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The Barrow-Downs Discussion Forum > Middle-Earth Discussions > The Movies
Or no Hobbits at all...
zxcvbn
Location: In front of my PC
Galin, it seems my discussion with you has reached a dead end. Regardless of how I reply, you seem to be repeating the same point over and over; that Jackson is guilty because he 'chose' to put 'fabricated' Elvish in the films. I once again reply that Jackson would not know that the Elvish was fabricated, and from his perspective(as well as most other fans') Salo's Elvish is the real thing. And indeed, whether or not it matches what Tolkien had in mind in his last years, it has been constructed using the Professor's own texts as a basis(use of loan words, earlier drafts etc.).
And as for maintainging the 'feel' of Middle-earth, it certainly sounds quite authentic, even if the exact words are somewhat different(something only a few people like Hostetter could make out).
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Sauron the White
from Galin
It's easy enough: if one wants unassailable accuracy (and authenticity) use what you find in the books.
I understand your point and respect that it means something important to you and some others who share your love of the Professors Elvish . (and special bonus points to Bethberry for the best line of the month on the Elvish leaving the building). However, not meaning to be rude, but one is tempted to say "so what"? What does it matter to the construction, flow and success of LOTR as a film if the Elvish is used word for word, is changed slightly, or is invented out of whole cloth ? It really has no impact or effect on the film as a film.
Why would a filmmaker want "unassailable accuracy and authenticity" by using what they find in the books if it does not help them in constructing the story as a film? That is one of their main priorities and helps to determine the success of a film. The idea of "unassailable accuracy" means little or nothing in determining the overall success of a film.
I am not trying to belittle your position. Just to clarify that your priorities are clearly not the priorities of the world of commercial filmmakers.
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Galin
Originally Posted by zxcvbn
Galin, it seems my discussion with you has reached a dead end. Regardless of how I reply, you seem to be repeating the same point over and over; that Jackson is guilty because he 'chose' to put 'fabricated' Elvish in the films. I once again reply that Jackson would not know that the Elvish was fabricated, and from his perspective(as well as most other fans') Salo's Elvish is the real thing.
He can read, of course. You appear to be defending Jackson for being ignorant enough to not even bother to check the books, or have someone do it for him. I'm not going to blame Salo for that either. And you are simplifying what I'm saying Jackson 'chose' to do -- see below.
And indeed, whether or not it matches what Tolkien had in mind in his last years, it has been constructed using the Professor's own texts as a basis(use of loan words, earlier drafts etc.). And as for maintainging the 'feel' of Middle-earth, it certainly sounds quite authentic, even if the exact words are somewhat different(something only a few people like Hostetter could make out).
If you disagree with Mr. Hostetter fine (as I said); but he is not talking about the sound or the exact words, but the type of language.
The 'taste' of Sindarin is well enough represented in my opinion -- but I have no great praise for anyone who decided to construct phrases like 'Sit down Legolas' and a pile of other similar Neo-language.
Originally Posted by Sauron the White
That's a different discussion that I have not really entered into here. If you want to start a new thread on it I will be happy to read it and maybe contribute.
Nor would 'unassailable accuracy and authenticity' regarding the Elvish necessarily hurt the overall success of a film -- but as I have already stated, a measure of constructed Elvish in the film would not bother me. What Jackson did do goes beyond that however.
My priority would be to successfully adapt the spirit of the source material to film, and create a successful film too. That includes the languages, including the matter Mr. Hostetter speaks to regarding the tone and feel -- which does not mean Jackson needed to use only the Elvish found in the books.
The point was: if Jackson was so concerned with accuracy he could have easily achieved it by incorporating only the Elvish from the books. Ok he didn't, so, so much for 'accuracy' step one.
But I wouldn't be criticizing him today if all he did was add some constructed stuff of the same order as Tolkien's actual Elvish -- he went beyond adding fabricated Elvish, he added stuff of a different feel from the books and chose to largely discard Tolkien attested examples along the way. So, if one tries to paint Peter Jackson as the director in search of linguistic accuracy, because he hired an expert -- let's remember that at the same time he's largely tossing Tolkien's actual Elvish out the window.
Yes Jackson desired a measure and type of 'accuracy', once he decided that he was going to approach the languages his way that is.
Last edited by Galin; 02-23-2008 at 12:50 PM.
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ArathornJax
Haunting Spirit
Location: Out West near a Big Salty Lake
New Line's Rights are they Miramax which are Zaentz which are UA
On page 7 and 8 of the compliant, the compliant traces the history of the rights from UA, to Zaentz to Miramax to New Line.
The compliant says, on point 27 on page 7
"In or about August, 1998, Zaentz consented to Miramax's assignment to defendant New Line of Miramax's rights and obligations under the Miramax agreement.
Pursuant to a written agreement effective May 9, 2000 between New Line and Zaentz (the "New Line/Zaentz Agreement"), New Line expressly assumed the obligations to pay plaintiffs their Gross Receipts Participation required by the 1969 Agreements with respect to any films based on the Literary Works produced by or pursuant to the authority of New Line. In sum, UA, Zaentz and Miramax are predecessors in interest of New Line and New Line "stands in their shoes." "
My question then is this. Is the compliant saying that New Line holds all the obligations and rights of the former holders, thus they must be held to them? I would assume that the answer is yes. Thus could you take say that later in the compliant, when the plaintiffs ask the court to rule on whether they have the right to cancel New Line's rights to making films on based on any of the literary works of J.R.R. Tolkien, could the plaintiffs legal team argue that since New Line "stands in their shoes" (UA, Zaentz, Miramax) that this would also cancel the rights of Zaentz and MGM and give the rights back to them, the plaintiffs (especially since Zaentz agreed to to the transfer of rights from Miramax to New Line)? This would allow them to sell the rights again under more profitable terms and thus would be a further punitive damage to the parties concern (in addition to the money NL will have to pay to them)? I guess I'm asking that if a breech by New Line to the agreement, voids the agreement for all parties since New Line is "standing in their shoes?" Can that be argued and if so, what are the chances that a court would do that, restore all rights back to the plaintiffs?
Any clarification would be appreciated.
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ArathornJax has asked the jackpot question. And I thank him for making it so clear. I also would like answers on that issue and ask in a slightly different way.
Is it possible that once they get into court (or before for that date) the Estate can make a demand that since Zaentz is the actual rights holder and New Line only a temporary lessee, that Zaentz is somehow someway responsible in the final analysis for making sure that the Estate got their rightful payment?
And .... if Zaentz did not somehow someway make sure that the Estate got their rightful payment then he is just as guilty of not paying the Estate theri rightful cut as New Line is?
And ... the rub would then be ..... take away the rights from not only New Line but also from Zaentz too since he is guilty of not protecting the Estate.
William Cloud Hicklin
The Complaint never proposes ending anyone's rights other than New Lines; and allows for protecting the interests of 'innocent parties.'
The court will look, not at one big indivisble parcel of rights- 'THE' rights- but as several chunks of rights which have been split up. UA never sold the Hobbit distribution rights to anybody, and there's no way they can lose them. Zaentz effectively split the rights he held in the licensing deal with Miramax- he sold the right to make films which commence production through 2008, but held onto the right to all films after that. The court can't take away Zaentz' 'reversionary interest' just because the other chunk of rights was mishandled after he sold them.
Although creative lawyers could in theory try to make a case that Zaentz is somehow at fault for New Line's non-performance, this suit *does not do so*. Zaentz is not a defendant, nor does the complaint allege any wrongdoing or negligence on his part.
It's a basic rule of plaintiff-side pleading that "The court can't give you what you don't ask for." The Estate has *not* asked for the termination of any rights not in New Line's hands. Again- were the Estate interested in taking rights away from Zaentz, then the Complaint would have named him as a defendant and alleged why he deserves to lose the rights. It didn't.
"It is good to be both loved and feared; but if one cannot be both, it is better to be feared than loved" --Machiavelli
Last edited by William Cloud Hicklin; 02-23-2008 at 01:14 PM.
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Thank you WCH for clarifying that for me. It will be interesting to see how this falls out.
if Jackson was so concerned with accuracy he could have easily achieved it by incorporating only the Elvish from the books. Ok he didn't, so, so much for 'accuracy' step one.
What Peter Jackson was concerned with was making the best possible film he could make and having that film be a success by the standard measurements common in the commercial film business. And by those measurements it was a wild success.
Accuracy ---- what the heck is that? No film adaption is anything near the realm of "accuracy". Its an entirely different medium. One cannot adapt anything accurately from a book into the far different medium of film unless you use the book as your shooting script . Anything else is change. Accuracy regarding something as an obscure language which hardly anyone speaks is irrelevant as far as a films success is concerned. It would mean nothing either way and as such is a non issue.
What Peter Jackson was concerned with was making the best possible film he could make and having that film be a success by the standard measurements common in the commercial film business. And by those measurements it was a wild success. (...) Accuracy ---- what the heck is that? No film adaption is anything near the realm of "accuracy". Its an entirely different medium. One cannot adapt anything accurately from a book into the far different medium of film unless you use the book as your shooting script . Anything else is change. Accuracy regarding something as an obscure language which hardly anyone speaks is irrelevant as far as a films success is concerned. It would mean nothing either way and as such is a non issue.
I note that now accuracy is irrelevant when you shift the context to 'film success'. Earlier however, you were suggesting we roll out some praise for Jackson with your statement: 'Instead of criticizing Jackson for this effort, it would seem some praise is in order for him attempting to go the extra mile to get things right.'
Should we praise Jackson for his pursuit of accuracy in this matter? Or should we just note that it's irrelevant anyway with respect to 'film success'?
How the emphasis appears to have shifted
And if we stick to the subject of accuracy with respect to the Elvish then it's not really all that hard, of course, or overly mysterious, to keep things Tolkien-made if desired.
I'm not a scholar of the invented languages. That noted, had anyone hired me to represent JRRT's Elvish tongues in a film I feel reasonably confident I could: A) find the Elvish in the books for the director B) tell him what the examples mean using the sources available C) help with pronunciation D) add my thoughts concerning the creative task of incorporating the attested Elvish into the films.
No, I'm not going to praise Jackson for hiring someone to fabricate a different order of Elvish while largely tossing Tolkien's Elvish aside. And I see no great reason to blame Salo either.
davem
Illustrious Ulair
Location: In the home of lost causes, and forsaken beliefs, and unpopular names,and impossible loyalties
I can only note that CT did not get too hung up on correct pronunciation - in the tape he made as a pronunciation guide for the radio adaptation he pointed out that the 'correct' pronunciation of, say, Celeborn would be 'Keleborrn', but that in a modern dramatisation that wasn't necessary & 'Keleborn' would be acceptable. He also stated that in many cases there wasn't a 'correct' pronunciation of all words. The important thing, as far as he was concerned, was to avoid obvious mistakes in pronunciation - like 'Soron', etc.
Oh, & if anyone wants to hear some of that tape its available on a CD from Nigel Sustins via his website http://www.biblio.com/search.php?aut...at=any&stage=1
'Microphones in Middle-Earth', talks given at Church House, Westminster, relating to the BBC Radio dramatisation of Tolkien's 'Lord of the Rings' on 5th March 1981. [Track 1] Brian Sibley and Michael Bakewell, co-adapters of the series, talk about how they tackled the task (33 minutes); [Track 2] Penny Leicester, co-producer, Stephen Oliver, composer, David Collings, actor (Legolas) and Peter Woodthorpe, actor (Gollum) discuss their work on the series (39 minutes).
It only includes the first few minutes of the CT recording, but its very interesting to hear his attitude to dramatisation.
"Everything was an object. If you killed a dwarf you could use it as a weapon – it was no different to other large heavy objects."
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You seem to be a stickler for the tiniest iota of detail so allow me to add a few qualifying words to my original statement....
Jackson went the extra mile to get things right as necessary for the film. I had thought that was implied from my comments but I guess that was my fault for not making it more clear. So I do so here.
Over the years we have seen countless discussions of this type where someone has a particular deep interest or love of one specific aspect of the book and is angry or dissapointed that it was altered for the movie. Here it seems to be Elvish. With others its the hair color of Legolas or Boromir. With others its the lack of facial hair on Denethor. Others claim that Theoden is too young and virile. And on it goes without end.
We are discussing the movie. When we discuss the movie it is relevant to mention that the film was a rousing success by most standard industry measurements because that is the final test of such commercial ventures. To the vast majority of the six hundred ticket buyers of the films, it did not matter if the hair color of Legolas or Boromir was correct or how long ago Denethor had stopped shaving or if a phrase of Elvish was accurate or had been cobbled together from someones imigination. It matered not to them because the film worked. It worked.
Peter Jackson had no obligation to make his film as accurate as possible or as faithful as possible or as bookish as possible. None at all. Because none of those things matter in the final judgment as to the film working as a film.
Of course, one has always to keep in mind that he didn't have to make the film at all, & that having freely chosen to make it he was never, ever, ever, ever ever going to escape criticism from some lovers of the books because THIS IS TOLKIEN.
Tolkien's work, for whatever reason, inspires a deep & abiding love in the hearts of many of those who read it. It changes their lives & makes them different people. When someone comes along & starts playing around with it, changing it - however good their reasons - they will bring down on themselves the 'righteous ire' of those fans.
You have to keep in mind that LotR is not simply another book as far as many readers are concerned, & lovers of the book feel a deep attachment to it. LotR is a pretty unique case among works of fiction - how many novels from the mid fifties are still so popular that they are still published, & sell massively, in hardback? Harper Collins in the UK must have a half dozen different hardback editions in print & as many in paperback - teverything from cheap mass market paperbacks at one extreme to expensive slip-cased deluxe editions at the other. And this is not down to the movies - it has pretty much always been the case that both standard & deluxe hardbacks of LotR have been available.
And we need to put aside this 'the movies are not the books' thing once & for all. The producers have gone out of their way to tie the movies in with the books - the SEE versions come in cases designed to look like books, & the on-screen menus are designed to look like books (even down to using the term 'Appendices' rather than the usual 'Extras' on the 'pages'). DVD 'chapter titles' are in most cases taken from the chapter names in the book. Jackson & the producers have gone out of their way to tie the movies in with the books - to the extent of employing two of the best loved Tolkien book illustrators as production designers. Jackson didn't have to do any of that.
Put simply - no-one is more 'guilty' of attempting to tie the movies directly into the books than Jackson himself. If he then finds himself criticised for not being faithful to the books I don't think he's really got grounds for complaint. If he hadn't wanted his movies to be judged by the books he could have done a great deal more to distance the two. Try listening to the commentary tracks & counting how many times Jackson, et al, talk about 'being faithful to the book'.
I do think your latest post was written from the heart and contains a great deal of truth. Your point about the lasting qualities of these tales rings very true and it certainly is obvious that millions of readers love the LOTR far more than the average book which comes and goes from bookstore and library shelves with little notice.
I especially find your words to be very poignant when you state
Tolkien's work, for whatever reason, inspires a deep & abiding love in the hearts of many of those who read it. It changes their lives & makes them different people.
You have to keep in mind that LotR is not simply another book as far as many readers are concerned, & lovers of the book feel a deep attachment to it. LotR is a pretty unique case among works of fiction - how many novels from the mid fifties are still so popular that they are still published, & sell massively, in hardback?
But having said that, I think this statement
And we need to put aside this 'the movies are not the books' thing once & for all.
is simply an attempt to find a way around one of the most convincing and obvious points in this continuing discussion. To put away this idea that the movies are not the books once and for all would be akin to all agreeing that what is reality is simply not. It is simply not true and to accept your idea would be a betrayal of reason and fact. Yes, I realize that my saying this angers many here and they would rather not hear about it again. Several have pointed out to me that they tire of hearing it, reading it, and responding to it. I imagine they would be happier in an environment where those nasty realities are never mentioned.
A book is one thing and a movie is another thing. The characteristics, elements, qualities, features, assets and liabilities of one are not the same as the other. To deny that is to deny real world reality.
The fact that the extended editions were packaged to look like books does not change the reality that a book and a movie are two different things. The nice wrapper does not change the characteristics of the real object. Book illustrators were used because they are talented and have knowledge about the world they were asked to illustrate. The fact that they worked on the books does not alter the reality that they produced work for something different - a movie.
Advertising and marketting and shiny packaging does not change the reality of the essence of an object or thing. You are too easily confused by the games of Madison Avenue. Jackson did not write a book about LOTR. He made a movie adapting the book. That is distance indeed. That is distance enough because the two are not the same. When Jackson talks about being faithful to the book he does so in the context of making a film that works as a film. That was his goal and his obligation. He made it faithful enough so that it was still LOTR. He changed it enough to make it work as the film LOTR. An please remember that the one who knew the book the best - JRR Tolkien himself, felt that his book was unfilmable as written. To be faithful to be book would have produced something that could not be filmed. That is not my opinion but a reasonable inference from the authors own statements.
I'm just trying to say on topic instead of being pulled into a discussion that (it appears) you want to have.
Over the years we have seen countless discussions of this type where someone has a particular deep interest or love of one specific aspect of the book and is angry or dissapointed that it was altered for the movie. Here it seems to be Elvish. With others its the hair color of Legolas or Boromir. With others its the lack of facial hair on Denethor. Others claim that Theoden is too young and virile. And on it goes without end. To the vast majority of the six hundred ticket buyers of the films, it did not matter if the hair color of Legolas or Boromir was correct or how long ago Denethor had stopped shaving or if a phrase of Elvish was accurate or had been cobbled together from someones imigination. It matered not to them because the film worked. It worked.
The matter under discussion was not in the context of how important or minor it is to a film's success. You appear to be trying to shift it that way. I'm well aware that a phrase being Elvish or Neo-elvish doesn't really matter to the vast majority concerning the film; however the point I raised by quoting Mr. Hostetter is about fidelity to the tone and feel of Tolkien's work.
And this alone is a worthy enough point to be raised to my mind, despite that one could jump into the thread and claim that no Elvish at all was necessarily 'necessary' in the film for it to make tons of money or win some Hollywood award -- and thus make it seem as if the matter is trivial in a certain context (no matter whether it is 'trivial' or not with respect to other considerations worth discussing).
Again I'm not sure with whom you are having this discussion. Earlier I wrote...
'My priority would be to successfully adapt the spirit of the source material to film, and create a successful film too.' (and) '... but as I have already stated, a measure of constructed Elvish in the film would not bother me.'
I have not argued that with respect to the Elvish Jackson was under some obligation to be as 'accurate as possible' (staying 'on topic' on the languages, off topic as it may actually be, in this thread).
Last edited by Galin; 03-12-2008 at 08:15 AM.
Please... please ... no patronizing lectures from on high about my being off topic. The topic here was "or no hobbits at all". And you keep talking about the use of Elvish in the LOTR films. Seems the pot is calling the kettle black.
All I am trying to do is discuss an issue you posted about here. With all due respect to you, I reserve the right to approach it in the way I feel is best. Thank you.
Last edited by Sauron the White; 02-24-2008 at 08:23 PM.
In my last post I admitted the languages were off-topic here.
And earlier when you began (post 83): 'What does it matter to the construction, flow and success of LOTR as a film...' (see above) I responded with: 'That's a different discussion that I have not really entered into here. If you want to start a new thread on it I will be happy to read it and maybe contribute.'
In any case, the issue is not so much topic, but the topic in context.
Feel free. You don't need to quote something from my posts to form a soapbox for your opinions on 'film success' however.
And intended or not, I feel you are misrepresenting my argument by doing so, as the contexts are different (for example [currently] post 88).
I have no problem with you giving your opinion on accuracy in general but at the end of post 91 it seems implied that my argument concerning 'accuracy' is something it is not; and it only takes a few moments to word a post for better clarity in this regard.
In any case, the issue is not so much topic,
really? It seems to be something that you have brought up a couple of times until you were called on it.
but the topic in context.
The context here is not as narrow as you want to keep it. As the moderators have explained over and over in many threads, discussion of the work of JRRT and the movies that flow for that work is on topic regardless of the ebb and flow of how a thread evolves.
It does seem really bizarre and highly irregular for you to even mention being off topic when this thread was started to discuss the possibility that there may not be any HOBBIT films at all. You eventually mentioning that reality in no way diminiishes your own deviation from that orginal thread topic.
Lets get back to the thread topic of no more hobbits if we can.
I think the thread as it stands shows that I meant I wanted to keep the topic in context (for my part anyway).
I said feel free to enlarge the context as you like -- just try and do it in a way that does not misrepresent my argument please.
I'm all for that
This thread was started to discuss the legal actions taken by the Tolkien Estate and how it may end up finishing off the idea of the 2 possible HOBBIT films.
Your posts have continually discussed the Elvish language in the Jackson films.
How in the world can you now say with a straight face that you meant to keep the topic in context? Elvish language and its use or misuse has nothing to do with the original topic of this thread.
And what is with this "for my part anyway"? It was your part that played a significant role in getting this off the topic that the thread started with. Is that qualfier some sort of public show of washing your hands to show that you are without any responsibility? The first 61 posts in this thread dealt with the topic. Then one person mentioned languages in passing as a tiny part of thread 62.... then you turned it into some major platform and have run with it ever since.
As I have said, the threads flow and evolve the way they do and the mods have said that as long as we discuss Tolkien or the films it is okay. But to first change the topic of the thread and then lecture me that I am not discussing it in the context you want to is completely bizarre.
And what is with this "for my part anyway"? It was your part that played a significant role in getting this off the topic that the thread started with. Is that qualfier some sort of public show of washing your hands to show that you are without any responsibility?
I meant the 'topic of the languages' that arose in this thread -- yes obviously a subtopic technically. I could have stated that more clearly; but as I could hardly be claiming to have kept on topic with respect to the original (topic), the meaning seemed clear to me when I posted it. All I meant by 'for my part' is that I did not desire to get dragged into the context of 'Elvish and the film's success'... though as I say others are free to go there, of course.
Back to the 'main topic' I hope.
It will be awhile now . . .
In terms of the lawsuit, I think it will be some time before we hear anything more in the public realm about the suit. I imagine that the lawyers on both sides are preparing and reviewing right now.
Galin, it seems to me that the sum of your arguments is: In order to be accurate Peter Jackson should have incorporated ONLY the Elvish dialogue seen in the books and nothing else. I consider that an amazingly unfair expectation. NO adaptation of LOTR(BBC, film or the recent stage adaptaion made with the Estate's permission) has ever had the dialogue copy-pasted from the books.
And if you want to argue against the Salo Elvish reconstructions, I would like to point out that the accuracy(or lack of) of these is heavily debated, and I would advice against your passing off Carl Hostetter's opinions as fact when(I hazard a guess here) your own knowledge of Elvish is limited to a dozen or so words.
I have made statements already that I think should show that this is not my argument, though I agree I might not always have been wholly clear in setting apart my preference (concerning the approach to the languages in general), and my actual criticism of Jackson here.
Within my argument I mean Jackson could have incorporated only the Elvish from the books, not that he should have in the sense that he 'needed' to, but only 'should' have in the sense that I would have liked it better (myself) -- that is only 'step one' -- as in, one approach he could have taken, but did not.
OK, I prefer that, but also it is a factor to consider if one is going to paint Jackson as going the extra mile. In that Neo-elvish is not Elvish (Tolkien's own art) no matter how good the grammar is, or is not, and considering that 'unassailable accuracy' is found with Elvish, then jackson really went that extra mile after he decided to skip this approach.
Back to the Estate: originally I said Jackson didn't 'have to' go to the Estate or anyone to represent Tolkien's Elvish; and again he didn't have to go to Salo for fabricated Elvish (who then in turn tries to make that as accurate as he could). He could have hired someone to help with using only the Elvish already available. OK, he didn't, and this is not the problem.
My ultimate preference on the matter should not be confused with what I have criticized Jackson for doing -- missing the feel and tone with respect to the type of language he added and largely tossing Tolkien-made examples aside in one fell swoop.
By type I refer not to grammar or how good a job Salo did with his invented stuff, but to Elvish renderings of dialogue like 'Sit down Legolas' or 'Be quiet...' or similar (whatever they all are exactly, I can't remember now). By type I mean to refer to Mr. Hostetter's distinction when comparing Tolkien's work to Jackson's substitutions: '... please note, are almost entirely in the form of songs, poems, spells, and exclamations made in crisis or _de profundis_ that are used sparingly so as to punctuate the story and to not cheapen the effect of the Elvish -- and instead substituting for them long passages of made-up "Elvish" (however skillfully) constituting (mostly banal) _dialogue_ of the sort entirely _missing_ from Tolkien's own application of Elvish in his story (or anywhere else).'
I don't want to argue against the accuracy of the grammar of Salo's Neo-elvish, and haven't been. Neither has Carl Hostetter in the quote I posted.
And here we are guessing that my own knowledge of Elvish is 'limited to a dozen or so words' incidentally. Can you correctly guess how tall I am? Or my favorite color?
I bet you can't
First we saw the accountants and attorneys for Saul Zaentz go up against the accountants and attorneys of New Line Cinema. Then Peter Jackson assembled his own legion of numbers crunchers and did the same. Even the lower tier bit actors like Rosie Cotton got into the act and hired legal atalent to get their share of merchandising monies. Now its the Tolkien Estate with their own company of lawyers and forensic accountants.
The Battle of the Five Armies takes on an entirely new meaning.
Three questions for our legal minded Downers...
1.- if this suit was filed in California why would New York law apply?
2. - Would the previous filings of Wingnut Films and Peter Jackson be available to the Estate and would Peter Jackson be a good possible witness to assist them?
3- This was posted on another site - halloffire.net - by an attorney. Is there any truth to this and could you explain what you think it means?
If the Estate REALLY wanted to play hardball, they could move in 2012 (1937 + 75 years) for copyright reclamation, voiding every single license or copyright assignment in TH JRRT ever made in his lifetime. The same could apply to the LR in 2010-11 (1954-55 + 56 years).
Thank you for the pro bono work.
New York law applies because all parties to the original 1969 contracts agreed that it would. This is legally valid and indeed almost standard in commercial contracts (read the fine print in a product warranty if you don't believe me). The case was filed in California because New Line is located there and therefore California has in personam jurisdiction. It's not all that unusual a situation.
The actual filings- documents filed with the court- are matters of public record and open to anyone. Of course since PJ eventually settled a lot of stuff was never filed or submitted as evidence. Whether PJ would be a good witness is a judgment call for the lawyers. However, it's certainly possible that PJ's version of production costs might be rather different from what New Line is claiming!
3- This was posted on another site - halloffire.net - by an attorney. Is there any truth to this and could you explain what you think it means
I posted it, and was referring to the doctrine of Copyright Reclamation, a part of US law. The purpose behind it is to allow the heirs of an author or artist a chance to 'reclaim' the copyright as against any really crappy deal he might have made in his lifetime: the classic case is that of Superman's creators who sold the character to DC Comics for peanuts. Basically the way it works is that whenever a copyright by a *deceased* author comes up for its third or fourth renewal (at 56 or 75 years after publication) the author's heirs can apply to reclaim the copyright and void any assignments or licences the author may have granted in his lifetime.
I have absolutely no reason to think, incidentally, that the Tolkien Estate is remotely contemplating anything of the sort. I brought it up rather as the sort of the thing this mythical Mean Old Take-Our-Movies-Away Estate might indulge in., if it really wanted to be nasty.
Thank you William for those answers. Interesting to see that it was you in another form who posted that other information. Small world.
So now what happens? Is there anything that prevents NL from going ahead on this film right now while the legal dispute plods on for months or even years? Would the Estate have to ask for an injunction to stop the films from being produced.... or once done, distributed to theaters?
One of the things that I was looking forward to in the Jackson suit was a final resolution to this and a end to Hollywood accounting methods. I wanted to see all the dirty laundry aired in public, all the in-house merchandising deals revealed, and all the accounting gimmicks exposed. It seemed that Jackson and his legal team wanted that also. In the end they settled for the same thing that everyone else settles for - money and the prospect for even more money in the future.
I wonder will the Estate do the same or will they force the issue takin this all the way to a jury?
Mandos Turambar
Newly Deceased
Injunction Unlikely
Much has been written above about the Plaintiffs seeking to stop any new movie. The odds of this happening through successful litigation are unlikely in any common law court. I have not read which court this suit is in, but essentially all US states and the federal system have a very strong public policy of NOT using equitable orders when the plaintiff can be made whole by contract damages.
The law is divided into multiple areas. For instance, Torts are civil wrongs, such as assault, trespass, slander, etc.., while Contracts are oral or written agreements. Historically, the courts were divided into the law courts and the courts of equity. With limited exceptions, the law courts did not issue orders except for the payment of money, while the equity courts primarily issued orders, generally known as injunctions. In modern practice, these two courts are merged, but the echo of these differences remains.
Essentially all common law jurisdictions (i.e. governments that mainly derive their law from the built up case law of England) follow a rule that says, "when a contract calls for a monetary payment, the relief granted to a plaintiff pleading breach of contract is limited to ascertaining the amount of monetary damages and making an award thereof." In other words, where the plaintiff can be made whole by awarding damages, he/she is not entitled to other relief such as injunctions. This rule is strong, but not absolute. Where fraud (a tort) is properly pled, it can augment the remedies, perhaps leading to injunctions to prohibit further fraud.
However, it appears from the press reports, and what is posted above, that the Tolkien Trust et al. are seeking "rescission" based upon allegations of fraud. This is a very difficult thing, as rescission is used primarily as a remedy for "fraud in the inducement" to enter into the contract - and nothing here would indicate that there is any fraud (if there is) except with regard to New Line's accounting practices (note that I am NOT saying that such allegations are true).
Thus, it is very likely that there is no legal basis for the Tolkien Trust's petition for an order barring further productions. All that is likely is an order that sets forth what the contract means, gives damages for its past breach (if that is found), and perhaps sets forth how it will be interpreted for the future as it applies to the Hobbit.
I'm just a country lawyer, but all this is pretty elementary law...
Then again, Ecclesiastes is right when it says, "One sounds right until another answers." We really have too little information so far, and I cannot wait to hear New Line's response.
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Derrivative Work
I am fascinated by some press reports that indicate that NL is planning 2 "Hobbit" movies, one being the story of the Hobbit, and one being the period between the end of the Hobbit and the beginning of LotR.
I expect that this issue will be fiercely litigated by the Tolkien Trust and heirs. I very much hope that we will get to see the rights contract soon (i.e. the one that JRRT signed in '66), as I cannot imagine that he, so jealous of his great creation, would have knowingly transferred creative rights for new story content!
Then again, some published reports long ago indicated that he signed the contract while desperate for $ to pay taxes, and he may not have had adequate legal advice on the implications as well.
Anyone know more on this?
Mandos: at least as alleged in the Complaint, the original 1969 agreements by their own terms provide for recission in the event of material breach.
As for New Line proceeding while this suit is in litigation: how will they get financing? Investors won't touch this with a ten-foot pole until the matter is resolved.
Pilgrim Soul
Location: watching the wonga-wonga birds circle...
I know that the wheels of the English legal system seldom turn swiftly and don't get the impression that the US version moves with more alacrity, but is this likely to take months or years to come to court? Could it turn in to a Jarndyce v Jarndyce?
I see dead people.
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Thanks to both WCH and Mandos for their legal expertise. I truly appreciate the clarity of the posting by Mandos regarding injunctions.
I found this from WCH interesting
Is this something you know as fact based on news or inside reports or is this just your conclusion based on how you see things? Because I have read several legal people say that while the Estate has a strong case in winning damages, their claim to stop the upcoming productions is weaker in comparison. Given the track record of LOTR in terms of revenues, if there is one film that investors would be lining up to get in on it would be another Jackson Middle-earth film. Of course, that excludes the accounting methods of NL to pay off the investors. If protections could be provided and accounting methods transparent, I would think there would be a rush of investors to fund these films.
If Warner takes over operations of NL I would think they would have little difficulty in financing a $150 million dollar film with the possibility of $1 billion in ticket sales let alone ancillary revenue.
from Mandos
This is speculative of course.... but ... most reports indicate that the second movie could be built around the attack on Saurons fortress in Mirkwood and the efforts of the White Council to displace him. That is a very real thing that JRRT wrote about and something to which the rights were assigned in 1969. Other events were also written about by JRRT although not in a detailed fashion.
question: can the Estate object to anyone using these events and characters that were clearly written about by JRRT and then the producers filling in the spaces and connecting the dots with dialogue of their own? Is that the same as "new story content"?
And is that what this is about aside from the money? The goal of stopping of that second film from even being made. Because that is what some have been saying ever since the suit was announced but have been met with denials and words of calming caution by defenders of the Estate.
Dread Horseman
Location: Behind you!
Well, the rumored absorption of New Line by Warner Brothers finally happened. It will be interesting to see how this affects not only The Hobbit and the litigation with the Estate, but also Pullman's HDM franchise. Compass looks like it's going to be big in Japan.
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Thanks for that bit of good news Mister Underhill. Now they need to
1- fire Shaye and his cohorts
2- sit down with the Estates legal team and work a settlement
3- adopt honest accounting methods so nothing like this happens again to anyone they deal with
And all that should happen by tomorrow.
Shaye is gone.
"February 28, 2008
To: New Line Colleagues
From: Bob Shaye and Michael Lynne
Subject: Our Company
This afternoon, Time Warner is announcing that New Line will become a unit of Warner Bros. This is, of course, a very difficult and emotional time for all of us who have worked at New Line. While there is not much we can say that can lessen the impact of this announcement, we did want you to know about the decision before you read about it in the press.
New Line will maintain its own identity and will continue to produce, market, and distribute movies. But New Line will now do so as part of Warner Bros. and will probably be a much smaller operation than in the past. Time Warner hopes that operating New Line as a unit of Warner Bros. will allow New Line to focus on the creative side of movie-making, while reducing costs and taking advantage of Warner Bros.' distribution systems. The company will be holding group meeting with New Line employees tomorrow in Los Angeles and New York to discuss this announcement, and is committed to letting employees know as soon as possible about how this change affects them individually.
For our part, we will be stepping down as Co-Chairmen and Co-CEOS of New Line. This was a painful decision, because we love New Line and the people who work here have been like our second families. But we will be leaving the company with enormous pride in what all of us at New Line have accomplished together. From its humble beginnings 40 years ago, our studio has created some of the most popular and successful movies of all time. Those movies are a tribute to the amazing creative energy and entrepreneurial abilities of the talented people at New Line. They are a legacy that will endure forever.
Although we are stepping out of New Line, we intend to remain actively involved in the industry in an entrepreneurial capacity, and will keep you advised of developments.
We thank all of you who have worked so hard to make New Line such a success. We are very proud of every one of you.
Bob & Michael"
Child of the 7th Age
Spirit of the Lonely Star
The Golden Compass film was a disappointment, but I would still like them to go ahead with the sequels. Given the profits generated by Compass overseas, perhaps it would be profitable to make the second and third movies if Warner adopts a new scheme for handling foreign revenues from their movies, which now appears likely.
How great if this whole dispute would suddenly be settled fairly out of court now that new parties are involved. But I doubt the likelihood of that when so much money is involved.
Multitasking women are never too busy to vote.
Last edited by Child of the 7th Age; 02-29-2008 at 12:43 PM.
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from VARIETY the show business newspaper reporting on the various implications of the NL folding and Shaye departure.
Variety's article :
'Warner Bros. gobbles up New Line': "The Hobbit" has Guillermo Del Toro in talks to direct, and the picture will be unaffected by the ouster of Shaye and Lynne. Though the films won't be scripted until a director is hired, and Jackson wraps "The Lovely Bones," the expectation is that the films will be ready for release for Christmas 2011 and 2012. Harry Potter will have wound down at WB by then, and the corporation will surely welcome another fantasy franchise that has an eager global audience waiting. New Line will distribute domestically, while MGM has international rights.
The official HOBBIT movie site and discussion board has been carrying the official announcement since back in December stating that the two films would be released in 2010 and 2011. This article seems to postpone that by a full year although no months were given in either release cycle. You would have to suspect they would want to keep to the December releases since they had proven success with that.
Would this extra year be to a) work out a deal with the Estate before proceeding any further, or/ and b) get Jackson on board in a larger capacity even if it he will not direct - at least the first pic?
or perhaps it's back on the menu . . . .
Well, some more great info/speculation from The Frodo Franchise site. First comes this from Fred Schrurers blog found at http://www.portfolio.com/views/blogs...ne-at-new-line
The article is called The Perfect Storm that sank Shaye and Lynne. He makes some excellent points I think.
Most fans will find this quote interesting:
"In the last category, Shaye and Lynne's long unwillingness to cede control to the company that linked with them in 1996 by acquiring the studio's then-parent Turner Broadcasting System, mixed with such untoward events as another perfect storm around the company's one huge success, Lord of the Rings (New Line was sued by director-producer Peter Jackson, original option holder Saul Zaentz, and more recently, the Tolkien estate).
That perfect record of being called chiselers on their biggest hit (the first two disputes were settled out of court) dovetails with Warner Bros.'s need to take the Hobbit project in hand--now that Jackson has agreed to produce it--and free it from potential legal entanglement by the Tolkien trust."
Kristin Thompson states on her blog "That reference to freeing the Hobbit project "from potential legal entanglement by the Tolkien trust" may hint that Warners or New Line will settle out of court in the not-too-distant future–which would be a logical move, given the value of the franchise." See the rest of her quote over at her blog.
Here's the link to The Frodo Franchise for Kristin's take:
http://www.kristinthompson.net/blog/
I sure like the sound that Warner Bros. "needs to take the Hobbit project in hand -- now that Jackson has agreed to produce it -- and FREE IT from the potential legal entanglement by the Tolkien trust."
Sure sounds like a settlement is coming!
"At any minute it is what we are and are doing, not what we plan to be and do that counts."
JRR Tolkien in 6 October 1940 letter to Michael Tolkien
Given the time that has passed since the Estate filing, does anyone know if there was a legal answer from NL/Warners? Is there any news on this front?
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Healthcare providers could see a change in the way they receive payments from patients, as TransFirst, an electronic transaction firm, has entered into a strategic partnership with PatientPay, a payment technology organisation specialising in the healthcare industry.
The partnership will allow TransFirst to take advantage of PatientPay's PCI-compliant payment technology, enabling healthcare providers a chance to offer its patients a seamless payment experience.
''The alliance with PatientPay creates a payment management solution that could make a significant difference in helping healthcare providers collect patient payments, and this makes it an especially appropriate collaboration for TransFirst because of our mission-driven commitment to helping businesses grow and succeed financially,'' explained John Shlonsky, president and CEO of TransFirst.
In the United States, healthcare providers are finding it increasingly difficult to collect payments.
Healthcare providers are now looking for reasonable solutions that will enable them to collect payments before they are written off. The TransFirst and PatientPay partnership aims to do just that.
The partnership's solution allows patients to pay for medical services online with major credit or debit cards. Patients can pay whole balances or set up recurring and scheduled payment plans with payments automatically deducted from their credit or debit card accounts.
''The changes that are happening in the way providers are reimbursed means it is absolutely critical that they find effective ways to collect more of what their patients owe. Our collaboration with PatientPay will give providers a valuable solution that can make a tangible difference in their receivables,'' commented Carl Mazzola, president of TransFirst's Health and Public Services division.
A number of healthcare institutions are leveraging mobile payment technology in order to help customers pay for their treatment.
In April, Payment Eye reported that InstaMed, a Philadelphia-based healthcare payments firm became the first company of its kind to integrate Apple Pay into its transaction structure, allowing organisations and customers to pay for healthcare services using their mobile.
This move allowed the tech giants to branch out into other sectors, as the retail industry has been dominating the Apple Pay space since the technology's release.
Tom Furr, CEO of PatientPay, hopes to go down a path similar to that of InstaMed, with the firm looking to increase its payment retrieval rate by partnering with TransFirst.


An eyewash. Yes, that's what I like to call it.
Parties, club hopping, designer dresses and Stuart Weitzman. Ok, maybe not Stuart, that's taking it too far. Guccis and Louboutins.
Fancy hotels, expensive Liqueurs, and postcard photos. A larger than life lifestyle.
Perfect pout, high heels, and salon ready hair. This – while working in the kitchen which doesn't have anything out of place or even a stain to prove that anything has ever been used.
These photos portray a life one can't help but wish for.
That is social media for you. Where everyone (well almost) is trying to portray a life so perfect that the gullible and unsuspecting might end up feeling like complete losers.
Their picture-perfect lives, spotless homes, fancy lifestyle is what people start wishing for. What they do not realize is that it's more often than not a sham. That the "memories" are often staged, that the "moment" is specially set up for a photo-op. In a bid to maintain the "perfect" virtual profile, they sacrifice a lot more in their real life.
That kitchen.. it was cleaned especially for the photo. And all the items which usually decorate the slab, shoved into a corner and out of the camera frame.
That picturesque snap that made you yearn to travel to the place took him hours to edit and process.
Those adorable smiles in that candid shot? Well, that's one out of the hundred shots which were clicked that day which wasn't blurred or unbalanced in composition.
Those parties? Those check-ins? Well, how does you paryting, getting drunk and getting clicked in a hundred different poses interest me anyway?
If we start comparing us to what we see on social media, we would never be satisfied with what we have and how we are. It's a facade. Next time you see a profile and wish for a life like their's, think again. Think if you really want to live in an illusion. Or would you rather live a life that's real?
Would you like to live in a grid or a bubble or would you rather keep it real?


text:
The Spac race: Wall St banks jostle to get in on hot new trend
Home Financial news The Spac race: Wall St banks jostle to get in on hot new trend
The last time Credit Suisse was neck and neck with the likes of Morgan Stanley and Goldman Sachs as a top underwriter of equity offerings, the Zurich-based bank still had the words First Boston in its name.
But this year, it has one major Wall Street trend to thank for putting it back in the top three for the first time since 2005: a boom in so-called blank cheque companies.
Special purpose acquisition companies, or Spacs, have grown from a niche part of equity markets to become a popular alternative route to public markets. Such vehicles raise money from investors with the aim of finding a private company to buy; if the sponsors fail to do that within a certain period, the Spac is dissolved and the money returned to shareholders.
The rise of the Spacs has generated thick streams of fee income for underwriters and prompted several investment banks to reshuffle their equities teams to ride the trend.
"The market is booming," said Christian Nagler, a partner at law firm Kirkland & Ellis. "All the major banks are focused on Spacs and we are seeing a huge increase in high-quality, first-time issuers."
Spacs have raised $23.9bn this year, globally, already eclipsing last year's record haul by 70 per cent, according to financial data provider Refinitiv. Almost all of that — $23.6bn — was generated in the US. Blank cheque companies now account for one in five dollars raised in initial public offerings: about three times the share of last year.
The investment banks that have helped to usher in Spacs have not been the same cohort known for winning coveted mandates on big-name tech IPOs in recent years. Cantor Fitzgerald, the midsized New York investment bank, was the top Spac underwriter last year, followed by Deutsche Bank.
READ ALSO Supreme Court justices lean toward FCC bid to loosen media ownership rules
Citigroup and Credit Suisse have also built sizeable Spac businesses, advising on many of the largest blank-cheque listings over the past three years and this year muscling in as the top advisers.
"People who have not been as experienced are trying to build an expertise," said Doug Adams, the global co-head of equity capital markets at Citi.
Citi has led all four Spac offerings from Michael Klein's Churchill Capital, a firm run by a former Citi dealmaker. Last month Mr Klein caught the eye of bankers across Wall Street when one of his Spacs struck an $11bn takeover of US healthcare company MultiPlan.
Credit Suisse, meanwhile, has underwritten all three Spacs led by Chamath Palihapitiya, the former Facebook executive whose first blank cheque company merged with Virgin Galactic last year, thrusting Richard Branson's space travel group on to the stock market.
Bankers are now courting other buyout veterans and executives who could front their own Spacs. Chinh Chu, the former Blackstone "rainmaker", has launched four Spacs, including two this year with New York fund manager Neuberger Berman.
Bill Foley, an insurance executive, has launched three and is aiming to raise $1.2bn in a fourth unveiled this month. Bill Ackman, the billionaire hedge fund manager, last month unveiled his first offering, raising $4bn to hunt for a tech "unicorn" — the largest sum ever raised in a Spac.
"Brand name private equity firms and brand name public market executives brought a new light to investors and potential companies that wanted to merge with a Spac," said Bennett Schachter, Morgan Stanley's top Spac banker who joined last year from Goldman Sachs.
Goldman, which has ranked among the top five underwriters of Spacs since the boom began in 2017, has stood apart from its biggest rivals because it has launched its own blank cheque vehicles. The first, which listed in 2018, raised $600m and in February merged with Vertiv, a digital infrastructure group. The bank's second Spac raised $700m in June.
READ ALSO Microsoft invests in $30bn driverless car company Cruise
The fees for bringing Spacs to life can be hefty. Banks typically earn 2 per cent of the proceeds when the IPO is finalised and a further 3.5 per cent when the Spac finds a company to buy and completes a takeover. While that is lower than the 7 per cent fee banks traditionally earn on the proceeds of a new listing, they also have other ways to drum up revenues.
The shell companies must often raise additional capital to fund their takeovers, for example. And as they search for targets, bankers are often pitching potential candidates to buy.
Privately held companies that would have otherwise explored an IPO have been drawn to Spacs because most of the financial terms are negotiated behind closed doors and finalised before a deal is announced. In a traditional flotation, by contrast, the pricing is "dropped in at the end", said Mr Nagler of Kirkland.
That extra degree of certainty can give a lot of comfort, said bankers.
"What you're seeing is the tip of the iceberg from what is going on," said Niron Stabinsky, head of Spacs for Credit Suisse.
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In recent years, IAD has become more prevalent worldwide; the recognition of its devastating impact on the users and society has rapidly increased . Importantly, recent studies have found dysfunctions of IAD are similar to other types of addictive disorders, such as substance abuse disorders and pathological gambling [7–10]. People experiencing IAD showed clinical features such as craving, withdrawal and tolerance [7, 8], increased impulsiveness , and impaired cognitive performance in tasks involving risky decision-making .
As similar with the abnormalities in the dopaminergic neural system in individuals with substance-related addiction , the role of dopaminergic neural system in IAD also has been elucidated in a few researches [12–14]. In a recent study, people with IAD were found to have altered resting-state glucose metabolism in several brain regions including the major dopamine projection areas such as the striatum and orbitofrontal region . Moreover, another study found that adolescents with increased genetic polymorphisms in genes coding for the dopamine D2 receptor and dopamine degradation enzyme were more susceptible to excessive internet gaming compared with an age-matched cohort of controls . In a positron emission tomography (PET) imaging study, reduced levels of dopamine D2 receptor in subdivisions of the striatum including the bilateral dorsal caudate and right putamen were found in the individuals with IAD . Taken together, these findings suggest that IAD may also be partly due to impaired dopaminergic neural systems similar to substance-related addiction .
Dopamine transporter (DAT) is a protein situated in the presynaptic terminal and striatal DAT is responsible for the active dopamine reuptake into the presynaptic neuron and plays a critical role in the regulation of striatal synaptic dopamine levels [16–18]. Altered DAT concentration in the striatum following chronic substance administration has been reported previously [19–24]. However, whether the abnormality of DAT also exists in IAD has not been illustrated before.
In recent years, imaging of DAT has been used as an important tool in clinical settings to display changes in the brain structure of patients with substance-related addiction [21–24]. In addition, the radiotracer 99mTc-TRODAT-1, a technetium-99 m (99mTc) labeled tropane derivative (technetium,2-[[2-[[[[3-(4-chlorophenyl)-8-methyl-8-azabicyclo [ 3 , 2 , 1 ] oct-2-yl]-methyl](2-mercaptoethyl)amino]ethyl]amino]ethanethiolato(3-)]-oxo-[1R-(exo-exo)]-), is regarded as a safe and suitable imaging agent for monitoring DAT status for human imaging studies [21, 25, 26]. In the present study, we used single photon emission tomography (SPECT) with the radiotracer 99mTc-TRODAT-1 to investigate striatal DAT density to identify potential presynaptic abnormalities in IAD subjects compared to age-matched healthy controls. This study aims to test the hypothesis that the altered availability of DAT is associated with the pathogenesis of IAD.
IAD was assessed using Young's Internet Addiction Diagnostic Questionnaire (IADDQ)  and Goldberg's Internet addictive Disorder Diagnostic Criteria (IADDC) . All of the questions of IADDQ and IADDC were translated into Chinese. To be eligible, participants in the IAD group were asserted that five or more "yes" responses to the eight questions of IADDQ and to satisfy three or more of IADDC (i.e., tolerance, withdrawal, craving and unplanned use, failure to reduce use, excessive use, sacrificing social activities to use, and physical and psychological problems associated with use).
Five men (mean ± SD, 2 0 . 4 0 ± 2 . 3 0 years old) with IAD were randomly selected from the patients seeking treatment at the Peking University Shenzhen Hospital. The IAD subjects used the internet almost everyday, and spend more than 8 hours (mean ± SD, 1 0 . 2 0 ± 1 . 4 8 hours) everyday in front of the monitor, mostly for chatting with cyber friends, playing online games, and watching online pornographies or adult movies. These subjects were initially familiar with internet mostly at the early stage of their adolescence (mean age ± SD, 1 2 . 8 0 ± 1 . 9 2 years old) and had the indications of IAD for more than 6 years ( m e a n ± S D , 7 . 6 0 ± 1 . 5 2 years).
Nine age-matched controls ( m e a n ± S D , 2 0 . 4 4 ± 1 . 1 3 years old) recruited through advertisement participated in this study. No statistical difference was found for the ages of the participants between the two groups ( 𝑃 = 0 . 9 6 ). The participants in the control group used Internet occasionally or frequently but spent no more than 5 hours a day on the line (mean ± SD, 3 . 8 1 ± 0 . 7 6 hours) and did not satisfy the diagnosed criteria of IAD [4, 27].
All the recruited participants were native Chinese speakers, never used illegal substances (sometimes, a few of the participants smoked or drink alcohol, but none of them meet the diagnosis criteria of substance-related disorders ), had no history of significant medical, neurological or psychiatric diseases, and were right-handed. All the participants gave written informed consent before participation after the nature of the procedure was fully explained, including possible risks and side effects. All procedures for this study were approved by the ethics committee of the Peking University Shenzhen Hospital.
TRODAT-1 ligand (liquid) was supplied by the Department of Chemistry, Beijing Normal University (Beijing, China). The radiotracer 99mTc-TRODAT-1, 740 MBq (20 mCi) with purity >90% was synthesized as described previously . And SPECT studies with 99mTc-TRODAT-1 were carried out using a Siemens DIACAM/E.CAM/ICON double detector SPECT with lower-energy all-purpose collimator (Siemens, Erlangen, Germany). The imaging method was performed as described previously [25, 29]. Subjects were injected intravenously with 740 MBq (20 mCi) of 99mTc-TRODAT-1. Imaging was performed 2.5 h after the administration of 99mTc-TRODAT-1. The acquisition parameters included 64 views over 18 s per view and a 1 2 8 × 1 2 8 matrix over 360° with a rotation in 5.6° increments. Transverse reconstruction backprojection was applied to the raw data. A Butterworth filter was then applied with an order of 15 and a cutoff of 0.33 Nyquist frequency. Photon attenuation correction was performed using Chang's first order correction method using an attenuation coefficient of 0.15 cm−1 . The transverse image thickness was 2.7 mm (1 pixel). All images were processed and reconstructed using the same procedure.
Image analysis was done using the region ratio software of the E-Cam. Regions of interest (ROIs) were drawn on 12 transverse images, the pixels were extracted and counts of whole brain and bilateral corpus striatum were carried out. The volume (V) and weight (W) of bilateral corpus striatum as well as the ratio of corpus striatum/the whole brain (Ra) was calculated using the mathematical models as described in the previous paper [21, 31].
Data in the present paper are presented as means ± standard (mean ± SD). Statistical Program for the Social Sciences for Windows, version 11 (SPSS 13.0, SPSS Inc, Chicago, USA) was used to analyze the data. Differences between the groups were assessed by Student's t-test. For all of the tests conducted, the criterion for significance was set at 𝑃 < 0 . 0 5 .
The DAT images of the bilateral corpus striatum in the control group showed a panda-eye shape and DATs were distributed uniformly and symmetrically in the corpus striatum. The bilateral corpus striatum was situated on 8–12 layers, as shown in Figure 1(b). However, the DAT images of the IAD subjects displayed different levels of abnormity, in which the corpus stratums were much smaller and showed different shapes, dumbbell, thin strip, lunate shape, or sporadic spot (Figure 1(a)).
Figure 1: (a,b) representative 99mTc-TRODAT-1 SPECT images of an IAD subject in comparison with an age-matched healthy control ((a) a 20-year-old male IAD subject; (b) a 20-year-old male healthy control). Left hemisphere is on right side of image. The IAD subject demonstrates a significant decrease in binding of 99mTc-TRODAT-1 to the DAT in the striatum and the bilateral corpus striatum is much smaller and more irregular than that in the control.
As shown in Figure 1 and Table 1, DAT expression level of striatum was significantly decreased in IAD subjects. Briefly, in comparison with the controls, there were significantly lower values of V (cm3), W (g) and Ra of corpus striatum in the IAD group, suggesting that decreased 99mTc-TRODAT-1 bound to DAT or impairment as well as dysfunction of corpus striatum occurred. No statistical difference was found as comparing V or W of the bilateral corpus striatum (left side and right side) either in the IAD group ( 𝑃 = 0 . 6 7 and 𝑃 = 0 . 6 8 resp.) or in the health control group ( 𝑃 = 0 . 1 0 and 𝑃 = 0 . 1 1 resp.).
Table 1: Comparison of corpus striatum V (cm3), W (g), and Ra between IAD subjects and the controls.
IAD resulted in impaired individual psychological well-being, academic failure, and reduced work performance, especially among adolescents [1–4]. However, there is currently no standardized treatment targeted for IAD. To develop effective methods for intervention and treatment of IAD, it will first require establishing a clear understanding of the underlying neurobiological mechanisms. In the present study, we assessed the DAT expression level in IAD subjects and healthy controls using 99mTc-TRODAT-1 SPECT. We found that DAT expression level of striatum was significantly decreased and the values of V, W, and Ra of the corpus striatum in IAD subjects were greatly reduced. The imaging results provided the direct-viewing proof of altered availability of DAT in brain of people with IAD.
DATs play a critical role in the regulation of striatal synaptic dopamine levels [16–18] and have been used as markers of the dopamine terminals . A reduced number of cell membrane DATs may possibly reflect pronounced striatal dopamine terminal loss or the brain dopaminergic function impairment which has been found in substance-related addiction [21–23]. PET imaging studies have found increased release of dopamine in the striatum during the video game . Patients with pathological gambling also demonstrated high level of dopamine in the ventral striatum during gambling . Because increased extracellular dopamine in the striatum is associated with subjective descriptors of reward (high, euphoria) [11, 35], individuals with IAD may also experience euphoria as the extracellular dopamine in the striatum increases. However, long-time and high concentrations of dopamine have been shown to cause a selective lesion of dopamine terminals [32, 36] and decreased size of dopaminergic cell bodies . Taken together, the reduced DATs found in our study may indicate the neuropathologic damage to the dopaminergic neural system caused by IAD.
According to our knowledge, this is the first imaging study to examine the abnormality of DAT in the brain of IAD subjects. Furthermore, the imaging results of the present study provide the objective proofs that long-term maladaptive use internet might cause serious problems. However, for complete interpretation of the results of the present study, some limitations should be noted. Firstly, the small sample size of our study may limit the generalizability of our results. Those positive associations in our study might have been due to chance or a stratification effect in the sample collection, and further studies in independent samples or a larger population are required. Secondly, the IAD subjects in the present study reported different desired activities when they are sitting in front of the monitor (including chatting with cyber friends, playing online games, watching online pornographies or adult movies, etc.). Our study can not determine whether the different types of Internet behaviors may cause different brain DAT changes. Therefore, the present study can only be recognized as exploratory and primary, and more research work should be done before we get the most definitive conclusion.
The results from this study provide evidence that IAD may induce significant DAT losses in the brain and these findings suggest that IAD is associated with dysfunctions in the dopaminergic brain systems and are consistent with previous reports in various types of addictions either with or without substances [21–23, 37]. Our findings support the claim that IAD may share similar neurobiological abnormalities with other addictive disorders .
H. Hou and S. Jia are contributed equally to this work.
This work is partly sponsored by Grants from the Zhejiang Provincial Natural Science Foundation of China (Z2110230), Health Bureau of Zhejiang Province (2010ZA075, 2011ZDA013), National Science Foundation of China (NSFC) (no. 81101023, 81170306, 81173468), and Ministry of Science and Technology of China (2011CB504400, 2012BAI13B06).


Marketing is not rocket science. But it does require a written game plan.
Some of you may protest that written plans aren't a necessity for your business. Yet I doubt many of you would let your accounting staff keep track of your company's numbers in their heads. So why would you treat marketing any differently?
Capturing your marketing strategies on paper allows you to maintain your focus, track your progress, and measure your results.
Many people mistakenly think that a marketing plan involves only advertising and promotional activities. On the contrary, marketing encompasses many areas, including product development, pricing, distribution, targeting, sales projections and, oh yes, advertising and promotions.
Each area is important in the big picture and critical to have well thought out and planned before you begin spending money promoting your products or services.
A written plan serves as a reminder of the big picture, which can be godsend when you are in the swamp fending off alligators on a daily basis.
Think of your plan as a road map that helps you stay focused on your objectives.
New opportunities and challenges, which were not addressed in your plan, are bound to surface. The better defined your plan is, the better position you will be in to assess new information and make decisions that are in line with your goals.
Not only can a written plan give you focus, it can do the same for your employees. As a tool, your plan can help staff understand company goals and empower them to make decisions that are consistent with the company's objectives.
Plus, once committed to paper, you have a record to brief new hires on your overall marketing vision and goals.
By tracking your progress on a regular basis, you'll be able to determine what's working and what's not.
Is our new product launch achieving forecasted revenue? Has our revised distribution strategy resulted in greater market coverage? Is our most recent advertising campaign having an impact on web traffic? Are the tools we've given our sales force delivering the projected productivity gains needed to keep us competitive?
If you don't identify and track important performance measures, it increases your risk of failure.
Your marketing plan needs to include quantifiable objectives, tactics and milestones that relate back to your goals. Clearly outline what is to be tracked and the procedures to be used. Your financial department will also be interested in tracking spending against budgets as well as the projected cash flow needed to implement the next phase of the plan.
Lastly, accountability needs to be assigned. Who is responsible for tracking, reporting and ensuring goals are met?
Tracking should occur on a regular and ongoing basis. Depending on the size of your company, you should probably aim to review your progress on a monthly or quarterly basis.
As you track your progress, you can also tweak your plan along the way if you find that some element is clearly not working. Be sure to give your strategies a fair chance (be patient - results don't happen overnight) but don't make the mistake of waiting too long to make changes or it will be harder to get back on track.
Retail department store magnate, John Wanamaker, is reported to have said, "I know that half my advertising is wasted, I just don't know which half."
Until you measure the results of your plan, how can you know if it was effective or not? Remember that the definition of insanity is doing the same thing over and over and expecting different results.
Frankly, you'd have to be a little crazy not to put measurement metrics in place. By measuring results, you are able to prove the worth of your plan. This will make selling future ideas to management much easier and will likely be required to get outside funding from banks.
Although it's not always an appetizing prospect, measuring the results of your initiatives also allows you to document and learn from your mistakes. With data to show what works and what doesn't, you can revisit past plans and make changes for the better.
Perhaps most importantly, having a formal plan puts you in a great position to create subsequent years' marketing plans since you don't have to start from scratch.
Creating a set of marketing strategies does not have to be an ordeal. But, as mentioned earlier, it does require a written game plan, which once documented, becomes your road map to success.


The project TRUE ITALIAN TASTE, The Extraordinary Italian Taste – Promotion and Enhancement of the authentic Italian agri-food products is promoted and financed by the Ministry of Economic Development in collaboration with the Italian Chamber of Commerce in Hong Kong and Macao and Assocamerestero.
The project's activities will be implemented during 2019 and 2020 with the support of AICIG (the Italian Association Consortia of Protected Geographical Indication).
The project is part of a national campaign whose main goal is to promote awareness around the World about the authentic and certified agri-food Italian products, as in the continent supermarkets' shelves extensively host many products evoking Italy, neither having any connection to Italy nor involving an Italian manufacturer.
To learn more about Italy's project for the promotion of authentic Italian DOP and IGP products around the World, visit the official website of the project www.trueitaliantaste.com.


Drug kingpin Joaquin 'El Chapo' Guzmán found guilty of funneling tons of narcotics into the U.S.
(NBC) – Mexican drug lord Joaquin "El Chapo" Guzmán was found guilty on Tuesday of crimes spanning more than a quarter of a century, during which prosecutors said he smuggled more than 200 tons of cocaine into the U.S.
Guzmán, 61, now faces life in prison.
More than 56 prosecution witnesses were called to the stand at the heavily-secured federal courthouse in Brooklyn over the course of 35 days.
The seven women and five men of the jury listened to movie-esque tales of brutal murders of cartel enemies, political payoffs, elaborate schemes to traffic drugs, two brazen escapes that almost became three and even a love triangle.
In closing arguments, prosecutors told the jury that an "avalanche of evidence" proved that Guzmán lorded over a murderous drug empire. Presenting that evidence took 11 weeks.
Meanwhile, the defense rested after 30 minutes. They countered that the government's case was only held up by the testimony of criminals who "lie, steal, cheat, deal drugs and kill people" for a living.
Guzmán addressed the courtroom only once during the trial, telling the judge he was electing not to testify in his own defense.


Get ready for crunchtime in France.
As Sunday's first-round presidential election nears, the polls are showing a nail-bitingly close race between four candidates, setting the scene for what could be a shake-up in European financial markets next week. Two anti-European Union candidates have a serious chance of making it into the final runoff round on May 7, raising fears this could be the beginning of the end for the eurozone.
"This remains an open contest and the result could yet serve up a far bigger blow for the European project than we saw with Brexit," said Tony Cross, market analyst for TopTradr, in a note.
Usually a French general election doesn't present a make-it or break-it moment for the entire eurozone, but this time its different. After a race full of surprises, a surge in the polls by far-left, euroskeptic Jean-Luc Melenchon has again reminded investors of the sweeping antiestablishment sentiment grabbing Europe and the U.S. at the moment.
Far-right, anti-EU candidate Marine Le Pen is also doing well in the polls and currently looks like she'll get one of the two spots in the runoff. Analysts said the late Thursday suspected terror attack in Paris could give her a late-campaign surge and cement her position further. The big question is who she'll face in the second round.
Will it be centrist Emmanuel Macron, who pollsters and analysts see as the favorite to emerge as president in May? Will it be scandal-ridden, dark horse candidate François Fillon who's enjoyed an 11th hour rebound in support? Or will it be Melenchon, who has promised to rework the treaties that set the framework for the EU and then hold a referendum on whether to remain in the bloc.
"Investors (and French voters) are getting worried about a 'nightmare' scenario in which Le Pen faces Mélenchon on 7 May, leaving them with a hard choice between two anti-globalization, anti-EU and pro-Russia candidates," strategists at Citigroup said in a note.
"The French election presents 'volcano' risk, i.e. strong moves are likely across financial markets but risks are very much two-way," they added.
And here are the two-way risks: A win for either Le Pen or Melenchon would spark a selloff in risk assets and drive French and European equities down 5%-10% by the end of June, Citi said. However, if Macron or Fillon secures the presidency, stocks in Europe could see a 10%-20% rally before the end of the year, they said.
Over at Bank of America and UBS, the forecasts were also downbeat in case of a Le Pen Victory. BofA said a win for the National Front leader could trigger a 13%-23% slide in the Eurostoxx SXXE, +0.05% while UBS forecast a whopping 35% slump for that index.
For the euro EURUSD, -0.2138% the French election result could also have a significant impact, analysts said. HSBC strategists said the shared currency could drop to $0.90—below parity—in the case of the "worst-case scenario" of a Le Pen-Melenchon runoff.
"With the very real risk growing in this scenario that France's next president might take the eurozone's second largest economy out of the bloc, the euro could fall hard," HSBC's team said.
On the plus side, the euro could rally to $1.12 if the runoff turns into a showdown between Macron and Fillon, HSBC said. The euro on Friday traded around $1.0711.
"If we get a Macron/Fillon second round runoff, this is likely to be considered 'market friendly,' triggering a rally in the euro, the [French CAC-40 stock index] PX1, +0.20% but also in the German Dax DAX, +0.11% and Eurostoxx index, which have had decent correlations with the French bond yield this year," said Kathleen Brooks, research director at City Index, in a note.
So what should investors do as the vote draws closer? With an unprecedented number of undecided voters, there's no clear-cut result on the horizon and the Trump win and Brexit vote have showed opinion polls are difficult to trust.
The Citi analysts suggest sticking to their "Les Dix" strategy. "Les Dix" refers to 10 buy- or neutral-rated stocks that will give investors exposure to a risk-on outcome—a Macron or Fillon win—while at the same time protecting against the risks of a Le Pen or Melenchon win. That's because they all have high international sales exposure, so would get a boost from a euro slump, Citi said.
Despite the uncertainty hanging over the French election, investors seem to have an insatiable appetite for European, and French stocks in particularly.
According to the monthly Bank of America Merrill Lynch fund manager survey the allocation to eurozone equities rose to a 15-month in March, while moves into U.S. stocks plunged to the lowest level since 2008. That marks the fifth biggest rotation since 1999, according to the bank.
"The chief beneficiaries are French stocks. Sentiment has completely flipped and is now net 22% overweight [from -24% in February]. Although we agree on the allure of Europe's earnings recovery, complacency looks extremely high," they BofA analysts said in a note.
France's CAC 40 index is up about 4% year-to-date, compared with a 4.6% rise for the Stoxx Europe 600.


The paper "Identifying and Utilizing Dependencies Across Cloud Security Services" by A. Taha, P. Metzler, R. Trapero, J. Luna and N. Suriwas accepted at 11th ACM Asia Conference on Computer and Communications Security (ASIACCS 2016).
The paper "On Choosing Server- or Client-Side Solutions for BFT" by M. Platania, D. Obenshain, T. Tantillo, Y. Amir and N. Suri was published in the journal ACM Computing Surveys.
The Dependable, Embedded Systems and Software (DEEDS) group is led by Prof. Neeraj Suri. The group conducts systems research focusing on "Trustworthiness" i.e., the provisioning of "Dependable & Secure" Distributed Middleware and Services.


text:
IK-2 can mean:

 Ikarus IK-2, a 1930s Yugoslav fighter aircraft
 Corrective colony No. 2, Vladimir Oblast, a prison in Vladimir Oblast, Russia
 Corrective colony No. 2, Mordovia, a women's prison in Russia

redpajama_set_name: RedPajamaWikipedia


Growing up, Valentine's Day was always kind of a cheeky joke in my house. I'm a Scorpio — born on November 14th — which means that I was, as my parents put it, a love baby. Most years, I would wake up to flowers or a small gift and my hippie parents hovering over my bed, jokingly announcing that they made me x number of years ago that day. In fact, I still call or text them every year on V-Day, congratulating them on the best decision they ever made.
TMI? Stay with me. It wasn't until college when the romantic (and commercial) aspects of Valentine's Day started creeping into my field of view. I fully embraced the grand gestures and kitschy novelty of cupid motifs and teddy bears holding "I love you" pillows. Maybe it's my sappy upbringing or questionable taste, but even today, as a somewhat model environmentalist, it's hard for me to give the ax to this made-up holiday and its inscrutable waste.
Yes, you should skip the cheaply made stuffed animals and the imported roses. But you should also embrace this short month for what it is: a catalyst to meaningfully connect with others. Focus on your bonds, celebrate Black History Month, and work on your resolutions.
That's why this issue's theme is connection, specifically how we connect with one another to protect the planet.
If, like me, you also can't help but stan a good motif, don't worry. We'll bring on the sustainable kitsch like we do every holiday season, with a full schedule of editorials, features, and guides.
Pictured: Sjaak's Organic Chocolates Palm Oil Free Lollipop.


Whether you're a kid or an adult, Busch Gardens is full of fun for all ages all year round. With thrilling roller coasters, rides, family-friendly shows, and unique seasonal events, there's always something happening at Busch Gardens. Wondering which roller coasters and rides you have to go on during your visit? Scroll down to read about the excitement of all the rides Busch Gardens has to offer!
An award-winning roller coaster at Busch Gardens Williamsburg, Apollo's Chariot will keep you smiling and screaming for over 4,882 feet of track. You will be taken to a maximum of 210 feet before you have a free-flight sensation at speeds up to 73 miles per hour. Look out for this wild purple track rollercoaster during your visit. You won't want to leave without giving this coaster a try!
Ever wondered what was the first roller coaster with a 90 degree drop? The answer...GRIFFON! It was the first of its kind where you reach 205 feet before you go straight down at 75 miles per hour! Once you're at the top, it's a view you'll never forget. The anticipation waiting in line is heart-pounding, but trust us when we tell you it's a one of a kind experience riding this roller coaster.
Named after the legendary snow beast, Alpengeist is one of the fastest and most insane roller coasters in the world. After climbing to its maximum height at 195 feet, you will be hurtled through 6 staggering inversions at speeds up to 67 miles per hour!
This interlocking, double-looping favorite among park guests is a classic! The Loch Ness Monster, known as Nessie, gives you a peek at Scotland's most infamous serpent. Nessie will hurl you along 3,240 feet into the air, over water, and through a dark cave. Keep your eyes wide open until you stumble upon the yellow track and the heart-pounding interlocking loop.
Even before you enter the park, you can see this massive tower over the trees. Known as the tallest ride in the park, Mach Tower will take you on thrill ride. You will be lifted up into the air until you are looking over the entire park at a height of 240 feet! After you are spun around the top of this giant tower, you will experience a drop at breathtaking speed. If you're visiting Busch Gardens during the winter season, make sure to check out Mach Tower as it turns into Nacht Tower, a holiday attraction with more than eight million Christmas lights at a birds'-eye view. If you don't like the feeling of free fall, no need to stress. It is the one time of year where there are no sudden drops.
Defy gravity during your visit at Busch Gardens by taking on this high thrill coaster. Tempesto will launch you up into the air and you will race into unbelievably tight turns at speeds of 63 miles per hour. Featuring three launch experiences and a signature loop-the-loop, Tempesto is one you won't want to miss!
Take a tour of the ancient ruins on Pompeii on a flume experience. Even the mighty Roman Empire was no match for the ferocious Mt. Vesuvius, which left Pompeii covered in a blanket of lava and ash. This volcano has long been at rest until now! Hold on tight to your seat as a leisurely boat ride quickly turns into an explosive splash!
Not a big fan of high-thrill roller coasters? Don't worry because Busch Gardens has rides for everyone. Check out these additional rides that are still exciting: Roman Rapids, Le Scoot, Trade Win, Finnegan's Flyer, Da Vinci's Cradle, Battering Ram, Der Wirbelwind, and Verbolten. Busch Gardens also has plenty of family and kid-friendly rides! Check out Busch Gardens website for more information about the rides and height restrictions.
Busch Gardens has some awesome seasonal events coming up this Fall and Winter. Starting September 15th, Busch Gardens has its annual event, Howl-O-Scream. Filled with fun and fright, Busch Gardens turns into a haunted park and leaves you wanting to go back. This year, they are celebrating 20 years of fear and scares and are adding an all-new era of terror, never seen before. Your visit will be a collection of haunted houses, immersive themed scare zones, challenging escape rooms and darkly entertaining live shows.
Starting October 6th, celebrate silly, not-too-spooky fun on Saturdays and Sundays in October. Children ages 9 and under are invited to dress up and join Busch Gardens costume parade. There are additional activities as well including an all-new hay maze, trick-or-treating locations and interactive show.
Both of these events end on October 28th so make sure to plan your visit before then. Find additional event information online and check out the Howl-O-Scare factor for families and groups traveling with young children.
From November 16th to January 5th, you won't want to miss Busch Gardens Christmas Town. This beautiful theme park becomes one of the largest Christmas light displays in all of the United States. This event is full on holiday food and drinks, shopping and heart-warming shows. Bring your kids to take pictures with Santa and his little helpers at Santa's workshop and meet Rudolph and his fellow reindeer at Rudolph's Winter Wonderland. Christmas Town at Busch Gardens makes the spirit of the season truly come alive.
Busch Gardens offers a great discount for groups of 15+! By purchasing the tickets online, you will save $28 per ticket. Just make sure you purchase the tickets at least 2 days prior to your visit. For additional group information and discounts, you can call Busch Gardens group sales specialist at (757) 253-3404 or submit your request online here.
Busch Gardens offers one day and multi-day tickets. Tickets are usually $90 for one day, $110 for 2 day, and $120 for 3 day. Right now, you can save 50% on one day tickets when you buy your tickets online by September 30 and visit Busch Gardens Williamsburg by October 28. For multi-day tickets, you can currently save $30 when you buy online and visit Busch Gardens Williamsburg for two or three days.
See group tickets by clicking Here.
BUSCH GARDENS PARK MAPS. ALL CREDITS BUSH GARDENS.
If you are traveling with a big group, a great option would be to rent out a charter bus or school bus to take your group back and forth from the park. The great part about chartering a bus is you get picked up and dropped off right at your doorstep. BookBuses.com provides accurate and affordable quotes according to your needs during your trip, such as custom stopovers, restrooms, WiFi, power outlets, and much more. Instead of having to do intensive research on different kinds of charter buses you can get, head to the BookBuses.com saves you so much time researching different bus charter options as the website platform allows you see and compare all the different charter bus companies so you can get the best price! To make things even easier for you, BookBuses takes care of all the details. All you have to do is book a bus and wait for the day it arrives! Visit bookbuses.com or call (646) 801 6280 for more information and the different bus possibilities for your group travels!
Trying to get to Busch Gardens Williamsburg?


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Oscars 2020 live streams Reddit link
How to watch Oscars Awards 2020 live stream
Oscars Tonight 2020 Live Stream
The Academy Award for the Academy of movie Arts and Sciences, AMPAS, has modified the date of the subsequent edition. subsequent edition, titled the 92nd Academy Awards, are going to be persisted February 9, 2020. The venue for the event is Dolby Theater in Hollywood, l. a. , California. This edition are going to be the primary within the last 10 years and can be held within the first and second weeks of February. Traditionally, it's held in late February per annum. The dates of the Oscars for the approaching years are revised. an excellent gathering of artist celebrities.
Where is the Oscars tonight 2020
The Oscars tonight 2020 Awards are going to be persisted February Sunday, 9, 2020. Red carpet coverage begins at 6:30 pm. ET, 3:30 pm PT, award ceremony starts at 8 pm ET, 5pm PT. (USA) it'll not be held outside of the Dolby Theater in Hollywood, l. a. , California. This ceremony is great for artists. This edition is that the 92nd time this competition has been held. The program is so popular that it is often broadcast anywhere within the world. U.S. fans will watch the ceremony via the official ABC channel. The dates for the subsequent two editions are fixed on February 27, 2021, and February 27, 2022. The prize is awarded in a minimum of 24 categories and airs anywhere within the country. The event is going to be broadcast in additional than 225 countries and regions.
How to watch Academy Awards 2020 Oscars tonight
You already know that the ABC channel is the official broadcaster of the event. The station is predicated within us, and therefore the station offers Americans the chance to observe the event. ABC has cable and online streaming channels in order that many of us within the country can comfortably watch live Oscars tonight 2020.
Oscars tonight 2020 Channels
Oscars tonight is the official streaming station is ABC Channel. This channel is out there and there's a special app you'll trust to observe that event. you'll see it through the Sky channel. most significantly, it's available on the spread of online channels. There are a number of them, like Sling TV, Hulu Channel Live, YouTube Channel, and other social media websites.
Oscars tonight 2020 Live Stream Without a Cable
The OSCARS tonight 2020 award is going to be announced on February 9, 2020, and can be the 92nd edition within the history of the event. it's organized by the Academy of movie Arts and Sciences. This edition is the highest award within the film and motion industry for 2019. this is often one among the simplest works for Hollywood performers. This edition is going to be held at the Dolby Theater in Hollywood, l. a. , California. thanks to the importance of the award, this event is to be seen by fans around the world. With the date of the encounter approaching, many of us are worried that they're getting to watch the fight. There are alternative ways to observe on cable, internet, etc. Here are some ways to observe the event live.
When it involves quality, there's no other online TV which will challenge YouTube channels. Once you get the signal, you'll watch Oscars tonight 2020 and other online events. Always the simplest option for cable cutters and moving cutters. Compatible with various devices and works properly with various operating systems like Android, iOS, etc.
Hulu With Live TV
Hulu's live TV is an alternative choice for those that don't want to measure broadcast their Oscars tonight over cable. Hulu may be television but is predicated on the web. That is, it only must work with smart devices. Works on desktops, laptops, smartphones, smartwatches and more. Being constantly moving means you're not always round the world for yourself. it's an excellent opportunity for you.
PlayStation Vue is Sony's Internet TV. it's intended for people that don't have time to urge cable or satellite television service. Broadcasters are available to subscribers and have the chance to observe a spread of programs, including those watched by traditional TV users. If you discover it difficult to observe the Oscars tonight 2020 edition survive TV, you'll think about using this platform. Before using it, you would like an online connection.
Who Will Host Oscars tonight 2020?
It is not yet clear which celebrities will host the 2020 Oscar Awards. there's speculation that subsequent edition will have fewer hosts. When this happens, it never happens for the primary time since it happened within the past. Opportunities will still be very colorful.
Final & Last words for Oscars tonight
Oscars tonight 2020 is rapidly approaching and therefore the next edition is going to be celebrated altogether parts of the planet. persisted February 9, 2020, this is often the 92nd event to be held. many of us around the world try to observe it because it appears within us through its official streaming station, ABC. The station will work with others to broadcast the event sleep in all regions of the planet. Others use the VPN service to observe where they need to observe from restricted areas.
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