From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #6418 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, April 15 2021 Volume 14 : Number 6418 Today's Subjects: ----------------- We have been trying to reach you - Please respond! ["Apple Feedback" Subject: We have been trying to reach you - Please respond! We have been trying to reach you - Please respond! http://smartpad.today/XkzHXTENfSirLyRJSDuQEcQ_a2vIFDlUD0ZVPggsGEdrnV9Y http://smartpad.today/9LkmF7rptNygvft0vj7RhqD2fzbJn_qM53xduX6b56cIo02I hile science is a major element of this genre, many movie studios take significant liberties with scientific knowledge. Such liberties can be most readily observed in films that show spacecraft maneuvering in outer space. The vacuum should preclude the transmission of sound or maneuvers employing wings, yet the soundtrack is filled with inappropriate flying noises and changes in flight path resembling an aircraft banking. The filmmakers, unfamiliar with the specifics of space travel, focus instead on providing acoustical atmosphere and the more familiar maneuvers of the aircraft. Similar instances of ignoring science in favor of art can be seen when movies present environmental effects as portrayed in Star Wars and Star Trek. Entire planets are destroyed in titanic explosions requiring mere seconds, whereas an actual event of this nature takes many hours.[citation needed] The role of the scientist has varied considerably in the science fiction film genre, depending on the public perception of science and advanced technology.[citation needed] Starting with Dr. Frankenstein, the mad scientist became a stock character who posed a dire threat to society and perhaps even civilization. Certain portrayals of the "mad scientist", such as Peter Sellers's performance in Dr. Strangelove, have become iconic to the genre.[citation needed] In the monster films of the 1950s, the scientist often played a heroic role as the only person who could provide a technological fix for some impending doom. Reflecting the distrust of government that began in the 1960s in the United States, the brilliant but rebellious scientist became a common theme, often serving a Cassandra-like role during an impending disaster. Biotechnology (e.g., cloning) is a popular scientific element in films as depicted in Jurassic Park (cloning of extinct species), The Island (cloning of humans), and (genetic modification) in some superhero movies and in the Alien series. Cybernetics and holographic projections as depicted in RoboCop and I, Robot are also popularized. Interstellar travel and teleportation is a popular theme in the Star Trek series that is achieved through warp drives and transporters while intergalactic travel is popular in films such as Stargate and Star Wars that is achieved through hyperspace or wormholes. Nanotechnology is also featured in the Star Trek series in the form of replicators (utopia), in The Day the Earth Stood Still in the form of grey goo (dystopia), and in Iron Man 3 in the form of extremis (nanotubes). Force fields is a popular theme in Independence Day while invisibility is also popular in Star Trek. Arc reactor technology, featured in Iron Man, is similar to a cold fusion device. Miniaturization technology where people are shrunk to microscopic sizes is featured in films like Fantastic Voyage (1966), Honey, I Shrunk the Kids (1989), and Mar ------------------------------ Date: Thu, 15 Apr 2021 07:39:22 -0400 From: "Immunity 911" Subject: Is your immune system ready to FIGHT viruses? Is your immune system ready to FIGHT viruses? http://fedexsupreme.us/MdvpfxZu0ok3_wVp3j_eFf80P8Kg30PKDvkbk90RgU53oSQp http://fedexsupreme.us/1IMgyR57v60Vv4y6d1SnX-HHt1F0L_Rcu8iMb3gfF9JHjpK9 hay Singh Deol (born 15 March 1976), known as Abhay Deol, is an Indian actor and producer, who works predominantly in Hindi language films. Born in the influential Deol family of the Hindi cinema, he began acting at a young age in theater productions at his school. Deol made his on-screen debut in 2005 with Imtiaz Ali's romantic comedy Socha Na Tha. After the modest success of his debut, Deol was praised for his performances in films such as Manorama Six Feet Under (2007), which won him the Best Actor Award at the Indo-American Arts Council Film Festival, and the commercially successful Oye Lucky! Lucky Oye! (2008). His breakthrough role came in 2009 with the starring role as Dev in Anurag Kashyap's black comedy Dev.D, a modern-day adaptation of the Bengali classic novel Devdas. Following the success of the film, Deol gained wider recognition. He also played the male lead opposite Sonam Kapoor in the ensemble romantic comedy-drama Aisha (2010). Deol mainly appeared in independent films early in his career, but that changed in 2011 when he starred in Zoya Akhtar's Zindagi Na Milegi Dobara, a road film that went to become one of the highest-grossing films in Bollywood. His performance was well-received and earned him his first nomination for Filmfare Award for Best Supporting Actor. Deol has since appeared in independent films including the drama Road, Movie (2010) and the war film Chakravyuh (2012), while simultaneously working in commercially successful films including the romantic drama Raanjhanaa (2013), and the romantic comedy Happy Bhag Jayegi (2016). Deol is noted for his portrayal of complex characters on screen, and is vociferous in his support for parallel cinema in India. He has often been labeled as a nonconformist or an unconventional actor by Indian media. Deol owns a production company, Forbidden Films which was established in 2009. In addition to his acting career, he is also an active philanthropist and suppor ------------------------------ Date: Thu, 15 Apr 2021 06:38:31 -0400 From: "DronePro 4K Superior" Subject: DronePro 4Kâs unparalleled Ultra Wide-Angle 4K definition Zoom DronePro 4Kbs unparalleled Ultra Wide-Angle 4K definition Zoom http://fedexsupreme.us/Iljs33x5en06VnFIch_4SwK2w-T0CIAAwxprEUtd-zSe4t9B http://fedexsupreme.us/we3fR5IWjMwpJYeMFWbm7epzZQKQEq__Am5yVcRV-Vi1llMU tes that "any sufficiently advanced technology is indistinguishable from magic". Past science fiction films have depicted "fictional" ("magical") technologies that became present reality. For example, the Personal Access Display Device from Star Trek was a precursor of smartphones and tablet computers. Gesture recognition in the movie Minority Report is part of current game consoles. Human-level artificial intelligence is also fast approaching with the advent of smartphone A.I. while a working cloaking device / material is the main goal of stealth technology. Autonomous cars (e.g. KITT from the Knight Rider series) and quantum computers, like in the movie Stealth and Transcendence, also will be available eventually. Furthermore, although Clarke's laws do not classify "sufficiently advanced" technologies, the Kardashev scale measures a civilization's level of technological advancement into types. Due to its exponential nature, sci-fi civilizations usually only attain Type I (harnessing all the energy attainable from a single planet), and strictly speaking often not even that. Alien lifeforms Main article: Extraterrestrials in fiction The concept of life, particularly intelligent life, having an extraterrestrial origin is a popular staple of science fiction films. Early films often used alien life forms as a threat or peril to the human race, where the invaders were frequently fictional representations of actual military or political threats on Earth as observed in films such as Mars Attacks!, Starship Troopers, the Alien series, the Predator series, and The Chronicles of Riddick series. Some aliens were represented as benign and even beneficial in nature in such films as Escape to Witch Mountain, E.T. the Extra-Terrestrial, Close Encounters of the Third Kind, The Fifth Element, The Hitchhiker's Guide to the Galaxy, Avatar, Valerian and the City of a Thousand Planets, and the Men in Black series. In order to provide subject matter to which audiences can relate, the large majority of intelligent alien races presented in films have an anthropomorphic nature, possessing human emotions and motivations. In films like Cocoon, My Stepmother Is an Alien, Species, Contact, The Box, Knowing, The Day the Earth Stood Still, and The Watch, the aliens were nearly human in physical appearance, and communicated in a common earth language. However, the aliens in Stargate and Prometheus were human in physical appearance but communicated in an alien language. A few films have tried to represent intelligent aliens as something utterly different from the usual humanoid shape (e.g. An intelligent life form surrounding an entire planet in Solaris, the ball shaped creature in Dark Star, microbial-like creatures in The Invasion, shape-shifting creatures in Evolution). Recent trends in films involve building-size alien creatures like in the movie Pacific Rim where the CGI has tremendou ------------------------------ Date: Thu, 15 Apr 2021 03:24:43 -0400 From: "View Fore closureHomes" Subject: Foreclosure Home Listings Foreclosure Home Listings http://bpbalanceinfo.buzz/IRGTHI02J_4hNPbI5p-k8t_FcWueqUbi-dk4QvagDiE3CphM http://bpbalanceinfo.buzz/m4kqMmgOfA-Q2KaPPrF7r-sHWB4zQsIMe99NtA4x1q_QyIZk eral big budget science fiction films, notably Just Imagine (1930), King Kong (1933), Things to Come (1936), and Lost Horizon (1937). Starting in 1936, a number of science fiction comic strips were adapted as serials, notably Flash Gordon and Buck Rogers, both starring Buster Crabbe. These serials, and the comic strips they were based on, were very popular with the general public. Other notable science fiction films of the 1930s include Frankenstein (1931), Bride of Frankenstein (1935), Doctor X (1932), Dr. Jekyll and Mr. Hyde (1931), F.P.1 (1932), Island of Lost Souls (1932), Deluge (1933), The Invisible Man (1933), Master of the World (1934), Mad Love (1935), Trans-Atlantic Tunnel (1935), The Devil-Doll (1936), The Invisible Ray (1936), The Man Who Changed His Mind (1936), The Walking Dead (1936), Non-Stop New York (1937), and The Return of Doctor X (1939). The 1940s brought us Before I Hang (1940), Black Friday (1940), Dr. Cyclops (1940), The Devil Commands (1941), Dr. Jekyll and Mr. Hyde (1941), Man Made Monster (1941), It Happened Tomorrow (1944), It Happens Every Spring (1949), and The Perfect Woman (1949). The release of Destination Moon (1950) and Rocketship X-M (1950) brought us to what many people consider "the golden age of the science fiction film". In the 1950s, public interest in space travel and new technologies was great. While many 1950s science fiction films were low-budget B movies, there were several successful films with larger budgets and impressive special effects. These include The Day the Earth Stood Still (1951), The Thing from Another World (1951), When Worlds Collide (1951), The War of the Worlds (1953), 20,000 Leagues Under the Sea (1954), This Island Earth (1955), Forbidden Planet (1956), Invasion of the Body Snatchers (1956), The Curse of Frankenstein (1957), Journey to the Center of the Earth (1959) and On the Beach (1959). There is often a close connection between films in the science fiction genre and the so-called "monster movie". Examples of this are Them! (1954), The Beast from 20,000 Fathoms (1953) and The Blob (1958). During the 1950s, Ray Harryhausen, protege of master King Kong animator Willis O'Brien, used stop-motion animation to create special effects for the following notable science fiction films: It Came from Beneath the Sea (1955), Earth vs. the Flying Saucers (1956) and 20 Million Miles to Earth (1957). The most successful monster movies were kaiju films released by Japanese film studio Toho. The 1954 film Godzilla, with the title monster attacking Tokyo, gained immense popularity, spawned multiple sequels, led to other kaiju films like Rodan, and created one of the most recognizable monsters in cinema history. Japanese science fiction films, particularly the tokusatsu and kaiju genres, were known for their extensive use of special effects, and gained worldwide popularity in the 1950s. Kaiju and tokusatsu films, notably Warning from Space (1956), sparked Stanley Kubrick's interest in science fiction films and influenced 2001: A Space Odyssey (1968). According to his biographer John Baxter, despite their "clumsy model sequences, the films were often well-photographed in colour ... and their dismal dialogue was delivered in well-desig ------------------------------ Date: Thu, 15 Apr 2021 05:35:43 -0400 From: "Moderna COVID Vaccine Survey Gift Card Chance" Subject: 30 Seconds Will Reward You With $50 in Exclusive Moderna COVID Vaccine Survey Rewards 30 Seconds Will Reward You With $50 in Exclusive Moderna COVID Vaccine Survey Rewards http://getmask.biz/BOBqvgsO9KLjD4gGtqgV6JYTR3xCzxifNR1MWdH39Hcj279z http://getmask.biz/WaIARk5TBmL7Rcfwql2GN0W0GnUotJXmsHBjenXhqnnObxzK th the Space Race between the USSR and the USA going on, documentaries and illustrations of actual events, pioneers and technology were plenty. Any movie featuring realistic space travel was at risk of being obsolete at its time of release, rather fossil than fiction. There were relatively few science fiction films in the 1960s, but some of the films transformed science fiction cinema. Stanley Kubrick's 2001: A Space Odyssey (1968) brought new realism to the genre, with its groundbreaking visual effects and realistic portrayal of space travel and influenced the genre with its epic story and transcendent philosophical scope. Other 1960s films included Planet of the Vampires (1965) by Italian filmmaker Mario Bava, that is regarded as one of the best movies of the period, Planet of the Apes (1968) and Fahrenheit 451 (1966), which provided social commentary, and the campy Barbarella (1968), which explored the comical side of earlier science fiction. Jean-Luc Godard's French "new wave" film Alphaville (1965) posited a futuristic Paris commanded by an artificial intelligence which has outlawed all emotion. See also: List of science fiction films of the 1970s and List of science fiction films of the 1980s The era of manned trips to the Moon in 1969 and the 1970s saw a resurgence of interest in the science fiction film. Andrei Tarkovsky's Solaris (1972) and Stalker (1979) are two widely acclaimed examples of the renewed interest of film auteurs in science fiction. Science fiction films from the early 1970s explored the theme of paranoia, in which humanity is depicted as under threat from sociological, ecological or technological adversaries of its own creation, such as George Lucas's directional debut THX 1138 (1971), The Andromeda Strain (1971), Silent Running (1972), Soylent Green (1973), Westworld (1973) and its sequel Futureworld (1976), and Logan's Run (1976). The science fiction comedies of the 1970s included Woody Allen's Sleeper (1973), and John Carpenter's Dark Star (1974). Star Wars (1977) and Close Encounters of the Third Kind (1977) were box-office hits that brought about a huge increase in science fiction films. In 1979, Star Trek: The Motion Picture brought the television series to the big screen for the first time. It was also in this period that the Walt Disney Company released many science fiction films for family audiences such as The Black Hole, Flight of the Navigator, and Honey, I Shrunk the Kids. The sequels to Star Wars, The Empire Strikes Back (1980) and Return of the Jedi (1983), also saw worldwide box office success. Ridley Scott's films, such as Alien (1979) and Blade Runner (1982), along with James Cameron's The Terminator (1984), presented the future as dark, dirty and chaotic, and depicted aliens and androids as hostile and dangerous. In contrast, Steven Spielberg's E.T. the Extra-Terrestrial (1982), one of the most successful films of the 1980s, presented aliens as benign and friendly, a theme already present in Spielberg's own Close Encounters of the Third Kind. The big budget adaptations of Frank Herbert's Dune and Alex Raymond's Flash Gordon, as well as Peter Hyams's sequel to 2001, 2010: The Year We Make Contact (based on 2001 author Arthur C. Clarke's novel 2010: Odyssey Two), were box office failures that dissuaded producers from investing in science fiction literary properties. Disney's Tron (1982) turned out to be a moderate success. The strongest contributors to the genre during the second half of the 1980s were James Cameron and Paul Verhoeven with The Terminator and RoboCop entries. Robert Zemeckis' film Back to the Future (1985) and its sequels were critically praised and became box office successes, not to mention international phenomena. James Cameron's sequel to Alien, Aliens (1986), was very different from the original film, falling more into the action/science fiction genre, it was both a critical and commercial success and Sigourney Weaver was nominated for Best Actress in a Leading Role at the Acad ------------------------------ Date: Thu, 15 Apr 2021 05:46:20 -0700 From: "Detect Bug" Subject: Home 'Bug-Detector' Is Inexpensive Extremely Effective And EASY For Average Folks To Sweep For Home 'Bug-Detector' Is Inexpensive Extremely Effective And EASY For Average Folks To Sweep For http://spypod.us/A8vU5jz9SqbwBPAheZU8gYbwt4tLcehWC3haiheLPF-eFKTR http://spypod.us/4eN9t-SHBIx9WMFZRlBjn6-k7KXEMpUk5kJ1nrLy1-y3wiuS dramukhi is a courtesan who lives in Calcutta also known as Kolkata. She is considered the most beautiful and richest prostitute in the area of Chitpur. She is first introduced to Devdas by Chunnilal, who returns to Calcutta heartbroken after the marriage of Parvathi "Paro". Devdas, disgusted over Chandramukhi's profession insults her and leaves her kotha. Chandramukhi, impressed by Devdas's attitude, later falls in love with him after realizing his steadfast love for Paro. She leaves her profession for Devdas and convinces him to marry her; he, however, has to reluctantly reject her offer as he has devoted his life to Paro. In return, Chandramukhi does not force him to be with her but waits patiently for him. Subsequently, she also moves to Ashthajhari village, where she lives in a muddy house located at the bank of a river and helps the needy. After some struggle, she meets with Devdas again, who now accepts her love. In the film.Chandrabati Devi as Chandramukhi and Pramathesh Barua as Devdas in the 1935 Bengali film Devdas.In most of the film adaptations of Devdas, the story of Chandramukhi is similar to the novel. However, in most of the films her humanitarian work in helping the needy is not depicted. Unlike in the novel, a scene in which Chandramukhi and Parvathi meet was added in Bimal Roy's 1955 version when Paro, played by Suchitra Sen riding in a human rickshaw, comes across Chandramukhi, played by Vyjayanthimala, who just stares at Paro without a single word being exchanged between them. The meeting scene of Paro and Chandramukhi in the 1955 version was still regarded as one of the memorable scene in Bollywood with the background music adding the impact to the scene. In the 2002 version, the director, Sanjay Leela Bhansali, extended the interaction between Paro and Chandramukhi, also showing them dancing together to the hit song "Dola Re Do ------------------------------ End of alt.music.moxy-fruvous digest V14 #6418 **********************************************