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Florida National Authorization & Prescription Controlled Substances Discussion

Florida National Authorization & Prescription Controlled Substances Discussion.

We are currently on week 9 of class, this week we will review the APRN prescriptive authority. Once certified APRN, you must apply for for DEA number which will grant you authorization to prescribed controlled substance. You must meet the education hours required and pay for your educational hour and DEA. Refer to the following website and review the Florida controlled substance law for us as APRN.……… WAS PRESCRIPTION AUTHORITY FOR APRN APPROVED, SPECIFICALLY IN FLORIDA?WHICH ARE THE REQUIREMENTS FOR THE APRN BE GRANTED AUTHORIZATION/PRIVILAGES TO PRESCRIBED CONTROLLED SUBSTANCE?WHAT IS CONSIDERED CONTROLLED SUBSTANCE?HOW TO APPLY FOR DEA NUMBER?VISIT THE CDC WEBSITE, AND ELABORATE ON THE CURRENT ISSUE WITH CONTROLLED SUBSTANCE ABUSE IN THE USA AND FLORIDA? -1″ style=”box-sizing: inherit; -webkit-tap-highlight-color: rgba(0, 0, 0, 0); margin: 0px; padding: 0px;”>
Florida National Authorization & Prescription Controlled Substances Discussion

perfectly answer the question in the document from chapter 13-17. I don’t know how to handle this Economics question and need guidance.

Chapter 13
Define discretionary fiscal policy. What is the goal of fiscal policy? How will fiscal policy be implemented in case of a recessionary gap? How about in case of an inflationary gap?
How will a change in taxation impact the AD curve? Explain and graph.
What is crowding out?
What does the Laffer curve show? What are the reasons why tax revenue increases and beyond a certain tax rate, decrease?
Explain how Supply Side economics work?
Discuss the different lags that fiscal policy could be faced with.
What are automatic stabilizers? Give examples and show they workin case the economy is in a recession or in a situation of inflation.
In the appendix you should be able to calculate problems using the balanced budget multiplier.
Chapter 14
How large is the national debt today? How large was the federal deficit for 2016? Look at figure 14-1. Why do you think we experienced a federal surplus around the year 2000?
Look at table 14-1. How much does the federal government pay in interest on the national debt PER HOUR?
Discuss the burdens of the national debt (public debt). How does the burden of the national debt held by foreigners differ from the consequences of the debt held by local citizens. What are the consequences of budget deficits?
How could we reduce budget deficits?
What is the trade deficit?
Chapter 15
List the functions of money. Rank the different forms of asset in terms of their liquidity. What are the characteristics of a good that will make it a successful money standard? What determines the value of money? What backs the US currency?
List and compare the different financial intermediary.
Look at the history of the Federal Reserve System. Discuss the different functions of the Fed. What is meant by the “fractional reserve system”? How come it does not undermine the security and safety of bank deposits? How does the banking system create money? Explain how the money multiplier works. Calculate the money multiplier. Calculate how much money supply will increase given a certain reserve ratio. How much of that increase in money supply is real money and how much is “created”.
What is the FDIC? Will it be able to prevent a serious run on the banking sytem?
Chapter 16:
Discuss the three demands for money.
Discuss the ways that the Fed will influence interest rates (open market operations, change in the reserve requirements, change in discount rate) – the videotaped lecture will help you understand the way the Fed could change money supply which will then change interest rates given the demand for money.
What is the relationship between the price of bonds and interest rates. What is the yield of the bond?
Explain in detail what happens when the Fed increases the money supply? You should be able to graph that as well.
How is the value of the dollar determined in the US? How is the value of the dollar determined on international markets (dollar appreciation or depreciation). How will the depreciation of the dollar impact the US economy? (look at the changes in the AD)
What is the equation of exchange (quantity theory of money)? How does it explain changes in employment and the price level? Analyze figure 16-7 and explain what happens to inflation and employment as the Fed changes money supply.
What are the pros and cons of the Fed’s credit policy?
Chapter 17:
Define the natural rate of unemployment. Does the natural rate of unemployment differ among countries? Why?
What monetary tools would you use in case of an expansionary monetary policy? What steps should be taken to implementan expansionary fiscal policy?
What does the Phillips curve represent? What is measured on each axis? What happens when you move up and down the Phillips curve? What does it mean when the economy moves to a point to the right of the Phillips curve? When you move to a point to the left of the Phillips curve?
When would you use an active and when would you use a passive policy? See table 17-1…
here is the book
perfectly answer the question in the document from chapter 13-17

AHS 7615 week 1 assignment

AHS 7615 week 1 assignment. I’m trying to learn for my Health & Medical class and I’m stuck. Can you help?

Please complete a 1-3 page reaction paper addressing the following questions:

What is a faith-based organization?
Describe a faith-based organization that you are familiar with (this can include a church):

What is the name of the faith-based organization?
What is their mission?
What are the religious tenets of the faith-based organization, if any?
In your opinion, how is the faith-based organization involved in human service provision, if at all?

It is suggested that you use headings to address each bulleted item. This will help to ensure that you cover all of what is asked for this assignment.
Please make sure that your paper is written in the appropriate APA format, including specific references to the learning resources.
AHS 7615 week 1 assignment

State University Optometry Residency in Low Vision ANOVA Project Analysis

research paper help State University Optometry Residency in Low Vision ANOVA Project Analysis.

I’m working on a statistics project and need a sample draft to help me learn.

please use JMP to finish it!! The data should be in the JMP, but I copy it to a excel document.Caffeine is the world’s most widely used stimulant, with approximately 80% consumed in the form of coffee. Suppose a study was conducted to investigate the relationship between coffee consumption and exercise. Participants were randomly recruited from the undergraduate and graduate student populations of universities in the Boston/Cambridge area. Participants were asked to report the number of hours they spent per week on moderate (e.g., brisk walking) and vigorous (e.g., strenuous sports and jogging) exercise. Based on these data, the researchers estimated the total hours of metabolic equivalent tasks (MET) per week, a value always greater than 0. The file contains simulated MET data for the study participants, based on the amount of coffee consumed. The consumption groups are labeled A – E.– A: 1 cup or less of caffeinated coffee consumed per week– B: 2 to 6 cups of caffeinated coffee consumed per week– C: 1 cup of caffeinated coffee consumed per day– D: 2 to 3 cups of caffeinated coffee consumed per day– E: 4 or more cups of caffeinated coffee consumed per dayCreate a plot that shows the association between MET score and coffee consumption. Describe what you see.Conduct an analysis to determine whether the average physical activity level varies among the different levels of coffee consumption. Assess whether the assumptions for the analysis method are reasonably satisfied.Summarize the conclusions and comment on the generalizability of the study results.
State University Optometry Residency in Low Vision ANOVA Project Analysis

HHS WK 1 D2: Communication Theory 300 words total

HHS WK 1 D2: Communication Theory 300 words total. Help me study for my Writing class. I’m stuck and don’t understand.

Much of what we know about how we communicate and engage on a daily basis is guided by theory. Theories provide useful and informative frames of reference that help explain different phenomena. Have you ever tried to understand the motivation behind a person’s actions or habits? Or perhaps questioned a technique or approach a professional might use when working with a client? If so, it is more than likely that some type of theory was involved. In this discussion, you will have an opportunity to read about various communication theories and describe them within different contexts.
Read the following communication theories: Constructivism, Attachment (Links to an external site.), Communication Accommodation (Links to an external site.), and Attribution (Links to an external site.).Initial Post: Reflect on the significance and application of the theories presented and prepare a 300-word minimum post that sufficiently addresses each of the items below:

Briefly describe each of the communication theories that are presented.
Describe how two of the communication theories can be applied in a health and human services setting. For example, how can constructivist theory be used to understand people’s views of the world in human services work? How can levels of attachment, as related to the attachment theory, be used by human service professionals to understand client needs?

The initial reply is due no later than Day 3 (Thursday) of the learning week, and at least two substantive replies of at least 100 words to two different peers will be due no later than Day 7 (Monday) of the learning week.
HHS WK 1 D2: Communication Theory 300 words total

Forms of Independent Filmmaking in the Studio Era

Discuss the different forms of independent filmmaking that existed during the studio era and with specific reference to one film, examine the extent to which they were stylistically different from classical, studio-made films. What could be deemed as a government hindrance for some major studios in the late 1940s, was actually the application of the Sherman Anti-Trust Act that surprisingly paved the way for the flourishing, independent filmmakers of Hollywood amid the studio era. On the 14th of May 1948, smaller moviemakers and multiplex owners took legal action against the near-monopoly and vertical integration that larger movie companies had over the filmmaking industry. Adolph Zukor, Jesse L. Lasky and Howard Hughes were just a few names amongst a multitude of others that were pitted by this court decision. The day marked an end to the oligopoly that ‘The Big Five’ and ‘The Little Three’ had over the manufacturing of the film industry in the studio era. Yet, the day also marked a beginning for New Hollywood Cinema. During the following years, ‘…independent film production fought the system of oligopoly, while rejecting key features of the studio-based system of production.’ (Tzioumakis, 2017). New Hollywood Cinema gave smaller producers a chance to compete with its substantial adversaries. With the introduction and technological advancements of the time, portable cameras and sound equipment along with other filmmaking facilities were made cheaper and more budget friendly for these individuals. This enabled them to create the films they wanted to, without the financial, aesthetic or ideological influence of the majors; which is a factor that could generally deem a motion picture ‘independent’ alone. The definition of indie cinema proves hard to diagnose and categorize. With no real consensus, it is easier to refer to the generic term, dwindled down to, any film that is created outside of the conventional studio system. But of course, the criteria has always been more definitive than that, and forever changing. The pictures that were produced by independent filmmakers were usually financed out of their own pocket and with resources that they already possessed; seen in cases such as Maya Deren, a Ukrainian-born American filmmaker, who rented out theatres with her own money to showcase her work. These factors and more output a unique sense of reality and rawness in the films due to their stripped back nature as opposed to that of a Hollywood constructed movie with high end production value, a naturally larger budget and over-saturation in terms of distribution and exhibition. The narratives, along with the cohesive styles and thematic quality of the features, contributed to the avant-garde and surrealistic essence of the texts that “indiewood” was releasing. The films would deal with issues that were accessible to all kinds of Americans at the time, from every class and from every race. Directors had the tendency to make films that were personal, and often a reflection of their youths and childhoods, their interests and ‘ideally, an indie is a fresh, low-budget movie with a gritty style and offbeat subject matter that express the filmmaker’s personal vision’ (Levy, 1999). With this, gives off a feeling of inclusiveness, creates an intimate touch and embodies an all-round, more accessible American cinema than the risk-averse studio system would ever. This is particularly evident in John Cassavetes’ ‘Shadows’ (1959), a film that heavily deemed Cassavetes the godfather of independent cinema at the time. The film’s narrative trajectory surrounds three African-American siblings, though only one of them dark-skinned and the struggle around race relations in the Beat Generation years of New York City. The idea and basic structure for the movie spawned from a method acting drama class that Cassavetes ran. He enjoyed the story so well, he began to look for funding. The narrative clearly presents a lack of the Hollywood-esque feel seen with the studios. With its stripped back, non-mainstream and off-beat fictional content in which it turns the depiction of race at the time, on its head; it clearly meets the foundation for a low-end independent production. The types of independence that these filmmakers were part of could be classified as one of three sub-categories, titled top-rank, low-end or ethnic production. Each one clarifies a range of criteria of what it means to be independent. Top-rank production filmmakers such as Walt Disney, Samuel Goldwyn and David O. Selznick fit this model through their reluctant output of film releases and means to preserve their prominence without over-saturation. “While the big studios emphasized efficiency and productivity, Selznick and other major independents like Sam Goldwyn and Walt Disney produced only a few high-cost, high-yield pictures annually. These filmmakers were in a class by themselves turning out prestige pictures that often tested the economic constraints and the creative limits of the system or challenged its usual division of labor and hierarchy of authority.” (Shactz, 2017) Low end meets in the middle between the three, providing the accessible, typically lower strata texts to cater to the everyman in the American society. The narratives would be far from what studio Hollywood would touch upon with substantial and extensive storylines, but rather more inclusive and could be considered in line with reality. Stylistically, they would be less bound by established ‘classical’ rules in cinema, such as following the 180-degree rule and would sometimes incorporate improvisation; a trope that classical studio Hollywood would shy away from. The number of crew members would be modest, the filmmaking equipment was commonly already owned, borrowed or of a low enough quality to purchase themselves. These types of movies were practiced mainly through companies on Poverty Row, such as Monogram and Republic Pictures. Shadows embraces these elements of low-end production, with its oppositional ideology embedded in the narrative, one that features (at the time) a controversial outlook on race in the United States. But also by means of the low cost value of its creation with its minimal crew, most of the time limited to Cassavetes family and friends and its stylistically indie visuals. “People can go out with nothing, and through their own will and determination [they can] make something that exists out of nothing, out of no technical know-how and no equipment,” (Lunn, 2018). In typical classical studios, it is not unusual to have over five hundred credits on a production, yet a low end feature can have a crew size of sometimes less than twenty people. Thirdly, at the bottom of the ranking, is ethnic indie films. This acts as an umbrella term for one of several defining audience member characteristics and attributes. This is influenced by one’s race, religion or nationality; collectively formulating the expression, ethnic. Mainly, these focus on Jewish, Hispanic and African-American audiences, whether it be that the cast of the film stars a person that holds these qualities or whether it is an race or religion-specific created film for instance. Oscar Micheaux played a significant part in the portrayal of film as a didactic medium. Meaning that, the films he made were intended to educate and that moral and political messages were nested in their depictions. This can be applied to Shadows, in the instance of the storyline pertaining to one’s blackness and identity in an American urban world. Whilst still being a low-end independent film, Cassavetes direction with the movie definitely adheres to that of being an ethnic production, as the films protagonist deals with the subject matter of racial identity in a corrupt America. ‘Often cited as the ground zero of American independent cinema, Shadows was specifically designed to be an alternative, a small story about the kind of people—young, African-American bohemians—Hollywood usually ignores.’ (Dowd, 2014) With regards to budget, the spectrum of funding from which these three different forms of independency range from, is sizable. With most top-rank productions, one million dollars was a high, however not unsightly figure for a film’s overall budget. Amongst the likes of marketing, star salaries and contracts with distribution companies, it was easy for such a number to become rationalized. Contrarily, stands the low-end movies which rarely saw a figure that large, due to their simplicity throughout production, shoddy sets and restricted financing. Shadows, brought to life on a ‘shoestring budget of $40,000’ (Dowd, 2014) can harmonize with this basis. In the larger perspective, Paramount had willingly spent $1.75 million on Sunset Boulevard in 1950. Cassavetes shot his directorial debut on 16mm film initially over the course of a few days (before reshooting the next year) with the help of audience crowdfunding from a marketing ploy on a local radio station he featured on. A handful of generous friends also helped him with the budget, lending him money in order to aid the production of the film. The movie was filmed on location between the inside of Cassavetes’ own home which he shared with his wife and on the streets of New York. Low-end independent cinema is infamous for its extremely mediocre sound recording and sound design and Shadows was no exception. The audio throughout is disorganized and unconvincing, cuts arrive off-cue leaving awkward pauses between scenes and shots and the sound is almost fully limited to dialogue from the actors. ‘Part of that rough-hewn quality is just a byproduct of the director’s inexperience and modest means. But it’s also an expression of his DIY sensibilities, his privileging of performance over craft (Dowd, 2014)’, which is again something that major Hollywood studios would hesitate to blow over instead of repeatedly gravitating to where the market is. It can be argued that the success of independent filmmaking can owe itself to the decline of the studio era and its systematic approach to the management of these companies. No longer is the industry owned by filmmakers but by conglomerates, that often have little to no experience or sentiment for the art. Columbia, a studio that started off producing and selling B-movies to the ‘Big Five’, was eventually sold and bought by Coca-Cola, a company that have a niche and market aptitude for selling carbonated drinks. Some say that this behavior has affected the way that Hollywood is viewed, inclining itself more towards that of a world owned by business conglomerates rather than what it began with, which was actual filmmakers. Reasons like this, along with the aspiration to make different films – ones that studios are likely never to finance or produce – are why filmmakers turn to becoming independent and exclude themselves from any studio involvement. In 1960, a columnist named Jonas Mekas and twenty-three other independent filmmakers wrote an article in Film Culture magazine titled; The First Statement of the New American Cinema Group. The principles stated that cinema was a personal expression and that filmmakers should reject the interference of distribution companies, producers and keen investors until their work was ready to be projected on screen. Reference List: Cassavetes, J. and Carney, R. (2001). Cassavetes on Cassavetes (Directors on Directors). Faber Faber. Dowd, A. (2014). American indie cinema is born on the mean streets of New York. [online] AV Film. Available at: [Accessed 10 Dec. 2018]. Levy, E. (1999). Cinema of Outsiders: The Rise of American Independent Film. New York: NYU Press. Lunn, O. (2018). How John Cassavetes’ Faces broke new ground for indie filmmaking. [online] British Film Institute. Available at: [Accessed 9 Dec. 2018]. No Film School (2016). Video Essay: How New Hollywood Created the American Indie. Available at: [Accessed 8 Dec. 2018]. Schatz, T. (2010). The Genius of the System: Hollywood Filmmaking in the Studio Era. Minneapolis: University of Minnesota Press. Tzioumakis, Y. (2017). American Independent Cinema. Edinburgh: Edinburgh University Press.