text:
New footage shows George Floyd begging the cops before he was killed
A new video with footage captured by a police camera was released on Wednesday (31) in a court in Minneapolis, United States, showing American George Floyd pleading with police while in custody.
Floyd was suffocated to death by police in 2020, sparking a wave of global protests against racism and police violence. This week, a court is hearing witnesses in the trial against police officer Derek Chauvin, accused of manslaughter and wrongful death.
The video shows Agent Chauvin with his knee on Floyd's neck for over nine minutes, while Floyd begs not to be hurt. Floyd says, "I'm not a bad guy," he says.
Chauvin, 45, has been fired from the police and denies all charges.
Defense attorneys have indicated they will argue Floyd, 46, died of an overdose and poor health. They also have to claim that the force used in the episode was reasonable.
Analysts believe prosecutors defending the officer may want to use the new footage to try to prove Floyd's death had something to do with drug use.
What do the new images reveal?
The court saw camera footage of the bodies of officers Thomas Lane, J Alexander Kueng and Tou Thao. Chauvin's camera fell to the ground during the course of the prison and therefore did not take pictures of the incident.
In Lane's camera shoot, Floyd is seen confronting the police. He begs: "Please don't shoot me (…) I just lost my mother".
Floyd is handcuffed and continues to plead to Constables Lane and Kueng, saying he doesn't resist them and "will do whatever they say".
A fight ensues when the police attempt to get Floyd into a vehicle. He starts to cry and to resist, saying he's claustrophobic and anxious.
Chauvin and his partner Thao arrive while the arrest is in progress.
As the cops drag him out of the car and block him, Floyd can be heard calling his mother and telling his family that he loves them.
People watching the scene start yelling at the police, asking them to check Floyd's pulse and to stop holding him.
What did the witnesses say on Wednesday?
Police were called after Floyd used a counterfeit ticket at a convenience store.
Store worker Christopher Martin, 19, told court he briefly interacted with Floyd shortly before his arrest.
He said Floyd "looked like he was stoned" because he had trouble answering simple questions, but was lucid enough to conduct a conversation.
He described Floyd as "friendly and approachable".
In the store's surveillance video, Floyd can be seen laughing and talking to people.
Martin told the jury that he sold Floyd a pack of cigarettes and received a counterfeit as payment. Martin said he knew the note was wrong for its color and texture, but added that Floyd "didn't seem to know it was a wrong note."
He said he was considering letting the store take his paycheck instead of confronting Floyd, but then decided to tell his manager. Another official called the police.
Martin, who witnessed the arrest, said he felt "incredulous and guilty" because "if I had simply not accepted the note it could have been avoided".
Witness Charles McMillian, 61, also spoke at the trial on Wednesday.
Based on the footage from the security cameras, McMillian was said to have been the first to see Floyd be arrested. He told the court he was talking to Floyd, trying to get him to get into the police car.
McMillian said he remembered feeling "helpless" when he saw the incident unfold. We can hear him on the video saying to Chauvin: "Your knee on his neck is wrong, man".
As the court viewed footage of the jail, McMillian began to cry and sob, and the judge called for a brief break.
What else has happened in the trial so far?
In his opening statements on Monday, prosecutor Jerry Blackwell told the jury that Chauvin "betrayed his badge" by kneeling near Floyd's neck and using "excessive and irrational force" to stop him.
Meanwhile, Chauvin's lawyer Eric Nelson said the case was about evidence and not a "political or social cause." He said Floyd had taken drugs just before his arrest "in an effort to keep them from the police", and suggested that it contributed to his death.
Four witnesses testified on Tuesday. Darnella – the teenager who filmed the entire episode on her cell phone, and whose footage sparked global protests – said she remained awake to this day "apologizing" to Floyd for "not doing it. more".
She told the court that she started filming on her phone because "she saw a terrified man begging for his life."
"It wasn't right – he was in pain," she said.
A witness, Donald Williams, who has a mixed martial arts background, was questioned for more than an hour by the prosecution and defense on Monday and again on Tuesday.
He told the court that Chauvin used a dangerous technique called "blood suffocation" and moved his knee back and forth to increase pressure on Floyd's back and neck.
He rejected the defense's suggestions that passers-by posed a threat to the police.
Genevieve Hansen, a Minneapolis firefighter and emergency medical technician who was off duty at the time of the arrest, said she was "desperate to help" Floyd, but police would not allow it.
Chauvin was silent the entire time, taking notes on a yellow notepad while listening to the testimonies.
Why is this case so important?
The video of Derek Chauvin kneeling on George Floyd's neck, suffocating him to death, was watched around the world last year.
For many, Floyd's death in police custody has become a symbol of police brutality – especially against non-whites – and sparked mass protests for racial justice.
But despite the global outcry, the legal solution to this case is still open. Police officers in the United States are rarely convicted of deaths in the line of duty, and many are not even charged and brought to justice.
The verdict in this case will be widely seen as an indication of how the US legal system deals with deaths that occur in police custody.
Posted on April 1, 2021 By ksuadmin
California shooting kills at least four, police and press report
Mexico on the path to authoritarianism – Sylvia Colombo


text:
Call Us: 312-501-5174 Email Us: info@basketballmuseumofillinois.com
IBCA
Classes by Year
Friends of Basketball
IBCA Hall of Fame
HOF Coaches
Melvin Stuessy
Name: Melvin Stuessy
Category: Coaches
Schools / Organizations:
Woodstock Community High School
(Woodstock) St. Mary's High School
Hebron High School
Biography: Melvin Stuessy was a graduate of Woodstock Community HS and St. Edward's University in Austin, TX. After a brief professional football career with the Chicago Cardinals, Mel was asked to help coach at (Woodstock) St. Mary's in 1925. He stayed there for 28 years and won over 70% of his games in a school with an enrollment of 80 students. Most of his competition was with much larger schools and despite this handicap, Mel took St. Mary's to eight Catholic High School State tournaments. In 1944 due to the war and the draft, Hebron and St. Mary's were both coached by Mel. When those two teams met in the finals of the district tournament that year, Mel became the only coach in Illinois history to be both the winning and the losing coach in the same game. Coach Stuessy passed away on October 2, 1980.
P.O. Box 8004, Elburn, IL 60119
info@basketballmuseumofillinois.com
Illinois Basketball Coaches Association
Donate to Our Museum
© 2017 - Basketball Museum of Illinois

redpajama_set_name: RedPajamaCommonCrawl


Ben: "I just yacked... something nasty. I feel way better, though. I think that's like the secret. Like you gotta-- I mean, once you're hung-over, you just gotta puke. It feels so-- Did you puke?"
Ben: "You can. I won't think it's gross or anything."
Alison: "Oh, that's okay. I'm fine. I just need some some coffee, so..."


text:
GUIDING LIGHT SYNOPSIS APRIL 26-30, 2010
Via http://twitter.com/MelindaSueLewis
With a little help from her Twitter friends, Mindy gathered up her courage to, with Rick, go into the hospital nursery and visit little Hudson.
She gave the baby a bottle and marveled over how much he already looked like them - Mindy's blue eyes, Rick's dark, curly hair.
Kevin Fowler, the Bay City lawyer handling the adoption, told Mindy and Rick that Allie, the birth mother, wanted to speak to them.
Find out what happened at: http://www.anotherworldtoday.com/aw_today.html
Help Guide the Light! Follow the only officially-sanctioned GL sequel at http://twitter.com/MelindaSueLewis and tweet us your opinions and advice!
Coming up next week on As The World Turns...
ANOTHER WORLD TODAY EPISODE #51-2
"Ten years of abandonment isn't going to just go away overnight. Or even over a year," Lila stated what to her seemed like the obvious, but apparently came as news to Grant. "Especially now. To Kirkland, losing Jamie probably feels like losing you and Vicky all over again."
"So Jamie gets himself sent to prison, and I'm the one who has to suffer for it?"
"Silly me, now here I thought Kirk was the one who's suffering. Oh, and, as a matter of fact, yes, Grant. Yes, you're going to suffer for it. Because that's what being a parent is, you fool. Hurting when your baby is hurting. And then sucking up your own feelings in order to support him through it."
"Kirkland doesn't want my support."
"Did I say fool? I meant imbecile. Are you really so clueless that you don't realize Kirkland is a teen-age boy? He'd rather boil in oil than flat-out ask for what he needs from you, even if he knew what that was, which, again, teen-age boy — not likely."
"So what am I supposed to do?"
"You're supposed to be the parent and let him be the child, not vice-versa."
"Is there a manual I can read?"
"You mean Parenting After Coming Back From the Dead for Dummies? I haven't stumbled across a copy at Barnes & Noble, no. But maybe you and Frankie can collaborate. With an introduction by Carl and an Epilogue by Lucas. In the meantime, you'll just have to make it up as you go along."
"And if I can't?"
"Then you're not as smart as you think you are. And Kirkland isn't as important to you as you claim."
Lila schools Grant on parenthood, Lorna lays out her desperate plan to a horrified Lucas, Felicia and Spencer commiserate over raising Carl's children - and more, Allie's actions drive Amanda back to Kevin, and Cass makes a personal plea to a reluctant Frankie.
Plus classic Felica/Lucas and Vicky/Ryan clips!
All at: http://www.anotherworldtoday.com/aw_today.html
Tell us what you want - and don't want - to see on "Another World Today" as we prepare to enter our second year at: http://www.facebook.com/pages/Another-World/307355595460?ref=search&sid=13800416.3728872026..1
"You have to promise me, John," Donna dictated. "You have to give me your word that you will not repeat anything of what I tell you here to anyone, ever."
"Not a problem. Doctor/patient confidentiality," he reminded.
"No. Not good enough." Even locked up against her will in a mental hospital, Donna had no qualms about setting her own terms. "I want your word as my friend."
John hesitated. "As your friend, as a member of your family, I can't swear that if what you tell me makes you a danger to Marley or the kids..."
"It doesn't. It won't. The only way it could hurt them, would be if you were to tell."
"You're talking in riddles, Donna."
"How well do you remember my parents?" she asked him, changing the subject abruptly.
John sighed grimly. "Reginald was pretty unforgettable."
"What about my mother? Do you remember her?"
"Your mother? Did I ever meet your mother? Yeah, I guess I did. At the stables once or twice when I came to visit Michael. She didn't make much of an impression. She kind of blended into the woodwork. But I guess anyone would, besides Reginald. Or you. You," John observed. "Are definitely your father's daughter, no question about that."
"That's what everybody thinks," Donna agreed. "But they're all wrong. I learned a lot from Reginald. I learned how to put myself first. I learned how to manipulate, how to use, and to do it all with a smile. I learned how to get by from my father. But I learned how to survive from my mother."
Donna lets John in on a family secret, Lucas confirms Lorna's suspicions - and gets a few answers of his own, Allie explains herself to Amanda (with a surprising minimum of whining), Kirkland devastates Grant, Sarah wonders if her jig is up, and Rachel faces choosing between Jamie and Carl - with your help!
Plus classic clips of Donna and Rachel discussing parenting, and Sharlene's breakdown.
Got a question for "Another World Today?" Ask it on Facebook at: http://www.facebook.com/pages/Another-World/307355595460?ref=search&sid=13800416.3728872026..1
Coming up next week on As The World Turns:
Mindy got the news that Allie had given birth to her baby in Bay City, and that GQ had dropped his paternity claim, which meant that the Bauers could go ahead and adopt him.
Mindy texted Rick a photo of their son, and he said he'd be right home so they could drive to Bay City and pick Hudson Lewis Bauer up. Next, Mindy called Billy, who told her, "(Hudson) looks just like you. Same way you look like me..."
Billy also asked if Mindy had heard from Rose Greenman, the woman she believes to be her biological mother. Mindy admitted she hadn't. Billy offered to call her himself, but Mindy said no, now was the time to focus on her new son. She could deal with Rose another time.
At the hospital, Kevin Fowler told Rick and Mindy that Allie still had the right to change her mind about the adoption. He would go talk to her immediately (read their conversation here: http://www.anotherworldtoday.com/aw_today.html), but in the meantime, Allie had given her permission for them to go into the nursery and get acquainted with the baby.
Rick wanted to know why Mindy was hesitating, and she wondered whether to tell him how scared she felt. Mindy was sure that if she got attached to Hudson and then Allie changed her mind, Mindy wouldn't be able to recover from the blow.
She asked her followers for advice on what she should do next. Tweet it to her at http://twitter.com/MelindaSueLewis, the only officially sanctioned GL continuation, and help Guide the Light!
ANOTHER WORLD TODAY EPISODE #50-2: LIES THEIR FATHERS TOLD THEM
Marley didn't even make a token effort at suppressing her exasperated groan as Grant breezed past her into the Love house. "Why?" was all she asked.
"Because. Despite my better instincts, I heeded your advice to leave Kirkland to you last night and allow him some space as he adjusted to his new surroundings. But today is a different story. It's his birthday. Sixteen! That's a very big deal. I want to see him."
"I sincerely doubt Kirkland's in the mood for any kind of festivities. Even if there is a shiny red sports-car involved."
"There is indeed a shiny red sports-car involved," Grant confirmed to the accompaniment of another exasperated groan. "I will not allow Jamie's inability to accept his circumstances like a man disrupt Kirkland's life any longer."
"Fine," Marley stepped aside, figuring they might as well get this over with. "Go upstairs. Wake Kirkland up. He spent all night waiting for news of Jamie. But I'm sure he'll appreciate being force-fed birthday cake while you lob presents at him."
Grant fumed, "It's inexcusable what that coward has done. Tormenting Kirkland emotionally like this, ruining his birthday..."
"Oh, cut it out. We both know that as soon as you heard Jamie was a fugitive, you danced a jig at the thought of his dropping even lower in everyone's eyes, especially Kirkland's. 'Look son, not only is Jamie an admitted murderer, but now he's an admitted murderer on the run!'"
"Tenor, Marley, not baritone, I keep telling you," he reminded. The look in his eyes suggesting that Grant also remembered exactly under what circumstances he'd last instructed her. In so much more than how to imitate his voice correctly.
Lorna questions Jamie... and Lucas, Alice breaks Spencer's heart, Allie ponders her options, and Kirkland challenges both his fathers.
Plus a classic clip of Grant winning his Senate seat, and Lucas taking on Carl for Lorna!
ANOTHER WORLD TODAY EPISODE #50-1: EVERYTHING YOU THOUGHT YOU KNEW IS WRONG
"What's this all about?" Lucas slipped into the passenger seat of the car Jamie had parked around the corner from Felicia's house. He'd called Lucas a few minutes earlier and demanded to see him immediately. Alone.
Jamie got right to the point. "Lorna took me on a little field-trip last night. To see Carl."
"Carl? Last night? Lorna? What are you talking about? Why would she..." And then the pieces clicked for him. "Oh, Jesus Christ. You're Mr. Tall, Dark and Complicated."
"What?" Jamie, who'd finally felt as if he understood everything going on around him, floundered yet again.
"Damn it. Damn it, Lorna," Lucas addressed the air in lieu of his daughter. "Complicated is the least of it. How could you do this to her, Jamie? You know all about her history with Carl. How could you drag her into — "
"I didn't drag Lorna anywhere. In case you haven't noticed, your daughter is not exactly dragable. I tried to talk her out of it. That's not very easy to do either. She's the one who insisted we go talk to Carl, because she was sure he'd know the name of the guy who set up Cecile's murder scene to look like a strangulation instead of a poisoning."
Lucas didn't say anything. His face remained perfectly neutral.
Jamie went on, "You know his name, too, don't you?"
Cass and Frankie grapple with Cecile's legacy, GQ gets an eyeful of Allie's baby, Alice stuns Spencer, and John forces Donna to face reality.
Plus, classic Lorna/Carl and Hudson family clips!
Join our discussion on Facebook! http://www.facebook.com/pages/Another-World/307355595460
GUIDING LIGHT SYNOPSIS WEEK OF OF APRIL 12-16, 2010
Leah wondered whether Rick and Mindy would still want to adopt Allie's baby if he turned out to be half-Black. Mindy, treading carefully, insisted that of course they would.
Leah thought it might be weird for the boy to have two white parents, and admitted that while she loved the Bauer side of her family, she did get tired of people asking her, "What are you?" as though she were some exotic, undiscovered species.
Later, Marina dropped by with a box of Henry's hand-me-down baby clothes, which gave Mindy the chance to ask her whether Marina would have still gone ahead with Henry's adoption if she'd known from the start that he had a living father in Shayne and grandfather in Edmund (and that it would cost her the marriage to Mallet, too!)?
Marina admitted that once she had Henry, she wouldn't have given him up for anything. But, if she'd known in advance all the heartache that adopting him illegally would bring, she probably wouldn't have. Even though everything seems to have worked out in the end... Marina with Shayne, Mallet with Dinah...
Mindy also wondered whether Marina worried about Henry feeling second-best. Like she'd only gotten him because Marina couldn't have a biological child of her own. Marina said that she hoped not, but pointed out that all kids go through phases of conflict with their parents - adopted or not. It's perfectly normal!
After Marina left, Mindy thought about all the adoptive children she knew in Springfield - Phillip, Dylan, Jonathan, Dinah, Daisy, Billy and even Mindy herself now! She told herself that just because she and Rick intended to raise their son in Springfield, that didn't mean their lives were destined to be full of drama... did it?
To reassure herself, Mindy tried calling Allie. But neither she nor Gregory were answering their phones, prompting Mindy to wonder if something were wrong. (To find out what's going on before Mindy does, go to: http://www.anotherworldtoday.com/2010/2010_49p1.html and http://www.anotherworldtoday.com/2010/2010_49p2.html!)
Help Guide the Light! Tweet Mindy your advice about what she should do next at http://twitter.com/MelindaSueLewis, the only officially sanctioned GL continuation!
ANOTHER WORLD TODAY EPISODE #49-2: A GRUDGE IS A HORRIBLE THING TO WASTE
John asked Donna, "What would you have done, twenty years ago, if the thing you were most afraid of had come true, and I turned out to be Vicky and Marley's father, instead of Michael?"
She bristled. "You weren't. You couldn't have been. Michael and I were in love. You and I... it was... I was just trying to make him jealous. It was only the one time."
"Why?" John wondered.
"Why was it only once? I just told you. I loved Michael. You know that. You knew it then, too."
"No. Not why did it happen once. Why did it happen at all? I spent a lot of years in Vietnam, ducking, staring at the jungle, writing you love letters I never got up the nerve to send, and questioning, why... how did it happen at all? You may have been only sixteen years old, but anybody — blind people! — could see that Michael was it for you. Some people wait their entire lives and never love anyone as much as you two did each other."
"Yes," Donna said softly.
"So what in the world ever possessed you to even give me a second look?"
"You were very persistent, John."
"But I was far from irresistible."
"Don't sell yourself short."
"Don't flirt with me, Donna."
She shrugged. "Sorry. Force of habit."
Felicia explains herself to Lucas, Allie finally gets an answer from Sarah, Jamie comes to a decision about Lorna, and Frankie confronts Cass about Cecile's death.
Plus classic Donna/John and Felicia/Lucas clips.
Want a sneak peek at what's coming up next for "Another World Today?" Become a fan on Facebook! http://www.facebook.com/pages/Another-World/307355595460?ref=search&sid=13800416.3728872026..1
ANOTHER WORLD TODAY EPISODE #49-1: PERSPECTIVE SHIFT
Carl reminded, "Lorna betrayed me. For which I have forgiven her. Accordingly, I must admit, I am utterly at a loss as to the reason why she can't do the same for any perceived slights I allegedly committed against her."
"Slights," Jamie repeated ith a hard hiss. "What you did to her was a bit more severe than a few minor transgressions."
"I harbor a different perspective on the matter."
"Perhaps you need a new one," Jamie leaned towards Carl. "Elizabeth is what, twelve now? In June, she'll be thirteen. The same age Lorna was when you 'saved' her from a life on the streets. Think about that. Elizabeth at thirteen. Now think about a man, an older man, who takes an interest in Elizabeth the exact same way you did in Lorna. Let's call him, for the sake of argument... Grant."
"That's enough! Not another word."
"Why? I'm just trying to give you perspective, Carl...."
Jamie offers Carl a new perspective on Lorna, Alice challenges Rachel about Carl, and Lorna pushes Jamie to face a different view of himself, while Steven takes a risk to help Allie.
Plus a classic Lorna/Carl clip, and a teeny-tiny baby Gregory!
All now at: http://www.anotherworldtoday.com/aw_today.html
We want to hear your thoughts about "Another World Today!" Become a friend on Facebook now: http://www.facebook.com/pages/Another-World/307355595460?ref=search&sid=13800416.3728872026..1
Coming up on As The World Turns:
GUIDING LIGHT SYNOPSIS APRIL 5-9, 2010
Via http://twitter.com/MelindaSueLewis:
Mindy finally confessed to Phillip that Beth's biggest concern about his rejecting the Spaulding money was that the bare-bones, just-getting-by lifestyle would eventually frustrate Phillip - and turn him into Bradley.
Phillip was horrified that Beth thought he could ever become abusive like her stepfather, but Mindy insisted that Beth didn't think this - she felt it. And Beth couldn't control how she felt. Especially with Peyton, who would be Phillip's stepdaughter, the way Beth was Bradley's.
Later, Mindy walked into another burgeoning family crisis when she found Holly in the Bauer kitchen, arguing with Alex over the phone. Alex had told Holly that Fletch went to get Meg and bring her back to Springfield - without consulting Holly.
Holly expected Mindy to back her up, at least in the Alex-hate department. But while Mindy happily continued to hate Alex, she couldn't disagree with her assessment that Holly had been a neglectful parent to Meg.
Holly fired back at Mindy by asking if she'd had heard from the woman she believed to be her biological mother - or from Mel about the status of Mindy and Rick's adoption plans.
Help Guide the Light! Tweet Mindy your advice about what she should do next at http://twitter.com/MelindaSueLewis, the only officially sanctioned GL sequel!
ANOTHER WORLD TODAY EPISODE #48-2: LEARNING CURVE
Felicia said, "'Fess up, Cass. What's bothering you? This thing we've got has never been a one-way street. You've been there for me every step of the way since I called you for help twelve months ago. My turn to be the shoulder to cry on. What's wrong? What's really wrong? Is it Lori Ann? Charlie?"
"It's Frankie. She's been having nightmares. Ever since Cecile was killed."
"That's certainly understandable."
"She claims she doesn't remember what they're about."
"Maybe that's a good thing."
"She's shutting me out. Again. You're familiar with Frankie. She always thinks she knows what's best for everybody else. She always thinks she's protecting you, when what she's really doing is trying to control the situation, have everything her way."
Slowly, Felicia reasoned, "As much of a history as you had with Cecile, Frankie fought an even more personal war with that woman. For ten years. Alone. I would guess that, for Frankie, dealing with Cecile is something that she has to face and finish on her own."
"Cecile is finished."
"Not to Frankie, apparently."
"So? Do I need to call an exorcist? Ghostbusters, what?"
"I know how much you want to help, Cass, but you can't fight Frankie's battles for her. She'll come to you herself, when she's ready. In the meantime, your job — and, oh, what the heck, let's say mine, too — is to support her and love her and try to lift her spirits."
"I'd say spirits were the problem here, not the solution."
"Ha!" Felicia smacked Cass' shoulder with her purse. "You're a funny guy."
Donna and Matt hit a stalemate, Lorna lays out her suspicions to Jamie, Allie faces a crises, and Frankie makes a very disturbing discovery.
Plus classic Vicky/Donna and Lorna/Lucas clips.
Join the discussion on Facebook (http://www.facebook.com/pages/Another-World/307355595460?ref=search&sid=13800416.3728872026..1) and the role-play on Twitter (http://twitter.com/awtoday)!
Go behind the scenes at the 54th Anniversary of As The World Turns!
Julianne Moore returns to Oakdale today. Don't miss this must-see episode!
ANOTHER WORLD TODAY #48-1: FORGIVENESS IS THE SWEETEST REVENGE
"Have you seen your brother?" Rachel asked Matt over breakfast, though neither one of them seemed to be doing more than picking at the extravagant spread of food in front of them. The coffee pot, however, even this early in the day, already stood empty.
"Not since I called him a weak, spineless coward practically on top of Mac's grave."
"Oh, Matthew..."
"How do you do it, Mom? How do you... forgive?"
She hesitated. "Are we still talking about Jamie or..."
"Everyone. Jamie, Donna... "
"Yourself?"
He avoided her last question to counter, "How did you manage to forgive Carl? After everything he'd done?"
"Well, to start with, Carl wanted my forgiveness. He worked for it. I'm not sure if either of the other people you've mentioned are on the same page where that's concerned."
"Jamie... It's like Jamie just wants us all to leave him alone."
"Well, that's not going to happen," Rachel said simply. "No matter what he says. Or does."
"And Donna. I understand that she's deliberately pushing me, trying to provoke me into leaving. What I don't understand is why."
Lorna risks her own safety to help Jamie, Sarah tests Steven, Allie gives Gregory an answer, Cass tries to dissuade Frankie (as if that could ever work) and Carl sets off on a mysterious errand.
Plus, classic Lorna/Ada and Lorna/Felicia clips.
Coming up next week on As The World Turns!
GUIDING LIGHT SYNOPSIS FOR MARCH 29 - APRIL 2, 2010
Mindy and Rick's plan to adopt Allie Fowler's baby hit a snag when Mel dropped a bomb-shell at the BBQ they threw to welcome Allie to the family. (Read all about it at: http://www.anotherworldtoday.com/2010/2010_47p1.html and make sure you vote on what Rick and Mindy should do next at the very bottom of the page!)
Later, Phillip came by and told Mindy that he thinks Beth's refusal to move out of the mansion with Peyton and in with him is a symptom of bigger issues. He mused that the obsession with material things she developed while married to Alan will eventually destroy her. It's so not who Beth really is deep down intrinsically; the conflict is bound to tear her apart.
Mindy challenged that Phillip is remembering the Beth he left behind. A lot happened while he was gone. Beth isn't that starry-eyed teen-ager with the sketch-pad anymore, waiting for the white knight to come rescue her. She's been to hell and back several times. She knows the knight isn't coming.
Phillip bristled at Mindy's assertion (she guessed it was because he refused to accept he might not be Beth's knight anymore) and insisted that there had to be more to it than that.
Mindy knew he was right, but she'd also promised to keep Beth's confidence about her real reasons.
Help Guide the Light! Go to http://twitter.com/MelindaSueLewis and tweet Mindy your advice about what she should do next via the only officially sanctioned GL continuation!
ANOTHER WORLD TODAY #47-2: YOU CAN'T HANDLE THE TRUTH!
"How charming," Donna dismissed Matt after he'd finished explaining why she would be required to remain in the hospital... indefinitely. "You've turned my daughter against me; convinced her to lock Dotty Old Mother up and throw away the key."
"We all just want to help you, Donna."
"Help me do what, precisely? Be happy? Because, I must say, you are failing rather miserably in that regard."
"This isn't about you being happy," Matt replied honestly, shocking Donna enough that, with a small "oh," she sunk down on the bed, looking up at him with heartfelt confusion, as if it had never crossed her mind that Donna Love's happiness might not be the world's uppermost concern. "Quite frankly, right now, after everything you've done, you don't deserve to be happy."
"Well... Matthew... I — If you truly feel that way, then why are you even bothering to — "
"What you deserve, is to finally get to the bottom of what in the world it is that drives you to behave like this. You deserve to find out what it is that's always stopping you from ever truly being happy. And I think the first step to that is you figuring out and admitting what it was that drove you to try and commit suicide in the first place."
"Oh," Donna said again, only this time the exclamation wasn't one of surprise, but of purpose. "Is that all? Honestly, Matthew, why didn't you say so at the outset? All this talking in riddles and circles. All this pop psychology and feigned concern."
"My concern is real."
"We could have both saved each other a great deal of fuss and time if you'd simply asked me straight out in the first place."
"I did," he reminded. "Only to have you block me along every turn." "
Oh, well, you see, darling, that was for your own good..."
Jamie receives an offer of salvation from a surprising source - but refuses to accept it, Spencer offers his own paternal failings as an example to Grant, Steven turns on his brother, and Gregory proposes a solution to Allie's problem.
Plus a classic 1992 Michael/Donna clip and more, all up now at: http://www.anotherworldtoday.com/aw_today.html
Help show your support for the future of "Another World" by joining us as a fan on Facebook! http://www.facebook.com/pages/Another-World/307355595460?ref=search&sid=13800416.3728872026..1
GUIDING LIGHT SYNOPSIS APRIL 26-30, 2010 Via http...
ANOTHER WORLD TODAY EPISODE #51-2 "Ten years of a...
ANOTHER WORLD TODAY EPISODE #51-1 "You have to pr...
ANOTHER WORLD TODAY EPISODE #50-2: LIES THEIR FATH...
ANOTHER WORLD TODAY EPISODE #50-1: EVERYTHING YOU ...
GUIDING LIGHT SYNOPSIS WEEK OF OF APRIL 12-16, 201...
ANOTHER WORLD TODAY EPISODE #49-2: A GRUDGE IS A H...
ANOTHER WORLD TODAY EPISODE #49-1: PERSPECTIVE SHI...
GUIDING LIGHT SYNOPSIS APRIL 5-9, 2010 Via http:...
ANOTHER WORLD TODAY EPISODE #48-2: LEARNING CURVE ...
Go behind the scenes at the 54th Anniversary of As...
Julianne Moore returns to Oakdale today. Don't mi...
ANOTHER WORLD TODAY #48-1: FORGIVENESS IS THE SWEE...
GUIDING LIGHT SYNOPSIS FOR MARCH 29 - APRIL 2, 201...
ANOTHER WORLD TODAY #47-2: YOU CAN'T HANDLE THE TR...


text:
Guide to Fall Superhero TV
The new, returning, and streaming badasses dominating our screens this season
by Paul Semel | October 3, 2016 | Comments
Not since the end of the '70s — when The Incredible Hulk, Wonder Woman, and Super Friends were all on the air at the same time — have there been so many superheroes on television as there are now. Between the DC Comics heroes on The CW and Fox, and Marvel's on Netflix and ABC, TV these days looks more like an aisle of The Android's Dungeon. And that's not counting such animated ones as Teen Titans GO! and The Power Puff Girls on Cartoon Network or the Ultimate Spider-Man, Avengers Assemble, and Guardians of the Galaxy triumvirate on Disney XD.
But if you're behind on your TV watching, or your reading for that matter, never fear true believers: We have a guide to current superhero shows on television and available for streaming, including which comic universe they belong to, so you know who's likely to do a crossover episode or two … or three or four.
Though inspired by comic books that are part of the same fictional universe as Superman, Batman, and Wonder Woman, the shows in the Arrow universe are actually unconnected to such DC Comics movies as Man of Steel, Batman V Superman: Dawn of Justice, Suicide Squad, and the upcoming Wonder Woman, Justice League, Cyborg, Aquaman, and Flash flicks. Or, for that matter, a certain show about a juvenile Caped Crusader. They're all encapsulated in the Arrow-verse, and will see a four-way crossover this season in which Arrow, Flash, Supergirl, and the heroes of Legends of Tomorrow join forces to battle an alien race called the Dominators that was introduced in 1980s comics-crossover Invasion!
Arrow: Season 5 (2016) 88%
Played By: Stephen Amell (Teenage Mutant Ninja Turtles: Out of the Shadows)
Show Created By: Greg Berlanti, Andrew Kreisberg, Marc Guggenheim
Where to See It: Wednesdays, 8 p.m., on The CW returning October 5. Seasons one through three are available on Netflix.
Who Is He? After being stranded on a deserted island for five years, billionaire playboy Oliver Queen returns home to Starling City, where he uses his considerable skills with a bow and arrow to fight crime.
Fun Fact: Three of the actors who've co-starring or had recurring roles on Arrow — John Barrowman (who plays Malcolm Merlyn), Alex Kingston (Dinah Lance), and Colin Salmon (Walter Steele) — also had recurring roles on Doctor Who.
The Flash: Season 3 (2016) 86%
Played By: Grant Gustin (Glee)
Show Created By: Greg Berlanti, Andrew Kreisberg, Geoff Johns
Where to See It: Tuesdays, 8 p.m., on The CW returning October 4. Season one is available on Netflix.
Who Is He? After being struck by lightning that was infused with radiation from a malfunctioning particle accelerator, crime scene investigator Barry Allen finds he's become the fastest man alive.
Fun Fact: Mark Hamill, who played The Trickster on this show, previously played that same bad guy in the 1991 TV series The Flash, and has voiced him in both the Justice League cartoon and in the animated movie LEGO DC Super Heroes: Justice League: Attack of the Legion of Doom!
DC's Legends of Tomorrow: Season 2 (2016) 88%
Played By: Rip Hunter: Arthur Darvill (Broadchurch); Atom: Brandon Routh (Chuck); Chronos: Dominic Purcell (Prison Break); Captain Cold (who sacrificed himself at the end of season 1): Wentworth Miller (Prison Break) ; Firestorm: Victor Garber (Alias) and Franz Drameh (Attack the Block); White Canary: Caity Lotz (Arrow); Hawkman: Falk Hentschel (White House Down); Hawkgirl: Ciara Renée (Big Fish)
Show Created By: Greg Berlanti, Andrew Kreisberg, Marc Guggenheim, Phil Klemmer
Where to See It: Thursdays, 8 p.m., on The CW returning October 13.
Who Are They? To prevent Vandal Savage from destroying the world, a time traveler named Rip Hunter (Darvill) assembles a group of superheroes and supervillains to save the Earth.
Fun Fact: Legends of Tomorrow isn't the first time Routh has played a comic book character. Not only was he the Man of Steel in Superman Returns, but he also starred in the comic book adaptations Scott Pilgrim Vs. the World and Dylan Dog: Dead of Night.
Supergirl: Season 2 (2016) 92%
Played By: Melissa Benoist (Glee)
Show Created By: Ali Adler, Greg Berlanti, Andrew Kreisberg
Where to See It: Mondays, 8 p.m., debuting on The CW (season one aired on CBS and is available on Netflix) starting October 10
Who Is She? Years after Superman started fighting crime, his teenage cousin Kara Zor-El arrives on Earth and decides to follow in his footsteps.
Fun Fact: In the first season, Kara's adoptive human parents were played by Helen Slater, who played Supergirl in the 1984 movie of the same name, while her dad was Dean Cain from the show Lois & Clark. In season 2, Lynda Carter of Wonder Woman fame plays the president.
Just as all their comic books are connected, so too are all of Marvel Comics' movies and TV shows. But while Daredevil hasn't had lunch with S.H.I.E.L.D.'s Agent Coulson yet, Netflix are prepping a miniseries called The Defenders that will have Daredevil, Jessica Jones, Luke Cage, Daredevil's frenemy The Punisher, and Iron Fist (the latter two of which have their own Netflix shows in the pipeline) teaming up Avengers-style. Daredevil's second season aired earlier this year, and Jessica Jones isn't debuting a new season this fall, but we have a lot to look forward to from those two Marvel superheroes.
Marvel's Agents of S.H.I.E.L.D.: Season 4 (2016) 96%
Played By: Agent Coulson: Clark Gregg (The New Adventures of Old Christine); Melina May: Ming-Na Wen (The Joy Luck Club); Quake: Chloe Bennet (Nashville); Leo Fitz: Iain De Caestecker (Not Another Happy Ending); Jemma Simmons: Elizabeth Henstridge (Reach Me); Mack: Henry Simmons (NYPD Blue)
Show Created By: Joss Whedon, Jed Whedon, Maurissa Tancharoen
Where to See It: Tuesdays, 10 p.m., on ABC. Seasons one through three are available on Netflix.
Who Are They? Remember those guys in The Avengers with the big, flying aircraft carrier who helped out Iron Man and his superfriends? Yeah, Coulson and crew used to work for them, then they didn't, and now they do again.
Fun Fact: While some of S.H.I.E.L.D.'s characters were created just for this show or the movies, they're all comic characters now, as you can see in the books S.H.I.E.L.D: Volume 1: Perfect Bullets and S.H.I.E.L.D: Volume 2: The Man Called D.E.A.T.H. from former Fantastic Four writer Marc Waid.
Marvel's Luke Cage: Season 1 (2016) 93%
Played By: Mike Colter (The Good Wife)
Show Created By: Cheo Hodari Coker
Where To See It: Season 1 debuted on Netflix Sept. 28.
Who Is He? While he has unbreakable skin and superhuman strength, Luke, in this show, has not become a Daredevil-esque superhero…yet.
Fun Fact: In the comics, Luke Cage and Jessica Jones are not only married, but they have a kid together. Best part: their babysitter is Squirrel Girl — y'know, the fuzzy superhero with a tail who talks to squirrels and once beat up Galactus.
GOTHAM-VERSE
Though this show is — like The Flash, Arrow, Supergirl, and Legends of Tomorrow — based on stories from DC Comics, it's actually not connected to those shows. Or, for that matter, the DC Comics movies. It's all alone at the center of its own universe.
Gotham: Season 3 (2016) 74%
Played By: James Gordon: Ben McKenzie (The O.C.); Harvey Bullock: Donal Logue (Grounded for Life); Bruce Wayne: David Mazouz (Touch); Alfred Pennyworth: Sean Pertwee (Elementary); Penguin: Robin Lord Taylor (Accepted); Leslie Thompkins: Morena Baccarin (Firefly)
Show Created By: Bruno Heller
Where to See It: Mondays, 8 p.m., on Fox. Seasons one and two are available on Netflix.
Who Are They? In this Batman prequel show, the future Commissioner Gordon starts out as a beat cop, Penguin slowly builds his criminal empire, and The Dark Knight is just a kid who hasn't learned the joys of cosplay.
Fun Fact: Gotham City's mental hospital Arkham Asylum takes its name from the writings of H.P. Lovecraft, who died two years before Batman first took flight in 1939's Detective Comics #27.
2019 Emmy Nominations: Best Reactions
Action cooking DC Universe Horror Polls and Games Watching Series CW Seed MSNBC Star Trek game show AMC 2019 doctor who Biopics Set visit APB Super Bowl A&E natural history discovery award winner Nickelodeon 2017 technology Summer USA crime drama El Rey Masterpiece ratings Ellie Kemper Teen zero dark thirty Universal MTV RT History Grammys TV Land Food Network Musical ABC Musicals ESPN Holidays Chilling Adventures of Sabrina TCM First Look Stephen King Awards Tour space TV science fiction crossover Chernobyl DC Comics Rocky FOX Cannes Reality Competition Women's History Month Video Games Infographic cops RT21 Best and Worst festivals Adult Swim Winter TV docudrama psycho FX psychological thriller CNN police drama facebook National Geographic Film Festival Country Spike 2018 Elton John Rocketman Box Office Cosplay Freeform Fox News travel true crime Captain marvel Thanksgiving Year in Review Trivia Pet Sematary Tarantino Comic Book Emmys Schedule transformers anthology 2015 PBS YouTube Red Song of Ice and Fire WGN Paramount comic Walt Disney Pictures Pirates San Diego Comic-Con 007 Oscars golden globes crime sitcom cults Showtime Mary poppins political drama blaxploitation ABC Family Animation spy thriller Epix sequel Disney Channel jamie lee curtis VICE unscripted Pop CBS All Access Martial Arts thriller NBC 21st Century Fox Marathons Mary Tyler Moore finale crime thriller Mindy Kaling TCA 2017 toy story streaming BBC America Lionsgate GoT IFC Films adaptation Western television PaleyFest boxoffice Spectrum Originals President Paramount Network SXSW New York Comic Con witnail nature robots animated Hulu Certified Fresh BBC TruTV Calendar Rock E! social media Mystery Trailer Countdown Sundance singing competition cats VH1 Comics on TV harry potter talk show LGBT Pride Month Comedy Central American Society of Cinematographers Sundance Now Toys dc Tumblr Mary Poppins Returns period drama Music Logo Superheroes cinemax 24 frames Ghostbusters X-Men medical drama Writers Guild of America TCA Ovation Disney Lifetime Fall TV Interview based on movie GIFs GLAAD USA Network HBO Syfy Sony Pictures Acorn TV politics History MCU Shudder anime 2016 Quiz Valentine's Day TLC Extras what to watch See It Skip It war miniseries mutant Marvel Crackle Drama Pixar Sneak Peek spider-man richard e. Grant zombie Photos Emmy Nominations CMT Brie Larson Starz DGA Apple OWN Columbia Pictures Anna Paquin Sci-Fi Election 45 Awards binge diversity Reality composers disaster Trophy Talk vampires ITV Fantasy LGBTQ dramedy YA Heroines romance DC streaming service Star Wars historical drama casting Creative Arts Emmys Premiere Dates Britbox DirecTV dragons Character Guide Bravo Unbreakable Kimmy Schmidt adventure Winners SDCC aliens Shondaland green book SundanceTV 20th Century Fox Black Mirror Esquire BET The Witch Cartoon Network theme song biography serial killer elevated horror NYCC Amazon Prime Spring TV Dark Horse Comics Nominations Christmas Vudu Tomatazos TBS strong female leads The Arrangement FXX Opinion Superheroe Lucasfilm YouTube Premium Mudbound Warner Bros. CBS Red Carpet Rom-Com teaser zombies E3 spinoff dceu Kids & Family Podcast mockumentary Nat Geo IFC The CW TNT justice league hist comiccon supernatural Amazon Netflix Comedy TIFF sports


What to do with Bank Stocks?
(Michael Farr) - Most of the larger banks have reported fourth quarter earnings already, and we must admit the results were better than we had anticipated. In general, the growth in problem loans declined, capital and reserve ratios strengthened, low-cost deposits continued to grow at a robust pace, and earnings largely surpassed estimates. Absent the bucket of cold water that President Obama threw on the sector when he announced new regulatory initiatives late last week, the 4Q results may have actually strengthened the resolve of those that believe we are nearing a peak in credit losses for this painful cycle. So while we at Farr, Miller & Washington remain non-believers for now (which we will explain further below), let's examine some of the factors that have many people believing that the days of outsized loan write-offs at the banks are nearly over.
(Michael Farr) - For the past 7 years we have published our Top Ten Stocks for the coming year. The results have been very gratifying, but we need to be mindful that concentrated positions also concentrate risk. Some institutional accounts have expressed interest in more concentrated portfolios like this. I buy this list personally for one of my personal accounts on the first trading day of the year and sell it completely on the last trading day of the year.
(Michael Schwartz) - So far, so good. The S&P 500 index rose every day last week and finished with a 2.7% gain. This gain came despite a disappointing jobs report, which showed another 85,000 jobs were lost in December. A survey from MarketWatch expected a gain of 15,000 jobs. On the bright side, temporary-help jobs rose by 46,500. This is often a precursor to growth in full-time jobs.
(Tad Majerek) - Like most people, you've probably spent years building your retirement savings in an IRA by saving in a disciplined manner and investing to help it grow. If you'd like your children and grandchildren to benefit from your retirement savings, consider the benefits of a "stretch-out" IRA.
(Lee Siler) - Stocks are indicating a strong opening on the first trading day of the New Year. The question on everybody's mind is whether or not stocks can perform anywhere close to 09's performance? As intelligent investors, we know that at some point this year the Fed will start cutting stimulus to the economy and in fact, they already have to some degree. Considering we're at historically low interest rates there's only one direction they can go. Obviously, Wall Street is listening to every word the Fed says to try and get a clue when the tightening trend will begin. The fact of the matter is that rates have started going up; it's just the Fed Funds rate is still holding still.
(Hampton Scurlock) - Many may not understand what a Roth IRA is, and what some of the benefits of a Roth IRA are. But there are three advantages that a Roth IRA can offer if your estate value is under the Applicable Exclusion Amount ($1.5 million in 2005, and $2 million in years 2006 & 2007) and if one of your planning goals is to leave as much money as possible to your heirs.
You are currently browsing the Money Manager archives for January, 2010.


This is one of the marketing principles that doesn't seem to be taught successfully. Too many times, the "marketing gurus" will promote a type of marketing that has worked for them to the exclusion of all other types of marketing.
This young man, following the marketing guru's advice, spent much time and energy for years, e-mailing others relentlessly, swapping ads for further exposure, writing articles in other newsletters and e-zines, and trying every "trick" of e-mail marketing to no avail. He also persisted in this strategy as he had taken to heart the principle of "never quitting" quite literally, which the gurus had promoted so heartily to him.
He lost quite a great deal of time and money until he noticed that his Web site had been ranking quite well in the Search Engines (after all, he had great content). Most of the few sales he had been making were coming directly from his Web site, despite the fact that he did not believe in (and dreaded) Search Engine marketing! He rethought the whole process and his approach, and began focussing on marketing his resources strictly from his Web site, applying his perseverance and determination to that, with incredible success ever since!
B. Case Study #2 is a middle aged female who approached the marketing somewhat differently, as she had read a manual from a different marketing guru. She was promoting a customized service, rather than a product, and the guru, whose advice she followed, firmly believed in Search Engine marketing, and Search Engine marketing alone. She spent literally tons of money, and tons of time, getting her Web site to the top of the Search Engines.
Like Case Study #1, she felt that if she only gave it enough time, and persevered, sales would be made. As time went on, she discovered that most of her sales were being made through her e-mail marketing. Her articles, ad swapping, and other e-mail marketing efforts (she published routinely her own newsletters and e-zines), were leading to more clients than those which were attained off her Web site. In her case, e-mail marketing was the "key" to success, but she also was following the mandates of the wrong marketing guru.
Perseverance and dedication are important, of course. But they must be applied correctly, along with flexibility and innovation, for success to occur in a business. All avenues should be pursued with perseverance and dedication and then choices of marketing methods made based upon the results. After all, results are what make a marketing method successful! Without results, any marketing method is a dismal failure. Vishal P. Rao is the owner of http://www.home-based-business-opportunities.com - One of Internet's leading website dedicated to starting, managing and marketing a home based business.


text:
This whole CHAZ idea is starting to grow on me. Border walls. High-capacity weapons. Federal and state governments no longer exist. A neighborhood in charge of itself, creating its own laws, its own mores, its own economic and justice system. The left like it. The media freakin' love it. If you think about it, what's not to like?
(Article by John Nolte republished from Breitbart.com)
As I write this, Black Lives Matter and Antifa have created their own confederacy and seceded from the union with the establishment of a Capitol Hill Autonomous Zone, or CHAZ, right in the heart of Seattle. They have seized six city blocks, built border walls, and are running around with guns in a community that reflects their values and their desire to live their lives in the way they choose to live their lives.
This includes high-capacity weapons and vigilante groups that punish vandalism with a good, sound beating.
The best part is that the CHAZ residents are refusing to allow "biased media" to enter their country. That sounds like paradise to me.
As far as I know, anyone who wishes to exit the Seattle CHAZ is allowed to exit the CHAZ, so what's the harm? If you want to live under a warlord, you can live under a warlord.
Obviously, there are some issues here. Within the CHAZ you have about 500 residences, people who might not want to be part of the CHAZ. You also have property owners who are probably a little worried — and for good reason.
But is this really the worst idea in the world?
I'm not calling for armed insurrection or anything, but let's be adults for a second and talk about the concept…
I don't know anyone on the left or right who isn't fed up with the one-size-fits-all madness coming out of Washington DC, the courts, and state governments.
The left is frustrated and angry over abortion restrictions, laws that allow corporations to donate money to political campaigns, and voter ID. What's more, they want guns, the police, prisons, and charter schools outlawed and pot legalized. They want green energy, CEO pay limited, more socialism, lockdowns during pandemics, speech restrictions, and biological men to be allowed to compete in women's sports. What the left resents more than anything is having their lives shaped by executive orders signed by Donald Trump and whichever way Clarence Thomas votes.
The left believe in centralized authority.
On the other side, there's the right, who oppose abortion, public schools, and the war on their sacred religious rights being waged by the sexual revolution. We want to hunt, fish, worship, judge people based on their personal character as opposed to identity… We want a colorblind society with unlimited speech and artistic freedom, as well as a level playing field that allows everyone to achieve as much personal freedom, wealth, and success as their hard work will allow.
The right believe in individual liberty within the framework of "live and let live" and the Ten Commandments.
Does a workable CHAZ not sound like a possible solution to this massive cultural divide?
Thomas Jefferson envisioned a nation of farmers, where everyone owned their own little piece of America and basically governed themselves: an agrarian society that grew its own food, hired its own teachers, built its own churches, and left the neighboring societies alone. If you didn't like the way your town was governed, you were free to vote with your feet and move to a place more to your liking. That might sound less than visionary when you consider how technology — cars, planes, mass media — changed everything, but you have to keep in mind that from the beginning of civilization to the day Jefferson died in 1826, there was almost no real technological advancements.
But basically, Jefferson described a CHAZ, no?
The Southern Confederacy was a CHAZ, no?
Obviously, we cannot allow for a CHAZ where slavery is legal or NAMBLA has its way with young boys, but maybe there's a way for Blue and Red America to agree to just leave each other the hell alone.
Maybe we can agree that the federal government should protect us from foreign invaders and otherwise stay out of our business.
New York City can be its own CHAZ.
Wyoming can be its own CHAZ.
Southern California can be its own CHAZ.
Northern California can be its own CHAZ.
If the Austin CHAZ wants an abortion clinic on every corner and rural Texas wants abortion outlawed… Well, there you go.
Tear down or erect all the statues you want!
A CHAZ can be as large as a state and as small as a compound.
The more we eliminate central control and authority, the more we balkanize into societies governed by laws, mores, and rules that reflect our own personal beliefs, the happier we will all be and the less concerned we will be with how others live because it's no skin off my nose if you legalize pot in your CHAZ and teach homosexuality in your schools, and it's no skin off your nose if my CHAZ legalizes prayer in school.
Honestly, what's wrong with that idea?
You go your way. I'll go mine.
We've already self-sorted and migrated into Red and Blue enclaves where this could be pretty quickly put into place.
The federal government and some state governments are now so overbearing and powerful, every political decision is a bitter battle because we're forcing our values and ideas on one another.
Remove that stress, and things can only get better.
I'm just saying think about it…
Read more at: Breitbart.com
Tagged Under: antifa, Black Lives Matter, CHAZ, civil unrest, conspiracy, defund, government, john nolte, looting, Police, politics, propaganda, protests, riots, Seattle, social justice


text:
Films shown at drive-in cinemas now eligible for Oscars
12Oct 12th October 2020
Laura2020-10-09T09:08:05+01:00
By Laura	Trophies and Awards Comments Off on Films shown at drive-in cinemas now eligible for Oscars
The Academy has recently announced that films screened at drive-in cinemas will be considered for the Oscars in 2021.
With the coronavirus pandemic reshaping many aspects of the world, the film industry is no exception. Cinemas were forced to close during lockdown in the UK, with only select venues now reopening, and changing regulations have forced the industry to get creative. Already popular in the US, drive-in cinemas have been trialled in the UK over the summer. As well as allowing fans to return to watching new releases, the novelty of drive-in cinemas adds another reason for people to pay them a visit.
To be eligible for the Oscars in 2021 and to have a chance of winning the sought-after Oscar statuette, a film must have been shown for seven days in one of the qualifying areas.
The iconic Oscar trophy itself, first presented in 1929, depicts a golden Art Deco knight standing on a film reel. The reel of film has five spokes, representing technicians, producers, directors, actors and writers, forming the original branches of the Academy. Now instantly recognisable, the gold-plated bronze statues were first presented in 1929, and symbolise the most famous award in the film industry.
These engraved awards have changed very little, with only minor adjustments to the base, which holds the engraved nameplate. To avoid Oscar winners being leaked prematurely, nameplates for all potential winners are created beforehand, and the Oscar is awarded blank. The correct plates are then applied to the statuettes at the Governor's Ball, held immediately after the ceremony.
Despite the disruption of coronavirus, it seems the Oscars are determined to go ahead and work around the new restrictions.
04Sep 4th September 2020
Five reasons to choose engraved crystal awards
Awards are a way of valuing employees, marking sporting achievements and recognising outstanding members of the community. Although they... read more
14Sep 14th September 2020
Oldest surviving FA Cup trophy to be sold at auction
Having spent years displayed at the National Football Museum in Manchester, the oldest surviving FA Cup football trophy is... read more
01Feb 1st February 2017
The true value of engraved sporting trophies
In the sporting arena, with the many tournaments and championships that are competed for nowadays, the trophies that may... read more
29Mar 29th March 2018
International trophy event changes location
The annual Euro Trophex event, which showcases the best in awards and trophy engraving and personalisation, is to move... read more
22Mar 22nd March 2021
Cheltenham Gold Cup Festival takes surprising turn
For the first time in one of horse racing's most prestigious meetings, a female jockey has won the Champion... read more
05Jun 5th June 2017
The Calcutta Cup: the most famous silver trophy in rugby
The oldest and probably most famous rugby football trophy in the world is the Calcutta Cup. Hotly fought over... read more
09Jul 9th July 2018
Missing pieces from America's Cup returned
One of sailing's most fiercely contested trophies, the America's Cup, has had some damaged pieces returned to current holders... read more
The dubious honour of some unusual awards
Award ceremonies are usually glittering affairs celebrating industry, sporting or artistic achievements, presented to winners who (more…) read more
16Aug 16th August 2021
Hamilton to defend Formula One title
The world's greatest motor racing championship has reached its halfway point, and Lewis Hamilton is on top form to... read more
08Feb 8th February 2017
New trophy for the best in world football
January saw the inaugural award ceremony of The Best FIFA Football Awards. This trophy will be a (more…) read more
Drinks & drinkware
New non-alcoholic spirit launched
All you need to know about Hot Toddy Day


text:
@implementation PLPlaylistsViewController {
  UITableView *_playlists;
  NSArray *_playlistsCollection;
  NBArrayDataSource *_datasource;
}

- (instancetype)init
{
  if (self = [super init]) {
    MPMediaQuery *query = [MPMediaQuery playlistsQuery];
    _playlistsCollection = [query collections];
  }
  return self;
}

- (void)viewDidLoad
{
  [super viewDidLoad];

  [self setTitle:@"Playlists"];

  _datasource = [[NBArrayDataSource alloc] initWithItems:_playlistsCollection cellIdentifier:@"PLPlaylistCell" configureCellBlock:^(UITableViewCell *cell, MPMediaPlaylist *playlist) {
    [cell.textLabel setText:[playlist valueForProperty:MPMediaPlaylistPropertyName]];
  }];

  _playlists = [[UITableView alloc] initWithFrame:CGRectZero style:UITableViewStylePlain];
  [_playlists setDelegate:self];
  [_playlists setDataSource:_datasource];
  [_playlists registerClass:[UITableViewCell class] forCellReuseIdentifier:@"PLPlaylistCell"];
  [self.view addSubview:_playlists];
}

- (void)viewDidLayoutSubviews
{
  [super viewDidLayoutSubviews];

  [_playlists setFrame:CGRectMake(0, 0, CGRectGetWidth(self.view.bounds), CGRectGetHeight(self.view.bounds))];
}

#pragma mark - UITableViewDelegate

- (void)tableView:(UITableView *)tableView didSelectRowAtIndexPath:(NSIndexPath *)indexPath
{
  MPMediaPlaylist *playlist = [_playlistsCollection objectAtIndex:indexPath.row];
  PLSongViewController *viewController = [[PLSongViewController alloc] initWithSongs:[playlist items]];
  [self.navigationController pushViewController:viewController animated:YES];
}

@end

redpajama_set_name: RedPajamaGithub


text:
http://independent-magazine.org/2018/09/profession-crowded-now/
"The Profession is Crowded Now"
September 15, 2018 | By Kerry McElroy
Extra Girls, Scandal, and the Solidifying Economy of 1920s Hollywood
In 1929's The Wild Party, It Girl star Clara Bow is surrounded by a cast of extras and bit players, some of the "Movie-Mad Maids" who arrived in Los Angeles in such numbers as to come to be seen as a social problem.
Kerry McElroy's second series installment of Bette, Marilyn, and #MeToo: What Studio-Era Actresses Can Teach Us About Economics and Rebellion, Post-Weinstein
At a moment in which the structural inequalities and exploitative power relations of Hollywood are being laid bare on a daily basis, it is more important than ever to trace exactly how economics led down this path in the Hollywood film industry. The first essay of this series explored how Hollywood was not, as a layperson might assume, born a capitalist patriarchy, but became one. In the era of the New Woman and the suffragette, Hollywood in fact seemed for a brief moment to offer a kind of utopia for women. Yet sometime in the 1920s, the system of masculinist hyper-capitalism closed like a vise around the city and industry. Ominous forces began to come into play—thousands of women migrating west went from being seen as an exciting promising cultural phenomenon to a social problem that needed to be regulated. The casting couch became, at this time, an entrenched industrial practice. An internationally famous, watershed manslaughter trial- that of Roscoe "Fatty" Arbuckle for the death of Virginia Rappe- demonstrated exactly the value of women's lives to the studios. In the midst of these grim developments, there was also paradox—a few women did indeed become massive stars amassing real wealth.
In the later 1910s, the Atlanta Constitution declared that "10,000 girls go to Los Angeles every year 'to become a star in the movies" (Qtd. in Hallett 145). Cultural historian Hilary Hallett refers to LA, in this era, as a kind of feminine space; many women arrived seeking careers and independence. Yet a shift from utopian possibility to a climate of poverty, criminality, and exploitation did not take long. Within Los Angeles itself, a type of moral panic formed. In her seminal Babel and Babylon about early Hollywood and its symbols, film historian Miriam Hansen described "the threat attached to the uprooted single woman" (Hansen 235). Discourse in mainstream newspapers began to focus on statistics of women in southern California in terms of both overload and danger. With lurid headlines on vice and crime, Hollywood was coming to be seen across the country as a New Sodom, to be avoided by respectable, unchaperoned young women at all costs.
The warnings to young women to "stay home," both because Hollywood was a dangerous place and because it was simply too full (for actresses), began to appear in both the American and international press. For their part, the fan magazines used a direct address approach to young women who might be tempted to go to Hollywood and try for the movies. The message and tone changed completely in their address to these readers, from detailing the steps one needs to take to forge a film career, to printing articles of cautionary tales from actresses and telling young women directly to kindly stay home. Magazines scolded the "Movie-Mad Maids" who would inevitably end up at the mercy of the overtaxed Los Angeles social welfare system when they were penniless (Conor 94). The fan magazines also printed interviews and letters from celebrity actresses, telling new young women to be smart and to simply stay away. In an interview with Louella Parsons, actress Ruth Stonehouse said she "felt like telling every girl to stay at home'', because "the profession is crowded now… it will be survival of the fittest" (qtd. in Hallett 79). The cultural mood was perfectly encapsulated by the titles of two silent films at Warner Brothers over a five year period, starring young Myrna Loy and reaching box office success: 1921's Why Girls Leave Home, and then 1926's Why Girls Go Back Home.
A Hollywood Studio Club chaperoned dormitory for extra girls in the 1920s, one of several such homes opened to alternately protect and police young women
More specifically, "the problem of the extra" came to be seen as a social problem for the city of Los Angeles. Studio clubs with den mothers (local, respectable married women) were formed to, at best, give girls a semblance of home and teach them proper etiquette. At worst, the clubs could keep an eye on the women, with the den mothers acting as a kind of matriarchal in-house vice squad. The "problem of the extra" masked an underlying anxiety: the threat of immoral, consensual sex and exploitation in all its many horrifying forms. This included the specific threat of the casting couch. Back to the halcyon days of the early 1910s, the serials in fan magazines had alluded to such problems, in which the girl protagonists were exposed to producer's advances that they always valiantly resisted. In just a short span of time, these portrayals of rebuffed men and innocent women were beginning to seem hopelessly innocent and from another time. By the 1920s, there was, instead, a new villain—the director—who preyed on the naiveté of young women arriving in LA with "movie fever." Los Angeles became associated with a seedy culture that employed schemes like fraudulent acting classes, with bogus and predatory "producers," "photographers", and "agents" around every corner. Girls were warned to look out for the man who was a "wolf" or a "movie shark," but little effort was made to actually protect them.
This was the beginning of a long tradition (one that remains today) where sexual exploitation converged with issues of supply and demand. Too many young and beautiful women vying for the same few jobs meant that their talents and their very individuality were devalued. It also sustained a race to the bottom: who was willing to do sex work to get the job became baked into the system. It was common knowledge that if a woman refused to perform a sexual act, there would be dozens of other women willing. There was no moral protest and no legal recourse—women were explicitly or implicitly told to do what was asked, or someone else would. The casting couch had become an industrial reality. While it did not affect every working actress, it was certainly a standard and abusive practice. In fact and in light of today's #metoo moment, we would do well to reframe the casting couch as a working class issue. With an employment crisis of too few jobs for too many women, sex became both an over-inflated currency and a standard industrial quid pro quo. Screenwriter Lenore Coffee declared that "the casting couch was no fiction", and drew a parallel between the young actress who traded sexual favors for a role and the factory girl who 'gave the same thing to a foreman to get a better job' (qtd. in Hallett 150). This recognition of the majority of actresses as both on a working class continuum and far from the glamour of stardom is crucial to understanding the way the Hollywood system developed for women.
In light of the #metoo, Time's Up reckoning with Weinstein and a century of Hollywood mores, it is worth asking: why was a squad of matrons needed to police girls and their social behavior in Los Angeles, while male behavior was utterly ignored? The moral panic focused on the women, living in a corrupt city and in circumstances precariously close to prostitution. Panic and outrage was never directed at male actions. Words such as assault, rape, extortion, stalking, and harassment that categorize abuse in this century hardly existed in the early days of film. The fan magazine narratives that alluded to not just overcrowding but moral, economic, and sexual danger utterly ignored that the real problem was the condoned economic and sexual abuse of women by men. These same narratives, like other "women's media" of the twentieth century, were utterly silent in terms of ethics or justice. The fact was that Los Angeles had become a city that saw the use and victimization of women who came seeking freedom as normal and part of the social order.
Roscoe "Fatty" Arbuckle with lawyers at 1921 press conference, after his first trial for the manslaughter of Virginia Rappe ended in a hung jury.
In fact, by the early 1920s the system had solidified into what can be defined as a kind of hyper-masculine libidinal playground. The boys will be boys attitude of patriarchal misogyny was so deeply embedded in the Hollywood culture as to be sacrosanct. Men were not held to account for their sexual misconduct; rather women were heavily surveilled (for their "protection") or sent away. Never actually secure, women were frequently cast out while men continued to thrive. Professional, economic, or social consequences for men who abused did not exist. In a culture that used capitalism and respectability as weapons, the onus was on women (not men) to escape sexual abuse.
The pervasive cultural attitude in Hollywood at this time—that male executives could exploit women in a flooded labor system that profited from their bodies and appearance— was bound up in the broader American system of capitalism in the early twentieth century. The mythos of "the captain of industry" led to the valuing of wealth and the hyper-masculine magnate above all. A system of dictatorial male power solidified in the studio system, one that worked in tandem with a devaluing of women's minds and an increased and fragmented control of their bodies. Indeed, a line exists connecting historical-industrial patterns of this era to the wave of scandals finally breaking in Hollywood and broader American culture today—from Weinstein and Cosby to the pageant-owning and Playmate-paying President Trump.
In light of the scandals dominating the news, a turn to the Fatty Arbuckle scandal of 1921 is instructive. In this case we see a similar confluence money, male power, and sexual abuse. Arbuckle, a slapstick comedian turned millionaire and one of the highest paid actors in silent Hollywood, was in the company of actress Virginia Rappe at a wild San Francisco hotel party after which she fell ill and died. Rappe went to her deathbed accusing Arbuckle of a violent sexual assault that ultimately killed her, while Arbuckle's camp (including the studio powers that be) mounted his defense in part with rumors of Rappe's venereal diseases or alcoholic disorders as the true cause of her death. Arbuckle was ultimately acquitted after multiple trials and died a decade later, in poverty and in poor health. In mainstream film history, the case of Fatty Arbuckle's ruined career has typically been presented as the railroading of a broken man who was unfairly targeted and ultimately died of a broken heart. In light of the current cultural moment, it is a good time not only to reframe this case in terms of power and misogyny, but in terms of economics.
The details of either moral or criminal culpability in Rappe's tragic death are not themselves central to a feminist re-reading of these events. What is central is the recognition of Arbuckle at the centre of a male power structure, to be defended both as a fellow male and a massive financial asset to the studios. In today's parlance and the climate of #metoo, we can recognize familiar patriarchal tactics used to impugn accusers and protect wealthy and powerful men. At the trial, Arbuckle was indifferent to the death of Rappe, showing no remorse or sorrow for her death. His lawyers employed a strategy of painting Rappe as promiscuous. Prominent movie colony figures phoned the trial's prosecutor to suggest that Arbuckle shouldn't be crucified just because Virginia Rappe had too much to drink and died. After multiple trials and a final forty-three hours of deliberation, the jury voted 10-2 for acquittal and a mistrial was declared.
The Arbuckle case, particularly in the behavior and tactics of the male power Hollywood elite, is a paradigmatic and early example of the studios attempting to cover for male sexual crimes. Arbuckle's had worth because he had power and money. Rappe did not warrant equal care or value. Even though Arbuckle lost his career, the details of the scandal made clear the direction such cases would go. Women would not be believed, even in death, and the male star commodity would be valued above the non-famous and thus valueless woman. The Arbuckle case can be seen as one of the first glaring examples of white, male power coalescing within Hollywood, a pattern that has continued ever since. In the respect of crimes and cover-ups around women and money, similar cases have happened repeatedly every decade up to the 2010s. Ultimately, the Arbuckle affair serves as a key turning point for the forces of capitalist misogyny in Hollywood.
Louise Brooks (1906-1985) is famous for her iconic 1920s beauty, but was an unusual actress throughout life for her fearlessness in pointing out the ugliness central to the very Hollywood system in terms of male power, money, contracts, and sexual exploitation.
After a foray into some of these grimmer moments of the consolidating of male power in the 1920s, it is then possible to look to the happier task at hand in this series. While industry control was certainly redoubling itself and male misbehaviors were mounting, there were bright spots. Film scholars today can also identify instances in which savvy women in Hollywood were able to understand the system and the forces working against them, and use these to their own advantages. In some cases, this meant anything from finding the strength to name the system and walk away to actually being able to score financial successes in autonomous ways.
One of the most well-known actresses of the 1920s, Louise Brooks, was able to achieve success against the Hollywood system of a different sort. Even though she spent all of the money she made in film and died in poverty, she achieved an unusual and notable fame later in life as a writer and cinema intellectual in her own right. Though Brooks is today best-known for her iconic flapper hairstyle and aesthetic, it is worth remembering that in her own mind and that of the studio heads, she "failed out" of Hollywood. Yet it is precisely because she didn't fit well into the Hollywood star industrial economy that she was able to so scathingly indict it it in her writings. Brooks is notable in this case because, both in her life as young ingénue and in her later years as a film critic, she astutely picked up on the predatory, gendered business climate that underpinned Hollywood and articulated it well.
As early as the 1920s, Brooks had already ascertained the Hollywood film industry as a sort of economic system of male-female relations akin to a free-floating brothel. Throughout life, Brooks was fearless in poking holes in the glamour mythos of the dream factory, and in pointing out the ugliness central to the very system in terms of male power, money, contracts, and sexual exploitation. For Brooks, the Hollywood system's abuses were to be found not just in the auxiliary aspects of production like the casting couch, the amphetamine-prescribing studio doctor, or the mouthpiece fan magazine, but within the labor conditions of production themselves. Brooks was candid and insightful about a system that was designed to chew young women up and spit them out, writing in personal letters (much later in life), "As long as you are young and pretty and willing to be used and abused, they will lead your hope and feed your vanity while they destroy your vision…" (qtd. in Wahl 56). Nothing Brooks identified as to the exploitative capitalist nature for women in Hollywood would be out of place in an interview even today in the 2010s.
In the rather bleak picture for bodily or financial autonomy painted by both the Arbuckle trial and Brooks, are there any bright spots to be found for women in the 1920s, perhaps in terms of economic success or independence? Absolutely. As much as women were being stripped of power and given second class citizenship in Hollywood, this was also an unusual era of wildly inflated, tax free salaries. For this highest upper echelon, gender would have been less of an impediment economically speaking, even as abuses or disrespect might have come in other ways. Those with good business sense, good managers, or both could find themselves set up for life. Some even parlayed film careers into entrepreneurship with high levels of success. These women were the exception to the rule in a Hollywood that was destroying the lives of a good deal of young women, both sexually and financially.
Some of the women who made economic successes of themselves in the booming 1920s consciously looked to the models of those suffragette pioneers of the 1910s who had come to Hollywood in a more woman-driven era. Gloria Swanson, who amassed great wealth in her own right, spoke in her autobiography of having the 1910s silent star and production company developer Clara Kimball Young as a model (Hallett 15). Others were able to use the Hollywood system to transcend their own working class origins to become wealthy, a trend that would continue with the majority of the female stars through the 1930s and 1940s.
Colleen Moore (1899-1988) was the rare 1920s star who made a business success of herself, writing books about women and investing and making salient proto-feminist points about gender and capitalism in rather light self-help reading.
A particular star of the 1920s who, like Brooks, understood the gendered capitalist nature of Hollywood, but unlike Brooks used it to her advantage with business savvy was Colleen Moore. Moore's story demonstrates how occasionally women really did find power in the system through autonomous finances. In later life, Moore wrote an autobiography, Silent Star, and the more explicitly women and business-themed How Women Can Make Money in the Stock Market. The latter book, in particular, has some surprisingly strong and feminist economic salient points for what was marketed as a light self-help book. Moore explicitly wrote the finance book to guide women into what she identified as this world of men. She had two stockbroker husbands for forty years. Moore began to learn about money when her husband insisted she know how to invest her income and gave her a personal finance course. But this volume does not champion the finding of a kindly, rich, businessman husband. It instead includes some deeper salient and even proto-feminist points on women and capitalism. In it, Moore made the excellent point that men, who have long had their affairs managed by female secretaries, were always telling women, who long managed the home, that they were incapable of understanding business . Further, in the book's digressions into her career as film star, Moore alludes to just how much women were a part of the Hollywood economy. In both her life and observations, Moore is situated in a long but rare line of actresses who were smart to get out of this bad system and take charge of their own affairs by marrying well, investing, or both.
Thus the 1920s were a decade of contradiction in Hollywood—the death of the earlier matriarchy brought the normalization of the systemic abuse of women even as opportunity for wealth and success could be found by a relative few. In the next article, we'll see parallel trends continue. The 1930's (where this series will move next) saw both the studio system in peak Fordist condition, and the most famous women stars of the twentieth century negotiating it in new ways. Women like Mae West and Dietrich went to bat for new models of self-ownership and won, attaining international stardom in the process. Bette Davis and Olivia de Havilland, as the article will reveal, left major marks on the history of women's independence in Hollywood through some of the first court battles around contracts—watershed moments that are particularly worth revisiting today.
Conor, Liz. The Spectacular Modern Woman: Feminine Visibility in the 1920s. Indiana University Press, 2004.
Hallett, Hilary A. Go West, Young Women!: the Rise of Early Hollywood. University of California Press, 2013.
Hansen, Miriam. Babel and Babylon: Spectatorship in American Silent Film. Harvard University Press, 1991.
Moore, Colleen. Silent Star. Doubleday, 1968.
— How Women Can Make Money in the Stock Market. Fawcett, 1971.
Wahl, Jan. Dear Stinkpot: Letters from Louise Brooks: or, My Education with Lulu. BearManor Media, 2010.
Regions: Los Angeles
New York Film Festival Sept. 28-Oct.14
Women in Film Portraits: Autumn Moran
Hollywood Was a Matriarchy
Rewind!: Scott Rosenberg and Con Air


text:
#include "DecoratorTiledVertical.h"
#include "../../Include/RmlUi/Core/Element.h"
#include "../../Include/RmlUi/Core/Geometry.h"
#include "../../Include/RmlUi/Core/GeometryUtilities.h"
#include "../../Include/RmlUi/Core/Texture.h"

namespace Rml {

struct DecoratorTiledVerticalData
{
	DecoratorTiledVerticalData(Element* host_element, int num_textures) : num_textures(num_textures)
	{
		geometry = new Geometry[num_textures];
		for (int i = 0; i < num_textures; i++)
			geometry[i].SetHostElement(host_element);
	}

	~DecoratorTiledVerticalData()
	{
		delete[] geometry;
	}

	const int num_textures;
	Geometry* geometry;
};

DecoratorTiledVertical::DecoratorTiledVertical()
{
}

DecoratorTiledVertical::~DecoratorTiledVertical()
{
}

// Initialises the tiles for the decorator.
bool DecoratorTiledVertical::Initialise(const Tile* _tiles, const Texture* _textures)
{
	// Load the textures.
	for (int i = 0; i < 3; i++)
	{
		tiles[i] = _tiles[i];
		tiles[i].texture_index = AddTexture(_textures[i]);
	}

	// If only one side of the decorator has been configured, then mirror the texture for the other side.
	if (tiles[TOP].texture_index == -1 && tiles[BOTTOM].texture_index > -1)
	{
		tiles[TOP] = tiles[BOTTOM];
		tiles[TOP].orientation = FLIP_HORIZONTAL;
	}
	else if (tiles[BOTTOM].texture_index == -1 && tiles[TOP].texture_index > -1)
	{
		tiles[BOTTOM] = tiles[TOP];
		tiles[BOTTOM].orientation = FLIP_HORIZONTAL;
	}
	else if (tiles[TOP].texture_index == -1 && tiles[BOTTOM].texture_index == -1)
		return false;

	if (tiles[CENTRE].texture_index == -1)
		return false;

	return true;
}

// Called on a decorator to generate any required per-element data for a newly decorated element.
DecoratorDataHandle DecoratorTiledVertical::GenerateElementData(Element* element) const
{
	// Initialise the tile for this element.
	for (int i = 0; i < 3; i++)
		tiles[i].CalculateDimensions(element, *GetTexture(tiles[i].texture_index));

	const int num_textures = GetNumTextures();
	DecoratorTiledVerticalData* data = new DecoratorTiledVerticalData(element, num_textures);

	Vector2f padded_size = element->GetBox().GetSize(Box::PADDING);

	Vector2f top_dimensions = tiles[TOP].GetNaturalDimensions(element);
	Vector2f bottom_dimensions = tiles[BOTTOM].GetNaturalDimensions(element);
	Vector2f centre_dimensions = tiles[CENTRE].GetNaturalDimensions(element);

	// Scale the tile sizes by the width scale.
	ScaleTileDimensions(top_dimensions, padded_size.x, Axis::Horizontal);
	ScaleTileDimensions(bottom_dimensions, padded_size.x, Axis::Horizontal);
	ScaleTileDimensions(centre_dimensions, padded_size.x, Axis::Horizontal);

	// Round the outer tile heights now so that we don't get gaps when rounding again in GenerateGeometry.
	top_dimensions.y = Math::RoundFloat(top_dimensions.y);
	bottom_dimensions.y = Math::RoundFloat(bottom_dimensions.y);

	// Shrink the y-sizes on the left and right tiles if necessary.
	if (padded_size.y < top_dimensions.y + bottom_dimensions.y)
	{
		float minimum_height = top_dimensions.y + bottom_dimensions.y;
		top_dimensions.y = padded_size.y * (top_dimensions.y / minimum_height);
		bottom_dimensions.y = padded_size.y * (bottom_dimensions.y / minimum_height);
	}

	// Generate the geometry for the left tile.
	tiles[TOP].GenerateGeometry(data->geometry[tiles[TOP].texture_index].GetVertices(), data->geometry[tiles[TOP].texture_index].GetIndices(), element, Vector2f(0, 0), top_dimensions, top_dimensions);
	// Generate the geometry for the centre tiles.
	tiles[CENTRE].GenerateGeometry(data->geometry[tiles[CENTRE].texture_index].GetVertices(), data->geometry[tiles[CENTRE].texture_index].GetIndices(), element, Vector2f(0, top_dimensions.y), Vector2f(centre_dimensions.x, padded_size.y - (top_dimensions.y + bottom_dimensions.y)), centre_dimensions);
	// Generate the geometry for the right tile.
	tiles[BOTTOM].GenerateGeometry(data->geometry[tiles[BOTTOM].texture_index].GetVertices(), data->geometry[tiles[BOTTOM].texture_index].GetIndices(), element, Vector2f(0, padded_size.y - bottom_dimensions.y), bottom_dimensions, bottom_dimensions);

	// Set the textures on the geometry.
	const Texture* texture = nullptr;
	int texture_index = 0;
	while ((texture = GetTexture(texture_index)) != nullptr)
		data->geometry[texture_index++].SetTexture(texture);

	return reinterpret_cast<DecoratorDataHandle>(data);
}

// Called to release element data generated by this decorator.
void DecoratorTiledVertical::ReleaseElementData(DecoratorDataHandle element_data) const
{
	delete reinterpret_cast< DecoratorTiledVerticalData* >(element_data);
}

// Called to render the decorator on an element.
void DecoratorTiledVertical::RenderElement(Element* element, DecoratorDataHandle element_data) const
{
	Vector2f translation = element->GetAbsoluteOffset(Box::PADDING).Round();
	DecoratorTiledVerticalData* data = reinterpret_cast< DecoratorTiledVerticalData* >(element_data);

	for (int i = 0; i < data->num_textures; i++)
		data->geometry[i].Render(translation);
}

} // namespace Rml


At Marshall Thomas Thomas, PLLC., we dedicate our practice solely to representing property owners and injured persons against insurance companies. We routinely deal with a wide variety of homeowner and commercial insurance issues, including sinkholes and hurricane claims as well as fire, flood and mold issues.
Our personal injury practice is focused on the client's well being and providing the highest level of personal attention and service. We walk our injury clients through every stage of their claim — from dealing with vehicle damage, to coordinating treatment with qualified, respected physicians, to seeking the best possible resolution of their claim.
Whether you have a homeowners or commercial insurance claim or an injury claim, Marshall Thomas, P.L. will be with you from beginning to end. We are dedicated to providing the highest level of service and technology in today's dynamic and often confusing legal environment, while still maintaining an open, accessible and personal relationship between attorney and client.