History.

Formation.

The original group formed in 1967. Renbourn and Jansch were already popular musicians on the British folk scene, with several solo albums each and a duet LP, "Bert and John". Their use of complex inter-dependent guitar parts, referred to as "folk baroque", had become a distinctive characteristic of their music. They also shared a house in St John's Wood, London.  Jacqui McShee had begun as an (unpaid) "floor singer" in several of the London folk clubs, and then, by 1965, ran a folk club at the Red Lion in Sutton, Surrey, establishing a friendship with Jansch and Renbourn when they played there. She sang on Renbourn's "Another Monday" album and performed with him as a duo, debuting at Les Cousins club in August 1966.  Thompson and Cox were well known as jazz musicians and had played together in Alexis Korner's band. By 1966, they were both part of Duffy Power's Nucleus (a band which also included John McLaughlin on electric guitar). Thompson was well-known to Renbourn through appearances at Les Cousins and working with him on a project for television.  In 1967, the Scottish entrepreneur Bruce Dunnet, who had recently organised a tour for Jansch, set up a Sunday night club for him and Renbourn at the (now defunct) Horseshoe Hotel in Tottenham Court Road. McShee began to join them as a vocalist and, by March of that year, Thompson and Cox were being billed as part of the band. Renbourn claims to be the "catalyst" that brought the band together but credits Jansch with the idea "to get the band to play in a regular place, to knock it into shape".  Although nominally a 'folk' group, the members shared catholic tastes and influences. McShee had a grounding in traditional music, Cox and Thompson a love of jazz, Renbourn a growing interest in early music, and Jansch a taste for blues and contemporaries such as Bob Dylan.

Commercial success.

The first public concert by Pentangle was a sell-out performance at the Royal Festival Hall, on 27 May 1967. Later that year, they undertook a short tour of Denmark — in which they were disastrously billed as a rock'n'roll band — and a short UK tour, organised by Nathan Joseph of Transatlantic Records. By this stage, their association with Bruce Dunnett had ended and, early in 1968, they acquired Jo Lustig as a manager. With his influence, they graduated from clubs to concert halls and from then on, as Colin Harper puts it, "the ramshackle, happy-go-lucky progress of the Pentangle was going to be a streamlined machine of purpose and efficiency".  Pentangle signed up with Transatlantic Records and their eponymous debut LP was released in May 1968. This all-acoustic album was produced by Shel Talmy, who has claimed to have employed an innovative approach to recording acoustic guitars to deliver a very bright "bell-like" sound. On 29 June of that year they performed at London's Royal Festival Hall. Recordings from that concert formed part of their second album, "Sweet Child" (released in November 1968), a double LP comprising live and studio recordings.  "Basket of Light", which followed in mid-1969, was their greatest commercial success, thanks to a surprise hit single, "Light Flight" which became popular through its use as theme music for the television series "Take Three Girls" (the BBC's first drama series to be broadcast in colour) for which the band also provided incidental music. The album went all the way to number five in the charts. By 1970, they were at the peak of their popularity, recording a soundtrack for the film "Tam Lin", making at least 12 television appearances, and undertaking tours of the UK (including the Isle of Wight Festival) and America (including a concert at the Carnegie Hall). However, their fourth album, "Cruel Sister", released in October 1970, was a commercial disaster. This was an album of traditional songs that included a 18 1/2-minute-long version of "Jack Orion", a song that Jansch and Renbourn had recorded previously as a duo. It failed to go higher than number 51 in the charts.

Later years of original band.

The band returned to a mix of traditional and original material on "Reflection", recorded in March 1971. This was received without enthusiasm by the music press. By this time, the strains of touring and of working together as a band were readily apparent. Bill Leader, who produced the album, said "It seems to me, in retrospect, that each day a different member of the group had decided that this was it: 'Sod this for a game of soldiers, I'm leaving the group!'" Pentangle withdrew from Transatlantic, in a bitter dispute with Joseph regarding royalties. Transatlantic had apparently concluded that they were within their contractual rights to withhold royalty payments from the Pentangle albums. Joseph pointed out that his company had covered all the costs, such as recording costs, entailed in making the albums. Jo Lustig, their manager, who had agreed to the Transatlantic contract, made it clear that their contract with him included a clause that they could not sue him "for anything under any circumstances." In order to make some money out of the work they were doing, Pentangle established their own music publishing company, Swiggeroux Music, in 1971.  The final album of the original lineup was "Solomon's Seal", released by Warner Brothers/Reprise in 1972. Its release was accompanied by a UK tour, in which Pentangle were supported by Wizz Jones and Clive Palmer's band COB. The last few dates of the tour had to be cancelled owing to Thompson becoming ill.  On New Year's Day, 1973, Jansch decided to leave the band. "Pentangle Split" was the front-page headline of the first issue of "Melody Maker" of the year.

Subsequent incarnations.

In the early 1980s, a reunion of the band was planned. By this time, Jansch and Renbourn had re-established their solo careers, McShee had a young family, Thompson was mainly doing session work, and Cox was running a restaurant in Minorca. The re-formed Pentangle debuted at the 1982 Cambridge Folk Festival, but without a drummer, as Cox had broken his leg in a road accident. They completed a tour of Italy, Australia and some venues in Germany, with Cox initially playing in a wheelchair.  Renbourn left the band to pursue a long-term ambition of studying classical music, taking up a place at Dartington College of Arts. There then followed a series of replacement personnel. Mike Piggott replaced Renbourn in 1982, and subsequently Nigel Portman Smith replaced Thompson and Gerry Conway (who had worked with Fotheringay, Cat Stevens, Jethro Tull, Richard Thompson and John Martyn) replaced Cox (in 1986 and 1987 respectively); leaving McShee and Jansch as the only remaining members from the original line-up. In 1989 Rod Clements of Lindisfarne fame replaced Piggott before he left and Peter Kirtley assumed the role of guitarist in the following year. The incarnation consisting of Jansch, McShee, Portman Smith, Kirtley and Conway survived almost as long as the original Pentangle and recorded three albums: "Think of Tomorrow", "One More Road" and "Live 1994". This line-up completed their final tour in March–April 1995, after which Jansch left to pursue his solo work, particularly his residency at the 12 Bar Club in London's Denmark Street.

Jacqui McShee's Pentangle.

In 1995, McShee formed a trio with Conway on percussion and Spencer Cozens on keyboards. The trio's first album, "About Thyme", featured guests Ralph McTell, Albert Lee, Mike Mainieri, and John Martyn. The album reached the top of fRoots magazine's British folk chart. The album was released on their own label – GJS (Gerry Jacqui Spencer). With the addition of saxophonist Jerry Underwood and bassist/guitarist Alan Thomson, the band was renamed (with the agreement of the original Pentangle members) Jacqui McShee's Pentangle. The new five-piece band's first album "Passe Avant" was released on the Park Records label in 1998. Their April 2000 concert at Chipping Norton, Oxfordshire was recorded and released by Park Records under the title "At the Little Theatre".  In August 2002, saxophonist Jerry Underwood died after an illness. His place in Jacqui McShee's Pentangle was taken by flautist/saxophonist Gary Foote in 2004. In 2005, they released "Feoffees' Lands", (a feoffee is a medieval term for a trustee) on GJS. The 2011 album "Live In Concert", released on GJS Records, features several of their best performances over the years between 1997 and 2011.  The "new" 2002 Jacqui McShee's Pentangle line-up continued to play regularly in Great Britain in most years from 2002 through the present, as of 2018.

Continued interest in the original band.

Whilst the new Pentangle incarnations and personnel changes took the band in various musical directions, interest in the original Pentangle line-up continued, with at least nineteen compilation albums being released between 1972 and 2016. For example, in 2007 "The Time Has Come 1967 – 1973" was issued. It is a 4-CD collection of rarities, outtakes and live performances. The liner notes were by Colin Harper and Pete Paphides.  In 2004, the "1968–1972 Lost Broadcasts" album was released. Jo Lustig's influence had secured numerous radio appearances for the band — at least eleven broadcasts by the BBC in 1968, for example. The album was a 2-CD compilation of recordings from these sessions. It includes a recording of "The Name of the Game", which had been used by the BBC as a theme song for some of the Pentangle broadcasts, but had never appeared on record.  The original Pentangle formally reformed in 2008. They appeared on the BBC TV music programme Later... with Jools Holland on 29 April 2008, with "Let No Man Steal Your Thyme", and on 2 May 2008, performing "Light Flight" and "I've Got a Feeling". They went on to undertake a UK tour, including a return to the Royal Festival Hall, where they had recorded the "Sweet Child" album forty years earlier. They went on to headline at the Green Man Festival in August 2008. The live double-CD album "Finale - An Evening with Pentangle" contains 21 songs recorded during their 2008 tour, and was released by Topic Records in October 2016.  In 2011 the original Pentangle played some limited concerts (including RFH, Glastonbury and Cambridge). There were delays in playing again due to Jansch's throat cancer. The band recorded new material in 2011. Bert Jansch died of cancer on 5 October 2011, aged 67. John Renbourn was found dead at his home on 26 March 2015 after a suspected heart attack.

Style.

Pentangle are often characterised as a folk-rock band. Danny Thompson preferred to describe the group as a "folk-jazz band." John Renbourn also rejected the "folk-rock" categorisation, saying, "One of the worst things you can do to a folk song is inflict a rock beat on it... Most of the old songs that I have heard have their own internal rhythm. When we worked on those in the group, Terry Cox worked out his percussion patterns to match the patterns in the songs exactly. In that respect he was the opposite of a folk-rock drummer." This approach to songs led to the use of unusual time signatures: "Market Song" from "Sweet Child" moves from 7/4 to 11/4 and 4/4 time, and "Light Flight" from "Basket of Light" includes sections in 5/8, 7/8 and 6/4.  Writing in "The Times," Henry Raynor struggled to characterise their music: "It is not a pop group, not a folk group and not a jazz group, but what it attempts is music which is a synthesis of all these and other styles as well as interesting experiments in each of them individually." Even Pentangle's earliest work is characterised by that synthesis of styles. Songs such as "Bruton Town" and "Let No Man Steal Your Thyme" from 1968's "The Pentangle" include elements of folk, jazz, blues, and early music. Pete Townshend described their sound as "fresh and innovative." By the release of their fourth album, "Cruel Sister", in 1970, Pentangle had moved closer to traditional folk music and begun using electric guitars. By this time, folk music had itself moved towards rock and the use of electrified instruments, so "Cruel Sister" invited comparison with such works as Fairport Convention's "Liege and Lief" and Steeleye Span's "Hark! The Village Wait". Pentangle is thus often described as one of the progenitors of British folk rock.  In their final two albums, Pentangle returned to their folk-jazz roots, but by then the predominant musical taste had moved to British folk rock. Colin Harper commented that Pentangle's "increasingly fragile music was on borrowed time and everyone knew it."

Awards.

In January 2007, the five original members of Pentangle were presented with a Lifetime Achievement award at the BBC Radio 2 Folk Awards by David Attenborough. Producer John Leonard said "Pentangle were one of the most influential groups of the late 20th century and it would be wrong for the awards not to recognise what an impact they had on the music scene." Pentangle played together for the event, for the first time in over 20 years. Their performance was broadcast on BBC Radio 2 on Wednesday 7 February 2007.

Pentangle (or The Pentangle) are a British folk-jazz band with an eclectic mix of folk, jazz, blues and folk rock influences. The original band was active in the late 1960s and early 1970s, and a later version has been active since the early 1980s. The original line-up, which was unchanged throughout the band's first incarnation (1967–1973), was: Jacqui McShee (vocals); John Renbourn (vocals and guitar); Bert Jansch (vocals and guitar); Danny Thompson (double bass); and Terry Cox (drums).

Pentangle byla britská folk rocková a folk jazzová hudební skupina, založená v roce 1967. Původní členové skupiny byli Jacqui McShee (zpěv), John Renbourn (kytara), Bert Jansch (kytara), Danny Thompson (kontrabas) a Terry Cox (bicí).


Biography.

Early life and career.

Giovanni Gentile was born in Castelvetrano, Sicily. He was inspired by Italian intellectuals such as Mazzini, Rosmini, Gioberti, and Spaventa from whom he borrowed the idea of "autoctisi", "self-construction", but also was strongly influenced by the German idealist and materialist schools of thought – namely Karl Marx, Hegel, and Fichte, with whom he shared the ideal of creating a "Wissenschaftslehre", a theory for a structure of knowledge that makes no assumptions. Friedrich Nietzsche, too, influenced him, as seen in an analogy between Nietzsche's "Übermensch" and Gentile's "Uomo Fascista". In religion he presented himself as a Catholic (of sorts), and emphasised actual idealism's Christian heritage; Antonio G. Pesce insists that 'there is in fact no doubt that Gentile was a Catholic', but he occasionally identified himself as an atheist, albeit one who was still "culturally" a Catholic.  He won a fierce competition to become one of four exceptional students of the prestigious Scuola Normale Superiore di Pisa, where he enrolled in the Faculty of Humanities.  During his academic career, Gentile served in a number of positions, including as:

Involvement with Fascism.

In 1922, Gentile was named Minister of Public Education for the government of Benito Mussolini. In this capacity he instituted the "Riforma Gentile" – a reformation of the secondary school system that had a long-lasting impact on Italian education. His philosophical works included "The Theory of Mind as Pure Act" (1916) and "Logic as Theory of Knowledge" (1917), with which he defined actual idealism, a unified metaphysical system reinforcing his sentiments that philosophy isolated from life, and life isolated from philosophy, are but two identical modes of backward cultural bankruptcy. For Gentile, this theory indicated how philosophy could directly influence, mould, and penetrate life; or, how philosophy could govern life.  In 1925, Gentile headed two constitutional reform commissions that helped establish the corporate state of Fascism. He would go on to serve as president of the Fascist state's Grand Council of Public Education (1926–28), and even gained membership on the powerful Fascist Grand Council (1925–29).  Gentile's philosophical system – the foundation of all Fascist philosophy – viewed thought as all-embracing: no-one could actually leave his or her sphere of thought, nor exceed his or her thought. Reality was unthinkable, except in relation to the activity by means of which it becomes thinkable, positing that as a unity — held in the active subject and the discrete abstract phenomena that reality comprehends – wherein each phenomenon, when truly realised, was centered within that unity; therefore, it was innately spiritual, transcendent, and immanent, to all possible things in contact with the unity. Gentile used that philosophic frame to systematize every item of interest that now was subject to the rule of absolute self-identification – thus rendering as correct every consequence of the hypothesis. The resultant philosophy can be interpreted as an idealist foundation for Legal Naturalism.  Giovanni Gentile was described by Mussolini, and by himself, as "the philosopher of Fascism"; moreover, he was the ghostwriter of part of the essay, "The Doctrine of Fascism" (1932), attributed to Mussolini. It was first published in 1932, in the "Italian Encyclopedia", wherein he described the traits characteristic of Italian Fascism at the time: compulsory state corporatism, Philosopher Kings, the abolition of the parliamentary system, and autarky. He also wrote the "Manifesto of the Fascist Intellectuals" which was signed by a number of writers and intellectuals, including Luigi Pirandello, Gabriele D'Annunzio, Filippo Tommaso Marinetti and Giuseppe Ungaretti.

Final years and death.

Gentile became a member of the Fascist Grand Council in 1925, and remained loyal to Mussolini even after the fall of the Fascist government in 1943. He supported Mussolini's establishment of the "Republic of Salò", a puppet state of Nazi Germany, despite having criticized its anti-Jewish laws, and accepted an appointment in its government. Gentile was the last president of the Royal Academy of Italy (1943–1944).  In 1944 a group of anti-fascist partisans, led by, murdered the "philosopher of Fascism" as he returned from the prefecture in Florence, where he had been arguing for the release of anti-fascist intellectuals. Gentile was buried in the church of Santa Croce in Florence.

Philosophy.

Benedetto Croce wrote that Gentile "... holds the honor of having been the most rigorous neo-Hegelian in the entire history of Western philosophy and the dishonor of having been the official philosopher of Fascism in Italy." His philosophical basis for fascism was rooted in his understanding of ontology and epistemology, in which he found vindication for the rejection of individualism, and acceptance of collectivism, with the state as the ultimate location of authority and loyalty outside of which individuality had no meaning (and which in turn helped justify the totalitarian dimension of fascism).  The conceptual relationship between Gentile's actual idealism and his conception of fascism is not self-evident. The supposed relationship does not appear to be based on logical deducibility. That is, actual idealism does not entail a fascist ideology in any rigorous sense. Gentile enjoyed fruitful intellectual relations with Croce from 1899 – and particularly during their joint editorship of "La Critica" from 1903 to 1922 – but broke philosophically and politically from Croce in the early 1920s over Gentile's embrace of fascism. (Croce assesses their philosophical disagreement in "Una discussione tra filosofi amici" in "Conversazioni Critiche", II.)  Ultimately, Gentile foresaw a social order wherein opposites of all kinds weren't to be considered as existing independently from each other; that 'publicness' and 'privateness' as broad interpretations were currently false as imposed by all former kinds of government, including capitalism and communism; and that only the reciprocal totalitarian state of Corporatism, a fascist state, could defeat these problems which are made from reifying as an external reality that which is in fact, to Gentile, only a reality in thinking. Whereas it was common in the philosophy of the time to see the conditional subject as abstract and the object as concrete, Gentile postulated (after Hegel) the opposite, that the subject is concrete and the object a mere abstraction (or rather, that what was conventionally dubbed "subject" is in fact only conditional object, and that the true subject is the "act of" being or essence of the object).  Gentile was, because of his "actualist" system, a notable philosophical presence across Europe during his time. At its base, Gentile's brand of idealism asserted the primacy of the "pure act" of thinking. This act is foundational to all human experience – it "creates" the phenomenal world – and involves a process of "reflective awareness" (in Italian, "l'atto del pensiero, pensiero pensante") that is constitutive of the Absolute and revealed in education. Gentile's emphasis on seeing Mind as the Absolute signaled his "revival of the idealist doctrine of the autonomy of the mind." It also connected his philosophical work to his vocation as a teacher. In actual idealism, then, pedagogy is transcendental and provides the process by which the Absolute is revealed. His idea of a transcending truth above positivism garnered particular attention by emphasizing that all modes of sensation only take the form of ideas within one's mind; in other words, they are mental constructs. To Gentile, for example, even the correlation of the function and location of the physical brain with the functions of the physical body was merely a consistent creation of the mind, and not of the brain (itself a creation of the mind). Observations like this have led some commentators to view Gentile's philosophy as a kind of "absolute solipsism," expressing the idea "that only the spirit or mind is real".  Actual idealism also touches on ideas of concern to theology. An example of actual idealism in theology is the idea that although man may have invented the concept of God, it does not make God any less real in any possible sense, so long as God is not presupposed to exist as abstraction"," and except in case qualities about what existence actually entails (i.e. being invented apart from the thinking that makes it) are presupposed. Benedetto Croce objected that Gentile's "pure act" is nothing other than Schopenhauer's will.  Therefore, Gentile proposed a form of what he called "absolute Immanentism" in which the divine was the present conception of reality in the totality of one's individual thinking as an evolving, growing and dynamic process. Many times accused of solipsism, Gentile maintained his philosophy to be a Humanism that sensed the possibility of nothing beyond what was colligate in perception; the self's human thinking, in order to communicate as immanence is to be human like oneself, made a cohesive empathy of the self-same, without an external division, and therefore not modeled as objects to one's own thinking. Whereas solipsism would feel trapped in realization of its solitude, actualism rejects such a privation and is an expression of the only freedom which is possible within objective contingencies, where the transcendental Self does not even exist as an object, and the dialectical co-substantiation of others necessary to understand the empirical self are felt as true others when found to be the unrelativistic subjectivity of that whole self and essentially unified with the spirit of such higher self "in actu", where others can be truly known, rather than thought as windowless monads.

Phases of his thought.

A number of developments in Gentile's thought and career helped to define his philosophy, including:

Gentile's definition of and vision for Fascism.

Gentile sought to make his philosophy the basis for Fascism. However, with Gentile and with Fascism, the "problem of the party" existed by virtue of the fact that the Fascist "party", as such, arose organically rather than from a tract or pre-established socio-political doctrine. This complicated the matter for Gentile as it left no consensus to any way of thinking among Fascists, but ironically this aspect was to Gentile's view of how a state or party doctrine should live out its existence: with natural organic growth and dialectical opposition intact. The fact that Mussolini gave credence to Gentile's view points via Gentile's authorship helped with an official consideration, even though the "problem of the party" continued to exist for Mussolini as well.  Gentile placed himself within the Hegelian tradition, but also sought to distance himself from those views he considered erroneous. He criticized Hegel's dialectic (of Idea-Nature-Spirit), and instead proposed that everything is Spirit, with the dialectic residing in the "pure act" of thinking. Gentile believed Marx's conception of the dialectic to be the fundamental flaw of his application to system making. To the neo-Hegelian Gentile, Marx had made the dialectic into an external object, and therefore had abstracted it by making it part of a material process of historical development. The dialectic to Gentile could only be something of human precepts, something that is an active part of human thinking. It was, to Gentile, concrete subject and not abstract object. This Gentile expounded by how humans think in forms wherein one side of a dual opposite could not be thought of without its complement.  "Upward" wouldn't be known without "downward" and "heat" couldn't be known without "cold", while each are opposites they are co-dependent for either one's realization: these were creations that existed as dialectic only in human thinking and couldn't be confirmed outside of which, and especially could not be said to exist in a condition external to human thought like independent matter and a world outside of personal subjectivity or as an empirical reality when not conceived in unity and from the standpoint of the human mind.  To Gentile, Marx's externalizing of the dialectic was essentially a fetishistic mysticism. Though when viewed externally thus, it followed that Marx could then make claims to the effect of what state or condition the dialectic objectively existed in history, "a posteriori" of where any individuals opinion was while comporting oneself to the totalized whole of society. i.e. people themselves could by such a view be ideologically 'backwards' and left behind from the current state of the dialectic and not themselves be part of what is actively creating the dialectic as-it-is.  Gentile thought this was absurd, and that there was no 'positive' independently existing dialectical object. Rather, the dialectic was natural to the state, as-it-is. Meaning that the interests composing the state are composing the dialectic by their living organic process of holding oppositional views within that state, and unified therein. It being the mean condition of those interests as ever they exist. Even criminality, is unified as a necessarily dialectic to be subsumed into the state and a creation and natural outlet of the dialectic of the positive state as ever it is.  This view (influenced by the Hegelian theory of the state) justified the corporative system, where in the individualized and particular interests of all divergent groups were to be personably incorporated into the state ("Stato etico") each to be considered a bureaucratic branch of the state itself and given official leverage. Gentile, rather than believing the private to be swallowed synthetically within the public as Marx would have it in his objective dialectic, believed that public and private were "a priori" identified with each other in an active and subjective dialectic: one could not be subsumed fully into the other as they already are beforehand the same. In such a manner each is the other after their own fashion and from their respective, relative, and reciprocal, position. Yet both constitute the state itself and neither are free from it, nothing ever being truly free from it, the state (as in Hegel) existing as an eternal condition and not an objective, abstract collection of atomistic values and facts of the particulars about what is positively governing the people at any given time.

Giovanni Gentile (; 30 May 1875 – 15 April 1944) was an Italian neo-Hegelian idealist philosopher, educator, and fascist politician. The self-styled "philosopher of Fascism", he was influential in providing an intellectual foundation for Italian Fascism, and ghostwrote part of "The Doctrine of Fascism" (1932) with Benito Mussolini. He was involved in the resurgence of Hegelian idealism in Italian philosophy and also devised his own system of thought, which he called "actual idealism" or "actualism", which has been described as "the subjective extreme of the idealist tradition".

Giovanni Gentile (dʒoˈvanni dʒenˈtiːle); (30. května 1875, Castelvetrano, Itálie – 15. dubna 1944, Florencie) byl italský neohegelianský idealistický filozof. Sám sebe popisoval jako filozofa fašismu, a byl také ghostwriterem, který pro Benita Mussoliniho napsal "Doktrínu fašismu".


Background and recording.

After her successful second studio album, "Breakaway" (2004), which gave her two Grammy Awards as well as other awards, four successful singles and over ten million copies sold, Clarkson felt pressure from her label to duplicate the album's success while recording her third studio album, "My December" (2007). The album was marked by many conflicts with her label, RCA Records, and the head of Sony Music, Clive Davis, who was dissatisfied with the album's darker tone and asked her to scrap the album in favor of making a more commercial one. Clarkson denied to do it and the album's date was pushed back several times. Eventually, "My December" was released amidst the controversies, and while receiving generally favorable reviews from music critics and debuting on the "Billboard" 200 chart with expressive sales, it only produced one successful single, "Never Again", and its promotion was dubbed "confused" due to its controversies.  After promoting the album with the "My December Tour" (2007-2008), and later embarking on a co-headlining tour with Reba McEntire, Clarkson, who was with a new manager, felt confident again on the studio and started writing a new album. In October 2008, she posted on her blog she had finished the album and was very excited about it. Clarkson also told the same month, she was working with a new collaborator, Ryan Tedder, claiming that the recording sessions with him "went really well". She also explained that Clive Davis introduced them to each other in a label meeting, and later they ended up writing five or six songs. Tedder explained to "Digital Spy" that the songs featured "big choruses" and "heavy drum programming" and were influenced by nineties electro-rockers Garbage. She also worked for the first time with Howard Benson, claiming she was a big fan of him and his production with many artists such as Daughtry, stating that she loved the way he produced and how he captured how she sounds live.  Clarkson also worked with previous producers, such as Sam Watters and Louis Biancaniello, whom produced the song "Anytime" on her debut album, "Thankful" (2003), as well as Max Martin and Dr. Luke, the producers behind Clarkson's signature song "Since U Been Gone" and "Behind These Hazel Eyes" on "Breakaway" (2004). Dr. Luke was interviewed by "Entertainment Weekly" and said: "After "Since U Been Gone", we wrote all these songs for Kelly. This one, ["My Life Would Suck Without You"], which I think is the first single — we had the chorus a while ago and added the verse more recently." He further added: "She sings a song in two hours and kills it. You're just like, 'Holy sh–.' She has powerful lungs. She's like the Lance Armstrong of vocal cords." She also worked again with songwriter Kara DioGuardi, who co-wrote several tracks on "Breakaway", and received two songs co-written by Katy Perry. Perry claimed she worked on her debut album for five years and recorded so many songs for it that both songs didn't make it to the album, then Clarkson heard them, liked them, and recorded them.

Music.

Production and sound.

"All I Ever Wanted" is considered a pop and pop rock album, with influences of dance, rock and soul music. Sonically different than her previous album, "My December" (2007), the album also features pop punk influences that are reminiscent from her third album. James Montgomery of MTV News noted that the album has "unabashed pop, big crunchy guitar chords and tear-tinged ballads," while Evan Sawdey of "PopMatters" noted that "[t]hough some of the post-breakup bitterness of "My December" still lingers here, "All I Ever Wanted" remains a remarkably upbeat record." Maura of Idolator called it a "pop redemption" [...] "a fun collection of pop tracks", with "Slant Magazine"s Jonathan Keefe dubbing it "Clarkson's version of "Now That's What I Call Music! 29"." Michael Cragg of "MusicOMH" summarized the album as a "musical partner" to Clarkson's second album, "Breakaway", "in terms of the sound and the sheer commercial appeal."  The first track, "My Life Would Suck Without You", was considered an explicit sequel to "Since U Been Gone", having a mainstream dance/guitar-pop sound, with thumping synths and guitar riffs. "I Do Not Hook Up" was named a "punchy, spunky pop stormer", while "Long Shot" was dubbed a "string-infused rocker"; both songs were originally demos from Katy Perry. "Don't Let Me Stop You" was called an "arena rocker track" and compared to her single "Behind These Hazel Eyes", due to the use of the same chord progression. Clarkson defined "If I Can't Have You", a dance and synthpop song, as "very like Eurythmics meets The Killers" in a sexy vibe, while "I Want You" was labeled a "pure pop", "girl group" song, with vocal stutters, fluid harps, and a dry kick-drum beat. The album's title track and "Whyyawannabringmedown" are two covers from the band Aranda's debut album; the first was considered a soul-rock-funk song, with its disco bass heavily compared to Spoon's song "I Turn My Camera On", while the latter was named a "bubblegum punk" song.  The power ballad "Save You" was written by Aimée Proal with Ryan Tedder for her now-disbanded group Gone 'Til November, who recorded its demo and Tedder pitched the song to Clarkson's label. It features an experimental bridge that was inspired by Mozart. "If No One Will Listen" is a cover of Keri Noble's song from her debut album "Fearless", "Cry" was defined by Clarkson as a "waltz" ballad influenced by country music, and "Already Gone" was considered a "kick drum-driven" ballad and it was largely compared to Beyoncé's "Halo"; both produced by Tedder. "Impossible" was called a "piano-riddled rocker", while "Ready" was named a "breezy, carefree pop" song.

Lyrical content.

Lyrically, "All I Ever Wanted" talks generally about romantic relationships— the good, the bad and the dysfunctional —with Clarkson defining it as "pretty personal". Ann Powers of "Los Angeles Times" noted that the album "provides her faithful female fans with a solid group of anthems and introspective moments expressing dignity, independence and emotional truthfulness." "My Life Would Suck Without You" "describes two people who've committed to each other even though their relationship has some rough edges", while "I Do Not Hook Up" has Clarkson informing "would-be suitors that [she]'s looking for a lasting commitment, not a casual fling." "Cry" talks about betrayal, with the singer writing about a friendship that went wrong, while wondering, "Is it over yet? Can I open my eyes?," meanwhile "Don't Let Me Stop You" has Clarkson "demonstrat[ing] self-respect and emotional resiliency even when things aren't working out." "All I Ever Wanted" deals with "Clarkson's conflicted feelings", while "Already Gone" is about coming to terms with a relationship that was destined for failure. "If I Can't Have You" playfully talks about Clarkson finding what she's looking for, while "Save You" is about a person's lamentation and desire to save someone from a self-destructive behaviour after a loss. "Whyyawannabringmedown" finds Clarkson singing, "I'm not your love monkey, so be takin' back all of the lies you sold," "Long Shot" "acknowledges the risk involved with a new romantic endeavor", and with "Impossible" she admits: "I will stumble and I’ll make my own mistakes, yeah/But I won’t worry ‘bout it anymore." "I Want You" finds the singer "swooning over a hot-tempered, noncommunicative guy," who is "such a mess with an attitude," and "If No One Will Listen" ends with Clarkson "encouraging a struggling friend, [herself or anyone else], to relinquish pent-up fears."

Title and artwork.

On January 2, 2009, "The Wall Street Journal" published an article about the upcoming albums of 2009, and Clarkson's fourth studio album was among them. At the time, RCA general manager Tom Corson claimed she was "in a period where she wants to take on the pop world again." [...] "She's ready, and she's got all the right support." The newspaper also revealed its working title, "Masquerade". However, Clarkson changed it to "All I Ever Wanted", since she felt the title was too similar to other pop albums released near the time of her album, such as Britney Spears' "Circus" (2008) and P!nk's "Funhouse" (2008). Its cartoon-colored, airbrushed cover art was revealed on January 9, 2009. As "Rolling Stone"s Daniel Kreps described, "the cover depicts a shiny, happy Clarkson, one ready to step out of the shadows of the brooding "My December" and reclaim her pop throne." Kreps opined that the cover resembles another "comeback album"—Spears's "Circus". The cover faced some controversy due to the heavy usage of Photoshop. Clarkson herself commented, "We decided the cover of the album and just in case you haven't seen it I'll post it! It's very colorful and they have definitely Photoshopped the crap out of me—but I don't care, haha! Whoever she is, she looks great, ha!."

Singles.

The album's first single, "My Life Would Suck Without You", had its artwork revealed on January 5, 2009, and it shows "Clarkson sporting a wide-eyed [...] look and a heart-shaped lollipop." It was released to airplay on January 13, 2009 and three days later was made available for digital download. On January 28, 2009, "Billboard" announced that the single went from number 97 to number one on the "Billboard" Hot 100, making the biggest leap to the top in the chart's history, as well as marking Clarkson's second US number-one single, and her first in seven years. Elsewhere, it was a chart success, also reaching the top of the Canadian and UK charts, and the top ten in over ten countries. Its music video leaked on January 28, 2009, and it shows Clarkson and her boyfriend having a dysfunctional relationship.  "I Do Not Hook Up" was released to US radio on April 14, 2009, as the second single off the album. The cover art for the single was released on March 26, 2009. The music video for the song, directed by Bryan Barber, was shot in March 2009 and released on April 20, 2009 on MTV. As described by Clarkson, the video is about "how the girl is a good girl, she doesn't hook up. But inside her head, every time she turns around, she's fantasizing. So she's hooking up in her fantasies, but never in real life." The song was a moderate success on the charts, reaching number nine in Australia, the top twenty in Canada and the US, and the top forty in other six countries.  "Already Gone" was sent to US radio on August 11, 2009 as the album's third single. The single's artwork was released on July 8, 2009. The song faced controversy due to its similarity to another Ryan Tedder-produced track, Beyoncé's "Halo", with Clarkson going as far as trying to prevent the single's release, but her label chose to release it anyway. In the United States, the song was more successful than "I Do Not Hook Up", reaching number thirteen on the "Billboard" Hot 100 and spending eight consecutive weeks at number one on the "Billboard"<nowiki></nowiki> Adult Pop Songs chart. Elsewhere, it reached the top twenty in four countries, and the top forty in another four countries. The music video was directed by Joseph Kahn and released on July 27, 2009. Kahn was dissatisfied with the end result of the video, which shows Clarkson "singing in various luxurious locations while violins play themselves."  The album's title track, "All I Ever Wanted", was released as the fourth and final single in the United States. It was officially sent to US radio on March 9, 2010, and to the US and Canadian iTunes Store for download on March 15, 2010. It only peaked at number ninety-six on the "Billboard" Hot 100 chart, while being more successful on the Adult Pop Songs sub-chart, where it reached number eleven. Meanwhile, "Cry" was released as the fourth single in Germany and Australia and as the fifth single overall. It was released as a digital download in Germany on March 12, 2010 and sent to Australian radio on March 15, 2010. It became the second most added song to radio in Australia the week it was sent for airplay. The song was also covered by Lea Michele in the "Glee" episode "Choke" on May 1, 2012.

Promotion.

To promote the album, Clarkson performed "My Life Would Suck Without You" and "I Do Not Hook Up" on "Good Morning America" on the US album's launch date, March 10, 2009. The singer performed the album's first single "My Life Would Suck Without You" on the eighth season of "American Idol" on March 11, 2009. Clarkson also performed "My Life Would Suck Without You" and the album's second single "I Do Not Hook Up" on the 34th season of "Saturday Night Live" on March 14, 2009. The singer also promoted the album on Walmart Soundcheck on March 18, 2009, performing "My Life Would Suck Without You" and "I Do Not Hook Up", as well as her older hits "Since U Been Gone", "Because of You" and "Walk Away". On March 20, 2009, she also appeared on "The Oprah Winfrey Show" to give an interview and perform a medley of "Because of You", "Behind These Hazel Eyes" and "My Life Would Suck Without You". Clarkson was also on "So You Think You Can Dance" to perform "I Do Not Hook Up", on the "David Letterman Show", "The View" the "American Music Awards of 2009" to perform "Already Gone", as well as on "VH1 Divas" to also perform "Already Gone" and "Bring Me Some Water" with Melissa Etheridge. She also promoted the album with live performances on "The Ellen DeGeneres Show", "Live with Regis & Kelly" and "The Tonight Show with Jay Leno". She also gave interviews and appeared on many magazines, such as the "Rolling Stone" issue of April 30, 2009, "Teen Vogue", "Newsweek", and on the cover of "Blender" and "Self" magazines. "My Life Would Suck Without You", "Already Gone", "Don't Let Me Stop You" and "If I Can't Have You" were also featured on the TV series "The Hills".

Tours.

All I Ever Wanted Summer Fair Mini-Tour  A 23 date mini-tour to promote the album, with all dates being at state fairs around the United States.  All I Ever Wanted Tour  A world tour covering North America, Europe, Asia, Australia, New Zealand, and South Africa.

Critical reception.

"All I Ever Wanted" received positive reviews from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received a score of 70, indicating "generally favorable reviews". Ann Powers of "Los Angeles Times" called it "a masterful rapprochement with the mainstream, full of cheerfully ear-snagging tunes, inventive production, exhilarating vocals and enough inherent Kelly-ness to put aside fears that her label bosses implanted blond electrodes in her brain to make her behave." Kerri Mason of "Billboard" praised the album for " show[ing] a lighter-hearted, but more vocally mature Clarkson than her last outing" and Clarkson for "becoming a masterful interpreter too." Sarah Rodman of "The Boston Globe" observed that the singer is "learning to strike the age-old pop music balance that her hired hands perfected in the past, [...] expressing emotional truth while crafting something that sounds good on the radio." Jon Dolan of "Blender" gave praise to Clarkson for "mak[ing] nice with the pop machine and tak[ing] back the mall while keeping her integrity and personality intact," while J. Freedom du Lac of "The Washington Post" called it "one of those rare pop albums that should resonate with the mainstream while also generating critical heat." Hugh Montgomery of "The Observer" opined that "on its own limited terms, it's a job well done." While calling her first album "the Obligation", her second "the Breakthrough", and her third "the Reaction," Jon Caramanica of "The New York Times" noted that "All I Ever Wanted" "plays out as Ms. Clarkson’s Concession," pointing out that "Ms. Clarkson’s identity is finally firm: spurned, hurt and torn."  Stephen Thomas Erlewine of AllMusic recognized that she "sounds impassioned and invested in these numbers, selling every one of the skyscraper hooks, but better still she sounds relatable, pulling listeners into a song instead of keeping them at a distance," observing that "while it's not perfect, largely due to those dreary Tedder tunes, much of "All I Ever Wanted" does justice to Clarkson's considerable skills." Elle J Small of "BBC Music" declared that the album "won't disappoint hardcore fans but is unlikely to garner new listeners," a sentiment echoed by "Vibe" Claire Lobenfeld, who wrote that it "will be a hit with Clarkson die-hards, but is unlikely to influence any Top 40 outsiders." Evan Sawdey of "PopMatters" noticed that "[t]hough "All I Ever Wanted" is not a classic pop album by any means, it’s most assuredly a fun one—flaws and all. It might be a bit quirky at times, but therein lies the charm: no one could’ve filled up such a deliberately commercial album with so much personality aside from Kelly Clarkson, and for that, we should all be a bit thankful." In a more mixed review, Jody Rosen of "Rolling Stone" admitted that "Clarkson's sense of grievance, inflated to gargantuan size by her huge voice, can be wearying over 14 songs, particularly when the music sags." Michaelangelo Matos of "The A.V. Club" called it "a likeable but ultimately hackneyed album that presents her as the über-everygirl", while Michael Cragg of "musicOMH" was more critical, writing that "as an album, the whole thing feels precision tooled, vacuum-packed and strangely lifeless." Jonathan Keefe of "Slant Magazine" analyzed the album in his review, declaring:  "Taken in isolation and out of the context of the album as a whole—say, on the radio—nearly all of these songs work well enough, despite the production choices that don't always play to Clarkson's strengths and which draw too much attention to themselves. And if all Clarkson ever wanted was a major commercial comeback, then this album should undoubtedly give it to her. But whatever her army of producers and legion of co-writers may have brought to the project in terms of radio-ready pop hooks, there's just too much tone and subtext to her performances here—and hell, even consider the record's title—that betrays Clarkson's ironic take on the whole affair."

Accolades.

The album was nominated for Best Pop Vocal Album at the 52nd Grammy Awards. It also entered AllMusic's list of "Favorite Pop Albums of 2009", as well as MTV's "Best Albums Of 2009" at number 12. "All I Ever Wanted" was also selected by "Entertainment Weekly" as the "Best Comeback".

Commercial performance.

"All I Ever Wanted" debuted on the "Billboard" 200 at number one with sales of 255,000 copies, becoming the second time Clarkson topped the chart; her debut set, "Thankful", also began at number one with 297,000 copies sold in its first week in 2003. In its second week, the album remained at the top, with 90,000 copies, whilst in its third week, it fell to number five, selling 52,000 copies. As of September 2017, the album has sold 1,004,000 copies in the United States, becoming her fourth highest-selling album of her career, behind "Thankful" (2003), "Breakaway" (2004) and "Stronger" (2011). In Canada, it debuted at number 2, becoming her highest debut along with her previous album, "My December" (2007), selling 15,000 copies. In Australia, it also debuted at number two, becoming her highest debut along with "Breakaway" (2004). It was later certified platinum by the Australian Recording Industry Association for exceeding 70,000 copies. In New Zealand, the album debuted at number six; also her highest since "Breakaway".  In the United Kingdom, the album sold 40,000 copies and debuted at number 3 on the UK Albums Chart. As of June 2012, "All I Ever Wanted" has sold 197,817 copies in the United Kingdom. The album also debuted inside the top ten of the album charts in Austria, Belgium (Flanders), Ireland, the Netherlands, South Africa and Switzerland. In Spain, the album reached number forty, becoming her highest debut of her career, while tying with "Stronger" years later. Meanwhile, in Sweden, it became her second and last album, so far, to reach the top-twenty, debuting at number fifteen. In contrast, in Finland, the album became her first to miss the top-twenty; though it was her last to chart there.

Personnel.

Adapted from AllMusic.  Performers  Musicians  Production and design

Certifications.

! scope=row| Malaysia (RIM)

All I Ever Wanted is the fourth studio album by American singer Kelly Clarkson, released on March 6, 2009 by RCA Records. After the controversies that surrounded her previous studio album, "My December" (2007), which was seen as much darker than her other two albums, Clarkson went on to record a more pop-oriented album. In order to do so, she enlisted her previous collaborators Max Martin, Dr. Luke, (whom she worked with on her 2004 second album, "Breakaway"), Sam Watters and Louis Biancaniello (whom she worked with on her 2003 debut album "Thankful"), and new collaborators, Ryan Tedder, Howard Benson and Dre & Vidal.

All I Ever Wanted (Vše, co jsem kdy chtěla) je čtvrté album americké zpěvačky Kelly Clarkson. Prvně vyšlo 6. března 2009. Kelly se zřejmě rozhodla vrátit ke stylu, kterým se tak proslavila její druhá deska Breakaway (2003). Podle ohlasů odborníků je toto album podobné albu Funhouse od P!nk a Circus od Britney Spears. Album získalo nominaci na Grammy Award jako Nejlepší popové vokální album.


Teams.

A total of 31 teams participated in the competition. Notes

First round.

Second leg.

"Bayern Munich won 7–2 on aggregate."  "CSKA Sofia won 3–1 on aggregate."  "Dinamo București won 5–1 on aggregate."  "Porto won 13–1 on aggregate."  "Red Star Belgrade won 5–2 on aggregate."  "Rangers won 10–0 on aggregate."  "Dynamo Dresden won 6–1 on aggregate."  "Malmö FF won 5–4 on aggregate."  "Napoli won 5–0 on aggregate."  "Spartak Moscow won 4–0 on aggregate."  "Real Madrid won 10–1 on aggregate."  "Swarovski Tirol won 7–1 on aggregate."  "Club Brugge won 3–1 on aggregate."  "Lech Poznań won 5–1 on aggregate."  "Marseille won 5–1 on aggregate."

Second round.

Second leg.

"Bayern Munich won 7–0 on aggregate."  "Porto won 4–0 on aggregate."  "Red Star Belgrade won 4–1 on aggregate."  "Dynamo Dresden 2–2 Malmö on aggregate. Dynamo Dresden won 5–4 on penalties."  "Napoli 0–0 Spartak Moscow on aggregate. Spartak Moscow won 5–3 on penalties."  "Real Madrid won 11–3 on aggregate."  "Milan won 1–0 on aggregate."  "Marseille won 8–4 on aggregate."

Quarter-finals.

– Match abandoned due to rioting after 78 mins. With Red Star Belgrade leading 2–1, they were awarded the match 3–0.

Second leg.

"Bayern Munich won 3–1 on aggregate."  "The match was abandoned in the 78th minute as per the decision by the match referee Emilio Soriano Aladrén due to Dynamo Dresden fans causing commotion in the stands and throwing objects onto the pitch. Red Star Belgrade led 2–1 at the time. UEFA awarded a 3–0 win to Red Star Belgrade. Red Star Belgrade won 6–0 on aggregate."  "Spartak Moscow won 3–1 on aggregate."  "The match was interrupted in injury time due to poor visibility after two of the four floodlights in the stadium failed. Marseille was up 1-0 at the time. When power was restored after 15 minutes, Milan director Adriano Galliani decided not to let his team go back on the pitch at which point the contest was abandoned permanently. UEFA awarded a 3–0 win to Marseille and banned Milan for a year from European competition including suspending Galliani from all official club functions for two years. Marseille won 4–1 on aggregate."

Semi-finals.

Second leg.

"Red Star Belgrade won 4–3 on aggregate."  "Marseille won 5–2 on aggregate."

Top scorers.

The top scorers from the 1990–91 European Cup are as follows:

The 1990–91 European Cup was the 36th season of the European Cup, a tournament for men's football clubs in nations affiliated to the Union of European Football Associations (UEFA). It was won for the first time by Red Star Belgrade on penalties in the final against Marseille; both were first-time finalists. This was only the second time that an Eastern European side had won the competition, after Steaua București of Romania in 1986. It was also the last tournament to be solely knock-out based, with a group stage added for the next season. Red Star won the tournament as the only Yugoslavian club shortly before the breakup of Yugoslavia. This was also the last season to feature a team from East Germany, since the East and its West counterpart reunified in October 1990.

Sezóna 1990/91 byla 36. ročníkem Poháru mistrů evropských zemí. Jejím vítězem se stal jugoslávský klub FK Crvena zvezda. V tomto ročníku měl skončit zákaz pro anglické týmy, ale mistři Anglie – Liverpool FC měli nepovolenou účast o rok déle, a tak se opět žádný anglický tým nezúčastnil.


Structure.

Copper acetate hydrate adopts the paddle wheel structure seen also for related Rh(II) and Cr(II) tetraacetates. One oxygen atom on each acetate is bound to one copper at 1.97 Å (197 pm). Completing the coordination sphere are two water ligands, with Cu–O distances of 2.20 Å (220 pm). The two five-coordinate copper atoms are separated by only 2.62 Å (262 pm), which is close to the Cu–Cu separation in metallic copper. The two copper centers interact resulting in a diminishing of the magnetic moment such that near 90 K, Cu(OAc)(HO) is essentially diamagnetic due to cancellation of the two opposing spins. Cu(OAc)(HO) was a critical step in the development of modern theories for antiferromagnetic coupling.

Synthesis.

Copper(II) acetate is prepared industrially by heating copper(II) hydroxide or copper(II) carbonate with acetic acid.

Related compounds.

Heating a mixture of anhydrous copper(II) acetate and copper metal affords copper(I) acetate: Unlike the copper(II) derivative, copper(I) acetate is colourless and diamagnetic.  "Basic copper acetate" is prepared by neutralizing an aqueous solution of copper(II) acetate. The basic acetate is poorly soluble. This material is a component of verdigris, the blue-green substance that forms on copper during long exposures to atmosphere.

Uses in chemical synthesis.

Copper(II) acetate has found some use as an oxidizing agent in organic syntheses. In the Eglinton reaction Cu(OAc) is used to couple terminal alkynes to give a 1,3-diyne: The reaction proceeds via the intermediacy of copper(I) acetylides, which are then oxidized by the copper(II) acetate, releasing the acetylide radical. A related reaction involving copper acetylides is the synthesis of ynamines, terminal alkynes with amine groups using Cu(OAc). It has been used for hydroamination of acrylonitrile.  It is also an oxidising agent in Barfoed's test.  It combines with arsenic trioxide to form copper acetoarsenite, a powerful insecticide and fungicide called Paris Green or Schweinfurt Green.

Copper(II) acetate, also referred to as cupric acetate, is the chemical compound with the formula Cu(OAc) where AcO is acetate (). The hydrated derivative, which contains one molecule of water for each Cu atom, is available commercially. Anhydrous Cu(OAc) is a dark green crystalline solid, whereas Cu(OAc)(HO) is more bluish-green. Since ancient times, copper acetates of some form have been used as fungicides and green pigments. Today, copper acetates are used as reagents for the synthesis of various inorganic and organic compounds. Copper acetate, like all copper compounds, emits a blue-green glow in a flame. The mineral hoganite is a naturally occurring form of copper(II) acetate.

Octan měďnatý (též ethanoát měďnatý) je měďnatá sůl kyseliny octové. Jedná se o relativně rozpustnou tmavě modrou látku, které se využívá na výrobu organických sloučenin mědi. Je obsažena i v některých nerostech a je i hlavní látkou jednoho z nich.


Life.

She was born to John I, Margrave of Brandenburg (d. 1266) and Brigitte of Saxony, the daughter of Albert I, Duke of Saxony.  She married King Eric V of Denmark at Schleswig on 11 November 1273. The marriage was probably agreed upon during King Eric's captivity in Brandenburg by Agnes' father from 1261 to 1264. Tradition claims that the King of Denmark was released from captivity on his promise to marry Agnes without a dowry. Denmark and Brandenburg, however, had a long tradition of dynastic marriages between them.

Regency.

In 1286, she became a Queen dowager and the Regent of Denmark during the minority of her son. The details of her regency are not known more closely, and it is hard to determine which of the decisions were made by her, and which was made by the council. Peder Nielsen Hoseøl was also very influential in the regency, and she is likely to have received support from her family. In 1290, she financed a granted lime painting in the church St. Bendt's Church in Ringsted, which depicts her in a dominating way. Her son was declared of legal majority in 1293, thus ending her formal regency.

Later life.

Married in 1293 to count Gerhard II of Holstein-Plön (d. 1312) with whom she had the son John III, Count of Holstein-Plön. She often visited Denmark also after her second marriage, and it continued to be a second home. She died on 29 September 1304, and was buried in Denmark.

"Not to be confused with Agnes of Babenberg" Agnes of Brandenburg (c. 1257 – 29 September 1304) was a Danish Queen consort by marriage to King Eric V of Denmark. As a widow, she served as the regent of Denmark for her son, King Eric VI, during his minority from 1286 until 1293.

Anežka Braniborská "Agnes af Brandenburg", 1257 – 29. září 1304) byla jako manželka dánského krále Erika Klippinga dánskou královnou v letech 1273–1286.


Changes to the competition format.

The 1999–2000 edition of the Champions League featured a whole different format to the competition. An additional qualifying round was introduced to generate two group stages, firstly with 32 teams – eight groups of four – who played six matches each to reduce the competition to 16 teams for the second group stage, with the eight third-placed teams moving to the UEFA Cup third round. At the end of the second group stage, eight teams remained to contest the knock-out stage.

Association team allocation.

A total of 71 teams participated in the 1999–2000 Champions League, from 47 of 51 UEFA associations. Liechtenstein (who don't have their own league) as well as Andorra and San Marino did not participate. Additionally, Bosnia and Herzegovina were not admitted due to having no nation-wide champion.  Below is the qualification scheme for the 2000–01 UEFA Champions League:

Association ranking.

Countries are allocated places according to their 1998 UEFA league coefficient, which takes into account their performance in European competitions from 1993–94 to 1997–98.

Distribution.

The title holders (Manchester United) qualified for the Champions League group stage through their domestic league, thus the group stage spot reserved for the title holders was vacated. Additionally, Bosnia and Herzegovina was not admitted as their play-off for Champions League qualification didn't take place. Due to these factors, the following changes to the default access list are made:

Participants.

League positions of the previous season shown in parentheses (TH: Champions League title holders).

Round and draw dates.

The schedule of the competition is as follows (all draws are held in Geneva, Switzerland, unless stated otherwise).

Qualifying rounds.

Third qualifying round.

Losing teams advanced to the first round of the 1999–2000 UEFA Cup.

First group stage.

16 winners from the third qualifying round, 10 champions from countries ranked 1–10, and six second-placed teams from countries ranked 1–6 were drawn into eight groups of four teams each. Compared to the two previous seasons, three associations (England, France, The Netherlands) were allowed three teams – the league winner and runner-up from each nation qualified for the first group stage, and the third-placed teams qualified for the third qualifying round – and three associations were allowed four teams (Germany, Italy, Spain) – the league winner and runner-up from each nation qualified for the first group stage, and the third- and fourth-placed teams qualified for the third qualifying round. Eight additional associations were still allowed two teams (Czech Republic, Greece, Norway, Portugal: league winner in group stage; Austria, Croatia, Denmark, Turkey, Russia: league winner in third qualifying round). The top two teams in each group advanced to the Champions League second group stage, while the third-placed teams advanced to round three of the UEFA Cup.  AIK, Boavista, Bordeaux, Chelsea, Fiorentina, Hertha BSC, Lazio, Maribor, Molde, Valencia and Willem II made their debut in the group stage.  Tiebreakers, if necessary, are applied in the following order:

Second group stage.

Eight winners and eight runners-up from the first group stage were drawn into four groups of four teams each, each containing two group winners and two runners-up. Teams from the same country or from the same first-round group could not be drawn together. The top two teams in each group advanced to the quarter-finals.

Top goalscorers.

The top scorers from the 1999–2000 UEFA Champions League (excluding qualifying rounds) are as follows:

The 1999–2000 UEFA Champions League was the 45th season of the UEFA Champions League, UEFA's premier European club football tournament, and the eighth season since its rebranding from the "European Champion Clubs' Cup" or "European Cup". The competition was won by Real Madrid, who clinched a historic eighth title win by beating fellow La Liga side, Valencia in the final. The final was hosted in the Stade de France in Paris, the city where the original roots of the competition had begun nearly 50 years earlier.

Sezóna 1999/00 byla 45. ročníkem Ligy mistrů UEFA a zároveň 8. ročníkem po přejmenování. Jejím vítězem se stal španělský klub Real Madrid.


Plot.

During World War II, the Pevensie children, Peter, Susan, Edmund and Lucy, are evacuated from a London suburb to Professor Digory Kirke's country home. Mrs. Macready, the strict housekeeper, explains he is unaccustomed to hosting children.  While the Pevensies play hide-and-seek, Lucy discovers a wardrobe and enters the fantasy world called Narnia. Seeing a lamppost, Lucy encounters a faun named Mr. Tumnus, who invites her to his home. He puts Lucy to sleep by playing a lullaby on his flute. When Lucy wakes up, she finds Tumnus grieving. He explains that Jadis, the White Witch, has cursed Narnia to a hundred years of winter. If a human is encountered, they are to be brought to her. Tumnus cannot bring himself to kidnap Lucy, so he sends her home. When she returns to Professor Kirke's house, hardly any time has passed, and her siblings disbelieve her story.  One night, Edmund follows Lucy into the wardrobe, entering Narnia. While searching for Lucy, he meets the White Witch, who claims to be queen. She offers him tea and Turkish Delight and the prospect of becoming king if he brings his siblings to her castle. After she departs, Edmund and Lucy meet again and return. Lucy tells Peter and Susan what happened, but Edmund lies. Professor Kirke suggests she is telling the truth, though they remain unconvinced.  While running away from Mrs. Macready after accidentally breaking a window, the four siblings retreat to the wardrobe and enter Narnia, Peter and Susan doing so for the first time. They briefly castigate Edmund for lying and force him to apologize to Lucy. Then, they discover that the Witch has taken Mr. Tumnus, and they meet a couple of anthropomorphic beavers, who tell them about Aslan. According to the beavers, Aslan intends to take control of Narnia from the Witch. The four must help Aslan; it has been prophesied that if two sons of Adam and two daughters of Eve sit in the four thrones, the White Witch's reign will end.  Edmund sneaks off to visit the Witch. When he arrives at her castle, she is furious he has not delivered his siblings. The Witch sends wolves to track down the children and the beavers, who barely escape. Edmund is chained in the Witch's dungeon, where he meets Tumnus. The Witch demands Edmund reveal his siblings' location. After Tumnus claims that Edmund knows nothing, The Witch tells Mr. Tumnus that Edmund betrayed him, then turns Tumnus to stone.  While Peter, Lucy, Susan, and the beavers travel, they hide from what they believe to be the White Witch; it is really Father Christmas, a sign that the Witch's reign is ending. Father Christmas gives them weapons to defend themselves. Lucy receives a healing cordial that can heal any injury and a dagger to defend herself. Susan receives a magical horn that will summon help and a bow and quiver full of arrows. Peter receives a sword and a shield. After evading wolves led by Maugrim, the group reaches Aslan's camp. Aslan is revealed as a huge and noble lion, who promises to help Edmund. Later, two wolves ambush Lucy and Susan. When Peter intervenes, Maugrim attacks him, only to be killed. Some of Aslan's troops follow the other wolf to the witch's camp and rescue Edmund. Peter is knighted by Aslan.  The White Witch journeys to Aslan's camp and claims Edmund, but Aslan secretly offers to sacrifice himself instead. That night, as Lucy and Susan covertly watch, the White Witch fatally stabs Aslan, but double crosses him by sending an army to invade. Lucy and Susan send a message to the others, and Edmund persuades Peter to lead Aslan's army. In the morning, both armies clash violently, but Aslan is resurrected, citing magic beyond the Witch's understanding. Aslan takes Susan and Lucy to the Witch's castle, where he frees the prisoners she turned to stone. While saving Peter from the Witch by destroying her wand, Edmund is mortally wounded. As the Witch fights Peter, Aslan arrives with reinforcements and kills her. After Edmund is healed from an otherwise fatal wound by Lucy's cordial, the Pevensies are crowned King Peter the Magnificent, Queen Susan the Gentle, King Edmund the Just, and Queen Lucy the Valiant.  Fifteen years later, the Pevensie children, now young adults, chase a white stag through the forest. They encounter the lamppost Lucy saw earlier and suddenly tumble out of the wardrobe at the same time and day they left, becoming children again. Professor Kirke then finds the children, asking why they were in the wardrobe. In a mid-credits scene, Lucy later attempts to return to Narnia via the wardrobe, where Professor Kirke tells her he has tried for many years, and they will probably return to Narnia when they least expect it.

Cast.

The radio-announcer that Peter listens to on the rainy day near the beginning of the film is played by Douglas Gresham, co-producer of the movie and C. S. Lewis's stepson. Keynes' voice broke during filming, so some of his voice track had to be re-looped by his sister Soumaya. Mr. Pevensie is only glimpsed in a photo which Edmund tries to retrieve during the bombing, which is of Sim-Evan Jones's father.  With the exception of Tilda Swinton, who was the first choice to play Jadis, the White Witch, casting was a long process. Beginning in 2002, Adamson went through 2,500 audition tapes, met 1,800 children and workshopped 400 before coming down to the final four actors for the Pevensies. Moseley and Popplewell came from the very start of casting, whilst Henley and Keynes were cast relatively late. Moseley was cast because casting director Pippa Hall remembered she cast him as an extra in "Cider with Rosie" (1998). He beat 3,000 boys to the role of Peter and quit school to learn all his lines.  Aslan's voice was a contention point. Brian Cox was originally cast in the role on December 9, 2004, but Adamson changed his mind. Liam Neeson sought out the role, and was announced as the voice on July 17, 2005.

Production.

Pre-production.

During the early 1990s, producers Frank Marshall and Kathleen Kennedy were planning a film version. They could not find a space in Britain to shoot the film during 1996, and their plans to set the film in modern times made Douglas Gresham oppose the film, in addition to his feeling that technology had yet to catch up. Perry Moore began negotiations with the C. S. Lewis estate in 2000. On December 7, 2001, Walden Media announced that they had acquired the rights to "The Chronicles of Narnia".  The success of "Harry Potter and the Philosopher's Stone" prompted the producers to feel they could make a faithful adaptation of the novel set in Britain. ""Harry Potter" came along, and all those cultural or geographical lines were broken," Mark Johnson explained. "When "The Lion, The Witch and the Wardrobe" was being developed at Paramount, the imperative was to set it in the U.S., and it just doesn't hold. [...] It's not the book." Guillermo del Toro turned down the offer to direct due to his commitment on "Pan's Labyrinth". Following an Academy Award win for "Shrek", director Andrew Adamson began adapting the source material with a 20-page treatment based on his memories of the book. As such the film begins with the Luftwaffe bombing and concludes with an enormous battle, although they do not take up as much time in the novel.  In the novel, the battle is not seen until Aslan, Susan, Lucy and their reinforcements arrive. This was changed in the movie because Adamson said he could vividly remember a huge battle, an example of how Lewis left a lot to the readers' imagination. Other small changes include the reason all four children come to Narnia, in that an accident breaks a window and forces them to hide. Tumnus also never meets Edmund until the end in the novel. Minor details were added to the Pevensies, such as their mother's name, Helen, being the actual first name of Georgie Henley's mother. Finchley as the home of the Pevensies was inspired by Anna Popplewell, who actually is from Finchley. Adamson also changed the circumstances in which Lucy first comes into Narnia. He felt it was more natural that she first see the wardrobe while looking for a hide-and-seek hiding place, rather than just chance upon it exploring the house. The film also hints at Professor Kirke's role in "The Magician's Nephew", such as the engravings on the wardrobe, when it is a simple one in the novel, and the Professor's surprise and intrigue when Peter and Susan mention Lucy's discovery in the wardrobe. When Lewis wrote the novel, it was the first of the series and the back-story later outlined by the subsequent books in the series did not exist. Additionally in the novel, the father of the Pevensie children is in London with their mother, but in the film, their father is fighting in the war as Lucy states to Mr. Tumnus when they first meet in Narnia.  Weta Workshop head Richard Taylor cited Hieronymus Bosch's "The Garden of Earthly Delights" as an inspiration on the film. He felt Narnia had to be less dark and gritty than their depiction of Middle-earth in "The Lord of the Rings" because it is a new world. Many of Weta's creature designs were designed for digital creation, so when Howard Berger and KNB FX inherited the practical effects work, they had to spend three months retooling approved designs for animatronics. Berger's children would comment and advise upon his designs; they suggested the White Witch's hair be changed from black to blonde, which Berger concurred with as he realized Swinton's wig looked too Gothic.

Filming.

Principal photography began in New Zealand on June 28, 2004, shooting in primarily chronological order. Adamson did this in order to naturally create a sense of mature development from his young actors, which mirrored their real-life development. Georgie Henley and Skandar Keynes were never shown the set before filming scenes of their characters entering Narnia, nor had Henley seen James McAvoy in his Mr. Tumnus costume before shooting their scenes together.  The first scene shot was at the former RNZAF Base Hobsonville for the railway scene. Afterwards, they shot the Blitz scene, which Adamson called their first formal day of shooting.  The filmmakers asked permission to bring in twelve reindeer to New Zealand to pull the White Witch's sled. The were denied by the Ministry of Agriculture and Forestry, citing the potentially deadly Q fever from which the North American reindeer population suffers as the reason. However, ten wolves and wolf hybrids were allowed in for filming in Auckland. To replace the denied live reindeer Mark Rappaport's Creature Effects, Inc. created four animatronic reindeer that were used in shots where the deer were standing in place. The reindeer were designed with replaceable skins to get the most usage; brown for Father Christmas's and white for those of the White Witch.  The cast and crew spent their time in New Zealand in Auckland before moving in November to the South Island. Shooting locations in the South Island included Flock Hill in Canterbury, the area known as Elephant Rocks near Duntroon in North Otago, which was transformed into Aslan's camp. The castle scene was filmed in Purakaunui Bay, in the Catlins district, not far from the most southern point in New Zealand.  They filmed in the Czech Republic (Prague and National Park České Švýcarsko), Slovenia and Poland after the Christmas break, before wrapping in February.

Post-production.

The film was edited by Jim May and Sim Evan-Jones. Jones states that he really liked the problem solving that one can do with editing. According to Sim, "The way you can just take stuff and sort it out and be the keeper of the story without having to interact with actors, crew and reign", is what fascinated him into the editing world.  Jim May had worked at several visual effects facilities—Boss Film, ILM and Sony Pictures Imageworks—and eventually, moved into feature editorial as the visual effects editor in the cutting room.

Music.

The soundtrack was composed by Harry Gregson-Williams. Gregson-Williams had previously worked with Adamson on "Shrek" (2001) and "Shrek 2" (2004). In addition there are three original songs in the film; "Can't Take It In" by Imogen Heap, "Wunderkind" by Alanis Morissette and "Winter Light" by Tim Finn. Evanescence lead singer Amy Lee also wrote a song for the film, but it was not included in the soundtrack.  The soundtrack was recorded at Abbey Road Studios, London, England, and in Los Angeles, California. Gregson-Williams employed the 75-piece Hollywood Studio Symphony Orchestra, along with a 140-member choir (mostly members of The Bach Choir) and numerous other solo musicians such as electric violinist Hugh Marsh and vocalist Lisbeth Scott (at his Wavecrest Studio). He composed the original score and then spent late September through early November 2005 conducting the Hollywood Orchestra and overseeing the recording of the English choir. For "colour", he employed instruments used in ancient folk music, and to underscore critical dramatic moments, he added choral textures and, occasionally, a solo voice. The score includes instances of electronic music.  The soundtrack received two Golden Globe Award nominations: "Best Original Score" and "Best Original Song" (for "Wunderkind").  EMI also released a compilation soundtrack entitled "" was released on September 2005. The album features songs by Contemporary Christian music artists, such as Bethany Dillon, Kutless, and Nichole Nordeman. It released "Waiting for the World to Fall" by Jars of Clay as a single. The album went on to win the Special Event Album of the Year at the GMA Music Awards.

Reception.

Release.

On December 7, 2005, the film premiered in London, going on general release the following day. The film was released December 8, 2005, in the United Kingdom and December 9, 2005, in North America and the rest of Europe.

Box office.

Worldwide, "Narnia" earned $745,013,115 marking it the 55th-highest-grossing film of all time worldwide. It had a worldwide opening of $107.1 million, marking Disney's fifth-largest opening worldwide (at the time it was the largest). It is the third-largest movie worldwide among those released in 2005 and it currently still remains the highest-grossing movie of the "Narnia" franchise worldwide, and separately in North America and overseas. Finally, it is also the most successful film of Walden Media worldwide.

United States and Canada.

The film opened with $23,006,856 in 3,616 theatres on its opening day (Friday, December 9, 2005), averaging $6,363 per location. The film took in a total of $65,556,312 on its opening weekend (December 9–11, 2005), the 24th-best opening weekend at the time (now 54th). It was also Disney's third-largest opening weekend at the time (now the 34th-largest) as well as the second-biggest December opening, behind "". It is now fourth following the 2012 opening of "", the 2007 release of "I Am Legend", and the 2009 release of "Avatar" as well. Additionally, it made the third-largest opening weekend of 2005. It grossed $291,710,957 in total becoming the second-highest-grossing film of 2005 behind "". It surpassed the gross of "Harry Potter and the Goblet of Fire" by only $1.7 million, although the latter grossed $895.9 million worldwide, ahead of "The Lion, the Witch and the Wardrobe". It is the highest-grossing film of the 2005 holiday period, the second-highest-grossing "Christian" film, the sixth-largest family–children's book adaptation, the ninth-highest-grossing fantasy–live-action film and the 10th-highest-grossing film overall in Disney company history. Finally, it is the largest film of Walden Media worldwide. Box Office Mojo estimates that the film sold over 45 million tickets in North America.

Critical reception.

On Rotten Tomatoes, the film has an approval rating of 76% based on 217 reviews, with an average rating of 6.95/10. The site's critical consensus reads, "With first-rate special effects and compelling storytelling, this adaptation stays faithful to its source material and will please moviegoers of all ages." On Metacritic the film holds an average weighted score of 75 out of 100, based on 39 critics, indicating "generally favorable reviews". CinemaScore reported that audiences gave the film a rare "A+" grade.  Critic Roger Ebert also gave the film 3 out of 4 stars. "Ebert and Roeper" gave the movie "Two Thumbs Up". Movie critic Leonard Maltin gave the film 3 out of four stars, calling it, "an impressive and worthwhile family film," though he also said, "it does go on a bit and the special effects are extremely variable." Duane Dudak of the "Milwaukee Journal Sentinel" gave the movie 3 out of 4 stars. Stuart Klawans of "The Nation" said, "All ticket buyers will get their money's worth." Elizabeth Weitzman of "New York Daily News" gave it 4 out of 4 stars and said: "A generation-spanning journey that feels both comfortingly familiar and excitingly original." Critic Mick LaSalle of the "San Francisco Chronicle" listed it as the second best film of the year. Kit Bowen gave the film 3 out of 4 stars.  However, John Anderson from "Newsday", reacted negatively to the film, stating, "...there's a deliberateness, a fastidiousness and a lack of daring and vision that marks the entire operation."

Accolades.

"The Lion, the Witch and the Wardrobe" won several awards including the Academy Award for Best Makeup; the BeliefNet Film Award for Best Spiritual film; the Movieguide Faith & Values Awards: Most Inspiring Movie of 2005 and Best Family Movie of 2005; and the CAMIE (Character and Morality In Entertainment) Award. Others include the British Academy Film Awards for Makeup and Hair and Orange Rising Star (James McAvoy); Outstanding Motion Picture, Animated or Mixed Media; the Phoenix Film Critics Society Award for Best Performance by a Youth in a Lead or Supporting Role (Georgie Henley, Female); the Costume Designers Guild Award for Excellence in Fantasy Film (Isis Mussenden); and the Saturn Award for Costumes (Isis Mussenden) and Make-up (Howard Berger, Greg Nicotero, and Nikki Gooley).  Georgie Henley, in her performance as Lucy Pevensie earned critical acclaim for her performance. She won several awards, including the Phoenix Film Critics Society award for Best Actress in a Leading Role and Best Performance by a Youth. She also won other awards either for Best Young Performance or Best Actress in a Leading Role.

Home media release.

The DVD for "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe" was released on April 4, 2006. It is available in a standard one-disc set (with separate full-screen and widescreen editions), and a deluxe widescreen two-disc boxed set with additional artwork and other materials from Disney and Walden Media. The DVD sold four million copies on its first day of release and overtook "Harry Potter and the Goblet of Fire" to become the top-selling DVD in North America for 2006. As of December 2008 it has grossed $353.5 million in DVD sales, equivalent to 12,458,637 units sold.  Disney later issued a four-disc extended cut of the film on DVD. It was released on December 12, 2006, and was available commercially until January 31, 2007, after which Disney put the DVD on moratorium. The extended cut of the film runs approximately 150 minutes. The set includes all of the features previously released on the two-disc special edition. The two additional discs include a segment called "The Dreamer of Narnia", a previously unreleased feature-length film about C. S. Lewis, and additional production featurettes. Most of the extended footage, besides the extended battle sequence, is longer establishing shots of Narnia and footage of the Pevensies walking in Narnia.  The high-definition Blu-ray Disc version was released on May 13, 2008, in the United States, and on June 16, 2008, in the United Kingdom.

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe is a 2005 fantasy film co-written and directed by Andrew Adamson, based on "The Lion, the Witch and the Wardrobe", the first published and second chronological novel in C. S. Lewis's children's epic fantasy series, "The Chronicles of Narnia". It was co-produced by Walden Media and Walt Disney Pictures and distributed by Buena Vista Pictures. William Moseley, Anna Popplewell, Skandar Keynes and Georgie Henley play Peter, Susan, Edmund, and Lucy, four British children evacuated during the Blitz to the countryside, who find a wardrobe that leads to the fantasy world of Narnia. There they ally with the lion Aslan (voiced by Liam Neeson) against the forces of Jadis, the White Witch (Tilda Swinton).

Letopisy Narnie: Lev, čarodějnice a skříň je epický dobrodružný fantasy film z roku 2005. Jde o první natočený díl filmové série Letopisy Narnie, jejíž předlohou je sedm knih od C. S. Lewise. Kniha Lev, čarodějnice a skříň je mezi nimi první dle data vydání a druhá podle pořadí popisovaných událostí.


Personal life.

Cavaday was born in Kent. Her mother is a sport psychologist and her brother has played tennis at county level and in America for North Carolina State University. Up to the age of 13 years Cavaday studied at Bromley High School before getting a tennis scholarship to Queenswood School in Hertfordshire. She has also studied at the highly prestigious Nick Bollettieri Tennis Academy in Florida. Cavaday took a course in journalism and creative writing and expressed an interest in becoming a sports journalist when her tennis career was over. She appeared as a guest on the Al Jazeera English programme "The Stream" in July 2015, as part of a discussion on issues of female body image and its impact on sportswomen regarding their physiques.  Cavaday became an ambassador for Beat, the eating disorder charity, in 2011 and as of 2016 is a mental health ambassador for the LTA.

Career.

Junior (2004–2007).

Cavaday competed on the junior ITF tour from May 2004 to July 2007. She was a quarterfinalist at a total of nine tournaments, one of which was the 2006 Wimbledon girls' championships where she lost to Urszula Radwańska, 3–6, 2–6. She reached the semifinals of the ITF Junior Cup Copenhagen, Danish ITF Junior Tournament and the Optus Nottinghill International and was a finalist in the Malta ITF Junior Tournament, Safina Cup, French Riviera International Junior Open and the Tournoi International Juniors de Beaulieu sur Mer. She won one junior singles title at the Istres International Junior Tournament in April 2006 where she also won her only junior doubles title in the same year. Her best result at the Australian Open Girls' junior tournament was a first round defeat at the hands of Alizé Cornet, 1–6, 6–7, in 2007. She participated in the French Open and U.S. Open junior Grand Slams only once, losing in the second round of qualifying for the French and the second round of the main draw of the U.S. Open where she lost Tamira Paszek, 6–4, 4–6, 0–6.  Her career-high junior combined ranking was world No. 23 (achieved 19 March 2007) and her win-loss records for her junior career were 55–21 in singles and 28–19 in doubles.

2005–2006.

Cavaday made her debut on the ITF tour in January 2005 and in only the fourth professional tournament of her career she qualified and beat Isha Lakhani, 6–4, 6–1, in the final to win the event. Nevertheless, she finished 2005 without a world ranking.  In January 2006 Cavaday qualified for and reached the semifinal of the Tipton $10,000 event and at the start of February she competed in her first ever $25,000 ITF event in Jersey where she was beaten, 4–6, 1–6, by Anne Keothavong in round one. One month later, Cavaday qualified for Sunderland $10,000 and reached the final where she was defeated by Gaëlle Widmer in three sets, 1–6, 6–3, 1–6. This was immediately followed by a quarterfinal appearance in the $10,000 ITF in Sheffield and a semifinal appearance in another $10,000 event, this one in Bath, where she lost to up-and-comer Urszula Radwańska, 6–7, 3–6. In her very next tournament she yet again lost in the semifinal before receiving a wild card into the tier III DFS Classic qualifying draw in Birmingham, England. She won one tough three set match against Tatiana Poutchek, 7–6, 3–6, 7–6, before losing another to Hungarian Melinda Czink, 6–3, 5–7, 5–7. This was followed by Cavaday's first ever Grand Slam main draw appearance, courtesy of a wild card into home Grand Slam Wimbledon. She played Japanese veteran Ai Sugiyama and lost 4–6, 5–7. During September and October, Cavaday played in one $10,000 ITF tournament (where she lost in the quarterfinal) and three $25,000 ITF tournaments where she reached the semifinals, quarterfinals and second round. She rounded off her 2006 season in Australia with three more $25,000 ITF tournaments in Mount Gambier, Port Pirie and Nurioopta where she reached the quarterfinal of the first tournament and the first round of the other two. Her year-end ranking of 2006 was world No.401.

2007.

During January and February of 2007, Cavaday competed in two $25,000 ITF events in Great Britain and reached the quarterfinals of one of them. She then headed to the USA in March where she won eight consecutive matches to qualify for and win the $25,000 ITF in Orange, California. In April she reached the quarterfinal stage in another $25,000 tournament, this one in Jackson, Mississippi. She reached the semifinal of Palm Beach $25,000 in May before heading back to England and playing in the main draw of the tier III DFS Classic courtesy of a wild card where she beat Vasilisa Bardina, 6–2, 6–1, in round one. She was then demolished by Marion Bartoli, 3–6, 1–6, in the second round. She was immediately given a wild card into the qualifying draw of the International Women's Open, a tier II tournament held in Eastbourne, England. She was beaten in a tight two set match by Youlia Fedossova, 6–7, 6–7, in the first round. A third consecutive wild card allowed Cavaday entry into the main draw of Wimbledon for the second year running where she was drawn to face a resurgent former multiple Grand Slam champion in the form of Martina Hingis on Court 2, the "Graveyard of Champions". The court almost held true to its name when Cavaday had match points in the second set but failed to convert them, eventually losing 7–6, 5–7, 0–6.  After Wimbledon, Cavaday played one more tournament on grass, the $25,000 Felixstowe (where she reached the quarterfinal), before heading to the USA in preparation for the U.S. Open qualifying tournament. She was given a wild card into the qualifying draw for the tier II event Pilot Pen Tennis in New Haven where she fell just short of qualifying, losing to Tatiana Poutchek in three sets in the final round. She then headed to the U.S. Open qualifying for the first time in her career where she also lost in the final round of qualifying in three sets, this time to German, Sandra Klösel. After this, her ranking was high enough to enter her into qualifying for the tier III Sunfeast Open on merit. She won two matches to qualify before falling in the first round to Ekaterina Ivanova, 3–6, 6–2, 2–6. This was then followed immediately by Cavaday attempting to qualify for the tier IV Hansol Korea Open Tennis Championships but again losing one match short of qualifying for the main draw. At the end of the 2007 season, she played four more $25,000 ITF events (reaching the quarterfinal of one, the semifinal of another and round two in the other two). She then attempted to qualify for the ASB Classic, a tier IV event in Auckland, where she lost to Ahsha Rolle in the final round, 2–6, 2–6. Her year-end ranking was world No.196.

2008.

From the start of 2008 until the French Open, Cavaday competed primarily in $50,000 and $75,000 ITF events. She reached the semifinal of New Delhi $50,000 (losing to Yanina Wickmayer in straight sets, 1–6, 3–6) and the quarterfinals of Patras $50,000 and Monzon $75,000. In May she competed in the qualifying tournament of the French Open for the first time in her career but lost, 3–6, 5–7, in the first round to Stefanie Vögele. In June she received another wild card into the tier III, DFS Classic where she dominated Jill Craybas with her tricky serve and impressive forehand in the first round to win 6–0, 6–4 before going on to lose in the second round to Indian Sunitha Rao, 6–4, 3–6, 1–6. Compatriot Elena Baltacha then beat her in the opening round of qualifying for the tier II International Women's Open in Eastbourne in straight sets, 2–6, 4–6. Another wild card granted Cavaday access to the main draw of Wimbledon for the third year running where she was drawn to face defending champion and 12-time Grand Slam finalist, Venus Williams. She led Williams in the first set but eventually lost, 6–7, 1–6, in a match which led Williams to suggest that Cavaday could go far in the game with coaching from her father Richard Williams.  Following Wimbledon, Cavaday hit a patch of bad form, winning only two of her next six matches including losing in round one of qualifying for the U.S. Open to Kristína Kučová, 6–1, 3–6, 1–6. Following this, Cavaday did not play any more matches in 2008 due to a viral infection which saw her unable to train properly for the next three months and struggling to climb flights of stairs. It was the first serious setback Cavaday had been faced with in her young career but she gradually recovered and began light training once again in November in preparation for the 2009 season. She said of the setback, ""As an athlete it was very worrying"". Her worldwide ranking at the end of 2008 had fallen to No.268.

2009.

In her first event since the 2008 US Open qualifying tournament, Cavaday entered Wrexham $10,000 in January as a wild card and the No. 2 seed. She reached the semifinal before being overcome by fifth seed Claudine Schaul from Luxembourg, 2–6, 0–6. The very next week she reached the quarterfinal of the $25,000 tournament in Sutton before falling to compatriot Katie O'Brien, 1–6, 1–6. She then entered the $25,000 ITF event in Stockholm where she was beaten by Tatjana Malek, 2–6, 1–6, in the semifinals. At the 2009 WTA International Aegon Classic in Birmingham she received a wildcard, and overcame Julie Ditty and twelfth seed Tamarine Tanasugarn to reach the third round.

2014 – Return to professional tennis.

In 2014, Cavaday returned to professional tennis, receiving a wild card into the $50K grass court tournament in Nottingham, England. Further tournaments in England and in Egypt followed, and in September 2014, she won the first title of her comeback at a $10K tournament in Sharm-El-Sheikh, Egypt, defeating top seed Barbara Haas at the quarterfinal stage, and second seed Ana Veselinović in the final. In consecutive weeks in October – November 2014, she won back-to-back $10K titles in Stockholm, Sweden., beating Tayisiya Morderger in the first week's final and Margarita Lazareva in the second final.

2015.

Cavaday was restricted by a wrist injury in the first half of the year and played only three matches. On 7 October 2015 she posted on her website that she would no longer be competing professionally.

Naomi Kathleen Cavaday (born 24 April 1989) is a British former professional tennis player from Sidcup, Kent. She retired in April 2011 to take up a coaching role with the Lawn Tennis Association. At the time of her retirement she was the British no. 6, with a world ranking of world no. 231. Her career high ranking was No. 174, achieved in May 2010. She won three ITF singles titles and two ITF doubles titles. Her coach at retirement was Rob Smith. She was formerly coached by David Felgate, the long-time coach of Tim Henman.

Naomi Cavadayová (* 24. dubna 1989, Sidcup, Kent) je bývalá britská profesionální tenistka. Ve své kariéře na okruhu WTA Tour nevyhrála žádný turnaj. V rámci okruhu ITF získala tři tituly ve dvouhře a dva ve čtyřhře. V dubnu 2011, kdy figurovala na 231. pozici žebříčku, ukončila aktivní kariéru, aby u Britské tenisové asociace (Lawn Tennis Association) zahájila dráhu tenisové trenérky.


Plot.

"Arcania: Fall of Setarrif" ties up the loose ends of the main game's story and adds yet another chapter to the epic tale. After the demon that possessed King Rhobar III was exorcised, it made its way to Setarrif to find a new host. In Setarrif, which is cut off from the rest of the island, chaos and anarchy spread rapidly.  King Rhobar III is troubled by these facts and is afraid of losing the city and some of his companions, which are in Setarrif at that very moment. The nameless hero therefore is sent by the king and must journey to Setarrif but he has no idea of what lies before him.

Overview.

A new threat casts its shadow over the Southern Isles. A mysterious demon, consumed by hatred, terrifies the population and pools his force against the coastal city of Setarrif. The dramatic situation exacerbates after a volcanic eruption in the mountains nearby. Thereupon the nameless hero joins forces with his strongest allies and courageously faces the new menace.

Development.

The development of the addon started around mid 2010, although it was planned earlier in the development of "". With the current financial problems of the publisher, no other details have been revealed regarding the development of the game. JoWooD's community manager announced on one of the fansites that the debut trailer would be available in March 2011.  On March 3, 2011, JoWooD Entertainment released the official website and first trailer for the add-on.  On March 22, 2011, JoWooD Entertainment announced that the expansion has been delayed indefinitely because of legal issues with BVT Games Fund III.  However, on September 21, 2011, the new publisher, Nordic Games, announced that the add-on would be available on October 25, 2011 for Microsoft Windows.

Arcania: Fall of Setarrif is the standalone expansion for "". It was released on October 25, 2011 after a long period of silence from both publishers and after being delayed indefinitely in March 2011.

Arcania: Fall of Settarif je samostatně spustitelný datadisk ke hře "", čtvrtému dílu série Gothic. Vyvinula ho firma Spellbound, vydán měl být společností JoWood 25. března 2011. Ta však 22. března 2011 oznámila, že bylo vydání datadisku odloženo kvůli soudním sporům s BVT Games Fund III.


First round.

First leg.

"Enzo Ferrero scored an olympic goal."

Second leg.

"Everton won 10–0 on aggregate."  "Dukla Prague won 2–1 on aggregate."  "Lokomotíva Košice 1–1 Milan on aggregate. Milan won 7–6 on penalties."  "Sporting Gijón won 3–1 on aggregate."  "BFC Dynamo 6–6 Red Star Belgrade. Red Star Belgrade won on away goals."  "Stuttgart won 7–3 on aggregate."  "Strasbourg won 4–3 on aggregate."  "Dinamo Tbilisi won 3–1 on aggregate."  "Hajduk Split won 3–2 on aggregate."  "Valencia won 5–3 on aggregate."  "Hertha BSC Berlin won 2–1 on aggregate."  "Braga won 7–3 on aggregate."

Second round.

Second leg.

"Arsenal 2–2 Hajduk Split. Arsenal won on away goals."  "Milan won 4–1 on aggregate." "On 23 November 1978, UEFA fined Milan $14,000 for a bribery attempt to the Scottish referee John Gordon and linesmen Rollo Kyle and David McCartney (Italian club took the officials to shop for free the day before the game). Curiously, UEFA did not sanction the referee at all, however, Scottish Football Association suspended him."  "Strasbourg won 2–1 on aggregate."  "Red Star Belgrade won 2–1 on aggregate."

Third round.

Second leg.

"Manchester City won 5–2 on aggregate."  "Duisburg won 4–0 on aggregate."

Quarter-finals.

Second leg.

"MSV Duisburg 4–4 Budapest Honvéd. Duisburg won on away goals.  "Hertha BSC Berlin won 3–2 on aggregate."  "Borussia Mönchengladbach won 4–2 on aggregate."  "Red Star Belgrade won 2–1 on aggregate."

Semi-finals.

Second leg.

"Borussia Mönchengladbach won 6–3 on aggregate."  "Red Star Belgrade 2–2 Hertha BSC Berlin. Red Star Belgrade won on away goals."

Final.

Second leg.

"Borussia Mönchengladbach won 2–1 on aggregate."

The 1978–79 UEFA Cup was won by Borussia Mönchengladbach on aggregate over Red Star Belgrade. The third club was revoked to Switzerland and Poland, and it was assigned to Bulgaria and East Germany.

Sezóna 1978/79 Poháru UEFA byla 21. ročníkem tohoto poháru a zároveň osmým pod tímto názvem. Vítězem se stal tým Borussia Mönchengladbach.