Iodine and Adult IQ meta-analysis "Iodization is one of the great success stories of public health intervention: iodizing salt costs pennies per ton, but as demonstrated in randomized & natural experiments, prevents goiters, cretinism, and can boost population IQs by a fraction of a standard deviation in the most iodine-deficient populations." www.gwern.net/Iodine
Isaac Swan Do you know what else reduces Children’s IQ: Lead. We absolutely know the consequences of lead ingestion on development and it far outweighs the effects of fluoride. Lead wasn’t removed from fuel until the late-80’s. Lead wasn’t removed from paint until the late 70’s. Depending on the city, there may be lead in the water system. If you actually believe that fluoride lowers IQ, that means that Boomers are amongst the dumbest people to ever exist because they were poisoned by both lead and fluoride every time they took a sip of water.
The fluidity with which he moves from chord to chord and the arsenal of chords available to him and his knowledge of how they fit together is impressive.
@@Barefoot67 He used to analyze songs by others a lot; and not only pop music of course. In the book "Songwriters On Songwriting" (Paul Zollo) he talks a lot about Antonio Carlos Jobim as a major influence when it comes to chord progressions and voicings.
James France genius: 1. exceptional intellectual or creative power or other natural ability. 2. an exceptionally intelligent person or one with exceptional skill in a particular area of activity. Certainly this word can be applied in music. Paul Simon is a musical genius. Maybe *you* need to look up the word.
"We talked about some old times, And drank ourselves some whiskey. Still limber, and so damn frisky. Woooaahhhhh still limber, and so damn friskyyyyyyyyy"
Aside from Paul's wonderful musical prowess, I enjoy just listening to him speak. There's such a calm, stoic manner about him that I find myself drawn to.
Paul said that he had two options: either to go from D9 to G major, or from D9 to G# minor. In the end, he did neither. He went from D9 to E major 7. Later on, in the studio, with the session musicians and all, he changed the key of the whole song from D to G. Just so you know.
If you look closely, you will see that G#minor is the same as E Major 7 without the root (E is the root of E Major 7, but the bass player is probably covering this note anyway, so the guitar will often omit the root or hide it within the structure to avoid stepping on the bass players toes, meaning playing some hip inversion of G#min when you see EMaj7 is both correct and awesome)
nice ! Maybe he was thinking of the D9 as a 'backdoor' ii V in Emaj (in E the D9 would function as a bVII) and i'm sure he'd be only too happy to explain it :)
I guess he was pretty happy with choice to go to AMaj7 in the bridge since Richard Tee ended up using it as the intro in that nice AMaj7 - B Sus - EMaj7 - Am - C - C/G - G bit.
i actually appreciate how nobody in the audience reacts after he finished the song and just sits there in awe, not daring to make a sound. i hate these artificial outbursts they put in shows with live audiences these days.
@@disturbedcarrot And a good thing too, although it was never Cavetts style, imagine him or rather some other hack of a host going "How about that? Pretty good huh! How about a round of applause for mr Paul Simon!" Although I can appreciate people like Letterman and a few others as well, he could easily have ruined a vibe such as this (saw Letterman doing that once when Regina Spektor played his show for instance).
It's also cool because Paul Simon can be so nervous and tentative talking about things but when he gets down to the nitty gritty of composition you can see how relaxed and confident he gets. Its not just about having a brilliant idea popping into his head but the whole examination of how and why music evokes certain responses.
@@bellycuda I kinda feel sorry for you too. I’ve replied to a comment of yours from over 3 years ago and you’ve replied to me in minutes. You mustn’t have much of a social life to reply that quick. Now I’m stunned.
I can't imagine something like that happening today, an established singer bringing a half-finished song on national TV, brainstorming, then the song becomes a hit. The way Paul Simon talks about writing music, selecting different chords after establishing a pattern, to please the listeners' ears is fascinating. Links to comedy, for sure. Smart dude.
Yes Dan, and for a musician of Simon's caliber and renown, he's incredibly humble and unassuming here. I was actually wishing Cavett would cool it with the cheap jokes so that such a precious moment with Simon could blossom more unimpeded.
Ted L. I agree. Dick should have realized that always reaching for a quip can break the spell of these intimate and fascinating moments. Simon is letting us in on the making of one of his best songs and Cavet can’t lay back enough.
The term "genius" is overly-used, but there are those who do have the gift. Paul is among them. The level of sophistication in his chord movements and the ease with which he played them is stunning. Not all great guitar players are lead solo stars.
Yes but also simon is one of the most successful writers of all time and the album sales show it. The simon and garfunkel in central park had half a million in attendance
@@robbieclark7828 No, you're saying that if people don't see him as one of the greatest they lack informations (and thus are wrong). I love Paul Simon really much, but I don't think calling those who don't ignorants makes any sense.
I met my old lover On the street last night She seemed so glad to see me I just smiled And we talked about some old times And we drank ourselves some beers Still crazy after all these years Still crazy after all these years I'm not the kind of man Who tends to socialize I seem to lean on Old familiar ways And I ain't no fool for love songs That whisper in my ears Still crazy after all these years Still crazy after all these years Four in the morning Crapped out Yawning Longing my life away I'll never worry Why should I? It's all gonna fade Now I sit by my window And I watch the cars I fear I'll do some damage One fine day But I would not be convicted By a jury of my peers Still crazy Still crazy Still crazy after all these years
I'm so glad Cavett didn't even attempt to get serious about this. He might have led Paul astray from where he would eventually end up. The musical and lyrical shift in the final version makes it one of the greatest bridges in pop history.
Paul Simon is such a intentional songwriter it almost makes me want to change every song I’ve written with only 3 chords that repeat cyclically through the entire song. I find comfort in knowing there’s great songs like Fleetwood Mac’s “Dreams” which are literally the same 2 chords played over and over through the entire song.
I hear ya. Technically though, on the chorus Fma7 and G6 are played on occasion instead of F and G, at least on the keyboard. But, you only have to add an E to each, so simplicity still rules. Thanks for bringing this up, I need a song to practice my near non-existent keyboard skills! :)
It takes something special to write great sounding songs with basic ingredients. But to write great sounding songs with complex chords and complex melodies and yet all sounds simple...? I don't even know what that is. It's less songwriting, more wizardry.
paul finishes and cavett is stunned speechless, so paul quickly starts changing the subject before anyone can even react.. that moment of silence shows how much of a masterpiece he just played
I didn't realize it until I went to play his stuff. I can only do the "simplified" versions. I finally got down my own rendition of Something So Right. Took months and is but a shadow of Paul's genius.
@@shawnstarks1743 damn right. I noticed I can't even find tabs of his music that are considered 100% accurate because he played his songs so differently each time. He was also very fluid and dynamic and just played off the cuff. Just like most blues and jazz style playing.
@@larsfaye292 Yea dude, him and Ian Anderson of Jethro Tull "Thick as a brick". Two of the most unlikely looking rock stars. KILLERS. Something about those guys of the 60's and 70's. No youtube no Tab books that they had to learn from. FKN GIANTS!
Usually people are automatically clapping at the end of a tv performance. I love how at 1:41, when Paul Simon stop playing, everyone is stunned by the quality of the song. They don't applause because they don't like it but because they're so emotionaly into the story and the music. It's quite unique and fascinating. Well done Paul.
They didn't know if they should, because the song was unfinished, but also because it looked like Simon was gonna say something. Did no one else notice this, seriously?
Notice how Simon burns Cavett at 4:15 in commenting on using comic bits more than twice...essentially what Cavett did in responding to Simon's notes about chord & note selection. Simon is a real class act!
Here he plays the song on the guitar in D. On the record it was played on electric piano in G. What he actually ended up doing after that second verse, the part he is trying to write in the video, was brilliant. He modulated the key up a whole step and wrote a gorgeous bridge melody for the lyrics “four in the morning…”
This is unbeleivably great. The insane talent of Paul Simon in full flow, and in an environment of genuine engagement and involvement from both interlocutors. Modern TV is rubbish, let's face it.
I just watched this for the second time and while Paul was playing Still Crazy all I could do was watch his hands on the guitar. He plays so effortlessly; he makes it look really easy.
One of my favorite interviews of all time. I wish Paul would've recorded the song this way, the orchestral arrangement on his recording was much less beautiful than his solo acoustic guitar.
Can’t even imagine how cool it would have been to see this live whether in person or the first time it aired, seeing this song in its incomplete form. Such an incredibly beautiful song.
Four in the morning... crapped out,yawning.... longing my life away.... I’d have to say he found the perfect lyrics and created a melody the likes of Mozart. Pure Genius!!
I would so love to see all of this episode. I'm dying to know more about Paul Simon's personality and Dick Cavett always seemed to somehow bring this out in people. He seems like such an awkard guy, yet his guests just completely open up where they don't on other shows.
im 48. i always thought he was old music growing up. i listened to all types of rap, started guitar at 20yrs old, this man is a fucking legend to me now damn
Funny, but never though this was a simple sounding song at all. It's full of odd jazz chords and jazz transitions. And then there's that radical break to a different key in the middle section (he doesn't play it in this video), the "Four in the morning, crapped out, yawning" part.
That's what adds the richness to it...if you buy one of those crappy "Songs For Buskers" type books you'll probably find this in there written in a simplified form that sounds passable, but it's the opening up of those chords that makes it so much more.
I totally agree. Though it's a magnificent vocalline, it doesn't sound "difficult". Paul could have used less chords (for easy guitar! ;) ), but his genius is that he makes even this imho pretty clever arrangement sound "simple". No, he makes it sound logical! I'm ususally a fan of pretty straight chords, but Paul is one of the few artists that never ceases to amaze me on how he arranges his wonderful compositions with surprising chord-changes. Awesome!!!! BTW: we must not confuse composition (vocalline and lyrics) with arrangement....
How does someone write like that? It sounds like a basic blues song, "well since my baby left me..." but it has a million chords and most of them are augmented and so many changes.
@@sabbracadabra8367 Obviously anyone able to write like this has to have a ton of musical talent, but it certainly takes a lot of practice as well. I'm not convinced Paul Simon could have written this same song in, say 1964, talented as he is and obviously was already back then. But in 1976 he was fifteen or so years into the craft, and I think that is as essential as the raw talent.
Having heard this song for most of my life it's really weird to see a time when this song was only half finished , merely an imagination and full of potential , he has no idea at this point it'll become a classic .
Paul gave, quite possibly, the most critical songwriting tip here. The listener needs variety in a song so that they stay engaged from start to finish. The introduction of a key change or a new chord, even a rhythmic variation are all ways to keep your listener engaged. More profoundly he theorizes that this is true in other modes of expression such as comedy. I think Dick really seemed to enjoy that.
Yes, that was some very cool insight into not just songwriting, but other creative endeavors. I don't know a lot of his songs (yet) on guitar, but I have noticed he often uses more than one key in a song - which is a little unusual (like in Mrs. Robinson, but it's subtle). On the other hand, some very old classic songs have only three or four chords in the same key, and those kill. So, more than one way to approach things, which is very interesting.
Blake Shelton wouldn't turn around, Adam Levine would try to "fix" Paul's voice by coaching him to add falsetto, and Heidi Klum would say he's adorable but too boring for her.
This is like watching people (both of them) catch lightning in a bottle. The song is a classic and we can watch it being born. Paul Simon is a genius for writing just this song.
Greg White Great song, indeed. One of Simon’s best. It’s interesting that he’s talking here about being stuck on the bridge. What he eventually came up with for that section of the song is so perfect. Dreamy, wistful, quietly regretful.
They're speaking so matter-of-factly about the birth of such an utterly magnificent song. Even in its incomplete form, it's one of the greatest pieces of songwriting I've ever heard.
Just stumbled on this. I was actually watching Dick Cavett as a kid (we stayed up late on weekends at Dad's) and saw this very show. In 1975 when the finished song came out as the title track to "Still Crazy" I said to myself, well he did finally finish that song from the Cavett show!
Thanks for uploading this. You just turned me into an instant Paul Simon fan, as a result of looking up the "Still Crazy After All These Years" album and listening through it now. This was just a bit before my time.
Just my tuppence, a beautiful moment of a genuine truly gifted musician sharing his thought process in what has to be one of the best if not the best chord progression in modern music...his most touching song ever.
Paul Simon is so good and so unique. His songs are a musical experience and his musicians are just amazing. Steve Gadd on drums who played on Aja album. He is a slice of New York as well. Brilliant.
i love his beautiful chords -- had no idea that he was this knowledgeable in theory and perceptive to how the audience will hear his music. i have a new founding respect to him. great musician
I was walking along the shared path this afternoon and a couple of schoolboys passed in the other direction on scooters. I caught the word 'meanwhile' as they went by. It gave me hope.
i'm a composer, yet i am still fascinated by other composers & their composition process. where does it come from? different composers will give u different answers, but it all boils down to it being a mystery. that's what makes it so fascinating. we're painting pictures with sounds & rhythms.
