text:
Talk:Yorkshire pudding

Untitled
This recipe is incomplete. For example, it never tells you to put the mixture into the dripping-pan after you butter the pan, although I suppose you must. And no hints at all with respect to temperature, etc. -- Marj Tiefert, Friday, March 29, 2002
 * It also completely fails to say what's in the thing, other than 'batter'. --moof 02:05, 13 November 2005 (UTC)

Recipe
Why is there so much controversy over the recipe... — Preceding unsigned comment added by 149.241.130.129 (talk) 13:04, 1 June 2013 (UTC)

Traditional practice in Yorkshire, U.K.
OK, here's the good oil from a 58 year old Yorkshireman who has lived in Australia for 30 years but makes Yorkshire Pudding to my Grandmother's recipe, the wife of a third generation Yorkshire coal miner.

As a young boy in a coalmining village near Barnsley, Yorks. , Yorkshire pudding was served on Sundays as a first course, smothered in gravy. Because this used up the gravy (prepared with the roast beef drippings) the main course consisted of the meat, roast vegetables and a parsley 'white sauce'.

You sent your plate back to the kitchen with a 'code' consisting of things like knife and fork crossed, only one knife on the plate, one fork on the plate, etc, to identify whose plate it was, and it returned with the second course.

The pudding was made in a 'slab' in a large pan, cooked in the oven that, in industrial England, resided next to the coal fire and was heated by opening a 'flue' that connected the oven to the hot flames.

The recipe is very simple, one third egg, one third milk and one third plain flour, and a pinch of salt. Self raising flour is never used. The fat is, quite simply, the fat rendered off the roast beef, but if this is insufficient, commercial beef dripping can be used. I was not aware of lard ever being used.

I still use this recipe today in Australia, to rave reviews!!

I have taken the liberty of putting a recipe on the page, and expanding the reference to the pud being served as a first course.

User: MichaelGG 18 November 2006

I can vouch for the code, but I don't know if that is traditional or just common sense. I always used to remove my knife and fork to avoid getting gravy on them, and put my plate in a certain position. —Preceding unsigned comment added by 86.9.177.206 (talk) 19:01, 2 November 2009 (UTC)

Page move
This article has been renamed after the result of a move request:

Yorkshire Pudding → Yorkshire pudding
No need for capitalisation. sjorford →•← 10:44, 25 Feb 2005 (UTC)

 * Move in accordance with naming convention. Jonathunder 17:55, 2005 Feb 25 (UTC)
 * Oppose. I think "Yorkshire Pudding" is a proper noun and as such shouldn't be capitalized in accordance with the naming convention. Further, the British convention for capitalizing key words moreso than the Americans should win out, considering this is a British dish. —ExplorerCDT 18:01, 25 Feb 2005 (UTC)
 * Move See for example the Guardian style guide  Alai 18:26, 25 Feb 2005 (UTC)
 * So you want to lowercase "Yorkshire" too? —ExplorerCDT 19:05, 25 Feb 2005 (UTC)
 * Not especially, and that's moot as regards the article title. Alai 21:28, 26 Feb 2005 (UTC)
 * Support. violet/riga (t) 23:23, 25 Feb 2005 (UTC)
 * Support — this isn't an Americanism/Britishism issue: Wikipedia style for headings and titles is reasonable enough. Yorkshire is always capitalised as a proper noun. Neither pudding nor Yorkshire pudding are proper nouns, the p is not capitalised in body text, and (according to Wikipedia style) should not be capitalised in headings either. Gareth Hughes 00:13, 27 Feb 2005 (UTC)

Yorkshire Pudding and popover
Yorkshire pudding and popover seem to be the same. I asked to name the differences on the popover discussion page. No answer so far. How about to merge the both articles? 84.190.128.91 17:57, 14 January 2006 (UTC)

Well, Yorkshire pudding purists may argue that popovers are similar to the small puddings made in 'muffin tin' trays, but that genuine Yorkshire pudding is made as a slab in one tin. From my own experience in the UK and Australia, the small round puddings are typical of Britain outside of Yorkshire, and also widely available in restaurants where they lend themselves to a more attractive presentation on the plate user: MichaelGG - 18 November 2006.

Only with beef?
I quote, "The Yorkshire pudding is a staple of the British Sunday dinner, though only when beef is the meat". I've found this not to be the case. Yorkshire pudding is usually a staple part of Sunday dinner whatever the meat. Any views? Because I would like to hear your opinions.

May be served with any roast meat, even chicken. As a boy at my Grandmother's in Yorkshire lamb and pork were common for Sunday Dinner (note: Dinner refers to a meal served around midday). As an added bonus, because roasting pork is a very fatty meat, there was always a surplus of pan juices and fat that was saved and allowed to cool in a bowl as 'dripping'. This was a prized product, spread on bread as 'bread and dripping'. Michael28 December 2006

In my experience, only served with beef is right. Harry Metcalfe (talk) 18:35, 17 February 2009 (UTC)

Yup, I agree that only served with beef is right. Stuffing for chicken, crackling for pork, Yorkshire pud for beef, mint sauce for lamb. Finding a source to prove a negative is going to be tough, though. Andrew Oakley (talk) 14:25, 17 July 2009 (UTC)

You may have to find a very old source as every family member I asked has had them with all meats (including my grandma). This is going back to about 1925, however it wouldn't supprise me if it was originally only a dish made with beef meals. —Preceding unsigned comment added by 86.9.177.206 (talk) 18:58, 2 November 2009 (UTC)

I've only ever seen it served with roast beef, but that doesn't mean it can't be served with other meats. All it takes is someone who thinks, "this might go well with that", and a whole new tradition can get started. 74.210.6.9 (talk) 00:57, 23 November 2009 (UTC)

If one is from Yorkshire, one can eat it with anything. —Preceding unsigned comment added by 78.151.20.123 (talk) 16:33, 8 March 2010 (UTC)

Only savage southerners only have it with beef. Their brains are too small to comprehend the idea of a lovely Yorkshire with chicken, lamb or pork. Pity their poor souls. —Preceding unsigned comment added by 94.6.251.105 (talk) 12:11, 25 December 2010 (UTC)

Can you please not be condescending about people from the south of England? I was born in Hertfordshire myself, although I have lived for three years of my life in East Yorkshire and five years of my life in north-west England - and I have now settled in Northampton, so I can claim to be an in-betweenie! Obviously, people can eat Yorkshire puddings with what they like. I have even heard of people having them as a sweet, and spreading something sweet such as honey or jam on them. ACEOREVIVED (talk) 16:19, 22 November 2011 (UTC)

 * As a southerner I've always heard the exact opposite - that in Yorkshire they are only eaten with roast beef but people in other parts of the country don't know the traditions behind them and just serve them with any roast dinner. Personally I'm of the opinion that you can eat whatever you think goes together. Have roast lamb with pork crackling, chicken gravy and yorkshire pudding if it works for you! (But of course that would be original research.) 82.68.159.246 (talk) 11:49, 4 March 2014 (UTC)

The "old" way of doing Yorkshire pudding was in the roasting juices of mutton. A joint of mutton (usually the shoulder) was cooked in an oven with a pan underneath to catch the fat rendered out. Shortly before the end of roasting, a batter mix was poured into the pan juices. The batter rose and cooked while fat continued to drip onto it. So not just beef. Plenty of pubs in Yorkshire bear the name "The Shoulder of Mutton", and I've been told by crumblies that it's because the pubs prepared mutton and Yorkshire pudding in this way. Mr Barndoor (talk)

 * Talk pages are not forums for discussing or sharing experiences; these are "WP:OR (Original Research)" as far as Wikipedia is concerned. If you can find and cite a reliably published recipe (probably quoting it also) which mentions RB and mutton, however, that would be useful. Chiswick Chap (talk) 07:51, 15 June 2015 (UTC)

 * Only been on intermittently over the last year so didn't realise someone had replied. If you read the history section of the article, you'll see that it quotes a recipe which describes the use of mutton and a drip tray. Mr Barndoor (talk) 19:38, 28 March 2016 (UTC)

With Jam Too
My late father, a Yorkshireman and a Yorkshire Pudding (and bread n' drippin') perfectionist, once told me that when he was a lad in Tadcaster, two versions of YP were common - the sweet and the savoury. (As an aside, there are two meanings for "pudding" - one is dessert, the other relates to a particular type of foodstuff called "Pudding". There's also "pudd'n" but that's a term of endearment. The Pudding in Yorkshire Pudding should really be capitalised).

The sweet was cooked without meat juices, the savoury, with (fairly obviously).

The sweet could be served as a dessert, usually spread with jam (preserve), while the savoury always accompanied beef.

Both forms were cooked in large shallow baking tins or trays and cut up according to the size of the party at the dinner table.

My Mum, a Geordie lass and not averse to trying new things, converted the recipe to work in small popover type baking trays so that we could have individual "Yorkshires" (usually 2-3 per person). Occasionally she would bake a large Yorkshire too, but generally she stuck to the individual style.

The favourite approach adopted by we children (four on us, as they say) was to stuff the individual Yorkshires with vegetables (small green peas worked best) and/or mashed potato. Each Sunday meal therefore was a kind of ritual (or series of them - the sequence in which the components of the meal were eaten was important, too) that involved spending some time manipulating the meal, so to speak, before consuming it. Using cutlery, not fingers, I hasten to add.

An occasional twist to the recipe was to cook small lengths of beef chipolatas in each individual Yorkshire to make "toad in the hole", when a joint of beef wasn't available.

There was (and is) a definite knack to getting the right results (I've not mastered it - yet) so that the outer crust is crisp but the inside is not too doughy and consists mostly of empty space (ripe for filling with other things). Part of the knack is the temperature of the oil/lard/fat/whatever in the oven before you pour in the batter (must be smoking hot), part of it is the amount of time you leave the batter to stand before using it (30 minutes as I recall). When I get it right, I'll publish :) AncientBrit 00:37, 17 May 2007 (UTC)

Major Edit
I've just removed the following from the page, because it sounded too much like a recipe and not enough like an encyclopaedia article:

Have things prepared, work fast once you get the hot tin out of the oven.

Note that if you increase the amount of batter per tin you vary the rise of the muffin, and the density/texture of the bottom. Manipulating the various variables makes Yorkies a great study in physics and chemistry.

With the above recipe, using pre-heated muffin tins, cooking time would be 15 min more or less. Longer than that the tops can get overdone in a hot oven. Then again, different every time, and crispy yorkies are fun...

Keep your eye on them, try not to open the oven. Pretty well all Yorkies freeze well; reconstituted briefly in a hot oven, you'd never know they were not fresh.

Cooking time is greatly reduced when using cast iron bakeware. To see this happen, try about 1/2 a cup in a liberally-oiled medium size pre-heated cast-iron frypan, noting that the cooking time is shorter that when using tin muffin tins. {Note that cast-iron muffin tins of great variety are regularly found on eBay and other places.} Dazcha 09:40, 30 June 2007 (UTC)

Testing - is this where and how I respond to your edit? This newbie appreciates your work and now understands more of how things are to be written. Thank you. - bg - 04:18, 1 July 2007 (UTC)

Is the reader supposed to know what a tbs and a tsp is?!? —Preceding unsigned comment added by 77.183.135.228 (talk) 18:40, 21 December 2008 (UTC)

 * I've wikilinked the terms in the articles. They refer to tablespoon and teaspoon, respectively. Dreaded Walrus t c 20:27, 21 December 2008 (UTC)

Taste?
It might be advantageous to describe the taste of a Yorkshire pudding, even if only in nominal detail. Twentydragon (talk) 08:51, 11 November 2009 (UTC)

While I agree with the idea, Yorkshire pudding doesn't have a lot of taste in my experience. After all, it's essentially just flower, egg and water/milk with maybe a dash of salt.

If someone knows of recipes in general that include some seasoning to give it some taste, a recipe that call for pepper for example, maybe a sentence or two can be added to flesh out the article. 74.210.6.9 (talk) 01:01, 23 November 2009 (UTC)

Recipe
I have seen indications (Reader's Digest Farmhouse Cooking and elsewere) that immediately prior to adding the batter to the pan the preparer should stir in two tablespoons (English) of water. My historical sources (Hannah Glasse, Mrs Beeton, Charles Francatelli, Escoffier) do not follow this. Any thoughts ? —Preceding unsigned comment added by Cwebbe (talk • contribs) 22:02, 9 April 2010 (UTC)

Annual Bake-Off
I was in England in the early 70's and the Annual Yorkshire Pudding Baking Contest (that's what the TV commentator called it) was won by a Chinese entrant. You can imagine the national fit that ensued. Questions were brought up in Parliament. I can't remember the actual year but I'm sure somebody out there does. —Preceding unsigned comment added by 74.46.23.27 (talk) 22:54, 20 April 2010 (UTC)

I can't help with the year, but there is a reference to the event in Jane Grigson's English Food. 87.244.90.160 (talk) 23:29, 28 February 2014 (UTC)

Unsupported statement
The statement "'A Yorkshire pudding isn't a Yorkshire pudding if it is less than four inches tall, says the Royal Society of Chemistry'; true Yorkshire people would disagree - the modern trend has been to aim for Puddings of almost Souffle proportions - but back in 1737 they had ranges and not modern fan assisted ovens of today.[3]" does not actually reflect the source cited. The initial, quoted, portion is correct, but the statement following the semicolon is nowhere backed up in the linked-to article and is, in fact, partially contradicted by a quote from a Yorkshire man in the article itself. I have moved the citation to the end of the quote to reflect this, but the remainder of the line sounds non-NPOV and, without references to support the idea that it is scientifically impossible to obtain 4"+ puddings without the use of a modern oven (which sounds suspect in itself) it should probably be removed. Dorm41baggins (talk) 22:20, 8 February 2011 (UTC)
 * Not seeing any objection, so removing... Dorm41baggins (talk) 01:34, 12 February 2011 (UTC)

Unclear
I find this article somewhat confusing. It is unclear as to whether meat drippings must be included in the recipe in order for it to be considered a true Yorkshire pudding. If not, what exactly defines Yorkshire pudding? Can someone please clarify that for me? Tad Lincoln (talk) 00:07, 5 May 2011 (UTC)

Pockets
I've never heard this dish referred to as 'pockets'. Does anyone have a reference? Soupy sautoy (talk) 21:31, 5 June 2011 (UTC)

Yorskhire puddings are better with water - so the angel said
I am sure then when I grew up, my mother told a story that the angel Gabriel came down and told a Yorskhire housewife not to make the Yorkshire pudding with milk, because they would be better when made with water - or, best of all, melted snow. Does any one else know this story? ACEOREVIVED If we could find a good source for it, it could go in the article - after all, it is certainly of much relevance to Yorkshire puddings! ACEOREVIVED (talk) 15:44, 28 March 2012 (UTC) (talk) 16:21, 22 November 2011 (UTC)

Hey, I think that your mother is a lady of ill repute. I saw her out on the street last weekend. Anyways, you are supposed to cook yorkshire pudding with the drippings from the Roast Beast. I am sorry to be so rude about your mom and stuff, but she needs to get up ins. — Preceding unsigned comment added by 71.204.121.19 (talk) 20:02, 23 November 2012 (UTC)

cheap filling dishes
Cheap, filling dishes are always used to fill one's belly instead of expensive ones when times are tight, everywhere in the world, and moreso historically when incomes were lower, food scarcer, so the paragraph that speculates that this may have been the case with Yorkshire pudding is somewhat superfluous/misleading/arbitrary/speculative. 68.161.186.8 (talk) 01:32, 17 January 2012 (UTC)

'Originated' in Yorkshire? Citation Needed!
I think the page should be edited to remove the statement that the dish originated in Yorkshire. There is no evidence of this, and the page actually says "Similar instructions were published in 1747 in The Art of Cookery made Plain and Easy by Hannah Glasse under the title of 'Yorkshire pudding'. It was she who re-invented and renamed the original version, called Dripping Pudding, which had been cooked in England for centuries, although these puddings were much flatter than the puffy versions known today."

So the dish is centuries old, cooked all over England and was only named a 'Yorkshire Pudding' by Hannah Glasse, who has no Yorkshire connections that I can see. I see no evidence for the clain that the dish was invented in Yorkshire, and it seems unlikely, given the very common ingredients.(Danavenell (talk) 10:41, 13 November 2012 (UTC))

In a TV program years ago, the 1960s TV chef Fanny Craddock mentioned that Yorkshire Pudding did not even originate in England. She said that it actually originated in northern Germany, and if anything should really be called something like "Hamburg Pudding". — Preceding unsigned comment added by 85.210.157.120 (talk) 09:15, 17 August 2013 (UTC)

Photos: Add Yorkshire pudding photos, instead of mini-puddings
Both photos in the article are of "Mini"-Yorkshire puddings. There should be a photo of a regular sized Yorkshire pudding. — Preceding unsigned comment added by 162.106.4.145 (talk) 10:07, 24 April 2013 (UTC)

Something's horribly wrong with a reference.
The reference used to support the fact that Yorkshire Pudding can be served as a dessert takes you to a page that isn't found. Captain Cornwall (talk) 12:40, 1 February 2014 (UTC)

Cookbook link
Hey, the link to wikibooks in the infobox links to a search for "cookbook", and nt to the Yorkshire pudding recipe page. I don't know hw to chane this myself, so can someone who does please change this. Thanks, Sven91.55.111.214 (talk) 15:38, 2 November 2014 (UTC)
 * Fixed the empty name field in the Infobox Mfield (Oi!) 16:03, 2 November 2014 (UTC)

Assessment comment
Substituted at 11:09, 30 April 2016 (UTC)

what's unique about this .. what's unique about everything...
Wikipedia articles could focus on what is unique about the topic. What is unique about Yorkshire pudding is that it is different from traditional puddings and different from traditional breads/pastries. It is something inbetween these, by virtue of the ratio of ingredients, I believe. Can someone who knows this topic please add something about this unique feature that sets it apart from other recipes? Notice that such a focus on what is unique brings the greatest dose of clarity to any communication about anything. Out of 1984 dystopia and back into enlightenment. Rtdrury (talk) 14:45, 19 December 2017 (UTC)

Batter pudding
The first sentence of this article could say that Yorkshire pudding is also known as batter pudding. Vorbee (talk) 09:59, 11 April 2018 (UTC)

Yorkshire pudding day joke
For Yorkshire Pudding Day in the US you're citing a source written by a British (?) writer for BBC America that says:

 * Today, as we all know, is National Yorkshire Pudding Day in America. It’s a time for families to get together, look back on the last 12 months with fondness, exchange presents, and prepare for the year ahead. October 13 is set aside in the calendar, with many people taking time out from their busy lives to prepare the traditional Yorkshire pudding as a symbol of affection for their loved ones.*
 * * We all do this, right?

This would be a joke. The other yorkshiresbestguides.co.uk source has most likely just copied Wikipedia, which included this "fact" about the US date at the time it was written. --86.155.235.170 (talk) 07:31, 19 May 2018 (UTC)

 * The wording of the BBC America article makes the subject out to be frivolous but there are several other sources featuring Yorkshire Pudding Day that predate both the BBC America article and its inclusion on this page. Many of these are food blogs, but it is listed in 2010 book which I've added to the article. EdwardUK (talk) 16:02, 20 May 2018 (UTC)

Not similar to Takoyaki
It's true that Takoyaki are balls made from batter, but they are very different than Yorkshire puddings. For one thing, they are not risen at all, and are solid batter, with a glutenous, rather than airy, texture. They are made by pouring batter into oiled semi-circular depressions, then as the batter starts to set, it is slowly rotated within the depression to make a round ball. But it never rises and ends up quite solid and heavy.

They taste quite distinctive also, with a sweet sauce, dried tuna shavings and powdered green spice on top. Usually mayonnaise as well. They are never eaten with gravy, butter, jam or anything associated with Yorkshire Puddings. — Preceding unsigned comment added by 202.167.250.91 (talk) 04:33, 10 July 2018 (UTC)

title: Talk:Yorkshire pudding


text:
The Graduate (soundtrack)

The Graduate is a 1968 album of songs and music from the soundtrack of Mike Nichols' movie The Graduate. It includes five songs from the folk-rock duo Simon & Garfunkel, including "Mrs. Robinson", a work in progress which Simon adapted to fit the movie, along with several instrumental pieces by Dave Grusin. Released January 21 on Columbia Masterworks, the album was produced by Teo Macero. In March of the following year, Simon and Grusin won the 1968 Grammy Award for "Best Original Score Written for a Motion Picture or Television Special". "Mrs Robinson" received the Grammy for "Record of the Year", whilst Simon & Garfunkel collected the "Best Contemporary-pop Performance, Vocal Duo or Group" award.

Although the album features two versions of "Mrs. Robinson", neither is the full version as featured on Bookends, which was composed later. The first consists of relentless, sharp guitar chords, with the "dee-de-dee-dee" sung motif, while the second includes a chorus, before tapering off as it does in the film. The other major song of the album, the 1965 hit "The Sound of Silence", is used three times in the film. Both songs have been inducted into the Grammy Hall of Fame (in 1999 and 2004 respectively).

Personnel

 * Paul Simon – lead vocals, guitar
 * Art Garfunkel – lead vocals
 * Dave Grusin – additional music

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: The Graduate (soundtrack)


text:
List of operettas

For definition and discussion of the genre, see Operetta.

Operettas by composer:

Paul Abraham (1892–1960)

 * Victoria und ihr Husar (1930)
 * Die Blume von Hawaii (1931)
 * Ball im Savoy (1932)
 * Roxy und ihr Wunderteam (1936)

Leo Ascher (1880–1942)

 * Hoheit tanzt Walzer (1912)

Ralph Benatzky (1884–1957)

 * Meine Schwester und ich (1930)
 * Im weissen Rössl (1930)
 * Bezauberndes Fräulein (1933)

Leonard Bernstein (1918–1990)

 * Candide (1956)

Paul Burkhard (1911–1977)

 * Hopsa (1935, revised 1957)
 * Feuerwerk (Der schwarze Hecht) (1950)

Alfred Cellier (1844–1891)

 * Dorothy, 1886
 * The Mountebanks, 1892

Noël Coward (1899–1973)

 * Bitter Sweet (1929)

Rudolf Dellinger (1857–1910)

 * Don Cesar (1885)

Anton Diabelli (1781–1858)

 * Adam in der Klemme

Nico Dostal (1895–1981)

 * Clivia (1933)
 * Monika (1937)
 * Die ungarische Hochzeit (1939)
 * Manina (1942)

Edmund Eysler (1874–1949)

 * Bruder Straubinger (1903)
 * Die gold'ne Meisterin (1927)

Leo Fall (1873–1925)

 * Der fidele Bauer (1907)
 * Die Dollarprinzessin (1907)
 * Brüderlein fein (1909)
 * Der liebe Augustin (operetta) (1912)
 * Madame Pompadour (1923)

Harold Fraser-Simson (1872–1944)

 * The Maid of the Mountains (1917)

Rudolf Friml (1879–1972)

 * The Firefly (1912)
 * Rose-Marie (1923)
 * The Vagabond King (1925)

Edward German (1862–1936)

 * The Emerald Isle, 1901
 * Merrie England, 1902
 * Tom Jones, 1907
 * Fallen Fairies, 1909

Jean Gilbert (1879–1942)

 * Die keusche Susanne (1910, revised 1953)

Walter Goetze (1883–1961)

 * Ihre Hoheit, die Tänzerin (1919)
 * Der goldene Pierrot (1934)

Bruno Granichstaedten (1879–1944)

 * Der Orlow (1925)

Victor Herbert (1859–1924)

 * The Fortune Teller
 * Mlle. Modiste
 * Naughty Marietta (1910)
 * Sweethearts (1913)
 * Babes in Toyland
 * The Red Mill

Hervé, Pen-name of Florimund Ronger (1825–1892)

 * Les chevaliers de la Table Ronde 1866
 * L'œil crevé 1867
 * Chilpéric 1868
 * Le petit Faust 1869
 * Mam'zelle Nitouche (1883)

Richard Heuberger (1850–1914)

 * Der Opernball (1898)

Jenő Huszka (1875–1960)

 * Tilos a bemenet (No entry)
 * Bob herceg (Prince Bob)
 * Aranyvirág
 * Gül Baba
 * Tündérszerelem (Fairly love)
 * Rébusz báró (Baron Rebus)
 * Erzsébet (Elisabeth)
 * Lili bárónö (Baroness Lili)
 * Mária föhadnagy (Corporal Maria)
 * Gyergyoi bál (Ball in Gyergyo)
 * Szép Juhászné (The nice Mrs Juhasz)
 * Szabadság, szerelem (Freedom and love)

Victor Jacobi (1883–1921)

 * A rátartós királykisasszony
 * Legvitézebb Huszár (The Brave Hussar)
 * Leányvásár (The Marriage Market)
 * Szibill

Georg Jarno (1868–1920)

 * Die Försterchristel (1907)

Leon Jessel (1871–1942)

 * Das Schwarzwaldmädel (1917)

Emmerich Kálmán, also known as Imre Kálmán (1882–1953)

 * Tatárjárás (The Gay Hussars) (1909)
 * Obsitos (The soldiers on Leave)
 * Der Zigeunerprimas (The Gipsy violinist)
 * The Blue House
 * Gold gab ich für Eisen
 * Die Csárdásfürstin (The Csardasprincess) (1915)
 * Die Faschingsfee
 * Das Hollandweibchen
 * Die Bajadere
 * Gräfin Mariza (Countess Mariza) (1924)
 * Die Zirkusprinzessin (The Circus Princess)(1926)
 * Golden Down
 * Die Herzogin von Chicago (The Duchess of Chicago)
 * Das Veilchen von Montmartre
 * Der Teufelsreiter
 * Kaiserin Josephine
 * Marinka
 * Arizona Lady

Rudolf Kattnigg (1895–1955)

 * Balkanliebe (1937)

Walter Kollo (1878–1940)

 * Drei alte Schachteln (1917)
 * Die Frau ohne Kuss (1924)

Reginald De Koven (1859–1920)

 * The Knickerbockers
 * Robin Hood
 * Rob Roy
 * Rip Van Winkle

Fritz Kreisler (1875–1962)

 * Sissy (1932)

Eduard Künneke (1885–1953)

 * Das Dorf ohne Glocke (1919)
 * Der Vetter aus Dingsda (The Cousin from Nowhere) (1921)
 * Liselott (1932)
 * Glückliche Reise (1932)

Hans Lang (1908–1992)

 * Lisa, benimm dich! (1939)

Charles Lecocq (1832–1918)

 * Fleur de thé (1868)
 * La fille de Madame Angot (1871)
 * Les cent vierges (1872)
 * Giroflé-Girofla (1874)
 * Le petit due (1878)
 * La petite mademoiselle (1879)
 * Le Jour ella nuit (1881)
 * La princesse des Canaries (1883)

Franz Lehár (1870–1948)

 * Wiener Frauen (Women from Vienna)
 * Der Rastelbinder
 * Göttergatte
 * Juxheirat
 * Die lustige Witwe (The Merry Widow) (1905)
 * Der Mann mit drei Frauen (The man with three wives)
 * Fürstenkind
 * Der Graf von Luxemburg (1909)
 * Zigeunerliebe (The gipsy love) (1910)
 * Eva
 * Die ideale Gattin (The Ideal Wife)
 * Endlich allein (Finally alone) (1914)
 * Sternglücker
 * Wo die Lerche singt
 * Die blaue Mazur
 * Tangokönigin (The queen of tango)
 * Frühling (operetta) (Spring)
 * Frasquita (1922)
 * La danza delle Libelulle - Libellentanz
 * Die gelbe Jacke (1923)
 * Clo-clo
 * Paganini (1925)
 * Gigolette
 * Der Zarewitsch (The Tsarevich) (1927)
 * Friderike (1928)
 * Das Land des Lächelns (The Land of Smiles) (1929)
 * Schön ist die Welt (The World is nice) (1931)
 * Giuditta (1934)

Ruggero Leoncavallo (1857–1919)

 * La jeunesse de Figaro
 * Malbrouck
 * La reginetta delle rose
 * Are you there?
 * La candidata
 * Prestami tua moglie
 * Goffredo Mameli
 * A chi la giarrettiera?
 * Il primo bacio
 * La maschera nuda

Paul Lincke (1866–1946)

 * Frau Luna (1899)

André Messager (1853–1929)

 * Les p'tites Michu, 1897
 * Véronique, 1898
 * Monsieur Beaucaire, 1919
 * Coups de roulis, 1928

Carl Millöcker (1842–1899)

 * Das verwunschene Schloss (1878)
 * Die Dubarry (1879, major revision (T. Mackeben) 1938)
 * Der Bettelstudent (1882)
 * Gasparone (1884)
 * Der arme Jonathan (1890, revised (W. Felsenstein) 1959)

Oskar Nedbal (1874–1930)

 * Polish Blood (Polská krev) (1913)
 * The Vendage (Vinobraní) (1916)

Edmund Nick (1891–1974)

 * Das kleine Hofkonzert (1935)

Ivor Novello (1893–1951)

 * The Dancing Years (1939)
 * Glamorous Night (1935)
 * King's Rhapsody (1942)
 * Perchance to Dream (1945)

Jacques Offenbach (1819–1880)
See also List of operettas by Jacques Offenbach
 * Ba-ta-clan, 1855
 * La chatte métamorphosée en femme, 1858
 * Orpheus in the Underworld (Orphée aux enfers) 1858, revised 1874
 * Geneviève de Brabant, 1859, revised 1867
 * Le pont des soupirs 1861
 * M. Choufleuri restera chez lui le . . ., 1861
 * La belle Hélène 1865
 * Barbe-bleue, 1866
 * La Vie parisienne, 1866
 * La Grande-Duchesse de Gérolstein, 1867
 * Robinson Crusoé, 1867
 * L'île de Tulipatan, 1868
 * La Périchole, 1868
 * Vert-Vert, 1869
 * La princesse de Trébizonde, 1869
 * Les brigands, 1869
 * Le roi Carotte, 1872
 * Fantasio, 1872
 * La jolie parfumeuse, 1873
 * Madame l'archiduc, 1874
 * Whittington, 1874
 * Le voyage dans la lune, 1875
 * Le docteur Ox, 1877
 * Maître Péronilla, 1878
 * Madame Favart, 1878
 * La fille du tambour-major, 1879

August Pepöck (1887–1967)

 * Hofball in Schönbrunn (1937)

Fred Raymond (1900–1954)

 * Maske in Blau (1937)
 * Saison in Salzburg (Salzburger Nockerln) (1938)
 * Geliebte Manuela (1951)

Sigmund Romberg (1887–1951)

 * The Student Prince (1924)
 * The Desert Song (1926)
 * The New Moon (1928)

Hans Schanzara (1897–1984)

 * Die Nachtigall (1947)

Ludwig Schmidseder (1904–1971)

 * Abschiedswalzer (1949)

Friedrich Schröder (1910–1972)

 * Hochzeitsnacht im Paradies (1942)

Edward Solomon (1855–1895)

 * Pickwick (1889)

Petar Stojanović (1877–1957)

 * Die Herzog von Reichstadt (Vojvoda od Rajhštata – The Duke of Reichstadt)
 * Devojka na Mansardi (A Girl on Terrace)
 * Der Tiger (Tigar)

Robert Stolz (1880–1975)

 * Der Tanz ins Glück (1921)
 * Zwei Herzen im Dreivierteltakt (Der verlorene Walzer) (1933)

Oscar Straus (1870–1954)

 * Ein Walzertraum (1907)
 * Der tapfere Soldat (The Chocolate Soldier) (1908)
 * Drei Walzer (1935)
 * Bozena (1952)

Johann Strauss II (1825–1899)

 * Indigo und die vierzig Räuber (1871)
 * Der Karneval in Rom (1873)
 * Die Fledermaus (The Bat) (1874)
 * Cagliostro in Wien (Caliogstro in Vienna) (1875)
 * Prinz Methusalem (1877)
 * Blindekuh (1878)
 * Das Spitzentuch der Königin (1880)
 * Der lustige Krieg (1881)
 * Eine Nacht in Venedig (A Night in Venice) (1883)
 * Der Zigeunerbaron (The Gypsy Baron) (1885)
 * Simplicius (1887)
 * Fürstin Ninetta (1893)
 * Jabuka (1894)
 * Waldmeister (1895)
 * Die Göttin der Vernunft (1897)
 * Wiener Blut (1899)

Heinrich Strecker (1893–1981)

 * Ännchen von Tharau (1933)

Arthur Sullivan (1842–1900)

 * With W. S. Gilbert (Gilbert and Sullivan)
 * Trial by Jury (1875)
 * The Sorcerer (1877)
 * HMS Pinafore, or The Lass That Loved a Sailor (1878)
 * The Pirates of Penzance, or The Slave of Duty (1879)
 * Patience, or Bunthorne's Bride (1880–1881)
 * Iolanthe, or The Peer and the Peri (1882)
 * Princess Ida, or Castle Adamant (1883)
 * The Mikado, or The Town of Titipu (1884–1885)
 * Ruddigore, or The Witch's Curse (1886)
 * The Yeomen of the Guard, or The Merryman and His Maid (1888)
 * The Gondoliers, or The King of Barataria (1889)
 * Utopia Limited, or The Flowers of Progress (1893)
 * The Grand Duke, or The Statutory Duel (1895–1896)
 * With other librettists
 * Cox and Box, (1866)
 * The Contrabandista, (1867), revised and re-written as The Chieftain (1897)
 * The Zoo (1875)
 * Haddon Hall (1892)
 * The Rose of Persia (1899)

Franz von Suppé (1819–1895)

 * Die schöne Galathee (1865)
 * Banditenstreiche (1867)
 * Fatinitza (1876)
 * Boccaccio (1879)

Albert Szirmai (1880–1967)

 * Táncos Huszárok
 * Mágnás Miska
 * Mézeskalács

Arno Vetterling (1903–1963)

 * Liebe in der Lerchengasse (1936)

Gerhard Winkler (1906–1977)

 * Premiere in Mailand (1950)

Vincent Youmans (1898–1946)

 * No, no, Nanette (1924)

Carl Zeller (1842–1898)

 * Der Vogelhändler (1891)
 * Der Obersteiger (1894)

Carl Michael Ziehrer (1843–1922)

 * König Jérôme oder Immer Lustick (1878)
 * Die Landstreicher (1899)
 * Die drei Wünsche (1901)
 * Der Fremdenführer (1902)
 * Der Schätzmeister (1904)
 * Fesche Geister (1905)
 * Ein tolles Mädel! (1907)

Seznam operet Liste von Operetten Lijst van operettes Zoznam operiet

title: List of operettas


text:
Bookends (album)

Bookends is the fourth studio album by the American folk rock duo Simon & Garfunkel. Produced by Paul Simon, Art Garfunkel and Roy Halee, the album was released on April 3, 1968, in the United States by Columbia Records. The duo had risen to fame two years prior with the albums Sounds of Silence and Parsley, Sage, Rosemary and Thyme and the soundtrack album for the 1967 film The Graduate.

Bookends is a concept album that explores a life journey from childhood to old age. Side one of the album marks successive stages in life, the theme serving as bookends to the life cycle. Side two largely consists of previously-released singles and of unused material for The Graduate soundtrack. Simon's lyrics concern youth, disillusionment, relationships, old age, and mortality. Much of the material was crafted alongside producer John Simon (no relation), who joined the recording when Paul Simon suffered from writer's block. The album was recorded gradually over the period of a year, with production speeding up around the later months of 1967.

Initial sales for Bookends were substantial in the US, and the album produced the number-one single "Mrs. Robinson". The album sold well in the US and in the United Kingdom, where it peaked at number one. Bookends was considered a breakthrough for the duo, placing them on the same level as artists such as Aretha Franklin, The Beatles, Bob Dylan, and The Rolling Stones at the forefront of the countercultural movement in the 1960s. The album has continued to receive critical acclaim and is often debated by critics as to whether it or Bridge Over Troubled Water is Simon & Garfunkel's best album.

Background
Simon & Garfunkel first became prominent on American radio in 1965 with their record "The Sound of Silence", which became a hit during a period in which the duo had broken up due to the failure of their debut release, 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). The duo chose William Morris as their booking agency after a recommendation from Wally Amos, a mutual friend through their producer, Tom Wilson.

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. Similarly, they recorded "At the Zoo" for single release in early 1967 (it charted lower, at number 16). Simon began work for Bookends around this time, noting to a writer at High Fidelity that "I'm not interested in singles anymore". He had hit a dry spell in his writing, which led to no Simon & Garfunkel album on the horizon for 1967. 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. 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. 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.

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. 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. 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. Leonard Hirshan, a powerful agent at William Morris, negotiated a deal that paid Simon $25,000 (US$0 in dollars) to submit three songs to Nichols and producer Lawrence Turman. 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.

Recording and production
Bookends was recorded sporadically from 1966 to 1968. John Simon's first session with the group was for "Fakin' It" in June 1967. The duo were signed under an older contract that specified that the label pay for sessions ("As a folk duo, how much could recording costs be?" said John Simon). Simon & Garfunkel took advantage of this indulgence, hiring viola and brass players, as well as percussionists. When the viola players arrived, the duo were so intrigued with the sound of the musicians tuning their instruments before recording that they spent nearly all night (at Columbia's expense) trying to find the random sound. The record's brevity reflects its concise and perfectionistic 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. Simon paid close attention to his vocal takes, and he strived to get each line perfect. He took a bigger role in all aspects of production, and harmonies for which the band was famous gradually disappeared in favor of songs sung solo by each member. Although the album had been planned long in advance, work did not begin in earnest until the late months of 1967.

John Simon's work with the duo produced several tracks that ended up on Bookends, such as "Punky's Dilemma", "Save the Life of My Child", and "Overs". In October 1967, Morgan Ames, writer for High Fidelity magazine, attended a recording session with the duo, Simon, Halee and an assistant engineer at Columbia's recording studio on 52nd Street in New York City. Her observations were reported in the November edition of the magazine:

"The team's working relationship is built upon listening to each other, asking advice, taking it, building each other's morale. Though it's obvious they enjoy working with John Simon, the last word seems to come from one partner to the other [...] Ideas are tried, accepted, rejected. Time passes. Too much time. Too little headway [...] 'Punky's Dilemma' is put aside for the moment and Simon begins work on the title song for the new album, Bookends."

Work on Bookends slowed by the beginning of the new year, with John Simon's departure from Columbia. The duo and Halee completed production themselves, recording "America" on February 1, the final version of "Mrs. Robinson" on February 2, and "Old Friends" and the closing "Bookends Theme" on March 8. Simon felt the album "had the most use of the studio" of all of the duo's albums.

Music
The "Bookends Theme" that opens and closes side one is played on the acoustic guitar, with no additional instruments. An audio sample of the band's first hit, "The Sound of Silence", softly plays during a cacophony of sounds near the end of the second track, "Save the Life of My Child". John Simon, who was credited with production assistance on the song, created the bassline by playing a Moog synthesizer with help from Robert Moog himself. James Bennighof, author of The Words and Music of Paul Simon, finds that "textural elements are variously supported by a churning groove, percussive, and distorted electronic sounds" that complement the song's subject matter, suicide suburban youth. The song "America" explores the search of meaning in the life of a young adult. "Overs" explores a more jazz-oriented style, with a larger selection of chords and looser form than the group's previous styles.

"Voices of Old People" is a sound collage, and was recorded on tape by Garfunkel at the United Home for Aged Hebrews in New Rochelle, New York, and the California Home for the Aged at Reseda. The collection of audio recordings of the elderly find them musing on treasured photographs, illness and living conditions. In "Old Friends", the title generally conveys the introduction or ending of sections through repetition, and the song builds upon a "rather loose formal structure" that at first includes an acoustic guitar and soft mood. An additional element is introduced midway through the track: an orchestral arrangement conducted by Jimmie Haskell, dominated by strings and xylophone notes. Horns and other instruments are added when the duo cease singing, creating a turbulence that builds to a single high, sustained note on the strings. The song then segues into the final song of side one, the reprise of the "Bookends Theme".

Side two consists of miscellaneous unrelated songs unused for The Graduate, with many possessing a more rock-based sound than the unified folk songs that precede it. Simon felt the album's second side was composed of throwaway tracks: "They didn't mean a lot. They weren't well recorded." In "Fakin' It", melodies are occasionally deleted to suit lyrics, but the song generally follows a similar chord structure and melodic outline over a "funky rock beat" that sonically references the Beatles' "Tomorrow Never Knows". "Punky's Dilemma" is breezy and minimal musically, with a soft jazz-style percussion and seemingly improvised guitar lines dominated by major and minor seventh chords. "Mrs. Robinson" opens with an "instantly recognizable" pop rock guitar hook that carries throughout the track. The first verse consists only of syllables—"dee-dee-dee" and "doo-doo-doo"—that form stable harmonic foundation. The inclusion of the meaningless syllables arises from the unfinished nature of the song when pitched to director Mike Nichols, who particularly liked the verse. "A Hazy Shade of Winter" follows a more rock-tinged sound, with a fairly straightforward verse-refrain structure. "At the Zoo" uses a rock groove that settles into the key of G major.

Lyrics
According to disc jockey and author Pete Fornatale, the album perhaps shares thematic qualities with another concept album, the Beatles' Sgt. Pepper's Lonely Hearts Club Band, released ten months prior. He equates "At the Zoo" and "Old Friends" to "Being for the Benefit of Mr. Kite!" and "When I'm Sixty-Four", respectively. Fornatale notes, however, that while Sgt. Pepper was notable for sonically colorful, psychedelic shapes, Bookends is starkly contrasted by moody, "black-and-white and gray" sounds. While concept albums were fairly common among rock groups at this time—such as The Rolling Stones' Their Satanic Majesties Request, The Byrds' Sweetheart of the Rodeo and Iron Butterfly's In-a-Gadda-Da-Vida—Bookends enjoyed massive success with the format not unlike the Beatles nearly one year before. Garfunkel confirmed the influence of Sgt. Pepper's in a 2015 interview, commenting, "We were terribly impressed, and that shone a light on the path that led to Bookends." Simon often smoked hashish when writing, and he was convinced he must be high to write. He felt the drug had a negative effect and caused him to "retreat more into myself." He often found himself alone while on tour, and his thoughts grew dark during these times. He attributed "the pain that comes out in some of the songs is due to the exaggeration of being high."

Bookends contains many of Paul Simon's major themes, including "youth, alienation, life, love, disillusionment, relationships, old age, and mortality". Simon's work on Bookends is loosely autobiographical, designed to function as both a personal and artistic statement. Simon, "feeling especially auteurist in the Dylan style of the day", had planned out the album's concept before he began writing, telling Garfunkel "I'm going to start writing a whole side of an album—a cycle of songs. I want the early ones to be about youth and the last song to be about old age, and I want the feel of each song to fit." Bookends, originally released primarily as a vinyl LP, opens and closes side one of the disc with the "Bookends Theme", a brief acoustic piece (once compared to the work of English rock band the Moody Blues) that evokes "a time of innocence". "Save the Life of My Child" is a dramatic story involving drugs, violence and a mother-and-child relationship. According to James Bennighof, the song "deals with individual crises in crowded urban settings, along with references to larger societal forces and at least a hint of some transcendent perspective". The song crossfades into "America", which follows two young lovers—"an apparently impromptu romantic traveling alliance"—as they board a Greyhound bus "to look for America". It is a protest song that "creates a cinematic vista that tells of the singer's search for a literal and physical America that seems to have disappeared, along with the country's beauty and ideals". "Overs" includes themes regarding the disintegration of love and marriage. "Old Friends" paints a portrait of two old men reminiscing on the years of their youth. The two men "sit on a park bench like bookends", and ponder how strange it feels to be nearing their lifetime. The song is joined with the "Bookends Theme", this time with vocal accompaniment from the duo. The piece closes the entire suite with the "resigned admonition" to "Preserve your memories / They're all that's left you".

"Fakin' It" opens side two and finds the protagonist mulling over his insecurities and shortcomings. It has been suggested that "Fakin' It" may be an allegory for Simon's relationship with Art Garfunkel. "Punky's Dilemma" employs breakfast-food images to lampoon Hollywood and the film industry. It improbably takes an "abrupt left turn" in its third verse, when the singer begins to fantasize himself an admired soldier. "Mrs. Robinson" collects wide-ranging images to address social milieu, with a constant reassurance that Jesus loves the eponymous character, God will bless her, and heaven will welcome her. The song includes a famous reference to athlete Joe DiMaggio of the New York Yankees, one of Simon's favorite baseball teams. It also features an explicit homage to the Beatles, with Simon uttering the meaningless phrase "coo-coo-ca-choo" based on the line "Goo goo g'joob," sung by John Lennon in "I Am the Walrus". "A Hazy Shade of Winter" is an older track that dates back to Simon's days in England in 1965. The song follows a hopeless poet, with "manuscripts of unpublished rhyme", unsure of his achievements in life. In sharp contrast, the whimsical, Orwellian "At the Zoo" both concludes the album and what Simon described as the "cycle of life". The song indicates that the personalities of certain zoo animals may represent particular walks of people. The song was originally intended as a possible children's book. According to rock journalist Bud Scoppa, "the record is a meditation on the passage of life and the psychological impact of life's irreversible, ever-accumulating losses". The song cycle also describes the life and death of the romantic ideal of the American Dream.

Release and commercial performance
Prior to the release of the album, the band helped put together, and performed at, the Monterey Pop Festival. "Fakin' It" was issued as a single that summer, but the duo was much more focused on the rising FM format, which played album cuts. On the label of the original 45 RPM single, the 3:14-long "Fakin' It" was shown as having a run time of "2:74", to try to get past radio programmers who were still strictly applying the "under 3 minutes" pop single formula. "Fakin' It" had only modest success on AM radio. In January 1968, the duo appeared on a Kraft Music Hall special, Three for Tonight, performing ten songs largely culled from their third album. Richard Avedon, regarded then as one of the best photographers, was commissioned to shoot the album cover. When viewed closely, one can see Avedon's reflection in Simon's irises.

Bookends was released by Columbia Records on April 3, 1968. In a historical context, that was just 24 hours before the assassination of Martin Luther King Jr., which spurred nationwide outrage and riots. Fornatale opines that the album served as "comfort food" during rather tumultuous times within the nation. The album debuted on the Billboard Pop Album Chart in the issue dated April 27, 1968, climbing to number one and staying at that position for seven non-consecutive weeks, remaining on the chart for a total of 66 weeks. Bookends received such heavy orders weeks in advance of its release that Columbia was able to apply for award certification before copies had left the warehouse, a fact that was 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. In the United Kingdom, Bookends was a number one hit. The album charted highly in both Australia and France, peaking in both countries at number three.

The duo had a complicated relationship with Davis; Simon was particularly outraged when Davis suggested raising the list price of Bookends to $5.79 (US$0 in dollars), one dollar above the standard retail price. Davis explained that including a large poster with each copy made it necessary to charge an extra dollar to cover the cost. Simon 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". Rather than implement Davis' price increase plan, Simon & Garfunkel signed a contract extension with Columbia that guaranteed them a higher royalty rate.

Critical reception
Reviews of Bookends upon its release in 1968 were largely positive. Allen Evans of the British publication New Musical Express (NME) gave the record four out of five stars and called it "inspiring, descriptive music," while noting the album is "Imaginative and at times confusing to know what the composer is getting at, if anything." Rival newspaper Melody Maker did not use a ratings system, but called Bookends a "thoughtful, clever and well-produced album." Reviewer Chris Welch criticized the songs as "not particularly tuneful," but performed with "Beatles fervour and Beatles conviction," praising the lyricism, opining that "The words capture part of America today, a lot of its sickness and tragedy." In the US, Rolling Stone reviewer Arthur Schmidt wrote that "The music is, for me, questionable, but I've always found their music questionable. It is nice enough, and I admit to liking it, but it exudes a sense of process, and it is slick, and nothing too much happens."

Later reviews were more positive. "In just over 29 minutes, Bookends is stunning in its vision of a bewildered America in search of itself", said AllMusic writer Thom Jurek, who gave it five stars out of five. Pitchfork Media's Stephen M. Deusner called Bookends the moment in which the duo "were settling into themselves, losing their folk revival pretensions and emphasizing quirky production techniques to match their soaring vocals". The A.V. Club called it the group's "most musically and conceptually daring album".

Accolades
"Mrs. Robinson" became the first rock and roll song to win Record of the Year at the 11th Annual Grammy Awards in 1969; it was also afforded the honor of Best Contemporary Pop Performance by a Duo or Group.

In 2000 Bookends was voted number 338 in Colin Larkin's All Time Top 1000 Albums.

Legacy
The album, alongside The Graduate soundtrack, propelled Simon & Garfunkel to become the biggest rock duo in the world. Simon was approached by numerous film producers who wished him to write music for their films or license a track; 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. 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. He eventually paired with Leonard Bernstein, with whom he collaborated for a short time on a sacred mass (he eventually withdrew from the project, "finding it perhaps too far afield from his comfort zone").

Disc jockey and author Pete Fornatale writes that Bookends represents "a once-in-a-career convergence of musical, personal, and societal forces that placed Simon & Garfunkel squarely at the center of the cultural zeitgeist of the sixties". Rolling Stone credited the record with striking a chord among lonely, adrift young adults near the end of the decade, writing that a lyric in "A Hazy Shade of Winter"—"Time, time, time, see what’s become of me..."—"defined the moment for a generation on the edge of adulthood". Many viewed Bookends as the band's most accomplished work at the time, a breakthrough in production and songwriting. "Bookends was our first serious piece of work, I'd say", said Simon in a 1984 interview with Playboy.

In 2010, "All gone to look for America"—a reference to a line from the song "America"—began appearing spray-painted on vacant buildings and abandoned factories in the town of Saginaw, Michigan, which is mentioned in the song. A loose group of artists, who eventually became known as "Paint Saginaw", began duplicating the phrase after the city population had dwindled vastly, noting that the song now encapsulated a sense of nostalgia for a bygone era among the city residents.

"America" was also featured in an eponymously-titled television advertisement for the presidential campaign of Bernie Sanders during the 2016 Democratic Party presidential primaries. The campaign sought permission to use it from Paul Simon and Art Garfunkel themselves, who both agreed. Garfunkel stated that he was a supporter of Sanders and his campaign, and that the usage of "America" did not take away from the song's original premise.

Bookends was the last Simon & Garfunkel album to be mixed in separate mono and stereo mixes, as manufacturing of mono LP's alongside concurrent stereo issues was in the final stages of being discontinued in 1968. The mono mix was released as a promo issue to radio stations and given a very limited run for commercial sale. It was out-of-print very soon after release, and has yet to see a digital re-release.

Personnel
Credits for Bookends adapted from AllMusic. Track numbers refer to CD and digital releases. Additional musicians
 * Paul Simon – vocals, guitar
 * Art Garfunkel – vocals, tapes, percussion
 * Hal Blaine – drums, percussion
 * Joe Osborn – bass guitar
 * Larry Knechtel – piano, keyboards, bass guitar on "Mrs Robinson"
 * John Simon – synthesizer on "Save The Life Of My Child"

Production
 * Simon & Garfunkel – producers (tracks: 1, 3, 5–7, 10, 12)
 * Roy Halee – producer (tracks: 1, 3, 5–7 & 10), recording engineer
 * John Simon – production assistant on "Save The Life Of My Child", "Overs", "Fakin' It" & "Punky's Dilemma"
 * Bob Johnston – production assistant on "A Hazy Shade of Winter" & "At the Zoo", production
 * Jimmie Haskell – arranger, arrangement preparation
 * Richard Avedon – cover photography

title: Bookends (album)