text:
Engineers make precision measurements to some of the final splices on the LHC. Splices connect superconducting cables within the accelerator. _(Credit: CERN)_ What began as a bump has turned out to be nothing more than a statistical ghost. Physicists at the International Conference on High Energy Physics in Chicago announced today that the much-discussed 750 GeV aberration in their data discovered by the Large Hadron Collider at the end of last year disappeared upon further testing. "There is no excess seen in the 2016 data particularly around 750 GeV, confirms Bruno Lenzi, a physicist at CERN. "All over the mass range the data is consistent with the background only hypothesis."

Chances Are...

It was thought that the bump indicated the presence of a much larger particle new to physics, which could have held exciting implications for everything from the search for dark matter to quantum gravity. In December, two separate experiments at the newly-renovated LHC announced a puzzling surplus of photon pairswith a combined mass of 750 GeV, more than six times the mass of the Higgs boson. It was thought that the excess could be explained by a new particle at that mass which decays into photon pairs. At the time, the researchers didn't have enough evidence to say definitively whether a new particle existed or not, but the announcement nevertheless led to over 500 papers offering theories as to what the bump could be. Further rounds of tests over the winter, spring and summer probed the mystery. With today's announcement, however, it is clear that what could have been a groundbreaking discovery is no more than the product of chance.

[3D-cut-dipole-tunnel-montage-photo-corr02-1024x683-1024x683.jpg]

_(Credit: CERN)_ These kinds of false trails occur in physics fairly often, where preliminary data shows something that vanishes upon further inspection. This latest illusion was more believable than most, not least because it was observed by two different experiments. The odds of it being chance were calculated to be between 1 in 10 and 1 in 20, depending on which experiment you looked at.

Standard Model Still Stands

Discovering a new particle could have revolutionized what physicists know about the Standard Model, a decades-old framework encompassing three of the four fundamental interactions and all of the currently known subatomic particles. So far, the Standard Model has resisted all attempts at refutation. The discovery of the Higgs boson in 2013 fleshed out a core component of the theory, creating an apparently solid basis for our understanding the universe. And that's a big problem for physics. The Standard Model might work theoretically, but it doesn't match up with what we observe to be true in our world. It can't explain the expansion of the universe and the skewed ratio between matter and antimatter, for example. An updated version of the model, called Supersymmetry, or SUSY for short, posits that each particle in our universe should have a heavier twin that interacts with our world only very faintly. This could explain why things like dark matter exist. "There are things that point at it being incomplete and we don't know how to fix it up," says Chris Meyer, a post-doctoral researcher at CERN. "So the more evidence we have of things that don't necessarily fall into it right now, the more theorists can work on to complete the standard model." Those aberrations didn't appear. It was hoped that the latest upgrade to the LHC, which more than doubled its power and nearly reached its limits, would extend physicists' view far enough that they could capture some of the theorized particles. Not doing so paints a grim picture for the future of physics: having stretched our capabilities so far in search of new particles, is it worth going any further? The LHC is expensive, and public support for high-risk projects is tenuous at best.

One Step Forward Two Steps Back

Physics is a discipline defined by setbacks, and random bumps in the data are hardly unheard of. Even the search for the Higgs boson faltered at points. The question now is where to turn. "We measure the things very well that we know are there, especially the Higgs boson which is very recent, and if there is nothing else they find that is new, we need to start exploring other types of experiments," says Meyer. Matthew Buckley, a theoretical physicist at Rutgers University agrees. "They’re reaching the point where they can really start excluding or finding particles up at much higher masses than they ever could before. I don't think they're going to have results out on every possible thing we could be interested in," he says. It marks a turning point for physics. While exciting new results may still emerge from the LHC, this latest disappointment makes it more unlikely. Nevertheless, the LHC will still play an important role in years to come as researchers attempt to pin down the properties of the Higgs boson and gain more insight into how subatomic particles behave. Researchers at the LHC are still combing through data from both the first run, which ended in 2013, as well as the second run, which is currently ongoing. Some of the interactions they hope to observe happen almost vanishingly rarely, meaning that the potential for new discoveries from the LHC is far from exhausted "It should be said that everybody would be happy if were to find something new immediately," says Tiziano Camporesi, spokesperson for the CMS experiment at the LHC. "That would mean that nature is being kind to us, but nature can be more subtle than that." In addition, there are experiments around the world searching other aspects of fundamental physics, such as the Ice Cube Neutrino Observatory at the South Pole, the LIGO detectors which this year found evidence for gravitational waves and the Gran Sasso lab in Italy which is searching for dark matter directly. "What we’re doing is very difficult and the universe never promised us that new physics would be easy to find," says Buckley.

question: What happened to the 750 GeV aberration found in the physicists' work?

answer: It disappeared upon further testing.

question: What were the initial thoughts on the anomaly?

answer: The physicists initially thought the bump indicated a presence of a particle new to physics.

question: How often do these false trails appear in physics?

answer: Fairly often.

question: How important would discovering a new particle have been?

answer: Discovering a new particle in physics is always revolutionary.

question: Write a ~5 sentence summary.

answer:
Engineers are required to make precision one of the requirements of their craft. It is no wonder that a small misalignment can be seen to be very important and thoroughly investigated. These investigations sometimes turn up nothing, as the error is found out to be nothing more than a phantom.

The physicists at CERN discovered a 750 GeV aberration in their work, leading them to believe this could be the work of a new particle in physics. Unfortunately, it turns out the error wasn't really there as it disappeared on further testing.


split: train

text:
When we were schoolchildren she always insisted to me that her eyes were aqua colored. I used to goad her saying they were just plain old blue.

Now they were anything but plain old blue. They were the only blue colored things left in the world. They were bluer than the sky, bluer than the ocean. Whenever I looked into her eyes I saw the world when it was still alive.

And from those bluer-than-the-sky-eyes tears formed and started coming down like rain.

I turned my back to her and started down the path again. "We have to keep going."

She wiped away at  her shut eyes, fighting back the tears.

I was reminded of the time I saw the river at the Old Creek and its mighty flow get stifled by the new dams the summer I left. The dams held at first, then they were overrun by the water. The water would always be too strong. It would always overpower anything trying to keep it back.

I knew she would cry again.

I looked ahead but felt a tug at my chest, pained by her display of emotion. I used to cry. Somewhere deep down inside I wanted to. But that feeling to cry was one of the many ghosts inside of me, parts of me long dead that haunt me but will never come back. I drained that river of emotion inside of me the day I saw everything come to an end.

To survive meant letting parts of us inside die to make ourselves immune to our surroundings. The bodies we passed by just a small number of one of the thousands to come. The millions. They no longer move or breathe but the dead still talk. Their contorted figures and pained expressions told me their last moments. They told me my feelings had no reason to come back.

The only feeling that remained was love and it protected us as long as we had each other. We needed to find some place to release ourselves. Somewhere away from all this. A small pasture, the shade of a still living tree, somewhere, anywhere where Mother Nature was still alive, something that still resembled the world before so the departure of our souls after taking our own lives would not be tainted by the death around us.

Even holding a flower would  give us what we needed, a key to our escape from this hell. But we had not yet found such relief. The day before I came across a dandelion on the ground. But it had been waiting so long for the light to touch its face again that the life had been sucked out of it. It lay there, wilted. I never told her I found it.  I didn't want her to know for I feared everything we might find would be dead.

As we went on down the path we held each other tighter than before. Our bodies were getting colder and colder. Ever since the world had been painted the color of death by the heavy killing strokes of the bombs the temperature had dropped steadily every day. Hardly anything stood out in the landscape except for the dead and scorched outlines of buildings, shadows of what used to be.

We were heading to the park we used to play at together when we were children, hoping that we would not discover another grave site, another nightmare waiting for us. We went by memory hoping to find parts of the sidewalk that used to be on the streets but journeying in my mind made the road seem so much longer.

title: Wilted

question: Why will they take their lives?

answer: They no longer have anything to live for. The world has been destroyed. Perhaps there is nothing left to eat since all plant life appears destroyed. So they will starve to death if they don't kill themselves.

question: Why didn't he tell the girl that he had found a dandelion?

answer: The life had been sucked out of it and he feared that that signalled that there was no life left on earth.

question: Why are they getting colder and colder?

answer: The ambient temperatures have been dropping since the bombs dropped. Perhaps the smoke and dust are preventing the sun from warming the earth.

question: Why did the narrator feel that the road felt longer than it should?

answer: He was journeying in his mind as they tried to find parts of the sidewalk that were familiar

question: Write a ~12 sentence summary.

answer:
The narrator tells the girl with the bluest eyes in the world that they have to keep going. He is pained by her tears. The narrator used to cry too until he became drained of emotion when everything came to an end. To survive they have to become immune to the surroundings. Millions have died. The dead no longer breathes but they still talk. Their pained expressions tell of their last moments.

The pair seek some part of nature that is still alive, a small pasture, the shade of a tree so that when they take their lives their departure won’t be tainted by death.

As they walk down the path, they hold each other tighter. They’re getting colder and colder. The temperature has been dropping every day since the bombs destroyed everything. The pair is heading to a park where they used to play as children hoping that they won’t find more death and destruction there.


text:
_BLONDE ON BLONDE_ is the seventh studio album by American singer-songwriter Bob Dylan, released as a double album on June 20, 1966 by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—“One of Us Must Know (Sooner or Later)”. At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.

_Blonde on Blonde_ completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with _Bringing It All Back Home_ and _Highway 61 Revisited_. Critics often rank _Blonde on Blonde_ as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called “a unique mixture of the visionary and the colloquial”.[1] It was one of the first double albums in rock music.

The album peaked at number nine on the _Billboard_ 200 chart in the US, where it eventually was certified double platinum, and it reached number three in the UK. _Blonde on Blonde_ spawned two singles that were top-twenty hits in the US: “Rainy Day Women No. 12 & 35” and “I Want You”. Two additional songs—“Just Like a Woman” and “Visions of Johanna”—have been named as among Dylan's greatest compositions and were featured in _Rolling Stone_{{'}}s 500 Greatest Songs of All Time list.

In 1999, the album was inducted into the Grammy Hall of Fame, and it is on _Rolling Stone_{{'}}s 500 Greatest Albums of All Time list.

Recording sessions

Background

After the release of _Highway 61 Revisited_ in August 1965, Dylan set about hiring a touring band. Guitarist Mike Bloomfield and keyboard player Al Kooper had backed Dylan on the album and at Dylan's controversial electric debut at the 1965 Newport Folk Festival. However, Bloomfield chose not to tour with Dylan, preferring to remain with the Paul Butterfield Blues Band.[2] After backing him at concerts in late August and early September, Kooper informed Dylan he did not wish to continue touring with him.[3] Dylan's manager, Albert Grossman, was in the process of setting up a grueling concert schedule that would keep Dylan on the road for the next nine months, touring the U.S., Australia, and Europe. Dylan contacted a group who were performing as Levon and the Hawks, consisting of Levon Helm from Arkansas and four Canadian musicians: Robbie Robertson, Rick Danko, Richard Manuel and Garth Hudson. They had come together as a band in Canada, backing American rocker Ronnie Hawkins.[4] Two people had strongly recommended the Hawks to Dylan: Mary Martin, the executive secretary of Grossman, and blues singer John Hammond, Jr., son of record producer John Hammond, who had signed Dylan to Columbia Records in 1961; the Hawks had backed the younger Hammond on his 1965 album _So Many Roads_.[5]

Dylan rehearsed with the Hawks in Toronto on September 15, where they were playing a hometown residency at Friar's Club,[6] and on September 24, they made their debut in Austin, Texas.[7] Two weeks later, encouraged by the success of their Texas performance,[8] Dylan took the Hawks into Studio A of Columbia Records in New York City.[9] Their immediate task was to record a hit single as the follow-up to “Positively 4th Street”, but Dylan was already shaping his next album, the third one that year backed by rock musicians.[10]

New York sessions

Producer Bob Johnston, who had overseen the recording of _Highway 61 Revisited_, started work with Dylan and the Hawks at Columbia Studio A, 799 Seventh Avenue, New York, on October 5. They concentrated on a new arrangement of “Can You Please Crawl Out Your Window?”, a song recorded during the _Highway 61 Revisited_ sessions but not included on that album. Three further numbers were attempted, but none progressed into completed songs. Both the fragmentary “Jet Pilot” and “I Wanna Be Your Lover”, a quasi-parody of the Beatles' “I Wanna Be Your Man”, finally appeared on the 1985 box set retrospective, _Biograph_. Also attempted were two takes of “Medicine Sunday”, a song that later evolved into “Temporary Like Achilles”.[11]

On November 30, the Hawks joined Dylan again at Studio A, but drummer Bobby Gregg replaced Levon Helm, who had tired of playing in a backing band and quit.[12] They began work on a new composition, “Freeze Out”, which was later retitled “Visions of Johanna”, but Dylan wasn't satisfied with the results. One of the November 30 recordings was eventually released on _The Bootleg Series Vol. 7: No Direction Home: The Soundtrack_ in 2005.[13] At this session, they completed “Can You Please Crawl Out Your Window?” The song was released as a single in December, but only reached number 58 on the American charts.[14][15]

Dylan spent most of December in California, performing a dozen concerts with his band, and then took a break through the third week in January following the birth of his son Jesse.[16][17] On January 21, 1966, he returned to Columbia's Studio A to record another long composition, “She's Your Lover Now”, accompanied by the Hawks (this time with Sandy Konikoff on drums).[18] Despite nineteen takes, the session failed to yield any complete recordings. Dylan did not attempt the song again, but one of the outtakes from the January 21 session finally appeared 25 years later on _The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991_.[19][20] (Although the song breaks down at the start of the last verse, Columbia released it as the most complete take from the session.[21])

Around this time, Dylan became disillusioned about using the Hawks in the studio. He recorded more material at Studio A on January 25, backed by drummer Bobby Gregg, bassist Rick Danko (or Bill Lee),[22] guitarist Robbie Robertson, pianist Paul Griffin, and organist Al Kooper.[23] Two more new compositions were attempted: “Leopard-Skin Pill-Box Hat” and “One of Us Must Know (Sooner or Later)”. Dylan was satisfied with “One of Us Must Know”; the January 25 take was released as a single a few weeks later and was subsequently selected for the album.[24]

Another session took place on January 27, this time with Robertson, Danko, Kooper and Gregg. Dylan and his band recorded “Leopard-Skin Pill-Box Hat” and “One of Us Must Know (Sooner or Later)” again, but Dylan was not satisfied with the recorded performance of either song.[25] Also at this session Dylan attempted a rough performance of “I'll Keep It with Mine”, a song which he had already recorded twice as a demo. The musicians added some tentative backing in a rendering biographer Clinton Heylin described as “cursory”.[26] The recording was ultimately released on _The Bootleg Series Volumes 1–3_ in 1991.[27]

A shortage of new material and the slow progress of the sessions contributed to Dylan's decision to cancel three additional recording dates. Six weeks later Dylan confided to critic Robert Shelton, “Oh, I was really down. I mean, in ten recording sessions, man, we didn't get one song ... It was the band. But you see, I didn't know that. I didn't want to think that”.[28]

Move to Nashville

Recognizing Dylan's dissatisfaction with the progress of the recordings, producer Bob Johnston suggested that they move the sessions to Nashville. Johnston lived there and had extensive experience working with Nashville session musicians. He recalled how Dylan's manager, Albert Grossman, was hostile to the idea: “Grossman came up to me and said 'If you ever mention Nashville to Dylan again, you're gone.' I said, 'What do you mean?' He said, 'You heard me. We got a thing going here'”.[29] Despite Grossman's opposition, Dylan agreed to Johnston's suggestion, and preparations were made to record the album at Columbia's A Studio on Nashville's Music Row in February 1966.[30]

In addition to Kooper and Robertson, who accompanied Dylan from New York, Johnston recruited harmonica player, guitarist and bassist Charlie McCoy, guitarist Wayne Moss, guitarist and bassist Joe South, and drummer Kenny Buttrey. At Dylan's request, Johnston removed the baffles—partitions separating the musicians so that there was “an ambience fit for an ensemble”.[31] Buttrey credited the distinctive sound of the album to Johnston's re-arrangement of the studio, “as if we were on a tight stage, as opposed to playing in a big hall where you're ninety miles apart”.[32] Dylan had a piano installed in his Nashville hotel room which Kooper would play to help Dylan write lyrics. Kooper would then teach the tunes to the musicians before Dylan arrived for the sessions.[33]

On the first Nashville session, on February 14, Dylan successfully recorded “Visions of Johanna”, which he had attempted several times in New York. Also recorded was a take of “4th Time Around” which made it onto the album and a take of “Leopard-Skin Pill-Box Hat” which did not.[34]

On February 15 the session began at 6 p.m. but Dylan simply sat in the studio working on his lyrics while the musicians played cards, napped and chatted. Finally, at 4 am, Dylan called the musicians in and outlined the structure of the song.[35] Dylan counted off and the musicians fell in, as he attempted his epic composition “Sad Eyed Lady of the Lowlands”. Kenny Buttrey recalled, “If you notice that record, that thing after like the second chorus starts building and building like crazy, and everybody's just peaking it up 'cause we thought, Man, this is it ... This is gonna be the last chorus and we've gotta put everything into it we can. And he played another harmonica solo and went back down to another verse and the dynamics had to drop back down to a verse kind of feel ... After about ten minutes of this thing we're cracking up at each other, at what we were doing. I mean, we peaked five minutes ago. Where do we go from here?”[36] The finished song clocked in at 11 minutes, 23 seconds, and would occupy the entire fourth side of the album.[37]

The next session began similarly—Dylan spent the afternoon writing lyrics, and the session continued into the early hours of February 17, when the musicians began to record “Stuck Inside of Mobile with the Memphis Blues Again”. After several musical revisions and false starts, the fourteenth take was the version selected for the album.[38]

Recording sessions in Nashville

Most accounts of recording _Blonde on Blonde_, including those by Dylan scholars Clinton Heylin and Michael Gray, agree that there were two blocks of recording sessions: February 14–17 and March 8–10, 1966.[39][40] This chronology is based on the logs and files kept by Columbia Records.[41][42]

Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March,[43] and then Dylan resumed recording in Nashville on March 8. On that date, Dylan and the musicians recorded the take of “Absolutely Sweet Marie” that Dylan selected for the album. Historian Sean Wilentz observed that “with the sound of 'Sweet Marie', _Blonde on Blonde_ entered fully and sublimely into what is now considered classic rock and roll”.[44] The same day saw the successful takes of “Just Like a Woman”, and “Pledging My Time”, the latter “driven by Robertson's screaming guitar”.[45]

According to Wilentz the final recording session, on March 9–10, produced six songs in 13 hours of studio time.[46] The first number to be recorded to Dylan's satisfaction was “Most Likely You Go Your Way and I'll Go Mine”, when McCoy reinforced on trumpet a musical phrase Dylan played on his harmonica, changing the sound of the song radically.[47] Dylan and his band then quickly recorded “Temporary Like Achilles”. The session atmosphere began to “get giddy” around midnight when Dylan roughed out “Rainy Day Women No. 12 & 35” on the piano.[48] Johnston recalled commenting; “That sounds like the damn Salvation Army band”. Dylan replied; “Can you get one?”[49] Johnston then telephoned trombonist Wayne Butler, the only additional musician required, and Dylan and the band, with McCoy again on trumpet, played a high-spirited version of the song.[50]

In quick succession Dylan and the musicians then recorded “Obviously 5 Believers” and a final take of “Leopard-Skin Pill-Box Hat” powered by Robertson's lead guitar.[51] The session concluded with “I Want You” on which, as Wilentz notes, “Wayne Moss's rapid-fire sixteenth notes on the guitar” are an impressive element of the recording.[52]

Disagreement over Nashville recording dates

Al Kooper, who played keyboards on every track of _Blonde on Blonde_, has contested the conventional account that there were two blocks of recording sessions in Nashville. In comments on Michael Gray's website, Kooper wrote: “There was only ONE trip to Nashville for Robbie and I, and ALL THE TRACKS were cut in that one visit”, stating that Dylan merely broke for an outstanding concert. Charlie McCoy agreed with Kooper's version.[53] Wilentz analyzed the recording of _Blonde on Blonde_ in his book _Bob Dylan in America_, concluding that the “official” documented version fits Dylan's known touring schedule, and notes that five of the eight songs first recorded after “Stuck Inside of Mobile with the Memphis Blues Again”, but none of those recorded earlier, include a middle-eight section—Dylan's first extensive foray as a writer into that conventional structure".[54]

Mixing

Dylan mixed the album in Los Angeles in early April, before he departed on the Australian leg of his 1966 world tour.[55][56] Wilentz writes that it was at this point it became “obvious that the riches of the Nashville sessions could not fit onto a single LP”,[57] and they had “produced enough solid material to demand an oddly configured double album, the first of its kind in contemporary popular music”.[58] According to producer Steve Berkowitz, who supervised the reissue of Dylan's LPs in mono as _The Original Mono Recordings_ in 2010, Johnston told him that they carefully worked on the mono mix for about three or four days whereas the stereo mix was finished in about four hours.[59]

Origin of album title

Al Kooper recalled that both the album title, _Blonde on Blonde_, and song titles arrived during the mixing sessions. “When they were mixing it, we were sitting around and Bob Johnston came in and said, 'What do you want to call this?' And [Bob] just like said them out one at a time ... Free association and silliness, I'm sure, played a big role.”[60] Another Dylan chronicler, Oliver Trager, notes that besides spelling out the initials of Dylan's first name, the album title is also a riff on _Brecht on Brecht_, a stage production based on works by German playwright Bertolt Brecht that had influenced his early songwriting.[61] Dylan himself has said of the title: “Well, I don't even recall exactly how it came up, but I know it was all in good faith ... I don't know who thought of that. I certainly didn't.”[62]

Songs

Side one

“Rainy Day Women No. 12 & 35”

According to author Andy Gill, by starting his new album with what sounded like “a demented marching-band ... staffed by crazy people out of their mind on loco-weed”, Dylan delivered his biggest shock yet for his former folkie fans.[63] The elaborate puns on getting stoned combine a sense of paranoiac persecution with “nudge-nudge wink-wink bohemian hedonism”.[64] Heylin points out that the Old Testament connotations of getting stoned made the Salvation Army-style musical backing seem like a good joke. The enigmatic title came about, Heylin suggests, because Dylan knew a song called “Everybody Must Get Stoned” would be kept off the airwaves. Heylin links the title to the Book of Proverbs, chapter 27, verse 15: “A continual dropping in a very rainy day and a contentious woman are alike.”[65] Released as a single on March 22, 1966,[66] “Rainy Day Women” reached number two on the _Billboard_ singles chart[67] and number seven in the UK.[68][69]

“Pledging My Time”

Following the good-time fun of “Rainy Day Women No. 12 & 35”, the Chicago blues-influenced “Pledging My Time” sets the album's somber tone.[70][71] It draws on several traditional blues songs, including Elmore James's recording of “It Hurts Me Too”.[72] For critic Michael Gray, the lines “Somebody got lucky but it was an accident” echo the lines “Some joker got lucky, stole her back again” from Robert Johnson's “Come On in My Kitchen”, which is itself an echo of Skip James's 1931 recording “Devil Got My Woman”. Gray suggests that “the gulping movements of the melodic phrases” derive from the melody of “Sitting on Top of the World”, recorded by the Mississippi Sheiks in 1930.[73] The couplet at the end of each verse expresses the theme: a pledge made to a prospective lover in hopes she “will come through, too”.[74][75] Besides Dylan's vocals and improvised harmonica breaks, the song's sound is defined by Robbie Robertson's guitar, Hargus “Pig” Robbins's blues piano and Ken Buttrey's snare drum rolls.[76][77] The song was released in edited form as the B-side of “Rainy Day Women No. 12 & 35” in March.[78]

“Visions of Johanna”

Considered by many critics one of Dylan's masterpieces,[79][80][81] “Visions of Johanna” proved difficult to capture on tape. Heylin places the writing in the fall of 1965, when Dylan was living in the Hotel Chelsea with his wife Sara.[82] In the New York recording studio, on November 30, Dylan announced his epic composition: “This is called 'Freeze Out'.”[83] Gill notes that this working title captures the “air of nocturnal suspension in which the verse tableaux are sketched ... full of whispering and muttering.”[84] Wilentz relates how Dylan guided his backing musicians through 14 takes, trying to sketch out how he wanted it played, saying at one point, “it's not hard rock, The only thing in it that's _hard_ is Robbie.”[85] Wilentz notes that, as Dylan quiets things down, he inches closer to what will appear on the album.[86]

Ten weeks later, “Visions of Johanna” fell into place quickly in the Nashville studio. Kooper recalled that he and Robertson had become adept at responding to Dylan's vocal and also singled out Joe South's contribution of “this throbbing ... rhythmically amazing bass part”.[87] Gill comments that the song begins by contrasting two lovers, the carnal Louise and “the more spiritual but unattainable” Johanna. Ultimately, for Gill, the song seeks to convey how the artist is compelled to keep striving to pursue some elusive vision of perfection.[88] For Heylin, the triumph of the song is in “the way Dylan manages to write about the most inchoate feelings in such a vivid, immediate way.”[89]

“One of Us Must Know (Sooner or Later)”

When Dylan arrived at the studio on January 25, 1966, he had yet to work out the lyrics and title for what was to become the closing track on _Blonde on Blonde_{{'}}s first side.[90][91][92] With Dylan piecing together the song's sections, and the chorus that gives the song its title only emerging on take five, the session stretched through the night and into the next morning.[93] Only on the 15th take was a full version recorded. Dylan and the band persisted until they recorded take 24, which closed the session and made it onto the album four months later.[94] Critic Jonathan Singer credits Griffin's piano for binding the song together: “At the chorus, Griffin unleashes a symphony; hammering his way up and down the keyboard, half Gershwin, half gospel, all heart. The follow-up, a killer left hand figure that links the chorus to the verse, releases none of the song's tension.”[95]

“One of Us Must Know” is a straightforward account of a burned-out relationship.[96] Dissecting what went wrong, the narrator takes a defensive attitude in a one-sided conversation with his former lover.[97][98] As he presents his case in the opening verse, it appears he is incapable of acknowledging his part or limiting the abuse: “I didn't mean to treat you so bad. You don't have to take it so personal. I didn't mean to make you so sad. You just happened to be there, that's all.”[99][100] “One of Us Must Know” was the first recording completed for _Blonde on Blonde_ and the only one selected from the New York sessions.[101] The song was released as the first single from the album on February 14, the same day Dylan began to record in Nashville.[102] It failed to appear on the American charts, but reached number 33 in the UK.[103][104]

Side two

“I Want You”

Andy Gill notes that the song displays a tension between the very direct tone of the chorus, the repeated phrase “I want you”, and a weird and complex cast of characters, “too numerous to inhabit the song's three minutes comfortably”, including a guilty undertaker, a lonesome organ grinder, weeping fathers, mothers, sleeping saviors, the Queen of Spades, and the “dancing child with his Chinese suit”.[105][106] Analyzing the lyrics' evolution through successive drafts, Wilentz writes that there are numerous failures, “about deputies asking him his name ... lines about fathers going down hugging one another and about their daughters putting him down because he isn't their brother”. Finally Dylan arrives at the right formula.[107]

Heylin points out that the “gorgeous” tune illustrates what Dylan explained to a reporter in 1966: “It's not just pretty words to a tune or putting tunes to words ... [It's] the words and the music [together]—I can hear the sound of what I want to say.”[108] Al Kooper has said that of all the songs that Dylan outlined to him in his hotel, this was his favorite, so Dylan delayed recording it to the very end of the Nashville sessions, “just to bug him”.[109] Released as a single in June 1966, shortly before the album, “I Want You” reached number 20 in the US[110] and number 16 in the UK.[111]

“Stuck Inside of Mobile with the Memphis Blues Again”

Recorded at the third Nashville session, this song was the culmination of another epic of simultaneous writing and recording in the studio. Wilentz describes how the lyrics evolved through a surviving part-typed, part-handwritten manuscript page, “which begins 'honey but it's just too hard' (a line that had survived from the very first New York session with the Hawks). Then the words meander through random combinations and disconnected fragments and images ('people just get uglier'; 'banjo eyes'; 'he was carrying a 22 but it was only a single shot'), before, in Dylan's own hand, amid many crossings-out, there appears 'Oh MAMA you're here IN MOBILE ALABAMA with the Memphis blues again'.”[112]

Inside the studio, the song evolved through several musical revisions. Heylin writes, “It is the song's arrangement, and not its lyrics, that occupies the musicians through the wee small hours.”[113] On the fifth take, released in 2005 on the _No Direction Home Soundtrack_, midtake Dylan stumbles on the formula “Stuck _inside of_ Mobile” on the fourth verse, and never goes back.[114] The song contains two oft-quoted pieces of Dylan's philosophy: “Your debutante just knows what you need/ But I know what you want” and “here I sit so patiently/ Waiting to find out what price/ You have to pay to get out of/ Going through all these things twice”.[115]

“Leopard-Skin Pill-Box Hat”

“Leopard-Skin Pill-Box Hat” is a satire of materialism, fashion and faddism.[116][117] Done in Chicago-blues style, the song derives its melody and part of its lyrics from Lightnin' Hopkins's “Automobile (Blues)”.[118][119] Paul Williams writes that its caustic attitude is “moderated slightly when one realizes that jealous pique is the underlying emotion”.[120] The narrator observes his former lover in various situations wearing her “brand new leopard-skin pill-box hat”, at one point finding his doctor with her and later spying her making love with a new boyfriend because she “forgot to close the garage door”. In the closing lines, the narrator says he knows what her boyfriend really loves her for—her hat.[121]

The song evolved over the course of six takes in New York, 13 in the first Nashville session, and then one on March 10, the take used for the album.[122] Dylan, who gets credit on the liner notes as lead guitarist, opens the song playing lead (on the center-right stereo channel), but Robertson handles the solos with a “searing” performance (on the left stereo channel).[123][124] A year after the recording, “Leopard-Skin Pill-Box Hat” became the fifth single released from _Blonde on Blonde_, making it to number 81 on the _Billboard_ Hot 100.[125][126]

“Just Like a Woman”

According to Wilentz's analysis of the session's tapes, Dylan felt his way into the lyrics of one of his most popular songs, singing “disconnected lines and semi-gibberish” during the earlier takes. He was unsure what the person described in the song does that is just like a woman, rejecting “shakes”, “wakes”, and “makes mistakes”.[127] This exploration of female wiles and feminine vulnerability was widely rumored—“not least by her acquaintances among Andy Warhol's Factory retinue”—to be about Edie Sedgwick.[128] The reference to Baby's penchant for “fog ... amphetamine and ... pearls” suggests Sedgwick or a similar debutante, according to Heylin.[129]

Discussing the lyrics, literary critic Christopher Ricks detects a “note of social exclusion” in the line “I was hungry and it was your world”.[130] In response to the accusation that Dylan's depiction of female strategies is misogynistic, Ricks asks, “Could there ever be any challenging art about men and women where the accusation just didn't arise?”[131] The song reached number 33 in the US.[132]

Side three

“Most Likely You Go Your Way and I'll Go Mine”

A bright blues “stomper” about lovers parting, “Most Likely You Go Your Way And I'll Go Mine” is one of the more literal songs Dylan recorded in 1965–66.[133][134] The narrator has tired of carrying his lover and is going to let her “pass”.[135][136] As in “Just Like a Woman” and “Absolutely Sweet Marie”, he waits until the end of each verse to deliver the punch line, which in this case comes from the title.[137] “Most Likely You Go Your Way” was issued as a single a year later, in March 1967, on the B-side of “Leopard-Skin Pill-Box Hat”.[138]

“Temporary Like Achilles”

This slow-moving blues number is highlighted by Hargus “Pig” Robbins's “dusky barrelhouse piano”[139] and Dylan's “brief wheeze of harmonica”.[140] The narrator has been spurned by his lover, who has already taken up with her latest boyfriend.[141][142] Calling his rival “Achilles”, the narrator senses the new suitor may be discarded as quickly as he was.[143][144] The refrain that ends each of the main verses—“Honey, why are you so hard?”—is a double entendre Dylan had been wanting to work into a song.[145][146][147]

“Absolutely Sweet Marie”

This song, described as “up-tempo blues shuffle, pure Memphis”[148] and an example of “obvious pop sensibility and compulsive melody”, was recorded in four takes on March 7, 1966.[149] Gill sees the lyrics as a series of sexual metaphors, including “beating on my trumpet” and keys to locked gates, many deriving from traditional blues.[150] Nonetheless, the song contains what has been termed “one of the most oft-repeated of Dylan's life lessons”, that “to live outside the law you must be honest”, which was later invoked in many bohemian and countercultural contexts.[151]

“4th Time Around”

When the Beatles released their sixth studio album, _Rubber Soul_, in December 1965, John Lennon's song “Norwegian Wood” attracted attention for the way Lennon disguised his account of an illicit affair in cryptic, Dylanesque language.[152] Dylan sketched out a response to the song, also in 3/4 time, copying the tune and circular structure, but taking Lennon's tale in a darker direction.[153] Wilentz describes the result as sounding “like Bob Dylan impersonating John Lennon impersonating Bob Dylan”.[154]

“Obviously 5 Believers”

“Obviously 5 Believers”, _Blonde on Blonde_'s second-to-last track, is a roadhouse blues love song similar in melody and structure to Memphis Minnie's “Chauffeur Blues”,[155] and was described by Robert Shelton as “the best R&B song on the album”.[156] Recorded in the early morning hours of the March 9–10 Nashville session under the working title “Black Dog Blues”, the song is driven by Robertson's guitar, Charlie McCoy's harmonica and Ken Buttrey's drumming.[157][158][159] After an initial breakdown, Dylan complained to the band that the song was “very easy, man” and that he didn't want to spend much time on it.[160][161] Within four takes, the recording was done.[162]

Side four

“Sad Eyed Lady of the Lowlands”

Written in the CBS recording studio in Nashville over the space of eight hours on the night of February 15–16, “Sad Eyed Lady” eventually occupied all of side four of _Blonde On Blonde_.[163] Critics have observed that “Lowlands” hints at “Lownds”, and Dylan biographer Robert Shelton wrote that this was a “wedding song” for Sara Lownds, whom Dylan had married just three months earlier.[164][165] In his paean to his wife, “Sara”, written in 1975, Dylan amends history slightly to claim that he stayed “up for days in the Chelsea Hotel/ Writin' 'Sad-Eyed Lady of the Lowlands' for you”.[166][167]

When Dylan played Shelton the song, shortly after recording it, he claimed, “This is the best song I've ever written.”[168] Around the same time, Dylan enthused to journalist Jules Siegel, “Just listen to that! That's old-time religious carnival music!”[169] But in 1969, Dylan told _Rolling Stone_ editor Jann Wenner, “I just sat down at a table and started writing ... And I just got carried away with the whole thing ... I just started writing and I couldn't stop. After a period of time, I forgot what it was all about, and I started trying to get back to the beginning [_laughs_].”[170]

Heard by some listeners as a hymn to an otherworldly woman,[171] for Shelton “her travails seem beyond endurance, yet she radiates an inner strength, an ability to be reborn. This is Dylan at his most romantic.”[172] Wilentz comments that Dylan's writing had shifted from the days when he asked questions and supplied answers. Like the verses of William Blake's “The Tyger”, Dylan asks a series of questions about the “Sad Eyed Lady” but never supplies any answers.[173]

Outtakes and _The Cutting Edge_

The following outtakes were recorded during the _Blonde on Blonde_ sessions.

  Title                      Status
  -------------------------- ---------------------------------------------------------------------------------
  “I'll Keep It with Mine”   Released on _The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991_[174]
  “I Wanna Be Your Lover”    Released on _Biograph_[175]
  “Jet Pilot”                Released on _Biograph_[176]
  “Medicine Sunday”          Released on _Highway 61 Interactive_ CD-ROM[177][178]
  “Number One”               Unreleased track copyrighted in July 1971[179]
  “She's Your Lover Now”     Released on _The Bootleg Series Volumes 1–3_[180]

In 2015, Dylan released Volume 12 of his Bootleg Series, _The Cutting Edge_, in three different formats. The 18-disc _Collector's Edition_ was described as including “every note recorded during the 1965–1966 sessions, every alternate take and alternate lyric.”[181] The 18 CDs contain every take of every song recorded in the studio during the _Blonde on Blonde_ sessions, from October 5, 1965, to March 10, 1966.[182]

The New York sessions comprise: two takes of “Medicine Sunday”, one take of “Jet Pilot”, twelve takes of “Can You Please Crawl Out Your Window?”, seven takes of “I Wanna Be Your Lover”, fourteen takes of “Visions of Johanna”, sixteen takes of “She's Your Lover Now”, four takes of “Leopard-Skin Pill-Box Hat”, twenty-four takes of “One of Us Must Know (Sooner or Later)”, one take of “I'll Keep It with Mine”, and one take of “Lunatic Princess”.[183]

The Nashville sessions comprise 20 takes of “Fourth Time Around”, four of “Visions of Johanna”, 14 of “Leopard-Skin Pill-Box Hat”, four of “Sad-Eyed Lady of the Lowlands”, 15 of “Stuck Inside of Mobile with the Memphis Blues Again”, three of “Absolutely Sweet Marie”, 18 of “Just Like a Woman”, three of “Pledging My Time”, six of “Most Likely You Go Your Way (And I'll Go Mine)”, four of “Temporary Like Achilles”, four of “Obviously Five Believers”, five of “I Want You”, and one of “Rainy Day Women #12 & 35”.[184] The 18 CDs also contain brief recordings of guitar and keyboard inserts.[185]

Describing the process of listening to all these alternative versions, Neil McCormick wrote: “_The Cutting Edge_ allows fans to bear witness to perhaps the most astonishing explosion of language and sound in rock history, a new approach to song being forged before our very ears.”[186]

Cover photo

The cover photo of _Blonde on Blonde_ shows a 12-by-12-inch close-up portrait of Dylan. The double album gatefold sleeve opens to form a 12-by-26-inch photo of the artist, at three quarter length. The artist's name and the album's title only appear on the spine. A sticker was applied to the shrink wrap to promote the release's two hit singles, “I Want You” and “Rainy Day Women No. 12 & 35”.[187][188]

The cover shows Dylan in front of a brick building, wearing a suede jacket and a black and white checkered scarf. The jacket is the same one he wore on his next two albums, _John Wesley Harding_ and _Nashville Skyline_.[189] The photographer, Jerry Schatzberg, described how the photo was taken:

Research by rock historian Bob Egan suggests the location of the cover photo was at 375 West Street, at the extreme west of Greenwich Village.[190] The original inside gatefold featured nine black-and-white photos, all taken by Schatzberg and selected for the sleeve by Dylan himself.[191] A shot of actress Claudia Cardinale from Schatzberg's portfolio was included but later withdrawn because it had been used without her authorization and Cardinale's representatives threatened to sue,[192] making the original record sleeve a collector's item.[193] Dylan included a self-portrait by Schatzberg as a credit to the photographer.[194] The photos, for Gill, added up to “a shadowy glimpse of [Dylan's] life, including an enigmatic posed shot of Dylan holding a small portrait of a woman in one hand and a pair of pliers in the other: they all contributed to the album's air of reclusive yet sybaritic genius.”[195]

Release and reception

_Blonde on Blonde_ reached the Top 10 in both the US and UK album charts, and also spawned a number of hits that restored Dylan to the upper echelons of the singles charts. In August 1967, the album was certified as a gold disc.[196]

A high-definition 5.1 surround sound edition of the album was released on SACD by Columbia in 2003.[197]

The album received generally favorable reviews. Pete Johnson in the _Los Angeles Times_ wrote, “Dylan is a superbly eloquent writer of pop and folk songs with an unmatched ability to press complex ideas and iconoclastic philosophy into brief poetic lines and startling images.”[198] The editor of _Crawdaddy!_, Paul Williams, reviewed _Blonde on Blonde_ in July 1966: “It is a cache of emotion, a well handled package of excellent music and better poetry, blended and meshed and ready to become part of your reality. Here is a man who will speak to you, a 1960s bard with electric lyre and color slides, but a truthful man with x-ray eyes you can look through if you want. All you have to do is listen.”[199]

To accompany the songbook of _Blonde on Blonde_, Paul Nelson wrote an introduction stating, “The very title suggests the singularity and the duality we expect from Dylan. For Dylan's music of illusion and delusion—with the tramp as explorer and the clown as happy victim, where the greatest crimes are lifelessness and the inability to see oneself as a circus performer in the show of life—has always carried within it its own inherent tensions ... Dylan in the end truly UNDERSTANDS situations, and once one truly understands anything, there can no longer be anger, no longer be moralizing, but only humor and compassion, only pity.”[200] In May 1968 for _Esquire_, Robert Christgau said Dylan had “presented his work at its most involuted, neurotic, and pop—and exhilarating—in _Blonde on Blonde_.”[201]

Date uncertainty

May 16, 1966 is commonly noted as the album's official release date. Michael Gray, author of _The Bob Dylan Encyclopedia_, contended that the release date was actually around late June or early July.[202] This coincides with the album's promotion in _Billboard_, which carried a full-page Columbia advertisement on June 25,[203] selected the album as a “New Action LP” on July 9,[204] and ran a review and article on July 16.[205] In 2017, after viewing a Sony database of album releases, Heylin found that the release date was in fact June 20, 1966. This is supported by the fact that an overdub on “Fourth Time Around” was recorded in June.

The album debuted on _Billboard_{{'}}s Top LP's chart on July 23 at number 101[206]—just six days before Dylan's motorcycle accident in Woodstock removed him from public view.[207] By contrast, another contemporary LP which has an official 1966 release date of May 16, _Pet Sounds_ by the Beach Boys, entered the _Billboard_ LP chart less than two weeks after release on May 28 at number 105.[208]

_Blonde on Blonde_ has been described as rock's first studio double LP by a major artist,[209][210] released just one week before _Freak Out!_, the double album by the Mothers of Invention.

Reappraisal and legacy

Twelve years after its release, Dylan said: “The closest I ever got to the sound I hear in my mind was on individual bands in the _Blonde on Blonde_ album. It's that thin, that wild mercury sound. It's metallic and bright gold, with whatever that conjures up.”[211] For critics, the double album was seen as the last installment in Dylan's trilogy of mid-1960s rock albums. As Janet Maslin wrote, “The three albums of this period—_Bringing It All Back Home_ and _Highway 61 Revisited_ both released in 1965, and _Blonde on Blonde_ from 1966—used their electric instrumentation and rock arrangements to achieve a crashing exuberance Dylan hadn't approached before.”[212] Mike Marqusee has described Dylan's output between late 1964 and the summer of 1966, when he recorded these three albums, as “a body of work that remains unique in popular music.”[213] For Patrick Humphries, “Dylan's body of work during the 14-months period ... stands unequalled in rock's 30-year history. In substance, style, ambition and achievement, no one has even come close to matching _Bringing It All Back Home_, _Highway 61 Revisited_ and _Blonde on Blonde_.”[214]

Dylan scholar Michael Gray wrote: “To have followed up one masterpiece with another was Dylan's history making achievement here ... Where _Highway 61 Revisited_ has Dylan exposing and confronting like a laser beam in surgery, descending from outside the sickness, _Blonde on Blonde_ offers a persona awash inside the chaos ... We're tossed from song to song ... The feel and the music are on a grand scale, and the language and delivery are a unique mixture of the visionary and the colloquial.”[215] Critic Tim Riley wrote: “A sprawling abstraction of eccentric blues revisionism, _Blonde on Blonde_ confirms Dylan's stature as the greatest American rock presence since Elvis Presley.”[216] Biographer Robert Shelton saw the album as “a hallmark collection that completes his first major rock cycle, which began with _Bringing It All Back Home_”. Summing up the album's achievement, Shelton wrote that _Blonde on Blonde_ “begins with a joke and ends with a hymn; in between wit alternates with a dominant theme of entrapment by circumstances, love, society, and unrealized hope ... There's a remarkable marriage of funky, bluesy rock expressionism, and Rimbaud-like visions of discontinuity, chaos, emptiness, loss, being 'stuck'.”[217]

That sense of crossing cultural boundaries was, for Al Kooper, at the heart of _Blonde on Blonde_: “[Bob Dylan] was the quintessential New York hipster—what was _he_ doing in Nashville? It didn't make any sense whatsoever. But you take those two elements, pour them into a test tube, and it just exploded.”[218] For Mike Marqusee, Dylan had succeeded in combining traditional blues material with modernist literary techniques: "[Dylan] took inherited idioms and boosted them into a modernist stratosphere. 'Pledging My Time' and 'Obviously 5 Believers' adhered to blues patterns that were venerable when Dylan first encountered them in the mid-fifties (both begin with the ritual Delta invocation of “early in the mornin”). Yet like 'Visions of Johanna' or 'Memphis Blues Again', these songs are beyond category. They are allusive, repetitive, jaggedly abstract compositions that defy reduction."[219]

_Blonde on Blonde_ has been consistently ranked high in critics' polls of the greatest albums of all time. According to Acclaimed Music, it is the 9th most ranked album on all-time lists.[220] In 1974, the writers of _NME_ voted _Blonde on Blonde_ the number-two album of all time.[221] It was ranked second in the 1978 book _Critic's Choice: Top 200 Albums_ and third in the 1987 edition.[222] In 1997 the album was placed at number 16 in a “Music of the Millennium” poll conducted by HMV, Channel 4, _The Guardian_ and Classic FM.[223] In 2006, _TIME_ magazine included the record on their 100 All-TIME Albums list.[224] In 2003, the album was ranked number nine on _Rolling Stone_ magazine's list of “The 500 Greatest Albums of All Time”,[225] maintaining the rating in a 2012 revised list.[226] In 2004, two songs from the album also appeared on the magazine's list of “The 500 Greatest Songs of All Time”: “Just Like a Woman” ranked number 230 and “Visions of Johanna” number 404.[227][228] (When _Rolling Stone_ updated this list in 2010, “Just Like a Woman” dropped to number 232 and “Visions of Johanna” to number 413.)[229][230] The album was additionally included in Robert Christgau's “Basic Record Library” of 1950s and 1960s recordings—published in _Christgau's Record Guide: Rock Albums of the Seventies_ (1981)[231]—and in critic Robert Dimery's book _1001 Albums You Must Hear Before You Die_.[232] It was voted number 33 in the third edition of Colin Larkin's _All Time Top 1000 Albums_ (2000).[233] It was inducted into the Grammy Hall of Fame in 1999.[234]

Track listing

All songs are written by Bob Dylan.

Side one

1.  “Rainy Day Women No. 12 & 35” – 4:36
2.  “Pledging My Time” – 3:50
3.  “Visions of Johanna” – 7:33
4.  “One of Us Must Know (Sooner or Later)” – 4:54

Side two

1.  “I Want You” – 3:07
2.  “Stuck Inside of Mobile with the Memphis Blues Again” – 7:05
3.  “Leopard-Skin Pill-Box Hat” – 3:58
4.  “Just Like a Woman” – 4:52

Side three

1.  “Most Likely You Go Your Way and I'll Go Mine” – 3:30
2.  “Temporary Like Achilles” – 5:02
3.  “Absolutely Sweet Marie” – 4:57
4.  “4th Time Around” – 4:35
5.  “Obviously 5 Believers” – 3:35

Side four

1.  “Sad Eyed Lady of the Lowlands” – 11:23

Personnel

The personnel involved in making _Blonde on Blonde_ is subject to some discrepancy:[235][236][237]

-   Bob Dylan – vocals, guitar, harmonica, piano

ADDITIONAL MUSICIANS

-   Bill Aikins – keyboards
-   Wayne Butler – trombone
-   Kenneth Buttrey – drums
-   Rick Danko or Bill Lee – bass guitar (New York)
-   Bobby Gregg – drums (New York)
-   Paul Griffin – piano (New York)
-   Jerry Kennedy – guitar
-   Al Kooper – organ, guitar
-   Charlie McCoy – bass guitar, guitar, harmonica, trumpet
-   Wayne Moss – guitar, vocals
-   Hargus "Pig" Robbins – piano, keyboards
-   Robbie Robertson – guitar, vocals
-   Henry Strzelecki – bass guitar
-   Joe South – bass guitar, guitar

TECHNICAL

-   Bob Johnston – record producer
-   Jerry Schatzberg – cover photographer

Charts

Weekly charts

  Year             Chart                  Position
  ---------------- ---------------------- ----------
  1966             _Billboard_ 200[238]   9
  UK Top 75[239]   3

Singles

  Year                            Single                       Chart                      Position
  ------------------------------- ---------------------------- -------------------------- ----------
  1966                            “One of Us Must Know”        UK Top 75[240]             33
  “Rainy Day Women No. 12 & 35”   _Billboard_ Hot 100[241]     2
  UK Top 75[242]                  7
  “I Want You”                    _Billboard_ Hot 100[243]     20
  UK Top 75[244]                  16
  “Just Like a Woman”             _Billboard_ Hot 100[245]     33
  1967                            “Leopard-Skin Pillbox Hat”   _Billboard_ Hot 100[246]   81

Certifications

[1]

[2]

[3]

[4]

[5]

[6]

[7]

[8]

[9]

[10]

[11]

[12]

[13]

[14]

[15]

[16]

[17]

[18]

[19]

[20]

[21]

[22] The booklet accompanying _The Original Mono Recordings_ re-issue of _Blonde on Blonde_ lists Will Lee as the bass player (). Wilentz insists that “the playing and talk on the session tape show conclusively that Rick Danko was the bassist on 'One of Us Must Know'” ().

[23]

[24]

[25]

[26]

[27]

[28]

[29]

[30]

[31]

[32]

[33]

[34]

[35]

[36]

[37]

[38]

[39]

[40]

[41]

[42] The booklet accompanying _The Original Mono Recordings_ re-issue of _Blonde on Blonde_ gives recording dates for each track of the double album, confirming the Nashville recording sessions were in two blocks ().

[43]

[44]

[45]

[46]

[47]

[48]

[49]

[50]

[51]

[52]

[53]

[54]

[55]

[56]

[57]

[58]

[59] Johnston said: “We mixed that mono probably for three or four days, then I said, 'Oh shit, man, we gotta do stereo.' So me and a coupla guys put our hands on the board, we mixed that son of a bitch in about four hours! ... So my point is, it took a long time to do the mono, and then it was, 'Oh, yeah, we gotta do stereo'” ().

[60]

[61]

[62] Wenner, Jann. “Interview with Jann S. Wenner”, _Rolling Stone_, November 29, 1969, in

[63]

[64]

[65]

[66]

[67]

[68]

[69]

[70]

[71]

[72]

[73]

[74]

[75]

[76]

[77]

[78]

[79]

[80]

[81]

[82]

[83]

[84]

[85]

[86]

[87]

[88]

[89]

[90]

[91]

[92]

[93]

[94]

[95]

[96]

[97]

[98]

[99]

[100]

[101]

[102]

[103]

[104]

[105]

[106] Gill reports that “the dancing child” was rumored to be a reference to Brian Jones of the Rolling Stones (). Heylin agrees there may be substance to this because the dancing child claims that “time was on his side”, perhaps a reference to “Time Is on My Side”, the Rolling Stones' first US hit ().

[107]

[108]

[109]

[110]

[111]

[112]

[113]

[114]

[115]

[116]

[117]

[118]

[119]

[120]

[121]

[122]

[123]

[124]

[125]

[126]

[127]

[128]

[129]

[130] Ricks, Christopher, in

[131]

[132]

[133]

[134]

[135]

[136]

[137]

[138]

[139]

[140]

[141]

[142]

[143]

[144]

[145]

[146]

[147]

[148]

[149]

[150]

[151]

[152]

[153]

[154]

[155]

[156]

[157]

[158]

[159]

[160]

[161]

[162]

[163]

[164]

[165] Bob Dylan married Sara Lownds on November 22, 1965, at a judge's office on Long Island, New York. The only guests were Albert Grossman and a maid of honor for Sara; there was no publicity ().

[166]

[167]

[168]

[169]

[170]

[171]

[172]

[173]

[174]

[175]

[176]

[177]

[178]

[179]

[180]

[181]

[182]

[183]

[184]

[185]

[186]

[187]

[188]

[189]

[190]

[191]

[192]

[193]

[194]

[195]

[196]

[197] https://www.highfidelityreview.com/columbia-releases-15-bob-dylan-albums-on-hybrid-sacd.html

[198]

[199] Williams, Paul. “Tom Paine Himself: Understanding Dylan”, _Crawdaddy!_, July 1966, in

[200] Nelson, Paul. _Bob Dylan Approximately_, 1966, reprinted in

[201]

[202]

[203]

[204]

[205]

[206]

[207]

[208] American Radio History website retrieved 5 May 2016; Billboard Top LPs, p. 40

[209]

[210]

[211] Dylan Interview, _Playboy_, March 1978, reprinted in

[212]

[213]

[214]

[215]

[216]

[217]

[218]

[219]

[220]

[221]

[222]

[223]

[224]

[225]

[226]

[227]

[228]

[229]

[230]

[231]

[232]

[233]

[234]

[235]

[236]

[237] Wilentz, Sean. “Mystic Nights: The Making of _Blonde on Blonde_ in Nashville” , _Oxford American Magazine_ No. 58, 2007

[238]

[239]

[240]

[241]

[242]

[243]

[244]

[245]

[246]

title: Blonde on Blonde

question: Why did Dylan record only one song out of the multiple sessions he did from October 1965 to January 1966?

answer: He was not happy with the band's output. This prompted him in moving his album production to Nashville on the advice of one of his producers.

question: How did the album title, Blonde on Blonde, came to be?

answer: There are multiple accounts of this. However, Dylan confesses he does not remember its origins.


text:
PAULINE-MARIE JARICOT (22 July 1799-9 January 1862) was a French laywoman, the founder of the Society of the Propagation of the Faith and the Living Rosary Association.

Life

Jaricot was born 22 July 1799, the youngest of seven children of Antoine and Jeanne Jaricot in 19th-century Lyon, France.[1] Her father owned a silk factory in Lyon, France. Her brother, Philéas, was a missionary in Quangnam.[2] At fifteen years of age she was introduced into the social life of the city. Subsequently, a sermon on vanity made a deep impression on her.

At the age of seventeen, after a serious fall and the death of her mother, Jaricot began to lead a life of intense prayer, and on Christmas Day, 1816, took a vow of perpetual virginity. She established a union of prayer among pious servant girls, the members of which were known as the “Réparatrices du Sacré-Coeur de Jésus-Christ”.[3]

As a member of an association founded by the Fathers of the Foreign Missions of Paris, Jaricot was a pioneer of organized missionary co-operation. With the women employees in the silk factory run by her sister and brother-in-law, she resolved to help the missions with prayers and a small weekly contribution of one penny a week from each person involved.[4][5] The seed grew and other groups joined to help all missions. This eventually led to the founding of the Society for the Propagation of the Faith in 1822, dedicated to helping missionary efforts worldwide.[6] On May 3, 1922 Pope Pius XI declared the Society for the Propagation of the Faith “Pontifical”.[7]

A member of the lay Dominicans, Jaricot's spiritual director for many years was Jean-Marie Vianney.[8] In 1822, she arranged the printing and distribution of religious literature. She believed that information about the missions should be publicized. Later, the future Society would publish the _Annals_ which contained reports from various mission territories aimed at increasing interest in the Society and the missions.

Jaricot became very ill and on August 10, 1835 she was healed by Saint Philomena during a pilgrimage to Mungnano, Italy.

Around 1845 Jaricot purchased a blast furnace plant to be run as a model of Christian social reform. A building adjacent to the plant accommodated the families, and close by was a school and a chapel. She left the management to people who proved to be dishonest, and she was forced to declare bankruptcy in 1862. Having exhausted all her money, she spent the rest of her life destitute.[9] She died on January 9, 1862 in Lyon.

[St. Nizier, Lyon]

Veneration

Since 1935 the mortal remains of Jaricot lie in the Church of Saint-Nizier in Lyon.[10]

On 25 February 1963 Pope John XXIII declared Jaricot “venerable”.[11]

In a homily on 9 January 2013, at the end of the celebrations commemorating on the 150th anniversary of Jaricot's death, Cardinal Fernando Filoni, Prefect of the Congregation for the Evangelization of Peoples, stated,“Jaricot’s heroic virtues do not consist in a series of miraculous events, but in that fruitful fidelity to Christ, to whom she devoted herself both in good times and in ... difficult ...moments....”[12]

On 26 May 2020, Pope Francis authorised the Congregation for the Causes of Saints to promulgate a decree recognising a miracle attributed to Jaricot's intercession.[13] The path is now clear for Jaricot to be beatified.

Living Rosary Association

In 1826 Jaricot founded the Living Rosary Association.[14] The fifteen decades of the rosary were divided among fifteen associates, each of whom had to recite daily only one determined decade.[15] She expanded the organization's work to include the distribution of prayer leaflets, holy pictures, medals and rosaries. The Living Rosary Association grew rapidly in France and spread to other countries during her lifetime and for years thereafter. In 1832, Pope Gregory XVI gave canonical status to the Living Rosary Association.[16]

By the mid-20th century, however, the number of members had markedly decreased, especially in the United States. The organization was revived through the efforts of Patti and Richard Melvin of Dickinson, Texas and 28 other devotees who renewed the practice of organizing 15 persons to each pray one of the 15 Decades of the Rosary.

By the year 2014, the Living Rosary membership numbers nearly 16 million persons of all ages, with substantial numbers in Third World countries. The organization maintains an internet website at philomena.org, authored by Patti Dickinson, who is universal director of the Living Rosary. A Facebook page, “Universal Living Rosary Association,” is authored by apostolate promoter Brian J. Costello of New Roads, Louisiana.[17]

[1] “Celebrating a Legacy”, Society for the Propagation of the Faith

[2] Brinker, Jennifer.“Society for the Propagation of the Faith foundress is example of worldwide missionary vision”, _St. Louis Review_, 23 May 2012

[3] Weber, Nicholas. “Pauline-Marie Jaricot.” The Catholic Encyclopedia. Vol. 8. New York: Robert Appleton Company, 1910. 4 Apr. 2013

[4] Windeatt, Mary F.: Pauline Jaricot: Foundress of the Living Rosary and the Society for the Propagation of the Faith (Rockford, IL: Tan Books and Publishers, Inc.: 1993)

[5] Address of John Paul II to Mission Societies, 15 May 1997

[6]

[7] “Commemoration Day for Pauline Jaricot, foundress of the Pontifical Society for the Propagation of the Faith: 9 January in Lyon”, _Agenzia Fides_, 9 January 2012

[8]

[9]

[10] “Pauline Jaricot, fruitful fidelity to Christ and farsighted commitment to evangelization”, _Agenzia Fides_, 10 January 2013

[11]

[12]

[13] “Church promulgates new decrees for Causes of Saints” _Vatican News_, 27 May 2020

[14] “150th Anniversary of Pauline-Marie Jaricot’s death”, _Agenzia Fides_, 9 January 2013.

[15]

[16] Emmons, D.D., “The lasting legacy of Ven. Pauline Jaricot”, _Our Sunday Visitor_, October 8, 2014

[17] Universal Living Rosary Association.

title: Pauline-Marie Jaricot

question: Summarize what happened from 1835-1865.

answer: In August of 1835, Jaricot's illness was healed by Saint Philomena during a pilgrimage. Around 1845, Jaricot established a blast furnace plant and accommodations for families. This was meant to be a model of Christian social reform but resulted in Jaricot declaring bankruptcy in 1862. She died that same year. Throughout her life, including the period from 1835 to beyond her death, the Living Rosary Association she established grew in France and other countries.

question: What does the text say about Lyon?

answer: Lyon is a town in France. Jaricot was born in Lyon, where her father Antoine owned a silk factory. Jaricot's Living Rosary Association expanded all around France, from where it presumably began in Lyon.

question: Summarize what the text says about the Reformation.

question: Summarize what the text says about gardening.


text:
_JAI JAWAN_ ( _Salute to Soldier_) is a 1970 Telugu-language drama film produced by D. Madhusudhana Rao under the Annapurna Pictures banner[1] and directed by D. Yoganand.[2] It stars Akkineni Nageswara Rao, Bharathi, Krishnam Raju in the lead roles[3] and music composed by Saluri Rajeswara Rao.[4]

Plot

The film begins, during the time of India - China war when a freedom fighter Madhava Rao (Gummadi) toils for the welfare of the public with his daughter Bharati (Chandrakala), niece Kasthuri (Manjula) and his son Ravindra Nath (Akkineni Nageswara Rao) serves in Indian Army. Besides, his malicious brother-in-law Narasimham (Nagabhushanam) is a secret agent of the traitors but purports himself as a patriot. In the war-front, Ravi is mislaid and seriously injured when a nurse Susheela (Bharathi) rescues him and they fall in love. Eventually, grief-stricken Madhava Rao shifts to the residence of Ravi's close friend, Dr. Raghu (Krishnam Raju) a handicap. Nevertheless, Bharathi loves and marries him. Parallelly, Narasimham's son Babu arrives from states knitting a foreign girl Lilly (Lilly). After some time, Ravi returns along with Susheela and conveys his intention to marry her which is opposed by Narasimham & his wife Sundaramma (Suryakantham) as they aspire to couple up Kasthuri with him. Despite Ravi moves ahead, just before the wedding, Susheela dies in a car accident when dispirited Ravi tours all over the country. During, as a flabbergast, he spots Susheela alive. Later he realizes her as Sujatha (again Bharathi) the twin sister of Susheela who enhances him and he proposes her which she denies. However, Ravi follows her, when he learns Sujatha's alliance is already fixed with her fosterers' son Ramu whose whereabouts are not known. At present, the elders convince Sujatha for espousal when, unfortunately, the Indian army declares an emergency, so, Ravi pauses the wedding and leaves to the battlefield. At the same time, it is revealed, Raghu is only Ramu one that stayed behind due to his disability. Meanwhile, Narasimham intrigues to destroy important runways of the country when Ravi breaks out his ploy. Here, surprisingly, Lilly turns as a CBI officer and apprehends him. Finally, Ravi is honored by Govt of India and the movie ends a happy note with the marriage of Ravi & Sujatha.

Cast

-   Akkineni Nageswara Rao as Captain Ravindranath “Ravi”
-   Bharathi as Susheela & Sujatha (Dual role)
-   Krishnam Raju as Dr. Raghu Ram
-   Gummadi as Madhava Rao
-   Nagabhushanam as Narasimha Rao
-   Allu Ramalingaiah as Venkatramaiah
-   Padmanabham as Babu
-   Mada as Rahim
-   Bhanu Prakash as Sivaiah
-   Manjula as Kasthuri
-   Chandrakala as Bharathi
-   Suryakantham as Sundaramma
-   G. Varalakshmi as Lakshmi
-   Lilly as Lilly

Crew

-   ART: G. V. Subba Rao
-   CHOREOGRAPHY: Tangappan
-   DIALOGUES: D. V. Narasa Raju
-   LYRICS: Dasaradhi, Sri Sri, C. Narayana Reddy, Kosaraju
-   PLAYBACK: Ghantasala, P. Susheela, Pithapuram
-   MUSIC: Saluri Rajeswara Rao
-   STORY: Yaddanapudi Sulochana Rani
-   EDITING: M. S. Mani
-   CINEMATOGRAPHY: P. S. Selvaraj
-   PRODUCER: D. Madhusudhana Rao
-   SCREENPLAY - DIRECTOR: D. Yoganand
-   BANNER: Annapurna Pictures
-   RELEASE DATE: 1970

Soundtrack

Music composed by Saluri Rajeswara Rao. Music released on Audio Company.

  S. No   Song Title                      Lyrics              Singers                   length
  ------- ------------------------------- ------------------- ------------------------- --------
  1       “Allari Chupula Andalabala”     Dasaradhi           Ghantasala, P. Susheela   3:39
  2       “Anuragapu Kovelalo”            Dasaradhi           Ghantasala, P. Susheela   3:29
  3       “Chakkani Vadinaku Singarame”   C. Narayana Reddy   P. Susheela               3:33
  4       “Palabuggala Chinnadanni”       C. Narayana Reddy   Ghantasala, P. Susheela   3:59
  5       “Madhura Bhavala”               Dasaradhi           Ghantasala, P. Susheela   3:26
  6       “Veera Bharateeya Powrulara”    Sri Sri             P. Susheela               3:59

[1]

[2]

[3]

[4]

title: Jai Jawan

question: Write a short summary of Jai Jawan's plot.

answer:
A freedom fighter, Madhava Rao,  toils for the welfare of the public with his daughter Bharati, niece Kasthuri and son Ravindra Nath who serves in the Indian Army. His malicious brother-in-law, Narasimham, is a secret agent of the traitors but portrays himself to be a patriot.

In the middle of the war, Ravindra Nath is rescued by Susheela (Bharati) and they fall in love. She decides to marry him but just before the wedding, she dies in a car accident.

Later he meets Sujatha, the twin sister of Susheela, and tries to propose to her but she denies it initially. She buckles after the elders convince her to marry him but unfortunately, the Indian army declares an emergency, and Ravi is forced to leave.

After he serves in the army, he is honored by the government of India, and eventually marries Sujatha.

question: What is Jai-Jawan?

answer: Jai Jawan is a Telugu-language drama film set during the time of the India-China war.

question: List the cast members from the show.

answer:
- Akkineni Nageswara Rao as Captain Ravindranath “Ravi”
- Bharathi as Susheela & Sujatha (Dual role)
- Krishnam Raju as Dr. Raghu Ram
- Gummadi as Madhava Rao
- Nagabhushanam as Narasimha Rao
- Allu Ramalingaiah as Venkatramaiah
- Padmanabham as Babu
- Mada as Rahim
- Bhanu Prakash as Sivaiah
- Manjula as Kasthuri
- Chandrakala as Bharathi
- Suryakantham as Sundaramma
- G. Varalakshmi as Lakshmi
- Lilly as Lilly

question: List the crew members from the show.

answer:
- ART: G. V. Subba Rao
- CHOREOGRAPHY: Tangappan
- DIALOGUES: D. V. Narasa Raju
- LYRICS: Dasaradhi, Sri Sri, C. Narayana Reddy, Kosaraju
- PLAYBACK: Ghantasala, P. Susheela, Pithapuram
- MUSIC: Saluri Rajeswara Rao
- STORY: Yaddanapudi Sulochana Rani
- EDITING: M. S. Mani
- CINEMATOGRAPHY: P. S. Selvaraj
- PRODUCER: D. Madhusudhana Rao
- SCREENPLAY - DIRECTOR: D. Yoganand
- BANNER: Annapurna Pictures

question: Write a ~0 sentence summary.


text:
SALLYS FLAT is a locality in the Australian state of New South Wales.

Sallys Flat was a small gold-mining village established in 1872 at the same time as nearby Hill End boomed during the New South Wales gold rush. It produced gold for many years but was not a large producer. It is now a farming area.

In late 2015, Sallys Flat was one of six locations on an Australian Government shortlist for a nuclear waste repository.[1] However the Government soon found the idea unpopular with locals[2] and removed Sallys Flat from the list.[3]

[1]

[2]

[3]

title: Sallys Flat, New South Wales

question: What is Sally's Flat?

answer: It is a locality in the Australian state of New South Wales.

question: Summarize everything relating to the history of Sally's Flat.

answer: Sally's Flat was a small gold-mining village established in 1872 during the NSW gold rush. It produced gold for many years but wasn't a large producer. It is now a farming area.

question: What was Sally's Flat shortlisted for in 2015?

answer: It was one of six locations on the Australian Government's shortlist for a nuclear waste repository.

question: How did the locals feel about being shortlisted as a nuclear dumping ground?

answer: The decision was unpopular and the government removed Sally's Flat from the list.

question: Write a ~3 sentence summary.

answer: Sally's Flat is a locality in the Australian state of New South Wales established as a gold-mining village in 1872. It is now a farming area. The Australian Government shortlisted Sally's Flat for a nuclear waste repository in 2015 but removed the locality from the list due to locals opposing the plan.


text:
The HUMA RIVER is a right tributary on the northern loop of the Amur River in China's province of Heilongjiang. It starts in the Greater Khingan Mountains and flows in a general eastern and south-eastern direction, parallel and southwest of the Amur, until falling into the Amur in Huma County, about south of Huma County's county seat.[1]

Somewhere near its mouth was the Russian fort of Kumarsk at the time of the Russian–Manchu border conflicts. At the time it was also called “Kamora River” or “Houmar River”.

[1] 1

title: Huma River (Heilongjiang)

question: What is the right tributary on the northern loop of the Amur River in China's province of Heilongjiang?

answer: The Huma River

question: What was the river called during the Russian-Manchu border conflicts?

answer: Huma river was also called "Kamora River” or “Houmar River”.

question: What structure can be found somewhere near the mouth of Huma River?

answer: The Russian fort of Kumarsk.

question: Explain the relationship between the Huma River, the Amur, and the Greater Khingan Mountains.

answer: The Huma River starts in the Greater Khingan Mountains and flows in a general eastern and south-eastern direction, parallel, and southwest of the Amur, until falling into the Amur in Huma County, about south of Huma County's county seat.

question: Write a ~2 sentence summary.

answer: The Huma River is a right tributary on the northern loop of the Amur River in China's province of Heilongjiang. It starts in the Greater Khingan Mountains and flows in a general eastern and south-eastern direction, parallel, and southwest of the Amur, until falling into the Amur in Huma County, about south of Huma County's county seat.


text:
"I'm telling you, it was one of the most baffling weeks of my life"

"What was so bad about it?" she laughed infectiously.

"Well here I was, dating this beautiful, gorgeous girl, and the sex was absolutely awful. I couldn't figure it out. I questioned my sexuality once in case it was my fault. But don't worry, I'm not gay. I'm sure of that." Paul smiled, "and then she dumped me for 'not being adventurous enough for her'."

"Well maybe it was your fault?" Sarah smirked.

"Maybe, but I’ve never had any complaints before or after her, so im pretty sure its not."

"Oh really, so I’m sitting here with a bona fide ladies man am i? The scourge of fathers across the country?" she giggled

"I wouldn't say that." he laughed, "I’ve done okay. Same as everyone else."

"I have to say, I was expecting you to be a big proponent of the three day rule" she looked at him quizzically

"The three day rule?"

"Yeah, you know, how guys always leave it three days before they contact you?"

"Oh. Well its more of a guideline than a rule. But if it bothers you that in a day early i can come back tomorrow?"

"Yeah, would you?" she fixed her hair, pushing it back out of her face.

"I'd like to point out that I didn't make contact. You shouted at me on the street."

"How do I know you're not stalking me? Or that you didn't plan it that i would run into you?" she asked playfully

Paul smiled "think very highly of yourself don't you? Accusing me of dastardly scheming!"

"I think it’s what I’d do if I were a man."

"Bump into them accidentally on purpose?"

"Of course, I love me, I couldn't wait to see me again." she giggled

Paul laughed, "what about me?"

"What about you?" she asked, confused.

"Well, you couldn't wait to see me again either could you? That's why you organised to run into me, isn't it."

"You can go on believing that if it makes you feel better." her smile like a bird opening its wings.

"You have a nice smile."

Sarah looked down, suddenly shy. "Thank you" she pushed her hair behind her ear.

"You're welcome. But now my dear I'm afraid I must leave you. I’ve been talking to you now for two hours, when I should have been working." Paul stood up.

"You work?" she smiled mockingly

"Yes, I'm not as much of a bum as you think." he smiled

"What do you do?"

Paul had dreaded this question. He didn't know if he should lie and keep quiet about his real job, or just tell her. It all came down to one question: if he told her, would she figure out he was investigating her family. He chose not to answer. He smiled, took her hand and kissed it. Then he turned and walked away. Sarah was left once again, sitting alone, utterly bemused by what just happened. She watched him as he walked to the door. He looked back and smiled at her from the door before walking out. She sat staring after him for a minute. She bit her lip and smiled. She liked him.

title: Paul & Sarah - dialogue snippet

question: What is the "three day rule"?

answer: It's when a guy waits three days before they contact you, presumably after a date or after they get someone's phone number.

question: Describe the turning point in this story.

answer: It's discovered that Paul is actually investigating Sarah's family.

question: Why would Paul question his sexuality?

answer: It's because of a time he had sex with one girl and it was awful.

question: Does Paul feel guilty for hiding something from Sarah?

answer: It doesn't appear that he feels guilty yet. He seems more concerned about being figured out.

question: What job does Paul have?

answer: Paul could be an undercover policeman or a private investigator.

question: What might happen if Paul tells Sarah what he's really doing?

answer: It's very possible that she will feel betrayed. If the two actually have a romantic connection, the discovery that she's being secretly investigated by Paul could spoil that.


text:
ROSALIND MATHILDE FRANCK (1866–1956) was one of the earliest French women aviators, having learnt to fly in the summer of 1910. Her last flight was on 1 August 1910 in a Maurice Farman biplane when she took off from Boldon Flatts, Cleadon Village in the northeast of England. After hitting a flagpole the plane crashed, killing a boy, although she only sustained minor injuries.[1][2]

Flights

In an article published in _Colliers Magazine_ in September 1911, Franck presents her impressions of her flights. The first was with Michel Effimoff who received a French licence on 15 February 1910.[3] A little later, she and her husband flew for an hour and a quarter with Henry Farman who sought to break the record for two passengers.[4] It was with the Farman brothers' manufacturing plant near Paris that Franck learned to fly. After establishing a record non-stop 14-mile flight at Mourelon, on 20 July 1910 she hoped to make a flight across the English Channel but was prevented by bad weather.[5]

In late July 1910, she arrived in the north of England where the manager of Sunderland's Empire Theatre had invited her to present demonstration flights in connection with the Boldon Races. On 30 July 1910, she accomplished a flight of a mile and a half, the first significant distance covered by a woman in the United Kingdom. On the following Monday, she again attempted to fly but flew into a flagstaff which brought the plane down, causing the death of a young boy who was hit by the engine. The accident brought her flying career to an end. She never obtained a licence.[6]

Mathilde Franck died in 1956.[7]

[1]

[2]

[3]

[4]

[5]

[6]

[7]

title: Mathilde Franck

question: What was Franck known for?

answer: She was one of the earliest French women aviators in 1910, but her career came to an end in the same year after her plane's crash caused the death of a boy.

question: What happened in September 1911?

answer: Franck presented her impression so f her flights in an article published in Colliers Magazine.

question: Why did Franck arrive in the north of England in July 1910?

answer: She had been invited to present demonstration flights in connection with the Boldon Races.

question: Why did Franck never obtain a license?

answer: She flew her plane into a flagstaff and the accident caused the death of a young boy, ending her flying career.

question: Write a ~4 sentence summary.

answer: This article is about Mathilde Franck, one of the earliest French women aviators. She began her flying career in 1910, but it ended in the same year after her plane flew into a flagstaff. The accident caused the death of a young boy and she never got her license. She died in 1956.


text: One day, on a barren dusty rock hurtling through space, circling a big ball of fire, there was an ant. This ant was the last of his colony, maybe even the last of his kind. The ant had seen many things in its short life. It had seen fire spitting giants attack one another, until each giant remained still. He had seen big metallic birds that dropped mushroom seeds into the distance. He had seen smaller giants, half charred, running screaming from flames. The screams were too loud. He had witnessed the entirety of the battle. The battle lasted only twenty moons, but it made all of the green disappear. The ant was hungry. It had already eaten all of its dead brothers. He was thirsty; it didn’t rain anymore, and all the water had been sucked up by giant black tubes. The land around him was barren. But the ant wasn’t concerned. He went back down into his colony’s home, and resumed building his tunnel.

title: A story I wrote. I thought it was awesome, and I want your opinion. Criticism and advice would be welcomed.

question: What did the ant actually witness when the passage claims "He had seen big metallic birds that dropped mushroom seeds into the distance. He had seen smaller giants, half charred, running screaming from flames."?

answer: The ant may have witnessed a bombing during a war.


text:
2015 was a great year for REAPER users. Not only did version 5 come out, but it was the year I decided to really dig in and make great content for the blog on a regular basis. Yeah I’m patting myself on the back but there’s no one else nearby to do it at the moment.

Here are the top 10 posts of 2015 according to the site stats.

1.  REAPER in Shangri-La – Designing demon voices for Far Cry 4
2.  Tour of new features in REAPER 5
3.  Working with takes in REAPER
4.  Low cost control surface ideas for REAPER
5.  Customizing the new V5 default theme
6.  Your Biggest Frustration with REAPER Reader Poll Results
7.  Mixing in REAPER Vol 1
8.  REAPER 5 video editing template
9.  Reascript Basics with Raymond Radet Part-1
10. Why can’t REAPER be exactly like Pro Tools?

This was the year REAPER stated to get really good with video, not just playback but actually editing it. I put out about 70 videos for the blog last year, the majority of them were edited in REAPER.

From the YouTube channel, here are the 5 most liked videos of 2015

1.  Tour of new features in REAPER 5
2.  REAPER 5 video editing template
3.  Drum sample replacement in REAPER
4.  Using stretch markers in REAPER
5.  Quick tip – pencil tool workflow in REAPER

Those are the community’s favorites, but they aren’t my favorites. Here are 5 that I don’t think got enough attention.

1.  ReaPitch tutorial
2.  REAPER 5 FAQ
3.  Linking a MIDI controller to track controls in REAPER
4.  Pencil tool workflow
5.  Tantra plugin review

Making all this great content takes a lot of time and effort and to continue I need some money occasionally. If you love what I’ve been doing with the REAPER Blog you can support it/me through buying something on the products page or with a donation.

question: What is REAPER?

answer: It seems to be a software that is able to edit audio and video, but an explicit explanation is not given.

question: Why was 2015 a great year for REAPER users?

answer: Version 5 was released and the author decided to make content for the blog on a regular basis.

question: What is the fourth most-liked video on the blog?

answer: Using stretch markers in REAPER

question: What does the author request at the end of the blog entry?

answer: They are the readers to support them by buying something on the products page or making a donation

question: Write a ~3 sentence summary.

answer: A look back on the year of 2015 for the audio and video editing software REAPER and the blog concerning the software. The overview includes a list of the top 10 blog posts for the year, the 5 most-liked videos, and the author's 5 favorite videos. The author asks readers to support REAPER by buying something from the products page or making a donation.


text:
“Is that seat open?”
a moments pause....
“I said, is that seat open?”

The man two seats away quickly got up and left instead of answering the guy’s question.
Who asks random people if the other seat at a sit-down restaurant is open? The questioner, a rather tall man with a thick brown beard and wearing a white tee with a rather large yellow stain towards the bottom, had been making a circuit of the room asking each table if their seat was open.

 Maybe I should just leave the room before the guy gets to me. I really hate these awkward moments with anybody and will do nearly anything to avoid them. In fact, I didn’t even really know why I was still here. I had finished my meal and was just sitting here drinking my coffee watching this guy make his way around..As he drew closer, I went back to my newspaper and flipped to the sports section, hoping he wouldn’t notice me.

“Is that seat open?”
“what?.... No, no it’s not open.” He sits across from me anyways and immediately grabbed my paper and started reading it. Everyone was staring. After about a minute in he looked up.
“I saw that no one was sitting with you and was planning on sitting with you a little bit after I entered the restaurant.” He calmly said this as he was turning my newspaper around.
“Why do you read the newspaper at night? Isn’t it typically more of an early morning ritual for people?” I just glared at him. Why can’t he just leave me alone?

“Why are you here, sitting with me? What if I was waiting for someone?” He ignored me and continued flipping through the news. This continued for at least another minute and I would’ve stopped him but honestly I didn’t even know how to go about stopping him. After a few moments he abruptly slapped the paper down and looked me in the eyes.

“I really like this restaurant, and I don’t like eating alone. You looked bored so I decided I would sit with you, besides who goes to a sit-down restaurant and eats alone?”

“Well, I enjoy eating alone; it allows me time to think.”

“You’re a pensive fellow; I bet you live by yourself” He said quickly as he was pointing at my bare left ring finger. “And, I bet you don’t have a girlfriend because who has a sit-down meal on a Saturday night by himself?”

“Two of us clearly.”

“Hahaha! You know I wasn’t planning on eating alone when I came in here. You did see me ask all of those people, didn’t you?” There was a pause as i drank my coffee and gave him the point. At this point i didn’t see a point in trying to take it from him.

“Tom, is it alright if i call you Tom? You look like a Tom.”
“My name isn’t Tom; it’s …” He just barreled on his way.
“Right Tom, I’m going to order a drink. Do you want a drink? You know what? I’m just going to get you one too. I hate drinking alone” As he said this he waved the waiter over and ordered two drinks and then looked back down at the paper for a bit.

“You know you didn’t have to buy me that. I make plenty of money from my accounting job and my name isn’t Tom; it’s....”

“Listen, I don’t want to sound rude, but i honestly don’t give a rat’s ass what your name is or what you do for a living. I just wanted to come here and buy somebody something.” The drinks came and he grabbed his and downed it in a few gulps. I just sipped at mine and stared across the table at him.

A drink later, he spoke up again.
“Am I making you uncomfortable?”

“Yes, well not really anymore.” Everyone had stopped staring, and i was approaching the end of my first drink.

“Why am I making you uncomfortable? Is it that I’m wearing this ugly, stained white tee when I came in or was it that you were one of the last tables i asked? (I assure you if you’re worrying that I chose tables in no particular order, so it is nothing against you). In fact, if you’ll permit me to say...”
“It doesn’t look like i have a choice.”
“No, no of course not. Anyways Tom, I was going to say that you would make a rather splendid first impression if you talked more. But back to my original question. Why am i making you uncomfortable?” I paused for a few moments and took a sip to buy me more time.

“well.... I don’t know. It’s just when i came here i was sort of making the decision to eat here by myself and then you showed up and ruined my night.”

“I don’t think that is the real reason and it insults me when you say that ‘i’ ruined your night. Tom ma’ boy, it was an admirable lie you told me there. I bet you don’t even realize it was a lie. Allow me to explain.”
“Please do.”
“You’re, quite simply, uncomfortable with me crushing your social norms. You’re so used to life just happening for you. I bet you majored in something that would be ‘useful’ outside of college and would have an immediate job waiting for you because you were too scared to try something different. And to top it off, I bet you really didn’t even necessarily make that decision yourself. You allowed yourself to get talked into it, just like you’ve allowed me to call you Tom for the past 15 minutes when your name clearly isn’t Tom.”

I was quiet for another minute thinking about what he said. As i was about to open my mouth with a reply, he launched onwards.

“I think you were alone tonight because you plainly haven’t just gone up and asked anybody out to come eat with you. You sat here with your paper killing time, really just waiting for someone, anyone, to come talk to you.” Another pause as he gulped down the glass of water the waiter brought, letting it spill all down the front of him in a rather disturbing manner.

 I quickly got out my wallet gave him five dollars.
“Thank you for the drinks but i really have to go.”
“Of course you do.... Goodnight Tom.”
“Good bye.”
I turned and hurried out into the night.

title: Sit-Down Dinners

question: Who says the first line of dialogue?

answer: The man with a thick brown beard who is wearing a stained white shirt

question: List the main characters.

answer: The man with the thick brown beard, and the narrator who the man calls Tom

question: Where is the story set?

answer: Inside a sit-down restaurant

question: Who is the narrator?

answer: He never says his name, but the man calls him Tom

question: Write a ~6 sentence summary.

answer: A man goes table to table in a restaurant asking if a seat is open. He comes to the narrator's table and sits down, making the narrator uncomfortable. The man takes a newspaper from the narrator and asks him why he's eating alone. He calls the narrator Tom, even though that is not his name. The man tells him he's uncomfortable because he's used to life just happening to him. The narrator leaves.


text:
You think you lost your keys again - front door is locked. Check the backdoor and it's open. No one's been in, thank god. Search for your keys but don't find them, "I'll look again in the morning".

Wake up and remember to look - no luck and you're late. Leaving the backdoor unlocked is going to eat at you but there's no choice. Rush home after work to check and find your girlfriend on the couch. She brought some stuff over. Maybe she can help. She looks with you through the house and her stuff for a little but she has the night shift and takes off. Stay up until 4 checking.

Tomorrow at 8:40, no time to look now. You come back during lunch to make sure no one came in and maybe check a bit. There's mail and some more of her stuff. You look but it's not with those things.

You buy a big dog to keep watch when you're not there. His name is Quatro because dogs can have names in Spanish.

Buying lunch pay $6.01 one two three four to check if the amount totals, one two three four to check if twenty four is four six times, one two three four to check if four is four one time. Two halves of the sandwich is the whole sandwich two bites is four sips is four bites is two sips is one slip in the conversation, but you just couldn't remember if you had seen Billy Madison as a kid.

Work is close to home and you can check four times today: 11:40, 1:03, 2:20 and 3:11. Twice in each cupboard, twice under your bed, four times behind the TV. House seems to be getting messier but you're sure you were keeping up. There's a memory of your dad telling you that locksmiths are unreliable.

"Where are they?" The question doesn't really go away, except maybe once when you woke up at 3 to pee. You've retraced your steps two, four, eight, sixteen, thirty-two times today, sixty-four, one hundred twenty-eight, two hundred fifty-six times today, five hundred twelve times today, one thousand twenty-four, two thousand forty-eight, four thousand ninety-six times today, you think maybe that wasn't enough maybe if you start checking again the keys will turn up check twice, check four times, check four more times, check twice. Exhausted, you try to sleep. Check twice more twice.

At a Basketball game with your girlfriend and brothers. Section 137, row S, seats 2, 3, 4 and 5. Little brother led the way and you sit next. Four quarters: one, fifteen minutes of sixty. Shot clock at twenty-four, twenty, sixteen, twelve, eight, four, 3 pointer and a foul! There's change on the ground and you try making a dollar. Saw some quarters and a penny - there's no point searching tonight.

You've been late to work a lot and you think your boss might have called you in to talk but your keys are so close - staying home sixteen minutes couldn't hurt, especially since you didn't check last night. You can't remember why you didn't and check twice more. You remember checking last night so you check again. Promise yourself you'll find the keys after work.

The new job as a bartender gives you an excuse not to check for your keys much. Walls lined with 80 proof liquor and 12 ounce bottles. Three glasses of sour mash at the bar so you pour yourself one. Stay around after to drink. At 2:07 walk home and go in the front door.

title: Story thing about Obsessive Compulsive Disorder

question: Summarize the things the narrator obsesses over.

answer: The main thing is the narrator's keys. The front door is locked but not the back door. The narrator searches for it for days, several times a day, many times per attempt. She calculates prices and other numerical values several times as well.

question: What does the story say about obsessive-compulsive disorder medication?