Sportradar subsidiary Betradar has signed another lottery partnership, agreeing a deal to launch its virtual football solution for Germany's Lotto Hessen.
The deal further strengthens Betradar's portfolio of state lottery clients, with the company now supplying more than thirty lotteries on four continents with a range of products and services, though Lotto Hessen becomes the first state lottery to launch the virtual football product.
Commenting on the partnership, Lotto Hessen chief executive Dr Heinz-Georg Sundermann explained that state lotteries had to be innovative in introducing new products and services in order to effectively compete against private operators and attract younger players.
Sportradar's director of state lottery business Joni Hovi added that he was pleased to have Lotto Hessen become the latest partner to launch the virtual football solution.
Lotto Hessen achieved a turnover of €587.3m last year and maintains a network of more than 2,000 retail outlets. It is also a member of Germany's Lotto and Toto Block and is a founding member of the newly-licensed private lottery operator Deutsche Sportlotterie.


a Video Work and/or a Digital Work as the context requires.
This section applies to all Customers, whether or not they are Licensees.
a. it will adhere to these Terms and Conditions, the Digital Licence (if the Customer is a Licensee) and all such practice guidelines (which shall include all practice guidelines and instructions set out on the BBFC Website) that may be issued by the BBFC from time to time. All such practice guidelines shall be deemed to be incorporated into and form part of these Terms and Conditions (such practice guidelines will normally be issued with thirty days' notice).
d. fees are non-refundable, in whole or in part, for any work carried out by the BBFC and the Customer shall remain liable for the full amount. The Customer shall pay all value added tax at the rate prescribed by law.
h. the BBFC shall notify the Customer whether or not it considers a Work is suitable for classification and, if it considers the Work is suitable, a category will be offered for the Work together with Ratings info (as appropriate).
An optional Electronic Black Card can be made available on request.
o. Customers must ensure that the content of any Video Work supplied by that Customer (or on its behalf) to the public is identical to that Video Work awarded the VRA Classification. The Digital Licence applies in respect of Digital Classifications.
Customers should be aware that additional guidelines and rules relating to the BBFC's classification procedure and usage guidelines appear on the BBFC's website and such guidelines and rules shall be deemed to be incorporated into these Terms and Conditions.
This section applies to all Customers.
4. A Digital Classification will automatically be awarded in respect of a Video Work which has successfully received a Video Classification.
a. Customers may apply for a Digital Only Classification where a Video Classification is not required (e.g. the Work will only be distributed online).
b. Customers should apply for a Digital Only Classification via the Extranet.
c. Digital Only Works will be classified under current BBFC published guidelines for submissions available at www.bbfc.co.uk.
d. The BBFC will notify the Customer whether or not it considers the Work is suitable for classification and, if it considers the Work is suitable, a category will be offered for the Work together with ratings info (as appropriate).
e. If a Customer disputes the category offered for a Work it may, within 42 days of receipt of the offer, request the BBFC to reconsider its decision under the BBFC's reconsideration policy which is available on the BBFC's Website. Appeals under the Video Appeals Committee Provisions 2012 are not available for Digital Only Classifications. If the Customer does not wish to dispute the category the Customer must accept the category via the Extranet.
f. An optional Electronic Black Card can be made available on request.
g. If a Customer has not accepted a category and has not made a request for reconsideration within 42 days of receipt of the offer of the category, then the category will be deemed to have been accepted by the Customer, and the category will be published by the BBFC on its Website shortly thereafter.
h. Only Licensees are permitted to use Digital Classifications and the Licensed Materials and must do so in accordance with those parts of the Terms and Conditions relevant to such use and the Digital Licence. No Customer may grant any rights to a third party to use a Digital Classification or the Licensed Materials.
i. Acceptance of a Licensee as a Licensee shall be at the sole discretion of the BBFC.
j. Where a Licensee wishes to distribute electronically a work in a different aspect ratio to that of the Digital Work which obtained the original Digital Classification then provided that the content is identical to the original work in all other respects, and provided that such aspect ratio change would not lead to a variation in classification, and provided that the ratio change results in no increase in visible picture, the aspect ratio change will not cause the work to be treated as a new work for the purposes of the Digital Classification.
6. Licensees may apply for Digital Classifications (where a Customer has not already done so) and may use all current Digital Classifications in respect of Digital Works for which the Licensee has digital distribution rights and other Licensed Materials in accordance with the Digital Licence.
7. A Customer may apply to be a Licensee by submitting a BBFC Digital Service Licensee Application Form.
8. Licensees agree to adhere to and be bound by the terms of the Digital Licence set out in Schedule 1 which governs the use by Licensees of the Licensed Materials.
9. Licensees may access electronic data required to create and display the Licensed Materials referred to and in accordance with the Digital Licence through the Extranet but only in respect of Works for which an Digital Classification has been granted and in relation to which that Licensee has digital distribution rights.
b. its rights under these Terms and Conditions and/or the Digital Licence (for Licensees) (save as expressly set out therein).
11. Change of Distributor: No rights to use Digital Classifications or Classification Category Symbols are transferred by virtue of a change in distribution rights of any classified Work. If BBFC gives consent to the transfer of the right to use a Digital Classification or Classification Category Symbols to another Customer then the BBFC reserves the right to charge a fee in respect of this.
12. Customers will have permission to use certain promotional materials for advertising and marketing purposes pursuant to and as set out in practice guidelines issued by BBFC from time to time.
13. All marketing content (including pack shots) must meet the presentation and information standards set out in practice guidelines issued by BBFC from time to time.
14. Use by the Customer of any promotional material and marketing content pursuant to clause 12 and 13 shall include a clear acknowledgement of the copyright and other intellectual property rights of the BBFC.
15. The BBFC shall be entitled to make public the names of any and all Customers.
16. No statement, note or record of proceedings of meetings, seminars or training sessions may be passed to any third party without permission of the BBFC.
17. The BBFC shall have no liability to a Customer in respect of the grant or failure to grant any Digital Classification or Video Classification, provided such grant or failure to grant is made according to the BBFC guidelines and these Terms and Conditions.
18. The BBFC shall have no liability for any loss or damage incurred by any Customer or third party as a consequence of any advice or any recommendations provided by the BBFC at the request of a Customer.
19. All warranties, terms and conditions, whether implied or arising under statute or common law, custom, trade usage or course of dealing between the parties or otherwise, shall be excluded to the fullest extent permitted by law.
20. The BBFC's liability to a Customer and a Customer's liability to the BBFC shall be limited to exclude altogether liability, howsoever arising, for damage to software, damage to or loss of data, loss of profits or contracts, loss of business or of anticipated savings, loss of goodwill, loss of reputation and for any other type of indirect, incidental or consequential loss or damage.
21. The BBFC's maximum aggregate liability to a Customer and a Customer's maximum aggregate liability to the BBFC in each case in respect of claims based on events in any calendar year arising out of or in connection with the grant of Video and/or Digital Classifications and/or the BBFC's Digital Service (including the Digital Licence) whether in contract or tort (including negligence or otherwise) shall not exceed £100,000.
23. Each Customer shall at all times keep the BBFC, its officers and servants effectively indemnified against all actions, proceedings, costs, charges, claims, expenses and demands whatsoever which may be made or brought against the BBFC, its officers or servants by any third party in respect of any alleged injury, loss, damage or expense arising out of or in connection with a breach of these Terms and Conditions, or any practice guidelines by that Customer.
24. Where at the request of the Customer, the BBFC supplies the services of an officer, examiner, technician or other person to the Customer, such officer or other person shall, for the purposes of any liabilities to third parties or loss or damage sustained by the Customer or by the BBFC, be deemed to be the servant of the Customer, and the BBFC shall not be liable for loss or damage of any kind, however caused.
25. Where a Video Classification is issued in respect of a Video Work, the use of such certificate, Classification Category Symbol and Ratings info is granted solely for use in the identification, labelling and distribution of the classified Work in the form of a Video Work as required by statute. Customers should be aware that the Classification Category Symbols are Registered Community Design Marks in the European Union and UK Trade Marks. Where a Digital Classification is issued in respect of Work the use of such certificate and other Licenced Materials is granted to Licensees solely as set out in the Digital Licence. All Customers must also comply with usage guidelines issued by the BBFC from time to time.
26. Customers must not use such certificates, Classification Category Symbols, information and labelling to promote, identify or otherwise represent that any work has been granted BBFC certification for electronic distribution by streaming, downloading or similar, unless a Digital Classification has been granted and such use is by a Licensee and in accordance with these Terms and Conditions and the Digital Licence.
27. This Section applies to all Customers.
28. The fees payable for classification of Video Works and Digital Works are set out on the BBFC Website. The BBFC reserves the right to vary its classification fees at any time on 30 days' notice, such notification to be given on BBFC's Website.
c. where changes have been made to a Work following a cuts request that significantly differ from those required by the BBFC.
30. Except where otherwise agreed at the BBFC's sole discretion, all classification fees must be paid in advance. BBFC operates a prepayment system for all works submitted. Customers may operate on a pro forma invoice basis, or send money on account, which is run down as works are received and topped up as necessary.
31. If any fees are not paid on the due date for payment interest shall be payable on the outstanding amount from the due date until the date of actual payment (whether before or after any judgement) at the rate of 3% above the base rate of Barclays Bank plc from time to time, such simple interest to accrue on a day to day basis.
32. All fees are exclusive of VAT and other applicable sales taxes which, if applicable, shall be payable in addition.
33. Time is not of the essence in any contract with the Customer, and the BBFC shall not be liable for any delays in the supply of materials and services by it or any losses whatsoever due to any such delays, howsoever caused.
The definition in this clause applies in these Terms and Conditions.
any event arising that is beyond the reasonable control of the affected party (including any industrial dispute affecting any third party, governmental regulations, fire, flood, disaster, civil riot, act of terrorism or war).
35. Where the BBFC or a Customer becomes aware of a Force Majeure Event which gives rise to, or which is likely to give rise to, any failure or delay to perform its obligations under these Terms and Conditions it shall forthwith notify the other and shall inform the other of the period for which it is estimated that such failure or delay shall continue. The affected party shall take reasonable steps to mitigate the effect of the Force Majeure Event.
36. The parties accept no responsibility for breaches of these Terms and Conditions occurring as a result of a Force Majeure Event.
37. The definition in this clause applies in these Terms and Conditions.
38. Each party shall protect the Confidential Information of the other party against unauthorised disclosure by using the same degree of care as it takes to preserve and safeguard its own confidential information of a similar nature, being at least a reasonable degree of care.
39. Confidential Information may be disclosed by the receiving party to its employees, affiliates and professional advisers, provided that the recipient is bound in writing to maintain the confidentiality of the Confidential Information received.
was required to be disclosed by a governmental authority, provided that the party subject to such requirement to disclose gives the other prompt written notice of the requirement.
41. The obligations of confidentiality in this clause shall not be affected by the expiry or termination of the BBFC's Digital Service or the expiry or termination of the Customer's relationship with the BBFC.
to Licensees, where a work to which they hold digital distribution rights has not yet received a Digital Classification, of information regarding the status of those works.
43. No Customer may assign, transfer, sub-licence, sub-contract or dispose of any of its rights or obligations under these Terms and Conditions without the prior written consent of the BBFC, such consent not to be unreasonably withheld or delayed. The BBFC may assign, transfer, sub-licence or sub-contract its rights and obligations under these Terms and Conditions without consent, provided that it gives advance notice to the Customers.
44. A Customer who has been granted a Video Classification or rights to use a Video Classification shall not be entitled to transfer, sub-licence, sub-contract or dispose of any right, interest or obligation in respect of that Video Classification and/or the relevant Classification Category Symbol without the prior written consent of the BBFC, such consent not to be unreasonably withheld.
45. Any failure or delay by the BBFC to exercise or enforce any right conferred by these Terms and Conditions shall not be deemed to be a waiver of such right.
46. These Terms and Conditions and any BBFC practice guidelines (including practice and instructions set out on the BBFC Website) represent the entire agreement between the BBFC and each Customer concerning the subject matter of these Terms and Conditions, and supersede all prior purchase orders, written terms and conditions, written or verbal representations, advertising or statements relating in any way to the subject matter of these Terms and Conditions and any BBFC practice guidelines.
47. Each Customer acknowledges that in agreeing to these Terms and Conditions it has not relied on any representation, warranty, undertaking, promise or other assurance (whether contractual or otherwise) given by or on behalf of the BBFC except those set out in these Terms and Conditions and waives all rights and remedies, which, but for this clause might be available to it in respect of such representation, warranty or other assurance, provided that nothing in this clause shall limit or exclude any liability for fraudulent misrepresentation.
48. If any provision of these Terms and Conditions is found to be invalid or unenforceable by a court of law of competent jurisdiction, such a finding shall not affect the other provisions of these Terms and Conditions and all provisions of these Terms and Conditions unaffected by such a finding shall remain in full force and effect.
49. If any invalid, unenforceable or illegal provision would be valid, enforceable or legal if some part of it were deleted or modified, the provision shall apply with whatever modification is necessary to give effect to the commercial intention of the parties.
50. These Terms and Conditions may only be varied in writing by means of variation signed in writing by the BBFC. The BBFC reserves the right to make changes to these Terms and Conditions, by giving Customers 6 weeks' notice, such notification to be made on the BBFC Website.
51. Nothing in these Terms and Conditions shall constitute, or be deemed to constitute, a partnership between the BBFC and any of its Customers nor shall it constitute, or be deemed to constitute, any Customer as the agent of the BBFC for any purpose.
52. Nothing in these Terms and Conditions or otherwise gives any Customer any rights of ownership in the BBFC's Digital Service, the Classification Category Symbols or the Licensed Material which shall remain the sole property of the BBFC and any goodwill derived from the use thereof shall accrue to the BBFC.
53. These Terms and Conditions are made solely for the benefit of the BBFC and the Customers and are not intended to benefit, or be enforceable by, any other person.
54. The right of the parties to terminate rescind or agree any amendment, variation, waiver or settlement under these Terms and Conditions is not subject to the consent of any person who is not a party.
55. BBFC shall be entitled to assume that any signature or other communication (including electronic communications and submissions made via the BBFC Website) from a Customer has been fully authorised by that Customer.
or such other address as the BBFC may specify for this purpose on its website.
(if the notice is to be served by post outside the country from which it is sent) sent by registered airmail.
if deemed receipt under the previous paragraphs of this clause is not within business hours (meaning 9.00 am to 5.30 pm Monday to Friday on a day that is not a public holiday in the place of receipt), when business next starts in the place of receipt.
58. To prove service, it is sufficient to prove that the notice was transmitted by e-mail address of the relevant party or, in the case of post, that the envelope containing the notice was properly addressed and posted.
60. Each Customer irrevocably waives any objection which it may have now or in the future to the courts of England being nominated for the purpose of this clause on the ground of venue or otherwise and agrees not to claim that any such court is not a convenient or appropriate forum.
61. Any Customer who is not established in England for the purpose of service of proceedings shall appoint, and notify to the BBFC on applying to become a Customer, a person being a partner in a firm of solicitors in England to accept service of all legal process arising out of or connected with these rules and the online licence and service on such person (or any substitute subsequently notified to the BBFC) shall be deemed to be service such Customer. Except upon such a substitution any such Customer shall not revoke any such authority or appointment and shall at all times maintain an agent for service of process in England and if any such agent ceases for any reason to be an agent for this purpose shall forthwith appoint another agent and advise the BBFC accordingly.
the term "the film" refers to the film, trailer, advertisement or other media that has been submitted by you to the BBFC for classification.
it is a condition of the BBFC's agreement to provide services to you that in the case of the classification of the film there shall be prepayment according to the BBFC's published tariff of fees.
Where at your request the BBFC supplies the services of an officer, examiner, technician or other person to you, such officer or other person shall, for the purposes of any liabilities to third parties or loss or damage sustained by you or by the BBFC, be deemed to be your servant, and the BBFC shall not be liable for loss or damage of any kind, however caused.
Time is not of the essence in any contract with you, and the BBFC shall not be liable for any delays in the supply of materials and services by it or any losses whatsoever due to any such delays, howsoever caused.
You shall at all times keep the BBFC, its officers and servants effectively indemnified against all actions, proceedings, costs, charges, claims, expenses and demands whatsoever which may be made or brought against the BBFC, its officers or servants by any third party in respect of any alleged injury, loss, damage or expense arising out of or in connection with the services supplied by the BBFC to that customer.
Where a certificate is issued in respect of the film, the use of such certificate, BBFC symbols, Ratings info and BBFC extended classification information is granted solely for use in the identification, labelling, marketing and distribution of the film for UK theatrical release.
Fees are non-refundable, in whole or in part, for any work carried out by the BBFC and you shall remain liable for the full amount. You shall pay all value added tax at the rate prescribed by law.
The fee charged by the BBFC to you in respect of its services relates to the examination by the BBFC of the film. The decision as to the BBFC's proposed classification and any conditions on which that classification will be issued, or alternatively its decision not to classify, will be conveyed to you by the BBFC as soon as is practicable and will not unreasonably be delayed.
Notwithstanding Section 10, additional examinations which may, in the view of the BBFC, be necessary will not attract further fees. The BBFC is not bound to reach any particular decision as to classification and may at its discretion decide that the film is not suitable for a certificate to be issued in respect of it.
where changes have been made to the film following a cuts request that significantly differ from those required by the BBFC.
Feature films, short films and trailers for theatrical classification must be submitted in one of the ways set out in Schedule One, below.
You must inform us of the language of the film and, if it is not in English, whether it is accompanied by English subtitles.
There will, in normal circumstances, be a 72-hour processing period between the viewing of the film or other item and the release of the BBFC's decision. The BBFC will always endeavour to reduce this period in genuine emergencies, but there shall be no obligation on the BBFC to do so. There may be occasions where the BBFC in its absolute discretion deems that the nature of the film entails a longer processing period, and no action, claim or demand shall lie against the BBFC in respect thereof.
The BBFC shall notify you whether or not it considers the film is suitable for classification and, if it considers the film is suitable for classification, a certificate will be sent to you.
In the case of the screening of your film work outside of the BBFC's premises, neither you nor any other third party not authorised by the BBFC will be allowed to attend the screening.
A certificate issued in respect of a work which contains images of such short duration that they are unlikely to register when viewing at normal speed may be withdrawn if the images throw into question the category awarded and were not drawn to the attention of the BBFC at time of submission.
These sections deal with the procedure to be adopted in cases where you are dissatisfied with the determination made by the BBFC in respect of your film work.
The BBFC offers a formal "reconsideration" procedure if you are dissatisfied with the determination made in respect of your work. The reconsideration is free of charge and will normally take less than 10 working days.
You should note that a reconsideration involves looking at the issues afresh. This means that the outcome could, in some circumstances, be more restrictive than the original determination.
any cuts or alterations required regardless of category (compulsory cuts).
You can request an internal reconsideration of the category awarded up to 42 calendar days after receiving the classification certificate, provided that the work has not been commercially exhibited under a BBFC classification in the UK (press and private screenings, and festival screenings made with the specific agreement of the relevant local authority may be discounted). If more than 42 calendar days has elapsed, or if the work has been commercially exhibited under the BBFC classification in the UK, then the decision can only be revisited by means of making a fresh submission, with normal fees applying.
Requests to reconsider cuts must be made with 42 calendar days of receipt of the cuts list.
On receipt of a valid written request for reconsideration, the BBFC will ensure that the work, or the relevant parts of the work, are viewed by the relevant members of staff.
The outcome of the reconsideration will be communicated to you within 10 working days (subject to print availability), provided there is no need to seek views from legal and/or other external advisers, in which case such views will be sought and considered as soon as is reasonably practicable.
If a reconsideration results in a different outcome, you are required to discard any previous BBFC Black cards and certificates in lieu of the recent outcome.
Only finished and complete material should be submitted for classification. However, there may be occasions during which errors or late decisions result in changes being made after the examination but prior to release. (This might include instances where the film has been submitted without final credits.) In certain circumstances, it may be possible to classify such works without a full viewing, with the appropriate tariff applied.
If more than 42 calendar days have passed since classification or if the film has been commercially exhibited under a BBFC classification in the UK, any new version will be treated as a fresh submission and will be viewed in full.
You must make a fresh submission on the extranet. The BBFC will provide a determination of the amount of examination time required and an appropriate charge will be levied.
You must provide must provide written confirmation of the changes made and of whether you want to withdraw the original version or proceed with both versions.
The BBFC accepts film works 'for advice' on any format playable by BBFC equipment (or on the equipment at any external venue provided by the company). The fee for advice viewing is 75% of the fee that would be payable for a formal submission.
Occasionally the quality (picture or sound) may be of a level that would normally be unacceptable in a formal submission. In such cases, you should note that improvements in sound or picture quality may have a bearing on the BBFC's final decision.
Works submitted for advice are submitted in the same manner as formal submissions. A submission form must be received with the 'advice viewing' box clearly ticked. If the medium on which the work is received is measurable (i.e. DCP or DVD) it will be measured and checked by the BBFC's Operations Department, as per a normal submission.
If the work is to be screened at an external premises or exists only as a computer file, you will be asked to provide a measurement, which may be approximate.
Advice viewings will normally be seen within three working days of your request but is subject to the availability of the Senior Examiners.
The BBFC offers an "As Live" certificate for content that might include stage or sporting events shown "as live." "As Live" exhibitions can involve a delay of a few minutes, hours, days or even months but are characterised by being unedited images of an event that took place before a live audience.
The BBFC's "As Live" certificates may be applied for with regard to transmissions of live events which have taken place within the past 7 days ('within 7 days' being defined as an exhibition which begins before midnight on the seventh day following the start of the live event).
details of any restrictions applying to children attending the live event, i.e. children under [x years] not admitted.
the certificate is not valid if any misleading information has been supplied or relevant information omitted.
In each case the restriction on entry for the "As Live" showing will mirror as far as possible the restriction in place for the live event. The as live restriction will never be less strict than the live restriction.
The BBFC will also issue you with a "white card" to be displayed in cinemas showing the performance. The white card will include the age-related symbol (12A, 15 or 18) and the following wording:"This as live certificate has been provided for cinema exhibition on the basis of information provided by the distributor and without the material being viewed prior to exhibition".
The cost to the distributor of this service will be £100 plus VAT.
Any liability of the BBFC for any loss of, or damage to your property whilst in the BBFC's keeping for purposes of classification shall be limited to the replacement value of the recording medium, together with the cost of transferring to it from a master copy the necessary audio-visual information.
You are in a better position than the BBFC to insure your work and operations against loss, damage or delay arising out of any goods being left in the keeping of the BBFC or their being transported to or from the BBFC's premises, and the BBFC shall not therefore be under any obligation to take out such insurance.
The version submitted to the BBFC for examination must be the exact, finished version intended for release. The film or other recording submitted to the BBFC for examination and classification will in normal circumstances be continuous and will not include any gaps. (For works in progress and incomplete works, please see 'Advice Viewings'.
The media items we receive must contain only and exactly the feature film, short film or trailer to be examined. If a media item submitted for a theatrical certificate contains any other material, such as a trailer before the start or in the middle of a film, we will put the work on hold and require you to submit replacement media items. This will incur a second handling charge and a further viewing charge.
All media items (DCPs, USBs, Blu-rays etc.) must be labelled clearly. KDMs and trailer links must be emailed to projection@bbfc.co.uk by 3pm the working day before examination.
We require the media item(s), any KDM(s), the payment and the submission form to be delivered by the time stated.5. It is your responsibility to check with us that all materials have arrived on time; the BBFC will contact you to remind you to deliver your materials by the deadline but it is not our responsibility if the work doesn't arrive If you fail to meet the delivery deadline for either the media item(s) or the payment, your submission will lose its place in the schedule, which will result in a cancellation fee.
Feature films, short films and trailers must be accompanied by a submission on the BBFC extranet.
Public Information/Campaigning Films must be accompanied by a submission on the BBFC extranet.
You must deliver the DVD, if that is the format it will be projected to audiences and payment by 3pm the working day before examination.
USB hard drives/memory sticks/discs, along with any KDM (key) and/or username needed to unlock/play them, as well as the payment, must arrive by 3pm the working day before examination.
The trailer link, along with the KDM and/or username and anything else needed to access the site, as well as payment, must arrive by 3pm the working day before examination.
The content and payment must arrive by 3pm the working day before examination (unless other arrangements have been agreed with us at least two working days in advance or if the work has been submitted as a Pre-Booking Express work).
Films and trailers released only on 35mm must be seen at an outside venue. Please contact the Operations department to arrange for the viewing date, venue and print delivery.
Please note that 3D film releases must be submitted and classified in 3D. Any work being released in both 2D and 3D need to be submitted as a 2D/3D comparison on the film submission form, a measurement will be taken of both versions and if they are the same to within seconds, we will process the works for the price of one full submission plus one administration fee.
IMAX film releases must be classified at an IMAX screen. The submission must be booked in with the Operations Department in the usual way. Any work being released in IMAX and any other theatrical format(s) will require separate submissions due to the different formats having the potential to raise differing classification issues.


A soft-spoken Elmont, NY native, Testaverde's Hurricane career was characterized by humility, patience, persistence, outstanding natural ability and a serious commitment toward team success... rewrote nearly every Miami passing and total offense record en route to winning the University's first Heisman Trophy in 1986...he played in only one losing regular-season game and was a consensus All-American selection after serving for three years in a back-up capacity to Miami quarterback legends Jim Kelly and Bernie Kosar... completed 413 of 674 career passing attempts for 6,058 yards and 48 touchdowns in two years as the Miami starting quarterback.
Native of Key West, FL...two-time All-American (1962-63), "The Matador" led the `Canes to a pair of bowl games and set nearly every passing record at Miami...threw for 348 yards during a snow storm against Nebraska in Yankee Stadium's 1962 Gotham Bowl...finished fifth in the 1962 Heisman balloting.
A native of Guatemala but raised in Miami, "The Mad Stork" became one of the most feared pass rushers in college football...UM's only three-time All-American (1966, '67 & '68), Hendricks finished his Hurricane career as the leading all-time tackler and was voted fifth for the 1968 Heisman.


Do you ever think, "I must be crazy for doing this" when working towards a goal? When you see a glimmer of success, do you doubt yourself or push forward towards the finish line? I have to started to combat "this is crazy" with "shut the f up and keep going" - it's working a lot better, you should try it.


text:
package org.jgroups.protocols;

import org.jgroups.*;
import org.jgroups.protocols.pbcast.NAKACK2;
import org.jgroups.protocols.pbcast.STABLE;
import org.jgroups.stack.Protocol;
import org.jgroups.stack.ProtocolStack;
import org.jgroups.util.Util;
import org.testng.annotations.AfterMethod;
import org.testng.annotations.BeforeMethod;
import org.testng.annotations.Test;

import java.lang.reflect.Method;
import java.util.ArrayList;
import java.util.Arrays;
import java.util.List;

/**
 * Tests large retransmissions (https://issues.jboss.org/browse/JGRP-1868). Multicast equivalent to
 * {@link org.jgroups.protocols.UNICAST_RetransmitTest}
 * @author Bela Ban
 * @since  3.6
 */
@Test(groups=Global.FUNCTIONAL,singleThreaded=true)
public class NAKACK_RetransmitTest {
    protected JChannel a, b, c;
    protected static final int MAX_BUNDLE_SIZE=10000;
    protected static final int NUM_MSGS=50000;

    protected static final Method START_RETRANSMISSION, STOP_RETRANSMISSION;

    static {
        try {
            START_RETRANSMISSION=NAKACK2.class.getDeclaredMethod("startRetransmitTask");
            START_RETRANSMISSION.setAccessible(true);
            STOP_RETRANSMISSION=NAKACK2.class.getDeclaredMethod("stopRetransmitTask");
            STOP_RETRANSMISSION.setAccessible(true);
        }
        catch(NoSuchMethodException e) {
            throw new RuntimeException(e);
        }
    }

    @BeforeMethod
    protected void setup() throws Exception {
        a=new JChannel(Util.getTestStack()).name("A");
        b=new JChannel(Util.getTestStack()).name("B");
        c=new JChannel(Util.getTestStack()).name("C");
        change(a, b, c);
        a.connect("NAKACK_RetransmitTest");
        b.connect("NAKACK_RetransmitTest");
        c.connect("NAKACK_RetransmitTest");
        Util.waitUntilAllChannelsHaveSameView(10000, 500, a, b, c);
    }

    @AfterMethod
    protected void destroy() {Util.close(c,b,a);}

    /**
     * Sends a number of messages, but discards every other message. The retransmission task in NAKACK2 is initially
     * disabled. Then starts the retransmission task, which should generate an XMIT-REQ which is larger than
     * TP.max_bundle_size, leading to endless retransmissions. With JGRP-1868 resolved, the receiver should get
     * all messages.
     * <p/>
     * https://issues.jboss.org/browse/JGRP-1868
     */
    public void testLargeRetransmission() throws Exception {
        a.setReceiver(new MyReceiver());
        b.setReceiver(new MyReceiver());
        c.setReceiver(new MyReceiver());
        List<Integer> la=((NAKACK_RetransmitTest.MyReceiver)a.getReceiver()).getList();
        List<Integer> lb=((NAKACK_RetransmitTest.MyReceiver)b.getReceiver()).getList();
        List<Integer> lc=((NAKACK_RetransmitTest.MyReceiver)c.getReceiver()).getList();

        stopRetransmission(a);

        insertDiscardProtocol(a);

        for(int i=1; i <= NUM_MSGS; i++)
            a.send(null, i);

        removeDiscardProtocol(a);
        startRetransmission(a);

        for(int i=0; i < 10; i++) {
            if(la.size() == NUM_MSGS && lb.size() == NUM_MSGS && lc.size() == NUM_MSGS)
                break;
            STABLE stable=a.getProtocolStack().findProtocol(STABLE.class);
            stable.gc();
            Util.sleep(1000);
        }

        System.out.println("A.size(): " + la.size() +
                             "\nB.size(): " + lb.size() +
                             "\nC.size(): " + lc.size());

        for(List<Integer> list: Arrays.asList(la,lb,lc)) {
            int expected=1;
            for(int num : list) {
                assert expected == num;
                assert num <= NUM_MSGS;
                expected++;
            }
        }
    }

    protected static void change(JChannel ... channels) {
        for(JChannel ch: channels) {
            TP transport=ch.getProtocolStack().getTransport();
            transport.setMaxBundleSize(MAX_BUNDLE_SIZE);
            NAKACK2 nak=ch.getProtocolStack().findProtocol(NAKACK2.class);
            if(nak == null)
                throw new IllegalStateException("NAKACK2 not present in the stack");
            nak.setValue("max_xmit_req_size", 5000);
            nak.setValue("max_msg_batch_size", 10000);
        }
    }

    protected static class MyReceiver extends ReceiverAdapter {
        protected final List<Integer> list=new ArrayList<>();

        public void receive(Message msg) {
            Integer num=msg.getObject();
            list.add(num);
        }

        public List<Integer> getList() {return list;}
    }

    protected void stopRetransmission(JChannel ... channels) throws Exception {
        for(JChannel ch: channels) {
            NAKACK2 nak=ch.getProtocolStack().findProtocol(NAKACK2.class);
            STOP_RETRANSMISSION.invoke(nak);
        }
    }

    protected void startRetransmission(JChannel ... channels) throws Exception {
        for(JChannel ch: channels) {
            NAKACK2 nak=ch.getProtocolStack().findProtocol(NAKACK2.class);
            START_RETRANSMISSION.invoke(nak);
        }
    }

    protected static void insertDiscardProtocol(JChannel ... channels) {
        for(JChannel ch: channels) {
            ProtocolStack stack=ch.getProtocolStack();
            stack.insertProtocolInStack(new DiscardEveryOtherMulticastMessage(), stack.getTransport(), ProtocolStack.Position.ABOVE);
        }
    }

    protected static void removeDiscardProtocol(JChannel ... channels) {
        for(JChannel ch: channels)
            ch.getProtocolStack().removeProtocol(DiscardEveryOtherMulticastMessage.class);
    }

    protected static void setLevel(String level, JChannel ... channels) {
        for(JChannel ch: channels) {
            Protocol prot=ch.getProtocolStack().findProtocol(NAKACK2.class);
            prot.level(level);
        }
    }

    protected static class DiscardEveryOtherMulticastMessage extends Protocol {
        protected boolean discard=false;

        public Object down(Message msg) {
            if(msg.dest() == null) {
                discard=!discard;
                if(discard)
                    return null;
            }
            return down_prot.down(msg);
        }
    }

}

redpajama_set_name: RedPajamaGithub


Peyton Manning – Friend or Foe?
According to article, football helmets are ineffective when it comes to concussions.
4 million children play tackle football every year.
American Academy of neurology did a study comparing 10 most popular helmets, out of which none prevent against or reduce chances of concussion.
Virginia Tech did a similar study on 18 helmets and all of them failed in safety, although the National Operating Committee on Standards for Athletic Equipment passed them.


text:
const fs = require('fs')
const path = require('path')
const os = require('os')

const {info} = require('./logger')

function getStagingDirectory (stagingDir) {
  return new Promise((resolve, reject) => {
    if (stagingDir) {
      fs.stat(stagingDir, (err, s) => {
        if (err || !s.isDirectory()) {
          info(this.options.jobId, 'staging directory:', stagingDir, 'does not exist, creating a new one')
          return this._createTempStagingDirectory()
        } else {
          _createImageDirectory(stagingDir, reject, resolve)
        }
      })
    } else {
      resolve(_createTempStagingDirectory())
    }
  })
}

function _createTempStagingDirectory () {
  return new Promise((resolve, reject) => {
    fs.mkdtemp(path.join(os.tmpdir(), 'pdf_ppt_'), (err, folder) => {
      if (err) reject(err)
      _createImageDirectory(folder, reject, resolve)
    })
  })
}

function _createImageDirectory (folder, reject, resolve) {
  fs.mkdir(path.resolve(folder, 'img'), (err) => {
    if (err) reject(err)
    fs.mkdir(path.resolve(folder, 'pdf'), (err) => {
      if (err) reject(err)
      resolve(folder)
    })
  })
}

function sortPages (imageFiles) {
  // Example: /var/folders/dr/f1q4znd96xv8wp82y4cfgg700000gn/T/pdf_ppt_5tz0dw/img/img-5-10.png
  // File = 5, Page = 10
  const rex = /.*(img|pdf)-(\d*)-(\d*).*/
  return imageFiles.sort((a, b) => {
    let aGrps = rex.exec(a)
    let bGrps = rex.exec(b)
    // PDF File Sequence + Page Sequence Comparison
    const fileGrp = 2
    const pageGrp = 3
    let fileComp = aGrps[fileGrp] - bGrps[fileGrp]
    if (fileComp === 0) {
      return aGrps[pageGrp] - bGrps[pageGrp]
    }
    return fileComp
  })
}

function nowInMillis () {
  return Date.now() // process.hrtime()[1] / 1000000
}

function elapsed (start) {
  return nowInMillis() - start
}

module.exports = {nowInMillis, elapsed, sortPages, getStagingDirectory}


land rover defender 90 nardo grey williams edition s90. rivian s r1s suv looks like an all electric land rover. 2018 mitsubishi asx evo redesign 2019 and 2020 new suv. 2019 audi sq7 usa release date price 2019 and 2020 new. new changan cs55 2017 review pictures auto express. 2018 mercedes benz e class amg e 43 4matic sedan overview. honda cr v chrome body side moldings 2017 2018 2019. lincoln mkx chrome tailgate trim 2016 2017 2018. 2009 porsche 911 gt2 in pts orange for sale at 410 000. custom painted blue porsche brake caliper variety of.


Wow do I have big fingers! Trying to change traction tires on a 4-4-0. The old ones come off easily enough. I have a box of tires from Calumet (box is at home, don't remember full name) package says specifically that they will fit this particular model.
I have a dowel that I tapered on one end to expand the tire as I pushed up the cone and then slide ti down towards the wheel pressed against the full diameter end of the dowel. So far no joy.
Anyone got a trick for this that doesn't involve large quantites of bourbon?
Virnex sells a tyre mounting tool for diseasels. As the drivers of the Bachpersonn eight wheeler are small, it should work on that one. It consists of a metal piece over which you slide the tyre. You then slide the other metal sleeve over the metal rod and push the tyre onto the driver.
Failing that, I have had success using a pair of pointed tweezers. I spread the tyre, then start to fit it into the groove. I then bring the tweezers down, around the wheel and together slowly, allowing the tyre to settle into the groove. When I get to the bottom, I put a fingernail up against the last piece of tyre and slide out the tweezers. The remaining part of the tyre will settle into the groove.
I've always use a pair of internal/external snap ring pliers with my smallest tip (.035?) to spread the tire.
Slip the tire over the narrowed end and gently work it up. When it's all the way up move it down about .25" from the end. Line up the end of the dowel with the wheel. Put the whole thing in a Panavise and close it up keeping the dowel aligned with the driver. It isn't perfect, but close enough. Slip the tire down the rest of the way. Out of 4 1 slipped on with almost no problems, the other 3 needed tobe coaxed. I have a watch repair kit with a tiny little pin punch which I used to get under the tire and then just popped it onto the wheel.


text:
Fidelity National drops massive acquisition bid amid opposition
Fidelity's attempt to buy Stewart Information Services fell apart after the Federal Trade Commission said it would oppose the deal
unomat and Getty Images
by Jim Dalrymple II
A proposed acquisition that would have given Fidelity National Financial nearly half of the U.S. title insurance market fell apart Tuesday thanks to opposition from federal regulators.
Fidelity first revealed plans to acquire Stewart Information Services Corporation last year. The deal was valued at about $1.2 billion and would have created a kind of title insurance Voltron, combining the resources of Fidelity — a Fortune 500 company that describes itself as "the nation's largest title insurance company" — and Stewart, which says that "it is one of the largest real estate service companies in the industry."
However, the deal needed approval from the Federal Trade Commission (FTC), which on Friday opted instead to oppose the acquisition.
In a statement, the FTC explained that Fidelity and Stewart are "two of the four largest title insurance underwriters in the United States," or the "Big 4." If the two companies merged, according to the FTC, the combined firm "would have more than 43 percent of" title insurance sales in the U.S.
The FTC's statement adds that the merger of the two companies "would substantially reduce competition in state markets for title insurance underwriting for large commercial transactions, and in several local markets for title information services."
In other words, the FTC believed that the Fidelity-Stewart deal would have turned the Big 4 title insurance giants (which also include First American Title Insurance Company and Old Republic National Title Insurance Company) into the "Big 3." And that, the regulatory agency argued, would be bad for consumers.
Bruce Hoffman
"Competitive title insurance and title information markets are essential to providing Americans affordable and high-quality title insurance products," Bruce Hoffman, director of the FTC's Bureau of Competition, said in a statement. "The merger threatens to continue a trend of consolidation in these markets. Our action seeks to preserve important and beneficial competition that plays out every day in every real estate transaction across the United States."
Fidelity and Stewart responded to the FTC's opposition by abandoning the proposed deal on Tuesday. In a brief statement, Fidelity said that it would pay $50 million to Stewart as compensation for the acquisition falling apart.
Stewart put out a longer statement Tuesday, saying that it was disappointed with the FTC's decision but that it remains "well-positioned to execute on a standalone strategic plan built around growth and profitability."
Fidelity is headquartered in Jacksonville, Florida, and was founded in 1847. The company operates a number of different brands and provides title insurance — or protection in case a property has, for example, a lien against it — and other services for both residential and commercial deals.
Stewart was founded in 1893 and is based in Houston, Texas. It too operates a variety of subsidiary brands and in addition to title insurance also provides loan origination and other services.
After the proposed deal fell apart Tuesday, Hoffman applauded the two companies' decision, calling it "good news for everyone who requires title insurance when purchasing real estate in the United States."
"These customers will continue to benefit from vigorous competition for title insurance underwriting and title information services," Hoffman said in a statement.
Email Jim Dalrymple II
The essential guide to Wall Street and real estate
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redpajama_set_name: RedPajamaCommonCrawl


text:
Phicklephilly
Tales of Rock – Phil Spector Kidnaps The Ramones
Legendary producer and songwriter Phil Spector is one of those guys who is batshit insane, but you'd never know it from his calm, reassuring exterior.
Like the time he put a loaded gun to Leonard Cohen's head. Or that one time when he fired a shot in the studio while he was working with John Lennon. Or all of the other times he allegedly pulled guns on the artists he worked with. But if one incident takes the cake over all of them, it would be the time when Phil allegedly held The Ramones at gunpoint, while working on their End of the Century album.
According to bassist Dee Dee Ramone, while in the studio Phil pulled Joey Ramone away for a private meeting. Dee Dee went off in search of the pair, at which point he says Spector emerged at the top of a staircase, waving a pistol around.
After Dee Dee objected to, you know, having a gun pulled on him and shit, he told Phil he was leaving. That he did this instead of, say, diving behind a piece of furniture while screaming, indicates that the sight of Spector with a gun wasn't all that uncommon.
At that point, Spector allegedly pointed the gun at Dee Dee's chest and motioned for the rest of the band to return to the piano room. Then, with the band captive in the locked room, he sat at a piano and made the band listen to him sing "Baby, I Love You."
Until 4:30 in the morning.
But on the bright side, at least nobody got shot in the face!
Thank you for reading my blog. Please read, like, comment, and most of all follow Phicklephilly. I publish every day at 8am EST.
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Author: phicklephilly
Copyright © 2016 by Phicklephilly All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. All stories and characters are based on real people and events. The names and images have been changed to protect their privacy. Comment Rules: Remember what Fonzie was like? Cool. That's how we're gonna be — cool. Critical is fine, but if you're rude, we'll delete your stuff. Please do not put your URL in the comment text and please use your PERSONAL name or initials and not your business name, as the latter comes off like spam. Have fun and thanks for adding to the conversation!"	View all posts by phicklephilly
Author phicklephillyPosted on March 25, 2018 March 14, 2018 Categories dating
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Posted on May 23, 2015 by Dramabee Kids!
In case you are looking for a fun, dramatic and creative experience for your children I am planning on holding a few short, 2 & 3 day camps this summer.
Mask making/performance camp! Using our own faces as the model we will create masks that fit us perfectly and transform us entirely. We can create a whole new character for ourselves and make a scene to perform!
Day 1 Make the mask base & let dry. As a group, discuss the characters of these masks and begin to see how they might interact. Lunch. Swim!…pool break time! Play improvisation games based on our stories!
Day 2 Paint and decorate the mask. Snack. Quick swim! Lunch. Create scenes with masks and act out!
This is an example of a 2 day camp – I plan on having 2 others similar to this on July 1st, 2nd & 3rd and July 8th, 9th & 10th with the themes of Aesops Fables and Shakespeare :)…both including mask making.
Cost for the camps is $60 per day – obviously best if you schedule allows for the full 2 or 3 day experience!
If you know of others who might be interested, please pass this along.


text:
Architecture | 12 May 2019 | By Ali Morris
Adam Nathaniel Furman's colourful vision for a Tokyo apartment
Colour was key in Adam Nathaniel Furman's latest residential commission for an apartment interior in Tokyo's Nagatacho district. Photography: Jan Vranovsky
When London-based designer and postmodernism enthusiast Adam Nathaniel Furman came across a client who asked specially for a 'bubble gum' flat, he knew it was going to be an exciting project. Located in the heart of Nagatacho, the governmental administrative district of central Tokyo, the apartment blends milky pastels and bright yellow accents that come together to form a harmonious postmodernist collage.
However, when the project began two years ago, Furman was presented with a 160 sq m apartment made up of small uninspiring rooms connected by a long, thin corridor that ran straight through its centre.
'The clients had an old property that they have had since the early 1980s, and together with all the new developments going on in Tokyo for the Olympics, wanted to do their place up in an exciting and fun way that matched how Tokyo was changing,' Furman says. 'They wanted to avoid the small rooms and corridor of the previous layout, so I developed the idea of this large extended kitchen counter, table and screen, which became like a hearth at the centre of the home.'
The two smaller bedrooms at the apartment's entrance were widened with double doors that open up to the large living and dining area, and ceiling heights were increased throughout to make the space feel more open and generous. With the proportions increased and layout in place, Furman turned his attention to materials and colours.
'I am very interested in the sensuousness of rich colour combinations, and have been exploring this through all of my work, at every opportunity,' explains Furman, who has spent the last eight years running Saturated Space, an influential research group at the Architectural Association that publishes and organises symposiums on colour in architecture and urbanism.
Gangnam apartment transformed with Memphis and neo-deco inspired interior design
'This was a very exciting opportunity because the clients were completely passionate about colour as well, and specifically were keen on pastels, and indeed had even told me that they wanted a "bubble gum" flat, as they put it, later coming to refer to the project as the "watermelon"!'
Furman developed what he refers to as 'a hyper-aestheticized celebration of the senses' – a palette of soft but stimulating pastel hues that are accented with bolder shades, specifically canary yellow, which he says adds a 'staccato zing' to the compositions. Textures were carefully selected to balance natural surfaces with smoother artificial ones, both matte and glossy, translucent and solid. Meanwhile rigid geometric shapes are tempered by the perfectly curved arc shapes that are emblazoned on doors.
The multidisciplinary designer, whose previous work spans everything from architecture to sculpture, writing and product design, says he has a particular soft spot for interiors. 'They are where I truly get to create environments that work coherently together across all the areas of interest in design that I have,' he enthuses.
'They are the symphonies where everything comes together, whereas the other things I work on tend to be shorter and more discrete songs. I get so incredibly excited about crafting voluptuous environments formed out of exquisite joinery, beautiful materials and details, and furniture and fittings that are all on their own lovely, but which together create something much greater than just the some of its parts, and which fully encapuslates and elevates the lives of the people who occupy it.' §
For more information, visit the Adam Nathaniel Furman website
TOKYO RESIDENTIAL INTERIORS


Abstract: Species complexes are a common occurrence in freshwater fish assemblages and may often pose a challenge to the understanding of their ecology. A typical case is the `cryptic' carp gudgeon group Hypseleotris spp. in southeastern Australia, which is thought to comprise four closely related species occurring sympatrically within the Murray-Darling Basin (MDB), where flow delivery scenarios have been proposed for the management and conservation of the native fish faunas. The objective of this study was to provide a deeper insight into the occurrence of piscivory and protracted spawning seasons in Hypseleotris spp. based on six years of sampling, and to cast the findings within the broader context of interrelationships between species complexes and their ecology. It is argued that what has been so far referred to as conspecific predation (cannibalism) in Hypseleotris spp. could be explained alternatively as `congeneric' predation, or even as a combination of both. Furthermore, the presence of larvae all year round should be accounted for when assessing the effectiveness of taxon-specific water allocation programs. Better matching of taxonomy with ecology is, therefore, essential for the successful management and conservation of species complexes, and further insights may be provided through the assessment of altricial/precocial forms.


In the Contemporary dance class, students will learn a foundation of dance technique and work together to create pieces.
The classes will improve the students' fitness, balance, musicality and coordination while giving them an opportunity to express themselves through dance.
The dance classes will nurture confidence in a fun and safe environment, by developing movement and giving the children a chance to create some of their own choreography.
We dance in comfortable clothes and bare feet or socks.
No previous experience in dance needed! All welcome!


text:
Listening to Pakistan
Pakistan Photo Gallery
Riko: Seductions of an Artist
Denise B. Dailey
Denise B. Dailey grew up in Brazil, the daughter of a French father and a Chilean-French mother. She moved to Montreal when she was thirteen and received a BS from McGill University and an MFA in writing from Columbia University.
Fluent in four languages, Denise spent much of her adult life teaching in public and private schools in the New York City area including the Diller Quaile School of Music, the Chapin School, I.S. 111 & 164. She has been proud to serve on the Boards of The Children's Storefront, The Chapin School, and Concert Artists Guild. But perhaps her most intriguing professional and personal achievement has been her ability to translate her incredibly broad travel background into teaching moments for those who will never see the ice fields of Antarctica, the most remote villages of the Amazon – or the turmoil of modern-day Pakistan. In particular, her skill in identifying and evaluating the role of women in far-flung venues gives her a platform as a travel writer and observer that even a Tocqueville, Twain or James might not be able to match.
With her husband and three children, Denise has traveled the seven continents and kept extensive journals on each of her trips. Many of these were published in the 1980s and inform her short stories and fables. She has finished her memoir, Leaving Guanabara, about her life as a child in Brazil during the Second World War.
In 2018, Denise self-published a biography of the Czech artist, Jan Emmerich ("Riko") Mikeska: Riko: Seductions of an Artist. LISTEN TO THE PODCAST https://www.podcastone.com/episode/Christopher-Goffard
It is available in hardback with color plates, and in paperback in black and white (except for same colored front and back covers) via: http://www.blurb.com/user/Denise Dailey
It is also available in Kindle version via: https://www.amazon.com/author/denisebdailey
Her memoir, Leaving Guanabara, about her childhood life in Brazil during World War II is available via; http://www.blurb.com/b/9372264-leaving-guanabara
© Denise B. Dailey


text:
By Nancy Lombardiaccess_time6 years ago
UYoung Announces Deal with Mattel
UYoung, a leading Chinese family media and entertainment company, has signed a deal naming Mattel the global master toy partner for its new boys' action series BattleClaw. This agreement marks the first time a Chinese property has signed a global master toy license and also the first time such a license will have its worldwide launch in China, according to the company's statement. In addition, this series is the first boys' action adventure show produced by UYoung targeting both China and the international marketplace.
Aimed at boys ages 6-10, the 2-D animated action series is set to launch on Chinese state broadcaster CCTV on November 25, 2016. Mattel will launch the toy line in the country soon after, marking the first time that Mattel has launched a product range in China before the rest of the world, according to the company's statement.
Under the terms of the agreement, Mattel will manufacture, distribute, and market a wide variety of toys and consumer products inspired by the franchise, including games, action figures, and other items. In addition, Mattel will manage the global licensing and merchandising for the property.
DHX Media Licenses Kids' Series into China
DHX Media has licensed more than 2,400 half-hours of preschool and kids' content across five video-on-demand (VOD) services in China. The deals cover 19 series, including classic Teletubbies, Caillou, Yo Gabba Gabba!, Twirlywoos, Inspector Gadget, Super Why!, and Messy Goes to Okido.
Shanghai Media Group has licensed a slate of 986 half-hours for its Best TV and SiTV platforms, while SVOD service Mango has taken 468 half-hours of shows. In further deals, PPLive has picked up 519 half-hours for its SVOD service, and Youku Tudou has licensed 390 half-hours. In addition, iQiyi has added 51 half-hours to complement the 400 half-hours of DHX Media content already airing on its platform.
DHX Media content has an established and growing presence in China in both English and Mandarin. More than 6,100 half-hours of the company's kids' content is currently available on China's top digital services, extending across 13 VOD platforms, including Alibaba, LeTV, as well as a partnership with China's state broadcaster, China National Television.
Deals Signed for Valerian and the City of a Thousand Planets
EuropaCorp announced seven newly signed licensing partners for Valerian and the City of a Thousand Planets, the upcoming live-action feature film directed by Luc Besson. These licensees include NECA for action figures, die-cast vehicles, and prop replicas; Funko for Pop! and Mystery Mini figures; ACCO Brands for calendars; Love & Madness for jewelry, patches, tattoos, hair accessories, bags, and tech accessories; Just Toys for impulse aisle and blind bag items; Titan for 'Art of' and 'Making of' books and a movie novelization; and Ultra Pro for board games, card games, and gaming accessories. These new licensees join the recently announced interactive partner, Spil Games, who will be releasing a mobile/tablet game based on the film. The film is set for release in July 2017. The licensing deals were brokered by Striker Entertainment, EuropaCorp's worldwide licensing agency.
"Jingle Bell Rock" and "My Special Angel" Now Available for Licensing
2017 will mark 60 years since Bobby Helms topped the music charts with his No. 1 hits and multi-million seller song titles, "Jingle Bell Rock" and "My Special Angel". Since successfully licensing this music title to hundreds of TV shows and feature films, both songs are now available in a variety of new categories.
Bobby Helms' "Jingle Bell Rock", among others became a huge hit and was being played and danced to on Dick Clark's American Bandstand in 1957. It spent 21 weeks on the Billboard charts, as the record gained Gold Disc status. "My Special Angel" found a home on episodes of Mad Men and movies including Liar Liar. Helms introduced the song to millions of television viewers in 1957 when he appeared on the Ed Sullivan Show.
The copyrights and trademarks to both songs are now available for licensing in a variety of new categories including wine, beer and spirits, holiday decorations accessories and collectibles, social expression, greeting cards, gifts, toys and party accessories, and more. Special events will be planned around both of these special titles to commemorate the 60th anniversary of their release.
Those interested should contact Alita Friedman at alita@alitasbrandbar.com.
Star Trek, Her Universe in Deal
In celebration of Star Trek's 50th anniversary, Her Universe, the fangirl fashion company and lifestyle brand, has joined forces with retailer ThinkGeek, to launch an all-new Star Trek fashion collection featuring dresses, jackets, blazers, skirts, fashion tees, scarves, brooches, and more.
Just in time for the holidays, under license by CBS Consumer Products, the retro-inspired designs feature the Star Trek delta shield, Trek uniform-inspired skirts, Starfleet dresses, bomber jackets, and even a Tribble-infused faux fur coat. Customers who purchase $85-plus from the collection will receive a set of four collectible pins from either Star Trek: The Original Series or Star Trek: The Next Generation. Customers who purchase $150-plus from the collection will receive a second pin set.
Encyclopaedia Britannica Launches Book Line with Phoenix
Encyclopaedia Britannica, in partnership with Phoenix International Publications, announced the launch of its first line of Encyclopaedia Britannica Kids-branded children's books at retail. The new line of kids' products by Phoenix International Publications consists of eight brightly colored children's books targeting kids ages 10 months to 5 years old.
Publishing Deal for Little Roy
JAM Media has signed a global publishing deal (excluding North America) with Egmont Publishing for its property Little Roy, which airs on both CBeebies and CBBC in the UK.
The exclusive publishing program includes TV tie-ins for both print and eBooks, and
magazines based on the new hybrid live action/animated series. Content will focus around Little Roy, along with his cartoon persona of Wonder Roy.
The series has already presold to RTE (Ireland), ABC (Australia), NRK (Norway), SVT (Sweden), DR (Denmark), YLE (Finland), VRT (Belgium), and HOP TV (Israel).
Little Roy follows the everyday adventures of 5-year-old Roy O'Brien, as his cartoon abilities and enthusiasm cause some form of mayhem. To solve his real-life quandary, Little Roy escapes into his imagination. In a full cartoon sequence, he takes on the persona of Wonder Roy, and with his sidekick Finn, he plays out his predicament of the day, finds a solution, and applies it to the real world, although it doesn't always go according to plan.
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Yes, Jesus was at Pantheacon. I am not talking about christian forms, although there were plenty of those. At the Old Time Good Spell Feri Pagan Tent Revival (did I get the full title?) I raised my hands along with everyone else, sang "Give me that old time religion" and "I'll fly away" and shouted and fanned myself with the glitter-fan and clapped and listened and was touched. While the irony of using a distinctly American evangelical christian expression at a pagan gathering was a source of great amusement, the ritual felt less like a mockery and more like a syncretic liturgical experience combining hilarity with reverence. The skillful integration of christian elements into pagan worship was stunning.
I could have coped with christian elements, with inter-faith dialogue, the appropriation of Christian forms of worship, the surprisingly friendly attitude of many pagans toward Christianity, the discovery of a syncretic christian-pagan religion in the South. But I was not prepared for Jesus himself to show up at a christopagan ritual. On Monday morning we cast a circle and then we called to Jesus. I almost cried when I sensed the presence of the one I gave my heart to as a child, who walked with me through my Jesus Freak years, who seemed to abandon me in my marriage, and who carried me through the Dark Night back into the light. Jesus was there and we celebrated his love, received an anointing with oil, and shared in holy communion.
Today, nearly three weeks later, I am still processing Pantheacon's syncretism and diversity and all of its theological implications. Christopagans worshiped with Conjure witches, heathens, Gardnerian Wiccans, celtic Druids, and atheistic pagans. I saw many of the cultures of christendom reflected in pagandom; the druids turned out to be "episcopagans", the OTO folks reminded me of Roman Catholics, the Sparklers celebrated like Pentecostals, the heathens had a thoroughly Lutheran feel, and the Reclaiming and Feri folks felt familiar like emergent evangelicals. And somehow, miraculously, they all disagreed, got annoyed and made fun of each other, and mostly got along.
"An Anglican, a Pentacostal, and a Baptist go to church together" sounds like a set-up for a joke – or a disaster. Pentecostals believe Anglicans aren't real Christians, Baptists think Pentecostals have demons, and Anglicans consider them both ridiculous. "A druid, a wiccan, and a heathen go to ritual together" sounds like business as usual at Pantheacon.
The absence of demons, the presence of Jesus, the incredible diversity amazed me. And yet none of these were as shocking as my own very personal experience. I went to Pantheacon by myself in hopes of meeting interesting new people. Those hopes very certainly exceeded.
In my typical uninhibited blunt fashion I contacted a pagan writer before Pantheacon, asking to meet him in person. He agreed and we had lunch on my first day of the conference. To my surprise I felt neither like I was imposing on him, nor did I get the impression that I was the sole beneficiary of our conversation. When I started to make my way into the Christian writer-speaker scene a few years ago, it always seemed like I was imposing and struggling to have my voice heard.
Over the course of the conference I ran into him again and met other writers and thealogians. I had conversations about how aspectual polytheism relates to dispensational eschatology and other über-nerdy subjects and felt right at home. In fact, I had not felt so at home since my teenage years. The sense of belonging was completely startling and culminated in my most shocking discovery.
I was sitting in the hospitality suite of the Covenant of the Goddess. A number of writers and leaders of various kinds were sitting together chit-chatting. The conversation turned toward a certain branch of christianity that I am familiar with and I joined in. Eventually I found myself telling my own personal story. I talked about my religious journey, my failure at being an atheist, and some of the bizarre spiritual experiences I had early in life. And no one batted an eye. No one was startled. No one wanted me to justify or validate what I said.
I was accepted and respected. And I was shocked. I was shocked, because here, in this group, on this brand new path, my voice was heard, my thoughts respected, my uniqueness accepted. I could have cried for joy and then for all of the lost years of over-explaining myself, pleading to be heard, struggling to breathe. That moment at Pantheacon, when I sat in the overstuffed chair and experienced what it was like to be respected as a woman and a theologian reminded me of a day four years ago. A day in which I sat on the couch in my apartment and realized that I had spent almost a decade in an abusive marriage. The sense of loss and liberation was like crashing into a wall, my head ringing for weeks afterwards. Pantheacon left me shocked in a similar way, only this time the loss is already fading quickly in light of the power and wonder I have gained.
This entry was posted in christianity, paganism, religion and tagged christianity, jesus, paganism, pantheacon, syncretism. Bookmark the permalink.
And indeed you do soar, my dear. Thanks for this lovely post.
I am the man with the beard in the center of the picture of the Blue Fire Choir, and Angus is the man with the flowing hair directing us in front of the alters to the Star Goddess and the Mighty Dead.
I'm glad our rite touched you in such a visceral way.
Thanks for your kind words about the Revival! I'm so glad you enjoyed it.
I would be happy to speak with you further about your experience there. I should say that this event (and indeed, some of the concepts presented) are not representative of Feri as a whole. That may seem obvious to some, but we've had that confusion happen before.
The power of the form is undeniable, though, and we've had many people tell us that this ritual has helped them reintegrate parts of their religious past that they'd thought were irredeemable.
you were absolutely fabulous at the Revival! I didn't expect it to be representative of Feri, but I also didn't expect it to have so much depth. As I was reflecting on the event, I imagined a time in the distant future in which we have become barely remembered ancestors and our practices are debated among historians. I pictured a group regularly celebrating pagan tent revivals and scholars arguing over its origins, some insisting that it originated at an early 21st century convention in California, others providing evidence that it actually goes back to a Christian practice common in the 20th century.
What a wonderful story about Pantheacon as a whole and your personal journey. I was also in the Blue Fire Choir. I am so happy to welcome you into the pagan community. I was also raised with Jesus(Southern Baptist) and feel connected to him as well many goddesses and gods. I hope to see you next year. Bright Blessings.
Wow, I had no idea faith gatherings of this sort even existed. How cool!


at school yesterday the kids were able to wear their halloween costumes for the day so we dressed up a little too. a $3 witch hat and some "spooky tights" and viola! Witchy Woman haha. a mom came in and said, "i see you're showing your halloween spirit and you seem to be showing something else!". i hadn't even looked at myself before i left the house (at 6 a.m. my eyes are barely open hahaha). i took a look at my reflection in window and sure enough, my little pumpkin was there xox.


If you know you've broken no laws, wait for the investigation to reveal that. Meanwhile, act like you're president.
It might be a blessing that your agenda, which conflicts in key ways with your campaign promises, is stalled. But sooner or later a disaster, natural or manmade, will strike and a coordinated response will be demanded. Whether you have staffed up the government to handle an emergency seems doubtful as many high-level positions remain vacant, and the people you have appointed are mostly out to undermine their agencies' missions.
The country needs a president; while you were not most voters' choice, you are it. Your best hope of stemming the tide of public disapproval is to act presidential.
Of course, if you know that you committed a crime, just cut to the chase. Fess up, get it over with. Remember, as the late Sen. Howard Baker said of the Watergate scandal which he helped investigate for Congress, the coverup is usually what brings on the biggest trouble. Would Vice President Mike Pence fall on his sword for you like Gerald Ford did for Richard Nixon with a pardon? On that you know better than we.


piece of newspaper over the place. "Hark 'ee, youngster!" cried he.
as humble as if it had been the king himself.
in the water by her washing bench, beating the linen with a heavy wooden bar.
At the same moment, a woman, rather older than herself, came towards them.
nothing. Well, perhaps he is right, but he should not have said it to my child.
"Yes, certainly," replied Martha; "but why do you take it so much to heart?
bear it. Is the bottle empty?" and she leaned against the plank.
alone by the river, near to and watching the damp linen.
and his guests came to the window.
the river, washed and rinsed, badly enough, to be sure, but she did her best.
but he slept at her feet, covered with an old quilt made of blue and white patchwork.
her, and the smell of the good food had been pleasant to her.
drop of blood in him was good and honorable; a better man never lived on earth.
face; but good looks do not last long. You have not been educated like he has.
a dangerous road. I know a worthy man, an artisan, who wishes to marry you.
a knife; but I knew she was right, and the thought pressed heavily upon me.
not a doubt in my mind. We were suited to each other in rank and circumstances.
after, when his father died, he was in foreign lands, and did not come home.
days of trial, when misfortune had fallen upon them.
dollars to build. Eric had credit, so he borrowed the money in the chief town.
Martha when she came to bring her some coffee.
a respectable working man." And the blessing of God rested upon these words.
a rose-tree upon it, and the boy stood by her side.


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It happens to the best of businesses – someone didn't like the brew of coffee they received in room service; the pillows weren't plumped quite to their liking. Perhaps a more serious mistake was made, which wasn't caught by your customer service team. Either way, bad online reviews can hit anyone. The ordinary keyboard warrior, with just a few taps, can change someone's outlook on your and service you provide. It can reflect badly on your staff and your business, regardless of who, if anyone, was at fault.
What makes everything more difficult is the host of reviewing sites, which have spread across the web. From TripAdvisor to Yelp, and even Facebook posts. Even doddering old Granny Margie, with access to an internet connection and a mobile device, can rip into your carefully constructed business with her series of bad online reviews.
And just like in the real world, people are far more likely to voice their negative opinions than their positive ones, which becomes an issue when it takes between ten and twelve good reviews to make up for one bad one.
So how do you solve the ever-arising issue of bad online reviews?
Leaving a negative comment up on the internet unanswered, especially for an extended period of time, shows you're not willing to do anything to change the situation. Answer the comment publically, and professionally, showing you are willing to engage in discourse, and that you are reachable should someone else have a bad experience. This public forum can work to your advantage, as it allows you to set the agenda and tell your side of the story. A good format for response is to thank the person leaving the comment, apologize for what happened, and explain how you will fix it. It is best not to get into a "he said, she said" discourse with difficult customers, although it has happened in the past that bad reviews have become the subject of news stories, after hotels or restaurants revealed the bad behaviour which led to the actions of staff against a customer. Try to avoid this if at all possible, instead leaving a professional but warm message where others can view it and make informed decisions.
It can happen so easily – a mix-up with bills or a wrong meal. We're all human and mistakes occur. The best method of dealing with this is to apologise, if you feel it necessary, offer some compensation, and explain how you and your team are taking steps to ensure it doesn't happen again.
Whoever said the customer is always right has clearly never met a customer. Sometimes, people are just wrong. Whether it's something small such as them misunderstanding what their meal package included, or them trashing the room and then complaining about being charged extra, it is hard to know how to respond to a review that is glaringly incorrect. If it's something small, which won't affect your business, let it go. However, if customers will read it and get the wrong idea, make sure you correct it, as politely as you can. "We apologise that you were misinformed about your meal package, which includes breakfast and dinner every day. We hope you weren't too inconvenienced and will stay again soon" or "We're sorry this charge wasn't clear when you checked out, and we hope we can answer any questions you have about your bill. It is true a standard room is $300, and you indeed paid $400, however the extra charges were for the replacement of the desk lamp and vase you broke during your stay. We hope this clarifies things for you." Again, try to avoid these situations if you can, but don't let a largely misleading review go unanswered, as it could lose you business.
This may seem counterintuitive to your method of dealing with bad online reviews, but if you provide an easily accessible way for customers to send their questions, complaints and concerns straight to you, you can firstly avoid them appearing publically on the internet, and potentially create a peace offering to diffuse the situation before they take it to an open forum.
While it is important to know how to tackle bad online reviews after they are published, the best avenue for solving the issue is stopping it at its source. Ask customers if they were happy with their service, was anything amiss, is there anything else they need, what could we have done better. If there was a problem, it is best to appease customers then and there, so they leave without a bad taste in their mouth. A mildly disgruntled customer whose problem was promptly solved is far more likely to write a good review than a bad one, commending staff on fixing a problem rather than the annoyance simmering until it manifests in a complaint online. Keep checking in with customers, keeping your eyes and ears open in order to provide the best customer service and avoid those pesky bad reviews.
Nobody knows exactly how to respond to a poor review, and it cannot be handled the same way as if the customer were standing in front of you, as people become more confident as they venture online. The best you can do is continue to provide excellent service, and come to a general consensus with the rest of your team when tackling difficult comments.


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