title: Kuji-in

text: In Fuju #197 and #198 which relates to the nine planets and Seven Northern Stars, the purpose of the kuji-ho is to obtain protection, as well as longevity; and the correlations with the nine planets and Seven Northern Stars. The idea was to perform the ritual to remove bad or baleful influences which a particular star or stars might in exerting over at that time over a person in a particular age group, by converting it into an auspicious star, planet, and influence.


title: Kuji-in

text: 闘/Tō: Rokuzonshō/禄存星; Kōmyōshō; [Phecda, Phekda or Phad; Gamma Ursae Majoris (γ UMa / γ Ursae Majoris)]


title: Kuji-in

text: 列/Retsu: Hagunshō/破軍星; Kongōshu Bosatsu (Fugen bosatsu) (Samantabhadra -Skt.); [Alkaid (or Elkeid) and Benetnash (Benetnasch); Eta Ursae Majoris (η UMa / η Ursae Majoris)]


title: Kuji-in

text: Zokushu is the earliest known Buddhist adaptation of the kuji. It is a kuji ritual based on Kakuban's formula, in which each of the kuji corresponds to a shuji/bonji/bija. However, instead of the original nine Taoist syllables, Kakuban created a new set of nine syllables based on the mantra of Amida Nyorai. There are in fact several zokushu rituals that Kakuban designed. The ritual itself is based on the deities Avalokitesvara [Kan'non bosatsu], and Amida buddha (Amitabha) as well as the nine deities of the inner sanctum of the Taizo-kai mandara/胎蔵界曼荼羅 (Garbhadhatu). Zokushu is based on Jodoshu [Pure land sect] and therefore the primary deity of worship is Amida Nyorai.


title: Kuji-in

text: Zokushu #5 gives lists the nine original Taoist syllables and gives a corresponding Japanese syllable. The shuji themselves when placed in order of their corresponding kuji form no logical sentence or statement, and may represent Sanskrit bija, and, or Tantric deities, or, it may be a prayer. Without further evidence, no other conclusions can be made.


title: Kuji-in

text: It is unclear how this set of kuji is related to the Sanskrit bija Kakuban gives for the primary zokushu kuji, which is the mantra of Amida buddha.


title: Kuji-in

text: Another kuji formula is found in the writings of Jodo Shinshu, founded by Shinran, and is yet another mantra to Amida Nyorai which reads


title: Kuji-in

text: Which spells the mantra, "Namu fukashigi-ko Nyorai" (Homage to the Tathāgata [buddha] of inconceivable light.)


title: Kuji-in

text: This spells the mantra, "Kimyo jinjippō mugekō Nyorai" (Homage to the Tathāgata [buddha] whose light shines without obstruction universally in the ten directions!)


title: Kuji-in

text: Se: Vajrapani (Kongō shu bosatsu /金剛手菩薩. Vajrapani is associated with Acala who is venerated as Fudo-Myo and is serenaded as the holder of the Vajra


title: Kuji-in

text: Note: the deletion of the Om syllable in the beginning and addition of the Hrīh] syllable is an adaptation. Hrīh signifies the element metal and lungs. The placement of Avalokiteśvara at the beginning and end obviously signifies that the other deities are contained within Avalokiteśvara.


title: Kuji-in

text: Rather these kuji and juji originated strictly within Japanese Buddhism is unlikely as Jodo Shinshu is, like many things in Japanese theology, influenced by Taoism. And it is also safe to assume that both Kakuban and Shinran would have been familiar with the various Taoist kuji and juji formulas. Rather or not their kuji and juji formulas are Japanese versions of Taoist formulas may never be known. However, what is clear is that they represent the earliest known use of the kuji and juji in Japanese esoteric Buddhism [mikkyo]. (Waterhouse, 1996)


title: Kuji-in

text: Lastly, in the late Edo jidai the kuji were practiced by various Shinto schools. And therefore, a set of correlations was developed between the kuji and various Shinto schools and related deities. Below is one such list belonging to a Shinto school in the Yamato region.


title: Kuji-in

text: Another kuji prayer is outlined by the monk Nichiei (Nichiren), and is found in chapter 26 of the Lotus Sutra where it is uttered by the deva King of the North, Tammon-ten/Bishamon-ten (Vaisravana), and is said to guarantee protection to those who recite it.


title: Kuji-in

text: Buddha, saying: “O Bhagavat! I will also teach a dhāraṇī out of pity for sentient beings and in order to protect　 expounders of the Dharma.”


title: Kuji-in

text: be banished for a hundred yojanas around.” [Cause all feeble sickness to be naught a distance of a hundred yojans (approximately 1,000 miles/1,600 km)]


title: Kuji-in

text: Also in chapter 26 of the Lotus Sutra immediately following Vaiśravaṇa, the Great King Dhṛtarāṣṭra (Jioku-Ten) Guardian of the eastern quarter announces a kuji in Sanskrit to complement Vaiśravaṇa's dharani. The verse goes:


title: Kuji-in

text: "At that time the devarāja Dhṛtarāṣṭra the great Heavenly King and Upholder of the Nation was present in the assembly, respectfully surrounded by millions upon million of myriads of koṭis of nayutas of gandharvas.


title: Kuji-in

text: As it should be apparent, the kuji are a very adaptable ritual which has, and will likely continue to be, adapted to the local needs of the individual or organization. In so long as the overall structure of esoteric practice is understood, that being the practice of sanmitsu, then the kuji can be adopted to fit almost any need.


title: Kuji-in

text: There as many as 81 variations to the Kuji-in within certain sects of Buddhism in Japan, to say nothing of other mudra that are also used.


title: Kuji-in

text: While the kuji-in have no unique relation to ninjutsu, the ninja traditions are steeped in esoteric Buddhist beliefs, especially Mikkyo. The "kuji-in", known here as "Kuji-kiri", are used in a number of their meditations, both those related simply to their religious practice and those dealing with their martial arts; in some ways, they are used similarly to the Taoist ideas in Chinese internal martial arts (some of the ideas of Chinese internal arts are, however, incorporated in many Japanese arts, including ninjutsu and jujutsu). In his book "Ninja Vol. II: Warrior Ways of Enlightenment", Stephen K. Hayes claims the following interpretations:


title: Kuji-in

text: The kuji-in are a tool to be used in meditation, and are frequently over-simplified in popular culture as being a form of magic. This belief, along with the use of the mudra and mantra, has been further popularized by "Tekken", "Tenchu", "Dead or Alive" and certain neo-ninja games. The lines of the chinese poem, compounding the syllables, reads "Nozomeru Hei, tatakau mono, kaijin wo hari, retsu wo tukutte, mae ni ari".


title: The Lonesome Crowded West

text: The Lonesome Crowded West is the second studio album by American rock band Modest Mouse, released on November 18, 1997 by Up Records. The two towers pictured on the album's cover are The Westin Seattle.


title: The Lonesome Crowded West

text: "The Lonesome Crowded West" received positive reviews from critics, and appeared on several lists of the best albums of the 1990s. The album was reissued by Isaac Brock's Glacial Pace label in 2014, along with Modest Mouse's 1996 debut "This Is a Long Drive for Someone with Nothing to Think About".


title: The Lonesome Crowded West

text: Blake Butler of AllMusic praised the album's diversity, noting the range of "quiet, brooding acoustics like 'Bankrupt on Selling' and dark and pounding thrashers like 'Cowboy Dan'", and called the album "indie rock at its very best."


title: The Lonesome Crowded West

text: "Pitchfork" ranked "The Lonesome Crowded West" at number 29 in their list of the 100 greatest albums of the 1990s, and the song "Trailer Trash" reached number 63 in their list of the 200 greatest songs of the decade. "Spin" ranked the album at number 59 in their list of the 100 greatest albums of 1985–2005, and "Entertainment Weekly" included the album in their list The Indie Rock 25. "The A.V. Club" has described "The Lonesome Crowded West" as the band's breakthrough recording. Sam Hockley-Smith, in a retrospective review for "Stereogum", refers to "The Lonesome Crowded West" as "the album that made Modest Mouse a great band instead of just a good one" and writes that the primary theme of disillusionment in Brock's lyrics is "not pretty, but it's honest, and that honesty makes it beautiful, like Modest Mouse were desperately trying — and failing — to hold onto that last bit of naiveté."


title: The Lonesome Crowded West

text: In June 2012, Pitchfork.tv released a forty-five-minute documentary on the album. The documentary included archival footage taken during live performances and original recording/mix sessions.


title: The Lonesome Crowded West

text: As of June 2000, according to Nielsen SoundScan, the album had sold over 60,000 copies in the United States.


title: The Lonesome Crowded West

text: The double-vinyl edition released on Up Records includes an extra track; "Baby Blue Sedan", and a slightly re-ordered track listing. Rather than having a gatefold cover to house both records, or putting both records in a single cover, the double-vinyl release was shipped in two different covers. The 2014 vinyl reissue on Glacial Pace contains the same track listing and two-cover configuration.


title: Continental Marines

text: The Continental Marines were the amphibious infantry of the American Colonies (and later the United States) during the American Revolutionary War. The Corps was formed by the Continental Congress on November 10, 1775 and was disbanded in 1783. Their mission was multi-purpose, but their most important duty was to serve as onboard security forces, protecting the captain of a ship and his officers. During naval engagements, in addition to manning the cannons along with the crew of the ship, Marine sharpshooters were stationed in the fighting tops of a ship's masts specifically to shoot the opponent's officers, naval gunners, and helmsmen.


title: Continental Marines

text: In all, there were 131 Colonial Marine officers and probably no more than 2,000 enlisted Colonial Marines. Though individual Marines were enlisted for the few U.S. Naval vessels, the organization would not be re-created until 1798. Despite the gap between the disbanding of the Continental Marines and the current organization, the Continental Marines' successor, U.S. Marine Corps, marks November 10, 1775 as its inception.


title: Continental Marines

text: These two battalions were initially intended to be drawn from George Washington's army for the planned invasion of Halifax, Nova Scotia, the main British reinforcement and supply point. In reality only one battalion was formed by December, with five companies and a total of about 300 men. Plans to form the second battalion were suspended indefinitely after several British regiments-of-foot and cavalry, supported by 3,000 Hessian mercenaries, landed in Nova Scotia, making the planned amphibious assault impossible. Washington was reluctant to support the Marines, and suggested that they be recruited from New York or Philadelphia instead.


title: Continental Marines

text: The Continental Marines' only Commandant was Captain Samuel Nicholas, commissioned on 28 November 1775; and the first Marine barracks were located in Philadelphia. Though legend places its first recruiting post at Tun Tavern, historian Edwin Simmons surmises that it was more likely the , a tavern owned by the Nicholas family. Robert Mullen, whose mother owned Tun Tavern, later received a commission as a captain in June 1776 and likely used it as his recruiting rendezvous.


title: Continental Marines

text: Four additional Marine Security Companies were also raised and helped George Washington defend Philadelphia.


title: Continental Marines

text: Marines were used by the US to carry out amphibious landings and raids during the American Revolution. Marines joined Commodore Esek Hopkins of the Continental Navy's first squadron on its first cruise in the Caribbean. They landed twice in Nassau, in the Bahamas, to capture naval supplies from the British. The first landing, named the Battle of Nassau, led by Captain Samuel Nicholas, consisted of 250 marines and sailors who landed in New Providence and marched to Nassau Town. There, they wrought havoc and seized naval stores of shells, shot, and cannon, but failed to capture any of the desperately needed gunpowder. The second landing, led by a Lieutenant Trevet, landed at night and captured several ships along with the naval stores. Sailing back to Rhode Island, the squadron captured four small prize ships. The squadron finally returned on 8 April 1776, with 7 dead marines and four wounded. Though Hopkins was disgraced for failing to obey orders, Nicholas was promoted to major on 25 June and tasked with raising 4 new companies of Marines for 4 new frigates then under construction.


title: Continental Marines

text: In December 1776, the Continental Marines were tasked to join Washington's army at Trenton to slow the progress of British troops southward through New Jersey. Unsure what to do with the Marines, Washington added the Marines to a brigade of Philadelphia militia, also dressed in green. Though they were unable to arrive in time to meaningfully affect the Battle of Trenton, they were able to fight at the Battle of Princeton.


title: Continental Marines

text: Continental Marines landed and captured Nautilus Island and the Majabagaduce peninsula in the Penobscot Expedition, but withdrew with heavy losses when Commodore Dudley Saltonstall's force failed to capture the nearby fort. A group under Navy Captain James Willing left Pittsburgh, traveled down the Ohio and Mississippi Rivers, captured a ship, and in conjunction with other Continental Marines, brought by ship from the Gulf of Mexico raided British Loyalists on the shore of Lake Pontchartrain. The last official act of the Continental Marines was to escort a stash of silver crowns, on loan from Louis XVI of France, from Boston to Philadelphia to enable the opening of the Bank of North America.


title: Continental Marines

text: At the end of the Revolutionary War, both the Continental Navy and Marines were disbanded in April 1783. Although individual marines stayed on for the few U.S. naval vessels left, the last Continental Marine was discharged in September. In all, there were 131 Colonial marine officers and probably no more than 2,000 enlisted Colonial marines. Though individual marines were enlisted for the few U.S. naval vessels, the organization would not be re-created until 1798. Despite the gap between the disbanding of the Continental Marines and the establishment of the actual United States Marine Corps (USMC), the USMC deems November 10, 1775 as its official founding date. This is traditional in marine units and is similar to the practice of the British and Dutch marines.


title: Continental Marines

text: On September 5, 1776, the Naval Committee published the Continental Marines uniform regulations specifying green coats with white facings (lapels, cuffs, and coat lining), with a leather high collar to protect against cutlass slashes and to keep a man's head erect. Its memory is preserved by the moniker "Leatherneck", and the high collar on Marine dress uniforms. Though legend attributes the green color to the traditional color of riflemen, Colonial Marines carried muskets. More likely, green cloth was simply plentiful in Philadelphia, and it served to distinguish Marines from the red of the British or the blue of the Continental Army and Navy. Also, Sam Nicholas's hunting club wore green uniforms, hence his recommendation to the committee was for green. Another possible reason for the green coats with white facings is that they were using captured uniforms as many loyalist units such as the Queen's Own Loyal Provincial Regiment utilized the green-faced white coats.


title: Haricharan

text: Haricharan Seshadri, known mononymously as Haricharan (born 20 March 1987), is an Indian Carnatic vocalist, playback singer, and musician who predominantly works in Tamil, Telugu, Malayalam and Kannada music and cinema. He sung 2000 songs in films, albums etc.


title: Haricharan

text: He recorded his first Tamil film song for the film "Kaadhal", in Joshua Sridhar's music when he was 17, and went on to record three songs in his debut movie. His song "Unakkena Iruppen" was nominated for the National Film Awards in 2005 which became widely popular. However he became popular only after his rendition to the song, "Thuli Thuli", composed by Yuvan Shankar Raja for the movie "Paiyaa" (2010).


title: Haricharan

text: Haricharan comes from Tamil music family from Chennai, India . His grandfather P. S. Ganapathy was an organiser of mic-less Carnatic concerts in the 60s under the name "Aalapanaa", and his grandmother Smt. Alamelu Ganapathy is a national awardee in Mathematics, and has been in academia for more than 35 years. His father G. Seshadri is an artist through AIR, and a bank employee, and his mother Latha, a librarian in P. S. Senior Secondary School. Haricharan started learning Carnatic music at an early age of seven under Smt. Sethu Mahadevan, and then from stalwarts like K. V. Narayanaswamy, T. M. Prabhavathi and P. S. Narayanaswamy.


title: Haricharan

text: He recorded his first Tamil film song for the film "Kaadhal", in Joshua Sridhar's music when he was 17, and went on to record three songs in his debut movie. His song "Unakkena Iruppen" was nominated for the National Film Awards in 2005 which became widely popular. Since then he has recorded several hit numbers for various music directors across the south, predominantly in Tamil, Kannada, Telugu and Malayalam languages. He became more famous after his more recent song, "Thuli Thuli". Haricharan is one of the most used singers in Yuvan Shankar Raja's music. He has also sung Rotaract Change Anthem for RI Dist 3230.


title: Haricharan

text: In 2012, Haricharan sang alongside Rajinikanth for the song "Maattram Ondrudhaan Maradhadhu" from soundtrack of "Kochadaiiyaan", which was composed by A. R. Rahman and released in 2014.


title: Multistage rocket

text: A multistage rocket or step rocket is a launch vehicle that uses two or more rocket "stages", each of which contains its own engines and propellant. A "tandem" or "serial" stage is mounted on top of another stage; a "parallel" stage is attached alongside another stage. The result is effectively two or more rockets stacked on top of or attached next to each other. Two-stage rockets are quite common, but rockets with as many as five separate stages have been successfully launched.


title: Multistage rocket

text: By jettisoning stages when they run out of propellant, the mass of the remaining rocket is decreased. Each successive stage can also be optimized for its specific operating conditions, such as decreased atmospheric pressure at higher altitudes. This "staging" allows the thrust of the remaining stages to more easily accelerate the rocket to its final speed and height.


title: Multistage rocket

text: In serial or tandem staging schemes, the first stage is at the bottom and is usually the largest, the second stage and subsequent upper stages are above it, usually decreasing in size. In parallel staging schemes solid or liquid rocket boosters are used to assist with launch. These are sometimes referred to as "stage 0". In the typical case, the first-stage and booster engines fire to propel the entire rocket upwards. When the boosters run out of fuel, they are detached from the rest of the rocket (usually with some kind of small explosive charge or explosive bolts) and fall away. The first stage then burns to completion and falls off. This leaves a smaller rocket, with the second stage on the bottom, which then fires. Known in rocketry circles as staging, this process is repeated until the desired final velocity is achieved. In some cases with serial staging, the upper stage ignites "before" the separation—the interstage ring is designed with this in mind, and the thrust is used to help positively separate the two vehicles.


title: Multistage rocket

text: A multistage rocket is required to reach orbital speed. Single-stage-to-orbit designs are sought, but have not yet been demonstrated.


title: Multistage rocket

text: The reason multi-stage rockets are required is the limitation the laws of physics place on the maximum velocity achievable by a rocket of given fueled-to-dry mass ratio. This relation is given by the classical rocket equation:


title: Multistage rocket

text: The delta v required to reach low Earth orbit (or the required velocity of a sufficiently heavy suborbital payload) requires a wet to dry mass ratio larger than can realistically be achieved in a single rocket stage. The multistage rocket overcomes this limit by splitting the delta-v into fractions. As each lower stage drops off and the succeeding stage fires, the rest of the rocket is still traveling near the burnout speed. Each lower stage's dry mass includes the propellant in the upper stages, and each succeeding upper stage has reduced its dry mass by discarding the useless dry mass of the spent lower stages.


title: Multistage rocket

text: A further advantage is that each stage can use a different type of rocket engine, each tuned for its particular operating conditions. Thus the lower-stage engines are designed for use at atmospheric pressure, while the upper stages can use engines suited to near vacuum conditions. Lower stages tend to require more structure than upper as they need to bear their own weight plus that of the stages above them. Optimizing the structure of each stage decreases the weight of the total vehicle and provides further advantage.


title: Multistage rocket

text: The advantage of staging comes at the cost of the lower stages lifting engines which are not yet being used, as well as making the entire rocket more complex and harder to build than a single stage. In addition, each staging event is a possible point of launch failure, due to separation failure, ignition failure, or stage collision. Nevertheless, the savings are so great that every rocket ever used to deliver a payload into orbit has had staging of some sort.


title: Multistage rocket

text: One of the most common measures of rocket efficiency is its specific impulse, which is defined as the thrust per flow rate (per second) of propellant consumption:


title: Multistage rocket

text: When rearranging the equation such that thrust is calculated as a result of the other factors, we have:


title: Multistage rocket

text: These equations show that a higher specific impulse means a more efficient rocket engine, capable of burning for longer periods of time. In terms of staging, the initial rocket stages usually have a lower specific impulse rating, trading efficiency for superior thrust in order to quickly push the rocket into higher altitudes. Later stages of the rocket usually have a higher specific impulse rating because the vehicle is further outside the atmosphere and the exhaust gas does not need to expand against as much atmospheric pressure.


title: Multistage rocket

text: When selecting the ideal rocket engine to use as an initial stage for a launch vehicle, a useful performance metric to examine is the thrust-to-weight ratio, and is calculated by the equation:


title: Multistage rocket

text: Another performance metric to keep in mind when designing each rocket stage in a mission is the burn time, which is the amount of time the rocket engine will last before it has exhausted all of its propellant. For most non-final stages, thrust and specific impulse can be assumed constant, which allows the equation for burn time to be written as:


title: Multistage rocket

text: Where formula_12 and formula_13 are the initial and final masses of the rocket stage respectively. In conjunction with the burnout time, the burnout height and velocity are obtained using the same values, and are found by these two equations:


title: Multistage rocket

text: When dealing with the problem of calculating the total burnout velocity or time for the entire rocket system, the general procedure for doing so is as follows:


title: Multistage rocket

text: It is important to note that the burnout time does not define the end of the rocket stage's motion, as the vehicle will still have a velocity that will allow it to coast upward for a brief amount of time until the acceleration of the planet's gravity gradually changes it to a downward direction. The velocity and altitude of the rocket after burnout can be easily modeled using the basic physics equations of motion.


title: Multistage rocket

text: When comparing one rocket with another, it is impractical to directly compare the rocket's certain trait with the same trait of another because their individual attributes are often not independent of one another. For this reason, dimensionless ratios have been designed to enable a more meaningful comparison between rockets. The first is the initial to final mass ratio, which is the ratio between the rocket stage's full initial mass and the rocket stage's final mass once all of its fuel has been consumed. The equation for this ratio is:


title: Multistage rocket

text: Where formula_17 is the empty mass of the stage, formula_18 is the mass of the propellant, and formula_19 is the mass of the payload.


title: Multistage rocket

text: The second dimensionless performance quantity is the structural ratio, which is the ratio between the empty mass of the stage, and the combined empty mass and propellant mass as shown in this equation:


title: Multistage rocket

text: The last major dimensionless performance quantity is the payload ratio, which is the ratio between the payload mass and the combined mass of the empty rocket stage and the propellant:


title: Multistage rocket

text: After comparing the three equations for the dimensionless quantities, it is easy to see that they are not independent of each other, and in fact, the initial to final mass ratio can be rewritten in terms of structural ratio and payload ratio:


title: Multistage rocket

text: These performance ratios can also be used as references for how efficient a rocket system will be when performing optimizations and comparing varying configurations for a mission.


title: Multistage rocket

text: For initial sizing, the rocket equations can be used to derive the amount of propellant needed for the rocket based on the specific impulse of the engine and the total impulse required in N·s. The equation is:


title: Multistage rocket

text: where g is the gravity constant of Earth. This also enables the volume of storage required for the fuel to be calculated if the density of the fuel is known, which is almost always the case when designing the rocket stage. The volume is yielded when dividing the mass of the propellant by its density. Asides from the fuel required, the mass of the rocket structure itself must also be determined, which requires taking into account the mass of the required thrusters, electronics, instruments, power equipment, etc. These are known quantities for typical off the shelf hardware that should be considered in the mid to late stages of the design, but for preliminary and conceptual design, a simpler approach can be taken. Assuming one engine for a rocket stage provides all of the total impulse for that particular segment, a mass fraction can be used to determine the mass of the system. The mass of the stage transfer hardware such as initiators and safe-and-arm devices are very small by comparison and can be considered negligible.


title: Multistage rocket

text: For modern day solid rocket motors, it is a safe and reasonable assumption to say that 91 to 94 percent of the total mass is fuel. It is also important to note there is a small percentage of "residual" propellant that will be left stuck and unusable inside the tank, and should also be taken into consideration when determining amount of fuel for the rocket. A common initial estimate for this residual propellant is five percent. With this ratio and the mass of the propellant calculated, the mass of the empty rocket weight can be determined.


title: Multistage rocket

text: Sizing rockets using a liquid bipropellant requires a slightly more involved approach because there are two separate tanks that are required: one for the fuel, and one for the oxidizer. The ratio of these two quantities is known as the mixture ratio, and is defined by the equation:


title: Multistage rocket

text: Where formula_25 is the mass of the oxidizer and formula_26 is the mass of the fuel. This mixture ratio not only governs the size of each tank, but also the specific impulse of the rocket. Determining the ideal mixture ratio is a balance of compromises between various aspects of the rocket being designed, and can vary depending on the type of fuel and oxidizer combination being used. For example, a mixture ratio of a bipropellant could be adjusted such that it may not have the optimal specific impulse, but will result in fuel tanks of equal size. This would yield simpler and cheaper manufacturing, packing, configuring, and integrating of the fuel systems with the rest of the rocket, and can become a benefit that could outweigh the drawbacks of a less efficient specific impulse rating. But suppose the defining constraint for the launch system is volume, and a low density fuel is required such as hydrogen. This example would be solved by using an oxidizer-rich mixture ratio, reducing efficiency and specific impulse rating, but will meet a smaller tank volume requirement.


title: Multistage rocket

text: The ultimate goal of optimal staging is to maximize the payload ratio (see ratios under performance), meaning the largest amount of payload is carried up to the required burnout velocity using the least amount of non-payload mass, which comprises everything else. This goal assumes that the cost of a rocket launch is proportional to the total liftoff mass of the rocket, which is a general rule of thumb in rocket engineering. Here are a few quick rules and guidelines to follow in order to reach optimal staging:


title: Multistage rocket

text: The payload ratio can be calculated for each individual stage, and when multiplied together in sequence, will yield the overall payload ratio of the entire system. It is important to note that when computing payload ratio for individual stages, the payload includes the mass of all the stages after the current one. The overall payload ratio is:


title: Multistage rocket

text: Where n is the number of stages the rocket system comprises. Similar stages yielding the same payload ratio simplify this equation, however that is seldom the ideal solution for maximizing payload ratio, and ΔV requirements may have to be partitioned unevenly as suggested in guideline tips 1 and 2 from above. Two common methods of determining this perfect ΔV partition between stages are either a technical algorithm that generates an analytical solution that can be implemented by a program, or simple trial and error. For the trial and error approach, it is best to begin with the final stage, calculating the initial mass which becomes the payload for the previous stage. From there it is easy to progress all the way down to the initial stage in the same manner, sizing all the stages of the rocket system.


title: Multistage rocket

text: Restricted rocket staging is based on the simplified assumption that each of the stages of the rocket system have the same specific impulse, structural ratio, and payload ratio, the only difference being the total mass of each increasing stage is less than that of the previous stage. Although this assumption may not be the ideal approach to yielding an efficient or optimal system, it greatly simplifies the equations for determining the burnout velocities, burnout times, burnout altitudes, and mass of each stage. This would make for a better approach to a conceptual design in a situation where a basic understanding of the system behavior is preferential to a detailed, accurate design.


title: Multistage rocket

text: One important concept to understand when undergoing restricted rocket staging, is how the burnout velocity is affected by the number of stages that split up the rocket system. Increasing the number of stages for a rocket while keeping the specific impulse, payload ratios and structural ratios constant will always yield a higher burnout velocity than the same systems that use fewer stages. However, the law of diminishing returns is evident in that each increment in number of stages gives less of an improvement in burnout velocity than the previous increment. The burnout velocity gradually converges towards an asymptotic value as the number of stages increases towards a very high number. In addition to diminishing returns in burnout velocity improvement, the main reason why real world rockets seldom use more than three stages is because of increase of weight and complexity in the system for each added stage, ultimately yielding a higher cost for deployment.


title: Multistage rocket

text: A rocket system that implements tandem staging means that each individual stage runs in order one after the other. The rocket breaks free from the previous stage, then begins burning through the next stage in straight succession. On the other hand, a rocket that implements parallel staging has two or more different stages that are active at the same time. For example, the Space Shuttle has two Solid Rocket Boosters that burn simultaneously. Upon launch, the boosters ignite, and at the end of the stage, the two boosters are discarded while the external fuel tank is kept for another stage.


title: Multistage rocket

text: Most quantitative approaches to the design of the rocket system's performance are focused on tandem staging, but the approach can be easily modified to include parallel staging. To begin with, the different stages of the rocket should be clearly defined. Continuing with the previous example, the end of the first stage which is sometimes referred to as 'stage 0', can be defined as when the side boosters separate from the main rocket. From there, the final mass of stage one can be considered the sum of the empty mass of stage one, the mass of stage two (the main rocket and the remaining unburned fuel) and the mass of the payload.


title: Multistage rocket

text: High-altitude and space-bound upper stages are designed to operate with little or no atmospheric pressure. This allows the use of lower pressure combustion chambers and engine nozzles with optimal vacuum expansion ratios. Some upper stages, especially those using hypergolic propellants like Delta-K or Ariane 5 ES second stage, are pressure fed, which eliminates the need for complex turbopumps. Other upper stages, such as the Centaur or DCSS, use liquid hydrogen expander cycle engines, or gas generator cycle engines like the Ariane 5 ECA's HM7B or the S-IVB's J-2. These stages are usually tasked with completing orbital injection and accelerating payloads into higher energy orbits such as GTO or to escape velocity. Upper stages, such as Fregat, used primarily to bring payloads from low Earth orbit to GTO or beyond are sometimes referred to as space tugs.


title: Multistage rocket

text: Each individual stage is generally assembled at its manufacturing site and shipped to the launch site; the term "vehicle assembly" refers to the mating of all rocket stage(s) and the spacecraft payload into a single assembly known as a space vehicle. Single-stage vehicles (suborbital), and multistage vehicles on the smaller end of the size range, can usually be assembled directly on the launch pad by lifting the stage(s) and spacecraft vertically in place by means of a crane.


title: Multistage rocket

text: This is generally not practical for larger space vehicles, which are assembled off the pad and moved into place on the launch site by various methods. NASA's Apollo/Saturn V manned Moon landing vehicle, and Space Shuttle, were assembled vertically onto mobile launcher platforms with attached launch umbilical towers, in a Vehicle Assembly Building, and then a special crawler-transporter moved the entire vehicle stack to the launch pad in an upright position. In contrast, vehicles such as the Russian Soyuz rocket and the SpaceX Falcon 9 are assembled horizontally in a processing hangar, transported horizontally, and then brought upright at the pad.


title: Multistage rocket

text: Spent upper stages of launch vehicles are a significant source of space debris for many years after use, and occasionally, large debris fields created from the breakup of a single upper stage while in orbit.


title: Multistage rocket

text: After the 1990s, spent upper stages are generally passivated after their use as a launch vehicle is complete in order to minimize risks while the stage . Passivation means removing any sources of stored energy remaining on the vehicle, as by dumping fuel or discharging batteries.


title: Multistage rocket

text: Many early upper stages, in both the Soviet and U.S. space programs, were not passivated after mission completion. During the initial attempts to characterize the space debris problem, it became evident that a good proportion of all debris was due to the breaking up of rocket upper stages, particularly unpassivated upper-stage propulsion units.


title: Multistage rocket

text: An illustration and description in the 14th century Chinese "Huolongjing" by Jiao Yu and Liu Bowen shows the oldest known multistage rocket; this was the "fire-dragon issuing from the water" (火龙出水, huǒ lóng chū shuǐ), which was used mostly by the Chinese navy. It was a two-stage rocket that had booster rockets that would eventually burn out, yet before they did they automatically ignited a number of smaller rocket arrows that were shot out of the front end of the missile, which was shaped like a dragon's head with an open mouth. This multi-stage rocket may be considered the ancestor to the modern YingJi-62 ASCM. The British scientist and historian Joseph Needham points out that the written material and depicted illustration of this rocket come from the oldest stratum of the "Huolongjing", which can be dated roughly 1300–1350 AD (from the book's part 1, chapter 3, page 23).


title: Multistage rocket

text: Another example of an early multistaged rocket is the "Juhwa (走火)" of Korean development. It was proposed by medieval Korean engineer, scientist and inventor Choe Museon and developed by the Firearms Bureau (火㷁道監) during the 14th century. The rocket had the length of 15 cm and 13 cm; the diameter was 2.2 cm. It was attached to an arrow 110 cm long; experimental records show that the first results were around 200m in range. There are records that show Korea kept developing this technology until it came to produce the Singijeon, or 'magical machine arrows' in the 16th century.


title: Multistage rocket

text: The earliest experiments with multistage rockets in Europe were made in 1551 by Austrian Conrad Haas (1509–1576), the arsenal master of the town of Hermannstadt, Transylvania (now Sibiu/Hermannstadt, Romania). This concept was developed independently by at least five individuals:


title: Multistage rocket

text: The first high-speed multistage rockets were the RTV-G-4 Bumper rockets tested at the White Sands Proving Ground and later at Cape Canaveral from 1948 to 1950. These consisted of a V-2 rocket and a WAC Corporal sounding rocket. The greatest altitude ever reached was 393 km, attained on February 24, 1949, at White Sands.


title: Multistage rocket

text: In 1947, the Soviet rocket engineer and scientist Mikhail Tikhonravov developed a theory of parallel stages, which he called "packet rockets". In his scheme, three parallel stages were fired from liftoff, but all three engines were fueled from the outer two stages, until they are empty and could be ejected. This is more efficient than sequential staging, because the second-stage engine is never just dead weight. In 1951, Soviet engineer and scientist Dmitry Okhotsimsky carried out a pioneering engineering study of general sequential and parallel staging, with and without the pumping of fuel between stages. The design of the R-7 Semyorka emerged from that study. The trio of rocket engines used in the first stage of the American Atlas I and Atlas II launch vehicles, arranged in a row, used parallel staging in a similar way: the outer pair of booster engines existed as a jettisonable pair which would, after they shut down, drop away with the lowermost outer skirt structure, leaving the central sustainer engine to complete the first stage's engine burn towards apogee or orbit.


title: Multistage rocket

text: Separation of each portion of a multistage rocket introduces additional risk into the success of the launch mission. Reducing the number of separation events results in a reduction in complexity.


title: Multistage rocket

text: Separation events occur when stages or strap-on boosters separate after use, when the payload fairing separates prior to orbital insertion, or when used, a launch escape system which separates after the early phase of a launch. Pyrotechnic fasteners, or in some cases pneumatic systems like on the Falcon 9 Full Thrust, are typically used to separate rocket stages.


title: Multistage rocket

text: The "three-stage-to-orbit" launch system is a commonly used rocket system to attain Earth orbit. The spacecraft uses three distinct stages to provide propulsion consecutively in order to achieve orbital velocity. It is intermediate between a four-stage-to-orbit launcher and a two-stage-to-orbit launcher.


title: Multistage rocket

text: Other designs (in fact, most modern medium- to heavy-lift designs) do not have all three stages inline on the main stack, instead having strap-on boosters for the "stage-0" with two core stages. In these designs, the boosters and first stage fire simultaneously instead of consecutively, providing extra initial thrust to lift the full launcher weight and overcome gravity losses and atmospheric drag. The boosters are jettisoned a few minutes into flight to reduce weight.


title: Multistage rocket

text: The "four-stage-to-orbit" launch system is a rocket system used to attain Earth orbit. The spacecraft uses four distinct stages to provide propulsion consecutively in order to achieve orbital velocity. It is intermediate between a five-stage-to-orbit launcher and a three-stage-to-orbit launcher, most often used with solid-propellant launch systems.


title: Multistage rocket

text: Other designs do not have all four stages inline on the main stack, instead having strap-on boosters for the "stage-0" with three core stages. In these designs, the boosters and first stage fire simultaneously instead of consecutively, providing extra initial thrust to lift the full launcher weight and overcome gravity losses and atmospheric drag. The boosters are jettisoned a few minutes into flight to reduce weight.


title: Shouse (duo)

text: Shouse () are an Australian-New Zealand electronic music duo consisting of Jack Madin and Ed Service. They are best known for their 2017 single "Love Tonight", which experienced renewed popularity in 2021 after various remixes of it were used in TikTok trends.


title: Shouse (duo)

text: In 2011, Ed Service moved from the Hutt Valley near Wellington, New Zealand to Melbourne, in order to become part of the dance music scene in Australia. While in a nightclub in Melbourne he met local musician Jack Madin, who has a background in folk and rock music, the two musicians decided to become an underground, 'weirdo-house' duo called Shouse. The first song the pair ever wrote together was their soon to be hit single, <nowiki>"</nowiki>Love Tonight<nowiki>"</nowiki>.


title: Shouse (duo)

text: In 2015, Shouse gathered in a warehouse in Brunswick for a recording session, where they recorded the vocals what would become the song "Love Tonight". Edward Service told ABC Radio Melbourne: "We decided to get a big group of mates together … it was just a big group of amateur singers and some of Melbourne's underground music stars of the time." In later interviews, the group have referenced Victor Turner's concept of communitas inspiring their passion for choirs and large participatory musical experiences.


title: Shouse (duo)

text: The duo's first two singles "Whisper" and "Support Structure" are sung by Mohini and Maia of band Habits. Their third single "Without You" featured Rachel and fourth single "Text Apology" featured Martha. Their debut EP "Openshouse 3" was released in September 2017.


title: Shouse (duo)

text: On 14 December 2017, the band released "Love Tonight". The track received a lukewarm reception. Fraya Dinesent from "Purple Sneakers" the song was "a mischievous parody" calling it an "endearing homage to the classic 1980s celebrity extravaganza that was Bandaid's 'We Are the World'." For the song, Shouse assembled an all-star choir of people they love and admire in their local Melbourne scene.


title: Shouse (duo)

text: In December 2018, the band released their second extended play, "Into It". Michael Stratford Hutch from "Purple Sneakers" wrote: "This is sensuous, developed work, that's gratifying to listen to across a variety of contexts—get around it."


title: Shouse (duo)

text: The duo took a break from music, Ed working as a community manager at an arts precinct, and Jack as a primary school music teacher.


title: Shouse (duo)

text: In March 2021, German electronic music producer Oliver Huntemann and Brazilian DJ and producer Vintage Culture released separate remixes of "Love Tonight" which gained traction on TikTok. This was followed in June 2021 with a remix by French DJ and record producer David Guetta which saw the song appear on national charts across Europe and sent the duo on a debut tour, including a performance at Paris Fashion week on the steps of the Opera Garnier.


title: Shouse (duo)

text: In February 2022, Shouse released "Won't Forget You" which was recorded between trips to Europe and a live appearance at the Sydney Opera House on 2021 New Year's Eve and with a choir of over 50 friends and colleagues. The duo said, "'Won't Forget You' is a song about friendship and love, on the connections that last forever. We have all endured a period of disconnection, but we never forget the people who are so important to us. This song is for your best friends, for the family that lives far, for the new friend met in the disco. It's the song that reminds us of what we love. It's a song to sing together."


title: Shouse (duo)

text: The Australian Independent Record Awards (commonly known informally as AIR Awards) is an annual awards night to recognise, promote and celebrate the success of Australia's Independent Music sector.


title: Shouse (duo)

text: The Music Victoria Awards, are an annual awards night celebrating Victorian music. They commenced in 2005.


title: Bullseye (British game show)

text: Bullseye is a British darts-themed television game show created by Andrew Wood and Norman Vaughan. The show features three pairs of contestants, each consisting of an amateur darts player and a quizzer, competing in darts games and quizzes to win cash and prizes.


title: Bullseye (British game show)

text: The original series aired on the ITV network and was produced by ATV in 1981, then by Central from 1982 until 1995. Jim Bowen presented the show during its initial 14-year run. A revival produced by Granada Yorkshire for the Challenge TV network, hosted by Dave Spikey, aired in 2006.


title: Bullseye (British game show)

text: The show sported an animated mascot named Bully, an anthropomorphic large brown bull who wore a red and white striped shirt and blue trousers. "Bullseye" attracted audiences of up to 20 million viewers at its peak.


title: Bullseye (British game show)

text: "Bullseye" was created and owned by Andrew Wood (with comedian Norman Vaughan), who came up with the idea after research into aspects of game shows with mass appeal. Programme associates on the show were Mickey Brennan and Roger Edwards.


title: Bullseye (British game show)

text: The series was centred on darts. Three pairs of contestants (each pair with one person to answer questions and one darts player) were pitted against one another to win prizes ranging from major prizes (such as a new car, a speedboat, a caravan or a luxury holiday) to consolation prizes such as a set of darts, a tankard (for male contestants), a silver goblet (for female contestants) and a 'Bendy Bully' (a rubber model of the show's mascot).


title: Bullseye (British game show)

text: The show originally aired on Monday nights in September 1981 and was produced by ATV. In 1982, "Bullseye" was moved to Sunday afternoons, and a new co-host, Tony Green, a professional darts referee and commentator, was brought in to keep track of the scores; this helped to achieve around 17 million viewers.


title: Bullseye (British game show)

text: "Bullseye" was moved from Sunday afternoons to Saturday afternoons from 1993 to 1995. A 15th series was planned in 1996, however this was cancelled after Andrew Wood deemed that various changes and additions that Carlton and the ITV network centre were pressing for to update and 'modernise' the show to be unsuitable for the series and he believed it would lose its appeal as a result. At the end of its original run, "Bullseye" was still attracting audiences of up to 10 million viewers. After an eleven-year hiatus, "Bullseye" was revived for a new series, which was recorded for the digital channel Challenge. It was produced by Granada at Yorkshire Television in the Leeds Studios, and was hosted by Dave Spikey. Tony Green also returned to the show as co-host, reprising his role from the original series.


title: Bullseye (British game show)

text: The first three series had the players throwing (from the point of view of the viewers and the audience) towards the right for the first round and to the left for all subsequent rounds. From the fourth series, all three boards in use rotated on a single pillar, and all throws were to the audience's right. The first four series featured opening titles of Bully jumping out of a sign and walking into a pub to play darts; this was shortened from series 2 onwards, with new theme music and musical beds from series 4. The opening credits of series 1, much longer than the version used from series 2 onwards, although containing numerous elements of what would become the show's familiar theme, feature a noticeably different arrangement of the theme tune.


title: Bullseye (British game show)

text: From series 5, the entire set was essentially inverted. The studio audience would now be seen in shot throughout the show, and the viewers would see all darts being thrown to the left. From the studio audience's point of view, everybody continued to throw to the right. Series 5 also saw Bully driving the team bus in the opening titles and ejecting himself from the driver's seat to ride a flying dart. These titles also featured cartoon depictions of Bowen at the front of the coach, and Eric Bristow, John Lowe, Dave Whitcombe, Keith Deller, Cliff Lazarenko, Bob Anderson, Jocky Wilson and Mike Gregory at the back. This same title sequence was used for the revived series, but featuring depictions of presenter Dave Spikey at the front of the coach and professional darts players of the 2000s at the back.


title: Bullseye (British game show)

text: A new set was introduced in the 11th series, with Bowen – who since the second series had opened the show by coming through the audience – now making his entrance through the opening that would then drop a panel behind which the star prize would be hidden. In the 13th series, the opening titles consisted of Bully jumping out of the logo at the back of the studio and charging about to cause chaos on the set.


title: Bullseye (British game show)

text: For "Comic Relief" in March 1993, a special crossover between "Bullseye" and the BBC's snooker-based game show "Big Break" (the creation of which had been partly influenced by "Bullseye") was planned, with guest comedians as contestants, and with Bowen and "Big Break" host Jim Davidson, along with scorers Tony Green and "Big Break"'s John Virgo, effectively taking their counterpart's role within the game for humorous effect. Bowen and Davidson were both very enthusiastic about the idea; however the proposal never came to fruition, reportedly after ITV wanted the rights to repeat broadcasts as a self-contained programme, to which the BBC declined.


title: Bullseye (British game show)

text: Bowen once described "Bullseye" as "the second-best darts-based game-show on television". There were no others at the time.


title: Bullseye (British game show)

text: In 1989, John Cooper appeared on the show. He was later convicted of multiple burglaries, armed robberies, and, in 2011, following advances in forensic science, two double murders, one rape, and another sexual assault. Footage of his appearance on the show was later used by the prosecution to match him to witness reports at the time.


title: Bullseye (British game show)

text: A dartboard divided into 10 sectors was used, each representing a different category and further subdivided into outer, middle and inner areas. Three rounds were played, with every team receiving one turn in each. On a team's turn, the darts player threw one dart and attempted to hit either the bullseye or a category chosen by their partner. Doing so awarded a cash bonus to the team and allowed the partner to answer a question in the chosen category. However, if the dart hit a different category that was still in play, no bonus was awarded and the partner had to answer a question in that category instead. Hitting a category that was out of play or failing to hit the board at all forfeited the team's turn. Questions were worth £30 each in Round 1, £50 in Round 2, and £100 in Round 3. The values on the board (working inward from the edge) were £30, £50, and £100; the bullseye awarded £200 and was always in play. In the first series, these values, working inward, were £20, £10, and £30, with the Bullseye worth £50. Categories were removed from play after one question had been asked. In the first series, hitting the bullseye entitled the non-darts player to select any value of question to be asked for a value of £50.


title: Bullseye (British game show)

text: Starting in series 3, if the contestant in control missed the question, the first opponent to buzz-in could answer and attempt to steal the money. In early series, the opponents could silently buzz-in during the question and/or while the contestant was thinking, but were only asked for a response if the contestant missed. Later, they could only buzz-in after a miss, triggering an audible signal. If neither opponent buzzed-in, or if the first to do so also missed, the host gave the correct answer and the game continued.


title: Bullseye (British game show)

text: For the first seven series, the lowest-scoring team was eliminated from the game after the third round. In the event of a tie for low score, the darts players for the tied teams each threw three darts at a standard matchplay board and the high scorer's team advanced. From series 8 on, all three teams continued to the next portion of the game.


title: Bullseye (British game show)

text: Each darts player threw three darts at a standard matchplay board, and the one who achieved the highest score won control of a question for their partner. Starting in series 2, an incorrect response passed the question to the team with the second-highest score, then the third if necessary; the first team to respond correctly won £1 per point scored by their darts player. After three questions, the team with the highest cash total from the first two rounds went through to play Bully's Prize Board. All three teams received their accumulated cash totals, as well as show-themed souvenirs that included darts, pens, patches, tankards (or goblets for female contestants), and "Bendy Bully" rubber dolls in the likeness of the show's mascot.


title: Bullseye (British game show)

text: Initially, if two or more darts players achieved the same total, a re-throw was held and the high scorer won control of the question, for the value of the original throw. Later, the re-throw was eliminated and the question was played on the buzzer by the tied partners.


title: Bullseye (British game show)

text: At the beginning of part two, a professional darts player (or occasionally a celebrity during the first four series and the 2006 revival) would throw nine darts at the matchplay board. The show donated £1 per point scored to a charity of the winning team's choice, or £2 per point if the total was 301 or higher. Celebrity players often performed badly and would contribute some of their own money to the donation.


title: Bullseye (British game show)

text: One episode of series four originally broadcast on 3 December 1984, featured comedienne Carol Lee Scott as the celebrity guest darts thrower. Bowen and Scott had known each other for many years prior after both having appeared on the same bill at various working clubs. However, as mentioned in Bowen's 1998 biography "From a Bundle of Rags: Autobiography of Jim Bowen", the pair had a backstage exchange after filming of the episode, with Bowen commenting on Scott's performance which led to the pair trading several offhand comments, after which they refused to ever speak again.


title: Bullseye (British game show)

text: During series 5 through 13 (1985 to 1994), the professional who recorded the highest score in the charity interlude over the course of an individual series won a Bronze Bully Trophy. The winners:


title: Bullseye (British game show)

text: The team with the highest cash total from both rounds faced a board divided into eight pairs of alternating narrow red and wide black sectors, with a bullseye at the centre. The red sectors were numbered 1 through 8, each corresponding to a different prize, and the bullseye represented a larger item, "Bully's Special Prize." The team threw nine darts, the first and last three by the darts player and the middle three by their partner, and won the prizes for all red sectors they hit. Black sectors awarded nothing, and hitting the same red sector twice forfeited that prize—hence the show's catchphrase, "Keep out of the black and in the red, nothing in this game for two in a bed." A third hit to the same sector awarded the prize once again.


title: Bullseye (British game show)

text: For most of the programme's original run, prize values were restricted by the Independent Broadcasting Authority, which may explain the perceived poor quality of prizes on offer. Although some prizes (such as a remote-controlled toy car or legendary "TV with wired remote control") were laughed at by the studio audience even then, smaller prizes were taken for granted at the time, and they seemed relatively lavish compared to those on offer in BBC game shows such as "Blankety Blank". In a 2006 episode, Bully's Special Prize was a fully functional show-themed Fruit Machine.


title: Bullseye (British game show)

text: After throwing their nine darts at Bully's Prize Board, the winning team had to decide whether to risk their prizes for a chance at "Bully's Star Prize," a large mystery prize hidden behind a screen in the studio. For the first ten series, the money they had won for themselves was not at risk; beginning with series 11, they had to put up both their money and prizes in order to play. (The team's souvenirs and the money won by the professional for their charity were never at risk.) If they chose to try for the Star Prize, they were given six darts (three per person; non-darts player throwing first) to score 101 points or more on a standard matchplay dartboard. If they succeeded, they received the Star Prize and kept their previous winnings; if not, they lost all cash/prizes they had risked. When money was at stake during Bowen's tenure as host, he would tell the team that they would receive only their "BFH" (bus fare home) if they lost.


title: Bullseye (British game show)

text: If the winning team declined to play, the second-place team had the option to risk their money and try to win the prize; if this pair also declined, the third-place team was given the same choice. The actual prize was only revealed after a team had played the round, win or lose, or if all three teams chose not to play.


title: Bullseye (British game show)

text: Bully's Star Prize was usually a holiday (especially in later series), a car, a caravan or a speedboat. Sometimes in the earlier series, less lavish Star Prizes (fitted kitchens and the like) were given away so as to fit within the IBA's prize limits. In the last two series, after prize limits had been lifted, the Star Prize would sometimes be "Bully's Treasure Chest" of £5,000. In an episode from 1987, the Star Prize was a £2,000 fashion spree.


title: Bullseye (British game show)

text: From series 8 onwards, if the second- and third-place teams had the same total, both were asked if they wanted to gamble. If both said yes, the two darts players threw three darts each at the matchplay board and the higher score won the right to play for the Star Prize.


title: Bullseye (British game show)

text: On the show, it was never made clear if the two winning contestants had to share the Star Prize or if they got one each.


title: Bullseye (British game show)

text: "Bullseye" was one of several game shows to be released as an interactive DVD game for Christmas 2005, although the game did not feature the voice of Jim Bowen, and 'Bully' was redesigned. A Bullseye board game was made around the same time. A "Classic "Bullseye"" DVD game was released the following year, which featured the voices of both Jim Bowen and Tony Green and also classic footage from the show. A second edition of the board game was also released in 2006.


title: Bullseye (British game show)

text: In 2005, it was announced that programme creator Andrew Wood had signed a contract with Granada Media for Granada to produce a one-hour long celebrity special "Bullseye" show to be hosted by Ant & Dec. This special was part of "Ant & Dec's Gameshow Marathon", in turn part of ITV's 50th anniversary celebrations, and was aired on ITV on 22 October 2005. Vernon Kay and "Coronation Street" star William Roache were the contestants, accompanied by professional darts players Eric Bristow and Andy Fordham, while Tony Green reprised his role as co-host.


title: Bullseye (British game show)

text: Subsequently, Granada decided that a new series of "Bullseye" would be produced early the following year, on Challenge and that the show was to be hosted by comedian Dave Spikey. Bully was also redesigned for the new series, albeit very similar to the Bully used in the original series.


title: Bullseye (British game show)

text: The new series of "Bullseye" returned on Challenge in April 2006. The show maintained the style of prizes from the original, bar white goods— none of the cash prizes had increased in value since the second series in 1982, although the bullseye on the category board had decreased to £150 from the £200 of the original series. Some of the prizes from Bully's Prize Board were of more modern gameshow standard, such as a TFT television and an MP3 player. Dave Spikey and Tony Green commented on BBC Radio 1's Colin and Edith show on 19 April 2006: ""...["Bullseye" is] The only gameshow on the television in which the prizes get a round of applause..."".


title: Bullseye (British game show)

text: The revived series was strikingly similar to the original series. Whilst refreshed, the show maintained the original theme music and stings and used a remade version of the original's second title sequence, Bully driving the team bus. A cartoon version of Dave Spikey replaced Jim's in the titles. The Challenge revival ran for thirty episodes.


title: Bullseye (British game show)

text: On 19 May 2007, another one-hour long celebrity special was aired on ITV, this time as part of "Vernon Kay's Gameshow Marathon". This time the contestants were newsreader Andrea Catherwood, footballer Graeme Le Saux and another "Coronation Street" star, Michael Le Vell, paired with professional darts players Martin Adams, Phil Taylor and Raymond van Barneveld respectively. Once again, Tony Green reprised his co-host role. Jim Bowen did not appear on the Bullseye episode; instead, he appeared on the marathon's remake of The Golden Shot, acting as "Bowen the Bolt" (instead of "Bernie the Bolt"). At one point, he did make the comment to Kay, "Vernon, this is a bit like Bullseye used to be...throwing arrows for prizes!"


title: Bullseye (British game show)

text: In March 2018, it was rumoured that Vernon Kay would front a reboot of "Bullseye". However, he later denied that he was fronting the new reboot of "Bullseye". In June 2019 it was announced that "Bullseye", as one of the country's five all-time favourite game shows, was to be "supersized and rebooted" in a new series "Alan Carr's Epic Gameshow" for a broadcast on 4 July 2020. Commissioned by ITV, the series was filmed at dock10 studios and presented by Alan Carr.


title: Bullseye (British game show)

text: Although not strictly a remake but more of a show influenced by the original, Welsh language TV channel S4C has a darts gameshow called “Oci, Oci, Oci”, which uses the concept of darts and questions to win prizes. Instead of in a studio, the show is at various social clubs and pubs each week. The show has two people who handle the questions and two playing darts.


title: Hua Chenyu

text: Hua Chenyu (born on February 7, 1990, in Hubei province , China) is a Chinese Pop singer and songwriter. He gained widespread recognition for his music talent, strong vocal ability and stage performance after participating in "Singer 2018. One of the critics from the show states that" Hua Chenyu has brought the Chinese pop music to a new level of art after his cover performance of "《Fake Monk》（假行僧)." Many songs he composed contain his thoughts to the world or imply his own story that he would like to share with his fans. Songs like "《Qi Tian齊天》"", 《Madhouse 瘋人院》"", 《Seven Personalities 七重人格》"", 《Bull Fight 鬥牛》"","and more are all stamped with his unique creation and deep messages. In his 2022 interview with "Bazaar Man Magzine", he states that rock spirit is the base color of this life and is also the root of his music. In a music market dominated by ballad style of Chinese pop songs, he refuses to be limited and be defined in a framed genre.


title: Hua Chenyu

text: Chenyu became famous after winning the 2013 Super Boy singing contest, which was produced by Hunan TV in China. He released his debut album "Quasimodo's Gift" on September 18, 2014, which peaked at number one on the Jingdong Top 100 Annual Sales Chart (Music). His first headline concert, "Mars Concert", was held in Beijing on September 6, 2014, before his debut album was released. Over 10,000 tickets were sold out within two minutes, breaking several records and making him the first mainland Chinese singer of his generation to hold concerts in a large arena. Another concert on September 7 was then announced and sold out.


title: Hua Chenyu

text: Since then, Hua Chenyu tours his "Mars" Concerts throughout China. His second physical album "Aliens" was released in December 2015. At a "Mars" concert in 2016, he became the first Chinese singer with the first generation to hold a four-sided concert. On March 7, 2017, he released his third album "H", which refers to his family name initial. On September 8 and 9, 2018, he performed in the Beijing National Stadium in front of 90,000 people each day, becoming the only mainland Chinese singer to perform in this venue successively. His single "I really want to love this world" went on sale digitally on December 4, 2019, selling more than seven million copies and a revenue of over ¥63 millions (US$9.3 million) within six months. His fourth album "New World" went on sale in April 2020. It was sold digitally and as USB and CD; sales of the digital album reached 1.65 million, exceeding ¥33 million (around US$4.8 million) by early August 2020.


title: Hua Chenyu

text: Hua Chenyu was born to a wealthy family on February 7, 1990, in the city Shiyan, Hubei province. His parents divorced when he was two years old and during his childhood he lived with his father, who remarried when he was ten years old. He began playing the flute at the age of five and took piano lessons in the fifth grade. He wrote his first song at the age of twelve after mastering piano.


title: Hua Chenyu

text: After finishing middle school, Hua moved to Wuhan alone to attend the Fine Arts High School there. In 2010, he passed the college entrance examination and entered the Wuhan Conservatory of Music, where he studied pop music vocal performance and became the vocalist of a college rock band called Conseer.


title: Hua Chenyu

text: In 2013, shortly before graduating from conservatory, Hua entered the casting for the television talent contest "Super Boy", which was produced by Hunan TV. On his first appearance to the audience, he sang his original "Lyricless Song" that gave him the label of being like a "Martian" for his unique expression. Two of the three judges considered him to be odd or crazy, but after the third judge Laure Shang asked him a few questions and sang a lyricless duet with him, she said "he is a genius!" because "he knew intuitively how to express emotions through music". Due to the recommendation of Laure Shang and his performance of "The Kill", Hua made it past the first round of audition. He later sang with Laure Shang the song "The Star" in the final round on September 27, 2013. Chenyu Hua won the 2013 "Super Boy" contest.


title: Hua Chenyu

text: After the competition, Hua was signed to the Chinese record labels EE-Media, where the most of the "Super Boy" and "Super Girl" contestants are linked. His debut single "Me and Myself" was released in September 2013. Hua also took part in the Super Boy Tour with other contestants, in which they toured eleven major Chinese cities.


title: Hua Chenyu

text: Chenyu Hua went to Italy and Spain to film for the TVN reality show "Divas Hit the Road" in April 2014 and the show was broadcast from April 25. The first episode received the highest viewership in its broadcast time slot. In June, he was invited by the popular Korean eyewear brand ALO as the first Chinese brand ambassador and went to Korea for the advertising photography.


title: Hua Chenyu

text: In less than a year since Hua's debut, he announced his first headlining concert, Mars Concert, in May 2014. On June 28, 2014, over 10,000 concert tickets for his first show on September 6 were sold out in 92 seconds. Due to the massive response, the organizers announced an extra show on September 7. The press conference of the Mars Concert 2014 was held at the Wukesong Arena. This made him the first in the Chinese music industry to hold press conference in a venue with capacity over a thousand. The September 6 concert was broadcast live through QQ Music and Hunantv, attracting more than 400,000 online viewers. Over 120,000 E-tickets were sold.


title: Hua Chenyu

text: On the same day of his concert (September 6), the international jewelry brand Pomellato announced Chenyu Hua as the brand ambassador for some of its products. Hua released his first solo album "Quasimodo's Gift" on September 19, 2014, both in China and overseas. This atypical album has genres including rock, indie and folk. "Quasimodo's Gift" does not feature songs about love and relationships but uses a first-person perspective to describe the world as Hua sees it. Hua composed three of the ten songs on this album, including the title song "Quasimodo's Gift". A sense of loneliness but not sorrow fills up the whole album. According to Hua, the album's main theme is "small": "At first I wanted to name it "Size 40". 40 is my shoe size. I mean everyone doesn't need a vast space to live, as one only have a pair of feet of size 40, and just standing here is enough ... Because as long as you are standing here, you exist, and have a value of existence." – Hua Chenyu.


title: Hua Chenyu

text: On November 11, the short film "Quasimodo's Gift" was released, with Hua as the main character. His songs "Quasimodo's Gift" and "Ashes from the Fireworks" were included in the film, merging the music into the story. The music videos of the songs were cut from this short film. The overseas version of this album ranked number one on the Taiwan Five Music Chart for several weeks. This album received several awards, including ERC Chinese Top Ten Awards for Best Album, Top Chinese Music Awards for 2014 Most Popular Album, Best Album Performance, and Best Album Production, Chinese Music Radio Awards for Best Composition, and Golden Song for the track "Let You Go". This album reached number one on Jingdong's 2014 music sale chart.


title: Hua Chenyu

text: In November, he was invited to appear on "Say Hi! The Hit of China", the online variety show of Tencent (Hi歌). In the program, Hua chose to rearrange the song "Spring" and won the "Annual Hit Song of China" (年度Hi歌). On December 24, he sang "Shimmer" and "Quasimodo's Gift" with rearranged piano composition at pianist Langlang's Beijing concert.


title: Hua Chenyu

text: On January 1, 2015, Chenyu Hua for the first time joined and performed in the Liaoning TV New Year Gala. On January 10, "Shimmer" was announced as the interlude song of the Chinese television drama "You Are My Sunshine" (何以笙箫默). On February 8 (Los Angeles Time zone), Chenyu Hua was invited by "Billboard" as a VIP spectator to the 57th Annual Grammy Awards. On February 17, he performed in the Liaoning TV Chinese New Year Gala.On April 27, Hua released his vocal experimental song "Cancer". On the Forbes China Celebrity 100 announced on May 11, his song charted for the first time with the integrated ranking of 91.


title: Hua Chenyu

text: In early May, Hua's Mars Concert was announced to hold on August 1 in Shanghai. Almost 10,000 tickets were sold out within 35 seconds while over 160,000 people were online. This once again broke the online ticketing record in the Mainland. Due to the heated response, his company announced two extra shows at the same venue, on July 31 and August 2 respectively. It made him the first Mainland singer to hold concert for three consecutive nights in the same venue. His concert on August 1 was broadcast online through Tencent and HunanTV (芒果TV). The Tencent online audience reached 2.64 million. This also renewed the record for online concert real-time broadcast.


title: Hua Chenyu

text: On October 28, his second album "Aliens" started pre-ordering on Jingdong. The limited 30,000 release almost sold out within a day. On November 7, his first digital album also started pre-ordering. Within eight minutes, over 100,000 units were sold. The album sold 350,000 copied on the first day of release. On December 18, "Aliens" was released on overseas music platforms including iTunes and the overseas version of "Aliens" was also released on December 22. The promotional video of "Aliens" was aired on the LED screen at New York's Times Square for a week starting from December 23. Hua composed 7 of the 11 songs; for this album, he wanted to present himself as "big" and "domineering", in contrast to his first album. This was also the first time he included rap songs in his album.


title: Hua Chenyu

text: "Aliens" won many awards, including ERC Chinese Top Ten Awards for Best Concept Album, Best Vocal Collaboration for "Kings and Paupers", Top Chinese Music Awards for Best Album Performance, 2016 Ali Music Annual Awards for Best Pop Album, Most Popular Album, and Most Popular song for "Mayfly."


title: Hua Chenyu

text: On November 13, Chenyu Hua joined the television show "Be the Idol" (唱游天下) which was produced by Jiangsu TV. On December 31, Hua appeared in his third-consecutive Hunan TV New Year Countdown Concert .


title: Hua Chenyu

text: On January 8, Hua performed in "Langlang's Sky – Langlang and His Friends Spring Music Festival". The show was broadcast by Liaoning TV on February 1. On February 8, he performed "For My Future Child" on Beijing TV Chinese New Year Gala. On March 4, Chenyu Hua appeared as a guest on the variety show "Ace to Ace" (王牌对王牌) on ZhejiangTV. His arrangement of the song "Boluo Boluo Mi" originally by Xie Na (菠萝菠萝蜜) gained widespread attention and positive comments.


title: Hua Chenyu

text: On March 7, the interlude song "The Rampage", which appears in the movie "Who Sleeps My Bro", was released. On April 7, he released the song "Mars Intelligence Agency", which is the theme song for the online talk show with the same title. On April 9, he participated in the 16th Annual Festival of Top Chinese Music as ambassador and received two awards: Annual Best Album Performance for his album "Aliens" and Annual Best Idol.


title: Hua Chenyu

text: On July 8, Chenyu Hua's newly released song "Here We Are" was announced as the theme song for the movie Line Walker (). Another self-composed song "To Be Free" was released on August 3 and it is the promotional song for the movie The Warriors Gate. On August 16, Chenyu Hua released his second English song "For Forever", which was specially created for the Mars Concert.


title: Hua Chenyu

text: This year, Hua held concerts in Beijing, Shanghai and Shenzhen. The Beijing Concert was held on July 2 in the Wukesong Culture & Sports Center. Shanghai concerts were held on August 21 in the Mercedes-Benz Arena. The final 2016 Mars Concert took place in Shenzhen Bay Sports Center with Khalil Fong as the special guest. The live online broadcast of the Shanghai and Shenzhen concerts, supported by LeEco, attracted over 4.3 million viewers.


title: Hua Chenyu

text: From October 2016 to January 2017, Hua participated as a celebrity mentor and judge in the first season of ("The Next") alongside Karen Mok, Fei Yu-Ching and Yang Kun. In this program, aspiring singers have the opportunity to challenge a celebrity mentor, who is assigned a song by the challenger and has 24 hours to prepare for the performance. Hua gained widespread recognition for his rearrangement and performance, especially after his own arrangement of 我的滑板鞋 ("My Skateboard Shoes"), entitled 我的滑板鞋 2016, which was later released on his album "H". He won a majority of audience votes with performances of 流浪记 ("Wandering"), 故乡的云 ("Clouds of Hometown"), Dear Friend, 齐天大圣 ("Great Sage Equal to Heaven", translation may vary) and 易燃易爆炸 ("Flammable and Explosive"). Hua and contestant performed 南屏晚钟 ("Nanping Evening Bells") in the semi-finals and 如果爱 ("Perhaps Love") in the finals.


title: Hua Chenyu

text: After filming "The Next", Hua went to study in Berklee College of Music until end of March. He learned singing and rapping skills but found many of the techniques are more suited to English songs than Chinese ones. He also learned how Pentatonic scale is used in Western music (as it was also widely used in traditional Chinese music), and he would incorporate it in his own songs, such as his arrangement of "Drinking Alone"). On June 3, Hua joined television travel show "Flowers on Trip" ("旅途的花样") along with Lin Chi-ling, Zhang Xinyi, Aarif Rahman and others. They traveled to Morocco, Russia, Norway and Denmark, following the "One Belt, One Road" approach.


title: Hua Chenyu

text: Chenyu Hua was a judge on Tencent's new singing competition show "The Coming One" ("明日之子"), where his support for contestant Hez, a humanoid persona created using augmented reality and singing voice synthesizer technologies, sparked controversy on Chinese social media. The first episode of the show started live-streaming on June 10. On July 13, Hua was announced brand as ambassador of Estee Lauder China.On September 27, the makers of mobile MMO game "Kings of Glory (王者荣耀)" released its theme song for the in-game character Luban by Hua Chenyu.


title: Hua Chenyu

text: The 2017 Mars Concert was held on October 13 and 14 in Beijing. Only one of the concert dates was broadcast live online and it gathered more than four million live viewers. From October 2017 to January 2018, Hua continued his role as a celebrity mentor and judge in the second season of "The Next" alongside Karen Mok, Fei Yu-Ching, Yang Kun and Jason Zhang.


title: Hua Chenyu

text: In February 2018, Hua joined Singer 2018 (歌手2018) alongside acts including Jessie J, Wang Feng, Tengger, Angela Chang, KZ Tandingan after turning down the show for three years. During the show, he won first place in four episodes and his average percentage of votes ranked second among all the previous contestants in the six seasons of "Singer". In the final episode, Hua's performance of "Light Years Away"《光年之外》with G.E.M 邓紫棋 brought him to Top Four together with Jessie J, Wang Feng and Tengger. His final performance of Angela Chang's song "Shout"《呐喊》 earned him second place, after Jessie J. Chenyu Hua's performance of his self-written song "Heaven's Equal (齐天)" won Most Popular Song of the show.


title: Hua Chenyu

text: That year, Hua composed the track "Halftime (we met here)" for Karen Mok, In May–September 2018, he participated on Tencent's television show "The Coming One 2" (明日之子 2) along with Chris Lee(李宇春), Wu Tsing Fong (吳青峰) and Yang Mi (杨幂) as the mentor for vocal track (魔音赛道). On September 8 and 9, 2018, Chenyu Hua had his 2018 Mars Concert in Beijing National Stadium on his fifth anniversary since debuting. The tickets were once again sold out within one minute, making him the first post-1990s singer in mainland China to hold a concert in the stadium with 90,000 audiences. On December 12, Hua won Musician of the Year at Harper's Bazaar 2018 Men of the Year awards and Most Searched Across Asia at 2018 Yahoo Asia Buzz Awards.


title: Hua Chenyu

text: On January 1, 2019, "Hua Chenyu Studio Official" posted its first weibo announcing the launch of Hua's own studio, which is still under EE-Media but operates independently.


title: Hua Chenyu

text: On January 5, it was announced Hua Chenyu would take part in ZheJiang TV's variety show "Ace to Ace S4" (). On January 13, Hua collaborated with artist and choreographer Shen Wei to perform a show, 声希 (Folding), in Yin 2019 Nanjing Pop-Music Concert (烎2019南京潮音發布夜). On May 21, he announced the 2019 Mars Concert would be held on November 2 in Shenzhen Baoan Stadium. On August 20, he was ranked 33th on Forbes China Celebrity 100 in 2019. On October 22, owing to unavoidable issues, the concerts originally scheduled in Shenzhen were canceled but he also announced he would try hard to arrange the other available stadium and schedule for 2019 Mars Concert as soon as possible.


title: Hua Chenyu

text: On October 27, Hua Chenyu announced that 2019 Mars Concert was rescheduled to November 15–17 days at Haikou Wuyuanhe stadium in Hainan. On October 28, "Conversation with ET", which was co-written by Hua Chenyu and ET, was published on NetEase Cloud Music. On November 11, the music video of "Conversation with ET" was published. During the concerts, he released and performed a total of 5 new song composed by himself.. "I Really Want to Love This World", "Madhouse" were released on Nov. 15 and Nov. 16, 2019 respectively. These two songs plus "Conversations with ET" released before the concert formed "Mars Trilogy". During the concert, Hua Chenyu introduced that these songs were written for the purpose of addressing issues of mental health. "God Tree" was released and first performed on Nov. 17. He later described that "Arrival" and "God Tree" are a pair like Yin and Yang, and they should be played in loops. He first performed "Seven Personalities" on Nov. 19. He later introduced that "Seven Personalities" is like a summary of the trilogy. On December 4, "I Really Want to Love this World" composed by Hua Chenyu, was exclusively published on NetEase Cloud Music.


title: Hua Chenyu

text: On January 1, 2020, Hua Chenyu was the first performer on the concert of HunanTV "2019–2020 New Year's Eve" His airtime saw the TV ratings for HunanTV got to 2.7% while the market share of it has reached up to 30.85%.


title: Hua Chenyu

text: On January 3, 2020, he was announced as one of the four returning singers from the fourth to sixth season to participate in "Singer 2020": "Year of the Hits" (), the final season in the series. Hua performed mostly self-composed songs, including Seven Personality, a progressive rock he composed, and won the competition on the live finale aired April 24, making Hua the only returning singer to win "I Am a Singer".


title: Hua Chenyu

text: On May 3, the music video of "Bull Fight", which took six months to finish, was released. Hua collaborated with the Japanese director Mitsunori Yokobori and his team to create this video, which combined the special effects of CG and animation. Hua Chenyu released his fourth album "New World" in April 2020. The physical album was launched as USB format (Mars Deluxe Collection USB Edition) in mainland China. It was also launched on CD format. Although a free version of his live performances on "Singer 2020" was already available, sales of the digital album exceeded 1.65 million and garnered ¥33 million (around $4.8 million) by early August 2020. Combined with the previous sales made by his single "I'm Here" released digitally, the total sales exceeded ¥98.6 million. In 2020, He ranked 17th on "Forbes" China Celebrity 100 list.


title: Hua Chenyu

text: On Jan. 29, 2021, Ep1 of Ace VS Ace Season 6 was aired and released on Zhejiang TV. The season had 12 episodes released on a weekly basis which ended on April 16, 2021. Hua Chenyu returned as one of 4 hosts in the Ace Family.


title: Hua Chenyu

text: On Nov 26 - Nov 28, and Dec. 3- Dec. 5, Hua Chenyu held a series of six Mars Concerts at Haikou Changying Universal 100 Wonderland. He released a new song at each of the concerts. He introduced that "Airplane Mode" was inspired by his talk with strangers. "Flower in the Small Town" was inspired by an important friend's guidance. "Black and White Artist" was written to address the issues of professional anti-fans. The rest of the three songs forms the Healing Trilogy. "I Really Want Myself Back" is the Struggling Chapter, "Meet When the Flowers Fall" is the Hope Chapter and "Let's Go Watch the Sunrise Together" is the Future Chapter.


title: Hua Chenyu

text: Hua Chenyu does not typically discuss his private life in public. However, on January 22, 2021, he publicly acknowledged his daughter he shares with another Chinese pop singer.


title: Communalism (South Asia)

text: Communalism is a term used to denote attempts to construct religious or ethnic identity, incite strife between people identified as different communities, and to stimulate communal violence between those groups. It derives from history, differences in beliefs, and tensions between the communities. Communalism is a significant social issue in India, Bangladesh, Pakistan and Sri Lanka. Communal conflicts between religious communities in India, especially Hindus and Muslims have occurred since the period of British colonial rule, occasionally leading to serious inter-communal violence.


title: Communalism (South Asia)

text: The term communalism was coined by the British colonial government as it wrestled to manage Hindu-Muslim riots and other violence between religious, ethnic and disparate groups in its colonies, particularly in British West Africa and the Cape Colony, in early 20th century.


title: Communalism (South Asia)

text: Communalism is not unique to South Asia. It is found in Africa, the Americas, Asia, Europe and Australia.


title: Communalism (South Asia)

text: The term came into use in early 20th century during the British colonial rule. The 4th Earl of Minto was called the father of communal electorates for legalising communalism by the Morley-Minto Act in 1909. The All-India Muslim League and the Hindu Mahasabha represented such communal interests, and the Indian National Congress represented an overarching "nationalist" vision. In the runup to independence in 1947, communalism and nationalism came to be competing ideologies and led to the division of British India into Pakistan and the Republic of India. British historians have attributed the cause of the partition to the communalism of Jinnah and the political ambitions of the Indian National Congress.


title: Respiratory quotient

text: The respiratory quotient (RQ or respiratory coefficient) is a dimensionless number used in calculations of basal metabolic rate (BMR) when estimated from carbon dioxide production. It is calculated from the ratio of carbon dioxide produced by the body to oxygen consumed by the body. Such measurements, like measurements of oxygen uptake, are forms of indirect calorimetry. It is measured using a respirometer. The respiratory quotient value indicates which macronutrients are being metabolized, as different energy pathways are used for fats, carbohydrates, and proteins. If metabolism consists solely of lipids, the respiratory quotient is approximately 0.7, for proteins it is approximately 0.8, and for carbohydrates it is 1.0. Most of the time, however, energy consumption is composed of both fats and carbohydrates. The approximate respiratory quotient of a mixed diet is 0.8. Some of the other factors that may affect the respiratory quotient are energy balance, circulating insulin, and insulin sensitivity.


title: Respiratory quotient

text: In this calculation, the CO and O must be given in the same units, and in quantities proportional to the number of molecules. Acceptable inputs would be either moles, or else volumes of gas at standard temperature and pressure.


title: Respiratory quotient

text: Many metabolized substances are compounds containing only the elements carbon, hydrogen, and oxygen. Examples include fatty acids, glycerol, carbohydrates, deamination products, and ethanol. For complete oxidation of such compounds, the chemical equation is


title: Respiratory quotient

text: For fats, the RQ depends on the specific fatty acids present. Amongst the commonly stored fatty acids in vertebrates, RQ varies from 0.692 (stearic acid) to as high as 0.759 (docosahexaenoic acid). Historically, it was assumed that 'average fat' had an RQ of about 0.71, and this holds true for most mammals including humans. However, a recent survey showed that aquatic animals, especially fish, have fat that should yield higher RQs on oxidation, reaching as high as 0.73 due to high amounts of docosahexaenoic acid.


title: Respiratory quotient

text: The range of respiratory coefficients for organisms in metabolic balance usually ranges from 1.0 (representing the value expected for pure carbohydrate oxidation) to ~0.7 (the value expected for pure fat oxidation). In general, molecules that are more oxidized (e.g., glucose) require less oxygen to be fully metabolized and, therefore, have higher respiratory quotients. Conversely, molecules that are less oxidized (e.g., fatty acids) require more oxygen for their complete metabolism and have lower respiratory quotients. See BMR for a discussion of how these numbers are derived. A mixed diet of fat and carbohydrate results in an average value between these numbers.


title: Respiratory quotient

text: RQ value corresponds to a caloric value for each liter (L) of CO produced. If O consumption numbers are available, they are usually used directly, since they are more direct and reliable estimates of energy production.


title: Respiratory quotient

text: RQ as measured includes a contribution from the energy produced from protein. However, due to the complexity of the various ways in which different amino acids can be metabolized, no single RQ can be assigned to the oxidation of protein in the diet.


title: Respiratory quotient

text: Insulin, which increases lipid storage and decreases fat oxidation, is positively associated with increases in the respiratory quotient. A positive energy balance will also lead to an increased respiratory quotient.


title: Respiratory quotient

text: Practical applications of the respiratory quotient can be found in severe cases of chronic obstructive pulmonary disease, in which patients spend a significant amount of energy on respiratory effort. By increasing the proportion of fats in the diet, the respiratory quotient is driven down, causing a relative decrease in the amount of CO produced. This reduces the respiratory burden to eliminate CO, thereby reducing the amount of energy spent on respirations.


title: Respiratory quotient

text: Respiratory Quotient can be used as an indicator of over or underfeeding. Underfeeding, which forces the body to utilize fat stores, will lower the respiratory quotient, while overfeeding, which causes lipogenesis, will increase it. Underfeeding is marked by a respiratory quotient below 0.85, while a respiratory quotient greater than 1.0 indicates overfeeding. This is particularly important in patients with compromised respiratory systems, as an increased respiratory quotient significantly corresponds to increased respiratory rate and decreased tidal volume, placing compromised patients at a significant risk.


title: Respiratory quotient

text: Because of its role in metabolism, respiratory quotient can be used in analysis of liver function and diagnosis of liver disease. In patients with liver cirrhosis, non-protein respiratory quotient (npRQ) values act as good indicators in the prediction of overall survival rate. Patients having a npRQ < 0.85 show considerably lower survival rates as compared to patients with a npRQ > 0.85. A decrease in npRQ corresponds to a decrease in glycogen storage by the liver. Similar research indicates that non-alcoholic fatty liver diseases are also accompanied by a low respiratory quotient value, and the non protein respiratory quotient value was a good indication of disease severity.


title: Respiratory quotient

text: Recently the respiratory quotient is also used from aquatic scientists to illuminate its environmental applications. Experimental studies with natural bacterioplankton using different single substrates suggested that RQ is linked to the elemental composition of the respired compounds. By this way, it is demonstrated that bacterioplankton RQ is not only a practical aspect of Bacterioplankton Respiration determination, but also a major ecosystem state variable that provides unique information about aquatic ecosystem functioning. Based on the stoichiometry of the different metabolized substrates, the scientists can predict that dissolved oxygen (O) and carbon dioxide (CO) in aquatic ecosystems should covary inversely due to the processing of photosynthesis and respiration. Using this quotient we could shed light on the metabolic behavior and the simultaneous roles of chemical and physical forcing that shape the biogeochemistry of aquatic ecosystems.


title: Ron Leavitt

text: Ronald Leavitt (November 7, 1947 – February 10, 2008) was an American television writer and producer. He was the co-creator (with Michael G. Moye) of the American television show "Married... with Children". The show's 259 episodes over 11 seasons made it the second-longest lasting sitcom on the Fox network.


title: Ron Leavitt

text: Raised in a Jewish family in Brooklyn, Leavitt began his television career in the 1970s writing episodes for the comedies "Busting Loose", "Happy Days", "Laverne & Shirley", and "The Bad News Bears" (for which he garnered an NAACP award). In the early 1980s, in addition to writing and producing "The Jeffersons" (for which he won a People's Choice Award and a second NAACP award), Leavitt co-wrote the pilot for "Silver Spoons" and co-created and executive produced the Jason Bateman sitcom "It's Your Move".


title: Ron Leavitt

text: In the late 1980s, Leavitt co-created "Married... with Children", which, with its debut on the Fox network in 1987, broke many of the established rules and mores of television. He served as executive producer and wrote or co-wrote close to 150 episodes. Its longevity over 11 seasons made "Married... with Children" the second-longest running sitcom on Fox, just behind "The Simpsons". Among its industry honors, "Married... with Children" earned seven Emmy nominations and an equal number of Golden Globe nominations, including Best TV Series.


title: Ron Leavitt

text: The show became a springboard for Leavitt to create a number of spin-offs, initially "Top of the Heap", starring Matt LeBlanc and Joseph Bologna, and "Vinnie & Bobby", starring Matt LeBlanc and Robert Torti. He subsequently co-created, executive produced, and wrote "Unhappily Ever After". In more recent years, Leavitt created and wrote several episodes of the WB's "The Help".


title: Ron Leavitt

text: Other achievements outside television include recognition by the State of California as Citizen Hero of the Year in 2001, and the equally notable accomplishment of out-eating wrestler King Kong Bundy in a cheesesteak sandwich-eating contest at Dominick's Kitchen while Bundy was guest-starring on "Married... with Children".


title: Ron Leavitt

text: He had two children, Matt and Samantha. He also had a long-time partner, Jessica Hahn. He died on February 10, 2008, from lung cancer.


title: Alec Burks

text: Alec Burks (born July 20, 1991) is an American professional basketball player for the Detroit Pistons of the National Basketball Association (NBA). He was selected by the Utah Jazz as the 12th overall pick in the 2011 NBA draft. Burks primarily plays the shooting guard position.


title: Alec Burks

text: He played for the Colorado Buffaloes men's basketball team during his college years and was most notably the school's first-ever Big 12 Conference Freshman of the Year in 2010. As a sophomore, Burks was statistically the eighteenth-best scorer in the Division I. With Colorado, he missed only a single college game. Burks also gained national attention after being selected to the Big 12 First Team in his second season with the Buffaloes. He entered the 2011 NBA draft shortly after his sophomore year, projected to be a first-round draft pick despite playing just two seasons at Colorado.


title: Alec Burks

text: Burks attended Grandview High School, where in 2009 he was named the Gatorade Player of the Year in the state of Missouri. As a senior, he averaged 23.0 points, 6.8 rebounds, 10.2 assists and 1.6 steals per game. He was also named the Kansas City Star and Metro Sports Player of the Year during his senior year.


title: Alec Burks

text: Prior to his senior year of high school, Burks signed with Colorado during the November 2008 signing period.


title: Alec Burks

text: Considered a three-star recruit by 247Sports.com, Burks was listed as the No. 49 shooting guard and the No. 196 player in the nation in 2009.


title: Alec Burks

text: In his freshman year at Colorado, Burks was awarded the 2010 Big 12 Conference Freshman of the Year, while also being named in the Big 12 All-Rookie team.


title: Alec Burks

text: In April 2011, Burks decided to forgo his two remaining eligible college years to enter the NBA draft.