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Pinterest Copyright Infringement: Yeah, so what?
I've written extensively about my belief that stock agencies and photo-sharing sites are fusing together quickly, and that there will be a day when each will encroach on each others' turfs to the point where they will either be offering the same services as the other, or will be operating under the same umbrella organization.
By the time that's happened, the next question will be how the remaining players will compete with one another, now that all other aspects of their businesses are roughly equal. Much as that may be an interesting hypothetical question of the future, its answer lies in the behaviors of the industry today--including both the distributors (agencies) and the suppliers (photographers).
Despite substantial advertising and PR dollars used to churn out the message that "our agency has millions of images," or "our photo are higher quality," these are relics of the pre-internet era. Photos need to be considered commodities in this regard. Once a photo company's image volume exceeds a certain critical mass, specifics on quantity or quality doesn't vary enough to attribute any meaningful differentiation from its competitors. Because of infinite supply, the quantity or quality isn't a compelling enough reason to work with any given photo site. Competition will be based on other factors, such as services, custom work, and so on. But, one area of competition that is not on a level playing field is that of search results. That is, how quickly users find images that meet their searching needs will command higher prices and higher volume.
"Leaders of tomorrow's photo industry will be those whose search results most closely match users' needs."
Sound familiar? This has been the name of the game for traditional search engines like Google and Yahoo, and look at the multi-billion dollar industry that has become. But their limitation is one that isn't discussed very much: they can't deal with non-textual data very well.
To illustrate the point, go to http://images.google.com and type "monument valley." The results consist mostly of images of monument valley, but no "intelligence" is used to accomplish this. For the most part, they are based on the traditional text-based criteria: if the image itself is named with the text "monument valley," it's on the list. Where the list it resides comes from how well the site it came from is ranked. Ironically, neither of these criteria contribute to the quality of an image search. A site's ranking has less to do with the quality of an image found there; Wikipedia ranks highly for its text content, but if you're searching for quality images of a subject, it's not the best choice. And though google's image searching technology is certainly popular, with traffic far exceeding all stock photo sites' results combined, image searchers have to trudge through results that are not too different from the old text search days of the 1990s, before modern ranking algorithms existed.
And, in an industry like photography, where the supply and demand of images are high, no one is more reliant on "search quality" than photo content providers and suppliers. And this is where future photo-site leaders will compete to claim their true competitive advantage. Because of that, the implications on the entire photo industry is widespread, and no one with any clout is preparing for it.
Though many stock photo agencies are much better at search results than the major text-based search engines, it's still surprising how poor most sites perform on this very task. Image quality notwithstanding, most fail to adequately yield search results on the most basic, rudimentary objective criteria: keywords. Searching for future on Flickr yields some pretty miserable results. Discounting the bad photos, it's the nature of the results that matter. True, they all contain the "tag" (keyword) future, but the "relevancy" of these images to the intended search illustrates that significant work needs to be done to improve this area of the photo industry. An image that's captioned as "Future son-in-law" is not what searchers usually look for when the do a search on "future."
Yet, people still come and search for images at Flickr. Why? Ironically, because there are no "great" alternatives. While a search for "future" yields better, more relevant results on Getty, more mundane search parameters yield similar quality images as microstock sites. And users aren't flocking to Getty with large quantities of marketing-laden words for which to find matching images. This means that, for the time being, we are still working in an economic model where all competitors are roughly equal. This is why major stock sites are having a hard time competing with microstocks.
But the playing field won't remain level for long. In an economic cycle for an industry that's reached this level of maturation, we are currently seeing consolidation. Once that cycle nears its end, the remaining competitors etch out their niches in the market and define their various competitive advantages. Which brings us back again to image search results. Preparing for that future should be at the forefront of the minds of both photo companies and photographers alike.
Yet, the problem isn't as easy to solve as one might think. One reason why, as most of this article discusses, is because optimizing search results requires more than just images with descriptive keywords. It requires a more intelligent approach that involves both the keyworder and the searching mechanism itself. The operative word here is "intelligent," and trying to get two large, independent groups of people (companies and photographers) to cooperate on such a thing requires an entity to lead the way. And that's the missing piece.
Barring who that leader is, let's at least wrap our head around what the problem is and a direction for solutions.
As we all know, keywords are used to describe the elements of an image. It's part of a larger abstraction called metadata. Or, as the techies call it, "data about data." In the photo world, metadata includes information like location, camera settings, and the grand daddy of them all, keywords. Using the following photo as an example, let's look at how we might keyword it.
It's a picture of an old man (who happened to be a camel shepherd in Turkey) standing next to a woman. When assigning keywords to this photo, you may start with "woman, old, man, camel herder, turkey, sunglasses, hat, beard." These keywords would describe the general contents of the image and where it was taken. So, how does it do in an image search? If a travel company's photo editor is searching for tourists interacting with native countrymen for use in an ad, these keywords won't satisfy that search, even though the photo itself may fit the bill. Realizing this, you start adding more words to the mix: "tourist" makes sense. What about "native?" Well, sure, since that's really what the picture is about. You rationalize that your target buyer may be just such a travel company, so you add "native."
When the photo is actually online, you discover that a search came in for "native turkeys." Is this really a good candidate picture for that search request?
Turns out, keywording images is a surprisingly complicated problem. In fact, it's far more complicated than indexing traditional text-based web pages and documents because those are based on natural language, which has rules for grammar and syntax that can be used to derive meaning. Photos have nothing but a flat and tiny list of equally-weighted "words" that have no contextual relationship to one another. The best the photographer can do is describe the photo as thoroughly as possible. For example, there's no way to know that the man in the photo is a camel shepherd unless the image had that information embedded into its metadata.
What does this lead you to conclude about keywording? Most people conclude that they should enter as much information as possible. In fact, the industry is driving fast and furiously in this direction. But, as I'll get into shortly, there are downsides to this approach that will be exacerbated once the economics of how the photo industry changes as sites begin to compete in the area of search. The problem with this keywording approach is that fails to address two key, pivotal problems: false positives, and "contextualization." (Now there's a winning scrabble word.) If one performs a search using the phrase, "old man," the sample photo above will come up in search results, but it will also come up for a search using the phrase "old woman," because it contains both those keywords too. This is a false positive because even though it positively met the search criteria, it isn't what the user was looking for. And under the current design of metadata or search technology, there's no way to assign a keyword's context.
Since the current trend is to populate keyword lists with as many possible words that describe an image (so they'll come up in search results), the likelihood of false positives rises higher as more and more keywords are added. So, as people further embrace this approach, the worse the problem of false-positives becomes. It also contributes to a related problem, that of "near positives." This is the "second-hand smoke" of the keywording problem, and it happens when you come up with synonyms for your keywords in an attempt to cast an even wider net to cover all potentially related search patterns.
For example, someone looking for a photo of "architectural ruins" might use the search term "ancient" as a colloquial part of American vernacular. So, the keyworder might add "ancient" along with "old" to that image's keyword list. And this inspires the keyworder to start thinking of other synonyms: antiquated, antique, archaic..." These might all be possible terms used by searchers, making them "near positives" in search results. This is even worse than the original problem simply because so many more potentially irrelevant keywords are being added to an image, causing an even greater likelihood of false positives.
don't come up, you lose.
One such solution is a body of work called "the controlled vocabulary." One website on the subject can be found here. In addition to the white-paper-like description of the problem of keywording, it offers a product that is somewhat self-described as a "keyword thesaurus," where it uses a large (11,000 word) database of words that can be used to streamline the keywording process. It not only automates some of the process, but it helps avoid the common human errors of keywording, such as word inconsistencies and typographical (spelling) mistakes. The theory being, if you use a single source for your vocabulary, and if it can automate your keywording process, the more likely it is that this image will come up in searches.
The logical steps that lead to the need for such a tool is understandable. And the group-think has caught on, which is what got the industry in the state that's in today. As the lemmings follow each other over this cliff, more and more companies enter into the fray and offer products that do similar things are various degrees of completeness. And they all echo in similar ways the same principle, "use the most extensive list of words that describe your image in its keywords list."
There are also keywording services that will do this for you. A simple search on google finds many companies charging between $1/image to $4/image, depending on how much you want done. AtoZ is a service that, for the premium service, will attache over 150 keywords to each image, including word variations, singular and plurals, verb tenses, adjectives, adverbs, slang terms, and even different spellings for hyphenated words.
Photo District News, one of the most prominent industry magazines, has keywording contests each year. A fun-but-gimmicky event that is gaining a lot of copycats in other photo-related companies trying to attract members or customers. The swell of interest in keywording is growing at an exceedingly fast pace, which can be measured simply by searching for sites that offer the service or software packages.
All this leads to a phenomenon I call "keyword pollution." This is a term I use to describe an image whose keywords are such that the number of false positives causes the searcher to get exasperated and quit. There's no defined line when this exasperation sets in, but it can be measured by looking conversion rate between image searching and buying. When site traffic statistics show lots of searches, but few buyers, this is a good sign that keywords aren't assigned well.
Keyword pollution isn't measured only by its quantity of keywords, but its quality. The other side of the coin is that the fewer keywords it has, the image may not come up in search results that it should. But the real overriding factor is that overly-keywording images is driven by an economic incentive for the photographer.
Stock sites, on the other hand, do lose, because the more unreliable their search results are, the less likely buyers will use them. Once they figure this out, they'll want to address this short-coming (and hence, compete more effectively in the marketplace). That's when substantial changes will occur in the perception of how keywording is handled.
This might also explain why Flickr is waiting to enter into the licensing business: their search results for images are pretty weak. From purely a technical perspective, the searching is markedly unintelligent. A search for "mountain range" has a different set of results than a search for "mountain ranges" (the only difference being the plural form of "range" in the second case). This shouldn't happen--the searcher should get exactly the same results in both searches, but Flickr's search mechanism is simplistic word-for-word matching, which is the sort of thing that encourages bad keywording behavior by users: images that match for both searches are those that double-keyworded "range" (to use both the singular and plural forms). If Flickr is going to enter this market, they'll do well so long as the image search landscape doesn't change. If it does, they'll have to fix this.
A buyer will pay a higher price if he can find the right image in 10 minutes, than having to spend hours upon hours at microstock sites, even though the price may only be $1/image. Changing the guidelines for how photographers keyword their images will change the economic incentive for everyone, and we'll begin to see a shift in the keywording process in the opposite direction from where it is now.
How does one avoid keyword pollution, yet still have a thorough list of keywords? Funny you should ask.
Addressing the problem of search quality requires a two-tier approach, involving both the photographer (or initial keywording process), and with the search mechanism itself. Simply put, all the automated and non-creative work that the photographer is doing to populate his image's keyword list needs to be moved over to the search engine. That is, rather than stuffing synonyms, conjugations, word variations, plurals, and so on, into a photo's keyword list, images keywords need to remain as minimal and simple as possible. I call this the "core keywords." Let the search engine apply all those synonyms and other automated processes in real-time as searches are being done on those core keywords. Shifting of the work from one side to the other has extremely broad implications that can not only optimize search results, but put even more control in the hands of the searcher, who, after all, is the one that needs to be satisfied.
Having this kind of intelligence on the search side of the communication offers flexibility that cannot be achieved if keywords were hard-coded into images. Not only can that flexibility be tuned by the site administrators, but it can also be personalized by each user to adjust to his tolerance for false positives. Allowing the user to control the use of plurals, synonyms and antonyms, conjugations and even language translation (or localization within a language) is where the bulk of the progress can be realized without a huge investment.
This not only minimizes keyword pollution, but it has many other benefits. One of the first is that it isn't as critical to use a "controlled vocabulary." Note that the searcher isn't going to know about a controlled vocabulary, so the search mechanism is going to have to deal with input patterns anyway. Just as the search engine will translate an image's keywords on the fly, it will also translate the user's input in the same way. Using these two sets of potential matching terms is how one builds the results list.
If an image contains "old" and the user types "ancient", a potential match may occur, but it could also be the other way around: the image has the keyword "ancient," but the user typed "old." In the old method where the user added each of these words to the keyword list, they would be "equal" in weighting, so the search results would have to arbitrarily choose which is a "higher" rating. In the new format, because the search engine itself is doing the keyword expansion into synonyms and the like, it can use that as a weighting for how it ranks the search results back to the user. If the user's "core" keyword list included "ancient" (because the photographer felt it was the most appropriate description of the architectural ruins) and no other synonym, then this would be a more likely intended match for the user who typed "ancient" as well. If the user searched for "old building," the photo of the architectural ruins wouldn't be as highly because a match with "old" wasn't in the core set of keywords.
Another advantage of having a minimal set of core keywords is translation and localization to other languages. Here, a translator only needs to do a few, resulting in faster turn-around and fewer mistakes.
Still another advantage to minimal keywording is the avoidance of having to correct for errors discovered later. When I was getting started in photography, I too was using extensive lists of words as others were. As conscientious as I was to strive for consistency, I found that I was still using different words on different days... "cityscape" one day, "skyline" another. I also added plurals and as much as I could to be thorough. Of course, this also introduces typos, which are frustratingly laborious to correct on a piecemeal basis. I had so much keyword pollution by the time I was putting my images into a practical search online, I actually found it better to purge all my images' keywords and start anew. Not coincidentally, this was also the time that I realized the value of having the smarts on the search side, not the image side.
Today, when I keyword my images, I apply anywhere from 3-10 words per image. Most are around 5 or 6. When I upload these images to my site, the user sees that images have anywhere from 10-35 keywords because I employ a very rudimentary intelligence into my page-generation program to present a slightly expanded list of words derived from the basic ones I manually input (including location information that may be embedded in the IPTC header of the image), filename, path elements, and other translation mechanisms that provide added hints.
When the user does a search, my own input interpreter parses the user's typed input, first by breaking it into tokens called "stems." These represent the base form of words. For example, "walk" is the base stem for "walks, walking, walked," and so on. Rather than add "all" those variations of the word into a given image's keyword list, I only need one, which will match the same "stem" as the user typed. Of course, I want to use the most accurate variation to describe the image. If it's a photo of people walking, I may use "walking", but if it's a photo of a "walk/don't walk" street light, I would use "walk." Stemming covers plurals, singulars, possessives, participles, conjugations, and other word derivatives. Using a combination of the permutation of embedded keywords in an image, and that of user input, search results are similar to those I would get if I'd keyworded my images with 150 words under a more traditional "exact match" search mechanism like that currently found in Flickr.
I also implemented a rudimentary a translation table to test the viability of using an external synonym list, or thesaurus, to further test the premise of extensibility of working with a minimal, rudimentary keyword dataset. In this design, I add or translate words based on entries in the table. Because it's all real-time in the search engine (not in the images as keywords), I can experiment with different meanings for words before establishing "permanent" keyword settings, all without ever having to rekeyword images directly.
It turns out, I found another unexpected benefit to this design: implicit keyword hierarchies. For example, if an image has any of "man, woman, child" etc., then the keyword "people" is added. I can define hierarchies conceptually at multiple levels, without having to hard-code those words into the image itself.
Once again, the important rationale for this is to avoid having a large, complicated set of potentially inaccurate keywords hard-coded into thousands of images that can result in large sets of false positives. As long as the base-level core keywords are accurate and minimal, even the most minimally "intelligent" search algorithm that I wrote performs much better than an overly-keyworded image set.
Now, before you go off thinking that I'm building the next Google, I make no claims to be even an amateur in the field of search technology. Far from it. My site's implementation of what I've described is the low rung on the ladder. Yet, it is exceedingly effective, and computationally acceptable. And I've done it using only several hundred lines of perl code. So, it doesn't load down my system at all. My single-CPU Linux box supports 20-30K visitors a day, many of them doing searches, all of them doing real-time keyword translations, expansions, stemming, and matching. And for each incremental step in my home-made implementation, I can measure its effectiveness by seeing a proportional incremental step up in traffic, retained visitors, pageviews, and image sales.
The concept I'm proving is also not a technical one--it's an application of a very simple technology to solve an entirely business-oriented problem. And, as the saying goes, if I can do it, so can you. Or rather, so will the larger photo-sharing and stock agency sites. And as they do, the trickle-down effect will touch all those who are tasked with keywording images.
So, the counter-intuitive lesson is that images should have the fewest number of keywords possible, so long as they are sufficient to accurately describe the image. But there's a close cousin to having sufficient keywords. That's knowing how to choose intelligent ones. This is not an easy task to define, let alone do. Knowing to use "ancient" over "old" is one thing, but appealing to a buyer's true intentions requires knowing some more about the buyer.
Getty is probably the most aggressive in this area, having spent vast sums of money paying to have several hundred thousand images keyworded. But, where they placed their real emphasis is on the creative part of keywording. A photo of a blue sky with clouds (a picture that just about anyone with a camera can take...and has) may also have the keyword "future." Simple and conceptual. It's this kind of creative thinking spread across a very large body of images, each of which having had conscientious attention given to it, that buyers are really paying for. Granted, "future" is a simple example, but applying this kind of knowledge and infrastructure for each industry segment (such as advertisers, or car companies) is what brings in the big bucks. The sheer volume of consistently keyworded images for many different industries is far more important than just having an accurate description of an image.
So, the art of keywording is not just about having words that describe your image--it's the "conceptual vision" that only the human mind can generate that really brings value to one's indexed images.
Now, you might be thinking that you could be as creative as well, so you keyword your images with the same care and feeding that Getty did, and you submit them to a photo-sharing or a microstock site. Are you better off? Let's take a look at that search I described much earlier in this article, where I did a search for "future" on Flickr and... YIKES! what an awful array of bad photos! Sure, there are one or two "futuristic" themed photos submitted by creatives like yourself, but the vast majority are just home snapshots of people's babies with captions like "future president."
So, the fact that you're an intelligent and creative keyworder may be to your advantage, but it's like having the most expensive house in a really bad neighborhood. You're not going to sell your house for as much as it's worth. The good news is, though, that you bought into a neighborhood that's going to improve. And when the the conventional wisdom about better keywording practices are eventually imposed upon photographers, you'll not only be ready, but your images will already be at the top of the list.
In fact, we can test this today by looking at side-by-side comparisons of what stock agencies would return for a given request. An example is a9.com, which is like a metasearch engine, but instead of it doing the searches (or querying search results of other search engines), it queries sites that register with them as responsive to search requests. That is, you type an input parameter, and a9 will send that query to the registered sites, allow them to do the search on their own datasets, and then return its results. a9 presents all the responses from each site on a single page on a side-by-side table. To see this in action, go to a9.com and choose the "image" tab. You'll be presented with about five of stock image sites, including webshots.com, trove.net, iStockPhoto and smugmug. Using the keyword "future" again, the results make it pretty clear which company takes keywording seriously.
We can also see how early we are in the evolution of this approach, and of the photo industry as a whole, but noticing that there are only five sites registered with a9.com. In five years, there are likely to be a very large set, each of which with much better results.
The process of establishing the relationship between keywords is contextualization. No matter how intelligent the search side is, or how thoroughly the photographer keywords his images, there is no "standard" way to indicate a relationship between keywords. For this to even begin to work, the syntax of keywords themselves need to evolve in the open market. An example might be "old:man, young:woman". Here, it's clear that the keyword "old" applies to "man" not "woman". But this is not a standard keyword syntax, and search sites will never parse these as conjoined keywords.
There are a few proposals in the public realm at the moment, some of which are implemented in prototype applications. But, a google search on the topic doesn't yield much at all, which usually means that it doesn't have a lot of traction yet. (If it did, more sites would discuss it, which would show up in search results.) Such standards usually find their genesis somewhere in the bowels of XML (eXtensible Markup Language, the meta language above HTML), and a cursory search in that realm doesn't yield much there either.
I once heard of a photo keywording application that uses "." to bind keywords together in a hierarchical fashion, but I lost the reference and haven't been able to find it since. (I'm sure someone will send me email on this.) The "tree" of keywords might look like "people.men.old", to use our example. This method not only contextualizes the components with one another, but their hierarchical order is preserved as well. This creates an excellent foundation for searching for objects according to a class system.
Despite poor search results and false positives for image searches, people will still go to Flickr and other sites to buy photos because, with the rare and unusual exception of some sites, most photo sites don't really offer much better results among one another. Even Getty doesn't yield results that differ substantial for less creative search terms, like "bridge" or "man and cigar." So, Flickr's still in the game, along with the others.
But the big stock sites have the clear advantage here. Flickr and other microstock sites suffer from the same problem: the fact that all images are thrown into the same pool without any sort of hierarchy or organizational structure (or keywording oversight) is their achilles heel. And because their business model calls for $1/image, there's not much margin left to do value-added investment like this.
Because of the "social" nature of photo-sharing sites, more and more users participate, and in so doing, build an intrinsic ranking of images according to popularity. When such sites mature to the point of doing serious photo licensing, their advantage over traditional stock sites is that image searches can take popularity into account. This is the quid-pro-quo to the keywording advantage that established photo agencies have.
Taking all the various issues into account, the photographer needs to think carefully about how he wants to sell his images before making decisions on his keywording methods, or which sites he wants to submit his images. With masses of other people behind an unintelligent search mechanism, which is still the norm for most photo sites, you will do better off using more keywords because you have no other objective than simply to be seen. So, for the short-term, if you're keywording photos to be used on a microstock site, or a site like flickr, more keywords will get your images seen by arbitrary searches. But consider this: there's currently not a lot of money to be had, even if your images are found. Flickr doesn't yet license images, and microstock sites that license images for $1 means that your potential income is pretty low.
Keywording for photo sites where there is little financial opportunity at the expense of longer term planning, is similar to following the old advice of using thumbnail-size images on websites 5-10 years ago, when most users used dial-up connections. Sure, you can serve up photos to people at home, but back in those days, they weren't buying photos. Image buyers were at larger companies who used high-speed broadband connections. While photo industry pundits were advocating web designs that discouraged higher-res images on sites because it took longer to download them (and you bore the risk of having images stolen), I was designing my site with larger images because larger images sell better than thumbnails, and I knew that the buyer was on a high-speed connection.
When planning your keywording strategy, the future of licensing images on microstock sites means that you need to consider what their search mechanisms will be like when they actually start making money at it, which will probably be after their search engine has been upgraded to be more intelligent.
So what industry forces will push this forward? The current state of the industry is that the larger stock agencies already implement this in their own proprietary way, so they have no incentive to participate in a push for standards that could be adopted by their competitors. A search for "bridge" on Getty's site generates a prompt, asking me to choose between three contexts for which the term may apply. Thus, Getty has done exactly the contextualization of keywords that others must eventually adopt. But, they aren't storing this information in the image's keyword list--they can't, or they open up their proprietary system to the open market. So, it's implemented entirely internally using databases.
Since neither Getty or Corbis or other major players have no incentive to hop on a standardization bandwagon, it'll take someone else to push this forward. As we have learned many times over from Microsoft, true development and innovation in an industry can be stifled if the industry leader is unwilling to participate.
Smaller stock agencies are too focused on current business matters to be thinking about next generation issues like this, despite it being in their own best-interests to do so. I'm sure they would certainly adopt standards if someone were to push forward a proposal, but unless that happens, the worst of all worlds may be realized: each stock site defines its own methods, and requires users to submit images according to their criteria. Why is this bad? Because by doing so, users will pragmatically have no way to submit images to multiple stock sites, locking photographers in by virtue of their having made such a significant investment in keywording images to those specifications. (This is such a huge investment, in fact, that re-keywording for another site would be impractical.) Who would benefit most from this scenario? Industry leaders such as Getty and Corbis. Yet more incentive for them not to participate.
Someone with clout needs to spearhead this effort and promote a syntax for keywording that can imply context-sensitivity. It could be a major search engine, or a major photo industry software application. I feel that Adobe is best positioned for this task because of their high profile and agnostic alliances with stock agencies and other photo businesses.
In the meantime, what people can best do for themselves is avoid keyword "pollution" and be sparse and judicious in choosing keywords properly. Borrowing from Occam's Razor, "the best keywords are usually the simplest." And to that, I must add Einstein's retort: "Make everything as simple as possible, but not simpler." The point is, keep it simple, but don't swing too far in that direction. Maintain pragmatism.
As for being "creative" (such as knowing when to use "future" or "tourist" as keywords), be conscientious about the perils of being wrong. If you pollute your images with too much creativity, you not only harm yourself in ways that will not reveal themselves for time to come, but backing out of years' of keyworded images later is a task I wouldn't wish on my worst enemies.


text:
var http = require("http").createServer(handler); // on req - hand
var io = require("socket.io").listen(http); //socket library
var fs = require("fs"); // variable for file system for providing html
var firmata = require("firmata");

console.log("Starting the code");

var board = new firmata.Board("/dev/ttyACM0", function(){ // ACM Abstract Control Model for serial communication with Arduino (could be USB)
    console.log("Connecting to Arduino");
    console.log("Activation of Pin 8");
    board.pinMode(8, board.MODES.OUTPUT); // Configures the specified pin to behave either as an input or an output.
    console.log("Activation of Pin 13");
    board.pinMode(13, board.MODES.OUTPUT); // Configures the specified pin to behave either as an input or an output.
});

function handler(req, res) { // http.createServer([requestListener]) | The requestListener is a function which is automatically added to the 'request' event.

fs.readFile(__dirname + "/example05.html",
function (err, data) {
    if (err){

    res.writeHead(500, {"Content-Type":"text/plain"});
    return res.end("Error loading html page.");

    }

  res.writeHead(200);
  res.end(data);
})

}

http.listen(8080); //server will listen on port 8080

io.sockets.on("connection", function(socket) {

    socket.on("CommandToArduino", function(commandNo) {

        if (commandNo == "1") {

        board.digitalWrite(13, board.HIGH); // write high on pin 13
        }

         if (commandNo == "0") {

        board.digitalWrite(13, board.LOW); // write low on pin 13
        }

         if (commandNo == "3") {

        board.digitalWrite(8, board.HIGH); // write high on pin 13
        }

         if (commandNo == "2") {

        board.digitalWrite(8, board.LOW); // write low on pin 13
        }

    });
});

redpajama_set_name: RedPajamaGithub


Isn't the idea of welcoming a "new little adventurer" sooo lovely? That was the inspiration behind this shower planned + photographed by Kelly Leeves, who also has the prettiest food-focused blog, Leeves & Berries. So many personal details we can totally see incorporated into birthdays and family shoots, too!
These invites from Minted are just darling, aren't they?
Kay, can we just stop everything and DIY ourselves a feather wall hanging now? What a great way to incorporate maternity shots.
Congrats to the mama bear!
That teepee cake topper is the cutest. I love all of the chevron details too.
This is cute and inspiring. Are the crown leaves real or artificial?
I love this! Where was the "Brave Little Bowen" banner made? I have a 3 month old named Bowen and he had heart surgery at 10 days old. I would love to buy that for him!
The crowns were made from real greenery. And to Lisa the Bowen sign was DYI project we created with canvas cloth and iron on paper! They are very simple to make.


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REPORT: Obama White House Lawyer Made False Statements To DOJ About Manafort-Related Work
Obama administration lawyer Greg Craig has been revealed to have made false statements which could land him in some trouble. This all came out as a result of the Mueller probe. Will he face any real punishment?
Top Obama White House lawyer made false statements To DOJ about Manafort-related work
The former general counsel for President Obama made "false and misleading statements" to the Justice Department regarding work he did for the Ukrainian government that has come under scrutiny in the special counsel's probe.
Greg Craig's allegedly false statements were revealed in a settlement announced Thursday by the Justice Department. The agency announced it was settling with Craig's former firm, Skadden, Arps, Slate, Meagher & Flom, which worked with former Trump campaign chairman Paul Manafort on behalf of Ukraine beginning in 2012.
Skadden Arps agreed to register retroactively with the Justice Department as a foreign agent of Ukraine and to pay a $4.6 million fine, the same amount that the firm was paid for its consulting work.
Craig, who left Skadden Arps in April 2018, is not identified by name in the Justice Department announcement, but he has previously been identified as the lead Skadden Arps partner who worked on its Ukraine account. Other clues from the Justice Department settlement point to Craig as the lead partner referenced in case.
Will the mainstream media cover this as aggressively as they've covered all other aspects of the Mueller probe? Or is this different because Craig worked for Obama?

redpajama_set_name: RedPajamaCommonCrawl


On behalf of Basilwizi Trust and the Tonga Online Project we would like to wish all our friends, stakeholders and partners a Merry Christmas and a prosperous New Year 2011!
Twalumba loko, Leza Amulongezye and see you in 2011!
Thanks to the support of Austrian Development Agency ADA and AZFA and in close collaboration with Binga Rural District Council BRDC the Tonga.Online Project has recently established the ICT Public Access Point PAP at the Binga Library. This facility will continue to provide information and relevant training to the people of the Great River in 2011. Plans are already underway for the establishment of an improved internet connection at the PAP and for improved collaboration and networking between schools, Local Government and other stakeholders in the Binga area.
Through the generous support of Rotary International and the Rotary Clubs of Linz and Belmont the Siabuwa Solar Project has been completed just before the onset of the raining season. The Siabuwa Solar project provides now power to the Siabuwa Secondary School and ITC. The teachers, pupils and community of Siabuwa can now enjoy the convenience of utilising the ITC and Study rooms even during the evenings. Thanks to Madison Solar Engineering and NN Joinery for their commitment and valuable assistance.
Our partner HIVOS is also funding and supporting the ICT for development project and the cultural activities of Tonga.Online. Through the support of HIVOS and ADA some ten secondary schools will start to teach computers studies from January 2011. School based ITCs will open for longer hours due to the training of ITC Assistants by Tonga Online. 2011 will see some more efforts to promote the visibility and standing of Tonga culture within Zimbabwe and abroad.
We hope that these developments will continue to bear lasting results and relevant impact for the Tonga community in 2011 and beyond.
reopen on the 10th of January 2011.


text:
Marquette UniversityComputer Science
TA/RA Assignments
CS in the Media
Interdisciplinary Data Science
Interdisciplinary Bioinformatics
5-year B.S. in C.S. / M.S. in Computer and Information Science Program
5-year STEM / M.B.A. Program (C.S.)
Undergraduate Program Overview
Undergraduate Learning Outcomes
Admission and Financial Aid
M.S. in Bioinformatics
M.S. in Computer and Information Science
M.S. in Data Science
Graduate Program Overview
Secondary & Adjunct Faculty
Faculty Research Interests
Awards/Grants
Marquette.edu // Computer Science //
Marquette's Chapter of the Student ACM
ACM, the Association for Computing Machinery, is an international scientific and educational organization dedicated to advancing the arts, sciences, and applications of information technology. Marquette's Chapter of the Student Association for Computing Machinery was re-founded in the fall 2008 semester by merging two other computer oriented student organizations: Marquette University Linux Users Group (MULUG) and Computer Science Club. This merger allows for more frequent events, a greater diversity of topics, and a strong membership base.
International Collegiate Programming Contest
Every year, the ACM hosts the International Collegiate Programming Contest with teams from across the world attempting to solve 8-10 programming problems in 5 hours. The CS department organizes teams from Marquette to compete in the ICPC. For more information, see ACM International Collegiate Programming Contest.
Special Interest Group for GPGPU
There is a special interest group for CUDA and GPGPU technologies (hence SIGGPU). For more information, contact Heather Bort.
Marquette chapter of the Student ACM
Association of Computing Machinery
Upsilon Pi Epsilon International Honor Society
Upsilon Pi Epsilon (UPE) was first organized at Texas A&M University, College Station, Texas, in 1967. The international organization now consists of chapters in various colleges and universities in North America and overseas. The mission of UPE is to recognize academic excellence at both the undergraduate and graduate levels in the Computing and Information Disciplines. UPE has received endorsements from the two largest professional computing organizations in the world, the Association for Computing Machinery(ACM) and the IEEE Computer Society (IEEE-CS). The Marquette chapter of UPE was chartered in 2001, and inducts qualified students from the computer science and computer engineering majors. For details about the Marquette chapter of UPE go to Marquette's Upsilon Pi Epsilon website and about UPE go to main Upsilon Pi Epsilon website.
Katharine R. Cudahy Hall, Room 201
1313 W. Wisconsin Avenue
To report another problem, please contact cswebhelp@marquette.edu.
Katharine R. Cudahy Hall, Suite 201
1313 W Wisconsin Ave.


Schools are currently given Pupil Premium funding of £1,320 per pupil for those whose families who have registered for FSM or who have been registered for FSM at any point during the past 6 years. The children of members of the armed forces are also entitled to funding. In addition, schools receive £1,900 for each pupil who are looked after or have been adopted from care.
The key purpose of the Pupil Premium funding is to enable all pupils to reach their full potential. Each school may decide how best to use the funding and are held accountable for how it has been used to support pupils from low income families. To apply for pupil premium please liaise with Mrs Sue Richards via the school office.
We recognise that barriers to achievement take a variety of forms and will do whatever it takes to support a child, both in and out of the classroom. We use all our resources to ensure that every child has an equal opportunity to reach their full potential. In order to achieve this we offer our children a wide range of opportunities, we always make sure these are accessible for everyone. We work with our families and colleagues to make certain that everyone has high aspirations for all pupils.
What is PPG and Vulnerable Learning?


After I contact you, what is the next step?
Once I receive your email or phone call, I will review your digital marketing needs and goals. If I can provide the necessary assistance you need, I will set up a meeting time; either face-to-face or over the phone to get some more information.
How do you determine cost?
Cost varies by what your needs are. My hourly rate is $150/hour.
What is the process after we meet?
After our initial meeting I will put together a proposal that lays out my plan, the steps I will take to help you reach your digital goals, and my fee. Once we agree on a contract and fee, half of the amount due will be required in order for me to start. The remainder of the fee will be required at the completion of the agreed contract.
I only accept cash or check. All payments are documented for your and my files.


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The Pakal Dul Dam is an under construction concrete-face rock-fill dam on the Marusudar river, a tributary of the Chenab River, in Kishtwar district of the Indian Jammu and Kashmir. The primary purpose of the dam is hydroelectric power generation. It will divert water to the south through a  long headrace tunnel and into power station on the reservoir of the Dul Hasti Dam, on the Chenab. In February 2014, the project was awarded to a consortium of domestic and foreign countries. It includes AFCONS, JP Prakash Associate Bharat Heavy Electricals. Pakistan, which relies on the Chenab downstream, views the dam as a violation of the Indus Water Treaty, whereas India states it is as per treaty provisions. Indian Commentator Harshil Mehta wrote that the project holds strategic interest for India, apart from utilising just Hydropower, along with Kiru and Ratle, and Ujh multipurpose project.

See also

Baglihar Dam – located downstream

References

Dams in Jammu and Kashmir
Dams on the Chenab River
Hydroelectric power stations in Jammu and Kashmir
Kishtwar district
Gravity dams

Dams under construction
Dam controversies

redpajama_set_name: RedPajamaWikipedia


Here's a very scary interactive graphic on natural disasters from the New England Journal of Medicine (NEJM) that tracks changes in the number and economic cost of such events from 1950 to 2012. Published in the same week that we are learning about the devastation in the Philippines from SuperTyphoon Yolanda, said to be the strongest hurricane ever to strike land, this graphic shows a relentless increase in total natural disasters, with the bulk of the impact being from climate-related (hydro-meterologic) disasters.
Jennifer Leaning MD and Debarati Guha-Sapir PhD provide a thought-provoking review of "Natural Disasters, Armed Conflict, and Public Health" in the 11/7/2013 Issue of NEJM. In that review they make some important points worthy of discussion.
First, with regard to armed conflicts, such as we are currently seeing in Syria, it is important to note that combat-related injuries and deaths are not the only source of morbidity and mortality. In fact, malnutrition and infectious disease are key contributors. Disruptions in traditional food supplies as well as challenges to humanitarian relief mean that both internally and externally displaced persons are starving with consequences most severe for the very young and the very old.
Breakdown of the healthcare systems of affected countries mean people are unable to access care for both war-related injuries, but also for other health conditions such as infections, chronic disease, and non-combat injuries. Public health programs, such as vaccination programs, may come to a halt allowing resurgence of previously controlled childhood diseases, such as measles and Rubella. A frightening example of this is the re-emergence of polio in unvaccinated children in Syria.
When it comes to natural disasters, there are several phases that need to be addressed. The first is the acute care of the population injured by the disaster. This is followed in short order by illnesses related to the disruption of the region's infrastructure – water supply, health care facilities, food. The recent disaster in the Philippines is illustrative. It is estimated that 10,000 people were killed by the powerful storm and many thousands more injured. Several days after the storm, we are beginning to see reports of dysentery – the result of ingestion of contaminated water and food. Widespread damage to the healthcare infrastructure exacerbates both phases and results in more deaths than would have otherwise occured.
Humanitarian efforts get mobilized quicker than ever, but, the article points out, it is less effective than it otherwise could be because of a lack of coordination and a failure to ensure that efforts are aimed not only at relief but also at supporting and rebuilding the country's public health and health care infrastructure. The public health community learns a lot from analysis of each disaster's response, but the size and frequency of natural disasters could outpace our ability to to get substantially better before the next disaster strikes.


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patricebaldwin
My Drama news, views and activities
Curriculum + Resources
Films + Podcasts
Migration – Drama resources
I have created and published several full Drama units on the theme of Migration and led workshops on them in various countries. In 'The Primary Drama Handbook' I have a unit of work called 'Leaving Home' . It uses Shaun Tan's 'The Arrival' as the key resource. See my Lessons section for a free, shorter version of this. Also, I use the provocative picture books of Armin Greder. You can find a free, short version of my drama unit on 'The Island' by Armin Greder . Click the 'Lessons' tab. These lessons were commissioned by the DCSF to help prevent racism and violent extremism. I also have written a drama unit on 'The City' (by Armin Greder) , about a mother who leaves a war torn country, seeking a safe place to bring up her child. This is published in the second version of 'With Drama in Mind'. Last (but certainly not least) in the book I wrote with Rob John, 'Inspiring Writing Through Drama' . This has a great, full drama unit called 'Lorry' (written by Rob John).
I am owner of 'Inspiring Professional Development and School Improvement'. Prior to this, I was President of the International Drama Theatre and Education Association (IDEA) from 2010-13 and was Chair of National Drama (UK's leading professional association of Drama Teachers and Theatre Educators) for more than a decade (until November 2014). I was a Local Authority Arts Adviser for 11 years (from 2000) and a School Improvement Partner and Ofsted Inspector concurrently. I also led a successful local authority Music Service through change, from 2000 to 2002. I am a professional writer and was a BBC Education Series Consultant and Scriptwriter. I also have published several books for teachers on teaching across the curriculum using 'Drama for Learning'. I currently work internationally and in the UK, where I am the owner of 'Inspiring Professional Development and School Improvement', providing courses and conferences for schools on many subjects and issues. I also continue to develop and deliver my own drama courses in schools across the UK and abroad, as well as being an invited lecturer at several universities.


text:
// Given a singly linked list where elements are sorted in ascending order, convert it to a height balanced BST.

/**
 * Definition for singly-linked list.
 * public class ListNode {
 *     int val;
 *     ListNode next;
 *     ListNode(int x) { val = x; next = null; }
 * }
 */
/**
 * Definition for binary tree
 * public class TreeNode {
 *     int val;
 *     TreeNode left;
 *     TreeNode right;
 *     TreeNode(int x) { val = x; }
 * }
 */
public class Solution {
    public TreeNode sortedListToBST(ListNode head) {
        if(head == null){
        	return null;
        }

        int len = 0;

        ListNode runner = head;

        while(runner != null){
        	len++;
        	runner = runner.next;
        }

        ListNode[] list = {head};

        return inOrder(list, 0, len - 1);
    }

    public TreeNode inOrder(ListNode[] list, int start, int end){
    	if(start > end){
    		return null;
    	}

    	int mid = (start + end) / 2;
    	TreeNode left = inOrder(list, start, mid - 1);
    	TreeNode root = new TreeNode(list[0]);
    	list[0] = list[0].next;
    	TreeNode right = inOrder(list, mid + 1, end);
    	root.left = left;
    	root.right = right;
    	return root;
    }
}


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VOL. 43 | NO. 37 | Friday, September 13, 2019
Democrats to argue Republicans rushing top Labor nominee
WASHINGTON (AP) — President Donald Trump's nominee to run the Labor Department faces a Senate confirmation hearing, even as Democrats argue that they haven't had enough time to scour his record of legal work for corporate interests.
Although Trump tweeted in mid-July that Eugene Scalia was his pick , the committee didn't officially receive the nomination until Sept. 11, the week before Thursday's hearing. The Republican GOP-led Senate Health, Education, Labor and Pensions Committee panel has set a vote on the nomination early next week.
A Democratic aide who wasn't authorized to speak publicly and requested anonymity said Democratic lawmakers see the compressed timeframe as not allowing senators to properly investigate Scalia's history as an attorney for dozens of clients. But a Republican aide, who also requested anonymity for the same reason, said all of Scalia's required paperwork, which would include his financial disclosure and ethics agreements, has been available for committee members to review since late August.
Trump's nomination of Scalia is opposed by the AFL-CIO, which has described him as a union-busting lawyer who has eroded labor rights and consumer protections. But business groups are squarely behind Scalia, viewing him as a reliable opponent of regulatory overreach and red tape. If Scalia is confirmed by the Senate, he'll be the seventh former lobbyist to hold a Cabinet-level post in the Trump administration.
Scalia, 56, served for a year as the Labor Department's top lawyer, its solicitor, during the George W. Bush administration. But most of his career has been spent as a partner in the Washington office of the Gibson, Dunn & Crutcher firm, where he has run up a string of victories in court cases on behalf of business interests challenging labor and financial regulations.
On his financial disclosure form filed with the Office of Government Ethics, Scalia listed 49 clients who paid him $5,000 or more for legal services, including e-cigarette giant Juul Labs, Facebook, Ford, Walmart and Bank of America. Disclosure records show Scalia was registered in 2010 and 2011 to lobby for the U.S. Chamber of Commerce.
Scalia is likely to be questioned about changes the Labor Department is making to an Obama-era rule on overtime pay. The Obama regulations were scheduled to take effect in 2016 but were put on hold by a federal lawsuit.
A revised proposal issued in March raised the annual pay threshold at which workers would be exempt from overtime to $35,308 from the current $23,660, expanding overtime pay to roughly 1 million workers. The Obama plan set the threshold at more than $47,000 and would have affected an estimated 4.2 million people.
Sen. Chuck Grassley, R-Iowa, expressed concern Wednesday over Scalia's record on protecting government whistleblowers . Grassley said on a call with reporters that while serving as Labor's top lawyer Scalia argued not all disclosures made to Congress are protected under federal whistleblower laws and that the separation of powers doctrine prevents whistleblowers from disclosing certain information to Congress.
Trump's previous labor secretary, Alexander Acosta, resigned in July. He'd come under renewed criticism for his handling of a 2008 secret plea deal with financier Jeffrey Epstein, who was found dead last month in his cell at a federal jail in Manhattan after a July arrest on sex trafficking charges.
Deputy Labor Secretary Pat Pizzella has been serving as acting secretary until Scalia is confirmed.


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How to Watch Local News with Amazon Fire TV
Big tech companies are competing for dominance in the Streaming TV department and Amazon has just expanded a program that makes its Amazon Fire TV product incredibly more appealing: free local news.
The update is built-into the Amazon Fire TV "News App", expanding from national coverage (ABC News Live, CBS News) to local coverage in 88 different markets.
Just say, "Alexa, play local news" to get started, or find the News app icon in the Your Apps and Channels section. It will be automatically downloaded if it's available in your market.
The first time you open the app it will allow you to select your preferred news sources, both national and local, customizing your news playlist based on your selections from then on.
Amazon Local News is now available in the following cities:
Beaumont, TX
Butte-Bozeman, MT
Lansing-Jackson, MI
Pittsburgh, CA
St. Louis, MI
Temple, TX
This is a huge improvement. Previously, the Amazon news app was only available in 12 cities: New York, LA, Philadelphia, Chicago, Dallas, Atlanta, Houston, Miami, Boston, San Francisco, and Seattle.
Unlike traditional news, where you're constantly on alert wondering what segment plays next, Amazon News lets you browse and jump to different stories while you're watching. Just click the down button on the remote and you'll have a selection of stories to jump between.
You can also find live news in the app, under the section labeled "Live". There aren't a ton of live options now, but based on the news today, we'll be seeing a lot in the future. It's worth noting that the Fire TV News App first launched in 2019.
If your city is listed above, you're one step closer to cutting the cord. Is it time to finally cancel your expensive TV service?


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Jordi Díez Fernández
1966, Valladolid, Spain
Having mastered working with diverse materials such as stone, terracotta, wood and iron, Jordi Diez Fernandez has been sculpting predominantly with stainless steel since 2007, developing a technique using stainless steel electro – welding elements, lending an unmistakable style to his work. This highly expressive form of figurative art uses modern technology, establishing a balance between old and new.
Horizon Head
Árbol Invertido
Jordi Díez Fernández graduated from the Universidad Complutense de Madrid with a degree in Fine Art and honours in sculpture. He started his professional career collaborating with other sculptors on a variety of public projects as well as his own public and private enterprises.
The artist went on to open his own studio in an old factory in Barcelona's Poble Nou neighbourhood, famous for its art scene. He has collaborated with several brands such as Loewe, worked with the celebrated Celler de Can Roca restaurant, and worked on numerous sculptures including Centro de Fuerza, which can be found in the ski resort of La Masella, Girona, and Hombre-Mujer León, which is presently part of a private collection.
Currently he lives and works in Centelles (Barcelona), where he continues to be endlessly inspired by "us. The human being possesses everything… For me it is an infinite subject."
See all available Artworks
Jon Errazu
Julian Cerón Bolaños


Welcome to the conclusion of the series on worry. I hope you were able to spend some time in John 15. This is the portion of scripture where Jesus explains a critical aspect of our relationship with Him. Here we find our key to victory over worry and so much more. Not striving but abiding, not trying but trusting, not you but Him. If you would like to spend time in a deeper study of the word, Abide, a good place to start would be this LINK at Bible Hub.
Reading these verses in several different translations is very helpful. Below is the Holman Christian Standard which uses the word remain instead of abide.
We are to be attached to Jesus as the branch is connected to the vine. The vine is everything to the branch.
Abide, remain, and stay are all good, but I particularly love the word that Corrie ten Boom choose. She used the word nestle.
So when worry comes, refuse to be carried away. Instead, immediately call on Jesus. Devote your energy and time to focus all the more on Him. Not your ability but His power. Victory is in Christ Jesus.
Corrie ten Boom sometimes quoted the following lines from a poem. The author is unknown.
And we two shall win, Jesus and I.
Corrie ten Boom said "Prayer is the sturdy answer to worry. I urge you to find a place where you can be alone with the Lord. Let it be your own little private prayer chapel." Corrie wrote much about the topic of worry and fear because it is such a common problem for many believers. A number of her books have chapters devoted to the subject. She wrote one book entirely about gaining freedom from worry, fear, tension, and anxiety. The title of the book is DON'T WRESTLE, JUST NESTLE.
How do you respond to worries and fear?
I have a little practical method that I'll share with you now. When I find myself beginning to feel stressed, or anxious … I stop and pray.
Do you have a plan? Do you have certain scriptures ready for these times?
I am praying that each person reading this little series will nestle in close to Jesus.
Oh wow, this is great! I really loved the vine scripture description that Corrie gave – it really helped paint the picture for me!


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Search result for 'Australian Journalist'
What Is Tim Baker's Age? Family, Wife, Wedding, Job, Net Worth - Personal Life Details
Tim Baker is happily married to an Australian journalist, and television personality wife. the pair shares two children together, After their second child, the couple planned to have a third child, Tim is the former editor of Tracks and Surfing Life magazines, and former editorial director of Morrison Media Services.
60 Minutes' Liz Hayes Content With Partner At Age 61! Planning For Children?
Category: Relationship Date: 24 Oct, 2018
Despite a history of marrying too many times in her past the consummate professional Liz still has to live without children in her life.New South Wales native Elizabeth Ryan, professionally known as Liz Hayes, is an Australian journalist and television presenter. She is best known as a reporter of 60 Minutes and as a former co-host of Today Australia.
Tracy Grimshaw Oath On Hiding Partner & Affair Because She's Lesbian? The Truth
Tracy Grimshaw Oath On Hiding Partner & Affair Because She's Lesbian? The Truth. At the age of 57, Australian journalist Tracy Grimshaw is living her best life. But without any past controversies regarding her love life, everyone is starting to question about her sexual preferences
Yalda Hakim Married; Boyfriend Turned Husband Bliss To Parents Survival
Category: Media Date: 05 Nov, 2018
Long distance relationships are often looked with the skeptical eye in today's world...But try telling that to Australian journalist Yalda Hakim and her husband...She stopped being single eight years ago and married her then-boyfriend...they manage to squeeze times in between their schedule and find a few days in


text:
Industrious Office Space in West Jackson Blvd Chicago | 60661 | Ref 25898
Call us on +1 646 403 3033 for Pricing
About the space
Chicago's most desirable, up-and-coming neighborhood
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+1 646 403 3033 Send me an email
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Office Freedom Limited, a company registered in England and Wales at, 1st floor 7/10 Chandos Street, London W1G 9DQ, with company number 02878016. Trading address, 33 Broadwick St, Soho, London, W1F 0DQ.


DeKALB – The DeKalb Police Department is offering a 10-hour safety-training course for hunters in March.
According to the department's Facebook page, the three-day class will include firearms safety, hunter ethics, wildlife management, first aid, survival techniques, state regulation information, basic archery, muzzle loading and game identification, all with an emphasis on gun safety.
There is no registration fee, but the class – sponsored by the DeKalb police and the Illinois Department of Natural Resources – is limited to 25 students, and will be filled on a first-come, first-served basis.
Participants must attend all three courses for all 10 hours to receive their hunting license.
The training course will take place in three sessions: March 5, March 7 and March 12, from 6 p.m. to 10 p.m. on the second floor of the DeKalb Police Department, 700 W. Lincoln Highway.
According to the social media post, Illinois state law mandates any person born on or after January 1, 1980, must successfully complete the full course to receive their first hunting license.
To register, call the police department at 815-748-8400 and dial option No. 1, or email geoffrey.guzinski@cityofdekalb.com.


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Local boy makes it big on the folk scene down under
Who remembers a local band called The Telham Tinkers? And if you remember the band do you remember its members and in particular Pete Titchener?
Pete was born in 1954 and grew up in West St Leonards but in 1991 he left the UK to head down under and it was in Australia that he made his name as a musician and enjoyed a career that has taken him around the world, sharing stages with some of the biggest names in the world of folk.
The Telham Tinkers on Scene South East (Southern TV) circa 1979. Left to right: Garry Blakely, Pete Titchener, Ted Bishop, Geoff Hutchinson, Ian Dobson
Pete says: "From the mid 70s to mid 80s I was involved in the Black Horse Folk Club at Telham and I was a member of The Telham Tinkers, we were the resident band. In fact it was a venture into the Black Horse Folk Club as a curious 16-year-old that sparked my interest in this thing call 'folk'."
When he headed down under he moved to Adelaide in South Australia – that was in January 1991 and Pete immediately sought out the local folk scene.
The Odd Occasion: Left to Right – Dick Harrison, Rod Matthews, Pete Titchener, Geoff Hutchinson
"Through a progression of various bands I found myself touring the UK and Europe several times with five piece band Colcannon and it was great to come back 'home' when we performed at St Mary In The Castle and The Manor Barn in Bexhill.
"In 2013 I was back in the UK again, this time on tour with Munro O'Callaghan Titchener and once again we performed at the Manor Barn," says Pete.
Left to Right: Pete Titchener, Eric Bogle, John Munro
Pete Titchener – my younger days… circa 1970
These days he works with the legendary Scottish Singer/Songwriter Eric Bogle, who now also calls Australia home.
In between tours with Eric Pete also performs solo, with his solo gigs tending to be what he describes as, "more comedic in nature".
Nearly 30 years after relocating to Australia he is still on the road, in addition to several interstate concerts this year he has also toured New Zealand for two weeks and he has just returned from headlining the Top Half Folk Festival near Alice Springs in the Northern Territory of Australia which is a three day drive from his home in Adelaide.
One critic, describing Pete as 'the feature artist' for the festival said of his performance: "Pete… has shared the stage with the likes of Eric Bogle and Colcannon over his career. Performing two sets over the weekend Titchener had the audience wrapped around his little finger with his beautiful and funny songs and hilarious onstage banter."
Live on ABC TV (Australia Day 2015) outside Parliament House in Canberra. Left to Right: Emma Luker, Eric Bogle, John Munro, Pete Titchener
Lorient Celtic Festival in Brittany France 2016. Left to Right: Eric Bogle, Pete Titchener.
Pete Titchener 2019. Top Half Folk Festival near Alice Springs.
2015 – Left to Right: Emma Luker, Eric Bogle, Pete Titchener
Local people walking for change as part of Refugee Tales
Hastings fishermen raise their FLAG of success
Hastings In Focus
VIEW ALL POSTS BY Hastings In Focus
Laughs, sniggers and guffaws galore as 'A Bottle of Hastings' reboots its fringe show for a Sunday night audience
It's oh so easy to get yourself in to a rut and settle down in front of the telly with a glass of wine by your side writes Stuart Baillie. But we are oh so lucky in Hastings to have so many good venues and perhaps as a consequence so many great performers based right […]
There's a whole load of 'Pressure' at The Stables next month
Pressure by David Haig is coming to The Stables Theatre next month. It's June 1944, the clock is ticking down, in just 72 hours the biggest invasion the world has ever seen will cross the English Channel – Operation Overlord will be underway. The fate of 350,000 allied troops and the future of Europe rests […]
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Extra time winner fires Rangers into semi final!
Chopbacks grind out another three points
Dynamic Ports in turnaround win
Scratch Ports push hosts hard
Hastings Council
'Significant' moment calls for 'symbolic gesture' says Lee
For council 'austerity is far from over' says Chowney
Hastings council wants to know what you think of its corporate plan and budget for next year
Hastings council's carbon pledge and the case for solar panels on the country park
Sagacious on For council 'austerity is far from over' says Chowney
Cam on Town centre parking charges set to 'almost' double
Peter John on Town centre parking charges set to 'almost' double
A big day for new content – words, pictures, sound and vision we've got Hastings covered – Hastings In Focus on Adventurer Dan didn't dare to dream… he dared to conquer the world (well part of it)
Sagacious on Hastings council wants to know what you think of its corporate plan and budget for next year
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Well, if you thought awards season ended with the Oscars in March, you were sorely mistaken. Let's not forget that the Tonys, the BET Awards, and the CMT awards are all set to air in the next few weeks.
But first up, we have the Billboard Music Awards, which take place on Sunday, May 20, at 8 p.m. ET, and will air live on NBC from the MGM Grand Garden Arena in Las Vegas. Among the nominees this year are Drake, Kendrick Lamar, Bruno Mars, Camila Cabello, and Cardi B. Kelly Clarkson will host the event.
Unfortunately, if you're a cord-cutter looking to stream the BBMAs on your computer or phone, you might have trouble accessing it online without pay-TV login credentials or a subscription to a paid streaming service that offers NBC as part of its package. The good news is, some streaming services offer free trials—and they're easy to cancel—so you may be able to snag a month to watch the telecast without paying.
NBC online: The Peacock Network offers live TV on its website, but as stated above, you'll need to log in with your cable or satellite TV company to access it. Maybe you can borrow a login from a friend or parent. Find it here.
FuboTV: This streaming service has a free trial going and offers NBC live streams in some areas. The service lets you watch on any device on iOS or Android. Find it here.
YouTube TV: The Google-owned service offers NBC in select markets. You can find a full list here.
Sling TV: This is one of the first and most popular streaming service. It offers live NBC in select areas. To find out if you can get it in your city, you can plug in your zip code here.
NBC mobile apps: This might be a good way to watch awards on your phone or iPad. Again, you'll need a pay-TV login, and the live stream may not be available in all areas. You can find the app for iOS here and Android here.
Red carpet coverage of the BBMAs starts at 6 p.m. ET, and you can stream that for free on Twitter.


Showers, saunas, large locker rooms, and clean restrooms!
The premier no-gi grappling school in the Southeastern United States!
Brandon Mccaghren is the first (and currently only) certified 10th Planet Jiu Jitsu Instructor in the entire Southeastern United States and is ranked as a Black Belt under Eddie Bravo. In addition to being a Black Belt practitioner and teacher in the traditional martial arts, he has spent training time with some of the most well respected and recognizable faces in the Jiu Jitsu community including Rickson Gracie, Jean Jacques Machado and (of course) Eddie Bravo to name a few.


text:
Q: How make UICollectionView with 2 columns, different cells heights but with equal margins (all 4)? I have one problem with UICollectionView. I need to make UICollectionView with these properties:

*

*All cells in UICollectionView have same width.

*Cells in UICollectionView do NOT have same height.

*UICollectionView have two columns.

*All margins between all cells must be the 20px.

I can not implement 2 and 4 in the same time. Just colour cells (no need to put any object in cells).
I need solution in Swift.
Here is screenshot http://i.imgur.com/ovmdyla.png and my code:
let imagesNames = ["01", "02", "03", "04", "05", "06", "07", "08", "09", "10", "11", "12"]

override func viewDidLoad() {
    super.viewDidLoad()
    setUpUI()
}

func setUpUI(){

    let flowLayoutForCV = UICollectionViewFlowLayout()
    flowLayoutForCV.sectionInset = UIEdgeInsets(top: 10, left: UIScreen.mainScreen().bounds.width * 0.03, bottom: 10, right: UIScreen.mainScreen().bounds.width * 0.03)

    let cV = UICollectionView(frame: CGRect(x: 0, y: 0, width: UIScreen.mainScreen().bounds.width, height: UIScreen.mainScreen().bounds.height), collectionViewLayout: flowLayoutForCV)
    cV.backgroundColor = UIColor.whiteColor()
    cV.dataSource = self
    cV.delegate = self
    cV.registerClass(UICollectionViewCell.self, forCellWithReuseIdentifier: "cellID")
    self.view.addSubview(cV)
}

func collectionView(collectionView: UICollectionView, numberOfItemsInSection section: Int) -> Int {

    return imagesNames.count
}

func collectionView(collectionView: UICollectionView, cellForItemAtIndexPath indexPath: NSIndexPath) -> UICollectionViewCell {
    let cell: UICollectionViewCell = collectionView.dequeueReusableCellWithReuseIdentifier("cellID", forIndexPath: indexPath)

    let red: CGFloat = CGFloat(arc4random_uniform(255)) / 255.0
    let green: CGFloat = CGFloat(arc4random_uniform(255)) / 255.0
    let blue: CGFloat = CGFloat(arc4random_uniform(255)) / 255.0
    cell.backgroundColor = UIColor(red: red, green: green, blue: blue, alpha: 1.0)

    return cell
}

func collectionView(collectionView: UICollectionView, layout collectionViewLayout: UICollectionViewLayout, sizeForItemAtIndexPath indexPath: NSIndexPath) -> CGSize {

    return CGSize(width: UIScreen.mainScreen().bounds.width * 0.455, height: CGFloat(arc4random_uniform(250)) + 50)
}

redpajama_set_name: RedPajamaStackExchange


York Auction Centre had 863 head of stock forward including 177 Cattle, 375 Sheep and 311 Pigs (including 60 deadweight) at their weekly sale of Prime stock.
42 Continental X Young Bulls sold to 230p/kg from J H Tennant Ltd and to £1782.34 also from J H Tennant Ltd; to average 201.9p/kg.
50 Non-Continental X Young Bulls sold to 200p/kg from H W Cowling & Son and to £1626.28 from D A Shirt & Sons; to average 172.2p/kg.
5 Continental X Steers sold to 217p/kg from J F & J M Stephenson and to £1309.00 from P B Fox & Son; to average 209.9p/kg.
5 Non-Continental X Steers sold to 219p/kg from J F & J M Stephenson and to £1207.00 also from J F & J M Stephenson; to average 192.7p/kg.
60 Continental X Heifers sold to 261p/kg from W & L Thompson and to £1411.68 also from W & L Thompson; to average 212.2p/kg.
4 Non-Continental X Heifers sold to 204p/kg from H Crossley & Sons and to £1257.63 also from H Crossley & Sons; to average 180.3p/kg.
11 OTM cattle sold to 199p/kg from H & B Beevers & Sons and to £1551.20 from F C Stubbings & Sons Ltd; to average 127.2p/kg.
J H Tennant Ltd 230p/kg, 220p/kg, 210p/kg; D G Johnson 226p/kg, 224p/kg; S Beachell & Son 226p/kg; A V Etherington & Sons 218p/kg; F & R M Pickering 217p/kg; A B Brown 214p/kg; D R & S E Rivis 212p/kg; 210p/kg.
H W Cowling & Son 200p/kg; F & R M Pickering 197p/kg; M & D Nicholson 194p/kg; D A Shirt & Sons 194p/kg, 187p/kg, 186p/kg; G J Taylor 185p/kg; F E Brown & Son 185p/kg; B & S V Walker 185p/kg.
J F & J M Stephenson 217p/kg, 209p/kg; G J Taylor 215p/kg; P B Fox & Son 213p/kg.
J F & J M Stephenson 219p/kg, 213p/kg; H W Cowling & Son 205p/kg.
W & L Thompson 261p/kg, 260p/kg, 252p/kg, 250p/kg; G Lancaster & Sons 251p/kg, 238p/kg; G J Taylor 250p/kg, 244p/kg; J W & J Robinson 248p/kg, 234p/kg; N Hall & Son 243p/kg, 240p/kg; P B Fox & Son 239p/kg, 235p/kg, 233p/kg; H Crossley & Sons 238p/kg.
H Crossley & Sons 204p/kg; D Midgley 195p/kg.
H & B Beevers & Sons 199p/kg; D A Shirt & Sons 164p/kg, 153p/kg; Mrs M Allen 150p/kg.
375 sheep were sold including 329 spring lambs.
329 Spring Lambs sold to 209.3p/kg from A C Gilpin and to £86 from A C Gilpin and R A & B Robinson & Sons; to average 162.7p/kg.
A C Gilpin 209.3p/kg; B & M E Craven & Son 201.7p/kg; R A Dobson 195.4p/kg; K W Story 191.3p/kg; T R Craven 189.7p/kg.
A C Gilpin £96; R A & B Robinson & Sons £86, £84.50; B & M E Craven & Son £85.50; M & P Cass £84.50; D Barraclough £84; R A Dobson £84; K B & R P Harrison £84.
46 ewes sold to £88 from R A Dobson; to average £61.46.
221 pigs sold to 130p/kg from J T Horsley and to £145.60 from K D & A A Voakes; to average 109.7p/kg. Porkers averaged 113.0p/kg. Cutters averaged 107.9p/kg. Bacon pigs averaged 110.5p/kg.
28 sows sold to 63p/kg from D Yorke; to average 51.4p/kg.
2 boars sold to 47p/kg from A Spence and M E Peacock.


text:
Rogier Philip Charles Eduard Blokland (Dordrecht, 16 februari 1971) is een Nederlandse taalkundige en hoogleraar Finoegristiek aan de Universiteit van Uppsala.

Onderzoek en specialisatie
Blokland heeft gestudeerd aan de Rijksuniversiteit Groningen, waar hij in 2005 bij Cornelius Hasselblatt promoveerde op een proefschrift over Russische leenwoorden in het Estisch. Na zijn studie was hij werkzaam als wetenschappelijk medewerker en gastdocent op universiteiten in Estland, Duitsland, Nederland en Zweden.

Blokland was werkzaam aan de volgende universiteiten:
 Rijksuniversiteit Groningen
 Universiteit van Tallinn
 Universiteit van Tartu
 Humboldtuniversiteit in Berlijn
 Ludwig Maximilians-Universiteit in München
 Ernst Moritz Arndt Universität Greifswald
 Universiteit Hamburg

In oktober 2014 werd Rogier Blokland aangesteld als opvolger van hoogleraar Lars-Gunnar Larsson aan de vakgroep Finoegristiek van het instituut voor Moderne Talen aan de Universiteit van Uppsala.

Bloklands onderzoek is binnen de Finoegrische talen voornamelijk gericht op de Oostzeefinse talen, de  Samische talen en de Permische talen (Komi, Komi-Permjaaks en Oedmoerts). Binnen deze taalgroepen focust Blokland zich op hun grammaticale beschrijvingen en ook op het taalcontact en -verandering van de kleinere en bedreigde Finoegrische talen. Hierbij hoort ook de studie van vergelijkende en historische taalkunde, gezien zijn kennis van etymologie in Finoegrische en Indo-Europese talen. Hij heeft ook geschreven over dialecten en meertaligheid in gebieden waar Finoegrische talen worden gesproken.

Bibliografie (selectie)
Monografieën
2009 The Russian loanwords in literary Estonian. Wiesbaden

Samengestelde werken
2007 Language and Identity in the Finno-Ugric World. Maastricht (samen met Cornelius Hasselblatt)
2002 Finno-Ugrians and Indo-Europeans: Linguistic and Literary Contacts. Maastricht (samen met Cornelius Hasselblatt)

Artikelen
2012 Borrowed pronouns: evidence from Uralic. Finnisch-ugrische Mitteilungen 35: 1–35.
2011 Komi-Saami-Russian contacts on the Kola Peninsula. Language Contact in Times of Globalization, samengesteld door Cornelius Hasselblatt, Peter Houtzagers & Remco van Pareren. Amsterdam & New York. 5–26 (samen met Michael Rießler)
2010 Vene mõju eesti keeles. Keele rajad. Pühendusteos professor Helle Metslangi 60. sünnipäevaks, samengesteld door Ilona Tragel. Tartu. 35–54 (samen met Petar Kehayov)
2003 The endangered Uralic languages. Language Death and Language Maintenance. Theoretical, practical and descriptive approaches, samengesteld door Mark Janse & Sijmen Tol. Amsterdam. 107–141 (samen met Cornelius Hasselblatt)
2002 Phonotactics and Estonian etymology. Finno-Ugrians and Indo-Europeans. Linguistic and Literary Contacts, samengesteld door Rogier Blokland & Cornelius Hasselblatt. Maastricht. 46–50.
2000 Allative, genitive and partitive. On the dative in Old Finnish. Congressus Nonus Internationalis Fenno-Ugristarum IV. Tartu. 421–431 (samen met Nobufumi Inaba)

Externe links
 Pagina over Blokland bij de LMU München
 Universiteit Uppsala, vakgroep Finsk-ugriska språk, Personal

Finoegrist
Nederlands taalkundige
Nederlands hoogleraar


Candidates will be informed by 16th November through email regarding RPF Constable/SI Examination Test Centre, Exam Date, Shif Timing & other important details. You are advised to check official website of RPF regarding Admit Card of the RPF Constable/SI Examination 2018.
As the CBT begins for Group E candidates from 19th December, therefore candidates will be able to download their e-call letter from 9th December onwards as per test schedule.
The Test centers to candidates for RPF Constable/SI Exam 2018 will be allocated within 200 km of their home district for their convenience and single stage e-call letter will be issued to candidates 10 days before the exam with all details and better facilitation.
The first step to download RPF Constable Admit Card candidates are required to click on link provided below.
After opening the link Candidates need to fill these details: Registration No., DOB/Password, Captcha Code.
Once you submit all the details then you will be able to download their RPF Constable Admit Card.
Candidates can print and save his/ her RPF Constable Admit Card 2018 for the future.


BeadRoom.com is home to one of the widest collections of Czech and Japanese seed beads, in addition to various other bead-related products, on the web. The company is a web-based business that mainly specializes in selling the aforementioned, making them a great supplier of those beads for crafters and other people who need them. Besides their diverse selection of Czech and Japanese seed beads, Bead Room also carries various glass, vintage, lampwork and Swarovski crystal beads. They also carry various supplies and products to help anyone interested – or already interested – in beadwork.


The Gucci body suit also happens to be the same one favored by another pop star: Rihanna. In April, the singer became a Coachella highlight just by wearing the literally head-to-toe piece in the desert, as it was styled on the runway: covering the entire head and with a Gucci tank top and denim shorts on top of it.
Kardashian's glamorous snaps came just hours after her latest social-media crisis where she was called out on Twitter by makeup artist Jeffree Star for not properly swatching her new contour powder palette. She took the criticism in stride though, telling her followers on Snapchat that she's learning, but that the overwhelming response had given her a stress pimple. What better way to distract attention from a blemish than to cover your body in sparkles?


It sure is cold out there. While you might have looked forward to snow and wintry days in November, by February you are yearning for spring to arrive. With each passing day this feeling grows stronger. To help fight the cold and winter blues, we've prepared a simple pattern for you to help keep you warm on chilly days.
While hot water bottles are practical, they are by no means pleasant to the eye and need a decorative cover to bring out their inner beauty. We've therefore created a cosy cover made of ATACAMA fabric for our hot water bottle to help you make it through the winter months. We really liked the pastel colours for our cover. Have fun making yours!
2. Start off by creating the pattern for your hot water bottle. To do so, place the hot water bottle on the sheet of paper and trace the outlines of the bottle. To make sure the pattern is symmetrical, fold the sheet of paper over in the middle and then cut out the pattern. Make sure that the opening at the top of the cover is not too narrow, or else the bottle may not fit easily into the cover.
3. Now fasten the pattern to the left side of the fabric and place it on the top edge with an allowance of approx. 5 cm and an allowance of 1.5 cm on all other sides. Make sure that the 5 cm of extra material at the top corner is straight when pulling it up to create a 90° angle at the top. This 5 cm of material is folded in at the end so that the unsightly left side of the fabric at the opening is not visible.
4. Now cut out the pieces of fabric.
5. Next, use an overlock sewing machine or make a zigzag stitch using a standard sewing machine to neaten the edges to prevent fraying.
6. Place the left side of the two pieces of fabric on top of each other and insert several pins to keep them from moving or shifting. Now sew the sides of material together (with the exception of the top part for the opening) with a seam allowance of about 1 cm.
7/8. Once you have done this, you can reverse the cover through the opening at the top.
9/10/11. Turn in the 5 cm excess material on the top edge and make a few stitches through the side seam to fix this in place; the stitches will not be visible afterwards.
12. You can now slide the hot water bottle into the cover.
13/14. Finally, sew on the ribbon for the bow. To do so, fold the strip of fabric once lengthwise and begin to sew along the exposed edges, while leaving about 3 cm of material for reversing. You should round the edges and make several incisions in the overhanging material; this will ensure the fabric at the curved edges will look neat and more elegant. Use a long, thin object like a pen or knitting needle to flip the ribbon over after you are finished sewing. You can sew the opening where you reversed the cover closed either on your sewing machine or by hand with blind stitches.


text:
Bob Funk (A PopEntertainment.com Movie Review)
Bob Funk
BOB FUNK (2009)
Starring Michael Leydon Campbell, Rachael Leigh Cook, Grace Zabriskie, Amy Ryan, Eddie Jemison, Stephen Root, Alex Desert, Ron Canada, Lucy Davis, Nadia Dajani, Terri Mann and Tania Gunadi.
Screenplay by Craig Carlisle.
Directed by Craig Carlisle.
Distributed by Unified Pictures. 104 minutes. Rated R.
It's a bit of a delicate balance daring to allow an audience to strongly dislike your main character for the first half of a film before trying to find redemption for him.
It's a narrative trick that Bob Funk is only partially successful at.
In Alcoholics Anonymous and many similar groups, they often say that one must truly hit rock bottom before they seek help. This statement is undoubtedly true. Many people have to lose everything before they try to come up for air.
The first part of Bob Funk is Bob at rock bottom.
During these early scenes, the title character of Bob Funk seems to be an unrepentant asshole. We watch him whining, yelling, cursing, fighting, vomiting, mistreating his family and co-workers, avoiding work, sexually harassing employees, sitting at a bar and hitting on anyone who will even look his way.
This is our intro to the guy and it makes it hard to like him from the jump. Even his drinking problem, which will become so important in later scenes, is treated with kid gloves. The audience can't really tell if he is a drunk or just a creep. He definitely drinks, but he rarely seems completely out of control. We also don't know what brought him to this point. It is vaguely suggested that his wife leaving has set Bob on the course to self-destruction, but that is only other characters' opinion. We never see what he was like before and how… or if… he has really changed.
This makes his final realization that he needs help – after a lost weekend that is filmed in a jumbled haze that is representative of his loss of control in life – seem a bit sudden and a bit too fast.
In fact, the two parts of the film – Bob as a drunken asshole and then Bob as a sober and relatively nice guy trying to make amends – feel sort of disconnected. Occasionally the asshole will show up for a little while in the later Bob and once in a blue moon the early Bob will seem to have a soul, but mostly it is hard to believe this is the same guy.
Which is a shame, because each part is interesting on its own merits.
Bob Funk is a bit of a showcase for its mostly unknown lead actor Michael Leydon Campbell and he does run the gamut – from snarky to petulant to surprisingly tender. Campbell has the near impossible task of making us like Bob no matter how much of a creep he can be and he mostly pulls it off.
In the first half of the film he is all anger, testosterone and disdain. Bob is the VP of Sales of his family futon business, but he obviously hates the job. He ignores his boss and mother (that great underused character actress Grace Zabriskie) and torments his younger, neurotic brother (Eddie Jemison). He also hits on clients (Amy Ryan from Gone Baby Gone) and a new hire apparently brought in to take his job – a just-a-little-too-understanding character played by Rachael Leigh Cook. Then he spends every night in a depressing local taproom, hanging with a friend, philosophizing with the bartender and hitting on every woman who enters.
Later, when he is demoted to janitor and finally decides to get control of his life, the movie and the character downshift into a relatively charming romantic comedy mode as Bob tries to win over Rachael Leigh Cook's character after having made an ass out of himself to her in his old incarnation. Bob becomes nicer, more philosophical, brave and giving (except for one brief scene with his therapist where the old asshole returns briefly.)
The change is rather charming though I can't deny that I didn't totally buy it. (Then again, I didn't quite buy that he was as big a jerk as he acted in the first half.) Still, it was a nice turn for the film to make, and even if Bob does not completely earn his life turnaround it is nice to think it may happen that way.
Bob Funk was the first film written and directed by stage vet Craig Carlisle and frankly it does have a strong theatrical feel. I mean that both in the best possible way and the worst. It has interesting interactions, intriguing characters and a very limited and insular world.
It also doesn't work in some parts – it gets a little claustrophobic sometimes, a little talky and a little light on the action. There is also a montage of several main characters in their beds and they all have the same futon, same end table and same lamp. You can pull stuff like that off on stage, but it doesn't work on the big screen.
Still, though it is imperfect, Bob Funk is a surreal and interesting little character piece. It won't change anybody's life, but sometimes movies don't have to. Sometimes it's enough to let us get to know what makes a person tick – even if we don't always like it. Bob Funk may not always be good company, but he is never dull to be around.
Copyright ©2009 PopEntertainment.com. All rights reserved. Posted: March 6, 2009.
#BobFunk #Alcoholic #AmyRyan #TaniaGunadi #CraigCarlisle #EddieJemison #GraceZabriskie #rachaelleighcook #JaySJacobs #NadiaDajani #TerriMann #PopEntertainmentcom #LucyDavis #MichaelLeydonCampbell #RonCanada #AlexDesert #stephenroot #moviereview