document_title: South Oak Cliff High School

question_text: when was south oak cliff high school built

text: South Oak Cliff High School

text: History[edit]

text: South Oak Cliff opened in 1952 as the first DISD high school to be constructed in almost 15 years (Lincoln High opened in 1939.) The school served developing areas of south and east Oak Cliff. In the first year only a few hundred students enrolled, but the school grew rapidly as new housing developments were completed along Kiest Boulevard and Ledbetter Drive. In the late 1950s, before Kimball and Carter high schools were opened, SOC was one of the largest high schools in the city. For its first 13 years SOC was designated a "white" high school by DISD, but the neighborhoods surrounding the school began to change rapidly to African-American in the early 1960s. Many of the schools that fed into SOC (Holmes and Zumwalt junior high schools and Miller, Stone, Pease, Bushman and Mills elementary schools) were converted to "negro" elementary schools in the late 1960s.

text: Roosevelt High School was opened in north Oak Cliff 1963 to serve the growing African-American student population, but at the beginning of the 1966-1967 school year, DISD was forced to desegregate its high schools and black students enrolled at SOC for the first time.[citation needed]

text: Between 1966 and 1970 the student body changed from nearly 100 percent white to almost 100 percent African-American. This type of racial turnover was common in the US during the white flight era of the 1960s, but it was rare to see it happen in such a newly developed area. Most of the homes, businesses and shopping centers in this area of Oak Cliff were less than ten years old when the racial changes began.[citation needed]

text: After the A. Maceo Smith High School moved in 1989, the attendance boundaries between Smith and South Oak Cliff shifted, with students zoned to Stone Middle School and Zumwalt Middle School, except for students also zoned to Bushman Elementary, moving from SOC to Smith, and students zoned to Storey Middle School, except for those who began their educations at Marshall and Oliver elementaries, would be zoned to SOC.[6]

text: In 2005, after the closure of the Wilmer-Hutchins Independent School District, what would have been the entire senior class of Wilmer-Hutchins High School was sent to South Oak Cliff. SOC and other DISD schools absorbed the remaining WHISD high school students.[7]

text: In 2011, the district re-opened Wilmer Hutchins and converted A. Maceo Smith into a technology magnet.[8] Some former WHISD zones covered by South Oak Cliff were rezoned to Wilmer-Hutchins.[9][10] South Oak Cliff absorbed parts of the former A. Maceo Smith boundary.[11][12]

text: Extracurricular activities[edit]

text: Athletics[edit]

text: The South Oak Cliff Golden Bears compete in the following sports:[13]

text:
Baseball
Basketball
Cross Country
Football
Golf
Soccer
Softball
Swimming and Diving
Tennis
Track and Field
Volleyball
Wrestling

text: Football[edit]

text: Though no State Championships, South Oak Cliff consistently has one of the nation's most talented teams (currently 17 straight playoff appearances). South Oak Cliff football also ranks #1 for the most NFL alumni of any Texas High School and #10 in the country according to Pro-Football-Reference.com. South Oak Cliff Ranks #2 amongst public high schools in the country as all other schools in the top ten, except Susan B Miller in Compton, California, are magnet schools or sports academies that recruit.[14]

text: Basketball[edit]

text: South Oak Cliff High School has won six boys' basketball state championships, occurring in 1977, 1992, 2005, 2006, 2007 and 2008.

text: However, the latter four titles have come under suspicion that teachers were (sometimes under pressure) changing the grades of failing players so they could remain eligible for play. The DISD has been conducting internal investigations into the matter, and agreed that three titles (the 2005, 2006, and 2007 titles) should be forfeited. The DISD forfeited the 2006 title in January 2008; the University Interscholastic League (UIL) accepted the forfeit in June 2008.[15] The DISD later forfeited the 2005 title in February 2009; the UIL accepted the forfeit later that month.[16] A formal decision to forfeit the 2007 title has not been made.[17]

text: The girls' basketball team has won three state championships in 1977, 1980, and 1985.

text: School uniforms[edit]

text: SOC has chosen to institute mandatory school uniforms consisting of white, black or gold tops and khaki or black bottoms.[1]

text: The Texas Education Agency specified that the parents and/or guardians of students zoned to a school with uniforms may apply for a waiver to opt out of the uniform policy so their children do not have to wear the uniform,[18] parents must specify "bona fide" reasons, such as religious reasons or philosophical objections.

text: Feeder patterns[edit]

text: Harrell Budd (PK-5), Lisbon (PK-5), Thomas L. Marsalis (PK-5), Clara Oliver (PK-5), Clinton P. Russell (4-5), Erasmo Sequin Community Learning Center (PK-3) and Robert L. Thornton (PK-5) all feed into Boude Storey Middle School, which is the sole middle school that feeds into South Oak Cliff High School.[19]

text: Controversy[edit]

text: A 2008 investigation within the Dallas school district's Office of Professional Responsibility found that then-principal Donald Moten as well as other school officials staged cage fights among troubled students, making them fight in a steel utility cage inside a boys locker room.[20][21] The investigation showed that Moten and other employees "knew of the practice, allowed it to go on for a time, and failed to report it".[22][23]

text: South Oak Cliff High was stripped of its 2006 state basketball championship after investigators determined Moten had coerced teachers into changing athletes' grades. District reports also confirmed unauthorized pep rally fundraisers that Moten used to fund personal gambling trips. Moten had a previous checkered work history at the Dallas Police Department – one that included staging his own kidnapping and the fatal shooting of an elderly crime-watch volunteer. Moten was moved from South Oak Cliff High to Jackson Elementary School in 2006, and resigned from the district in 2008.[24][25]

text: Notable alumni[edit]

text:
Darrell Arthur, class of 2006; NBA player for the Memphis Grizzlies, former member of the Kansas Jayhawks
Tony Battie, class of 1994; NBA player for the New Jersey Nets[26]
Lincoln "Link" Browder, class of 1983; R&B singer, songwriter & producer
David Brown, Dallas Chief of Police[27]
Danny Colbert, NFL player
Tim Collier Former NFL defensive back (1976–83) for Chiefs, Cardinals, and 49ers; 1972
Michael Lynn Downs, class of 1977, former All-Pro safety Dallas Cowboys (1981–1988) and the Arizona Cardinals (1989)
LaTarence Dunbar, class of 1998; former player for the Atlanta Falcons and Houston Texans[26]
Chryste Gaines, Olympic sprinter[26]
Casey Gerald, class of 2005, Yale Football, Harvard Business School, founder MBAs Across America[28]
Nekeshia Henderson, American basketball player
Charles Hudson, former MLB pitcher for the Philadelphia Phillies, New York Yankees and Detroit Tigers
Rod Jones, NFL player[26]
Eric July, class of 2008, rapper
Mike Livingston, class of 1964, quarterback for the Kansas City Chiefs from 1968 to 1979, graduate of SMU, earned 12 letters in football, baseball, basketball and track
Harvey Martin, class of 1968, former NFL defensive player of the year and All-Pro, Dallas Cowboys
Wayne Morris, former NFL running back for the Saint Louis Cardinals and the San Diego Chargers
Jack Nance, actor
Guy Reese former NFL defensive lineman for the Dallas Cowboys, Baltimore Colts and Atlanta Falcons
Oscar Roan Former Cleveland Browns (1975–78) tight end; went to UCLA then SMU; 1970, Football
Dennis Rodman, NBA Hall of Famer[26]
Durwood Roquemore Former Chiefs (1982–83) and Bills (1987) defensive back played at Texas A&I; 1978, Football
Jacquies Smith Current NFL player for Tampa Bay
Ken Smith, former ABA player for the San Antonio Spurs (1976–77)[29]
Karl Sweetan Class of 1961. Former NFL quarterback for the Detroit Lions (1966-1967), the New Orleans Saints (1968), and the Los Angeles Rams (1969-1970).
Malcolm Walker Class of 1961. Former NFL center for the Dallas Cowboys (1966-1969) and Green Bay Packers (1970). One of the 55 greatest football players at Rice University (1962-1965)


document_title: Family Matters

question_text: when did steve urkel and laura get together

root

text: Family Matters

text: History[edit]

text: The series originally focused on the character of police officer Carl Winslow and his family: wife Harriette, son Eddie, elder daughter Laura, and younger daughter Judy (who appeared until the character was written out in season four).[3] In the pilot episode, "The Mama Who Came to Dinner," the family had also opened their home to Carl's street-wise mother, Estelle (Rosetta LeNoire), usually known as "Mother Winslow." Prior to the start of the series, Harriette's sister, Rachel Crawford and her infant son, Richie, had moved into the Winslow household after the death of Rachel's husband. The Winslows' nerdy teenage next-door neighbor, Steve Urkel (Jaleel White), was introduced midway through the first season in the episode "Laura's First Date" and quickly became the focus of the show.[4] The popular sitcom was a mainstay of ABC's TGIF lineup from 1989 until 1997, at which point it became part of the CBS Block Party lineup for its final season. Family Matters was produced by Bickley-Warren Productions (1991-1998) and Miller-Boyett Productions, in association with Lorimar Television (1989–1993) and later Warner Bros. Television (1993–1998). As the show progressed, episodes began to center increasingly on Steve Urkel, and other original characters also played by White, including Steve's suave alter-ego, Stefan Urquelle, and his female cousin, Myrtle Urkel.

tag: p

text: Network change[edit]

text: In early 1997, CBS picked up Family Matters and Step by Step in a $40 million deal to acquire the rights to the programs from ABC.[5] ABC then promised to pay Miller-Boyett Productions $1.5 million per episode for a ninth and tenth season of Family Matters. However, tensions had risen between Miller-Boyett Productions and ABC's corporate parent, The Walt Disney Company (which had bought the network in 1995 as part of its merger with ABC's then-parent Capital Cities/ABC, Inc.). Miller-Boyett thought that it would not be a big player on ABC after the network's recent purchase by Disney. In turn, Miller-Boyett Productions agreed to a $40 million offer from CBS for a 22-episode season for both Family Matters and Step By Step. CBS scheduled Family Matters along with Step By Step as a part of its new Friday lineup branded as the CBS Block Party and scheduled the family-oriented block against ABC's TGIF lineup, where the two series originated. Near the end of the ninth season, the cast was informed that a tenth and final season was planned, so scripts and plot synopses were written for the show.[citation needed] Ultimately, due to poor ratings, CBS cancelled Family Matters (as well as Step By Step) after one season, along with the rest of the "Block Party" lineup. CBS also pulled the show from its regular schedule in the winter. As a result, the series finale was broadcast with little fanfare during "burn off" summer TV time in 1998.

text: Cast[edit]

text:
Actor

Character

Seasons

1
2
3
4
5
6
7
8
9

Reginald VelJohnson
Carl Otis Winslow
Main

Jo Marie Payton[note 1]
Harriette Baines Winslow
Main

Darius McCrary
Edward "Eddie" Winslow
Main

Kellie Shanygne Williams
Laura Lee Winslow
Main

Jaimee Foxworth
Judith "Judy" Winslow[note 2]
Main

Rosetta LeNoire
Estelle "Mother" Winslow
Main
Recurring

Joseph WrightJulius Wright
Richard "Richie" Crawford
Main

Telma Hopkins
Rachel Baines Crawford
Main

Recurring

Guest

Jaleel White
Steven "Steve" Quincy Urkel
Recurring[note 3]
Main

Bryton McClure
Richard "Richie" Crawford

Main
Recurring

Shawn Harrison
Waldo Geraldo Faldo

Recurring
Main

Michelle Thomas
Myra Monkhouse

Recurring
Main

Orlando Brown
Jerry Jamal "3J" Jameson

Recurring
Main

Judyann Elder[note 1]
Harriette Winslow

Main

^ Jump up to: a b Jo Marie Payton made her last appearance in "Deck the Malls" (season 9, episode 11). Judyann Elder assumed the role of Harriette Winslow for the remainder of the season, beginning with "Crazy for You (Part 1)" (season 9, episode 14).

Jump up ^ The character was first portrayed by Valerie Jones in the pilot episode ("The Mama Who Came to Dinner"). Jaimee Foxworth assumed the role thereafter.

Jump up ^ In the original run of the show, the character of Steve Urkel debuted in episode 1.12 "Laura's First Date", and appeared in every episode thereafter.  For all re-runs, new Urkel-focused cold openings were written and shot for several episodes starting with 1.4 ("Rachel's First Date"), and including 1.7, 1.8 and 1.10.

tag: table

text: Episodes[edit]

text: Production notes[edit]

text: Family Matters was created by William Bickley and Michael Warren (who also wrote for, and were producers of parent series Perfect Strangers) and developed by Thomas L. Miller and Robert L. Boyett (who also served as producers on Perfect Strangers), all four also served as executive producers of the series. The series was produced by Miller-Boyett Productions, in association with Lorimar Television who co-produced the show until 1993, when Warner Bros. Television absorbed Lorimar (a sister company under the co-ownership of Time Warner). Starting with season three, the series was also produced by Bickley-Warren Productions. The series was filmed in front of a live studio audience; the Lorimar-produced episodes were shot at Lorimar Studios (later Sony Pictures Studios) in Culver City, California, while the Warner Bros.-produced episodes were filmed at Warner Bros. Studios in nearby Burbank. Family Matters is the second sitcom from the 80's and 90's to take place in the city of Chicago, the first is FOX's sitcom Married... with Children.

text: Theme song and opening credits[edit]

text: The show's original theme was Louis Armstrong's "What a Wonderful World"; it was scrapped after the fifth episode of season one ("Straight A's"), though it was heard only in the pilot episode in syndicated reruns. The second theme, "As Days Go By," written by Jesse Frederick, Bennett Salvay and Scott Roeme and performed by Frederick, was the theme for the majority of the series until 1995; it was last used in the season seven episode "Fa La La La Laagghh," the only episode during the final three seasons to feature it (this was heard in season one episodes in ABC Family and syndicated airings). A longer version of "As Days Go By" was used during the first three seasons, though in syndicated reruns the short version is heard (in ABC Family airings, the long theme was used for all of the episodes during the first three seasons).

text: The opening sequence begins with a shot of the Chicago Lakefront (the John Hancock Center can be seen in the center), then a shot of the Winslow home. In the opening titles, the main characters were shown around the Winslow home (though in some shots featured some characters in other places as well, such as Rachel at the Rachel's Place restaurant during the seasons 2–4 version or Waldo at the Vanderbilt High School gym during the seasons 4–6 version). The opening credits during the first three seasons feature a scene showing the Winslow family riding their bicycles across the Irv Kupcinet Bridge over the Chicago River; an allusion to parent series Perfect Strangers, which featured a scene of Balki and Larry (played by Bronson Pinchot and Mark Linn-Baker), riding a tour boat underneath the same bridge, shot from the same angle, in its own opening credits from seasons 3–8 of that series. Clips of episodes were shown after the bike scene and before the house shot in the season one through three versions. The house shown at the beginning and the end of the opening credits (as well as in establishing shots for scenes set at the Winslow house) is located at 1516 West Wrightwood Avenue in Chicago (41°55′44″N 87°40′00″W / 41.92891°N 87.666779°W / 41.92891; -87.666779). The closing shot at the end of the credits with the Winslow family at the piano (which also was shown during the closing credits when there was no tag scene), in which the shot pans outside the house and the camera zooms out showing neighborhoods and the northside Chicago skyline (Wrigleyville) in the background, was originally used in the pilot episode "The Mama Who Came to Dinner" (though the scene featuring the Winslows before the pan was redone twice in seasons two and five). The role of Richie as a baby was credited as being played by "Joseph [and] Julius Wright" in season 1, with Julius' name made to appear as Joseph's middle name in the titles—the duo was credited this way because the show's producers did not want audiences to know that Richie was then played by twins—the role of Richie as a baby was played by two children because California state law regulates the number of work hours for a young child, therefore it is common for the role of one baby in a television or film production to be played by twins (another Miller-Boyett series, Full House, credited Mary-Kate & Ashley Olsen in the same manner in its opening sequences until that show's seventh season, in which the Olsen twins were credited separately). In season five, after Hopkins left the show, White was given special billing in response to the popularity he earned as Steve Urkel. Appearing last in the credits, he was credited as "and Jaleel White as Steve Urkel," starting in the sixth season (Hopkins was credited similarly as "and Telma Hopkins as Rachel" prior to season five). In season seven, the opening theme song and credit sequence were dropped entirely—though it was brought back for one episode: "Fa La La La Laagghh," the eleventh episode of that same season—for all other episodes during seasons 7–9, the names of the show's main cast members, as well as co-executive producers and executive producers were shown during each episode's teaser scene.

text: Crossovers with other TGIF shows[edit]

text: Family Matters is set in the same "TV universe" as several other TV shows related to ABC's TGIF or CBS' Block Party:

text:
Perfect Strangers—Before Family Matters, Harriette Winslow was originally the elevator operator at the Chicago Chronicle newspaper office in the third and fourth seasons of Perfect Strangers. Family Matters was a spin-off series given to this character in 1989. In the second episode of Family Matters, Harriette was fired as elevator operator at the Chronicle, but was soon re-hired as "Chief of Security," which explained her absence from dealings with the Perfect Strangers cast.
Full House—In the season 4 Full House episode "Stephanie Gets Framed," Urkel helps Stephanie Tanner (Jodie Sweetin) deal with her anxiety after she finds out she has to wear eyeglasses because her vision is fading.
Boy Meets World—In the episode "Beauty and the Beast" Urkel sent a chain letter to his friend Cory Matthews (Ben Savage), who lived in Philadelphia. The two never actually appeared together on either show. In an episode of Boy Meets World,  Cory says he received a chain letter from his friend Steve. (In the spin-off Girl Meets World, VelJohnson made a cameo appearance as "James," an NYPD officer.)
Step by Step—In the original ABC broadcast, the ending gag of Family Matters' third season episode "Brains Over Brawn" is crossed over with the opening of the second episode of Step By Step, "The Dance." Urkel's jet-propelled flight pack causes him to fly through the Winslows' roof as one show ends and crash-land in Port Washington, Wisconsin, where the Lambert-Foster family is enjoying a barbecue as the other show opens. Urkel goes on to help his science-fair pen pal, Mark Foster (Christopher Castile) and lifts Alicia "Al" Lambert's (Christine Lakin) spirits after her potential date dumps her just before a school dance. He reprises his "Do the Urkel" dance in the scene where Al gives the guy who dumped her his comeuppance. Urkel also makes a brief cameo in the 1997 episode "A Star Is Born," snapping a clapperboard on the set of the movie that Al was cast in over her two sisters.
Meego—In this short-lived series, Steve makes a non-speaking cameo appearance in the second episode "Love and Money" where he angrily retrieves a television set stolen by Meego. He then appears in the third episode "The Truth About Cats and Dogs" helping out at a model car derby competition.

tag: ul

text: Syndication[edit]

text: In September 1993, Warner Bros. Domestic Television Distribution began distributing Family Matters for broadcast in off-network syndication; most television stations stopped carrying the show by around 2002, though some stations in larger markets such as WTOG in Tampa, Florida continued to air Family Matters until as recently as 2005 and WPIX as 2007. In 1995, reruns of the series began airing on TBS Superstation, where it ran until 2003. From 1997 to 2003, reruns of the series aired on WGN America. In 2003, ABC Family picked up the series and aired it for five years until February 29, 2008. From 2004 to 2006, UPN aired the show for 2 years. BET aired reruns briefly in December 2009 and began airing the series on a regular basis on March 1, 2013. MTV2 also began airing reruns on September 7, 2013. The show aired on Nick at Nite from June 29, 2008 to December 31, 2012. ABC Family and Nick at Nite airings cut the tag scenes at the end of all episodes, despite the fact that many episodes during the series have tag scenes during the closing credits. In 2015, the series now airs on a Viacom owned cable network BET Her. In Canada, the series also aired on CTV and CBC for reruns.

text: On September 29, 2017, Family Matters became available for streaming on Hulu along with fellow Warner Bros. TV productions Full House, Hangin' with Mr. Cooper, Perfect Strangers and Step by Step in addition to Disney-ABC TV productions Boy Meets World, Dinosaurs and Home Improvement.[7]

text: DVD releases[edit]

text: Warner Home Video has released the first four seasons of Family Matters on DVD in Region 1[8][9][10] while the remaining five seasons were released by the Warner Archive Collection.[11][12][13][14][15] On February 4, 2014, Warner Home Video released season 4 on DVD, but consumers complained when it was found that the season 4 set contained syndication edits rather than the original broadcast masters. Warner Bros. responded to the complaints, offered a replacement program to receive corrected discs and reissuing the set with corrected broadcast copies on April 4. All episodes are the original broadcast form, except for the episode "Number One With a Bullet", disc 1, episode 6. The entire series is also available for digital download on Amazon.com and the iTunes Store, all but season 6 remastered in both SD and HD.[16]

text:
DVD Name

Ep #

Release Date

The Complete 1st Season

22

June 8, 2010[8]

The Complete 2nd Season

25

February 14, 2012[9]

The Complete 3rd Season

25

February 12, 2013[10]

The Complete 4th Season

24

February 4, 2014[11]

The Complete 5th Season

24

February 16, 2016[12]

The Complete 6th Season

25

April 12, 2016

The Complete 7th Season

24

July 26, 2016

The Complete 8th Season

24

September 20, 2016

The Complete 9th Season

22

November 8, 2016[17]

text: Awards, nominations and other reception[edit]

text:
Year

Award

Result

Category

Recipient

1991
BMI Film & TV Awards
Won
BMI TV Music Award
Bennett Salvay

1992
BMI TV Music Award
Bennett Salvay

1996
Emmy Award
Nominated
Outstanding Individual Achievement in Special Visual Effects
Kelly Sandefur(For episode "Send in the Clone")

1994
NAACP Image Awards
Won
Outstanding Youth Actor/Actress
Jaleel White

1995
Outstanding Youth Actor/Actress
Jaleel White

1996
Nominated
Outstanding Lead Actor in a Comedy Series
Jaleel White

1997
Outstanding Lead Actor in a Comedy Series
Jaleel White

1996
Nickelodeon Kids' Choice Awards
Nominated
Favorite Television Show
-

Favorite Television Actor
Jaleel White

2008
TV Land Awards
Nominated
Favorite Character(s) Who "Went Missing"
Jaimee Foxworth

1990
Young Artist Award
Nominated
Best Young Actor Starring in a Television Series
Darius McCrary

Best New Television Series
-

Won
Best Young Actor Guest Starring in a Television Series
Randy Josselyn

1991
Nominated
Best Young Actress Supporting or Re-Occurring Role for a TV Series
Jaimee Foxworth

Best Young Actress Starring in a Television Series
Kellie Shanygne Williams

Best Young Actor Starring in a Television Series
Darius McCrary

Won
Outstanding Young Comedian in a Television Series
Jaleel White

1992
Nominated
Outstanding Young Comedienne in a Television Series
Kellie Shanygne Williams

1993
Nominated
Outstanding Young Comedienne in a Television Series
Kellie Shanygne Williams

Outstanding Young Comedian in a Television Series
Darius McCrary

Best Young Actress Recurring in a Television Series
Cherie Johnson

Best Young Actor Recurring in a Television Series
Patrick J. Dancy

Best Young Actor Co-starring in a Television Series
Shawn Harrison

Won
Best Young Actor Recurring in a Television Series
Bumper Robinson(Tied with Aeryk Egan for Brooklyn Bridge)

text: WatchMojo.com rated Family Matters as the #8 African American TV show. Steve Urkel was rated as the #2 most annoying TV character and as the #4 TV neighbor. His catchphrase Did I do that? was rated as the #10 sitcom catchphrase.

text: Appearances in other media[edit]

text:
A 2014 episode of the Comedy Central sketch comedy program Key & Peele featured a sketch about how the Steve Urkel character took over Family Matters, and how that change affected others involved in show.[18]
The website Funny or Die featured a 2014 April Fool's skit in which Reginald VelJohnson tried to crowdfund a Family Matters movie, which would cross over with the film series Taken.[19]


document_title: Simon & Garfunkel

question_text: when was the last time simon & garfunkel performed together

text: Simon & Garfunkel

text: History[edit]

text: Early years (1953–56)[edit]

text: Paul Simon and Art Garfunkel grew up in the 1940s and 1950s in the predominantly Jewish neighborhood of Forest Hills in Queens, New York, just three blocks away from one another, and attended the same schools, Public School 164 in Flushing, Parsons Junior High School, and Forest Hills High School.[7][8] Individually, when still young, they developed a fascination with music; both listened to the radio and were taken with rock and roll as it emerged, particularly the Everly Brothers.[9] When Simon first noticed Garfunkel, he was singing in a fourth grade talent show, and Simon thought that was a good way to attract girls; he hoped for a friendship which eventually started in 1953 when they were in the sixth grade and appeared on stage together in a school play adaptation of Alice in Wonderland.[8][10] That first stage appearance was followed by the duo forming a street-corner doo-wop group, the Peptones, with three other friends, and learning to harmonize together.[11][12] They began performing for the first time as a duo at school dances.[13]

text: They moved to Forest Hills High School in 1955,[14] where, in 1956, they wrote their first song, "The Girl for Me"; Simon's father sent a handwritten copy to the Library of Congress to register a copyright.[13] While trying to remember the lyrics to the Everly's song "Hey Doll Baby", they created their own song, "Hey Schoolgirl", which they recorded themselves for $25 at Sanders Recording Studio in Manhattan.[15] While recording they were overheard by a promoter, Sid Prosen, who – after speaking to their parents – signed them to his independent label Big Records.[16]

text: From Tom & Jerry to Simon & Garfunkel and First Album (1957–64)[edit]

text: While still aged 15, Simon & Garfunkel now had a recording contract with Sid Prosen's independent label Big Records. Using the name Tom & Jerry (Garfunkel naming himself Tom Graph, a reference to his interest in mathematics, and Simon naming himself Jerry Landis after the surname of Sue Landis, a girl he had dated), the single "Hey Schoolgirl" was released, with the B-side "Dancin' Wild", in 1957.[10][17] Prosen, using the payola system, bribed Alan Freed $200 to get the single played on his radio show, where it became a nightly staple.[18] "Hey Schoolgirl" attracted regular rotation on nationwide AM pop stations, leading it to sell over 100,000 copies and to land on Billboard's charts at number 49.[18] Prosen promoted the group heavily, getting them a spot on Dick Clark's American Bandstand (headlining alongside Jerry Lee Lewis).[19] The duo shared approximately $4,000 from the song – earning two percent each from royalties, the rest staying with Prosen.[20] They released three more singles on Big Records: "Our Song", "That's My Story", and "Don't Say Goodbye", none of them successful.[15][21][22]

text: After graduating from Forest Hills High School in 1958,[23] they were still exploring the possibilities of a music career, though continued their education as a back up; Simon studying English at Queens College, City University of New York, Garfunkel studying first architecture, then switching to art history at Columbia College, Columbia University.[17][24][25] While still with Big Records as a duo, Simon released a solo single, "True or False", under the name "True Taylor".[20] This recording upset Garfunkel, who regarded it as a betrayal; the emotional tension from that incident occasionally surfacing throughout their relationship.[26] Their last recording with Big Records was a cover of a Jan and Dean single, "Baby Talk", but the company became bankrupt soon after release; the track was reissued on Bell Records, but failed to sell, so Tom & Jerry was dissolved.[21][27] Both, however, continued recording, albeit as solo artists: Garfunkel composing and recording "Private World" for Octavia Records, and - under the name Artie Garr - "Beat Love" for Warwick; Simon recorded with The Mystics, and Tico & The Triumphs, and wrote and recorded under the names Jerry Landis and Paul Kane.[21][26][28] Simon also wrote and performed demos for other artists, working for a while with Carole King and Gerry Goffin.[21][29]

text: After graduating in 1963, Simon joined Garfunkel, who was still at Columbia, to perform together again as a duo, this time with a shared interest in folk music.[27][28] Simon enrolled part-time in Brooklyn Law School,[30] By late 1963, billing themselves as "Kane & Garr", they performed at Gerde's Folk City, a Greenwich club that hosted Monday night open mic performances.[31] The duo performed three new songs — "Sparrow", "He Was My Brother", and "The Sound of Silence" — and got the attention of Columbia producer Tom Wilson, who worked with Bob Dylan.[32] As a "star producer" for the label, he wanted to record "He Was My Brother" with a new British act named the Pilgrims.[33] Simon convinced Wilson to let him and his partner have a studio audition, and they performed "The Sound of Silence". House engineer Roy Halee recorded the audition, and at Wilson's urging, Columbia signed the duo.[33]

text: Their debut studio album, Wednesday Morning, 3 A.M., was recorded over three daytime sessions in March 1964 and released in October.[34] The album contains four original Simon compositions, with the remainder consisting of three traditional folk songs and five folk-influenced singer-songwriter numbers.[34] Simon was adamant that they would no longer use stage names, and they adopted the name Simon & Garfunkel.[35] Columbia set up a promotional showcase at Folk City on March 31, 1964, the duo's first public concert as Simon & Garfunkel.[35] The showcase, as well as other scheduled performances, did not go well.[36]

text: Simon in England (1964–65)[edit]

text: Wednesday Morning, 3 A.M. sold only 3,000 copies upon its October release, and its poor sales led Simon to move to England where he had previously visited and played some gigs.[37] He toured the small folk clubs, appearing on the same bill and befriending British folk artists such as Bert Jansch, Martin Carthy, Al Stewart, and Sandy Denny.[38][39][40] He met Kathy Chitty, who became the object of his affection and is the Kathy in "Kathy's Song" and "America".[41]

text: A small music publishing company, Lorna Music, licensed "Carlos Dominguez", a single Simon had cut two years prior as "Paul Kane", for a cover by Val Doonican that sold very well.[42] Simon visited Lorna to thank them, and the meeting resulted in a publishing and recording contract. He signed to the Oriole label and released "He Was My Brother" as a single.[42] Simon invited Garfunkel to stay for the summer of 1964.[42] Near the end of the season, Garfunkel returned to Columbia for class, and Simon surprised his friends by saying that he would be returning to the States as well.[43] He would resume his studies at Brooklyn Law School for one semester, partially at his parents' insistence. He returned to England in January 1965, now certain that music was his calling.[44] In the meantime, his landlord, Judith Piepe, had compiled a tape from his work at Lorna and sent it to the BBC in hopes they would play it.[44] The demos aired on the Five to Ten morning show, and were instantly successful. Oriole had folded into CBS by that point, and hoped to record a new Paul Simon album.[45] The Paul Simon Songbook was recorded in June 1965 and featured multiple future Simon & Garfunkel staples, among them "I Am a Rock" and "April Come She Will". CBS flew Wilson over to produce the record, and he stayed at Simon's flat.[45] The album saw release in August, and although sales were poor, Simon felt content with his future in England.[46]

text: Meanwhile, in the United States, a late-night disc jockey at WBZ-FM in Boston played "The Sound of Silence", where it was popular with a college audience.[47] It was picked up the next day along the East Coast of the United States, down to Cocoa Beach, Florida. Wilson, inspired by the folk rock sound of the Byrds' cover of "Turn! Turn! Turn!" and Dylan's "Like a Rolling Stone", created a rock remix of the song using studio musicians. The remix of "The Sound of Silence" was issued in September 1965, where it reached the Billboard Hot 100.[48] Wilson had not informed the duo of his intention to remix the track; as such, Simon was "horrified" when he first heard it.[48] Garfunkel graduated in 1965, returning to Columbia University to do a master's degree in mathematics.[25][49]

text: Mainstream breakthrough and success (1965–66)[edit]

text: By January 1966, "The Sound of Silence" topped the Hot 100, selling over one million copies.[50] Simon reunited with Garfunkel that winter in New York, leaving Chitty and his friends in England behind. CBS demanded a new album from the duo, to be called Sounds of Silence to ride the wave of the hit.[51] Recorded in three weeks, and mainly consisting of re-recorded songs from The Paul Simon Songbook, plus four new tracks, Sounds of Silence was rush-released onto the market in mid-January 1966, peaking at number 21 Billboard Top LPs chart.[52] A week later, "Homeward Bound" was released as a single, entering the USA top ten, followed by "I Am a Rock" peaking at number three.[52] The duo supported the recordings with a nationwide tour of America, while CBS continued their promotion by re-releasing Wednesday Morning, 3 A.M., which promptly charted at number 30.[53] Despite the commercial and popular success, the duo received critical derision, as many considered them a manufactured imitation of folk.[52]

text: As they considered their previous effort a "rush job" to capitalize on their sudden success, the duo spent more time crafting the follow-up. It was the first time Simon insisted on total control in aspects of recording.[54] Work began in 1966 and took nine months.[55] Garfunkel considered the recording of "Scarborough Fair" to be the point at which they stepped into the role of producer, as they were constantly beside engineer Roy Halee mixing the track.[55] Parsley, Sage, Rosemary and Thyme was issued in October 1966, following the release of several singles and receiving sold-out college campus shows.[56] The duo resumed their trek on the college circuit eleven days following the release, crafting an image that was described as "alienated", "weird", and "poetic".[57] Manager Mort Lewis also was responsible for this public perception, as he withheld them from television appearances (unless they were allowed to play an uninterrupted set or choose the setlist).[57] Simon, then 26, felt he had finally "made it" into an upper echelon of rock and roll, while most importantly retaining artistic integrity ("making him spiritually closer to Bob Dylan than to, say, Bobby Darin", wrote biographer Marc Eliot).[58] The duo chose William Morris as their booking agency after a recommendation from Wally Amos, a mutual friend through their producer Tom Wilson.[58]

text: During the sessions for Parsley, the duo cut "A Hazy Shade of Winter"; it was released as a single, peaking at number 13 on the national charts.[55] Similarly, they recorded "At the Zoo" for single release in early 1967 (it charted lower, at number 16).[59] Simon began work for their next album around this time, noting to a writer at High Fidelity that "I'm not interested in singles anymore".[60] He had hit a dry spell in his writing, which led to no Simon & Garfunkel album on the horizon for 1967.[61] Artists at the time were expected to release two, perhaps three albums each year and the lack of productivity from the duo worried executives at Columbia Records.[60] Amid concerns for Simon's idleness, Columbia Records chairman Clive Davis arranged for up-and-coming record producer John Simon to kick-start the recording.[62] Simon was distrustful of "suits" at the label; on one occasion, he and Garfunkel brought a tape recorder into a meeting with Davis, who was giving a "fatherly talk" on speeding up production, in order to laugh at it later.[63] The rare television appearances at this time saw the duo performing on such diverse network broadcasts as the Ed Sullivan, Mike Douglas and Andy Williams shows in 1966 and twice on The Smothers Brothers Comedy Hour in 1967.

text: Meanwhile, director Mike Nichols, then filming The Graduate, had become fascinated with the duo's past two efforts, listening to them nonstop before and after filming.[64] After two weeks of this obsession, he met with Clive Davis to ask for permission to license Simon & Garfunkel music for his film. Davis viewed it as a perfect fit and envisioned a best-selling soundtrack album.[58] Simon was not as immediately receptive, viewing movies akin to "selling out", creating a damper on his artistic integrity. However, after meeting Nichols and becoming impressed by his wit and the script, he agreed to write at least one or two new songs for the film.[58] Leonard Hirshan, a powerful agent at William Morris, negotiated a deal that paid Simon $25,000 to submit three songs to Nichols and producer Lawrence Turman.[65] Several weeks later, Simon re-emerged with two new tracks, "Punky's Dilemma" and "Overs", neither of which Nichols was particularly taken with. The duo offered another new song, which later became "Mrs. Robinson", that was not as developed. Nichols loved it.[65]

text: Studio time and low profile (1967–68)[edit]

text: The duo's fourth studio album, Bookends, was recorded in fits and starts over various periods from late 1966 to early 1968. The duo were signed under an older contract that specified the label pay for sessions,[63] and Simon & Garfunkel took advantage of this indulgence, hiring viola and brass players, as well as percussionists.[66] The record's brevity reflects its concise and perfectionist production. The team spent over 50 studio hours recording "Punky's Dilemma", for example, and re-recorded vocal parts, sometimes note by note, until they were satisfied.[67] Garfunkel's songs and voice took a lead role on some of the songs, and the harmonies for which the duo was known gradually disappeared. For Simon, Bookends represented the end of the collaboration and became an early indicator of his intentions to go solo.[68] Although the album had been planned long in advance, work did not begin in earnest until the late months of 1967.[69]

text: Prior to release, the band helped put together and performed at the Monterey Pop Festival, which signaled the beginning of the Summer of Love on the West Coast.[70] "Fakin' It" was issued as a single that summer and found only modest success on AM radio; the duo were much more focused on the rising FM format, which played album cuts and treated their music with respect.[71] In January 1968, the duo appeared on a Kraft Music Hall special, Three for Tonight, performing ten songs largely culled from their third album.[72] Bookends was released by Columbia Records in April 1968. In an historical context, this was just 24 hours before the assassination of Civil Rights Movement activist Martin Luther King, Jr., which spurred nationwide outrage and riots.[73] The album debuted on the Billboard Top LPs in the issue dated April 27, 1968, climbing to number one and staying at that position for seven non-consecutive weeks; it remained on the chart as a whole for 66 weeks.[70] Bookends received such heavy orders weeks in advance of its release that Columbia was able to apply for award certification before copies left the warehouse, a fact it touted in magazine ads. The record became the duo's best-selling album to date: it fed off the buzz created by the release of The Graduate soundtrack album ten weeks earlier, creating an initial combined sales figure of over five million units.[74]

text: Davis had predicted this fact, and suggested raising the list price of Bookends by one dollar to $5.79, above the then standard retail price, to compensate for including a large poster included in vinyl copies.[74][75] Simon instead scoffed and viewed it as charging a premium on "what was sure to be that year's best-selling Columbia album". According to biographer Marc Eliot, Davis was "offended by what he perceived as their lack of gratitude for what he believed was his role in turning them into superstars".[74] Rather than implement Davis' price increase plan, Simon & Garfunkel signed a contract extension with Columbia that guaranteed them a higher royalty rate.[74] The lead single "Mrs. Robinson" became, at the 1969 Grammy Awards the first rock and roll song to receive Record of the Year; it was also awarded Best Contemporary Pop Performance by a Duo or Group.[76]

text: Growing apart and final years (1969–70)[edit]

text: Bookends, alongside The Graduate soundtrack, propelled Simon & Garfunkel to become the biggest rock duo in the world.[74] Simon was approached by producers to write music for films or license songs; he turned down Franco Zeffirelli, who was preparing to film Brother Sun, Sister Moon, and John Schlesinger, who likewise was readying to shoot Midnight Cowboy.[74] In addition to Hollywood proposals, producers from the Broadway show Jimmy Shine (starring Simon's friend Dustin Hoffman, also the lead in Midnight Cowboy) asked for two original songs and Simon declined.[77] He collaborated briefly with Leonard Bernstein on a sacred mass before withdrawing from the project due to "finding it perhaps too far afield from his comfort zone".[77] Garfunkel took the role of Captain Nately in the Nichols film Catch-22 based on the novel of the same name. Initially Simon was to play the character of Dunbar, but screenwriter Buck Henry felt the film was already crowded with characters and subsequently wrote Simon's part out.[78][79]

text: The filming of Catch-22 began in January 1969 and lasted about eight months.[80][81] The unexpectedly long film production endangered the relationship between the duo;[79] Simon had not completed any new songs at this point, and the duo planned to collaborate when the filming would be finished.[79] Following the end of filming of Catch-22 in October, the first performance of what was, for a time, their last tour, took place in Ames, Iowa.[82] The US leg of the tour ended in the sold-out Carnegie Hall on November 27.[83] [84] Meanwhile, the duo, working with director Charles Grodin, produced an hourlong CBS special, Songs of America, which is a mixture of scenes featuring notable political events and leaders concerning the USA, such as the Vietnam War, Martin Luther King, John F. Kennedy's funeral procession, Cesar Chavez and the Poor People's March. It was broadcast only once, due to internal tension at the network regarding its content.[85][86]

text: Bridge over Troubled Water, their final studio album, was released in January 1970 and charted in over 11 countries, topping the charts in 10, including the Billboard Top LP's chart in the US and the UK Albums Chart.[87][88] It was the best-selling album in 1970, 1971 and 1972 and was at that time the best-selling album of all time.[89] It was also CBS Records' best-selling album before the release of Michael Jackson's Thriller in 1982.[90] The album topped the Billboard charts for 10 weeks and stayed in the charts for 85 weeks.[89] In the United Kingdom, the album topped the charts for 35 weeks, and spent 285 weeks in the top 100, from 1970 to 1975.[89] It has since sold over 25 million copies worldwide.[91][92] "Bridge over Troubled Water", the album's lead single, hit number one in five countries and became their biggest seller.[12] The song has been covered by over 50 artists since then,[93] including Elvis Presley , Johnny Cash , Aretha Franklin, Willie Nelson, Roy Orbison, and Josh Groben.[94] "Cecilia", the follow-up, hit number four in the US, and "El Condor Pasa" hit number 18.[12]

text: The recording process was tough for both musicians, and their breakup was almost certain considering the deterioration of their relationship. "At that point, I just wanted out," Simon later said.[95] Their breakup was not intended to be semi-permanent: Garfunkel hoped for a two-year break from Simon & Garfunkel and did not intend to pursue a film career. Likewise, Simon did not intend to begin a solo career.[96] A brief British tour followed the album release, and the duo's last concert as Simon & Garfunkel occurred at Forest Hills Stadium.[97] In 1971, the album took home six awards at the 13th Annual Grammy Awards, including Album of the Year. Simon's wife, Peggy Harper, pushed for him to make the split official, and he placed a call to Davis to confirm the duo's breakup: "I want you to know I’ve decided to split with Artie. I don’t think we’ll be recording together again."[98] For the next several years, the duo would only speak "two or three" times a year.[99]

text: Breakup, rifts, and reunions (1971–2005)[edit]

text: In the 1970s, the duo reunited several times. Their first reunion was a benefit concert for presidential candidate George McGovern at New York's Madison Square Garden in June 1972.[12] In 1975, they reconciled once more when they visited a recording session with John Lennon and Harry Nilsson.[100] For the rest of the year, they attempted to make the reunion work, but their collaboration only yielded one song, "My Little Town", that was featured on Simon's Still Crazy After All These Years and Garfunkel's Breakaway.[100] It peaked at number nine on the Hot 100. In 1975, Garfunkel joined Simon for a medley of three songs on the television series Saturday Night Live which Simon was guest hosting.[101] In 1977, Garfunkel joined Simon for a brief performance of their old songs on Simon's television special The Paul Simon Special, and later that year they recorded a cover of Sam Cooke's "(What a) Wonderful World" along with James Taylor.[12] Old tensions finally appeared to dissipate upon Garfunkel's return to New York in 1978, when the duo began interacting more often.[99] On May 1, 1978, Simon joined Garfunkel for a concert held at Carnegie Hall to benefit the hearing disabled.[102]

text: By 1980, the duo's respective solo efforts were not doing well.[99] To help alleviate New York's economic decline, concert promoter Ron Delsener came up with the idea to throw a free concert in Central Park.[103] Delsener contacted Simon with the idea of a Simon & Garfunkel reunion, and once Garfunkel agreed, plans were made.[104] The Concert in Central Park, performed September 19, 1981, attracted more than 500,000 people, at that time the largest-ever concert attendance.[12] Warner Bros. Records released a live album of the show that went double platinum in the US.[12] A 90-minute recording of the concert was sold to Home Box Office (HBO) for over $1 million.[105] The concert created a renewed interest in the duo's work.[106] They had several "heart-to-heart talks," attempting to put past issues behind them.[99] The duo planned a world tour, kicking off in May 1982, but their relationship grew contentious: for the majority of the tour, they did not speak to one another.[107] Warner Bros. pushed for them to extend the tour and release an all-new Simon & Garfunkel studio album.[107]

text: After recording several vocal tracks for a possible new Simon & Garfunkel album, Simon decided to adopt it as his own solo album. Garfunkel refused to learn the songs in the studio and would not give up his longstanding cannabis and cigarette habits despite Simon's requests.[108] An official spokesperson remarked, "Paul simply felt the material he wrote is so close to his own life that it had to be his own record. Art was hoping to be on the album, but I'm sure there will be other projects that they will work on together. They are still friends."[108] The material was later released on Simon's 1983 effort Hearts and Bones.[12] Another rift opened between the duo when the lengthy recording of Simon's 1986 album Graceland prevented Garfunkel from working with Roy Halee on a Christmas album.[109] In 1990, the duo was inducted into the Rock and Roll Hall of Fame. Garfunkel thanked his partner, calling him "the person who most enriched my life by putting those songs through me," to which Simon responded, "Arthur and I agree about almost nothing. But it's true, I have enriched his life quite a bit." After three songs, the duo left without speaking. In August of 1991 Simon staged his own concert in Central Park, which was released a few months later. Art Garfunkel had offered to lend his friend a hand in creating another park reunion in which Simon declined, leading the concert as a solo act. [110]

text:
We are indescribable. You'll never capture it. It's an ingrown, deep friendship. Yes, there is deep love in there. But there's also shit.
“
”

Garfunkel describing his six-decade-long friendship with Simon[111]

tag: div

text: By 1993, their relationship had thawed again, and Simon invited Garfunkel on an international tour with him.[112] Following a 21-date, sold-out run at the Paramount Theater in New York and an appearance at that year's Bridge School Benefit in California, the duo toured the Far East.[12] The duo had a falling out over the course of the rest of the decade, the details of which have never been disclosed.[12] Simon thanked Garfunkel at his 2001 induction into the Rock and Roll Hall of Fame as a solo artist: "I regret the ending of our friendship. I hope that some day before we die we will make peace with each other," resuming after a pause, "No rush."[12] They were awarded a Lifetime Achievement Award at the 45th Annual Grammy Awards in 2003, for which the promoters convinced them to reconcile and open the show with a performance of "The Sound of Silence." The performance was satisfying for both musicians, and they planned out a full-scale reunion tour over the summer. The Old Friends tour began in October 2003 and played to sold-out audiences across the United States for 30 dates until mid-December.[96] The tour earned an estimated $123 million.[113] Following a twelve-city run in Europe in 2004, they ended their nine-month tour with a free concert along Via dei Fori Imperiali, in front of the Colosseum in Rome. It attracted 600,000 fans, even more than their The Concert in Central Park. In 2005, Simon and Garfunkel performed three songs for a Hurrican Katrina benefit concert in Madison Square Garden. The duo performed Mrs. Robinson, and Homeward Bound. Bridge Over Troubled Water was then performed by the duo with singer Aaron Neville. [114]

text: Recent years (2007–present)[edit]

text: In 2007, the duo reunited again for three songs during Simon's two-night engagement at New York's Beacon Theatre. This led to meetings in 2008 and a reunion tour of Asia and Australia in June 2009.[113] Their headlining set at the 2010 New Orleans Jazz and Heritage Festival was very difficult for Garfunkel, who was experiencing serious vocal problems. "I was terrible, and crazy nervous. I leaned on Paul Simon and the affection of the crowd," he told Rolling Stone several years later.[111] Garfunkel was diagnosed with vocal cord paresis, and the remaining tour dates were postponed indefinitely. His manager, John Scher, informed Simon's camp that Garfunkel would be ready within a year, which did not happen, leading to poor relations between the two. Despite tensions, Simon continued to publicly wish his old friend Artie better health and gave him praises for his then angelic voice. Garfunkel regained his vocal strength over the course of the next four years, performing shows in a Harlem theater and to underground audiences.[111]

text: Despite this, the duo have not staged a full-scale tour or performed shows since 2010. Garfunkel confirmed to Rolling Stone in 2014 that he believes they will tour in the future, although Simon had been too "busy" in recent years. "I know that audiences all over the world like Simon and Garfunkel. I'm with them. But I don't think Paul Simon's with them," he remarked.[111] In a 2016 interview with NPR's David Greene, when asked about the possibility of reuniting, Simon stated; "Well, I don't think most people do [constantly want Simon to relive the olden days]. The fact is, is, like, we did do two big reunions, and we're done. There's nothing really much to say. You know, the music essentially stopped in 1970. And, you know, I mean, quite honestly, we don't get along. So it's not like it's fun. If it was fun, I'd say, OK, sometimes we'll go out and sing old songs in harmony. That's cool. But when it's not fun, you know, and you're going to be in a tense situation, well, then I have a lot of musical areas that I like to play in. So that'll never happen again. That's that."[115]

text: Musical style and legacy[edit]

text: Over the course of their career, Simon & Garfunkel's music gradually moved from a very basic folk rock sound to incorporate more experimental elements for the time, including Latin and gospel music.[1] Many adolescents of the 1960s found their music relevant, while adults regarded them as intelligent.[12] Their music, according to Rolling Stone, struck a chord among lonely, alienated young adults near the end of the decade.[116]

text: Despite its popularity, the group was also criticized sharply, especially in its heyday. Rolling Stone critic Arthur Schmidt, for example, described the duo's music as "questionable ... it exudes a sense of process, and it is slick, and nothing too much happens."[117] New York Times critic Robert Shelton said that the group had "a kind of Mickey Mouse, timid, contrived" approach to music.[118]

text: Their clean sound and muted lyricism "cost them some hipness points during the psychedelic era" according to Richie Unterberger of AllMusic, who also notes that the duo "inhabited the more polished end of the folk-rock spectrum and was sometimes criticized for a certain collegiate sterility."[1] Unterberger further observes that some critics would later regard Simon's lyricism in his work with Simon & Garfunkel to pale in comparison to his later solo material. But Unterberger himself believed that "the best of S&G's work could stand among Simon's best material, and the duo did progress musically over the course of their five albums, moving from basic folk-rock productions into Latin rhythms and gospel-influenced arrangements that foreshadowed Simon's eclecticism on his solo albums."[1] Their rocky personal relationship led to their "breaking up and making up about every dozen years."[113]

text: Awards[edit]

text: The Grammy Awards are held annually by the National Academy of Recording Arts and Sciences. Simon & Garfunkel have won 9 total competitive awards, 4 Hall of Fame awards, and a Lifetime Achievement Award.[119]

text:
Year
Nominee/work
Award
Result

1969
Bookends
Album of the Year
Nominated

"Mrs. Robinson"
Record of the Year
Won

Best Contemporary Pop Performance – Vocal Duo or Group
Won

The Graduate
Best Original Score Written for a Motion Picture or a Television Special
Won

1971
Bridge over Troubled Water
Album of the Year
Won

"Bridge over Troubled Water"
Record of the Year
Won

Song of the Year
Won

Best Contemporary Song
Won

Best Instrumental Arrangement Accompanying Vocalist(s)
Won

Best Engineered Recording
Won

Best Pop Performance by a Duo or Group with Vocals
Nominated

1976
"My Little Town"
Best Pop Performance by a Duo or Group with Vocals
Nominated

1998
"Bridge Over Troubled Water"
Grammy Hall of Fame Award
Won

1999
"Mrs. Robinson"
Grammy Hall of Fame Award
Won

Parsley, Sage, Rosemary and Thyme
Grammy Hall of Fame Award
Won

2003
Simon & Garfunkel
Grammy Lifetime Achievement Award
Won

2004
"The Sound of Silence"
Grammy Hall of Fame Award
Won

text:
Brit Awards (1977) – Best International Album (for Bridge over Troubled Water)
Rock and Roll Hall of Fame (1990) – Inductee

text: Discography[edit]

text: Studio albums[edit]

text:
Wednesday Morning, 3 A.M. (1964)
Sounds of Silence (1966)
Parsley, Sage, Rosemary and Thyme (1966)
Bookends (1968)
Bridge over Troubled Water (1970)

text: Live albums[edit]

text: Simon & Garfunkel Live 1969 (2009)


document_title: A Star Is Born (1976 film)

question_text: where was the movie a star is born filmed

text: A Star Is Born (1976 film)

text: Plot[edit]

text: John Norman Howard (Kris Kristofferson), a famous and self-destructive singer/songwriter rock star arrives late for a concert. He is drunk, sings a couple of songs, and walks off stage. John's entourage, including his manager Brian (Paul Mazursky), takes him to a bar where Esther Hoffman (Barbra Streisand) is singing. One of John's fans find him there and starts a fight. Esther grabs John and helps him escape out a back door.

text: They go to Esther's, but she invites him to come back for breakfast. Over breakfast, she agrees to go to a concert with him. After arriving by helicopter, John rides a motorbike around the stage, snags a cable and crashes off the front of the stage. John is taken away by ambulance and his entourage leave in the helicopter forgetting Esther.

text: Afterwards, John is resting at home by his pool. A radio DJ, Bebe Jesus (M.G. Kelly), hovers over the pool in a helicopter and invites John to his studio. John gets angry and shoots at the helicopter. Bebe Jesus then threatens to never play John's songs. Later, John goes to the radio station with a case of whiskey to make peace with Bebe Jesus. The disk jockey does not accept John's apology and calls John an alcoholic over the air. Esther happens to be at the radio station at the same time, taping a commericial, John takes Esther to his mansion and writes her name on the wall with a can of spray paint. There, they make love, have a bath together, and he listens to her playing his piano. She thinks no one would be able to sing to the tune she has written, but he makes up with some lyrics and starts singing.

text: At his next concert, John gets Esther on stage to sing. Although the audience boos when she starts to sing, she wins them over. Later, she tells John she wants them to get married. John replies that he's no good for her, but she persists, and they marry.  John takes Esther to a plot of land he has out west where they build a simple house. She wants a tour co-starring with him, but he thinks she should do the tour on her own. Esther's career takes off, eclipsing his.

text: John returns to the studio thinking of restarting his career. His band tells him they have gone on without him. At home alone, John begins to write a new song. As he records it, he is interrupted by the phone. Someone asks for Esther and wants to know whether he is her secretary.

text: At the Grammy Awards, Esther wins for best female performance. While she is giving her acceptance speech, John arrives drunk and makes a scene. Later, Esther tries to talk Brian into giving John a last chance. John is writing songs again but in a different way. Brian calls on John and likes the new songs, but suggests John release some of his old hits along with the new songs. However, John wants to go with the new work only, so he turns down the offer.

text: Back at his LA mansion, John finds Quentin (Marta Heflin), a magazine writer, swimming half-naked in his swimming-pool. She says she would do anything to get an exclusive interview with Esther. When Esther arrives soon after, she finds them in bed together. Quentin tries to interview Esther, but John tells Quentin to get out.  Esther and John end up going back to their small home out west where they have been happiest. One morning, John drives  to the airport to get Brian. He puts on some of Esther's songs, drives recklessly, and is killed in an accident. Afterwards, back at the LA mansion, Esther hears John's voice calling out for someone to answer the phone. But she discovers it's just a tape of the old song writing session during which the phone had interrupted his singing.

text: At Esther's next concert, the audience raises candles as tribute to her lost husband. She sings	one of John's songs but begins it as a ballad and ends it as a rock song.

text: Cast[edit]

text:
Barbra Streisand as Esther Hoffman Howard
Kris Kristofferson as John Norman Howard
Gary Busey as Bobbie Ritchie
Paul Mazursky as Brian Wexler
Joanne Linville as Freddie Lowenstein
Oliver Clark as Gary Danziger
Venetta Fields as One (of the Oreos)
Clydie King as Two (of the Oreos)
Sally Kirkland as Photographer
Marta Heflin as Quentin
Rita Coolidge as Herself
Tony Orlando as Himself
M. G. Kelly as DJ Bebe Jesus
Uncle Rudy as Mo
Susan Richardson as Groupie (uncredited)
Robert Englund  as Marty (uncredited)
Maidie Norman as Justice of the Peace (uncredited)
Martin Erlichman as Manager (uncredited)

text: Production[edit]

text: Directed by Frank Pierson, the film updates the original story and screenplay of William A. Wellman and Robert Carson with additional contributions by Pierson, John Gregory Dunne and Joan Didion. It also features Gary Busey and Sally Kirkland. Venetta Fields and Clydie King perform as Streisand's backing vocalists "The Oreos". Kristofferson's then wife Rita Coolidge and Tony Orlando appear briefly as themselves.

text: The earlier films had portrayed the behind-the-scenes world of Hollywood film making. However, this version adapted the story to the music business. For example, the 1937 and 1954 films each portrayed the lead female character winning an Academy Award, while the 1976 version depicted the heroine winning a Grammy Award instead.

text: A Star Is Born was co-produced by Streisand and her then-partner Jon Peters for Barwood Films and Warner Brothers, with Peters as the main producer and Streisand as executive. Among actors considered for the male lead were Neil Diamond and Marlon Brando. Streisand and Peters wanted Elvis Presley for the role: they met with Elvis and discussed the film, and he was interested in taking the part, thinking it would revive his film career. Elvis' manager, Colonel Tom Parker, insisted Elvis have top billing and asked for a substantial sum of money for the role, even though he had not had an acting role since 1969, and people were unsure what kind of box office draw he would be. This effectively ended Elvis's involvement with the project. Parker also did not want to have Elvis portrayed as having a show business career in decline. This in fact was far from the truth, with Elvis playing to packed auditoriums wherever he toured in the States. Diamond, who knew Streisand and had attended high school with her at Erasmus Hall High School in Brooklyn, was also seriously considered but had to decline due to his extensive concert commitments, and Kristofferson got the part of John Norman Howard.

text: Kristofferson denied modelling his character on Jim Morrison: "That's a good idea but it's not true. I don't think I ever met Morrison. A lot of people said we looked alike – shirts off, beards – but that washed-up rock star was more about me."[2]

text: The film cost around $6 million to produce. Its soundtrack album was also an international success, reaching number 1 in many countries and selling nearly 15 million copies worldwide. It featured the ballad "Evergreen (Love Theme from A Star Is Born)", which became one of the biggest hits of Streisand's career, spending three weeks at number one in the United States, and peaking at number three in the United Kingdom.

text: The filming locations included many in Arizona such as downtown Tucson, Tucson Community Center, Sonoita and Tempe.[3]

text: Streisand's character's (Esther Hoffman Howard) clothing was straight out of Streisand's own closet. The actual credit reads:  Miss Streisand's clothes from... her closet.

text: The film was choreographed by David Winters of West Side Story fame, who worked closely with Streisand to perfect the movie's dancing sequences.[4][5]

text: Reception[edit]

text: The film grossed $80 million at the U.S. box office,[1] making it the 3rd highest grossing picture of 1976.

text: Critical reception[edit]

text: On review aggregator website Rotten Tomatoes, the film received an approval rating of 31% based on 16 reviews, with an average rating of 5.3/10.[6] On Metacritic, the film has a weighted average score of 58 out of 100 based on 8 critics, indicating "mixed or average reviews".[7] Roger Ebert gave the film two and a half stars out of three.[8] Paul Mavis, reviewing Warner's 2006 disc release of A Star is Born for DVD Talk, wrote, "There is something of value in A Star is Born--one thing--and that's Kris Kristofferson's amazingly adept, heartfelt performance as the doomed rock star, self-destructing despite the love of an up-and-coming singer (Streisand). There's not a wrong note in his performance.  Unfortunately, the remainder of A Star is Born is an unmitigated disaster that has the megalomaniac fingerprints of Barbra Streisand and her hairdresser/producer boyfriend, Jon Peters, all over it."[9] Conversely, Vincent Canby, in his review in  The New York Times, says Kristofferson "walks through the film looking very bored."

text: Awards and honors[edit]

text: The film won the Academy Award for Best Original Song for "Evergreen" with the award shared by its songwriters, Streisand and Paul Williams, and was also nominated in the categories of Best Cinematography (Robert Surtees), Best Sound (Robert Knudson, Dan Wallin, Robert Glass and Tom Overton) and Original Song Score (Roger Kellaway).[10]

text:
It won five Golden Globe Awards for Best Motion Picture – Musical or Comedy, Best Actress – Motion Picture Musical or Comedy (Streisand), Best Actor – Motion Picture Musical or Comedy (Kristofferson), Best Original Score (Paul Williams and Kenny Ascher) and Best Original Song, (Streisand and Williams for "Evergreen").[11]
The film's music score and theme song also won ASCAP Film and Television Music Awards for Most Performed Feature Film Standards and nominated BAFTA Awards for Anthony Asquith Award for Film Music
and Best Sound Track, Grammy Award for Best Album of Original Score written for a Motion Picture or Television Special

text: In the two previous versions, Gaynor and Garland were each depicted on screen as winning an Oscar, yet neither won for their film in real life (though Gaynor had won an Oscar before, as had Streisand). In this film, Streisand is instead depicted as winning a Grammy, and, in real life, the film's song "Evergreen" won her both a Grammy (for Song of the Year) and an Oscar.

text: According to at least one Streisand biography[vague], unhappy with a few of Frank Pierson's scenes, Streisand later directed them herself (a claim also made for 1979's The Main Event), adding to the rumors that she and Pierson clashed constantly during production.

text: The film is recognized by American Film Institute in these lists:

text:
2004: AFI's 100 Years...100 Songs:
"Evergreen (Love Theme from A Star Is Born)" – #16[12]

text: Remakes[edit]

text: A Star Is Born was the second remake of the 1937 film, the first remake being the 1954 film starring Judy Garland and James Mason. The film was remade in Bollywood as Aashiqui 2 in 2013. Warner Bros. announced they had plans to finance another remake. In March 2015, it was announced that Bradley Cooper would be starring, directing, and co-produce the remake.[13] In August 2016, it was announced singer-actress Lady Gaga would be starring and composing new music for the remake.[14] The film will be released on October 5, 2018.[15]

text: Home media[edit]

text: In 2006, the Region 1 DVD was released in North America in Dolby Digital 5.1 sound with extras including a full length commentary by Barbra Streisand, 16 minutes of never before seen and additional footage and the original wardrobe test. In 2007 the Region 2 DVD with the same extras was released in Germany. In 2008 the Region 4 DVD was released in Australia, the content of which appears to be the same as the Region 1 edition. The DVD has yet to be released in any other region.

text: Warner Bros. released the film worldwide on the Blu-ray format on February 6, 2013.

text: Soundtrack[edit]

text: The soundtrack album to the film was released by Columbia Records in 1976.


document_title: Flip-flops

question_text: what do they call flip flops in australia

text: Flip-flops

text: Etymology[edit]

text: The term flip-flop has been used in American and British English since the 1970s to describe the thong or no-heel-strap sandal. It is an onomatopoeia of the sound made by the sandals when walking in them.[1] They are called thongs in Australia,[2] jandals (originally a trademarked name derived from "Japanese sandals") in New Zealand,[3] slops in South Africa[4] and tsinelas in the Philippines (or, in some Visayan localities, "smagul", from the word smuggled).

text: This footwear has a number of other names around the world. In India and Pakistan, flip-flops are commonly known as hawai chappal.[5] The Japanese wear similarly designed, traditional straw sandals known as zōri.[6] Throughout the world, they are known by a variety of other names, including dép tông or dép xỏ ngón in Vietnam, chinelos in Brazil, japonki in Poland, dacas in Somalia, sayonares (σαγιονάρες) in Greece, Schlapfen in Austria, slippers in Hawaii, Trinidad and Tobago and the Netherlands, infradito in Italy, djapanki (джапанки) in Bulgaria,"charlie wote" in Ghana and vietnamki in Russia and Ukraine.[4][7]

text: History[edit]

text: Thong sandals have been worn for thousands of years, dating back to pictures of them in ancient Egyptian murals from 4,000 BC. A pair found in Europe was made of papyrus leaves and dated to be approximately 1,500 years old. These early versions of flip-flops were made from a wide variety of materials. Ancient Egyptian sandals were made from papyrus and palm leaves. The Masai of Africa made them out of rawhide. In India, they were made from wood. In China and Japan, rice straw was used. The leaves of the sisal plant were used to make twine for sandals in South America, while the natives of Mexico used the yucca plant.[8]

text: The Ancient Greeks and Romans wore versions of flip-flops as well. In Greek sandals, the toe strap was worn between the first and second toes, while Roman sandals had the strap between the second and third toes. These differ from the sandals worn by the Mesopotamians, with the strap between the third and fourth toes. In India, a related chappal ("toe knob") sandal was common, with no straps but a small knob sitting between the first and second toes. They are known as Padukas[9]

text: The modern flip-flop became popular in the United States as soldiers returning from World War II brought Japanese zōri with them. It caught on in the 1950s during the postwar boom and after the end of hostilities of the Korean War. As they became adopted into American popular culture, the sandals were redesigned and changed into the bright colors that dominated 1950s design.[10] They quickly became popular due to their convenience and comfort, and were popular in beach-themed stores and as summer shoes.[11] During the 1960s, flip-flops became firmly associated with the beach lifestyle of California. As such, they were promoted as primarily a casual accessory, typically worn with shorts, bathing suits, or summer dresses. As they became more popular, some people started wearing them for dressier or more formal occasions.[9]

text: In 1962, Alpargatas marketed a version of flip-flops known as Havaianas in Brazil. By 2010, more than 150 million pairs of Havaianas were produced each year.[12] Flip-flops quickly became popular as casual footwear of young adults. Girls would often decorate their flip-flops with metallic finishes, charms, chains, beads, rhinestones, or other jewelry.[13] High-end flip-flops made of leather or sophisticated synthetic materials are commonly worn in place of sneakers or loafers as the standard, everyday article of casual footwear, particularly among teenagers and young adults, although it is not unusual to see older people wearing playful, thick-soled flip-flops in brilliant colors.

text: A minor controversy erupted in 2005 when some members of Northwestern University's national champion women's lacrosse team visited the White House wearing flip-flops. The team responded to critics by auctioning off their flip-flops on eBay, raising $1,653 for young cancer patient, Jaclyn Murphy of Hopewell Junction, New York, who was befriended by the team.[14] There is still a debate over whether this signaled a fundamental change in American culture — many youth feel that flip-flops are dressier and can be worn in a variety of social contexts, while older generations feel that wearing them at formal occasions signifies laziness and comfort over style.[9] In 2011, while vacationing in his native Hawaii, Barack Obama became the first President of the United States to be photographed wearing a pair of flip-flops.[15][16] The Dalai Lama of Tibet is also a frequent wearer of flip-flops and has met with several U.S. presidents, including George W. Bush and Barack Obama, while wearing the sandals.[17][18]

text: While exact sales figures for flip-flops are difficult to obtain due to the large number of stores and manufacturers involved, the Atlanta-based company Flip Flop Shops claimed that the shoes were responsible for a $20 billion industry in 2009. Furthermore, sales of flip-flops exceeded those of sneakers for the first time in 2006. If these figures are accurate, it is remarkable considering the low cost of most flip-flops.[19]

text: Design and custom[edit]

text: The modern flip-flop has a very simple design, consisting of a thin rubber sole with two straps running in a Y shape from the sides of the foot to the gap between the big toe and the one beside it. They typically do not have a strap around the heel, although heeled varieties are available, as well as flip-flops designed for sports, which come with added support common to athletic shoes, with the thong between the toes. Most modern flip-flops are inexpensive, costing as little as $5, or less in some parts of the world.[9]

text: They are made from a wide variety of materials, as were the ancient thong sandals. The modern sandals are made of more modern materials, such as rubber, foam, plastic, leather, suede, and even fabric.[9] Thongs made of polyurethane have caused some environmental concerns; because polyurethane is a number 7 resin, they can't be easily discarded, and they persist in landfills for a very long time.[20] In response to these concerns, some companies have begun selling flip-flops made from recycled rubber, such as that from used bicycle tires, or even hemp,[21] and some offer a recycling program for used flip flops.[22]

text: Because of the strap between the toes, flip-flops are typically not worn with socks. In colder weather, however, some people wear flip-flops with toe socks.[23] The Japanese commonly wear tabi, a type of sock with a single slot for the thong, with their zōri.[24]

text: Health and medical implications and injuries[edit]

text: While flip-flops do provide the wearer with some mild protection from hazards on the ground, such as hot sand at the beach, glass, thumb tacks or even fungi and wart-causing viruses in locker rooms or community pools, their simple design is responsible for a host of other injuries of the foot and lower leg.[25] In the United Kingdom in 2002, 55,100 individuals went to hospital with flip-flop related injuries.[26] By 2010, there were 200,000 flip-flop related injuries costing the National Health Service in Britain £40 million.[27]

text: Walking for long periods in flip-flops can be very tough on the feet, resulting in pain in the ankles, legs, and feet.[28] A 2009 study at Auburn University found that flip-flop wearers took shorter steps and their heels hit the ground with less vertical force than those wearing athletic shoes.[29][30][31] Individuals with flat feet or other foot issues are advised to wear a shoe with better support.[32]

text: The lack of support provided by thong sandals is thought by some to be a major cause of injuries. Some flip-flops have a spongy sole, causing the foot to roll further inward than normal when it hits the ground — an action called over-pronation, which is responsible for many foot problems[citation needed]. Overpronation may also lead to flat feet[citation needed]. Flip-flops can cause a person to overuse the tendons in their feet, resulting in tendonitis.[33] The lack of an ankle strap that holds the foot in place is also a common reason for injury, as this causes wearers to scrunch their toes in an effort to keep the flip-flop in place, which can result in tendonitis.[26]

text: Ankle sprains or broken bones are also common injuries, due to stepping off a curb or tumbling — the ankle bends, but the flip-flop neither holds on to nor supports it.[33] The straps of the flip-flop may cause frictional issues, such as rubbing, during walking. The open-toed nature of the thongs may result in cuts, scrapes, bruises, or stubbed toes.[34] Despite all of these issues, flip-flops do not have to be avoided completely. Many podiatrists recommend avoiding the inexpensive, drug store varieties and spending more on sandals with thick-cushioned soles, as well as ones that have a strap that's not canvas and that comes back almost to the ankle.[35]


document_title: Popular sovereignty

question_text: where did the idea of popular sovereignty come from

text: Popular sovereignty

text: Origins[edit]

text:
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text: Popular sovereignty in its modern sense, is an idea that dates to the social contracts school (mid-17th to mid-18th centuries), represented by Thomas Hobbes (1588–1679), John Locke (1632–1704), and Jean-Jacques Rousseau (1712–1778), author of The Social Contract, a prominent political work that clearly highlighted the ideals of "general will" and further matured the idea of popular sovereignty. The central tenet is that legitimacy of rule or of law is based on the consent of the governed. Popular sovereignty is thus a basic tenet of most Republics. Hobbes, Locke and Rousseau were the most influential thinkers of this school, all postulating that individuals choose to enter into a social contract with one another, thus voluntarily giving up some of their natural freedom in return for protection from dangers derived from the freedom of others. Whether men were seen as naturally more prone to violence and rapine (Hobbes) or cooperation and kindness (Rousseau), the idea that a legitimate social order emerges only when the liberties and duties are equal among citizens binds the social contract thinkers to the concept of popular sovereignty.

text: A parallel development of a theory of popular sovereignty can be found among the School of Salamanca (see e.g. Francisco de Vitoria (1483–1546) or Francisco Suarez (1548–1617)), who (like the theorists of the divine right of kings and Locke) saw sovereignty as emanating originally from God, but (unlike divine right theorists and in agreement with Locke) passing from God to all people equally, not only to monarchs.

text: Republics and popular monarchies are theoretically based on popular sovereignty. However, a legalistic notion of popular sovereignty does not necessarily imply an effective, functioning democracy: a party or even an individual dictator may claim to represent the will of the people, and rule in its name, pretending to detain auctoritas. That would be congruent with Hobbes's view on the subject, but not with most modern definitions that see democracy as a necessary condition of popular sovereignty.

text: Popular sovereignty in the United States[edit]

text: The application of the doctrine of popular sovereignty receives particular emphasis in American history, notes historian Christian G. Fritz's American Sovereigns: The People and America's Constitutional Tradition Before the Civil War, a study of the early history of American constitutionalism.[2] In describing how Americans attempted to apply this doctrine prior to the territorial struggle over slavery that led to the Civil War, political scientist Donald S. Lutz noted the variety of American applications:

text: To speak of popular sovereignty is to place ultimate authority in the people. There are a variety of ways in which sovereignty may be expressed. It may be immediate in the sense that the people make the law themselves, or mediated through representatives who are subject to election and recall; it may be ultimate in the sense that the people have a negative or veto over legislation, or it may be something much less dramatic. In short, popular sovereignty covers a multitude of institutional possibilities. In each case, however, popular sovereignty assumes the existence of some form of popular consent, and it is for this reason that every definition of republican government implies a theory of consent.

text: The American Revolution marked a departure in the concept of popular sovereignty as it had been discussed and employed in the European historical context. With their Revolution, Americans substituted the sovereignty in the person of King George III, with a collective sovereign—composed of the people. Thenceforth, American revolutionaries generally agreed and were committed to the principle that governments were legitimate only if they rested on popular sovereignty – that is, the sovereignty of the people.[c] This idea—often linked with the notion of the consent of the governed—was not invented by the American revolutionaries. Rather, the consent of the governed and the idea of the people as a sovereign had clear 17th and 18th century intellectual roots in English history.[4]

text: In the 1850s, in the runup to the Civil War, Northern Democrats led by Senator Lewis Cass of Michigan and Stephen A. Douglas of Illinois promoted popular sovereignty as a middle position on the slavery issue. It said that actual residents of territories should be able to decide by voting whether or not slavery would be allowed in the territory. The federal government did not have to make the decision, and by appealing to democracy Cass and Douglas hoped they could finesse the question of support for or opposition to slavery. Douglas applied popular sovereignty to Kansas in the Kansas Nebraska Act which passed Congress in 1854. The Act had two unexpected results. By dropping the Missouri Compromise of 1820 (which said slavery would never be allowed in Kansas), it was a major boost for the expansion of slavery. Overnight outrage united anti-slavery forces across the North into an "anti-Nebraska" movement that soon was institutionalized as the Republican Party, with its firm commitment to stop the expansion of slavery. Second, pro- and anti-slavery elements moved into Kansas with the intention of voting slavery up or down, leading to a raging civil war, known as "Bleeding Kansas." Abraham Lincoln targeted popular sovereignty in the Lincoln-Douglas Debates of 1858, leaving Douglas in a position that alienated Southern pro-slavery Democrats who thought he was too weak in his support of slavery. The Southern Democrats broke off and ran their own candidate against Lincoln and Douglas in 1860.[5]


document_title: Excalibur

question_text: who took the sword out of the stone

question_tokens: who took the sword out of the stone

text: Excalibur

text: Forms and etymologies[edit]

text: The name Excalibur ultimately comes from the Welsh Caledfwlch (and Breton Kaledvoulc'h, Middle Cornish Calesvol) which is a compound of caled "hard" and bwlch "breach, cleft".[1] Caledfwlch appears in several early Welsh works, including the poem Preiddeu Annwfn (though it is not directly named - but only alluded to - here) and the prose tale Culhwch and Olwen, a work associated with the Mabinogion and written perhaps around 1100. The name was later used in Welsh adaptations of foreign material such as the Bruts (chronicles), which were based on Geoffrey of Monmouth. It is often considered to be related to the phonetically similar Caladbolg, a sword borne by several figures from Irish mythology, although a borrowing of Caledfwlch from Irish Caladbolg has been considered unlikely by Rachel Bromwich and D. Simon Evans. They suggest instead that both names "may have similarly arisen at a very early date as generic names for a sword"; this sword then became exclusively the property of Arthur in the British tradition.[1][2]

text: Geoffrey of Monmouth, in his Historia Regum Britanniae (The History of the Kings of Britain, c. 1136), Latinised the name of Arthur's sword as Caliburnus (potentially influenced by the Medieval Latin spelling calibs of Classical Latin chalybs, from Greek chályps [χάλυψ] "steel") and states that it was forged in the Isle of Avalon. Most Celticists consider Geoffrey's Caliburnus to be derivative of a lost Old Welsh text in which bwlch had not yet been lenited to fwlch.[3][4][1] In Old French sources this then became Escalibor, Excalibor and finally the familiar Excalibur.

text: Geoffrey Gaimar, in his Old French L'Estoire des Engles (1134-1140), mentions Arthur and his sword: "this Constantine was the nephew of Arthur, who had the sword Caliburc" ("Cil Costentin, li niès Artur, Ki out l'espée Caliburc").[5][6]

text: In Wace's Roman de Brut (c. 1150-1155), an Old French translation and versification of Geoffrey of Monmouth's Historia Regum Britanniae, the sword is called Calabrum, Callibourc, Chalabrun, and Calabrun (with alternate spellings such as Chalabrum, Calibore, Callibor, Caliborne, Calliborc, and Escaliborc, found in various manuscripts of the Brut).[7]

text: In Chrétien de Troyes' late 12th century Old French Perceval, Gawain carries the sword Escalibor and it is stated, "for at his belt hung Escalibor, the finest sword that there was, which sliced through iron as through wood"[8] ("Qu'il avoit cainte Escalibor, la meillor espee qui fust, qu'ele trenche fer come fust"[9]). This statement was probably picked up by the author of the Estoire Merlin, or Vulgate Merlin, where the author (who was fond of fanciful folk etymologies) asserts that Escalibor "is a Hebrew name which means in French 'cuts iron, steel, and wood'"[10] ("c'est non Ebrieu qui dist en franchois trenche fer & achier et fust"; note that the word for "steel" here, achier, also means "blade" or "sword" and comes from medieval Latin aciarium, a derivative of acies "sharp", so there is no direct connection with Latin chalybs in this etymology). It is from this fanciful etymological musing that Thomas Malory got the notion that Excalibur meant "cut steel"[11] ("'the name of it,' said the lady, 'is Excalibur, that is as moche to say, as Cut stele'").

text: Excalibur and the Sword in the Stone[edit]

text: In Arthurian romance, a number of explanations are given for Arthur's possession of Excalibur. In Robert de Boron's Merlin, the first tale to mention the "sword in the stone" motif, Arthur obtained the British throne by pulling a sword from an anvil sitting atop a stone that appeared in a churchyard on Christmas Eve.[12][note 1] In this account, the act could not be performed except by "the true king," meaning the divinely appointed king or true heir of Uther Pendragon. This sword is thought by many to be the famous Excalibur, and its identity is made explicit in the later Prose Merlin, part of the Lancelot-Grail cycle.[13] This version also appears in the 1938 Arthurian novel The Sword in the Stone by British author T. H. White, and the Disney adaptation. They both quote the line from Thomas Malory in the 15th century; "Whoso Pulleth Out This Sword of this Stone and Anvil, is Rightwise King Born of all England".[14] The challenge of drawing a sword from a stone also appears in the Arthurian legends of Galahad, whose achievement of the task indicates that he is destined to find the Holy Grail ,

text: However, in what is called the Post-Vulgate Cycle, Excalibur was given to Arthur by the Lady of the Lake sometime after he began to reign. She calls the sword "Excalibur, that is as to say as Cut-steel." In the Vulgate Mort Artu, Arthur orders Griflet to throw the sword into the enchanted lake. After two failed attempts (as he felt such a great sword should not be thrown away), he finally complies with the wounded king's request and a hand emerges from the lake to catch it, a tale which becomes attached to Bedivere instead in Malory and the English tradition.[15] Malory records both versions of the legend in his Le Morte d'Arthur, naming both swords as Excalibur.[16][17]

text: History[edit]

text: In Welsh legend, Arthur's sword is known as Caledfwlch. In Culhwch and Olwen, it is one of Arthur's most valuable possessions and is used by Arthur's warrior Llenlleawg the Irishman to kill the Irish king Diwrnach while stealing his magical cauldron. Irish mythology mentions a weapon Caladbolg, the sword of Fergus mac Róich. Caladbolg was also known for its incredible power and was carried by some of Ireland's greatest heroes. The name, which can also mean "hard cleft" in Irish, appears in the plural, caladbuilc, as a generic term for "great swords" in Togail Troi ("The Destruction of Troy"), the 10th century Irish translation of the classical tale.[18][19]

text: Though not named as Caledfwlch, Arthur's sword is described vividly in The Dream of Rhonabwy one of the tales associated with the Mabinogion:

text: Then they heard Cadwr Earl of Cornwall being summoned, and saw him rise with Arthur's sword in his hand, with a design of two chimeras on the golden hilt; when the sword was unsheathed what was seen from the mouths of the two chimeras was like two flames of fire, so dreadful that it was not easy for anyone to look. At that the host settled and the commotion subsided, and the earl returned to his tent.

text: In the late 15th/early 16th-century Middle Cornish play Beunans Ke, Arthur's sword is called Calesvol, which is etymologically an exact Middle Cornish cognate of the Welsh Caledfwlch. It is unclear if the name was borrowed from the Welsh (if so, it must have been an early loan, for phonological reasons), or represents an early, pan-Brittonic traditional name for Arthur's sword.[21]

text: Geoffrey's Historia is the first non-Welsh source to speak of the sword. Geoffrey says the sword was forged in Avalon and Latinises the name "Caledfwlch" as Caliburnus. When his influential pseudo-history made it to Continental Europe, writers altered the name further until it finally took on the popular form Excalibur (various spellings in the medieval Arthurian Romance and Chronicle tradition include: Calabrun, Calabrum, Calibourne, Callibourc, Calliborc, Calibourch, Escaliborc, and Escalibor[22]). The legend was expanded upon in the Vulgate Cycle, also known as the Lancelot-Grail Cycle, and in the Post-Vulgate Cycle which emerged in its wake. Both included the work known as the Prose Merlin, but the Post-Vulgate authors left out the Merlin continuation from the earlier cycle, choosing to add an original account of Arthur's early days including a new origin for Excalibur.

text: In several early French works, such as Chrétien de Troyes' Perceval, the Story of the Grail and the Vulgate Lancelot Proper section, Excalibur is used by Gawain, Arthur's nephew and one of his best knights. This is in contrast to later versions, where Excalibur belongs solely to the king.

text: Attributes[edit]

text: In many versions, Excalibur's blade was engraved with phrases on opposite sides: "Take me up" and "Cast me away" (or similar). In addition, when Excalibur was first drawn, in the first battle testing Arthur's sovereignty, its blade blinded his enemies. Thomas Malory[23] writes: "thenne he drewe his swerd Excalibur, but it was so breyght in his enemyes eyen that it gaf light lyke thirty torchys."

text: Excalibur's scabbard was said to have powers of its own. Loss of blood from injuries, for example, would not kill the bearer. In some tellings, wounds received by one wearing the scabbard did not bleed at all. The scabbard is stolen by Morgan le Fay in revenge for the death of her beloved Accolon and thrown into a lake, never to be found again.

text: Nineteenth century poet Alfred, Lord Tennyson, described the sword in full Romantic detail in his poem "Morte d'Arthur", later rewritten as "The Passing of Arthur", one of the Idylls of the King:

text: Arthur's other weapons[edit]

text: Excalibur is by no means the only weapon associated with Arthur, nor the only sword. Welsh tradition also knew of a dagger named Carnwennan and a spear named Rhongomyniad that belonged to him. Carnwennan ("Little White-Hilt") first appears in Culhwch and Olwen, where Arthur uses it to slice the Black Witch in half.[1][24] Rhongomyniad ("spear" + "striker, slayer") is also first mentioned in Culhwch, although only in passing; it appears as simply Ron ("spear") in Geoffrey's Historia.[1][3]

text: The Alliterative Morte Arthure, a Middle English poem, mentions Clarent, a sword of peace meant for knighting and ceremonies as opposed to battle, which Mordred stole and then used to kill Arthur.[25] The Prose Lancelot of the Vulgate Cycle mentions a sword called Seure, which belonged to the king but was used by Lancelot in one battle.[26]

text: Similar weapons[edit]

text: In Welsh mythology The Dyrnwyn ("White-Hilt") is said to be a powerful sword belonging to Rhydderch Hael,[27] one of the Three Generous Men of Britain mentioned in the Welsh Triads. When drawn by a worthy or well-born man, the entire blade would blaze with fire. Rhydderch was never reluctant to hand the weapon to anyone, hence his nickname Hael "the Generous", but the recipients, as soon as they had learned of its peculiar properties, always rejected the sword.

text: There are other similar weapons described in other mythologies. In particular, Claíomh Solais, which is an Irish term meaning "Sword of Light", or "Shining Sword", which appears in a number of orally transmitted Irish folk-tales.


document_title: Where'd You Go, Bernadette (film)

question_text: who is playing bee in where'd you go bernadette

question_tokens: who is playing bee in where 'd you go bernadette

text: Where'd You Go, Bernadette (film)

text: Premise[edit]

text: Bernadette hates people, she hates leaving the house, and more than anything, she hates the other parents at her daughter Bee's school. When she disappears, it's Bee's mission to find out where she's disappeared to and what really happened to her.

text: Cast[edit]

text:
Cate Blanchett as Bernadette Branch
Billy Crudup as Elgie Branch
Emma Nelson as Bee Branch
Kristen Wiig as Audrey
Judy Greer as Dr. Kurtz
Laurence Fishburne
James Urbaniak as Marcus Strang
Troian Bellisario as Becky
Zoë Chao as Soo-Lin
Claudia Doumit as Iris

text: Production[edit]

text: In January 2013, Annapurna Pictures and Color Force acquired the rights to the film adaptation of the novel, with Scott Neustadter and Michael H. Weber writing the screenplay, Semple, Bryan Unkeless, and Ted Schipper executive producing.[1] In February 2015, Richard Linklater was announced to direct the film.[2] In November 2015, Cate Blanchett joined the cast of the film.[3]  In April 2016, It was announced that Holly Gent Palmo and Vince Palmo had taken over writing duties on the film.[4]

text: In March 2017, Kristen Wiig was announced to star in the film.[5] In May 2017, Billy Crudup joined the cast of the film.[6] In June 2017, Judy Greer, James Urbaniak, and Laurence Fishburne joined the cast of the film.[7][8][9] In July 2017, Troian Bellisario joined the cast of the film.[10] Graham Reynolds will compose the film's score.[11] In June 2018, Emma Nelson joined the cast of the film.[12]

text: Filming[edit]

text: Principal photography began on July 10, 2017.[13][14][15]

text: Release[edit]

text: It was scheduled to be released on May 11, 2018.[16] It was then pushed back to October 19, 2018.[17] It was then pushed again to March 22, 2019.[18]