document_title: Shark Tale

question_text: who did jack black play in shark tale

question_tokens: who did jack black play in shark tale

text: Shark Tale

text: Plot[edit]

text: In Reef City, an underachieving bluestreak cleaner wrasse named Oscar fantasizes about being rich and famous. Soon after arriving for work at the Whale Wash, he is called to the office of his boss, a pufferfish named Sykes, to discuss the fact that he owes a large sum of money and must pay it back by the next day. His angelfish best friend Angie offers him a pink pearl that was a gift from her grandmother to pawn and pay his debt. Oscar brings the money to the race track to meet Sykes, but hears that the race is rigged and bets it all on a horse named "Lucky Day". Sykes is furious that Oscar bet the money but agrees to see how the race turns out. Moments before Lucky Day crosses the finish line, he trips and loses.

text: Meanwhile, a family of criminally-inclined great white sharks has a problem with one of their sons, Lenny, who is a vegetarian and refuses to act the part of a killer. His crime lord father, Don Edward Lino, orders Lenny's more savage older brother Frankie to tutor Lenny in the family business. Frankie sees Oscar being electrocuted by Sykes' two jellyfish enforcers Ernie and Bernie and charges at Oscar. However, Frankie is killed when an anchor falls on him. Lenny flees, overcome with grief and guilt. As there were no other witnesses and Oscar was seen near the body, everyone comes to believe that he killed Frankie, an opportunity that Oscar decides to exploit for fame.

text: Oscar returns to the city with a new title of "Sharkslayer". Sykes becomes his manager and Oscar moves to the "top of the reef" to live in luxury. At the same time, Don Lino has everyone search for Lenny. When several sharks approach Oscar's neighborhood, his neighbors expect him to drive them away so he goes and runs into Lenny. Since he does not wish to return home, Lenny begs Oscar to let him stay at Oscar's house. Soon, Angie finds out about the lie and threatens to tell everyone. Oscar and Lenny stage an event in which Lenny pretends to terrorize the town and Oscar defeats him. Though this further cements Oscar's reputation, it greatly angers Don Lino.

text: Oscar buys some Valentine's Day gifts for Angie, but before he can present them to her, he finds that Don Lino has kidnapped Angie to force a sit-down. Lenny attends disguised as a dolphin named Sebastian. Don Lino threatens to eat Angie if Oscar does not comply. Lenny grabs Angie into his mouth, but later regurgitates her. When Don Lino realizes that "Sebastian" is really Lenny, he chases Oscar through the reef. Oscar heads for the Whale Wash and ends up trapping both sharks. He is given an ovation by the other fish, but Oscar confesses that he is not a "Sharkslayer" and reveals the truth behind Frankie's death. He then tells Don Lino that everyone likes Lenny for who he is and urges him not to prejudge people before he knows them properly. Realizing that Oscar is right, Don Lino makes peace with him and Lenny, stating that he and his gang bear him no ill will. Oscar forsakes all the wealth he has acquired, makes peace with the sharks, becomes co-manager of the Whale Wash (now frequented by sharks, killer whales, and swordfish), and starts dating Angie.

text: Cast[edit]

text:
Will Smith as Oscar, an underachieving bluestreak cleaner wrasse worker in the Whale Wash of Reef City who wants to be rich, but his schemes always fail and he ends up owing five thousand clams to his boss.
Robert De Niro as Don Edward Lino, a great white shark and leader of a mob of criminally-inclined great white sharks, who wants his two sons to take over his business and run it together, but becomes infuriated when Oscar gets in the way following one of his sons' death. James Gandolfini was originally set to voice the character, but had to drop out.[3][4]
Renée Zellweger as Angie, Oscar's angelfish best friend and co-worker, who harbors a secret unrequited love for him.
Jack Black as Lenny Lino, Don Lino's youngest son, who is a vegetarian.
Angelina Jolie as Lola, a seductive female gold-digger Siamese Fighting Fish whom Oscar develops a romantic interest in.
Martin Scorsese as Sykes, the pufferfish owner of the Whale Wash and a loan shark to whom Oscar owes five thousand clams. He once worked with Don Lino, but was thrown out and called in his debts to pay off the gangster.
Ziggy Marley and Doug E. Doug as Ernie and Bernie, two Jamaican jellyfish and Sykes' enforcers, who enjoy jabbing Oscar with their vicious stingers when he is in trouble with their boss.
Michael Imperioli as Frankie Lino, Lenny's older brother and Don Lino's eldest and more savage son, who shares embarrassment of Lenny's vegetarian tendencies with his father.
Vincent Pastore as Luca, Don Lino's green octopus "left-hand, right-hand man", with a tendency to state the obvious much to Lino's annoyance. He might be inspired to Luca Brasi from The Godfather.
Peter Falk as Don Ira Feinberg, an elderly leopard shark and leader of a mob of criminally-inclined leopard sharks, who is a friend of Don Lino performing karaoke (badly) at the sharks' headquarters.
Katie Couric as Katie Current, the local reporter of Reef City in the U.S. release. At the time, Katie Couric hosted Today in America.[5] In the Australian release, then local Today co-host Tracy Grimshaw dubbed the lines.[5] Fiona Phillips of the UK's GMTV performed the voice for the British release of the film.[6] Cristina Parodi of Italy's Verissimo provided the Italian version of the character.[7]
David P. Smith as Crazy Joe, a deranged hermit crab who is Oscar's other friend. He normally lives in a dumpster near the Whale Wash.
Bobb'e J. Thompson as Shortie #1 (voice)
Phil LaMarr as Prawn Shop Owner (voice)
Jenifer Lewis as Motown Turtle (voice)

text: Production[edit]

text: The film was originally developed under the title of Sharkslayer.[8] By September 2003, however, it had been retitled Shark Tale, to make the title sound less violent and more family friendly.[9][10] Bill Damaschke, the producer of the film, explained the change of the title: "We set out to make a movie a little more noir, perhaps a little darker than where we've landed."[11] In April 2002, production officially began.[3]

text: The film was produced concurrently with Finding Nemo, another animated film set underwater, which was released a year and a half before Shark Tale. DreamWorks Animation's CEO, Jeffrey Katzenberg, defended the film, saying that "any similarities are mere coincidence. We've been open with the Pixar people so we don't step on each other's toes."[4]

text: Release[edit]

text: Shark Tale was originally scheduled to be released on November 5, 2004, but was pushed back to October 1 in order to avoid competition with Disney/Pixar's The Incredibles.[12] The film had its worldwide premiere on September 10, 2004 in Piazza San Marco in Venice, Italy.[13] Screening as part of the Venice Film Festival, it marked the first time that Piazza San Marco was closed for a premiere of a major feature film.[13] The film was projected on the largest inflatable screen in the world, measuring more than six stories tall and over 3,900 square feet (360 m2). It required 20,000 cubic feet (570 m3) of air to inflate and more than 50 tons of water for stabilization.[13] The premiere was attended by 6,000 visitors,[14] including Will Smith, Angelina Jolie, Robert De Niro, and Michael Imperioli.[13] Jeffrey Katzenberg, the executive producer of the film, explained that they "wanted to find a unique way to introduce this movie to the world. We needed a big idea. … More than anything, we are in showbusiness. This is the show part."[14]

text: Box office[edit]

text: Shark Tale opened at #1 with $47.6 million, which was, at the time, the second-highest opening for a DreamWorks Animation film behind Shrek 2 ($108 million).[15] It remained as the #1 film in the U.S. and Canada for its second and third weekends.[16]

text: Overall, the movie grossed $160,861,908 in North America and $206,413,111 internationally, bringing its worldwide total to $367,275,019.[2]

text: Critical reception[edit]

text: The film received a 35% "Rotten" rating at the review aggregate website Rotten Tomatoes, with the consensus: "Derivative and full of pop culture in-jokes."[17] On another review aggregator, Metacritic, the film holds a 48 out of 100 rating or "mixed or average reviews."[18] Audiences polled by CinemaScore gave the film an average grade of "A-" on an A+ to F scale.[19]

text: John Mancini, the founder of the Italic Institute of America, protested Shark Tale for perpetuating negative stereotypes of Italian-Americans.[20] DreamWorks reacted by changing the name of Peter Falk's character from Don Brizzi to Don Feinberg. However, Mancini demanded that everything Italian—character names, the mannerisms, the forms of speech—be dropped.[20] The American Family Association, a Christian conservative organization, raised concerns about Shark Tale, suggesting that it was designed to promote the acceptance of gay rights by children.[21]

text: Roger Ebert gave Shark Tale two out of four stars, observing, "Since the target audience for Shark Tale is presumably kids and younger teenagers, how many of them have seen the R-rated Godfather and will get all the inside jokes? Not a few, I suppose, and some of its characters and dialogue have passed into common knowledge. But it's strange that a kid-oriented film would be based on parody of a 1972 gangster movie for adults." He also opined that younger viewers would have trouble enjoying a film about adult characters with adult problems, such as an elaborate love triangle and a main character wanting to clear his debt with loan sharks, and compared it to more successful fish-focused animated features like Pixar Animation Studios' Finding Nemo, which Ebert felt featured a simpler plot that audiences could more easily identify with.[22] However, Richard Roeper commented that although the film wasn't on the same level as Finding Nemo, it was definitely a film worth seeing.[23]

text: Home media[edit]

text: Shark Tale was released on DVD and VHS[24] on February 8, 2005, accompanied with a DVD-exclusive animated short film Club Oscar. The three-and-a-half-minute short film continues where the main film ends, showing the characters of Shark Tale dancing at the whale wash to a spoof of Saturday Night Fever.[25] It was also released on Game Boy Advance Video in October 2005.[26]

text: Accolades[edit]

text:
Awards

Award

Category

Name

Outcome

Academy Awards[27][28]

Academy Award for Best Animated Feature

Bill Damaschke

Nominated

Annie Awards[29]

Annie Award for Best Animated Effects in an Animated Production

Scott Cegielski

Nominated

Annie Award for Best Character Animation in a Feature Production

Ken Duncan

Nominated

Annie Award for Best Character Design in an Animated Feature Production

Carlos Grangel

Nominated

Annie Award for Production Design in an Animated Feature Production

Armand Baltazar

Nominated

Samuel Michlap

Nominated

Pierre-Olivier Vincent

Nominated

Annie Award for Best Writing in an Animated Feature Production

Michael J. WilsonRob Letterman

Nominated

BAFTA Children's Awards[30]

Best Feature Film

Nominated

BET Comedy Awards[31]

Best Performance in an Animated Theatrical Film

Will Smith

Nominated

Casting Society of America[32]

Best Animated Voice-Over Feature Casting

Leslee Feldman

Won

Golden Reel Awards[33]

Best Sound Editing in an Animated Feature Film

Richard L. AndersonThomas JonesWade WilsonMark BinderMike ChockRalph OsbornDavid WilliamsMark A. ManginiSlamm Andrews

Nominated

Nickelodeon Kids' Choice Awards[34]

Favorite Voice from an Animated Movie

Will Smith

Won

Saturn Awards[35]

Saturn Award for Best Animated Film

Nominated

Visual Effects Society[36]

Outstanding Performance by an Animated Character in an Animated Motion Picture

Renée ZellwegerKen Duncan

Nominated

text: Soundtrack[edit]

text:
Shark Tale: Motion Picture SoundtrackSoundtrack album by Various ArtistsReleased
September 21, 2004Genre
R&Bhip hopsoulLength
50:33Label
Geffen RecordsDreamWorks RecordsUniversal Music GroupProducer
TimbalandJam & LewisRon FairMissy ElliottThe UnderdogsDre & VidalThe Trak StarzHans Zimmer
Singles from Shark Tale: Motion Picture Soundtrack

"Car Wash"Released: August 29, 2004

text: Shark Tale: Motion Picture Soundtrack was released on September 21, 2004. The soundtrack features newly recorded music by various artists, including Justin Timberlake with Timbaland, Christina Aguilera, JoJo, Ludacris, Mary J. Blige, and Will Smith, and also features the first song recorded by pop group The Pussycat Dolls as well as the film's closing theme composed by Hans Zimmer.

text: Janet Jackson and Beyoncé initially planned to record a duet for the film's soundtrack. Jackson's frequent collaborator Jimmy Jam, who had recently worked with Beyoncé for The Fighting Temptations soundtrack, commented "Obviously we'd love to have the involvement of Janet and Beyonce, who we just worked with on Fighting Temptations. They've already expressed interest", adding "There are a lot of opportunities with an animated piece to work with some different people."[37] Jeffrey Katzenberg, CEO of DreamWorks' Animations, had appointed Jackson's producers Jam & Lewis to be involved with the soundtrack, though the duo only ended up producing only one song for the film, with Jam saying "We worked for DreamWorks before on the Bryan Adams song for Spirit: Stallion of the Cimarron and the Boyz II Men tune for The Prince of Egypt, and Katzenberg is a fan of what we do. He thought we would be perfect to do the music for Shark Tale."[37]

text: Track listing[edit]

text: No.TitleWriter(s)Producer(s)Length1."Three Little Birds" (Sean Paul and Ziggy Marley)Bob MarleyStephen Marley3:372."Car Wash (Shark Tale Mix)" (Christina Aguilera featuring Missy Elliott)Norman Whitfield (additional lyrics by Missy Elliott)Missy Elliott, Ron Fair3:503."Good Foot" (Justin Timberlake featuring Timbaland)Timberlake, Timothy MosleyTimbaland3:574."Secret Love" (JoJo)Samantha Jade, Jared Gosselin, Phillip WhiteWhite, Jared4:005."Lies & Rumours" (D12)DeShaun Holton, J. Rotem, Denaun Porter, O. Moore, V. Carlisle, Rufus Johnson, M. ChavarriaDenaun Porter4:206."Got to Be Real" (Mary J. Blige featuring Will Smith)David Foster, David Paich & Cheryl LynnAndre Harris, Vidal Davis3:337."Can't Wait" (Avant)Damon E. Thomas, Antonio Dixon, Harvey W. Mason, Eric Dawkins, Steven RussellThe Underdogs3:448."Gold Digger" (Ludacris featuring Bobby Valentino & Lil' Fate)Alonzo Lee, Shamar Daugherty, Christopher Bridges, Bobby Wilson, Arbie WilsonThe Trak Starz3:479."Get It Together" (India.Arie)Drew Ramsey, Shannon Sanders, India.Arie, Dana Johnson, Mel JohnsonIndia.Arie, Sanders, Ramsey4:5410."We Went as Far as We Felt Like Going" (The Pussycat Dolls)Bob Crewe, Kenny NolanRon Fair3:5111."Digits" (Fan 3)Allison Lurie, Paul Robb, David Clayton-Thomas, Fred LipsiusBitCrusher3:4112."Sweet Kind of Life" (Cheryl Lynn)James Harris III, Terry Lewis, Cheryl Lynn, Bobby Ross Avila, Issiah J. Avila, Tony Tolbert, James Q. WrightJimmy Jam, Terry Lewis3:5913."Some of My Best Friends Are Sharks" (Hans Zimmer)Hans ZimmerHans Zimmer3:25Total length:50:33

text: Charts[edit]

text:
Chart (2004)

Peakposition

U.S. Billboard 200

34

U.S. Billboard Top R&B/Hip-Hop Albums

48

text: Possible sequel[edit]

text: In April 2011, Jeffrey Katzenberg commented that the studio did not have plans to produce future movie genre parodies, like Shark Tale, Monsters vs. Aliens, and Megamind, saying that these films "all shared an approach and tone and idea of parody, and did not travel well internationally. We don't have anything like that coming on our schedule now."[38]

text: Video game[edit]

text: A video game based on the film was released on September 29, 2004 for Microsoft Windows, Xbox, GameCube, PlayStation 2, and Game Boy Advance.[39] Published by Activision, Edge of Reality developed the console versions of the game, while Vicarious Visions developed the Game Boy Advance version, and Amaze Entertainment developed the PC version.[39] The cast from the film did not reprise their roles in the game.


document_title: Parts of a theatre

question_text: where does the audience sit in a theatre

root

text: Parts of a theatre

text: Types of theatres[edit]

text:
Arena/Stadium: The playing area is in the center of a large open space which usually seats thousands of people.
Proscenium: The audience directly faces the playing area which is separated by a portal called the proscenium arch. The stage is often raised a few feet higher than the first rows of the audience. The audience is on a rake, getting higher as the seating goes towards the rear of the house.
Thrust: The playing area protrudes out into the house with the audience seating on more than one side.
Theatre in the round: The playing area is surrounded by audience seating on all sides.
Traverse: The elongated playing area is surrounded by audience seating on two sides.
Black box theatre: A bare-bones stage of various seating types.

tag: ul

text: Stage[edit]

text: The area of the theatre in which the performance takes place is referred to as the stage.

tag: p

text: Stage directions or stage positions[edit]

text: In order to keep track of how performers and set pieces more around the space, the stage is divided up into sections oriented based on the performers perspective to the audience. Movement is choreographed by blocking which is organized movement on stage created by the director to synchronize the actor's movement onstage in order to use these positions.

text:
Upstage: The area of the stage furthest from the audience.
Downstage: The area of the stage closest to the audience.
Stage Left: The area of the stage to the performer's left, when facing downstage (i.e. towards the audience).
Stage Right: The area of the stage to the performer's right, when facing downstage (i.e. towards the audience).
Center Stage: The center of the playing (performance) area.
Center Line: An imaginary reference line on the playing area that indicates the exact center of the stage, travelling from up to downstage.
Onstage: The portion of the playing area visible to the audience.
Offstage: The area surrounding the playing space not visible to the audience. Typically this refers to spaces accessible to the performers but not the audience, such as the wings, crossovers, and voms.

text: Note that for non-proscenium performance spaces, typically one direction is arbitrarily denoted as "downstage" and all other directions reference that point.

text: Stage components[edit]

text:
Apron: The area of the stage in front of the proscenium arch, which may be small or, in a thrust stage, large.
Backstage: Areas of the theatre adjacent to the stage accessible only to performers and technicians, including the wings, crossover, and dressing rooms. Typically this refers to areas directly accessible from the stage and does not include spaces such as the control booth or Orchestra pit
Crossover: The area used by performers and technicians to travel from stage left to right out of sight of the audience onstage created with masking and drapery.
Plaster Line: An imaginary reference line on the playing area that indicates where the proscenium arch is. Typically, the plaster line runs across the stage at the back face (upstage face) of the proscenium wall.
Proscenium: The portal that divides the audience from the stage in traditional Western threatres.
Prompt corner: Area just to one side of the proscenium where the stage manager stands to cue the show and prompt performers.
Rake: A slope in the performance space (stage), rising away from the audience.
Safety curtain: A heavy fireproof curtain, in fiberglass, iron or similar material placed immediately behind the proscenium.
Shell: A hard, often removable surface, designed to reflect sound out into the audience for musical performances.
Smoke Pocket: Vertical channels against the proscenium designed to contain the safety curtain.
Thrust stage: A performance space projecting well in front of the proscenium arch, usually with the audience on three sides.
Wings: Areas that are part of a stage deck but offstage (out of sight of the audience). The wings are typically masked with legs. The wing space is used for performers preparing to enter, storage of sets for scenery changes and as a stagehand work area. Wings also contain technical equipment, such as the fly system.

text: House[edit]

text: The house can refer to any area which is not considered playing space or backstage area. Outside the theatre itself this includes the lobby, coat check, ticketing counters, and restrooms. More specifically, the house refers to any area in the theatre where the audience is seated. This can also include aisles, the orchestra pit, control booth, balconies and boxes.

text:
Orchestra or Orchestra Pit: In productions where live music is required, such as ballet, folk-dance groups, opera, and musicals, the orchestra is positioned in front and below of the stage in a pit. The pit is usually a large opening ranging from 4–6 feet (1.2–1.8 m) wide, 20–40 feet (6.1–12.2 m) long and 6–10 feet (1.8–3.0 m) deep. Some orchestra pits have lifts or elevators that can raise the floor of the pit up to the same height as the stage. This allows for easier movement of instruments among other things. Often an orchestra pit will be equipped with a removable pit cover which provides safety by eliminating the steep drop off and also increases the available acting area above. In most cases, some sort of lattice or sound port is built into the front of the orchestra pit, to allow audience members in the front rows to hear the music while still having a wall to keep them separated from the orchestra. The orchestra pit is the closest to the audience.
Auditorium: The section of the theatre designated for the viewing of a performance. Includes the patrons main seating area, balconies, boxes, and entrances from the lobby. Typically the control booth is located in the back of the auditorium, although for some types of performance an audio mixing positing in located closer to the stage within the seating.
Vomitorium: A passage situated below or behind a tier of seats.
Control booth: The section of the theatre designated for the operation of technical equipment, followspots, lighting and sound boards, and is sometimes the location of the stage manager's station. The control booth is located in the theatre in such a way that there is a good, unobstructed view of the playing area without causing any (or minimal) distraction to the audience (i.e. preventing distracting light leak or noise), and is generally an enclosed space.
Catwalks: A catwalk is a section of the house hidden in the ceiling from which many of the technical functions of a theatre, such as lighting and sound, may be manipulated.

text: Front of house[edit]

text:
Lobby: The lobby is a room in a theatre which is used for public entry to the building from the outside. Ticket counters, coat check, concessions and restrooms are all usually located in, or just off the lobby.
Box office: A place where tickets are sold to the public for admission to a venue
Marquee: Signage stating either the name of the establishment or the play and the artist(s) appearing at that venue.

text: Backstage or offstage[edit]

text: The areas of a theatre that are not part of the house or stage are considered part of backstage. These areas include dressing rooms, green rooms, offstage areas (i.e. wings), cross-overs, fly rails or linesets, dimmer rooms, shops and storage areas.

text:
Dressing rooms: Rooms where cast members apply wigs, make-up and change into costumes. Depending on the size of the theatre, there may be only a male and female dressing room, or there might be many (i.e. one for each member of the cast). Often in larger spaces, cast members in lead roles have their own dressing room, those in supporting roles share with one or two others and those in the background or "chorus" roles share with up to 10 or 15 other people. Dressing rooms generally feature a large number of switchable outlets for accessories like hair dryers, straightening irons, and curlers. They also feature mirrors, which are often lit. Sinks are present for the removal of makeup and sometimes a dressing room will have showers and restrooms attached. Lockers, or costume racks are generally used for storage of costumes. In some performances, dressing rooms are used as a secondary green room because of space limitation or noise, especially by performers with long breaks between stage appearances.
Green room: The lounge backstage. This is the room where actors and other performers wait in when they are not needed onstage or in their dressing rooms.
Crossover: A crossover is a hallway, room, or catwalk designed to allow actors in a theater to move from wings on one side of a stage to wings on the other side without being seen by the audience. Sometimes this is built as a part of the theater, sometimes exiting the building is required, and still other times the set includes a false wall to create a temporary crossover. A trap room, orchestra pit, or even the front of house can be used as crossovers.
Fly system: A fly system is a system of ropes, counterweights, pulleys, and other such tools designed to allow a technical crew to quickly move set pieces, lights, and microphones on and off stage quickly by "flying" them in from a large opening above the stage known as a fly tower/flyspace.
Catwalk: A catwalk is an elevated platform from which many of the technical functions of a theatre, such as lighting and sound, may be manipulated.
Dimmer room: The room backstage which contains the dimmer racks which power the lighting rig in the theatre. Often dimmer racks may not be housed in dedicated room, instead they may be in a mechanical room, control booth, or catwalk, or even on the side of the stage as is often the case on Broadway, touring shows, or at corporate events. When the dimmers are stored onstage, this area of the stage is known as the "Dimmer Beach". In the UK it is known as "Dimmer City".
Shops and storage areas: Depending on the space available a theatre may have its own storage areas for old scenic and costume elements as well as lighting and sound equipment. The theatre may also include its own lighting, scenic, costume and sound shops. In these shops each element of the show is constructed and prepared for each production.
Call board: Literally a backstage bulletin board which contains information about a theatrical production including contact sheets, schedules, rehearsal time changes, etc.
Trap room: A large open space under the stage of many large theatres. The trap room allows the stage floor to be leveled, extra electrical equipment to be attached, and most importantly, the placement of trap doors onto the stage (hence the name). It is usually unfinished and often doubles as a storage area. It is often also used as a substitute for a crossover.


document_title: In My Feelings

question_text: who is the girl singing in drake in my feelings

text: In My Feelings

text: Composition and samples[edit]

text: "In My Feelings" is a bounce track, similar to Drake's previous single "Nice for What".[5] Upon its release, several outlets reported that the song and "Kiki" was about Keshia Chanté,[6] Drake's first girlfriend and childhood friend from Toronto.[7][8][9][10] It was also reported that "KB" was K'yanna Barber, a resident of Oakland, California.[11][12] Drake also makes references to Jennifer Lopez ("Jenny"), who he briefly dated in 2016, and Quality Control duo City Girls, made up of members Yung Miami ("Resha") and JT.[13] The City Girls also provide uncredited vocals.[3]

text: The track samples "Smoking Gun (Acapella Version)" by Magnolia Shorty for the breakdown.[5] "Lollipop" by Lil Wayne is also sampled and the track ends with audio from the episode "Champagne Papi" from the television series Atlanta.[14] The song was later slightly altered and re-uploaded to streaming sites with additional sampled vocals from Lil Wayne.[3]

text: Release and reception[edit]

text: The song inspired an Internet meme dance challenge known as the "Kiki Challenge", "In My Feelings Challenge" or "DoTheShiggy", the latter being a reference to the comedian Shiggy, who posted a video on his Instagram account of him dancing to the song; this video was credited for inspiring the challenge.[15] The dance challenge is to walk outside of moving vehicles (ghost riding) and dance in oncoming traffic.[16][17][18] Originating in the US, the challenge later spread to other parts of the world where in some countries it caused controversy and public concern.[19] The challenge is banned in roads of EDSA and other public roads in the Philippines.[citation needed]

text: The Fader deemed the bounce track as the highlight of the double album, with writer Ben Dandrige-Lemco saying, "it takes a whole 20 songs to get to the best part of the album, 'In My Feelings'".[5] The Hollywood Reporter's Jonny Coleman felt that the song, along with "Nice for What", "might be two of the most enduring tracks [in the album]".[20] Andy Hutchins of Time called the song "a disastrous misunderstanding of New Orleans bounce."[21]

text: Commercial performance[edit]

text: In the Billboard magazine issue dated July 14, 2018, "In My Feelings" debuted at number six on the Billboard Hot 100, one of seven top 10 entries by Drake that week. The following week, partly due to the rising popularity of the dance challenge associated with the song,[22] it ascended to the top spot of the chart, becoming Drake's sixth number-one single on the chart.[23] On the issue dated July 28, 2018, "In My Feelings" broke the streaming record for the most streams in a single week with 116.2 million streams, and retained the top spot on the chart.[24] It also reached number one on the Canadian Hot 100 and the UK Singles Chart.

text: In the UK, it did not enter the charts on the first week due to chart rules, but the next week, due to the popularity of the dance challenge, it entered at number four. A week later, it rose to number one. "In My Feelings" spent four weeks at the top of the chart, before being replaced by "Shotgun".

text: The success of "In My Feelings" made Drake the record holder for most number one hits among rappers in the history of the Hot 100 chart.[25]

text: Music video[edit]

text: The song's music video was shot on July 23, 2018 in New Orleans and was directed by Karena Evans, whom Drake previously worked with on the videos for "God's Plan", "Nice for What", and "I'm Upset" earlier in the year.[26]

text: The song's music video was released on August 2, 2018, on Drake's YouTube channel.[27] "KeKe" is played by La La Anthony while her mother is played by Phylicia Rashad. The video takes place in New Orleans and shows people dancing to the song, including Yung Miami of the City Girls and bounce music legend Big Freedia.  Comedian Shiggy, who has been credited with inventing the viral "In My Feelings Challenge", makes a cameo as a production assistant as well as a dancer in the video. At the end of the music video, a small montage of celebrities and internet influencers participating in the "In My Feelings Challenge" is displayed. A few of these people include Will Smith, DJ Khaled, Ciara, Steve Aoki, Odell Beckham Jr., Dua Lipa, Millie Bobby Brown, Liza Koshy, Noah Schnapp, Ryan Seacrest, Shay Mitchell, Bobby Berk, Tan France, Karamo Brown, Antoni Porowski, Jonathan Van Ness, and J-Hope (BTS).

text: As of September 2018, the music video on YouTube has amassed more than 130 million views.[28]

text: Personnel[edit]

text: Credits adapted from the album's liner notes and Tidal.[29][30]

text:
Noah "40" Shebib – production, recording
Noel "Gadget" Campbell – mixing
Harley Arsenault – mixing assistance, recording assistance
Greg Moffet – mixing assistance, recording assistance
Ronald Moonoo – mixing assistance
Blaqnmild – production
TrapMoneyBenny – production

text: Charts[edit]

text:
Chart (2018)

Peak position

Argentina (Argentina Hot 100)[31]

59

Argentina Anglo (Monitor Latino)[32]

12

Australia (ARIA)[33]

1

Australia Urban (ARIA)[34]

1

Austria (Ö3 Austria Top 40)[35]

3

Belgium (Ultratop 50 Flanders)[36]

6

Belgium (Ultratop 50 Wallonia)[37]

12

Brazil (Brasil Hot 100 Airplay)[38]

66

Brazil Streaming (Pro-Música)[39]

8

Canada (Canadian Hot 100)[40]

1

Canada CHR/Top 40 (Billboard)[41]

2

Canada Hot AC (Billboard)[42]

50

Czech Republic (Singles Digitál Top 100)[43]

5

Denmark (Tracklisten)[44]

1

Finland (Suomen virallinen lista)[45]

3

France (SNEP)[46]

3

Germany (Official German Charts)[47]

4

Greece International Digital (IFPI)[48]

1

Hungary (Single Top 40)[49]

2

Hungary (Stream Top 40)[50]

2

Ireland (IRMA)[51]

2

Italy (FIMI)[52]

5

Japan (Japan Hot 100)[53]

46

Lebanon (Lebanese Top 20)[54]

1

Malaysia (RIM)[55]

1

Mexico (AMPROFON)[56]

2

Mexico Airplay (Billboard)[57]

2

Netherlands (Dutch Top 40)[58]

1

Netherlands (Single Top 100)[59]

2

New Zealand (Recorded Music NZ)[60]

1

Norway (VG-lista)[61]

3

Portugal (AFP)[62]

1

Romania (Airplay 100)[63]

26

Scotland (Official Charts Company)[64]

2

Singapore (RIAS)[65]

1

Slovakia (Singles Digitál Top 100)[66]

1

Spain (PROMUSICAE)[67]

8

Sweden (Sverigetopplistan)[68]

1

Switzerland (Schweizer Hitparade)[69]

2

UK Singles (Official Charts Company)[70]

1

UK R&B (Official Charts Company)[71]

1

US Billboard Hot 100[72]

1

US Dance Club Songs (Billboard)[73]

21

US Hot R&B/Hip-Hop Songs (Billboard)[74]

1

US Mainstream Top 40 (Billboard)[75]

6

US Rhythmic (Billboard)[76]

1

tag: table

text: Certifications[edit]

text:
Region

Certification
Certified units/Sales

Australia (ARIA)[77]

3× Platinum

210,000^

Belgium (BEA)[78]

Gold

20,000*

France (SNEP)[79]

Gold

100,000*

Italy (FIMI)[80]

Platinum

50,000

New Zealand (RMNZ)[81]

Platinum

30,000*

Spain (PROMUSICAE)[82]

Gold

20,000^

Sweden (GLF)[83]

Platinum

40,000^

United Kingdom (BPI)[84]

Platinum

600,000

*sales figures based on certification alone^shipments figures based on certification alonesales+streaming figures based on certification alone

text: Release history[edit]

text:
Region

Date

Format

Label(s)

Ref.

United States

July 10, 2018

Rhythmic contemporary

Young MoneyCash MoneyRepublic

[1]

Contemporary hit radio

[2]

United Kingdom

July 27, 2018

[85]

Italy

August 24, 2018

Universal

[86]


document_title: Northeast Cape Fear River

question_text: where does the northeast cape fear river begin

text: Northeast Cape Fear River

text: History[edit]

text: It rises in southeast Wayne County, appromiately 10 mi (16 km) south of Goldsboro and flows south, past Albertson, Hallsville, and Chinquapin. In Pender County near the Atlantic coast, it passes along the west side of Angola Swamp and Holly Shelter Swamp. It joins the Cape Fear River on the north end of Wilmington, forming an estuary that emerges at Cape Fear. The lower 50 mi (80 km) of the river is tidal.

text: Animals and plants[edit]

text: The river and its valley are home to a variety of interesting and uncommon flora and fauna, including the palmetto, cypress, alligator, pileated woodpecker, venus flytrap, and bowfin.

text: Bridges[edit]

text:
Isabelle S. Holmes Bridge (US 74/NC 133)
Dan Cameron Bridge (I-140)
Frank H. Kenan Bridge (I-40)
Northeast Cape Fear Bridge (US 117/NC 133)


document_title: Place of worship

question_text: what is the name of the house of worship for hinduism

text: Place of worship

text: Buddhism[edit]

text:
Candi, Buddhist sanctuaries mostly built during the 1st to 21st centuries in Indonesia
Chaitya, a Buddhist shrine that includes a stupa
Jingū-ji, a religious complex in pre-Meiji Japan comprising a Buddhist temple and a local kami Shinto shrine
Vihara, a Buddhist monastery found abundantly in Bihar
Wat, the name for a monastery temple in Cambodia and Thailand

text: Christianity[edit]

text: The word church derives from the Greek ekklesia, meaning the called-out ones. Its original meaning is to refer to the body of believers, or the body of Christ.[1] The word church is used to refer to a Christian place of worship by some Christian denominations, including Anglicans and Roman Catholics. Other Christian denominations, including the Religious Society of Friends, Mennonites, Christadelphians, and some unitarians, object to the use of the word "church" to refer to a building, as they argue that this word should be reserved for the body of believers who worship there.[2] Instead, these groups use words such as "Hall" to identify their places of worship or any building in use by them for the purpose of assembly.

text:
Basilica (Roman Catholic)
Cathedral or minster (seat of a diocesan bishop within the Catholic, Orthodox and Anglican churches)
Chapel ("Capel" in Welsh) – Presbyterian Church of Wales (Calvinistic Methodism), and some other denominations, especially non-conformist denominations. In Catholicism and Anglicanism, some smaller and "private" places of worship are called chapels.
Church – Iglesia ni Cristo, Anglican, Orthodox, Roman Catholic, Episcopalian, Protestant denominations
Kirk (Scottish–cognate with church)
Meeting House – Religious Society of Friends
Meeting House – Christadelphians

text:
Meeting House and Temple – Mormons
Latter-day Saints use meeting house and temple to denote two different types of buildings. Normal worship services are held in ward meeting houses (or chapels) while Mormon temples are reserved for special ordinances.
Temple – French Protestants
Protestant denominations installed in France in the early modern era use the word temple (as opposed to church, supposed to be Roman Catholic); some more recently built temples are called church.
Orthodox temple – Orthodox Christianity (both Eastern and Oriental)
an Orthodox temple is a place of worship with base shaped like Greek cross.
Kingdom Hall – Jehovah's Witnesses may apply the term in a general way to any meeting place used for their formal meetings for worship, but apply the term formally to those places established by and for local congregations of up to 200 adherents. Their multi-congregation events are typically held at a meeting place termed Assembly Hall of Jehovah's Witnesses (or Christian Convention Center of Jehovah's Witnesses).

text: Classical antiquity[edit]

text: Ancient Greece[edit]

text: Greek temple, for religions in ancient Greece

text: Ancient Rome[edit]

text:
Roman temple, for the religions of ancient Rome
Mithraeum, for the Mithraic mysteries

text: Hinduism[edit]

text: Hindu temple (Mandir), Hinduism[3]

text: Islam[edit]

text: A Mosque (/mɒsk/; from Arabic: المسجد Al-masjid) is a place of worship for followers of Islam.

text: There are strict and detailed requirements in Sunni jurisprudence (fiqh) for a place of worship to be considered a masjid, with places that do not meet these requirements regarded as musallas. There are stringent restrictions on the uses of the area formally demarcated as the mosque (which is often a small portion of the larger complex), and, in the Islamic Sharia law, after an area is formally designated as a mosque, it remains so until the Last Day.

text: Many mosques have elaborate domes, minarets, and prayer halls, in varying styles of architecture. Mosques originated on the Arabian Peninsula, but are now found in all inhabited continents. The mosque serves as a place where Muslims can come together for salat (صلاة ṣalāt, meaning "prayer") as well as a center for information, education, social welfare, and dispute settlement. The imam leads the congregation in prayer.

text: Jainism[edit]

text: Jain temple – Jainism

text: A Basadi is a place of worship for followers of Jainism.

text: Judaism[edit]

text:
Synagogue – Judaism

Some synagogues, especially Reform synagogues, are called temples, but Orthodox and Conservative Judaism consider this inappropriate as they do not consider synagogues a replacement for the Temple in Jerusalem. Some Jewish congregations use the Yiddish term 'shul' to describe their place of worship or Beyt Knesset ( Hebrew בית כנסת ) meaning house of assembly.

text: Norse Paganism[edit]

text: hof – Norse Paganism

text: Shinto[edit]

text: Jinja – Shinto

text: Sikhism[edit]

text: Gurdwara – Sikhism

text: Taoism[edit]

text: Daoguan – Taoism

text: Zoroastrianism[edit]

text:
Fire temple - All Zoroastrian temples fall into the Fire temple category.

Atash Behram
Agyari

Dadgah

text: Vietnamese ancestral worship[edit]

text: Nhà thờ họ. Historically speaking Vietnamese people venerate their ancestors, as they somehow still exist among them. However, there is a large diversity of religions in Vietnam, Christianity, Buddhism and Cao Dai religion.


document_title: Great Wolf Resorts

question_text: when did great wolf lodge open in garden grove

text: Great Wolf Resorts

text: History[edit]

text: Black Wolf Lodge was founded in 1997 by brothers Jack and Andrew "Turk" Waterman, the original owners of Noah's Ark water park in Wisconsin Dells, Wisconsin.[5] Black Wolf Lodge was purchased by The Great Lakes Company in 1999. Later that year, founders Marc Vaccaro and Bruce Neviaser changed the name to Great Wolf Lodge and the company headquarters were established in Madison, Wisconsin.[2][6] In 2001, the company built a second location in Sandusky, Ohio, and named it Great Bear Lodge. When a third location opened in 2003, the decision was made to place all future parks under the Great Wolf Lodge banner. The name of the Ohio location was changed to Great Wolf Lodge in 2004. The chain has since added twelve additional locations and has one in development.[7][8]

text: On May 1, 2012, Great Wolf announced they were adding a new amenity or attraction to each of their resorts in time for the summer season. In addition, they spent over $4 million renovating the company's first two locations – Wisconsin Dells and Sandusky.[9]

text: In April 2017, Great Wolf relocated their corporate headquarters from Madison, Wisconsin to Chicago, Illinois.

text: Apollo acquisition[edit]

text: On March 13, 2012, Apollo Global Management announced an agreement to acquire the company for $703 million.[10] Following the announcement, an investor group filed a complaint in Delaware Chancery Court stating that the deal, in which Apollo would pay $5 a share, undervalued the company. On April 12, 2012, KSL Capital Partners made an unsolicited offer of $6.25 a share, and Apollo followed suit raising its bid to $6.75 a share.[11] KSL then raised its cash offer to $7 a share on April 8, 2012, beginning a rare public bidding war.[12] After Apollo upped its offer again to $7.85 a share on April 20, 2012, KSL Capital Partners later announced it would not be making additional offers.[13] The company's shares traded as low as $2.18 in October 2011, but they climbed above $5 following the announcement in March 2012 and reached a 52-week high of $7.50 during trading in April 2012.[14][15]

text: Centerbridge acquisition[edit]

text: On March 24, 2015, Centerbridge Partners reached an agreement with Apollo to acquire the Great Wolf chain for $1.35 billion.[16] The acquisition was finalized on May 12, 2015.[17]

text: Properties[edit]

text: Great Wolf Lodge locations:[18]

text:
City
Year Opened

Wisconsin Dells, Wisconsin
1997

Sandusky, Ohio
2001

Traverse City, Michigan
2003

Kansas City, Kansas
2003

Williamsburg, Virginia
2005

Pocono Mountains, Pennsylvania
2005

Niagara Falls, Ontario
2006

Mason, Ohio
2006

Grapevine, Texas
2007

Grand Mound, Washington
2008

Concord, North Carolina
2009

Fitchburg, Massachusetts[19]
2014

Garden Grove, California
2016

Colorado Springs, Colorado
2016

Bloomington, Minnesota
2017

text: Previous locations:

text: Sheboygan, Wisconsin (2004 - 2011; now known as Blue Harbor Resort)[20]

text: Locations under construction:

text:
LaGrange, Georgia - Opening May 2018.[21]
Gurnee, Illinois - Great Wolf Resorts announced that it has acquired the former Key Lime Cove waterpark and will renovate, rebrand, and expand the indoor waterpark as well as create a brand new outdoor waterpark. Opening July 2018.[22]
Salt River, Arizona - Opening 2019 [23]

text: Locations under consideration:

text:
Squamish, British Columbia[24]
El Paso, Texas[25]
Surrey, British Columbia[26]
Brentwood, California[27]
Manteca, California[28]

text: Other brands[edit]

text: Great Wolf Lodge also manages the following brands:[29]

text:
MagiQuest & ShadowQuest - Scavenger hunt which electronically captures achievements of its participants with a tracked score
Cub Club - Craft and activity center with nature-themed programming
Scooops - Spa for kids with treatments themed to ice cream desserts
Northern Lights Arcade - Family-friendly arcade
The Great Wolf Kids Store - Store that sells Great Wolf Lodge merchandise for kids
Creation Station - Children can create stuffed animals and outfit them with clothes and accessories
Howl At The Moon - Indoor mini-golf that black light special effects
Howly Wood XD Theater - Movie-based motion thrill ride
Ten Paw Alley - Bowling alley that features half-length lanes and low-weight bowling balls
4D World - Interactive game in which players aim at targets to acquire points and compete for the highest score
Elements Spa Salon - Salon services that include massage therapy, body treatments, nail therapy, and makeup
Clubhouse Crew - A family adventure game that uses interactive screens placed at various locations around the lodge

text: In popular culture[edit]

text: Great Wolf's previous CEO Kim Schaefer was featured in the U.S. version of TV's Undercover Boss, which included visits to several lodges where she worked alongside a lifeguard supervisor, front desk clerk, and restaurant waitstaff as well as participated in the children's program.[30][31]


document_title: Back to the Future Part II

question_text: when did the cubs win in back to the future

text: Back to the Future Part II

text: Plot[edit]

text: On October 26, 1985, Dr. Emmett Brown arrives in his flying time machine and persuades Marty McFly and his girlfriend, Jennifer Parker, to come back to the future with him to help their future children. Biff Tannen witnesses their departure. They arrive on October 21, 2015, where Doc electronically knocks out Jennifer and leaves her asleep in an alley, explaining that she should not have too much knowledge of future events. He has Marty pose as his own son and lookalike Marty Jr. to refuse an offer to participate in a robbery with Biff's grandson Griff, thus saving both of Marty's children from prison.

text: Marty switches places with Marty Jr. and refuses Griff's offer, but Griff goads Marty into a fight. Griff and his gang are arrested, saving Marty's future children. Before rejoining Doc, Marty purchases an almanac containing the results of major sporting events from 1950 to 2000. Doc discovers it and warns Marty about attempting to profit from time travel, but before Doc can adequately dispose of it, they are interrupted by the police, who have found Jennifer incapacitated and are taking her to her 2015 home. They pursue, as does Biff, who has overheard their conversation and picked up the almanac which Doc discarded.

text: Jennifer wakes up in her 2015 home and hides from the McFly family. She overhears that her future self's life with Marty is not what she expected, due to his involvement in an automobile accident. She witnesses Marty being goaded by his co-worker Douglas J. Needles into a shady business deal, which leads to Marty's firing. Attempting to escape the house, Jennifer encounters her 2015 self and they both faint. While Marty and Doc attend to her, Biff steals the time machine and uses it to travel back to 1955 and give the almanac to his younger self to get rich betting, then returns to 2015. Marty, Doc, and an unconscious Jennifer return to 1985, unaware of Biff's actions.

text: The 1985 to which they return has changed drastically: Biff has become wealthy and corrupt, and has changed Hill Valley into a chaotic dystopia. Marty's father, George, was killed in 1973 and Biff has forced Marty's mother, Lorraine, to marry him. Doc has been committed to an insane asylum. Marty and Doc determine that 2015 Biff took the time machine to change 1985, and Marty learns from 1985 Biff that he got the almanac on November 12, 1955. Biff attempts to kill Marty, but Marty flees and returns to 1955 with Doc, leaving Jennifer on her own front porch.

text: Marty secretly follows the 1955 Biff and watches him receive the almanac from his 2015 self. Marty then follows him to the high school's dance, being careful to avoid interrupting the events from his previous visit. Marty and the 1955 Biff steal the almanac back and forth, but Marty and Doc retrieve it and leave Biff to crash into a manure truck. Marty burns the almanac, reversing Biff's changes to the timeline, as Doc hovers above in the time machine. Before Marty can join him inside, the machine is struck by lightning and disappears. A Western Union courier immediately arrives and delivers a letter to Marty; it is from Doc, who explains that he was transported back to 1885. Marty races back into town to find the 1955 Doc, who had just helped the original Marty return to 1985. Shocked by Marty's sudden reappearance, Doc faints.

text: Cast[edit]

text:
Michael J. Fox as Marty McFly, Marty McFly, Jr., and Marlene McFly
Christopher Lloyd as Dr. Emmett "Doc" Brown
Thomas F. Wilson as Biff Tannen and Griff Tannen
Lea Thompson as Lorraine Baines-McFly
Elisabeth Shue as Jennifer Parker
James Tolkan as Mr. Strickland
Jeffrey Weissman as George McFly

Crispin Glover as George McFly (archival footage)

Flea as Douglas J. Needles

text: Elijah Wood, eight years old at the time of filming, makes his first film appearance as one of the boys watching Marty playing the Wild Gunman arcade game in 2015.[5]

text: Development[edit]

text: Director Robert Zemeckis said that, initially, a sequel was not planned for the first film, but its huge box office success led to the conception of a second installment. He later agreed to do a sequel, but only if Michael J. Fox and Christopher Lloyd returned as well. With Fox and Lloyd confirmed, Zemeckis met with screenwriting partner Bob Gale to create a story for the sequel. Zemeckis and Gale would later regret that they ended the first one with Jennifer in the car with Marty and Doc Brown, because it required them to come up with a story that fit her in, rather than a whole new adventure.[6]

text: Gale wrote most of the first draft by himself, as Zemeckis was busy making Who Framed Roger Rabbit. At first, the film was to take place in 1967, but Zemeckis later stated that the time paradoxes of it provided a good opportunity to go back to 1955 and see the first one's events in a different light. While most of the original cast agreed to return, a major stumbling block arose when negotiating Crispin Glover's fee for reprising the role of George McFly. When it became clear that he would not be returning, the role was rewritten so that George is dead when the action takes place in the alternative version of 1985.[6]

text: The greatest challenge was the creation of the futuristic vision of Marty's home town in 2015. Production designer Rick Carter wanted to create a very detailed image with a different tone from the film Blade Runner, wishing to get past the smoke and chrome. Carter and his most talented men spent months plotting, planning and preparing Hill Valley's transformation into a city of the future.[7] Visual effects art director John Bell stated they had no script to work with, only the indications that the setting would be 30 years into the future featuring "something called hoverboards".[8]

text: When writing the script for the film, Gale wanted to push the first one's ideas further for humorous effect. Zemeckis said he was somewhat concerned about portraying the future because of the risk of making wildly inaccurate predictions. According to Gale, they tried to make the future a nice place, "where what's wrong is due to who lives in the future as opposed to the technology" in contrast to the pessimistic, Orwellian future seen in most science fiction.[6] To keep production costs low and take advantage of an extended break Fox had from Family Ties (which was ending its run when filming began), it was shot back-to-back with sequel Part III.[9]

text: Production[edit]

text: It took two years to finish the set building and the writing on the script before shooting could finally begin. During the shooting, the creation of the appearance of the aged characters was a well-guarded secret, involving state-of-the-art make-up techniques. Michael J. Fox described the process as very time consuming. "It took over four hours, although it could be worse".[6] Principal photography began on February 20, 1989.[9] For a three-week period nearing the conclusion of the film, the crew split and, while most remained shooting Part III, a few, including writer-producer Gale, focused on finishing its predecessor. Zemeckis himself slept only a few hours per day, supervising both films, having to fly between Burbank, where it was being finished, and other locations in California for Part III.[10]

text: The film was considered one of the most ground-breaking projects for Industrial Light & Magic. It was one of the effects house's first forays into digital compositing, as well as the Vistaglide motion control camera system, which enabled them to shoot one of its most complex sequences, in which Fox played three separate characters (Marty Sr., Marty Jr., and Marlene), all of whom interacted with each other. Although such scenes were not new, the VistaGlide allowed, for the first time, a completely dynamic scene in which camera movement could finally be incorporated. The technique was also used in scenes where Thomas F. Wilson, Christopher Lloyd, and Elisabeth Shue's characters encounter and interact with their counterparts.[6] It also includes a brief moment of computer-generated imagery in a holographic shark used to promote a fictional Jaws 19, which wound up unaltered from the first test done by ILM's digital department because effects supervisor Ken Ralston "liked the fact that it was all messed up.”[8]

text: Animation supervisor Wes Takahashi, who then was the head of ILM's animation department, worked heavily on the film's time travel sequences, as he had done in the original film and in Part III.[11][12] As the film neared release, sufficient footage of Part III had been shot to allow a trailer to be assembled. It was added at the conclusion of Part II, before the closing credits, as a reassurance to moviegoers that there was more to follow.[13]

text: Replacement of Crispin Glover[edit]

text: Crispin Glover was asked to reprise the role of George McFly. He expressed interest, but could not come to an agreement with the producers regarding his salary. He later stated in a 1992 interview on The Howard Stern Show that the producers' highest offer was $125,000, which was less than half of what the other returning cast members were offered. Gale has since asserted that Glover's demands were excessive for an actor of his professional stature at that point in time.[13] Later, in an interview on the Opie and Anthony show in 2013, Glover stated that his primary reason for not doing Part II was a philosophical (and ethical) disagreement on the overall moral that the film was conveying.[14]

text: Rather than writing George McFly out of the film, Zemeckis used previously filmed footage of Glover from the first film as well as new footage of actor Jeffrey Weissman, who wore prosthetics including a false chin, nose, and cheekbones. Various techniques were used to obfuscate Weissman's appearance, such as placing him in the background rather than the foreground, having him wear sunglasses, and even hanging him upside down. Glover filed a lawsuit against the producers of the film on the grounds that they neither owned his likeness nor had permission to use it. As a result of this suit, there are now clauses in the Screen Actors Guild collective bargaining agreements which state that producers and actors are not allowed to use such methods to reproduce the likeness of other actors.[15]

text: Replacement of Claudia Wells[edit]

text: Claudia Wells, who had played Marty McFly's girlfriend Jennifer Parker in the first film, was to reprise her role, but turned it down due to her mother's ill health. The producers cast Elisabeth Shue instead, which involved re-shooting the closing scenes of the first film for the beginning of Part II. The re-shot sequence is a near shot-for-shot match with the original, with only minor differences: for example, Doc noticeably hesitates before reassuring Marty that his future self is fine – something he did not do in the first film. Marty is also wearing a watch in the second film whereas he was not in the first.[16][17]

text: Wells returned to Hollywood with a starring role in the 1996 independent film Still Waters Burn. She is one of the few cast members not to make an appearance within the bonus material on the Back to the Future Trilogy DVD set released in 2002. However, she is interviewed for the Tales from the Future documentaries in the trilogy's 25th anniversary issue on Blu-ray Disc in 2010. In 2011, she finally had the opportunity to reprise her role from the first film, 26 years after her last appearance in the series. She provided the voice of Jennifer Parker for Back to the Future: The Game by Telltale Games.[18]

text: Hoverboard hoax[edit]

text: Zemeckis said on the film's behind-the-scenes featurette that the hoverboards (flying skateboards) used in it were real, yet not released to the public, due to parental complaints regarding safety.[7] Footage of "real hoverboards" was also featured in the extras of a DVD release of the trilogy. A number of people thought Zemeckis was telling the truth and requested them at toy stores. In an interview, Thomas F. Wilson said one of the most frequent questions he was asked was if they are real.[19]

text: Depiction of the future[edit]

text: According to Zemeckis, the 2015 depicted in the film was not meant to be an accurate depiction of the future. "For me, filming the future scenes of the movie were the least enjoyable of making the whole trilogy, because I don't really like films that try and predict the future. The only ones I've actually enjoyed were the ones done by Stanley Kubrick, and not even he predicted the PC when he made A Clockwork Orange. So, rather than trying to make a scientifically sound prediction that we were probably going to get wrong anyway, we figured, let's just make it funny." Despite this, the filmmakers did do some research into what scientists thought may occur in the year 2015.[20] Bob Gale said, "We knew we weren't going to have flying cars by the year 2015, but God we had to have those in our movie."[21]

text: However, the film did correctly predict a number of technological and sociological changes that occurred by 2015, including: the rise of ubiquitous cameras; unmanned flying drones for mundane tasks; flat panel, widescreen television sets mounted on walls with multiple channel viewing; video chat systems; hands-free video games; talking hologram billboards; wearable technology; Tablet computers with fingerprint scanners; and head-mounted displays.[22][23] Payment on personal portable devices is also depicted. Although payment by thumbprint is not widely used, fingerprint scanning is in use as security at places such as airports and schools, where it is also used to authorize payments for meals.[23] Cars and other vehicles have been able to be run using fuel generated from food wastes, though not through a fusion reactor as suggested in the film.[24] The popularity of 3-D film in the 2010s was also somewhat accurately predicted, although overlaid polarized imagery remains the standard format (as it has been since the 1950s, since updated in modern times to digital) and holography is still not in use for major films.

text: Other aspects of the depiction of the future had not come to pass by 2015, but efforts were made to replicate the technology advances.

text:
The film shows Marty putting on Nike "Air Mag" tennis shoes with automatic shoelaces. Nike released a version of their Hyperdunk Supreme shoes, which appear similar to Marty's, in July 2008. Fans dubbed them the Air McFly.[25] In April 2009, they filed the patent for self-lacing shoes, and their design bears a resemblance to those worn by Marty in the film.[26] In 2010, a fan named Blake Bevin created shoes that tie themselves.[27] Though Nike had made very limited quantity of Air Mags in the same style as the movie, they stated in September 2011 that their consumer-line MAG line of shoes would not feature the self-lacing feature shown in it.[28][29] Tinker Hatfield, one of the shoe's designers, indicated in 2014 that they would introduce shoes with power-lacing technology the following year, 2015.[30] In March 2016, Nike unveiled the HyperAdapt 1.0 shoe, which is a consumer-market model of the Air Mag and features the same self-lacing technology they used for the commemorative Air Mags, and are expected to start selling in late 2016.[31]
The concept of the hoverboard—a skateboard that can float off the ground—has been explored by various groups since the release of the film. Attempts similar to hoverboats, which blast air at the ground, have been demonstrated,[32] with a 2015 record distance of 275 meters.[33] A different type is the MagBoard, developed by researchers at the Paris Diderot University. It uses a large superconductor plate on the bottom cooled with liquid nitrogen as to achieve the Meissner effect and allow it to float over a special track; it was shown capable of carrying the weight of a human in its practical demonstration. However, the requirement to run the superconductor at higher, more ambient temperatures prevents this from becoming practical.[34][35] In March 2014, a company named HUVr Tech purportedly demonstrated a working hoverboard along with several celebrities including Lloyd, though this shortly was revealed as a hoax created by the website Funny or Die.[36] self-balancing 'hoverboards' became popular in 2015 even though they do not hover above the ground.[37]

text: In the 2015 scene, the film imagines the Chicago Cubs winning the 2015 World Series against the fictional Miami-based Gators, referencing the Cubs' longstanding failure to win a championship. In the actual 2015 season, the Cubs qualified for the postseason, their first postseason appearance since 2008,[38] but the Cubs lost the National League Championship Series (not the World Series) to the New York Mets on October 21, 2015, which coincidentally was the same day as "Back to the Future Day," the day Marty McFly arrived in 2015 in the film.[39] Despite losing in 2015, one year later the Cubs did win the 2016 World Series against the Cleveland Indians.[40] In the real 2015 World Series, the Kansas City Royals defeated the Mets to win their first World Series championship since 1985, the same year from which Marty and Doc time traveled in the film. As for the fictional Miami Gators, when the film was made Florida did not yet have a Major League Baseball team,[41] but the state has since gained two franchises: the Florida Marlins (now the Miami Marlins) in 1993 and the Tampa Bay Devil Rays (now the Tampa Bay Rays) in 1998. Neither qualified for the postseason in 2015.

text: Release and reception[edit]

text: Box office[edit]

text: The film was released to theaters in North America on Wednesday, November 22, 1989, the day before Thanksgiving. It grossed a total of $27.8 million over Friday to Sunday, and $43 million across the five-day holiday opening. On the following weekend, it had a drop of 56 percent, earning $12.1 million, but remained at #1.[42] Its total gross was $118.5 million in the United States and $213 million overseas, for a total of $331 million worldwide, ranking as 1989's sixth-most successful film domestically and the third-most worldwide—behind Indiana Jones and the Last Crusade and Batman.[43] However, this was still short of the first film's gross. Part III, which Universal released only six months later, experienced a similar drop.

text: Critical response[edit]

text: As of March 2016[update], the film received a 63% approval rating on Rotten Tomatoes, based on 60 reviews with an average rating of 6.1/10, with the critical consensus reading, "Back to the Future II is far more uneven than its predecessor, but its madcap highs outweigh the occasionally cluttered machinations of an overstuffed plot".[44] The film has a score of 57 out of 100 on Metacritic, based on 17 critics, indicating "mixed or average reviews".[45]

text: Roger Ebert of the Chicago Sun-Times gave the film three out of four stars. Ebert criticized it for lacking the "genuine power of the original," but praised it for its slapstick humor and the hoverboard in its chase sequence.[46] Janet Maslin of The New York Times wrote that the film is "ready for bigger and better things." Maslin later said that it "manages to be giddily and merrily mind-boggling, rather than confusing."[47] Tom Tunney of Empire magazine wrote that the film was well-directed, "high-energy escapism", and called it "solidly entertaining", though noting it as being inferior to the other two films in the franchise.[48]

text: Jonathan Rosenbaum of the Chicago Reader gave the film a negative review, criticizing Zemeckis and Gale for turning the characters into "strident geeks" and for making the "frenetic action strictly formulaic." He believed that it contained "rampant misogyny," because the character of Jennifer Parker "is knocked unconscious early on so she won't interfere with the little-boy games." He cited, as well, Michael J. Fox dressing in drag.[49] Variety said, "[Director Robert] Zemeckis' fascination with having characters interact at different ages of their lives hurts it visually, and strains credibility past the breaking point, by forcing him to rely on some very cheesy makeup designs."[50]

text: Accolades[edit]

text: The film won the Saturn Award for Best Special Effects (for Ken Ralston, the special effects supervisor), the BAFTA Award for Best Special Visual Effects (Ken Ralston, Michael Lantieri, John Bell and Steve Gawley),[51] an Internet-voted 2003 AOL Movies DVD Premiere Award for the trilogy DVDs, a Golden Screen Award, a Young Artist Award, and the Blimp Awards for Favorite Movie Actor (Michael J. Fox), and Favorite Movie Actress (Lea Thompson) at the 1990 Kids' Choice Awards. It was nominated in 1990 for an Academy Award for Visual Effects (John Bell, Steve Gawley, Michael Lantieri and Ken Ralston).[52]

text: Most visual effects nominations were due to the development of a new computer-controlled camera system, called VistaGlide, which was invented specifically for the film – it enables one actor to play two or even three characters in the same scene while the boundary between the sections of the split screen and the camera itself can be moving.

text: The film ranks 498 on Empire magazine's 2008 list of the 500 greatest movies of all time.[53]

text: Home media[edit]

text: The film was released on VHS and LaserDisc on May 22, 1990. Universal reissued it on VHS, LaserDisc, and compact disc in 1991, 1995, and 1998. On December 17, 2002, Universal released it on DVD in a boxed trilogy set, although widescreen framing problems led to a product recall.[54] The trilogy was released on Blu-ray Disc in October 2010.

text: Universal re-released the trilogy alongside new features on DVD and Blu-ray on October 21, 2015, coinciding with Back to the Future Day. The new set included a featurette called "Doc Brown Saves the World", where Lloyd, reprising his role as Doc Brown, explains the reasons for the differences between the future of 2015 as depicted in Back to the Future Part II and in real life.[55]

text: Soundtrack[edit]

text: The soundtrack was released by MCA Records on November 22, 1989. AllMusic rated it four-and-a-half stars out of five. [56] Unlike the previous soundtrack, it contains only a musical score by composer Alan Silvestri. None of the vocal songs featured throughout the film are featured.

text: Intrada release[edit]

text: On October 12, 2015, Intrada Records released the complete score of Back to the Future Part II in a 2-disc set including early scoring sessions and alternate takes.[57]


document_title: Rabbits in Australia

question_text: when did rabbits become a problem in australia

text: Rabbits in Australia

text: History[edit]

text: Rabbits were introduced to Australia by the First Fleet in 1788.[2] They were bred as food animals, probably in cages. In the first decades, they do not appear to have been numerous, judging from their absence from archaeological collections of early colonial food remains. However, by 1827 in Tasmania, a newspaper article noted "...the common rabbit is becoming so numerous throughout the colony, that they are running about on some large estates by thousands. We understand, that there are no rabbits whatever in the elder colony" i.e., New South Wales.[3] This clearly shows a localised rabbit population explosion was underway in Tasmania in the early 19th century. At the same time in NSW, Cunningham noted, "... rabbits are bred around houses, but we have yet no wild ones in enclosures..." He also noted the scrubby, sandy soil between Sydney and Botany Bay would be ideal for farming rabbits.[4] Enclosures appear to mean more extensive rabbit-farming warrens, rather than cages. The first of these, in Sydney at least, was one built by Alexander Macleay at Elizabeth Bay House, "a preserve or rabbit-warren, surrounded by a substantial stone wall, and well stocked with that choice game."[5] In the 1840s, rabbit-keeping became even more common, with examples of the theft of rabbits from ordinary peoples' houses appearing in court records and rabbits entering the diets of ordinary people.

text: In 1857–1858 Alexander Buchanan, overseer for F. H. Dutton's Anlaby Estate in the Mid-North of South Australia, released a number of rabbits for hunting sport. Their population remained fairly stable until around 1866, presumed to have been kept in check by native carnivores and were protected by an Act of Parliament, but by 1867 was out of control.[6] The population explosion was ascribed to the disappearance of native predators, but is easily explained by the emergence of a hardier breed by natural selection.

text: The current infestation appears to have originated with the release of 24 wild rabbits[7] by Thomas Austin for hunting purposes in October 1859, on his property, Barwon Park, near Winchelsea, Victoria. While living in England, Austin had been an avid hunter, regularly dedicating his weekends to rabbit shooting. Upon arriving in Australia, which had no native rabbit population, Austin asked his nephew William Austin in England to send him twelve grey rabbits, five hares, seventy-two partridges and some sparrows so he could continue his hobby in Australia by creating a local population of the species. William could not source enough grey rabbits to meet his uncle's order, so he topped it up by buying domestic rabbits. One theory as to why the Barwon Park rabbits adapted so well to Australia is that the hybrid rabbits that resulted from the interbreeding of the two distinct types were much more suited to Australian conditions.[8] Many other farms released their rabbits into the wild after Austin.

text: At the time he had stated, "The introduction of a few rabbits could do little harm and might provide a touch of home, in addition to a spot of hunting."[9]

text: The rabbits were extremely prolific creatures and spread rapidly across the southern parts of the country. Australia had ideal conditions for a rabbit population explosion. With mild winters, rabbits were able to breed the entire year. With widespread farming, areas that might otherwise have been scrub or woodlands were instead turned into vast areas with low vegetations, creating ideal habitats for rabbits.

text: In a classic example of unintended consequences, rabbits had become so prevalent within ten years of their introduction in 1859 that two million could be shot or trapped annually without having any noticeable effect on the population. It was the fastest spread ever recorded of any mammal anywhere in the world. Today, rabbits are entrenched in the southern and central areas of the country, with scattered populations in the northern deserts.

text: Although the rabbit is a notorious pest, it proved useful to many people during the depressions of the 1890s and 1930s and during wartime. Trapping rabbits helped farmers, stockmen, and stationhands by providing food and extra income, and in some cases helped pay off farming debts. Rabbits were fed to working dogs and boiled to be fed to poultry. Later, frozen rabbit carcasses were traded locally and exported. Pelts, too, were used in the fur trade and are still used in the felt-hat industry.[10]

text: Effects on Australia's ecology[edit]

text: Since their introduction from Europe in the 19th century, the effect of rabbits on the ecology of Australia has been devastating. They are suspected of being the most significant known factor in species loss in Australia.[citation needed] Rabbits are believed to have had an immense impact on the abundance of natural resource availability, primarily concerning overgrazing. The rabbits would first deplete the natural pasture vegetation, and would then resort to consuming woody-vegetation, which included small shrubs, and the leaves and bark of trees. [11]The extent of plant species' loss is unknown at this time though it is known that rabbits often kill young trees in orchards, forests, and on properties by ringbarking them.[10]

text: Rabbits are also responsible for serious erosion problems, as they eat native plants, leaving the topsoil exposed and vulnerable to sheet, gully, and wind erosion. The removal of this topsoil is devastating to the land, as it takes many hundreds of years to regenerate.[12]

text: Control measures[edit]

text: By 1887, losses from rabbit damage compelled the New South Wales Government to offer a £25,000 reward for "any method of success not previously known in the Colony for the effectual extermination of rabbits".[13] The Commission received 1456 suggestions, including several schemes involving biological controls (see below), but none was found both safe and effective.[14]

text: A Royal Commission was held to investigate the situation in 1901. Once the problem was understood, various control methods were tried to limit or reduce the population of rabbits in Australia. These methods had limited success until the introduction of biological control methods in the latter half of the 20th century.

text: Common control measures[edit]

text: Shooting rabbits is one of the most common control methods and can successfully be used to keep already low populations in check whilst providing food for people or pets, though large scale eradication requires different means.

text: Destroying warrens through ripping (a procedure wherein rabbits are dismembered or buried alive as a bulldozer dragging sharp tines is driven over their warrens/burrows),[15] ploughing, blasting, and fumigating is widely used, especially on large farms (known as "stations"). The sandy soil in many parts of Australia makes ripping and ploughing a viable method of control, and both tractors and bulldozers are used for this operation.

text: Poisoning is probably the most widely used of the conventional techniques, as it requires the least effort, and capable of destroying a local population, though of course re-infestation by the highly mobile pest is almost inevitable. Laying baits of pollard laced with a phosphorus-based poison, such as "S.A.P." manufactured by Sayers, Allport & Potter, was an early method. The advantage of phosphorus is that in dry weather, assuming it has not been laid in clumps (obviated by use of a poison cart), it soon degrades to innocuous phosphoric acid and presents no further danger to livestock or pets. It does, however, present a real fire risk, and concentrated fumes can be toxic to operators.[16] More modern poisons for rabbit control are sodium fluoroacetate ("1080") and pindone.[17]

text: Another technique is hunting using ferrets, wherein ferrets are deployed to chase the rabbits out to be shot or into nets set over the burrows. Since the number of rabbits ferrets can kill is limited,[18] this is more a hunting activity than a serious control method. Although, ferrets and other mustelid species are used as a control measure, Australia has significantly less wild mustelids to prey on the invasive rabbits than other countries, such as Europe and America, while in their warrens or burrows contributing to rabbit success. [19]

text: Historically, trapping was also frequently used; steel-jawed leg-holding traps were banned in most states in the 1980s on animal cruelty grounds, though trapping continues at a lower level using rubber-jawed traps. All of these techniques are limited to working only in settled areas and are quite labour-intensive.[citation needed]

text: Fences[edit]

text: Queensland[edit]

text: In 1893, a rabbit-proof fence was commenced in Queensland. It was progressively extended through the years. In 1997, a final segment was built connecting it to the Dingo Fence. It extends from Mount Gipps (near Rathdowney) to Goombi between Chinchilla and Miles.[20]

text: Western Australia[edit]

text: In 1907, the rabbit-proof fence was built in Western Australia between Cape Keraudren and Esperance to try to control the spread of the rabbit population from the east into Western Australian pastoral areas. However, since European rabbits can both jump very high and burrow underground,[21] even a perfectly intact fence stretching for hundreds of kilometres, and whose gates farmers or graziers did not leave open for livestock or machinery, would not likely succeed.[citation needed]As an example the Number 1 Rabbit-Proof Fence, which was erected in 1901, failed to keep the rabbit population away from the protected area.[22] Even after this large scale fence had failed, smaller scale fencing projects continued to make a successful appearance.[23]

text: Biological measures[edit]

text: Releasing rabbit-borne diseases has proven somewhat successful in controlling the population of rabbits in Australia, but what success has been achieved did not occur as quickly as was hoped.

text: The NSW government's offer of a £25,000 reward attracted the attention of Louis Pasteur, who proposed using the chicken cholera bacillus (now known as Pasteurella multocida), and while this measure was not proven viable, the association with Pasteur accelerated the introduction of microbiology into Australia.[24]

text: On 16 April 1888 the NSW Government appointed a Royal Commission "to make a full and diligent inquiry as to whether or not the introduction of contagious diseases amongst rabbits by inoculation or otherwise, or the propagation of diseases natural to rabbits ... will be accompanied or followed by danger to human health or life, or to animal life other than rabbits, or to interfere injuriously with the profitable carrying on of agricultural or pastoral pursuits ..." Under the aegis of the Commission, tests were conducted at Rodd Island, but it was proved that although rabbits who ingested food adulterated with chicken cholera virus were killed, there was no evidence of the contagion spreading to healthy rabbits.[14]

text: In 1885 Professor Watson of Adelaide University suggested releasing rabbits inoculated with rabbit scab into an enclosed trial area.[25][26] Limited trials proved however that this measure would be ineffective in the drier parts of the continent.

text: In September 1887, Dr Herbert Butcher (1854–1893) of Wilcannia found at Tintinallogy Station a number of dead emaciated rabbits, which he and Dr H. Ellis of Sydney concluded had died of a novel disease which they dubbed Tintinallogy virus, and could be an effective control measure. Unfortunately whatever they died from was never proved to be infectious or contagious ; it may have been simple starvation caused by natural elements.[14]

text: In 1906 and 1907 Jean Danysz, of the Pasteur Institute of Paris, conducted trials on Broughton Island, New South Wales of a strain of Pasteurella bacteria he had developed, which proved to be specific to rabbits but less than satisfactory as a control measure. Dr Danysz considered that Broughton Island was a poor choice and that extensive experiments should be conducted on the mainland. Frank Tidswell, who was his chief Australian collaborator, continued Danysz's trials after he left in 1907, also began trials of the Yalgogrin, Gundagai and Picton microbes (named for the stations where infected rabbits were found). But the financial support that would be necessary from the Federal government (or collaboration of affected States) to prove it safe and effective was lacking. The fact that these pathogens did not wipe out whole populations might have raised doubts as to their efficacy.[27]

text: In 1950, after research was conducted by Frank Fenner, myxoma virus was deliberately released into the rabbit population, causing it to drop from an estimated 600 million[28] to around 100 million. Genetic resistance in the remaining rabbits allowed the population to recover to 200–300 million by 1991.

text: To combat this trend, Commonwealth Scientific and Industrial Research Organisation (CSIRO) comprehensively tested, over three years from June 1991, the release of calicivirus to cause rabbit haemorrhagic disease (RHD).[29] The virus escaped from a quarantine compound on Wardang Island, South Australia, where field tests were being carried out on the potential of the virus for biological control of wild rabbits, and by late October 1995 it was recorded in rabbits at Yunta and Gum Creek, in northeastern South Australia.[30] By the winter of 1996, the virus was established in Victoria, New South Wales, the Northern Territory and Western Australia.[31] The virus was discovered in these area by analyzing livers of deceased rabbits. The success of the virus was found to be higher in dry areas, because of a benign calicivirus found in the colder, wetter areas of Australia, which was immunizing rabbits against the more virulent form.[32]

text: A legal vaccine exists in Australia for RHD. There is no cure for either myxomatosis or RHD, and many affected pets are euthanised. In Europe, where rabbits are farmed on a large scale, they are protected against myxomatosis and calicivirus with a genetically modified virus.[33] The vaccine was developed in Spain.[citation needed]

text: The team of virologist Francisco Parra, working with the University of Oviedo, in Asturias, northern Spain identified a new variant of the virus in 2012.[34] The pathogen, a new strain of K5 (RHDV1) causes rabbit haemorrhagic disease and is both extremely lethal and highly contagious.[35] In 2017 it was released by Australian authorities throughout its territory to wipe out its wild rabbit populations. The virus was released at around 600 points on the continent; owners of domestic rabbits were advised to vaccinate their animals.[36]

text: In southern Europe, the scarcity of rabbits threatens the conservation of predator species higher up the food chain that are endangered and depend on small-game such as rabbits. These include the Iberian lynx and the Iberian imperial eagle. For that reason biological warfare in Australia is a serious concern for conservation experts working in other parts of the world where the preservation of a viable rabbit population is problematic.[37]