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Dennis Wilson

Dennis Carl Wilson (December 4, 1944 – December 28, 1983) was an American musician who co-founded the Beach Boys. He is best remembered as their drummer and as the middle brother of bandmates Brian and Carl Wilson. Dennis was the only true surfer in the Beach Boys, and his personal life exemplified the "California Myth" that the band's early songs often celebrated. He was also known for his association with the Manson Family and for co-starring in the 1971 film Two-Lane Blacktop.

Wilson served mainly on drums and baritone backing vocals for the Beach Boys. His playing can be heard on many of the group's hits, belying the popular misconception that he was always replaced on record by studio musicians. He originally had few lead vocals on the band's songs due to his limited baritone range, but his prominence as a singer-songwriter increased following their 1968 album Friends. His music is characterized for reflecting his "edginess" and "little of his happy charm." His original songs for the group included "Little Bird" (1968), "Forever" (1970) and "Cuddle Up" (1972). Friends and biographers have asserted that he was an uncredited writer on "You Are So Beautiful", a 1974 hit for Joe Cocker frequently performed by Wilson in concert.

During his final years, Wilson struggled with alcoholism and the use of other drugs (including cocaine and heroin), exacerbating longstanding tensions with some of his bandmates. His solo album, Pacific Ocean Blue (1977), was released to warm reviews and moderate sales comparable to those of contemporaneous Beach Boys albums. Sessions for a follow-up, Bambu, disintegrated before his death from drowning in 1983 at age 39. In 1988, he was posthumously inducted into the Rock and Roll Hall of Fame as a member of the Beach Boys.

Childhood

Dennis Carl Wilson was born on December 4, 1944, the second child of Audree Neva (née Korthof) and Murry Gage Wilson. He spent his family years with his brothers Brian and Carl and their parents in Hawthorne, California. Dennis's role in the family dynamic, which he himself acknowledged, was that of the black sheep. According to neighborhood friend David Marks, Dennis's "raucous behavior" inspired other kids to nickname him "Dennis the Menace". Out of the three Wilson brothers, Dennis was the most likely to get beaten by their father and suffer the worst treatment. In 1976, he acknowledged, "We had a shitty childhood ... my dad was a tyrant. He used to wail on us, physically beat the crap out of us. I don't know kids who got it like we did."

Possessed with an abundance of physical energy and a combative nature, Dennis often refused to participate in family singalongs, and likewise avoided vocalizing on the early recordings that Brian made on a portable tape recorder. Dennis later described Brian as a "freak" who would "stay in his room all day listening to records rather than playing baseball. If you could get me to sing a song, yeah, I'd get into it. But I'd much rather play doctor with the girl next door or muck around with cars." However, Dennis would sing with his brothers late at night in their shared bedroom, a song Brian later recalled as "our special one we'd sing", titled "Come Down, Come Down from the Ivory Tower". Brian said of the late night brotherly three-part harmonies, "We developed a little blend which aided us when we started to get into the Beach Boys stuff."

Dennis noted of himself, "If my dad hadn't given me a BB gun when I was nine years old, my life would have been completely different. With that gun I had something I could take my anger out on. Hunting, fishing, racing have been my preoccupations ever since." Brian told Melody Maker in 1966, "Dennis had to keep moving all the time. If you wanted him to sit still for one second, he's yelling and screaming and ranting and raving. He's the most messed-up person I know." Around the time he was 14, Dennis began playing piano and learned to play boogie-woogie styles. He remembered attending church gatherings with the rest of his family "because there was this outasight chick there ... [and] I used to try and play boogie woogie on the church piano on Friday nights when all the kids went there to play volleyball."

Formation of the Beach Boys

The Wilsons' mother, Audree, forced Brian to include Dennis in the original lineup of the Beach Boys. In 1960, Dennis began taking drum lessons at Hawthorne High School. Teacher Fred Morgan later said that Dennis had been "a beater, not a drummer" and "a fast learner when he wanted to learn." According to Brian, "We kind of developed into a group sort of through the wishes of Dennis. He said that ... the kids at school knew I was musical because I had done some singing for assemblies and so on." Recalling their first group rehearsals, Dennis said that he was initially "going to play bass, and then I decided to play drums. ... Drums seemed to be more exciting. I could always play bass if I wanted to." Brian would ultimately play bass.

The Beach Boys officially formed in late 1961, with Murry taking over as manager, and had a local hit with their debut record "Surfin'", a song that Brian wrote at Dennis's urging. Dennis recalled, "We got so excited ... I ran down the street screaming, 'Listen, we're on the radio!' It was really funky. That started it, the minute you're on the radio." Though the Beach Boys developed their image based on the California surfing culture, Dennis was the only actual surfer in the band. Carl supported, "Dennis was the only one who could really surf. We all tried, even Brian, but we were terrible. We just wanted to have a good time and play music."

In early 1963, Dennis teamed with Brian's collaborator Gary Usher. Calling themselves the Four Speeds, they released the single "RPM" backed with "My Stingray". In March 1964, Dennis moved out of the Wilson family home and took residence at an address in Hollywood. In the sleeve notes of the band's July 1964 album All Summer Long, Dennis wrote, "They say I live a fast life. Maybe I just like a fast life. I wouldn't give it up for anything in the world. It won't last forever, either. But the memories will." In December, Murry told a reporter that Dennis had been "a little too generous" with money and "cried when he learned about how much he had wasted. ... Where the other boys invested or saved their money, Dennis spent $94,000. He spent $25,000 on a home but the rest just went. Dennis [is] like that: he picks up the tab wherever he goes."

In January 1965, Brian declared to his bandmates that he would no longer tour with the group for the foreseeable future. He later said that Dennis was so devastated by the news that his immediate reaction was to pick up "a big ashtray and told some people to get out of there or he'd hit them on the head with it. He kind of blew it." Photographer Ed Roach, a close friend of Dennis's, stated that Brian was deterred from the stage due to jealousy over the adulation Dennis received from the audience. Brian remembered that the attention Dennis received was "hard to handle". The girls would be going 'Dennis, Dennis' and run right past us to get to him." Dennis later said of his brother, "Brian Wilson is the Beach Boys. He is the band. We're his fucking messengers. He is all of it. Period. We're nothing. He's everything."

Increased record presence
Brian wrote that he had felt that Dennis "never really had a chance to sing very much", and so he gave him more leads on their March 1965 album The Beach Boys Today!. Dennis sang "Do You Wanna Dance?" and "In the Back of My Mind". The former became the first song with a Dennis lead that was issued as an A-sided single, peaking at No. 12 on the Billboard Hot 100. Journalist Peter Doggett later said that Dennis' performance on the latter song "showed for the first time an awareness that his voice could be a blunt emotional instrument. ... his erratic croon cut straight to the heart, with an urgency that his more precise brothers could never have matched." Released in July, Summer Days (And Summer Nights!!) contained Dennis's favorite song by Brian, "Let Him Run Wild".

By 1966, Dennis had begun using LSD. His drumming contributions on Pet Sounds (1966) were limited to the track "That's Not Me". Carl said, "Brian liked to use [session drummer] Hal [Blaine] because he was so much more reliable than Dennis, but whenever Dennis got the chance to play he always did a great job. He played drums on more of our records than most people realize. I think because he didn't play on Pet Sounds everybody assumes he never played at all, and that's just not the case."

During the Smile sessions, Dennis played on "Vega-Tables", "Holidays", and "Good Vibrations". It is rumored that the album's working title, Dumb Angel, referred to Dennis himself. Van Dyke Parks, the project's lyricist, credited Wilson with inspiring the name of the would-be album track "Surf's Up". Dennis said that the group ultimately scrapped Smile because they became "very paranoid about the possibility of losing our public. ... Drugs played a great role in our evolution but as a result we were frightened that people would no longer understand us, musically."

In the latter part of the 1960s, Dennis started writing songs for the Beach Boys. Dennis's collaborator Gregg Jakobson commented, "He started taking his piano playing more seriously. He'd ask Brian to show him stuff until he got a pretty good grasp of chords." In January 1967, Dennis recorded the original composition "I Don't Know", but it was left unreleased. Music historian Keith Badman states that whether the piece was intended for Smile is not definitively known. In December, Wilson recorded a piece called "Tune #1" that was intended for a solo project to be released on Brother Records, but it was also shelved.

Wilson's first major released composition was "Little Bird", issued in April 1968 as the B-side of the "Friends" single. "Little Bird" and another song, "Be Still", were co-written with poet Stephen Kalinich and featured on the album Friends (June 1968). The group's next album, 20/20 (February 1969), marked the emergence of Dennis as a producer, including his original songs "Be with Me" and "All I Want to Do". Dennis's "Celebrate the News" was released as the B-side to the standalone single "Break Away".

By this time, the Beach Boys' popularity had faltered considerably. Dennis believed, "Because of the attitude of a few mental dinosaurs intent on exploiting our initial success, Brian's huge talent has never been fully appreciated in America and the potential of the group has been stifled. [...] If the Beatles had suffered this kind of misrepresentation, they would have never got past singing 'Please, Please Me' and 'I Wanna Hold Your Hand' and leaping around in Beatle suits."

In 2018, many of Wilson's unreleased tracks from this period were released for the compilations Wake the World: The Friends Sessions and I Can Hear Music: The 20/20 Sessions.

Contact with Manson

On April 6, 1968, Wilson was driving through Malibu when he noticed two female hitchhikers, Patricia Krenwinkel and Ella Jo Bailey. He picked them up and dropped them off at their destination. On April 11, Wilson noticed the same two girls hitchhiking again. This time he took them to his home at 14400 Sunset Boulevard. He recalled that he "told [the girls] about our involvement with the Maharishi and they told me they too had a guru, a guy named Charlie [Manson] who'd recently come out of jail after 12 years." Wilson then went to a recording session; when he returned later that night, he was met in his driveway by Charles Manson, and when Wilson walked into his home, about a dozen people were occupying the premises, most of them young women. They were later known as members of the "Manson Family". By Manson's own account, he had met Wilson on at least one prior occasion: at a friend's San Francisco house where Manson had gone to obtain marijuana. Manson claimed that Wilson invited him to visit his Sunset Boulevard home when Manson came to Los Angeles.

Wilson was initially fascinated by Manson and his followers, referring to him as "the Wizard" in a Rave magazine article at the time. The two struck a friendship, and over the next few months, members of the Manson Family – mostly women who were treated as servants – were housed in Wilson's residence, costing him approximately $100,000 (equivalent to $0 in ). Much of these expenses went on cars, clothes, food and penicillin injections for their persistent gonorrhoea. This arrangement persisted for about six months. In late 1968, Wilson told the magazine Record Mirror that "when I met [Charlie] I found he had great musical ideas. We're writing together now. He's dumb, in some ways, but I accept his approach and have [learned] from him." He told reporters that he had been living with 17 women; when asked if he had been supporting them, Wilson replied, "No, if anything, they're supporting me. I had all the rich status symbols – Rolls-Royce, Ferrari, home after home. Then I woke up, gave away 50 to 60 percent of my money. Now I live in one small room, with one candle, and I'm happy, finding myself."

Wilson introduced Manson to a few friends in the music business, including the Byrds' producer Terry Melcher. Manson recorded numerous songs at Brian's home studio, although the recordings remain unheard by the public. Band engineer Stephen Desper said that the Manson sessions were done "for Dennis [Wilson] and Terry Melcher". In September 1968, Wilson recorded a Manson song for the Beach Boys, originally titled "Cease to Exist" but reworked as "Never Learn Not to Love", as a single B-side released the following December. The writing was credited solely to Wilson. When asked why Manson was not credited, Wilson explained that Manson relinquished his publishing rights in favor of "about a hundred thousand dollars' worth of stuff". Around this time, the Family destroyed Wilson's Ferrari, as well as his Mercedes-Benz, which had been driven to a mountain outside Spahn Ranch.

Disassociation
Growing fearful of the situation, Wilson distanced himself from Manson and moved out of the house, leaving Manson and his followers there, and subsequently took residence with Gregg Jakobson at a basement apartment in Santa Monica. Virtually all of Wilson's household possessions were stolen by the Family; the members were evicted from his home three weeks before the lease was scheduled to expire. When Manson subsequently sought further contact, he left a bullet with Wilson's housekeeper to be delivered with a threatening message. Commenting on rumors that suggested Wilson had become afraid of Manson, Beach Boys collaborator Van Dyke Parks later said: "One day, Charles Manson brought a bullet out and showed it to Dennis, who asked, 'What's this?' And Manson replied, 'It's a bullet. Every time you look at it, I want you to think how nice it is your kids are still safe.' Well, Dennis grabbed Manson by the head and threw him to the ground and began pummeling him ... I heard about it, but I wasn't there. The point is, though, Dennis Wilson wasn't afraid of anybody!"

Conversely, band manager Nick Grillo said that Wilson became more concerned after Manson had got "into a much heavier drug situation ... taking a tremendous amount of acid and Dennis wouldn't tolerate it and asked him to leave. It was difficult for Dennis because he was afraid of Charlie." Writing in his 2016 memoir, Mike Love recalled Wilson saying he had witnessed Manson shooting a black man "in half" with an M16 rifle and hiding the body inside a well. Melcher said that Wilson had been aware that the Family "were killing people" and had been "so freaked out he just didn't want to live anymore. He was afraid, and he thought he should have gone to the authorities, but he didn't, and the rest of it happened."

Aftermath
In August 1969, Manson Family members perpetrated the Tate–LaBianca murders. Shortly afterward, Manson visited Wilson's home, telling him that he had "just been to the moon", and demanded money, which Wilson agreed to give to him. That November, Manson was apprehended and charged with numerous counts of murder and conspiracy to commit murder. Wilson refused to testify against Manson. He explained, "I couldn't. I was so scared." Instead, he was privately interviewed by prosecutor Vincent Bugliosi. Wilson's testimony was deemed inessential since Jakobson agreed to publicly testify and corroborate Wilson's claims. Melcher later commented that Wilson had not been taken to the stand because the prosecutors "thought he was nuts, and by that time he was. He had a hard time separating reality from fantasy." Bugliosi said that when he attempted to procure tapes of the songs that Wilson had recorded with Manson, Wilson responded that he had destroyed them because "the vibrations connected with them didn't belong on this earth."

In the subsequent years, Wilson allegedly received death threats from members of the Manson Family, who telephoned his home and told him, "You're next". In 1976, he commented that "I don't talk about Manson. I think he's a sick fuck. I think of Roman and all those wonderful people who had a beautiful family and they fucking had their tits cut off. I want to benefit from that?" In the 1978 biography The Beach Boys and the California Myth, Wilson acknowledged the interest in his relationship with Manson and said, "I know why [he] did what he did. Someday, I'll tell the world. I'll write a book and explain why he did it." According to biographer Mark Dillon, "Some attribute [Wilson's] subsequent spiral of self-destructive behavior ― particularly his drug intake ― to these fears and feelings of guilt for ever having introduced this evil Wizard into the Hollywood scene."

Wilson's first wife Carole Freedman later told journalist Tom O'Neill that Wilson and other members of the Hollywood community had closer associations to Manson than what had been reported on the public record. O'Neill quoted Freedman saying that "It's a scary thing, and anyone who knows anything will never talk." Upon Wilson's death, Manson was quoted as saying, "Dennis Wilson was killed by my shadow because he took my music and changed the words from my soul." Manson never substantiated these claims.

Two-Lane Blacktop
From August 13 to late October 1970, Dennis shot his parts for the Universal Pictures road movie Two-Lane Blacktop. The film depicts "The Driver" (James Taylor) and "The Mechanic" (Wilson) driving aimlessly across the United States in their 1955 Chevy, surviving on money earned from street racing. It made its worldwide premiere on July 7, 1971, in New York City. The film received mixed reviews but later gained stature as a "cult classic".

Unfinished album
Dennis continued writing songs for the Beach Boys' subsequent albums, including Sunflower (August 1970), which featured the single "Forever" – commonly regarded as one of his finest songs – and three others: "Slip On Through", "Got to Know the Woman", and "It's About Time". Their inclusion was said to be at the insistence of Warner-Reprise, who felt that Dennis's songs sounded more contemporary than other rejected Beach Boys tracks. "Slip On Through" became the first of Dennis's songs to be issued as an A-sided single by the Beach Boys.

In the early 1970s, Wilson recorded material with Beach Boys touring musician Daryl Dragon to be set aside for a potential solo album, provisionally titled Freckles. Dennis also offered Poops and Hubba Hubba as the album's working titles. On December 4, Stateside/EMI released "Sound of Free", a single issued only in Europe and the UK under the credit "Dennis Wilson & Rumbo". The B-side was the Sunflower outtake "Lady" (also known as "Fallin' In Love"). At the Beach Boys' concerts in 1971, Dennis played solo piano renditions of his songs "Barbara" and "I've Got a Friend". Biographer Jon Stebbins writes, "He was developing a power-ballad style that would become his signature."

Dennis's two song contributions to the Beach Boys' August 1971 album Surf's Up – "4th of July" and "(Wouldn't It Be Nice to) Live Again" – were left off the record. At the time, Dennis stated that he "pulled" the songs off the record because he did not feel they flowed well alongside the other tracks. According to band manager Jack Rieley, the absence of any Dennis songs on Surf's Up was for two reasons: to quell political infighting within the group concerning the album's share of Wilson-brother songs, and because Dennis wanted to save his songs for a solo album.

Engineer Stephen Desper said of Dennis's album, "ninety percent of it was ninety percent done". Fred Vail, the band's co-manager, described the album as "diamonds never cut and polished", and explained, "The Beach Boys obviously weren't buying into his songs as part of the group output." Several tracks from the album – "Baby Baby", "It's a New Day", "I've Got a Friend", "Behold the Night", "Hawaiian Dream", "Medley: All Of My Love / Ecology", and "Before" – were released on the 2021 box set Feel Flows.

In June 1971, Dennis injured his hand badly enough to prevent him from playing drums for some time, so Ricky Fataar took over as the group's drummer between 1972 and 1974. Stebbins writes, "Now, during concerts, the impulsive, physically aggressive Dennis would be reduced to sitting behind a keyboard or standing off to one side behind a microphone. It hurt him deeply. He felt like a caged animal. His drinking became worse and his participation in the band became erratic." Biographer David Leaf wrote that, by this time, "Dennis was constantly quitting [the band] or getting fired and then rejoining."

Two more songs intended for Dennis's album – "Make it Good" and "Old Movie" (retitled "Cuddle Up") – were ultimately placed on the Beach Boys' 1972 release Carl and the Passions – "So Tough". Dennis wrote and produced two songs – "Steamboat" and "Only with You" – on their next album, Holland (1973). A third song, "Carry Me Home", was left off the record. The cover of their 1973 live album, The Beach Boys in Concert, depicts only Dennis onstage, although the album itself contains none of his songs.

Pacific Ocean Blue
Wilson's onstage antics (including streaking) occasionally disrupted the Beach Boys' live shows. He continued recording for his forthcoming solo album at the band's Brother Studios facility in Santa Monica. In 1974, concurrent with the success of the greatest hits compilation Endless Summer, Dennis returned to his role behind the drums. According to Billy Hinsche, keyboardist for the Beach Boys' supporting band, it was during this year that Dennis co-wrote the lyrics and modified part of the melody of "You Are So Beautiful" while attending a party with Billy Preston. Hinsche said, "I was there that night, and I would not dispute that Dennis had a hand in writing 'You Are So Beautiful,' and that's the reason we would do it in concert."

By 1977, Dennis had amassed a stockpile of songs he had written and recorded while factions within the Beach Boys became too stressful for him. He expressed, "If these people want to take this beautiful, happy, spiritual music we've made and all the things we stand for and throw it out the window just because of money, then there's something wrong with the whole thing and I don't want any part of it." He then approached James William Guercio, owner of Caribou Records, who stipulated "a structured recording process" before signing Dennis to a two-album contract. According to Guercio, "My discussions with Dennis were along the lines of, 'You just tell Gregg [Jakobson] what you need - you have the studio and your job is to finish the dream. Finish the vision. Trish Roach [personal assistant] will do the paperwork and Gregg's the co-ordinator. It's your project... You've got to do what Brian used to do. Use anybody you want - it's your decision and you're responsible."

Dennis released his debut solo album Pacific Ocean Blue in 1977. Although it sold moderately, ultimately reaching No. 96 on the US Billboard chart, its chart peak outperformed the following two Beach Boys albums. Dates were booked for a Dennis Wilson solo tour, but these were ultimately cancelled when his record company withdrew concert support. He did occasionally perform his solo material on the 1977 Beach Boys tour. Despite Dennis claiming the album had "no substance", Pacific Ocean Blue received positive reviews and later developed status as a cult item, ultimately selling nearly 250,000 copies.

The album remained largely out of print between the 1990s and 2000s. In June 2008, it was reissued on CD as an expanded edition. It was voted the 2008 "Reissue of the Year" in both Rolling Stone, and Mojo magazines and made No. 16 on the British LP charts and No. 8 on both the Billboard Catalog chart and the Billboard Internet Sales chart.

Bambu
Pacific Ocean Blue follow-up, Bambu, began production in 1978 at Brother Studios, with the collaboration of then Beach Boys keyboardist and Dennis' close friend Carli Muñoz as songwriter and producer. The first four songs officially recorded for Bambu were Muñoz's compositions: "It's Not Too Late", "Constant Companion", "All Alone", and "Under the Moonlight". The project was initially scuttled by lack of financing, Dennis' physical and mental decline due to alcoholism and severe drug abuse, which stemmed from his severe economic and marital problems at the time, and the distractions of simultaneous Beach Boys projects. Bambu was officially released in 2008 along with the Pacific Ocean Blue reissue. This material was also released on vinyl in 2017, without Pacific Ocean Blue, for Record Store Day.

Two songs from the Bambu sessions, "Love Surrounds Me" and "Baby Blue", were lifted for the Beach Boys' L.A. (Light Album) (1979). Dennis and Brian also recorded together apart from the Beach Boys in the early 1980s. These sessions remain unreleased, although they are widely bootlegged as The Cocaine Sessions.

Final years and death
In succeeding years, Dennis abused alcohol, cocaine and heroin. By the last year of his life, he had virtually lost his normal speaking voice, struggled to sing, and had forgotten how to play drums, often missing Beach Boys performances in the process. Following a confrontation on an airport tarmac, he declared to Rolling Stone on September 3, 1977, that he had left the Beach Boys: "They kept telling me I had my solo album now, like I should go off in a corner and leave the Beach Boys to them. The album really bothers them. They don't like to admit it's doing so well; they never even acknowledge it in interviews." Two weeks later, disputes were resolved, and Dennis rejoined the group.

In January 1981, Brian's then-girlfriend and nurse Carolyn Williams accused Dennis of enticing Brian to purchase about $15,000 worth of cocaine. When Brian's bodyguard Rocky Pamplin and the Wilsons' cousin Stan Love learned of this incident, they physically assaulted Dennis at his home. For the assault, they were fined about $1,000, and Dennis filed a restraining order.

As the Beach Boys pressured Brian to readmit himself into Eugene Landy's 24-hour therapy program, Dennis was informed by friends that he would be the band's next target, to Dennis's disbelief. His disbelief was proven wrong as the rest of the band gave him an ultimatum after his last performance in September 1983 to check into rehab for his alcohol problems or be banned from performing live with them. By then, he was homeless and living a nomadic life. He checked into a therapy center in Arizona for two days, and then on December 23, 1983, checked into St. John's Hospital in Santa Monica, where he stayed until the evening of December 25, 1983. Following a violent altercation at the Santa Monica Bay Inn, Dennis checked into a different hospital in order to treat his wounds. Several hours later, he discharged himself and reportedly resumed drinking immediately.

On December 28, 1983, Dennis drowned at Marina Del Rey after drinking all day and then diving in the afternoon to recover his ex-wife's belongings, previously thrown overboard at the marina from his yacht three years earlier amidst their divorce. Forensic pathologist Michael Hunter believed that Dennis experienced shallow-water blackout just before his death. On January 4, 1984, Dennis's body was buried at sea by the U.S. Coast Guard, off the California coast. The Beach Boys released a statement shortly thereafter: "We know Dennis would have wanted to continue in the tradition of the Beach Boys. His spirit will remain in our music." His song "Farewell My Friend" was played at the funeral.

Dennis's widow Shawn Love reported that Dennis had wanted a burial at sea, and his brothers Carl and Brian did not want Dennis cremated. At the time, only veterans of the Coast Guard and Navy were allowed to be buried in US waters without being first cremated, but Dennis's burial was made possible by the intervention of then-President Ronald Reagan. In 2002, Brian expressed unhappiness with the arrangement, believing that Dennis should have been given a traditional burial.

Artistry and legacy
PopMatters writer Tony Sclafani summarized in 2007:

"By all appearances the happy-go-lucky Beach Boy, Dennis Wilson lived out the proverbial live-fast-die-young motto. To some degree, that's a fair assessment. Dennis did indeed drive fast cars, hang with hippies (including Charles Manson) and dated his share of beautiful California women. But like his older brother Brian, Dennis was bullied mercilessly by his father. His wild side masked an underside that was, by turns, brooding, self-loathing, sensitive, and anxious. Dennis's music reflected his edginess and exhibited little of his happy charm, setting it apart from Brian's music. Dennis never sang about fun, and no images of surfboards or surfer girls ever appear in a Dennis Wilson song."

A common misconception is that Dennis' drumming in the Beach Boys' recordings was filled in exclusively by studio musicians. His drumming is documented on a number of the group's early hits, including "I Get Around", "Fun, Fun, Fun", and "Don't Worry Baby". As the mid-1960s approached, Brian often hired session drummers, such as Hal Blaine, to perform on studio recordings due to Dennis' limited drumming technique and frequent unavailability. Dennis accepted this situation with equanimity.

In 1967, Dennis was cited as "the closest to brother Brian's own musical ideals ... He always emphasises the fusion, in their work, of pop and classical music." Dennis said his brother Brian was an "inspiration", not an influence, and that "Musically, I'm far apart from Brian. He's a hundred times more than what I am musically."

In 1988, Dennis was inducted into the Rock and Roll Hall of Fame posthumously as a member of the Beach Boys.

Personal life
Wilson's first wife was Carole Freedman, with whom he had a daughter, Jennifer, and adopted son, Scott, from her previous relationship. They married on July 29, 1965, and divorced in 1967. His second was Barbara Charren, with whom he had two sons, Michael and Carl. Dennis's songs "Lady" and "Barbara" were written about Charren. Dennis was then married twice to actress Karen Lamm, the former wife of Chicago keyboardist Robert Lamm, in 1976 and again in 1978.

In 1978, following a Beach Boys concert in Arizona, Dennis was arrested for sharing drugs and alcohol with a 16-year-old girl in his hotel room. Dennis referred to the incident as a setup, and paid $100,000 in legal fees.

From 1979 to 1982, Dennis had a relationship with Christine McVie of Fleetwood Mac. Fleetwood Mac's 1982 song "Only Over You" was written by McVie about Dennis. McVie later said of Dennis, "Half of him was like a little boy, and the other half was insane." Mick Fleetwood, who had introduced the couple to each other, wrote that "Chris almost went mad trying to keep up with Dennis, who was already like a man with twenty thyroid glands, not counting the gargantuan amounts of coke and booze he was shoving into himself."

At the time of his death, Wilson was married to (but separated from) Shawn Marie Harris (born on December 30, 1964), who claimed to be the daughter of his first cousin and bandmate, Mike Love, although Love disputed the claim. Wilson and Shawn had one son, Gage Dennis, born September 3, 1982.

Gregg Jakobson speculated that Wilson may have had undiagnosed ADHD. According to biographer Steven Gaines, Dennis had told friends that he had been raped by "a black man", although the details Dennis gave were inconsistent, having variously disputing the year of the incident, while in jail, in an alley, or on his Harmony boat. Gaines wrote, "Obviously, this was a recurring fantasy, and whether or not any of these stories is true remains unknown."

Fictional depictions

 * In the 1990 television movie Summer Dreams: The Story of the Beach Boys, Wilson is portrayed by Bruce Greenwood.
 * In the 2000 miniseries The Beach Boys: An American Family, Wilson is portrayed by Nick Stabile.
 * In the 2015 movie Love & Mercy, Wilson is portrayed by Kenny Wormald.
 * In 2019, Wilson appeared as a character on the NBC crime drama series Aquarius, portrayed by Andy Favreau.
 * Wilson is a minor character in Quentin Tarantino's 2021 novel Once Upon a Time in Hollywood.

Discography
Albums

Singles

 * Surfer Girl (1963)
 * "South Bay Surfer (The Old Folks at Home)"
 * Shut Down Volume 2 (1964)
 * "Denny's Drums"
 * Friends (1968)
 * "Friends"
 * "Be Here in the Mornin'"
 * "When a Man Needs a Woman"
 * "Little Bird"
 * "Be Still"
 * 20/20 (1969)
 * "Be with Me"
 * "All I Want to Do"
 * "Never Learn Not to Love"
 * Sunflower (1970)
 * "Slip On Through"
 * "Got to Know the Woman"
 * "It's About Time"
 * "Forever"
 * Carl and the Passions – "So Tough" (1972)
 * "Make It Good"
 * "Cuddle Up"
 * Holland (1973)
 * "Steamboat"
 * "Only with You"
 * Pacific Ocean Blue (1977)
 * "River Song"
 * "What's Wrong"
 * "Moonshine"
 * "Friday Night"
 * "Dreamer"
 * "Thoughts of You"
 * "Time"
 * "You and I"
 * "Pacific Ocean Blues"
 * "Farewell My Friend"
 * "Rainbows"
 * "End of the Show"
 * Pacific Ocean Blue CD reissue bonus tracks
 * "Tug of Love"
 * "Holy Man"
 * "Mexico"
 * Bambu (The Caribou Sessions) (2017)
 * "School Girl"
 * "Love Remember Me'
 * "Wild Situation"
 * "Common"
 * "Are You Real"
 * "He's a Bum"
 * "Cocktails"
 * "I Love You"
 * "Time for Bed"
 * "Album Tag Song"
 * "Piano Variations on "Thoughts of You""
 * L.A. (Light Album) (1979)
 * "Love Surrounds Me"
 * "Baby Blue"
 * Ten Years of Harmony (1981)
 * "San Miguel"
 * Good Vibrations: Thirty Years of The Beach Boys (1993)
 * "4th of July"
 * Endless Harmony Soundtrack (1997)
 * "Barbara"
 * Ultimate Christmas (1998)
 * "Morning Christmas"
 * The Smile Sessions (2011)
 * "I Don't Know"
 * Made in California (2013)
 * "(Wouldn't It Be Nice to) Live Again"
 * "Barnyard Blues"
 * "My Love Lives On"
 * "Celebrate the News"
 * "Sound of Free"
 * "Lady"
 * Wake the World: The Friends Sessions (2018)
 * "Away"
 * "Untitled 1/25/68"
 * I Can Hear Music: The 20/20 Sessions (2018)
 * "Well, You Know I Knew"
 * "Love Affair"
 * "Peaches"
 * "The Gong"
 * "A Time to Live in Dreams" (Also on Hawthorne, CA (2003))
 * "Mona Kana" (Also on Made in California (2013))
 * 1969: I'm Going Your Way (2019)
 * "I'm Going Your Way"
 * Feel Flows (album) (2021)
 * "Baby Baby"
 * "It's a New Day"
 * "Medley: All Of My Love/Ecology"
 * "Before"
 * "Behold the Night"
 * "Hawaiian Dream"
 * "I've Got A Friend"
 * Sail On Sailor – 1972 (2022)
 * "Carry Me Home"
 * 1972 Release (2022)
 * "Unknown Piano/Synth Track"

title: Dennis Wilson


text:
Somali

Horn of Africa

 * Somali Peninsula, a region of East Africa, also known as "The Horn of Africa"
 * Somalis, an inhabitant or ethnicity associated with Greater Somali Region
 * Greater Somalia
 * Somali language, a Cushitic language
 * Somali culture
 * Somali cuisine
 * Proto-Somali, the ancestors of modern Somalis
 * Somali, plural of Somalo, former Somali currency
 * Somali Plate, a tectonic plate which covers the eastern part of Africa
 * Somalia, a country in the Horn of Africa
 * Somaliland, an unrecognised state in the Horn of Africa, recognised internationally as de jure part of Somalia
 * Somali Region, a Somali-inhabited region of Ethiopia
 * North Eastern Province (Kenya), a Somali-inhabited region of Kenya

Other uses

 * Somali, a member of the Somalia Battalion, a pro-Russian military group.
 * HMS Somali (F33), a British destroyer
 * Somali cat, a cat breed
 * Somali, a character in the manga series Somali and the Forest Spirit

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Somali


text:
Tucuxi

The tucuxi (Sotalia fluviatilis), alternatively known in Peru bufeo gris or bufeo negro, is a species of freshwater dolphin found in the rivers of the Amazon basin. The word tucuxi is derived from the Tupi language word tuchuchi-ana, and has now been adopted as the species' common name. Despite being found in geographic locations similar to those of 'true' river dolphins such as the boto, the tucuxi is not closely related to them genetically. Instead, it is classed in the oceanic dolphin family (Delphinidae).

Physically, the species resembles the bottlenose dolphins, but differs sufficiently to be placed in a separate genus, Sotalia. The Guiana dolphin (Sotalia guianensis), a related dolphin present in coastal and estuarine environments and formerly grouped together with the tucuxi, have recently been recognized as a distinct species.

Description
The tucuxi is frequently described (see references below) as looking similar to the bottlenose dolphin, but it is typically smaller at around 1.5 m (4.9 ft). The dolphin is colored light to bluish grey on its back and sides. The ventral region is much lighter, often pinkish. It is theorized that this pinkish color may be caused or intensified by increased blood flow. The dorsal fluke is typically slightly hooked. The beak is well-defined and of moderate length. There are 26 to 36 pairs of teeth in the upper and lower jaws. The tucuxi has one of the largest known encephalization quotients among mammals.

Taxonomy
The tucuxi (Sotalia fluviatilis) was described by Gervais and Deville in 1853, and the costero (Sotalia guianensis) by Pierre-Joseph van Bénéden in 1864. These two species were subsequently synonymized, with the two species being treated as subspecies of marine and freshwater varieties. The first to reassert differences between these two species was a three-dimensional morphometric study of Monteiro-Filho and colleagues. Subsequently, a molecular analysis by Cunha and colleagues unambiguously demonstrated that Sotalia guianensis was genetically differentiated from Sotalia fluviatilis. This finding was reiterated by Caballero and colleagues with a larger number of genes. The existence of two species has been generally accepted by the scientific community.

Distribution
The tucuxi exists along much of the length of the Amazon River and many of its tributaries, and is found in Venezuela, Brazil, Peru, Ecuador, and southeastern Colombia. Numerous individuals have been seen in the Orinoco River further north, though it is not clear whether these are tucuxi or costero. The tucuxi has recently been found to inhabit a larger range, including the northeast portion of Brazil such as the state of Amapa, which includes more basins than the Amazon basin. This species occurs in freshwater habitats only.

Food and foraging
Tucuxis forage in tight groups, often chasing fish in rapid dashes just below the water surface, with fish jumping out of their way. Thirty species of fish are known to be prey, some living in protected lakes and channels, while others occur in fast-flowing rivers.

Behaviour
The tucuxi exists in small groups of about 10-15 individuals, and swim in tight-knit groups, suggesting a highly developed social structure. Tucuxis are quite active and may jump clear of the water (a behavior known as breaching), somersault, spy-hop or tail-splash. They are unlikely, however, to approach boats.

Tucuxis have been observed to feed with other river dolphins. They feed on a wide variety of fish. Studies of growth layers suggest the species can live up to 35 years. The oldest known animal was 36 years of age.

Medicinal use
The oil and fat in the skin of tucuxi is used in local traditional medicine as an ointment to be rubbed on wounds or sore body parts. The ointment is thought to treat illnesses such as hemorrhoids, rheumatism, and arthritis, while the teeth are used in a powder form to treat asthma.

Magic and religious use
The eyes, teeth, and genital organs of tucuxi are sold throughout Northern Brazil as magical charms that promote good luck, love, and financial rewards. Baths are also created with these body parts and are meant to help one attract sexual partners if they bathed in the water. Other products such as perfumes and powders made with the genital organs are sold as aphrodisiacs. The number of dolphins harvested for magical or religious purposes and its effect on tucuxi populations is unknown.

Fishing
Interactions of tucuxi dolphins with fishing activity is common in the Western Brazilian Amazon. Tucuxi forage on schooling fish that are also important species for commercial fishing in the area. They are particularly vulnerable to entanglement in commercial fishing nets in the lower Japurá River. The carcasses of the dolphins caught incidentally or intentionally are often used as bait for piracatinga fishing.

Habitat degradation and loss
The tucuxi's habitat has been greatly affected by anthropogenic activities including the expansion of hydroelectric projects, which usually results in isolation where a dam is built. Pollution from human activity has also degraded the quality of the habitat and increases the chance for tucuxis to consume heavy metals.

Conservation
The tucuxi is endemic to the regions described above; although no precise estimates of population are available, it is common. A significant human problem is fishing nets. Deliberate hunting in the Amazon basin for food has also been reported. Pollution, in particular, mercury poisoning of water due to gold mining, is a particular concern for this species. The IUCN also cites habitat fragmentation by dam construction as a threat, though more detailed study is necessary.

Tucuxis are observed not to maintain good health and attitude in captive environments. A few tucuxis remained in captivity in European aquaria, but the last one ("Paco") died in 2009 in the Zoo of Münster, Germany.

The tucuxi is listed on Appendix II of the Convention on the Conservation of Migratory Species of Wild Animals (CMS). It is listed on Appendix II as it has an unfavourable conservation status or would benefit significantly from international co-operation organised by tailored agreements.

title: Tucuxi


text:
Tensor product of fields

In mathematics, the tensor product of two fields is their tensor product as algebras over a common subfield. If no subfield is explicitly specified, the two fields must have the same characteristic and the common subfield is their prime subfield.

The tensor product of two fields is sometimes a field, and often a direct product of fields; In some cases, it can contain non-zero nilpotent elements.

The tensor product of two fields expresses in a single structure the different way to embed the two fields in a common extension field.

Compositum of fields
First, one defines the notion of the compositum of fields. This construction occurs frequently in field theory. The idea behind the compositum is to make the smallest field containing two other fields. In order to formally define the compositum, one must first specify a tower of fields. Let k be a field and L and K be two extensions of k. The compositum, denoted K.L, is defined to be $$ K.L = k(K \cup L) $$ where the right-hand side denotes the extension generated by K and L. This assumes some field containing both K and L. Either one starts in a situation where an ambient field is easy to identify (for example if K and L are both subfields of the complex numbers), or one proves a result that allows one to place both K and L (as isomorphic copies) in some large enough field.

In many cases one can identify K.L as a vector space tensor product, taken over the field N that is the intersection of K and L. For example, if one adjoins √2 to the rational field $$\mathbb{Q}$$ to get K, and √3 to get L, it is true that the field M obtained as K.L inside the complex numbers $$\mathbb{C}$$ is (up to isomorphism)

 * $$K\otimes_{\mathbb Q}L$$

as a vector space over $$\mathbb{Q}$$. (This type of result can be verified, in general, by using the ramification theory of algebraic number theory.)

Subfields K and L of M are linearly disjoint (over a subfield N) when in this way the natural N-linear map of

 * $$K\otimes_NL$$

to K.L is injective. Naturally enough this isn't always the case, for example when K = L. When the degrees are finite, injectivity is equivalent here to bijectivity. Hence, when K and L are linearly disjoint finite-degree extension fields over N, $$K.L \cong K \otimes_N L$$, as with the aforementioned extensions of the rationals.

A significant case in the theory of cyclotomic fields is that for the nth roots of unity, for n a composite number, the subfields generated by the pk th roots of unity for prime powers dividing n are linearly disjoint for distinct p.

The tensor product as ring
To get a general theory, one needs to consider a ring structure on $$K \otimes_N L$$. One can define the product $$(a\otimes b)(c\otimes d)$$ to be $$ ac \otimes bd$$ (see Tensor product of algebras). This formula is multilinear over N in each variable; and so defines a ring structure on the tensor product, making $$K \otimes_N L$$ into a commutative N-algebra, called the tensor product of fields.

Analysis of the ring structure
The structure of the ring can be analysed by considering all ways of embedding both K and L in some field extension of N. The construction here assumes the common subfield N; but does not assume a priori that K and L are subfields of some field M (thus getting round the caveats about constructing a compositum field). Whenever one embeds K and L in such a field M, say using embeddings α of K and β of L, there results a ring homomorphism γ from $$K \otimes_N L$$ into M defined by:

 * $$\gamma(a\otimes b) = (\alpha(a)\otimes1)\star(1\otimes\beta(b)) = \alpha(a).\beta(b).$$

The kernel of γ will be a prime ideal of the tensor product; and conversely any prime ideal of the tensor product will give a homomorphism of N-algebras to an integral domain (inside a field of fractions) and so provides embeddings of K and L in some field as extensions of (a copy of) N.

In this way one can analyse the structure of $$K \otimes_N L$$: there may in principle be a non-zero nilradical (intersection of all prime ideals) – and after taking the quotient by that one can speak of the product of all embeddings of K and L in various M, over N.

In case K and L are finite extensions of N, the situation is particularly simple since the tensor product is of finite dimension as an N-algebra (and thus an Artinian ring). One can then say that if R is the radical, one has $$(K \otimes_N L) / R$$ as a direct product of finitely many fields. Each such field is a representative of an equivalence class of (essentially distinct) field embeddings for K and L in some extension M.

Examples
To give an explicit example consider the fields $$K=\mathbb{Q}[x]/(x^2-2)$$ and $$L=\mathbb{Q}[y]/(y^2-2)$$. Clearly $$\mathbb{Q}(\sqrt{2})\cong K\cong L\neq K$$ are isomorphic but technically unequal fields with their (set theoretic) intersection being the prime field $$N=\mathbb{Q}$$. Their tensor product

 * $$K\otimes L=K\otimes_{N} L=\mathbb{Q}[x]/(x^2-2)\otimes_{\mathbb{Q}}\mathbb{Q}[y]/(y^2-2) \cong \mathbb{Q}(\sqrt{2})[z]/(z^2-2)\cong \mathbb{Q}(\sqrt{2})\otimes_{\mathbb{Q}}\mathbb{Q}(\sqrt{2})$$

is not a field, but a 4-dimensional $$\mathbb{Q}$$-algebra. Furthermore this algebra is isomorphic to a direct sum of fields

 * $$K\otimes L\cong \mathbb{Q}(\sqrt{2})[z]/(z^2-2)\cong \mathbb{Q}(\sqrt{2})\oplus\mathbb{Q}(\sqrt{2})$$

via the map induced by $$1\mapsto (1,1), z\mapsto (\sqrt{2},-\sqrt{2})$$. Morally $$\tilde{N}=\mathbb{Q}(\sqrt{2})$$ should be considered the largest common subfield up to isomorphism of K and L via the isomorphisms $$\tilde{N}=\mathbb{Q}(\sqrt{2})\cong K\cong L$$. When one performs the tensor product over this better candidate for the largest common subfield we actually get a (rather trivial) field

 * $$K\otimes_{\tilde{N}} L=\mathbb{Q}[x]/(x^2-2)\otimes_{\mathbb{Q}(\sqrt{2})}\mathbb{Q}[y]/(y^2-2) \cong \mathbb{Q}(\sqrt{2})=\tilde{N}\cong K\cong L$$.

For another example, if K is generated over $$\mathbb{Q}$$ by the cube root of 2, then $$K \otimes_{\mathbb Q} K$$ is the sum of (a copy of) K, and a splitting field of

 * X  3 − 2,

of degree 6 over $$\mathbb{Q}$$. One can prove this by calculating the dimension of the tensor product over $$\mathbb{Q}$$ as 9, and observing that the splitting field does contain two (indeed three) copies of K, and is the compositum of two of them. That incidentally shows that R = {0} in this case.

An example leading to a non-zero nilpotent: let

 * P(X) = X  p − T

with K the field of rational functions in the indeterminate T over the finite field with p elements (see Separable polynomial: the point here is that P is not separable). If L is the field extension K(T 1/p) (the splitting field of P) then L/K is an example of a purely inseparable field extension. In $$L \otimes_K L$$ the element

 * $$T^{1/p}\otimes1-1\otimes T^{1/p}$$

is nilpotent: by taking its pth power one gets 0 by using K-linearity.

Classical theory of real and complex embeddings
In algebraic number theory, tensor products of fields are (implicitly, often) a basic tool. If K is an extension of $$\mathbb{Q}$$ of finite degree n, $$K\otimes_{\mathbb Q}\mathbb R$$ is always a product of fields isomorphic to $$\mathbb{R}$$ or $$\mathbb{C}$$. The totally real number fields are those for which only real fields occur: in general there are r1 real and r2 complex fields, with r1 + 2r2 = n as one sees by counting dimensions. The field factors are in 1–1 correspondence with the real embeddings, and pairs of complex conjugate embeddings, described in the classical literature.

This idea applies also to $$K\otimes_{\mathbb Q}\mathbb Q_p,$$ where $$\mathbb{Q}$$p is the field of p-adic numbers. This is a product of finite extensions of $$\mathbb{Q}$$p, in 1–1 correspondence with the completions of K for extensions of the p-adic metric on $$\mathbb{Q}$$.

Consequences for Galois theory
This gives a general picture, and indeed a way of developing Galois theory (along lines exploited in Grothendieck's Galois theory). It can be shown that for separable extensions the radical is always {0}; therefore the Galois theory case is the semisimple one, of products of fields alone.

title: Tensor product of fields


text:
Weimarer Land

Weimarer Land is a Landkreis (district) in the east of Thuringia, Germany. Neighboring districts are (from the northeast clockwise) the district Burgenlandkreis in Saxony-Anhalt, the district Saale-Holzland and the district-free city Jena, the district Saalfeld-Rudolstadt, Ilm-Kreis, and the district-free city Erfurt. The district-free city Weimar is completely enclosed by the district.

History
The district dates back to the Großkreis Weimar, which was created in 1922 after the federal state Thuringia was established. The two cities Weimar and Apolda were not part of the district. In 1952 the district was split into two parts - Weimar and Apolda. In 1994 the two parts were merged again, however not completely covering the territory as before 1952.

Geography
The main river in the district is the Ilm. To the south are the hills of the Thuringian Forest, where the highest elevation is the Riechheimer Berg with 511 m above sea level. To the north of the district the landscape becomes less hilly, it belongs to the Thüringer Becken. In this part is also the lowest elevation with 120 m, at the meeting of the rivers Ilm and Saale. Near Bad Salza starts the Saale-Unstrut wine route, as the viticulture in the district has a tradition of more than 800 years.

Coat of arms
The coat of arms shows symbols of the historic states on the territory of the district. The lion to the right stands for the dukes of Saxe-Weimar-Eisenach, the top left displays the Wheel of Mainz, and the three apples are the symbol of Apolda, as they were used in the coat of arms of the governors of Apolda. The coat of arms were granted on November 24, 1994.

title: Weimarer Land


text:
Radical of a ring

In ring theory, a branch of mathematics, a radical of a ring is an ideal of "not-good" elements of the ring.

The first example of a radical was the nilradical introduced by, based on a suggestion of. In the next few years several other radicals were discovered, of which the most important example is the Jacobson radical. The general theory of radicals was defined independently by and.

Definitions
In the theory of radicals, rings are usually assumed to be associative, but need not be commutative and need not have a multiplicative identity. In particular, every ideal in a ring is also a ring.

A radical class (also called radical property or just radical) is a class σ of rings possibly without multiplicative identities, such that:

 * 1) the homomorphic image of a ring in σ is also in σ
 * 2) every ring R contains an ideal S(R) in σ that contains every other ideal of R that is in σ
 * 3) S(R/S(R)) = 0. The ideal S(R) is called the radical, or σ-radical, of R.

The study of such radicals is called torsion theory.

For any class δ of rings, there is a smallest radical class Lδ containing it, called the lower radical of δ. The operator L is called the lower radical operator.

A class of rings is called regular if every non-zero ideal of a ring in the class has a non-zero image in the class. For every regular class δ of rings, there is a largest radical class Uδ, called the upper radical of δ, having zero intersection with δ. The operator U is called the upper radical operator.

A class of rings is called hereditary if every ideal of a ring in the class also belongs to the class.

The Jacobson radical

Let R be any ring, not necessarily commutative. The Jacobson radical of R is the intersection of the annihilators of all simple right R-modules.

There are several equivalent characterizations of the Jacobson radical, such as:

 * J(R) is the intersection of the regular maximal right (or left) ideals of R.
 * J(R) is the intersection of all the right (or left) primitive ideals of R.
 * J(R) is the maximal right (or left) quasi-regular right (resp. left) ideal of R.

As with the nilradical, we can extend this definition to arbitrary two-sided ideals I by defining J(I) to be the preimage of J(R/I) under the projection map R → R/I.

If R is commutative, the Jacobson radical always contains the nilradical. If the ring R is a finitely generated Z-algebra, then the nilradical is equal to the Jacobson radical, and more generally: the radical of any ideal I will always be equal to the intersection of all the maximal ideals of R that contain I. This says that R is a Jacobson ring.

The Baer radical
The Baer radical of a ring is the intersection of the prime ideals of the ring R. Equivalently it is the smallest semiprime ideal in R. The Baer radical is the lower radical of the class of nilpotent rings. Also called the "lower nilradical" (and denoted Nil∗R), the "prime radical", and the "Baer-McCoy radical". Every element of the Baer radical is nilpotent, so it is a nil ideal.

For commutative rings, this is just the nilradical and closely follows the definition of the radical of an ideal.

The upper nil radical or Köthe radical
The sum of the nil ideals of a ring R is the upper nilradical Nil*R or Köthe radical and is the unique largest nil ideal of R. Köthe's conjecture asks whether any left nil ideal is in the nilradical.

Singular radical
An element of a (possibly non-commutative ring) is called left singular if it annihilates an essential left ideal, that is, r is left singular if Ir = 0 for some essential left ideal I. The set of left singular elements of a ring R is a two-sided ideal, called the left singular ideal, and is denoted $$\mathcal{Z}(_R R)$$. The ideal N of R such that $$N/\mathcal{Z}(_R R)=\mathcal{Z}(_{R/\mathcal{Z}(_R R)} R/\mathcal{Z}(_R R))\,$$ is denoted by $$\mathcal{Z}_2(_R R)$$ and is called the singular radical or the Goldie torsion of R. The singular radical contains the prime radical (the nilradical in the case of commutative rings) but may properly contain it, even in the commutative case. However, the singular radical of a Noetherian ring is always nilpotent.

The Levitzki radical
The Levitzki radical is defined as the largest locally nilpotent ideal, analogous to the Hirsch–Plotkin radical in the theory of groups. If the ring is Noetherian, then the Levitzki radical is itself a nilpotent ideal, and so is the unique largest left, right, or two-sided nilpotent ideal.

The Brown–McCoy radical
The Brown–McCoy radical (called the strong radical in the theory of Banach algebras) can be defined in any of the following ways:
 * the intersection of the maximal two-sided ideals
 * the intersection of all maximal modular ideals
 * the upper radical of the class of all simple rings with multiplicative identity

The Brown–McCoy radical is studied in much greater generality than associative rings with 1.

The von Neumann regular radical
A von Neumann regular ring is a ring A (possibly non-commutative without multiplicative identity) such that for every a there is some b with a = aba. The von Neumann regular rings form a radical class. It contains every matrix ring over a division algebra, but contains no nil rings.

The Artinian radical
The Artinian radical is usually defined for two-sided Noetherian rings as the sum of all right ideals that are Artinian modules. The definition is left-right symmetric, and indeed produces a two-sided ideal of the ring. This radical is important in the study of Noetherian rings, as outlined by.

title: Radical of a ring


text:
Palais Bourbon

The Palais Bourbon is the meeting place of the National Assembly, the lower legislative chamber of the French Parliament. It is in the 7th arrondissement of Paris, on the Rive Gauche of the Seine across from the Place de la Concorde.

The original palace was built beginning in 1722 for Louise Françoise de Bourbon, Duchess of Bourbon, the legitimised daughter of Louis XIV and the Marquise de Montespan. Four successive architects – Lorenzo Giardini, Pierre Cailleteau, Jean Aubert and Jacques Gabriel – completed the palace in 1728. It was then nationalised during the French Revolution. From 1795 to 1799, during the Directory, it was the meeting place of the Council of Five Hundred, which chose the government leaders. Beginning in 1806, during Napoleon's French Empire, Bernard Poyet's Neoclassical facade was added to mirror that of the Church of the Madeleine, facing it across the Seine beyond the Place de la Concorde.

The palace complex today has a floor area of 124,000 m2, with over 9,500 rooms, in which 3,000 people work. The complex includes the Hôtel de Lassay, on the west side of the Palais Bourbon; it is the official residence of the President of the National Assembly.

An aristocratic country house in Paris (1726–1789)
The palace was built for Louise Françoise de Bourbon, Duchess of Bourbon (1673–1743), the legitimised daughter of Louis XIV and Madame de Montespan. Begun in 1722 and finished in 1728, it was located in what was then a largely rural quarter at the edge of Paris, which was about to become a very fashionable residential neighborhood, the Faubourg Saint-Germain. Until that time, the area, called the Pré-au-Clercs, was a wooded area popular for fighting duels. After the death of Louis XIV in 1715, following the example of the Regent, the aristocracy began to move their residences from Versailles back to Paris. Building-space land was scarce in the traditional residential area of the nobility, the densely-populated Marais, so the aristocracy of the Regency looked for land with space for gardens at the edges of the city, either near the Champs-Élysées on the right bank or on the left bank.

The Duchess of Bourbon had been known for frivolity at the Court in Versailles, but by the 1720s, she had had seven children and was widowed. The reputed lover of the Duchess, Armand de Madaillan de Lesparre, Count of Lassy (Comte de Lassay), proposed the site of the palace to her; he had purchased land next door along the Seine, and the two buildings were constructed at the same time. The parcel of land for the new palace was large, extending from the Seine to the rue de l'Université.

The original plan called for a country residence surrounded by gardens, modeled after the Grand Trianon palace at Versailles, designed by Jules Hardouin Mansart, the chief architect of Louis XIV. The Italian architect Lorenzo Giardini made the first plan, but he died in 1722, having made little but the first sketches. The project was taken over by Pierre Cailleteau, also known as Lassurance, who had been an assistant to Hardouin-Mansart. Cailleteau had worked on the palace of Versailles and Les Invalides, and he knew the royal style very well, but he died in 1724. He was replaced by Jean Aubert, also a former assistant of Hardouin-Mansart. Aubert had built one of the grandest projects of the time, the stables of the royal residence at Chantilly. In the meanwhile, the construction of the neighbouring Hôtel de Lassay had begun, following a plan by another noted architect, Jacques Gabriel, the designer of the buildings around the Place de la Concorde. Both buildings were finished in 1728.

Both the Palais Bourbon and the Hôtel de Lassay were in the Italian style, with roofs hidden by balustrades and invisible from street level. The Palais Bourbon was in a U-shape. The main building was parallel to the Seine, with two wings enclosing a courtyard. The entrance to the courtyard and building was on the Rue de la Université. The entrance to the courtyard had an ornate archway, flanked by two pavilions. The Hôtel de Lassay was rectangular, and more modest in size. The two buildings had identical facades facing the Seine. The facades featured alternating columns and windows, and decoration on the themes of the seasons, the elements, and, fitting for the daughter of the Sun King, about Apollo. The space between the buildings, and between the buildings and the Seine, was filled with gardens. In addition to the large reception rooms, the interior of the house had many small salons which could be arranged for a variety of purposes. It also had a novelty for buildings of the period; corridors, so one could pass through the building without walking through the rooms. None of the original apartments of the Duchess survive; they were demolished in the subsequent remodelings. The Duchesse de Bourbon died in 1743, and De Lassay died in 1750. The Palace was purchased by Louis XV, who seems to have wished to include it in the plan of the new place Royale (now the Place de la Concorde) which he was building on the other side of the river. But in 1756 he sold it to grandson of the Duchess, Louis Joseph, Prince of Condé, who had been a military hero in the just-concluded Seven Years' War. The Prince decided to largely rebuild it, turning it from a country house into a monumental palace, in the new classical revival style. With this end in mind, in 1768 he purchased the neighboring Hôtel de Lassay, and planned to make the two buildings into one. A new plan was drawn by Marie-Joseph Peyre, whose style was based on archeological studies of ancient Rome and Greece. Peyre's other neoclassical works included the Odéon Theater. Several different architects were engaged in the project, including for Jacques-Germain Soufflot, Bellisard and Charpentier.

For the neoclassical palace of the Prince, the entrance on rue Université was replaced by a larger and more impressive gate, framed by a gallery of columns. The two wings of the building were extended, and a pavilion was created with apartments for one of his sons. An abundance of military decoration, including stucco sculptures of shields and weapons, was added to the vestibule, and are still visible today. The palace was only finished at the end of the 1780s, when the French Revolution swept away the old regime. The Prince went into exile, and the two residences were confiscated by the state in 1792.

The Revolution, Consulate and Empire (1789–1814)
The first French national assembly gathered without royal authorization on 20 June 1789 in the tennis court of the Palace of Versailles. the first step of the French Revolution, and in May 1793 moved to the empty theater of the Tuileries Palace in Paris. The aristocracy fled into exile, and the Palais Bourbon and Hôtel de Lassay, like the Luxembourg Palace, Élysée Palace and Hôtel Matignon were nationalized, and used for government functions. The stables of the Palais became the headquarters of the administration of military transport, while the Palais Bourbon became in 1794 the Central School of Public Works, which later became, under Napoleon, the École Polytechnique, the famous military engineering school.

In 1793 and 1794 the Revolution reached its peak of fury, under the Convention led by Robespierre and Saint-Just. The two leaders of the Terror were arrested and executed on 28 July 1794, and a new government, the Directory took power. On 23 September 1795 a new Constitution was adopted, which called for a parliament with two chambers, the Council of Five Hundred, the future National Assembly, and the Council of the Ancients. The Council of Five Hundred was given the Palais Bourbon as its future meeting place. The new government commissioned the architects Jacques-Pierre Gisors and Emmanuel-Cherubin Leconte to turn the apartments of the Palace along the Seine into a suitable meeting chamber. The chamber they designed was in the shape of a hemicycle, similar to a Roman theater. it was covered with a cupola modeled after that of the amphitheater of the Academy of Surgery, located not far away in Saint-Germain-des-Pres, which had been built between 1769 and 1774. The first session of the Council took place on 21 January 1798. It was quickly discovered that the acoustics of the new chamber were poor. A few other changes were made to the Palace; a vestibule and rotunda was added on the courtyard, and a wooden gallery was constructed to connect the Palace with the Hotel de Lassay.

Two features of the original chamber can still be found in the new New Chamber; the desk and armchair of the President of the Assembly, made of wood and gilded bronze, designed in a classical Roman by Jacques-Louis David and the bas-relief behind the tribune, made of carved white marble framed in dark polychrome marble. It features two female figures representing allegorical figures of History and Fame. Fame is announcing the laws with a long trumpet, while History is inscribing them on a tablet. In the center is a bust of Marianne, the symbol of the Republic, wearing a medallion of the Roman god Janus, whose two faces illustrate the motto that the experience of the past predicts the future. The construction of the Chamber drastically modified the building, as the roof had to be raised well above the old facade. It was also out of alignment with the long axis composed of the Church of the Madeleine, the place de la Concorde, and the pont de la Concorde; the view of the Palais Bourbon from the Place de la Concorde was blocked by the decoration of the bridge.

The Council of Five Hundred began meeting on 21 January 1798, a date chosen because it was the anniversary of the execution of the "last tyrant", Louis XVI. The members arrived dressed in Roman togas and caps, in the neoclassical fashion. They found that the new Chamber had little ventilation, was feebly heated in winter, and the acoustics were made it hard to hear the speakers. The acoustics in the end made little difference, because on 8 November 1799, Napoleon Bonaparte organized a coup d'état and seized power from the Council of Five Hundred, then meeting at the Chateau of Saint-Cloud. Napoleon formed a new legislature, the Corps Legislatif, whose only duty was to listen to an annual speech by Napoleon, the new First Consul, and to adopt the laws proposed by the Council of State, and debated by another new body, the Tribunat.

While Napoleon gave the new legislature little power, he did give their building a new grandeur. In 1806 the Bureau of the Corps Legislatif proposed the construction of a new facade facing the Seine, which would be aligned with and would match that of the Temple of Glory (now the Church of the Madeleine) which Napoleon was building at the end of Rue Royale, to the north of the Place de la Concorde. The new neoclassical facade, designed by architect Bernard Poyet, had twelve corinthian columns in an entirely different style from Italianate 18th century palace behind it, but it was high enough to be visible from the Place de la Concorde and was correctly aligned to be visible from the Madeleine. The original fronton of the facade featured bas-reliefs by sculptor Antoine-Denis Chaudet, showed scenes from the opening of the Corps Legislative in 1806; it showed Napoleon on horseback, offering to the members of the Legislature the flags which had been captured from the Austrians at the Battle of Austerlitz, and the inscription, "To Napoleon I the Great – the Corps Legislatif". In 1810, statues of the goddess Themis, holding a scale in her left hand, and Athena, the symbol of wisdom, were placed in front of the facade on the Seine, along with statues of famous French royal ministers, Maximilien de Béthune, Duke of Sully, Jean-Baptiste Colbert, and Henri François d'Aguesseau, Poyet made two important modifications to the interior;  he added two salons, the Salle des Gardes and the Salon de l'Empereur, which was intended for the use of Napoleon during his rare visits to the building. Both these rooms retain much of their original decor, tromp-l'oeil paintings by Alexandre-Évariste Fragonard, the son of the famous court painter of Louis XIV.

Bourbon Restoration and monarchy of Louis-Philippe: the Chamber of Deputies
After the fall of Napoleon in 1814, the Bourbon monarchy was restored under Louis XVIII, but preserved some of the democratic institutions begun during the Revolution. The new government, like the Directory, featured a legislature with two houses, the Chamber of Deputies and the Senate. The Palais Bourbon was formally returned to its aristocratic owner, the Prince of Condé, who had returned from exile. However, the building had been so modified it was impossible to use as a residence; the Prince rented a large part of the Palace to the new Chamber of Deputies. The first modification made by the new government, in July, 1815, just a month after Napoleon's final defeat at Waterloo, was to erase the inscription to Napoleon, the five bas-reliefs and the numerous Ns and eagles that had been carved on the facades. The bas-relief featuring Napoleon on tn the Seine facade was replaced by a plaster bas relief by Alexandre-Évariste Fragonard of Louis XVIII signing the Charter of 1814, the founding document of the new government. The Chamber of Deputies continued to rent the space until 1827, when it finally bought the building from the heir of the Prince of Condé in 1827, for 5,250,000 francs.

The meeting hall was in deplorable condition, so the Chamber decided on a major renovation. The architect Jules de Joly (1788–1865) who had been official architect of the Chamber since 1821, was selected for the task. The architect proposed four possible new shapes for the hall; an ellipse, rectangle, octagon and hemicycle, but the Chamber decided to keep the original hemicycle. De Joly also was asked to redesign the three salons which faced on the courtyard of honor. The plan was submitted in January 1828, approved in April 1829, the first stone placed on 4 November 1829. Over three hundred workers were engaged on the project, one of the largest undertaken in Paris during the Restoration. Work continued, despite the Revolution of 1830 that brought down the Bourbon Monarchy, and replaced it with a new Constitutional Monarchy. Louis Philippe, the new King, came to take the oath to the Chamber in its temporary meeting place. A second project, that of constructing a library, was commenced April 1831. The new interior was completed in September 1832, and formally inaugurated by the new monarch on 19 November 1832.

The meeting hall of the Deputies kept the same hemicycle form, but the floor was lowered, giving greater height to the ceiling, and increasing the height of the tribune and the desk of the President. A colonnade and balconies, in the form of an arch of triumph, was constructed behind the tribune, giving the appearance of a theatrical stage. The central panel above and behind the tribune was occupied by a large painting of Louis-Philippe taking his oath before the Assembly. Niches were constructed on either side of the tribune, with statues of "Liberty" and "Public Order" by Pradet. The four columns of the arch were decorated with statues representing Force, Justice, Prudence and Eloquence.

The plan by Joly also turned the building around. Under Napoleon, the main entrance, where the Emperor entered for his annual address, was on the Seine, under the grand colonnade. Under the new plan, the main entrance was placed on the courtyard of honor, where a delegation of deputies met the new monarch, Louis-Philippe, when he came to the building each year to open the session. To give this entrance greater prominence, Joly constructed a neoclassical portico with four Corinthian columns, modeled after the ancient Roman temple of Jupiter Stator. Joly's project greatly increased the interior space of the building, adding three new salons (now the Salons Delacroix, Casimir-Pierier, Abel-de-Pujol. Under the new plan, it was possible to go from one wing of the building to the other without having to cross the courtyard or pass through the meeting chamber. In 1837 a new project was begun to finish the exterior decoration, particularly on the facade facing the Seine. The original three bas-reliefs on the facade beneath the colonnade had been removed with the fall of the Empire, and were not replaced; but two new works replaced other Napoleonic bas reliefs; Prometheus animating the arts by Rude and Public Education by James Pradier. The bas-relief on the Fronton, which had originally depicted Napoleon bringing the flags of Austerlitz to the Assembly, was replaced by a new work by Corton entitled France supported by Force and Justice. For the new entry portico on the court of honor, Joly commissioned two new statues by Gayard; titled France and Liberty. These two statues were not installed until 1860, under Napoleon III, and were given new names;  "Force"  and France deposits her ballot in the voting urn.

The interior minister of Louis-Philippe, and future President of France, Adolphe Thiers, oversaw the interior decoration of the Assembly. He selected a promising young painter Eugène Delacroix, just 25 years old, to paint murals for the Salon of the King (Salon du Roi), though the King, Louis-Philippe, in fact detested Delacroix's style. Between 1833 and 1838 Delacroix created a series of allegorical figures representing Justice, Truth, Prudence, War, Industry, and Agriculture. The murals are preserved in what is now called the Salon Delacroix. Another Salon, known as the Salon de la Paix or Salon des pas perdus, was decorated with allegories by Horace Vernet, illustrating two themes important to Louis Philippe; peace in Europe and the expansion of commerce and industry. They showed French ships carrying goods from the new French colonies in Africa, ships in the port of Marseille, the textile mills of Lyon, and a locomotive of the new railways. A third salon was painted by Abel de Pujol, who painted scenes from the history of governments in France, from Charlemagne to Louis-Philippe.

The project of reconstruction included a new library, on the east side of the Palace. The style was highly classical, and resembled that of the ancient Roman baths; pillars supported five cupolas, over a gallery closed by two semi-circular bays. The lighting came from a recent innovation, skylights; it was later copied in the new National Library of France. The painter Eugène Delacroix was commissioned to paint the interior, a project which lasted from 1838 until 1846. Supported by a team of assistants, Delacroix painted the five cupolas and the two hemicycles of the library with a series of allegorical paintings on the themes of philosophy, natural history, legislation, eloquence, literature, poetry and theology; a panorama of all the aspects of civilization.

Despite the new construction, the Chamber of Deputies was still desperately short of space for meeting rooms and offices. The President of the Parliament lived far from the Palace – first on rue de Lille, then on Place Vendôme; and the Duke of Bourbon still occupied the west wing of the Palais. The Chamber purchased the west wing of the Palace in 1830, and the Hôtel de Lassay in 1843. Joly once again was the architect chosen to redo the building; his plan called adding another story and restoring, as much as possible, the original italianate style, both inside and outside. The result was a building which was more intimate and elegant than its neoclassical neighbor. The work was begun in 1845, and was nearly finished when the 1848 French Revolution broke out. After days of turmoil and fighting, the King abdicated and departed France, and the Chamber of Deputies was dissolved, opening the way for the French Second Republic.

The Second Republic and Second Empire (1848–1870)
Following the Revolution in February 1848, France and its legislature entered a turbulent period. The enormous painting of Louis Philippe taking his oath to the nation, over the tribune in the Chamber of Deputies was taken down, and replaced by a Gobelin tapestry of the painting of Raphael, The School of Athens, made between 1683 and 1688. The Chamber of Deputies elected in 1846 was abruptly disbanded by the February Revolution. A new election by direct universal suffrage chose a Constituent Assembly. The Constituent Assembly met for the first time in the temporary chamber which had been constructed  in the garden of the Palais Bourbon, and the on 4 May the French Second Republic was proclaimed at the Palais Bourbon. On May 15 a mob with red flags invaded the chamber, demanding a much more radical government. Another unsuccessful attempt to seize the government was launched by in June 1848. A new National Assembly was elected, and a new president, Louis Napoleon Bonaparte, the nephew of the Emperor, who had lived most of his life in exile. On December 2, 1851, when the Assembly refused to change the Constitution to allow him to run for a second term, Louis Napoleon organized a coup d'état, took power, and had himself proclaimed Emperor Napoleon III, bringing an end to the Second Republic. Opposition deputies were arrested and exiled. The Assembly continued to meet in the Palais Bourbon, but had little influence over the Emperor or the government. They were not allowed to speak from the Tribune, but only from the floor of the Chamber.

After 1860, the Emperor liberalized the regime, giving the deputies greater influence, freedom of speech and the press was reestablished, and debates resumed in the Palais Bourbon. On 31 May 1861 the halls resounded to a musical and theatrical evening from the Bouffes Parisiens company which included the premiere of Offenbach's M. Choufleuri restera chez lui le . . .. In 1870, the Assembly voted with patriotic enthusiasm for a war with Prussia, despite the opposition of a few deputies, including Adolphe Thiers, but in a matter of weeks the French army was defeated, the Emperor was captured, and on 2–3 September the French Third Republic was founded.

The Third Republic (1871–1940)
After the defeat at Sedan, A provisional government of Parliament leaders was formed, and tried to continue the war, but Paris was soon surrounded by the Germans. The leader of the provisional government, Léon Gambetta, had to escape from Paris by balloon. The Palais Bourbon was abandoned; the Assembly moved first to Bordeaux, then to Versailles. The Paris Commune seized power in the city in March 1871, but in May was suppressed by the French Army. The Palais Bourbon escaped destruction, unlike the Tuileries Palace, Hotel de Ville, the Palace of Justice, State Council and other government buildings, which were set afire in the last days of the Commune. While the French Senate returned to Paris soon after the suppression of the Commune, the Assembly remained in Versailles until 27 November 1879.

The new Assembly of the Third Republic was considerably larger than that of early governments, with 531 deputies, compared with 260 under the Second Empire. The new President of the Chamber, Léon Gambetta, called for a study and plan to enlarge the meeting space. A long series of enlargement plans were considered between 1879 and 1913, but none were ever approved.

During the Third Republic, the Palais Bourbon was the home of the primary institution of the French government. The Assembly selected the President of France, and controlled finances and foreign policy. Its membership divided between constitutional monarchists and conservatives, who sat to the right of the Chamber as seen from the podium, and the moderate and radical republicans and later socialists, who sat to the left. The chamber saw many eloquent and spirited debates between the leaders of the parties, and sometimes turmoil. In 1898, during the Dreyfus affair, the socialist leader Jean Jaurès was struck by a monarchist deputy while giving a speech in the Chamber, and a bomb placed by an anarchist exploded in the gallery in 1890. The Assembly declared war in 1914 and celebrated victory in 1918, but was badly divided in the 1930s and was unable to manage the economic crisis and the approach of World War II.

World War II and Fourth and Fifth Republics
In June 1940, as the German army approached the capital, the government and Assembly abandoned Paris and moved first to Tours; then to Bordeaux; and then, under the Pétain Government, to Vichy. The Germans used the Palais Bourbon as the military court for the Luftwaffe, and it also housed the offices of the French bureau which sent French workers to factories in Germany. German propaganda banners decorated the Seine facade of the Palace. During the liberation of Paris in August 1944, parts of the Palace were badly damaged. A fire in the library started by the fighting destroyed twenty thousand books. Philippe de Gaulle, the son of Charles de Gaulle, was sent from Montparnasse Station on 25 August 1944 with orders for the Germans troops entrenched within National Assembly at the Palais Bourbon to surrender. Despite the risk of being killed alone and unarmed, he negotiated their surrender.

The Fourth Republic was founded by the adoption of a new Constitution in 1946 and brought new technology to the Palais Bourbon, including the first microphones for speakers, but featured a large number of political parties and unstable coalitions which frequently collapsed. The Algerian Crisis of 1956 brought an end to the Fourth Republic, the approval of a new Constitution, and the adoption of the still-existing Fifth Republic.

The Court of Honor
The Court of Honor, to the south of the Palais, has been the main entrance since the original palace was constructed. It was considerably modified in the 1830s, with the addition of the ceremonial portico over the doorway, but still retains its original outlines. The sculptures on either side of the entrance represent Universal Suffrage and the Law. They were added during the Second Empire in 1860. The granite ball on a pedestal in the centre of the courtyard, called the Sphere of Human Rights, is by the American sculptor Walter De Maria. It was added in 1989 to commemorate the bicentennial of the French Revolution.

Meeting chamber
The salle des Séances, or meeting chamber of the Palais Bourbon, has the same basic appearance and arrangement as it did in 1832. By the French Constitution, the Assembly is in session for nine months, from the beginning of October until the end of June, but the deputies can be summoned at any time for a special session by the President of the Republic. The 577 deputies, elected for five-year terms, are seated in the hemicycle, with the deputies of the socialists and other parties of the left seated to the left of the speaker, and those of the more conservative parties to the right. The President of the Assembly is seated in the Perchoir, or perch, a desk high up against the wall of the chamber, at the height of the highest back row, symbolizing that the President is a deputy like the others. The armchair was designed by Jacques-Louis David for the Council of Five Hundred, the first legislature to meet in the building.

Deputies vote electronically by pushing a button, and the count is displayed at the front of the Chamber. The sessions of the Chamber are open to the public though access must be requested through the office of a deputy. The sessions are also transmitted live on the Internet site of the Assembly.

Salons
The salons of the Palais Bourbon were created during the reign of Louis-Philippe and were decorated by prominent artists, most notably Eugène Delacroix.
 * The Salle Casimir-Périer is a wide corridor with a vaulted ceiling which connects the Assembly Chamber with the salons and with the Courtyard of Honor. The architecture is inspired by that of an ancient Roman basilica. Its primary decoration is a massive bronze bas-relief depicting the first meetings of the Assembly during the French Revolution, by sculptor Jules Dalou. It was originally designed for a monument to the Revolution that was never constructed and was then, at the request of Assembly President Leon Gambetta, cast in bronze for the Palais Bourbon. It is m long and m high, and weighs four tons. The hall also includes six statues of illustrious members of the Assembly by different themes: statues of Mirabeau and Maximilien Sébastien Foy representing resistance to absolute governments; statues of Jean Sylvain Bailly and Casimir Périer representing resistance to popular sedition; and statues celebrating the authors of the French Civil Code, Jean-Étienne-Marie Portalis and François Denis Tronchet. The decoration also includes bas-reliefs under the ceiling at either end representing Law as the protector, and law avenging injustice. The lunettes illuminating the hall also have sculptural decoration, representing Meditation, Justice, Peace, Work, Industry, Commerce, Force, War, Maritime commerce and Agriculture. This hall is the place in which members of the Government gather before they go into the Chamber on Tuesdays and Wednesdays, when they answer questions from the Deputies.
 * The Salon Delacroix was decorated by Delacroix beginning when the artist was just twenty-five years old. It was originally called the Salon de Roi and was meant as a place in which Louis-Philippe could meet with the Deputies when he came to the Chamber. The work was completed in 1836. The dominant elements of the decoration are four allegorical figures, which, according to Delacroix, symbolised "the living forces of the State; Justice, Agriculture, Industry and War". Two grisaille allegorical paintings of the Ocean and the Mediterranean decorate the west wall. The niche between these paintings originally held the throne used by Louis-Philippe during his visits to the Palais Bourbon. The salon is now used as a gathering place for Deputies of the left, whose seats are just inside, and informal parliamentary negotiations often take place here.
 * The Salle des Pas-Perdus originally contained a bedroom and baths in the residence of the Duchess. It was transformed into a formal hall during the reign of Louis-Philippe, was decorated with paintings by Horace Vernet and Charles Séchan and was finished in 1839. The centrepiece of the decoration by Vernet is the painting Peace distributes her benefits, flanked by The Genius of steam, representing a steam railroad locomotive, newly introduced to France; and the Genius of Steam chasing the gods of the Sea, featuring a steamship. Following a tradition begun under Louis Phillipe, the President of the Assembly walks through the room on his way from the Hotel de Lassay to the afternoon session in the Hemicycle. When he arrives in the room, drums sound, and he walks through two ranks of Republican Guards with swords who salute his passage.
 * The Salon Abel de Pujol was created and decorated in 1838–1840 under Louis Philippe. It takes its name from the neoclassic artist Abel de Pujol who painted the grisailles on the ceiling, which illustrate the role of French monarchs in the establishment of law; Clovis I, the author of the first French laws; Charlemagne; Louis IX (Saint Louis); and Louis-Philippe himself, by the charter of 1830, which established his government. Today, the Salon is used especially as a gathering place for deputies of the right during sessions of the Assembly, where they negotiate last-minute changes and tactics.
 * The Salon des quatre colonnes is decorated with several works of sculpture which originally stood in the chamber of the Council of 500 in 1798, and were removed during the reconstruction of 1832; statues of ancient legislators; Brutus, Lycurgus, Solomon and Cato. On either side of the doorway to the Assembly Chamber are busts of two famous deputies symbolizing the right and the left; the Christian Democrat Albert de Mun and the socialist Jean Jaurès. A marble monument shows the names of deputies killed in the First World War, and a statue of the Republic commemorates the deputies and Assembly officers who died in the Second World War. The room is used today during Assembly sessions for stand-up television interviews with deputies.

Library
The Library was built beginning in 1830 against the side of the original Palais. The design is architect Jules de Joly, in the style of the ancient Roman baths. with pillars supporting five cupolas, which provide light. It is closed at either end by curved bays. The decoration, by Eugène Delacroix and a team of assistants, was done between 1838 and 1847. The paintings on the ceiling around each of the cupolas represents a different branch of human knowledge; poetry; theology, legislation, philosophy and the sciences. The stories that illustrate the themes were taken from antiquity, rather than from French history. They represent the great thinkers (Ovid, Demosthenes, Herodotus, and Aristotle, as well as scenes representing the dangers to democracy and civilization; the death of Saint John the Baptist, the death of Seneca the Younger, and the murder of Archimedes by a Roman soldier. The large paintings on the bays at either end of the room represent Orpheus bringing the benefits of the arts and civilization and Attila and his barbarian hordes at the feet of Italy and the Arts.

The original collection of the library was assembled from books confiscated from the libraries of the clergy and aristocracy who left Paris during the Revolution. It also includes many rare items donated to the Assembly, including the minutes of the trial of Joan of Arc, the manuscripts of Jean-Jacques Rousseau, donated by his widow in 1794, and the Codex Borbonicus, an Aztec codex written by Aztec priests shortly before or after the Spanish conquest of the Aztec Empire. The library is reserved for he use of the members of the Assembly and their staffs and is not open to the public.

Salle des conférences and Deputies Buffet
The Salle des Conférences is a large room with tables and lamps on the east side of the Hemicycle, where the Deputies can read, talk and check their messages. It was originally the dining room of the Prince de Condé and was transformed in 1830 into its present use. The ceiling is richly decorated with paintings by Heim on the history of the monarchy and parliaments and on by the fireplace are large historical paintings on parliamentary subjects; Philip le Bel Brings assembles the Estates General in the Cathedral of Notre-Dame by Auguste Vinchon, and The Patriotic Devotion of the Bourgeois of Calais by Ary Scheffer.

Next to the Salle des conférences is the Deputies Buffet, which was created in 1994 in the Belle Époque style and renovated in the same style in 1997. It is reserved exclusively for the use of current and former deputies.

Hôtel de Lassay
The adjacent Hôtel de Lassay, connected by a gallery to the Palais Bourbon, serves as the official residence of the National Assembly's president. The building underwent a major reconstruction in 1846–48 (see history), which added an additional story, but the 18th-century style of the exterior and interior layout of the building was preserved.

The Cabinet du Départ takes its name from its function; the President of the Assembly departs from this room when a bell announces that the 3:00 p.m. session of the Assembly is about to begin. The room is lavishly decorated with a carpet from the period of Louis XIV, originally in Grand Gallery of the Louvre Palace; and a tapestry which reproduces that tapestry of the School of Athens by Raphael that hangs over President's seat in the Assembly Chamber. The room was the original study of the house before the Revolution. The desk was brought from the Chateau of Versailles in 1794 during the Revolution for the use of the Committee of Public Safety.

The Salon des Jeux is a conference room on the ground floor of the residence, where the President of the Assembly meets with other Assembly leaders to set the agenda for the sessions. It takes its name from an illustration over the door of a game of lawn bowling by the 18th-century artist Heim.

The Salle des fêtes and the Galerie des tapisseries are located in the building that connects the Hotel de Lassay with the Palais Bourbon. The Salle des fêtes was built between 1846 and 1849, replacing an early wooden passage built in 1809. It is used today for expositions, ceremonies for visiting dignitaries, and the annual New Years greeting by the President of the Assembly. The Gallerie des tapisseries was created in 1860, during the Second Empire, to display a collection of paintings. The paintings were removed in 1865 and replaced in 1900 by a set of nine Beauvais tapestries.

Contemporary art
The Palais Bourbon contains several installations of contemporary art. One is a work of modern sculpture, a large granite sphere on a marble pedestal, by the American sculptor Walter De Maria, which was installed in the Courtyard of Honor in 1989, to mark the 200th anniversary of the French Revolution. His design was selected after an international competition; the granite sphere contains a small heart made of gold.

A work by the Belgian artist Pierre Alechinsky was created in 1992 and occupies a small rotunda along the passageway between the Hotel de Lassay and the Palais Bourbon. It is titled "The Fragile Garden" and illustrates the words of the poet Jean Tardieu: "Men search for the light in a fragile garden where the colors tremble."

The Salon of Marianne, created in 2004, displays busts of Marianne, the symbol of the Republic from different periods and in different styles. It has displayed since 2015 a work by the American graffiti artist JonOne, called Liberté, Egalité, Fraternité. Based on Delacroix's famous Liberty Leading the People, it symbolises Youth, the Future and Hope.

There are other notable contemporary works on display in the Palais Bourbon by Hervé Di Rosa, Djamel Tatah, Vincent Barré and Fabienne Verdier.

title: Palais Bourbon