Early life.

Black Hawk, or Black Sparrow Hawk (Sauk Ma-kat-tai-me-she-kia-kiak ["Mahkate:wi-meši-ke:hke:hkwa"], "be a large black hawk") was born in 1767 in the village of "Saukenuk" on the Rock River (present-day Rock Island, Illinois). Black Hawk's father "Pyesa" was the tribal medicine man of the Sauk people. The Sauk used the village in the summer for raising corn and as a burial site. During the winter, they moved across the Mississippi to present-day Iowa for winter hunts and fur trapping.  Little is known about Black Hawk's youth. He was said to be a descendant of "Nanamakee" (Thunder), a Sauk chief who, according to tradition, met an early French explorer, possibly Samuel de Champlain. At age 15, Black Hawk accompanied his father Pyesa on a raid against the Osage. He won approval by killing and scalping his first enemy. The young Black Hawk tried to establish himself as a war captain by leading other raids. He had limited success until, at age 19, he led 200 men in a battle against the Osage, in which he personally killed five men and one woman. Soon after, he joined his father in a raid against Cherokee along the Meramec River in Missouri. After Pyesa died from wounds received in the battle, Black Hawk inherited the Sauk medicine bundle which his father had carried, giving him an important role in the tribe.

War leader.

After an extended period of mourning for his father, Black Hawk resumed leading raiding parties over the next years, usually targeting the traditional enemy, the Osage. Black Hawk did not belong to a clan that provided the Sauk with hereditary civil leaders, or "chiefs". He achieved status through his exploits as a warrior and by leading successful raiding parties. Men like Black Hawk are sometimes called "war chiefs", but historian Patrick Jung writes, "It is more accurate to call them 'war leaders' since the nature of their office and the power that it wielded was much different from that of a civil chief." Twenty-first century historians such as John W. Hall have suggested the term "war captain" for this role.

War of 1812.

During the War of 1812, Black Hawk, now 45, served as a war leader of a Sauk band at their village of Saukenuk, which fielded about 200 warriors. He supported the invalidity of Quashquame's Treaty of St. Louis (1804) between the Sauk and Fox nations and then-Governor William Henry Harrison of the Indiana Territory that ceded territory, including Saukenuk, to the United States. The Sauk and Fox are consensus-based decision makers and those representatives sent to the meeting with the US government did not have the power to cede tribal territory, although Quashquame did. The lack of the consensus aspect by each of the Sauk and Fox councils meant that the treaty could never be considered valid by Black Hawk and other traditionalists. Black Hawk took part in skirmishes against US forces at the newly constructed Fort Madison in the disputed land; this was the first time he fought directly against the U.S. Army.  During the War of 1812, forces of Great Britain and its colonies in present-day Canada were engaged against those of the U.S., with major battles on the Great Lakes and surrounding remote lands. The British depended upon alliances with the Native American population to wage war in this area since the British were occupied with Napoleon in Europe. Colonel Robert Dickson, an English fur trader, amassed a sizable force of Native Americans at Green Bay to assist the British in operations around the Great Lakes. Most were from the Potawatomi, Ho-Chunk, Kickapoo, and Ottawa tribes. Black Hawk and his band of about 200 Sauk warriors were included in this group of allies.  Dickson commissioned Black Hawk at the rank of brevet Brigadier General, with command over all native allies at Green Bay and presented him with a silk flag, a medal, and a written certificate of good behavior and alliance with the British. The war leader preserved the certificate for 20 years; it was found by US forces after the Battle of Bad Axe, along with a flag similar in description to that Dickson gave to Black Hawk.  During the war, Black Hawk and Native warriors fought in several engagements alongside Major-General Henry Procter on the borders of Lake Erie. Black Hawk was at the Battle of Frenchtown, Fort Meigs, and the attack on Fort Stephenson. The United States Army was able to inflict a significant defeat on Tecumseh's Confederacy by killing Tecumseh during the war.  Black Hawk despaired over the many lives lost in the fighting; soon after, he quit the war to return home. Back in Saukenuk, he found that his rival "Keokuk" had become the tribe's war chief. Black Hawk rejoined the British effort toward the end of the war, fighting alongside British forces in campaigns along the Mississippi River near the Illinois Territory. At the Battle of Credit Island and by harassing U.S. troops at Fort Johnson, Black Hawk helped the British to push the Americans out of the upper Mississippi River valley.  Black Hawk fought in the Battle of the Sink Hole (May 1815), leading an ambush on a group of Missouri Rangers. Conflicting accounts of the action were given by the Missouri leader John Shaw and by Black Hawk.  After the end of the War of 1812, Black Hawk signed a peace treaty in May 1816 that re-affirmed the treaty of 1804. Later he said he was not aware of this stipulation.

Black Hawk War.

As a consequence of the 1804 treaty, the Sauk and Fox tribes had ceded their lands in Illinois and in 1828 were removed west of the Mississippi. Black Hawk and other tribal members disputed the treaty, as noted above, and said leaders had signed it without full tribal authorization. Angered by the loss of his birthplace, between 1830 and 1831 Black Hawk led a number of incursions across the Mississippi River to Illinois. He was persuaded to return west each time without bloodshed.  In April 1832, encouraged by promises of alliance with other tribes and with Britain, he moved his so-called "British Band" of more than 1500 people, both warriors and non-combatants, into Illinois. Finding no allies, he tried to return to Iowa, but the undisciplined Illinois militia provoked open attack at the Battle of Stillman's Run. A number of other violent engagements followed. The governors of Michigan Territory and Illinois mobilized their militias to hunt down Black Hawk's Band. These actions led to the last Native American War fought on the east side of the Mississippi River. The conflict became known as the Black Hawk War.  When Black Hawk entered Illinois in April, his British Band was composed of about 500 warriors and 1,000 old men, women, and children. The group included members of the Sauk, Fox and Kickapoo tribes. They crossed the river near the mouth of the Iowa River and followed the Rock River northeast. Along the way, they passed the ruins of Saukenuk and headed for the village of Ho-Chunk prophet White Cloud.  As the war progressed, factions of other tribes joined, or tried to join Black Hawk. Other Native Americans and settlers carried out acts of violence for personal reasons amidst the chaos of the war. In one example, a band of hostile Ho-Chunk intent on joining Black Hawk's Band attacked and killed the party of Felix St. Vrain in what Americans knew as the St. Vrain massacre. This act was an exception as most Ho-Chunk sided with the U.S. during the Black Hawk War. The warriors who attacked St. Vrain's party had acted independently of the Ho-Chunk nation. From April to August, Potawatomi warriors also joined with Black Hawk's Band.  The war stretched from April to August 1832, with a number of battles, skirmishes and massacres on both sides. Black Hawk led his men in another conflict, the Battle of Wisconsin Heights. Afterward, the Illinois and Michigan Territory militias caught up with Black Hawk's "British Band" for the final confrontation at Bad Axe. At the mouth of the Bad Axe River, pursuing soldiers, their Indian allies, and a U.S. gunboat killed hundreds of Sauk and Potawatomi men, women and children. On August 27, 1832, Black Hawk and "Wabokieshiek" asked to surrender to the Indian agent Joseph Street but were instead taken to Zachary Taylor. They surrendered to Lieutenant Jefferson Davis, future president of the Confederacy, after hiding on an unnamed island in the Mississippi River.

Tour of the East.

Following the war, with most of the British Band killed and the rest captured or disbanded, the defeated Black Hawk was held in captivity at Jefferson Barracks near Saint Louis, Missouri together with Neapope, White Cloud, and eight other leaders. After eight months, in April 1833 they were taken east, as ordered by U.S. President Andrew Jackson. The men were taken by steamboat, carriage, and railroad, and met with large crowds wherever they went. Jackson wanted them to be impressed with the power of the United States. Once in Washington, D.C., they met with Jackson and Secretary of War Lewis Cass. Afterward, they were delivered to their final destination, prison at Fortress Monroe in Hampton, Virginia. They were held only a few weeks at the prison, during which they posed for portraits by different artists.  On June 5, 1833, the men were sent west by steamboat on a circuitous route that took them through many large cities. Again, the men were a spectacle everywhere they went, and were greeted by huge crowds of people in cities such as Baltimore, Philadelphia and New York. In the west, closer to the battle sites and history of conflict, the reception was much different. For instance, in Detroit, a crowd burned and hanged effigies of the prisoners.

Early autobiography by Native American.

Near the end of his captivity in 1833, Black Hawk told his life story to Antoine LeClaire, a government interpreter. Edited by the local reporter J.B. Patterson, Black Hawk's account was one of the first Native American autobiographies published in the U.S. The "Autobiography of Ma-Ka-Tai-Me-She-Kia-Kiak, or Black Hawk, Embracing the Traditions of his Nation, Various Wars In Which He Has Been Engaged, and His Account of the Cause and General History of the Black Hawk War of 1832, His Surrender, and Travels Through the United States. Also Life, Death and Burial of the Old Chief, Together with a History of the Black Hawk War" was published in 1833 in Cincinnati, Ohio. The book immediately became a best seller and has gone through numerous editions. In its time, it was not without controversy, Thomas Ford, governor of Illinois, disliked Black Hawk, Le Claire, and George Davenport, and believed that Black Hawk had little to do with the writing of his autobiography, dismissing the book as a "catch-penny publication."

Assessment as Sauk leader.

Although not a hereditary chief, Black Hawk filled a leadership void within the Sauk community. When Quashquame ceded much of the Sauk homeland in 1804 to the United States, including the main village Saukenuk, he was viewed as ineffective. Black Hawk wrote in his autobiography:  Because of his role in the disputed 1804 treaty, the tribe reduced its support of "Quashquame" and made him a minor chief. "Quasquawma, was chief of this tribe once, but being cheated out of the mineral country, as the Indians allege, he was denigrated from his rank and his son-in-law Taimah elected in his stead." Although Quashquame and Black Hawk were at odds, the younger man did not directly challenge the civil chief. They apparently remained on good terms as Black Hawk rose in importance and Quashquame faded. Quashquame avoided confrontation with the U.S., while Black Hawk did not. After Black Hawk led an aborted takeover of Fort Madison in the Spring of 1809, Quashquame worked to restore relations with the US Army the next day.  Quashquame told Gen. William Clark during a meeting in 1810 or 1811: During the run up to the War of 1812, the US viewed Quashquame as loyal, or at least neutral. They knew Black Hawk led those Sauk warriors allied with the British. Quashquame led all Sauk non-combatants during the war, and they retreated to Saint Louis. Black Hawk thought this was an ideal arrangement: A rift developed among the Sauk after the war. In 1815 Quashquame was part of a large delegation who signed a treaty confirming a split between the Sauk along the Missouri River and the Sauk who lived along the Rock River at Saukenuk. The Rock River group of Sauk was commonly known as the British Band; their warriors were the core of those Sauk who participated in the Black Hawk War. About 1824, Quashquame sold a large Sauk village in Illinois to a trader Captain James White. White gave Quashquame "a little'sku-ti-apo' [liquor] and two thousand bushels of corn" for the land, which later was developed as Nauvoo, Illinois. This land sale likely aggravated Black Hawk and other Sauk who wanted to maintain their claim on Illinois.  As Quashquame was eclipsed by his son-in-law "Taimah" as the Sauk chief favored by the U.S., his compromise position lost standing compared to Black Hawk's resistance. When Caleb Atwater wrote about his visit to Quashquame in 1829, he depicted the leader as feeble, more interested in art and leisure than politics, but still advocating diplomacy over conflict. In the summer of 1830, Black Hawk began his incursions into the disputed territory of Illinois, which eventually leading to the Black Hawk War.  Black Hawk's frequent rival was "Keokuk", a Sauk war chief held in high esteem by the U.S. government. Officials believed that he was calm and reasonable, willing to negotiate, unlike Black Hawk. Black Hawk despised Keokuk, and viewed him as cowardly and self-serving, at one point threatening to kill him for not defending Saukenuk. After the Black Hawk War, US officials designated Keokuk as the main Sauk leader and would only deal with him.

Last days.

After his tour of the east, Black Hawk lived with the Sauk along the Iowa River and later the Des Moines River near Iowaville in what is now southeast Iowa. At the end of his life, he tried to reconcile both with American settlers and with his Sauk rivals, including Keokuk.  In an 1838 address at Fort Madison in the year of his death, he said the following: Black Hawk died on October 3, 1838 after two weeks of illness. He was buried on the farm of his friend James Jordan, on the north bank of the Des Moines River in Davis County.  In July 1839, his remains were stolen by James Turner, who prepared his skeleton for exhibition. Black Hawk's sons Nashashuk and Gamesett went to Governor Robert Lucas of Iowa Territory, who used his influence to bring the bones to security in his offices in Burlington. With the permission of Black Hawk's sons, the remains were held by the Burlington Geological and Historical Society. When the Society's building burned down in 1855, Black Hawk's remains were destroyed.  An alternative account is that Governor Lucas passed Black Hawk's bones to Enos Lowe, a Burlington physician, who was said to have left them to his partner, Dr. McLaurens. After McLaurens moved to California, workers were reported to have found the bones at his house. They buried the remains in a potter's grave in Aspen Grove Cemetery in Burlington.  There is a marker for him in the Iowaville Cemetery on the hill over the river, although it is unknown if any of his remains are there.

Personal life.

Though the Sauk practiced plural marriage, Black Hawk had one wife, known as As-she-we-qua (died August 28, 1846), or Singing Bird (her English name was Sarah Baker) with whom he had five children. His oldest son and youngest daughter died in the same year, before 1820, and he mourned their passing following Sauk tradition for two years. According to Sauk tradition, Black Hawk spent these two years of his life mourning the loss of his kids by living alone and fasting. His other children were a daughter Namequa (Running Fawn, Ailey Baker was her English name) and his sons Nasheakusk (aka Nashashuk) and Gamesett (aka Nasomsee).

Legacy.

Through interpreter Antoine LeClair, Black Hawk dictated an autobiography titled "Life of Ma-ka-tai-me-she-kia-kiak" (or, "Life of Black Hawk"), originally published in 1833.  A sculpture by Lorado Taft overlooks the Rock River in Oregon, Illinois. Entitled "The Eternal Indian", this statue is commonly known as the Black Hawk Statue. In modern times Black Hawk is considered a tragic hero and numerous commemorations exist. These are mostly in the form of eponyms; many roads, sports teams and schools are named after Black Hawk. Among the numerous wars in United States history, however; the Black Hawk War is one of few named for a person.  According to a widespread myth, the Olympic gold medal-winning athlete Jim Thorpe was said to be descended from Black Hawk.  The Wisconsin born African American spiritualist and trance medium Leafy Anderson claimed that Black Hawk was one of her major spirit guides. This spirit's guidance and protection are sought by the members of many churches within the loosely allied Spiritual Church Movement which she founded. Special "Black Hawk services" are held to invoke his assistance, and busts or statues representing him are kept on home and church altars by his devotees.

Black Hawk, born Ma-ka-tai-me-she-kia-kiak, (1767 – October 3, 1838) was a band leader and warrior of the Sauk Native American tribe in what is now the Midwest of the United States. Although he had inherited an important historic sacred bundle from his father, he was not a hereditary civil chief. Black Hawk earned his status as a war chief or captain by his actions; leading raiding and war parties as a young man, and then a band of Sauk warriors during the Black Hawk War of 1832.

Černý jestřáb (někdy též Černý sokol; anglicky "Black Hawk", saucky "Makataimeshekiakiak" [Mahkate:wi-meši-ke:hke:hkwa], „buď velký černý jestřáb“) (1767 - 3. října 1838) byl náčelník a bojovník severoamerického indiánského kmene Sauků, který žil na území dnešních USA. Původně nebyl sauckým dědičným náčelníkem, svůj status získal díky svým válečným úspěchům, když jako mladík vedl bojové akce svého kmene. Proslavil se především ve válce, která nese jeho jméno (1832).


Background.

The roots of cognitive linguistics are in Noam Chomsky’s 1959 critical review of B. F. Skinner’s "Verbal Behavior". Chomsky's rejection of behavioural psychology and his subsequent anti-behaviourist activity helped bring about a shift of focus from empiricism to mentalism in psychology under the new concepts of cognitive psychology and cognitive science.  Chomsky considered linguistics as a subfield of cognitive science in the 1970s but called his model transformational or generative grammar. Having been engaged with Chomsky in the linguistic wars, George Lakoff united in the early 1980s with Ronald Langacker and other advocates of neo-Darwinian linguistics in a so-called ”Lakoff—Langacker agreement”. It is suggested that they picked the name ”cognitive linguistics” for their new framework to undermine the reputation of generative grammar as a cognitive science.  Consequently, there are three competing approaches that today consider themselves as true representatives of cognitive linguistics. One is the Lakoffian—Langackerian brand with capitalised initials (Cognitive Linguistics). The second is generative grammar, while the third approach is proposed by scholars whose work falls outside the scope of the other two. They argue that cognitive linguistics should not be taken as the name of a specific selective framework, but as a whole field of scientific research that is assessed by its evidential rather than theoretical value.

Approaches.

Generative Grammar.

Generative grammar functions as a source of hypotheses about language computation in the mind and brain. It is argued to be the study of 'the cognitive neuroscience of language'. Generative grammar studies behavioural instincts and the biological nature of cognitive-linguistic algorithms, providing a computational–representational theory of mind.  This in practice means that sentence analysis by linguists is taken as a way to uncover cognitive structures. It is argued that a random genetic mutation in humans has caused syntactic structures to appear in the mind. Therefore, the fact that people have language does not rely on its communicative purposes.  For a famous example, it was argued by linguist Noam Chomsky that sentences of the type ""Is the man who is hungry ordering dinner"" are so rare that it is unlikely that children will have heard them. Since they can nonetheless produce them, it was further argued that the structure is not learned but "acquired" from an innate cognitive language component. Generative grammarians then took as their task to find out all about innate structures through introspection in order to form a picture of the hypothesised language faculty.  Generative grammar promotes a modular view of the mind, considering language as an autonomous mind module. Thus, language is separated from mathematical logic to the extent that inference plays no role in language acquisition. Other than in linguistics, Chomsky's ideas have been influential in cognitive psychology, computer science and socialist libertarian thinking.

Cognitive Linguistics (linguistics framework).

One of the approaches to cognitive linguistics is called Cognitive Linguistics, with capital initials, but it is also often spelled cognitive linguistics with all lowercase letters. This movement saw its beginning in early 1980s when George Lakoff's metaphor theory was united with Ronald Langacker's Cognitive Grammar, with subsequent models of Construction Grammar following from various authors. The union entails two different approaches to linguistic and cultural evolution: that of the conceptual metaphor, and the construction.  Cognitive Linguistics defines itself in opposition to generative grammar, arguing that language functions in the brain according to general cognitive principles. Lakoff's and Langacker's ideas are applied across sciences. In addition to linguistics and translation theory, Cognitive Linguistics is influential in literary studies, education, sociology, musicology, computer science and theology.  A. Conceptual metaphor theory  According to American linguist George Lakoff, "metaphors" are not just figures of speech, but modes of thought. Lakoff hypothesises that principles of abstract reasoning may have evolved from visual thinking and mechanisms for representing spatial relations that are present in lower animals. Conceptualisation is regarded as being based on the "embodiment" of knowledge, building on physical experience of vision and motion. For example, the'metaphor' of emotion builds on downward motion while the metaphor of reason builds on upward motion, as in saying “The discussion "fell" to the emotional level, but I "raised it back up" to the rational plane." It is argued that language is not a cognitive capacity, but instead relies on other cognitive skills which include perception, attention, motor skills, and visual and spatial processing. Same is said of other cognitive phenomena such as the sense of time:  In Cognitive Linguistics, thinking is argued to be mainly automatic and unconscious.  B. Cognitive and construction grammar  "Constructions", as the basic units of grammar, are conventionalised form–meaning pairings which are comparable to memes as units of linguistic evolution. These are considered multi-layered. For example, idioms are higher-level constructions which contain words as middle-level constructions, and these may contain morphemes as lower-level constructions. It is argued that humans do not only share the same body type, allowing a common ground for embodied representations; but constructions provide common ground for uniform expressions within a speech community. Like biological organisms, constructions have a life cycles which are studied by linguists.  According to the cognitive and "constructionist" view, there is no grammar in the traditional sense of the word. What is commonly perceived as grammar is an inventory of constructions; a complex adaptive system; or a population of constructions. Constructions are studied in all fields of language research from language acquisition to corpus linguistics.

Integrative cognitive linguistics.

There is also a third approach to cognitive linguistics which neither directly supports the modular (Generative Grammar) nor the anti-modular (Cognitive Linguistics) view of the mind. Proponents of the third view argue that, according to brain research, language processing is specialised although not autonomous from other types of information processing. Language is thought of as one of human cognitive abilities alongside with perception, attention, memory, motor skills, and visual and spatial processing, rather than being subordinate to them. Emphasis is laid on a cognitive semantics that studies the contextual–conceptual nature of meaning.

Controversy.

The specific meaning of cognitive linguistics, the proper address of the name, and the scientific status of the enterprise have been called into question. It is claimed that much of so-called cognitive linguistics fails to live up to its name. It is suggested that the aforementioned frameworks, which make use of the label ’cognitive’, are pseudoscience because their views of the mind and brain defy basic modern understanding of neuroscience, and are instead based on scientifically unjustified guru teachings. Members of such frameworks are also said to have used other researchers’ findings to present them as their own work. While this criticism is accepted for most part, it is claimed that some of the research has nonetheless produced useful insights.

Cognitive linguistics is an interdisciplinary branch of linguistics, combining knowledge and research from cognitive psychology, neuropsychology and linguistics. Models and theoretical accounts of cognitive linguistics are considered as psychologically real, and research in cognitive linguistics aims to help understand cognition in general and is seen as a road into the human mind.

Kognitivní lingvistika je disciplína na pomezí lingvistiky a dalších oborů. Je součástí tzv. kognitivních věd. Východiskem kognitivní lingvistiky je předpoklad, že jazyk a jeho užívání jsou jednou z kognitivních aktivit lidské mysli. Kognitivní lingvisté předpokládají, že jazyk umožňuje poznávat procesy v mysli, které jsou jinak nepozorovatelné. Kognitivní lingvistika plynule navazuje na další obory, které tyto poznávací procesy zkoumají, např. psycholingvistika, neurovědy: neurolingvistika, umělá inteligence. Některé přístupy mají blíže k filozofii, etnologii a jazykové antropologii.


Background and composition.

The season one finale of "Glee" first aired on Fox on June 8, 2010, in the US. The episode sees the fictional William McKinley High School glee club New Directions compete at the 2010 Midwest Regional Show Choir Championships. Director Will Schuester (Matthew Morrison) decides to have New Directions pay tribute to American rock band Journey. This was not only as homage to the cast's cover of "Don't Stop Believin' in the season one premiere that led to his decision to remain at the school, but as a representation of the path undertaken to arrive at the Regionals level of competition. They perform a medley of Journey songs: the love ballad "Faithfully", with Lea Michele and Cory Monteith on lead vocals as Rachel Berry and Finn Hudson, respectively, transitions into a mashup of "Any Way You Want It" and "Lovin', Touchin', Squeezin". This ends with a reprise of "Don't Stop Believin", where each cast member sings a portion of the song. Rival choir Vocal Adrenaline performs a cover of Queen's "Bohemian Rhapsody" thereafter, with Jesse (Jonathan Groff) on lead vocals. At the end of the episode, New Directions decides to show appreciation for Schuester with a rendition of Lulu's "To Sir With Love", the theme of the 1967 film of the same name. He returns the honor, performing Israel Kamakawiwoʻole's reinvention of "Over the Rainbow" along with glee club member Puck (Mark Salling).  The EP, along with its track listing, was announced in an official press release on May 26, 2010. It was released on June 8, 2010 in the US, and on June 14, 2010, in the UK. "Lovin', Touchin', Squeezin" was previously covered in the series' pilot episode. The 1981 single "Don't Stop Believin" was also previously performed in the pilot, as well as in the season one episode "The Rhodes Not Taken". The songs in the EP all fall under the genres of pop and rock.

Critical reception.

"The Denver Post" Ricardo Baca enjoyed the familiar nature of the songs on the EP, and liked "Faithfully" best of the Journey covers. He felt, however, that the music of "Don't Stop Believin" outshone the vocals of the cast. Andrew Leahey of AllMusic gave the album a rating of two-and-a-half stars out of five. A writer for Reuters called the Journey medley "heartfelt and uplifting" and Jessica Derschowitz of CBS News found it "fantastic". Gerrick Kennedy also enjoyed it, highlighting its emotional nature and complimenting the entire cast's vocals. IGN's Eric Goldman thought the reprise of "Don't Stop Believin" worked well, and liked not only the connection to the pilot, but also its musical rearrangement. Bobby Hankinson of "The Houston Chronicle" enjoyed "Don't Stop Believin" best of the performances but "Vanity Fair"'s Brett Berk deemed it unnecessary in the medley, and felt the cast would have done better to showcase more of "Lovin', Touchin', Squeezin". Berk enjoyed "Bohemian Rhapsody" best, giving it a rating of four stars out of a possible five, though he thought it was too predictable a song choice. "Time" James Poniewozik opined the song was one of "Glee" best, but was contemplative of which choir's performance was the better. Berk felt the lyrical context of "To Sir With Love" was trite and Hankinson was impressed by the song, calling it "sweet". "Over the Rainbow" was called "lovely" by the former and Derschowitz decided it was a "perfect" closing song.  Former Journey frontman Steve Perry gave an interview to American magazine RadarOnline, as co-writer of several Journey tracks, and praised the use of his songs on the show: ""Glee" has opened up catalog of songwriting and introduced those songs to a whole new generation that would have otherwise never heard them." The Regionals version of "Don't Stop Believin" earned a Grammy nomination for Best Pop Performance by a Duo or Group with Vocals for the ceremonies in 2011. Following this nomination, the song was included on the compilation album "2011 Grammy Nominees".

Chart performance.

The EP debuted at number one on both the US "Billboard" 200 and Soundtracks charts, selling 154,000 copies there. The album became the cast's third number-one album on the "Billboard" 200. Reaching the top of the chart on June 26, 2010, it did so three weeks after "". This beat the cast's own record for the shortest span between number-one debuts with different releases, previously held with "" and "Volume 3 Showstoppers". It entered at number two in Canada and the United Kingdom, selling 14,000 copies in the former. On the Irish Albums Chart, "Journey to Regionals" entered the week of June 10, 2010 at number 14 and ascended to the top position the next week, taking the spot from "Volume 3 Showstoppers". The EP entered at number seven in Australia on July 4, 2010, climbing four places to its peak three weeks later, and in Mexico, a peak of fifty-nine was reached. Second-week sales in the US amounted to 39,000 copies as the EP dropped to the tenth position on the "Billboard" 200. The EP has spent a total of 39 weeks on the Soundtracks chart.  Although none of the tracks were released as singles, all of the tracks managed to chart in several countries (with the new version of "Don't Stop Believin'" charting under the original entry). On the "Billboard" Hot 100, "Faithfully" debuted highest the week of June 26, 2010, at number 37. The same week on the Canadian Hot 100, "Over the Rainbow" led the "Glee" debuts at number 31. The song was also highest on the Australian and UK Singles Chart, at numbers 42 and 30, respectively. In Ireland, "Any Way You Want It / Lovin' Touchin' Squeezin" charted as highest of the "Glee" entries at number twenty on June 17, 2010. "Don't Stop Believin" was regarded as a re-entry of the group's debut single by most chart companies; in addition to the debut of the new tracks, it climbed from 71 to 33 in the UK and from 49 to 24 in Ireland. It re-entered the single charts of the US at 59 and Canada at 37, setting a new peak for the song in the latter. Only the Australian Recording Industry Association regarded it as a separate song, who placed it at number 67 the week of July 12, 2010.  With sales figures provided by Nielsen SoundScan, a list of the twenty most successful "Glee" songs was released by Yahoo! Music on October 22, 2010. The best-selling song, with 1,005,000 copies sold, was "Don't Stop Believin"—84,000 of those came from sales of the Regionals reprise. "Faithfully" was also on the list, at number eighteen with 159,000 copies. The EP's five new "Billboard" Hot 100 entries brought the cast's total appearances on the chart to 64, an accomplishment that placed them seventh among all artists, between Elton John (67) and Stevie Wonder (63). "Billboard" noted an increase in sales of the original seven songs rising in percentages ranging from 23% ("Don't Stop Believin") to 557% ("To Sir With Love"). Additionally, Journey's compilation "Greatest Hits" (1988) saw a 62% increase in sales, rising from 104 to 57 on the "Billboard" 200.

Promotion.

The cast embarked on an American concert tour, Glee Live! In Concert! starting in May 2010 in promotion of their first season. From the EP, "Faithfully" and "Any Way You Want It / Lovin' Touchin' Squeezin" were included on the set list. Morrison appeared on dates in New York City to sing "Over the Rainbow" whilst playing the ukulele. He was accompanied by Salling when he again sang the number at the annual White House Easter Egg Roll in 2010. In addition, he also performed the song at The O Arena in London with Leona Lewis on June 16, 2010, as part of Lewis' tour, The Labyrinth. On December 5, 2010, the cast appeared on the seventh season of UK reality TV series "The X Factor" to perform "Don't Stop Believin".  Source: allmusic.

Glee: The Music, Journey to Regionals is the second extended play (EP) by the cast of musical television series "Glee". Containing six songs from the season one finale "Journey to Regionals", it was released on June 8, 2010, the same day the episode aired. Half of the tracks are cover versions of songs by American rock band Journey. The EP debuted at the top of the US "Billboard" 200 and Soundtrack charts, with first-week sales of 154,000 copies. Unlike previous "Glee" releases, no singles were released from this album, but all of its tracks managed to appear on multiple national charts. Songs were generally received favorably, with many enjoying the Journey covers. The setlist of Glee Live! In Concert!, the cast's first concert tour, included three songs from the "Glee: The Music, Journey to Regionals".

Glee: The Music, Journey to Regionals je druhé EP amerického televizního muzikálového seriálu "Glee". Obsahuje písně z poslední epizody první série s názvem "Cesta". Album vyšlo 8. června 2010, ve stejný den, kdy se epizoda poprvé vysílala. Polovina písní na albu jsou coververze písní od americké rockové hudební skupiny Journey.


Early life and career.

Amado Boudou was born in Buenos Aires, in 1962. His father, also named Amado, was born to a French immigrant from Aveyron named "Aimé", and this became a nickname for both. He was raised in the ocean-front city of Mar del Plata and enrolled in the National University of Mar del Plata, where he received a degree in economics, in 1986; described by acquaintances as a sociable type and fond of the bass guitar, he helped produce a number of rock concerts in Mar del Plata in his days as a student, including a festival attended by 15,000 spectators.  Boudou attended graduate courses in economics and was awarded a master's degree in economics by a private institution, the Argentine Macroeconomic Studies Center (CEMA), which is well-known locally for its support of neo-liberal and free market policies. Boudou was then brought in as a salesman by Venturino Ehisur S.A. (a local sanitation services company). Following his role in securing a number of lucrative hospital contracts for the company, he was named general manager in 1992 of their government contracts office. The company closed, however, when one of its top municipal clients terminated the contract in 1995. He then co-founded Ecoplata S.A., another sanitation services firm, and acted as its project manager; Ecoplata was awarded sanitation contracts by the resort cities of Villa Gesell and Pinamar. He married Daniela Andriuolo in 1993, but they were divorced five years later; they had no children.  Boudou entered public service in 1998, when he was named to the Comptroller's Office of the National Social Security Administration (ANSES) by Economy Minister Roque Fernández (a fellow CEMA alumnus), and in February 2001, he was named that office's general manager. The election of Justicialist Party candidate Juan Pablo de Jesús as Mayor of the sea-side La Costa District resulted in Boudou's appointment as Finance Secretary for the popular resort district, which the policy maker accepted.  The Finance Secretary subscribed to the 2005 Federal Housing Plan promulgated by President Néstor Kirchner, a decision which made La Costa eligible for 486 low-income housing units. The contract, awarded to local builder Cantera FC in May 2005 for nearly US$10 million, was followed by Boudou's return to the ANSES, in January 2006. The Cantera FC contract resulted in an administrative debacle, however, when the builder abandoned the works in June 2007, having by then received over US$7 million in payments (for which the Mayor never initiated litigation).

National policy maker.

Returned to the ANSES by its Director, Sergio Massa, Boudou was named its Financial Director (a post second only to the director's in importance), and oversaw the voluntary conversion of several million private pension accounts to the ANSES' aegis when this choice was made available in December 2006. He was appointed its Director in October 2008, after Massa's promotion to the powerful post of Presidential Cabinet Chief.  Boudou's appointment coincided with President Cristina Fernández de Kirchner's controversial decision to transfer loss-plagued private pension funds' assets of nearly US$30 billion to the ANSES, citing the cost of subsidizing 77% of the funds' beneficiaries and the effects of the international crisis on the government's ability to obtain financing.  Following the ruling Front for Victory's defeat in the June 2009 mid-term elections, Economy Minister Carlos Rafael Fernández tendered his resignation to the President, effective 7 July, and was replaced by the ANSES Director.  Fallout from the international, 2008 financial crisis later forced the left-wing Argentine government of President Cristina Kirchner to seek domestic financing for growing public spending, as well as for foreign debt service obligations. These policies and ongoing capital flight put further pressure on the Central Bank's ability to finance debt service obligations, and the president ordered a US$6.7 billion account opened at the Central Bank for the latter purpose in December 2009, implying the use of the Central Bank's foreign exchange reserves, and drawing direct opposition from the institution's President, Martín Redrado; Redrado was ultimately forced to resign.  Boudou presented a debt swap package on 3 May 2010, for the holders of over US$18 billion in bonds who did not participate in the 2005 Argentine debt restructuring prepared by former Economy Minister Roberto Lavagna. These holdouts include numerous vulture funds which had eschewed the 2005 offer, and had instead resorted to the courts in a bid for higher returns on their defaulted bonds. These disputes had led to a number of liens against central bank accounts in New York and, indirectly, to reduced Argentine access to international credit markets.  In October 2010 Boudou compared Candelaria de la Sota and Martín Kanenguiser, journalists from "Clarín" and "La Nación", with the people cleaning the gas chambers during the Holocaust. Kanenguiser requested clarification, but Boudou instead defended his statement. His attack was condemned by the FOPEA (an organization of journalists), members of the legislature, and the DAIA. The DAIA accused him of trivializing the holocaust, and Congressman Eduardo Amadeo demanded his resignation; Boudou later stated that this was a badly chosen metaphor.  The Economy Minister announced his bid for the office of Mayor of Buenos Aires in December 2010 as a candidate in the Front for Victory primaries ahead of the 2011 race; hoping to solidify his base among the country's influential trade unions, he made the announcement at the headquarters of SMATA (the machinists' and auto workers' union). Ultimately, however, Senator Daniel Filmus was nominated in May.

Vice-Presidency.

Boudou was nominated as running mate on President Cristina Fernández de Kirchner's Front for Victory ticket for the 2011 elections. Boudou's role in the campaign was noted for his numerous performances at rallies with his bass guitar, and as a DJ. They won the October general election with 54% of the vote. Vice President Boudou assumed presidential duties for twenty days on 4 January 2012, while President Fernández de Kirchner underwent a thyroidectomy and convalesced. Boudou again assumed presidential duties for 42 days on 8 October 2013, while President Fernández de Kirchner underwent surgery to relieve bleeding on her brain and convalesced.

Trial and conviction.

The vice president faced accusations of influence peddling in 2012 regarding contracts awarded by the Economy Ministry to Ciccone Printing for the supply of 100 peso bills, license plates, and other government issues. The controversy arose following statements made by the ex-wife of Ciccone executive Alejandro Vanderbroele to the effect that Boudou was his silent partner in the firm. It was alleged that César Guido Forcieri, who had previously worked under Boudou, had made the connection between the two men. Pursuant to prosecutor Carlos Rívolo's request and following news that the Puerto Madero condominium rented by Boudou was owned by a friend of Vanderbroele who had, moreover, borrowed funds from Boudou, Judge Daniel Rafecas ordered the residence searched for proof of business associations between Vanderbroele and the vice president; a receipt for one month of homeowner association dues owed by the condominium's owner, Fabián Carosso, and paid instead by Vanderbroele was located in the search on 4 April.  Following an August 2013 judicial ruling ordering prosecutors to provide evidence of wrongdoing, and their subsequent failure to do so, on 11 September a Federal Court granted a motion by Boudou's attorneys that would allow them to file for a dismissal of charges. He was, however, indicted on passive bribery and influence peddling charges by Judge Ariel Lijo on 27 June 2014; Boudou appealed the indictment on 10 July, alleging malicious prosecution. Boudou is also being investigated for several other offenses and/or crimes, and is a defendant in a total of ten cases in the Federal Courts.  On 3 November 2017, Boudou was arrested on charges of money laundering and racketeering, during the ongoing trial. The case was ended in August 2018, and he was sentenced to five years and ten months. He has also been banned for life from holding public office. Nicolás Ciccone, former owner of Ciccone Printing, was also sentenced to four years and six months. He is jailed at a prison in Ezeiza, alongside other inmates also convicted for corruption cases during the Kirchner government, such as José López and Lázaro Báez.  Boudou claims that he is a victim of political persecution. He said that the "alleged bribe has no basis or link to the evidence because it didn’t exist." This seems to be supported by the latest developments in the Marcelo D'Alessio case being investigated by the Federal Judge of Dolores Alejo Ramos Padilla. D'Alessio was allegedly part of an espionage gang with members of the AFI (Federal Intelligence Agency), the Judicial Branch and Journalists that forged false penal cases against members and allies of the former Argentinian government as part of a Lawfare campaign. The attorneys of Núñez Carmona, who was accused along with Boudou, asked Judge Ramos Padilla to investigate if the testimony of Vandenbroele was indeed prepared by members of the AFI and the Ministry of Security.

Amado Boudou (; born 19 November 1962) is an Argentine businessman and politician who served as the Vice President of Argentina from 2011 to 2015. He was previously Minister of the Economy from 2009 to 2011.

Amado Boudou (* 19. listopadu 1963, Mar del Plata, Argentina) je argentinský podnikatel a politik. V současné době je 35. viceprezidentem Argentiny. Přísahu složil 10. prosince 2011. Od 4. ledna 2012 do 25. ledna 2012 byl zastupujícím prezidentem země v souvislosti s operací a rekonvalescencí prezidentky Cristiny Fernándezové. Od 8. října 2013 do 18. listopadu 2013 opět zastupující prezident, prezidentka je po operaci mozku. Viceprezidentem byl do 10. prosince 2015 tedy do skončení funkčního období, kdy složením přísahy se stala jeho nástupkyní Gabriela Michetti.


Evaluation of the year.

Richard Brody of "The New Yorker" said, "2012 has been a good year for Hollywood and off-Hollywood. Note, once more, the remarkable Hollywood nexus of the Gotham and Independent Spirit nominees, as the path of independent financing becomes ever more significant for filmmakers whose work doesn’t fit into franchise formatting. And that’s a good thing, from the perspective of filmmaking—whether it means that directors and actors share producers’ risks in getting their work made, or that complicit producers give a director’s vision free rein. But the latter notion makes some critics uneasy. There’s an undercurrent of thought—one rooted in an antiquated and nostalgic vision of a halcyon classic Hollywood that supposedly both reached the masses and made modest and un-self-conscious art—that looks to producers to restrain the idiosyncrasies of directors and fit them into a readily marketable package of popular appeal. These critics yearn for the adversarial relationship of producer and director, seeing the producer as the supporter of democratic values and the director as a sort of egomaniacal élitist who, unrestrained, would spend someone else’s money frivolously to make a movie that would please himself and his friends. Of course, that relationship becomes adversarial only if the producer doesn’t see himself as a sort of benefactor, a patron of the arts whose very role is to finance and to foster individual expression—and, as ever, it all depends on who the individual is and what the nature of the vision is. It’s fairly obvious that strong producers improve films made by mediocre directors but often constrain or dilute the distinctiveness and individuality of the work of good ones. There is a political agenda hidden within the critics’ aesthetic preference for the strong hand of the producer, as critics demagogically put themselves in the position of defenders of the people—defending them from radical outliers and finding popular tastes with which to align themselves. It’s another case of left and right agreeing without common ground and leading to bad policy—and, in this case, bad art."

Highest-grossing films.

The top 10 films released in 2012 by worldwide gross are as follows:

The following tables list films released in 2012. Most notably, the two oldest surviving American film studios, Universal and Paramount both celebrated their centennial anniversaries, marking the first time that two major film studios celebrate 100 years, and the Dolby Atmos sound format was launched for the premiere of "Brave". The "James Bond" film series celebrated its 50th anniversary and released its 23rd film, "Skyfall". Six box-office blockbusters from previous years ("Beauty and the Beast", "", "Titanic", "Raiders of the Lost Ark", "Finding Nemo", and "Monsters, Inc.") were re-released in 3D and IMAX. Also 2012 in film marked the debut for high frame rate technology. The first film using 48 F.P.S., a higher frame rate than the film industry standard 24 F.P.S., was "".

V roce 2012 oslavily 100. výročí existence společnosti Paramount Pictures a Universal Pictures. Dvacátá třetí oficiální bondovka "Skyfall" vyšla padesát let po prvním filmu série. Daný rok také zaznamenala debut technologie High Frame Rate. Prvním filmem, jenž byl natočen rychlostí 48 snímků za sekundu namísto 24 hertzů se stal "".


History.

The early years.

In 1904, Gustaaf Van Den Roye learned about the game of football in Antwerp and got fascinated about it. He bought an authentic ball to play the game in his hometown of Lier. The first games were played on a terrain owned by the local graf Marnix de Sainte-Aldegonde. Local farmers were not pleased and the police had to intervene, who prohibited any further games. The graf was informed of what happened and he asked Van Den Roye to come and see him. When Van Den Roye told the Graf about his intent to start an actual football club and pointed out the difficulties he was faced with, The Graf promised him a terrain which could serve as a football ground.  On March 6, 1906, during a meeting in a local pub called "De Roskam" a football club was founded, named "Liersche Sportkring". Lierse was born and a first board was established: Gerard Quaeyhaegens as chairman, Gust van den Roye as secretary and Georges Peeters as Treasurer. Graf Marnix de Sainte-Aldegonde agreed to become honorary chairman.  Two years after its foundation, in September 1908, Lierse became a member of the Royal Belgian Football Association, where it started playing in the lowest tier of Belgian Football. In 1913 the club made its first impact in Belgian football, when it became the first club ever out a regional league to reach the quarter-finals of the Belgian Cup. The club climbed through the ranks of Belgian football. In 1922, after winning a national play-off round Lierse gained promotion to the national levels of Belgian Football, which they would never leave until present.

1927–1948: First spell at the highest level.

Five years after reaching the national levels, in 1927, Lierse became champions in "division 1" the second tier of Belgian football, with a 2 points advantage over RSC Anderlecht. In doing so, Lierse succeeded promotion to the highest level for the first time in its history. This first spell in the top tier proved to be very successful immediately as Lierse became champions for the first time in 1932. In the 12 seasons that followed they finished only 1 time outside the top 5, becoming runner up in 1935 and 1939, and winning the championship again in 1941 (unofficial due to World War II) and 1942.  One of the major factors of the success of the club in this period was Bernard Voorhoof, who scored 350 goals in 529 matches for the club. He was voted "Lierse player of the century" when the club celebrated its 100th anniversary in 2006. Until now Voorhoof is also still the topscorer of the Belgium national football team with 30 goals in 61 matches and he is one of the four players worldwide to have competed in all 3 FIFA World Cups before World War II.  The second World War had its impact on the club though. 2 players of the club, national goalkeeper Frans Christiaens and Frans Vervoort died during allied bombardments on a factory in German-occupied Mortsel. Also Jules Van Craen, topscorer of the Belgian League in the 1943 season died during the war. In the season 1944–45 Lierse, together with three other clubs from the Antwerp area, did not compete in the league, due to the German bombardments on the Port of Antwerp. These facts, combined with some of the older players retiring caused the club to decline until they finished bottom of the league in 1948. After 21 years at the highest level, Lierse were relegated for the first time in its history.

1953–2018.

In 1953, Lierse secured promotion to the highest level once again.  In 1960, K. Lierse S.K won their third championship title, and distinguished themselves at European level.  In 1969, Lierse won the Belgian Cup for the first time.  September 21, 1971 is considered an important day for Lierse. Two weeks earlier, Lierse had lost 0–2 at home to the far superior Leeds United in the first round of the UEFA Cup. Nobody expected that Lierse would win in Leeds, but Lierse had an improbably 0–4 win, and Leeds, the Cup holders, were knocked out.  In 1986, Lierse were again relegated, but in 1988, they were promoted back to the top division. Keeping up with the elite clubs in Belgium had now become the top priority. Rich clubs such as Anderlecht and Club Bruges reigned supreme in the Belgian League.  1991–1994: Telefusion Belgium sponsored Lierse in these years.  In 1997, Lierse became league champions again, to a large amount of people's surprise. The hotly tipped favourites, Club Bruges, were surprisingly beaten to the title by Lierse.  Two years later (1999), Lierse won the Belgian Cup again.  In May 2018, owner Maged Samy and David Nakhid failed to agree on terms for a possible acquisition, making the future of the club uncertain.

Stadium.

Since 1925 Lierse played in the Herman Vanderpoortenstadion often referred to as Lisp. The latter is the location of the stadium in the residential area Lisp. The stadium has a capacity of 14,538.

Koninklijke Lierse Sportkring (), often simply known as Lierse, was a Belgian professional football club from the city of Lier in the Antwerp province. Lierse have won four championship titles and two Belgian Cups. Lierse was one of the six Belgian clubs to have played in the UEFA Champions League group stage, the other being Anderlecht, Club Brugge, Genk, Standard Liège and KAA Gent.

Koninklijke Lierse Sportkring, známý spíše pod zkráceným označením Lierse SK, je belgický fotbalový klub z města Lier. Založen byl roku 1906. Čtyřikrát vyhrál belgickou ligu (1931-32, 1940-41, 1941-42, 1959-60, 1996-97) a dvakrát belgický pohár (1968-69, 1998-99). Do 1. ligy vstoupil prvně v sezóně 1927/28. Největším mezinárodním úspěchem klubu je čtvrtfinále Poháru UEFA 1971/72. Patří k pěti belgickým klubům, které hráli základní skupinu Ligy mistrů (Anderlecht Brusel, Bruggy, Racing Genk, Standard Lutych).


Background.

Announced on May 3, 2011, "Glee: The Music, Volume 6" is the final release from the second season of "Glee", featuring music from the episode "A Night of Neglect" through the end of the season. The album's final three tracks—"As Long As You're There", "Pretending", and "Light Up the World"—are original songs. "As Long As You're There" is performed by guest star Charice and "Light Up the World" was co-written with Swedish songwriter Max Martin, who had previously helped to write "Loser Like Me", another song for the series. Recurring guest stars Gwyneth Paltrow, Kristin Chenoweth, and Jonathan Groff appear as featured artists on the album. "Glee: The Music, Volume 6" was released on May 23, 2011. "Light Up the World" premiered through Ryan Seacrest's website on May 10, 2011.

Reception.

Andrew Leahey of "Allmusic" gave the album a rating of three-and-a-half stars out of a possible five, and wrote that it "plays up the show's creative side". He cited "I Feel Pretty / Unpretty" as being "one of the show’s prettiest tributes to self-acceptance", and also commends the Chenoweth and Matthew Morrison cover of Fleetwood Mac's "Dreams". Leahey noted that "the second half of the album doesn’t fare as well as the first", but added that the album was better "than some of its predecessors". He criticized the inclusion of a "lackluster version of 'Dancing Queen when there were "better songs that didn’t make the cut".  Many of the songs on the album were reviewed positively when they appeared on the show. Meghan Brown of "The Atlantic" wrote that "As If We Never Said Goodbye" sung by Chris Colfer was "absolutely stunning in every conceivable way". John Kubicek of "BuddyTV" called "Rolling in the Deep" as sung by Groff and Lea Michele "one of the best vocal performances this show has ever seen". Erica Futterman of "Rolling Stone" called the performance a "passion-filled winner", though she detected "some oversinging". Other songs were not as well received, including Paltrow's rendition of Adele's "Turning Tables". Futterman said the vocals "lacked the texture that made Adele's version so heartbreaking", and "MTV" Aly Semigran wrote that while Paltrow is "a nice enough singer," she "in no way has the chops" the song requires.  "Glee: The Music, Volume 6" debuted at number four on the US "Billboard" 200 and number one on "Billboard" Soundtracks chart, selling 80,000 copies in its first week, giving it the second-lowest opening sales figure for a "Glee" release after the 48,000 copies sold by extended play "". It sold 25,000 copies in its second week, and stayed at the top of the soundtracks chart for three consecutive weeks.

Singles.

All tracks on the album have been released as singles, available for digital download. "Glee" cover of Adele's "Turning Tables", performed by Paltrow, has charted at number sixty-six on both the Canadian Hot 100 and the US "Billboard" Hot 100. The single sold 47,000 copies in its first week in the US. A mash-up of "I Feel Pretty" from the musical "West Side Story" and "Unpretty" by TLC reached number twenty-two on the "Billboard" Hot 100 and also became a top forty hit in Canada, Ireland, and the UK. Selling 112,000 copies in the US, its appearance marked the first time "I Feel Pretty" charted on the Hot 100.

Track listing.

Unless otherwise indicated, Information is taken from Liner Notes

Personnel.

Source: Allmusic

Glee: The Music, Volume 6 is the eighth soundtrack album by the cast of the American musical television series "Glee", released on May 23, 2011 through the Twentieth Century Fox Film Corporation and Columbia Records. The album serves as the sixth and final release for the series' second season, and contains three original tracks including "Light Up the World", which was co-written by Swedish songwriter Max Martin. All of its eighteen tracks have been released as singles, available for digital download.

Glee: The Music, Volume 6 je soundtrackové album z amerického muzikálového televizního seriálu Glee. Album obsahuje coververze písní, které zazněly v posledních šesti epizodách druhé série seriálu. Album vyšlo 23. května 2011 přes vydavatelství Columbia Records a Twentieth Century Fox.


Background.

After an 18-year hiatus from solo projects, Cooder returned with a trilogy of sociopolitical, Southern California-themed albums, comprising "Chávez Ravine" (2005), "My Name Is Buddy" (2007), and "I, Flathead" (2008). The albums examined various disenfranchised peoples through humorous, scholarly lyrics and esoteric musical styles. After completing the trilogy with "I, Flathead" in 2008, Cooder worked on The Chieftains' 2010 album "San Patricio".

Writing and recording.

Cooder was inspired to record "Pull Up Some Dust and Sit Down" by the late-2000s economic crisis and past protest songs. In interviews prior to the album's release, Cooder expressed strong anti-Republican and anti-banker sentiments in discussion about the political and economic climate. Before conceiving the album, he wrote and recorded the song "Quicksand" in 2010, as a response to the controversy spurred by Arizona Senate Bill 1070 and other anti-illegal immigration measures in the United States. In an interview for "The Australian", Cooder said of his decision to pursue a more political direction with his songwriting:  In early 2011, Cooder was inspired to write the song "No Banker Left Behind", and subsequently the rest of the album, by a headline about bankers and other affluent people who had profited from the bank bailouts and resulting recession during the late-2000s. In an interview with Kai Ryssdal on "Marketplace", Cooder cited the song as the starting point for writing the album and stated, "'No Banker Left Behind' originated with a line from Robert Scheer's Truthdig blog. I read this pretty regularly, and when I saw this, this metric I thought 'no banker left behind.'" He compared the album's content to Woody Guthrie's songs about the Dust Bowl era during the Great Depression and said of his own songs, "What I like in the idea of these songs is if you follow the logic of each tune — this happened and this happened and you can see that at the end, this is the result, you just didn't see it this way before, you never thought of Wall Street in terms of Jesse James and bilingual heft."  Recording sessions for "Pull Up Some Dust and Sit Down" took place at Drive-By Studios in North Hollywood, Ocean Studios in Burbank, and Wireland Studios in Chatsworth, California. The album was written and produced entirely by Cooder, except "Lord Tell Me Why", which was co-written by session drummer Jim Keltner. Cooder also worked with vocalist Juliette Commagere, accordionist Flaco Jiménez, bassist Robert Francis, vocalist Arnold McCuller, and drummer Joachim Cooder, Cooder's son. "Pull Up Some Dust and Sit Down" was mixed by Martin Pradler and mastered by recording engineer Bernie Grundman at his Hollywood studio Grundman Mastering. Most of the album was engineered in Pradler's living room.

Musical style.

"Pull Up Some Dust and Sit Down"s music is rooted in Americana and draws on a number of styles, including blues, folk, ragtime, norteño, rock, and country music. For the songs, Cooder adapted musical language from historical sources and incorporated styles from both North and South American traditions. In his interview on "Marketplace", he explained his stylistic approach for "Pull Up Some Dust and Sit Down", stating "to me, these musical styles and sounds are narratives as well. I mean everything about them — if it's an accordion, horns, the banda horns for the immigrant tunes — they all are part of the story. And you can see it then, you can imagine the Arizona border that's hot, 120 degrees in the shade, dusty. The banda horns are coming from some truck over there." According to him, musical settings for certain songs were decided based on their respective compositions, such as when "the words would come to me in 3⁄4 time, that meant "corrido", that means accordion; "banda" horns because they’re exciting."  Cooder wanted the music of each song to complement the stories in his lyrics and to serve as homages to particular traditional styles. Cooder said that he did not want to "over-think it" and said of his creative process for each song's distinct style, "It’s taken a long time, but it becomes natural to combine an idea you have or a story you want to tell with whatever seems conducive." Graham Reid of "The New Zealand Herald" writes that the music "refers to the dustbowl era, rural blues, Tex-Mex (with accordionist Flaco Jimenez) and old-time folk." "The Observer"s Neil Spencer comments that it is "grounded in the blues, folk and Tex-Mex the guitarist explored in the 1970s, but its songs belong to modern times."

Lyrics and themes.

Lyrically, the album focuses on socio-political themes of power and its abuses, the struggle for democracy, the trials of the working class, and the goal of equality, with songs composed as either first-person narratives or allegories. The songs deal with contemporary subject matter and topics such as immigration legislation, the emotional and physical effects of war, the dubiousness of politics, social class and race division, and white flight. Cooder's songwriting is characterized by sardonic lyrics, satire, mordant humor, and wry observations on figures such as bankers, politicians, and militarists. Allmusic's Thom Jurek characterizes it as "overtly political" and comments that "the depth of Cooder's rage is quieter but more direct as the album draws to a close." According to Bud Scoppa of "Uncut", the album expands on Cooder's previous trilogy of sociopolitical albums and their "scholarly but humour-laced examinations" and "arcane musical modes". Journalist Alec Wilkinson comments that "what [the album] shares with them is an indignation over the economic and ethical disparities of American life and the destructive and scoundrely meanness of the privileges given to the rich."  Nick Cristiano of "The Philadelphia Inquirer" writes of the lyrics, "Cooder takes deadly aim at rapacious bankers, warmongers, land barons, and the like, showing the devastating impact of their actions on ordinary folk", adding that "He does this in a manner that mixes the scrappy populism of Woody Guthrie with the first-person narratives of Springsteen in Steinbeckian "Ghost of Tom Joad" mode." Robin Denselow of "The Guardian" notes "bleak or thoughtful lyrics [set] against jaunty melodies" and "no elaborate narratives" in the songs, while interpreting the album's motif to be that of "a broken, divided society and the gap between rich and poor, but with the anger matched against humour." Neil Spencer of "Uncut" calls "Pull Up Some Dust and Sit Down" "an impassioned portrait of 21st century America and its injustices", adding that "like Guthrie, [Cooder] nails his targets with droll humour while empathising with society's underdogs."  Allmusic's Steve Huey asserts that the album "reache[s] all the way back to his earliest recordings for musical inspiration while telling topical stories about corruption — political and social — the erasure and the rewriting of American history, and an emerging class war." Peter Kane of "Q" compares it to Cooder's 1971 album "Into the Purple Valley", which featured Dust Bowl-era songs, and writes that this album's "protest songs for today's messed-up world" are "sly and humorous". Philip Majorins of PopMatters compares the album to other songwriters' "substantial statements" about the American zeitgeist, including Randy Newman's "Harps and Angels" (2008), Paul Simon's "So Beautiful or So What" (2011), and Bob Dylan's "Modern Times" (2006). However, he distinguishes "Pull Up Some Dust and Sit Down" as "an attempt at the existential, providing an everyman's view of struggle during economic downturn, class disparity, injustice, and abuse of power", calling him "a direct voice of protest, both musically and lyrically, that will not be mistaken for being impressionistic."

Songs.

The opening track "No Banker Left Behind" references the financial bailout of 2007 and criticizes bankers and government. Alec Wilkinson of "The New Yorker" writes that the song "ridicules the considerations extended to the prosperous men and women who grabbed everything not nailed down during the last few years." It features marching rhythms, mandolin and banjo riffs, and electric guitar. Cooder has described the song's rhythm as "a kind of clog-dance beat". "El Corrido Jesse James" is played in waltz time with a horn section and accordion by Flaco Jiménez. The lyrics express a fictitious narrative by American outlaw Jessie James in Heaven, who claims to have never "turned a family from their house" when he was a bank robber. He asks God for his "trusty.44" to persuade bankers to "put that bonus money back where it belongs". Cooder discussed the character's perspective in an interview on BBC Radio 4's "Today", stating:  "Quick Sand" is a shuffling rock song that addresses the plight of illegal immigrants to Arizona. It depicts six migrants travelling through extreme climates in the Sonoran Desert to reach Devil's Highway in an attempt to cross the Mexico – United States border. They journey from Tamaulipas and through the mountains along Devil's Highway. Partway into the journey, the migrants are abandoned by their coyote guide and subsequently lose one another one by one. They experience thirst, hunger, injury, and fear, culminating with the only two surviving migrants being turned away by a vigilante at the border. Cooder said of the route's background and the narrative in an interview, "[I]t's been a migrant trail for 200 years. People go out there and try to do it on foot, but if you make one mistake and go five minutes out of your way, you become disorientated and dehydrated. And they find these mummified bodies out there. The heat has just baked them through. And the people who live through it often refer to having a vision of the Virgin of Guadalupe flying overhead. This is a very common vision when the dehydration sets in."  "Humpty Dumpty World" incorporates the marimba with light reggae and Mariachi influences. The song's lyrics are sung from the perspective of God, who deplores the world he created. He makes note of incitive politicians and craven television commentators, and views it as "a ball of confusion" in the chorus line, "I thought I had built upon a solid rock / But it’s just a Humpty Dumpty World". "Christmas Time This Year" is an anti-war song with a Mexican polka style, with Flaco Jiménez on accordion and Cooder on bajo sexto. Composed as a corrido, the song is about wounded soldiers returning home for Christmas, with dismal lyrics set incongruously to an upbeat Mexican melody. Cooder wrote the song in response to the Walter Reed Army Medical Center neglect scandal and previous stories of neglected soldiers returning from the Iraq War. In "Baby Joined the Army", a young man laments the departure of his girlfriend, who became uninterested in her town and enlisted in the army with the assurance that "If I get killed in battle, I still get paid." "Lord Tell Me Why" is a gospel song with a rolling funk groove, sung from the perspective of a lower class white man who has become disillusioned with the American dream. His ironic lyrics ask in the chorus, "Lord tell me why a white man / Ain't worth nothin' in this world no more." The guitar-based "I Want My Crown" was recorded with an 11-piece band and has an aggressive blues style, rumba-rock groove, and growling vocals. The song is an indictment of politicians as "Judas men" who sided with oil barons and Republicans, and their greed that leads to war. "I Want My Crown" has been described by one writer as a "Mephistopheles-as-Right-winger character study".  "John Lee Hooker for President" is a blues song in which Cooder narrates as American blues musician John Lee Hooker visiting the White House. Adopting Hooker's style and laconic vocal tone, he decides to run for the presidency after disliking what he observed in his visit, naming Jimmy Reed as Vice President, Little Johnny Taylor as Secretary of State, and proposing to have "nine fine-lookin' womens on the Supreme Court". According to Cooder, the song was inspired by blues musician Gus Cannon's 1927 song "Can You Blame the Colored Man", a satirical piece about Booker T. Washington's invitation to the White House by President Theodore Roosevelt in 1901.  "Simple Tools" is a Tex-Mex ballad about the contentment of leading a simple lifestyle, with references to the decline in traditional manual skills and the view of automated work as unfulfilling. Featuring a resounding mix of mandolin and guitar, "If There Is a God" is a satirical narrative about an afterlife in which Heaven is restricted by a government bill to the wealthy. Its lyrics criticize redistricting and Republican Party legislature. The song references "The Bourgeois Blues" by blues and folk musician Lead Belly. In "No Hard Feelings", Cooder sings from the perspective of a lowly prospector who scolds businessmen for dealing with land exclusively in business terms. He dismisses the rich and elite as "ripples" in history and is willing to tolerate them provided that they avoid conflict.

Marketing and sales.

"Pull Up Some Dust and Sit Down" was released by Nonesuch Records on August 30, 2011, in the United States. It was released in the United Kingdom on September 5, and on September 9 in other European countries. Its vinyl LP release was on September 13. The album's lead single, "Quicksand", had been released as a digital download on June 29, 2010. Cooder donated the proceeds from its sales to the Mexican American Legal Defense and Educational Fund. The single's cover artwork, a piece called "Nuthin' to See Here, Keep on Movin'!", was designed by visual artist Vincent Valdez, a frequent collaborator with Cooder. Valdez contributed photography to the album's liner booklet. Cooder performed with a 17-piece band at the Great American Music Hall in San Francisco, California on August 31 and September 1, 2011, to promote the album. He was not satisfied with the promotional aspect of the shows, however, and it contributed to his general disillusionment with the music industry, which he reflected on in an interview for "The Australian":  In the week of September 24, 2011, "Pull Up Some Dust and Sit Down" debuted at number five on the US "Billboard" Top Folk Albums chart, on which it went on to spend seven weeks. The record also charted at number 123 on the "Billboard" 200, number 28 on the Top Rock Albums, number 15 on the Tastemaker Albums, a chart that ranks top-selling albums "based on an influential panel of indie stores and small regional chains." In the United Kingdom, "Pull Up Some Dust and Sit Down" debuted at number 26 on the British albums chart, selling 6,000 copies in its first week there; it spent two weeks on the chart.

Critical reception.

"Pull Up Some Dust and Sit Down" was met with widespread critical acclaim. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 92, based on 14 reviews.  The album was hailed by "Uncut"s Nigel Williamson and "The Daily Telegraph"s Martin Chilton as one of Cooder's best works. AllMusic editor Thom Jurek deemed it the musician's "most overtly political album... and one of his funniest, most musically compelling ones, too", while Daniel Paton from musicOMH said much of the record was "highly satisfying satire (although also often sensitive and affecting), combining Cooder’s transparent love for a wide range of roots music with his engagement with politics." Andy Gill of "The Independent" was impressed by how he used similar characters throughout the songs in new ways, calling the album his best since 2005's "Chávez Ravine".  Cooder received comparisons to Woody Guthrie in reviews written by Phil Sutcliffe of "Mojo", who found the lyrics sharply written, and Neil Spencer from "The Observer", who called Cooder "a Woody Guthrie for our times" and the record "a fierce state-of-the-nation album". In the opinion of "PopMatters" critic Philip Majorins, the record would not have a significant impact because of the public's predominantly commercial tastes and a "cynical" cultural climate, but concluded, ""Pull Up Some Dust and Sit Down" could have tremendous cathartic power for [those] who are aware of history and its knack for repeating itself. For those who are willing, this is a good place to start an education."  At the end of 2011, "Uncut" named "Pull Up Some Dust and Sit Down" the year's 20th best album, while Robert Christgau ranked it number 37 on his list for "The Barnes & Noble Review". The record was also nominated for the 2012 Grammy Award for Best Americana Album, while Cooder was nominated in the category of Best Artist for the 2012 Songlines Music Awards.

Track listing.

All songs were written and produced by Ry Cooder, except where noted.

Personnel.

Credits are adapted from the album's liner notes.

Pull Up Some Dust and Sit Down is the fourteenth studio album by American singer-songwriter and multi-instrumentalist Ry Cooder. It released on August 30, 2011, by Nonesuch Records.

Pull Up Some Dust and Sit Down je čtrnácté studiové album amerického kytaristy Ry Coodera. Album vyšlo 30. srpna 2011 u Nonesuch Records, jeho producentem byl Ry Cooder.


History.

Creation and early years (1948–1953).

On 23 May 1948, the governing board of APOEL football club sent a telegram to the Hellenic Association of Amateur Athletics (Greek: Σ.Ε.Γ.Α.Σ.), with the opportunity of the annual Panhellenic Track and Field Competition. In its telegram, the board stated its wish for what it described as the "communist mutiny" to be ended. Club players considering this action as a specifically political comment on the Greek Civil War distanced themselves from the board and were duly expelled from APOEL. On 4 June 1948, Dr. Mattheos Papapetrou organized a meeting in Nicosia that led to the creation of Omonia. Many players expelled from APOEL were present at the meeting and joined the new club. Along with other left-wing teams such as Nea Salamina, Alki Larnaca and Orfeas Nicosia, Omonia helped create in December 1948 the Cyprus Amateur Football Federation. Omonia took part in the CAFF league until 1953, having won four out of five played championships and five out of five played cups. Omonia was then accepted by the Cyprus Football Association to participate in the Cypriot First Division

Beginnings in the Cypriot First Division (1953–1969).

After joining the Cypriot First Division in 1953, Omonia only placed seventh out of nine teams in the 1953–54 season, barely avoiding relegation. During that decade, the club's best placing came during the 1956–57 season when the club finished in the third position.  The team would make its closest push for the title during the 1959–60 season after finishing second, one point behind Anorthosis Famagusta. The following year, after seven seasons in the First Division, the club would win its first title in 1960–61 season. Omonia, in that season, would score 91 goals in 24 matches on their way to their first ever Cyprus First Division title. Omonia won their second title during the 1965–66 season.

Golden era (1970s–1980s).

Omonia won its first trophies of the decade in 1972, when the club won both the league and the cup. Led by a young Sotiris Kaiafas, Omonia won seven league titles in the 1970s, six of them were consecutive (1974–1979). At the end of the decade, Omonia had a total of nine championship titles and three cups. At the end of the 1979 season, Omonia trailed its arch-rival APOEL by two championships. In 1976, Sotiris Kaiafas would go on and win the European Golden Shoe for his single-season 39-goal performance. In 2003, he was awarded the UEFA Jubilee Awards for the Best Cypriot Footballer of the 20th century.  The 1980s was a successful decade for the club as it won an additional seven Cypriot League Championship titles including another five consecutive in 1981, 1982, 1983, 1984, 1985, and in 1987 and in 1989. As the 1980s came to an end, Omonia had won 14 Cypriot championship titles, becoming the most successful team on the island at the time.

General decline (1990s).

The 1990s would prove to be less successful than the previous two decades. During this time, Omonia only mustered one Cypriot League title during the 1992–93 season. It would be eight years before Omonia would see its next title. In 1997, Omonia signed the German Rainer Rauffmann, who would later become the second top goalscorer ever for the club. With the help of other Omonia great and then captain, Costas Malekkos, and a young Costas Kaiafas (the son of Sotiris Kaiafas), Rauffmann would become top scorer of the Cypriot First Division in 1997–98, 1998–99, 1999–00 and 2000–01 seasons and led Omonia to two titles.

Revival (2000s).

After a disappointing eight seasons, the 2000s decade began with a trophy. Omonia celebrated its 18th Cypriot league championship title in 2001. Now captained by Costas Kaiafas, Omonia would win its 19th Cypriot League Championship again in 2003. Since 2003, however, the team would stumble and be without a title for the next several years. After numerous seasons of poor signings and underachieving, Omonia's reigns would be taken over by new chairman and team president, Miltiadis Neophytou in 2008. The team would soon be put back on track starting in 2006, beginning with the signing of Cyprus international goalkeeper Antonis Georgallides. Omonia would continue its star-studded signings by acquiring Cypriot stars that had been playing abroad, such as Elias Charalambous and Stathis Aloneftis. Omonia would then make headlines with the shocking signing of all-time leading scorer for Cyprus, Michalis Konstantinou. In 2009, Omonia would also sign another Cypriot star, Konstantinos Makrides. En route, Omonia would also acquire young Cypriot hopefuls, 21-year-old Dimitris Christofi and 20-year-old Georgios Efrem. Efrem, who had been playing on the youth team of Arsenal and later Scottish side Rangers, would be the final piece to the puzzle needed to win its 20th Cypriot league championship. After putting the proper pieces in place, Omonia did just that. During the 2009–10 season, led by the new captain, Elias Charalambous, Omonia would not lose a single derby, including play-offs matches against either, APOEL, Anorthosis Famagusta nor Apollon.  Head coach Takis Lemonis left the club after disappointing results and Dušan Bajević became the new coach in October 2010, but was fired in April 2011. He was replaced by Neophytos Larkou. Omonia would not be able to repeat as Champion during the 2010–11 regular season, and instead had to settle with finishing second, despite the addition of yet another young Cypriot rising star, Andreas Avraam. The club, however, was to end on a positive note: under interim coach Neophytos Larkou, Omonia defeated Apollon Limassol in the Cyprus Cup final to win their 13th cup title.  Omonia spent a difficult year but won their 14th cup starring André Alves, who scored the winning goal against AEL Limassol. Under the guidance of newly-appointed director of football Nickolas Danskalou, Omonia finished second in the Championship and third after the playoff rounds, all but assuring they would qualify for the second round of the 2012–13 UEFA Europa League.

Financial crisis (2012–2018).

Head coach Neophytos Larkou left the club in September 2012 and Toni Savevski was then appointed as coach. The team began the season with a great win but found its second success after several games. A disappointing first round proved enough to exclude the club from contesting for the championship or the cup. The team managed better results in the second round, finishing the season in third place. Thousands of fans answered the president's call to donate as much as they could and the financial issues of the club improved. Omonia's final match ended in a 3–1 victory over AEK Larnaca. Omonia was knocked out in the semi-finals of the cup by AEL Limassol.  In 2013, Omonia began the new season with Savevski as manager, but he was sacked halfway beside positive results. Miguel Ángel Lotina was hired as the replacer but was sacked just 37 days later. Kostas Kaiafas, ex-player was then appointed as the new coach. The club's financial difficulties returned despite the massive fundraiser organized the previous season. Omonia ended fifth in the league, finishing its worst season in 56 years since 1957–58.  In August 2014, Omonia was knocked out of the Europa League playoff stages by Dynamo Moscow. The club issued a complaint to UEFA regarding the refereeing of the match by Alexandru Tudor. In early September, the club stopped supplying the fans' group Gate-9 with tickets resulting in the group's abstention from matches. Two weeks later, after a meeting between the president and the coach, it was decided that tickets were to be supplied again to Gate-9. Omonia finished fourth in the league. The team was eliminated from the Cypriot Cup semi-finals by APOEL.  The team ended the 2015–16 campaign in 4th place. During this season it reached the final of the Cypriot Cup but lost to Apollon Limassol. The 2016–17 season saw the club finish 5th. This meant that for the 1st time in 15 years the club would not be able to play in European qualification matches. Following a general assembly at the end of the season Antonis Tzionis was elected as the new club president. While the 2017–18 campaign began with high expectations Omonia ended the season in 6th place. The season was the worst in the club's history in terms of defeats and goals conceded. Despite this the club sold a total of 95,222 tickets during the season, more than any other team in the league.

Papastavrou era (2018–present).

The decline of the club's football department and the financial difficulties it faced convinced many that a change in the way the club was being run was needed. In May 2018 a general assembly was called and members voted to hand the football department over to Stavros Papastavrou, an American-based Cypriot businessman. Papastavrou plans to invest 5 million euros into the club over the next few years and will invest more over the 20-year period that he will be in charge. He has stated that he will provide funds for the development of the club's academies and training grounds and that the potential creation of a new stadium will be considered.  Some fans expressed their disapproval of the move in transforming the football club into a for-profit. Gate 9, the club's fans' group, stated that the decision went against Omonia's traditionally left wing ideals and that it would no longer support the club's football department.  The club finished the 2018-19 campaign in 6th place and was knocked out of the Cypriot Cup by Apollon Limassol in the second round. Manager Yannis Anastasiou was replaced by Henning Berg in June 2019. The 2019-20 Cypriot season was abandoned in March 2020 due to the COVID-19 pandemic. At the time of its abandonment Omonoia was tied with Anorthosis Famagusta on points, but was ranked 1st due to a better head to head record and thus qualified for the 1st round of the 2020-21 UEFA Champions League season.

Name.

"Omonia" is the Greek word for "concord", showing the contrast of the club for discord and disruption.

Colors and badge.

Omonia's club colors are green and white. Their current alternate kit is black and green. Omonia's badge has a green shamrock in a white circle. Green colour symbolizes hope and white colour 'happiness'

Stadium.

Since 23 October 1999, Omonia has been using the 22,859-seat New GSP Stadium, the largest stadium in Cyprus. They share the stadium with local rival APOEL. Omonia played in the Makario Stadium from 1978 until 1999 and in Old GSP Stadium from 1953 to 1978. When the club was first created, it used the Goal Stadium (1948–1953).

Supporters.

Omonia supporters are known for their left-leaning, socialist character, with over 80% stating in a survey that they associate themselves with the Progressive Party of Working People Omonia is also traditionally regarded as the club of Cyprus's working-class. Many of Omonia's supporters can be seen waving banners bearing Che Guevara's image. Gate-9, the team's ultras group, was established in 1992. The group occupies the North stand at the GSP stadium during home games. Gate 9 has established relations with other left wing supporters such as those of Hapoel Tel Aviv and Standard Liège.  Omonia holds the record for the most league tickets sold by a Cypriot team in a single season (162,061 during the 2009–10 campaign). The club also holds the Cypriot record for the highest average attendance in a season (11,003 during the 2003–04 campaign).

Financial crisis and 2013 Pan-Cypriot fundraiser.

By the end of February 2013, Omonia was struggling to meet the UEFA criteria due to the economic crisis that had engulfed the club. The club's president then decided to start a fundraiser and called for the supporters of the club to donate as much as they could. Hundreds of events were organised island wide with the motto; "ΕΙΜΑΙ ΟΜΟΝΟΙΑ ΔΗΛΩΝΩ ΠΑΡΩΝ" meaning, "I'M WITH OMONIA, I DECLARE MYSELF PRESENT." Current and former players contributed by signing autographs and selling club merchandise. Although the situation at the beginning was described as grim, money poured in from all over the island and from abroad including England and the United States. In about a month-and-a-half, €3.5 million was collected from the club's supporters.

Omonia in European competitions.

UEFA Club ranking.

Last update: 15 May 2020

Players.

Former players.

For details of former players, see

Retired number.

12 – The club supporters (the 12th man)

Management.

AC Omonoia.

Source:

Omonoia FC.

Source: omonoiafc.com.cy

Managerial history.

Source: trifylli.net

Presidential history.

Here is the list of the previous presidents of Omonia:

Athletic Club Omonia Nicosia (, ΑΣΟΛ; "Athlitikos Sillogos Omonia Lefkosias", "ASOL") is a Cypriot professional football club based in Nicosia. The club was established on 4 June 1948. The football team of AC Omonia joined the Cyprus Football Association in 1953. On 29 May 2018 the football team of AC Omonia became a professional for-profit football company.

AC Omonia, originálním názvem "Αθλητικός Σύλλογος Ομόνοια Λευκωσίας", je kyperský fotbalový klub z města Nikósie. Založen byl roku 1948. Mnohokrát se zúčastnil evropských pohárů.