From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #5457 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 Thursday, December 10 2020 Volume 14 : Number 5457 Today's Subjects: ----------------- Message on hold ["Chris" ] Up to 93% OFF Pre Black Friday Sale! ["CustomCanvasPrints" Subject: Message on hold Message on hold http://headdentist.buzz/HlhTdHibZHQtAED-UixdxEs_0e-nYTqc_3ugYupBVTDRWaxE http://headdentist.buzz/Vaq-3VVkPFnqR_Xja5BM1cIoeZOGl9cSj3eNzKNX-QpdgFTa ntled guereza has a distinctive pelage, it is mostly black, with long white fringes of silky hairbknown as a mantle or ornamentationbalong the sides of its body and tail. The bands that make up the mantle start at the shoulders and extend along the back until they connect at the lower torso. The tail is long and ends in a white tuft which varies in how much it covers the tail. These features vary in color among subspecies, for example the tail of C. g. guereza is gray until the white tail tuft which covers half of its length, while the tail tuft of C. g. caudatus makes up 80% of the tail. The mantle color ranges from white to cream or yellow. Its face is framed by white hair and it has bushy cheek hairs. The thigh has a white stripe. Infants are born with pink skin and white hair. The hair and skin darken as they age and by three to four months they attain adult coloration. Male usually gain their coloration before females. The male typically weighs 9.3 and 13.5 kilograms (21 and 30 lb) and the female weighs between 7.8 and 9.2 kilograms (17 and 20 lb). The head and body length averages 61.5 centimetres (24.2 in) for males and 57.6 centimetres (22.7 in) for females. Like most colobi, the mantled guereza has a small thumb that is vestigial. There is dentition sexual dimorphism among the subspecies. In some, the males have larger teeth than fema ------------------------------ Date: Thu, 10 Dec 2020 05:17:22 -0500 From: "CustomCanvasPrints" Subject: Up to 93% OFF Pre Black Friday Sale! Up to 93% OFF Pre Black Friday Sale! http://yeastinfection.buzz/OlKQfzK6NU36NL7vP9b1IHu2g644_YibTHaTDHGQhzPZkHd9 http://yeastinfection.buzz/25-nWTZKlPQ8NtOWkBZ640wevHb9j_81jw_q8aS0RfW4nPSM key is a rather strongly built animal. Its skin is grey-green at the top side. Its face is reddish with long hair bundles at the cheeks. The slight webbing of the fingers and toes point to its partially aquatic way of life. Allen's swamp monkey can reach a full body length from 45 to 60 cm, with a roughly 50-cm-long tail. Males, weighing up to 6 kg, are substantially larger than the females (up to 3.5 kg). Behavior Although still hunted for its meat, Allen's swamp monkey is increasingly seen as a household pet. (Photo taken in Basankusu, 2007) Allen's swamp monkey is a diurnal animal and regularly looks for food on the ground. It inhabits swampy, water-rich areas and can swim well, diving to avoid danger. It lives in social groups of up to 40 animals, communicating with different calls, gestures, and touches. Its diet consists of fruits and leaves, as well as beetles and worms. Little is known of the mating habits of this species. The females bear young, which are weaned around three months old and are mature after three to five years. Its lifespan can be as long as 23 years. Raptors, snakes, and the bonobo rank among the natural enemies of Allen's swamp monkey. Unlike other primates, its swampy habitat is not so strongly exposed to the danger of the forests. However, it is hunted for its mea ------------------------------ Date: Thu, 10 Dec 2020 04:46:58 -0500 From: "Rent2OwnAHome" Subject: Are You Ready to Make the Move? Find Your New Home Here. Are You Ready to Make the Move? Find Your New Home Here. http://headdentist.buzz/ZtQ4gl4IU3pYfylhyQbJpaCCaGwrPtp4wJf6nxNB3wBHv45A http://headdentist.buzz/GHSdBZWTfD5_Ezwg2KxmSZhufU2Mh_eG83S-TMUfeYqIop6D donesian delegation to the 3rd Asia-Pacific Film Festival. That year she acted in three films: Melati Sendja (Twilight Jasmine), Peristiwa 10 Nopember (The 10 November Incident), and Rajuan Alam (Call of Nature). The last of these starred Noor alongside Bambang Hermanto as a husband and wife who must deal with malaria. For Rajuan Alam, in 1957 Noor travelled to Tokyo with her co-star for the 4th Asia-Pacific Film Festival, where the film was in competition under the title A House, a Wife, a Singing Bird. Noor married Firmansjah (also known as Dick Ninkeula), a Produksi Film Negara employee whom she had met on the set of Pulang, in the mid-1950s, soon after graduating senior high school. After her son, Rio, was born, Noor took a hiatus from acting. She explained to Varia in a 1959 interview that she intended to focus on raising Rio until he was old enough for her to return to acting. Noor returned to cinema in 1960's Pedjuang (Warriors for Freedom), a film directed by Usmar Ismail which followed a platoon of Indonesian soldiers during the Indonesian National Revolution. She made her final film, Pesan Ibu (Mother's Message), in 1961. In this film, she played a young woman who had to help her mother support their family after their father's death. On 12 March 1961, at the age of 23, Noor was admitted to Cikini Hospital, Jakarta, and treated for encephalitis. She died two days later, and was buried on March 15 at Karet Bivak Cemetery. At the funeral several film figures provided eulogies, including Djamaluddin Malik, Turino Djunaedy , and Basuki Effendy. Among the mourners were Chitra Dewi, Sofia Waldy, Bing Slamet, and Astam n in the Dutch East Indies. In an interview with Varia magazine, she said that she came from an old-fashioned family which did not want her to act. While still in high school in Jakarta, in 1952, she was asked by Basuki Effendy to act in his film Pulang (Homecoming). Thinking that she could retire from acting immediately afterwards to workblike her role model Maria Ulfah Santosobfor social betterment, Noor accepted the role. Pulang was released to acclaim, with a review in De Nieuwsgier highlighting Noor as vibrant and photogenic. Noor rapidly gained popularity in Indonesia for her acting, and soon offers came from other directors and producers. She appeared in Rentjong dan Surat in 1953, followed by Kopral Djono in 1954. In an August 1954 article for Film Varia magazine, Haznam Rahman described Noor as a new hope for Indonesian cinema, having found the greatest place in audiences' hearts despite her short filmography. He expressed hope that her future would be a bright one, and recommended that she migrate from Gabungan Artis Film (Association of Film Artists, GAF) to a larger studio such as Persari or Perfini. Noor was most productive in 1955, when she appeared in five different films: Gagal (Failure), Peristiwa Didanau Toba (The Lake Toba Incident), Sampai Berdjumpa Kembali (Until We Meet Again), Ibu dan Putri (Mother and Daughter), and Oh, Ibuku (Oh, Mother). She was able to demand Rp 10,000 for a film produced in Jakarta or Rp 12,500 for a film produced outside of the city. When she was approached by Honey Motion Pictures for Awan dan Tjemara (Clouds and Pines, 1955), she refused to take the lead role as she was only offered Rp 7,500; the role went to a newcomer, Tri ------------------------------ Date: Thu, 10 Dec 2020 03:11:43 -0500 From: "Flight_Simulator" Subject: [open now] It might not be too late... [open now] It might not be too late... http://woodsworking.co/YrKc0d4bRH_PN-Qw2IYrS9aHOCV652WQ2D2h5hThq9y8oEZR http://woodsworking.co/XtcENX6fUwKbG77_LUZ69n87KWaqwjt37Skx52rZHDXLvi0e donesian delegation to the 3rd Asia-Pacific Film Festival. That year she acted in three films: Melati Sendja (Twilight Jasmine), Peristiwa 10 Nopember (The 10 November Incident), and Rajuan Alam (Call of Nature). The last of these starred Noor alongside Bambang Hermanto as a husband and wife who must deal with malaria. For Rajuan Alam, in 1957 Noor travelled to Tokyo with her co-star for the 4th Asia-Pacific Film Festival, where the film was in competition under the title A House, a Wife, a Singing Bird. Noor married Firmansjah (also known as Dick Ninkeula), a Produksi Film Negara employee whom she had met on the set of Pulang, in the mid-1950s, soon after graduating senior high school. After her son, Rio, was born, Noor took a hiatus from acting. She explained to Varia in a 1959 interview that she intended to focus on raising Rio until he was old enough for her to return to acting. Noor returned to cinema in 1960's Pedjuang (Warriors for Freedom), a film directed by Usmar Ismail which followed a platoon of Indonesian soldiers during the Indonesian National Revolution. She made her final film, Pesan Ibu (Mother's Message), in 1961. In this film, she played a young woman who had to help her mother support their family after their father's death. On 12 March 1961, at the age of 23, Noor was admitted to Cikini Hospital, Jakarta, and treated for encephalitis. She died two days later, and was buried on March 15 at Karet Bivak Cemetery. At the funeral several film figures provided eulogies, including Djamaluddin Malik, Turino Djunaedy , and Basuki Effendy. Among the mourners were Chitra Dewi, Sofia Waldy, Bing Slamet, and Astam n in the Dutch East Indies. In an interview with Varia magazine, she said that she came from an old-fashioned family which did not want her to act. While still in high school in Jakarta, in 1952, she was asked by Basuki Effendy to act in his film Pulang (Homecoming). Thinking that she could retire from acting immediately afterwards to workblike her role model Maria Ulfah Santosobfor social betterment, Noor accepted the role. Pulang was released to acclaim, with a review in De Nieuwsgier highlighting Noor as vibrant and photogenic. Noor rapidly gained popularity in Indonesia for her acting, and soon offers came from other directors and producers. She appeared in Rentjong dan Surat in 1953, followed by Kopral Djono in 1954. In an August 1954 article for Film Varia magazine, Haznam Rahman described Noor as a new hope for Indonesian cinema, having found the greatest place in audiences' hearts despite her short filmography. He expressed hope that her future would be a bright one, and recommended that she migrate from Gabungan Artis Film (Association of Film Artists, GAF) to a larger studio such as Persari or Perfini. Noor was most productive in 1955, when she appeared in five different films: Gagal (Failure), Peristiwa Didanau Toba (The Lake Toba Incident), Sampai Berdjumpa Kembali (Until We Meet Again), Ibu dan Putri (Mother and Daughter), and Oh, Ibuku (Oh, Mother). She was able to demand Rp 10,000 for a film produced in Jakarta or Rp 12,500 for a film produced outside of the city. When she was approached by Honey Motion Pictures for Awan dan Tjemara (Clouds and Pines, 1955), she refused to take the lead role as she was only offered Rp 7,500; the role went to a newcomer, Tri ------------------------------ Date: Thu, 10 Dec 2020 04:09:37 -0500 From: "Hiding Guns!" Subject: Move your guns immediately (urgent!!!) Move your guns immediately (urgent!!!) http://woodsworking.co/Byhls-d01ZVK3zoIaGcARgt8UyzmOtCMcP5jco7g2_M44qcg http://woodsworking.co/cvkoPRRGQ00F9yhLIzClK8F9j__vjBJL1ryCFPFvhzcZLhvs erous mechanical challenges to animals moving in them, which have been solved in diverse ways. These challenges include moving on narrow branches, moving up and down inclines, balancing, crossing gaps, and dealing with obstructions. Diameter Moving along a narrow surface poses special difficulties to animals. During locomotion on the ground, the location of the center of mass may swing from side to side, but during arboreal locomotion, this would result in the center of mass moving beyond the edge of the branch, resulting in a tendency to topple over. Additionally, foot placement is constrained by the need to make contact with the narrow branch. This narrowness severely restricts the range of movements and postures an animal can use to move.[citation needed] Incline Branches are frequently oriented at an angle to gravity in arboreal habitats, including being vertical, which poses special problems. As an animal moves up an inclined branch, they must fight the force of gravity to raise their body, making the movement more difficult. Conversely, as the animal descends, it must also fight gravity to control its descent and prevent falling. Descent can be particularly problematic for many animals, and highly arboreal species often have specialized methods for controlling their descent.[citation needed] Balance Gibbons are very good brachiators because their elongated arms enable them to easily swing and grasp on to branches Due to the height of many branches and the potentially disastrous consequences of a fall, balance is of primary importance to arboreal animals. On horizontal and gently sloped branches, the primary problem is tipping to the side due to the narrow base of support. The narrower the branch, the greater the difficulty in balancing a given animal faces. On steep and vertical branches, tipping becomes less of an issue, and pitching backwards or slipping downwards becomes the most likely failure. In this case, large-diameter branches pose a greater challenge since the animal cannot place its forelimbs closer to the center of the branch than its hindlimbs. Crossing gaps Branches are not continuous, and any arboreal animal must be able to move between gaps in the branches, or even between trees. This can be accomplished by reaching across gaps, by leaping across them or gliding betw ------------------------------ Date: Thu, 10 Dec 2020 00:03:37 -0800 (PST) From: "yy26...@gmail.com" Subject: =?UTF-8?B?2KfZhNmF2KfYrNiz2KrZitmA2LEg2KfZhNmF2YfZhtmK?= =?UTF-8?B?INin2YTZhdi12LrZgNixINil2K/Yp9ix2Kkg2KfZhNij?= =?UTF-8?B?2LnZhdin2YQg2K7ZhNin2YQg2KfZhNmB2KrYsdipIDE=?= =?UTF-8?B?NyAtMjYg2YrZhtin2YrYsSAyMDIxINmF?= IAoKICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAg ICAgICAgICAgICAgICAgICAgCgoq2KfZhNiz2YTYp9mFINi52YTZitmD2YUg2YjYsdit2YXYqSDY p9mE2YTZhyDZiNio2LHZg9in2KrZhyoKCirZitmH2K/ZitmD2YDZhSDYp9mE2KfYqtit2YDYp9iv INin2YTYudix2KjZgNmKINmE2KrZhtmF2YrZgNipINin2YTZhdmA2YjYp9ix2K8g2KfZhNio2LTY sdmK2YDZgNipKgoKKtio2KfYudiq2YXZgNmA2YDYp9ivLyDYrNin2YXYudmA2YDZgNipINmF2YrY stmI2LHZiiDYp9mE2KfZhdix2YrZg9mK2Kkg4oCTINin2YTZiNmE2KfZitmA2YDYp9iqINin2YTZ hdiq2K3ZgNmA2K/YqSDYp9mE2KPZhdix2YrZg9mK2YDZgNipKgoKKtin2YTZhdin2KzYs9iq2YrZ 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Subject: How to make guns legally invisible How to make guns legally invisible http://woodsworking.co/7m_x5N6zWyFDJ--6XxCHbV9q-MnNt1F3hmx9fqHB-O7PsOc http://woodsworking.co/AOY-mMTzjCPQd5urlIAE22UceNgQD9Mp-wjkYEwMYlmx7eY erous mechanical challenges to animals moving in them, which have been solved in diverse ways. These challenges include moving on narrow branches, moving up and down inclines, balancing, crossing gaps, and dealing with obstructions. Diameter Moving along a narrow surface poses special difficulties to animals. During locomotion on the ground, the location of the center of mass may swing from side to side, but during arboreal locomotion, this would result in the center of mass moving beyond the edge of the branch, resulting in a tendency to topple over. Additionally, foot placement is constrained by the need to make contact with the narrow branch. This narrowness severely restricts the range of movements and postures an animal can use to move.[citation needed] Incline Branches are frequently oriented at an angle to gravity in arboreal habitats, including being vertical, which poses special problems. As an animal moves up an inclined branch, they must fight the force of gravity to raise their body, making the movement more difficult. Conversely, as the animal descends, it must also fight gravity to control its descent and prevent falling. Descent can be particularly problematic for many animals, and highly arboreal species often have specialized methods for controlling their descent.[citation needed] Balance Gibbons are very good brachiators because their elongated arms enable them to easily swing and grasp on to branches Due to the height of many branches and the potentially disastrous consequences of a fall, balance is of primary importance to arboreal animals. On horizontal and gently sloped branches, the primary problem is tipping to the side due to the narrow base of support. The narrower the branch, the greater the difficulty in balancing a given animal faces. On steep and vertical branches, tipping becomes less of an issue, and pitching backwards or slipping downwards becomes the most likely failure. In this case, large-diameter branches pose a greater challenge since the animal cannot place its forelimbs closer to the center of the branch than its hindlimbs. Crossing gaps Branches are not continuous, and any arboreal animal must be able to move between gaps in the branches, or even between trees. This can be accomplished by reaching across gaps, by leaping across them or gliding betw ------------------------------ Date: Thu, 10 Dec 2020 05:43:06 -0500 From: "Alone and Unafraid" Subject: Claim Your FREE Copy of this best-selling self-defense and survival guide. Claim Your FREE Copy of this best-selling self-defense and survival guide. http://hotixpro.buzz/93VJ1nz5c9tBjbT0MfvFbo-dkmkrVFGK4qAOtMBy8WOIMuVB http://hotixpro.buzz/P1VuGtZQuW8yVI-kyE2hpsT_-qcIjLzz9u2GuI0_XrebrpzQ ntled guereza has a polygynous harem-based mating system. Mating solicitations are made by both males and females, half of the time for each. To solicit mating, the mantled guereza will walk near its potential partner and make low-intensity mouth clicks or tough-smacks. During copulation, the males hold on the female's ankles and body. Most matings take place between individuals of the same group but copulations outside of the group have been recorded. In multi-male groups, more than one male may mate with the females. The gestation period lasts 158 days with a 16b22 month interbirth interval. The newborn guereza relies on its mother for support and must cling to her. As they grow older, infants can move on their own but keep returning to their mothers. The infants take up most of the attention in the groups. The other females in a group may handle an infant although the latter are only comfortable with their mothers. The males normally don't pay much attention to infants until they are four to five weeks old. Infants can eat solid food at about eight to nine weeks and by fifty weeks they are fully weaned and no longer need to hold on to their mothers. Communication The most notable vocalization of the mantled guereza is the "roar", which is made mainly at night or dawn by males. The sound of a roar can be carried for up to a mile. It is normally the dominant male who roars when there are multiple males in the group. Roars are used for long-distance communication and can regulate inter-group spacing without direct, physical contact while foraging. When one male starts roaring, neighboring males will start to roar as well. Often, the mantled guereza will respond to calls regardless of "caller identity," focusing more on the collective vocal displays and not the familiarity of the caller. There is variation in the roars of males which could signal the status of their group and fighting ability. With a roar, a male can advertise his body size; both actual and exagg ------------------------------ End of alt.music.moxy-fruvous digest V14 #5457 **********************************************