title: Hazbin Hotel

text: In February 2021, Medrano told "Insider" that she was surprised the show had gotten so big, saying that the fandom of "Hazbin Hotel" rivals those of shows with multiple seasons, even with only a pilot released, and that it "hit a chord with people" due to its art style, angst, and drama. Furthermore, she expressed excitement in the direction of the show, noting the demand for her content. In a Twitter thread the same month, Medrano clarified that she was not "abandoning" "Hazbin Hotel", and was working on comics for the series in the meantime.


title: Hazbin Hotel

text: On December 21, 2021, the official "Hazbin Hotel" Twitter account teased the release of the first season. Cast members from the pilot, including Elsie Lovelock, Michael Kovach, Krystal LaPorte, and Michelle Marie individually announced on their respective Twitter accounts that they were not asked to return for the A24 production, though showed support for the show despite their removal. Medrano said that she loves her characters "more than anything" and that they are "in good hands".


title: Hazbin Hotel

text: From February 22, 2022 onwards, the official "Hazbin Hotel" Twitter account unveiled redesigns of several main characters, including Charlie, Alastor, Angel Dust, and several others. On March 3, 2022, Medrano said that many of the artists who worked on the pilot would be returning for the first season, and argued that the "indie spirit of the pilot lives on." Along with SpindleHorse Toons, Princess Bento Studios, a studio jointly owned by Bento Box Entertainment and Princess Pictures, will be producing the series.


title: Hazbin Hotel

text: On October 27, 2022, the show's main social media account announced the release date, set for the summer of 2023.


title: Hazbin Hotel

text: On October 28, 2022, for the 3rd anniversary of the "Hazbin Hotel" pilot, the VivziePop YouTube channel released the first teaser for the show, showcasing what could appear to be the show's intro, and quick footage of the radio demon, Alastor, speaking into his microphone.


title: Hazbin Hotel

text: The series' pilot episode has been critically acclaimed for its animation quality, music, and characters, even by those who are more critical of the show itself. Stephen Novak from "The Oswegonian" student newspaper praised the animation, writing, and characters in "Hazbin Hotel". However, he criticized the songs, saying "while "Hazbin Hotel" will certainly not appeal to everyone, those who can appreciate good animation and fun characters will certainly find themselves tortured by what is likely to be a long wait until the next episode." Another reviewer, Matthew Field, argued that the pilot was part of the "animation renaissance" on YouTube.


title: Hazbin Hotel

text: Matt Smith of another student newspaper, "The Harbinger", had similar thoughts. Smith praised the show as a "hilariously dark look" into life in Hell while praising the voice acting, singing, and animation. At the same time, he pointed out the show is clearly "not for kids", noting the drug use and sexual references as well as strong language and violence. Smith notes that the animation is crisp and lively but not perfect. He states that the show has great pacing as well. In addition, Lidia Vassar of the "MSU Reporter" praised the show, noting its "raunchy sense of humor and quirky art style." She also stated that she was looking forward to future episodes, enjoyed the "diversity of character designs," and stated that it is clear that the show's creators "put a lot of time and heart into this project." In December 2019, in an article about the current state of adult animation, "CBR" animation critic Reuben Baron stated that while the pilot episodes of "Hazbin Hotel" and "Helluva Boss" had garnered "some warranted criticism" because of their inappropriate and edgy humor, they are still "clear labors of love from an animation standpoint". Another critic on CBR, Nerissa Rupnarine, pointed out that Alastor is on the small list of "canon asexual characters" within animation.


title: Hazbin Hotel

text: Charlie Ceates of "Cultured Vultures" stated that "Hazbin Hotel" is an example of how "traditional methods of television production are changing," and posited the possibility of YouTube being used to change the "balance of power between the creator and networks" in favor of creators. Ceates also stated that the show represents a "clear change in traditional media" and called the pilot a "well-designed bit of animation which deserves a watch," which is echoed by others who say it will have a positive influence on independent animation going forward. Some even said that the success of "Hazbin Hotel" led to the success of "Helluva Boss". Reviewer Sean Cubillas praised the show for "quirky, ambitious, and dark humor" and some of the "fastest, wittiest, and raunchiest dialogue ever seen in independent animation".


title: Kidnapping of Jaycee Dugard

text: On June 10, 1991, Jaycee Lee Dugard, an 11-year-old girl, was abducted from a street while walking to a school bus stop in Meyers, California, United States. Searches began immediately after Dugard's disappearance, but no reliable leads were generated, even though several people witnessed the kidnapping. Dugard remained missing for over eighteen years until 2009, when a convicted sex offender, Phillip Garrido, visited the campus of the University of California, Berkeley, accompanied by two adolescent girls, now known to be the biological daughters of Garrido and Dugard, on August 24 and 25 that year. The unusual behavior of the trio sparked an investigation that led Garrido's parole officer to order him to take the two girls to a parole office in Concord, California, on August 26. He was accompanied by a woman who was eventually identified as Dugard.


title: Kidnapping of Jaycee Dugard

text: Garrido and his wife, Nancy, were arrested by police after Dugard's reappearance. On April 28, 2011, they pleaded guilty to kidnapping and raping Dugard. Investigators revealed that Dugard had been kept in concealed tents, sheds, and lean-tos in an area behind the Garridos' house at 1554 Walnut Avenue in Antioch, California, where Phillip repeatedly raped Dugard during the first six years of her captivity. During her confinement, Dugard gave birth to two daughters, who were aged 11 and 15 at the time of her reappearance. On June 2, 2011, Garrido was sentenced to 431 years' to life imprisonment; his wife, Nancy, was sentenced to 36 years to life. Phillip is a person of interest in at least one other missing persons case in the San Francisco Bay Area.


title: Kidnapping of Jaycee Dugard

text: As Garrido had been on parole for a 1976 rape at the time of her kidnapping, Dugard sued the state of California, which had taken over his parole supervision from the federal government in 1999, on account of the numerous lapses by law enforcement that contributed to her continued captivity and sexual assault. In 2010, the state of California awarded the Dugard family . Dugard also sued the federal government on similar grounds pertaining to Garrido's time as a federal parolee, but in a 2–1 ruling, the 9th U.S. Circuit Court of Appeals dismissed that suit because Garrido had not victimized her at the time he was placed under the supervision of the federal parole system, and that as a result of this, "there was no way to anticipate she would become his victim."


title: Kidnapping of Jaycee Dugard

text: In 2011, Dugard wrote an autobiography titled "A Stolen Life". Her second book, "Freedom: My Book of Firsts", was published in 2016.


title: Kidnapping of Jaycee Dugard

text: Jaycee Dugard's biological father, Ken Slayton, was not involved in her life, nor in the investigation that followed her kidnapping. When Dugard was seven, her mother Terry married a carpet contractor named Carl Probyn, and gave birth to Dugard's half-sister, Shayna, in 1989. Although Dugard was close to her mother and sister, she was never close to Probyn. In September 1990, Dugard's family moved from Arcadia, California, in Los Angeles County, to Meyers, a rural town south of South Lake Tahoe, because they thought it was a safer community. At the time of the abduction, Dugard was in the fifth grade, and anticipated an upcoming field trip.


title: Kidnapping of Jaycee Dugard

text: The primary offender in the case, Phillip Greg Garrido, was born in Pittsburg, California, on April 5, 1951. He grew up in Brentwood, where he graduated from Liberty High School in 1969. Garrido's father Manuel later stated that his son had been a "good boy" as a child, but changed radically after a serious motorcycle accident as a teenager. He turned to drug useprimarily methamphetamine and LSD.


title: Kidnapping of Jaycee Dugard

text: In later court testimony, Garrido admitted that he habitually masturbated in his car by the side of elementary and high schools while watching girls. In 1972 he was arrested and charged with repeatedly raping a 14-year-old girl after giving her barbiturates, but the case did not go to trial after the girl declined to testify. The following year, he married his high school classmate, Christine Murphy, who accused him of domestic violence and alleged that he kidnapped her when she tried to leave him.


title: Kidnapping of Jaycee Dugard

text: In 1976, Garrido kidnapped 25-year-old Katherine Callaway in South Lake Tahoe, California. He took her to a Reno, Nevada, warehouse, where he raped her for five and a half hours. When a police officer noticed a car parked outside the warehouse and then a broken lock on its door, he knocked on the door and was greeted by Garrido. Callaway then emerged and asked for help. Garrido was promptly arrested.


title: Kidnapping of Jaycee Dugard

text: In a 1976 court-ordered psychiatric evaluation, Garrido was diagnosed as a "sexual deviant and chronic drug abuser". The psychiatrist recommended that a neurological examination be conducted because Garrido's chronic drug use could be "responsible in part" for his "mixed" or "multiple" sexual deviation. He was then evaluated by neurologist Albert F. Peterman, whose diagnostic impression was that Garrido showed "considerable evidence of anxiety and depression and personality disorder." He was convicted on March 9, 1977, and began serving a fifty-year federal sentence on June 30 of that year at Leavenworth Penitentiary in Kansas.


title: Kidnapping of Jaycee Dugard

text: At Leavenworth, Garrido met Nancy Bocanegra, the secondary offender in Dugard's kidnapping, who was visiting her uncle, another prisoner. On October 5, 1981, he and Bocanegra were married at the prison. On January 22, 1988, Garrido was released from Leavenworth to Nevada State Prison, where he served seven months of a five-years-to-life Nevada sentence. He was transferred to federal parole authorities in Contra Costa County, California, on August 26, 1988. Garrido and his wife moved to the city of Antioch and lived in the home of his elderly mother, who suffered from dementia. As a parolee, Garrido wore a GPS-enabled ankle bracelet and was regularly visited by parole officers, local sheriff's deputies, and federal agents.


title: Kidnapping of Jaycee Dugard

text: On June 10, 1991, Dugard's mother, who worked as a typesetter at a print house, left for work early in the day. Eleven-year-old Dugard, wearing her favorite all-pink outfit, walked up the hill from her house, against traffic, to catch the school bus. When she was halfway up the hill, a gray car approached her. She thought that the man driving the car was stopping to ask for directions.


title: Kidnapping of Jaycee Dugard

text: The driver, Phillip Garrido, rolled down the window and tased Dugard unconscious with a stun gun before abducting her. His wife, Nancy, dragged Dugard into the car, where they removed her clothing, leaving only a butterfly-shaped ring that Dugard would hide from them for the next 18 years. Nancy covered Dugard with a blanket and held her down as the girl drifted in and out of consciousness during the three-hour drive to the Garridos' property 120 miles away in Antioch. The only time Dugard spoke was when she pleaded that her parents could not afford a ransom. The district attorney in the Dugard case believed that Nancy had scouted Dugard as a prize for Garrido.


title: Kidnapping of Jaycee Dugard

text: Probyn witnessed the abduction of his stepdaughter from within sight of their home. He saw two people in a mid-sized gray carpossibly a Mercury Monarchmake a U-turn at the school bus stop where Dugard was waiting, and a woman forcing Dugard into the car. He chased after them on a bicycle but was unable to overtake the vehicle. Some of Dugard's classmates were also witnesses to the abduction. Initial suspects included Probyn and Ken Slayton, Dugard's biological father, though they did not know each other and Slayton had only had a brief relationship with Dugard's mother in 1979, not knowing he had a child. Probyn took and passed several polygraph tests, and Slayton was also quickly cleared of suspicion. Nonetheless, the kidnapping led to the breakup of Terry and Probyn's marriage.


title: Kidnapping of Jaycee Dugard

text: Within hours of Dugard's disappearance, local and national media converged on South Lake Tahoe to cover the story. Within days, dozens of local volunteers assisted in the search effort, which involved nearly every resource within the community. Within weeks, tens of thousands of fliers and posters were mailed to businesses throughout the United States. Since Dugard's favorite color was pink, the town was blanketed in pink ribbons as a constant reminder of her disappearance, and as a demonstration of support for her family by the community.


title: Kidnapping of Jaycee Dugard

text: Terry Probyn founded a group called Jaycee's Hope, which directed the volunteer and fundraising efforts. Cassette tapes of the song "Jaycee Lee", along with T-shirts, sweatshirts, and buttons, were sold to raise money for poster materials, postage, printing, and related expenses. Child Quest International and the National Center for Missing & Exploited Children were involved in the effort. A reward was offered, which was noted on the posters and fliers. The kidnapping case attracted nationwide attention and was featured on the June 14, 1991, episode of the Fox television show "America's Most Wanted". The ensuing months and years were a continuous effort of child safety awareness, fundraising events, and candlelight vigils marking Dugard's disappearance, keeping her story in the public awareness.


title: Kidnapping of Jaycee Dugard

text: Upon arriving at the Garridos's home in an unincorporated island of Antioch, the Garridos took Dugard, her head still covered with a blanket, behind their house, where they had constructed a series of dilapidated tents and sheds. Garrido placed Dugard inside a tiny shed that had been soundproofed. Dugard later stated in her memoir and in an interview with ABC News that upon arrival, Garrido handcuffed her and left her naked in the shed, which he bolted shut, warning her that trained Doberman Pinschers outside the shed would attack her if she tried to escape. Right after the abduction, Garrido forced Dugard into a shower with him, which was the first time she had ever been exposed to an unclothed man. During her first week in captivity, Dugard remained in handcuffs, her only human contact being Garrido, who sometimes brought her fast food and talked to her. He provided a bucket for her to use to relieve herself. A week after the kidnapping, Garrido raped the still-handcuffed Dugard for the first time. He continued to rape her frequently, doing so at least once a week for the first three years of her captivity.


title: Kidnapping of Jaycee Dugard

text: At one point, Garrido provided Dugard with a television, but she could not watch the news, and remained unaware of the publicized search for her. Almost a month and a half after her kidnapping, by Dugard's recollection, Garrido moved her to a larger room next door, where she was handcuffed to a bed. He explained that the "demon angels" let him take her and that she would help him with his sexual problems because society had ignored him. Garrido would occasionally go on days-long methamphetamine binges he called "runs", during which he would force Dugard to keep him company by performing sexual favors and engaging in various other activities with him. Garrido made her listen out for the voices he said he could hear from the walls, and often professed a belief that he was a chosen servant of God. These binges would end with Garrido sobbing and apologizing to Dugard, alternating with threats to sell her to people who would put her in a cage.


title: Kidnapping of Jaycee Dugard

text: Seven months into her captivity, Garrido introduced Dugard to his wife, Nancy, who brought the child a stuffed animal and chocolate milk, and engaged in the same tearful apologies to her. Though Dugard craved the woman's approval at the time, in a 2011 ABC News interview she stated that Nancy was just as manipulative as Garrido. Dugard related that Nancy alternated between motherly concern and coldness and cruelty, expressing her jealousy of Dugard, whom she regarded as the one to blame for her predicament. She characterized Nancy, who worked as a nursing home aide, as "evil" and "twisted". When Garrido was returned to prison for failing a drug test, Nancy replaced her husband as Dugard's jailer.


title: Kidnapping of Jaycee Dugard

text: The Garridos manipulated Dugard further by presenting her, on two occasions, with kittens that would later "mysteriously vanish". When Garrido discovered that she was signing her real name in a journal that she kept about the kittens, she was forced to tear out the page with her name on it, the last time she would be permitted to say or write her name until her captivity ended eighteen years later. She was never allowed to see a doctor or dentist.


title: Kidnapping of Jaycee Dugard

text: The Garridos' neighbor, Patrick McQuaid, told the San Jose "Mercury News" that as a child he recalled meeting Dugard through a fence in the Garridos' yard soon after the kidnapping. He said that she had identified herself by the name "Jaycee" and that when asked if she lived there or was just visiting, she answered that she lived there. At that point, Garrido came out and took her back indoors. He eventually built an fence around the backyard and set up a tent for Dugard, the first time that she was allowed to walk outside since her kidnapping.


title: Kidnapping of Jaycee Dugard

text: Almost three years into her captivity, the Garridos began to allow Dugard freedom from her handcuffs for periods of time, though they kept her locked in the bolted room. On Easter Sunday of 1994, they gave her cooked food for the first time. The couple informed Dugard that they believed that she was pregnant. Dugard, aged 13 at the time, had learned of the link between sex and pregnancy from television. Dugard watched television programs on childbirth in preparation for the birth of her first daughter, which occurred when Dugard was aged 14, on August 18, 1994. After the birth of her first daughter, Garrido raped Dugard less frequently, though he would nonetheless do so when he had taken drugs.


title: Kidnapping of Jaycee Dugard

text: The last time Garrido raped Dugard was the day her second daughter was conceived. Her second daughter was born when Dugard was 17, on November 13, 1997. Dugard took care of her daughters using information learned from television and worked to protect them from Garrido, who continued his enraged rants and lectures.


title: Kidnapping of Jaycee Dugard

text: Dugard coped with her continued captivity by planting flowers in a garden and homeschooling her daughters. At one point, Garrido informed Dugard that to pacify his wife, Dugard and her daughters were to address Nancy as their mother and that she was to teach her daughters that she (Dugard) was their older sister. When Dugard and her daughters were eventually allowed to come into contact with other people, this fiction was continued.


title: Kidnapping of Jaycee Dugard

text: Garrido operated a print shop where Dugard acted as the graphic artist. Ben Daughdrill, a customer of Garrido's printing business, claimed that he met and spoke by telephone with Dugard and that she did excellent work. During this time, Dugard had access to the business phone and an email account. Another customer indicated that she never hinted to him about her childhood abduction or her true identity. Witnesses stated Dugard was seen in the Garrido household, and sometimes answered the front door to talk to people, but never stated there was a problem or attempted to leave. While the family kept to themselves, the girls were sometimes seen playing in the secondary backyard behind the house, where Dugard's living quarters are thought to have been located.


title: Kidnapping of Jaycee Dugard

text: The private area of the backyard included sheds (one of which was used as a recording studio in which Garrido recorded himself singing religious-themed and romantic country songs), two homemade tents, and what has been described as a camping-style shower and toilet. The area was surrounded by tall trees and a -high fence. An entrance to the secondary backyard was covered by trees and a tarpaulin. Privacy was enhanced by tents and outbuildings. Electricity was supplied by extension cords. The enclosure also housed a car that matched the description of the one used in the abduction.


title: Kidnapping of Jaycee Dugard

text: Law enforcement officers visited the residence at least twice, but did not ask to inspect the backyard, and did not detect the presence of Dugard or her children in the areas of the property that they did inspect. These were among several missed opportunities for rescue which later led to criticism of authorities:


title: Kidnapping of Jaycee Dugard

text: On August 24, 2009, Garrido visited the San Francisco office of the Federal Bureau of Investigation (FBI) and left a four-page essay containing his ideas about religion and sexuality, suggesting that he had discovered a solution to problem behaviors like his past crimes. The essay described how he had cured his deviant behavior and how that information could be used to assist in curing other sexual predators by "controlling human impulses that drive humans to commit dysfunctional acts".


title: Kidnapping of Jaycee Dugard

text: On the same day, Garrido traveled to the University of California, Berkeley (UC Berkeley) with Dugard's two daughters and visited its campus police office, seeking permission to hold a special event as a part of his "God's Desire" program. He spoke with special-events manager Lisa Campbell; she perceived his behavior as "erratic" and felt that the girls were "sullen and submissive." She asked Garrido to make an appointment for the next day, which he did, leaving his name in the process. Officer Ally Jacobs ran a background check and discovered that Garrido was a registered sex offender on federal parole for kidnapping and rape. Garrido and the girls returned for their appointment at 2 p.m. the following day, and Jacobs attended the meeting. The girls appeared to Jacobs to be pale, as if they had not been exposed to sunlight, and she felt that their behavior was unusual. Garrido's several parole violations were a basis for an arrest, so Jacobs phoned the parole office to relay her concerns, leaving a report on voicemail.


title: Kidnapping of Jaycee Dugard

text: After hearing Jacobs' recorded message, two parole agents drove to the Garridos' house later that day. Upon arrival, they handcuffed Garrido and searched the house, finding only his wife Nancy and his elderly mother at home. The parole agents then drove him to the parole office. En route, Garrido said that the girls who had accompanied him to UC Berkeley "were the daughters of a relative" and that he had had permission from their parents to take them there. Although the parole office had previously barred Garrido from associating with minors, and although Berkeley was from the Garridos' Contra Costa residence — in excess of the limit he was allowed to travel from his home without his parole agent's permission — nothing was done about these violations. After reviewing his file with a supervisor, they drove Garrido home and ordered him to report to the office again the next day to discuss his visit to UC Berkeley, and to follow up on the office's concerns about the two girls.


title: Kidnapping of Jaycee Dugard

text: Garrido arrived at the parole office in Concord, California, on August 26 with Nancy, the two girls and Dugard, who was introduced as "Allissa". The parole officer decided to separate Garrido from the women and girls to obtain their identification.


title: Kidnapping of Jaycee Dugard

text: Maintaining her false identity as "Allissa", Dugard told investigators that the girls were her daughters. Although she indicated that she was aware that Garrido was a convicted sex offender, she stated that he was a "changed man", a "great person", and was "good with her kids", comments that were echoed by the two girls. When pressed for details that would confirm her identity, Dugard became "extremely defensive" and "agitated",


title: Kidnapping of Jaycee Dugard

text: demanding to know why she was being "interrogated", and subsequently stated that she was a battered wife from Minnesota in hiding from her abusive husband. The parole officer eventually called the Concord police. Upon the arrival of a police sergeant, Garrido admitted he had kidnapped and raped Dugard. Only after this did she properly identify herself as Jaycee Dugard. It was later suggested that Dugard showed signs of Stockholm syndrome.


title: Kidnapping of Jaycee Dugard

text: In a 2016 ABC News interview, Dugard stated that her compassion and willingness to interact with her captor were her only means of surviving, saying, "The phrase Stockholm Syndrome implies that hostages cracked by terror and abuse become affectionate towards their captors...Well, it's, really, it's degrading, you know, having my family believe that I was in love with this captor and wanted to stay with him. I mean, that is so far from the truth that it makes me want to throw up...I adapted to survive my circumstance." She repeatedly stated that, as a survival mechanism, many victims are forced to sympathize with their captors.


title: Kidnapping of Jaycee Dugard

text: Garrido and his wife were placed under arrest. An FBI agent put Dugard on the telephone with her mother, Terry Probyn. Dugard retained custody of her children and reunited with her mother on August 27, 2009.


title: Kidnapping of Jaycee Dugard

text: Dugard's aunt, Tina Dugard, and a former business associate of the Garridos, Cheyvonne Molino, have commented that Dugard's children looked healthy. Tina said that upon her meeting them after their escape, they "always appeared and behaved like normal kids". Molino said of the times that she met them while they were captive "that in her presence the girls never acted robotically" and didn't wear unusual clothing.


title: Kidnapping of Jaycee Dugard

text: In the days following Dugard's return, her stepfather confirmed that Dugard and her daughters were in good health and intelligent, their reunion was going well, and they were proceeding slowly. He said Dugard had developed a significant emotional bond with Garrido, and the two daughters cried when they learned of their father's arrest. Tina Dugard reported that the daughters are clever, articulate, and curious girls.


title: Kidnapping of Jaycee Dugard

text: Ernie Allen, president of the National Center for Missing and Exploited Children, said Dugard's reappearance is an important event for families of other long-term missing children, because it shows that hope remains even in long-term cases. Abduction survivor Elizabeth Smart has stressed the importance of focusing on the future with a positive attitude as an effective approach to accepting what has happened. Shawn Hornbeck, another abduction survivor, also commented on the case, noting: "Coming out of what she's had to endure is like entering a new world. It's like a door has opened for her and she's emerged from a world that's black and white into one that's full of color." He opined that the reason Dugard never escaped of her own accord was that she was brainwashed. He further offered insight into post-abduction life, saying that feelings of anger are normal for survivors, and that therapy can enable them to move on with their lives.


title: Kidnapping of Jaycee Dugard

text: Three weeks after her release, Dugard asked for the pets that were raised in the home. On October 14, 2009, "People" magazine published the first verified photo of Jaycee Dugard as an adult on its cover. Dugard's memoir, "A Stolen Life: A Memoir", was published on July 12, 2011, by Simon & Schuster, to positive reviews.


title: Kidnapping of Jaycee Dugard

text: Dugard began animal therapy with horses, an activity she shared with her mother Terry and her sister Shayna.


title: Kidnapping of Jaycee Dugard

text: Following the arrest, police searched the Garrido house extensively for evidence of other crimes. Because Garrido had access to his neighbor's house, it was also searched for evidence. Police also searched the homes and business of one of Garrido's printing business clients. Police agencies from Hayward and Dublin, California, conducted searches of the Garridos' property for evidence pertaining to missing girls from those communities, but did not find any. In July 2011, Hayward police announced that Garrido has not been eliminated as a suspect and is still a person of interest in the abduction case of Michaela Garecht. Garecht was kidnapped in 1988 and Hayward is from the Garridos' Antioch home.


title: Kidnapping of Jaycee Dugard

text: On August 27, 2009, KCRA-TV in Sacramento, California, interviewed Garrido in his jail cell by telephone. During the interview, Garrido said, "In the end, this is going to be a powerful, heartwarming story" because, in his version of events:


title: Kidnapping of Jaycee Dugard

text: Garrido repeatedly told the reporter how he "filed documents" with the FBI on August 24, 2009, which, when they were published, would cause people to "fall over backwards", and that he could not reveal more because he "had to protect law enforcement", and "what happened" ... was "something that humans have not understood well". In the interview, Garrido denied he had ever harmed Dugard's two daughters. He said their births changed his life and, saying, "they slept in my arms every single night since birth. I never touched them." On August 28, 2009, FBI spokesman Joseph Schadler confirmed that Garrido had indeed left the documents with the agency, as he had claimed, but declined to discuss further details. The document, titled "Origin of Schizophrenia Revealed", was eventually released by the FBI. It is about stopping schizophrenics from turning violent and controlling sounds with the human mind.


title: Kidnapping of Jaycee Dugard

text: On August 28, 2009, Garrido and his wife pleaded not guilty to charges including kidnapping, rape, and false imprisonment. The case was prosecuted in El Dorado County, by elected District Attorney Vern R. Pierson and Assistant District Attorney James A Clinchard. A bail review/pre-preliminary hearing was held September 14, 2009, at the El Dorado County Superior Court in Placerville, California. At the hearing, Superior Court Judge Douglas Phimister set bail for Garrido's wife Nancy at . However, there was a no-bail parole hold on Garrido. The judge initially kept Nancy in custody on a no-bail hold, but she was granted bail at a later date. At the September 14 hearing, Phimister also granted a request from Garrido's attorney to have a psychologist or psychiatrist appointed to conduct a confidential evaluation. Such examinations can be used by the defense to assist in case preparation, and additional mental health examinations can be ordered at subsequent phases in the proceedings. On October 29, 2009, a short hearing was held to set a date for the next pre-preliminary hearing when issues such as discovery were to be discussed. This hearing occurred on December 11, 2009. Katie Callaway Hall, whom Garrido kidnapped and raped in 1976, appeared in the courtroom at the October and December hearings. She did not speak during either proceeding.


title: Kidnapping of Jaycee Dugard

text: On November 5, 2009, Phimister ordered Nancy's defense attorney, Gilbert Maines, to be removed from the case. According to a posting on the court's website, the decision occurred in review of "confidential evidence" that has not been disclosed to the public, and details of the proceedings were kept sealed. The decision was immediately stayed until November 30, 2009. On November 12, 2009, Phimister appointed Stephen A. Tapson as interim counsel for Nancy. Gilbert Maines appealed the decision and received a favorable ruling by the California Third District Court of Appeal on December 15, 2009. On December 22, 2009, the same court gave the El Dorado Superior Court until January 2010 to respond to the ruling. Both Gilbert Maines and Stephen Tapson appeared at the discovery hearing on December 11, 2009. A hearing was held on January 21, 2010. At that hearing, Maines was removed from the case and Tapson was appointed defense counsel for Nancy. In addition, bail, in the amount of , was set for Nancy.


title: Kidnapping of Jaycee Dugard

text: At a press conference on February 28, 2011, Tapson said that Nancy and Phillip Garrido had both made a 'full confession' in the case. The development came as lawyers for both sides reopened discussions on a possible plea deal that had the potential to obviate the need for a trial. Nancy's attorney acknowledged that she was facing "241 years, eight months to life" and that he was working for a reduced sentence in the 30-year range. He stated that the prosecutor had acknowledged that Phillip was a master manipulator and that Nancy was under both his influence and that of substances during the period of Dugard's kidnapping, so should receive some consideration while alluding to parallels with kidnap victim Patty Hearst and to Stockholm syndrome.


title: Kidnapping of Jaycee Dugard

text: On April 7, 2011, instead of pleading guilty, as had been expected based on the previous statements, the Garridos pleaded not guilty to charges of kidnapping and raping Dugard, as well as other charges, in an amended grand jury indictment. Phillip's attorney, public defender Susan Gellman, alleged that the grand jury might have been selected improperly and might have acted improperly. Gellman did not elaborate on her claim in the courtroom, but said outside that she had questions about the racial and geographic makeup of the grand jury that originally indicted the Garridos in September 2010. Judge Phimister noted that there were issues about the process itself before the grand jury, and also stated that the court would consider whether the grand jury acted appropriately. These developments were largely unforeseen by attorney Stephen Tapson, who represented Nancy; Tapson had said earlier that week that Phillip had made a deal with prosecutors to plead guilty and spend the rest of his life in prison. Gellman was upset with Tapson for telling reporters that her client had planned to plead guilty, saying that he should only speak about his own client, Nancy. Tapson said he found out about Gellman's plans only late on April 6. Neither attorney would elaborate further on the specific concerns about the grand jury. El Dorado, California District Attorney Vern Pierson said he did not think the complaints about the grand jury would ultimately derail the case against the Garridos.


title: Kidnapping of Jaycee Dugard

text: On April 28, 2011, the Garridos pleaded guilty to kidnapping and rape by force. On June 2, 2011, Phillip was sentenced to 431 years to life imprisonment. Nancy was sentenced to 36 years to life imprisonment. The sentences would allow Nancy to be eligible for parole in August 2029.


title: Kidnapping of Jaycee Dugard

text: Phillip was imprisoned in California State Prison, Corcoran, while Nancy was incarcerated at Central California Women's Facility in Chowchilla. Dugard did not attend the sentencing, instead sending a written message with her mother to read aloud in court.


title: Kidnapping of Jaycee Dugard

text: As Garrido had been on parole for a 1976 rape at the time of her kidnapping, Dugard sued the state of California, which had taken over his parole supervision from the federal government in 1999, on account of the numerous lapses by law enforcement during instances in which her captivity should have been discovered by them. In July 2010, the State of California approved a USD $20million settlement with Dugard to compensate her for: "various lapses by the Corrections Department [that contributed to] Dugard's continued captivity, ongoing sexual assault and mental and/or physical abuse". The settlement, part of AB1714, was approved by the California State Assembly by a 70 to 2 vote, and by the California State Senate by a 30 to 1 vote. San Francisco County Superior Court Judge Daniel Weinstein, who mediated the settlement, stated that the settlement was reached to avoid a lawsuit, which would be a: "greater invasion of privacy and greater publicity for the state". The bill was signed by California Governor Arnold Schwarzenegger on July 9.


title: Kidnapping of Jaycee Dugard

text: On September 22, 2011, Dugard filed a lawsuit in United States District Court for the Northern District of California, accusing the United States of failing to monitor Phillip when he was a federal parolee. Dugard stated in her lawsuit against the federal government that parole officials should have revoked Garrido's parole and returned him to prison for any number of parole violations that preceded her abduction, including testing positive for drugs and alcohol.


title: Kidnapping of Jaycee Dugard

text: On March 15, 2016, the U.S. Court of Appeals for the Ninth Circuit dismissed Dugard's civil claims under the Federal Tort Claims Act (FTCA). In a 2–1 decision authored by Judge John B. Owens, the court ruled that the federal government's sovereign immunity was not waived because the U.S. is only liable "in the same manner and to the same extent as a private individual under like circumstances" under state law. In this case, because the U.S. would not be liable under California law, Dugard could not prevail on her FTCA claim. The majority's rationale was that Dugard had not been victimized by Garrido at the time he was placed under federal parole supervision, and "there was no way to anticipate she would become his victim," and thus, federal authorities in California had no duty to protect her or other members of the general public from him. Chief District Court Judge William Smith again dissented, stating that he believed that the majority misinterpreted California law, as the cases cited by the majority only involved FTCA liability in rehabilitation centers, and there were good legitimate grounds to hold the government liable.


title: Sengoku period

text: The was a period in Japanese history of near-constant civil war and social upheaval from 1467 to 1615.


title: Sengoku period

text: The Sengoku period was initiated by the Ōnin War in 1467 which collapsed the feudal system of Japan under the Ashikaga shogunate. Various samurai warlords and clans fought for control over Japan in the power vacuum, while the emerged to fight against samurai rule. The arrival of Europeans in 1543 introduced the arquebus into Japanese warfare, and Japan ended its status as a tributary state of China in 1549. Oda Nobunaga dissolved the Ashikaga shogunate in 1573 and launched a war of political unification by force, including the Ishiyama Hongan-ji War, until his death in the Honnō-ji Incident in 1582. Nobunaga's successor Toyotomi Hideyoshi completed his campaign to unify Japan and consolidated his rule with numerous influential reforms. Hideyoshi launched the Japanese invasions of Korea in 1592, but their eventual failure damaged his prestige before his death in 1598. Tokugawa Ieyasu displaced Hideyoshi's young son and successor Toyotomi Hideyori at the Battle of Sekigahara in 1600 and re-established the feudal system under the Tokugawa shogunate. The Sengoku period ended when Toyotomi loyalists were defeated at the siege of Osaka in 1615.


title: Sengoku period

text: The Sengoku period was named by Japanese historians after the similar but otherwise unrelated Warring States period of China. Modern Japan recognizes Oda Nobunaga, Toyotomi Hideyoshi, and Tokugawa Ieyasu as the three "Great Unifiers" for their restoration of central government in the country.


title: Sengoku period

text: During this period, although the Emperor of Japan was officially the ruler of his nation and every lord swore loyalty to him, he was largely a marginalized, ceremonial, and religious figure who delegated power to the "shōgun", a noble who was roughly equivalent to a general. In the years preceding this era, the shogunate gradually lost influence and control over the "daimyōs" (local lords). Although the Ashikaga shogunate had retained the structure of the Kamakura shogunate and instituted a warrior government based on the same socio-economic rights and obligations established by the Hōjō with the "Jōei" Code in 1232, it failed to win the loyalty of many "daimyō", especially those whose domains were far from the capital, Kyoto. Many of these lords began to fight uncontrollably with each other for control over land and influence over the shogunate. As trade with Ming China grew, the economy developed, and the use of money became widespread as markets and commercial cities appeared. Combined with developments in agriculture and small-scale trading, this led to the desire for greater local autonomy throughout all levels of the social hierarchy. As early as the beginning of the 15th century, the suffering caused by earthquakes and famines often served to trigger armed uprisings by farmers weary of debt and taxes.


title: Sengoku period

text: The Ōnin War (1467–1477), a conflict rooted in economic distress and brought on by a dispute over shogunal succession, is generally regarded as the onset of the Sengoku period. The "eastern" army of the Hosokawa family and its allies clashed with the "western" army of the Yamana. Fighting in and around Kyoto lasted for nearly 11 years, leaving the city almost completely destroyed. The conflict in Kyoto then spread to outlying provinces.


title: Sengoku period

text: The period culminated with a series of three warlords Oda Nobunaga, Toyotomi Hideyoshi, and Tokugawa Ieyasu who gradually unified Japan. After Tokugawa Ieyasu's final victory at the siege of Osaka in 1615, Japan settled down into over 200 years of peace under the Tokugawa shogunate.


title: Sengoku period

text: The Ōnin War in 1467 is usually considered the starting point of the Sengoku period. There are several events which could be considered the end of it: Nobunaga's entry to Kyoto (1568) or abolition of the Muromachi shogunate (1573), the siege of Odawara (1590), the Battle of Sekigahara (1600), the establishment of the Tokugawa shogunate (1603), or the siege of Osaka (1615).


title: Sengoku period

text: The upheaval resulted in the further weakening of central authority, and throughout Japan, regional lords, called "daimyōs", rose to fill the vacuum. In the course of this power shift, well-established clans such as the Takeda and the Imagawa, who had ruled under the authority of both the Kamakura and Muromachi "bakufu", were able to expand their spheres of influence. There were many, however, whose positions eroded and were eventually usurped by more capable underlings. This phenomenon of social meritocracy, in which capable subordinates rejected the status quo and forcefully overthrew an emancipated aristocracy, became known as , which means "low conquers high".


title: Sengoku period

text: One of the earliest instances of this was Hōjō Sōun, who rose from relatively humble origins and eventually seized power in Izu Province in 1493. Building on the accomplishments of Sōun, the Hōjō clan remained a major power in the Kantō region until its subjugation by Toyotomi Hideyoshi late in the Sengoku period. Other notable examples include the supplanting of the Hosokawa clan by the Miyoshi, the Toki by the Saitō, and the Shiba clan by the Oda clan, which was in turn replaced by its underling, Toyotomi Hideyoshi, a son of a peasant with no family name.


title: Sengoku period

text: Well-organized religious groups also gained political power at this time by uniting farmers in resistance and rebellion against the rule of the "daimyōs". The monks of the Buddhist True Pure Land sect formed numerous "Ikkō-ikki", the most successful of which, in Kaga Province, remained independent for nearly 100 years.


title: Sengoku period

text: After nearly a century of political instability and warfare, Japan was on the verge of unification by Oda Nobunaga, who had emerged from obscurity in the province of Owari (present-day Aichi Prefecture) to dominate central Japan. In 1582, while in Kyoto at the temple of Honnō-ji, Oda Nobunaga committed seppuku during an invasion of the temple led by one of his generals, Akechi Mitsuhide, in order to assassinate Oda. This allowed Toyotomi Hideyoshi the opportunity to establish himself as Oda's successor after rising through the ranks from "ashigaru" (footsoldier) to become one of Oda's most trusted generals. Toyotomi eventually consolidated his control over the remaining "daimyōs" but ruled as "Kampaku" (Imperial Regent) as his common birth excluded him from the title of "Sei-i Taishōgun." During his short reign as Kampaku, Toyotomi attempted two invasions of Korea. The first attempt, spanning from 1592 to 1596, was initially successful but suffered setbacks from the Joseon Navy and ended in a stalemate. The second attempt began in 1597 but was less successful as the Koreans, especially their navy, led by Admiral Yi Sun-Sin, were prepared from their first encounter. In 1598, Toyotomi called for retreat from Korea prior to his death.


title: Sengoku period

text: Without leaving a capable successor, the country was once again thrust into political turmoil, and Tokugawa Ieyasu took advantage of the opportunity.


title: Sengoku period

text: On his deathbed, Toyotomi appointed a group of the most powerful lords in Japan—Tokugawa, Maeda Toshiie, Ukita Hideie, Uesugi Kagekatsu, and Mōri Terumoto—to govern as the Council of Five Regents until his infant son, Hideyori, came of age. An uneasy peace lasted until the death of Maeda in 1599. Thereafter a number of high-ranking figures, notably Ishida Mitsunari, accused Tokugawa of disloyalty to the Toyotomi regime.


title: Sengoku period

text: This precipitated a crisis that led to the Battle of Sekigahara in 1600, during which Tokugawa and his allies, who controlled the east of the country, defeated the anti-Tokugawa forces, which had control of the west. Generally regarded as the last major conflict of the Sengoku period, Tokugawa's victory at Sekigahara effectively marked the end of the Toyotomi regime, the last remnants of which were finally destroyed in the siege of Osaka in 1615.


title: Sydney Opera House

text: The Sydney Opera House is a multi-venue performing arts centre in Sydney. Located on the foreshore of Sydney Harbour, it is widely regarded as one of the world's most famous and distinctive buildings and a masterpiece of 20th-century architecture.


title: Sydney Opera House

text: Designed by Danish architect Jørn Utzon, but completed by an Australian architectural team headed by Peter Hall, the building was formally opened by Queen Elizabeth II on 20 October 1973 after a gestation beginning with Utzon's 1957 selection as winner of an international design competition. The Government of New South Wales, led by the premier, Joseph Cahill, authorised work to begin in 1958 with Utzon directing construction. The government's decision to build Utzon's design is often overshadowed by circumstances that followed, including cost and scheduling overruns as well as the architect's ultimate resignation.


title: Sydney Opera House

text: The building and its surrounds occupy the whole of Bennelong Point on Sydney Harbour, between Sydney Cove and Farm Cove, adjacent to the Sydney central business district and the Royal Botanic Gardens, and near to the Sydney Harbour Bridge.


title: Sydney Opera House

text: The building comprises multiple performance venues, which together host well over 1,500 performances annually, attended by more than 1.2 million people. Performances are presented by numerous performing artists, including three resident companies: Opera Australia, the Sydney Theatre Company and the Sydney Symphony Orchestra. As one of the most popular visitor attractions in Australia, the site is visited by more than eight million people annually, and approximately 350,000 visitors take a guided tour of the building each year. The building is managed by the Sydney Opera House Trust, an agency of the New South Wales State Government.


title: Sydney Opera House

text: On 28 June 2007, the Sydney Opera House became a UNESCO World Heritage Site, having been listed on the (now defunct) Register of the National Estate since 1980, the National Trust of Australia register since 1983, the City of Sydney Heritage Inventory since 2000, the New South Wales State Heritage Register since 2003, and the Australian National Heritage List since 2005. The Opera House was also a finalist in the "New7Wonders of the World" campaign list.


title: Sydney Opera House

text: The facility features a modern expressionist design, with a series of large precast concrete "shells", each composed of sections of a sphere of radius, forming the roofs of the structure, set on a monumental podium. The building covers of land and is long and wide at its widest point. It is supported on 588 concrete piers sunk as much as below sea level. The highest roof point is 67 metres above sea-level which is the same height as that of a 22-storey building. The roof is made of 2,194 pre-cast concrete sections, which weigh up to 15 tonnes each.


title: Sydney Opera House

text: Although the roof structures are commonly referred to as "shells" (as in this article), they are precast concrete panels supported by precast concrete ribs, not shells in a strictly structural sense. Though the shells appear uniformly white from a distance, they actually feature a subtle chevron pattern composed of 1,056,006 tiles in two colours: glossy white and matte cream. The tiles were manufactured by the Swedish company Höganäs AB which generally produced stoneware tiles for the paper-mill industry.


title: Sydney Opera House

text: Apart from the tile of the shells and the glass curtain walls of the foyer spaces, the building's exterior is largely clad with aggregate panels composed of pink granite quarried at Tarana. Significant interior surface treatments also include off-form concrete, Australian white birch plywood supplied from Wauchope in northern New South Wales, and brush box glulam.


title: Sydney Opera House

text: Of the two larger spaces, the Concert Hall is in the western group of shells, the Joan Sutherland Theatre in the eastern group. The scale of the shells was chosen to reflect the internal height requirements, with low entrance spaces, rising over the seating areas up to the high stage towers. The smaller venues (the Drama Theatre, the Playhouse and the Studio) are within the podium, beneath the Concert Hall. A smaller group of shells set to the western side of the Monumental Steps houses the Bennelong Restaurant. The podium is surrounded by substantial open public spaces, and the large stone-paved forecourt area with the adjacent monumental steps is regularly used as a performance space.


title: Sydney Opera House

text: Other areas (for example the northern and western foyers) are also used for performances on an occasional basis. Venues are also used for conferences, ceremonies and social functions.


title: Sydney Opera House

text: The building also houses a recording studio, retail shops, cafes, restaurants, bars including the Opera Bar and Opera Kitchen. Guided tours are available, including a frequent tour of the front-of-house spaces, and a daily backstage tour that takes visitors backstage to see areas normally reserved for performers and crew members.


title: Sydney Opera House

text: Planning began in the late 1940s when Eugene Goossens, the Director of the New South Wales State Conservatorium of Music, lobbied for a suitable venue for large theatrical productions. The normal venue for such productions, the Sydney Town Hall, was not considered large enough. By 1954, Goossens succeeded in gaining the support of New South Wales Premier Joseph Cahill, who called for designs for a dedicated opera house. It was also Goossens who insisted that Bennelong Point be the site: Cahill had wanted it to be on or near Wynyard Railway Station in the northwest of the central business district.


title: Sydney Opera House

text: An international design competition was launched by Cahill on 13 September 1955 and received 233 entries, representing architects from 32 countries. The criteria specified a large hall seating 3,000 and a small hall for 1,200 people, each to be designed for different uses, including full-scale operas, orchestral and choral concerts, mass meetings, lectures, ballet performances, and other presentations.


title: Sydney Opera House

text: The winner, announced in 1957, was Danish architect Jørn Utzon. Utzon's design was rescued by Finnish-American architect Eero Saarinen from a final cut of 30 rejects. The runner-up was a Philadelphia-based team assembled by Robert Geddes and George Qualls, both teaching at the University of Pennsylvania School of Design. They brought together a band of Penn faculty and friends from Philadelphia architectural offices, including Melvin Brecher, Warren Cunningham, Joseph Marzella, Walter Wiseman, and Leon Loschetter. Geddes, Brecher, Qualls, and Cunningham went on to found the firm GBQC Architects. The grand prize was 5,000 Australian pounds. Utzon visited Sydney in 1957 to help supervise the project. His office moved to Palm Beach, Sydney in February 1963.


title: Sydney Opera House

text: Utzon received the Pritzker Architecture Prize, architecture's highest honour, in 2003. The Pritzker Prize citation read:


title: Sydney Opera House

text: The Fort Macquarie Tram Depot, occupying the site at the time of these plans, was demolished in 1958 and construction began in March 1959. It was built in four stages: stage I (1957–1959) was planning out the building; stage II (1959–1963) consisted of building the upper podium; stage III (1963–1967) the construction of the outer shells; stage IV (1967–1973) interior design and construction.


title: Sydney Opera House

text: Stage I commenced on 2 March 1959 with the construction firm Civil & Civic, monitored by the engineers Ove Arup and Partners. The government had pushed for work to begin early, fearing that funding, or public opinion, might turn against them. However, Utzon had still not completed the final designs. Major structural issues still remained unresolved. By 23 January 1961, work was running 47 weeks behind, mainly because of unexpected difficulties (inclement weather, unexpected difficulty diverting stormwater, construction beginning before proper construction drawings had been prepared, changes of original contract documents). Work on the podium was finally completed in February 1963. The forced early start led to significant later problems, not least of which was the fact that the podium columns were not strong enough to support the roof structure, and had to be re-built.


title: Sydney Opera House

text: The shells of the competition entry were originally of undefined geometry, but, early in the design process, the "shells" were perceived as a series of parabolas supported by precast concrete ribs. However, engineers Ove Arup and Partners were unable to find an acceptable solution to constructing them. The formwork for using "in-situ" concrete would have been prohibitively expensive, and, because there was no repetition in any of the roof forms, the construction of precast concrete for each individual section would possibly have been even more expensive.


title: Sydney Opera House

text: From 1957 to 1963, the design team went through at least 12 iterations of the form of the shells trying to find an economically acceptable form (including schemes with parabolas, circular ribs and ellipsoids) before a workable solution was completed. The design work on the shells involved one of the earliest uses of computers in structural analysis, to understand the complex forces to which the shells would be subjected. The computer system was also used in the assembly of the arches. The pins in the arches were surveyed at the end of each day, and the information was entered into the computer so the next arch could be properly placed the following day. In mid-1961, the design team found a solution to the problem: the shells all being created as sections from a sphere. This solution allows arches of varying length to be cast in a common mould, and a number of arch segments of common length to be placed adjacent to one another, to form a spherical section. With whom exactly this solution originated has been the subject of some controversy. It was originally credited to Utzon. Ove Arup's letter to Ashworth, a member of the Sydney Opera House Executive Committee, states: "Utzon came up with an idea of making all the shells of uniform curvature throughout in both directions." Peter Jones, the author of Ove Arup's biography, states that "the architect and his supporters alike claimed to recall the precise "eureka" moment ...; the engineers and some of their associates, with equal conviction, recall discussion in both central London and at Ove's house."


title: Sydney Opera House

text: He goes on to claim that "the existing evidence shows that Arup's canvassed several possibilities for the geometry of the shells, from parabolas to ellipsoids and spheres." Yuzo Mikami, a member of the design team, presents an opposite view in his book on the project, "Utzon's Sphere". It is unlikely that the truth will ever be categorically known, but there is a clear consensus that the design team worked very well indeed for the first part of the project and that Utzon, Arup, and Ronald Jenkins (partner of Ove Arup and Partners responsible for the Opera House project) all played a very significant part in the design development.


title: Sydney Opera House

text: The design of the roof was tested on scale models in wind tunnels at University of Southampton and later NPL in order to establish the wind-pressure distribution around the roof shape in very high winds, which helped in the design of the roof tiles and their fixtures.


title: Sydney Opera House

text: The immensely complex design and construction of the shells was completed by Hornibrook Group Pty Ltd, who were also responsible for construction in Stage III. Hornibrook manufactured the 2400 precast ribs and 4000 roof panels in an on-site factory and also developed the construction processes. The achievement of this solution avoided the need for expensive formwork construction by allowing the use of precast units and it also allowed the roof tiles to be prefabricated in sheets on the ground, instead of being stuck on individually at height.


title: Sydney Opera House

text: The tiles themselves were manufactured by the Swedish company Höganäs Keramik. It took three years of development to produce the effect Utzon wanted in what became known as the Sydney Tile, 120mm square. It is made from clay with a small percentage of crushed stone.


title: Sydney Opera House

text: Ove Arup and Partners' site engineer supervised the construction of the shells, which used an innovative adjustable steel-trussed "erection arch" (developed by Hornibrook's engineer Joe Bertony) to support the different roofs before completion. On 6 April 1962, it was estimated that the Opera House would be completed between August 1964 and March 1965.


title: Sydney Opera House

text: Stage III, the interiors, started with Utzon moving his entire office to Sydney in February 1963. However, there was a change of government in 1965, and the new Robert Askin government declared the project under the jurisdiction of the Ministry of Public Works. Due to the Ministry's criticism of the project's costs and time, along with their impression of Utzon's designs being impractical, this ultimately led to his resignation in 1966 (see below).


title: Sydney Opera House

text: The cost of the project so far, even in October 1966, was still only A$22.9 million, less than a quarter of the final $102 million cost. However, the projected costs for the design were at this stage much more significant.


title: Sydney Opera House

text: The second stage of construction was progressing toward completion when Utzon resigned. His position was principally taken over by Peter Hall, who became largely responsible for the interior design. Other persons appointed that same year to replace Utzon were E. H. Farmer as government architect, D. S. Littlemore and Lionel Todd.


title: Sydney Opera House

text: Following Utzon's resignation, the acoustic advisor, Lothar Cremer, confirmed to the Sydney Opera House Executive Committee (SOHEC) that Utzon's original acoustic design allowed for only 2,000 seats in the main hall and further stated that increasing the number of seats to 3,000 as specified in the brief would be disastrous for the acoustics. According to Peter Jones, the stage designer, Martin Carr, criticised the "shape, height and width of the stage, the physical facilities for artists, the location of the dressing rooms, the widths of doors and lifts, and the location of lighting switchboards."


title: Sydney Opera House

text: The Opera House was formally completed in 1973, having cost $102 million. H.R. "Sam" Hoare, the Hornibrook director in charge of the project, provided the following approximations in 1973:


title: Sydney Opera House

text: The original cost and scheduling estimates in 1957 projected a cost of £3,500,000 ($7 million) and completion date of 26 January 1963 (Australia Day). In reality, the project was completed ten years late and 1,357% over budget in real terms.


title: Sydney Opera House

text: In 1972, a construction worker was fired, leading the BLF affiliated workers to demand his rehiring and a 25% wage increase. In response to this, all the workers were fired, and in revenge the workers broke into the construction site with a crowbar and brought their own toolboxes. Workers' control was applied to the site for five weeks as the construction workers worked 35 hours a week with improved morale, more efficient organization and fewer people skipping work. The workers agreed to end their work-in when management agreed to give them a 25% wage increase, the right to elect their foremen, four weeks annual leave and a large payment for their troubles.


title: Sydney Opera House

text: Before the Sydney Opera House competition, Jørn Utzon had won seven of the 18 competitions he had entered but had never seen any of his designs built. Utzon's submitted concept for the Sydney Opera House was almost universally admired and considered groundbreaking. The Assessors Report of January 1957 stated:


title: Sydney Opera House

text: For the first stage, Utzon worked successfully with the rest of the design team and the client, but, as the project progressed, the Cahill government insisted on progressive revisions. They also did not fully appreciate the costs or work involved in design and construction. Tensions between the client and the design team grew further when an early start to construction was demanded despite an incomplete design. This resulted in a continuing series of delays and setbacks while various technical engineering issues were being refined. The building was unique, and the problems with the design issues and cost increases were exacerbated by commencement of work before the completion of the final plans.


title: Sydney Opera House

text: After the 1965 election of the Liberal Party, with Robert Askin becoming Premier of New South Wales, the relationship of client, architect, engineers and contractors became increasingly tense. Askin had been a "vocal critic of the project prior to gaining office." His new Minister for Public Works, Davis Hughes, was even less sympathetic. Elizabeth Farrelly, an Australian architecture critic, wrote that:


title: Sydney Opera House

text: Differences ensued. One of the first was that Utzon believed the clients should receive information on all aspects of the design and construction through his practice, while the clients wanted a system (notably drawn in sketch form by Davis Hughes) where architect, contractors, and engineers each reported to the client directly and separately. This had great implications for procurement methods and cost control, with Utzon wishing to negotiate contracts with chosen suppliers (such as Ralph Symonds for the plywood interiors) and the New South Wales government insisting contracts be put out to tender.


title: Sydney Opera House

text: Utzon was highly reluctant to respond to questions or criticism from the client's Sydney Opera House Executive Committee (SOHEC). However, he was greatly supported throughout by a member of the committee and one of the original competition judges, Harry Ingham Ashworth. Utzon was unwilling to compromise on some aspects of his designs that the clients wanted to change.


title: Sydney Opera House

text: Utzon's ability was never in doubt, despite questions raised by Davis Hughes, who attempted to portray Utzon as an impractical dreamer. Ove Arup actually stated that Utzon was "probably the best of any I have come across in my long experience of working with architects" and: "The Opera House could become the world's foremost contemporary masterpiece if Utzon is given his head."


title: Sydney Opera House

text: In October 1965, Utzon gave Hughes a schedule setting out the completion dates of parts of his work for stage III. Utzon was at this time working closely with Ralph Symonds, a manufacturer of plywood based in Sydney and highly regarded by many, despite an Arup engineer warning that Ralph Symonds's "knowledge of the design stresses of plywood was extremely sketchy" and that the technical advice was "elementary to say the least and completely useless for our purposes." Australian architecture critic Elizabeth Farrelly has referred to Ove Arup's project engineer Michael Lewis as having "other agendas". In any case, Hughes shortly after withheld permission for the construction of plywood prototypes for the interiors, and the relationship between Utzon and the client never recovered. By February 1966, Utzon was owed more than $100,000 in fees. Hughes then withheld funding so that Utzon could not even pay his own staff. The government minutes record that following several threats of resignation, Utzon finally stated to Davis Hughes: "If you don't do it, I resign." Hughes replied: "I accept your resignation. Thank you very much. Goodbye."


title: Sydney Opera House

text: Utzon left the project on 28 February 1966. He said that Hughes's refusal to pay him any fees and the lack of collaboration caused his resignation and later described the situation as "Malice in Blunderland". In March 1966, Hughes offered him a subordinate role as "design architect" under a panel of executive architects, without any supervisory powers over the House's construction, but Utzon rejected this. Utzon left the country never to return.


title: Sydney Opera House

text: Following the resignation, there was great controversy about who was in the right and who was in the wrong. "The Sydney Morning Herald" initially opined: "No architect in the world has enjoyed greater freedom than Mr Utzon. Few clients have been more patient or more generous than the people and the Government of NSW. One would not like history to record that this partnership was brought to an end by a fit of temper on the one side or by a fit of meanness on the other." On 17 March 1966, the "Herald" offered the view that: "It was not his [Utzon's] fault that a succession of Governments and the Opera House Trust should so signally have failed to impose any control or order on the project ... his concept was so daring that he himself could solve its problems only step by step ... his insistence on perfection led him to alter his design as he went along."


title: Sydney Opera House

text: The Sydney Opera House opened the way for the immensely complex geometries of some modern architecture. The design was one of the first examples of the use of computer-aided design to design complex shapes. The design techniques developed by Utzon and Arup for the Sydney Opera House have been further developed and are now used for architecture, such as works of Gehry and blobitecture, as well as most reinforced concrete structures. The design is also one of the first in the world to use araldite to glue the precast structural elements together and proved the concept for future use.


title: Sydney Opera House

text: It was also a first in mechanical engineering. Another Danish firm, Steensen Varming, was responsible for designing the new air-conditioning plant, the largest in Australia at the time, supplying over of air per minute, using the innovative idea of harnessing the harbour water to create a water-cooled heat pump system that is still in operation today.


title: Sydney Opera House

text: The Sydney Opera House was formally opened by Queen Elizabeth II, on 20 October 1973. A large crowd attended. Utzon was not invited to the ceremony, nor was his name mentioned. The opening was televised and included fireworks and a performance of Beethoven's Symphony No. 9.


title: Sydney Opera House

text: In the late 1990s, the Sydney Opera House Trust resumed communication with Utzon in an attempt to effect a reconciliation and to secure his involvement in future changes to the building. In 1999, he was appointed by the trust as a design consultant for future work.


title: Sydney Opera House

text: In 2004, the first interior space rebuilt to an Utzon design was opened and renamed "The Utzon Room" in his honour. It contains an original Utzon tapestry (14.00 x 3.70 metres) called "Homage to Carl Philipp Emanuel Bach". In April 2007, he proposed a major reconstruction of the Opera Theatre, as it was then known. Utzon died on 29 November 2008.


title: Sydney Opera House

text: A state memorial service, attended by Utzon's son Jan and daughter Lin, was held in the Concert Hall on 25 March 2009 featuring performances, readings and recollections from prominent figures in the Australian performing arts scene.


title: Sydney Opera House

text: Refurbished Western Foyer and accessibility improvements were commissioned on 17 November 2009, the largest building project completed since Utzon was re-engaged in 1999. Designed by Utzon and his son Jan, the project provided improved ticketing, toilet and cloaking facilities. New escalators and a public lift enabled enhanced access for the disabled and families with prams. The prominent paralympian athlete Louise Sauvage was announced as the building's "accessibility ambassador" to advise on further improvements to aid people with disabilities.


title: Sydney Opera House

text: In 2013, a 60 metre long artwork by artist Reg Mombassa was unveiled at the Sydney Opera House. The Gumscape, Road and Creatures triptych was commissioned by the Sydney Opera House to cover the scaffolding concealing refurbishment building work.


title: Sydney Opera House

text: On 29 March 2016, an original 1959 tapestry by Le Corbusier (2.18 x 3.55 metres), commissioned by Utzon to be hung in the Sydney Opera House and called "Les Dés Sont Jetés" (The Dice Are Cast), was finally unveiled "in situ" after being owned by the Utzon family and held at their home in Denmark for over 50 years. The tapestry was bought at auction by the Sydney Opera House in June 2015. It now hangs in the building's Western Foyer and is accessible to the public.


title: Sydney Opera House

text: In the second half of 2017, the Joan Sutherland Theatre was closed to replace the stage machinery and for other works.


title: Sydney Opera House

text: After the resignation of Utzon, the Minister for Public Works, Davis Hughes, and the Government Architect, Ted Farmer, organised a team to bring the Sydney Opera House to completion. The architectural work was divided between three appointees who became the Hall, Todd, Littlemore partnership. David Littlemore would manage construction supervision, Lionel Todd contract documentation, while the crucial role of design became the responsibility of Peter Hall.


title: Sydney Opera House

text: Peter Hall (1931–1995) completed a combined arts and architecture degree at Sydney University. Upon graduation a travel scholarship enabled him to spend twelve months in Europe during which time he visited Utzon in Hellebæk. Returning to Sydney, Hall worked for the Government Architect, a branch of the NSW Public Works Department. While there he established himself as a talented design architect with a number of court and university buildings, including the Goldstein Hall at the University of New South Wales, which won the Sir John Sulman Medal in 1964.


title: Sydney Opera House

text: Hall resigned from the Government Architects office in early 1966 to pursue his own practice. When approached to take on the design role, (after at least two prominent Sydney architects had declined), Hall spoke with Utzon by phone before accepting the position. Utzon reportedly told Hall: he (Hall) would not be able to finish the job and the Government would have to invite him back. Hall also sought the advice of others, including architect Don Gazzard who warned him acceptance would be a bad career move as the project would "never be his own".


title: Sydney Opera House

text: Hall agreed to accept the role on the condition there was no possibility of Utzon returning. Even so, his appointment did not go down well with many of his fellow architects who considered that no one but Utzon should complete the Sydney Opera House. Upon Utzon's dismissal, a rally of protest had marched to Bennelong Point. A petition was also circulated, including in the Government Architects office. Peter Hall was one of the many who had signed the petition that called for Utzon's reinstatement.


title: Sydney Opera House

text: When Hall agreed to the design role and was appointed in April 1966, he imagined he would find the design and documentation for the Stage III well advanced. What he found was an enormous amount of work ahead of him with many aspects completely unresolved by Utzon in relation to seating capacity, acoustics and structure. In addition Hall found the project had proceeded for nine years without the development of a concise client brief. To bring himself up to speed, Hall investigated concert and opera venues overseas and engaged stage consultant Ben Schlange and acoustic consultant Wilhelm Jordan, while establishing his team. In consultation with all the potential building users, the first Review of Program was completed in January 1967. The most significant conclusion reached by Hall was that concert and opera were incompatible in the same hall. Although Utzon had sketched ideas using plywood for the great enclosing glass walls, their structural viability was unresolved when Hall took on the design role. With the ability to delegate tasks and effectively coordinate the work of consultants, Hall guided the project for over five years until the opening day in 1973.


title: Sydney Opera House

text: A former Government Architect, Peter Webber, in his book "Peter Hall: the Phantom of the Opera House", concludes: when Utzon resigned no one was better qualified (than Hall) to rise to the challenge of completing the design of the Opera House.


title: Sydney Opera House

text: During the construction phase, lunchtime performances were often arranged for the workers, with American vocalist Paul Robeson the first artist to perform, in 1960.


title: Sydney Opera House

text: In 1993, Constantine Koukias was commissioned by the Sydney Opera House Trust in association with REM Theatre to compose "Icon", a large-scale music theatre piece for the 20th anniversary of the Sydney Opera House.


title: Sydney Opera House

text: During the 2000 Summer Olympics, the venue served as the focal point for the triathlon events. The event had a swimming loop at Farm Cove, along with competitions in the neighbouring Royal Botanical Gardens for the cycling and running portions of the event.


title: Sydney Opera House

text: Since 2013, a group of residents from the nearby Bennelong Apartments (better known as 'The Toaster'), calling themselves the Sydney Opera House Concerned Citizens Group, have been campaigning against Forecourt Concerts on the grounds that they exceed noise levels outlined in the development approval (DA). In February 2017 the NSW Department of Planning and the Environment handed down a $15,000 fine to the Sydney Opera House for breach of allowed noise levels at a concert held in November 2015. However, the DA was amended in 2016 to allow an increase in noise levels in the forecourt by 5 decibels. The residents opposing the concerts contend that a new DA should have been filed rather than an amendment.


title: Sydney Opera House

text: The Sydney Opera House sails formed a graphic projection-screen in a lightshow mounted in connection with the International Fleet Review in Sydney Harbour on 5 October 2013.


title: Sydney Opera House

text: On 31 December 2013, the venue's 40th anniversary year, a New Year fireworks display was mounted for the first time in a decade. The Sydney Opera House hosted an event, 'the biggest blind date' on Friday 21 February 2014 that won an historic Guinness World Record. The longest continuous serving employee was commemorated on 27 June 2018, for 50 years of service.


title: Sydney Opera House

text: On 14 June 2019, a state memorial service for former Australian Prime Minister Bob Hawke was held at the Sydney Opera House.


title: Sydney Opera House

text: On 5 October 2018 the Opera House chief executive Louise Herron clashed with Sydney radio commentator Alan Jones, who called for her sacking for refusing to allow Racing NSW to use the Opera House sails to advertise The Everest horse race. Within hours, NSW Premier Gladys Berejiklian overruled Herron. Two days later, Prime Minister Scott Morrison supported the decision, calling the Opera House "the biggest billboard Sydney has". The NSW Labor Party leader, Luke Foley, and senior federal Labor frontbencher Anthony Albanese had supported the proposal. The political view was not supported by significant public opinion, with a petition against the advertising collecting over 298,000 names by 9 October 2018. 235,000 printed petition documents were presented to the NSW Parliament in the morning. A survey conducted on 8 October by market research firm Micromex found that 81% of those surveyed were not supportive of the premier's direction.


title: Sydney Opera House

text: The Opera House (often along with the nearby Sydney Harbour Bridge), is frequently used in establishing shots for films and television to identify the setting as Sydney and/or Australia.


title: Sydney Opera House

text: This Wikipedia article contains material from "Sydney Opera House", listed on the "New South Wales State Heritage Register" published by the Government of New South Wales under CC-BY 3.0 AU licence (accessed on 3 September 2017).


title: The Byrds

text: The Byrds () were an American rock band formed in Los Angeles, California, in 1964. The band underwent multiple lineup changes throughout its existence, with frontman Roger McGuinn (known as Jim McGuinn until mid-1967) remaining the sole consistent member. Although their time as one of the most popular groups in the world only lasted for a short period in the mid-1960s, the Byrds are today considered by critics to be among the most influential rock acts of their era. Their signature blend of clear harmony singing and McGuinn's jangly 12-string Rickenbacker guitar was "absorbed into the vocabulary of rock" and has continued to be influential.


title: The Byrds

text: Initially, the Byrds pioneered the musical genre of folk rock as a popular format in 1965, by melding the influence of the Beatles and other British Invasion bands with contemporary and traditional folk music on their first and second albums, and the hit singles "Mr. Tambourine Man" and "Turn! Turn! Turn!". As the 1960s progressed, the band was influential in originating psychedelic rock and raga rock, with their song "Eight Miles High" and the albums "Fifth Dimension" (1966), "Younger Than Yesterday" (1967), and "The Notorious Byrd Brothers" (1968). The band also played a pioneering role in the development of country rock, with the 1968 album "Sweetheart of the Rodeo" representing their fullest immersion into the genre.


title: The Byrds

text: The original five-piece lineup of the band consisted of McGuinn (lead guitar, vocals), Gene Clark (tambourine, vocals), David Crosby (rhythm guitar, vocals), Chris Hillman (bass guitar, vocals), and Michael Clarke (drums). This version of the band was relatively short-lived and by early 1966 Clark had left due to problems associated with anxiety and his increasing isolation within the group. The Byrds continued as a quartet until late 1967, when Crosby and Clarke also departed. McGuinn and Hillman decided to recruit new members, including country rock pioneer Gram Parsons, but by late 1968, Hillman and Parsons had also exited the band. McGuinn elected to rebuild the band's membership; between 1968 and 1973, he helmed a new incarnation of the Byrds that featured guitarist Clarence White, among others. McGuinn disbanded the then-current lineup in early 1973 to make way for a reunion of the original quintet. The Byrds' final album was released in March 1973, with the reunited group disbanding later that year.


title: The Byrds

text: Several former members of the Byrds went on to successful careers of their own, either as solo artists or as members of such groups as Crosby, Stills, Nash & Young, the Flying Burrito Brothers, McGuinn, Clark & Hillman, and the Desert Rose Band. In 1991, the Byrds were inducted into the Rock and Roll Hall of Fame, an occasion that saw the five original members performing together for the last time. Gene Clark died of a heart attack later that year, while Michael Clarke died of liver failure in 1993. McGuinn, Crosby, and Hillman remain active.


title: The Byrds

text: The nucleus of the Byrds formed in early 1964, when Jim McGuinn, Gene Clark, and David Crosby came together as a trio. All three musicians had a background rooted in folk music, with each one having worked as a folk singer on the acoustic coffeehouse circuit during the early 1960s. In addition, they had all served time, independently of each other, as sidemen in various "collegiate folk" groups: McGuinn with the Limeliters and the Chad Mitchell Trio, Clark with the New Christy Minstrels, and Crosby with Les Baxter's Balladeers. McGuinn had also spent time as a professional songwriter at the Brill Building in New York City, under the tutelage of Bobby Darin. By early 1964, McGuinn had become enamored with the music of the Beatles, and had begun to intersperse his solo folk repertoire with acoustic versions of Beatles' songs. While performing at the Troubadour folk club in Los Angeles, McGuinn was approached by fellow Beatles fan Gene Clark, and the pair soon formed a Peter and Gordon-style duo, playing Beatles' covers, Beatlesque renditions of traditional folk songs, and some self-penned material. Soon after, David Crosby introduced himself to the duo at The Troubadour and began harmonizing with them on some of their songs. Impressed by the blend of their voices, the three musicians formed a trio and named themselves the Jet Set, a moniker inspired by McGuinn's love of aeronautics.


title: The Byrds

text: Crosby introduced McGuinn and Clark to his associate Jim Dickson, who had access to World Pacific Studios, where he had been recording demos of Crosby. Sensing the trio's potential, Dickson quickly took on management duties for the group, while his business partner, Eddie Tickner, became the group's accountant and financial manager. Dickson began utilizing World Pacific Studios to record the trio as they honed their craft and perfected their blend of Beatles pop and Bob Dylan-style folk. It was during the rehearsals at World Pacific that the band's folk rock sound—an amalgam of their own Beatles-influenced material, their folk music roots and their Beatlesque covers of contemporary folk songs—began to coalesce. Initially, this blend arose organically, but as rehearsals continued, the band began to actively attempt to bridge the gap between folk music and rock. Demo recordings made by the Jet Set at World Pacific Studios would later be collected on the compilation albums "Preflyte", "In the Beginning", "The Preflyte Sessions," and "Preflyte Plus".


title: The Byrds

text: Drummer Michael Clarke was added to the Jet Set in mid-1964. Clarke was recruited largely due to his good looks and Brian Jones-esque hairstyle, rather than for his musical experience, which was limited to having played congas in a semi-professional capacity in and around San Francisco and L.A. Clarke did not even own his own drum kit and initially had to play on a makeshift setup consisting of cardboard boxes and a tambourine. As the band continued to rehearse, Dickson arranged a one-off single deal for the group with Elektra Records' founder Jac Holzman. The single, which coupled the band originals "Please Let Me Love You" and "Don't Be Long", featured McGuinn, Clark, and Crosby, augmented by session musicians Ray Pohlman on bass and Earl Palmer on drums. In an attempt to cash in on the British Invasion craze that was dominating the American charts at the time, the band's name was changed for the single release to the suitably British-sounding the Beefeaters. "Please Let Me Love You" was issued by Elektra Records on October 7, 1964, but it failed to chart.


title: The Byrds

text: In August 1964, Dickson managed to acquire an acetate disc of the then-unreleased Bob Dylan song "Mr. Tambourine Man", which he felt would make an effective cover for the Jet Set. Although the band was initially unimpressed with the song, they began rehearsing it with a rock band arrangement, changing the time signature from to a rockier configuration in the process. In an attempt to bolster the group's confidence in the song, Dickson invited Dylan himself to World Pacific to hear the band perform "Mr. Tambourine Man". Impressed by the group's rendition, Dylan enthusiastically commented, "Wow, man! You can dance to that!" His ringing endorsement erased any lingering doubts that the band had over the song's suitability.


title: The Byrds

text: Soon after, inspired by the Beatles' film "A Hard Day's Night", the band decided to equip themselves with similar instruments to the Fab Four: a Rickenbacker twelve-string guitar for McGuinn, a Ludwig drum kit for Clarke, and a Gretsch Tennessean guitar for Clark (although Crosby commandeered it soon after, resulting in Clark switching to tambourine). In October 1964, Dickson recruited mandolin player Chris Hillman as the Jet Set's bassist. Hillman's background was more oriented towards country music than folk or rock, having been a member of the bluegrass groups the Scottsville Squirrel Barkers, the Hillmen (also known as the Golden State Boys), and, concurrently with his recruitment into the Jet Set, the Green Grass Group.


title: The Byrds

text: Through connections that Dickson had with impresario Benny Shapiro, and with a helpful recommendation from jazz trumpeter Miles Davis, the group signed a recording contract with Columbia Records on November 10, 1964. Two weeks later, during a Thanksgiving dinner at Tickner's house, the Jet Set decided to rename themselves as "The Byrds", a moniker that retained the theme of flight and also echoed the deliberate misspelling of the Beatles.


title: The Byrds

text: On January 20, 1965, the Byrds entered Columbia Studios in Hollywood to record "Mr. Tambourine Man" for release as their debut single on Columbia. Since the band had not yet completely gelled musically, McGuinn was the only Byrd to play on "Mr. Tambourine Man" and its Clark-penned B-side, "I Knew I'd Want You". Rather than using band members, producer Terry Melcher hired a collection of top session musicians, retroactively known as the Wrecking Crew, including Hal Blaine (drums), Larry Knechtel (bass), Jerry Cole (guitar), and Leon Russell (electric piano), who (along with McGuinn on guitar) provided the instrumental backing track over which McGuinn, Crosby and Clark sang. By the time the sessions for their debut album began in March 1965, Melcher was satisfied that the band was competent enough to record its own musical backing. However, the use of outside musicians on the Byrds' debut single has given rise to the persistent misconception that all of the playing on their debut album was done by session musicians.


title: The Byrds

text: While the band waited for "Mr. Tambourine Man" to be released, they began a residency at Ciro's Le Disc nightclub on the Sunset Strip in Hollywood. The band's regular appearances at Ciro's during March and April 1965 allowed them to hone their ensemble playing, perfect their aloof stage persona, and expand their repertoire. In addition, it was during their residency at the nightclub that the band first began to accrue a dedicated following among L.A.'s youth culture and hip Hollywood fraternity, with scenesters like Kim Fowley, Peter Fonda, Jack Nicholson, Arthur Lee, and Sonny & Cher regularly attending the band's performances. On March 26, 1965, the author of the band's forthcoming debut single, Bob Dylan, made an impromptu visit to the club and joined the Byrds on stage for a rendition of Jimmy Reed's "Baby What You Want Me to Do". The excitement generated by the Byrds at Ciro's quickly made them a must-see fixture on L.A.'s nightclub scene and resulted in hordes of teenagers filling the sidewalks outside the club, desperate to see the band perform. A number of noted music historians and authors, including Richie Unterberger, Ric Menck, and Peter Buckley, have suggested that the crowds of young Bohemians and hipsters that gathered at Ciro's to see the Byrds perform represented the first stirrings of the West Coast hippie counterculture.


title: The Byrds

text: Columbia Records eventually released the "Mr. Tambourine Man" single on April 12, 1965. The full, electric rock band treatment that the Byrds and producer Terry Melcher had given the song effectively created the template for the musical subgenre of folk rock. McGuinn's melodic, jangling 12-string Rickenbacker guitar playing—which was heavily compressed to produce an extremely bright and sustained tone—was immediately influential and has remained so to the present day. The single also featured another major characteristic of the band's sound: their clear harmony singing, which usually featured McGuinn and Clark in unison, with Crosby providing the high harmony. Additionally, Richie Unterberger has stated that the song's abstract lyrics took rock and pop songwriting to new heights; never before had such intellectual and literary wordplay been combined with rock instrumentation by a popular music group.


title: The Byrds

text: Within three months "Mr. Tambourine Man" had become the first folk rock smash hit, reaching number one on both the U.S. "Billboard" Hot 100 chart and the UK Singles Chart. The single's success initiated the folk rock boom of 1965 and 1966, during which a number of Byrds-influenced acts had hits on the American and British charts. The term "folk rock" was itself coined by the American music press to describe the band's sound in June 1965, at roughly the same time as "Mr. Tambourine Man" peaked at number 1 in the U.S.


title: The Byrds

text: The "Mr. Tambourine Man" album followed on June 21, 1965, peaking at number six on the "Billboard" Top LPs chart and number seven on the UK Albums Chart. The album mixed reworkings of folk songs, including Pete Seeger's musical adaptation of the Idris Davies' poem "The Bells of Rhymney", with a number of other Dylan covers and the band's own compositions, the majority of which were written by Clark. In particular, Clark's "I'll Feel a Whole Lot Better" has gone on to become a rock music standard, with many critics considering it one of the band's and Clark's best songs. Upon release, the "Mr. Tambourine Man" album, like the single of the same name, was influential in popularizing folk rock and served to establish the band as an internationally successful rock act, representing the first effective American challenge to the dominance of the Beatles and the British Invasion.


title: The Byrds

text: The Byrds' next single was "All I Really Want to Do", another interpretation of a Dylan song. Despite the success of "Mr. Tambourine Man", the Byrds were reluctant to release another Dylan-penned single, feeling that it was too formulaic, but Columbia Records were insistent, believing that another Dylan cover would result in an instant hit for the group. The Byrds' rendition of "All I Really Want to Do" is noticeably different in structure to Dylan's original: it features an ascending melody progression in the chorus and utilizes a completely new melody for one of the song's verses, to turn it into a Beatlesque, minor-key bridge. Issued on June 14, 1965, while "Mr. Tambourine Man" was still climbing the U.S. charts, the single was rush-released by Columbia in an attempt to bury a rival cover version that Cher had released simultaneously on Imperial Records. A chart battle ensued, but the Byrds' rendition stalled at number 40 on the "Billboard" Hot 100, while Cher's version reached number 15. The reverse was true in the UK, however, where the Byrds' version reached number four, while Cher's peaked at number nine.


title: The Byrds

text: Author John Einarson has written that during this period of their career, the Byrds enjoyed tremendous popularity among teenage pop fans, with their music receiving widespread airplay on Top 40 radio and their faces adorning countless teen magazines. Much was made at the time of the Byrds' unconventional dress sense, with their casual attire strikingly at odds with the prevailing trend for uniformity among contemporary beat groups. With all five members sporting Beatlesque moptop haircuts, Crosby dressed in a striking green suede cape, and McGuinn wearing a pair of distinctive rectangular "granny glasses", the band exuded California cool, while also looking suitably non-conformist. In particular, McGuinn's distinctive rectangular spectacles would go on to become popular among members of the burgeoning hippie counterculture in the United States.


title: The Byrds

text: Although McGuinn was widely regarded as the Byrds' bandleader by this point, the band actually had multiple frontmen, with McGuinn, Clark, and later Crosby and Hillman all taking turns to sing lead vocals in roughly equal measures across the group's repertoire. Despite the dizzying array of personnel changes that the group underwent in later years, this lack of a dedicated lead singer would remain a stylistic trait of the Byrds' music throughout the majority of the band's existence. A further distinctive aspect of the Byrds' image was their unsmiling air of detachment, both on stage and in front of the camera. This natural aloofness was compounded by the large amounts of marijuana that the band smoked and often resulted in moody and erratic live performances. Indeed, the contemporary music press was extremely critical of the Byrds' abilities as a live act during the mid-1960s, with the reaction from the British media during the band's August 1965 tour of England being particularly scathing.


title: The Byrds

text: This 1965 English tour was largely orchestrated by the group's publicist Derek Taylor, in an attempt to capitalize on the number 1 chart success of the "Mr. Tambourine Man" single. Unfortunately, the tour was overhyped from the start, with the band being touted as "America's answer to the Beatles", a label that proved impossible for the Byrds to live up to. During concert performances, a combination of poor sound, group illness, ragged musicianship, and the band's notoriously lackluster stage presence, all combined to alienate audiences and served to provoke a merciless castigating of the band in the British press.


title: The Byrds

text: However, the tour did enable the band to meet and socialize with a number of top English groups, including the Rolling Stones and the Beatles. In particular, the band's relationship with the Beatles would prove important for both acts, with the two groups again meeting in Los Angeles some weeks later, upon the Byrds' return to America. During this period of fraternization, the Beatles were vocal in their support of the Byrds, publicly acknowledging them as creative competitors and naming them as their favorite American group. A number of authors, including Ian MacDonald, Richie Unterberger, and Bud Scoppa, have commented on the Byrds influence on the Beatles' late 1965 album "Rubber Soul", most notably on the songs "Nowhere Man" and "If I Needed Someone", the latter of which utilizes a guitar riff similar to that in the Byrds' cover of "The Bells of Rhymney".


title: The Byrds

text: For their third Columbia single, the Byrds initially intended to release a cover of Dylan's "It's All Over Now, Baby Blue" (it was even premiered on the California radio station KRLA), but instead they decided to record "Turn! Turn! Turn! (to Everything There Is a Season)", a Pete Seeger composition with lyrics adapted almost entirely from the biblical Book of Ecclesiastes. The song was brought to the group by McGuinn, who had previously arranged it in a chamber-folk style while working on folksinger Judy Collins' 1963 album, "Judy Collins 3". The Byrds' cover of "Turn! Turn! Turn! (to Everything There Is a Season)" was issued on October 1, 1965 and became the band's second U.S. number 1 single, as well as the title track for their second album. The single represented the high-water mark of folk rock as a chart trend and has been described by music historian Richie Unterberger as "folk rock's highest possible grace note". In addition, music critic William Ruhlmann has written that the song's lyrical message of peace and tolerance struck a nerve with the American record buying public as the Vietnam War continued to escalate.