Simon & Garfunkel - Wikipedia
Simon & Garfunkel were an American folk rock duo consisting of singer- songwriter Paul Simon and singer Art Garfunkel. .. By , their relationship had thawed, and Simon invited Garfunkel on an international tour. Following a 21 -date. "The exception, of course, is Art Garfunkel, with whom Simon has his oldest, most competitive and most enduring relationship. Having gone their separate ways. Paul Simon will play his last live show in New York in September. It would be a shame not to see Art Garfunkel on stage, too.
Depression and disappearance[ edit ] Garfunkel in a concert in Dublinc. They had significant disagreements during the tour. Garfunkel again left the music scene when his father died. In the fall ofhe met his future wife, Kathryn "Kim" Cermack; they were married in September Teaming up with singer-songwriters Maia Sharp and Buddy Mondlock, the album contained several songs which were originally poems written by Garfunkel. InSimon and Garfunkel reunited again for a successful world tour that extended into He continued to tour in with four musicians and his son.
As an encore, Simon brought out "my old friend, Art Garfunkel. Most performances were scheduled for Canada, with four shows in the upper Midwest of the US. According to a press release, the set list would focus on their classic catalog as well as songs from each of their solo careers. Notes From An Underground Man. Penguin Random House has published it in softcover and audiobook. Poetry[ edit ] Garfunkel, an avid reader and bibliophile has admitted that while growing up the Garfunkel household was not a literary family and that it was not until entering Columbia University in that he began to "read a million books and became a reader.
He was riding a motorcycle and began writing a poem describing the countryside. InStill Water, Garfunkel's collection of prose poetry, was released to acclaim. Topics included his depression over the loss of his father; Laurie Bird, his companion who committed suicide; his friendship with Paul Simon; and the joy of returning to music. He has also read the entire Random House Dictionary.
Garfunkel has an interest in the philosopher Jean-Jacques Rousseauhaving read his book Confessions at least three times according to Garfunkel's website, the book was the 1st, nd, and th book he read. Acting[ edit ] Garfunkel pursued an acting career in the early 70s, appearing in two Mike Nichols films: Catchin which he played a supporting role as the year-old naive Lieutenant Nately, and Carnal Knowledgea co-starring role in which he played the idealistic character Sandy.
He later appeared in Nicolas Roeg 's Bad Timing as Alex Linden, an American psychiatrist who serves as the film's main antagonist. Garfunkel then appeared in the medical crime drama Boxing Helenadirected by Jennifer Lynchas Dr. Garfunkel's most recent film is The Rebounddirected by Bart Freundlich.
He played Harry Finklestein, the slightly senile and comic-relief father of the film's main character. He has claimed that the marriage was turbulent and ended bitterly. When you sign autographs after a show, you see the real pretty one and make sure you get to her last.
But how many songs did I sing upfront and have a real tour de force of vocal? Does he resent that I had that one? I find that ungenerous. Did he do Bridge Over Troubled Water? And when they did it, was Sting on the arrangement? It is about a zebra. On the one hand he still seems eaten up by bitterness about his divorce from Paul Simon, yet he also talks about his old friend they were at school together with deep affection.
Simon and Garfunkel during their reunion tour in Picture: And perhaps if he was nervous about this interview it was to do not with what I would ask but what he would answer. He grew up in Queens, New York, a few blocks away from Paul Simon they attended the same high school and started impersonating the Everly Brothers when they were But what about his home?
Was there singing there? He travelled in the north east, four-day trips with sample cases in the trunk. Lately I've been thinking why did he not want to stay home with us more?
Did he have a girlfriend on the road? I think the man who goes through his adult life as if he was born to carry a burden on his back has an inferiority complex.
He thinks his place is not to stand up with dignity but to carry the samples. He broke my heart a little. When I order room service and they get it wrong I try so hard to be kind and I fail. He gave Carrie and me a jukebox for our wedding, which was nice. But what was really nice was that he personally filled it with a great collection of rock records.
You know, the main reason that Billy has been criticized is that he's been very successful. Well, I don't want this to sound like a knock on him, because I usually like his records, but he's not my favorite songwriter.
What do you mean? He thinks about larger issues, but he doesn't think about them hard enough. Meanwhile, he makes very good, solid rock tracks and sings with a powerful, clear, cutting rock-'n'-roll voice. I think he's insufficiently credited for how good his voice is.
In fact, part of his weakness is that his voice is so good, he's able to imitate - and I always felt that Billy should be stretching more to find out who Billy Joel is. That's an interesting thesis. Being an artist doesn't mean that you're a good artist. It's just a certain type of person. And he is that type of person by temperament, a creator. That was the bargain I first made with myself: I'd say, I'm an artist, but I'm not really very good. And it took me many years - till the late Seventies, maybe - to say, "I think I am good, and I want to be even better.
He thought it was elitist. What is this artistic temperament to which you refer? I haven't really thought about it.
Why Simon & Garfunkel should reunite one last time - The National
I suppose an artist is someone who takes the elements of his life and rearranges them and then has them perceived by others as though they were the elements of their lives. That's just something that some people do. An artistic bent is innate. Then there are those who work on their technique, because good art has a lot to do with technique.
And that can be learned. But isn't being tough and streetwise part of the rock-'n'--roll ethics? It's a profession where it's almost required to have that pose. Unsophisticated, working class, nonintellectual. Aside from Lennon and Dylan, who made a point of their working-class backgrounds - which turned out not to be true, anyway - the idea that rock could be an art form that people with brain might work at was always treated with derision. And that still exists. It turns out that there are a lot of smart guys in this profession, but they don't express that side.
Kris Kristofferson was a Rhodes scholar, but he always plays shit kicker. Randy Newman is bright, of course, but he has never had that tremendous popular success. Mick Jagger, I think, went to the London School of economics. What do you think of Jagger? He's not very interesting to me as an artist. I give him his due: I know how difficult it is to keep up your energy and to keep growing, and he has. I guess I don't like what he stands for. I mean, you can see his influence on almost every lead singer - a certain androgyny, or bisexuality, flaunted.
And he did it in a way that was original, with a sense of irony. But what he really contributed was something of little value - the pose of anger and rebellion. He was sophisticated enough to use that to earn huge sums of money. But others took it to mean they should be rebellious, cruel, disdainful and misogynous.
Simon & Garfunkel
I have the same feeling about Elvis Presley, only worse. For, as much as I idolized him, the lesson of his life - what happens to people with tremendous gifts in their youth - was terrible. His lesson was that you go to Las Vegas and stop thinking and live in an insulated world where you can get as many drugs as you want. Who are you artistic heroes? My first thought was that I didn't really have any. Then I thought, Whom do I admire? And my brain said Woody Allen.
I admire his tenaciousness, his talent, his integrity. I guess what bothers me about saying that is that he's so many people's hero. If I went a step further, I would say John Cheever. His work really touched me.
And he seemed to have a very good heart, to have overcome enormous obstacles and achieved success quite late in life. He also wrote about a world that he made me feel I belonged to, even though it had nothing to do with me. That's a great achievement for an artist. I'd say the same about John Updike and Saul Bellow.
Who in the pop-music world is pursuing his own artistic vision? Well I'd say Bruce Springsteen. Somehow, he's made those south Jersey highways, the cars, into an archetypal, almost mythic American form of expression. He's found a vocabulary to talk about what's on his mind and in his heart. He's found his people. I don't think that Springsteen himself rides along on highways with a girl wondering where to go. But a part of him does, and always will, and so he's able to express himself very clearly in that vocabulary.
Are there any others you'd put in Springsteen's category? Yeah, Bob Seeger is able to express something about the Midwest, to put it into his music and make someone who doesn't come from there understand and be attractive to foreigners. To speak on a mythic level. Not terribly different from what Sam Shepard does in his play. Well, I'm just beginning to be aware of him. Until now, their albums have seemed too smoothed down. There's a little too much fashion in it for me.
Too much about haircuts. It's distracting to me. Not for what makes number one, mind you, because haircuts are fairly important for number one. Actually, I think it was very unusual about Simon and Garfunkel - their haircuts. We were never fashionable. We were incredibly popular, but we were always out of fashion in our hair and physical appearance.
I don't know anyone else with whom that happened to the degree it did with us. What's the difference between writing something that is fashionable - or for what matter, merely factual - and writing something you'd consider artistic.
I have a song on this new album called Train in the Distance. It's very factual about my life. What I discovered in writing recently is that facts, stated without color, are just potential energy. You don't know where they're going to go until you give them a direction. She was married to someone. And it's all true. I was, you know, pretending I was sophisticated. All those are just facts. Then I add what is, I think, the artist's job: I told a story, and then I used the metaphor.
That's we've survived by believing our life is going to get better. And I happened to use the train metaphor because I was sitting in a friend's house near a railway station, and I heard a train. And I said, "Oooh, that's nice. Anyway, I guess my point is that facts can be turned into art if one is artful enough.
Do you have to be an artist to have an emotional impact on people? What about Barry Manilow? You might be a liar. But I question what emotion Manilow touches. People are entertained by him. But are they emotionally moved? By I write the Songs? I don't think so. I don't believe anything that Barry Manilow sings. But there are people who do.
Not everyone has the opportunity to be sufficiently sensitized to what is genuine. If you were raised with a lack of exposure to quality, I think it would be more difficult to recognize it. If you just eat Big Macs all your life and someone serves you the finest French food, I don't think you will necessarily appreciate it. How do you actually write? I wrote my new album Hearts and Bones, in two summers - the summers of and - out in Amagansett.
The first song I wrote for his new album was Song About the Moon. I was playing that melody, and I didn't have any word. How did you come to be playing that melody? I was playing the chords to it. And I was singing it and altering the chords, making substitutions.
Instead of making them simpler, I was making them more complex, just for the fun of it. This is one way that people write.
Where do you think the creative impulse comes from? I write from instinct, from an inexplicable sparkle. I don't know why I'm writing what I'm writing.
Usually, I sit and I let my hands wander on my guitar. And I sing anything. And I wait till I come across a pleasing accidentally. Then I start to develop it. Once you take a piece of musical information, there are certain implications that it automatically contains - the implication of that phrase elongated, contracted, inverted or in other time signature. So you start with an impulse and go to what your ear likes.
Is there a great pleasure when you find something your ear likes? Two things come to mind that are euphoric for me. One is the universal euphoric: The other is when I create something that moves me.
When I am the audience to my own creation and I'm moved. If it were a drug and I could buy it, I'd spend all my money on it. Do you use drugs to write? I know a lot of writers who use various drugs. I wouldn't be surprised if the overwhelming majority of them used some sort of drug. I'll put alcohol in there. Scott Fitzgerald did it to write. Couldn't get loose enough. Guys in rock smoke a joint. To get the stuff out of you - especially if what you're dealing with is yourself - requires you to open up and touch tender spots.
And to touch those tender spots, you have to be anesthetized a little bit. Of course, there's a penalty: The currency you pay with is your health. You lose your health; possibly, you lose the length of your creative life.
That's what they mean when they say someone's burned out. What happens after euphoria? Well, the moment of euphoria is when you have the breakthrough and you say it, and then I can begin to shape and deal with what I've created. Once you name the unnamable, you get numb. Not every song I write is ecstasy. And it can happen only one time. After that, when you sing the same melody and words, it's pleasure, but you don't get wiped out.
I've burst into tears uncontrollably I was saying something that I had been keeping hidden for a long time. But when I wrote and first sang the line "Like a bridge over troubled water, I will lay me down," it happened. Then line came all at once. I didn't know it was coming. What I was saying was, "I'm going to do this act of generosity for you. Well, I suspect I was thinking of Peggy.
That I would lie down and be a bridge for her. It was an overwhelming feeling coupled with that melody. Now it's been sung so many times by so many people that I have no feeling whatsoever for it. But at the moment of creation, it was huge.
Do you always start with the melody when you compose? Usually it's something musical - chords or a phrase.
But sometimes I use a lyric. That was a caption of a photograph in a book I was reading, and I thought, That's an interesting title for a song. Lucky you saw it first. Such an obvious title, after all. Leaped on it before it could be spotted by my contemporaries.
After I got the phrase, I began to sing a melody that fit it. I didn't have an instrument. I just sang it. My voice is my improvisational instrument, the melody instrument. The guitar is harmonic structure. I'm not a good enough guitarist to improvise on it.
There seems to be a constant tension in your songs between the esoteric and the obvious. Isn't that when we're most moved? We don't really understand, but we half understand. Still, I don't want to lose people, and I think that often, people don't understand what I'm talking about in songs.
In Cars Are Cars, I began by talking about the similarities between cars. Then I took the ironic approach to explaining the contrast I was setting up.
The repetition of the thought was boring to me: So you returned, as usual, to the personal. The car burned down eventually. It caught fire at the corner of Artie's block in Queens, as a matter of fact. For all the personal themes in your songs, you've rarely written about your son, Harper.
I tried to, but I was just too overwhelmed with love to write. I couldn't think of anything to write other than "You totally amaze and mesmerize me, I'm so in love with you I can't contain myself.
Art Garfunkel on Paul Simon: 'I created a monster' - Telegraph
What about writing songs about broader issues? Well, I don't find it very comfortable to address those issues head on. One of the only times I did it was in He Was My Brother, which was about Andrew Goodman, a college classmate who was killed in Mississippi during the civil rights movement.
But usually, I address those issues obliquely. You've never written songs in the Blowin in the Wind tradition, have you? There's a song I wrote for this album and then threw out called Citizen of the Planet. It was a direct statement about nuclear disarmament. Too direct for me. I was born here. I'm going to die here. I am entitled by my birth to the treasures of the earth.
No one should be denied these. No one should be denied. Since your reputation grows out of the intensely personal themes of your songs, let's talk about where the vision came from. Yeah, I lived in an attached house. My father used to drive into the wrong driveway all the time. He'd say, "Damn it, how do you tell one of these houses from another? He was a musician, wasn't he? For most of his adult life, he was a bass player.
Every once in a while, they'd show the band. We'd stay up and see Dad. I was very proud of him. I liked him, and I liked him as a musician. Ultimately, I think he got bored with it. In his 40's, he went back to school.
He got his doctorate in education, and he ended up teaching at City College. I liked that, too. His career couldn't have fit my life more perfectly.
So you had the rarest of commodities - a happy childhood? My mother was a teacher, but she quit to raise me and my younger brother. The thing about me mother was that she was extremely supportive. Not that my father wasn't, but my mother was the first nourishing person in my life. She made me feel as if I could take my needs very seriously, because she did. By the time I was 12 or 13, I felt that I was special, because I could play the guitar and write songs.
That meant I could get girls I normally couldn't since I was shorter than everybody else. The main thing about playing the guitar, though, was that I was able to sit by myself and play and dream. And I was always happy doing that. I used to go off in the bathroom, because the bathroom had tiles, so it was a slight echo chamber. I'd turn on the faucet so that water would run - I like that sound, it's very soothing to me - and I'd play.
Is that where The Sounds Of Silence came from? Well, that's the first line. Then it drifts off into some other things. I've always believed that you need a truthful first line to kick you off into a song. You have to say something emotionally true before you can let your imagination wander. When did you meet Garfunkel?
We knew each other in grade school. By the sixth grade, we were pretty friendly. We were in Alice in Wonderland together. Artie was the Cheshire Cat. I was the White Rabbit. Which is interesting, because Harper was recently in Alice in Wonderland at his school. He was the Mad Hatter. I sometimes think, Isn't it strange, life repeating and repeating itself?
I mean, here's Carrie. Her parents [ Eddie Fisher and Debbie Reynolds ] get married and it's on the front pages of papers all over the world. She's a movie star, he's a Jewish pop singer.
Carrie and I get married and it's the same thing all over again. Anyway, that's how I met Artie. By then, he was already by far the most famous singer in the neighborhood. My first recollection of him was in the fourth grade, when he sang in the assembly and all the girls were talking about him. After that, I decided to try singing, too. I said, "Hey, I want to cut in on some of this myself. When did you and Garfunkel go public as a duo?
It didn't take long. By 14, we were going around to record companies in New York, looking up the numbers of small companies in the phone book - many of them in Broadway, where I have my office now.
A year later, we were making a demo in a studio and a man outside heard us. He said, "I'd like to sign you. It was called Hey! Artie and I wrote it together. And it became a hit. Sid Prosen, the guy who discovered us, spent money on it.
Those were the payola days, and he bought time on Alan Freed, who had the most popular radio show. Then we got on American Bandstand, where kids would dance to a record and then rate it. We called ourselves Tom and Jerry. How did you get on American Bandstand? Well, Sid probably paid off for that too.
We were pretty big in the neighborhood after American Bandstand. The record was top ten in New York City. So, yeah, we were quite a big deal. I was able to buy a car, put money away. By the time I was 15, I was essentially independent.
But nobody thought anything was going to come of it, and nothing did. We put out three or four records, and they were all flops. Then I started working for music publishers, making demos. And I'd get three or four demos a week. That's really how I learned to be a recording artist: My father always had a great respect for musicians, and he passed that on to me. I've always been at home with musicians. I have this attitude of semireverence. They're all my father.
Artie's father was a traveling salesman, and he has very pleasant memories of trips he took. And now he likes to travel. After Tom and Jerry flops, did you and Garfunkel stop singing? Well, there is a significant thing here that I purposely refrained from mentioning, which is that during this time we were singing together, I made a solo record.
And it made Artie very unhappy. He looked upon it as something of a betrayal. That sense of betrayal has remained with him. That solo record that I made at the age of 15 permanently colored our relationship. We were talking about it recently and I said, "Artie, for Christ's sake, I was 15 years old! How can you carry that betrayal for 25 years? Even if I was wrong, I was just a year-old kid who wanted to be Elvis Presley for one moment instead of being the Everly Brothers with you.
Even if you were hurt, let's drop it. He said, "You're still the same guy.
After college, you moved to Europe. Was that a happy time? There was a little valley of peace between the assassination of John Kennedy and the escalation of the war in Vietnam.
I loved that time. I hitchhiked around Europe, sang in the streets, collected money. I lived a week under a bridge once, the Pont Neuf. Lived a week in a convent that took me in. Why did you return to the U.