Okay so once again I need to thank Cliff Lynch for inviting me to give this talk and for letting me use the participants in Berkeley's information access seminars as a as guinea pigs to debug it. This talk is basically what I did on my summer vacation, writing a report under contract to the Mellon Foundation entitled emulation and virtualization as preservation strategies. As usual you don't have to take notes or ask for the slides because in expanded text with links to the sources will go up on my blog shortly. The report itself is available from the Mellon Foundation and from the LOX website. Now I'm old enough to know that giving talks with live demos over hotel internet is really a bad idea. So I must start by invoking the blessings of the demo gods and asking you to free up the bandwidth. If you're interested in this talk please put your device to sleep. If this is just a comfortable place to drink coffee and use Facebook then please go away. So emulation and virtualization technologies have been a feature of the information technology landscape for a long time going back at least to the IBM 709 in 1958 but their importance for preservation was first brought to public attention in Jeff Rothenberg's seminal 1995 Scientific American article ensuring the longevity of digital documents. As Apple was using as he wrote emulation in the transition of the Macintosh from the Motorola 68000 to the PowerPC the experience Rothenberg drew on was the rapid evolution of digital storage media such as tapes and floppy disks and of applications such as word processors each with their own incompatible format. His vision can be summed up as follows documents are stored in offline media which decay quickly whose readers become obsolete quickly as do the proprietary closed formats in which they're stored. If this isn't enough operating systems and hardware change quickly in ways that break the applications that render the documents. Rothenberg identified two techniques by which digital documents could survive in this unstable environment contrasting the inability of format migration to guarantee fidelity with emulation's ability to precisely mimic the behavior of obsolete hardware. Rothenberg's advocacy notwithstanding most digital preservation efforts since have used format migration as their preservation strategy. The isolated demonstrations of emulation's feasibility such as the collaboration between the UK National Archives and Microsoft has had little effect. Emulation was regarded as impractical because it was thought correctly at the time to require more skill and knowledge to both create and invoke emulations than scholars wanting access to preserved materials would possess. It took Nick Lee about four hours to get this emulation of Mac OS 7 running on his Apple Watch. Hacking jewels followed with Nintendo 64 and PSP emulators on his Android Wear. Simply getting one of the many available emulators running in a new environment isn't that hard but that isn't enough to make them useful. Recently teams at the Internet Archive at Freiburg University and at Carnegie Mellon have shown frameworks that can make emulations appear as normal parts of webpages. Readers need not be aware that emulation is occurring. Some of these frameworks have attracted substantial audiences and have demonstrated that they can scale to match. So this talk is in four parts. First I will show some examples of how these emulation these frameworks make emulations of legacy digital artifacts, those from before about the turn of the century usable for unskilled readers. Next I will discuss some of the issues that are hampering the use of these frameworks for legacy artifacts. Then I will describe the changes in digital technologies over the last two decades and how they impact the effectiveness of emulation and migration for that matter in providing access to current digital artifacts. I'll conclude with a look at the single biggest barrier that has and will continue to hamper emulation as a preservation strategy. So a digital preservation system that uses emulation will consist of three main components. One or more emulators capable of executing preserved system images, a collection of preserved system images together with the metadata describing which emulator configured in which way is appropriate for executing them and a framework that connects the user with the collection and the emulators so that the preserved system image of the user's choice is executed with the appropriately configured emulator connected to the appropriate user interface. And here's where the risky part starts. So from 1995 to 1997 Teresa Duncan produced three seminal feminist CD-ROM games, Chop Suey, Smartie and Zero Zero. Rhizome, a project hosted by the new museum in New York, has put emulations of them on the web. Playing these games has proved very popular. Several days after their initial release they were being invoked on average once every three minutes. So what was going on when I clicked, well what would have been going on if we'd waited for a while, while I clicked Smartie's play button. So the browser connects to a session manager that's running in Amazon's cloud which notices that this is a new session. Normally it would have authenticated the user, but because these CD-ROMs are publicly open access, it doesn't need to. Then it assigns one of its pool of running Amazon instances to run the session's emulator. Each instance can run a limited number of emulators. If no instance is available when the request comes in, it can take up to 90 seconds to start another. I think that was the first part of the delay. Then the emulator starts, short delay, the user sees the Mac boot sequence and then the CD-ROM starts to play, which is where we left it. At intervals, the emulator sends the session manager a keep alive signal. Emulators that haven't sent one in 30 seconds are presumed dead and their resources are reclaimed to avoid playing the cloud provider for unused time. So Rhizome and others such as Yale, the DNB, and ZKM Karlsruhe use technology from the BWFLA team at the University of Freiburg to provide emulation as a service. The GPLv3 license framework runs in the cloud to provide comprehensive management and access facilities wrapped around a number of emulators. It can also run as a bootable USB image or via Docker. BWFLA encapsulates each emulator so that the framework sees three standard interfaces. First, data IO, which connects the emulator to data sources such as disk images, user files, an emulated network containing other emulators, and the internet. Second, interactive access. Connecting the emulator to the user using standard HTML5 facilities. And third, control, providing a web services interface that BWFLA's resource management can use to control the emulator. The communication between the emulator and the user takes place via standard HTTP on port 80. There's no need for a user to install software or browser plug-ins and no need to use ports other than 80. Both of these are important for systems targeted at use by the general public. BWFLA's preserved system images are stored as a stack of overlays in QEMU2's QCOW2 format. Each overlay on top of the base system represents a set of rights to the underlying image. For example, the base system image might be the result of an initial install of Windows 95. And the next overlay up might be the result of installing WordPerfect into the base system. Or, as Cal Lee pointed out yesterday, an overlay might result from redacting the underlying base, the underlying image. Each overlay contains only those disk blocks that differ from the stack of overlays below it. The stack of overlays is exposed to the emulator as if it were a normal file system via fuse. The technical metadata that encapsulates the system disk image is described in the paper presented to the IPress conference in last November, using the example of emulating CD-ROMs at the DNB. Broadly, it falls into two parts, describing the software and hardware environments needed by that particular CD-ROM. And it's encoded in XML, and it refers to the software image components via the handle system, providing a location independent link to access them. So, Ilya Kramer has used the same technology to implement Oweb today, so let's try that one. Okay, so there's a pull-down menu which allows you to choose a past browser, and I'm choosing IE on Windows, and then we can, if the gods are with us, which they may not be, we can look at old websites using a contemporary browser. Okay, so it's booted up Windows, and here's the BBC News front page from October the 13th, 1999, and as you can see, not a lot has changed in politics since then. So, behind, as well as the emulation behind here, there's another interesting point. This is using Memento to collect preserved resources from a whole range of web archives. In this particular case, as we see in the bottom left here, all these resources come from the Internet Archive. It's also looking at the Library of Congress, the BLs collection, I think almost a dozen web archives now, and one of the interesting things is that if you use different old browsers to look at the same web page, they don't necessarily all load the same set of resources. This is going to give me hours of harmless fun playing with it, figuring out what's going on. Let's go back over here. So this is an old web today is an excellent example of how emulation frameworks can deliver useful services layered on top of archived content. Here is, if I can try this, oops, here we go. This is Windows 3.1 and this is 1997's TurboTax. So let's see what my tax situation looked like 20 years ago. Let's go to the forms, David S. You notice how the IRS doesn't understand that some people have two middle names? I probably better stop there before I reveal anything too embarrassing. So the outside window is from Chromium Browser running on my Ubuntu 14.04 laptop, which is actually a Chromebook. It's incredibly affordable way of doing it. The top and bottom bars in the window here control the emulation and between them is the QEMU emulator emulating Windows 3.1 PC. So the interesting question is where's the system disk that has Windows 3.1 and TurboTax installed on it? The answer is that the system disk is actually a file on a remote Apache web server. The emulators disk accesses are being demand paged over the internet using standard HTTP range queries to the files URL. This system is OLLIF developed at Carnegie Mellon University by a team under my friend Professor Mahadev Sacha Norayaman and released under GPLv2. VMNetX, which is the framework, runs a sophisticated two-level caching scheme to provide good emulated performance even over slow internet connections like the one we were just using. One reason this works so well is that successive emulations of the same preserved system image are very similar. So prefetching blocks over into the pristine cache, the low-level cache that contains the unmodified image, is effective in producing good performance. If the system writes to the disk, it's captured in a high-level cache which maintains the written system image. So because the emulator is actually running on my laptop, the only network traffic is for the system image and it has this sophisticated caching scheme, you get good performance. In fact, you can get really good performance even over cellular networks. But it requires a non-standard software install and an up-to-date Linux or Windows-based system. The system can run in the cloud, but it needs to be a cloud that is really close to you so that the latency is good. Okay, so this is, I'll escape over here, is, this is the VisiCalc, Dan Bricklin and Bob Frankston's world's first spreadsheet. This is running in the previous two emulations used QEMU2, QEMU. This one is using mainMess. Main was the emulator developed by the game enthusiasts for emulating arcade games. And people, another separate team, took that emulator and moved it to emulate computers, which is mess. And recently, after an enormous effort to get everybody to agree to the license, they have merged the two systems. The important thing to notice about the world's first spreadsheet is that in typical Microsoft fashion, when they launched Excel, they changed all the key bindings. So you will not be able to know how to use this spreadsheet until you found the reference card, which Dan Bricklin fortunately put on the web. And in the, I think, yes, in the reviews, I put a link where you can find the reference card. But it is, once you've found it, it is perfectly usable spreadsheet. So what was going on as far as it was? So the browser loads, when I clicked on the go button, the browser loads a JavaScript program that then loads metadata describing the emulation. And then the program loads the emulator, which is in JavaScript and the system image. And then the emulation runs inside the browser. The emulators are compiled from their original source code into JavaScript. And you might think that the performance of running the emulator locally by adding another layer of emulation, the JavaScript virtual machine would be inadequate. But this isn't case. Two reasons. Firstly, even my Chromebook is enormously more powerful than the Apple II that it was emulating. And second, the performance of JavaScript in the browser is critical to its success. So large resources are expended on optimizing it. This framework is the one that's underlying the Internet Archive software library, which currently holds nearly 36,000 items. Including more than 7,300 for a Mercedes DOS, 3,600 for Apple, 2,900 console games and 600 arcade games. Some can be downloaded, but most can only be streamed. The oldest is an emulation of a PDP-1 with a deck 30 display running the space war game from 1962, which is more than half a century ago. As I can testify, having played space war and similar games on Cambridge University's PDP-7 with a deck 340 display seven years later, this emulation works really well. The quality of the others is mixed. Resources for QA and fixing problems are limited. With a collection of this size, problems are to be expected. Jason Scott crowdsources most of the QA. His method is to see whether the software boots up and if so, put it up and wait to see whether visitors who remember it post comments identifying problems or whether the copyright owner objects. The most common problem is sound. Problems with sound support in JavaScript affect BWFLA and to some extent Oliver as well. So all three groups can share a set of concerns about emulation technology. The first is about the emulators themselves. There are a lot of different emulators out there, but the open source ones that use for preservation fall into two groups. First, there's QEMU. It's well supported mainstream open source software, part of most Linux distributions. It emulates or virtualizes a range of architectures including x86, x8664, ARM, MIPS and Spark. It's used by both BWFLA and OLLIVE, but both groups have encountered irritating regressions in its emulation of older systems such as Windows 95. It's hard to get the QEMU developers to prioritize fixing them, since emulating current hardware is its primary focus. There's an interesting paper, I think in SOSP, from a group at the Technion who got together with Intel to use the tools that Intel uses to verify silicon to verify their emulator. They found and fixed a lot of interesting bugs. Second, there's the enthusiast-supported emulators for old hardware, including main mess, Basilix 2, Sheep Shaver and DOSbox. These generally do an excellent job of mimicking the performance of a wide range of obsolete CPU architectures, but have some issues mapping the original user interface to modern hardware. Jason Scott has done great work in encouraging the retro gaming community to fix problems with these emulators, but for long-term preservation, their support causes concerns. Another concern is metadata. Emulations of preserved software such as those I failed to demonstrate require not just the bits forming the image of a CD-ROM or system disk, but also several kinds of metadata. First, there's technical metadata describing the environment needed in order for the bits to function. Tools for extracting technical metadata for migration, such as Jov and Droid exist, as do the databases on which they rely such as PRNOM, but they're inadequate for emulation. The DNB and BWFLA teams, I Press 20 paper, describes an initial implementation of a tool for compiling and packaging this metadata, which worked quite well for the restricted domain of CD-ROMs, but much better broadly applicable tools and databases are needed if emulation is to be affordable. Second, you need bibliographic metadata describing what the bits are so that they can be discovered by potential users. Third, you need usability metadata describing how to use the emulated software. An example is the Visicalt reference card describing the key bindings of the first spreadsheet. And fourth, you need usage metadata describing how the emulations get used by readers, which is needed by cloud-based emulation systems for provisioning and for page rank type systems in discovery. The web provides high quality tools in this area, although a balance has to be maintained with user privacy. The Internet Archives' praiseworthy policy of minimizing logging does make it hard to know how much their emulations are used. There are no standards or effective tools for automatically extracting the bibliographic or usability metadata. It has to be hand-created. The Internet Archives' approach of crowdsourcing the enhancement of initially minimal metadata in these areas works fairly well, at least for games. Fidelity. So in a Turing sense, all computers are equivalent, so it's possible, and indeed fairly common, for an emulator to precisely mimic the behavior of a computer's CPU and memory. But physical computers are more than a CPU and memory. They have IO devices whose behavior in the digital domain is more complex than Turing's model. Some of these devices translate between the digital and analog domains to provide the computer's user interface. A user experiences an emulation via its analog behavior, and this can be sufficiently different to impair the experience. Consider the emulation of space wars on the PDP-1. The experience of pointing and clicking at the Internet Archives web page, pressing left control and enter to start, watching a small patch in one window on your screen, among many others, and controlling your spaceship from the keyboard is not the same as the original. That experience included loading the paper tape into the reader, entering the paper tape bootstrap from the address and test word switches on the left, pressing the start switch at the bottom left, and then each player controlling their ship with three of the six sense switches on the right. The display was a large round flickering CRT. Another concern is loads and scaling. One advantage of it, the framework such as the Internet Archives and Olives, is that each additional user brings along with them the compute power needed to run their emulation. Frameworks in which the emulation runs remotely must add resources to support added users. The release of the Theresa Duncan CD-ROMs attracted considerable media attention and the load on Ryzone's emulation infrastructure spiked. Their experience led Ryzone to deploy their infrastructure on Amazon's highly scalable elastic beanstalk infrastructure. Class Richard of Frybug computes that Amazon EC2 charges for an 8CPU machine about 50 cents an hour. In the case of Balm Iraq, which was another of their emulations, the average session time of a user playing with the emulated machine was 15 minutes. Hence the average cost per user is about 2 cents if the machine is fully utilized. In the peak, this would have been about $10 a day, ignoring Amazon's charges for data out to the Internet. Nevertheless, automatically scaling to handle unpredictable spikes in demand always carries budget risks and rate limits are essential for cloud deployment. So why are most of the emulations games? Well, emulation for preservation was pioneered by video game enthusiasts. This reflects a significant audience demand for retro gaming, which, despite the easy and formal availability of free games, is estimated to be a $200 million a year segment of the $100 billion a year video games industry. Because preserving content for scholars lacks the business model and fan base of retro gaming, it's likely that it will continue to be a minority interest in the emulation community. There are relatively few preserved systems other than games for several reasons. First, the retro gaming community has established an informal modus vivendi with the copyright owners. Most institutions require formal agreements covering preservation and access, and, just as with academic journals and books, identifying and negotiating with individually with each copyright owner in the software stack is extremely expensive. Second, if a game is successful enough to be worth preserving, it must be easy for an unskilled user to install, execute and understand, and thus easy for a curator to create a preserved system image. The same is not true for artefacts such as artworks or scientific computations, and thus the cost per preserved system image is much higher. Third, a large base of volunteers is interested in creating preserved game images, and there's commercial interest in doing so, preserving other games, other genres requires funding. And fourth, techniques have been developed for mass preservation of, for example, webpages, academic journals and ebooks, but no such mass preservation technology is available for emulations, until it is the cost per artefact preserved will remain many orders of magnitude higher. Okay, so that's legacy artefacts. As we've seen, emulation can be very effective at recreating the experience of using them, but the artefacts being created now are very different in ways that have a big impact on their preservation, whether by migration or emulation. So before the advent of the web, digital artefacts had easily identifiable boundaries. They consisted of a stack of components starting at the base with some specified hardware, an operating system, an application program and some data. In typical discussions of digital preservation, the bottom two layers were assumed and the top two instantiated in a physical storage medium, such as a CD. The connectivity provided by the internet and subsequently by the web makes it difficult to determine where the boundaries of a digital object are. For example, the full functionality of what appear on the surface to be traditional digital documents, such as spreadsheets or PDFs, can invoke services elsewhere on the network, even if only by including links. The crawlers that collect web content for preservation have to be carefully programmed to define the boundaries of their crawls. Doing so imposes artificial boundaries, breaking what appears to the reader as a homogeneous infidation space into discrete digital objects. Indeed, what a reader thinks of as a web page, typically now consists of components from dozens of different web servers, most of which do not contribute to the reader's experience of the page at all. They're deliberately invisible, implementing the web's business model of universal fine-grained surveillance. Tim Berners-Lee's original web was essentially an implementation of Vannevar Bush's memex hypertext context, an information space of passive quasi-static hyperlink documents. The content a user obtained by dereferencing a link was highly likely to be the same as that obtained by different user, or by the same user at a different time. Since then, the web's gradually evolved from this original static link document model, whose language was HTML, to a model of interconnected programming environments whose language is JavaScript. Indeed, none of the emulation frameworks I've described would be possible without this evolution. The probability that two dereferences of the same link will yield the same content is now low, content's dynamic. This raises fundamental questions for preservation. What exactly does it mean to preserve an artifact that's different every time it's examined? The fact that artifacts to be preserved are now active makes emulation a far better strategy than migration, but it increases the difficulty of defining their boundaries. The invocation of an object may include a different set of components from the next invocation. So how do you determine which components to preserve? And then the scale. In 1995, a typical desktop three and a half inch disk held one to two gigabytes of data. Today, the same form factor holds four to ten terabytes, about four to five thousand times as much. In 1995, there were estimated to be 15 million web users. Today, there are estimated to be over three billion, nearly 200 times as many. At the end of 1996, the Internet Archive estimated that the total size of the web was a terabyte and a half. Today, they ingest that much data, roughly every 30 minutes. The technology has grown, but the world of data has grown much faster. And this has transformed the problems of preserving digital artifacts. Taken everyday artifacts, such as Google Maps, is simply too big and worth too much money for any possibility of preservation by a third party, such as an archive. And its owner has no interest in preserving its previous states. While the digital artifacts being created were evolving, the infrastructure they depend on was evolving too. For preservation, the key changes were first GPUs. As Rothenberg was writing, PC hardware was undergoing a major architectural change. The connection between early PCs and their IO devices was the ISA bus, whose bandwidth and latency constraints made it effectively impossible to deliver multimedia applications, such as movies or computer games. This was replaced by the PCI bus with much better performance. And multimedia became an essential component of computing devices, forcing a division of system architecture into a central processing unit and what became known as a graphics processing unit or GPU. The reason was that CPUs were essentially sequential processors, incapable of performing the highly parallel task of rendering the graphics fast enough to deliver an acceptable user experience. Now, much of the silicon in essentially every device with the user interface implements a massively parallel GPU whose connection to the display is both very high bandwidth and very low latency. Second, smartphones. Both desktop and laptop PC sales are in free fall. And even tablet sales are no longer growing. Smartphones are the hard hardware of choice. They and tablets amplify interconnectedness. They're designed not as autonomous computing resources, but as interfaces to the internet. The concept of a standalone application is no longer really relevant to these devices. The app store supplies custom front end to network services, as these are more effective at implementing the web's business model of persuasive, pervasive surveillance apps are notoriously difficult to collect and preserve. Emulation can help with their tight connection to the hardware platform, but not with their dependence on network services. The user interface of mobile devices is much more diverse. In some cases, the hardware is technically compatible with traditional PCs, but not functionally compatible. For example, mobile screens typically are both smaller and have much smaller pixels. So an image from a PC may be displayable on a mobile display, but it may be either too small to be readable, or if scaled to be readable, may be clipped to fit the screen. In other cases, the hardware isn't even technically compatible. The physical keyboard of a laptop and the on-screen virtual keyboard of a tablet are not compatible, as you'll find out if you try running some of the Internet Archives games on your phone. Third, there's Moore's Law. For about the first four decades of Moore's Law, what CPU designers used the extra transistors for was to make the CPU faster. This was advantageous for emulation. The modern CPU that was emulating an older one would be much faster. Although Moore's Law continued into its fifth decade, each transistor gradually became less effective at increasing CPU speed. Further, as GPUs took over much of the intense computation, customer demand evolved from maximum performance per CPU to processing throughput per unit power. Emulation is a sequential process, so the fact that CPUs are no longer getting rapidly faster is disadvantageous for emulation. Then there's architectural consolidation. Brian Arthur's 1994 book Increasing Returns and Path Dependence in the Economy described the way the strongly increasing returns to scale in technology markets drove consolidation. Over the past two decades, this has happened to system architectures. Although it's really impressive that main mess emulates nearly 2,000 different systems from the past, going forward emulating only two architectures, that's Intel and ARM, will capture the overwhelming majority of digital artifacts. And fifth, threats. Although the Morris Worm took down the Internet in 1988, the Internet environment two decades ago was still fairly benign. Now, Internet crime is one of the world's most profitable activities, as it can be judged by the fact that the price for a single zero-day iOS exploit is about a million dollars. Once a vulnerability is exploited, it becomes a semi-permanent feature of the Internet. For example, the seven-year-old Conficker Worm was recently found infecting brand new police body cameras. This threat persistence is a particular concern for emulation as a preservation strategy. A paper called Familiarity Breeds Contempt by Sandy Clarke et al. shows that the interval between discoveries of new vulnerabilities in released software decreases through time. Thus, the older the preserved system image, the exponentially more vulnerabilities it will contain and the more likely it is to be compromised as soon as the emulation starts. OK, warning, I'm not a lawyer and this part is US specific. So most libraries and archives are very reluctant to operate in ways whose legal foundations are less than crystal clear. There are two areas of law that affect using emulation to re-execute preserved software. Copyright and except for open source software, the end-user license agreement, which is a contract between the original purchaser and the vendor. Software must be assumed to be copyright and thus absent specific permission such as a Creative Commons or open source license, making persistent copies such as a needed to form collections of preserved system images is generally not permitted. The DMCA contains a safe hardware provision under which sites that remove copies if copyright owners send takedown notices are permitted. This is the basis on which the Internet Archives collection operates. Further, under the DMCA, it's forbidden to circumvent any form of copyright, copy protection or digital rights management technology. These constraints apply independently to every component in the software stack contained in a preserved system image. Thus, there may be many parties with an interest in an emulation's legality. Streaming media services such as Spotify, which do not result in the proliferation of copies of content, have significantly reduced, though not eliminated, intellectual property concerns around access to digital media. Streaming emulation systems suit have a similar effect on access to preserved digital artifacts. The success of the Internet Archives collection, most of which can only be streamed, and Rhizomes is encouraging in this respect. Nevertheless, it's clear that institutions will not build or provide access, even on a restricted basis, to collections of preserved system images at the scale needed to preserve our cultural heritage, unless the legal basis for doing so is clarified. Negotiating with copyright holders piecemeal is very expensive and time consuming. Trying to negotiate a global agreement that would obviate the need for individual agreement would, in the best case, take a long time. I would predict that the time would be infinite rather than long. If we wait to build collections until we have permission in one of these ways, much software will be lost. An alternative approach worth considering would separate the issues of permission to collect from the issues of permission to provide access. Software is copyright. In the paper world, many countries had copyright deposit legislation allowing their national libraries to acquire, preserve and provide access, generally restricted to readers physically at the library, to copyright material. Many countries, including most of the major software producing countries, have passed legislation extending these rights to the digital domain. The result is that most of the relevant national libraries already have the right to acquire and preserve digital works, although not the right to provide unrestricted access to them. Many national libraries have collected digital works in physical form. The DNB's CD-ROM collection includes half a million items. Many national libraries are crawling the web to ingest web pages relevant to their collections. But it does not appear that national libraries are consistently exercising their right to acquire and preserve the software components needed to support future emulations, such as operating systems, libraries and databases. A simple change of policy by major national libraries could be effective immediately in ensuring that these components were archived. Each national library's collection could be accessed by emulations on site in reading room conditions, as envisaged by the DNB. No time-consuming negotiations with publishers would be needed. If national libraries stepped up to the plate in this way, the problem of access would remain. One idea that might be worth exploring as a way to it is lending. The Internet Archive has successfully implemented a lending system for their collection of digitized books. Readers can check a book out for a limited period. Each book can be checked out to at most one reader at a time. This has not encountered much opposition from copyright holders. A similar system for emulation would be feasible. Readers would check out an emulation for a limited period and each emulation could be checked out to at most one reader at a time. One issue would be dependencies. An archive might have, say, 10,000 emulations based on Windows 3.1. If checking out one blocked access to all 10,000, that might be too restrictive to be useful. So I hope I've shown that the technical problems of delivering emulations of preserved software have largely been solved. Concerns remain but most are manageable. The legal issues are intractable unless the National Libraries are prepared to use their copyright deposit rights to build collections of software. If they do, some way to provide off-site access will be needed. But at least the software will be around to be emulated when agreement is reached on that. Okay.


I know I've been gone for a week Hey man, I'm on vacation You know I just took a week off to distress a little bit as you can see I'm not in New York I'm in my hometown of Albuquerque, but that is three outfits. Hey man I don't know how to dress no one really does just wear what you want man But let me just tell you what I like to wear for a date So I already know I made a video on why I wear more street-esque fits on dates But I've been more into the simple lifestyle so that translates to my outfits as well So all these outfits are very minimal. That's just what I'm on man and with each outfit I went to three different cities three different spots So you guys might get an idea on what you can do for a date for this first outfit I went to Gantry State Plaza Park. It's an LIC You can also go to Dumbo Brooklyn for a date if you take a shorty there man. She's gonna love it But for the top I'm wearing this Henley from Essentials Henleys are a great addition to any of y'all's wardrobe definitely recommend not going super extra fitted on this one the drape ear But still slim look looks really good Especially if you wear a ton of accessories and I know some of you are probably like Johnny What are you doing man this summer? Hey man relax?  It's a little harder to convince someone to buy your thick bottle That's why Sempert finally closed that gap for me I stand behind it so the way it works is they are a monthly subscription based company each of these last over a month They're basically around 120 sprays and you get a new one every month or more if you want to upgrade So you get to try a ton of fragrances for only $15 a month and they got your girl, too Wouldn't recommend this on a date. I wouldn't be that guy. That's a good way to get rejected. Look at this It's TSA friendly.  You don't have to worry about it breaking in your checked bags Samford provides this super clean minimal design twist case with the fragrance of your choice and bro They work at the actual companies like Gucci Hugo Boss and Dolce don't Dolce The name brands so there are no fakes Nobody likes fake friends or fake products and this month I received this rag and bone brown Kenneth Cole and Dolce And trust me these go hard.  You don't have to break the ice yourself So click the link in the description and use my discount code FWJT 30 You're gonna get 30% off it helps your boy and that means your first month is $10. You're welcome, brother So this second outfit is a very comfy outfit and one of my favorite y'all know. I love these pants from black Taylor I wear it a lot and for good reason one It's cuffed like a jogger and tapers down really nicely You can do the crew socks over these pants real easily joggers are pretty much dead But I'd say these ones are fine. Just don't be rocking those packs on orange khaki joggers Those are not what's up, but these are a camera print so it should definitely be the focal point of the outfit So with that I just rock a very simple sneaker one like the easy power phases still one of my favorite kicks out there And they're really cheap the Adidas Continental 80s are a great alternative as well for different colorways otherwise They're pretty cheap and one of the least hype use these out there which I actually prefer for the top It's a shirt I got from Urban Outfitters and it just says mentally gone. I don't know man Some people be feeling that way. I'm sure all the Game of Thrones watchers felt that way about the ending But hey man, that's why you should be watching Breaking Bad man 10 times better and speaking of Breaking Bad as you can see I'm in my hometown and for this day I just took my girl around all of Albuquerque to see all the Breaking Bad locations But for you if it's date number one keep it plain and simple man Don't go crazy taking her out to a super expensive restaurant y'all just getting to know each other man I also picked this shirt because I wouldn't recommend wearing a huge clashing pattern you do you but in my opinion It's not what's up either way I like this shirt because mentally gone is just a good conversation starter as well like since having a good graphic T really can help break the ice It's also in this nice kind of vintage watch that I really like definitely recommend a nice graphic tee like this simple breaks The ice and it looks super clean now this last outfit. I like to call the wholesome outfit So I'm showing love to my homie Christian with his respect women clothing brand Come on man any girl you take out on a date is gonna be feeling this shirt wholesome She's already gonna get a good feel for you and you've already made that good first impression I know my boy Christian has a new capsule dropping very soon, so check out his channel for updates for my pants I'm wearing plain simple light wash denim from hyper denim stretch Of course cuffed and rocking them with the same white leather sneakers from earlier and on this date man me and my girl We just went to check out Chicago, you know the lake front the bean navy pier deep dish giordano's pizza now each of these outfits had accessories Definitely recommend rocking them on dates as well It's also a good conversation starter or a way to deflect the conversation overall this wholesome outfit has been one of my Favorites as of late. I fell as those are three outfits. I definitely be rocking on dates Look man, wear whatever you want. It doesn't matter if it's street wear dapper or casual All that matters is your confidence man have some self-awareness rocket based on the occasion Stick with the simple dates stick with the simple fits be shovel risk and hold your ground with the conversations Then you should be I man if you guys want to see a video on how to crush a date Give this video a like follow your boy on instagram at fly with johnny time And until then stay fly make sure you guys check out sempert and I'm out bro peace


Hi, today I'm here to share some tips and tricks for the system train screenshots. So number one, screenshots of areas. You can press meta shift print screen to select an area. Then a new notification will pop up with the screenshot that you've just selected. And you can actually drag and drop that screenshot onto whatever you're doing. That is maybe LibreOffice or Telegram, just drag and drop it. And that's it. It also works for downloaded file. If you download a file from Firefox and then want to place it in a folder, just drag and drop from the notification to that folder. And that's it. Super fast, super productive. You can also select the icon near the file or the screenshot for additional items such as opening the containing folder or sharing it over the internet with ingore and similar stuff. For the volume applet, you can actually scroll on the volume icon to change the volume. And you can middle click it to mute and unmute quickly. You can also drag and drop application to audio input and outputs to select them. Super productive. Middle click also toggles microphone. So if you want to turn off your microphone, just use middle click on the icon. You can also use the scroll wheel on the battery applet to change the brightness of the screen. Middle click also works for the notification applet and it will turn on do not disturb for as long as you want. Then there's the media controller. Again middle click will stop and play the audio. So if you have some video going on in Firefox and you want to stop it, just go to the media player middle click on the system tray. It will stop. You can also use the wheel to change the volume. When you are in the pop-up of the media controller and I have to write this, you can use space or key to toggle play and pause. You can use P to go to the previous track and to go to the next track and S to stop. You can use left or J to seek backward, right or L to seek forward, home and hand to seek to start and hand. You can also use 0 to 9 to seek from 0% to 90% of the track line. So lots of stuff, lots of keyboard stuff, very productive. And by the way, you can also connect the media controller to your KDE Connect so you can see what's playing in your phone. But also what you're playing on the computer will just stop as soon as you receive a phone call. Then as far as the task manager goes, middle click is actually customizable. You can choose whatever you want, whereas the wheel will switch from all apps. Then if you have a mouse that supports forward and backward keys, you can use them both in the media applet and in task manager with applications that are playing audio to switch to the next and previous tracks. So if you don't have one, go buy a mouse with previous and next button support because that sounds super cool and I don't have it. You can also use middle click to past pretty much anywhere and if you do it on the desktop, it will create a sticky note what you've written and if you didn't do it in purpose, you can select that note by holding left key and then delete it and it will do it right away. No confirmation dialogue because we know that you accidentally mess that up sometimes. Finally last one, if you have an image on Firefox, you can actually click and drop it on your desktop to add it on a frame so as a widget or also to set it as wallpaper. So no need to download it, open the wallpaper dialogue, add the image and then apply it just drag and drop, use as wallpaper and that's it. So thank you for following this video, don't remember. Hi, today I'm here to share some tips and tricks for the system tray. So let's get for it. A new pop-


It's your misfortune and none of I know. It's a tie, I know.  You know that the ferry will be your new home. Now for the thrilling adventures of Lightning Jim. One of the most exciting events of the Old West was the discovery of gold in Deadwood gout in the Black Hills region of the Old Dakota Territory. It was the colorful era of Deadwood Dick, a shotgun guard, which helped protect the early shipments of gold by state coach and a national hero among the boys of his generation. Into the gold-mad country came United States Marshal Lightning Jim Whipple and his deputy, Whitey Larson. Yes, Whitey, there's Deadwood dogs down there below. You're like him, I'm certainly glad we come out here. I hear so much about all the gold we get in here. Now maybe I get the chance to see some of it. Yeah, I reckon you will, Whitey. Where there's gold, there's always trouble. Yeah, there's been a few hold-ups lately and we're heading into Deadwood to see what we can find out about them. I know the sheriff in Deadwood. Oh, is that so? Yeah, that's Martin, came up here from Kansas. What are you looking at, Whitey? Well, what about him? Now we ain't gonna get into Deadwood if we mow the along like this either. Come on, Thunder. Yeah, this claim is a watch out, Jen. Yeah, but that's a pretty slick idea you had, Ike, taking this claim and working it so the boys wouldn't catch on when we hold up the stages.  There's a money state going on tomorrow. I figure we can take it back here and lay low for a few days and mow the out-quiet like this. Yeah, we wish to clear out the same day as the hold-up. They'd have a pot they had on the tray. Hey, hey, come on, come on. Well, well, well, howdy, boys. Nice weather we're having. Well, well, if it ain't Chicago Charlie. What do you want up there? Well, well, nothing in particular. Just go right, drop in and see how you work. And we don't like visitors, mister.  Now this? Well, that's a camera. That's all. A what? A camera. Have you ever seen a camera before? What do you do with it? We take pictures. Oh, oh, yeah, yeah. I heard about them picture boxes. Don't point that thing at me. All right, boy, all right, sir.  Well, let's go to my judge. Get the mover and take that picture-conception with you. Hey, hey, sure, sure, sure. Hey, stranger. Howdy. Now, now, wait a minute. Don't get down yet. Why not? Now, I want to get your pictures. Hold it a minute. All right. Candidate, he's getting rid of them pictures. Yeah. Hold still now. There. There, much to buy. That's all right, mister.  What's his name? Thunder. Oh, Thunder, eh? Then your name ought to be Lightning. Thunder and Lightning. Got it? Ha, ha, ha, ha. He already got it. Thunder and Lightning, that's a good one. Yeah, that's kind of easy, that's nice. You think they've run up or by yourself? I'm sure. Charlie, Charlie's my name. Boys around here call me Chicago Charlie. Chicago Charlie, eh? Yeah, that's me. Why do we usually charge $100 for letting folks take our pictures? Oh, eh, you're sure? $100. Yeah. But seeing as how you're Chicago Charlie... Oh, have you heard of me before? Oh, sure. Everybody on the planes is head of Chicago Charlie.  Well, that's money nice of you to say so, mister. That's all right. Seeing as how it's you, I reckon we only charge you $50 for taking a picture. Why? Uh, how about it, Whitey? Oh, that suits me. You mean you want me to pay you $50 for taking your pictures? That's right. Personally.  Yeah. Ha, ha, ha. Hey, that's a good one. For a minute, I thought you really meant it. Can you picture that? Get it? Picture. Yeah, yeah, he gets it. All right, Charlie, but after that, when the price goes back to $100, come on, pay up.  Why, you bet we are. And it seems to you this has taken too far. No, no, no, wait.  That's a $100 story. Oh, no, wait. Don't shoot. Hold it, Whitey. Here comes the sheriff and another fellow. Hey, what's going on here? Well, look who is here. Come on, say, Sheriff, I only took that picture. They said I couldn't. Now they say I got to pay them $100. That's right. Now you arrest them, Sheriff. They threatened to shoot me. They're dangerous characters. That's what they are.  He's a meanie. These armed raiders have got an eye on this complete. Why, sure they have, sir. Sure they have. Honest? Why, I never paid nobody for taking their picture. Well, you've been getting away with a graph, that's all. And this picture of me belongs to me, and I've got a right to start for it. Hmm, sounds reasonable to me.  Well, Charlie, I've been telling you that picture machine was going to get you into trouble. Here's why it has. Well, I'm not paying $100 to nobody. No? Well, I reckon you better lock him up, Chef. I'll prefer the charges. Yep. Taking the picture and not paying for it is most as bad as stealing a husk. Yeah. And husk stealing is a hanging offense. Well, I reckon you ought to get a try, man. No, no, no. No use bothering with a tile. Hang them now and get it over with. Hey, hey, hey. Wait on that. Come on, Charlie. I've got to take you to jail. I'll pay if you let me go. Well, that did you, Mr. Well, I reckon we hadn't ought to be too hard on him, uh, tenderfoot, ain't he? Yeah. The only thing really bad about him is that he runs all over town taking pictures. I see. Well, give me the cash, Charlie, and I'll drop the charges. Now, that's a holdup. That's what it is. Here. There's the cash and go to places. You're getting off cheap, Charlie. That picture's worth a thousand in anybody's. Oh, yeah? Well, here's the place, and here's what I think it's worth. Now, now, careful there. Get going, Charlie, before I slap you in the deal for this orderly counter. Eh, don't worry, Sheriff. I'm going. I'm going. I'm going. Well, let's meet him and let him know, all right? Well, right now, Jim, you old horse things. I sure am glad to see you. Well, I'm sure glad to see you, Sheriff. You remember Whitey. What? Sure do. Sure, Sheriff. I'll be running along, Sheriff. Oh, now, now. Hold on. I want you to meet two old friends of mine. You heard of Lightning Jim Whipple, United States Monarch. Sure have. Well, this is him. And, uh, Lightning, this is Deadwood Dick. Deadwood Dick? I might as well know you, Dick. Well, it's the same goes for me. My name is my partner, Whitey Lawson. Oh, thanks to me. Dick's the guard on the money coach that travels between Deadwood and Sydney. I see. You've been in them hold-ups we've been hearing about? No, no, no. I've been lucky that way. They ain't tried to hold up my state yet. Well, I reckon them rowing agents knows better. Yeah, Dick's one of the big shots in the country. Uh, come on, boys. Let's move you over to my office where we can call. All right, Sheriff. Oh, wait a second. Whitey. There you are. See if you can find that, uh, Chicago's Charlie. Chicago's Charlie? Yeah. Take this cash. You gave me and give it back to him. He, but my's OK, but it'll take him a lot. Ah, he's had his lesson, I reckon. Go on, Whitey. We'll see you at the sheriff's office. Oh, sure. George! Oh, it's you again, eh? Don't come near me. I don't want nothing to do with you. You're playing highway car. Take it easy, not Charlie. Ah, take it easy. Your partner stole $100 from me. No, he didn't. Never stole any of you. Oh, a joke, huh? Well, I can't see anything funny about that. Well, how would you like to have him on the back? Oh, I don't make me laugh. Lift and lighten him. Yes, if you'd be... Did you say his name was Lighten and Jim? You're Lighten and Jim. Christine I. Yes, Marcia. Oh, supper and catfish. Why, catfish? No, but that is... Lighten him or just have a little fun with him. Test your Monday. No, what do you think it is? Say, that's not a good one. I got to remember that to tell the boys back at the cargo. I don't know when he was only joking. Imagine charging me $100. $100. Hey, wait a minute. You mean get our picture in for $100? Well, no, not now. Hey, I ought to bust you in the north. No, wait. I said not now. I broke the place till there ain't any picture. Then if there ain't any picture, it ain't worth anything. Get it? Oh, that's too worse. Okay. Yeah, much worse that much. Oh, sure it was. Hey, I lost the screw off my camera. Yo, are you a little sick? Well, I'm not sure, but I think it was up in the gunker way. I was taking their pictures there where I can dance plain.  Oh, hard rock, I can bummer down the boys' column. A couple of pasta, yellow. Have you ever seen them panting for gold? Well, no, not really. Close up. Well, come along with me and I'll show you how it's done. Maybe we can find the screw for that camera. Yo, I do that. That's good. Say, you know, that was a good joke I put on your fight. That's funny. Don't seem to be nobody around. Well, it's just the place where them two you just live, you ever talking about? Yeah, this is like a dance claim, all right? This is our tax. Hey, hey, Sam! There's no better home. It's like Sally, like there's something to eat. Yeah. Well, good. That's me hungry, and you're me too. Well, we better go inside. Hey, something's happened to us. Yo, let's open up the door. Oh, hey there. Hey, what's here on the stone? Well, well, a big pot of beans. My wife doesn't smell good. Yeah, and they look good too. Yeah, I wonder if they're too cooked. Well, here's a spoon. You try them. Yeah. Mm, boy, boy. Good, eh? Yeah. Let me take some too. Yeah, here you are. Mm, yes. There's at least more. You get your own spoon, I'm sure. Here, I'm gonna take it. Boy, this is just you know how to cook beans by galley. Mm, mm, mm.  I got a hand at all. You wouldn't give me the price to see you here. Yeah, and wouldn't we be surprised if they walked in right now? Oh, that's so... You know, they wouldn't be able to not get that. Oh, howdy, I. That's a big idea. Yeah, what right you got coming in here? Oh, no, no, no. It's not that easy, boy, but I can explain everything. I'm not explaining. Well, you'll see it worse this way. You remember, I was out there taking pictures. Yes, and we charged and had to come back. Yo, no, put that gun down, damn. Keep talking. Sure. Well, when I got back to town, I discovered that I lost a school for my camera. So many of my friends come up to look for us, see? No, I don't see. Oh, that don't explain what you're doing in here. Well, we thought something might have happened to you.  So, well, we came up in the booth. You felt so good.  So, we didn't mean no harm. We'd be glad to pay for the beans. Yo, sure did care for them. They did give me something. Well, I'm interested in what you're thinking of beans. You're on private property. We got a right to stick that down. Oh, no, yo, what to do left? You wouldn't shoot us for eating a few measly old beans. A few measly old beans. Thought you said they was good beans. Oh, so, of course they're good. You just find yourself here. I'll get you some. No, you don't. They're right where you are. I got Jeff's gun, then. Yeah. Hey, no, please, come here.  Get on.  Get on. Yeah, I'll let you. I'll see you that way about it. All right.  Yo, you sure it's a cook-like, I do. But you do like these beans. Oh, yes, indeed.  But I got a better idea. What are you going to do, all right? Put a pot of beans over here, then. Yeah. Yeah. Put it on the table between these two umbrellas. There you are.  It ain't hot. No, no, let me see your hair. All right, we can't eat all them beans. Take your choice.  And when you get through at this pot, we'll have some more ready for you. Well, this is one time when Whitey's going to get a free meal on the house. All the beans he can eat and then some. What happens to Whitey and Charlie and the plan if I can then to rob the money-stage will be told in part two, which follows immediately. And now for part two of the thrilling exploits of the United States Marshal Lightning Jim Whipple and his deputy Whitey Larson. We have heard how they went to Deadwood Delta to investigate hold-ups of the money-stage coaches that carried gold to the railroad. They met Deadwood Dix and Chicago Charlie who spent most of his time taking pictures of the famous Deadwood characters. But Whitey and Charlie got into trouble when they visited the shack of Hard Rock Ike and bummer Dan.  There's still some more beans in that pan. Hey, I... I can't eat. No more? You know what I mean? I'm good to both. Come on, Ike. Don't talk so much. Yeah. That's all. Yeah. The beans just going... and I eat too. That's me. That's me. I'll be right here. Me too. All right. Get out. Don't come back again. Yeah, come on. Come on. You will regret this, gentlemen. Yeah. Make them dance, Danny. Yeah, the bullet dance. I don't think I'm a legend. Yeah. I reckon that's enough money. We've got serious business to do now. Yeah. We've got to figure out about holding up the money stage. Yeah. Well, now here's what we'll do. That's a good one. I'm sure sorry I missed seeing you boys eat them beans. I don't see nothing funny. No, sir. Me neither.  Oh, my. I've got a stomach ache. And I think I wasted a perfectly good picture on those cut throws. Yeah. You took a picture of them? Sure. Here it is in my pocket. Let me see it, Charlie. Yeah. There you are. The one on the left is hard-lock ice. And the other cusp is bummer-dan. Well, that's interesting. Well, you've seen them before, 19th. I don't know for sure, Whitey, but teams like their faces are kind of familiar. Why? Them other cats have come in here a couple of months ago and bought out old Mike's claim that the girls are weak. Yes, I heard about Mike selling his claim, but I ain't met up with these hombres. Well, they ain't been in town much, but they appear like hard-working miners to me. It's kind of sociable and quiet, like. Oh, there are plenty of sources, but when it comes to handing out beans, I tell you. Well, believe me, the way I see it right now, I take the first stage out of Deadwood and head back to Chicago. That's the first sensible thing I've heard you say, Charlie. Why can't you do that? Well, I promised the boys back in Chicago I'd show them a picture of a real hold-up. You know, a stagecoach hold-up. So that's worth taking, huh? You want to get a picture of a real hold-up, isn't it? Well, me? Why, I'd give my right arm for a picture like that. Take it easy, Charlie. You might live to regret that. No, not me. Good luck, Charlie, is my name. See you later, boys. Yeah, crazy galoo. He's going to first round when somebody butts that picture machine over his head. Hey, boys, I've got an idea. What is it? Well, Charlie says he'll go back to Chicago as soon as he gets a picture of a real stagecoach hold-up. All right, let's see if it'll get that picture. I am. How are we going to do that? Well, that's easy, easy. Charlie's been pestering me to ride on the money stage for a long time, saying that he might be on hand for a hold-up. Of course, that's a good one. Well, I'll be gone. He's got more nerve than safe. That's what I told him. That's a good idea, big. Oh, I just got a laugh to think about it. No, no, no, come on. This is a point. Sure, sure. Now, listen, the regular stage is you to go out of dead wood at 9 o'clock. Now, I'll fix it with the boys to hold up the regular stage and I'll take out another stage instead. Yeah, but where does Charlie come into the air? I'm getting to that. I'll tell Charlie I'm making a special trip and he'll be sure to ask me if he can go along. Here's where you boys come in, pick up some mass, get your horses, and take out the stage trail a few miles and wait for the stage. Oh, so that's it.  Right! Charlie gets his pictures. Then we get rid of Charlie. What do you say, right now? Well, this business of running down the criminal time is serious. Most of the time, and I reckon we have no to pass up a chance for a laugh once in a while. You can tell me, boys. Now, I'll tell you. It's almost eight now. Now, I'd give this a now to get ready. Come on. Today is going to be real. What trouble, Whitey? You look kind of pale. Well, I was just thinking about the trip. This is made of heat dampening. I'm going to get even with them if it's the last thing I do. Whoa! Whoa, easy there, girl. Now, come on, Dick. Just this one. Well, I don't know, Charlie.  Say, that would be wonderful. I've got my camera right here. You let me go along, and I'll give you this watch that I bought in Chicago. See? It's almost new. Yes. Well, all right. Give me the watch and jump in. Oh, thanks, Dick. Well, a real pass. All right, come on. Get in. Good. Hey, where's the money bar? Right there on the floor. Now, if there's any shooting, keep it down low. Well, I hope there is a hold up so I can get my pictures. Get up there. Come on, girl. Well, Jeff, we've been waiting here behind this boulder for half an hour.  I can see the tree is quite a ways down. And there ain't no sign of the stage coming. Maybe Charlie wouldn't go. Yeah, maybe so. Anyway, we might as well wait a little longer. Yeah. Yeah. Say, yeah. I meant to ask, yeah. Where'd Whitey go? Well, he had a little business he wanted to look after. And I told him we could handle this job ourselves. Yeah, we sure can. It'll be worth a year's salary to see the look on Charlie's face. Yeah. Hold on, Jeff. He's dust-raising over the trail back yonder. Yeah. Here comes the scene. Yes, but a mile of gold for the gift here. Come on, I do. Let's write down these. Come on, Thunder. That ball a little straight. I ain't movin', mister. Hold on, you're gonna be quick about it. Sure. All right, driver. Come on down here. You're wasting your time, mister. Yeah. Where's that money box? Inside the coat. Open the door and get the box, mister. Won't do you no good. Let's pull him around and drag that box out here. Sure. No, no, no. Don't shoot me. Take the box. Don't shoot me. Well, I'll pay. Hey, what is this? What are you doing in there? Well, I was just taking a ride, that's all. Place that box out here and hurry up. That's my floor, mister. Here it is. I got it. Why, the lid ain't locked. What's the idea, mister? I told you you were wasting your time. This ain't the regular money stage. I was just taking Charlie out for a little price there. Hey, there comes two riders. Let's go this way. Yeah, let's clear out of here. Come on. There we are, mister. Don't try to follow us. Yeah, I'm just gonna follow you. Please, please. That was a close one all right. Yeah, it's closer than you know, Charlie.  No, not me. Well, how do you know? Step it down, Dick. Say, where's my camera? Forget, forget the camera. You won't need it. Well, thank you. Why? It's my men's camera, my camera. You had to shoot them and figure something was wrong. Well, then, Jasmine, Dick. You know, Lightning, they rode out from these lawns and held us up, thinking it was a regular stage. Yeah, we see them up the trail. Yes, kind of double crosses, huh? Yeah. Hey, it was a good thing you fellas come along when you did. Yeah, we hadn't been so brave far off the trail we'd have caught them critters. Ain't too late yet, Sheriff. Which way's the head, Dick? Down the canyon toward the creek. Come on, Sheriff.  Get out of there, Sheriff. Go on. Get back in the coach, Charlie. Hey, how come there was no money in the box? What do you mean, selling those bandits? This wasn't a regular stage. Long story, Charlie. I'll tell you about it when we get back to town. Well, anyway, it was lucky I came along with you. I still hope the picture I took turns out good. Imagine getting a picture of a real holdup. Yeah. Imagine. It's like the end of the trail right ahead of you. You beat me up to... Surprise. Yes. Yes, I can damn sure. Yeah. Come on, the horses are still rattled. And there's more coming out to see. Yeah. Now it's like cooking. What are you doing there? I'm out with your hands in the air. Reach for the sky. Howdy, boys. Well, it's crazy. Where's Ike and Dan? Oh, there right there. Come on in. Hey, what in place going on here? Well, Sheriff, you are looking at pure honest minus each and a nice big mess at a finest piece that Ike ever cooked in Dead Boys. Ike and Dan. This is the most rotten thing. Oh, I can't eat them.  You ain't throwing to me every last bean in that pan, my darling. Help me. Help me, Sheriff. Oh, I'm dying. Well, sir, you're right, Dan. Looks like Whitey's getting even with you for what you've done to Human Shirley. Yeah, that's too bad. Sorry I had to get a picture of her. Dad, you know why you're coming here, right? Yes, Sheriff. When I saw that picture Charlie took of Ike and Dan, I thought the faces were kind of familiar. I wasn't sure where I'd seen them, but I figured they might bear watches. So I told Whitey to come up here and keep an eye on them. Yeah, sir. I used to sell us without giving sorry. It's this course, right? I come up here and found out that Ike and Dan was out somewhere. They keep eating them beanster, well, yes. Well, I seen it was a good chance to get even with them, and I cooked these beans, and we had for them to come back. Well, maybe you don't know it, Whitey, but these arm braids held up the beans here in the kitchen. That's right, Mr. Sheriff, and we trailed them back here. Well, sir, they were the cleaners done their job. Good work, Whitey. Hey, you better say true yet. You stemmed their beans. Oh, help me. Oh, help me, Sheriff. I'm dying. Then I'm sorry, Dan, but this is one time I'm not in the period. And when Whitey gets through, I'm taking you to jail. You're, Sheriff, and you'll be sure that three times a day, you give them plenty of beans. Oh, sir. And so ends another thrilling chapter in the lives of United States Marshal Lightning Jim Whipple and his deputy, Whitey Larson.


I had sex for the first time when I was with my ex-boyfriend. I didn't bleed then and right now I'm in a new relationship. I and my current boyfriend had sex a few days back and it hurt more and I bled. As I was already sexually active in my past, how is it possible to even bleed after I have already been sexually active? Yes, women tend to bleed during sex for various reasons.  You can bleed anytime afterwards, the second time or the third time and also whenever the guy hits you the wrong way inside or his penis is larger and your vagina is unable to accommodate it. You tend to have small micro abrasions or tears which bleed afterwards but if it is happening again and again then it can be an indication of disease.


The third way artificial sweeteners may counter-intuitively lead to weight gain involves maintaining the cravings of and dependency on all things sweet. By continuing to consume any sweeteners, whether without calories, we are unable to train our flavor preferences away from intensely sweet foods. It's like if you go on a low-salt diet for the first few weeks. Everything tastes like cardboard until your taste buds have a chance to adapt to the new norm. After that, naturally low-sodium foods taste perfectly fine, and adding table salt tastes gross because it's way too salty. Same thing with sweeteners. At home, maybe use erythritol. That's great. But then you go on vacation, what if you forget it at home? You still take your preference for intensely sweet food with you, and that may end up translating into the increased consumption of less-than-healthy foods. Those are the caveats, even for something non-toxic like erythritol. It's safe, but only if you don't use it as an excuse to eat more junk food.


This study used gene expression data from synovial tissue and macrophages to identify common differentially expressed genes, DEGs in rheumatoid arthritis, R.A. reconstruct protein-protein interaction, PPI, networks, and determine key biomolecules involved in R.A. pathogenesis. The results identify hub proteins such as STAT1, I.C.2, and KYNU, receptors like PPD, transcription factors including NR4A1, MEOX2, and IRF1, and key myrnus such as MIR-299, MIR-8078, MIR-3659, and MIR-6882. The study suggests that these biomolecules may be drug targets or used for diagnostic strategies in R.A., but further experimental validation is needed. This article was authored by Bitul Khamipay and Esra government.