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Cambridge, England
Art rock, experimental rock, progressive rock, psychedelic rock, space rock [1]
1964–present[2][3]
(on indefinite hiatus since 1996) (One-off reunion: 2005)[4][5]
Label(s)
Harvest, EMI UK
Capitol, Tower, Columbia US
http://www.pinkfloyd.co.uk/ www.pinkfloyd.co.uk
Bob Klose
Pink Floyd is an English progressive rock band that initially earned recognition for their psychedelic or space rock music, and, as they evolved, for their progressive rock music. They are known for philosophical lyrics, sonic experimentation, innovative cover art, and elaborate live shows. One of rock music's most successful acts, the group have sold over 200 million albums worldwide[6][7] including 74.5 million albums in the United States alone.[8]
Pink Floyd had moderate mainstream success and was one of the most popular bands in the London underground music scene in the late 1960s as a psychedelic band led by Syd Barrett; however, Barrett's erratic behavior eventually forced his colleagues to replace him with guitarist and singer David Gilmour. After Barrett's departure, singer and bass player Roger Waters gradually became the dominant and driving force in the mid-1970s, until his eventual departure from the group in 1985. The band recorded several albums, achieving worldwide success with The Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), and The Wall (1979). In 1985, Waters declared Pink Floyd "a spent force," but the remaining members, led by Gilmour, continued recording and touring under the name Pink Floyd. Although they were unsuccessfully sued by Waters for rights to the name, they again enjoyed worldwide success with A Momentary Lapse of Reason (1987), and The Division Bell (1994). Eventually they reached a settlement out of court with Waters allowing them use of the name. Waters performed with the band for the first time in 24 years on July 2, 2005 at the London Live 8 concert.
1 Band history
1.1 Syd Barrett – led era: 1964–1968
1.1.1 Barrett's decline
1.2 Finding their feet: 1968–1970
1.3 Breakthrough era: 1971–1975
1.4 Roger Waters – led era: 1976–1985
1.5 David Gilmour – led era: 1987–1995
2 Live performances
3 Influences on other musicians
4.2 DVD and video
5 Band members
5.1 Notable or frequent contributors
Its music is a jarring clash of instumentals, synthesized music, vocals and ambient noise. Its lyrics are often ironic, even cynical—a protest against the crassness of modernity.
Syd Barrett – led era: 1964–1968
Pink Floyd evolved from an earlier rock band, formed in 1964,[9][10] which was at various times called Sigma 6, the Meggadeaths, The Tea Set (or The T-Set), The Architectural Abdabs, The Abdabs and The Screaming Abdabs. When the band split up, some members—guitarists Rado "Bob" Klose and Roger Waters, drummer Nick Mason, and wind instrument player Rick Wright—formed a new band called "Tea Set." After a brief stint with a lead vocalist named Chris Dennis,[11] blues and folk guitarist and vocalist Syd Barrett joined the band, with Waters moving to bass.[12]
When Tea Set found themselves on the same bill as another band with the same name, Barrett came up with the alternative name The Pink Floyd Sound, after two blues musicians, Pink Anderson and Floyd Council.[13] For a time after this they oscillated between The Tea Set and The Pink Floyd Sound, with the latter name eventually winning out. The Sound was dropped fairly quickly, but the definite article was still used regularly until 1970. The group's UK releases during the Syd Barrett era credited them as The Pink Floyd as did their first two U.S. singles. The 1969 More and Ummagumma albums credit the band as Pink Floyd, produced by The Pink Floyd, while the 1970 Atom Heart Mother credits the band as The Pink Floyd, produced by Pink Floyd! David Gilmour is known to have referred to the group as The Pink Floyd as late as 1984.[14]
The heavily jazz-oriented Klose left after recording only a demo,[15] leaving an otherwise stable lineup with Barrett on guitar and lead vocals, Waters on bass guitar and backing vocals, Mason on drums and percussion, and Wright switching to keyboards and backing vocals. Barrett soon started writing his own songs, influenced by American and British psychedelic rock with his own brand of whimsical humor. Pink Floyd became a favorite in the underground movement, playing at such prominent venues as the UFO club, the Marquee Club and the Roundhouse.
At the end of 1966 the band were invited to contribute music for Peter Whitehead's film Tonite Let's All Make Love In London; they were filmed recording two tracks ("Interstellar Overdrive" and "Nick's Boogie") in January 1967. Although hardly any of this music made it onto the film, the session was eventually released as London '66/'67 in 2005.
As their popularity increased, the band members formed Blackhill Enterprises in October 1966, a six-way business partnership with their managers, Peter Jenner and Andrew King,[16] issuing the singles "Arnold Layne" in March 1967 and "See Emily Play" in June 1967. "Arnold Layne" reached number 20 in the UK Singles Chart, and "See Emily Play" reached number 6,[17] granting the band its first national TV appearance on Top of the Pops in July 1967. (They had earlier appeared, performing "Interstellar Overdrive" at the UFO Club, in a short documentary, "It's So Far Out It's Straight Down." This was broadcast in March 1967 but seen only in the UK's Granada TV region.).
Released in August 1967, the band's debut album, The Piper at the Gates of Dawn, is today considered to be a prime example of British psychedelic music, and was generally well-received by critics at the time. It is now viewed as one of the best debut albums by many critics.[18] The album's tracks, predominantly written by Barrett, showcase poetic lyrics and an eclectic mixture of music, from the avant-garde free-form piece "Interstellar Overdrive" to whimsical songs such as "The Scarecrow (Pink Floyd song)," inspired by the Fenlands, a rural region north of Cambridge (Barrett, Gilmour and Waters's home town). Lyrics were entirely surreal and often referred to folklore, such as "The Gnome." The music reflected newer technologies in electronics through its prominent use of stereo panning, tape editing, echo effects (specifically, a Binson Echorec machine) and electric keyboards. The album was a hit in the UK where it peaked at #6, but did not do well in North America, reaching #131 in the U.S.,[19] and that only after it was reissued in the wake of the band's state side commercial breakthrough in the 1970s. During this period, the band toured with Jimi Hendrix, which helped to increase its popularity.
Barrett's decline
As the band became more popular, the stresses of life on the road, pressure by the record company to produce hit singles, and a significant intake of psychedelic drugs took their toll on Barrett, whose mental health had been deteriorating for several months.[20] In January 1968, guitarist David Gilmour joined the band to carry out Barrett's playing and singing duties, though Jeff Beck was originally considered.[21]
With Barrett's behavior becoming less and less predictable, and his almost constant use of LSD, he became very unstable, occasionally staring into space while the rest of the band performed. During some performances, he would just strum one chord for the duration of a concert, or randomly begin detuning his guitar.[22] He was also equally erratic in rehearsals; on one occasion he was, according to band members, perfectly on the ball and ready to record while preparing, yet as soon as the recording began he would stare into space. When recording was cut, he became, as Waters describes him, "the usual jack-the-lad, hopping around on the balls of his feet." The absent expression in his eyes inspired Waters' lyrics in 1975's "Shine On You Crazy Diamond," "Now there's that look in your eyes/ Like black holes in the sky.' The band's live shows became increasingly ramshackle until, eventually, the other band members simply stopped taking him to the concerts. The last concert featuring Barrett was on January 20 1968 on Hastings Pier. It was originally hoped that Barrett would write for the band with Gilmour performing live, but Barrett's increasingly difficult compositions, such as "Have You Got It, Yet?", which changed melodies and chord progression with every take, eventually made the rest of the band give up on this arrangement.[23] Once Barrett's departure was formalized in April 1968, producers Jenner and King decided to remain with him, and the six-way Blackhill partnership was dissolved.[23] The band adopted Steve O'Rourke as manager, and he remained with Pink Floyd until his death in 2003.
After recording two solo albums (The Madcap Laughs and Barrett (album)) in 1970 (co-produced by and sometimes featuring Gilmour, Waters and Wright) to moderate success, Barrett went into seclusion. Again going by his given name, Roger, he eventually moved back to his native Cambridge and lived a quiet life there until his death on July 7, 2006.
Finding their feet: 1968–1970
This period was one of musical experimentation for the band. Gilmour, Waters and Wright each contributed material that had its own voice and sound, giving this material less consistency than the Barrett-dominated early years or the more polished, collaborative sound of later years. As Barrett had been the lead singer during his era, Gilmour, Waters and Wright now split both songwriting and lead vocal duties. Waters mostly wrote low-key, jazzy melodies with dominant bass lines and complex, symbolic lyrics, Gilmour focused on guitar-driven blues jams, and Wright preferred melodic psychedelic keyboard-heavy numbers. Unlike Waters, Gilmour and Wright preferred tracks that had simple lyrics or that were purely instrumental. Some of the band's most experimental music is from this period, such as "A Saucerful of Secrets," consisting largely of noises, feedback, percussions, oscillators and tape loops, and "Careful with That Axe, Eugene" (which went by a number of other names as well), a very Waters-driven song with a bass and keyboard-heavy jam culminating in crashing drums and Waters' primal screams.
The double album Ummagumma, was a mix of live recordings and unchecked studio experimentation by the band members, with each member recording half a side of a vinyl record as a solo project (Mason's first wife makes an uncredited contribution as a flautist).[24] Though the album was realized as solo outings and a live set, it was originally intended as a purely avant-garde mixture of sounds from "found" instruments. The subsequent difficulties in recording and lack of group organization led to the shelving of the project.
In 1970 Atom Heart Mother, the band's first recording with an orchestra, was a collaboration with avant-garde composer Ron Geesin. The name was a last minute decision by the band when they were inspired by a newspaper article about a woman who had given birth with a pacemaker. The cover was equally as unplanned, with the photographer claiming to have "gone out into the countryside and taking a picture of the first thing he saw." One side of the album consisted of the title piece, a 23-minute long "rock-orchestral" suite. One lengthy piece, "Alan's Psychedelic Breakfast," was a sound collage of a man cooking and eating breakfast and his thoughts on the matter, linked with instrumentals. The man was Alan Stiles, one of Pink Floyd's roadies at the time. The use of noises, incidental sound effects and voice samples would thereafter be an important part of the band's sound. While Atom Heart Mother was considered a huge step back for the band at the time[25] and is still considered one of its most inaccessible albums, it had the best chart performance for the band up to that time, reaching #1 in the UK and #55 in the U.S.[19] The popularity of the album allowed Pink Floyd to embark on its first full U.S. tour.
Breakthrough era: 1971–1975
During this time, Pink Floyd shed their association with the "psychedelic" scene and became a distinctive band who were difficult to classify. The divergent styles of their primary songwriters, Gilmour, Waters and Wright, merged into a unique sound, which quickly became known among fans as "The Pink Floyd Sound." This era contains what many consider to be two of the band's masterpiece albums, The Dark Side of the Moon and Wish You Were Here.
Pink Floyd, Earls Court, 1973
The sound became polished and collaborative, with the philosophic lyrics and distinctive bass lines of Waters combining with the unique blues guitar style of Gilmour and Wright's haunting keyboard melodies, and harmonic textures. Gilmour was the dominant vocalist throughout this period, and female choirs and Dick Parry's saxophone contributions became a notable part of the band's style. The sometimes atonal and harsh sound exhibited in the band's earlier years gave way to a very smooth, mellow and soothing sound, and the band's epic, lengthy compositions reached their zenith with "Echoes." This period was not only the beginning but the end of the truly collaborative era of the band; after 1973 Waters' influence became more dominant musically as well as lyrically. Wright's last credited composition and last lead vocal on a studio album until 1994's The Division Bell were in this period ("Time" and "Shine On You Crazy Diamond" respectively), and Gilmour's writing credits sharply declined in frequency until Waters left the band in 1985, though he continued to perform lead vocals and write songs throughout the whole time. The last ties with Barrett were severed in musical fashion with Wish You Were Here, whose epic track "Shine On You Crazy Diamond" was written both as a tribute and eulogy to Barrett. The epic, 26-minute piece was described by Gilmour as "Roger's paean to Syd."
The band's sound was considerably more focused on Meddle (1971), with the 23-minute epic "Echoes" taking up the second side of the LP. "Echoes" is a smooth progressive rock song with extended guitar and keyboard solos and a long segue in the middle consisting largely of synthesized music produced on guitars, organs, and synths, along with backward wah pedal guitar sounding like samples of sea gulls or albatross and an entire whale song playing over the top, described by Waters as a "sonic poem."[26] The song took a while to construct, and went through many named stages, including "Nothings," "Son Of Nothings" and "Return Of The Son Of Nothings." The latter was performed at their free Hyde Park concert and was well received by the crowd. Meddle was considered by Nick Mason to be "the first real Pink Floyd album. It introduced the idea of a theme that can be returned to."[27] The album had the sound and style of the succeeding breakthrough-era Pink Floyd albums but stripped away the orchestra that was prominent in Atom Heart Mother.[28] Meddle also included the atmospheric "One of These Days," a concert favorite featuring Nick Mason's menacing one-line vocal ("One of these days, I'm going to cut you into little pieces"), distorted and bluesy lap steel guitar, and a melody that at one point fades into a throbbing synthetic pulse quoting the theme tune of the cult classic science fiction television show Doctor Who. The mellow feeling of the next three albums is very present on "Fearless," and this track displays a folk influence, as does the prominent lap steel guitar on "A Pillow of Winds." Waters' role as lead songwriter began to take form, with his jazzy "San Tropez" brought to the band practically completed and ready to record. Meddle was greeted both by critics[29] and fans enthusiastically, and Pink Floyd were rewarded with a #3 album chart peak in the UK; it only reached #70 in U.S. charts.[19] According to Nick Mason, this was partly because Capitol Records had not provided the album with enough publicity support in the U.S.[30] Today, Meddle remains one of their most well-regarded efforts.
The release of Pink Floyd's massively successful 1973 album, The Dark Side of the Moon, was a watershed moment in the band's popularity. Pink Floyd had stopped issuing singles after 1968's "Point Me at the Sky" and was never a hit-single-driven group, but The Dark Side of the Moon featured a U.S. Top 20 single ("Money").[17]. The album became the band's first #1 on U.S. charts[19] and, as of December 2006, is one of the biggest-selling albums in U.S. history, with more than 15 million units sold,[8] and one of the best-selling albums worldwide, with more than 40 million copies sold.[19] The critically-acclaimed album stayed on the Billboard Top 200 for an unprecedented 741 weeks (including 591 consecutive weeks from 1976 to 1988),[31] establishing a world record. It also remained 301 weeks on UK charts, despite never rising higher than #2 there, and is highly praised by critics.
Saxophone forms an important part of the album's sound, exposing the band's jazz influences (especially that of Rick Wright), and female backing vocals play a key role in helping to diversify the album's texture. For example, songs such as "Money" and "Time" are placed on either side of mellow lap steel guitar sounds (reminiscent of Meddle) in "Breathe (Reprise)" and female vocal-laden song "The Great Gig in the Sky" (with Clare Torry on lead vocal), while minimalist instrumental "On the Run" is performed almost entirely on a single synthesizer. Incidental sound effects and snippets of interviews feature alongside the music, many of them taped in the studio. Waters' interviews started out with questions like "What is your favorite color?" in an attempt to get the person comfortable. He would then ask, "When was the last time you were violent? Were you in the right?" The latter answer was played on the album. Other interviews would ask, "Are you afraid of dying?" The album's lyrics and sound attempt to describe the different pressures that everyday life places upon human beings. This concept (conceived by Waters in a band meeting around Mason's kitchen table)[32] proved a powerful catalyst for the band and together they drew up a list of themes, several of which would be revisited by Waters on later albums, such as "Us and Them"'s musings on violence and the futility of war, and the themes of insanity and neurosis discussed in "Brain Damage." The album's complicated and precise sound engineering by Alan Parsons set new standards for sound fidelity; this trait became a recognizable aspect of the band's sound and played a part in the lasting chart success of the album, as audiophiles constantly replaced their worn-out copies.[31]
After the success of Dark Side, the band were unsure of their future direction and worried about how they would be able to top that record's huge popularity. In a return to their experimental beginnings, they began work on a project entitled Household Objects, which would consist of songs played literally on household appliances. Instruments consisted of old hand mixers, rubber bands stretched between two tables, wine glasses, etc. However, the planned album was soon shelved after the band decided that it was just easier and better to play the songs on actual musical instruments. No finished recordings of these sessions exist, however some of the recorded effects were put to use on their next album.
Wish You Were Here (album), released in 1975, carries an abstract theme of absence: absence of any humanity within the music industry and, most poignantly, the absence of Syd Barrett. Well-known for its popular title track, the album includes the largely instrumental, nine-part song suite "Shine On You Crazy Diamond," a tribute to Barrett in which the lyrics deal explicitly with the aftermath of his breakdown. Many of the musical influences in the band's past were brought together—atmospheric keyboards, blues guitar pieces, extended saxophone solos (by Dick Parry), jazz-fusion workouts and aggressive slide guitar—in the suite's different linked parts, culminating in a funeral dirge played with synthesized horn and ending with a musical quote from their early single "See Emily Play" as a final nod to Barrett's early leadership of the band.[33] The remaining tracks on the album, "Welcome to the Machine" and "Have a Cigar," harshly criticize the music industry; the latter is sung by British folk singer Roy Harper. It was the first Pink Floyd album to reach #1 on both the UK and the U.S. charts,[34] and critics praise it just as enthusiastically as The Dark Side of the Moon.
Roger Waters – led era: 1976–1985
During this era, Waters asserted more and more control over Pink Floyd's output. During the recording, Waters fired Richard Wright after The Wall was finished, arguing that Wright was not contributing much,[35] in part due to a cocaine addiction.[36] Waters claimed that David Gilmour and Nick Mason supported Waters' decision to fire Wright, but in 2000, Gilmour stated that he and Mason were against Wright's dismissal.[37] Author Nick Mason claims that Wright was fired because Columbia Records had offered Waters a substantial bonus to finish the album in time for a 1979 release. Since Wright refused to return early from his summer holiday, Waters wanted to dismiss Wright.[38] Wright was fired from the band but stayed on to finish the album and perform the live concerts as a paid musician.
Much of the music from this period is considered secondary to the lyrics, which explore Waters' feelings about his father's death in World War II and his increasingly cynical attitude towards political figures such as Margaret Thatcher and Mary Whitehouse. Although still finely nuanced, the music grew more guitar-based at the expense of keyboards and saxophone, both of which became (at best) part of the music's background texture along with the usual sound effects. A full orchestra (even larger than the brass ensemble from Atom Heart Mother) plays a significant role on The Wall and especially The Final Cut.
By January 1977, and the release of Animals (UK #2, U.S. #3), the band's music came under increasing criticism from some quarters in the new punk rock sphere as being too flabby and pretentious, having lost its way from the simplicity of early rock and roll.[39] Animals was, however, considerably more guitar-driven than the previous albums, due to either the influence of the burgeoning punk-rock movement or the fact that the album was recorded at Pink Floyd's new (and somewhat incomplete) Britannia Row Studios. The album was also the first to not have a single songwriting credit for Rick Wright. Animals again contained lengthy songs tied to a theme, this time taken in part from George Orwell's Animal Farm, which used "Pigs," "Dogs" and "Sheep" as metaphors for members of contemporary society. Despite the prominence of guitar, keyboards and synthesizers still play an important role on Animals, but the saxophone and female vocal work that defined much of the previous two albums' sound is absent. The result is a more hard-rock effort overall, bookended by two parts of a quiet acoustic piece. Many critics did not respond well to the album, finding it "tedious" and "bleak,"[40] although some celebrated it for almost those very reasons. For the cover artwork, a giant inflatable pig was commissioned to float between the chimney towers of London's Battersea Power Station. The pig became one of the enduring symbols of Pink Floyd, and inflatable pigs were a staple of Pink Floyd live performances from then on.
In 1978 the band were told that due to legal matters involving tax, they had to leave the United Kingdom for one year, with absolutely no visits in between. It was during this time that the band started to pursue their own interests and focus less on music, and so when they re-met in the UK, they were short of ideas. It came to light that Waters had been working on two projects, "The Pros and Cons of Hitch Hiking" and The Wall.
1979's epic rock opera The Wall, conceived by Waters, dealt with the themes of loneliness and failed communication, which were expressed by the metaphor of a wall built between a rock artist and his audience. The deciding moment in which to conceive The Wall was during a concert in Montreal, Canada in which Roger Waters spat at an audience member who had been shouting unhelpful comments and requesting songs throughout the show. It was this point where Waters felt the alienation between audience and band.
This album gave Pink Floyd renewed acclaim and their only chart-topping single with "Another Brick in the Wall (Part 2)".[17] The Wall also included the future concert staples "Comfortably Numb" and "Run Like Hell," with the former in particular becoming a cornerstone of album-oriented rock and classic-rock radio playlists as well as one of the group's best-known songs.
The teacher puppet used in the concert
The album was co-produced by Bob Ezrin, a friend of Waters who shared songwriting credits on "The Trial" and from whom Waters later distanced himself after Ezrin "shot his mouth off to the press."[41] Even more than during the Animals sessions, Waters was asserting his artistic influence and leadership over the band, using the band's perilous financial situation to his advantage, which prompted increased conflicts with the other members. The music had become distinctly more hard-rock, although the large orchestrations on some tracks recalled an earlier period, and there are a few quieter songs interspersed throughout (such as "Goodbye Blue Sky," "Nobody Home," and "Vera (song)"). Wright's influence was minimized, and he was fired from the band during recording, only returning on a fixed wage for the live shows in support of the album. Ironically, this fixed salary made Wright the only "member" of Pink Floyd to make any money from the Wall concerts, with the three remaining members stuck covering the extensive cost overruns of their most spectacular concerts yet.[42] The Wall was performed live in only a few cities, contributing to the "tour"'s unprofitability. (It would be performed one more time, after the Berlin Wall came down in Germany, by Roger Waters and others).
Despite never hitting #1 in the UK (it reached #3), The Wall spent 15 weeks atop the U.S. charts in 1980.[19] Critics praised it,[43] and it has been certified 23x platinum by the RIAA, for sales of 11.5 million copies of the double album in the U.S. alone. The huge commercial success of The Wall made Pink Floyd the only artists since the Beatles to have the best-selling albums of two years (1973 and 1980) in less than a decade.
A film entitled Pink Floyd: The Wall was released in 1982, incorporating almost all of the music from the album. The film, written by Waters and directed by Alan Parker, starred Boomtown Rats founder Bob Geldof, who re-recorded many of the vocals, and featured animation by noted British artist and cartoonist Gerald Scarfe. Film critic Leonard Maltin referred to the movie as "the world's longest rock video, and certainly the most depressing," but it grossed over US$14 million at the North American box office.
Their 1983 studio album, The Final Cut, was dedicated by Waters to his father, Eric Fletcher Waters. Even darker in tone than The Wall, this album re-examined many previous themes, while also addressing then-current events, including Waters' anger at Britain's participation in the Falklands War, the blame for which he laid squarely at the feet of political leaders ("The Fletcher Memorial Home"). It concludes with a cynical and frightening glimpse at the possibility of nuclear war ("Two Suns in the Sunset"). Michael Kamen and Andy Bown contributed keyboard work in lieu of Richard Wright, whose departure had not been formally announced before the album's release.
The music's tone is largely similar to The Wall's but somewhat quieter and softer, resembling songs like "Nobody Home" more than "Another Brick in the Wall (Part 2)." It is also more repetitive, with certain leitmotifs cropping up continually. Only moderately successful with fans by Floyd's standards (UK #1, U.S. #6),[19] but reasonably well-received by critics,[44] the album yielded one minor radio hit (albeit in bowdlerised form), "Not Now John," the only hard-rock song on the album (and the only one partially sung by Gilmour). The arguments between Waters and Gilmour at this stage were rumored to be so bad that they were supposedly never seen in the recording studio simultaneously. Gilmour has said he wanted to continue making good quality rock music, and felt Waters was constructing music sequences together merely as a vehicle for his socially critical lyrics. Waters claims that his bandmates never fully understood the importance of the social commentary he was making. By the end of recording, Gilmour's co-producer credit was dropped from the album sleeve (though he received attendant royalties).[45] There was no tour for the album, although parts of it have since been performed live by Waters on his subsequent solo tours.
After The Final Cut Capitol Records released the compilation Works, which made the 1970 Waters track "Embryo" available for the first time on a Pink Floyd album, although the track had been released on the 1970 VA compilation Picnic - A Breath of Fresh Air on the Harvest Records label.[46] The band members then went their separate ways and spent time working on individual projects. Gilmour was the first to release his solo album About Face in March 1984. Wright joined forces with Dave Harris of Fashion to form a new band, Zee, which released the experimental album Identity a month after Gilmour's project. In May 1984, Waters released The Pros and Cons of Hitch Hiking, a concept album once proposed as a Pink Floyd project. A year after his bandmates' projects, Mason released the album Profiles, a collaboration with Rick Fenn of 10cc which featured guest appearances by Gilmour and UFO keyboardist Danny Peyronel.
David Gilmour – led era: 1987–1995
Waters announced in December 1985 that he was departing Pink Floyd, describing the band as "a spent force," but in 1986 Gilmour and Mason began recording a new Pink Floyd album. At the same time, Roger Waters was working on his second solo album, entitled Radio K.A.O.S. (1987). A bitter legal dispute ensued with Waters claiming that the name "Pink Floyd" should have been put to rest, but Gilmour and Mason upheld their conviction that they had the legal right to continue as "Pink Floyd." The suit was eventually settled out of court.[47]
After considering and rejecting many other titles, the new album was released as A Momentary Lapse of Reason (UK #3, U.S. #3). Without Waters, who had been the band's dominant songwriter for a decade, the band sought the help of outside writers. As Pink Floyd had never done this before (except for the orchestral contributions of Geesin and Ezrin), this move received much criticism. Ezrin, who had renewed his friendship with Gilmour in 1983 (as Ezrin co-produced Gilmour's About Face album), served as co-producer as well as writer along with Jon Carin] who wrote the music for "Learning To Fly" and played much of the Keyboards on the album.[48] Wright also returned, at first as a salaried employee during the final recording sessions, and then officially rejoining the band after the subsequent tour.
Gilmour later admitted that Mason and Wright had hardly played on the album. Because of Mason and Wright's limited contributions, some critics say that A Momentary Lapse of Reason should really be regarded as a Gilmour solo effort, in much the same way that The Final Cut might be regarded as a Waters album.
A year later, the band released a double live album and a concert video taken from its 1988 Long Island shows, entitled Delicate Sound of Thunder, and later recorded some instrumentals for a classic-car racing film La Carrera Panamericana, set in Mexico and featuring Gilmour and Mason as participating drivers. During the race Gilmour and manager Steve O'Rourke (acting as his map-reader) crashed. O'Rourke suffered a broken leg, but Gilmour walked away with just some bruises.
David Gilmour in a break during the "Carrera Panamericana," in San Luis Potosi, Mexico
The instrumentals are notable for including the first Floyd material co-written by Wright since 1975, as well as the only Floyd material co-written by Mason since Dark Side of the Moon.
The band's next recording was the 1994 release, The Division Bell, which was much more of a group effort than Momentary Lapse had been, with Wright now reinstated as a full band member. The album was received more favorably by critics and fans alike than Lapse had been,[49] but was still heavily criticized as tired and formulaic. It was the second Pink Floyd album to reach #1 on both the UK and U.S. charts.
The Division Bell was another concept album, in some ways representing Gilmour's take on the same themes Waters had tackled with The Wall. The title was suggested to Gilmour by his friend Douglas Adams. Many of the lyrics were co-written by Polly Samson, Gilmour's girlfriend at the time, whom he married shortly after the album's release. Besides Samson, the album featured most of the musicians who had joined the A Momentary Lapse of Reason tour, as well as saxophonist Dick Parry, a contributor to the mid-70s Floyd albums. Anthony Moore, who had co-written the lyrics for several songs on the previous album, wrote lyrics for Wright's tune "Wearing the Inside Out," also Wright's first lead vocal on a Pink Floyd record since Dark Side of the Moon. This writing collaboration continued on Wright's 1996 solo album, Broken China.
The band released a live album entitled P*U*L*S*E in 1995. It hit #1 in U.S. and featured songs recorded during the "Division Bell" tour, primarily from concerts in Londons Earl Court. The Division Bell concerts featured a mix of classic and modern Pink Floyd. The Pulse album has an entire performance of The Dark Side of the Moon. VHS and Laserdisc versions of the concert at London's Earl's Court 20 October 1994, were also released. A P*U*L*S*E (film) DVD edition was released July 2006. and quickly topped the charts. The 1994 CD case had an LED, timer IC, and battery which caused a red flash to blink once per second, like a heartbeat, as it sat in the owner's CD collection.
In 1995 the band received their first and only Grammy Award for Best Rock Instrumental Performance for "Marooned."
On January 17, 1996, the band was inducted into the Rock and Roll Hall of Fame[50] by The Smashing Pumpkins frontman Billy Corgan. Still antagonistic towards his former bandmates, Roger Waters did not attend. At their acceptance speech, Gilmour said, "I'll have to grab a couple more of these for our two band members that started playing different tunes; Roger and Syd…." Although Mason was present to accept the award, he did not join Gilmour and Wright (and Billy Corgan) for their acoustic performance of 'Wish You Were Here'.
Long-time Pink Floyd manager Steve O'Rourke died on October 30, 2003. Gilmour, Mason and Wright reunited at his funeral and performed "Fat Old Sun" and "The Great Gig in the Sky" in Chichester Cathedral in tribute.[51]
Two years later, on July 2, 2005, the band reunited once again for a one-off performance at the London Live 8 concert. This time, however, they were joined by Waters–the first time all four band members were on stage together in 24 years. The band performed a four-song set consisting of "Speak to Me/Breathe," "Money," "Wish You Were Here," and "Comfortably Numb," with both Gilmour and Waters sharing lead vocals. At the end of their performance Gilmour said "thank you very much, good night" and started to walk off the stage. Waters called him back, however, and the band shared a group hug that became one of the most famous images of Live 8.
In the week after Live 8, there was a revival of interest in Pink Floyd. According to record store chain HMV, sales of Echoes: The Best of Pink Floyd went up, in the following week, by 1343 percent, while Amazon.com reported increases in sales of The Wall at 3600 percent, Wish You Were Here at 2000 percent, The Dark Side of the Moon at 1400 percent and Animals at 1000 percent. David Gilmour subsequently declared that he would donate his share of profits from this sales boom to charity,[52] and urged all the other artists and record companies profiting from Live 8 to do the same. On November 16, 2005 Pink Floyd were inducted into the UK Music Hall of Fame by Pete Townshend. Gilmour and Mason attended in person, explaining that Wright was in hospital following eye surgery, and Waters appeared on a video screen, from Rome.
Pink Floyd are renowned for their lavish stage shows, combining over-the-top visual experiences with music to create a show in which the performers themselves are almost secondary. They have always resisted the temptation of a large screen portraying band members because they "don't really do very much," preferring instead to show music videos to run alongside the songs.
Influences on other musicians
Pink Floyd have influenced progressive rock artists of the 1970s such as Genesis and Yes;[53] and various contemporary artists such as Dream Theater, Tool, Porcupine Tree, Anathema and Nine Inch Nails. Their music plays a featured role in the Tom Stoppard play Rock 'n' Roll.[54]
RIAA certification
BPI certification
CRIA certification
1967 The Piper at the Gates of Dawn 131 6 - - -
1968 A Saucerful of Secrets - 9 - - -
1969 Music from the Film More 153 9 - - -
1969 Ummagumma (also live) 74 5 Platinum - -
1970 Atom Heart Mother 55 1 Gold - -
1971 Meddle 70 3 2x Platinum - -
1972 Obscured by Clouds 46 6 Gold Silver -
1973 The Dark Side of the Moon 1 2 15x Platinum 9x Platinum 2x Diamond
1975 Wish You Were Here 1 (2 weeks) 1 6x Platinum Gold 3x platinum
1977 Animals 3 2 4x Platinum Gold 2x platinum
1979 The Wall 1 (15 weeks) 3 23x Platinum Platinum 2x Diamond
1983 The Final Cut 6 1 2x Platinum Gold -
1987 A Momentary Lapse of Reason 3 3 4x Platinum Gold 3x platinum
1994 The Division Bell 1 (4 weeks) 1 3x Platinum 2x Platinum 4x platinum
Live at Pompeii (1972)
The Wall (film) (1982)
The Delicate Sound of Thunder (1988)
La Carrera Panamericana (1992)
P•U•L•S•E (film) (1994)
Official Pink Floyd members
Syd Barrett – rhythm guitar, lead vocals
Bob Klose – lead guitar
Roger Waters – bass, vocals
Rick Wright – keyboards, vocals
Nick Mason – drums, percussion
Syd Barrett – guitar, lead vocals
David Gilmour – lead guitar, lead vocals
Syd Barrett – rhythm guitar, vocals
Roger Waters – bass, lead vocals
Rick Wright – keyboards, lead vocals
David Gilmour – guitar, lead vocals
Roger Waters - bass, lead vocals
David Gilmour – guitar, vocals
Roger Waters – bass, lead vocals, additional guitar, keyboards
David Gilmour – guitar, vocals, bass, keyboards
David Gilmour – guitar, lead vocals, bass
Notable or frequent contributors
All links Retrieved May 24, 2008.
↑ allmusic (Pink Floyd - Biography
↑ Saberingles Reading Comprehension
↑ Pink Floyd History from 1964 to 1969, February 05 2008
↑ Dec 3, 1996 Wright reveals that he expects the Floyd to record a new album soon
↑ January 16, 1996: Pink Floyd is inducted into the Rock and Roll Hall of Fame
↑ Pink Floyd founder Syd Barrett dies at home. The Times(UK), July 11, 2006. Retrieved April 23, 2009.
↑ Floyd 'true to Barrett's legacy' BBC News, July 11, 2006. Retrieved April 23, 2009.
↑ 8.0 8.1 RIAA, retrieved 22 April 2006
↑ Pink Floyd online
↑ Infoplease
↑ Nick Mason. Inside Out: A Personal History of Pink Floyd. (Weidenfeld & Nicolson, 2004), 21
↑ Nicholas Schaffner. Saucerful of Secrets: The Pink Floyd Odyssey. (Harmony, 1991. ISBN 0517576082), 25
↑ Mason, 30
↑ Schaffner, 276
↑ Andy Mabbett. The Complete guide to the music of Pink Floyd. (London: Omnibus, 1995. ISBN 071194301x)
↑ Schaffner, 30
↑ 17.0 17.1 17.2 Schaffner, 320–321
↑ Rolling Stone, 26 October 1968
↑ 19.0 19.1 19.2 19.3 19.4 19.5 19.6 Pink Floyd & Co. discography, retrieved 15 February 2006
↑ Tim Willis, You shone like the sun. The Observer, 6 October 2002
↑ B. Pinnell, 1980, Australian Radio Interview, David Gilmour. accessdate 2007-08-24
↑ 23.0 23.1 Schaffner, 107–108
↑ Rolling Stone, December 2, 1970
↑ BBC..Later with Jools Holland, transcript retrieved here April 16, 2006
↑ Rolling Stone, January 6, 1972
↑ Mason, 182
↑ 31.0 31.1 Schaffner, 183
↑ Wright confirmed this on the US rock radio album premiere of Is There Anybody Out There? The Wall Live 1980-81 in 2000.
↑ Publius FAQ When and why did Richard Wright leave the band?
↑ Gilmour confirmed that he was against Wright's dismissal on the U.S. rock radio album premiere of Is There Anybody Out There? The Wall Live 1980-81 in 2000
↑ Nick Mason. Inside Out : A Personal History of Pink Floyd. (London: Orion Books, 2004), 245 ISBN 0753819066.
↑ Rolling Stone, March 24, 1977
↑ Rolling Stone, February 7, 1980
↑ Rolling Stone, 14 April 1983
↑ Prog Archives.com discography, retrieved 12 July 2006
↑ AMG Review The Division Bell., retrieved February 15 2006
↑ Rock and Roll Hall of Fame, 1996 Official Article
↑ neptunepinkfloyd.co.uk, 13 November 2003, retrieved 5 July 2007
↑ Donate Live 8 profit says Gilmour BBC News, 5 July 2005. Accessed 2007-04-07.
↑ ClassicRock Pink Floyd by Dave White
↑ www.Broadway.TV article, "Stoppard's Rock-N-Roll Connection"
Beech, Mark. The A-Z of Names in Rock: And the Amazing Stories Behind Them. London: Robson Books, 1998. ISBN 1861050593
Blake, Mark. Pigs Might Fly - The Inside Story of Pink Floyd. Aurum Press Ltd, 2007. ISBN 1845132610.
Fitch, Vernon. The Pink Floyd Encyclopedia, 3rd ed. London: Collector's Guide Publishing, Inc, 2005. ISBN 1894959248
Jones, Cliff. Another Brick in the Wall: The Stories Behind Every Pink Floyd Song. 1996. ISBN 0553067338
Mabbett, Andy. The complete guide to the music of Pink Floyd. London: Omnibus, 1995. ISBN 071194301x
Mabbett, Andy, Bruno MacDonald, Ivor Trueman, and Dave Walker, Eds. The Amazing Pudding 1982–1992. ISSN 0951-8304 (a fanzine)
Mason, Nick. Inside Out: A Personal History of Pink Floyd. Weidenfeld & Nicolson, 2004. ISBN 0297843877
Mabbett, Miles, and Andy Mabbett. Pink Floyd : the visual documentary. London: Omnibus Press, 1994. ISBN 0711941092
Palacios, Julian. Syd Barrett and Pink Floyd: Lost in the Woods, rev. ed. (1998) Plexus Publishing, 2009. ISBN 0859654311
Schaffner, Nicholas. Saucerful of Secrets: The Pink Floyd Odyssey. Harmony, 1991. ISBN 0517576082
All links retrieved March 28, 2019.
Pink Floyd's U.S. site
David Gilmour official site
Roger Waters official site
Another Link on the Wall - A large collection of fan sites, news resources and other external links, updated regularly.
David Gilmour · Nick Mason · Richard Wright
Syd Barrett · Bob Klose · Roger Waters
The Piper at the Gates of Dawn · A Saucerful of Secrets · Ummagumma · Atom Heart Mother · Meddle · The Dark Side of the Moon · Wish You Were Here · Animals · The Wall · The Final Cut · A Momentary Lapse of Reason · The Division Bell
Tonite Let's All Make Love in London · More · Zabriskie Point · Obscured by Clouds
Ummagumma · Delicate Sound of Thunder · P•U•L•S•E · Is There Anybody Out There? The Wall Live 1980-81
Relics · A Nice Pair · Masters of Rock · A Collection of Great Dance Songs · Works · Shine On · (The Early Singles) · 1967: The First Three Singles · Echoes: The Best of Pink Floyd · Oh, by the Way
Live at Pompeii · The Wall · Delicate Sound of Thunder · La Carrera Panamericana · P•U•L•S•E · The Pink Floyd and Syd Barrett Story · The Making of The Dark Side of the Moon · London '66-'67
Discography · Steve O'Rourke · Contributors · Live performances · Pigs · Dark Side of the Rainbow · The Man and the Journey · Unreleased material · "Give Birth to a Smile" (from Music from "The Body") · Publius Enigma · 19367 Pink Floyd · List of Pink Floyd songs by singer
History of "Pink Floyd"
Retrieved from //www.newworldencyclopedia.org/p/index.php?title=Pink_Floyd&oldid=1019288
Art, music, literature, sports and leisure


text:
Youth Classes & Camps
ASFWD
FOOTLOOSE – THE MUSICAL
Music by Tom Snow | Lyrics by Dean Pitchford
Stage Adaptation by Dean Pitchford and Walter Bobbie
Based on the original screenplay by Dean Pitchford
Additional Music by Eric Carmen, Sammy Hagar,
Kenny Loggins and Jim Steinman
Performed at Demens Landing Park
Get ready to kick off your Sunday shoes as the high-energy pop musical FOOTLOOSE dances into Demens Landing for American Stage in the Park's 2022 production. Based on the explosive rock-n-roll musical movie, this Broadway hit tells the story of Ren McCormack, a big-city teen who finds himself out of place in a rural town where dancing has been outlawed. As he tries to carve out a place for himself, he ignites a revolution in the town as the younger generation rebels against the strict rules of the local preacher. Through explosive choreography and invigorating songs, FOOTLOOSE celebrates the spirit and optimism of young people fighting for change.
"Exhilarating! You'll have a hard time staying in your seat." –WNBC
Click here to see last year's Menu from Parkshore Grill! Click here for last year's Pre-Show Playlist!
ABOUT AMERICAN STAGE IN THE PARK American Stage in the Park has been a celebrated Tampa Bay tradition for over thirty years. Established in 1986, American Stage in the Park was first known for producing Shakespeare to audiences in and around Tampa Bay. In 2006, American Stage in the Park expanded to included comedies and modern musicals presented under the stars each spring at Demens Landing Park in downtown St. Pete.
PLEASE NOTE: No alcohol or pets are allowed into the park, by City Ordinance. Food and beverages (both alcoholic and non) are available at concessions.
Refund Policy: All tickets are non-refundable and final upon purchase.
What happens if it rains? A little rain certainly won't stop us, but should weather conditions look serious enough to cancel or abruptly discontinue a performance, ticket-holders will be able to exchange their tickets for another performance. If a call to cancel a performance is made prior to the show starting we will make the announcement on our facebook page. If you have any questions you can call the Box Office at 727.823.7529 or email boxoffice@americanstage.org
Where can I park? Demens Landing Park is located on the waterfront right in the heart of Downtown St. Pete. Below are the two closest parking options: Southcore Garage 101 1st Avenue South St Petersburg, FL 33701 $1.00 per hour (max $7.00) Al Lang parking Lot # 1 230 1st Street South St Petersburg, FL 33701 $5.00 per day until 3:00am. For more downtown St. Pete parking visit DiscoverDowntown.
What kind of chairs are allowed in the General and Premium Blanket Seating Area? Only chairs without legs are allowed in the blanket seating areas. Here is an example of a 'Stadium Seat' which is acceptable for the seating section:
April 6 – May 8, 2022
Park opens at 6 PM | Show begins at 8 PMSPECIAL DATES:Pay What You Can Previews: April 6-7, 2022Opening Night Gala: April 8, 2022 Pets in the Park Night: April 17, 2022Community Celebration Night Partner:
The New BarkerPride Plus Night: April 24, 2022
Gala Under the Stars April 8, 2022
Will there be food & drink available for purchase? Yes. Stay tuned for more information. *No alcohol is allowed to be brought into the park, by City Ordinance.
Beyond The Footlights: TALKBACK
After experiencing the performance, join Producing Artistic Director, Rajendra Ramoon Maharaj, for a conversation exploring and reflecting on the themes, connections, and ideas that ignite us. Guest panelists include relevant voices from the St. Petersburg/Tampa Bay community and beyond.
Free for performance ticket holders.
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redpajama_set_name: RedPajamaCommonCrawl


Maldives Customs Service issues licenses to clients to carry out a number of functions in the Import/Export Industry. These licenses are for Customs Brokers, Importers, Exporters, Shipping Agents, Local Courier Agents, Bond Keepers, Bonded Warehouses, Entry/Exit Permits and Duty Free Shops.
Applicants are required to download the form and submit it along with the required documents to the Customs Head Office reception.
For further queries please feel free to contact us on 3322001.


text:
Michigan Meteor: Auction Consultant Offers $20,000 Reward For First 1-Kg Fragment Found
Lorenzo Tanos
Earlier this week, a Hamburg Township, Michigan, meteorite hunter found three pieces of a meteor that was sighted by many of the state's residents on Tuesday night. With a good number of hunters expected to head to the frozen lake where the fragments were originally found, a meteorite consultant confirmed that he is willing to reward the first individual who could present to him a substantial chunk of the meteor.
Although the Detroit Free Press identified freelance planetary field scientist Robert Ward as the first person to find fragments from the Michigan meteor, he's not the only one who may have found, or is trying to find, bits and pieces originating from that space rock. With this in mind, Macovich Collection of Meteorites curator and Christie's auction house meteorite consultant Darryl Pitt announced on Friday that is he offering $20,000 to the first person who could find a fragment that weighs at least one kilogram (2.2 pounds).
"It's better to go out there and find them sooner, because the longer they're on the ground, the more they tend to blend in with Earth rocks," said Pitt, who told MLive that the first one-kilogram chunk of meteor represents a "winning extraterrestrial lottery ticket."
"I really want this to be found and the only way that's going to happen is if there are more boots on the ground."
Fireball Finds! Meteorite Fragments from Dazzling Michigan Meteor Found on Ice https://t.co/Qq7S7EdqQU pic.twitter.com/IVDPIrH4Wr
— SPACE.com (@SPACEdotcom) January 20, 2018
Although he currently makes his home in New York, Pitt's interest in the Michigan meteor can be explained by the fact that he grew up in the state and attended the University of Michigan, MLive noted. He also told the publication that this week's meteor event stood out for the number of people who had sighted the space rock before it broke up and crashed to the ground, triggering a magnitude-2.0 earthquake.
Based on estimates from NASA, there's a good chance that several meteorites can be found about 2.5 miles west of Hamburg Township. A separate report from MLive suggested on Saturday that the frozen lake where Ward, together with fellow meteorite hunters Larry Atkins and Darryl Lander, found the fragments, is likely to be "swarming with hunters" this weekend.
"We'll see how this goes on and plays out. The weather is going to change. We're going to get some rain and going to get some warm up," Atkins remarked.
"That could create a whole new scenario. Where meteors can't be found in a snow-covered yard today, you may be able to find them in a week."
While Pitt is offering a large reward for bigger chunks from the Michigan meteor, the men who found the first few pieces expect these fragments to be worth a decent amount of money. According to Atkins and Lander, the fragments they found might sell for about $100 per gram, with meteorites generally fetching values of $0.10 to $10,000 per gram, depending on the circumstances behind the meteor event, as well as the size of the meteor the pieces came from.
As of this writing, there have been no new reports of people qualifying for the reward by finding a one-kilogram fragment from the Michigan meteor. But Pitt told MLive that Christie's is coincidentally scheduled to hold a meteorite auction in two weeks' time. He did not say, however, whether the larger fragment he's looking for will be among the items auctioned off during the event.


text:
Flying Dutchman Funicular (oversat til dansk: Den Flyvende Hollænder Kabelbane) er en kabelbane ved Cape Point, nær Kap det Gode Håb i Western Cape-provinsen i Sydafrika.

Cape Point
Ved Cape Points parkeringsområde findes souvenirbod, posthus, kiosk, restaurant o.m.a. Der er billetsalg til kabelbanen, som fører op til det øverste af stedets to fyrtårne, og hvorfra der er den bedste udsigt over Det Indiske Ocean og False Bay.

Banens navn
Flying Dutchman Funicular, som af nogle kaldes Cape Point Funicular, er så vidt vides den eneste kommercielle kabelbane i hele Afrika. Den har sit navn fra legenden om spøgelsesskibet Den flyvende Hollænder, som huserer i havet syd for Afrika, hvor Atlanterhavet møder Det Indiske Ocean.

Banens forløb
Banelinjen løber mellem den nederste station (dalstationen) ved Cape Points parkeringsareal, gennem det lave buskads (kaldet 'fynbos') og op til det øverste fyrtårn. Banen er bygget som erstatning for Flying Dutchman-bussen, der måtte give op overfor et stigende antal turister. Bussen kørte sin sidste tur i 1996. Banen følger samme vej, som bussen oprindeligt kørte.

Tekniske specifikationer
 Længde: 585 meter
 Højdeforskel fra bund til top: 87 meter
 Max. stigningsprocent: 16%
 Antal vogne: 2
 Kapacitet: 40 passagerer pr. vogn / 450 personer i timen
 Banetype: Enkeltsporet med vigespor midtvejs
 Køretid: 3 minutter
 Drivkraft: Elektricitet

Billedgalleri

Links
 Cape Town Magazine's side om kabelbanen  – på engelsk
 Site med beskrivelser af banen  – på engelsk

Eksterne henvisninger

Kabelbaner
Transport i Sydafrika
Bygninger, konstruktioner og anlæg i Sydafrika

redpajama_set_name: RedPajamaWikipedia


He picked up a blitz on first down, giving true freshman quarterback Christian Hackenberg time to hit tight end Kyle Carter for a 29-yard gain. Belton added 18 yards on the ground on three carries before hauling in a 15-yard touchdown pass on third-and-goal to cap a nine-play, 87-yard drive in the first quarter and begin his team's rout.
"He did a good job today and he was fun to watch," Penn State coach Bill O'Brien said.
Belton struggled to catch on last season as he transitioned from wide receiver to running back, and an early-season ankle injury dogged him the rest of the way. Zwinak emerged and handled the bulk of the rushing duties from the midpoint to the end of the season.
Now, Zwinak doesn't have to carry the load by himself. He has Belton and Lynch to help him out. O'Brien hasn't been shy about using all of them, as he did on Saturday.
When Penn State's usually potent passing attack struggled to move the ball through the air, Penn State got big gains — an average of 6.6 yards per carry — from Belton, Lynch and Zwinak. Hackenberg finished with just 13 completions on 35 attempts for 176 yards and an interception. His lone touchdown pass went to Belton, who made a last-second adjustment on the ball before diving into the end zone.
Belton went right back to work on Penn State's next drive in the second quarter.
After Hackenberg hit Brandon Felder for a 17-yard gain on first down, Belton surged through holes for six- and three-yard gains before Hackenberg picked up a first down on a quarterback sneak. A play later, Belton ripped off a 28-yard run, cutting back to the left before being brought down at the Kent State 25-yard-line. Kent State's Darius Polk brought Belton down by his facemask, however, and Penn State set up its offense at Kent State's 12-yard-line.
Belton got the ball again on the next play and carried a defender up the middle for a five-yard gain. Three plays later, Zwinak plunged in from two yards out to give Penn State a 14-0 lead.
Penn State's defense was up to the task afterward, forcing five Kent State punts and a turnover. It was a recurring theme as Kent State's offense was ineffective all afternoon. Glenn Carson led Penn State with seven tackles while Deion Barnes, Kyle Baublitz and Ryan Keiser all notched sacks. Keiser added an interception.
But the Nittany Lion offense sputtered as it went away from the run game. On five possessions between Zwinak's first score and Penn State's next scoring drive, the Nittany Lions opted to run 17 passing plays and just eight runs and had an interception, a turnover on downs and three punts to show for their efforts.
Then Belton was the spark again.
When Penn State took over with 7:48 to play in the third quarter, Belton got three straight carries and cut precise lanes up the field for 19 yards. He added another 14 yards with two more carries on the drive with 11 coming on a juking run up the middle with Belton nearly getting into the end zone. He extended the ball but it was determined Belton was down just short of the goal line.
Zwinak entered and plowed in for the one-yard score.
"Those were Bill's touchdowns," Zwinak said.
Belton was upset with himself that he didn't finish the run by getting into the end zone, but was happy his teammate finished it off.
The end of the third quarter and most of the fourth belonged to Lynch.
On Penn State's final drive of the third, the redshirt freshman ripped off a 43-yard run on first down and added 17 yards combined on his next three carries. Lynch added 12 yards on his next three attempts to help set Sam Ficken up for a 25-yard field goal that gave Penn State a 24-0 lead.
After another Kent State punt, Lynch entered again and went for 26 yards on first down. He added 19 yards on his next five carries but coughed up a fumble that Penn State's Angelo Mangiro recovered at the Kent State 11. Zwinak came in for some power running and chewed up four yards before plowing ahead for another one-yard score to give Penn State a 31-0 lead.
Von Walker was the fourth Penn State running back to get involved. He picked up eight yards on four carries before Ficken trotted out and nailed a career-long 54-yard field goal with 2:45 left to cap the scoring.
Afterward, in the Beaver Stadium media room, Belton, Lynch and Zwinak weren't the only players smiling when asked about the running game's success.


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Zambia at the Berlinale
by Kellys kaunda | Feb 17, 2018 | news
Zambia's ambassador to Germany H.E. Anthony Mukwita and Mrs. Mukwita were among hundreds of guests from around the world invited to the premier of TRANSIT, a highly acclaimed movie in Germany with English subtitles. The Minister of Culture of the Federal Republic of Germany Monika Gruetters graced the occasion.
This is part of the annual film festival, the Berlinale (15-25) that brings to the city the big names in the global film industry. During this period, up to 400 movies are shown during this sold out event. In a bid to promote German arts, the Federal government partially sponsors the event.
"We were humbled by the invitation to the red carpet event to represent Mother Zambia", said ambassador Mukwita. The Zambian envoy said he wants to deepen his understanding of the movie industry in Germany especially that the Zambian government recently launched a new film policy, which should assist in the development of the sector.
The Zambian film industry has continued to post impressive developments with some local producers winning awards at international film festivals and local actors taking part in the recently released Black Panther. The movie has got the world talking especially that a significant portion of its cast is black, a move seen by film observers as an indication that the film industry is responding to calls for gender and racial justice in the sector.


text:
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AudiophileReview.com
Aqua La Voce S3 Discrete DAC Reviewed
By Steven Stone | April 17, 2019
Digital-to-Analog Convertors (DACs) come in a wide variety of shapes, prices, and feature sets. Some are so small you can put a bakers' dozen into your pocket and scarcely leave a bulge, while others are the size of a mini fridge. Prices also vary widely, from $99 or less for a DAC for your smartphone to over $50,000 for a flagship model from a boutique manufacturer. The Aqua La Voce S3 DAC sits roughly in the middle-upper part of the pack, pricewise ($4,750 MSRP), and employs unique and sophisticated circuitry to create a DAC that is different. And to be clear, different can be good. It all depends on your tastes and what you want a DAC to accomplish, or not accomplish.�
DACs come in several basic types. First, there are "chip DACs," which use an integrated circuit made by AK or Burr Brown or others as the heart of their designs, with all the filtration and decoding done in the chip. Second are "ladder DACs," which use a resistor array to decode a digital signal. These are usually higher-priced due to the number of critically-matched parts needed to make the design successful. Most ladder DACs are also NOS (short for non-over-sampling), which some audiophiles prefer due to their "simplicity." Finally, we have FPGA DACs which use a field programmable chip as their heart.
The Aqua La Voce S3 combines an FPGA front end with a ladder DAC section for its digital circuitry. An FPGA-based DAC has several unique characteristics. The most important quality is its flexibility: it can be programmed to do exactly what a manufacturer needs it to do (within limits). In the case of the Aqua La Voce, the FPGA chip serves as the gateway to the Ladder DAC. It handles all the front-end duties, and Aqua calls it their "Decoding board." One of its special features is that it can be reprogrammed an upgraded. Actually, all the critical sections of the Aqua La Voce S3 can be upgraded due to its modular design. The R2R ladder resistors, main board, and I2S/USB board can all be upgraded. This is good news for owners of earlier versions of the Aqua La Voce S1 and S2; they can update their DACs at any time to the latest S3 specifications if they wish.
Another reason for the FPGA circuit is that it allowed Aqua's engineers to execute a filterless design. The La Voce has no absolutely digital filtering in its digital signal chain. According to Aqua, "The absence of digital filtering means no processing of the input signal. The original digital samples are translated to the reproduced sound, preserving the transient shape and avoiding any ringing.
The La Voce S3 uses a galvanically isolated S/PDIF and AES/EBU inputs as well as a "jitter free" AQlink (I2S protocol) input connection. The La Voce's digital receiver stage employs a phase locked loop (PLL) clock technology on its S/PDIF inputs. With discrete regulators for both its digital and analog power supplies, as well as two separate analog and digital low-noise power regulators, the Voce also uses no OP amps in its analog stage; instead it's populated by fully discrete parts.
Parts quality inside the La Voce S3 is simply first-rate. The La Voce includes 105 degree "long life" capacitors, low noise metal foil resistors, a metalized film plus capacitor, and ultra-fast diodes. Finally, as you might have suspected by its name, the La Voce S3 was designed and manufactured in Italy, and comes with a five-year warranty.
Ergonomic Impressions
The Aqua La Voce S3 is a "basic" DAC. By that I mean that it has no streaming and no adjustable analog outputs. For streaming sources, you will need a device with Internet access and digital outputs to connect to the La Voce. You will also need some way to control the La Voce's analog output level, such as a preamplifier or a volume control on your active loudspeakers.�
The La Voce S3 has digital inputs for USB, AES/EBU, RCA S/PDIF coaxial, BNC S/PDIF, Optical Toslink, and an RJ45 AQlink I2s serial bus. It has two pairs of analog outputs, one pair RCA single-ended with a 2.5 volts RMS output, and one pair XLR balanced that produce 5.5 volts RMS. Front panel controls consist of an on/off power switch, four input selection options from an input set knob, a small green light that signifies it's on, and a 0/180-degree polarity switch. That's it.
Installing the La Voce S3 into a system was as simple as connecting some source inputs and an analog output to a preamplifier. I used the La Voce S3 in several setups including my main room, my desktop, and connected directly to the Sony TA-ZH1ES headphone amp's analog input.
This is a good place to mention that although the La Voce S3 can handle any PCM file from 44.1/16 to 384kHz/24, and DSD 64 and 128 via DoP, it does not do any MQA decoding and is not MQA compliant. If you wish to use the La Voce S3 with MQA content, you will need a streamer such as the Aurender ACS10, which can do all the MQA decoding prior to sending its digital output to a DAC.
Sonic Impressions
At this point, I would be surprised to find a modern DAC that does not sound at least very good, if not excellent. The La Voce S3 delivers beautiful sound that certainly lives up to its name in English: voice. I found the La Voce S3's midrange especially enticing, with a warm sunny disposition that pervades every track played through it. I suppose some might label the La Voce S3 "euphonic," using it as a purgative term, but I did not find it to be musically subtractive. Instead the La Voce S3 has an absence of harshness that could be attributed to its lack of ringing filters, either before or after the initial pulse.
Imaging through the La Voce S3 was big ang bold. Locational cues on recordings were easy to identity, making it easy locate instruments in three-dimensional space on well-recorded music. I did notice that on some cuts the individual instruments took up slightly more lateral space than through the Manhattan II DAC, although the overall size of the soundstage was similar. The edges of an image, where an instrument stopped, were slightly less distinct through the La Voce S3 than I'm used to through my refence DACs.
While I did not find the phase switch did much on most pop multi-mic'd recordings, on some of my own recordings it sounded better with the phase set to 0 than 180. If you want to play with phase, a classic demo cut to check phase reversal used to be Amanda McBroom's audiophile classic LP Growing Up in Hollywood Town. On some tracks her vocals could be moved from the front of the soundstage to the back by flipping a polarity switch. I tried this on the 44.1/16 FLAC version on Tidal and did not notice the same sort of flip from front to back.
The La Voce S3 has a modular, upgradable design.
The La Voce's front end uses a fIlterless FPGA design, which is pretty distinctive.
The La Voce S3 has both balanced and single-ended analog outputs, thus no need for new cabling no matter how you run into your stereo preamp right now.
The La Voce S3 has a dedicated polarity switch that provided useful in my listen tests.
Low Points
There is no MQA support, which will likely piss some audiophiles off.
The La Voce S3 lacks an analog volume adjustment, which many other DACs in this price range provide.
The La Voce S3 has no network or Internet interface options, which once again is pretty commonplace in a $5,000-ish DAC.�
Competition and Comparisons
I have two reference DACs that I use regularly: the Mytek Manhattan II and the PS Audio DirectStream Junior, which are within roughly the same price range. Both offer quite a bit more interconnectivity than the La Voce S3. Both the Mytek and the PS Audio have provisions for directly interfacing with your network. Also, both have built-in volume controls. The Manhattan also has options for adding an extremely high-quality phono card as well as several analog inputs that remain analog throughout. The Mytek also supports a full unfolding of MQA sources.
In comparison, the La Voce S3 will require a separate streaming device to access the internet, as well as some sort of volume control between it and a power amplifier or active speaker array. Once you add components of equal quality to the La Voce S3 the final cost may well exceed that of a fully configured Mytek Manhattan II, and several thousand dollars more than the PS Audio.�
I could spend the rest of my word allotment going into the sonic differences between these three DACs, but space precludes that. I will state that the three DACs do sound differently, but the differences are subtle and easily swamped by other more colored elements in a system, such as the room and loudspeakers employed in that room.
I realize that many subjectivist audiophiles consider a ladder DAC the only proper way to do digital, while other more specification-oriented audiophiles find the cost and potential pitfalls of improper execution and lack of upgradeability of a ladder DAC outweigh its potential sonic advantages. The Aqua La Voce S3 is a mid-priced ladder DAC that, unlike many DACs, ladder and otherwise, can be upgraded due to its modular design and FPGA front end. For audiophiles who want a ladder design that uses precision resistors for a reasonable cost, the Aqua La Voce S3 is an exceptionally viable option.
You may have noticed I avoided the term "analog-like" during the course of this review. For some audiophiles who prefer a slightly more euphonic presentation, which is often referred to as "analog-like," the Aqua La Voce S3 could be the perfect DAC option. It is well-priced for a true ladder DAC design and delivers a filterless digital presentation that could be exactly what some audiophiles crave.
� Visit the�Aqua website�for more product information.
� Check out our�Digital to Analog Converter�category page�to read similar reviews.
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The Knocks – 55 – Album Review
Posted by Lithium on March 16, 2016
Warner Music Canada
By Calvin Barr
In general, I try never to judge an album by its cover (art), but I do inevitably form a first impression once I read the song list. In some cases, a compilation of closely related emotional states, ideas, characters, places, or other concepts give a listener a basic idea of what to expect. It's unlikely that many people previewed Adele's 25 without any preconceived notions; however, this guideline certainly doesn't apply to many collections including The Knocks debut album 55.
At first glance, the track titles almost appeared to amalgamate genres: "New York City" could conjure rap or R&B, "Cinderella" might be a boy band ballad, and "Purple Eyes" invokes images of classic rock – okay, I'll admit I just associated that last one with "Purple Rain". But I didn't know what to expect before pressing play and, after reading more into the background of The Knocks duo, Ben "B-Roc" Ruttner and James "JPatt" Patterson, I better understood why.
The two are never-one-style musicians and producers who've risen to prominence by spinning numerous hit mixes and remixes. The debut album, apparently named after their New York City home studio at 55 Chrystie St., is a chiefly chill and electronic series of fusions between hip-hop, soul, EDM, and pop (to name a handful). Musically, the whole album is distinct, carefully crafted, and very technically impressive, though I consistently found myself most enthralled with the lyrics.
The songs drift into different topics, but the whole album felt to be about two key themes: aspiring towards dreams, and the inevitable intersections between good and bad times. Touching on existentialism, infatuation, false expectations, partying, self-love and loathing, and perseverance, 55 as a whole illustrates the journey of living rather than individual experiences. It's done beautifully, and boasts some tremendous collaborations, including Carly Rae Jepsen, X Ambassadors, Walk The Moon, Cam'ron, Matthew Korma, Magic Man, Phoebe Ryan, Justin Tranter, Powers, and FETTY WAP.
The first song, "New York City" is reminiscent of Alicia Keys' own hit "New York" in using a mix of gospel and R&B, but instead of describing glamour and inspiration, this song is about inner-city violence, the everyone-for-themselves lifestyle, and brutal hardships in trying to succeed where (…the Apple is rotten). It's contrary to almost everything that Manhattan-based sitcoms lead us to believe, and presents a sobering, relatable, and important message: finding success can be astrophysics-level difficult, and if you don't want to be where you are, go somewhere else.
Most of the tracks felt to be about specific experiences, but dichotomy between happiness and hardship seemed to appear among different songs. "Classic", one the group's original break-out hits, is a pop and chillstep summer anthem about the familiar but ever-promising feeling of meeting a potentially special someone. On the other hand, "Purple Eyes" goes into the hazards of partying non-stop (I'm so sick of having fun, I could never give it up). Although it uses an electronic style like the one in "Classic", it's harder, more psychedelic, and effectively depicts quiet despair and confusion through Phoebe Ryan's smooth vocals.
Being a debut album, the relationships between romance, music, and fame are unsurprisingly explored. My favorite track – if I were to pick one – would be "Cinderella". Upbeat and hip-hop-adjacent, the song is naturally about dancing until midnight and beyond, but the lyrics are just ambiguous enough to beg the question of whether the song could be referring to the feeling of the music itself, rather than a person on the dancefloor. Meanwhile, the playfully melodramatic pop/hip-hop track "I Wish (I Could Find My Taylor Swift)" compares the journeys of finding an ideal partner to achieving fame. It laments that most girls (…don't know who The Knocks is) while paying tribute to Swift as one of the world's most influential musicians. The tune is simple at face value, but the plurality of themes makes the point that part of life is wanting and working towards multiple things at the same time.
I found 55 to be complex, versatile, and open-minded. But even though it's a mix of different musical styles, the consistently patient, soulful, and comforting sound brings a balance that initiates both contemplation and enjoyment. What's pointed out, it seems, is that difficult and confusing chapters of life are still navigable legs in the overall journey.
#55#Album Review#debut album#new album#the knocks#Warner Music Canada
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Network performance can affect your technological performance, overall costs, and internal productivity depending on how well or poorly it performs.
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Wireless networks are far more convenient as you're not restricted by physical proximities, but wired connections can be more secure and faster overall.
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Always be prepared for cyber incidents, as your network going down unexpectedly will drastically affect your business performance. Create a redundancy plan and business continuity plan for your security.


Next week I am going to the Colorado School of Mines to attend the First International Workshop on Rock Physics, 1IWRP. The name certainly is a bit curious: surely there must have been conferences in rock physics in the past, right? Yes, but the title points to the notion that this conference is the first time a meeting of petroleum rock physicists has happened independently of a technical society such as the EAGE or SEG. I don't see this as a specialist community revolting against these organizations, but it reflects an increase in attention and enthusiasm for the application of rock physics in the industry. Interestingly, this conference sprang directly from a discussion group on LinkedIn.
I will be presenting a poster entitled, Create a software culture beyond the experts, as part of the sesssion devoted to Transferring rock physics knowledge and technology to asset teams. It's a topic well-suited to this audience, because, even though rock physics is a key component in many areas of petroleum geoscience, it still remains partially obscure, or under-recognized as a take-it-or-leave-it niche. Mine will be a softer, community-building appeal for knowledge sharing beyond our distinguished specialists.
Velocity Evolution during Controlled CaCO3 Precipitation and Dissolution, Ralf Weger, et al.
If anything in the conference catches your eye, drop me a line in the comments and I will do my best to capture notes on it. I will be reporting highlights throughout the week on the blog, so please be sure to check back and follow along.
The photograph of the Colorado School of Mines campus is the work of Wikipedia user Cperko.
The poster is now available in the downloads section or by clicking on the thumbnail above. You can also watch a 6 minute video on my presentation in the post called, 'Beyond the experts'.


Graduation is right around the corner! These "2017" wooden pieces make a great door hanger, guestbook, gift, party decor, and more! We can make this in any size up to 36 inch just message us with your request. This listing is for 2 unfinished years of your choice, made of 1/2" birch wood and measures 10" High X 20" Wide.


These are some lies we made up about Tunnel Hill.
A drifting ghost has been said to have been distinguished on a few instances mowing the lawn in the yard of a mobile home in Tunnel Hill.
The ghost of a jetliner pilot may once in a while be observed taking pleasure in the surroundings at Cobblestone Lake Dam in the early morning hours before sunrise. According to the residents, this ghost gets pleasure from frightening folks who are bold enough to upset the calm in Tunnel Hill.
Julius Ceasar was distinguished on the water's edge of Cook Lake sniveling.
An martian explorer from deep space became visible on the apex of Blue Mountain late in the night studying the panorama.
The ghost of a strong lumberjack hauling a large axe was perceived floating down on Bell Branch before dawn. The spirit didn't mind that there was somebody else near.
A chilling skeleton emerged by a man fishing by a lake right next door to Tunnel Hill. When the viewer came into view the ghost ran off. In any event, this is an antagonistic spirit that is rather not disrupted.
An alien from Venus was seen seated in a chair in a building in Tunnel Hill.
A man that turned into a vampire was seen redistributing orbs about by a streetlight in Tunnel Hill. The appearance of the viewer frightened the phantom who then faded away.
An ET from another solar system has frequently been seen looking down into the water at Blue Hole late at night.


text:
Byellin Law, PLLC
Other Legal Matters
April 16, 2012 By mboldt
Alternative Dispute Resolution in Divorce Proceedings
Anyone who has seen the movie Kramer vs. Kramer shudders at the idea of a divorce trial. The heated confrontations, adversarial attorneys, rabid emotions, and ultimate poor trial outcome in the movie could scare many away from the divorce process. Yet, thankfully, the adversarial divorce trials that make for a good drama film are mostly a thing of the past. Nowadays divorce proceedings seldom conclude in a contested trial, where a judge determines what is best for the family involved. There is now generally an understanding that the best-equipped party to determine what is best for the family is the family itself. Thus, divorcing couples are encouraged to engage in various avenues of Alternative Dispute Resolution (ADR) in order to form a divorce agreement between the parties.
While this pleases judges by saving them the headache of making important life decisions for people they barely know, it is also more favorable to divorcees, who actually feel they are a party to the decision-making process. Thus, even if the end results are not exactly as they would have wanted, parties tend to feel they have contributed to the ultimate agreement, and are therefore much more likely to abide by it and feel content doing so. Truly, all parties benefit from a process which involves maintaining family relationships rather than pitting family members against one another.
If parties wish to go with ADR from the start, they may choose to prepare a petition for divorce, send it to the other party, but never file it with the court. This starts the process as far as notifying the other party, but it keeps the court out of it and lets the parties work at their own pace. If a petition is filed with the court, the court gets things moving and begins scheduling court proceedings.
If they go the route of not filing with the court, the parties are now left to take whatever course they see fit. This may be negotiations between the attorneys or the parties may choose to go to mediation, with or without attorneys present. They may eventually choose to get the courts involved on some level as well. There are many possible routes, with more or less focus on ADR, allowing parties to choose what best fits their situation.
In its many forms, ADR is common and greatly encouraged in family law. This is a trend that most attorneys and divorcing parties find to be beneficial and indeed a better fit than litigation for this area of law. It is likely that ADR will only become more commonly used in divorce proceedings, and this will lead to less adversarial divorces and hopefully more long-term happiness for the families involved.
Because of the variety of ADR options and the importance of this topic, this article shall be the start of a series on ADR in family law. The following blogs will cover more details and point out the various possible routes to take.
Copyright © 2021 Byellin Law, PLLC.
This web site is designed for general information only. The information presented at this site should not be construed to be formal legal advice nor the formation of a lawyer/client relationship.


text:
Arizona State University asu College Featured
A Win Is A Win. Sun Devils Slug Out Victory Over UNLV
Sports360AZ Posted September 12, 2021 at 1:13 am
Story by Zach Alvira
Arizona State redshirt senior Chase Lucas pounded his fist against the table inside the media room when he heard his defense had given up 155 yards of offense to UNLV Saturday night.
"Five off," the Chandler High School product said with a smile. "(Associate head coach Antonio Pierce) tells us we have to hold them to 150 every game."
While it wasn't to Lucas' liking, it could have been a whole lot worse for the No. 23 ranked Sun Devils. Especially if the Rebels had been able to keep the same momentum they began with in the first quarter of the game.
#UNLVFB QB Doug Brumfield is an alternate on the Olympic Gymnastics Team
pic.twitter.com/MmdWs3MRVH
— Western College Football Talk (@WesternCFBTalk) September 12, 2021
But as was the case in the first game of the season, the Arizona State defense began to dominate in the Sun Devils' 37-10 win over the Rebels. It just took longer than most, including coach Herm Edwards, would have liked.
"They're a college football team, they're not a high school football team," Edwards said. "They have scholarships, too. When you play a Power Five team, a Pac-12 team, it doesn't take much to motivate your team. I've been around a long time, it's a funny game."
Arizona State's opening drive stalled on the UNLV 11-yard line after junior quarterback Jayden Daniels was picked off in the end zone by Nohl Williams. The Rebels, led by redshirt freshman quarterback Doug Brumfield, then went on to convert on three third-and-long plays on the ensuing drive.
All three conversions came from the legs of Brumfield, who managed to escape pressure and find holes at the second level to reach the first-down marker. Arizona State managed to hold UNLV to a field goal despite being on its heels most of the drive.
Daniels then moved the offense down the field with ease. He capped off the 11-play, 71-yard drive with a three-yard pass to Johnny Wilson.
#ASU QB Jayden Daniels threads the needle to his big 6'7 WR Johnny Wilson.
Love to see him bounce-back from his previous goal-line INT. pic.twitter.com/Su2U2cimck
— Daniel Alameda (@AlamedaViews) September 12, 2021
The two teams went on to trade touchdowns in the second quarter, with Arizona State's coming on a 13-yard rush from freshman Daniyel Ngata. But in total, each offense had just four possessions through the first two quarters.
"It was kind of a slow, methodically football game to be completely honest," Edwards said. "I think it was just the way the game was played. Their quarterback, I think, did a really nice job getting some first downs with his legs."
It took time for Arizona State's defense to get its bearings against a potent rushing attack from the Rebels. UNLV had 136 total yards of offense in the first half, 76 of those came on the ground. Through the first quarter-and-a-half of play, Arizona State's pass rush was nonexistent. Even when Brumfield was pressured, he was able to escape to pick up yards.
Finally, just minutes before the half, Arizona State forced its first three-and-out. From there, the Sun Devils had a field day.
UNLV had 10 first downs in the opening two quarters, but just one in the throughout the rest of the game. Including the Rebels' final offensive drive of the second quarter, UNLV was forced to punt on eight straight possessions. The Sun Devil defensive line sacked Brumfield five times and had seven tackles for loss. They didn't have any takeaways, but Lucas was pleased with their
ability to get the ball in the hands of Daniels and the offense.
The double hand-off.
The blocking.
🎥 ESPN2 pic.twitter.com/kmZB323wRF
— Sun Devil Football (@ASUFootball) September 12, 2021
"UNLV's quarterback was finding lanes to scramble, but after halftime we talked to one another and said we were going to set up a spy on the quarterback, which worked in our favor to get the pressure that we needed to give our offense the ball," Lucas said. "We did a great job in the end, but we have to start better defensively. We got sacks and the pressure we need and got (Daniels) the ball."
Much like the defense, it took time for the Sun Devil offense to come along against UNLV. Arizona State's passing game was overshadowed by its run-game, led mostly by Daniels in the first half while escaping pressure and finding room up the middle.
On several occasions Daniels extended Arizona State drives with his legs. He rushed 13 total times on the night for 125 yards, a new career-high and just 14 shy of the tying the all-time rush record in a single game by a Sun Devil quarterback.
Redshirt senior Rachaad White carried the ball 22 times for 90 yards and had two touchdowns, part of the onslaught of points put on by Arizona State in the second half. Ngata, who played an extended role due to the absence of sophomore Deamonte Trayanum, had 64 yards on the ground and one touchdown in the first half.
😈 TOUCHDOWN SUN DEVILS 🔱@3_chaad finds the endzone from 9 yards out.
🎥 ESPN2 pic.twitter.com/fZJ2Q9rjvi
After passing for 87 yards in the first half, Daniels found a rhythm to finish 20 of 29 overall for 175 yards and two touchdowns, the second score a 33-yard pass to LV Bunkley-Shelton in the fourth quarter.
"They played us really well in the first half in the passing game, especially down the field. That's why I used my legs to hurt them," Daniels said. "The game plan is never for me to rush around every yard, it's to run the ball, action pass, get the receivers going, get the running backs going … As long as we can stay on the field and as long as I can help the team win, I'm going to do whatever it takes."
While it wasn't the type of performance Arizona State – or its fans – would have liked to see initially, the Sun Devils eventually showed what they were capable of. But with a matchup against BYU in Provo next week, they know a slow start could be detrimental. Especially against a team that for the second week in a row knocked off a Pac-12 opponent.
"We know next week is going to be tough, BYU is a tough opponent," Daniels said. "They're athletic and make big plays downfield. It's a tougher job for us. But overall, as an offense, I feel like we played a lot cleaner than last week."
Arizona StateArizona State Sun DevilsasuASU FootballDaniyel NgataJayden Danielsjohnny wilsonlv bunkley-sheltonRachaad White
ASU Running Backs Building On 2020 Success
Herm Edwards: Passion over Emotion
Edwards, Sun Devils Ready To Roll (Cautiously)
Yogi Roth: Time Is Now For ASU Football
In reply toGrant Larson
@GWistromfan @JordyHamm @chubbapurdy @Sports360AZ @HuskerFBNation @perrypumas So you do support slavery. Good to k ow


Pastor Stephen (goes by Steve) Mirich, Jr. is the husband to Cassandra (goes by Cassy), the father of 5 precious children (3 girls and twin boys), and is currently serving as the Pastor to Covenant Presbyterian Church.
Steve is a native of Youngstown, Ohio, where he met his wife Cassy at her church home. Before they even dated, they knew they were meant to get married, but first the Lord took Cassy away on a very long 6 month mission trip to China. Within one week after her return, Steve proposed. They set their date for Feb. 2nd, 2002 because they just, by God's providence, happen to share the same spiritual birthday (Feb. 2nd, 1998). From there the Lord blessed them with Faith, Maelee, Sami, Deacon, and Isaac.
Steve began studying Civil Engineering at Youngstown State University; however, the Lord had a different plan. After a call from the Lord, Steve graduated from Geneva College with a Community Ministry Degree. Steve received his Masters of Divinity from Reformed Theological Seminary in Charlotte, and has served as a youth pastor and assistant pastor at Carolina PCA Church in Locust, NC, for seven years.
The Mirich Family loves doing ministry together; it has been their vision from the beginning. Cassy home schools the kids, and she has her own photography business. If Steve finds any spare time he enjoys any sport, drawing, reading, and is a big Pittsburgh Steelers, Pirates, and Duke fan.
Overall, Steve is known for his down to Earth character, his love and passion for others, and most importantly, his love for the Lord. The Mirich family "tries" to walk by faith with a strong desire that their joy in serving Him would be contagious. At times they fail, but get back up, confess, and are so extremely grateful for His abundance of grace and unconditional love!
Feel free to contact me at pastorsteve@covpca.org.
Chet currently serves as the Youth Director at Covenant Presbyterian Church.
Having lived in the Carolina's most of his life, Chet comes to us most recently from Lexington, South Carolina where he served in law enforcement for approximately five years as a School Resource Officer. Chet studied Bible and Youth Ministry at Columbia International University. He has also served in many other youth ministry capacities for the past ten years.
Chet has a passion for teaching and empowering youth to learn and share the Gospel of Jesus Christ. He also desires to lead a family-centered youth ministry by empowering parents to disciple their students and model a personal relationship with Jesus Christ.
Chet is husband to Breanna and has two sons, Archer and Rowan.
Feel free to contact me at youthdirector@covpca.org.
Rebecca is a passionate musician, educator and mother and internationally acclaimed educator and performer. Rebecca studied piano with Professor John Luxton at the Canberra School of Music, at the Australian National University. Graduating in 1995 with a degree in Performance, Rebecca performed regularly in Canberra at Parliament House, Embassies and other events hosted throughout the city.
Rebecca excelled as a Chamber Musician and Accompanist winning prizes for her achievements. Receiving a scholarship in 1993 to attend the Australian Festival of Chamber Music, her Piano trio was selected to perform and was broadcast live on the national broadcaster Australia's ABC Classic FM. Following her degree, she was also selected to study Piano Forte in The Hague.
Rebecca, as an educator, is a Music Specialist in schools with a passion to infiltrate music into the lives of young people. Her commitment to outstanding curriculum development has gained the attention of international education professionals over the years.
In these years she became an accompanist, repetiteur, and conductor for the Sing Australia Network performing nationally. Rebecca has conducted many ensembles including Strings, Concert Bands, and Choirs for schools to further their programs within their schools.
Rebecca, originally from Australia, currently resides in North Carolina USA, where she lives with her husband and children Hannah and Charlie.
Margaret Stuckey serves as the associate music director at Covenant Presbyterian Church. She is the director of the hand bell choir and the youth choir. She also accompanies the Sanctuary Choir.
Margaret attended North Greenville University where she earned her Bachelor's degree in Church Music in May 2017. She also serves as the collaborative artist at Clemson University where she accompanies for their vocal ensembles.
Margaret has been playing piano for sixteen years and has been involved in music at Covenant for ten years. She is grateful to be able to continue to serve the congregation that has given her great support and encouragement through the years. All glory to God!


These are slides for a lesson about chapter 25 in C.S. Lewis' book, "The Screwtape Letters," presented to the Friday Morning Men's Group at First Presbyterian Church in Edmond, Oklahoma, on August 12, 2011.
6. www.flickr.com/photos/wfryer/4394932886Thursday, August 11, 11 fashion or faith?
7. www.flickr.com/photos/wfryer/4394933478Thursday, August 11, 11 fashion or faith?