This article is about the public park in New York City. For other uses, see Central Park (disambiguation).

Central Park
Type	Urban park
Location	Manhattan in New York City, New York, United States
Coordinates	40°47′N 73°58′W / 40.783°N 73.967°W / 40.783; -73.967Coordinates: 40°47′N 73°58′W / 40.783°N 73.967°W / 40.783; -73.967
Area	843 acres (341 ha)
Created	1857
Operated by	Central Park Conservancy
Visitors	about 37.5 million annually[1][2]
Status	Open all year
U.S. National Register of Historic Places
U.S. National Historic Landmark
Architect:	Frederick Law Olmsted, Calvert Vaux
NRHP Reference#:	66000538
Significant dates
Added to NRHP:	October 15, 1966[3]
Designated NHL:	May 23, 1963

Central Park is a public park at the center of Manhattan in New York City, New York, United States. The park initially opened in 1857, on 843 acres (3.41 km²) of city-owned land. In 1858, Frederick Law Olmsted and Calvert Vaux won a design competition to improve and expand the park with a plan they entitled the Greensward Plan. Construction began the same year, continued during the American Civil War, and was completed in 1873.

Designated a National Historic Landmark in 1962, the park is currently managed by the Central Park Conservancy under contract with the city government. The Conservancy is a non-profit organization that contributes 83.5% of Central Park's $37.5 million dollar annual budget, and employs 80.7% of the park's maintenance staff.^[4]

Central Park today[link]

Central Park, which has been a National Historic Landmark since 1963, was designed by landscape designer and writer Frederick Law Olmsted and the English architect Calvert Vaux in 1858 after winning a design competition. They also designed Brooklyn's Prospect Park.^[5][6][7]

Central Park is bordered on the north by West 110th Street, on the south by West 59th Street, on the west by Eighth Avenue. Along the park's borders, these streets are known as Central Park North, Central Park South, and Central Park West respectively. Only Fifth Avenue along the park's eastern border retains its name.

Visitors[link]

The park, which receives approximately thirty-five million visitors annually,^[8] is the most visited urban park in the United States.^[9] It was opened on 770 acres (3.1 km²) of city-owned land and was expanded to 843 acres (3.41 km²; 1.317 sq mi). It is 2.5 miles (4 km) long between 59th Street (Central Park South) and 110th Street (Central Park North), and is 0.5 miles (0.8 km) wide between Fifth Avenue and Central Park West. Its size and cultural position has served as a model for many urban parks including San Francisco's Golden Gate Park, Tokyo's Ueno Park, Vancouver's Stanley Park, Youngstown's Mill Creek Park, and Munich's Englischer Garten, but the uniquely constrained geography of Manhattan, has made this park uniquely integral to the identity of its city.

Maintenance[link]

The park is maintained by the Central Park Conservancy, a private, not-for-profit organization that manages the park under a contract with the New York City Department of Parks and Recreation,^[4] in which the president of the Conservancy is ex officio Administrator of Central Park.

Today, the conservancy employs four out of five maintenance and operations staff in the park. It effectively oversees the work of both the private and public employees under the authority of the Central Park administrator, (publicly appointed), who reports to the parks commissioner, conservancy's president. As of 2007, the conservancy had invested approximately $450 million in the restoration and management of the park; the organization presently contributes approximately 85% of Central Park’s annual operating budget of over $37 million.^[4]

The system was functioning so well that in 2006 the conservancy created the Historic Harlem Parks initiative, providing horticultural and maintenance support and mentoring in Morningside Park, St. Nicholas Park, Jackie Robinson Park, and Marcus Garvey Park.^[10]

Landscaping and facilities[link]

While planting and land form in much of the park appear natural, it is in fact almost entirely landscaped. The park contains several natural-looking lakes and ponds that have been created artificially,^[11] extensive walking tracks, bridle paths, two ice-skating rinks (one of which is a swimming pool in July and August), the Central Park Zoo, the Central Park Conservatory Garden, a wildlife sanctuary, a large area of natural woods,^[12] a 106-acre (43 ha) billion-gallon reservoir with an encircling running track, and an outdoor amphitheater, the Delacorte Theater, which hosts the "Shakespeare in the Park" summer festivals. Indoor attractions include Belvedere Castle with its nature center, the Swedish Cottage Marionette Theatre, and the historic Carousel. In addition there are seven major lawns, the "meadows",^[13] and many minor grassy areas; some of them are used for informal or team sports and some set aside as quiet areas; there are a number of enclosed playgrounds for children.

The six miles (10 km) of drives within the park are used by joggers, bicyclists, skateboarders, and inline skaters, especially when automobile traffic is prohibited, on weekends and in the evenings after 7:00 pm.

The real estate value of Central Park was estimated by the property appraisal firm, Miller Samuel, to be $528,783,552,000 in December 2005.^[14]

Crime[link]

As crime has declined in the park and in the rest of New York City, many former negative perceptions have waned. The park has its own New York City Police Department precinct (Central Park Precinct), which employs both regular police and auxiliary officers. In 2005, safety measures held the number of crimes in the park to fewer than one hundred per year (down from approximately 1,000 in the early 1980s). New York City Parks Enforcement Patrol also patrols Central Park.

Panoramic view of Central Park from the Rockefeller Center.

History[link]

1857–1900[link]

Angel of the Waters, in Bethesda Fountain (sculpted 1873)

Central Park was not a part of the Commissioners' Plan of 1811; however, between 1821 and 1855, New York City nearly quadrupled in population. As the city expanded, people were drawn to the few existing open spaces, mainly cemeteries, to get away from the noise and chaotic life in the city.^[15]

New York City's need for a great public park was voiced by the poet and editor of the Evening Post (now the New York Post), William Cullen Bryant, and by the first American landscape architect, Andrew Jackson Downing, who began to publicize the city's need for a public park in 1844. A stylish place for open-air driving, similar to the Bois de Boulogne in Paris or London's Hyde Park, was felt to be needed by many influential New Yorkers, and, after an abortive attempt in 1850-51 to designate Jones's Wood, in 1853 the New York legislature settled upon a 700-acre (280 ha) area from 59th to 106th Streets for the creation of the park, at a cost of more than US$5 million for the land alone.^{[citation needed]}

The state appointed a Central Park Commission to oversee the development of the park, and in 1857 the commission held a landscape design contest. Frederick Law Olmsted and Calvert Vaux developed what came to be known as the Greensward Plan, which was selected as the winning design.

According to Olmsted, the park was "of great importance as the first real Park made in this country—a democratic development of the highest significance…," a view probably inspired by his stay and various trips in Europe during 1850.^[16] He visited several parks during these trips and was particularly impressed by Birkenhead Park and Derby Arboretum in England.

Several influences came together in the design. Landscaped cemeteries, such as Mount Auburn (Cambridge, Massachusetts) and Green-Wood (Brooklyn, New York) had set examples of idyllic, naturalistic landscapes. The most influential innovations in the Central Park design were the "separate circulation" systems for pedestrians, horseback riders, and pleasure vehicles. The "crosstown" commercial traffic was entirely concealed in sunken roadways, (today called "transverses"), screened with densely-planted shrub belts so as to maintain a rustic ambiance.

The Greensward plan called for some 36 bridges, all designed by Vaux, ranging from rugged spans of Manhattan schist or granite, to lacy neo-gothic cast iron; no two are alike. The ensemble of the formal line of the Mall's doubled allées of elms culminating at Bethesda Terrace, whose centerpiece is the Bethesda Fountain, with a composed view beyond of lake and woodland, was at the heart of the larger design.

Execution of the Greensward Plan was the responsibility of a number of individuals, including Jacob Wrey Mould (architect), Ignaz Anton Pilat (master gardener), George Waring (engineer), and Andrew Haswell Green (politician), in addition to Olmsted and Vaux.

Before the construction of the park could start, the area had to be cleared of its inhabitants,^[17] most of whom were quite poor and either free African Americans or residents of English or Irish origin. Most of them lived in small villages, such as Seneca Village, Harsenville, or the Piggery District; or else in the school and convent at Mount St. Vincent's Academy. Around 1,600 residents occupying the area at the time, were evicted under the rule of eminent domain during 1857. Seneca Village and parts of the other communities were razed to make room for the park.

A map of Central Park from 1875

During the construction of the park, Olmsted fought constant battles with the park commissioners, many of whom were appointees of the city's Democratic machine^{[citation needed]}. In 1860, he was forced out for the first of many times as Central Park's superintendent, and Andrew Haswell Green, the former president of New York City's board of education took over as the chairman of the commission.^{[citation needed]} Despite the fact that he had relatively little experience, he still managed to accelerate the construction, as well as to finalize the negotiations for the purchase of an additional 65 acres (260,000 m²) at the north end of the park, between 106th and 110th Streets, which would be used as the "rugged" part of the park, its swampy northeast corner dredged, and reconstructed as the Harlem Meer.^{[citation needed]}

Between 1860 and 1873, most of the major hurdles to construction were overcome, and the park was substantially completed. Construction combined the modern with the ageless: up-to-date steam-powered equipment and custom-designed wheeled tree moving machines augmented massive numbers of unskilled laborers wielding shovels. The work was extensively documented with technical drawings and photographs. During this period, more than 18,500 cubic yards (14,000 m³) of topsoil had been transported in from New Jersey, because the original soil was not fertile or substantial enough to sustain the various trees, shrubs, and plants called for by the Greensward Plan. When the park was officially completed in 1873, more than ten million cartloads of material had been transported out of the park, including soil and rocks. More than four million trees, shrubs and plants representing approximately 1,500 species were transplanted to the park.

More gunpowder was used to clear the area than was used at the battle of Gettysburg during the American Civil War.^[18]

Sheep grazed on the Sheep Meadow from the 1860s until 1934, when they were moved upstate as it was feared they would be used for food by impoverished Depression-era New Yorkers.^[19]

1900–1960[link]

From 1864 to 1934 a flock of pedigree Southdown and Dorset sheep grazed in the Sheep Meadow. They were removed to Prospect Park in Brooklyn in 1934

From 1864 to 1934 a flock of pedigree Southdown and Dorset sheep grazed in the Sheep Meadow. They were removed to Prospect Park in Brooklyn in 1934

A children's festival in Central Park, sponsored by the Federal Art Project in September 1938.

Following completion, the park quickly slipped into decline. One of the main reasons for this was the lack of interest of the Tammany Hall political machine, which was the largest political force in New York at the time. Around the turn of the 20th century, the park faced several new challenges. Cars were becoming commonplace, bringing with them their burden of pollution, and people's attitudes were beginning to change. No longer were parks to be used only for walks and picnics in an idyllic environment, but now also for sports, and similar recreation. Following the dissolution of the Central Park Commission in 1870 and Andrew Green's departure from the project, and the death of Vaux in 1895, the maintenance effort gradually declined, and there were few, if any, attempts to replace dead trees, bushes and plants, or worn-out lawn. For several decades, authorities did little or nothing to prevent vandalism and the littering of the park.

All of this changed in 1934, when Republican Fiorello La Guardia was elected mayor of New York City and unified the five park-related departments then in existence. Robert Moses was given the task of cleaning up the park. Moses, about to become one of the mightiest men in New York City, took over what was essentially, a relic, a leftover from a bygone era.

According to historian Robert Caro in his 1974 book The Power Broker:

Lawns, unseeded, were expanses of bare earth, decorated with scraggly patches of grass and weeds, that became dust holes in dry weather and mud holes in wet…. The once beautiful Mall looked like a scene of a wild party the morning after. Benches lay on their backs, their legs jabbing at the sky...

In a single year, Moses managed to clean up Central Park and other parks in New York City. Lawns and flowers were replanted, dead trees and bushes were replaced, walls were sandblasted, and bridges repaired. Another dramatic change was Moses's removal of the "Hoover Valley" shantytown, whose site was transformed into the 30 acres (12 ha) Great Lawn.^[20] Major redesigning and construction also was carried out: for instance, the Croton Lower Reservoir was filled in so the Great Lawn could be created. The Greensward Plan's purpose of creating an idyllic landscape was combined with Moses' vision of a park to be used for recreational purposes—19 playgrounds, 12 ball fields, and handball courts were constructed. Moses also managed to secure funds from the New Deal program, as well as donations from the public.

1960–1980[link]

Belvedere Castle, Central Park (built 1869)

The 1960s marked the beginning of an “Events Era” in Central Park that reflected the widespread cultural and political trends of the period. The Public Theater's annual Shakespeare in the Park festival was settled in the Delacorte Theater (1961), and summer performances were instituted on the Sheep Meadow, and then on the Great Lawn by the New York Philharmonic Orchestra and the Metropolitan Opera. Increasingly through the 1970s, the park became a venue for events of unprecedented scale, including political rallies and demonstrations, festivals, and massive concerts.

New York City was experiencing economic and social upheaval. Residents were fleeing the city and moving to the suburbs. Morale was low, and crime was high. The Parks Department, suffering from budget cuts and a lack of skilled management that rendered its workforce virtually ineffective, responded by opening the park to any and all activities that would bring people into it—regardless of their impact and without adequate management, oversight, or maintenance follow-up. Some of these events became important milestones in the social history of the park and the cultural history of the city.

By the mid-1970s, New York’s fiscal and social malaise had contributed to severe managerial neglect. "Years of poor management and inadequate maintenance had turned a masterpiece of landscape architecture into a virtual dustbowl by day and a danger zone by night," said the conservancy president.^[21] Time had hastened the deterioration of its infrastructure and architecture, and ushered in an era of vandalism, territorial use (as when a pick-up game of softball or soccer commandeered open space to the exclusion of others), and illicit activities.

Several citizen groups had emerged, intent upon reclaiming the park by fund raising and organizing volunteer initiatives. One of these groups, the Central Park Community Fund, commissioned a study of the park’s management. The study's conclusion was bi-linear;

• It called for the establishment of a single position within the parks department, responsible for overseeing both the planning and management of Central Park and
• for a board of guardians to provide citizen oversight.

In 1979 Parks Commissioner Gordon Davis established the Office of Central Park Administrator, appointing to the position the executive director of another citizen organization, the Central Park Task Force. The Central Park Conservancy was founded the following year, to support the office and initiatives of the administrator and to provide consistent leadership through a self-perpetuating, citizen-based board that also would include as ex-officio trustees, the parks commissioner, Central Park Administrator, and mayoral appointees.

Central Park in 2004

1980–2000[link]

The look-out point on the Lake in Central Park

Under the leadership of the Central Park Conservancy, the park's reclamation began with modest, but highly significant first steps, addressing needs that could not be met within the existing structure and resources of the parks department. Interns were hired, and a small restoration staff to reconstruct and repair unique rustic features, undertaking horticultural projects, and removing graffiti under the broken windows premise. Currently, "Graffiti doesn't last 24 hours in the park," according to Conservancy president Douglas Blonsky.^[22]

By the early 1980s the Conservancy was engaged in design efforts and long-term restoration planning, using both its own staff and external consultants. It provided the impetus and leadership for several early restoration projects funded by the city, preparing a comprehensive plan for rebuilding the park. On completion of the planning stage in 1985, the conservancy launched its first "capital" campaign, assuming increasing responsibility for funding the park's restoration, and full responsibility for designing, bidding, and supervising all capital projects in the park.

The restoration was accompanied by a crucial restructuring of management, whereby the park was subdivided into zones, to each of which a supervisor was designated, responsible for maintaining restored areas. Citywide budget cuts in the early 1990s, however, resulted in attrition of the park's routine maintenance staff, and the conservancy began hiring staff to replace these workers. Management of the restored landscapes by the conservancy’s "zone gardeners" proved so successful that core maintenance and operations staff were reorganized in 1996. The zone-based system of management was implemented throughout the park, which was divided into forty-nine zones. Consequently, every zone of the park has a specific individual accountable for its day-to-day maintenance. Zone gardeners supervise volunteers assigned to them, (who commit to a consistent work schedule) and are supported by specialized crews in areas of maintenance requiring specific expertise or equipment, or more effectively conducted on a park-wide basis.^[23]

Activities[link]

Boathouse Cafe

• Birding: A wooded section of the park called "The Ramble" is popular among birders. Many species of woodland birds, especially warblers, may be seen in The Ramble in Spring and Fall.
• Boating: Rowboats and kayaks are rented on an hourly basis at the Loeb Boathouse, which also houses a restaurant overlooking the Lake. As early as 1922, model power boating was popular on park waters.
• Carriage horses: the carriage horse industry, revived in New York City in 1935,^[24] has been featured in various films; the first female carriage driver, Maggie Cogan, appeared in a newsreel in 1967.^[25] The ethics of this tradition and the effects on horse health and well being have been questioned by various animal rights activists.^{[26][27][28][29][30][31][32]}
• Pedicabs: Pedicabs operate mostly in the southern part of the park, the same part as horse carriages.
• Sports: Park Drive, just over 6 miles (9.7 km) long, is a haven for runners, joggers, bicyclists, and inline skaters. Most weekends, races take place in the park, many of which are organized by the New York Road Runners. The New York City Marathon finishes in Central Park outside Tavern on the Green. Many other professional races are run in the park, including the recent, (2008), USA Men's 8k Championships. Baseball fields are numerous, and there are also courts for volleyball, tennis, and lawn bowling.
  • Rock Climbing: Central Park's glaciated rock outcroppings attract climbers, especially boulderers; Manhattan's bedrock, a glaciated schist, protrudes from the ground frequently and considerably in some parts of Central Park. The two most renowned spots for boulderers are Rat Rock and Cat Rock; others include Dog Rock, Duck Rock, Rock N' Roll Rock, and Beaver Rock, near the south end of the park.^[33]
  • Ice Skating: Central Park has two ice skating rinks, Wollman Rink and Lasker Rink, which converts to an outdoor swimming pool in summer.

Carousel

• Central Park Carousel: the current carousel, installed in 1951, is one of the largest merry-go-rounds in the United States. The fifty-eight hand-carved horses and two chariots were made by Solomon Stein and Harry Goldstein in 1908. The carousel originally was installed in Coney Island in Brooklyn.
• Playgrounds: Central Park has twenty-one playgrounds for children located throughout the park, the largest, at 3 acres (12,000 m²), is Heckscher Playground named for August Heckscher.
• Swedish Cottage Marionette Theatre: located in the Swedish Cottage. The building was originally a model schoolhouse built in Sweden. Made of native pine and cedar, it was disassembled and rebuilt in the U.S. as Sweden's exhibit for the 1876 Centennial Exposition in Philadelphia. Frederick Law Olmsted moved the cottage to its present site in 1877.
• Central Park Zoo: The Central Park Zoo is one of four zoos, and one aquarium, managed by the Wildlife Conservation Society (WCS), and is accredited by the Association of Zoos and Aquariums (AZA). The zoo is home to an indoor rainforest, a leafcutter ant colony, a chilled penguin house, and a Polar Bear pool.

• Entertainment
  • Each summer, the Public Theater presents free open-air theatre productions, often starring well-known stage and screen actors. The Delacorte Theater is the summer performing venue of the New York Shakespeare Festival. Most, although not all, of the plays presented are by William Shakespeare, and the performances are generally regarded as being of high quality since its founding by Joseph Papp in 1962.
  • The New York Philharmonic gives an open-air concert every summer on the Great Lawn, and the Metropolitan Opera presents two operas. Many concerts have been given in the park including Barbra Streisand, 1967; The Supremes, 1970; Carole King, 1973; Bob Marley & The Wailers, 1975; Elton John, 1980; the Simon and Garfunkel reunion, 1981; Diana Ross, 1983; Garth Brooks, 1997; the Dave Matthews Band, 2003; Bon Jovi, 2008;^[34] and Andrea Bocelli, 2011. Since 1992, local singer-songwriter David Ippolito has performed almost every summer weekend to large crowds of passers-by and regulars and has become a New York icon, often simply referred to as "That guitar man from Central Park." In the summer of 1985, Bruce Springsteen planned to hold a free outdoor concert on the Great Lawn; however, the idea was scrapped when it was purported that any free show held by Springsteen would bring an estimated 1.3 million people, crippling the park and the nearby neighborhoods.

Tavern on the Green, now a closed restaurant, it was originally built in the era of Tammany Hall to house Central Park's sheep.

• • Each summer, City Parks Foundation offers Central Park Summerstage, a series of free performances including music, dance, spoken word, and film presentations. SummerStage celebrated its twenty-fifth anniversary in 2010. Throughout its history Summerstage has welcomed emerging artists and world renowned artists, including Celia Cruz, David Byrne, Curtis Mayfield, Ladysmith Black Mambazo, George Clinton and the P-Funk All Stars, and Nobel Laureate and Pulitzer winner Toni Morrison, Femi Kuti, Seun Kuti, Pulitzer winner Junot Diaz, Vampire Weekend, Dayton Contemporary Dance Company, Morphoses/The Wheeldon Company, and many more.
  • With the revival of the city and the park in the new century, Central Park has given birth to arts groups dedicated to performing in the park, notably Central Park Brass, which performs an annual concert series and the New York Classical Theatre, which produces an annual series of plays.

Central Park was home to the famed New York City restaurant Tavern on the Green which was located on the park's grounds at Central Park West and West 67th Street. Tavern on the Green had its last seating on December 31, 2009 before closing its doors.

Central Park was home to the largest concert ever on record. Country Superstar Garth Brooks performed a free concert in August 1997. About 980,000 attended the event, according to the FDNY.^[35]

Panorama of Jacqueline Kennedy Onassis Reservoir at Central Park, looking North

Art[link]

Victory Leading Sherman

• Sculpture: A total of twenty-nine sculptures by sculptors such as Augustus Saint-Gaudens, John Quincy Adams Ward, and Emma Stebbins, have been erected over the years, most have been donated by individuals or organizations. Much of the first statuary placed was of authors and poets, in an area now known as Literary Walk. Some of the sculptures are:
  • "Angel of the Waters" at Bethesda Terrace by Emma Stebbins (1873), was the first large public sculpture commission for an American woman
  • Balto: a 1925 statue of the sled dog who became famous during the 1925 serum run to Nome
  • King Jagiello bronze monument on the east end of Turtle Pond
  • Alice in Wonderland
  • Duke Ellington: created by sculptor Robert Graham was dedicated in 1997 near Fifth Avenue and 110th Street, in the Duke Ellington Circle

• Cleopatra's Needle; is a red granite obelisk. The "Cleopatra's Needle" in Central Park is one of three; there also is one in Paris and one in London, which is one of a pair with the New York obelisk. Each obelisk is approximately 68–69 feet tall and weigh about 180 tons. They originally were erected at the Temple of Ra, in Heliopolis, in Ancient Egypt around 1450 B.C. by pharaoh Thutmose III. The hieroglyphs were inscribed about two hundred years later by pharaoh Rameses II to glorify his military victories. The obelisks were all moved during the reign of Roman emperor Augustus Caesar when Ancient Egypt was under the control of Rome. They were brought to Alexandria and erected as tribute to Julius Caesar, in front of the Caesarium, a temple originally built by Cleopatra VII of Egypt in honor of Mark Antony, thus the name "Cleopatra's Needle.^[36] There are two versions of how the Central Park Cleopatra's Needle made its way to Central Park: either it was a gift from the Khedive of Egypt, Isma'il Pasha, or it was stolen through the machinations of William H. Vanderbilt who paid the tab to have the obelisk shipped to New York and erected. The obelisk arrived in New York in July 1880; it took thirty-two horses hitched in sixteen pairs to pull the obelisk to the park. It was erected in an official ceremony on January 22, 1881.

• Strawberry Fields: On October 9, 1985, on what would have been John Lennon's 45th birthday, New York City dedicated 2.5 acres to his memory. Countries from all around the world contributed trees and Italy donated the iconic Imagine mosiac. It has since become the sight of impromptu memorial gatherings for other notables and, in the days following the September 11, 2001 attacks, candlelight vigils

• The Gates: For sixteen days in 2005 (February 12–27), Central Park was the setting for Christo and Jeanne-Claude's installation The Gates. Although the project was the subject of very mixed reactions (and it took many years for Christo and Jeanne-Claude to get the necessary approvals), it was nevertheless a major, if temporary, draw for the park.^[37]

Geology[link]

There are four different types of bedrock in Manhattan, two are exposed in various outcroppings in Central Park, Manhattan schist and Hartland schist (both are metamorphosed sedimentary rock); Fordham gneiss, an older deeper layer which does not surface in the park and Inwood marble (metamorphosed limestone) which overlays the gneiss are the others.^[38]

Fordham gneiss, which consists of metamorphosed igneous rocks, was formed a billion years ago, during what is known as the Grenville orogeny that occurred during the creation of an ancient super-continent. It is the oldest rock in the Canadian Shield, the most ancient part of the North American tectonic plate.

Manhattan schist and Hartland schist were formed in the Iapetus Ocean during the Taconic orogeny in the Paleozoic era, about 450 million years ago. During this period the tectonic plates began to move toward each other, which resulted in the creation of the supercontinent, Pangaea.^[39]

Cameron's Line is a fault zone that traverses Central Park on an east-west axis.^[40]

Various glaciers have covered the area of Central Park in the past, with the most recent being the Wisconsin glacier which receded about 12,000 years ago. Evidence of past glaciers are visible throughout the park in the form of glacial erratics (large boulders dropped by the receding glacier) and north-south glacial striations visible on stone outcroppings.

Flora[link]

Bracts of Flowering Dogwood, an understory tree native to Central Park

Central Park, home to over 25,000 trees, has a stand of 1,700 American Elms, one of the largest remaining stands of in the northeastern U.S., protected by their isolation from Dutch Elm Disease which devastated the tree throughout its native range.

A partial listing of the tree species found in Central Park, both natives and exotics:

Fauna[link]

Red-tailed hawk, one of the bird species found in Central Park

• Birds:

The first official list of birds observed in Central Park was drawn up by Augustus G. Paine, Jr.. Paine was an avid hobby ornithologist and, together with his friend Lewis B. Woodruff, drew up a list of birds counting over 100 species. This was regarded as the first official list and was published in Forest and Stream on June 10, 1886.^[41] An article in The New Yorker on 26 August 1974 calls attention to this early list.^[42] Over the decades the list has been updated and changed.

The park is frequented by various migratory species of birds during their Spring and Fall migration on the Atlantic Flyway. Over a quarter of all the bird species found in the United States have been seen in Central Park. One of these species is the Red-tailed hawk, which re-established a presence in the park when a male hawk known as Pale Male for his light coloration, nested on a building on Fifth Avenue, across the street from the park.^[when?] He became a local media celebrity and a prolific breeder.^{[citation needed]}

Central Park was the site of the misguided unleashing of European starlings in North America, a native of Eurasia which has become an invasive species. In April, 1890, eighty birds were released by Eugene Schieffelin, and the following March another eighty; these one hundred and sixty birds are the progenitors of the flocks which now span the United States and parts of Canada.

• Mammals
  • Raccoon (Procyon lotor): nocturnal tree dwellers that come down to ground level to feed at night, have become extremely common in Central Park in recent years, prompting the Parks Department to post rabies warnings around certain areas.
  • Eastern gray squirrel, or grey squirrel (Sciurus carolinensis), is a tree squirrel in the genus Sciurus native to the eastern and midwestern United States.
  • Eastern Chipmunk (Tamias striatus): although not commonly sighted, there are chipmunks in Central Park.
  • Virginia Opossum (Didelphis virginiana): a nocturnal marsupial that rests in trees during the day and searches for food on the ground at night.
• Arthropods: In 2002 a new genus and species of centipede (Nannarrup hoffmani) was discovered in Central Park. At about four-tenths of an inch (10 mm) long, it is one of the smallest centipedes in the world.

Miscellaneous[link]

Cleopatra's Needle, Central Park, carved c. 1450 B.C. for Thutmose III, hieroglyphs inscribed c. 1250 B.C. for Rameses II

Permission to hold issue-centered rallies in Central Park has been met with increasingly stiff resistance from the city. In 2004, the organization United for Peace and Justice wanted to hold a rally on the Great Lawn during the Republican National Convention. The city denied application for a permit, stating that such a mass gathering would be harmful to the grass and that such damage would make it harder to collect private donations to maintain the park. Courts upheld the refusal.

Since the 1960s, there has been a grassroots campaign^[43] to restore the park's loop drives to their original car-free state. Over the years, the number of car-free hours has increased,^[44] although a full closure currently is resisted by Mayor Bloomberg. The New York City Department of Transportation is now reportedly studying the issue.

The Central Park Medical Unit is an all-volunteer ambulance service that provides free emergency medical service to patrons of Central Park and the surrounding streets. It operates a rapid-response bicycle patrol, particularly during major events such as the New York City Marathon, the 1998 Goodwill Games, and concerts in the park.

Central Park constitutes its own United States census tract, number 143. According to Census 2000, the park's population is eighteen people, twelve male and six female, with a median age of 38.5 years, and a household size of 2.33, over 3 households.^[45]

Central Park is the most filmed location in the world.^[46] Over 305 films have been shot within the park. Memorable films include Hannah and Her Sisters, When Harry Met Sally, Remember Me, Home Alone 2, Kramer vs Kramer, Enchanted, Mr. Deeds, and Serendipity.

Gallery[link]

References[link]

Notes

Bibliography

• Kelly, Bruce, Gail T. Guillet, and Mary Ellen W. Hern. Art of the Olmsted Landscape. New York: City Landmarks Preservation Commission: Arts Publisher, 1981. ISBN 0-941302-00-8.
• Kinkead, Eugene. Central Park, 1857-1995: The Birth, Decline, and Renewal of a National Treasure. New York: Norton, 1990. ISBN 0-393-02531-4.
• Miller, Sara Cedar. Central Park, An American Masterpiece: A Comprehensive History of the Nation's First Urban Park. New York: Abrams, 2003. ISBN 0-8109-3946-0.
• Rosenzweig, Roy, and Elizabeth Blackmar. The Park and the People: A History of Central Park. Ithaca, NY: Cornell University Press, 1992. ISBN 0-8014-9751-5.
• Swerdlow, Joel L. Central Park - Oasis in the city. National Geographic Magazine May 1993
• Taylor, Dorceta E. The Environment and the People in American Cities, 1600s-1900s: Disorder, Inequality, and Social Change (Duke University Press, 2009), section 3; ISBN 978-0-8223-4451-3.

External links[link]

Wikimedia Commons has media related to: Central Park

Official websites

• NYC Department of Parks & Recreation
• Central Park Conservancy
• Central Park Police Precinct

Additional information

• Central Park in New York
• CentralPark.com: The complete guide to Central Park
• CentralParkHistory.com: The complete history of Central Park
• Forgotten-NY: Secrets of Central Park
• National Historic Landmarks Program: Central Park
• Lot83.com: Central Park Reservoir Project
• Elisabeth Barlow Rogers: The Central Park Story. Management and Restoration for a New Era of Public Use
• Central Park
• Virtual Tour of Central Park

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Charles Ives
This photo from around 1913 shows Ives in his "day job." He was the director of a successful insurance agency.
Background information
Birth name	Charles Edward Ives
Born	(1874-10-20)October 20, 1874
Origin	Danbury, Connecticut
Died	May 19, 1954(1954-05-19) (aged 79)
Occupations	composer, insurance agent

Charles Edward Ives (October 20, 1874 – May 19, 1954) was an American modernist^[1] composer. He is one of the first American composers of international renown,^[2] though Ives' music was largely ignored during his life, and many of his works went unperformed for many years. Over time, Ives came to be regarded as an "American Original".^[3] Ives combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones,^[4] foreshadowing many musical innovations of the 20th century.

Sources of Ives' tonal imagery are hymn tunes and traditional songs, the town band at holiday parade, the fiddlers at Saturday night dances, patriotic songs, sentimental parlor ballads, and the melodies of Stephen Foster.

Biography[link]

Charles Ives, c. 1889

Charles Ives was born in Danbury, Connecticut in 1874,^[5] the son of George Ives, a U.S. Army bandleader in the American Civil War, and his wife Mary Parmelee. A strong influence of Charles's may have been sitting in the Danbury town square, listening to his father's marching band and other bands on other sides of the square simultaneously. George Ives' unique music lessons were also a strong influence on Charles; George Ives took an open-minded approach to musical theory, encouraging his son to experiment in bitonal and polytonal harmonizations. It was from his father that Charles Ives also learned the music of Stephen Foster.^[6] Ives became a church organist at the age of 14^[7] and wrote various hymns and songs for church services, including his Variations on 'America' .^[8]

Ives moved to New Haven in 1893, enrolling in the Hopkins School, where he captained the baseball team. In September 1894, Ives entered Yale University, studying under Horatio Parker. Here he composed in a choral style similar to his mentor, writing church music and even an 1896 campaign song for William McKinley.^[9] On November 4, 1894, Charles's father died, a crushing blow to the young composer, but to a large degree Ives continued the musical experimentation he had begun with George Ives.

At Yale, Ives was a prominent figure; he was a member of HeBoule, Delta Kappa Epsilon (Phi chapter) and Wolf's Head Society, and sat as chairman of the Ivy Committee.^[9] He enjoyed sports at Yale and played on the varsity football team. Michael C. Murphy, his coach, once remarked that it was a "crying shame" that Charles Ives spent so much time at music as otherwise he could have been a champion sprinter.^[10] His works Calcium Light Night and Yale-Princeton Football Game show the influence of college and sports on Ives' composition. He wrote his Symphony No. 1 as his senior thesis under Parker's supervision.^[9]

Charles Ives, left, captain of the baseball team and pitcher for Hopkins Grammar School

He continued his work as a church organist until May 1902. In 1899, he moved to employment with the insurance agency Charles H. Raymond & Co., where he stayed until 1906. In 1907, upon the failure of Raymond & Co., he and his friend Julian Myrick formed their own insurance agency Ives & Co., which later became Ives & Myrick, where he remained until he retired.^[11] During his career as an insurance executive, Ives devised creative ways to structure life-insurance packages for people of means, which laid the foundation of the modern practice of estate planning.^[12] His Life Insurance with Relation to Inheritance Tax, published in 1918, was well received. As a result of this he achieved considerable fame in the insurance industry of his time, with many of his business peers surprised to learn that he was also a composer. In his spare time he composed music and, until his marriage, worked as an organist in Danbury and New Haven as well as Bloomfield, New Jersey and New York City.^[9]

In 1907, Ives suffered the first of several "heart attacks" (as he and his family called them) that he had throughout his lifetime. These attacks may have been psychological in origin rather than physical. Following his recovery from the 1907 attack, Ives entered into one of the most creative periods of his life as a composer.

After marrying Harmony Twitchell in 1908,^[11] they moved into their own apartment in New York. He had a remarkably successful career in insurance, and continued to be a prolific composer until he suffered another of several heart attacks in 1918, after which he composed very little, writing his very last piece, the song "Sunrise", in August 1926.^[11] In 1922, Ives published his 114 Songs, which represents the breadth of his work as a composer — it includes art songs, songs he wrote as a teenager and young man, and highly dissonant songs such as "The Majority."^[11]

According to his wife, one day in early 1927 he came downstairs with tears in his eyes. He could compose no more, he said, "nothing sounds right."^{[citation needed]} There have been numerous theories advanced to explain the silence of his late years, which seems as mysterious as the last several decades of the life of Jean Sibelius, who also stopped composing at almost the same time. While Ives had stopped composing, and was increasingly plagued by health problems, he did continue to revise and refine his earlier work, as well as oversee premieres of his music.^[11] After continuing health problems, including diabetes, in 1930 he retired from his insurance business, which gave him more time to devote to his musical work, but he was unable to write any new music. During the 1940s he revised his Concord Sonata, publishing it in 1947 (an earlier version of the sonata and the accompanying prose volume, Essays Before a Sonata were privately printed in 1920).^[13]

Ives died in 1954 in New York City. His widow bequeathed the royalties from his music to the American Academy of Arts and Letters for the Charles Ives Prize.^[14]

Music[link]

Early period (before 1900)[link]

As a youth, Charles was musically trained by his father George Ives, the bandmaster in Danbury, Connecticut. Charles played drums in his father's band at an early age, then learned to play piano and organ as his "main" instrument. He was a sought-after organist in some of the local churches as a teenager and once received a favorable newspaper review. George Ives engaged his son with challenging musical exercises such as alternative tunings and bitonal singing exercises. The elder Ives experimented with having two marching bands start at opposite ends of town playing two different songs in different keys while marching towards each other. Charles later credited his father as the seminal musical influence in his life.

Ives was formally trained in music at Yale. His First Symphony shows a grasp of the academic skills needed to write in the traditional sonata form of the late 19th century, as well as a tendency to display an individual and iconoclastic harmonic style. His father was a band leader, and like Hector Berlioz, Ives was fascinated with both outdoor music and instrumentation. His attempts to fuse these interests coupled with his devotion to Beethoven set the direction for the remainder of his musical life.

Ives published a large collection of his songs, many of which had piano parts that paralleled modern movements in Europe, including bitonality and pantonality. He was an accomplished pianist who could improvise in a variety of styles, including those then quite new. Though he is now best known for his orchestral music, he composed two string quartets and other works of chamber music. His work as an organist led him to write Variations on "America" in 1891, which he premiered at a recital celebrating the Fourth of July. The piece takes the tune (which is the same one as is used for the national anthem of the United Kingdom) through a series of fairly standard but witty variations; it was not published until 1949. The variations differ sharply: a running line, a set of close harmonies, a march, and a polonaise; the interludes are one of the first uses of bitonality;^[15] William Schuman created an arrangement for orchestra in 1964 which was consequently transcribed for symphonic band by William E. Rhoads in 1968.

Middle period (1900–1910)[link]

Around the turn of twentieth century Ives composed his Symphony No. 2, signifying a departure from the conservative approach of his composition teacher at Yale, Horatio Parker. His first symphony is a more conventional piece since Parker had insisted that he stick to the older European style. However, the second symphony, composed after he had graduated, adopted new techniques that included musical quotations, unusual phrasing and orchestration, and even a blatantly dissonant 11-note chord ending the work. The second symphony foreshadows his later compositional style even though the piece is relatively conservative by Ives' standards.

In 1906, Ives composed what some have argued was the first radical musical work of the twentieth century, Central Park in the Dark.^[16] The piece evokes an evening comparing sounds from nearby nightclubs in Manhattan (playing the popular music of the day, ragtime, quoting "Hello! Ma Baby" and even Sousa's "Washington Post March") with the mysterious dark and misty qualities of the Central Park woods (played by the strings). The string harmony uses shifting chord structures that are not solely based on thirds but a combination of thirds, fourths, and fifths. Near the end of the piece the remainder of the orchestra builds up to a grand chaos ending on a dissonant chord, leaving the string section to end the piece save for a brief violin duo superimposed over the unusual chord structures.

Ives had composed two symphonies, but it is with The Unanswered Question (1906), written for the highly unusual combination of trumpet, four flutes, and string orchestra, that he established the mature sonic world that became his signature style. The strings (located offstage) play very slow, chorale-like music throughout the piece while on several occasions the trumpet (positioned behind the audience) plays a short motif that Ives described as "the eternal question of existence".^{[citation needed]} Each time the trumpet is answered with increasingly shrill outbursts from the flutes (onstage) — apart from the last: the unanswered question. The piece is typical Ives — it juxtaposes various disparate elements, it appears to be driven by a narrative never fully revealed to the audience, and it is tremendously mysterious. It has become one of his more popular works.^[17] Leonard Bernstein borrowed its title for his Charles Eliot Norton Lectures in 1973, noting that he always thought of the piece as a musical question, not a metaphysical one.

Mature period (1910–1923)[link]

Starting around 1910 Ives began composing his most accomplished works including the Holiday Symphony and arguably his best-known piece, Three Places in New England.

Pieces such as The Unanswered Question were almost certainly influenced by the New England transcendentalist writers Ralph Waldo Emerson and Henry David Thoreau.^[11] These were important influences to Ives, as he acknowledged in his Piano Sonata No. 2: "Concord, Mass., 1840–60" (1909–15), which he described as an "...impression of the spirit of transcendentalism that is associated in the minds of many with Concord, Mass., of over a half century ago... undertaken in impressionistic pictures of Emerson and Thoreau, a sketch of the Alcotts, and a scherzo supposed to reflect a lighter quality which is often found in the fantastic side of Hawthorne."^[18]

The sonata is possibly Ives' best-known piece for solo piano (although it should be noted that there is an optional part for flute). (A part for viola in the "Emerson" movement is not intended for a viola player — it is simply the "viola part" from the original "Emerson" Concerto sketch, which was also to be played by bassoon and tubular bells.) Rhythmically and harmonically, it is typically adventurous, and it demonstrates Ives' fondness for quotation — on several occasions the opening motto from Beethoven's Fifth Symphony is quoted. It also contains one of the most striking examples of Ives' experimentalism: in the second movement, he instructs the pianist to use a 14+³⁄₄ in (37 cm) piece of wood to produce a dense but generally very soft cluster chord. All these effects are combined to create one of the towering masterworks of 20th century piano literature—an unprecedented masterpiece of American music.

Perhaps the most remarkable piece of orchestral music Ives completed was his Fourth Symphony (1910–16). The list of forces required to perform the work alone is extraordinary. The work closely mirrors The Unanswered Question. There is no shortage of novel effects. (A tremolando is heard throughout the second movement. A fight between discordance and traditional tonal music is heard in the final movement. The piece ends quietly with just the percussion playing at a distance.) In it, Ives finally resolves all of his compositional issues and the full force of his considerable genius is heard. The final movement can be seen as an apotheosis of his work and a culmination of his musical achievement. A complete performance was not given until 1965, almost half a century after the symphony was completed, and more than a decade after Ives' death.

Ives left behind material for an unfinished Universe Symphony, which he was unable to assemble in his lifetime despite two decades of work. This was due to his health problems as well as his shifting conception of the work. There have been several attempts at completion or performing version. However, none has found its way into general performance.^[19] The symphony takes the ideas in the Symphony No. 4 to an even higher level, with complex cross-rhythms and difficult layered dissonance along with unusual instrumental combinations.

Ives' chamber works include the String Quartet No. 2, where the parts are often written at extremes of counterpoint, ranging from spiky dissonance in the movement labeled "Arguments" to transcendentally slow. This range of extremes is frequent in Ives' music — crushing blare and dissonance contrasted with lyrical quiet — and carried out by the relationship of the parts slipping in and out of phase with each other. Ives' idiom, like Mahler's, employed highly independent melodic lines. It is regarded as difficult to play because many of the typical signposts for performers are not present. This work had a clear influence on Elliott Carter's Second String Quartet, which is similarly a four-way theatrical conversation.

Reception[link]

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Ives' music was largely ignored during his lifetime as an active composer, but since then his reputation has greatly increased. Juilliard commemorated the 50th anniversary of Ives' death by performing his music over six days in 2004. Many of his works went unperformed for many years. His tendency to experiment and his increasing use of dissonance were not well taken by the musical establishment of the time. The difficulties in performing the rhythmic complexities in his major orchestral works made them daunting challenges even decades after they were composed.

One of the more damning words one could use to describe music in Ives' view was "nice", and his famous remark "use your ears like men!" seemed to indicate that he did not care about his reception. On the contrary, Ives was interested in popular reception, but on his own terms.

Early supporters of his music included Henry Cowell, Elliott Carter and Aaron Copland. Cowell's periodical New Music published a substantial number of Ives' scores (with the composer's approval), but for almost 40 years Ives had few performances that he did not arrange or back, generally with Nicolas Slonimsky as the conductor.^[13] After seeing a copy of Ives' self-published 114 Songs during the 1930s, Copland published a newspaper article praising the collection.

Ives began to acquire more public recognition during the 1930s, with performances of a chamber orchestra version of his Three Places in New England both in the U.S. and on tour in Europe by conductor Nicolas Slonimsky and the New York Town Hall premiere of his Piano Sonata No. 2 (the Concord Sonata) by John Kirkpatrick in 1939, which led to favorable commentary in the major New York newspapers. Later, around the time of the composer's death in 1954, Kirkpatrick teamed with soprano Helen Boatwright for the first extended recorded recital of Ives' songs for the obscure Overtone label (Overtone Records catalog number 7). Boatwright and Kirkpatrick recorded a new selection of songs for the Ives Centennial Collection that Columbia Records published in 1974.

His obscurity lifted a little in the 1940s, when he met Lou Harrison, a fan of his music who began to edit and promote it. Most notably Harrison conducted the premiere of the Symphony No. 3, The Camp Meeting (1904) in 1946.^[20] The next year, this piece won Ives the Pulitzer Prize for Music. Ives gave the prize money away (half of it to Harrison), saying "prizes are for boys, and I'm all grown up".

At this time, Ives was also promoted by Bernard Herrmann, who worked as a conductor at CBS and in 1940 became principal conductor of the CBS Symphony Orchestra. While there he was a champion of Charles Ives' music. When meeting Ives, Hermann confessed that he had tried his hand at performing the Concord Sonata.

Remarkably, Ives, who actually avoided the radio and the phonograph, agreed to make a series of piano recordings from 1933 to 1943 that were later issued by Columbia Records on a special LP set issued for Ives' centenary in 1974. New World Records issued 42 tracks of Ives' recordings on CD on April 1, 2006.^[21]

Recognition of Ives' music has improved. He received praise from Arnold Schoenberg, who regarded him as a monument to artistic integrity, and from the New York School of William Schuman. He won the admiration of Gustav Mahler, who said that Ives was a true musical revolutionary. Mahler talked of premiering Ives' Third Symphony with the New York Philharmonic; but, soon after, Mahler's death prevented the premiere.^{[citation needed]}

In 1951, Leonard Bernstein conducted the world premiere of Ives' Second Symphony in a broadcast concert by the New York Philharmonic. The Iveses heard the performance on their cook's radio and were amazed at the audience's warm reception to the music. Bernstein continued to conduct Ives' music and made a number of recordings with the Philharmonic for Columbia Records. He even honored Ives on one of his televised youth concerts and in a special disc included with the reissue of the 1960 recording of the second symphony and the Fourth of July movement from Ives' Holiday Symphony.

Another pioneering Ives recording, undertaken during the 1950s, was the first complete set of the four violin sonatas, performed by Cleveland Orchestra concertmaster Rafael Druian and John Simms.

Leopold Stokowski took on the Symphony No. 4 in 1965, regarding the work as "the heart of the Ives problem". The Carnegie Hall world premiere by the American Symphony Orchestra led to the first recording of the music.

Another promotor of Ives was choral conductor Gregg Smith, who made a series of recordings of the composer's shorter works during the 1960s, including first stereo recordings of the psalm settings and arrangements of many short pieces for theater orchestra. The Juilliard String Quartet recorded the two string quartets during the 1960s.

In the present, Michael Tilson Thomas is an enthusiastic exponent of Ives' symphonies, as is composer and biographer Jan Swafford. Ives' work is regularly programmed in Europe. Ives has also inspired pictorial artists, most notably Eduardo Paolozzi, who entitled one of his 1970s sets of prints Calcium Light Night, each print being named for an Ives piece (including Central Park in the Dark). In 1991, Connecticut's legislature designated Ives as that state's official composer.^[22]

The Scottish baritone Henry Herford began a survey of Ives' songs in 1990, but this remains incomplete, owing to the collapse of the record company involved (Unicorn-Kanchana).

Pianist-composer and Wesleyan University professor Neely Bruce has made a life's study of Ives. To date, he has staged seven parts of a concert series devoted to the complete songs of Ives.

Musicologist David Gray Porter reconstructed a piano concerto, the "Emerson" Concerto, from Ives' sketches. A recording of the work was released by Naxos Records.

Influence on twentieth-century music[link]

A bold testament to Ives comes from the composer Arnold Schoenberg. Schoenberg's widow eventually found a note of his in the form of a brief poem shortly after his death (just three years before Ives himself died). The note was originally written in 1944 when Schoenberg was living in Los Angeles and teaching at UCLA stating:

There is a great Man living in this Country – a composer. He has solved the problem how to preserve one's self-esteem and to learn [sic]. He responds to negligence by contempt. He is not forced to accept praise or blame. His name is Ives.^[23]

Ives was also a great financial supporter of twentieth century music, often supporting works that were written by other composers. This he did in secret, telling his beneficiaries it was really his wife who wanted him to do so.^[24] Nicolas Slonimsky said in 1971, "He financed my entire career."^[25]

Compositions[link]

Note: Because Ives often made several different versions of the same piece, and because his work was generally ignored during his lifetime, it is often difficult to put exact dates on his compositions. The dates given here are sometimes best guesses. There have also been controversial speculations that Ives purposely misdated his own pieces earlier or later than actually written.

• Variations on America for organ (1892)
• The Circus Band (a march describing the Circus coming to town)
• Psalm settings (14, 42, 54, 67, 90, 135, 150) (1890s)^[26]
• String Quartet No. 1, From the Salvation Army (1897–1900)
• Symphony No. 1 in D minor (1898–1901)
• Symphony No. 2 (Ives gave dates of 1899-1902; analysis of handwriting and manuscript paper suggests 1907-1909)^[27]
• Symphony No. 3, The Camp Meeting (1908–10)
• Central Park in the Dark for chamber orchestra (1906, 1909)
• The Unanswered Question for chamber group (1906; rev. 1934)
• Piano Sonata No. 1 (1909–16)
• Piano Trio (c1909–10, rev. c1914–15)
• Violin Sonata No. 1 (1910–14; rev. ca. 1924)
• Violin Sonata No. 4, Children's Day at the Camp Meeting (1911–16)
• A Symphony: New England Holidays (1904–1913)
• "Robert Browning" Overture (1911–14)
• Symphony No. 4 (1912–18; rev. 1924–26)
• String Quartet No. 2 (1913–15)
• Pieces for chamber ensemble grouped as "Sets," some called Cartoons or Take-Offs or Songs Without Voices (1906–18); includes Calcium Light Night
• Three Places in New England (Orchestral Set No. 1) (1910–14; rev. 1929)
• Violin Sonata No. 2 (1914–17)
• Violin Sonata No. 3 (1914–17)
• Orchestral Set No. 2 (1915–19)
• Piano Sonata No. 2, Concord, Mass., 1840–60 (1916–19) (revised many times by Ives)
• Universe symphony (incomplete, 1915–28, worked on symphony until his death in 1954)
• 114 Songs (composed various years 1887–1921, published 1922.)
• Three Quarter Tone Piano Pieces (1923–24)
• Orchestral Set No. 3 (incomplete, 1919–26, notes added after 1934)

Notes[link]

Further reading[link]

• Block, Geoffrey (1988). Charles Ives: a bio-bibliography. New York: Greenwood Press. ISBN 0-313-25404-4. 
• Burkholder, J. Peter (1995). All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven, CT: Yale University Press. ISBN 0-300-05642-7. 
• Burkholder, J. Peter (1996). Charles Ives and His World. Princeton, NJ: Princeton University Press. ISBN 0-691-01164-8. 
• Cooper, Jack (1999). Three sketches for jazz orchestra inspired by Charles Ives songs (Thesis). University of Texas at Austin: UMI Publishing. OCLC 44537553. 
• Cowell, Henry; Cowell, Sidney (1969). Charles Ives and His Music. Oxford: Oxford University Press. OCLC 56865028. 
• Herzfeld, Gregor (2007). Zeit als Prozess und Epiphanie in der experimentellen amerikanischen Musik. Charles Ives bis La Monte Young. Stuttgart: Franz Steiner Verlag. ISBN 978-3-515-09033-9. 
• Johnson, Timothy (2004). Baseball and the Music of Charles Ives: A Proving Ground. Maryland: The Scarecrow Press. ISBN 0-8108-4999-2. 
• Kirkpatrick, John (1973). Charles E. Ives: Memos. London: Calder & Boyars. ISBN 0-7145-0953-1. 
• Perlis, Vivian (1974). Charles Ives Remembered: an Oral History. New York: Da Capo Press. ISBN 0-306-80576-6. 
• Sinclair, James B. (1999). A Descriptive Catalogue of the Music of Charles Ives. New Haven, CT: Yale University Press. ISBN 0-300-07601-0. 
• Sive, Helen R. (1977). Music's Connecticut Yankee: An Introduction to the Life and Music of Charles Ives. New York: Atheneum. ISBN 0-689-30561-3. 
• Swafford, Jan (1996). Charles Ives: A Life with Music The Enjoyment of Music: An Introduction to Perceptive Listening. New York: W. W. Norton. ISBN 0-393-03893-9. 
• Woolridge, David (1974). From the Steeples and Mountains: A Study of Charles Ives. New York: Alfred A. Knopf. ISBN 0-394-48110-0. 

External links[link]

Biography portal

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Wikisource has original works written by or about: Charles Ives

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• Works by Charles Ives at Project Gutenberg
• The Charles Ives Society
• Charles Ives at Peermusic Classical Composer's Publisher and Bio
• Leicestershire Schools Symphony Orchestra Tippett rehearses Putnam's Camp. A short video from 1969.
• A Descriptive Catalogue of the Music of Charles Ives, online edition
• The Charles Ives Center for the Arts. Inc
• Art of the States: Charles Ives Three Quarter-Tone Pieces for Two Pianos (1924)
• "Charles Ives". Find a Grave. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=533. Retrieved August 10, 2010. 
• Works by or about Charles Ives in libraries (WorldCat catalog)
• Multitasking, an episode of The Infinite Mind public radio program (Cambridge, MA, Lichtenstein Creative Media, 2005), a report on Charles Ives and his integration of multitasking into his compositions.
• Ives Vocal Marathon—performances and programs of Ives' vocal work.
• Charles Ives at Pytheas Center for Contemporary Music
• Free scores by Charles Ives at the International Music Score Library Project
• The online music review La Folia has an in-depth article on Ives' Concord Sonata
• The Charles Ives Papers at Yale University Music Library

Simon & Garfunkel
Paul Simon (right) and Art Garfunkel performing live in Dublin.
Background information
Also known as	Tom and Jerry
Origin	Forest Hills, Queens, New York City, New York, USA
Genres	Folk rock, world music, soft rock, folk music
Years active	1957–1970, 1981–1983, 2003–2004, 2009
Labels	Columbia
Website	www.simonandgarfunkel.com
Past members
Paul Simon Art Garfunkel

Simon & Garfunkel were an American music duo consisting of singer-songwriters Paul Simon and Art Garfunkel. They formed the group Tom & Jerry in 1957 and had their first success with the minor hit "Hey, Schoolgirl". As Simon & Garfunkel, the duo rose to fame in 1965, largely on the strength of the hit single "The Sound of Silence". Their music was featured in the landmark film The Graduate (1967), propelling them further into the public consciousness.

They are well known for their vocal close harmonies and were among the most popular recording artists of the 1960s. Their biggest hits – including "The Sound of Silence" (1964), "I Am a Rock" (1965), "Homeward Bound" (1965), "Scarborough Fair/Canticle" (1966), "A Hazy Shade of Winter" (1966), "Mrs. Robinson" (1968), "Bridge over Troubled Water" (1969), "The Boxer" (1969), and "Cecilia" (1969) – peaked at number one in several charts. They have received several Grammys and were inducted into the Rock and Roll Hall of Fame in 1990 and the Long Island Music Hall of Fame in 2007.^[1]

Their sometimes rocky relationship led to their last album, Bridge Over Troubled Water, being delayed several times due to artistic disagreements and as a result the duo broke up in 1970. It was their most successful album worldwide to date, peaking at number one in several countries, including the United States, and receiving 8× Platinum certification from the Recording Industry Association of America, making it their highest-selling studio album in the U.S. and second-highest album overall. Simon & Garfunkel have, at times, reunited to perform and sometimes tour together. They have done so in every decade since the 1970 breakup, most famously for 1981's "The Concert in Central Park", which attracted more than 500,000 people, making it the 7th-most attended concert in the history of music. In 2004, they were ranked #40 on Rolling Stone's list of the 100 greatest artists of all time.

History[link]

Early history[link]

Close friends through childhood, Paul Simon and Art Garfunkel grew up in Kew Gardens Hills, Queens, New York, just blocks away from each other. They met in elementary school in 1953, when they both appeared in the school play Alice in Wonderland (Simon as the White Rabbit, Garfunkel as the Cheshire Cat). They were classmates at Parsons Junior High School and Forest Hills High School, and began performing together in their junior year as Tom and Jerry, with Simon as Jerry Landis (whose last name he borrowed from a girl he had been dating) and Garfunkel as Tom Graph (so called because he was fond of tracking ("graphing") hits on the pop charts).^[2] They began writing their own songs in 1955, and made their first professional recording, "Hey, Schoolgirl", for Sid Prosen of Big Records in 1957. Released on 45 rpm and 78 rpm records, with the flip-side song "Dancin' Wild", the recording sold 100,000 copies,^[3] hitting #49 on the Billboard charts. Both Simon and Garfunkel have acknowledged the tremendous impact of the Everly Brothers on their style, and many of their early songs (including "Hey, Schoolgirl") bear the mark of this influence.

They later performed their hit on Dick Clark's American Bandstand, right after Jerry Lee Lewis performed "Great Balls of Fire".

Subsequent efforts in 1958 did not reach near their initial success, and after high school the duo went to separate colleges, with Simon enrolling at Queens College and Garfunkel at Columbia University. While enrolled in college, they both joined their campus chapters of the Jewish fraternity, Alpha Epsilon Pi.

In 1963, they found prominence as part of the Greenwich Village folk music scene. Simon, who had finished college but dropped out of Brooklyn Law School, had – like Garfunkel – developed an interest in the folk scene. Simon showed Garfunkel a few songs that he had written in the folk style: "Sparrow", "Bleecker Street", and "He Was My Brother", which was later dedicated to Andrew Goodman, a friend of both Simon and Garfunkel and a classmate of Simon's at Queens College, who was one of three civil rights workers murdered in Neshoba County, Mississippi, on June 21, 1964.

These three efforts were among five original songs by Simon included on their first album for Columbia Records, Wednesday Morning, 3 A.M., which initially flopped upon its release on October 19, 1964.

First breakup[link]

Shortly after finishing recording, the duo split and Simon moved to the United Kingdom, where he performed at Les Cousins and the Troubadour in London and toured provincial folk clubs. While in England, he recorded his solo The Paul Simon Songbook in 1965. Recorded on three different dates in June and July at Levy's Studio, London, the album was released as an LP. By agreement, the album was supposed to go out of print after ten years. However, Billboard reported in early 1978 that Simon filed legal papers to get CBS to delete the album, noting that they were violating their agreement by keeping it in print and stating that it was "not representative of the performer's style."^[4] Many years later in March 2004, Simon responded to fan requests by re-releasing the album on CD with bonus tracks.^[5] During this period in London he also collaborated on a number of songs with Bruce Woodley of the Seekers, including "I Wish You Could Be Here", "Cloudy", and "Red Rubber Ball", which would be a U.S. #1 hit for the Cyrkle in 1966.

While Simon was in England that summer of 1965, radio stations around Cocoa Beach and Gainesville, Florida, began to receive requests for a song from the album Wednesday Morning, 3 A.M. called "The Sound of Silence". The song also began to receive radio airplay in Boston. Seizing the chance, the duo's U.S. producer, Tom Wilson, inspired by the Byrds' hugely popular electric versions of Bob Dylan songs, used Dylan's studio band (who had collaborated with him on his landmark hit "Like a Rolling Stone" that year) to dub electric guitars, bass and drums onto the original "Sound of Silence" track, and released it as a single, backed with "We've Got a Groovy Thing Goin'".^[6] The dubbing turned folk into folk rock, the debut of a new genre for the Top 40, much to Simon's surprise. A few months earlier Simon and Garfunkel had briefly reunited and experimented with a more contemporary sound and recorded a couple of songs including "Groovy Thing".

In September 1965, Simon first learned that it had entered the pop charts while he was about to go on stage in a Danish folk club. The song hit #1 on the pop charts by New Year's Day, 1966.

Reformation and success[link]

A red vinyl promotional copy of Simon & Garfunkel's single "I Am a Rock", from 1966.

Simon immediately returned to the United States and the duo re-formed to record more tracks in a similar style, though neither approved of what Wilson had done with "The Sound of Silence".^{[citation needed]} The result was a sequence of folk rock records which have endured as well as any in the genre. On January 17, 1966, the duo released the album Sounds of Silence, which – helped by the title track's success – hit #21, while Wednesday Morning, 3 A.M. was re-released and reached #30. Among the tracks on The Paul Simon Songbook that were rerecorded (some with electric backing) for Sound of Silence were "I Am a Rock" (which as a single reached U.S. #3 in the summer of 1966), "Leaves That Are Green", "April Come She Will", "A Most Peculiar Man", and "Kathy's Song".

Further hit singles came, including "Scarborough Fair/Canticle", based on a traditional English ballad with an arrangement by Martin Carthy, and "Homeward Bound" (later U.S. #5), about life on the road while Simon was touring in England in 1965. Paul Simon was inspired to write "Homeward Bound" while waiting at Ditton railway station on the outskirts of Widnes in North West England. A plaque commemorating this claim to fame was displayed at Ditton railway station until it was closed in 1994 when the plaque was moved to the ticket office on the Liverpool bound platform of the nearby Widnes railway station. Simon is quoted as saying "if you'd ever seen Widnes, then you'd know why I was keen to get back to London as quickly as possible."

More tracks from The Paul Simon Songbook were included along with recent compositions on their October 10, 1966, album Parsley, Sage, Rosemary and Thyme, which refined the folk rock sound hastily released on Sound of Silence. "Cloudy", co-written earlier with Bruce Woodley, was included on Parsley, Sage, Rosemary and Thyme. However, a Woodley credit was incorrectly omitted. The following year, Woodley's band The Seekers recorded it for their studio album Seen in Green, on which Simon received a credit.

In early 1967, Pickwick Records, which had a reputation as a low-quality label, decided that it would capitalize on the duo's newfound fame by releasing an album titled The Hit Sounds of Simon and Garfunkel. This album consisted of ten tracks recorded from the late 1950s and early 1960s while the duo still called themselves Tom & Jerry, including their hit "Hey, Schoolgirl", and its B-side, "Dancin' Wild". Simon and Garfunkel then sued Pickwick because the company was presenting the music as recently recorded material, not as songs written and released over five years earlier. Soon afterwards, Pickwick withdrew The Hit Sounds of Simon and Garfunkel from the market.

On June 16, 1967, the duo performed at the Monterey Pop Festival. That same year, Simon and Garfunkel contributed heavily to the soundtrack to Mike Nichols' film The Graduate, which was released on January 21, 1968, and instantly rose to #1 as an album. According to a Variety article by Peter Bart in the May 15, 2005, issue, Nichols had become obsessed with Simon and Garfunkel's music while shooting the film. Larry Turman, his producer, made a deal for Simon to write three new songs for the film. By the time they were nearly finished editing the film, Simon had written only one new song. Nichols begged him for more but Simon, who was touring constantly, told him he didn't have the time. He did play him a few notes of a new song he had been working on; "It's not for the movie... it's a song about times past—about Mrs. Roosevelt and Joe DiMaggio and stuff." Nichols advised Simon, "It's now about Mrs. Robinson, not Mrs. Roosevelt."^[7]

As their albums became progressively more adventurous, The Graduate soundtrack album was immediately followed in March 1968 at the top of the charts by Bookends, which dealt with increasingly complex themes of old age and loss. It features the top 25 hit singles "A Hazy Shade of Winter", "Fakin' It", "At the Zoo", "America" and a full version of "Mrs. Robinson" – the classic #1 single from The Graduate soundtrack. Simon and Garfunkel returned to England in the fall of 1968 and did a concert appearance at Kraft Hall which was broadcast on the BBC, and also featured Paul's brother Ed sitting in on a performance of the instrumental "Anji".^[8]

At the March 1969 Grammy Awards, "Mrs. Robinson" was named Record of the Year, while Simon was also honored with the Grammy for Best Original Score Written for a Motion Picture or a Television Special.^[9]

Second breakup[link]

By 1969, the duo's success began to take its toll. Garfunkel had begun to pursue a career in acting and was featured in the role of Nately in Nichols's film adaptation of the novel Catch-22. Garfunkel's filming leave conflicted with and subsequently delayed the recording of the duo's next album. The part in the film which had initially been promised to Simon was completely cut from the script.

The duo's deteriorating personal relationship continued into their late 1969 tour, which featured performances at Miami University in Oxford, Ohio, on November 11 and Southern Illinois University in Carbondale, Illinois, on November 8, recordings of which are supposedly widely bootlegged^{[citation needed]}. Video footage of the tour was shown on their controversial November 30 television special Songs of America, which TV sponsors refused to endorse because of its distinct anti-Vietnam War message.

The recording of what would be their final album, Bridge Over Troubled Water, was not without tension. The LP was originally supposed to feature twelve tracks, but the duo could not agree on the twelfth track: Simon refused to record a Bach chorale track favored by Garfunkel, while Garfunkel refused to record a song Simon had written called "Cuba Si, Nixon No". No middle ground was reached, so the album was released with only eleven songs.

Bridge Over Troubled Water was at last released on January 26, 1970. Its title track, featuring Garfunkel's soaring vocals, was a massive hit and one of the best-selling records of the decade, staying #1 on the charts for six weeks and remaining on the charts for far longer. The album includes three other top-twenty hits: "El Cóndor Pasa" (US #18), "Cecilia" (US #4), and "The Boxer" – which, finished in 1968, hit #7 on the charts the following year –as well as a live recording of the Everly Brothers' "Bye Bye, Love" from a 1969 tour concert in Ames, Iowa.

At the subsequent March 1971 Grammy Awards, the album and single were named Album of the Year and Record Of The Year, and also won the awards for Best Engineered Record, Best Contemporary Song, Song Of The Year, and Best Arrangement Accompanying Vocalists. Their 1972 Greatest Hits album has sold over 14 million copies in the U.S. becoming the number-one selling album by a duo. The duo finally split in 1970 and both went their separate ways.

Simon continued writing and went on to a very successful solo music career, recording several classic albums, including There Goes Rhymin' Simon, Still Crazy After All These Years, and his most highly celebrated solo album, Graceland, collaborating with the Zulu choir Ladysmith Black Mambazo, among others.

Garfunkel split his time between acting and recording solo and collaboration albums, to mixed reviews. His most critically acclaimed album was the 1977 effort Watermark, almost all of the songs for which were penned by acclaimed songwriter Jimmy Webb.

Reunions[link]

Simon and Garfunkel together in 2009

Simon and Garfunkel's first reunion after their second breakup was at a June 1972 benefit concert at Madison Square Garden for presidential candidate George McGovern. On October 18, 1975, the duo made an appearance on the second episode of NBC's new show Saturday Night Live. They performed "The Boxer", "Scarborough Fair", and "My Little Town". The last song was the only new Simon and Garfunkel recording in five years, appearing on both men's solo albums released in 1975 (Simon's Still Crazy After All These Years and Garfunkel's Breakaway) and reaching #9 on the U.S. Billboard Hot 100 chart.

Simon, along with James Taylor, provided harmony vocals on Garfunkel's cover of Sam Cooke's "Wonderful World", on Garfunkel's 1977 album Watermark; the single release of that song reached #1 on the Billboard Adult Contemporary chart and #17 on the Hot 100. Simon also contributed backing vocals to "In Cars", a song on Garfunkel's 1981 solo album Scissors Cut.

Simon and Garfunkel reunited again for a free concert in New York City's Central Park on September 19, 1981. The concert was attended by over 500,000 people, and a recording of it was subsequently released as a live album, with their cover of "Wake Up Little Susie" released as a single. A video recording was likewise televised by HBO and issued on home video. The success of the Central Park concert prompted the duo to go on a world tour in 1982–83, including a performance at Shea Stadium in August, 1983.

Simon and Garfunkel went on to complete the recording of their first new studio album in more than a decade, provisionally titled Think Too Much and featuring some songs previewed on their recent concert jaunt. However, creative differences, coupled with the record company's negative reaction to the decidedly un-Simon-and-Garfunkel-like album, led Simon to remove Garfunkel's vocal tracks and rework the songs himself. The 1983 Simon solo album Hearts and Bones was the result, and a long period of estrangement for the duo followed.

Their next joint public appearance was in 1990, when the two performed at a ceremony for their induction into the Rock and Roll Hall of Fame. Simon and Garfunkel appeared together in 1993 for 21 sold out concerts in New York, with half of the show being Paul Simon solo with a band and the other half Simon and Garfunkel. Later the same year, they did some charity concerts, including the Bridge School Benefit concerts and a benefit for United Way Children's Charities at SkyDome in Toronto.

In July 2002, Columbia Legacy issued a previously unreleased live recording of a Simon and Garfunkel concert, Live from New York City, 1967. It features an almost-complete recording of a performance given by the duo at Philharmonic Hall, at Lincoln Center in New York City on January 22, 1967. The album includes a rendition of "A Church Is Burning", one of the songs that originally appeared on Paul Simon's 1965 solo album, The Paul Simon Songbook.

On February 23, 2003, Simon and Garfunkel reunited to perform in public for the first time in a decade, singing "The Sound of Silence" as the opening act of the Grammy Awards. Before the show, the duo was presented with the Grammy Lifetime Achievement Award, honoring their musical contributions over the past four and a half decades. They were introduced by Dustin Hoffman, who made his debut in the film The Graduate, which extensively featured their music.

The good feelings generated by their appearance on the Grammys led to another thaw in their relationship. Soon, Simon and Garfunkel launched a two-month long reunion tour of the United States (and Toronto, Canada), which began October 16 and culminated in Tampa on December 21, 2003. Entitled Old Friends, their first tour in over twenty years included forty shows in twenty-eight cities and featured special guests the Everly Brothers. The tour featured in its opening video montage a short series of clips and photos taken during the day leading up to the concert around the venue. Simon and Garfunkel performed "Hey, Schoolgirl", which they said was the first song they had written and recorded together. At the tour concert at Continental Airlines Arena in East Rutherford, New Jersey, they performed "Leaves That Are Green" in place of "Song for the Asking", which had been on their set list for the other concerts on this tour, following an announcement that they had not played it in concert since 1967. They also played "Leaves That Are Green" at concerts in Cleveland and Boston after making a similar announcement.

The success of the first Old Friends tour led to an encore in June and July 2004 with over 25 shows, this time also in Europe. In July 2004, they completed the tour with a flourish, with a finale at the Colosseum in Rome before an audience which, according to the Mayor of Rome, exceeded 600,000 — even larger than the audience at the famous 1981 Central Park concert.^[10][11]

A live CD and DVD from their Old Friends tour was released in late 2004. It featured a "new" studio duo song, "Citizen of the Planet", one of the songs from the rejected 1983 reunion album that did not originally feature Garfunkel's vocal participation.

In 2007, PBS hosted the first Gershwin Awards, at which Paul Simon was honored. Simon introduced Garfunkel (for a cameo appearance) as "my partner in arguments" and the two sang "Bridge Over Troubled Water" together.

Columbia/Legacy announced the September 18, 2007, release of Live 1969, which was said to feature recently discovered masters recorded on their 1969 tour. Most of the arrangements remain virtually unchanged.^{[citation needed]} That 1969 tour would be their last for over a decade, immediately preceding the release of the 1970 album Bridge Over Troubled Water. The tour was recorded preparing for a subsequent live album, but the release of the live album did not happen, until now, as reported in Billboard.^[12]

On February 13, 2009, Simon and his band re-opened New York's legendary Beacon Theatre, which had been closed for seven months for a renovation. As an encore, Simon brought out "[his] old friend" Art Garfunkel. They sang 3 songs: "Sound of Silence", "The Boxer", and "Old Friends".

On April 2, 2009, the duo announced a tour of Australia, New Zealand and Japan for June/July 2009.^[13] On October 29–30, they participated together in the 25th anniversary of Rock and Roll Hall of Fame concerts at New York's Madison Square Garden. Other artists on the bill included Bruce Springsteen & The E Street Band; U2; Metallica; Aretha Franklin; Stevie Wonder and Crosby, Stills & Nash.^[14]

In March 2010, Simon & Garfunkel announced a 13-date spring tour, to perform in April at the New Orleans Jazz & Heritage Festival. Most performances were scheduled for Canada, with four shows in the upper Midwest of the U.S. According to a press release, the set list would focus on their classic catalog, as well as songs from each of their solo careers.^[15] On June 17, 2010, Simon & Garfunkel canceled the tour, earlier rescheduled for July 2010, now postponed indefinitely as Garfunkel continues to recover from a vocal cord paresis.^[16]

Legacy[link]

From the very beginning of their fame, through the present time years after their break-up, Simon and Garfunkel have had an impact on the popular culture as evidenced by the many references to them made in television, film, music and other aspects of pop culture.

Among the earliest pop culture references or homages came in the late 1960s, when the comedy television show Rowan & Martin's Laugh-In had a running skit featuring members of the "Farkel" Family, including Fred & Fanny Farkel, "and the twins, Simon and Gar Farkel". In the early '70s sitcom The Partridge Family, the two youngest Partridge children name their pet goldfish "Simon and Garfunkel".

In an episode of '90s sitcom Friends, the character Ross Geller was convincing character Phoebe Buffay to tell him why she was mad at him by asking her a series of questions requiring a rapid response; to the question "Who would you rather be, Simon or Garfunkel?", Phoebe replies "Garfunkel". In the episode "Our Dear Leaders" of Scrubs, Lucy Bennett refers to herself as "Garfunkel" being the second-in-command of her study group and mistakenly asks Drew Suffin to be her Micky Dolenz. In an episode of Monk, the title character Adrian Monk is upstaged by his now-famous assistant Natalie. This leads to him being referred to as the Garfunkel of the pair, a pop culture reference the character doesn't understand.

The lyrics of Simon and Garfunkel songs continue to be referenced many times on television, long after their initial popularity. On an episode of How I Met Your Mother, Marshall commissions a Venn diagram in which one section represents the "people who are breaking his heart" while the other represents "people who are shaking his confidence daily". The section where the two overlap is labelled "Cecilia". The end of the "Lady Bouvier's Lover" episode of The Simpsons contains one of the series' many homages to The Graduate, and features a parody of "The Sound of Silence" over the closing credits. ("Hello grandpa my old friend/your busy day is at an end/your words are always sad and boring/they tell a tale that's worth ignoring".) In another episode, Mr. Burns spins around a lamp post singing, "Hello lamp post. What ya knowin'? I've come to watch your power flowin'", a reference to the lyrics of "The 59th Street Bridge Song (Feelin' Groovy)".

The episode "Bendin' in the Wind" of Futurama, in a double send-up of Simon and Garfunkel and Battlestar Galactica, features the singing duo "Cylon and Garfunkel" performing a rendition of "Scarborough Fair" in which the robot Cylon's singing is entirely monotone, and Garfunkel – who explains during the performance that he is the descendant of Art – states that he will give Bender the check "over my dead career!".

In an episode of Saturday Night Live's "Celebrity Jeopardy" parody, there was a category entitled "Members of Simon and Garfunkel". The clue read, "Of Simon and Garfunkel, the one who is not Garfunkel." Once the Sean Connery character rang in, he asked for the question to be repeated and said in response, "I Garfunkeled your mother!" This was one of the running gags of the parody. In another SNL skit, Will Forte and Jason Sudeikis pose as Bon Jovi opposite band, Jon Bovi, but when accused of sounding exactly like Bon Jovi, they say, "Well, if you didn't like that, you're going to love our new opposite folk rock band, Gimon & Sarfunkel."

In an episode of Flight of the Conchords, the lead characters form a Simon and Garfunkel tribute band performing "Parsley, Sage, Rosemary and Thyme". Garfunkel himself later appears in the episode. In the episode "Unnatural Love", the song "Carol Brown" is an homage to the Paul Simon song "50 Ways to Leave Your Lover".

The Nickelodeon sitcom How To Rock uses the artist's family names as those of the main characters.

Discography[link]

Studio albums[link]

Singles with Billboard Hot 100 positions[link]

• 1965: "The Sound of Silence" (#1) / "We've Got a Groovy Thing Goin'"
• 1966: "Homeward Bound" (#5) / "Leaves That Are Green"
• 1966: "I Am a Rock" (#3)/ "Flowers Never Bend with the Rainfall"
• 1966: "The Dangling Conversation" (#25)/"The Big Bright Green Pleasure Machine"
• 1966: "A Hazy Shade of Winter" (#13) / "For Emily, Whenever I May Find Her"
• 1967: "At the Zoo" (#16) / "The 59th Street Bridge Song (Feelin' Groovy)"
• 1967: "Fakin' It" (#23) / "You Don't Know Where Your Interest Lies"
• 1968: "Scarborough Fair/Canticle" (#11) / "April Come She Will"
• 1968: "Mrs. Robinson" (#1) / "Old Friends/Bookends"
• 1969: "The Boxer" (#7) / "Baby Driver" (#101)
• 1970: "Bridge over Troubled Water" (#1) / "Keep the Customer Satisfied"
• 1970: "Cecilia" (#4) / "The Only Living Boy in New York"
• 1970: "El Cóndor Pasa" (#18) / "Why Don't You Write Me"
• 1972: "For Emily, Whenever I May Find Her" (live version) (#53) / "America" (#97)
• 1975: "My Little Town" (#9) / "Rag Doll" (Art Garfunkel) / "You're Kind" (Paul Simon)
• 1982: "Wake Up Little Susie" (#27) / "Me and Julio Down by the Schoolyard"
• 1997: "Old Friends (1997 Simon and Garfunkel album)" / "Bookends"

Awards[link]

• Grammy Awards (1969) – Record of the Year, Best Contemporary Pop Performance – Vocal Duo or Group (for "Mrs. Robinson"); Best Original Score Written for a Motion Picture or a Television Special (for The Graduate)
• Grammy Awards (1971) – Record of the Year, Album of the Year, Song of the Year, Best Contemporary Song, Best Instrumental Arrangement Accompanying Vocalist(s), Best Engineered Recording, Best Contemporary Vocal Group (for "Bridge over Troubled Water")
• BRIT Awards (1978) – Best International Album (of the past 25 years) (for Bridge Over Troubled Water")
• Rock and Roll Hall of Fame (1990) – Inductee
• Grammy Awards (2003) – Grammy Lifetime Achievement Award

References[link]

Further reading[link]

• Charlesworth, Chris, The Complete Guide to the Music of Paul Simon and Simon & Garfunkel, Omnibus Press 1996.

External links[link]

	Book: Simon & Garfunkel
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Wikimedia Commons has media related to: Simon and Garfunkel

Official

• Official site
• Paul Simon's official site
• Art Garfunkel's official site

Biographical and discographical

• Simon and Garfunkel at Allmusic

Other

• Simon & Garfunkel interviewed on the Pop Chronicles (1969).
• Interview (2004) of both Art Garfunkel and Paul Simon