{"id":9972,"date":"2022-05-20T08:01:13","date_gmt":"2022-05-20T07:01:13","guid":{"rendered":"https:\/\/aata.dev\/?p=9972"},"modified":"2022-05-20T08:01:15","modified_gmt":"2022-05-20T07:01:15","slug":"heres-to-you-mrs-robinson","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2022\/05\/20\/heres-to-you-mrs-robinson\/","title":{"rendered":"Here\u00b4s to you, MRS. ROBINSON"},"content":{"rendered":"\n

Here\u00b4s to you, MRS. ROBINSON<\/strong><\/p>\n\n\n\n

by Norman Warwick<\/strong><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

According to a recent piece published in American Songwriter, the infamous song \u201cMrs. Robinson\u201d by Simon & Garfunkel (left)<\/em><\/strong> is the unofficial anthem of an extramarital affair. It\u2019s the unofficial anthem of the older woman. It\u2019s the harmony-driven song of the sultry suburban tryst.<\/p>\n\n\n\n

It\u2019s also, added the writer, one of the greatest American pieces of music of the 20th Century.<\/p>\n\n\n\n

The song, as mentioned, was written, according to Wiki at any rate, by American duo Paul Simon and Art Garfunkel\u2014aka Simon & Garfunkel\u2014and it appeared on the tandem\u2019s fourth studio record, Bookends, in 1968. It was first released as a single on April 5 of that year.<\/p>\n\n\n\n

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Hoffman and Bancroft  But what truly made it a hit beyond even the musicality and the hands that wrOte it was its inclusion on the soundtrack for the immensely popular 1967 film The Graduate<\/em>, which starred Dustin Hoffman. The movie is about a recent college graduate who\u2019s come back home, aimless. He\u2019s seduced by an older neighbour, Mrs. Robinson, (Anne Bancroft, right, with Hoffman)<\/em><\/strong> a relationship  requiring further investigation.<\/p>\n\n\n\n

The track is an acoustic-driven song with clean, bright production and divine harmonies from the two singers. It includes references to big names like New York Yankees baseball player Joe DiMaggio, and Jesus.<\/p>\n\n\n\n

The version of \u201cMrs. Robinson\u201d in the movie employs what\u2019s known as a \u201cBo Diddly beat,\u201d which goes duh-duh-duh-dh-dh<\/em>, or 1-2-3-4-5<\/em>. The final version for the movie, which was completed on February 2, 1968, was released three months after the film came out. In it, a louder and more staccato bass drum can be heard along with splashy cymbals.<\/p>\n\n\n\n

But more than by any percussion instrument, the song is driven by acoustic guitars and acoustic leads and the duo\u2019s signature harmonies. On the track, Simon also sings a quick \u201ccoo-coo-ca-choo,\u201d which is an homage to the Beatles and their song, \u201cI Am the Walrus.\u201d<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Simon pitched the song to film director Mike Nichols (left)<\/em><\/strong> with Garfunkel after Nichols reportedly rejected two other songs that the duo had intended for the movie. The soundtrack for the film uses two short versions of \u201cMrs. Robinson.\u201d And a full version of the song was included on Bookends<\/em>. \u201cMrs. Robinson\u201d was again released later on an EP of the same name in 1968 along with three other tunes from the movie: \u201cApril Come She Will,\u201d \u201cScarborough Fair\/Canticle\u201d and \u201cThe Sound of Silence.\u201d<\/p>\n\n\n\n

After Simon & Garfunkel had risen to fame in the mid-1960s by touring constantly and releasing a string of hits, film director Mike Nichols, who was beginning work with The Graduate<\/em>, became enamoured with the duo\u2019s song-writing. Allegedly he was listening to the duo non-stop before and after filming.<\/p>\n\n\n\n

So, Nichols set up a meeting with Columbia Records chairman Clive Davis to see about permission and song licensing for the film. Davis was on board and saw images of a best-selling soundtrack.<\/p>\n\n\n\n

Paul Simon, unlike Nichols and Davis, wasn\u2019t so sure about the pairing, however, figuring that licensing his music to a film soundtrack was akin to selling out. Nevertheless, Simon agreed to write one or two new songs for the movie after meeting Nichols and finding himself impressed by both the director\u2019s intelligence and the film script.<\/p>\n\n\n\n

Agent Leonard Hirshan, of William Morris, negotiated a deal that paid Simon $25,000 to submit three songs to Nichols.<\/p>\n\n\n\n

Simon, some weeks later, came back to Nichols with two new tracks: \u201cPunky\u2019s Dilemma\u201d and \u201cOvers.\u201d But the director didn\u2019t particularly dig either of them. Nichols asked if they were working on anything else and the duo quickly returned with an early version of \u201cMrs. Robinson.\u201d<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Originally, the now-famous song was titled \u201cMrs. Roosevelt.\u201d When Simon & Garfunkel came to play it for Nichols after he\u2019d rejected their other two offerings, he was overjoyed. He later said, \u201cThey filled in with dee de dee dee de dee dee dee<\/em> because there was no verse yet, but I liked even that.\u201d<\/p>\n\n\n\n

Explained Garfunkel later, \u201cPaul had been working on what is now \u2018Mrs. Robinson\u2019, but there was no name in it and we\u2019d just fill in with any three-syllable name. And because of the character in the picture we just began using the name \u2018Mrs. Robinson\u2019 to fit [\u2026] and one day we were sitting around with Mike talking about ideas for another song. And I said \u2018What about Mrs. Robinson.\u2019 Mike shot to his feet. \u2018You have a song called \u201cMrs. Robinson\u201d and you haven\u2019t even shown it to me?\u2019 So we explained the working title and sang it for him. And then Mike froze it for the picture as \u2018Mrs. Robinson’\u201d<\/p>\n\n\n\n

Simon, who was a baseball fan (and a New York Yankees fan, in particular), loved Mickey Mantle. When asked on The Dick Cavett Show<\/em> why, then, did he not cite Mantle over DiMaggio he retorted, \u201cIt\u2019s about syllables, Dick. It\u2019s about how many beats there are.\u201d<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Simon reportedly later met DiMaggio at a restaurant in New York City in the 1970s and the slugger immediately asked Simon, \u201cWhat I don\u2019t understand is why you ask where I\u2019ve gone. I just did a Mr. Coffee commercial, I\u2019m a spokesman for Bowery Savings Bank and I haven\u2019t gone anywhere!\u201d<\/p>\n\n\n\n

Apparently, DiMaggio wasn\u2019t up for poetic license.<\/p>\n\n\n\n

Simon later said of the encounter, \u201cI didn\u2019t mean the lines literally, that I thought of him as an American hero and that genuine heroes were in short supply. He accepted the explanation and thanked me. We shook hands and said good night.\u201d<\/p>\n\n\n\n

Later, in a New York Times<\/em> piece in March 1999, not long after DiMaggio had died, Simon talked about their meeting and said also that the line was intended as a sincere tribute to the baseball player and his unpretentious and modest heroic stature in a time when pop culture distorts how people perceive their heroes.<\/p>\n\n\n\n

He said, \u201cIn these days of Presidential transgressions and apologies and prime-time interviews about private sexual matters, we grieve for Joe DiMaggio and mourn the loss of his grace and dignity, his fierce sense of privacy, his fidelity to the memory of his wife and the power of his silence.\u201d<\/p>\n\n\n\n

Simon performed \u201cMrs. Robinson\u201d in Yankee Stadium in the late slugger\u2019s honour that same year.<\/p>\n\n\n\n

The song was Simon & Garfunkel\u2019s second chart-topping hit, peaking at No. 1 on the Billboard<\/em> Hot 100. It was also a top-10 hit in the U.K., Ireland and Spain, among other countries.<\/p>\n\n\n\n

In 1969, the track became the first rock tune to win a Grammy for Record of the Year. It\u2019s also been covered by big names like Frank Sinatra and Bon Jovi.<\/p>\n\n\n\n

\u201cMrs. Robinson\u201d received two Grammy Awards at the 11th annual celebration in 1969. Not only was it the first rock song to win Record of the Year, it won the Grammy for Best Contemporary-Pop Performance\u2014Vocal Duo or Group.<\/p>\n\n\n\n

It was, however, ineligible for the Oscar due to the fact that a nominee must have written a song exclusively<\/em> for a film. \u201cMrs. Robinson\u201d apparently didn\u2019t fit the bill.<\/p>\n\n\n\n

In 2010, news broke that Iris Robinson, who was the wife of Northern Ireland First Minister Peter Robinson, was having an affair with the adult child of a family friend, who was 40 years her junior. When that news became public, many sought to get Simon & Garfunkel\u2019s \u201cMrs. Robinson\u201d back to the No. 1 spot.<\/p>\n\n\n\n

Legendary film director Quentin Tarantino used \u201cMrs. Robinson\u201d in his 2019 Oscar-winning film, Once Upon a Time in Hollywood<\/em>. In plays during a scene when Brad Pitt\u2019s character (Cliff Booth) sees a much younger girl, intriguing him.<\/p>\n\n\n\n

The song was also covered by Ol\u2019 Blue Eyes, himself. Frank Sinatra recorded it for his 1969 album, My Way<\/em>, though Sinatra\u2019s version changes a few lines, replacing \u201cJesus\u201d with \u201cJilly.\u201d It also includes a new verse, which references the song\u2019s namesake character from The Graduate<\/em>. Allegedly the words were changed due to the refusal of some radio stations to play the song due to the original \u201cJesus\u201d reference.<\/p>\n\n\n\n

The song opens with the word \u201cAnd,\u201d which is a unique choice, as if it begins in the middle of something. Perhaps this made it perfect for a film, which has its own story going.<\/p>\n\n\n\n

The song perhaps come across as sarcastic, despite its angelic sonic quality. It\u2019s second stanza begins:<\/p>\n\n\n\n

We\u2019d like to know a little bit about you for our files
We\u2019d like to help you learn to help yourself
Look around you, all you see are sympathetic eyes
Stroll around the grounds until you feel at home
And here\u2019s to you, Mrs. Robinson
Jesus loves you more than you will know
Whoa, whoa, whoa<\/em><\/p>\n\n\n\n

These lyrics offer a sense of paranoia, like the C.I.A. (or the church, or God?)<\/strong> is watching\u2014a common feeling amongst people (and artists) in the 1960s with the rise of the American post-war government. There are several references to God and Jesus as well as candidates and government figures.<\/p>\n\n\n\n

And the song concludes with the now famous reference to DiMaggio, who is, at least in Simon\u2019s eyes perhaps, a better king to lead us than our government:<\/p>\n\n\n\n

Where have you gone, Joe DiMaggio?
Our nation turns its lonely eyes to you
What\u2019s that you say, Mrs. Robinson?
Joltin\u2019 Joe has left and gone away<\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n


<\/em>For those who\u2019ve seen the movie, whenever the song comes on, it\u2019s impossible not to think of Hoffman looking out into space, thinking of his life and the pickle he is in. Caught in the middle of an affair and his new love for Mrs. Robinson\u2019s daughter (played by (Katherine Ross, right)<\/em><\/strong> , his character is also aimless and restless, not knowing what\u2019s next for his life post-college.<\/p>\n\n\n\n

With a jangly acoustic guitar and singing voices beyond compare, \u201cMrs. Robinson\u201d packs so much in just four minutes.<\/p>\n\n\n\n

photo anne In real life I never did emulate Benjamin Braddock, and I\u00b4m not even met a Mrs. Robinson, let alone the beautiful Anne Bancroft who played her \u2026..if I did I was certainly too slow on the uptake ! I did, however, \u00b4immortalise\u00b4 the Mayfair Cinema in a monologue, which I recorded with Lendanear, called Old Flames, although my wife subsequently banned me from performing it in public !<\/p>\n\n\n\n

Speaking of Lendanear, there might be some folkie veterans in the North West of England who have fond (or otherwise) memories of the duo of myself and Colin Lever, aka Lendanear.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

If you like your folk music, though, we recommend our forthcoming week long Lendanear To Folk in-print Festival<\/strong> beginning on Monday 4th<\/sup> June. <\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

From Monday to Friday of that week we shall post a series of daily blogs examining what has been called the \u00e1lchemy of creativity. This examination will be conducted through the memories of Lendanear, a song-writing duo of the nineteen seventies who, even today, are constantly shape-shifting their songs nearly fifty years later. We will look at what opportunities writers have today to flip formats, as we lend an ear to old songs in new settings. We will examine the counter claim that there is no such thing as the alchemy of creativity, which some believe is just a way of saying accidents happen. We will carry an academic essay by the scholar who coined the phrase and then close our festival with a serendipitous tale about folk-legend Alan Bell, folk singer-writer, activist and founder of Fylde Folk Festival. With Lendanear playing devil\u00b4s advocates on either side of the argument, it should all make for some provocative reading.  <\/p>\n\n\n\n

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please note logo <\/strong>The primary source for this article was  a press release by Lancelot Digital, who are an excellent and positive information stream not only for the arts but for life in general on Lanzarote. The outlet, though, is a force for good, unafraid to question the government and its councils and to monitor outcomes.<\/strong><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with genres and practitioners along all the sidetracks & detours we take.<\/strong><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

This article was collated by Norman Warwick, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/strong><\/p>\n\n\n\n

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve Bewick, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio Four.<\/strong><\/p>\n\n\n\n

As a published author and poet Norman was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (for which he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/strong><\/p>\n\n\n\n

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e mail logo The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/strong>normanwarwick55@gmail.com<\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Beiung a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/strong> in your submission. <\/strong><\/p>\n\n\n\n

We look forward to hearing from you.<\/strong><\/p>\n\n\n\n

Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those share information to reach as wide and diverse an audience as possible.<\/strong><\/p>\n\n\n\n

correspondents                                Michael Higgins<\/p>\n\n\n\n

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songfacts                                           en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

The version of \u201cMrs. Robinson\u201d in the movie employs what\u2019s known as a \u201cBo Diddly beat,\u201d which goes duh-duh-duh-dh-dh, or 1-2-3-4-5. The final version for the movie, which was completed on February 2, 1968, was released three months after the film came out. In it, a louder and more staccato bass drum can be heard along with splashy cymbals.<\/p>\n","protected":false},"author":2,"featured_media":9985,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[78],"tags":[],"class_list":["post-9972","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/9972","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=9972"}],"version-history":[{"count":3,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/9972\/revisions"}],"predecessor-version":[{"id":9988,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/9972\/revisions\/9988"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/9985"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=9972"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=9972"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=9972"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}