All language subtitles for In.Restless.Dreams.The.Music.of.Paul.Simon.S01E02.1080p.HEVC.x265-MeGusta[EZTVx.to]_Subtítulos01.ENG

[choir vocalizing]

♪♪♪

[indistinct chatter]

[choir continues vocalizing]

♪♪♪

-Surprise!
-[laughter]

It's me.

Hello there.

How does this hall sound?

It's got a pretty good--
pretty good ring out there.

When is all this being--this
album all being put together?

Well, a lot depends on when
I can get over being ill.

-Yeah.
-And that's been going on

for way longer than I thought.

It's not that it's--not only
that it's not pleasant.

It's psychologically
unnerving...

Hmm. Of course.

...that there's something wrong.

It's the first time that I ever
had anything wrong.

♪♪♪

What's sort of
interesting, though--

the other day I was thinking,

this "Seven Psalms" is turning
into, like, a real trip.

This may be
about a big subject.

Means it needs a bit
of struggle, doesn't it?

-If you found it easy--
-It's already there. Yeah.

I think it's a question now
of putting that struggle

on the right perspective,
that's all.

[gentle acoustic guitar music]

♪♪♪

[choir vocalizing]

♪♪♪

Boy, it's really interesting.

Do you want to try
the same again?

Yep.

[Paul] I have a very good
feeling about Voces8.

Talking to the composer
from that group,

it was interesting.

He said,
there are certain sounds

that I picked out that I thought
we might be able to underline.

Let's just hear that.

He was envisioning coloring
those with his instrument,

which is eight voices.

Okay, and here.

[choir vocalizing]

♪♪♪

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

you know,
when Simon and Garfunkel

were just together,

I was friendly
with a few people

who were major figures in it,

Dave Van Ronk particular,
I'm thinking.

["Retche Mama Da Me Jeni" plays]

His record collection was filled
with really interesting music

from everywhere
around the world.

That Music of Bulgaria album,

well, that was like a little bit
of a cult hit back in the '60s.

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

[choir singing in
non-English language]

It's a choir recorded
in the '50s.

It's so gorgeous,
that you'll fall down.

And they do that--
they do that all the time now,

that minor second run.

Let's see what happens if we
try to go Voices of Bulgaria.

[choir vocalizing]

♪♪♪

Hey, beautiful.

It sounds good.

-Doesn't it?
-Yeah.

They just gave me a headset,

so I can hear
all your comments.

Paul has a way of looking
at everyday life

and making it poetic.

And he doesn't put on
a caricature

in order to express himself,

but that also makes him
vulnerable.

I think it sometimes has
made him misunderstood.

Early on, when I first
started dating him,

somebody warned me.

They said, Don't date him.
He's arrogant."

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

You don't know him.
It's from the media."

It's from what
this person had read.

♪♪♪

And in terms of Art Garfunkel,

they made it seem like
Paul victimized him or...

as opposed to the truth being
that the guy walked away

to pursue a different kind
of career.

-[Paul] Right.
-Everybody looked at it as,

oh, no, Paul went off
to go and do Paul,

but that's not what happened.

[Paul] I went to Artie,

and I said, "Are you doing
another movie?"

We just finished the album.
We hadn't toured with it.

We hadn't done anything with it.

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

It's called
"Carnal Knowledge."

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

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

'Bridge Over Troubled Water'
if I told you,

so I decided not to tell you."

And I think
that really was the straw

that broke
the camel's recording contract.

[cheers and applause]

[Art] I can't see myself doing
this five years from now.

I-I speak of the whole
spiritual sphere,

that whole--that whole, uh,
aspect about my life.

This whole--
this entertaining...

it has nothing
to do with that.

["For Emily,
Whenever I May Find Her" plays]

♪ What a dream I had ♪

♪ Pressed in organdy ♪

♪ Clothed in crinoline ♪

♪ Of smoky burgundy ♪

♪ Softer than the rain ♪

Like I said, I was telling them
I didn't see how Art could--

how can you leave somebody
who makes you sound so good?

♪ I heard cathedral bells ♪

♪ Dripping down
the alleyways ♪

♪ As I walked on ♪

Wouldn't you realize
that you're working with--

Well, he didn't know I quit.

I didn't say to him, "I quit."

And I quit.

This whole experience,
the tension in the studio,

if that was what
the relationship was gonna be,

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

So, I went to Clive Davis,
who was the head

of Columbia Records
at the time, and I said,

"I'm leaving
Simon and Garfunkel.

I'm gonna make a solo record."

Clive said, "You're making
the biggest mistake

of your life.

Simon and Garfunkel
is a household name

all over the world.

It's a huge business,

and to break it up
is just a big mistake."

["El Condor Pasa
(If I Could)" plays]

[interviewer] Were you trying
to prove something,

or you just were tired
of the relationship?

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

I just was consumed

with writing music
and making records.

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

What should you
be worried about?"

And that's how
I began my solo career.

♪♪♪

One of the things that
I was able to leave

was the obligation
to write a song for a duo.

That was liberating.

And on
"Bridge Over Troubled Water,"

I was already making the album

with a wider palette
of sounds.

I heard this group, Los Incas,

and they played this song,
"El Condor Pasa,"

a very famous Peruvian
folk song which I loved.

I said, "Why don't we
just buy that track,

and I'll write a song to that?"

We won't be able
to reproduce that track.

It's already perfect.

♪ I'd rather be a sparrow
than a snail ♪

♪ Yes, I would ♪

♪ If I could ♪

♪ I surely would ♪

That's really the first time
that I did World music,

you know?

♪ I'd rather be a hammer
than a nail ♪

♪ Yes, I would ♪

♪ If I only could ♪

♪ I surely would ♪

If you really want
a certain sound,

you have to go to people
who play that sound.

You can't ask somebody
to write

in somebody else's
handwriting.

Any moment now, there's gonna be
a fierce outbreak of ska.

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

["007 (Shanty Town)" plays]

♪ Oh, oh, seven ♪

[Paul] Ska was a big deal
in '63, '64 in England.

♪ Cause I won't be there ♪

I always liked
music on the upbeat.

[playing ska rhythm]

♪♪♪

[singing in
non-English language]

♪♪♪

So, when I made
the first solo album,

and I was trying
to make a ska record,

I understood if I wanted
to get that sound,

I gotta go to Jamaica.

["Vietnam" plays]

♪♪♪

My favorite record at the time
was a song called

"Vietnam" by Jimmy Cliff.

♪ Hey, Vietnam, Vietnam ♪

♪ Vietnam, Vietnam ♪

[Paul] So, I contacted
the producer of that album

and asked if I could come
to Jamaica and record.

And he said yeah,
and he set it up.

And I went down
with this song partly written.

[vocalizing]

♪♪♪

And I said to the musicians,
"Here, this is my song.

I want to make a ska record."

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

And I said,
"Well, what do you mean--

what do you mean,
you don't play ska?"

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

♪ Johnson in the room a-fret ♪

♪ Uncle say he must
hold up him head ♪

♪ Auntie say
she no fe foolish ♪

♪ Like there's not time
for his wedding day ♪

♪ It is no wonder ♪

[Paul] So I said,
"Really? What's reggae?

I've never heard of reggae."

That band turned out to be
Toots and the Maytals.

["Mother and Child Reunion"
plays]

♪♪♪

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

Well, let's do it reggae.

♪ No, I would not give you
false hope ♪

♪ On this strange
and mournful day ♪

♪ But the mother
and child reunion ♪

♪ Is only a motion away ♪

♪ Oh, little darling of mine ♪

♪ I can't for the life of me ♪

♪ Remember a sadder day ♪

♪ I know they said let it be ♪

♪ It just don't work out
that way ♪

♪ And the course
of a lifetime runs ♪

♪ Over and over again ♪

♪ No, I would not give you
false hope, no ♪

♪ On this strange
and mournful day ♪

♪ But the mother
and child reunion ♪

♪ It's only a motion away ♪

♪ Oh, little darling of mine ♪

The reason that
I go to these places

is that you can tell
a song story

with any context, you know.

So, the context
could be Peruvian.

The context could be reggae.

♪ Such a mysterious way ♪

I was just telling the same
stories that, you know--

a love affair, a marriage.

♪ No, I would not give you
false hope ♪

[ding]

That's really how
these things evolve.

[tapping]

[chiming]

I kept meeting musicians from
different parts of the world.

[deep tap, deep clang]

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.

♪ When I was young ♪

♪ I carried my guitar ♪

♪ Down to the crossroads
and over the seas ♪

♪♪♪

♪ Now those old roads are ♪

♪ A trail of volcanoes ♪

♪ Exploding with refugees ♪

♪♪♪

♪ It seems to me ♪

♪ We're all walking
down the same road ♪

♪ To wherever it ends ♪

On an artistic level,
I really was

kind of always growing
and alive

and looking for room
to express who I am.

I wanted to find some
other area of expression

besides just making albums.

[whistle blows]

[applause]

[announcer] Live from New York,
it's Saturday Night!

NBC's Saturday Night.

[applause]

We'll be back.

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

[applause subsides]

Oh, my goodness.

[laughter]

I'm really sorry.
The bees number is cut.

What?

Aw, shucks.

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

Okay.

[laughter]

-[cheers and applause]
-Really bad.

[Lorne] I didn't want him
for the first show

because I didn't know how
the first show would turn out.

But I thought, it'd be good
for the second show.

Comedy--
it's all rhythm and timing,

and so for musicians,
it's easy to connect.

We had the summer
to work on that show.

And he was working all summer
on Still Crazy, you know?

So, he'd go to the studio,
and we'd meet for dinner,

or he had a place
out in Bridgehampton,

and one weekend,
I went out there.

We got there at night.

And we talked
for, you know--late.

[Paul] Here's a song
I'm working on.

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

I'll go up to the point
where I've stopped.

[strums guitar]

Okay.

♪ I met my old lover
on the street last night ♪

♪ She seems so glad
to see me I just smile ♪

♪ And we talked
about some old times ♪

♪ And we drank ourselves
some beers ♪

♪ Still crazy
after all these years ♪

♪ Oh, still crazy
after all these years ♪

♪♪♪

[Lorne] We were always
kind of talking

about what we would do
on his show.

I thought, I'm gonna open cold

with him singing
"Still Crazy."

♪ Now I sit by my window
and I watch the cars ♪

♪ I fear I'll do some damage
one fine day ♪

♪♪♪

♪ But I would not be
convicted ♪

♪ By a jury of my peers ♪

♪ Still crazy
after all these years ♪

[Lorne] A lot of people
didn't recognize him.

He's seldom on television.

Very few rock and roll people
were on television

because the sound was so bad.

♪ Still crazy ♪

♪ After all these years ♪

[song ends,
cheers and applause]

[announcer] From Saturday Night
news headquarters,

this is Weekend Update
with Chevy Chase.

Big news on the sports scene
is, of course,

the one-on-one match-up

with Connie Hawkins
of the Atlanta Hawks

and Paul Simon,
acoustic guitarist.

For an on the spot report,
let's go now to Marv Albert.

I'm Marv Albert,

and in just a moment,
the one-on-one confrontation

upcoming between The Hawk,

Connie Hawkins,
one-time Harlem Globetrotter,

one of the most exciting players
in the NBA,

as a member
of the Atlanta Hawks.

And The Hawk will be opposed
by Paul Simon.

Paul, what is your game plan
for The Hawk?

Well, I'm spotting him
a 1'4" height advantage.

And I have to be honest,

that's gonna be
a factor in this game.

He's got me on speed
and shooting ability,

but I just have to play my game
as I--as I usually play it,

and I mean, I've gotta stay
with my strengths,

basically,
singing and songwriting.

["Me and Julio
Down By the Schoolyard" plays]

♪ The mama pajama
rolled out of bed ♪

♪ And she ran
to the police station ♪

♪ When the papa found out ♪

♪ He began to shout ♪

♪ And he started
the investigation ♪

♪ It's against the law ♪

I can't play basketball.

If you take
an individual shot of me,

it looks like
I can take a jump shot.

And you see it goes in.

You say, oh,
he could play basketball.

It must have taken, like,
an hour and a half

for me to score 10.

I mean, I could stand up
next to the basket

with nobody around me

and just try and make a layup,
and I won't.

[whistling]

[crowd groans, whistle blows]

♪♪♪

♪ Whoa, in a couple of days
they come and take me away ♪

♪ But the press let
the story leak ♪

♪ Now when the radical priest
come to get me released ♪

♪ We was all
on the cover of Newsweek ♪

♪ And I'm on my way ♪

♪ I don't know
where I'm going ♪

♪ I'm on my way ♪

♪ I'm taking my time,
but I don't know where ♪

♪ Goodbye to Rosie,
the queen of Corona ♪

♪ Seeing me and Julio
down by the schoolyard ♪

♪♪♪

♪ Seeing me and Julio
down by the schoolyard ♪

["The Sound of Silence" plays]

♪♪♪

♪ In restless dreams
I walked alone ♪

♪ Narrow streets
of cobblestone ♪

♪ 'Neath the halo
of a streetlamp ♪

♪ I turned my collar
to the cold and damp ♪

♪ And damp ♪

♪ When my eyes
were stabbed by the-- ♪

Chuck, you don't even know
the lyrics.

Well, I'm really...I'm learning
them as we're going.

-[laughter]
-Chuck, this is live television.

This is not the time
to be learning.

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

Terrible saying that now,
isn't it?

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

-That was the deal.
-I understand, but I mean,

it was just
one of those mix-ups.

I mean,
it's generally, I mean--

I understand the initial offer
was 3,000.

-Hi, George.
-Hi, Paul.

-Hi, Lorne.
-We better get started.

Lorne got George
as a musical guest

because I was the host.

In the future, you know...

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

if you don't go on tonight,
if you don't go on tonight,

it'll break his heart.
I mean, it must be--

See, I thought that
you would understand that

if it was, you know,
$3,000 for four people,

that it would just be
$750 for one.

[laughter]

As far as I'm concerned,
I mean,

you could have the full $3,000.
It's the network.

Well, $750 is pretty chintzy.

[Paul] So George and I had
a day of rehearsal

to get the songs down.

♪ Bye-bye, love ♪

♪ Bye-bye, happiness ♪

♪ Hello, loneliness ♪

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

♪ I'm through with romance ♪

♪ I'm through with love ♪

♪ I'm through with counting ♪

♪ The stars above ♪

I liked where
George was thinking.

He was more mystical,

willing to go off
to that kind of thing.

["Here Comes the Sun" plays]

Ladies and gentlemen,
my friend George Harrison.

[cheers and applause]

♪♪♪

♪ Here comes the sun ♪

♪ Doo-doo-doo-doo ♪

♪ Here comes the sun ♪

♪ And I say it's all right ♪

We're talking tonight
with Mr. Paul Simon.

He's head
of the Eastern seaboard chapter

of the Independent Truckers
Association of America.

And, Mr. Simon, the gypsy
trucker's a hard-working man,

and I want to ask you, sir.
You push a rig 24 hours a day.

How the hell
do you do it, sir?

[laughter]

Let me just start off
by saying that

I am not
an independent trucker.

I mean, uh,
I never drove a truck.

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

I'm a songwriter.
I'm not a trucker.

[laughter]

♪♪♪

♪ Little darling ♪

♪ The smiles returning
to the faces ♪

♪ Little darling ♪

♪ It seems like years
since it's been here ♪

♪ Here comes the sun ♪

♪ Doo-doo-doo-doo ♪

♪ Here comes the sun ♪

♪ And I say it's all right ♪

♪♪♪

It's obvious to me that you
don't know who or what I am.

I've never even seen your show.
I know what you are.

So, I'll just be saying
goodnight then.

Uh, yeah, good night.

Well, sir, fine,
if that's the way you feel,

I can respect that. I can
respect any man's opinions.

I guess what we've seen there

is a little bit
of the anger of the '60s...

[voice fades]

♪♪♪

[Lorne] He had the people
from Columbia Records

coming over to listen
to Still Crazy.

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

And he played the album
with the big speakers.

♪ The problem is all inside
your head, she said to me ♪

♪ The answer is easy
if you take it logically ♪

♪ I'd like to help you
in your struggle to be free ♪

♪ There must be
50 ways to leave your lover ♪

[Lorne] When you've been
as successful as he's been,

you're always worried you'll
never get back to that level.

♪ Furthermore,
I hope my meaning ♪

♪ Won't be lost
or misconstrued ♪

♪ But I'll repeat myself ♪

♪ At the risk of being crude,
there must be ♪

[Lorne] But you're betting
on your own taste

and intuition
and that you can pull it off.

♪ 50 ways
to leave your lover ♪

♪ You just slip out
the back, Jack ♪

♪ Make a new plan, Stan ♪

♪ Don't need to be coy, Roy ♪

♪ Just listen to me ♪

♪ You hop on the bus, Gus ♪

♪ No need to discuss much ♪

♪ Just drop off the key, Lee ♪

♪ And get yourself free ♪

[Lorne] It isn't so much doubt
as just a real kind of level

of nerve and courage
and foolhardiness

because he's never satisfied.

If you have
the kind of brain he has,

your eye goes to what's wrong.

And you take very little
pleasure in what's right

because there's still
the part that's wrong.

Once more.

It's a very tortuous route,

but it is just the hand
he was dealt.

[low note playing]

[Paul] I mean,
essentially, what we do

is we keep 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 again,

and then you finally--you say,

you know what?
I never really liked this part.

It's okay.
I like this part over here.

I like this part.
That part's okay, you know.

Until finally,
I can't stand that part.

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

-["Love is Like a Braid" plays]
-One of my favorite phrases is,

the ear goes to the irritant.

♪ Home, home ♪

♪ Sun on my doorstep ♪

♪ Shocks me to find ♪

♪ I'm a child again entwined ♪

[Wynton] He always says,
"The ear goes to the irritant."

[laughs]
So if something irritates him,

he's gonna work on it
till he gets it

the way he wants it.

But the essence
of what's in there,

he wakes up, and it's there.

So the working on it
is the part that he needs to do

to justify being given that.

Then he should work harder,
as hard as he wants on it.

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

There's no such thing as that.
There's no such thing.

[chuckles] Okay.

There was a lot in there.

[Paul] For a lot of people,

like if I play
a piece for you, I say,

listen to this.

Well, when you first sit down,
before you hear it,

your mind says,

I hope this is good, you know?

I hope I don't have to come up
with some bullshit compliment

after it's over
'cause I'm not gonna say,

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

I know I'm gonna say
I like it,

but it would be a lot better
if I really liked it.

So, uh, so when--when
the listener first sits down,

they have
a certain expectation.

You try and time your piece
in such a way

that you're making
the descent into the dream...

effortless.

Like, I'll do that here,
and then on the third song,

I really break the mood.

You know,
I lulled you successfully,

hopefully, into a dream,
but I need your consciousness.

So, I'm gonna wake you up
a little bit.

["My Professional Opinion"
plays]

♪ Good morning,
Mr. Indignation ♪

♪ Looks like you haven't slept
all night ♪

♪ In my professional opinion ♪

♪ Go back to bed
and turn off your light ♪

♪♪♪

♪ I'm not a doctor
or a preacher ♪

♪♪♪

♪ I've no particular
guiding star ♪

♪ In my professional opinion ♪

♪ I'm no more satisfied
than you are ♪

♪♪♪

♪ So, what in the world
are we whispering for ♪

♪♪♪

♪ Everyone's naked,
and there's nothing to hide ♪

♪ Gonna carry my grievances
down to the shore ♪

♪ And wash them away
in the tumbling tide ♪

[Wynton] Everybody is naked.
There's nothing to hide.

Just the thought of it--

because we always
have our mask on.

Why are we whispering?
You always hear people say,

"I'm old enough
to speak my mind."

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

Why are we whispering?

♪ All that really matters ♪

♪ Is the one who became us ♪

♪ Anointed and gamed us
with his opinion ♪

♪♪♪

[Paul] The thing that sums
the song up is, like,

all that really matters is
the one who became us,

anointed, and gamed us
with an opinion.

♪♪♪

[Wynton]
What do you mean, gamed us?

Gamed us with his opinions?

What--What you trying
to tell me, brother?

See, now I'm getting
into blues territory.

Things that are not
right and wrong.

You know,
in "My Professional Opinion,"

I like the way
he talks to the critic.

In his professional opinion,
y'all all wrong.

[orchestral theme playing]

[laughs]

Ah, well, we all--

Thank you, Mother, thank you.

[applause]

-Hello, I'm John.
-[laughter]

I used to play
with my partner Paul.

I'm, uh, I'm Paul.

I used to play
with my partner Art.

-[laughter]
-I'm Andy.

I used to play
with my partner Claudine.

[laughter]

Touching.

-Shall we get on with it?
-Let's do it.

Yes, okay.

[cheers and applause]

For record of the year,
the winner is...

isn't it exciting?

Oh, two Grammys.

"I Honestly Love You,"
Olivia Newton-John,

producer John Farrar.

Jolly good, jolly good.

[announcer] Accepting the award
for Olivia Newton-John

is Art Garfunkel!

[cheers and applause]

[orchestra playing theme]

♪♪♪

[indistinct chatter]

Which one of you is Ringo?

[applause continues]

I-I thought I told you
to wait in the car.

Are you ever getting
back together again?

Are you guys getting
back together again?

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

-Still writing, Paul?
-Yeah.

[laughter]

Trying my hand
at a little acting, Art.

[applause]

♪♪♪

[interviewer] There's a period
when you're reckoning with fame.

Was that something that
was weighing on you at all?

[Paul] No, I sort of liked it
at first.

At first, it was fun.

I mean, it's--it's about
as unreal as you can get.

[interviewer] Right.

[Pat] And then inevitably,
it turns into a thing

that you wish you--you really
don't wanna be there.

Uh...

Yeah.

It's a--well,
I've said it a lot.

You know,
it's just a poison, fame.

It's just a poison.

A little bit of it makes you
strengthened, you know.

And a lot of it would kill you.

♪ Paraphernalia ♪

♪ Never hides
your broken bones ♪

♪ And I don't know why ♪

♪ You'd want to try ♪

♪ Mm-mm-mm ♪

♪ It's plain to see
you're on your own ♪

♪♪♪

♪ Ooh, I ain't blind, no ♪

♪ Some folks are crazy ♪

♪ Others walk
that borderline ♪

♪ Watch what you're doing ♪

Every time anyone has,
you know,

a big success
in the music business,

they get
a great following of people

who really worship them,
no doubt about it.

Do you like that feeling
of being possibly

the hero or the leader
of a lot of people?

I'm not really conscious
of that feeling.

Don't you get that?

No, not really.
I don't--I don't think that.

People write about that.

They say that that happens.

I don't think, really.

♪♪♪

♪ Ooh, spare your heart ♪

♪ Everything put together ♪

♪ Sooner or later
it falls apart ♪

♪ And there's nothing to it ♪

♪ Nothing to it ♪

♪ You can cry ♪

♪ And you can lie ♪

I wonder if it's hard
when somebody like yourself

makes so much success,
you know,

and makes all that money
and become part of a world

of riding around in limousines
and having people

asking for your autograph
and all that.

Do you ever find it hard
to get back

to the things that
inspired you at first?

Well, your world changes,

and what you write about
changes, I suppose.

It's not very interesting

to write a song
about a limousine.

-No.
-I'd--I'd avoid that.

[applause]

["American Tune" plays]

♪ Many's the time
I've been mistaken ♪

♪ And many times confused ♪

♪ Yes, and I've often
felt forsaken ♪

♪ And certainly misused ♪

♪ Oh, but I'm all right ♪

♪ I'm all right ♪

♪ I'm just weary to my bones ♪

♪♪♪

♪ Still, you don't expect
to be bright and bon vivant ♪

♪ So far away from home ♪

♪♪♪

♪ So far away from home ♪

♪♪♪

♪ And I don't know a soul
who's not been battered ♪

♪ I don't have a friend
who feels at ease ♪

♪ I don't know a dream
that's not been shattered ♪

♪ Or driven to its knees ♪

♪ Oh, but it's all right ♪

♪ It's all right ♪

♪ For we've lived so well
so long ♪

♪♪♪

♪ Still, when I think of
the road we're traveling on ♪

♪ I wonder what's gone wrong ♪

♪ I can't help but wonder ♪

♪ What's gone wrong ♪

♪ And I dreamed I was dying ♪

♪♪♪

♪ I dreamed that
my soul rose unexpectedly ♪

♪ And looking back
down at me ♪

♪ Smiled reassuringly ♪

♪ And I dreamed I was flying ♪

♪ And high up above
my eyes could clearly see ♪

♪ The Statue of Liberty ♪

♪ Sailing away to sea ♪

♪ And I dreamed I was flying ♪

♪♪♪

♪ Oh, we come on the ship
they called The Mayflower ♪

♪ We come on the ship
that sailed the moon ♪

♪ We come in the age's
most uncertain hours ♪

♪ And sing an American tune ♪

♪ Oh, and it's all right ♪

♪ It's all right,
it's all right ♪

♪ You can't be
forever blessed ♪

♪ Still, tomorrow's gonna be
another working day ♪

♪ And I'm trying
to get some rest ♪

♪ That's all, I'm trying
to get some rest ♪

♪♪♪

[song ends]

You put out records, and, uh,
you talk to the people

that you want to talk to.

And the other people
aren't listening anyway,

which is the bullshit
of the whole thing.

They'd say,
"We're not interested

in your political opinions
or your view of society.

Just sing.

Like, that's what you do.
You sing, right?

Don't do anything else."

I wanna know if there's--
there's a burden with that.

I mean, do you feel, like,
an overwhelming responsibility

if somebody comes up and says,
"'Bridge Over Troubled Water'

has changed my life,
and I'm moving in"

or something like that?
-[laughter]

[chuckles]

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

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

Case in point is,
I wrote and performed

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

I derived
tremendous satisfaction

from writing the screenplay,
then writing the music to it,

and performing in it.

And sometimes an artist
does a piece of work,

and the work makes you stretch
as an artist,

which you must do.

♪ He's a one-trick pony ♪

♪ One trick is all
that horse can do ♪

♪♪♪

♪ He does one trick only ♪

♪ It's the principal source
of his revenue ♪

"One-Trick Pony" comes after

"Still Crazy After
All These Years."

And with "Still Crazy
After All These Years,"

it being a number one album

and winning the Grammy
for Best Album,

I felt if I had
anything to prove

about leaving
Simon and Garfunkel,

I had proved it.

And now I was looking for
another challenge, you know?

-Move over just a little.
-Action.

Well, well...
[clears throat] uh--

I think it's very important
for you

to make the right record
at this time.

This song is called
"Ace in the Hole."

It's been going over
really well in the clubs

that we've been playing.

["Ace in the Hole" plays]

♪ Some people say music,
that's the ace in the hole ♪

♪ Just your ordinary
rhythm and blues ♪

♪ Your basic rock and roll ♪

It's about a--a musician

who's kind of, like,
in the middle.

He's not at the top
of his profession

and not at the bottom.

♪ But you got to admit
that music is sweet ♪

♪♪♪

He's in the middle
of his career,

and he's traveling
in the middle of the country

and throughout the Midwest.

And he's in the middle
of his 30s.

So, he's someone
who's right in the middle

and what the problems are
when you reach that point

in your life and your career.

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

The New York Yankees take on
the Boston Red Sox.

First batter
for the Yankees will be...

Reggie Jackson!

Reggie Jackson
just entering second grade

at the little red schoolhouse
down in Greenwich Village.

Okay, and the pitch.

Reg swings! It's swung on!

That could be out of here!
It's big trouble!

Reggie takes off!

REPORTER: Obviously,
one's going to keep drawing

these autobiographical links.
You almost can't help it.

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

played by an actor,

and in reality,
you have a six-year-old son.

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

-You just got here, huh?
-Yeah.

Are you living in a camper?

No, just staying here
for the afternoon.

You know
I'm in that hotel room.

-You remember when you--
-Oh, yeah.

PAUL: That aspect of the film is
slightly autobiographical.

I mean, the fact
that I have a child.

And some of the activities
that we do in the film

are things that
I've done with my son.

Now you look
just like yourself.

[laughter]

-Mark.
-Marker.

That's great.
I really like that.

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

Jonah, I have some ideas
I'd like to talk to you about.

["Late in the Evening"
plays]

The electric piano
that Clarence is playing

on the bridge, there's
a beautiful thing there.

I think we could have some
strings in there, you know.

Nice, nice, nice, heavy kind
of string section there.

Texturally, it'd be beautiful.

I think it's worth the time
and the money to go in

and book a session.

Aw, come on.
It'll tear your heart out.

♪♪♪

In the case
of One-Trick Pony,

I had tried to stretch.

And during the process
of the work,

I was very happy,

as happy as I ever get
when I'm working,

which is probably
the happiest I ever am.

♪♪♪

And so the work was
very enriching for me.

But the aftereffect of it
produced the opposite effect

because it was not
the popular success

that I had been accustomed to
up until that point.

For a long time,
I felt very, very guilty

about it, very bad, as if I--

as if I had done something
wrong, you know?

Is there a sense
of embarrassment, almost?

Do you think, "What have
I done here to myself?"

Not to myself.

I felt that I had let
a lot of people down.

I thought I must have made
some terrible error.

Because One-Trick Pony
was a flop,

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

I thought,
well, I just had this big flop.

Maybe I should ask Artie

to come and sing
some songs on this.

[guitar strumming]

It's Central Park.

We'll have to do
more than 15 minutes.

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

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

that means
I'm gonna have to open

for Simon and Garfunkel.

[amplified voice] We're right
on the edge of feedback here...

...which I don't wanna do that.

So, let's just make it all
Simon and Garfunkel.

[cheers and applause]

[Lorne] I was all over it,
of course.

We figured out
three different looks

'cause you're doing
close to two hours.

So, it was afternoon,
twilight, and evening.

["Homeward Bound" plays]

♪ Tonight I'll sing
my songs again ♪

♪ I'll play the game
and pretend ♪

♪ Mm, mm ♪

♪ But all my words
come back to me ♪

♪ In shades of mediocrity ♪

♪ Like emptiness in harmony ♪

♪ I need someone
to comfort me ♪

♪ Homeward bound ♪

♪ I wish I was ♪

♪ Homeward bound ♪

♪ Home,
where my thoughts escaping ♪

♪ Home,
when my music's playing ♪

♪ Home, where my love lies
waiting silently for me ♪

[Lorne] I don't think
we had any idea

how many people
would show up.

New York is dangerous,
you know,

completely on its ass.

And it was sort of
a bold thing to do.

And it was
a very New York City event

because they're both
from Queens.

[amplified voice]
Ladies and gentlemen,

Simon and Garfunkel.

I knew we had something

and that it was a very cool
thing to be doing.

Well, it's great to do
a neighborhood concert.

[cheers and applause]

[Paul] About half a million
people showed up.

I hope everybody can hear us.

I hope that
that sound is good.

I actually felt nervous.

I'm used to going up on stage,

but even though
we had played arenas,

we never played
anything that big.

[Lorne] The yearning
for them together

was the biggest thing that
either of them had ever done.

["The Boxer" plays]

♪ I am just a poor boy ♪

♪ And my story's seldom told ♪

♪ I have squandered ♪

♪ I have squandered
my resistance ♪

♪ For a pocket
full of mumbles ♪

♪ Such are promises ♪

♪ All lies and jest ♪

♪ Still a man hears
what he wants to hear ♪

♪ And disregards the rest ♪

♪ Mm ♪

♪ Mm, mm ♪

♪ When I left my home
and my family ♪

♪ I was no more than a boy ♪

♪ In the company
of strangers ♪

♪ In the quiet of the railway
station running scared ♪

♪ Laying low I'm seeking out
the poorer quarters ♪

♪ Where the ragged people go ♪

♪ Looking for the places
only they would know ♪

♪ By the light ♪

♪ By the li-li-li-light ♪

♪ Li-la-light ♪

♪ La, la, la, la, la,
by the light ♪

♪ By the light ♪

♪ By the li-li-li-light ♪

[cheers and applause]

♪♪♪

Well, I-I hope
you can hear me.

I'd like to sing a new song.

[cheers and applause]

I've recorded this song,

and I've never
performed it before.

So this is the first time.

[cheers and applause]

["The Late Great Johnny Ace"
plays]

[interviewer]
"Late Great Johnny Ace,"

it's about John Lennon.
It's about--

-[Paul] Kennedy.
-Kennedy and Johnny Ace.

[Paul] Yeah, all gunshot.

All the gun violence.

♪♪♪

[Lorne] This is pretty soon
after Lennon had been shot.

I was in the control room.

The camera work
and all that was great.

And then suddenly it happened.

♪ When a stranger
came up and asked me ♪

♪ If I had heard
John Lennon had died ♪

♪ And the two of us went
to this bar ♪

♪ And we stayed
to close the place ♪

I saw across
11 or 12 cameras,

a guy running to the stage.

[tense music]

[Paul] I saw him
get on the stage, you know,

out of the corner of my eye.

♪♪♪

The thing that's interesting
about it is, like,

my band--
they're ready to jump in,

and, like, Artie is
sitting on the end.

[interviewer]
He didn't jump up and--

No.

I gotta talk to you, Paul.

I gotta talk to you.
I gotta talk to you.

♪♪♪

♪ And every song we played ♪

♪ Was for the late great
Johnny Ace, yeah, yeah, yeah ♪

[Lorne] I asked them both after
what they were thinking,

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

this guy's ruining
Paul's song."

And Paul's thought was,

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

Because they performed
throughout the '60s,

neither thought,
"I'm gonna die."

[cheers and applause]

Thank you very much.

Yes, thank you from
the bottom of our hearts.

-Thank you.
-You made us feel great.

[Paul] After the concert
in Central Park

with Simon and Garfunkel,
it was so big, such a big hit.

And then sort of
forced us into,

or forced me into, uh, putting
the group back together again

and doing a tour.

I'm like a swimmer standing
on the edge of the pool

who's been looking
at the, uh, water now

for a couple of weeks,
dying to get in.

[Paul] I'm very, very excited.

I always like singing
with Artie.

[woman] Could you turn
a tad to your left?

I tell you, I just can't
get along with the guy.

Very difficult.
No, I'm kidding.

We were famously antagonistic,
but I thought,

you know what?
I'm gonna put all that aside

and just have a good
reunited tour with Artie.

[cheers and applause]

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

[cheers and applause]

["Think Too Much" plays]

Did Art Garfunkel
ever get on your nerves?

[laughter]

Oh, he always
gets on my nerves.

[laughter]

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

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

When I say periodically,
I mean if we're together,

then every day, probably.
-[laughter]

♪♪♪

♪ They say that
the right side ♪

♪ Have to work hard,
all right ♪

We both did it.

♪ Maybe I think
too much for my own good ♪

♪ Some people say so ♪

♪ Other people say no, no ♪

♪ The fact is you don't think
as much as you could ♪

♪ Huh, yeah ♪

♪♪♪

♪ I had a childhood that
was mercifully brief ♪

♪ I grew up in
a state of disbelief ♪

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

so I think we've developed
our own style of disagreement,

-you know? It's--
-[laughter]

It's a very subtle way
of irritating the other person.

♪ Thinking about God, yeah ♪

♪ Maybe I think too much ♪

[Paul] Because the tour
was a hit, we said, well,

the record that
I was working on,

"Hearts and Bones," that'll be
a Simon and Garfunkel record.

♪ Maybe I think too much ♪

[man] 11 years you were split
up, went your separate ways.

Was it difficult for you
after the split?

I don't remember it
as difficult,

as much as that
it was exciting

to do your individual work.

I went into it knowing
that it probably wouldn't be

as popular
or as hugely successful

as Simon and Garfunkel was,
but...

That's what I expected.

And, uh, it wasn't, but it was--
it was exciting

and, uh, artistically
fulfilling for me.

I liked it.

[man] Listen, tell me
about the reunion concert.

The way we used to work
was I would write a song,

and we would work out
the harmonies

and sing them together.

We were friends.
We were hanging out.

But by the time we were doing
"Hearts and Bones,"

Artie's idea was
"Give me the songs,

and I'm gonna go
to Switzerland

and walk and make up
the harmonies."

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

Well, now he wanted to smoke
and walk through Switzerland

and make up harmonies
to these songs.

And then
he would send them back,

and we would look at it
and say, what is that?

What is this?

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

♪ Old friends ♪

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

♪ Old friends ♪

♪ Sat on their park bench
like bookends ♪

♪ The newspaper blown
through the grass ♪

♪ Falls on the round toes ♪

♪ Of the high shoes
of the old friends ♪

The breakup that occurred
after Catch-22

was never repaired.

There was just a bandage
put over it.

But the bandage was such
a luxurious bandage,

the concert in Central Park...

♪ Lost in their overcoats
waiting for the sun ♪

We forgot that essentially,
we were done as a team.

[woman] Will you split up
after the tour again, Art?

No, I mean, I don't think
that when the tour is over,

we'll say that that completes
what we set out to do.

So we both have thought
that we'll, uh, possibly

do more together after this.

Then I decided that
I'm not gonna do it.

So, now I have to make
an announcement.

"Hearts and Bones"--

it's not gonna be
a Simon and Garfunkel album.

Everybody was disappointed.

So that record
was kind of cursed

before it could really
even get off the ground.

[Art] Some of the songs
I took into a wonderful place

because of what I can do
with the harmony

and how I can
rearrange things.

Paul was clamping me down,
saying,

"I don't want to do that.

You forget, Artie, you're
making a serious statement

when you do that.

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

The statement I was making
was, these songs

are about to become much
more attractive and appealing

because the visceral appeal
is going way up.

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

And Paul--
Paul called me one day.

I was in New England.

He said, "Artie,
I'm wiping all your tapes.

I'm wiping your harmonies
off all the album."

"Oh, you are, Paul?"

"And I'm marrying
Carrie Fisher on Tuesday.

Want to come to the wedding?"

[announcer] Ladies
and gentlemen, Carrie Fisher.

[cheers and applause]

I felt a little awkward
coming out

in my Princess Leia costume,

'cause it might seem like
I'm exploiting Star Wars.

But you know,
I went along with it

because you know,
if I came out as myself,

-who would recognize me?
-[laughter]

And Obi Wan said,
look, the costume--

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

I married Carrie Fisher.

["Song About the Moon" plays]

♪♪♪

[amplified voice] Thank you all
for joining us on our honeymoon.

We couldn't have done it
without you.

♪♪♪

♪ If you want to write
a song about the moon ♪

♪ Walk along the craters
of the afternoon ♪

[interviewer] Were you
the groomsman at the wedding?

-[Lorne] Best man.
-Best man.

Yeah, which is
the preferred role.

[Paul] ♪ So the shadows are deep
and the light is alien ♪

For the engagement,
we went to Greece.

Paul had chartered a boat.

I was seasick for three days
at the rail praying for death.

Other than that,
it was a really fun time.

And for the honeymoon,
we went to Egypt,

went up the Nile.

♪ The laughing boy,
he laughed so hard ♪

♪ He fell down from his place ♪

♪ The laughing girl,
she laughs so hard ♪

♪ The tears rolled
down her face ♪

[Lorne] There were lots
of things that were

remarkable about the time.

But also, it's two people
at career peaks,

and that's always complicated.

All of it was
kind of whirlwind.

Carrie was
in a complete fame bubble

because Star Wars.

[Paul] Carrie was much more
show business-oriented.

I went along with that.

That's the world that
she grew up with.

She was used to it,
used to a lot of press

and things like that.

It wasn't intimidating
or anything.

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

She was really good at it.

And I wasn't.

♪♪♪

In the '70s,
Paul went on to forge

a very successful career.

That's true, but in the '80s,
Paul took some lumps.

He made an album,
and it flopped.

He made a movie,
and that flopped as well.

And then he married
Carrie Fisher,

and six months later,
the marriage flopped, too.

You know, I mean,
what was I thinking?

You know, I mean,

certainly not thinking
about life, you know,

that you actually, like,
have to, like, stop.

Marriage is very--
it's a hard thing to do,

you need to concentrate on.

Not everything
can happen at once.

Not everything is
a media event.

All kinds of mistakes
on top of mistakes

on top of mistakes.

I realized that, like,
I could become exhausted by--

I could actually
exhaust myself with, uh,

from emotional upheaval.

Did you ever have trouble
facing a day then?

Do you ever think that,
oh, man...

The worst. The worst.

["Hearts and Bones" plays]

♪♪♪

♪ One and one-half
wandering Jews ♪

♪ Free to wander
wherever they choose ♪

♪ Are traveling together
in the Sangre de Cristo ♪

♪ The blood of Christ
mountains of New Mexico ♪

♪ On the last leg
of a journey ♪

♪ They started
a long time ago ♪

♪ The arc of a love affair ♪

♪ Rainbows
in the high desert air ♪

♪ Mountain passes
slipping into stones ♪

♪ Hearts and bones ♪

♪♪♪

♪ Hearts and bones ♪

[man] Was marriage
the wrong thing to do?

-[Carrie] Yes.
-Why?

[Carrie] We were much better.

Well, because I think
if you look at me,

at the most, you could think
I'm an interesting girlfriend.

But a wife?

I think you're gonna be
disappointed.

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

I think ultimately
I fell under the heading,

good anecdote, bad reality.

I was really good
for material.

But when it came
to day-to-day living,

I was a little more
than he could take.

[Paul] ♪ Tell me why ♪

♪ Why won't you love me
for who I am, where I am? ♪

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

♪ You said, cause that's not
the way the world is, baby ♪

That's not the way it is.

♪ This is how
I love you, baby ♪

I remember somebody
reviewing it.

He said, "Boy, I sure wouldn't
want to be around Paul Simon.

He seems like
a real cold guy," you know.

It's a song, you know?
[laughs]

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

I'm telling a story.

♪♪♪

♪ One and one-half
wandering Jews ♪

♪ Return
to their natural coasts ♪

♪ To resume
old acquaintances ♪

♪ And step out occasionally ♪

♪ And speculate who had been
damaged the most ♪

♪♪♪

♪ Easy time will determine ♪

♪ If these consolations
will be their reward ♪

♪ The arc of a love affair ♪

♪ Waiting to be restored ♪

[woman] You have had
two marriages now.

Do you feel that marriage is
out of the question

in the future?

[Paul] No, I think
if you fall in love,

you're probably gonna
get married,

so, as many times as that
ever happens to you in life.

For lucky people,
it happens once.

[woman] Mm-hmm.

But other lucky people,
it keeps happening.

[birds chirping]

["Mystery Train" plays]

Hey, Siri, call Edie.

♪♪♪

Hello.

[Edie] Hi. What you doing?

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

Okay, are you ready for me?

We are.

Are you sure? Okay.

Okay, great.

♪♪♪

[man] Okay, just go on inside.

-Hello.
-There she is.

[laughs]
We're being filmed right now.

-Oh, we're being filmed.
-I'm not gonna say anything.

Oh, yeah, that's right.
I forgot.

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

[Edie] When I was 16,
and I had an older friend,

and I was flipping
through her albums.

And I came
across this beautiful face.

And I had shivers
down the back of my neck.

And I said, "Look at this guy!"

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

You'll love his music, too."

[laughs]

Ladies and gentlemen,

Edie Brickell
and New Bohemians.

[interviewer] When you were on
Saturday Night Live

the first time,
did you have that same vibe?

[Edie] I did. He shocked me.

I was all prepared,
because we'd been playing

that song for two years.

♪ I'm not aware
of too many things ♪

♪ I know what I know ♪

♪ If you know what I mean ♪

They said, "Just follow
the red dots on the camera.

When you see the red light
come on, look at that camera."

♪ Philosophy ♪

♪ Is the talk
on a cereal box ♪

And I'm doing all this,
feeling pretty confident,

getting through it.

And then I look
at the center camera red light,

and there's Paul Simon
standing right next to it.

And everyone else is
recessed in the shadows.

And he is standing out
like a hologram.

It was like being awakened
from a dream

into another dream.

[Paul] I didn't mean
to distract her,

nor did I think for a moment

that she would be paying
any attention to me at all.

♪ What I am is what I am ♪

[Edie] I lost it.
I forgot the song.

So by the end of the song,
I'm repeating myself.

♪ Oh, what you are ♪

♪ What I am is what I am
is what I am ♪

And you can see me spin
around to say, "Oh, my--

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

[applause]

When I came off of the stage,
he introduced himself.

And even then,
we got shushed by Lorne

because "Weekend Update"
had started,

and we're over there talking.

[announcer]
And now, Weekend Update

with anchorperson
Dennis Miller.

[Edie] Then Paul said,
we'll speak at the afterparty.

[Paul] I don't know who asked
first, "How old are you?"

The both of us were shocked
at the answers, you know?

It was like a moment
where we thought,

"Well, there goes a good idea."

But then she said,
"I'm coming back

to New York in a few weeks
to play a club."

And I said,
"Oh, I'll come down."

She said, "Oh, great."

So, I did.

Then I went down
to visit her in Dallas.

I got off the plane.

There she was in this
yellow 1972 pickup truck.

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

[Edie] We hit it off.

There was a--
a sweet attraction.

[man] Here you go.

[Paul]
♪ La, la, la, la, la, la ♪

Hey, but, uh--

the timing kept changing
on this.

So, I do want to make sure that
I drop in at the right place.

And we'll give you
three or four takes.

[Paul] I never met
anybody like Edie.

She's very interested
in the mystery,

the big mystery about life.

♪♪♪

You can never solve
the mystery,

and that's what's
so great about it.

You don't want to solve it.

But you try to plug into it.

And I follow
what she's thinking,

and I follow her instincts.

[Edie] Paul inspires you to feel

and think something
for yourself.

He opens his palms and says,
"What are we gonna do?"

♪ A change of mood ♪

♪♪♪

♪ A summer storm erased
the sunny skies ♪

♪ Two hapless hitchhikers
were signaling us ♪

♪ As we were cruising by ♪

♪ Not in the mood ♪

♪ For idle chat ♪

♪ Or hitchhike company ♪

♪ Nevertheless,
we brought them on ♪

♪ As highway courtesy ♪

♪ Hurry, get yourselves ♪

♪ Inside the truck ♪

♪ We're just going up a ways ♪

♪♪♪

♪ The rain should turn
to mist with any luck ♪

♪ And you can find
a place to stay ♪

♪♪♪

[Paul] ♪ The woman spoke ♪

♪ Her voice a blend
of regional perfumes ♪

♪ We have no destination ♪

♪ The moon and stars
provide us ♪

♪ With our rooms ♪

♪ My boy and me ♪

♪ We're refugees of sorts ♪

♪ From my hometown ♪

♪ They don't like
different there ♪

♪ They would have
moved us down ♪

♪♪♪

♪ He doesn't talk much
anymore ♪

♪♪♪

♪ Just to the voices
in his head ♪

♪ The boy just gazed down
at the floor ♪

♪ And nodded once or twice ♪

♪ At what she said ♪

♪♪♪

[both, harmonizing]
♪ The sacred harp ♪

♪ That David played
to make his songs of praise ♪

♪ We long to hear
those strings ♪

♪ That set his heart ablaze ♪

♪♪♪

There's something--
there's something that--

there's something--

there's something unsatisfying
about that.

In the idea,
not the execution.

Uh...

Let's play it again
and see whether

we can follow the--

the--the tumbling of the--
of the guitar--the guitar.

Yeah, don't want it
to be too neat.

["The Sacred Harp" plays]

[all vocalizing]

♪♪♪

It's beautiful.

[ringtone plays]

Sorry.

Hi, Jeff. I'm just walking
off the stage.

I had my worst cough night
last night that I've had yet.

Really, I mean,
that thing, it literally,

like, knocked me to my knees.

I just--I just--

it was unbelievable.

But I feel great in the day,
but God,

I'm afraid of the nights.

Yeah, I'll call you--yeah.

Okay, I will.

[man] They're backwards.

That's okay.

[indistinct chatter]

Whoa, whoa, yeah. [laughs]

[singer vocalizing]

Let's do this other part,
just begin with the word "home."

[all vocalizing]

♪♪♪

[voices crescendo]

[voices stop]

[resume vocalizing in low tones]

[Edie] This record
is gonna be so special.

[Paul] Well, I almost teared up
for a minute up there.

[Edie] I can understand.

[Paul] At one, it almost
made me cry now.

[Edie] It's beautiful, Paul.

♪ Lord, they tell me ♪

♪ Of an un...cloudy day ♪

You know,
this reminds me...

of how I felt for--
at times in South Africa

when I said,
it actually works.

[Edie laughs]

["I Know What I Know" plays]

♪♪♪

After "Hearts And Bones"
came out,

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

where they said,
"That's probably the end

of Paul Simon's career.

You won't be hearing
from Paul Simon anymore."

[men] ♪ Maweni webaba silate ♪

♪ Maweni webaba silate ♪

[Lorne] There's a Yeats line
I use sometimes

which is, "The foul rag
and bone shop of the heart."

As an artist,
you always go back to that--

to your heart
and what you believe in

and what you want to create.

And that's what he did.

Those were tough years
where you're going through,

"Who am I?"

And I think he figured it out,
you know?

And after that
comes Graceland.

[man] Sing.

[choir] ♪ Homeless, homeless ♪

♪ Moonlight sleeping
on a midnight lake ♪

♪ Homeless, homeless ♪

[Paul] Nobody was paying
any attention to me,

which was fine
because up until then,

there was always somebody
looking over my shoulder

to see what the hit was.

So, I really didn't mind
that they're leaving me alone

because I wanna go
and follow the music.

["Okungapheli" plays]

♪♪♪

It was around that time
I was building a house

in Montauk, Long Island.

And while I drove out,
I would listen to this tape

that a friend had given me.

And after a couple of weeks
of driving back and forth

to the house
and listening to the tape,

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

It didn't have a label, didn't
have any information on it,

just said, "Accordion
Jive Hits Volume II."

And that led me
to asking the people

at Warner Bros.
to trace them for me.

They traced it
to South Africa.

I began to listen
to different styles

of South African music.

I picked three groups
that I liked a lot,

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

You're not using this, right?

And in early 1985,
I set off to begin this.

[strumming chords]

♪♪♪

Going in, I wouldn't
have been surprised

if the idea just didn't work.

♪♪♪

It took a day or two
until I finally

got with the best
of the musicians

over there,
really talented musicians,

and boom.

There was
an excellent guitarist.

He started to play
a kind of strumming

that was really nice.

And I said,
I really like that.

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

the way country people strum."

♪♪♪

So, we kept trading information
from Sun Records

to South African music.

And it kept melding
into these songs.

I was working with Roy Halee,

the engineer who did
all of Simon and Garfunkel.

And you know,
he was a close friend.

And the musicians--
their attitude at first

was kind of, you know,

this white guy wants
to pay us triple scale,

you know, yeah, hell, sure.

But then they'd come
into the control room

and listen to it,
and they'd go, oh, wow.

["I Know What I Know" plays]

♪♪♪

Then they start to like,
"Let me do an overdub on that.

Let me fix that," you know.

♪♪♪

Everybody got excited,
and so did I,

because this is what
it sounded like,

not in my imagination,
but in the speakers.

The whole idea
of intermingling the cultures,

the musical cultures.

[Roy] It was a concept
of getting good grooves

and coming back
and then rewriting it.

There was nothing
really written.

All of Paul's albums,
anything I ever did

with Paul or anybody,
songs were written.

["Mrs. Robinson" plays]

To be able to go
into the studio

with a guy like Paul
and have him say,

"Hey, I got this great thing
for you guys to hear.

Wait till you hear this,"
and you hear "Mrs. Robinson,"

I mean, there it is.

Here, we go in, and there's
an idea, you know, a concept.

[Paul] That album was recorded
in five different studios

around the world--

one in South Africa,
the Hit Factory in New York,

the CBS Studios in L.A.

["That Was Your Mother" plays]

♪♪♪

A little studio
in Crowley, Louisiana,

where I recorded the zydeco.

Abbey Road Studio in London,

and there we recorded
Ladysmith Black Mambazo.

♪ Somebody sing ♪

♪ Somebody sing
hello, hello, hello ♪

Roy made all of that
sound like

it was one piece
to bring coherence

to all these
different-sounding

musicians and locations.

♪♪♪

[Roy] So it's everything,
so like--

[Paul] Yeah, great, so let's go
to "Boy in the Bubble."

I just want to show
what's going on.

Let's play just what
was from South Africa

without anything on it.

["The Boy in the Bubble" plays]

♪♪♪

The bass part is
definitely African.

[imitating bass tune]

[drums beating rhythmically]

Bakithi--that was
his fretless bass.

That instrument,
it's so distinctive.

It's so powerful.

It's a great bass part.

♪♪♪

And if we just listen
to the accordion by itself...

That accordion sound,

there's a Synclavier,

a keyboard synthesizer
underneath it.

Take it out.

[accordion playing alone]

That's what makes the thing
sound so big.

[drum beats join]

Nobody, for the most part,
really knew

what African music
sounded like.

And this was the first track
on the record.

We were really saying,
like, this thing's big,

from another place.

♪♪♪

[singing in Shangaan]

On "I Know What I Know,"
I was trying to make up

words that would sound
something like what the women

were singing in Shangaan.

[vocalizing continues]

♪♪♪

♪ Let's go, let me go ♪

♪ Like a thing
in the back of my head ♪

♪ I know what I know ♪

♪ I'll sing what I have said ♪

♪ We come and we go ♪

♪ It's a thing that I keep
in the back of my head ♪

♪♪♪

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

that belongs
to a whole other song.

I wasn't interested
in the accordion,

but I liked the drum track

because it sounded like
Sun Records.

♪♪♪

[imitates cymbal clang]

High-hat doing that.

[imitates cymbal clang]

♪♪♪

[vocalizing]

♪♪♪

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

I would sing these lines
about Graceland, Graceland.

And I would say,
of course, I'm gonna get rid

of the "Graceland" part

because, I mean,
what's Graceland got to do

with South Africa
or anything like that?

But then I couldn't replace it
with anything.

I was always singing that.

And finally, I said,
I don't know.

Maybe I'm supposed to go
to Graceland.

I've never been. Maybe I'm
supposed to go on a trip

and see
what I'm writing about.

So, I did.

♪♪♪

♪ The Mississippi Delta
was shining ♪

♪ Like a national guitar ♪

The song started
to, you know, write itself.

♪ I am following the river
down the highway ♪

♪ Through the cradle
of the Civil War ♪

♪♪♪

♪ I'm going to Graceland,
Graceland ♪

♪ Memphis, Tennessee ♪

And eventually became about
this father and son journey

to mend a broken heart.

♪ Poor boys and pilgrims
with families ♪

♪ And we are going
to Graceland ♪

♪♪♪

♪ My traveling companion
is nine years old ♪

♪ He is the child
of my first marriage ♪

♪ But I have reason
to believe ♪

♪ We both will be
received in Graceland ♪

And Graceland became
more like a metaphor

than an actual destination.

♪ She comes back
to tell me she's gone ♪

♪♪♪

♪ As if I didn't know that ♪

♪ As if I didn't
know my own bed ♪

♪♪♪

♪ As if I'd never noticed ♪

♪ The way she brushed her hair
from her forehead ♪

♪ And she said losing love ♪

♪ Is like a window
in your heart ♪

♪♪♪

♪ Everybody sees
you're blown apart ♪

♪ Everybody sees
the wind blow ♪

♪ I'm going to Graceland ♪

♪ Memphis, Tennessee ♪

♪ I'm going to Graceland ♪

♪♪♪

[both] And the album
of the year is...

[cheers and applause]

Yeah, what happened?

[both] Graceland.

♪ And my traveling
companion's ♪

♪ Are ghosts
and empty sockets ♪

♪ I'm looking at ghosts
and empties ♪

♪ But I have reason
to believe ♪

♪ We all will be received
in Graceland ♪

[reporter] Paul Simon's
Graceland is a big success,

with more than
a million copies sold.

But it's also controversial
because Simon

recorded the album
in South Africa

with Black musicians.

And critics say,
he should have had nothing

to do with a racist country.

I hope I can adequately
express my deep admiration

and love for the singers
and musicians

from South Africa who worked
with me on Graceland.

[cheers and applause]

They live, along with
other South African artists

and their countrymen,
under one of the most

repressive regimes
on the planet today.

And still, they are able
to produce, uh, music

of great power
and nuance and joy.

And I find that
just extraordinary.

And they have
my great respect and love.

Thank you.

[applause]

[woman] Even now with all
the success of the record,

how troubled are you
by the charge

that you've violated
the UN boycott,

in some way gone against
the Anti-Apartheid Movement?

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

any misunderstanding
of what I've done.

You know, let's face it.

The cultural boycott
is aimed at cutting off

nourishment to the white
South African community.

And they've never
addressed the subject

of what would happen
if somebody went

to work with
the Black artistic community

because nobody had
done that before.

[woman] Nevertheless,
you could be open

to the charge
of cultural slumming.

To say it's slumming
is to imply that, uh,

that we, the Americans,
we live uptown,

and everybody else
is downtown.

Or we live downtown,
and everybody else is uptown.

However way
you want to call it.

Who's the slum?

I mean, this is music
we're talking about here.

[cheers and applause]

["Skanda Mayeza" plays]

[amplified voice] Ladies
and gentlemen, Hugh Masekela.

[cheers and applause]

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

[cheers and applause,
"African Sunset" plays]

I asked Hugh Masekela

and Miriam Makeba
to join on tour.

Hugh and Miriam were both
exiled from South Africa.

They were impressive figures.

You know, a white guy
from the United States,

I never could have defended

the whole Graceland idea
politically.

I could defend it musically,
but I wouldn't have been

able to defend it politically.

They would have
just dismissed me.

[woman] It just seems that it
could have

very strong repercussions
being a part of this tour.

But strong repercussions
from where?

[woman] From South Africa.

It's an individual choice
as South Africans.

Am I going to sit
and say, okay,

I want to be safe
while my cousin, my child,

my mother, my grandmother,
and others

are being shot at every day?

Those who do not want
to participate in the tour

have the chance to say
"No, I am not participating."

But so far, fortunately,

everyone has said
they're going to do it

because they know
the seriousness

of the problems
we have at home.

She could shut anybody down
anywhere, Miriam.

It's not a person
you want to tangle with.

I would say the truth...

And Hugh could give you a really
precise, insightful vision.

People have ignored
our situation

for a long time,
and they've only, like--

they've only seen it from
a political point of view.

So, it was great that
somebody could be moved

by our music so much,

that in spite
of all opposition,

he went and sought out
South Africans, and said,

"I want to be with you
and sing with you,

just as a human being,
you know,

because your music moves me."

[cheers and applause]

The closest we could get
to South Africa

was Harare, Zimbabwe.

I'm not sure if anybody
really anticipated

that it would become
what it was, which was

a completely integrated
audience.

["Township Jive" plays]

That would have been illegal
in South Africa.

Many South Africans came
across the border

to see the concert,
and many Zimbabweans also.

So you had a big audience
of Black and white together.

No problems,
everybody having a good time.

♪♪♪

[amplified voice] Thanks to
the Graceland tour, we are here.

But I hope and wish that
someday, we South Africans

will be able to invite
Paul Simon

to Johannesburg
in a free South Africa!

[cheers and applause]

["The Boy in the Bubble" plays]

[cheering]

♪ It was a slow day ♪

♪ And the sun was beating ♪

♪ On the soldiers
by the side of the road ♪

♪ There was a bright light ♪

♪ A shattering a shop window ♪

♪ The bomb in the baby carriages
wired to the radio ♪

♪ And these are the days
of miracle and wonder ♪

♪ This is
the long distance call ♪

♪ The way the camera
follows us in slo-mo ♪

♪ The way we look
to us all, oh, yeah ♪

♪ The way we look
to a distant constellation ♪

♪ That's dying
in a corner of the sky ♪

♪ These are the days
of miracle and wonder ♪

♪ Don't cry, baby,
don't cry, don't cry ♪

♪♪♪

♪ These are the days
of miracle and wonder ♪

♪ This is
the long distance call ♪

[Ray Phiri] He gave everybody
a chance to prove himself.

Believing in ourselves,
believing in the music,

and at the same time,

being thankful
for taking it out

and making it world-known.

["You Can Call Me Al" plays]

♪♪♪

♪ If you'll be my bodyguard ♪

♪ I can be
your long lost pal ♪

♪♪♪

♪ Yeah, I can call you Betty ♪

♪ And, Betty, when you call me,
you can call me Al ♪

♪♪♪

♪ Call me Al ♪

♪♪♪

[song ends,
cheers and applause]

We finished the song,

and the people kept cheering
and applauding, you know?

[cheers and applause continue]

I kept waiting to go
into the next song,

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

I said, "Yeah, I know,
but we're going to do this."

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

They want you to do it again.

["You Can Call Me Al" plays]

[laughs]
And then we did it again.

♪♪♪

♪ Man walks down the street ♪

♪ And says, why am I
soft in the middle now ♪

♪ Why am I soft
in the middle of ♪

♪ The rest of my life
is so hard ♪

♪ I need a photo opportunity ♪

♪ I want a shot
of redemption ♪

♪ Don't want to end up
a cartoon ♪

♪ In a cartoon graveyard ♪

♪ Bonedigger, Bonedigger ♪

♪ Dogs in the moonlight ♪

♪ Far away
in my well-lit door ♪

♪ Mr. Beerbelly, Beerbelly ♪

♪ Get these mutts
away from me ♪

♪ You know, I don't find
this stuff amusing anymore ♪

♪ If you'll be my bodyguard ♪

♪ I can be
your long lost pal ♪

♪♪♪

♪ Yeah, I can call you Betty ♪

♪ And, Betty,
when you call me ♪

And the show had
the added gold

of having the best
of Hugh's repertoire.

["Stimela (Coal Train)" plays]

♪♪♪

Incredible performance,
and Miriam,

she had
a big international hit

with a song called
"Pata Pata."

["Pata Pata" plays]

♪ Pata Pata is
the name of a dance that ♪

♪ We did down
Johannesburg way ♪

♪ Everybody starts to move ♪

♪ As soon as Pata Pata
begins to play ♪

[singing in Xhosa]

♪♪♪

I didn't know what to say

about being South Africa's
most famous exile.

I think
that when you're in exile,

you're in exile,
whether famous or not.

Exile is painful.

All of these years that
they've tried to separate me

from the people at home,

there's nothing that can
come between us.

I'm also happy that
the people at home

have decided that they are
not going to sit down

and take apartheid
just lying down.

And I am saying thank you
to my people.

We will get there,
and I shall go home.

["Under African Skies" plays]

♪ In early memory ♪

♪ Sounds of music ♪

♪ Were ringing 'round
my grandmother's door ♪

♪ I said take this child ♪

♪ From the Township
of Mufulo ♪

♪ Give them wings
to fly through harmony ♪

♪ She won't bother you
no more ♪

♪ This is the story of how
we begin to remember ♪

♪♪♪

♪ This is the powerful
pulsing of love in the vein ♪

♪♪♪

♪ After the dream of falling
and calling your name out ♪

♪ These are the roots
of rhythm ♪

♪ And the roots
of rhythm remain ♪

[vocalizing]

♪♪♪

♪ Oh, whoa, whoa ♪

[vocalizing continues]

♪♪♪

[singing in Xhosa]

[breathing rhythmically]

♪♪♪

[exhales deeply]

[song ends,
cheers and applause]

[Paul] It happened.

This idea actually happened,

and when we played together,
it was great.

And people liked it
everywhere.

Black people and white people,
everybody liked it.

And I think for all
of the South Africans,

who had just lived in
just darkness, it was great.

["Diamonds on the Soles
of Her Shoes" plays]

♪♪♪

♪ People say she's crazy ♪

♪ She got diamonds
on the soles of her shoes ♪

♪ Well, that's one way
to lose these walking blues ♪

♪ Diamonds on the soles
of your shoes ♪

♪♪♪

♪ She is physically
forgotten ♪

♪ But then she slipped into
my pocket with my car keys ♪

♪ She said you've taken me for
granted because I please you ♪

♪ Wearing these diamonds ♪

♪ And I could say ooh, ooh,
ooh, ooh, ooh, ooh ♪

♪ As if everybody knows
what I'm talking about ♪

♪ As if everybody here ♪

♪ Would know exactly
what I was talking about ♪

The statement
that it made was,

listen to how rich
this culture is.

Look at these people.
They're so great.

Now can you imagine them

under the boot heel
of apartheid?

It became real.

It was real people.

I think people became
more impassioned

in their indignation against
the regime in South Africa

and in support
of South African culture.

♪ Ooh, hey ♪

♪ Cha, na, na, na ♪

♪ Cha, na, na, na, na ♪

♪ Cha, na, na, na ♪

♪ Cha, na, na na na ♪

♪ Cha, na, na, na ♪

♪ Cha, na, na, na, na ♪

♪ Cha, na, na, na ♪

♪ Cha, na, na, na, na ♪

Well, "Diamonds
on the Soles of Her Shoes"

is really like
a township jive kind of song.

♪ Cha, na, na, na, na ♪

But there was
a connection between

the West African
and the South African.

The track turns
from South African rhythm

into West African rhythm.

♪♪♪

And that West African drumming

is really what led me
to "The Rhythm of the Saints."

It was just following
the trail.

♪♪♪

[blowing whistle]

[ululating]

♪♪♪

[singing in Xhosa]

♪♪♪

It sort of started with,

there was a club in New York
called SOB, Sounds of Brazil.

It still exists.

They used to just be
Brazilian music.

And I ran into
Eddie Palmieri there.

He came over to me,
and he said,

"You know,
what are you gonna do now?"

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

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

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

Now you've got to go
to West Africa

where the great drumming is

and then follow the drumming
in the African diaspora."

And while I was,
you know, thinking,

that's what I'm gonna do,

Quincy Jones
called me up and he said,

"Do you know Milton Nascimento?

He would like
to record with you,"

and I said, yeah, I'd love to.

["O Vendedor de Sonhos" plays]

[singing in Portuguese]

So after the thing is over,
I say, hey, "You know what,

if I come down to Brazil,

would you introduce me
to drummers?"

And he said,
"Yeah, sure, I'll put you

in contact with my producer."

We went down to Brazil,

and I hear these drums
on the street.

It's Olodum practicing.

I said, "Wow, that's great.

Why don't we record that?

We could just go
into a courtyard,

and we'll hang the mics.

And you know,
we'll just let it run."

So, we did.

[drumming rhythmically]

I probably had that for a year
before I listened to it again.

And then I started
to chop it up

into what became the basis
for "The Obvious Child."

["The Obvious Child" plays]

♪♪♪

♪ Well, I'm accustomed
to a smooth ride ♪

♪ Or maybe I'm a dog
who's lost its bite ♪

♪ I don't expect to be
treated like a fool no more ♪

♪ I don't expect to sleep
through the night ♪

♪ Some people say
a lie is just a lie ♪

♪ But I say why deny
the obvious child ♪

♪ Why deny the obvious child ♪

♪ And in remembering
a road sign ♪

♪ I am remembering a girl
when I was young ♪

♪ And we said
these songs are true ♪

♪ These days are ours ♪

♪ These tears are free
and hey now ♪

♪ The cross is
in the ballpark ♪

♪ The cross is in
the ballpark ♪

♪♪♪

♪ Had a lot of fun ♪

♪ We had a lot of money ♪

♪♪♪

♪ We had a little son ♪

♪ And thought
we'd call him Sonny ♪

♪♪♪

♪ Sonny gets married
and moves away ♪

♪ Sonny has a baby
and bills to pay ♪

♪ Sonny gets sunny day
by day by day by day ♪

♪♪♪

[vocalizing]

You'll see in a lot
of these sessions,

it's just sort of following
a, "Wow, that's great.

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

"Oh, you can't record there."

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

I'd say, okay,
so it's very difficult.

Here we go.

We're gonna do something
very difficult now.

It's possible.

[song ends,
cheers and applause]

Worst that happens
is we don't get it.

But you never know what you're
gonna find along the way.

["The Cool, Cool River" plays]

♪ I believe in the future ♪

♪ We shall suffer no more ♪

♪ Maybe not in my lifetime ♪

♪ But in yours, I feel sure ♪

♪ Song dogs barking
at the break of dawn ♪

♪ Lightning pushes the edges
of a thunderstorm ♪

♪♪♪

♪ And these streets ♪

♪ Quiet as a sleeping army ♪

♪ Send their battered dreams ♪

♪ To heaven, to heaven ♪

♪ For the mother's
restless son ♪

♪ Who is a witness to ♪

♪ Who is a warrior ♪

♪ Who denies his urge
to break and run ♪

♪ Who says hard times,
I'm used to them ♪

♪ The speeding planet burns ♪

♪ I'm used to them ♪

♪ My life's so calm,
and it disappears ♪

♪ And sometimes even music ♪

♪ Cannot substitute
for tears ♪

♪ Sometimes even music ♪

♪ Cannot substitute
for tears, oh ♪

♪♪♪

[Wynton] Every record he did,
everything he did,

it was always a different
challenge for him

with the same understanding--

love,

family,

loss,

rebirth,

struggle,

ambiguity,

and infectious, joyous beat.

And the story that will lead you
to have a realization

about people
of different traditions,

and not the reduction
of feeling

but the expansion of feeling

and ultimately the integration
of life and death.

[cheers and applause]

Thank you so much, so much.

[cheers and applause]

Have a sweet
and peaceful night.

Good night.

I got a little bit--
You know I love you, man.

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

Damn.

Thanks for--thanks--

Thanks, man.
Come on, you know?

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

[Paul] You're allowed
to say thanks, you know?

[Wynton] Not to me.

[laughter]

[Paul] I didn't have any lyrics
to the last song,

but I played the whole piece
for Wynton.

And when we got up to that,
I said,

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

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

By the time we got up to that,

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

♪♪♪

And that's sort of
what gave me "Wait."

♪ Wait ♪

♪♪♪

♪ I'm not ready ♪

♪ I'm just packing my gear ♪

♪♪♪

♪ Wait ♪

♪ My hands steady ♪

♪ My mind is still clear ♪

♪♪♪

♪ I hear the ghost songs
I own ♪

♪♪♪

♪ Jumpin' and jivin'
and moanin' ♪

♪ Through a heartbroken
microphone ♪

♪♪♪

♪ Wait ♪

♪♪♪

[Edie] ♪ Life is a meteor ♪

♪ Let your eyes roam ♪

♪ Heaven is beautiful ♪

♪ It's almost like home ♪

♪ Children get ready ♪

♪ It's time to come home ♪

[Paul] Music comes out of you
from where you don't know.

♪ I want to believe in ♪

♪ A dreamless transition ♪

♪ Wait ♪

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

♪ I don't want to be near ♪

♪ My dark intuition ♪

To say a thing that you don't
have to think about,

is it so?

♪ I need you here by my side ♪

If that was my criteria
and everything had to be so,

it had to be true,
what I said,

just might as well give up
from the start.

♪ My beautiful mystery guide ♪

♪ Wait ♪

It can't be done.

♪♪♪

[Edie] ♪ Life is a meteor ♪

♪ Let your eyes roam ♪

♪ Heaven is beautiful ♪

♪ It's almost like home ♪

♪ Children get ready ♪

♪ It's time to come home ♪

[Paul] What I've tried to learn,
after all of these years,

is that when you find
a thing that produces

a feeling of peace or joy,
try and extend it.

Try and hold on to it.

♪ Amen ♪

[song ends]

It's like bliss.

It's like there's no more.

It's a mystery.

It's a big mystery.

["The Sound of Silence" plays]

♪ Hello, darkness,
my old friend ♪

♪ Come to talk
with you again ♪

♪♪♪

♪ Because a vision
softly creeping ♪

[amplifier whines]

I've got to watch out
for that frequency.

♪♪♪

♪ Left its seeds
while I was sleeping ♪

♪♪♪

♪ And the vision ♪

♪ That was planted
in my brain ♪

Guitar needs to come up.

♪ Still remains ♪

♪ Within the sound
of silence ♪

♪ Restless dreams
I walked alone ♪

♪ Narrow streets
of cobblestone ♪

♪ 'Neath a halo
of a street lamp ♪

♪ I turn my collar
to the cold and the damp ♪

♪ When my eyes were stabbed ♪

♪ By the flash
of a neon light ♪

♪ That split the night ♪

♪ And touched
the sound of silence ♪

♪ And in the naked light
I saw ♪

♪ 10,000 people, maybe more ♪

♪ People talking
without speaking ♪

♪ People hearing
without listening ♪

♪ People writing songs ♪

♪ That voices never share ♪

♪ No one dared ♪

♪ Disturb the sound ♪

♪ Of silence ♪

♪♪♪

Yeah, I'm good.

[strums chord]

[faint cheers and applause]

[man] Whoo!