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User talk:JTilly

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[[User:Meelar|Meelar (talk)]] 21:00, Dec 14, 2004 (UTC)

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Thanks!--DASHBot (talk) 21:00, 2 January 2010 (UTC)
 * 1) Jeffrey Davidow -

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ArbCom elections are now open!
MediaWiki message delivery (talk) 12:55, 23 November 2015 (UTC)

title: User talk:JTilly


text:
Slideware

Slideware may refer to:
 * A Presentation program, such as Microsoft PowerPoint, OpenOffice.org Impress or Apple iWork Keynote
 * the paper copy materials distributed as part of a slideshow
 * Vaporware, termed pejoratively when the product exists only in marketing promotions

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Slideware


text:
Cape Breton Post

The Cape Breton Post is the only daily newspaper published on Cape Breton Island. Based in Sydney, Nova Scotia, it specializes in local coverage of news, events, and sports from communities in the Cape Breton Regional Municipality and the counties of Inverness, Richmond and Victoria.

On April 13, 2017, Transcontinental announced that it had sold all of its newspapers in Atlantic Canada to SaltWire Network, a newly formed parent company of The Chronicle Herald.

title: Cape Breton Post


text:
Charlie and the Chocolate Factory (film)

Charlie and the Chocolate Factory is a 2005 musical fantasy film directed by Tim Burton and written by John August, based on the 1964 British novel of the same name by Roald Dahl. The film stars Johnny Depp as Willy Wonka and Freddie Highmore as Charlie Bucket, alongside David Kelly, Helena Bonham Carter, Noah Taylor, Missi Pyle, James Fox, Deep Roy, and Christopher Lee. The storyline follows Charlie as he wins a contest along with four other children and is led by Wonka on a tour of his chocolate factory.

Development for a second adaptation of Charlie and the Chocolate Factory began in 1991, which resulted in Warner Bros. providing the Dahl estate with total artistic control. Prior to Burton's involvement, directors such as Gary Ross, Rob Minkoff, Martin Scorsese, and Tom Shadyac had been involved, while actors Bill Murray, Nicolas Cage, Jim Carrey, Michael Keaton, Brad Pitt, Will Smith, Adam Sandler, and many others, were either in discussion with or considered by the studio to play Wonka. Burton immediately brought regular collaborators Depp and Danny Elfman aboard. Charlie and the Chocolate Factory represents the first musical film directed by Burton and the first time since The Nightmare Before Christmas that Elfman contributed to a film score using written songs and his vocals.

Filming took place from June to December 2004 at Pinewood Studios in the United Kingdom. Rather than using computer-generated environments, Burton primarily used built sets and practical effects, which he claimed was inspired by the book's emphasis on texture. Wonka's Chocolate Room was constructed on the 007 Stage at Pinewood, complete with a faux chocolate waterfall and river. Squirrels were trained from birth for Veruca Salt's elimination. Actor Deep Roy performed each Oompa-Loompa individually rather than one performance duplicated digitally. Burton shot the film simultaneously alongside the stop-motion animated film Corpse Bride, which he also directed.

Willy Wonka-themed chocolate bars were sold, and a Golden Ticket contest was launched as part of the film's marketing campaign. Early plans to promote the film with a Broadway theatre musical were not realized. Charlie and the Chocolate Factory premiered on July 10, 2005, and was released in the United States on July 15 to positive critical reviews, who commended it for its visual appeal and dark tone. It was also a box office success, grossing US$475 million and becoming the eighth-highest-grossing film worldwide in 2005. The film received a nomination for Best Costume Design at the 78th Academy Awards, while Depp was nominated for the Golden Globe Award for Best Actor – Musical or Comedy. It remains Tim Burton's second-highest-grossing film to date.

Plot
Charlie Bucket is a kind and loving boy who lives in poverty with his family near the Wonka Factory. The company's owner, Willy Wonka, has long closed his factory to the public due to problems concerning industrial espionage, which also caused all his employees, including Charlie's Grandpa Joe, to lose their jobs. Charlie's father, meanwhile, has more recently been laid off from his own job at a toothpaste factory, although he does not admit this to Charlie.

One day, Wonka announces a contest in which Golden Tickets have been placed in five random Wonka Bars worldwide, and the winners will receive a full tour of the factory as well as a lifetime supply of chocolate, while one will receive an additional prize at the end of the tour. Wonka's sales subsequently skyrocket, and the first four tickets are found by the gluttonous Augustus Gloop, the spoiled Veruca Salt, the arrogant Violet Beauregarde, and the ill-tempered Mike Teavee. 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 banknote and purchases a third Wonka Bar. The Russian ticket is revealed to be a forgery just as Charlie discovers the real ticket inside the wrapper. He receives monetary offers for the ticket, but the cashier warns him not to trade it regardless, and Charlie runs back home. At home, Charlie initially wants to trade the ticket for money for his family's betterment, but after a pep talk from Grandpa George, he decides to keep it, and brings Grandpa Joe to accompany him on the tour.

Charlie and the other ticket holders are greeted outside the factory by Wonka, who then leads them into the facility. Individual character flaws cause the other four children to give in to temptation, resulting in their elimination from the tour while Wonka's new employees, the Oompa-Loompas, sing a song of morality after each. Meanwhile, Wonka reminisces on his troubled past and how his dentist father, Wilbur, strictly forbade him from consuming any candy. After sneaking a piece of candy, Wonka instantly became hooked and ran away from home to follow his dreams. When he returned, however, both his father and their house were gone.

After the tour, the four eliminated children leave the factory with an exaggerated characteristic or deformity related to their elimination, while Charlie learns that Wonka, now approaching retirement, intended to find a worthy heir. Since Charlie was the least ill-behaved of the five, Wonka invites Charlie to come live and work in the factory with him, provided that he leave his family behind. Charlie declines, as his family is the most important thing in his life.

As Charlie and his family's life improve, Wonka becomes despondent, causing his company and sales to decline. He eventually turns to Charlie for advice, and he decides to help Wonka reconcile with his estranged father, Wilbur. During the reunion, Charlie notices newspaper clippings of Wonka's success which Wilbur collected, while Wonka realizes the value of family as he and Wilbur finally reconcile. Afterwards, Wonka allows Charlie and his family to move into the factory together.

Cast

 * Johnny Depp as 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
 * Deep Roy as Oompa-Loompas (with vocal work by Danny Elfman)
 * Christopher Lee as Dr. Wonka

Other cast members include Adam Godley as Mr. Teavee and Franziska Troegner as Mrs. Gloop. The other four Golden Ticket winners, Violet Beauregarde, Veruca Salt, Mike Teavee, and Augustus Gloop, are portrayed by AnnaSophia Robb, Julia Winter, Jordan Fry, and Philip Wiegratz, respectively. Blair Dunlop plays little Willy Wonka. Charlie's remaining grandparents, Grandma Georgina, Grandma Josephine, and Grandpa George, are portrayed by Liz Smith, Eileen Essell, and David Morris. Nitin Ganatra and Shelley Conn appear as Prince and Princess Pondicherry. Geoffrey Holder narrates the film.

Development
Author Roald Dahl disapproved of the 1971 film adaptation. Warner Bros. Pictures and Brillstein-Grey Entertainment entered into 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, 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.

Ang Lee, Terry Gilliam, Anthony Minghella, and Spike Jonze were among the Dahl estate's preferred directors for the project. Scott Frank was hired to write the screenplay in February 1999, after approaching Warner Bros. for the job. Frank, a recent Oscar-nominee for the R-rated crime film Out of Sight (1998), wanted to work on a film that his children could enjoy. As an enthusiastic fan of the book, he intended to remain more faithful to Dahl's vision than the 1971 film had been. Nicolas Cage was under discussions for Willy Wonka, but lost interest. Gary Ross signed to direct in February 2000, which resulted in Frank completing two drafts of the screenplay, before leaving with Ross in September 2001. 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).

Rob Minkoff entered negotiations to take the director's position in October 2001, 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 Warner Bros.). In April 2002, Martin Scorsese was involved with the film, albeit briefly, but opted to direct The Aviator (2004) instead. 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.

Pre-production
In May 2003, Warner Bros. announced that Charlie and the Chocolate Factory would be one of their tentpole film releases for 2005. Later that month, Tim Burton was hired to direct after receiving enthusiastic approval from the Dahl estate. 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." 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 Dahl, disliked the 1971 film because it strayed from the book's storyline.

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 infection.

Lurie's script received a rewrite by Pamela Pettler, who worked with Burton on Corpse Bride (2005), but the director hired Big Fish screenwriter John August in December 2003 to start from scratch. Both August and Burton were fans of the book since their childhoods. 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, and when asking Burton if he should go back to watch it, August recalled "Tim almost leaped across the table and told me not to." In terms of the screenwriting process, August said "I literally went through the book with a highlighter and I would save even like little bits of scene description as much as I could, just so it would be as Roald Dahl-y as possible." Charlie and the Chocolate Factory took three and a half weeks to write. Burton and August incorporated many parts of the book that were absent from the 1971 film adaptation, including the construction of the Indian Prince's chocolate palace, the inclusion of Charlie's father, and Veruca Salt's attack by squirrels.

Despite their intention to remain close to the source material, Burton and August diverged from the book to explore themes of family, and in doing so unearthed Willy Wonka's origin. "We added new elements that aren't in the book," explained Burton, "but I always felt comfortable that everything was in the spirit of the book." In exploring Wonka's upbringing, Burton and August created the character of Dr. Wilbur Wonka, Willy's domineering father. Burton thought the paternal character would help explain Willy Wonka himself and that otherwise he would be "just a weird guy". This element of the film was also personal for Burton. In 2002, Burton, who was somewhat estranged from his own parents, visited his dying mother in Lake Tahoe and discovered she had framed posters of all his films on her walls; this mirroring a scene towards the end of Charlie where it is revealed Dr. Wonka has been following his son's career with framed newspaper articles on the walls. Burton would later reflect, "I think all artistic endeavors are a way to resolve things, a form of therapy, a fantasy of resolving something. That's why I chose to resolve it that way." The Dahl estate was conflicted about the addition of Wilbur Wonka but ultimately decided to support Burton's vision.

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. 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.

Casting
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, three members of Monty Python (John Cleese, Eric Idle, and Michael Palin), as well as Patrick Stewart, and Adam Sandler. Dustin Hoffman and Marilyn Manson reportedly sought the role as well. Pitt's production company, Plan B Entertainment, however, stayed on to co-finance the film with Warner Bros. Michael Jackson actively sought the role and secretly recorded an original soundtrack for the film at a small studio in Los Angeles. Warner Bros. did not want Jackson for the role, arguing that it would not be marketable for him to be the leading role in a family film. However, they "went nuts" over the soundtrack and offered to acquire the songs in addition to a small role elsewhere in the film. Jackson was upset and shelved the songs.

Johnny Depp was the only actor Burton considered for the role, although Dwayne Johnson was Burton's second choice in case Depp was unavailable. This marked the first time Burton did not face pushback from the studio for wanting to cast Depp, as the blockbuster success of Pirates of the Caribbean (2003) had Warner Bros. enthused about Depp being in the leading role. It was Depp's intention to portray the character in a completely different way from Gene Wilder in the 1971 film adaptation. Depp and Burton derived their Willy Wonka from children's television show hosts such as Bob Keeshan from Captain Kangaroo, Fred Rogers, and Al Lewis from The Uncle Al Show, and Depp also took inspiration from various game show hosts. Burton recalled from his childhood that the characters were bizarre but left lasting impressions, saying, "I used to watch a guy with a sheriff's hat, or a guy who wore a weird leisure suit, or Captain Kangaroo, this guy had a weird haircut and a mustache and sideburns. And you think back and go, 'What the fuck was that?' But they left a strong impression on you." Depp based Wonka's exaggerated bob cut and sunglasses on Vogue magazine editor Anna Wintour. According to Depp, "the hair I imagined as a kind of Prince Valiant do, high bangs and a bob, extreme and very unflattering but something that Wonka probably thinks is cool because he's been locked away for such a long time and doesn't know any better, like the outdated slang he uses." Depp also based Wonka's unique voice on how he imagined George W. Bush sounding like while high on drugs.

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. Burton was having trouble casting Charlie, until Depp, who had worked with Freddie Highmore on Finding Neverland (2004), suggested Highmore for the part. Highmore had already read the book before, but decided to read it once more prior to auditioning. 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. Before Adam Godley was officially cast as Mr. Teavee, Tim Allen, Ray Romano, and Bob Saget were considered for the role. Gregory Peck was reportedly considered for the role of Grandpa Joe but died before being able to accept the role.

Design
Production designer Alex McDowell described Charlie and the Chocolate Factory's visual aesthetic as "a collision between psychedelic, inflatable pop art and 1960s Russian-American space race". Tim Burton wanted the setting of the film to be ambiguous in an effort to give the film a fable-like quality similar to the book. McDowell scouted several industrial mill towns in Northern England but came to the conclusion that a real place would not look stylized enough for Burton. "It was back to the Pinewood backlot to start building something that looked grim, wet and depressing on the outside but transitioned believably into a magical kingdom inside." 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. As per the film's ambiguous setting, the cars drive down the middle of the roads. The backlot constructed at Pinewood Studios consisted of the factory courtyard, several streets, nearly fifty townhomes, twenty shops, and the Bucket shack. This town was coincidentally constructed on the same backlot Burton had used for Gotham City in Batman (1989). The Bucket home was inspired by Roald Dahl's famed writing hut, while the exterior of Wonka's factory was based on fascist architecture, with Burton remarking "for Wonka's factory, we kind of wanted a building with a kind of Hoover Dam-like optimism and strength, but then once it gets dark it looks slightly foreboding."

For the set pieces in Wonka's factory, Burton favored using 360 degree enclosed sets because it offered a complete environment and got rid of visitors. The Inventing Room utilized scrap from the aeronautic industry, defunct confectionery machinery, and old car parts. McDowell compared the design of the Nut Room to that of a hospital with its plastic finish and sterile colors. The crew came up with the layout of the Nut Room fairly quickly, while the color scheme took more time to develop. The Nut Room had to be constructed at an elevation to account for the hole Veruca Salt would have to fall down. The all-white design of the TV Room was adapted directly from the book, though 2001: A Space Odyssey (1968) and THX 1138 (1971) also served as inspirations. The designs of each set would influence the style of music for the Oompa-Loompa songs.

Willy Wonka's Chocolate Room was built on Pinewood Studios' 007 Stage, one of the largest soundstages in the world. Sections of artificial grass were laid upon blocks of polystyrene foam that formed the shape of the landscape. For the chocolate river, McDowell insisted on having the river look edible, saying "in the first film, it's so distasteful." According to Tim Burton, "the important thing for me was that we wanted to give the chocolate river a really chocolatey feel, give it a weight, not just brown water. That's why we tried to use a real chocolate substitute, to give it a movement and texture." Joss Williams oversaw the creation of a faux chocolate concoction, taking months to create a non-toxic edible substance with the right consistency. The final mixture, developed by a UK-based chemical company called Vickers, was a mix of water and a thickening agent known as Natrosol, with food dye used to achieve the brown coloring. The river was 270 feet long, 6 feet deep, and consisted of 192000 gal of faux chocolate while 30000 gal of the same material made up the waterfall. Wonka's boat, used by the characters to travel down the chocolate river, took 20 weeks to build and incorporated 54 animatronic Oompa-Loompas, along with its own internal rowing mechanism.

Colleen Atwood, who served as the costume designer on every live-action Tim Burton film from Ed Wood (1994) to Dumbo (2019), was set to reprise her position on Charlie and the Chocolate Factory but ultimately declined citing "personal reasons". Burton then selected Italian costume designer Gabriella Pescucci. Ten different jackets and overcoats were designed to find the right look for Willy Wonka. Pescucci described the film's wardrobe as "contemporary, but with old world styling". Wonka's latex gloves, which Burton added as a symbol of his detachment from society, were provided by a London-based latex fetish BDSM clothing company.

Filming
Principal photography for Charlie and the Chocolate Factory started on June 21, 2004. While the main set pieces were filmed on soundstages at Pinewood Studios in England, the crew also shot on several locations across the country, with the toothpaste factory filmed at a CompAir factory in High Wycombe, and Veruca Salt's manor filmed at Hatfield House for the interior shots and Wrotham Park for the exterior. Various establishing shots were filmed in Germany, Yemen, and the United States. Tim Burton shot Charlie and the Chocolate Factory simultaneously alongside Corpse Bride (2005). Composer Danny Elfman, screenwriter John August, and production designer Alex McDowell served in the same position for both movies. Johnny Depp, Helena Bonham Carter, Deep Roy, and Christopher Lee provided their vocals to Corpse Bride during the filming of Charlie.

Tim Burton avoided using too many digital effects to reflect the original book's emphasis on texture and because he wanted the younger actors to feel as if they were working in a realistic environment. As a result, forced perspective techniques, oversized props and scale models were used to avoid computer-generated imagery (CGI) wherever possible. Matte paintings were used during the Loompaland and Indian palace sequences. However, several scenes were deemed impossible to achieve realistically without CGI. The Moving Picture Company was tasked with creating entire CG environments for sequences such as the boat ride and the glass elevator tour. A practical method was initially used for Violet Beauregarde's inflation; however, Burton was not satisfied by the effects and decided the scene would be accomplished with CGI. Willy Wonka's pale complexion was achieved in post-production, using Colorfront to isolate Depp's face in each shot and desaturate it.

Deep Roy was cast to play the Oompa-Loompas based on his previous collaborations with Burton on Planet of the Apes (2001) and Big Fish (2003). The actor was able to play various Oompa-Loompas using split screen photography, digital and front projection effects. "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." Roy, who played a total of 165 individual Oompa-Loompas in the film, experienced an especially laborious regimen during production. He was required to regularly practice Pilates with a personal trainer and follow a diet in order for his appearance to remain unchanged during filming. With no prior professional dancing experience, each musical number involving Roy took a month to rehearse and six months in total to film. In referencing his workload during production, Burton called Roy the "hardest-working man in show biz".

For Veruca Salt's demise at the hands of a hundred squirrels, Burton wanted the animals to be real. He consulted with the film's animal trainer, Mike Alexander, to determine which parts of the sequence would be achievable with live squirrels. Forty rescue squirrels were trained over 19 weeks, the first three of which were spent making the animals comfortable with their crates and their trainers. The squirrels were then given props and taught how to sit upon a bar stool, tap and then open a walnut, and deposit its meat onto a conveyor belt. According to Alexander, the smartest squirrels were assigned to shell, as those who had difficulty with the regimen were placed in a separate group that ran across the floor and attacked Veruca's stunt double. For the shots where the rodents would be in close interaction with Veruca, CG squirrels designed by Framestore CFC were implemented. Several shots called for a hundred animated squirrels, while close-up models required five million computer-generated hairs to look realistic. Animatronic squirrels were also used in the background of shots where a live squirrel would be performing the shelling routine.

Several challenges emerged during filming. The delicate landscape of the Chocolate Room posed a challenge for the crew, with cinematographer Philippe Rousselot recalling that "the set was very impractical for shooting because it was all curves and extraordinarily fragile—as soon as you stepped onto the grass, you destroyed it." Rousselot instead utilized a cable-suspended camera system known as Cablecam. On one occasion, the camera was improperly secured to the system and subsequently plunged into the faux chocolate river, destroying the $540,000 camera and delaying production. Another hurdle during filming was the existence 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. Despite these challenges, Burton claimed production ended ahead of schedule.

Music
Danny Elfman, similar to Tim Burton, had no emotional attachment to 1971's Willy Wonka & the Chocolate Factory. According to Elfman, "I had no trouble divorcing myself from those [original] songs. I've dealt with that a couple of times. You know you're dealing with something that's going to make a lot of people angry, and you just can't think about it." Because the Oompa-Loompa musical numbers would require complex choreography and be shot on set, Elfman had to compose those songs before filming began. Elfman also composed the songs simultaneously alongside the music from Corpse Bride. It was decided at an early stage that Elfman would be providing the vocals for all the Oompa-Loompas, a decision justified by the identical nature of the Oompa-Loompas, with pitch changes and modulations to represent different singers. Charlie and the Chocolate Factory marks the first time since The Nightmare Before Christmas (1993) that Elfman contributed to a film score using written songs and his vocals.

The first song composed was "Augustus Gloop", being done as a Bollywood spectacle per Deep Roy's suggestion. Elfman recounted, "my original approach was to find a style of music and apply that to all the songs. Tim was like, 'No, no, no, no, no... we're going to completely mix it up!' I said, 'Great, let's go.'" Per Burton's suggestion, the Oompa-Loompa songs would each reflect a different style of music: "Violet Beauregarde" is 1970s funk, "Veruca Salt" is 1960s bubblegum and psychedelic pop, and "Mike Teavee" is a tribute to late-1970s hard rock, particularly Queen, and early 1980s hair bands. All four songs utilize lyrics direct from Roald Dahl's book; as such, the lyrics are credited to Dahl. Rather than using the book's songs in their entirety, Elfman selected specific verses, as he believed using them unabridged would have made each song ten minutes long. "Violet Beauregarde" was the only song that required a partial rewrite, as the song in the book was about a girl who chewed gum rather than Violet Beauregarde herself. The only other song to require vocal performances was "Wonka's Welcome Song", which was written in collaboration with the film's screenwriter John August.

In addition to the Oompa-Loompa songs, Elfman created an entire underscore for the film being 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. Elfman and Burton differed on their ideas for the main title music, as Elfman imagined something more dreamy while Burton wanted something energetic. Richard Strauss' Also sprach Zarathustra plays during a sequence in the film as a direct reference to 2001: A Space Odyssey (1968). When introducing himself to the golden ticket winners, Wonka quotes "Good Morning Starshine" from the 1967 musical Hair.

The original motion picture soundtrack was released on July 12, 2005, by Warner Sunset Records. Doug Adams of Film Score Monthly said of the Oompa-Loompa songs: "Each piece includes something the others don't, rhythms or hooks or harmonies that in Elfman's inimitable way seem like deconstructions and wholly original concepts at the same time." Filmtracks.com called the soundtrack a "rhythmically driven affair" because of the mechanical nature of the factory, a departure from Elfman's penchant for quieter heartbreaking themes. "Wonka's Welcome Song" received a Grammy nomination for Best Song Written for Visual Media. Elfman would later cite Charlie and the Chocolate Factory as being one of the most fun projects he had been involved with.

In 2010, thirteen previously unreleased tracks were included as part of the Danny Elfman & Tim Burton 25th Anniversary Music Box. In addition to those tracks, instrumentals of "Wonka's Welcome Song" and the Oompa-Loompa songs were included, as well as several demos.

Release
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. In addition to the film's cast and crew, the Los Angeles premiere was attended by John Stamos, Seth Green, Lisa Rinna, Harry Hamlin, Larry King, Frankie Muniz, Emma Roberts, Limp Bizkit frontman Fred Durst, and Britney Spears. The film was released in the United States on July 15, 2005, in 3,770 theaters. Additionally, the film was digitally re-mastered to simultaneously release in 65 North American IMAX theaters that same day. In the United Kingdom, the premiere was held on July 17 at Leicester Square, only ten days after the July 7 London bombings. It was released nationwide on July 29 in 531 theaters.

The release of Charlie and the Chocolate Factory rekindled public interest in Roald Dahl's 1964 book, which appeared on The New York Times Best Seller list from July 3 to October 23, 2005. Burton's film also reignited interest in the 1971 film adaptation. According to Michael Böllner, who portrayed Augustus Gloop in Willy Wonka & the Chocolate Factory, the first adaptation was largely unheard of in Germany until Burton's version was released.

Marketing
Early in the development of Charlie and the Chocolate Factory in February 2000, Warner Bros. announced their intention of marketing the film with a Broadway theatre musical after release. The studio reiterated their interest in May 2003; however, the idea was postponed by the time filming began in June 2004. The teaser poster for Charlie and the Chocolate Factory was released in November 2004, with the teaser trailer premiering the following month in front of showings of The Polar Express (2004). The longer theatrical trailer was made available in May 2005 exclusively via Moviefone before its theatrical debut alongside screenings of Madagascar (2005).

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. Echoing the central storyline of the film, Wonka candies introduced their own Golden Ticket contest in Wonka products, including Wonka Bars, Donutz, Laffy Taffy, Nerds, and SweeTarts. The contest's prizes included a trip to Europe, a tour of an animation studio, a trip to a sports camp, a shopping spree, and $10,000 cash. 60 million packages of candy participated in the sweepstakes. The contest officially began on June 28 following its announcement on the Today Show, and the first winners were announced on July 8. In addition to Nestlé, Hostess introduced Chocolicious WonkaCakes, and Wendy's released Charlie and the Chocolate Factory-themed kids' meal toys. Other partners included Carlson, Penguin Young Readers, Borders, Barnes & Noble, and American Express.

In line with the film's theatrical release in the United States, an eponymous tie-in video game was released on the Xbox, PlayStation 2, GameCube, Game Boy Advance, and Microsoft Windows platforms. The film's cast provided their voices for the game, with the sole exception of Depp who was replaced by James Arnold Taylor. The game received mostly negative reviews from critics, although Winifred Phillips's score received some praise.

Box office
Although it opened the same day as Wedding Crashers and within a week of Fantastic Four, the film's primary competition for its opening weekend was considered to be the sixth installment in the Harry Potter book series. Charlie and the Chocolate Factory earned $56,178,450 in its opening weekend in the United States, the fifth-highest opening-weekend gross for 2005, and remained the highest-grossing film for two weeks. $2.2 million of the opening weekend gross was from 65 IMAX theaters, marking the widest domestic IMAX opening ever at the time. At the time of release, the film's opening earnings marked Depp's highest to date, surpassing Pirates of the Caribbean's $46,630,690 opening. Charlie also set a record for the best-performing opening in July for a PG-rated film. According to studio exit polling conducted during its opening weekend, 54 percent of the film's audience was under the age of 18 and the majority was female. The film's debut in the United Kingdom "smashed even the most optimistic industry projections", taking in $37.3 million. The film performed well in France, Spain, Australia, and Mexico. Its performance in Germany was considered less than expected. By the end of its theatrical run, the film had grossed $206,459,076 in the United States and $269,366,408 in foreign countries, coming to a worldwide total of $475,825,484.

Charlie and the Chocolate Factory was the 58th-highest-grossing film of all time when released. Worldwide, the film was the eighth-highest-grossing film of 2005, while it was the seventh-highest in the United States and fourth-highest in the United Kingdom. It remains the eighteenth-highest-grossing musical film of all time not adjusted for inflation and Tim Burton's second-highest-grossing, behind only Alice in Wonderland (2010). It is also the eighth-highest-grossing film of Johnny Depp's career. Forbes hypothesized that the film's success could be attributed to Depp and Burton being at the height of their popularity in 2005.

Home media
Charlie and the Chocolate Factory was released on VHS and DVD on November 8, 2005. The single-disc version of the film included two special features: an Oompa-Loompa dance tutorial and "Becoming Oompa-Loompa", which documented Deep Roy's experience on the production. A two-disc edition was also released which included six more behind the scenes featurettes: "Chocolate Dreams", exploring the writing and Tim Burton's vision for the film; "Different Faces, Different Flavors", exploring the characters; "Designer Chocolate", detailing the production design and costumes; "Sweet Sounds", how Danny Elfman created the Oompa-Loompa songs; "Under the Wrapper", detailing the film's practical and digital effects; and "Attack of the Squirrels", exploring how real squirrels were utilized for Veruca Salt's elimination. The two-disc edition also contained several games and DVD-Rom features. The film's DVD sales underperformed, reaching $16 million by 2010.

For the film's HD DVD release in October 2006, all the behind the scenes featurettes from the two-disc edition were included. The HD DVD release also introduced an audio commentary by Burton, a music-only audio track, a "Club Reel", and an in-movie experience titled "Television Chocolate", with trivia and interviews overlayed onto the screen during the film. A Blu-ray release followed in October 2011, followed by a 10th anniversary Blu-ray release in March 2015. Both sets featured the same bonus features as the HD DVD, although the anniversary edition included a personal retrospective by Burton and a photo book.

Critical response
On review aggregator Rotten Tomatoes, 83% of 229 critical reviews of Charlie and the Chocolate Factory are positive, with an average rating of 7.2/10. The website'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." According to Metacritic, which calculated a weighted average score of 72 out of 100 from 40 critic reviews, the film received "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.

A. O. Scott of The New York Times gave a positive review, writing "in spite of relapses and imperfections, a few of them serious, Mr. Burton's movie succeeds in doing what far too few films aimed primarily at children even know how to attempt anymore, which is to feed—even to glut—the youthful appetite for aesthetic surprise." Scott also praised Alex McDowell's set design, comparing the look of the factory to something out of Fritz Lang's Metropolis (1927). 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." 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."

Depp's performance as Willy Wonka received widespread comparisons to Michael Jackson. Roger Ebert was among the critics who made such comparisons, citing Depp's performance as the weak spot in an "otherwise mostly delightful" film and noting "[Willy Wonka's] reclusive lifestyle, the fetishes of wardrobe and accessories, the elaborate playground built by an adult for the child inside" as parallels between the two. Depp was surprised by the comparisons and stated that he did not base his performance on Jackson. Burton dismissed the comparisons and stated that, unlike Jackson, Depp's iteration of the character does not like children. 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." Owen Gleiberman of Entertainment Weekly praised Depp's performance, writing "he maintains the paradox, the mystery, of Willy Wonka: a misanthrope who has little patience for children, who can't even utter the word 'parents' without gagging, yet who invents for those same kids the purest and most luscious candies out of the sugar dream of his imagination." Depp received a Golden Globe nomination for his performance but lost to Joaquin Phoenix for Walk the Line.

Gene Wilder's reaction
In 2004, during on-set interviews while filming, Burton criticized the 1971 film adaptation, while Depp paid homage to Gene Wilder's portrayal and praised it as "brilliant but subtle". Wilder was appreciative towards Depp's comments, but expressed skepticism toward Burton's production, questioning it as a remake made for profit. The filmmakers emphasized that the film was an adaptation of the 1964 book and not a remake of the 1971 film. Depp found Wilder's remarks "disappointing", although "I can understand where he's coming from, I guess." Wilder later praised Depp's casting, saying, "If I were going to cast the movie, I would cast Johnny Depp as Willy Wonka because I think he is wonderful. Mysterious—always—and magical." In 2013, Wilder further criticized the film as a "Warner Bros.' insult", disapproving of Burton "for doing stuff like he did".

Legacy
In the years following its release, Charlie and the Chocolate Factory has been described as "popular but divisive". Entertainment Weekly and Variety, respectively, ranked Charlie and the Chocolate Factory as Tim Burton's third and fourth-best film, calling it "a delectably sustained flight of fancy" and "a bittersweet homage to our whole relationship to candy and pleasure". Conversely, Time Out named it the worst adaptation of a Roald Dahl book, elaborating "there's something so horribly garish about Burton's film that you can't help feeling a little queasy afterwards." Unlike the 1971 film, Burton's film is regarded as more faithful to Dahl's text.

Guy Lodge of The Guardian claimed that the film's reputation was hurt by Depp's "off-puttingly fey, chilly spin on Wonka", even though "Burton's film handily trumps [the 1971 adaptation] for cinematic verve and vibrancy." Korey Coleman of Double Toasted echoed Lodge's sentiments about Depp's performance, calling it "unsettling" and "off-putting". Despite not caring for the overall film, Coleman praised Burton for applying his own vision to the story rather than imitating the 1971 adaptation. In a series reflecting on Burton's filmography, Griffin Newman of Blank Check praised the film, noting that it had a comic energy that was lacking in Burton's subsequent films such as Alice in Wonderland (2010) and Dark Shadows (2012).

Comic Book Resources noted that the film is popular among those who grew up in the 2000s. In 2020, a cosplayer emulating Depp's portrayal of Willy Wonka went viral on TikTok, with Nylon dubbing him "sexy Willy Wonka". During the Depp v. Heard trial, Charlie and the Chocolate Factory was one of the most viewed films on Netflix. In April 2024, Freddie Highmore reprised his role as Charlie Bucket for a skit on Jimmy Kimmel Live!: a fake trailer for a Charlie and the Chocolate Factory sequel parodying the "Willy's Chocolate Experience" event that had gone viral months earlier.

Paul King and Timothée Chalamet, who respectively directed and starred in Wonka (2023), a prequel to Dahl's story, stated that they were fans of Burton's adaptation. While promoting the film in Japan, Chalamet said, "If you would've told me when I was 12 years old watching the Johnny Depp version of Willy Wonka that I'd get to be here in Tokyo promoting this movie as Willy Wonka, standing next to Hugh Grant, I would've told you you were lying." Calah Lane, who portrayed the character of Noodle in Wonka, had only seen Charlie and the Chocolate Factory prior to her audition and was under the impression it was the only adaptation of the book.


text:
Towanda

Towanda is the name of several places in the United States:

 * Towanda, Illinois
 * Towanda, Kansas
 * Pennsylvania:
 * Communities:
 * Towanda, Pennsylvania, a borough in Bradford County
 * Towanda Township, Pennsylvania, a township in Bradford County
 * North Towanda Township, Pennsylvania, a township in Bradford County
 * Streams:
 * Towanda Creek, a tributary of the Susquehanna River
 * South Branch Towanda Creek, a tributary of Towanda Creek

title: Towanda


text:
Saint-Christophe, Aosta Valley

Saint-Christophe (Valdôtain: Sèn-Crétoublo) is a town and comune in the Aosta Valley. It is located east of Aosta, on the left shore of the Dora Baltea.

Places of interest
The Passerin d'Entrèves castle is located in this commune.

Aosta Valley University has a campus in the frazione Grand-Chemin.

The Bridge of Grand Arvou is in the Aosta commune nearby.

Transport
Aosta Airport is located in Saint-Christophe. Air Vallée had its head office on the grounds of Aosta Airport.

Twinnings

 * 🇫🇷 Bellegarde-sur-Valserine, France

title: Saint-Christophe, Aosta Valley


text:
Pacific decadal oscillation

The Pacific decadal oscillation (PDO) is a robust, recurring pattern of ocean-atmosphere climate variability centered over the mid-latitude Pacific basin. The PDO is detected as warm or cool surface waters in the Pacific Ocean, north of 20°N. Over the past century, the amplitude of this climate pattern has varied irregularly at interannual-to-interdecadal time scales (meaning time periods of a few years to as much as time periods of multiple decades). There is evidence of reversals in the prevailing polarity (meaning changes in cool surface waters versus warm surface waters within the region) of the oscillation occurring around 1925, 1947, and 1977; the last two reversals corresponded with dramatic shifts in salmon production regimes in the North Pacific Ocean. This climate pattern also affects coastal sea and continental surface air temperatures from Alaska to California.

During a "warm", or "positive", phase, the west Pacific becomes cooler and part of the eastern ocean warms; during a "cool", or "negative", phase, the opposite pattern occurs. The Pacific decadal oscillation was named by Steven R. Hare, who noticed it while studying salmon production pattern results in 1997.

The Pacific decadal oscillation index is the leading empirical orthogonal function (EOF) of monthly sea surface temperature anomalies (SST-A) over the North Pacific (poleward of 20°N) after the global average sea surface temperature has been removed. This PDO index is the standardized principal component time series. A PDO 'signal' has been reconstructed as far back as 1661 through tree-ring chronologies in the Baja California area.

Mechanisms
Several studies have indicated that the PDO index can be reconstructed as the superimposition of tropical forcing and extra-tropical processes. Thus, unlike El Niño–Southern Oscillation (ENSO), the PDO is not a single physical mode of ocean variability, but rather the sum of several processes with different dynamic origins.

At inter-annual time scales the PDO index is reconstructed as the sum of random and ENSO induced variability in the Aleutian Low, whereas on decadal timescales ENSO teleconnections, stochastic atmospheric forcing and changes in the North Pacific oceanic gyre circulation contribute approximately equally. Additionally sea surface temperature anomalies have some winter to winter persistence due to the reemergence mechanism.

ENSO can influence the global circulation pattern thousands of kilometers away from the equatorial Pacific through the "atmospheric bridge". During El Niño events, deep convection and heat transfer to the troposphere is enhanced over the anomalously warm sea surface temperature, this ENSO-related tropical forcing generates Rossby waves that propagate poleward and eastward and are subsequently refracted back from the pole to the tropics. The planetary waves form at preferred locations both in the North and South Pacific Ocean, and the teleconnection pattern is established within 2–6 weeks. ENSO driven patterns modify surface temperature, humidity, wind, and the distribution of clouds over the North Pacific that alter surface heat, momentum, and freshwater fluxes and thus induce sea surface temperature, salinity, and mixed layer depth (MLD) anomalies.
 * ENSO teleconnections, the atmospheric bridge

The atmospheric bridge is more effective during boreal winter when the deepened Aleutian Low results in stronger and cold northwesterly winds over the central Pacific and warm/humid southerly winds along the North American west coast, the associated changes in the surface heat fluxes and to a lesser extent Ekman transport creates negative sea surface temperature anomalies and a deepened MLD in the central Pacific and warm the ocean from the Hawaii to the Bering Sea.

 * SST reemergence

Midlatitude SST anomaly patterns tend to recur from one winter to the next but not during the intervening summer, this process occurs because of the strong mixed layer seasonal cycle. The mixed layer depth over the North Pacific is deeper, typically 100-200m, in winter than it is in summer and thus SST anomalies that form during winter and extend to the base of the mixed layer are sequestered beneath the shallow summer mixed layer when it reforms in late spring and are effectively insulated from the air-sea heat flux. When the mixed layer deepens again in the following autumn/early winter the anomalies may again influence the surface. This process has been named "reemergence mechanism" by Alexander and Deser and is observed over much of the North Pacific Ocean although it is more effective in the west where the winter mixed layer is deeper and the seasonal cycle greater.

 * Stochastic atmospheric forcing

Long term sea surface temperature variation may be induced by random atmospheric forcings that are integrated and reddened into the ocean mixed layer. The stochastic climate model paradigm was proposed by Frankignoul and Hasselmann, in this model a stochastic forcing represented by the passage of storms alter the ocean mixed layer temperature via surface energy fluxes and Ekman currents and the system is damped due to the enhanced (reduced) heat loss to the atmosphere over the anomalously warm (cold) SST via turbulent energy and longwave radiative fluxes, in the simple case of a linear negative feedback the model can be written as the separable ordinary differential equation: $${\operatorname{d}y\over\operatorname{d}t}= v(t)- \lambda y$$

where v is the random atmospheric forcing, λ is the damping rate (positive and constant) and y is the response.

The variance spectrum of y is: $${G(w) = \frac{F}{w^2 + \lambda ^2 }}$$

where F is the variance of the white noise forcing and w is the frequency, an implication of this equation is that at short time scales (w>>λ) the variance of the ocean temperature increase with the square of the period while at longer timescales(w<<λ, ~150 months) the damping process dominates and limits sea surface temperature anomalies so that the spectra became white.

Thus an atmospheric white noise generates SST anomalies at much longer timescales but without spectral peaks. Modeling studies suggest that this process contribute to as much as 1/3 of the PDO variability at decadal timescales.

Several dynamic oceanic mechanisms and SST-air feedback may contribute to the observed decadal variability in the North Pacific Ocean. SST variability is stronger in the Kuroshio Oyashio extension (KOE) region and is associated with changes in the KOE axis and strength, that generates decadal and longer time scales SST variance but without the observed magnitude of the spectral peak at ~10 years, and SST-air feedback. Remote reemergence occurs in regions of strong current such as the Kuroshio extension and the anomalies created near the Japan may reemerge the next winter in the central pacific.
 * Ocean dynamics

Saravanan and McWilliams have demonstrated that the interaction between spatially coherent atmospheric forcing patterns and an advective ocean shows periodicities at preferred time scales when non-local advective effects dominate over the local sea surface temperature damping. This "advective resonance" mechanism may generate decadal SST variability in the Eastern North Pacific associated with the anomalous Ekman advection and surface heat flux.
 * Advective resonance

Dynamic gyre adjustments are essential to generate decadal SST peaks in the North Pacific, the process occurs via westward propagating oceanic Rossby waves that are forced by wind anomalies in the central and eastern Pacific Ocean. The quasi-geostrophic equation for long non-dispersive Rossby Waves forced by large scale wind stress can be written as the linear partial differential equation: $${\partial h\over\partial t} -c{\partial h\over\partial x} = \frac{-\nabla \times \vec{\tau}}{\rho_0f_0}$$
 * North Pacific oceanic gyre circulation

where h is the upper-layer thickness anomaly, τ is the wind stress, c is the Rossby wave speed that depends on latitude, ρ0 is the density of sea water and f0 is the Coriolis parameter at a reference latitude. The response time scale is set by the Rossby waves speed, the location of the wind forcing and the basin width, at the latitude of the Kuroshio Extension c is 2.5 cm s−1 and the dynamic gyre adjustment timescale is ~(5)10 years if the Rossby wave was initiated in the (central)eastern Pacific Ocean.

If the wind white forcing is zonally uniform it should generate a red spectrum in which h variance increases with the period and reaches a constant amplitude at lower frequencies without decadal and interdecadal peaks, however low frequencies atmospheric circulation tends to be dominated by fixed spatial patterns so that wind forcing is not zonally uniform, if the wind forcing is zonally sinusoidal then decadal peaks occurs due to resonance of the forced basin-scale Rossby waves.

The propagation of h anomalies in the western pacific changes the KOE axis and strength and impact SST due to the anomalous geostrophic heat transport. Recent studies suggest that Rossby waves excited by the Aleutian low propagate the PDO signal from the North Pacific to the KOE through changes in the KOE axis while Rossby waves associated with the NPO propagate the North Pacific Gyre oscillation signal through changes in the KOE strength.

Impacts
 Temperature and precipitation

The PDO spatial pattern and impacts are similar to those associated with ENSO events. During the positive phase the wintertime Aleutian Low is deepened and shifted southward, warm/humid air is advected along the North American west coast and temperatures are higher than usual from the Pacific Northwest to Alaska but below normal in Mexico and the Southeastern United States. Winter precipitation is higher than usual in the Alaska Coast Range, Mexico and the Southwestern United States but reduced over Canada, Eastern Siberia and Australia McCabe et al. showed that the PDO along with the AMO strongly influence multidecadal droughts pattern in the United States, drought frequency is enhanced over much of the Northern United States during the positive PDO phase and over the Southwest United States during the negative PDO phase in both cases if the PDO is associated with a positive AMO. The Asian Monsoon is also affected, increased rainfall and decreased summer temperature is observed over the Indian subcontinent during the negative phase.

Reconstructions and regime shifts
The PDO index has been reconstructed using tree rings and other hydrologically sensitive proxies from west North America and Asia.

MacDonald and Case reconstructed the PDO back to 993 using tree rings from California and Alberta. The index shows a 50–70 year periodicity but is a strong mode of variability only after 1800, a persistent negative phase occurring during medieval times (993–1300) which is consistent with La Niña conditions reconstructed in the tropical Pacific and multi-century droughts in the South-West United States.

Several regime shifts are apparent both in the reconstructions and instrumental data, during the 20th century regime shifts associated with concurrent changes in SST, SLP, land precipitation and ocean cloud cover occurred in 1924/1925, 1945/1946, and 1976/1977:
 * 1750: PDO displays an unusually strong oscillation.
 * 1924/1925: PDO changed to a "warm" phase.
 * 1945/1946: The PDO changed to a "cool" phase, the pattern of this regime shift is similar to the 1970s episode with maximum amplitude in the subarctic and subtropical front but with a greater signature near the Japan while the 1970s shift was stronger near the American west coast.
 * 1976/1977: PDO changed to a "warm" phase.
 * 1988/1989: A weakening of the Aleutian low with associated SST changes was observed, in contrast to others regime shifts this change appears to be related to concurrent extratropical oscillation in the North Pacific and North Atlantic rather than tropical processes.
 * 1997/1998: Several changes in sea surface temperature and marine ecosystem occurred in the North Pacific after 1997/1998, in contrast to prevailing anomalies observed after the 1970s shift. The SST declined along the United States west coast and substantial changes in the populations of salmon, anchovy and sardine were observed as the PDO changed back to a cool "anchovy" phase. However the spatial pattern of the SST change was different with a meridional SST seesaw in the central and western Pacific that resembled a strong shift in the North Pacific Gyre Oscillation rather than the PDO structure. This pattern dominated much of the North Pacific SST variability after 1989.
 * The 2014 flip from the cool PDO phase to the warm phase, which vaguely resembles a long and drawn-out El Niño event, contributed to record-breaking surface temperatures across the planet in 2014.

Predictability
The NOAA Earth System Research Laboratory produces official ENSO forecasts, and Experimental statistical forecasts using a linear inverse modeling (LIM) method  to predict the PDO, LIM assumes that the PDO can be separated into a linear deterministic component and a non-linear component represented by random fluctuations.

Much of the LIM PDO predictability arises from ENSO and the global trend rather than extra-tropical processes and is thus limited to ~4 seasons. The prediction is consistent with the seasonal footprinting mechanism in which an optimal SST structure evolves into the ENSO mature phase 6–10 months later that subsequently impacts the North Pacific Ocean SST via the atmospheric bridge.

Skills in predicting decadal PDO variability could arise from taking into account the impact of the externally forced and internally generated Pacific variability.

Related patterns

 * The interdecadal Pacific oscillation (IPO) is a similar but less localised phenomenon; it covers the Southern hemisphere as well (50°S to 50°N).
 * ENSO tends to lead PDO cycling.
 * Shifts in the IPO change the location and strength of ENSO activity. The South Pacific convergence zone moves northeast during El Niño and southwest during La Niña events.  The same movement takes place during positive IPO and negative IPO phases respectively. (Folland et al., 2002)
 * Interdecadal temperature variations in China are closely related to those of the NAO and the NPO.
 * The amplitudes of the NAO and NPO increased in the 1960s and interannual variation patterns changed from 3–4 years to 8–15 years.
 * Sea level rise is affected when large areas of water warm and expand, or cool and contract.

title: Pacific decadal oscillation


text: Category:Charles Dickens characters

title: Category:Charles Dickens characters


text:
R.B.I. Baseball

R.B.I. Baseball is a baseball sports video game series. R.B.I. stands for "runs batted in". Launched in 1987 as a localized version of Namco's Family Stadium series, the R.B.I. Baseball series initially ran through 1995. In 2014, the series was rebooted as a competitor to MLB: The Show, with releases each year until its cancellation. The series ended in 2022 with the release of MLB The Show 22 on the Nintendo Switch.

History
Namco developed and released Pro Yakyū: Family Stadium (Pro Baseball: Family Stadium) for the Family Computer (Famicom), the first game in their Family Stadium series, on December 10, 1986. Pro Baseball: Family Stadium was created by Namco programmer Yoshihiro Kishimoto, who had previously worked on games such as Baraduke (1985).

Atari Games released a Nintendo VS. System arcade machine of Family Stadium named Atari R.B.I. Baseball in 1987. Atari programmer Peter Lipson adapted Family Stadium into the American localized version R.B.I. Baseball for the NES, which was published by Atari Games subsidiary Tengen. Subsequent editions were published until 1995, mostly on Sega systems.

In 2014, Major League Baseball Advanced Media, the digital arm of MLB, revived the name for a new series of MLB games featuring arcade-style gameplay influenced by the original series. The new series, which had annual releases, was made available on multiple platforms. The series was meant to contrast the Sony-published and formerly PlayStation-exclusive MLB The Show, which is considered more simulationist in its focus. In 2022, the series was cancelled due to the release of MLB The Show 22 on the Nintendo Switch.

Gameplay
RBI Baseball was the first console game of its kind to be licensed by the Major League Baseball Players Association (MLBPA) and used actual MLB player names, unlike other baseball video games of the late 1980s. As it was not licensed by Major League Baseball (MLB) itself, it did not use team nicknames or logos. Instead, the game contained 8 teams listed by only their location: Boston, California, Detroit, Houston, Minnesota, New York, St. Louis, and San Francisco; their real-life, MLB counterparts were the first place teams in each division in (Boston, California, Houston, New York) and  (Detroit, Minnesota, St. Louis, San Francisco) MLB seasons. The game also boasted two All-Star teams, American League and National League; the two featured established veterans such as George Brett, Mike Schmidt, Dale Murphy and Andre Dawson—none of whom appeared on the other eight teams—and up-and-coming players like Mark McGwire, Andrés Galarraga, Kevin Seitzer and José Canseco.

Each player has different capabilities in the game; hitters vary in ability to make solid contact, to hit the ball with power, and their base running speed. Vince Coleman is the fastest player in the game; it is very difficult to catch him stealing second base. Pitchers vary in pitching speed, and the amount by which the player can steer the ball left and right during its flight. Pitchers also have varying stamina; as a pitcher gets tired, the ball slows down and is harder to steer. Nolan Ryan and Roger Clemens are two pitchers in the game with the fastest pitches. Fernando Valenzuela, without a hard fastball, has tremendous movement in both directions with his pitches. Mike Scott has a sharp and deceptive breaking ball. The best pitcher is debatable, depending on how they are used by the players. There is no evidence that fielding abilities correspond to individual players.

The abilities of each player do not necessarily correspond with the statistics shown on the screen when the player comes to bat or takes the mound. These statistics are generally accurate, with many exceptions. They do not change during the course of the game or sequence of games.

A rudimentary box score is displayed during and after the game showing composite statistics for each team. A hit batter is credited with a walk, and anyone reaching on an error gets credited for a hit even as the other team is charged with an error. Conversely, a batter thrown out while trying for extra bases is not credited with a hit.

The infield fly rule is not implemented.

The rosters for the eight teams are fairly accurate if simplified representations of the playoff rosters from their respective years. Each team has 8 starting batters, four bench players, two starting pitchers and two relievers. The player can start any pitcher they like, though the relievers have very low stamina. If they play consecutive games without resetting the system, any starting pitcher used in the previous game will be unavailable. The player has to wait until the game starts before substituting players with pinch hitters, who can play any position. Pinch runners are not implemented.

Unlike Major League Baseball, R.B.I. Baseball implements the mercy rule—if one team is ahead by ten or more runs after any number of completed innings, the game ends immediately.

Additionally, while the statistics shown on the screen for each player in the original game were reasonably accurate, their playing attributes were not always accurate. For example, George Brett was depicted in-game as a right-handed batter, while the real-life Brett batted left-handed. Also, all real-life switch hitters, such as Tim Raines, were depicted exclusively as left-handed batters.

In Vs. RBI Baseball, the teams are made up of legends from 10 different franchises. These players were statistically represented with their best seasons. A notable exception was that of McGwire, who was included on the Oakland team, and was statistically represented by his potential numbers. In a remarkable display of foresight, he was projected to hit 62 home runs in his best season. In 1998, he set the then-major league record for home runs in a season with 70.

From the second game onward in the original R.B.I. Baseball series, all of the (then) 26 (later 28) Major League Baseball teams were featured; however, these later games also did not have a full MLB license, so the teams were only identified by their cities (though they still had real player names as they had the MLBPA license). Beginning with the third game in the series, some playoff teams of the recent past were featured, which also include the rosters of those teams in the years that they qualified.

Reception
Most every edition of R.B.I. Baseball typically received "generally unfavorable reviews" from critics starting with its 2014 reboot, according to review aggregator Metacritic. R.B.I. Baseball 19 received "mixed or average reviews".

IGN called R.B.I. Baseball 14 and 15 "bad". Forbes gave bad reviews to 16, 17, and 18. 18 was criticized for its animation and collision detection. Polygon called R.B.I. Baseball 18 "primitive".

R.B.I. Baseball 18 was nominated for "Sports Game" and "Strategy/Simulation Game" at the 2019 Webby Awards.

title: R.B.I. Baseball


text:
The Maneater

The Maneater is the official, editorially independent student news publication of the University of Missouri. The Maneater editorial and advertising staffs are composed entirely of students, with the exception of a professional business adviser. Financially, The Maneater is a non-profit publication funded by advertisers. The newspaper is distributed free of charge, and all aspects of its website remain accessible at no cost to readers. The editorial department of The Maneater remains independent from any student governments and organizations, as well as the Missouri School of Journalism and university itself.

History
The Maneater was founded in 1955 by Joel Gold, then a sociology student, as editor-in-chief and Jim Willard as business manager. Gold took over the former newspaper, then named the Missouri Student and controlled by the Delta Upsilon fraternity. Gold renamed it The Maneater to reflect a more aggressive news angle and transitioned the paper into an independent watchdog of the university.

Regarding the name change, Gold wrote in the first issue of The Maneater, “The name ‘Missouri Student’ reflected the editorial policy of the former paper quite well. It signified nothing.... The Maneater by its very name cannot content itself with merely presenting the news.... The Maneater is a tiger with fangs bared and claws sharpened ready to analyze the facts and then to pounce. A tiger exists because it is, and not for one group or another.”

From 1969 to 2013, The Maneater newspaper was published twice weekly, on Tuesdays and Fridays, during the academic year. A growing desire for digital content led the paper to scale back to a weekly publishing schedule beginning in August 2013. In 2019, the paper had to change to a monthly printing cycle rather than weekly due to funding. As of March 2023, the newspaper is exclusively digital.

Independent news
Though the Missouri Student was established in 1926 as a student paper, it fell under the purview of a Student Publications Board made up of MU faculty and was printed by the School of Journalism. It was the publications board that invited Gold to apply for editor-in-chief following the noticeable shift that had occurred at the paper by 1950. The news publication developed into a Greek Town rag and society paper, favoring party commentary before news reporting. From 1950 to 1955, six members from the Delta Upsilon Fraternity controlled the paper. As circulation numbers dropped, the publications board sought to shake up the Student. Given the task of refurbishing the paper, Gold likened The Maneater's new editorial policy to an aggressive news source, with the goal of turning out stories that students would want to read.

The Maneater soon took to its stand as a harsh critic of student government, penning many articles and editorials on its practices. It went on to find its footing covering multiple wars and anti-war protests. In 1969, School of Journalism printers decided they couldn't typeset a caption describing the vulgarities of a cartoon printed and distributed by a student, later expelled from the university, on campus. Readers opened the paper to a series of dashes printed in the caption's place. According to the paper's university editor at the time, by the middle of the decade, the relationship between the university and The Maneater deteriorated.

Until 1970, an issue of The Maneater cost 10 cents. Facing harsh competition from an upstart rival paper called the Campus Courier, which distributed its issues at no cost to readers, The Maneater was forced to make itself free as well in order to compete, and although the Courier lasted only a year, the loss of 10 cents an issue and more competition for advertising put The Maneater into substantial debt that lasted until the middle of the decade. Nevertheless, The Maneater has remained free ever since.

The School of Journalism has offered to absorb The Maneater into its system many times through its history. However, The Maneater has remained afloat of its own accord and remains distant from any such attempts. Today, The Maneater is a division of the university's Department of Student Life. The paper was printed in Sedalia, Mo., and though a publications board still exists to handle the publication's internal matters, its editorial content remains independent of any university authority or student group.

Awards
Both the newspaper and website are highly decorated publications. The Maneater has been consistently distinguished by state and national press honors, including several ACP Pacemaker Awards, Society of Professional Journalists Mark of Excellence Awards and Missouri College Media Association Better Newspaper Contest awards.

The Pacemaker Award, widely considered the Pulitzer Prize of collegiate journalism, has been awarded to The Maneater newspaper four times, in 1996, 1999, 2001 and 2007. The paper was a finalist in 1993, 1994, 2000 and 2012. The Maneater website has received the Online Pacemaker (established in 2000) five times, in 2000, 2001, 2002, 2009 and 2012. It was a finalist in 2005.

MOVE Magazine
Since 2002, The Maneater has also produced an entertainment weekly called MOVE Magazine. MOVE is aimed at local and national news as well as extensive coverage of lifestyle, arts and entertainment. In addition to a more recent focus on the Columbia, Mo. cultural scene. In 2012 and 2013, MOVE featured interviews with artists such as Passion Pit, Wilco, Ingrid Michaelson and The Wonder Years. Semester special editions have included coverage of Columbia's Treeline Music Festival (formerly known as Roots N Blues N BBQ) and the True/False Film Fest.

Prior to fall 2013, MOVE had been published as an insert within The Maneater, under its own style and design guidelines, with the eventual hope that it could develop into its own distinct publication. However, under the 2013-14 editorial board, MOVE replaced the Arts and Entertainment section of the newspaper and was integrated more uniformly with the rest of The Maneater. In the 2016–17 school year, MOVE set itself apart once again as the main student-run campus magazine. As of 2023, MOVE Magazine remains a subpublication of The Maneater and releases semesterly, digital editions.

Editors
The Maneater's editor-in-chief is elected by the staff. The editor-in-chief appoints a managing editor, who works with the editor-in-chief to hire the editorial staff. All staff must be current MU students, undergraduate or graduate, enrolled in at least six credit hours. Though not officially required, previous staff experience is preferred in the editorial hiring process.

Recent editors-in-chief / managing editors

 * 2024-25: Annie Goodykoontz/Emily Skidmore
 * 2023-24: Scout Hudson/Sophie Rentschler
 * 2022-23: Anna Colletto/Piper Molins (Fall)/Jacob Richey (Spring)
 * 2021-22: Sophie Chapell/Campbell Biemiller
 * 2020-21: Caitlin Danborn/Eli Hoff
 * 2019-20: Leah Glasser/Maureen Dunne
 * 2018-19: Skyler Rossi/Stephi Smith
 * 2017-18: Victoria Cheyne/Cassie Allen
 * 2016-17: Jared Kaufman/George Roberson/Katie Rosso
 * 2015-16: Elizabeth Loutfi/Katherine Knott
 * 2014-15: Katie Pohlman/Lauren Rutherford/Scott MacDonald
 * 2013-14: Ted Noelker/Delia Cai
 * 2012-13: Kelly Olejnik/Patrick Iversen/Kelsey Maffett
 * 2011-12: Travis Cornejo/Katherine Moritz/Abby Spudich
 * 2010-11: Zachary Toombs/Lyndsie Manusos
 * 2009-10: Josh Barone/Mary Daly
 * 2008-09: Elliot Njus/Michael Sewall
 * 2007-08: Steve Oslica/Rae Nudson
 * 2006-07: Lee Logan/Maggie Creamer
 * 2005-06: Jenna Youngs/Derek Kravitz/Coulter Jones
 * 2004-05: Sarah Larimer/Sam Baker
 * 2003-04: Tim Elfrink/Blythe Terrell
 * 2002-03: Nick Choate/Stephanie Grasmick
 * 2001-02: Patrick Terpstra/Tim Leong
 * 2000-01: Paul Wilson/Chris Heisel
 * 1999-2000: Jake Wagman/Julie Bykowicz
 * 1998-99: John Roby/David Griner
 * 1997-98: Jennifer Dlouhy/Kelly Wiese
 * 1996-97: Carmel Snyder/Jennifer Campbell
 * 1995-96: Patrick Strawbridge/Carmel Snyder
 * 1994-95: Justin Hyde/Gina Hosler
 * 1993-94: Sarah Karp/David A. Lieb
 * 1992-93: Catherine Senderling/Anthony Beckman
 * 1991-92: Frank Gluck/Rexx Dickson
 * 1990-91: Grant Barrett/Chris Blake
 * 1989-90: John Hedgecoth/Devona Walker
 * 1988-89: Marc Attenberg/Mick Normington

Current
Most staff members of The Maneater — including editors, writers, photographers, designers, multimedia producers and advertising account representatives — are undergraduate students at the University of Missouri, though graduate students are also eligible to work for the student publication. Each spring, the staff elects an editor-in-chief and business manager to administer the publication in the coming year. Traditionally, the editor-in-chief and managing editor run as a slate. The elected slate then opens applications for editorial and business positions. The hired editors in turn appoint beat writers and columnists to regularly cover recurring topics. The remainder of the staff varies in size. Anyone who has worked in an editorial capacity within the last year is considered part of the active staff. The staff pitches stories to the editors or pick up general assignments as they come up. The Maneater has historically identified itself as a "learning paper" and welcomes students from all of the University of Missouri's schools and colleges, with or without prior journalism experience.

Alumni
Maneater alumni have gone on to work in many of the nation's top newsrooms, including The Associated Press, The Los Angeles Times, The New York Times, USA Today and The Washington Post. They include veteran broadcaster Betsey Bruce, author and reporter Bryan Burrough, Yahoo Sports columnist Pat Forde, The Riverfront Times founder Ray Hartmann and author and Pulitzer Prize-winner Ron Powers, among others. Through donations from its alumni, The Maneater awards an annual merit-based scholarship to a member of its current staff.

title: The Maneater


text:
Linton Bushfire

The Linton Bushfire was a wildfire that burned through private land and state forests near the township of Linton, Victoria, Australia on 2 December 1998. Firefighters from the Victorian state government's Department of Natural Resources and Environment and the Country Fire Authority (CFA) were deployed to put out the fire. At approximately 8.45pm, two firefighting appliances and their crews were entrapped and engulfed in fire following an unexpected wind change. The bushfire covered a maximum land of 660 hectares of private and public land.

Accident
The crew of one of those appliances, five men from Geelong, who were all volunteers from the Geelong West Fire Brigade were killed.

The coronial inquest examining the fire and the deaths, was one of the longest-running inquests in the history of the state. It was this inquest, that led to changes in safety operating procedures in the SA Country Fire Service and Victorian Country Fire Authority, relating to the Dead Man Zone.

Firefighters
The five Geelong West volunteer firefighters that died in the Linton fire were Christopher Evans, Garry Vredeveldt, Stuart Davidson, Jason Thomas and Matthew Armstrong.

A memorial for the firefighters was placed in West Park, Geelong West. Another one was put in Linton, Victoria.

Grovedale College, who lost a former pupil in the fire, instituted an award named after Jason Thomas, for the student who has best served the community.

title: Linton Bushfire


text: User talk:130.179.16.69

title: User talk:130.179.16.69


text:
Barrie Cooke

Barrie C. Cooke (1931 – 4 March 2014) was an English-born Irish abstract expressionist painter.

Cooke was born in Knutsford, to an English father and an American mother, and spent part of his childhood in Jamaica and Bermuda, before moving to the U.S. in 1947, where he studied art history at Harvard University. He moved to Ireland in 1954, and in 1955 went to Salzburg to study under Austrian artist Oskar Kokoschka. His work is represented in such collections as the Irish Museum of Modern Art, the Ulster Museum, the Stedelijk Museum (Amsterdam), the Haags Gemeentemuseum (The Hague), and other public and private collections worldwide.

He was a friend and collaborator of both Ted Hughes and Seamus Heaney, illustrating Hughes's "The Great Irish Pike" (1982) and Heaney's Bog Poems (1975).

The Barrie Cooke archive which contains letters and poems from friends, including Heaney and Hughes is at Pembroke College, Cambridge.

He died in 2014 in Leighlinbridge, County Carlow, Ireland.

Collections

 * Stedelijk Museum, Amsterdam
 * The Irish Museum of Modern Art, Dublin
 * Birmingham Museums & Art Gallery, Birmingham
 * Dublin City University: Couple 2

title: Barrie Cooke


text:
Emporium

Emporium may refer to:

Historical

 * Emporium (antiquity), a trading post, factory, or market of Classical antiquity
 * Emporium (early medieval), a 6th- to 9th-century trading settlement in Northwestern Europe
 * Emporium (Italy), an ancient town on the site of present-day Empoli, Italy
 * Emporium (Rome), the river port of ancient Rome
 * Emporium (Jamestown, California), a building listed on the US National Register of Historic Places (NRHP) in Tuolumne County
 * Emporium (Marshall, Michigan), an NRHP-listed commercial building

Businesses

 * A large retail store
 * Emporium (Bangkok), a shopping mall in Thailand
 * The Emporium (San Francisco), a defunct department store chain based in San Francisco, California, US
 * Emporium (Oregon-based department store), a defunct retailer in five western US states
 * The Emporium, Leicestershire, a nightclub in Coalville, Leicestershire, UK
 * Emporium Mall, in Lahore, Pakistan
 * Emporium Mall Pluit, in Pluit, Jakarta, Indonesia
 * Emporium Melbourne, a shopping centre in Australia

Other uses

 * Emporium, Pennsylvania, US
 * Emporium (short story collection), a 2002 book by Adam Johnson

title: Emporium