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User talk:Teatersteve

The mysterious family ERBRECHT in Mecklenburg & Pomerania in the 19´s centuary.

My grandmothers grandmothers father was a "rittergutsbesitzer" (a owner of a knights mannor house) Bülow outside Schwerin Mecklenburg. His name was Christian August (maybe also Carl Andreas) ERBRECHT (he died 1847) he was married to Elisabeth Deg(e?)ner (she died 1945). I have no idea where Christian August came from, I know nothing about his roots back in the 18´th centuary. The name ERBRECHT means "heritage rights" (rights to inherit something! It is a word used in german judicial terminology). The mystery with the ERBRECHTS at Bülow are, why they married later on into noble families and that they kept a rittergut. Elisabeth De(g)ner was probably a daughter of a "finansrath" Johann Heinrich DEGENER who also were registred as a owner of a Bülow gut (if it is the same Bülow I do not know, there are several in Germany and 5 Bülow mannor houses not so far from Schwerin in Mecklenburg). Johann Heinrich Degener supposed to be the owner of "Bülow" from 1816-1845 when his grandson Johann Adolf Carl Christian Erbrecht (son of Christian August Erbrecht took over after him).

The Erbrecht family after Christian August were the following known persons (to me):

Johann Adolf Carl Christian Erbrecht (1823-1888) married to the swedish/ pomeranian baroness Agnes Margareta Wachtmeister af Björkö (von Wachtmeister called in germany)(1823-18749 "erpächter" at Bülow.

Agnes Erbrecht (twin sister to Adolf) (1823-1885) she married the brother of Agnes Margareta, baron Carl Wilhelm Elof Wachtmeister (1816-1864). The two twin sibbling Erbrecht and their two sibbling husband and wife Wachtmeister both lived at Bülow.

There were also a brother called Frantz or Fritz Erbrecht (facts unknown!)

Thekla Erbrecht (younger sister) (1829-1859) married Hauptmann in the "2 res Garde Artilleriregimente Berlin" Gustav Wilhelm Martini (1808-1857) both died early but had a daughter:

Anna Elisabeth Martini (1852-1933) who was brought up at Bülow and later on in Schönefeldt (where the Berlin airport now is situated) She was a foster sister to her uncle Adolf Erbrecht and Agnes Wachtmeister, after her parents death when she was 5 and 7 year of age. She was brought up with their own children. Anna Elisabeth Martini married an operasinger Helmer Strömberg and my grandmother were one of their 12 children. The only children of Adolf and Agnes known to me is:

Agnes (Erbrecht) 1847-1930) married to Erich von Puttkamer at gut Treblin they had a daughter Editha and a son Georg Henning (maybe dead 1937?)who lived at gut Treblin and probably Neuhof another gut until 1930´s. when Agnes and Erich´s daughter Editha married to an ofizieren H.E. von Zanthier had Treblin until her death 1936. her daughter Erika Riesch maybe had the mannor house Treblin until 1945 when all Germans where send away from Pomerania by the russian army and the comunist Polish government.

This text is written so people who know more about the origins of this Erbrecht family can fill in and complete the facts of the mysterious Erbrechts at rittergut Bülow. And of course also the destiny of the family, are there any Erbrecht´s descendent to this family somewhere in the word, both keepingthe name and others like me having another surname and nationality? I am interested to find also more about which gut Bülow the had?

The origins or the Martini family (maybe from Pommern or Berlin) and The Mecklenburg Deg(e)ner family are also unknown to me and I have tried for 1 1/2 year to find their roots. Steve Palmquist actor Copenhagen/Denmark

title: User talk:Teatersteve


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Asok

Asok is a common spelling of Ashoka. It may additionally refer to:

 * Asok (Dilbert), a character in the Dilbert comic strip
 * Asok or Asoke, short name for Asok Montri Road or Sukhumvit Soi 21 in Bangkok
 * Asok BTS Station, a BTS skytrain station in Bangkok
 * Ašok Murti (born 1962), Serbian wardrobe stylist
 * Asok Kumar Ganguly, Indian judge and former chairman of the West Bengal Human Rights Commission
 * Asok Kumar Barua, Indian condensed matter physicist

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

title: Asok


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Eagle-Eye Cherry

Eagle-Eye Lanoo Cherry (born 7 May 1968) is a Swedish singer and stage performer. His 1997 single "Save Tonight" achieved commercial success in Ireland, the United States and the United Kingdom, and was voted song of the year in New Zealand. Cherry is the son of American jazz artist Don Cherry and Swedish artist and designer Moki Cherry.

He pursued acting during high school, though Cherry's acting career was eventually set aside as his musical career took precedence in his life with his debut album Desireless (1997). He has released several other albums since his debut, and has co-written for other artists and films, and has guest-starred on reality television. Cherry's music is of the acoustic, rock, post-grunge and alternative rock genres.

He is fluent in both English and Swedish.

Early life
Cherry was born on 7 May 1968, in Stockholm, Sweden, the son of American jazz artist Don Cherry and Swedish painter/textile artist Monika Cherry (née Karlsson). Of Choctaw descent through his paternal grandmother and African-American through his grandfather, Cherry is the fourth of five siblings. He is the half-brother of singer Neneh Cherry (his mother's daughter with Ahmadu Jah). Other half-siblings are violinist Jan Cherry, Christian Cherry, and jazz musician David Ornette Cherry. At the age of 12, Cherry was sent to school in New York City. He remained there to work as an actor and a drummer in various bands. At 16, he enrolled in the High School of Performing Arts in New York in the same class as Jennifer Aniston and Chaz Bono.

Career
In 1988, Cherry was credited as "Teenager" in the film Arthur 2: On the Rocks. In 1989, he was credited as "Vet #1" in Born on the Fourth of July. In 1993, he starred on the short-lived NBC action/adventure television show South Beach.

Cherry's father died in 1995. He returned to Stockholm to focus on his music rather than an acting career. He began writing and recording his debut album, Desireless, in his bedroom studio on an acoustic guitar. According to manager Tommy Manzi, Cherry's perfectionism made him keep the recordings under wraps until the album was virtually complete. The album became a commercial success throughout the world. Desireless sold four million copies worldwide and was certified platinum in the United States.

Cherry co-wrote and sang on "Wishing It Was" on Santana's 1999 album Supernatural, as well as in films such as Wim Wenders' The Soul of a Man, Y tu mamá también, The Love of the Game, GO, Best Laid Plans, Holes, Billy Elliot and Over Her Dead Body. Some of his best-known songs include "Save Tonight", "Falling in Love Again", "Are You Still Having Fun?", "Long Way Around", "Feels So Right", "Skull Tattoo" and "Don't Give Up".

On 27 November 2012, he appeared as musical guest on The Voice of Romania. His fifth album, Streets of You, was released on 26 October 2018.

title: Eagle-Eye Cherry


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Wikipedia talk:WikiProject Tree of Life/Archive 3

Oh... and I'm a guy, Pete. *grins* - UtherSRG 13:34, 23 Feb 2004 (UTC)

Ok... I've made MediWiki msgs for each, and will post them on the MW Msgs page soon. - UtherSRG 13:41, 23 Feb 2004 (UTC)

Done! Take a look at MediaWiki_custom_messages! - UtherSRG 13:52, 23 Feb 2004 (UTC)

 * Neat! --mav

 * Thanks for the msgs Uther. Nice to go away for an hour or two and find all the work done without doing it myself. And apologies for getting your sex wrong! Examples of taxoboxes with status and range map (I think the talk about this is now in archive 2) are now available at Bottlenose Dolphin, Blue Whale, Fin Whale and Sperm Whale. I guess the product of all this talk now needs to go onto the project page. Pete/Pcb21 (talk) 16:46, 23 Feb 2004 (UTC)

 * Fantastic! I really like how the autothumbnail range map works in the taxobox. I don't, though, like the autothumbnail for creature pics. I'm going away for an interview this evening. I'm taking my laptop alothat we have this settled I can add it to the primate pages we already have, and put the extinction indication on the groups of organisms (see: omomyids). - UtherSRG 17:58, 23 Feb 2004 (UTC)

Great work, team!


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Alderac Entertainment Group

Alderac Entertainment Group (AEG) is a publisher of family board game products. AEG was formed by Jolly Blackburn in 1993. Blackburn left the company in 1995 and the majority of the company is now owned by President & CEO John Zinser. The company is virtual and does not have a physical headquarters but it is legally domiciled in the city of Henderson, Nevada.

AEG's first product was Shadis Magazine (winner of the 1994, 1995, and 1996 Origins Awards for Best Professional Gaming Magazine  ). In 1994 the company began working on the development of the Legend of the Five Rings Collectible Card Game; that game was published in 1995. Throughout the 1990s AEG expanded its CCG offerings and began designing and publishing Role-Playing Game and Miniatures Wargame Game products as well. The company has exited the CCG, RPG and Miniatures Wargame categories and now exclusively publishes family board games.

Including the three for Shadis mentioned above, AEG products have garnered twenty Origins Awards (see the individual articles noted below for more details).

In 2014, Love Letter was on the recommended list published by the Spiel des Jahres judges committee.

In 2022, Cascadia, which AEG co-publishes with Flatout Games won the Spiel des Jahres Game of the Year award. AEG & Flatout licensed the game to Kosmos for the award-winning German language edition.

Best-selling and award-winning board games

 * Cat Lady
 * Cascadia - co-published with Flatout Games
 * Mystic Vale
 * Smash Up
 * Space Base
 * Tiny Towns
 * Thunderstone Quest
 * War Chest

Games sold to other publishers

 * 7th Sea Collectible Card Game (Multiple Origins Award winner)
 * Doomtown Collectible Card Game (Multiple Origins Award winner)
 * Legend of the Burning Sands
 * Legend of the Five Rings
 * Love Letter
 * Spycraft

Collectible card games

 * City of Heroes Collectible Card Game
 * HumAliens
 * Initial D
 * Romance of the Nine Empires
 * Warlord: Saga of the Storm

Role-playing games

 * many d20 System Sourcebooks such as
 * Evil
 * Dungeons: A Guide to Survival in the Realms Below
 * Sundered Faith
 * Brave New World
 * Farscape Roleplaying Game
 * Legend of the Five Rings Role-Playing Game (Origins Award winner)
 * Shadowforce Archer
 * Stargate SG-1
 * Swashbuckling Adventures (previously 7th Sea which won an Origins Award)
 * Ultimate Toolbox
 * Warlords of the Accordlands
 * World's Largest Dungeon
 * World's Largest City

Miniatures

 * Clan War (Legend of the Five Rings Miniature Combat)

title: Alderac Entertainment Group


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Underwater hockey

Underwater hockey (UWH), (also known as Octopush in the United Kingdom) is a globally played limited-contact sport in which two teams compete to manoeuvre a puck across the bottom of a swimming pool into the opposing team's goal by propelling it with a hockey stick (or pusher).

A key challenge of the game is that players are not able to use breathing devices such as scuba gear whilst playing, they must hold their breath. The game originated in Portsmouth, England in 1954 when Alan Blake, a founder of the newly formed Southsea Sub-Aqua Club, invented the game he called Octopush as a means of keeping the club's members interested and active over the cold winter months when open-water diving lost its appeal. Underwater hockey is now played worldwide, with the Confédération Mondiale des Activités Subaquatiques, abbreviated CMAS, as the world governing body. The first Underwater Hockey World Championship was held in Canada in 1980 after a false start in 1979 brought about by international politics and apartheid.

History
Originally called "Octopush" (and still known locally by that name in the United Kingdom), the original rules called for teams of eight players (hence "octo-"), a bat reminiscent of a tiny shuffleboard stick called a "pusher" (hence the "-push"), an uncoated lead puck called a "squid", and a goal known at first as a "cuttle" but soon thereafter a "gulley". Apart from 'pusher' and to a lesser extent 'Octopush' much of this original terminology is now consigned to history.

Underwater hockey was started in the United Kingdom by Alan Blake in 1954. Blake was a founder-member of the newly formed Southsea Sub-Aqua Club (British Sub-Aqua Club No.9), he and other divers including John Ventham, Jack Willis, and Frank Lilleker first played this game in the Guildhall Baths in Portsmouth, United Kingdom.

Despite this, CMAS, the world governing body for underwater hockey, still erroneously maintains on its website that the sport originated with the British Royal Navy in the same time period.

The first rules were tested in a 1954 two-on-two game and Alan Blake made the following announcement in the November 1954 issue of the British Sub-Aqua Club's then-official magazine Neptune: "Our indoor training programme is getting under way, including wet activities other than in baths, and our new underwater game "Octopush". Of which more later when we have worked out the details".

The first Octopush competition was a three-way tournament between teams from Southsea, Bournemouth, and Brighton underwater hockey clubs in early 1955. Southsea won then, and they are still highly ranked at national level today winning 20 out of 52 national championships.

The sport spread to Durban, South Africa in the mid/late 1950s, thanks to the spearfishermen of the Durban Undersea Club (DUC), when dirty summer seas prevented the young bloods from getting their weekly exercise and excitement. The first games were played in the pool of club member Max Doveton. However it soon became so popular that weekly contests were held in a municipal pool. The UK's Octopush used a small paddle to push the puck whilst the South Africans used a mini hockey stick. Whilst the "long stick" version of underwater hockey did spread outside of South Africa, the UK's 'short stick' version ultimately prevailed and is how UWH is universally played now.

In the Americas, the game first came to Canada in 1962 via Norm Leibeck, an unconventional Australian scuba diving instructor and dive shop owner, who introduced the sport to a Vancouver dive club. Ten years later, the Underwater Hockey Association of British Columbia (UHABC) was formed and received support from the BC government.

Underwater hockey has been played in Australia since 1966, again because of Norm Leibeck, the same Australian who returned from Canada with his Canadian bride Marlene, and it now attracts players from a wide range of backgrounds there. The first Australian Underwater Hockey Championships were held in Margaret River, Western Australia in 1975. A Women's division was added to the championships in 1981 and a Junior division commenced in 1990.

In Asia, the game first came to the Philippines in the late 1970s through growing awareness of Octopush within the scuba diving community.

Footage from British Pathe of an early game at Aldershot Lido in 1967, and from British Sub-Aqua Club archives, is evidence of the evolution of the sport in terms of equipment and playing style. It can be seen that the game was much slower and the puck was not flicked at all, in contrast to the modern sport where the substantial changes in equipment, team size, and other factors have helped make the game the international sport it is today, with 68 teams from 19 countries competing at the 18th World Championship in 2013 at Eger in Hungary making this the pinnacle in terms of international competition to date.

Play
Two teams of up to ten players compete, with six players in each team in play at any one time. The remaining four players are continually substituted into play from a substitution area, which may be either on deck or in the water outside the playing area.

Before the start of play the puck is placed in the centre of the pool, and the players wait in the water whilst touching the wall above the goal they are defending. At the start-of-play signal (usually a buzzer or a gong) members of both teams are free to swim anywhere in the play area and try to score by manoeuvring the puck into the opponents' goal using only their stick. Players hold their breath as they dive to the bottom of the pool (a form of dynamic apnoea, as in free-diving). Play continues until either a goal is scored, when players return to their wall to start a new point, or a break in play is signalled by a referee (most commonly due to a foul or calling time for the half).

Games consist of two halves of fifteen minutes with a three-minute half-time, with teams switching ends at the end of the first half. Timing of games can vary by competition due to a number of reasons, most commonly organisational logistics; however, tier tournaments tend not to see any variation.

Unlike most other sports, formations are read from front to back instead of back to front:

The typical playing formation is 3-3 consisting of three forwards and three backs. Other common formations include 2-3-1, 1-3-2, and 2-2-2. Formations are generally very fluid and are constantly evolving with different national teams being proponents of particular tweaks in formations. One example of this is New Zealand with their "box formation" (2-1-2-1).

During the game, each team gets unlimited rolling substitution with the (maximum of) four players in their sub box. Substitution strategy is imperative in underwater hockey as errors might result in a foul i.e. too many players in the play area at one time (an offence punishable by the sin bin) or  a tactical blunder (e.g. an incorrect balance of forwards and backs due to an incorrect substitution).

There are a number of penalties described in the official underwater hockey rules, ranging from the use of the stick against something (or someone) other than the puck, playing or stopping the puck with something other than the stick, and "blocking" (interposing one's self between a teammate who possesses the puck and an opponent; one is allowed to play the puck but not merely block opponents with one's body). If the penalty is minor, referees award an advantage puck: the team that committed the foul is pushed back 3 m from the puck, while the other team gets free possession. For major penalties such as a dangerous pass (e.g. striking an opponent's head) or intentional or repeated fouls, the referees may eject players for a specified period of time or for the remainder of the game, or even - in the case of very serious or deliberate fouls - for the remainder of a tournament. A defender committing a serious foul sufficiently close to his own goal may be penalised by the award of a penalty shot or even a penalty goal awarded to the fouled player's team.

Often players who are most successful in this game are strong swimmers, have a great ability to hold and recover their breath, and are able to produce great speed underwater while demonstrating learned skills in puck control. It is also important that they are able to work well with their team members and take full advantage of their individual skills.

4-a-side
4-a-side underwater hockey is when there is four people per team playing at a given time. The teams usually consist of up to eight players with four subs. 4-a-side competitions are less common, though notable examples are the Hamilton 4-asides, Dunedin 4's (both New Zealand), and the BOA 4s.

Classification
There have been debates throughout the sport's history on its classification as either a breath-control sports or an extreme-apnoea sport. Though a 2023 study on submersion times in matches ranging from club friendlies to national championship matches found that the average player's submersion time was 12.1 seconds when in possession of the puck and 9.3 when without the puck, thus falling short of the 45 second breath hold requirement for clarification as an extreme-apnoea sport.

Equipment
[[File:AnnotatedOctopushPlayer.png|thumb| Annotated Player

1. snorkel and mouth guard 2. hat with ear guards 3. mask 4. fins 5. stick 6. puck 7. glove ]]

Players wear a diving mask, snorkel and fins, and carry in one (either) hand a short stick or pusher for playing the puck. A full list of equipment is given below:

Swimwear
There are usually no restrictions on swimwear, however baggy trunks or shorts are not recommended as they reduce speed and increase drag in the water. Typical swimwear is swim briefs or jammers for male players and athletic style racerback two-piece swimsuits with drawstring bottoms or one-piece swimsuits for female players. Additionally, wetsuits are not allowed according to Rule 3.3.8 of the CMAS International Rules for Underwater Hockey, Eleventh Edition.

Mask
A diving mask is used for several reasons: A low-volume mask with minimal protrusion from the face reduces the likelihood of the mask being knocked causing it to leak or flood and temporarily obstruct the player's vision. The published rules require masks to have two lenses to reduce the risk and extent of possible injury from puck impact; the danger of a single lens mask is that the aperture may be large enough to allow a puck to pass through it on impact, and hence into the player's eyes. A number of webbing strap designs are available to replace the original head strap with a non-elastic strap that can reduce the possibility of the player being unmasked.
 * Players can equalise their ears (using the Valsalva manoeuvre) as the nose is covered
 * Unlike swim goggles, a mask sits outside the eye's orbit, reducing the effects of any impact
 * Improved underwater vision

Snorkel
A snorkel enables players to watch the progress of the game without having to lift their head from the water to breathe. This allows them to keep their position on the surface, ready to join play once they are able. In order to maximise the efficiency of breathing and reduce drag underwater snorkels are often short with a wide bore and may include a drain valve. The published rules mandate that they must not be rigid or have any sharp edges or points.

The snorkel may accommodate an external mouthguard which may be worn in conjunction with, or instead of, an internal mouthguard.

Fins
Fins allow the player to swim faster through the water. A wide variety of fins are used in the sport, but large plastic/rubber composite fins or smaller, stiffer fibreglass or carbon fibre fins are commonplace at competitions. As with any of the equipment, the published rules mandate fins without sharp edges or corners. All sharp edges must be covered up by a protective film or tape to prevent injury. Players are also normally required to use closed-heel fins (without buckles) as a further injury prevention measure.

Even well-fitting full-foot fins can occasionally be pulled off during play, either because of physical contact with something in the playing area or as a result of the power the wearer is transmitting through them into the water. When this occurs, stopping to refit a lost fin takes time and reduces a team to only five players. Fin grips, also known as fin retainers or fin keepers, are triple-strap devices enabling a closed-heel fin to be held more securely on a player's foot. They are worn around the arch, the heel and the instep to try and prevent the wearer's foot from slipping out of the foot-pocket of the fin.

Stick
The stick (also referred to as a pusher) is relatively short and is coloured either white or black to indicate the player's team. The stick may only be held in one hand, which is usually determined by the player's handedness, although players may swap hands during play. The shape of the stick may affect playing style and is often a very personal choice. A wide variety of stick designs are allowed within the constraints of the rules of the game, the principal rules being that the stick (including the handle) must fit into a box of 100 x and that the stick must not be capable of surrounding either the puck or any part of the hand. A rule concerning the minimum radius of edges tries to address the risk of injury should body contact occur. Construction materials may be of wood or plastics and current rules now supersede those that previously required sticks to be homogeneous, although they almost always are anyway. Many underwater hockey players manufacture their own sticks to their preferred shape and style, although there are increasingly more mass-produced designs to suit the majority (such as Bentfish, Britbat, CanAm, Dorsal, Stingray etc.).

Puck
The puck is approximately the size of an ice hockey puck but is made of lead or lead-based material - (adult size weighs 1.3 - 1.5 kg, junior 800 - 850 g) - and is encapsulated or surrounded by a plastic covering which is usually performance-matched to different pool bottoms (e.g. tiles, concrete etc.) to facilitate good grip on the stick face while preventing excessive friction on the pool bottom. The puck's weight brings it to rest on the pool bottom, though it can be lofted during passes.

Caps
Safety gear includes ear protection, usually in the form of a water polo cap and as a secondary indicator of the player's team (coloured black/dark or white/pale as appropriate). Water referees wear red caps.

Glove
A glove should be worn on the playing hand to protect against pool-bottom abrasion and, in some designs, for protection against puck impact on knuckles and other vulnerable areas, however no rigid protection is permitted. Players may choose to wear a protective glove on both hands, either as additional protection from the pool bottom or, for ambidextrous players, to switch the stick between hands mid-play. A glove used in competition must be a contrasting colour to the wearer's stick, but not orange which is reserved for referees' gloves - this is so water referees might be able to better distinguish between a pusher making a legal contact with the puck and a hand making an illegal contact with the puck. It is also usually preferred that a players glove is a different colour to the puck. As the puck is usually pink or orange it means players should avoid gloves coloured black, white, red, orange, yellow and pink. A referee at any match or tournament can ask a player to use different kit before they play, hence players should be careful when choosing the colour of their gloves. Blue is often used due to the limitations on glove colours, but others have also been used.

Goal
The goals (or 'gulleys') are 3 m wide and are sited on the pool bottom at opposite ends of the playing area in the centre of the end lines. They consist of a shallow slope leading up to a trough into which the puck may be pushed or flicked.

Goals are commonly constructed from aluminium, galvanised steel or stainless steel. This makes them negatively buoyant and durable in the chlorinated water of swimming pools.

Referees

Officiating the game are two (or three) water referees (i.e. in the pool with full snorkelling gear, and wearing a distinctive red cap, orange gloves and golden yellow shirt) to observe and referee play at the pool bottom, and one or more poolside deck referees to track time (both playing times and penalty times for penalised players), maintain the score, and call fouls (such as excessive number of players in play, failure to start a point from the end of the playing area, or another foul capable of being committed at or noticed from the surface). The deck (chief) referee responds to hand signals given by the water referees to start and stop play, including after an interruption such as a foul or time-out, or indeed to stop play if they themself see a rule infringement.

The Official Rules, which are available for download in PDF form without charge, define (with illustrations) a valid goal, the fouls and signals, the dimensions of the playing area, sticks, and goals, team composition and substitution procedure, and additional rules and arrangements for multi-team tournaments and championships.

Spectators
At a club or training level, underwater hockey is not seen as particularly spectator-friendly. Very few pools have underwater viewing ports, and since the action is all below the surface, an observer would usually have to enter the water to see the skill and complexities of the game. Spectators may either put on mask, fins and snorkel and enter the pool for a view of the playing area, or possibly take advantage of the work of underwater videographers who have recorded major tournaments. Such tournaments often have live footage on large screens for the spectators. The 2006 (Sheffield, England) and 2010 (Durban, South Africa) Underwater Hockey World Championships were screened poolside and simultaneously webcast live to spectators around the world, while the 2008 European Championship in Istanbul, Turkey had excellent video coverage but no live streaming.

Filming the games is challenging even for the experienced videographer, as the players' movements are fast and there are few places on the surface or beneath it which are free from their seemingly frenzied movements. Games are often played width-wise across a 50-metre pool to provide spaces in between simultaneous games for player substitutes, penalty boxes, coaches and camera crews. However, research and development of filming techniques is ongoing.

Organisers of major tournaments are usually the point of contact for acquiring footage of underwater hockey matches. Although no official worldwide repository exists for recorded games, there are many websites and instructional DVDs. A wide variety of related footage can be found on video sharing sites.

Injuries
Although it is a limited-contact sport, there is a significant risk of injury. Many injuries are typical sports injuries such as sprains, torn muscles and light scratches. More major injuries might include deeper cuts, broken fingers, impacts to the head causing concussion or dental trauma, and there is also a minor risk of life-threatening injury from being struck on the head with the possibility of a major concussion or blackout underwater. There is an obvious risk of drowning if knocked unconscious underwater, but the players are under observation by the referees during competition, and players in any case tend to be very aware of what their teammates are doing or not doing; in practice an unconscious or seriously injured player is likely to be noticed and assisted or rescued very promptly. Personal protective equipment is available to reduce injury risks, and the published rules make items such as gloves, mouth guards and ear guards mandatory. There is a risk of pulmonary capillary stress failure (Hemoptysis) in some players.

International competition
Underwater hockey enjoys popularity in the United Kingdom, Australia, Canada, France, the Netherlands, New Zealand, South Africa and the United States, as well as to a lesser extent in other countries such as Argentina, Belgium, Brazil, China, Colombia, the Czech Republic, Germany, Hungary, Italy, Ireland, Israel, Japan, Korea, Malaysia, Namibia, the Philippines, Poland, Portugal, Rwanda, Saudi Arabia, Serbia, Singapore, Slovenia, Spain, Switzerland, Turkey, UAE and Zimbabwe.

World Championships
The Underwater Hockey World Championships, organised by the Confédération Mondiale des Activités Subaquatiques (CMAS), have been held every two years since 1980. The tournament began with a men's competition only, with a women's tournament added in 1982. 1992 saw the addition of a men's master's tournament with the women's master's tournament coming in 1998. 2002 saw a youth league trialled at the tournament with a full U-19 division for both men and women coming in 2004.

In 2007, CMAS attempted to start the CMAS World Games, an Olympic-style event for all the sports CMAS governed. This ultimately failed, however, as it required all the sports to move away from their pre-established calendars, resulting in the 2007 World Games being the only one ever played. This move also caused a schism, with the World Aquachallenge Association attempting to create their own World Championships, but again just one version ultimately took place (in 2008), with CMAS asserting control again with the 2009 Championships but in the case of elite competitions only. In 2013, master's tournaments were again added and the youth tournaments became a separate event, involving U-23 divisions in addition to the U-19 division. Elite and master's competitions reverted to even years in 2016 with the youth competition remaining on odd years. This switch following the resumption of international hockey after the COVID-19 pandemic began with the 2023 elite and master's World Championships.

At Elite level, New Zealand are the current Men's World Champions, and Australia are the current Women's World Champions.

At Masters level, United States are the current Men's World Champions, and France are the current Women's World Champions.

At U-24 level, Turkey are the current Men's World Champions, and New Zealand are the current Women's World Champions.

At U-19 level, New Zealand are the current Men's World Champions, and New Zealand are the current Women's World Champions.

European Championships
The Underwater Hockey European Championships, also ran by CMAS, are every two years on alternate years to the world championships. Unlike the world championships there are no masters or youth division.

Due to the COVID-19 pandemic, no editions have been played since 2019 where Turkey won the men's competition and France won the women's competition.

South East Asian Games
Underwater Hockey was included as a sport for the first and only time in South East Asia Games in 2019.

Celtic Cup
The Celtic Cup was instituted in 2022 for the national teams of Scotland, Wales, and Ireland.

Governing bodies
Political turmoil within the CMAS Underwater Hockey Commission (Confédération Mondiale des Activités Subaquatiques), the underwater hockey world governing body, came to a head soon after the 2006 Underwater Hockey World Championships, resulting in the CMAS Underwater Hockey Commission members resigning en masse and soon thereafter forming an alternative 'world governing body' solely for the sport of UWH, known as the World Aquachallenge Association (WAA), and which was officially ratified at the 1st WAA World Championship in April–May 2008. Consequently, from this point the UWH community had two world governing bodies, CMAS and WAA.

CMAS has continued to organise international world competitions on a bi-annual basis. CMAS tried unsuccessfully to hold another World Underwater Games event in 2009 after a successful event in 2007. These were intended to be multi-disciplinary events thereby grouping UWH with other CMAS-represented sports including fin swimming and underwater rugby. The 1st World Games were held in Bari, Italy in 2007 while the 2nd was scheduled for Tunisia in 2009 but was cancelled and rescheduled as an UWH-only event held in Kranj, Slovenia during August 2009. It was billed as a World Championship but only one non-European country competed (South Africa); France won the Open division while Great Britain took the Women's title. In the years in between World Games CMAS holds Zone Championships (e.g. the 15th European Championship in Eger, Hungary during 2017).

WAA attempted to continue with the original World Championship series on a biennial basis during years ending with an even number. The 1st WAA Championships (renumbered; it would have been the CMAS 15th) was held in 2008 in Durban, South Africa. The 2nd competition was scheduled for Medellin, Colombia in August 2010 but it proceeded as an International Event without WAA sanctioning and became the precursor for the development of the independent America's Cup International Tournament.

The European (CMAS) and the rest of the World (WAA) events following the split were held over exactly the same period in 2008 a continent apart. This dichotomy of championships coupled with the real possibility of future sanctions by CMAS on their member countries' organisations and athletes led to many countries being forced to choose which competition to send their team to. As a result, neither competition in 2008 was as well attended as had been the case in previous years, nor as competitive. Subsequently, no WAA sanctioned events have taken place since 2008. However, in Europe at least, well-organised international tournaments without CMAS or WAA influence (such as at Breda in the Netherlands, Barcelona in Spain, or České Budějovice in the Czech Republic) continue to be regularly attended by a range of club teams from across the continent.

In 2009, a new CMAS Underwater Hockey Commission was appointed for a 4-year period to guide the sport on a technical level and gradually it has reconsolidated the sport and produced a development plan to cope with future growth. The commission continues to work to develop relationships with CMAS Board of Directors and obtain support for its development plan.

As part of this plan the Commission developed an Age Group-based International Championship incorporating Under 19, Under 23 and Masters (Men >35, Women >32) Grades. This Championship was held in July 2011 in Dordrecht, Netherlands. The event was to be sanctioned by CMAS but the Dutch organising team withdrew their hosting bid and proceeded to host the event successfully with 36 teams participating. As the event was non-compliant with the CMAS Competition procedures, Scotland was able to compete as a separate country rather than within a combined entity as Great Britain.

As the surviving governing body, as of August 2013 CMAS has the following countries and territories affiliated with its Underwater Hockey Commission: Australia, Belgium, Canada, Colombia, Croatia, Cyprus, Czech Republic, France, Germany, Great Britain, Hong Kong, Hungary, Indonesia, Ireland, Italy, Japan, Malaysia, Netherlands, New Zealand, Portugal, Serbia, Slovenia, South Africa, Spain, Turkey, United States of America.

title: Underwater hockey


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Talk:Underwater hockey

Untitled
WA ex player —Preceding unsigned comment added by 58.7.119.65 (talk) 05:55, 11 January 2008 (UTC)

Hello, I play underwater hockey and was just wondering if anyone here knows where the next worlds will be? ,Samuri_Jack

Yeah. Right.

 * I think that your first instinct is correct, but unfortunately humans are a far from rational race, and thus the sport does in fact exist. This is perhaps lamentable, but we knew what the world was like, when we signed the document authorizing our own birth, now, didn't we? -- Cimon Avaro on a pogostick 09:37, Feb 25, 2004 (UTC)

Yeah, it exists. I remember seeing a thingie on TV about it once. Spectators found it boring; a British spectator said to a reporter, "On a scale from one to ten: one." So it's meant to be played rather than watched, which I'm noting in the article now. --Furrykef 00:27, 4 Jun 2004 (UTC)

It's sad nobody here appreciates it. You can't get much of an experience of anything Jacques Cousteau did, either, without special equipment either to participate or to spectate. This is true of many underwater endeavors. I've seen television shows which depicted the sport positively; indeed, anyone who's approached the pool with an underwater camera has gotten a good review. The world championship venue in New Zealand has transparent sides to facilitate viewing from bleachers, and underwater videography has offered a view of the sport to people who've never been near the pool.

I play UWH at least once per week and will watch this page. It really is fun to play a game in an environment very different from the normal world. You have to work in 3 dimensions and coordinate with your team without talking. It is both subtle and aggressive. How about a video? Tom Brown 06:56, 23 Apr 2005 (UTC)

Have removed some of the overly POV elements.

I play underwater hockey too, and am in a pretty good team (yeh-yeh! Second in Nats! Go us!). Watching this page as well, and I think the next worlds are in SA, although I'm not sure. You'll have to check that. Anyway, it's quite the spectator sport in NZ, especially as at Nationals this year we had underwater video cameras. Even if you don't have those, it's still incredibly exciting. I guess you do need to know a bit about how to play though. And underwater hockey IS a rational sport...kind of...well, it's more rational than Underwater rugby... I also want to add a piccie to this page of Nationals which depicts the sport quite well from the surface, but can't figure out how to do this. Any help/advice?? TBL 21:07, 3 November 2006 (UTC)

Yeah, I played "snorkel hockey" in a SCUBA certification class. It's real, and its fun!

underwater hockey - skills video
Spectator sport? Absolutely, A recent video clip[ showing uck passing skills has been biewed ober 3,500 in less than one week. Check it out on You tube: http://www.youtube.com/watch?v=suIUd1aOTtQ Dorsalgear 07:56, 6 May 2007 (UTC)

Improving the article
The page has been lacking citations for a while, and I hope that by adding a number of good references, we may be worthy of removing the "needs citations" tag as the information within the article is hopefully now verifiable (although the section on governing bodies may be a bit problematic).

Some articles on equipment are spread around in subsections of other pages, e.g. water polo cap, puck. Perhaps a selection of photos could be added, either as a gallery or as detail next to individual items.

It would be great if someone could contribute a photo of a kitted-up team for the historical section.

Note that most search engines will return this article (currently above any governing bodies or individual clubs) when someone requests "underwater hockey" - so it is imperative in terms of the appearance of the sport that the article is of a high standard.

DavidUnderwater (talk) 23:35, 28 June 2011 (UTC)

 * Recent edits have focused on changing the spelling of this article from British English to American English and vice versa (e.g. BE: apnoea AE: apnea) rather than concentrating on the main task of improving or adding to the content. Can we now come to some consensus about whether British English or American English should be the norm here? If we can't agree, can we now move on and leave individual editors with the freedom to use the variety of English they feel most comfortable using? Helmardine (talk) 07:04, 7 February 2020 (UTC)
 * Spellings should not be changed from one variant to another without good reason. As noted apnoea was changed to apnea without good reason and was reverted. Reviewing this article against WP:ENGVAR suggests that this is a British English article - all the very early material was about the invention of the sport in England and its spread to Australia, New Zealand, Canada and South Africa which suggests that the editors were probably British English speaking. However, however the article develops it must use only one variant of English and not mixed use - see MOS:ARTCON.  Velella  Velella Talk  21:29, 7 February 2020 (UTC)

"Underwater hockey, not to be confused with Octopush"
This video from the Independent is interesting, talking about "underwater hockey" played three-aside with oxygen tanks and hockey sticks. Have never seen this before, sticking it here so I remember. Seems different enough to be a separate sport (and the source suggests this) rather than being included as a variant of underwater hockey. NemesisAT (talk) 22:53, 30 April 2022 (UTC)

title: Talk:Underwater hockey


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Donald C. MacDonald

Donald Cameron MacDonald (December 7, 1913 – March 8, 2008) was a Canadian politician. Referred to in the media as the "best premier Ontario never had," he represented the provincial riding of York South in the Legislative Assembly of Ontario from 1955 to 1982. From 1953 to 1970 he was the leader of the social democratic Ontario section of the Co-operative Commonwealth Federation and its successor, the Ontario New Democratic Party.

Early life and career
MacDonald was born in Cranbrook, British Columbia, and moved with his family to Tullochgorum, Quebec in 1923 and then earned a bachelor's and master's degree from Queen's University. He supported the Conservative Party of Canada in his youth, but became a democratic socialist after witnessing the social problems of the Great Depression. He worked for several years as a teacher and journalist, and was employed by the Montreal Gazette in the mid-1930s.

Armed forces service
MacDonald joined the Royal Canadian Navy in 1942, and served in Canada during World War II as secretary of a top-secret intelligence committee, the main responsibility of which was to transmit enemy submarine positions to the Royal Canadian Air Force. He later became editor of Canadian Digest, a magazine published by the military that provided a cross section of articles from Canadian periodicals and newspapers, and was the host of Serviceman's Forum, a regular series of broadcasts on the Canadian Broadcasting Corporation that were also aired by the British Broadcasting Corporation. Members of the military and civilian experts discussed issues of concern in these broadcasts.

CCF involvement
MacDonald joined the Co-operative Commonwealth Federation (CCF) while serving in Ottawa, Ontario in 1942. In 1946, he joined the national CCF staff and travelled the country as a party organizer. He was a candidate in the August 1953 federal election for the British Columbia riding of Kootenay East, and finished a strong third against Liberal Jim Byrne with 28% of the vote. He was persuaded to run for the Ontario CCF leadership later in the same year, and defeated Fred Young and Andrew Brewin for the position.

Leading the party
MacDonald took over the party in the middle of the Cold War and at the height of McCarthyism, when socialism was viewed with suspicion. The CCF had almost won power in Ontario ten years earlier, winning 34 seats in the 1943 provincial election, but by the time MacDonald became leader it held only two seats in the legislature. MacDonald was himself without a seat until the 1955 provincial election, when he defeated Progressive Conservative incumbent William Beech by 1,426 votes in York South. His victory increased the CCF's legislative standing to three seats, and MacDonald quickly became known as one of the most vocal members of the legislature. He fought for issues such as prison reform and universal public healthcare, and emphasised pragmatism over doctrinaire socialism as he tried to appeal to voters as a moderate reformer. Some Toronto newspapers described him as the de facto opposition leader against Leslie Frost's Progressive Conservative government. His pursuit of the Northern Ontario Natural Gas scandal led to the resignation of three members of Frost's cabinet.

MacDonald slowly rebuilt the party during his tenure as leader, and provided it with a benevolent public face. The CCF grew to five seats in the 1959 provincial election. Following the founding of the federal New Democratic Party in 1961, he was acclaimed as the first leader of the Ontario NDP in October 1961. The new party won seven seats in the 1963 election, and MacDonald later expressed disappointment that a larger breakthrough did not occur.

As the province's population became more urban and as social issues came to the forefront of political discussion, the NDP had a major breakthrough in the 1967 election rising from seven seats to 20. This new success led to increasing pressure for new leadership, as the party was seen as a potential victor and many activists felt a younger leader was needed to catch the mood of the times. Jim Renwick challenged MacDonald for the party leadership in 1968, but lost. In 1970, Stephen Lewis was able to marshall support among the Steelworkers union with which his family had strong links. (His father, David Lewis, had represented the steelworkers as a labour lawyer for many years.) MacDonald decided not to seek re-election as leader in order to avoid a divisive fight. At the leadership convention that fall, Stephen Lewis defeated Walter Pitman and succeeded MacDonald as Ontario NDP leader.

1970 stepping away from leadership
MacDonald was officially neutral in the 1970 leadership contest, but tacitly favoured Pitman. In his autobiography, MacDonald notes that he was initially skeptical about the younger Lewis's leadership abilities, and believed that his election "fitted conveniently into the Tory plans" for the next election. The Progressive Conservative government was able to rally business support by depicting Lewis as dangerously left-wing, and the NDP did not gain seats in the 1971 election. MacDonald has also argued that the party's breakthrough under Lewis in the 1975 election was made possible by Lewis's decision to moderate his more strident views.

At the federal level, MacDonald attended the 1971 NDP Federal Leadership Convention and ran for party president. The 1960s youth-quake was moving into federal politics, and a group of New Left academics and activists called The Waffle presented the fiercest opposition to MacDonald and other "establishment" members. He was up against Carol Gudmundson — of the Saskatoon, Saskatchewan Waffle — in the battle for the party presidency. With the help of the union delegations, and the party's establishment, MacDonald was victorious on April 23, 1971 and became the president during the same convention that saw Tommy Douglas pass the leadership torch on to David Lewis. He got 885 votes to Gudmundson's 565, and started the trend that day that saw Waffle candidates getting defeated at almost every federal council and executive position.

Retiring from York South and beyond
MacDonald supported Ian Deans's unsuccessful bid to replace Lewis as party leader in 1978, and helped to draft Bob Rae for the leadership in 1982. He then resigned as an MPP in 1982, to give Rae an opportunity to enter the legislature. MacDonald served as chair of the NDP caucus from 1982 to 1985, and was chair of the Ontario Election Finances Commission from 1986 to 1994.

MacDonald's autobiography, Happy Warrior: Political Memoirs, was published in 1988 and the second edition in 1998, to add the Rae years as the first NDP Ontario government.

He became a Member of the Order of Canada in 2003 and also holds an Order of Ontario.

Paul Ferreira
By the early 2000s, the NDP was near the bottom of their decline in MacDonald's home riding. Rae had held the riding for 14 years before it fell to the Liberals in 1996. The riding's name was changed to York South—Weston for the 1999 provincial election and it became a much larger riding than it was when he represented it.

In 2004, MacDonald supported a young NDP Provincial Executive member named Paul Ferreira in his campaign to be the area's MPP. Ferreira would raise the NDP's vote substantially from 3.7% to over 21%. While not good enough for a win, it allowed him to eventually, after four elections in two and half years, win the seat February 8, 2007. Donald MacDonald supported him through all these campaigns and was there to publicly congratulate Ferreira and pass on the generational torch at the victory party.

Death
MacDonald died in 2008 of heart failure at Mount Sinai Hospital in Toronto. He was 94.

title: Donald C. MacDonald


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Tommy and Betty

Tommy and Betty are two roles in rapper sword dance that represent the father and mother of the dancers. The Tommy and Betty often introduce the dance to the audience and seek to engage the audience. As with so many traditional dances in England and Europe, these characters are integral to the tradition, and their role was documented in all of the earliest published descriptions of the Northumbrian dance – descriptions which pre-date the introduction of the flexible rapper sword which so fundamentally changed the dance.

In early accounts of the sword dance in the Tyne Valley, the Tommy character was generally called "The Captain", and the Betty character called "Bessy". There were often additional characters, such as a doctor, who took part in a short play before the dance, similar to a Mummers play. The Tommy was either dressed up formally, with waistcoat, tailcoat and top hat, or in a grotesque garb of animal hides; occasionally, the Tommy was dressed in women's clothing, like the Betty. Much is made of their role and clothing in the context of pagan fertility rituals; it is certainly probable that the characters and play are older than the sword dance itself, which would appear to have been appended to the older play tradition found all over England.

In the modern dance, the Tommy introduces the dancers, usually with a traditional calling-on song, and then provides a running commentary and/or jokes to entertain the audience. The Tommy and Betty characters often join in with the rapper figures.

The best known Tommy and Betty characters are probably the Newcastle Kingsmen's characters, who have won the prize for best characters at several of the annual DERT competitions, including the national DERT 2004 and 2005 competitions.

The Newcastle Kingsmen's dance begins with the Tommy character singing the "Calling On Song". The Betty character then joins in halfway through the dance - this delayed entrance (which is unusual in rapper sword teams) allows time for the Tommy to work through a repertoire of jokes, before the appearance of the Betty. The Betty seeks to have a high profile entrance such as appearing through a trap door, on a bicycle or carrying a vacuum cleaner. This entrance can help re-engage the audience; this is particularly valuable in large arenas or at foreign festivals.

title: Tommy and Betty


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Yumi Matsutoya

Yumi Matsutoya (松任谷 由実), nicknamed Yuming (ユーミン), is a Japanese singer, composer, lyricist and pianist. Generally the writer of both the lyrics and the music in her songs, she is renowned for her idiosyncratic voice and live performances, and is one of the most prominent figures in the history of Japanese popular music.

Her recording career has been commercially successful with more than 42 million records sold. In 1990, her album The Gates of Heaven became the first album to be certified "2x million" by the RIAJ, and she has had twenty-one No. 1 albums listed on the Oricon charts. She is the only artist to have at least one number-one album every year on the Oricon charts for 18 consecutive years.

After gaining several years of experience as a session musician, she debuted as a singer-songwriter in 1972. During her early career, she worked under her birth name Yumi Arai (荒井 由実). In 1975, Arai became known as a composer for "Ichigo Hakusho wo Mou Ichido", a commercially successful song recorded by the folk duo BanBan. She also gained popularity as a vocalist in the same year through the success of "Ano Hi ni Kaeritai", which became her first number-one hit on Japan's Oricon Charts. Other famous songs include "Haru-yo, Koi" and "Sweet, Bitter Sweet".

She also uses the name Kureta Karuho (呉田軽穂), which is derived from the Swedish film star Greta Garbo, when offering her work to other musicians.

In The Encyclopedia of Contemporary Japanese Culture, it is written that "Yuming incorporated influences from progressive rock and European pop to produce a sophisticated, upper-middle-class female Japanese voice and sound in a contemporary musical and journalistic world dominated by discussions of folk music and social critique. This musical idiom is generally thought to have been first realised on [...] Cobalt Hour". The album The 14th Moon and the three albums that ranked in the top 10 of the Japanese charts in 1976 (Cobalt Hour, Yuming Brand, and Hikōki-gumo) "contained several songs which are considered to be early classics of the J-pop genre."

After marrying her musical collaborator Masataka Matsutoya in 1976, Arai began recording under her married name and has continued to do so. Throughout the 1980s, Matsutoya's music was prominently featured in advertisements for Mitsubishi Motors in her native Japan and her image was used to promote their vehicles. In addition to multiple hit singles, she has obtained enormous commercial success on the Japanese Albums Chart, particularly during the late 1980s and the first half of the 1990s.

The magazine Shūkan Gendai ranked Matsutoya third (behind only Miyuki Nakajima and Masayoshi Son) in a list of the smartest Japanese figures that was determined based on the criteria of "intelligence, determination, sensibility and capability".

Early years
Yumi Arai was born in 1954 in Hachiōji, Tokyo. She had three brothers and one sister, and her family ran a draper shop called Arai Gofukuten, established in 1912. When she was a junior high school student, she used to go to an Italian restaurant called Chianti, which had opened in 1960. In those days, many celebrities went to the restaurant; Akira Kurosawa, Yukio Mishima, Kōbō Abe, Seiji Ozawa, Ryu Murakami, Taro Okamoto, Kishin Shinoyama, and Hiroshi "Monsieur" Kamayatsu, who eventually became her first record producer. Alfa Music, the publishing company to which she belonged early her in career (later to become a full-fledged record label in 1977), was founded by people who were regular customers at Chianti.

Her nickname "Yuming" was given to her by Sy Chen (シー・ユー・チェン), a Chinese bassist she had a crush on when she was 13 years old. She began her music career when she was still young. At the age of 14, she worked as a musician for the first time. Having worked as a studio musician, she also wrote many original songs. When she was 17 years old, her first original song titled "Ai wa Totsuzen ni" was released. It was sung by Katsumi Kahashi, the former guitarist of the influential 1960s Japanese band The Tigers.

In April 1972, Arai entered Tama Art University. At the same time, she signed with then-publishing company Alfa as a music artist. At first, she wanted to be a songwriter. However, the founder of the publishing company, Kunihiko Murai, encouraged her to work as a singer-songwriter.

Early career; works as Yumi Arai
On July 5, 1972, Arai released her debut single "Henji wa Iranai". It was produced by Hiroshi "Monsieur" Kamayatsu, the former vocalist of The Spiders. Released by Toshiba EMI, the label to which she would be affiliated and release all her albums throughout her career, under its Liberty sublabel (with Alfa acting as publishing company), her first single sold only 300 copies. (It would later feature in re-recorded form on her debut LP, Hikō-ki Gumo.)

She recorded her first full album, Hikō-ki Gumo, with the band Caramel Mama, better known as Tin Pan Alley, which consisted of Haruomi Hosono, Shigeru Suzuki, Tateo Hayashi and Masataka Matsutoya, and it was released by Toshiba EMI under its Express sublabel in November 1973; the title track (and lead-off track) was later used as the theme song for the movie The Wind Rises (2013). For her next album, MISSLIM, (1974), Masataka Matsutoya, who was the keyboardist of Tin Pan Alley, arranged all of her songs. Her third studio album, Cobalt Hour (1975), features her early famous song "Sotsugyō Shashin". The same year, it was covered by the chorus group Hi-Fi Set (who also performed on the original song) on their first album with the same name. That cover version also succeeded as a single. In later years, it was covered by many Japanese artists and became one of Japan's classic pop songs. The same year, the male folk duo BanBan recorded her song "Ichigo Hakusho o Mou Ichido" and reached number one on the Oricon chart. Because of the commercial success of other artists, she became famous as a songwriter.

Yumi achieved moderate success with her fifth single, Rouge no Dengon ("Rouge Message"), an up-tempo song considered to be a proto J-Pop classic. She gained a television appearance singing this song with the top Japanese girl group of the time, Candies, and the song has been covered by a number of artists over the years.

Her first top hit as a singer-songwriter was her sixth single "Ano Hi ni Kaeritai". In August 1975, it was used as the theme song for the TBS TV drama Katei no Himitsu. Two months later, it was released as a single and reached the top of the Oricon chart. The 14th Moon (1976), her final album as Yumi Arai, featured Leland Sklar on bass and Mike Baird on drums. Since this album, Masataka Matsutoya has produced all her albums himself. She considers her nickname "Yuming" to also mean the name of the union with her husband. Following the success with "Ano Hi ni Kaeritai", it became her first album to reach number one on the Oricon chart. Besides, in the end of the year chart in 1976, three of her albums (Cobalt Hour, Yuming Brand, and Hikō-ki Gumo) ranked in the top 10. Four years after her debut, she dominated the Japanese album charts. This astonishing record has never been broken by anyone since.

In 1989, her fifth single, "Rouge no Dengon" (from her third album), and third single, "Yasashisa ni Tsutsumaretanara" (the version used was from her second album), were featured as the theme songs of the film Kiki's Delivery Service. Nowadays, those tunes are known as her early notable songs. Some of her songs were deeply influenced by many American and European musicians, such as Joni Mitchell and Carole King. As a pioneering singer-songwriter who mixed Western culture and Japanese pop, she left a strong impression on Japanese popular music.

Works as Yumi Matsutoya
After marrying Masataka Matsutoya on November 29, 1976, she had considered retirement. But eventually she decided to continue to work as a musician, performing under her married name. In 1978, her memorable first album as Yumi Matsutoya, entitled Benisuzume was released. In the late 1970s and early 80s, she released two albums every year. However, those albums were less successful than the ones she released when she was single. Nevertheless, she wrote several of her well-known songs during those years, and her albums reached the top 10 on the Oricon chart.

Before the release of Benisuzume, a compilation named Album was released by Toshiba EMI. It mainly contained songs she had released as Yumi Arai, and two songs released as singles only. Matsutoya didn't want to release this compilation; in her autobiography released in 1982, she writes about this album and calls it "The biggest stain on my music career." Because of this, she never allowed the release of another compilation album until 1998. However, her ex-record-label-and-publishing-company Alfa Records had, after 1977 (when Alfa finally established itself as an independent record label), released many compilations which consisted of her old tunes without her permission. Hence, in the late 1990s, she bought the copyrights of all her songs that she had written under her maiden name; helping in this decision was the fact that Toshiba EMI had by then regained control, in 1994, of the Alfa catalogue, including the albums released by Toshiba EMI while Alfa was still a publishing company, thus her early catalogue being spared of Alfa's 2001 sale to Sony after Alfa faced financial difficulties.

Her tenth album, Surf and Snow (1980), changed the negative tide for her. When the album was released, it did not sell as well as others had previously. However, in 1986, "Koibito ga Santa Claus" became popular as the theme song for the hit movie Take Me out to the Snowland (私をスキーに連れてって) （1987）. The album eventually sold over 400,000 copies. In 1981, she returned to the top of Japanese pop music. Her husband wrote the score for the movie Nerawareta Gakuen, which was directed by Nobuhiko Obayashi and distributed by Kadokawa Pictures. She wrote "Mamotte Agetai" as the theme song for the movie. The single of this song reached number two on Oricon and sold nearly 700,000 copies. Following the success of the single, her eleventh album Sakuban Oaishimasho (1981) became her second number one album. From that year through 1997, 17 consecutive studio albums she released reached number one on the Oricon charts.

Ian Martin of The Japan Times wrote in 2016, "At the same time she was contributing to Matsuda's record-breaking run of No. 1 hit singles, Matsutoya’s own work retained an almost militant focus on albums, and the balance she struck between commercial success and artistic integrity is a source of inspiration to many aspiring musicians."

In 1982, she published an autobiography, Rouge no Dengon. In this book, she wrote about her life in an exaggerated style. She contemplated doing the artwork on her own albums. The artwork of the album Sakuban Oaishimasho (1981) was designed by Hipgnosis, and the video Compartment was produced by Storm Thorgerson, Aubrey Powell and Peter Christopherson. A logo design from the latter film also became the logo of "Yuming", and was used as the cover of the 1984 album No Side. Aubrey Powell and Richard Evans of Hipgnosis also designed the cover of the 1983 album "Voyager". Since the 1970s, she has also been famous as an artist who performs in concerts using gorgeous and novel sets. She used elaborate visual technology on the stage and it is said that they cost over a hundred million yen. She has released two live albums and several videos. In 1986, she released her first live album, Yuming Visualive DA-DI-DA,. It was released on CD and cassette tape only, and it became one of the rarest items among her fans for many years.

Commercial peak and decline
In the late 1980s and early 1990s, her albums consisted of mechanical sounds which featured synclavier. In addition, they were recorded by a lot of famous West Coast musicians. However, in later years, Masataka Matsutoya, her record producer and husband, regretted the cheap rhythm section on those albums. Before the Diamond Dust Fades.... (1987) sold more than any of her albums at that time. In the late 1980s, her record sales increased. Delight Slight Light KISS (1988) became the first million-selling record for her. From this album in 1995 to the album Kathmandu, she released eight studio albums and all of them sold over million copies. Above all, two of those albums, The Gates of Heaven (1990), and The Dancing Sun (1994), sold over double-million copies. The former is the first double million-selling album in Japan. Dawn Purple (1991) sold over a million copies in one week after the album's release. Her record sales were appraised by the Japanese music industry. Before the Diamond Dust Fades... won Japan Record Awards of 1988 and The Gates of Heaven won a Japanese gold disc grand prix of 1991.

The Gates of Heaven and several of her albums in those years reflected an optimistic atmosphere in Japan caused by the asset price bubble around the end of the 1980s and early 1990s. She was often called "Charisma of Youth" or "The Enthusiastic Leader of Love" in those days. After hearing from her record company Toshiba-EMI that single sales were quickly overtaking album sales due to a slowing economy, Matsutoya decided to make a difference. To make people buy the album, she did not release any physical singles at all for about four years in the early 1990s, although she did promote songs from her albums to radio as "album cuts". Her albums The Gates of Heaven (1990), Dawn Purple (1991) and Tears And Reasons (1992) performed very well on the Oricon charts, boosted partially by airplay. However, in autumn 1993, she released "Manatsu no Yo no Yume", the first physical single in four years since "Anniversary", already known as the theme song of the TV drama Dare nimo Ienai. It sold over 1,400,000 copies and became the 89th best-selling single in Japan. It is her most successful single.

The next year, she produced the two-million-selling singles called "Hello,My Friend" and "Haru-yo, Koi". Both of these singles were used in TV dramas (the former was featured on Kimi to Ita Natsu, the latter was used on the same titled program broadcast by NHK). The latter in particular is famous as one of her standard numbers. Those songs were also included on the album The Dancing Sun, which became her second double million-selling album on the strength of those popular tunes. That same year, the equity ratio of her record company (which was originally established by Toshiba Corporation in 1960 as Toshiba Musical Industries, and then renamed Toshiba-EMI when Toshiba sold 50% of the company to the British EMI Group in 1973) was changed, with EMI now owning a 55% stake in the company, while Toshiba owned the remaining 45% stake in the company. She was interested in the spiritual world for many years, and this preference was often represented in her songs, a tendency that became deeper in the 1990s.

In August 1996, about twenty years after her marriage, Yumi Matsutoya came back as Yumi Arai and performed three days at Nakano Sunplaza, Tokyo. Excerpts of that live recording were released on video and CD. A month before the live performances, a newly recorded version of her early standard song, "Machibuse" (she did not sing it herself), was released as a single. Until 1995, she had released studio albums every year, but her popularity began to decline around 1996. After her twenty-ninth studio album, The Waves of Zuvuya, (1997) her record sale declined more and more.

As "Yumi Matsutoya", she had not released any compilation albums since 1977. Formerly, she didn't want to release compilation albums. However, in 1998, she released a double album compilation, Neue Musik: Yumi Matsutoya Complete Best Vol. 1. It included 28 songs and two new songs recorded with the former members of Tin-Pan-Alley. In addition, several songs of this album were selected by votes by her fans. At this stage, it is her biggest-selling and final four million-selling album.

Recent years
After the release of her well-sold compilation album, she declared that she would make the music she wants to. From 1999 on, she has released eight studio albums.

On June 30, 2007, Toshiba Corporation sold its remaining 45% stake in Matsutoya's record label to EMI and gave EMI full ownership of the company. The label's name was then changed from Toshiba-EMI to EMI Music Japan to reflect Toshiba's divestiture from the business. In September 2012, the British EMI group was broken up and sold to various companies. On April 1, 2013, EMI Music Japan was absorbed into Universal Music Japan, became defunct as a company and was renamed to EMI Records Japan. Therefore, all of Matsutoya's further releases will be through Universal Music Japan.

In 2013, it was announced that Matsutoya's song Hikouki Gumo, would be used as the closing theme to the Studio Ghibli film The Wind Rises (Kaze Tachinu).

Awards and honors
Matsutoya was decorated with the Medal of Honor with Purple Ribbon in the 2013 spring honors list, released on April 29. The medal is in recognition of artistic, academic or athletic contributions.

Songwriter
As a songwriter and lyricist, Yumi Matsutoya wrote hundreds of songs for Hi-Fi Set, Asami Kobayashi, Kenji Sawada, Hiromi Gō, Toshihiko Tahara, Reimy and many other artists. Some of them became big hits, such as "Ichigo Hakusho o Mou Ichido" (Performed by Banban, 1975) and "Machibuse" (Performed by Seiko Miki, Hitomi Ishikawa, originally released in 1975). Many of her hit tunes were sung by idol singer Seiko Matsuda. Several songs sung by Matsuda reached number one on the Oricon singles chart, including "Akai Sweet Pea", "Nagisa no Balcony" (1982) and "Hitomi wa Diamond" (1986). These singles are some of Matsuda's best-known songs. Matsutoya has collaborated with many songwriters and lyricists, among them Yosui Inoue, Takashi Matsumoto, Kōki Mitani, Kunihiko Kase, Shizuka Ijuin. She also co-wrote the Japanese lyrics to the Lynsey de Paul and Barry Blue penned song Sugar Shuffle with Asami Kobayashi, which appeared on Kobayashi's Cryptograph album in 1984. When she writes songs for other musicians, she often uses the pseudonym Kureta Karuho (呉田軽穂). It is a parody on the name of Greta Garbo.

Collaboration with other artists
On her early albums, several famous 1970s Japanese singer-songwriters who had not yet succeeded at that time sang as the backing vocalists; Tatsuro Yamashita, Taeko Onuki, Akiko Yano and Minako Yoshida. Yamashita usually arranged the chorus parts of her songs in the '70s. But in later years, he criticized her late 1980s music career in his own song called "Queen of Hype Blues". In her career spanning more than 30 years, Matsutoya has sung duets with many singers; including Takao Kisugi, Toshinobu Kubota, Masumi Okada, and Takao Tajima.

She has also recorded several collaboration singles with other musicians. In 1985, she released the song "Imadakara" with Kazumasa Oda and Kazuo Zaitsu. It was mostly composed by Oda and Matsutoya, arranged by Ryuichi Sakamoto and played by former Sadistic Mika Band members. At the live event performed in June the same year, having added Matsutoya as vocalist, the band reunited as "Sadistic Yuming Band" and performed this song.

In 1986, Matsutoya co-wrote "Kissin' Christmas", a theme song for a TV program, with Keisuke Kuwata, the leader of Southern All Stars. Appearing only on TV, this song was a collaboration by two of the most successful Japanese songwriters. However, the song has never been released on any format.

In 1992, Matsutoya and Karl Smokey Ishii cooperated for the single "Ai no Wave". She wrote it and the B-Side "Roman no Dengon" with him. The same year, Ishii had released "Kimi ga Irudake de", the fifth best-selling single in Japan. Therefore, the single climbed to the top of the hit parade naturally. The title of "Roman no Gengon" was self-parody of their songs; it was named under Matsutoya's "Rouge no Dengon" and Kome Kome Club's "Roman Hikou".

When her popularity quickly declined at the end of the 1990s, she recorded a song with the popular group Pocket Biscuits. They collaborated on the single "Millennium" in 2000, but it did not achieve the expected success.

In 2002, she penned the song "Koi no Signal" for the group Coming Century, a sub-unit of the popular boyband V6. Compared to other Coming Century songs of the time, the lyrics for the song were more heartfelt and optimistic.

In 2005, Matsutoya formed the group called "Yumi Matsutoya and Friends of Love the Earth" with four East Asian artists; Dick Lee from Singapore, Lim Hyung Joo from South Korea, amin and Xu Ke from China. Matsutoya wrote the song "Smile Again" for the new group, and it was released on iTMS only. When Matsutoya appeared at the Expo 2005 concert in September of the same year, they appeared as guests and sang this song. On New Year's Eve the same year, they appeared in the Japanese traditional annual TV music program Kohaku Uta Gassen, and performed "Smile Again". The next year, Matsutoya re-recorded the song and released it on her album A Girl in Summer. In autumn of 2006, this unit added more members. They had only one concert and released the new single "Knockin' at the Door" on CD.

In 2006, she wrote a song "Still Crazy for You" for Crazy Cats, a Japanese comedy team popular in the late 1950s and 1960s, and sung a duet with the vocalist Kei Tani. It was released as the group's first new single since 1986, and climbed to No. 14 on the Oricon chart. It was the highest chart position they have ever reached.

In 2012 Yumi came to London to record "A Whiter Shade of Pale" with Procol Harum, a band she considered an inspiration for her work. She sang a duet with Gary Brooker on this new version of the 1967 classic, which featured three verses and a guitar solo by Geoff Whitehorn. Yumi and Procol Harum then played a series of December concerts in major Japanese cities, one of which was recorded for a later television showing.

Studio albums

 * Hikō-ki Gumo (1973) (credited to "Yumi Arai")
 * Misslim (1974) (credited to "Yumi Arai")
 * Cobalt Hour (1975) (credited to "Yumi Arai")
 * 14-banme no Tsuki (The 14th Moon) (1976) (credited to "Yumi Arai")
 * Benisuzume (1978)
 * Ryūsenkei '80 (1978)
 * Olive (1979)
 * Kanashii Hodo Otenki (The Gallery in My Heart) (1979)
 * Toki no Nai Hotel (1980)
 * Surf and Snow Volume One (1980)
 * Mizu no Naka no Asia e (1981)
 * Sakuban Oaishimashō (1981)
 * Pearl Pierce (1982)
 * Reincarnation (1983)
 * Voyager (1983)
 * No Side (1984)
 * Da-Di-Da (1985)
 * Alarm à la mode (1986)
 * Diamond Dust ga Kienumani (Before the Diamond Dust Fades...) (1987)
 * Delight Slight Light Kiss (1988)
 * Love Wars (1989)
 * Tengoku no Door (The Gates of Heaven) (1990)
 * Dawn Purple (1991)
 * Tears and Reasons (1992)
 * U-miz (1993)
 * The Dancing Sun (1994)
 * Kathmandu (1995)
 * Cowgirl Dreamin'  (1997)
 * Suyua no Nami (The Wave of Zuvuya) (1997)
 * Frozen Roses (1999)
 * Acacia (2001)
 * Wings of Winter, Shades of Summer (2002)
 * Yuming Compositions: Faces (2003)
 * Viva! 6×7 (2004)
 * A Girl in Summer (2006)
 * Soshite Mouichido Yumemiru Darou (And I Will Dream Again...) (2009)
 * Road Show (2011)
 * Pop Classico (2013)
 * Uchū Toshokan (Universal Library) (2016)
 * Shinkai no Machi (2020)

Reception
In a 2006 survey of people between 10 and 49 years of age in Japan, Oricon Style found the number one selling song "Valentine's Radio" (1,606,780 copies) to be the third most popular Valentine's Day song in Japan. The most popular song was Sayuri Kokushō's 1986 debut single "Valentine Kiss", which sold only 317,000 copies. The other songs in the top five were (in order) "Love Love Love" from Dreams Come True (2,488,630 copies), "Happy Happy Greeting" from the Kinki Kids (608,790 copies), and "My Funny Valentine" by Miles Davis.

Honours

 * Medal with Purple Ribbon (2013)
 * Person of Cultural Merit (2022)

title: Yumi Matsutoya


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Susan Ivanova

Susan Ivanova (Сью́зен Ива́нова) is a lead fictional character in the science fiction television series Babylon 5, played by Claudia Christian.

Character overview
Susan Ivanova holds the rank of lieutenant commander during the first season and is promoted to the rank of commander in the second season. From the first through the fourth seasons of the series, Commander Ivanova was the first officer (XO) of the Babylon 5 space station. After the fourth season of the series, she was promoted to captain and given command of a new class of Earth Alliance warship, the "Warlock-Class". She accepted the promotion because of the tragic events that happened on Babylon 5 at the very end of the Earth Alliance Civil War, in which she played a major role, including the death of Marcus Cole, who sacrificed his own life for hers. During the fifth and final season, she appears only once, in the series' final episode, holding the rank of general – a position for which she showed little enthusiasm for. She ultimately ends up as the new leader of the Anla'shok at the insistence of Delenn.

Overview
Like many of the show's characters, Susan Ivanova seemed locked in a tragic cycle. The particular millstone around Ivanova's neck was love – not only romantic, but familial as well. Deep down, she believes that "all love is unrequited", perhaps believing that she is undeserving of true happiness. However, in spite of her troubled relationships with her mother, father, brother, and others, she is also fiercely loyal and caring about those to whom she is close. Given her troubled background, she also possesses a surprisingly good sense of humor, which often comes out at odd moments. She has a hot temper and this often leads other crew members to give her a wide berth whenever she is angry. She also possesses a strong sense of integrity and honesty. As a military leader she is brave to the point of recklessness, has the ability to think and act quickly in a crisis, and she can be creative and original in coming up with ways to resolve any situation she finds herself in.

While most of the major Earthforce characters have flown combat missions against raider fighters, Susan Ivanova is "the one most consistently on the front lines of battle. She chases raiders and single-handedly destroys a small fleet", although other commentators note that she fires without a warning in Believers prompting author Andy Lane to ask, "Is this standard Earthforce procedure -- shoot first and ask questions afterwards?"

Early life and career
Susan Ivanova was born in St. Petersburg, Russian Consortium, in 2230. Her mother, Sophie, is established to have committed suicide when Susan was a child, which Ivanova blames on the Psi Corps. Sophie was a telepath who refused to join the Psi Corps and, as a result, was forced to take telepathy-inhibiting drugs regularly. The powerful depressant effect of these drugs gradually drained her energy and eventually led her to take her own life. Susan Ivanova eventually reveals that she is a latent telepath herself and lives in fear of discovery by the Psi Corps. She harbors a lasting grudge against the Psi Corps throughout the show, and blames them for the death of her mother. Her beloved brother, Ganya, died during the Earth-Minbari War, a piece of backstory set 10 years before the show. He was a fighter pilot aboard the Earth Alliance warship Lexington and was killed in the battle with the Black Star, the Minbari's flagship. Due to her telepathic abilities, she was able to sense her brother's death despite the vast distance between them. She also did not have a good relationship with her father, Andrei, who became irritable and emotionally distant after her mother's death. In a first-season episode her father dies on Earth. She reconciles with him and forgives him before his death.

Over the course of the series Ivanova has two major notable interests. The first, with telepath Talia Winters, is non-sexual and largely implied, though after Talia is revealed as an unwilling sleeper agent and her subsequent departure from Babylon 5, Ivanova admits to possibly loving her. In the first season her relationship with Winters gets off to a rocky start, and her inherent distrust of anyone in Psi Corps leads Ivanova to behave rudely towards Talia. However, they eventually become friends. Ivanova is clearly hurt by the revelation that Talia is actually a "sleeper" Psi Corps agent who had been sent to spy on the command staff of Babylon 5. The second relationship, with Marcus Cole, also starts off badly, as Ivanova regards Marcus as reckless and annoying. However, they eventually become uneasy friends, and when he sacrifices his life to save hers at the end of the fourth season, Ivanova is devastated. She tells Dr. Franklin, B5's medical chief and a close friend, that "all love is unrequited", and wishes that she had returned his love and affection instead of being so sarcastic with him. The death of Marcus leads her to leave Babylon 5 and become captain of the newly commissioned Warlock class destroyer EAS Titans.

Babylon 5 creator Joe Straczynski often spoke of Ivanova's supposedly "Russian" temperament and character. His comments, as well as Ivanova's own quips, hint that her world view may have been shaped by the history of the Russian people. In the future Earth shown on Babylon 5, the Russian people have united in a consortium and are clearly an important power on Earth. Yet, if Ivanova is any example, they remember vividly more difficult times under czars and communism. Although she is not openly religious, Ivanova is established as ethnically Jewish when she sits Shiva after her father's death in season one, and is seen also lighting a menorah. An old friend of her family, a man she refers to as "uncle" who is a rabbi, visits her after her father's death and she comes to accept her faith, if only in private. She does appear to have a belief in God, and she occasionally "talks" to God (in a rather joking manner) under her breath in a few episodes of the series. However, she keeps other aspects of her religious beliefs largely to herself, such as how strictly she follows the Jewish dietary laws, since in the episode "Messages from Earth", Marcus procures a freshly prepared plate of bacon and eggs for her as a surprise to which she does not overtly object; bacon being generally avoided by observant Jews as it comes from pigs, which are specifically listed in the Torah as an unclean animal, and thus not kosher.

Ivanova is promoted several times during the series. She starts as a lieutenant commander, and is promoted to full commander in the second season. At the end of the fourth season, she is made captain. In "Sleeping in Light" (the series finale, set 18 years after the events of the fifth season), it is revealed that she is a general. She retires from Earth Force in this episode and becomes "Ranger One", the head of the Rangers.

Relationships
Throughout her character arc in Babylon 5, Ivanova is involved in a series of relationships, during season one, an old flame, Malcolm Biggs comes to Babylon 5 eight years after their relationship ends to start a 'business' and rekindle his relationship with Ivanova, before she realizes he is an agent of the xenophobic Homeguard in the episode "The War Prayer".

All of Ivanova's relationships end badly, the most emphasized being her relationship with Marcus Cole, a Ranger assigned to Babylon 5 in 2260. While he falls in love with her early on, she does not begin a romantic relationship with him, possibly because of pain from her previous failed relationships.

Their story comes to a tragic ending in the year 2261, when she is gravely injured in an epic battle to liberate Earth from the dictatorship of President Morgan Clark, aboard the White Star, the Minbari doctors determine that her injuries are too severe for her survival. She is sent to Babylon 5 to be made comfortable as the fleet is going into battle, Marcus searches for a way to save her, until he finds Dr. Stephen Franklin's notes on The Alien Healing/Execution Device, a device that takes life energy from one individual and gives it to another.

Armed with the knowledge that it is stored for safekeeping on Babylon 5, he returns and uses it to save Ivanova's life, at the cost of his own. Only then does Ivanova realize the depth of Marcus' love for her. Mourning the loss, she requests that his body be preserved in cryogenic suspension, in the hopes that he could someday be revived.

Talia Winters
While not depicted explicitly in the show, it is strongly hinted that there was a lesbian relationship between Talia Winters and Ivanova.

A badly edited scene in 2.19 Divided Loyalties led many to believe that a kiss between the two had been edited out. In response to this, J. Michael Straczynski stated, "No, nothing was cut. We had a matching problem at one point in the edit, where Andrea reached with her left hand in one angle, and did not reach out with the other, and we had to come around for the shot on Ivanova, so it looked a tick off. But nothing was cut."

However, in the same discussion, Straczynski also mentions that, "I didn't show a kiss because, in my experience, it's easier on all around if one steps into the shallow end of the pool first, and walks into the deep end rather than diving in and splashing everybody in the process" and "Susan and Talia had been dancing around one another for months; that night, though, would've been the first time they got physically intimate."

Also, in the same episode, Talia sleeps over at Ivanova's apartment, and while the two are not seen in bed together, during the night Talia makes a 'reaching' motion, as if expecting another person to be sharing the bed, and finding that person gone. Talia also mentions that, when she woke up, Ivanova was gone. Straczynski confirmed this in the script books.

Ivanova referred to Talia during a Minbari rebirth ceremony in the third season of Babylon 5. She told Delenn, the person who organised the ceremony "I think I loved Talia."

Departure from Babylon 5
According to Babylon 5 creator J. Michael Straczynski, Claudia Christian declined to be in the fifth season – according to her they weren't interested in having her. No agreement was reached and she was not in season five. She was still able to appear in the final episode, as that episode was originally filmed as the finale of the fourth season and was moved forward. Ivanova did not appear in the episode that was created to serve as a new finale for season four.

This departure necessitated substantial changes to the fifth season of Babylon 5. A planned episode title, "The Very Long Night of Susan Ivanova," was reused as "The Very Long Night of Londo Mollari," though the episodes did not share a plot. Furthermore, a planned romantic relationship between Ivanova and the telepath Byron that would have continued her pattern of tragic relationships was changed to be a romance between Lyta Alexander and Byron, which in turn precipitated the events of the Telepath War. A new character, Elizabeth Lochley, was created to take Ivanova's narrative role as commander of the station.

In the Season 5 episode A View from the Gallery, two maintenance workers discuss Ivanova's sudden departure. They speculate on the reasons she left, mentioning contract and pay disputes and Marcus and his sacrifice before finally concluding that they will not ever know the true story.

After the series
Neither the Babylon 5 movies released after the end of the series nor the spin-off series "Crusade" refer to Ivanova. However, Straczynski wrote a short story set far in the future of the series called Space, Time & the Incurable Romantic which was published in Amazing Stories #602. This story features Marcus Cole being revived after a long time in stasis. The world that created the device Cole used to heal Ivanova (and kill himself in the process) has been discovered, and enough additional information has been found to revive him. While Ivanova herself does not appear, Cole uses some of her hair that was on his uniform and an imprint of her thought patterns and memories. He uses this to create a clone that believes she is Ivanova. He deliberately traps himself and the clone on a remote planet so that he can live out his days with her. The story has been confirmed as canon by Straczynski, who has gone on record to say that Ivanova never finds out about Marcus's cloning of her and his deception, which gave Marcus his own happy ending without Ivanova having to grapple with the ethical issues involved.

Reception and literary analysis
The character of Susan Ivanova has been subject to several literary analysis that focus on her feminine identity, or her military career and LGBT-related coming out or her Jewish background.

title: Susan Ivanova


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