title: Sexual coercion among animals

text: Female resistance has rarely been found to be effective. Male mammals and birds are usually larger than females, and the sheer size and strength difference makes this very difficult. However, it has been observed in some species, such as squirrel monkeys, patas monkeys, vervets, and captive chimpanzees, that females can “gang up” on males when they are being aggressive. They will even try to protect a female in distress. Females have even been observed to kill immigrant males in wild red colobus monkeys.


title: Sexual coercion among animals

text: Sometimes, females choose not to struggle and simply acquiesce to forceful matings. This can happen when they decide that the cost of resisting would be greater than the cost of mating. They use submission to avoid further harassment or aggression, which could end in death or injury. This is often seen in primate species, such as chimpanzees and hamadryas baboons.


title: Sexual coercion among animals

text: A possible proximate benefit for females is that sometimes after a male mates with a female, he becomes her mate. Then, he would defend and protect her. This is seen in many primate species.


title: Sexual coercion among animals

text: A possible benefit of sexual coercion that would come out in the long run is the “good genes” hypothesis. If males can overcome a female's resistance, then they must possess good genes that would increase the survival or mating success of male offspring. The hypothesis is that females can use the sexual coercion process to assess the quality of a male.


title: Sexual coercion among animals

text: Sexual coercion often leads to an intersexual coevolutionary arms race. This consists of females evolving adaptations to male advances and males evolving counter-adaptations as a response. Males persist in violent behavior, which favors the evolution of female resistance to defend themselves. In organisms where males have genitalia harmful to females, such as in certain insects, females tend to evolve thicker, less sensitive copulatory tracts. Also, they may evolve a shield over their genital openings to prevent intromission. Females of some species of water striders have evolved protection from forceful insemination, such as abdominal spines and downward-bent abdomens to make it harder for males to mate. In response, however, males have counter evolved, also changing the shape of their abdomens to those that would facilitate forceful mating.


title: Sexual coercion among animals

text: The male waterfowl (Aves: Anatidae) evolution of a phallus to forcefully copulate with females has led to counteradaptations in females in the form of vaginal structures called dead end sacs and clockwise coils. These structures make it harder for males to achieve intromission. The clockwise coils are significant because the male phallus everts out of their body in a counter-clockwise spiral; therefore, a clockwise vaginal structure would impede forceful copulation. Studies have shown that, the longer a male's phallus, the more elaborate the corresponding vaginal structures.


title: Sexual coercion among animals

text: Speciation has been observed to be a possible consequence of sexual coercion. In diving beetle species family Dytiscidae, an intersexual arms race occurs between males and females. Males have evolved suction cup structures on their forelegs to help grasp females; females have counter-evolved setose dorsal furrows to impede forceful copulation. This continuous evolution (in both the forward and reverse directions) has led to the recent speciation of "A. japonicus" and "A. kishii", where females of "A. kishii" have lost their dorsal furrows while those of "A. japonicus" have not.


title: Sexual coercion among animals

text: Sexual coercion can lead to sexual dimorphisms, in which males and females have significant morphological differences. For example, in some species, larger males are more successful in forcefully mating/insemination, leading to a higher fitness. In red-sided garter snakes, "Thamnophis sirtalis parietalis", it has been shown that heavier-bodied males were better courters and their size gave them an advantage over smaller bodied snakes. This helps lead to an evolution of sexual dimorphism, with males larger than females. In other species, males that are smaller than females have higher fitness. Basically, many sex-specific morphological adaptations (for example, in Dytiscidae diving beetles, females have setose dorsal furrows that males do not and males have suction cups on their forelegs that females do not) are sexual dimorphisms caused by sexual coercion.


title: Ruth Ozeki

text: Ruth Ozeki is an American-Canadian author, filmmaker and Zen Buddhist priest. Her books and films, including the novels "My Year of Meats" (1998), "All Over Creation" (2003), "A Tale for the Time Being" (2013), and "The Book of Form and Emptiness" (2021) seek to integrate personal narrative and social issues, and deal with themes relating to science, technology, environmental politics, race, religion, war and global popular culture. Her novels have been translated into more than thirty languages. She teaches creative writing at Smith College where she is the Grace Jarcho Ross 1933 Professor of Humanities in the Department of English Language and Literature. Her real name is Ruth Diana Lounsbury. Ozeki is a pseudonym, taken from her former boyfriend's last name.


title: Ruth Ozeki

text: Ozeki was born on March 12, 1956. She grew up in New Haven, Connecticut, and is the daughter of the American linguist, anthropologist and Mayanist scholar, Floyd Lounsbury, and linguist Masako Yokoyama. In 1980, she graduated from Smith College with a B.A. in English and Asian Studies, and upon graduation, she received a Japanese Ministry of Education Fellowship (Monbukagakusho) to do graduate work at Nara University.


title: Ruth Ozeki

text: In 1985, Ozeki moved to New York City and began working as an art director and production designer for low-budget horror movies, including "Mutant Hunt" (1987) and "Robot Holocaust" (1986). In 1988, she began working for Telecom Staff, a Japanese production company, coordinating, producing and directing documentary-style programs for Japanese TV. During this time, she directed episodes of "See the World by Train" and co-produced the pilot for the TV documentary miniseries "Fishing With John" (1991), starring musician John Lurie and director Jim Jarmusch. Ozeki's first film, "Body of Correspondence" (1994), made in collaboration with artist Marina Zurkow won the New Visions Award at the San Francisco Film Festival and was aired on PBS. Her second film, "Halving the Bones" (1995), tells the autobiographical story of Ozeki's journey as she brings her grandmother's remains home from Japan. It was nominated for the Grand Jury Prize at the Sundance Film Festival, and screened at the Museum of Modern Art, the Montreal World Film Festival, and the Margaret Mead Film Festival, among others.


title: Ruth Ozeki

text: Ozeki's debut novel "My Year of Meats ("Viking Penguin, 1998), based on her work in Japanese television, tells the story of two women, living on opposite sides of the world, whose lives are connected by a TV cooking show. "My Year of Meats" was awarded the 1998 Kiriyama Prize and the 1998 Imus/Barnes & Noble American Book Award. Her second novel, "All Over Creation" (Viking Penguin, 2003), focuses on a potato-farming family in Idaho and an environmental activist group opposing the use of GMOs. Author Michael Pollan called "All Over Creation" "a smart compelling novel about a world we don't realize we live in." "All Over Creation" received the 2003 WILLA Literary Award for Contemporary Fiction and the 2004 American Book Award from the Before Columbus Foundation.


title: Ruth Ozeki

text: Ozeki's 2013 novel, "A Tale for the Time Being" (Viking Penguin) tells the story of a mysterious diary written by a troubled schoolgirl in Tokyo that's washed ashore on the Pacific Northwest coast of Canada in the wake of the 2011 Japanese earthquake and tsunami. The diary is discovered by a novelist named Ruth, who becomes obsessed with discovering the girl's fate. Junot Diaz called this novel Ozeki's "absolute best—bewitching, intelligent, hilarious, and heartbreaking, often on the same page." The novel was awarded the 2013 "Los Angeles Times" Book Prize for Fiction, and named the first recipient of the 2015 Yasnaya Polyana Literary Award (founded by the Leo Tolstoy Museum & Estate and Samsung Electronics) for the Best Foreign Novel of the 21st century. The book has received several other national and international awards, and has been published in more than thirty countries.


title: Ruth Ozeki

text: In her first work of personal nonfiction, "The Face: A Time Code" (Restless Books, 2016), Ozeki writes about a three-hour observation experiment, in which she studied her reflection in a mirror and kept a log of thoughts that arose during that time. "The Face: A Time Code" was published as part of Restless Books' groundbreaking series, "The Face," featuring authors Tash Aw and Chris Abani.


title: Ruth Ozeki

text: In 2021, Ozeki released her fourth novel "The Book of Form and Emptiness". About a 14-year-old boy who begins to hear voices emanating from things in the house after the death of his father, the book won the Women's Prize for Fiction in June 2022.


title: Ruth Ozeki

text: From 1982 through 1985, Ozeki taught in the English department at Kyoto Sangyo University and founded an English language school in Kyoto, Japan. Currently, she is the Grace Jarcho Ross 1933 Professor of Humanities in the Department of English Language and Literature at Smith College in Northampton, Massachusetts.


title: Ruth Ozeki

text: Ozeki was ordained as a Soto Zen Buddhist priest in 2010; she practices Zen Buddhism with Zoketsu Norman Fischer. She is the editor of the website Everyday Zen.


title: Ruth Ozeki

text: Ozeki divides her time among Northampton, Massachusetts; New York, New York; and Cortes Island, British Columbia. She is married to the German-Canadian environmental artist Oliver Kellhammer, who teaches on the faculty of Sustainable Systems at Parsons School of Design in New York City.


title: Hobart's Funnies

text: Hobart's Funnies is the nickname given to a number of specialist armoured fighting vehicles derived from tanks operated during the Second World War by units of the 79th Armoured Division of the British Army or by specialists from the Royal Engineers.


title: Hobart's Funnies

text: They were designed in light of problems that more standard tanks experienced during the amphibious Dieppe Raid, so that the new models would be able to overcome the problems of the planned invasion of Normandy. These tanks played a major part on the Commonwealth beaches during the landings. They were forerunners of the modern combat engineering vehicle and took their nickname from the 79th Division's commander, Major General Percy Hobart.


title: Hobart's Funnies

text: Plans to invade continental Europe were completely revised after the failure of the raid on Dieppe in 1942. Allied units in Normandy would need to overcome terrain, obstacles and coastal fortifications if the invasion were to succeed. General Sir Alan Brooke, Chief of the Imperial General Staff decided in 1943 to create special units and assigned responsibility to armoured warfare expert Percy Hobart for the development of vehicles and training crews to use them in action.


title: Hobart's Funnies

text: Many of the ideas had already been tried, tested or were in experimental development both by Britain and other nations. For example, the Scorpion flail tank, a modified Matilda tank, had already been used during the North African campaign to clear paths through German minefields. Soviet T-34 tanks had been modified with mine-rollers. Close-support tanks, bridgelayers, and fascine carriers had been developed elsewhere also. However, the Funnies were the largest and most elaborate collection of engineering vehicles available.


title: Hobart's Funnies

text: By early 1944, Hobart could demonstrate to Generals Eisenhower and Montgomery a brigade each of swimming Duplex Drive (DD) amphibious tanks, "Crab" mine clearers, and AVRE tanks along with a regiment of Churchill Crocodile flame-thrower tanks.


title: Hobart's Funnies

text: Montgomery considered that the US forces should use them. A third of the "funnies" were offered to the Americans of all the vehicles available, but take-up was minimal. Eisenhower was in favour of the DD tanks but left the decision on the others to General Bradley. None of the other designs was used, because it was thought that they required specialised training and an additional support organisation. Also, the Americans were reluctant to make use of funnies based on the Churchill tank as they did not want the logistical complexity of adding another tank model to their inventory.


title: Hobart's Funnies

text: Bradley requested 25 flail tanks and 100 Churchill Crocodiles shortly after the demonstration in February 1944 and the British War Office agreed to supply them as well as British-crewed AVREs. In the event though there was insufficient time to produce the vehicles and train the crews so on the day American forces were limited to DD tanks and their own Sherman bulldozer tanks and armoured bulldozers while 42 Assault Brigade instead of supporting the US beaches became a reserve for the British and Canadian beaches.


title: Hobart's Funnies

text: In light of operations during the US landing on Omaha beach, Bradley's decision has been criticised as it was felt that use of the range of "Funnies" would have saved American lives. After D-Day, American forces did make limited use of the Sherman Crab mine-clearing tank.


title: Hobart's Funnies

text: The majority of the designs were modified forms of the Churchill tank or the Sherman tank. Both were available in large numbers. The Churchill had good (though slow) cross-country performance, heavy armour, and a roomy interior. The Sherman's mechanical reliability was valued.


title: Hobart's Funnies

text: The Centaur bulldozer continued to be used by the British Army for some years after the Second World War and saw action during the Korean War, as did the Churchill Crocodile. Also, small numbers of Churchill AVREs and Sherman BARVs were used until the 1960s when they were replaced with similar vehicles based on the Centurion Tank. The Royal Engineers subsequently used modified Centurion and Chieftain tanks that are designed to fulfill the same roles in battle as the Funnies. The last examples of FV4003 Centurion Mk 5 AVRE 165 saw combat in the Gulf War/Operation Granby of 1991. The most recent vehicles in this line are the Titan and Trojan variants of the Challenger 2 tank.


title: Hobart's Funnies

text: Other nations developed their own armoured bulldozers after the war, such as the Soviet IMR variant of the T-72 tank, the US army's Rome plow, and the Israeli Armored CAT D9. Armoured bulldozers are still in use today for counter-insurgency by the Israel Defense Forces, the Egyptian army, and the Lebanese army.


title: AGS Entertainment

text: AGS Entertainment is an Indian film production, distribution company and multiplex chain in Chennai, Tamil Nadu. It was established in 2006 by three brothers Kalpathi S. Aghoram, Kalpathi S.Ganesh and Kalpathi S. Suresh.


title: AGS Entertainment

text: AGS Entertainment ventured into film production in 2006 with Susi Ganesan's "Thiruttu Payale", which was followed by "Santosh Subramaniam", both emerging commercial successes. Their subsequent productions included the masala flick "Maasilamani", Chimbudevan's Western comedy "Irumbukkottai Murattu Singam", the period piece "Madrasapattinam", "Bale Pandiya", Myshkin's crime thriller "Yudham Sei", Bala's comedy entertainer "Avan Ivan", Prabhu Deva directed romance film "Engeyum Kadhal", "Vellore Maavattam" starring Nandha, the K. V. Anand-Suriya project "Maattrraan" and Atlee directed sports action film "Bigil", while the distribution of films includes "Kandhakottai" , "Inidhu Inidhu", Mynaa and "Payanam".


title: Stencil

text: Stencilling produces an image or pattern on a surface, by applying pigment to a surface through an intermediate object, with designed holes in the intermediate object, to create a pattern or image on a surface, by allowing the pigment to reach only some parts of the surface. The stencil is both the resulting image or pattern and the intermediate object; the context in which "stencil" is used makes clear which meaning is intended. In practice, the (object) stencil is usually a thin sheet of material, such as paper, plastic, wood or metal, with letters or a design cut from it, used to produce the letters or design on an underlying surface by applying pigment through the cut-out holes in the material.


title: Stencil

text: The key advantage of a stencil is that it can be reused to repeatedly and rapidly produce the same letters or design. Although aerosol or painting stencils can be made for one-time use, typically they are made with the intention of being reused. To be reusable, they must remain intact after a design is produced and the stencil is removed from the work surface. With some designs, this is done by connecting stencil islands (sections of material that are inside cut-out "holes" in the stencil) to other parts of the stencil with bridges (narrow sections of material that are not cut out).


title: Stencil

text: Stencil technique in visual art is also referred to as pochoir. A related technique (which has found applicability in some surrealist compositions) is aerography, in which spray-painting is done "around" a three-dimensional object to create a negative of the object instead of a positive of a stencil design. This technique was used in cave paintings dating to 10,000 BC, where human hands were used in painting handprint outlines among paintings of animals and other objects. The artist sprayed pigment around his hand by using a hollow bone, blown by mouth to direct a stream of pigment.


title: Stencil

text: Screen printing also uses a stencil process, as does mimeography. The masters from which mimeographed pages are printed are often called "stencils". Stencils can be made with one or many colour layers using different techniques, with most stencils designed to be applied as solid colours. During screen printing and mimeography, the images for stenciling are broken down into color layers. Multiple layers of stencils are used on the same surface to produce multi-colored images.


title: Stencil

text: Hand stencils, made by blowing pigment over a hand held against a wall, are found from over 35,000 years ago in Asia and Europe, and later prehistoric dates in other continents. After that stenciling has been used as a historic painting technique on all kinds of materials.


title: Stencil

text: Stencils may have been used to color cloth for a very long time; the technique probably reached its peak of sophistication in Katazome and other techniques used on silks for clothes during the Edo period in Japan. In Europe, from about 1450 they were commonly used to color old master prints printed in black and white, usually woodcuts. This was especially the case with playing-cards, which continued to be colored by stencil long after most other subjects for prints were left in black and white. Stencils were used for mass publications, as the type did not have to be hand-written.


title: Stencil

text: Stencils were popular as a method of book illustration, and for that purpose, the technique was at its height of popularity in France during the 1920s when André Marty, Jean Saudé and many other studios in Paris specialized in the technique. Low wages contributed to the popularity of the highly labor-intensive process. When stencils are used in this way they are often called "pochoir".


title: Stencil

text: In the pochoir process, a print with the outlines of the design was produced, and a series of stencils were used through which areas of color were applied by hand to the page. To produce detail, a collotype could be produced which the colors were then stenciled over. Pochoir was frequently used to create prints of intense color and is most often associated with Art Nouveau and Art Deco design.


title: Stencil

text: Aerosol stencils have many practical applications and the stencil concept is used frequently in industrial, commercial, artistic, residential and recreational settings, as well as by the military, government and infrastructure management. A template is used to create an outline of the image. Stencils templates can be made from any material which will hold its form, ranging from plain paper, cardboard, plastic sheets, metals, and wood.


title: Stencil

text: Stencils are frequently used by official organizations, including the military, utility companies, and governments, to quickly and clearly label objects, vehicles, and locations. Stencils for an official application can be customized, or purchased as individual letters, numbers, and symbols. This allows the user to arrange words, phrases and other labels from one set of templates, unique to the item being labeled. When objects are labeled using a single template alphabet, it makes it easier to identify their affiliation or source.


title: Stencil

text: Stencils have also become popular for graffiti, since stencil art using spray-paint can be produced quickly and easily. These qualities are important for graffiti artists where graffiti is illegal or quasi-legal, depending on the city and stenciling surface. The extensive lettering possible with stencils makes it especially attractive to political artists. For example, the anarcho-punk band Crass used stencils of anti-war, anarchist, feminist and anti-consumerist messages in a long-term graffiti campaign around the London Underground system and on advertising billboards. There has been a semi-recent trend in making multi-layered stencils with different shades of grey for each layer creating a more detailed stenciled image. Also well known for their use of stencil art is Blek le Rat , Epsylon, Marie Rouffet, Nuklé-art, Kim Prisu, Miss Tic and Jef aerosol from France, British artist Banksy, New York artist, world traveling artist Tavar Zawacki f.k.a. 'ABOVE', Shepard Fairey's OBEY, and Pirate & Acid from Hollywood, California.


title: Stencil

text: A common tradition for stencils is in home decorating and arts & crafts. Home decor stencils are an important part of the DIY (Do It Yourself) industry. There are prefabricated stencil templates available for home decoration projects from hardware stores, arts & crafts stores and through the internet. Stencils are usually applied in the home with a paint or roller brush along wall borders and as trim. They can also be applied with a painted sponge for a textured effect.


title: Stencil

text: Stencil templates can be purchased or constructed individually. Typically they are constructed of flexible plastics, including acetate, mylar, and vinyl. Stencils can be used as children's toys.


title: Stencil

text: Stencils have been used in the military across most nations for many years and continue to be used today. They are used to mark up equipment, vehicles, rations, signposts, helmets, etc. One use of military stencils was the application of playing card designs to USA Airborne helmets during World War Two as a method to identify regimental units.


title: Stencil

text: Silk screening is a type of printing on paper or textiles, in which an ink is embedded in the cloth. The ink is controlled through the use of a stencil, which is placed directly over the paper or textile. This process can only handle one color of ink at a time. Therefore, multi-colored designs must be silk screened several times, with each interval taking time to dry.


title: Stencil

text: Stencils are also used in micro- and nanotechnology, as miniature shadow masks through which material can be deposited, etched or ions implanted onto a substrate. These stencils are usually made out of thin (100-500 nm) low-stress SiN in which apertures are defined by various lithographic techniques (e. g. electron beam, photolithography).


title: Stencil

text: Stencil lithography has unique advantages compared to other patterning techniques: it does not require spinning of a uniform layer of resist (therefore patterns can be created on 3D topographies) and it does not involve any heat or chemical treatment of the substrate (like baking, developing and removing the resist). Thus it allows a wide range of substrates (e.g. flexible, surface-treated) and materials (e. g. organics) to be used.


title: Stencil

text: A stencil technique is employed in screen printing which uses a tightly woven mesh screen coated in a thin layer of emulsion to reproduce the original image. As the stencil is attached to the screen, a contiguous template is not necessary.


title: Stencil

text: A stencil used in airbrushing called a frisket is pressed directly on the artwork. It can be used to control or contain overspray, create sharp or complex shapes, but is not designed to be used more than once.


title: Stencil

text: Wall stencils - to decorate walls and ceilings or create your own repeat for an overall modern wall pattern effect.


title: Stencil

text: One form of pictograph found in ancient and traditional rock paintings is created by the hand first being placed against the panel, with dry paint then being blown onto it through a tube, in a process that is akin to air-brush or spray-painting. The resulting image is a negative print of the hand, and is sometimes described as a "stencil" in Australian archaeology.


title: Stencil

text: Miniature rock art of the stencilled variety at a rock shelter known as Yilbilinji, in the Limmen National Park in the Northern Territory, is one of only three known examples of such art. Usually stencilled art is life-size, using body parts as the stencil, but the 17 images of designs of human figures, boomerangs, animals such as crabs and long-necked turtles, wavy lines and geometric shapes are very rare. Found in 2017 by archaeologists, the only other recorded examples are at Nielson's Creek in New South Wales and at Kisar Island in Indonesia. It is thought that the designs may have been created by stencils fashioned out of beeswax.


title: Emperor of Mexico

text: The Emperor of Mexico (Spanish: Emperador de México) was the head of state and ruler of Mexico on two non-consecutive occasions in the 19th century.


title: Emperor of Mexico

text: With the Declaration of Independence of the Mexican Empire from Spain in 1821, Mexico became an independent monarchy—the First Mexican Empire (1822–1823). Mexico briefly reverted into a monarchy in the 1860s, during the Second Mexican Empire (1864–1867). In both instances of Empire, the reigning Emperor was forcibly deposed and then executed.


title: JATO

text: JATO (acronym for jet-assisted take-off) is a type of assisted take-off for helping overloaded aircraft into the air by providing additional thrust in the form of small rockets. The term "JATO" is used interchangeably with the (more specific) term RATO, for "rocket-assisted take-off" (or, in RAF parlance, RATOG, for "rocket-assisted take-off gear").


title: JATO

text: In 1927 the Soviet research and development laboratory Gas Dynamics Laboratory developed solid-propellant rockets to assist aircraft take-off and in 1931 the world's first successful use of rockets to assist take-off of aircraft were carried out on a , the Soviet designation for a Avro 504 trainer, which achieved about one hundred successful assisted takeoffs. Successful assisted takeoffs were also achieved on the Tupolev TB-1. and Tupolev TB-3 Heavy Bombers. The official test of the Tupolev TB-1 in 1933 shortened the takeoff by 77% when using the rockets.


title: JATO

text: Early experiments using rockets to boost gliders into the air were conducted in Germany in the 1920s (Lippisch Ente), and later both the Royal Air Force and the Luftwaffe introduced such systems in World War II. The British system used fairly large solid fuel rockets to shoot planes (typically the Hawker Hurricane) off a small ramp fitted to the fronts of merchant ships, known in service as Catapult armed merchantmen (or CAM Ships), in order to provide some cover against German maritime patrol planes. After firing, the rocket was released from the back of the plane to fall into the water and sink. The task done, the pilot would fly to friendly territory if possible or parachute from the plane, hopefully to be picked up by one of the escort vessels. Over two years the system was only employed nine times to attack German aircraft with eight kills recorded for the loss of a single pilot.


title: JATO

text: The Luftwaffe also used the technique with both liquid-fueled units made by the Walter firm and BMW – and solid fuel, themselves made both by the Schmidding and WASAG firms – as both firmly attached and jettisonable rocket motors, to get airborne more quickly and with shorter takeoff runs. These were used to boost the takeoff performance of their medium bombers, and the enormous 55-meter wingspan "Gigant", Messerschmitt Me 321 glider, conceived in 1940 for the invasion of Britain, and used to supply the Russian front. The enormous Me 321s originally had air tow assistance from up to three Messerschmitt Bf 110 heavy fighters in a so-called "Troika-Schlepp" arrangement into the air with loads that would have made the takeoff run too long otherwise, but with much attendant risk of aerial collision from the trio of vee-formation Bf 110s involved in a simultaneous towplane function, meant to be greatly eased with the substitution of the trio of Bf 110s with a single example of the unusual, twin-fuselage Heinkel He 111Z purpose-designed five-engined towplane. The use of reaction-assisted takeoff methods became especially important late in the war when the lengths of usable runways were severely curtailed due to the results of Allied bombing. Their system typically used jettisonable, self-contained Walter HWK 109-500 "Starthilfe" ("takeoff-help"), also known as "Rauchgerät" - smoke generator, unitized liquid-fuel monopropellant rocket booster units whose engines driven by chemical decomposition of "T-Stoff", essentially almost pure hydrogen peroxide, with a Z-Stoff catalytic compound. A parachute pack at the blunt-contour front of the motor's exterior housing was used to slow its fall after being released from the plane, so the system could be re-used. First experiments were held in 1937 on a Heinkel He 111, piloted by test-pilot Erich Warsitz at Neuhardenberg, a large field about 70 kilometres east of Berlin, listed as a reserve airfield in the event of war. Other German experiments with JATO were aimed at assisting the launch of interceptor aircraft such as the Messerschmitt Me 262C, as the "Heimatschützer" special versions, usually fitted with either a version of the Walter HWK 109-509 liquid fuelled rocket engine from the Me 163 "Komet" program either in the extreme rear of the fuselage or semi-"podded" beneath it just behind the wing's trailing edge, to assist its Junkers Jumo 004 turbojets, or a pair of specially rocket-boosted BMW 003R combination jet-rocket powerplants in place of the Jumo 004s, so that the Me 262C "Heimatschützer" interceptors could reach enemy bomber formations sooner. Two prototypes of the "Heimatschützer" versions of the Me 262 were built and test flown, of the three designs proposed. In contrast to the wide variety of aircraft types that the HWK-designed "Starthilfe" modular liquid monopropellant booster designs were tested with, seeing some degree of front-line use; the aforementioned solid-fueled RATO booster designs from both the Schmidding and WASAG firms remained almost strictly experimental in nature, with the Schmidding 500 kg thrust solid-fueled booster units intended to see service, a quartet mounted per airframe for use with the radical Bachem Ba 349 VTO rocket interceptor design in 1945, for its vertical launch needs. The strictly experimental, HWK 109-501 "Starthilfe" RATO system used a similar bi-propellant "hot" motor to that on the Me 163B "Komet" rocket fighter, adding a 20 kg mass of a combination of B-stoff hydrazine, mixed with "Br-stoff" (ligroin hydrocarbon distillate) for a main "fuel" to the T-Stoff monopropellant still destabilized with the Z-Stoff permanganate for ignition as the oxidizer, tripling the 109-500's thrust figure of 4.95 kN (at 14.71 kN/1,500 kgf) with a burn of 30 second duration. Due to the "hot" system's similar risks demanding similar special fueling and handling procedures to that of the Komet's 509A rocket motor, the 109-501 seems to have remained a strictly experimental design, only being used for the test flights of the Junkers Ju 287 V1 prototype jet bomber.


title: JATO

text: In early 1939, the National Academy of Sciences in the United States provided $1,000 to Theodore von Kármán and the Rocket Research Group (including Jack Parsons, Frank Malina, Edward Forman and Apollo M. O. Smith) at the Guggenheim Aeronautical Laboratory at the California Institute of Technology (GALCIT) to research rocket-assisted take-off of aircraft. This JATO research was the first rocket research to receive financial assistance from the U.S. government since World War I when Robert H. Goddard had an Army contract to develop solid fuel rocket weapons.


title: JATO

text: In late 1941 von Kármán and his team attached several 50-pound thrust, solid fuel Aerojet JATOs to a light Ercoupe plane, and Army Captain Homer Boushey took off on test runs. On the last run they removed the propeller, attached six JATO units under the wings, and Boushey was thrust into the air for a short flight, the first American to fly by rocket power only. Both armed services used solid fuel JATO during the war.


title: JATO

text: After World War II JATO was often used to overcome the poor thrust of early jet engines at low speeds or for assisting heavily loaded aircraft to take off. For example, the propeller engined Avro Shackleton, when heavily laden with fuel for long maritime surveillance flights, relied on Armstrong Siddeley Viper turbojets for takeoff.


title: JATO

text: The world's first jet airliner, the de Havilland DH 106 Comet, included a design provision to carry two hydrogen peroxide-powered de Havilland Sprite booster rockets intended to be installed for "hot and high" conditions from airports such as Khartoum and Nairobi. These were tested on thirty flights, but the de Havilland Ghost jet engines alone were considered powerful enough and some airlines concluded that rocket motors were impractical. Nevertheless, Sprite fittings were retained on production Comet 1s but were rendered unnecessary with subsequent engine upgrades.


title: JATO

text: In the late 1950s, zero-length launch experimental programs for launching fighter aircraft were carried out by the United States Air Force, the German Bundeswehr's Luftwaffe and the Soviet VVS using high-thrust, short-burn duration booster designs of similar appearance and function. The USAF used a modified Republic F-84, designated EF-84G, which used the MGM-1 Matador cruise missile's Aerojet General-designed, 240 kN (26 short ton) thrust-level solid fuel booster of two second thrust duration. The Soviet VVS used a modified MiG-19 fighter, designated SM-30, launched from a special launcher, and using a nearly identical solid-fueled rocket booster design to that of the EF-84G, but of a much more powerful, 600 kN (64 short ton) thrust level. The F-100 and F-104 were also used for zero-length launch experiments, with similarly powerful drop-away booster units to the Soviets' SM-30 experiments.


title: JATO

text: Also in the 1950s the JATO Junior was an attempt by Aerojet Engineering to introduce smaller JATO units to small commercial aircraft, but was blocked by the U.S. Navy Bureau of Aeronautics. Aerojet claimed that the smaller JATO bottle, delivering 250 pounds of thrust for 12 seconds could help a light private plane, that normally requires almost 900 feet of runway to clear a 50-foot-high obstacle, could do the same with 300 feet of runway with a JATO Jr unit.


title: JATO

text: The Boeing 727 had provision for Aerojet JATO assist for use in "hot and high" conditions, particularly at Mexico City and La Paz. A JATO option was available for the Fairchild Swearingen Metroliner to increase take-off weight while maintaining one-engine inoperative climb requirements.


title: JATO

text: In late 1980 the United States military operation plan Operation Credible Sport was intended to rescue hostages held by Iran using C-130 cargo planes modified with rocket engines to enable a very short take off and landing. The plan was canceled after an accident occurred during a test landing when the forward-facing JATO units designed to slow the aircraft fired before the downward-facing units (designed to cushion the landing) did, causing the aircraft to crash-land.


title: JATO

text: JATO became largely unnecessary as the take-off thrust of jet engines improved and is now rarely used even when operating heavily laden from short runways or in "hot and high" conditions. It is occasionally used in exceptional circumstances, on specially equipped, mostly military, aircraft.


title: JATO

text: The JATO Rocket Car is an urban legend that relates the story of a car equipped with JATO units that is later found smashed into a mountainside. This story is often given as an example of a Darwin Award; it appears to be apocryphal, with no basis in fact.


title: JATO

text: The legend has been examined several times on the Discovery Channel show "MythBusters". For the first attempt, in a 2003 pilot episode, the crew replicated the scene and the thrust of the JATO with some commercially available amateur rocket motors. The car did go very fast, outrunning the chase helicopter, but nowhere near the 300 mph (500 km/h) reported in the original story, and failed to become airborne. The myth was revisited in 2007, using a different configuration of rockets in an attempt to make the car fly; it exploded before reaching the end of its launch ramp. The myth was again revisited in 2013 in the 1st episode of "Mythbusters" Season 12, as a celebration of their 10th year on the air.


title: JATO

text: A JATO-equipped 1958 Dodge Coronet car on the El Mirage dry lake was used for a TV advertisement to demonstrate the power of their "total contact" brakes. This was broadcast during "The Lawrence Welk Show" in the late 1950s.


title: Coaxial rotors

text: Coaxial rotors or coax rotors are a pair of helicopter rotors mounted one above the other on concentric shafts, with the same axis of rotation, but turning in opposite directions (contra-rotating). This rotor configuration is a feature of helicopters produced by the Russian Kamov helicopter design bureau.


title: Coaxial rotors

text: The idea of coaxial rotors originates with Mikhail Lomonosov. He had developed a small helicopter model with coaxial rotors in July 1754 and demonstrated it to the Russian Academy of Sciences.


title: Coaxial rotors

text: In 1859, the British Patent Office awarded the first helicopter patent to Henry Bright for his coaxial design. From this point, coaxial helicopters developed into fully operational machines as we know them today.


title: Coaxial rotors

text: Two pioneering helicopters, the Corradino D'Ascanio-built "D'AT3" of 1930, and the generally more successful French mid-1930s "Gyroplane Laboratoire", both used coaxial rotor systems for flight.


title: Coaxial rotors

text: Having two coaxial sets of rotors provides symmetry of forces around the central axis for lifting the vehicle and laterally when flying in any direction. Because of the mechanical complexity, many helicopter designs use alternate configurations to avoid problems that arise when only one main rotor is used. Common alternatives are single-rotor helicopters or tandem rotor arrangements.


title: Coaxial rotors

text: One of the problems with any single set of rotor blades is the torque (rotational force) exerted on the helicopter fuselage in the direction opposite to the rotor blades. This torque causes the fuselage to rotate in the direction opposite to the rotor blades. In single rotor helicopters, the antitorque rotor or tail rotor counteracts the main rotor torque and controls the fuselage rotation.


title: Coaxial rotors

text: Coaxial rotors solve the problem of main rotor torque by turning each set of rotors in opposite directions. The opposite torques from the rotors cancel each other out. Rotational maneuvering, yaw control, is accomplished by increasing the collective pitch of one rotor and decreasing the collective pitch on the other. This causes a controlled dissymmetry of torque.


title: Coaxial rotors

text: Dissymmetry of lift is an aerodynamic phenomenon caused by the rotation of a helicopter's rotors in forward flight. Rotor blades provide lift proportional to the amount of air flowing over them. When viewed from above, the rotor blades move in the direction of flight for half of the rotation (advancing half), and then move in the opposite direction for the remainder of the rotation (retreating half). A rotor blade produces more lift in the advancing half. As a blade moves toward the direction of flight, the forward motion of the aircraft increases the speed of the air flowing around the blade until it reaches a maximum when the blade is perpendicular to the relative wind. At the same time, a rotor blade in the retreating half produces less lift. As a blade moves away from the direction of flight, the speed of the airflow over the rotor blade is reduced by an amount equal to the forward speed of the aircraft, reaching its maximum effect when the rotor blade is again perpendicular to the relative wind.


title: Coaxial rotors

text: Coaxial rotors avoid the effects of dissymmetry of lift through the use of two rotors turning in opposite directions, causing blades to advance on either side at the same time.


title: Coaxial rotors

text: Another benefit arising from a coaxial design includes increased payload for the same engine power; a tail rotor typically wastes some of the available engine power that would be fully devoted to lift and thrust with a coaxial design. Reduced noise is the main advantage of the configuration; some of the loud "spanking" sound associated with conventional helicopters arises from interaction between the airflows from the main and tail rotors, which in some designs can be severe. Also, helicopters using coaxial rotors tend to be more compact (with a smaller footprint on the ground), though at the price of increased height, and consequently have uses in areas where space is at a premium; several Kamov designs are used in naval roles, being capable of operating from confined spaces on the decks of ships, including ships other than aircraft carriers (an example being the Kara-class cruisers of the Russian navy, which carry a Ka-25 'Hormone' helicopter as part of their standard equipment). Another benefit is increased safety on the ground; the absence of a tail rotor eliminates the major source of injuries and fatalities to ground crews and bystanders.


title: Coaxial rotors

text: There is an increased mechanical complexity of the rotor hub. The linkages and swashplates for two rotor systems need to be assembled atop the mast, which is more complex because of the need to drive two rotors in opposite directions. Because of the greater number of moving parts and complexity, the coaxial rotor system is more prone to mechanical faults and possible failure. Coaxial helicopters are also more prone to the "whipping" of blades and blade self-collision, according to critics.


title: Coaxial rotors

text: The system's inherent stability and quick control response make it suitable for use in small radio-controlled helicopters. These benefits come at the cost of a limited forward speed, and higher sensitivity to wind. These two factors are especially limiting in outdoor use. Such models are usually fixed-pitch (i.e., the blades cannot be rotated on their axes for different angles of attack), simplifying the model but eliminating the ability to compensate with collective input. Compensating for even the slightest breeze causes the model to climb rather than to fly forward even with full application of cyclic.


title: Coaxial rotors

text: Multirotor type unmanned aerial vehicles exist in numerous configurations including duocopter, tricopter, quadcopter, hexacopter and octocopter. All of them can be upgraded to coaxial configuration in order to bring more stability and flight time while allowing carrying much more payload without gaining too much weight. Indeed, coaxial multirotors are made by having each arm carrying two motors facing in opposite directions (one up and one down). Therefore, it is possible to have an octorotor looking like a quadcopter thanks to coaxial configuration. Special Duocopters are characterised by two motors aligned in a vertical axis. The control is performed by the appropriate acceleration of a single rotor blade for targeted thrust generation during revolution. Having more lifting power for a greater payload explains why coaxial multirotors are preferred for all professional commercial application of UAS.


title: Coaxial rotors

text: The U.S. Department of Transportation has published a “Basic Helicopter Handbook”. One of the chapters in it is titled, “Some Hazards of Helicopter Flight'. Ten hazards have been listed to indicate what a typical single rotor helicopter has to deal with. The coaxial rotor design either reduces or completely eliminates many of these hazards. The following list indicates which:


title: Coaxial rotors

text: The reduction and elimination of these hazards are the strong points for the safety of coaxial rotor design.


title: Nate Marquardt

text: Nathan Joel Marquardt (born April 20, 1979) is an American mixed martial artist who competed in the middleweight and welterweight division of the Ultimate Fighting Championship. A professional competitor since 1999, he is a former Strikeforce Welterweight Champion and a three-time Pancrase Middleweight Champion.


title: Nate Marquardt

text: Marquardt was born in Lander, Wyoming to a father of German origin, and a mother of Welsh origin. He was raised along with his four other siblings in Denver, Colorado. Marquardt's late father was a Lutheran pastor, worked in construction, and was also a Marine veteran who fought in the Vietnam War. Marquardt's mother was a nurse and a manager at an attorney's office. Because of his father's work he and his family moved around frequently to places including Chicago, Illinois, and Indiana. Marquardt's parents divorced when he was eight years old, and the young Marquardt moved to Colorado. When he was 15 years old, he began studying the disciplines of Wing Chun Kung Fu, Japanese Jujutsu, Freestyle Wrestling, and Kenpo Karate. Present Marquardt's fighting style derived from his fights in Pancrase under the leadership of Sheldon Marr from Colorado. Sheldon Marr is the co-founder of the World Combat JuJitsu Association and he was a Junior National Judo Champion, and a California State Wrestling Champion and has been recognized as the "Instructor of the Year" by Jujitsu America, the U.S. Martial Arts Hall of Famer, the World Martial Arts Hall of Famer, and the International Black Belt Hall of Fame; and was a Coach for the 2000 U.S. World Pankration Team, and the 2007, 2008, 2009, 2010, 2011, 2012 & 2013 U.S. World Grappling Teams. Marquardt also trained with Shane Pitts in Colorado before he went to Jackson's MMA. Shane Pitts trained Marquardt in Japanese jujutsu for three years and gave him a black belt. Pitts is the founder of Law Enforcement Ground Tactics System, holder of five black belts in martial arts, a former World Masters Judo Champion, World Combat Jujitsu Association National Champion and Brazilian Jiu Jitsu Pan American Masters Division Champion. Marquardt also trained with Mike Van Arsdale and also trained Pancrase with Sanae Kikuta in the GRABAKA Dojo in Tokyo, Japan. Marquardt was active in other sports as well, including basketball and soccer, at Wheat Ridge High School and also began taking Kickboxing and Brazilian Jiu-Jitsu lessons when he was 18 years old under the instruction of Ricardo Murgel.


title: Nate Marquardt

text: Marquardt began his professional mixed martial arts career in 1999, and amassing victories in various promotions before entering the "Bas Rutten Invitational 4" tournament, which was organized in such a manner that the tournament winner was to be offered a contract with the Ultimate Fighting Championship. Despite winning the tournament, Marquardt was offered no such contract. Instead, he signed with Japan's Pancrase organization, which had fostered such fighters as Ken Shamrock and Bas Rutten. In his first Pancrase fight, Marquardt lost via submission to Genki Sudo.


title: Nate Marquardt

text: Invited back to Pancrase for a middleweight elimination tournament, Marquardt defeated Daiju Takase, Kiuma Kunioku, and Shonie Carter to become the first middleweight King of Pancrase. Marquardt defended this title twice before being defeated by Kunioku in December 2001. A final encounter between the two fighters in December 2002 saw Marquardt defeat Kunioku once again to recapture the King of Pancrase championship, which he held for nearly a year.


title: Nate Marquardt

text: On November 30, 2003, Marquardt was involved in a brief altercation with Ricardo Almeida in a Pancrase title fight. Marquardt tapped out to a guillotine choke, however, the referee was unable to immediately separate the fighters, and Almeida continued to apply the choke, posing for ringside cameras. After he was freed, Marquardt threw a strike at Almeida's face, prompting both corners to storm into the ring, including Renzo Gracie. Renzo was cornering Almeida, and once in the ring he kicked Marquardt in the face. The confrontation eventually came to an end, and Marquardt approached Almeida after the bout to congratulate him. After Almeida vacated his title in July 2004, Marquardt proceeded to regain the championship in a victory over Kazuo Misaki at "Pancrase: Brave 10."


title: Nate Marquardt

text: On May 1, 2005, Marquardt defeated Izuru Takeuchi, winning the Pancrase Middleweight Championship for the seventh time, becoming the only fighter to ever accomplish such a feat.


title: Nate Marquardt

text: Marquardt made his UFC debut on August 6, 2005, live on Spike TV, headlining the inaugural UFC Ultimate Fight Night card in Las Vegas, Nevada. Although Marquardt earned a unanimous decision victory over UFC veteran Ivan Salaverry, a post-fight drug test revealed high levels of nandrolone, an anabolic steroid, in Marquardt's system which led to the Nevada State Athletic Commission filing for his suspension. Marquardt maintains that he only used over-the-counter supplements in preparation for the fight. Marquardt was initially suspended for six months and assessed no fine. Marquardt's suspension was reduced to five months and he was reinstated in January 2006.


title: Nate Marquardt

text: With the drug testing controversy resolved, Marquardt was set to make his return at "UFC 58", against veteran Joe Doerksen. The fight proved to be a successful endeavor for Marquardt, as he won a unanimous decision. In the post-fight interview, Marquardt stated his goals of capturing the UFC Middleweight Championship and his intention to fight then-champion Rich Franklin. Marquardt then fought Crafton Wallace, a replacement for Marquardt's original opponent, Thales Leites, on the undercard of "" on October 10, 2006. Marquardt won by rear-naked choke in the second round. Due to his commitment to the UFC, Marquardt relinquished his title as the Pancrase Middleweight Championship that same month.


title: Nate Marquardt

text: At "UFC Fight Night 8", Marquardt notched a dominant unanimous three-round decision victory over ADCC


title: Nate Marquardt

text: Following that victory and a 4-0 debut in the UFC, Marquardt was scheduled to compete for the UFC Middleweight Championship held by Anderson Silva on July 7, 2007 at "UFC 73". Marquardt lost the championship bout by TKO due to strikes at 4:50 in the first round of the fight.


title: Nate Marquardt

text: After early speculation that Marquardt's contract with the UFC could expire without renewal, he confirmed that a new agreement had been signed with the organization. Marquardt's next match was to be against Thales Leites at "UFC 81", but Leites withdrew from the bout due to an injured hand. This marked the second time that a bout between Leites and Marquardt had been cancelled. On January 9, the UFC announced that veteran Jeremy Horn would be Leites' replacement. Marquardt defeated Horn via guillotine choke in the second round.


title: Nate Marquardt

text: Marquardt finally fought Thales Leites at "UFC 85", a fight that had been postponed on two separate occasions since 2006. Marquardt and Leites had a close fight but Marquardt landed an illegal knee strike to the head of Leites in the second round. In the third round Marquardt landed an elbow to the side of the head of Leites. The deducted points proved to be crucial as Leites was deemed victorious in a very close split decision, giving Leites a title shot against Anderson Silva. Marquardt was next scheduled to face Martin Kampmann at "UFC 88". Nate defeated Kampmann in 82 seconds by throwing a head kick and landing a barrage of strikes to take the win by TKO in the first round.


title: Nate Marquardt

text: Marquardt obtained a second straight win to launch himself back into the title picture at UFC 95, when he defeated well-regarded Brazilian fighter Wilson Gouveia with another barrage of strikes to earn a third-round TKO.


title: Nate Marquardt

text: Marquardt's next fight was against the then-undefeated submission specialist Demian Maia at UFC 102, which he won via KO 21 seconds into the first round by landing a counter straight right as Maia threw a leaping leg kick. Maia fell face down, unable to protect himself. Nate rushed in to follow up with a right hook, but stopped himself once he saw that Maia was visibly hurt.


title: Nate Marquardt

text: Following his victory over Maia, Marquardt was scheduled to fight Dan Henderson to determine number one contendership to Silva's Middleweight Championship. Henderson left the UFC for Strikeforce after attempts to agree on a new contract failed. A new bout was arranged between Marquardt and American wrestler Chael Sonnen, scheduled for UFC 110 and later moved to UFC 109. Marquardt was taken down at will by Sonnen multiple times during each round. Although able to lock in a guillotine choke late in the third round, Marquardt was not able to finish the submission attempt and lost the fight in an upset via unanimous decision.


title: Nate Marquardt

text: Marquardt was expected to face Alessio Sakara on July 3, 2010 at UFC 116 but the fight was cancelled after Sakara pulled out due to the death of his father.


title: Nate Marquardt

text: Marquardt was expected to face Rousimar Palhares on August 28, 2010 at UFC 118, however the bout was moved to September 15, 2010 to headline UFC Fight Night 22 after Alan Belcher was forced to pull out of his bout with Demian Maia with an eye injury. Marquardt defeated Palhares via first-round TKO. During the fight, Palhares went for a heel-hook from which Marquardt slipped his leg free and Palhares looked at the referee and pointed to Marquardt's legs, seemingly complaining that Marquardt was greased. Marquardt capitalized on the opening and pounded Palhares with a quick barrage of punches to get the stoppage. The ending, though, was not due to any illegal circumstances. UFC broadcaster Joe Rogan immediately announced that Marquardt had passed an inspection from the ringside physician and the referee. Marquardt explained that before the fight; "I came out really warm because I wanted a good sweat," which explains why he was slippery and managed to remain elusive.


title: Nate Marquardt

text: Less than a week after his win over Palhares, Marquardt was tapped to make a quick return to the Octagon to face Yushin Okami in a middleweight title eliminator bout on November 13, 2010 at UFC 122, replacing Vitor Belfort, as Vitor was promoted to a title fight because of Chael Sonnen's suspension for PEDs. Marquardt lost to Okami via unanimous decision.


title: Nate Marquardt

text: Marquardt was expected to face Yoshihiro Akiyama on March 19, 2011 at UFC 128. However, Akiyama pulled out of the bout and was replaced by Dan Miller. Marquardt won the fight via unanimous decision.


title: Nate Marquardt

text: After defeating Miller, Nate's teammate, Georges St-Pierre, gave him the idea of dropping down to the welterweight division.


title: Nate Marquardt

text: Marquardt was expected to debut at welterweight against Anthony Johnson on June 26, 2011 at UFC on Versus 4. However, Johnson was forced out of the bout with a shoulder injury and replaced by Rick Story. Marquardt pulled out of the fight with Story the day of the weigh-ins due to not receiving medical clearance. The UFC at the UFC on Versus 4 weigh-in announced that Marquardt did not pass the required physical. According to a video posted by Dana White on his Twitter, Marquardt was released by the UFC due to failing "medical requirements".


title: Nate Marquardt

text: On June 28, 2011, Nate appeared on MMA Hour with Ariel Helwani and stated that in August 2010 he felt tired and moody and his doctor discovered he had low testosterone levels. That doctor put Nate on hormone replacement therapy, and when Nate applied for a Therapeutic Use Exemption with the New Jersey state commission, they allowed it but declared that he must go off the therapy for ten weeks, then have his levels retested by a specialist to determine if he really needs to be on the therapy or not. At the end of that period, both the specialist and Nate's primary doctor agreed his levels really were low and he was a candidate for replacement therapy. Nate's primary doctor injected him with testosterone to quickly get his levels back up in time for his scheduled fight against Story. The Pennsylvania commission had set standards for what his testosterone levels could be at fight time and Nate's levels, though trending down over the last week before the fight, still failed to fall to within the range required in time for him to be cleared to fight. Nate claimed that he retook tests on the day of the fight and was actually within qualifying limits, thus having his suspension lifted by the commission.


title: Nate Marquardt

text: Shortly after having his suspension lifted by the Pennsylvania State Athletic Commission, Marquardt signed with top U.K. fight promotion BAMMA, the British Association of Mixed Martial Arts. He told MMAWeekly.com that a large part of the reason for signing with BAMMA was that even though the U.K. does not conduct governmental sanctioning of MMA, BAMMA officials were moving ahead with their own plans to self-regulate, including medical screening and drug testing.


title: Nate Marquardt

text: He was set to make his promotional debut at on February 11, 2012 against Yoshiyuki Yoshida to determine the inaugural BAMMA World Welterweight Champion.


title: Nate Marquardt

text: On January 13, 2012, Marquardt was released from his contract with BAMMA officially due to the promotion pushing back BAMMA 9, and therefore his promotional debut, to March 24, 2012.


title: Nate Marquardt

text: Dana White announced that Marquardt had signed with Strikeforce. His debut took place at against Tyron Woodley in a bout for the vacant Strikeforce Welterweight Championship. Nate knocked out Woodley in the fourth round, becoming the new Strikeforce Welterweight Champion.


title: Nate Marquardt

text: Marquardt's first defense was against Tarec Saffiedine on January 12, 2013 at . He lost the belt via unanimous decision.


title: Nate Marquardt

text: Marquardt faced Héctor Lombard on October 19, 2013 at UFC 166. He lost the fight via knockout in the first round.


title: Nate Marquardt

text: Marquardt made a return to the middleweight division to face James Te-Huna on June 28, 2014 at UFC Fight Night 43. He won the fight via first round submission due to straight armbar.


title: Nate Marquardt

text: Marquardt faced Kelvin Gastelum on June 13, 2015 at UFC 188. He lost the fight via TKO after his corner stopped the fight between the second and third round.


title: Nate Marquardt

text: Marquardt faced C. B. Dollaway on December 19, 2015 at UFC on Fox 17. He won the fight via knockout in the second round.


title: Nate Marquardt

text: Marquardt next faced Thiago Santos on May 14, 2016 at UFC 198. He lost the fight via knockout in the first round.


title: Nate Marquardt

text: Marquardt next faced Tamdan McCrory on October 1, 2016 at UFC Fight Night 96. Marquardt won the fight via knockout in the second round and was awarded a "Performance of the Night" bonus.


title: Nate Marquardt

text: Marquardt faced Sam Alvey on January 28, 2017 at UFC on Fox 23. He lost the fight via unanimous decision.


title: Nate Marquardt

text: Marquardt faced Vitor Belfort on June 3, 2017 at UFC 212. He lost the fight via unanimous decision. Most pundits had Marquardt winning the fight.


title: Nate Marquardt

text: Marquardt faced Cezar Ferreira on November 11, 2017 at UFC Fight Night 120. He lost the fight via split decision.


title: Nate Marquardt

text: On December 28, 2017, Marquardt announced his retirement from professional MMA fighting after 56 fights over an 18-year MMA career.


title: Nate Marquardt

text: Marquardt came out of retirement for the first time in nearly four years to face Michael Cora on August 6, 2021 at Titan FC 71. He won the bout via armbar submission in the first round.


title: Nate Marquardt

text: He next faced Valdir Araujo at XMMA 3 on October 23, 2021. Marquardt lost the bout via TKO after suffering a body kick and punches.


title: Nate Marquardt

text: Marquardt is married. The couple had their first child together on May 18, 2010. Nate also has a daughter, Emmalie from a previous relationship. Marquardt has an older brother who is in the United States Air Force.


title: Nate Marquardt

text: Marquardt made a short cameo appearance in the beginning of MC Hammer's music video for the Jay-Z diss track, "Better Run Run" along with Brendan Schaub, Eliot Marshall, and trainer Trevor Wittman. Marquardt also had a small screen appearance in the movie "Warrior" as Karl "The Dane" Kruller.


title: 20/20 (The Beach Boys album)

text: 20/20 is the 15th studio album by American rock band the Beach Boys, released February 10, 1969 on Capitol Records. The LP was named for being their 20th overall release when factoring in live albums and compilations. Much of "20/20" consists of outtakes from earlier albums. It reached number 3 on UK record charts and number 68 in the U.S. Brian Wilson was absent during most of the album's recording after admitting himself into a psychiatric hospital, requiring brothers Carl and Dennis to retrieve several outtakes he had recorded years earlier. While Brian does not appear on the front cover, the inner gatefold of the original vinyl release features him alone, behind an eye examination chart.


title: 20/20 (The Beach Boys album)

text: The singles "Do It Again" and "Bluebirds over the Mountain" preceded the album's release by several months. The former was the band's first attempt at revisiting the surf sound they had abandoned since "All Summer Long", topping UK and Australian charts, and the latter contained the B-side "Never Learn Not to Love", based on a song by Charles Manson. The other singles were "I Can Hear Music" and a rerecorded version of "Cotton Fields". In 2018, session highlights, outtakes, and alternate takes were released for the compilation "I Can Hear Music: The 20/20 Sessions".


title: 20/20 (The Beach Boys album)

text: On June 24, 1968, the Beach Boys released the album "Friends", which peaked at number 126 and remained on the "Billboard" Top LPs chart for 10 weeks. It became the group's worst-selling album to date, with record sales in the US estimated at 18,000 units. To recuperate from the album's poor sales, the band quickly released the standalone single "Do It Again". The song was a self-conscious throwback to the group's early surf songs, and the first time they had embraced the subject matter since 1964. It reached the US top twenty and became their second number one hit in the UK. Biographer Chrisian Matijas-Mecca wrote that "while this may have been some of Brian's strongest work of the period, it did nothing to reverse the band's decline in popularity."


title: 20/20 (The Beach Boys album)

text: Brian Wilson said that by early 1968, the group had begun losing thousands of dollars "on stupid things ... cars, houses ... bad investments ... a heck of a lot of corporation money on Brother Records, our own company, and in boosting other artists who just didn't make it, and didn't have a single hit." One of these artists was Ron Wilson (no relation to Brian), who co-wrote "We're Together Again" with him for the Beach Boys, but the group's recording was left unreleased. In turn, Brian produced an ultimately unsuccessful solo single for Ron, a cover of "As Tears Go By", which was released by Columbia Records in September. Another artist that the group worked with was ex-convict Charles Manson, who was then seeking a career as a singer-songwriter. Dennis Wilson befriended Manson and was interested in signing him to Brother Records. Brian and Carl Wilson (not Dennis as is sometimes suggested) proceeded to co-produce several tracks for Manson at the Beach Boys' private studio located in Brian's home. These recordings remain unheard by the public.


title: 20/20 (The Beach Boys album)

text: Over the summer of 1968, Brian attempted to record an arrangement of the 1927 show tune "Ol' Man River". According to music writer Brian Chidester, the session tapes "reveal Wilson conducting the Beach Boys to such extreme perfectionism that both he and the band seem at the end of their rope with one another". Friend and Three Dog Night singer Danny Hutton recalled that Brian expressed suicidal wishes at the time, and that it was "when [Brian's] real decline started". Afterward, Brian was admitted to a psychiatric hospital, possibly of his own volition. Brian's issues were not disclosed to the public, and sessions continued in his absence. Once discharged, Brian rarely finished any tracks for the band, leaving much of his subsequent Beach Boys output for Carl Wilson to complete. Regarding Brian's participation on the group's recordings from then, band engineer Stephen Desper said that Brian remained "indirectly involved with production" through Carl. Dennis said that Brian began to have "no involvement at all", which forced the group to "find things that [he] worked on and try and piece it together."


title: 20/20 (The Beach Boys album)

text: According to biographer Keith Badman, the "20/20" sessions marked "the emergence of Carl and Dennis as producers and of Steve Desper as the group's engineer. Desper is now part of the Beach Boys' fold and remains a chief engineer on their work early into the [1970s]."


title: 20/20 (The Beach Boys album)

text: The two oldest tracks on "20/20" were sourced from late 1966 sessions for the band's unfinished album "Smile". "Our Prayer" is a wordless hymn composed by Brian, while "Cabinessence" is a song written by Brian and Van Dyke Parks. Both tracks were given additional vocal overdubs by Carl and Dennis Wilson in November 1968 at Capitol Studios. According to biographer Peter Ames Carlin, Brian was opposed to the inclusion of those tracks and refused the invitation to participate in the overdub sessions. Desper commented that "Cabinessence" was "finished, more or less, with Brian's guidance through Carl."


title: 20/20 (The Beach Boys album)

text: "Bluebirds over the Mountain" is a cover of the 1958 Ersel Hickey song, produced by Bruce Johnston in September 1967 at Western Studio and completed in October 1968 at Bell Sound. "Time to Get Alone" was written and produced by Brian for the group Redwood (later Three Dog Night) between sessions for the Beach Boys' "Wild Honey" (1967). It was completed by the Beach Boys in November 1968 at their studio.


title: 20/20 (The Beach Boys album)

text: "Do It Again", a Brian Wilson and Mike Love collaboration, was the first track that was worked on after concluding the sessions for "Friends". It was recorded in May and June 1968, released as a single two weeks later, and ultimately chosen as the opening track for "20/20". Brian later called it the finest song that he wrote on the album. The album mix differs slightly in that it briefly segues into another "Smile" outtake, "Workshop", which consists of construction noises and sounds from carpentry tools. "I Went to Sleep" is a waltz written by Brian and Carl with a gentle mood and observational lyrics similar to other Brian songs of the period. "The Nearest Faraway Place" is an instrumental produced by Bruce Johnston with the string arrangement by Van McCoy. The title came from a "Life" magazine article written by Shana Alexander.


title: 20/20 (The Beach Boys album)

text: Leftover tracks from these initial sessions included "All I Wanna Do", "Well You Know I Knew", "Been Way Too Long" (also known as "Can't Wait Too Long"), "Walk On By", "We're Together Again", "Sail Plane Song" (also known as "Loop de Loop"), "Ol' Man River", "Walkin'", and a demo of "Mona Kona". "Been Way Too Long" is an unfinished song started by Brian in 1967. "Walk On By" is a cover of the 1963 Burt Bacharach/Hal David song, recorded at Brian's studio on the same day as the first "Do It Again" session. "Ol' Man River" was intended to be in medley with the standard "Old Folks at Home". "Walkin'" is a song written and sung by Brian that was worked on for two days in June 1968. Band archivist Mark Linett said "he gets so disgusted singing it that you hear him throw down his headphones and that's the last time anybody ever heard of it." Also recorded, according to band manager Nick Grillo, was "a hundred hours of [Manson's] music at [Brian's home] studio".


title: 20/20 (The Beach Boys album)

text: For the majority of July and August, the Beach Boys toured the US and appeared on a few television talk shows. Most of the subsequent new material was tracked at Capitol Studios. Carl produced a rendition of the Ronettes' 1966 song "I Can Hear Music" for the group, and it was the first time he was given a sole production credit. Brian said that he also contributed to the recording, explaining "I wanted the instrumental track ... to be smooth and subliminal. I used acoustic guitars. Carl wailed on the lead." Biographer David Leaf called it "the turning point in the transition of musical control in the Beach Boys from Brian to Carl". Brian also produced a version of Huddie Ledbetter's "Cotton Fields" that he later called "one of the best [records] we've ever made". The idea was suggested by bandmate Al Jardine, who thought they might be able to replicate the success of "Sloop John B" (1966).


title: 20/20 (The Beach Boys album)

text: "Never Learn Not to Love" was originally written by Charles Manson under the title "Cease to Exist". According to Carlin, Manson penned "Cease to Exist" specifically for the Beach Boys to record, and biographer Steven Gaines said that Manson "reportedly" wrote the song to help ease tensions within the group. Dennis produced the Beach Boys' version in September 1968, reworking the song's bluesy structure and altering its lyric (the opening lyric "Cease to exist" modified to "Cease to resist"). The title was also changed to "Never Learn Not to Love", much to Manson's indignation.


title: 20/20 (The Beach Boys album)

text: Dennis wrote and produced two more songs that appear on the album. "Be with Me" was described by Leaf as "dark and eerie ... perfectly capturing his emotions of the era." "All I Want to Do" is a rocker that features the sounds of Dennis having sexual intercourse with a groupie. Also recorded was Dennis' "A Time to Live in Dreams" (released on 2001's "Hawthorne, CA") and "Mona Kana" (released on 2013's "Made in California").


title: 20/20 (The Beach Boys album)

text: The cover photo includes every member of the group except Brian, which Matijas-Mecca referred to as "a sign that the group was determined to forge their own identity without their founding architect." A photograph of Brian hiding behind an eye examination chart does appear on the gatefold cover.


title: 20/20 (The Beach Boys album)

text: Lead single "Bluebirds over the Mountain" (backed with "Never Learn Not to Love") was issued on November 29, 1968 in the UK (number 33) and three days later in the U.S. (number 61), becoming the group's lowest-charting single since their 1961 debut "Surfin'". After touring the UK in December, the Beach Boys returned to the studio to work on the album that would become "Sunflower" (1970).


title: 20/20 (The Beach Boys album)

text: Released on February 10, 1969, "20/20" sold better than "Friends", peaking at number 3 in the UK and reaching number 68 in the US. "Rolling Stone" reviewer Arthur Schmidt said the album was "good, [but] flawed mainly by a lack of direction (a sense of direction being last evident in "Wild Honey)," more a collection than a whole." An uncredited writer from "Hit Parader" opined that it was the band's best album since "Pet Sounds" and an improvement over the "baffling" "Friends" and "Wild Honey". A reviewer for the underground paper "Rat Subterranean News" commented that even though it was "against all my carefully established principles to like The Beach Boys," he enjoyed the LP, yet described most of side one as "weak".


title: 20/20 (The Beach Boys album)

text: In August, Charles Manson and his cult of followers committed the Tate–LaBianca murders, and three months later, were apprehended by police. Their former connections with Dennis and the Beach Boys became the subject of media attention. Manson was later convicted for several counts of murder and conspiracy to murder. During the trial, Manson released his debut album, "", which included his original arrangement of "Cease to Exist".


title: 20/20 (The Beach Boys album)

text: Among retrospective assessments of "20/20", critic Richie Unterberger wrote that it was "one of their better post-"Pet Sounds" records ... The highlights, however, were a couple of "Smile"-session-era tunes ... as hard as they were trying to establish their identity as an integrated band in the late '60s, their new recordings were overshadowed by the bits and pieces of "Smile" that emerged at the time." Biographer David Leaf called it "one of the most artistically interesting releases of their career and certainly one of the stronger later LPs." Peter Ames Carlin wrote that "whatever the album lacked in thematic coherence, it made up in the quality of the pieces contributed by each band member." "Brooklyn Vegan"s Andrew Sacher said that the first side is "uneven and often disappointing", yet side two is "almost flawless".


title: 20/20 (The Beach Boys album)

text: Producer credits are as noted on the original vinyl disc. Charles Manson's contributions to "Never Learn Not to Love" remain uncredited.


title: 20/20 (The Beach Boys album)

text: On December 7, 2018, Capitol released "I Can Hear Music: The 20/20 Sessions", a digital-only compilation. Included are session highlights, outtakes, and alternate versions of "20/20" tracks, as well as some unreleased material by Dennis Wilson. It was released in conjunction with "". The compilations were not issued on physical media due to the record company's wish not to interfere with the release of "The Beach Boys with the Royal Philharmonic Orchestra". In 2021, "I Can Hear Music" was followed with "Feel Flows: The Sunflower and Surf's Up Sessions".


title: 20/20 (The Beach Boys album)

text: Per Craig Slowinski. This list does not include complete personnel credits for "Time to Get Alone" and "Cabinessence".


title: Livingston Taylor

text: Livingston Taylor (born November 21, 1950) is an American singer-songwriter and folk musician. Born in Boston and raised in Chapel Hill, North Carolina, he is the brother of singer-songwriter James Taylor, singer-songwriter Kate Taylor, singer Alex Taylor, and innkeeper and singer Hugh Taylor. Taylor is most notable for his "Billboard" hits "I Will Be In Love With You", "First Time Love", and "I'll Come Running".


title: Livingston Taylor

text: He continues to perform nationally and internationally, and has collaborated with Linda Ronstadt, Jimmy Buffett, Jethro Tull, and his brother James Taylor. He has been a faculty member at Berklee College of Music since 1989.


title: Livingston Taylor

text: Taylor was born to parents Isaac M. "Ike" Taylor and Gertrude "Trudy" Taylor in Boston, Massachusetts. He grew up in North Carolina when his father, a physician, accepted a position at the University of North Carolina at Chapel Hill. His mother had been a student at the Music Conservatory in Boston. He was the fourth of five children, his siblings being Alex (1947–1993), James (born 1948), Kate (born 1949), and Hugh (born 1952).


title: Livingston Taylor

text: At an early age, Taylor built a repertoire of folk songs. "From his high chair in the kitchen, little Liv memorized the radio jingle for snuff, chanting 'If your snuff's too strong, it wrong. Get Tuberose.'" His mother, Trudy, recounted that Taylor "was always inventing things". "He and James would make a stringed instrument out of a gourd, or a gut-bucket bass from a broom pole and a washtub, or a flute out of a garden hose, or drums out of cans." Family sing-a-longs took place as a way for Trudy to pass the time while her husband was away. During those early family musical performances, James played cello, Alex played violin, Kate dulcimer, and Livingston banjo. As recounted by James, "We sang African songs, union songs, folk hymns and radio jingles. Lead Belly, Pete Seeger, Woody Guthrie and The Weavers were the records we most listened to. It was their mother, Trudy, who was the catalyst for the children to create their own songs. One day while in the kitchen, she held up a can of vegetables saying: "Why don't you invent an ad jingle about this can of food?" "Alex, James, and Livingston took up their banjo, cello and harmonica and began to improvise some musical sloganeering as Kate and Trudy joined in." These impromptu performances were christened the "kitchen concerts" by Trudy. They would continue until the children were old enough to leave home for their secondary education at boarding schools.


title: Livingston Taylor

text: When Livingston was eight, his mother took him and his siblings to Europe, crossing the Atlantic on the "New Amsterdam". Their father, Ike, met them in Europe and they all returned home on the "Ile De France".


title: Livingston Taylor

text: Taylor credits his eldest brother, Alex, for inspiring him, at age 13, to be a musician after Alex returned home one evening having earned $20 performing at a fraternity party. Livingston picked up the guitar and became quite accomplished by age 17.


title: Livingston Taylor

text: The Taylor family started vacationing on Martha's Vineyard in the early 1950s, and Livingston has spent every summer there. His parents bought a home there in 1963, and in 1977 Livingston purchased his own 300-square-foot home for $111,000. He refers to the small home as "The Camp".


title: Livingston Taylor

text: Taylor began playing music in public for pay in 1963. In Chapel Hill, he was part of a folk trio with guitarist Paul Collins and singer Kim Packer. They covered hits by The Kingston Trio and Peter, Paul and Mary. In junior high he was in a rock group for a short period of time. His first serious attempt at songwriting came in 1966 while he was completing his secondary school education at McLean's Arlington School. He says that that first song, "I'm Searching for a Miracle", was "terrible", but his second attempt, a song titled "Good Friends", became part of his folk setlist for the next four decades.


title: Livingston Taylor

text: In 1968, Manny Greenhill, who had managed Joan Baez for a time, got him a booking at a YMCA in Worcester, which led to some shows at Boston University. It was during one of those shows at BU that he had the opportunity to open for Joni Mitchell.


title: Livingston Taylor

text: Around this time, Jon Landau suggested to Taylor that he approach the Macon, Georgia-based Capricorn Records founded by Phil Walden and Jerry Wexler.


title: Livingston Taylor

text: Taylor was one of the first artists to sign with Capricorn Records in 1970. Landau gathered session players Pete Carr (guitar), Paul Hornsby (keyboards), Robert Popwell (bass) and Johnny Sandlin (drums). "We made a lot of the album in Macon, and then we came up to Boston to finish off a few vocals...and then we mixed it in Detroit because Jon was recording an album with a group called MC5." Taylor's debut album, "Livingston Taylor", was produced by Landau (who would later produce Bruce Springsteen) and included the song "Carolina Day". "Carolina Day" peaked at No. 93 on the Billboard Top-100 chart. The debut album included ten originals written by Taylor and one cover: "Six Days on the Road" penned by Earl Greene and Carl Montgomery.


title: Livingston Taylor

text: By 1970 Taylor's parents, Ike and Trudy, were legally separated. Several of the Taylor children moved north from North Carolina. Livingston and his then-girlfriend Margaret "Maggie" Shea moved into a cottage in Weston, Massachusetts.


title: Livingston Taylor

text: The following year, Taylor's second album, "Liv", also on Capricorn Records and produced by Landau, was released. It included the song "Get Out of Bed" which peaked at No. 97 on Billboard. Once again, Joe Viglione penned the AllMusic review, stating that "Get Out of Bed" "is a brilliant and exciting slice of pop music" and that "with the understated production of Jon Landau, Livingston's beautiful heartfelt vocals make this an extraordinary work of art."


title: Livingston Taylor

text: Taylor's third and final album on Capricorn, "Over the Rainbow" was released in 1973 and features guest vocalists James Taylor and Carly Simon on his original "Be My New Horizon". In her album review, Denise Sullivan wrote that the title track was "an inspired vocal version" of a song that has been interpreted by many others.


title: Livingston Taylor

text: Taylor left Capricorn Records and released the first of two albums on Epic Records, "Three Way Mirror", in 1978. The album featured "I Will Be In Love With You," which peaked at No. 30 on Billboard, and "Going Round One More Time," a song that was later recorded by his brother James Taylor for his 1985 album "That's Why I'm Here". Livingston Taylor promoted "Three Way Mirror" when he toured with Linda Ronstadt as her opening act.


title: Livingston Taylor

text: In 1979, Capricorn Records released "Echoes", a collection of songs from Taylor's first three albums that included "I Will Be In Love With You." In "" (1981), Robert Christgau appraised the compilation and Taylor's career up to that point: "Vocally, Liv is almost James's twin but not quite—he adds a touch of depth to the lissome drawl and subtracts all wow and flutter. Since what makes James unique is also what makes him repulsive, I find Liv more likable but less interesting—especially given his songwriting, which this best-of, drawn from his three early '70s LPs, makes the best of. I ask you, what good is a funny voice without a sense of humor?"


title: Livingston Taylor

text: During the 1970s, Taylor appeared on several nationally televised variety shows including "The Midnight Special", "Dinah!" (hosted by Dinah Shore), "The Mike Douglas Show" and "American Bandstand".


title: Livingston Taylor

text: In 1980 Taylor released his second album on the Epic label, "Man's Best Friend", which was produced by John Boylan and Jeff Baxter. The album contained the songs: "First Time Love," and "Pajamas" (sometimes known as "I've Got My Pajamas On"), which was later adapted into a book for children written by Taylor and his wife, Maggie. In his album review, Joe Viglione wrote that ""Man's Best Friend" boasts superb musicianship, high production values, good song selection, beautiful vocal performances from Livingston Taylor, and an impressive cast of guest stars who do not get in the way of the singer/songwriter". Guest vocalists included Carla Thomas and Don Henley.


title: Livingston Taylor

text: In 1984, Taylor hosted a nationally syndicated television show, similar to American Bandstand called "This Week's Music". In some markets the show aired 5 days weekly. Musical guests included Paul McCartney and Jon Bon Jovi.


title: Livingston Taylor

text: In 1986, Livingston and his siblings, James, Kate, Hugh, and Alex Taylor played live on Today (American TV program) on Christmas morning.


title: Livingston Taylor

text: In 1988, Taylor's first of two children's books, "Pajamas", co-written with his wife, Maggie Taylor was published by Harcourt (publisher). In her review for "School Library Journal", Patricia Dooley wrote "If we knew the tune we could hum along: the lyrics of a children's song make up the text of this bedtime book. She goes on to say that the illustrator "Bowers has provided cuddly-looking acrylics, a smug little kid, and a passle of appealing stuffed animals."


title: Livingston Taylor

text: Taylor's one album on the Sony Records label, "Life Is Good", was produced by Artie Traum and Scott Petito and released in 1988. "The tribute to Louis Armstrong is an essential element of Taylor's ability to put together albums that are extraordinary in their perfection." The following year the album was the winner of the 1989 Boston Music Award for Outstanding Folk Album.


title: Livingston Taylor

text: In 1989, he began teaching the class "stage performance" at the Berklee College of Music in Boston. (See additional details in Berklee section below.)


title: Livingston Taylor

text: On November 21, 1989, his 39th birthday, Taylor made a decision to give up alcohol and pursue a lifelong dream of flying. He bought an airplane and enrolled in aviation classes.


title: Livingston Taylor

text: In the late 1980s, Taylor wrote and performed the theme songs for two local Boston-area TV programs: the children's series " A Likely Story" (produced by WCVB-TV) and the weeknight infotainment program "Evening Magazine" (produced by WBZ-TV).


title: Livingston Taylor

text: Taylor worked with Traum and Petito again on the 1991 release "Our Turn to Dance". In his album review, Jim Worbois wrote: "A talented songwriter in his own right (and most of the album is written or co-written by him) he's a good judge of other people's songs. Two fine examples are 'No Easy Way to Break Somebody's Heart' by Barry Mann (Yup, the 'Who Put the Bomp' guy) and the Jerome Kern classic 'The Way You Look Tonight.'"


title: Livingston Taylor

text: The second of Taylor's children's books, "Can I Be Good?" was published by Harcourt (publisher) in 1993. In her review for "School Library Journal", Kate McClelland wrote that the book is "a rhyming story about a fully grown, high-spirited golden retriever who has trouble behaving." She goes on to say that illustrator Ted Rand "has caught this fractious dog's every mood-playfulness, boredom, shame, and remorse" and that the book is "unlikely to be a shelf-sitter."


title: Livingston Taylor

text: "Publishers Weekly" also reviewed "Can I Be Good?". Diane Roback and Elizabeth Devereaux wrote: "Children will see themselves in the gleeful activities of a golden retriever who finds that "it's awfully hard to be good."" They go on to say that "Taylor's rhyming prose snaps along merrily, upbeat in tempo yet tinged with wry melancholy that reflects the naughty dog's exasperation."


title: Livingston Taylor

text: An album of live concert recordings, "Unsolicited Material", again on the Chesky label, was released in 1994. The album "captured the warm-hearted fun of Taylor's concerts and ranged from humorous tunes including Andy Breckman's "Railroad Bill" and "The Dollar Bill Song," a medley of "Songs That Should Never Be Played on the Banjo," and the originals "Jacques Cousteau" and "I Hate Country Music" to heartfelt renditions of Hoagy Carmichael's "Heart and Soul" and Earl Scruggs' "Earl's Breakdown."


title: Livingston Taylor

text: For his 1996 Chesky label release "Bicycle", Taylor "assembled a diverse backing group (which features his brother James) and dug into a set of songs that were rootiser and more eclectic than much of his previous work". "Boatman" a song on the "Bicycle" album was later recorded by his brother James in 1997.


title: Livingston Taylor

text: "Ink", a collection of R&B cover songs, was released on the Chesky label in 1997. "Songs made famous by Ray Charles, The Jackson Five, and Stevie Wonder are re-imagined via the gentle, genial imagination of Livingston Taylor."


title: Livingston Taylor

text: In 1998, an eighteen track retrospective of the first decade of Taylor's career, "Carolina Day: The Livingston Taylor Collection" was released. In 1999 a second live album "Snapshot: Live at the Iron Horse" was released. It included "My Father's Eyes", a tribute to his father.


title: Livingston Taylor

text: In the spring of 2001, as his new home on Martha's Vineyard was completed, he separated from his wife Maggie after 25 years of marriage.


title: Livingston Taylor

text: A second retrospective was released in 2005 with "20th Century Masters – The Millennium Collection: The Best of Livingston Taylor".


title: Livingston Taylor

text: In 2006 Taylor released his first studio album in nine years, "There You Are Again". In his review, Hal Horowitz wrote: "The extended wait between albums has paid off in the immaculate production devoted to each song." Musicians include drummer Steve Gadd, keyboardist Matt Rollings, saxist David Sanborn, and bass player Leland Sklar. Taylor's brother, James, and sister, Kate, provide backup vocals on "There I'll Be". Additional backup vocals are provided by Vince Gill and Pam Tillis while former sister-in-law Carly Simon sings a duet with Taylor on "Best of Friends".


title: Livingston Taylor

text: Spiritual overtones are evident on two tracks: Andraé Crouch conducts the New Day Jubilee Gospel Choir on "Step by Step" and the a cappela choir Take 6 helps out on "Tell Jesus (To Come to My House).


title: Livingston Taylor

text: In 2010 Taylor released "Last Alaska Moon", produced by Glenn Rosenstein. Musicians include bassist Leland Sklar; drummer Steve Gadd; guitarists Vince Gill, Chris Rodriguez, and J.T. Corenflos; keyboardist Shane Keister, and vocalist Andrea Zonn. The album consists of ten originals and two covers, "Answer My Prayer" with Carole Bayer Sager and Michael Jackson's "The Girl Is Mine", a duet with nephew Ben Taylor.


title: Livingston Taylor

text: Four years later, Taylor released "Blue Sky", a collection of both original songs and covers of some pop classics.


title: Livingston Taylor

text: The year 2017 marked Taylor's 50th year in the music business. To commemorate this milestone, Boston Mayor Marty Walsh and Massachusetts Governor Charlie Baker declared January 18, 2017 to be Livingston Taylor Day in Boston. Taylor was recognized for his 50-year music career, as well as being a long-time professor at Berklee College of Music. That evening a party held at the Vorb Hotel in Boston was attended by friends and family including Taylor's sister, Kate, niece Sally Taylor, along with Sally's mother, long-time friend, Carly Simon, Don Law, and Norman Chesky.


title: Livingston Taylor

text: Two days later, Taylor announced the forthcoming release of "Safe Home" which was officially released on March 3, 2017. The album was recorded in an abandoned church in Brooklyn, New York with musicians Shelly Berg on piano, David Finck on bass, Bashiri Johnson on percussion and Chelsea Berry providing vocals. Like Taylor's previous album "Blue Sky", "Safe Home" includes original songs as well as show tunes by Rodgers and Hammerstein and others. In his review of the album, Jason Warburg wrote: "That’s what the aptly-named "Safe Home" feels like: an impromptu after-dinner living room concert with Livingston Taylor and friends. Taylor’s voice has that rich, unique timbre of New England-by-way-of-North-Carolina that he and his brother James have made famous, lending both his vocals and his superb acoustic guitar picking a sense of instant familiarity and comfort." Cover songs include Paul McCartney's "Penny Lane", Irving Berlin's "Anything You Can Do" and the Everly Brothers "Bye Bye Love". Warburg wrote that the opening song, "I Must Be Doing Something Right", a Taylor original, "has the timeless feel of a Cole Porter tune".


title: Livingston Taylor

text: In his review, Harris Fogel wrote:"this is a lovely collection of tunes, smooth, gentle, and relaxing. This is quiet, confident yet not showy musicianship. The guitar solos, the bass lines, vocals and percussion all work together to create a quiet intimate experience. Highly recommended for the Gentle and Loving People in Your Life."


title: Livingston Taylor

text: On April 4, 2017, Taylor announced a crowdfunding campaign to help finish a documentary about his life directed by Tracey Anarella to be released in the fall of 2017. Two months after its launch, an update announced that the crowdfunding campaign had been 109% funded. On October 27, 2017, supporters were sent a downloadable link to the finished film and on November 30, 2017, Fish announced a "soft premier" in the Boston area for Wednesday, February 21, 2018, saying additional details would be forthcoming. Persons interviewed for the documentary, who appear in the film's trailer, include: Sally Taylor, Ian Anderson, Carly Simon, Roger H. Brown, and Ben Taylor. The film was scheduled to be screened at the 27th Annual Woods Hole Film Festival, Cape Cod's oldest film festival, during the eight-day festival running from July 28 to August 4, 2018.


title: Livingston Taylor

text: Taylor began 2018 with a tradition of shows at the Iron Horse Music Hall in Northhampton, Massachusetts on January 5 and 6.


title: Livingston Taylor

text: On January 9, 2018, Peter Fish, producer of the "Life is Good" documentary announced that a limited number of tickets would be available at the door for the February 21 premier of the documentary. The screening took place at NewTV in Newton, Massachusetts.


title: Livingston Taylor

text: In early April 2018, it was announced that Taylor would be one of three musicians serving as hosts on a multi-day "Roots on the Rails" tour through Vermont in November. On the tour, one of six "Roots on the Rails" tours scheduled for 2018, Taylor will be joined by musicians Susan Werner and Peter Mulvey.


title: Livingston Taylor

text: The First Annual Livingston Taylor Retreat was announced in early summer 2018. In addition to Taylor, instructors announced for the retreat include Melissa Ferrick and Vance Gilbert. The retreat was held August 17–19, 2018 at Boston University.


title: Livingston Taylor

text: After eleven years teaching at the Berklee College of Music, Livingston wrote a textbook, "Stage Performance," which was published by Pocket Books in 2000."Stage Performance" was Taylor's first book written for adults, having published two books for children earlier in his career. A revised edition of the book was published in 2011.


title: Livingston Taylor

text: Taylor married Margaret "Maggie" Shea on May 1, 1976. After 25 years of marriage, they separated in 2001 and the marriage ended in 2003. During their marriage, they co-authored the 1988 children's book "Pajamas". In 2015, Taylor married Gail Arnold. Wedding guests included Steven Spielberg (for whom Arnold has served as private chef), his brother James, as well as other family members and friends who celebrated the occasion in Belmont, Massachusetts.


title: Livingston Taylor

text: Taylor has been a pilot for over 20 years, often making a 40-minute commute from Boston to Martha's Vineyard in his 1964 Cessna 205. In his spare time, he enjoys working on lawn mowers, tractors and his motorcycles.


title: Livingston Taylor

text: He has maintained a close friendship with his former sister-in-law Carly Simon and the two have collaborated several times. In her memoir, "Boys in the Trees," Simon states that Livingston Taylor was the first member of the Taylor family whom she met when she drove to the Taylor family home in 1970. She and Livingston were scheduled to perform a duet at a film festival that Simon's brother, Peter, was producing and needed to rehearse.


title: Poverty in China

text: In China today, poverty refers mainly to the rural poor, decades of economic development has reduced urban extreme poverty. According to the World Bank, more than 850 million Chinese people have been lifted out of extreme poverty; China's poverty rate fell from 88 percent in 1981 to 0.7 percent in 2015, as measured by the percentage of people living on the equivalent of US$1.90 or less per day in 2011 purchasing price parity terms, which still stands in 2022. Chinese definition of extreme poverty is more stringent than that of World Bank, and is defined as earning less than $2.30 a day at purchasing power parity (PPP), Since the start of far-reaching economic reforms in the late 1970s, growth has fuelled a substantial increase in per-capita income lifting people out of extreme poverty. China's per capita income has increased fivefold between 1990 and 2000, from $200 to $1,000. Between 2000 and 2010, per capita income also rose by the same rate, from $1,000 to $5,000, moving China into the ranks of middle-income countries. Between 1990 and 2005, China's progress accounted for more than three-quarters of global poverty reduction and was largely responsible for the world reaching the UN millennium development target of dividing extreme poverty in half. This can be attributed to a combination of a rapidly expanding labour market, driven by a protracted period of economic growth, and a series of government transfers such as an urban subsidy, and the introduction of a rural pension. The World Bank Group said that the percentage of the population living below the international poverty line of $1.9 (2011 PPP) fell to 0.7 percent in 2015, and poverty line of $3.2 (2011 PPP) fell to 7% in 2015. At the end of 2018, the number of people living below China's national poverty line of ¥2,300 (CNY) per year (in 2010 constant prices) was 16.6 million, equal to 1.7% of the population at the time.