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Premier and Carolyn,
Sorry for the delay...here is the song request to dance to....
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Daytona, I would like to see the pics also!
I have taken the liberty to bring your post from RB over here for others to see.
By: Daytona393 $
29 Apr 2002, 09:17 PM EDTMsg. 107 of 123
I just arrived back to Boston from my visit to HDC. I must admit, I was impressed with the diversity that HDC has to offer.
This is not a restaurant H.W. but they have a beer and wine license and light food such as bagels ect.
This cafe offers the best options in the central area of S. Beach. There are other internet cafe's in the area with in 2 blocks, HDC $1.50 per 1/2 hr. The others were $4.00 per 1/2 hr.
The others were run down, slow access,56K, and do not have the options HDC have. Video conferencing, cheapest phone card I've seen, better than Walmart. A very high tech atmosphere and the staff was like Hooters...............
Behind the property, is a outdoor area that will hold at least 300 people. There is possibilies for live music, wet "T" shirt contests, and use your imaginaging, this is S. Beach.
I inquired mostly about the equipment, licences, and also talk to people who have already become regulars and the place just opened.
I will be at the meeting in May for the financials, I wish I had the answers now but the opening was not the place for these questions.
Many people showed up for support of the Grand Opening, of course there was wine, beer, soda's and food complementary of HDC.
Keep a eye on this one, it is not like the rest of cafe's I have visited.
For those who know me. I will probably give details on Dave's board, for those who don't care well, stay here.
I will drop in from time to time, there is a pulse.
Daytona................
Shirley....
Babble all you want to....but we gotta go!
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See ya next week Shirley Temple. And no, your half price coupon won't work. It expired in 1960. Sorry!
Shut up Shirley Temple...
The BAR closed half hour ago!
http://members.tripod.com/mistmessages/stemple.wav
Oh! Sorry! Still here! I was just dreaming....
I remembered a great poem about life that reflected our inability to face our realities in this oddly strange cruel world. Sorry that I went daydreaming.
It's just that .... I Want to BE SIX again....
Remember being SIX? Who CARED? Life was grand and special. Life was ALL ABOUT YOU! Remember?
http://www.2yaks.com/funpages/funpage9.html
The life we live....
Dear friends,
We go about our lives each day, reflecting on what we know, what we own, what we desire, and what we despise.
Such is the way of a human being.
When all is said and done, in spite of family and friends, who else is their, besides ourselves?
When we finally lay our head upon the pillow at the end of each day, it feels as though we are alone in the world, and there is some truth to that statement.
Lying there alone, within our own minds, we speculate and contemplate all that the world is and has shown us.
And then we fall asleep.
To me, this is when the world is truly alive. It is in our sleep state that we can bring reality to confusion, confusion to reality, and create that which is yet created.
It is this "Sound of Silence" that maintains our very sanity in an 'unsane world'.
Simon and Garfunkel sang it to us in their Folk Song called "Sounds of Silence".
For the religious of us, it is a direct reflection of life in the 20th Century, IMHO.
It speaks of the confusion of modern day man. And the beauty that still shines there, silently in the background....
It speaks of hope and love and joy. And impending, reversible tragedy. It speaks of humanity at it's root.
If you've never known the lyrics to this song, I offer them to you now.
http://community-2.webtv.net/dpb5/TheSoundsOfSilence/
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You can call me Al....
Paul Simon recorded this song, too!
I think that this was the last of his hits that I remember.
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Of all of the Simon and Garfunkel songs, Kodachrome is probably the liveliest and upbeat one of them all.
Recorded by Paul Simon.
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Eventually they broke up their singing duo and went on to record their own music, of which Paul Simon's became more well known....
The most popular Paul Simon song being "Fifty Ways to Leave Your Lover".
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Fame did not come quickly for the duo, but the surprise success of a remixed version of "The Sounds of Silence" changed their lives, catapulting them unprepared from relative obscurity to the top of the charts.
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Music from the very popular Broadway Comedy and later Full Length Movie Feature....
THE GRADUATE!
awwwww.....memories !!!!
http://www.legacyrecordings.com/thegraduate/
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On Drums and Other Hollow Instruments
Here is a short story written by Paul Simon.
Often, musicians and singers are thought to not have emotion in their personal life, yet nothing is further from the truth......
ON DRUMS AND OTHER HOLLOW OBJECTS
Short Story by Paul Simon.
The Pleasant Meadow Nursing Home For The Elderly stood between the animal hospital and a vacant lot used by the neighbouring community as a convenient dumping ground for old furniture and refuse. On sunny days its hard clean lines of brick and aluminium rejected the shafts of afternoon sunlight and hurled them back upon the busy street. And when it rained the drops splashed against the walls and fell in a fine mist on the concrete pavement or were herded through tunnels dark and swift by a highly competent drainage system. The closely cropped, neatly kept grounds, hidden by shrubbery, were dotted, in the summer, by brightly coloured umbrellas that shaded the empty chairs from the glaring rays. And in the winter the snow fell, a sparrow's tracks like a chinese print, drew the picture of a futile search for food.
On rare occasions a tiny, wrinkled face would peer from one of the curtained windows. Clouded eyes vacantly wandered the streets below and then returned weary and confused, to rest beneath their lids and lashes. Yet never once did my grandfather, now senile at the age of eighty-six, gaze upon the world outside the Home for his eyes saw other colours and his mind walked solitary paths and private.
His room was on the third and top floor and when I visited
I would stop for a moment and the head nurse's desk to announce my presence. There I was greeted by an efficient and steatopygous woman in her early fifties who ushered me to the elevator and with a swift reference to a constantly clinging typewritten chart, informed me that my grandfather was doing as well as could be expected for a man of his years. Thereupon, she would smile with indifferent lips and take her leave, begging the burdens of her office and permitting me to make the enclosed ascension in the company of my own thoughts.
The elevator's light burned bright red, then died as we passed each floor until, at last the doors rolled and parted in silent indication that the journey had reached its conclusion. The trip, which could not have lasted more than fifteen or twenty seconds, nevertheless spanned a lifetime. I felt as I stepped into the spotless and tiled corridor that I had left my youth below like a coat left at the reception desk that I might reclaim at a future time. Even my walk so quick and confident seconds before was halting and slack as I moved through the hallways that smelled of old age and death.
Through the open doorways I could see old men seated like fragile mosaics within their miniature rooms. And in room 311 my grandfather sat, a little boy nearly swallowed by the chair that gently held him. His eyes rested on another man, his room-mate, who lay asleep on his bed by the far wall.
"Hello Gramps. I just thought I'd pay you a visit, see if you wanted to go to a ball game or something".
It took several seconds for his eyes to adjust to my presence but when they did a happy grin crossed his face and he look very much like the grandfather that I remembered as a child.
"Well hello there young fella. Good to see ya. Have you eaten?"
"No, I'm not hungry, thanks".
"Well I'll just go down to get you something to eat".
"No really I'm not hungry. It's O.K., really".
"Just speak up if you get hungry Sonny. Plenty of food".
"I'll let you know. I just thought I'd come and visit you. Talk about the old days".
"Good. Good", he said in the happy way he could elongate words when he was feeling jolly. And the just as suddenly, he lapsed into a long sigh and sank back into his chair.
"What seems to be the trouble young fella?" I said.
"Very busy, I've been very busy at the office. These girls here. They're new. I still have to do most of the work myself".
"You mean the nurses?"
"Oh yes, the nurses too. It takes time ? till they learn too ? "
"Learn what Gramps?"
"Well, where the papers and files are ? "
The conversation had somehow drifted and I sought to find a suitable topic, something that would lift his spirits.
"You wouldn't care to wrestle or anything would ya?" Remembering all at once that as a kid I thought he was the strongest man in the whole world. And he would crackle my knuckles when he shook my hand until my delighted childish yelps made him stop, pick me up, and spin me around in his arms until I was dizzy and laughing.
"I mean you wouldn't care to go for a few rounds".
"No you're too big for me, young fella".
Me, too big for my grandfather? How did that happen so suddenly? Could I have grown so huge? And so the conversation floated like a leaf brown by the wind to and fro until, at last, it touched ground. We were silent, my grandfather and I.
"Well", he said gently breaking the silence, "if you've got any problems you can always come up to the office and talk them over with me. Anything to do with your work or your future, you know where I am. I'll be glad to help out with anything I can Sonny. Any investments...".
Yes I will Gramp, I will come see you. If there's any problem or anything I'll come up".
"You know where I am. Same place, last thirty years..."
"Yes, I know. And I'll come up".
And then, all of a sudden I had a strange revelation. It seemed that the whole complexion of our talk had changed.
Just minutes before his words were shrouded in a senile mist that I could not penetrate. I groped for the proper word or phrase to complete his thoughts. And now I realised that it was I who was confused. It was my sentences that were lacking coherence. I thought, "Oh God, there are so many things I've got to tell you Gramps, and I'm not going to have enough time". Neither of us will have enough time now. And then, for perhaps the first time, I felt the thoughts that tumbled down the passageways of my mind might find a moment's rest within the walls of my grandfather's dying room. Here within the reality of my grandfather's senile walls.
"Gramp, do you remember that song you used to sing to me when I was a kid? You know. 'Coming in on A Wing And A Prayer'.
" He didn't remember for he was walking into regions I could not recognise. But it didn't matter now. The words began to flow back from childhood recollections and I tapped my fingers on an imaginary drum I played when I was young.
"Gramp, I've got to go now. I'll come back soon Gramp. Gramps, I love you".
I left him sitting as I had found him, silent, far away with his eyes resting on the man sleeping soundlessly on his bed. I walked though the hallways that smelled of age and death, past the fragile mosaics in their miniature rooms, into the descending elevator, past the matronly nurse with her mysterious chart and out to the street. I stood for a moment bewildered, unable to get my bearings, directionless in a world confused and confusing.
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But they were from LONDON......how can that be?
Here are some of the quotes about some of the songs...
The 59th Street Bridge Song (Feelin' Groovy)
Written by Paul in June 1966
Paul
'I knew that record was a hit as soon as I wrote it.'
'I came back from England to the United States in December of 1965. The Sounds of Silence had become a big hit and when I returned I had to make this transition from being relatively unknown in England to a sort of semi-famous over here. I didn't adjust well. It was always slightly embarrassing to me, teeny-bops etc. So I used to think all my sweets are gone, good times gone, left over in England. All the songs I was writing were very down type of songs, nothing happy. Until about last June, for some reason last June I started to come out of it, I started to get into a good mood, I don't know why. One day I was riding along in my Aston Martin and I said to myself.... no I really don't have an Aston Martin, in fact I don't have a car at all. I was the type of kid when I was in Paris, we'd sit on the side of the Seine, in Paris, and when the tourist boats go by, you know? I would yell out "Capitalist pig!". So here I am getting into this pleasant frame of mind and I was coming home one morning, about six o'clock in the morning and coming over the 59th Street bridge in New York and what a groovy day it was, a really good one, and one of those times when you know you're not really going to be tired for about an hour. So I started writing a song which later became the 59th Street Bridge song or Feelin' Groovy.'Tufts 66
April Come She Will
Written in England in 1964
Paul - 'When I was living in England, about three years ago, four years ago, I worked in a club in a town called Swindon. It's about 100 miles north of London. I spent the night with a friend of mine in a smaller village called Great Coxswell, not that it means anything, no pun intended. We'd stayed up all night and talked and I said to her 'Let's go out in the morning and do it' (Laughs from audience) 'You too huh?'. We went out at dawn and she recited an English nursery rhyme, it was a children's rhyme and it was about a cuckoo, a bird. It went 'April come she will. May she will stay, June she'll change her tune. July she will fly. August die she must'.Hollywood Bowl 1968
Benedictus
Written by Paul and Art in spring 1964.
Art - 'I've been at University now for about seven years. I'm in the graduate school there now but when I was an undergraduate I took quite a few music courses, one of which got me very involved in 16th century music. And I researched, one week in the library, a two-part setting of a benedictus from the church mass, originally done by Orlando de Lasso and brought it for the two of us to do. We rewrote the two parts and added guitar chords to it and put it into our first album for Columbia. This is our version of Benedictus - Tuft's Uni 1966
Art - 'This is a four hundred year old piece of church music which is a favourite of ours. It's a two-part setting of a benedictus that comes from the church mass, originally set by an Italian named Orlando de Lasso but redone by us.' - Hollywood Bowl 1968
Bleeker Street
Written by Paul in England in Summer 1963. It is written about a real street on New York's East Side.
Art - "I confess that Bleecker Street (finished in Ocrober 1963), was too much for me at first. The song is highly intellectual, the symbolism extremely challenging. The opening line in which the fog comes like a 'shroud' over the city introduces the theme of 'creative sterility.' But it is the second verse which I find particularly significant:' Voices leaking from a sad cafe Smiling faces try to understand I saw a shadow touch a shadow's hand On Bleecker Street.'
The first line is a purely poetic image. The Second line touches poignantly on human conditions of our time. To me, it shows the same perceptive psychological characterization as 'Sparrow' -- 'the golden wheat' ('I would if I could, but I cannot I know'). The third line marks the first appearance of a theme that is to occupy great attention in later work -- 'lack of communication'. The author says that the poets have 'sold out' ('the poet reads his crooked rhyme'). The line 'thirty dollars pays your rent' reminds one of Judas Iscariot's betrayal of Christ for thirty pieces of silver. Admittedly, the song is difficult to understand, but worth the effort. . . ."
Blessed
Written by Paul in England in early 1965.
Paul - 'There is an area of London called Soho. Soho is roughly equivalent to Greenwich Village in New York. It has a lot of coffee houses, folk clubs, beat clubs and I worked there often and I used to go and see friends who were working there, so I was in and out of Soho very very often. One day I got caught in a downpour and I stepped inside St Anne's Cathedral, which is on a little park in Soho, St Anne's Cathedral. I was impressed with the sermon that I heard being delivered. What impressed me was that it didn't say anything, nothing. When you walked out of there, it didn't make any difference whether you walked in, unless you dug stained glass windows you know. Because the meek are inheriting nothing, nothing and that's the basis of this song called Blessed. - Tuft's 1966
The Boxer
Paul - 'The Boxer' was a really nice record. I like to listen to that record I think I was reading the Bible around that time. That's where I think phrases such as 'workman's wages' came from, and 'seeking out the poorer quarters'. That was biblical. I think the song was about me: everybody's beating me up, and I'm telling you now I'm going to go away if you don't stop.
Bridge Over Troubled Water
Paul - "We were in California. We were all renting this house. Me and Artie and Peggy were living in this house with a bunch of other people throughout the summer. It was a house on Blue Jay Way, the one George Harrison wrote "Blue Jay Way" about. We had this Sony machine and Artie had the piano, and I'd finished working on a song, and we went into the studio. I had it written on guitar, so we had to transpose the song. I had it written in the key of G, and I think Artie sang it in E. E flat. We were with Larry Knechtel, and I said, "Here's a song; it's in G, but I want it in E flat. I want it to have a gospel piano."
So, first we had to transpose the chords, and there was an arranger who used to do some work with me, Jimmie Haskell, who, as a favor, he said, "I'll write the chords; you call off the chord in G, and I'll write it in E flat." And he did that. That was the extent of what he did. He later won a Grammy for that. We'd put his name down as one of the arrangers. Then it took us about four days to get the piano part. Each night we'd work on the piano part until Larry really honed it into a good part.
Now, the song was originally two verses, and in the studio, as Larry was playing it, we decided--I believe it was Artie's idea, I can't remember, but I think it was Artie's idea to add another verse, because Larry was sort of elongating the piano part, so I said, "Play the piano part for a third verse again, even though I don't have it, and I'll write it," which I eventually did after the fact. I always felt that you could clearly see that it was written afterwards. It just doesn't sound like the first two verses.
Then the piano part was finished. Then we added bass--two basses, one way up high, the high bass notes. Joe Osborn did that. Then we added vibes in the second verse just to make the thing ring a bit. Then we put the drum on, and we recorded the drum in an echo chamber, and we did it with a tape-reverb that made the drum part sound different from what it actually was, because of that afterbeat effect. Then we gave it out to have a string part written. This was all in L.A. And then we came back to New York and did the vocals. Artie spent several days on the vocals.
I think 'Bridge Over Troubled Water' was a very good song and I think Artie sang it beautifully. I think he did really a great, a very soulful job to come out of a white singer. He sang it white, but soulful, and that's very hard to hear today
No, I did say, "This is very special." I didn't think it was a hit, because I didn't think they'd play a five minute song on the radio. Actually, I just wrote it to be two verses done on the piano. But when we got into the studio, Artie and Roy Halee, who coproduced our records, wanted to add a third verse and drums to make it huge. Their tendency was to make things bigger and lusher and sweeter. Mine was to keep things more raw. And that mixture, I think, is what produced a lot of the hits. It probably would have been a hit with two verses on the piano, but it wouldn't have been the monster hit that it became. I think a lot of what people were responding to was that soaring melody at the end?
Funny, I'm reminded of the last verse. It was about Peggy, whom I was living with at the time: "Sail on, silver girl ... / Your time has come to shine" was half a joke, because she was upset one day when she had found two or three gray hairs on her head.
Playboy: How do you feel about the song today?
Paul: Totally detached. I don't feel that Bridge Over Troubled Water even belongs to me. When I think about it now, I think first of an elevator. it makes me laugh - it's nice to have any song that you write played in an elevator. It's not as good a feeling, though, as walking down the street and hearing somebody sing a song of yours. That, I think, is the best feeling for a songwriter.
Paul also gave another interview in which he explained how he wrote Bridge Over Troubled Water. It started with an opening section, followed by a piece of a Bach chorale. Then, discovering gospel music, he started playing gospel changes on his guitar and stole a line from the Dixie Hummingbirds: "I'll be a bridge over deep water if you trust in my name."
I recently received an email from Jimmie Haskell who is mentioned above in the quote by Paul. In addition to being the only arranger/orchestrator of "Old Friends", he also arranged and conducted "America", "So Long,Frank Lloyd Wright", "Bookends Theme", and "Keep the Customer satisfied". I've included his quote below.
Jimmie - When Chris Farnon of NARAS told me that "Bridge --" was submitted in the arranging category by Ernie Freeman, I told her that was correct, but that I admired what Larry Knechtal had done with the simple music I had written, and that Larry deserved to be included as a second "arranger". Chris called Paul, and then called me and said: Paul says your right, and that Jimmie Haskell should also be listed as arranger, and so should Art Garfunkel, and so should Paul Simon". I called Paul and thanked him, and he said "You should have won for your arrangement of "Old Friends", but you weren't ever submitted for that.
Cecilia
Paul - "Cecilia," for example, was made in a living room on a Sony. We were all pounding away and playing things. That was all it was. Tink a tong tink a tink a tong tuck a tuck a toong tuck a . . . on a Sony, and I said, "That's a great rhythm set, I love it." Every day I'd come back from the studio, working on whatever we were working on, and I'd play this pounding thing. So then I said, "Let's make a record out of that." So we copied it over and extended it double the amount, so now we have three minutes of track, and the track is great. So now I pick up the guitar and I start to go, "Well, this will be like the guitar part"--dung chicka dung chicka dung, and Iyrics were virtually the first lines I said: "You're breakin' my heart, I'm down on my knees." They're not lines at all, but it was right for that song, and I like that. It was like a little piece of magical fluff, but it works.
Cloudy
Paul wrote this song in early 1965 and did a solo demo version and with Bruce Woodley a member of the Seekers.
Paul - 'It's not a Simon and Garfunkel tune. They'd never do it.'
Fakin' It
"Fakin' It" was interesting. Autobiographically, it was interesting. During some hashish reverie I was thinking to myself, "I'm really in a weird position. I earn my living by writing songs and singing songs. It's only today that this could happen. If I were born a hundred years ago I wouldn't even be in this country. I d probably be in Vienna or wherever my ancestors came from--Hungary--and I couldn't be a guitarist-songwriter. There were none. So what would I be? "First of all," I said, "I surely was a sailor." Then I said, "Nah, I wouldn't have been a sailor. Well, what would a Jewish guy be? A tailor." That's what it was. I would have been a tailor. And then I started to see myself as like, a perfect little tailor. Then, once, talking to my father about my grandfather, whom I never knew--he died when my father was young--I found out that his name was Paul Simon, and I found out that he was a tailor in Vienna. It wiped me out that that happened. It's amazing, isn't it? He was a tailor that came from Vienna. As for Leitch, the girl who said that on the record, her name was Beverly Martyn--did you ever hear of John and Beverly Martyn? She wasn't married to John Martyn at that time, but I knew her from way back in English scufflin' days, and we brought her over to sing at the Monterey Pop Festival. I thought she was a really talented singer. She was sort of livin' around with us. It was during the psychedelic days. Records faded in and out; things became other things. And she was friendly with Donovan. So, we decided to make up this little vignette about the shop we wanted to come up with a name. She said, well, let's put in Donovan's name.
He Was My Brother
Written by Paul in June 1963. Paul's original lyric is 'This town's gonna be your buryin' place.' He later changed it to 'Mississippi's gonna be....' after hearing about the death of his ex-classmate, Andrew Goodman while in Paris. It appears differently three times on record
1) Single release by Jerry Landis (aka Paul Simon)
2) On the Paul Simon Songbook
3) Wednesday Morning 3am
Art
- 'I first heard this song in June 1963, a week after Paul wrote it. Cast in the Bob Dylan mould of that time, there was no subtlety in the song, no sophistication in the lyric; rather, the innocent voice of an uncomfortable youth. The ending is joyously optimistic. I was happy to feel the way the song made me feel. It was clearly the product of a considerable talent.'
- 'When I first heard it I knew that was a song I had to sing. Up until then we sang and wrote rock & roll songs together, but suddenly one of us could write poetic folk songs. I really connected with that. So the rejoining, after several years, was on the basis of the two of us as singers and Paul as the songwriter.'
Homeward Bound
Written by Paul on 'his tour of 'one night stands' in England in September 1965.
Paul
- 'If you know Widnes, then you'll understand how I was desperately trying to get back to London as quickly as possible. "Homeward Bound" came out of that feeling.'
- 'That was written in Liverpool when I was travelling. What I like about that is that it has a very clear memory of Liverpool station and the streets of Liverpool and the club I played at and me at the age of twenty-two. It's like a snapshot, a photograph of a long time ago.
I like that about it, but I don't like the song that much. First of all, it's not an original title. That's one of the main problems with it. It's been around forever. But there's something naive and sweet-natured, and I must say I like that about it.
They're not angry. And that means that I wasn't andry or unhappy. That's my memory of that time; it was just idyllic. It was just the best time of my life, I think, up until recently, these last five years or so, six years ... This has been the best time of my life. But before that, I would say that that was.© Paul Zollo 1991
- 'I remember playing a concert somewhere in the middle of Germany. It's strange enough to be in Germany, and when I finished playing, I was thinking, I hate Homeward Bound And then I thought, Why do I hate it ? I said "Oh, I hate the words." So I went over them. And then I remembered where I wrote it. I was in Liverpool, actually in a railway station. I'd just played a little folk job. The job of a folk singer in those days was to be Bob Dylan. You had to be a poet. That's what they wanted. And I thought that was a drag. And I wanted to get home to my girlfriend, Kathy in London. I was 22. And then I thought, Well, that's not a bad song at all for a 22-year-old kid. It's actually quite touching now that I see it. So I wonder what's so embarrassing to me about it. Then I said, "I know! It's that I don't want to be singing that song as Simon and Garfunkel!"'
I am a Rock
Written by Paul in mid 1964.
Paul
- 'That's a very young song. I wrote that in England and that's an adolescent song, or really, a post-adolescent song. Probably if I could, like, not have a song for a hit, I would pick "I am a Rock." and "The Dangling Conversation." If they would go away, I would be happy. But to be kinder to myself, I would say it's very young.' ©1991 Paul Zollo
- 'Unquestionably my most neurotic song. When I finished it I thought "Oh man,I can't be this sick!"'
A Most Peculiar Man
Written in mid 1964, Paul sang this often at folk clubs. It appears on the 'Songbook' and differently on 'The Sounds of Silence'.
Paul - It is a song that I wrote while living in London and the seeds of the song were planted one day, when I read an article in the paper about a man who had committed suicide. Four lines in the paper in a little black box. I thought that was a very bad eulogy.
Mrs Robinson
I recently had an interesting email from a Paul Weiss whose father used to work in Capitol and Columbia's office
"My father Eugene J Weiss worked for Capitol and Columbia records in the fifties and sixties. A picture of a young Bob Dylan smoking a cigarette with the quote "God Bless You Please Bob Dylan" was hanging in his office during the sixties, he claims this was the inspiration for the famous chorus. Is it true?"
Another person (Kim Weaver) wrote to me say "I just wanted to tell you that thes story about Bob Dylan having anything to do with the song Mrs. Robinson is NOT true. In an interview I read some time ago Paul explained that he was originally writing a song about Elanor Roosevelt and sometimes sang Mrs. Robinson instead of Mrs. Roosevelt. Artie told Mike Nichols that Paul was writing a song called Mrs. Robinson. So Mike Nichols asked Paul and Paul said that he didn´t knew if it was Roosevelt or Robinson. Then Mike said :` Don´t be rediculous! we are making a movie here! It is´s Mrs.Robinson!` And so the song became the soundtrack. This is all there was in the interview but I think it clearly shows that Bob Dylan did not have anything to do with it.
Richard Cory
Written by Paul in early 1965. It is based on a poem written in the 19th century; the original poem concluded 'And Richard Cory, one calm summer night / Went home and put a bullet through his head'
Art - This is a song that's an adaptation of an Edwin Arlington Robinson poem written some years back called Richard Cory.
Scarborough Fair
Based on a very old English folk song, originally set at Whittington Fair. Paul learnt the tune from Martin Carthy, an English folk singer, in 1965. Carthy was unhappy with Paul not saying 'Trad. arr P.Simon' but instead receiving full royalties.
Paul - 'That's a gorgeous song. I learned that from Martin Carthy. "Scarborough Fair" is like three hundred years old. Martin Carthy had a beautiful arrangement of it, and my arrangement was like my memory of his arrangement..' © Paul Zollo 1991
Art - This is a song that comes from the period of time about four years ago when we were doing just about all our singing in folk clubs in England throughout the countryside. It's a song that we learned from a friend of ours, an old English folk ballad caled 'Scarborough Fair'.
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And now.....
Without further adieu....
I bring you one of the greatest folk duo's of American History....
SIMON AND GARFUNKEL !!!
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Just a suggestion before the entertainment begins. To enjoy the full impact please remember to view each post one at a time and not use the NEXT 10 feature, or you will not achieve the full effect of the entertainment.
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Are you going?
Tonight's show begins soon.
Here is a hint as to tonight's guests playing in the background!
Stay tuned....
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This week's "Didn't Get Booked" Guest....
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WAYNE NEWTON!
A Great American.....
In honor of her upcoming birthday on May 1st....
http://katesmith.org/katebio.html
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Best Pictures of 2001!
http://home.pacbell.net/rds33/best_photos/index.html
Be my guest! :)
Yep! I see it's last call!
Barkeep? Can I slide over to the jukebox right quick and play a purty little number?
I know. I know you wanna go home, but I was wonderin'...
Can I have this dance?
http://community-2.webtv.net/dpb5/IHopeYouDance/
Then we can leave. I promise.
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Yep! I see it's last call!
Barkeep? Can I slide over to the jukebox right quick and play a purty little number?
I know. I know you wanna go home, but I was wonderin'...
Can I have this dance?
http://community-2.webtv.net/dpb5/IHopeYouDance/
Then we can leave. I promise.
KARAOKEKINGDOM.COM !!!!!!
Ok, something you may not know yet is that I have been playing around the last several months creating a website called Karaoke Kingdom DOT com!
The problem on the Internet is that you can find MIDIS, or LYRICS for a song, but NOT necessarily both!
I am trying to bring the lyrics and the words together on one site I call "Karaoke Kingdom".
All that inspires me, and my SISTER is that someone wants to see a particular song added to the site.
It is amazing to me how many lyric sites I find that chastise the song so terribly and I try my very best to make it something that can be sung along to and enjoyed.
So, bla, bla, bla. ENOUGH ALREADY!
Here is the site (which I just got DONE adding the song and lyrics for GROOVIN' to.
I HOPE YOU ENJOY THE EFFORTS!
http://community-2.webtv.net/dpb5/KARAOKEKINGDOM/
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GROOVIN'!
Ok...that song might be too old for some folks here, but it's a CLASSIC! (turn up your volume to hear the beat)
I was just messing around with a new signature banner for me to kind of "Stylize" the 'O' in 'Original'.
Whatta ya think?
(OR IS EVERYONE OUT IN THE HOT TUB ?????)
Look down here
vvvvvvvvvvvvvv
vvvvvvvvvvvvv
vvvvvvvvvvv
vvvvvvvvv
vvvvvvv
vvvvv
vvv
v
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Test 4
Test 3
Test 2
Signature Test
OK, so the BAR seems empty and I am bored.
So, here is a link to Stupid Human Noises! LOL!
http://www.lunaticlounge.com/stupidhumannoises/
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Never mind! I figured out the signature thing on my own. Thanks anyways! LOL!
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Playing around with banner ads!
Does anyone know how to ad pics to our signature???
(banner below will only show until 1:45AM Saturday for now!)
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test
NW....Here is the applaud sound link...LOL!
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NW,
I posted that before I realized there was nothing wrong.
Sorry.
Joemoney,
Welcome Back! But I guess it meant what it said.
It isn't good to proclaim that the 'sky is falling' when it is only merely that 'the clouds are shifting'.
My point was that when I accessed the post directly off the board, I was able to reply to it quite easily, which made YOUR post seem somehow fabricated.
Since you didn't elaborate on what you perceived the problem to be, I have to now ask you.....
WHAT DO YOU MEAN ?
See?
Well, Katie, (My Irish Princess) wants to leave now.
She wants to cook me breakfast for my early day tomorrow. Can't blame her for loving me. Maybe we'll take a long slow walk along the beach tomorrow night at sunset.
I'll stop back in sometime tomorrow. If you see a glow about me, it isn't from radioactivity or lack of ozone in the earth.
Just make sure the coffee is HIGH in CAFFEINE!
Night all!
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>
I done told ya, you have to visit the CORNER BAR (BAR) site to see why I use this board to test my posts! LOL!