My personal emotional response to , like that of so many others, is sensory—stretching out on a large… — Elizabeth Barlow Rogers
My personal emotional response to , like that of so many others, is sensory—stretching out on a large sun-warmed rock outcrop, watching players and picnickers on the , seeing a great production of The Tempest in the in the gloaming of a summer evening, a flash of red from the plumage of a on a spring day in , walking barefoot on the grass of the , the memory of on the frozen on New Year's Day 1981, listening to the moody sound from a saxophone being played beneath the one of the park's reverberating stone arches ... I could go on.
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During the summer of 1966 and in subsequent years, operated as the venue for rock 'n' roll, jazz, , pop, and concerts sponsored by . Overlooking the objections of his recently appointed Central Park curator, , played on the public's justifiable fear that the park had become unsafe at night: "It's my responsibility to make it so exciting that people will come there in droves, and that also is protection." He did not foresee the event to which his "attractions to draw teenagers" would stimulate the consumption of alcohol and the sale of drugs in the park, nor the effect this would have on the park's landscape and future safety.
p. 7
faced the challenge of converting what was still a ragged 843-acre wasteland into a pleasure ground that is a masterpiece of landscape design and paragon of social beneficence, while my task was not to build such an extraordinary civic amenity but to develop a plan and find the means to rescue this underappreciated, wholly original tour de force from further destruction—a less remarkable but nevertheless important feat.
p. 27
