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apostrophe In 1862, the Board of Commissioners of Central Park decided to name the park’s 18 entrances after some of the diverse characteristics of the city’s citizens. There are 18 original names in all: Artisans’, Artists’, Boys’, Children’s, Engineers’, Farmers’, Girls’, The Gate of All Saints, Hunters’, Mariners’, Merchants’, Miners’, Pioneers’, Scholars’, Strangers’, Warriors’, Women’s and Woodmen’s. But the entrances were never labeled. While official maps dutifully took note of the names, New Yorkers would eventually come to refer to the entrances by the adjacent streets.
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quiet on the set
shall i compare thee to a summer’s day?
central park without horse-drawn carriages
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how global are you?
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in the eye of the beholder
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artists welcome
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park of the people
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quiet on the set by denis hamill
Enchanted
When Harry Met Sally
The perfect place for the city to meet the wonderfully imagined universe of Disney filmmakers is Central Park, and the movie “Enchanted“ is the perfect product of that union Director Kevin Lima captures all the magic of Central Park by staging production numbers in various iconic sites around the park. The biggest of these is an amazingly choreographed song and dance that transforms Bethesda Fountain into the definition of the word Hollywood Spectacular. Central park never looked more magical.
“When Harry Met Sally“ – if not the quintessential Manhattan love story, then certainly the quintessential Central Park love story. Sally’s luncheon with her friends at the Central Park Boathouse restaurant is a microcosm of 1980’s feminism – underwear incendiary defiance meets droll relationship realism. Their autumn stroll along the Mall is the perfect backdrop for the subtle change in their relationship as it slowly evolves into friendship. Nora Ephron’s brilliant script captures the evolution of love between Harry and Sally, and Central Park provides the perfect canvas on which to paint this touchingly funny urban romance.
Serendipity
Home Alone 2
Another example of Central Park as one of the most romantic settings anywhere in New York City is “Serendipity“ starring John Cusack and Kate Beckingsale. The plot revolves around a chance meeting between the two at Bloomingdale’s while shopping for gloves. They wind up having a magical evening which includes skating in a gorgeously decorated Wollman Rink. Besides the evocative shots of them gliding around the rink there are amazing shots of the rink decorated for Christmas with a backdrop of the Manhattan skyline above that are absolutely breathtaking.
One of the most popular children’s films to use Central Park as a backdrop is “Home Alone 2.” Scenes include Wollman Rink and Kevin eluding his pursuers by hiding in a horse drawn carriage, Kevin running around Bethesda Fountain but perhaps the most memorable shot that is set in the movie is the one with Brenda Fricker giving her portrayal of a rather eccentric park character that is obsessed with pigeons. The scene is set at the beautiful Inscope Arch which runs beneath the Park Drive at the southeast entrance and connects the Central Park Zoo to the Pond.
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Hair The most romantic view of the park can be found in the movie adaptation of the musical “Hair“, 1980, directed by Milos Forman. The film opens with an extended version of the song “Aquarius” that has Twyla Tharp choreographed dancers writhing about the lush autumn landscape, along with police horses that prance in step to the music. It is a wild and joyful place filled with hippies and hope. It is their home, a place filled with promise and life; counter culture experimentation throwing down an exuberant challenge to the concrete canyon dwellers that surround it. It is, of course, wildly simplistic and naive, but still it seduces you into thinking that even if it wasn’t exactly like that it should have been. For that matter it convinces you that that is the way it should still be. There are long shots that include the leafy vistas of the fall in New York and upwardly angled cameras that frame each character against the skyline. This is place you wanted to come to when you first heard about New York. It’s a place where people dance and sing and experience life vividly and viscerally. The place you never quite found. The one you still dream about.
Portrait of Jennie “Portrait of Jennie“ from 1949 is still one of the most romantically magical films ever shot in Central Park. Taken from a popular novel by Robert Nathan it is the story of Eben Adams, a struggling artist that can’t seem to find his muse. One night, on a stroll through Central Park, he meets Jennie Appleton, a precocious pre-teen played somewhat unconvincingly by a decidedly post-pubescent Jennifer Jones. Suspension of disbelief aside, this is a lovely movie that, quite uncharacteristically for the era, is shot extensively in Central Park. Shots of the Dairy, the Mall and a lovely sequence filmed on the Pond evoke a New York that seems almost sepia-tinted sixty years later. The movie is a timeless evocation of Central Park as a world separate from the city that surrounds it, a place where the improbable is possible.
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Shall I compare thee to a Summer’s day? by mike lupica
Shakespeare in the Park opens another season of the Bard’s greats performed in open air at the Delacorte Theater in Central Park. Created by the late Joseph Papp and presented by the Public, Shakespeare in the Park has endured not just because it’s a night of free theater in New York’s backyard, but because it’s a night of great performances by some of the most talented actors of our day, including Meryl Streep, Kevin Kline, Al Pacino, Oliver Platt, Blythe Danner, Philip Seymour Hoffman, George C. Scott and Denzel Washington.
So loved is Shakespeare in the Park that it has spawned several other companies around the city to mount their own Shakespeare events alfresco, where you’ll find performances everywhere from parking lots to community gardens and, of course, other parks. For any theater lover in New York, Shakespeare outdoors is indeed a midsummer night’s dream. This summer, Shakespeare in the Park presents two classic comedies: The Comedy of Errors and a new musical adaptation of Love’s Labour’s Lost.
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central park without horse-drawn carriages by Linda Stasi
Horse-drawn carriage rides through the streets of New York — an experience nearly as old as the city itself — could be clip-clopping to a halt. Animal activists who have long argued that horses have no place mixing in the traffic of the nation’s biggest city now have the backing of both leading candidates for mayor. And the front-runner heading into the Nov. 5 election, Democrat Bill de Blasio, supports a plan to replace the horses with old-timey electric cars to take tourists on slow-speed jaunts around Central Park. To the top-hatted horse drivers who dispense lap blankets and tour guide wisdom along with the rides, that plan has about as much charm as a plastic pony. “People come for the clip-clop of a horse’s hooves,” said driver Christina Hansen. “Nobody wants to pet a fender.” Ending the city’s 155-year-old horse-drawn carriage industry has emerged as an unlikely issue in the recent mayoral debates, and one of the few points of agreement in an otherwise bitter race between de Blasio and Republican Joe Lhota. For de Blasio, the city’s public advocate who is leading by 40 points in the polls, the issue is animal cruelty. “We are in the biggest, densest urban area in North America. It is not a place for horses. They are not meant to be in traffic jams.”
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GLOBAL Are You? How
by juan gonzalez
Global Citizen is a tool to amplify and unite a generation’s call for justice. It’s a place for you to learn, and act, to bring an end to extreme poverty.
Global Citizens know that a world that deprives 1.3 billion people of their basic rights and opportunities is unjust and unacceptable. We celebrate the efforts made to cut extreme poverty by half, but recognise more still needs to be done. We know that people living in extreme poverty are working hard themselves, and that we need to learn and take action to change the rules that trap them in broken systems.
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O
To coincide with the United Nations General Assembly, on September 28th 2013 the Global Citizen Festival will take place for the second time in Central Park, New York City. This is a mass advocacy event where Global Citizens can come together and feel a part of the movement, as we ask the world to take us another step closer to ending extreme poverty. The festival is centred around four key policy areas with specific targets within those areas:
1) Education Our goal: 57 million children are denied access to basic schooling. We want these children into school by 2015. How can we do this? By calling on the US government to support the Global Partnership for Education (GPE), the world’s only multilateral for delivering basic primary education.
2) Health Our goal: 1 million community health workers in the global south by 2015. How can we do this? We call on the Global Fund and GAVI to fund training and deployment of hundreds of thousands of community health workers. We will be asking telecommunications companies like Ericsson, Digicel, and Novartis to provide free airtime, data and smartphones to community health workers.
3) Women’s Equality Our goal: The equality of girls and women to be made a global priority. We call on UN leaders to ensure that equality for girls and women remains a development priority now and in the future.
4) Global Partnerships Our goal: To garner support for public and private partnerships committed to ending extreme poverty by 2030. We call on Global Citizens to support socially responsible organisations such as Cotton On Foundation, who are providing education to children in Uganda and HP, who support entrepreneurs throughout the global south.
In the coming months, Global Citizen will also be campaigning on specific, measurable and winnable funding and policy changes around the issues of: O
Improving access to life-saving vaccines
O
Training up one million more health workers in Africa
O
O
Getting the 61 million kids who are currently missing school a decent education Increasing the quality of information that companies publish about their supply chains, so we really know where our products are coming from.
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in the eye of the
beholder
New York City, one of the most beautiful places on Earth is the center of much activity. From arts to business and science, a lot goes on in NYC. Many photographers have tried to capture the gorgeousness of the city.
photo by tktktk
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retired ballerinas, central park west by lawrence ferlinghetti
— Retired ballerinas on winter afternoons walking their dogs in Central Park West (or their cats on leashes— the cats themselves old highwire artists)
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photo by tktktk
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photo by tktktk
The ballerinas leap and pirouette through Columbus Circle while winos on park benches (laid back like drunken Goudonovs) hear the taxis trumpet together like horsemen of the apocalypse
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photo by tktktk
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photo by tktktk
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photo by tktktk
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photo by tktktk
photo by tktktk
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photo by tktktk
in the dusk of the gods It is the final witching hour when swains are full of swan songs And all return through the dark dusk to their bright cells in glass highrises
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photo by tktktk
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photo by tktktk
or sit down to oval cigarettes and cakes in the Russian Tea Room or climb four flights to back rooms in Westside brownstones where faded playbill photos fall peeling from their frames like last year’s autumn leaves
photo by tktktk
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photo by tktktk
photo by tktktk
artists
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by kenneth lovett
welcome photos by tktktk
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As long as there have been streets, there have been street performers. In ancient Egypt and Greece, people entertained and passed the hat for donations. During the Middle Ages in Europe, troubadours were the personal street performers of the aristocrats, while minstrels and jongleurs brought joy to the general public. In colonial America, twelve-year-old Benjamin Franklin sang on the streets of Philadelphia! At the turn of the century, immigrants helped to make street performing popular in New York. There were German marching bands and Italian organ grinders—”hurdy gurdies”—who serenaded women below their tenement windows. During the Great Depression, banjo players set up on subway and elevated platforms. Government authorities never knew exactly what to make of street performing. They seemed to think its spontaneity was a threat to law and order. In the 1930s, New York Mayor Fiorello LaGuardia called them beggars (he defended the poor but disapproved of panhandling), and he made it illegal to perform on New York City’s streets. Although street performing was allowed once again after 1970, subway performances were illegal until the 1980s. And yet the elevated and underground subway platforms were not quiet. Artists still expressed themselves and attracted an audience underground. In the 1940s, for example, Woody Guthrie, Pete Seeger, and others involved
in the growing Urban Folk Revival Movement pulled out guitars while waiting for their trains. Not only did they reclaim public space, they believed that songs could change social conditions. In the early 1960s, young African American and Italian American men sang doo-wop inside subway cars and received donations from appreciative riders. In 1987, with the creation of an official MUNY (Music Under New York) program, public performers have been recognized by authorities. The program is now funded and directed by the MTA Arts for Transit office. Whether you were raised in New York City or in a country with its own street performing tradition, you are helping to carry on a respected urban tradition.
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Quiet? In New York City? The irony would not have been lost on John Lennon. Musicians at Strawberry Fields, a memorial to the murdered Beatle and one of eight quiet zones in New York City’s Central Park, have drawn more police attention lately. If some minstrel belts out “Imagine” or gets a crowd to sing along hoping to carry away a hatful of coins, this busker could face a fine ranging from $50 to $200. Why this more urgent push for silence at the center of this wonderfully boisterous metropolis? Why forbid singing and guitars, even if the tune is not always in harmony with some of the park’s ritzy neighbors? A similar impulse to keep the park tidy has led to rigid limits on demonstrations and political rallies on the park’s Great Lawn. Adrian Benepe, the city’s parks commissioner, said that with Central Park getting 38 million visitors a year, the city is “trying to avert the tragedy of the commons,” where too little regulation destroys a good thing for all. A saxophonist playing at Bethesda Terrace, a newly designated quiet area, could wipe out the gentle sound of the Bethesda Fountain for everyone else. Besides, he said, the eight quiet zones (most in place for years) make up only 5 percent of park land and amplification equipment, including large radios, has long been barred without a permit. While that may be true, the new zeal in enforcing the rules seems an odd use of park police. They seem busier than usual silencing or ticketing street musicians, including those who like playing in a stone passageway near the Bethesda Fountain because of its rich, natural acoustics. This is New York, a very big noisy place that should not be forced to keep quiet.
“This is New York, a very big
noisy place that should not be forced to keep quiet.”
Performing in the Parks Parks Department regulations require street performers to apply for the same sound amplification permit from the local police precinct, if the performance in question can be heard outside the immediate area. In addition, the Parks Department requires performers to obtain a $25 Special Events permit, at least 21 to 30 days in advance, if either of these conditions apply:
• the performance is expected to draw a large crowd (over 20 people) • the performer wants to set up in a particular location
A single Special Events permit can cover 3 dates in different locations, or up to a full month (every day) in a specific location. Permits are granted subject to availability and if the Parks Department deems the location to be appropriate for the performance. In general, performers are also expected to comply with Parks Department rules and regulations.
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The Park of the People by kathie lee
In the first decade of the park’s completion, it became clear for whom it was built. Located too far uptown to be within walking distance for the city’s working class population, the park was a distant oasis to them. Trainfare represented a greater expenditure than most of the workers could afford, and in the 1860s the park remained the playground of the wealthy; the afternoons saw the park’s paths crowded with the luxurious carriages that were the status symbol of the day. Women socialized there in the afternoons and on weekends their husbands would join them for concerts or carriage rides. Saturday afternoon concerts attracted middle-class audiences as well, but the six-day work week precluded attendance by the working class population of the city. As a result, workers comprised but a fraction of the visitors to the park until the late nineteenth century, when they launched a successful campaign to hold concerts on Sundays as well.
As the city and the park moved into the twentieth century, the lower reservoir was drained and turned into the Great Lawn. The first playground, complete with jungle gyms and slides, was installed in the park in 1926, despite opposition by conservationists, who argued that the park was intended as a countryside escape for urban dwellers. The playground, used mostly by the children of middle and working class parents, was a great success; by the 1940s, under the direction of parks commissioner Robert Moses, Central Park was home to more than twenty playgrounds. As the park became less and less an elite oasis and escape, and was shaped more and more by the needs of the growing population of New York City, its uses evolved and expanded; by the middle of the century, ball clubs were allowed to play in the park, and the "Please Keep of the Grass" signs which had dotted the lush meadows of the park were a thing of the past.
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Central Park was the first landscaped public park in the United States. Advocates of creating the park--primarily wealthy merchants and landowners--admired the public grounds of London and Paris and urged that New York needed a comparable facility to establish its international reputation. A public park, they argued, would offer their
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own families an attractive setting for carriage rides and provide working-class New Yorkers with a healthy alternative to the saloon. After three years of debate over the park site and cost, in 1853 the state legislature authorized the City of New York to use the power of eminent domain to acquire more than 700 acres of land in the center of Manhattan. The question of who should exercise political control of this new kind of public institution was a point of contention throughout the nineteenth century. Under the leadership of Andrew Green, the commission became the city’s first planning agency and oversaw the laying out of uptown Manhattan as well as the management of the park. After a new citycharter in 1870 restored the park to local control, the mayor appointed park commissioners.