Click here to see our exclusive photographer's version of your night! Weekly Food Specials: $8 Monday 1.8 B.L.T sandwich with Sriracha mayo. Served with Fuel fries. Tuesday 1.9 Fish tacos with fresh corn salsa and lemon dill sauce, served with Fuel fries. Wednesday 1.10 Clam chowder served with a grilled ham and cheese sandwich. Thursday 1.11 Chicken and spinach wrap with goat cheese and walnuts tossed in a raspberry vinaigrette. Served with Fuel fries. Great Barrington's premiere coffee shop, bistro and purveyor of spirits. Fuel definition, combustible matter used to maintain fire, as coal, wood, oil, or gas, in order to create heat or power. Diesel-gasoline-ethanol blends were investigated in a compression ignition engine. • Stable fuel blends were analyzed with a maximum concentration of 30% EtOH. • Energy balance, combustion characteristics, emissions, and PSDF were evaluated. ALL NATURAL • VEGAN FRIENDLY • GRASS FED MEAT. Bringing Real Food to the streets of Memphis. We use all natural ingredients, humanely raised creatures, and Project Green Fork ways to make tasty, fun food! FUEL on the Green. 500 South College St Charlotte, NC 28202 704-370-2755. Hours Sun 11a-9p. Mon-Thur 11a-10p. Fri-Sat 11a-11p (Friday & Sat Delivery Till. FUEL Pizza is teamed up with Field to Fork partners: Charlotte Mecklenburg Schools, Mecklenburg County Fruit and Vegetable Coalition, The Mecklenburg. Friday 1.12 Chicharrones pupusas a “Salvadorian dish”, served with cabbage slaw. ![]() • CiteScore: 4.90 ℹ CiteScore measures the average citations received per document published in this title. CiteScore values are based on citation counts in a given year (e.g. 2015) to documents published in three previous calendar years (e.g. 2012 – 14), divided by the number of documents in these three previous years (e.g. • • Impact Factor: 4.601 ℹ Impact Factor: 2016: 4.601 The Impact Factor measures the average number of citations received in a particular year by papers published in the journal during the two preceding years. 2017 Journal Citation Reports (Clarivate Analytics, 2018) • 5-Year Impact Factor: 4.726 ℹ Five-Year Impact Factor: 2016: 4.726 To calculate the five year Impact Factor, citations are counted in 2016 to the previous five years and divided by the source items published in the previous five years. 2017 Journal Citation Reports (Clarivate Analytics, 2018) • Source Normalized Impact per Paper (SNIP): 2.179 ℹ Source Normalized Impact per Paper (SNIP): 2016: 2.179 SNIP measures contextual citation impact by weighting citations based on the total number of citations in a subject field. • SCImago Journal Rank (SJR): 1.744 ℹ SCImago Journal Rank (SJR): 2016: 1.744 SJR is a prestige metric based on the idea that not all citations are the same. SJR uses a similar algorithm as the Google page rank; it provides a quantitative and a qualitative measure of the journal’s impact. Research into energy sources remains a key issue. Over the last 80 years, Fuel has been the leading source of primary research work in fuel science. The scope is broad and includes many topics of increasing interest such as environmental aspects and pollution. A wide variety of fuels are covered: • Asphalt • Coke • Graphite • Oils and gases • Peat • Synthetic fuels (including Dimethyl ether (DME), Methanol etc) • Biofuels • Tar sands • Bitumen • Coal • Natural gas • Oil shale • Petroleum • Tar and pitch • Woods and biomass • Hydrogen fuels • Waste-derived fuels (WDF) • Refuse-derived fuels (RDF) • Carbon with applications to fuel energy.
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![]() A Corner in Wheat is one of the five or six really outstanding Biograph shorts. Here, DW Griffith draws together all the techniques he had been perfecting over his last year in the motion picture business moving actors in depth for maximum effect, restrained, realistic performances, a consistent tempo, succinct, unobtrusive intertitles, atmosphere conveyed through setting, and the varied possibilities of the editing process. What is most obvious here is the development that Griffith is probably best known for, which is his cross-cutting. He had already explored cross-cutting for excitement or suspense, and even to compare events going on in completely separate locations, but here he is cutting between seemingly separate narratives which, when put together tell one coherent story. He is perhaps the first filmmaker to show social cause and effect on such a grand scale. There are plenty of other nice touches along the way. Particularly memorable are the shots of the farm family, with the wind pulling at their clothing, and the stark trees and barren landscape mirroring their situation. But what is perhaps the greatest sign of competence here is the way these images give a sense of unity to the whole, with the desolate farm scenes book-ending the short. December 13, 2009 marks the 100th anniversary of a momentous event in film history – the world premiere showing of D. Griffith's “A Corner in Wheat.” As it was issued without fanfare in the usual rotation of nickelodeon programs, patrons could hardly have been aware that they were witnessing the first masterpiece of. It's this development of structure that was perhaps Griffith's most important contribution. A Corner in Wheat is not quite perfect though. In particular, the acting performances are not amazing, and one crowd shot is simply a chaotic mess. Griffith's handling of a cast would improve in the years to come, not to mention the fact that he would later work with some of the brightest stars of the era. Contents • • • • • • • • • • • • • Cuba [ ] Pirate radio by Cuban exiles [ ] Unlike the sanctioned and fully licensed transmissions by the United States government, a number of groups in exile, mainly based in, have attempted various offshore radio broadcasts to Cuba, from time to time. These stations are mainly short lived and sporadic in transmission times, but because their broadcasts are not licensed by any nation, their signals are considered to be from pirate radio stations and the USA has taken various physical and legal steps to close them down at different times. Mexico [ ] Pirate radio in Mexico [ ] There are a number of pirate radio stations in Mexico., the voice of the movement, operated from 2003 to 2009. ![]() The station was unlicensed, but according to the, the indigenous communities targeted by Radio Insurgente had the right to broadcast their own content. The most recent example of a true pirate radio station in Mexico is in,. It broadcast international contemporary music and news in Spanish and English. The documentary Pirate Radio USA is an enjoyable if somewhat strident look at the world of pirate radio, in which do-it-yourself radio afficianados build their own (illegal) mini-stations and broadcast at ultra-low frequencies (called microcasting). It used the fictitious U.S. Call sign 'KLPR' on its logo. The station began operations in May 2006, was shut down in June 2008 by the in a 'violent' take over. It was suspected that the signal was also used for transmitting messages of members of organized crime. Today, there are several other pirate stations in Nuevo Laredo as well. The or other border stations in Mexico do not meet either above definitions of pirate radio station, however may be considered as such by some governments. Border blasters [ ]. Main article: From the earliest days of the history of broadcasting, a number of radio stations in Mexico, became known to the general public as. This was due to their excessive use of power which was necessary to reach their intended audience in American cities far north of the border. The traditional border-blasters were stations; though there are numerous and even stations along the border that broadcast to the U.S. From Mexico, the power of FM stations along the border is limited by a U.S.-Mexican agreement. However, because these stations are licensed by the government of Mexico, they can only be classified as pirate radio stations in the same way that the government classified as a pirate radio station. Radio Luxembourg was a licensed station broadcasting with a power and on a frequency that the British authorities objected to, because the intended audience for its programs were located within the United Kingdom. The objection by the government of the United Kingdom to commercial broadcasts from Luxembourg, France and other countries, was primarily based upon its protection of the non-commercial monopoly. Also, the UK at the time required a license for radios, which was limited to UK stations; it still requires a license for sets. However, the U.S. Has never required a license to listen to broadcast radio or TV; today, it even issues routine licenses under the, originally enacted to silence the border-blaster, for the operation of Mexican stations from studio facilities in the U.S. United States of America [ ] Land-based unlicensed broadcasts [ ] In the United States, the term pirate radio implies the unlicensed broadcasting use of any part of the that is reserved for use by governmental, public or commercial licensees by the. This includes the, and bands. Compared to systems of government which restrict access to the means of communication, the airwaves of the USA are relatively free from direct government. [ ] As a result of this difference, the term pirate radio has a different interpretation than in countries where access to communication is limited. In the United States, pirate radio is frequently, but not always, associated with, which considers governmental spectrum regulatory schemes as favoring the interests of large, due to reasons such as high licensing costs. Therefore, some anarchists consider pirate radio transmissions to be a challenge to that authority. Pirate radio is also in large part the resulting backlash from 's, which prohibits certain power broadcasting. And the convinced the FCC to eliminate the license in 1979. This kept all new low-power stations from getting a license, and bumped all of the old ones down to secondary status, forcing many more off the air since then. Despite this, an explosion of on FM, technically identical but rebroadcasting other stations, most part of religious broadcasting networks, has occurred since then. This further fueled pirate operators in the 1980s and 1990s. In 1982, an organization of pirate radio monitoring enthusiasts was formed. Known as the (ACE) the organization was and remains a very popular conduit for sharing information about North American pirate radio and other unusual radio transmissions. Another such group, calling itself 'The RPMRADIO Network' launched a series of projects aimed directly at the corporate radio media in central Texas. Responding to FCC raids of several pirate FM stations in the San Antonio-Austin area, RPMRADIO started by gathering grass roots support, then turned on 10 pirate fm radio stations across the entire area, with the promise to replace each station raided with 10 more stations. Fueled by remarks made by Alex Jones on his radio talk show, this 'Ten for One' campaign is reported to have caused the FCC to rethink its approach to the fight that was developing between Pro-Corporate radio and Anti-Corporate radio forces. Because of this severe lack of access, numerous pirate radio operators (such as ), as well as other groups petitioned the FCC for a new service. After many years of trying, this finally was passed around 2000, although it blocked former pirate operators from holding licenses. Lobbied by the commercial radio industry, the intervened and limited the new service even further, though technical tests later proved this to be baseless, and the added restrictions were lifted. Although this should mean that pirate radio has seen a decrease, most of the licensees are,, and state or local government departments, as the FCC requires the licensee to be a. Pirate radio also continues because legal open spots on the FM dial have been filled in since and because of the 1979 ruling, by both full-power and translator stations. Of the FCC rules allows the use of spectrum without a license but emissions pursuant to this rule are not practical for broadcasting due to extremely restrictive power levels which limit range (range varies depending on frequency spectrum). Part 15 is intended to allow for operation of a broad range of electrical devices that emit radio energy either as an intended element of their operation (e.g. Garage door openers, FM modulators for iPod auto use) or as a by-product of their operation. Despite the limited range possible under Part 15, some small broadcast stations are operated within its parameters, while others operate claiming to be Part 15 compliant but with signals exceeding what is permitted under the rule. Because basic radio transmission equipment is relatively easy to obtain in the USA and because it is relatively easy to hide, the (FCC), which has the to regulate radio communications, sometimes has difficulty in finding and prosecuting offenders who transmit without a license. May be used, but most frequently a is driven around the affected area, with a person monitoring where the suspect signal is highest, and another one looking for any obvious signs such as an or small tower (like that used for ). Hearing pirate radio stations in North America [ ] Finding, identifying and even corresponding with pirate radio stations is, for many radio enthusiasts, itself a hobby. Most radio listeners in North America, however, will never hear a pirate station unless they seek one out. Pirate radio stations on FM are often found towards the bottom of the FM broadcasting band, particularly between 87.9 MHz and 91.9 MHz, which is allocated to non-commercial educational, public and religious broadcasters. On mediumwave (AM), pirate radio stations are often found between 1610 kHz and 1710 kHz with the later frequency 1710 being far the most popular. On shortwave (SW), the most common frequencies to check for pirates in North America is the 6800 to 7000 kHz (42.86 metres-44.11 metres) range, with 6855 kHz (43.76 m), 6875 kHz (43.64 m), 6925 kHz (43.32 m), 6950 kHz (43.16 m) and 6955 kHz (43.13 m) being most commonly used, and 6925 kHz being by far the most commonly used frequency. Some stations will use 'offset' or 'split' frequencies, such as 6876 kHz, 6923 kHz, 6962 kHz and 6969 kHz, either to avoid interference from other stations or as part of the 'image' of their particular station. Pirates can pop up anytime, but evenings, weekends and holidays are the best time to listen. Pirates operating on shortwave from North America often use modulation as an alternative to AM. There are a wide variety of stations. Some just play music; others, like The Crystal Ship and Radio Free Speech are political; KIPM produces its own science-fiction programming with radio plays reminiscent of old-time radio; WHYP is the James Brownyard memorial station, playing clips from an old PA daytime AM station of that same name. Radio One recreated the sound of 1960s top-40 radio and played oldies with an echo chamber reverb effect behind the announcer much like WABC had done. The Voice of the Sea Cucumber was known for some very strange programming, its announcer calling himself 'Dear Leader.' There are also many stations that are specifically aimed to the pirate radio listening community; many are long-running gag stations such as WBNY, the Voice of the Rodent Revolution, with programming by its leader Commander Bunny, who frequently sends coded messages to operatives in the field, as well as instructions to Al Fansome to check his tire pressure. A few stations mysteriously appear once a year, such as WJFK, which is usually on the air around November 22. There are also stations that provide eclectic music programing, such as Wolverine Radio, WMPR, Liquid Radio (Simulcast of its FM broadcast), and The Crystal Ship plays classic hits outside of political programing. Geographically, FM and pirates tend to cluster in urban areas such as New York City, San Francisco, Toronto, and throughout. However, pirate stations are active throughout all regions of North America. Shortwave pirates are widely dispersed throughout North America and can be heard hundreds and even thousands of miles from their location. Most shortwave pirates operate on the East Coast of the USA. Differing somewhat from the pirate radio stereotype of 'kids playing radio,' there has been a growing trend towards pirate radio in North America. Usually these stations broadcast in native languages such as Spanish or, but sometimes English, as in the case of a widely heard mediumwave pirate with a format. Can often be heard in North America with a good and. This is considered. The 6200 to 6300 kHz (47.62-48.38 m) range is most commonly used. Partial list of pirate radio stations in the United States [ ]. This article's tone or style may not reflect the used on Wikipedia. See Wikipedia's for suggestions. (November 2011) () • BMIR – 94.5 FM (aka Burning Man Information Radio) is the official pirate radio station of Burning Man. Broadcasting and streaming over the internet (both from Burning Man and year round) at – BMIR broadcasts a mix of music, news, burn information, weather reports, interviews with participants and artists, and theme camp and event promos. This station has evaded the FCC for years under Part 15 however broadcasting power by far exceeds said transmission levels. Much of the 2012-2016 BLM special recreation permit authorizing the for-profit Burning Man Art Festival in the Nevada Black Rock City desert depends on the pirate radio station however, the BLM is not in their jurisdiction to license radio stations. Many Burning Man regional events operate similar pirate radio stations. • in, Massachusetts, formerly broadcast hip hop and rhythmic. After the FM translator for WJIB on 101.3 MHz hit the airwaves on August 4, 2017, both stations broadcast on the frequency until about August 16, 2017 when Big City shut off. The station reportedly is broadcasting at lower power on 100.3 MHz which may soon become the frequency for an FM translator; Big City also streamcasts. • Booger Brothers Broadcasting System,, New York (circa mid-1930's to 1941). Operated by musician from an apartment house where he lived. The station, which reportedly used an amplified system, employing the building's electrical wiring as an antenna, broadcast at night with jam sessions by jazz musicians Paul knew and played with. Paul claimed that he was visited by Federal agents, but it was only to inform him that his broadcasts were interfering with flight control radio at nearby. He later installed a bandwidth filter to stop the interference. Paul shut down the station after he nearly electrocuted himself by accidentally touching the transmitter's power cable. • Hot 97 Boston 87.7 in, Massachusetts, broadcasts Urban AC. An Internet radio station that is re-transmitted on 87.7. • Touch FM 106.1 in, Massachusetts, broadcast as a Community pirate radio station in that also plays Reggae, Urban AC, and R&B. The station was thrown off the air by the F.C.C. • Radio 1 Boston 98.9 in, Massachusetts, broadcasts Haitian-French Caribbean Music. • Choice FM-102.9 in, Massachusetts, broadcasts Caribbean Music. Other Haitian French Pirate Stations in are 88.5 Dorchester/88.5 Boston, 90.1 FM Radio Energy, and an 100.1 Dorchester. • Haitian-language pirate stations broadcast from the Brockton, Massachusetts area on 94.9 and 96.5 FM and 89.3 from Randolph, MA. The Randolph station is still on the air thirteen years after being fined $10,000. • RFWS: Radio Free Western Springs broadcasts on 99.1FM on Friday Nights in Western Springs, IL as of October 1, 2010 • Grosse Pointe Radio 920 kHz AM operates on Saturday nights out of originally on 970-kHz, now being heard on 920-kHz, featuring mostly classical and big band music. This station claims to be operating out of fictitious Grosse Pointe Gardens dance hall and off Lakeshore Drive. Good signal outside Grosse Pointe. Heard off and on, recently heard January 7, 2012. • KABBA 103.1 FM (circa 1994), 100 watts ERP, serving a 15-mile radius around Greeley, CO. 'All Abba, All The Time' played a continuous stream of Abba covers, interrupted only by an announcer promoting the seemingly new station with breaks such as 'We hope you are never in an accident, but if you are, we hope it's while you are listening to KABBA.' KABBA went off the air after approximately three months in response to the pleas of listeners calling the studio and leaving messages such as 'For the love of God, please make it stop!' • FRSC: FRSC was founded by a collective including Food Not Bombs, CopWatch, and other activists. Transmitting since 1995, it has changed frequency several times and is currently at 101.3 FM. They were raided by Federal Marshals and FCC agents in 2004, but the community responded with a benefit that allowed FRSC to buy all new equipment and return to the air in less than 30 days. They stream live at www.freakradio.org. • 87.9 FM San Francisco and simultaneously in Los Angeles, also has a TV station, Pirate Cat TV, on channel 13 in San Francisco. First station to use Code of Federal Regulations Title 47 Section 73.3542 to broadcast legally. The FCC since shut them down and fined them $10,000. • FRSD: (on-air since 2002) • FRO 98.5 They have been on the air since March 2001 in Olympia, Washington. The broadcast is also streamed through the Internet. •: Los Angeles (on-air in the 1990s) • 93.7 FM (started in 1993, ceased operation in October 2003 after raid by FCC & SFPD) • 97.7 FM (1996) •: 90.7 & 105.1 in Nashville, TN. (From 1999 to 2001, a controversial and sometimes subversive program called Pirate Radio aired Friday nights from midnight to 1 AM. The live show featured music, on-air personalities, pre-recorded sketch comedy, and uncensored call-ins. The parent station, eventually canceled it due to production staff changes and questionable content. 78 complaints were filed with the FCC during Pirate Radio's 2-year run.) • Operated a mobile FM broadcast system out of Detroit/Dearborn, MI in 1996-2002 covering underground house parties and Underground dance music parties in Detroit on 90.7FM. PRD broadcast some of the parties from the basement of the 2030 building and early Detroit Techno Artists who have since become international performers. • operated out of St Clair Shores, Michigan and first appeared around the winter of 1997 into 1998. Transmitted on 94.3, later on 89.1. Would sign on within a minute of WPHS signing off at 89.1. Played mostly one hit wonder rock, top 40 and local garage/bar scene bands. Sometimes played bizarre sound effects for hours. Other times the station would simulcast SW pirates either live or recorded. Station would run several hours to all night. Station could be reliably heard up to 20 miles away in stereo. Signal and sound quality were of commercial standard. Disappeared in the early summer of 1998 and was never heard again. Station had a following especially with the local rock and jock crowd. Station also had a webpage for a short time, but little info was supplied on this page. Claimed to have a 300-watt commercial-grade transmitter. • was a South Miami Beach Florida radio station in the late 1990s. Dubbed the 'Creation Station', The Womb featured DJs from each of Miami Beach's then famous nightclubs. Broadcasting 24 hours per day, the 100-watt radio station was featured in in 1997 for its concurrent web-based streaming, which was built into the Real Audio G2 player. Shut down by the FCC, The Womb continues on the internet today. • - constantly updated list of unlicensed (though not necessarily pirate) radio signals heard throughout Florida. • (on-air April to November 2006) Available in the metropolitan area, this station had been a controversy due to the interpretation of Code of Federal Regulations Title 47 Section 73.3542 saying you can broadcast without a license during time of emergency. The regulation states that a war is considered a 'time of emergency.' The station's online stream was on its page. Most of the music played on the station fell under a or format with some occasional 1980s and hits. The station also occasionally aired commercials for a local dealership and a nightclub. A rental dispute caused a change in operation (from the station founders to their landlords, as the landlords seized Power Hits' equipment and rental space for their own to pay off back rent), which eventually led to the station going off the air. • 103.3 in Tucson, Arizona, uses a mobile transmitter to avoid detection, sometimes broadcasting at night in the valley area. • Boulder Free Radio (KBFR) 95.3FM. Highly active from 2000 to 2005 (24/7 operations); now on-air sporadically from a location near downtown Boulder and from mobile units. • Napa, California. This radio station was active for a short time in 1997. It was broadcast out of a repair shop, and the signal had a radius of about 2 miles. It lasted about six months, and was shut down by the FCC after KVYN FM / KVON AM Napa filed a formal complaint because while the station operator was out of town his equipment overmodulated and drifted into their signal. The station had a huge following, and stickers proclaiming Napa as 'wino country' can still be seen on cars around town in 2006. • - Broadcasting on 91.3 FM since December 1996. Staying true to the Vallejo, Bay Area Rap scene. Also collaborated with Free Radio Berkeley (Stephen Dunifer), HipHopSlam. Publications featured in: XXL Magazine, URB, Murder Dog, BAM, and other local industry related publications. Visited by the FCC three times for 'Listener Stealing' but never fined. • ' in San Antonio, Texas operated on 97.7FM, broadcasting uncensored rock and roll for over five years. Using publicity stunts and public demonstrations at large music concerts to gain supporters, The RPMRADIO Network brought the first pirate radio broadcasts to an area that was considered 'the Garden of Eden' of radio markets, and caused a minor revolution in the programing practices of radio broadcasters in that area. When they finally received their first notice to quit from the FCC, the station operators went underground, and continue to operate several 'Low Power Pirate FM Stations' throughout the area. During this time, the local corporate media outlets, including all the TV stations, newspapers, and radio stations, maintained a total news blackout as to the existence of this group of pirate radio stations. • of - Station concerned with negative impacts of welfare and immigration reform legislation in the 1990s on those communities, plays,,, and world music. • • LUNk Radio (Lincoln, NE) • on air since 2000 • •, broadcast a mix of predominately American and British Top 40, as well as Christian Rock to a section of Lewis, New York, which has a total population of approximately 1,200 people. Lewis FM used a Ramsey FM-30 transmitter. Operations ceased in January 2007 after seven months of broadcasting. Regular operations are set to resume in Willsboro, New York, either under an entirely different name or using 'The Radio' branding. • one of the oldest pirate radio stations located in Edgerton, WI, which ceased FM transmission on May 13, 2009, at midnight, albeit still streaming online. • works to facilitate ordinary non-commercial community access to the airwaves for the purpose of political discourse as well as cultural enhancement. BLR has been broadcasting on 104.1 fm since 1999 and serves Berkeley and Oakland, California. Since 2007, the broadcast has been streamed through the internet. • 91X, WLGX-FM, La Grange, IL (1997–1999). Ran a continuous 24/7 operation on 90.5 FM at 250 watts from a basement in a house near downtown La Grange. The station played a mix of alternative and hip hop. Ran special formats for various holidays. Live DJs, morning show and strong community following. Ceased operations in 1999 after the operator graduated high school and went to college. Broadcast again briefly during the summer of 2000 and heard once again in June 2003 for a '91X reunion weekend' but not heard since. • KFAR, Knoxville (Tennessee's) First Amendment Radio. Varied formats, music, hip hop, progressive programming; a uniquely cooperative venture, with DJ's contributing towards expenses to broadcast. Operated briefly as CROK (Community Radio of Knoxville) before being shut down by an FCC raid September 2004. An effort was made to operate as a network of ultra-low power transmitters with internet feed, but languished for lack of sufficient interest. • WNRC shows up at National Radio Club conventions over Labor Day, and has operates on different an AM or FM frequencies at each convention. It also has conducted 'tests' on 1580, 1610, and 1710 during the winter with sweep tones and Morse code ID. •, successor to 's previous pirate FM stations. • WoDD FM - Toms River, New Jersey, which operated from 1989 till 1992 on various frequencies, usually over existing commercial stations, such as WXRK (92.3 FM) and WPAT (93.1 FM). WoDD finally settled in late 1991 on 95.3 FM, which was established as an 'open channel' via its own engineering survey. Pirate Pat was the owner operator of WoDD and the station format was a range of classic rock, alternative and metal. Comedy 'bits', live phone calls, live bands and political commentary were key components of the WoDD's weekly broadcast. Highlights included live phone calls from jails, live calls to senators, congressmen, the FCC and the White House. • 104.7 FM / street gang - A commercial-free hip hop station that operated on the south side of in 2003 and 2004. The station was shut down on May 13, 2004, by FBI agents and the Chicago police as part of a crackdown on the street gang, which was operating the station to broadcast warnings of police activity. • 90.5 FM -, which operated in 2006, airing uncensored gangsta rap music. • KXPX 101.5 Rock Variety Radio - A commercial-free pirate radio station which has been operating in north Mesquite across a 7-10 mile radius on and off since mid 2009. Most of the music played is often 2000s active rock, alternative, metal, indie, pop and rarely rap scattered in one playlist. They normally play music back to back sometimes with the station ID but, occasionally the station will occupy a DJ usually on the weekends. The station is also known for having on air glitches from time to time. The station sometimes moves frequencies to 99.9 or 92.9 but, is almost always on 101.5. • 2000 Flushes Pirate Radio, broadcasting from the Twin Cities [ ] in the early 1990s. Its name was inspired by a brand of in-tank toilet-bowl cleaner as was widely advertised at the time. • operated out of a garage in San Luis Obispo, California. It aired its first broadcast on Oct. 10, 2003, and featured more than 40 DJs playing 60+ hours of live programming a week, with computer-programmed music between shows. Content ranged from local talk shows, news, live bands, hip-hop groups, and a wide mix of underground and alternative music. The Station's transmitter was based on a kit from. Starting out at 25 watts and later getting boosted to 300 watts, it was the most powerful pirate radio station on the West Coast. The Station was shut down by the FCC on Aug. •, broadcasting from since January 1, 1989. This was one of the more successful pirate stations during the 1980s. It remained on until final close-down on Christmas 1996. During its test broadcast, the announcer says they are 'broadcasting with 1,000 clear watts'. • Free Radio Prison City 'FIXX 96' 95.9 FM, was a 20 watt station that broadcast in Jackson, Michigan between 1996 - 2001 playing hard rock and alternative rock music mixed with such outrageous antics as live on-air parties and spontaneous pranks. The station was quite popular with inmates at the nearby State Prison of Southern Michigan, and fan mail from inmates was read on the air regularly. 'FIXX 96' went off the air in an unsuccessful attempt to receive a license to legally use that frequency. Periodically, the station will hold reunion broadcasts, normally on Halloween weekends. • - Animosity Radio 88.9 FM - Silver Springs, Florida- Mostly underground musical content with a couple of talk shows. This station is always online and on the air and always accepts new dj's. Www.animosityradio.com is the website. • - AM 1580, Niles Illinois, Identified itself as 'Radio Suburbia', 'The radio station with sex appeal' was on the air from 9 to midnight on Friday nights in 1968. Using 45 watts, WRFN DJ Al Vincent spun the latest pop & rock as well as oldies-but-goodies. WRFN was shut down by the FCC on March 22, 1968 during a broadcast. Articles about this station appeared in the Chicago Tribune; magazine April 8, 1968, pg.67 ('Chicago's Caroline silenced by FCC fuzz') and in pg.448 by John Russell Ghrist. • 1710 AM, Location unknown, mostly heard in the central & upper midwest states. High quality AM broadcast with most shows centered around a late 60s early 70s top 40 AM station theme. Also broadcast old 1940s radio shows and commercials. Heard mostly on weekend early mornings around 0600 UTC. • WLE (We Love Englewood)1966-1969 one of the early pirates in Chicago operated by African American high school students in the Englewood neighborhood on AM at 950 following sign off of WAAF WGRT later at 1030 AM. Operated at 280 watts.Would rebrodcast University of Chicago station WHPK as well as NBC news from WMAQ. Was used during the Chicago Riots of 1968 to call for calm on the streets of Englewood. Was closed down by FCC inspection. Operator said to be teenager, Larry Langford now licensee of WGTO in Cassopolis Michigan. • WOOF ( Woofin' Out Of The Fryin' Dog Pound) - Pirate radio station in the Shortwave band that broadcast a mix of New Wave, Heavy Metal, and Acapella music from an abandoned survey vessel in New York. Now a licensed radio station. • KRNI Radio Normandy International 105.3 MHz, Guerilla Pirate Station from Japan now moved and broadcasting in Mohave County Arizona and also known to be in Orange County, California as well though limited reception there due to full FM Band. • WHAR 92.9 FM 'Free Radio for the Free Thinker' is a pirate radio station that plays a mixture of rock, pop, indie, experimental and classics using a collection of turntables and PCs. They utilize winamp and stereo tool for audio processing. Presenters are 'A-Train' and from 2013-2014 carried a show called 'The Man With The Tin-Foil Hat', although, on most occasions, UK pirate Echo One will also present through use of the skype network service. Operates from 2012 until the present day with reception of up to 5 miles with good conditions - however it is also sometimes relayed by other FM and shortwave pirate stations. • KSOUR, Sherman Oaks Underground Radio, San Fernando Valley, CA ~830 kHz, ~100W. Operated by students of Grant H.S. 31, 1970 until November 17, 1973 at 9:44 pm when shut down by the FCC. KSOUR was very popular and is said to have shown up in Arbitron ratings just prior to the FCC bust. The six regular hosts were diverse and offered top 40, country and oldies, progressive rock, a talk show and old time radio shows. At its peak, the station operated on Saturdays from 1 pm to 2 am. KSOUR was located in a multi-building apartment complex, which permitted erection of a clandestine half wave dipole just feet above roof level. KSOUR later morphed into Radio X in 1979, and was later shut down while operating on FM with 1W from inside the Edwards Air Force Base Public Viewing Area the night before a space shuttle landing. Stations from international waters [ ] • 1933, aboard the SS City of Panama anchored off, USA. • 1973 Radio Free America, a short-lived religious station by Dr. Aboard the MV Columbus anchored off, USA. • 1987 & 1988, from a ship anchored off,,, USA. See also [ ] • • • • References [ ]. • • • • xfpine (March 7, 2012).. Retrieved 12 October 2016. • Feder, Robert (December 11, 2003). 'WFMT exec decries radio's 'vicious' mergers'.. P. 67.|access-date= requires|url= () • Feder, Robert (May 14, 2004). 'Channel 2 sports team keeps Howard Sudberry'.. P. 71.|access-date= requires|url= () • Feder, Robert (October 31, 2006). 'Pirate radio station raises listeners' ire'.. P. 51.|access-date= requires|url= () • • • External links [ ] • The HF Underground is the most active site for loggings and information about shortwave pirate operations in North America. New members are welcome. • The Free Radio Network is popular for message forums mostly geared towards shortwave pirate operations in North America. It is not currently accepting new users. • The Free Radio Cafe focuses on pirate radio stations broadcasting from North America and Europe, with forums for loggings, QSLs, shortwave and FM broadcasting. FRC welcomes new members. • Radio Free New York is a detailed history of some Brooklyn NYC-area AM and FM pirate radio stations from the 1970s to today.]. Pirate Radio Pirate Radio Up Front Features Radio Basics Shortwave Radio Receiver Reference Scanner Monitoring Other Radio Hobbies Radio Links A 'pirate' radio station is an unlicensed, illegal station broadcasting in violation of the laws of the country it is located in. Unlike clandestine stations, pirate radio stations are seldom political in nature (other than advocating 'free radio' or legalization of marijuana). Instead, pirates are usually hobby broadcasters operated just for fun by their owners. Pirate broadcasting is a relatively new development in North America. Prior to the late 1970s, there had been just a handful of unlicensed broadcasters in the United States and Canada. Most of these operated on the AM and FM bands, and were seldom heard outside their local areas. In the late 1970s, inexpensive used ham radio transmitting gear suitable for pirate broadcasting became widely available. Another factor was a growing inability of the Federal Communications Commission, along with Canadas Department of Communications, to enforce regulations against unlicensed broadcasting. Soon after cracks started appearing in the 'dam' of regulations, it broke; it is not uncommon now to have over a dozen pirate broadcasters active on shortwave from the United States and Canada in a single weekend. Today, most pirate radio activity takes place in USB on frequencies above or below various ham radio bands. The most popular range for pirate operators is near the 40-meter (7000 to 7300 kHz) ham radio band. Pirates tend to congregate around a frequency that has little interference. For years, 7415 kHz was the de facto 'standard' pirate radio frequency, while today most activity centers around 6925 kHz. Pirates coordinate their schedules to avoid causing interference to each other. Most pirate activity in the United States and Canada takes place on weekend evenings and nights, with holidays like Labor Day, New Years Eve/Day, and Presidents Day also popular. Historically, however, Halloween produces more pirate radio activity than any other night of the year! If one station can be considered as the 'starting point' for pirate radio today, that would be the Voice of the Voyager. This station took to the air in early 1978 on 5850 kHz from a location near Minneapolis, Minnesota. This station could be easily heard throughout North America, and it operated on a regularly schedule of late Saturday night. The operators were all SWLs themselves, and soon attracted a wide audience with their parodies of the FCC and SWLing clubs/personalities. They also played rock music, and broadcasts sounded very much like a group of young people having a party. This QSL card from the Voice of the Voyager was sent for their 'return broadcast' on November 5, 1978. The Voice of the Voyager began a practice that is now standard for almost all pirate stations todaythe 'mail drop.' A mail drop is a third party that agrees to forward mail to a pirate stations. A letter or reception report for a pirate station is sent to a mail drop along with two or three postage stamps, and the mail drop 'operator' forwards the mail to the pirate. The Voice of the Voyager used a mail drop in Michigan. Unfortunately for the Voice of the Voyager operators, the FCCs St. Paul, Minnesota office raided and closed the station in August, 1978. The FCC officials seemed more amused than angry (they even asked for souvenir QSL cards), and issued no fines nor took any other actions against the operators. However, they were warned not to resume operations. Enforced silence was too much for the Voice of the Voyager crew, however. They began to discreetly circulate word within the SWL community, especially among their previous listeners, that they planned to return to the air on November 5, 1978 on a new frequency of 6220 kHz. The original intent was to due a 'farewell broadcast' and then cease operations forever, but the success of the November 5 broadcast inspired the operators to continue. Their actual final broadcast was not until January 14, 1979. This time, it wasnt the FCC that took the station off the air; it was the failure of their aging transmitting equipment instead. (A few members of the Voice of the Voyager staff reactivated the station in 1982, but it was quickly located and shut down by the FCC.) Pirate radio is among the most original you will ever hear. However, the program quality is highly uneven. At its worst, pirate radio is crude, imitative, and 'high school' sounding. At its best, pirate radio can let you hear stunning original material, especially social and political satire, that you cannot find anywhere else on the radio dial. For example, one station that has been active recently is Lounge Lizard Radio, which features music by Al Martino, Sammy Davis, Jr., Mel Torme, and other well known 'cocktail music' artists. The station tries to simulate the atmosphere of a cocktail lounge. Another pirate station is KOLD, which programs mostly Big Band and boogie woogie music. A station that has been active for several years is Radio Free Euphoria, operated by 'Captain Ganja.' Captain Ganjawho genuinely sounds stoned on the air!advocates the legalization of marijuana. Because they are usually low powered and use simple antennas, pirate radio stations are more difficult to hear than most other shortwave broadcasters. This is especially true if you are located in western North America, since most pirates are found east of the Rockies. While you can hear some pirates on simple, inexpensive shortwave radios, you will hear far more on better quality desktop shortwave radios and an outside antenna. Rock music has 'one hit wonders.' Pirate radio has its 'one broadcast wonders,' stations that take to the air once and never return. The Voice of the Smooth is an example. This is believed to be the only QSL card ever issued from this station. It broadcast 'cocktail music' and was apparently in the San Francisco Bay area. The best way to catch a 'one broadcast wonder' is to listen on frequencies used by more active pirates. Since most pirates do not operate on regular schedules, the best way to hear them is to keep an ear on frequencies where other pirates have recently been active. Currently, the most active pirate frequency is around 6955 kHz in USB, and most stations are active on weekend evenings/nights as well as major holidays. There is even a newsletter for those who enjoy listening to pirate stations published by the Association of Clandestine Radio Enthusiasts. Click to visit their Web page. For further information on pirate radio we recommend... The Incredable Saga of America's Underground Illeagal Broadcasters By Andrew Yoder. A behind the scenes look at the incredible saga of America's underground, illegal broadcasters. From early pirate broadcasting to today's pirates. It's all here. The included audio CD features segments from some of the most famous, infamous and notorious pirate stations. ©1995 HighText Publishing. Only $ 29.95 SALE $19.98 Available from Universal Radio.. ©1999-2017 by Universal Radio Research. All rights reserved. See The Adventures Of Mickey Matson And The Copperhead Treasure Definitions of High Quality1/30/2018 Mickey Matson When a mythical device from ancient times is rebuilt by a group of Confederates who feel the civil war never ended, Mickey Matson and his newfound friend, Sully, must follow a series of clues left by his dead grandfather to keep the evil men away from the three mystical objects that power the device. If he fails, it could mean not only the loss of his family's home, but maybe the demise of our country as we know it. In this follow up to 'Mickey Matson and the Copperhead Treasure', Mickey and his team embark on a mission to save the world from the evil plans of Admiral Ironsides. The Admiral and his motley pirate crew have taken control of a large merchant ship with plans of deploying a new type of weapon that could destroy every electronic device on earth. ![]() If Ironsides succeeds, modern technology will cease to exist. PREMIERE SHOWING - Grand Rapids Public Museum October 16th THEATRICAL SHOWINGS - Celebrations Cinemas Starting: October 17th. You are watching now the The Adventures of Mickey Matson and the Copperhead Treasure movie has Family Mystery Thriller Genres and produced in USA with 94 min runtime. Brought to you by Watch4HD.com and directed by Harold Cronk, When a mythical device from ancient times is rebuilt by a group of Confederates who feel the civil war never ended, Mickey Matson and his newfound friend, Sully, must follow a series of clues left by his dead grandfather to keep the evil men away from the three mystical objects that power the device. If he fails, it could mean not only the loss of his family’s home, but maybe the demise of our country as we know it. Family When a mythical device from ancient times is rebuilt by a group of Confederates who feel the Civil War never ended, Mickey Matson and his newfound friend, Sully, must follow a series of. See full summary ». The Adventures of Mickey Matson and the Copperhead Treasure (2016) cast and crew credits, including actors, actresses, directors, writers and more. Amazon.com: Adventures of Mickey Matson & Copperhead Treasure: Christopher Lloyd, Derek Brandon, Ernie Hudson, Lee Arenberg, Francesca Derosa, Patrika Darbo, Harold. Narrator Produced. Supervising producer. Coordinating producer. Executive producer. Associate producer. ![]() Assistant producer. Executive producer. Associate producer. Co-producer / series producer. Executive producer. Executive producer Music by Cinematography by Film Editing by Production Design by Art Direction by Makeup Department. Makeup artist Production Management. Tibet at the end of the nineteenth century was one of the last great unexplored regions of the world - a mysterious kingdom on the rooftop of the world. As it became aware of the colonial designs of European power on central Asia, Tibet expelled westerners and closed its frontiers. As its isolation deepened, so did Tibet's. Production manager Art Department. Props Sound Department. Sound supervisor. Sound recordist. Sound recordist. Sound recordist. Audio coordinator Special Effects. Special effects editor Visual Effects. Motion control Camera and Electrical Department. Assistant camera. Assistant camera. Assistant camera / camera operator. Grip Costume and Wardrobe Department. Wardrobe assistant / wardrobe stylist. Wardrobe stylist. Costume assistant. Wardrobe stylist / wardrobe Editorial Department. Digital editor. Post-production coordinator. Telecine assist. Post-production coordinator: lab Music Department. Music theme Other crew. Production coordinator. Development director. Operations director. Research director. Production assistant. Stock footage researcher (as Katharine L. Stock footage researcher. Story researcher. Story researcher. Operations director. Story researcher. Production assistant. Research manager. Vice president. Research director. Story researcher Thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Special thanks. Treasure Seekers: Tibet's Hidden Kingdom: Tibet at the end of the nineteenth century was one of the last great unexplored regions of the world - a mysterious kingdom on the rooftop of the world. As it became aware of the colonial designs of European power on central Asia, Tibet expelled westerners and closed its frontiers. As its isolation deepened, so did Tibet's allure and mystique. European and North American 'gentlemen' explorers, government agents, missionaries and adventurers had managed to penetrate nearly every other corner of Africa and Asia. ![]() Sand shark, any of about three species of sharks of the genera Carcharias and Odontaspis in the family Odontaspididae. Sand sharks are found in shallow water, usually at or near the bottom, along tropical and temperate coastlines of all oceans. They range from about 3 to 6 metres (10 to 20 feet) in length and are brown or gray above, paler below. Voracious, but generally sluggish, they have long, slim, pointed teeth and prey on fishes and invertebrates. Sand sharks are potentially dangerous to humans. The long, narrow and sharp teeth of Odontaspididae (here Odontaspis ferox). The body tends to be brown with dark markings in the upper half. These markings disappear as they mature. Their needle-like teeth are highly adapted for impaling fish, their main prey. Their teeth are long, narrow, and very sharp with smooth edges, with one and on occasion two smaller cusplets on either side. Sand sharks have a large second. The sand shark can grow up to 3.2 m (10 ft) long, and most adults can weigh around 200 kg (440 lb). The average lifespan of both sexes is only about 7 years, though they may live longer in captivity. Location and origins [ ] The name sand shark comes from their tendency toward shoreline habitats, and they are often seen swimming around the ocean floor in the surf zone; at times, they come very close to shore. They are often found in warm or temperate waters throughout the world's oceans, except the eastern. They also frequent the and at depths from 20 to 200 m (66 to 656 ft) and sometimes more. Behavior [ ] The sand shark has a unique hunting strategy. It is able to gulp air from above the surface and collect the air in its. This enables them to become and approach their virtually motionless. During the day, the sand shark stays mostly inactive, but at night, it becomes active and resumes hunting activities. Their staple is small fish, but they will eat crustaceans and, as well. They occasionally hunt in shivers (groups), and have even been known to attack full. Reproduction [ ] Sand sharks only develop two, one in each uterus. The largest and strongest embryos consume their siblings in the womb () before each surviving pup is born. It has one of the lowest reproduction rates of all sharks and is susceptible to even minimal population pressure, so it is listed as and is protected in much of its range. Attacks on people [ ] Sand sharks are not known to attack humans. If a person were to provoke a sand shark, it may retaliate defensively. Sand sharks are generally not aggressive but will harass divers who are spearfishing. In wreck divers regularly visit the to dive with the Sand Tiger sharks that make the wrecks their home. Conservation [ ] A recent report from the PEW Charitable Trusts suggests a new management approach used for large mammals that have suffered population declines could hold promise for sharks. Because of the life-history characteristics of sharks, conventional fisheries management approaches, such as reaching maximum sustainable yield, may not be sufficient to rebuild depleted shark populations. Some of the more stringent approaches used to reverse declines in large mammals may be appropriate for sharks, including prohibitions on the retention of the most vulnerable species and regulation of international trade. • ^ Froese, Rainer, and Daniel Pauly, eds. January 2009 version. • Bigelow, Henry B.; Schroeder, William C. United States Government Printing Office. Retrieved 30 October 2011. • National Geographic.. National Geographic. Retrieved 8 December 2012. • the-shark-side-of-life.com.. The Shark Side of life. National Geographic. National Geographic. Retrieved 17 May 2013. • Martin, Aidan.. Retrieved 2 July 2015. The Sand Shark is a fauna species dwelling mostly in the Grassy Plateaus and the Dunes. Two guys on dirt bikes are riding on the beach, but are then attacked by a predator in the sand. Meanwhile, Jimmy Green (Corin Nemic) the son of the Mayor. Retrieved 2 July 2015. • Decker, Robert.. Retrieved 17 June 2015. Retrieved 5 July 2015. Retrieved 2016-05-08. Retrieved 2016-05-21. External links [ ] •. Fishbase.org • • • •, Fayetteville Observer. Gone missing meaning, definition, English dictionary, synonym, see also 'far gone',goner',gong',go', Reverso dictionary, English simple definition, English vocabulary. Gone Missing sheet music. Discover new writers. Browse for digital sheet music by artist, style, genre, and more. Recent Comments • Largo on • Chanel and Greg on • HH on • Anti on • Philthy on • Pissed-Off Poster on • Lokesh on • Lokesh on • FRANCES on • G. Arbuckle on Teso Life Copyright © 2013-2018. All Rights Reserved. ![]() All content, including text, images and other media, provided on this site are owned by Mmorpg-life.com or affiliated Trademarks and protected by international copyright laws unless otherwise noted. The Mmorpg-life.com content may not be used, reproduced or copied without the prior express written consent of Mmorpg-Life.com. This site is in not endorsed by or affiliated with ZeniMax Online or Bethesda. Trademarks are the property of their respective owners. In this outing, Benji finds himself on the loose in Athens. An international spy (Ed Nelson) places a secret oil formula within the folds of Benji's paw, and before the poor dog knows what's happening, he's being pursued through the ancient metropolis by a daunting variety of villains. Fortunately, Benji is smarter than his pursuers, so a happy ending is never in doubt. ![]() More For The Love Of Benji videos. Writer/director Joe Camp managed to keep the Benji franchise alive into the 1980s, even writing a book about his filmmaking adventures with the clever canine. Full Movie Disclaimer: You can watch For the Love of Benji online for free in by streaming in our video player after pressing the play button. The film, For the Love of Benji, is hosted on various sites and the video is not uploaded by any person affiliated with us nor is it available for HD stream or download. All movies are not actually on Cartoon HD and are indexed from other sources like,, and Putlockers. We suggest contacting them directly to have any files removed and to block anyone from being able to watch For the Love of Benji. When Elena's (Emma Fitzpatrick) friends take her to a secret party at an undisclosed location, she never imagined she would become the latest victim of The Collector, a psychopathic killer. The Collector kidnaps and transports her to an abandoned hotel he's transformed into his own private maze of torture and death. ![]() Upon learning of his daughter's disappearance, Elena's wealthy father (Christopher McDonald) hires a group of mercenaries to retrieve her from the vicious grips of The Collector. These mercenaries coerce Arkin (Josh Stewart), the only man to have escaped the wrath of this heinous monster, to lead them through the gruesome labyrinth. Now, Arkin finds himself fighting for his own life in order to save Elena. -- (C) Official Site •. The Collector next worked with the Abner Jenkins (Earth-616), and he captured the Wasp of the Avengers for his collection. Hank Pym came to her rescue at the. The Collector - Desperate for money to pay off a debt, a man targets a wealthy family's home and plans to break in and steal a valuable gem. I didn't enjoy this one as much as the first. The home invasion premise of the original was really cool and without it the movie would not have been enjoyable, which is exactly what happens here. There's more action, more characters, but a lot less tension and scary moments. It's just bigger, louder, and not as genuinely creepy. I do think The Collector is a good horror villain, but he isn't as scary in this one. I am glad that they never go into back story for him, though. Many script writers make that mistake and it makes the characters less scary when you know their motivations. I'm not saying I'm not interested, but please do not indulge me. I thought the new characters were pretty awful, as is typical for horror sequels, and the traps were mostly the same style of stuff. There's still too much gore, but I can handle it. I know others cannot. Even after all this, it was mildly enjoyable, but an inferior sequel to what is becoming a cult classic horror film. ½ This movie is strictly geared towards fans of horror movies who love blood and watching people die in crazy awesome ways. Kind of like the 'Final Destination' series, only with a real bad guy. This is a sequel to 'The Collector' and picks up right after that one. Here The Collector kidnaps a girl and takes her to hotel that he has transformed into a maze of just crazy torture devices and death traps. When the cops, along with his last victim that got away, come to rescue her they have a lot of fun in that building to put it nicely. The death scenes are great, and it even features one of the best mass death scenes in a night club ever. But, there is little plot, and the actors that actually star in this aren't that good. But then again, that's not why you would watch this movie. Better than the original, and leaves it open to a third movie, which I'm sure will get made. Check it out if you like horror movies, but if you don't or are squeamish, then stay away at all costs. Musically, there's not a wrong note in Masked and Anonymous – picks and sings a mean 'Dixie.' It's only when the film attempts to express its ideas in spoken English that logic dissolves into a muddle that would test the most rabid Dylanologist. Word is that Dylan dreamed up this allegorical twaddle, though two other writers are credited. Director Larry Charles ( Seinfeld, Curb Your Enthusiasm) fails to provide one essential: direction. I'm still lost. Dylan plays Jack Fate, a legend sprung from jail to headline a TV concert for the benefit of a country – I think it's this one – ravaged by war. Actors show up in a futile effort to coax an expression out of granite Jack: Jeff Bridges, Penelope Cruz, Jessica Lange, Val Kilmer. Mickey Rourke is in it, too, which should tell you something. Dylan just stares in mute incomprehension. I know the feeling. — Peter Travers M asked and Anonymous is a gold mine for Dylan's loyal legions. Whether he's electrifying with his band on 'Down in the Flood' and 'Dixie' or delivering abstract mantras, Dylan is as up-close as you've ever seen him – the wrinkles on his enigmatic face, his staccato rasp, his limping swagger. Sure, the script has no graspable plot, but who cares? Dylan's best work has always defied easy interpretation. As he wails in a live version of 'Cold Irons Bound,' 'Reality has always had too many heads.' ![]() —Austin Scaggs This story is from the August 21, 2003 issue of Rolling Stone. Fulfillment by Amazon (FBA) is a service we offer sellers that lets them store their products in Amazon's fulfillment centers, and we directly pack, ship, and provide. Directed by Larry Charles. With Bob Dylan, John Goodman, Jessica Lange, Jeff Bridges. A singer, whose career has gone on a downward spiral, is forced to make a. Idolatry is one of the enduring secular religions of our day. Those who worship him are inexhaustible in their fervor, and every enigmatic syllable of the great poet is cherished and analyzed as if somehow he conceals profound truths in his lyrics, and if we could only decrypt them, they would be the solution to--I dunno, maybe everything. In 'Masked and Anonymous,' where he plays a legendary troubadour named (I fear) Jack Fate, a religious fanatic played by says: 'I love his songs because they are not precise--they are completely open to interpretation.' She makes this statement to characters dressed as Gandhi and the pope, but lacks the courtesy to add, 'But, hey, guys, what do you think?' I have always felt it ungenerous to have the answer but wrap it in enigmas. When Woody Guthrie, the great man's inspiration, sings a song, you know what it is about. Perhaps Dylan's genius is to take simple ideas and make them impenetrable. Since he cannot really sing, there is the assumption that he cannot be performing to entertain us, and that therefore there must be a deeper purpose. The instructive documentary ' suggests that it was Ramblin' who was the true follower of Woody, and that after he introduced Dylan to Guthrie, he was dropped from the picture as Dylan studiously repackaged the Guthrie genius in 1960s trappings. That Dylan still exerts a mystical appeal, there can be no doubt. When 'Masked and Anonymous' premiered at Sundance 2003, there was a standing ovation when the poet entered the room. People continued to stand during the film, in order to leave, and the auditorium was half empty when the closing credits played to thoughtful silence. One of the more poignant moments in Sundance history then followed, as director stood on the stage with various cast members, asking for questions and then asking, 'Aren't there any questions?' The movie's cast is a tribute to Dylan's charisma. Here are the credits after Dylan:, Penelope Cruz,,,,,,,,,,,,,,,,,,. In a film where salaries must have been laughable, these people must have thought it would be cool to be in a Dylan movie. Some of them exude the aw-shucks gratitude of a visiting singer beckoned onstage at the Grand Ole Opry. Ironically, the credits do not name the one performer in the movie whose performance actually was applauded; that was a young black girl named Tinashe Kachingwe, who sings 'The Times They Are A-Changin' ' with such sweetness and conviction that she is like a master class. The plot involves a nation in the throes of post-revolutionary chaos. This is 'a ravaged Latin American country' (Variety) or perhaps 'a sideways allegory about an alternative America' (Salon). It was filmed in run-down areas of Los Angeles, nudge, nudge. A venal rock promoter named Uncle Sweetheart (Goodman) and his brassy partner, Nina Veronica (Lange), decide to spring Jack Fate from prison to give a benefit concert to raise funds for poverty relief (maybe) and Uncle and Nina (certainly). That provides the pretense for Dylan to sing several songs, although the one I liked best, 'Dixie,' seemed a strange choice for a concert in a republic that, wherever it is, looks in little sympathy with the land of cotton. The enormous cast wanders bewildered through shapeless scenes. Some seem to be improvising, and Goodman and Bridges (as a rock journalist) at least have high energy and make a game try. Others look like people who were asked to choose their clothing earlier in the day at the costume department; the Happenings of the 1960s come to mind. Dylan occupies this scenario wearing a couple of costumes borrowed from the Tinhorn Dictator rack. Alarmingly thin, he sprawls in chairs in postures that a merciful cinematographer would have talked him out of. While all about him are acting their heads off, he never speaks more than one sentence at a time, and his remarks uncannily evoke the language and philosophy of Chinese fortune cookies. 'Masked and Anonymous' is a vanity production beyond all reason. I am not sure, however, than the vanity is Dylan's. I don't have any idea what to think about him. He has so long since disappeared into his persona that there is little received sense of the person there. The vanity belongs perhaps to those who flattered their own by working with him, by assuming (in the face of all they had learned during hard days of honest labor on a multitude of pictures) that his genius would somehow redeem a screenplay that could never have seemed other than what it was, incoherent raving juvenile meanderings. If I had been asked to serve as consultant on this picture, my advice would have amounted to three words: more Tinashe Kachingwe. |
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