny Cash devoted pen pals? Yes, this is completely accurate. “The scenes in the airplane with them writing letters back and forth, those are direct quotations, in fact, from their letters,” Wald says. He quoted some of them in his book, and as Variety noted in its coverage of the opening of the Bob Dylan Museum in Tulsa, some of those handwritten mutual fan letters are on display for fans to see up close. Did an intoxicated Cash urge Dylan on in the latter’s desire to do a rock ‘n’ roll set at Newport ’65? No, this particular meeting of rebellious minds is an invention of the screenplay. Cash wasn’t even at Newport in 1965, although he did famously play there the year before that. As for whether their scene together in a parking lot captures the spirit of the relationship... “Some of it feels real, some of it’s overdone,” says Wald. “With the Cash character, I think they overdo the goofiness a little bit. I don’t think he was destroying a lot of cars at Newport, and if he had, he’d have been more apologetic about it. I mean, Cash was very high on pills, as I believe probably Dylan was too. But although Johnny Cash was rowdy, he was not destructive in that particular way, and particularly at Newport, which was very important to Cash. He was very concerned with making a good impression at Newport because he was trying to break into the national, that is to say northern, college market. Everybody at Newport only got $50, so Johnny Cash was losing a lot of money by playing Newport, and he was there because he had the vision, which very few people in country music did, to see this potential audience for him, and he was recording Peter La Farge’s ‘Ballad of Ira Hayes’ out of (folk publication) Broadside Magazine. That’s one of the funny parts about all of this is, people positioning him as outside the folk scene. He was very much appreciating and trying to be recognized within that. That said, it isn’t a movie about Johnny Cash — Mangold already did that (with ‘Walk the Line’).” Which completely fictional scene in the movie did Dylan make up and ask James Mangold to add to the screenplay? The answer to that is completely unknown; Mangold is keeping that as a secret he holds close to his vest. But Wald is willing to hazard a hunch. “There’s this story that we’ve all heard that Dylan suggested that they add a completely fictitious scene, and nobody’s saying what it was. If I had to guess, I would guess it was the ‘Now, Voyager’ (recurring motif), just because it’s the only thing in that movie that I can easily imagine Dylan coming up with and can’t imagine someone else inventing as a part of his story.” The Dylan character and the one based on real-life girlfriend Suze Rotolo go see a revival movie early in their courtship, then reenact a moment from it in a bittersweet farewell at the climax of this film. “Because Dylan is an old movie fan, I can imagine him imagining acting out the Bette Davis/Paul Henreid scene from ‘Now, Voyager’,” Wald supposes. “It seems so unlikely to me that someone else would come up with that. When I see that, I go, ‘That’s cute.’ Did it happen? I have no idea.” Going back to the beginning: Is the film’s portrayal of Dylan’s arrival in New York and quick integration into the folk scene accurate? And how about the quick sketches of the players on that scene circa 1961? Browne, whose new “Talkin’ Greenwich Village” book lays out that folk scene in great detail, is perhaps naturally disappointed the movie skips glancingly through that period and its key figures. “As someone who spent a lot of time researching Dylan’s fellow Villagers of the time, and also meeting with and interviewing those still with us. I was struck by how few were depicted in the film,” Browne says. “Where are Phil Ochs, Tom Paxton, Len Chandler, Carolyn Hester and Terri Thal, Dylan’s first manager? From what I can tell, Dave Van Ronk — a towering figure even then, and someone Dylan respected, someone on whose couch he often crashed — is only in two fleeting scenes, and barely identified even then. Obviously one can’t make room for all of them in a movie like this, but without more of those characters, we don’t get as strong a sense of how disruptive Dylan was in the Village, and not just nationally. His rapport with Ochs could have made for a few meaty scenes; their rivalry embodied the topical-vs.-personal, acoustic-vs.-electric debates of the time.” Besides his “Dylan Goes Electric!” book, Wald also published a biography of Dave Van Ronk, but he isn’t bothered that that influential singer is only identified in the end credits and not even referred to by name in the film. “Van Ronk is basically non-existent in the movie, and that’s fine. I’m not cranky about that,” Wald says. “Neuwirth has a slightly larger role that I think is handled rather nicely.” Grant was thrown off by the congregation of boldface names right at the beginning. “Literally the first building he walks into in the entire city, Dave Van Ronk just comes up to him and starts talking to him, and then two hours later he’s out in New Jersey and he’s met both Woody Guthrie and Pete Seeger, all within about six hours of his arrival to New York. That had me rolling my eyes a little bit, even understanding that they’re gonna have to make exceptions to reality and abbreviate things for the dramatic arts’ sake.” Did Dylan’s first performances galvanize audiences from the get-go? Not as much as depicted in the film. Browne’s “Talkin’ Greenwich Village” book says that early Dylan gigs found him “awkward and out of place one moment, assured and in command the next,” with a co-manager of the Gaslight saying he was initially “disastrous” and a Daily News reporter saying he “left the stage to the sound of perhaps one hand clapping.” Certainly Shelton, Albert Grossman, Joan Baez, et al. were never in the same room on the same night, as portrayed. Says Browne, “In talking with people from the scene and reading first-hand accounts from those who have since passed, I was struck by how jarring Dylan’s voice, guitar playing and early repertoire were to so many in the Village at the time. His approach wasn’t as formal as some of the area folk singers who’d come before him in the ‘40s and ‘50s; with his phrasing, humor and energy, he injected a far more rock ‘n’ roll sensibility onto those tiny stages. That roughness captivated some and caused others to bristle, and we don’t get much of that sense in the film. It wasn’t love at first sight or sound for everyone.” Robert Shelton of the New York Times wrote that he was “bursting at the seams with talent” only upon seeing him a second time at Folk City — a notice that made a big difference in Dylan’s career. So Browne was happy to see him portrayed in the movie. “In terms of the local press, Shelton practically had the folk club to himself, and in the New York Times to boot. He also championed everyone from Buffy Sainte-Marie to Eric Andersen, helping with their careers. Speaking as a journalist myself, one of my takeaways from my research was the power of the press in those days. Even in the ‘70s, newer Village acts like Steve Forbert, the Roches and Willie Nile landed record deals right after they were praised by Times critics John Rockwell and Robert Palmer. How often does that happen now?” Did his first encounter with Joan Baez involve insulting her from the stage after following her at a NYC folk club? That’s invented. In fact, Baez wasn’t hanging around New York at all. “Joan did not like New York. She was from Cambridge, which as a group considered themselves the purists and the New York people to be running after the money. Joan was the prime example of that, turning down Columbia Records and Albert Grossman and staying in Cambridge and then going off to Carmel, California. Bobby Neuwirth was also Cambridge, not New York. But you have to simplify stuff like that, and I think it was a good choice for the movie.” Says Browne, “As Baez told me in an interview for the book, she and Dylan first met outside Gerde’s Folk City in 1961. She’d driven from Boston to the city to attend a protest in Washington Square Park (the infamous “Beatnik Riot”) and just missed it – but, since she was there, decided to check out this kid she’d already started hearing about. She was struck by his stage presence right away, and he introduced himself to her outside the club and sang her a song, but there’s no record of any initial cutting remarks. She also didn’t realize he was more, um, intrigued by her sister Mimi than her at the time.” How about the portrayal of Joan Baez in general? “I was utterly blown away by (Monica) Barbaro’s singing,” says Wald. “Going in, I had thought a good actor can act Bob Dylan singing, because Bob Dylan singing is all about the phrasing, but acting Joan Baez’s voice, which is all about the instrument — I thought Barbaro did an astonishing job. She doesn’t sound exactly like Joan, but boy, she sure as hell sounds good.” Says Grant, “I think that she’s given a relative fair shake in the movie. The film paints her in a more fair and attractive light than someone like Joan Didion did. I don’t know if you’ve ever read Joan Didion’s writings about Joan Baez, but it’s a brutal dressing-down, unfairly. in many cases. But I think she’s fairly drawn, and is more interesting and comes across as more of a real human being than the Suze Rotolo character, or Sylvie Russo as she’s called in the movie.” Grant also liked the way a Halloween 1964 interchange between Dylan and Baez on stage at a New York Philharmonic show was portrayed. “They end up almost getting into this fight up there on stage — that’s a fun and, I think, a well-drawn scene. That’s one of the great early solo acoustic performances by Bob, right before he’s about to go into electric mode the following year — and the relationship dynamic, I think, between him and Joan is one of the best parts of that performance.” How about the Sylvie character, who everyone agrees to assume is meant to be Suze Rotolo? Says Wald, “They changed Suze’s name and fictionalized her a good deal. But honestly, I had been afraid that they would just make her the nice girl next door, who he left for the mysterious Joan, rather than being the political conscience who got him into political music. So I was really pleased that they have her working for CORE and getting Dylan out to political things. And I was pleased that they have her leaving him rather than vice versa.” Grant says that the movie accurately indicates that “she is the one that introduced Bob to political songwriting in the first place, by kind of bringing him into a lot of the student actions and rallies and meetings and stuff that she had already been attending by the time Bob showed up. They do gesture at that in the movie, but I think she’s really just turned into wallpaper by the end of the picture.” Was there a love triangle that was still unfolding by the time of the 1965 Newport Folk Festival between Dylan, Baez and Suze Rotolo? No. The movie is ambiguous about why Dylan offers to drive Rotolo to the festival on his motorcycle and then leaves her to tearfully witness his chemistry with Baez — whether there is lingering romantic interest there. In any case, Rotolo did not attend the festival and was long out of his life romantically by then. So was Baez, for that matter, though they still shared some stages. The “triangle” there is played more for symbolism about two different ways of beings Dylan is simultaneously casting aside, even as the focus moves toward his artistic changes. Is there any potential major character that’s left out completely? It’s funny you should ask that. Grant’s big beef with the movie (one that was also expressed by New Yorker critic Richard Brody, whom Grant amplified on social media and in a Jokermen podcast): the lack of any mention of Sara Lownds, who was soon to become Sara Dylan. Lownds and Dylan first got together romantically in 1964, and by the time Newport ’65 transpired, they’d already taken a lengthy vacation together. He married her just a few months after Newport. But she’s not mentioned in the movie. “She doesn’t exist in this reality, basically,” says Grant. “Meanwhile, Joan Baez and Suze, or Sylvie, are two characters meant to stand for two different ways of being in the world, positioned against one another. Bob obviously is drawn to elements of each, but ultimately decides that neither of them is as important to him as his ability to continue to follow the muse. But in reality, he does find the perfect person for him, a romantic partner that works with his creative life, and with whom he actually strikes up a very rich and rewarding family life just after this movie ends — and was already involved with at the time — in Sara. It tells a false sort of a half-truth at best, if not an outright fabrication, about Bob’s relationship to romantic partners in his life. The movie does nail aspects of that, certainly, with these characters and kind of the dirtbag way he treated some people early on. But to present this as sort of the defining holistic picture of this man, when obviously he is fundamentally a different human being at this moment in time, to say nothing of the ways that he’s going to change in the months and years to come, just sort of strikes a downward note to me.” Grant adds, “The Suze character in the picture is representative of kind of the civilian way of life, or the non-arts way of being in the world. The character paints and she’s active in the left student movement, but she’s fundamentally just kind of like a ‘normal person’ as opposed to someone like Bob Dylan or Joan Baez, who are these generationally talented celebrity artists. The Suze Rotolo character is unsatisfactory for him, because he’s too big, too brilliant, too brash to settle down with someone like that. In reality, he does settle down with someone like that. Obviously Sara is a very different person than Suze herself. But I think on that basic understanding level of someone who isn’t running in the scene, someone who isn’t obsessed with celebrity, someone who isn’t out to make a name for themselves, that’s exactly the kind of person that he ends up spending the next 10 years being married to.” Because so much of Dylan’s music over the next 13 years was inspired by Sara, both in romance and ultimately in divorce, Grant says “that to me is such a ‘Rosebud’ type of thing, to borrow ‘Citizen Kane’ terminology, in Bob’s life. That is the single source which so many decisions are made out of and so many songs written from. So, I think that kind of why I’m so hyperfocused on that element of things here.” As for why Dylan’s then-romantic partner and future wife isn’t portrayed in the final stretch of the film, it may be because a romantic quadrangle was a bridge too far for the scriptwriters. Or, in Grant’s view, because Dylan is committed to keeping his former wife out of things, since she has chosen to live a private life and not comment publicly on their relationship, as Suze Rotolo finally did before the end of her life, with a memoir. (Even then, Dylan was protective in insisting she be fictionalized for the film.) Grant counters that by noting that the Dylan/Lownds relationship was dramatized in the Heath Ledger segment of Todd Haynes’ 2007 “I’m Not There” movie, albeit with everyone in that portion — the Dylan character included — being identified by pseudonyms. On a more mundane note... how accurate are some of the studio moments portrayed in the film? Like Al Kooper playing the organ part on “Like a Rolling Stone” spontaneously, as a non-organ player? There are a lot of what might be considered Easter-egg moments for Dylan fans to latch onto. For example, when “Like a Rolling Stone” is being recorded, the musician Al Kooper comes to the studio, announces himself as the guitar player, and is informed that they already have one of those, so he places himself at the organ instead, playing what becomes a world-famous part, despite his discomfort with the instrument. As a whole, that’s true, although it didn’t happen in the matter of virtual seconds it does on film, and the band wa a few takes in before those famous licks started up. On the other hand, Kooper gets short shrift as the actual purchaser of the police whistle heard on the “Highway 61 Revisited” album; the movie shows Dylan being inspired to pick that up from a street vendor on his own. Moving back to Newport ’65... did manager Albert Grossman and folk music legend and festival mainstay Alan Lomax really get in a physical struggle? Yes, although not during or about Dylan’s performance. Wald doesn’t mind that the fight got transferred from one moment to another, since he’s pleased about the portrayal of Lomax generally. “I think they got some things right about Lomax that everybody gets wrong and that nobody will notice that they got right except me,” Wald says. “Everybody has Lomax as being anti-electricity, and that’s absolutely wrong. Lomax was, in fact, I think the first folklorist ever to record a band with an electric guitar back in the ‘40s. Lomax thought rock ‘n’ roll was great! What set him off at Newport was the Paul Butterfield Band, and it was not that they were playing loud electric music. It was that he was the guy who had discovered Muddy Waters, and he was upset that the first electric band invited to Newport was a bunch of white college kids. They have exactly that scene in the movie with him complaining about them being a white band who is fake and being brought in because Grossman is managing them. Which wasn’t quite true; he was still courting them. I do think everybody will see the film and walk out still thinking that Lomax hated electricity, even though they don’t say that, because that has become the myth. His fight with Grossman was real, but had nothing to do with Dylan.” Adds Wald, ”The funny thing about Lomax is, Lomax had no more time for Dylan as an acoustic singer-songwriter than as an electric singer-songwriter. He liked folk music as the music of the peasantry and the proletariat, and he thought people like Dylan and the New Lost City Ramblers and Dave Van Ronk were fake — and it had nothing to do with electric and acoustic... which, as I say, the movie actually got right, but not in a way that anybody but me will notice. I also don’t think that scene ever happened in the board meeting, where he blows up and Peter Yarrow walks out. I don’t think that’s ‘real,’ but it’s true — it’s completely accurate to the people.” Did Dylan really sit in on an episode of Pete Seeger’s TV show with the host and a blues player? No — that scene is fictional, and so is the character name of the bluesman, although he’s based on Big Bill Morganfield. And yet Wald is delighted by the scene because it illuminates a versatility and curiosity that the author thinks Seeger doesn’t get enough credit for. “I’ve never been in rooms with Dylan, so I can’t speak to that, but I knew Seeger, and Ed Norton as Seeger... both I and people who knew Pete much better than I did are blown away. Even more than that, they got the music right from beginning to end, and there’s so much music, and not just Dylan’s music. That scene where Dylan and Big Bill Morganfield are playing blues together and Seeger starts playing banjo along with them — now, that didn’t happen, but that’s exactly the way Seeger played banjo when he was jamming with blues people. And most people aren’t even aware that Pete Seeger could jam on a blues, including a lot of people who were pretty deep in the scene. That’s absolutely accurate, except that particular meeting didn’t happen in that particular place.” What about the portrayal of Seeger generally — does he get a fair and accurate shake? And is the film really about folk versus rock? Says Wald, “I’m so used to people who are doing the Dylan story being interested in Dylan and casting Seeger as one of the boring old folkies. What I was trying to do in my book was suggest that he was as complicated and in some ways as difficult a person as Dylan, and that they just were on different paths — sometimes the same, but at that moment, at Newport, very much not. But then again, after that, (they remained friends), which is another thing I liked about the movie.” And even if it was concocted, Wald loves having the movie end with a scene of Dylan back in Woody Guthrie’s hospital room playing harmonica along with “So Long, It’s Been Good to Know You” — an indication that the newly minted rocker really isn’t leaving folk behind at all, at least hardly for good. “The way that story was told in the ‘70s always was from a rock point of view,” Wald says, “written by people who had never liked folk music and never liked Pete Seeger, and felt like the story was Dylan liberating himself from the boring old folkies and proving the rock ‘n’ rollers were right. By now, though, we all think of Dylan as deep Americana, someone who has remained very true to that tradition. And so I just think that that whole incident looks very different, not just in the film, but pretty much to anyone younger — it makes perfect sense to think of that moment as Dylan trying to break away from the folk scene , but not from folk music . Which is true. “I mean, ‘Maggie’s Farm’ is sort of exhibit A. When Dylan is singing ‘Ain’t gonna work on Maggie’s farm no more’ at the beginning of the Newport ’65 performance, it’s absolutely a declaration of independence from that scene. But it’s based a song about sharecroppers, ‘Penny’s Farm,’ from the 1920s, which Pete Seeger had recorded in 1950! “At the time, Seeger was really upset by what he heard as the aggression. What you see in the film, with Dylan and the guys with him being sick of being stuck in this box, and ‘we’re gonna show the goddamn folkies,’ I think that’s accurate. And there’s a thing I quote in my book that he wrote that very week where he said he felt it was angry and destructive. But he was a man given to a great deal of soul-searching. And he rather quickly decided that he had misunderstood, and that ‘Maggie’s Farm’ was in fact a brilliant song, and that Dylan had indeed been sort of crushed into a box and had to escape. And they made up and they continued to get together over the years.”