From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #6772 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 Tuesday, May 21 2002 Volume 14 : Number 6772 Today's Subjects: ----------------- Supply ["Achy Marie" ] Sell your Timeshare, Qualify for free. ["TheTimeshareProfessionals" Subject: Supply Good Day, I wish to introduce you to a very lucrative business. I worked as a product sourcing manager with an import and export company here in Ctte d 19Ivoire. In a business seminar I attended sometime in 2014, I met one Alhaji, who is the president & CEO of a big cattle and dairy farm here in my country. Alhaji informed me that he needed a particular vaccine which he usually buys at USD2, 000 per carton and he buys up to 3000 cartoons every three months. Back in my office, I carried out a market research and discovered that we could purchase this medicine cheaper somewhere in Europe for US$575.00 per carton. I discussed this proposal with my boss and he decided to handle the supply by himself. We moved a proposal to Alhaji to supply him with this vaccine at US$1,500.00 per carton which he accepted. My boss has supplied this vaccine to Alhaji more than four times now, making a very huge profit. My problem now is that my boss has vehemently refused to pay me my share of the profit as we agreed. As a result of this, I decided to arrange with Alhaji to link him to the real producers of the vaccine who will give him the vaccine at a cheaper rate. After my discussion with Alhaji, I offered to supply him the vaccine at a cheaper rate of USD1, 250 per carton of 12 bottles. Alhaji accepted my offer and now wants to place an order for more than 3650 cartons of the vaccine. Right now, Alhaji has stopped all communications with my boss. I therefore wish to present you as my foreign contact so that you can handle the supplies to Alhaji. If you can handle the contract, kindly contact me immediately for details and negotiations on what is going to be my commission. We will get the medicine from the producers at US$575 and supply to Alhaji at US$1250 per carton of 12 bottles (500ml).Alhaji also agreed to make a down payment of 70% of his total order to your company for the procurement of the vaccine. Thanks and God bless you. Mr Achy Marie ------------------------------ Date: Mon, 14 Jun 2021 07:59:32 -0400 From: "TheTimeshareProfessionals" Subject: Sell your Timeshare, Qualify for free. Sell your Timeshare, Qualify for free. http://promindboost.us/gPd4jO8103-qfL-xN-Zw0Ql5zS6r4J1p0Td-doIfmJC655Lq http://promindboost.us/q7ScyO8ZlklqxgVqsl5sBqXCkaDdmYFYYAXFHyYLTSJfh6Jl ilm theorist Vivian Sobchack argues that science fiction films differ from fantasy films in that while science fiction film seeks to achieve our belief in the images we are viewing, fantasy film instead attempts to suspend our disbelief. The science fiction film displays the unfamiliar and alien in the context of the familiar. Despite the alien nature of the scenes and science fictional elements of the setting, the imagery of the film is related back to mankind and how we relate to our surroundings. While the science fiction film strives to push the boundaries of the human experience, they remain bound to the conditions and understanding of the audience and thereby contain prosaic aspects, rather than being completely alien or abstract.[citation needed] Genre films such as westerns or war movies are bound to a particular area or time period. This is not true of the science fiction film. However, there are several common visual elements that are evocative of the genre. These include the spacecraft or space station, alien worlds or creatures, robots, and futuristic gadgets. Examples include movies like Lost in Space, Serenity, Avatar, Prometheus, Tomorrowland, Passengers, and Valerian and the City of a Thousand Planets. More subtle visual clues can appear with changes of the human form through modifications in appearance, size, or behavior, or by means a known environment turned eerily alien, such as an empty city ["The Omega Man"(1971)]. Scientific elements Peter Sellers as the titular character from Dr. Strangelove (1964) While 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 Marvel's Ant-Man (2015). The late Arthur C. Clarke's third law states 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 tremendously improved over the previous decades as compared in previous films such as Godzi ------------------------------ Date: Mon, 14 Jun 2021 08:15:25 -0400 From: "Plansforsheds" Subject: Build Any Wood Working Project This Summer Build Any Wood Working Project This Summer http://leakygut.buzz/x4rIDm5yfLsWdufTYpDJjDcmfQ0h3-B8MnUtv1oRi4Frmdf_ http://leakygut.buzz/mv41X9k8kKpJJr4oaKV-hfp55ciZkGEvp3Rd87XMYXze-dzO ivered a fresh draft on February 2, 1991. He was contractually permitted to write another draft, but the studio opted for Ramis to take over, bringing Rubin's involvement to an end. Ramis took this draft and began his solo rewrite. He found the sentimentality and sincerity to be completely opposed to everything he had learned to do as a comedian. He deliberately tempered the sweeter moments with a cynical and grouchy tone. Among his changes, Ramis reorganized the script into a mainstream three-act narrative. He emphasized Phil's smug attitude as a means of distancing himself from others, giving him a defined story arc as a classic comedic lead character deserving of his punishment. Ramis liked Rubin's concept of starting with the loop in progress, but associate producer Whitney White suggested starting the film before the loop begins because she thought it would be more interesting for the audience to see Phil's initial reaction to his predicament. Ramis also removed Rita's boyfriend Max, and introduced (and removed) Phil's executive producer Gil Hawley. This draft featured more scenes of debauchery focused on Phil's sexual conquests and removed some content deemed more mean-spirited, like Phil asking Rita to be his "love-slave". This was reversed in the final film to Rita buying Phil at the bachelor auction and claiming that she owns him. Phil's journeys outside of Punxsutawney were excised, as Ramis did not want the audience becoming too focused on what the rules of the loop were, and he felt that keeping the story within the town made it more claustrophobic. They also chose to remove expositional narration from Phil. Also excised were more scenes of Phil's later good deeds and the clever methods he used to prevent accidents while making the most efficient use of his time. For example, Phil puts a large rock in a road to prevent a truck delivering a fish that a restaurant patron would have later choked on. Where Rubin's original script had been more sermonic and deprecating, Ramis altered the tone to be more optimistic. Two versions of a scene with Phil and Rita in a diner from Rubin's original script (left) and Ramis's rewrite (right) exemplify the shift of emphasis towards both Phil's smug ------------------------------ Date: Mon, 14 Jun 2021 07:14:19 -0400 From: "Stimulus Check Shopper Gift Opportunity@drivereader.icu" Subject: Shopper, You can qualify to get a $50 Stimulus Check gift card! Shopper, You can qualify to get a $50 Stimulus Check gift card! http://leakygut.buzz/nopb_Otj-jt6EIKVwJ8B9_ON1oirR3UCJlmZrhPu1gVg9T5V http://leakygut.buzz/64JvlmkrsN3PJjn0clpbkdgoYnVU5QuCeZZkm0XnCIkt1QuD It is the year 2009, Jagdish "Jolly" Tyagi is a Delhi based lawyer staying with his brother-in-law Pratap and is in a relationship with Sandhya. He happens to see prominent criminal lawyer Tejinder Rajpal successfully defending Rahul Dewan, a boy from a high society family in a sessions court, who is accused of drunken driving in a Toyota Land Cruiser Prado causing death of six people sleeping on the footpath 5 months earlier. Jolly, desperate to have some money and fame, decides to pursue the case and files a PIL in the court against Rahul Dewan. After initially reprimanding Jolly for his mistakes in filing the PIL and taking the press reports as an evidence, Justice Sunderlal Tripathi warns Jolly to collect some evidence before the next hearing. Jolly then runs into Albert Pinto, who claims to have witnessed the accident but soon learns that he is a lackey of Rajpal and was a plan to extract more money from the Dewan family. As part of the deal, Pinto gives Jolly a share of the money and turns hostile in the court. Sandhya and Kaul Saab chide him for compromising on justice for his greed. He returns the money to Rajpal and challenges him to win the case. With Pratap's help, Jolly collects the video footage of the car involved in the accident and presents it to the court. Rajpal counters that the car was driven by the driver of Dewan family and the footage was fake. Jolly refutes it by successfully cross examining the driver, who finally accepts that he has registered a false statement. The Judge orders the police to provide a bodyguard for Jolly after he is manhandled by Rajpal's assistants. Although Sub-Inspector Satbir Rathi tries to sabotage Jolly. Jolly, with the help of the bodyguard, leaves for Gorakhpur after he comes to know that Sadakant Mishra, a survivor of the accident stays there. Jolly, after passing through many hurdles, successfully brings Mishra to the court. Rajpal tries to scuttle proceedings but the hesitant Tripathi overrules him. Mishra states that Rathi had threatened him after the accident and fabricated the investigation. He was only allowed to go after he offered his hard-earned money and jewelry. Mishra also identifies Rahul Dewan as the one who drove the car. After the emotional closing arguments by Rajpal and Jolly, the judge directs the police department to suspend Rathi and initiate a criminal inquiry against him and also declares Rahul Dewan as guilty of the crime and sentences him to seven years in jail under Section 304 of the Indian Penal Code. 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