text:
\section{Introduction}
In numerous circumstances, more than just the content of a message has to be hidden from the adversary.
Unlike covertness which aims to deny that any communication is taking place \cite{DeniableComm:KadheJB14, HidingInformationInNoise:BashGT15, CovertComm:Bloch16}, we consider the case where it is known that a group of peers communicate but it is desired to hide who is communicating with whom \cite{TorlikeAnonymityInWirelessNets:SafakaCA15}.
It is well known that identities of peers communicating over a network can be identified via rather simple network traffic analysis techniques \cite{NetsWithUserObservability:PfitzmannW85}.
Anonymity mixes were introduced by David Chaum in 1980's as a general framework for implementing anonymous message exchange \cite{Mixes:Chaum81}.
They are sophisticated network routers that pass messages such that no one (except the mix itself) can link an ingoing message to an outgoing message. Today, some form of a mix is often a part of anonymity preserving solutions (e.g., PetMail, Mixminion, Panoramix) or data transfer services (e.g., Onion routing, Freenet).

A mix typically collects messages and forwards them in batches according to a fixed deterministic rule or a randomized strategy (see e.g., \cite{BatchMix:KesdoganAP02, DummyMessageMix:BertholdL02, Mix:diazS03}). This allows hiding the origin of the outgoing messages, but also introduces delay in message transfer.
The incurred delay of the mixes is the most concerning cost of anonymity they provide.
For instance anonymous web browsing platform ToR, which currently has more than 2 million users, does not implement sophisticated mixing to keep a low latency platform, even though it is shown to be vulnerable to deanonymization attacks based on network traffic analysis \cite{ChallengesDeployingTor:DingledineMS05, Tor:dingledineMS07,TorTraffAnalysis:ChakravartyBP14}.

Appropriate modeling of the mixes is crucial to study their delay vs.\ anonymity tradeoff.
Stability conditions and delay characteristics of a mix naturally depend on its system parameters which also determine its anonymity preserving capabilities.
In this paper, we propose and study two queueing models for batch mixes that are designed and used against passive adversarial attacks.
Note that, we do not consider active attacks that involve traffic injection into the network, which have also been shown to successfully deanonymize users on popular anonymity platforms \cite{SampledTrafficAnalysis:MurdochZ07, TorTraffAnalysis:ChakravartyBP14}.

We propose a mix model that implements the well known deterministic \textit{batch} mixing algorithm \cite{BatchMix:KesdoganAP02}.
We observe the close connection of the model to assembly queues, which was used to model and study the operational process of assembling multiple items into a product \cite{AssemblyQs:Harrison73}.
Using the proposed model, we find that batch mix provides a well defined anonymity guarantee that gets better with the batch size, on the other hand, its incurred delay grows quickly as the batch size gets close to the number of senders connected to the mix.

Our study of the batch mix led us to consider a new randomized mixing algorithm.
We show that the randomized model achieves better delay scaling in terms of the batch size compared to its deterministic counterpart. However, it can provably preserve anonymity \emph{only if} the adversary can not infer the state of the mix, and is in general vulnerable to anonymity attacks under low traffic.

There are many measures of anonymity and privacy (see \cite{Unlinkability:PfitzmannH05, InfoLeakage:IssaKW16}). We are here concerned with preserving \emph{unlinkability}, which is ensuring that no sender/receiver pair is exposed. Our study shows that delay of the mix can be reduced by sacrificing some anonymity, which would eventually lead to complete deanonymization of all the sender-receiver pairs.
However,
message transfer sessions are of finite duration in practice, and minimum amount of time required for an attack to destroy anonymity is a concern regardless of the anonymity measure.
Previous papers that are concerned with the delay of anonymity schemes ignore the queueing dynamics within the mix (see e.g., \cite{DelayAnonymityTradeoffInMixNetworks:JavidbakhtV17, AnonymousNetworkingWithMinimumLatency:VenkitasubramaniamT08} and references therein).
We believe that queueing models are necessary for studying the time-to-deanonymize metric, and this paper is a first step towards understanding this metric.

This paper is organized as follows.
Sec.~\ref{sec:sec_batchmix_model} describes the batch mix model.
Sec.~\ref{sec:sec_batchmix_anonymity} presents the anonymity guarantee implemented by a batch mix.
Sec.~\ref{sec:sec_batchmix_stability_delay} shows a stability criterion for the batch mix and presents an approximate method for analyzing its incurred delay.
Sec.~\ref{sec:sec_samplingmix} introduces a randomized batch mixing strategy, and discusses its anonymity and delay properties. Sec.~\ref{sec:sec_conclusion} gives a summary and conclusions.

\section{A Batch Mix  and its Anonymity}
\subsection{Mix Model}
\label{sec:sec_batchmix_model}
A batch mix has $n$ senders connected, and buffers the messages incoming from each sender in a separate first-in first-out queue with an infinite buffer space. As soon as any $k \geq 2$ queues become non-empty, one message from each is dispatched (see Fig.~\ref{fig:fig_43_mix}).
The recipient sets of each sender are assumed to be disjoint and of at most size $m$.

\begin{figure}[t]
  \centering
  \includegraphics[width=0.4\textwidth, keepaspectratio=true]{fig_43_mix.pdf}
  \caption{Illustration of a $(4, 3)$ batch mix. As long as there are less than three non-empty queues, messages are blocked (Left). As soon as a message arrival forms a group of three non-empty queues, one message from each is dispatched (Right).}
  \label{fig:fig_43_mix}
\end{figure}

Each sender is assumed to generate an independent Poisson
message traffic at rate $\lambda$.
Delay added by the mix is assumed to come only from the message queueing time. We ignore any message reception or transmission delay.

\begin{definition}
  An \ul{$(n, k)$ batch mix} is a system of $n$ first-in first-out queues, each receiving messages from an independent Poisson process of rate $\lambda$.
  Messages are blocked as long as the mix has less than $k$ non-empty queues. As soon as $k$ queues become non-empty, one message from each is dispatched.
\end{definition}

\subsection{Attack Model and Anonymity}

\label{sec:sec_batchmix_anonymity}
 We assume that the adversary monitoring the traffic going in and out of the mix can observe 1) who the sender of each incoming message is and 2) who the recipient of each outgoing message is. Thus, if a message arrival triggers a message departure, the adversary can identify the sender-receiver pair. His goal is to identify the receivers of a particular sender, which we refer to as the \textit{target sender}.

Forwarding messages in batches of size $k$ prevents the adversary from immediately finding out the exact destination of an incoming message, as it can be any of the $k$ message recipients. However, the adversary can, over time, collect multiple size-$k$ receiver sets, each containing a potential recipient of the target sender. Intersecting such sets would eventually reveal the receivers linked to the target sender. We refer to such attacks as \textit{intersection attacks} \cite{IntersectionAttack:WrightAL02}.

We say that the mix preserves anonymity, when it ensures that no sender/receiver pair is exposed, that is, no sender and receiver can be linked.

\begin{theorem}[Anonymity under intersection attack]
  Consider a target sender connected to an $(n, k)$ batch mix that is under intersection attacks.
  When $k < n$, all $m$ receivers of the target can be identified if $m \leq \floor*{n/k}$.
  All $m$ receivers cannot be identified surely otherwise.
\label{thm_batchmix_anonymity}
\end{theorem}
\begin{proof}
  This theorem is a reformulation of \cite[Claim~1]{BatchMix:KesdoganAP02}.
  Let adversary wait and observe $m$ \emph{mutually disjoint} sets $R_1, \ldots, R_m$ of size $k$ that include the possible receivers of Alice. These $m$ sets can be disjoint only if $k m \leq n$. Adversary is thus sure that there is exactly one receiver of Alice in each observed recipient set $R_i$. Afterwards, adversary refines each of these sets by observing new recipient sets that intersect with only one of the prior sets. This means, a new recipient set $R$ is useful if $R \cap R_i \neq \emptyset$ and $R \cap R_j = \emptyset$ for all $j \neq i$, then $R_i$ can be refined to $R \cap R_i$.
  Note that if $R$ intersects with multiple prior recipient sets, then refining all intersecting sets  may remove the actual receivers of Alice.
  The correct refinement process can be continued until each of the sets $R_1, \ldots, R_m$ contains only one receiver. Remaining $m$ receivers in the refined recipient sets are clearly the communication partners of Alice.

  As described above, intersection attacks will surely identify all receivers of a target only if adversary can observe $m$ \emph{disjoint} sets of size $k$. This is the only way for adversary to isolate each receiver of the target in a separate set so that a newly observed set can be intersected with one of these sets \emph{correctly}, that is, intersection will not surely end up removing the true receiver from the set.
  When $k m>n$, adversary can never observe $m$ disjoint sets of size $k$, hence can never surely identify all $m$ receivers of the target.
\end{proof}

\noindent
\section{Stability and Delay}
\label{sec:sec_batchmix_stability_delay}
A batch mix consists of $n$ FIFO queues, each buffering messages arriving from an i.i.d.\ Poisson process. A message arrival triggers a batch departure if it finds $k-1$ other non-empty queues in the mix, and the arriving message departs immediately with the batch. Therefore, there can be at most $k-1$ non-empty queues in the mix at any time. Since all the queues and the associated arrival processes are identical, system state can be represented as the Markov process $L(t) = (l_1(t), \dots, l_{k-1}(t))$ where $l_i(t)$ denotes the length of the $i$th longest queue in the system at time $t$.

An $(n, n)$ batch mix behaves as an assembly queue, found  to be unstable in \cite{AssemblyQs:Harrison73}.
Stability here refers to the existence of an invariant probability measure for the system state process.

\begin{theorem}
  An $(n, k)$ batch mix is stable if $k < n$.
\label{thm_nkmix_isstable}
\end{theorem}
\begin{proof}
  A Markov process is stable if and only if it is positive recurrent.
  Given that transition rates of $L(t)$ are neither too ``slow'' nor too ``fast'', its positive recurrence is implied by the positive recurrence of its embedded discrete chain $S_t$.
  We here use the Foster-Lyapunov criterion to show the positive recurrence of $S_t$ as interpreted from \cite[Thm.~2]{MarkovChainStability:FossK04}.

  For system state $s = (s_1, \dots, s_{k-1})$, let
  \[ W(s) \coloneqq s_{k-1}^{\log_2(n/n-1)}. \]
  Recall that $s_{k-1} = \min\{s_i, ~i=1, \dots, k-1\}$.

  Note that $\sup_s W(s) = \infty$ as required.
  One step drift for any state $s \in \{s, ~W(s) > 0\}$ is
  \[ \mathbb{E}\left[W(S_1) - W(S_0) \mid S_0=s\right] < 0. \]
  and we have
  \[ \sup_{\{s,\, W(s) \leq 0\}} \mathbb{E}[S_1 \mid S_0=s] < 1 < \infty. \]
  Thus $S_t$, hence $L(t)$ is positive recurrent.

\end{proof}

\begin{figure*}[t]
  \centering
  \begin{subfigure}[]{.32\textwidth}
    \centering
    \includegraphics[width=1\textwidth, keepaspectratio=true]{plot_nkmix_n40_varyingk.pdf}
  \end{subfigure}
  \begin{subfigure}[]{.32\textwidth}
    \centering
    \includegraphics[width=1\textwidth, keepaspectratio=true]{plot_nkmix_n40_varyingar.pdf}
  \end{subfigure}
  \begin{subfigure}[]{.32\textwidth}
    \centering
    \includegraphics[width=1\textwidth, keepaspectratio=true]{plot_nkmix_vs_randmix_n40.pdf}
  \end{subfigure}
  \caption{(Left, Middle) Average delay in a batch mix with $n=40$; Left: fixed $\lambda$ and varying $k$, Middle: fixed $k$ and varying $\lambda$. (Right) Comparison between the average delay in a batch mix and in a sampling mix with $p_a = 1/n$.}
  \label{fig:plot_ED_sim_vs_approx}
\end{figure*}

\noindent
There are three scenarios that a message can experience upon arrival to the mix:
1) If a message arrives to an empty queue and finds $k-1$ other non-empty queues in the mix, then it will immediately depart with no queueing.
2) If a message arrives to an empty queue and finds fewer than $k-1$ other non-empty queues in the mix, then it has to wait for a formation of $k$ non-empty queues (i.e., a batch).
3) If a message arrives to a non-empty queue, it has to first wait to the HoL (head of the line) in its queue, and then wait for the next batch formation.

In a tagged queue, batch formation delay experienced by a message is completely characterized by the number of non-empty queues $R$ (excluding the tagged queue) seen by the message once it moves to HoL. If $R < k-1$, message will be blocked until any $k-1-R$ of the $n-1-R$ empty queues receive at least a message.
Using the memoryless property of message inter-arrival times, batch formation delay is distributed as the $(k-1-R)$th order statistic of $n-1-R$ i.i.d.\ exponentials, which we denote as $X_{n-1-R:k-1-R}$\footnote{$X_{i:j} \coloneqq 0$ if $i < j$ or $j = 0$.}.
Overall, a message moving to HoL may find from $0$ up to $k-1$ other non-empty queues, hence there are $k$ possible different distributions for the batch formation delay.

When $k=2$, system state is just the longest queue length and defines a birth-death process. Exact analysis is formidable when $k > 2$ because of the infamous state space explosion problem. We first present the exact analysis for $k=2$, then present an approximate method for $k > 2$, which is similar to an approximation presented for assembly queues in \cite{AssemblyQs:LipperS86}.

\subsection{Exact analysis of $(n, 2)$-mix}
\label{subsec:subsec_n_2}
In $(n, 2)$-mix for $n > 2$, there can be at most one non-empty queue at any time, hence the system state is captured by the length of the longest queue $\mathcal{L}(t)$. It defines a single dimensional birth-death Markov process as shown in Fig.~\ref{fig:fig_n_2_markovprocess}.
\begin{figure}[t]
  \centering
  \includegraphics[width=0.35\textwidth, keepaspectratio=true]{fig_n_2_markovprocess.pdf}
  \caption{Markov process for $(n, 2)$-mix. State here denotes the length of the longest queue in the mix; $0$ length means the system is empty.}
  \label{fig:fig_n_2_markovprocess}
\end{figure}

Exact analysis in this case is straightforward. Let $p_l$ be the stationary probability for state $l$. From global balance equations we find
\[ p_0 = \frac{n-2}{2(n-1)} \quad\quad p_l = \frac{n(n-2)}{2(n-1)^{i+1}};~l=1,2,\ldots \]
Ergodicity implies that fraction of the time an arbitrary queue is non-empty (i.e., average load on the queue) is $\rho = (1-p_0)/n = 1/2(n-2)$. Larger $n$ gives higher frequency of emptiness at the servers, which is natural since queues empty out faster when the mix receives messages at a higher rate.

Using the stationary state probabilities, first two moments of the length of an arbitrary queue are given as
\[
\begin{split}
  \mathbb{E}[L] &= \frac{1}{n}\sum_{l=1}^{\infty} l\; p_l = \frac{1}{2(n-2)} \\
  \mathbb{E}[L^2] &= \frac{1}{n}\sum_{l=1}^{\infty} l^2\; p_l = \frac{n}{2(n-2)^2}
\end{split}
\]

We next derive some simple conclusions for the steady state delay experienced by an arriving message. Using PASTA \cite{Pasta:Wolff82}, an arbitrary message finds the system empty with probability $p_0$ and will have to wait for the first arrival to one of the other $n-1$ queues. Since arrivals are Poisson, waiting time distribution for the message is minimum of $n-1$ $\mathrm{Exp}(\lambda)$'s, that is $\mathrm{Exp}\left((n-1)\lambda\right)$. An arriving message may find its corresponding queue with $l$ messages with probability $p_l/n$. In this case, waiting time distribution for the message is sum of $l+1$ independent $\mathrm{Exp}\left((n-1)\lambda\right)$'s, which is $\mathrm{Erlang}\left(l+1, (n-1)\lambda\right)$. Finally, it may also find its corresponding queue empty with probability $p_l(n-1)/n$ if there is another queue with $l$ messages. Then the message will not be queued and will depart immediately upon arrival together with the first message in the busy queue. Using the law of total probability, distribution of waiting time $D$ for an arbitrary message is then given as
\begin{equation*}
\begin{split}
  \Pr\{D > w\} &= p_0\; \Pr\left\{\mathrm{Exp}\left((n-1)\lambda\right) > w\right\} \\
  &+ \frac{1}{n}\sum_{l=1}^{\infty} p_l\; \Pr\left\{\mathrm{Erlang}\left(l+1, (n-1)\lambda\right) > w\right\}.
\end{split}
\end{equation*}

\subsection{Approximate analysis of $(n, k>2)$-mix}
\label{subsec:subsec_n>2}
We here adopt the following approximating assumption;
a message \emph{upon moving to head of the line (HoL)} in its queue finds each other queue independently non-empty with probability $p$. Given that, and the fact that there can be at most $k-1$ non-empty queues at any time, the number of non-empty queues seen by a message moving to HoL is distributed as $R \sim B | \{B \leq k-1\}$ where $B \sim \mathrm{Binom}(n-1, p)$.
Given $R = r$, message will have to wait before getting dispatched for the first $k-1-r$ among all the $n-1-r$ empty queues to receive at least one arrival, that is, the message will experience a batch formation delay of $V|\{R=r\} \sim X_{n-1-r:k-1-r}$.
Then $V$ for an arbitrary message, which \emph{arrives to a non-empty queue in the first place}, is approximately distributed as
\begin{equation}
  \Pr\{V \leq v\} = \mathbb{E}_R\left[\Pr\{X_{n-1-R:k-1-R} \leq v\}\right],
  \label{eq:eq_MG1efs_Vcdf}
\end{equation}
where $\mathbb{E}_R$ denotes expectation with respect to $R$.

Batch formation delay for messages that arrive to an empty queue is differently distributed (than $V$ above) because they find each other queue non-empty with a different probability than messages that arrive to a non-empty queue.
Let a tagged queue be left empty by a departing message $m$. If the queue was left non-empty, the next message in line would have immediately moved to HoL. Then according to our earlier assumption, the number of non-empty queues left behind non-empty by $m$ is distributed as $R$.
Including the next arrival to the tagged queue, say message $m^+$, the next batch formation requires $k-R$ of the $n-R$ empty queues to receive at least an arrival.
Given that $m^+$ is among these first $k-R$ arrivals and messages are generated from i.i.d. streams, probability that $m^+$ is the $j$th among the $k-R$ arrivals is $1/(k-R)$.
Thus, batch formation delay experienced by a message arriving to an empty queue is approximately distributed as
\begin{equation}
  \Pr\{V_e \leq v\} = \mathbb{E}_R\left[\sum_{j=1}^{k-R} \frac{\Pr\{X_{n-R-j:k-R-j} \leq v\}}{k-R} \right].
\label{eq:eq_MG1efs_Vecdf}
\end{equation}

\begin{proposition}[Approximation by decoupling the queues]
  An $(n, k)$ batch mix approximately behaves to each sender as an $M/G/1/\text{efs}$ queue with regular service times distributed as \eqref{eq:eq_MG1efs_Vcdf} and exceptional first service times distributed as \eqref{eq:eq_MG1efs_Vecdf}.
\end{proposition}

Approximation requires estimating $p$, for which a natural estimate would be the average load $\rho$ for a queue, which is known for an $M/G/1/\text{efs}$ queue to be \cite{MG1ExceptionalFirstBusy:Welch64}
\[ \rho = \frac{\lambda \mathbb{E}[V_e]}{1 - \lambda\left(\mathbb{E}[V] - \mathbb{E}[V_e]\right)}. \]
Moments of $V$ and $V_e$ depend on $p$, hence on its estimate $\rho$. The equality above can be solved numerically to find a value for $\rho$.
Simulated and approximated values of delay are compared in Fig.~\ref{fig:plot_ED_sim_vs_approx} for a $(40, k)$ batch mix. Despite the strong independence assumptions employed in deriving the approximation, it compares well with the simulations for low values of $k$, which is the practically relevant case since the incurred delay must be kept below a threshold in practice.

\section{Sampling mix}
\label{sec:sec_samplingmix}
A sampling mix also implements an $(n, k)$ model; mix buffers the messages from each of the $n$ connected senders in a separate FIFO queue and each sender communicates with a disjoint set of at most $m$ receivers. However, buffered messages are forwarded differently compared to batch mix; as soon as a message arrives to the mix, $k$ queues are randomly selected and released. Releasing a queue allows it to forward a message if it is non-empty.
Specifically with probability $p_a$, the queue that receives the arrival is selected together with $k-1$ queues chosen uniformly at random from the remaining $n-1$ queues, or with probability $1-p_a$, the queue that receives the arrival is skipped and $k$ queues are selected uniformly at random from the rest of the queues.

\begin{theorem}
  \underline{Average load} of a queue in an $(n, k)$ sampling mix is given as
  \[
  \rho = (1 - p_a)/(k - p_a)
  \]
  and the \underline{average delay} experienced by a message is given as
  \[
  (1 - p_a)/\lambda(k-1).
  \]
\end{theorem}
\begin{proof}
  The length of a particular queue in the mix defines a birth-death process with a state space of non-negative integers and transition rates given for $i \geq 0$ as
  \[ \Pr\{i \to i+1\} = \lambda(1 - p_a), ~~ \Pr\{i+1 \to i\} = (n-1)\lambda p_o, \]
  where $p_o = p_a(k-1)/(n-1) + (1-p_a)k/(n-1)$.
  Stationary state probabilities are easily derived, using which average length of a queue is found, then Little's law is applied.
\end{proof}

As shown in Fig.~\ref{fig:plot_ED_sim_vs_approx}, average delay of a sampling mix scales much better with $k$ (i.e., decays as $1/(k-1)$) compared to a batch mix (i.e., grows exponentially in $k$ beyond a value).
However, a sampling mix cannot provide a well-defined anonymity guarantee while a batch mix can (see Thm.~\ref{thm_batchmix_anonymity}).

\begin{theorem}
  All receivers of a target sender connected to a sampling mix can be identified with intersection attacks by an adversary that can infer the state of the mix.
\label{thm_samplingmix_statefulattack}
\end{theorem}
\begin{proof}
  Queues in the mix will empty out infinite number of times under stability. Suppose that the adversary can detect whenever the mix becomes empty.
  Firstly, assume $p \neq 0$. Given that a message from a target finds the mix empty, the arriving message will be forwarded with probability $p$ or no message will depart. If the message is immediately forwarded, a receiver of the target will revealed.
  Number of times repeating this attack required to identify a receiver is geometric with $p$, hence attack will be almost surely successful in finite time.

  Secondly, assume $p \neq 0$. Given that a message from a target finds more than one non-empty queue in the mix, the following departure may include messages going only to the receivers of the non-target senders. This reveals which receiver does not belong to the recipient set of the target. Eventually adversary will be left with the correct set of receivers.
\end{proof}

Sampling mix will empty out more frequently and cannot often build a state complex enough to hide the origin of the outgoing messages when $k$ is larger and/or arrival rate $\lambda$ is lower, hence intersection attacks with state knowledge will resolve faster.
Moreover, even simple intersection attacks that do not require state knowledge can deanonymize a target connected to a sampling mix if $p_a$ is not chosen carefully.

\begin{theorem}
  All receivers of a target sender connected to an $(n, k)$ sampling mix with $p_a \neq 1/n$ can be identified with intersection attacks that do not require state knowledge.
\label{thm_samplingmix_statelessattack}
\end{theorem}
\begin{proof}
  Once a message arrives to a queue in steady state, probability of a departure from any other queue is $q = p_o\rho = (1-p_a)/(n-1)$.
  Suppose $m=1$ and $p_a > q$ ($p_a < q$). Adversary can record the message departures per arrival from a target sender.
  By the law of large numbers, the greatest (smallest) number of departures will almost surely be observed on the correct receiver in the limit.
  Same idea applies when each sender communicates with multiple receivers.
  Finally, $p_a = q$ if and only if $p_a = 1/n$.

  In other words, in order to preserve anonymity, it is necessary to maximize  the uncertainty within the steady state probabilities of message departures from the queues.
  R\'enyi entropy is commonly used for measuring uncertainty and uniform distribution is known to maximize it, which is achieved by setting $p_a = 1/n$.
\end{proof}

\section{Conclusion}
\label{sec:sec_conclusion}
We proposed a queueing model for batch anonymity mixes and showed that batch a mix with a deterministic message dispatching policy ensures that no sender-receiver pair is exposed (referred to as anonymity in this paper) under intersection attacks. On the other hand, its incurred delay on message transfer grows quickly as the batch size gets close to the number of connected senders.
We introduced a sampling mix model that implements a randomized message dispatching policy. Sampling mix permits an exact delay analysis, which allowed us to show that randomization allows cutting the tail of delay immensely, however, at the cost of giving up on the anonymity guarantee implemented by its deterministic counterpart.
We hope to next use our proposed queueing model to understand the performance of mixes in terms of the time-to-deanonymize metric vs.\ the incurred message transfer delay.

\section*{Acknowledgments}
This research is based upon work supported by the National Science Foundation
under Grant No.~SaTC-1816404.

\bibliographystyle{IEEEtran}

redpajama_set_name: RedPajamaArXiv


In the development workshops you will receive theoretical and practical knowledge on mediumship and sensitivity. This means, you will learn about clairvoyance, clairsentience and clairaudience and other forms of mediumship. You will discover your own mediumistic and physic gifts and learn how to deal and handle them and use them in an appropriate manner in service to others. I offer a platform to gather experiences, make exercises and build up trust in your perceptions and the spirit world.
You will learn "sitting in the power" to strengthen your link with your spirit friends and helpers. This, on one hand, is indeed an enrichment for your life, on the other hand it helps you building up the partner- and friendship between you and the spirit people. It also helps you to develop your psychic and mediumistic potential. We will touch the spirit within and the power of God – however you may perceive it to be – I call it the power of Love and Light.
To attend these workshops you need to be open for new things, be tolerant and have your feet on the ground. The willingness to work on and with yourself, as well as to work with the unseen world is just as important as your earnestness, respect and dedication towards the subject.
At present there are no English spoken development workshops nor circles. If you are interested in English spoken sensitive, psychic and spiritual unfoldment, please let me know. Once there are 4 people interested in the workshops I will be more than happy to organise it.


ML10 1611-Fan 1 Failure Fan Solution Not Sufficient False positive ?
I left it to sleep for two days and try to boot again - it booted and worked properly for another 3 months.
Now after another electricity lost it refuses to boot again with the above fan failure.
Fan-1 is system fan, Fan-2 is CPU fan. Both are working on full speed. Both has 6pin inline connector. I measured signals on fan 1 connector ... red wire +12V, black GND, blue PWM - voltmeter shows +3,5V; yellow "OK" is +3,5V when it starts, but it falls to 0,15V in a second, therefore I think Fan is OK.
Ambient temperature is 20°C, highest temperature (40°C) is measured on CPU, all OK, so I do not understand, why is "fan solution insufficient" ? Is there any way how to disable Fan 1 checking in BIOS ?
Any tips appreciated ! TIA !


text:
Q: __str__ method showing None value for a class local variable I'm having an issue where a class variable is set correctly and displayed correctly inside __init__() when using print, however, trying to display that same variable inside the __str__ method displays None. Three other variables generated the exact same way do not exhibit this behavior.
Here is my code:
class RestRequest(urllib2.Request):
    def __init__(self, host, path, data=""):
        self.host    = host
        self.data    = data
        self.path    = path

        print "RestRequest::init() path: %s" % self.path
        print "RestRequest::init() data: %s" % self.data
        print "RestRequest::init() host: %s" % self.host

        urllib2.Request.__init__(self, self.path)

    def __str__(self):
        return "RestRequest::__str__() host='%s', path='%s', data='%s'" % (self.host, self.path, self.data)

The print statements inside __init__() display the correct values. The value of host inside __str__ is None. The path, method and data variables display correctly inside __str__.
Any ideas?

A: You're running into a naming clash with attributes on the super class.  You'll need to change the names of your attributes -- or set them after urllib2.Request.__init__ (assuming your values are compatible with what the superclass wants).

A: urllib2.Request sets self.host = None in __init__. To prevent unexpected things happening, call the superclass __init__ earlier in the subclass __init__:
class RestRequest(urllib2.Request):
    def __init__(self, host, path, data=""):
        urllib2.Request.__init__(self, path) # sets self.host = None
        self.host = host # resets to correct value
        self.path = path
        self.data = data

redpajama_set_name: RedPajamaStackExchange


text:
DIVEDAPPER INTERVIEW WITH JERICHO BROWN
Posted by kdrose1 in Authors, Culture, Genius, Literary, Poetry, Writing
Literary, Poetry, Reblogged Posts
"Even language is not on our side."
JERICHO BROWN
Interviewed By: Kaveh Akbar
About Jericho
Jericho Brown is the recipient of a Whiting Writers' Award and fellowships from the John Simon Guggenheim Foundation, the Radcliffe Institute for Advanced Study at Harvard University, and the National Endowment for the Arts. His poems have appeared in The New York Times, The New Yorker, The New Republic, Buzzfeed, The Pushcart Prize Anthology, and The Best American Poetry. His first book, Please (New Issues 2008), won the American Book Award, and his second book, The New Testament (Copper Canyon 2014), won the Anisfield-Wolf Book Award. He is an associate professor of English and creative writing at Emory University.
Jericho's Website
How do we have both ecstasy and irony in one place at one time?
There is a face to every poem. It's got a nose, it has eyes. Sometimes it only has one eye. Some really good poems have thirty.
I learned years ago that the thing you are avoiding is actually the big thing.
Nobody has gotten more lagniappe than Jericho Brown.
I'm not after a rejection of being a Black gay poet. I'm after understanding what being a Black gay poet might allow me.
We can accept the fact that we're artists as a burden, or we can accept it as the best thing that could possibly ever happen to anyone.
We have to be honest about the work we're doing, and honest about the fact that thoughts lead to actions. Poems are meant to adjust our thoughts and our feelings.
If we can get you to the point where you see yourself as white as opposed to seeing yourself as normal, then that's a good start.
I don't know a poet who is not teaching, or mentoring, or editing a magazine, or running a blog, or doing a contest, or running a reading series.
J: Don't you go to school in Tallahassee?
K: Yeah, I'm getting my Ph.D. at FSU, so I go to school and I teach. Your pressmate, Erin Belieu, is here.
She's just a lovely soul.
Haha, she really is. You know her, right?
Of course I know her, I love her!
I do, too! You just sound so happy.
I'm full of positive statements. I think maybe people aren't used to that. And so it says something about what we're going through, right? That when we hear a positive statement, we immediately have to be skeptical about it. I think part of that is because we're poets and so all we're ever doing is thinking critically. It's true that in order to do what we have to do, we have to do that at every turn. We have to think critically and question all of the things that are coming our way. But it becomes problematic when we find a reason to question our joy, which we should be allowed to have like anyone else is allowed to have. How do we begin to balance that? How can we be people who are indeed critically thinking and problematizing in a healthy, skeptical way, and yet still fully enjoy the pleasures that we're meant to enjoy as it relates to ecstasy, and joy, and life as we know it. I want to figure out how to get the spirit of that into my work.
And I know from your work you are interested in the same thing, right? How is it that I represent myself as a spirit? How is it that I represent myself as something and someone continuous?
Oh, very much.
That representation of the self is a representation of the truth of the human race. And yet, how do I also represent the fact that I know that the human race doesn't always know how to act like that? We don't always act like who we really are. We don't always perform in ways that would suggest we are made of spirit. This is why I love poetry—I don't think any other art can get at that in the way poetry does. I don't think any other art can get at how we move back and forth between fear and faith in the way poetry does. That's what I'm really interested in doing and that's what I'm really interested in reading. I'm really interested in reading the work that makes that which is complex, complex. Makes difficult that which is difficult.
A lot of the work that I read and don't like is the work that wants to make simple that which is difficult. Or wants to make difficult that which is really simple.
Totally, totally. So much of what interests me about poetry, and your work specifically, is the way that it has this compulsion to celebrate. But then there are all these external forces conspiring against that deep internal joy, that deep internal exuberance. So it's the friction—what creates the sparks in these poems is often the friction between that deep desire to acknowledge that exuberant core and the external station that would conspire against it.
Yes, yes. I mean, this is what we've been talking about for years—how American poetry is descended from Dickinson and Whitman. That any American poet must find a way for each one of their poems to embody both of those spirits at once. How do we have both ecstasy and irony in one place at one time? Because, in actuality, those are the bodies we live in. Our bodies have those things in one place at one time. I don't know whether or not this is the case for everyone, but I think it's also important to understand that I am descended from those two, and that I am also descended from Phillis Wheatley. Being descended from Phillis Wheatley allows me to see what Dickinson and Whitman offer me through a very different kind of light.
At the same time that I am as American as Dickinson and as Whitman, I am also as rejected, or as descended of slaves, as trapped, as kidnapped, as someone like Phyllis Wheatley. So how is that possible? How do I write from a position that is Whitmanian and Dickinsonian, and yet understand that that position in and of itself, because it is the American position, means to kill me. Right? There was no plan for my existence as a thinking being. There was never any plan for that. As a matter of fact, all of our founding documents prove that there was a plan for just the opposite. The plan was actually that I not exist as a thinking being, right?
So that's another thing poetry allows me. It allows me to deal with being an artist of many backgrounds and to hold great complexity in my very being.
That complexity becomes a charge as you move forward.
Yeah. For me, it becomes a way to think and re-think about tradition. I have the opportunity to carve something new in a tradition—in several traditions—that is a very long and very old tradition. And that seems to be our job. How do we move forward within the tradition as individuals? So says T.S. Eliot. Do you understand what I mean?
Yeah, totally.
And that's exactly what I'm after. I'm not after a rejection of being a Black gay poet. I'm after understanding what being a Black gay poet might allow me. I'm not the only, or the first, Black gay poet, so what does being a Southern-gay-Black-poet allow me? What can that bring forth in my work? That's what I'm really interested in seeing. I'm interested in looking at the larger—supposedly larger tradition and all of the traditions within that supposedly larger tradition. I'm going to change that because I hate the word so much because obviously I am one hundred percent an American poet. I am a part of the larger tradition. I am an English-speaking poet.
Even language is not on our side. Even in that moment, right? And so that's what I mean about being skeptical and questioning. We have to do that every moment. We have to take every opportunity we can to correct ourselves, and that's what poems allow us to do. That's why revision is so important. It gives us the opportunity to look back at what we've done and say, "Did I get it right?" before we try to get the work in print. Do you understand what I mean?
Right, yeah, absolutely. Go ahead.
No, I talk so much.
It's so good.
I hardly ever get to talk to you, Kaveh, and it's all I ever want.
The best conversations are the ones where I do the least talking. I'm coming from a different position than you, but America didn't anticipate the presence of people like me being American either. I was born in Tehran, but I've lived my whole life here in America. There's a way in which you come into this negative space where your very humanity is this gap in the planning that this nation had for itself. There is a way in which you can harness that.
That's fascinating. That's exactly what I mean. I just think it's important that we accept the fact that we're writers. I think we should accept the fact that we're artists. Obviously we don't have any choice in that matter. All of us are clearly very smart people. There are other things we could be doing that would be much more financially advantageous. So we can accept the fact that we're artists as a burden, or we can accept it as the best thing that could possibly ever happen to anyone. And if we can accept that as the best thing that could possibly ever happen to anyone, that changes what we use in our poems and how we use it. And it changes how we look at what we use and how we use it.
The other truth, Kaveh, is that when we're writing a poem we're not really thinking about these things. At least for me. I mean, I'm thinking about these things all the time, but I'm thinking about them because I'm thinking about them in the same way that I breathe. I'm thinking about whatever I think about whether I like it or not. It happens inherently and intuitively.
It's like a compositional part of your consciousness.
Exactly, exactly. And what I'm actually thinking about when I write a poem, I mean what the poem allows me to do is to have those things, and yet to have them at bay. Because when I'm writing a poem, I'm thinking about line length, and line break, and structure, and the kind of ending I want to make, and how the opening works. "What does climax mean in a poem?" is the question that I ask myself all the time. "What is the middle of the poem?" Like, "where is the middle?" "What does it really mean to make a turn in a poem?" I used to tell my students that you only get to say 'but' in a poem once.
Totally, I love that.
But immediately after I told my students that, I went about the business of trying to write poems where I could use 'but' more than once. We're really trying to see what we can do when we write a poem. "How does this work in second person?" That's where we're really getting so many of our joys from.
Yes. That seems very true to me. You have this sort of foundational consciousness where you are constantly thinking about these larger questions, but when you get into the actual process of writing a poem it becomes this game of language.
And to talk about writing a political poem, or to talk about writing a socially engaged poem, just the action of writing a poem is inherently political because you are slowing down the metabolization of language, which is an inherently political act and a socially engaged act because you're actually thinking about what you're saying. There's the poem in The New Testament , "Found: Messiah," where you take this cruel, sort of ghoulish, blog post, and you slow down the language in a way where it just becomes so—I'm getting literal goosebumps just talking about it now—it just becomes so staggering and devastating, and it's got that ending, you know? That's an example of how our formal conversation that's going on in our head just sees language and then changes it into something totally different.
Yes, I agree completely with that. I mean, that's exactly what I wanted to do and I thank you for saying that. It is true that to simply sit, and think and really contemplate a thing and see it for what it really is, is a political act. But I do want to add that there is a face to every poem.
Did you say a face?
Yeah, a face. It's got a nose, it has eyes. Sometimes it only has one eye. Some really good poems have thirty. Every poem has a face, and on the face of the poem you can tell whether it's interested in supporting the status quo or whether it's interested in questioning the status quo.
Absolutely, that's a great way to say that.
So there is the work that we do when we write a poem that is automatically political. But there is another kind of work that we do when we write a poem that tells us exactly which political side we stand on.
Yeah, yeah. Totally.
We have to be honest about the work we're doing, and honest about the fact that thoughts lead to actions. Poems are meant to adjust our thoughts and our feelings. We read a poem that we love and we don't think about or see things the same way we did before we read that poem. That's the litmus test. And if that's the case, if our thinking does indeed change, then it follows that we have no choice but for our actions to also change. And I don't think there's anything wrong with that.
The work still has to be well crafted. It's funny, when you start talking about this stuff, people like to assume that you mean bad poems are okay to write. I don't think bad poems are okay to write. I don't want to read them. The other thing I think people assume when you start talking about this stuff is that you want them to go write about something that they haven't actually thought about. And that's not what I want, either. If you're writing about something you haven't really thought about, then you're not going to write a good poem. You know what I mean?
I absolutely know what you mean.
Our poems have to come from our obsessions, our passions, the things that wrack us, our questions about the things that we don't understand but really want to understand, right? The things that drive us up a wall. For instance, I do have questions about why it is that more poets who aren't Black have so little to say about things like police brutality, and I have those questions only because I wouldn't have had those same questions however many years ago. I definitely have those questions now because, you know, everybody is watching the same television news. And everybody has the same social media and everybody is walking around with devices. So there was a time where I could completely understand that if something was not your experience, then you could not have anything to say about it. But it seems to me these things are to a point now where they are indeed everyone's experience, in some way or another. But, at the same time, I don't want people writing about a thing that they haven't really thought about.
I'm not sending you in to write a poem about race when you haven't known that you've had a race your entire life. I would like for you to get that down first. If we can get you to the point where you see yourself as white as opposed to seeing yourself as normal, then that's a good start. So that's what I'm for. There are people who see beautiful trees and don't even notice them, but I don't think they need to write about nature. You don't need to write about saving our planet, which is dying by the way, if you haven't thought about the fact that she's dying because your poem is not going to be good. You don't realize that, for instance, when you were a kid you walked around on concrete with bare feet. Now realize the fact that you will scorch the bottom of your feet if you put your bare feet on concrete today. If you want proof that the planet is indeed getting hotter, use your memory. Those are the kinds of things that are of interest to me—that we actually make material out of what we are thinking about, and that we begin to question why we aren't thinking about the things that are right in front of us. That seems weird to me.
I would go as far as saying we are not questioning the things that are right in front of us because we have been allowed not to. We have the privilege not to. And there are some privileges we should not take advantage of. Sooner or later, if you keep seeing people get shot, if you realize there is no proper way for Black and Brown people in this country to interact with law enforcement, there is no having been subdued, or having completely complied, that means you won't just get killed. I think we should make a decision about whether or not we're okay with that. I don't know who has not seen enough of these videos to know that if you have yet to think about this, then you've also said you are okay with it.
Right, right. I keep thinking about what you said about the poems having faces, and how the The New Testament epigraph, a James Baldwin quote, corresponds directly to that, "one's enemy—sees the face you wear, and this face can elicit the most extraordinary reactions." I keep thinking about the poems that are willfully clinching their eyes closed to try to deny the existence of these things that are very much a part of our daily experience. But if a poem isn't paying attention to the world, then I'm not going to be inclined to listen to it.
Yes, exactly. Exactly.
This is very much a part of everybody's daily experience unless they are actively trying to avoid it, which is a whole other conversation. And for it not to permeate the conversation at all is telling. It's telling in the ways that you are describing.
Yeah, yeah, yes. I mean, there has to be some way that we can write a poem about running on the beach and enjoying running on the beach. A lot of us are spending a lot of time running on the beach. I'm serious. There's got to be a way that we can write the poem about looking forward to our weekend getaway in the Hamptons. I mean, seriously, that's really what many of us are thinking about. We're thinking about how we can get away to the Hamptons. But, sooner or later, we have to question why we are thinking about some things but not thinking about others? And we have to write poems about that 'why?' "Oh yeah, I have seen this over and over and over again, and I'm not thinking about it, so maybe I could at least write a poem about why I'm not thinking about this thing that I'm seeing over and over again."
Yeah. And I think that the negative space of something that is very deliberately left out of a conversation becomes an element of the poem, too.
I write a lot about addiction now, but it was something I had been trying to avoid putting in my work for a long time. It was just this conversation that I didn't want to have anywhere that anyone was actually going to be able to read it. You know what I mean?
Yes, yes, yes. Oh, I know.
You've spoken in the past about how your family didn't know about your HIV status, but you've since written about that more. There are these things we don't want to engage in our work that then ultimately find their way into the work.
Yeah, I learned years ago that the thing you are avoiding is actually the big thing. The thing you are resisting is actually the thing that is begging to come to the page. It's like, "Hey talk about me, I'm here."
It's something that's sort of been marinating in your subconscious for so long that it's really going to come out. It's really going to have something to say when it's ready.
The marinating that it has done is what allows you to deal with it in terms of line, and line break, and other craft elements. That's what allows you to actually begin to make metaphor for it. Because you dealt with it in your head for so long that now you can finally make something of it.
Yeah, yeah. I love that.
You can make something of it without ending up in tears. The tears that you have when you write about that thing are different from the tears you have, in terms of your memory, of being in the midst of that thing.
It's fascinating to think about the sort of alchemy of that action. You take a memory that turns into tears. Already there's this correlation between the abstract and the concrete, where this memory is this very abstract thing, and these tears are this very physiological response. And then you can turn that into this poem, which is this thing that has ink and is on a page, or it's in the air and it has vibrations and sound. It's this consistent transmutation of the lived experience into all of these different forms. There's something really really charged and poignant to me about that. I've never gotten over that magic.
I think it's really wonderful that you're doing all of the work that you're doing as a member of the poetry community. Can I just say that? I think it's wonderful. I love that about you, and I love that—I just love that we're all together.
And we like each other. A lot of us really don't like each other. I didn't know this at first. I'm really only recently coming to have a complete understanding of this. But, you know, a lot of us have whatever kind of history we've had with each other, or we find our poetics to be so diametrically opposed that we are not interested in one another. That does happen. But the other thing that happens that I really love about you, and that I love about poets is that everybody, and I've said this elsewhere, but I really believe everybody is such a wonderful ambassador to and for poetry. I love that. I love the fact that you're doing this interview with me and we're having this conversation and we're doing this because we somehow think this is for poetry itself. As opposed to it being for Jericho, or for Kaveh. Do you understand what I'm saying?
I don't know a poet who is not teaching, or mentoring, or editing a magazine, or running a blog, or doing a contest, or running a reading series, or—I don't know that you could say that about all the other writers. In terms of the "in it" that we all do, that everyone of us do to keep the thing alive, to keep the thing going and talked about, even if it's only among ourselves. We're all in it to either make poetry better for one another, or to introduce it to those who have yet to meet its magic. I just love that about poetry. And I'm really glad that we get to do that together, and I appreciate you.
You always think of me, and that's so sweet. You always take these pictures of my poems and tweet them out into the world. And I always feel like, "Oh, wow. He read my poem." I really appreciate that. I'm serious, you don't know how much that means to me. When y'all had that conversation on All Up In Your Ears with Jonathan and francine and Gaby, I never told y'all by voice, but I just sat there and cried.
Yes! I mean, I've been wanting to be a poet for a very long time. When I was a very young, I mean like six, seven, eight years old, I was like, "I'm going to be a poet." And I had no idea what that meant. I just kept saying it out loud, and my mom and dad kept telling me, "Don't say that." So to be in a position where I could hear people who I admire so much, people I respect, actually making conversation out of the work that I've done—that's it. That's a dream come true.
I've always said that one of the most important days of my life—I'd given a reading at a Cave Canem anniversary, or something—this is before I'd had a book come out. Terrance Hayes was at the reading. And when I was very young, I mean 22 years old, we met and he was a wonderful mentor to me. He really taught me how community works in poetry. I really felt like I learned that from him. I remember giving this reading years after having met him, and I remember after the reading he came up to me and he told me that he was proud of me. I remember thinking to myself, "Well that's it. Everything else is gravy." I still feel that way. And so I have extra. I mean really, I've gotten so much extra that I always feel that it's my responsibility to say yes to every damn thing. Nobody has gotten more lagniappe than Jericho Brown.
I really appreciate that.
That's beautiful.
And it's what I mean to do when I write poems. I mean to write poems that folk can look at and definitely say, "Okay, he's really pushing. He's trying to do the work." They don't even have to say that I succeed every time. But I want it to be clear in my work that I'm not playing. This is who I am. There's plenty of play in the work, obviously, yes. But I mean to be a poet. I intend it. I mean to progress this tradition. I'm in it. I'm in it for it. The only thing that's going to stop me is death. As long as I'm here, that's what I'm going to do. I know that people like you and people like Gaby also mean that. That's the thing that excites me. I love that y'all have that podcast and that y'all just sit around and talk about a poem a piece. That just floors me. People can pretend that's not a big deal, but that's such a big deal. To create that kind of space. It's a big deal, and we have to continue to do this.
I was always somebody's child when I was first writing. I still feel like I'm somebody's child. There was always somebody taking me to the side, asking to see my poems, telling me not to send them nowhere because they were a hot mess. I'm not doing anything that I'm supposed to be doing if I'm not also doing that. I gotta write the best poems I can ever write, but I've also got to be a member of this community in every way that I can possibly be a member of it.
Oh, I think so much of that—and we're almost out of time, so I'll try to wrap it up after this—
Yeah, because I'm about to go get my hair done, and I've driven all the way to the salon on this phone, and I'm like, "Girl, Ms. Candy is gonna get in my head. I'm gonna come out of here a new man, honey."
I'll let you get to Ms. Candy in just two shakes of a lamb's tail, but just to put a bow on everything—I think that there are some for whom poetry is just this constant source of joy, and exuberance, and vitality, and whatever you want to call it, and it becomes too unbearable to hold it all in to yourself. There's no way to hoard that sort of joy, and so you have to push it out. And I think you are an exemplar of that. You brought the word 'ambassador' into the conversation, and I think that's very apt. I think you are an exemplar of that, of being a good ambassador for the craft. You're listed in the acknowledgements of every other book I read. And I think that's just what we do. If you really care about this craft the way that people who really love it tend to, you just have to push it outward because it's unbearable to hoard that kind of joy.
Exactly, exactly.
Do you have any final words you want to say before I let you go?
No, I just want to tell you that I love you and I really appreciate you for calling me.
LINK http://www.divedapper.com/interview/jericho-brown/

redpajama_set_name: RedPajamaCommonCrawl


text:
(-)School Breakfast Program(2)
Policy Memos(2)
Program Operator(2)
State/Local Agency(1)
State Agency(2)
(-)Smart Snacks(2)
Resource | Policy Memos | FNS-GD-2014-0053
Transition of Foods and Foods of Minimal Nutritional Value to Smart Snacks in School Standards
This memorandum is to inform you that all Foods of Minimal Nutritional Value exemptions will end on June 30, 2014. Therefore, the attached list, Exemptions Under the Competitive Foods Regulation will become obsolete on July 1, 2014. Beginning July, 1, 2014, the interim final rule for Smart Snacks in School (Smart Snacks) will go into effect for School Year 2014-2015. Therefore, any competitive foods and beverages must meet the nutrition standards specified in the interim final rule.
SP53-2014
Grain Entrees Related to the Smart Snacks in School Standards
The purpose of this memorandum is to clarify the status of grain-only items as entrées under the Interim Final Rule titled "National School Lunch Program and School Breakfast Program: Nutrition Standards for All Foods Sold in School as Required by the Healthy, Hunger-Free Kids Act of 2010," also known as the Smart Snacks in School rule.


text:
Statewide helpline created to serve Florida's veterans; Jacksonville attorney hired to handle First Coast cases
A helpline for Florida veterans is funded through the state's Department of Veterans Affairs and works in partnership with Jacksonville Area Legal Aid.
Author: Robert Bradfield
Published: 10:42 PM EST December 4, 2019
Updated: 11:52 PM EST December 4, 2019
JACKSONVILLE, Fla —
Declan Duffy is reporting for duty. The Army veteran is helping fellow First Coast veterans with legal assistance from his new office in downtown Jacksonville.
He was hired by Jacksonville Area Legal Aid [JALA] for its new Veterans Legal Services Unit, which is part of a new statewide helpline funded through the state's Department of Veterans Affairs.
"Trying to reintegrate can exacerbate other issues such as housing, family relationships," Duffy said. "The program is hopeful to help alleviate those problems that may be related to military service."
According to JALA, the helpline provides a convenient point of access for Florida veterans for legal issues relating to housing, family law and child support, driver's license suspensions, disability and veterans' benefits, expungement and more.
"As a veteran, I realized there was always the need for civil law issues," Duffy told First Coast News. "The question was who would bear the cost of it?"
Duffy served in the Army from February 2002 to December 2006. During that time, he was injured and received an honorable discharge. He earned his law degree from Florida Coastal School of Law and worked as a prosecutor in Clay and Duval Counties.
The work, he says, allows him to pay it forward by helping veterans who come back home and face personal challenges.
The helpline is managed by Bay Area Legal Services in Tampa. Duffy is one of three veterans specialist attorneys who respond to referrals from the helpline, as well as handle civil legal issues on-site and in court.
Veterans can reach the Florida Veterans Legal Helpline at 1-866-486-6161.


Payday! Transferred enough to the Anniversary Cruise Account so that when our last auto deposit of the year goes through (on 12/15/13) that will meet the goal for the year of $3000.00.
Also transferred over December's Escrow amount, normally do that with the paycheck on the 5th, rather then the one on the 20th, but we have enough in checking to do it now, so figured might as well get a little ahead.


Poor Katie- ear infections are NO fun (I STILL get them, so I know they HURT)! Hope the doctor can fix her up! Good luck!
That rug is adorable and will look so perfect under Katie's little table and chairs (that is where you mentioned making it for, right?). Cute!
I love that rug! Is there some sort of tutorial online for something like that? I refuse to buy a Pottery Barn one that will put us into the poor house for a month.
yes to under the table! wouldnt it just look so adorable there? and i dont know about a tutorial, other than if you know how to crochet, then all you need is a really big needle (you can find one at walmart, surprise surprise that i mention walmart!) and i think the fabric strips are 2 1/2 or 3 1/2 inches in width, still learning and i KNOW mine wont even look remotely as cute as that one, i think her grandmother's sister made that one!
i will post my progess as time goes on~ wish me luck!
Cute little girlies! I hope you get Katie's ears all figured out. I love your friend's cute stove, it totally reminds me of Rachael Ray's, which I drool over whenever I watch 30 Minute Meals.
We love tubes! They make life so much more bearable! Maggie and Mary have both had them and Sarah has an appointment! Good luck!
Oh and after you learn how to make the rug, you need to teach me! I know how to crochet so maybe it won't be to hard.
Learn how to do that rug so you can teach me when we invade your home.


text:
Google Brings Flutter to the Web in Technical Preview
Posted on May 7, 2019 by Paul Thurrott in Android, Chrome OS, Cloud, Dev, Google, iOS, Mac and macOS, Mobile, Windows 10 with 3 Comments
Google had previously announced plans to bring Flutter, its cross-platform mobile development framework, to the web. This week at I/O, however, the firm demonstrated this capability and released a technical preview.
"Today marks an important milestone for the Flutter framework, as we expand our focus from mobile to incorporate a broader set of devices and form factors," a blog post credited to the Flutter Team notes. "At I/O, we're releasing our first technical preview of Flutter for web, announcing that Flutter is powering Google's smart display platform including the Google Home Hub, and delivering our first steps towards supporting desktop-class apps with Chrome OS."
To date, Flutter has provided a way to build apps that run on both Android and iOS while retaining the unique look and feel of each platform. But the firm previewed Flutter's coming desktop capabilities back in February, when it announced that its future involves web, Windows, and Mac development as well. Today, Google is adding Linux and embedded to that list, too.
This week's technical preview is the first step, and it adds support for Flutter-based web apps.
"Flutter for the web is a great way to build highly interactive, graphically rich content, where the benefits of a sophisticated UI framework are keenly felt," Google explains, "It is not as a general purpose replacement for the document experiences that HTML is optimized for."
Flutter for the web will deliver "fast, jank-free" 60 fps interactive graphics, consistent behavior and visuals with Flutter on other platforms, high-productivity developer tooling that integrates with existing development patterns, and support for core web features across all modern browsers. Google says. Going forward, the firm will add support for basic text features (copy/paste, selection), plugins, Progressive Web Apps, DevTools debugging, and more.
On the mobile side, Flutter 1.5 is out now, too, adding "hundreds of changes in response to developer feedback, including updates for new App Store iOS SDK requirements, updates to the iOS and Material widgets, engine support for new device types, and Dart 2.3 featuring new UI-as-code language features."
Flutter for Desktop and Flutter for Embedded Devices are both available in experimental forms, too, and Google is issuing a new comprehensive Flutter training course for those looking to get started with this exciting framework.
Tagged with Flutter


text:
American Idol Finalist Josh Gracin Checks Into Hospital Following Suicidal Facebook Post
The Season 2 finalist posted a concerning message on his Facebook account on Friday, which caused worried relatives to contact the local police who were able to locate Gracin and bring him home. The singer...
By Hannah Woodhead in Lifestyle / Showbiz on 16 August 2014
Autopsy Fails To Shed Light On Michael Johns' Sudden Death
In the days after the death of American Idol alum Michael Johns, his sudden passing was thought to be the result of a blood clot. However, an autopsy reportedly failed to determine the cause of...
By Victoria Pavlova in Music / Festivals on 05 August 2014
American Idol Singer Michael Johns Dead At 35
Former American Idol contestant Michael Johns has died, aged 35.The series seven finalist, originally from Perth, Australia, passed away on Friday (01Aug14), with the administrator of his website confirming the news in a post on...
Friends, Family And Fellow Musicians Mourn The Death Of "American Idol" Alum Michael Johns
Friday saw the unexpected death of Michael Johns, a Perth-born musician, best known outside of Australia for his 2007 appearance on American Idol. He was 35.Johns' death was attributed to a blood clot following his...
American Idol Winner's Album Out In August, But Will It Succeed?
Caleb Johnson won't be following in the footsteps of previous American Idol winners. Johnson, who was crowned as the season 13 victor this past May, is beginning his post Idol career by doing something that...
By Joe DeAndrea in Music / Festivals on 15 July 2014
American Idol Caleb Johnson
American Idol Judges Set To Return For 14th Season
Singers Jennifer Lopez, Keith Urban, and Harry Connick, Jr. are all set to return for the upcoming 14th season of American Idol.The trio of judges, along with host Ryan Seacrest, will reprise their roles for...
Jennifer Lopez Keith Urban American Idol
'American Idol' "Dream Team" - Lopez, Urban, Connick Jr. & Seacrest - Set To Return For 14th Season
American Idol judges, Jennifer Lopez, Keith Urban and Harry Connick Jr., will all be returning to the 14th season of American Idol, Fox announced on Monday (23rd June). Ryan Seacrest will also be returning as...
By Elinor Cosgrave in Movies / TV / Theatre on 24 June 2014
American Idol Jennifer Lopez Harry Connick Jr. Keith Urban Ryan Seacrest Jennifer Hudson Kelly Clarkson
Jennifer Lopez And Casper Smart Have Split After 2 Years Together
Jenifer Lopez and Casper Smart have separated after more than two and a half years together. American Idol judge began dating her former backing dancer, Smart, in October 2011 mere months after announcing her split...
By Elinor Cosgrave in Lifestyle / Showbiz on 06 June 2014
Jennifer Lopez Marc Anthony American Idol
American Idol Star To Join Jennifer Lopez On Tour
Jennifer Lopez has invited one of her favourite American Idol contestants to join her on tour as a back-up singer.Pia Toscano was voted off the 10th season of the talent show, but has remained close...
By WENN in Music / Festivals on 30 May 2014
American Idol Singers Lose Discrimination Lawsuit
Two former American Idol contestants have lost a $40 million (£25 million) discrimination lawsuit against Mtv.Corey Clark and Jaered Andrews were both disqualified from the reality singing competition in 2003 and filed a lawsuit against...
On The Red Carpet At 'American Idol' Season 13 Finale [Pictures]
Caleb Johnson has been crowned the winner of American Idol Season 13! The 23-year-old was pitted against 17-year-old Jena Irene but was successful in his efforts on Wednesday (21st May). Caleb Johnson won American Idol...
By Elinor Cosgrave in Movies / TV / Theatre on 22 May 2014
American Idol Jennifer Lopez Harry Connick Jr. Keith Urban Kiss Demi Lovato Caleb Johnson Phillip Phillips Blake Lewis Randy Jackson Jane Lynch
American Idol Hopes To Revive Itself After Season 13
Things have been up and down lately for 'American Idol,' as the singing competition is reaching the end of its 13th season. The ratings for one of the more recent episodes reached an all-time low...
By Joe DeAndrea in Music / Festivals on 22 May 2014
American Idol Kelly Clarkson Candice Glover Scotty McCreery Phillip Phillips
American Idol Recap: Anniversary And Homecoming
Things are coming to a head on this week's episode of American Idol. The finale is next week, so naturally, the contestants are pulling out all the stops at this point. To top it all...
American Idol Jennifer Lopez Keith Urban Harry Connick Jr Randy Jackson
And Then There Were Three - Who Got Voted Off "American Idol" This Week?
Well, it's about that time again – time to announce the top three contestants on this year's round of American Idol. Where did the time go? So from last night's performances we know that Jena...
Jena Irene Impresses 'American Idol' Judges With Elvis Cover
Sure, Jena Irene delivered a great performance on Wednesday's American Idol, but FCC warning-worthy? Jennifer Lopez seems to think so. Wednesday's show was centered around the theme of love, with each of the four remaining...
American Idol Winner Scotty Mccreery Held At Gunpoint In Home Invasion
Sometimes even American Idol graduates aren't immune to disaster – case in point, Scotty McCreery, the Idol alum, who became the victim of a home invasion early on Monday. According to The Hollywood Reporter, McCreery,...
American Idol Scotty McCreery
"American Idol" Results: Contestants Can't Agree, Jennifer Lopez Is Shocked
The results of this week's American Idol might have shocked many people, but none more so than Jennifer Lopez. This warning might be redundant, but we're giving it anyway – spoilers ahead. With five contestants...
American Idol Ryan Seacrest Jennifer Lopez Keith Urban Harry Connick Jr.
American Idol Voting Recap: No One Saw That One Coming
Proceed with caution, spoilers below. Jennifer Lopez reminded us why she is everyone's favorite American Idol judge during last night's show. The singer broke out in tears after Malaya Watson owned the stage with Jennifer...
By Victoria Pavlova in Movies / TV / Theatre on 11 April 2014
American Idol Jennifer Lopez Harry Connick Jr.
'American Idol' Judges Use Their Save - Tom Woolf Survives After 'Babylon' Performance
There are no more second chances left for the remaining contestants on American Idol after the judges decided to use their save on Thursday night (3rd April). After strong performances on the previous show, it...
By Elinor Cosgrave in Movies / TV / Theatre on 04 April 2014
American Idol Randy Jackson Jennifer Lopez Daughtry Chris Daughtry Goo Goo Dolls
Jennifer Lopez Drops F-bomb Whilst Judging 'American Idol' - Live!
Jennifer Lopez was evidently mortified on Wednesday evening after dropping the F-bomb on live TV. Lopez was judging American Idol and got carried away when commenting on one of the contestant's performances.Jennifer Lopez accidently swore...
By Elinor Cosgrave in Lifestyle / Showbiz on 28 March 2014
Jennifer Lopez American Idol Harry Connick Jr Keith Urban Gwyneth Paltrow Chelsea Handler Sandra Bullock Tom Hanks Oprah Winfrey Evanescence
"American Idol" Recap: The Top 10 Sing, Sort Of.
Last night's American Idol can be summed up in one word: disappointing. It all started when MK Nobilette kicked things off with a rendition of Perfect by Pink. She had the emotion down, only her...
By Victoria Pavlova in Movies / TV / Theatre on 20 March 2014
American Idol Results Night: Who Went Home And Why?
And then there were ten. Ten American Idol finalists, that is. It's getting to be that time in the competition, when the hearts of the remaining Idol hopefuls just don't seem to be in it...
American Idol Keith Urban
American Idol Mini-recap: Movie Nigtht Disappoints With No Award-worthy Performances
Last night's American Idol did not start on a promising note. The theme was Movie Night – something that the judges hoped would bring out the stars in the so-far lackluster Season 13 finalists. Audiences...
American Idol Results Night: Another One Bites The Dust, As Harry Connick Jr. Dishes Out More Tough Love
This week might be the first American Idol round in a while to see an actual twist – and it's still just the second round of eliminations. The unfortunate Idol wannabe to end up on...
American Idol Jennifer Lopez Harry Connick Jr. Keith Urban
Jake Bugg: 'American Idol Wrecks Kids' Dreams'
Singer/songwriter Jake Bugg has branded U.S. Tv talent search American Idol a "dream smasher" after meeting heartbroken hopefuls during an appearance on the show.The Lightening Bolt hitmaker has been outspoken in his criticism of reality...
By WENN in Music / Festivals on 03 March 2014
Jake Bugg American Idol
American Idol "This Is Me" Night Makes Us Think "This Is Familiar"
Last night, American Idol entered its slightly less interesting stage – with the top 13 contestants selected, it's time to actually remember the names and watch the dwindling group of people for two more months....
By Victoria Pavlova in Movies / TV / Theatre on 27 February 2014
American Idol Stars At Centre Of Royalties Lawsuit Against Record Label
American Idol alumni Kelly Clarkson and Carrie Underwood are at the centre of a lawsuit against Sony Music Entertainment bosses, alleging the record label executives owe them more than $10 million (£6 million) in royalties.Bosses...
By WENN in Music / Festivals on 21 February 2014
American Idol Kelly Clarkson Carrie Underwood
Randy Jackson Thinks "American Idol" Is Out Of The Woods, Ratings Beg To Differ
Randy Jackson thinks American Idol is regaining its form. Sure, the head mentor of the original TV singing competition has a vested interest in promoting the show regardless of its quality, but he really thinks...
American Idol Randy Jackson Jennifer Lopez Keith Urban Harry Connick Jr.
Simon Fuller Turned Down The Chance To Manage Michael Jackson
American Idol creator Simon Fuller turned down the chance to manage Michael Jackson during his ill-fated comeback after advising the pop icon not to tour.Fuller, who guided acts like the Spice Girls to fame, was...
American Idol Simon Fuller Michael Jackson
Is 'American Idol' Moving To New York For Season 13 Finale?
American Idol will be back for its thirteenth season on Tuesday, 14 January, with an (almost) entirely new judging panel holding down the reins for the long-running singing contest. Keith Urban, Jennifer Lopez and Harry...
By Joe Wilde in Movies / TV / Theatre on 10 January 2014
American Idol Jennifer Lopez Keith Urban Harry Connick Jr. Nigel Lythgoe


Next we'll go on with age differences.
This is one of the basic criteria to distinguish the target.
We must be careful when blindly trusting their validity.
They can be useful sometimes but they also can't.
the game is focused on developing sense and motor capacities.
Also the game is individual.
with an important role of the social and family elements.
Symbolism appears as a big extra to game practice.
such as most of the games that are based on thorough rules.
At around 10 and 13 years old the interests and hobbies appear.
We play with all varieties of games, even the most complex ones.
access to many contents which were previously forbidden due to age issues is now allowed.
This favors the practice of new games and more adult topics.
conceived for and targeted to adult players of more than 20 years old.
The genre differentiation is also associated to this age frame.
in which preferences are totally consolidated.
in video games people which have recently joined the games worlds.
Actually this age division is becoming more inexact due to some reasons.
are getting more experience and they want to play more traditional games.
35 years we find a variate audience, whose behavior changes quickly.
which will last more or less until 50 years.
As they have dependents, the time and the money for playing is reduced.
and it's the parents the ones to buy games and play with their sons.
dependents are reduced, and there is more time to play.
There is an increasing interest on social games.
Now we will talk on the genre differences criteria.
And as it happens with the ages classification, we must be very careful with these classifications.
The genre distinction is really very complicated and polemic.
We can find many sensibilities between 2 extreme opinions.
genre, as both men and women are equally capacitate for playing them.
more video games and playing games formerly considered only for men.
doing it adapting to the masculine and sexist stereotypes.
and if women want to play them they must accept their content and adapt to it.
action and combat in the newest and triple A games.
games meant for a female audience have less presence.
genres while selecting an objective public.
this topic, nor discussing or defending the gender equality in video games.
on the behavior differences by the player's genre.
learning by trial and error are linked to masculine genre.
verbal puzzles and learning through examples.
Personally, I consider these guidelines very relative and risky.
representativity, and also because society evolves very fast.
exist because content creators feed these behaviors back.
basically for female audience and others for masculine audience.
models which allow us to keep paying continuously, through micropayments.
This favors users with opposite purchasing powers.
a more satisfying and rich experience, as happens in many freemium games.
from special editions, to collectors', or big purchasers.
its objective audience, using the criteria we've seen on this unit.
The objective audience description would be something like this.
and that can afford the cost of a triple A and later DLCs.
multiplayer modes with a consolidated group of friends.
regularly to each game until he gets tired of it.
although they are exaggerate and comic.
Well, it might seem a long description, but actually it isn't.
Furthermore, we could concrete even more.
the easier adjusting the game to get the desired experience.


"Gambit's" future continues to be in limbo.
The superhero movie starring Channing Tatum as the title character is among the films that are in development at Fox that Disney is now reevaluating in the wake of the magic kingdom merger.
Taylor Kitsch first portrayed the character in "X-Men Origins: Wolverine." Tatum has been attached to the project for years. Directors Gore Verbinski, Rupert Wyatt, and Doug Liman have all been all attached at some point, but subsequently exited the project.


text:
187,000 BTC Drained: Over $2 Billion in Bitcoin Leave the Top Exchanges Since June
Cryptocurrency reserves held on digital asset exchanges have been dropping to new lows, as some of the top exchanges have seen significant bitcoin reserve balance drops. A few months ago trading platforms had a lot more bitcoin reserves on hand and onchain data shows a few exchanges have seen customers steadily drain 187,000 bitcoins ($2.1B) from exchange-owned cold wallets.
In February, Coinbase had 1 million bitcoin under management and today reserves are down over 9% as 92,000 bitcoin ($1B) has left the exchange. Today, according to Bituniverse's online exchange balance rank tracker, the San Francisco trading platform has 908,560 BTC under management.
36,000 BTC ($408M) left Coinbase since news.Bitcoin.com's reserves report published on June 30, 2020. A number of top exchanges below Coinbase have also seen cold wallets drained during the last three months.
The top seven exchanges in terms of balance holdings on June 30, 2020, according to Bituniverse's exchange balance rank tracker.
The second-largest exchange in terms of bitcoin reserves held is Huobi and the trading platform is down over 53,000 BTC ($601M) since June 30. Binance's balances remained the same as the exchange holds 266,000 BTC today and three months ago, Binance held 269k BTC. Similarly, the fourth-largest reserve holder, Bitfinex, didn't see much movement in the last three months.
The top seven exchanges in terms of balance holdings on October 16, 2020, according to Bituniverse's exchange balance rank tracker.
Three months ago, Okex had 240,000 BTC on hand but today, Okex only has 198,000 BTC in reserves. This means 42,000 BTC left Okex since June as 17.5% left the exchange in the last three months.
Statistics show out of the top five crypto trading platforms over 187,000 BTC ($2.1B) has left these exchanges since the June report.
Just recently, Bitmex had some legal troubles with the U.S. government and since the incident, a lot of bitcoin has left the derivatives exchange. Three months ago Bitmex had 224 BTC in reserves and today the exchange only has 113,000 in cold storage. Onchain data indicates Bitmex lost a whopping 49.55% in BTC reserves since June 30.
At the time of publication, Glassnode's "Exchange Balance vs. Bitcoin" stats show that there's 2.7 million BTC held on exchanges today. Glassnode's stats indicate that out of the 21 million BTC cap, exchanges hold 12.85% of all that will exist, and 14.59% of the 18.5 million BTC in circulation.
1.8 million BTC out of the aggregate 2.7 million BTC held on exchanges sits in the world's top five crypto trading platforms. The top five custodial platforms by BTC reserve status include Coinbase, Huobi, Binance, Bitfinex, and Okex.
Exchange balances have been riding lower consecutively for the last 15 months and the last time balances were this low was around May 2019.
To many crypto enthusiasts and traders, the low balances on exchanges suggest users are storing assets in a noncustodial fashion as opposed to leaving funds with a third party. The data from Bituniverse and Glassnode also suggests that liquidity and selling pressure may lower.
Original Article Appeared On Bitcoin.Com
PayPal Allows Bitcoin And Crypto Spending
Bitcoin Price Rallies 13% to Break Through $11,000
Magic Eden Refunds Users For Exploit That Used Fake NFT's
Only 1.3 million Bitcoin are left in circulation on cryptocurrency exchanges!
Christmas is coming, and Bitcoin (BTC) scarcity is at historically low levels. CryptoRank announced in a recent tweet that just 6.3% of the overall Bitcoin supply, or 1.3 million BTC, are kept on cryptocurrency exchanges.
The decreasing amount is nothing new; it's been steadily declining since the Bitcoin halving in 2020, when the BTC block reward was cut in half. The supply of BTC on exchanges has also decreased gradually over the past year, trending downward. On October 2020, exchange wallets made up 9.5% of the BTC supply, just before the all-time highs at Christmas time, and 7.3% in July 2019. In December 2021, the 6.3 percent figure is a record low.
However, the dominance of Coinbase's BTC wallet is also falling. The American exchange used to store more bitcoin than all other exchanges combined. Over the past year, its domination has decreased from 50.52% to 40.65%.
Following a spate of good price statistics that tie into the rising price of Bitcoin, the announcement has sparked further excitement among investors. First and foremost, owing to the fact that BTC output is shifting from a "liquid" to an "illiquid" state, monthly BTC production has frozen at 100,000 BTC. In other words, more BTC is stored in cold storage than is being mined.
Additionally, it's crucial to remember that many retail investors and several firms keep their BTC on exchanges, demonstrating that the "illiquid" BTC category may be even smaller. Instead of keeping their BTC in cold storage, some Bitcoin holders would entrust it to exchanges instead of leaving custody of their keys with them.
Surprisingly, Binance CEO and co-founder Changpeng Zhao has encouraged hot wallets, despite the best efforts of Bitcoiners like Andreas Antonopolous to the contrary: "Not your keys, not your bitcoin." is part of everyday BTC mantra.
This may lead to the situation in which 1.3 million BTC is "stored" on exchanges, but they are not "circulating," and they certainly do not contribute to the liquidity problem.
Despite calls for a "Santa Rally" on the back of strong analytics, the bears are not yet out of the woods. A tweet from BullRun Invest using Glassnode data showed that 24.6% of all BTC supply is sitting above $47,000.
According to the report, close to a fourth of the BTC purchased at those prices levels are now underwater. If BTC fails to make progress into the 50s, there may be fewer gifts under the tree tomorrow.
U.S. Takes Crypto Crime Seriously with Anti-Money Laundering Reforms
The United States passed into law its Anti-Money Laundering Act of 2020, which takes effect on January 1, 2021. This brings digital currency exchange companies and other digital-asset-related businesses under the scope of regulations of the Bank Secrecy Act (BSA), which requires financial institutions "to actively detect, monitor and report potential money laundering activity."
"I'm pleased that our anti-money laundering legislation was included as a part of this year's [National Defense Authorization Act]. This bipartisan legislation protects Americans by depriving criminals and terrorists of the tools they use to finance illicit activity. It is the first serious overhaul of our anti-money laundering system in decades, and it makes sense to include it in the biggest, most important national defense legislation Congress passes each year," South Dakota Sen. Mike Rounds said in a press release.
The massive anti-money laundering reforms are targeting businesses dealing with digital currencies and assets by clearly specifying the definition of a "financial institution" to "'a business engaged in the exchange of currency, funds, or value that substitutes for currency or funds" and "a licensed sender of money or any other person who engages as a business in the transmission of funds or value that substitutes for currency."
The reforms further define a "money transmitting business" to include those who deal with "currency, funds, or value that substitutes for currency." Now, there are no longer loopholes that digital asset companies can use when dealing with the Financial Crimes Enforcement Network (FinCEN), the agency that enforces the BSA.
Stricter Penalties Enforced
Aside from updating definitions to ensure that digital currency exchange firms and others dealing in digital assets are clearly within the scope of the AML Act of 2020 and the BSA, stricter penalties are now being enforced for crypto criminals.
Now, those who have been found guilty of violating the AML Act of 2020 and/or BSA are faced with fines amounting to profits earned while committing the violation and possible jail time. Those guilty of an "egregious" breach are also going to be banned from taking a board member position of any financial institution in the country for 10 years. Furthermore, employees of financial institutions who commit these crimes will be obligated to return to their employer all bonuses received during the time the act was committed.
FinCEN is being given additional resources, like increasing its manpower, to ensure the enforcement of these reforms. This will further safeguard investors against crypto crimes and nail down digital currency exchange firms and other digital-asset-related businesses that do not comply with BSA regulations.
Bitcoin (BTC) Crosses 55k And Is Heading Towards 60k Fast!
Less than two months into 2021, the price of bitcoin has risen 95.4%.
Earlier this week BTC smashed through 50k and is headed towards 60k just as fast. The price is currently trading at 57k as of press time up 60% this month alone. Along with BTC's meteoric rise quite a few altcoins are going along for the ride.
Some are saying the astonishing rise of BTC's price to the tremendous demand from buyers looking to hedge against inflation as governments keep spending and central banks keep printing money trying to keep their economies going through the pandemic.
Buy Bitcoin (BTC) from just $10! Click here to get $10 in free BTC just for signing up!
Looking to trade cryptocurrencies? You can trade BNB on Binance by clicking here
Based in the United States and want to trade via Binance.US? Click here to sign up now!


text:
Skip to primary site menu
Explore Brown University
Global Brown
Watson Institute
Alpert Medical School
Molecular Pharmacology & Physiology Graduate Program
NIH Training Grant
Alumni Outcomes
Faculty Trainers
Admission and Financial Aid
Slideshow Full
Why Choose Brown?
Faculty and students describe in their own words how the Graduate Program in Molecular Pharmacology and Physiology (MPP) fosters intellectual independence while encouraging connections across areas of study.
Educator-Scholars
MPP Faculty Trainers are experts in their fields who cultivate a spirit of collaboration and innovation at all levels and in all disciplines.
Meet the Faculty Trainers
The MPP Program prepares students to lead, innovate, and advance scientific discovery in a variety of fields.
The Molecular Pharmacology and Physiology (MPP) Graduate Program at Brown University offers students an intimate, congenial and collaborative learning environment that draws upon faculty experts from the life and physical science departments, as well as physician-scientists at affiliated hospitals. Together, students and faculty form a community of scholars committed to Brown's core mission: advancing knowledge and scientific discovery.
Research in MPP intersects with diverse fields of study and encourages collaboration between students and faculty mentors across and within Brown's academic departments and affiliated hospitals.
The MPP Program provides a collaborative and intimate learning environment that allows for extensive, one-on-one faculty-student interactions.
Students work alongside accomplished faculty in modern laboratories and research facilities equipped with state-of-the art instrumentation.
The MPP Graduate Program is a proud partner in a number of initiatives for faculty, staff, and students from historically underrepresented groups.
Molecular Pharmacology & Physiology Graduate Program Brown University Box G-B3 Providence, RI 02912
Giving to Brown
© 2021 Brown University | Back to top


text:
Songwriter of the Week: Bobby Long
Written by Evan Schlansky
British ex-pat Bobby Long's music is familiar to Twilight fans (Robert Pattison is an admirer, and made sure he was included on the franchise's 2008 soundtrack). His latest album Wishbone finds him fleshing out the intimate, bedroom vibe of his debut A Winter Tale, and will appeal to anyone who enjoys earnest, smokey-voiced troubadours. We asked the 28 year-old singer-songwriter about being a student of the game, the words he loves and hates, and what he plays when no one's listening.
Who are your songwriting heroes?
The Beatles, Randy Newman, Bob Dylan, Leonard Cohen, Neil Young, Elliott Smith and Ryan Adams.
When you're playing just for fun and no one's around to listen, what sort of songs do you play?
I play a lot of Sam Cooke and try to play along with Wes Montgomery which I fail at. I just tinker around really with whatever I have heard that morning.
You moved to New York City about four years ago. What do you like about living there, and living in the States?
I really love it. America is so vast and young which is kind of the opposite of Britain so it is a nice change. New York is really inspiring and more inspiring than anyplace I have ever been 2 so living there is great for a songwriter like me.
You're thesis at University in London was on the social impact of American folk music. Tell us a bit about it. Was it fun to write and research?
It was interesting, especially seeing how music tied in with social change like the civil rights movement. The hard element was me being on tour at the same time which made it slightly difficult but it was fun researching it.
You put out a book of poetry. How do you differentiate poetry and lyrics?
I don't really but when I was writing the book I didn't want to think about laying words with music. It gave me a fresh head for when I went back to the music. Essentially they are just different projects but they obviously have vast similarities.
What was the first song you ever wrote? Tell us about it.
It was obviously a song that wasn't particularly great. I think it was about a school teacher or something. It would of been an Elliott Smith tip off, too.
What's a song on Wishbone that you're particularly proud of and why?
It's a song called "Not Tonight, Not Today." It's a song that is a little different from my other stuff and a direction I want to pursue. We really went hard at writing specific parts and harmonies and push it into another direction.
What's a lyric or verse from the album you're a fan of?
"Guns firing on a ridge down onto a quiet town, wind bellows up smoke to the breakdown in the firing dawn." It's a murder ballad called "Waiting for Dawn."
Is it easier, or harder to write songs, the more you write?
Both I think. When you first start writing everything hits you in the face. When you have been writing for a while you have to search a bit deeper but yet you have more experience and are better at it. Saying that I think the more you write the better you become.
Are there any words you love or hate?
I generally really love all words. I hate the word "snog" and I particularly love the word "macabre."
The most annoying thing about songwriting is….
When you are so close to finishing a song yet you have lost all enthusiasm and all the intensity you need to finish it. You just have to leave it alone and do something else until your fresh again.
What's a song of yours that's really touched people?
That's tough its hard to talk about your own songs. I would probably say a song called "Two Years Old." It's about being a soldier at war. Even though I have no idea what it's like to be a soldier people
seem to relate to it. It's really nice when that happens.
If you could co-write with anyone living or dead, who would it be?
Probably John Lennon.
Who do you consider an underrated songwriter?
I think most people are underrated but I would probably go with The Mother Hips. I am so in love with there songs. There songs always surprise you and are heavy but playful and melodic.
What do you consider to be the perfect song, and why?
I think that "Feels Like Home" by Randy Newman is pretty perfect.


Welcome to Captions World, These terms and conditions outline the rules and regulations for the use of Captions World's Website.
of provision of the Company's stated services/products,in accordance with and subject to, prevailing law of INDIA.
pages from https://captionsworld.com for your own personal use subject to restrictions set in these terms and conditions.
Redistribute content from Captions World (unless the content is specifically made for redistribution).
you must notify us by sending an e-mail to admin@captionsworld.com.


Areas we serve, not limited to.
MyMorongo.com was created to give everyone Living or working in the Morongo basin and Cabazon, access to local businesses. Some businesses offer Discounts to card holders, Copy the free "MyMorongo.com discount card" to your mobile device and start saving. A few of the discounted services are restaurants, gym memberships and real estate services like homesnap.
homesnap is the top-rated real estate app available to date. Millions of people are using the app that was built for agents and is loved by homebuyers. homesnap is the fastest-growing mobile platform for agents and brokerages. Now its available to you, just go to the "home search page", follow the simple instruction. In seconds you will be searching for homes using the top rated home search app on the market, and it's free!


text:
Q: angularjs html codes to symbols in a directive doesnt work crmApp.directive('udArrow', function () {
return {
    Restrict: 'A',
    link: function (scope, element, attrs) {
        var upArrow = '↑';
        var downArrow = '&#8595';
        scope.resultTemplate = '';
        if (attrs.val1 > attrs.val2) {
            scope.resultTemplate =(upArrow);
        }
        else {
            scope.resultTemplate = (downArrow);
        }
    },
    template: '{{resultTemplate}}'
}

});
the result is (i seperated semicolon on purpose not to make up arrow )
&#x2191 ;
i do appreciate better solutions too. :)

A: Use ng-bind-html
crmApp.directive('udArrow', function () {
return {
    Restrict: 'A',
    link: function (scope, element, attrs) {
        var upArrow = '↑';
        var downArrow = '&#8595';
        scope.resultTemplate = '';
        if (attrs.val1 > attrs.val2) {
            scope.resultTemplate =(upArrow);
        }
        else {
            scope.resultTemplate = (downArrow);
        }
    },
    template: '

'
}