title: Sugarcane

text: Ribbon cane is a subtropical type that was once widely grown in the Southern United States, as far north as coastal North Carolina. The juice was extracted with horse- or mule-powered crushers; the juice was boiled, like maple syrup, in a flat pan, and then used in the syrup form as a food sweetener. It is not currently a commercial crop, but a few growers find ready sales for their product.


title: Sugarcane

text: Particulate matter, combustion products, and volatile organic compounds are the primary pollutants emitted during the sugarcane processing. Combustion products include nitrogen oxides (NO), carbon monoxide (CO), CO, and sulfur oxides (SO). Potential emission sources include the sugar granulators, sugar conveying and packaging equipment, bulk loadout operations, boilers, granular carbon and char regeneration kilns, regenerated adsorbent transport systems, kilns and handling equipment (at some facilities), carbonation tanks, multi-effect evaporator stations, and vacuum boiling pans.


title: Sugarcane

text: In 2020, global production of sugarcane was 1.87 billion tonnes, with Brazil producing 40% of the world total, India with 20%, and China producing 6% (table).


title: Sugarcane

text: Worldwide, 26 million hectares were devoted to sugarcane cultivation in 2020. The average worldwide yield of sugarcane crops in 2020 was 71 tonnes per hectare, led by Peru with 123 tonnes per hectare. The theoretical possible yield for sugarcane is about 280 tonnes per hectare per year, and small experimental plots in Brazil have demonstrated yields of 236–280 tonnes of cane per hectare.


title: Sugarcane

text: From 2008 to 2016, production of standards-compliant sugarcane experienced a compound annual growth rate of about 52%, while conventional sugarcane increased at less than 1%.


title: Sugarcane

text: Ethanol is generally available as a byproduct of sugar production. It can be used as a biofuel alternative to gasoline, and is widely used in cars in Brazil. It is an alternative to gasoline, and may become the primary product of sugarcane processing, rather than sugar.


title: Sugarcane

text: In Brazil, gasoline is required to contain at least 22% bioethanol. This bioethanol is sourced from Brazil's large sugarcane crop.


title: Sugarcane

text: The production of ethanol from sugarcane is more energy efficient than from corn or sugar beets or palm/vegetable oils, particularly if cane bagasse is used to produce heat and power for the process. Furthermore, if biofuels are used for crop production and transport, the fossil energy input needed for each ethanol energy unit can be very low. EIA estimates that with an integrated sugar cane to ethanol technology, the well-to-wheels CO emissions can be 90% lower than conventional gasoline. A textbook on renewable energy describes the energy transformation:


title: Sugarcane

text: Presently, 75 tons of raw sugar cane are produced annually per hectare in Brazil. The cane delivered to the processing plant is called burned and cropped (b&c), and represents 77% of the mass of the raw cane. The reason for this reduction is that the stalks are separated from the leaves (which are burned and whose ashes are left in the field as fertilizer), and from the roots that remain in the ground to sprout for the next crop. Average cane production is, therefore, 58 tons of b&c per hectare per year.


title: Sugarcane

text: Each ton of b&c yields 740 kg of juice (135 kg of sucrose and 605 kg of water) and 260 kg of moist bagasse (130 kg of dry bagasse). Since the lower heating value of sucrose is 16.5 MJ/kg, and that of the bagasse is 19.2 MJ/kg, the total heating value of a ton of b&c is 4.7 GJ of which 2.2 GJ come from the sucrose and 2.5 from the bagasse.


title: Sugarcane

text: Per hectare per year, the biomass produced corresponds to 0.27 TJ. This is equivalent to 0.86 W per square meter. Assuming an average insolation of 225 W per square meter, the photosynthetic efficiency of sugar cane is 0.38%.


title: Sugarcane

text: The 135 kg of sucrose found in 1 ton of b&c are transformed into 70 litres of ethanol with a combustion energy of 1.7 GJ. The practical sucrose-ethanol conversion efficiency is, therefore, 76% (compare with the theoretical 97%).


title: Sugarcane

text: One hectare of sugar cane yields 4,000 litres of ethanol per year (without any additional energy input, because the bagasse produced exceeds the amount needed to distill the final product). This, however, does not include the energy used in tilling, transportation, and so on. Thus, the solar energy-to-ethanol conversion efficiency is 0.13%.


title: Sugarcane

text: Sugarcane is a major crop in many countries. It is one of the plants with the highest bioconversion efficiency. Sugarcane crop is able to efficiently fix solar energy, yielding some 55 tonnes of dry matter per hectare of land annually. After harvest, the crop produces sugar juice and bagasse, the fibrous dry matter. This dry matter is biomass with potential as fuel for energy production. Bagasse can also be used as an alternative source of pulp for paper production.


title: Sugarcane

text: Sugarcane bagasse is a potentially abundant source of energy for large producers of sugarcane, such as Brazil, India, and China. According to one report, with use of latest technologies, bagasse produced annually in Brazil has the potential of meeting 20% of Brazil's energy consumption by 2020.


title: Sugarcane

text: A number of countries, in particular those lacking fossil fuels, have implemented energy conservation and efficiency measures to minimize the energy used in cane processing, and export any excess electricity to the grid. Bagasse is usually burned to produce steam, which in turn creates electricity. Current technologies, such as those in use in Mauritius, produce over 100 kWh of electricity per tonne of bagasse. With a total world harvest of over one billion tonnes of sugar cane per year, the global energy potential from bagasse is over 100,000 GWh. Using Mauritius as a reference, an annual potential of 10,000 GWh of additional electricity could be produced throughout Africa. Electrical generation from bagasse could become quite important, particularly to the rural populations of sugarcane producing nations.


title: Sugarcane

text: Recent cogeneration technology plants are being designed to produce from 200 to over 300 kWh of electricity per tonne of bagasse. As sugarcane is a seasonal crop, shortly after harvest the supply of bagasse would peak, requiring power generation plants to strategically manage the storage of bagasse.


title: Sugarcane

text: A greener alternative to burning bagasse for the production of electricity is to convert bagasse into biogas. Technologies are being developed to use enzymes to transform bagasse into advanced biofuel and biogas.


title: Sugarcane

text: In most countries where sugarcane is cultivated, several foods and popular dishes are derived directly from it, such as:


title: Sugarcane

text: Many parts of the sugarcane are commonly used as animal feeds where the plants are cultivated. The leaves make a good forage for ruminants.


title: Black Flag (band)

text: Black Flag is an American punk rock band formed in 1976 in Hermosa Beach, California. Initially called Panic, the band was established by Greg Ginn, the guitarist, primary songwriter, and sole continuous member through multiple personnel changes in the band. They are widely considered to be one of the first hardcore punk bands, as well as one of the pioneers of After breaking up in 1986, Black Flag reunited in 2003 and again in 2013. The second reunion lasted well over a year, during which they released their first studio album in over two decades, "What The..." (2013). The band announced their third reunion in January 2019. Brandon Pertzborn was replaced by Isaias Gil on drums and Tyler Smith was replaced by Joseph Noval on bass.


title: Black Flag (band)

text: Black Flag's sound mixed the raw simplicity of the Ramones with atonal guitar solos and, in later years, frequent tempo shifts. The lyrics were written mostly by Ginn, and like other punk bands of the late 1970s and early 1980s, Black Flag voiced an anti-authoritarian and nonconformist message, in songs punctuated with descriptions of social isolation, neurosis, poverty, and paranoia. These themes were explored further when Henry Rollins joined the band as lead singer in 1981. Most of the band's material was released on Ginn's independent record label SST Records.


title: Black Flag (band)

text: Over the course of the 1980s, Black Flag's sound, as well as their notoriety evolved. In addition to being central to the creation of hardcore punk, they were innovators in the first wave of American West Coast punk rock and are considered a key influence on punk subculture in the United States and abroad. Along with being among the earliest punk rock groups to incorporate elements and the influence of heavy metal melodies and rhythm, there were often overt free jazz and contemporary classical elements in their sound, especially in Ginn's guitar playing, and the band interspersed records and performances with instrumentals throughout their career. They also played longer, slower, and more complex songs at a time when other bands in their milieu performed a raw, fast, three-chord format. As a result, their extensive discography is more stylistically varied than many of their punk rock contemporaries.


title: Black Flag (band)

text: Black Flag has been well-respected within the punk subculture, primarily for their tireless promotion of an autonomous DIY punk ethic and aesthetic. They are often regarded as pioneers in the movement of underground do-it-yourself record labels that still flourish. By way of constant touring throughout the United States and Canada, and occasionally Europe, Black Flag established a dedicated cult following.


title: Black Flag (band)

text: Initially called Panic, Black Flag was formed in 1976 in Hermosa Beach, California, located in the South Bay region of Los Angeles. Ginn insisted that the band rehearse several hours a day. This work ethic proved too challenging for some early members; Ginn and singer Keith Morris had an especially difficult time finding a reliable bass guitarist and often rehearsed without a bassist, a factor that contributed to the development of Ginn's distinctive guitar sound. Ginn's brother Raymond Pettibon and SST house record producer-to-be Spot filled in during rehearsals. In the beginning, Ginn and Morris were inspired by the raw, stripped-down attitude of bands such as the Ramones and the Stooges. Ginn has said "We were influenced by the Stooges and then the Ramones; they inspired us. Keith and myself saw the Ramones when they first toured LA in 1976. After we saw them, I said if they could do it we could do it. I thought Keith would be a good singer and after seeing the Ramones, it made him think that he doesn't have to be some classical operatic singer."


title: Black Flag (band)

text: Chuck Dukowski, bassist of Würm, liked Ginn's band and eventually joined, forming a committed quartet with Ginn, Morris and drummer Brian Migdol. The band held their first performance in December 1977 in Redondo Beach, California. To avoid confusion with another band called Panic, they changed their name to Black Flag in late 1978. They played their first show under this name on January 27, 1979, at the Moose Lodge Hall in Redondo Beach, California. This was the first time Dez Cadena saw the band perform.


title: Black Flag (band)

text: The name was suggested by Ginn's brother, artist Raymond Pettibon, who also designed the band's logo: a stylized black flag represented as four black bars. Pettibon stated "If a white flag means surrender, a black flag represents anarchy." Their new name was reminiscent of the anarchist symbol, the insecticide of the same name, and of the British heavy metal band Black Sabbath, one of Ginn's favorite bands. Ginn suggested that he was "comfortable with "all" the implications of the name." The band spray painted the simple, striking logo all over Los Angeles, attracting attention from both supporters and the Los Angeles Police Department. Pettibon also created much of their cover artwork.


title: Black Flag (band)

text: There were few opportunities for punk rock bands to perform in Southern California. (Los Angeles club The Masque was the center of the L.A. punk scene, but was also rather parochial, and did not often admit bands from outside L.A. proper.) Black Flag organized their own gigs, performing at picnics, house parties, schools; any place that was available. They called club owners themselves to arrange appearances, and plastered hundreds of flyers—usually Pettibon's severe, haunting comic strip style panels—on any available surface to publicize performances. Dukowski reported that the "minimum [number of flyers] that went out was 500 for a show."


title: Black Flag (band)

text: Though Ginn was the band's leader, he was more quiet than Dukowski, whose intelligent, fast-talking, high-energy persona attracted significant attention, and he often served as Black Flag's spokesman to the press. Dukowski acted as the group's tour manager even after he no longer performed with them, and helped establish the band's DIY punk ethic and demanding work ethic. Dukowski's bass guitar was a vital part of the early Black Flag sound; "TV Party", for instance, was one of many songs "driven more by Chuck Dukowski's percolating bass line than Ginn's stun-gun guitar."


title: Black Flag (band)

text: Morris performed as vocalist on Black Flag's earliest recordings, and his energized, manic stage presence was pivotal in the band earning a reputation in Southern California. Migdol was replaced by the enigmatic Colombian drummer Robo, whose numerous clicking metallic bracelets became part of his drum sound. The band played with a speed and ferocity that was all but unprecedented in rock music; critic Ira Robbins declared that "Black Flag was, for all intents and purposes, America's first hardcore band." Morris quit in 1979, citing, among other reasons, creative differences with Ginn, and his own "freaking out on cocaine and speed." Morris would subsequently form the Circle Jerks.


title: Black Flag (band)

text: After Morris's departure, Black Flag recruited fan Ron Reyes as singer. With Reyes, Black Flag recorded the "Jealous Again" 12-inch EP and appeared in the film "The Decline of Western Civilization". This was also the line-up that toured up and down the West Coast for the first time, the version most fans outside of L.A. first saw.


title: Black Flag (band)

text: In 1980, Reyes quit Black Flag mid-performance at the Fleetwood in Redondo Beach because of escalating violence. For the remainder of that gig, the band played an extended version of "Louie Louie" and invited audience members to take turns singing.


title: Black Flag (band)

text: The more reliable Dez Cadena – another fan – then joined as a vocalist. With Cadena on board, Black Flag began national touring in earnest, and arguably saw two peaks: first as a commercial draw (they sold out the 3,500-seat Santa Monica Civic Auditorium, a feat they were never able to manage again); and second, perhaps seeing the peak of attention from police in the Los Angeles area, due to the violence associated with Black Flag and punk rock in general. The band members have often insisted, however, that the police instigated far more problems than they solved.


title: Black Flag (band)

text: By the summer of 1981, however, Cadena's voice was worn. He had no formal training or previous experience as a singer, and had severely strained his voice during Black Flag's nonstop touring, and he wanted to play guitar rather than perform vocals.


title: Black Flag (band)

text: Twenty-year-old fan Henry Rollins (birth name Henry Garfield) was then living in Washington, D.C., and singing for hardcore band State of Alert (S.O.A.). S.O.A. drummer Ivor Hanson had a father who was a top admiral in the US Navy, and his family shared living quarters with the vice president of the United States in the United States Naval Observatory. The band held their practices there, and would have to be let in by United States Secret Service agents.


title: Black Flag (band)

text: S.O.A. had corresponded with Black Flag, and met them when they performed on the U.S. east coast. At an impromptu show at A7 in New York City, Rollins had asked the band to perform "Clocked In", and the band offered to let him sing. Since vocalist Dez Cadena was switching to guitar, the band then invited Rollins to audition. Impressed by his stage demeanor, they asked him to become their permanent vocalist. Despite some doubts, he accepted, due in part to Ian MacKaye's encouragement. Rollins acted as roadie for the remainder of the tour while learning Black Flag's songs during sound checks and encores, while Cadena crafted guitar parts that meshed with Ginn's. Rollins also impressed Black Flag with his broad musical interests during an era when punk rock music and fans were increasingly factionalized; he introduced Black Flag to Washington D.C.'s go-go, a distinctive take on funk music.


title: Black Flag (band)

text: Rollins was Black Flag's longest-lasting vocalist. When he joined Black Flag, he brought a different attitude and perspective than previous singers. Some earlier songs, such as "Six Pack" (a song written about original singer Keith Morris) blended a sense of black humor with driving punk rock. Rollins was an intense performer, who usually appeared onstage wearing only shorts. Ginn once stated that after Rollins joined, "We couldn't do songs with a sense of humor anymore; he got into the serious way-out poet thing."


title: Black Flag (band)

text: With Rollins, Black Flag began work on their first full-length album. The sessions for the album (chronicled in Michael Azerrad's book "Our Band Could Be Your Life") were a source of conflict between the band and engineer/producer Spot, who had worked with the band and the SST label since their early years. Spot had already recorded many of the "Damaged" tracks with Dez Cadena on vocals (as well as Keith Morris and Ron Reyes) and felt that the band's sound was ruined with the two guitar line-up (these versions can be heard on the albums "Everything Went Black" and "The First Four Years"). Whereas the earlier four-piece versions are more focused and much cleaner sounding, the "Damaged" recordings are more akin to a live recording, with little stereo separation of guitars, and somewhat muddy. When asked about the lo-fidelity production, Spot has said "They "wanted" it to sound that way." However, the artistic content and expression on the album showed the band pushing punk or hardcore music to a new level, with deeply personal and intensely emotional lyrics. As such, "Damaged" is generally regarded as Black Flag's most focused recording. One critic has written that "Damaged" was "perhaps the best album to emerge from the quagmire that was early-'80s California punk ... the visceral, intensely physical presence of "Damaged" has yet to be equaled, although many bands have tried." "Damaged" was released in 1981, and the group began an extensive tour in support of it, forging an independent network for touring independent music acts that would form a cornerstone of the independent music scene for the decade to come.


title: Black Flag (band)

text: The previous year 1980 saw the U.S. punk rock movement hitting a peak in popularity. With "Damaged" and their growing reputation as an impressive live band, Black Flag seemed poised on the cusp of a commercial breakthrough. The record was to be distributed by now-defunct Unicorn Records, a subsidiary of MCA. Trouble began when MCA refused to handle "Damaged" after MCA executive Al Bergamo determined the album was an "Anti-Parent" record. However, according to longtime SST employee Joe Carducci the "Anti-Parent" statement was not the real reason for MCA's refusing to distribute "Damaged"; Carducci reported that Unicorn Records was so poorly managed and so deeply in debt that MCA stood to lose money by distributing the album, regardless of its content. This was the beginning of a legal dispute that would, for several years, disallow Black Flag from using their own name on any record after "Damaged" was released on SST Records and a copy of the "Anti-Parent" statement was placed on the album's cover.


title: Black Flag (band)

text: With their new singer, Black Flag and the Minutemen made their first tour of the UK through late 1981 and early 1982. During that tour, the band met punk icon Richard Hell and opened a concert for him. Rollins later published his diaries from that tour in his book "Get in the Van". As the front man, Rollins was a frequent target of violent audience members, and started getting involved in fist-fights. Rollins developed a distinct showmanship on stage, where he could entertain an audience just by talking to them. The rest of the band were targets too, with Greg Ginn getting hit by a bullet shell while playing in Colwyn Bay.


title: Black Flag (band)

text: As Black Flag was about to return home, UK customs detained Colombian drummer Robo due to visa problems, and he was not able to return with the rest of the band. This would be the end of his tenure with the band (he was able to eventually re-enter the United States in mid-1982, at which point he would promptly join the Misfits as one of that band's last drummers before its 1983 breakup). The loss of Robo put an end to extensive touring for a while. Emil Johnson of Twisted Roots filled in for one tour, but it was clear he was only temporary.


title: Black Flag (band)

text: While on that tour in Vancouver, the band found out that drummer Chuck Biscuits was leaving D.O.A. He was quickly drafted on board, traveling with the band for the rest of the tour (cut short because of Henry Rollins' injured knee) to learn the songs. This lineup recorded the later-bootlegged cassette "1982 Demos", showing the direction the band would go in for the "My War" album.


title: Black Flag (band)

text: However, due to personality conflicts—in "Get in the Van", Rollins described Biscuits as a "fuck up"—and the Unicorn court injunction-forced inactivity of Black Flag, Biscuits left to join their rivals the Circle Jerks. (Later, Biscuits joined ex-Misfits singer Glenn Danzig's solo project Danzig). Black Flag eventually got Bill Stevenson of Descendents to join permanently (he had filled in from time-to-time before). While the Unicorn Records court injunction prevented the group from releasing a new studio album, they nonetheless continued to work on new material, and embarked on a period which would mark a pronounced change in the group's direction (and that of underground music in general).


title: Black Flag (band)

text: It is possible that the violence of the previous tour had an effect on the band's direction. The band had also become increasingly interested in music other than punk rock, such as the Jimi Hendrix Experience, and some of the members (particularly Ginn) used cannabis. (However, various members had been fans of such music long before Black Flag, with Ginn being an avid Grateful Dead fan, and Cadena a fan of Hawkwind.) Newer material (which can be heard on the "1982 Demos" bootleg) was slower and less like typical punk music, with classic rock and blues influences seeping in. Cadena left in April of 1983 to form his own band DC3. He would take some of the new songs he had written for Black Flag with him and record them for DC3's debut album.


title: Black Flag (band)

text: Additionally, by late 1983, Dukowski had retired from performing with Black Flag (some accounts report he was "edged out" by Ginn); Azerrad reports that Ginn was dissatisfied with Dukowski's failure to progress as an instrumentalist, and made things difficult for Dukowski in an attempt to make him quit, but in the end, Rollins took it on himself to fire Dukowski. However, a few of Dukowski's songs were featured on later albums, and he continued acting in his capacity as tour manager.


title: Black Flag (band)

text: 1983 found Black Flag with fresh songs and a new direction, but without a bass player, and embroiled in a legal dispute over distribution due to SST's issuing "Damaged" (Ginn argued that since MCA was no longer involved, the Unicorn deal was not legally binding, while Unicorn disagreed and sued SST and Black Flag). Until the matter was sorted out, the band were prevented by a court injunction from using the name "Black Flag" on any recordings. They released a compilation record, "Everything Went Black", which was credited to the individual musicians, not "Black Flag". In fact, wherever the original album artwork had the words "Black Flag", they had been covered up with small slips of paper, thus adhering to the letter of the law.


title: Black Flag (band)

text: After Unicorn Records declared bankruptcy, Black Flag were released from the injunction, and returned with a vengeance, starting with the release of "My War". The album was both a continuation of "Damaged", and a vast leap forward. While the general mood and lyrics continue in the confrontational and emotional tone of "Damaged", the album would prove influential to grunge music as the decade progressed. Lacking a bass player, Ginn played bass guitar, using the pseudonym Dale Nixon. On the May 1, 2007 episode of his radio program "Harmony in My Head", Rollins reported that one of Ginn's favorite albums during this era was Mahavishnu Orchestra's "Birds of Fire" (1973), and opined that John McLaughlin's guitar work influenced Ginn.


title: Black Flag (band)

text: Freed legally to release albums, Black Flag was re-energized and ready to continue full steam ahead. The band recruited bassist Kira Roessler (sister of punk keyboardist Paul Roessler, of 45 Grave) to replace Dukowski, and began its most prolific period. With Roessler, Black Flag had arguably found their best bassist. Dukowski was a powerful player, but Roessler brought a level of sophistication and finesse to match Ginn's increasingly ambitious music, without sacrificing any of the visceral impact required for punk rock.


title: Black Flag (band)

text: 1984 saw Black Flag (and the SST label) at their most ambitious. This year they would release three full-length albums, and toured nearly constantly, with Rollins noting 178 performances for the year, and about that many for 1985. With Dukowski gone, Ginn ceded much of the spotlight to Rollins, who had expressed some discomfort over being the group's "de facto" spokesman, while Ginn was the recognized leader (Ginn wrote the majority of the group's songs and lyrics).


title: Black Flag (band)

text: With Roessler on board, Black Flag began earnest experimentation, sometimes to critical and audience disdain: One critic writes that "Slip It In" "blurs the line between moronic punk and moronic metal"; another writes "My War" is "a pretentious mess of a record with a totally worthless second side." Rollins reports that Black Flag's set-lists in this era rarely included older crowd favorites like "Six Pack" or "Nervous Breakdown", and that audiences were often irritated by the new, slower Black Flag. Violence against the band (and especially Rollins) was ever-present, although the vocalist was now an avid weight lifter, and more than able to defend himself. Furthermore, to Rollins' chagrin, Ginn's interest in marijuana steadily increased; as Rollins put it, "By '86 it was 'Cannot separate the man from his Anvil case with a big-ass stash.'" Despite the initial resistance to the new music and quasi-psychedelic direction, "My War" would later be cited as a formative influence on the grunge, stoner and sludge metal genres. The band would continue to evolve toward a more heavy metal sound, with 1985's "Loose Nut" featuring more polished production.


title: Black Flag (band)

text: Despite 1984–85 being the most fruitful period for the band and their record label, Ginn and Rollins would ultimately decide to eject Roessler from Black Flag, citing erratic behavior. It has also been suggested that Ginn's accommodating Roessler's college schedule created tension in the band. Her absence, and the lack of a steady drummer (Stevenson quit and was replaced by Anthony Martinez), contributed to the comparatively weak reputation of the last few Black Flag tours.


title: Black Flag (band)

text: By 1986, Black Flag's members had grown tired of the tensions of their relentless touring schedule, infighting, and of living in near-poverty. The band had been together almost a decade, and true commercial success and stability had eluded them. The band's erratic artistic changes were a barrier to their retaining an audience – Ginn was so creatively restless that Black Flag's albums were often very dissimilar. At one point, Rollins apparently said, "Why don't we make a record that was like the last one so people won't always be trying to catch up with what we're doing?" The next album, "In My Head", with its powerful bluesy proto-grunge-metal, did seem to finally be a cohesive follow-up to their previous album "Loose Nut", but it would be their last.


title: Black Flag (band)

text: Black Flag played its final show on June 27, 1986, in Detroit, Michigan. In his book "Get in the Van", Rollins wrote that Ginn telephoned him in August 1986: "He told me he was quitting the band. I thought that was strange considering it was his band and all. So in one short phone call, it was all over."


title: Black Flag (band)

text: Since Black Flag's break-up, Rollins has had the most visible public profile as a musician, writer, and actor. Most Black Flag members have also remained active in music, especially Ginn, who continued playing with bands such as Gone, October Faction, Screw Radio, and Stevenson, who continued on with the Descendents, All, Only Crime, and the reformed Lemonheads. Kira Roessler continues to record and perform with the band dos, a duet with then-husband and Minutemen bassist Mike Watt.


title: Black Flag (band)

text: In September 2003, Black Flag played three reunion shows, two at the Hollywood Palladium and one at Alex's Bar in Long Beach, California, to benefit cat rescue organizations (a current passion of Ginn's). The line-up for the shows was Dez Cadena on vocals and guitar, Greg Ginn on guitar, Robo on drums, and C'el Revuelta on bass. Professional skateboarder and singer Mike Vallely also sang all the songs from "My War" at these shows while Gregory Moore was on drums for the My War set.


title: Black Flag (band)

text: On July 24, 2010, in celebration of Ron Reyes's 50th birthday, Greg Ginn and Reyes played a set of three Black Flag songs together in addition to his own set with the Ron Reyes Band.


title: Black Flag (band)

text: On December 18, 2011, Keith Morris, Chuck Dukowski, Bill Stevenson, and the Descendents' Stephen Egerton played the "Nervous Breakdown" EP in its entirety for the Goldenvoice 30th anniversary show called GV 30. This surprise gig at the Santa Monica Civic Auditorium took place between sets by the Vandals and the Descendents.


title: Black Flag (band)

text: On January 25, 2013, it was announced that guitarist Greg Ginn and vocalist Ron Reyes would reform Black Flag, joined by Gregory Moore on drums, and 'Dale Nixon' on bass (Dale Nixon is a pseudonym sometimes used by Ginn, most prominently as the bassist on "My War"). The band would tour as well as release a new album, their first since 1985's "In My Head". In March, it was announced that Screeching Weasel bassist Dave Klein had joined the band. On May 2, 2013, the band released a new song entitled "Down in the Dirt" through their website. After releasing two more singles ("The Chase" and "Wallow in Despair"), "What The..." was released on December 3, and was poorly received by critics and fans.


title: Black Flag (band)

text: Around the same time, it was announced that the lineup that played at GV 30, Morris, Dukowski, Stevenson and Egerton, would tour performing Black Flag songs, under the name Flag. It was later announced that the lineup would be joined by Dez Cadena.


title: Black Flag (band)

text: On August 2, 2013, SST Records and Greg Ginn brought a trademark infringement action in Los Angeles federal court against Morris, Dukowski, Stevenson, Cadena, and Egerton, with regard to their use of the name Black Flag and the Black Flag logo on the 2013 Flag tour. In the same action, SST and Ginn also sued Henry Rollins and Keith Morris to oppose and cancel the trademark applications filed in September 2012 by Rollins and Morris. SST and Ginn alleged that Rollins and Morris lied to the Patent and Trademark Office on their trademark applications regarding claimed use of the Black Flag name and logo by Rollins and Morris on records, T-shirts, and with regard to live performances.


title: Black Flag (band)

text: In October 2013, a federal judge denied the motion for a preliminary injunction, brought by Ginn and SST against Morris, Dukowski, Stevenson, Cadena, and Egerton. The court ruled that it was possible that the logo had fallen into "generic use", but did not rule specifically that it had done so. The court also ruled that Ginn and SST could not prevent the use of the band name "Flag", as it was likely that fans would know the difference between the two acts, because of widespread publicity.


title: Black Flag (band)

text: During a show in November 2013 on Black Flag's Australian tour, pro skater and band manager Mike Vallely, who previously sang with the band in 2003, came on stage, took Reyes' microphone, ousted him from Black Flag and sang the band's last two songs. Reyes said he was relieved to be removed from the band, citing difficulties working with Ginn. In January 2014, Vallely was named the band's new lead singer. Vallely apologized for the band's antics in 2013 and revealed that the band had begun working on material for a new album with a tour to tentatively begin in May. Shortly after the announcement, Dave Klein announced he too was leaving the band. In 2014, Ginn filled out the line up with adding new members Tyler Smith on bass, and Brandon Pertzborn on drums. They embarked upon the Victimology Tour, bringing along Ginn's own HOR and Brooklyn band Cinema Cinema, as openers.


title: Black Flag (band)

text: On January 28, 2019, it was announced that Black Flag would play their first show in five years at the Sabroso Craft Beer, Taco & Music Festival in Dana Point, California on April 7. The show would be the start of a U.S. tour. The band's first U.K. tour in 35 years was set to follow in October. The new lineup consisted of Greg Ginn on guitar, Mike Vallely on vocals, Tyler Smith on bass, and Isaias Gil on drums.


title: Black Flag (band)

text: Black Flag are primarily a hardcore punk band and are considered to be one of the first hardcore punk bands. According to Ryan Cooper of About.com and author Doyle Greene, Black Flag is one of the pioneers of the genre for the experimental style they later started playing. Black Flag experimented with a sludge metal sound on their album "My War". Black Flag also have used elements of styles such as jazz, blues, spoken word, heavy metal, blues rock, free jazz, math rock and .


title: Black Flag (band)

text: Throughout their ten-year career as a band, Black Flag's experiences became legendary, especially in the Southern California area. Much of the band's history is chronicled in Henry Rollins' own published tour diary "Get in the Van". Black Flag were reportedly blacklisted by the LAPD and Hollywood rock clubs because of the destructiveness of their fans, though Rollins has claimed that police caused far more problems than they solved.


title: Black Flag (band)

text: SST Records, an independent American record label that was initially founded to release Black Flag's debut single, released recordings by influential bands such as Bad Brains, Minutemen, Descendents, Meat Puppets, and Hüsker Dü. As well, SST released some albums by Negativland, Soundgarden, Sonic Youth, and Saint Vitus.


title: Black Flag (band)

text: SST was founded in 1966 by Greg as Solid State Transmitters – later rebranded to release Black Flag albums.


title: Black Flag (band)

text: Black Flag's career is chronicled in "Our Band Could Be Your Life", a study of several important American underground rock bands. Many members of the grunge scene cited Black Flag's "My War" album as being influential in their departure from the standard punk model. Steve Turner of Mudhoney stated in an interview, "A lot of other people around the country hated the fact that Black Flag slowed down ... but up here it was really great – we were like 'Yay!' They were weird and fucked-up sounding."


title: Black Flag (band)

text: Kurt Cobain listed both "My War" and "Damaged" in his top 50 albums in his journal in 1993. Jeff Hanneman and Dave Lombardo, both known for their work with Slayer, mentioned Black Flag among their influences. Red Hot Chili Peppers bassist Flea has a Black Flag decal on one of his signature Modulus bass guitars, and guitarist John Frusciante has cited Greg Ginn as one of his early influences as a guitar player. British acoustic artist and punk rocker Frank Turner has a Black Flag icon tattoo on his wrist and cites the band as one of his primary inspirations, particularly in regards to their work ethic. With Million Dead, if anything went wrong with their tour, Turner said they would "Think Black Flag". Vocalist Maynard James Keenan of the bands Tool and A Perfect Circle, has described seeing Black Flag perform in 1986 as a young punk rocker in Grand Rapids, Michigan, as a "revelatory and life-changing" experience. A Perfect Circle also covered the Black Flag song "Gimmie Gimmie Gimmie" on their "Emotive" album. Punk band Rise Against portrayed Black Flag in the 2005 "Lords of Dogtown" film, and their cover of "Nervous Breakdown" is on the "Lords of Dogtown" soundtrack. Rise Against also does a cover of the Black Flag song "Fix Me" in the video game "Tony Hawk's American Wasteland". Initial Records released a Black Flag cover album in 2002 (re-released with additional tracks in 2006 by ReIgnition Recordings), "". The compilation features 15 hardcore and metalcore bands – including Most Precious Blood, Converge, The Dillinger Escape Plan, American Nightmare, Drowningman, and Coalesce. Bring Me the Horizon frontman Oliver Sykes also mentioned Black Flag as one of his biggest influences. Sykes has also had the tattoo of Black Flag logo showing the love for the band. American alternative rock band My Chemical Romance has also stated that the band has been heavily influenced by Black Flag.


title: Black Flag (band)

text: Black Flag's visual imagery and artwork complemented the themes found in the band's music. Greg Ginn's brother Raymond Ginn, under the pseudonym Raymond Pettibon, created the artwork for all of the band's studio releases with the exceptions of "Damaged" and the "TV Party" single, as well as providing artwork for the band members to transform into merchandise and gig flyers. When the band found it necessary to change their name from Panic in 1978, it was Pettibon who suggested the new name Black Flag and designed their iconic logo: four vertical black rectangles comprising a stylized rippling black flag. The logo evoked a number of meanings: it was the polar opposite of a white flag of surrender, as well as a symbol for anarchism and a traditional emblem of pirates. As the band gained popularity the logo was graffitied on numerous highway overpasses and other public and private surfaces in and around Los Angeles, drawing the attention of the authorities and contributing to an increase in police presence at Black Flag shows.


title: Black Flag (band)

text: Pettibon's artwork for the band's albums and flyers was equally stark and confrontational. He typically worked in one panel using only pen and ink, so the message conveyed had to be direct and powerful due to lack of space and color. According to Michael Azerrad in "Our Band Could Be Your Life", the artwork "was a perfect visual analogue to the music it promoted – gritty, stark, violent, smart, provocative, and utterly American." It also provided a cerebral aspect to the band's image: as the mainstream media caricatured Black Flag as a mindlessly aggressive act, the pairing of their music with high-concept artwork hinted at a greater intelligence at work that was unknown to outsiders.


title: Black Flag (band)

text: Henry Rollins, in his journal collection "Get in the Van", notes that Pettibon's artwork became synonymous with Black Flag and that before Rollins joined the band he would collect photocopies of their flyers that had circulated from California to Washington, D.C. The album cover for "Nervous Breakdown" had a particularly strong impact on Rollins: "The record's cover art said it all. A man with his back to the wall baring his fists. In front of him another man fending him off with a chair. I felt like the guy with his fists up every day of my life." Another image which drew considerable attention was the artwork created for the "Police Story" single, showing a police officer being held with a gun in his mouth with the speech blurb "Make me come, faggot!" The image was plastered on flyers all around Los Angeles and added to the police pressure on the band. Pettibon later remarked that "my values are relativistic, and I'll give a cop the benefit of the doubt. If that's me with my gat – my gat's larger than the one depicted – we can have a discussion, and he can answer me just as well with my .357 barrel in his mouth, or on his cheek, or on his adenoids, or down his throat. I'll listen to his whimpering cries."


title: Black Flag (band)

text: After joining the band Rollins would sometimes watch Pettibon draw, admiring his work ethic and the fact that he did not make telephone calls or sit for interviews. The drawings themselves rarely bore a direct connection to the music or its lyrical themes. Pettibon himself recalls that:


title: Black Flag (band)

text: Pettibon also sold pamphlet books of his work through SST, with titles such as "Tripping Corpse", "New Wave of Violence", and "The Bible, the Bottle, and the Bomb", and did artwork for other SST acts such as Minutemen.


title: Black Flag (band)

text: In order to adapt Pettibon's artwork to meet the layout requirements of their albums and flyers, the members of Black Flag would alter it by cutting and pasting and adding their name, logo, and gig details to it. They would then make photocopies and put up dozens of flyers to promote their shows. Rollins recalls going out on a flyering mission with roadie Mugger in 1981 in which the pair would put a layer of paste onto a telephone pole, stick up the flyer, and then cover it with an additional coat of paste so that it would last for up to a year. The band members and their crew would do this for miles around, using dozens of flyers to promote a single performance. Pettibon, however, did not always appreciate the band's treatment of his art, which he provided to them largely for free. "To me my work was the equivalent of a band like Black Flag or any other band who was righteously self-protective of recordings. I would give them original art and it would come back to me scrawled upon and taped over or whited out, and I'd always ask nicely, 'Could you please make a copy of this first and then do that?' Their master tapes were deemed sacrosanct, while my work was seen as completely disposable, but I'm not venting or complaining, just stating fact." Pettibon also felt pigeonholed by his association with the band, and had a falling out with them in 1985 over artwork used on the cover of the "Loose Nut" album, which had been used for a flyer several years earlier. Ginn resurrected it without telling his brother and turned it over to drummer Bill Stevenson to do the layout, who cut it into pieces and used them as elements for the cover and lyric sheet. Pettibon became irate and he and Ginn stopped speaking for some time, though his artwork continued to be used for the remainder of the band's career.


title: Barry Lyndon

text: Barry Lyndon is a 1975 period drama film written, directed, and produced by Stanley Kubrick, based on the 1844 novel "The Luck of Barry Lyndon" by William Makepeace Thackeray. Starring Ryan O'Neal, Marisa Berenson, Patrick Magee, Leonard Rossiter, and Hardy Krüger, the film recounts the early exploits and later unravelling of a fictional 18th-century Irish rogue and opportunist who marries a rich widow to climb the social ladder and assume her late husband's aristocratic position.


title: Barry Lyndon

text: Kubrick began production on "Barry Lyndon" after his 1971 film "A Clockwork Orange". He had originally intended to direct a biopic on Napoleon, but lost his financing because of the commercial failure of the similar 1970 Dino De Laurentiis-produced "Waterloo". Kubrick eventually directed "Barry Lyndon", set partially during the Seven Years' War, utilising his research from the Napoleon project. Filming began in December 1973 and lasted roughly eight months, taking place in England, Ireland, East Germany and West Germany.


title: Barry Lyndon

text: The film's cinematography has been described as ground-breaking. Especially notable are the long double shots, usually ended with a slow backwards zoom, the scenes shot entirely in candlelight, and the settings based on William Hogarth paintings. The exteriors were filmed on location in Ireland, England and West Germany, with the interiors shot mainly in London. The production had problems related to logistics, weather, and politics (Kubrick feared that he might be an IRA hostage target).


title: Barry Lyndon

text: "Barry Lyndon" won four Oscars at the 48th Academy Awards: Best Scoring: Original Song Score and Adaptation or Scoring: Adaptation; Best Costume Design; Best Art Direction; and Best Cinematography. Although some critics took issue with the film's slow pace and restrained emotion, its reputation, like that of many of Kubrick's works, has grown over time.


title: Barry Lyndon

text: An omniscient (though possibly unreliable) narrator relates that in 1750s Ireland, Redmond Barry's father is killed in a duel over a sale of some horses. The widow devotes herself to her only son. Barry becomes infatuated with his older cousin, Nora Brady. Nora and her family plan to improve their finances through marriage to a well-off British Army captain, John Quin. Barry shoots Quin in a duel, then flees. He is robbed by highwayman Captain Feeney. Penniless and dejected, Barry joins the British Army. Later, family friend Captain Grogan informs him that his dueling pistol had been loaded with tow, and Quin is not dead: the duel was staged by Nora's family to get rid of Barry.


title: Barry Lyndon

text: Barry's regiment fights in Germany in the Seven Years' War. Grogan is fatally wounded in a skirmish. Fed up with the war, Barry deserts. En route to neutral Holland, he encounters Frau Lieschen. The two briefly become lovers. Later, Barry encounters Prussian Captain Potzdorf, who, seeing through his disguise, offers him the choice of being handed over to the British to be shot or enlisting in the Prussian Army. Barry enlists and later receives a special commendation from Prussian King Frederick II for saving Potzdorf's life in a battle.


title: Barry Lyndon

text: Two years later, after the war ends in 1763, Barry is employed by Captain Potzdorf's uncle in the Prussian Ministry of Police. The Prussians suspect the Chevalier de Balibari, a professional gambler, of spying for the Austrians, and have Barry become his servant. Barry reveals everything to the Chevalier, a fellow Irishman. They become confederates. After they cheat the Prince of Tübingen at cards, the Prince accuses the Chevalier of cheating and demands satisfaction. Barry's Prussian handlers, still suspecting that the Chevalier is a spy, arrange for the Chevalier to be expelled from the country. Alerted by Barry, the Chevalier flees in the night. The next morning, Barry, disguised as the Chevalier, is escorted from Prussia.


title: Barry Lyndon

text: Over the next few years, Barry and the Chevalier travel across Europe, perpetrating gambling scams, with Barry forcing payment from reluctant debtors with sword duels. In Spa, he encounters the beautiful and wealthy Countess of Lyndon. He seduces and later marries her after the death of her elderly husband, Sir Charles Lyndon (caused by Barry's goading and verbal repartee).


title: Barry Lyndon

text: In 1773, Barry takes the Countess's last name and settles in England. Lord Bullingdon, Lady Lyndon's ten-year-old son by Sir Charles, quickly comes to despise Barry. Barry retaliates by physically abusing Bullingdon. The Countess bears Barry a son, Bryan Patrick, but the marriage is unhappy: Barry is openly unfaithful and enjoys spending his wife's money, while keeping her in seclusion.


title: Barry Lyndon

text: Barry's mother comes to live with him. She warns him that if Lady Lyndon were to die, Lord Bullingdon would inherit everything, and advises him to obtain a noble title to protect himself. Toward this goal, he cultivates the acquaintance of the influential Lord Wendover and spends large sums of money to ingratiate himself to high society. However, a now adult Lord Bullingdon crashes a lavish birthday party Barry throws for Lady Lyndon. He publicly explains why he detests his stepfather and declares he will leave the family estate for as long as Barry remains there and married to his mother. Barry viciously assaults Bullingdon until he is physically restrained. This causes him to be cast out of polite society.


title: Barry Lyndon

text: Barry proves an overindulgent father to Bryan and gives him a full-grown horse for his ninth birthday. Bryan is thrown from the horse and dies a few days later. The grief-stricken Barry turns to alcohol, while Lady Lyndon seeks solace in religion, assisted by the Rev. Samuel Runt, who had been tutor to Lord Bullingdon and Bryan. Barry's mother dismisses Runt, both because the family no longer needs (nor can afford, due to Barry's spending debts) a tutor and for fear that his influence will worsen Lady Lyndon's condition. Lady Lyndon later attempts suicide. Runt and Graham, the family's accountant, then seek out Lord Bullingdon, who returns and challenges Barry to a duel.


title: Barry Lyndon

text: A coin toss gives Bullingdon the first shot, but he nervously misfires his pistol. Barry magnanimously fires into the ground, but Bullingdon refuses to let the duel end. In the second round, Bullingdon shoots Barry in the leg. The leg has to be amputated below the knee. While Barry is recovering, Bullingdon takes control of the Lyndon estate. He offers Barry 500 guineas a year provided he leave England forever. With his credit exhausted, Barry accepts. The narrator states that Barry resumes his former profession of gambler (though without his former success). In December 1789, a middle-aged Lady Lyndon signs Barry's annuity cheque as her son looks on.


title: Barry Lyndon

text: Critic Tim Robey suggests that the film "makes you realise that the most undervalued aspect of Kubrick's genius could well be his way with actors." He adds that the supporting cast is a "glittering procession of cameos, not from star names but from vital character players."


title: Barry Lyndon

text: The cast featured Leon Vitali as the older Lord Bullingdon, who then became Kubrick's personal assistant, working as the casting director on his following films, and supervising film-to-video transfers for Kubrick. Their relationship lasted until Kubrick's death. The film's cinematographer, John Alcott, appears at the men's club in the non-speaking role of the man asleep in a chair near the title character when Lord Bullingdon challenges Barry to a duel. Kubrick's daughter Vivian also appears (in an uncredited role) as a guest at Bryan's birthday party.


title: Barry Lyndon

text: Other Kubrick featured regulars were Leonard Rossiter (""), Steven Berkoff, Patrick Magee, Godfrey Quigley, Anthony Sharp, and Philip Stone ("A Clockwork Orange"). Stone went on to feature in "The Shining".


title: Barry Lyndon

text: After completing post production on "", Kubrick resumed planning a film about Napoleon. During pre-production, Sergei Bondarchuk and Dino De Laurentiis' "Waterloo" was released, and failed at the box office. Reconsidering, Kubrick's financiers pulled funding, and he turned his attention towards an adaptation of Anthony Burgess's 1962 novel "A Clockwork Orange". Subsequently, Kubrick showed an interest in Thackeray's "Vanity Fair" but dropped the project when a serialised version for television was produced. He told an interviewer, "At one time, "Vanity Fair" interested me as a possible film but, in the end, I decided the story could not be successfully compressed into the relatively short time-span of a feature film ... as soon as I read "Barry Lyndon" I became very excited about it."


title: Barry Lyndon

text: Having earned Oscar nominations for "Dr. Strangelove", "2001: A Space Odyssey" and "A Clockwork Orange", Kubrick's reputation in the early 1970s was that of "a perfectionist auteur who loomed larger over his movies than any concept or star". His studio—Warner Bros.—was therefore "eager to bankroll" his next project, which Kubrick kept "shrouded in secrecy" from the press partly due to the furore surrounding the controversially violent "A Clockwork Orange" (particularly in the UK) and partly due to his "long-standing paranoia about the tabloid press."


title: Barry Lyndon

text: Having felt compelled to set aside his plans for a film about Napoleon Bonaparte, Kubrick set his sights on Thackeray's 1844 "satirical picaresque about the fortune-hunting of an Irish rogue," "Barry Lyndon", the setting of which allowed Kubrick to take advantage of the copious period research he had done for the now-aborted "Napoleon". At the time, Kubrick merely announced that his next film would star Ryan O'Neal (deemed "a seemingly un-Kubricky choice of leading man") and Marisa Berenson, a former "Vogue" and "Time" magazine cover model, and be shot largely in Ireland. So heightened was the secrecy surrounding the film that "Even Berenson, when Kubrick first approached her, was told only that it was to be an 18th-century costume piece [and] she was instructed to keep out of the sun in the months before production, to achieve the period-specific pallor he required."


title: Barry Lyndon

text: Principal photography lasted 300 days, from spring 1973 through to early 1974, with a break for Christmas. The crew arrived in Dublin, Ireland in May 1973. Jan Harlan recalls that Kubrick "loved his time in Ireland – he rented a lovely house west of Dublin, he loved the scenery and the culture and the people".


title: Barry Lyndon

text: Many of the exteriors were shot in Ireland, playing "itself, England, and Prussia during the Seven Years' War." Kubrick and cinematographer Alcott drew inspiration from "the landscapes of Watteau and Gainsborough," and also relied on the art direction of Ken Adam and Roy Walker. Alcott, Adam and Walker were among those who would win Oscars for their work on the film.


title: Barry Lyndon

text: Several of the interior scenes were filmed in Powerscourt House, an 18th-century mansion in County Wicklow, Republic of Ireland. The house was destroyed in an accidental fire several months after filming (November 1974), so the film serves as a record of the lost interiors, particularly the "Saloon" which was used for more than one scene. The Wicklow Mountains are visible, for example, through the window of the saloon during a scene set in Berlin. Other locations included Kells Priory (the English Redcoat encampment) Blenheim Palace, Castle Howard (exteriors of the Lyndon estate), Huntington Castle, Clonegal (exterior), Corsham Court (various interiors and the music room scene), Petworth House (chapel), Stourhead (lake and temple), Longleat, and Wilton House (interior and exterior) in England, Lavenham Guildhall at Lavenham in Suffolk (amputation scene), Dunrobin Castle (exterior and garden as Spa) in Scotland, Dublin Castle in Ireland (the chevalier's home), Ludwigsburg Palace near Stuttgart and Frederick II of Prussia's Neues Palais at Potsdam near Berlin (suggesting Berlin's main street Unter den Linden as construction in Potsdam had just begun in 1763). Some exterior shots were also filmed at Waterford Castle (now a luxury hotel and golf course) and Little Island, Waterford. Moorstown Castle in Tipperary also featured. Several scenes were filmed at Castletown House outside Carrick-on-Suir, Co. Tipperary, and at Youghal, Co. Cork.


title: Barry Lyndon

text: The filming took place in the backdrop of some of the most intense years of the Troubles in Ireland, during which the Provisional Irish Republican Army (Provisional IRA) was waging an armed campaign in order to bring about a United Ireland.


title: Barry Lyndon

text: On 30 January 1974, while filming in Dublin City's Phoenix Park, shooting had to be cancelled due to the chaos caused by 14 bomb threats.


title: Barry Lyndon

text: One day a phone call was received and Kubrick was given 24 hours to leave the country; he left within 12 hours. The phone call alleged that the Provisional IRA had him on a hit list and Harlan recalls "Whether the threat was a hoax or it was real, almost doesn't matter ... Stanley was not willing to take the risk. He was threatened, and he packed his bag and went home"


title: Barry Lyndon

text: The film, as with "almost every Kubrick film", is a "showcase for [a] major innovation in technique." While "2001: A Space Odyssey" had featured "revolutionary effects," and "The Shining" would later feature heavy use of the Steadicam, "Barry Lyndon" saw a considerable number of sequences shot "without recourse to electric light." The film's cinematography was overseen by director of photography John Alcott (who won an Oscar for his work), and is particularly noted for the technical innovations that made some of its most spectacular images possible. To achieve photography without electric lighting "[f]or the many densely furnished interior scenes… meant shooting by candlelight," which is known to be difficult in still photography, "let alone with moving images."


title: Barry Lyndon

text: Kubrick was "determined not to reproduce the set-bound, artificially lit look of other costume dramas from that time." After "tinker[ing] with different combinations of lenses and film stock," the production obtained three super-fast 50mm lenses (Carl Zeiss Planar 50mm "f"/0.7) developed by Zeiss for use by NASA in the Apollo Moon landings, which Kubrick had discovered. These super-fast lenses "with their huge aperture (the film actually features the lowest f-stop in film history) and fixed focal length" were problematic to mount, and were extensively modified into three versions by Cinema Products Corp. for Kubrick to gain a wider angle of view, with input from optics expert Richard Vetter of Todd-AO. The rear element of the lens had to be 2.5 mm away from the film plane, requiring special modification to the rotating camera shutter. This allowed Kubrick and Alcott to shoot scenes lit in candlelight to an average lighting volume of only three candela, "recreating the huddle and glow of a pre-electrical age." In addition, Kubrick had the entire film push-developed by one stop.


title: Barry Lyndon

text: Although Kubrick and Alcott sought to avoid electric lighting where possible, most shots were achieved with conventional lenses and lighting, but were lit to deliberately mimic natural light rather than for compositional reasons. In addition to potentially seeming more realistic, these methods also gave a particular period look to the film which has often been likened to 18th-century paintings (which of course depict a world devoid of electric lighting), in particular owing "a lot to William Hogarth, with whom Thackeray had always been fascinated."


title: Barry Lyndon

text: The film is widely regarded as having a stately, static, painterly quality, mostly due to its lengthy, wide-angle long shots. To illuminate the more notable interior scenes, artificial lights called "Mini-Brutes" were placed outside and aimed through the windows, which were covered in a diffuse material to scatter the light evenly through the room rather than being placed inside for maximum use as most conventional films do. In some instances, the natural daylight was allowed to come through, which when recorded on the film stock used by Kubrick showed up as blue-tinted compared to the incandescent electric light.


title: Barry Lyndon

text: Despite such slight tinting effects, this method of lighting not only gave the look of natural daylight coming in through the windows, but it also protected the historic locations from the damage caused by mounting the lights on walls or ceilings and the heat from the lights. This helped the film "fit… perfectly with Kubrick's gilded-cage aesthetic – the film is consciously a museum piece, its characters pinned to the frame like butterflies."


title: Barry Lyndon

text: The film's period setting allowed Kubrick to indulge his penchant for classical music, and the film score uses pieces by Bach, Vivaldi, Paisiello, Mozart, and Schubert. The piece most associated with the film, however, is the main title music, Handel's Sarabande from the Keyboard suite in D minor (HWV 437). Originally for solo harpsichord, the versions for the main and end titles are performed with orchestral strings, harpsichord, and timpani. The score also includes Irish folk music, including Seán Ó Riada's song "Women of Ireland", arranged by Paddy Moloney and performed by The Chieftains. "The British Grenadiers" also features in scenes with Redcoats marching.


title: Barry Lyndon

text: The film "was not the commercial success Warner Bros. had been hoping for" within the United States, although it fared better in Europe. In the US it earned $9.1 million. Ultimately, the film grossed a worldwide total of $31.5 million on an $11 million budget.


title: Barry Lyndon

text: This mixed reaction saw the film (in the words of one retrospective review) "greeted, on its release, with dutiful admiration – but not love. Critics… rail[ed] against the perceived coldness of Kubrick's style, the film's self-conscious artistry and slow pace. Audiences, on the whole, rather agreed…"


title: Barry Lyndon

text: Roger Ebert gave the film three and a half stars out of four and wrote that it "is almost aggressive in its cool detachment. It defies us to care, it forces us to remain detached about its stately elegance." He added, "This must be one of the most beautiful films ever made." Vincent Canby of "The New York Times" called the film "another fascinating challenge from one of our most remarkable, independent-minded directors." Gene Siskel of the "Chicago Tribune" gave the film three and a half stars out of four and wrote "I found 'Barry Lyndon' to be quite obvious about its intentions and thoroughly successful in achieving them. Kubrick has taken a novel about a social class and has turned it into an utterly comfortable story that conveys the stunning emptiness of upper-class life only 200 years past." He ranked the film fifth on his year-end list of the best films of 1975. Charles Champlin of the "Los Angeles Times" called it "the motion picture equivalent of one of those very large, very heavy, very expensive, very elegant and very dull books that exist solely to be seen on coffee tables. It is ravishingly beautiful and incredibly tedious in about equal doses, a succession of salon quality still photographs—as often as not very still indeed." "The Washington Post" wrote, "It's not inaccurate to describe 'Barry Lyndon' as a masterpiece, but it's a deadend masterpiece, an objet d'art rather than a movie. It would be more at home, and perhaps easier to like, on the bookshelf, next to something like 'The Age of the Grand Tour,' than on the silver screen." Pauline Kael of "The New Yorker" wrote that "Kubrick has taken a quick-witted story" and "controlled it so meticulously that he's drained the blood out of it," adding, "It's a coffee-table movie; we might as well be at a three-hour slide show for art-history majors."


title: Barry Lyndon

text: This "air of disappointment" factored into Kubrick's decision for his next film, an adaption of Stephen King's "The Shining", a project that would not only please him artistically, but was more likely to succeed financially.


title: Barry Lyndon

text: Over time, the film has gained a more positive reaction. On review aggregator Rotten Tomatoes, the film holds an approval rating of 89% based on 79 reviews, with an average rating of 8.30/10. The website's critical consensus reads, "Cynical, ironic, and suffused with seductive natural lighting, "Barry Lyndon" is a complex character piece of a hapless man doomed by Georgian society." On Metacritic, the film has a weighted average score of 89 out of 100 based on reviews from 21 critics, indicating "universal acclaim". Roger Ebert added the film to his 'Great Movies' list on 9 September 2009 and increased his original rating from three and a half stars to four, writing, "Stanley Kubrick's "Barry Lyndon", received indifferently in 1975, has grown in stature in the years since and is now widely regarded as one of the master's best. It is certainly in every frame a Kubrick film: technically awesome, emotionally distant, remorseless in its doubt of human goodness."


title: Barry Lyndon

text: "The Village Voice" ranked the film at number 46 in its Top 250 "Best Films of the Century" list in 1999, based on a poll of critics. Director Martin Scorsese has named "Barry Lyndon" as his favourite Kubrick film, and it is also one of Lars von Trier's favourite films. "Barry Lyndon" was included on "Time"s All-Time 100 best movies list. In the 2012 "Sight & Sound" Greatest Films of All Time poll, "Barry Lyndon" placed 19th in the directors' poll and 59th in the critics' poll. The film ranked 27th in BBC's 2015 list of the 100 greatest American films.


title: Barry Lyndon

text: In a list compiled by "The Irish Times" critics Tara Brady and Donald Clarke in 2020, "Barry Lyndon" was named the greatest Irish film of all time.


title: Barry Lyndon

text: The main theme explored in Barry Lyndon is one of fate and destiny. Barry is pushed through life by a series of key events, some of which seem unavoidable. As Roger Ebert says, "He is a man to whom things happen." He declines to eat with the highwayman Captain Feeney, where he would most likely have been robbed, but is robbed anyway farther down the road. The narrator repeatedly emphasizes the role of fate as he announces events before they unfold on screen, like Bryan's death and Bullingdon seeking satisfaction. This theme of fate is also developed in the recurring motif of the painting. Just like the events featured in the paintings, Barry is participating in events which always were.


title: Barry Lyndon

text: Another major theme is between father and son. Barry lost his father at a young age and throughout the film he seeks and attaches himself to father-figures. Examples include his uncle, Grogan, and the Chevalier. When given the chance to be a father, Barry loves his son to the point of spoiling him. This contrasts with his role as a father to Lord Bullingdon, whom he disregards and punishes.


title: Barry Lyndon

text: Kubrick based his adapted screenplay on William Makepeace Thackeray's "The Luck of Barry Lyndon" (republished as the novel "Memoirs of Barry Lyndon, Esq.)," a picaresque tale written and published in serial form in 1844.


title: Barry Lyndon

text: The film departs from the novel in several ways. In Thackeray's writings, events are related in the first person by Barry himself. A comic tone pervades the work, as Barry proves both a raconteur and an unreliable narrator. Kubrick's film, by contrast, presents the story objectively. Though the film contains voice-over (by actor Michael Hordern), the comments expressed are not Barry's, but those of an omniscient narrator. Kubrick felt that using a first-person narrative would not be useful in a film adaptation:


title: Danny Huston

text: Daniel Sallis Huston (born May 14, 1962) is an Italian-born American actor and film director. A member of the Huston family of filmmakers, he is the son of director John Huston and the half-brother of actress Anjelica Huston.


title: Danny Huston

text: He is known for his roles in films such as "Ivans Xtc" (2000), for which he was nominated for an Independent Spirit Award for Best Male Lead, "21 Grams" (2003), "Birth" (2004), "The Aviator" (also 2004), "The Proposition" (2005), "The Constant Gardener" (also 2005), "Marie Antoinette" (2006), "Children of Men" (also 2006), "The Kingdom" (2007), "30 Days of Night" (also 2007), "Robin Hood" (2010), "Hitchcock" (2012), "The Congress" (2013), "Big Eyes" (2014) and the DC Extended Universe superhero film "Wonder Woman" (2017).


title: Danny Huston

text: Huston portrayed The Axeman on the FX series "" and Massimo Dolcefino on "". He played Ben "The Butcher" Diamond on "Magic City" (2012–13), Dan Jenkins in the first two seasons of the Paramount Network drama series "Yellowstone" (2018–19), and Jamie Laird on the second season of "Succession" (2019). His directing credits include the films "Mr. North" (1988), "The Maddening" (1995) and "The Last Photograph" (2017).


title: Danny Huston

text: Huston was born May 14, 1962, in Rome, Italy. He is the son of actor and director John Huston, and British actress Zoe Sallis. At the time, Huston was in Italy directing "", in which Sallis played Hagar. Through his father, he has an adoptive half brother, Pablo Huston, and is the half brother of actress Anjelica Huston, screenwriter Tony Huston, and writer Allegra Huston. He is the uncle of actor Jack Huston and grandson of Academy Award-winning actor Walter Huston. He is of Canadian, Welsh, Scots-Irish, Scottish, and Anglo-Indian descent.


title: Danny Huston

text: The younger Huston spent much of his early life in the United Kingdom and Ireland, and maintains British citizenship through his mother. He worked as an assistant to his father during the production of "Under the Volcano" (1984), and was a second unit director on "The Dead" (1987). Huston is a graduate of London Film School.


title: Danny Huston

text: Huston made his acting debut at the age of 12 in the George Kennedy-starring thriller film "The "Human" Factor" (1975).


title: Danny Huston

text: In 1988, Huston directed "Mr. North", which was an adaptation of Thornton Wilder's "Theophilus North". The film was produced by his father, who died before its completion. In 1995, Huston played Bartender #2 in "Leaving Las Vegas" and directed the film "The Maddening".


title: Danny Huston

text: Huston was nominated for Best Male Performance at the Independent Spirit Awards in 2003 for his performance in the independent film "Ivans Xtc".


title: Danny Huston

text: Huston appeared in Martin Scorsese's "The Aviator". The ensemble cast was nominated for a 2004 SAG Award. In 2006, Huston received the Golden Satellite Award for Best Supporting Actor for his performance as Sandy Woodrow in Fernando Meirelles' "The Constant Gardener". Huston starred in the Australian western "The Proposition".


title: Danny Huston

text: Huston starred in "Alpha Male" and Oliver Parker's "Fade to Black", in which he played Orson Welles. He starred in "The Kreutzer Sonata", which premiered at the 2008 Edinburgh International Film Festival.


title: Danny Huston

text: His other film credits include "Birth", "Silver City", "Marie Antoinette", "The Number 23", "The Kingdom", "How to Lose Friends & Alienate People", and "30 Days of Night". He portrayed Samuel Adams in the award-winning HBO miniseries "John Adams" and Colonel William Stryker in "", a prequel to the original trilogy of X-Men films.


title: Danny Huston

text: Huston has been featured in "Boogie Woogie", "The Warrior's Way", "Edge of Darkness", "Clash of the Titans", "Robin Hood", "You Don't Know Jack", and "Medallion".


title: Danny Huston

text: Huston played gangster Ben "The Butcher" Diamond on Mitch Glazer's "Magic City", for which was nominated for the Golden Globe Award for Best Supporting Actor – Series, Miniseries or Television Film in 2013. He portrayed The Axeman in the FX thriller series "" and Massimo Dolcefino in "". Huston starred as General Erich Ludendorff in the 2017 film "Wonder Woman" and as Wade Jennings in "Angel Has Fallen".


title: Danny Huston

text: In 1989, Huston married actress Virginia Madsen. They divorced in 1992. In 2001, he married Katie Jane Evans with whom he had a child, Stella. Huston and Evans separated in 2006. Evans died by suicide in October 2008 before the divorce was finalized. He dated his "Magic City" co-star Olga Kurylenko for about a year.


title: Jerry Rice

text: Jerry Lee Rice (born October 13, 1962) is an American former professional football wide receiver who played in the National Football League (NFL) for 22 seasons. Known primarily as a member of the San Francisco 49ers, winning three championships, he then had two shorter stints at the end of career with the Oakland Raiders and Seattle Seahawks. Nicknamed "World" because of his superb catching ability, his accomplishments and numerous records, Rice is widely regarded as the greatest wide receiver in NFL history, and one of the greatest players of all time. His biography on the official Pro Football Hall of Fame website names him: "the most prolific wide receiver in NFL history with staggering career totals". In 1999, "The Sporting News" listed Rice second behind Jim Brown on its list of "Football's 100 Greatest Players". In 2010, he was chosen by NFL Network's NFL Films production "" as the greatest player in NFL history.


title: Jerry Rice

text: Rice played college football for four seasons with the Mississippi Valley State Delta Devils, setting several NCAA and team receiving records, including becoming the all-time leader in NCAA receiving touchdowns. He joined the 49ers in 1985 after being drafted with the 16th overall pick. After a lackluster rookie season, Rice emerged in the following season as one of the best receivers in the league, leading the NFL in receiving yards and touchdowns: a feat he achieved four times. In 1987, Rice set the record for most receiving touchdowns in a season, with 22, in a twelve-game strike-shortened season. He won back-to-back championships in 1988 and 1989, and was the MVP of the former championship. Rice developed connections with quarterbacks Joe Montana and Steve Young that are viewed as among the best in NFL history, helping him lead the league in both receiving yards and touchdowns six times, and in receptions twice.


title: Jerry Rice

text: Going into the 1990s, Rice won a third Super Bowl in 1994, and a second Offensive Player of The Year Award. After recovering from a knee injury and his play regressing, San Francisco traded him to the Raiders in 2001. Rice continued to start for the team, and helped lead them to an appearance in Super Bowl XXXVII, where they were defeated by the Tampa Bay Buccaneers, affecting Rice's previously unblemished Super Bowl record. Midway through 2004, the Raiders traded him to the Seahawks, where he spent his final season. He briefly signed with the Broncos, retiring shortly before the start of the 2005 season.


title: Jerry Rice

text: Rice is the career leader in most major statistical categories for wide receivers, including receptions, receiving touchdowns, receiving yards, scrimmage yards, and total touchdowns, holding the postseason records for these statistics, and once held the single season records for yards and touchdowns. He scored more points than any other non-kicker in NFL history with 1,256. Rice was selected to the Pro Bowl 13 times (1986–1996, 1998, 2002) and named All-Pro twelve times in his 20 NFL seasons, including ten First-team All-Pros, tied for the most by any player. Rice was inducted into the Pro Football Hall of Fame in 2010 and the College Football Hall of Fame in 2006. Rice was inducted into the Mississippi Sports Hall of Fame in 2007, and in the same year was inducted into the Bay Area Sports Hall of Fame. The NFL honored him as a member of the NFL 1980s All-Decade Team and the NFL 1990s All-Decade Team, as well as both the NFL 75th Anniversary All-Time Team and NFL 100th Anniversary All-Time Team.


title: Jerry Rice

text: Jerry Lee Rice was born on October 13, 1962 in Starkville, Mississippi, and raised in nearby Crawford, Mississippi, the sixth of eight children. Crawford was a small town, having only 600 residents. Rice's father, Joe, was a brick mason who built houses by hand, while holding other jobs to provide for the family. Joe was described by Rice as "a tough man" and held him and his siblings to a strict lifestyle. Eddie B., Rice's mother, raised Rice while Joe was working, and after Rice left cleaned the houses of wealthy families. Rice and his brothers often worked with their father building houses, catching bricks on top of scaffolds to make sure his father had bricks to lay. He did not see bricklaying as his future, later saying that: "It taught me the meaning of hard work." The Rice family struggled financially, with Rice sometimes not having many pairs of clothing or having a "hearty meal on the table". To provide for his family, he and his brothers picked corn, cotton, and hay. Rice asserted that he was shy as a child, and had few friends.


title: Jerry Rice

text: Rice attended B. L. Moor High School in Oktoc, Mississippi. Although he played mock games of basketball and football, Rice initially played no sports in high school. He enjoyed playing sandlot football and watching football on television. His mother didn't allow him to join the school's football team in his freshman year, as she thought that football was "too rough" for Rice. While a sophomore, the school's assistant principal caught Rice skipping class with a friend, causing him to panic and sprint away. After Rice fled, the principal was impressed with his speed, and informed the school's football coach, Charles Davis, who offered Rice a place on the team. Initially unhappy about this, Rice's mother relented after realizing that "the more I fought it, the more determined he was, so I gave it up." Rice played basketball as a forward and was on the track and field team, competing in the high jump. Rice played multiple positions in high school, including running back, defensive back, and tight end. The position he was most skilled at, however, was wide receiver. During the off-season before his junior year, Rice increased his training; running several miles back to his house because he didn't have a ride. Rice had a breakout junior season, primarily playing wide receiver and defensive back.


title: Jerry Rice

text: Rice was a Mississippi All-State selection at wide receiver in his senior year. Due to the small size of Moor, few of his statistics were officially recorded. According to sports journalist Glenn Dickey, Rice caught 50 receptions and 30 touchdowns as a senior, helping to lead the team to a record over his final two seasons. He and Moor's starting quarterback, Willie Gillespie, were very dependable, enough for them to be nicknamed Johnny Unitas and Raymond Berry. Rice initially wanted to go to Mississippi State University, who wasn't interested in Rice. Mississippi State was one of over 40 NCAA Division I-A schools that contacted him, but did not offer a scholarship. He was drawn to Mississippi Valley State; in part, because the school's coach, Archie Cooley, ran a pass-heavy offense—so much so that Cooley was nicknamed "The Gunslinger." After Cooley watched him perform in person, and visiting the schools' campus, Rice committed to playing at Mississippi Valley State.


title: Jerry Rice

text: Rice attended Mississippi Valley State University from 1981 to 1984. When Rice arrived at Mississippi Valley State, he attended summer school and freshman orientation before the regular season. Two of his former teammates from B.L. Moor were there as well, but both left before the start of training camp. Rice studied receiving techniques from Gloster Richardson. stating: "I soaked up everything I could."


title: Jerry Rice

text: In 1981, Rice's freshman season, he caught 30 passes for 428 yards and two touchdowns. In 1982, Rice played his first season with freshman quarterback Willie Totten. They became friends and practiced into the evening. Under the direction of Cooley, Mississippi Valley State ran an "unusual" offense, playing four wide receivers who tended to line up on one side of the field. Rice caught 66 passes for 1,133 yards and seven touchdowns as a sophomore that year. Together, Totten and Rice became known as "The Satellite Express." Success on the field did not put any money in his pocket, and many times he relied on friends for food, stating that the food given to him at Mississippi Valley "were not enough for a growing man".


title: Jerry Rice

text: Rice had a record-setting 1983 campaign, including NCAA marks for receptions (102) and receiving yards (1,450). He was named a first-team Division I-AA All-American. He set a single-game NCAA record with 24 receptions against Southern University. He acquired the nickname "World," because of his ability to seemingly catch anything thrown near him.


title: Jerry Rice

text: After an August practice experiment, Cooley had Totten call all the plays at the line of scrimmage without a huddle, resulting in even more staggering offensive numbers. Rice caught 17 receptions for 199 yards against Southern, 17 receptions for 294 yards, and five receiving touchdowns against Kentucky State, and 15 for 285 yards against Jackson State. During the game against Kentucky State, Rice caught twelve passes and scored three touchdowns in a single quarter. As a senior in 1984, he surpassed his own Division I-AA records for receiving yards (1,845), and receptions (112); his 27 touchdown receptions in the 1984 season set the NCAA record for every division. The 1984 Delta Devils averaged more than 60 points per game. Rice was named to the Division I-AA All-American team and finished ninth in Heisman Trophy balloting in 1984.


title: Jerry Rice

text: In the Blue–Gray Classic all-star game played on Christmas Day, he earned MVP honors after four receptions for 101 yards and a 60-yard touchdown. He finished his career with 301 catches for 4,693 yards and 50 touchdowns, (although some sources have his numbers as 310 receptions, 4,856 receiving yards, and 51 touchdowns); his NCAA record for total career touchdown receptions stood until 2006 when New Hampshire wide receiver David Ball recorded his 51st career receiving touchdown. Rice's all-division NCAA record for total career receptions stood until 1999 when Scott Pingel of Division III Westminster logged his 302nd career reception. By the end of his college career, he had broken 18 NCAA records. Rice became a member of the Phi Beta Sigma fraternity at the Delta Phi chapter. In 1999, the school renamed its football stadium from Magnolia Stadium to Rice–Totten Stadium in honor of the players. Rice was inducted into the College Football Hall of Fame in 2006, and was in the inaugural class of the Black College Football Hall of Fame in 2010.


title: Jerry Rice

text: During this time, Rice met Jackie Mitchell at an MVS basketball game, while she was still in high school. Rice eventually approached her, and they dated casually before Rice met her mother. Her mother was initially unhappy about Rice and preferred that Mitchell see another boy that lived in Greenville, Mississippi, but after meeting Rice in person she approved of him.


title: Jerry Rice

text: Rice's record-breaking season at Mississippi Valley State caught the attention of NFL scouts. Sources vary on his 40-yard dash time, which was measured between 4.45 and 4.71 seconds. Both the Dallas Cowboys and San Francisco 49ers showed interest in him. San Francisco had won two out of the previous four Super Bowls prior to the draft. Rice later wrote in "Go Long!" that he was unsure about what success he might have in the league, and that he would "often play head games" with himself; his backup plan if his football career didn't pan out was fixing electronics. In a 2022 interview with Fox News Digital, Rice expressed his doubts about being drafted at the time: "To be honest, I never thought I was going to get drafted, I downplayed everything because I didn't want that disappointment of getting up here and then come down in disappointment if it didn't happen".


title: Jerry Rice

text: In the first round of the 1985 NFL Draft, Dallas had the No. 17 selection and San Francisco, as Super Bowl champion from the previous season, had the last. 49ers coach Bill Walsh sought Rice after seeing television highlights of his college performances. Walsh "saw the deep-threat the 49ers lacked ... a player who could break open a game with one play." The 49ers traded their first, second, and third-round picks for the New England Patriots' first and third-round picks. The 49ers had the No. 16 selection overall and drafted Rice before the Cowboys had a chance. Walsh described Rice as "a swift, smooth player who's got great instincts running with the ball, going to the ball and catching in a crowd." Rice was selected by the United States Football League (USFL), where the Birmingham Stallions selected him with the No. 1 overall pick of the 1985 USFL Draft, but the league folded after its 1986 season. In training camp, Rice had to compete with 49ers Dwight Clark and Freddie Solomon for roster spots at the wide receiver position.


title: Jerry Rice

text: In July 1985, Rice was one of 21 rookie players who had not yet signed a contract. Rice then signed a rookie contract for five years that paid him $377,000 per year. He wrote that during training camp, he was nicknamed "Fifi" because of his haircut, but he was praised by his teammates for his work ethic. It was with the 49ers where Rice switched from his college number, 88 (which was already taken by Freddie Solomon), to his now famous #80 (in honor of his idol, Steve Largent). Rice scored his first receiving touchdown against the Atlanta Falcons. Rice exploded for ten receptions for a then franchise-record 241 yards against the Los Angeles Rams in December, his first over 100 receiving yards, with San Francisco losing 20–27. After a seven reception, 111-yard performance in a 31–16 victory against the Dallas Cowboys, while scoring a rushing touchdown, CBS announcer Pat Summerall stated that "When this guy [Rice] is finished [retires], he'll be considered one of the greatest wide receivers to ever play this game." He recorded 49 catches, for 927 yards, and three receiving touchdowns, averaging 18.9 yards per catch in his rookie season, and started four out of sixteen possible games. United Press International (UPI) named Rice the NFC Offensive Rookie of the Year, and he was selected to the PFWA All-Rookie Team. Nevertheless, Rice struggled, dropping numerous passes that season. In a game against the Kansas City Chiefs, Rice dropped two wide-open passes and later fumbled on an 8-yard pass that was intended to boost Rice's confidence. Rice said that his poor play may have been impacted by his increased wealth and the distractions that came with it. The 49ers finished the regular season with a record and made the postseason. During the Wild Card Round against the New York Giants, Rice had four receptions for 44 yards in the 3–17 loss. During the 1986 off-season, Rice spent much of his time studying the 49ers playbook. Playing against the Rams, Rice had six receptions for 157 yards. He followed that with a seven reception, 120-yard game against the New Orleans Saints. Rice had his second career 200-yard receiving game against the Washington Redskins, having a 12 reception, 204-yard performance. Overall, he caught 86 passes for 1,570 yards and 15 touchdowns, both of which led the league, the first of four seasons in which Rice led the NFL in both receiving yards and touchdown receptions. He was named to the Pro Bowl and First-team All-Pro teams. The 49ers finished the regular season with a 10–5–1 record and made the postseason. Rice struggled in the Wild Card Round against the eventual Super Bowl-winning Giants, fumbling what would have been a long touchdown on the game's first drive. The 49ers lost 3–49.


title: Jerry Rice

text: In the first game of the 1987 season, against the Pittsburgh Steelers, Rice went for eight receptions and 108 yards with a touchdown . The following week against the Cincinnati Bengals, Rice recorded four receptions for 86 yards and two touchdowns. The NFL Players Association began a strike after the season's second game, causing Rice to miss the next four games while backups replaced him (including a canceled game). He picketed outside the 49ers practice facility while some of his teammates (including quarterback Joe Montana and halfback Roger Craig), crossed picket lines to play. When the strike ended, Rice resumed playing. Rice scored a receiving touchdown in every game he played that season. In total, he scored 22 receiving touchdowns in 12 games, coupled with 1,078 receiving yards from 65 receptions. His touchdown number broke a then-NFL-record previously held by Mark Clayton (18), which Rice officially broke against the Falcons. The record was broken by Randy Moss in 2007, when he scored 23 receiving touchdowns. After being selected to the Pro Bowl and First-team All-Pro teams, Rice was awarded the NFL Offensive Player of the Year Award, becoming the first wide receiver to receive the award. He was also named the NFLs MVP by the Newspaper Enterprise Association. In 1987, the touchdown runner-up was receiver Mike Quick with 11, marking the first time in post-NFL–AFL merger history that a category leader doubled the total of his nearest competitor and the second time in the history of the NFL from its inception; the first being Don Hutson in 1942. The 49ers finished the season 13–2 and made the postseason, but lost in the Wild Card Round to the Minnesota Vikings 24–36, with Rice having three receptions for 28 yards.


title: Jerry Rice

text: Before the 1988 season, Rice signed a five-year, $5.05m contract in June that kept him with the 49ers through 1992. He was plagued by an ankle injury throughout the season, but still put up high numbers in the games he played, finishing the season with 64 receptions for 1,306 yards and nine receiving touchdowns, averaging a career-high 20.4 yards per reception, earning him more selections to the Pro Bowl and First-team All-Pro teams. The 49ers won the NFC West with a 10–6 record. Rice had five receptions for 61 yards and three touchdowns, scoring all three in the first half of the 49er's 34–9 win against the Vikings during the Divisional Round. In the 49ers' 28–3 win over the Chicago Bears in the NFC title game, he had five receptions for 133 yards and two touchdowns. In Super Bowl XXIII, Rice had an 11 reception, 215-yard performance with a touchdown, helping the 49ers to a narrow 20–16 win over the Bengals. Both his receptions and receiving yards were Super Bowl records. For his performance, Rice was named the Super Bowl MVP; he called the win "stupendous". He became the third wide receiver to earn Super Bowl MVP honors. Even though Rice won the MVP, Montana uttered the famous: "I'm going to Disney World!" line, instead of Rice; Rice attributed him not saying it to racism. Overall, Rice caught 21 receptions for 409 yards and six touchdowns; his yards and touchdown numbers stood as postseason records until Larry Fitzgerald broke both of them in 2008.


title: Jerry Rice

text: After the 1988 season, 49ers head coach Bill Walsh retired from coaching after much speculation, and was to be replaced by George Seifert; Rice was saddened by this, referring to Walsh his "West Coast father". By the end of the 1989 season, Rice had gained 82 receptions for 1,483 yards and 17 receiving touchdowns; both his yards and touchdown numbers led the league. For the fourth straight season, Rice was selected to the Pro Bowl and First-team All-Pro team. San Francisco finished the regular season with a 14–2 record, the league's best. Rice had six receptions for 114 yards and two touchdowns in the Divisional Round against the Vikings; the 49ers won 41–13. In the NFC Championship Game against the Rams, he had six receptions for 55 yards in the 30–3 victory. Rice finished Super Bowl XXIV with seven receptions for 148 yards and three touchdowns in the 49er's 55–10 blowout victory against the Denver Broncos.


title: Jerry Rice

text: In the 1990 season, Rice started all 16 games. On October 14 against the Falcons, Rice caught a career-best five touchdowns to go with 13 receptions for 225 yards. On November 4 against the Green Bay Packers , Rice had a six reception, 181-yard performance with a touchdown. Rice had a successful year, leading the NFL in receptions (100), receiving yards (1,502), and receiving touchdowns (13), becoming the first player to lead the NFL in all three categories in the Super Bowl era: only Sterling Sharpe (1992), Steve Smith Sr. (2005), and Cooper Kupp (2021) have managed the feat since. He was named to the Pro Bowl and First-team All-Pro teams. Rice's efforts helped San Francisco finish the year with an NFL-best 14–2 record. During the Divisional Round against the Redskins, Rice had six receptions for 68 yards and a touchdown in the 28–10 victory. Montana injured his elbow in the NFC Championship game against the Giants, ending with the 49ers losing 15–13, failing to repeat as NFC champions for a third time; Rice went for five receptions and 54 yards in the game.


title: Jerry Rice

text: In 1991, Montana was ruled out for the season with an injury, making Steve Young the starting quarterback. Along with Montana, teammates Ronnie Lott and Roger Craig had left in free agency, making Rice "the last of the Mohicans" as he described himself, the only remaining star player from San Francisco's 80s dynasty. Rice recorded 80 receptions for 1,206 yards and led the league in receiving touchdowns with 14 in the 1991 season, and was again selected to the Pro Bowl and First-team All-Pro teams. He suffered a torn posterior cruciate ligament (PCL) against the Vikings, but the injury did not cost him any games. San Francisco managed to win their final six games to finish with a 10–6 record but they failed to make the postseason, marking the first time in Rice's career that the 49ers failed to do so.


title: Jerry Rice

text: During the 1992 season, a quarterback controversy swirled around Montana and Young. Rice openly supported Montana, but Young ended up starting, while Montana rehabbed. Wanting a high-value contract, Rice skipped training camp. He eventually signed with the 49ers for a three-year, $7.5 million contract, returning to training camp. On September 13, Rice was knocked unconscious against the Buffalo Bills, and was taken out of the game with a concussion. Against the Falcons, Rice had a seven reception, 183-yard performance with two touchdowns to go along with a 26-yard touchdown rush, totaling 209 scrimmage yards. Rice surpassed Steve Largent's career receiving touchdown record on December 6 against the Miami Dolphins, scoring his 101st touchdown. Overall, Rice finished the season with 84 catches for 1,201 yards and ten touchdowns, and was once again named to the Pro Bowl and First-team All-Pro team. Rice helped the 49ers to an NFL-best 14–2 record, and they made the postseason. San Francisco won in the Divisional Round against the Redskins, but lost in the NFC Championship game against the eventual Super Bowl champion Cowboy, being unable to stop the offense of Troy Aikman and Emmitt Smith. Rice had eight receptions for 123 yards and a touchdown in the game, with the touchdown being his 13th of his postseason career, an NFL record.


title: Jerry Rice

text: After the 1992 season, in April 1993, Montana was traded to the Chiefs; Rice wasn't able to properly say goodbye to him, and believed that San Francisco should have "treated Joe with more class" when they traded him. Rice caught 98 receptions for 1,503 yards and 15 touchdowns in the 1993 season; both his receiving yards and touchdown numbers led the league. His single-game stats included eight receptions for 172 yards and four touchdowns against the Buccaneers, a nine reception, 155-yard performance with two receiving touchdowns against the Phoenix Cardinals, and an eight reception, 166-yard performance with two touchdowns against the Rams; all three were victories. He was awarded his second career NFL Offensive Player of The Year Award, along with being selected to the Pro Bowl and First-team All-Pro teams. San Francisco finished the season 10–6, and made the postseason. Rice and the 49ers won in the Divisional Round against the Giants, but once again lost in the NFC Championship game against the Cowboys; Rice recorded nine receptions for 126 yards during the 1993 postseason.


title: Jerry Rice

text: While he didn't get along with free agent addition Deion Sanders, he believed Sanders would help in the 49ers' pursuit of the Super Bowl. These assertions were proven correct, as Rice made it back to the Super Bowl with the 49ers in 1994, recording 112 receptions for 1,499 yards and 13 touchdowns, with Sanders winning the NFL Defensive Player of the Year Award. The season began against the Los Angeles Raiders, where he had a seven reception, 169-yard game with two touchdowns (rushing for one more), moving into first place in the NFL records for career touchdowns, with 127. On September 18 against the Rams, his 147 receiving yards from 11 catches moved him past Art Monk as the NFLs active leader in that category and past Charlie Joiner for third all-time. He passed Largent for second place in the 16th game of the season. Rice was selected to the Pro Bowl and First-team All-Pro teams. With a 13–3 record and making the postseason, the 49ers won against the Bears in the Divisional Round. Moving on to the NFC Championship game, they faced the Cowboys for the third straight year. After two previous defeats, the 49ers were victorious against the Cowboys 38–28. Rice was a vital component in their 49–26 victory over the San Diego Chargers in Super Bowl XXIX, combined with a six-touchdown performance by Young, Rice caught ten passes after catching six in the 49ers last two postseason games, coupled with 149 yards and three touchdowns, despite playing with a separated shoulder for much of the game. In three Super Bowl appearances at this point in his career, Rice caught 28 receptions for 512 yards and seven touchdowns, with all three statistics career Super Bowl records.