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Article 1, Section 8 of the United States Constitution vests Congress, and by extension the Executive and Judicial branches of our government, with the authority to engage in relations with the tribes, thereby firmly placing tribes within the constitutional fabric of our nation. When the governmental authority of tribes was first challenged in the 1830's, U. S. Supreme Court Chief Justice John Marshall articulated the fundamental principle that has guided the evolution of federal Indian law to the present: That tribes possess a nationhood status and retain inherent powers of self-government.
On-Going В» Page 5 of 103 В» FAP NATION
A federally recognized tribe is an American Indian or Alaska Native tribal entity that is recognized as having a government-to-government relationship with the United States, with the responsibilities, powers, limitations, and obligations attached to that designation, and is eligible for funding and services from the Bureau of Indian Affairs.
When tribes first encountered Europeans, they were a power to be reckoned with because the combined American Indian and Alaska Native population dominated the North American continent. Their strength in numbers, the control they exerted over the natural resources within and between their territories, and the European practice of establishing relations with countries other than themselves and the recognition of tribal property rights led to tribes being seen by exploring foreign powers as sovereign nations, who treatied with them accordingly.
Tribes possess all powers of self-government except those relinquished under treaty with the United States, those that Congress has expressly extinguished, and those that federal courts have ruled are subject to existing federal law or are inconsistent with overriding national policies. Tribes, therefore, possess the right to form their own governments; to make and enforce laws, both civil and criminal; to tax; to establish and determine membership (i.e., tribal citizenship); to license and regulate activities within their jurisdiction; to zone; and to exclude persons from tribal lands.
Congress has recognized the right of tribes to have a greater say over the development and implementation of federal programs and policies that directly impact on them and their tribal members. It did so by enacting two major pieces of legislation that together embody the important concepts of tribal self-determination and self-governance: The Indian Self-determination and Education Assistance Act of 1975, as amended (25 U.S.C. 450 et seq.) and the Tribal Self-Governance Act of 1994 (25 U.S.C. 458aa et seq.). Through these laws, Congress accorded tribal governments the authority to administer themselves the programs and services usually administered by the BIA for their tribal members. It also upheld the principle of tribal consultation, whereby the federal government consults with tribes on federal actions, policies, rules or regulations that will directly affect them.
The Bureau of Indian Affairs is a rarity among federal agencies. With roots reaching back to the earliest days of the republic, the BIA is almost as old as the United States itself. For most of its existence, the BIA has mirrored the public's ambivalence towards the nation's indigenous people. But, as federal policy has evolved from seeking the subjugation of American Indians and Alaska Natives into one that respects tribal self-determination, so, too, has the BIA's mission evolved into one that is based on service to and partnership with the tribes.
"The BIA's mission is to enhance the quality of life, to promote economic opportunity, and to carry out the responsibility to protect and improve the trust assets of American Indians, Indian tribes and Alaska Natives. We will accomplish this through the delivery of quality services, maintaining government-to-government relationships within the spirit of self-determination."
Applications for orphan designation are examined by the EMA's Committee for Orphan Medicinal Products (COMP), using the network of experts that the Committee has built up. The evaluation process takes a maximum of 90 days from validation.
The Agency sends the COMP opinion to the European Commission, which is responsible for granting the orphan designation. The full list of orphan designations is available in the Community register of orphan medicinal products for human use.
Sponsors who obtain orphan designation benefit from protocol assistance, a type of scientific advice specific for designated orphan medicines, and market exclusivity once the medicine is on the market. Fee reductions are also available depending on the status of the sponsor and the type of service required.
At the time of marketing authorisation, sponsors also need to submit an application for maintenance of the orphan designation in order to be eligible for the ten-year market exclusivity incentive. Sponsors may also need to submit an evaluation of orphan similarity.
After highly successful test screenings, the release date was brought forward to July 3, 1985, giving the film more time in theaters during the busiest period of the theatrical year. The change resulted in a rushed post-production schedule and some incomplete special effects. Back to the Future was a critical and commercial success, earning $381.1 million to become the highest-grossing film of 1985 worldwide. Critics praised the story, humorous elements, and the cast, particularly Fox, Lloyd, Thompson, and Glover. It received multiple award nominations and won an Academy Award, three Saturn Awards, and a Hugo Award. Its theme song, "The Power of Love" by Huey Lewis and the News, was also a success.
That night, Marty meets his eccentric scientist friend, Emmett "Doc" Brown, in the Twin Pines mall parking lot. Doc unveils a time machine built from a modified DeLorean, powered by plutonium he swindled from Libyan terrorists. After Doc inputs a destination time of November 5, 1955 (the day he first conceived his time travel invention), the terrorists arrive unexpectedly and gun him down. Marty flees in the DeLorean, inadvertently activating time travel when he reaches 88 miles per hour (142 kilometers per hour).
The flying DeLorean in the final scene used a combination of live-action footage, animation, and a 1:5 scale (approximately 33 inches (840 millimeters) long) model built by Steve Gawley and the model shop crew.[2][109][2] The act of the DeLorean traveling through time was called the 'time slice' effect. Zemeckis knew only that he wanted the transition to be violent. He described it as a "Neanderthal sitting on the hood of the DeLorean and chipping away the fabric of time in front of him".[106] The effect is so quick as to be imperceptible. Zemeckis preferred this, as he did not want the audience to think too much about how everything worked.[110]
Back to the Future received four nominations at the 43rd Golden Globe Awards, for Best Motion Picture (Musical or Comedy), Best Actor in a Motion Picture (Musical or Comedy) (Fox), Best Original Song ("The Power of Love"), and Best Screenplay (Gale and Zemeckis).[11][152] The film was also named Favorite Motion Picture at the 12th People's Choice Awards.[153] At the 1986 Academy Awards, Back to the Future received one award for Best Sound Effects Editing (Charles L. Campbell and Robert Rutledge). It received a further three nominations: Best Original Screenplay (Gale and Zemeckis); Best Sound (Bill Varney, B. Tennyson Sebastian II, Robert Thirlwell, and William B. Kaplan); and Best Original Song ("The Power of Love").[154]
At the 39th British Academy Film Awards, Back to the Future received five nominations, including Best Film, Best Original Screenplay (Gale and Zemeckis), Best Visual Effects (Pike and Ralston), Best Production Design (Paull), and Best Editing (Schmidt and Keramidas).[155] At the 13th Saturn Awards, the film won three awards: Best Science Fiction Film, Best Actor (Fox), and Best Special Effects (Pike).[156] It also won the Hugo Award for Best Dramatic Presentation.[157] Back to the Future performed well internationally: it won Best Foreign Producer (Spielberg) and Best Foreign Screenplay at the David di Donatello awards (Italy), Outstanding Foreign Film from the Japan Academy, and the Goldene Leinwand (Germany) for selling more than three million tickets in its first eighteen months.[158]
At the start of the film, Marty is rejected at Battle of the Bands and admits he fears his ambitions will remain unrealized. He worries he will end up like his parents and sees direct evidence in 1955 of George, also afraid of rejection, and being unable to approach Lorraine; his fears risk Marty's future.[88][191] Marty sets about manipulating the past to ensure his survival without concern for what impact his presence in 1955 is having on others. On his return to 1985, he is rewarded with wealthier parents and a nicer car, but he has simultaneously damaged Biff's future, reducing him to a valet for the McFlys.[45][192] Glover criticized the morality of the film's ending, believing Marty's reward should be happy parents in love with each other, and considered it a result of the film serving corporate interests, promoting the accumulation of wealth and purchasing material objects.[45] In 2015, Zemeckis said the ending was perfect for its time but would be different if he made it now, although Gale disagreed and said he did not apologize for the scene. American audiences generally had no issue with this ending, but it was criticized by some international audiences.[193] 041b061a72