document_title: Shot clock

question_text: when did the ncaa adopt the shot clock

question_tokens: when did the ncaa adopt the shot clock

text: Shot clock

text: History[edit]

text: Background[edit]

text: The NBA (National Basketball Association) had problems attracting fans (and positive media coverage) before the shot clock's inception.[2] This was due to teams running out the clock once they were leading in a game; without the shot clock, teams passed the ball nearly endlessly without penalty. If one team chose to stall, the other team (especially if behind) would often commit fouls to get the ball back following the free throw. Very low-scoring games with many fouls were common, which bored fans. The most extreme case occurred on November 22, 1950, when the Fort Wayne Pistons defeated the Minneapolis Lakers by a record-low score of 19–18, including 3–1 in the fourth quarter.[3] The Pistons held the ball for minutes at a time without shooting (they attempted 13 shots for the game) in order to limit the impact of the Lakers' dominant George Mikan. The Pistons' performance led the St. Paul Dispatch to write "[The Pistons] gave pro basketball a great black eye."[4] NBA President Maurice Podoloff said, "In our game, with the number of stars we have, we of necessity run up big scores."[5] A few weeks after the Pistons/Lakers game, the Rochester Royals and Indianapolis Olympians played a six-overtime game with only one shot in each overtime - in each overtime period, the team who had the ball first held the ball for the entirety of the period before attempting a last-second shot. The NBA tried several rule changes in the early 1950s to speed up the game and reduce fouls before eventually adopting the shot clock.

text: Creation[edit]

text: The shot clock first came to use in 1954 in Syracuse, New York, where Syracuse Nationals (now the Philadelphia 76ers) owner Danny Biasone and general manager Leo Ferris experimented using a 24-second version during a scrimmage game.[6] According to Biasone, "I looked at the box scores from the games I enjoyed, games where they didn't screw around and stall. I noticed each team took about 60 shots. That meant 120 shots per game. So I took 2,880 seconds (48 minutes) and divided that by 120 shots. The result was 24 seconds per shot."[3][7] Biasone and Ferris then convinced the NBA to adopt it for the 1954–55 season, a season in which the Nationals won the NBA Championship.

text: Syracuse Nationals General Manager Leo Ferris has emerged in the discussion as one of those involved in the creation and development of the shot clock. Along with Danny Biasone and Emil Barboni, a scout for the Nats, Leo Ferris was a key figure in developing the 24-second clock.[8] Jack Andrews, longtime basketball writer for The Syracuse Post-Standard, often recalled how Ferris would sit at Danny Biasone's Eastwood bowling alley, scribbling potential shot clock formulas onto a napkin.[9] Ferris, who loved mathematics, ended up dividing the number of seconds in a 48-minute game (2,880) by the average number of shots taken in a game (120) to get to the 24-second time limit per possession.[10] While he and Biasone often share in the credit for the shot clock, it was Ferris who was singled out by business manager Bob Sexton at the 1954 team banquet for pushing the shot clock rule.

text: Use and reaction[edit]

text: When it was first introduced by the NBA, the 24-second shot clock made players so nervous that it hardly came into play, as players were taking fewer than 20 seconds to shoot. According to Syracuse star Dolph Schayes, "We thought we had to take quick shots – a pass and a shot was it – maybe 8–10 seconds... But as the game went on, we saw the inherent genius in Danny's 24 seconds – you could work the ball around [the offensive zone] for a good shot."[7]

text: The shot clock, together with some rule changes concerning fouls, revolutionized NBA basketball. In the last pre-clock season (1953–54), teams averaged 79 points per game; in the first year with the clock (1954–55), the average was 93 points,[3] which went up to 107 points by its fourth year in use (1957–58).[11] The advent of the shot clock (and the resulting increase in scoring) coincided with an increase in attendance, which increased 40% within a few years to an average of 4,800 per game.[12]

text: The shot clock received near-universal praise for its role in improving the style of play in the NBA. Coach and referee Charley Eckman said, "Danny Biasone saved the NBA with the 24-second rule."[13] Boston Celtic all-star Bob Cousy said, "Before the new rule, the last quarter could be deadly. The team in front would hold the ball indefinitely, and the only way you could get it was by fouling somebody. In the meantime, nobody dared take a shot and the whole game slowed up. With the clock, we have constant action. I think it saved the NBA at that time. It allowed the game to breathe and progress."[14] League president Maurice Podoloff called the adoption of the shot clock "the most important event in the NBA."[3] The league itself states, "Biasone's invention rescue[d] the league."[13]

text: Adoption by other leagues[edit]

text: Two later pro leagues that rivaled the NBA adopted a modified version of the shot clock. The American Basketball League used a 30-second shot clock for its two years in existence (1961–1963). The American Basketball Association also adopted a 30-second clock when it launched in 1967–68, switching to the NBA's 24-second length for its final season (1975–76).

text: In the 1969–70 season, women's collegiate basketball (at the time sanctioned by the Commission on Intercollegiate Athletics for Women) used a 30-second shot clock on an experimental basis, officially adopting it for the 1970–71 season.[15] Unlike the women's side, there was initial resistance to the implementation of a shot clock for men's NCAA basketball, due to fears that smaller colleges would be unable to compete with powerhouses in a running game. However, after extreme results like an 11–6 Tennessee win over Temple in 1973, support for a men's shot clock began to build.[16] The NCAA introduced a 45-second shot clock for the men's game in the 1985–86 season, reducing it to 35 seconds in the 1993–94 season[17] and 30 seconds in the 2015–16 season.[18] The NAIA also reduced the shot clock to 30 seconds for men's basketball starting in 2015–16.[19]

text: From its inception in 1975, the Philippine Basketball Association adopted a 25-second shot clock. This was because the shot clocks then installed at the league's main venues, the Araneta Coliseum and Rizal Memorial Coliseum (the latter no longer used by the league), could only be set at 5-second intervals. The league later adopted a 24-second clock starting from the 1995 season. The Metropolitan Basketball Association in the Philippines used the 23-second clock from its maiden season in 1998. In Filipino college basketball, the NCAA Basketball Championship (Philippines) and the UAAP Basketball Championship adopted a 30-second clock; they switched to 24 seconds starting with the 2001–02 season, the first season to start after the FIBA rule change in 2001.

text: Operation[edit]

text: In the NBA (since 1954), Women's National Basketball Association (since 2006), and FIBA play (since 2000; 30-second from 1956 to 2000), the shot clock counts down 24 seconds, thus often being called the "24-second clock." If a shot is attempted and hits or enters the rim, or if the defensive team gains possession via a rebound, steal, or out-of-bounds play, the shot clock resets. Failure by the offense to attempt a shot that hits the rim within the prescribed time results in a "shot clock violation" and a loss of possession to the other team. Three signals indicate when the shot clock expires—a shot clock signal, illuminated lights on the shot clock (NBA, FIBA, Euroleague, and many venues using an NBA-style transparent shot clock), and in the NBA and FIBA play (starting in July 2018), a yellow LED light strip on the backboard. In the 2011–12 NBA season and 2014–15 Euroleague, the last five seconds of the shot clock were modified to include tenths of a second, allowing offensive players to see precisely how much time they have to shoot and officials to determine any last-second shots easily. The rule has been adopted by FIBA starting in 2018.[20] In the 2016-17 NBA season, a new 'official timekeeper' deal for the NBA with Swiss watch manufacturer Tissot introduced a new united official game clock/shot clock system, putting both timing systems under the same system for the first time.[21] Tissot also became official timekeeper for the WNBA in the 2017 season.

text: Furthermore, the shot clock is not reset on a foul in the frontcourt. Rule changes in the NBA since 1998, and in FIBA after 2010 state the shot clock will be reset only if 13 seconds or fewer are on the shot clock, after which it is reset to 14 seconds.

text: The NBA and Euroleague have different rules on the shot clock reset on jump balls; while both leagues have jump balls retained by the offense are reset to 14 seconds (if 13 seconds or fewer are on the shot clock), in the NBA, if the defense causes the jump ball, the shot clock is not reset if the offense keeps control of the ball unless under 5.0 seconds of time remain, where it is reset to 5.0 seconds.

text: Also in FIBA/WNBA play, if the offence retains control of a ball following a rebound, the shot clock is reset to 14 seconds.

text: Since the 2015–16 season, all American college basketball uses a 30-second shot clock, while Canadian university basketball uses a 24-second clock. The American women's game has used a 30-second clock since the 1970s, but the men's game did not adopt a shot clock until 1985. The men's limit was originally 45 seconds, and was shortened to 35 seconds in 1993 before going to 30 seconds in 2015. The National Federation of State High School Associations (NFHS), which sets rules for high school basketball in the U.S., does not mandate the use of a shot clock, instead leaving the choice to use a clock and its duration up to each individual state association. Proposals to adopt a national shot clock for high school basketball have been voted down by the NFHS as recently as 2011.[22] Currently, eight U.S. states require the use of a shot clock of 30/35 seconds in high school competition: California, Maryland, Massachusetts, New York, North Dakota, Rhode Island, South Dakota, and Washington.[22]

text:
Organization
Duration

NBA
24 seconds
14 seconds (offensive retains control after fouls)

WNBA

U Sports (Canadian universities)

NCAA, NAIA
30 seconds

United States high school basketball
30/35 seconds (some states only)

FIBA
24 seconds (full-court game)
14 seconds (reset when offense retains ball)
12 seconds (3x3 half-court)[23]

text:
Sport
Organization
Duration

Lacrosse
MLL
60 seconds

NLL
30 seconds

Ringette
N/A
30 seconds

Water polo
FINA
30 seconds

Canoe polo
ICF
60 seconds

Ten-pin bowling
PBA
25 seconds

Korfball
IKF
25 seconds

Snooker
Snooker Shoot-Out
15 seconds (first five minutes)
10 seconds (last five minutes)

Carom billiards
(Three-cushion billiards)
World Championship
European Championship
World Cup
40 seconds[24]
(3 time-outs (40 sec.) possible)

text: Similar rules in basketball[edit]

text: The shot clock and its enforcement is used in concert with the rule that requires an offensive team to advance the ball across half-court and into the offensive zone (or front court) within a referee's count (this rule was first introduced in 1933, predating the shot clock by over 2 decades). In men's college basketball, the offense must advance the ball to the front court within 10 seconds, the same length used by FIBA and the NBA until they adopted an 8-second limit in 2000 and 2001, respectively. Failure by the offense to advance the ball to the front court within the time limit results in a turnover to the other team.

text: Generally, the 10-second (or 8-second) count is independent from the shot clock's operation; in fact, a referee may count the 8 or 10 seconds through a visible motion of his hand or arm. Women's college basketball introduced the 10-second limit in 2013–2014, and provided that officials will not count the ten seconds but "will use the shot clock to determine if a 10-second violation has occurred." As a general reference, it refers to the shot clock reaching 15 (FIBA/[W]NBA; because the NBA shot clock registers tenths in the final five seconds, the violation occurs once the clock registers 15.9 seconds on the console, which is posted as 15 on the clock) or 20 (college) before a violation can be called.[25]


document_title: The Secret Life of Pets

question_text: whats the bunny's name from secret life of pets

question_tokens: whats the bunny 's name from secret life of pets

root

text: The Secret Life of Pets

text: Plot[edit]

text: A Jack Russell Terrier named Max lives with his owner Katie in a Manhattan apartment. While she is at work during the day, he hangs out with other pets in the building: tabby cat Chloe, pug Mel, dachshund Buddy, and budgerigar Sweet Pea. One day, Katie adopts Duke, a large mongrel from the pound, leaving Max jealous because of her divided focus on Duke. Enraged by Max's attitude towards him, Duke tries to abandon Max in an alley, but they are both attacked by cats led by Sphynx cat Ozone who removed both dogs' collars and leave them to be caught by Animal Control. Duke fears that he will be put down if he goes back to the pound. To her desperation, Gidget, a white Pomeranian actually discovers that Max is missing.

tag: p

text: Meanwhile, he and Duke are rescued by a white rabbit named Snowball, the leader of "The Flushed Pets" – a gang of sewer-dwelling animals who hate humans because their owners mistreated them. After Max and Duke pretend to despise humans as much as they do by saying they killed their owners, the Flushed Pets invite them to join. Before they can prove their loyalty by allowing a one-fanged viper to bite them, Snowball learns from the cats that Max and Duke are domesticated. The two dogs escape the sewers and board a ferry to Brooklyn, inadvertently killing the viper in the process; Snowball vows to kill them and leads the Flushed Pets after them.

text: Meanwhile, Gidget recruits a red-tailed hawk named Tiberius to find him, but mistakenly returns carrying Ozone, whom Gidget coerces into telling what he knows about the dogs. They then enlisted Mel, Buddy, Chloe, guinea pig Norman and Sweet Pea. On the way, they meet Pops, an old Basset Hound, who helps Gidget and the pets find Max. Meanwhile, Max and Duke raid a sausage factory for food. Gidget and co. encounter Snowball, who vows to kill them as well, and Norman is captured as the rest of Gidget's team flees.

text: Meanwhile, Duke tells Max about his previous owner, Fred, an elderly man who adopted him as a puppy and loved spending time with him. One day, Duke got lost while chasing a butterfly and was caught by Animal Control, but Fred never came to claim him. Max convinces him to visit Fred's house in a nearby neighborhood, confident Fred will still love him and take him back. When they arrive at Fred's house, they learn from the resident cat Reginald that Fred has died. Heartbroken, Duke accuses Max of attempting to get rid of him and barks at the new homeowners who had just returned to the house, who call Animal Control. The handlers catch Max, but Duke interferes long enough for Max to escape and ends up being captured instead.

text: While trying to rescue Duke as he follows the Animal Control van, Max is attacked by Snowball who tries to kill him. However, when his gang is captured, Snowball realizes that he and Max must work together to rescue them. They drive a city bus into the van on the Brooklyn Bridge, stopping traffic. The Flushed Pets encircle Max, unaware of his partnership with Snowball, but Gidget and her team save him. When Gidget is using her kung-fu fighting skills, Max starts to fall in love with her. The van gets stuck in scaffolding and the Flushed Pets escape. Once Max got the keys to Duke's cage, the van plummets into the East River with him inside. Max is unable to free Duke, so Snowball jumps into the river to retrieve the keys, allowing them to escape the sinking van. Once out of the river, Snowball realizes how good being heroic feels.

text: The entire group returns to the apartment block by pig-driven taxi. Max expresses his love for Gidget, who returns his affection. Snowball and the Flushed Pets then come up with a new plan to annihilate all humans, but a little girl named Molly arrives to adopt Snowball and the remaining Flushed Pets return to the sewers. At first, Snowball resists, but gives in and lets himself become a domesticated pet. The domesticated pets return to their homes and embrace their owners, and Max and Duke finally reunite with Katie, sparking a true friendship.

text: In a mid-credits scene, Buddy and Mel show up in costume at a party in poodle Leonard's apartment. Leonard's owner returns and Tattoo crashes to the floor on the chandelier.

text: Cast[edit]

text:
Louis C.K. as Max, a Jack Russell Terrier.[8]
Eric Stonestreet as Duke, a large, brown, shaggy mongrel.[8]
Kevin Hart as Snowball, a white rabbit.[8]
Jenny Slate as Gidget, a white Pomeranian and Max's love interest.
Ellie Kemper as Katie, Max and Duke's friendly owner.[1][9]
Lake Bell as Chloe, an obese and apathetic grey tabby cat[9] who is one of Max's friends.
Dana Carvey as Pops, an elderly Basset Hound,[10] who is paralyzed in his back legs.
Hannibal Buress as Buddy, a laid-back dachshund[9][11] and one of Max's friends.
Bobby Moynihan as Mel, an hyperactive pug and one of Max's friends.
Steve Coogan as Ozone, a Cockney-accented Sphynx cat.

Steve Coogan also voices Reginald, a malevolent Himalayan cat.

Albert Brooks as Tiberius, a curmudgeonly red-tailed hawk.[9][11]
Chris Renaud as Norman, a guinea pig who keeps getting lost trying to find his apartment.
Michael Beattie as Tattoo, a slow-witted tattooed pig who is one of the Flushed Pets.
Sandra Echeverría as Maria, a character from the La Pasión de la Pasión telenovela that Gidget watches.
Jaime Camil as Fernando, a character from the La Pasión de la Pasión telenovela that Gidget watches.
Kiely Renaud as Molly, a little girl who adopts Snowball.

tag: ul

text: Production[edit]

text: In January 2014, it was announced that Louis C.K., Eric Stonestreet, and Kevin Hart had joined the cast of the film, with Chris Renaud set to direct from a screenplay written by Brian Lynch, Cinco Paul and Ken Daurio, while Illumination Entertainment would produce, and Universal Pictures would distribute the film and was originally titled Max.[12][8] In June 2014, Albert Brooks, Hannibal Buress, Bobby Moynihan, Lake Bell and Ellie Kemper joined the cast.[9] The animation was created entirely in France by Illumination MacGuff.[13]

text: Music and soundtrack[edit]

text:
The Secret Life of Pets (Original Motion Picture Soundtrack)

Soundtrack album by Alexandre Desplat

Released
July 1, 2016 (2016-07-01)

Recorded
2016

Genre

Film score
Jazz
Classical

Length
51:31

Label
Back Lot Music

Producer
Dominique Lemonnier

Alexandre Desplat soundtrack chronology

Florence Foster Jenkins
(2016)Florence Foster Jenkins2016
The Secret Life of Pets
(2016)
The Light Between Oceans
(2016)The Light Between Oceans2016

tag: table

text: The original score for the film was composed by Alexandre Desplat.[14] The soundtrack was released on July 1, 2016 by Back Lot Music.[15]

text: All music composed by Alexandre Desplat, except "We Go Together" by The Sausage Factory Singers.

text:
[show]Track listing

No.
Title
Length

1.
"Meet the Pets"
2:37

2.
"Katie's Leaving"
0:55

3.
"Meet Duke"
3:36

4.
"Fetch Me a Stick"
3:09

5.
"Telenovela Squirrels"
1:24

6.
"Hijack!"
2:00

7.
"Gidget Meets Tiberius"
4:56

8.
"Initiation Time"
1:01

9.
"Rooftop Route"
1:27

10.
"The Viper"
1:49

11.
"You Have an Owner?"
3:04

12.
"Good Morning Max"
1:21

13.
"Sewer Chase"
1:09

14.
"Who's With Me?"
1:21

15.
"Me Like What Me See"
0:54

16.
"Traveling Bossa"
1:56

17.
"Flushed Out To Brooklyn"
2:47

18.
"Sausages!"
1:13

19.
"Duke's Old House / Captured"
3:03

20.
"Brooklyn Bridge Showdown"
2:34

21.
"Rescuing Duke"
2:46

22.
"Wet But Handsome / Blue Taxi"
1:24

23.
"Max and Gidget"
1:36

24.
"Welcome Home"
1:57

25.
"We Go Together" (originally from Grease)
1:24

Total length:
51:31

text: Release[edit]

text: The film was originally scheduled to be released on February 12, 2016, but was pushed back to July 8, 2016.[2] It was released in 2D, 3D, and IMAX 3D using DMR.[16][better source needed] The Secret Life of Pets premiered at the 2016 Annecy International Animated Film Festival on June 16, 2016, and was screened at VidCon.[17] The film is accompanied by a Despicable Me short film entitled Mower Minions.

text: Home media[edit]

text: The Secret Life of Pets was released on Digital HD on November 22, 2016, and on Blu-ray, Blu-ray 3D, Ultra HD Blu-ray, and DVD on December 6, 2016. In addition to the short film Mower Minions, which was released theatrically with the feature film, the releases also include two short films: Norman Television and Weenie.[18]

text: Reception[edit]

text: Box office[edit]

text: The Secret Life of Pets grossed $368.4 million in Canada and the U.S., and $507.1 million in other countries for a worldwide total of $875.5 million, against a production budget of $75 million.[4] Its internationally takings helped push Universal Pictures [International] past $1 billion for the tenth consecutive year,[19] and aided Illumination Entertainment to pass the $4 billion mark for the first time since 2010.[20]

text: Worldwide, it is the fifth highest-grossing original film of all time (behind Avatar, Zootopia, The Lion King, and Finding Nemo),[21] the sixth highest-grossing film of 2016,[22] the 12th highest-grossing animated film of all time, and the 50th highest-grossing film of all time. Deadline.com calculated the net profit of the film to be $374.6 million, when factoring together all expenses and revenues for the film, making it the most profitable release of 2016.[23]

text: North America[edit]

text: In Canada and the United States, the film was projected to gross around $70 million in its opening weekend, with some predictions going as high as $100 million.[24][25][26] It received the widest release for an animated film as well as for a PG-rated film (breaking Shrek Forever After's record) and the seventh widest of all time overall, across 4,370 theaters, the widest release since The Dark Knight Rises.[25][27][28][29] It made $5.3 million from Thursday night previews in 3,009 theaters, which is the second biggest of all time for Illumination, behind only Minions ($6.2 million), and the third biggest of all time for an animated film, behind Finding Dory ($9.2 million) and Minions.[26][30] This was followed by a record-breaking $38.5 million opening day gross (including previews), the biggest for an original film.[31][32] In its opening weekend, it exceeded expectations and grossed $104.4 million, finishing first at the box office.[33] Its debut is the sixth biggest for an animated film, the sixth highest weekend debut in July, and the fourth biggest opening weekend for Universal Pictures.[34] It also set the record for largest opening for an original film, eclipsing the $90.4 million debut of Inside Out.[35][36]

text: In its second weekend, the film made $50.8 million (-51.3%) while maintaining the top spot, despite facing stiff competition with newcomer Ghostbusters.[37] Although it slipped into second place when overtaken by Star Trek Beyond in its third weekend, it was still able to fend off the two other new releases—Lights Out and Ice Age: Collision Course—by earning another $29.6 million.[38] It passed $300 million on its twenty-sixth day—the same day it crossed $400 million worldwide[39]—becoming the seventh film of 2016,[40] the seventh Universal Pictures film (the first for the year),[41] and the twelfth animated film overall to reach the benchmark.[42]

text: Outside North America[edit]

text: Internationally, The Secret Life of Pets received a scattered release from June to September in a total of 69 markets, and faced competition from other animated films such as Finding Dory and Ice Age: Collision Course in the course of its release.[43][44][45] In total, it had number-one openings in 45 markets and recorded the biggest opening for an original animated film in 17 territories, and the No. 1 animated film of 2016 to date in 13 markets.[20][46] It topped the international box office in its ninth weekend after earning $43.8 million in 53 markets (dethroning Suicide Squad).[47] However, this wasn't the film's biggest single weekend gross. Its biggest weekend gross was actually in its seventh weekend when it grossed $69.3 million. That weekend it was No. 3 behind Suicide Squad ($133.3 million) and Chinese film Time Raiders ($64.6 million).[48]

text: It was released in the United Kingdom and Norway two weeks ahead of its U.S. release, where it grossed a combined total of $14.1 million in the two markets.[43] Prior to its official debut in the UK and Ireland on June 24, the film had two days worth of previews on June 18 and 19, from which it made £3.63 million ($5.2 million) in two days. This figure was later counted in the film's official opening weekend.[49] It went on to score the fourth biggest original animation opening weekend ever there, with £9.58 million ($13.4 million) from 592 theaters, trailing behind Inside Out, Monsters, Inc., and Up. Excluding previews, its total three-day opening was $8.1 million.[50][51] This was amidst Brexit and despite facing competition from Independence Day: Resurgence.[43][52] The film held off extremely well in its second and third weekend falling just 20% and 24%, earning £4.47 million ($6.1 million) and £3.62 million ($4.8 million) respectively despite facing some competitions.[53][54] It has topped the box office for three consecutive weekends and has grossed total of $41 million there.[55] In Norway, it took the number one spot as well, with $778,000.[43] It scored the biggest animation opening of 2016 and the second biggest of all time overall in both Taiwan ($2 million)—behind Madagascar, and Hong Kong ($1.9 million)—behind Inside Out.[44]

text: In Argentina, the film had a record-breaking number-one debut with $4 million from 195 screens — the biggest opening weekend ever for an animated film and the second biggest opening ever for any film (behind Furious 7). Similarly, Chile also recorded the second biggest animated opening ever with $1.7 million (behind Minions). Colombia also opened at No. 1 with a huge $1.5 million.[56] In Mexico, other than opening at No. 1, it posted the biggest original animated opening of all time with $7.6 million, surpassing the studio's own previous record holder Inside Out.[45] Also in Russia, it scored the biggest original animated opening and the second biggest ever for an animated film, behind Minions with $16.3 million, although this included $6.4 million five days worth of previews.[47] It went on to become the highest-grossing film of the summer that year.[57] In Japan, the film opened on August 11—the date of Japan's first Mountain Day national holiday—with Toho-Towa distributing, and earned $4.6 million on 370,000 admissions for its two-day opening weekend dethroning Shin Godzilla off the top spot. The cumulative total for the four-day holiday (August 11–14) was $9.7 million.[19][58] Similarly, it had number-one debuts in Germany ($7.1 million) and France ($5.9 million), Australia ($5.6 million), Italy ($5.1 million), Brazil ($4.4 million), Spain ($4.5 million), Poland ($1.7 million), Singapore ($1.3 million), Belgium ($1.2 million) and Denmark ($1.2 million), Indonesia ($1.1 million), the Philippines ($1 million), and South Africa ($463,000). In Germany, it scored the best animation opening since Minions.[45][59][60][61][62][63][64][65] It topped the box office in Israel for five straight weekends and in Australia, Russia and Spain for three weekends.[45][47][61][63] In Japan, the film was the highest-grossing foreign release of the weekend, holding the top spot for four consecutive weekends.[60]

text: In China—the world's second biggest film market—the film opened on a Tuesday, earning a modest $5.2 million on its opening day. To Sunday, it achieved a six-day opening of $29.3 million and $15.5 million for the weekend alone (Friday to Sunday), with per screen averages over $500 per screen per day. In both instances, it was behind the local film Time Raiders.[59][66][67] In South Korea, despite debuting in fifth place, it had an opening of $6.9 million.[59] Elsewhere, it grossed $2.7 million in the Netherlands, $1.2 million in Sweden and in Hungary it scored the biggest opening of the year with $738,000,[59] and also in Portugal ($965,000), Latvia ($224,000),[47] and South Africa.[64]

text: In terms of total earnings, its biggest markets are China ($58 million), United Kingdom and Ireland ($47.2 million), Japan ($41.6 million) and Russia ($34.2 million).[19][47][68] It became the third highest-grossing film of all time in Russia (behind Avatar and Zootopia)[61] and the highest-grossing film of 2016 in Spain.[20][62]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 74% based on 200 reviews with an average rating of 6.2/10. The site's critical consensus reads, "Fast-paced, funny, and blessed with a talented voice cast, The Secret Life of Pets offers a beautifully animated, cheerfully undemanding family-friendly diversion."[69] On Metacritic, the film has a score of 61 out of 100 based on 39 critics, indicating "generally favorable reviews."[70] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[71]

text: Peter Travers of Rolling Stone gave the film three out of four stars and called it "an animated fluffball-a sort of Toy Story with pets does everything to drive you crazy and ends up being totally irresistible."[72] Scott Tobias, writing for NPR, characterized the film's concept as "Toy Story but with house pets," highlighting the film's "thinly distinguished characters" and "gloppy sentimentality."[73] Steven Rea of The Philadelphia Inquirer gave the film three out of four stars and said "In much the same way that the smash Zootopia demonstrated that creatures of different culture and class and species are better off when they come together, The Secret Life of Pets is a testament to teamwork and friendship and fixing the rifts that divide us. Let the fur – and the warm, fuzzy feelings – fly."[74]

text: However, some critics disliked the film's unexpected similarities with Pixar's Toy Story.[75] Matthew Parkinson of The Escapist compared the plots of both films and wrote that "The Secret Life of Pets feels like one of those hour-long ripoffs you'd see on a children's television network."[76] Ethan Anderton of the website /Film criticised the film's characterisation, and noted that the relationship between Max and Duke was akin to "Woody and Buzz Lightyear all over again."[77]

text: Accolades[edit]

text:
List of awards and nominations

Award
Date of ceremony
Category
Recipient(s)
Result
Ref(s)

Annie Awards
February 4, 2017
Outstanding Achievement, Character Design in an Animated Feature Production
Eric Guillon
Nominated
[78]

Outstanding Achievement, Music in an Animated Feature Production
Alexandre Desplat

British Academy Children's Awards
November 20, 2016
BAFTA Kids' Vote
The Secret Life of Pets
[79][80]

Cinema Audio Society
February 18, 2017
Outstanding Achievement in Sound Mixing for a Motion Picture – Animated
David Accord, Jason Butler, Gary A. Rizzo, Carlos Sotolongo and Frank Wolf
[81]

Hollywood Music in Media Awards
November 17, 2016
Best Original Score – Animated Film
Alexandre Desplat
Won
[82][83]

2017 Kids' Choice Awards
March 11, 2017
Favorite Animated Movie
The Secret Life of Pets
Nominated
[84]

Favorite Voice From an Animated Movie
Kevin Hart

Favorite Villain
Won

Most Wanted Pet

NAACP Image Awards
February 11, 2017
Outstanding Character Voice-Over Performance
Nominated
[85]

People's Choice Awards
January 18, 2017
Favorite Family Movie
The Secret Life of Pets
[86]

Favorite Animated Movie Voice
Kevin Hart

Producers Guild of America
January 28, 2017
Best Animated Motion Picture
Janet Healy and Chris Meledandri
[87]

text: Sequel[edit]

text: In August 2016 it was announced that there would be a sequel, with director Chris Renaud, producers Chris Meledandri and Janet Healy, and writer Brian Lynch, with a release date of July 13, 2018.[88] On January 25, 2017, its release date was pushed back to July 3, 2019.[7] On August 15, 2017, its release date was moved forward to June 7, 2019.


document_title: Egypt at the FIFA World Cup

question_text: when was the last time egypt qualified for world cup

question_tokens: when was the last time egypt qualified for world cup

text: Egypt at the FIFA World Cup

text: World Cup Finals record[edit]

text:
FIFA World Cup record

Year
Round
Position
Pld
W
D
L
GF
GA

 1930
Did Not Enter

 1934
Group Stage
13th
1
0
0
1
2
4

 1938
Withdrew

 1950
Did Not Enter

 1954
Did Not Qualify

 1958 to  1966
Withdrew

 1970
Did Not Enter

 1974 to  1986
Did Not Qualify

 1990
Group Stage
20th
3
0
2
1
1
2

 1994 to  2014
Did Not Qualify

 2018
Qualified

 2022

Total
final
2/20
4
0
2
2
3
6

text: World Cup Finals games[edit]

text: FIFA World Cup ITALY 1934 [edit]

text:
FIFA World Cup ITALY 1934

First round

text: Hungary  v  Egypt

text:
27 May 1934
16:30 (CEST)

text:
Hungary
4–2
 Egypt

Teleki  11'
Toldi  27', 61'
Vincze  53'
Report
Fawzi  31', 39'

text:
Stadio Giorgio Ascarelli, Naples
Attendance: 9,000
Referee: Rinaldo Barlassina (Italy)

text:
Hungary

Egypt

text:
GK

Szabo Antal

DF

Futo Gyula

DF

Sternberg Laszlo(c)

DF

Palotas Istvan

MF

Szücs György

MF

Lazar Gyula

MF

Szabo Gabor

MF

Markos Imre

FW

Vincze Jeno

FW

Teleki Pal

FW

Toldi Geza (c)

Manager:

Ödön Nadas

GK
1
Moustafa Kamel Mansour

SW
3
Abdel Hamid Ibrahim Sharly

DF
4
Hassan Ahmed el-Far

DF
5
Ismail Rafaat

DF
2
Ali Mohamed el-Said el-Kaf

MF
6
Hassan Ragab

FW
7
Mohamed Latif

FW
8
Abdulrahman Fawzi

FW
11
Mohamed Hassan

FW
9
Mahmoud Moukhtar Rafai "el-Teach" (c)

FW
10
Mostafa Taha

Jimmy MacRea

text: FIFA World Cup ITALY 1990 [edit]

text: Group stage

text: Group F

text: Group F, featured the Netherlands, England, the Republic of Ireland and Egypt. In the six group games, no team managed to score more than once in a match. England beat Egypt 1–0, thanks to a 58th-minute goal from Mark Wright – and that was enough to win the group.

text:
Team
Pld
W
D
L
GF
GA
GD
Pts

 England
3
1
2
0
2
1
+1
4

 Republic of Ireland
3
0
3
0
2
2
0
3

 Netherlands
3
0
3
0
2
2
0
3

 Egypt
3
0
2
1
1
2
−1
2

text: The Republic of Ireland and the Netherlands finished with identical records. With both teams assured of progressing, they were split by the drawing of lots to determine second and third place. ---

text: Netherlands  v  Egypt

text:
12 June 1990
21:00

text:
Netherlands
1–1
 Egypt

Kieft  58'
Report
Abdelghani  83' (pen.)

text:
Stadio La Favorita, Palermo
Attendance: 33,288
Referee: Emilio Soriano Aladrén (Spain)

text:
Netherlands

Egypt

text:
GK
1
Hans van Breukelen

DF
2
Berry van Aerle

DF
5
Adri van Tiggelen

DF
4
Ronald Koeman

MF
13
Graeme Rutjes

MF
3
Frank Rijkaard

MF
6
Jan Wouters

MF
7
Erwin Koeman

 69'

FW
8
Gerald Vanenburg

 46'

FW
9
Marco van Basten

FW
10
Ruud Gullit (c)

Substitutes:

MF
11
Richard Witschge

 69'

FW
12
Wim Kieft
 58'
 46'

FW
14
John van't Schip

GK
16
Joop Hiele

MF
20
Aron Winter

Manager:

Leo Beenhakker

GK
1
Ahmed Shobair

SW
3
Rabie Yassin

DF
4
Hany Ramzy

DF
5
Hesham Yakan

MF
2
Ibrahim Hassan

MF
20
Ahmed El-Kass

MF
7
Ismail Youssef

MF
8
Magdi Abdelghani

MF
13
Ahmed Ramzy
 55'
 69'

FW
9
Hossam Hassan

FW
10
Gamal Abdelhamid (c)

 69'

Substitutes:

DF
15
Saber Eid

MF
16
Magdy Tolba

 69'

MF
18
Osama Orabi

FW
19
Adel Abdelrahman

 69'

GK
21
Ayman Taher

Manager:

Mahmoud El-Gohary

text:
Assistant referees:
Edgardo Codesal (Mexico)
Juan Daniel Cardellino (Uruguay)

text: Republic of Ireland  v  Egypt

text:
17 June 1990
17:00

text:
Republic of Ireland
0–0
 Egypt

Report

text:
Stadio La Favorita, Palermo
Attendance: 33,288
Referee: Marcel van Langenhove (Belgium)

text:
Republic of Ireland

Egypt

text:
GK
1
Packie Bonner

RB
2
Chris Morris
 51'

CB
4
Mick McCarthy (c)

CB
5
Kevin Moran

LB
3
Steve Staunton

MF
8
Ray Houghton

MF
7
Paul McGrath

MF
13
Andy Townsend

MF
11
Kevin Sheedy

FW
9
John Aldridge

 64'

FW
10
Tony Cascarino

 84'

Substitutions:

DF
12
David O'Leary

MF
14
Chris Hughton

FW
17
Niall Quinn

 84'

MF
21
Alan McLoughlin

 64'

GK
22
Gerry Peyton

Manager:

 Jack Charlton

GK
1
Ahmed Shobair
 72'

DF
2
Ibrahim Hassan

DF
5
Hesham Yakan

DF
4
Hany Ramzy

DF
3
Rabie Yassin

MF
18
Osama Orabi

MF
7
Ismail Youssef

MF
8
Magdi Abdelghani (c)

MF
16
Magdy Tolba

 60'

FW
20
Ahmed El-Kass

 76'

FW
9
Hossam Hassan

Substitutions:

MF
10
Gamal Abdelhamid

 76'

FW
12
Taher Abouzeid

 60'

DF
15
Saber Eid

FW
19
Adel Abdelrahman

GK
21
Ayman Taher

Manager:

Mahmoud El-Gohary

text:
Assistant referees:
Joël Quiniou (France)
Rosario Lo Bello (Italy)

text: England  v  Egypt

text:
21 June 1990
21:00

text:
England
1–0
 Egypt

Wright  58'
Report

text:
Stadio Sant'Elia, Cagliari
Attendance: 34,959
Referee: Kurt Röthlisberger (Switzerland)

text:
England

Egypt

text:
GK
1
Peter Shilton (c)

LB
3
Stuart Pearce

CB
5
Des Walker

CB
14
Mark Wright

RB
12
Paul Parker

RW
8
Chris Waddle

 86'

CM
16
Steve McMahon

CM
19
Paul Gascoigne

LW
11
John Barnes

FW
21
Steve Bull

 84'

FW
10
Gary Lineker

Substitutes:

MF
4
Neil Webb

DF
6
Terry Butcher

FW
9
Peter Beardsley
 85'
 84'

GK
13
Chris Woods

MF
17
David Platt

 86'

Manager:

Bobby Robson

GK
1
Ahmed Shobair

SW
4
Hany Ramzy

DF
2
Ibrahim Hassan
 47'

DF
5
Hesham Yakan

DF
7
Ismail Youssef

DF
3
Rabie Yassin

MF
20
Ahmed El-Kass

 77'

MF
8
Magdi Abdelghani
 38'

MF
10
Gamal Abdelhamid (c)

 77'

MF
13
Ahmed Ramzy

FW
9
Hossam Hassan

Substitutes:

FW
11
Tarek Soliman

 77'

DF
15
Saber Eid

MF
18
Osama Orabi

FW
19
Adel Abdelrahman

 77'

GK
21
Ayman Taher

Manager:

Mahmoud El-Gohary

text:
Assistant referees:
Berny Ulloa Morera (Costa Rica)
Edgardo Codesal (Mexico)

text: Record Players[edit]

text: Ten players have been fielded in all three matches of the 1990 FIFA World Cup, making them record World Cup players for their country. Among them are twin brothers Hossam and Ibrahim Hassan.

text:
No.
Name
Matches

1
Magdi Abdelghani
3

Gamal Abdelhamid
3

Ahmed El-Kass
3

Hossam Hassan
3

Ibrahim Hassan
3

Hany Ramzy
3

Ahmed Shobair
3

Hesham Yakan
3

Rabie Yassin
3

Ismail Youssef
3

text: Top Goalscorers[edit]

text: Scoring twice at Egypt's first-ever World Cup match, their 2-4 defeat against Hungary, made Abdulrahman Fawzi the only African goal scorer at FIFA World Cup finals for decades, and the most successful Egyptian one to date.

text:
No.
Name
Goals
World Cups

1
Abdulrahman Fawzi
2
1934

2
Magdi Abdelghani
1
1990

text: World Cup qualifications record[edit]

text:
FIFA World Cup qualifications record

Year
Status
Participation
Pld
W
D
L
GF
GA

 Uruguay 1930
Did Not Enter "didn't accept FIFA's invitation"

 Italy 1934
Qualified for the FINALS
1st
2
2
0
0
11
2

 1938
Withdrew "refused to play against Romania due to financial matters"

 Brazil 1950
Did Not Enter

 Switzerland 1954
Did Not Qualify
3rd
2
0
0
2
2
7

 Sweden 1958
Withdrew "declined to meet Sudan in refusal to Israel Participation"

 Chile 1962
Withdrew "declined to meet Sudan in refusal to Israel Participation"

 England 1966
Withdrew "all African nations declined to Participate asking for African seat"

 Mexico 1970
Did Not Enter "due to Postponement of Sports activities in EGYPT after 1967 war"

 West Germany 1974
Did Not Qualify
7th
2
1
0
1
2
3

 Argentina 1978
Did Not Qualify
8th
10
6
2
2
15
12

 Spain 1982
Did Not Qualify
9th
2
0
1
1
0
1

 Mexico 1986
Did Not Qualify
10th
6
2
2
2
3
4

 1990
Qualified for the FINALS
11th
8
4
3
1
7
2

 United States 1994
Did Not Qualify
12th
6
3
2
1
9
3

 France 1998
Did Not Qualify
13th
6
3
1
2
15
5

  South Korea/Japan 2002
Did Not Qualify
14th
10
5
4
1
22
9

 Germany 2006
Did Not Qualify
15th
10
5
2
3
26
15

 South Africa 2010
Did Not Qualify
16th
13
9
1
3
22
7

 Brazil 2014
Did Not Qualify
17th
8
7
0
1
19
14

 Russia 2018
Qualified in 2018

 Qatar 2022

Total
final 2/20
17/20
87
48
18
21
156
84

text: World Cup qualifications games[edit]

text: FIFA World Cup URUGUAY 1930 [edit]

text: The Egyptian Football association declined the invitation handed to it by FIFA because of the cost of the far trip to Uruguay to participate in the FIFA World Cup URUGUAY 1930

text: FIFA World Cup ITALY 1934 [edit]

text:
Main Article : 1934 FIFA World Cup qualification
Group 12

text: The Palestine football team consisted of nine British footballers, six Jewish footballers and one Arab footballer.[7] FIFA states in reference to the 1930s Palestine Mandate team that the 'Palestine team' that had participated in previous competitions in the 1930s was actually the forerunner of today's Israel team and as such bears no relation to the national team of the Palestinian authority although there were no state named Israel yet .[8] However, the region currently known as Palestine is considered "one of the first Asian teams to compete in the FIFA World Cup qualifiers".[9]

text:
Rank
Team
Pld
W
D
L
GF
GA
GAv
Pts

1
 Egypt
2
2
0
0
11
2
5.50
4

2
 Palestine, British Mandate
2
0
0
2
2
11
0.18
0

—
 Turkey
withdrew

text:
16 March 1934
Egypt
7 – 1
 Palestine, British Mandate
[show]Cairo, Egypt

El-Tetsh  11', 35', 51'
Taha  21', 79'
Latif  43', 87'
[1]
Nudelmann  61'
Stadium: British Army Ground
Attendance: 13,000
Referee: Stanley Wells (England)

text:
6 April 1934
Palestine, British Mandate
1 – 4
 Egypt
[show]Tel-Aviv, Palestine/eretz israel, British Mandate

Sukenik  54'
[2]
Latif  2'
El-Tetsh  7', 22'
Fawzi  35'
Stadium: Hapoel Ground
Attendance: 8,000
Referee: Frederick Goodsby (England)

text: 11-2 on aggregate; Egypt qualified.

text: FIFA World Cup FRANCE 1938 [edit]

text: Main Article : 1938 FIFA World Cup qualification

text:
Group 4
Egypt were to play Romania in December 1937 however Egypt refused to play Romania due a Financial Problems
Another Story says Egypt refused to play Romania during the Ramadan month, Egyptian officials had argued it was "impossible" to play football during that time period. Egyptian officials went on to invite Austrian club side First Vienna FC to Egypt to participate in a friendly game against the national team during the holy month. As a result, Egypt were withdrawn from the competition by FIFA, so Romania qualified automatically.[10]

text: FIFA World Cup BRAZIL 1950 [edit]

text: Egypt did not participate in this version of the FIFA World Cup for no clear reasons

text: FIFA World Cup Switzerland 1954 [edit]

text: Main article : 1954 FIFA World Cup qualification

text: Group 9

text:
Rank
Team
Pts
Pld
W
D
L
GF
GA
GD

1
 Italy
4
2
2
0
0
7
2
+5

2
 Egypt
0
2
0
0
2
2
7
−5

text:
13 November 1953
Egypt
1 – 2
 Italy
[show]Al Ahly Stadium, Cairo

Ad-Diba  33'

Frignani  62'
Muccinelli  79'
Attendance: 22,000
Referee: Steiner (Austria)

text:
24 January 1954
Italy
5 – 1
 Egypt
[show]Milan Municipality Stadium, Milan

Pandolfini  1'
Frignani  62'
Boniperti  65', 86'
Ricagni  84'

El-Hamouly  32'
Attendance: 40,000
Referee: Horn (Netherlands)

text: EGYPT didn't qualify

text: FIFA World Cup SWEDEN 1958 [edit]

text:
Main Article : 1958 FIFA World Cup qualification
Africa and Asia
CAF / AFC First Round
Group 3

text:
Rank
Team
Pts
Pld
W
D
L
GF
GA

1
 Egypt
advanced

—
 Cyprus
withdrew

text: Cyprus withdrew, so Egypt advanced to the Second Round automatically.

text: CAF / AFC Second Round

text:
Rank
Team
Pts
Pld
W
D
L
GF
GA

1=
 Israel
advanced

1=
 Sudan
advanced

—
 Egypt
withdrew

—
 Indonesia
withdrew

text: Indonesia withdrew after FIFA rejected their request to play against Israel on neutral ground. Israel advanced to the Final Round automatically. Egypt withdrew, so Sudan advanced to the Final Round automatically.

text: FIFA World Cup CHILE 1962 [edit]

text: Main Article : 1962 FIFA World Cup qualification

text:
CAF First Round
Group 1

text:
Rank
Team
Pts
Pld
W
D
L
GF
GA
GD

—
 United Arab Republic
withdrew

—
 Sudan
withdrew

text: United Arab Republic and Sudan both withdrew as FIFA refused to allow them to rearrange their games to avoid the monsoon season.[3]

text: FIFA World Cup ENGLAND 1966 [edit]

text: Main Article : 1966 FIFA World Cup qualification (Africa, Asia and Oceania)

text:
Africa First Round
No matches were played because of protests to the allocation of spots. The original group draws were.

text:
Group 1

 Ghana
 Guinea

text:
Group 2

 Cameroon
 Sudan

text:
Group 3

 Algeria
 Liberia
 Tunisia

text:
Group 4

 Mali
 Morocco
 Senegal

text:
Group 5

 Ethiopia
 Gabon

text:
Group 6

 Libya
 Nigeria
 United Arab Republic

text: Africa Second Round

text: The second round pairing were scheduled as following.

text:
Team 1
Agg.
Team 2
1st leg
2nd leg

Group 1 Winners
A
Group 5 Winners
–
–

Group 2 Winners
B
Group 4 Winners
–
–

Group 3 Winners
C
Group 6 Winners
–
–

text: The winners were to advance to the final round.

text: FIFA World Cup MEXICO 1970 [edit]

text: Egypt did not participate in this version of the FIFA World Cup due to the postponement of all sports activities after 1967 war

text: FIFA World Cup GERMANY 1974 [edit]

text: Main article :1974 FIFA World Cup qualification (CAF)

text:
8 December 1972 CAF First Round - Home
Egypt
2 – 1
 Tunisia
[show]Cairo, Egypt

Al-Khalil  10'
Abderrazak  69'
Report
Chakroun  61'
Stadium: Cairo International Stadium
Referee: Zlatanos (Greece)

text:
17 December 1972 First Round - Away
Tunisia
2 – 0
(3 – 2 agg.)
 Egypt
[show]Tunis, Tunisia

Chakroun  16'
Moheiddine  71'
Report

Stadium: Stade El Menzah
Referee: Babaçan (Turkey)

text: Egypt out of first Round.

text: FIFA World Cup ARGENTINA 1978 [edit]

text: Main article :1978 FIFA World Cup qualification (CAF)

text:
29 October 1976 First Round -Home
Egypt
3 – 0
 Ethiopia
[show]Cairo, Egypt

Mahmoud El Khatib 4', 19', 77'

Stadium: Cairo International Stadium
Referee: Menegali (Italy)

text:
14 November 1976 First Round -Away
Ethiopia
1 – 2
(1 – 5 agg.)
 Egypt
[show]Addis Ababa, Ethiopia

Tekalinge Kassahun 40'

Mahmoud El Khatib 12', 73'
Stadium: National Stadium
Referee: Wurtz (France)

text: Egypt advanced to the Second Round.

text:
6 February 1977 Second Round -Away
Kenya
0 – 0
 Egypt
[show]Nairobi, Kenya

Stadium: Nyayo National Stadium
Referee: Ahmed Jama (Somalia)

text:
27 February 1977 Second Round -Home
Egypt
1 – 0
(1 – 0 agg.)
 Kenya
[show]Cairo, Egypt

Ali Khalil  13'

Stadium: Cairo International Stadium
Referee: El-Ghoul (Libya)

text: Egypt advanced to the Third Round.

text:
15 July 1977 Third Round -Home
Egypt
2 – 0
 Zambia
[show]Cairo, Egypt

Farouk Gaafar  29'
Mohamed Abdallah "Hamama"  49'

Stadium: Cairo International Stadium
Referee: Alberto Michelotti (Italy)

text:
31 July 1977 Third Round -Away
Zambia
0 – 0
(0 – 2 agg.)
 Egypt
[show]Lusaka, Zambia

Stadium: 7th April Stadium
Referee: Gordon (Scotland)

text: Egypt advanced to the Final Round.

text:
Rank
Team
Pts
Pld
W
D
L
GF
GA
GD

1
 Tunisia
5
4
2
1
1
7
4
+3

2
 Egypt
4
4
2
0
2
7
11
−4

3
 Nigeria
3
4
1
1
2
5
4
+1

text:
8 October 1977 Final Round -Away 1
Nigeria
4 – 0
 Egypt
[show]Lagos, Nigeria

Chukwu  24'
Odegbami  54', 67'
N'Wadioha  74'

Stadium: Surelere Stadium
Referee: Correia (Portugal)

text:
21 October 1977 Final Round -Home 1
Egypt
3 – 1
 Nigeria
[show]Cairo, Egypt

Moustapha Abdou  11', 27'
Mokhtar Ali Mokhtar  90'

George Iwelumo  75'
Stadium: Cairo International Stadium
Referee: Emmanuel Platopoulos (Greece)

text:
25 November 1977 Final Round -Home 2
Egypt
3 – 2
 Tunisia
[show]Cairo, Egypt

Farouk Gaafar  25' (p.)
Moustapha Abdou 53'
Mahmoud El Khatib  83'

Raouf Ben Aziza 80'
Mohammed Ali Akid 87'
Stadium: Cairo International Stadium
Referee: Hilmi Ok (Turkey)

text:
11 December 1977 Final Round -Away 2
Tunisia
4 – 1
 Egypt
[show]Tunis, Tunisia

Mohammed Ali Akid  15'
Temime Lahzami 43'
Raouf Ben Aziza  64'
Khemais Labidi 75'

Ahmed Abdel Baki  80'
Stadium: Stade El Menzah
Referee: Gianfranco Menegali(Italy)

text: Egypt out of Final Round.

text: FIFA World Cup SPAIN 1982 [edit]

text: Main article :1982 FIFA World Cup qualification (CAF)

text:
CAF First Round
Egypt
w/o
 Ghana
[show]

Withdrew

text: Egypt advanced to the Second Round, Ghana withdrew.

text:
CAF Second Round
Egypt
w/o
 Libya
[show]

Withdrew

text: Egypt advanced to the Third Round, Libya withdrew.

text:
26 April 1981 CAF Third Round - Away
Morocco
1 – 0
 Egypt
[show]Stade d'Honneur, Casablanca

Daidi

Attendance: 80,000
Referee: Nyrenda Chayu (Zambia)

text:
8 May 1981 Third Round - Home
Egypt
0 – 0
(0 – 1 agg.)
 Morocco
[show]Cairo International Stadium, Cairo

Attendance: 100,000
Referee: Cheikh M'Baye (Senegal)

text: Egypt out of Third Round.

text: FIFA World Cup MEXICO 1986 [edit]

text: Main article :1986 FIFA World Cup qualification (CAF)

text: First Round

text:
28 August 1984
Egypt
1 – 0
 Zimbabwe
[show]Cairo, Egypt

Mayhoub
Report

Referee: Gebreysus Tesfaye (Ethiopia)

text:
30 September 1984
Zimbabwe
1 – 1
(1 – 2 agg.)
 Egypt
[show]Harare, Zimbabwe

Hamada Sedki  9' (og)
Report
Suleiman  34'
Referee: Billy Phambala (Malawi)

text: Egypt advanced to the Second Round.

text: Second Round

text:
5 April 1985
Egypt
1 – 0
 Madagascar
[show]Cairo, Egypt

Suleiman  64'
Report

Referee: Belaid Lacarne (Algeria)

text:
21 April 1985
Madagascar
1 – 0
(a.e.t.)
(1 – 1 agg.)
(2 – 4 p)
 Egypt
[show]Antananarivo, Madagascar

Herilia Rafanodina  57'
Report

Referee: Edwin Picon-Ackong (Mauritius)

Penalties

??

Mahmoud El Khateeb
Emad Soliman
Ali Shehata
Alaa Mayhoub
Magdi Abedel Ghani

text: Egypt advanced to the Third Round on penalties.

text: Third Round

text:
12 July 1985
Egypt
0 – 0
 Morocco
[show]Cairo International Stadium, Cairo

Report

Referee: Frank Valdemarca (Zimbabwe)

text:
28 July 1985
Morocco
2 – 0
(2 – 0 agg.)
 Egypt
[show]Stade Mohamed V, Casablanca

Timoumi  37'
Bouderbala  82'
Report
Gamal Abdel Hamid
Referee: Badara Sene (Senegal)

text: Egypt out of Third Round.

text: FIFA World Cup ITALY 1990 [edit]

text:
Main Article : 1990 FIFA World Cup qualification
Second round Group B

text:
Pld
W
D
L
GF
GA
GD
Pts

 Egypt
6
3
2
1
6
2
+4
8

 Liberia
6
2
2
2
2
3
−1
6

 Malawi
6
1
3
2
3
4
−1
5

 Kenya
6
1
3
2
2
4
−2
5

Egypt
–
2–0
2–0
1–0

Kenya
0–0
–
1–0
1–1

Liberia
1–0
0–0
–
1–0

Malawi
1–1
1–0
0–0
–

text: Egypt  v  Liberia

text: 6 January 1989

text:
Egypt
2–0
 Liberia

Ala'a  23'
El-Akad  42'

text:
Cairo Stadium, Cairo
Attendance: 70,000
Referee: Abdelali Naciri (Morocco)

text: Malawi  v  Egypt

text: 21 January 1989

text:
Malawi
1–1
 Egypt

Kayira  89'

Hesham  60'

text:
Silver Stadium, Lilongwe
Referee: Hafid Tahir (Tanzania)

text: Kenya  v  Egypt

text: 10 June 1989

text:
Kenya
0–0
 Egypt

text:
Moi International Sports Centre, Nairobi
Referee: Joel Dwarf Mondoka (Zambia)

text: Liberia  v  Egypt

text: 25 June 1989

text:
Liberia
1–0
 Egypt

Debbah  45'

text:
National Stadium, Monrovia
Attendance: 22,000
Referee: Celestin N'Cho (Côte d'Ivoire)

text: Egypt  v  Malawi

text: 12 August 1989

text:
Egypt
1–0
 Malawi

Hesham  28'

text:
Cairo Stadium, Cairo
Attendance: 55,000
Referee: Hassan Ahmed Abdulle (Somalia)

text: Egypt  v  Kenya

text: 26 August 1989

text:
Egypt
2–0
 Kenya

Hesham  58'
I. Hossan  62'

text:
Cairo Stadium, Cairo
Attendance: 47,000
Referee: Hafidh Tahir (Tanzania)

text: Final round

text: Algeria  v  Egypt

text: 8 October 1989

text:
Algeria
0 – 0
 Egypt

text:
Stade 17 Juin, Constantine
Attendance: 55,000
Referee: Sydney Picon-Ackong (Mauritius)

text: Egypt  v  Algeria

text: 17 November 1989

text:
Egypt
1 – 0
 Algeria

H. Hassan  4'

text:
Cairo Stadium, Cairo
Attendance: 100,000
Referee: Ali Bin Nasser (Tunisia)

text: FIFA World Cup USA 1994 [edit]

text: Main article :1994 FIFA World Cup qualification (CAF)


document_title: Thousand Island dressing

question_text: where did thousand island dressing get its name

text: Thousand Island dressing

text: Origins[edit]

text: According to The Oxford Companion to American Food and Drink, the dressing's name comes from the Thousand Islands region, located along the upper St. Lawrence River between the United States and Canada.[6] Within that region, one common version of the dressing's origins says that a fishing guide's wife, Sophia LaLonde, made the condiment as part of her husband George's shore dinner.[7] Often in this version, actress May Irwin requested the recipe after enjoying it.[8] Irwin, in turn, gave it to another. In another, second version of the story, Thousand Islands summer resident, George Boldt, who built Boldt Castle between 1900 and 1904 and who was proprietor of the Waldorf-Astoria Hotel, instructed the hotel's maître d'hôtel, Oscar Tschirky, to put the dressing on the menu in 1894 after he forgot dressing on salads and improvised with what ingredients were on hand at the time.[7][9] A 1959 National Geographic article states, "Thousand Island Dressing was reportedly developed by Boldt's chef."[10] Despite claims that he was involved in the introduction of the salad dressing at the Waldorf, chef Tschirky did not mention the salad dressing in his cookbook that was published during that time period.[11]

text: When University of Wisconsin sociologist Michael Bell and his graduate students attempted to determine the origin of Thousand Island dressing in 2010, they found that the story differed among villages and islands in the Thousand Islands region.[7] They discovered the existence of a third origin story in which the original recipe was based upon French dressing, which is supported by a recipe published in the 11th edition of The Fannie Farmer Cookbook (1965).[7] All the claims appeared to be based upon oral traditions without supporting written records.[7][12][13]

text: Some food writers advance the claim that the dressing was invented by chef Theo Rooms of the Blackstone Hotel in Chicago during the same time period.[12][14][15]  The food historians at the Food Timeline point out that the earliest print references to Thousand Island dressing appear in 1912, and that recipes for different versions of the dressing begin to appear afterwards throughout the U.S.[16]

text: Uses[edit]

text: It is widely used in fast-food restaurants and diners in the United States, where it is often referred to as "Special Sauce" or "Secret Sauce". An example of this is In-N-Out Burger's "Spread", served on burgers and several "Secret Menu" items; despite its name, it is a variation of Thousand Island dressing.[17] Thousand Island dressing is often used in a Reuben sandwich in lieu of Russian dressing.[18]

text: Similar preparations[edit]

text: The Rhode Island dressing (Rhode islandsås), introduced by the Swedish restaurateur Tore Wretman,[19][20] is similar to the Thousand Island and very popular in Sweden. Its name is confusing, especially for the foreigners, and its origin unclear, since the dressing has no relationship with Rhode Island and the name is not used for similar preparations outside Sweden.

text: In Germany, a similar salad dressing is called "American Dressing".[21][22]


document_title: Charlie and the Chocolate Factory (film)

question_text: who played the oompa loompas in willy wonka 2005

text: Plot

text: Charlie Bucket (Freddie Highmore) is a poor boy who lives near the Wonka Candy Company. The company's owner, Willy Wonka (Johnny Depp), has for long closed access to his factory due to problems concerning industrial espionage that led him to fire all his employees, among them Charlie's Grandpa Joe (David Kelly). One day, Wonka announces a contest, in which Golden Tickets have been placed in five random Wonka Bars worldwide, and the winners will be given a full tour of the factory as well as a lifetime supply of chocolate, while one ticketholder will be given a special prize at the end of the tour.

text: Wonka's sales subsequently skyrocket, and the first four tickets are found fairly quickly. The recipients are Augustus Gloop (Philip Wiegratz), a gluttonous German boy; Veruca Salt (Julia Winter), a very spoiled English girl; Violet Beauregarde (AnnaSophia Robb), a competitive gum chewer, and Mike Teavee (Jordan Fry), an arrogant television and video game addict. Charlie tries twice to find a ticket, but both bars come up empty. After overhearing that the final ticket was found in Russia, Charlie finds a ten-dollar note, and purchases a Wonka Bar at a news shop. At the exact moment it was revealed that the Russian ticket was forged, Charlie discovers the real fifth ticket inside the wrapper. Charlie first considers an offer of $500 for the ticket, but decides to keep it, and bring Grandpa Joe to accompany him on the factory tour.

text: Charlie and the other ticket holders are greeted by Wonka outside the factory, who then leads them into the facility. During the tour, each of the bad children disobey Wonka's orders after being tempted by something related to their individual character flaws, and suffer various consequences: Augustus is sucked up a chocolate extraction pipe after falling into a chocolate river from which he was drinking, Violet is turned into an oversized blueberry after chewing unstable three-course-meal gum, Veruca is pushed into a garbage chute by worker squirrels after she tries to take one as a pet, and Mike is shrunk with a teleporter that he uses on himself. Wonka's employees, the Oompa-Loompas (Deep Roy) sing a song of morality after each elimination. The children later leave the factory with an exaggerated characteristic or deformity related to their demise – Augustus covered in chocolate, Violet flexible and violet-colored, Mike overstretched and Veruca merely covered in garbage. In addition, Augustus’s mother realises her son’s addiction to candy is bad and Veruca’s father resolves to stop spoiling his daughter.

text: Wonka then invites Charlie to come live and work in the factory with him, and reveals that the purpose of the Golden Tickets and the tour was to make the "least rotten" child the heir of the factory itself. The only catch is that Charlie must leave his family behind, because Wonka believes family is a hindrance while a chocolatier needed creative freedom – a philosophy Wonka developed due to his dentist father, Dr. Wilbur Wonka (Christopher Lee), denying his son candy because of the potential risk to his teeth. After sneaking over a piece of candy, Wonka was instantly hooked, and ran away to follow his dreams. When he returned, both his father and their house were gone.

text: As his family is the most important thing in his life, Charlie refuses Wonka's offer. Charlie and his family are living contently a while later, however Wonka is too depressed to make candy the way he used to, causing his candy to sell poorly and his company to decline. He turns to Charlie for advice. Charlie decides to help Wonka confront and reconcile with his estranged father; Wonka finally realizes the value of family, while his father learns to accept his son for who he is, and not what he does. In the end, Wonka finally allows Charlie’s family to move into the factory, Charlie has the chocolate factory, and Wonka has patched up with his family.

text: Cast

text:
Johnny Depp as Willy Wonka
Blair Dunlop as Young Willy Wonka
Freddie Highmore as Charlie Bucket
David Kelly as Grandpa Joe
Helena Bonham Carter as Mrs. Bucket
Noah Taylor as Mr. Bucket
Missi Pyle as Mrs. Beauregarde
James Fox as Mr. Salt
Adam Godley as Mr. Teavee
Franziska Troegner as Mrs. Gloop
Christopher Lee as Dr. Wilbur Wonka
Deep Roy as Oompa-Loompas (with vocal work by Danny Elfman)
AnnaSophia Robb as Violet Beauregarde
Philip Wiegratz as Augustus Gloop
Julia Winter as Veruca Salt
Jordan Fry as Mike Teavee
Liz Smith as Grandma Georgina
Eileen Essell as Grandma Josephine
David Morris as Grandpa George
Geoffrey Holder as the Narrator

text: Production

text: Development

text: Author Roald Dahl disapproved of the 1971 film adaptation and declined the film rights to produce the sequel, Charlie and the Great Glass Elevator.[5] Warner Bros. and Brillstein-Grey Entertainment entered discussions with the Dahl estate in 1991, hoping to purchase the rights to produce another film version of Charlie and the Chocolate Factory. The purchase was finalized in 1998,[6] with Dahl's widow, Felicity ("Liccy"), and daughter, Lucy, receiving total artistic control and final privilege on the choices of actors, directors and writers. The Dahl Estate's subsequent protection of the source material was the main reason that Charlie and the Chocolate Factory had languished in development hell since the 1990s.[7][8]

text: Scott Frank was hired to write the screenplay in February 1999, after approaching Warner Bros. for the job.[8] Frank, a recent Oscar-nominee for the R-rated crime film Out of Sight, wanted to work on a film that his children could enjoy.[9][10][11] As an enthusiastic fan of the book, he intended to remain more truthful to Dahl's vision than the 1971 film had been.[8] Nicolas Cage was under discussions for Willy Wonka, but lost interest.[5][12] Gary Ross signed to direct in February 2000,[13] which resulted in Frank completing two drafts of the screenplay,[11] before leaving with Ross in September 2001.[14] Both Warner Bros. and the Dahl Estate wanted Frank to stay on the project, but he faced scheduling conflicts and contractual obligations with Minority Report (2002) and The Lookout (2007).[11]

text: Rob Minkoff entered negotiations to take the director's position in October 2001,[15] and Gwyn Lurie was hired to start from scratch on a new script in February 2002. Lurie said she would adapt the original book and ignore the 1971 film adaptation. Dahl's estate championed Lurie after being impressed with her work on another Dahl adaptation, a live-action adaptation of The BFG, for Paramount Pictures, which was never made (Paramount distributed the earlier 1971 film version of Charlie, and later sold the rights to WB).[16] In April 2002, Martin Scorsese was involved with the film, albeit briefly, but opted to direct The Aviator instead.[5][12] Warner Bros. president Alan F. Horn wanted Tom Shadyac to direct Jim Carrey as Willy Wonka, believing the duo could make Charlie and the Chocolate Factory relevant to mainstream audiences, but Liccy Dahl opposed this.[7]

text: Pre-production

text: After receiving enthusiastic approval from the Dahl Estate, Warner Bros. hired Tim Burton to direct in May 2003.[6] Burton compared the project's languishing development to Batman (1989), which he directed, in how there had been varied creative efforts with both films. He said, "Scott Frank's version was the best, probably the clearest, and the most interesting, but they had abandoned that."[17] Liccy Dahl commented that Burton was the first and only director the estate was happy with. He had previously produced another of the author's adaptations with James and the Giant Peach (1996), and, like Roald and Liccy, disliked the 1971 film because it strayed from the book's storyline.[7]

text:
"As a child, Dahl was the author who I connected to the most. He got the idea of writing a mixture of light and darkness, and not speaking down to kids, and the kind of politically incorrect humor that kids get. I've always liked that, and it's shaped everything I've felt that I've done."
Tim Burton[17]

tag: div

text: During pre-production Burton visited Dahl's former home in the Buckinghamshire village of Great Missenden. Liccy Dahl remembers Burton entering Dahl's famed writing shed and saying, "This is the Buckets' house!" and thinking to herself, "Thank God, somebody gets it." Liccy also showed Burton the original handwritten manuscripts, which Burton discovered were more politically incorrect than the published book. The manuscripts included a child named Herpes, after the sexually transmitted disease.[17] Burton immediately thought of Johnny Depp for the role of Willy Wonka, who in August 2003 joined the film, his fourth collaboration with the director.[18]

text: Lurie's script received a rewrite by Pamela Pettler, who worked with Burton on Corpse Bride, but the director hired Big Fish screenwriter John August in December 2003 to start from scratch.[12] Both August and Burton were fans of the book since their childhoods.[17] August first read Charlie and the Chocolate Factory when he was eight years old, and subsequently sent Dahl a fan letter. He did not see the 1971 film prior to his hiring, which Burton believed would be fundamental in having August stay closer to the book.[19] The writer updated the Mike Teavee character into an obsessive video game player, as compared to the novel, in which he fantasized about violent crime films. The characters Arthur Slugworth and Prodnose were reduced to brief cameo appearances, while Mr. Beauregarde was entirely omitted.[20]

text: Burton and August also worked together in creating Wilbur Wonka, Willy's domineering dentist father. Burton thought the paternal character would help explain Willy Wonka himself and that otherwise he would be "just a weird guy".[3] The element of an estranged father-son relationship had previously appeared in Big Fish, similarly directed by Burton and written by August. Warner Bros. and the director held differences over the characterizations of Charlie Bucket and Willy Wonka. The studio wanted to entirely delete Mr. Bucket and make Willy Wonka the idyllic father figure Charlie had longed for his entire life. Burton believed that Wonka would not be a good father, finding the character similar to a recluse.[21] Burton said, "In some ways, he's more screwed up than the kids." Warner Bros. also wanted Charlie to be a whiz kid, but Burton resisted the characterization. He wanted Charlie to be an average child who would be in the background and not get in trouble.[17]

text: Casting

text: Prior to Burton's involvement, Warner Bros. considered or discussed Willy Wonka with Bill Murray, Christopher Walken, Steve Martin, Robin Williams, Nicolas Cage, Jim Carrey, Michael Keaton, Robert De Niro, Brad Pitt, Will Smith, Mike Myers, Ben Stiller, Leslie Nielsen, John Cleese, Eric Idle, Michael Palin, Patrick Stewart, and Adam Sandler.[22][23][24][25][26][27][28][29] Dustin Hoffman and Marilyn Manson reportedly wanted the role as well.[24][30]  Pitt's production company, Plan B Entertainment, however, stayed on to co-finance the film with Warner Bros.[7] Coincidentally, Cleese, Idle and Palin (as well as the other three Monty Python members) had all previously expressed interest in playing Wonka in the 1971 film adaptation.[29] Johnny Depp was the only actor Burton considered for the role,[17] although Dwayne Johnson was Burton's second choice in case Depp was unavailable.[31] Depp signed on without reading the script under the intention of going with a completely different approach than what Gene Wilder did in the 1971 film adaptation.[32] Depp said regardless of the original film, Gene Wilder's characterization of Willy Wonka stood out as a unique portrayal.[7]

text: Depp and Burton derived their Willy Wonka from children's television show hosts such as Bob Keeshan (Captain Kangaroo), Fred Rogers, and Al Lewis from The Uncle Al Show, and Depp also took inspiration from various game show hosts.[33] Burton recalled from his childhood that the characters were bizarre but left lasting impressions. He said, "It was kind of a strange amalgamation of these weird children's TV show hosts."[17] Depp based Wonka's look (exaggerated bob cut and sunglasses) on Vogue magazine editor Anna Wintour.[34]

text: Comparisons were drawn between Willy Wonka and Michael Jackson. Burton disagreed with the comparisons and said Jackson, unlike Wonka, liked children.[21] Depp said the similarities with Jackson never occurred to him. Instead, he compared Wonka to Howard Hughes due to his "reclusive, germaphobe, controlling" nature.[33] Burton agreed with the similarity to Hughes. He also cited Charles Foster Kane from Citizen Kane as an inspiration for Wonka, as Kane is "somebody who was brilliant but then was traumatized and then retreats into their own world".[17] Depp wanted to sport prosthetic makeup for the part and have a long, elongated nose, but Burton believed it would be too outrageous. During production, Gene Wilder, in an interview with The Daily Telegraph, accused the filmmakers of only remaking the 1971 film for the purpose of money.[35] Depp said he was disappointed by Wilder's comment, and responded that the film was not a remake, but a new adaptation of Dahl's 1964 book.[3]

text: The casting calls for Charlie Bucket, Violet Beauregarde, Veruca Salt, and Mike Teavee took place in the United States and United Kingdom, while Augustus Gloop's casting took place in Germany. Burton said he sought actors "who had something of the character in them", and found Mike Teavee the hardest character to cast.[17] Burton was finding trouble casting Charlie, until Depp, who had worked with Freddie Highmore on Finding Neverland, suggested Highmore for the part.[5] Highmore had already read the book before, but decided to read it once more prior to auditioning.[36] The actor did not see the original film adaptation, and chose not to see it until after Burton's production, so his portrayal would not be influenced.[37]

text: Before Adam Godley was officially cast as Mr. Teavee, Dan Castellaneta, Tim Allen, Ed O'Neill, Bob Saget, and Ray Romano were all considered for the role.[22]

text: It has been rumored that Gregory Peck was considered for the role of Grandpa Joe.[38]  Other actors that were considered for Grandpa Joe included Richard Attenborough, Kirk Douglas, Albert Finney, Anthony Hopkins, Paul Newman, Max von Sydow, David Warner, Christopher Lloyd and Peter Ustinov.[39]

text: Filming

text: Principal photography for Charlie and the Chocolate Factory started on June 21, 2004[12] at Pinewood Studios in England.[40] Director Tim Burton and composer Danny Elfman found filming somewhat difficult because they were simultaneously working on Corpse Bride.[21] The Wonka Factory exterior was coincidentally constructed on the same backlot Burton had used for Gotham City in Batman (1989).[17] The ceremonial scene required 500 local extras.[7] The Chocolate Room/River setpiece filled Pinewood's 007 Stage. As a consequence of British Equity rules, which state that children can only work four and a half hours a day, filming for Charlie and the Chocolate Factory took six months, ending in December 2004.[17]

text: Design

text: The architecture of the Bucket family home was influenced by Burton's visit to Roald Dahl's writing hut. Like the book, the film has a "timeless" setting and is not set in a specific country. "We've tried not to pinpoint it to any place," production designer Alex McDowell explained. "The cars, in fact, drive down the middle of the road."[7] The town, whose design was shaped by the black and white urban photography of Bill Brandt, as well as Pittsburgh and Northern England, is arranged like a medieval village, with Wonka's estate on top and the Bucket shack below.[7] The filmmakers also used fascist architecture for Wonka's factory exterior, and designed most of the sets on 360° sound stages, similar to cycloramas. Burton biographer Mark Salisbury wrote that Charlie and the Chocolate Factory "melds 1950s and '70s visuals with a futuristic sensibility that seems straight out of a 1960s sense of the future."[17] The "TV Room" was patterned after photographs from the films 2001: A Space Odyssey, Danger: Diabolik, and THX 1138. Danger Diabolik also served as inspiration for the Nut Room and Inventing Room.[17]

text: Visual effects

text: Tim Burton avoided using too many digital effects because he wanted the younger actors to feel as if they were working in a realistic environment.[41] As a result, forced perspective techniques, oversized props and scale models were used to avoid computer-generated imagery (CGI).[17] Deep Roy was cast to play the Oompa-Loompas based on his previous collaborations with Burton on Planet of the Apes and Big Fish. The actor was able to play various Oompa-Loompas using split screen photography, digital and front projection effects.[3] "Tim told me that the Oompa-Loompas were strictly programmed, like robots — all they do is work, work, work," Roy commented. "So when it comes time to dance, they're like a regiment; they do the same steps."[42]

text: A practical method was considered for the scene in which Violet Beauregarde turns blue and swells up into a giant 10-foot blueberry. A suit with an air hose was considered at one point for the beginnings of the swelling scene, before the decision was made to do the entire transformation in CGI. The visual effects house Cinesite was recruited for this assignment. In some shots of AnnaSophia Robb's head, a facial prosthetic was worn to give the impression that her cheeks had swelled up as well. Because this decision was made late in the film's production, any traces of Violet's blueberry scene were omitted from trailers or promotional material.

text: Rather than rely on CGI, Burton wanted the 40 squirrels in the Nut Room to be real. The animals were trained every day for 10 weeks before filming commenced. They began their coaching while newborns, fed by bottles to form relationships with human trainers. The squirrels were each taught how to sit upon a little blue bar stool, tap and then open a walnut, and deposit its meat onto a conveyor belt.[7] "Ultimately, the scene was supplemented by CGI and animatronics," Burton said, "but for the close-ups and the main action, they're the real thing."[17] Wonka's Viking boat for the Chocolate River sequence floats down a realistic river filled with 192,000 gallons of faux melted chocolate.[43] "Having seen the first film, we wanted to make the chocolate river look edible," McDowell said. "In the first film, it's so distasteful." The production first considered a CGI river, but Burton was impressed with the artificial substance when he saw how it clung to the boat's oars. Nine shades of chocolate were tested before Burton settled on the proper hue.[7]

text: Music

text: The original music score was written by Danny Elfman, a frequent collaborator with director Tim Burton. Elfman's score is based around three primary themes: a gentle family theme for the Buckets, generally set in upper woodwinds; a mystical, string-driven waltz for Willy Wonka; and a hyper-upbeat factory theme for full orchestra, Elfman's homemade synthesizer samples and the diminutive chanting voices of the Oompa-Loompas.[44]

text: Elfman also wrote and performed the vocals for four songs, with pitch changes and modulations to represent different singers.[45] The lyrics to the Oompa-Loompa songs are adapted from the original book, and are thus credited to Roald Dahl.[44] Following Burton's suggestion, each song in the score is designed to reflect a different archetype.[45] "Wonka's Welcome Song" is a maddeningly cheerful theme park ditty, "Augustus Gloop" a Bollywood spectacle (per Deep Roy's suggestion),[42] "Violet Beauregarde" is 1970s funk, "Veruca Salt" is 1960s bubblegum pop / psychedelic pop, and "Mike Teavee" is a tribute to late 1970s hard rock (such as Queen) and early 1980s hair bands.[44][45]

text: The original motion picture soundtrack was released on July 12, 2005 by Warner Bros. Records.

text: Release

text: Charlie and the Chocolate Factory had its premiere at the Grauman's Chinese Theatre, on July 10, 2005, where money for the Make-a-Wish Foundation was raised.[46] The film was released in the United States on July 15, 2005 in 3,770 theaters[47] (including IMAX theaters).[48]

text: Marketing

text: Early in the development of Charlie and the Chocolate Factory in February 2000, Warner Bros. announced their intention of marketing the film[13] with a Broadway theatre musical after release. The studio reiterated their interest in May 2003,[6] however, the idea was postponed by the time filming began in June 2004.[7] The main tie-in for Charlie and the Chocolate Factory focused on The Willy Wonka Candy Company, a division of Nestlé. A small range of Wonka Bars were launched, utilizing their prominence in the film.[49] The release of Charlie and the Chocolate Factory also rekindled public interest in Roald Dahl's 1964 book, and appeared on the New York Times Best Seller list from July 3 to October 23, 2005.[50][51]

text: Box office

text: Charlie and the Chocolate Factory earned $56,178,450 in its opening weekend,[47] the fifth-highest opening weekend gross for 2005, and stayed at #1 for two weeks.[52] The film eventually grossed $206,459,076 in US totals and $268,509,687 in foreign countries, coming to a worldwide total of $474,968,763. It was the fifty-eighth highest-grossing film of all time when released,[47] as well as seventh-highest for the US[52] and eighth-highest worldwide for the year of 2005.[53]

text: Critical response

text: Review aggregator Rotten Tomatoes gives the film an approval rating of 83% based on 222 reviews, with an average rating of 7.2/10. The site's critical consensus reads, "Closer to the source material than 1971's Willy Wonka & the Chocolate Factory, Charlie and the Chocolate Factory is for people who like their Chocolate visually appealing and dark."[54] On Metacritic the film has a weighted average score of 72 out of 100, based on 40 critics, indicating "generally favorable reviews".[55] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[56]

text: Owen Gleiberman of Entertainment Weekly praised Charlie and the Chocolate Factory, writing "Johnny Depp as Willy Wonka may be a stone freak, but he is also one of Burton's classic crackpot conjurers, like Beetlejuice or Ed Wood."[57] Roger Ebert gave an overall positive review and enjoyed the film. He was primarily impressed by Tim Burton's direction of the younger cast members, but was disappointed with Depp's performance: "What was Depp thinking of? In Pirates of the Caribbean he was famously channeling Keith Richards, which may have primed us to look for possible inspirations for this performance."[58] Mick LaSalle from the San Francisco Chronicle found Charlie and the Chocolate Factory Burton's "best work in years. If all the laughs come from Depp, who gives Willy the mannerisms of a classic Hollywood diva, the film's heart comes from Highmore, a gifted young performer whose performance is sincere, deep and unforced in a way that's rare in a child actor."[59] Peter Travers wrote in Rolling Stone magazine that "Depp's deliciously demented take on Willy Wonka demands to be seen. Depp goes deeper to find the bruises on Wonka's secret heart than what Gene Wilder did. Depp and Burton may fly too high on the vapors of pure imagination, but it's hard to not get hooked on something this tasty. And how about that army of Oompa-Loompas, all played by Deep Roy, in musical numbers that appear to have been choreographed by Busby Berkeley on crack."[60]

text: Ann Hornaday of The Washington Post criticized Depp's acting. "The cumulative effect isn't pretty. Nor is it kooky, funny, eccentric or even mildly interesting. Indeed, throughout his fey, simpering performance, Depp seems to be straining so hard for weirdness that the entire enterprise begins to feel like those excruciating occasions when your parents tried to be hip. Aside from Burton's usual eye-popping direction, the film's strenuous efforts at becoming a camp classic eventually begin to wear thin."[61]

text: In 2007, Gene Wilder said he chose not to see the film. "The thing that put me off ... I like Johnny Depp, I like him, as an actor I like him very much ... but when I saw little pieces in the promotion of what he was doing, I said I don't want to see the film, because I don't want to be disappointed in him."[62] In 2013, when Wilder was asked about the Burton remake, he said "I think it's an insult. It's probably Warner Bros.' insult."  He also criticized the choices that Burton made as a director, saying "I don't care for that director. He's a talented man, but I don't care for him doing stuff like he did."[63]

text: Accolades

text: Costume designer Gabriella Pescucci received an Academy Award nomination, but lost to Colleen Atwood for Memoirs of a Geisha.[64] Johnny Depp lost the Golden Globe Award for Best Actor in a Musical or Comedy to Joaquin Phoenix in Walk the Line.[65] More nominations followed from the British Academy Film Awards for Visual Effects, Costume Design (Pescucci), Makeup & Hair (Peter Owen and Ivana Primorac) and Production Design (Alex McDowell).[66] Charlie and the Chocolate Factory was also nominated for the Saturn Award for Best Fantasy Film, as well as Performance by a Younger Actor (Freddie Highmore), Music (Danny Elfman) and Costume (Pescucci).[67] Elfman and screenwriter John August were nominated for a Grammy Award with "Wonka's Welcome Song".[68]


document_title: Poverty in the Philippines

question_text: what is the rank of the philippines in terms of poverty

text: Poverty in the Philippines

text: Poverty statistics based on income and expenditures[edit]

text: This article's factual accuracy may be compromised due to out-of-date information. Please update this article to reflect recent events or newly available information. (August 2012)

text: The Annual Poverty Indicator Survey, or APIS, is a survey held nationwide, administered by the National Statistics Office, World Bank Mission, and the United Nations Development Programme. It provides data on the different non-income indicators related to poverty and is held every year except for years when the Family Income and Expenditure Survey, or FIES, is being administered.[6] The survey provides data on the socio-economic profile and the living conditions of families in 78 provinces and all cities and municipalities of Metro Manila. The Family Income and Expenditure Survey, on the other hand, provides the same major and specified details of expenditures but over a larger sample area extending to provinces and municipalities across the Philippines.[7]

text: Poverty and food threshold[edit]

text: The poverty threshold, also known as the poverty line, is the minimum income required to meet basic food needs and other non-food requirements such as clothing, housing, transportation, health, and education expenses.[8] The food threshold is the minimum income required to meet basic food needs and satisfy the nutritional requirements set by the Food and Nutrition Research Institute (FNRI) to ensure that one remains economically and socially productive.[8] Recent estimates for the poverty and food thresholds has been consistently increasing. The food threshold, being the estimate for minimum food expenditures, consistently comprises around 70% of the minimum income requirement or poverty threshold.

text: Poverty incidence and subsistence[edit]

text: Given the poverty thresholds mentioned above, poverty and subsistence incidences are computed by determining the proportion of the population and the families whose per capita income are below the poverty and food thresholds. Poverty incidence is the proportion of the population with per capita income less than the per capita poverty threshold.[8] Subsistence incidence, on the other hand, is the proportion of the population with per capita income less than the per capita food threshold.[8] Poverty and subsistence incidences for 2013 significantly decreased, indicating an improvement in the proportion of the population that are below the poverty line.

text: 2014 data released by Philippine Statistics Authority, however, estimated a 25.8% poverty incidence for the first semester (January to June 2014). This was an increase in poverty level from 2013. Subsistence incidence for the first semester of 2014, on the other hand, showed an improvement, with a 10.5% estimate.[2]

text: Depth of poverty[edit]

text: Income gap[edit]

text: Income gap measures the average income required by the poor in order to get out of poverty (expressed relative to the poverty threshold).[8] Income gap is a measure of depth of poverty. In 2013, on average, families below the poverty line needed 27.4% the poverty threshold, or an additional monthly income of Php 2,638, to get out of poverty.[2] This was a slight decrease from 2012's income gap which requires an income of Php 2740 in order to overtake the poverty line.

text: Poverty gap[edit]

text: Poverty gap is the total income shortfall (expressed relative to the poverty line) of families with income below the poverty threshold, divided by the total number of families. It is also a measure of depth of poverty. The poverty gap for the first semester of 2014 was 5.4%, a 0.2 unit increase from 2013, which was 5.2%.[2]

text: According to the Asian Development Bank, in 2016 it was estimated that 60% of the Philippine population aged 15 years and above were employed.[9][not in citation given]

text: GINI index[edit]

text: The GINI index, also known as the GINI ratio or GINI coefficient, measures the degree of inequality in the distribution of family income in a country.[10] A GINI index of 0 represents perfect equality, while an index of 100 implies perfect inequality. For the Philippines, the GINI index is measured every three years during the Family Income and Expenditure Survey. In 2009, the GINI index was 46.41. It decreased 0.36 units to 46.05 in 2012. These indices were both higher than the average of 38.8.

text: Other poverty-related statistics[edit]

text: Rapid population growth[edit]

text: In 1985, the absolute number of people living in poverty was 26.5 million. This increased to 30.4 million in 2000 and from 2006 to 2009, increased by almost 970,000 Filipinos from 22.2 million to 23.1 million.[4]

text: As the Philippines has financially limited resources and a high poverty rate, the rapid increase in population has become a problem because there are insufficient resources to support the population, which leaves fewer resources to improve the economy. From 2003 to 2006, even though the Philippines experienced above-average economic growth, the poverty incidence increased as a result of its population growth rate.[11]

text: Unemployment[edit]

text: Poverty reduction has not kept up with GDP growth rates, largely due to the high unemployment rate, high inflation rate and wide income inequality. The official rate of unemployment for 2012 in the Philippines was 6.5 percent.[12]

text: Education and Literacy[edit]

text: There is a great contrast between the achievement of tertiary education by family heads belonging to the lowest 30% and the highest 70%. From the 3 to 24-year olds who attended school during the year 2010 to 2011, only 4% of those under the poverty line were in college, while 18% of the highest 70% were in college. From the data concerning 6 to 24-year olds from the lowest 30% who had not attended school during the year 2010 to 2011, the two highest reasons for not attending were "lack of personal interest" at 28.9% and "high cost of education" at 26.8%.[6]

text: Human Development Index[edit]

text: The Human Development Index, as defined by the United Nations, is a summary measure of average achievement in key dimensions of human development: a long and healthy life, being knowledgeable and having a decent standard of living. For the Philippines, the HDI increased by 16.5% between 1980 and 2013. The country ranked 117 out of 187 countries in 2013. The HDI in 2013 was 0.660, which implied that the Philippines was under the medium human development group (which needs an HDI of 0.614). The nation's HDI was higher than the average for countries in the medium human development group, but lower than the average of the countries in East Asia and Pacific (0.703).

text: The Inequality Adjusted Human Development Index (IHDI) discounts each dimension's (health, education and income) average value according to its level of inequality. Inequality pulls down HDI by 18.1% in the Philippines, which makes the IHDI equal to 0.540. As in the HDI, the country's IHDI is higher than the average of medium human development group, which is 0.457, a 25.6% loss due to inequality. The IHDI value of the average in the countries of East Asia and Pacific was 0.564, which was still higher than the Philippines'.[3]

text: Houses and lots[edit]

text: It can be seen that 50.2% of families from the lowest 30% have floor areas below 30 square meters. From the data concerning the type of construction material of the roof of the building families occupy, 87.4% of the highest 70% had strong materials compared with the 62.8% of the lowest 30% and 6.3% of the highest 70% had light materials compared with the 27.3% of the lowest 30%.

text: From the data concerning the type of construction material of the outer walls of the building families occupy, 78.3% of the highest 70% had strong materials compared with the 46.4% of the lowest 30% and 8.7% of the highest 70% had light materials compared with the 32.4% of the lowest 30%. From the data concerning the type of toilet facility families use, it was noticeable that 12.9% of the lowest 30% had no toilet, field, or bush.[6]

text: Hunger[edit]

text: The gap between the percentage of families below the poverty line and those above the poverty line is noticeable. 14.5% of families belonging to the lowest 30% had experienced hunger in the three months preceding the survey, while only 2.8% of families belonging to the highest 70% had experienced hunger in the three months preceding the survey.[7]

text: Electricity and access to resources[edit]

text: Only 70.2% of families belonging to the lowest 30% have electricity in their homes, compared with the 94.5% of the families belonging to the highest 70%. It is also noticeable that 27.2% of families belonging to the lowest 30% have either a public tap, an unprotected well, or an undeveloped spring for their main source of water supply.[6]

text: Poverty demographics[edit]

text: National level[edit]

text: In 2012, a family of five would need an average of P5,513 per month in order to meet their basic food needs, and a further P2,377 in order to meet their nonfood needs. This represents an average inflation of 4.1% per year from 2009 to 2012.[8]

text: Statistically, the percentage of Filipinos that couldn't meet the basic food needs stood at 7.5%. The number of poor families remained steady at 1.61 Million. One in five families were estimated to be poor in 2012, or 4.2 million.

text: Aside from previous indicators, other measures such as the income gap and poverty gap also exist in order to have enough data to properly design programs that will help poverty. The income gap measures the amount of income required by the poor in order to get out of poverty in relation to the poverty threshold. In 2012, it was estimated that the income gap was at 26.2%, which meant that, on average, a family of five would need an additional P2,067 in order to move out of poverty in 2012.

text: A total of P124 billion would be needed by the national government as cash transfers to the poor families in order to totally eradicate poverty in the country.

text: As of 2016, there were a total of 101.57 million Filipinos. 25.2% of the population lived below the national poverty line.[9]

text: Regional level[edit]

text: At the regional level, NCR, CALABARZON and Central Luzon had the lowest poverty incidence in the country during 2006, 2009, and 2012. ARMM remained the poorest region with the highest poverty incidence, which ranged from 40 to 49% in 2006, 2009, and 2012.

text: Provincial level[edit]

text: At the provincial level, the group of provinces with the least poverty incidence are the four districts of NCR, Bataan, Benguet, Bulacan, Cavite, Laguna, Pampanga, Rizal, and Ilocos Norte. The group with the highest poverty are Eastern Samar, Lanao del Sur, Maguindanao, Masbate, Northern Samar, Sarangani, Zamboanga del Norte, Camiguin, Lanao del Norte, North Cotabato, and Western Samar.

text: Summary[edit]

text: In general, one out of every five families were poor in 2012. The ratio of poor families remained the same from 2006, but due to population increase, the number rose from 3.8 million in 2006 to 4.2 million in 2012. Furthermore, one out of 10 families couldn't meet their basic food needs. Nevertheless, the estimated number of poor families remained steady at around 1.6 million.

text: The map above shows the poverty incidence in the country. This is the number of households living below the poverty threshold. It can be seen that the provinces of Apayao, Eastern Samar, Lanao del Sur, and Maguindanao have incidences higher than 60%. In Mindanao, apart from Lanao del Sur and Maguindanao, the rest of the region's provinces have indices that are 60% or lower. In Visayas, the western part contains most of the provinces with lower than 30% incidence, while the eastern part mostly has lower than 60% incidence. Luzon has the least number of provinces with higher than 30% incidence. This may be attributed to their relative ease of trade with the capital.