From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #4461 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Sunday, June 28 2020 Volume 14 : Number 4461 Today's Subjects: ----------------- Your prescription savings card is waiting ["Americaâs Pharmacy" Subject: Your prescription savings card is waiting Your prescription savings card is waiting http://koori.guru/dyj1dI6bbx3lq8y8GgPL9ZlqIhuXnjwnu1JdolfnQujYwA http://koori.guru/c0mg8FUidkhGrHckNBRrnEbJW2Q353zoUSVJRV3irSl_Lg er is a longtime passion project Wright had been developing since 1995, when the writer-director was a struggling 21-year-old filmmaker living in suburban London. He had relocated to London to finish his first professional film, the low-budget western comedy A Fistful of Fingers, and to contemplate his future in entertainment. Wright's repeated listening to Orange (1994), the fourth studio album by the Jon Spencer Blues Explosion, provided the impetus for Baby Driver. At first he envisioned a high-speed car chase, which then evolved into a full sequence where the getaway driver dances to "Bellbottoms" in his car before the ensuing chase. Though this was ultimately written into the script as the film's opening sequence, Wright's nascent vision was far from a fully realized project. By the time Baby Driver took definite form, the advent of the iPod, Wright's childhood tinnitus, and his reading of Oliver Sacks' Musicophilia (2007), which explores the neuroscience of music, were forces shaping the project's artistic direction. On a B#25,000 budget, Wright developed the music video for Mint Royale's "Blue Song" in 2003, featuring a backstory gleaned from his early concept of Baby Driver. The video became an unexpected success, and although happy with his work, Wright was frustrated he had cannibalized an idea he felt had enormous potential. In retrospect, he admits his music video was a significant undertaking because it provided proof of concept for Baby Driver. The release of Wright's first major feature, Shaun of the Dead (2004), was another important catalyst not only for its artistic direction, but for signaling the start of a long-term working relationship between Wright and Working Title producers, who would assist with Baby Driver's development. By 2007, after signing a multi-picture deal with Working Title, and with a clearer vision of the project, the writer-director met with Steven Price to discuss early musical ideas for Baby Driver. The drafting of a story started around the release of Scott Pilgrim vs. the World (2010), but pre-production of the film stalled as Wright's other projectsbThe World's End (2013) and the then-forthcoming Ant-Man (2015), for which he had already prepared a script with Joe Cornishbtook precedence. Work resumed immediately after Wright's departure from Ant-Man, when the studio began assembling their roster of actors and technical staff before shooting. In preparation, Wright spent time with ex-career criminals in Los Angeles and London to develop an accurate depiction of a real-life bank robber's work. Wright, lead film editor Paul Machliss, and Los Angeles-based editor Evan Schiff devised a pre-edit of Baby Driver with animatics in the initial stages of production. With Avid Media Composer, Machliss was tasked with syncopating each animatic to the corresponding soundtrack. He and Wright had an existing professional relationship from Scott Pilgrim vs. the World and The World's End. In addition, Machliss worked on set pro ------------------------------ Date: Sun, 28 Jun 2020 05:34:40 -0400 From: "**Trump 2020 Stiletto**" Subject: 2 Knives From Our CEO 2 Knives From Our CEO http://theremed.guru/NaWqJeAFWz4V1X6j654jdUsF3wGzdQRdibWHRHm_xfVVecGD http://theremed.guru/pUOpe6Jss3Fbjm83qfdKByG7DQoWxb-plBVoJRrBMk0tFk7p number of particles (chemists group them by moles) and temperature. These four characteristics were repeatedly observed by scientists such as Robert Boyle, Jacques Charles, John Dalton, Joseph Gay-Lussac and Amedeo Avogadro for a variety of gases in various settings. Their detailed studies ultimately led to a mathematical relationship among these properties expressed by the ideal gas law (see simplified models section below). Gas particles are widely separated from one another, and consequently, have weaker intermolecular bonds than liquids or solids. These intermolecular forces result from electrostatic interactions between gas particles. Like-charged areas of different gas particles repel, while oppositely charged regions of different gas particles attract one another; gases that contain permanently charged ions are known as plasmas. Gaseous compounds with polar covalent bonds contain permanent charge imbalances and so experience relatively strong intermolecular forces, although the molecule while the compound's net charge remains neutral. Transient, randomly induced charges exist across non-polar covalent bonds of molecules and electrostatic interactions caused by them are referred to as Van der Waals forces. The interaction of these intermolecular forces varies within a substance which determines many of the physical properties unique to each gas. A comparison of boiling points for compounds formed by ionic and covalent bonds leads us to this conclusion. The drifting smoke particles in the image provides some insight into low-pressure gas behavior. Compared to the other states of matter, gases have low density and viscosity. Pressure and temperature influence the particles within a certain volume. This variation in particle separation and speed is referred to as compressibility. This particle separation and size influences optical properties of gases as can be found in the following list of refractive indices. Finally, gas particles spread apart or diffuse in order to homogeneously distribute themselves throughout any container. Macroscopic Shuttle imagery of re-entry phase See also: Gas kinetics When observing a gas, it is typical to specify a frame of reference or length scale. A larger length scale corresponds to a macroscopic or global point of view of the gas. This region (referred to as a volume) must be sufficient in size to contain a large sampling of gas particles. The resulting statistical analysis of this sample size produces the "average" behavior (i.e. velocity, temperature or pressure) of all the gas particles within the region. In contrast, a smaller length scale corresponds to a microscopic or particle point of view. Macroscopically, the gas characteristics measured are either in terms of the gas particles themselves (velocity, pressure, or temperature) or their surroundings (volume). For example, Robert Boyle studied pneumatic chemistry for a small portion of his career. One of his experiments related the macroscopic properties of pressure and volume of a gas. His experiment used a J-tube manometer which looks like a test tube in the shape of the letter J. Boyle trapped an inert gas in the closed end of the test tube with a column of mercury, thereby making the number of particles and the temperature constant. He observed that when the pressure was increased in the gas, by adding more mercury to the column, the trapped gas' volume decreased (this is known as an inverse relationship). Furthermore, when Boyle multiplied the pressure and volume of each observation, the product was constant. This relationship held for every gas that Boyle observed leading to the law, (PV=k), named to honor his work in this field. ------------------------------ End of alt.music.moxy-fruvous digest V14 #4461 **********************************************