Nightmare Before Christmas theme by Nebuloso
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Frank Zappa
Frank Zappa theme by MrToffee
Download: FrankZappa.p3t
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Frank Zappa | |
|---|---|
 Zappa performing at Ekeberghallen in Oslo, Norway, in 1977 | |
| Born | Frank Vincent Zappa December 21, 1940 Baltimore, Maryland, U.S. |
| Died | December 4, 1993 (aged 52) Los Angeles, California, U.S. |
| Resting place | Pierce Brothers Westwood Village Memorial Park and Mortuary |
| Occupations |
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| Years active | 1955–1993 |
| Spouses |
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| Children | |
| Musical career | |
| Origin | Los Angeles, California, U.S. |
| Genres | |
| Instruments |
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| Discography | Frank Zappa discography |
| Labels | |
| Formerly of | |
| Website | zappa |
Frank Vincent Zappa[nb 1] (/ˈzæpə/ ZAP-ə; December 21, 1940 – December 4, 1993) was an American musician, composer, and bandleader. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works; he also produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist.[2] His work is characterized by nonconformity, improvisation[3] sound experimentation, musical virtuosity and satire of American culture.[4] Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation.[5][6]
As a mostly self-taught composer and performer, Zappa had diverse musical influences that led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music.[7] He began writing classical music in high school, while simultaneously playing drums in rhythm and blues bands, later switching to electric guitar. His debut studio album with the Mothers of Invention, Freak Out! (1966), combined satirical but seemingly conventional rock and roll songs with extended sound collages. He continued this eclectic and experimental approach throughout his career.
Zappa's output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums.[4] His lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so, and he has been described as the "godfather" of comedy rock.[8] He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship. Unlike many other rock musicians of his generation, he disapproved of recreational drug use, but supported decriminalization and regulation.
Zappa was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while detractors found it lacking emotional depth.[9] He had greater commercial success outside the US, particularly in Europe. Though he worked as an independent artist, Zappa mostly relied on distribution agreements he had negotiated with the major record labels. He remains a major influence on musicians and composers. His many honors include his posthumous 1995 induction into the Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award.
1940–1965: Early life and career[edit]
Childhood[edit]
Zappa was born on December 21, 1940, in Baltimore, Maryland, to Rose Marie (née Colimore) and Francis Vincent Zappa. He was of Sicilian, Greek, Arab and French descent.[nb 2]
Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents.[1]: 6 [10] The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground run by the U.S. Army. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident.[1]: 20–23 This living arrangement had a profound effect on Zappa, and references to germs, germ warfare, ailments and the defense industry occur frequently throughout his work.[11]: 8–9
Zappa's father often brought mercury-filled lab equipment home from his workplace and gave it to Zappa to play with.[1]: 19 Zappa said that as a child he "used to play with it all the time", often by putting liquid mercury on the floor and using a hammer to spray out mercury droplets in a circular pattern, eventually covering the entire floor of his bedroom with them.[12]
Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation and mercury exposure.[11]: 10
Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility, and his health worsened when he lived in Baltimore.[1]: 20–23 [11]: 10 In 1952, his family relocated for reasons of health to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School.[1]: 22 They soon moved to the San Diego neighborhood of Clairemont,[13]: 46 and then to the nearby city of El Cajon, before finally returning to San Diego.[14]
First musical interests[edit]
Since I didn't have any kind of formal training, it didn't make any difference to me if I was listening to Lightnin' Slim, or a vocal group called the Jewels ..., or Webern, or Varèse, or Stravinsky. To me it was all good music.
— Frank Zappa, 1989[1]: 34
Zappa started at the age of 12, learning drum rudiments at a summer-school group course in Monterey, California with a teacher named Keith McKillop. Frank said "Instead of drums, he had us practicing on wooden planks."[1]: 13 Zappa joined his first band at Mission Bay High School in San Diego as a drummer.[1]: 29 At about the same time, his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection.[11]: 22 According to The Rough Guide to Rock (2003), "as a teenager Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), and modern composers, such as Igor Stravinsky, Anton Webern and Edgard Varèse."[7]
R&B singles were early purchases for Zappa, starting a large collection he kept for the rest of his life.[11]: 36 He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age twelve, he had obtained a snare drum and began learning the basics of orchestral percussion.[1]: 29 Zappa's deep interest in modern classical music began[15] when he read a LOOK magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One.[1]: 30–33 The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount.[1]: 30–33 Thus began his lifelong passion for Varèse's music and that of other modern classical composers. He also liked the Italian classical music listened to by his grandparents, especially Puccini's opera arias.
By 1956, the Zappa family had moved to Lancaster, a small aerospace and farming town in the Antelope Valley of the Mojave Desert close to Edwards Air Force Base; he would later refer to Sun Village (a town close to Lancaster) in the 1973 track "Village of the Sun".[16] Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long-distance call to the New York composer as a fifteenth birthday present.[1]: 30–33 Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the composer's wife and she suggested he call back later. In a letter, Varèse thanked him for his interest, and told him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life.[15][nb 3]
At Antelope Valley High School, Zappa met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers.[13]: 29–30 Around the same time, Zappa started playing drums in a local band, the Blackouts.[18]: 13 The band was racially diverse and included Euclid James "Motorhead" Sherwood who later became a member of the Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first instrument. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown. In the 1970s/1980s, he invited Watson to perform on several albums. Zappa considered soloing the equivalent of forming "air sculptures",[19] and developed an eclectic, innovative and highly personal style.[20] He was also influenced by Egyptian composer Halim El-Dabh.[21]
Zappa's interest in composing and arranging flourished in his last high-school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra.[11]: 40 He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out![22]: 23 Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics.[11]: 48 In 1959, he attended Chaffey College but left after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college.[11]: 345 While in college, Zappa met Terry Kirkman and played gigs at local coffee houses with him.[23]
Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After he met Kathryn J. "Kay" Sherman during his short period of private composition study with Prof. Karl Kohn of Pomona College, they moved in together in Ontario, and were married December 28, 1960.[11]: 58 Zappa worked for a short period in advertising as a copywriter. His sojourn in the commercial world was brief, but gave him valuable insights into its workings.[1]: 40 [24] Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos.
Studio Z[edit]
Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of the Blackouts.[11]: 59 Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965) were more financially rewarding. The former score was commissioned by actor-producer Timothy Carey and recorded in 1961. It contains many themes that appeared on later Zappa records.[11]: 63 The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot.[11]: 55 Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996).
During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by the Penguins, although only Cleve Duncan of the original group was featured.[25] Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track.[1]: 42 Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him in 1963 to stage a concert of his orchestral music and to broadcast and record it.[11]: 74 In March of that same year Zappa appeared on Steve Allen's syndicated late night show playing a bicycle as a musical instrument[26][27]: 35–36 — using drum sticks and a bow borrowed from the band's bass player he proceeded to pluck, bang, and bow the spokes of the bike, producing strange, comical sounds from his newfound instrument. With Captain Beefheart, Zappa recorded some songs under the name of the Soots. They were rejected by Dot Records. Later, the Mothers were also rejected by Columbia Records for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of Freak Out![18]: 27
In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This established a work pattern that endured for most of his life.[1]: 43 Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z.[11]: 80–81 Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood.[11]: 82–83 Zappa started performing in local bars as a guitarist with a power trio, the Muthers, to support himself.[18]: 26
An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films.[11]: 85 In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 (equivalent to $970 in 2023) to produce a suggestive audio tape for an alleged stag party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material.[11]: 85 The press was tipped off beforehand, and next day's The Daily Report wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer".[28] Zappa was charged with "conspiracy to commit pornography".[1]: 57 This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended.[11]: 86–87 His brief imprisonment left a permanent mark, and was central to the formation of his anti-authoritarian stance.[11]: xv Zappa lost several recordings made at Studio Z in the process, as the police returned only 30 of 80 hours of tape seized.[11]: 87 Eventually, he could no longer afford to pay the rent on the studio and was evicted.[27]: 40 Zappa managed to recover some of his possessions before the studio was torn down in 1966.[11]: 90–91
1965–1970: The Mothers of Invention[edit]
Formation[edit]
By April 1965, Ray Collins, one of Zappa's friends during the early Studio Z days, was the singer of an R&B band called the Soul Giants, based in Pomona, California. That month, he asked Zappa to take over as guitarist in the Soul Giants, following a fight between Collins and the group's original guitarist.[10] Zappa accepted, and soon assumed leadership and the role as co-lead singer (even though he never considered himself a singer, then or later[29]). He convinced the other members that they should play his music to increase the chances of getting a record contract.[1]: 65–66 The band - comprising Zappa, Collins, Roy Estrada, and Jimmy Carl Black - debuted at the Broadside Club and was renamed the Mothers since this gig took place on May 10, 1965 – Mother's Day.[13]: 42 They increased their bookings after beginning an association with manager Herb Cohen, and gradually gained attention on the burgeoning Los Angeles underground music scene.[22]: 58 In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts riots.[11]: 103 Wilson had earned acclaim as the producer for Bob Dylan and Simon & Garfunkel, and was one of the few African-Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the Verve division of MGM, which had built up a strong reputation for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves the Mothers of Invention as Mother was short for motherfucker—a term that, apart from its profane meanings, can denote a skilled musician.[30] Under Zappa's leadership, the Mothers' lineup would be ever-changing during their time together, with members including Collins, Estrada, Black, Elliot Ingber, brothers Bunk and Buzz Gardner, Don Preston, Billy Mundi, Jim Fielder, Jim "Motorhead" Sherwood, Ian Underwood, Art Tripp, and Lowell George.
Debut album: Freak Out![edit]
With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking Freak Out! (1966), which, after Bob Dylan's Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète,[31]: 25 and experimental sound collages that captured the "freak" subculture of Los Angeles at that time.[22]
Flecktarn 1.1 w/ Custom Sounds
Flecktarn Theme 1.1 by Ramrod
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P3T Unpacker v0.12
Copyright (c) 2007. Anoop Menon
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download for Windows: p3textractor.zip
Instructions:
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following:
p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Evanescence
Evanescence theme by PSPgamer2006
Download: Evanescence.p3t
(3 backgrounds)
Evanescence | |
|---|---|
 Evanescence in 2023 | |
| Background information | |
| Origin | Little Rock, Arkansas, U.S. |
| Genres | |
| Discography | Evanescence discography |
| Years active | 1994–present |
| Labels | |
| Members |
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| Past members | |
| Website | evanescence |
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Evanescence is an American rock band founded in 1994 by singer and keyboardist Amy Lee and guitarist Ben Moody in Little Rock, Arkansas. After releasing independent EPs as a duo in the late '90s and a demo CD, Evanescence released their debut studio album, Fallen, on Wind-up Records in 2003. Propelled by the success of hit singles like "Bring Me to Life" and "My Immortal", Fallen sold more than four million copies in the US by January 2004, garnering Evanescence two Grammy Awards out of six nominations. The band released their first live album and concert DVD, Anywhere but Home, in 2004, which sold over one million copies worldwide.
Evanescence released their second studio album, The Open Door, in 2006, co-composed by Lee and guitarist Terry Balsamo. It received a Grammy nomination and has sold more than six million copies worldwide. With guitarist Troy McLawhorn, bassist Tim McCord and drummer Will Hunt, the band reconvened in 2009 to work on music for their next album, Evanescence. Released in 2011, it marked the first album co-written as a band. It debuted at the top of the Billboard 200, Rock Albums, Digital Albums, Alternative Albums, and Hard Rock Albums charts. Following the end of the album's tour cycle, the band entered a hiatus.
In 2014, Lee and Evanescence left their record label and became an independent band. The band emerged from hiatus in 2015 and resumed touring, while a new album was not yet created as Lee was also focusing on a solo project. In 2016, Lee stated that Evanescence was working on a fourth album, Synthesis (2017), composed of orchestral and electronica arrangements of their previous material alongside two new songs. Its release was followed by the Synthesis Live tour, in which the band performed with live orchestras for the first time. After pandemic delays, Evanescence released their fifth studio album, The Bitter Truth, in 2021, which reached the top five of the Billboard Independent, Alternative, and Hard Rock charts.
Generally classified as a gothic alternative metal and hard rock band, Evanescence have a diverse sound incorporating various musical styles including classical music, alternative music, heavy metal, industrial music, and electronic music, driven by Lee's contrasting musical pursuits and introspective songwriting. Beginning as a duo partnership, Evanescence had several lineup changes, and became a band collaboration in 2009. The band comprises Lee, guitarist Tim McCord since 2006, guitarist Troy McLawhorn and drummer Will Hunt since 2007, and bassist Emma Anzai since 2022. Among other accolades, Evanescence has received two Grammy Awards, three Loudwire Music Awards, a Kerrang! Award, a Revolver Golden Gods Music Award, a Rock Sound award, a Brit Award nomination, three American Music Award nominations, and five MTV Video Music Award nominations. Evanescence have sold a total of 31.9 million albums, making the band one of the best selling hard rock and metal artists of all time.[1]
History[edit]
1994–2000: Formation and early years[edit]
Singer and pianist Amy Lee and guitarist Ben Moody met in 1994 in Little Rock, Arkansas at age 13 and 14, when the two were at a Christian youth camp where Lee played piano during sport activities and Moody played acoustic guitar and she thought they could play music together.[7] Lee thinks what drew them together at the time was that they "didn't fit in that well" and were "out of [their] element in this silly camp environment".[8][9] Within a month of meeting, Lee brought Moody a cassette tape of her playing guitar and singing a song she wrote. They became musical collaborators, playing and working on music at Lee's home,[10][5] and were soon performing acoustic sets at book stores and coffee houses in the Little Rock area.[8][2][11] Lee said their music at the time "sounded different because we didn't have the means to make it sound like we wanted". Strings, choirs, and "dramatic, cinematic" sounds were musical desires they couldn't materialize as they were "just two kids in a basement".[12] Lee had a 16-track recorder and she and Moody would use it and Pro Tools, "fake strings and choirs" on her keyboard, and layer sounds and beats for their early material, which they mixed and produced. "We were basically just putting it down to remember what we wanted", Lee said.[15]
Lee had the musical vision for Evanescence.[16][17][18] What made her want to start a band was "the idea of combinations that were unlikely".[6] Danny Elfman's film scores were a significant influence for her when she began creating Evanescence's music.[19] Lee aimed to combine her various musical tastes, "bringing something from the cinematic and classical symphonic world and marrying it to metal, hard rock and alternative music."[20][13] Perceiving "similarities between the drama of classical music and the heavier stuff I was listening to" inspired her to "bring those things together for myself",[21] and she infused in Evanescence her love of contrasting sounds.[22] "There was all this music that was inspiring me. And Evanescence was the product of these two extremes combining".[23][24] After experimenting with band names, such as Childish Intentions and Stricken, Lee and Moody decided on Evanescence, which means disappearance or fading away.[11][25] They wanted a name that was "out of nowhere", and when they came across the word they found it "beautiful" and "elusive".[12][26]
Lee and Moody recorded two EPs as Evanescence: Evanescence (1998), of which 100 copies were made and sold at their early live performances; and Sound Asleep (1999), also known as the Whisper EP.[28] Their demos got them airplay on the local modern rock station in Little Rock, which helped them develop a local fanbase, allowing them to play a couple of bigger shows a year and hire other musicians to perform other instruments live.[12][2][29] Although they played with guest musicians, Evanescence remained a duo.[8][2] "It was more because that's what we did and how we worked rather than not wanting any other input", Lee recalled;[8] "the idea of a full band playing these songs was something that only came along later."[13] Since Evanescence's start, the two had brought in several people to record or play live, but their vision was never shared by others "so it always ended reverting back to the two of us".[30] Lee and Moody were focused on writing music over playing live shows, and they did not want to have a band join their writing process, Moody noted; "we just wanted it to be the two of us and so we'd play once or twice a year."[26] He said that they would be "off writing and recording in our closest for six months", and as they couldn't have live shows with just a duo, they would book a gig and ask friends to perform with them.[25] Moody stated that he did not remember how many EPs they released, and he viewed them as "really just a means"; CDs "we could sell ourselves at our shows so we could go out and buy pizza. They really weren't official releases".[26]
In 2000, they self-released a demo CD called Origin,[31] which they sold at local shows,[2][8] and packaged to shop it to record labels.[26][32] Lee and Moody stated that the CD was not an official release, but a compilation of their demos.[32][26] Origin and their earlier EPs contain demo versions of some of the songs that would later appear on their debut album.[25][4] Moody expressed dissatisfaction with their pre-Fallen material, stating in an interview, "What we had in our head was Fallen, although it was a long time ago and we didn't have the technology, so a lot of our early recordings were just shit."[26] In a February 2003 radio interview, Lee and Moody encouraged fans to download their demos from the Internet, rather than purchase them from online sources such as eBay where it had been selling for US$400.[33][4][26]
2001–2004: Fallen and Anywhere but Home[edit]
Evanescence were having their demos mastered at Ardent Studios in Memphis, where a producer heard it and played the demos to his friend at Wind-up Records, head of A&R Diana Meltzer.[25][34][12] Meltzer said what made her want to sign them was Lee's voice, lyrics and their gothic sound. When she heard "My Immortal" she said she "knew it was a hit".[34] Evanescence was signed by Wind-up in 2001.[10] The label flew them to New York, and told them that they loved their different sound and thought they had potential, but "we don't really totally know what to do with you", Lee recalled. They were then told, "if you were this good while distracted by school and all this other stuff, how good will you be if we put you in an environment where you have nothing to do but write and be influenced by your surroundings, like in Los Angeles."[12][25] They were relocated to Los Angeles, given an apartment and rehearsal space and enrolled in a gym, according to Meltzer,[34] and Lee, who was very introverted, received help from an acting teacher to overcome her stage fright.[11][12][2] Meltzer told HitQuarters in 2003 that, while she loved Lee's voice, their gothic sound, and Lee and Moody had already exhibited "huge talent" with their prior demo material, they were still young and she felt they could benefit from more time to work on their debut album so they "could deliver a breakthrough sound".[34]
Lee said that at the time of signing, they did not realize the label would move them out to Los Angeles for two years, thinking it would be about six months. The length of time in Los Angeles "really frustrated" them.[12] The label was apprehensive about the marketability of a female-led band, and advised them to just keep writing songs.[25] It ended up being a fruitful writing experience in Los Angeles, Lee said, as they wrote half of the album there and were able to make use of other equipment to get sounds they wanted.[12] After almost two years of Evanescence working on the album, Dave Fortman was brought in to produce it.[34] Then, label executives refused to release the album unless Lee and Moody agreed to hire a full-time male co-vocalist. When they did not agree, the label said they were withdrawing their funding and releasing them from their contract. They left Los Angeles and drove back to Little Rock.[37]
A few weeks later, the label relented, informing them that they would release their album if they agreed to have a male rapper on its lead single, "Bring Me to Life", in order to give something familiar to listeners. Lee was not happy about this, but reluctantly agreed to the compromise and wrote the part for the male vocal.[39] She originally wanted the lead single to be "Going Under" as she was concerned that the public would hear "Bring Me to Life" with its male vocal and decide that was the sound of the band. She was relieved that people were still receptive to Evanescence when "Going Under" was released as their second single.[40] Lee prefers "Bring Me To Life" without the label-forced rap, and expressed dissatisfaction that it "stamps a time period" on the song; however, she made peace with it because they were able to "survive past it" and "people were able to, for the most part, understand who we are without us getting stuck in that place."[36][35][41]
"Bring Me to Life", featuring guest vocals from Paul McCoy of 12 Stones, and "My Immortal" were originally featured on the soundtrack of the 2003 action film Daredevil, released in February 2003. Evanescence's debut album Fallen was released by Wind-up on March 4, 2003.[42] As with their pre-Fallen work, Lee and Moody were the main writers of the album, Lee the core writer.[47] Most of Lee's writing on Fallen was inspired by an abusive relationship she was in.[2][4] Lee and Moody said they did not consider their music to be "goth", with Moody adding that he thinks the "goth" label came because the songs sound sad and people think that "sad equals dark equals Goth. It's real easy for them to throw us in that box". Moody also disliked the nu metal label, stating: "I think the only nu-metal thing about us is the fact that on one song we have rap and singing".[26][48][49] Lee also disagreed with the nu metal tag, attributing it to the rap rock of "Bring Me to Life".[50] After the album's completion, the touring lineup was hired: guitarist John LeCompt, drummer Rocky Gray, and bassist Will Boyd,[51][27] the first two old friends of Moody.[26]
Evanescence's music was initially promoted by their label in the Christian market, and Lee and Moody publicly made it clear in an April 2003 interview that they were not a Christian band or Christian rock.[52] Moody's comments against being in the Christian market immediately prompted the label's chairman Alan Meltzer to send a letter to Christian radio and retail outlets explaining that despite the "spiritual underpinning that ignited interest and excitement in the Christian religious community", Evanescence were "a secular band, and as such view their music as entertainment" and the label then "strongly feels that they no longer belong in Christian retail outlets".[53][54] Wind-up formally requested the recall of Fallen from Christian retailers and radio stations. After receiving the letter, many Christian radio stations pulled Fallen songs from their playlists.[53][55][54]
Rolling Stone stated in April 2003 that while Wind-up had no official Christian affiliation, they had been marketing their bands "to both the Christian and mainstream music market". Wind-Up "began courting the Christian music market more than a year ago, making its first foray with 12 Stones' self-titled 2002 debut. Hooking up with powerhouse Christian music distributor Provident ... Wind-Up attempted to tap into a segment that generated sales of more than 50 million albums in 2002".[54] The CEO of Provident, Terry Hemmings, said that the decision to recall Evanescence's album likely would not hurt Wind-up's image in the Christian market, and that he was puzzled by the band's about-face, saying: "They clearly understood the album would be sold in these [Christian music] channels."[54] Meltzer claimed their decision to promote Evanescence in the Christian market was made with the band's consent.[53][54] Lee said that she had always opposed the promotion in the Christian market and the "Christian band" identification from the beginning, while Moody had supported it. Moody had misrepresented Evanescence in the past, talking about his religious beliefs as Evanescence's.[57] The label wanted to use the Christian market promotion as a marketing tool for the band, which she had opposed, stating that "it was an important fight to me because it felt false. That wasn't really what our music was. And I felt like they were selling somebody something that wasn't true."[58] She noted that Evanescence "has never been a Christian band" and lyrically never had a religious affiliation.[60]
On April 7, 2003, Wind-Up released "Bring Me to Life" as the album's lead single.[41] Wind-up president Ed Vetri revealed that when the label had introduced the song to radio, radio programmers rejected it, saying, "A chick and a piano? Are you kidding? On rock radio?"[61] Some program directors would hear the female voice and piano at the start of the song and turn it off without listening to the rest of the song.[25] A female voice on rock radio was a rarity, and the song was considered for airplay only after there was a male vocal on it.[62][12][63] After the song was released on the Daredevil soundtrack, a grassroots fanbase grew and listeners began requesting air play for it, compelling radio stations to reconsider the band.[64] The song became a global hit for Evanescence and reached number five on the US Billboard Hot 100 on June 6, 2003.[65] It topped the UK singles chart, where it peaked for four weeks from June–July 2003.[66] On the worldwide success of the song, Lee said:
"Since we released [the song] on Daredevil it went all over the world, whether they wanted it to or not, so we had fans in countries we had never been to because they had the soundtrack and they heard it on the radio. So, it started blowing up all over the world and then we had a reason to tour all over the world. And that's how the whole international thing happened this early."[67]
Evanescence performed on radio shows and on the festival circuit for weeks in early 2003.[33][68] They embarked on their first headlining tour from April to May in the US.[69] In June 2003, they had to cancel shows in Germany due to Moody reportedly falling ill.[68] That month, Evanescence accepted an offer from the video game company Nintendo to perform on the Nintendo Fusion Tour, which they headlined beginning on August 4, 2003.[70][71][20] The album's second single "Going Under" was released on August 18, 2003. It peaked at number five on the US Modern Rock Tracks, 24 on the Active Rock chart,[65] and number eight on the UK singles chart.[72] Lee recalled the rapid success after the album was released, with concerts going from club shows to arenas in two months.[29][73] In an August 2003 interview, Moody said that Evanescence is "just Amy and I, and I want to keep it that way", adding that their process together is what works.[26] In another interview with Rock Sound, he said that he would like tour drummer Rocky Gray to play on the next album but did not need the other tour players, LeCompt and Boyd.[30]
On October 22, 2003, Moody left the band during the European tour for Fallen, reportedly because of creative differences.[2][27][4] Moody had called their management and informed them he was quitting.[2] Lee got a call from their manager asking her to "beg [Moody] to stay", to which she said "that's exactly what he wants me to do" and expressed that if Moody was going to leave, the band "would appreciate it if he'd wait until the end of the tour. But if he can't, then go ahead and go."[4][2] With his impromptu exit in the middle of tour, Lee improvised and had them play as a foursome to not cancel a show.[2] In an interview, Lee said, "we'd gotten to a point that if something didn't change, we wouldn't have been able to make a second record."[8] She said that by that point Moody "hated the band, he hated being on tour and his negativity made everyone around him miserable. He was trying to pull the whole ship down with him" and she would not let that happen.[74][75] His exit was a relief because of tensions created within the band, which was at a "breaking point". "It was a really uncomfortable situation for everybody ... completely unstable and unhappy", she explained. "It was a scary time before he left because I knew something was going to happen and I didn't know what and I was afraid everything we worked for had the potential of going down the toilet."[8][76][43]
In Lee's termination letter to their manager, she stated that Moody was physically and verbally abusive to her.[4] With Moody gone, "we felt like a weight had been lifted", she said.[4] Touring guitarist John LeCompt said in a 2006 interview that Lee "gained authority as soon as Ben Moody walked out the door. They had an equal partnership, but he was the man, he had to strangle the band, all the life out of it".[77] Lee said that she and Moody had not been friends since their teenage years, and they had pretended to be friends after Fallen's release when they were really only business partners.[2] In 2004, Lee confirmed that there were complications for months following Moody's departure "with the legalities of everything – whether we would be legally allowed to continue under the same name". "A lot of things were held up internally that I wasn't allowed to talk about, and I was worried, because it was very important to me to be able to stand up and say, 'No. One person leaving in the middle of a tour and trying to hurt us isn't going to make us lose the entire band.'"[78][2] In a 2006 interview, she stated that when Moody was in the band, "a lot of decisions had been made over my head, or around me, or for me, that I wouldn't have made for myself".[79]
Lee said that she and Moody had never sat down and wrote together, and instead would combine their respective parts in songs. From the start, Lee would only write music by herself, considering it a vulnerable process and feeling disrespected by Moody and unsafe around him. The creation of Fallen largely consisted of her and Moody writing music separately and then adding to each other's work, due to tension and significant creative differences between them. Lee's creative disagreements with Moody included his strict approach to songwriting and focus on commerciality; he would "always be corralling" her ideas, and wanting to push them in a more commercial, pop direction.[89] She said his influences were "a lot different" from hers.[88] "It was always a push and pull between us, for me", she explained. "It's cool because Fallen really is a lot of compromise. It definitely leaned toward what he wanted a lot of the time."[88] Creative restrictions included instrumentation decisions such as her wanting to play organ on the record and Moody not wanting that.[90][79] She stated that at one point, all her "pianoplaying rights were stripped away" from her because Moody felt she "was getting too much attention", so a keyboard player was hired.[74] During the making of the album, "there was so much back-and-forth and so much turmoil between us and the label and each other. I always had to fight to get my music made and I remember focussing more than anything on the work and on the fights and on, 'I'm gonna make this right'", she recalled. "I'm very proud of the way that it went, but it wasn't easy."[23] "A lot of the reason it's been so much fun writing [post-Moody] is that we're not thinking about that. It's like, 'What do we like? What's fun?'", and there is "no pressure of wanting to rule the world".[86][43]
Moody said in a 2003 interview that he focused on making the album "as accessible as possible, to as many people as possible".[25] In 2005, he conceded that he and Lee had different approaches for the music, stating, "[Amy] is much more creative than I am ... I am a bit more commercial minded ... she is more educated musically, and she wanted to explore that. ... it was like my way or the highway. We just couldn't meet in the middle, so I was like, "The hell with it."[91] He also said that he struggled with substance abuse during his time in Evanescence.[94] In August 2010, he released a statement on his history with Lee and Evanescence, where he said that he was a different person at the time, his friendship with Lee had deteriorated, and they had conflicting opinions, personalities, and desires with the band. Moody apologized to Lee for comments he made to her in anger. He said he realized the band would end if he stayed and believes he made the right choice. He added, "Evanescence has progressed a great distance from the original sound, and made it clear that they intended to expand much further. Amy is very artistic and never has had a problem thinking outside of the box and defying expectations."[95]
Lee called former Cold guitarist Terry Balsamo, with whom Evanescence had toured, to replace Moody on the Fallen tour. Balsamo soon joined Evanescence as the permanent lead guitarist.[75][96] She and Balsamo "clicked" and "connected on a lot of musical interests".[75][88] The band played several shows with Korn in Europe, with Evanescence originally set to headline however Lee wanted Korn to headline instead.[97] Fallen's third single "My Immortal" was released on December 8, 2003, and peaked at number seven on the US Hot 100 and the UK singles chart.[65]
At the 46th Grammy Awards in February 2004, Evanescence won the Grammy Award for Best Hard Rock Performance for "Bring Me to Life" and Best New Artist from five nominations.[98] On May 31, 2004, Fallen's fourth and final single "Everybody's Fool" was released, and peaked at number 36 on the US Modern Rock Tracks chart,[65] and number 24 on the UK singles chart.[99] Lee had begun writing music again by November, including the songs "Lacrymosa" and "Together Again", which she initially wrote for the soundtrack of the 2005 film The Chronicles of Narnia: The Lion, the Witch and the Wardrobe but were rejected by the studio.[102]
During the Fallen tour, Lee wrote a song titled "The Last Song I'm Wasting on You", recording it in a bathroom on an analog recording device.[103] It became a B-side on the single "Lithium" from Evanescence's second album.[93] When asked if the track was about former bandmate Moody, Lee said, "If I answer that, then I'm not hiding anything anymore. But I just sort of answered it, didn't I?".[4] She later deemed it "one of those personal, hard moments, when beauty is born out of pain".[103] On November 24, 2004, Evanescence released their first live album and concert DVD titled Anywhere but Home, which includes a concert in Paris, a live cover of Korn's "Thoughtless", behind-the-scenes footage, three previously-unreleased songs, and Fallen's four music videos. The album sold more than a million copies worldwide.
The Doors V2 theme by MrToffee Download: TheDoorsV2.p3t P3T Unpacker v0.12 This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit! Download for Windows: p3textractor.zip Instructions: Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme. The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract. The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename]. For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: Denver Broncos theme by ShadowOfaSolja Download: DenverBroncos.p3t
American Football League (1960–1969)
National Football League (1970–present)
The Denver Broncos are a professional American football franchise based in Denver. The Broncos compete in the National Football League (NFL) as a member club of the league's American Football Conference (AFC) West division. The team is headquartered in Dove Valley, Colorado.
The team began play in 1960 as a charter member of the American Football League (AFL) and joined the NFL as part of the merger in 1970. The Broncos are currently owned by the Walton-Penner group, and play their home games at Empower Field at Mile High since 2001; Denver previously played its home games at Mile High Stadium from its inception in 1960 through the 2000 season.
The Broncos were barely competitive during their 10-year run in the AFL and their first three years in the NFL. They did not have a winning season until 1973 and qualified for their first playoffs in 1977, eventually advancing to Super Bowl XII that season. Since 1975, the Broncos have become one of the NFL's most successful teams, having suffered only eleven losing seasons.[8] They have won eight AFC Championships (1977, 1986, 1987, 1989, 1997, 1998, 2013, 2015), and three Super Bowl championships (1997 (XXXII), 1998 (XXXIII), 2015 (50), and share the NFL record for most Super Bowl losses (5 – tied with the New England Patriots). The Broncos have nine primary members enshrined in the Pro Football Hall of Fame: John Elway, Floyd Little, Shannon Sharpe, Gary Zimmerman, Terrell Davis, Champ Bailey, Steve Atwater, and Randy Gradishar, along with late club owner Pat Bowlen.[9]
According to Forbes, the Broncos are valued at $4.65 billion in July 2022 making them the twelfth most-valuable team in the NFL.[10]
The Denver Broncos were founded on August 14, 1959, when minor league baseball owner Bob Howsam was awarded an American Football League (AFL) charter franchise.[2] The Broncos won the first-ever AFL game over the Boston Patriots 13–10, on September 9, 1960. Seven years later on August 5, 1967, they became the first-ever AFL team to defeat an NFL team, with a 13–7 win over the Detroit Lions in a preseason game.[2] However, the Broncos were not successful in the 1960s, winning more than five games only once (7–7, 1962), compiling a 39–97–4 (.293) record during the ten seasons of the AFL.[11]
Denver came close to losing its franchise in 1965, until a local ownership group took control,[12][13] and rebuilt the team.[14] The team's first superstar, "Franchise" Floyd Little, was instrumental in keeping the team in Denver, due to his signing in 1967 as well as his Pro Bowl efforts on and off the field. The Broncos were the only original AFL team that never played in the title game, as well as the only original AFL team never to have a winning season while a member of the AFL during the upstart league's 10-year history.[15]
In 1972, the Broncos hired former Stanford University coach John Ralston as their head coach. In 1973, he was the UPI's AFC Coach of the Year, after Denver achieved its first winning season at 7–5–2. In five seasons with the Broncos, Ralston guided the team to three winning seasons. Though Ralston finished the 1976 season with a 9–5 record, the team, as was the case in Ralston's previous winning seasons, still missed the playoffs. Following the season, several prominent players publicly voiced their discontent with Ralston, which soon led to his resignation.[16]
Red Miller, a long-time assistant coach, was hired and along with the Orange Crush Defense (a nickname originated in 1977, also the brand of the popular orange-flavored soft drink) and aging quarterback Craig Morton, took the Broncos to what was then a record-setting 12–2 regular-season record and their first playoff appearance in 1977, and ultimately made their first Super Bowl appearance in Super Bowl XII, in which they were defeated by the Dallas Cowboys (Morton's former team), 27–10.[17]
In 1981, Broncos' owner Gerald Phipps, who had purchased the team in May 1961 from the original owner Bob Howsam, sold the team to Canadian financier Edgar Kaiser Jr., grandson of shipbuilding industrialist Henry J. Kaiser.[18] In 1984, the team was purchased by another Canadian, Pat Bowlen, who placed team ownership into a family trust sometime before 2004 and remained in day-to-day control until his battle with Alzheimer's disease forced him to cede the team to Joe Ellis in 2014.[19][20][21]
Dan Reeves became the youngest head coach (37) in the NFL when he joined the Broncos in 1981 as vice president and head coach. Quarterback John Elway, who played college football at Stanford, arrived in 1983 via a trade. Originally drafted by the Baltimore Colts as the first pick of the draft, Elway proclaimed that he would shun football in favor of baseball (he was drafted by the New York Yankees to play center field and was also a pitching prospect), unless he was traded to a selected list of other teams, which included the Broncos.[22] Prior to Elway, the Broncos had over 24 different starting quarterbacks in its 23 seasons to that point.[23]
Reeves and Elway guided the Broncos to six post-season appearances, five AFC West divisional titles, three AFC championships and three Super Bowl appearances (Super Bowl XXI, XXII and XXIV) during their 12-year span together. The Broncos lost Super Bowl XXI to the New York Giants, 39–20; Super Bowl XXII to the Washington Redskins, 42–10; and Super Bowl XXIV to the San Francisco 49ers, 55–10; the latter score remains the most lopsided scoring differential in Super Bowl history. The last year of the Reeves-Elway era were marked by feuding, due to Reeves taking on play-calling duties after ousting Elway's favorite offensive coordinator Mike Shanahan after the 1991 season, as well as Reeves drafting quarterback Tommy Maddox out of UCLA instead of going with a wide receiver to help Elway. Reeves was fired after the 1992 season and replaced by his protégé and friend Wade Phillips, who had been serving as the Broncos' defensive coordinator.[24][25][26] Phillips was fired after a mediocre 1994 season, in which management felt he lost control of the team.
In 1995, Mike Shanahan, who had formerly served under Reeves as the Broncos' offensive coordinator, returned as head coach. Shanahan drafted rookie running back Terrell Davis. In 1996, the Broncos were the top seed in the AFC with a 13–3 record, dominating most of the teams that year. The fifth-seeded Jacksonville Jaguars, however, upset the Broncos 30–27 in the divisional round of the playoffs, ending the Broncos' 1996 run.[16]
During the 1997 season, Elway and Davis helped guide the Broncos to their first Super Bowl victory, a 31–24 win over the defending champion Green Bay Packers in Super Bowl XXXII. Though Elway completed only 13 of 22 passes, throwing one interception and no touchdowns (he did, however, have a rushing touchdown), Davis rushed for 157 yards and a Super Bowl-record three touchdowns to earn the Super Bowl Most Valuable Player Award—this while overcoming a severe migraine headache that caused him blurred vision.[27]
The Broncos repeated as Super Bowl champions the following season, defeating the Atlanta Falcons (led by Elway's longtime head coach Dan Reeves) in Super Bowl XXXIII, 34–19. Elway was named Super Bowl MVP, completing 18 of 29 passes for 336 yards, with an 80-yard touchdown to wide receiver Rod Smith and one interception.[26] John Elway retired following the 1998 season, and Brian Griese started at quarterback for the next four seasons. After a 6–10 record in 1999, mostly due to a season-ending injury to Terrell Davis, the Broncos recovered in 2000, earning a Wild Card playoff berth, but losing to the eventual Super Bowl champion Baltimore Ravens. After missing the playoffs the following two seasons, former Arizona Cardinals' quarterback Jake Plummer replaced Griese in 2003, and led the Broncos to two straight 10–6 seasons, earning Wild Card playoff berths both years. However, the Broncos went on the road to face the Indianapolis Colts in back-to-back seasons and were blown out by more than 20 points in each game, allowing a combined 90 points.[16]
In the years following the back-to-back championships, a league investigation revealed that the team had cheated the salary cap in both seasons and the 1996 season by deferring additional money to Elway and Davis outside of the salary cap. In addition, they purposefully avoided waiving certain players before a certain date. Denver claimed the moves did not give them additional competitive advantage. Between two separate punishments, they were stripped of their third-round picks in both the 2002 and 2005 drafts and fined nearly $2 million combined.[28][29]
Plummer led the Broncos to a 13–3 record in 2005 and their first AFC West division title since 1998. After a first-round bye, the Broncos defeated the defending Super Bowl champion New England Patriots, 27–13, denying New England from becoming the first NFL team ever to win three consecutive Super Bowl championships. They were the first team to beat the Patriots in the playoffs during the Tom Brady era. The Broncos' playoff run came to an end the next week, after losing at home to the Pittsburgh Steelers in the AFC Championship game, 34–17. The Steelers went on to win Super Bowl XL.
The Broncos' defense began the first five games of the 2006 season allowing only one touchdown — an NFL record that still stands. ESPN commentator and Super Bowl-winning quarterback Joe Theismann gave the 2006 defense the name "Bad Blue" on Monday Night Football as they played the Ravens. However, the team struggled down the season stretch. Plummer led the team to a 7–2 record, but struggled individually with inconsistent performance and more interceptions than touchdown passes. As a result, he would be replaced by rookie quarterback Jay Cutler. Cutler went 2–3 as a starter, and the Broncos finished with a 9–7 record, losing the tiebreaker to the Kansas City Chiefs for the final playoff spot. Cutler's first full season as a starter in 2007 became the Broncos' first losing season since 1999, with a 7–9 record.
The 2008 season ended in a 52–21 loss at the San Diego Chargers, giving the Broncos an 8–8 record and their third straight season out of the playoffs. Mike Shanahan, the longest-tenured and most successful head coach in Broncos' franchise history, was fired after 14 seasons.[30]
On January 11, 2009, two weeks after Shanahan was fired, the Broncos hired former New England Patriots' offensive coordinator Josh McDaniels as the team's new head coach.[31] Three months later, the team acquired quarterback Kyle Orton as part of a trade that sent Jay Cutler to the Chicago Bears.
Under McDaniels and Orton, the Broncos jumped out to a surprising 6–0 start in 2009. However, the team lost eight of their next ten games, finishing 8–8 for a second consecutive season and missing the playoffs. The next season (2010), the Broncos set a new franchise record for losses in a single season, with a 4–12 record.[32] McDaniels was fired before the end of the 2010 season following a combination of the team's poor record and the fallout from a highly publicized videotaping scandal. Running backs coach Eric Studesville was named interim coach for the final four games of the 2010 season.[33] He chose to start rookie first-round draft choice Tim Tebow at quarterback for the final three games.
Following the 2010 season, Joe Ellis was promoted from chief operating officer to team president, while John Elway returned to the organization as the team's executive vice president of football operations.[34] In addition, the Broncos hired John Fox as the team's 14th head coach. Fox previously served as the Carolina Panthers' head coach from 2002 to 2010.[35]
Following a 1–4 start to the 2011 season, Tim Tebow replaced Kyle Orton as the Broncos' starting quarterback, and "Tebow Time" was born. Tebow led the Broncos with toughness, determination and miraculous come-from-behind victories which gave the Broncos hope and were the catalyst for better things to come. Tebow led the Broncos to an 8–8 record and garnered the team's first playoff berth and division title since 2005. The Broncos defeated the Pittsburgh Steelers in the Wild Card round on a memorable 80-yard touchdown pass from Tebow to wide receiver Demaryius Thomas on the first play of overtime, setting a record for the fastest overtime in
Death Note theme by unknown Download: DeathNote.p3t
Death Note (stylized in all caps) is a Japanese manga series written by Tsugumi Ohba and illustrated by Takeshi Obata. It was serialized in Shueisha's shōnen manga magazine Weekly Shōnen Jump from December 2003 to May 2006, with its chapters collected in 12 tankōbon volumes. The story follows Light Yagami, a genius high school student who discovers a mysterious notebook: the "Death Note", which belonged to the shinigami Ryuk, and grants the user the supernatural ability to kill anyone whose name is written in its pages. The series centers around Light's subsequent attempts to use the Death Note to carry out a worldwide massacre of individuals whom he deems immoral and to create a crime-free society, using the alias of a god-like vigilante named "Kira", and the subsequent efforts of an elite Japanese police task force, led by enigmatic detective L, to apprehend him.
A 37-episode anime television series adaptation, produced by Madhouse and directed by Tetsurō Araki, was broadcast on Nippon Television from October 2006 to June 2007. A light novel based on the series, written by Nisio Isin, was also released in 2006. Additionally, various video games have been published by Konami for the Nintendo DS. The series was adapted into three live-action films released in Japan in June, November 2006, and February 2008, and a television drama in 2015. A miniseries titled Death Note: New Generation and a fourth film were released in 2016. An American film adaptation was released exclusively on Netflix in August 2017, and a series is reportedly in the works.
Death Note media, except for video games and soundtracks, is licensed and released in North America by Viz Media. The episodes from the anime first appeared in North America as downloadable from IGN before Viz Media licensed it. The series was aired on YTV's Bionix programming block in Canada and on Adult Swim in the United States with a DVD release following. The live-action films briefly played in certain North American theaters, in 2008, before receiving home video releases. By April 2015, the Death Note manga had over 30 million copies in circulation, making it one of the best-selling manga series.
In Tokyo, a disaffected high school student named Light Yagami finds the "Death Note", a mysterious black notebook with rules that can end anyone's life in seconds as long as the writer knows both the target's true name and face. Light uses the notebook to kill high-profile criminals and is visited by Ryuk, a "shinigami" and the Death Note's previous owner. Ryuk, invisible to anyone who has not touched the notebook, reveals that he dropped the notebook into the human world out of boredom and is amused by Light's actions.[5]
Global media suggest that a single mastermind is responsible for the mysterious murders and name them "Kira" (キラ, the Japanese transliteration of the word "killer"). Interpol requests the assistance of the enigmatic detective L to assist in their investigation. L tricks Light into revealing that he is in the Kanto region of Japan by manipulating him to kill a decoy. Light vows to kill L, whom he views as obstructing his plans. L deduces that Kira has inside knowledge of the Japanese police investigation, led by Light's father, Soichiro Yagami. L assigns a team of FBI agents to monitor the families of those connected with the investigation and designates Light as the prime suspect. Light graduates from high school to college. L recruits Light into the Kira Task Force.
Actress-model Misa Amane obtains a second Death Note from a shinigami named Rem and makes a deal for shinigami eyes, which reveal the names of anyone whose face she sees, at the cost of half her remaining lifespan. Seeking to have Light become her boyfriend, Misa uncovers Light's identity as the original Kira. Light uses her love for him to his advantage, intending to use Misa's shinigami eyes to discern L's true name. L deduces that Misa is likely the second Kira and detains her. Rem threatens to kill Light if he does not find a way to save Misa. Light arranges a scheme in which he and Misa temporarily lose their memories of the Death Note, and has Rem pass the Death Note to Kyosuke Higuchi of the Yotsuba Group.
With memories of the Death Note erased, Light joins the investigation and, together with L, deduces Higuchi's identity and arrests him. Light regains his memories and uses the Death Note to kill Higuchi, regaining possession of the book. After restoring Misa's memories, Light instructs her to begin killing as Kira, causing L to cast suspicion on Misa. Rem realizes Light's plan to have Misa sacrifice herself to kill L. After Rem kills L, she disintegrates and Light obtains her Death Note. The task force agrees to have Light operate as the new L. The investigation stalls but crime rates continue to drop.
Four years later, cults worshipping Kira have risen. L's potential successors are introduced: Near and Mello. Mello joins the mafia whilst Near joins forces with the US government. Mello kidnaps Director Takimura, who is killed by Light. Mello kidnaps Light's sister and exchanges her for the Death Note, using it to kill almost all of Near's team. A Shinigami named Sidoh goes to Earth to reclaim his notebook and ends up meeting and helping Mello. Light uses the notebook to find Mello's hideout, but Soichiro is killed in the mission. Mello and Near exchange information and Mello kidnaps Mogi and gives him to Near. Kira's supporters attack Near's group, but they escape. Shuichi Aizawa, one of the task force members, becomes suspicious of Light and meets with Near. As suspicion falls again on Misa, Light passes Misa's Death Note to Teru Mikami, a fervent Kira supporter, and appoints newscaster Kiyomi Takada as Kira's public spokesperson. Near has Mikami followed whilst Aizawa's suspicions are confirmed. Realizing that Takada is connected to Kira, Mello kidnaps her. Takada kills Mello but is killed by Light. Near arranges a meeting between Light and the current Kira Task Force members. Light tries to have Mikami kill Near as well as all the task force members, but Mikami's Death Note fails to work, having been replaced with a decoy. Near proves Light is Kira discovering Mikami had not written down Light's name. Light is wounded in a scuffle and begs Ryuk to write the names of everyone present. Ryuk instead writes down Light's name in his Death Note, as he had promised to do the day they met, and Light dies.
One year later, the world has returned to normal and the Kira Taskforce Members are conflicted over whether they made the right decision. Meanwhile, cults continue to worship Kira.
Three years later, Near, now functioning as the new L, receives word that a new Kira has appeared. Hearing that the new Kira is randomly killing people, Near concludes that the new Kira is an attention-seeker and denounces the new Kira as "boring" and not worth catching. A shinigami named Midora approaches Ryuk and gives him an apple from the human realm, in a bet to see if a random human could become the new Kira, but Midora loses the bet when the human writes his own name in the Death Note after hearing Near's announcement. Ryuk tells Midora that no human would ever surpass Light as the new Kira.
Another ten years later, Ryuk returns to Earth and gives the Death Note to Minoru Tanaka, the top-scoring student in Japan, hoping that he will follow in Light Yagami's footsteps. On explaining the rules to Minoru, Ryuk is surprised when he returns the notebook and tells him to return it and his memory of their encounter to him in two years' time. Two years later, on receiving the notebook back from Ryuk, Minoru reveals he has no plans to use it himself but rather he plans to auction it off to the governments of the world, with Ryuk's help sending his offer out as "a-Kira", having waited two years until he was old enough to have a bank account to allow his plan to work. Elsewhere, Near (as L) is revealed to be developing technology meant to track and eventually find a method of destroying Shinigami, although it is not yet advanced enough to be useful. After selling the Death Note to U.S. President Donald Trump for a sum that would ensure every Japanese citizen under the age of 60 would be financially set for life, Minoru relinquishes his ownership and memory of his plan to Ryuk, assuring his own anonymity, while Trump is left unable to use the Death Note after the King of Death creates a new rule disallowing the Death Note to be sold, and he secretly returns it to Ryuk. Minoru collapses to the ground in the bank after withdrawing his savings. It is revealed that Ryuk wrote his name in the Death Note next to Light's. He longs for a human who will use the notebook for a longer period of time.
The Death Note concept derived from a rather general concept involving Shinigami and "specific rules".[6] Author Tsugumi Ohba wanted to create a suspense series because the genre had some suspense series available to the public. After the publication of the pilot chapter, the series was not expected to receive approval as a serialized comic. Learning that Death Note had received approval and that Takeshi Obata would create the artwork, Ohba said, they "couldn't even believe it".[7] Due to positive reactions, Death Note became a serialized manga series.[8]
"Thumbnails" incorporating dialogue, panel layout and basic drawings were created, reviewed by an editor and sent to Takeshi Obata, the illustrator, with the script finalized and the panel layout "mostly done". Obata then determined the expressions and "camera angles" and created the final artwork. Ohba concentrated on the tempo and the amount of dialogue, making the text as concise as possible. Ohba commented that "reading too much exposition" would be tiring and would negatively affect the atmosphere and "air of suspense". The illustrator had significant artistic licence to interpret basic descriptions, such as "abandoned building",[9] as well as the design of the Death Notes themselves.
When Ohba was deciding on the plot, they visualized the panels while relaxing on their bed, drinking tea, or walking around their house. Often the original draft was too long and needed to be refined to finalize the desired "tempo" and "flow". The writer remarked on their preference for reading the previous "two or four" chapters carefully to ensure consistency in the story.[6]
The typical weekly production schedule consisted of five days of creating and thinking and one day using a pencil to insert dialogue into rough drafts; after this point, the writer faxed any initial drafts to the editor. The illustrator's weekly production schedule involved one day with the thumbnails, layout, and pencils and one day with additional penciling and inking. Obata's assistants usually worked for four days and Obata spent one day to finish the artwork. Obata said that when he took a few extra days to color the pages, this "messed with the schedule". In contrast, the writer took three or four days to create a chapter on some occasions, while on others they took a month. Obata said that his schedule remained consistent except when he had to create color pages.[10]
Ohba and Obata rarely met in person during the creation of the serialized manga; instead, the two met with the editor. The first time they met in person was at an editorial party in January 2004. Obata said that, despite the intrigue, he did not ask his editor about Ohba's plot developments as he anticipated the new thumbnails every week.[7] The two did not discuss the final chapters with one another and continued talking only with the editor. Ohba said that when they asked the editor if Obata had "said anything" about the story and plot, the editor responded: "No, nothing".[9]
Ohba claims that the series ended more or less in the manner that they intended for it to end; they considered the idea of L defeating Light Yagami with Light dying but instead chose to use the "Yellow Box Warehouse" ending. According to Ohba, the details had been set "from the beginning".[8] The writer wanted an ongoing plot line instead of an episodic series because Death Note was serialized and its focus was intended to be on a cast with a series of events triggered by the Death Note.[11] 13: How to Read states that the humorous aspects of Death Note originated from Ohba's "enjoyment of humorous stories".[12]
When Ohba was asked, during an interview, whether the series was meant to be about enjoying the plot twists and psychological warfare, Ohba responded by saying that this concept was the reason why they were "very happy" to place the story in Weekly Shōnen Jump.[10]
The core plot device of the story is the "Death Note" itself, a black notebook with instructions (known as "Rules of the Death Note") written on the inside. When used correctly, it allows anyone to commit a murder, knowing only the victim's name and face. According to the director of the live-action films, Shusuke Kaneko, "The idea of spirits living in words is an ancient Japanese concept.... In a way, it's a very Japanese story".[13]
Artist Takeshi Obata originally thought of the books as "Something you would automatically think was a Death Note". Deciding that this design would be cumbersome, he instead opted for a more accessible college notebook. Death Notes were originally conceived as changing based on time and location, resembling scrolls in ancient Japan, or the Old Testament in medieval Europe. However, this idea was never used.[14]
Writer Tsugumi Ohba had no particular themes in mind for Death Note. When pushed, he suggested: "Humans will all eventually die, so let's give it our all while we're alive".[15] In a 2012 paper, author Jolyon Baraka Thomas characterised Death Note as a psychological thriller released in the wake of the 1995 Tokyo subway sarin attack, saying that it examines the human tendency to express itself through "horrific" cults.[16]
The Death Note process began when Ohba brought thumbnails for two concept ideas to Shueisha; Ohba said that the Death Note pilot, one of the concepts, was "received well" by editors and attained positive reactions from readers.[8] Ohba described keeping the story of the pilot to one chapter as "very difficult", declaring that it took over a month to begin writing the chapter. He added that the story had to revive the killed characters with the Death Eraser and that he "didn't really care" for that plot device.[17]
Obata said that he wanted to draw the story after he heard of a "horror story featuring shinigami".[7] According to Obata, when he first received the rough draft created by Ohba, he "didn't really get it" at first, and he wanted to work on the project due to the presence of shinigami and because the work "was dark".[17] He also said he wondered about the progression of the plot as he read the thumbnails, and if Jump readers would enjoy reading the comic. Obata said that while there is little action and the main character "doesn't really drive the plot", he enjoyed the atmosphere of the story. He stated that he drew the pilot chapter so that it would appeal to himself.[17]
Ohba brought the rough draft of the pilot chapter to the editorial department. Obata came into the picture at a later point to create the artwork. They did not meet in person while creating the pilot chapter. Ohba said that the editor told him he did not need to meet with Obata to discuss the pilot; Ohba said "I think it worked out all right".[7]
Tetsurō Araki, the director, said that he wished to convey aspects that "made the series interesting" instead of simply "focusing on morals or the concept of justice". Toshiki Inoue, the series organizer, agreed with Araki and added that, in anime adaptations, there is a lot of importance in highlighting the aspects that are "interesting in the original". He concluded that Light's presence was "the most compelling" aspect; therefore the adaptation chronicles Light's "thoughts and actions as much as possible". Inoue noted that to best incorporate the manga's plot into the anime, he "tweak[ed] the chronology a bit" and incorporated flashbacks that appear after the openings of the episodes; he said this revealed the desired tensions. Araki said that, because in an anime the viewer cannot "turn back pages" in the manner that a manga reader can, the anime staff ensured that the show clarified details. Inoue added that the staff did not want to get involved with every single detail, so the staff selected elements to emphasize. Due to the complexity of the original manga, he described the process as "definitely delicate and a great challenge". Inoue admitted that he placed more instructions and notes in the script than usual. Araki added that because of the importance of otherwise trivial details, this commentary became crucial to the development of the series.[18]
Araki said that when he discovered the Death Note anime project, he "literally begged" to join the production team; when he joined he insisted that Inoue should write the scripts. Inoue added that, because he enjoyed reading the manga, he wished to use his effort.[18]
Death Note, written by Tsugumi Ohba and illustrated by Takeshi Obata, was serialized in Shueisha's shōnen manga magazine Weekly Shōnen Jump from December 1, 2003,[19][20] to May 15, 2006.[b][20] The series' 108 chapters were collected into twelve tankōbon volumes by Shueisha, released from April 2, 2004,[23] to July 4, 2006.[24] A one-shot chapter, titled "C-Kira" (Cキラ編, C-Kira-hen) ("Death Note: Special One-Shot"), was published in Weekly Shōnen Jump on February 9, 2008. Set two years after the manga's epilogue, it sees the introduction of a new Kira and the reactions of the main characters in response to the copycat's appearance.[25] Several Death Note yonkoma (four-panel comics) appeared in Akamaru Jump. The yonkoma was written to be humorous. The Akamaru Jump issues that printed the comics include 2004 Spring, 2004 Summer, 2005 Winter, and 2005 Spring. In addition Weekly Shōnen Jump Gag Special 2005 included some Death Note yonkoma in a Jump Heroes Super 4-Panel Competition.[17] Shueisha re-released the series in seven bunkoban volumes from March 18 to August 19, 2014.[26][27] On October 4, 2016, all 12 original manga volumes and the February 2008 one-shot were released in a single All-in-One Edition, consisting of 2,400 pages in a single book.[28][29]
In April 2005, Viz Media announced that they had licensed the series for English release in North America.[30] The twelve volumes were released from October 10, 2005, to July 3, 2007.[31][32] The manga was re-released in a six-volume omnibus edition, dubbed "Black Edition".[33][34] The volumes were released from December 28, 2010, to November 1, 2011.[35][36] The All-in-One Edition was released in English on September 6, 2017, resulting in the February 2008 one-shot being released in English for the first time.[37]
In addition, a guidebook for the manga was also released on October 13, 2006. It was named Death Note 13: How to Read and contained data relating to the series, including character profiles of almost every character that is named, creator interviews, behind the scenes info for the series and the pilot chapter that preceded Death Note. It also reprinted all of the yonkoma serialized in Akamaru Jump and the Weekly Shōnen Jump Gag Special 2005.
Xenosaga V4 theme by Dan (Silik) Download: XenosagaV4.p3t P3T Unpacker v0.12 This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit! Download for Windows: p3textractor.zip Instructions: Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme. The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract. The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename]. For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following:The Doors V2
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Copyright (c) 2007. Anoop Menon
p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.Denver Broncos
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Denver Broncos 
Current seasonEstablished August 14, 1959[1][2]
First season: 1960
Play in Empower Field at Mile High
Denver, Colorado
Headquartered at Centura Health Training Center in Dove Valley, Colorado[3][4]
Logo Wordmark League/conference affiliations
Current uniform
Team colors Sunset orange, midnight navy, summit white[5][6][7]
Mascot Thunder (live horse)
Miles (costume suit)Website denverbroncos.com Personnel Owner(s) Rob Walton[a] CEO Greg Penner President Damani Leech General manager George Paton Head coach Sean Payton Team history
Team nicknames
Championships League championships (3)
Conference championships (8)
Division championships (15)
Playoff appearances (22)
Home fields
Team owner(s)
Franchise history[edit]
Bob Howsam/Gerald Phipps era (1960–1980)[edit]
Edgar Kaiser/Pat Bowlen era (1981–2018)[edit]
Dan Reeves years (1981–1992)[edit]
Mike Shanahan years (1995–2008)[edit]
Super Bowl XXXII champions (1997)[edit]
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Death Note
(1 background)
Death Note 
Genre Manga Written by Tsugumi Ohba Illustrated by Takeshi Obata Published by Shueisha English publisher Imprint Jump Comics Magazine Weekly Shōnen Jump Demographic Shōnen Original run December 1, 2003 – May 15, 2006 Volumes 12
Further informationNovel Death Note Another Note: The Los Angeles BB Murder Cases Written by Nisio Isin Published by Shueisha English publisher NA: Viz MediaPublished August 1, 2006 Anime television series Directed by Tetsurō Araki Produced by Written by Toshiki Inoue Music by Studio Madhouse Licensed by Original network NNS (NTV) English network Original run October 4, 2006 – June 27, 2007 Episodes 37 Anime television film Death Note: Relight - Visions of a God Directed by Tetsurō Araki Produced by Written by Toshiki Inoue Music by Studio Madhouse Licensed by Original network Nippon TV Released August 31, 2007 Runtime 130 minutes Novel Death Note: L - Change the World Written by M Published by Shueisha English publisher NA: Viz MediaPublished December 25, 2007 Manga Death Note: C-Kira Written by Tsugumi Ohba Illustrated by Takeshi Obata Published by Shueisha English publisher NA: Viz MediaMagazine Weekly Shōnen Jump Demographic Shōnen Published February 9, 2008 Anime television film Death Note: Relight 2 – L's Successors Directed by Tetsurō Araki Produced by Written by Toshiki Inoue Music by Studio Madhouse Licensed by Original network NNS (NTV) Released August 22, 2008 Runtime 100 minutes Manga Death Note: a-Kira Written by Tsugumi Ohba Illustrated by Takeshi Obata Published by Shueisha English publisher NA: Viz MediaMagazine Jump Square Demographic Shōnen Published February 4, 2020 Live-action
Video games
Plot[edit]
C-Kira (one-shot sequel)[edit]
a-Kira (one-shot sequel)[edit]
Production[edit]
Development[edit]
Concepts[edit]
The notebooks[edit]
Themes[edit]
Pilot chapter[edit]
Anime adaptation[edit]
Media[edit]
Manga[edit]
Dark Blue #2
Xenosaga V4
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Copyright (c) 2007. Anoop Menon
p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
