Word: garfunkels
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...remember another Lewis manifestation, on Dick Clark's "Bandstand." It was Thanksgiving Day 1957 and, as Tosches notes, the other guests were the teen duo Tom and Jerry, later Simon and Garfunkel. For the kids in Philadelphia, Pa., Lewis sang his follow-up hit, "Great Balls of Fire." He tore through the number and, toward the end, shook his long, slicked-back blond hair until it fell forward, like a toupee attached at the brow line, virtually covering his face. He was suddenly a peroxided version of the Addams Family's Cousin Itt, and for a moment I could feel...
...capable outsider. But although the E.C.B. sets crucial monetary policy for 12 nations and prides itself on independence from politics, that's a bet few seasoned gamblers would take. INTELLECTUAL PROPERTY A Fight for the Rights to Silence When Mike Batt, British writer of cutesy hits like Art Garfunkel's Bright Eyes, was finishing his latest work, Classical Graffiti, an album of pop-classic arrange-ments by the Planets, he was careful to credit the ori-ginal composers. He even titled the minute's silence that preceded the bonus tracks One Minute's Silence and credited it to Batt/Cage...
...Sound Go Round looks like it came out of your Mom’s record collection, and the band itself seems to want to drift back to an easier, earlier time. The shot of them in the liner notes enjoying a park in autumn recalls Simon and Garfunkel, and the mounted police in the background seem ready to bust up those kids and that infernal hippy music. Unfortunately, the band with the rhyming name lacks the musical wherewithal to back up their allusions. Their songs drift towards the repetitive, as their tepid lyrics go swirling down the drain again...
...this Brian doesn't stint on the melodrama: there's a wrenching scene of a dying Piccolo kissing his sleeping children goodbye; when he gets the bad news from his doctor, a thunderstorm is raging. The cues are a touch more sophisticated (e.g., the sound track uses Simon and Garfunkel's mournful Bookends Theme, rather than cloying orchestration), but the improved production values have mostly to do with advances in TV. The 1971 film often looks like an episode of Room 222; the 2001 film, like an episode of The Practice...
...bedroom and touch both walls," recalls Bruckheimer. He escaped to the movies as often as he could and dreamed of making films like David Lean's 1962 Lawrence of Arabia, epic pictures with "bigger-than-life heroes, bigger-than-life villains." In 1967, The Graduate, with its Simon and Garfunkel songs, showed him how to wed pop movies with pop music. In 1970, after a brief career in advertising, Bruckheimer moved to Hollywood. As a fledgling producer, he put Blondie on the sound track of American Gigolo. He chose country music singer Faith Hill for Pearl Harbor because...