title: Pickling

text: Pickles were part of Thanksgiving dinner traditions as early as 1827. The first mention of pickles at Thanksgiving comes from Sarah Josepha Hale's novel "Northwood". (Hale is best known for her successful campaign to have Thanksgiving recognized as a national holiday in the United States.) Pickled peaches, coleslaw and other mixed pickles continue to be served alongside cranberry sauce at Thanksgiving dinner in present times.


title: Pickling

text: In Mexico, chili peppers, particularly of the Jalapeño and serrano varieties, pickled with onions, carrots and herbs form common condiments.


title: Pickling

text: In the Mesoamerican region, pickling is known as encurtido or "curtido" for short. The pickles or "curtidos" as known in Latin America are served cold, as an appetizer, as a side dish or as a tapas dish in Spain. In several Central American countries it is prepared with cabbage, onions, carrots, lemon, vinegar, oregano, and salt. In Mexico, "curtido" consists of carrots, onions, and jalapeño peppers and used to accompany meals common in taquerías and restaurants.


title: Pickling

text: Another example of a type of pickling which involves the pickling of meats or seafood is the "escabeche" or "ceviches" popular in Peru, Ecuador, and throughout Latin America and the Caribbean. These dishes include the pickling of pig's feet, pig's ears, and gizzards prepared as an "escabeche" with spices and seasonings to flavor it. The ceviches consist of shrimp, octopus, and various fishes seasoned and served cold.


title: Pickling

text: In traditional pickling, fruit or vegetables are submerged in brine (20–40 grams/L of salt (3.2–6.4 oz/imp gal or 2.7–5.3 oz/US gal)), or shredded and salted as in sauerkraut preparation, and held underwater by flat stones layered on top. Alternatively, a lid with an airtrap or a tight lid may be used if the lid is able to release pressure which may result from carbon dioxide buildup. Mold or (white) kahm yeast may form on the surface; kahm yeast is mostly harmless but can impart an off taste and may be removed without affecting the pickling process.


title: Pickling

text: In chemical pickling, the fruits or vegetables to be pickled are placed in a sterilized jar along with brine, vinegar, or both, as well as spices, and are then allowed to mature until the desired taste is obtained.


title: Pickling

text: The food can be pre-soaked in brine before transferring to vinegar. This reduces the water content of the food, which would otherwise dilute the vinegar. This method is particularly useful for fruit and vegetables with a high natural water content.


title: Pickling

text: In commercial pickling, a preservative such as sodium benzoate or EDTA may also be added to enhance shelf life. In fermentation pickling, the food itself produces the preservation agent, typically by a process involving "Lactobacillus" bacteria that produce lactic acid as the preservative agent.


title: Pickling

text: Alum, short for aluminum sulfate, is used in pickling to promote crisp texture and is approved, though not recommended, as a food additive by the United States Food and Drug Administration. Another common crisping agent is calcium chloride, which evolved from the practice of using pickling lime. See also firming agent.


title: Pickling

text: "Refrigerator pickles" are unfermented pickles made by marinating fruit or vegetables in a seasoned vinegar solution. They must be stored under refrigeration or undergo canning to achieve long-term storage.


title: Pickling

text: Japanese Tsukemono use a variety of pickling ingredients depending on their type, and are produced by combining these ingredients with the vegetables to be preserved and putting the mixture under pressure.


title: Pickling

text: The World Health Organization has listed pickled vegetables as a possible carcinogen, and the "British Journal of Cancer" released an online 2009 meta-analysis of research on pickles as increasing the risks of esophageal cancer. The report, citing limited data in a statistical meta analysis, indicates a potential two-fold increased risk of oesophageal cancer associated with Asian pickled vegetable consumption. Results from the research are described as having "high heterogeneity" and the study said that further well-designed prospective studies were warranted. However, their results stated "The majority of subgroup analyses showed a statistically significant association between consuming pickled vegetables and Oesophageal Squamous Cell Carcinoma".


title: Pickling

text: The 2009 meta-analysis reported heavy infestation of pickled vegetables with fungi. Some common fungi can facilitate the formation of N-nitroso compounds, which are strong oesophageal carcinogens in several animal models. Roussin red methyl ester, a non-alkylating nitroso compound with tumour-promoting effect in vitro, was identified in pickles from Linzhou, Henan (formerly Linxian) in much higher concentrations than in samples from low-incidence areas. Fumonisin mycotoxins have been shown to cause liver and kidney tumours in rodents.


title: Pickling

text: A 2017 study in "Chinese Journal of Cancer" has linked salted vegetables ( common among Chinese cuisine) to a fourfold increase in nasopharynx cancer. The researchers believe possible mechanisms include production of nitrosamines (a type of N-nitroso compound) by fermentation and activation of Epstein–Barr virus by fermentation products.


title: Pickling

text: Historically, pickling caused health concerns for reasons associated with copper salts, as explained in the mid-19th century "The English and Australian Cookery Book": "The evidence of the Lancet commissioner (Dr. Hassall) and Mr. Blackwell (of the eminent firm of Crosse and Blackwell) went to prove that the pickles sold in the shops are nearly always artificially coloured, and are thus rendered highly unwholesome, if not actually poisonous."


title: Types of motorcycles

text: The six main types of motorcycles are generally recognized as "standard", "cruiser", "touring", "sports", "off-road", and "dual-purpose". "Sport touring" is sometimes recognized as a seventh category or integrated with the "touring" category.


title: Types of motorcycles

text: Although there are many names and systems for classifying types of motorcycles based on their characteristics and usage, there are generally six categories recognized by most motorcycle manufacturers and organizations.


title: Types of motorcycles

text: Strong distinctions are usually made between the six main types of motorcycles and other motorcycles. Scooter, moped, underbone, miniature, pocket, electric, and three-wheeled motorcycles are generally excluded from the main categories but other classification schemes may include these as types of motorcycles.


title: Types of motorcycles

text: There is no universal system for classifying all types of motorcycles. There are strict classification systems enforced by competitive motorcycle sport sanctioning bodies, or legal definitions of a motorcycle established by certain legal jurisdictions for motorcycle registration, emissions, road traffic safety rules or motorcyclist licensing. There are also informal classifications or nicknames used by manufacturers, riders, and the motorcycling media. Some experts do not recognize sub-types, like naked bike, that "purport to be classified" outside the six usual classes, because they fit within one of the main types and are recognizable only by cosmetic changes.


title: Types of motorcycles

text: Street motorcycles are motorcycles designed for being ridden on paved roads. They have smooth tires with tread patterns and engines generally in the and over range. Typically, street motorcycles are capable of speeds up to , and many of speeds in excess of . Street motorcycles powered by electric motors are becoming more common, with firms like Harley-Davidson entering the market.


title: Types of motorcycles

text: Standard motorcycles (also called naked bikes, roadsters, or simply standards) are motorcycles mainly intended for use on streets for commuting. They are characterized primarily by their upright riding position (in-between the reclining rider posture of the cruisers and the forward leaning of sport bikes) and most of the usable torque (powerband) at lower engine rpm for commuting and fuel efficiency.


title: Types of motorcycles

text: Standards are typically not equipped with fairings or windscreens from the manufacturer, hence the name "naked bikes". Standard is often a synonym for naked, a term that was originally used in reference to 1950s road racing bikes. Footpegs are below the rider and handlebars are high enough to not force the rider to reach too far forward, placing the shoulders above the hips in a natural position. Due to their flexibility, lower costs, moderate engine output, and up-right seating position, standards are particularly suited for beginner motorcyclists.


title: Types of motorcycles

text: Cruiser motorcycles (or simply cruisers) are styled after American motorcycles from the 1930s to the early 1960s, such as those made by Harley-Davidson, Indian, and Excelsior-Henderson. Harley-Davidsons largely define the cruiser category, and large-displacement V-twin engines are the norm, although other engine configurations and small to medium displacements also exist. Their engines are tuned for low-end torque, making them less demanding to ride because it is not necessary to shift as frequently to accelerate or maintain control.


title: Types of motorcycles

text: The riding position places the feet forward and the hands are up relatively high, so that the spine is erect or leaning back slightly. At low to moderate speeds, cruisers are more comfortable than other styles, but riding for long periods at freeway speeds can lead to fatigue from pulling back on the handlebars to resist the force of the wind against the rider's chest. Cruisers have limited cornering ability due to a lack of ground clearance.


title: Types of motorcycles

text: Choppers are a type of cruiser, so called because they are a "chopped", or cut-down, version of a production cruiser. Choppers are usually custom projects that result in a bike modified to suit the owner's ideals, and, as such, are a source of pride and accomplishment. Stereotypically, a chopper may have raked-out forks, small fuel tanks and high handlebars. Choppers were popularised in the Peter Fonda film "Easy Rider". Being designed primarily for visual effect, choppers will not usually be the most efficient riding machines.


title: Types of motorcycles

text: Related to the chopper motorcycle is the bobber which is created by "bobbing" a factory bike by removing dead weight and bodywork from a motorcycle to reduce mass and increase performance. A common element of these motorcycles is a shortened rear fender that creates a "bobbed" look.


title: Types of motorcycles

text: Although any motorcycle can be equipped and used for touring, touring motorcycles are specifically designed to excel at covering long distances. They have large-displacement engines, fairings and screens that offer good weather and wind protection, large-capacity fuel tanks for long ranges between fill-ups, and a relaxed, upright seating position. Passenger accommodation is excellent and expansive luggage space is the norm for this class. Such bikes can have wet weights of and top fully loaded with a rider, passenger and gear.


title: Types of motorcycles

text: Bagger, full dresser, full dress tourer, or dresser are various names for touring motorcycles, sometimes used disparagingly or jocularly, and originally referring to a Harley-Davidson or other cruisers with full sets of saddlebags. This can now refer to any touring motorcycle.


title: Types of motorcycles

text: Sport bikes are road bikes which emphasize top speed, acceleration, braking, handling and grip, typically at the expense of comfort and fuel economy in comparison to other motorcycle types. Sport bikes have comparatively high performance engines supported within a lightweight frame. Inline-four engines dominate the sport bike category, with V-twins and parallel twins having a significant presence; and most other engine configurations appear in small numbers at times. High-performance braking systems may use upgraded brake pads, multi-piston calipers and larger vented rotors. Sports bike suspension systems may be more sophisticated, with greater adjustments for compression and rebound. Sport bikes have fairings to completely enclose the engine, along with windscreens that effectively deflect the air at high speeds away from the rider, thereby minimising overall drag.


title: Types of motorcycles

text: Sport bikes may have footpegs that are both higher and set further back than on a standard bike, improving ground clearance when cornering and enabling a more prone position for the rider. There may be a long reach to the hand controls, which positions the body and center of gravity forward, above the fuel tank. The rider leans forward into the wind, the force of which may support the rider's weight at high speeds. However, at lower speeds a rider may experience excessive weight on the arms and wrists, causing fatigue.


title: Types of motorcycles

text: Streetfighters are derived from sport bikes, originally being customized sport bikes with the fairings removed and higher handlebars replacing the low clip-on handlebars. Since the 1990s, factory streetfighters have been produced. As with naked bike and muscle bike (below), the name streetfighter is used to help clarify the middle ground occupied by designs that blend elements of both sport bikes and standards.


title: Types of motorcycles

text: Off-road motorcycles, also known as dirt bikes or scramblers, specially designed for off-road use. The term off-road refers to driving surfaces that are not conventionally paved. These are rough surfaces, often created naturally, such as sand, gravel, a river, mud or snow. These types of terrain can sometimes only be travelled on with vehicles designed for off-road driving (such as SUVs, ATVs, snowmobiles and mountain bikes in recent decades, and minibikes even earlier) or vehicles are designed to better handle off-road conditions. Compared to road-going motorcycles, off-road machines are lighter and more flexible, typically having long suspension travel, high ground clearance, and are geared higher to provide more torque in off-road situations. Wheels (usually 21" front, 18" rear) have knobby tires, often clamped to the rim with a rim lock.


title: Types of motorcycles

text: Many competitive events have emerged and developed into a variety of off-road motorcycle sports, for which a number of specialized motorcycles have been built:


title: Types of motorcycles

text: Dual-purpose motorcycles, sometimes called dual-sport, on/off-road motorcycles, or adventure motorcycles, are street legal machines that are also designed to enter off-road situations. Typically based on a dirt bike chassis, they have added lights, mirrors, signals, and instruments that allow them to be licensed for public roads. They are higher than other street bikes, with a high center of gravity and tall seat height, allowing good suspension travel for rough ground.


title: Types of motorcycles

text: Adventure motorcycles are motorcycles with touring capability on paved and unpaved roads. As a dual-sport they have a significant on-pavement bias and perform well on pavement at higher speeds unlike most dual-sports. Their size, weight and sometimes their tires, however, limits their off-road capability. Most adventure motorcycles function well on graded dirt and gravel roads but are less than ideal on more difficult off-pavement terrain.


title: Types of motorcycles

text: Supermoto motorcycles were designed to compete on a single course that alternated between three genres of motorcycle racing: road racing, track racing, and motocross. This increasingly popular type of motorcycle is often a dual-sport that has been fitted by the manufacturer with smaller rims and road tires. Supermotos are quickly gaining popularity as street bikes due to their combination of light weight, durability, relatively low cost, and sporty handling.


title: Types of motorcycles

text: Sport touring motorcycles combine attributes of sport bikes and touring motorcycles. The rider posture is less extreme than a sport bike, giving greater long-distance comfort. Accommodation for a passenger is superior to a sport bike as well, along with increased luggage capacity. Being lighter, at wet, than a pure touring bike and often having racier engines, suspensions, and brakes, sport tourers corner better and are more at home being aggressively ridden on curvy canyon roads. The distinction between touring and sport touring is not always clear as some manufacturers will list the same bike in either category in different markets. The Honda ST1300 Pan-European, for example, was listed by Honda as a sport touring motorcycle in the United States and Australia, but as a touring motorcycle in Europe.


title: Types of motorcycles

text: Motor scooters are in many cases classified as a separate vehicle to motorbikes, given their large amount of differences, and different evolution. Scooter engine sizes range smaller than motorcycles, , and have all-enclosing bodywork that makes them cleaner and quieter than motorcycles, as well as having more built-in storage space. Modern scooters have automatic clutches and continuously variable transmissions (CVT), which makes them easier to learn on and to ride. Scooters usually have smaller wheels than motorcycles. They usually have the engine as part of the swingarm, so that their engines travel up and down with the suspension.


title: Types of motorcycles

text: Underbones are small-displacement motorcycles with a step-through frame, descendants of the original Honda Super Cub. They are differentiated from scooters by their larger wheels and their use of footpegs instead of a floorboard. They often have a gear shifter with an automatic clutch.


title: Types of motorcycles

text: The moped used to be a hybrid of the bicycle and the motorcycle, equipped with a small engine (usually a small two-stroke engine up to 50 cc, but occasionally an electric motor) and a bicycle drivetrain, and motive power can be supplied by the engine, the rider, or both. There are also Sport mopeds – a type of moped that resembles a sport bike.


title: Types of motorcycles

text: In many places, mopeds are subject to less stringent licensing than bikes with larger engines and are popular as very cheap motorbikes, with the pedals seeing next to no use. Mopeds were very popular in the United States during the fuel-crisis of the late 1970s and early 1980s, but their popularity has fallen off sharply since the mid-1980s. In response to rising fuel prices in the first decade of the 2000s, U.S. scooter and moped ridership saw a resurgence. Sales of motorcycles and scooters declined 43.2% in 2009, and continued to decrease in the first quarter of 2010, with scooter sales doing worst, down 13.3% compared to a 4.6% drop for all two-wheelers.


title: Types of motorcycles

text: Other types of small motorcycles include the minibike, monkey bike, Welbike, pocketbike, and pit bike.


title: Types of motorcycles

text: Feet forwards motorcycles include the 1911 Wilkinson TMC and the 1918 Ner-A-Car. Contemporary examples include the Quasar, powered by a Reliant Robin engine, and the Peraves range powered mainly by BMW K Series engines.


title: Types of motorcycles

text: Some motorcycles are specially adapted for specific job functions, such as those used by the ambulance, blood bikes, fire, and military services, and for specialized delivery services, such as pizza deliveries. Beginning in the 1960s with the Mountain Goat specialized motorcycles were developed for use on farms. The Motocrotte (or "cainette") was used in Paris to collect dog waste with vacuum suction in the 1980s and 1990s, and was still in use in other French cities as of 2016.


title: Types of motorcycles

text: While motorcycles typically have two wheels, some motorized tricycles are classed as three-wheeled motorcycles. Some brands have made various types of three-wheelers direct from the factory. Most of these vehicles are treated as motorcycles for registration or licensing purposes.


title: Types of motorcycles

text: Tilting three-wheelers keep all three wheels on the ground when they lean to negotiate curves. These include Honda's Gyro range, all of which have a front wheel that leans and a pair of rear wheels that do not, and the Piaggio MP3, which has two front wheels and a single rear wheel, all of which lean. The Yamaha Niken is also a tilting three wheeler but has smaller track width such that it is considered a motorcycle by some authorities.


title: Drena De Niro

text: Drena De Niro (born September 3, 1971) is an American actress and filmmaker who is the daughter of Diahnne Abbott and adoptive daughter of Robert De Niro after their marriage in 1976.


title: Drena De Niro

text: De Niro is the daughter of actress Diahnne Abbott, and the adopted daughter of actor Robert De Niro, whose last name she took upon her mother's marriage to him in 1976.


title: Drena De Niro

text: De Niro enjoyed a bohemian upbringing that saw her divide her time between New York City, Los Angeles, and Italy. This transient lifestyle is said to have been a driving factor in her embrace of the arts. Post schooling, she began her career in the entertainment industry working as a model. Further driven by her interest in fashion and music she became a DJ and Fashion Consultant. This led her to work as a musical supervisor for Giorgio Armani, serving as the creative force behind the coordination for runway shows.


title: Drena De Niro

text: Her transition to the field of acting began after landing a role in Allison Anders's "Grace of My Heart". Since her premiere role, De Niro has worked with and trained under Larry Moss, author of the acting guide, "Intent to Live", and Susan Batson of The Black Nexxus Acting Studio. With the turn of the millennium, De Niro set her sights on writing and directing her first film, "Girls and Dolls". This documentary examined a young stylist's obsession with her dolls, and won De Niro the Best Directorial Debut Award at the New York Independent Film/Video Festival in 2001.


title: Drena De Niro

text: More recently De Niro's endeavors have led her back to Italy, where she worked on her latest film. Since 2006, she has been the spokesperson for the Kageno Orphan Sponsorship Program, which helps provide care for orphaned children in Kageno villages. De Niro currently lives in New York City with her son, Leo.


title: Blonde on Blonde

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.


title: Blonde on Blonde

text: "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". It was one of the first double albums in rock music.


title: Blonde on Blonde

text: 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 #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.


title: Blonde on Blonde

text: In 1999, the album was inducted into the Grammy Hall of Fame, and was ranked number 38 in "Rolling Stone"s 500 Greatest Albums of All Time list in 2020.


title: Blonde on Blonde

text: 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. After backing him at concerts in late August and early September, Kooper informed Dylan he did not wish to continue touring with him. 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. 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".


title: Blonde on Blonde

text: Bob Dylan rehearsed with the Hawks in Toronto on September 15, where they were playing a hometown residency at Friar's Club, and on September 24, they made their debut in Austin, Texas. Two weeks later, encouraged by the success of their Texas performance, Dylan took the Hawks into Studio A of Columbia Records in New York City. 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.


title: Blonde on Blonde

text: 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".


title: Blonde on Blonde

text: 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. 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 "" in 2005. 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.


title: Blonde on Blonde

text: 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. 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). 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". (Although the song breaks down at the start of the last verse, Columbia released it as the most complete take from the session.) Since 2015, this same outtake plus three other ones are available on "".


title: Blonde on Blonde

text: 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), guitarist Robbie Robertson, pianist Paul Griffin, and organist Al Kooper. 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.


title: Blonde on Blonde

text: 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. 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". The recording was ultimately released on "The Bootleg Series Volumes 1–3" in 1991.


title: Blonde on Blonde

text: 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".


title: Blonde on Blonde

text: 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'". 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.


title: Blonde on Blonde

text: 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". 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". 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.


title: Blonde on Blonde

text: 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.


title: Blonde on Blonde

text: 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. 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?" The finished song clocked in at 11 minutes, 23 seconds, and would occupy the entire fourth side of the album.


title: Blonde on Blonde

text: 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.


title: Blonde on Blonde

text: 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. This chronology is based on the logs and files kept by Columbia Records.


title: Blonde on Blonde

text: Dylan and the Hawks performed concerts in Ottawa, Montreal, and Philadelphia in February and March, 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". The same day saw the successful takes of "Just Like a Woman", and "Pledging My Time", the latter "driven by Robertson's screaming guitar".


title: Blonde on Blonde

text: According to Wilentz the final recording session, on March 9–10, produced six songs in 13 hours of studio time. 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. 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 #12 & 35" on the piano. Johnston recalled commenting; "That sounds like the damn Salvation Army band". Dylan replied; "Can you get one?" 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.


title: Blonde on Blonde

text: 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. 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.


title: Blonde on Blonde

text: 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. 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".


title: Blonde on Blonde

text: Dylan mixed the album in Los Angeles in early April, before he departed on the Australian leg of his 1966 world tour. 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", and they had "produced enough solid material to demand an oddly configured double album, the first of its kind in contemporary popular music". 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.


title: Blonde on Blonde

text: 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." 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."


title: Blonde on Blonde

text: Several explanations have been put forward in an attempt to shed light on the identity or meaning of the blondes superimposed in the title. Two of these explanations are contemporary with the album and lead to personalities in Dylan's entourage at the time. To Edie Sedgwick, firstly, a short-lived celebrity in the New York underground in the mid-1960s, with blond hair and a pale complexion. Then to Brian Jones and the blond couple that the founder of the Rolling Stones formed with the actress Anita Pallenberg.


title: Blonde on Blonde

text: Since the publication of Dylan's autobiographical "" in 2004, another hypothesis has taken shape: that "Blonde on Blonde" is a tribute to "Brecht on Brecht", a musical performance of Bertolt Brecht's songs which Dylan attended in 1963 and which had a profound effect on him. In addition to this analogy, it has become classic to point out that the initials of the title reproduce Dylan's first name, as a wink. Oliver Trager, for instance, in 2004: "Its title is at least a riff on "Brecht on Brecht", a rather literary touch for rock ’n’ roll at the time. And let’s not forget that the first letter of each word in the title form an anagram that spells the word 'Bob'."


title: Blonde on Blonde

text: In 2012, another theory was espoused in David Dalton's book "Who Is That Man? In Search of the Real Bob Dylan". Dalton writes that "the title of the album itself is a double entendre that refers to a rock star's endless harem as well as to Kazimir Malevich's constructivist painting "White Square on White". Avant-garde art sandwiched between serial blondes" (the painting is actually titled "Suprematist Composition: White on White").


title: Blonde on Blonde

text: A brand new interpretation appeared in a French essay published in 2021. According to "Like a Rolling Stone Revisited : Une relecture de Dylan" [A Re-Reading of Dylan] by Jean-Michel Buizard, the title refers to two guitars that together form the musical heart of the album, two light wood and beige guitars, "blonde" in English usage – like the Gibson Nick Lucas Special and the Fender acoustic that Robertson and Dylan play face to face in a 1966 scene from the documentary Eat the Document: "two guitars of the same colour playing with each other, melodic line on rhythmic line, blonde on blonde." This interpretation is essentially based on two ideas drawn from Dylan's lyrics. On the one hand, the understanding that, in his most important and enigmatic songs of the 1965-1966 period, Dylan never stops talking about his music and, with it, about his place in the history of the blues. On the other hand, the discovery that a whole troupe of famous bluesmen, modern or old, parade through these same songs, each of them accompanied by his guitar disguised in a personified or metaphorical form.


title: Blonde on Blonde

text: 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. The elaborate puns on getting stoned combine a sense of paranoiac persecution with "nudge-nudge wink-wink bohemian hedonism". 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." Released as a single on March 22, 1966, "Rainy Day Women" reached number two on the "Billboard" singles chart and number seven in the UK.


title: Blonde on Blonde

text: Following the good-time fun of "Rainy Day Women #12 & 35", the Chicago blues-influenced "Pledging My Time" sets the album's somber tone. It draws on several traditional blues songs, including Elmore James's recording of "It Hurts Me Too". 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. 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". Besides Dylan's vocals and improvised harmonica breaks, the song's sound is defined by Robbie Robertson's guitar, Hargus "Pig" Robbins' blues piano and Ken Buttrey's snare drum rolls. The song was released in edited form as the B-side of "Rainy Day Women #12 & 35" in March.


title: Blonde on Blonde

text: Considered by many critics one of Dylan's masterpieces, "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. In the New York recording studio, on November 30, Dylan announced his epic composition: "This is called 'Freeze Out'." Gill notes that this working title captures the "air of nocturnal suspension in which the verse tableaux are sketched ... full of whispering and muttering." 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." Wilentz notes that, as Dylan quiets things down, he inches closer to what will appear on the album.


title: Blonde on Blonde

text: 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". 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. 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."


title: Blonde on Blonde

text: 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. 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. 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. 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."


title: Blonde on Blonde

text: "One of Us Must Know" is a straightforward account of a burned-out relationship. Dissecting what went wrong, the narrator takes a defensive attitude in a one-sided conversation with his former lover. 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." "One of Us Must Know" was the first recording completed for "Blonde on Blonde" and the only one selected from the New York sessions. The song was released as the first single from the album on February 14, the same day Dylan began to record in Nashville. It failed to appear on the American charts, but reached number 33 in the UK.


title: Blonde on Blonde

text: 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". 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.


title: Blonde on Blonde

text: 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." 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". Released as a single in June 1966, shortly before the album, "I Want You" reached number 20 in the US and number 16 in the UK.


title: Blonde on Blonde

text: Recorded at the third Nashville session, this song was the culmination of another epic of simultaneous writing and recording in the studio. Heylin calls this song 'a masterpiece of the first order'. 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'."


title: Blonde on Blonde

text: 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." On the fifth take, released in 2005 on the "", midtake Dylan stumbles on the formula "Stuck "inside of" Mobile" on the fourth verse, and never goes back. 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".


title: Blonde on Blonde

text: "Leopard-Skin Pill-Box Hat" is a satire of materialism, fashion and faddism. Done in Chicago-blues style, the song derives its melody and part of its lyrics from Lightnin' Hopkins's "Automobile (Blues)". Paul Williams writes that its caustic attitude is "moderated slightly when one realizes that jealous pique is the underlying emotion". 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.


title: Blonde on Blonde

text: 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. 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). 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.


title: Blonde on Blonde

text: 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". 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. The reference to Baby's penchant for "fog ... amphetamine and ... pearls" suggests Sedgwick or a similar debutante, according to Heylin.


title: Blonde on Blonde

text: Discussing the lyrics, literary critic Christopher Ricks detects a "note of social exclusion" in the line "I was hungry and it was your world". 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?" The song reached number 33 in the US.


title: Blonde on Blonde

text: 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. The narrator has tired of carrying his lover and is going to let her "pass". 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. "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".


title: Blonde on Blonde

text: This slow-moving blues number is highlighted by Hargus "Pig" Robbins's "dusky barrelhouse piano" and Dylan's "brief wheeze of harmonica". The narrator has been spurned by his lover, who has already taken up with her latest boyfriend. Calling his rival "Achilles", the narrator senses the new suitor may be discarded as quickly as he was. 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.


title: Blonde on Blonde

text: This song, described as "up-tempo blues shuffle, pure Memphis" and an example of "obvious pop sensibility and compulsive melody", was recorded in four takes on March 7, 1966. 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. 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.


title: Blonde on Blonde

text: 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. 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. Wilentz describes the result as sounding "like Bob Dylan impersonating John Lennon impersonating Bob Dylan".


title: Blonde on Blonde

text: "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", and was described by Robert Shelton as "the best R&B song on the album". 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. 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. Within four takes, the recording was done.


title: Blonde on Blonde

text: 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". 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. 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".


title: Blonde on Blonde

text: When Dylan played Shelton the song, shortly after recording it, he claimed, "This is the best song I've ever written." Around the same time, Dylan enthused to journalist Jules Siegel, "Just listen to that! That's old-time religious carnival music!" 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"]."


title: Blonde on Blonde

text: Heard by some listeners as a hymn to an otherworldly woman, 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." 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.


title: Blonde on Blonde

text: In 2015, Dylan released Volume 12 of his Bootleg Series, "", 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." 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.


title: Blonde on Blonde

text: 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".


title: Blonde on Blonde

text: 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". The 18 CDs also contain brief recordings of guitar and keyboard inserts.


title: Blonde on Blonde

text: 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."


title: Blonde on Blonde

text: 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 #12 & 35".


title: Blonde on Blonde

text: 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". The photographer, Jerry Schatzberg, described how the photo was taken:


title: Blonde on Blonde

text: 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. The original inside gatefold featured nine black-and-white photos, all taken by Schatzberg and selected for the sleeve by Dylan himself. 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, making the original record sleeve a collector's item. Dylan included a self-portrait by Schatzberg as a credit to the photographer. 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."


title: Blonde on Blonde

text: "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.


title: Blonde on Blonde

text: 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." 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."


title: Blonde on Blonde

text: 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." 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"."


title: Blonde on Blonde

text: "Blonde on Blonde" was released on June 20, 1966, but for many years, May 16 was thought to be the correct date. Michael Gray, author of "The Bob Dylan Encyclopedia", had contended that the release date was actually around late June or early July. This coincides with the album's promotion in "Billboard", which carried a full-page Columbia advertisement on June 25, selected the album as a "New Action LP" on July 9, and ran a review and article on July 16. In 2017, after viewing a Sony database of album releases, Heylin found that the release date was in fact June 20. This is supported by the fact that an overdub on "Fourth Time Around" was recorded in June.


title: Blonde on Blonde

text: The album debuted on "Billboard"s Top LP's chart on July 23 at number 101—just six days before Dylan's motorcycle accident in Woodstock removed him from public view. 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.


title: Blonde on Blonde

text: "Blonde on Blonde" has been described as rock's first studio double LP by a major artist, released just one week before "Freak Out!", the double album by the Mothers of Invention.


title: Blonde on Blonde

text: 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." 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." 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." 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"." Music journalist Gary Graff points to "Highway 61 Revisited" and "Blonde on Blonde", along with the Beach Boys' "Pet Sounds" (1966), as possible starting points to the album era, as they each constituted "a cohesive and conceptual body of work rather than just some hit singles ... with filler tracks."


title: Blonde on Blonde

text: 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." 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." 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'."


title: Blonde on Blonde

text: 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." 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."


title: Blonde on Blonde

text: "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. In 1974, the writers of "NME" voted "Blonde on Blonde" the number-two album of all time. It was ranked second in the 1978 book "" and third in the 1987 edition. 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. In 2006, "Time" magazine included the record on their 100 All-Time Albums list. In 2003, the album was ranked number nine on "Rolling Stone" magazine's list of "The 500 Greatest Albums of All Time", maintaining the rating in a 2012 revised list, while dropping to number 38 in 2020. 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. (When "Rolling Stone" updated this list in 2010, "Just Like a Woman" dropped to number 232 and "Visions of Johanna" to number 413. Then in 2021, "Visions of Johanna" was re-ranked at number 317.) The album was additionally included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings—published in "" (1981)—and in critic Robert Dimery's book "1001 Albums You Must Hear Before You Die".


title: Blonde on Blonde

text: It was voted number 33 in the third edition of Colin Larkin's "All Time Top 1000 Albums" (2000). It was inducted into the Grammy Hall of Fame in 1999.


title: Blonde on Blonde

text: When Dylan was awarded the Nobel Prize for Literature in 2016, Swedish Academy Secretary Sara Danius, when asked how to evaluate Dylan's literary merit, suggested listening first to "Blonde on Blonde."


title: Copenhagen interpretation

text: The Copenhagen interpretation is a collection of views about the meaning of quantum mechanics, principally attributed to Niels Bohr and Werner Heisenberg. It is one of the oldest of numerous proposed interpretations of quantum mechanics, as features of it date to the development of quantum mechanics during 1925–1927, and it remains one of the most commonly taught.


title: Copenhagen interpretation

text: There is no definitive historical statement of what the Copenhagen interpretation is. There are some fundamental agreements and disagreements between the views of Bohr and Heisenberg. For example, Heisenberg emphasized a sharp "cut" between the observer (or the instrument) and the system being observed, while Bohr offered an interpretation that is independent of a subjective observer or measurement or collapse, which relies on an "irreversible" or effectively irreversible process, which could take place within the quantum system.


title: Copenhagen interpretation

text: Features common to Copenhagen-type interpretations include the idea that quantum mechanics is intrinsically indeterministic, with probabilities calculated using the Born rule, and the principle of complementarity, which states that objects have certain pairs of complementary properties that cannot all be observed or measured simultaneously. Moreover, the act of "observing" or "measuring" an object is irreversible, and no truth can be attributed to an object, except according to the results of its measurement. Copenhagen-type interpretations hold that quantum descriptions are objective, in that they are independent of physicists' mental arbitrariness.


title: Copenhagen interpretation

text: Over the years, there have been many objections to aspects of Copenhagen-type interpretations, including the discontinuous and stochastic nature of the "observation" or "measurement" process, the apparent subjectivity of requiring an observer, the difficulty of defining what might count as a measuring device, and the seeming reliance upon classical physics in describing such devices.


title: Copenhagen interpretation

text: Starting in 1900, investigations into atomic and subatomic phenomena forced a revision to the basic concepts of classical physics. However, it was not until a quarter-century had elapsed that the revision reached the status of a coherent theory. During the intervening period, now known as the time of the "old quantum theory", physicists worked with approximations and heuristic corrections to classical physics. Notable results from this period include Max Planck's calculation of the blackbody radiation spectrum, Albert Einstein's explanation of the photoelectric effect, Einstein and Peter Debye's work on the specific heat of solids, Niels Bohr and Hendrika Johanna van Leeuwen's proof that classical physics cannot account for diamagnetism, Bohr's model of the hydrogen atom and Arnold Sommerfeld's extension of the Bohr model to include relativistic effects. From 1922 through 1925, this method of heuristic corrections encountered increasing difficulties; for example, the Bohr–Sommerfeld model could not be extended from hydrogen to the next simplest case, the helium atom.


title: Copenhagen interpretation

text: The transition from the old quantum theory to full-fledged quantum physics began in 1925, when Werner Heisenberg presented a treatment of electron behavior based on discussing only "observable" quantities, meaning to Heisenberg the frequencies of light that atoms absorbed and emitted. Max Born then realized that in Heisenberg's theory, the classical variables of position and momentum would instead be represented by matrices, mathematical objects that can be multiplied together like numbers with the crucial difference that the order of multiplication matters. Erwin Schrödinger presented an equation that treated the electron as a wave, and Born discovered that the way to successfully interpret the wave function that appeared in the Schrödinger equation was as a tool for calculating probabilities.


title: Copenhagen interpretation

text: Quantum mechanics cannot easily be reconciled with everyday language and observation, and has often seemed counter-intuitive to physicists, including its inventors. The ideas grouped together as the Copenhagen interpretation suggest a way to think about how the mathematics of quantum theory relates to physical reality.


title: Copenhagen interpretation

text: The term refers to the city of Copenhagen in Denmark, and was apparently coined during the 1950s. Earlier, during the mid-1920s, Heisenberg had been an assistant to Bohr at his institute in Copenhagen, where they helped originate quantum mechanical theory. At the 1927 Solvay Conference, a dual talk by Max Born and Heisenberg declared "we consider quantum mechanics to be a closed theory, whose fundamental physical and mathematical assumptions are no longer susceptible of any modification." In 1929, Heisenberg gave a series of invited lectures at the University of Chicago explaining the new field of quantum mechanics. The lectures then served as the basis for his textbook, "The Physical Principles of the Quantum Theory", published in 1930. In the book's preface, Heisenberg wrote:


title: Copenhagen interpretation

text: On the whole, the book contains nothing that is not to be found in previous publications, particularly in the investigations of Bohr. The purpose of the book seems to me to be fulfilled if it contributes somewhat to the diffusion of that 'Kopenhagener Geist der Quantentheorie' [Copenhagen spirit of quantum theory] if I may so express myself, which has directed the entire development of modern atomic physics.


title: Copenhagen interpretation

text: The term 'Copenhagen interpretation' suggests something more than just a spirit, such as some definite set of rules for interpreting the mathematical formalism of quantum mechanics, presumably dating back to the 1920s. However, no such text exists, and the writings of Bohr and Heisenberg contradict each other on several important issues. It appears that the particular term, with its more definite sense, was coined by Heisenberg around 1955, while criticizing alternative "interpretations" (e.g., David Bohm's) that had been developed. Lectures with the titles 'The Copenhagen Interpretation of Quantum Theory' and 'Criticisms and Counterproposals to the Copenhagen Interpretation', that Heisenberg delivered in 1955, are reprinted in the collection "Physics and Philosophy". Before the book was released for sale, Heisenberg privately expressed regret for having used the term, due to its suggestion of the existence of other interpretations, that he considered to be "nonsense". In a 1960 review of Heisenberg's book, Bohr's close collaborator Léon Rosenfeld called the term an "ambiguous expression" and suggested it be discarded. However, this did not come to pass, and the term entered widespread use.


title: Copenhagen interpretation

text: There is no uniquely definitive statement of the Copenhagen interpretation. The term encompasses the views developed by a number of scientists and philosophers during the second quarter of the 20th century. This lack of a single, authoritative source that establishes the Copenhagen interpretation is one difficulty with discussing it; another complication is that the philosophical background familiar to Einstein, Bohr, Heisenberg, and contemporaries is much less so to physicists and even philosophers of physics in more recent times. Bohr and Heisenberg never totally agreed on how to understand the mathematical formalism of quantum mechanics, and Bohr distanced himself from what he considered Heisenberg's more subjective interpretation. Bohr offered an interpretation that is independent of a subjective observer, or measurement, or collapse; instead, an "irreversible" or effectively irreversible process causes the decay of quantum coherence which imparts the classical behavior of "observation" or "measurement".


title: Copenhagen interpretation

text: Different commentators and researchers have associated various ideas with the term. Asher Peres remarked that very different, sometimes opposite, views are presented as "the Copenhagen interpretation" by different authors. N. David Mermin coined the phrase "Shut up and calculate!" to summarize Copenhagen-type views, a saying often misattributed to Richard Feynman and which Mermin later found insufficiently nuanced. Mermin described the Copenhagen interpretation as coming in different "versions", "varieties", or "flavors".


title: Copenhagen interpretation

text: Hans Primas and Roland Omnès give a more detailed breakdown that, in addition to the above, includes the following:


title: Copenhagen interpretation

text: Another issue of importance where Bohr and Heisenberg disagreed is wave–particle duality. Bohr maintained that the distinction between a wave view and a particle view was defined by a distinction between experimental setups, whereas Heisenberg held that it was defined by the possibility of viewing the mathematical formulas as referring to waves or particles. Bohr thought that a particular experimental setup would display either a wave picture or a particle picture, but not both. Heisenberg thought that every mathematical formulation was capable of both wave and particle interpretations.


title: Copenhagen interpretation

text: A wave function is a mathematical entity that provides a probability distribution for the outcomes of each possible measurement on a system. Knowledge of the wave function together with the rules for the system's evolution in time exhausts all that can be predicted about the system's behavior. Generally, Copenhagen-type interpretations deny that the wave function provides a directly apprehensible image of an ordinary material body or a discernible component of some such, or anything more than a theoretical concept.


title: Copenhagen interpretation

text: The Born rule is essential to the Copenhagen interpretation. Formulated by Max Born in 1926, it gives the probability that a measurement of a quantum system will yield a given result. In its simplest form, it states that the probability density of finding a particle at a given point, when measured, is proportional to the square of the magnitude of the particle's wave function at that point.


title: Copenhagen interpretation

text: A common perception of "the" Copenhagen interpretation is that an important part of it is the "collapse" of the wave function. In the act of measurement, it is postulated, the wave function of a system can change suddenly and discontinuously. Prior to a measurement, a wave function involves the various probabilities for the different potential outcomes of that measurement. But when the apparatus registers one of those outcomes, no traces of the others linger.


title: Copenhagen interpretation

text: Heisenberg spoke of the wave function as representing available knowledge of a system, and did not use the term "collapse", but instead termed it "reduction" of the wave function to a new state representing the change in available knowledge which occurs once a particular phenomenon is registered by the apparatus. According to Howard and Faye, the writings of Bohr do not mention wave function collapse.


title: Copenhagen interpretation

text: Because they assert that the existence of an observed value depends upon the intercession of the observer, Copenhagen-type interpretations are sometimes called "subjective". This term is rejected by many Copenhagenists because the process of observation is mechanical and does not depend on the individuality of the observer. Wolfgang Pauli, for example, insisted that measurement results could be obtained and recorded by "objective registering apparatus". As Heisenberg wrote,


title: Copenhagen interpretation

text: In the 1970s and 1980s, the theory of decoherence helped to explain the appearance of quasi-classical realities emerging from quantum theory, but was insufficient to provide a technical explanation for the apparent wave function collapse.


title: Copenhagen interpretation

text: In metaphysical terms, the Copenhagen interpretation views quantum mechanics as providing knowledge of phenomena, but not as pointing to 'really existing objects', which it regards as residues of ordinary intuition. This makes it an epistemic theory. This may be contrasted with Einstein's view, that physics should look for 'really existing objects', making itself an ontic theory.


title: Copenhagen interpretation

text: The metaphysical question is sometimes asked: "Could quantum mechanics be extended by adding so-called "hidden variables" to the mathematical formalism, to convert it from an epistemic to an ontic theory?" The Copenhagen interpretation answers this with a strong 'No'. It is sometimes alleged, for example by J.S. Bell, that Einstein opposed the Copenhagen interpretation because he believed that the answer to that question of "hidden variables" was "yes". By contrast, Max Jammer writes "Einstein never proposed a hidden variable theory." Einstein explored the possibility of a hidden variable theory, and wrote a paper describing his exploration, but withdrew it from publication because he felt it was faulty.


title: Copenhagen interpretation

text: During the 1930s and 1940s, views about quantum mechanics attributed to Bohr and emphasizing complementarity became commonplace among physicists. Textbooks of the time generally maintained the principle that the numerical value of a physical quantity is not meaningful or does not exist until it is measured. Prominent physicists associated with Copenhagen-type interpretations have included Lev Landau, Wolfgang Pauli, Rudolf Peierls, Asher Peres, Léon Rosenfeld, and Ray Streater.


title: Copenhagen interpretation

text: Throughout much of the 20th century, the Copenhagen tradition had overwhelming acceptance among physicists. According to a very informal poll (some people voted for multiple interpretations) conducted at a quantum mechanics conference in 1997, the Copenhagen interpretation remained the most widely accepted label that physicists applied to their own views. A similar result was found in a poll conducted in 2011.


title: Copenhagen interpretation

text: The nature of the Copenhagen interpretation is exposed by considering a number of experiments and paradoxes.


title: Copenhagen interpretation

text: This thought experiment highlights the implications that accepting uncertainty at the microscopic level has on macroscopic objects. A cat is put in a sealed box, with its life or death made dependent on the state of a subatomic particle. Thus a description of the cat during the course of the experiment—having been entangled with the state of a subatomic particle—becomes a "blur" of "living and dead cat." But this can't be accurate because it implies the cat is actually both dead and alive until the box is opened to check on it. But the cat, if it survives, will only remember being alive. Schrödinger resists "so naively accepting as valid a 'blurred model' for representing reality." "How can the cat be both alive and dead?"


title: Copenhagen interpretation

text: In Copenhagen-type views, the wave function reflects our knowledge of the system. The wave function formula_1 means that, once the cat is observed, there is a 50% chance it will be dead, and 50% chance it will be alive. (Some versions of the Copenhagen interpretation reject the idea that a wave function can be assigned to a physical system that meets the everyday definition of "cat"; in this view, the correct quantum-mechanical description of the cat-and-particle system must include a superselection rule.)


title: Copenhagen interpretation

text: "Wigner's friend" is a thought experiment intended to make that of Schrödinger's cat more striking by involving two conscious beings, traditionally known as Wigner and his friend. (In more recent literature, they may also be known as Alice and Bob, per the convention of describing protocols in information theory.) Wigner puts his friend in with the cat. The external observer believes the system is in state formula_1. However, his friend is convinced that the cat is alive, i.e. for him, the cat is in the state formula_3. "How can Wigner and his friend see different wave functions?"


title: Copenhagen interpretation

text: In a Heisenbergian view, the answer depends on the positioning of Heisenberg cut, which can be placed arbitrarily (at least according to Heisenberg, though not to Bohr). If Wigner's friend is positioned on the same side of the cut as the external observer, his measurements collapse the wave function for both observers. If he is positioned on the cat's side, his interaction with the cat is not considered a measurement. Different Copenhagen-type interpretations take different positions as to whether observers can be placed on the quantum side of the cut.


title: Copenhagen interpretation

text: In the basic version of this experiment, a light source, such as a laser beam, illuminates a plate pierced by two parallel slits, and the light passing through the slits is observed on a screen behind the plate. The wave nature of light causes the light waves passing through the two slits to interfere, producing bright and dark bands on the screen – a result that would not be expected if light consisted of classical particles. However, the light is always found to be absorbed at the screen at discrete points, as individual particles (not waves); the interference pattern appears via the varying density of these particle hits on the screen. Furthermore, versions of the experiment that include detectors at the slits find that each detected photon passes through one slit (as would a classical particle), and not through both slits (as would a wave). However, such experiments demonstrate that particles do not form the interference pattern if one detects which slit they pass through.


title: Copenhagen interpretation

text: According to Bohr's complementarity principle, light is neither a wave nor a stream of particles. A particular experiment can demonstrate particle behavior (passing through a definite slit) or wave behavior (interference), but not both at the same time.


title: Copenhagen interpretation

text: The same experiment can in theory be performed with "any" physical system: electrons, protons, atoms, molecules, viruses, bacteria, cats, humans, elephants, planets, etc. In practice it has been performed for light, electrons, buckminsterfullerene, and some atoms. Due to the smallness of Planck's constant it is practically impossible to realize experiments that directly reveal the wave nature of any system bigger than a few atoms; but in general quantum mechanics considers all matter as possessing both particle and wave behaviors. Larger systems (like viruses, bacteria, cats, etc.) are considered as "classical" ones but only as an approximation, not exactly.


title: Copenhagen interpretation

text: This thought experiment involves a pair of particles prepared in what later authors would refer to as an entangled state. In a 1935 paper, Einstein, Boris Podolsky, and Nathan Rosen pointed out that, in this state, if the position of the first particle were measured, the result of measuring the position of the second particle could be predicted. If instead the momentum of the first particle were measured, then the result of measuring the momentum of the second particle could be predicted. They argued that no action taken on the first particle could instantaneously affect the other, since this would involve information being transmitted faster than light, which is forbidden by the theory of relativity. They invoked a principle, later known as the "EPR criterion of reality", positing that, "If, without in any way disturbing a system, we can predict with certainty (i.e., with probability equal to unity) the value of a physical quantity, then there exists an element of reality corresponding to that quantity". From this, they inferred that the second particle must have a definite value of position and of momentum prior to either being measured.


title: Copenhagen interpretation

text: Bohr's response to the EPR paper was published in the "Physical Review" later that same year. He argued that EPR had reasoned fallaciously. Because measurements of position and of momentum are complementary, making the choice to measure one excludes the possibility of measuring the other. Consequently, a fact deduced regarding one arrangement of laboratory apparatus could not be combined with a fact deduced by means of the other, and so, the inference of predetermined position and momentum values for the second particle was not valid. Bohr concluded that EPR's "arguments do not justify their conclusion that the quantum description turns out to be essentially incomplete."


title: Copenhagen interpretation

text: Einstein was an early and persistent critic of the Copenhagen school. Bohr and Heisenberg advanced the position that no physical property could be understood without an act of measurement, while Einstein refused to accept this. Abraham Pais recalled a walk with Einstein when the two discussed quantum mechanics: "Einstein suddenly stopped, turned to me and asked whether I really believed that the moon exists only when I look at it." While Einstein did not doubt that quantum mechanics was a correct physical theory in that it gave correct predictions, he maintained that it could not be a "complete" theory. The most famous product of his efforts to argue the incompleteness of quantum theory is the Einstein–Podolsky–Rosen thought experiment, which was intended to show that physical properties like position and momentum have values even if not measured. The argument of EPR was not generally persuasive to other physicists.


title: Copenhagen interpretation

text: Carl Friedrich von Weizsäcker, while participating in a colloquium at Cambridge, denied that the Copenhagen interpretation asserted "What cannot be observed does not exist". Instead, he suggested that the Copenhagen interpretation follows the principle "What is observed certainly exists; about what is not observed we are still free to make suitable assumptions. We use that freedom to avoid paradoxes."


title: Copenhagen interpretation

text: Einstein was likewise dissatisfied with the indeterminism of quantum theory. Regarding the possibility of randomness in nature, Einstein said that he was "convinced that He [God] does not throw dice." Bohr, in response, reputedly said that "it cannot be for us to tell God, how he is to run the world".


title: Copenhagen interpretation

text: Much criticism of Copenhagen-type interpretations has focused on the need for a classical domain where observers or measuring devices can reside, and the imprecision of how the boundary between quantum and classical might be defined. John Bell called this the "shifty split". As typically portrayed, Copenhagen-type interpretations involve two different kinds of time evolution for wave functions, the deterministic flow according to the Schrödinger equation and the probabilistic jump during measurement, without a clear criterion for when each kind applies. Why should these two different processes exist, when physicists and laboratory equipment are made of the same matter as the rest of the universe? And if there is somehow a split, where should it be placed? Steven Weinberg writes that the traditional presentation gives "no way to locate the boundary between the realms in which [...] quantum mechanics does or does not apply."


title: Copenhagen interpretation

text: The problem of thinking in terms of classical measurements of a quantum system becomes particularly acute in the field of quantum cosmology, where the quantum system is the universe. How does an observer stand outside the universe in order to measure it, and who was there to observe the universe in its earliest stages? Advocates of Copenhagen-type interpretations have disputed the seriousness of these objections. Rudolf Peierls noted that "the observer does not have to be contemporaneous with the event"; for example, we study the early universe through the cosmic microwave background, and we can apply quantum mechanics to that just as well as to any electromagnetic field. Likewise, Asher Peres argued that physicists "are", conceptually, outside those degrees of freedom that cosmology studies, and applying quantum mechanics to the radius of the universe while neglecting the physicists in it is no different from quantizing the electric current in a superconductor while neglecting the atomic-level details.


title: Copenhagen interpretation

text: E. T. Jaynes, an advocate of Bayesian probability, argued that probability is a measure of a state of information about the physical world, and so regarding it as a physical phenomenon would be an example of a mind projection fallacy. Jaynes described the mathematical formalism of quantum physics as "a peculiar mixture describing in part realities of Nature, in part incomplete human information about Nature—all scrambled up together by Heisenberg and Bohr into an omelette that nobody has seen how to unscramble".


title: Copenhagen interpretation

text: The ensemble interpretation is similar; it offers an interpretation of the wave function, but not for single particles. The consistent histories interpretation advertises itself as "Copenhagen done right". More recently, interpretations inspired by quantum information theory like QBism and relational quantum mechanics have attracted support.


title: Copenhagen interpretation

text: Under realism and determinism, if the wave function is regarded as ontologically real, and collapse is entirely rejected, a many-worlds interpretation results. If wave function collapse is regarded as ontologically real as well, an objective collapse theory is obtained. Bohmian mechanics shows that it is possible to reformulate quantum mechanics to make it deterministic, at the price of making it explicitly nonlocal. It attributes not only a wave function to a physical system, but in addition a real position, that evolves deterministically under a nonlocal guiding equation. The evolution of a physical system is given at all times by the Schrödinger equation together with the guiding equation; there is never a collapse of the wave function. The transactional interpretation is also explicitly nonlocal.


title: Copenhagen interpretation

text: Some physicists espoused views in the "Copenhagen spirit" and then went on to advocate other interpretations. For example, David Bohm and Alfred Landé both wrote textbooks that put forth ideas in the Bohr–Heisenberg tradition, and later promoted nonlocal hidden variables and an ensemble interpretation respectively. John Archibald Wheeler began his career as an "apostle of Niels Bohr"; he then supervised the PhD thesis of Hugh Everett that proposed the many-worlds interpretation. After supporting Everett's work for several years, he began to distance himself from the many-worlds interpretation in the 1970s. Late in life, he wrote that while the Copenhagen interpretation might fairly be called "the fog from the north", it "remains the best interpretation of the quantum that we have".


title: Copenhagen interpretation

text: Other physicists, while influenced by the Copenhagen tradition, have expressed frustration at how it took the mathematical formalism of quantum theory as given, rather than trying to understand how it might arise from something more fundamental. This dissatisfaction has motivated new interpretative variants as well as technical work in quantum foundations. Physicists who have suggested that the Copenhagen tradition needs to be built upon or extended include Rudolf Haag and Anton Zeilinger.


title: Russell's viper

text: Russell's viper (Daboia russelii), is a venomous snake in the family Viperidae native to the Indian subcontinent and one of the big four snakes in India. It was described in 1797 by George Shaw and Frederick Polydore Nodder, and named after Patrick Russell, who wrote about it in his 1796 work "An account of Indian serpents, collected on the coast of Coromandel".


title: Russell's viper

text: English naturalist George Shaw—with illustrator Frederick Polydore Nodder—in "The Naturalist's Miscellany: Or, Coloured Figures Of Natural Objects; Drawn and Described Immediately From Nature" formally described the species in 1797 as "Coluber russelii", from a specimen presented to the British Museum by Scottish herpetologist Patrick Russell. Russell had written of the species in his 1796 work "An account of Indian serpents, collected on the coast of Coromandel", confirming its highly venomous nature by experimenting on chickens and dogs. He added the native people called it "katuka retula poda".


title: Russell's viper

text: Analysis of morphological and mitochondrial DNA data shows that the eastern subspecies of "D. russelii" should be considered a separate species, "Daboia siamensis".


title: Russell's viper

text: The correct spelling of the species, "D. russelii", has been, and still is, a matter of debate. Shaw and Nodder (1797), in their account of the species "Coluber russelii", named it after Patrick Russell, but apparently misspelled his name, using only one "L" instead of two. Russell (1727–1805) was the author of "An Account of Indian Serpents" (1796) and "A Continuation of an Account of Indian Serpents" (1801). McDiarmid et al. (1999) are among those who favor the original misspelling, citing Article 32c (ii) of the International Code of Zoological Nomenclature. Others, such as Zhao and Adler (1993) favor "russellii".


title: Russell's viper

text: The species is named after Patrick Russell (1726–1805), a Scottish herpetologist who first described many of India's snakes, and the name of the genus is from the Hindi word meaning "that lies hid", or "the lurker".


title: Russell's viper

text: In English, common names of "D. russelii" include Russell's viper, chain viper, Indian Russell's viper, common Russell's viper, seven pacer, chain snake, and scissors snake.


title: Russell's viper

text: The head is flattened, triangular, and distinct from the neck. The snout is blunt, rounded, and raised. The nostrils are large, each in the middle of a large, single nasal scale. The lower edge of the nasal scale touches the nasorostral scale. The supranasal scale has a strong crescent shape and separates the nasal from the nasorostral scale anteriorly. The rostral scale is as broad as it is high.


title: Russell's viper

text: The crown of the head is covered with irregular, strongly fragmented scales. The supraocular scales are narrow, single, and separated by six to nine scales across the head. The eyes are large, flecked with yellow or gold, and surrounded by 10–15 circumorbital scales. The snake has 10–12 supralabials, the fourth and fifth of which are significantly larger. The eye is separated from the supralabials by three or four rows of suboculars. Of the two pairs of chin shields, the front pair is notably enlarged. The two maxillary bones support at least two and at the most five or six pairs of fangs at a time: the first are active and the rest replacements. The fangs attain a length of in the average specimen.