Other military marches include the March of 108th Saratov Infantry Regiment and the March of the Defenders of Moscow. In Ukraine, military marches were originally written to emulate the Russian model, with folk songs and natively Ukrainian marches only recently being used. The Zaporizhian March (also known as the Cossack march) is one of the main marches of the Armed Forces of Ukraine and even replaced Farewell of Slavianka in 1991 as the official march being played during the induction of recruits to the military. The same concept is applied in Belarus but on a much more toned down style due to the fact that the country still borrows Russian marches. The few homegrown military marches in Belarus include "Motherland My Dear" (Радзіма мая дарагая) and the "Vajacki marš" of the Belarusian Democratic Republic. The true march music era existed from 1855 to the 1940s when it was overshadowed by jazz, which the march form influenced (especially in ragtime). American march music cannot be discussed without mentioning "The March King", John Philip Sousa, who revolutionized the march during the late 19th and early 20th centuries. Some of his most famous marches are "Semper Fidelis", "The Washington Post", "The Liberty Bell", and "The Stars and Stripes Forever". Sousa's marches are typically marked by a "subdued" trio, as in "The Stars and Stripes Forever" in which the rest of the band becomes subordinated to arguably the most famous piccolo solo in all of music. Typically, an American march consists of a key change, quite often happening in coordination with the Trio. The key may change back before the song is over, especially if the Trio ends well before the last few measures of the march. A specialized form of the typical American march music is the circus march, or screamer, typified by the marches of Henry Fillmore and Karl King. These marches are performed at a significantly faster tempo (140 to 200 beats per minute) and generally have an abundance of runs, fanfares, and other showy features. Frequently, the low brass has one or more strains (usually the second strain) in which they are showcased with both speed and bombast. Stylistically, many circus marches employ a lyrical final strain which (in the last time through the strain) starts out "maestoso" (majestically, slower and more stately) and then, in the second half of the strain, speeds up to end the march faster than the original tempo.