BOWLBACK MANDOLINS

Frequency

Frequency is really two different--though inextricably linked--movies. First, the emotional drama of a father and son reunited after 30 years of separation. Then there's a science fiction thriller, in which a couple of chance solar storms, occurring exactly 30 years apart, can provide the agency through which the father and son can communicate using the very same ham radio in parallel time frames of 1969 and 1999. The son is John Sullivan (Jim Caviezel), a cop, and his father is Frank (Dennis Quaid), a firefighter who died on the job when John was 6, which just happens to be tomorrow for Frank when he and his now-adult son begin talking across time. This is great for John, because now he can warn his dad about the upcoming fire and avert the catastrophe that left him fatherless for most of his life. Accomplishing this gives John new memories of his life with Dad, but unfortunately alters the course of a serial killer, with tragic effect on John's family history. Since John's a cop, and the case he's working on turns out to be the same unsolved case from 30 years before, he and his father work together over the ham radio to solve the case and hopefully avert the tragedy that befell their family.
Time-travel stories have always been problematic, demanding either an extra degree of credulity on the part of the audience or an extra level of explanation on the part of storytellers, which is invariably cumbersome. Frequency handles the troublesome time paradoxes by having John explain how, having altered his past, he now experiences both timelines, as if he's had two pasts that converge in his present. And as changes continue to be wrought in John's past, we see him becoming more and more confused. No doubt the audience can sympathize, at least those of us who try to follow the ramifications of the rapidly accruing time fractures. Luckily, the bond between father and son is so strongly realized in the deeply felt performances of both Caviezel and Quaid that you don't even need to consider the science fiction elements in order to enjoy the film. But if you can suspend your disbelief long enough to allow for the possibility of time shifts, you'll have a far richer experience. --Jim Gay

PHOTO BY: Maureen Blake.....

Ron Melanson - Guitar, Vocals,
Kevin "Toad" Saulnier - Keyboards, Guitar, Vocals,
Chad Campbell - Guitar, Vocals,
Sean McKenna - Drums,
Me - Bass, Vocals

The Moon's stage was big enough that wireless units could be used to get around so as not to be tripping over cables. Ron and I put 'em to use. I never had any issues with mine until one evening at the Moon. We started our first set and suddenly this barrage of poorly played bass notes that aren't mine comes out of my bass cabs. I'm thinking "WTF?" and the rest of the band are looking at me giving me that "What the hell are you doing?" look. Throughout the whole first set sporadic flurries of horribly played bass notes kept assaulting us and the audience. Needless to say I'm livid and have no idea where this is coming from, the band is pissed and have no idea why I'm playing free form jazz. As soon as the set is finished I stormed off stage and up to the 3rd floor of the Moon where there are band rehearsal spaces. I find a hack band sequestered in one room attempting to play Rush songs but sounding more like the Sex Pistols and the bass player, who is standing right in front of his amp, is using a wireless on my frequency. I burst through the door wearing Army combat boots, beat up Jeans, no shirt, covered in sweat with hair down to the middle of my back. and shut the guys amp off in mid note. The band is looking at me like I'm about to kill them all and the bass player says "Dude, why the fuck did you turn off my amp?". I told them that his bass signal was coming through my gear downstairs in the middle of our show. He says that I should use a cable and I ask why he was rehearsing in a 10 by 10 room with a wireless. He says 'For the vibe man, I don't have a cable". I recall saying something about bringing my road crew up and helping them move there gear out via the window. The rest of the night was free form jazz free :)

this is more similar to the entropy circus live set-up I was using last year. may require some expansion.

tapco blend 6 mixer:
channel 1 - input - (gain(+20) aux1 (0) aux2 (+2) level (+5))
channel 2 - aux2 loop - (gain(0) low (+15) aux1 (-2) level (0))
channel 3 - stereo drumbox input - (high (+15) low (+15) level (max)
aux return - from aux1 - +8
aux1 - to echo park
aux2 - splitter to a) autowah b) drumbox

line 6 echo park - mix (+2) repeat (0) time (tap) mod (min) analog sim & trails

vox 1904 autowah - decay (max) drive (min and rising)

dod classic fuzz - vol (0) tone (min) fuzz (max)

yamaha ne-1 - level (max) Q (deep) freq (min)

boss acoustic sim - all max - enhance mode

(notes on pics for non-geeks)

A Frequency Dictionary of Japanese is an invaluable tool for all learners of Japanese, providing a list of the 5,000 most commonly used words in the language. Based on a 100-million word corpus composed of spoken, fiction, non-fiction and news texts in current use, the dictionary provides the user with a detailed frequency-based list, as well as alphabetical and part-of-speech indexes.
All entries in the frequency list feature the English equivalent and a sample sentence with English translation. The dictionary also contains thematically organised lists of frequently used words on a variety of topicssuch as food, sports, greetings and hobbies.
A Frequency Dictionary of Japanese enables students of all levels to maximise their study of Mandarin vocabulary in an efficient and engaging way. It is also and ideal resource for teachers of the language.