Editing Bookends (album) (section)

==Background==
[[Simon & Garfunkel]] first became prominent on American radio in 1965 with their record "[[The Sound of Silence]]", which became a [[hit single|hit]] during a period in which the duo had broken up due to the failure of their debut album, ''[[Wednesday Morning, 3 A.M.]]'' (1964). Following another release, ''[[Sounds of Silence]]'' (1965), the duo recorded and released ''[[Parsley, Sage, Rosemary and Thyme]]'' (1966), which brought new critical and commercial success to the duo. Simon, then 25, 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).{{sfn|Eliot|2010|p=89}} The duo chose [[William Morris Agency|William Morris]] as their [[Talent agent|booking agency]] after a recommendation from [[Wally Amos]], a mutual friend through their producer, [[Tom Wilson (producer)|Tom Wilson]].{{sfn|Eliot|2010|p=89}}

During the sessions for ''Parsley'', the duo cut "[[A Hazy Shade of Winter]]" and decided to release it as a single then, where it peaked at number 13 on the national charts.{{sfn|Fornatale|2007|p=57}} Similarly, they recorded "At the Zoo" for single release in early 1967 (it charted lower, at number 16).{{sfn|Fornatale|2007|p=58}} Simon began work for ''Bookends'' around this time, noting to a writer at ''[[High Fidelity (magazine)|High Fidelity]]'' that "I'm not interested in singles anymore".{{sfn|Fornatale|2007|p=61}} He had hit a [[writer's block|dry spell in his writing]], which led to no Simon & Garfunkel album on the horizon for 1967.{{sfn|Fornatale|2007|p=60}} 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.{{sfn|Fornatale|2007|p=61}} Amid concerns for Simon's idleness, Columbia Records chairman [[Clive Davis]] arranged for up-and-coming [[record producer]] [[John Simon (record producer)|John Simon]] to kick-start the recording.{{sfn|Fornatale|2007|p=62}} Simon was distrustful of "[[music executive|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.{{sfn|Fornatale|2007|p=63}}

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.{{sfn|Eliot|2010|p=88}} 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.{{sfn|Eliot|2010|p=89}} 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.{{sfn|Eliot|2010|p=89}} [[Leonard Hirshan]], a powerful agent at William Morris, negotiated a deal that paid Simon $25,000 (US${{formatnum:{{Inflation|US|25000|1968}}}} in {{Inflation-year|US}} dollars{{inflation-fn|US}}) to submit three songs to Nichols and producer [[Lawrence Turman]].{{sfn|Eliot|2010|p=90}} Several weeks later, Simon re-emerged with two new tracks, "[[Punky's Dilemma]]" and "[[Overs (song)|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.{{sfn|Eliot|2010|p=90}}