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World Atlantic Airlines

Caribbean Sun Airlines Inc., trading as World Atlantic Airlines is an airline in the United States operating on-demand and scheduled charter services. Its corporate headquarters are located in Virginia Gardens, Florida.

History
The airline was founded in September 2002 as Caribbean Sun Airlines in Fort Lauderdale, Florida and began operations in January 2003 with flights from Luis Muñoz Marín International Airport in San Juan, Puerto Rico to Tortola, using the Bombardier Dash 8 Q100. On the flights, Caribbean Sun cooperated with the Antiguan sister company Caribbean Star Airlines, which also belonged to the Stanford Financial Group and enabled connecting flights to other Caribbean islands.

Flight operations ceased towards the end of January 2007. The resumption of the same under the name Merengue Airlines Dominicana, which was sought after a subsequent change of ownership was also unsuccessful, and so Caribbean Sun Airlines was finally sold to Tomas Romero, who renamed the company to World Atlantic Airlines. The company, which from then on only operates under this name, then focused on the ACMI charter area.

World Atlantic was one of the charter providers to Myrtle Beach Direct Air until the airline's bankruptcy in 2012, and was fined by the Department of Transportation in 2012 for regulatory violations in connection with this business. Since 2013, World Atlantic has acted as a charter provider to the United States Immigration and Customs Enforcement for deportation of individuals from the United States and recently per the NY Post delivering immigrants to Westchester, NY.

In April 2013, World Atlantic transported Venezuelan voters from Miami to New Orleans to vote in the Venezuelan presidential election.

In September 2017, World Atlantic Airlines also entered into a partnership with Venezuelan airline Avior Airlines, having previously worked with LASER Airlines as part of the ACMI charter. As part of the business relationship with Avior Airlines, World Atlantic operated ACMI charter flights to Fort Lauderdale and Miami.

Current fleet
As of May 2024, World Atlantic Airlines operates the following aircraft:

Former fleet
World Atlantic Airlines formerly operated the following aircraft:

Accidents and incidents

 * On April 20, 2018, A McDonnell Douglas MD-83 (registration N807WA) suffered a right-hand main landing gear collapsed during landing rollout at Alexandria International Airport, in Louisiana, USA. Due to the gear failure, the right wing dragged on the runway, creating a friction fire which was quickly put out by the airport rescue and firefighting personnel. The aircraft operated on a flight on behalf of the U.S. Immigration and Customs Enforcement and originated from Chicago-O'Hare International Airport. None of the 101 passengers on board were injured, but the aircraft suffered significant damage and was later written off as irreparable.

title: World Atlantic Airlines


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Loyalty

Loyalty is a devotion to a country, philosophy, group, or person. Philosophers disagree on what can be an object of loyalty, as some argue that loyalty is strictly interpersonal and only another human being can be the object of loyalty. The definition of loyalty in law and political science is the fidelity of an individual to a nation, either one's nation of birth, or one's declared home nation by oath (naturalization).

Western world
Classical tragedy is often based on a conflict arising from dual loyalty. Euthyphro, one of Plato's early dialogues, is based on the ethical dilemma arising from Euthyphro intending to lay manslaughter charges against his own father, who had caused the death of a slave through negligence.

In the Gospel of Matthew, Jesus states, "No one can serve two masters; for a slave will either hate the one and love the other, or be devoted to the one and despise the other. You cannot serve God and wealth". This relates to the authority of a master over his servants (as per Ephesians ), who, according to Biblical law, owe undivided loyalty to their master (as per ). On the other hand, the "Render unto Caesar" of the synoptic gospels acknowledges the possibility of distinct loyalties (secular and religious) without conflict, but if loyalty to man conflicts with loyalty to God, the latter takes precedence.

The Encyclopædia Britannica Eleventh Edition defines loyalty as "allegiance to the sovereign or established government of one's country" and also "personal devotion and reverence to the sovereign and royal family". It traces the word "loyalty" to the 15th century, noting that then it primarily referred to fidelity in service, in love, or to an oath that one has made. The meaning that the Britannica gives as primary, it attributes to a shift during the 16th century, noting that the origin of the word is in the Old French loialte, that is in turn rooted in the Latin lex, meaning "law". One who is loyal, in the feudal sense of fealty, is one who is lawful (as opposed to an outlaw), who has full legal rights as a consequence of faithful allegiance to a feudal lord. Hence the 1911 Britannica derived its (early 20th century) primary meaning of loyalty to a monarch.

East Asia
"Loyalty" is the most important and frequently emphasized virtue in Bushido. In combination with six other virtues, which are Righteousness (義 gi), Courage (勇 yū), Benevolence, (仁 jin), Respect (礼 rei), Sincerity (誠 makoto), and Honour (名誉 meiyo), it formed the Bushido code: "It is somehow implanted in their chromosomal makeup to be loyal".

Modern concepts
Josiah Royce presented a different definition of the concept in his 1908 book The Philosophy of Loyalty. According to Royce, loyalty is a virtue, indeed a primary virtue, "the heart of all the virtues, the central duty amongst all the duties". Royce presents loyalty, which he defines at length, as the basic moral principle from which all other principles can be derived. The short definition that he gives of the idea is that loyalty is "the willing and practical and thoroughgoing devotion of a person to a cause". Loyalty is thoroughgoing in that it is not merely a casual interest but a wholehearted commitment to a cause.

Royce's view of loyalty was challenged by John Ladd, professor of philosophy at Brown University, in the article on "Loyalty" in the first edition of the Macmillan Encyclopedia of Philosophy (1967). Ladd observed that by that time the subject had received "scant attention in philosophical literature". This he attributed to "odious" associations that the subject had with nationalism, including Nazism, and with the metaphysics of idealism, which he characterized as "obsolete". However, he argued that such associations were faulty and that the notion of loyalty is "an essential ingredient in any civilized and humane system of morals".

Anthony Ralls observes that Ladd's article is that Encyclopaedia's only article on a virtue,. Ladd asserts that, contrary to Royce, causes to which one is loyal are interpersonal, not impersonal or suprapersonal. He states that Royce's view has "the ethical defect of postulating duties over and above our individual duties to men and groups of men. The individual is submerged and lost in this superperson for its tends to dissolve our specific duties to others into 'superhuman' good". Ronald F. Duska, the Lamont Post Chair of Ethics and the Professions at The American College, extends Ladd's objection, saying that it is a perversion of ethics and virtue for one's self-will to be identified with anything, as Royce would have it. Even if one were identifying one's self-will with God, to be worthy of such loyalty God would have to be the summum bonum, the perfect manifestation of good.

Ladd himself characterizes loyalty as interpersonal, i.e., a relationship between a lord and vassal, parent and child, or two good friends. Duska states that this characterization leads to a problem that Ladd overlooks. Loyalty may certainly be between two persons, but it may also be from a person to a group of people. Examples of this, which are unequivocally considered to be instances of loyalty, are loyalty by a person to his or her family, to a team that he or she is a member or fan of, or to his or her country. The problem is that it then becomes unclear whether there is a strict interpersonal relationship involved, and whether Ladd's contention that loyalty is interpersonal—not suprapersonal—is an adequate description. Ladd considers loyalty from two perspectives: its proper object and its moral value.

John Kleinig, professor of philosophy at City University of New York, observes that over the years the idea has been treated by writers from Aeschylus through John Galsworthy to Joseph Conrad, by psychologists, psychiatrists, sociologists, scholars of religion, political economists, scholars of business and marketing, and—most particularly—by political theorists, who deal with it in terms of loyalty oaths and patriotism. As a philosophical concept, loyalty was largely untreated by philosophers until the work of Josiah Royce, the "grand exception" in Kleinig's words. Kleinig observes that from the 1980s onwards, the subject gained attention, with philosophers variously relating it to professional ethics, whistleblowing, friendship, and virtue theory. Additional aspects enumerated by Kleinig include the exclusionary nature of loyalty and its subjects.

The proper object of loyalty
Ladd and others, including Milton R. Konvitz and Marcia W. Baron, disagree about the proper object of loyalty—what it is possible to be loyal to. Ladd considers loyalty to be interpersonal: the object of loyalty is always a person. In the Encyclopaedia of the History of Ideas, Konvitz states that the objects of loyalty encompass principles, causes, ideas, ideals, religions, ideologies, nations, governments, parties, leaders, families, friends, regions, racial groups, and "anyone or anything to which one's heart can become attached or devoted". Baron agrees with Ladd, inasmuch as loyalty is "to certain people or to a group of people, not loyalty to an ideal or cause". She argues in her monograph, The Moral Status of Loyalty, that "[w]hen we speak of causes (or ideals) we are more apt to say that people are committed to them or devoted to them than that they are loyal to them". Kleinig agrees with Baron, noting that a person's earliest and strongest loyalties are almost always to people, and that only later do people arrive at abstract notions like values, causes, and ideals. He disagrees, however, with the notion that loyalties are restricted solely to personal attachments, considering it "incorrect (as a matter of logic)".

Loyalty to people and abstract notions such as causes or ideals is considered an evolutionary tactic, as there is a greater chance of survival and procreation if animals belong to loyal packs.

Immanuel Kant constructed the basis for an ethical law via the concept of duty. Kant began his ethical theory by arguing that the only virtue that can be unqualifiedly good is a good will. No other virtue has this status because every other virtue can be used to achieve immoral ends (for example, the virtue of loyalty is not good if one is loyal to an evil person). The good will is unique in that it is always good and maintains its moral value even when it fails to achieve its moral intentions. Kant regarded the good will as a single moral principle that freely chooses to use the other virtues for moral ends.

Multiplicity, disloyalty, and whether loyalty is exclusionary
Stephen Nathanson, professor of philosophy at Northeastern University, states that loyalty can be either exclusionary or non-exclusionary; and can be single or multiple. Exclusionary loyalty excludes loyalties to other people or groups; whereas non-exclusionary loyalty does not. People may have single loyalties, to just one person, group, or thing, or multiple loyalties to multiple objects. Multiple loyalties can constitute a disloyalty to an object if one of those loyalties is exclusionary, excluding one of the others. However, Nathanson observes, this is a special case. In the general case, the existence of multiple loyalties does not cause a disloyalty. One can, for example, be loyal to one's friends, or one's family, and still, without contradiction, be loyal to one's religion, or profession.

Other dimensions
In addition to number and exclusion as just outlined, Nathanson enumerates five other "dimensions" that loyalty can vary along: basis, strength, scope, legitimacy, and attitude:

 * basis : Loyalties may be constructed on the basis of unalterable facts that constitute a personal connection between the subject and the object of the loyalty, such as biological ties or place of birth (a notion of natural allegiance propounded by Socrates in his political theory). Alternatively, they may be constructed from personal choice and evaluation of criteria with a full degree of freedom. The degree of control that one has is not necessarily simple; Nathanson points out that whilst one has no choice as to one's parents or relatives, one can choose to desert them.

 * strength : Loyalties can range from supreme loyalties, that override all other considerations, to merely presumptive loyalties, that affect one's presumptions, providing but one motivation for action that is weighed against other motivations. Nathanson observes that strength of loyalty is often interrelated with basis. "Blood is thicker than water" is an aphorism that explains that loyalties that have biological ties as their bases are generally stronger.

 * scope : Loyalties with limited scope require few actions of the subject; loyalties with broad or even unlimited scopes require many actions, or indeed to do whatever may be necessary in support of the loyalty. Loyalty to one's job, for example, may require no more action than simple punctuality and performance of the tasks that the job requires. Loyalty to a family member can, in contrast, have a very broad effect upon one's actions, requiring considerable personal sacrifice. Extreme patriotic loyalty may impose an unlimited scope of duties. Scope encompasses an element of constraint. Where two or more loyalties conflict, their scopes determine what weight to give to the alternative courses of action required by each loyalty.

 * legitimacy : This is of particular relevance to the conflicts among multiple loyalties. People with one loyalty can hold that another, conflicting, loyalty is either legitimate or illegitimate. In the extreme view, one that Nathanson ascribes to religious extremists and xenophobes for examples, all loyalties bar one's own are considered illegitimate. The xenophobe does not regard the loyalties of foreigners to their countries as legitimate while the religious extremist does not acknowledge the legitimacy of other religions. At the other end of the spectrum, past the middle ground of considering some loyalties as legitimate and others not, according to cases, or plain and simple indifference to other people's loyalties, is the positive regard of other people's loyalties.

 * attitude : The subjects of the loyalties have attitudes towards other people (note that this dimension of loyalty concerns the subjects of the loyalty, whereas legitimacy, above, concerns the loyalties themselves). People may have one of a range of possible attitudes towards others who do not share their loyalties, with hate and disdain at one end, indifference in the middle, and concern and positive feeling at the other.

Patriotism
Nathanson observes that loyalty is often directly equated to patriotism. He states that this is a false equality; while patriots exhibit loyalty, it is not conversely the case that all loyal persons are patriots. He provides the example of a mercenary soldier, who exhibits loyalty to the people or country that pays him. Nathanson points to the difference in motivations between a loyal mercenary and a patriot. A mercenary may well be motivated by a sense of professionalism or a belief in the sanctity of contracts. A patriot, in contrast, may be motivated by affection, concern, identification, and a willingness to sacrifice.

Nathanson contends that patriotic loyalty is not always a virtue. A loyal person can, in general be relied upon, and hence people view loyalty as virtuous. Nathanson argues that loyalty can, however, be given to persons or causes that are unworthy. Moreover, loyalty can lead patriots to support policies that are immoral and inhumane. Thus, Nathanson argues, patriotic loyalty can sometimes rather be a vice than a virtue, when its consequences exceed the boundaries of what is otherwise morally desirable. Such loyalties, in Nathanson's view, are erroneously unlimited in their scopes, and fail to acknowledge boundaries of morality.

Employment
The faithless servant doctrine is a doctrine under the laws of a number of states in the United States, and most notably New York State law, pursuant to which an employee who acts unfaithfully towards his employer must forfeit all of the compensation he received during the period of his disloyalty.

Whistleblowing
Several scholars, including Duska, discuss loyalty in the context of whistleblowing. Wim Vandekerckhove of the University of Greenwich points out that in the late 20th century saw the rise of a notion of a bidirectional loyalty—between employees and their employer. (Previous thinking had encompassed the idea that employees are loyal to an employer, but not that an employer need be loyal to employees.) The ethics of whistleblowing thus encompass a conflicting multiplicity of loyalties, where the traditional loyalty of the employee to the employer conflicts with the loyalty of the employee to his or her community, which the employer's business practices may be adversely affecting. Vandekerckhove reports that different scholars resolve the conflict in different ways, some of which he does not find to be satisfactory. Duska resolves the conflict by asserting that there is really only one proper object of loyalty in such instances—the community—a position that Vandekerckhove counters by arguing that businesses are in need of employee loyalty.

John Corvino, associate professor of philosophy at Wayne State University takes a different tack, arguing that loyalty can sometimes be a vice, not a virtue, and that "loyalty is only a virtue to the extent that the object of loyalty is good" (similar to Nathanson). Vandekerckhove calls this argument "interesting" but "too vague" in its description of how tolerant an employee should be of an employer's shortcomings. Vandekerckhove suggests that Duska and Corvino combine, however, to point in a direction that makes it possible to resolve the conflict of loyalties in the context of whistleblowing, by clarifying the objects of those loyalties.

Marketing
Businesses seek to become the objects of loyalty in order to retain customers. Brand loyalty is a consumer's preference for a particular brand and a commitment to repeatedly purchase that brand. So-called loyalty programs offer rewards to repeat customers in exchange for being able to keep track of consumer preferences and buying habits.

A similar concept is fan loyalty, an allegiance to and abiding interest in a sports team, fictional character, or fictional series. Devoted sports fans continue to remain fans even in the face of a string of losing seasons.

In the Bible
The Old Testament speaks of "loyal ones", which would be those who follow the Bible with absolute loyalty, as in "Precious in the eyes of God is the death of his loyal ones" (Psalms ). Most Jewish and Christian authors view the binding of Isaac (Genesis ), in which Abraham was called by God to offer his son Isaac as a burnt offering, as a test of Abraham's loyalty. Joseph's faithfulness to his master Potiphar and his rejection of Potiphar's wife's advances (Genesis ) have also been called an example of the virtue of loyalty.

According to the New Testament, attempting to serve two masters leads to "double-mindedness" (James ), undermining loyalty to a cause.

Misplaced
Misplaced or mistaken loyalty refers to loyalty placed in other persons or organisations where that loyalty is not acknowledged or respected, is betrayed, or taken advantage of. It can also mean loyalty to a malignant or misguided cause.

Social psychology provides a partial explanation for the phenomenon in the way "the norm of social commitment directs us to honor our agreements... People usually stick to the deal even though it has changed for the worse". Humanists point out that "man inherits the capacity for loyalty, but not the use to which he shall put it... may unselfishly devote himself to what is petty or vile, as he may to what is generous and noble".

In animals

Animals as pets may display a sense of loyalty to humans. Famous cases include Greyfriars Bobby, a Skye terrier who attended his master's grave for fourteen years; Hachiko, a dog who returned to the place he used to meet his master every day for nine years after his death; and Foxie, the spaniel belonging to Charles Gough, who stayed by her dead master's side for three months on Helvellyn in the Lake District in 1805 (although it is possible that Foxie had eaten Gough's body).

In the Mahabharata, the righteous King Yudhishthira appears at the gates of Heaven at the end of his life with a stray dog he had picked up along the way as a companion, having previously lost his brothers and his wife to death. The god Indra is prepared to admit him to Heaven, but refuses to admit the dog, so Yudhishthira refuses to abandon the dog, and prepares to turn away from the gates of Heaven. Then the dog is revealed to be the manifestation of Dharma, the god of righteousness and justice, and who turned out to be his deified self. Yudhishthira enters heaven in the company of his dog, the god of righteousness. Yudhishthira is known by the epithet Dharmaputra, the lord of righteous duty.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Loyalty


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USS Dace

USS Dace has been the name of more than one United States Navy ship, and may refer to:

 * USS Dace (SS-247), a Gato-class submarine in commission in the USN from 1943 to 1947, from 1951 to 1954, and from 1954 to 1955; leased and transferred to Italian Navy in 1955 and returned in 1972 for scrapping (in 1975)
 * USS Dace (SSN-607), a Thresher/Permit-class submarine in commission from 1964 to 1988; recycled 1997

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Community theatre

Community theatre refers to any theatrical performance made in relation to particular communities—its usage includes theatre made by, with, and for a community. It may refer to a production that is made entirely by a community with no outside help, or a collaboration between community members and professional theatre artists, or a performance made entirely by professionals that is addressed to a particular community. Community theatres range in size from small groups led by single individuals that perform in borrowed spaces to large permanent companies with well-equipped facilities of their own. Many community theatres are successful, non-profit businesses with a large active membership and, often, a full-time staff. Community theatre is often devised and may draw on popular theatrical forms, such as carnival, circus, and parades, as well as performance modes from commercial theatre. This type of theatre is ever-changing and evolving due to the influences of the community; the artistic process can often be heavily affected by the community's socioeconomic circumstances.

There is a certain obligation that community theatre is held to because of the personal and physical connection to its own community and the people within that community. Community theatre is understood to contribute to the social capital of a community, insofar as it develops the skills, community spirit, and artistic sensibilities of those who participate, whether as producers or audience members. It is used as a tool for social development, promoting ideas like gender equality, human rights, environment, and democracy. Participants might identify issues and discuss possible solutions. Such plays are rarely performed in traditional playhouses but rather staged in public places, traditional meeting spaces, schools, prisons, or other institutions, inviting an often spontaneous audience to watch.

In Latin America
Partly inspired by Antonio Gramsci's interpretation of culture, the seminal theatre practitioner Augusto Boal developed a series of techniques known as the Theatre of the Oppressed from his work developing community theatre in Latin America.

In the United Kingdom
In Britain the term "community theatre" is sometimes used to distinguish theatre made by professional theatre artists with or for particular communities from that made entirely by non-professionals, which is usually known as "amateur theatre" or "amateur dramatics." Notable practitioners include Joan Littlewood and her Theatre Workshop, John McGrath and Elizabeth MacLennan and their 7:84 company, Welfare State International, and Ann Jellicoe founder of the Colway Theatre Trust, now known as the Claque Theatre and run by UK practitioner Jon Oram.

In the Netherlands
Community theatre in the Netherlands came about either from professional radical people's theatre companies, or as an outgrowth of the theatre in education movement. The big theatre in the Netherlands which was created originally for theatre in education and subsequently community theatre, is the Stut Theatre. This theatre idea began in 1977 by Jos Bours and Marlies Hautvast, who when they first started creating plays at the Stut Theatre, realized this kind of community theatre had a completely different approach from theatre in education.

In the United States
Community theatre in the United States was an outgrowth of the Little Theatre Movement, a reform movement which began in 1912 in reaction to massive Victorian melodramatic theatre spectacles. However, the country's oldest extant community theatre venue, Gates Hall in Pultneyville, New York, has existed since the 19th century and presented amateur performances every year since 1867.

The American Association of Community Theatre represents community theatres in the U.S., its territories, and theatre companies with the overseas U.S. military services.

In Canada
Canada has an extensive network of amateur theatre groups known as community players, and many belong to provincial associations, as in Ontario, where many companies are members of the Association of Canadian Theatres (ACT-CO).

The alternative theatre movement, which had a nationalist focus when it emerged in Canada in the late 1960s and early 1970s, produced a number of professional companies that focused on local communities and histories. Theatre Passe Muraille sent ensemble casts into rural communities to record local stories, songs, accents, and lifestyle. Their employment of collective creation served as an inspiration and spread across Canada. Passe Muraille facilitated the first production of Codco, which employed personal experiences of Newfoundland culture in their shows.

The 1980s witnessed an unprecedented rise in “Popular Theatre” companies, such as Headlines Theatre (Vancouver), Company of Sirens (Toronto), and the Popular Theatre Alliance of Manitoba (Winnipeg), which utilized political theatre practices such agitprop, guerilla theatre, Brecht’s epic theatre techniques, and Augusto Boal’s Theatre of the Oppressed to take theatre to the people and create productions by and for specific communities.

Second generation companies, such as Mixed Theatre Company (Toronto), and Stage Left Productions in Canmore, Alberta, continue this practice in the present day. Drawing on Brechtian and Forum Theatre techniques, and “making the invisible visible,” Stage Left has a long history as a grassroots group of “diverse artists and non-artists/catalysts of change who create pathways to systemic equity – in and through the arts,” and their activities “promote equity & diversity, provide support services for still-excluded artists and community groups, and produce radical forms of Political Art."

In Australia and New Zealand
In Western Australia, there are a substantial number of community theatre groups who have banded together to form the Independent Theatre Association.

The South Canterbury Drama League is a community theatre based in Timaru, New Zealand.

Churches and community theatre
Ecclesiastical communities often encourage theatrical productions, be they for youth or adults. The Christmas Play is a tenet of modern church theatre. In addition to performing in the church itself, many parishes have halls for performances. In the nineteenth century, Christians in European and North American often performed plays in church halls or other rented spaces, often using the proceeds from donations and tickets for charity.

Communism and proletarian community theatre
Soviet initiatives like the Petrograd Politprosvet and Central Agitational Studio performed improvisational theatre in the 1920s as a pedagogical project to tell stories about Marxist values and anti-capitalist englightenment. In 1923, the Twelfth Communist Party Congress voted to support their work for the improvement of proletarian life. The performers rejected traditional forms of theatre and called themselves activists instead.

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Klaus Schulze

Klaus Schulze (4 August 1947 – 26 April 2022) was a German electronic music pioneer, composer and musician. He also used the alias Richard Wahnfried and was a member of the Krautrock bands Tangerine Dream, Ash Ra Tempel, and the Cosmic Jokers before launching a solo career consisting of more than 60 albums released across six decades.

Early life
Schulze was born in Berlin in 1947. His father was a writer, and his mother a ballet dancer. After graduating from high school, he delivered telegrams and studied German at the Technical University of Berlin. He and his wife Elfie had two sons – Maximilian and Richard.

1970s
In 1969, Schulze was the drummer of one of the early incarnations of Tangerine Dream – one of the most famous bands that got the nickname "Krautrock" in English speaking countries (others included Kraftwerk and Popol Vuh) – for their debut album Electronic Meditation. Before 1969 he was a drummer in a band called Psy Free. He met Edgar Froese from Tangerine Dream in the Zodiac Club in what was then West Berlin. In 1970 he left this group to form Ash Ra Tempel with Manuel Göttsching and Hartmut Enke. In 1971, he chose again to leave a newly formed group after only one album, this time to mount a solo career. In 1972, Schulze released his debut album Irrlicht with organ and a recording of an orchestra filtered almost beyond recognition. Despite the lack of synthesizers, this proto-ambient work is regarded as a milestone in electronic music. His follow-up album, Cyborg, was similar but added the EMS VCS 3 synthesizer.

Since this point, Schulze's career was the most prolific, such that he could claim more than 40 original albums to his name since Irrlicht. Highlights of these include 1975's Timewind, 1976's Moondawn (his first album to feature the Moog synthesizer), 1979's Dune, and 1995's double-album In Blue (which featured one long track called "Return to the Tempel" with electric guitar contributions from his friend Manuel Göttsching of Ash Ra Tempel). In 1976, he was drafted by Japanese percussionist and composer Stomu Yamashta to join his short-lived "supergroup" Go, also featuring Steve Winwood, Michael Shrieve, and Al Di Meola. They released two studio albums (Go in 1976 and Go Too in 1977) and one live album (Go Live from Paris, 1976).

Throughout the 1970s he followed closely in the footsteps of Tangerine Dream, albeit with far lighter sequencer lines and a more reflective, dreamy sheen, not unlike the ambient music of his contemporary Brian Eno. On occasions he would also compose film scores, including horror and thriller movies such as Barracuda (1977) and Next of Kin (1982). Some of his lighter albums are appreciated by new-age music fans, despite the fact that Schulze has always denied connections to this genre. By mid-decade, with the release of Timewind and Moondawn, his style transformed from Krautrock to Berlin School.

Schulze had a more organic sound than other electronic artists of the time. Often he would throw in decidedly non-electronic sounds, such as acoustic guitar and a male operatic voice in Blackdance, or a cello in Dune (1979) and Trancefer. Schulze developed a Minimoog patch that sounds uncannily like an electric guitar. Schulze often takes German events as a starting point for his compositions, a notable example being on his 1978 album "X" (the title signifying it was his tenth album), subtitled "Six Musical Biographies", a reference to such notables as Ludwig II of Bavaria, Friedrich Nietzsche, Georg Trakl, and Wilhelm Friedemann Bach. His use of the pseudonym Richard Wahnfried is indicative of his interest in Richard Wagner, a clear influence on some albums like the aforementioned Timewind.

Schulze built a record studio in Hambühren, Germany.

1980s
In the 1980s Schulze started using digital instruments besides the usual analog synthesizers, and his work accordingly became less experimental and more accessible. Although the switch to using digital equipment is audible in the style of Dig It (1980), it was not until the release of Trancefer (1981) that the shift in style became evident.

This newer style can also be found in Schulze's next release Audentity. Both "Cellistica" and "Spielglocken" are composed in a similar sequencer-based style as on Trancefer, but this is certainly not the case of all of Audentity's tracks; indeed, "Sebastian im Traum" hints towards the operatic style to be found in some of Schulze's much later works. The predominance of sequencing can also be found in the follow-up live album Dziękuję Poland Live '83, although many of its tracks are re-workings of those to be found on Audentity. Schulze's next studio-based album was Angst (soundtrack to the namesake 1983 film). The cold yet haunting electronic rhythms generate an alienated atmosphere. Typical are the Fairlight synth and Linn electronic drums sounds.

Another highlight of this era was En=Trance with the dreamy cut "FM Delight". The album Miditerranean Pads marked the beginning of very complex percussion arrangements that continued through the next two decades.

In 1989, German band Alphaville released their album The Breathtaking Blue, on which Klaus Schulze was both a contributing musician and the album's producer.

1990s
Starting with Beyond Recall, the first half of the 1990s was his "sample" period, when Schulze used a wide variety of prerecorded sounds such as screeching birds and sensuous female moans in his studio albums and live performances. Sampling heavily died down with his 1995 album In Blue. The decade also saw the release of copious amounts of previously unreleased material, of varying quality, in several limited-edition boxed sets.

2000s
In 2005 he began re-releasing his classic solo and Wahnfried albums with bonus tracks of unreleased material recorded at roughly the same time as the original works. In the latter part of the decade, Schulze produced albums and staged numerous live appearances with Lisa Gerrard.

2010s
Big in Japan: Live in Tokyo 2010 was Schulze's fortieth album, and its release in September 2010 marked the beginning of his fifth decade as a solo musician. The Japan concerts were to be his last live performances.

His next album, Shadowlands, was released in February 2013, quickly to be followed by the release of The Schulze–Schickert Session 1975, a rare long-unreleased collaboration, in March 2013. After a hiatus of several years, he returned to the studio in 2018 for another album, Silhouettes. Much of the album was recorded in a single take.

2020s
Schulze died on 26 April 2022 following a long illness. His final album, Deus Arrakis, was released on 1 July 2022.

Richard Wahnfried
Richard Wahnfried, then simply Wahnfried after 1993, is the longtime and only real alias for Klaus Schulze – originally a pseudonym, later an official side project name. Seven albums were released under this name between 1979 and 1997.

The main characteristics of the Wahnfried albums (as opposed to Schulze's regular works) are:

 * Often being oriented towards more mainstream genres (some would say "more commercial"), such as rock, dance, techno, and trance.
 * Always allowing for collaborative and less electronic albums, with known or unknown guest musicians performing along with Schulze's synths.

The pseudonym's etymology stems from Schulze's love for Richard Wagner:
 * Richard, evidently from Wagner's first name. Richard is also the name of Schulze's first son.
 * Wahnfried ("Peace from delusion and/or madness", in German), from the name Wagner gave to his villa in Bayreuth (and where he was later buried).

In his 1975 album Timewind (four years before the first alias use), Schulze had already named a track "Wahnfried 1883" (in reference to Wagner's death and burial in his Wahnfried's garden in 1883). The other track on Timewind is called "Bayreuth Return". After 1993, the albums are simply credited to "Wahnfried", and namedrop Schulze ("featuring Klaus Schulze", "Produced by Klaus Schulze").

"Wahnfried" is the only known alias of Schulze (albeit on the 1998 Tribute to Klaus Schulze album, among 10 other artists, Schulze contributed one track barely hidden behind the "Schulzendorfer Groove Orchester" pseudonym).

Albums
Schulze's concert performances are original compositions recorded live and thus listed as albums. An intensive reissue program of Schulze CDs began in 2005, with most releases having bonus tracks, and sometimes additional discs. They are published by the label Revisited Records (a division of German company InsideOut Music), and distributed by SPV.

Source:

(Richard) Wahnfried albums
Composed by Schulze and performed with guest artists under alias Richard Wahnfried or later just Wahnfried:

 * Notes:
 * This album was originally issued as the third disc of Contemporary Works I.

Boxed sets
Between 1993 and 2002 Klaus Schulze released several limited edition boxed sets, all composed of non-album material.

 * Notes:
 * Collecting Silver, Historic, and Jubilee sets, with additional 5 discs.
 * A bonus sixth disc included with the first 333 copies.

Reissues from sets
Sources:

"The Dark Side of the Moog"
"The Dark Side of the Moog" is a Klaus Schulze collaboration with Pete Namlook (joined also by Bill Laswell on volumes four to seven). Each title is a distortion of Pink Floyd song and album titles.

Source:

The Evolution of the Dark Side of the Moog is a compilation album, containing excerpts from the first eight volumes. The series was announced as officially concluded with volume ten when on 21 March 2005 at 14:52 CET, Pete Namlook sold the Big Moog synthesizer that was the symbol of the series. Volume eleven appeared on Namlook's website on 15 April 2008 (and was included in a complete box set).

Collaborations
Source:

Promos

 * 2003 Andromeda
 * 2004 Ion
 * 2009 Hommage à Polska (with Lisa Gerrard)

Compilations

 * 1979 Rock On Brain
 * 1980 Star Action
 * 1988 History (for promotional use, limited to 1,000 copies)
 * 1991 2001
 * 1994 The Essential 72–93
 * 1999 Trailer

title: Klaus Schulze


text:
Rhythmic gymnastics

Rhythmic gymnastics is a sport in which gymnasts perform on a floor with an apparatus: hoop, ball, clubs, ribbon and rope. The sport combines elements of gymnastics, dance and calisthenics; gymnasts must be strong, flexible, agile, dexterous and coordinated. Rhythmic gymnastics is governed by the International Gymnastics Federation (FiG), which first recognized it as a sport in 1963. It became an Olympic sport in 1984, with an individual all-around event. The group all-around competition was added to the Olympics in 1996. At the international level, rhythmic gymnastics is a women-only sport. The most prestigious competitions, besides the Olympic Games, are the World Championships, World Games, European Championships, European Games, the World Cup Series and the Grand Prix Series. Gymnasts are judged on their artistry, execution of skills, and difficulty of skills, for which they gain points. They perform leaps, balances, and rotations along with handling the apparatus.

History

Rhythmic gymnastics grew out of the ideas of Jean-Georges Noverre (1727–1810), François Delsarte (1811–1871), and Rudolf Bode (1881–1970), who all believed in movement expression, where one used to dance to express oneself and exercise various body parts. Peter Henry Ling further developed this idea in his 19th-century Swedish system of free exercise, which promoted "aesthetic gymnastics", in which students expressed their feelings and emotions through body movement. This idea was extended by Catharine Beecher, who founded the Western Female Institute in Cincinnati, Ohio, United States, in 1837. In Beecher's gymnastics program, called "dance without dancing", the young women exercised to music, moving from simple calisthenics to more strenuous activities. In 1885, Genevieve Stebbins published her first book, The Delsarte System of Expression. She went on to develop "harmonic gymnastics", which enabled late nineteenth-century American women to engage in physical culture and expression, especially in dance. Stebbins provided the means, rationale, and model for what could be accepted as the appropriate practices for middle and upper-class women.

During the 1880s, Émile Jaques-Dalcroze of Switzerland developed eurhythmics, a form of physical training for musicians and dancers. George Demeny of France created exercises to music that were designed to promote grace of movement, muscular flexibility, and good posture. These styles were combined around 1900 into the Swedish school of rhythmic gymnastics, which would later add dance elements from Finland. Around this time, Ernst Idla of Estonia established a degree of difficulty for each movement. In 1929, Hinrich Medau founded The Medau School in Berlin to train gymnasts in "modern gymnastics" and develop the apparatus's use.

Competitive rhythmic gymnastics began in the 1940s in the Soviet Union. The FIG formally recognized this discipline in 1961, first as modern gymnastics, then as rhythmic sportive gymnastics, and finally as rhythmic gymnastics. The first World Championships for individual rhythmic gymnasts was held in 1963 in Budapest. Groups were introduced at the same level in 1967 in Copenhagen, Denmark. Rhythmic gymnastics was added to the 1984 Summer Olympics in Los Angeles, with the individual all-around competition. However, many federations from the Eastern Bloc and countries were forced to boycott by the Soviet Union, in a way similar to the boycott forced on many nations by the United States of the 1980 Moscow Summer Olympics. Canadian Lori Fung was the first rhythmic gymnast to earn an Olympic gold medal. The group competition was added to the 1996 Summer Olympics in Atlanta. The Spanish team won the first gold medal of the new competition with a team formed by Estela Giménez, Marta Baldó, Nuria Cabanillas, Lorena Guréndez, Estíbaliz Martínez and Tania Lamarca.

The gymnast

Olympic rhythmic gymnastics is typically restricted to female participants, although Japan has begun developing programs in which men can compete. In France, men are allowed to participate in women's competitions. In Spain, there is a national rhythmic gymnastics championships for men. The men's program has yet to be formally recognized by the FIG, however, and men cannot compete in the Olympic Games as a rhythmic gymnast. Gymnasts start at a young age and become age-eligible to compete in the Olympic Games and other major international competitions on January 1 of their 16th year (For example, a gymnast born on 31-12-2008 would be age eligible for the 2024 Olympics). Gymnasts in Russia and Europe typically start training at a very young age and those at their peak are typically in their late teens (15–19) or early twenties, but since 2004 it is common to see gymnasts achieving their peak after reaching their twenties.

Top rhythmic gymnasts must have good balance, flexibility, coordination, and strength, and must possess psychological attributes such as the ability to compete under intense pressure, in which one mistake can cost them the title, and the discipline and work ethic to practice the same skills over and over again.

Currently a gymnast can perform in the individual event or in the group event. They perform routines in 12 x 12 meter areas, accompanied by music (recorded or played by musician(s)). Since 1995, groups consist of five gymnasts, but originally six gymnasts composed a group, although around the 1980s eight gymnasts were permitted. The duration of a group exercise should be two and a half minutes, one minute more than the individual one, which is one minute and a half.

In competitions, female participants typically wear leotards and rhythmic gymnastic toe shoes.

Apparatus
The FIG selects which apparatus will be used in competitions, only four out of the five possible apparatuses are sanctioned. Hoop and rope were the first apparatus used at World Championships, followed later by ball, ribbon and clubs. For 2011, rope was dropped for senior national individual and group competition. In 2011, it was to be dropped for junior national individual competition but returned again in 2015. Rope appeared in junior national group competition in 2011–2012. In 2017, rope appeared in senior group competition. Freehand was an event for the four first World Championships before being dropped and only used in local competitions, usually for the youngest levels.

Since 2011, senior individual gymnasts perform four different routines with hoop, ball, clubs and ribbon. Senior group perform two different routines, one with a single apparatus and one with mixed apparatus (for example, a routine with 5 hoops and a routine with 3 balls / 2 ribbons). For junior individual gymnasts, the FIG selects four out of the five possible apparatuses. Junior groups perform two different routines with two different types of apparatus (for example, a routine with 5 hoops and a routine with 5 ribbons). As of 2017 rhythmic gymnastics equipment used in F.I.G. sanctioned events must have the F.I.G. logo on the apparatus.

 * Rope: It may be made of hemp or a synthetic material that retains the qualities of lightness and suppleness. Its length is in proportion to the size of the gymnast. When the middle of the rope is held down by the feet, both ends should reach the gymnasts' armpits. One or two knots at each end are for keeping hold of the rope while doing the routine. At the ends (to the exclusion of all other parts of the rope) an anti-slip material, either coloured or neutral may cover a maximum of 10.0 cm. The rope must be colored, either all or partially. It may be either of a uniform diameter or be progressively thicker in the center provided that this thickening is of the same material as the rope. The fundamental requirements of a rope routine include leaps and skipping. Other elements include swings, throws, circles, rotations and figures of eight. Since 2011, the FIG decided to nullify the use of rope in senior individual rhythmic gymnastics competitions. Before 2013, jumps and leaps were the Compulsory Body Movement Groups (dominant in the exercise).

Customization: Ropes can be color dyed. It is not common practice because the majority of the paints are water-based and can start coming off with sweat.
 * Hoop:A hoop may be made of plastic or wood, provided that it retains its shape during the routine. The hoop is chosen based on the gymnast's size and should not extend beyond the hip bone when placed standing up on the floor. The interior diameter is from 51 to 90 cm and the hoop must weigh a minimum of 300g. Children and hope divisions, a minimum of 225 grams. The hoop may be of natural color or be partially or fully covered by one or several colors, and it may be covered with adhesive tape either of the same or different color as the hoop. Fundamental requirements of a hoop routine include rotation around the hand or body and rolling, as well as swings, circles, throws, and passes through and over the hoop.

Customization: Hoops are often customized using colored tapes to match the design of the leotards.

 * Ball:It is made of either rubber or synthetic material (pliable plastic) provided it possesses the same elasticity as rubber. Senior and junior gymnasts is 18 to 20 cm in diameter and must have a minimum weight of 400g. The ball can be of any color. The ball should rest in the gymnast's hand and not rest against the wrist or be able to be grasped. Fundamental elements of a ball routine include throwing, bouncing or rolling. The gymnast must use both hands and work on the whole floor area whilst showing continuous flowing movement. The ball is to emphasize the gymnasts flowing lines and body difficulty. Before 2013, flexibility and waves were the Compulsory Body Movement Groups (dominant in the exercise).
 * Clubs: Senior and junior clubs must weight a minimum of 150 grams per club. Children's and hope age division's minimum weight should be 75 grams per club. Multi-piece clubs are the most popular clubs. The club is built along an internal rod, providing a base on which a handle made of polyolefin plastic is wrapped, providing an airspace between it and the internal rod. This airspace provides flex and cushioning impact, making the club softer on the hands. Foam ends and knobs further cushion the club. Multi-piece clubs are made in both a thin European style or larger bodied American style and in various lengths, generally ranging from 19 to 21 in. The handles and bodies are typically wrapped with decorative plastics and tapes. Clubs are thrown from alternate hands; each passes underneath the other clubs and is caught in the opposite hand to the one from which it was thrown. At its simplest, each club rotates once per throw, the handle moving down and away from the throwing hand at first. However, double and triple spins are frequently performed, allowing the club to be thrown higher for more advanced patterns and to allow tricks such as 360s (channes) to be performed underneath. Before 2013, balances were the Compulsory Body Movement Groups (dominant in the exercise).
 * Ribbon:It is made of satin or another similar material cloth of any color; it may be multi-colored and have designs on it. The ribbon itself must be at least 35 g, 4–6 cm (1.6–2.4") in width and have a minimum length of 6m (20') for seniors and 5m (16.25') for juniors. The ribbon must be in one piece. The end that is attached to the stick is doubled for a maximum length of 1m (3'). This is stitched down both sides. At the top, a very thin reinforcement or rows of machine stitching for a maximum length of 5 cm is authorized. This extremity may end in a strap, or have an eyelet (a small hole, edged with a buttonhole stitch or metal circle), to permit attaching the ribbon. The ribbon is fixed to the stick by means of a supple attachment such as thread, nylon cord, or a series of articulated rings. The attachment has a maximum length of 7 cm (2.8"), not counting the strap or metal ring at the end of the stick where it will be fastened. Compulsory elements for the ribbon include flicks, circles, snakes and spirals, and throws. It requires a high degree of co-ordination to form the spirals and circles as any knots which may accidentally form in the ribbon are penalized. During a ribbon routine, large, smooth and flowing movements are looked for. The ribbon may not stop moving or else points are taken off. Before 2013, pivots were the Compulsory Body Movement Groups (dominant in the exercise).Ribbon is also known as the hardest apparatus in Rhythmic gymnastics.

Scoring system
In rhythmic gymnastics, competitions exercises are evaluated by parameters which are reviewed every four years, the system defining the FiG Code of Points. After each Olympic games, the scoring process is modified.

Code of Points
In the Code of Points (2022–2024), the final score of a routine is the sum of the difficulty, execution, and artistry scores. Penalties incurred are deducted from the final score. The difficulty score is open-ended with no maximum, while the execution and artistry scores have a starting value of 10 points. There are penalties which are applied by subtracting points from the final score for specific mistakes made by the gymnast.

Difficulty consists of body difficulties (jumps, balances and rotations), dynamic elements with rotation (commonly known as risks), dance step combinations (for individual gymnasts and groups), and apparatus difficulties (only for individuals gymnasts) and exchanges and collaborations (only for groups). The difficulty score is evaluated during the routine without a predetermined difficulty sheet, unlike with previous Codes. Each difficulty component has an assigned value, which accumulate throughout the routine, resulting in the final difficulty score.

Execution is the degree to which the gymnast performs with aesthetic and technical perfection. Scoring is not subjective. First, the unity and character of the composition, harmony with the music, body expression and the variety in the use of space and apparatus elements, among others are evaluated; next, the technical handling of the apparatus (like catching the ball with one hand and not two, not losing the apparatus, etc.) and technical aspects of body movements (like touching the head with the foot during a ring form, not falling, etc.) are evaluated. Errors or deviations from the perfect model of conduct accumulate and are assigned specific penalty values, which are subtracted from the starting value (an execution score of 10 represents a perfect execution matching the model, without error).

Finally, Penalties are taken by the time, line, and coordinator judges. Possible penalties include:

 * The gymnast leaving the floor area
 * The apparatus leaving the floor area
 * The exercise being longer or shorter than the acceptable length of time (1'15" to 1'30" is the required length for individual, and 2'15" to 2'30" is the required length for group)
 * Music not conforming to the regulations
 * Dress of the gymnast not conforming to the regulations
 * Communication with the coach during the execution of the exercise
 * Verbal communication between group gymnasts during the exercise
 * Grabbing a new apparatus from the side of the floor if the first apparatus is still on the floor area.

Evolution of the Code of Points
The first Code of Points was published in 1970. Since then, rhythmics gymnastics has known 15 different codes (1970–1971, 1971–1972, 1973–1976, 1977–1980, 1981–1984, 1985–1988, 1989–1992, 1993–1996, 1997–2000, 2001–2004, 2005–2008, 2009–2012, 2013–2016, 2017–2021, 2022–2024). Since 1984 and the first appearance at the Olympics, the Code of Points is renewed after each Olympics.

In the decades of the 60s and 70s, scoring emphasized the artistic side, with little emphasis on difficulty. In the 80s new difficulty elements were introduced to give greater prominence to flexibility and risk releases, and to encourage originality with emerging new devices. In 1985 the score was composed of: Composition (Technical + Artistry) was scored on 5 points and Execution was scored on 5 points. In 1997, the Code of Points was significantly changed, by dividing the score into Artistry (based on 5 for individual or 6 points for groups), Technical (based on 5 points for individuals or 4 points for groups) and Execution (based on 10 points), the perfect score being 10 points for individuals and 20 points for groups.

In the late 90s, there was an appearance of gymnasts whose exercise flexibility was used as a main element (Yana Batyrchina or Alina Kabaeva for example), which motivated a major change in the Code in 2001, doubling the number of required elements of difficulty (10 maximum during the 2001–2004 Olympic cycle, one difficulty could be composed of 2-3 difficulties; 18 maximum during the 2005–2008 Olympic cycle) and reduced the value of the artistic element, which was now combined with apparatus difficulty (also known as mastery) and risks. The final mark was then obtained by adding notes Difficulty (or Technical before 2005), Artistry and Execution, each with a maximum value of 10 points, so the final score would be a maximum of 30 points. During the Olympic cycle 2005–2008, the final score would be a maximum of 20 points to join the average grade of Difficulty and Artistry.

In 2009 the code was subjected to another important change. The final mark was obtained by adding notes Difficulty (12 difficulties with the body, masteries and risks), Artistry and Execution, each with a maximum value of 10 points, so the final score would be a maximum of 30 points. In 2013, the code introduced the Dance steps combination and an Execution score taking into account both technical and artistic execution. The score then was on 20 points with 10 points for Difficulty (9 difficulties with the body, masteries, 5 risks and dance steps combination) and 10 points for Execution (technical and artistic penalties). The 2017 code was very similar, with a difficulty strictly limited and differences among the best gymnasts heavily determined by the execution. Therefore, in 2018, the Difficulty became open for the first time.

Major competitions
According to the technical regulations defined by the International Gymnastics Federation (FiG), the only official competitions in which rhythmic gymnastics events are contested globally are: the World Championships; the stages of the World Cup series (including the defunct World Cup Final and World Cup qualifiers); the World Games; and the Olympic Games (as well as the Youth Olympic Games). Test Events for the Olympic Games were held in 2000, 2004, 2008, 2012 and 2016, and were also officially organized by the FIG. Since 2019, Junior World Championships are held every two years.

The nations which have earned at least one medal in official FIG competitions are:

Major rhythmic gymnastics tournaments not officially organized by FIG include the European Championships (as well as its junior division), the European Games, the Grand Prix series and the competitions at the Summer Universiade. Also, continental championships are held in the Americas and Asia, as well regional multi-sport events in which rhythmic gymnastics is part of the program, such as the Pan American Games and the Asian Games. Major defunct championships or competitions in which rhythmic gymnastics events were held include the European Cup Final, the European Team Gymnastics Championships, the Goodwill Games, and the Four Continents Gymnastics Championships (reserved for senior athletes from the Americas, Asia, Africa and Oceania).

Dominant teams and nations
Rhythmic gymnastics has been dominated by Eastern European countries, especially the Soviet Union (Post-Soviet Republics of today) and Bulgaria. The two countries were in rivalry with each other before the dissolution of the Soviet Union.

Soviet Union
Before the breakup of the Soviet Union in 1991, Soviet rhythmic gymnasts were engaged in a fierce competition with Bulgaria. The first World Championships held in 1963 in Budapest, Hungary was won by Soviet gymnast Ludmila Savinkova and in 1967 in Copenhagen, Denmark the first Group Championships was also won by the USSR.

Other Soviet World AA Champions in individuals included Elena Karpuchina, Galima Shugurova and Irina Deriugina. Marina Lobatch became the first Soviet to win the Olympic Games in the 1988 Seoul Olympics. In 1991, The Unified Team was formed and saw a competition of the two Soviet/Ukrainian gymnasts, Olexandra Tymoshenko and Oxana Skaldina at the 1992 Summer Olympics in Barcelona.

Other notable Soviet gymnasts include: Tatiana Kravtchenko, Liubov Sereda, Alfia Nazmutdinova, Natalia Krachinnekova, Irina Devina, Elena Tomas, Irina Gabashvili, Inessa Lisovskaya, Dalia Kutkaitė, Venera Zaripova, Galina Beloglazova, Anna Kotchneva and Tatiana Druchinina.

Bulgaria
Since the start of the inception of rhythmic gymnastics as a World Championship event, Bulgaria was in competition with the USSR; during the late 1960s and throughout the 1970s, Bulgaria has won 10 individual World Titles with its star gymnasts Maria Gigova (3 time World AA Champion), Neshka Robeva and Kristina Guiourova.

The 1980s marked the height of Bulgarian success known as the Golden Girls of Bulgaria, with gymnasts Iliana Raeva, Anelia Ralenkova, Lilia Ignatova, Diliana Gueorguieva, Bianka Panova, Adriana Dunavska and Elizabeth Koleva dominating the World Championships. Bianka Panova became the first rhythmic gymnast to make a clean sweep of all five individual events at a World Championship by attaining full marks. She also became the first rhythmic gymnast to get into the Guinness Book of World Records by her perfect performance of full 10 marks in all her routines (total of 8) at a World Championship, and received the trophy personally from the President of the International Olympic Committee at the time, Juan Antonio Samaranch.

The early 1990s were marked by the full domination of Maria Petrova, 3 time World AA Champion and 3 time European AA Champion. Other notable gymnasts include Mila Marinova, Dimitrinka Todorova and Diana Popova.

The early 2000s marked the decline of individual rhythmic gymnasts of Bulgaria, though with still a few notable gymnasts including Teodora Alexandrova, Simona Peycheva and Sylvia Miteva. Boyanka Angelova, who gained popularity among the public, retired early due to injuries. Newer Bulgarian individual gymnasts include Neviana Vladinova, Katrin Taseva, Boryana Kaleyn, Eva Brezalieva and Stiliana Nikolova. Bulgaria is currently more engaged in group rhythmic gymnastics with successful gymnasts including Zhaneta Ilieva, Eleonora Kezhova, Kristina Rangelova, Zornitsa Marinova, Vladislava Tancheva, Hristiana Todorova, Tsvetelina Naydenova, Tsvetelina Stoyanova, Lubomira Kazanova, Reneta Kamberova and Mihaela Maevska. Bulgaria is also the current Olympic champion in all-around group gymnastics, having won gold at Tokyo 2020 (Simona Dyankova, Laura Traets, Stefani Kiryakova, Madlen Radukanova, and Erika Zafirova).

Russia
After the breakup of the Soviet Union, Russia has been the dominant country in rhythmic gymnastics since the start of the late 1990s saw the rise of stars like Amina Zaripova, Yanina Batyrchina and Alina Kabaeva. Oksana Kostina became Russia's first World Champion as an independent country.

In the 2000 Summer Olympics in Sydney, Yulia Barsukova became the first Russian to win the Olympic gold medal. Alina Kabaeva, who had won bronze in Sydney, went on to win gold in the 2004 Athens Olympics. Evgenia Kanaeva became the first individual rhythmic gymnast to win two gold medals in the Olympic Games at the 2008 Beijing Olympics and 2012 London Olympics. Margarita Mamun continued the streak of individual gold medalists at the 2016 Rio de Janeiro Olympics while the competition favorite 3-times World champion Yana Kudryavtseva took silver because of a drop in her clubs routine during the finals.

Dina Averina and Arina Averina have cemented their status as two of the best rhythmic gymnasts in Russia's history. Dina has won multiple World Championship titles, dominating the sport since her senior debut. She has secured over 20 gold medals at the World Championships, making her one of the most decorated gymnasts in the history of the sport. Arina Averina, equally talented, has also achieved significant success, consistently earning medals in major international competitions, including World and European Championships. Known for their exceptional performances characterized by difficulty, precision, and artistry, the Averina twins have set new standards in rhythmic gymnastics. Their achievements have not only continued Russia's legacy of excellence but have also inspired a new generation of gymnasts.

Other notable gymnasts include Natalia Lipkovskaya, Irina Tchachina, Natalia Lavrova, Zarina Gizikova, Laysan Utiasheva, Vera Sessina, Olga Kapranova, Yelena Posevina, Anna Gavrilenko, Margarita Aliychuk, Olga Belova, Daria Shkurikhina, Anastasia Maksimova, Tatiana Gorbunova, Uliana Donskova, Yana Lukonina, Anastasia Nazarenko, Anastasia Bliznyuk, Ksenia Dudkina, Karolina Sevastyanova, Olga Ilina, Daria Kondakova, Daria Dmitrieva, Ekaterina Selezneva, Alexandra Merkulova, Daria Svatkovskaya, Yana Kudryavtseva, Maria Tolkacheva, Aleksandra Soldatova, Irina Annenkova, Diana Borisova, Iuliia Bravikova, Anastasiia Tatareva, Daria Dubova, Vera Biryukova, Sofya Skomorokh, Daria Trubnikova and Lala Kramarenko.

The Russian Group has won five of the seven Group exercises held in the Olympics since it was included in the Olympic Games back in 1996 Summer Olympics.

Ukraine
Even as part of the USSR, a number of Soviet gymnasts were trained in Ukraine or with Ukrainian origin including the first World Champion Ludmila Savinkova and Liubov Sereda. Ukraine has won 1 gold and 4 bronze medals at the Olympic Games. If you include all Ukrainian gymnasts /with those representing the Unified Team & USSR but with Ukrainian origins/, then they have won 2 gold and 6 bronze medals (Alexandra Timoshenko /gold & bronze/, Ekaterina Serebrianskaya /gold/, Anna Besseonova /2 bronzes/, Oksana Skaldina /bronze/, Olena Vitrichenko /bronze/ and Ganna Rizatdinova /bronze/). The mother and daughter tandem of Albina and Irina Deriugina played an important role in the success of RG in the country, raising stars like Olexandra Tymoshenko and Oxana Skaldina.

After the breakup of the Soviet Union, Ukraine continued its success in rhythmic gymnastics with Kateryna Serebrianska winning the Olympic gold medal at the 1996 Atlanta Olympics.

Other notable gymnasts include Anna Bessonova (two-time Olympic bronze medalist), Olena Vitrychenko (1996 Olympics bronze), Ganna Rizatdinova (2016 Olympics bronze), Tamara Yerofeeva, Natalia Godunko, Alina Maksymenko, Victoria Stadnik, Olena Dmytrash, Viktoriia Mazur, Valeriia Gudym, Yevgeniya Gomon, Valeriya Khanina, Oleksandra Gridasova, Anastasiia Mulmina, Anastasiya Voznyak, Kateryna Lutsenko, Olena Diachenko, Vlada Nikolchenko, Khrystyna Pohranychna, Viktoriia Onopriienko and Polina Karika.

Belarus
Belarus has had success in both individual and group rhythmic gymnastics after the breakup of the Soviet Union. The first Soviet Olympic gold medalist at the 1988 Seoul Olympics, Marina Lobatch, was a Belarusian.

Since the late 1990s, Belarus has had continued success in the Olympic Games and has won two silver and two bronze medals in individuals respectively, with Yulia Raskina, Inna Zhukova, Liubov Charkashyna and Alina Harnasko.

Other notable gymnasts include Larissa Loukianenko, Ksenia Sankovich, Svetlana Rudalova, Aliaksandra Narkevich, Tatiana Ogrizko, Zinaida Lunina, Arina Charopa, Alina Tumilovich, Valeria Vatkina, Evgenia Pavlina, Maria Kadobina, Anastasia Ivankova, Hanna Bazhko, Elena Tkachenko, Melitina Staniouta, Elena Bolotina, Mariya Trubach, Katsiaryna Halkina, Julia Evchik, Alina Harnasko and Anastasiia Salos.

The Belarusian Group has won two silver and a bronze medal in the Olympics.

Other Post-Soviet Republics
Azerbaijan is now amongst the top countries for individual and group rhythmic gymnastics. The development of the sport particularly boosted after Mehriban Aliyeva became the President of the Azerbaijan Gymnastics Federation in 2002. In 2007, Mariana Vasileva who was a former Bulgarian rhythmic gymnast and a coach in Levski club in Sofia came to Azerbaijan to coach Azerbaijani gymnasts. Since 2009, Vasileva has been appointed as head coach of the Azerbaijan Rhythmic Gymnastics Federation. Notable rhythmic gymnasts include 2011 World All-Around bronze medalist Aliya Garayeva, Anna Gurbanova, Dinara Gimatova, Zeynab Javadli, Lala Yusifova, Marina Durunda, Zhala Piriyeva, Elif Zeynep Celep, Ayshan Bayramova, Zohra Aghamirova and Arzu Jalilova. Azerbaijan competes at the European Championships, even though it is geographically located at the crossroads of Eastern Europe and Western Asia. Azerbaijan hosted a number of large competitions, including 2005 World Rhythmic Gymnastics Championships, 2007 Rhythmic Gymnastics European Championships, 2009 Rhythmic Gymnastics European Championships, 2014 Rhythmic Gymnastics European Championships, and 2019 World Rhythmic Gymnastics Championships.

In Georgia, Soviet rhythmic gymnast and 1979 World All-around bronze medalist Irina Gabashvili was of Georgian origin. Another notable Georgian is the dynamic Salome Pazhava, doing well in the Continental Games and World Championships.

Other Post-Soviet Republics, especially in Central Asia, have had considerable success in rhythmic gymnastics, including Kazakhstan and Uzbekistan. Notable Kazakhstani gymnasts include Aliya Yussupova, Anna Alyabyeva, Aliya Assymova, Sabina Ashirbayeva, Alina Adilkhanova, Elzhana Taniyeva and Aibota Yertaikyzy. In Uzbekistan, notable gymnasts include: Ulyana Trofimova, Djamila Rakhmatova, Elizaveta Nazarenkova, Anastasiya Serdyukova, Valeriya Davidova, Anora Davlyatova, Sabina Tashkenbaeva, Ekaterina Fetisova and Takhmina Ikromova.

In Baltic states, Irina Kikkas became the first Estonian rhythmic gymnast to qualify to an Olympic Games and Viktoria Bogdanova became the first Estonian gymnast to win a medal at the Universiade. The Estonian Group has won its first medal at the European Championships in 2020.

Spain
Spain has a great tradition in rhythmic gymnastics. Some notable success in rhythmic gymnastics for Spain include Ana Bautista, who won gold medal in rope competition in the European Cup final in 1989, Carolina Pascual, the silver medalist at the 1992 Barcelona Olympics, Carmen Acedo who won gold medal in clubs competition in World Championships in 1993, Rosabel Espinosa, 1991 European Junior All-around bronze medalist, Almudena Cid who is a four-time Olympian (1996, 2000, 2004 and 2008) and Carolina Rodriguez. Newer Spanish individual gymnasts include Natalia García, Sara Llana,Polina Berezina,Salma Solaun and Alba Bautista.

Spain is more engaged in group rhythmic gymnastics and the Spanish Group became the first to win the Olympic gold in Group rhythmic gymnastics since it was added in the 1996 Summer Olympics in Atlanta, with the help of the Bulgarian coach Emilia Boneva. The Spanish Group was formed by Marta Baldó, Nuria Cabanillas, Estela Giménez, Lorena Guréndez, Tania Lamarca and Estíbaliz Martínez. Spanish group also won the silver in the 2016 Summer Olympics.

Italy
Like Spain, Italy is more engaged in Group rhythmic gymnastics; the Italian Group is 4 time Group World AA Champion and has won three medals (a silver and two bronze) at the Olympic Games. Famous group gymnasts include Marta Pagnini, Elisa Santoni, Andreea Stefanescu, Romina Laurito, Anzhelika Savrayuk, Elisa Blanchi.

Notable athletes include Samantha Ferrari who won a bronze medal in clubs at the 1991 World Championships, other notable individual gymnasts are Katia Pietrosanti, Susanna Marchesi, Julieta Cantaluppi, Federica Febbo, Veronica Bertolini, Alessia Russo, Alexandra Agiurgiuculese, Milena Baldassarri, Talisa Torretti and Sofia Raffaeli.

Israel
Israel is a rising nation in rhythmic gymnastics. Israeli head coach Irina Vigdorchik, who moved from Moscow to Israel in 1979, said rhythmic gymnastics had been brought to Israel by Russian immigrants in the early 1970s.

The sport began its success in the 2000s with notable Israeli gymnasts including Irina Risenzon, Neta Rivkin who have placed in Top 10 in the Olympic Games finals. Other notable gymnasts include Katerina Pisetsky, Veronika Vitenberg, Rahel Vigdozchik, Victoria Veinberg Filanovsky, Linoy Ashram (the first Israeli rhythmic gymnast to win a medal at the Olympic games and an All-around medal at the World Championships), Nicol Zelikman, Adi Asya Katz and Daria Atamanov.

The Israeli Group has also begun to be amongst the leading Group rhythmic gymnasts in the World Cup and World Championship competitions, and has won its first gold medal at the 2016 European Championships. It has so far peaked twice by placing 6th in the Olympic games in Rio 2016 and Tokyo 2020.

Other European nations
Germany has had considerable success in the sport, especially from the late 1960s to the early 1990s, with World medalists Ute Lehmann, Carmen Rischer, Christiana Rosenberg, Bianca Dittrich and 1984 Olympic medalist Regina Weber. The 1990s had notable gymnasts Magdalena Brzeska and Edita Schaufler, and in the 2000s with Lisa Ingildeeva, Laura Jung, Jana Berezko-Marggrander, Noemi Peschel, Lea Tkaltschewitsch, Margarita Kolosov and Darja Varfolomeev.

In Czechoslovakia, the 1960s and 1970s marked the peak of Czechoslovak rhythmic gymnastics' success with World medalists Hana Machatová-Bogušovská, Hana Sitnianská-Mičechová, Zuzana Záveská, Iveta Havlíčková and Daniela Bošanská. Other notable Czech gymnasts from the 2000s are Dominika Červenková, Monika Míčková and Anna Šebková.

Romania has enjoyed more success in artistic gymnastics, but also had their share of producing talents (especially in the 1980s and 1990s), like Doina Stăiculescu, Irina Deleanu, Alexandra Piscupescu, Ana Luiza Filiorianu,Andreea Verdes, Annaliese Dragan and Amalia Lică

In Hungary, Maria Patocska became the first Hungarian rhythmic gymnast to win a medal at the World Championships. Other notable gymnasts include Viktória Fráter, Dóra Vass, Fanni Pigniczki and Evelin Viktória Kocsis.

Greece is primarily oriented towards Group exercises, especially successful during the 1996–2000 quad, but has also established in individuals notably with gymnasts Maria Pagalou, Evmorfia Dona, Eleni Andriola, Varvara Filiou, Eleni Kelaiditi and Panagiota Lytra.

France has had considerable success in Individual rhythmic gymnastics with Eva Serrano placing 5th at the 2000 Sydney Olympics; other French gymnasts include Delphine Ledoux, Kseniya Moustafaeva, Axelle Jovenin, Valérie Romenski, Hélène Karbanov,Maëlle Millet and Lily Ramonatxo. The Group placed 9th in the All-Around competition at the 2017 World Championships and 6th in the 5 hoops final at the 2018 World Championships.

Asia and Americas
Although European countries have been always dominant in this sport (only five World Championships have been held outside Europe so far, one in Cuba, one in USA and three in Japan) and only five individual gymnasts (Sun Duk Jo, Myong Sim Choi, Mitsuru Hiraguchi, Son Yeon-jae, Kaho Minagawa) and three groups (Japan, North Korea and China) from outside Europe have won medals at the World Championships, rhythmic gymnastics is growing.

Japan has a long tradition in rhythmic gymnastics. Since their first competition in 1971, the Japanese group has never finished lower than 10th (except in 2003, 16th) at an AA World Championships. In 2019, they became World Champion with 5 balls for the first time. Japan had and still has notable gymnasts such as Mitsuru Hiraguchi, Erika Akiyama, Yukari Murata, Sakura Hayakawa, Kaho Minagawa, Sumire Kita and Chisaki Oiwa. Other countries in East Asia have developed world class gymnasts, such as South Korea with Shin Soo-ji, Son Yeon-jae, and China with Pang Qiong, He Xiaomin, Zhou Xiaojing, Zhong Ling, Sun Dan, Xiao Yiming, Deng Senyue, Liu Jiahui, Shang Rong and Zhao Yating. North Korea has had success in group rhythmic gymnastics in the 1970s to the early 1990s and individual rhythmic gymnastics with Sun Duk Jo and Myong Sim Choi.

Although it has not gained as much following compared to its artistic gymnastics counterpart, it is also a rising sport in the United States with some notable rhythmic gymnasts including Michelle Berube, Mary Sanders (a dual USA/Canadian citizen who has competed for both countries), Julie Zetlin, Jasmine Kerber, Nastasya Generalova, Laura Zeng, Camilla Feeley, Evita Griskenas, Lili Mizuno and Alexandria Kautzman. Other up-and-coming nations in the Western Hemisphere include Canada, Mexico and Brazil, with some notable rhythmic gymnasts including Lori Fung, Mary Sanders (who also competed for the USA), Alexandra Orlando, Patricia Bezzoubenko, Cynthia Valdez, Rut Castillo, Karla Diaz, Marina Malpica, Angélica Kvieczynski, Natália Gaudio, Bárbara Domingos and Geovanna Santos.

Japanese men's rhythmic gymnastics
Men's Rhythmic Gymnastics (Men's RG, MRG) is an artistic sport which is performed to music on a 13 x gymnastic spring floor. It is sometimes called synchronized tumbling, combining the dynamism of powerful acrobatics and perfection of synchronous moves. Athletes are judged on some of the same physical abilities and skills as their female counterparts, such as hand/body/eye co-ordination, but tumbling, strength, and power are the main focus, as well as apparatus handling, flexibility and movements called "Toshu ("freehand"). There are an increasing number of gymnasts, competing alone and on a team; it is most popular in Japan, where high school and university teams compete fiercely. As of 2016, it is estimated there are about 2,000 participants in Japan alone. Some of the outstanding rhythmic gymnasts have made most of their physical abilities for their second careers and become performers in the field of entertainment such as the world-famous circus Cirque du Soleil.

History
Men's rhythmic gymnastics in Japan was originally created by adopting elements from Swedish, Danish, and German gymnastics. It has been taught and performed for many years with the aim of improving physical strength and health as early as the 1940s. Originally, both boys and girls used to perform this type of gymnastics, which is called "Dantai Toshu Taisou, literally "group freehand gymnastics". In 1967, the name "Shintaisou ("new gymnastics") was adopted as a translation of "Modern Gymnastics," which used to be done in Northern and Central Europe. On the other hand, rhythmic gymnastics for women has also been called "Shintaisou in Japan since it was first imported to the country. Currently, MRG and women's rhythmic gymnastics are both under the umbrella of Japan Gymnastics Association and major competitions are often held at the same venue. Men's RG consists of two types of events: group events of 6 people (freehand or no apparatus) and individual events using apparatus (stick, rings, rope and clubs). Both group and individual events are performed on a spring floor, allowing gymnasts to do various kinds of tumbling during their performance.

Individuals
For individual performances, a gymnast manipulates one or two pieces of apparatus (double rings, stick, clubs, rope) to demonstrate their skill at apparatus handling, throws, and catches as well as the difficulty of the tumbling. The gymnast must work the entire floor area whilst showing continuous flowing movement. The permitted time for individual events is between 1 minute 25 seconds to 1 minute 33 seconds. During a competition, each individual gymnast performs four separate routines, one for each apparatus. Points are based a 20-point scale. The first 10-point scale measures composition (difficulty) based on technical value, variety, harmony between music and movements, and originality, while the execution of performance is a maximum of 10 points. The individual scores of all four routines for each gymnast are then added up to decide the all-around winner.

Groups
Group performance includes non-acrobatic movements called "Toshu (handstands, flexibility exercises, balance, etc.), and rotational movements (tumbling and lifts). Group performances are done without using any apparatus. The permitted time for group events is between 2 minutes 45 seconds to 3 minutes. Points are awarded based a 20-point scale that measures difficulty and execution of the routine. Composition/difficulty of performance is scored out of a maximum of 10 points, based on technical value (such as difficulty of tumbling elements and movement elements), variety (variety of movements, change of formations, etc.), harmony between music and movements, and originality, with deductions for lack of required elements or stepping out of bounds, and so on. Execution of performance is scored out of a maximum of 10 points, based on quality of execution, accuracy of performance and synchronization, with deductions taken for mistakes or lack of movements in unison, etc. Some of the group routine videos went viral on the Internet, including Ibara High School's two routines in 2013 and 2016 and Aomori University's routine in 2009, which was dedicated to their deceased teammate. Many other MRG videos are also available on YouTube.

Internationalization
On November 27–29, 2003, Japan hosted the Men's RG World Championship. This first championship drew ten countries from two continents: Japan, Korea, China, Malaysia, Singapore, Australia, Canada, United States, Russia, Ukraine and more. The 2005 World Championship included Australia, Canada, China, Japan, Malaysia, Korea, Russia, Singapore, Ukraine, United States and more. Men's RG is a currently recognized by the FIG.

In 2013, the Aomori University MRG Team collaborated with renowned Japanese fashion designer Issey Miyake and American choreographer Daniel Ezralow (Spiderman, Cirque du Soleil) to create a one-hour contemporary performance, "Flying Bodies, Soaring Spirits," that featured all 27 Aomori men's rhythmic gymnasts outfitted in Miyake's signature costumes. Held July 18, 2013 at Yoyogi National Stadium in Tokyo, the show drew an audience of 2,600. "Flying Bodies" was also captured in a 78-minute documentary by director Hiroyuki Nakano that follows the coaches, gymnasts and creative team for the three months leading up to the performance.

Men's rhythmic gymnasts of Aomori University showed their Performance at the 2016 Summer Olympics closing ceremony.

Spanish men's rhythmic gymnastics
There are, particularly in Europe, some male rhythmic gymnasts who train and perform in the same way as their female counterparts and generally applies the same FIG rules as for women's rhythmic gymnastics. Spain is a pioneer country in the field, the Spanish federation having approved at national level a separate category for individual men since 2009 and mixed groups since 2020. Examples of rhythmic gymnasts include Rubén Orihuela (Spain), Ismael Del Valle (Spain), Jose Sanchez Diaz (Spain), Gerard Lopez (Spain), Thomas Gandon (France) and Peterson Céüs (France). However, the discipline is not recognized by the FIG, there is nearly no international coordination done so far to develop international tournaments and very few countries help men to start rhythmic gymnastics.

title: Rhythmic gymnastics


text:
Talk:Bristol

Notable People?
Some much smaller places have sections devoted to notable people from the town or city (see Falmouth for a good example of an obviously padded example); it's very surprising that this article has none. I can't believe that this is by chance, and that no-one has noticed, so is there a reason for it? Bibliosporias (talk) 14:04, 17 December 2022 (UTC)

I now find that the same applies to the Bath, Somerset article. — Preceding unsigned comment added by Bibliosporias (talk • contribs) 14:20, 17 December 2022 (UTC)

 * That is probably down to me as did a lot of the work on both articles. I have found these "notable people from X" tend to get bloated, attract lots of vandalism & are often uncited. Category:People from Bristol has hundreds of people from or associated with the city, as does Category:People from Bath, Somerset - how would you decide which should be included in the (already long) article? — Preceding unsigned comment added by Rodw (talk • contribs) 14:44 17 December 2022 (UTC)

 * Very much like Rod, I think it's a good idea to limit or better still remove such sections. They're a magnet for fan cruft and unsourced content - very much the same as "In popular culture" sections (see WP:IPC --10mmsocket (talk) 15:46, 17 December 2022 (UTC)
 * I see your point. I've found them useful in the past (which is why I was looking for them), though I agree hat they're often padded out considerably (see what I said about Falmouth).  They're still a lot smaller and more select than the Categories.  Perhaps they require more editorial policing than is necessary, though. Bibliosporias (talk) 16:53, 17 December 2022 (UTC)

 * It could be helpful to include a link to that category: Category:People from Bristol in the See Also section? I tend to agree that a random list of notable people is not helpful. If someone has a notable association with the city, they would probably be named in one of the other sections already. Barnards.tar.gz (talk) 22:04, 17 December 2022 (UTC)

Merge List of Museums in Bristol?
I came across List of museums in Bristol which doesn’t seem to be linked here or in Culture in Bristol, but also seems to duplicate parts of both. I’m thinking it should probably be merged and exist just as a category instead - anyone have a strong opinion? Barnards.tar.gz (talk) 09:17, 8 January 2023 (UTC)

A Commons file used on this page or its Wikidata item has been nominated for speedy deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for speedy deletion: You can see the reason for deletion at the file description page linked above. —Community Tech bot (talk) 01:38, 17 January 2023 (UTC)
 * Corn Street in Bristol.jpg

 * Removed 10mmsocket (talk) 09:10, 17 January 2023 (UTC)

Collage – Sprapped discussion
, I changed the collage, you reverted and I’d still like to change it. I am going to have another attempt, don’t revert the whole thing just the ones you don’t like. I’ll try to make it a like for like swap out rather than rearranging it all, it wasn’t my best effort anyway. Chocolateediter (talk) 19:13, 6 February 2023 (UTC)

 * Please don't do it on the page and start an edit war. You were bold, you were reverted and you have come here to discuss. So bring your proposed collage here an explain why you think it should be changed from the images that are there right now. 10mmsocket (talk) 19:18, 6 February 2023 (UTC)
 * I just reverted your second update. Why won't you discuss your proposed change here? My position is that there is nothing wrong with what's there right now and it doesn't need changing. Please explain why the individual images you have chosen are better than the existing images. Please don't change the page again. 10mmsocket (talk) 19:35, 6 February 2023 (UTC)
 * Please don’t skim read this & ask politely if you don’t understand my wording, no doubt some text has strayed from me rethinking what I type and it takes ages for me to word things.
 * I thought I’d do a attempt, you’d see it & think it’s alright then say it’s clear and we’d move on. I had done the second edit before I read what you had put down(I did jump ahead however you didn’t ping me when you messaged), it does appear you typed a message before my second edit so I didn’t see about you wanting each photo in talk so don’t mumble on about that.
 * Some things to consider; Baby and bathwater and WP:CAUGHTUP.
 * I’ll wait for your next message this time and please ping me. You can look back at my second attempt (I kept the skyline and Wills picture all others swapped out) and think about each one (comparing them to the old ones) then come here and say which you like and if you don’t like any suggest some others. I really would like new ones so please just suggest or accept than stubbornly say only the original collage is best because I’d be tempted to put up the original picture on this article from years back. The old CSbridge picture is used on multiple articles (UK, observatory, bridge and Bristol museums) so that needs to be taken into consideration.
 * If you take days or weeks I might chance a naughty 3rd attempt. By now you’ve probably gone away. I best keep messages short/bullet pointed from now on as something like this can take an hour for me do. Chocolateediter (talk) 21:44, 6 February 2023 (UTC)
 * The onus is on you as the one proposing change to advocate for the images that you want to insert and explain why the existing images are inferior. So please, put up your proposed collage here on the talk page and lets hear your thoughts and discuss them. 10mmsocket (talk) 22:54, 6 February 2023 (UTC)
 * The onus is on those who disagree with my proposal to explain why. - Wiktionary, I’m putting the onus on you as you haven’t given a valid answer (Don't revert due solely to "no consensus") as why you have fully-reverted 2 attempts (by WP:RV, partially reversion is preferred) at a bold change to a collage in the Bristol article infobox. You want the status quo, I wanting to change pictures and am willing to meet in the middle. Both edits have been seen and reverted by yourself (if you blindly reverted my 2nd attempt then that is a serious misuse of the revert) and you have yet to suggest anything but the status quo. Please bear in mind,WP:BABY and WP:CAUGHTUP as the general guide full reverting situations: please also bear in mind that you have yet to ping me properly with each message, when I have said multiple times as I am more likely to see and contribute to discussions otherwise if I don’t check you may as well not be messaging. This lack of pinging has already cause my attempt no.2 edit to go out after your message to put it here 1st, due to me not being notified about said message’s existence before the edit. I have already stated also that am disregarding my first attempt as I no longer see it as a good standard, my second attempt however should be regarded as what I am proposing to do, with changes if needs be. If this message falls on deaf ears I will take it upon myself to do my 1st revert, do not count my 2nd attempt as revert to a revert but an edit with the same purpose but completely different solution to the problem reverted first edit. Chocolateediter (talk) 00:29, 7 February 2023 (UTC)
 * The onus is on those who disagree with my proposal to explain why. - Wiktionary, I’m putting the onus on you as you haven’t given a valid answer (Don't revert due solely to "no consensus") as why you have fully-reverted 2 attempts (by WP:RV, partially reversion is preferred) at a bold change to a collage in the Bristol article infobox. You want the status quo, I wanting to change pictures and am willing to meet in the middle. Both edits have been seen and reverted by yourself (if you blindly reverted my 2nd attempt then that is a serious misuse of the revert) and you have yet to suggest anything but the status quo. Please bear in mind,WP:BABY and WP:CAUGHTUP as the general guide full reverting situations: please also bear in mind that you have yet to ping me properly with each message, when I have said multiple times as I am more likely to see and contribute to discussions otherwise if I don’t check you may as well not be messaging. This lack of pinging has already cause my attempt no.2 edit to go out after your message to put it here 1st, due to me not being notified about said message’s existence before the edit. I have already stated also that am disregarding my first attempt as I no longer see it as a good standard, my second attempt however should be regarded as what I am proposing to do, with changes if needs be. If this message falls on deaf ears I will take it upon myself to do my 1st revert, do not count my 2nd attempt as revert to a revert but an edit with the same purpose but completely different solution to the problem reverted first edit. Chocolateediter (talk) 00:29, 7 February 2023 (UTC)

Next Bristol Wiki Meetup
...is a special Bristol / Hanover joint meetup in central Bristol on Saturday 16th September 2023. See the announcement in the wikiproject or sign up to attend on Meta. MartinPoulter (talk) 08:35, 12 August 2023 (UTC)

title: Talk:Bristol


text:
Agnatha

Agnatha is an infraphylum of jawless fish in the phylum Chordata, subphylum Vertebrata, consisting of both living (cyclostomes) and extinct (conodonts, anaspids, and ostracoderms) species. Among recent animals, cyclostomes are sister to all vertebrates with jaws, known as gnathostomes.

Molecular data, both from rRNA and from mtDNA as well as embryological data, strongly supports the hypothesis that both groups of living agnathans, hagfishes and lampreys, are more closely related to each other than to jawed fish, forming the clade Cyclostomi.

The oldest fossil agnathans appeared in the Cambrian, and two groups still survive today: the lampreys and the hagfish, comprising about 120 species in total. Hagfish are considered members of the subphylum Vertebrata, because they secondarily lost vertebrae; before this event was inferred from molecular and developmental data, the group Craniata was created by Linnaeus (and is still sometimes used as a strictly morphological descriptor) to reference hagfish plus vertebrates.

While a few scientists still regard the living agnathans as only superficially similar, and argue that many of these similarities are probably shared basal characteristics of ancient vertebrates, newer taxonomic studies clearly place hagfish (the Myxini or Hyperotreti) with the lampreys (Hyperoartii) as being more closely related to each other than either is to the jawed fishes.

Metabolism
Agnathans are ectothermic, meaning they do not regulate their own body temperature. Agnathan metabolism is slow in cold water, and therefore they do not have to eat very much. They have no distinct stomach, but rather a long gut, more or less homogeneous throughout its length. Lampreys feed on other fish and mammals. Anticoagulant fluids preventing blood clotting are injected into the host, causing the host to yield more blood. Hagfish are scavengers, eating mostly dead animals. They use a row of sharp teeth to break down the animal. The fact that Agnathan teeth are unable to move up and down limits their possible food types.

Morphology
In addition to the absence of jaws, modern agnathans are characterised by absence of paired fins; the presence of a notochord both in larvae and adults; and seven or more paired gill pouches. Lampreys have a light sensitive pineal eye (homologous to the pineal gland in mammals). All living and most extinct Agnatha do not have an identifiable stomach or any appendages. Fertilization and development are both external. There is no parental care in the Agnatha class. The Agnatha are ectothermic or cold, with a cartilaginous skeleton, and the heart contains 2 chambers.

Body covering
In modern agnathans, the body is covered in skin, with neither dermal or epidermal scales. The skin of hagfish has copious slime glands, the slime constituting their defense mechanism. The slime can sometimes clog up enemy fishes' gills, causing them to die. In direct contrast, many extinct agnathans sported extensive exoskeletons composed of either massive, heavy dermal armour or small mineralized scales.

Appendages
Almost all agnathans, including all extant agnathans, have no paired appendages, although most do have a dorsal or a caudal fin. Some fossil agnathans, such as osteostracans and pituriaspids, did have paired fins, a trait inherited in their jawed descendants.

Reproduction
Fertilization in lampreys is external. Mode of fertilization in hagfishes is not known. Development in both groups probably is external. There is no known parental care. Not much is known about the hagfish reproductive process. It is believed that hagfish only have 30 eggs over a lifetime. There is very little of the larval stage that characterizes the lamprey. Lamprey are only able to reproduce once. After external fertilization, the lamprey's cloacas remain open, allowing a fungus to enter their intestines, killing them. Lampreys reproduce in freshwater riverbeds, working in pairs to build a nest and burying their eggs about an inch beneath the sediment. The resulting hatchlings go through four years of larval development before becoming adults.

Evolution

Although a minor element of modern marine fauna, agnathans were prominent among the early fish in the early Paleozoic. Two types of Early Cambrian animal apparently having fins, vertebrate musculature, and gills are known from the early Cambrian Maotianshan shales of China: Haikouichthys and Myllokunmingia. They have been tentatively assigned to Agnatha by Janvier. A third possible agnathid from the same region is Haikouella. A possible agnathid that has not been formally described was reported by Simonetti from the Middle Cambrian Burgess Shale of British Columbia. Conodonts, a class of agnathans which arose in the early Cambrian, remained common enough until their extinction in the Triassic that their teeth (the only parts of them that were usually fossilized) are often used as index fossils from the late Cambrian to the Triassic.

Many Ordovician, Silurian, and Devonian agnathans were armored with heavy bony-spiky plates. The first armored agnathans—the Ostracoderms, precursors to the bony fish and hence to the tetrapods (including humans)—are known from the middle Ordovician, and by the Late Silurian the agnathans had reached the high point of their evolution. Most of the ostracoderms, such as thelodonts, osteostracans, and galeaspids, were more closely related to the gnathostomes than to the surviving agnathans, known as cyclostomes. Cyclostomes apparently split from other agnathans before the evolution of dentine and bone, which are present in many fossil agnathans, including conodonts. Agnathans declined in the Devonian and never recovered.

Approximately 500 million years ago, two types of recombinatorial adaptive immune systems (AISs) arose in vertebrates. The jawed vertebrates diversify their repertoire of immunoglobulin domain-based T and B cell antigen receptors mainly through the rearrangement of V(D)J gene segments and somatic hypermutation, but none of the fundamental AIS recognition elements in jawed vertebrates have been found in jawless vertebrates. Instead, the AIS of jawless vertebrates is based on variable lymphocyte receptors (VLRs) that are generated through recombinatorial usage of a large panel of highly diverse leucine-rich-repeat (LRR) sequences. Three VLR genes (VLRA, VLRB, and VLRC) have been identified in lampreys and hagfish, and are expressed on three distinct lymphocytes lineages. VLRA+ cells and VLRC+ cells are T-cell-like and develop in a thymus-like lympho-epithelial structure, termed thymoids. VLRB+ cells are B-cell-like, develop in hematopoietic organs, and differentiate into "VLRB antibody"-secreting plasma cells.

Phylogeny
Phylogeny based on the work of Mikko Haaramo and Delsuc et al.

While the "agnatha" Conodonta was indeed jawless, if it would have continued to live, its descendants would still be closer related to e.g. humans than to lampreys, and also contempory it was closer related to the ancestor of humans. Due to such considerations, Agnatha can not be consolidated into a coherent grouping without either removing any non-cyclostomata, or by including all vertebrata thus rendering it into a junior synonym of vertebrata.

The new phylogeny from Miyashita et al. (2019) is considered compatible with both morphological and molecular evidence.

title: Agnatha