All language subtitles for In.Restless.Dreams.The.Music.Of.Paul.Simon.2023.1080p.BluRay.x264.AAC5.1-[YTS.MX]-en

Yes, hot diggity dog.

It's 7:00 in Wimberley, Texas.

Toddy and Pooch are back
the controls here at KWVH.

Tonight, well, we have
something a little different.

In our endless search for
get your feet to move,

and wagging the tail, we have
a very special guest.

Very special, well,
It doesn't even begin to cover it,

TRUE?

Our guest has won
more Grammy Awards

of which I could tell:
three for Best Album.

Two-time Hall Member
of Rock and Roll Fame.

It appears in front
more than half

million people
on multiple occasions.

From New York,
It's Saturday night!

With Paul Simon, who is one of the
great performers of all time

on Saturday night live.

Once again, Paul Simón.

Once again, Paul Simón!

We will stay at the Pierre and

we will meet Jack and Angelica

and have a drink there.

And if you want to come,
we would love to have you.

Act in a
winning film

Oscar for Best Picture.

It's not a great deal.

It is simply
relax, be very calm.

Fresco.

Do you remember we had that thing?

What thing?

And even more important
that all that is

which is simply
the best composer.

in music history
American popular.

We love you, Pablo!

"I Know What I Know" from "Graceland."

I can't believe
that I can say this.

Paul Simon
join us today.

¡Eh!

Thanks, Todd.
Thanks, Ben.

The composers, I mean,
obviously, you in particular,

one of the things that
I have always wondered,

You know, once you were
writing your own material

and being successful in
rock and roll whirlwind,

You know, I contacted you, how
did you experience the music?

Or how are you still doing today?

so there is
different... you know,

If your career is writing songs

and, uh, it's a race
quite unusual.

I never thought that
nothing was a risk.

I really didn't know what song it was on.
to be a success and people used to say:

Oh, you've got your finger on the pulse.

And I would think, no, no
I have my finger on the pulse.

I only have my finger
outside and the pulse

run under
him for the moment.

Your skills
creative, it's a mystery

why it happens and
How long does it last?

I love mystery.

I really love mystery.

Your process seems
be something similar to mine,

that is, you gather a lot
information and then...

That's exactly
what is happening.

And then you say, what is the
interesting story here?

- That's right.
- Know?

How does the story begin?

That's always a question
important when writing songs.

What is the sound I want here?

You know, it's like a
old saying, guitarists

they spend half their
life tuning his guitar.

and the other half out of tune.

so this
little guitar...riff

It is a kind of base of the-

On January 15, 2019,
I had a dream that said:

you are working on one
piece called "Seven Psalms."

And a couple of years ago

that I didn't write anything,

I didn't feel like writing either.

nothing for a couple of years.

The dream was so strong

that I got up and wrote it.

"Seven Psalms, 15
January 2019".

But I had no idea
what that meant.

But little by little it went
information arriving, such as...

And I'd say, oh, okay, so
Maybe that's there, you know.

Maybe this is there.

Let's play it again.

This is the opening
of the registry.

I don't think you've heard this.

That's a whale bone.

I try all the time
move things in

this type of flow
puts you in a dream.

And I think that if you are
willing to fall into a space

dreamlike, are you willing
to stop judging.

You know, it's like
a meditation.

The information that arrives
It comes in a purer form.

And you can hear it and feel it
clearer and more intense way.

How did you hear it
a moment ago?

Well, it started out being
very aware that you

you are here and the camera
It's on, so...

I had to divide my
thought between

music and was it a
good interpretation?

or, you know, there is
a trial in progress.

Now, will they be
Are those cameras inhibitory, Paul?

I live with these cameras, Artie.

These cameras, do they ever
Have you ever seen them inhibit me?

Such a different medium...
such a different medium.

I forgot how much I trust the fact

that is: you can emit
sounds without being seen.

You can create images
without them seeing you.

That's how I-that's how
It's how I write,

images but you don't see them, so
that in a way you evoke images.

But these are photographs.

I write for several reasons.

I write some songs
for the pleasure of writing a song.

It doesn't have any
great meaning.

It's just a song.

The songs are beautiful.

People sing songs.
children sing

songs all the time
for the pleasure of singing.

In some songs you try
express yourself emotionally.

Those are songs
different for me.

And they express what
I feel, and relieve...

Tensions that I feel
when I express them.

But I don't think about
communicate with anyone.

Growing up, I had
like four idols.

Mickey Mantle,
Kennedy, Lenny Bruce...

I was like a child
very depressed, you know?

And I was seven or eight years old, and

really me
exalted and came out of me...

...y Elvis Presley.

It didn't matter what they did.
They fascinated me.

The name Elvis Presley was
one of the strangest names.

ever heard.

You know, all
that I knew were called,

you know, david
Rothbaum or something like that.

I really don't know what kind of
experience you have and all that.

Were you... were you... poor?

all the songs,
at least in the last

album, which is...
Isn't it number one?

Selling album in the
country now or has it been?

I think it was.

- "Bridge over troubled waters"?
- Yeah.

Uh, there's a lot to
travel on rails and...

And all that kind of stuff.

Is that your experience?

Were you a poor child?

No, I was middle class.

Yeah?

I grew up here in New
York and Queens.

This is my street, 70th Road.

This was considered
almost like the field,

was very far from
New York City.

It was the end of the
subway line.

Number 62 was my house.

Upstairs was my bedroom.

Paul was the neighbor
three blocks away,

who I met in sixth grade
grade, so there were 11 of us.

and we were singing
from the beginning.

We sang at my house and

we put things on the recorder.

we are starting
to harmonize together.

We were elected together for the
work Alice in Wonderland.

He was the White Rabbit and
I was the Cheshire Cat.

And then, the next year, in high school,
We were in the same class.

I saw him form his
personality and becoming

who you chose to be,
like he did with me.

He is a very unusual guy.

It always was, even
when I was ten years old.

He was-he was-

You know, the first
time I met him, he was

in a candy store
which we used to go to.

after
we left school.

And I came... and here
There was this child,

And he was waving
Good and Plenty boxes.

And finally, and I
I was looking at him,

you know, because I was going to buy
my Captain Marvel comic.

And I was shaking these
Good and Plenty boxes,

and finally, the owner
He threw him out of the store,

He said he had to get out.

And I told the guy:
"Why did you kick him out?"

And he said, "He
everyone comes here

time and shake
these boxes to see

which one has more Good and Plenty, and

that's the one
buy, you know. "

And now here are some
guys who created one of

the best songs in
The United States does not do much.

We used to listen to the
Top 20 at Artie's house.

And I used to wear a
graph of all

songs and we followed them
week after week.

I loved that the songs
They had numbers, you know?

These songs competed
and they were calibrated.

And you could see that the song
number seven of the week

passed jumped to the song
number two this week.

Well, the
math like that

of things came to me
somehow.

Somehow I was trapped in
that aspect as well as in music.

If you look at it now, you would say
that he was obsessive-compulsive.

His handwriting... looks like a
typewriter.

my favorite group
They were the Cleftones.

"My girl."

"Can't we be boyfriend and girlfriend?"

The Moonglows, que
they did "Sincerely."

I liked the Penguins,
"Angel of the Earth."

"Promising my
love" by Johnny Ace.

I don't know, I know
15 or 20 occur where

I say I like them
those records a lot.

In fact, they make me
feel nostalgic and

bring to mind
images of my neighborhood.

how to stand on the
corner of this store

of sweets in which
everyone was hanging out,

and in summer,
we are in the patio

recess, imagine
that schoolyard.

My culture was the radio.

It wasn't like he was singing the
Queens music, you know?

We didn't have people sitting in

The porches of Queens singing,

you know, fables about how
It was Queens in the old days.

There was nothing like that.

When I heard "Bye Bye
Love" by the Everly brothers,

Immediately
I fell in love with her.

The only store
records was in Jamaica.

To get there there was
to take two buses.

and took me
about an hour

get to Jamaica to
buy this album.

So I bought the
record, I come back, I put it on.

I turn it around,
I play the second

face and then I touch it again,

and I hit the record player,
and the needle scratched.

I went back to the bus, I traveled
Another hour, spent another dollar,

and I didn't have that many anymore, and
buy the album again.

I couldn't stand that
This was scratched.

I called Artie and told him
I said: listen to this.

And we were just
learning what harmony was.

Los Everly Brothers
They sang in thirds.

Harmony was
on top of the melodies.

That's Don singing.

Phil is singing...

Then we just practice.
I sing like the Everly Brothers.

we had enough
Everly brothers in our

minds to know how
produce that harmony.

And we write together and
we got jealous

of the artists who
They recorded on the radio.

and we saw ourselves competing and
We learned to do demonstrations.

"Hello schoolgirl", we write it
when we were 15 years old.

We basically wrote it
about our high school.

We would go to companies
record labels and

we would just play
the door, you know.

We would say that
we wrote this song.

And, you know, in those days, the
People were like, "Oh, really? Come on in."

When we were almost 16 years old,
we had recorded this song

for a small company
record label called Big Records.

That was in the Brill building,

1619 Broadway.

The record company put us
the name of Tom and Jerry.

I was Jerry.

The album was a success.

It was presented at the American
Bandstand de Dick Clark.

The children danced.

And then we went to The Dick

Clark Show con Jerry Lee Lewis.

I told them on American Bandstand

who came from Macon, Georgia.

I just left.

Where are you guys from?

Macon, Georgia.

He appeared with a southern accent

and was from Macon, Georgia.

I kept thinking, why not

Did you tell me you were going to do this?

I could see Artie, like,
looking, like, what...?

"Where are you from?"

And he said, "Queens."

At that moment I
I worked in a shoe store.

But after
We went to the American Bandstand,

I came in and the boss,
who couldn't

endure, he told me:
"You're late."

I said, "No, no, I quit."

Even though my
father was a bassist...

He led a band in
Roseland for about 25 years.

It really wasn't
encouraging about

to rock and roll
roll as a career.

He thought it was music
really stupid.

I said, "Why not
Do you like this music?"

He said: "Because it is
really stupid. "It's stupid."

I'd say, "Fool?"

"Earth angel."

Earth angel.

Do you see what I'm saying?

I thought that, for me,
it was the first time

an ironic sense
had entered my life.

in my life, "Angel of the Earth."

He said: "I understand.
"I just think it's nonsense."

So we had fun listening
some of the first songs.

Oh yeah, what was it?
the one you liked?

I... I forgot because
complete and then I listened to it.

And I said, wow, my
voice was very beautiful.

It was a sweet voice.

My dad was very happy
for me to go to Queens College.

which was a free school.

I studied English literature.

And then I got a score
very high in law boards

and I went to the Faculty of
Brooklyn Law.

But really,
from the beginning,

I just said, I don't know what
I'm doing here.

I have never wanted to be
something else that, you know,

singer and composer
since I was 13 years old.

I started to go down
the folk scene

de Village to
Bleecker y MacDougal,

and that was really interesting.

That's the first time
that I listened to Dylan.

I was singing music
for adults.

I started writing with guitar

acoustics and to find
figurines, you know,

to play on acoustic guitar.

I used to go to the bathroom
my parents' house.

There were tiles in the
wall and turned on the water.

And the tile echoed, and the water

it was like a sound
of white noise.

I was going to a space
which was a zone.

There is a very easy flow
of creative energy.

That thought a second ago

was not here and
now I'm crying.

You know, how did that happen?

And how can I do it again?

Thanks guys.
We love your program.

- It's very fun.
- Thank you, Edie.

- That's very good.
- It was very fun.

We will do it again.
We will do it again.

- Oh, yes, stop by whenever you want.
- Yes, you know.

I am always here.
You pass me by.

You see me at the window.

We are Wimberley people,
so we will come back and...

We will return and
we will do again.

This is really something
incredibly pretty.

We are eager to hear
what comes next,

You know, in your career.

Well, when it's
Ready, I'll come and bring it to you.

We moved to
Texas a few years ago.

And Edie grew up in Paris, Texas,

so your memories
most precious are from country.

And she loved the stream.

He liked to walk
through the streams.

Then he found a house in
Hill Country, not far from Austin.

That was right in this one.
really nice stream.

It's really quiet,
really peaceful.

I thought, yeah, I'll be happy passing
part of my time there.

I moved my studio
recording there.

From the beginning
from "Seven Psalms",

What I remember most
it was playing

this beautiful motif
guitar over and over again.

And every time I touched it,

I felt this feeling
very good and moving.

And left any room
in which he was and said:

"There it is again. That's the
most beautiful guitar piece.

you have to do
something with this. "

Maybe because this arose from a
I dream, you know, I was patient.

I had... I had a lot
patience with that.

I was starting to wake up
two or three times a

week between 3:30
and 5:00 in the morning,

and the words would come.

I would write them.

And if I tried to add more...
Like, oh, that's a good verse.

I'll write a second
verse; would stop.

And I said, well, whatever this is,
It's just yet to come.

He comes towards me and that's it.

I just have to wait.

And when it comes, write it down
and start putting it together.

And then somehow
last October,

I lost hearing in my ear
left and it just went...

Towards the end of October,

I was... there was almost
missing, you know?

It threw me off because my voice
It didn't come from the same place.

I wasn't sitting here.

I was like sitting...

And then I started to think,
You know, this whole piece...

It was actually...

something I had to deal with,

and maybe this audience
It was part of the process.

And now it was going to be more difficult,

and maybe it was
destined to be more difficult.

This is a journey
that I must complete.

This entire piece is
really an argument.

I'm having with me
same about believing or not.

I think I have to do it...
let me trace it wildly.

Well.

That's not going to work, is it?

I think it's a beautiful thing.

It is?

You know, it's not a thought that
I really enjoyed it, you know.

I don't like to think, oh,
This is the topic of this.

I like to work
and then discover.

let me see if
I want this investment.

People say, why do you always
Do you want to change your sound?

I'm not thinking about
that way at all.

I'm looking for the edge
from what you can hear.

I can almost hear it,
but not completely.

But that's what I want.

Now, how do you get there?

It's... it's a trip because
is on the horizon.

And sometimes you find that you can

do something that
It has magic, you know?

In 1964 I gave a demonstration
from "The Sound of Silence."

It was just me.

It wasn't with Artie.

and through my
connections in New York,

It was put to Tom Wilson,

who was a producer in
Columbia Records, very good.

He also produced "Like a
Rolling Stone" de Bob Dylan.

He recorded Blood, Sweat and Tears.

He recorded Laura Nyro.

Hugh Masekela recorded,

the Mothers of Invention,

the loving spoonful.

He made, I mean, hits.

And I said: "I sing this
song with a friend of mine."

"Could we come in and
audition for you?"

He said, "Yeah, sure."

So Artie and I
We go in and sing it.

And they said they would sign us.

We were very excited
because, really,

at that time it was not possible
be in a more prestigious place

than Columbia Records.

Then there was a big debate
about what our name would be

because there was a group
called Art and Paul.

So Columbia was trying to
find names and, they were horrible.

They were really horrible.

I mean, one of them
They were the Rye Catchers.

That's how they saw us.
It's like, these guys...

These guys are
like Salingers.

Finally, the president
from Columbia Records,

Goddard Lieberson,
He intervened and said:

"No, his name should
be Simon and Garfunkel."

Which, at the time, was quite
radical to have ethnic names.

The people still
Anglicized their names.

All Italians changed
their names, you know,

Frankie Avalon, Bobby Rydell.

Bob Dylan changed his name.

So, that was a big deal.

Goddard Lieberson definitely
I was making a statement with that.

And then we go in and
we recorded our first album,

"Wednesday morning, 3 a.m."

Well, we'll take it and
we will cut in half.

Correct, also, when
you get to "because the vision",

start swinging it a little.

I don't want to be so...

- Bueno.
- ...be careful with that line.

- A little stronger too.
- We're ready.

The album came out and there it played

"The Sound of Silence".

but, "Wednesday
tomorrow, 3 a.m." was a failure.

The album did not sell at all.

I was still in college
of law at that time.

Meanwhile I came and went
and came and went to England,

after my first
visit there as a tourist.

I was going on vacation
Christmas, spring.

And Art... was at school
graduate at Columbia.

So, we were
Like separate, you know.

By then I had already decided
that he didn't want to be a lawyer.

I want to be a musician
have lawyers

let them work for you
when you need them.

Then, abandon the
school was an easy decision,

and it was an easy decision to move
to London, which I loved.

At some point in the
life of all people,

not necessarily
at a specific age,

Um, you're surprised by the feeling

that things escape you.

And you try to grab them.

I started to play,
These were not clubs.

like the clubs in New York.

They were a room above a pub.

There may be a
microphone, or maybe not.

Gracias.

This woman, Judith Piepe...
She was a refugee from Germany.

His father was a communist.

She was Jewish.

He fled during the war and
converted to the Anglican Church.

He came to all the places
in which I sang.

The priest with whom I did
my training once said:

"If you want to help people,

you have to love them.
If you can't love them, don't do it.

Don't try to help them.

If you don't love them, they can't
forgive you for the bread you give them."

He lived in the East End of London,

next to the docks, very hard.

She lived in, you know,
an apartment,

a tiny apartment, had a
room, and let me stay there.

I had a small program
five minute BBC radio.

called "Five to Ten", which is
It broadcast between ten to five.

And it was five minutes, and he spoke,
You know, it was a little while ago.

This song by Paul Simon

It's almost a description
isolation clinic.

And then she put
one of my songs.

sometimes I write songs

and after finishing them
and reproduce them,

the degree horrifies me
of neuroses that I possess.

This is one of those songs.

A kind of therapy
group without the group involved.

I don't usually sing
songs against war.

for the simple reason that

if at this point there are
someone who is not convinced

of the absurdity of
a war, huh,

I don't think they will change
opinion for a song.

When I came to England
last year,

It wasn't so much about coming to England,
like a departure from New York.

And then when I returned to
house in September 64,

I discovered that the same
complexes that I had in New York,

I immediately returned to them.
They were still there.

And I found myself thinking
increasingly in England

and in relationships
that he had formed.

Kathy Chitty was my girlfriend.

And I met her in the
Brentwood Folk Club door

collecting the money
people paid to enter.

TAPE RECORDING FOR KATHY CHITTY
September 1964

Regarding your letter yesterday...

I'm going to put away my cigarette.

As soon as your letter arrives

I received it yesterday and it ruined my day

because it was such a short letter

wait a second, I have to
find another cigarette.

Well.

Artie's not here.
I don't know where it is.

He told me he would come,
but he left with his motorcycle

to register it.

I guess it will come back
whenever.

That tape is interesting.

That was during
time when he came and went.

I was back in
my parents' house.

And it just arrived.

It was two desperate hours
to register

and he was almost arrested for threatening someone

Are you going to say something for her?

You know, I can never talk.

I get stuck on a stage,
I can't speak into a microphone.

In this tape, I want to put
two new songs.

One of them is the
what I wrote about you.

During this entire period
while you come and go,

I became interested in this album "Songbook"
that has a photo of you and Kathy.

- Yes, on the cover.
- Yes, but it's you.

- No son Simon y Garfunkel.
- No.

I wasn't even
debating whether to go

to be a soloist because
He lived in England.

Playing in clubs
folkloric, doing it alone.

and the experiment
with Artie singing

It was, at that time, a failure.

It was simply a
single period of freedom.

You know, I loved it. I was 23,

24 years old, no responsibilities.

and here I am doing
exactly what I want to do.

It shouldn't be like this.
I can play that better

and relate it to what is happening.
- Bueno.

- It was ok?
- Yes, the last one was great.

- Okay, then play that.
- Yeah.

I know I have more
control over it, so...

¡Ah!

It's good to see you, darling.

Yes, how are you?

Good good. No complaints.

- Are you?
- Yeah.

Thanks for coming.

Man, come on, you know.

Where are you?
I'll walk to Hawaii for you.

You tell me.

So...
what are we talking about?

Where are we with the "Psalms"?

Do you want to play it
everything from start to finish?

Put it all in.
Yes, don't stop.

We won't stop. Well, well.

Paul and I talked about "Seven
Psalms" just as an idea

before he started
to work on it, you know?

We were talking about the Bible.

we were talking
of a tradition

mystique of the song
of a troubadour,

the meaning
mystic of seven.

You know, in the seventh
day, the Lord rested.

We met years ago.

We did a benefit.
This was in 2002.

I made a terrible arrangement
from "I'll Take Manhattan."

It was not a musical experience
particularly good for me.

Man, it was...

Although he appeared very
calm about it.

He sang and did his thing,
but I didn't help him.

One two three.

So we didn't become friends.

we became friends
when he asked me to do

a fundraiser
for Jazz at Lincoln Center.

After that, we start
to collaborate through the years.

In a way you reinvented that
song on the album In the Blue Light.

"Pigs, sheep and wolves", yes.

Like an arranger,

you always want to try to do
what someone wants you to do.

And with this, it was as if
It was something from New Orleans.

Playing music is
something so spiritual

that when you play with someone,

most things
They don't talk, you know?

You are listening to it.

I really pay attention
to what it says musically.

And I often think that
when I'm working

in something and I'm changing
a voice or something like that,

"Would Wynton like this?"

Eh.

When I had the chance
to really talk to him

and we sat outside
from the context of music,

- We had a lot to talk about.
- Like what?

Man, like being divorced,

have children, not be married,

race relations
in the United States,

New Orleans and New York,

Elvis Presley and rock and roll,
black and white, politics,

ayahuasca, south american music,

integrating with others
cultures and their music, being left-handed,

be at your father's rehearsal
where you don't want to be,

how to pay tribute to
a generation before you,

the address that
will take our country.

What level of
participation must

have the artists with
the political issues?

What is it like to travel?

What do you learn from
musicians from other cultures?

What is needed for
write a song?

What do you think of
baroque music?

What is the position of Bach versus the
Beethoven's position in European music?

How much music did you write?
Duke Ellington in 1962?

What was it like when they killed
to Goodman in Mississippi?

African American music
and Anglo-Celtic music,

where are they found?

It goes on and on, man, and
not everyone agrees.

That's what makes it so good.

No friction,
you have no movement.

The universe was created
with an explosion.

And, man, that
friction arose everything.

His music is always about that.

About a year
After its launch in 1965,

radio stations
They were starting to receive requests.

for "The Sound of Silence."

So while I was in England,

Tom Wilson returned to
studio and overdubbed

tools
electrical and batteries.

to the acoustic version
with the same

musicians he used in
the dylan sessions

when Dylan went electric.

They sent it to me,
I listened and said, okay.

Did you, or was it you,
was it you initially?

Weren't you upset at first?

No, no, I wasn't upset.

What's up with Tom Wilson
is that, when he suggested something,

you thought it was good
because it was very cool.

It was like, yeah, try it.
again, great.

What do I have to lose?

and began to
become a success.

The record continued to rise.

And Columbia wanted it
will return to the US.

And a week after
my return, it reached number one.

And I said to myself, my life
has changed irrevocably.

Your music has become
omnipresent everywhere.

It's in elevators.
It's in the supermarkets.

Now how do you react
when you hear it in an elevator?

and he does it...
- I love it in an elevator.

...Milwaukee Strings or anyone?

That...

I like it in the elevator. Really
I do it. I'm not kidding.

I like to listen to it there.

The funniest thing about
listen to your music

It's when you walk down the street,

and you hear someone hum it

walking in the opposite direction.

- Yes. Yes.
- That's a tremendous emotion.

In reality, it is a
privilege, you know, to be...

be in a position where
people like what you do

and accept what you do,
uh, up to that point.

It's a privilege.

If the pure protest song

They never had great commercial success
in the field of pop song,

a group of folk singers
rock known collectively

How did they do it Simon?
and Garfunkel with a guy

different from comment
about society.

Paul Simon,
team composer,

and Art Garfunkel, arranger
vocal e instrumental,

They are creators of
songs in a real sense

under the interpretation
and packaging.

their own
musical compositions.

I want the sound
be like the one you put

it's like you have
a bag of hops...

What is the name of that material you wrap?
How do I eat flour in large boxes of flour?

And it should be like...

a knife cuts it and
then the flour spills out.

These are songs
popular such as

are listened to and
known to the public.

through disks and
personal actions.

How are they made?

What does creation entail?
from a popular song?

Can you hold it for a second?

I just want to record this
so you can hear it.

One, two, three, two.

After "Sound
of Silence" was a success,

we go in and record
the songs.

what I had written when
I was in England.

Paul has his hands full
writing the songs. Am...

I rarely do anything more than
react to lyrics and music

What occurs to Paul,
although occasionally

I prefer a change
lyrics because I'm...

because I'm thinking about
the harmony that I want to use,

and I know that a change
melodic will suit me better.

I was on a kick
existential for a while.

I wrote a song
called "Patterns".

I worried about the fact
that our lives

were divided
in so many patterns

about which
we had no control.

The color of your skin, the fact
What do you die from, what is your name.

That song must
produce in the listener

a feeling of involvement
and then a catharsis.

Tom Wilson left
Columbia and went to MGM.

Then Roy Halee
He became our engineer.

- You're recording.
- Let's go.

One, two, one, two, three.

And since then
stayed with us.

Roy, Artie and me
we made those records.

I had that
artistic temperament.

You know, Roy could take
a control room and do it right.

He was just a technician
super qualified.

which also had
a great ear, you know?

Roy was a wonderful engineer
I thought about sounds

at the time when it began
to listen to the songs.

and so it became
co-producer because he did

more than simply
make clean recordings.

He made creative sound collages.

I think of him as the third
member of our triumvirate.

You know, we're workaholics.

We are shooting on the 11th.

I was forced to do
So many takes, you know?

This is with the fingers now.

Good.

I would say, how was that?
That's a good one.

He said, "It is. It's good.
“It’s…it’s good.”

I was like, "Well, isn't that good?"

Oh, no, no, no, it's
a little out of tune.

but really
nothing you couldn't...

Okay, I'll do it again.

I made a mistake. Come on
to try again.

What happened?
- I made a mistake.

- Vocally?
- Deep breathing.

Let's see what this is.

To my surprise, I didn't even know
that these things still existed.

I thought they had
lost these things.

No, they have the
"Bridge" multitracks.

It's quite surprising
that this still exists.

Roy, he truly was an innovator.

We keep falling into
adventures and discoveries.

"Cecilia" was just a clue
rhythmic, approximately

one minute and 15
seconds, and it looped.

We literally went for a loop
tape with two or three machines,

and we keep giving
round and round.

The vocal sound of
Simon y Garfunkel...

Roy invented that, you know?

We both sang in a
microphone close enough

from each other so that
We could really mingle.

Let's take another one.

Play me a little and
I'll take the tempo again.

I would capture that mix
a couple of times...

...have multiple tracks
which combined into the mix.

As soon as you heard
That, it was like, there it is.

In "The Boxer", that's the drum

that Roy recorded in the
elevator shaft.

They were probably
eight floors that they placed

the drummer in the background
of the elevator shaft.

The horns and things
that come at the end,

They were recorded in San Pablo.

"The Only Living Boy in
New York", the harmonies,

we overdubbed them seven times
inside an echo chamber.

When we were working on
"Bridge over troubled waters",

the song, we spend two or three
days arranging the piano part.

We add the bass,
the strings and the drums.

And Roy was the first to carry
two 8-track machines

and synchronize them and
record them on 16 tracks.

But one day, when I came in,
He told me: "Listen to this.

You won't believe it
what happened here "

The two machines were
slightly out of sync.

So for the battery...

...instead of listening...

Did you hear...

That rhythmic rhythm that was at
end was an accident that he heard

and like any
good musician, he knew,

"Ah, I can take advantage of this accident."

This is great.

I was very excited.

Okay, I'm going to record this now so that
You hear it when he calls again.

We will continue playing it
so you can have your ideas.

Move your chair a little,
I want to be more focused

Well now you will be
more focused

How did you get involved?
en The Graduate?

How did the idea come about?

Mike Nichols called.

And then I was
in the middle of the movie.

It was almost finished and we
convinced to make the music.

And the music was supposed to be,
mostly original music.

I started working on it and,

a few months later,
Mike said:

"You know, we've been using
your music as a temporary track,

but it's so good that
I think we really want

keep it in
movie as is. "

Listen to me.

I am the brother of
Dr. Smith, Reverend Smith.

and I'm supposed to
I must perform the ceremony.

I just got back from Portland and
I forgot which church, see?

Oh well, I'm not sure,

but you could try
the First Presbyterian.

- That's on Allen Street.
- Gracias.

Allen Street, where is it?

Allen, eh, it, eh...

The only new song
The one he picked up was "Mrs. Robinson."

that was incomplete
at the time of filming.

Do you need gas, father?

La "Mrs. Robinson"
It was invented on the spot.

Originally if
I assumed it was a...

That was a chase scene.
and they wanted guitar music.

And I was playing, huh...

Oh, it didn't taste like
what was playing.

I was just doing
riffs with the guitar, and I...

I was doing this.

And I had been fooling around
with a song that was, uh...

I was singing...

Without any specific reason.
I didn't have anything in mind.

Did that just occur to you?

Yeah, boy, just in my head.

And then the next line was...

It was Mrs. Roosevelt,

and then he said, uh, well,
We could just...

That would change a lot
movie plot, right?

Yeah.

Since there was nothing but
that chorus and no lyrics,

and we invented it in the
act, we sing, uh, uh...

We had a small
stand and we watched.

And, like, when the
car slows down,

I'm playing live
to see the image.

I came across
Mel Brooks the other day.

Yeah.

He said he had no idea how miserable
that that song had made his life.

Oh really.

- Yeah.
-His wife is Annie Bancroft.

That's right, his wife, right.

¡Elaine!

- ¡Elaine!
- I'll take care of him.

It's already too late.

So wherever
what they were, is...

Yeah.

How did Joe DiMaggio get there?

Was he playing
the ball with the lady

Roosevelt in your
mind or something or...?

It is very pleasant to write in a
stream of consciousness style.

And very often you find that
what you have in mind is relevant,

although for him
moment it doesn't seem like it.

And while I was writing, uh,
I had no idea he would say that,

but I said, "Where
Have you been, Joe DiMaggio?

A nation returns to
you his lonely eyes. "

And then the next line, not the
I had one, but I invented one and put it on.

And then I asked myself
What did it mean?

And I said, well, it means something.

It will mean something.

"Dear Art and Paul, please consider

this is your invitation
official to appear.

at the International Festival
by Monterey Pop

on one of the nights
on June 16, 17 or 18.

As described,
will act free of charge.

On the other hand, any
transport expense

and related accommodation
with your assistance

will be borne by
the festival commission.

Sincerely, Festival
International Pop of Monterey. "

In Monterey Pop we went
one of the great acts

and we closed the first night.

But we were never part of
none of the movements.

We were not known
as political people.

We were not known
like drug traffickers.

There were quite a few
reviews that thought

that we were very
square and cheesy.

Monterey is so cool, man.

This is something, man.
This is our generation, man.

All of you, we are
all together, man.

It's great, so look into it yourself.

None of the acts
Americans

it looked nothing like
to English acts.

Nobody, not even Grateful
Dead, ni Janis Joplin.

Most of the
people were hippies.

Nobody had ever seen
nothing like The Who,

you know, destroying
their guitars.

I mean,
I was ashamed.

I used to think, God,
when I was a child,

I had to save a lot
to buy me a guitar.

Do you know you're going to destroy it?

Hendrix, I don't know if the fire was part
of your act all the time or not,

but things were going
getting wilder.

And we felt that we should
start expressing

what i felt
our generation.

birthday is coming
Beethoven number 200.

- Did you know that...?
- No.

1970 is 200 years.

Soon the
someone else's 200th birthday.

- 200th birthday?
- Yeah.

-Who is that?
- USA.

Do you think it will arrive?

They offered us a special
with ATandT as sponsor

and we decided that the program
I would have a political idea.

We didn't go in there looking for a fight.

We thought that
we were expressing

the simple truth of
what is happening.

As obvious as it is
that we shouldn't

be in vietnam
or as obvious as it is

that people die
of hunger in this country,

until they stop the war,
until they feed the people,

It is a function of the
people point it out

and remind us continually.

But in reality, it
only one I remember

that's what
naive that we were.

that we thought that
everyone was liberal.

However, I think that
much of what we say,

of what we say, yeah
not everything we say,

It's extremely obvious.

During "Bridge Over
troubled waters",

which was the first time
it was reproduced somewhere,

we show images of
Kennedy, the train and Bobby,

and images of
Martin Luther King.

And the producer said, "You can't
just stay with those three."

And we said, "Why?"

And they said, "Well,
"They are all democrats."

And we were like, “Really?

We think that everyone
they were killed. "

Why am I going to make this album?

What is the goal of this album?

The world is falling apart.

Chaos, what the hell
is all this about?

time has changed
all those songs,

also from a
very interesting way.

You turn all this over and look at it
from a different perspective.

Like "Bridge over
troubled waters."

that became something
more than a pop song.

-
-

In the word "cold",
It's a G chord.

It's "code", C...
- ¡"Code"!

"Reflect on
the code of forgiveness. "

Code is code is
Absolutely crucial to...

Oh, absolutely,
It is a digital code.

I understand.

...to what is happening
in that verse.

Yes, Yes, Yes, Yes.

It's reflecting, reflecting
about the code of forgiveness.

Bueno.

Bueno.

I feel that probably
we could have done it,

"And I, the last in
the line, waiting

that the doors do not close

before your forgiveness. "

There's something about loneliness

of the only instrument
because there's the guy

he's just the last one in line.

There's something... you know, there's something

There is a small void
there... that can happen.

- Let's play...
- That's very good.

...and see what that does.

Okay, wait.

Can you touch? when you touch
this, don't make it pretty.

What is happening with the
song is just a debate, you know?

"Oh, okay, I guess.
Oh, I don't know.

Maybe I don't believe it. No... "

I was sitting next to him and

He sang it all, like in my ear.

It was very smooth.

And then I could
hear it, the symbolism.

How the limitation
of your belief always

tends to be linked
to your conception

of your mortality in the sense of
that you are part of the flow of a thing.

It's a dawn and it's a
sunset, transfiguration.

I'm still not
sure of what I want.

One more time.

One more time.

It has been a very year
strange because it happened

very hastily
starting in October.

until early
November, boom.

- Scary.
- He's gone.

But I kept thinking,
oh, okay.

He'll come back and I'll do this.

I will do that. I'll see the doctors.

Do you have the one inside?

It goes here and then it goes here.

- Well.
- It's on both sides.

Yeah.

It's a... It's an aid in conversation,
but it doesn't help at all in music.

For music, interesting.

It's real...tiny.

I don't know, suddenly, you know,

I said, oh, this is not coming back.

and I really fell
in a depression.

And finally when I arrived
at the bottom of depression,

I said, you better get up
go to bed and exercise, you know?

I was able to write with these two
small Bose speakers.

connected to my computer.

If I put my head
here, I could still...

I just have to
solve how to sing,

and I can't... yet
I haven't solved it.

No, that's all.

we will have to
We'll deal with that another day.

Once I
I put these headphones on,

all the distortion
what's in the damage,

whatever there is
caused that damage,

I can't get rid of it.
It is amplified.

When it first happened,

I was working
with a kinesiologist

who had a friend
who was a neuroscientist.

And he invented this
team, which is...

you put it on your tongue because
It is closer to the brain.

And stimulate your tongue
electrically,

which stimulates
amygdala and your brain.

And then I'd be listening with
headphones these hearing tests.

so really
I was concentrating

at the frequencies that
They had disappeared.

And when you meditated,
one of the meditations

What he said was: "Choose
your favorite moments."

from when you were
young and, you know,

You were in perfect health and all that.
and you really focused on that.

and get that
memory in your head.

And every time you start
to get depressed or something like that,

click again
in that memory.

when you feel that you enjoy perfect
health and you can run very fast,

you could do everything. "

Once you accept
the condition as something

more than a detriment
but as information

What do you have to solve?
then you can use it.

Especially
because this whole album

deals with themes
spiritual, I said:

Maybe this, you know,
It wasn't supposed to be this easy.

Maybe it's supposed
that you have an obstacle

that gives you more idea of
what you are saying.

And you do it for 20 minutes.

Basically, what
He said it was, eh, with him...

with him... with the brain...
you know it with your body,

but the brain is the same.

Use it or lose it.

As Wynton told me:
"Hey, Beethoven took a while

ten years in
get used to it and find out."

He said: "Well, now
you know, it's out of tune.

I said, man, but that does it
even more moving and beautiful.

You should leave all that there. "

But I know he won't do that.

Or maybe you leave
a couple of them there.

He said, "I know this is going to be
difficult for you, but listen,

just listening to you is like
a kind of fight."

with a note to reach him

It is very interesting and very
moving in itself.

Said, "I know you'll listen
a note that will be out of tune.

"You're going to want to fix it."

He said, "Don't do it."

Of course, I don't
I pay attention at all.

But I understand
What is he saying?

I wasn't saying:
"Don't sing in tune."

He was saying:
"Leave the fight there."

That's part of the story.

Do you find the need to
share musical ideas with someone?

Because, I mean, obviously, I don't know.
How you used to work with Artie Garfunkel,

If you did, how close was the
writing association actually.

Well, we weren't one
writers society.

Not us, not me,
We don't write together.

So was it always your
song, his song, your song?

No, he never... he didn't write
none of the songs.

He didn't write anything...
I don't mean... I feel weird.

Did not write any
of the songs.

I wrote all the songs
by Simon and Garfunkel.

Hmm. Yeah.

No, I didn't need a
writing partner,

but, uh, your question
about, do I find it useful?

Exchange ideas
musicals with people? Yeah.

- Oh, we're in the...
- Lift me up.

- We stayed in the room.
-

We are still in
the fourth chord, but...

Well, as for the melody,
stay on that higher note.

- Bueno.
- Go down there.

That sounds like something to me.

Very well, then stay,
Start with the lowest notes.

No, no, let me hear the chords
first, before entering the note.

You sing it and you get both parts
in my head, and then I will learn it.

we had a
unequal association because

I was writing
all the songs.

and basically run
the sessions because I would say,

"This is how it goes, and this
It's the guitar part,

and this is all, and you should
play it on the drums.

No, the bass should
do this. "

And Artie would be in the
control room with Roy.

And he'd say, "Yeah, that's good."

Let's do it, you know. "

But it was a
unequal balance of power.

There are times when I am

singing one of the
Paul songs.

I feel that the song
It's really very personal.

and probably shouldn't
be sung by no one

apart from the writer,
but there are others

songs that go
beyond a person.

Which is part of the reason.
why Mike Nichols,

after "The Graduate", he told her:

"It will be better for him
group if you convert

into a movie star,
and Paul is the writer.

It will... It will be more balanced.

So they hired him
to make "Catch-22."

So he wasn't there for half
from "Bridge Over Troubled Waters."

You are crazy.
You are all crazy.

Why are we crazy?

Because you don't know
how to stay alive.

That is the secret of life.

But we have a war to win.

Ah, but States
United will lose the war.

- No.
- Italy will win.

United States is the
strongest nation on Earth.

The American fighter
He is the best trained,

the best equipped and
the best fed.

"The only living child in
New York," I mean, it's...

It's like a song
of "good luck to you."

- GOOD.
- My best wishes, you know?

We were really best friends

to "Bridge Over
Troubled Water".

We had traveled a lot together
and we were so forced

to be together thank you
to the power of business,

began to affect our
friendship, which was always true.

It started to be abrasive to see each other
forced to be together and on tour.

Artie said, "Yeah, the way
in which it will be so it is,

I'm going to make movies during
six months and then I'll be back.

You will have written the songs and
we'll do, you know, the album. "

And I thought, yes, actually,
no, that's not going to happen.

I'm not going to do that.

But wasn't that already how it was?
working anyway?

No, but always
we were together.

UH Huh.

You know, I would say, "Oh,
I wrote a new song."

It wasn't as if
would come back and say:

"What is the collection
of songs that

you wrote during these
last six months?"

While writing a song,

I said, "Hey, do you know
What do you think of this?"

You know, the main thing that
We were interested, we shared it.

If I'm going to wait three or four months
for records to be recorded,

I can also do
many things with that time.

and when I received
the offer to go down

and make a little
cameo in "Catch-22",

I considered it like five or
six weeks maximum.

Then I will go to
Mexico and I will do this.

I didn't think I was going
to be a problem.

What did become
then in a problem

is that they had me
down there for a long time.

"The movie is over.
"You have to go back."

"No, we can't because we have
to shoot this week in Mexico."

And then: "Send what
you did and let me listen.

No, that's not good. Have
to change this and this. "

It was as if everything
would have been altered.

It was a recipe for
breakup of Simon and Garfunkel.

And here it goes.

I didn't have the harmony
of friendship.

That was broken.

"Bridge over troubled waters,"

when we used to
play it on stage,

Artie sang the song
and people jumped.

He received a great
ovation, you know?

And my reaction was:
I wrote that song.

Am I the one who broke Simon and
Garfunkel, or was it Paul who failed?

to accommodate the enrichment of
his own career by Garfunkel?

Two people are needed
to form a group.

Two people are needed
to be idiots.

Or maybe it was my perfect trauma

freudian what my
mother once told me:

"You have a good voice, Paul,

but Arthur has
an excellent voice."

This is my oldest friend.

And we experience anonymity
and then great fame and success.

And those things have
his own pressure.

It was five years
intense to be a success,

and that is close to
duration of his life.

I used to think when it was over
"Bridge Over Troubled Water", well,

we really are
too much on top of each other,

and the fat in the
machinery is not there,

and it is screeching, and we
A rest would be nice.

And certainly I
I would love to rest a little.

But after a break,
I see a wonderful upcoming album.

He didn't see it that way.

I couldn't get over that.

That was a good friendship.

That was really the first

someone's friendship
that got it for me.

Become a person who
I hope I never see you again...

that's a long way.

How does this room sound?

It has a pretty good sound...
Pretty good out there.

Wow, it's really interesting.

- Do you want to try the same thing again?
- Yeah.

I have a very good
hunch about Voices8.

Talk to the composer
from that group was interesting.

He said that there are certain
sounds I chose

and I thought that
we could underline.

Let's hear that.

He imagined coloring them with his
instrument, which has eight voices.

Well, and here.

In the New Folk scene
York, in the early days,

You know, when Simon and Garfunkel
we were just together,

I was friends with some people
who were important figures in it,

Especially Dave
Van Ronk, I'm thinking.

Your record collection
It was full of music

really interesting
from all over the world.

That music album
from Bulgaria, well,

It was like a success
cult in the 60s.

You know, that's when
I heard it for the first time.

It's a recorded chorus
in the 50s.

It's so beautiful that
you will fall apart

And they do it... they do it all the time
Now, that second minor pass.

Let's see what happens if
We tried to go to Voices of Bulgaria.

Hello gorgeous.

Sounds good.

Isn't it?
- Yeah.

They just gave me
some headphones for

be able to hear everyone
your comments.

Paul has a way of looking
everyday life and make it poetic.

And it doesn't make a caricature
to express yourself,

but that too
makes him vulnerable.

I think sometimes that has
made them misunderstand.

At the beginning, when I started
go out with him, someone warned me.

They said: Don't go out with him.
"He's arrogant."

And I said, "Well, you...
how do you know?

If you don't know him.
It seems normal. "

It's what it is
person had read.

And in terms of Art Garfunkel,

they made it look like
Paul had victimized him or...

unlike the truth,

that the boy walked away to continue
a different type of career.

- Good.
- Everyone looked at him like,

oh no, paul
went to do Paul,

but that's not what happened.

I went to Artie and said:
"Are you making another movie?"

We just finished the album.
We hadn't been on tour with him.

we had not
done nothing with it.

And he said, "Yes, I'm doing
Mike's next movie.

It is called "Carnal Knowledge."

And I said, "Well, why
Why didn't you tell me?"

And he said, "I thought
that you wouldn't finish

'Bridge over
turbulent waters'

If I told you, so
I decided not to tell you."

And I think that was really the last straw.
It broke the camel's back for the record deal.

I don't see myself doing
this within five years.

I... I talk about everything
the spiritual sphere,

All that... all that
aspect of my life.

All this... this entertaining...

It has nothing to do with that.

Like I said, I was telling you
I didn't see how Art could...

How can you leave someone
What makes you sound so good?

Wouldn't you realize
What are you working with...?

Well, he didn't know I quit.

I didn't say, "I quit."

And I left it.

All this experience,
the tension in the studio,

If this was how the relationship was going to be,

For me it was like, well,
I don't want to be in that.

So I went to Clive
Davis, who was the director

by Columbia Records
at that moment, and I told him:

"I leave Simon and Garfunkel.

"I'm going to make a solo album."

Clive said: "You are committing
the biggest mistake of your life.

Simon and Garfunkel is a name

well known throughout the world.

It's a huge business and dividing it

It's just a big mistake."

were you trying
to prove something or

you were just
tired of the relationship?

No, no, I wasn't
trying to prove anything.

I was consumed by
writing music and making records.

And my wife Peggy said:
"Hey, you write the songs.

What should you worry about?"

And that's how I started
my solo career.

One of the things I could leave

it was the obligation to write
a song for a duet.

That was liberating.

And in "Bridge over
troubled waters",

I was already making the album with
a broader palette of sounds.

I heard this group, Los Incas, and
They played this song, "El Cóndor Pasa."

a peruvian popular song
very famous that I loved.

I said, "Why don't we buy that one?"
song and I write a song for him?"

we will not be able
play that track.

It's already perfect.

That's really the first time

I make music
of the world, you know?

If you really want
a certain sound,

you have to go to people
to play that sound.

You can't ask someone to
write in someone else's handwriting.

Whenever
there will be a fierce outbreak of ska.

And ska is the new beat of the
West Indies, Jamaica.

Ska was very important
in '63 and '64 in England.

I always liked
the happy music.

So when I did
the first solo album

and I was trying
make a ska album,

I understood if I wanted
get that sound,

I must go to Jamaica.

My favorite album on that
time it was a song called

"Vietnam" de Jimmy Cliff.

So I contacted
with the producer of that album

and I asked him if I could
go to Jamaica and record.

And he said yes, and he prepared it.

And I went down with this one
partially written song.

And I told the musicians:
"Here's my song.

"I want to make a ska album."

They said, "Well,
We don't play ska."

And I said, "Well,
what do you mean...?

What do you mean
Why don't you play ska?

And they said, "You know,
It's reggae, man."

Then I said, “Really?
What is reggae?

I've never heard of reggae. "

That band turned out to be
Toots and the Maytals.

Then they played.
I said, well, that's great.

Well, let's make it reggae.

The reason why
I go to these places

is that you can count the
story of a song

with any context, you know.

So the context
could be Peruvian.

The context could be reggae.

I was counting the same
stories that, you know...

a love story, a marriage.

This is really how
these things evolve.

I continued meeting musicians
from different parts of the world.

I heard something that I really liked

and then I went to find out
what it was and where it was.

and it was just a
very interesting path.

On an artistic level, really
I was always growing and alive.

and looking for space
to express who I am.

I wanted to find
another area of expression

in addition to simply
make albums.

Live from New York,
It's Saturday night!

NBC Saturday Night.

We will be back.

We'll be back in a moment with a...

Oh my god.

Very sorry.
The number of bees is cut.

That?

Oh, geez.

It didn't work last week.
It's cut. I'm sorry.

Well.

Very badly.

I didn't want it for the first show
Because I didn't know how it would turn out.

But I thought it would be
good for the second show.

Comedy... that's all
rhythm and timing,

so for the
musicians it's easy to connect.

We had the summer to
work on that program.

And he was working all the time
summer in Still Crazy, you know?

So, I went to the studio and
we met for dinner,

or had a place
not Bridgehampton,

and one weekend I went out.

We arrived there at night.

And we talked, you know... late.

Here's a song on
the one I'm working on.

I haven't finished it.
I'll show you.

I will go up to the point
where I have stopped.

Bueno.

We were always talking about
what we would do in your program.

I thought: I'm going to open it dry
with him singing "Still Crazy."

Many people didn't recognize him.

He rarely appears on television.

Very few rock people
and roll appeared on TV

because the sound was very bad.

From news headquarters
Saturday night,

this is the final update
of the week with Chevy Chase.

The big news on the horizon
sporty is, of course,

the face to face confrontation

con Connie Hawkins
of the Atlanta Hawks

y Paul Simon,
acoustic guitarist.

For a report from the field,
Let's go now to Marv Albert.

I'm Marv Albert, and in a moment,
the face to face confrontation

close between El Halcón,

Connie Hawkins, former
Harlem globetrotter,

one of the most players
interesting from the NBA,

as a member of
the Atlanta Hawks.

And Paul Simon
will oppose The Hawk.

Paul, what's your plan
game for The Hawk?

Well, I see one
1'4" height advantage.

And I have to be honest, that
will be a factor in this game.

He dominates me
speed and shooting ability,

but I just have to play my game
Like... like I normally do,

And I mean, I have
I keep my points

strong, basically,
sing and write songs.

I can't play basketball.

If you make me one
individual photos,

It seems that I can perform
a jump shot.

And you see it enter.

You say, oh, he could
play basketball.

He must have taken me as
an hour and a half score 10.

I mean I could stand next to it
from the basket with no one around me.

and I try to make a
tray, and I won't.

Chuck, don't even
you know the lyrics.

Well, I really am... I am.
learning as we go.

Chuck, this is
live television.

This is not the time
of being learning.

How do you think I feel?
I mean, I feel terrible.

It's terrible to say
that now, right?

I mean, I've come all this way.
It was $3,000.

That was the deal.

I understand, but I want to say,
It was just one of those confusions.

I mean, it is
generally, I mean...

I understand that the offer
initial was 3,000.

- Hello George.
- Hello Paul.

- Hello, Lorne.
- We better get started.

Lorne got
George as a guest

musical because
I was the host.

In the future, you know...

I know, I mean,
but if you don't...

If you don't continue tonight,
If you don't continue tonight,

It will break your heart.
I mean, it must be...

Look, I thought that
you would understand that if they were,

you know, 3,000 dollars
for four people,

which would only cost $750 for one.

As far as I'm concerned,
you could stay

with the 3,000 dollars
complete. It's the network.

Well, $750 is pretty cheap.

So George and
I had a day

test for
record the songs.

You know, we had the same
taste in early rock and roll.

I liked where George thought.

It was more mystical
and was willing

to dedicate yourself to that kind of thing.

Ladies and gentlemen, my
friend George Harrison.

Tonight we will talk
with Mr. Paul Simon.

He is head of the chapter
from the east coast

of the Truckers Association
Independents of America.

And, Mr. Simon, the truck driver
Gypsy is a very hard-working man.

and I want to ask you, sir.
Drive a trailer 24 hours a day.

How the hell do you do it, sir?

Let me start by saying that
I am not an independent trucker.

I mean, never
I drove a truck.

- Ah.
- My name is Paul Simon, but I...

I am a composer.
I'm not a trucker.

It is obvious to me that
You don't know who or what I am.

I haven't even seen your show.
I know what you are.

then just
I will say good night.

Oh yes, good night.

Well, sir, it's okay,
If that's how you feel,

I can respect that. I can respect
the opinions of any man.

I guess it
what we have seen there

It's a bit of the
anger of the 60s...

He made the people at Columbia Records
came to listen to Still Crazy.

This is the summer of '75.
And he said, stay for this.

And he put the album with
the great speakers.

When you have had
as successful as him,

always worries you
never return to that level.

But you're betting
for your own

taste and intuition and
that you can achieve it.

It is not so much a doubt as a level
real nerve, courage and recklessness.

because he is never satisfied.

If you have the type of
brain that he has,

your gaze is fixed
in what is wrong.

And you enjoy very little
of what is good

because there is still
the part that is wrong.

One more time.

It is a very tortuous route,

but it's just the
hand that touched him.

I mean, essentially,

what we do is follow
going over the whole thing.

let me hear the
guitar for a second.

Let me hear the...
the chromelodeon.

You play them over and over
time, and finally... you say:

Did you know? Really
I never liked this part.

Alright.
I like this part here.

I like this part.
That part is okay, you know?

Until finally,
I can't stand that part.

That's almost right, just
one more touch to the right.

One of my favorite phrases
is: the ear goes to the irritant.

He always says: "The ear
It's going towards the irritating."

So if something irritates him, he will work
in it until you get it the way you want.

But the essence of what is
there, he wakes up and it's there.

So work on it
is the part you need to do

to justify
let that be given to him.

So it should work
harder, as much as you want.

And some people will say,
well, it's too perfect.

There is no such thing as that.
There is no such thing.

Well.

There was a lot in there.

For many people, if I play
a piece for you, I say:

listen to this.

Well when you first sit down
Once, before listening to it, your mind says:

I hope this is good, you know?

I hope I don't have to say
no fucking compliment

after it's over
Why won't I say:

Well, I don't like that, you know?

I know what I'm going to say
that I like,

but it would be much better
if I really liked it.

So when...
when the listener sits

for the first time, has
a certain expectation.

You try to synchronize
your piece in such a way

that you are descending
towards the dream...

easy.

I'll do it here and then
in the third song.

It really breaks the mood.

You know, I put you to sleep
successfully, hopefully,

in a dream, but
I need your conscience.

So I'll wake you up a little.

Everyone is naked.
There is nothing to hide.

Just thinking about it... because always
We have the mask on.

Why are we whispering?
You always hear people say,

"I am enough
older to say what I think.

He is talking about age.
He's talking about us.

Why are we whispering?

What the song sums up is that
the only thing that really matters

is who
became us.

anointed and deceived us
with an opinion.

What do you mean by
that you fooled us?

Did he deceive us with his opinions?

What... what are you trying
tell me, brother?

Look, now I'm
getting into blues territory.

Things that are neither right nor wrong.

You know, in
"My Professional Opinion",

I like the way
who talks to the critic.

In his professional opinion,
you are all wrong.

Oh well, everyone...

Thank you Mother, thank you.

Hi, I'm John.

used to play with me
mate Paul.

I'm... I'm Paul.

I used to play with
my partner Art.

I'm Andy.

used to play with me
partner Claudine.

Touching.

- Shall we continue with this?
- Let's do it.

Yes ok.

For recording
year, the winner is...

Isn't it exciting?

Oh, two Grammy Awards.

"I love you honestly," Olivia
Newton-John, producer John Farrar.

Very good, very good.

Reception of the award
for Olivia Newton-John

It's Garfunkel Art!

Which one of you is Ringo?

I thought I told you that
You will wait in the car.

Will you be again
together ever?

Are they going back to
be together again?

No, it's terrible, isn't it?

- Are you still writing, Paul?
- Yeah.

testing a little
of performance, Art.

There is a period in
that you have fame.

Was that something you
Did it weigh at all?

No, at first
I liked it a little.

At first it was fun.

I mean, it's... it's the most
unreal that you can imagine.

GOOD.

And then, inevitably,
becomes something

what do you want... really
You don't want it to be there.

Oh...

Yeah.

It's a... well,
I have said it a lot.

You know, fame
It's just a poison.

It's just a poison.

A little bit of that
It strengthens, you know?

And too much of it would kill you.

Every time someone has
great success in business

of music, gets a
large number of followers

who really
They adore it, there is no doubt about it.

Do you like that feeling
to possibly be

the hero or the leader
of many people?

I'm really not
aware of that feeling.

Don't you understand that?

No not really.
I don't... I don't believe that.

People write about it.
They say that happens.

I don't think so, honestly.

I wonder if it's hard when

someone like you
achieves so much success.

and earn all that money
and becomes part

of a world of walking
in limousines and having people

asking for your
autograph and all that.

Have you ever
difficult result to return

to the things that you
inspired at the beginning?

Well, your world changes, and what
You write about change, I guess.

It's not very interesting to write
a song about a limousine.

- No.
- I... I would avoid that.

You release records and talk to the
people you want to talk to.

And anyway the
other people don't listen,

which is nonsense
of the whole thing.

They would say: "We are not interested
in his political opinions

nor in his vision of society.

Just sing.

That's what you do.
You sing, right?

Don't do anything else. "

I want to know if there is...
There is a burden with that.

I mean, do you feel a
overwhelming responsibility

If someone comes up and says:
'Bridge over troubled waters'

has changed my life and
I'm going to move" or something like that?

I think there's... there's a
pressure when I write

that has made it more
difficult to write... in recent years.

The case in question
is that I wrote and acted

and starred in a movie
llamada "One-Trick Pony".

I got a huge
satisfaction when writing the script,

then write the
music and acting in it.

And sometimes an artist
does a work

and the work makes you stretch
as an artist, which you should do.

"One-Trick Pony" comes next

"Still crazy after
of all these years. "

And with "Still crazy
"After all these years,"

being a number one album and

winning the Grammy
for Best Album,

I felt that if I had
something to prove

about leaving simon and
Garfunkel had proven it.

And now I was searching
another challenge, you know?

- Move a little.
- Action.

Well, well... uh...

I think it is very important for you
make the right record right now.

This song is
llama "Ace in the Hole".

We have done very well in the clubs
the ones we've been playing at.

It's about a... a musician

which is like in the middle.

- It's not at the top of
- your profession nor on the basis.

He is in the middle of his career and
He is traveling through the center of the country.

and throughout the Midwest.

And he is about 30 years old.

So he is someone
which is right in the middle

and what are the problems
when you get to that point

in your life and your career.

It's a great day for baseball
here at Yankee Stadium.

The New York Yankees
They face the Boston Red Sox.

The first batter of the
Yankees will be... Reggie Jackson!

Reggie Jackson finishes
starting second grade

in the little school
Greenwich Village red.

Well, and the tone.

Reg swings!
It's on!

That could be out of here!
It's a big problem!

Reggie is leaving!

Obviously, we will continue
tracing these autobiographical links.

You almost can't help it.

For example, in the movie
you have a six year old son

played by an actor,

and you actually have
a six year old son.

Did you see all the cameras?
You didn't see me.

- You just arrived, huh?
- Yeah.

Do you live in a caravan?

No, I'll just stay
here in the afternoon.

You know I'm in that hotel room.

- Do you remember when...
- Oh, yes.

That aspect of the movie
It is slightly autobiographical.

I mean, the fact
that I have a son.

And some of the activities
what do we do in the movie

are things that I have
made with my son.

Now you look like yourself.

- Brand.
- Marker.

That's great.
I really like that.

Why don't you come in?
We will listen to the playback.

Jonah, I have some ideas.
which I would like to talk to you about.

The electric piano that Clarence

play on the bridge
It's a beautiful thing there.

I think we could have
some threads there, you know.

Pretty, pretty, pretty and
heavy string section there.

Texturally, it would be beautiful.

I think it is worth investing
time and money to book a session.

Oh, come on.
It will rip your heart out.

In the case of One-Trick Pony,

I tried to stretch.

And during the work process,

I was very happy, so happy
as always when I work,

which is probably
the happiest I have ever been.

And then the work was
very enriching for me.

But the sequel
produced the effect

contrary why not
It was a popular success.

what I was used to
until that moment.

For a long time
time I felt very,

very guilty for that,
very bad, as if I...

as if he had done
Something wrong, you know?

Is there almost one
feeling of shame?

Do you think: "What have I
made myself here?"

Not to myself.

I felt that there was
disappointed a lot of people.

I thought there must be
made some terrible mistake.

Because One-Trick
Pony was a failure,

when they asked me to do
a concert in Central Park,

I thought, well, I just
have this big failure.

Maybe I should ask
Artie to come

and sing some
songs about this.

It's Central Park.

we will have to do
more than 15 minutes.

We'll have to do, you know,
maybe half the show,

and then I said, well, if we do
half the show,

That means I'll have to
open for Simon and Garfunkel.

We're right on the edge of
the feedback here...

...which I don't want to do.

So let's do it
all Simon and Garfunkel.

I got through it all, of course.

We discovered three
looks diferentes.

Because you are doing
about two hours.

Then it was late,
twilight and night.

I don't think we had

idea of how many people would attend.

New York is dangerous, already

you know, completely
upside down

And it was a bold thing to do.

And it was a very New York event.

because they are both from Queens.

Ladies and gentlemen,

Simon and Garfunkel.

I knew we had something and

which was a cool thing to do.

Well it's great to do
a neighborhood concert.

They showed up around
of half a million people.

I hope everyone can hear us.

I hope that sound is good.

In fact, I felt nervous.

I'm used to it
to go on stage,

but even though
we had played in arenas,

We never touched anything that big.

The longing to have them
together was the greatest

that any of the
two had ever done.

Well, I hope you can hear me.

I would like to sing a new song.

I have recorded this song and never
I had played it before.

So this is the first time.

"The late great Johnny Ace"

It's about John Lennon.
It's about...

- Kennedy.
- Kennedy y Johnny Ace.

Yes, all the shots.

All the gun violence.

This was shortly after
that the dispararan has Lennon.

I was in the control room.

The camera work
and all of that was great.

And suddenly it happened.

I saw through 11 or 12 cameras to

a guy running
towards the stage.

I saw him go on stage, already
You know, out of the corner of my eye.

The interesting thing about this is that my
band... are ready to enter,

and Artie is sitting at the end.

He didn't jump and...

No.

I have to talk to you, Paul.

I have to talk to you.
I have to talk to you.

I asked them both
what were they thinking

and Artie's thought
It was, "Oh, I can't believe it."

This guy is ruining
Paul's song.

And Paul's thought was:

"I can't believe this guy
is ruining my song."

Because they acted
during the 60's,

neither of them
He thought: "I'm going to die."

Thank you so much.

Yes, thanks from the
bottom of our hearts.

- Gracias.
- You made us feel great.

After the concert in Central Park
with Simon and Garfunkel, it was a huge success.

And then he forced us to, or forced me
me, to get the group back together.

and taking a tour.

I'm like a swimmer standing on the edge of
the pool that is now looking at the water.

for a couple of weeks,
dying to enter.

I'm very, very excited.

I always like it
sing with Artie.

Could you turn a
little to your left?

I'm telling you, I just can't.
get along with that boy.

Very difficult.
No, I'm joking.

We were notoriously
antagonistic, but I thought,

did you know? I'm going to
leave all that aside

and just have a good
reunion tour with Artie.

Here's another new song
called "Think Too Much."

Does Art Garfunkel ever
Did it ever get on your nerves?

Oh, he always told me
gets on your nerves.

-He was...
- I shouldn't always say,

but periodically we
We get on each other's nerves.

When I say periodically,
I mean yes

we are together,
probably every day.

We both did it.

I've known Art since
I'm 10 years old

so I think we have developed
our own style of disagreement.

You know? Is...

It is a very subtle way
to irritate the other person.

As the tour was a
success, we said, well,

the disk on which
I was working,

"Hearts and Bones" will be a
disco de Simon and Garfunkel.

You were separated for 11 years,
each one went their separate ways.

Was it difficult for you
after separation?

I don't remember it being so difficult,

rather it was exciting.

to carry out their individual work.

I went in knowing that probably
It wouldn't be as popular or as successful.

as was Simon
and Garfunkel, but...

That's what I expected.

And it wasn't, but
It was... it was exciting

and artistically
satisfactory for me.

I liked it.

Listen, tell me about
the reunion concert

The way in which
we used to work was

that I wrote a song
and we resolved the harmonies

and sing it together.

We were friends.
We were hanging out.

But when we were
doing "Hearts and Bones",

Artie's idea was "Give me
the songs and I will go to Switzerland"

and walk and compose
the harmonies. "

It was a recapitulation of
He's in Mexico making a movie.

Well now I wanted
smoking and walking around Switzerland

and invent harmonies
with these songs.

And then he sent them back,
We looked and said, what is that?

What is this?

It didn't sound like him
old Simon and Garfunkel.

And I just said, I can't
work this way.

The breakup that occurred after
Catch-22, it was never repaired.

They just put it
a bandage on top.

But the bandage was so luxurious,

the concert in Central Park...

We forget that, essentially,
We were done as a team.

Will you part again
after the tour, Art?

No, I mean, I don't think so.
that when the tour ends,

Let's say that completes
what we set out to do.

So we both have
thought that possibly

let's do more together
after that.

So I decided
that I'm not going to do it.

Now I have to
make an announcement.

"Hearts and bones"...

It won't be an album
by Simon and Garfunkel.

Everyone was disappointed.

So that record
it was like damn

before really
could take off.

Some of the songs
I took them to a wonderful place

for what i can
do with harmony.

and how can I
rearrange things.

Paul was telling me
repressing, saying:

"I don't want to do that.

You forget, Artie, what you're doing
a serious statement when you do that.

I don't want to make that statement
about these songs."

The statement that was
doing was that these songs

are about to turn
much more attractive.

because the visceral appeal is
increasing considerably.

So I was about to
do that with all the songs.

And Paul... Paul called me one day.

I was in New England.

He said, "Artie, I'm going to
erase all your tapes.

I'm deleting your
harmonies throughout the album.

"Oh, really, Paul?"

"And I will marry
Carrie Fisher on Tuesday.

Do you want to come to the wedding?"

Ladies and gentlemen,
Carrie Fisher.

I felt a little uncomfortable leaving
with my Princess Leia costume.

Because it might seem like
I'm blowing up Star Wars.

But you know, I followed it because,

you know, if I go out
like myself,

Who would recognize me?

And Obi Wan said,
look, the costume...

In the middle of that tour
reunion, I got married.

I married Carrie Fisher.

Thank you all for joining us
on our honeymoon.

we couldn't
have done it without you.

Were you the godfather
wedding at the wedding?

- The best man.
- The best man.

Yes, what is the preferred role.

For the commitment
We went to Greece.

Paul had rented a boat.

I was dizzy for three days
on the railing praying for death.

Apart from that, it was a
very fun moment.

And for the honeymoon we went

to Egypt, we went up the Nile.

There were many things
notable at that time.

But also, they are
two people at the top

of his career, and that
It's always complicated.

Everything was one
kind of whirlwind.

Carrie was in a complete

fame bubble
because of Star Wars.

Carrie was much more
oriented to the world of entertainment.

I agreed with that.

That's the world
in which she grew up.

I was used to it, used to it
to a lot of press and things like that.

It wasn't intimidating.
or anything like that.

He knew how to manipulate it and
make it work for her.

She was really good at it.

And it wasn't.

In the 70s, Paul forged
a very successful career.

That's true, but in the '80s,
Paul had some problems.

He made an album and it flopped.

made a movie
and it also failed.

and then he got married
with Carrie Fisher,

and six months later, the
marriage also failed.

You know, I mean,
What was I thinking about?

You know, I mean,
certainly don't think about life,

you know, that in
You actually have to stop.

Marriage is very... it's a difficult thing.
to do, you need to focus on it.

Not everything can happen at once.

Not everything is a
media event.

All kinds of errors on top
of errors on top of errors.

I realized that
I could get tired of...

In fact, I might run out

with... an emotional disorder.

Have you ever had problems
to face one day then?

Did you ever think
What, oh man...?

Worst. Worst.

Was the marriage
something wrong?

- Yeah.
- Because?

We were much better.

Well because I think
If you look at me, at most,

you might think I am
an interesting girlfriend.

But a wife?

I think you will be disappointed.

Poor Paul...he had to
put up with me a lot.

I think in the end
I fell under the title

of a good anecdote,
bad reality

I was very good at the material.

But as far as
to everyday life,

I was a little more
what he could bear.

Why don't you love me
Because of who I am, where am I?

Things are not like that.

I remember someone reviewed it.

He said, "Wow, I sure don't
I would like to be close to Paul Simon.

"He seems like a very cold guy,"
you already know.

It's a song, you know?

It's a song. That
It is not my official philosophy.

I'm telling a story.

You've already had two marriages.

Do you think marriage is
out of the question in the future?

No, I think that if you fall in love,

you will probably get married.

So many times
How does that happen to you in life?

For the lucky ones,
this happens once.

But to other people
lucky ones it still happens to them.

Hey Siri, call Edie.

Hello.

Hello. What are you doing?

I'm playing "Mystery Train."
I love it.

Well, are you ready for me?

We are.

Are you sure? Well.

Good, excellent.

It's okay, just come in.

- Hello.
- There she is.

We are being filmed right now.

- Oh, they're filming us.
- I'm not going to say anything.

Oh yes, that's right.
I forgot.

- Except hello.
- Yes, that's right.

When I was 16, I had a friend
older and was flipping through his albums.

and I found
this beautiful face.

And I felt chills on the back of my neck.

And I said, "Look at this guy!"

And she said:
"You don't know Paul Simon?

You'll love their music too."

Ladies and gentlemen, Edie
Brickell and the new bohemians.

When you were in
Saturday Night Live

for the first time,
Did you have that same vibe?

Yes. I was surprised.

Everything was prepared because

we had been there for two years
playing that song.

They said, "Just keep going."
the red dots of the camera.

When you see it light up
the red light, look at that camera."

And I'm doing all this,

feeling pretty
sure, getting over it.

And then I look at the light
red central chamber

and there is paul simon
standing right next to it.

And everyone else is
sunk in the shadows.

And he stands out
like a hologram.

It was like waking up from
one dream to another dream.

I didn't want to distract her, nor
I thought for a moment

that she would be me
paying attention at all.

I lost it. I forgot the song.

So at the end of
the song, I repeat myself.

And you can see me turn
and say, "Oh, God...

"I'm sorry, I'm sorry,"
to the band.

When I came down from
stage, he presented himself.

And even then, Lorne
silenced because it had started

the "End of Update"
week" and we were there talking.

And now, update
weekend

with the presenter
Dennis Miller.

Then Paul said,
We'll talk at the after party.

I don't know who asked first:
"How old are you?"

We were both shocked
for the answers, you know?

It was like a moment
in which we think,

"Well, there's a good idea."

But then he said:
"I'm going back to New York

in a few weeks
to play in a club.

And I said, "Oh, there I'll go."

She said, "Oh, great."

So I did it.

Then I went to visit her in Dallas.

I got off the plane.

There she was in this
1972 yellow truck.

I guess that was ours.
first, you know, big date.

We get along well.

There was a...
a sweet attraction.

Here you go.

Hey, but, uh...

time continued
changing on this.

Therefore, I want to make sure
to visit the right place.

And we will give you three
or four takes.

I've never met anyone like Edie.

She is very interested in the mystery,
the great mystery of life.

You will never be able to solve the mystery,
and that's the good thing about it.

You don't want to solve it.

But you try to connect to it.

And I follow what she thinks
and I follow his instincts.

Paul inspires you to feel and
think something for yourself.

He opens his palms and says:
"What are we going to do?"

There's something... there's something that...

There is something...

There is something unsatisfying about that.

In the idea, not in the execution.

Oh...

Let's play it again and

Let's see if we can follow the...

the... the fall of the...
of the guitar... the guitar.

Yes, I don't want that
is too clean.

It's lovely.

I'm sorry.

Hi Jeff. I'm
leaving the stage.

Last night I had the worst cough
that I have had until now.

Really, I want
say, that thing,

literally, I
made him fall to his knees.

I just... I just...

It was incredible.

But I feel great
in the day, but God,

I'm afraid of the nights.

Yes, I will call you... yes.

Well I will do it.

They are backwards.

That's ok.

Wait, wait, yes.

Let's do this other part, simply
Let's start with the word "home."

This album is going to
be very special.

Well I almost cried for
a minute up there.

I can understand.

At one o'clock, I almost
made me cry now.

It's beautiful, Paul.

You know, this reminds me...

how I felt
for... moments in

South Africa when I said,
it actually works.

After it came out
"Hearts And Bones",

and that was not a successful album,
I remember reading somewhere

where they said, "That's probably
the end of Paul Simon's career.

You will never have again
Paul Simon News".

There is a quote from Yeats
What I sometimes use is:

"The disgusting store
rags and bones of the heart".

As an artist, always
you come back to that...

to your heart and what you believe
and what you want to create.

And that's what he did.

They were hard years
what you are going through,

"Who am I?"

And I think he figured it out, you know?

And then comes Graceland.

Sing.

Nobody was paying attention to me, which
It was good because until that moment,

there was always someone
looking over

from my shoulder to
see what the hit was.

So not really
I cared that they left me

in peace because I want
go and follow the music.

It was around that time
when I was building

a house in
Montauk, Long Island.

And while I was driving, I heard this
tape that a friend had given me.

And after a couple
of weeks driving

to and from home
and listening to the tape,

I think, what is this tape?
This is my favorite tape.

It had no label or
no information,

It just said: "Accordion
Jive Hits Volume II".

And that led me to ask the people of
Warner Bros. to track them down for me.

They tracked him to South Africa.

I started listening to different
South African music styles.

I chose three groups that
I liked them a lot

and I asked them if it was
possible to record with them.

You're not using this, are you?

And at the beginning of 1985 I
I proposed starting with this.

When I entered, I didn't
would have surprised

that the idea simply
It won't work.

It took me one or two
days until finally

I was able to meet him
best of musicians.

Over there, musicians
really talented, and boom.

There was an excellent guitarist.

He started playing some kind

of strumming that was very nice.

And I said, I really like that.

And he said, "Well, just
I'm trying to imitate

the way people
of the field strums".

So, we continue
exchanging information

from Sun Records with
South African music.

And it continued to merge
with these songs.

I was working
with Roy Halee,

the engineer who made
all Simon and Garfunkel.

And you know, it was
a close friend.

And the musicians... their attitude to
At first it was something like,

This white guy wants to pay us
triple, you know, yeah, sure, sure.

But then they came in
to the control room,

They listened to him and
They were like, oh, wow.

Then they start to like: "Let me
make an overdub of that.

Let me fix that," you know.

Everyone was excited, and
me too, because that's how it sounded,

not in my imagination,
but in the speakers.

The whole idea of mixing the
cultures, musical cultures.

It was a concept of getting good
rhythms and go back and then rewrite them.

There was really nothing written.

All Paul's albums, everything
what I did with Paul or with someone,

They were written songs.

Being able to enter the studio with
a guy like Paul and he says:

"Hey, I have something cool
so that everyone can hear me.

Wait until you hear this,"
and I put "Mrs. Robinson",

I mean, there it is.

Here we enter and there is a
idea, you know, a concept.

That album was recorded in five
different studies around the world...

one in South Africa, Hit
Factory in New York,

CBS Studios in Los Angeles.

A small studio in Crowley,
Louisiana, where I recorded zydeco.

Abbey Road Studio in London,

and there we recorded
Ladysmith Black Mambazo.

Roy made everything
that sound will sound

as if it were one
piece to give it coherence.

to all these different sounds

Musicians and locations.

That's it, just like...

Yeah, great, then let's go
to "The Boy in the Bubble."

I just want to show
what is happening.

Let's just touch it
who was from South Africa with nothing.

The bass part is
definitely African.

They said... ese era
its fretless bass.

That instrument
It's so distinctive.

It's so powerful.

It's a great bass part.

And if we only listen
the accordion alone...

That accordion sound,
there is a Synclavier,

a synthesizer
keyboard below.

Carry it out.

That's what makes
the thing seems so big.

For the most part,
no one really knew

what African music sounded like.

And this was the first
disc track.

We were really saying

that this is
big, from another place.

En "I Know What I Know",
I was trying to invent

words that sounded something
similar to what women

cantaban en Shangaan.

For the song "Graceland",
I started with a drum track.

that belongs to another song
completely different.

I wasn't interested in the accordion,
but I liked the drum track.

because it sounded like Sun Records.

Top hat doing that.

When I brought her home and
I was trying to write it,

I would sing these lines
about Graceland, Graceland.

And I would say, of course, that I
I'll get rid of the "Graceland" part.

because, I mean, what does it have to do
see Graceland with South Africa or something like that?

But then I couldn't
replace it with nothing.

He was always singing that.

And finally I said, I don't know.

Maybe it's supposed to
I must go to Graceland.

I have never been.

Maybe I'm supposed to leave
trip and see what I'm writing about.

So I did it.

The song started
to write itself.

And finally
turned into this trip

father and son for
mend a broken heart.

And Graceland became more
a metaphor than in a real destination.

And the album of the year is...

Yes, what happened?

Graceland.

Graceland by Paul
Simon is a great success,

with more than a million
of copies sold.

But it is also controversial because
Simon recorded the album in South Africa

with black musicians.

And critics say there shouldn't be
had nothing to do with a racist country.

I hope to be able to express
properly my deep

admiration and love for
singers and musicians

from South Africa who worked
with me at Graceland.

They live, together with others
south african artists

and his compatriots, under one of the most
repressive regimes on the planet today.

And yet, they are
capable of producing

music of great power,
nuances and joy.

and that seems to me
simply extraordinary.

And they have my great
respect and affection.

Thank you.

Even now, with
all the success of the album,

how worried
are you for the accusation?

who has violated the
UN boycott,

Has it somehow gone against
of the Anti-Apartheid Movement?

Well, I mean,
I wouldn't like there to be

no misunderstanding
about what I've done.

You know, let's be real.

The cultural boycott has
as objective to cut

sustenance to the community
South African white.

And they have never addressed the issue

what would happen if someone were to
work with the artistic community

black because no one
I had done that before.

However, you
could be exposed

to the accusation of neighborhoods
cultural marginalities.

Say it's a neighborhood
poor is to understand

that we Americans
We live in the upper area,

and all the others
They are in the center.

Or we live in the center and everyone
the others are in the upper area.

Whatever you want to call it.

Who is the poor neighborhood?

I mean, we are
talking about music here.

Ladies and gentlemen,
Hugh Masekela.

Queen of South African music,
Mama Africa, Miriam Makeba.

I asked Hugh Masekela and Miriam

I made them join the tour.

Both Hugh and Miriam
They were exiled from South Africa.

They were impressive figures.

You know, a man
white of the United States,

I could never have defended

politically all
the idea of Graceland.

I could defend it musically,

but I couldn't have
defend it politically.

I simply
they would have fired.

It just seems
what could have

very strong repercussions
be part of this tour.

But the strong
repercussions from where?

From South Africa.

It's an individual choice
as South Africans.

I'm going to sit
and say, okay,

I want to be safe while
my cousin, my son, my mother,

my grandmother and other people
Do they shoot them every day?

Those who do not want
participate in the tour

they have the possibility of
say "No, I will not participate."

But until now, fortunately,
Everyone has said they are going to do it.

because they know the seriousness of the
problems we have at home.

She could silence anyone
anywhere, Miriam.

He is not a person with
the one you want to get involved with.

I would tell the truth...

And Hugh could give you a
really precise and revealing vision.

People have ignored our situation
for a long time, and they have only...

they have only seen it since
a political point of view.

So it was great that someone could
be so moved by our music

that despite all the opposition,
He went and looked for the South Africans and said:

"I want to be with you and sing with you,
like a human being, you know,

because your music moves me. "

The closest we could get
from South Africa was Harare, Zimbabwe.

I'm not sure if
someone really anticipated

that would become
in what was,

that was a hearing
completely integrated.

That would have been
Illegal in South Africa.

Many South Africans crossed
the border to see the concert,

and also many Zimbabweans.

So you had a great
audience of whites and blacks together.

No problem,
everyone has a good time.

Thanks to the tour of
Graceland, we are here.

But I hope and wish that one day
South Africans can invite Paul Simon.

To Johannesburg
in a free South Africa!

Gave everyone a chance
to prove his worth.

Believe in ourselves, believe
in music and, at the same time,

be grateful to get it out
and make it world famous.

We finish the song and the people

continued encouraging and
clapping, you know?

I kept waiting for
go to the next song

and then Ray Phiri said:
"They want you to do it again."

I said, "Yes, I know, but
"We're going to do this."

And he said, no, you don't understand.

They want you to do it again.

And then we did it again.

and the show
had the gold added

to have the best
from Hugh's repertoire.

Incredible performance, and Miriam,

had a great
international success.

with a song
called "Pata Pata".

I didn't know what to say about being

the most exiled
famous from South Africa.

I think when
you are in exile,

you are in exile,
whether you are famous or not.

Exile is painful.

all these years
that they have tried

separate myself from the people at home,

There is nothing that can
come between us.

I'm also happy
that the people at home

have decided that
they are not going to sit

and end apartheid
with arms crossed.

And I thank my people.

We will get there and
I'll go home.

Occurred.

This idea actually came up and
When we played together, it was great.

And the people
liked everywhere.

To the blacks and the
whites, everyone liked it.

And I think that for
all South Africans,

who had just lived in
the darkness, it was fantastic.

The statement he made was:

listen how
rich is this culture.

Look at these people.
They are so cool.

Can you imagine them now
under the boots of apartheid?

It became real.

They were real people.

I think that people
became more passionate

in his indignation against
the South African regime.

and in support of the
South African culture.

Well, "Diamonds on
the soles of their shoes.

It's really like a
kind of township song.

But there was a
connection between

west africans
and South Africans.

The track goes from
south african rhythm

to the rhythm of West Africa.

And that percussion from Africa
western is really

which led me to "The
Rhythm of the Saints".

I was just
following the trail.

it all started
when there was a club

in New York called
SOB, Sounds of Brazil.

It still exists.

They used to be just
Brazilian music.

And there I found myself
with Eddie Palmieri.

He approached me and said:

"You know, what are you going to do now?"

You've done Graceland.
What are you going to do?"

He said, well, you can't.
make just one African album.

South Africa, that's where
There are the great voices.

Now you have to go
to West Africa,

where they are heard
the big drums

and then follow the drums
in the African diaspora.

And while I was, you know,
thinking, this is what I'm going to do,

Quincy Jones called me and said:

"Do you know Milton Nascimento?

"He would like to record with you."

and I said, yes, I would love to.

So when it's all over,

I say, "You know what,
If I go to Brazil,

would you introduce me
to the drummers?"

And he said, "Yes, of course, I'll put you
in contact with my producer.

We went to Brazil and I heard
these drums in the street.

It's Olodum practicing.

I said, "Wow, that's great."

Why don't we record that?

We could just go to a
patio and we will hang the microphones.

And you know,
We'll let it go."

So we did it.

I probably had it for a
year before hearing it again.

And then I started to break it down

what became the
base de "The Obvious Child".

You will see that in many
of these sessions

It's something like saying:
"Wow, that's great."

Where does that come from?"
"Oh, from there."

"Oh, you can't record there."

People would say, "No,
that would be very difficult.

I would say, okay,
so it is very difficult.

Here we go.

let's do
something very difficult now.

It is possible.

The worst that happens is
that we don't understand it.

But you never know what
you will find on the way.

Every record he made,
everything he did,

it was always a challenge
different for him.

with the same understanding...
family love,

loss, rebirth,

struggle, ambiguity,

and a contagious and happy rhythm.

And the story that you
will lead you to realize

about people from
different traditions,

and not the reduction
of the feeling

but the expansion
of the feeling

and, ultimately, the
integration of life and death.

Thank you very much, very much.

May you have one
sweet and calm night.

Good night.

I have a little...
You know I love you, boy.

- Know? Shit.
- I know I love you too, man.

Curse.

Thank you for... thank you...

Thanks man. Come on, you know?

You never thank me.
It's a blessing for me.

You can say thank you, you know?

Not for me.

I didn't have a letter
the last song,

but I touched everything
the piece to Wynton.

And when we got to it, I said:

"That's the end of
the piece," you know.

And he said, "Wow." Said:
"I'll tell you what I feel.

When we get to it,

I feel that I really
"I don't want to die."

And that's what
me hizo "whoa".

The music comes out of you
from where you don't know.

Speak this language where
It doesn't have to be precise.

Say something in which
You don't have to think, is that right?

If that was my criterion and
everything had to be like this,

it had to be
true what I said,

could also be given by
defeated from the beginning.

It can't be done.

What I've tried to learn,
after all these years,

is that when you find
something that produces

a feeling of peace or
joy, try to spread it.

Try to hold on to it.

It's like bliss.

It's as if there were no more.

It's a mystery.

It's a great mystery.

I have to be careful
with that frequency.

The guitar needs to go up.

Yes I'm fine.

¡Vaya!