Some context: Simon & Garfunkel were an American folk rock duo consisting of singer-songwriter Paul Simon and singer Art Garfunkel. They were one of the best-selling music groups of the 1960s and became counterculture icons of the decade's social revolution, alongside artists such as the Beatles, the Beach Boys, and Bob Dylan. Their biggest hits--including "The Sound of Silence" (1964), "Mrs. Robinson" (1968), "The Boxer" (1969), and "Bridge over Troubled Water" (1970)--reached number one on singles charts worldwide. Their often rocky relationship led to artistic disagreements, which resulted in their breakup in 1970.
The duo's fourth studio album, Bookends, was recorded in fits and starts over various periods from late 1966 to early 1968. The duo were signed under an older contract that specified the label pay for sessions, and Simon & Garfunkel took advantage of this indulgence, hiring viola and brass players, as well as percussionists. The record's brevity reflects its concise and perfectionist 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. Garfunkel's songs and voice took a lead role on some of the songs, and the harmonies for which the duo was known gradually disappeared. For Simon, Bookends represented the end of the collaboration and became an early indicator of his intentions to go solo. Although the album had been planned long in advance, work did not begin in earnest until the late months of 1967.  Prior to release, the band helped put together and performed at the Monterey Pop Festival, which signaled the beginning of the Summer of Love on the West Coast. "Fakin' It" was issued as a single that summer and found only modest success on AM radio; the duo were much more focused on the rising FM format, which played album cuts and treated their music with respect. In January 1968, the duo appeared on a Kraft Music Hall special, Three for Tonight, performing ten songs largely culled from their third album. Bookends was released by Columbia Records in April 1968. In an historical context, this was just 24 hours before the assassination of civil rights movement activist Martin Luther King Jr., which spurred nationwide outrage and riots. The album debuted on the Billboard Top LPs in the issue dated April 27, 1968, climbing to number one and staying at that position for seven non-consecutive weeks; it remained on the chart as a whole for 66 weeks. Bookends received such heavy orders weeks in advance of its release that Columbia was able to apply for award certification before copies left the warehouse, a fact it 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.  Davis had predicted this fact, and suggested raising the list price of Bookends by one dollar to $5.79, above the then standard retail price, to compensate for including a large poster included in vinyl copies. Simon instead 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. The lead single "Mrs. Robinson" became, at the 1969 Grammy Awards the first rock and roll song to receive Record of the Year; it was also awarded Best Contemporary Pop Performance by a Duo or Group.
were any of their songs used in a movie or tv show?
A: Davis had predicted this fact, and suggested raising the list price of Bookends by one dollar to $5.79, above the then standard retail price,

Some context: Edward Henry Weston (March 24, 1886 - January 1, 1958) was a 20th-century American photographer. He has been called "one of the most innovative and influential American photographers..." and "one of the masters of 20th century photography." Over the course of his 40-year career Weston photographed an increasingly expansive set of subjects, including landscapes, still lifes, nudes, portraits, genre scenes and even whimsical parodies. It is said that he developed a "quintessentially American, and specially Californian, approach to modern photography" because of his focus on the people and places of the American West.
Weston was a prolific writer. His Daybooks were published in two volumes totaling more than 500 pages in the first edition. This does not include the years of the journal he kept between 1915 and 1923; for reasons he never made clear he destroyed those before leaving for Mexico. He also wrote dozens of articles and commentaries, beginning in 1906 and ending in 1957, and he hand-wrote or typed at least 5,000 letters to colleagues, friends, lovers, his wives and his children.  In addition, Weston kept very thorough notes on the technical and business aspects of his work. The Center for Creative Photography at the University of Arizona, which now houses most of Weston's archives, reports that it houses 75 linear feet of pages from his Daybooks, correspondence, financial records, memorabilia, and other personal documents in his possession when he died.  Among Weston's most important early writings are those that provide insights into his development of the concept of previsualization. He first spoke and wrote about the concept in 1922, at least a decade before Ansel Adams began utilizing the term, and he continued to expand upon this idea both in writing and in his teachings. Historian Beaumont Newhall noted the significance of Weston's innovation in his book The History of Photography, saying "The most important part of Edward Weston's approach was his insistence that the photographer should previsualize the final print before making the exposure."  In his Daybooks he provided an unusually detailed record of his evolution as an artist. Although he initially denied that his images reflect his own interpretations of the subject matter, by 1932 his writings revealed that he had come to accept the importance of artistic impression in his work. When combined with his photographs, his writings provide an extraordinarily vivid series of insights into his development as an artist and his impact of future generations of photographers.
What did Weston write about?
A:
he hand-wrote or typed at least 5,000 letters to colleagues, friends, lovers, his wives and his children.