Yes are  an English progressive rock band formed in London in 1968 by lead singer Jon Anderson, bassist Chris Squire, guitarist Peter Banks, keyboardist Tony Kaye, and drummer Bill Bruford. The band has undergone numerous lineup changes throughout their history, during which 20 musicians have been full-time members. Since February 2023, the band has consisted of guitarist Steve Howe, keyboardist Geoff Downes, bassist Billy Sherwood, singer Jon Davison, and drummer Jay Schellen. Yes have explored several musical styles over the years and are most notably regarded as progressive rock pioneers.

Yes began performing original songs and rearranged covers of rock, pop, blues and jazz songs, as evidenced on their self-titled first album from 1969, and its follow-up Time and a Word from 1970. A change of direction later in 1970 led to a series of successful progressive rock albums, with four consecutive U.S. platinum or multi-platinum sellers in The Yes Album (1971), Fragile (1971), Close to the Edge (1972) and the live album Yessongs (1973). Further albums, Tales from Topographic Oceans (1973), Relayer (1974), Going for the One (1977) and Tormato (1978), were also commercially successful. Yes toured as a major rock act that earned the band a reputation for their elaborate stage sets, light displays, and album covers designed by Roger Dean. The success of "Roundabout", the single from Fragile, cemented their popularity across the decade and beyond.  Jon Anderson and Chris Squire remained with the group throughout the 1970s, with Peter Banks, Tony Kaye, and Bill Bruford all departing across 1970 to 1972, and being replaced by Steve Howe, Rick Wakeman, and Alan White, respectively. Wakeman left the group in 1974, but returned two years later, with Patrick Moraz taking his place in the interim. After a final album, Drama, and tour in 1980, both of which saw Geoff Downes and Trevor Horn replace Wakeman and Anderson, respectively, Yes disbanded in 1981.

In 1983, Squire and White reformed Yes, with Anderson and Kaye returning, and guitarist Trevor Rabin joining. Rabin's songwriting helped move the band towards mainstream rock, the result of which was 90125 (1983), their highest-selling album that featured the U.S. number-one single "Owner of a Lonely Heart". Its follow-up, Big Generator (1987), was also successful. In 1989, Anderson and former members Bruford, Wakeman, and Howe released the self-titled Anderson Bruford Wakeman Howe album, after which they and the other then-current Yes members–Squire, Kaye, White, and Rabin–unified into an eight-piece line-up of Yes for the 1991 Union album and its subsequent tour. From 1994 to 2001, Yes regularly released studio albums with varied levels of success. After a four-year hiatus, they resumed touring in 2008 and have continued to release new albums; their latest, Mirror to the Sky, was released in 2023. Former members Anderson, Wakeman, and Rabin collaborated as Yes Featuring Jon Anderson, Trevor Rabin, Rick Wakeman from 2016 to 2018. Among the longest serving members of the band, Squire (the last original member) died in 2015, and White died in 2022.

Yes are one of the most successful, influential, and longest-lasting progressive rock bands. They have sold 13.5 million RIAA-certified albums in the U.S., as well as more than 30 million albums worldwide. In 1985, they won a Grammy Award for Best Rock Instrumental Performance with "Cinema", and received five Grammy nominations between 1985 and 1992. They were ranked No. 94 on VH1's 100 Greatest Artists of Hard Rock. Their discography spans 23 studio albums. In April 2017, Yes were inducted into the Rock and Roll Hall of Fame, which chose to induct current and former members Anderson, Squire, Bruford, Kaye, Howe, Wakeman, White, and Rabin.

History

1968–1970: Formation, first album and Time and a Word

In early 1968, bassist Chris Squire formed the psychedelic rock band Mabel Greer's Toyshop. The lineup consisted of Squire, singer and guitarist Clive Bayley, drummer Bob Hagger and guitarist Peter Banks. They played at the Marquee Club in Soho, London where Jack Barrie, owner of the nearby La Chasse club, saw them perform. "There was nothing outstanding about them", he recalled, "the musicianship was very good but it was obvious they weren't going anywhere". Barrie introduced Squire to singer Jon Anderson, a worker at the bar in La Chasse, who found they shared interests in Simon & Garfunkel and harmony singing. That evening at Squire's house they wrote "Sweetness," which was included on the first Yes album. In June 1968, Hagger was replaced in Mabel Greer's Toyshop by Bill Bruford, who had placed an advertisement in Melody Maker, while in July the classically trained organist and pianist Tony Kaye, of Johnny Taylor's Star Combo and the Federals, became the keyboardist. This lineup rehearsed in the basement of The Lucky Horseshoe cafe on Shaftesbury Avenue between 10 June and 9 July 1968. Meanwhile, Banks had left Mabel Greer's Toyshop to join Neat Change, but he was dismissed by this group on 14 July 1968 and was finally recalled by Squire, replacing Bayley as guitarist. The last gig by Mabel Greer's Toyshop was on 27 July, at Newmarket.

Having considered the experience of Mabel Greer's Toyshop concluded, Anderson suggested that they call the new band Life. Squire suggested that it be called World. Banks responded, simply, "yes", and that was how the band were named. Banks has also stated that he thought of the name "Yes" a couple of years beforehand. After rehearsals between 31 July and 2 August, the first gig under the new brand followed at a youth camp in East Mersea, Essex on 3 August 1968. Early sets were formed of cover songs from artists such as the Beatles, The 5th Dimension and Traffic. On 16 September, Yes performed at Blaise's club in London as a substitute for Sly and the Family Stone, who had failed to turn up. They were well received by the audience, including the host Roy Flynn, who became the band's manager that night. That month, Bruford decided to quit performing to study at the University of Leeds. His replacement, Tony O'Reilly of the Koobas, struggled to perform with the rest of the group on stage and former Warriors and future King Crimson drummer Ian Wallace subbed for one gig on 5 November 1968. After Bruford was refused a year's sabbatical leave from Leeds, Anderson and Squire convinced him to return for Yes's supporting slot for Cream's farewell concert at the Royal Albert Hall on 26 November.

After seeing an early King Crimson gig in 1969, Yes realised that there was suddenly stiff competition on the London gigging circuit, and they needed to be much more technically proficient, starting regular rehearsals. They subsequently signed a deal with Atlantic Records, and, that August, released their debut album Yes. Compiled of mostly original material, the record includes renditions of "Every Little Thing" by the Beatles and "I See You" by The Byrds. Although the album failed to break into the UK album charts, Rolling Stone critic Lester Bangs complimented the album's "sense of style, taste and subtlety". Melody Maker columnist Tony Wilson chose Yes and Led Zeppelin as the two bands "most likely to succeed".

Following a tour of Scandinavia with Faces, Yes performed a solo concert at the Queen Elizabeth Hall on 21 March 1970. The second half consisted of excerpts from their second album Time and a Word, accompanied by a 20-piece youth orchestra. Banks left the group on 18 April 1970, just three months before the album's release. Having expressed dissatisfaction with the idea of recording with an orchestra as well as the sacking of Flynn earlier in the year, Banks later indicated that he was fired by Anderson and Squire, and that Kaye and Bruford had no prior knowledge that it would be happening. Similar to the first album, Time and a Word features original songs and two new covers–"Everydays" by Buffalo Springfield and "No Opportunity Necessary, No Experience Needed" by Richie Havens. The album broke into the UK charts, peaking at number 45. Banks' replacement was Tomorrow guitarist Steve Howe, who appears in the photograph of the group on the American issue despite not having played on it.

1970–1974: The Yes Album, Fragile, Close to the Edge and Tales from Topographic Oceans

The band retreated to a rented farmhouse in Devon to write and rehearse new songs for their following album. Howe established himself as an integral part of the group's sound with his Gibson ES-175 and variety of acoustic guitars. With producer and engineer Eddy Offord, recording sessions lasted as long as 12 hours with each track being assembled from small sections at a time, which were pieced together to form a complete track. The band would then learn to play the song through after the final mix was complete. Released in February 1971, The Yes Album peaked at number 4 in the UK and number 40 on the U.S. Billboard 200 charts.

Yes embarked on a 28-day tour of Europe with Iron Butterfly in January 1971. The band purchased Iron Butterfly's entire public address system, which improved their on-stage performance and sound. Their first date in North America followed on 24 June in Edmonton, Canada, supporting Jethro Tull. Friction arose between Howe and Kaye on tour; this, along with Kaye's reported reluctance to play the Mellotron and the Minimoog synthesizer, preferring to stick exclusively to piano and Hammond organ, led to the keyboardist being fired from the band in the summer of 1971. Anderson recalled in a 2019 interview: "Steve and Chris came over and said, 'Look, Tony Kaye... great guy.' But, you know, we'd just seen Rick Wakeman about a month earlier. And I said, 'There's that Rick Wakeman guy,' and we've got to get on with life and move on, you know, rather than keep going on, set in the same circle. And that's what happens with a band."

At the time of Kaye's departure, Yes had already found their new keyboardist—Rick Wakeman, a classically trained player who had left the folk rock group Strawbs earlier in the year. He was already a noted studio musician, with credits including T. Rex, David Bowie, Cat Stevens and Elton John. Squire commented that he could play "a grand piano for three bars, a Mellotron for two bars and a Moog for the next one absolutely spot on", which gave Yes the orchestral and choral textures that befitted their new material.

Released on 12 November 1971, the band's fourth album Fragile showcased their growing interest in the structures of classical music, with an excerpt of The Firebird by Igor Stravinsky being played at the start of their concerts since the album's 1971–1972 tour. Each member performed a solo track on the album, and it marked the start of their long collaboration with artist Roger Dean, who designed the group's logo, album art and stage sets. Fragile peaked at number 7 in the UK and number 4 in the U.S. after it was released there in January 1972, and was their first record to reach the top ten in North America. A shorter version of the opening track, "Roundabout", was released as a single that peaked at number 13 on the Billboard Hot 100 singles chart.

In February 1972, Yes recorded a cover version of "America" by Paul Simon and released it in July. The single reached number 46 on the U.S. singles chart. The track subsequently appeared on The New Age of Atlantic, a 1972 compilation album of several bands signed to Atlantic Records, and again in the 1975 compilation Yesterdays.

Released in September 1972, Close to the Edge, the band's fifth album, was their most ambitious work so far. At 19 minutes, the title track took up an entire side on the vinyl record and combined elements of classical music, psychedelic rock, pop and jazz. The album reached number 3 in the U.S. and number 4 on the UK charts. "And You and I" was released as a single that peaked at number 42 in the U.S. The growing critical and commercial success of the band was not enough to retain Bruford, who left Yes in the summer of 1972, before the album's release, to join King Crimson. The band considered several possible replacements, including Aynsley Dunbar (who was playing with Frank Zappa at the time), and decided on former Plastic Ono Band drummer Alan White, a friend of Anderson and Offord who had once sat in with the band weeks before Bruford's departure. White learned the band's repertoire in three days before embarking on their 1972–1973 tour.

By this point, Yes were beginning to enjoy worldwide commercial and critical success. Their early touring with White was featured on Yessongs, a triple live album released in May 1973 that documented shows from 1972. The album reached number 7 in the UK and number 12 in the U.S. A concert film of the same name premiered in 1975 that documented their shows at London's Rainbow Theatre in December 1972, with added psychedelic visual images and effects.

Tales from Topographic Oceans was the band's sixth studio album, released on 7 December 1973. It marked a change in their fortunes and polarised fans and critics alike. The double vinyl set was based on Anderson's interpretation of the Shastric scriptures from a footnote within Paramahansa Yogananda's book Autobiography of a Yogi. The album became the first LP in the UK to ship gold before the record arrived at retailers. It went on to top the UK charts for two weeks while reaching number 6 in the U.S., and became the band's fourth consecutive gold album. Wakeman was not pleased with the record and is critical of much of its material. He felt sections were "bled to death" and contained too much musical padding. Wakeman left the band after the 1973–1974 tour; his solo album Journey to the Centre of the Earth topped the UK charts in May 1974. The tour included five consecutive sold-out shows at the Rainbow Theatre, the first time a rock band achieved this.

1974–1980: Relayer, Going for the One, Tormato and the Paris sessions
Several musicians were approached to replace Wakeman, including Vangelis Papathanassiou, Eddie Jobson of Roxy Music and former Atlantis/Cat Stevens keyboardist Jean Roussel. Howe says he also asked Keith Emerson, who did not want to leave Emerson, Lake & Palmer. Yes ultimately chose Swiss keyboardist Patrick Moraz of Refugee, who arrived in August 1974 during the recording sessions for Relayer, which took place at Squire's home in Virginia Water, Surrey. Released in November that year, Relayer showcased a jazz fusion-influenced direction the band were pursuing. The album features the 22-minute track titled "The Gates of Delirium", which highlights a battle initially inspired by War and Peace by Leo Tolstoy. Its closing section, "Soon", was subsequently released as a single. The album reached No. 4 in the UK and No. 5 in the U.S. Yes embarked on their 1974–1975 tour to support Relayer. The compilation album Yesterdays, released in 1975, contained tracks from Yes's first two albums, the B-side track from their "Sweet Dreams" single from 1970 titled "Dear Father", and the original ten-minute version of their cover of "America".

Between 1975 and 1976, each member of the band released a solo album. Their subsequent 1976 tour of North America with Peter Frampton featured some of the band's most-attended shows. The show of 12 June, also supported by Gary Wright and Pousette-Dart Band at John F. Kennedy Stadium in Philadelphia, attracted over 100,000 people. Roger Dean's brother Martyn was the main designer behind the tour's "Crab Nebula" stage set, while Roger and fabric designer Felicity Youette provided the backgrounds.

In late 1976, the band travelled to Switzerland and started recording for their album Going for the One at Mountain Studios, Montreux. It was then that Anderson sent early versions of "Going for the One" and "Wonderous Stories" to Wakeman, who felt he could contribute to such material better than the band's past releases. Moraz was let go, after Wakeman was booked on a session musician basis. Upon its release in July 1977, Going for the One topped the UK album charts for two weeks and reached number 8 in the U.S. "Wonderous Stories" and "Going for the One" were released as singles in the UK and reached numbers 7 and 25, respectively. Although the album's cover was designed by Hipgnosis, it still features their Roger Dean "bubble" logotype. The band's 1977 tour spanned across six months.

Tormato was released in September 1978 at the height of punk rock in England, during which the music press criticised Yes as representing the bloated excesses of early-1970s progressive rock. The album saw the band continuing their movement towards shorter songs; no track runs longer than eight minutes. Wakeman replaced his Mellotrons with the Birotron, a tape replay keyboard, and Squire experimented with harmonisers and Mu-tron pedals with his bass. Production was handled collectively by the band and saw disagreements at the mixing stage among the members. With heavy commercial rock-radio airplay, the album reached number 8 in the UK and number 10 in the U.S. charts, and was also certified platinum (1 million copies sold) by the RIAA. Despite internal and external criticisms of the album, the band's 1978–1979 tour was a commercial success. Concerts were performed in the round with a £50,000 revolving stage and a 360-degree sound system fitted above it. Their dates at Madison Square Gardens earned Yes a Golden Ticket Award for grossing over $1 million in box office receipts.

In October 1979, the band convened in Paris with producer Roy Thomas Baker. Their diverse approach was now succumbing to division, as Anderson and Wakeman favoured the more fantastical and delicate approach while the rest preferred a heavier rock sound. Howe, Squire and White liked none of the music Anderson was offering at the time as it was too lightweight and lacking in the heaviness that they were generating in their own writing sessions. The Paris sessions abruptly ended in December after White broke his foot while rollerskating in a roller disco.

When the band, minus Wakeman (who had only committed to recording keyboard overdubs once new material would be ready to record), reconvened in February to resume work on the project, their growing musical differences, combined with internal dissension, obstructed progress. Journalist Chris Welch, after attending a rehearsal, noted that Anderson "was singing without his usual conviction and seemed disinclined to talk". By late March, Howe, Squire and White had begun demoing material as an instrumental trio, increasingly uncertain about Anderson's future involvement. Eventually, a serious band dispute over finance saw Anderson leave Yes, with a dispirited Wakeman departing at around the same time.

1980–1981: Drama and split
In 1980, pop duo The Buggles (keyboardist Geoff Downes and singer Trevor Horn) secured the services of Brian Lane, who had managed Yes since 1970, as their manager. At this point, the departure of Anderson and Wakeman had been kept secret from everyone outside the Yes inner circle. Seeing an option of continuing the band with new creative input and expertise, Squire revealed the situation to Horn and Downes and suggested that they join Yes as full-time members. Horn and Downes accepted the invitation and the reconfigured band recorded the Drama album, which was released in August 1980. The record displayed a heavier, harder sound than the material Yes recorded with Anderson in 1979, opening with the lengthy hard rocker "Machine Messiah". The album received substantial radio airplay in the late summer–fall of 1980, and peaked at number 2 in the UK and number 18 in the U.S., though it was the first Yes album to not be certified Gold by the RIAA since 1971. Their 1980 tour of North America and the UK received a mixed reaction from audiences. They were well received in the United States and were awarded with a commemorative certificate after they performed a record 16 consecutive sold-out concerts at Madison Square Garden since 1974.

After the Drama tour, Yes reconvened in England to decide the band's next step, beginning by dismissing Lane as their manager. Horn was also dismissed, and went on to pursue a career in music production, with White and Squire next to depart. Left as the sole remaining members, Downes and Howe opted not to continue with the group and went their own separate ways in December 1980.

Yesshows, a live album recorded during 1976 to 1978, mixed in mid-1979 and originally intended for release in late 1979, was released in November 1980, peaking at number 22 in the UK charts and number 43 in the US.

An announcement came from the group's management in March 1981 confirming that Yes no longer existed. Downes and Howe soon reunited to form Asia with former King Crimson bassist and vocalist John Wetton, and drummer Carl Palmer from Emerson, Lake & Palmer. Squire and White continued to work together, initially recording sessions with Jimmy Page for a proposed band called XYZ (short for "ex-Yes-and-Zeppelin") in the spring of 1981. Page's former bandmate Robert Plant was also to be involved as the vocalist but he lost enthusiasm, citing his ongoing grieving for recently deceased Led Zeppelin drummer John Bonham. The short-lived group produced a few demo tracks, elements of which would appear in Page's band the Firm and on future Yes tracks "Mind Drive" and "Can You Imagine?". In late 1981, Squire and White released "Run with the Fox", a Christmas single with Squire on vocals which received radio airplay through the 1980s and early 1990s during the Christmas periods. A second Yes compilation album, Classic Yes, was released in November 1981.

1982–1988: Reformation, 90125 and Big Generator
At the beginning of 1982, Phil Carson of Atlantic Records introduced Squire and White to guitarist and singer Trevor Rabin, who had initially made his name with the South African supergroup Rabbitt, subsequently releasing three solo albums, working as a record producer and even briefly considered being a member of Asia. The three teamed up in a new band called Cinema, for which Squire also recruited the original Yes keyboard player Tony Kaye. Later in 1982, Cinema entered the studio to record their debut album. Although Rabin and Squire initially shared lead vocals for the project, Trevor Horn was briefly brought into Cinema as a potential singer, but soon opted to become the band's producer instead.

Horn worked well with the band. However, his clashes with Tony Kaye (complicated by the fact that Rabin was playing most of the keyboards during the recording sessions) led to Kaye's departure during the recording, though some of his playing was kept on the final album and he had returned by the time it was released. Meanwhile, Squire encountered Jon Anderson (who, since leaving Yes, had released two solo albums and had success with the Jon and Vangelis project) at a Los Angeles party and played him the Cinema demo tracks. Anderson was invited into the project as lead singer and joined in April 1983 during the last few weeks of the sessions, having comparatively little creative input beyond adding his lead vocals and re-writing some lyrics.

At the suggestion of record company executives, Cinema then changed their name to Yes in June 1983. Rabin initially objected to this, as he now found that he had inadvertently joined a reunited band with a history and expectations, rather than help launch a new group. However, with four of the five members having been members of Yes (with three of them being original members, including the distinctive lead singer) it suggested that the name change was sound commercial strategy. The new album marked a significant change in style as the revived Yes had adopted more of a pop rock sound with few moments that recalled their progressive rock past. This incarnation of the band has sometimes been informally referred to as "Yes-West", reflecting the band's new base in Los Angeles rather than London.

Yes released their comeback album 90125 (named after its catalogue serial number on Atco Records) in November 1983. It became their biggest-selling album, certified by the RIAA at triple-platinum (3 million copies) in sales in the U.S., and introduced the band to younger fans. "Owner of a Lonely Heart" topped the Hot Mainstream Rock Tracks chart for four weeks and went on to reach the number-one spot on the Billboard Hot 100 singles chart, the only single from Yes to do so, for two weeks in January 1984. Kaye's short-term replacement on keyboards, Eddie Jobson, appeared briefly in the original video but was edited out as much as possible once Kaye had been persuaded to return to the band.

In 1984, two further singles from the album "Leave It" and "It Can Happen" reached number 24 and 57, respectively. Yes also earned their only Grammy Award for Best Rock Instrumental Performance in 1985 for the two-minute track "Cinema". They were also nominated for an award for Best Pop Performance by a Duo or Group with Vocals with "Owner of a Lonely Heart", and a Best Rock Performance by a Duo or Group with Vocal award with 90125. The band's 1984–1985 tour was the most lucrative in their history and spawned the home video release 9012Live, a concert film directed by Steven Soderbergh with added special effects from Charlex that cost $1 million. Issued in 1985, an accompanying live album also appeared that year, 9012Live: The Solos, which earned Yes a nomination for a second Grammy Award for Best Rock Instrumental Performance for Squire's solo track, a rendition of "Amazing Grace".

Yes began recording for their twelfth album, Big Generator, in 1985, initially with Trevor Horn returning as producer. The sessions underwent many starts and stops due to the use of multiple recording locations in Italy, London and Los Angeles, with interpersonal problems leading to Horn leaving the sessions partway through, all of which kept the album from timely completion (the album was intended for a 1986 release, but by the end of that year it was still incomplete). Eventually Rabin took over final production. The album was released in September 1987, and immediately began receiving heavy radio airplay, with sales reaching number 17 in the UK and number 15 in the U.S. Big Generator earned Yes a nomination for a second Grammy Award for Best Rock Performance by a Duo or Group with Vocal in 1988, and was also certified platinum (with 1 million-plus in sales) by the RIAA. The single "Love Will Find a Way" topped the Mainstream Rock chart, while "Rhythm of Love" reached number 2 and "Shoot High Aim Low" number 11. The 1987–1988 tour ended with an appearance at Madison Square Garden on 14 May 1988 as part of the star-studded Atlantic Records 40th anniversary concert.

1988–1995: Anderson Bruford Wakeman Howe, Union and Talk
By the end of 1988, Anderson felt creatively sidelined by Rabin and Squire and had grown tired of the musical direction of the "Yes-West" lineup. He took leave of the band, asserting that he would never stay in Yes purely for the money, and started work in Montserrat on a solo project that eventually involved Wakeman, Howe and Bruford. This collaboration led to suggestions that there would be some kind of reformation of the "classic" Yes, although from the start the project had included bass player Tony Levin, whom Bruford had worked with in King Crimson. The project, rather than taking over or otherwise using the Yes name, was called Anderson Bruford Wakeman Howe (ABWH).

Their eponymous album, released in June 1989, featured "Brother of Mine", which became an MTV hit and went gold in the United States. It later emerged that the four band members had not all recorded together; Anderson and producer Chris Kimsey slotted their parts into place. Howe has stated publicly that he was unhappy with the mix of his guitars on the album, though a version of "Fist of Fire" with more of Howe's guitars left intact appeared on the In a Word: Yes box set in 2002. ABWH toured in 1989 and 1990 as "An Evening of Yes Music" which featured Levin, keyboardist Julian Colbeck, and guitarist Milton McDonald as support musicians. A live album and home video were recorded and released in 1993, both titled An Evening of Yes Music Plus that featured Jeff Berlin on bass due to Levin suffering from illness. The tour was also dogged by legal battles sparked by Atlantic Records due to the band's references to Yes in promotional materials and the tour title.

Following the tour, the group returned to the recording studio to produce their second album, tentatively called Dialogue. After hearing the tracks, Arista Records refused to release the album as they felt the initial mixes were weak. They encouraged the group to seek outside songwriters, preferably ones who could help them deliver hit singles. Anderson approached Rabin about the situation, and Rabin sent Anderson a demo tape with three songs, indicating that ABWH could have one but had to send the others back. Arista listened to them and wanted all of them, proposing to create a combined album with both Yes factions. The "Yes-West" group were working on a follow-up to Big Generator and had been shopping around for a new singer, auditioning Roger Hodgson of Supertramp, Steve Walsh of Kansas, Robbie Nevil of "C'est la Vie" fame, and Billy Sherwood of World Trade. Walsh only spent one day with them, but Sherwood and the band worked well enough together and continued with writing sessions. Arista suggested that the "Yes-West" group, with Anderson on vocals, record the four songs to add to the new album which would then be released under the Yes name.

Union was released in April 1991 and is the thirteenth studio album from Yes. Each group played their own songs, with Anderson singing on all tracks. Squire sang background vocals on a few of the ABWH tracks, with Tony Levin playing all the bass on those songs. The album does not feature all eight members playing at once. The track "Masquerade" earned Yes a Grammy Award nomination for Best Rock Instrumental Performance in 1992. Union sold approximately 1.5 million copies worldwide, and peaked at number 7 in the UK and number 15 in the U.S. charts. Two singles from the album were released. "Lift Me Up" topped the Mainstream Rock charts in May 1991 for six weeks, while "Saving My Heart" peaked at number 9.

Almost the entire band have openly stated their dislike of Union. Bruford has disowned the album entirely, and Wakeman was reportedly unable to recognise any of his keyboard work in the final edit and threw his copy of the album out of his limousine. He has since referred to the album as "Onion" because it makes him cry when he thinks about it. Union co-producer Jonathan Elias later stated publicly in an interview that Anderson, as the associate producer, knew of the session musicians' involvement. He added that he and Anderson had even initiated their contributions, because hostility between some of the band members at the time was preventing work from being accomplished. The 1991–1992 Union tour united all eight members on a revolving circular stage. Following the tour's conclusion in 1992, Bruford chose not to remain involved with Yes and returned to his jazz project Earthworks. Howe also ceased his involvement with the band at this time.

In 1993, the album Symphonic Music of Yes was released, featuring orchestrated Yes tracks arranged by Dee Palmer. Howe, Bruford and Anderson perform on the record, joined by the London Philharmonic Orchestra, the English Chamber Orchestra and the London Community Gospel Choir. Howe and Bruford performed together on television (presented as "Yes") to promote the album, marking Bruford's final performance under the Yes name before retiring from performing.

The next Yes studio album, as with Union, was masterminded by a record company, rather than by the band itself. Victory Music approached Rabin with a proposal to produce an album solely with the 90125 lineup. Rabin initially countered by requesting that Wakeman also be included. Rabin began assembling the album at his home, using the then-pioneering concept of a digital home studio, and used material written by himself and Anderson. The new album was well into production in 1993, but Wakeman's involvement had finally been cancelled, as his refusal to leave his long-serving management created insuperable legal problems.

Talk was released in March 1994 and is the band's fourteenth studio release. Its cover was designed by pop artist Peter Max. The record was largely composed and performed by Rabin, with the other band members following Rabin's tracks for their respective instrumentation. It was digitally recorded and produced by Rabin with engineer Michael Jay, using 3.4 GB of hard disk storage split among four networked Apple Macintosh computers running Digital Performer. The album blended elements of radio-friendly rock with a more structurally ambitious approach taken from the band's progressive blueprint, with the fifteen-minute track "Endless Dream". The album reached number 20 in the UK and number 33 in the U.S. The track "The Calling" reached number 2 on the Billboard Hot Mainstream Rock Tracks chart and "Walls", which Rabin had written with former Supertramp songwriter and co-founder Roger Hodgson, peaked at number 24. It also became Yes's second-last-charting single. Rabin and Hodgson wrote a lot of material together and became close friends. Yes performed "Walls" on Late Show with David Letterman on 20 June 1994.

The 1994 tour (for which the band included side man Billy Sherwood on additional guitar and keyboards) used a sound system developed by Rabin named Concertsonics which allowed the audience located in certain seating areas to tune portable FM radios to a specific frequency, so they could hear the concert with headphones.

In early 1995, following the tour, Rabin, feeling that he had achieved his highest ambitions with Talk, lamented its disappointing reception being due to the fact that it "just wasn't what people wanted to hear at the time", and remarked at the conclusion of the tour, "I think I'm done," returning to L.A. where he shifted his focus to composing for films. Kaye also left Yes to pursue other projects.

1995–2000: Keys to Ascension, Open Your Eyes and The Ladder
In November 1995, Anderson, Squire and White resurrected the "classic" 1970s lineup of Yes by inviting Wakeman and Howe back to the band, recording two new lengthy tracks called "Be the One" and "That, That Is". In March 1996 Yes performed three live shows at the Fremont Theater in San Luis Obispo, California which were recorded and released, along with the new studio tracks, that October on CMC International Records as the Keys to Ascension album, which peaked at number 48 in the UK and number 99 in the U.S. A same-titled live video of the shows was also released that year.

Yes continued to record new tracks in the studio, drawing some material written around the time of the XYZ project. At one point the new songs were to be released as a studio album, but commercial considerations meant that the new tracks were eventually packaged with the remainder of the 1996 San Luis Obispo shows in November 1997 on Keys to Ascension 2. The record managed to reach number 62 in the UK, but failed to chart in the U.S. Disgruntled at the way a potential studio album had been sacrificed in favour of the Keys to Ascension releases (as well as the way in which a Yes tour was being arranged without his input or agreement), Wakeman left the group again. (The studio material from both albums would eventually be compiled and re-released without the live tracks onto a single CD, 2001's Keystudio.)

With Yes in disarray again, Squire turned to Billy Sherwood (by now the band's engineer) for help. Both men had been working on a side project called Conspiracy and reworked existing demos and recordings from there to turn them into Yes songs, and also worked on new material with Anderson and White. (Howe's involvement at this stage was minimal, mainly taking place towards the end of the sessions.) Sherwood's integral involvement with the writing, production, and performance of the music led to his finally joining Yes as a full member (taking on the role of harmony singer, keyboardist and second guitarist).

The results of the sessions were released in November 1997 as the seventeenth Yes studio album, Open Your Eyes (on the Beyond Music label, who ensured that the group had greater control in packaging and naming). The music (mainly at Sherwood's urging) attempted to bridge the differing Yes styles of the 1970s and 1980s. (Sherwood: "My goal was to try to break down those partisan walls… For that, I am proud—to have aligned planets for a moment in time.") However, Open Your Eyes was not a chart success; the record peaked at number 151 on the Billboard 200 but failed to enter the charts in the UK. The title single managed to reach number 33 on the mainstream rock chart.

For the 1997/1998 Open Your Eyes tour, Yes hired Russian keyboard player Igor Khoroshev, who had played on some of the album tracks. Significantly, the tour setlist featured only a few pieces from the new album, and mostly concentrated on earlier material. Anderson and Howe, who had been less involved with the writing and production on Open Your Eyes than they'd wished, would express dissatisfaction about the album later.

By the time the band came to record their eighteenth studio album The Ladder with producer Bruce Fairbairn, Khoroshev had become a full-time member (with Sherwood now concentrating on songwriting, vocal arrangements and second guitar). With Khoroshev's classically influenced keyboard style, and with all members now making more or less equal writing contributions, the band's sound found a balance between its eclectic 1970s progressive rock style and the more polished pop sound sought on the previous album. The Ladder also featured Latin music ingredients and clear world music influences, mostly brought in by Alan White (although Fairbairn's multi-instrumentalist colleague Randy Raine-Reusch made a strong contribution to the album's textures). One of the album tracks, "Homeworld (The Ladder)", was written for Relic Entertainment's Homeworld, a real-time strategy computer game, and was used as the credits and outro theme. Pleased with the result of the album's creation, the band had been in tentative discussions to continue work with Fairbairn on future projects, but he died suddenly during the final mixing sessions of the album.

The Ladder was released in September 1999, peaking at number 36 in the UK and number 99 in the U.S. While on tour in 1999 and early 2000, Yes recorded their performance at the House of Blues in Las Vegas on 31 October 1999, releasing it in September 2000 as a live album and DVD called House of Yes: Live from House of Blues. As Sherwood saw his role in Yes as creating and performing new music, and the rest of the band now wished to concentrate on performing the back catalogue, he amicably resigned from Yes at the end of the tour.

In summer 2000, Yes embarked on the three-month Masterworks tour of the United States, on which they performed only material which had been released between 1970 and 1974 (The Yes Album through to Relayer). While on tour, Khoroshev was involved in a backstage incident of sexual assault with a female security guard at Nissan Pavilion in Bristow, Virginia on 23 July 2000 and parted company with the band at the end of the tour.

2001–2009: Magnification, 35th Anniversary Collection, hiatus and side projects
Following the departures of Sherwood and Khoroshev and the death of Fairbairn, Yes once again set about reinventing themselves, this time choosing to record without a keyboardist, opting instead to include a 60-piece orchestra conducted by Larry Groupé; the first time the band used an orchestra since Time and a Word in 1970. The result was their nineteenth studio album, 2001's Magnification. The record was not a chart success; it peaked at number 71 in the UK and number 186 in the U.S. The Yes Symphonic Tour ran from July to December 2001 and had the band performing on stage with an orchestra and American keyboardist Tom Brislin. Their two shows in Amsterdam, in November, were recorded for their 2002 DVD and 2009 CD release Symphonic Live. The band invited Wakeman to play with them for the filming, but he was on a solo tour at the time.

Following Wakeman's announcement of his return in April 2002, Yes embarked on their Full Circle Tour in 2002–2003 that included their first performances in Australia since 1973. The band's appearance in Montreux on this tour was documented on the album and DVD Live at Montreux 2003, released in 2007. In 2002, Rhino Records issued In a Word: Yes, a five CD box set of classic, rare and unreleased tracks from the band's history, including some from the 1979 Paris sessions, followed a year later by the compilation album The Ultimate Yes: 35th Anniversary Collection, which reached number 10 in the UK charts, their highest-charting album since 1991, and number 131 in the U.S. During 2003 and 2004, Rhino also released remastered editions of all Yes' studio albums up to, and including, 90125, all featuring rare and previously unreleased bonus tracks. These editions would be collected in 2013 as The Studio Albums 1969–1987 box set, with Big Generator also receiving the same treatment.

On 26 January 2004, the film Yesspeak premiered in a number of select theatres, followed by a closed-circuit live acoustic performance of the group. Both Yesspeak and the acoustic performance, titled Yes Acoustic: Guaranteed No Hiss, were released on DVD later that year. A 35th anniversary tour followed in 2004 which was documented on the DVD Songs from Tsongas, released in 2005.

In 2004, Squire, Howe and White reunited for one night only with former members Trevor Horn, Trevor Rabin and Geoff Downes during a show celebrating Horn's career, performing three Yes songs. The show video was released in DVD in 2008 under the name Trevor Horn and Friends: Slaves to the Rhythm. On 18 March 2003, minor planet (7707) Yes was named in honour of the band.

After their 35th Anniversary Tour, Yes described themselves as "on hiatus". Howe recalls this break as very much welcomed by the band due to the heavy touring of the previous year and a half, and in his opinion necessary since the band's performance on the later (European) shows of the Full Circle Tour had started to deteriorate as a result of heavier alcohol consumption by Squire and other members in spite of rules the band had agreed on in 2001 barring drinking prior to or during shows.

During this period, Anderson toured both solo and jointly with Wakeman (for concerts focused largely on Yes material); Squire released his long-awaited second solo album, and White launched his own eponymous band White (subsequently joining fellow Yes-men Tony Kaye and Billy Sherwood in Circa). Wakeman also continued to release solo material, as did Howe, who released three solo albums and also reunited to record, release and tour with once-and-future Yes bandmate Geoff Downes in the reunion of the original Asia lineup.

In May 2008, a fortieth-anniversary Close to the Edge and Back Tour—which was to feature Oliver Wakeman on keyboards—was announced. Anderson has said that they had been preparing four new "lengthy, multi-movement compositions" for the tour, but he had expressed disinterest in producing a new studio album after the low sales of Magnification, suggesting that recording one was not "logical anymore". The tour was abruptly cancelled prior to rehearsals, after Anderson suffered an asthma attack and was diagnosed with acute respiratory failure, and was advised by doctors to avoid touring for six months.

In September 2008, the remaining three members, eager to resume touring regardless of Anderson's availability, announced a tour billed as Steve Howe, Chris Squire and Alan White of Yes, with Oliver Wakeman on keyboards and new lead singer Benoît David, a Canadian musician who'd previously played with Mystery and with Yes tribute band Close to the Edge. Anderson expressed his disappointment that his former bandmates had not waited for his recovery, nor handled the situation "in a more gentlemanly fashion", and while he wished them well, he referred to their ongoing endeavours as "solo work" and emphasised his view that their band "is not Yes". As Anderson was a co-owner of the Yes trademark, the remaining members agreed not to tour with the Yes name. The In the Present Tour started in November 2008, but it was cut short in the following February when Squire required emergency surgery on an aneurysm in his leg. Touring resumed in June 2009, with Asia and Peter Frampton supporting the band at several shows.

2009–2015: Lineup changes, Fly from Here, Heaven & Earth and album series tours
In October 2009, Squire declared that the new lineup from the In the Present Tour "is now Yes", and the tour, with the band now billed as Yes, continued through 2010. Their 2010 studio sessions would yield material eventually to be released as From a Page.

In August 2010, it was announced that new material had been written for Fly from Here, Yes's twentieth studio album. Yes then signed a deal with Frontiers Records and began recording in Los Angeles with Trevor Horn serving as producer. Much of the album material was extrapolated from a pair of songs written by Horn and Geoff Downes around the time that they had been Yes members during 1980 and the Drama album. During the recording sessions, the band thought it would be wise to bring Downes back to replace Oliver Wakeman on keyboards, reasoning that he was closer to the material. Asserting that all studio recording was to be carried out by "the lineup that actually ... does the work", Howe dispelled rumours that an invitation to sing on the record had been extended to Anderson, who subsequently announced a new project as an ongoing collaboration with former Yes members Wakeman and Rabin.

Upon completion of recording in March 2011, and post-production a month later, the album was released worldwide that July. Fly from Here peaked at number 30 in the UK and 36 in the U.S.

In March 2011 Yes embarked on their Rite of Spring and Fly from Here tours to support Fly from Here, with Styx and Procol Harum supporting on select dates. 2011 saw the release of the live Yes album and DVD, In the Present – Live from Lyon, taken from the band's previous tour. Trevor Rabin joined the band in playing "Owner of a Lonely Heart" at one show in Los Angeles.

In February 2012, after David contracted a respiratory illness, he was replaced by Glass Hammer singer Jon Davison. Davison was recommended to Squire by their common friend Taylor Hawkins, drummer for the Foo Fighters. Following the announcement Anderson expressed his disappointment that "they had to get yet another singer after the guy who replaced me became ill," stating that he offered to "get back with them" due to his being "healthy again", and expressed his view that "they have let a lot of fans down." Davison would join Yes to complete the band's scheduled dates across the year.

On 7 March 2013, founding guitarist Peter Banks died of heart failure.

From March 2013 to June 2014, Yes completed their Three Album Tour where they performed The Yes Album, Close to the Edge and Going for the One in their entirety. During the tour, they led a progressive-rock themed cruise titled "Cruise to the Edge". A second cruise happened in April 2014, and the band headlined the November 2015 edition. The show on 11 May 2014 in Bristol was released as Like It Is: Yes at the Bristol Hippodrome in 2014, featuring performances of Going for the One and The Yes Album.

Heaven & Earth, the band's twenty-first studio album and first with Davison, was recorded between January and March 2014, at Neptune Studios in Los Angeles with Roy Thomas Baker as producer and former band member Billy Sherwood as engineer on backing vocals and mixer. Squire enjoyed working with Baker again, describing him as a "force in the studio" (Baker had previously worked with the group in the late 70s on a project that had ultimately been scrapped). Howe reflected that he "tried to slow down" the album production in hopes that "maybe we could refine it ..." and compared it to the success of the band's classic works in which they "arranged the hell out of" the material. He wrote later that Baker behaved erratically and was difficult to work with, and was dissatisfied with the final mixes of the album.

To promote Heaven & Earth, Yes resumed touring between July and November 2014 with a world tour covering North America, Europe, Australia, New Zealand and Japan, playing Fragile and Close to the Edge in their entirety with select songs from Heaven & Earth and encores. The show in Mesa, Arizona was released in 2015 as Like It Is: Yes at the Mesa Arts Center which features the performances of Close to the Edge and Fragile.

2015–2018: Squire's death, Yes Featuring ARW, and 50th Anniversary Tour
In May 2015, news of Squire's diagnosis with acute erythroid leukaemia was made public. This resulted in former guitarist Billy Sherwood replacing him for their 2015 summer North American tour with Toto between August–September, and their third annual Cruise to the Edge voyage in November, while Squire was receiving treatment. His condition deteriorated soon after, and he died on 27 June at his home in Phoenix, Arizona. Downes first announced Squire's death on Twitter. Squire asked White and Sherwood to continue the legacy of the band, which Sherwood recalled "was paramount in his mind ... so I'm happy to be doing that." Yes performed without Squire, for the first time in their 47-year history, on 7 August 2015 in Mashantucket, Connecticut. In November 2015, they completed their annual Cruise to the Edge voyage.

In January 2016, former Yes members Anderson, Rabin and Wakeman announced their new group, Anderson, Rabin and Wakeman (ARW), something that had been in the works for the previous six years. Wakeman stated that Squire's passing inspired them to go ahead with the band. Anderson said they had begun writing new material. Their first tour, An Evening of Yes Music and More, began in October 2016 and lasted for one year with drummer Lou Molino III and bassist Lee Pomeroy. Following Yes's induction into the Rock and Roll Hall of Fame, the band renamed themselves Yes Featuring Jon Anderson, Trevor Rabin, Rick Wakeman. After a four-month tour in 2018 to celebrate the fiftieth anniversary of Yes, the group disbanded.

Meanwhile, Howe & White's ongoing Yes lineup performed Fragile and Drama in their entirety on their April–June, 2016 European tour. Trevor Horn was a guest vocalist for two UK shows, singing "Tempus Fugit". For the subsequent North American tour between July and September of that year, the set was changed to include Drama and sides one and four of Tales from Topographic Oceans. White missed the latter to recover from back surgery; he was replaced by American drummer Jay Schellen. Dylan Howe, Steve's son, had originally been asked to be White's standby, but was prevented from being involved by visa problems. White returned on a part-time basis in November for their 2016 Japanese tour; until the following February, Schellen continued to sit in for White on most shows, with White playing on some songs. The live album Topographic Drama – Live Across America, recorded on the 2016 tour, was released in late 2017 and marks Yes's first not to feature Squire. In February 2017, Yes toured the U.S. which included their headline spot at Cruise to the Edge.

Yes toured the U.S. and Canada with the Yestival Tour from August to September 2017, performing at least one song from each album from Yes to Drama. Dylan Howe joined the band as a second drummer. The tour was cut short following the unexpected death of Howe's son and Dylan's brother Virgil.

In February 2018, Yes headlined Cruise to the Edge involving original keyboardist Tony Kaye as a special guest, marking his first performances with the band since 1994. This was followed by the band's 50th Anniversary Tour with a European leg in March, playing half of Tales from Topographic Oceans and a selection of songs from their history. The two London dates included an anniversary fan convention which coincided with the release of Fly from Here – Return Trip, a new version of the album with new lead vocals and mixes by Horn, who also performed as a special guest singer during a few shows on the leg. A U.S. leg in June and July also included guest performances from Kaye, Horn, Tom Brislin and Patrick Moraz, who had last performed with Yes in 1976. The tour culminated with a Japanese leg in February 2019. Schellen continued to play as a second drummer to support White, who had a bacterial infection in his joints from November 2017. The tour was documented with the live album Yes 50 Live, released in 2019.

2019–present: The Quest, White's death, and Mirror to the Sky
In June and July 2019, Yes headlined the Royal Affair Tour across the U.S. with a lineup featuring Asia, John Lodge and Carl Palmer's ELP Legacy with Arthur Brown. This was followed by previously unreleased music, recorded during the Fly from Here sessions, released as From a Page, a release spearheaded by Oliver Wakeman who wrote most of its material. The CD version includes an expanded edition of In the Present – Live from Lyon. A live album from the Royal Affair Tour, entitled The Royal Affair Tour: Live from Las Vegas, was released in October 2020. Videos of Dean creating the album cover were streamed live on Facebook. Yes had planned to resume touring in 2020, beginning with a short U.S. leg in March and their appearance on Cruise to the Edge, followed by a European tour that continued their Album Series Tour and featured Relayer performed in its entirety. Both tours were postponed due to the COVID-19 pandemic. Later in 2020, Davison and Sherwood formed Arc of Life, a new group featuring Schellen and keyboardist Dave Kerzner.

Yes worked on new material for their twenty-second studio album The Quest, from late 2019 through 2021, with Howe as the sole producer. The lockdowns brought on by the COVID-19 pandemic resulted in members recording their parts in separate studios and sending them to Howe and engineer Curtis Schwartz in England. In 2021, Howe, Davison and Downes got together and completed the album. The Quest was released on 1 October 2021, being the band's first new album in seven years, and the opening two tracks, "The Ice Bridge" and "Dare to Know", were released as digital singles. The album reached No. 20 in the UK. By the time The Quest was released, Yes had already discussed plans regarding a follow-up album. In May 2022, Sherwood confirmed that the band had started to record new material.

On 22 May 2022, Yes announced that White would sit out of their upcoming tour due to health issues and that Schellen would handle the drums. White died on 26 May. The band kicked off a tour in June 2022 to commemorate the 50th anniversary of Close to the Edge. They had originally planned to resume their Album Series Tour with a European leg featuring Relayer performed in its entirety, before the dates were rescheduled for 2023 and the program changed. A tribute concert for White was held in Seattle on 2 October, featuring special guests and former Yes guitarist Trevor Rabin.

In January 2023, Yes announced that Warner Music Group had acquired the recorded music rights and associated income streams relating to 12 studio albums from 1969 to 1987, and several live and compilation releases. In February, Schellen joined the band as a permanent member.

In 2023, Yes had planned to continue their Album Series Tour with Relayer performed in its entirety across Europe and the UK, but it was subsequently delayed to 2024 due to insurance incentives related to COVID-19 and acts of war being withdrawn. The non-cancelled UK dates were later rescheduled for The Classic Tales of Yes Tour 2024.  Meanwhile, Anderson toured in Spring 2023 under the title "Yes Epics and Classics" with a setlist devoted to early 70s Yes material. About the tour, which features Anderson backed by The Band Geeks, he tells Rolling Stone: "In my mind… I'm still in Yes" and expressed his desire for a reunion.

On 10 March 2023, Yes announced that their new studio album, Mirror to the Sky, was set for release on 19 May 2023. On the same day the opening track, "Cut from the Stars", was released as a digital single, followed by the release of "All Connected" a few weeks later. Band members have said that the formation of this album was based on continuing the creative process from The Quest, further developing "song sketches, structures, and ideas that were demanding attention".

Rock and Roll Hall of Fame
Yes were eligible to be inducted into the Rock and Roll Hall of Fame in 1994. In August 2013, the fan campaign Voices for Yes was launched to get the band inducted. The campaign was headed by two U.S. political operators: John Brabender, senior strategist for Republican Rick Santorum's 2012 U.S. presidential campaign, and Tad Devine, who worked on Democrat John Kerry's 2004 presidential campaign and Al Gore's 2000 campaign. Also involved were former NBC president Steve Capus and former White House Political Director Sara Taylor. On 16 October 2013, Yes failed to be inducted. In November 2013, Anderson expressed a wish to return to Yes in the future for a "tour everybody dreams of", and cited Yes's nomination for inclusion into the Rock and Roll Hall of Fame as a motive for a possible reunion.

On 7 April 2017, Yes were inducted into the 2017 class by Geddy Lee and Alex Lifeson of Rush in a ceremony held in New York City. The musicians inducted were Anderson, Howe, Rabin, Squire, Wakeman, Kaye, Bruford, and White, the same lineup featured on Union and its tour. Having failed to pass the nomination stage twice previously, the announcement of their forthcoming induction was made on 20 December 2016. In the ceremony, Anderson, Howe, Rabin, Wakeman, and White performed "Roundabout" with Lee on bass, followed by "Owner of a Lonely Heart" with Howe on bass. Bruford attended the ceremony but did not perform, while Kaye did not attend. Dylan Howe (Steve's son) described how at the ceremony the two groups—Yes and ARW—were seated at adjacent tables but ignored each other.

Band members

Current members
 Steve Howe – guitars, vocals
 Geoff Downes – keyboards
 Billy Sherwood – bass guitar , vocals , guitars , keyboards ;
 Jon Davison – lead vocals, acoustic guitar, percussion, occasional keyboards
 Jay Schellen – drums, percussion

Former members
 Chris Squire – bass guitar, vocals
 Jon Anderson – lead and backing vocals, guitar, percussion, occasional synthesizer
 Bill Bruford – drums, percussion
 Tony Kaye – organ, piano, synthesizer
 Peter Banks – guitar, backing vocals
 Tony O'Reilly – drums
 Rick Wakeman – keyboards
 Alan White – drums, percussion, piano, backing vocals
 Patrick Moraz – keyboards
 Trevor Horn – lead vocals, bass guitar
 Trevor Rabin – guitars, lead and backing vocals, keyboards
 Eddie Jobson – keyboards
 Igor Khoroshev – keyboards, backing vocals
 Benoît David – lead vocals, acoustic guitar
 Oliver Wakeman – keyboards

Former live musicians
 Ian Wallace – drums
 Casey Young – keyboards
 Tom Brislin – keyboards, backing vocals, percussion
 Dylan Howe – drums

Timeline

Discography

Studio albums

 Yes (1969)
 Time and a Word (1970)
 The Yes Album (1971)
 Fragile (1971)
 Close to the Edge (1972)
 Tales from Topographic Oceans (1973)
 Relayer (1974)
 Going for the One (1977)
 Tormato (1978)
 Drama (1980)
 90125 (1983)
 Big Generator (1987)
 Union (1991)
 Talk (1994)
 Keys to Ascension (1996)
 Keys to Ascension 2 (1997)
 Open Your Eyes (1997)
 The Ladder (1999)
 Magnification (2001)
 Fly from Here (2011)
 Heaven & Earth (2014)
 The Quest (2021)
 Mirror to the Sky (2023)

Tours

Citations

References

Bibliography

Further reading
 Yes: The Authorized Biography, Dan Hedges, London, Sidgwick and Jackson Limited, 1981
 Yes: But What Does It Mean?, Thomas Mosbø, Milton, a Wyndstar Book, 1994
 Yesstories: Yes in Their Own Words, Tim Morse and Yes, St. Martin's Griffin Publishing, 15 May 1996
 Music of Yes: Structure and Vision in Progressive Rock, Bill Martin, Chicago e La Salle, Open Court, 1 November 1996
 Close To the Edge – The Story of Yes, Chris Welch, Omnibus Press, 1999/2003/2008
 Beyond and Before: The Formative Years of Yes, Peter Banks & Billy James, Bentonville, Golden Treasure Publishing, 2001
 Yes: Perpetual Change, David Watkinson and Rick Wakeman, Plexus Publishing, 1 November 2001
 Yes: An Endless Dream Of '70s, '80s And '90s Rock Music, Stuart Chambers, Burnstown, General Store Publishing House, 2002
 Yes Tales: An Unauthorized Biography of Rock's Most Cosmic Band, Scott Robinson, in Limerick Form, Lincoln, Writers Club Press, iUniverse Inc., 2002
 The Extraordinary World of Yes, Alan Farley, Paperback, 2004
 Mountains Come Out of the Sky: The Illustrated History of Prog Rock, Will Romano, 1 November 2010
 Yes in Australia, Brian Draper, Centennial, Sydney, 2010
 Close To The Edge – How Yes's Masterpiece Defined Prog Rock, Will Romano, 2017
 Yes, Aymeric Leroy, Le Mot et le Reste, 2017
 Solid Mental Grace: Listening to the Music of Yes, Simon Barrow, Cultured Llama Publishing, 2018

Songbooks
 Yes Complete Vol. One − 1976 Warner Bros. Publications Inc.
 Yes Complete Vol. Two – 1977 Warner Bros. Publications Inc.
 Yes Complete – Deluxe Edition, 1 October 1981
 Yes: Back from the Edge, Mike Mettler, Guitar School 3, no. 5, September 1991
 Classic Yes – Selections from Yesyears, April 1993

External links

 Forgotten Yesterdays – A Comprehensive Guide To Yes Shows

Atco Records artists
Atlantic Records artists
Eagle Records artists
Elektra Records artists
English art rock groups
English musical quintets
English progressive rock groups
Grammy Award winners
Musical groups disestablished in 1981
Musical groups disestablished in 2004
Musical groups established in 1968
Musical groups from London
Musical groups reestablished in 1982
Musical groups reestablished in 2008
Symphonic rock groups
1968 establishments in England

Yes (band)


Paul Anna Kamiel Michiels (born 15 June 1948) is a Belgian singer and songwriter who became popular for his work with the Belgian music group Soulsister. He has earned the nickname Polle Pap, a name he inherited from a childhood job as a milkman in his hometown of Heist-op-den-Berg, where he was born.

Paul started out with a small band called Purple Bus. From 1974 until 1980, he played keyboards for a British-Belgian band called Octopus. After Octopus broke up, Paul then went solo under the name P.P. Michiels. Under that name, he became famous in his home country for a single titled "Females," which notoriously became popular because it was accompanied by a seducing music video.

In 1986, Paul teamed up with Belgian singer Jan Leyers to form the group The Soul Sisters. They released three very popular singles: "You Get to Me," "Talk About It" and "Like a Mountain." In 1988, they changed their name to Soulsister and hit it big time with the soulful, Motown-sounding song "The Way to Your Heart" on their first album, It Takes Two. The band changed their name again in 1990, this time to Leyers, Michiels, and SoulSister, and released Heat. They released two more studio albums and a live album, and released a "Very Best Of" compilation in 1997 following their split.

After splitting away, Paul returned to his solo career. In 1998, he released The Inner Child, which included the hit "One Day at a Time." In 2001, Paul released a personal compilation titled Forever Young, which included the title song by Alphaville (which Paul sang for the 2000 Belgian movie Team Spirit) as well as pieces by Eddie Cochran, Jacques Dutronc, Donovan, Dionne Warwick, The Wallace Collection, Easybeats, Eddie Floyd, and other artists from Europe and North America.

Paul refrained from releasing another album too soon, but stayed on tour with the "Big M's," the name of his band. In 2006, he released a third solo album, Magic in the House. The album featured the singles "If I Live, If I Breathe" and "The Light," the latter being released as both a standard and instrumental piece.

Sources
http://houbi.com/belpop/groups/michiels.htm
http://www.paulmichiels.be/v1/biografie/biografie.php

External links
Official Site of Paul Michiels (Dutch)
 (Dutch)

1948 births
Living people
Belgian male singers
Belgian singer-songwriters
Belgian male singer-songwriters
People from Heist-op-den-Berg

Paul Michiels


Esquire Network was an American pay television network that was a 50/50 joint venture between NBCUniversal and the Hearst Corporation. The network carried programs aimed at a metrosexual audience centering on travel, cooking, sports and fashion, along with reruns of popular sitcoms and dramas.

History

Style Network

The channel was originally launched as the Style Network (although on-air promotions typically referred to it as simply "Style") on October 1, 1998, serving as a spin-off of E!. It was intended to leverage E!'s coverage of fashion and to provide an expanded venue for shows such as Fashion Emergency. The network focused on fashion, design, interior decoration and urban lifestyle-related programming. Style provided coverage of events like New York Fashion Week and showcased various designers. Early programming included: The Look for Less, Shabby Chic with Rachel Ashwell, Glow: The Beauty Show, Vogue Takes..., Stylemaker, Model, Runway, Dining with Style, and Homes with Style. Around 2003, the channel began airing a variety of "makeover" shows. The home makeover show Clean House lasted for ten seasons on the network; How Do I Look? lasted eight seasons.

Starting around 2008, Style shifted its focus to personality-based reality programing such as Jerseylicious, Tia & Tamera, and Big Rich Texas, along with a female-focused spin-off of The Soup known as The Dish. On June 25, 2012, the Style Network was rebranded with a revised logo and a new slogan: "Work it. Love it. Style it." In 2013, the channel launched two real estate related shows: Hot Listings: Miami and Built, which featured male models remodeling houses.

Esquire Network transition
In December 2012, NBCUniversal signed a brand licensing deal with the Hearst Corporation, owner of Esquire magazine, to relaunch G4 into Esquire Network, which would air shows aimed at a metrosexual audience about travel, cooking, fashion and other male-targeted programming that is not sports related, including the addition of acquired and archived program content from the NBCUniversal library such as Party Down, Parks and Recreation and week-delayed episodes of Late Night with Jimmy Fallon.

The rebranding was scheduled to take place on April 22, 2013, but was moved to an unspecified date in the summer on April 15, 2013, as network general manager Adam Stotsky stated the rebranding was pushed back in order to have a broader slate of original series to launch than would have been available for the April launch. In May 2013, the launch date was pushed to September 23, 2013, with its first program being an 80th anniversary special on Esquire which was rebroadcast later in primetime.

On September 9, 2013, NBCUniversal announced that it would replace Style Network with Esquire Network, leaving G4 "as is for the foreseeable future, though it's highly unlikely the company will invest in more original programming" according to The Hollywood Reporter. One of the factors was likely Style's distribution on DirecTV, giving Esquire more homes at launch with the Style channel slot than they would have had with G4 (G4 had earlier been dropped by DirecTV in 2010 due to the channel's low viewership and had never been able to come to terms on a new carriage agreement).

This forced last-second changes to Esquire Network's planned schedule outside of primetime. Cable-edited reruns of Sex and the City (a series which took heavy criticism from Esquire magazine during its original run) remained on its schedule until December 2013 (when the rights were shifted to E!), with most of Style's series quietly shelved, or transferred to E!, Bravo and Oxygen. International versions of Style Network continued to exist several years after, as the Esquire brand license was restricted solely to the United States. The original iteration of G4 ceased on December 31, 2014.

The sudden change in networks surprised both viewers and providers, who had already shifted or expected the G4 channel space to a more appropriate place among other men's networks, and now had to deal with shifting Esquire's channel position away from women's networks, along with having to answer customer inquiries about the sudden demise of the Style Network and its programming. More privately, talent which had been brought on for Style programming, including the Mowry twins, reacted angrily to seeing their projects cancelled without notice or be shifted among other networks with different programming priorities, and NBCUniversal would have to deal with the repercussions of ending a network's life with only two weeks' notice.

Style made no mention of the oncoming rebranding until September 18, when a 60-second farewell clip was posted on its YouTube channel serving as a retrospective of the network's history and ending with a thanks to the channel's audience for their viewership. Other social media platforms for individual Style programs also began to mention the end of the network on that day. The last program to air on Style on September 22, 2013, was an overnight repeat of the Tia & Tamera season finale episode "Twerkin' 9 to 5" (which became its de facto series finale as Tia and Tamera Mowry opted not to continue with the series) at 2 a.m. Eastern Time, with the nightly three-hour paid programming block leading into the Esquire Network launch special after a 30-second abbreviated version of the Style farewell clip aired on the channel space. The changeover occurred on September 23, 2013, at 6 a.m. Eastern Time.

2016–2017 carriage decline
Throughout 2015 and into 2016, the majority of the original programs produced for Esquire Network ended up being low-rated, with only the youth football reality series Friday Night Tykes and the network's Men in Blazers–produced live broadcasts of Pamplona's running of the bulls receiving any critical acclaim or notice. The rest of its lineup was criticized for depending on derivative and "copycat" formats of better programming, which was often found on other networks or produced for free consumption independently and uploaded to streaming video providers such as YouTube and Vimeo. After only several months, the network stopped airing repeats of Late Night with Jimmy Fallon after its February 2014 end, immediately upon his move to the higher-profile Tonight Show, which NBC refused to dilute the value of with cable repeats.

American Ninja Warrior, which had started on G4, was expected to be a linchpin of Esquire Network's lineup, but with the delay of the network's launch to the fall of 2013, NBCUniversal did not want to wait to launch the season, and the program had success airing on NBC during the summer as repeats in previous seasons. The show's sixth season, which had been taped expecting to air as part of Esquire Network and visually featured its logo in prominent places, then moved to NBC for the 2014 summer season, and airing as a new season on the broadcast network, proved the show's worth with great ratings. NBCUniversal decided to move the series permanently to NBC, leaving Esquire Network with repeats rather than new episodes, and even before its launch, removing one of the network's G4-era critical series from being used to promote its other content.

Though it did receive a spin-off as consolation, Team Ninja Warrior, Esquire Network had no other compatible programming to promote it, and it never cracked the top 100 cable shows in any of its first season airings. It was moved to USA Network for its second season and beyond.

Press attention for the network's programming soon was limited to the bookends of their premieres, then to their eventual notice of cancellation, including little to no promotion from Esquire magazine itself due to a lack of compatible promotion. The magazine, which under the brand licensing deal was expected to be used to source new series ideas or its writers participating in factual programming such as countdowns, was also severely underutilized, with most of the content developed for the network ending up being from traditional talent pipelines used by NBCUniversal, rather than the magazine itself.

Due to these multiple issues, the network began to carry more repeats of existing library comedy and drama series (many of which were seen over-the-air for free on sister networks Cozi TV, LXTV, and NBC's streaming apps, along with other NBCU networks), which again brought the network towards the same issues befalling G4, Chiller, and Cloo, where little original content being produced made it a network viewers and providers claimed provided little value for its monthly carriage fees.

On October 1, 2016, Dish Network removed the channel from the lineup. As with their earlier dropping of Cloo, the provider stated that most of the network's rerun-centric programming was duplicative of that available on other networks and streaming services. The only notice of the dropping was through the provider's monthly billing statement. AT&T then gave notice that Esquire Network would be dropped from U-verse and DirecTV on December 15, 2016, a move that cut the network's availability by 25% and removed almost all consumer-based satellite service availability outside of niche C-Band consumers. Charter Communications through its Time Warner Cable, Bright House Networks and Spectrum subsidiaries removed the channel from their lineup nationwide on April 25, 2017 (the same day they removed Chiller from their lineup, also nationwide), leaving Verizon FiOS and Google Fiber as a few of the last cable providers to carry Esquire Network until its demise; online access to the network's TV Everywhere live feed was maintained by Charter until the network's termination.

End of operations
On January 18, 2017, it was announced that the network would end all pay television distribution in the summer of 2017 and convert to an online-only model. The network went off the air on June 28 at noon Eastern time. The network programmed a final marathon of Friday Night Tykes that day, ending with the season one finale, "Finish What We Started". After the episode ended, a "thank you" slide was shown with the network's web address (which shortly thereafter was turned into a redirect to the main Esquire website), after which the channel space created by the Style Network in 1998 folded and ceased to exist. No further comment was made in regards to the supposed online-only version of the network, and Esquire's "TV" section on their website now contains the general features and behind-the-scenes footage prevalent on most magazine sites. The network's final two projects, Edgehill (a true crime series about the Murder of Suzanne Jovin) and Borderland USA (a reality series about the U.S. Border Patrol Tactical Unit) were promised to air on the new digital version of the network, but have since been abandoned.

By coincidence, G4's Canadian network outlived both its mother American network and the Esquire Network, ending operations on August 31, 2017, two months longer than Esquire.

G4 would relaunch in the United States in a new hybrid cable-digital form on November 16, 2021, after a year of lead-up promotions and announcements, though it ended operations itself on November 18, 2022.

Hearst has since re-established Esquire-branded programming through the stations of Hearst Television and its streaming network Very Local beginning in 2021, with In Transit, a tourism travelogue series hosted by Dave Holmes.

Programming

International

Internationally, Style Network was launched in the Arab world in December 2007 on Showtime Arabia, across Southern and Western Africa during back in November 2007 on DStv, in the United Kingdom and Ireland on June 10, 2008, in Japan on World on Demand, Australia in November 2009, and Poland in August 2011. The network was also launched in CEE, from February 19, 2011, until May 1, 2014

Style Network continues to air in international markets, though its British/Irish version ceased operations on December 9, 2013, while its African version ceased operations on March 31, 2015. The brand licensing agreement with Hearst for Esquire Network was exclusive to the United States, and NBCU and Hearst never pursued any international versions for Esquire Network.

In 2014, the Australian version of the Style Network made its first local commission, Fashion Bloggers, after its American counterpart rebranded. Style Australia shut down on 17 December 2019 as part of a restructuring of NBCU's Australian operations and a broad re-map of Foxtel's channel lineup.

References

Defunct television networks in the United States
Esquire (magazine)
Television channels and stations established in 1998
Television channels and stations disestablished in 2017
1998 establishments in the United States
2017 disestablishments in California
Men's interest channels
NBCUniversal networks
Former subsidiaries of The Walt Disney Company

Esquire Network


Mount Mercy University is a private Catholic liberal arts university in Cedar Rapids, Iowa, founded by the Sisters of Mercy in 1928.

Students take a core of liberal arts courses as a foundation for areas of study including English, fine arts, history, mathematics, multicultural studies, natural science, philosophy, religious studies, social science and speech/drama. The university offers more than 40 undergraduate programs and seven graduate programs, a number of which are available online.

Campus
Mount Mercy University's 40-acre campus is in a tree-lined residential neighborhood in the heart of Cedar Rapids, Iowa (population 134,268). It contains the Our Mother of Sorrows Grotto, which is listed as a historic district on the National Register of Historic Places.

History

Mount Mercy University was founded as a two-year college for women in 1928 by the Sisters of Mercy of Cedar Rapids, Iowa. These sisters, whose order was founded in 1831 by Catherine McAuley in Dublin, Ireland, have been active in Cedar Rapids since 1875. The college was an outgrowth of their concerns about the education of women.

In 1957, Mount Mercy became a four-year institution and awarded its first bachelor's degree in 1959. The college received accreditation as a baccalaureate institution by the North Central Association in 1960. In 1968, the Sisters of Mercy transferred their legal authority and responsibility to a self-perpetuating independent board of which three members would always be Sisters of Mercy.  Mount Mercy College became coeducational in 1969. While integrating a strong liberal arts component, the college has always emphasized professional development from its early involvement, as a junior college, on business courses and teacher education. The departments of nursing, education, and social work were accredited in the 1960s and 1970s as the four-year programs developed. Initiated in 1997, the Adult Accelerated program, a joint Mount Mercy University/Kirkwood Community College accelerated degree completion program for working adults meets an important community workforce development need.

On August 23, 2010, the institution was re-designated as a university.

Presidents
Mary Ildephonse Holland, 1928–1933, 1946–1961
Mary Cornelia Burke, 1933 to 1939
Mary Maura Marron, 1939–1946
Mary Agnes Hennessey, 1961–1977
Thomas R. Feld, 1977–1999
Robert Pearce, 1999–2006
Christopher R.L. Blake, 2006–2013
Norm R. Nielsen, 2013-2014
Laurie Hamen, 2014–2020
Robert Beatty, July 1, 2020 – September 9, 2020
Tim Laurent, Serving as interim-president as of September 9, 2020 - 2021
Todd A. Olson, July 21, 2021 – present

Catholic identity

Mount Mercy is sponsored by the Institute of the Sisters of Mercy of the Americas, through the Conference for Mercy Higher Education.
The Campus Ministry team supports students' faith development and spiritual life through daily mass, retreats, service-learning opportunities and vocation discernment activities.

Mass during fall and spring semesters is usually held at 7:30 p.m. Sundays and 12:00 a.m. Thursdays, subject to change.

Athletics
The Mount Mercy athletic teams are called the Mustangs. The university is a member of the National Association of Intercollegiate Athletics (NAIA), primarily competing in the Heart of America Athletic Conference (HAAC) since the 2016–17 academic year, after spending a season as an NAIA Independent within the Association of Independent Institutions (AII) during the 2015–16 school year. The Mustangs previously competed in the defunct Midwest Collegiate Conference (MCC) from 1988–89 to 2014–15 (when the conference dissolved).

Mount Mercy competes in 20 intercollegiate varsity sports. Men's sports include baseball, basketball, bowling, cross country, golf, soccer, track & field (indoor and outdoor) and volleyball; while women's sports include basketball, bowling, cross country, golf, soccer, softball, track & field (indoor and outdoor) and volleyball; and co-ed sports include competitive cheer and competitive dance. Varsity and junior varsity programs are available in several sports.

Intramural activities include basketball, volleyball, golf, flag football, softball and cross country. 45% of traditional undergrads are student-athletes.

Facilities
The Rinderknecht Athletic Center (RAC), Mount Mercy's state-of-the-art wellness and athletic performance center, opened in June 2019, was made possible by a substantial gift from John Rinderknecht, Mount Mercy trustee and president of Ram Development Company. The dynamic training facility serves Mount Mercy's 500+ student-athletes and 2,100+ students, faculty, and staff. Located across the street from the Robert W. Plaster Athletic Complex—the transformed warehouse includes batting cages, golf hitting bays and putting green, a sprint track, athletic training room, fitness/cardio/weight equipment, a dynamic movement area for yoga, and more. Renovations included a new HVAC system and new flooring, roof, siding, and windows that look onto the athletic complex. The neighboring building, formerly the Barry K. Wendt building, is also a new addition to Mustang athletics and houses administrative offices.

The Robert W. Plaster Athletic Complex (PAC) opened in September 2017, on 22 acres of land adjacent to the main campus, finally giving six of our 18 intercollegiate programs something they'd never had—a home field advantage. The Robert W. Plaster Athletic Complex is home to the Mustang baseball, softball, men's and women's track & field, and men's and women's soccer.

Achievements
Mount Mercy's 18 athletic teams have won 50 conference team titles and qualified for 40+ national events. Over 120 students have been named NAIA Scholar-Athletes in the past three years, including a record 67 in the 2018–19 academic year.  In 2018–19: Two NAIA national team qualifiers, 14 individual qualifiers, eight NAIA all-Americans, 67 Daktronics-NAIA Scholar-Athletes, 116 all-conference performers.

References

External links

 Official athletics website

Liberal arts colleges in Iowa
Education in Cedar Rapids, Iowa
Universities and colleges established in 1928
Roman Catholic Archdiocese of Dubuque
Education in Linn County, Iowa
Buildings and structures in Cedar Rapids, Iowa
Tourist attractions in Cedar Rapids, Iowa
Catholic universities and colleges in Iowa
Former women's universities and colleges in the United States
Sisters of Mercy colleges and universities
Association of Catholic Colleges and Universities
1928 establishments in Iowa

Mount Mercy University


High schools in North America are schools for secondary education, which may also involve intermediate education.

Highschooling in North America may refer to:

 Education in Canada for secondary/high school
 Education in Greenland for secondary/preparatory school
 Education in Mexico for secundaria and preparatoria
 High school in the United States
 Secondary education in the United States

See also

 High School (disambiguation)

Highschool

North America

High school (North America)


Periodization is a cyclical method of planning and managing athletic or physical training and involves progressive cycling of various aspects of a training program during a specific period. Conditioning programs can use periodization to break up the training program into the off-season, preseason, inseason, and the postseason. Periodization divides the year round condition program into phases of training which focus on different goals.

History
The roots of periodization come from Hans Selye's model, known as the General adaptation syndrome (GAS).
The GAS describes three basic stages of response to stress: (a) the Alarm stage, involving the initial shock of the stimulus on the system, (b) the Resistance stage, involving the adaptation to the stimulus by the system, and (c) the Exhaustion stage, in that repairs are inadequate, and a decrease in system function results. The foundation of periodic training is keeping one's body in the resistance stage without ever going into the exhaustion stage.  By adhering to cyclic training the body is given adequate time to recover from significant stress before additional training is undertaken. The goal in sports periodization is to reduce the stress at the point where the resistance stage ends so the body has time to recover. In this way the exhaustion stage does not reduce the gains achieved, the body can recover and remain above the original equilibrium point. The next cycle of increased stimulus now improves the response further and the equilibrium point continues to rise after each cycle.

Selye (1957) labeled beneficial stresses as "eustress" and detrimental stresses as "distress". In athletics, when physical stress is at a healthy level (eustress), an athlete experiences muscular strength and growth, while excessive physical stress (distress) can lead to tissue damage, disease, and death. Periodization is most widely used in resistance program design to avoid over-training and to systematically alternate high loads of training with decreased loading phases to improve components of muscular fitness (e.g. strength, strength-speed, and strength-endurance). The Selye-cycles are similar to the "micro cycles" used at later times.

Russian physiologist Leo Matveyev and Romanian sport scientist Tudor Bompa expanded and further organized the periodization model. Matveyev is regarded as one of the first to demonstrate a formalized model of periodization around 1964. He analysed the results of the Soviet athletes of the 1952 and 1956 summer Olympics and compared successful and not so successful athletes and their training schedules. From these training plans periodized schedules were developed for the 1960 Olympics. With the success of the Soviet athletes, Matveyev's plans were spread all over the Eastern Bloc in their annual coordination meetings. In the United States in 1979, J. Garhammer published one the first articles relating to periodization of strengthing training in athletes. Around that same time, James "Doc" Counsilman, at the University of Indiana, talked about the periodization training that he has been using for years with swimmers.

Theory of planning
Periodic training systems typically divide time up into three types of cycles: microcycle, mesocycle, and macrocycle.

The macrocycle
A macrocycle refers to a season of training in its entirety. It is an annual plan that works towards peaking for the goal competition of the year.

There are three phases in the macrocycle: preparation, competitive, and transition. The entire preparation phase should be around 2/3 to 3/4 of the macrocycle. The preparation phase is further broken up into general and specific preparation of which general preparation takes over half. An example of general preparation would be building an aerobic base for an endurance athlete such as running on a treadmill and learning any rules or regulations that would be required such as proper swimming stroke as not to be disqualified. An example of specific preparation would be to work on the proper form to be more efficient and to work more on the final format of the sport, which is to move from the treadmill to the pavement.

The competitive phase can be several competitions, but they lead up to the main competition with specific tests. Testing might include any of the following: performance level, new shoes or gear, a new race tactic might be employed, pre-race meals, ways to reduce anxiety before a race, or the length needed for the taper. When the pre-competitions are of a higher priority there is a definite taper stage while lower priority might simply be integrated in as training. The competitive phase ends with the taper and the competition.

Macrocycles are broken down into mesocycles and microcycles.

The mesocycle
A mesocycle represents a specific training block within your season, such as a strength building or endurance phase. A mesocycle can also be defined as a number of continuous weeks where the training program emphasize the same type of physical adaptations, for example muscle mass and anaerobic capacity. During the preparatory phase, a mesocycle commonly consists of 4 – 6 micro-cycles, while during the competitive phase it will usually consist of 2 – 4 micro-cycles depending on the competition's calendar.

The goal of the plan is to fit the mesocycles into the overall plan timeline-wise to make each mesocycle end on one of the phases and then to determine the workload and type of work of each cycle based on where in the overall plan the given mesocycle falls. The goal in mind is to make sure the body peaks for the high priority competitions by improving each cycle along the way.

The microcycle
A microcycle is the smallest training set and typically lasts around a week. The main focus of a microcycle is a small focused block of training, such as two or three days of very hard training followed by the same about of time for recovery. Each microcycle is planned based on where it is in the overall macrocycle.

A microcycle is also defined as a number of training sessions, built around a given combination of acute program variables, which include progression as well as alternating effort (heavy vs. light days). The length of the microcycle should correspond to the number of workouts - empirically often 4-16 workouts - it takes for the athlete or fitness client to adapt to the training program. When the athlete or fitness client has adapted to the program and no longer makes progress, a change to one or more program variables should be made.

The annual plan
The annual plan is important in that it directs and guides performance training over a year. It is based on the concept of periodization and the principles of training. The objective of training is to reach a high level of performance (peak performance) and an athlete has to develop skills, biomotor abilities and psychological traits in a methodical manner.

Preparatory phase
This phase consists of the general preparation and specific preparation. Usually which can be subdivided into three different phases. One should always remember that this is a base creation phase with the objective to attain the previous training state, and the longest period of periodization must be devoted towards the preparatory period.
The performance depends on preparatory period, and is divided into three phases:

Phase  I) To regain previous training

competitions.

Phase II) Low training volume & High training load to develop the factors needed for performance.
works on specific exercise.
Phase III) Decrease in the intensity of load and increase in tactical training and aim at improving tactical under competition condition.

Competitive phase
This phase may contain a few main competitions each containing a pre-competitive and a main competition. Within the main competition, an uploading phase and a special preparatory phase may be included.

Transition phase
This phase is used to facilitate psychological rest, relaxation and biological regeneration as well as to maintain an acceptable level of general physical preparation. This phase lasts 3–4 weeks (perhaps longer) but should not exceed five weeks under normal conditions and may be sports specific. It allows the body to fully regenerate so that it is prepared for the next discipline.
there is no competition in this phase.

Opposition to periodization
A review published in the journal 'Sports Medicine' in 2017 has questioned the validity of the use of traditional models of periodization in sport. This is largely due to the oversimplified assumptions put forward in the early development of periodization theory that are not always transferable to the psycho-biological effects of various training methods used in sport.

Periodization has been questioned due to it being viewed as reductionist/deterministic. In coaching in particular it is oversimplified and doesn't take into account the true nature of coaching which is viewed as a dynamic, chaotic and forever changing environment. Periodization fails to consider the athlete, coach and the context of the coaching taking place. The improvement of an athlete or a team in sports varies depending on an individual's hormonal response, genetic predispositions, motivation, stress levels, as well as transient social and environmental variables.

Periodization is suggested to be the optimum method of sports training when aiming to enhance team performance due to the organisational and structural nature to its approach. Kiely (2012) states periodization provides benefits such as providing idealized training structures, times frames to progress athletes and therefore development and retention of overall fitness adaptations. However, within team sports, such as football, can be complicated due to the various training goals, volume of training and practices required as well as an extended season of competition – with reference to additional progressive competition matches (Gamble, 2006). This showing that periodization models can be difficult to implement in team sports due to its ever-changing nature, relating to why there are limited studies regarding the implementation of periodization in team sports.

Tactical periodization

For many years, football training and its planning has been (and still is) characterised by fragmented thinking of which has perhaps been attributed to the success of such an approach in individual sports. The emphasis of planning and improvement was mainly in regards to the physical attributes of strength, speed and endurance. Furthermore, whether it be the undulating model, the reverse linear model or the traditional periodization framework, one of the underpinning assumptions is that it would be best to segregate the programme into distinct training blocks in a sequential hierarchy i.e. a training block to build endurance before speed and strength before power. This is claimed to be based on the 'science of periodization'. However, Kiely, argues that the proof on which this is all based on is flawed because the studies used to build this proof have only 'compared training interventions with no training variation to those with degrees of variation'  but did not offer any insight 'into how that variation is best scheduled and organised' (Kiely, 2010, p. 4). So although it is commonly agreed that training variation is an important design feature which needs to be integrated into the training plan, there is 'little or no supporting evidence' which proves that the segregation of the program into distinct training blocks or that there should be sequential hierarchy of how this should be done is in fact advantageous.

Many authors such as Garganta, Maia, & Marque, Oliveira, Castelo, and Gaiteiro  have argued in regards to the indivisibility of the 4 components which make up a football performance...technical, tactical, physical and mental. This complexity makes football a multidimensional phenomenon which cannot be simply reduced to the sum of its parts. Is defending more important than attacking or vice versa? This question cannot be answered as football needs to be understood as a whole. As highlighted by Tamarit, football is a tactical game where players are constantly required to make decisions in response to specific situations. So football needs to be viewed as a tactical game which encompasses with it the physical, technical and mental aspects required for positive performances.  This is the foundation upon which Victor Frade developed a training methodology known as tactical periodisation which emphasises the development of the tactical dimension. Therefore, any physical, technical or mental development must always have a tactical intention. In other words, although the ability to run for 90 minutes may seem vital to play the game, knowing when, where and how to run is much more important.

References

Physical exercise
Sports science
Sports education and training

Sports periodization


The Monarch of Greece was the hereditary head of state of Greece from 1832 to 1924 and 1935 to 1973.

History
In 1832, Prince Otto of Bavaria was crowned King of Greece. He reigned for 30 years until he was deposed in 1862. An election was held to determine the next King and Prince George of Denmark was chosen by the Greek Assembly.

In 1924, the Greek population voted to become a republic. However, in 1935, the monarchy was reinstated in another vote.

In July 1973, the Greek military junta held a referendum, which abolished the monarchy once again. A year later, the democratically elected Konstantinos Karamanlis held another referendum, which confirmed the abolition of the monarchy.

List of Monarchs of Greece

 Otto I (1832–1862) (deposed)
 George I (1863–1913)
 Constantine I (1913–1917) (abdicated)
 Alexander (1917–1920)
 Constantine I (1920–1922) (abdicated)
 George II (1922–1924, 1935–1944, 1946–1947)
 Paul (1947–1964)
 Constantine II (1964–1973) (deposed; monarchy abolished)

List of Consorts

 Amalia of Oldenburg (Consort to Otto I)
 Olga Constantinovna of Russia (Consort to George I)
 Sophia of Prussia (Consort to Constantine I)
 Aspasia Manos (Consort to Alexander)
 Elisabeth of Romania (Consort to George II)
 Frederica of Hanover (Consort to Paul)
 Anne-Marie of Denmark (Consort to Constantine II)

List of Regents

 Pavlos Koutouriotis (1920, Regent after Alexander's death)
 Olga Constantinovna (1920, Regent after Alexander's death)
 Damaskinos of Athens (1944–1946, Regent until referendum results)
19th century in Greece
20th century in Greece
Gre

Monarchy of Greece