title: Micelle

text: Micelles may also have important roles in chemical reactions. Micellar chemistry uses the interior of micelles to harbor chemical reactions, which in some cases can make multi-step chemical synthesis more feasible. Doing so can increase reaction yield, create conditions more favorable to specific reaction products (e.g. hydrophobic molecules), and reduce required solvents, side products, and required conditions (e.g. extreme pH). Because of these benefits, Micellular chemistry is thus considered a form of Green chemistry. However, micelle formation may also inhibit chemical reactions, such as when reacting molecules form micelles that shield a molecular component vulnerable to oxidation.


title: Micelle

text: Micelle formation is essential for the absorption of fat-soluble vitamins and complicated lipids within the human body. Bile salts formed in the liver and secreted by the gall bladder allow micelles of fatty acids to form. This allows the absorption of complicated lipids (e.g., lecithin) and lipid-soluble vitamins (A, D, E, and K) within the micelle by the small intestine.


title: Micelle

text: During the process of milk-clotting, proteases act on the soluble portion of caseins, κ-casein, thus originating an unstable micellar state that results in clot formation.


title: Tiki-taka

text: Tiki-taka or Tiqui-taca () is a style of play in Spain's football, characterised by short passing and movement, working the ball through various channels, and maintaining possession. The style is primarily associated with the Spain national team since 2006 by the managers Luis Aragonés and Vicente del Bosque. Tiki-taka methods were eventually embraced by the La Liga club Barcelona from 2009, especially during the era of manager Pep Guardiola; however, Guardiola distanced himself and the club from the style: "I loathe all that passing for the sake of it", stating, "Barça didn't do tiki-taka!", adding, "You have to pass the ball with a clear intention, with the aim of making it into the opposition's goal." Its development and influence goes back to Johan Cruyff's tenure as manager in the early 1990s all the way to the present. The first goal using this game system is considered to be the one scored in the qualifying match for UEFA Euro 2008, played in Aarhus (Denmark) at October 13, 2007, by Sergio Ramos.


title: Tiki-taka

text: Earlier tactics that, like tiki-taka, rose to success in their times due to an unprecedented perfection in passing and movement without the ball include the Schalker Kreisel ("Schalke spinning top"), which won FC Schalke 04 six German championships between 1934 and 1942, and the Total Football used by Ajax Amsterdam and the Dutch national team during the 1970s.


title: Tiki-taka

text: Manager Angelo Niculescu adopted a style that is also considered a precursor of tiki-taka (the Romanian term was "temporizare", which translates to "delaying"). The team would try to keep possession of the ball for as long as possible, using repeated and short passes until a breach in the opposition defense was found. Using this tactic, he transformed the Romanian national team and managed to qualify them to the Mexico 1970 World Cup after a 32 year absence.


title: Tiki-taka

text: The late Spanish broadcaster Andrés Montes is generally credited with coining and popularizing the phrase "tiki-taka" during his television commentary on LaSexta for the 2006 World Cup, although the term was already in colloquial use in Spain's football and may have originated as a critical or derogatory term by then Athletic Bilbao coach Javier Clemente. In his live commentary of the Spain versus Tunisia match, Montes used the phrase to describe Spain's precise, elegant passing style: ""Estamos tocando tiki-taka tiki-taka"" ("we are playing tiki-taka tiki-taka").


title: Tiki-taka

text: The roots of what would develop into tiki-taka began to be implemented by Johan Cruyff during his tenure as manager of Barcelona from 1988 to 1996. The style of play continued to develop under fellow Dutch managers Louis van Gaal and Frank Rijkaard and has been adopted by other La Liga teams. Barcelona's Dutch managers made it a point to promote from their youth system, and Barcelona's La Masia youth academy has been credited with producing a generation of technically talented, often physically small, players such as Pedro, Xavi, Andrés Iniesta, Cesc Fàbregas, and Lionel Messi; players with excellent touch, vision and passing, who excel at maintaining possession.


title: Tiki-taka

text: Pep Guardiola managed Barcelona from 2008 to 2012, winning 14 titles. Under his guidance, tiki-taka was established. This was partly due to Guardiola's visionary coaching, partly due to an exceptional generation of players, many of whom had been schooled in La Masia's idiosyncratic style, and partly due to Barcelona's ability to sustain intense pressure on the ball. The 2005 update to the offside law was also a contributing factor: by forcing defenders deeper, the law expanded the effective playing area, making players' size matter less and allowing technical skills to flourish. The tactic shared Dutch Total Football's principle of high defensive line, positional interchange and use of possession to control the game. Tiki-taka diverged from its Total Football roots by subordinating everything to the pass: Guardiola played a centre-forward as a false nine to keep the ball moving fluidly from different angles; he played the full-backs higher; he selected midfielders in defence to exploit their passing ability; and he forced the goalkeeper to play the ball out from the back.


title: Tiki-taka

text: The guiding principle of this type of play was efficient use of space. The teams must narrow the playing space while defending, and must expand the playing space wider while attacking. The objective was to make quick and short passes, till an opponent was caught out of position and space was created. Pep also used the concept of positional play, which in simple words mean that the pitch is divided into different zones, and that no more than 2 players must occupy the same line vertically and no more than 3 players should occupy the same line horizontally. Guardiola trained his players by painting lines on the training ground to show players what the zones were. This training made it an instinct of the players to find zones where they can receive or play a pass. Thus, for a layman, it would have look like passing and keeping possession, it was actually quite calculated.


title: Tiki-taka

text: Raphael Honigstein describes the tiki-taka played by the Spain national team at the 2010 World Cup as "a radical style that only evolved over the course of four years," arising from Spain's decision in 2006 that "they weren't physical and tough enough to outmuscle opponents, so instead wanted to concentrate on monopolising the ball." Luis Aragonés and Vicente del Bosque successfully employed the tiki-taka style with the Spain national team; during their tenure, Spain won three consecutive major titles: Euro 2008 (under Aragonés), the 2010 FIFA World Cup, and Euro 2012 (under del Bosque).


title: Tiki-taka

text: Tiki-taka is founded upon team unity and a comprehensive understanding in the geometry of space on a football field.


title: Tiki-taka

text: Pep Guardiola's example of tiki-taka at FC Barcelona is considered the best application of this style after Barcelona won the sextuple in 2009, Barcelona played with a high defensive line usually applying the offside trap with midfielders providing support to defenders to make more passing options available. Defenders are patient, preferring safe pass options looking for midfielders with the ball circulated anywhere on the pitch waiting for a gap to make a vertical pass. The team created most of chances depending on through balls and performing give and go pass usually with Lionel Messi involved in action. Guardiola preferred freedom in the final third of the pitch which was effective as the team created many chances per match.


title: Tiki-taka

text: Tiki-taka has been variously described as "a style of play based on making your way to the back of the net through short passing and movement," a "short passing style in which the ball is worked carefully through various channels," and a "nonsensical phrase that has come to mean short passing, patience and possession above all else." The style involves roaming movement and positional interchange among midfielders, moving the ball in intricate patterns, and sharp, one- or two-touch passing. Tiki-taka is "both defensive and offensive in equal measure" – the team is always in possession, so does not need to switch between defending and attacking. Commentators have contrasted tiki-taka with "route one physicality" and with the higher-tempo passing of Arsène Wenger's 2007–08 Arsenal side, which employed Cesc Fàbregas as the only channel between defence and attack. Tiki-taka is associated with flair, creativity and touch, but can also be taken to a "slow, directionless extreme" that sacrifices effectiveness for aesthetics.


title: Tiki-taka

text: Tiki-taka has been used successfully by the Spain national team, first under Luis Aragonés to win Euro 2008, and subsequently under Vicente del Bosque to win the 2010 World Cup and Euro 2012. It was also used to great success by Barcelona under Pep Guardiola between 2008 and 2012; his team won six trophies in 2009 (including a Continental Treble of La Liga, the Copa del Rey, and the 2008–09 UEFA Champions League, followed by the UEFA Super Cup, the Spain Super Cup, and the FIFA Club World Cup). The team's attacking, possession-based tiki-taka tactics and 4–3–3 formation also allowed them to win two more consecutive La Liga titles, as well as the 2010–11 UEFA Champions League, among other trophies. While Luis Enrique adopted a faster and more direct tactical approach during his tenure as Barcelona's manager, he also used some similar aspects of tiki-taka, such as an exciting, attacking–minded, possession–based passing game, and building plays from the back on the ground, while instead successfully modifying other elements of his team's gameplay, and abandoning the use of long balls that had characterised Tata Martino's spell with the team. He led Barcelona to a second continental treble during the 2014–15 season, capturing La Liga, the Copa del Rey, and the 2014–15 UEFA Champions League.


title: Tiki-taka

text: Sid Lowe identifies Luis Aragonés' tempering of tiki-taka with pragmatism as a key factor in Spain's success in Euro 2008. Aragonés used tiki-taka to "protect a defense that appeared suspect [...], maintain possession and dominate games" without taking the style to "evangelical extremes." None of Spain's first six goals in the tournament came from tiki-taka: five came from direct breaks and one from a set play. For Lowe, Spain's success in the 2010 World Cup was evidence of the meeting of two traditions in Spain's football: the "powerful, aggressive, direct" style that earned the silver medal-winning 1920 Antwerp Olympics team the nickname "La Furia Roja" ("The Red Fury"), and the tiki-taka style of the contemporary Spain team, which focused on a collective, short-passing, technical and possession-based game.


title: Tiki-taka

text: Analyzing Spain's semi-final victory over Germany at the 2010 World Cup, Honigstein described the team's tiki-taka style as "the most difficult version of football possible: an uncompromising passing game, coupled with intense, high pressing." For Honigstein, tiki-taka is "a significant upgrade" of Total Football because it relies on ball movement rather than players switching position. Tiki-taka allowed Spain to "control both the ball and the opponent."


title: Tiki-taka

text: At the 2011 Women's World Cup, the Japan women's national football team ("Nadeshiko") employed a form of tiki-taka under coach Norio Sasaki. They upset hosts Germany and the United States to win the tournament.


title: Tiki-taka

text: While the tiki-taka style has been praised by several pundits and footballing figures, due to its success and attacking approach, it has also been criticised at times. During Euro 2012, for example, the Spain national side drew criticism in the media for adopting a striker-less formation and a dull brand of tiki-taka, which produced relatively few goals, despite the team dominating possession throughout the tournament, with Spain averaging 63% ball possession during their three group matches; in the lead–up to their final victory, Spain averaged 58 passes per shot, and only 1.8 goals per match, which was 25% lower than the tournament average of 2.4. Journalist Guy Hedgecoe from Iberosphere argued that tiki-taka is not entertaining any more due to the lack of pure strikers in the Spain national team and their use of a false "9" or a midfield player as a forward. This makes the game of football full of midfielders and no strikers or defenders. Hedgecoe claimed, "With no strikers, no defenders…no goalkeeper, perhaps, just 11 technically blessed midfielders merrily passing the ball around until someone walks it into the net".


title: Tiki-taka

text: José Mourinho has criticised the Spain national team for using sterile techniques, such as having no strikers and only midfielders. Former Arsenal manager Arsène Wenger had said that the Spain football team had changed their philosophy, becoming less attacking and more negative, saying, "Originally they wanted possession in order to attack and win the game; now it seems to be first and foremost a way not to lose" during Euro 2012, a competition Spain had won. Others believed that the lack of emphasis on the offensive led to fewer goals, and that the team's seemingly endless passing was in fact boring, with Rob Smyth of "The Guardian" dubbing it "Tiki-takanaccio," a reference to the defensive–minded "catenaccio" tactical system.


title: Tiki-taka

text: In a 2013 interview with "La Gazzetta dello Sport", Spain and Barcelona defender Gerard Piqué admitted that he felt that Barcelona had become predictable in the way they played as a result of being overly dependent on "tiki-taka", stating: "We played the last few years with homegrown coaches, first Pep and then Tito, and maybe we ended up exasperating our style of play to the extent that we found ourselves slaves to that system, that style. Now that Tata, who comes from outside the club, has arrived, and who shares the same ideas of football, which are based on possession, he is, however, showing us different options. It's very positive because it gives us variety. When we are being pressed, sending the ball long a few times is not negative; it helps you mix things up, giving you oxygen and preventing us from getting crushed with no way out. We have started pressing far up the field again, winning back possession in the final third of the field and, from there, it's far easier to create chances without having to build up from right at the back, particularly against sides who close up a lot. It's normal to try to develop new ideas and variations. After many years, our opponents obviously knew how we attacked, how we moved. Look at Alves and Alba, for example. They push a lot and some opponents would give them space down the wing, but not let them move inside. It became difficult to get in. We needed to find alternative solutions and Tata's doing that without ruining our style – we still have the same possession. We needed variations like this."


title: Tiki-taka

text: Although Pep Guardiola is known for adopting a tiki-taka inspired playing style with his teams, in 2014, he was dismissive of the use of the particular label being applied to describe his teams' playing styles; moreover, he himself was critical of a possession–based strategy with little attacking intent, stating: "I loathe all that passing for the sake of it, all that tiki-taka. It's so much rubbish and has no purpose. You have to pass the ball with a clear intention, with the aim of making it into the opposition's goal. It's not about passing for the sake of it. Don't believe what people say. Barça didn't do tiki-taka! It's completely made up! Don't believe a word of it! In all team sports, the secret is to overload one side of the pitch so that the opponent must tilt its own defence to cope. You overload on one side and draw them in so that they leave the other side weak."


title: Tiki-taka

text: In 2017, Italian defender Giorgio Chiellini expressed his belief that the popularisation of the attacking–minded "tiki-taka" playing style, associated with the Spain national side and Barcelona under Guardiola, and the increasing focus on developing defenders who are comfortable with the ball at their feet from a young age, had in fact had a negative impact on their overall defensive quality, and Italian football's ability to produce top defenders in particular, stating: ""Guardiolismo" [a term he coined for "the Guardiola way"] has ruined a generation of Italian defenders a bit – now everyone is looking to push up, defenders know how to set the tone of play and they can spread the ball, but they don't know how to mark. Unfortunately, that's the way it is. When I was young, we used to do drills to get a feel for the man you were marking. Nowadays, from crosses, Italian defenders – and I can only really talk for Italian defenders, I am only relatively interested about foreign players – don't mark their man. It's a great pity because we're losing our DNA a bit and some of those characteristics which had made us excel in the world. Now, we need talented players up front, but we also need to bring somebody through in defence because we are never going to be able to play Spain's "tiki-taka" because it's not part of our philosophy."


title: Tiki-taka

text: Similarly, in 2019, Italian goalkeeper Gianluigi Buffon expressed mixed views regarding goalkeepers being given more responsibilities with the ball at their feet, as well as the fact that keepers were being increasingly judged by scouts more on their ball skills than their goalkeeping ability, stating: "Today there is this great – in my opinion, exaggerated – focus on how keepers play the ball with their feet; how they need to pass and move with their other team-mates. I myself, ever since I was a kid, was an atypical goalkeeper. I often had this role of being a 'libero', playing with my feet a lot. At times, honestly, I did it in an excessive way. Despite that, I maintain one thing: if you lose that true attention, that sincere focus on being a good goalkeeper – which means stopping shots, knowing how to come out for a high ball, understanding how you approach a low ball as you come off your line – then, for me, you’re being asked to totally go against your natural role." He also added: "You see goalkeepers today who are much better than their peers, but wind up getting overlooked in favour of someone else who can play three tidy passes. If you ask me, I would say that every great team – or at least the teams that have won – has always had a great keeper who knows how to make saves first of all. After that, if they can do things with their feet then sure, that is even better."


title: Tiki-taka

text: The high-profile success of tiki-taka as practiced by Barcelona and the Spain national team in the late 2000s led to a variety of tactics and formations designed to contain and counter the system's domination of ball possession.


title: Tiki-taka

text: The first team to defeat the Spain national team in a tournament during the tiki-taka era was the United States, who eliminated Spain with a 2–0 victory in the semi-finals of the 2009 FIFA Confederations Cup. USA coach Bob Bradley used a narrow and deep 4–4–2 designed to force Spain's possession to wide areas and draw Spain's defence out of shape, creating space for counter-attacks that resulted in goals for Jozy Altidore and Clint Dempsey. Later, in their opening game of the 2010 World Cup, Spain suffered a 1–0 loss to Switzerland, with Swiss manager Ottmar Hitzfeld admitting following the match that he had been influenced by Bradley's tactics from the Confederations Cup.


title: Tiki-taka

text: Guardiola's Barcelona faced 52 different teams and managed wins against all of them except Chelsea. During the 2009 Champions League semi-finals, Chelsea, who were managed by Guus Hiddink, used a solid, compact, and communicating defence to force Barça to shoot outside the penalty area as well as having defender José Bosingwa, helped by centre-back John Terry and defensive midfielder Michael Essien, man-mark Lionel Messi. This worked as the first leg was a 0–0 draw at Camp Nou. The draw ensured Chelsea were the first visiting team that season to keep a clean sheet in Barça's home stadium. In a controversial second leg match with Chelsea calling for up to four penalties, Chelsea were up 1–0 until Andrés Iniesta scored in stoppage time to level the tie at 1–1 and let Barça advance on away goals.


title: Tiki-taka

text: In the 2010 semi-finals of the Champions League, José Mourinho's Internazionale players denied Barça space as they double-marked Messi and prevented Xavi from achieving a successful passing rhythm. Inter won the first leg 3–1, and then lost 0–1 to advance on aggregate 3–2. Mourinho would become manager of Real Madrid the next season and employ similar tactics, resulting in a bitter domestic rivalry with Guardiola over the following two years.


title: Tiki-taka

text: Chelsea manager Roberto Di Matteo succeeded in countering tiki-taka when his team met Barça in the semi-finals of the 2011–12 UEFA Champions League. According to Chelsea's Fernando Torres, concentrating on space rather than trying to steal the ball was part of his squad's strategy to counter Barça. Winning battles on the wings, such as Ramires against Dani Alves, would force Barça to funnel their attacks toward the centre of the field. Former Chelsea winger Pat Nevin noted that stationing three disciplined midfielders in front of the back four defenders denied Barça space, forcing Lionel Messi to withdraw deeper and narrower to get to the ball (as Messi was high on the pitch, he was stripped of the ball by Chelsea's Frank Lampard, which led to a goal for Chelsea in the first leg). During the second leg, Di Matteo deployed a 4–5–1 formation with a very compact midfield structure. While Barça enjoyed 73% of ball possession over the two legs and 46 shots to Chelsea's 12 (11 of these shots on target versus Chelsea's four). By contrast, Chelsea's Frank Lampard completed two telling passes in the two legs; both of them leading to goals. It has been suggested that Barça's weakness offensively is winning balls in the air, especially against a team like Chelsea that has the size and strength to control balls in the box. Chelsea achieved a 1–0 victory in the first leg and a 2–2 tie in the second to overcome Barça.


title: Tiki-taka

text: The next season, Barcelona faced Massimiliano Allegri's A.C. Milan in the Champions League round of 16. In the first leg at the San Siro, Milan employed a very narrow 4–4–2 formation, with Stephan El Shaarawy acting both as a second striker and a fifth midfielder, ready to break in behind Dani Alves, and Sulley Muntari closely man-marking Xavi in the center. Thus, Barcelona had only one chance on goal and ended up losing 2–0. In the second leg, Barca changed their formation to what was effectively a 3–3–1–3, with David Villa in a centre-forward role, allowing Messi space between the lines and completely demolishing Milan's shape, ending in a 4–0 Barcelona victory.


title: Tiki-taka

text: Later in the same season, tiki-taka's vulnerability was exposed when Bayern Munich defeated Barça 4–0 in the 2012–13 Champions League semi-finals and 3–0 in the return leg. Bayern head coach Jupp Heynckes had built upon his predecessor Louis van Gaal's foundations by making the team more defensively balanced, while replacing Van Gaal's "positional football"—everyone had to stick to their specific space on the pitch when attacking the opposition goal—with a much more fluid and attacking style that gave the forwards freedom to roam and swap. In the first leg, Barça enjoyed 63% possession but Bayern had 11 corners to Barcelona's four, and had nine shots on goal to Barça's one. Bayern's Bastian Schweinsteiger and Javi Martínez held a compact midfield that played crucial roles in shutting down Barcelona's Xavi's and Andrés Iniesta's attempts to pass forward at midfield, while Arjen Robben and Franck Ribéry proved effective on the wings.


title: Tiki-taka

text: Bayern's first-half tactics involved "fake pressing", pushing close to their markers in possession to drive Barça away from danger areas with sheer presence, while conserving their energy by not committing themselves, keeping Bayern's players fresh enough for the second half to mount attacks. Though they had managed to outscore lesser opponents, Barcelona's defense was vulnerable, as the absence of center-backs Carles Puyol and Javier Mascherano robbed the team of physical presence to guard against set pieces which Bayern exploited. "The Guardian" proclaimed that "some suggested Bayern would attempt to outplay Barcelona at short passing football, but ultimately it was a perfect recipe of Barcelona's traditional problems: set pieces, counterattacks and physicality, that will lead many to suggest the balance of power has shifted from Catalonia to Bavaria."


title: Tiki-taka

text: Tiki-taka was again exposed when Brazil defeated Spain 3–0 in the 2013 Confederations Cup final, ending Spain's run of 29 unbeaten matches in competitive football. The ball possession was 47% for Brazil and 53% for Spain, with two goals conceded in the first half of the match. Spain fared even worse in the 2014 World Cup one year later, as they lost to both the Netherlands and Chile and failed to progress beyond the group stage.


title: Tiki-taka

text: Diego Simeone's Atlético Madrid faced Barcelona six times in the 2013–14 season, managing to remain undefeated in all six matches. Simeone utilized a 4–4–1–1 formation, with Gabi and Tiago as the defensive midfielders, Koke and Arda Turan acting more like inside-midfielders than traditional wingers, Raul García or David Villa often dropping deep to join the midfield and Diego Costa as the lone striker up-front. In this formation, Simeone denied Barcelona their vital space in the midfield, rendering tiki-taka tactics useless against Atlético. Atlético also relied on their height advantage over the Barça players, with centre-backs Diego Godín and Miranda intercepting all Barcelona long-balls and often going forward when Atlético took a corner kick or free-kick. It is no coincidence that Godín scored Atlético's goal in the last league match against Barcelona, a header from a corner-kick, to give Simeone's team the league title. Atlético also managed to eliminate Barcelona from the Champions League relying on these tactics.


title: Tiki-taka

text: Carlo Ancelotti's Real Madrid relied on positioning to force Pep Guardiola's Bayern Munich to defeat in the first semi-final leg of the 2013–14 UEFA Champions League at the Santiago Bernabéu. Bayern, practicing a form of tiki-taka, pressed high in attack but was vulnerable in defence. Real Madrid's players strictly kept their positions when defending, and managed to score on a counter-attack, winning the first game 1–0. In the second leg in Munich, Bayern's defences were even more vulnerable, and Real Madrid managed a resounding 4–0 victory, their first ever away victory against Bayern, eliminating the Champions League holders.


title: Tiki-taka

text: In the 2014 World Cup, Dutch manager Louis van Gaal deployed a 5–3–2 formation against Spain in the first match of the group stage. This formation had Robin van Persie and Arjen Robben as strikers, a three-man midfield assisted by wing-backs Daryl Janmaat and Daley Blind and a three-man defence. Spain managed to open the score from a controversial penalty won by Diego Costa and converted by Xabi Alonso, but the swift counter-attacks of the Netherlands proved highly effective in the rest of the match, resulting in a 5–1 victory for the Dutch, topped off by Robin Van Persie's "flying dutchman" masterpiece, the worst defeat for Spain in 64 years. It is noteworthy that Van Gaal was the manager of Barcelona in the 2002–03 season, the man mainly responsible for bringing up Xavi and Andrés Iniesta, who went on to become basic elements of Barcelona and Spain's tiki-taka style.


title: Tiki-taka

text: In the second match of the group stage, Chile under Jorge Sampaoli used a fluidly-changing 3–4–3 formation, evolving into a 5–3–2 when defending, and having their three central midfielders man-mark Spain's three central midfielders (Marcelo Díaz on David Silva, Charles Aránguiz on Xabi Alonso and Arturo Vidal on Sergio Busquets), a tactic previously used by influential coach Marcelo Bielsa. Chile managed to score twice in the first half, and Spain were unable to breach their opponents five-man defence, exiting the World Cup in the group stage. Spain's disastrous 2014 World Cup, along with Barcelona's move to a more direct style under managers Gerardo Martino and Luis Enrique, have marked the end of tiki-taka.


title: Tiki-taka

text: Following a successful qualifying campaign, a rejuvenated Spain entered UEFA Euro 2016 with a majority of the team's golden generation still intact, along with a new wave of attacking players such as Nolito and Álvaro Morata leading the line. "La Roja"'s opening two group games against the Czech Republic and Turkey both resulted in convincing 1–0 and 3–0 wins respectively. With the new generation of attacking talent combining with the tiki-taka style of play of the remaining players from the golden generation, Spain quickly became unanimous favourites for the tournament by the media, and with two wins from their first two group games, Spain look set to win their group, giving them the luxury of not having to play a group winner until the semi-final round going into their final group game against second-placed Croatia. Thanks to the Croatians' effective exploitation of Spain's vulnerability to the counter-attack, however, Spain lost their final group game 2–1, despite having taken an early lead through Alvaro Morata, which was canceled out by a goal later in the half from Nikola Kalinić, followed by a last-gasp winner from Ivan Perišić. As a result, Spain finished runners-up in their group behind Croatia, who managed to jump above Spain in the group, having been on four points prior to the game, setting Spain up for a rematch of their Euro 2012 final with Italy. Despite being the favourites, Spain were caught off guard by Italy's uncharacteristically aggressive attacking play in the first half, as Italy took the lead just after the half-hour mark, with Giorgio Chiellini putting away a rebound from an Italian free-kick. Spain began to regain more ball possession and began to push for an equalizer in the second half, but the Italians' strong defense repeatedly repelled Spain's attack. Spain also lacked enough space in the midfield to create any decent chances due to Italian coach Antonio Conte's usage of a 3–5–2 formation, with Italy's superior numbers in the midfield allowing Italy to create multiple scoring opportunities on the counter-attack that was previously exploited by Croatia. Italy ultimately scored another goal in added time through Graziano Pellè, securing the win for Italy.


title: Brad Riddell

text: Bradley Stephen Riddell (born 30 September 1991) is a New Zealand mixed martial artist and former kickboxer, currently competing in the Lightweight division of the Ultimate Fighting Championship (UFC).


title: Brad Riddell

text: Riddell netted several kickboxing championships around New Zealand during his rise through the regional scene. He also fought professional Muay Thai and kickboxing fights, fighting to a split decision with Glory welterweight champion, Cédric Doumbé, and losing a competitive decision to ONE lightweight champion, Regian Eersel. He also has wins against the likes of famed Aussie kickboxer John Wayne Parr.


title: Brad Riddell

text: In November 2015, Riddell took part in the four man Super 8 Boxing Tournament in his professional boxing debut. Riddell took on Reece Papuni in the semi finals of the tournament. The ended in a draw in the third round, which lead to the fight going one extra round. Riddell lost the fight by unanimous decision.


title: Brad Riddell

text: Riddell made his MMA debut in an unexpected manner, having flown into Myanmar for a Muay Thai fight, but being told upon landing that it was a MMA fight. Then during his Muay Thai/Kickboxing career, he would continue to have MMA fights, mainly in the Glory of Heroes promotion, with his most notable win being a knockout of future fellow UFC fighter Kenan Song.


title: Brad Riddell

text: Brad made his UFC career debut against fellow newcomer, Jamie Mullarkey at UFC 243 on 5 October 2019. In a fast paced fight, Riddell won the fight via unanimous decision and took home the Fight of the Night bonus.


title: Brad Riddell

text: Riddell faced Alex da Silva Coelho at UFC 253 on 27 September 2020. He won the fight via unanimous decision.


title: Brad Riddell

text: Riddell was expected to face Gregor Gillespie on 20 March 2021 at UFC on ESPN 21. However, the day of the event the bout was postponed due to COVID-19 protocols.


title: Brad Riddell

text: Riddell faced Drew Dober on 12 June 2021 at UFC 263. He won the fight via unanimous decision. This fight earned him the "Fight of the Night" award.


title: Brad Riddell

text: Riddell faced Rafael Fiziev on 4 December 2021 at UFC on ESPN 31. He lost the fight via knockout in round three.


title: Brad Riddell

text: Riddell faced Jalin Turner on 2 July 2022, at UFC 276. He lost the bout via guillotine choke 45 seconds into the contest.


title: Brad Riddell

text: Riddell faced Renato Moicano on 12 November 2022 at UFC 281. He lost the bout via a rear naked choke in the first round.


title: Brad Riddell

text: After the loss, Riddell announced that we would be taking a break from MMA ‘until the fire to compete comes back’.


title: Brad Riddell

text: Riddell dubbed himself “Quake” in homage to his home city of Christchurch, which was devastated by an earthquake in 2011. The disaster destroyed many of the buildings, including Riddell’s place of work, but it was also the catalyst for him moving to Auckland and building a career in combat sports.


title: Earl Nightingale

text: Earl Nightingale V (March 12, 1921 – March 25, 1989) was an American radio speaker and author, dealing mostly with the subjects of human character development, motivation, and meaningful existence. He was the voice during the early 1950s of "Sky King", the hero of a radio adventure series, and was a WGN radio program host from 1950 to 1956. Nightingale was the author of "The Strangest Secret", which economist Terry Savage has termed "…one of the great motivational books of all time."


title: Earl Nightingale

text: Nightingale was born in Los Angeles in March 1921. His father, Earl Nightingale IV, abandoned his mother in 1933. After his father left, his mother relocated the family to a tent in nearby Tent City in Long Beach on the waterfront behind the Mariner Apartments.


title: Earl Nightingale

text: Diana Nightingale is the widow of Earl Nightingale. She has continued working with Earl's commercial themes.


title: Earl Nightingale

text: When Nightingale was seventeen years old he joined the United States Marine Corps. He was an instructor at Camp Lejeune, North Carolina, and was on the USS "Arizona" during the attack on Pearl Harbor and was one of fifteen surviving Marines aboard that day. Other than Pearl Harbor, it is unknown if Nightingale experienced combat.


title: Earl Nightingale

text: After the war, Nightingale began work in the radio industry, which eventually resulted in work as a motivational speaker. During the autumn of 1949, Nightingale was inspired while reading "Think and Grow Rich" by Napoleon Hill. Quoting from the Earl Nightingale official website: "When he was 29, Earl's enlightenment had come to him as a bolt out of the blue while reading, "Think and Grow Rich". It came when he realized that the six words he read were the answer to the question he had been looking for! That, 'we become what we think about'. He realized that he had been reading the same truth over and over again, from the New Testament...to the works of Emerson. 'We become what we think about.' 'As ye sow, so shall ye reap [()]...'"


title: Earl Nightingale

text: During 1956, he produced a spoken word record, "The Strangest Secret", which sold more than a million copies, making it the first spoken-word recording to achieve Gold Record status. During 1960, a condensed audio version of "Think and Grow Rich" was narrated by Nightingale. It was titled, "Think and Grow Rich: The Essence Of The Immortal Book By Napoleon Hill, Narrated by Earl Nightingale", and produced by Success Motivation Institute. Also in 1960, he co-founded the Nightingale-Conant corporation with Lloyd Conant. In 1987, Nightingale-Conant published another very successful audio book: "Lead The Field". During 1987, Nightingale published his first book, "Earl Nightingale’s Greatest Discovery".


title: Earl Nightingale

text: Nightingale's radio program, "Our Changing World", became the most syndicated radio program ever, and was broadcast across the US, Canada, Mexico, Australia, New Zealand, Fiji, South Africa, the Bahamas, and 23 additional overseas countries, as well as the Armed Forces Network.


title: Earl Nightingale

text: Just prior to his death during 1989, Nightingale created a new format for a book named "The Winner’s Notebook". It included his text, his illustrations, and incorporated space for a private journal.


title: Earl Nightingale

text: In 1976, he won the Golden Gavel Award from Toastmasters International. He was inducted into the National Speakers Association Speaker Hall of Fame.


title: Earl Nightingale

text: In 1985, Nightingale was inducted into The National Association of Broadcasters National Radio Hall of Fame.


title: Earl Nightingale

text: During the mid-1980s, Nightingale received the Napoleon Hill Gold Medal for Literary Excellency for his first book, "Earl Nightingale’s Greatest Discovery".


title: Earl Nightingale

text: During his lifetime, Nightingale wrote and recorded more than 7,000 radio programs, 250 audio programs as well as television programs and videos.


title: Earl Nightingale

text: The Belgian popular music band Felix Pallas used some quotations of The Strangest Secret in their song "Song for Melody", which was part of their first EP 2S4T.


title: Coolidge effect

text: The Coolidge effect is a biological phenomenon seen in animals, whereby males exhibit renewed sexual interest whenever a new female is introduced, even after sex with prior but still available sexual partners. To a lesser extent, the effect is also seen among females with regard to their mates.


title: Coolidge effect

text: The Coolidge effect can be attributed to an increase in sexual responsiveness, and a shortening of the sexual refractory period. The evolutionary benefit to this phenomenon is that a male can fertilize multiple females. The male may be reinvigorated repeatedly for successful insemination of multiple females. This type of mating system can be referred to as polygyny, where one male has multiple female mates, but each female mates with only one or a few males.


title: Coolidge effect

text: Behavioral endocrinologist Frank A. Beach claims in a 1974 letter to have introduced the term "Coolidge effect" in either 1958 or 1959. He attributed the neologism to


title: Coolidge effect

text: The original experiments with rats applied the following protocol: A male rat was placed into an enclosed large box with four or five female rats in heat. He immediately began to mate with all the female rats repeatedly until he eventually became exhausted. The females continued nudging and licking him, yet he did not respond. When a novel female was introduced into the box, he became alert and began to mate once again with the new female. This phenomenon is not limited to common rats.


title: Coolidge effect

text: The Coolidge effect is attributed to an increase in dopamine levels and the subsequent effect upon an animal's limbic system. In a study conducted by Fiorino et al., male rats were used to study the role of the mesolimbic dopamine system on their sexual behaviour. In their experiment, microdialysis was used to monitor dopamine efflux from the nucleus accumbens during three stages of sexual behaviour, these included: copulation, sexual satiety, and the reinitiation of sexual behaviour. Behavioural testing for the Coolidge effect consisted of several phases including, copulation with a female, reintroduction to the same female, access to the same female, introduction to a novel female, and copulation with the novel female. During these phases, dopamine and its metabolites were monitored. Results from this study found that overall there was a significant increase in dopamine efflux in response to both the first female and the second female. During copulation with the first female, concentrations of dopamine in these male rats showed a significant increase, however, when the same female was presented again, a significant increase in dopamine was not observed. When a novel female was presented, initially, there was a small increase in the levels of dopamine, however, after continued copulation with the novel female, a significant increase in dopamine levels was observed. From these results, they concluded that an increase in mesolimbic dopamine efflux is associated with the appetitive and consummatory stages of sexual behaviour in male rats. Their data also suggest that stimuli associated with a novel female may increase dopamine transmission in a rat that is sexually satiated, and hence have a role in the reinitiation of sexual behaviour.


title: Coolidge effect

text: Additional studies have also provided further evidence for the role of the nucleus accumbens on sexual behaviour in rats. In a study conducted by Wood et al., male rats were divided into three conditions, and were presented with a cotton ball laden in either saline (control group), estrous vaginal smear of a familiar female (experimental group), and estrous vaginal smear of a novel female (experimental group). In this experiment, the role of the nucleus accumbens was characterized through recording neuronal activity of single cells in this area of the brain. Results from this study showed a greater proportion of neuronal activation when initially presented with a novel estrus stimulus in comparison to familiar estrus stimulus. Subsequent presentations of the novel estrus stimulus did not show an increase neuronal activity.


title: Coolidge effect

text: It has been observed that in certain species, males allocate sperm differently due to the Coolidge effect. The allocation is usually according to level of sperm competition, female novelty, and female reproductive quality. An experiment performed on an external fertilizing fish called "Rhodeus amarus", also known as the European bitterling, was used to show that sperm can be allocated differently if a novel partner is around, but that it also happens if there is male-male competition. It is important to know that the European bitterling mating system works by females depositing their eggs into the gill filaments of freshwater mussels by her long ovipositor and then males proceed by ejecting their sperm into the gills of the mussel hosting the eggs. This means fertilization and development of the offspring relies on the quality and survival of the mussel. When the Coolidge effect was applied to this system, the experiment showed that it is the mussels, or the site of fertilization, that the males prefer to be novel. However, the takeaway from the experiment performed was that in male-male competition of the "Rhodeus amarus," the dominant male will allocate more sperm when a novel mussel is present, while the subordinate male conserved its sperm until a proper opportunity came where it had a better chance of fertilization. A similar result was found in fowls, "Gallus gallus", where the male showed a sperm allocation due to the Coolidge effect. The experiment found that male fowls reduce sperm investment in particular females they've encountered already, but increase sperm investment instantaneously if they encountered a new female.


title: Coolidge effect

text: Wedell et al. suggest a theory that when a male allocates sperm so that he can save sperm for novel partners, he limits himself and the mate by possibly investing too little sperm to their partners which in return can inseminate only a few eggs therefore making reproduction less successful. This could even possibly force females to seek more copulation to ensure successful reproduction. These types of evidence of sperm allocation would suggest that Coolidge effect will determine how much sperm is invested into females, and if possible, sperm will be allocated so that sperm can be evenly distributed for multiple mates. Overall, it is typically seen that allocation changes due to male-male competition and whether a novel partner is encountered or not.


title: Coolidge effect

text: The Coolidge effect is typically found in most animals; however, there are instances where the Coolidge effect is absent. A study in decorated crickets, "Gryllodes sigillatus", showed that even though females do display the Coolidge effect, the males in this species have no preference for novel mates. Because the females in this species control copulation, to test the Coolidge effect in males, two dead females were used. One female was already previously mated and the other was a novel female. To measure the Coolidge effect, the variables examined were the amount of courtship for the preferred mate and the size of the spermatophore transferred to the female. The size of the spermatophore was measured by weighing the mass after it was transferred to the female. The outcome of the experiment showed that there was no difference in the latency to re-mating of males confined with novel females and those paired with previous mates. There also was no difference in mass of the spermatophore. This experiment would suggest that the Coolidge effect is not applicable since the males of the "Gryllodes sigillatus" do not prefer novel females. Further research done on spiders also supports the possibility of absence of the Coolidge effect in certain species. Another study that focused on the Coolidge effect in simultaneously hermaphroditic species confirmed the validity of the Coolidge effect in freshwater snail "Lymnaea stagnalis". "Biomphalaria glabrata", another simultaneous hermaphrodite freshwater snail, does not exhibit sex-specific effects of partner novelty, and thus there is either no Coolidge effect in the species or no difference between the degrees to which the effect is expressed in the respective sexes.


title: Coolidge effect

text: Though there is not just a single reason for why males will choose a novel partner, there have been experiments that show that the major determining factor for detecting a novel partner is through olfactory preference. An experiment using Long-Evans rats, showed that odour played a major role in distinguishing the difference between a novel partner and familiar partner. In their experiment, Carr et al. paired each male rat with a female rat and allowed them to mate. Male rats were then tested for preference through the use of an apparatus which had two cylinders that were attached to their home cage, and contained the familiar female and the novel female in each cylinder. Caps at the end of these cylinders prevented access to the females, but had a hole in them to allow their odours to pass through to the male's cage. Before the testing phase, the females were removed, and then the caps were removed to allow the male to explore both cylinders. From this experiment, they found that males preferred the scent of the novel female. While these males did not have access to these females to demonstrate mating preferences, this odour preference is believed to reflect promiscuous behaviour, and therefore be important to the male mating strategy. In an earlier experiment, also conducted by Carr et al., they found that unlike male rats, female rats preferred the odour of a familiar partner rather than the odour of a novel partner. Another study also examined not only olfactory preference, but what part of the brain targeted the olfactory preference. In this study, male hamsters were given lesions to either the hippocampus or the perirhinal-entorhinal cortex, or received a sham treatment. Then the hamsters were allowed to mate with a female hamster until they became satiated. All subjects were then presented with two anesthetized females, one of whom was the female they had previously copulated with, while the other was a novel female. Hamsters with sham and hippocampal lesions investigated the anogenital region of the novel females for a significantly longer period of time in comparison to the familiar female. Males with lesions to the perirhinal-entorhinal cortex did not show a preference for either a familiar or novel female, and spent a similar amount of time investigating the anogenital region of both females. The results from this study revealed that the perirhinal-entorhinal cortex region of the brain in golden hamsters is crucial for the recognition of familiar conspecifics and certain social behaviors. The conclusion from this experiment was also consistent in rats and monkeys, since damage to this region of the brain impaired standard recognition memory, which would suggest that the hippocampal region of the brain is not crucial in social behavior memory, but rather, the perirhinal-entorhinal cortex.


title: Coolidge effect

text: This effect of olfaction has also been observed in invertebrates such as flies. In a study conducted by Tan and colleagues, the role of olfaction in species recognition was examined using flies, "Drosophila melanogaster," which processed a mutated "Orco" gene, which codes for a co-receptor that is important for olfaction. The result of this type of mutation renders these flies unable to discriminate between phenotypically familiar (i.e., from the same family and/or environment) and phenotypically novel (i.e., unrelated and from a different environment) females. When presented with a phenotypically familiar and phenotypically novel females, mutant flies did not show a preference towards either female, while wild-type flies (i.e., flies without the mutated "Orco" gene) did. The results from this experiment suggest that the "Orco" gene is important in discriminating between mates, and suggests an important role of olfactory cues in phenotypic familiarity.


title: Coolidge effect

text: The Coolidge effect states that males typically will prefer novel mates every time the opportunity is present, however there is a physical limit to the sex drive. An experiment performed on rats showed that when left to reproduce to sexual satiety, the motor ejaculatory behavior, intromission, and dislodging seminal plugs were all possible after multiple mates, however little to no sperm would be produced during ejaculation. The experiment also concluded that males that reached satiety and non-satiety males both had the similar amounts of intromissions and time spent dislodging the seminal plug. Another study performed on rats showed the same results, but found data that concluded that reaching optimal chances of impregnating their mates happened after resting for 15 days. These experiments would suggest that one of the major limitations on the Coolidge effect is the physical boundaries of gamete production.


title: Coolidge effect

text: While the Coolidge effect is usually demonstrated by males—that is, males displaying renewed excitement with a novel female—the body of research into the phenomenon continues to explore the potentiality of the effect in females, specifically rodents. Research examining female rats has lent its support, wherein female rats showed a higher incentive motivation for unknown males over ones they had just copulated with.


title: Coolidge effect

text: In a study conducted in 2013, researchers conducted an experiment to test if the Coolidge effect could be observed in female rats. In their experiment, they assigned female rats to one of two conditions: paced or non-paced. In the paced condition, females were able to control the timing of copulation, while in the non-paced condition males regulated the timing of mating. Females in the paced condition were placed into an arena that was divided into two compartments which contained holes that only the female could pass through. The female was placed on one side of the divided arena, and the male was placed in the opposite side; this allowed the female to enter and exit the male's side depending on the circumstances, therefore regulating the timing of copulation. In the non-paced condition, both the female and male rats were placed in an undivided arena and were allowed to mate. In both conditions, females were exposed to a constant, familiar male followed by a novel male. Their results found that females showed a significant increase in proceptive behaviours when a novel mate was present, but only if the female could regulate mating. Repeated mating with the same male also resulted in a decrease in proceptivity, which is thought to suggest sexual satiety. These results suggest that the Coolidge effect may also be present in female rats.


title: Coolidge effect

text: Lester and Gorzalka developed a model to determine whether or not the Coolidge effect also occurs in females. Their experiment, which used hamsters instead of rats, concluded that it does occur to a lesser degree in females, where the evolutionary advantage of mating with multiple partners is less straightforward. It is possible that the presence of the Coolidge effect in females could serve to optimize the female's reproductive success, and prevent mating with a sterile male. Mating with multiple males may reduce the probability that the female's gametes will not be successfully fertilized.


title: Santino Rice

text: Santino Quinto Rice (born 20 August 1974) is an American fashion designer and television personality. He is best known for his appearances on the reality television programs "Project Runway", "RuPaul's Drag Race" and "On the Road with Austin and Santino".


title: Santino Rice

text: Santino Rice attended classes at the Fashion Institute of Design and Merchandising in Los Angeles. Rice worked under Pegah Anvarian and Tony Duquette, prior to his involvement with the television series "Project Runway".


title: Santino Rice

text: In 2005, Santino participated as a contestant on the second season of the Bravo reality show "Project Runway", producing mixed results on the show. He won two challenges and was among the top three designs three more times. However, Rice was among the bottom two scores for four challenges. Ultimately, he lasted throughout the season and was one of three finalists selected to show at Olympus Fashion Week in New York City. He finished in third place, behind Daniel Vosovic and Chloe Dao.


title: Santino Rice

text: Rice became well known for the charismatic and sometimes abrasive persona that he presented on "Project Runway", and he was often cited as the "villain" of the show. He was also known for his humor, including his impersonations of mentor Tim Gunn.


title: Santino Rice

text: After "Project Runway", Rice was selected to be one of the judges of the Miss Universe 2006 pageant. He was also asked by MTV VJ SuChin Pak to design her dress for the 2006 MTV Movie Awards. The following year, Rice made a guest appearance in the sixth episode of "America's Most Smartest Model", in which he taught the contestants about fashion design. As of 2008, he was creating a new cigarette pack design for Camel, dressing a handful of elite private clients, and working on building his own clothing company.


title: Santino Rice

text: More recently, Rice has been cast in two main roles in reality television. From 2009 to 2014, he was a judge on the Logo reality program "RuPaul's Drag Race". Rice also starred in the Lifetime show "On the Road with Austin and Santino", alongside fellow "Project Runway" alumnus Austin Scarlett. The show premiered in 2010, following Rice and Scarlett as they visited various American small towns, designing clothing for women who have upcoming special occasions. Rice also played a minor role as a homeless man in the 2010 independent queer cinema thriller "L.A. Zombie."


title: Santino Rice

text: Rice has been referred to in the press as bisexual, but has said of his own sexual orientation, "You can just call me gay but I like men and I am attracted to beautiful women. I didn't like the negativity that was attached to being gay growing up so that is why I have problems with the label."


title: Santino Rice

text: He has posted untrue claims about the COVID-19 virus and vaccines on Twitter. Rice has falsely asserted that COVID-19 is a "man-made virus designed by European and American scientists" and that "what they are selling people isn't even a vaccine." He also tweeted that "there is really no difference between injecting disinfectant or injecting a random vaccine" and that "the virus was designed to kill and its 'v@ccine' is equally deadly." COVID-19 vaccines are not known to cause severe illness, hospitalization, or death.


title: Rotary engine

text: The rotary engine is an early type of internal combustion engine, usually designed with an odd number of cylinders per row in a radial configuration. The engine's crankshaft remained stationary in operation, while the entire crankcase and its attached cylinders rotated around it as a unit. Its main application was in aviation, although it also saw use in a few early motorcycles and automobiles.


title: Rotary engine

text: This type of engine was widely used as an alternative to conventional inline engines (straight or V) during World War I and the years immediately preceding that conflict. It has been described as "a very efficient solution to the problems of power output, weight, and reliability".


title: Rotary engine

text: A rotary engine is essentially a standard Otto cycle engine, with cylinders arranged radially around a central crankshaft just like a conventional radial engine, but instead of having a fixed cylinder block with rotating crankshaft, the crankshaft remains stationary and the entire cylinder block rotates around it. In the most common form, the crankshaft was fixed solidly to the airframe, and the propeller was simply bolted to the front of the crankcase.


title: Rotary engine

text: This difference also has much impact on design (lubrication, ignition, fuel admission, cooling, etc.) and functioning (see below).


title: Rotary engine

text: The Musée de l'Air et de l'Espace in Paris has on display a special, "sectioned" working model of an engine with seven radially disposed cylinders. It alternates between rotary and radial modes to demonstrate the difference between the internal motions of the two types of engine.


title: Rotary engine

text: Like "fixed" radial engines, rotaries were generally built with an odd number of cylinders (usually 5, 7 or 9), so that a consistent every-other-piston firing order could be maintained, to provide smooth running. Rotary engines with an even number of cylinders were mostly of the "two row" type.


title: Rotary engine

text: Most rotary engines were arranged with the cylinders pointing outwards from a single crankshaft, in the same general form as a radial, but there were also rotary boxer engines and even one-cylinder rotaries.


title: Rotary engine

text: Engine designers had always been aware of the many limitations of the rotary engine so when the static style engines became more reliable and gave better specific weights and fuel consumption, the days of the rotary engine were numbered.


title: Rotary engine

text: The late WWI Bentley BR2, as the largest and most powerful rotary engine, had reached a point beyond which this type of engine could not be further developed, and it was the last of its kind to be adopted into RAF service.


title: Rotary engine

text: It is often asserted that rotary engines had no throttle and hence power could only be reduced by intermittently cutting the ignition using a "blip" switch. This was only true of the "Monosoupape" (single valve) type, which took most of the air into the cylinder through the exhaust valve, which remained open for a portion of the downstroke of the piston. Thus the mixture of fuel and air in the cylinder could not be controlled via the crankcase intake. The "throttle" (fuel valve) of a monosoupape provided only a limited degree of speed regulation, as opening it made the mixture too rich, while closing it made it too lean (in either case quickly stalling the engine, or damaging the cylinders). Early models featured a pioneering form of variable valve timing in an attempt to give greater control, but this caused the valves to burn and therefore it was abandoned.


title: Rotary engine

text: The only way of running a Monosoupape engine smoothly at reduced revs was with a switch that changed the normal firing sequence so that each cylinder fired only once per two or three engine revolutions, but the engine remained more or less in balance. As with excessive use of the "blip" switch: running the engine on such a setting for too long resulted in large quantities of unburned fuel and oil in the exhaust, and gathering in the lower cowling, where it was a notorious fire hazard.


title: Rotary engine

text: Most rotaries had normal inlet valves, so that the fuel (and lubricating oil) was taken into the cylinders already mixed with air - as in a normal four-stroke engine. Although a conventional carburetor, with the ability to keep the fuel/air ratio constant over a range of throttle openings, was precluded by the spinning crankcase; it was possible to adjust the air supply through a separate flap valve or "bloctube". The pilot needed to set the throttle to the desired setting (usually full open) and then adjust the fuel/air mixture to suit using a separate "fine adjustment" lever that controlled the air supply valve (in the manner of a manual choke control). Due to the rotary engine's large rotational inertia, it was possible to adjust the appropriate fuel/air mixture by trial and error without stalling it, although this varied between different types of engine, and in any case it required a good deal of practice to acquire the necessary knack. After starting the engine with a known setting that allowed it to idle, the air valve was opened until maximum engine speed was obtained.


title: Rotary engine

text: Throttling a running engine back to reduce revs was possible by closing off the fuel valve to the required position while re-adjusting the fuel/air mixture to suit. This process was also tricky, so that reducing power, especially when landing, was often accomplished instead by intermittently cutting the ignition using the blip switch.


title: Rotary engine

text: Cutting cylinders using ignition switches had the drawback of letting fuel continue to pass through the engine, oiling up the spark plugs and making smooth restarting problematic. Also, the raw oil-fuel mix could collect in the cowling. As this could cause a serious fire when the switch was released, it became common practice for part or all of the bottom of the basically circular cowling on most rotary engines to be cut away, or fitted with drainage slots.


title: Rotary engine

text: By 1918 a Clerget handbook advised maintaining all necessary control by using the fuel and air controls, and starting and stopping the engine by turning the fuel on and off. The recommended landing procedure involved shutting off the fuel using the fuel lever, while leaving the blip switch on. The windmilling propeller made the engine continue to spin without delivering any power as the aircraft descended. It was important to leave the ignition on to allow the spark plugs to continue to spark and keep them from oiling up, so that the engine could (if all went well) be restarted simply by re-opening the fuel valve. Pilots were advised to not use an ignition cut out switch, as it would eventually damage the engine.


title: Rotary engine

text: Pilots of surviving or reproduction aircraft fitted with rotary engines still find that the blip switch is useful while landing, as it provides a more reliable, quicker way to initiate power if needed, rather than risk a sudden engine stall, or the failure of a windmilling engine to restart at the worst possible moment.


title: Rotary engine

text: Félix Millet showed a 5-cylinder rotary engine built into a bicycle wheel at the Exposition Universelle in Paris in 1889. Millet had patented the engine in 1888, so must be considered the pioneer of the internal combustion rotary engine. A machine powered by his engine took part in the Paris-Bordeaux-Paris race of 1895 and the system was put into production by Darracq and Company London in 1900.


title: Rotary engine

text: Lawrence Hargrave first developed a rotary engine in 1889 using compressed air, intending to use it in powered flight. Materials weight and lack of quality machining prevented it becoming an effective power unit.


title: Rotary engine

text: Stephen M. Balzer of New York, a former watchmaker, constructed rotary engines in the 1890s. He was interested in the rotary layout for two main reasons:


title: Rotary engine

text: Balzer produced a 3-cylinder, rotary engined car in 1894, then later became involved in Langley's "Aerodrome" attempts, which bankrupted him while he tried to make much larger versions of his engines. Balzer's rotary engine was later converted to static radial operation by Langley's assistant, Charles M. Manly, creating the notable Manly–Balzer engine.


title: Rotary engine

text: The famous De Dion-Bouton company produced an experimental 4-cylinder rotary engine in 1899. Though intended for aviation use, it was not fitted to any aircraft.


title: Rotary engine

text: The Adams-Farwell firm's automobiles, with the firm's first rolling prototypes using 3-cylinder rotary engines designed by Fay Oliver Farwell in 1898, led to production Adams-Farwell cars with first the 3-cylinder, then very shortly thereafter 5-cylinder rotary engines later in 1906, as another early American automaker utilizing rotary engines expressly manufactured for automotive use. Emil Berliner sponsored its development of the 5-cylinder Adams-Farwell rotary engine design concept as a lightweight power unit for his unsuccessful helicopter experiments. Adams-Farwell engines later powered fixed-wing aircraft in the US after 1910. It has also been asserted that the Gnôme design was derived from the Adams-Farwell, since an Adams-Farwell car is reported to have been demonstrated to the French Army in 1904. In contrast to the later Gnôme engines, and much like the later Clerget 9B and Bentley BR1 aviation rotaries, the Adams-Farwell rotaries had conventional exhaust and inlet valves mounted in the cylinder heads.


title: Rotary engine

text: The Gnome engine was the work of the three Seguin brothers, Louis, Laurent and Augustin. They were talented engineers and the grandsons of famous French engineer Marc Seguin. In 1906 the eldest brother, Louis, had formed the Société des Moteurs Gnome to build stationary engines for industrial use, having licensed production of the Gnom single-cylinder stationary engine from Motorenfabrik Oberursel—who, in turn, built licensed Gnome engines for German aircraft during World War I.


title: Rotary engine

text: Louis was joined by his brother Laurent who designed a rotary engine specifically for aircraft use, using Gnom engine cylinders. The brothers' first experimental engine is said to have been a 5-cylinder model that developed , and was a radial rather than rotary engine, but no photographs survive of the five-cylinder experimental model. The Seguin brothers then turned to rotary engines in the interests of better cooling, and the world's first production rotary engine, the 7-cylinder, air-cooled "Omega" was shown at the 1908 Paris automobile show. The first Gnome Omega built still exists, and is now in the collection of the Smithsonian's National Air and Space Museum. The Seguins used the highest strength material available - recently developed nickel steel alloy - and kept the weight down by machining components from solid metal, using the best American and German machine tools to create the engine's components; the cylinder wall of a 50 hp Gnome was only 1.5 mm (0.059 inches) thick, while the connecting rods were milled with deep central channels to reduce weight. While somewhat low powered in terms of units of power per litre, its power-to-weight ratio was an outstanding per kg.


title: Rotary engine

text: The following year, 1909, the inventor Roger Ravaud fitted one to his "Aéroscaphe", a combination hydrofoil/aircraft, which he entered in the motor boat and aviation contests at Monaco. Henry Farman's use of the Gnome at the famous Rheims aircraft meet that year brought it to prominence, when he won the Grand Prix for the greatest non-stop distance flown——and also set a world record for endurance flight. The very first successful seaplane flight, of Henri Fabre's "Le Canard", was powered by a Gnome Omega on March 28, 1910, near Marseille.


title: Rotary engine

text: Production of Gnome rotaries increased rapidly, with some 4,000 being produced before World War I, and Gnome also produced a two-row version (the 100 h.p. Double Omega), the larger 80 hp Gnome Lambda and the 160 hp two-row Double Lambda. By the standards of other engines of the period, the Gnome was considered not particularly temperamental, and was credited as the first engine able to run for ten hours between overhauls.


title: Rotary engine

text: In 1913 the Seguin brothers introduced the new Monosoupape ("single valve") series, which replaced inlet valves in the pistons by using a single valve in each cylinder head, which doubled as inlet and exhaust valve. The engine speed was controlled by varying the opening time and extent of the exhaust valves using levers acting on the valve tappet rollers, a system later abandoned due to valves burning. The weight of the Monosoupape was slightly less than the earlier two-valve engines, and it used less lubricating oil. The 100 hp Monosoupape was built with 9 cylinders, and developed its rated power at 1,200 rpm. The later 160 hp nine-cylinder Gnome 9N rotary engine used the Monosoupape valve design while adding the safety factor of a dual ignition system, and was the last known rotary engine design to use such a cylinder head valving format. The 9N also featured an unusual ignition setup that allowed output values of one-half, one-quarter and one-eighth power levels to be achieved through use of the coupe-switch and a special five-position rotary switch that selected which of the trio of alternate power levels would be selected when the coupe-switch was depressed, allowing it to cut out all spark voltage to all nine cylinders, at evenly spaced intervals to achieve the multiple levels of power reduction. The airworthy reproduction Fokker D.VIII parasol monoplane fighter at Old Rhinebeck Aerodrome, uniquely powered with a Gnome 9N, often demonstrates the use of its Gnome 9N's four-level output capability in both ground runs and in flight.


title: Rotary engine

text: Rotary engines produced by the Clerget and Le Rhône companies used conventional pushrod-operated valves in the cylinder head, but used the same principle of drawing the fuel mixture through the crankshaft, with the Le Rhônes having prominent copper intake tubes running from the crankcase to the top of each cylinder to admit the intake charge.


title: Rotary engine

text: The 80 hp (60 kW) seven-cylinder Gnome was the standard at the outbreak of World War I, as the Gnome Lambda, and it quickly found itself being used in a large number of aircraft designs. It was so good that it was licensed by a number of companies, including the German Motorenfabrik Oberursel firm who designed the original Gnom engine. Oberursel was later purchased by Fokker, whose 80 hp Gnome Lambda copy was known as the Oberursel U.0. It was not at all uncommon for French Gnôme Lambdas, as used in the earliest examples of the Bristol Scout biplane, to meet German versions, powering Fokker E.I Eindeckers in combat, from the latter half of 1915 on.


title: Rotary engine

text: The only attempts to produce twin-row rotary engines in any volume were undertaken by Gnome, with their Double Lambda fourteen-cylinder 160 hp design, and with the German Oberursel firm's early World War I clone of the Double Lambda design, the U.III of the same power rating. While an example of the Double Lambda went on to power one of the Deperdussin Monocoque racing aircraft to a world-record speed of nearly 204 km/h (126 mph) in September 1913, the Oberursel U.III is only known to have been fitted into a few German production military aircraft, the Fokker E.IV fighter monoplane and Fokker D.III fighter biplane, both of whose failures to become successful combat types were partially due to the poor quality of the German powerplant, which was prone to wearing out after only a few hours of combat flight.


title: Rotary engine

text: The favourable power-to-weight ratio of the rotaries was their greatest advantage. While larger, heavier aircraft relied almost exclusively on conventional in-line engines, many fighter aircraft designers preferred rotaries right up to the end of the war.


title: Rotary engine

text: Rotaries had a number of disadvantages, notably very high fuel consumption, partially because the engine was typically run at full throttle, and also because the valve timing was often less than ideal. Oil consumption was also very high. Due to primitive carburetion and absence of a true sump, the lubricating oil was added to the fuel/air mixture. This made engine fumes heavy with smoke from partially burnt oil. Castor oil was the lubricant of choice, as its lubrication properties were unaffected by the presence of the fuel, and its gum-forming tendency was irrelevant in a total-loss lubrication system. An unfortunate side-effect was that World War I pilots inhaled and swallowed a considerable amount of the oil during flight, leading to persistent diarrhoea. Flying clothing worn by rotary engine pilots was routinely soaked with oil.


title: Rotary engine

text: The rotating mass of the engine also made it, in effect, a large gyroscope. During level flight the effect was not especially apparent, but when turning the gyroscopic precession became noticeable. Due to the direction of the engine's rotation, left turns required effort and happened relatively slowly, combined with a tendency to nose up, while right turns were almost instantaneous, with a tendency for the nose to drop. In some aircraft, this could be advantageous in situations such as dogfights. The Sopwith Camel suffered to such an extent that it required left rudder for both left and right turns, and could be extremely hazardous if the pilot applied full power at the top of a loop at low airspeeds. Trainee Camel pilots were warned to attempt their first hard right turns only at altitudes above . The Camel's most famous German foe, the Fokker Dr.I triplane, also used a rotary engine, usually the Oberursel Ur.II clone of the French-built Le Rhone 9J 110 hp powerplant.


title: Rotary engine

text: Even before the First World War, attempts were made to overcome the inertia problem of rotary engines. As early as 1906 Charles Benjamin Redrup had demonstrated to the Royal Flying Corps at Hendon a 'Reactionless' engine in which the crankshaft rotated in one direction and the cylinder block in the opposite direction, each one driving a propeller. A later development of this was the 1914 reactionless 'Hart' engine designed by Redrup in which there was only one propeller connected to the crankshaft, but it rotated in the opposite direction to the cylinder block, thereby largely cancelling out negative effects. This proved too complicated for reliable operation and Redrup changed the design to a static radial engine, which was later tried in the experimental Vickers F.B.12b and F.B.16 aircraft, unfortunately without success.


title: Rotary engine

text: As the war progressed, aircraft designers demanded ever-increasing amounts of power. Inline engines were able to meet this demand by improving their upper rev limits, which meant more power. Improvements in valve timing, ignition systems, and lightweight materials made these higher revs possible, and by the end of the war the average engine had increased from 1,200 rpm to 2,000. The rotary was not able to do the same due to the drag of the rotating cylinders through the air. For instance, if an early-war model of 1,200 rpm increased its revs to only 1,400, the drag on the cylinders increased 36%, as air drag increases with the square of velocity. At lower rpm, drag could simply be ignored, but as the rev count rose, the rotary was putting more and more power into spinning the engine, with less remaining to provide useful thrust through the propeller.


title: Rotary engine

text: One clever attempt to rescue the design, in a similar manner to Redrup's British "reactionless" engine concept, was made by Siemens AG. The crankcase (with the propeller still fastened directly to the front of it) and cylinders spun counterclockwise at 900 rpm, as seen externally from a "nose on" viewpoint, while the crankshaft (which unlike other designs, never "emerged" from the crankcase) and other internal parts spun clockwise at the same speed, so the set was effectively running at 1800 rpm. This was achieved by the use of bevel gearing at the rear of the crankcase, resulting in the eleven-cylindered Siemens-Halske Sh.III, with less drag and less net torque. Used on several late war types, notably the Siemens-Schuckert D.IV fighter, the new engine's low running speed, coupled with large, coarse pitched propellers that sometimes had four blades (as the SSW D.IV used), gave types powered by it outstanding rates of climb, with some examples of the late production Sh.IIIa powerplant even said to be delivering as much as 240 hp.


title: Rotary engine

text: One new rotary powered aircraft, Fokker's own D.VIII, was designed at least in part to provide some use for the Oberursel factory's backlog of otherwise redundant Ur.II engines, themselves clones of the Le Rhône 9J rotary.


title: Rotary engine

text: Because of the Allied blockade of shipping, the Germans were increasingly unable to obtain the castor oil necessary to properly lubricate their rotary engines. Substitutes were never entirely satisfactory - causing increased running temperatures and reduced engine life.


title: Rotary engine

text: By the time the war ended, the rotary engine had become obsolete, and it disappeared from use quite quickly. The British Royal Air Force probably used rotary engines for longer than most other operators. The RAF's standard post-war fighter, the Sopwith Snipe, used the Bentley BR2 rotary as the most powerful (at some ) rotary engine ever built by the Allies of World War I. The standard RAF training aircraft of the early post-war years, the 1914-origin Avro 504K, had a universal mounting to allow the use of several different types of low powered rotary, of which there was a large surplus supply. Similarly, the Swedish FVM Ö1 Tummelisa advanced training aircraft, fitted with a Le-Rhone-Thulin rotary engine, served until the mid thirties.


title: Rotary engine

text: Designers had to balance the cheapness of war-surplus engines against their poor fuel efficiency and the operating expense of their total-loss lubrication system, and by the mid-1920s, rotaries had been more or less completely displaced even in British service, largely by the new generation of air-cooled "stationary" radials such as the Armstrong Siddeley Jaguar and Bristol Jupiter.


title: Rotary engine

text: The first version of the 1921 Michel engine, an unusual opposed-piston cam engine, used the principle of a rotary engine, in that its "cylinder block" rotated. This was soon replaced by a version with the same cylinders and cam, but with stationary cylinders and the cam track rotating in lieu of a crankshaft. A later version abandoned the cam altogether and used three coupled crankshafts.


title: Rotary engine

text: By 1930 the Soviet helicopter pioneers, Boris N. Yuriev and Alexei M. Cheremukhin, both employed by "Tsentralniy Aerogidrodinamicheskiy Institut" (TsAGI, the Central Aerohydrodynamic Institute), constructed one of the first practical single-lift rotor machines with their TsAGI 1-EA single rotor helicopter, powered by two Soviet-designed and built M-2 rotary engines, themselves up-rated copies of the Gnome Monosoupape rotary engine of World War I. The TsAGI 1-EA set an unofficial altitude record of 605 meters (1,985 ft) with Cheremukhin piloting it on 14 August 1932 on the power of its twinned M-2 rotary engines.


title: Rotary engine

text: Although rotary engines were mostly used in aircraft, a few cars and motorcycles were built with rotary engines. Perhaps the first was the Millet motorcycle of 1892. A famous motorcycle, winning many races, was the Megola, which had a rotary engine inside the front wheel. Another motorcycle with a rotary engine was Charles Redrup's 1912 Redrup Radial, which was a three-cylinder 303 cc rotary engine fitted to a number of motorcycles by Redrup.


title: Rotary engine

text: In 1904 the Barry engine, also designed by Redrup, was built in Wales: a rotating 2-cylinder boxer engine weighing 6.5 kg was mounted inside a motorcycle frame.


title: Rotary engine

text: The early-1920s German Megola motorcycle used a five-cylinder rotary engine within its front wheel design.


title: Rotary engine

text: In the 1940s Cyril Pullin developed the Powerwheel, a wheel with a rotating one-cylinder engine, clutch and drum brake inside the hub, but it never entered production.


title: Rotary engine

text: Besides the configuration of cylinders moving around a fixed crankshaft, several different engine designs are also called "rotary engines". The most notable pistonless rotary engine, the Wankel rotary engine has been used by NSU in the Ro80 car, by Mazda in a variety of cars such as the RX-series, and in some experimental aviation applications.


title: Rotary engine

text: In the late 1970s a concept engine called the Bricklin-Turner Rotary Vee was tested. The Rotary Vee is similar in configuration to the elbow steam engine. Piston pairs connect as solid V shaped members, with each end floating in a pair of rotating cylinders clusters. The rotating cylinder cluster pairs are set with their axes at a wide V angle. The pistons in each cylinder cluster move parallel to each other instead of a radial direction, This engine design has not gone into production. The Rotary Vee was intended to power the Bricklin SV-1.


title: Desire (Bob Dylan album)

text: Desire is the seventeenth studio album by American singer-songwriter Bob Dylan, released on January 5, 1976, through Columbia Records. It is one of Dylan's most collaborative efforts, featuring the same caravan of musicians as the acclaimed Rolling Thunder Revue tours the previous year (later documented on ""). Many of the songs also featured backing vocals by Emmylou Harris and Ronee Blakley. Most of the album was co-written by Jacques Levy, and is composed of lengthy story-songs, two of which quickly generated controversy: the 11-minute-long "Joey", which is seen as glorifying the violent gangster "Crazy Joey" Gallo, and "Hurricane", the opening track that tells a passionate account of the murder case against boxer Rubin Carter, who the song asserts was framed. Carter was released in 1985, after a judge overturned his conviction on appeal.


title: Desire (Bob Dylan album)

text: A well-received follow-up to "Blood on the Tracks", "Desire" reached on the "Billboard" Pop Albums chart for five weeks, becoming one of Dylan's bestselling studio albums, and was certified double Platinum; the album reached in the UK. It claimed the slot on NME Album of the Year. "Rolling Stone" named "Desire" on its list of The 500 Greatest Albums of All Time. It was voted number 761 in the third edition of Colin Larkin's "All Time Top 1000 Albums" (2000).


title: Desire (Bob Dylan album)

text: "Desire" was released between the two legs of Dylan's Rolling Thunder Revue tour. By 1975, Dylan had extensive experience playing with a number of bands, but these groups were assembled by others. In the case of the Hawks (later known as The Band), the group had performed for a number of years before ever meeting Dylan.


title: Desire (Bob Dylan album)

text: Dylan's idea of forming his own band, who would later be known as the Rolling Thunder Revue, came when he saw Patti Smith and her group play at The Other End (formerly, and currently renamed The Bitter End) on June 26, 1975. Smith had yet to record an album, but she was already attracting a lot of attention from the music press and industry. According to Clinton Heylin, these were her first shows with drummer Jay Dee Daugherty, the culmination of four years spent "compiling a unique rock & roll sound". According to Smith, Dylan was immediately struck by the chemistry between Smith and her band, and expressed a wish that he had chosen to stay with a single band.


title: Desire (Bob Dylan album)

text: Dylan would spend many nights over the next two weeks in New York's Greenwich Village and The Other End in particular, eventually meeting Rob Stoner and reacquainting himself with Bob Neuwirth. Stoner would later join his Rolling Thunder Revue, and Dylan would meet the remaining members through Neuwirth. According to Smith, he was thinking about improvisation and extending himself "language-wise".


title: Desire (Bob Dylan album)

text: The album's cover is an homage to John Phillips' 1970 album "John Phillips (John, the Wolf King of L.A.)" as well as being inspired by imagery from Tarot card decks.


title: Desire (Bob Dylan album)

text: Around the time of his first meetings with Smith and Stoner, Dylan began work on several new songs, finishing at least one song called "Abandoned Love". Then, sometime in late June, while traveling in a car around the Village, Dylan spotted Scarlet Rivera walking with her violin in the case. Dylan stopped to converse with Rivera and invited her to his rehearsal studio where she spent the afternoon playing along with several of the new songs. "If I had crossed the street seconds earlier," said Rivera in 2012, "it never would have happened." According to Rivera, "One More Cup of Coffee (Valley Below)"," "Isis" and "Mozambique" were all rehearsed with Dylan on guitar and Rivera accompanying on violin. As the rehearsals progressed, Dylan attempted some of the same songs on piano, experimenting with different keys in the process. Soon after, Dylan would ask Rivera to join him for his next album.


title: Desire (Bob Dylan album)

text: As early as mid-July, the concept of the Rolling Thunder Revue was beginning to solidify. According to Don DeVito, a representative for Columbia Records, the possibility of forming a band and touring the United States playing unannounced concerts was already being discussed at this point.


title: Desire (Bob Dylan album)

text: Meanwhile, Dylan's songwriting partnership with Jacques Levy continued to grow. Jacques Levy was then best known for "Chestnut Mare", a collaboration with Roger McGuinn that ultimately became one of The Byrds' last hits. Dylan had met Levy the previous spring, but they became reacquainted at The Other End.


title: Desire (Bob Dylan album)

text: One night, Dylan met Levy at his loft and showed him an early draft of "Isis." According to Levy, "Isis" began life as a "slow dirge", unlike anything he had ever heard before, which he felt gave the appearance of setting the listener up "for a long story". When Dylan first played this embryonic version for him, the two of them started working together. According to Levy, it was an enjoyable song-writing partnership, with Levy writing words and Dylan contributing ideas. The session lasted until the early hours of the morning, after which Dylan and Levy traveled to The Other End. Dylan read the lyrics to the gathered crowd, to favorable reactions. The partnership went on to pen "Hurricane" and other tracks later featured on "Desire".


title: Desire (Bob Dylan album)

text: Dylan finally held a recording session on July 14, recording two songs co-written with Levy: "Joey," an epic ballad about gangster Joey Gallo, and "Rita Mae," a short song about lesbian writer Rita Mae Brown. At this time, the Rolling Thunder Revue had not yet formed. The participating musicians instead consisted of the Dave Mason Band, Scarlet Rivera (the only future member of the Rolling Thunder Revue to participate in this session), and a number of other session players. Disappointed with the results, the session merely encouraged Dylan to form his own working band for his upcoming album.


title: Desire (Bob Dylan album)

text: Following the session, Dylan and Levy isolated themselves in the Hamptons to work on their songs. According to Levy, they finished off a total of fourteen songs over a three-week period. In total, an entire album's worth of songs was written in less than four weeks of collaboration with Levy.


title: Desire (Bob Dylan album)

text: Two weeks after the first, failed session, Dylan returned to Studio E on July 28 with approximately 21 musicians at his disposal. By most accounts, the recording process was very haphazard. Dylan was determined to record the songs live, while producer Don DeVito's inexperience led him to 'stack' instruments on the multitrack tapes, making it virtually impossible to properly remix any of the songs or to overdub any off-key accompaniments.


title: Desire (Bob Dylan album)

text: Neil Hubbard, who was present at the session, felt that there were too many musicians present and the session lacked leadership. Guitarist Eric Clapton was present, just one of five guitarists in the studio. Clapton recalled later that Dylan appeared to be seeking an opportunity to work with new people he had met, although Clapton felt that Dylan was uncomfortable performing personal songs with such a large group present, and left the session after advising Dylan to use a smaller band, a sentiment later reiterated by Rob Stoner to producer Don DeVito.


title: Desire (Bob Dylan album)

text: Others at this session included Rob Stoner, Scarlet Rivera, Emmylou Harris, and the English pub rock band Kokomo. Many of them would later, and at the time, recount their frustrations regarding the recording process for "Desire" which was, in the opinions of the many professional musicians present, a rather chaotic process.


title: Desire (Bob Dylan album)

text: The following day, Dylan returned to Studio E with roughly half the number of musicians, retaining Stoner, Rivera, Harris, Hugh McCracken, and Vinnie Bell as well as saxophonist Mel Collins and percussionist Jody Linscott of Kokomo. This time, they managed a usable take of the song "Oh, Sister", but the remainder of the session was deemed unacceptable.


title: Desire (Bob Dylan album)

text: On the night of July 30, 1975, Dylan returned to Studio E with a smaller group of musicians, including Stoner, Rivera, Harris, and drummer Howie Wyeth (a friend of Stoner's who was hired by Dylan on Stoner's suggestion). For the most part, this group of musicians formed the core of the Rolling Thunder Revue. The difference became apparent early on in the session, when a usable take of "Isis" was recorded on the first try. Both Dylan and Stoner were pleased with the session, and Stoner suggests that the more intimate sound was much closer to the sound of the completed album.


title: Desire (Bob Dylan album)

text: Five of the nine songs from "Desire" were recorded at that session, as well as a slow version of "Isis," the original master take of "Hurricane", the single-only release "Rita Mae," and a successful take of "Golden Loom" that was later released in 1991. Of the participating musicians, only Emmylou Harris was dissatisfied with the results. It would also be her last session, as she had prior commitments with her own career.


title: Desire (Bob Dylan album)

text: The following night, Dylan held another session, this time recording three songs. From this session, Dylan recorded the master take for "Isis" as well as master takes for "Abandoned Love" and "Sara." Dylan's wife Sara, the subject of the song that bore her name, also accompanied him to this session.


title: Desire (Bob Dylan album)

text: The "Desire" sessions yielded a number of outtakes, but only one of these outtakes received any serious consideration. Written from the point of view of someone "despairing, isolated, [and] lost", "Abandoned Love" debuted as an impromptu performance at the Other End on July 3, 1975. Clinton Heylin wrote that the song suggested Dylan's self-confidence as an artist had returned, but that he still faced problems in his marriage. Originally intended for the album, it was ultimately replaced by "Joey." "Abandoned Love" would not see official release until 1985 when a finished take was issued on the boxed-set retrospective, "Biograph". Its first and only live performance at the Other End circulates as a highly prized recording among collectors.


title: Desire (Bob Dylan album)

text: Another song, "Rita May (sometimes spelled as "Rita Mae")," was issued on a single-only release. It is an up tempo song, that some listeners believe to be a tribute to lesbian writer Rita Mae Brown. It was later covered by Jerry Lee Lewis on his self-titled album, issued in 1979.


title: Desire (Bob Dylan album)

text: Two other recordings were later released upon other albums. "Catfish," a tribute to future Baseball Hall of Fame pitcher Jim Hunter (better known as Catfish Hunter), and "Golden Loom" were officially released on "The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991" in 1991.


title: Desire (Bob Dylan album)

text: The album opens with "Hurricane", arguably the most popular song on "Desire". It protests the conviction of former middleweight boxer Rubin "Hurricane" Carter for a triple murder in 1966, arguing for his innocence. In 1976, Carter won a second trial, but was again convicted of the triple murder. Carter was eventually released in 1985 after United States District Court Judge Haddon Lee Sarokin (who ironically declined to hear Dylan's song when his family offered it to him) ruled that he had not received a fair trial and state prosecutors decided not to try Carter a third time.


title: Desire (Bob Dylan album)

text: Dylan had been inspired to write it after reading Carter's autobiography, "The Sixteenth Round", which Carter had sent to Dylan because of his prior commitment to the civil rights struggle.


title: Desire (Bob Dylan album)

text: During the fall tour preceding "Desire"s release, Dylan and the Rolling Thunder Revue played a benefit concert for Carter in New York City's Madison Square Garden. The following year, they played another benefit at Houston, Texas's Astrodome. Dylan met with Carter on December 5, 1975, and performed a concert in Clinton State Prison, in which Carter took to the stage, to address the press. Among those present were representatives of "People Magazine" who ran an article about Dylan and Carter on December 22 of the same year.


title: Desire (Bob Dylan album)

text: New Jersey prosecutors said that they would not try Rubin (Hurricane) Carter and John Artis a third time for a triple-murder in a case that provoked national attention over charges that the authorities had framed both men.


title: Desire (Bob Dylan album)

text: The 21-year legal conflict ended in effect when the Acting Passaic County Prosecutor, John P. Goceljak, filed a four-page application in the county courthouse in Paterson to dismiss all charges against the two men.


title: Desire (Bob Dylan album)

text: "It is just not legally feasible to sustain a prosecution, and not practical after almost 22 years to be trying anyone," Attorney General W. Cary Edwards said in Trenton. Mr. Edwards, whose office participated in the decision, added, "It is time we put this matter to rest once and for all, and I wish Mr. Carter the best of luck and a very productive life."


title: Desire (Bob Dylan album)

text: One of the most celebrated songs on "Desire" is the symbolic travelogue "Isis". According to music critic Tim Riley, "Isis" tells the story of a young groom who marries his bride before he learns the value of loyalty. Riley wrote that the story told of a man who learns about the love of a woman through the deception of another man and a "quest for riches that resigned itself to the quest for human contact". Also, the protagonist mistakenly believes that his quest is for treasure when an ulterior purpose is at play. When he approaches the tomb, he finds it empty and without any reward. Unbeknownst to him, he was playing a part in a higher story line: the tomb eagerly awaited for the arrival of his companion who dies immediately. When he chucks the body into the empty space, he realizes what a folly this whole adventure has been, and decides to return to the arms of his knowing wife.


title: Desire (Bob Dylan album)

text: "Mozambique" allegedly started as a game, to see how many rhymes for "-ique" Dylan and Levy could find.


title: Desire (Bob Dylan album)

text: "One More Cup of Coffee (Valley Below)" tells the tale of a girl whose family are drifters, and of the man who must leave her to enter the "valley below". The narrator describes a character who is beautiful: "your eyes are like two jewels in the sky" but for whom the narrator's love and admiration are not reciprocated ("but I don't sense affection no gratitude or love, your loyalty is not to me but to the stars above"). Dylan claimed to have composed the song while visiting the Roma festival in Saintes-Maries-de-la-Mer, a French town in the Rhone river delta, in 1975 on his 34th birthday.