title: New chronology (Fomenko)

text: The conspiracy theory further proposes that world history prior to AD 1600 has been widely falsified to suit the interests of a number of different conspirators including the Vatican, the Holy Roman Empire, and the Russian House of Romanov, all working to obscure the "true" history of the world centered around a global empire called the "Russian Horde".


title: New chronology (Fomenko)

text: The central concepts of the new chronology are derived from the ideas of Russian scholar Nikolai Morozov (1854–1946), although work by French scholar Jean Hardouin (1646–1729) can be viewed as an earlier predecessor. The new chronology is most commonly associated with Russian mathematician Anatoly Fomenko (born 1945), although published works on the subject are actually a collaboration between Fomenko and several other mathematicians. The concept is most fully explained in "History: Fiction or Science?", originally published in Russian.


title: New chronology (Fomenko)

text: The new chronology also contains "a reconstruction", an alternative chronology, radically shorter than the standard historical timeline, because all ancient history is "folded" onto the Middle Ages. According to Fomenko's claims, the written history of humankind goes only as far back as AD 800, there is almost no information about events between AD 800–1000, and most known historical events took place in AD 1000–1500.


title: New chronology (Fomenko)

text: The new chronology is rejected by the vast majority of scientists and historians, and is inconsistent with absolute and relative dating techniques used in the wider scholarly community. It is considered to be pseudoarchaeological, pseudohistorical, and pseudoscientific. Academic interest in the theory stems mainly from its popularity which has compelled historians and other scientists to argue against its methods and proposed world history. A second point of interest from the mainstream academic community is to understand why it has become so popular as to perhaps have the sympathy of 30 percent of Russians. It is not really known to which extent readers of new chronology texts regard it as history or fiction, nor are there reliable statistics on who the readers are.


title: New chronology (Fomenko)

text: The theory emerged alongside other alternate histories and conspiracy literature in the period of increased freedom of speech that followed the break-up of the Soviet Union. While other authors have written on new chronology theory, such as Fomenko's junior partner Gleb Nosovsky and Bulgarian mathematician Yordan Tabov who expanded the theory in regards to the Balkans, the theory is mostly discussed in reference to Fomenko's writings.


title: New chronology (Fomenko)

text: The idea of chronologies that differ from the conventional chronology can be traced back to at least the second half of the 17th century. Jean Hardouin then suggested that many ancient historical documents were much younger than commonly believed to be. In 1685 he published a version of Pliny the Elder's "Natural History" in which he claimed that most Greek and Roman texts had been forged by Benedictine monks. When later questioned on these results, Hardouin stated that he would reveal the monks' reasons in a letter to be revealed only after his death. The executors of his estate were unable to find such a document among his posthumous papers. In the 17th century, Sir Isaac Newton, examining the current chronology of Ancient Greece, Ancient Egypt and the Ancient Near East, expressed discontent with prevailing theories and in "The Chronology of Ancient Kingdoms Amended" proposed one of his own, which, basing its study on Apollonius of Rhodes's "Argonautica", changed the traditional dating of the Argonautic Expedition, the Trojan War, and the Founding of Rome.


title: New chronology (Fomenko)

text: In 1887, Edwin Johnson expressed the opinion that early Christian history was largely invented or corrupted in the 2nd and 3rd centuries.


title: New chronology (Fomenko)

text: almost all important civilized peoples have early woven myths around and glorified in poetry their heroes, mythical kings and princes, founders of religions, of dynasties, empires and cities—in short, their national heroes. Especially the history of their birth and of their early years is furnished with phantastic traits; the amazing similarity, nay literal identity, of those tales, even if they refer to different, completely independent peoples, sometimes geographically far removed from one another, is well known and has struck many an investigator.


title: New chronology (Fomenko)

text: Fomenko became interested in Morozov's theories in 1973. In 1980, together with a few colleagues from the mathematics department of Moscow State University, he published several articles on "new mathematical methods in history" in peer-reviewed journals. The articles stirred a lot of controversy, but ultimately Fomenko failed to win any respected historians to his side. By the early 1990s, Fomenko shifted his focus from trying to convince the scientific community via peer-reviewed publications to publishing books. Alex Beam writes that Fomenko and his colleagues were discovered by the Soviet scientific press in the early 1980s, leading to "a brief period of renown"; a contemporary review from the Soviet journal "Questions of History" complained, "Their constructions have nothing in common with Marxist historical science."


title: New chronology (Fomenko)

text: Central to Fomenko's new chronology is his claim of the existence of a vast Slav-Turk empire, called the "Russian Horde", which played a dominant role in Eurasian history before the 17th century. The various peoples identified in ancient and medieval history, from the Scythians, Huns, Goths and Bulgars, through the Polans, Dulebes, Drevlians and Pechenegs, to in more recent times, the Cossacks, Ukrainians, and Belarusians, are nothing but elements of the single Russian Horde.


title: New chronology (Fomenko)

text: Fomenko claims that the most probable prototype of the historical Jesus was Andronikos I Komnenos (allegedly AD 1152 to 1185), the emperor of Byzantium, known for his failed reforms, his traits and deeds reflected in 'biographies' of many real and imaginary persons. The historical Jesus is a composite figure and reflection of the Old-Testament prophet Elisha (850–800 BC?), Pope Gregory VII (1020?–1085), Saint Basil of Caesarea (330–379), and even Li Yuanhao (also known as Emperor Jingzong or "Son of Heaven" – emperor of Western Xia, who reigned in 1032–1048), Euclides, Bacchus and Dionysius. Fomenko explains the seemingly vast differences in the biographies of these figures as resulting from difference in languages, points of view and time-frame of the authors of said accounts and biographies. He claims that the historical Jesus was born in Cape Fiolent, Crimea, on December 25, 1152 A.D. and was crucified on March 20, 1185 A.D., on Joshua's Hill, overlooking the Bosphorus.


title: New chronology (Fomenko)

text: Fomenko also merges the cities and histories of Jerusalem, Rome and Troy into "New Rome" = Gospel Jerusalem (in the 12th and 13th centuries) = Troy = Yoros Castle. To the south of Yoros Castle is Joshua's Hill which Fomenko alleges is the hill Calvary depicted in the Bible.


title: New chronology (Fomenko)

text: Fomenko claims the Hagia Sophia is actually the biblical Temple of Solomon. He identifies Solomon as sultan Suleiman the Magnificent (1494–1566).


title: New chronology (Fomenko)

text: However, according to Fomenko the word "Rome" is a placeholder and can signify any one of several different cities and kingdoms. He claims: the "First Rome" or "Ancient Rome" or "Mizraim" is an ancient Egyptian kingdom in the delta of the Nile with its capital in Alexandria, that the second and most famous "New Rome" is Constantinople, and that the third "Rome" is constituted by three different cities: Constantinople (again), Rome in Italy, and Moscow. Also according to his claims, Rome in Italy was founded around AD 1380 by Aeneas and Moscow as the third Rome was the capital of the great "Russian Horde".


title: New chronology (Fomenko)

text: One of Fomenko's simplest methods is statistical correlation of texts. His basic assumption is that a text which describes a sequence of events will devote more space to more important events (for example, a period of war or an unrest will have much more space devoted to than a period of peaceful, non-eventful years), and that this irregularity will remain visible in other descriptions of the period. For each analysed text, a function is devised which maps each year mentioned in the text with the number of pages (lines, letters) devoted in the text to its description (which could be zero). The function of the two texts are then compared.


title: New chronology (Fomenko)

text: For example, Fomenko compares the contemporary history of Rome written by Titus Livius with a modern history of Rome written by Russian historian V. S. Sergeev, calculating that the two have high correlation, and thus that they describe the same period of history, which is undisputed. He also compares modern texts which describe different periods, and calculates low correlation, as expected. When he compares, for example, the ancient history of Rome and the medieval history of Rome, he calculates a high correlation, and concludes that ancient history of Rome is a copy of medieval history of Rome, thus clashing with mainstream accounts.


title: New chronology (Fomenko)

text: In a somewhat similar manner, Fomenko compares two dynasties of rulers using statistical methods. First, he creates a database of rulers, containing relevant information on each of them. Then, he creates "survey codes" for each pair of the rulers, which contain a number which describes degree of the match of each considered property of two rulers. For example, one of the properties is the way of death: if two rulers were both poisoned, they get value of +1 in their property of the way of death; if one ruler was poisoned and another killed in combat, they get −1; and if one was poisoned, and another died of illness, they get 0 (Fomenko claims there is possibility that chroniclers were not impartial and that different descriptions nonetheless describe the same person). An important property is the length of the rule, especially as they receive higher points, they are considered to be a more illustrious ruler of their nation.


title: New chronology (Fomenko)

text: Fomenko lists a number of pairs of unrelated dynasties – for example, dynasties of kings of Israel and emperors of late Western Roman Empire (AD 300–476) – and claims that this method demonstrates correlations between their reigns. (Graphs which show just the length of the rule in the two dynasties are the most widely known; Fomenko's conclusions are also based on other parameters, as described above.) He also claims that the regnal history from the 17th to 20th centuries never shows correlation of "dynastic flows" with each other, therefore Fomenko insists history was multiplied and outstretched into imaginary antiquity to justify this or other "royal" pretensions.


title: New chronology (Fomenko)

text: Fomenko uses for the demonstration of correlation between the reigns the data from the "Chronological Tables" of J. Blair (Moscow 1808–09) complemented with lists of rulers and their reign durations taken from other tables and monographs, both mediaeval and contemporary. Fomenko et al. say that Blair’s tables are all the more valuable to them since they were compiled in an epoch adjacent to the time of Scaligerian chronology. According to Fomenko these tables contain clearer signs of “Scaligerite activity” which were subsequently buried under layers of paint and plaster by historians of the 19th and 20th centuries.


title: New chronology (Fomenko)

text: Fomenko examines astronomical events described in ancient texts and claims that the chronology is actually medieval. For example:


title: New chronology (Fomenko)

text: Dendrochronology is rejected with a claim that, for dating of objects much older than the oldest still living trees, it is not an absolute, but a relative dating method, and thus dependent on traditional chronology. Fomenko specifically points to a break of dendrochronological scales around AD 1000.


title: New chronology (Fomenko)

text: Fomenko also cites a number of cases where carbon dating of a series of objects of known age gave significantly different dates. He also alleges undue cooperation between physicists and archaeologists in obtaining the dates, since most radiocarbon dating labs only accept samples with an age estimate suggested by historians or archaeologists. Fomenko also claims that carbon dating over the range of AD 1 to 2000 is inaccurate because it has too many sources of error that are either guessed at or completely ignored, and that calibration is done with a statistically meaningless number of samples. Consequently, Fomenko concludes that carbon dating is not accurate enough to be used on historical scale.


title: New chronology (Fomenko)

text: Fomenko rejects numismatic dating as circular, being based on the traditional chronology, and points to cases of similar coins being minted in distant periods, unexplained long periods with no coins minted and cases of mismatch of numismatic dating with historical accounts.


title: New chronology (Fomenko)

text: Fomenko's historical ideas have been universally rejected by mainstream scientists, historians, and scholars, who brand them as pseudohistory, pseudoarchaeology, and pseudoscience, but were popularized by former world chess champion Garry Kasparov. Billington writes that the theory "might have quietly blown away in the wind tunnels of academia" if not for Kasparov's writing in support of it in the magazine "Ogoniok". Kasparov met Fomenko during the 1990s, and found that Fomenko's conclusions concerning certain subjects were identical to his own regarding the popular view (which is not the view of academics) that art and culture died during the Dark Ages and were not revived until the Renaissance. Kasparov also felt it illogical that the Romans and the Greeks living under the banner of Byzantium could fail to use the mounds of scientific knowledge left them by Ancient Greece and Rome, especially when it was of urgent military use. Kasparov does not support the reconstruction part of the new chronology.


title: New chronology (Fomenko)

text: According to Sheiko, "Fomenko and his allies are unrepentant, noting that the Mongolian, Turkic, and Ukrainian peoples are sadly mistaken in the delusion that they were ever anything other than elements of the Russian Horde", and remarks that for Russian critics, Fomenko represents both an embarrassment and a potent symbol of the depths to which the Russian academy and society have generally sunk amid the diverse societal misfortunes heaped upon Russia since the fall of Communism. Western critics see his views as part of a renewed Russian imperial ideology, "keeping alive an imperial consciousness and secular messianism in Russia".


title: New chronology (Fomenko)

text: In 2004 at the Moscow International Book Fair, Anatoly Fomenko with his coauthor Gleb Nosovsky were awarded for their books on "new chronology" the anti-prize called (literally 'paragraph', a Russian slang word meaning 'disaster' or 'fiasco') in the category "Pochotnaya bezgramota" (the term is a pun upon "Pochotnaya gramota" (Certificate of Honor) and may be translated as either "Certificate of Dishonor" or literally, "Respectable Illiteracy") for the worst book published in Russia.


title: New chronology (Fomenko)

text: Critics have accused Fomenko of altering the data to improve the fit with his ideas and have noted that he violates a key rule of statistics by selecting matches from the historical record which support his chronology, while ignoring those which do not, creating artificial, better-than-chance correlations, and that these practices undermine Fomenko's statistical arguments. The new chronology was given a comprehensive critical analysis in a round table on "The 'Myths' of New Chronology" chaired by the dean of the department of history of Moscow State University in December 1999. One of the participants in that round table, the distinguished Russian archaeologist, Valentin Yanin, compared Fomenko's work to "the sleight of hand trickery of a David Copperfield". Linguist Andrey Zaliznyak argued that by using the Fomenko's approaches one can "prove" any historical correspondence, for example, between Ancient Egyptian pharaohs and French kings.


title: New chronology (Fomenko)

text: James Billington, formerly professor of Russian history at Harvard and Princeton and the Librarian of Congress from 1987 to 2015 placed Fomenko's work within the context of the political movement of Eurasianism, which sought to tie Russian history closely to that of its Asian neighbors. Billington describes Fomenko as ascribing the belief in past hostility between Russia and the Mongols to the influence of Western historians. Thus, by Fomenko's chronology, "Russia and Turkey are parts of a previously single empire." A French reviewer of Billington's book noted approvingly his concern with the phantasmagorical conceptions of Fomenko about the global "new chronology".


title: New chronology (Fomenko)

text: H.G. van Bueren, professor emeritus of astronomy at the University of Utrecht, concluded his scathing review of Fomenko's work on the application of mathematics and astronomy to historical data as follows:


title: New chronology (Fomenko)

text: In September 2020, major Russian politician and academician of the Russian Academy of Sciences Sergey Glazyev publicly proposed Fomenko's New Chronology as a "reliable support for the formation of modern ideology that consolidates Russian society":


title: New chronology (Fomenko)

text: While Fomenko rejects commonly accepted dating methods, most archaeologists, conservators and other scientists make extensive use of such techniques which are expected to have been rigorously examined and refined during decades of use.


title: New chronology (Fomenko)

text: In the specific case of dendrochronology, Fomenko claims that this fails as an absolute dating method because of gaps in the record. Independent dendrochronological sequences beginning with living trees from various parts of North America and Europe extend back 12,400 years into the past. Furthermore, the mutual consistency of these independent dendrochronological sequences has been confirmed by comparing their radiocarbon and dendrochronological ages. These and other data have provided a calibration curve for radiocarbon dating whose internal error does not exceed ±163 years over the entire 26,000 years of the curve.


title: New chronology (Fomenko)

text: In fact, archaeologists have developed a "fully anchored" dendrochronology series going back past 10,000 BCE. "The absolutely dated tree-ring chronology now extends back to 12,410 cal BP (10,461 BC)."


title: New chronology (Fomenko)

text: Critics of Fomenko's theory claim that his use of historical sources is highly selective and ignores the basic principles of sound historical scholarship.


title: New chronology (Fomenko)

text: Fomenko ... provides no fair-minded review of the historical literature about a topic with which he deals, quotes only those sources that serve his purposes, uses evidence in ways that seem strange to professionally-trained historians and asserts the wildest speculation as if it has the same status as the information common to the conventional historical literature.


title: New chronology (Fomenko)

text: They also note that his method of statistically correlating of texts is very rough, because it does not take into account the many possible sources of variation in length outside of "importance". They maintain that differences in language, style, and scope, as well as the frequently differing views and focuses of historians, which are manifested in a different notion of "important events", make quantifying historical writings a dubious proposition at best. Further, Fomenko's critics allege that the parallelisms he reports are often derived by alleged forcing by Fomenko of the data – rearranging, merging, and removing monarchs as needed to fit the pattern.


title: New chronology (Fomenko)

text: For example, on the one hand Fomenko asserts that the vast majority of ancient sources are either irreparably distorted duplicate accounts of the same events or later forgeries. In his identification of Jesus with Pope Gregory VII he ignores the otherwise vast dissimilarities between their reported lives and focuses on the similarity of their appointment to religious office by baptism. (The evangelical Jesus is traditionally believed to have lived for 33 years, and he was an adult at the time of his encounter with John the Baptist. In contrast, according to the available primary sources, Pope Gregory VII lived for at least 60 years and was born 8 years after the death of Fomenko's John-the-Baptist equivalent John Crescentius.)


title: New chronology (Fomenko)

text: Critics allege that many of the supposed correlations of regnal durations are the product of the selective parsing and blending of the dates, events, and individuals mentioned in the original text. Another point raised by critics is that Fomenko does not explain his altering the data (changing the order of rulers, dropping rulers, combining rulers, treating interregna as rulers, switching between theologians and emperors, etc.) preventing a duplication of the effort and effectively making this whole theory an ad hoc hypothesis.


title: New chronology (Fomenko)

text: Critics point out that Fomenko's discussion of astronomical phenomena tends to be selective, choosing isolated examples that support the new chronology and ignoring the large bodies of data that provide statistically supported evidence for the conventional dating. According to astronomer Yuri N. Efremov, for his dating of the Almagest star catalog Fomenko's selection of just eight stars from the more than 1000 stars in the catalog is arbitrary, and on grounds related to one of them (Arcturus) having a large systematic error, raised the opinion that this star has a dominant effect on Fomenko's dating. Statistical analysis using the same method for all "fast" stars points to the antiquity of the Almagest star catalog. Dennis Rawlins further points out that Fomenko's statistical analysis got the wrong date for the "Almagest", because Fomenko considered Earth's obliquity to be a constant when it is actually a variable that changes at a very slow, but known, rate.


title: New chronology (Fomenko)

text: Fomenko's studies ignore the abundance of dated astronomical records in cuneiform texts from Mesopotamia. Among these texts is a series of Babylonian astronomical diaries, which records precise astronomical observations of the Moon and planets, often dated in terms of the reigns of known historical figures extending back to the 6th century BCE. Astronomical retrocalculations for all these moving objects allow dating these observations, and consequently the rulers' reigns, to within a single day. The observations are sufficiently redundant that only a small portion of them are sufficient to date a text to a unique year in the period 750 BCE to 100 CE. The dates obtained agree with the accepted chronology. In addition, F. R. Stephenson has demonstrated through a systematic study of a large number of Babylonian, Ancient and Medieval European, and Chinese records of eclipse observations that they can be dated consistently with conventional chronology at least as far back as 600 BCE. In contrast to Fomenko's missing centuries, Stephenson's studies of eclipse observations find an accumulated uncertainty in the timing of the rotation of the earth of 420 seconds at 400 BCE, and only 80 seconds at 1000 CE.


title: New chronology (Fomenko)

text: Fomenko states that world history prior to 1600 was deliberately falsified for political reasons. The consequences of this conspiracy theory are twofold. Documents that conflict with new chronology are said to have been edited or fabricated by conspirators; the Vatican, the Holy Roman Empire and pro-German Romanov dynasty. New chronology taps traditionally Russian anti-Western thoughts and ideas of Germany as a chief enemy. Further, the theory is Russocentric, diminishing achievements of other cultures and claiming major civilization accomplishments as Russian and by proposing a giant "Russian Horde" empire and eliminating historical time before its existence. The theory also claimed to undermine nationalism in countries neighboring Russia by positioning divisions and conflicts as fabricated. Unlike other popular conspiracy theories New Chronology is not anti-semitic "per se", but it contains claims that may be unwelcome by Jewish communities like that the Old Testament is newer than the New Testament, placing Jerusalem in Constantinople and projecting stereotypes of Jews by proposing that Jews originate from bankers in the Russian Horde that adopted the religion of Judaism, itself a derivative of Christianity and not the other way round.


title: New chronology (Fomenko)

text: The theory provides an alternate history account of the "true" history centered around a world empire called the "Russian Horde". The scope of the new chronology has been compared to J. R. R. Tolkien's fantasy world. Thousands of pages have been written about it and authors address a wide range of objections.


title: New chronology (Fomenko)

text: Fomenko has published and sold over one million copies of his books in his native Russia. Many Internet forums have appeared which aim to supplement his work with additional amateur research. His critics have suggested that Fomenko's version of history appealed to the Russian reading public by keeping alive an imperial consciousness to replace their disillusionment with the failures of Communism and post-Communist corporate oligarchies.


title: New chronology (Fomenko)

text: Levashovism has been inspired by this pseudohistory, taking the form of a racial occultist narrative about the Slavic Aryan "Great Tartaria". Another off-shoot on online forums has been the Tartaria conspiracy theory, which draws inspiration from historic architectural photography of demolished buildings as evidence of a long-lost civilization.


title: Dative case

text: In grammar, the dative case (abbreviated , or sometimes when it is a core argument) is a grammatical case used in some languages to indicate the recipient or beneficiary of an action, as in "Maria Jacobo potum dedit", Latin for "Maria gave Jacob a drink". In this example, the dative marks what would be considered the indirect object of a verb in English.


title: Dative case

text: Sometimes the dative has functions unrelated to giving. In Scottish Gaelic and Irish, the term "dative case" is used in traditional grammars to refer to the prepositional case-marking of nouns following simple prepositions and the definite article. In Georgian and Hindustani (Hindi-Urdu), the dative case can also mark the subject of a sentence. This is called the dative construction. In Hindi, the dative construction is not limited to only certain verbs or tenses and it can be used with any verb in any tense or mood.


title: Dative case

text: The dative was common among early Indo-European languages and has survived to the present in the Balto-Slavic branch and the Germanic branch, among others. It also exists in similar forms in several non-Indo-European languages, such as the Uralic family of languages. In some languages, the dative case has assimilated the functions of other, now extinct cases. In Ancient Greek, the dative has the functions of the Proto-Indo-European locative and instrumental as well as those of the original dative.


title: Dative case

text: Under the influence of English, which uses the preposition "to" for (among other uses) both indirect objects ("give to") and directions of movement ("go to"), the term "dative" has sometimes been used to describe cases that in other languages would more appropriately be called lative.


title: Dative case

text: "Dative" comes from Latin "cāsus datīvus" ("case for giving"), a translation of Greek δοτικὴ πτῶσις, "dotikē ptôsis" ("inflection for giving"). Dionysius Thrax in his Art of Grammar also refers to it as "epistaltikḗ" "for sending (a letter)", from the verb "epistéllō" "send to", a word from the same root as epistle.


title: Dative case

text: The Old English language had a dative case; however, the English case system gradually fell into disuse during the Middle English period, when the accusative and dative of pronouns merged into a single oblique case that was also used with all prepositions. This conflation of case in Middle and Modern English has led most modern grammarians to discard the "accusative" and "dative" labels as obsolete in reference to English, often using the term "objective" for oblique.


title: Dative case

text: The dative case is rare in modern English usage, but it can be argued that it survives in a few set expressions. One example is the word "methinks", with the meaning "it seems to me". It survives in this fixed form from Old English (having undergone, however, phonetic changes with the rest of the language), in which it was constructed as "[it]" + "me" (the dative case of the personal pronoun) + "thinks" (i.e., "seems", < Old English þyncan, "to seem", a verb closely related to the verb þencan, "to think", but distinct from it in Old English; later it merged with "think" and lost this meaning).


title: Dative case

text: The modern objective case pronoun whom is derived from the dative case in Old English, specifically the Old English dative pronoun "hwām" (as opposed to the modern subjective "who", which descends from Old English "hwā") – though "whom" "also" absorbed the functions of the Old English accusative pronoun "hwone". It is also cognate to the word ""wem"" (the dative form of ""wer"") in German. The OED defines all classical uses of the word "whom" in situations where the indirect object "is not known" – in effect, indicating the anonymity of the indirect object.


title: Dative case

text: Likewise, some of the object forms of personal pronouns are remnants of Old English datives. For example, "him" goes back to the Old English dative "him" (accusative was "hine"), and "her" goes back to the dative "hire" (accusative was "hīe"). These pronouns are not pure datives in modern English; they are also used for functions previously indicated by the accusative.


title: Dative case

text: The indirect object of the verb may be placed between the verb and the direct object of the verb: "he gave me a book" or "he wrote me a poem."


title: Dative case

text: The indirect object may also be expressed using a prepositional phrase using "to" or "for": "he gave a book to me " or "he wrote a poem for me."


title: Dative case

text: In general, the dative (German: "Dativ") is used to mark the indirect object of a German sentence. For example:


title: Dative case

text: In English, the first sentence can be rendered as "I sent the book "to the man"" and as "I sent "the man" the book", where the indirect object is identified in English by standing in front of the direct object. The normal word order in German is to put the dative in front of the accusative (as in the example above). However, since the German dative is marked in form, it can also be put "after" the accusative: "Ich schickte das Buch dem Mann(e). The (e)" after "Mann" and "Kind" signifies a now largely archaic -e ending for certain nouns in the dative. It survives today almost exclusively in set phrases such as "zu Hause" (at home, "lit." to house), "im Zuge" (in the course of), and "am Tage" (during the day, "lit." at the day), as well as in occasional usage in formal prose, poetry, and song lyrics.


title: Dative case

text: Some masculine nouns (and one neuter noun, "Herz" [heart]), referred to as "weak nouns" or "n-nouns", take an -n or -en in the dative singular and plural. Many are masculine nouns ending in -e in the nominative (such as "Name" [name], "Beamte" [officer], and "Junge" [boy]), although not all such nouns follow this rule. Many also, whether or not they fall into the former category, refer to people, animals, professions, or titles; exceptions to this include the aforementioned "Herz" and "Name", as well as "Buchstabe" (letter), "Friede" (peace), "Obelisk" (obelisk), "Planet" (planet), and others.


title: Dative case

text: Certain German prepositions require the dative: "aus" (from), "außer" (out of), "bei" (at, near), "entgegen" (against), "gegenüber" (opposite), "mit" (with), "nach" (after, to), "seit" (since), "von" (from), and "zu" (at, in, to). Some other prepositions ("an" [at], "auf" [on], "entlang" [along], "hinter" [behind], "in" [in, into], "neben" (beside, next to), "über" [over, across], "unter" [under, below], "vor" [in front of], and "zwischen" [among, between]) may be used with dative (indicating current location), or accusative (indicating direction toward something). "Das Buch liegt auf dem Tisch(e)" (dative: The book is lying on the table), but "Ich lege das Buch auf den Tisch" (accusative: I put the book onto the table).


title: Dative case

text: In addition the four prepositions "[an]statt" (in place of), "trotz" (in spite of), "während" (during), and "wegen" (because of) which require the genitive in modern formal language, are most commonly used with the dative in colloquial German. For example, "because of the weather" is expressed as "wegen dem Wetter" instead of the formally correct "wegen des Wetters". Other prepositions requiring the genitive in formal language, are combined with "von" ("of") in colloquial style, e.g. "außerhalb vom Garten" instead of "außerhalb des Gartens" ("outside the garden").


title: Dative case

text: Note that the concept of an indirect object may be rendered by a prepositional phrase. In this case, the noun's or pronoun's case is determined by the preposition, not by its function in the sentence. Consider this sentence:


title: Dative case

text: Here, the subject, "Ich", is in the nominative case, the direct object, "das Buch", is in the accusative case, and "zum Verleger" is in the dative case, since "zu" always requires the dative ("zum" is a contraction of "zu" + "dem"). However:


title: Dative case

text: In this sentence, "Freund" is the indirect object, but, because it follows "an" (direction), the accusative is required, not the dative.


title: Dative case

text: Some German verbs require the dative for their direct objects. Common examples are "antworten" (to answer), "danken" (to thank), "gefallen" (to please), "folgen" (to follow), "glauben" (to believe), "helfen" (to help), and "raten" (to advise). In each case, the direct object of the verb is rendered in the dative. For example:


title: Dative case

text: These verbs cannot be used in normal passive constructions, because German allows these only for verbs with accusative objects. It is therefore ungrammatical to say: *"Ich werde geholfen." "I am helped." Instead a special construction called "impersonal passive" must be used: "Mir wird geholfen", literally: "To me is helped." A colloquial (non-standard) way to form the passive voice for dative verbs is the following: "Ich kriege geholfen", or: "Ich bekomme geholfen", literally: "I get helped". The use of the verb "to get" here reminds us that the dative case has something to do with giving and receiving. In German, help is not something you "perform on" somebody, but rather something you "offer" them.


title: Dative case

text: The dative case is also used with reflexive ("sich") verbs when specifying what part of the self the verb is being done to:


title: Dative case

text: Cf. the respective "accord" in French: "Les enfants se sont lavés" ("the children have washed themselves") vs. "Les enfants se sont lavé" [uninflected] "les mains" ("... their hands").


title: Dative case

text: German can use two datives to make sentences like: "Sei mir meinem Sohn(e) gnädig!" "For my sake, have mercy on my son!" Literally: "Be for me to my son merciful." The first dative "mir" ("for me") expresses the speaker's commiseration (much like the "dativus ethicus" in Latin, see below). The second dative "meinem Sohn(e)" ("to my son") names the actual object of the plea. Mercy is to be given "to" the son "for" or "on behalf of" his mother/father.


title: Dative case

text: Adjective endings also change in the dative case. There are three inflection possibilities depending on what precedes the adjective. They most commonly use "weak inflection" when preceded by a definite article (the), "mixed inflection" after an indefinite article (a/an), and "strong inflection" when a quantity is indicated (many green apples).


title: Dative case

text: In addition to its main function as the "dativus", the dative case has other functions in Classical Greek: (The chart below uses the Latin names for the types of dative; the Greek name for the dative is δοτική πτῶσις, like its Latin equivalent, derived from the verb "to give"; in Ancient Greek, δίδωμι.)


title: Dative case

text: The dative case, strictly speaking, no longer exists in Modern Greek, except in fossilized expressions like δόξα τω Θεώ (from the ecclesiastical τῷ Θεῷ δόξα, "Glory to God") or εν τάξει (ἐν τάξει, lit. "in order", i.e. "all right" or "OK"). Otherwise, most of the functions of the dative have been subsumed in the accusative.


title: Dative case

text: In Russian, the dative case is used for indicating the indirect object of an action (that to which something is given, thrown, read, etc.). In the instance where a person is the goal of motion, dative is used instead of accusative to indicate motion toward. This is usually achieved with the preposition "κ" + destination in dative case; "К врачу", meaning "to the doctor."


title: Dative case

text: Dative is also the necessary case taken by certain prepositions when expressing certain ideas. For instance, when the preposition "по" is used to mean "along," its object is always in dative case, as in "По бокам", meaning "along the sides."


title: Dative case

text: Other Slavic languages apply the dative case (and the other cases) more or less the same way as does Russian; some languages may use the dative in other ways. The following examples are from Polish:


title: Dative case

text: Some other kinds of dative use as found in the Serbo-Croatian language are: "Dativus finalis" (Titaniku u pomoć "to Titanic's rescue"), "Dativus commodi/incommodi" (Operi svojoj majci suđe "Wash the dishes for your mother"), "Dativus possessivus" (Ovcama je dlaka gusta "Sheep's hair is thick"), "Dativus ethicus" (Šta mi radi Boni? "What is Boni doing? (I am especially interested in what it is)") and Dativus auctoris (Izgleda mi okej "It seems okay to me").


title: Dative case

text: Unusual in other Indo-European branches but common among Slavic languages, endings of nouns and adjectives are different based on grammatical function. Other factors are gender and number. In some cases, the ending may not be obvious, even when those three factors (function, gender, number) are considered. For example, in Polish, 'syn' ("son") and 'ojciec' ("father") are both masculine singular nouns, yet appear as "syn → synowi and "ojciec → ojcu in the dative.


title: Dative case

text: Lithuanian nouns preserve Indo-European inflections in the dative case fairly well: (o-stems) vaikas -> sg. vaikui, pl. vaikams; (ā-stems) ranka -> sg. rankai, pl. rankoms; (i-stems) viltis -> sg. vilčiai, pl. viltims; (u-stems) sūnus -> sg. sūnui, pl. sūnums; (consonant stems) vanduo -> sg. vandeniui, pl. vandenims.


title: Dative case

text: Adjectives in the dative case receive pronominal endings (this might be the result of a more recent development): tas geras vaikas -> sg. tam geram vaikui, pl. tiems geriems vaikams.


title: Dative case

text: The dative case in Latvian underwent further simplifications – the original masculine endings of "both" nouns and adjectives have been replaced with pronominal inflections: tas vīrs -> sg. tam vīram, pl. vīriem. Also, the final "s" in all Dative forms has been dropped. The only exception is personal pronouns in the plural: mums (to us), jums (to you). Note that in colloquial Lithuanian the final "s" in the dative is often omitted, as well: time geriem vaikam.


title: Dative case

text: In both Latvian and Lithuanian, the main function of the dative case is to render the indirect object in a sentence: (lt) aš duodu vyrui knygą; (lv) es dodu [duodu] vīram grāmatu – "I am giving a book to the man".


title: Dative case

text: The dative case can also be used with gerundives to indicate an action preceding or simultaneous with the main action in a sentence: (lt) jam įėjus, visi atsistojo – "when he walked in, everybody stood up", lit. "to him having walked in, all stood up"; (lt) jai miegant, visi dirbo – "while she slept, everybody was working", lit. "to her sleeping, all were working".


title: Dative case

text: In modern standard Lithuanian, Dative case is not required by prepositions, although in many dialects it is done frequently: (dial.) iki (+D) šiai dienai, (stand.) iki (+G) šios dienos – "up until this day".


title: Dative case

text: In Latvian, the dative case is taken by several prepositions in the singular and all prepositions in the plural (due to peculiar historical changes): sg. bez (+G) tevis "(without thee)" ~ pl. bez (+D) jums "(without you)"; sg. pa (+A) ceļu "(along the road)" ~ pl. pa (+D) ceļiem "(along the roads)".


title: Dative case

text: There is a general tendency to view -ին as the standard dative suffix, but only because that is its most productive (and therefore common) form. The suffix -ին as a dative marker is nothing but the standard, most common, genitive suffix -ի accompanied by the definite article -ն. But the dative case encompasses indefinite objects as well, which will not be marked by -ին:


title: Dative case

text: The main function of the dative marking in Armenian is to indicate the receiving end of an action, more commonly the indirect object which in English is preceded by the preposition "to". In the use of "giving" verbs like "give, donate, offer, deliver, sell, bring..." the dative marks the recipient. With communicative verbs like "tell, say, advise, explain, ask, answer..." the dative marks the listener. Other verbs whose indirect objects are marked by the dative case in Armenian are "show, reach, look, approach..."


title: Dative case

text: Eastern Armenian also uses the dative case to mark the time of an event, in the same way English uses the preposition "at", as in "Meet me at nine o' clock."


title: Dative case

text: Hindustani (Hindi-Urdu) has true dative case for pronouns, but for nouns the dative case has to be constructed using the dative case-marker (postposition) को کو (ko) to the nouns in their oblique case. Pronouns in Hindustani also have an oblique case, so dative pronouns can also be alternatively constructed using the dative case-marker को کو (ko) with the pronouns in their oblique case, hence forming two sets of synonymous dative pronouns. The following table shows the pronouns in their nominative and their dative forms. Hindustani lacks pronouns in the third person and the demonstrative pronouns double as the third person pronouns.


title: Dative case

text: The table below shows the oblique cases of Hindustani for the nouns "boy" and "girl" which take in the dative case-marker after them to assign the combination of the oblique case and the case-marker the dative case. The oblique case of Hindustani by itself has no meaning and adding the case-marker को کو (ko) assigns the oblique case the function of the dative case.


title: Dative case

text: Dative case in Hindustani can also mark the subject of a sentence. This is called the dative construction or quirky subjects. In the examples below the dative pronoun passes the subjecthood test of subject-oriented anaphora binding. The dative subject मुझे مجھے ("mujhe") binds the anaphora अपने اپنے ("apne").


title: Dative case

text: The dative case is known as the "fourth case" (chaturthi-vibhakti) in the usual procedure in the declension of nouns. Its use is mainly for the indirect object.


title: Dative case

text: As with many other languages, the dative case is used in Hungarian to show the indirect object of a verb. For example, "Dánielnek adtam ezt a könyvet" (I gave this book to Dániel). It has two suffixes, "-nak" and "-nek"; the correct one is selected by vowel harmony. The personal dative pronouns follow the "-nek" version: "nekem", "neked", etc. This case is also used to express "for" in certain circumstances, such as "I bought a gift for Mother". In possessive constructions the nak/nek endings are also used but this is not the dative form (rather, the attributive or possessive case)


title: Dative case

text: Finnish does not have a separate dative case. However, the allative case can fulfill essentially the same role as dative, beyond its primary meaning of directional movement (that is, going somewhere or approaching someone). For example: "He lahjoittivat kaikki rahansa köyhille (They donated all their money to the poor.)


title: Dative case

text: In the Northeast Caucasian languages, such as Tsez, the dative also takes the functions of the lative case in marking the direction of an action. By some linguists, they are still regarded as two separate cases in those languages, although the suffixes are exactly the same for both cases. Other linguists list them separately only for the purpose of separating syntactic cases from locative cases. An example with the ditransitive verb "show" (literally: "make see") is given below:


title: Dative case

text: The dative/lative is also used to indicate possession, as in the example below, because there is no such verb as "to have".


title: Dative case

text: As in the examples above, the dative/lative case usually occurs in combination with another suffix as poss-lative case; this should not be regarded as a separate case, however, as many of the locative cases in Tsez are constructed analytically; hence, they are, in fact, a combination of two case suffixes. See Tsez language#Locative case suffixes for further details.


title: Dative case

text: Verbs of perception or emotion (like "see", "know", "love", "want") also require the logical subject to stand in the dative/lative case. Note that in this example the "pure" dative/lative without its POSS-suffix is used.


title: Dative case

text: The dative case ("yönelme durumu") in Turkish language is formed by adding the <nowiki>"</nowiki>-e" or "-a<nowiki>"</nowiki> suffixes to the end of the noun, in accordance with the effected noun's vowel harmony. The word that should be in the dative case can be found as an answer to the questions 'neye?' (to what?), 'kime?' (to whom?) and 'nereye?' (to where?) will lead to find a dative case in a sentence. There are many different uses for the dative case.


title: Dative case

text: The dative also is for objects, usually indirect objects, but sometimes objects that in English would be considered direct:


title: Dative case

text: The dative case tells "whither", that is, the place "to which". Thus it has roughly the meaning of the English prepositions "to" and "into", and also "in" when it can be replaced with "into":


title: Atlas Copco

text: Atlas Copco (Copco from Compagnie Pneumatique Commerciale) is a Swedish multinational industrial company that was founded in 1873. It manufactures industrial tools and equipment.


title: Atlas Copco

text: The Atlas Copco Group is a global industrial group of companies headquartered in Nacka, Sweden. In 2019, global revenues totaled SEK 104 billion, and by the end of that year the company employed about 38,774 people. The firm's shares are listed on the Nasdaq Stockholm exchange and both 'A' and 'B' classes form part of the benchmark OMXS30 index.


title: Atlas Copco

text: Atlas Copco companies develop, manufacture, service, and rent industrial tools, air compressors (of which it is the world's leading producer), construction and assembly systems. The Group operates in four areas: Compressor Technology, Vacuum Technology, Power Technology and Industrial Technology.


title: Atlas Copco

text: AB Atlas, as it was previously named, was founded by Edvard Fränckel, who was a Swedish industrialist, politician and senior official at Swedish State Railways. The company was established along with Andre O. Wallenberg, Johan W. Arnberg, Carl G. Cervin and Fredrik Didro. In its inauguration phase, Atlas dealt with the manufacturing, purchasing and selling of all types of material for railway construction and operations. After the hard hit of the recession in the 1880s and the decline in railway construction, Atlas diversified its undertakings and branched off into locomotives, central heating and tool machinery. In 1899, Atlas began developing their first air compressors and established itself as a compressor manufacturer. As older production branches started phasing out, Atlas teamed up with Diesel Motors in 1917 and the new company of Atlas Diesel emerged with two primary divisions: diesel engines and compressor air products.


title: Atlas Copco

text: The Atlas Diesel merger experienced significant growth during the First World War and towards the end of the war, export dominated 40–50 % of production. The depression years caused significant losses for the company, which led to several financial reconstructions in the 1920s and 1930s. The economy began recovering, demand started growing again in the mid-1930s, and Atlas Diesel experienced a boom in sales, where compressed air operations was the most expansive area. The Second World War remained an active period for the firm and a time when strategic planning for development played a principal role. Manufacturing capabilities were embellished and the purchasing along with the acquisition of manufacturing subsidiaries in Sweden and other countries, was a key component to Atlas Diesel's continued growth after WWII. The "Swedish method" was another war period strategy that strongly influenced the firm's pneumatic program, consisting of lightweight rock drills and drill bits with carbide tips. In 1948 the company terminated its diesel manufacturing and the name "Atlas Diesel" was no longer pertinent. The name Atlas Copco became official in 1955 and was inspired by the Belgian subsidiary Compagnie Pneumatique Commerciale (Trading Pneumatic Company).


title: Atlas Copco

text: The Swedish method that was founded during the war period laid the foundation for the international expansion Atlas Copco engaged in starting in the 1950s. The purchasing of the Belgian compressor company Arpic Engineering in 1956, was the firm's first major international acquisition. Eventually, Arpic's plants carried out a majority of Atlas Copco's compressor production. In 1960 another important acquisition was made with the purchasing of Craelius. In the 1970s, international expansion accelerated dramatically, due to various structural reforms and efficiency measures brought on by weakened economic conditions and increased production costs. These conditions meant that Atlas Copco had to accelerate and brake simultaneously in order to keep profitability up. A number of strategic acquisitions were therefore made including the French compressor manufacturer Mauguière. In order to strengthen their position in the United States, several strategic acquisitions were made in the Airpower business, including the key purchase of Worthington Compressors.


title: Atlas Copco

text: In the early 1980s Atlas Copco was the world leader in rock drilling and pneumatics. Seeing the potential in industrial tools, they purchased Chicago Pneumatic Tools in 1987, which opened up the important American, French and British markets. Atlas Copco then became one of the world's largest manufacturers of pneumatic tools and monitoring systems. At the end of the 1980s the company's geographical foothold grew and assortments expanded due to several acquisitions including the French company Ets. Georges Renault that manufactured pneumatic power tools. The British company Desoutter Brothers Plc. that supplied industrial tools and monitoring systems was purchased in 1990. In 1992 AEG Elektrowerkzeuge was purchased and in 1995 Milwaukee Electric Tool was acquired, which further strengthened the company's reach. In 2004 Milwaukee Electric Tool was sold to Hong Kong based Techtronic Industries. In 1997, Atlas Copco made its biggest and most important acquisition with the purchasing of the Prime Service Corporation, which was the largest machine leasing company in the United States. The North American Rental Service Corporation was purchased in 1999.


title: Atlas Copco

text: From 2017, Atlas Copco has four main business areas: Compressor Technology, Vacuum Technology, Industrial Technology and Power Technology. They all focus on the design, manufacturing and marketing of a large range of products for different industry segments.


title: Atlas Copco

text: Atlas Copco's Compressor Technology area creates products such as industrial compressors and vacuum solutions, oil and gas treatment equipment, air management systems, and gas and process compressor/expanders. The products are mainly used in the manufacturing, oil, gas and process industries. Their compressor solutions are used in ships, trains and hospitals, and in other facilities and applications. Their main market competitors in this area are Ingersoll-Rand, Kaeser, Kobelco, Hitachi, Gardner Denver, Cameron, Sullair, and Parker Hannifin.


title: Atlas Copco

text: Atlas Copco's Vacuum Technology business area provides vacuum products, exhaust management systems, valves and related products mainly under the Edwards, Leybold and Atlas Copco brands. The main markets served are semiconductor and scientific as well as a wide range of industrial segments including chemical process industries, food packaging and paper handling. Principal product development and manufacturing units are located in the United Kingdom, Czech Republic, Germany, South Korea, United States, China and Japan.


title: Atlas Copco

text: Atlas Copco's products in Industrial Technology are mainly developed for the automotive and aerospace industries, but are also used in industrial manufacturing and maintenance and vehicle service. Products manufactured include assembly systems, industrial power tools, quality assurance products and various types of software. Their main competitors in this area are Apex Tool Group, Ingersoll-Rand, Stanley Black & Decker, Uryu and Bosch.


title: Atlas Copco

text: This area produces portable compressors, lighting towers, pumps and generators, paving equipment, compaction equipment, demolition tools and construction tools for a wide variety of infrastructure projects. These include civil works, road construction, gas and oil, and drilling construction projects. The company's main competitors in this area include Doosan Infracore, Kaeser, Sullair, Volvo, Caterpillar and Wirtgen.


title: Atlas Copco

text: Atlas Copco manufactures critical equipment components in-house and co-operates with business partners for non-critical components. Approximately 75% of the production cost of equipment represents purchased components and around 25% are internally manufactured core components, assembly costs and overhead. Equipment represents less than 64% of revenues and the manufacturing of equipment is primarily based on customer orders and only some standard, high volume equipment is manufactured based on projected demand.


title: Atlas Copco

text: Atlas Copco has customer centres in about 71 countries and sales in about 180 countries. Sales and service are primarily direct, but also channeled through alternative sales mechanisms, e.g. distributors. Sales of equipment is performed by engineers and service and maintenance are performed by technicians. Service is the responsibility of divisions in each business area. The responsibility includes development of service products, sales and marketing, technical support, service delivery and follow-up. About 36% of revenues are generated from service (spare parts, maintenance, repairs, consumables, accessories, and rental).


title: Atlas Copco

text: The Atlas Copco Group has dozens of brands around the world, including Chicago Pneumatic for compressors and tools, Edwards for vacuum, BeaconMedeas for medical gas solutions, and SCA & Henrob for automotive assembly solutions.


title: Atlas Copco

text: Atlas Copco's organization is based on the principle of decentralized responsibilities and authorities. Their operations are organized into four business areas and more than 20 divisions. The organization has both operating units and legal units. Each operating unit has a business board which reflects the operational structure of the Group. The duty of a business board is to serve in an advisory and decision-making capacity concerning strategic and operative issues. It also ensures the implementation of controls and assessments. Each legal company has a legal board focusing on compliance and the legal structure of the Group.<ref name="atlascopcogroup.com/investor-relations"></ref>


title: Atlas Copco

text: In 2018 Atlas Copco decide on a split and formed Epiroc AB which will focus on customers in the mining, infrastructure and natural resources segments. Epiroc is now a fully independent company.


title: Atlas Copco

text: Atlas Copco conducts research and development in a wide range of technologies at their global research centres, where each division has its individual area of focus and resources. Training and workshops have been rolled out in customer centres and product companies globally. The company puts focus on growth in automation to bring more production back to US and Europe. In 2020 Atlas Copco acquired Isra Vision in February and Perceptron in September to boost its position in automation. In March 2022, Atlas Copco acquired the assets of Ceres Technologies - US-based manufacturer and designer of gas and vapour delivery equipment for the semiconductor industry.


SpongeBob SquarePants: Battle for Bikini Bottom is a platform video game based on the Nickelodeon animated series "SpongeBob SquarePants", developed by Heavy Iron Studios and published by THQ for the PlayStation 2, Xbox, and GameCube. Separate versions, developed by AWE Games and Vicarious Visions respectively, were released for Microsoft Windows and Game Boy Advance. While the versions released for consoles were 3D platform games, the Microsoft Windows version of the game is a mini-game compilation, and the Game Boy Advance version received a 2D platformer.


title: SpongeBob SquarePants: Battle for Bikini Bottom

text: All versions of the game feature an original storyline, in which the player attempts to defend Bikini Bottom from an invasion of robots created by Plankton with a machine called the Duplicatotron 3000, playing as SpongeBob in all versions, as well as Patrick and Sandy in the console versions. The series' voice actors reprise their roles, with the exception of Clancy Brown as Mr. Krabs and Ernest Borgnine as Mermaid Man, with both roles instead being voiced by Joe Whyte. The game was released on October 29, 2003, in North America and in Europe on November 28.


text: "Battle for Bikini Bottom" received mixed or average reviews according to Metacritic. "Edge" included the Game Boy Advance version on its list of top handheld video games of the 21st century. It was a commercial success. The game has gained a cult following and a large speedrunning community presence.


text: A remake of the home console version, titled "", was released on June 23, 2020. It was developed by Purple Lamp Studios and published by THQ Nordic for Nintendo Switch, PlayStation 4, Xbox One, and Microsoft Windows. It includes an all-new multiplayer mode and cut content from the original game.


text: The core gameplay involves collecting items and defeating the robots which have attacked different areas in Bikini Bottom while crossing platforms and avoiding environmental hazards like spikes and flames. Some areas require different characters to beat, as each character has unique abilities. The player can control SpongeBob, Patrick, and Sandy. Switching characters in console versions require the player to find a Bus Stop, upon using which the current character will switch to another, and using it again will switch back to the previous character, giving the player an option of two characters in each level. The default character throughout the game is SpongeBob; Sandy and Patrick do not share any levels as playable characters.


text: The game is a 3D platform game, requiring players to collect three main types of items. 'Shiny Objects' are the game's currency and can be used to pay tolls within game areas or to buy golden spatulas from Mr. Krabs. 'Golden Spatulas' are used to grant access to new areas, being hidden throughout the game and can also be earned by completing tasks set by Squidward Tentacles and several other characters from the cartoon. Patrick's 'Socks' are also spread throughout the game and he will reward SpongeBob with a Golden Spatula in exchange for 10 of his socks. SpongeBob can also blow bubbles to form different shapes as special attacks/moves which can be used to advance further in the game, and can learn two new bubble moves from Bubble Buddy as the game progresses.


text: Props are also included in the game. Trampolines help the player bounce to further ledges or platforms, buttons activate certain things throughout the game, and pressure pads are like buttons; however, the effects of it are only active while the player stands on the pressure pad, or there is another object placed on top. Once whatever is holding down the pressure pad is removed, its effects of it are undone. There are also character-specific abilities, such as Sandy being able to swing from Texas hooks, SpongeBob being able to dive downward on a bungee hook, and Patrick's ability to pick up and throw melons called "Throw Fruits" and ice cubes called "Freeze Fruits". Though some areas can be navigated by any character, several sections can only be completed with a specific character, due to each one having unique abilities. SpongeBob can create a bubble helmet for head-butting enemies. Patrick can throw objects at buttons, robots, and pressure pads, and can throw "Freeze Fruits" into the bodies of Goo to freeze them. Finally, Sandy can glide over large gaps and destroy enemies and objects with her lasso.


text: The Windows version features a series of mini-games and greatly differs from the console versions. In the game, SpongeBob's friends have been captured, and to free them, the player must play multiple games while collecting objects, including a game show-style trivia game where he must score 500 points to free the character from the cage. The player then takes control of the freed character in a game where the character locates more objects and battles the robots. Once all items are collected (money, magic shop items, Mermaid Man and Barnacle Boy's gadgets, SpongeBob's dressing clothes, and various pieces of a machine), SpongeBob must return the items to their rightful owners.


text: The gameplay for the GBA version is much different as well, as it is a 2D platform game. Rather than being non-linear, like the home console versions, the GBA version is level-based, although still visits most of the locations from the home console versions. Combat is much more limited, done through blowing bubbles onto enemies to turn robots off or back on; robots cannot be permanently destroyed, as replacements will appear through a portal in their starting positions, so enemies are used to solving platforming challenges. SpongeBob can ride a seahorse named "Mystery" on certain levels. Like other GBA games of its era, it uses a password system rather than saves.


text: In Bikini Bottom, Plankton, the evil genius owner of the Chum Bucket, has built a new machine called the Duplicatotron 3000 to produce an army of robots, which he plans to control to steal the Krabby Patty Secret Formula. After creating them, he realizes that the switch on the Duplicatotron has accidentally been set to "Don't Obey". This leads the robots to seize control of the Chum Bucket out of Plankton and wreak havoc all over Bikini Bottom.


text: Meanwhile, SpongeBob and Patrick are playing with toy robots and horses. SpongeBob and Patrick are bored with the toys and wish they could play with real robots. Patrick uses his "magic wishing shell", believing it will make their wish come true the following morning. SpongeBob wakes to find that his house has been trashed by real robots. He receives a fax from Mr. Krabs, stating that he would give SpongeBob a Golden Spatula for every certain amount of Shiny Objects he collects for him. Shiny Objects must be collected to open or activate various tolls throughout the game. Outside, SpongeBob finds a disappointed Plankton, who lies and claims that the robots appeared suddenly and kicked him out. Plankton convinces SpongeBob to help him back into the Chum Bucket by embarking on a perilous quest to find golden spatulas and get rid of the robots, secretly intending to regain control of them once back inside.


text: Every area in the game has a unique set of missions to collect Golden Spatulas including a main overarching mission. SpongeBob travels to Jellyfish Fields, where he finds that Squidward has been stung by jellyfish. He manages to defeat King Jellyfish in a battle and obtains some of his jelly for Squidward's stings. SpongeBob also helps Mrs. Puff by locating stolen steering wheels in Downtown Bikini Bottom, stolen paintings in Rock Bottom, and missing students in the Kelp Forest. King Neptune calls SpongeBob and Patrick to the Poseidome to defeat Robot Sandy. He then goes to the Mermalair, where he fights Prawn, one of Mermaid Man's archenemies. He also helps Mermaidman and Barnacle Boy several other times throughout the game. Other quests include completing tasks for Larry the Lobster, his pet snail Gary, and the Flying Dutchman, in other areas like Goo Lagoon, Sand Mountain, and the Dutchman's Graveyard (where Sandy beats the Dutchman in a fight). Later, SpongeBob and Sandy save Squidward from Robot Patrick.


text: SpongeBob then falls asleep, allowing him to enter his friends' dream worlds to search for more golden spatulas. After Plankton, SpongeBob, and his friends finally gain access to the Chum Bucket, they discover the gigantic Robot SpongeBob and learn that Plankton was responsible for making the robots. Plankton sets the switch on the Duplicatotron to "Obey" (by placing an Obey sign over the "don't obey" setting), only to find out Robot Plankton has been controlling the robots instead. Robot Plankton remarks to SpongeBob that he has interfered in his plans for the last time, simply stating “SpongeBob, meet SpongeBob”. SpongeBob attempts to disable Robot SpongeBob's brain from the inside while fending off frequent attacks from Robot Plankton. Upon succeeding, SpongeBob hopes that Plankton learned his "lesson". The Duplicatotron produces several more Robot Planktons, which begin arguing among themselves. The game ends after SpongeBob says that their work is not done, as there are still many robots running amok in the city.


text: The game then cuts to The Spongeball Arena, where the player rolls around in ball form in a large arena, while the credits roll on the screen. If the player collects all 100 golden spatulas, the game ends with a special surprise cutscene of all the game's characters singing the theme song.


text: In the Windows game, SpongeBob and Patrick have a robot tea party with toy robots and SpongeBob wishes upon "the first falling clam" that robots "were people too". The next day, Bikini Bottom gets attacked by an army of robots. Patrick, Sandy, Gary, Squidward, and Mr. Krabs are captured by robots and locked inside cages. SpongeBob works his way through Bikini Bottom, the Flying Dutchman's Graveyard, the Kelp Forest, the Chum Bucket, and the Mermalair to locate his friends and various objects stolen by the robots. After all locations' games are played, a video is unlocked for the end of the game where SpongeBob and Patrick discover that Plankton was the one behind the robot invasion. Plankton admits that it was his fault and that the robots are not listening to him and the only way to control the robots is to set the switch to "obey" mode. Instead, Patrick fools around with the machine, accidentally pulling its obey switch off, which turns off the machine and deprograms the robots. After SpongeBob and Patrick leave, Plankton tries to tell them that he will be back with another plan.


text: The Game Boy Advance version is a 2D platform game with four chapters, each containing seven levels, all of which have their own unique puzzles. In the game, Mr. Krabs thinks the robot invasion is putting him out of business, so his assignment for SpongeBob is to fight the robots to get into the Chum Bucket to shut down Plankton's Duplicatron.


text: "SpongeBob Squarepants: Battle for Bikini Bottom" received "mixed or average" reviews from critics, according to review aggregation Metacritic. The game holds a 4.5 out of 5 from the "Official PlayStation Magazine". IGN rated the game a 7.3 out of 10, praising the sound, graphical style, and gameplay, saying, "While its generic collect, jump, and kill mechanics, the variety and general SpongeBob zaniness keep things fresh." GMR magazine gave a review score of 8/10, they gave praise to the game's camera system as being solid and adjustable and noting how the comic humor holds the standard platforming elements in place concluding “Like Bob himself, this game holds its water and is, in fact, remarkably fun.” More harshly, "NGC Magazine"s Rob Pegley, a hater of the original series, lamented the game "manages to combine the hideous touchy-feel values of the programme with a poor plot, badly designed levels, ... some awful collision detection ... awful music and poor humour."


text: The game has won numerous awards, including favorite video game at the 2004 Kids' Choice Awards, and entered the Player's Choice, Platinum Hits, and Greatest Hits for GameCube, Xbox, and PlayStation 2 respectively.


text: The Game Boy Advance version sold an estimated 710,000 copies, while the PlayStation 2 version sold an estimated 880,000. In 2006, "Edge" magazine ranked the Game Boy Advance version at number 34 on its list of "The Century's Top 50 Handheld Games", while placing the PlayStation 2 version at number 67 on its list of "The Top 100 Games of the 21st Century", both lists arranged by the number of copies sold.


text: Years after the game's release, it has gained a cult following, positive reappraisal from contemporary critics, and a large speedrunning presence, with Heavy Iron Studios expressing interest in a remake or sequel, as well as requests from the game's fans for a remake. This was granted nearly two decades after the game's original release, with the announcement of "Battle for Bikini Bottom – Rehydrated" on June 5, 2019, ahead of E3 2019, albeit by a different developer from the original game. The remake was developed by Purple Lamp Studios and published by THQ Nordic and features an all-new multiplayer mode and content that was cut from the original game. The remake was released 1 year later on June 23, 2020.


title: 62nd Academy Awards

text: The 62nd Academy Awards ceremony, presented by the Academy of Motion Picture Arts and Sciences (AMPAS), honored the best films of 1989 and took place on March 26, 1990, at the Dorothy Chandler Pavilion in Los Angeles beginning at 6:00 p.m. PST / 9:00 p.m. EST. During the ceremony, AMPAS presented Academy Awards (commonly referred to as Oscars) in 23 categories. The ceremony, televised in the United States by ABC, was produced by Gil Cates and directed by Jeff Margolis. Actor Billy Crystal hosted the show for the first time. Three weeks earlier in a ceremony held at The Beverly Hilton in Beverly Hills, California on March 3, the Academy Awards for Technical Achievement were presented by hosts Richard Dysart and Diane Ladd.


title: 62nd Academy Awards

text: "Driving Miss Daisy" won four awards, including Best Picture. Other winners included "Glory" with three awards, "Born on the Fourth of July", "The Little Mermaid", and "My Left Foot: The Story of Christy Brown" with two, and "The Abyss", "Balance", "Batman", "Cinema Paradiso", "", "Dead Poets Society", "Henry V", "Indiana Jones and the Last Crusade", "The Johnstown Flood", and "Work Experience" with one. The telecast garnered more than 40 million viewers in the United States.


title: 62nd Academy Awards

text: The nominees for the 62nd Academy Awards were announced on February 14, 1990, at the Samuel Goldwyn Theater in Beverly Hills, California, by Karl Malden, president of the academy, and the actress Geena Davis. "Driving Miss Daisy" received the most nominations with nine total; "Born on the Fourth of July" came in second with eight. Winners were announced during the awards ceremony on March 26, 1990. "Driving Miss Daisy" became the third film to win Best Picture without a Best Director nomination. At age 80, Jessica Tandy became the oldest winner of competitive acting Oscar at the time. Kenneth Branagh was the fifth person nominated for Best Lead Actor and Best Director for the same film.


title: 62nd Academy Awards

text: After the negative reception received from the preceding year's ceremony, AMPAS created an Awards Presentation Review Committee to evaluate and determine why the telecast earned such a negative reaction from the media and the entertainment industry. The committee later determined that Carr's biggest mistake was allowing the questionable opening number to run for 12 minutes. Producer and former Directors Guild of America president Gilbert Cates, who headed the committee, said that Carr would have not received such harsh criticism if the number had been much shorter. Newly elected AMPAS president Karl Malden also commented on the last year's telecast, "Some of the people in the Academy felt the show got a little out of control."


title: 62nd Academy Awards

text: In September 1989, Cates was chosen as producer of the 1990 telecast. Malden explained the decision to hire him saying, "Cates, a veteran film and TV director known for his tasteful work in both media will attempt to rectify the damage the last Oscar show did to the Academy's reputation." The following January, actor and comedian Billy Crystal was chosen as host of the ceremony. "We are extremely pleased to have Billy host the show," Cates said in a press release justifying his choice. "His unique talents and his ability to handle the unexpected will be important assets this year."


title: 62nd Academy Awards

text: Cates christened the show with the theme "Around the World in 3 1/2 Hours" commenting that it would "a party thrown around the world". He also explained, "The world is changing, and hopefully the awards show is changing, matching the changes in the world." In tandem with the program's theme, several presenters announced the winners from various international locales such as Buenos Aires, London, Moscow, and Sydney, Australia.


title: 62nd Academy Awards

text: Several other people participated in the production of the ceremony. Documentary filmmaker Chuck Workman assembled a montage saluting "100 Years at the Movies" that was shown at the beginning of the telecast. Film composer and musician Bill Conti served as musical director for the ceremony. Dancer and singer Paula Abdul supervised the Best Song nominee performances and a dance number featuring the Best Costume Design nominees. Singer Diana Ross performed the Oscar-winning song "Over the Rainbow" in a tribute to the 50th anniversary of "The Wizard of Oz".


title: 62nd Academy Awards

text: At the time of the nominations announcement on February 14, the combined gross of the five Best Picture nominees at the US box office was $244 million with an average of $48.9 million. "Dead Poets Society" was the highest earner among the Best Picture nominees with $95.8 million in the domestic box office receipts. The film was followed by "Field of Dreams" ($64.4 million), "Born on the Fourth of July" ($48.6 million), "Driving Miss Daisy" ($35.6 million) and "My Left Foot" ($2.1 million).


title: 62nd Academy Awards

text: Of the 50 grossing movies of the year, 43 nominations went to 14 films on the list. Only "Parenthood" (8th), "Dead Poets Society" (9th), "When Harry Met Sally..." (10th), "Field of Dreams" (17th), "Born on the Fourth of July" (25th), "Driving Miss Daisy" (36th) and "Sex, Lies, and Videotape" (45th) were nominated for Best Picture, acting, directing, or screenwriting. The other top 50 box office hits that earned nomination were "Batman" (1st), "Indiana Jones and the Last Crusade" (2nd), "Lethal Weapon 2" (3rd), "Back to the Future II" (6th), "The Little Mermaid" (12th), "The Abyss" (22nd), and "Black Rain" (27th).


title: 62nd Academy Awards

text: The show received a mixed reception from media publications. Some media outlets were more critical of the show. Film critic Janet Maslin of "The New York Times" gave an average review of Crystal but lamented, "The effort to make this year's Academy Awards show an international media miracle led to nothing but headaches." "The Washington Post" television critic Tom Shales bemoaned, "while Crystal's opening monologue seemed to hit the right notes, he hit fewer and fewer as the evening wore on; his interjected quips between awards were mostly uninspired." He also criticized the dance numbers and numerous "Around the World" cutaways calling it pointless. Howard Rosenberg of the "Los Angeles Times" quipped that the broadcast was "a conventional telecast that was arguably an extension of an industry calcified by convention." He gave positive remarks toward Crystal but felt that "The Oscarcast was an old kid on the block."


title: 62nd Academy Awards

text: Other media outlets received the broadcast more positively. "USA Today" television critic Matt Roush lauded "To the glib and savvy Billy Crystal, who kept things as lively and funny as he could all night long. What a chore, too." He concluded that, "Hollywood no doubt went to bed happy (maybe early), because for a change Oscar didn't embarrass himself." Mike Drew of the "Milwaukee Journal Sentinel" remarked, "While too "inside" and not as funny as Hollywood thinks he is, Crystal was an efficient host." Film critic Carrie Rickey of "The Philadelphia Inquirer" wrote, "It was encouraging that director Gilbert Cates took the opportunity to emphasize films instead of chorus girls." She also extolled Crystal's performance acknowledging that his "nimble opening number set a Johnny Carson comic tone."


title: 62nd Academy Awards

text: The American telecast on ABC drew in an average of 40.24 million people over its length, which was a 5% decrease from the previous year's ceremony. An estimated 69.31 million total viewers watched all or part of the awards. The show also drew lower Nielsen ratings compared to the previous ceremony with 27.82% of households watching over a 49.42 share.


title: 62nd Academy Awards

text: In July 1990, the ceremony presentation received five nominations at the 42nd Primetime Emmys. Two months later, the ceremony won one of those nominations for Outstanding Art Direction for a Variety or Music or Programming (Roy Christopher and Greg Richman).


title: Time Out of Mind (Bob Dylan album)

text: Time Out of Mind is the thirtieth studio album by American singer-songwriter Bob Dylan, released on September 30, 1997, through Columbia Records. It was released as a single CD as well as a double studio album on vinyl, his first since "The Basement Tapes" in 1975.


title: Time Out of Mind (Bob Dylan album)

text: For many fans and critics, the album marked Dylan's artistic comeback after he appeared to struggle with his musical identity throughout the 1980s; he had not released any original material since "Under the Red Sky" in 1990. "Time Out of Mind" is hailed as one of Dylan's best albums, and it went on to win three Grammy Awards, including Album of the Year in 1998. It was also ranked number 410 on "Rolling Stone's 500 Greatest Albums of All Time" in 2012.


title: Time Out of Mind (Bob Dylan album)

text: The album has an atmospheric sound, the work of producer (and past Dylan collaborator) Daniel Lanois, whose innovative work with carefully placed microphones and strategic mixing was detailed by Dylan in his memoir, "". Although Dylan has spoken positively of Lanois' production style, he expressed dissatisfaction with the sound of "Time Out of Mind". Dylan has self-produced his subsequent albums.


title: Time Out of Mind (Bob Dylan album)

text: In April 1991, Dylan told interviewer Paul Zollo that "there was a time when the songs would come three or four at the same time, but those days are long gone...Once in a while, the odd song will come to me like a bulldog at the garden gate and demand to be written. But most of them are rejected out of my mind right away. You get caught up in wondering if anyone really needs to hear it. Maybe a person gets to the point where they have written enough songs. Let someone else write them".


title: Time Out of Mind (Bob Dylan album)

text: Dylan's last album of original material had been 1990's "Under the Red Sky", a critical and commercial disappointment. Since then, he had released two albums of folk covers, "Good as I Been to You" and "World Gone Wrong," and "MTV Unplugged", a live album of older compositions; there had been no signs of any fresh compositions until 1996.


title: Time Out of Mind (Bob Dylan album)

text: Dylan began to write a fresh string of songs during the winter of 1996 at his farm in Minnesota, which would later make up "Time Out of Mind". Criteria Studio in Miami, Florida, was booked for recording. In a televised interview with Charlie Rose, Lanois recalled Dylan talking about spending a lot of late nights working on the lyrics. Once the words were completed, according to Lanois, Dylan considered the record to be finished saying, "You know, whatever we decide to do with it, that's that." Lanois replied: "What's important is that it's written".


title: Time Out of Mind (Bob Dylan album)

text: Dylan demoed some of the songs in the studio, something he rarely did. Members of Dylan's touring band were involved in these sessions. Dylan also used these loose, informal sessions to experiment with new ideas and arrangements. Dylan continued rewriting lyrics until January 1997, when the official album sessions began. It was the second collaboration between Dylan and Lanois, who had previously produced Dylan's 1989 release "Oh Mercy" and was known for his work with artists such as Emmylou Harris (on "Wrecking Ball") and U2 (on "The Joshua Tree" and "Achtung Baby"). Dylan wanted the sound of "Time Out of Mind" to be influenced by early blues musicians, such as Charley Patton, Little Walter, and Little Willie John, and he recommended that Lanois listen to their recordings to prepare for the sessions.


title: Time Out of Mind (Bob Dylan album)

text: New personnel hired for the album included slide guitarist Cindy Cashdollar and drummer Brian Blade, both hired by Lanois. Dylan brought in Jim Keltner, who was Dylan's tour drummer from 1979 to 1981. Dylan also hired Nashville guitarist Bob Britt, Duke Robillard, Tex-Mex organist Augie Meyers, and Memphis pianist Jim Dickinson to play at the sessions.


title: Time Out of Mind (Bob Dylan album)

text: According to Lanois, Dylan likes old 1950s records since "they had a natural depth of field which was not the result of a mixing technique". He used a Sony C37A microphone, which was also used to record Dylan's album "Oh Mercy". Various other devices were used to produce the album's distinctive sound. Lanois also devised a method to accommodate new or revised lyrics later in an original take, since this was often the case with Dylan.


title: Time Out of Mind (Bob Dylan album)

text: With two different sets of players competing in performance and two producers with conflicting views on how to approach each song, the sessions were far from disciplined. Years later, when asked about "Time Out of Mind", Dickinson replied, "I haven't been able to tell what's actually happening. I know they were listening to playbacks, I don't know whether they were trying to mix it or not! Twelve musicians playing live—three sets of drums... it was unbelievable—two pedal steels, I've never even heard two pedal steels played at the same time before! ... I don't know man, I thought that much was overdoing it, quite frankly".


title: Time Out of Mind (Bob Dylan album)

text: Lanois admitted some difficulty in producing Dylan. "Well, you just never know what you're going to get. He's an eccentric man..." In a later interview, Lanois said Dylan and he used to go to the parking lot to discuss the recording in absence of the band. Lanois elaborated their discussion on the song "Standing in the Doorway". "I said 'listen, I love "Sad Eyed Lady of the Lowlands". Can we steal that feel for this song?' And he'd say 'you think that'd work?' Then we'd sit on the fender of a truck, in this parking lot in Miami, and I'd often think, if people see this they won't believe it!" With "Time Out of Mind", Lanois "produced perhaps the most artificial-sounding album in [Dylan]'s canon," says author Clinton Heylin, who described the album as sounding "like a Lanois CV".


title: Time Out of Mind (Bob Dylan album)

text: Dylan talked about his difficulty at the recording sessions in an interview with "Guitar World" magazine. "I lose my inspiration in the studio real easy, and it's very difficult for me to think that I'm going to eclipse anything I've ever done before. I get bored easily, and my mission, which starts out wide, becomes very dim after a few failed takes and this and that." In the same interview Dylan cited Buddy Holly as an influence during the recording sessions.


title: Time Out of Mind (Bob Dylan album)

text: In relation to past works like "Highway 61 Revisited", "Blood on the Tracks", and "Infidels", Dylan said:


title: Time Out of Mind (Bob Dylan album)

text: The first track on this album is the sparsely recorded "Love Sick", which was subsequently also released as a single. Daniel Lanois later said about the recording process of this song, "We treated the voice almost like a harmonica when you over-drive it through a small guitar amplifier". "Pitchfork" Grayson Haver Callin wrote that the song shows Dylan as he "shuffles through empty streets in the rain, a tangle of warped guitar, haunted organs, and faint drums aptly framing his bleak mood". Dylan performed "Love Sick" live at the 1998 Grammy Awards ceremony.


title: Time Out of Mind (Bob Dylan album)

text: "Dirt Road Blues" was improvised from a country-blues riff of indeterminate origin. Lanois recalls, "He made me pull out the original cassette, sample sixteen bars and we all played over that [for the released version]..." Some critics criticized the performance for being 'mediocre' and for destroying the mood that was set up by the opening track. Michael Gray writes, Dirt Road Blues', which


title: Time Out of Mind (Bob Dylan album)

text: might under normal production circumstances be a heartening, even dexterous little rockabilly number, puts Dylan so far away and so tiny you just despair".


title: Time Out of Mind (Bob Dylan album)

text: "Million Miles" has a 1950's blues and rock and roll atmosphere. Critics have noted that the song nods to Little Willie John, Elvis Presley, and B.B. King.


title: Time Out of Mind (Bob Dylan album)

text: In "'Til I Fell in Love with You", Dylan scholar Jochen Markhurst points to echos of Ma Rainey's "South Bound Blues', as well as the influence of Slim Harpo. The "Time out of Mind" outtake "Marchin' to the City" can be considered an earlier version of this song; in any case the songs share a few lyric lines.


title: Time Out of Mind (Bob Dylan album)

text: ""Not Dark Yet"", the first of two singles from the album, was described by "Time" magazine as 'the moody album's center' and was included in its "Ten Best Bob Dylan Songs" article of 2011. The song explores the singer's own existential crises. ""Not Dark Yet"" was recorded at the early recording sessions and featured "a radically different feel", according to Lanois. "[The demo of 'Not Dark Yet'] was quicker and more stripped-down and [later during the formal studio sessions], he changed it into a civil war ballad".


title: Time Out of Mind (Bob Dylan album)

text: The song has been subject to a literary analysis by Professor Christopher Ricks which he claims demonstrates the clearest example of John Keats' influence on Dylan's writing. In his book "Dylan's Visions of Sin", Ricks, a Boston University professor of humanities, draws parallels between "Not Dark Yet" and the Keats' poem "Ode to a Nightingale". Broken down line for line, "similar turns of phrase, figures of speech, [and] felicities of rhyming" can be found throughout "Not Dark Yet" and the "Ode". Ricks also argues that "there is a strong affinity with Keats in the way that in the song "night" colours, darkens, the whole atmosphere while never being spoken of", just as Keats used "winter" to color and darken the atmosphere in another poem he wrote, "To Autumn". "Dylan's refrain or burden is 'It's not dark yet, but it's getting there'. He bears it and bares it beautifully, with exquisite precision of voice, dry humour, and resilience, all these in the cause of fortitude at life's going to be brought to an end by death". A promotional video of this song was released.


title: Time Out of Mind (Bob Dylan album)

text: The next song, "Cold Irons Bound", won the 1998 Grammy for best male rock vocal performance. Oliver Trager describes the track as "biting" with "ricocheting guitar licks, rockabilly drums, distorted organ, and [a] voice floating in a blimp of its own echo," in which "one can still hear, to paraphrase 'Visions of Johanna', the ghost of electricity howling from the bones of Dylan's face..." Michael Gray also describes this song in detail:


title: Time Out of Mind (Bob Dylan album)

text: The song "Make You Feel My Love" was recorded twice under the title "To Make You Feel My Love" by other artists: Billy Joel recorded the song for his "Greatest Hits Volume III" collection before Dylan released the song; subsequently, Garth Brooks recorded it for the "Hope Floats" soundtrack. It was recorded under the original title by Bryan Ferry on "Dylanesque" and by Adele on "19". This song was criticized for its lyrical inferiority by Robert Christgau and Greg Kot of "Rolling Stone". In his review, Kot described the track as "a spare ballad undermined by greetingcard lyrics [that] breaks the album's spell". Opposing his view, Dylan critic Paul Williams said that it was "refreshing" to his ears. He said: "...the ultimate effect is to strengthen the spell the whole record casts—this musical and verbal break is exactly in place".


title: Time Out of Mind (Bob Dylan album)

text: The penultimate track of the album is "Can't Wait". Greg Kot wrote, "On "Time Out of Mind", [Dylan] paints a self-portrait with words and sound that pivots around a single line from the album's penultimate song, 'Can't Wait': "That's how it is when things disintegrate"". An alternate version of this song is included on the album "". (Deluxe Editions of this album contain two alternate versions of the song.)


title: Time Out of Mind (Bob Dylan album)

text: The closing track, at time of release the longest composition ever released by Dylan, the 16-minute "Highlands", most probably took its central motif ("My heart's in the highlands") from a poem by Robert Burns called "My heart's in the highlands" (published in 1790). In Jim Dickinson's account, "I remember, when we finished 'Highlands'—there are two other versions of that, the one that made the record is the rundown, literally, you can hear the beat turn over, which I think Dylan liked. But, anyway, after we finished it, one of the managers came out, and he said, "Well, Bob, have you got a short version of that song?" And Dylan looked at him and said: 'That "was" the short version'".


title: Time Out of Mind (Bob Dylan album)

text: The song describes a story of the narrator and his interactions with a waitress of a restaurant in Boston Town. Dylan mentions Neil Young and Erica Jong in this song. Keith Phipps of The A.V. Club wrote: "The material here is generally slow and meditative, lending the work a consistent tone appropriately capped by the 16-minute "Highlands", a "Desolation Row"-style experiment with an extended song form; it's further proof that the singer/songwriter is far from coasting".


title: Time Out of Mind (Bob Dylan album)

text: The first song that did not make the album was "Mississippi", which was re-recorded for "Love and Theft". According to Dylan, "If you had heard the original recording of ['Mississippi'], you'd see in a second" why it was omitted and recut for "Love and Theft". "The song was pretty much laid out intact melodically, lyrically and structurally, but Lanois didn't see it. Thought it was pedestrian. Took it down the Afro-polyrhythm route—multirhythm drumming, that sort of thing. Polyrhythm has its place, but it doesn't work for knife-like lyrics trying to convey majesty and heroism". Dylan offered the song to Sheryl Crow, who recorded it for "The Globe Sessions", released in 1998, before Dylan revisited it for "Love and Theft". Three outtakes of "Mississippi" from the "Time Out Of Mind" sessions were included on "" (two versions on the generally released discs and one on a bonus disc included with the Deluxe Edition of the album).


title: Time Out of Mind (Bob Dylan album)

text: A second outtake, "Dreamin' of You"', also released on "Tell Tale Signs", was unveiled for the first time as a free download on Dylan's website. Its lyrics were partly adapted into "Standing in the Doorway", though the melody and music are completely different. The music video, which starred Harry Dean Stanton, premiered on Amazon.com.


title: Time Out of Mind (Bob Dylan album)

text: Two more songs, "Red River Shore" (which according to Jim Dickinson was "the best song there was from the session") and "Marchin' to the City" (which evolved into "'Til I Fell in Love with You"), were left off the final cut. They were both included on .


title: Time Out of Mind (Bob Dylan album)

text: On past albums, some fans have criticized Dylan for some of the creative decisions made with his albums, particularly with song selection. "Time Out of Mind" was no different except this time the criticism came from colleagues who were disappointed to see their personal favorites left on the shelf. When Dylan accepted the Grammy Award for Album of the Year, he mentioned Columbia Records chairman Don Ienner, who "convinced me to put [the album] out, although his favorite songs aren't on it".


title: Time Out of Mind (Bob Dylan album)

text: "Time Out of Mind" was a commercial success for Dylan. It was widely hailed as Dylan's comeback album and U.S. sales soon passed platinum and stayed on best-selling charts for 29 weeks. In UK the sales passed gold. The album, in other countries also, managed to secure positions on best-selling charts and remained there for several weeks.


title: Time Out of Mind (Bob Dylan album)

text: "Time Out of Mind" received mostly positive reviews and began a renaissance of Dylan's career. In a 2018 retrospective for Pitchfork, Grayson Haver Currin wrote that the album "would transform Dylan from seemingly obsolete icon to wise, wizened visionary almost overnight". In his review, Robert Christgau said, "The hooks are Dylan's spectral vocals—just his latest ventriloquist's trick, a new take on ancient, yet so real, so ordained—and a band whose quietude evokes the sleepy postjunk funk of Clapton's "461 Ocean Boulevard" without the nearness of sex". He later regarded it as "one of those nearness-of-death albums", along with Mississippi John Hurt's "Last Sessions" (1972), Warren Zevon's "The Wind" (2003), Neil Young's "Prairie Wind" (2005), and Johnny Cash's "" (2010).


title: Time Out of Mind (Bob Dylan album)

text: On the NY Rock website, Cook Young called the songs "superb". He described "Time Out of Mind" as "a curious album. It's sort of two records mixed together. Half the songs compare to the introspective plaintive compositions that we witnessed on "Blood on the Tracks". The other half are 12-bar blues ditties that often sound as if Bob is making 'em up as he goes". ""Time Out of Mind" is fantastic", said Elvis Costello. "I think it might be the best record he's made".


title: Time Out of Mind (Bob Dylan album)

text: Some critics criticized Lanois's production for, as Currin wrote, "warping Dylan’s voice too much, for burying it in a cloud of effects". AllMusic senior editor Stephen Thomas Erlewine wrote, ""Time Out of Mind" has a grittier foundation—by and large, the songs are bitter and resigned, and Dylan gives them appropriately anguished performances. Lanois bathes them in hazy, ominous sounds, which may suit the spirit of the lyrics, but are often in opposition to Dylan's performances". Michael Gray writes, "The sound is elsewhere unhelpful too on "Time Out of Mind". Some tracks have Dylan so buried in echo that there is no hope of hearing the detailing in his voice that was once so central and diamondlike a part of his genius".


title: Time Out of Mind (Bob Dylan album)

text: Shortly after completing the album, Dylan became seriously ill with near-fatal histoplasmosis. His forthcoming tour was canceled, and he spent most of June 1997 in excruciating pain. A potentially serious condition (caused by the fungal infection "histoplasma capsulatum"), it makes breathing very difficult. "It was something called histoplasmosis that came from just accidentally inhaling a bunch of stuff that was out on one of the rivers by where I live", said Dylan. "Maybe one month, or two to three days out of the year, the banks around the river get all mucky, and then the wind blows and a bunch of swirling mess is in the air. I happened to inhale a bunch of that. That's what made me sick. It went into my heart area, but it wasn't anything really attacking my heart", Dylan told "Guitar World" magazine.


title: Time Out of Mind (Bob Dylan album)

text: In light of Dylan's May 1997 health scare, a number of columnists, including Dylanologist A.J. Weberman, speculated that the songs on "Time Out of Mind" were inspired by an increased awareness of his own mortality. This was despite the fact that all of the songs were completed, recorded, and even mixed before he was hospitalized. In interviews following its release, Dylan dismissed these speculations.