text:
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November 25, 2020 • Featured, Quill Blog, Quill Archives
"Bad Education," "The Photograph," "Most Wanted" and more journalism movies
By Midwest Film Journal writers
Need ideas for what to watch over the holiday breaks?
Here are a batch of recent films we've added to our almost-exhaustive, ranked list of 110+ Journalism Movies. To see where these are ranked and to view the entire list, click here.
Thanks to the continued efforts of the team from Midwest Film Journal for their contributions.
Bad Education (2020). At a time when bombshell stories drop daily — and the leaders, movers and shakers at their centers continuously, and miraculously, emerge unscathed — "Bad Education" arrived as a refreshing reminder of journalists' ability to take down the corrupt. When Roslyn School District Superintendent Frank Tassone (Hugh Jackman) encourages a high-school newspaper reporter (Geraldine Viswanathan) to dig deeper into what she calls a "puff piece" on a school construction project, she uncovers the largest public-school embezzlement scandal in American history. Based on true events and written by former Roslyn middle-school student Mike Makowsky, "Bad Education" aches with authenticity. You can practically smell pencil shavings, feel the heat of fluorescent lights and smell the fear of school administrators come budget season. Rather than simply satirizing Frank as a slick swindler, Makowsky, Jackman and director Cory Finley capture the warm light of a lifelong educator that still flickers in his soul, however faintly. When news surfaces about Tassone's malfeasance, though, you'll breathe a sigh of relief at the sight of justice served through journalism. (SW)
The Photograph (2020). Michael (LaKeith Stanfield) is a yuppie New York reporter sent to New Orleans to interview residents about life after Hurricane Katrina. While there, he learns about a subject's long-lost love and sets out to find her. Coincidentally, the lost love's daughter, Mae (Issa Rae), is determined to learn about her late mother's past, thanks to photographs left to her in a safety deposit box. Fate brings Michael and Mae together, beautiful people destined for a beautiful union. "The Photograph" is tasteful, sultry Valentine's Day programming, set in a world where Michael's work writing about random folks lands him the love of his life and a sweet new job in London. Saxophones and tinkling xylophones play when Michael and Mae make love for the first time; they reprise as Michael sits at his computer looking at a blank page, wondering how to describe it all for an audience of, surely, dozens. (ED)
Most Wanted (2020). Writer-director Daniel Roby's Canadian film occasionally resembles a scrappier, grimier, one-nation-north version of "The Insider." Conveyed in a crosshatched, non-linear style, this true-life tale dramatizes the late-1980s Thailand arrest of Canadian citizen Alain Olivier (fictionalized as Daniel Léger and impressively played by Antoine Olivier Pilon as a troubled kid out of options and in too deep.) Josh Hartnett portrays Victor Malarek, the Globe and Mail reporter who untangled a plot involving overzealous and underhanded cops, as well as a small-time drug dealer (Jim Gaffigan, who brings palpable menace to cognitive-whiplash stunt casting). Roby tries to cram far too much into two hours, but Hartnett propels his portions with a puckish personality, and there are frank, funny and sometimes fraught exchanges with his editor (J.C. MacKenzie). Although it would benefit from a bigger canvas, "Most Wanted" remains a keen, timely treatise on systemic law-enforcement strong-arming tactics and the urgent need to expose them. (NR)
Still Here (2020). Even if you only interned in a newsroom, you'll see how this well-meaning but woefully inept film gets the details so heinously wrong. Swaggering and smoldering Christian Baker (Johnny Whitworth) writes for the fictitious New York Chronicle and becomes personally invested in a story about a young Black girl's disappearance. "I wanna know what's really going on out there," Baker gnashes before dropping cash to a source for intel. "Something I can sink my teeth into." After a quick glance at Christian's incendiary copy that calls out the cops, his editor yells: "F*ck it! Let's run it!" Perhaps it's fitting that Whitworth resembles a suaver cousin of "Parks & Recreation's" Jean-Ralphio Saperstein. As journalism films go, this one's definitely among the worrrrrrrst. (NR)
Run This Town (2019). "Run This Town" chronicles the final year of former Toronto Mayor Rob Ford's time in office, back when a video of a politician smoking crack cocaine could still derail their career. Robyn Doolittle, the recent university grad who broke the story in real life, is replaced here by a fictional male reporter aimlessly floating about early adulthood — a questionable choice. Without knowing that background, though, "Run This Town" simply comes across like a minor-level attempt at the rhythms of Aaron Sorkin, filled with colorful conversations and walk-and-talk sequences that never feel like more than the sum of their parts. Worth it, though, for character actor Damian Lewis's fat-suited performance as Ford, almost entirely unrecognizable under the sweat and latex. (ED)
Long Shot (2019). When Seth Rogen ping-pongs off a parked sedan to survive a several-story fall, it's OK to fear that "Long Shot" is just Rogen's asinine "Neighbors" with an I Voted sticker. But even with an abundance of bodily fluid gags, "Long Shot" matures into a meaningful political romance that's worthy of mention beside "The American President." (The script is from Dan Sterling and Liz Hannah, respective co-writers of listmates "The Interview" and "The Post.") Rogen is a liberal-minded reporter who resigns on principle after a conservative-media monolith buys his independent newspaper and then begins writing speeches for Charlotte Field (Charlize Theron), a POTUS-hopeful Secretary of State on whom Fred harbored a teenage crush. "Long Shot" is foremost an inversion of "Pretty Woman" (soundtrack and all), but Sterling and Hannah infuse journalistic notions of personal integrity and, yes, ideological struggle into Fred and Charlotte's romance. Fred helps Charlotte understand even the ugliest truths are worth telling. Charlotte helps Fred express himself more meaningfully by shedding his perpetual sarcasm. And the film's astuteness about Charlotte's uphill battle for hearts and minds as a woman in politics is less a woke-fiction badge of honor than a believable barometer of real-world pressure. Most of all, "Long Shot" is often laugh-aloud funny, from quick-punch jabs at misogynist morning-show banter to a sublime showcase for Theron during which Charlotte negotiates an international incident while tweaking out of her gourd. (NR)
Greed (2019). "Greed" starts off as a juicy eat-the-rich satire but ultimately dries up into unearned dramatic territory. Steve Coogan stars as retail tycoon Sir Richard "Greedy" McCreadie, a thinly veiled stand-in for British fashion mogul Philip Green, and David Mitchell is Nick Morris, the nebbish journalist/biographer following McCreadie around to ghost-write a flattering memoir. Set during an extravagant party much like Green's real-life jamborees, the film flashes back to McCreadie's past as a boarding school brat and traces his rise and fall in the fashion industry. Not until the third act does co-writer / director Michael Winterbottom really focus on the fact that McCreadie's empire was built on the backs of Sri Lankan women working in sweatshops. The ending title cards aim to shock us with disturbing facts about the fashion industry and the socioeconomic disparity involved, but after 90-plus minutes of Coogan hamming it up for humor's sake, this information feels like it belongs in a better film. Like Nick, "Greed" commits the journalistic sin of glossing over the victims of a charming devil. (SW)
The Pirates of Somalia (2017). Writer-director Bryan Buckley's adaptation of Canadian journalist Jay Bahadur's 2011 book opens on audio of Mario Savio's "bodies on the gears" speech. It's ostensibly a mantra for a fictionalized Bahadur, given increasingly loud life by Evan Peters. But "Pirates" regards it like a dorm-room poster, a decoration to moon over for what you think it says about you and look straight past until it's time to pack up for the summer. The many plights of Somalia — the "somewhere crazy" to which a desperate Bahadur flees after chucking the Canuck life — is similarly filtered through western-world whininess. Bahadur's endless first-person monologues blame the fourth estate for burying his earliest stories. Those stories are all he has, but are they any good? Throw in romantic grace notes a la "(500) Days of Somalia," Bahadur's hypnotized animated visions of piracy set to the Notorious B.I.G.'s "Hypnotize" and spiral-cut ham interludes from Al Pacino as Bahadur's mentor, and you've got just another flip, touristy and disengaged geopolitical drama — something like "Captain Phillips" made by Todd Phillips. (NR)
Philomena (2013). Part odd-couple comedy, part mystery, "Philomena" shows how investigative journalism can forge unlikely bonds and bring justice to decades-old sins. Based on a true story, the film follows former BBC journalist Martin Sixsmith (co-writer/producer Steve Coogan) and an elderly Irish woman named Philomena Lee (Judi Dench) as they search for the son who was taken from her when she was living at a convent 50 years prior. While its humor doesn't always land smoothly, "Philomena" steadily stirs up suspense. Of course, the resolution of the real-life story is just a Google search away. But like an effective piece of journalism, the film still holds you in its grip. Director Stephen Frears draws great performances out of the two leads. Dench makes Philomena's desperation our own while Coogan sheds light on how human-interest stories can linger in journalists' hearts and minds long after they write them. (SW)
The Paperboy (2012). Matthew McConaughey stars in this vile piece of southern exploitation as Ward, a big-city journalist brought home to help exonerate a convicted felon, Van Wetter (John Cusack), at the behest of the murderer's smitten girlfriend-via-correspondence, Charlotte (Nicole Kidman). There is a lot going on in "The Paperboy," and although McConaughey plays a good investigative reporter, the rest of the film is buried under grim excess to a comical degree. Zac Efron co-stars as Jack, Ward's brother, who is smitten with Charlotte — a problematic position to be in given her predicament. At one point, Charlotte has to drop trou to save Jack after a jellyfish attack and, well, that's about the high point of the story. (ED)
Tagged under: Bad Education, journalism movies, movies
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Danny McBride explained why 2018's Halloween removed the reveal of previous sequels that Michael Myers and Laurie Strode were siblings. The original Halloween essentially created the slasher subgenre and followed an emotionless killer as he escapes from a mental asylum and returns to his hometown to cause more bloodshed. He stalks a luckless teenager named Laurie (Jamie Lee Curtis) throughout the story, and the movie ends with Michael's doctor shooting him six times - only for his body to vanish.
After Halloween became a major hit, pressure was put on creator John Carpenter to make a sequel. Carpenter felt the story had been told, but reluctantly penned a script and produced the follow-up. For the sake of adding some spice to the story, he included the reveal that Laurie and Michael Myers were actually related to provide the killer with a motive. Later movies in the series kept this twist, including Rob Zombie's remakes, but it was always a slightly controversial element among the fanbase, with some feeling it removed some of Michael's mystique.
The Halloween franchise is no stranger to retconning or rebooting, but the latest sequel takes things a step further by ignoring all previous movies bar the 1978 original. This includes the revelation that Michael and Laurie were brother and sister, and in a new interview with Nerdist, co-writer Danny McBride has explained the logic of making them strangers again.
I was pushing for that removal right off the bat. I just felt like that was an area where he wasn't quite as scary anymore, it seemed too personalized. I wasn't as afraid of Michael Myers anymore because I'm not his f***ing brother. [We thought] wouldn't it be interesting just to see what would happen if it wasn't that? What does that open up for us if it was just this random killing that has affected [Laurie Strode] for all these years?
McBride makes a good point that by removing the sibling reveal, it allows Halloween to explore a fresh angle. Other movies in the franchise - namely Halloween H20 and Rob Zombie's Halloween II - have already mined the family side of their relationship, so making them strangers again gives the filmmakers some new territory to explore. The trailer for 2018's Halloween even makes a joke about the idea of Laurie and Michael being related, writing it off as a rumor.
The trailer for Halloween makes it appear Laurie has now stepped into the Dr. Loomis role from the original, who is waiting for Michael's inevitable return and doing her best to save lives once the killing begins. Given that the project will be a one off for many involved - including Jamie Lee Curtis - there's even the possibility the film could take the bold step of killing Michael Myers for good, as Carpenter himself intended with the fiery climax of 1981's Halloween II.


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text:
import {WeaponService} from "../../../services/weapon.service";
import {Weapon} from "../../../model/weapon";
import {Observable} from "rxjs/Observable";
import {HeroStore} from "../../../model/hero.store";
import {Store} from "@ngrx/store";
import {Component} from '@angular/core';

@Component({
  selector: 'weapons-list',
  template: `

        Weapon Name
        Weapon Type

        {{ weapon.weaponName }}
        {{ weapon.weaponType }}

  `
})
export class WeaponsList{

  weapons: Observable<Array<Weapon>>;

  constructor(private _store: Store<HeroStore>, private _weaponService: WeaponService){
    this.weapons = this._store.select('weapons');
  }

  deleteWeapon(id: number): void{
    this._weaponService.deleteWeapon(id);
  }

  weaponSelected(weapon: Weapon): void{
    this._weaponService.weaponSelected(weapon);
  }

}

redpajama_set_name: RedPajamaGithub


text:
DON and CHRIS' OLD STUFF WHOLESALE VINTAGE ANTIQUES and COLLECTIBLES
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Displaying 697 - 720 of 3303
#ZZZ170 - Check from Kenny's Harley-Davidson Motorcycle Co. - Pictures a Harley Panhead Motorcycle
Click the picture to see a larger more detailed image of both sides. Vintage 8 1/4" wide used check from Kenny's Harley-Davidson Motorcycle Co. that was in Kansas City, Missouri. All are dated in the 1950s, and have a wonderful image of a Harley Panhead Motorcycle. You can see the detail in the larger image. These are nice and really uncommon. Harley-Davidson is very popular right now
##MUSICBG0069.2 - Ringo Starr Beatles Vending Charm
Click the picture to see a larger more detailed image. Vintage 1 1/4" tall rubbery plastic Ringo Starr of the Beatles vending charms. These were produced in 1964 by the AAA Vending Company in Cincinnati, and were distributed nationwide. This stash came from the remote storage area of a novelty distributorship in Pennsylvania. Colors vary. They are unmarked but were licensed by AAA. Unused old store stock in excellent unused condition.
##MUSICBG0103 - Group of 12 1987 Elvis Presley 10th Anniversary Graceland News Magazines - Collector's Edition
Click the picture to see a larger more detailed image of the front and back covers. You get 12 for $12 (that's $1 each). These are all about Elvis and contain "Rare Photos & Interviews with Family and Friends", a scrapbook section, and more. We found these in original unopened cases. Excellent unused condition. These are a real bargain. We bought them right and are passing a great deal on to you. They sold for $5 back in 1987 and go on Ebay for $8 - $10 now.
##MUSICBG0130 - Large Uncut Sheet of NIN OTTO cloth Backstage Passes from the 1994 Self Destruct Tour
Click the picture to see a larger more detailed image of both sides of the sheet. Vintage large 8 1/4" wide uncut cloth sheet from the NIN (Nine Inch Nails) 1994 Self Destruct Tour. The sheet was made so two triangular photo passes could be cut out. Excellent unused condition.
##MUSICBG0134 - Foghat OTTO Dressing Room Door Sign from the 1981 Girls to Chat & Boys to Bounce Tour
Click the picture to see a larger more detailed image of the sign. Vintage 10 1/2" tall thin cardboard door sign. Marked "Foghat Dressing Room". These are signs from the 1981 "Girls to Chat & Boys to Bounce" tour. These are tour signs that were placed on Foghat's Dressing Room door. They have the OTTO markings on the front, and look like a gigantic backstage pass. OTTO supplied bands with door signs, but few have survived. These are in excellent unused condition. There aren't many.
##MUSICBG0135 - Barbara Streisand OTTO Printers Proof Sheet from the 1994 The Concert Tour
Click the picture to see a larger more detailed image of both sides of the proof. Vintage 5 1/2" tall printer's proof sheet. These are the proofs that were used to make the passes for the 1994 The Concert Tour. These are in excellent unused condition on high quality glossy paper.
##MUSICBP0110 - Jacksons (Michael Jackson) Backstage OTTO Cloth Pass from the 1984 Victory Tour - As low as $5
Price is per pass. Click the picture to see a larger more detailed image. Vintage OTTO cloth backstage pass from the 1984 Jacksons Victory Tour Tour featuring Michael Jackson and his brothers. These are rare passes that don't turn up often and can go for big bucks on Ebay. If you order two or more, you will get a combination of the blue and green types pictured. The backs are standard OTTO backs from when OTTO was on Vine Street in Cincinnati. Excellent unused condition.
PRICES ADJUST WHEN ITEM IS ADDED TO CART
Buy 1 or more of this item for $7.50 each
##MUSICBP0237 - 1995 Tom Petty and the Heartbreakers OTTO Laminated Backstage Pass from the Dogs with Wings Tour - Dog with Airplane Wings
Click the picture to see a larger more detailed image of both sides of the pass. Vintage 4 1/4" tall 1995 Tom Petty and the Heartbreakers OTTO laminated backstage pass from the Dogs with Wings tour. They produced a number of artistic passes for this tour which are widely collected. The artwork is beautiful. Excellent unused condition. We had a few of these before and ran out quickly. These are from the collection of famous rock journalist Steve Rosen.
##MUSICBP0277 - Rare OTTO Cloth Michael Jackson Radio Pass from the 1988 Bad Tour
Click the picture to see a larger more detailed image. Vintage 4 3/4" tall Michael Jackson cloth OTTO Radio Pass. Says MAJIC 102 FM Welcomes Michael Jackson" "Bad" (Tour Name), and "April 8, 9, & 10 Summit Houston, TX". These are rare. A few will be identical, but from the March 12-13, 1988 date in St. Louis at The Arena. We found these in remote storage at the OTTO (manufacturer) warehouse. Excellent unused condition.
##MUSICBP0391 - Paul McCartney Working Personnel OTTO Cloth Backstage Pass from the Driving USA Tour
Click the picture to see a larger more detailed image of both sides of the pass. Vintage uncommon 4 1/2" tall OTTO cloth backstage pass from the 2002 Driving USA Tour. Excellent unused condition. We found these in storage at the OTTO warehouse.
##MUSICBP0471 - Black Sabbath Laminated OTTO Backstage Pass from the "Mob Rules" Tour
Click the picture to see a large detailed image of the pass (This one was only printed on one side as the OTTO mark is on the front). Vintage 4 1/4" tall laminated OTTO backstage pass from the Black Sabbath "Mob Rules" 1982 Tour. Excellent unused condition.
##MUSICBP0472 - Rare 2006 Bob Dylan OTTO Cloth Backstage Pass from the Fall USA Tour - Pinup
Click the picture to see a larger more detailed image of both sides of the pass. Vintage 2006 4" tall cloth OTTO Bob Dylan Fall USA Tour Backstage pass. Pinup art. This is a very scarce one. Some of the more recent ones like this are very rare because they have tightened up security and not many can be found. Excellent unused condition.
##MUSICBP0554 - 1995 Elton John OTTO Cloth Backstage VIP Pass with a Standing Lion from the Made in England Tour
Click the picture to see a more detailed image of both sides of the pass. Vintage 3 3/4" wide 1995 Elton John OTTO cloth VIP Backstage Pass from the Made in England Tour. Several different colors. Excellent unused condition.
##MUSICBP0569 - 1984 Krokus OTTO Laminated Backstage Pass from the Blitz Tour
Click the picture to see a larger more detailed image of both sides of the pass. Vintage 4 1/4" tall 1984-85 Krokus laminated backstage pass from the "The Blitz" tour. This is a very uncommon and desirable one with great artwork. You rarely see them. Excellent unused condition.
##MUSICBP0571 - Madonna 1993 The Girlie Show Tour OTTO Laminated Backstage Pass
Click the picture to see a larger more detailed image of both sides of the pass. Vintage 1993 4 1/4" tall laminated Madonna OTTO backstage pass from "The Girlie Show" Tour. Excellent unused condition. These are not common.
##MUSICBP0590 - 1983 Simon and Garfunkel OTTO Laminated Backstage Pass from the "Drive-in-Movie" Reunion Tour
Click the picture to see a larger more detailed image of both sides of the pass. Vintage 5" wide OTTO laminated backstage pass from the 1983 Simon and Garfunkel "Drive-in-Movie" reunion tour. The OTTO mark is on the front. Excellent unused condition.
Simon and Garfunkel were a phenomena. Paul Simon's lyrics were considered as powerful as Bob Dylan's, and when combined with Art Garfunkel's angelic voice, they were amazing and arguably one of the very best groups of all time. "The Sounds of Silence" were an anthem for the hippie generation, and they were one of the most popular artists of that era. In 2003, they were presented with the "Grammy Lifetime Achievement Award". They won grammy's for "Mrs. Robinson", "Bridge over Troubled Water", and also the album "Bridge over Troubled Water". They were never really rockers, but were inducted into the Rock and Roll Hall of Fame anyway in 1990.
##MUSICBP0627 - Red Version 1984 Loverboy OTTO Laminated Backstage Pass from The Last Leg Tour
Click the picture to see a larger more detailed image of both sides of the pass. Vintage red version 1984 4 1/4" tall Loverboy laminated backstage pass from "The Last Leg Tour". The OTTO mark is on the front on the right side. Excellent unused condition.
##MUSICBP0634 - Madonna OTTO Cloth Backstage Pass from the Who's That Girl Tour
Click the picture to see a larger more detailed image of both sides of the pass. Vintage 3 3/4" tall Madonna Cloth OTTO laminated backstage pass from the 1987 "Who's That Girl" tour. Excellent unused condition.
##MUSICBP0661 - Oakridge Boys OTTO Cloth Backstage Pass from the from the 1984 Concert at Sunrise Musical Theatre
Click the picture to see a larger more detailed image of both sides of the pass. Vintage 4 3/4" tall Oak Ridge Boys OTTO cloth backstage pass from the concert at Sunrise Musical Theatre (Sunrise, Florida) on June 24, 1984. Advertises KISS WKQS 999 FM Radio. Excellent unused condition.
##MUSICBP0665 - Doobie Brothers OTTO Backstage Pass for the 1989 Concert at Oak Mountain Amphitheatre - Cycles Tour
Click the picture to see a larger more detailed image of both sides of the pass. Vintage 4 3/4" tall Doobie Brothers OTTO cloth backstage pass from the August 26, 1989 concert at the Oak Mountain Amphitheatre in Birmingham, Alabama. Also advertises radio station I-95. Excellent unused condition.
##MUSICBP0696 - Skid Row OTTO Laminated Backstage Pass from the 1991/92 No Fu....... Frills Tour
Click the picture to see a larger more detailed image of both sides of the pass. Vintage 4 1/4" tall Skid Row OTTO laminated backstage pass from the 1991/92 "No Fu...... Frills" Tour. Excellent unused condition.
##MUSICBP0730 - Alabama OTTO Cloth Commemorative Patch from the 1993 Concert in Ft. Wayne - WBTU-FM 93.3
Click the picture to see a large detailed image of both sides of the pass. Vintage 4 3/4" tall Alabama commemorative OTTO cloth patch from the concert in Ft. Wayne, Indiana on February 11, 1993 on the American Pride tour. They were given away by radio station WBTU-FM 93.3. Excellent unused condition.
##MUSICBP0732 - Scarce Paul Abdul OTTO Laminated Backstage Pass from the 1991 Under My Spell Tour
Click the picture to see a larger more detailed image of both sides of the pass. Vintage 4 1/4" tall Paula Abdul OTTO laminated record company (Virgin Records) backstage pass from the 1991 Under My Spell tour. This laminated record company version is scarce. Excellent unused condition.
##MUSICBP0783 - Rare Pair of Cher OTTO Laminated Meal Tickets from the 1990 Heart of Stone Tour - One Meat One Veggie
Click the picture to see a larger more detailed image of both sides of the meal tickets. You get the pair for $6 (that's $3 each). Vintage rare 4 1/4" wide Cher OTTO Laminated meal tickets from the 1990 Heart of Stone tour. One says "Meat" and one says "Veggie". We have never seen these before and there aren't very many. They are in excellent unused condition and came from the collection of Steve Rosen.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Q: MS Access give an error when trying to use a query using SELECT TOP 0 * i would like a clear answer of why can't i process a query like this one with OleDb
"select top 0 * FROM [APPELLATION$] WHERE (((([libel_app] LIKE '%g') OR ([region] LIKE '%g')) OR ([couleur] LIKE '%g')))"

I can with SQL but when i try to fetch some data from an Excel file it throws an error that tells me that i use some restricted word or i have some symbols that are restricted. I read the list of restricted words and symbols and did not find any of them in my query. My program is giving me SQL request, i would not like to end up looking if the TOP N number is whether or not is zero, but if i have no solution...
Thanks in advance.

A: Your collegues should remove hard-coded flavor-specific SQL from their code in the first place especially if it is to be used on different types of connections.
See the accepted answer on Is there an ANSI SQL alternative to the MYSQL LIMIT keyword? for some of the flavors. Excel is not listed there, I bet it uses the same syntax as MsAccess but I'm not suprised it acts completely different upon such a weird query. As Paddy already mentioned that query does not make any sense, and should be avoided.
Fixing this by matching "SELECT TOP 0" is ugly and will make maintaining software pure hell (been there :( )

A: The N in TOP N must be a numeric value of 1 (Banker's rounded) or greater.
e.g.
SELECT TOP 0.5 * FROM MyTable;  -- rounds to zero = error

SELECT TOP 0.6 * FROM MyTable;  -- rounds to 1 = no problem

redpajama_set_name: RedPajamaStackExchange


text:
/**
 * The StyleSheet component is a utility for managing css rules at the
 * stylesheet level
 *
 * @module stylesheet
 * @namespace YAHOO.util
 * @requires yahoo
 * @beta
 */
(function () {

var d      = document,
    p      = d.createElement('p'), // Have to hold the node (see notes)
    workerStyle = p.style, // worker style collection
    lang   = YAHOO.lang,
    selectors = {},
    sheets = {},
    ssId   = 0,
    floatAttr = ('cssFloat' in workerStyle) ? 'cssFloat' : 'styleFloat',
    _toCssText,
    _unsetOpacity,
    _unsetProperty;

/*
 * Normalizes the removal of an assigned style for opacity.  IE uses the filter property.
 */
_unsetOpacity = ('opacity' in workerStyle) ?
    function (style) { style.opacity = ''; } :
    function (style) { style.filter = ''; };

/*
 * Normalizes the removal of an assigned style for a given property.  Expands
 * shortcut properties if necessary and handles the various names for the float property.
 */
workerStyle.border = "1px solid red";
workerStyle.border = ''; // IE doesn't unset child properties
_unsetProperty = workerStyle.borderLeft ?
    function (style,prop) {
        var p;
        if (prop !== floatAttr && prop.toLowerCase().indexOf('float') != -1) {
            prop = floatAttr;
        }
        if (typeof style[prop] === 'string') {
            switch (prop) {
                case 'opacity':
                case 'filter' : _unsetOpacity(style); break;
                case 'font'   :
                    style.font       = style.fontStyle = style.fontVariant =
                    style.fontWeight = style.fontSize  = style.lineHeight  =
                    style.fontFamily = '';
                    break;
                default       :
                    for (p in style) {
                        if (p.indexOf(prop) === 0) {
                            style[p] = '';
                        }
                    }
            }
        }
    } :
    function (style,prop) {
        if (prop !== floatAttr && prop.toLowerCase().indexOf('float') != -1) {
            prop = floatAttr;
        }
        if (lang.isString(style[prop])) {
            if (prop === 'opacity') {
                _unsetOpacity(style);
            } else {
                style[prop] = '';
            }
        }
    };

/**
 * Create an instance of YAHOO.util.StyleSheet to encapsulate a css stylesheet.
 * The constructor can be called using function or constructor syntax.
 *
var sheet = YAHOO.util.StyleSheet(..);

 * or
 *
var sheet = new YAHOO.util.StyleSheet(..);

 *
 * The first parameter passed can be any of the following things:
 *

 *
The desired string name to register a new empty sheet

 *
The string name of an existing YAHOO.util.StyleSheet instance

 *
The unique yuiSSID generated for an existing YAHOO.util.StyleSheet instance

 *
The id of an existing <link> or <style> node

 *
The node reference for an existing <link> or <style> node

 *
A chunk of css text to create a new stylesheet from

 *

 *
 *
If a string is passed, StyleSheet will first look in its static name
 * registry for an existing sheet, then in the DOM for an element with that id.
 * If neither are found and the string contains the { character, it will be
 * used as a the initial cssText for a new StyleSheet.  Otherwise, a new empty
 * StyleSheet is created, assigned the string value as a name, and registered
 * statically by that name.

 *
 *
The optional second parameter is a string name to register the sheet as.
 * This param is largely useful when providing a node id/ref or chunk of css
 * text to create a populated instance.

 *
 * @class StyleSheet
 * @constructor
 * @param seed {String|HTMLElement} a style or link node, its id, or a name or
 *              yuiSSID of a StyleSheet, or a string of css text (see above)
 * @param name {String} OPTIONAL name to register instance for future static
 *              access
 */
function StyleSheet(seed, name) {
    var head,
        node,
        sheet,
        cssRules = {},
        _rules,
        _insertRule,
        _deleteRule,
        i,r,sel;

    // Factory or constructor
    if (!(this instanceof StyleSheet)) {
        return new StyleSheet(seed,name);
    }

    // capture the DOM node if the string is an id
    node = seed && (seed.nodeName ? seed : d.getElementById(seed));

    // Check for the StyleSheet in the static registry
    if (seed && sheets[seed]) {
        return sheets[seed];
    } else if (node && node.yuiSSID && sheets[node.yuiSSID]) {
        return sheets[node.yuiSSID];
    }

    // Create a style node if necessary
    if (!node || !/^(?:style|link)$/i.test(node.nodeName)) {
        node = d.createElement('style');
        node.type = 'text/css';
    }

    if (lang.isString(seed)) {
        // Create entire sheet from seed cssText
        if (seed.indexOf('{') != -1) {
            // Not a load-time fork because low run-time impact and IE fails
            // test for s.styleSheet at page load time (oddly)
            if (node.styleSheet) {
                node.styleSheet.cssText = seed;
            } else {
                node.appendChild(d.createTextNode(seed));
            }
        } else if (!name) {
            name = seed;
        }
    }

    if (!node.parentNode || node.parentNode.nodeName.toLowerCase() !== 'head') {
        head = (node.ownerDocument || d).getElementsByTagName('head')[0];
        // styleSheet isn't available on the style node in FF2 until appended
        // to the head element.  style nodes appended to body do not affect
        // change in Safari.
        head.appendChild(node);
    }

    // Begin setting up private aliases to the important moving parts
    // 1. The stylesheet object
    // IE stores StyleSheet under the "styleSheet" property
    // Safari doesn't populate sheet for xdomain link elements
    sheet = node.sheet || node.styleSheet;

    // 2. The style rules collection
    // IE stores the rules collection under the "rules" property
    _rules = sheet && ('cssRules' in sheet) ? 'cssRules' : 'rules';

    // 3. The method to remove a rule from the stylesheet
    // IE supports removeRule
    _deleteRule = ('deleteRule' in sheet) ?
        function (i) { sheet.deleteRule(i); } :
        function (i) { sheet.removeRule(i); };

    // 4. The method to add a new rule to the stylesheet
    // IE supports addRule with different signature
    _insertRule = ('insertRule' in sheet) ?
        function (sel,css,i) { sheet.insertRule(sel+' {'+css+'}',i); } :
        function (sel,css,i) { sheet.addRule(sel,css,i); };

    // 5. Initialize the cssRules map from the node
    // xdomain link nodes forbid access to the cssRules collection, so this
    // will throw an error.
    // TODO: research alternate stylesheet, @media
    for (i = sheet[_rules].length - 1; i >= 0; --i) {
        r   = sheet[_rules][i];
        sel = r.selectorText;

        if (cssRules[sel]) {
            cssRules[sel].style.cssText += ';' + r.style.cssText;
            _deleteRule(i);
        } else {
            cssRules[sel] = r;
        }
    }

    // Cache the instance by the generated Id
    node.yuiSSID = 'yui-stylesheet-' + (ssId++);
    StyleSheet.register(node.yuiSSID,this);

    // Register the instance by name if provided or defaulted from seed
    if (name) {
        StyleSheet.register(name,this);
    }

    // Public API
    lang.augmentObject(this,{
        /**
         * Get the unique yuiSSID for this StyleSheet instance
         *
         * @method getId
         * @return {Number} the static id
         */
        getId : function () { return node.yuiSSID; },

        /**
         * The HTMLElement that this instance encapsulates
         *
         * @property node
         * @type HTMLElement
         */
        node : node,

        /**
         * Enable all the rules in the sheet
         *
         * @method enable
         * @return {StyleSheet} the instance
         * @chainable
         */
        // Enabling/disabling the stylesheet.  Changes may be made to rules
        // while disabled.
        enable : function () { sheet.disabled = false; return this; },

        /**
         * Disable all the rules in the sheet.  Rules may be changed while the
         * StyleSheet is disabled.
         *
         * @method disable
         * @return {StyleSheet} the instance
         * @chainable
         */
        disable : function () { sheet.disabled = true; return this; },

        /**
         * Returns boolean indicating whether the StyleSheet is enabled
         *
         * @method isEnabled
         * @return {Boolean} is it enabled?
         */
        isEnabled : function () { return !sheet.disabled; },

        /**
         *
Set style properties for a provided selector string.
         * If the selector includes commas, it will be split into individual
         * selectors and applied accordingly.  If the selector string does not
         * have a corresponding rule in the sheet, it will be added.

         *
         *
The second parameter can be either a string of CSS text,
         * formatted as CSS ("font-size: 10px;"), or an object collection of
         * properties and their new values.  Object properties must be in
         * JavaScript format ({ fontSize: "10px" }).

         *
         *
The float style property will be set by any of "float",
         * "styleFloat", or "cssFloat" if passed in the
         * object map.  Use "float: left;" format when passing a CSS text
         * string.

         *
         * @method set
         * @param sel {String} the selector string to apply the changes to
         * @param css {Object|String} Object literal of style properties and
         *                      new values, or a string of cssText
         * @return {StyleSheet} the StyleSheet instance
         * @chainable
         */
        set : function (sel,css) {
            var rule = cssRules[sel],
                multi = sel.split(/\s*,\s*/),i,
                idx;

            // IE's addRule doesn't support multiple comma delimited selectors
            if (multi.length > 1) {
                for (i = multi.length - 1; i >= 0; --i) {
                    this.set(multi[i], css);
                }
                return this;
            }

            // Some selector values can cause IE to hang
            if (!StyleSheet.isValidSelector(sel)) {
                return this;
            }

            // Opera throws an error if there's a syntax error in assigned
            // cssText. Avoid this using a worker style collection, then
            // assigning the resulting cssText.
            if (rule) {
                rule.style.cssText = StyleSheet.toCssText(css,rule.style.cssText);
            } else {
                idx = sheet[_rules].length;
                css = StyleSheet.toCssText(css);

                // IE throws an error when attempting to addRule(sel,'',n)
                // which would crop up if no, or only invalid values are used
                if (css) {
                    _insertRule(sel, css, idx);

                    // Safari replaces the rules collection, but maintains the
                    // rule instances in the new collection when rules are
                    // added/removed
                    cssRules[sel] = sheet[_rules][idx];
                }
            }
            return this;
        },

        /**
         *
Unset style properties for a provided selector string, removing
         * their effect from the style cascade.

         *
         *
If the selector includes commas, it will be split into individual
         * selectors and applied accordingly.  If there are no properties
         * remaining in the rule after unsetting, the rule is removed.

         *
         *
The style property or properties in the second parameter must be the
         *
JavaScript style property names. E.g. fontSize rather than font-size.

         *
         *
The float style property will be unset by any of "float",
         * "styleFloat", or "cssFloat".

         *
         * @method unset
         * @param sel {String} the selector string to apply the changes to
         * @param css {String|Array} style property name or Array of names
         * @return {StyleSheet} the StyleSheet instance
         * @chainable
         */
        unset : function (sel,css) {
            var rule = cssRules[sel],
                multi = sel.split(/\s*,\s*/),
                remove = !css,
                rules, i;

            // IE's addRule doesn't support multiple comma delimited selectors
            // so rules are mapped internally by atomic selectors
            if (multi.length > 1) {
                for (i = multi.length - 1; i >= 0; --i) {
                    this.unset(multi[i], css);
                }
                return this;
            }

            if (rule) {
                if (!remove) {
                    if (!lang.isArray(css)) {
                        css = [css];
                    }

                    workerStyle.cssText = rule.style.cssText;
                    for (i = css.length - 1; i >= 0; --i) {
                        _unsetProperty(workerStyle,css[i]);
                    }

                    if (workerStyle.cssText) {
                        rule.style.cssText = workerStyle.cssText;
                    } else {
                        remove = true;
                    }
                }

                if (remove) { // remove the rule altogether
                    rules = sheet[_rules];
                    for (i = rules.length - 1; i >= 0; --i) {
                        if (rules[i] === rule) {
                            delete cssRules[sel];
                            _deleteRule(i);
                            break;
                        }
                    }
                }
            }
            return this;
        },

        /**
         * Get the current cssText for a rule or the entire sheet.  If the
         * selector param is supplied, only the cssText for that rule will be
         * returned, if found.  If the selector string targets multiple
         * selectors separated by commas, the cssText of the first rule only
         * will be returned.  If no selector string, the stylesheet's full
         * cssText will be returned.
         *
         * @method getCssText
         * @param sel {String} Selector string
         * @return {String}
         */
        getCssText : function (sel) {
            var rule,css;

            if (lang.isString(sel)) {
                // IE's addRule doesn't support multiple comma delimited
                // selectors so rules are mapped internally by atomic selectors
                rule = cssRules[sel.split(/\s*,\s*/)[0]];

                return rule ? rule.style.cssText : null;
            } else {
                css = [];
                for (sel in cssRules) {
                    if (cssRules.hasOwnProperty(sel)) {
                        rule = cssRules[sel];
                        css.push(rule.selectorText+" {"+rule.style.cssText+"}");
                    }
                }
                return css.join("\n");
            }
        }
    },true);

}

_toCssText = function (css,base) {
    var f = css.styleFloat || css.cssFloat || css['float'],
        prop;

    workerStyle.cssText = base || '';

    if (lang.isString(css)) {
        // There is a danger here of incremental memory consumption in Opera
        workerStyle.cssText += ';' + css;
    } else {
        if (f && !css[floatAttr]) {
            css = lang.merge(css);
            delete css.styleFloat; delete css.cssFloat; delete css['float'];
            css[floatAttr] = f;
        }

        for (prop in css) {
            if (css.hasOwnProperty(prop)) {
                try {
                    // IE throws Invalid Value errors and doesn't like whitespace
                    // in values ala ' red' or 'red '
                    workerStyle[prop] = lang.trim(css[prop]);
                }
                catch (e) {
                }
            }
        }
    }

    return workerStyle.cssText;
};

lang.augmentObject(StyleSheet, {
    /**
     *
Converts an object literal of style properties and values into a string
     * of css text.  This can then be assigned to el.style.cssText.

     *
     *
The optional second parameter is a cssText string representing the
     * starting state of the style prior to alterations.  This is most often
     * extracted from the eventual target's current el.style.cssText.

     *
     * @method StyleSheet.toCssText
     * @param css {Object} object literal of style properties and values
     * @param cssText {String} OPTIONAL starting cssText value
     * @return {String} the resulting cssText string
     * @static
     */
    toCssText : (('opacity' in workerStyle) ? _toCssText :
        // Wrap IE's toCssText to catch opacity.  The copy/merge is to preserve
        // the input object's integrity, but if float and opacity are set, the
        // input will be copied twice in IE.  Is there a way to avoid this
        // without increasing the byte count?
        function (css, cssText) {
            if (lang.isObject(css) && 'opacity' in css) {
                css = lang.merge(css,{
                        filter: 'alpha(opacity='+(css.opacity*100)+')'
                      });
                delete css.opacity;
            }
            return _toCssText(css,cssText);
        }),

    /**
     * Registers a StyleSheet instance in the static registry by the given name
     *
     * @method StyleSheet.register
     * @param name {String} the name to assign the StyleSheet in the registry
     * @param sheet {StyleSheet} The StyleSheet instance
     * @return {Boolean} false if no name or sheet is not a StyleSheet
     *              instance. true otherwise.
     * @static
     */
    register : function (name,sheet) {
        return !!(name && sheet instanceof StyleSheet &&
                  !sheets[name] && (sheets[name] = sheet));
    },

    /**
     *
Determines if a selector string is safe to use.  Used internally
     * in set to prevent IE from locking up when attempting to add a rule for a
     * "bad selector".

     *
     *
Bad selectors are considered to be any string containing unescaped
     * `~!@$%^&()+=|{}[];'"?< or space. Also forbidden are . or # followed by
     * anything other than an alphanumeric.  Additionally -abc or .-abc or
     * #_abc or '# ' all fail.  There are likely more failure cases, so
     * please file a bug if you encounter one.

     *
     * @method StyleSheet.isValidSelector
     * @param sel {String} the selector string
     * @return {Boolean}
     * @static
     */
    isValidSelector : function (sel) {
        var valid = false;

        if (sel && lang.isString(sel)) {

            if (!selectors.hasOwnProperty(sel)) {
                // TEST: there should be nothing but white-space left after
                // these destructive regexs
                selectors[sel] = !/\S/.test(
                    // combinators
                    sel.replace(/\s+|\s*[+~>]\s*/g,' ').
                    // attribute selectors (contents not validated)
                    replace(/([^ ])\[.*?\]/g,'$1').
                    // pseudo-class|element selectors (contents of parens
                    // such as :nth-of-type(2) or :not(...) not validated)
                    replace(/([^ ])::?[a-z][a-z\-]+[a-z](?:\(.*?\))?/ig,'$1').
                    // element tags
                    replace(/(?:^| )[a-z0-6]+/ig,' ').
                    // escaped characters
                    replace(/\\./g,'').
                    // class and id identifiers
                    replace(/[.#]\w[\w\-]*/g,''));
            }

            valid = selectors[sel];
        }

        return valid;
    }
},true);

YAHOO.util.StyleSheet = StyleSheet;

})();

/*

NOTES
 * Style node must be added to the head element.  Safari does not honor styles
   applied to StyleSheet objects on style nodes in the body.
 * StyleSheet object is created on the style node when the style node is added
   to the head element in Firefox 2 (and maybe 3?)
 * The cssRules collection is replaced after insertRule/deleteRule calls in
   Safari 3.1.  Existing Rules are used in the new collection, so the collection
   cannot be cached, but the rules can be.
 * Opera requires that the index be passed with insertRule.
 * Same-domain restrictions prevent modifying StyleSheet objects attached to
   link elements with remote href (or "about:blank" or "javascript:false")
 * Same-domain restrictions prevent reading StyleSheet cssRules/rules
   collection of link elements with remote href (or "about:blank" or
   "javascript:false")
 * Same-domain restrictions result in Safari not populating node.sheet property
   for link elements with remote href (et.al)
 * IE names StyleSheet related properties and methods differently (see code)
 * IE converts tag names to upper case in the Rule's selectorText
 * IE converts empty string assignment to complex properties to value settings
   for all child properties.  E.g. style.background = '' sets non-'' values on
   style.backgroundPosition, style.backgroundColor, etc.  All else clear
   style.background and all child properties.
 * IE assignment style.filter = '' will result in style.cssText == 'FILTER:'
 * All browsers support Rule.style.cssText as a read/write property, leaving
   only opacity needing to be accounted for.
 * Benchmarks of style.property = value vs style.cssText += 'property: value'
   indicate cssText is slightly slower for single property assignment.  For
   multiple property assignment, cssText speed stays relatively the same where
   style.property speed decreases linearly by the number of properties set.
   Exception being Opera 9.27, where style.property is always faster than
   style.cssText.
 * Opera 9.5b throws a syntax error when assigning cssText with a syntax error.
 * Opera 9.5 doesn't honor rule.style.cssText = ''.  Previous style persists.
   You have to remove the rule altogether.
 * Stylesheet properties set with !important will trump inline style set on an
   element or in el.style.property.
 * Creating a worker style collection like document.createElement('p').style;
   will fail after a time in FF (~5secs of inactivity).  Property assignments
   will not alter the property or cssText.  It may be the generated node is
   garbage collected and the style collection becomes inert (speculation).
 * IE locks up when attempting to add a rule with a selector including at least
   characters {[]}~`!@%^&*()+=|? (unescaped) and leading _ or -
   such as addRule('-foo','{ color: red }') or addRule('._abc','{...}')
 * IE's addRule doesn't support comma separated selectors such as
   addRule('.foo, .bar','{..}')
 * IE throws an error on valid values with leading/trailing white space.
 * When creating an entire sheet at once, only FF2/3 & Opera allow creating a
   style node, setting its innerHTML and appending to head.
 * When creating an entire sheet at once, Safari requires the style node to be
   created with content in innerHTML of another element.
 * When creating an entire sheet at once, IE requires the style node content to
   be set via node.styleSheet.cssText
 * When creating an entire sheet at once in IE, styleSheet.cssText can't be
   written until node.type = 'text/css'; is performed.
 * When creating an entire sheet at once in IE, load-time fork on
   var styleNode = d.createElement('style'); _method = styleNode.styleSheet ?..
   fails (falsey).  During run-time, the test for .styleSheet works fine
 * Setting complex properties in cssText will SOMETIMES allow child properties
   to be unset
   set         unset              FF2  FF3  S3.1  IE6  IE7  Op9.27  Op9.5
   ----------  -----------------  ---  ---  ----  ---  ---  ------  -----
   border      -top               NO   NO   YES   YES  YES  YES     YES
               -top-color         NO   NO   YES             YES     YES
               -color             NO   NO   NO              NO      NO
   background  -color             NO   NO   YES             YES     YES
               -position          NO   NO   YES             YES     YES
               -position-x        NO   NO   NO              NO      NO
   font        line-height        YES  YES  NO    NO   NO   NO      YES
               -style             YES  YES  NO              YES     YES
               -size              YES  YES  NO              YES     YES
               -size-adjust       ???  ???  n/a   n/a  n/a  ???     ???
   padding     -top               NO   NO   YES             YES     YES
   margin      -top               NO   NO   YES             YES     YES
   list-style  -type              YES  YES  YES             YES     YES
               -position          YES  YES  YES             YES     YES
   overflow    -x                 NO   NO   YES             n/a     YES

   ??? - unsetting font-size-adjust has the same effect as unsetting font-size
 * FireFox and WebKit populate rule.cssText as "SELECTOR { CSSTEXT }", but
   Opera and IE do not.
 * IE6 and IE7 silently ignore the { and } if passed into addRule('.foo','{
   color:#000}',0).  IE8 does not and creates an empty rule.
 * IE6-8 addRule('.foo','',n) throws an error.  Must supply *some* cssText
*/

YAHOO.register("stylesheet", YAHOO.util.StyleSheet, {version: "2.8.2r1", build: "7"});


text:
Marvel Confirms Fantastic Four, Black Panther 2, Guardians of the Galaxy 3, Captain Marvel 2 - Comic Con 2019
"No time left to talk about mutants," Kevin Feige teased of the X-Men.
byJonathon Dornbush
Posted July 21, 2019, 3:47 a.m.
Marvel Studios revealed its planned Phase 4 Marvel Cinematic Universe schedule, and also confirmed a slew of titles, including the integration of the Fantastic Four into the MCU, are also on the way.
During Marvel Studios' Hall H Comic-Con 2019 panel, Kevin Feige confirmed Black Panther 2, Guardians of the Galaxy 3, and Captain Marvel 2 are all on the way as well as the announced Phase 4 lineup, plus the introduction of the Fantastic Four to the MCU.
As for the intreodu
14 hours, 9 minutes Comments
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Best Tech Gifts Ideas for 2023


Allspicery fulfills the dream of Heather Wong, the winner of Sacramento's 2015 Calling All Dreamers retail business plan competition. As the 2015 grand prize winner Heather and Allspicery received a business start-up package valued at $100,000.
Allspicery is the one and only one-stop spice shop in Sacramento. Glass jars line the walls of the compact shop which is located at 1125 11th Street, across from the L Street entrance of the State Capitol. I love the atmosphere of the shop and enjoy looking over all the wares before I make a purchase.
With more than 200 blends, spices, herbs, chiles, salts, peppers, and sugars in stock, Allspicery offers ingredients for almost any ethnic cuisine. The Allspicery website lists ingredient availability and I counted 39 different types of chiles alone!
On my first visit to Allspicery I was "window shopping" after having lunch with a friend, but I vowed to myself that the next time I needed a specific exotic ingredient that I would return. I have been back several times since.
To date I have purchased an assortment of spiced salts and herbs. On my last visit I purchased some "chocolate" sugar. I am sure that I can think of a number of ways to use chocolate sugar. Two thoughts that come to mind immediately are adding it to coffee and sprinkling it on top of a dessert to make it special. If you have a great recipe that calls for chocolate sugar please share it.
Tip: You can call or fax in your order in advance and Heather will have it ready for you to pick up.
Have you been to Allspicery? What would you add?
This shop is so cute. I bought some flavored sugars for my dad for father's day because he always talked about making cinnamon sugar toast when he was growing up. I also bought some hickory smoked salt and sriracha salt for a guy friend of mine that just got a new barbecue. It is a little expensive but at least you can buy spices by the ounce which gives you the freedom to try something new without breaking the bank. It would be great if they could put a couple of recipes in the store using their spices to give us a few ideas and a reason to buy more! It's a great place to pick up gifts but also pick up something for yourself.


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Do you have network. What do I need if I to the internet. If it is a of you Welcome to Techspot. Rest of the a toshiba the graphics card.


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Retro-print crossback competition swimsuit with shape-retaining Endurance®10 technology.
Inject some personality into swim meets and training with the junior crossback swimsuit, featuring an allover retro print design. High stretch fabric and a crossback style allow young athletes full range of movement during races, while our soft, Endurance®10 fabric is engineered to retain its shape.


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Q: How to change {{ Contact_us }} to a link in theme language In my theme language (Edit Default Theme Content), I need to modify a couple lines of language. I want to change the following:

*

*Default is:     For questions about your order, {{ contact_us }}.

*I need:     Contact us for further assistance.  (Click on "Contact us" is linked and opens in a new window)

I need "Contact us" to hyperlink directly to the email. I do not want to use the {{ }}, because this shows the email address on the storefront. Please note that this is in "edit default theme language", and not just text on a regular page.


text:
Twenty20 raises $8M, removes the velvet rope on its crowdsourced stock photo platform
By Michael Carney , written on February 26, 2015
Twenty20 has long hinted at ambitions to reshape the way stock photography is sourced. But for the better part of its three years in operation, the company has looked, at least from the outside, more like a photo enthusiasts community, akin to early Instagram or VSCO today. If only we could have seen this duck's legs paddling beneath the water's surface.
Today, Twenty20 launched out of beta, offering brands, agencies, and creatives a commercial licensing platform through which to access its more than 45 million photographs. The company also revealed $8 million in Series A funding via a round that it quietly closed in March 2014. The round was led by Canaan Partners with participation from First Round Capital, Bullpen Capital, and VersionOne Ventures. The round brings the company's total capitalization t0 $9.7 million with previous investors including Velos Partners, FF Angel, and Mucker Capital.
Unlike Shutterstock an the its legacy stock photo brethren, Twenty20's photos are crowdsourced from a community of 250,000 hobbyist photographers across 154 countries, many of which shoot only with mobile devices. The result is that its catalog is filled with beautiful, real life shots, rather than the staged moments and utter ridiculousness that permeate typical stock photo libraries.
"We're in a new era of constant content curation and distribution that must feel authentic and connect with consumers," said Canaan Partners general partner Maha Ibrahim. "Meanwhile, user-generated content is the most authentic creative in the world and has been proven to connect with consumers. Companies must keep up with this shift, or face becoming irrelevant."
The Twenty20 library of images has been available to select brands in a private beta for the last year, and its images have been used by a number of prominent retailers and startups including West Elm, Washio and The Audience. But,as of today, anyone can use the platform to license contention a per-image or monthly subscription basis ($89/month for 10 images and go up to $499/month for 100 images). Buyers can follow their favorite creators or search by topic and rating.
With social platform like Twitter and Facebook, not to mention corporate blogs, demanding regular content output from brands, Twenty20 solves a big pain point. This is especially true as today's consumers have a more refined filter for inauthentic or otherwise uninspired messages.
Twenty20 has spent the better part of two years building a highly curated community of photographers, relying on both its internal staff and fellow members to maintain a minimum level of quality. In its early days, the company (then called Instacanvas) pioneered the business of allowing consumers to print their Instagram photos onto wall canvases and other hard goods. The company recently shuttered that part of its business, as it looks forward and works to scale its content licensing efforts.
But it was this lucrative though at the end of the day niche offering that helped connect the company with a community of prolific and highly engaged prosumer photographers that now make up the basis of its platform. The company began to explore ways to help these users not only repurpose their work for their own enjoyment, but make money by selling this content to the public. A full fledged stock photo library was the next obvious business to pursue. Now, branded photo challenges and other promotions keep users engaged and contributing fresh content.
"Twenty20 is here to harness the power of a mobile photo and provide a bigger stage to showcase everyday talent," founder Matt Munson said in a statement today. "Creative brands and agencies are looking for original image content from real people, creating a more impactful and sincere relationship with their customers. We are excited to use this funding round to grow Twenty20 and develop key partnerships to continue to provide the most authentic creative in the world."
Despite the underwhelming nature of most traditional stock photo content, it remains a massive and highly profitable industry that has produced strong venture exits. Twenty20, however, is eschewing the traditional formula in favor of a crowdsourced, amateur photographer approach. Whether this model can achieve similar scale remains to be seen.
Photo-sharing platforms were declared dead by investors and entrepreneurs alike a number of years ago. But Munson and his team have quietly built one of the more interesting content platforms around. Now that the velvet rope has been dropped, we'll get a real sense of just how popular this club can be.


Simon T. Bailey helps people discover their inner brilliance. A best-selling author, Success Magazine's 2018 Top 25, and renowned teacher, Simon has shaped the lives of more than 2 million people in 45 different countries. Whether advising CEOs or speaking at a conference, Simon challenges individuals to shift their thinking and create their future. Simon knows that everyone has the potential to be brilliant.
Toyota - Shift Your Brilliance Keynote from Simon T. Bailey on Vimeo.
Interactive Learning with Simon T. Bailey from Simon T. Bailey on Vimeo.
How to Break Sound Barriers in Education from Simon T. Bailey on Vimeo.
If you're unforgettable, you'll create a customer for life. And in this service-driven economy, every moment is an opportunity. In Simon's newest presentation, he leverages what he's learned over 30 years of working for six different companies, including the Disney Institute and The Ritz Carlton Learning Institute, to create memories that matter. Simon leans on evidence-based research to provide tried-and-true methods that work for everyone—from account directors to Uber drivers. Participants will learn that superior customer service is a connection, not a product. You will be empowered to see customers as guests, create a personalized experience, anticipate needs, respond immediately, and capture loyalty through kindness. You'll be a spark in that guest's memory. Customer love is a mindset. Simon has the tools to teach you. He'll help you create a culture where everyone matters and people are invited to be their best selves. You'll transform from good service into platinum service, and every customer will be one for life. This presentation is ideal for audience members of all vocations, ambitions, and experiences.
The best leaders are the ones who lead differently. Simon's signature program was created to solve a problem: help individuals get out of the past and think like a leader of the future. You'll develop an enhanced sense of perspective, understand where you shine, and learn how to lead without a title to create effective change. You are the director of your personal narrative. You have the power to reposition your team, your company, and your life by leading in a style that's uniquely you. By the end of this presentation, participants will uncover their inner strengths to reach new heights. This presentation is ideal for business leaders who are ready to take their company into tomorrow.
Sometimes happiness is where you are. Sometimes happiness is elsewhere. Wherever your calling may be, Brilliant Living dares you to pursue your dreams. Simon's role is to help you grab the steering wheel. You'll be given a guide to assess the eight traits of being your most brilliant self. Using the lessons learned from working with 1,500 organizations over the past 15 years—and Simon's personal moments of reinvention—you'll be nudged to live life on your own terms, make a change, and do something exceptional. The choice is yours: Be average—or dare to be brilliant. This talk is perfect for people ready to instill change and passion in their organization, peers, and life.
How do we innovate in an industry resting on repetition? How does an airplane take off? How do we build an educational culture where the status quo is ruptured, graduation rates increase, and students thrive? Students today are taking tests that aren't going to help them in the real world. We need to uproot the system to shift from benefiting the teacher to the student. Niched in education, this presentation explores 22 different case studies of principals having breakthrough results. You'll find out how to learn from the exceptional, build momentum, break sound barriers, and accelerate into success—no matter your industry. Say goodbye to excuses and hello to innovation. This presentation is geared towards educational leaders, administrators, parents, and innovators from all industries.
He was the highlight of conference for me and likely for many of our participants...His honesty about his mistakes at Disney made him approachable and real. His hints were all things they could do immediately when they got back to their restaurant, without big barriers or months of work. We couldn't be happier with the impact Simon had!
Simon said more in ten minutes during our "Learn and Burn" session than some say in ten years. Our 1,000,000+ members will forever be impacted by his brilliant insight.
When Simon is not working, he spends quality time with his two active teenagers, roots for the Buffalo Bills, and is an avid moviegoer. He believes his most important role is to be a great dad and to volunteer in serving the least, the last, and the lost men in society.