"We'd go to the fraternity house. It was a good place to practice. But we really wanted the kids to overhear us. And whoever heard us would go nuts over it"

Art Garfunkel recalls the days when he and Paul Simon used to practice their music in unconventional places, specifically mentioning fraternity houses. The setting, a fraternity house, suggests a youthful, somewhat subversive atmosphere, filled with the energy of university life and the presence of young adults open to new experiences. Such venues were not typical concert halls or expected stages, but casual spots where emerging talent could take root outside of formal music settings. The line about wanting "the kids to overhear us" reveals a longing for recognition and for the validation that comes from peers. Simon and Garfunkel were not just practicing for the sake of honing their skills; a deeper motivation was at play. They longed for an audience, even an informal and accidental one, to affirm the magic they felt in their own performances.

Practicing in the fraternity house was strategic in that it maximized the chances that others, those who might not attend a proper concert or formal gig, would listen in. There is a sense of wanting to create a buzz, to cause a ripple effect among students, to entice them not only to listen, but to "go nuts over it". The phrase evokes excitement, indicating that the music had the power to move and electrify their listeners. Success, in these moments, was measured not by professional standards but by visible, visceral reactions from their peers: surprise, joy, disbelief, enthusiasm.

Garfunkel’s words capture the early drive of many young artists: the pursuit of spontaneous admiration, the simple hope that their art would genuinely impress and connect with others. His reflection is not just about music practice. It’s about seeking connection, stirring emotion, and making a memorable impact, embracing the real, honest joy when others respond with unguarded admiration.