title: Multiverse (Marvel Comics)

text: A reality is the collection of a universe, where a version of the planet Earth exists, and the various other dimensions associated with it, like Asgard, the Dark Dimension, or the Negative Zone. Universes, where a planet Earth exists, are infinite, and there is (generally) one version of Asgard, one version of the Dark Dimension, one version of the Negative Zone, and so on, associated with each. For example, beings like Dormammu and gods like Odin hail from separate dimensions, but they all nevertheless belong to Reality-616, and other realities like the MCU, have different variants of these characters. Note that whether any given specific use of the term "Marvel Universe" refers to the Marvel "Multiverse" (in general) or to the Reality-616 (in particular) can only be determined by the context of its use.


title: Multiverse (Marvel Comics)

text: A multiverse is the collection of alternate universes, with a similar nature and a universal hierarchy. The Marvel Multiverse contains the universe that holds Reality-616, most of the "What If"? universes, as well as the vast number of the alternate Marvel Universe Earths.


title: Multiverse (Marvel Comics)

text: A Megaverse is a collection of alternate multiverses, which do not necessarily need to have similar natures and universal hierarchies. The term was posited in the 21st century edition of the Official Handbook of the Marvel Universe.


title: Multiverse (Marvel Comics)

text: According to the "Official Handbook of the Marvel Universe: Alternate Universes", and building on Mark Gruenwald's original definition of the term, the Omniverse consists of all of fiction and reality combined, including all the works that are outside of Marvel's copyright restrictions, and therefore also outside the Marvel Multiverse. As such, there can logically only be one Omniverse, as anything and everything that currently exists, existed in the past, can potentially exist at any time or may exist in the future is a part of it.


title: Multiverse (Marvel Comics)

text: As stated above, nearly every imprint, timeline and appearances in other media have its own separate universe. Most of these have been cataloged by Marvel Comics in many publications, being most notable the "Official Handbook of the Marvel Universe: Alternate Universes". The numerical designations for these are rarely revealed outside of reference works such as the "Official Handbook of the Marvel Universe: Alternate Universes 2005". A.R.M.O.R. and Project Pegasus however seem to possess vast knowledge of other Marvel realities, utilizing the same designations; whether this is simply narrative convenience on behalf of Marvel's authors or an unusual decision by these agencies to utilize an effectively alien catalog method is as yet unstated.


title: Multiverse (Marvel Comics)

text: The numeric designations of these alternate universes have been confirmed by Marvel Comics throughout the years and compiled in 2005's "Official Handbook of the Marvel Universe: Alternate Universes", and in Marvel publications since the release of the "Handbook".


title: Multiverse (Marvel Comics)

text: Many official numbers are random or use other numbers as a base, the best example of this is Ultimate Marvel. 1610 is the swapped numbers of 616 with a 0 to differentiate it from the already existing 161. In addition, many universes have also been designated with numbers by fans with various methods for the numbering, such as the birth date of an important Marvel staff member (artist Nelson Ribeiro for the Transformers U.S. Universe, Earth-91274) or the spelling of a name with a touch-tone phone (Animated Silver Surfer Earth-936652, spells out Zenn-La).


title: Multiverse (Marvel Comics)

text: In 2014, during the publication of the "Spider-Verse" storyline, writer Dan Slott posted on Twitter that the numbers that appear in wiki entries and handbooks do not count, only those that are published within "actual" stories do. This was in response to the questions that the different numbers for some Earths appearing in "Spider-Verse" brought up, such as the Spider-Friends being from Earth-1983 and not the believed designation of Earth-8107. This has created some debate among readers, as some believe that the "Spiders" with numbers that do not match the "original" ones are alternate versions, or if the former numbers should be completely dismissed, despite being official.


title: Multiverse (Marvel Comics)

text: In the 2015 "Secret Wars" series, a confrontation with the Beyonders over the fate of the various alternate versions of the Molecule Man results in the destruction of the Multiverse, triggering various 'incursions' as Earths crash together and destroy each other, the Beyonders' assault culminating in Doctor Doom stealing the power of the remaining Beyonders and bringing the last of the parallel universes together into a single 'Battleworld'. Doom rules this reality for eight years until key heroes and villains from the pre-existing Multiverse are discovered and released by Doctor Strange, who had been acting as Doom's 'sheriff' until the discovery of the survivors gave him an alternative. In the heroes' final assault on Doom's fortress, the Molecule Man, who had been the source of Doom's power, transfers Doom's power to Mister Fantastic when Doom acknowledges that Reed would have done a better job as 'God' than he did. Having restored Earth-616 as it was before the Beyonders' incursions began, Mister Fantastic departs to recreate the multiverse with the company of his restored family.


title: Paul Shenar

text: Albert Paul Shenar (February 12, 1936 − October 11, 1989) was an American actor and theater director, known for portraying the Bolivian drug lord Alejandro Sosa, in "Scarface" (1983).


title: Paul Shenar

text: A veteran Broadway and Shakespearean actor, he was one of the twenty-seven founding members of the American Conservatory Theater.


title: Paul Shenar

text: Shenar was born in Milwaukee, Wisconsin, the second of four boys (one older brother John, two younger brothers Michael and Marc), born from Mary Rosella (née Puhek) and Eugene Joseph Shenar. He was of Polish and Slovenian descent.


title: Paul Shenar

text: Shenar became involved in theater at an early age, working in Milwaukee playhouse productions. After graduating from high school, he enlisted in the United States Air Force. Following his military career he began acting again. Shenar gained attention playing larger-than-life entertainment legends in 1970s television films—Orson Welles in "The Night That Panicked America" and Florenz Ziegfeld, Jr., in "Ziegfeld: The Man and His Women". He portrayed the character John Carrington in Part II of the miniseries "Roots".


title: Paul Shenar

text: In 1983, Shenar also portrayed Alejandro Sosa in Brian De Palma's "Scarface" and later portrayed Paulo Rocca in "Raw Deal".


title: Paul Shenar

text: A founding member, actor, director and teacher of the American Conservatory Theatre (ACT) in San Francisco, he played more than forty roles there, including "Hamlet", "Oedipus Rex" and Brother Julian in "Tiny Alice". In 1982, He portrayed Jenner in Don Bluth's "The Secret of NIMH"; his performance in the film impressed Bluth so much that he wanted Shenar to also portray Borf in "Space Ace", but was unable to do so due to budget issues and the role ultimately went to Bluth himself.


title: Paul Shenar

text: Shenar continued to act during the late 1980s. He did a stage version of "Macbeth" in Los Angeles and appeared in films like "Best Seller" (1987), "The Bedroom Window" (1987), "The Big Blue" (1988), plus the TV film "Rage of Angels: The Story Continues".


title: Paul Shenar

text: Shenar was gay, and was romantically involved with the British actor Jeremy Brett during the 1970s; they were in a relationship that reportedly lasted from 1973 to 1978. After the couple separated, they remained close friends until Shenar's death in 1989.


title: Fifth generation of video game consoles

text: The fifth-generation era (also known as the 32-bit era, the 64-bit era, or the 3D era) refers to computer and video games, video game consoles, and handheld gaming consoles dating from approximately October 4, 1993 to March 23, 2006. For home consoles, the best-selling console was the Sony PlayStation, followed by the Nintendo 64, and then the Sega Saturn. The PlayStation also had a redesigned version, the PSone, which was launched on July 7, 2000.


title: Fifth generation of video game consoles

text: Some features that distinguished fifth generation consoles from previous fourth generation consoles include:


title: Fifth generation of video game consoles

text: This era is known for its pivotal role in the video game industry's leap from 2D to 3D computer graphics, as well as the shift in home console games from being stored on ROM cartridges to optical discs. This was also the first generation to feature internet connectivity: some systems had additional hardware which provided connectivity to an existing device, like the Sega Net Link for the Sega Saturn. The Apple Pippin, a commercial flop, was the first system to feature on-board internet capabilities.


title: Fifth generation of video game consoles

text: For handhelds, this era was characterized by significant fragmentation, because the first handheld of the generation, the Sega Nomad, had a lifespan of just two years, and the Nintendo Virtual Boy had a lifespan of less than one. Both of them were discontinued before the other handhelds made their debut. The Neo Geo Pocket was released on October 28, 1998, but was dropped by SNK in favor of the fully backwards-compatible Neo Geo Pocket Color just a year later. Nintendo's Game Boy Color (1998) was the most successful handheld by a large margin. There were also two minor updates of the original Game Boy: the Game Boy Light (released in Japan only) and the Game Boy Pocket.


title: Fifth generation of video game consoles

text: There was considerable time overlap between this generation and the next, the sixth generation of consoles, which began with the launch of the Dreamcast in Japan on November 27, 1998. The fifth generation ended with the discontinuation of the PlayStation (specifically its re-engineered form, the "PSOne") on March 23, 2006, a year after the launch of the seventh generation.


title: Fifth generation of video game consoles

text: The 32-bit/64-bit era is most noted for the rise of fully 3D polygon games. While there were games prior that had used three-dimensional polygon environments, such as "Virtua Racing" and "Virtua Fighter" in the arcades and "Star Fox" on the Super NES, it was in this era that many game designers began to move traditionally 2D and pseudo-3D genres into 3D on video game consoles. Early efforts from then-industry leaders Sega and Nintendo saw the introduction of the 32X and Super FX, which provided rudimentary 3D capabilities to the 16-bit Genesis and Super NES. Starting in 1996, 3D video games began to take off with releases such as "Virtua Fighter 2" on the Saturn, "Tomb Raider" on the PlayStation and Saturn, "Tekken 2" and "Crash Bandicoot" on the PlayStation, and "Super Mario 64" on the Nintendo 64. Their 3D environments were widely marketed and they steered the industry's focus away from side-scrolling and rail-style titles, as well as opening doors to more complex games and genres. 3D became the main focus in this era as well as a slow decline of cartridges in favor of CDs, due to the ability to produce games less expensively and the media's high storage capabilities.


title: Fifth generation of video game consoles

text: After allowing Sony to develop a CD-based prototype console for them and a similar failed partnership with Philips, Nintendo decided to make the Nintendo 64 a cartridge-based system like its predecessors. Publicly, Nintendo defended this decision on the grounds that it would give games shorter load times than a compact disc (and would decrease piracy due to a certain chip in the ROM cartridge). However, it also had the dubious benefit of allowing Nintendo to charge higher licensing fees, as cartridge production was considerably more expensive than CD production. Many third-party developers like EA Sports viewed this as an underhanded attempt to raise more money for Nintendo and many of them became more reluctant to release games on the N64.


title: Fifth generation of video game consoles

text: Nintendo's decision to use a cartridge based system sparked a small scale war among gamers as to which was better. The chief advantages of the CD-ROM format were (1) larger storage capacity, allowing for a much greater amount of game content; (2) considerably lower manufacturing costs, making them much less risky for game publishers; (3) lower retail prices due to the reduced need to compensate for manufacturing costs; and (4) shorter production times, which greatly reduced the need for publishers to predict the demand for a game. Its disadvantages compared to cartridge were (1) considerable load times; (2) their inability to load data "on the fly", making them reliant on the console RAM; and (3) the greater manufacturing costs of CD-ROM drives compared to cartridge slots, resulting in generally higher retail prices for CD-based consoles. A Nintendo Power ad placed a Space Shuttle (representing cartridges) next to a snail (representing a CD), as an analogy for their respective speeds, stating that "the future doesn't belong to snails".


title: Fifth generation of video game consoles

text: Almost every other contemporary system used the new CD-ROM technology (the Nintendo 64 was the last major home video game console to use cartridges, until the Nintendo Switch in 2017). Consequent to the storage and cost advantages of the CD-ROM format, many game developers shifted their support away from the Nintendo 64 to the PlayStation. One of the most influential game franchises to change consoles during this era was the "Final Fantasy" series, beginning with "Final Fantasy VII", which was originally being developed for the N64 but due to storage capacity issues was shifted to and released on the PlayStation; prior "Final Fantasy" games had all been published on Nintendo consoles – either the NES or Super NES, with the only other entries being on the Wonderswan, or computers like the MSX.


title: Fifth generation of video game consoles

text: The fifth generation was characterized by a highly fragmented market. More competing consoles comprised this generation than any other since the video game crash of 1983, leading video game magazines of the time to frequently predict a second crash.


title: Fifth generation of video game consoles

text: The 3DO Interactive Multiplayer was one of the earliest fifth generation consoles and was released in October 1993. Despite having massive third-party support and an unprecedented amount of hype for a first-time entrant into the industry, it had early difficulties due to software development delays and its high price. For its initial release, the 3DO had a $700 retail price tag and only a single available game ready for market. The 3DO would be discontinued only three years later. While generally regarded as a failed system, the 3DO was this generation's fourth best selling console in a crowded field with sales of 2 million units.


title: Fifth generation of video game consoles

text: The Sega Saturn was Sega's entry into the stand-alone 32-bit console market. It was released in Japan simultaneously with the 32X in November 1994, although it wouldn't have a North American release until six months later. It became Sega's most successful console in Japan. In America and Europe however, a disastrous launch and an MSRP of $399 compared to the PlayStation's $299 caused it to be a commercial failure, selling far fewer units than the Master System and Mega Drive/Genesis before it.


title: Fifth generation of video game consoles

text: The PlayStation, released in early December 1994, was the most successful console of this generation. With attention given by third-party developers and a more mature marketing campaign aimed at the 20–30 age group enabling it to achieve market dominance, it became the first home console to ship 100 million units worldwide.


title: Fifth generation of video game consoles

text: The Nintendo 64, originally announced as the "Ultra 64", was released in 1996. The system's delays and use of the expensive cartridge format made it an unpopular platform among third-party developers. Several popular 1st party titles allowed the Nintendo 64 to maintain strong sales in the United States, but it remained a distant second to the PlayStation.


title: Fifth generation of video game consoles

text: The FM Towns Marty is considered the world's first 32-bit console, although it has only 16bit data bus (predating the Amiga CD32 and 3DO, which are both fully 32bit), being released on February 20, 1993 by Japanese electronic company Fujitsu. Never released outside Japan, it was largely marketed as a console version of the FM Towns home computer, being compatible with games developed for the FM Towns. It failed to make an impact in the marketplace due to its relative expense and inability to compete with home computers.


title: Fifth generation of video game consoles

text: The Amiga CD32 was released in September 1993 and sold in Europe, Australia, Canada and Brazil. It was never released in the United States due to Commodore's bankruptcy and court-ordered import restrictions. Despite promising initial sales, the console was hampered by poor software quality with many titles being simply re-releases of older games. Production of the Amiga CD32 was discontinued after only eight months.


title: Fifth generation of video game consoles

text: The Atari Jaguar was released in November 1993 and was marketed as the world's first 64-bit system. However, sales at launch were well below the incumbent fourth generation consoles, and a small games library rooted in a shortage of third-party support made it impossible for the Jaguar to catch up, selling below 250,000 units. The system's 64-bit nature was also questioned by many. Its only add-on, the Jaguar CD, was released in 1995 and was produced in limited quantities due to the low install base of the system. The 32-bit Atari Panther, set to be released in 1991, was canceled due to unexpectedly rapid progress in developing the Jaguar.


title: Fifth generation of video game consoles

text: The Sega 32X, an add-on console produced by Sega for the Genesis, was launched in November 1994. The Sega Neptune, a standalone version of the 32X, was announced but ultimately canceled. Sega failed to deliver a steady flow of games for the 32X platform. With customers anticipating the PlayStation on the horizon, and with Sega's more technically advanced Saturn already competing on the market in Japan, sales of the 32X were poor.


title: Fifth generation of video game consoles

text: NEC, creator of the TurboGrafx-16 of the previous generation, entered the market with the PC-FX in late December 1994. The system had a 32-bit processor, 16-bit stereo sound, and video capability. Despite its impressive specs, it did not have a polygon processor and was marketed as a 2D and full motion video games console. The PC-FX game library was criticized for being low in quality, and having titles that relied more on animation than gameplay. Due to low expected sales it was never released outside of Japan.


title: Fifth generation of video game consoles

text: Because of many delays in the release of the upcoming Nintendo 64, in 1995 Nintendo released the Virtual Boy, a supposedly portable system capable of displaying true 3D graphics, albeit in monochromatic red and black. Despite being marketed as a portable system, it is not actually portable in practice due to the lack of head strap. Also, because of the nature of its display, the system reportedly caused headaches and eye strain. It was discontinued within a year, with fewer than 25 games being released for it. Although it sold over 750,000 units, Nintendo felt that it was a failure compared to consoles such as the Super Nintendo, which sold over 20 million.


title: Fifth generation of video game consoles

text: By the end of the 1995 Christmas shopping season, the fifth generation had come down to a struggle between the Sony PlayStation, Sega Saturn, 3DO Interactive Multiplayer, and the upcoming Nintendo 64. The FM Towns Marty and Amiga CD32 had already been discontinued; the Jaguar and Genesis 32X were still on the market but were considered a lost cause by industry analysts; the Neo Geo CD had proven to appeal only to a niche market; and industry analysts had already determined that the yet-to-launch Apple Bandai Pippin was too expensive to make any impact in the market. Moreover, even the leading fifth generation consoles were still facing sluggish sales. Combined sales for the PlayStation, Saturn, and 3DO barely topped 1 million units for the Christmas shopping season, as compared to combined sales of 4 million for the Sega Genesis and Super NES. Focus groups showed that most children under 12 years old were equally happy playing on fourth generation consoles as they are playing on fifth generation consoles, making the fourth generation consoles more appealing to adults buying gifts for children, since they were cheaper. Industry analysts began putting forth the possibility that the fifth generation of consoles would never overtake the fourth generation in sales, and become superseded by a new generation of DVD player consoles before they could achieve mass acceptance.


title: Fifth generation of video game consoles

text: 1996 saw the fifth generation consoles' fortunes finally turn around. With the Saturn, PlayStation, and Nintendo 64 all showing dramatic increases in sales over the previous year, they claimed a combined 40% of the retail market for hardware and software, putting them in position to finally overtake the fourth generation consoles in 1997.


title: Fifth generation of video game consoles

text: The Sega Saturn suffered from poor marketing and comparatively limited third-party support outside Japan. Sega's decision to use dual processors was roundly criticized, as this made it difficult to efficiently develop for the console. Sega was also hurt by the Saturn's surprise four-month-early U.S. launch of their console; third-party developers, who had been planning for the originally scheduled launch, could not provide many launch titles and were angered by the move. Retailers were caught unprepared, resulting in distribution problems; some retailers, such as the now defunct KB Toys, were so furious that they refused to stock the Saturn thereafter.


title: Fifth generation of video game consoles

text: Due to numerous delays, the Nintendo 64 was released one year later than its competitors. By the time it was finally launched in 1996, Sony had already established its dominance, the Saturn was starting to struggle, and the 3DO and Jaguar had been discontinued. Its use of cartridge media rather than compact discs alienated some developers and publishers due to the space limits, the relatively high cost involved, and a considerably longer production time. In addition, the initially high suggested retail price of the console may have driven potential customers away, and some early adopters of the system who had paid the initial price may have been angered by Nintendo's decision to cut the price of the system by $50 six months after its release. However, the Nintendo 64 turned out to be a commercial success, particularly in the United States, where it sold 20.63 million units, nearly two thirds of its worldwide sales of 32.93 million units. It was also home to highly successful games such as "Star Fox 64", "Mario Kart 64", "", "", "Super Mario 64", "GoldenEye 007", "Banjo-Kazooie", and "Super Smash Bros." While Nintendo 64 sold far more units than the Sega Saturn, Atari Jaguar, and 3DO combined, it posed no challenge to the PlayStation's lead in the market.


title: Fifth generation of video game consoles

text: By 1997, 40% to 60% of American homes played on video game consoles. 30% to 40% of these homes owned a console, while an additional 10% to 20% rented or shared a console.


title: Fifth generation of video game consoles

text: After the dust settled in the fifth generation console wars, several companies saw their outlooks change drastically.


title: Fifth generation of video game consoles

text: Atari Corporation, which was not able to recover its losses, ended up merging into JTS Corporation in 1996. This caused the Atari name to virtually disappear from the gaming market until 1998, when Hasbro Interactive purchased the Atari assets from JTS for $5 million.


title: Fifth generation of video game consoles

text: On May 14, 1999, Hasbro Interactive announced that all rights to the Atari Jaguar were released into the public domain, thus declaring the platform open; this allowed anyone to freely create and publish games for the Jaguar without endorsement or licensing from Hasbro Interactive. Since then, homebrew developers began to release uncompleted Jaguar games as well as several brand new titles to satisfy the system's cult following.


title: Fifth generation of video game consoles

text: Sega's loss of consumer confidence (coupled with its previous console failures) along with their financial difficulties, set the company up for a similar fate in the next round of console wars.


title: Fifth generation of video game consoles

text: These consoles are either less notable, never saw a worldwide release, and/or sold particularly poorly, and are therefore listed as 'Other'.


title: Fifth generation of video game consoles

text: From 1996 to 1999 (when the PlayStation, N64 and Saturn were the major 5th-generation consoles still on the market) Sony managed a 47% market share of the worldwide market, followed by Nintendo with 28% (with a percentage of that figure from the 16‑bit Super NES), while Sega was third with 23% (with a percentage of that from the Dreamcast).


title: Fifth generation of video game consoles

text: Production of the Sega Saturn was discontinued in 1998. Its demise was accelerated by rumors that work on its successor was underway; these rumors hurt the systems' sales in the west as early as 1997. The N64 was succeeded by the GameCube in 2001, but continued its production until 2004; however, PlayStation production was not ceased as it was redesigned as the PSone, further extending the life of the console around the release of the follow-up PlayStation 2. The PlayStation console production was discontinued in 2006, the same year that the PlayStation 3 was released in Japan and North America.


title: Canadian Shield

text: The Canadian Shield ( ), also called the Laurentian Plateau, is a geologic shield, a large area of exposed Precambrian igneous and high-grade metamorphic rocks. It forms the North American Craton (or Laurentia), the ancient geologic core of the North American continent. Glaciation has left the area with only a thin layer of soil, through which exposures of igneous bedrock resulting from its long volcanic history are frequently visible. As a deep, common, joined bedrock region in eastern and central Canada, the Shield stretches north from the Great Lakes to the Arctic Ocean, covering over half of Canada and most of Greenland; it also extends south into the northern reaches of the United States.


title: Canadian Shield

text: The Canadian Shield is a physiographic division comprising four smaller physiographic provinces: the Laurentian Upland, Kazan Region, Davis and James. The shield extends into the United States as the Adirondack Mountains (connected by the Frontenac Axis) and the Superior Upland. The Canadian Shield is a U-shaped subsection of the Laurentia craton signifying the area of greatest glacial impact (scraping down to bare rock) creating the thin soils. The age of the Canadian Shield is estimated to be 4.28 Ga. The Canadian Shield once had jagged peaks, higher than any of today's mountains, but millions of years of erosion have changed these mountains to rolling hills.


title: Canadian Shield

text: The Canadian Shield is a collage of Archean plates and accreted juvenile arc terranes and sedimentary basins of the Proterozoic Eon that were progressively amalgamated during the interval 2.45–1.24 Ga, with the most substantial growth period occurring during the Trans-Hudson orogeny, between c. 1.90–1.80 Ga. The Canadian Shield was the first part of North America to be permanently elevated above sea level and has remained almost wholly untouched by successive encroachments of the sea upon the continent. It is the Earth's greatest area of exposed Archean rock. The metamorphic base rocks are mostly from the Precambrian (between 4.5 billion and 540 million years ago) and have been repeatedly uplifted and eroded. Today it consists largely of an area of low relief above sea level with a few monadnocks and low mountain ranges (including the Laurentian Mountains) probably eroded from the plateau during the Cenozoic Era. During the Pleistocene Epoch, continental ice sheets depressed the land surface (creating Hudson Bay) but also tilted up its northeastern "rim" (the Torngat), scooped out thousands of lake basins, and carried away much of the region's soil. The northeastern portion, however, became tilted up so that, in northern Labrador and Baffin Island, the land rises to more than 1,500 metres (5,000 feet) above sea level.


title: Canadian Shield

text: When the Greenland section is included, the Canadian Shield is approximately circular, bounded on the northeast by the northeast edge of Greenland, with Hudson Bay in the middle. It covers much of Greenland, all of Labrador and the Great Northern Peninsula of Newfoundland, most of Quebec north of the St. Lawrence River, much of Ontario including northern sections of the Ontario Peninsula, the Adirondack Mountains of New York, the northernmost part of Lower Michigan and all of Upper Michigan, northern Wisconsin, northeastern Minnesota, the central and northern portions of Manitoba away from Hudson Bay, northern Saskatchewan, a small portion of northeastern Alberta, mainland Northwest Territories to the east of a line extended north from the Saskatchewan-Alberta border, most of Nunavut's mainland and, of its Arctic Archipelago, Baffin Island and significant bands through Somerset, Southampton, Devon and Ellesmere islands. In total, the exposed area of the Shield covers approximately . The true extent of the Shield is greater still and stretches from the Western Cordillera in the west to the Appalachians in the east and as far south as Texas, but these regions are overlaid with much younger rocks and sediment.


title: Canadian Shield

text: The Canadian Shield is among the oldest on Earth, with regions dating from 2.5 to 4.2 billion years. The multitude of rivers and lakes in the region is classical example of a deranged drainage system, caused by the watersheds of the area being disturbed by glaciation and the effect of post-glacial rebound. The Shield was originally an area of very large, very tall mountains (about ) with much volcanic activity, but the area was eroded to nearly its current topographic appearance of relatively low relief over 500 million years ago. Erosion has exposed the roots of the mountains, which take the form of greenstone belts in which belts of volcanic rock that have been altered by metamorphism are surrounded by granitic rock. These belts range in age from 3600 to 2680 million years old. Much of the granitic rock belongs to the distinctive tonalite–trondhjemite–granodiorite family of rocks, which are characteristic of Archean continental crust. Many of Canada's major ore deposits are associated with greenstone belts.


title: Canadian Shield

text: The Sturgeon Lake Caldera in Kenora District, Ontario, is one of the world's best preserved mineralized Neoarchean caldera complexes, which is 2.7 billion years old. The Canadian Shield also contains the Mackenzie dike swarm, which is the largest dike swarm known on Earth.


title: Canadian Shield

text: Mountains have deep roots and float on the denser mantle much like an iceberg at sea. As mountains erode, their roots rise and are eroded in turn. The rocks that now form the surface of the Shield were once far below the Earth's surface.


title: Canadian Shield

text: The high pressures and temperatures at those depths provided ideal conditions for mineralization. Although these mountains are now heavily eroded, many large mountains still exist in Canada's far north called the Arctic Cordillera. This is a vast, deeply dissected mountain range, stretching from northernmost Ellesmere Island to the northernmost tip of Labrador. The range's highest peak is Nunavut's Barbeau Peak at above sea level. Precambrian rock is the major component of the bedrock.


title: Canadian Shield

text: The North American craton is the bedrock forming the heart of the North American continent and the Canadian Shield is the largest exposed part of the craton's bedrock.


title: Canadian Shield

text: The Canadian Shield is part of an ancient continent called Arctica, which was formed about 2.5 billion years ago during the Neoarchean era. It was split into Greenland, Laurentia, Scotland, and Siberia, and is now roughly situated in the Arctic around the current North Pole.


title: Canadian Shield

text: The current surface expression of the Shield is one of very thin soil lying on top of the bedrock, with many bare outcrops. This arrangement was caused by severe glaciation during the ice age, which covered the Shield and scraped the rock clean.


title: Canadian Shield

text: The lowlands of the Canadian Shield have a very dense soil that is not suitable for forestation; it also contains many marshes and bogs (muskegs). The rest of the region has coarse soil that does not retain moisture well and is frozen with permafrost throughout the year. Forests are not as dense in the north.


title: Canadian Shield

text: The Shield is covered in parts by vast boreal forests in the south that support natural ecosystems as well as a major logging industry. The boreal forest area gives way to the Eastern Canadian Shield taiga that covers northern Quebec and most of Labrador. The Midwestern Canadian Shield forests that run westwards from Northwestern Ontario have boreal forests that give way to taiga in the most northerly parts of Manitoba and Saskatchewan. Hydrologic drainage is generally poor, the soil compacting effects of glaciation being one of the many causes. Tundra typically prevails in the northern regions. Many mammals such as caribou, white-tailed deer, moose, wolves, wolverines, weasels, mink, otters, grizzly bear, polar bears and black bears are present. In the case of polar bears (), the Shield area contains many of their denning locations, such as the Wapusk National Park.


title: Canadian Shield

text: The Canadian Shield is one of the world's richest areas in terms of mineral ores. It is filled with substantial deposits of nickel, gold, silver, and copper. Throughout the Shield there are many mining towns extracting these minerals. The largest, and one of the best known, is Sudbury, Ontario. Sudbury is an exception to the normal process of forming minerals in the Shield since the Sudbury Basin is an ancient meteorite impact crater. Ejecta from the meteorite impact was found in the Rove Formation in May 2007. The nearby but less-known Temagami Magnetic Anomaly has striking similarities to the Sudbury Basin. This suggests it could be a second metal-rich impact crater.


title: Canadian Shield

text: In northeastern Quebec, the giant Manicouagan Reservoir is the site of an extensive hydroelectric project (Manic-cinq, or Manic-5). This is one of the largest-known meteorite impact craters on Earth, though not as large as the Sudbury crater; it is currently ranked 5th, while Sudbury is 3rd.


title: Canadian Shield

text: The Flin Flon greenstone belt in central Manitoba and east-central Saskatchewan "is one of the largest Paleoproterozoic volcanic-hosted massive sulfide (VMS) districts in the world, containing 27 copper-zinc-(gold) deposits from which more than 183 million tonnes of sulfide have been mined."


title: Canadian Shield

text: The Canadian Shield, particularly the portion in the Northwest Territories, has recently been the site of several major diamond discoveries. The kimberlite pipes in which the diamonds are found are closely associated with cratons, which provide the deep lithospheric mantle required to stabilize diamond as a mineral. The kimberlite eruptions then bring the diamonds from over depth to the surface. The Ekati and Diavik mines are actively mining kimberlite diamonds.


title: The Vanishing (1988 film)

text: The Vanishing (, literally: "Traceless" or "Without a Trace") is a 1988 thriller film directed by George Sluizer, adapted from the novella "The Golden Egg" (1984) by Tim Krabbé. It stars Gene Bervoets as a man who searches obsessively for his girlfriend following her disappearance at a rest area.


title: The Vanishing (1988 film)

text: "The Vanishing" was released on 27 October 1988, and received positive reviews. Sluizer remade the film in English in 1993; the remake was poorly received.


title: The Vanishing (1988 film)

text: A young Dutch couple, Rex and Saskia, are on holiday in France. As they drive, Saskia shares a recurring dream in which she is drifting through space in a golden egg. In the most recent dream, another egg containing another person appeared; she feels the collision of the two eggs would signify the end of something.


title: The Vanishing (1988 film)

text: Their car runs out of petrol and they stop at a rest area, where a man in another car dons a false sling and orthopedic cast. Rex promises to never abandon Saskia and they bury two coins at the base of a tree as a symbol of their romance. Saskia enters the petrol station to buy drinks and does not return. Rex frantically searches for her.


title: The Vanishing (1988 film)

text: Some time earlier, Raymond, a wealthy family man, secretly plots to abduct a woman. He buys an isolated house, experiments with chloroform, and rehearses methods of enticing women into his car. When his initial attempts at abduction fail, he poses as an injured motorist in need of assistance and goes to the rest area out of town, where he will not be recognised.


title: The Vanishing (1988 film)

text: Three years after Saskia's disappearance, Rex is still searching for her. He has received several postcards inviting him to meet the kidnapper at a cafe in Nîmes, but the kidnapper never comes. Unknown to Rex, the cafe is directly opposite Raymond's apartment, where he watches Rex wait. Rex's new girlfriend, Lieneke, reluctantly helps him search for Saskia. One day, Rex has a dream similar to Saskia's in which he is trapped in a golden egg. Unable to endure his obsession, Lieneke leaves him.


title: The Vanishing (1988 film)

text: Rex makes a public appeal on television, saying he only wants to know the truth about what happened to Saskia. Raymond confronts Rex and admits to the kidnapping; he says he will reveal what happened to her if Rex comes with him. As they drive, Raymond says he has known from a young age that he has no conscience, and is therefore capable of anything. After saving a young girl from drowning, he resolved to commit the worst crime he could imagine in order to test if he was worthy of his daughter's admiration; in his view, one can only be a truly good person if one is capable of doing something evil, but chooses not to do it. He describes how he kidnapped Saskia at the rest stop by posing as a traveling salesman and enticing her into his car.


title: The Vanishing (1988 film)

text: Raymond takes Rex to the rest area. He dismisses Rex's threats of police action, saying there is no evidence connecting him to the crime. Pouring a cup of drugged coffee, Raymond tells Rex the only way to learn what happened to Saskia is to experience it himself. As Raymond waits in the car, Rex rages, unsure of what to do. After digging up the coins he and Saskia buried years earlier, he drinks the coffee and awakens buried in a box underground.


title: The Vanishing (1988 film)

text: On a sunny day, Raymond relaxes at his country home, surrounded by his wife and children. A newspaper sitting in his car features a headline about the double disappearance of Saskia and Rex.


title: The Vanishing (1988 film)

text: Before working on "The Vanishing", Sluizer became familiar with journalist Tim Krabbé through his articles about filmmaking in the United States. These articles eventually became a novel, which Sluizer adapted into his film "Red Desert Penitentiary" (1985). After "Red Desert Penitentiary", Krabbé began writing a novel called "Het Gouden Ei" ( "The Golden Egg"). As the film was set in France, Krabbé asked Sluizer about names of towns, and Sluizer advised him on town names as well as family names. Sluizer had access to the early manuscripts of the novel, and after reading the first few chapters he stated that he wanted to buy the film rights.


title: The Vanishing (1988 film)

text: Krabbé initially offered to write the script for Sluizer after he had finished the book. Sluizer described the script's first draft as "not bad, but not good" and wrote the second draft with Krabbé. The two worked on a third draft together, and Sluizer stated they began to have what he described as a "difference of opinion" over what should happen in the film, the placing of scenes, and how to dramatically tell the story. Sluizer stopped working with Krabbé, stating that he had bought the film rights and he would finish the script himself, which angered Krabbé. The completed film accurately portrays the narrative within the novel, apart from two factors: first, the film's narrative is more complicated than that of the novel, making extensive use of flashbacks and gradually revealing personality traits of the central characters; and, second, Rex and Raymond spend more time together following their meeting in the film than they do in the novel.


title: The Vanishing (1988 film)

text: A casting agent suggested Sluizer see Johanna ter Steege, who was in a student play, for the role of Saskia Wagter. When Sluizer saw that Steege's hair was a similar color to his daughter's, he decided she would be right for the character.


title: The Vanishing (1988 film)

text: For the role of Rex, there was a choice between two actors: a Dutch actor and Belgian actor Gene Bervoets. Sluizer chose Bervoets because his French was stronger, but later felt unsure he had chosen the right actor, which led him to have a slightly uncomfortable relationship with Bervoets on set.


title: The Vanishing (1988 film)

text: Jean-Louis Trintignant was Sluizer's initial choice for the role of Raymond Lemorne, but he was unavailable. After thinking about other French actors who could play the part, Sluizer thought of Bernard-Pierre Donnadieu, who had a small role in his film "Twice a Woman" (1979). Sluizer discovered Donnadieu had worked in television and had leading roles in films since appearing in "Twice a Woman" and got him signed to play Raymond.


title: The Vanishing (1988 film)

text: "The Vanishing" was released in the Netherlands on 27 October 1988. It was the Dutch submission for the Academy Award for Best Foreign Language Film in 1988, but was disqualified because the Academy determined there was too much French dialogue for it to represent the Netherlands. The Dutch declined to send another film, leaving them unrepresented among the foreign submissions for the first time since 1972.


title: The Vanishing (1988 film)

text: Producers George Sluizer and Anne Lordon received the Golden Calf for Best Feature Film at the Netherlands Film Festival in 1988. Johanna ter Steege won a European Film Award for Best Supporting Actress in 1988.


title: The Vanishing (1988 film)

text: The first North American copies of "The Vanishing" were released on Laserdisc by Image Entertainment on 3 November 1997. It was later released on VHS by Fox Lorber on 11 November 1997, followed by a DVD release on 13 May 1998.


title: The Vanishing (1988 film)

text: The Criterion Collection released a DVD of the film on 18 September 2001. This release contains the original French trailer and an essay on the film by film critic Kim Newman as supplemental material. Criterion released the film on Blu-ray and DVD on 28 October 2014, this time with the original French trailer, interviews with Sluizer and Johanna ter Steege, and an essay by Scott Foundas as supplements.


title: The Vanishing (1988 film)

text: Under the supervision of EYE Film Institute Netherlands, the film was restored. This version was released on DVD as part of the George Sluizer “Collected Works” in 2019


title: The Vanishing (1988 film)

text: In 2010, the film was adapted for radio by Oliver Emanuel and broadcast on BBC Radio 4 as part of the station's Saturday Drama slot. Directed by Kirsty Williams, it starred Samuel West, Melody Grove and Ruth Gemmell in the lead roles. It has since been repeated on BBC Radio 4 Extra.


title: The Vanishing (1988 film)

text: "The Vanishing" received international praise at the time of its release. It was released in the United States in 1991 and made the National Board of Review's list of the Top Foreign Films of 1991. Desson Howe of "The Washington Post" praised the film's avoidance of cliches, noting that it is "refreshingly free of manipulative scenes involving running bath water, jagged-edge cutlery and bunnies in the saucepan". Howe also made note of the unusual move of revealing the kidnapper immediately and spending significant time learning about him. Roger Ebert wrote a similar approval of this in the "Chicago Sun Times", stating, "One of the most intriguing things about "The Vanishing" is the film's unusual structure, which builds suspense even while it seems to be telling us almost everything we want to know." Stanley Kubrick thought "The Vanishing" was the most terrifying film he had seen – even more frightening than his own "The Shining" – and called Sluizer to discuss editing. "Cadd." of "Variety" declared the film to be "the ultimate tribute to Alfred Hitchcock, daring to offer up an ending that goes beyond even the master's memorable climaxes."


title: The Vanishing (1988 film)

text: Of the negative remarks, Dave Kehr, writing in the "Chicago Tribune", said "It's a film that functions on curiosity rather than real interest ... yet in the end punishes the audience for wanting to have its questions answered."


title: The Vanishing (1988 film)

text: "The Vanishing" holds a very high critical rating at the film review database Rotten Tomatoes, with a 98% approval rating based on 46 reviews, with an average rating of 8.4/10. The site's critics consensus reads, "A clinical, maddening descent into the mind of a serial killer and a slowly unraveling hero, culminating with one of the scariest endings of all time." "Empire" magazine placed the film at number 67 in their list of "The 100 Best Films Of World Cinema" in 2010.


title: Patralekha Paul

text: Patralekha (born 20 February 1989) is an Indian actress. She made her acting debut with "CityLights" alongside Rajkummar Rao for which she won Screen Award for Most Promising Female Newcomer.


title: Patralekha Paul

text: Patralekha was born in Shillong, Meghalaya, in a Bengali family, to a Chartered Accountant father and a homemaker mother Papri Paul. In an interview, she stated that her grandmother was a poet. She has two siblings Parnalekha Paul and Agnish Paul. She went to The Assam Valley School, a boarding school, and then graduated from Bishop Cotton Girls' School, Bangalore. Her father wanted her to follow in his footsteps, but she was interested in acting. While studying in H.R. College of Commerce and Economics she did a few commercials for Blackberry, and Tata Docomo, before getting a break in films.


title: Patralekha Paul

text: Patralekha has been in a relationship with actor Rajkummar Rao since 2010. On November 15, 2021 the couple got married in a traditional Hindu wedding at The Oberoi Sukhvilas Spa Resort in Chandigarh, India.


title: Patralekha Paul

text: Patralekha made her film debut with a leading role in the drama "CityLights", opposite Rajkummar Rao. Directed by Hansal Mehta, the film tells the story of a poor couple living in Rajasthan who move to Mumbai in search of livelihood. Made on a low budget, the film became a commercial success and earned her positive reviews from critics.


title: Patralekha Paul

text: Her next film, "Love Games", was an urban-thriller directed by Vikram Bhatt and produced by Mukesh Bhatt and Mahesh Bhatt. The cast of the film included Patralekha, Gaurav Arora and Tara Alisha Berry.


title: The Freewheelin' Bob Dylan

text: The Freewheelin' Bob Dylan is the second studio album by American singer-songwriter Bob Dylan, released on May 27, 1963 by Columbia Records. Whereas his self-titled debut album "Bob Dylan" had contained only two original songs, this album represented the beginning of Dylan's writing contemporary words to traditional melodies. Eleven of the thirteen songs on the album are Dylan's original compositions. It opens with "Blowin' in the Wind", which became an anthem of the 1960s, and an international hit for folk trio Peter, Paul and Mary soon after the release of the album. The album featured several other songs which came to be regarded as among Dylan's best compositions and classics of the 1960s folk scene: "Girl from the North Country", "Masters of War", "A Hard Rain's a-Gonna Fall" and "Don't Think Twice, It's All Right".


title: The Freewheelin' Bob Dylan

text: Dylan's lyrics embraced news stories drawn from headlines about the Civil Rights Movement and he articulated anxieties about the fear of nuclear warfare. Balancing this political material were love songs, sometimes bitter and accusatory, and material that features surreal humor. "Freewheelin" showcased Dylan's songwriting talent for the first time, propelling him to national and international fame. The success of the album and Dylan's subsequent recognition led to his being named as "Spokesman of a Generation", a label Dylan repudiated.


title: The Freewheelin' Bob Dylan

text: "The Freewheelin' Bob Dylan" reached number 22 in the US (eventually going platinum), and became a number-one album in the UK in 1965. In 2003, the album was ranked number 97 on "Rolling Stone" list of the 500 greatest albums of all time. In 2002, "Freewheelin" was one of the first 50 recordings chosen by the Library of Congress to be added to the National Recording Registry.


title: The Freewheelin' Bob Dylan

text: Neither critics nor the public took much notice of Dylan's self-titled debut album, "Bob Dylan", which sold only 5,000 copies in its first year, just enough to break even. In a pointed rebuke to John Hammond, who had signed Dylan to Columbia Records, some within the company referred to the singer as "Hammond's Folly" and suggested dropping his contract. Hammond defended Dylan vigorously and was determined that Dylan's second album should be a success. The recording of "Freewheelin" took place from April 1962 to April 1963, and the album was assembled from eight recording sessions at Columbia Records Studio A, located at 799 Seventh Avenue in New York City.


title: The Freewheelin' Bob Dylan

text: Many critics have noted the extraordinary development of Dylan's songwriting immediately after completing his first album. One of Dylan's biographers, Clinton Heylin, connects the sudden increase in lyrics written along topical and political lines to the fact that Dylan had moved into an apartment on West 4th Street with his girlfriend Suze Rotolo (1943–2011) in January 1962. Rotolo's family had strong left-wing political commitments; both of her parents were members of the American Communist Party. Dylan acknowledged her influence when he told an interviewer: "Suze was into this equality-freedom thing long before I was. I checked out the songs with her".


title: The Freewheelin' Bob Dylan

text: Dylan's relationship with Rotolo also provided an important emotional dynamic in the composition of the "Freewheelin" album. After six months of living with Dylan, Rotolo agreed to her mother's proposal that she travel to Italy to study art. Dylan missed her and wrote long letters to her conveying his hope that she would return soon to New York. She postponed her return several times, finally coming back in January 1963. Critics have connected the intense love songs expressing longing and loss on "Freewheelin" to Dylan's fraught relationship with Rotolo. In her autobiography, Rotolo explains that musicians' girlfriends were routinely described as "chicks", and she resented being regarded as "a possession of Bob, who was the center of attention".


title: The Freewheelin' Bob Dylan

text: The speed and facility with which Dylan wrote topical songs attracted the attention of other musicians in the New York folk scene. In a radio interview on WBAI in June 1962, Pete Seeger described Dylan as "the most prolific songwriter on the scene" and then asked Dylan how many songs he had written recently. Dylan replied, "I might go for two weeks without writing these songs. I write a lot of stuff. In fact, I wrote five songs last night but I gave all the papers away in some place called the Bitter End." Dylan also expressed the impersonal idea that the songs were not his own creation. In an interview with "Sing Out!" magazine, Dylan said, "The songs are there. They exist all by themselves just waiting for someone to write them down. I just put them down on paper. If I didn't do it, somebody else would".


title: The Freewheelin' Bob Dylan

text: Dylan began work on his second album at Columbia's Studio A in New York on April 24, 1962. The album was provisionally entitled "Bob Dylan's Blues", and as late as July 1962, this would remain the working title. At this session, Dylan recorded four of his own compositions: "Sally Gal", "The Death of Emmett Till", "Rambling, Gambling Willie", and "Talkin' John Birch Paranoid Blues". He also recorded two traditional folk songs, "Going To New Orleans" and "Corrina, Corrina", and Hank Williams' "(I Heard That) Lonesome Whistle".


title: The Freewheelin' Bob Dylan

text: Returning to Studio A the following day, Dylan recorded his new song about fallout shelters, "Let Me Die in My Footsteps". Other original compositions followed: "Rocks and Gravel", "Talking Hava Negiliah Blues", "Talkin' Bear Mountain Picnic Massacre Blues", and two more takes of "Sally Gal". Dylan recorded cover versions of "Wichita", Big Joe Williams' "Baby, Please Don't Go", and Robert Johnson's "Milk Cow's Calf's Blues". Because Dylan's songwriting talent was developing so rapidly, nothing from the April sessions appeared on "Freewheelin".


title: The Freewheelin' Bob Dylan

text: The recording sessions at Studio A resumed on July 9, when Dylan recorded "Blowin' in the Wind", a song that he had first performed live at Gerde's Folk City on April 16. Dylan also recorded "Bob Dylan's Blues", "Down the Highway", and "Honey, Just Allow Me One More Chance", all of which ended up on "Freewheelin", plus one other original composition, "Baby, I'm in the Mood for You", which did not.


title: The Freewheelin' Bob Dylan

text: At this point, music manager Albert Grossman began to take an interest in Dylan's business affairs. Grossman persuaded Dylan to transfer the publishing rights of his songs from Duchess Music, whom he had signed a contract with in January 1962, to Witmark Music, a division of Warner's music publishing operation. Dylan signed a contract with Witmark on July 13, 1962. Unknown to Dylan, Grossman had also negotiated a deal with Witmark. This gave Grossman fifty percent of Witmark's share of the publishing income generated by any songwriter Grossman had brought to the company. This "secret deal" resulted in a bitter legal battle between Dylan and Grossman in the 1980s.


title: The Freewheelin' Bob Dylan

text: Albert Grossman became Dylan's manager on August 20, 1962. Since Dylan was under twenty-one when he had signed his contract with CBS, Grossman argued that the contract was invalid and had to be re-negotiated. Instead, Hammond responded by inviting Dylan to his office and persuading him to sign a "reaffirment"—agreeing to abide by the original contract. This effectively neutralized Grossman's strategy, and led to some animosity between Grossman and Hammond. Grossman enjoyed a reputation in the folk scene of being commercially aggressive, generating more income and defending his clients' interests more fiercely than "the nicer, more amateurish managers in the Village". Dylan critic Andy Gill has suggested that Grossman encouraged Dylan to become more reclusive and aloof, even paranoid.


title: The Freewheelin' Bob Dylan

text: On September 22, Dylan appeared for the first time at Carnegie Hall, part of an all-star hootenanny. On this occasion, he premiered his new composition "A Hard Rain's a-Gonna Fall", a complex and powerful song built upon the question and answer refrain pattern of the traditional British ballad "Lord Randall". "Hard Rain" would gain added resonance one month later, when President Kennedy appeared on national television on October 22, and announced the discovery of Soviet missiles on the island of Cuba, initiating the Cuban Missile Crisis. In the sleeve notes on the "Freewheelin" album, Nat Hentoff quotes Dylan as saying that he wrote "Hard Rain" in response to the Cuban Missile Crisis: "Every line in it is actually the start of a whole new song. But when I wrote it, I thought I wouldn't have enough time alive to write all those songs so I put all I could into this one". In fact, Dylan had written the song more than a month before the crisis broke.


title: The Freewheelin' Bob Dylan

text: Dylan resumed work on "Freewheelin" at Columbia's Studio A on October 26, when a major innovation took place—Dylan made his first studio recordings with a backing band. Accompanied by Dick Wellstood on piano, Howie Collins and Bruce Langhorne on guitar, Leonard Gaskin on bass, and Herb Lovelle on drums, Dylan recorded three songs. Several takes of Dylan's "Mixed-Up Confusion" and Arthur Crudup's "That's All Right Mama" were deemed unusable, but a master take of "Corrina, Corrina" was selected for the final album. An 'alternate take' of "Corrina, Corrina" from the same session would also be selected for the b-side of "Mixed Up Confusion", Dylan's first electric single issued later in the year. At the next recording session on November 1, the band included Art Davis on bass, while jazz guitarist George Barnes replaced Howie Collins. "Mixed-Up Confusion" and "That's All Right Mama" were re-recorded, and again the results were deemed unsatisfactory. A take of the third song, "Rocks and Gravel", was selected for the album, but the track was subsequently dropped.


title: The Freewheelin' Bob Dylan

text: On November 14, Dylan resumed work with his backup band, this time with Gene Ramey on bass, devoting most of the session to recording "Mixed-Up Confusion". Although this track did not appear on "Freewheelin", it was released as a single on December 14, 1962, and then swiftly withdrawn. Unlike the other material which Dylan recorded between 1961 and 1964, "Mixed-Up Confusion" attempted a rockabilly sound. Cameron Crowe described it as "a fascinating look at a folk artist with his mind wandering towards Elvis Presley and Sun Records".


title: The Freewheelin' Bob Dylan

text: Also recorded on November 14 was the new composition "Don't Think Twice, It's All Right" (Clinton Heylin writes that, although the sleeve notes of "Freewheelin" describe this song as being accompanied by a backing band, no band is audible on the released version). Langhorne then accompanied Dylan on three more original compositions: "Ballad of Hollis Brown", "Kingsport Town", and "Whatcha Gonna Do", but these performances were not included on "Freewheelin".


title: The Freewheelin' Bob Dylan

text: Dylan held another session at Studio A on December 6. Five songs, all original compositions, were recorded, three of which were eventually included on "The Freewheelin' Bob Dylan": "A Hard Rain's a-Gonna Fall", "Oxford Town", and "I Shall Be Free". Dylan also made another attempt at "Whatcha Gonna Do" and recorded a new song, "Hero Blues", but both songs were ultimately rejected and left unreleased.


title: The Freewheelin' Bob Dylan

text: Twelve days later, Dylan made his first trip abroad. British TV director Philip Saville had heard Dylan perform in Greenwich Village, and invited him to take part in a BBC television drama: "Madhouse on Castle Street". Dylan arrived in London on December 17. In the play, Dylan performed "Blowin' in the Wind" and two other songs. Dylan also immersed himself in the London folk scene, making contact with the Troubadour folk club organizer Anthea Joseph and folk singers Martin Carthy and Bob Davenport. "I ran into some people in England who really knew those [traditional English] songs", Dylan recalled in 1984. "Martin Carthy, another guy named [Bob] Davenport. Martin Carthy's incredible. I learned a lot of stuff from Martin."


title: The Freewheelin' Bob Dylan

text: Carthy taught Dylan two English songs that would prove important for the "Freewheelin" album. Carthy's arrangement of "Scarborough Fair" would be used by Dylan as the basis of his own composition, "Girl from the North Country". A 19th-century ballad commemorating the death of Sir John Franklin in 1847, "Lady Franklin's Lament", gave Dylan the melody for his composition "Bob Dylan's Dream". Both songs displayed Dylan's fast-growing ability to take traditional melodies and use them as a basis for highly personal songwriting.


title: The Freewheelin' Bob Dylan

text: From England, Dylan traveled to Italy, and joined Albert Grossman, who was touring with his client Odetta. Dylan was also hoping to make contact with his girlfriend, Suze Rotolo, unaware that she had already left Italy and was on her way back to New York. Dylan worked on his new material, and when he returned to London, Martin Carthy received a surprise: "When he came back from Italy, he'd written 'Girl From the North Country'; he came down to the Troubadour and said, 'Hey, here's "Scarborough Fair"' and he started playing this thing".


title: The Freewheelin' Bob Dylan

text: Dylan flew back to New York on January 16, 1963. In January and February, he recorded some of his new compositions in sessions for the folk magazine "Broadside", including a new anti-war song, "Masters of War", which he had composed in London. Dylan was happy to be reunited with Suze Rotolo, and he persuaded her to move back into the apartment they had shared on West 4th Street.


title: The Freewheelin' Bob Dylan

text: Dylan's keenness to record his new material for "Freewheelin" paralleled a dramatic power struggle in the studio: Albert Grossman's determination to have John Hammond replaced as Dylan's producer at CBS. According to Dylan biographer Howard Sounes, "The two men could not have been more different. Hammond was a WASP, so relaxed during recording sessions that he sat with feet up, reading "The New Yorker". Grossman was a Jewish businessman with a shady past, hustling to become a millionaire".


title: The Freewheelin' Bob Dylan

text: Because of Grossman's hostility to Hammond, Columbia paired Dylan with a young, African-American jazz producer, Tom Wilson. Wilson recalled: "I didn't even particularly like folk music. I'd been recording Sun Ra and Coltrane ... I thought folk music was for the dumb guys. [Dylan] played like the dumb guys, but then these words came out. I was flabbergasted." At a recording session on April 24, produced by Wilson, Dylan recorded five new compositions: "Girl from the North Country", "Masters of War", "Talkin' World War III Blues", "Bob Dylan's Dream", and "Walls of Red Wing". "Walls of Red Wing" was ultimately rejected, but the other four were included in a revised album sequence.


title: The Freewheelin' Bob Dylan

text: The final drama of recording "Freewheelin" occurred when Dylan was scheduled to appear on "The Ed Sullivan Show" on May 12, 1963. Dylan had told Sullivan he would perform "Talkin' John Birch Paranoid Blues", but the "head of program practices" at CBS Television informed Dylan that this song was potentially libelous to the John Birch Society, and asked him to perform another number. Rather than comply with TV censorship, Dylan refused to appear on the show. There is disagreement between Dylan's biographers about the consequences of this censorship row. Anthony Scaduto writes that after "The Ed Sullivan Show" debacle, CBS lawyers were alarmed to discover that the controversial song was to be included on Dylan's new album, only a few weeks from its release date. They insisted that the song be dropped, and four songs ("John Birch", "Let Me Die in My Footsteps", "Rambling Gambling Willie", "Rocks and Gravel") on the album were replaced with Dylan's newer compositions recorded in April ("Girl from the North Country", "Masters of War", "Talkin' World War III Blues", "Bob Dylan's Dream"). Scaduto writes that Dylan felt "crushed" by being compelled to submit to censorship, but he was in no position to argue.


title: The Freewheelin' Bob Dylan

text: According to Heylin, "There remains a common belief that [Dylan] was forced by Columbia to pull 'Talkin' John Birch Paranoid Blues' from the album "after" he walked out on "The Ed Sullivan Show"." However, the "revised" version of "The Freewheelin' Bob Dylan" was released on May 27, 1963; this would have given Columbia Records only two weeks to recut the album, reprint the record sleeves, and press and package enough copies of the new version to fill orders. Heylin suggests that CBS had probably forced Dylan to withdraw "John Birch" from the album some weeks earlier and that Dylan had responded by recording his new material on April 24. Whether the songs were substituted before or after "The Ed Sullivan Show", critics agree that the new material gave the album a more personal feel, distanced from the traditional folk-blues material which had dominated his first album, "Bob Dylan".


title: The Freewheelin' Bob Dylan

text: A few copies of the original pressing of the LP with the four deleted tracks have turned up over the years, despite Columbia's supposed destruction of all copies during the pre-release phase (all copies found were in the standard album sleeve with the revised track selection). Other permutations of the "Freewheelin" album include versions with a different running order of the tracks on the album, and a Canadian version of the album that listed the tracks in the wrong order. The original pressing of "The Freewheelin' Bob Dylan" is considered the most valuable and rarest record in America, with one copy having sold for $35,000.


title: The Freewheelin' Bob Dylan

text: "Blowin' in the Wind" is among Dylan's most celebrated compositions. In his sleeve notes for "The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991", John Bauldie writes that it was Pete Seeger who first identified the melody of "Blowin' in the Wind" as Dylan's adaptation of the old Negro spiritual "No More Auction Block". According to Alan Lomax's "The Folk Songs of North America", the song originated in Canada and was sung by former slaves who fled there after Britain abolished slavery in 1833. In 1978, Dylan acknowledged the source when he told journalist Marc Rowland: "'Blowin' in the Wind' has always been a spiritual. I took it off a song called 'No More Auction Block'—that's a spiritual and 'Blowin' in the Wind' follows the same feeling." Dylan's performance of "No More Auction Block" was recorded at the Gaslight Cafe in October 1962, and appeared on "The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991".


title: The Freewheelin' Bob Dylan

text: Critic Andy Gill wrote: Blowin' in the Wind' marked a huge jump in Dylan's songwriting: for the first time, Dylan discovered the effectiveness of moving from the particular to the general. Whereas 'The Ballad of Donald White' would become completely redundant as soon as the eponymous criminal was executed, a song as vague as 'Blowin' in the Wind' could be applied to just about any freedom issue. It remains the song with which Dylan's name is most inextricably linked, and safeguarded his reputation as a civil libertarian through any number of changes in style and attitude."


title: The Freewheelin' Bob Dylan

text: "Blowin' in the Wind" became world-famous when Peter, Paul and Mary issued the song as a single three weeks after the release of "Freewheelin". They and Dylan both shared the same manager: Albert Grossman. The single sold a phenomenal three hundred thousand copies in the first week of release. On July 13, 1963, it reached number two on the "Billboard" chart with sales exceeding one million copies. Dylan later recalled that he was astonished when Peter Yarrow told him he was going to make $5,000 from the publishing rights.


title: The Freewheelin' Bob Dylan

text: There has been much speculation in print about the identity of the girl in "Girl from the North Country". Clinton Heylin states that the most frequently mooted candidates are Echo Helstrom, an early girlfriend of Dylan from his hometown of Hibbing, and Suze Rotolo, for whom Dylan was pining as he finished the song in Italy. Howard Sounes suggests the girl Dylan probably had in mind was Bonnie Beecher, a girlfriend of Dylan's when he was at the University of Minnesota. Musicologist Todd Harvey notes that Dylan not only took the tune of "Scarborough Fair", which he learned from Martin Carthy in London but also adapted the theme of that song. "Scarborough Fair" derives from "The Elfin Knight" (Child Ballad Number 2), which was first transcribed in 1670. In the song, a supernatural character poses a series of questions to an innocent, requesting her to perform impossible tasks. Harvey points out that Dylan "retains the idea of the listener being sent upon a task, a northern place setting, and an antique lyric quality". Dylan returned to this song on "Nashville Skyline" (1969), recording it as a duet with Johnny Cash, and he returned to it again in the studio with an unreleased organ and sax version in 1978.


title: The Freewheelin' Bob Dylan

text: A scathing song directed against the war industry, "Masters of War" is based on Jean Ritchie's arrangement of "Nottamun Town", an English riddle song. It was written in late 1962 while Dylan was in London; eyewitnesses (including Martin Carthy and Anthea Joseph) recall Dylan performing the song in folk clubs at the time. Ritchie would later assert her claim on the song's arrangement; according to one Dylan biography, the suit was settled when Ritchie received $5,000 from Dylan's lawyers.


title: The Freewheelin' Bob Dylan

text: Dylan composed "Down the Highway" in the form of a 12-bar blues. In the sleeve notes of "Freewheelin", Dylan explained to Nat Hentoff: "What made the real blues singers so great is that they were able to state all the problems they had; but at the same time, they were standing outside of them and could look at them. And in that way, they had them beat." Into this song, Dylan injected one explicit mention of an absence that was troubling him: the sojourn of Suze Rotolo in Perugia: "My baby took my heart from me/ She packed it all up in a suitcase/ Lord, she took it away to Italy, Italy."


title: The Freewheelin' Bob Dylan

text: "Bob Dylan's Blues" begins with a spoken intro where Dylan describes the origins of folk songs in a satirical vein: "most of the songs that are written uptown in Tin Pan Alley, that's where most of the folk songs come from nowadays". What follows has been characterized as an absurd, improvised blues which Dylan, in the sleeve notes, describes as "a really off-the-cuff-song. I start with an idea and then I feel what follows. Best way I can describe this one is that it's sort of like walking by a side street. You gaze in and walk on." Harvey points out that Dylan subsequently elaborated this style of self-deprecatory, absurdist humor into more complex songs, such as "I Shall Be Free No.10" (1964).


title: The Freewheelin' Bob Dylan

text: Dylan was only 21 years old when he wrote one of his most complex songs, "A Hard Rain's a-Gonna Fall", often referred to as "Hard Rain". Dylan is said to have premiered "Hard Rain" at the Gaslight Cafe, where Village performer Peter Blankfield recalled: "He put out these pieces of loose-leaf paper ripped out of a spiral notebook. And he starts singing ['Hard Rain'] ... He finished singing it, and no one could say anything. The length of it, the episodic sense of it. Every line kept building and bursting". Dylan performed "Hard Rain" days later at Carnegie Hall on September 22, 1962, as part of a concert organized by Pete Seeger. The song gained added resonance during the Cuban Missile Crisis, just one month after Dylan's first performance of "Hard Rain", when U.S. President John F. Kennedy gave his warning to the Soviet Union over their deployment of nuclear missiles in Cuba. Critics have interpreted the lyric 'hard rain' as a reference to nuclear fallout, but Dylan resisted the specificity of this interpretation. In a radio interview with Studs Terkel in 1963, Dylan said, "No, it's not atomic rain, it's just a hard rain. It isn't the fallout rain. I mean some sort of end that's just gotta happen … In the last verse, when I say, 'the pellets of poison are flooding the waters', that means all the lies that people get told on their radios and in their newspapers."


title: The Freewheelin' Bob Dylan

text: Many people were astonished by the power and complexity of this work. For Robert Shelton, who had given Dylan an important boost in his 1961 review in "The New York Times", this song was "a landmark in topical, folk-based songwriting. Here blooms the promised fruit of the 1950s poetry-jazz fusion of Ginsberg, Ferlinghetti, and Rexroth." Folk singer Dave Van Ronk later commented: "I was acutely aware that it represented the beginning of an artistic revolution." Seeger expressed the opinion that this song would last longer than any other written by Dylan.


title: The Freewheelin' Bob Dylan

text: Dylan wrote "Don't Think Twice, It's All Right" on hearing from Suze Rotolo that she was considering staying in Italy indefinitely, and he used a melody he adapted from Paul Clayton's song "Who's Gonna Buy You Ribbons (When I'm Gone)". In the "Freewheelin" sleeve notes, Dylan comments: "It isn't a love song. It's a statement that maybe you can say to make yourself feel better. It's as if you were talking to yourself".


title: The Freewheelin' Bob Dylan

text: Dylan's contemporaries hailed the song as a masterpiece: Bob Spitz quotes Paul Stookey saying "I thought it was a masterful statement", while Dave Van Ronk called it "self-pitying but brilliant". Dylan biographer Howard Sounes commented: "The greatness of the song was in the cleverness of the language. The phrase "don't think twice, it's all right" could be snarled, sung with resignation, or delivered with an ambiguous mixture of bitterness and regret. Seldom have the contradictory emotions of a thwarted lover been so well expressed, and the song transcended the autobiographical origins of Dylan's pain".


title: The Freewheelin' Bob Dylan

text: "Bob Dylan's Dream" was based on the melody of the traditional "Lady Franklin's Lament", in which the title character dreams of finding her husband, Arctic explorer Sir John Franklin, alive and well. (Sir John Franklin had vanished on an expedition searching for the North West Passage in 1845; a stone cairn on King William Island detailing his demise was found by a later expedition in 1859.) Todd Harvey points out that Dylan transforms the song into a personal journey, yet he retains both the theme and the mood of the original ballad. The world outside is depicted as stormy and harsh, and Dylan's most fervent wish, like Lady Franklin's, is to be reunited with departed companions and to relive the fond memories they represent.


title: The Freewheelin' Bob Dylan

text: "Oxford Town" is Dylan's sardonic account of events at the University of Mississippi in September 1962. U.S. Air Force veteran James Meredith was the first black student to enroll at the University of Mississippi, in Oxford, Mississippi. When Meredith first tried to attend classes at the school, some Mississippians pledged to keep the university segregated, including the state governor Ross Barnett. Ultimately, the University of Mississippi had to be integrated with the help of U.S. federal troops. Dylan responded rapidly: his song was published in the November 1962 issue of "Broadside".


title: The Freewheelin' Bob Dylan

text: The "talkin' blues" was a style of improvised songwriting that Woody Guthrie had developed to a high plane. (A Minneapolis domestic recording that Dylan made in September 1960 includes his performances of Guthrie's "Talking Columbia" and "Talking Merchant Marine".) "Talkin' World War III Blues" was a spontaneous composition Dylan created in the studio during the final session for "The Freewheelin' Bob Dylan". He recorded five takes of the song and the fifth was selected for the album. The format of the "talkin' blues" permitted Dylan to address the serious subject of nuclear annihilation with humor, and "without resorting to his finger-pointing or apocalyptical-prophetic persona".


title: The Freewheelin' Bob Dylan

text: "Corrina, Corrina" was recorded by the Mississippi Sheiks, and by their leader Bo Carter in 1928. The song was covered by artists as diverse as Bob Wills, Big Joe Turner, and Doc Watson. Dylan's version borrows phrases from a few Robert Johnson songs: "Stones In My Passway", "32-20 Blues", and "Hellhound On My Trail". An alternate take of the song was used as a B-side for his "Mixed-Up Confusion" single.


title: The Freewheelin' Bob Dylan

text: "Honey, Just Allow Me One More Chance" is based on "Honey, Won't You Allow Me One More Chance?", a song dating back to the 1890s that was popularized by Henry Thomas in his 1928 recording. "However, Thomas's original provided no more than a song title and a notion", writes Heylin, "which Dylan turned into a personal plea to an absent lover to allow him 'one more chance to get along with you.' It is a vocal tour de force and ... showed a Dylan prepared to make light of his own blues by using the form itself."


title: The Freewheelin' Bob Dylan

text: "I Shall Be Free" is a rewrite of Lead Belly's "We Shall Be Free", which was performed by Lead Belly, Sonny Terry, Cisco Houston, and Woody Guthrie. According to Todd Harvey, Dylan's version draws its melody from the Guthrie recording but omits its signature chorus ("We'll soon be free/When the Lord will call us home"). Critics have been divided about the worth of this final song. Robert Shelton dismissed the song as "a decided anticlimax. Although the album has at least a half dozen blockbusters, two of the weakest songs are tucked in at the end, like shirttails." Todd Harvey has argued that by placing the song at the close of the "Freewheelin" LP, Dylan ends on a note of levity which is a relief after the weighty sentiments expressed in several songs on the album.


title: The Freewheelin' Bob Dylan

text: The known outtakes from the "Freewheelin" album are as follows. All songs released in 1991 on "The Bootleg Series 1–3" are discussed in that album's liner notes, while songs that have never been released have been documented by biographer Clinton Heylin, except where noted. All songs written by Bob Dylan, except where noted.


title: The Freewheelin' Bob Dylan

text: Dylan promoted his upcoming album with radio appearances and concert performances. In May 1963, Dylan performed with Joan Baez at the Monterey Folk Festival, where she joined him on stage for a duet of a new Dylan song, "With God on Our Side". Baez was at the pinnacle of her fame, having appeared on the cover of "Time" magazine the previous November. The performance not only gave Dylan and his songs a new prominence, it also marked the beginning of a romantic relationship between Baez and Dylan, the start of what Dylan biographer Sounes termed "one of the most celebrated love affairs of the decade".


title: The Freewheelin' Bob Dylan

text: "The Freewheelin' Bob Dylan" was released at the end of May. According to Scaduto, it was an immediate success, selling 10,000 copies a month and bringing Dylan an income of about $2,500 a month. An article by Nat Hentoff on folk music appeared in the June issue of "Playboy" magazine and devoted considerable space to Dylan's achievements, calling him "the most vital of the younger citybillies".


title: The Freewheelin' Bob Dylan

text: In July, Dylan appeared at the second Newport Folk Festival. That weekend, Peter, Paul and Mary's rendition of "Blowin' in the Wind" reached number two on "Billboard"s pop chart. Baez was also at Newport, appearing twice on stage with Dylan. The combination of the chart success of "Blowin' in the Wind", and the glamor of Baez and Dylan singing together generated excitement about Dylan and his new album. Tom Paxton recalled: "That was a big breakout festival for Bob. The buzz kept growing exponentially and it was like a coronation of Bob and Joan. They were King and Queen of the festival". His friend Bob Fass recalled that after Newport, Dylan told him that "suddenly I just can't walk around without a disguise. I used to walk around and go wherever I wanted. But now it's gotten very weird. People follow me into the men's room just so they can say that they saw me pee".


title: The Freewheelin' Bob Dylan

text: In September, the album entered "Billboard"s album charts; the highest position "Freewheelin" reached was number 22, but it eventually came to sell one million copies in the U.S. Dylan himself came to acknowledge "Freewheelin" as the album that marked the start of his success. During his dispute with Albert Grossman, Dylan stated in a deposition: "Although I didn't know it at the time, the second album was destined to become a great success because it was to include 'Blowin' in the Wind'." Besides "Blowin' in the Wind", "Masters of War", "Girl from the North Country", "A Hard Rain's a-Gonna Fall" and "Don't Think Twice, It's All Right" have all been acclaimed as masterpieces, and they have been mainstays of Dylan's performing repertory to the present day. The album's balance between serious subject matter and levity, earnest finger-pointing songs and surreal jokes captured a wide audience, including The Beatles, who were on the cusp of global success. John Lennon recalled: "In Paris in 1964 was the first time I ever heard Dylan at all. Paul got the record ("The Freewheelin' Bob Dylan") from a French DJ. For three weeks in Paris we didn't stop playing it. We all went potty about Dylan".


title: The Freewheelin' Bob Dylan

text: The album was re-issued in 2010 as part of "The Original Mono Recordings", a Columbia Legacy box set that included the monaural versions of Dylan's first eight albums.


title: The Freewheelin' Bob Dylan

text: The album cover features a photograph of Dylan with Suze Rotolo. It was taken in February 1963—a few weeks after Rotolo had returned from Italy—by CBS staff photographer Don Hunstein as Dylan and Rotolo walked in the middle of Jones Street, approximately 50 feet from West 4th Street in the West Village, New York City, close to the apartment where the couple lived at the time. In 2008, Rotolo described the circumstances surrounding the famous photo to "The New York Times": "He wore a very thin jacket, because image was all. Our apartment was always cold, so I had a sweater on, plus I borrowed one of his big, bulky sweaters. On top of that I put on a coat. So I felt like an Italian sausage. Every time I look at that picture, I think I look fat." In her memoir, "A Freewheelin' Time", Rotolo analyzed the significance of the cover art:


title: The Freewheelin' Bob Dylan

text: Critic Janet Maslin summed up the iconic impact of the cover as "a photograph that inspired countless young men to hunch their shoulders, look distant, and let the girl do the clinging".


title: The Freewheelin' Bob Dylan

text: The album's cover photo was carefully recreated by Cameron Crowe for his 2001 Tom Cruise-starring film "Vanilla Sky" and by Todd Haynes for his 2007 Dylan biopic "I'm Not There." It also served as a visual reference for the Coen brothers' 2013 film "Inside Llewyn Davis".


title: The Freewheelin' Bob Dylan

text: A copy of the vinyl album itself is an important prop in Jacques Rivette's 1969 film "L'Amour fou". In one key scene, the male lead, Sebastien (Jean-Pierre Kalfon), is in the apartment of his girlfriend, Marta (Josée Destoop), helping her sort through LPs she could potentially re-sell in order to raise some quick cash. He holds up her copy of "The Freewheelin' Bob Dylan", which she declines to sell on the grounds that she still listens to it.


title: The Freewheelin' Bob Dylan

text: Taylor Swift cited the album as the inspiration for her song "Betty" on "Folklore". As "Betty"'s co-writer, The National's Aaron Dessner explained to "Vulture", "She wanted it to have an early Bob Dylan, sort of a "Freewheelin' Bob Dylan" feel".


title: The Freewheelin' Bob Dylan

text: The success of "Freewheelin" transformed the public perception of Dylan. Before the album's release, he was one among many folk-singers. Afterwards, at the age of 22, Dylan was regarded as a major artist, perhaps even a spokesman for disaffected youth. As one critic described the transformation, "In barely over a year, a young plagiarist had been reborn as a songwriter of substance, and his first album of fully realized original material got the 1960s off their musical starting block." Janet Maslin wrote of the album: "These were the songs that established him as the voice of his generation—someone who implicitly understood how concerned young Americans felt about nuclear disarmament and the growing Civil Rights Movement: his mixture of moral authority and nonconformity was perhaps the most timely of his attributes".


title: The Freewheelin' Bob Dylan

text: This title of "Spokesman of a Generation" was viewed by Dylan with disgust in later years. He came to feel it was a label that the media had pinned on him, and in his autobiography, "Chronicles", Dylan wrote: "The press never let up. Once in a while I would have to rise up and offer myself for an interview so they wouldn't beat the door down. Later an article would hit the streets with the headline "Spokesman Denies That He's A Spokesman". I felt like a piece of meat that someone had thrown to the dogs".


title: The Freewheelin' Bob Dylan

text: The album secured for Dylan an "unstoppable cult following" of fans who preferred the harshness of his performances to the softer cover versions released by other singers. Richard Williams has suggested that the richness of the imagery in "Freewheelin" transformed Dylan into a key performer for a burgeoning college audience hungry for a new cultural complexity: "For students whose exam courses included Eliot and Yeats, here was something that flattered their expanding intellect while appealing to the teenage rebel in their early-sixties souls. James Dean had walked around reading James Joyce; here were both in a single package, the words and the attitude set to music." Andy Gill adds that in the few months between the release of "Freewheelin" in May 1963, and Dylan's next album "The Times They Are A-Changin'" in January 1964, Dylan became the hottest property in American music, stretching the boundaries of what had been previously viewed as a collegiate folk music audience.


title: The Freewheelin' Bob Dylan

text: Critical opinion about "Freewheelin" has been consistently favorable in the years since its release. Dylan biographer Howard Sounes called it "Bob Dylan's first great album". In a survey of Dylan's work published by "Q" magazine in 2000, the "Freewheelin" album was described as "easily the best of [Dylan's] acoustic albums and a quantum leap from his debut—which shows the frantic pace at which Dylan's mind was moving." The magazine went on to comment, "You can see why this album got The Beatles listening. The songs at its core must have sounded like communiques from another plane".


title: The Freewheelin' Bob Dylan

text: For Patrick Humphries, "rarely has one album so effectively reflected the times which produced it. "Freewheelin" spoke directly to the concerns of its audience. and addressed them in a mature and reflective manner: it mirrored the state of the nation." Stephen Thomas Erlewine's verdict on the album in the AllMusic guide was: "It's hard to overestimate the importance of "The Freewheelin' Bob Dylan", the record that firmly established Dylan as an unparalleled songwriter ... This is rich, imaginative music, capturing the sound and spirit of America as much as that of Louis Armstrong, Hank Williams, or Elvis Presley. Dylan, in many ways, recorded music that equaled this, but he never topped it".


title: The Freewheelin' Bob Dylan

text: In March 2000, Van Morrison told the Irish rock magazine "Hot Press" about the impact that "Freewheelin" made on him: "I think I heard it in a record shop in Smith Street. And I just thought it was incredible that this guy's not singing about 'moon in June' and he's getting away with it. That's what I thought at the time. The subject matter wasn't pop songs, ya know, and I thought this kind of opens the whole thing up ... Dylan put it into the mainstream that this could be done".


title: The Freewheelin' Bob Dylan

text: "Freewheelin" was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry in 2002. The citation read: "This album is considered by some to be the most important collection of original songs issued in the 1960s. It includes "Blowin' in the Wind," the era's popular and powerful protest anthem." The following year (2003), "Rolling Stone" "Magazine" ranked it number 97 on their list of the 500 greatest albums of all time, maintaining the rating in a 2012 revised list, before dropping to number 255 in a 2020 revised list.


title: The Freewheelin' Bob Dylan

text: The album was included in Robert Christgau's "Basic Record Library" of 1950s and 1960s recordings, published in "" (1981). It was also included in Robert Dimery's "1001 Albums You Must Hear Before You Die".


title: The Freewheelin' Bob Dylan

text: Some very early first pressing copies contained four songs that were ultimately replaced by Columbia on all subsequent pressings. These songs were "Rocks and Gravel", "Let Me Die in My Footsteps", "Rambling Gambling Willie" and "Talkin' John Birch Blues". Copies of the "original" version of "The Freewheelin' Bob Dylan" (in either mono or stereo) are extremely rare.


title: Temperate rainforest

text: Temperate rainforests are coniferous or broadleaf forests that occur in the temperate zone and receive heavy rain.


title: Temperate rainforest

text: Temperate rain forests occur in oceanic moist regions around the world: the Pacific temperate rain forests of North American Pacific Northwest as well as the Appalachian temperate rainforest of the Eastern U.S. Sun Belt; the Valdivian temperate rain forests of southwestern South America; the rain forests of New Zealand and southeastern Australia; northwest Europe (small pockets in Great Britain and larger areas in Ireland, southern Norway and northern Iberia); southern Japan; the Black Sea–Caspian Sea region from the southeasternmost coastal zone of the Bulgarian coast, through Turkey, to Georgia, and northern Iran.


title: Temperate rainforest

text: The moist conditions of temperate rain forests generally support an understory of mosses, ferns and some shrubs and berries. Temperate rain forests can be temperate coniferous forests or temperate broadleaf and mixed forests.


title: Temperate rainforest

text: However, required annual precipitation depends on factors such as distribution of rain over the year, temperatures over the year and fog presence, and definitions in other regions of the world differ considerably. For example, Australian definitions are ecological-structural rather than climatic:


title: Temperate rainforest

text: The latter would, for example, exclude a part of the temperate rain forests of western North America, as Coast Douglas-fir, one of its dominant tree species, requires stand-destroying disturbance to initiate a new cohort of seedlings. The North American definition would in turn exclude a part of temperate rain forests under definitions used elsewhere.


title: Temperate rainforest

text: For forests, canopy refers to the upper layer or habitat zone, formed by mature tree crowns and including other biological organisms (epiphytes, lianas, arboreal animals, etc.). The canopy level is the third level of the temperate rainforest. The trees forming the canopy, conifers, can stand as tall as 100 meters or more. A variety of species survive in the canopy. The tops of these trees collect most of the rain, moisture, and photosynthesis that the rainforest takes in. They form a canopy over the forest, covering about 95% of the floor during the summer.


title: Temperate rainforest

text: The canopy's coverage affects the shade tolerance levels of forest floor plants. When the canopy is in full bloom, covering about 95% of the floor, plant survival decreases. Some plant species have become shade tolerant in order to survive.


title: Temperate rainforest

text: The canopy survives through photosynthesis. The leaves provide energy and nutrients for the trees, which provide homes and food for the forest. Through satellite data, the radiation use efficiency (RUE) calculates the annual amount of photosynthesis that occurs in temperate rainforests. A diverse amount of photosynthesis occurs based on the location and microclimates of the forest.


title: Temperate rainforest

text: Temperate forests cover a large part of the Earth, but temperate rainforests only occur in a few regions around the world. Most of these occur in oceanic moist climates: the Pacific temperate rain forests in Western North America (Southeastern Alaska to Central California), the Valdivian and Magellanic temperate rainforests of southwestern South America (Southern Chile and adjacent Argentina), pockets of rain forest in Northwestern Europe (southern Norway to northern Spain), temperate rainforests of southeastern Australia (Tasmania and Victoria) and the New Zealand temperate rainforests (South Island's west coast).


title: Temperate rainforest

text: Others occur in subtropical moist climates; South Africa's Knysna-Amatole coastal forests, the Colchan rainforests of the Black Sea region (southeast corner of Bulgaria, Turkey and Georgia), the Caspian temperate rainforests of Iran and Azerbaijan, the mountain temperate rainforests along eastern Taiwan's Pacific coast, the eastern coast of the Korean Peninsula along the length of the Baekdu Mountain Range and in the area surrounding Mt. Jiri and across the peninsula's southern coastline, southwest Japan's Taiheiyo forests, coastal New South Wales and New Zealand's North Island.


title: Temperate rainforest

text: Additionally pockets of temperate rainforest occur in dreary climates that are not categorized by just annual precipitation but also number of cloudy days as well as number of days of measurable precipitation in the form of rain or snow. In Western North America, the Columbia Mountains of British Columbia, northern Idaho and northwestern Montana have more of a continental climate and have pockets of temperate coniferous rainforest.


title: Temperate rainforest

text: In Eastern North America, there are scattered pockets of temperate rainforest along the Allegheny Plateau and adjacent parts of the Appalachian Mountains from West Virginia to New England. These areas include sections of West Virginia, Western North Carolina, and Western Pennsylvania, as well as Western New York and the Adirondack Mountains. A good example of these forests are found in Zoar Valley in Western New York (nearest major city is Buffalo, New York), Cook Forest State Park within the Allegheny National Forest (nearest major city is Pittsburgh), and Cathedral State Park in West Virginia.


title: Temperate rainforest

text: In Eastern Asia, there are scattered pockets of temperate rainforest in what is known as the Russian Far East (Ussuri, Outer Manchuria, Sakhalin) in Asia where the climate is also continental in nature, but get enough precipitation and cloud cover to harbor significant pockets of temperate rainforest. Like Eastern North America, much precipitation is in the form of rain and snow. The mountainous coniferous forests of the Changbai Mountains bordering China and North Korea are also a good example, containing some of the richest high-elevation coniferous evergreen forests in East Asia.


title: Temperate rainforest

text: A portion of the temperate rain forest region of North America, the largest area of temperate zone rain forests on the planet, is the Pacific temperate rain forests ecoregion, which occur on west-facing coastal mountains along the Pacific coast of North America, from Kodiak Island in Alaska to northern California, and are part of the Nearctic realm. In the different system established by the Commission for Environmental Cooperation, this same general region is classed as the Pacific Maritime Ecozone by Environment Canada and as the Marine West Coast Forest and Northwestern Forested Mountains Level II ecoregions by the United States Environmental Protection Agency. In terms of the floristic province system used by botany, the bulk of the region is the Rocky Mountain Floristic Region but a small southern portion is part of the California Floristic Province.