title: Lincoln's Inn

text: Lincoln's Inn had no constitution or fundamental form of governance, and legislation was divided into two types; statutes, passed by the Governors (see below) and ordinances issued by the Society (all the Fellows of the Inn). A third method used was to have individual Fellows promise to fulfill a certain duty; the first known example is from 1435, and starts "Here folowen certaynes covenantes and promyses made to the felloweshippe of Lyncoll' Yne". The increase of the size of the Inn led to a loss of its partially democratic nature, first in 1494 when it was decided that only Benchers and Governors should have a voice in calling people to the Bar and, by the end of the sixteenth century, Benchers were almost entirely in control.


title: Lincoln's Inn

text: Admissions were recorded in the black books and divided into two categories: Clerks ("Clerici") who were admitted to Clerks' Commons; and Fellows "Socii" who were admitted to Fellows' Commons. All entrants swore the same oath regardless of category, and some Fellows were permitted to dine in Clerks' Commons as it cost less, making it difficult for academics to sometimes distinguish between the two – Walker, the editor of the Black Books, maintains that the two categories were one and the same. During the 15th century, the Fellows began to be called Masters, and the gap between Masters and Clerks gradually grew, with an order in 1505 that no Master was to be found in Clerks' Commons unless studying a point of law there. By 1466, the Fellows were divided into Benchers, those "at the Bar" ("ad barram", also known as "utter barristers" or simply "barristers"), and those "not at the Bar" ("extra barram"). By 1502, the "extra barram" Fellows were being referred to as "inner barristers", in contrast to the "utter" or "outer" barristers.


title: Lincoln's Inn

text: In Lord Mansfield's time, there was no formal legal education, and the only requirement for a person to be called to the Bar was for him to have eaten five dinners a term at Lincoln's Inn, and to have read the first sentence of a paper prepared for him by the steward.


title: Lincoln's Inn

text: A Bencher, Benchsitter or (formally) Master of the Bench is a member of the Council, the governing body of the Honourable Society of Lincoln's Inn. The term originally referred to one who sat on the benches in the main hall of the Inn, which were used for dining and during moots, and the term originally had no significance. In Lincoln's Inn, the idea of a Bencher was believed to have begun far earlier than elsewhere; there are records of four Benchers being sworn in 1440.


title: Lincoln's Inn

text: William Holdsworth and the editor of the Black Books both concluded that Benchers were, from the earliest times, the governors of the Inn, unlike other Inns who started with Readers. A. W. B. Simpson, writing at a later date, decided based on the Black Books that the Benchers were not the original governing body, and that the Inn was instead ruled by Governors (or "gubernatores"), sometimes called Rulers, who led the Inn. The Governors were elected to serve a year-long term, with between four and six sitting at any one time.


title: Lincoln's Inn

text: The first record of Benchers comes from 1478, when John Glynne was expelled from the Society for using "presumptious and unsuitable words" in front of the governors and "other fellows of the Bench", and a piece of legislation passed in 1489 was "ordained by the governors and other the worshipfuls of the Bench". By the late 15th century, the ruling group were the Governors (who were always Benchers) with assistance and advice from the other "masters of the Bench", and occasional votes from the entire Society. The Benchers were still subordinate to the Governors, however; a note from 1505 shows the admission of two Benchers "to aid and advice for the good governing of the Inn, but not to vote". The practice of using Governors died out in 1572 and, from 1584, the term was applied to Benchers, with the power of a Governor and a new Bencher being synonymous.


title: Lincoln's Inn

text: There are approximately 296 Benchers as of November 2013, with the body consisting of those members of the Inn elected to high judicial office, those who have sat as Queen's Counsel for six or seven years and some of the more distinguished "junior" barristers (those barristers who are not Queen's Counsel). There are also "additional benchers"—members of the Inn who have been successful in a profession other than the law, who have the rights of a normal bencher except that they cannot hold an office, such as Treasurer. In addition there are "honorary benchers", who hold all the rights of a Bencher except the right to vote and the right to hold an office. These are people of "sufficient distinction" who have been elected by the Inn, and includes people such as Margaret Thatcher, former Prime Minister of the United Kingdom.


title: Lincoln's Inn

text: In common with the other Inns, Lincoln's Inn also has a "Royal Bencher"—a member or members of the Royal Family who have been elected Benchers. The present Royal Bencher is Duke of Kent who was elected after the death of the previous incumbent Princess Margaret. In 1943, when she was elected as Royal Bencher, Queen Mary became the first female Bencher in any Inn. His Royal Highness Prince Andrew Duke of York was elected a Royal Bencher in December 2012.


title: Lincoln's Inn

text: Lincoln’s Inn’s estate comprises collegiate buildings, barristers’ chambers, commercial premises and residential apartments. The Inn is situated between Chancery Lane and Lincoln's Inn Fields, north of Inner and Middle Temples and south of Gray's Inn. Lincoln's Inn is surrounded by a brick wall separating it from the neighbourhood; this was first erected in 1562, and it is said that Ben Jonson did some of the brickwork. The only surviving part is that on the western side between the North Lawn and the Fields. As well as the major buildings discussed below, the Inn consists of: Old Square, Old Buildings, Stone Buildings and Hardwicke buildings.


title: Lincoln's Inn

text: First built in 1683, New Square, sometimes known as Serle Court, finished in about 1697. New Square was originally named Serle's Court because it was built as a compromise between the Inn and Henry Serle over ownership of the land. A compromise was made in 1682, and Serle built 11 brick sets of chambers on three sides of the square between 1682 and 1693. Alterations were made in 1843, when the open area in the middle was replaced by gardens and lawns. Because of its difficult history of ownership, some parts of the Square are still freehold, with individuals owning floors or sections of floors within the buildings. The Lincoln's Inn Act 1860 was passed directly to allow the Inn to charge the various freeholders in the Square fees.


title: Lincoln's Inn

text: Stone Buildings was built between 1775 and 1780 using the designs of Robert Taylor, with the exception of No. 7, which was completed the range in the same style in 1845. The design was originally meant to be part of a massive rebuilding of the entire Inn, but this was never completed. Stone Buildings were seriously damaged during The Blitz, but their external appearance remains much the same. From "within" it appears as a cul de sac rather than a square, the two ranges closed to the north with a third which originally contained the library. The eastern side along Chancery Lane and the western backing onto the North Lawn. These provide the standard layout of "staircases" of working chambers. From the North Lawn there is no access but the west range provides a fine institutional range of some distinction.


title: Lincoln's Inn

text: No. 10 was originally provided by the Inn to strengthen its ties with Chancery (which used to be held in the Old Hall) as the office of the Six Clerks of the Court of Chancery, with the Inn taking it back when the Clerks were abolished and the Court moved to the Royal Courts of Justice in 1882. It is currently used as the headquarters of the Inns of Court & City Yeomanry, part of the Territorial Army. The Officers Mess facilities make use of the principal rooms. Lincoln's Inn has maintained a corps of volunteers in times of war since 1585, when 95 members of the Inn made a pledge to protect Queen Elizabeth against Spain. George III gave the then-temporary unit the epithet "The Devil's Own", which remains attached to the Regiment to this day. There is a large War Memorial between New Square and the North lawn containing the names of the members of the Inn killed in the First World War and World War 2.


title: Lincoln's Inn

text: Old Square and Old Buildings were built between 1525 and 1609, initially running between numbers 1 and 26. Although 1 exists near the Gatehouse, the others now only run from 16 to 24, with some buildings having been merged to the point where the entrances for 25 and 26 now frame windows, not doorways. Hardwicke Buildings was built in the 1960s, was originally named "Hale Court", between the east range of New Square name changed in the 1990s. The buildings of Lincoln's Inn in Old Square, New Square and Stone Buildings are normally divided into four or five floors of barristers' chambers, with residential flats on the top floor. The buildings are used both by barristers and solicitors and other professional bodies.


title: Lincoln's Inn

text: The Old Hall dates from at least 1489, when it replaced the smaller "bishops hall". The Old Hall is 71 feet long and 32 feet wide, although little remains of the original size and shape; it was significantly altered in 1625, 1652, 1706 and 1819. A former librarian reported that it was "extensively remodelled" by Francis Bernasconi in 1800. This remodelling led to the covering of the oak beams with a curved plaster ceiling, "a most barbarous innovation". The weight of the plaster created the risk that the roof would collapse, and between 1924 and 1927 Sir John Simpson dismantled the entire hall, straightening warped timbers, removing the plaster, replacing any unserviceable sections and then putting the entire hall back together. It was reopened on 22 November 1928 by Queen Mary.


title: Lincoln's Inn

text: As well as its use for revels, moots and feasts, the Old Hall was also used as a court. The Master of the Rolls sat there between 1717 and 1724 while the Rolls Court was being rebuilt, and Lord Talbot used it as a court in 1733. From 1737 onward it was used to house the Court of Chancery, a practice that ended with the opening of the Royal Courts of Justice. The Hall's most famous use as a court is in the start of Charles Dickens' "Bleak House", which opens with "London. Michaelmas Term lately over, and the Lord Chancellor sitting in Lincoln's Inn Hall". It is now used for examinations, lectures, social functions and can be hired for private events. In 2010 the Hall was refurbished and its Crypt was improved and made more accessible by the installation of a staircase from the outside.


title: Lincoln's Inn

text: The first mention of a chapel in Lincoln's Inn comes from 1428. By the 17th century, this had become too small, and discussions started about building a new one in 1608. The current chapel was built between 1620 and 1623 by Inigo Jones, and was extensively rebuilt in 1797 and again in 1883. Other repairs took place in 1685, after the consultation of Christopher Wren, and again in 1915. The chapel is built on a fan-vaulted, open undercroft and has acted (sometimes simultaneously) as a crypt, meeting place and place of recreation. For many years only Benchers were allowed to be buried in the Crypt, with the last one being interred on 15 May 1852. Before that, however, it was open to any member or servant of the society; in 1829 a former Preacher was interred, and in 1780 William Turner, described as "Hatch-keeper and Washpot to this Honble. Society", was buried.


title: Lincoln's Inn

text: The chapel has a bell said to date from 1596, although this is not considered likely. Traditionally, the bell would chime a curfew at 9 pm, with a stroke for each year of the current Treasurer's age. The bell would also chime between 12:30 and 1:00 pm when a Bencher had died. Inside the chapel are six stained glass windows, three on each side, designed by the Van Linge family.


title: Lincoln's Inn

text: The chapel's first pipe organ was a Flight & Robson model installed in 1820. A substantial William Hill organ replaced it in 1856; a model designed at the peak of his skill, with thick lead and tin pipes, a set of pedals, and three manuals. During its service years it was rebuilt nine times, the final overhaul carried out in 1969. In the 2000s the organ, increasingly unreliable, was seen to have little unaltered initial material, with little hope of returning it to original condition, and it was replaced with a Kenneth Tickell model, the new organ installed during 2009–2010.


title: Lincoln's Inn

text: The Great Hall, or New Hall, was constructed during the 19th century. The Inn's membership had grown to the point where the Old Hall was too small for meetings, and so the Benchers decided to construct a new hall, also containing sizable rooms for their use, and a library. The new building was designed by Philip Hardwick, with the foundation stone laid on 20 April 1843 by James Lewis Knight-Bruce, the Treasurer.


title: Lincoln's Inn

text: The building was completed by 1845, and opened by Queen Victoria on 30 October. The Hall is long, wide, and high, much larger than the Old Hall. The Great Hall is used for the call to the Bar, as a dining place and for concerts arranged through the Bar Musical Society.


title: Lincoln's Inn

text: The lower ground floor was divided by a mezzanine in 2007 and the upper part became the Members Common Room for informal dining and with a lounge. It replaced the Junior Common Room, Barristers Members Room and Benchers Room as a social facility. In effect it is a club providing bar and restaurant facilities for all "entitled" persons, meaning members of the Inn and its "bona fide" tenants.


title: Lincoln's Inn

text: The Library was first mentioned in 1471, and originally existed in a building next to the Old Hall before being moved to a set of chambers at No. 2 Stone Buildings in 1787. A bequest by John Nethersale in 1497 is recorded as an early acquisition.


title: Lincoln's Inn

text: The current Library was built as part of the complex containing the Great Hall, to the designs of Hardwick and was finished in 1845 being formally opened by Queen Victoria. At this point it was 80 feet long, 40 feet wide and 44 feet high. It was extended, almost doubled, in 1872 by George Gilbert Scott in the same style. The ground floor contained a Court room which became part of the Library facilities when the Court of Chancery moved out of the Inn in the 1880s. It has since 2010 been utilised as a lecture room and during the developments of 2016 to 2018 became the 'interim' Members Common Room.


title: Lincoln's Inn

text: The Library contains a large collection of rare books, including the Hale Manuscripts, the complete collection of Sir Matthew Hale, which he left to the Inn on his death in 1676. The Library also contains over 1,000 other rare manuscripts, and approximately 2,000 pamphlets. The total collection of the Library, including textbooks and practitioners works, is approximately 150,000 volumes. The collection also includes a complete set of Parliamentary records. The Library is open to all students and barristers of Lincoln's Inn, as well as outside scholars and solicitors by application.


title: Lincoln's Inn

text: The Library is primarily a reference library, so borrowing is restricted. The only other lending service available is offered by Middle Temple Library, which permits barristers and students of any Inn, on production of suitable ID, to borrow current editions of textbooks that are not loose-leaf – but not any other material – half an hour before closing for return by half an hour after opening the following day.


title: Lincoln's Inn

text: The Gatehouse from Chancery Lane is the oldest existing part of the Inn, and was built between 1518 and 1521. The Gatehouse was mainly built thanks to the efforts of Sir Thomas Lovell, the Treasurer at the time, who provided at least a third of the funds and oversaw the construction itself—as a result, his coat of arms hang on the gate, along with those of the Earl of Lincoln and Henry VIII (the king at the time).


title: Lincoln's Inn

text: The Gatehouse is a large tower four stories high and features diagonal rows of darker bricks, along with a set of oak gates that date from 1564. The Gatehouse was restored in 1695 and again between 1967 and 1969—the arms of the Treasurers for those years (Lord Upjohn, John Hawles and Princess Margaret) were added to the inwards side of the Gatehouse itself. Minor repairs also took place in 1815, when the three Coats of Arms were repaired and cleaned.


title: Lincoln's Inn

text: The New Square Lawn is surrounded by the block of New Square. It is bordered by the Lincoln Inn chambers, and is visible from the western Gatehouse. Centred on the New Square Lawn is Jubilee Fountain. After the original fountain from 1970 was removed, William Pye installed the new Jubilee fountain in 2003, to celebrate Queen Elizabeth's Golden Jubilee. The construction of the fountain was funded by David Shirley.


title: Lincoln's Inn

text: The Jubilee fountain is a two tier fountain centered in New Square. The top level of the fountain creates arches in the air with the water, and the lower level has complementary tiny fountains. A photo of the fountain can be found on the designer's website


title: Lincoln's Inn

text: The Inn has self-funded a major improvement and extension of its facilities from 2016 to 2018. The Inn being a conservation area and consisting of listed buildings could not simply add modern structures within the precincts without considerable difficulty of their impact on the current layout and planning objections by interest groups, as well indeed from members of the Inn. The improvement requirements for the Library and teaching activities were partly addressed by demolition of the Under Treasurer's House on the north side of the Library, which was a post-WW2 building, replacing it with an extension to the Reading Rooms and Book Stack. The solution of providing a 150-seat Lecture Theatre and Tutorial Rooms was to exploit the space under the large east terrace of the Great Hall.


title: Lincoln's Inn

text: The Inn decided to name the new education suite the Ashworth Centre after Mercy Ashworth, one of the first women to be called to the bar from Lincoln's Inn. On 13 December 2018, The Queen along with the Duke of York (Royal Bencher of the Inn) officially opened the Ashworth Centre and re-opened the Great Hall after its renovation (originally opened by Queen Victoria in 1845).


title: Lincoln's Inn

text: For many years, the Inn used the arms of the 3rd Earl of Lincoln as their own; in blazon, a "lion rampant purpure in a field or", which is a purple lion on a gold field. Around 1699, Sir Richard Holford discovered the Inn's own coat of arms on a manuscript, granted to them in 1516. The arms are "azure seme de fer moline or, on a dexter canton or a lion rampant purpure". Following validation using some heraldry books, the arms were placed first in the council chamber and then in the library. Since then, they have been used continuously in Lincoln's Inn.


title: Lincoln's Inn

text: Muhammad Ali Jinnah, (1876) founder and first Governor General of Pakistan; Sir Muhammad Iqbal, (1877) Muslim poet, philosopher and politician and National poet of Pakistan; H. H. Asquith, (1852) Prime Minister of the United Kingdom and 1st Earl of Oxford and Asquith; Zulfiqar Ali Bhutto, former President and the Prime Minister of Pakistan; William Ewart Gladstone, (1809) four times Prime Minister of the United Kingdom; Chaim Herzog, (1918) sixth President of Israel; William Pitt the Younger, twice Prime Minister of the United Kingdom (1759); Gnanendramohan Tagore, first Asian to be called at the bar; Shankar Dayal Sharma, (1918) 9th President of the Republic of India; Azlan Shah of Perak, former Lord President of Malaysia, Sultan of Perak Darul Ridzuan; Tony Blair, former Prime Minister of the United Kingdom.


title: Lincoln's Inn

text: The office of Preacher of Lincoln's Inn or Preacher to Lincoln's Inn is a clerical office in the Church of England. Past incumbents include:


title: Concave function

text: In mathematics, a concave function is the negative of a convex function. A concave function is also synonymously called concave downwards, concave down, convex upwards, convex cap, or upper convex.


title: Concave function

text: A real-valued function formula_1 on an interval (or, more generally, a convex set in vector space) is said to be "concave" if, for any formula_2 and formula_3 in the interval and for any formula_4,


title: Concave function

text: For a function formula_9, this second definition merely states that for every formula_10 strictly between formula_2 and formula_3, the point formula_13 on the graph of formula_1 is above the straight line joining the points formula_15 and formula_16.


title: Concave function

text: A function formula_1 is quasiconcave if the upper contour sets of the function formula_18 are convex sets.


title: Van Dyke Parks

text: Van Dyke Parks (born January 3, 1943) is an American musician, songwriter, arranger, and record producer who has composed various film and television soundtracks. He is best known for his 1967 album "Song Cycle" and for his collaborations with Brian Wilson and the Beach Boys (particularly the album "Smile"). In addition to producing or arranging albums by Randy Newman, Harry Nilsson, Phil Ochs, Little Feat, Happy End, Ry Cooder and Joanna Newsom, Parks has worked with performers such as Syd Straw, Ringo Starr, U2, Grizzly Bear, Inara George, Kimbra, Suzy Williams, and Silverchair.


title: Van Dyke Parks

text: Born in Hattiesburg, Mississippi, Parks spent his childhood studying clarinet, piano, and singing at the American Boychoir School in Princeton, New Jersey. He started his professional career as a child actor. During the 1950s, he worked steadily in movies and television, and in the early 1960s, he majored in music at the Carnegie Institute of Technology. After dropping out of university in 1963, he relocated to Los Angeles, where his first paid gig was arranging "The Bare Necessities" for the 1967 Disney film "The Jungle Book". Following this, he involved himself with the growing West Coast music scene, subsequently playing with—or appearing on records by—acts like the Mothers of Invention, the Byrds, Judy Collins, Paul Revere & the Raiders, and Harpers Bizarre. His LP "Song Cycle" mixed a number of genres (including bluegrass, ragtime, and show tunes) and framed classical styles in the context of 1960s pop music. It was released to underwhelming sales, but attracted a cult following in later years.


title: Van Dyke Parks

text: Starting in the 1970s, Parks made repeated excursions into Afro-Caribbean music, notably on his 1972 album "Discover America" and on records he produced for the Esso Trinidad Steel Band and Mighty Sparrow. At the same time, he managed the audio/visual department of Warner Bros. Records, which was the earliest of its kind to produce music videos for artists. Since then, he established himself in motion pictures and over the years has directed, arranged, produced, and composed soundtracks for theatrical films and television shows such as "Popeye" (1980), "" (1985), and "The Brave Little Toaster" (1987). Much of his later work has been in commissioned orchestral arrangements for lesser-known indie acts.


title: Van Dyke Parks

text: Born in 1943 in Hattiesburg, Mississippi, as the youngest of four children, Parks spent time in Lake Charles, Louisiana, during his childhood. His older brothers played brass instruments. His father, Richard Hill Parks, was a doctor who served as chief psychiatric officer in the Dachau liberation reprisals. Having studied with Karl Menninger, Richard's specific medical specialties were neurology and psychiatry, and he was the first doctor to admit African-American patients to a white southern hospital. Richard was also a part-time clarinetist and had a dance band to get through medical school, Dick Parks and His White Swan Serenaders. Parks's mother was a Hebraic scholar.


title: Van Dyke Parks

text: As Parks was growing up, there were two grand pianos in the family living room, and at age 4 he began studying the clarinet. He attended the American Boychoir School in Princeton, New Jersey, studying voice and piano, and would sing "Gershwin, Schoenberg, atonal music, everything". Parks also was a street urchin in "La bohème" at the Metropolitan Opera and sang the title role in "Amahl and the Night Visitors" at New York City Opera. During his childhood, Parks became extremely fond of old-style American music, most notably the sounds of Tin Pan Alley. This interest in Depression-era songwriting correlated heavily with his artistic goals and interests during the 1960s and beyond. He was also deeply affected by musicians Spike Jones and Les Paul, which led him to develop an interest with studio experimentation in the form of pop music. Parks has said that the first record he ever purchased may have been Dean Martin's "Memories Are Made of This."


title: Van Dyke Parks

text: He began his professional career as a child actor. Between 1953 and 1958, he worked steadily in films and television, including the 1956 movie "The Swan", starring Grace Kelly. He appeared as Ezio Pinza's son Andrew Bonino on the NBC television show "Bonino". One of his co-stars on "Bonino" was 14-year-old Chet Allen, who appeared as Jerry Bonino. Parks and Allen were roommates at the Boychoir School. Parks also had a recurring role as Little Tommy Manicotti (the kid from upstairs) on Jackie Gleason's "The Honeymooners".


title: Van Dyke Parks

text: After graduating from McKeesport High School, Parks majored in music at the Carnegie Institute of Technology in Pittsburgh, Pennsylvania, where he studied with Aaron Copland from 1960 to 1963, and developed an interest in Mexican music. In 1962, Parks began studying acoustic guitar. According to Parks, he learned 50 requinto solos of Mexican boleros but gave up the prospect when he realized playing guitar had become too commonplace.


title: Van Dyke Parks

text: Upon dropping out of Carnegie Tech in early 1963, Parks relocated to Los Angeles with the intent of being involved with the growing West Coast beatnik subculture and to play with his older brother Carson Parks as the Steeltown Two (later enlarged to three), which eventually became the folk group the Greenwood County Singers. The group included future RCA Records producer and recording artist Rick Jarrard. Parks later said of this decision, "Going to California meant I escaped John Cage. I escaped the abstractions, the music you can't remember, the highbrow angst." The two Parks brothers performed together at various coffeehouses around San Diego, Santa Barbara, and San Francisco. One of the people in attendance at a Santa Barbara performance turned out to be future Byrds member David Crosby, who at the time remarked to friend David Lindley, "If they can get away with it, so can we." While in California, Parks attempted to land a job performing on the television show "Art Linkletter's House Party" but was not accepted. Parks took a short hiatus from this group, briefly moving to New England to be part of the Brandywine Singers, earning up to $3,000 a week.


title: Van Dyke Parks

text: In 1963, his older brother Benjamin Parks, a French horn player, was killed in an auto accident in Frankfurt while working for the US State Department in Germany, one day before his 24th birthday. Terry Gilkyson informed Parks of the news and, to help make up for it, hired Parks as an arranger for his song "The Bare Necessities", which was later featured in the Disney animated feature "The Jungle Book".


title: Van Dyke Parks

text: Parks reacted strongly to Beatlemania. Of it, he claimed, "I lived under a billboard that said 'The Beatles is coming,' and I got the sense that it was a plague, and that it was going to have cultural implication throughout the world. ... It's almost like the vestigial functions, the appendixes of the musical life that I had just begun to have a scant association with were being excised from the body of music with the advent of folk music gone electric. So I started to learn piano." He has repeatedly stated his annoyance with contemporary pop music during the mid-1960s and the culture's increasing anglophilia, going so far as to say, "apart from "Pet Sounds" I didn't find anything striking coming out of the United States." However, he had a favorable opinion of Bob Dylan's "The Freewheelin' Bob Dylan", and Parks has said to have been impressed with Dylan's "speaking-voice" style. Accordingly, "I also looked at his written lyrics and realized that he didn't capitalize his letters. He was trying to copy e.e. cummings and, while it was transparently imitative, I thought it was a good position."By 1964, Parks was growing more and more interested in songwriting. Parks has said that while bass player Hal Brown of the Brandywine Singers took him sightseeing around a decrepit "almost-ghost town", the two had a chance encounter with the San Francisco group the Charlatans in an old saloon. The group derided the 21-year-old Parks for his "preppy" and "square" appearance, and Parks responded by showing off a song he had recently written named "High Coin", which impressed the group so much that they asked if they could record it. Parks agreed, and the Charlatans' version of "High Coin" received much airplay in San Francisco, which established Parks within the hippie counterculture. Soon after, Parks quit the Brandywine Singers and signed an artist contract with MGM Records, for which he recorded the singles "Number Nine" and "Come to the Sunshine", which did not succeed commercially. They were both produced by Tom Wilson. Two years later, Parks's compositions written for other artists were becoming known for their lyrical wordplay and sharp imagery. Producers Lenny Waronker and Terry Melcher were reportedly obsessed with the song "High Coin" in particular, and Waronker contacted Parks to persuade him to switch to Warner Bros. Records. The two then turned their attention to a relatively unknown group, the Tikis, and transformed them into the novelty act Harpers Bizarre, which became a success for the label. Harpers Bizarre performed a few of Parks' compositions on their albums, and Parks himself appears on the recordings alongside other uncredited musician friends. During this period, Parks worked frequently as a session musician, arranger, and songwriter and became acquainted with future close friends Randy Newman, Harry Nilsson, and Beach Boys bandleader Brian Wilson. Parks also performed on the Byrds' album "Fifth Dimension" and declined an offer by David Crosby to join the band.


title: Van Dyke Parks

text: In 1965, Parks briefly joined Frank Zappa's Mothers of Invention on stage, where he was referred to as "Pinocchio." Asked why he left, Parks said, "because I didn't want to be screamed at", although he attended sessions for the Mothers' 1966 album "Freak Out!". At some point, he performed at least one solo date with guitarists Steve Young and Stephen Stills as the opening act for the Lovin' Spoonful. They performed as "The Van Dyke Parks." Parks soon wrote a song for Young entitled "The All Golden." He was also later asked to join Crosby, Stills, Nash & Young but declined.


title: Van Dyke Parks

text: Parks initially became aware of the Beach Boys during their early popularity in the early 1960s. Speaking of them in 1995, he said, "I knew they didn't surf.…I felt some resentment about [them], and I had been a fan of "Four Freshmen and 5 Trombones".…Instinctively, I was not a Beach Boy fan. 'Something really dumb about it.'" He added that, "I loved "Pet Sounds", you see. I came back to love them, and thought they had done a great job. It seemed to me that they would be fine in fighting spirit to take on this challenge of wresting that trophy out of the hands of those interlopers." Parks went on to call Wilson "the biggest event of that era" but was hesitant to label him a "genius", believing Wilson to be more "a lucky guy with a tremendous amount of talent and a lot of people collaborating beautifully around him."


title: Van Dyke Parks

text: According to most accounts, in 1966, Parks was introduced to Wilson while attending a party held at Terry Melcher's home. Wilson biographer Peter Ames Carlin dates their meeting to mid-July, whereas music historian Keith Badman cites February. However, Parks had already met Wilson at least once before, in December 1965, when David Crosby, a mutual friend, invited him to Wilson's home in Beverly Hills.


title: Van Dyke Parks

text: Wilson's (since-discredited) 1991 memoir, "", suggested that he had met Parks, or had heard of him, through an unnamed mutual friend in December 1964. Author David McGowan suggests that the friend may have been Loren Schwartz, who had supervised Wilson's first LSD trip. According to Parks, Wilson "sought me out" after he had heard about him through mutual friends, "a neighborly couple" that experimented with psychedelic drugs. "People who experimented with psychedelics—no matter who they were—were viewed as 'enlightened people,' and Brian sought out the enlightened people."


title: Van Dyke Parks

text: In Wilson's 1991 memoir, it was written that his first impressions of Parks was "a skinny kid with a unique perspective" and that he "had a fondness for amphetamines" at the time. Parks hesitantly confirmed this, but added, "Those were "his" amphetamines. They were in "his" medicine cabinet. I'd never had amphetamines. I was working for Brian Wilson at 3:30 AM when he wanted to have his amphetamines." It was also Parks who introduced Wilson to Beatles publicist Derek Taylor, who later became the Beach Boys' publicist for some time during the 1960s.


title: Van Dyke Parks

text: Unsatisfied with "Pet Sounds" collaborator Tony Asher's lyrics for "Good Vibrations", Wilson first asked Parks to help him rewrite the lyrics to the song; Parks declined, stating that he didn't think he could improve on them. During the recording of "Good Vibrations" in 1966, Parks claims to have suggested to Wilson while attending a session to have the cellist play triplet notes. Impressed by the results, Brian Wilson soon convinced Parks to write lyrics for the Beach Boys' next LP, the ambitious but ill-fated "Smile". In preparation for the writing and recording of the album, Wilson purchased several thousand dollars' worth of marijuana and hashish for himself and his friends, including Parks.


title: Van Dyke Parks

text: In light of Wilson's increasingly fragile mental state, the group tensions, and his signing to Warner Bros., Parks's involvement in "Smile" effectively ceased after early 1967, when he left to begin work on his solo career. Giving his reasons, he said, "I walked away from the situation as soon as I realized that I was causing friction between him and his other group members, and I didn't want to be the person to do that. I thought that was Brian's responsibility to bring definition to his own life. I stepped in, perhaps, I 'took a leap before I looked'. I don't know, but that's the way I feel about it.…As soon as I found out I was entering an eat or be eaten situation... I was raised differently. I didn't want to be part of that game." Recording sessions ground to a halt soon after, as Wilson became increasingly withdrawn, and the album was shelved a few months later.


title: Van Dyke Parks

text: Sometime in the mid-1960s, Parks visited Frank Sinatra while working at Warner Bros. Sinatra was dispirited by the rise of rock, and was considering retirement. To help alleviate this, Parks pitched his brother Carson's song "Somethin' Stupid" as a duet for Sinatra and his daughter Nancy. Purportedly on Lee Hazlewood's advice, Sinatra recorded "Somethin' Stupid", and it became his first million-selling single. This bought credit for Parks at Warner Bros, and they proceeded to fund Parks's one single: a cover of Donovan's "Colours", from his 1965 album "Fairytale". It was credited to "George Washington Brown"—a fictitious pianist from South America—purportedly to protect his family from the potential infamy of his "musical criminology". "Donovan's Colours" received an ecstatic two-page review by Richard Goldstein, which convinced the label of Parks's ability.


title: Van Dyke Parks

text: In 1967, Parks completed his first solo album, "Song Cycle", produced by Lenny Waronker. Besides original compositions by Parks, "Song Cycle" includes interpretations of Randy Newman's "Vine Street", Donovan's "Colours", and the traditional "Nearer, My God, to Thee". The album's production reportedly cost more than US$35,000 (equal to US$ today), making it one of the most expensive pop albums ever recorded up to that time. It sold very poorly despite rave critical reviews but gained status as a cult album in later years. Shortly after "Song Cycle", Parks released a standalone 7" single: the A-side "The Eagle and Me" backed with "On The Rolling Sea When Jesus Speak To Me", which also sold poorly.


title: Van Dyke Parks

text: Parks has been critical of the flower power movement, which occurred toward the end of the decade, saying "Rock became a corporate classification, just like the blues. They took off its sexual organs. Some people got paid a lot of money to bottle the rebellion of the '60s, and that's when it started to mean zero to me." He added, "To me, 1969 really suggested the death knell of the counter-culture revolution. The terrible event of Charles Manson showed the cultism of the period; I was always wary of crowds. I didn't go to Woodstock. I didn't want to be in a mudflat waiting to get into a portable toilet. I thought it was a terrible idea. So I stayed at my office at Warner Bros.…I don't even know what happened around then, for many reasons. One is I was working so hard and was too busy to really get totally turned around by what other people were doing."


title: Van Dyke Parks

text: The aftermath of his work on "Smile" and "Song Cycle" left Parks wanting to focus more behind-the-scenes and with lesser-known artists, such as Randy Newman and Ry Cooder, and expressed discontent with being "typecast" by his songs. The 1969 Santa Barbara oil spill was also life-altering for Parks and changed his "very reason for being". Sometime after, he met the Esso Trinidad Steel Band, a Trinidadian calypso band who had been performing with Liberace in Las Vegas. According to Parks, "I saw them as enslaved in their relationship to Liberace; I thought it was a vulgarity. I wanted to save them from their trivialization." What had begun as Parks's desire to popularize calypso at that point became his focal point, and he worked with the steel band for the next several years. Speaking about his life then, Parks stated, "My favorite group was the Esso Trinidad Steel Band, whom I worked with. I loved calypso all my life. I knew every Trinidadian in Hermosa Beach back then, there were probably about 20 families. Now there's a huge population."


title: Van Dyke Parks

text: During the late 1960s, Parks became one of the first owners of a prototype Moog synthesizer and recorded a number of experimental advertising jingles for various companies such as Datsun and the Ice Capades. Parks plays the Moog on the Biff Rose song "Ain't No Great Day", from Rose's second LP, "Children of Light". Parks was also instrumental in the genesis of the 1970 album "In a Wild Sanctuary", by the electronic outfit Beaver & Krause. While having lunch with the duo, Parks suggested that they record an ecological concept album through the use of field recordings and synthesizers. Parks and Randy Newman helped the duo get signed to the Warner Bros. label.


title: Van Dyke Parks

text: In 1972, Parks's travels to the West Indies inspired his second solo album, "Discover America", a tribute to the islands of Trinidad and Tobago and to calypso music. Parks re-arranged and re-produced obscure songs and calypso classics. Parks also produced the album "Esso" for the Esso Trinidad Steel Band in 1971. It was cultivated as a tribute to Prince Bernhard, the head of the World Wildlife Fund at the time. According to Parks, "Everything was directed to making it a proper, political, green album." This direction was continued in the 1975 release "Clang of the Yankee Reaper".


title: Van Dyke Parks

text: In the early 1970s, Parks was brought in to produce the third album by seminal Japanese folk rock band Happy End while working on "Discover America" at Sunset Sound Recorders. He also helped with the writing for the closing track, . Sometime after, Parks became acquainted with member Haruomi Hosono, who went on to be one of the founding members of the electronic band Yellow Magic Orchestra. Parks went on to participate in a number of Hosono-related projects.


title: Van Dyke Parks

text: Although "Smile" had dissolved in mid-1967, Parks's collaborations with Wilson had not, for the time being. He was instrumental in getting the Beach Boys signed to Reprise and contributed vocally to "A Day in the Life of a Tree" and the writing of "Sail On, Sailor." Several songs with his lyrics, written during the "Smile" sessions, appeared on later Beach Boys albums, including "Surf's Up," "Heroes and Villains," and "Cabinessence.'


title: Van Dyke Parks

text: In September 1970, Parks became head of the audio/visual department of Warner Bros. records. This department was the earliest of its kind to record videos to promote records. Parks made the department up by himself and had few employees at Warner Bros. Together they made more than a dozen promotional films documenting artists including Ry Cooder, Joni Mitchell, Randy Newman, Earth, Wind & Fire, and Captain Beefheart. They were by nature documentary films, which could be rented or bought by any accredited music school. Parks later described the department as "promotional—but they could create an income stream for musicians who were hard-pushed into tours that required drugs to sustain them." Although each production ran for about ten minutes and required at least $18,500 to create, one exception was a video for the Esso Trinidad Steel Band, which ran about forty minutes. It also happens to be one of two films known by Parks to have survived since then, the other being a promotional video for Ry Cooder.


title: Van Dyke Parks

text: Parks recorded only two albums during the 1970s, but he had performed on numerous albums recorded by friends who were working in or around the Los Angeles music scene—notably Harry Nilsson, whom Parks considered the "smartest guy" he had ever met in the music business. During the early 1970s, Parks dealt with prescription drug abuse. He later spoke of himself as being "dead for five years", and he spent the first half of the decade "trying to regain an interest in living." Parks later stated, "When I was head of audio-visual services and on the A&R staff at Warner Bros., a man came into my office and he had a snake and his name was Alice. Right then, I knew that my days were numbered as a person really interested in the record business." About his department during this time Parks stated, "I provided that each artist would get 25% of the net profits of the rentals or sales. It was going to be a very promising market for the artist. Warners soon grew tired of what I thought was a fair equation of participation in creative profits, and basically isolated me."


title: Van Dyke Parks

text: After "Clang of the Yankee Reaper", Parks quit his day job at Warner Bros. and "retreated from further record interests, seeking the more gregarious plain-speaking of the film community…with no less satisfaction." He spent the next several years, and most of the 1980s, focusing more on motion picture and television projects, writing scores for high-profile films, such as "Popeye", and serving as musical director for television programs such as "The Billy Crystal Comedy Hour", taking on as much work as he could to stay out of unemployment.


title: Van Dyke Parks

text: Parks made a slight comeback in 1984 with the album "Jump!", which featured songs adapted from the stories of Uncle Remus and Br'er Rabbit. The album exhibits a Broadway-style reduced orchestra with Americana additions, such as banjo, mandolin, and steel drums. Parks composed the album but did not arrange or produce it. Martin Kibbee contributed to the lyrics. Following up on the album, Parks wrote a series of children's books—"Jump" (with Malcolm Jones), "Jump Again", and "Jump On Over"—based on the Br'er Rabbit tales, illustrated by Barry Moser, and loosely accompanied by Parks's own album "Jump!". The books contain sheet music for selected songs from the album. Parks also published a book called "Fisherman & His Wife" in 1991, which came packaged with a cassette.


title: Van Dyke Parks

text: By 1984, Parks was refused future collaborations with Wilson, instead being informed by an unnamed representative that "Mike Love is Brian Wilson's exclusive collaborator." Though Parks worked with the other Beach Boys on songs such as on "Kokomo" and the album "Summer in Paradise", he did not work together with Wilson until a few years later, during the aborted album "Sweet Insanity".


title: Van Dyke Parks

text: He wrote "City Of Light", "It's A B-Movie", "Cutting Edge", and "Worthless", all of which were used in the film "The Brave Little Toaster", directed by Jerry Rees. During the 1980s and 1990s, Parks grew considerably more active in arranging and producing albums by independent artists, which inspired him to return more fully to the music business.


title: Van Dyke Parks

text: Following "Jump!", in 1989 Warner Brothers released "Tokyo Rose". This concept album focuses on the history of Japanese-U.S. relations from the 19th century to the "trade war" at the time of its release. The songs are pop tunes with an orchestral treatment including Japanese instruments and old Parks Caribbean favorites like steel drums. The album did not sell well and was not widely noticed by critics. To promote the album, he performed some shows in Japan with musicians such as Haruomi Hosono, Syd Straw, harmonicist Tommy Morgan, and steelpan player Yann Tomita.


title: Van Dyke Parks

text: Between 1992 and 1995, Parks teamed up again with a then-reclusive Brian Wilson to create the album "Orange Crate Art". Parks wrote all of the songs on the album, except "This Town Goes Down at Sunset" and George Gershwin's instrumental "Lullaby", with vocals by Wilson. "Orange Crate Art" is a tribute to the Southern California of the early 1900s and a lyrical tribute to the beauty of Northern California. It was recorded during a stressful period for Wilson, after being involved in court orders relating to years of psychiatric misconduct to which he had been subject. According to Parks, "When I found him, he was alone in a room staring at a television. It was off." The album was met with poor commercial reception, much to the disappointment of Parks.


title: Van Dyke Parks

text: 1998 saw the release of Parks's first live album, "", which shows a love of the work of 19th-century American pianist Louis Moreau Gottschalk, as well as performances of several of Parks' better-known and lesser-known songs. The live ensemble includes Sid Page as concertmaster.


title: Van Dyke Parks

text: Parks's association with Australian rock band Silverchair began with his work on their fourth studio album "Diorama" in 2002. Parks was attracted to the music of lead singer and guitarist Daniel Johns and has stated that what most attracted him to the band was Johns' courage. He composed orchestral arrangements for Silverchair's fifth album "Young Modern" album in 2007. Daniel Johns, the band's lead singer, traveled to Prague with Parks to have the arrangements recorded by the Czech Philharmonic Orchestra. The album's title is a nickname Parks uses for Johns.


title: Van Dyke Parks

text: Parks was contacted by Wilson in 2003 to help with preparing a live performance of "Smile". He agreed, and the duo re-recorded the album and then presented it on a world tour, beginning with the world premiere performance at the Royal Festival Hall in London, which Parks attended. Parks later provided some lyrics to "That Lucky Old Sun", released in 2008. The album once again featured almost completely new compositions written by Brian Wilson, but with minimum input from Parks compared to the previous "Smile" collaboration.


title: Van Dyke Parks

text: Parks worked with Inara George on a record released in 2008, "An Invitation", and they performed two songs together on January 8, 2008, at the Walt Disney Concert Hall in Los Angeles, as part of the program "Concrete Frequency: Songs of the City".


title: Van Dyke Parks

text: In 2009, Parks performed in "The People Speak", a documentary feature film that uses dramatic and musical performances of the letters, diaries, and speeches of everyday Americans, based on historian Howard Zinn's "A People's History of the United States". Parks performed with Bob Dylan and Ry Cooder on the documentary broadcast on December 13, 2009, on the History Channel. They played "Do Re Mi" and reportedly a couple of other Guthrie songs that were excluded from the final edit.


title: Van Dyke Parks

text: In 2010, Parks stated "At this point, I don't have an album in me. But I have some songs, so I'm putting them out as 45 rpm stereo records this summer." Between 2011 and 2012, Parks issued six double-sided singles, which featured new original songs, collaborations, unreleased archival recordings, re-recordings of older tracks, and covers. The singles also featured guest spots from singers Gaby Moreno and Inara George of The Bird and the Bee. Parks has also stressed the importance of the singles' artwork, contributed by visual artists such as Klaus Voormann, Ed Ruscha, and Art Spiegelman. Artist Charles Ray also sculpted two life-size statues of Parks.


title: Van Dyke Parks

text: In August 2011, Parks was contacted by electronic musician Skrillex, who requested that he supply orchestral arrangements. His arranging work was released in December 2011 as the iTunes-exclusive bonus track "Skrillex Orchestral Suite by Varien" on the "Bangarang" EP. Parks admitted in 2013:


title: Van Dyke Parks

text: In November 2011, after 44 years, a compilation box set of the Beach Boys' "Smile" sessions was finally released by Capitol Records. Parks was personally absent from "The Smile Sessions"' advertising campaign and liner notes, and refused to comment on the box set, despite initially giving his approval. In promotional interviews for "The Smile Sessions" and the Beach Boys' 50th Reunion Tour, Mike Love suggested that "Smile" collapsed due to substance abuse, and that the project was heavily influenced by Parks' drug use. One interview included an off-the-cuff comment by Brian Wilson saying that it was Parks who introduced him to LSD and amphetamines, something Parks has previously denied. Later in 2011, Parks formally responded to these claims via his web site in a post that accused Love of Mammon and historical revisionism. In February 2013, "The Smile Sessions" went on to win the Grammy Award for Best Historical Album.


title: Van Dyke Parks

text: While in Tokyo in January 2013, Parks performed with Haruomi Hosono for the first time in years. In March 2013, Parks announced the release of "Songs Cycled", which compiled his six 2011–12 singles into one LP. It was Parks' first full album of relatively new material since 1995's "Orange Crate Art". The album was released on May 6, 2013 through Bella Union. Also in March, Parks performed at the 2013 Adelaide Festival with Daniel Johns and Kimbra. In September 2013, Parks curated a "Best-of" CD by New Orleans pianist/composer Tom McDermott entitled "Bamboula". Parks memorialized the 50th anniversary of the 1963 Kennedy assassination by releasing a new original composition entitled "I'm History" on November 22.


title: Van Dyke Parks

text: Parks underwent unsuccessful hand surgery in 2014, causing his hands to freeze after about forty minutes of playing piano. On May 9, 2015, Parks performed what he called his "final piano performance" at the Largo in Los Angeles. Guest performers included singer Gaby Moreno; songwriter-producer Joe Henry; Grizzly Bear's Edward Droste; New Zealand singer-songwriter Kimbra; and jazz guitarist-composer Grant Geissman. Of upcoming projects Parks said: "[It will] set poetry to music, to underscore poems. So I will still be performing once I get that done. I will be looking to find a celebrated string quartet to take things to an irreducible minimum. I can pick up a quartet in Peoria, or in Europe, to perform something like this. I also hope to find a film project that interests me."


title: Van Dyke Parks

text: Parks has also scored much music for feature-length motion pictures and television series, including "Sesame Street"s "Follow That Bird", Jack Nicholson's "The Two Jakes" and "Goin' South", "Casual Sex?" "Private Parts", "Popeye" (with Harry Nilsson), and "The Company", and for the "Pee-Wee's Playhouse Christmas Special".


title: Van Dyke Parks

text: Parks had four songs featured in the animated film "The Brave Little Toaster" (1987). He worked closely with David Newman on the film's score as well. He composed the theme song for Rudy Maxa's "Savvy Traveler" radio program on NPR.


title: Van Dyke Parks

text: Parks composed the faux-psychedelic song "Black Sheep" (a parody of "Smile" and Brian Wilson's style in general) for "", sung by John C. Reilly, who portrays the titular character.


title: Van Dyke Parks

text: Parks has taken small television and film roles including appearances in "Popeye", "The Two Jakes", and as Leo Johnson's defense attorney Jack Racine in episode #2005 of "Twin Peaks". The HBO Family series "Harold and the Purple Crayon", is narrated by Sharon Stone with music and lyrics written and sung by Parks. He and David Mansfield are co-credited with the music for the 2006 miniseries "Broken Trail" (2006).


title: Parsley, Sage, Rosemary and Thyme

text: Parsley, Sage, Rosemary and Thyme is the third studio album by American music duo Simon & Garfunkel. Produced by Bob Johnston, the album was released on October 24, 1966, in the United States by Columbia Records. Following the success of the re-release of their debut single "The Sound of Silence", Simon & Garfunkel regrouped after a time apart while Columbia issued their second album, a rushed collection titled "Sounds of Silence". For their third album, the duo spent almost three months in the studio working on instrumentation and production.


title: Parsley, Sage, Rosemary and Thyme

text: The album largely consists of acoustic pieces that were mostly written during Paul Simon's period in England the previous year, including some numbers recycled from his debut solo record, "The Paul Simon Songbook". The album includes the Garfunkel-led piece "For Emily, Whenever I May Find Her", as well as "7 O'Clock News/Silent Night", a combination of news reports of the day (the Vietnam War, the civil rights movement, the death of comedian Lenny Bruce), and the Christmas carol "Silent Night".


title: Parsley, Sage, Rosemary and Thyme

text: Many critics have considered it a breakthrough in recording for the duo, and one of their best efforts. "Homeward Bound" had already been a top five hit in numerous countries and "Scarborough Fair/Canticle" performed similarly. The album peaked at number four on the "Billboard" Pop Album Chart and was eventually certified triple platinum by the Recording Industry Association of America. In 1999, the album was inducted into the Grammy Hall of Fame.


title: Parsley, Sage, Rosemary and Thyme

text: Simon & Garfunkel were given four months to record the album, which allowed the duo considerable freedom in terms of creativity. The band's previous album, "Sounds of Silence", was a "rush job" produced to capitalize on the success of their first hit single, "The Sound of Silence". The studio time for "Parsley" caused its budget to increase into an unusual cost for albums at that time—around $30,000 (US$ in dollars), Simon speculated. "Parsley" was the first time Simon insisted on total control in aspects of recording. The album was the duo's first to be recorded on an eight-track recorder, which the duo persuaded Columbia Records to use. Vocal takes were overdubbed, as they found it difficult to get "decent separation" between Simon's voice and guitar. Columbia executives took notice of the longer production time, commenting, "Boy, you really take a lot of time to make records."


title: Parsley, Sage, Rosemary and Thyme

text: The bulk of "Parsley" was recorded over a week in June 1966, with an additional recording date in July and two in August. Two previously released songs from the December 1965 "Sounds of Silence" sessions were also added to the track listing: "Homeward Bound" had originally been released as the second single from that album but had been left off the track listing of the US LP release; and "Flowers Never Bend with the Rainfall" had already appeared on the B-side of "I Am a Rock". Garfunkel considered the recording of "Scarborough Fair" to be the moment the duo stepped into the role of producer because they were constantly beside Roy Halee mixing the track.


title: Parsley, Sage, Rosemary and Thyme

text: "Parsley, Sage, Rosemary and Thyme" is largely characterized by sharp contrasts from song to song. Simon found it difficult to write new songs; biographer Peter Ames Carlin notes that the sequence of promotion, including concerts and interviews, made Simon feel out of his element. "He needed things to be familiar", he wrote. In addition, sudden fame had affected both his relationships and him personally. Much of the album is composed of recycled songs written by Simon during his period in England in 1965. Three songs on the album—"Patterns", "Flowers Never Bend with the Rainfall", and "A Simple Desultory Philippic"—also appear on Simon's first solo effort, "The Paul Simon Songbook" ("Canticle", the second half of opening ballad "Scarborough Fair", is also culled from another song on the record, "The Side of a Hill").


title: Parsley, Sage, Rosemary and Thyme

text: "Scarborough Fair", the title track, a traditional ballad, combines "fingerpicked guitar accompaniment, delicate chimes, harpsichord embellishments, and the vocal blend". "Patterns" posits that the average life is no less predetermined than that of a rat in a maze. String snaps are used prominently in "Patterns", as well as a "syncopated bass and frenetic bongo part". Much of the original guitar line remains the same from its earlier incarnation. "Cloudy" revolves around "a hitchhiker's meanderings in northern California". It employs a "breezy, almost jazzy musical style". "Homeward Bound" carries a sense of melancholia, which biographer Marc Eliot attributed to an "echo of longing" that had resurfaced during the recording process over the failed relationship with Kathy Chitty. "The Big Bright Green Pleasure Machine" is a "satirical appropriation of an electric, organ-heavy psychedelic rock style," in which the singer complains of various woes in his life, which can be "readily eased" by purchasing the titular device. "The 59th Street Bridge Song (Feelin' Groovy)" is a brief vignette "made up of variations on a two-bar ostinato figure," in which the protagonist goes about a carefree morning.


title: Parsley, Sage, Rosemary and Thyme

text: "The Dangling Conversation" concerns a dying relationship, but Garfunkel disliked the song, feeling it pretentious. In contrast to its earlier appearance on "The Paul Simon Songbook", "Flowers Never Bend with the Rainfall" appears here as a "folk combo that produces a bright, almost bluegrass sound". "A Simple Desultory Philippic" is a "satirical rant about the singer's confrontations with a wide variety of pop-culture personalities and phenomena". In the song, Simon vocally imitates Bob Dylan, as well as his harmonica interjections. "For Emily, Whenever I May Find Her" has sometimes been thought to be named after poet Emily Dickinson. Simon later explained that "For Emily" is not about an imaginary girl Emily, but about a belief, while the song "Overs" (from the album "Bookends") is about the loss of that belief. While other songs, such as "The Sound of Silence", had taken months for Simon to complete writing, others, such as "For Emily", were written in a single night. "A Poem on the Underground Wall" largely revolves around a man creating graffiti on a sign in a subway station, with Simon also bringing into play "a variety of visceral and religious images".


title: Parsley, Sage, Rosemary and Thyme

text: "7 O'Clock News/Silent Night" is a sound collage consisting of the duo singing "Silent Night" in two-part harmony over an arpeggiated piano part while a news report plays. "The result rather bluntly makes an ironic commentary on various social ills by juxtaposing them with tenderly expressed Christmas sentiments." The simulated newscast was voiced by Charlie O'Donnell, then a radio disc jockey.


title: Parsley, Sage, Rosemary and Thyme

text: Shot by photographer Bob Cato, the cover depicts Simon & Garfunkel in a flower garden. "Artie is sprawled in jeans and a royal blue sweater, while Paul rises just behind, the modern poet-troubadour clad in cambric and shadow," wrote Peter Ames Carlin in Simon's biography, "Homeward Bound". The original back cover of the LP includes an essay by music critic Ralph J. Gleason.


title: Parsley, Sage, Rosemary and Thyme

text: There were some copyright disputes about the album's contents. "Cloudy" was co-written by Bruce Woodley, who did not initially receive credit upon the album's release. He still collected royalty payments for the song, but was not listed as an official writer as Simon "needed" it to be credited to him alone. Martin Carthy, who had first introduced Simon to "Scarborough Fair" during his time in England, was never credited. Worse, according to Peter Ames Carlin, "it credited Paul and Artie as coauthors, as if the centuries-old tune had emerged entirely from their imaginations." Columbia was contacted by Carthy's publishing company, Sparta Florida, to claim royalties, and they complied. However, as Carlin notes, "none of the money ever got to Carthy" due to fine-print on a contract he had never read that ceded his stake in the song.


title: Parsley, Sage, Rosemary and Thyme

text: After issuing several singles and receiving sold-out college campus shows, "Parsley, Sage, Rosemary and Thyme" was released by Columbia Records on October 24, 1966. The duo resumed their trek on the college circuit eleven days following the release, crafting an image that was described as "alienated", "weird", and "poetic". Manager Mort Lewis also was largely responsible for this public perception, as he withheld them from television appearances (unless they were allowed to play an uninterrupted set or choose the setlist).


title: Parsley, Sage, Rosemary and Thyme

text: Bruce Eder of AllMusic called it the duo's "first masterpiece", one that regarded "youthful exuberance and alienation, [proving] perennially popular among older, more thoughtful high-school students and legions of college audiences across generations." Andy Fyfe of BBC Music wrote in 2009 that he felt the record carried a sense of timelessness, calling its "boldest themes [...] still worryingly pertinent today," while remarking that the record as a whole "reflected the social upheaval of the mid-60s while playing as substantial a part in folk rock's evolution."


title: Parsley, Sage, Rosemary and Thyme

text: In 2003, "Rolling Stone" listed the album at number 201 on their list of The 500 Greatest Albums of All Time, dropping one position to number 202 in a 2012 revised list.


title: Parsley, Sage, Rosemary and Thyme

text: Disc jockey and author Pete Fornatale wrote that "Few others have come close to the intelligence, beauty, variety, creativity, and craftsmanship that "Parsley, Sage, Rosemary and Thyme" captured." Andrew Gilbert, in "1001 Albums You Must Hear Before You Die", called it "their first great album," producing "a sense of impending doom and Simon's insistence on emotional connection that makes the album such an enduring work."


title: Military prison

text: A military prison is a prison operated by a military. Military prisons are used variously to house prisoners of war, unlawful combatants, those whose freedom is deemed a national security risk by the military or national authorities, and members of the military found guilty of a serious crime. Thus, military prisons are of two types: penal, for punishing and attempting to reform members of the military who have committed an offense, and confinement-oriented, where captured enemy combatants are confined for military reasons until hostilities cease.


title: Military prison

text: Most militaries have some sort of military police unit operating at the divisional level or below to perform many of the same functions as civilian police, from traffic-control to the arrest of violent offenders and the supervision of detainees and prisoners of war.


title: Military prison

text: The Australian Defence Force states it has no prisons. Instead they have a single facility, the Defence Force Correctional Establishment, which aims to rehabilitate members who have been sentenced to detention for breaching military regulations or law; employees of the establishment are considered "instructors" rather than guards. Military personnel may be sent there for between 14 days' to two years' rehabilitation before returning to active duty; the average sentence is about 23 days. In addition, there are 15 detention centres located within military bases across Australia.


title: Military prison

text: The Canadian Forces have one military prison, the Canadian Forces Service Prison and Detention Barracks (CFSPDB) (colloquially known as Club Ed), located at Canadian Forces Base Edmonton. Canadian Forces personnel who are convicted by military courts and receive a sentence of 14 days or more are incarcerated at CFSPDB. Men, although in the same prison, are kept separate from women. The prison is maintained and controlled by the Canadian Forces Military Police, although NCOs from various branches of the Canadian Forces serve at the prison as staff. Service personnel who are convicted of less serious offences are considered to be in "detention", and undergo a strict military routine aimed at rehabilitation for their return to regular military service, whereas personnel convicted of more serious offences are considered to be in "prison" and upon completion of their sentence they are released from the military. Serious offenders with sentences longer than two years are transferred to the Canadian federal prison system after serving 729 days, to complete their sentence in the civilian prison system, followed by release from the Canadian Forces. Any service personnel serving a sentence of 14 days or less are held in local base Military Police Detachment cells at the various Canadian Forces Bases within Canada.


title: Military prison

text: The Israeli Military Prison is a prison for guarding soldiers who committed crimes during their service.


title: Military prison

text: In Italy, only one military jail now exists: the Santa Maria Capua Vetere. Under Italian law, only those in government service (Army, Navy, Air Force, Guardia di Finanza and Carabinieri) who are under investigation in front of a military court or are sentenced to the penalty of Reclusione Militare by a military or civil court are held there. Those serving in the police corps (Polizia di Stato, Polizia Penitenziaria, Corpo Forestale dello Stato) are also held in military jail.


title: Military prison

text: In Switzerland, there are no special military prisons. Sentences are to be served in civilian prisons.


title: Military prison

text: The United Kingdom has one military correctional facility. (It has no establishments that would be considered prisons.) The Military Corrective Training Centre (colloquially known as the Glasshouse after the former military prison in Aldershot), in the town of Colchester, is where non-commissioned servicemen and women who are convicted by military courts and sentenced to more than 28 days, but less than three years, will be incarcerated. Women, although in the same prison, are kept separate from men. The facility is maintained and controlled by the British Army's Military Provost Staff (Adjutant General's Corps). More serious offenders with longer sentences are transferred to HM Prison Service as part of their dishonourable discharge. There are three categories of prisoner:


title: Military prison

text: The United States military's equivalent to the county jail, in the sense of "holding area" or "place of brief incarceration for petty crimes", is known colloquially as the guardhouse or stockade by the army and air forces and the brig by naval and marine forces. U.S. military forces currently maintain several regional prisoner-holding facilities in the U.S.


title: Military prison

text: In the United States, differential treatment seems to be suggested, but by no means mandated, by the Founding Fathers in the Fifth Amendment to its constitution. Members of the U.S. armed forces are subject to the Uniform Code of Military Justice. Male non-commissioned military personnel convicted by courts martial and sentenced to five or more years' confinement, male commissioned officers and male prisoners convicted of offenses related to national security end up at the United States Disciplinary Barracks at Fort Leavenworth, Kansas. Enlisted male military convicts who received sentences of less than five years are confined at various regional confinement facilities operated by the U.S. military both in the continental United States and abroad. All female military personnel convicted of felonies serve their sentences at the Naval Consolidated Brig, Miramar located at the Marine Corps Air Station Miramar near San Diego, California. In former times, criminals in the naval service were sent to the once-infamous Portsmouth Naval Prison, which was closed in 1974.


title: Military prison

text: Today's American military prison systems are designed to house criminals who commit an offense while holding the job title of being in a branch of the military. Military prisons have a tier system that is based on the length of a prisoner's sentence. For instance, the Navy uses three levels of incarceration. Tier I prisoners have been sentenced up to one year and are housed at a waterfront brig, an afloat brig, correctional custody units (CCU) and pre-trial confinement facilities. Tier II prisoners are transferred to one of the Navy's two consolidated brigs with sentences of up to 10 years. Lastly, female prisoners serve their time apart from men at a facility called NAVCONBRIG Miramar to better facilitate the rehabilitative process; while military prisoners with sentences over 10 years or who are sentenced to death are held at the U.S. disciplinary barracks. This tier system based on sentence length differs from typical American prisons which are characterized by their level of security. These different levels of security have to do with the type of criminals in the facility. Minimum security facilities typically have criminals convicted of white-collar crimes, or low-level drug offenses, while medium- and maximum-security prisons house more serious offenders that committed more violent crimes.


title: Military prison

text: Data from the Bureau of Justice Statistics breaks down military prisoners by five different military branches. This data showed 829 prisoners from the Army, 396 prisoners from the Marine Corps, 268 prisoners from the Navy, 21 prisoners from the Coast Guard, and 380 prisoners from the Air Force. 44 of these prisoners were military officers. A significant number of these prisoners are males, with only 54 being female. A plurality were Caucasian, followed by African Americans and Hispanics. Most of the crimes committed by military prisoners are violent offenses such as murder and rape. The next most frequent crimes committed by military prisoners are drug-related offenses, followed by property offenses, such as theft. There are a small percentage of other crimes committed, such as public order offenses and military offenses. Military offense examples are disrespect, insubordination, and false offense statements. The most recent data from 2007 of military prisoners has shown a small drop from 1,944 prisoners in 2006 to 1,794 in 2007.


title: Military prison

text: A brig is a United States military prison aboard a United States Navy or Coast Guard vessel, or at an American naval or Marine Corps base. The term derives from the Navy's historical use of twin-mast sailing vessels—known as brigs—as prison ships.


title: Military prison

text: The Geneva Conventions provides an international protocol defining minimum requirements and safeguards for prisoners of war.


title: Military prison

text: Prisoners are often kept in "ad hoc" camps near the battlefield, guarded by military police until they can be transferred to more permanent barracks for the duration of the conflict.


title: Military prison

text: Treatment has varied from age to age and nation to nation, the quality of conditions for prisoners often being linked with the intensity of the conflict and the resources of the warring parties.


title: Military prison

text: Military prisons and the treatment of military prisoners have often figured prominently in modern literature, cinema and even politics. In the 19th century, written accounts of the barbaric treatment accorded prisoners on both sides during the Napoleonic and Crimean wars helped lead to the founding of the Red Cross and the promulgation of the Geneva Conventions.


title: Military prison

text: There are numerous examples of 20th- and 21st-century cinema dealing with military prisons, including "Hart's War" (2002), starring Bruce Willis and Colin Farrell as American POWs in a German prison camp, continuing in a cinematic vein begun by "Stalag 17" (1953). "Stalag 17" portrays the struggles of a group of American airmen in a German Luftwaffe prison and is based on the play by Donald Bevan and Edmund Trzcinski. "The Dirty Dozen" (1967) features General Worden (Ernest Borgnine) ordering Major John Reisman (Lee Marvin) to recruit, train, and arm 12 convicted felons sentenced to the death penalty or lengthy sentences to parachute into Occupied France prior to D-Day to assassinate German generals and their staff at a chalet used as a rest centre. "The Caine Mutiny" (1954) starring Humphrey Bogart, Fred MacMurray, and Van Johnson dealt with the military legal system during World War II.


title: Military prison

text: "The Hill" (1965) starring Sean Connery was set in a British military penal camp in North Africa during World War II. "The Great Escape" (1963), starring Steve McQueen, James Garner, James Coburn, and Richard Attenborough, details the true-life adventures of a mixed group of Allied prisoners attempting to escape from a German Luftwaffe "stalag".


title: Military prison

text: "Andersonville" (1996) and "The Andersonville Trial" (1970), both TV movies, dealt with the conditions at Andersonville Prison and its aftermath. George C. Scott directed and starred in the latter, along with William Shatner; the movie was based on an earlier play by Saul Levitt, who worked on "The Untouchables" TV series. "The Last Castle" (2001) shows Robert Redford as an important U.S. Army general who is sent to a military prison after contradicting a direct order given by the commander-in-chief. Once in prison, he begins to gather the support of inmates, much to the despair of the director of the facility, a colonel played by James Gandolfini, who dislikes losing his authority to a convicted felon.


title: Military prison

text: Some of the late-20th-century military novels of American writer W. E. B. Griffin make mention of the former Portsmouth Naval Prison facility. In "Semper Fi", Book I in "The Corps" series, the main character, Cpl. Ken McCoy, finds himself assigned to a prisoner detail, which is riding on the same civilian train that McCoy is taking to his new post.


title: Military prison

text: "The Last Detail", 1973, starring Jack Nicholson and Otis Young, is a film that tells the story of two sailors assigned to a temporary detail transporting a prisoner (Randy Quaid) from Norfolk to Portsmouth to begin serving a sentence for theft.


title: Mile Svilar

text: Mile Svilar (; born 27 August 1999) is a Serbian professional footballer who plays as a goalkeeper for Serie A club Roma and the Serbia national team.


title: Mile Svilar

text: Svilar is a product of the Belgian youth teams of KFCO Wilrijk and Beerschot A.C., while in 2010 he joined the Belgian giant Anderlecht in which during the 2016–17 season, he became part of the first team as the third choice goalkeeper, but he did not appear in any game.


title: Mile Svilar

text: Svilar signed a five-year contract with Portuguese champions Benfica on 28 August 2017. On 14 October, he made his debut with the club in a 1–0 victory over Olhanense, becoming the youngest goalkeeper to ever play for Benfica. In international competition, he broke Iker Casillas's record as the youngest goalkeeper to ever play in the Champions League on 18 October 2017, in a 1–0 home defeat to Manchester United, aged 18 years and 52 days. In the return leg against the English side, aged 18 years and 65 days, he became the youngest goalkeeper ever to save a penalty in a Champions League match. In the same match, which ended in a 2–0 away defeat, he also became the youngest player ever to score an own goal in the competition.


title: Mile Svilar

text: Svilar was a member of Belgium U-16, Belgium U-17, Belgium U-18 national teams and was also a member of Belgium U-19. He was the first choice goalkeeper for the Belgium U-17 team at the 2016 UEFA European Under-17 Championship in Azerbaijan.


title: Mile Svilar

text: Born in Belgium to Serbian parents, Svilar is eligible to represent Belgium or Serbia. On 4 November 2017, he announced that he would play his first game for the Serbia national team in March 2018, as he accepted the call from the Football Association of Serbia. He debuted with Serbia in a friendly 4–0 win over Qatar on 1 September 2021.


title: 2S9 Nona

text: The 2S9 "NONA" () is a self-propelled and air-droppable 120 mm mortar designed in the Soviet Union, which entered service in 1981. The 2S9 chassis is designated the S-120 and based on the aluminium hull of the BTR-D airborne multi-purpose tracked armoured personnel carrier. More generally, the 120 mm mortar is referred to as the Nona, with the 2S9 also known as the Nona-S. Although no figures have been released, it is estimated that well over 1,000 2S9 were built.


title: 2S9 Nona

text: The 2S9 Nona-S is an amphibious vehicle that can be propelled through the water by two rear water-jets. It is operated by a four-man crew comprising a commander, a driver/mechanic, a gunner, and a loader. The hull interior is separated into a command compartment, a fighting compartment and an engine compartment. A welded steel turret is located at the middle of the hull. The two-man turret has hatches for the gunner and loader respectively.


title: 2S9 Nona

text: The 2S9 utilizes a 120mm 2A51 mortar with a 1.8-meter-long barrel. The weapon is actually a hybrid of a mortar and howitzer, being an unconventional design that lacks a direct NATO counterpart. It is a rifled, breech-loaded weapon capable of firing HE (high explosive), white phosphorus and smoke rounds, as well as laser-guided munitions like KM-8 Gran. It can engage in indirect and direct fire, as well as targeting armoured vehicles; its armour-piercing rounds can penetrate the equivalent of 600-650mm of steel plate at up to a kilometre.


title: 2S9 Nona

text: They have been deployed by Russia during the 2022 Russian invasion of Ukraine. In July 2022 video on social media purported to show Ukrainian forces using M777 to destroy towed 2B16 Nona-K in Hoptivka on the border to Russia. In August 2022 Ukraine's armed forces claimed to use four captured, Russian 2S9 against Russian forces. In November 2022 a 2S23-SVK Nona was photographed in Ukrainian service, it was reportedly captured from Russian forces in March and took months to refit.


title: Tyranny of the majority

text: The tyranny of the majority (or tyranny of the masses) is an inherent weakness to majority rule in which the majority of an electorate pursues exclusively its own objectives at the expense of those of the minority factions. This results in oppression of minority groups comparable to that of a tyrant or despot, argued John Stuart Mill in his 1859 book "On Liberty".


title: Tyranny of the majority

text: The scenarios in which tyranny perception occurs are very specific, involving a sort of distortion of democracy preconditions:


title: Tyranny of the majority

text: In both cases, in a context of a nation, constitutional limits on the powers of a legislative body, and the introduction of a Bill of Rights have been used to counter the problem. A separation of powers (for example a legislative and executive majority actions subject to review by the judiciary) may also be implemented to prevent the problem from happening internally in a government.


title: Tyranny of the majority

text: The origin of the term is commonly attributed to Alexis de Tocqueville, who used it in his book Democracy in America. It appears in Part 2 of the book in the title of Chapter 8 "What moderates the tyranny of the majority in the United States absence of administrative centralization" ("De ce qui tempère aux États-Unis la tyrannie de la majorité") and in the previous chapter in the name of sections such as "The tyranny of the majority" and "Effects of the tyranny of the majority on American national character; the courtier spirit in the united states".


title: Tyranny of the majority

text: While the specific phrase "tyranny of the majority" is frequently attributed to various Founding Fathers of the United States, only John Adams is known to have used it, arguing against government by a single unicameral elected body. Writing in defense of the Constitution in March 1788, Adams referred to "a single sovereign assembly, each member…only accountable to his constituents; and the majority of members who have been of one party" as a "tyranny of the majority", attempting to highlight the need instead for "a mixed government, consisting of three branches". Constitutional author James Madison presented a similar idea in Federalist 10, citing the destabilizing effect of "the superior force of an interested and overbearing majority" on a government, though the essay as a whole focuses on the Constitution's efforts to mitigate factionalism generally.


title: Tyranny of the majority

text: Later users include Edmund Burke, who wrote in a 1790 letter that "The tyranny of a multitude is a multiplied tyranny." It was further popularised by John Stuart Mill, influenced by Tocqueville, in "On Liberty" (1859). Friedrich Nietzsche used the phrase in the first sequel to "Human, All Too Human" (1879). Ayn Rand wrote that individual rights are not subject to a public vote, and that the political function of rights is precisely to protect minorities from oppression by majorities and "the smallest minority on earth is the individual". In Herbert Marcuse's 1965 essay ""Repressive Tolerance"", he said "tolerance is extended to policies, conditions, and modes of behavior which should not be tolerated because they are impeding, if not destroying, the chances of creating an existence without fear and misery" and that "this sort of tolerance strengthens the tyranny of the majority against which authentic liberals protested". In 1994, legal scholar Lani Guinier used the phrase as the title for a collection of law review articles.


title: Tyranny of the majority

text: A term used in Classical and Hellenistic Greece for oppressive popular rule was "ochlocracy" ("mob rule"); "tyranny" meant rule by one man—whether undesirable or not.


title: Tyranny of the majority

text: The "no tyranny" and "tyranny" situations can be characterized in any simple democratic decision-making context, as a deliberative "assembly".


title: Tyranny of the majority

text: Herbert Spencer, in "The Right to Ignore the State" (1851), pointed the problem with the following example:


title: Tyranny of the majority

text: Suppose that the final result is "8 votes for "X" and 5 votes for "Y"", so 8, as a majority, purple wins. As collectively (13 voters) the decision is legitimate.


title: Tyranny of the majority

text: It is a centralized decision about all common use rooms, "one color for all rooms", and it is also legitimate. Voters have some arguments against "each room with its color", rationalizing the centralization: some say that common rooms need uniform decisions;


title: Tyranny of the majority

text: an economic analysis demonstrates (and all agree) that a wholesale purchase of "one" color paint for all rooms is better.


title: Tyranny of the majority

text: Centralization excess is the most usual case. Suppose that each floor has some kind of local governance, so in some aspects the condominium is a "federation of floors". Suppose that only on the third floor the majority of residents manifested some preference to "each floor with different color" style, and all of the third floor residents likes the red color. The cost difference, to purchase another color for one floor, is not significant when compared with the condominium contributions.


title: Tyranny of the majority

text: In these conditions some perception of tyranny arrives, and the subsidiarity principle can be used to contest the central decision.


title: Tyranny of the majority

text: In the above no-tyranny scenario, suppose no floor federation, but (only) a room with some local governance.


title: Tyranny of the majority

text: Suppose that the "gym room" is not used by all, but there is a "community" of regulars, there is a grouping of voters by its activity as speed-cyclists (illustrated as spiked hair), that have the gym room key for some activities on Sundays. They are acting collectively to preserve the gym room for a local cyclists group.


title: Tyranny of the majority

text: There is no "enforced minoritarianism"; it seems a legitimate characterization of a relevant (and not dominant) minority. This is a "tyranny of the majority" situation because:


title: Tyranny of the majority

text: In this situation, even with no formal federation structure, the minority and a potential local governance emerged: the tyranny perception arrives with it.


title: Tyranny of the majority

text: Secession of the Confederate States of America from the United States was anchored by a version of subsidiarity, found within the doctrines of John C. Calhoun. Antebellum South Carolina utilized Calhoun's doctrines in the Old South as public policy, adopted from his theory of concurrent majority. This "localism" strategy was presented as a mechanism to circumvent Calhoun's perceived tyranny of the majority in the United States. Each state presumptively held the Sovereign power to block federal laws that infringed upon states' rights, autonomously. Calhoun's policies directly influenced Southern public policy regarding slavery, and undermined the Supremacy Clause power granted to the federal government. The subsequent creation of the Confederate States of America catalyzed the American Civil War.


title: Tyranny of the majority

text: 19th century concurrent majority theories held logical counterbalances to standard tyranny of the majority harms originating from Antiquity and onward. Essentially, illegitimate or temporary coalitions that held majority volume could disproportionately outweigh and hurt any significant minority, by nature and sheer volume. Calhoun's contemporary doctrine was presented as one of limitation within American democracy to prevent traditional tyranny, whether actual or imagined.


title: Tyranny of the majority

text: The notion that, in a democracy, the greatest concern is that the majority will tyrannise and exploit diverse smaller interests, has been criticised by Mancur Olson in "The Logic of Collective Action", who argues instead that narrow and well organised minorities are more likely to assert their interests over those of the majority. Olson argues that when the benefits of political action (e.g., lobbying) are spread over fewer agents, there is a stronger individual incentive to contribute to that political activity. Narrow groups, especially those who can reward active participation to their group goals, might therefore be able to dominate or distort political process, a process studied in public choice theory.


title: Tyranny of the majority

text: Tyranny of the majority has also been prevalent in some class studies. Rahim Baizidi uses the concept of "democratic suppression" to analyze the tyranny of the majority in economic classes. According to this, the majority of the upper and middle classes, together with a small portion of the lower class, form the majority coalition of conservative forces in the society.


title: Tyranny of the majority

text: Anti-federalists of public choice theory point out that vote trading can protect minority interests from majorities in representative democratic bodies such as legislatures. They continue that direct democracy, such as statewide propositions on ballots, does not offer such protections.


title: Suzuki Cultus

text: The Suzuki Cultus is a supermini car produced by the Japanese manufacturer Suzuki from 1983 to 2016. The nameplate is currently used as a rebadged second-generation Suzuki Celerio in Pakistan since 2017. It was first presented at the 25th Tokyo Motor Show, formally introduced to Japan in 1983 and ultimately sold in seven countries across three generations and marketed worldwide as the Suzuki Swift for the first two generations. An alliance formed in 1981 between General Motors, Suzuki and Isuzu allowed GM to market the Cultus as a captive import internationally under more than a dozen nameplates including the Geo Metro, Chevrolet Sprint, Pontiac Firefly and Holden Barina. It was also known as the M-car within GM.


title: Suzuki Cultus

text: Offered across its lifespan in four body-style variations with engines from the Suzuki G engine family, the second generation Cultus still remained in production in Pakistan until late 2016. The Cultus family of vehicles has been marketed in Asia, Australia, Europe, North America and South America.


title: Suzuki Cultus

text: The first generation was a project begun by General Motors as the M-car. When they realized that the project was not going to be profitable enough, the entire unfinished design was sold to Suzuki in return for a five per cent stake in the company. Suzuki completed the design and development work and put the car on sale from October 1983 in the Japanese market, as the Cultus. This is also why the car's design was such a natural fit in the General Motors lineup, with a clear GM corporate look. The model was also exported worldwide by Suzuki and assembled by a number of General Motors franchises, often undergoing badge engineering. The first-generation Swifts all share the SA model code prefix and was Suzuki's first earnest entry into a class of car with larger dimensions and engines than of the kei class Suzuki Fronte. Three- and four-cylinder versions of the G engine family were available, although some secondary markets installed Suzuki's one-liter four-cylinder F10A engine in a model which carries the SA410 chassis code.


title: Suzuki Cultus

text: Early export models were sold simply by the model code, SA310, the name shortly thereafter changed to a variety of names depending on the market. In Japan the car was always known as the Cultus. The SA310 initially featured leaf spring rear suspension and was originally marketed with a 1.0-liter (993 cc), three-cylinder engine (G10). The SA310 had its European premier in southern Spain in late 1983. The original model was available as the base GA, the GL, and the more expensive GLX models. Only three-door versions were available for the first few years. Early models were sold in Finland as the Suzuki Extra.


title: Suzuki Cultus

text: The 1.0-liter turbo (G10T) and a three-speed automatic transmission were introduced in Japan on the last day of May 1984. The turbo raised the power to (JIS) and it received 165/70 HR12 tyres. In August 1984, the longer five-door body was introduced, as was the 1.3-liter (1,324 cc) four-cylinder version (SA413). There was also a European three-door version of the equivalent JDM Cultus turbo, but with a 1.3-liter engine (G13A) called Swift GS, which received two-tone bodywork and more powerful engine than the standard 1.3-liter models ( vs (DIN)). It featured flush headlights, yellow filtered front foglamps with black removable covers and white wheel trims. The interior was finished in a grey fabric with two broad red strips over the front and rear seats, also new sporty three-spoke steering wheel. The introduction of the 1985 model year versions also marked the introduction of the "Swift" name in the European market, as earlier models had been sold simply as the SA310.


title: Suzuki Cultus

text: Two headlight variations existed within the earlier models depending on market and level. The lower equipped were fitted with a recessed sealed beam rectangular light while others came with a panel-flush forwards swept glass unit. The drag coefficient value of an early model is . Before it entered the Australian market as the Barina in 1985, the local Suzuki importer sold it as a two-seat van with the "Swift" moniker, as they did not have the necessary quota allocation to bring it in as a passenger car. While originally sold as the three-cylinder, three-door "Swift" in Indonesia, a five-door model of the pre-facelift SA310 was briefly offered beginning in late 1985. It was replaced by another five-door model fitted with the locally built (by "Suzuki Engine Manufacturing Indonesia") four-cylinder, 970 cc F10A engine from the popular Suzuki Carry 1.0 and (SAE), entered production in Indonesia in early 1986 as the "Forsa". The imported three-door model was discontinued, while the more upscale Forsa also benefitted from the new flush headlamps.


title: Suzuki Cultus

text: The model was refreshed and upgraded in June 1986. The leaf springs of the rear end were replaced by coil springs, the front end (forward of the steel body) was remodelled with a more forward swept grill and headlights, the dashboard was remodelled, and the windscreen was now caulked in place (rather than being held with a molded seal as in the earlier model). The 1.0- and 1.3-liter were slightly detuned while the turbo model gained fuel injection and now produces (JIS net), while the more powerful twin cam GTi model also arrived. The facelift model entered Indonesian production by early 1987 as the Forsa GL, and now featured some external trim pieces from the sporting GTi. A more luxurious GLX model was also added later.


title: Suzuki Cultus

text: In June 1986, Suzuki introduced the flagship GTi (AA33S) model with both styling and performance upgrades over other models. It was originally available as a manual three-door hatch only, although later a five-door version called GXi was added. The GTi was one of the first Suzuki to feature electronic fuel injection on its G13B high performance twin cam engine. This new engine has 1298 cc thanks to a shorter stroke (75.5 mm, down from the previous 77 mm), fuel injection and (JIS) in the Japanese market. The front brake system was also upgraded to a larger diameter disc brakes.


title: Suzuki Cultus

text: Interior updates included velour highlighted door cards and seat trimming. A red theme across the dashboard displays, carpet and seat roping was standard as was a centre console. Electric adjustable mirrors were also added.


title: Suzuki Cultus

text: Exterior styling upgrades included a model specific molded spoiler, side skirts and a bumper bar incorporating fog-lights. The rear suspension was also entirely different from lesser versions.


title: Suzuki Cultus

text: It was marketed in Ecuador, Chile, Indonesia, Canada and the U.S. from 1985 to 1988 – with Suzuki offering the supermini with either a (SAE net) carbureted 1.0-liter (993 cc) inline-three cylinder or (SAE net) fuel injected 1.0-liter (993 cc) inline 3 cylinder turbocharged engine. The Indonesian market Forsa has carbureted 1.0-liter (970 cc) four-cylinder engine.


title: Suzuki Cultus

text: An undetermined number of Forsa superminis were imported to Hawaii and Puerto Rico and some of them have found their way to the U.S. mainland. The EPA lists the 1985 Forsa model as the Suzuki SA310 (the original JDM name for the Cultus, Forsa and Swift), no listing for 1986, and both the Forsa and Forsa Turbo for 1987 and 1988.


title: Suzuki Cultus

text: In 1984, Suzuki and General Motors announced they would sell rebadged models of the Suzuki Cultus in North America as Chevrolets and Pontiacs, with Suzuki selling their own version as the Forsa. As it turned out, the Pontiac Firefly was only sold in Canada.


title: Suzuki Cultus

text: In 1985, GM began marketing in North America as the Chevrolet Sprint, reusing the name from a previous GMC vehicle. The Chevrolet Sprint was sold only in the Western United States until nationwide sale was begun in 1986. Sprint consumers had a choice of ER, Base, and Turbo models. In Canada, the car was sold as Suzuki Forsa and Pontiac Firefly. Firefly marketed in FE, Turbo, and Base models.


title: Suzuki Cultus

text: GM continued to market the Chevette until 1987 alongside the Sprint. In the United States, the Chevrolet Sprint label was dropped with the introduction of the Geo Metro (second-generation Cultus), but it continued to be used for a while longer in Canada.


title: Suzuki Cultus

text: The "Sprint" and "Sprint Metro" differed in their engines, though both were computer controlled carb systems. From 1985 to 1988, the carbureted 1.0-liter 3-cylinder engine used a hemispherical head design. Later, fuel injection required the cylinder head for 1989 be redesigned to add the additional cooling required, reducing gas mileage.