document_title: List of player salaries in the NHL

question_text: who gets paid the most in the nhl

question_tokens: who gets paid the most in the nhl

text: List of player salaries in the NHL

text: Here are several lists of National Hockey League players' salaries since the 1989–90 NHL season. This list does not include income from corporate endorsements or salaries before 1988–89.

text:
Contents
 [hide]

1 Top 20 salaries in the NHL since 1989
2 Top five contracts by season

2.1 1989–90 season
2.2 1990–91 season
2.3 1991–92 season
2.4 1992–93 season
2.5 1993–94 season
2.6 1994–95 season
2.7 1995–96 season
2.8 1996–97 season
2.9 1997–98 season
2.10 1998–99 season
2.11 1999–00 season
2.12 2000–01 season
2.13 2001–02 season
2.14 2002–03 season
2.15 2003–04 season
2.16 2004–05 season
2.17 2005–06 season
2.18 2006–07 season
2.19 2007–08 season
2.20 2008–09 season
2.21 2009–10 season
2.22 2010–11 season
2.23 2011–12 season
2.24 2012–13 season
2.25 2013–14 season
2.26 2014–15 season
2.27 2015–16 season
2.28 2016–17 season
2.29 2017–18 season

3 Sample salaries from earlier seasons
4 See also
5 Notes
6 External links

text: Top 20 salaries in the NHL since 1989

text: This is a list of the twenty NHL players who have earned the most in salaries between the 1989–90 season and the 2007–08 season.

text: These figures have been gleaned from different sources,[1] and so may not be perfectly accurate. This is merely an estimation that, for the most part, does not take into account bonuses and sponsor contracts.

text: These totals also do not take into account partial seasons played—for which a player would only receive a partial salary—except for the shortened 2004–05 season, which affected every player. Thus, the listed totals are a sum of the amounts each player was contracted to receive for a full season.

text:
Top 20 NHL salary-earners from 1989–90 to 2007–08

Rank
Player name
Salary (USD)
Years active†

1
Jaromir Jagr
$ 99,874,893
19 (1990–91 – 2007–08) (2011-12 - present)

2
Nicklas Lidstrom
$ 94,065,000
19 (1991–92 – 2011-12)

3
Joe Sakic
$ 87,174,047
20 (1988–89 – 2008–09)

4
Mats Sundin
$ 74,042,632
18 (1990–91 – 2008–09)

5
Keith Tkachuk
$ 73,848,674
17 (1991–92 – 2009-10)

6
Rob Blake
$ 73,067,982
19 (1989–90 – 2009-10)

7
Paul Kariya
$ 70,686,100
14 (1994–95 – 2010-11)

8
Peter Forsberg
$ 70,405,214
12 (1994–95 – 2007–08)a

9
Mike Modano
$ 70,087,650
19 (1989–90 – 2010-11)

10
Chris Pronger
$ 66,200,500
15 (1993–94 – present)

11
Steve Yzerman
$ 64,672,616
22 (1983–84 – 2005–06)

12
Sergei Fedorov
$ 61,519,036
18 (1990–91 – 2008–09)

13
Brian Leetch
$ 59,501,250
18 (1987–88 – 2005–06)

14
Mark Messier
$ 58,958,639
25 (1979–80 – 2003–04)

15
Brendan Shanahan
$ 58,615,000
21 (1987–88 – 2008–09)

16
Teemu Selanne
$ 57,857,790
16 (1992–93 – present)

17
Patrick Roy
$ 56,771,988
19 (1984–85 – 2002–03)

18
Pavel Bure
$ 56,369,794
12 (1991–92 – 2002–03)

19
Doug Weight
$ 54,354,775
17 (1991–92 – 2010-11)

20
Dominik Hasek
$ 54,152,300
16 (1990–91 – 2007–08)b

text: Top five contracts by season

text: 1989–90 season

text:
Mario Lemieux (Pittsburgh Penguins) $2 million
Wayne Gretzky (Los Angeles Kings) $1.72 million
Mark Messier (Edmonton Oilers) $0.86 million
Steve Yzerman (Detroit Red Wings) $0.7 million
Bryan Trottier (New York Islanders) $0.575 million

text: 1990–91 season

text:
Wayne Gretzky (Los Angeles Kings) $3 million
Mario Lemieux (Pittsburgh Penguins) $2.18 million
Steve Yzerman (Detroit Red Wings) $1.3 million
Ray Bourque (Boston Bruins) $1.194 million
Brett Hull (St. Louis Blues) $1.116 million

text: 1991–92 season

text:
Wayne Gretzky (Los Angeles Kings) $3 million
Mario Lemieux (Pittsburgh Penguins) $2.34 million
Brett Hull (St. Louis Blues) $1.5 million
Pat LaFontaine (Buffalo Sabres) $1.4 million

Steve Yzerman (Detroit Red Wings) $1.4 million

text: 1992–93 season

text:
Eric Lindros (Philadelphia Flyers) $3.5 million
Wayne Gretzky (Los Angeles Kings) $3 million
Mario Lemieux (Pittsburgh Penguins) $2.408 million
Mark Messier (New York Rangers) $2.385 million
Pat LaFontaine (Buffalo Sabres) $1.775 million

text: 1993–94 season

text:
Eric Lindros (Philadelphia Flyers) $3.35 million
Steve Yzerman (Detroit Red Wings) $3.2 million
Mario Lemieux (Pittsburgh Penguins) $3 million

Wayne Gretzky (Los Angeles Kings) $3 million

Patrick Roy (Montreal Canadiens) $2.6593 million

text: 1994–95 season

text: After the 1994–95 NHL season was shortened to 48 games due to a lockout, players earned only about 56% of their predicted salary.

text:
Wayne Gretzky (Los Angeles Kings) $3.66 million (Predicted salary of $6.54 million)
Mark Messier (New York Rangers) $3.45 million (Predicted salary of $6.29 million)
Scott Stevens (New Jersey Devils) $3.24 million (Predicted salary of $5.8 million)
Pavel Bure (Vancouver Canucks) $2.61 million (Predicted salary of $4.5 million)
Mario Lemieux (Pittsburgh Penguins) $2.361,429 million (Predicted salary of $4.071429 million)

text: 1995–96 season

text:
Wayne Gretzky (Los Angeles Kings/St. Louis Blues) $6.54 million
Mark Messier (New York Rangers) $6.29 million
Keith Tkachuk (Winnipeg Jets) $6 million
Mario Lemieux (Pittsburgh Penguins) $4.5714 million
Pavel Bure (Vancouver Canucks) $4.5 million

text: 1996–97 season

text:
Mario Lemieux (Pittsburgh Penguins) $11.35 million
Mark Messier (New York Rangers) $6 million
Pavel Bure (Vancouver Canucks) $5 million
Pat LaFontaine (Buffalo Sabres) $4.6 million
Patrick Roy (Colorado Avalanche) $4.567 million

text: 1997–98 season

text:
Joe Sakic (Colorado Avalanche) $16.45 million [2]
Chris Gratton (Philadelphia Flyers) $10.15 million
Wayne Gretzky (New York Rangers) $6.25 million
Mark Messier (New York Rangers) $6 million
Pavel Bure (Vancouver Canucks) $5.5 million

text: 1998–99 season

text:
Sergei Fedorov (Detroit Red Wings) $14.5 million [2]
Paul Kariya (Anaheim Ducks) $8.25 million
Eric Lindros (Philadelphia Flyers) $8 million

Dominik Hasek (Buffalo Sabres) $8 million

Mats Sundin (Toronto Maple Leafs) $6.347 million

text: 1999–00 season

text:
Jaromir Jagr (Pittsburgh Penguins) $11.7 million
Paul Kariya (Anaheim Ducks) $11 million
Peter Forsberg (Colorado Avalanche) $9 million
Theoren Fleury (New York Rangers) $8.5 million

Eric Lindros (Philadelphia Flyers) $8.5 million

text: 2000–01 season

text:
Peter Forsberg (Colorado Avalanche) $10 million

Paul Kariya (Anaheim Ducks) $10 million

Jaromir Jagr (Pittsburgh Penguins) $9.842708 million
Pavel Bure (Florida Panthers) $9 million
Keith Tkachuk (St. Louis Blues) $7.3 million

text: 2001–02 season

text:
Jaromir Jagr (Washington Capitals) $11 million
Pavel Bure (Florida Panthers/New York Rangers) $10 million

Paul Kariya (Anaheim Ducks) $10 million

Joe Sakic (Colorado Avalanche) $9.832727 million
Chris Pronger (St. Louis Blues) $9.5 million

Teemu Selanne (San Jose Sharks) $9.5 million

text: 2002–03 season

text:
Jaromir Jagr (Washington Capitals) $11.483333 million
Keith Tkachuk (St. Louis Blues) $11 million
Nicklas Lidstrom (Detroit Red Wings) $10.5 million
Pavel Bure (New York Rangers) $10 million

Paul Kariya (Mighty Ducks of Anaheim) $10 million

text: 2003–04 season

text:
Peter Forsberg (Colorado Avalanche) $11 million

Jaromir Jagr (Washington Capitals) $11 million

Sergei Fedorov (Mighty Ducks of Anaheim) $10 million

Nicklas Lidstrom (Detroit Red Wings) $10 million
Keith Tkachuk (St. Louis Blues) $10 million

text: 2004–05 season

text: Season cancelled (see 2004–05 NHL lockout).

text: 2005–06 season

text: The team salary cap was $39 million. Under the latest NHL Collective Bargaining Agreement, no player could earn more than 20 percent of the team salary cap ($7.8 million).

text:
Jaromir Jagr (New York Rangers) $8.36 million[3]
Nicklas Lidstrom (Detroit Red Wings) $7.6 million

Keith Tkachuk (St. Louis Blues) $7.6 million
Alexei Yashin (New York Islanders) $7.6 million

Jarome Iginla (Calgary Flames) $7 million

text: 2006–07 season

text: The team salary cap was $44 million. No player could earn more than $8.8 million.

text:
Jaromir Jagr (New York Rangers) $8.36 million
Brad Richards (Tampa Bay Lightning) $7.8 million
Nicklas Lidstrom (Detroit Red Wings) $7.6 million

Mats Sundin (Toronto Maple Leafs) $7.6 million
Alexei Yashin (New York Islanders) $7.6 million

text: 2007–08 season

text: The team salary cap was $50.3 million. No player could earn more than $10.06 million.

text:
Daniel Briere (Philadelphia Flyers) $10 million

Scott Gomez (New York Rangers) $10 million
Thomas Vanek (Buffalo Sabres) $10 million

Jaromir Jagr (New York Rangers) $8.36 million
Kimmo Timonen (Philadelphia Flyers) $8 million

text: 2008–09 season

text: The team salary cap was $56.7 million. No player could earn more than $11.34 million.

text:
Dany Heatley (Ottawa Senators) $10 million
Sidney Crosby (Pittsburgh Penguins) $9 million

Alexander Ovechkin (Washington Capitals) $9 million

Mats Sundin (Vancouver Canucks) $8.6 million
Miikka Kiprusoff (Calgary Flames) $8.5 million

text: 2009–10 season

text: The team salary cap was $56.8 million. No player could earn more than $11.36 million.

text:
Vincent Lecavalier (Tampa Bay Lightning) $10 million
Sidney Crosby (Pittsburgh Penguins) $9 million

Evgeni Malkin (Pittsburgh Penguins) $9 million
Alexander Ovechkin (Washington Capitals) $9 million

Chris Drury (New York Rangers) $8.05 million

text: 2010–11 season

text: The team salary cap was $59.4 million. No player could earn more than $11.88 million.

text:
Vincent Lecavalier (Tampa Bay Lightning) $10 million

Roberto Luongo (Vancouver Canucks) $10 million

Sidney Crosby (Pittsburgh Penguins) $9 million

Evgeni Malkin (Pittsburgh Penguins) $9 million
Alexander Ovechkin (Washington Capitals) $9 million

text: 2011–12 season

text: The team salary cap was $64.3 million. No player could earn more than $12.86 million.

text:
Brad Richards (New York Rangers) $12 million
Ilya Bryzgalov (Philadelphia Flyers) $10 million

Christian Ehrhoff (Buffalo Sabres) $10 million
Vincent Lecavalier (Tampa Bay Lightning) $10 million

Sidney Crosby (Pittsburgh Penguins) $9 million

text: 2012–13 season

text: The team salary cap was $70.2 million. No player could earn more than $14.04 million.

text:
Shea Weber (Nashville Predators) $14 million
Tyler Myers (Buffalo Sabres) $12 million

Zach Parise (Minnesota Wild) $12 million
Brad Richards (New York Rangers) $12 million
Ryan Suter (Minnesota Wild) $12 million

text: 2013–14 season

text:
Shea Weber (Nashville Predators) $14 million
Sidney Crosby (Pittsburgh Penguins) $12 million

Zach Parise (Minnesota Wild) $12 million
Ryan Suter (Minnesota Wild) $12 million

Eric Staal (Carolina Hurricanes) $9.25 million

text: 2014–15 season

text: The team salary cap was $69 million. No player could earn more than $13.8 million.

text:
Shea Weber (Nashville Predators) $14 million
Sidney Crosby (Pittsburgh Penguins) $12 million
Henrik Lundqvist (New York Rangers) $11 million

Zach Parise (Minnesota Wild) $11 million
Ryan Suter (Minnesota Wild) $11 million

text: 2015–16 season

text: The team salary cap was $71.4 million. No player could earn more than $14.28 million.

text:
Shea Weber (Nashville Predators) $14 million
Patrick Kane (Chicago Blackhawks) $13.8 million

Jonathan Toews (Chicago Blackhawks) $13.8 million

Sidney Crosby (Pittsburgh Penguins) $12 million
Phil Kessel (Pittsburgh Penguins) $10 million

text: 2016–17 season

text: The team salary cap was $73 million. No player could earn more than $14.6 million.

text:
Anze Kopitar (Los Angeles Kings) $14 million
Patrick Kane (Chicago Blackhawks) $13.8 million

Jonathan Toews (Chicago Blackhawks) $13.8 million

Shea Weber (Montreal Canadiens) $12 million
Ryan O'Reilly (Buffalo Sabres) $11 million

text: 2017–18 season

text: The team salary cap is $75 million. No player can earn more than $15 million.

text:
Patrick Kane (Chicago Blackhawks) $13.8 million

Jonathan Toews (Chicago Blackhawks) $13.8 million

Jamie Benn (Dallas Stars) $13 million

Anze Kopitar (Los Angeles Kings) $13 million

Shea Weber (Montreal Canadiens) $12 million

text: Sample salaries from earlier seasons

text: Salary figures prior to the 1989–90 season are not readily available. The following table presents a sample of salaries from various seasons; the players listed were not necessarily the highest paid that year.

text:
Season
Player name
Salary[4]

1917–18
Newsy Lalonde
CAN $1,300

1921–22
Newsy Lalonde
CAN $2,000

1923–24
Howie Morenz
CAN $3,500

1925–26
Frank Fredrickson
CAN $3,500

1953–54
Jean Beliveau
CAN $21,000

1954–55
Jean Beliveau
CAN $21,000

1955–56
Jean Beliveau
CAN $21,000

1956–57
Jean Beliveau
CAN $21,000

1957–58
Jean Beliveau
CAN $21,000

1959–60
Doug Harvey
CAN $25,000

1959–60
Maurice Richard
CAN $25,000

1962–63
Frank Mahovlich
CAN $25,000

1963–64
(NHL minimum salary)
CAN $7,000

1963–64
Phil Esposito
US $54,990

1965–66
Gump Worsley
CAN $28,000

1966–67
Bobby Orr
US $35,000

1967–68
Bobby Orr
US $35,000

1967–68
Derek Sanderson
US $10,000

1969–70
Derek Sanderson
US $13,000

1974–75
Mario Tremblay
CAN $80,000

1977–78
Bobby Hull †
US $1,000,000

1977–78
Bernie Parent
US $1,000,000

1977–78
Derek Sanderson
US $1,000,000

1982–83
Brian Hayward
US $65,000


document_title: Pretty Woman

question_text: who played julia roberts roommate in pretty woman

root

text: Pretty Woman

text: Plot[edit]

text: At the beginning of the film, Edward Lewis accidentally ends up on Hollywood Boulevard in the city's red-light district, after breaking up with his girlfriend during an unpleasant phone call in which he appears highly controlling; he asks her to escort him during his trip, but she is offended that he treats her as his 'beck and call girl'. Leaving a party, he takes his lawyer's Lotus Esprit luxury car, and encounters a prostitute, Vivian Ward. He stops for her, having difficulties driving the car, and asks for directions to Beverly Hills. He asks her to get in and guide him to the Beverly Hills Regent Hotel, where he is staying. It becomes clear that Vivian knows more about the Lotus than he does, and he lets her drive. Vivian charges Lewis $20 for the ride, and they separate. She goes to a bus stop, where he finds her and offers to hire her for the night; later, he asks Vivian to play the role his girlfriend has refused, offering her $3000 to stay with him for the next six days as well as paying for a new, more acceptable wardrobe for her. That evening, visibly moved by her transformation, Edward begins seeing Vivian in a different light. He begins to open up to her, revealing his personal and business lives.

tag: p

text: Edward takes Vivian to a polo match in hopes of networking for his business deal. His attorney, Phillip, suspects Vivian is a corporate spy, and Edward tells him how they truly met. Phillip later approaches Vivian, suggesting they do business once her work with Edward is finished. Insulted, and furious that Edward has revealed their secret, Vivian wants to end the arrangement. Edward apologizes, and admits to feeling jealous of a business associate to whom Vivian paid attention at the match. Vivian's straightforward personality is rubbing off on Edward, and he finds himself acting in unaccustomed ways. Clearly growing involved, Edward takes Vivian in his private jet to see La Traviata in San Francisco. Vivian is moved to tears by the story of the prostitute who falls in love with a rich man. Vivian breaks her "no kissing on the mouth" rule (which her friend Kit taught her) and they have sex; in the aftermath, Vivian tells Edward she loves him, but he does not respond. Edward offers to put her up in an apartment so she can be off the streets. Hurt, she refuses, says this is not the "fairy tale" she dreamed of as a child, in which a knight on a white horse rescues her.

text: Meeting with the tycoon whose shipbuilding company he is in the process of "raiding," Edward changes his mind. His time with Vivian has shown him a different way of looking at life, and he suggests working together to save the company rather than tearing it apart and selling off the pieces. Phillip, furious at losing so much money, goes to the hotel to confront Edward, but finds only Vivian. Blaming her for the change in Edward, he attempts to rape her. Edward arrives and throws Phil out of the room.

text: With his business in L.A. complete, Edward asks Vivian to stay one more night with him -- because she wants to, not because he's paying her. She refuses. At the end of the film, Edward re-thinks his life and has the hotel chauffeur detour to Vivian's apartment building, where he leaps from out the white limo's sun roof and "rescues her", an urban visual metaphor for the knight on a white horse of her dreams. The film ends with the famous last line from Vivian:

text: Edward Lewis: So what happens after he climbed up the tower and rescues her? Vivian: She rescues him right back.

text: Cast[edit]

text:
Richard Gere as Edward Lewis, a rich corporate raider and womanizer from New York.
Julia Roberts as Vivian Ward, an assertive freelance hooker with a heart of gold on Hollywood Boulevard.
Ralph Bellamy as James Morse, owner of a troubled shipbuilding company Edward plans to take over. This was Bellamy's final acting performance before his death in 1991.
Jason Alexander as Phillip Stuckey, Edward's insensitive lawyer. Alexander is best known for the sitcom Seinfeld, in which a VHS copy of Pretty Woman appears in Seinfeld's apartment.
Héctor Elizondo as Barney Thompson, the dignified but soft-hearted hotel manager.
Laura San Giacomo as Kit De Luca, Vivian's wisecracking friend and roommate, who has taught her the prostitution trade.
Alex Hyde-White as David Morse, James Morse's grandson, who is being groomed to take over the company.
Amy Yasbeck as Elizabeth Stuckey, Phillip's wife.
Elinor Donahue as Bridget, a friend of Barney Thompson who works in a women's clothing store.
John David Carson as Mark Roth, a businessman in Edward's office.
Judith Baldwin as Susan, one of Edward's ex-girlfriends.
Laurelle Brooks Mehus as the hotel's night desk clerk.
James Patrick Stuart as the day bellhop.
Dey Young as a snobbish saleswoman in a dress store.
Larry Miller as Mr. Hollister, the manager of a clothing store where Vivian buys her new wardrobe.
Patrick Richwood as Dennis, the hotel elevator operator.
Hank Azaria as a detective. This was Azaria's first speaking role.
Amzie Strickland as Matron
Lynda Goodfriend as a Tourist.

tag: ul

text: Production[edit]

text: Development[edit]

text: The film was initially conceived as a dark drama about sex work in Los Angeles in the 1980s.[4] The relationship between Vivian and Edward also originally involved controversial themes, including Vivian being addicted to drugs; part of the deal was that she had to stay off cocaine for a week. Edward eventually throws her out of his car and drives off. The original script ended with Vivian and her sex-worker friend on the bus to Disneyland.[4] Producer Laura Ziskin considered these elements detrimental to a sympathetic portrayal of Vivian, and they were removed or assigned to Kit. The deleted scenes have been found, and some were included on the DVD released for the film's 15th anniversary.[4] In one, Vivian tells Edward, "I could just pop ya good and be on my way", indicating her disinterest in "pillow talk". In another, she is confronted by drug dealers, then rescued by Edward.

text: The film bears striking resemblances to Pygmalion myths: particularly George Bernard Shaw's play of the same name, which also formed the basis for the Broadway musical My Fair Lady. It was Walt Disney Studios then-president Jeffrey Katzenberg who insisted the film be re-written as a modern-day fairy tale and love story, as opposed to the original dark drama. It was pitched to Touchstone Pictures and re-written as a romantic comedy. The original script was titled $3,000,[5] in reference to the amount Edward pays for a week's company from Vivian.[6] However, this title was changed because Disney executives thought it sounded like a title for a science fiction film.[7] The script also has unconfirmed references to That Touch of Mink, starring Doris Day and Cary Grant.[citation needed]

text: The film is one of two movies that triggered a resurgence of romantic comedy in Hollywood, the other being When Harry Met Sally. After the 1960s Doris Day/Rock Hudson romantic comedies, the genre had fallen out of favor.[citation needed] Following this film's success, Roberts became the romantic comedy queen of the 1990s.

text: Casting[edit]

text: Casting of the film was a rather lengthy process. Marshall had initially considered Christopher Reeve, Daniel Day-Lewis, and Denzel Washington for the role of Edward, and Al Pacino and Burt Reynolds turned it down.[8] Pacino went as far as doing a casting reading with Roberts before rejecting the part.[9] Gere initially refused but when he met with Roberts, she persuaded him and he eventually agreed to play Lewis.[10] He reportedly started off much more active in his role; but Garry Marshall took him aside and said "No, no, no, Richard. In this movie, one of you moves and one of you does not. Guess which one you are?"[11] Julia Roberts was not the first choice for the role of Vivian, and was not wanted by Disney. Many other actresses were considered. Marshall originally envisioned Karen Allen for the role; when she declined, auditions went to many better-known actresses of the time including Molly Ringwald,[12] who turned it down because she felt uncomfortable playing a sex worker.[citation needed] Winona Ryder auditioned, but was turned down because Marshall felt she was "too young". Jennifer Connelly was also dismissed for the same reason.[4]

text: Meg Ryan, who was a top choice of Marshall's, turned it down as well. According to a note written by Marshall, Mary Steenburgen was also among the first choices. Diane Lane came very close to being cast (the script was much darker at the time); they had gone as far as costume fittings, but due to scheduling conflicts she could not accept. Michelle Pfeiffer turned the role down, saying she did not like the script's "tone."[13] Daryl Hannah was also considered, but believed the role was "degrading to women".[13] Valeria Golino declined, doubting it would work with her thick Italian accent.[citation needed] And Jennifer Jason Leigh had auditioned.[14] When all the other actresses turned down the role, 21-year-old Julia Roberts, a relative unknown, with only the sleeper hit Mystic Pizza (1988) and the yet-to-be-released Steel Magnolias (1989) to her credit, won the role of Vivian. Her performance made her a star.

text: Filming[edit]

text: The film's budget was substantial, at $14 million, so producers could shoot in many locations.[4] Most filming took place in Los Angeles, California, specifically in Beverly Hills, and inside soundstages at Walt Disney Studios in Burbank. The escargot restaurant the "Voltaire" was shot at the restaurant "Rex," now called "Cicada". Scenes set in the Beverly Wilshire Hotel lobby were shot at the Ambassador Hotel in Los Angeles. Filming commenced on July 24, 1989, but was immediately plagued by problems. These included Ferrari and Porsche declining the product placement opportunity for the car Edward drove, neither firm wishing to be associated with sex workers.[4] Lotus Cars saw the placement value, and supplied a Silver 1989.5 Esprit SE (which was later sold).

text: Shooting was a generally pleasant, easy-going experience, as the budget was broad and the shooting schedule was not tight.[4] While shooting the scene where Vivian is lying down on the floor of Edward's penthouse, watching reruns of I Love Lucy, Garry Marshall had to tickle Roberts' feet (out of camera range) to get her to laugh. The scene in which Gere playfully snaps the lid of a jewelry case on her fingers was improvised, and her surprised laugh was genuine. The red dress Vivian wears to the opera has been listed among the most unforgettable dresses of all time.[15]

text: During the scene in which Roberts sang to a Prince song in the bathtub, slid down and submerged her head under the bubbles; she emerged to find the crew had left except for the cameraman, who captured the moment on film. In the love scene, she was so stressed that a vein become noticeable on her forehead and had to be massaged by Marshall and Gere. She also developed a case of hives, and calamine lotion was used to soothe her skin until filming resumed.[4] The filming was completed on October 18.

text: Reception[edit]

text: Box office[edit]

text: In its opening weekend, the film was at number one at the box office, grossing $11,280,591 and averaging $8,513 per theater.[16] Despite dropping to number two in its second weekend, it grossed more with $12,471,670.[16] It was number one at the box office for four non-consecutive weeks, and in the Top 10 for 16 weeks.[16] It has grossed $178,406,268 in the United States and $285,000,000 in other countries for a total worldwide gross of $463,406,268.[17] It was also the fourth highest-grossing film of the year in the United States[18] and the third highest-grossing worldwide.[19] The film remains Disney's highest-grossing R-rated release ever.[20]

text: Critical response [edit]

text: The film received mixed to positive reviews from critics. Review aggregator Rotten Tomatoes reports that 61% of 55 film critics have given it a positive review, with a rating average of 5.7 out of 10.[21] Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, gives it a score of 51 based on 17 reviews, indicating "mixed or average reviews."[22]

text: Owen Gleiberman of Entertainment Weekly gave the film a D, saying it "starts out as a neo-Pygmalion comedy" and with "its tough-hooker heroine, it can work as a feminist version of an upscale princess fantasy." Gleiberman also said it "pretends to be about how love transcends money," but "is really obsessed with status symbols."[23] On its twentieth anniversary, Gleiberman wrote another article, saying that while he felt he was right, he would have given it a B today.[24] Carina Chocano of The New York Times said the movie "wasn't a love story, it was a money story. Its logic depended on a disconnect between character and narrative, between image and meaning, between money and value, and that made it not cluelessly traditional but thoroughly postmodern."[25]

text: Accolades[edit]

text:
48th Golden Globe Awards

Best Actress – Julia Roberts

text:
16th César Awards

Best Foreign Film

63rd Academy Awards

Best Actress – Julia Roberts

48th Golden Globe Awards

Best Motion Picture (Comedy or Musical)
Best Actor – Richard Gere
Best Supporting Actor – Hector Elizondo

Writers Guild of America Award for Best Original Screenplay – J. F. Lawton

text: Music[edit]

text: The film is noted for its musical selections. The hugely successful soundtrack features the song "Oh, Pretty Woman" by Roy Orbison, which inspired its title. Roxette's "It Must Have Been Love" reached No. 1 on the Billboard Hot 100 in June 1990. The soundtrack also features "King of Wishful Thinking" by Go West, "Show Me Your Soul" by Red Hot Chili Peppers, "No Explanation" by Peter Cetera, "Wild Women Do" by Natalie Cole and "Fallen" by Lauren Wood. The soundtrack went on to be certified triple platinum by the RIAA.[26]

text: The opera featured in the film is La Traviata, which also served as inspiration for its plot. The highly dramatic aria fragment that is repeated is the end of "Dammi tu forza!" ("Give me strength!"), from the opera. The piano piece Gere's character plays in the hotel lobby was actually composed by and performed by him. Roberts sings the song "Kiss" by Prince while she is in the tub and Gere's character is on the phone. Background music is composed by James Newton Howard. Entitled "He Sleeps/Love Theme", this piano composition is inspired by Bruce Springsteen's "Racing in the Street".

text: Soundtrack[edit]

text:
Pretty Woman

Soundtrack album by Various artists

Released
March 13, 1990

Recorded
1964, 1988–1989

Genre
Pop
Rock

Length
43:36

Label
EMI

Producer
Various artists

Singles from Pretty Woman

"Show Me Your Soul"
Released: February 14, 1990
"King of Wishful Thinking"
Released: 1990
"It Must Have Been Love"
Released: 20 May 1990

tag: table

text:
Professional ratings

Review scores

Source
Rating

AllMusic
 link

text: The soundtrack was released on March 13, 1990 by EMI.[27][28]

text: Track listing[edit]

text:
No.
Title
Length

1.
"Wild Women Do" (performed by Natalie Cole)
4:06

2.
"Fame '90" (performed by David Bowie)
3:36

3.
"King of Wishful Thinking" (performed by Go West)
4:00

4.
"Tangled" (performed by Jane Wiedlin)
4:18

5.
"It Must Have Been Love" (performed by Roxette)
4:17

6.
"Life in Detail" (performed by Robert Palmer)
4:07

7.
"No Explanation" (performed by Peter Cetera)
4:19

8.
"Real Wild Child (Wild One)" (performed by Christopher Otcasek)
3:39

9.
"Fallen" (performed by Lauren Wood)
3:59

10.
"Oh, Pretty Woman" (performed by Roy Orbison)
2:55

11.
"Show Me Your Soul" (performed by Red Hot Chili Peppers)
4:20

Total length:
43:36

text: Musical adaptation[edit]

text: A stage musical adaptation of the film is scheduled to open on Broadway in the fall of 2018. This follows an out-of-town tryout at the Oriental Theatre in Chicago, which will run from March 13 to April 15, 2018. The musical has music and lyrics by Bryan Adams and Jim Vallance; the late Garry Marshall and J.F. Lawton will co-write the book and Jerry Mitchell is the director and choreographer.[29] The Chicago and Broadway casts will feature Samantha Barks, in her Broadway debut as Vivian and Steve Kazee as Edward. Orfeh will portray Kit, and Jason Danieley will play Philip Stuckey.[29] Eric Anderson will portray the role of Mr. Thompson. Kingsley Leggs will play the role of James Morse.


document_title: Currency of Ecuador

question_text: when did ecuador change to the us dollar

question_tokens: when did ecuador change to the us dollar

text: Currency of Ecuador

text: 1822–1830 Gran Colombia[edit]

text: Quito was part of Gran Colombia until 1830 as Departamento del Sur. Gran Colombia's monetary regulations retained the old Spanish colonial system, with both milled and hammered coin circulating. Gold and silver were minted at Popayán and Bogotá, copper at Caracas. On July 28, 1823, Bolívar authorized a mint at Quito, but almost a decade would pass before one opened there. Cobs (macuquina) were ordered withdrawn in 1826, but because of the lack of other coin, they continued to circulate. All kinds of foreign coin circulated on the coast as a result of foreign trade, but in the interior provinces only old Spanish colonial coin and macuquina circulated, mostly Peruvian.

text: 1830–1850 Peso[edit]

text: 1830–1836 State of Ecuador[edit]

text: Countermarked coin[edit]

text: The 1832 countermark was intended solely for coin minted at Bogotá (Cundinamarca) between 1815 and 1821. But coins of below-standard fineness had been minted at Bogotá in 1823–1826, but dated 1821, and most were put into circulation in the Quito department during the Gran Colombia period.

text: Coins of Cundinamarca and Granada, dated 1818–1821, counterstamped 'MdQ' (quantities unknown):

text:
1/4 real
1/2 real
real
2 reales
8 reales

text: Silver coin[edit]

text: Obv. arms of Colombia, rim inscription EL ECUADOR EN COLOMBIA and QUITO below the arms; rev. denomination, rim inscribed EL PODER EN LA CONSTITUCION; below the year and GJ (assayer's initials). A 1-real coin was authorized February 28, 1833. Minting of the medio real began September 30, 1832, before its characteristics had been established, which explains why some have the letter "M" (according to the law) while others have "1/2".

text: silver 666 fine dated 1833–1836

text:
1/2 real 16 mm
real, 20 mm, 3.00–3.95 g
2 reales, 25 mm

text: Big Coin[edit]

text: Obv. Indian head with band reading LIBERTAD, the rim inscribed EL ECUADOR EN COLOMBIA, and under the head QUITO. The minting of 2-escudo pieces began in 1834. Some have their value expressed as 2-E (2 escudos), others as 1-D (1 doblóon).

text: gold 875 fine dated 1836–1838

text:
escudo, 18 mm, 3.383 g
doblón, 22 mm, 6.766 g

text: 1836–1843 Republic of Ecuador[edit]

text: History[edit]

text: After Ecuador became "República del Ecuador" on June 28, 1835, the inscription (rev.) "EL ECUADOR EN COLOMBIA" was changed to "REPUBLICA DEL ECUADOR" (but the Colombian arms were retained). The minting of 1 and 2 escudo coins ceased because of an influx of counterfeits of these coins. In their place, President Vicente Rocafuerte authorized a media onza (4-escudo or doblón de a quatro).

text: After more minting equipment was obtained from Chile and installed at Quito, the minting of onzas (8-escudo pieces) was authorized (February 1838). A 4-real coin was authorized October 8, 1841, with the same features as the other denominations, but with the added inscription "MORAL INDUSTRIA" around the circumference, making the coin more difficult to counterfeit.

text: Poor quality and counterfeit coin from Colombia and Bolivia entered circulation in Ecuador, and the coins produced by the Quito mint had many flaws, so that currency standards were difficult to maintain. The use of merchant tokens became widespread. In an attempt to end the use of tokens, the government introduced a cuartillo (1/4 real) in 1842. The cuartillo was 333 fine and was called a calé (the name given in Spain to the 4-maravedí coin and which in Ecuador came to be applied to any small coin of low value).

text: Silver coin[edit]

text: silver 333 fine

text: cuartillo, 16 mm (1842)

text: silver 666 fine

text:
1/2 real, 17 mm (1838, 1840)
real, 20 mm (1836–1841)
2 reales, 25 mm, 5.80–6.10 g (1836–1841)
4 reales, 31.5 mm (1841–1843)

text: Gold coin[edit]

text: gold 875 fine

text:
1/2 onza (4 escudos), 28 mm, 13.500 (1836–1839, 1841)
onza (8 escudos), 34 mm, 27.064 g (1838–1843)

text: 1843 monetary law and coin[edit]

text: Counterfeiting had reached alarming proportions during 1842. At this time, Ecuador was on the verge of bankruptcy.

text: The National Convention passed a new monetary law in June 1843, changing the coin type (design) in an effort to distinguish good money from bad. It adopted a new coat of arms for the obverse and placed a bust of Simón Bolívar on the reverse on both gold and silver. It authorized a gold onza (E.8), 1/2 onza (E.4), doblón (E.2), escudo, and 1/2 escudo (never minted). Silver coins were the peso fuerte (R.8), medio peso (R.4), peseta (R.2), real, medio (R.1/2), and cuarto (R.1/4). But the absurdly low quantities of coin minted in 1844–1845 resulted in an influx of worn coin and coin of inferior quality from neighboring countries.

text:
medio peso (R.4), 33 mm (1844, 1845)
onza (E.8), 36 mm (1844, 1845)

text: 1846–1856 Peso fuerte[edit]

text: History[edit]

text: On December 29, 1845, President Vicente Ramón Roca authorized a coin to compete with the fuertes (full-bodied coin) of other countries. This was the peso fuerte, 903 fine. The standard of 875 fine for gold was identical to that of Ecuador's neighbors and presented no problem. The standard of 903 fine for silver, however, resulted in a heavy export of the coin. It disappeared as soon as it entered circulation (Gresham's law), grabbed up by the merchants of Guayaquil. On July 7, 1846, the value of the fuerte was raised from 8 to 9 reales in a vain attempt to keep it in circulation.

text: The November 1846 monetary law adopted a new type with a bust of Bolívar for gold and a Liberty bust for silver. These appeared on coins dated 1847. The bulk of the circulating currency consisted of poor quality, worn coins. As soon as the new silver coins appeared, they were clipped and perforated in order to reduce their value to that of the circulating currency, while gold coins immediately disappeared abroad.

text: By the 1850s the Quito mint was not receiving enough precious metals to justify its operation. It had to coin a minimum of 6,000 pesos a year just to meet overhead. The mint was shut down during 1853 while the government considered the options of keeping it open or shutting it down. The mint equipment was worn and could not produce coin in sufficient quantity to compete with the foreign coin that entered Ecuador, especially through the port of Guayaquil.

text: Many coins in circulation were pierced with a hole, and this was causing problems in financial transactions. The governor of Pichincha Province proclaimed that anyone piercing a coin minted after 1855 would be punished according to existing penal regulations and that anyone receiving such a pierced coin had to make note of the person passing it.

text: Silver coin[edit]

text: silver 666 fine dated 1847–1852

text:
1/4 real, 12 mm, 1849–1862
1/2 real, 17 mm, 1848–1849
2 reales, 27 mm, 1847–1852

text: silver 903 fine dated 1846

text: peso fuerte, 38 mm, 27.000 g (1,386 pieces)

text: Gold coin[edit]

text: gold, 875 fine dated 1847–1856

text: onza, 37 mm, 27.064 g

text: 1856–1871 Franco[edit]

text: Peso = 5 Francos = 10 Reales

text: History[edit]

text: Congress passed a new monetary law on December 5, 1856, adopting the French decimal system, a standard of 0.900 for silver, and the Ecuadorian Franco, equal to 4.500 g fine silver or 290.3225 mg fine gold. The peso remained a unit of account equal to 5 francos. This measure was intended to avoid the error committed with the peso fuerte of 1846. Only decimal standard coins were to be accepted after October 15, 1866.

text: The Ecuadorian silver coinage had been debased ever since 1833. The government wanted to produce coins of high silver content to finance foreign exchange, so the debased silver had to be withdrawn and replaced with 900 fine silver. This was the reason for the 5-Franco coin, but its appearance in October 1858 caused some confusion. The decimal system was quite unfamiliar to the public and, despite the Franco's introduction, the custom of counting in pesos of 8 reales or tostones of 4 reales continued.

text: Production of the 5 francos could not be sustained and it proved impossible to replace all the poor coin (moneda feble, i.e., coin 666 fine). The 1859 earthquake closed the Quito mint until 1861.

text: Banco Particular de Guayaquil obtained permission in June 1861 to have 200,000 pesos in coin 666 fine minted on the pre-1856 octal system (Sistema Octavario). Dies for the coins were engraved in Paris and arrived in Quito in October 1862. These were the last coins produced at the Quito mint. In February 1863 the mint equipment gave out and the government did not attempt to replace it. Besides, Banco de Guayaquil had no wish to continue minting: in minting 35,580 pesos, it had suffered a loss of 6,776 pesos (19%). Thus, after 1863, all Ecuadorian coin was minted abroad.

text: To keep coin in circulation, President Gabriel García Moreno prohibited the export of coin 666 fine. The circulation of various kinds of tokens became common. Imbabura Province, in the north, was authorized to allow the free circulation of Colombian francos.

text: Paper[edit]

text: Banco de Circulación y Descuento de Manuel Antonio de Luzarraga, Guayaquil, issued Ecuador's first banknotes in 1859 in denominations of 1, 4, 5, 10, and 20 pesos. All its notes were redeemed.

text: La Caja de Amortización, Guayaquil, opened in 1860, issuing notes for 5 and 10 pesos in the amount of 100,000 pesos. It closed in 1861.

text: Banco Particular de Descuento i Circulación de Guayaquil, founded in 1861 by an association of 50 merchants, began issuing notes in 1862 in denominations of 1, 5, 10, and 20 pesos, adding a 50 and 100 in 1864, and notes for 2 and 4 reales in 1865. This bank did much to popularize the use of paper money. It merged into Banco del Ecuador in 1870.

text: Banco de Circulacion y Descuento de Planas, Pérez y Obarrio opened at Guayaquil in 1865 and, without government authorization, issued 300,000 pesos in notes of 4 reales and 1, 5, 10, and 20 pesos. In 1867 it was obliged to recall its notes and close its doors.

text: Banco del Ecuador, founded in 1867, began operations at Guayaquil in 1868, issuing overprinted notes of the Luzarraga bank for 1, 4, 5, and 10 pesos. It issued new notes in 1870 for 2 and 4 reales and 1 peso.''

text: Coin[edit]

text: silver 666 fine

text:
1/4 real, 12 mm (1855, 1856, 1862)
2 reales, 26 mm (1857, 1862)
4 reales, 33.5 mm (1855, 1857, 1862)

text: silver 900 fine

text: 5 francos, 37.5 mm, 25.000 g (1858)

text: 1871–1884 Peso[edit]

text: History[edit]

text: The silver peso of 25.000 g 900 fine was made the monetary unit on November 21, 1871, and it was decimalized November 21, 1873. The issue of 1 and 2 centavo copper coins (minted in Birmingham) was decreed June 8, 1872, and President García Moreno provided that the new coins would be received by the government at the rate of 10 centavos per real or 100 centavos per peso fuerte of 10 reales. This established a legal equivalence between the old money and the new. It was further arranged to have Banco del Ecuador import coin based on the French decimal system. García Moreno thus settled the basic problems of Ecuador's currency.

text: In 1877 President Ignacio de Veintimilla authorized the free circulation of coin less than 900 fine, with the immediate result that good quality coin disappeared from circulation, replaced by coin from Chile and Bolivia that was only 500 fine.

text: Paper[edit]

text: Banco del Ecuador issued notes  for 2 & 4 reales and 1, 5, 10, 20, 100, 500 & 1000 pesos.

text: Banco Nacional, Guayaquil, issued notes briefly in 1871 for 2 and 4 reales and for 1, 5, 10, 20, and 100 pesos. It was taken over by Banco del Eduador, which began withdrawing Banco Nacional's notes in 1872.

text: Banco de Quito was the first Quito-based bank. It began issuing notes in 1874 for 2 reales and 1, 2, 5, 10, 20, 50, and 100 pesos. A new series appeared in 1880 for 1, 5, 10, 20, and 100 pesos.

text: Banco de la Union, Quito, issued notes from 1882 for 1, 5, 10, 20, and 100 pesos. It handled the personal finances of President Veintimilla.

text: Banco Anglo-Ecuatoriano was established in 1884 at Montecristi, later moving to Guayaquil. It issued notes for 1, 5, and 10 pesos.

text: Coin[edit]

text: copper, Birmingham, dated 1872

text:
centavo, 25.5 mm
2 centavos, 31 mm

text: 1884–1898 Sucre (silver standard)[edit]

text: History[edit]

text: Ecuador's monetary unit, the peso, was renamed Sucre (decree of March 22, 1884, effective April 1), equal to 22.500 g fine silver. The Sucre was named after the Latin American revolutionary Antonio José de Sucre. The 1884 monetary law permitted free circulation of gold coin of France, Italy, Belgium, Switzerland, Colombia, Peru, and the United States. As for silver, the law permitted the import of 5-franc pieces of France, Italy, Belgium, and Switzerland, of the pesos of Chile and Colombia, of the Peruvian sol, and of the United States dollar and its fractions. Copper (vellón) was made legal tender to 5 décimos. Bank reserves were in silver coin and banknotes were convertible solely into silver. Ecuador was on a de facto silver standard and did not coin any gold between 1884 and 1892. The government had silver coin minted abroad through the offices of the private banks, usually taking 25% of the profit.

text: The Government signed a contract, October 6, 1887, with Banco del Ecuador to withdraw Chilean coin and low-quality national coin and replace it with coin of standard fineness. A decree of April 12, 1889, made the Bolivian coin circulating in the southern part of Ecuador equal to other coin, since its holders had been losing 20% on exchange. Banco Internacional was entrusted with withdrawing the Bolivian coin, paying partly in good coin and partly in notes. In 1890 Colombian coin 835 fine was exchanged at its face value.

text: Between 1887 and 1892 over 1.75 million sucres worth of substandard coin was withdrawn, so that only high quality silver coin remained in circulation. President Antonio Flores Jijón (son of Presidente Juan José Flores) announced that from August 15, 1890, only national coin was allowed to circulate in Ecuador, and Ecuador's monetary system was finally unified. But the total face value of coin in circulation had been reduced. In order to alleviate the shortage of small change, the President authorized (June 14, 1890) the minting of 30,000 sucres in copper coins of 1/2 and 1 centavo.

text: The fall in the price of silver had been gradual in 1884–1890, but became very pronounced after 1893, and the government began looking at ways to adopt the gold standard. In 1897, the Monetary Commission reported that of the  4,790,730 sucres that had been minted up to then, 2,810,850 had been in 1-sucre coins and 2,079,000 in halves, tenths, and twentieths. It also reported that of the total, 2,931,081.15 was deposited with the banks and that half of the remainder was still in circulation, the other half either exported or used by industry.

text: Paper[edit]

text: Banco del Ecuador issued notes of 1, 2, 5, 10, 20, 50, 100, 500 & 1000 sucres. It was one of the most powerful banks of the period.

text: Banco de la Union issued notes for 1, 2, 5, 10, 20, 50 & 100 sucres until it closed in 1895.

text: Banco Anglo-Ecuatoriano issued notes for 1, 5 & 10 sucres until it was reorganized as Banco Internacional in 1887.

text: Banco de Londres y Ecuador, Quito, evidently issued notes for 1, 5, and 10 sucres. (No information about this bank is available.)

text: Banco Internacional was reorganized in 1885 from Banco Anglo-Ecuatoriano. It issued notes for 1, 5, 10, 20, 100, 500 & 1000 sucres. New designs of the 50 & 100 appeared in 1889. It was reorganized in 1894 as Comercial y Agricola.

text: Banco Comercial y Agricola, reorganized in 1894 from Banco Internacional, issued notes for 1, 5, 20, 100, 500 & 1000 sucres. The color of the 1-sucre note was changed in 1897,

text: Coin[edit]

text: copper-nickel, dated 1884–1886

text:
centavo, 17.5 mm
medio décimo, 25 mm

text: silver 900 fine dated 1884–1916

text:
medio décimo, 15 mm, 1.250 g
décimo, 18 mm, 2.500 g
2 décimos, 23 mm, 5.000 g
medio sucre, 30 mm, 12.500 g
sucre, 37 mm, 25.000 g

text: 1898–1914 Sucre (gold standard)[edit]

text: Sucre (S/.) = 10 Décimos = 100 Centavos

text: History[edit]

text: The gold standard was adopted November 3, 1898, the gold coin to be called the cóndor ecuatoriano, 8.136 g, 900 fine, with a value of 10 sucres. This made the sucre equal to 732.22382 mg fine gold or 2 shillings sterling. Gold par was 10 sucres per pound sterling, 2.055 per US$1, and 2.522 francs per sucre. Silver pieces were the peseta (2 décimos), the real or décimo (10 centavos), and the medio (5 centavos). The 1898 law also made the sovereign legal tender. A subsequent decree (October 29, 1908) authorized a gold 1/5 cóndor and vellón coins (75% copper, 25% nickel) of 1/2, 1, 2, and 5 centavos.

text: Paper[edit]

text: Banco del Ecuador and Banco Comercial y Agricola continued issuing. They were joined by two new issuing banks.

text: Banco del Pichincha, Quito, issued notes for 1, 5, 10, and 20 sucres from 1906. A second issue was for 1, 5, 10, 20, 50 & 100 sucres.

text: Banco del Azuay, Cuenca, issued notes from 1913 for 1, 2, 5, and 10 sucres.

text: Coin[edit]

text: copper-nickel, Heaton mint, dated 1909

text:
1/2 centavo, 15 mm (4 million)
centavo, 17 mm (3 million)
2 centavos, 19 mm (2.5 million)
5 centavos, 21 mm (2 million)

text: gold 900 fine  dated 1899–1900 (Heaton mint)

text: 10 sucres, 22 mm, 8.136 g (100,000 pieces)

text: To mint the cóndor, the government sold 3 million sucres in silver coin (all the half-sucre coins and all the foreign silver that it had taken from circulation in southern Ecuador). The cóndor was minted at Birmingham and issued through the private banks Banco Comercial y Agrícola and Banco del Ecuador.

text: 1914–1927 Sucre (unconvertible paper)[edit]

text: History[edit]

text: The gold standard was suspended in 1914 and banknotes were declared unconvertible tender. The price of silver rose and its export was embargoed. The exchange rate remained at par (2.055 per US$1) until 1918, when progressive depreciation set in. The government established a complete monopoly on foreign bills of exchange. Late in 1922 the free market rate fell to 5.405 per dollar. The government took draconian measures, requiring exporters to surrender foreign exchange earnings at a rate set by the Exchange Commission (3.60/US$). The government struggled with the foreign exchange problem until the sucre was finally stabilized in 1926 at 5 sucres per US dollar.

text: The economic situation was disastrous, due in part to the fraud of the commercial banks, the most notorious of which was Banco Comercial y Agrícola's issue of notes in excess of the legal limit in the huge amount of 18 million sucres. The Junta de Gobierno produced by the July Revolution (Revolución Juliana, July 9, 1925) wished to create a central bank, despite violent opposition. There were then six banks of issue: del Ecuador, Commercial y Agricola, de Pichincha, Credito Agricola e Industrial, del Azuay, and the recently opened (1920) Banco de Descuento.

text: Coin[edit]

text: copper-nickel, Philadelphia mint, dated 1917, 1918

text:
2½ centavos, 19 mm (1.60 million 1917)
5 centavos, 21 mm (1.20 million 1917, 1.98 million 1918)
10 centavos, 22 mm (1.00 million 1918)

text: copper-nickel, Providence mint, dated 1919

text:
5 centavos, 20 mm (12.00 million)
10 centavos, 25 mm (2.00 million)

text: copper-nickel, Heaton mint, dated 1924

text: 5 centavos, 16.5 mm (10.00 million)* 10 centavos, 19.5 mm (5.00 million)

text: 1927–1932 Sucre (gold exchange standard)[edit]

text: History[edit]

text: A government decree of October 9, 1925, authorized a central bank, and on June 23, 1926, President Isidro Ayora created the Caja Central de Emisión y Amortización (central office for note issue and withdrawal) in anticipation of the central bank.  Its main task was to assume control of the notes and metallic reserves of the six private banks of issue, and to withdraw their notes in exchange for notes of its own. Caja began exchanging private banknotes for notes of its own in December 1926, continuing its operations until August 12, 1927.

text: The Kemmerer Financial Mission (Comisión de Expertos Financieros) arrived in 1926, and its report was the basis for the monetary reform of March 4, 1927, which created El Banco Central del Ecuador and put the sucre on the gold exchange standard, with devaluation (58.8%) to 300.933 mg Au (equivalent to US$0.20). The new cóndor was 8.35925 g 900 fine, valued at 25 sucres (equivalent to the US half eagle). Banco Central's statutes were approved June 3, it was formally inaugurated August 10, and it began operations October 1. Ecuadorian gold was recoined at Birmingham, silver at Philadelphia.

text: Paper[edit]

text: Private banknotes ceased to circulate after 1927.

text: Caja Central de Emisión y Amortización overprinted certain private banknotes of 1, 2, 5, and 10 sucres with its own name, domiciled them Quito, and put them into circulation in December 1926. This was a provisional series to prepare for a central bank of issue.

text: El Banco Central del Ecuador, Sociedad Anonima released notes for 5, 10, 20, 50, and 100 sucres in 1928. These notes had a gold redemption clause, e.g., “Pagará al portador á la vista CINCO SUCRES en oro ó giros oro” (promises to pay the bearer at sight FIVE SUCRES in gold or gold exchange). The gold clause was retained on Banco Central's notes until 1939.

text: Coin[edit]

text: The great variety in type and size of the copper and nickel coins introduced between 1914 and 1925 was awkward and confusing, so they were all replaced by coins minted at Philadelphia and dated 1928.

text: bronze, Philadelphia mint, dated 1928

text: centavo, 20.5 mm (2.016 million)

text: copper-nickel, Philadelphia mint, dated 1928

text:
2½ centavos, 18.5 mm (4 million)
5 centavos, 19.5 mm (16 million)
10 centavos, 21 mm (16 million)

text: silver 720 fine dated 1928, 1930, 1934 (Philadelphia)

text:
50 centavos, 18 mm, 2.500 g
sucre, 23.5 mm, 5.000 g
2 sucres, 28.75 mm, 10.000 g

text: Banco Central sent 63,680 cóndores of the 1898 standard to Birmingham to be recoined into 20,000 new cóndores, the remainder to be sold as bullion.

text: gold 900 fine dated 1928 (Birmingham)

text: cóndor (25 sucres), 22 mm, 8.35925 g (20,000 pieces)

text: 1932–2000 Sucre[edit]

text: The gold exchange standard was suspended February 8, 1932. Exchange controls were adopted April 30 and the official rate was fixed at 5.95 (buying) per US dollar. After the price of silver rose above the nominal value of most silver coins in the 1930s, Ecuador embargoed the export of silver (May 17, 1935). This was followed by numerous adjustments to the foreign exchange system as the sucre continued to depreciate. Foreign exchange controls were finally lifted in September 1937 and the official rate was set at 13.50 per US dollar. The sucre was devalued to 14.77 per dollar on June 4, 1940, and exchange controls were reimposed. The official rate became 14.00 per in 1942 and 13.50 per in 1944.

text: Parity was registered with the International Monetary Fund on December 18, 1946, at 65.827 mg fine gold (13.50 per US$), but a system of multiple exchange rates was adopted in 1947. The sucre's IMF par was devalued to 15 per dollar in 1950, to 18 per in 1961, and to 25 per in 1970.

text: The sucre maintained a fairly stable exchange rate against the US dollar until 1983, when it was devalued to 42 per dollar and a crawling peg was adopted. Depreciation gained momentum and the free market rate was over 800 per dollar by 1990 and almost 3000 per in 1995.

text: The sucre lost 67% of its foreign exchange value during 1999, then in one week nosedived 17%, ending at 25,000/US$1 on January 7, 2000. On January 9, President Jamil Mahuad announced that the US dollar would be adopted as Ecuador's official currency. Protests led to his removal. Vice President Gustavo Noboa became president, only to confirm the government's commitment to dollarization.

text: On March 9, 2000, Noboa signed a law passed by Congress, replacing the sucre with the United States dollar at an official exchange rate of 25,000 sucres per US$1. Both currencies were to circulate, the dollar being used for all but the smallest transactions. Only coins would continue in the local currency.

text: 2000 Dollarization[edit]

text: The US dollar became legal tender in Ecuador March 13, 2000, and sucre notes ceased being legal tender on September 11.[citation needed] Sucre notes remained exchangeable at Banco Central  until March 30, 2001, at 25,000 sucres per dollar.[citation needed] Ecuador now only issues its own centavo coins.[citation needed]


document_title: Robert Hardy

question_text: who did robert hardey play in harry potter

text: Robert Hardy

text: Early life[edit]

text: Hardy was born in Cheltenham in 1925 to Jocelyn (née Dugdale) and Henry Harrison Hardy,[3] the headmaster of Cheltenham College and later of Shrewsbury School. He was educated at Rugby School and Magdalen College, Oxford, where his studies were interrupted by service in the Royal Air Force during World War II. He trained as a pilot, receiving part of his instruction in Terrell,[4][5] Texas, in the British Flying Training School Program. While he visited Los Angeles[6] when on leave from flight training at Terrell, his later acting career never gained a foothold in Hollywood.[7] After service in the RAF, he returned to gain a BA (Hons) in English.[8] On BBC Radio 4's Desert Island Discs he described the degree he obtained as "shabby", although he treasured the time spent studying under C. S. Lewis and J. R. R. Tolkien.[9]

text: Career[edit]

text: Hardy began his career as a classical actor. In 1959 he appeared as Sicinius opposite Laurence Olivier in Coriolanus at Stratford-upon-Avon, directed by Peter Hall.[10] He then appeared in Shakespeare's Henry V on stage and in television's An Age of Kings (1960), and subsequently played Coriolanus in The Spread of the Eagle (BBC, 1963) and Sir Toby Belch for the BBC Television Shakespeare production of Twelfth Night in 1980. Over the years, Hardy played a range of parts on television and film. His first continuing role in a TV series was as businessman Alec Stewart in the award-winning oil company drama The Troubleshooters for the BBC, which he played from 1966 to 1970. He won further acclaim for his portrayal of the mentally-unhinged Abwehr Sgt. Gratz in LWT's 1969 war drama Manhunt. In 1975, Hardy portrayed Albert, Prince Consort in the award-winning 13-hour serial Edward the Seventh (known as Edward the King to the American audience),[11] which he regarded as one of his best performances. "I thought I'd done a good job there, although I believe the Royal Family didn't like it all. There are always people who don't like what one does."[12]

text: He was seen as the irascible senior veterinarian Siegfried Farnon in the long-running All Creatures Great and Small (1978–90), an adaptation of James Herriot's semi-autobiographical books.[2]

text: Hardy also made an appearance in the 1986–88 ITV comedy series Hot Metal, in which he played the dual roles of newspaper proprietor Twiggy Rathbone (who bore more than a passing resemblance to Rupert Murdoch) and his editor, Russell Spam.[13] In 1993 Hardy appeared in an episode of Inspector Morse, playing Andrew Baydon in "Twilight of the Gods". In 2002, he played the role of pompous and eccentric Professor Neddy Welch in a WTTV/WGBH Boston co-production of Lucky Jim, adapted from the novel by Kingsley Amis. It aired originally as part of the Masterpiece series on PBS in the U.S. and starred Stephen Tompkinson in the title role of Jim Dixon, a luckless lecturer at a provincial British university.[14]

text: Hardy played both Winston Churchill and Franklin D. Roosevelt, each on more than one occasion. He played Churchill most notably in Winston Churchill: The Wilderness Years (1981), for which he won a BAFTA award, but also in The Sittaford Mystery, Bomber Harris and War and Remembrance. On 20 August 2010, he read Churchill's famous wartime address "Never was so much owed by so many to so few" at a ceremony to mark the 70th anniversary of the speech.[15] He played Roosevelt in the BBC serial, Bertie and Elizabeth, and in the French TV mini-series, Le Grand Charles, about the life of Charles de Gaulle.[citation needed]

text: He also played Robert Dudley, Earl of Leicester, in Elizabeth R, and took the role of Sir John Middleton in the 1995 film version of Sense and Sensibility.[11]

text: His big screen roles included Professor Krempe in Mary Shelley's Frankenstein and Minister of Magic Cornelius Fudge in the Harry Potter films.[2]

text: His voice performance as Robin Hood in Tale Spinners For Children, an LP from the 1960s, is considered one of the best Robin Hood renditions.[16] His voice was also the voice of D'Artagnan in The Three Musketeers, and of Frédéric Chopin, in The Story of Chopin.[citation needed]

text: Awards[edit]

text: Hardy was appointed a Commander of the Order of the British Empire (CBE) in the 1981 Birthday Honours.[17]

text: Personal life[edit]

text: His first marriage, in 1952, was to Elizabeth Fox, the daughter of Sir Lionel Fox; they had a son, Paul.[11] This marriage ended in 1956. In 1961 he married Sally Pearson, the daughter of the baronet Sir Neville Pearson and Dame Gladys Cooper as well as a sister-in-law of Robert Morley. From this marriage, which ended in 1986, Hardy had two other children,[11] one of whom is Justine Hardy, a journalist, activist, and psychotherapist who founded Healing Kashmir.[18][19] His second daughter, Emma, is a mother of three and a photographer.

text: He was a close friend of actor Richard Burton, whom he met at Oxford University.[17] He shared some memories of their wartime friendship and read extracts from Burton's newly-published diaries at the Cheltenham Literature Festival in 2012.[20]

text: While playing Henry V, Hardy developed an interest in medieval warfare, and in 1963 he wrote and presented an acclaimed television documentary on the subject of the Battle of Agincourt.[21] He also wrote two books on the subject of the longbow, Longbow: A Social and Military History,[22] and The Great Warbow; From Hastings to the Mary Rose with Matthew Strickland.[23] He was one of the experts consulted by the archaeologist responsible for raising the Mary Rose. He was Master of the Worshipful Company of Bowyers of the City of London from 1988 to 1990. In 1996 he was elected a Fellow of the Society of Antiquaries.[24]

text: In February 2013, Hardy withdrew from his scheduled performance as Winston Churchill in Peter Morgan's play, The Audience, after suffering cracked ribs as the result of a fall.[25]

text: Hardy died on 3 August 2017, aged 91, at Denville Hall, a home for retired actors.[2]

text: TV and filmography[edit]

text: Films[edit]

text:
Torpedo Run (1958) .... Lt. Redley
The Spy Who Came in from the Cold (1965) .... Dick Carlton
Berserk! (1967) .... Supt. Brooks
How I Won the War (1967) .... British General
Psychomania (1971) .... Chief Inspector Hesseltine
10 Rillington Place (1971) .... Malcolm Morris
Young Winston (1972) .... Headmaster
Demons of the Mind (1972) .... Zorn
Gawain and the Green Knight (1973) .... Sir Bertilak
Yellow Dog (1973) .... Alexander
The Gathering Storm (1974) .... Joachim von Ribbentrop
The Zany Adventures of Robin Hood (1984) .... King Richard
The Shooting Party (1985) .... Lord Bob Lilburn
Paris by Night (1988) .... Adam Gillvray
Mary Shelley's Frankenstein (1994) .... Professor Krempe
A Feast at Midnight (1995) .... Headmaster
Sense and Sensibility (1995) .... Sir John Middleton
Gulliver's Travels (1996) .... Dr. Parnell
Mrs. Dalloway (1997) .... Sir William Bradshaw
The Tichborne Claimant (1998) .... Lord Rivers
An Ideal Husband (1998) .... Lord Caversham
The 10th Kingdom (2000) .... Chancellor Griswold
The Gathering (2002) .... The Bishop
Thunderpants (2002) .... Doctor
Harry Potter and the Chamber of Secrets (2002) .... Cornelius Fudge
Harry Potter and the Prisoner of Azkaban (2004) .... Cornelius Fudge
Harry Potter and the Goblet of Fire (2005) .... Cornelius Fudge
Lassie (2005) .... Judge Murray
Harry Potter and the Order of the Phoenix (2007) .... Cornelius Fudge
Margaret (2009) .... Willie Whitelaw
Old Harry (Short) (2009) .... Old Harry
Churchill: 100 Days That Saved Britain (2015) .... Winston Churchill
Joseph's Reel (short) (2015) .... Old Joseph
Snapshot Wedding (2017 pre-production) .... Donald

text: Television[edit]

text:
An Age of Kings (1960)
The Spread of the Eagle (1963) .... Coriolanus
The Troubleshooters (1966-70)
The Baron (1966), episode "A Memory of Evil"
The Saint (1968), season 6, episode 4, "The Desperate Diplomat"
Manhunt (1969) .... Abwehr Sgt Graz
Elizabeth R (1971) .... Robert Dudley
Edward the Seventh (1975) .... Albert, Prince Consort
Upstairs, Downstairs (1975), season 5, episode 8, "Such A Lovely Man"
The Duchess of Duke Street (1976) Episode: "A Lady of Virtue"
All Creatures Great and Small (1978–1980 and 1988–1990; entire series) .... Siegfried Farnon
Twelfth Night (1980)
The Pied Piper of Hamelin (1980), narrator of BAFTA winning animation by Cosgrove Hall Films
Winston Churchill: The Wilderness Years (1981), Winston Churchill
The Case-Book of Sherlock Holmes, episode "The Master Blackmailer" (1991) .... Charles Milverton
Jenny's War (1985) .... Klein
Northanger Abbey (1986) .... General Tilney
Hot Metal (1986-88) .... Terence "Twiggy" Rathbone
War and Remembrance (1988) .... Winston Churchill
Middlemarch (1994) .... Mr. Brooke
Inspector Morse, episode "Twilight of the Gods"
Midsomer Murders (1999), season 2, episode 3, "Dead Man's Eleven"
Foyle's War, "The German Woman"
Spooks (2003), second series, episode 4, "Blood and Money" .... Bank of England supreme manager
Making Waves (2004)
Agatha Christie's Marple, series 2, episode "The Sittaford Mystery" (2006) .... Winston Churchill
Little Dorrit (2008)
Lewis, series 4, episode "Dark Matter" (2010)


document_title: The Lone Ranger (TV series)

question_text: who were the actors that played the lone ranger

text: The Lone Ranger (TV series)

text: Series premise[edit]

text: The fictional story line maintains that a patrol of six Texas Rangers is massacred, with only one member surviving. The "lone" survivor thereafter disguises himself with a black mask and travels with Tonto throughout Texas and the American West to assist those challenged by the lawless elements. A silver mine supplies The Lone Ranger with the name of his horse as well as the funds required to finance his wandering life-style and the raw material for his signature bullets. At the end of most episodes, after the Lone Ranger and Tonto leave, someone asks the sheriff or other person of authority who the masked man was. The person then responds that it was the Lone Ranger, who is then heard yelling "Hi-Yo Silver, away!" as he and Tonto ride away on their horses.

text: Production[edit]

text: George W. Trendle retained the title of producer, although he recognized that his experience in radio was not adequate for producing the television series. For this, he hired veteran MGM film producer Jack Chertok. Chertok served as the producer for the first 182 episodes.

text: The first 78 episodes were produced and broadcast for 78 consecutive weeks without any breaks or reruns. Then the entire 78 episodes were shown again before any new episodes were produced. All were shot in Kanab, Utah and California. Much of the series was filmed on the former Iverson Movie Ranch in Chatsworth, California, including the iconic opening sequence to each episode, in which the cry of "Hi-yo Silver" is heard before the Lone Ranger and Silver gallop to a distinctive rock and Silver rears up on his hind legs. The rock seen next to Silver is known as Lone Ranger Rock and remains in place today on the site of the former movie ranch.

text: When it came time to produce another batch of 52 episodes, there was a wage dispute with Clayton Moore (until his death, the actor insisted that the problem was creative differences), and John Hart was hired to play the role of the Lone Ranger.[4] Once again, the 52 new episodes were aired in sequence followed by 52 weeks rerunning them. Despite expectations that the mask would make the switch workable, Hart was not accepted in the role, and his episodes were not seen again until the 1980s.[5][6][7][8]

text: At the end of the fifth year of the television series, Trendle sold the Lone Ranger rights to Jack Wrather, who bought them on August 3, 1954. Wrather immediately rehired Clayton Moore to play the Lone Ranger, and another 52 episodes were produced. Once again, they were broadcast as a full year of new episodes followed by a full year of reruns.

text: The final season saw a number of changes, including an episode count of 39, which had become the industry standard. Wrather invested money from his own pocket to film in color, although ABC telecast only in black and white. Wrather also went outdoors for action footage. Otherwise, the series was mostly filmed on a studio sound stage. Another big change, not readily detectable by the viewers, was replacing Jack Chertok with producer Sherman A. Harris. By this time, Chertok had established his own television production company and was busy producing other programs.

text: Wrather decided not to negotiate further with the network and took the property to the big screen and canceled television production. The last new episode of the color series was broadcast on June 6, 1957, and the series ended September 12, 1957, although ABC reaped the benefits of daytime reruns for several more years. Wrather's company produced two modestly budgeted theatrical features, The Lone Ranger (1956) and The Lone Ranger and the Lost City of Gold (1958). The cast included former child actress Bonita Granville, who had married Wrather after his divorce from a daughter of former Texas Governor W. Lee O'Daniel.

text: Episodes[edit]

text: Cast[edit]

text:
Clayton Moore as The Lone Ranger (169 episodes; 1949–1951, 1954–1957)[9][10]
John Hart as The Lone Ranger (52 episodes; 1952–1953)[11]
Jay Silverheels as Tonto (217 episodes; 1949–1957)
Chuck Courtney as Dan Reid (Lone Ranger's nephew) (14 episodes; 1950–1955)

text: Guest stars[edit]

text:
Michael Ansara - Angry Horse in episode 74 - "Trouble at Black Rock" (1951).
James Arness - Deputy Bud Titus in episode 33 - "Matter of Courage" (1950).
John Banner - Von Baden in episode 39 - "Damsels in Distress" (1950)
Frances Bavier - Aunt Maggie Sawtelle in episode 159 - "Sawtelle Saga's End" (1955).
Hugh Beaumont - Reverend Randy Roberts in episode 99- "The Godless Men" (1953).
Lane Bradford - Jake in episode 4 - "The Legion of Old Timers" (1949), Slick in episode 19 - "Greed for Gold" (1950), Sergeant Pala in episode 44 - "White Man's Magic" (1950), Lige Watkin in episode 58 - "Crime in Time" (1950), Joe in episode 64 - "Desert Adventure" (1950), Gat Towson in episode 71 - "The Outcast" (1951), Dusty in episode 76 - "The Hooded Men" (1951), Rufe in episode 84 - "Jeb's Gold Mine" (1952), Zeke in episode 105 - "A Stage for Mademoiselle" (1953), Smiley Hawks in episode 111 - "The Deserter" (1953), Gus in episode 133 - "Message to Fort Apache" (1954), Matt Rusk in episode 138 - "Stage to Teshimingo" (1954), Jed in episode 187 - "The Cross of Santo Domingo" (1956), George Stark in episode 197 - "Christmas Story" (1956), and Duke Wade in episode 216 - "Mission for Tonto" (1957).
Robert Bray - Al Davis in episode 84 - "Jeb's Gold Mine" (1952), Ben in episode 98 - "Bandits in Uniform" (1953), Dan Glick in episode 125 - "The Perfect Crime" (1953), Joe Tarbuck in episode 137 - "Outlaw's Trail" (1954), Mace in episode 146 - "Two for Juan Ringo" (1954), and Mike Barty in episode 163 - "False Accusation" (1955).
Harry Carey, Jr. - Jay Thomasson in episode 174 - "The Return of Dice Dawson" (1955).
Harry Cheshire - Judge Wells in episode 90 - "Word of Honor" (1952), Doc Wilson in episode 123 - "The Midnight Rider" (1953).
Phyllis Coates - Ann Wyman in episode 124 - "Stage to Estacado" (1953) Naomi Courtwright in episode 125 - "The Perfect Crime" (1953) and Jane Johnson in 166 - "Woman in the White Mask" (1955).
Christopher Dark - Dr. William Hubbard in episode 139 - "Texas Draw" (1954), Kat-Kem in episode 176 - "The Return" (1955)
Gail Davis - episodes 25 - "Buried Treasure" and 38 - "Spanish Gold" (both 1950). episode 77 - "Friend In Need" (1951)
John Doucette - Dirk in episode 14 - "The Masked Rider" (1949), Ox Martin in episode 31 - "Gold Fever" (1950), Rocky Hanford in episode 46 - "Sheriff of Gunstock" (1950), Pierre Dumont in episode 60 - "Thieves' Money" (1950), Flack in episode 76 - "The Hooded Men" (1951), Andrew Gage in episode 98 - "Bandits in Uniform" (1953), Blaze in episode 131 - "The Fugitive" (1954), Kelso in episode 140 - "Rendezvous at Whipsaw" (1954), Lew Cates in episode 150 - "The School Story" (1955), Deputy Sawyer in episode 178 - "Trapped" (1955), and Beau Slate in episode 181 - "Counterfeit Redskins" (1955)
Frank Ferguson - episode 149 - "Enfield Rifle" (1955).
Margaret Field - episode 19 - "Greed for Gold" (1950).
John Hart - episodes 34 - "Rifles and Renegades" and 46 - "Sheriff at Gunstock" (both 1950). Hart would return to the series in the title role for one season in 1952-1953.
Percy Helton - episode 148 - "Dan Reid's Sacrifice" (1955).
Dwayne Hickman, along with his brother Darryl Hickman - episode 75 - "Two Gold Lockets" (1951).
David Holt - episode 30 - the prison warden's kidnapped son in "Never Say Die" (1950).
I. Stanford Jolley - Asa Jones in episode 34 - "Rifles and Renegades" (1950), Stark Durfee in episode 42 - "Eye for an Eye" (1950), Seth in episode 67 - "Lady Killer" (1950), Will Motter in episode 97 - "Trader Boggs" (1953), Don Esteban in episode 98 - "Bandits in Uniform" (1953), and Dave in episode 119 - "Hidden Fortune" (1953).
Dick Jones - episode 40 - "Man Without a Gun" (1950).
Stacy Keach, Sr. - episode 168 - "Showdown at Sand Creek" (1955).
DeForest Kelley - three episodes: 4 - "The Legion of Old Timers" (1949), 27 - "Gold Trains" (1950), and 117 - "Death in the Forest" (1953).
Douglas Kennedy - Curley Bates in episode 41 - "A Pardon for Curley" (1950), Slim Roberts in episode 82 - "Desperado at Large" (1952), Bull Gunderson in episode 86 - "Ranger in Danger" (1952), George Milliner in episode 101 - "Right to Vote" (1953), Sheriff Tom Lowell in episode 136 - "Six Gun Sanctuary" (1954), and John Trent in episode 161 - "Trigger Finger" (1955).
Nan Leslie - Nancy Barton in episode 14 - "The Masked Rider" (1949), Alicia Scoville in episode 47 - "The Wrong Man" (1950), Leia Anson in episode 67 - "Lady Killer" (1950), Martha Neal in episode 81 - "Special Edition" (1952), Molly O'Connel in episode 110 - "The Durango Kid" (1953), Kitty Martin in episode 118 - "Gentleman from Julesburg" (1953), Jean Scott in episode 143 - "A Broken Match" (1954), and Susan Starr in episode 175 - "Adventure at Arbuckle" (1956). "The Masked Rider" was her television debut.
Marjorie Lord - episode 155 - "The Law Lady" (1955).
Tyler MacDuff - Brad Stanton in episode 182 - "One Nation, Indivisible" (1955), Clint Harkey in episode 194 - "The Twisted Track" (1956), Kip Holloway in episode 216 - "Mission for Tonto" (1957) Is the only television actor to have spoken both of the lines "Who was that masked man?" and "That was the Lone Ranger!"[12]
David McMahon - Clay Durfee in episode 42 - "Eye for an Eye" (1950), Jim Collins in episode 60 - "Thieves' Money" (1950), Mr. Herbert in episode 78 - "Mr. Trouble" (1951), and Bert in episode 90 - "Word of Honor" (1952)
Martin Milner - episode 28 - "Pay Dirt" (1950).
Ewing Mitchell - Major in episode 201 - "The Courage of Tonto" and Tom Bryan in 218 - "The Banker's Son" (both 1957).
Noel Neill - episode 69 - "Letter of the Law" (1951).
John M. Pickard - Smokey Baines in episode 79 - "Outlaw's Son" (1952), Jeff Seaton in episode 94 - "Best Laid Plans" (1952), Henry Flack in episode 126 - "The Ghost of Coyote Canyon" (1953), Matt Coleman in episode 158 - "Sunstroke Mesa" (1955), Moose Miller in episode 169 - "Heart of a Cheater" (1955), Jess Tyler in episode 196 - "Trouble at Tylerville" (1956), and Lem Hollister in episode 221 - "Outlaws in Grease Paint" (1957).
Slim Pickens - episode 184 - "The Sheriff of Smoke Tree" (1956).episode 192 - "The Letter Bride" (1956).
Denver Pyle - episodes 71 - "The Outcast", 72 - "Backtrail" and 76 - "The Hooded Men" (1951), episode 166 - "The Woman in the White Mask" (1955), and episodes 187 - "The Cross of Santo Domingo" and 190 - "Quicksand" (both 1956).
Mike Ragan - Curly in episode 21 - "Barnaby Boggs, Esquire" (1950), Pike Lane in episode 34 - "Bullets for Ballots" (1950), Crane in episode 50 - "The Black Widow" (1950), Al in episode 57 - "Danger Ahead" (1950), Chad Hackett in episode 70 - "Silent Voice" (1951), Jeff Durbin in episode 83 - "Through the Wall" (1952), Dave in episode 188 - "White Hawk's Decision" (1956), Slim Wiley in episode 191 - "Quarter Horse War" (1956), Sloat in episode 198 - "Ghost Canyon" (1956).
Marion Ross - episode 139 - "Texas Draw" (1954).
Victor Sen Yung - episode 192 - "The Letter Bride" (1956).
Kim Spalding - Moose in episode 53 - "Million Dollar Wallpaper" (1950), Ed in episode 72 - "Backtrail" (1951), and Joe in episode 103 - "Tumblerock Law" (1953).
Glenn Strange - played Butch Cavendish in episodes 1 - "Enter the Lone Ranger" (1949), 2 - "The Lone Ranger Fights On" (1949), 3 - "The Lone Ranger's Triumph" (1949), and 30 - "Never Say Die" (1950). Also appeared as Bart Walton in episode 95 - "Indian Charlie" (1953), Tom Casley in episode 122 - "Gunpowder Joe" (1953), and as a stagecoach driver in episodes 132 - "Ex-Marshal" (1954) and 160 - "The Too-Perfect Signature" (1955).
William Tannen - Curly in episode 20 - "Man of the House" (1950), Major Halliday in episode 191 - "Quarter Horse War" (1956), and Seth McKeever in episode 195 - "Decision for Chris McKeever" (1956)
Carol Thurston - Beata in episode 13 - "Finders Keepers" (1949) and Mary Turner in 62 - "Masked Deputy" (1950).
Minerva Urecal - episode 29 - "Ghost Town Fury" (1950) and episode 145 - "Homer With a High Hat" (1954).
Lee Van Cleef - episode 82 - "Desperado at Large" (1952), and episodes 114 - "The Brown Pony" and 124 - "Stage to Estacado" (both 1953).
Eddy Waller - Jules in episode 118 - "The Gentleman from Julesburg" (1953), Jim Haskell in episode 169 - "Heart of a Cheater" (1955), and Hardrock Hazen in episode 170 - "The Swami" (1955).
Frank Wilcox - Ross Colby in episode 88 - "The Map" (1952), Samuel DeWitt in episode 105 - "A Stage for Mademoiselle" (1953), Slate Corbaley in episode 128 - "Prisoner in Jeopardy" (1953), and Bradford in episode 176 - "The Return" (1955).
Guy Williams - played a love-struck sheriff in episode 42 - "Six-Gun Artist" (1955). Was later known for playing Zorro, one of the inspirations for the Lone Ranger character.
Michael Winkelman - Chip Truett in episode 212 - "The Prince of Buffalo Gap" (1957).[13]
Sheb Wooley - episodes 116 - "The Wake of War" and 124 - "Stage to Estacado" (both 1953), episode 133 - "Message to Fort Apache" (1954), and episode 165 - "Wanted: The Lone Ranger" (1955).
Hank Worden - Rusty Bates in episode 9 - "The Tenderfeet" (1949), Stage Driver Whip in episode 121 - "Woman from Omaha" (1953), Ed in episode 126 - "The Ghost of Coyote Canyon" (1953), Ike Beatty in episode 138 - "Stage to Teshimingo" (1954), Jud in episode 179 - "The Bait: Gold" (1955), and Bruckner in episode 218 - "The Banker's Son" (1957).

text: DVD releases[edit]

text: On March 31, 2009, Mill Creek Entertainment released the box set Gun Justice featuring The Lone Ranger with other westerns, including Annie Oakley, The Adventures of Kit Carson, The Cisco Kid, Cowboy G-Men, Judge Roy Bean, The Gabby Hayes Show, and The Roy Rogers Show.

text: On November 11, 2009, Classic Media released The Lone Ranger: 75th Anniversary Edition to commemorate the show.[14] On June 4, 2013, Classic Media released The Lone Ranger: Collector's Edition, a 30-disc set featuring all 221 episodes of the series on DVD for the very first time, though many of the episodes are the syndicated edits missing 2–3 minutes.[15]


document_title: Supra (grammar)

question_text: when do you use supra in legal writing

question_tokens: when do you use supra in legal writing

text: Supra (grammar)

text: Look up supra in Wiktionary, the free dictionary.

text: Supra (Latin for "above") is an academic and legal citation signal used when a writer desires to refer a reader to an earlier-cited authority. For example, an author wanting to refer to a source in his or her third footnote would cite: See supra note 3. Or for text in that note: See supra text accompanying note 3.

text: Supra can also be used to provide a short form citation to an earlier (but not immediately preceding) authority. For example:

text:
Stephen J. Legatzke, Note, The Equitable Recoupment Doctrine in United States v. Dalm: Where's the Equity, 10 Va. Tax Rev. 861 (1991).
Legatzke, supra at 862.

text: In this example, the second citation refers the reader to page 862 in the journal in which the article by Legatzke appears. The use of supra should be done with care and only when the user fully understands its usage as it could be very confusing to readers if not used appropriately.

text: More generally, the phrase vide supra or v.s., often enclosed in parentheses, is used simply to refer the reader to preceding text.


document_title: Galvanometer

question_text: when is a galvanometer said to be sensitive

text: Galvanometer

text: Operation[edit]

text: Modern galvanometers, of the D'Arsonval/Weston type, are constructed with a small pivoting coil of wire in the field of a permanent magnet. The coil is attached to a thin pointer that traverses a calibrated scale. A tiny torsion spring pulls the coil and pointer to the zero position.

text: When a direct current (DC) flows through the coil, the coil generates a magnetic field. This field acts against the permanent magnet. The coil twists, pushing against the spring, and moves the pointer. The hand points at a scale indicating the electric current. Careful design of the pole pieces ensures that the magnetic field is uniform, so that the angular deflection of the pointer is proportional to the current. A useful meter generally contains provision for damping the mechanical resonance of the moving coil and pointer, so that the pointer settles quickly to its position without oscillation.

text: The basic sensitivity of a meter might be, for instance, 100 microamperes full scale (with a voltage drop of, say, 50 millivolts at full current). Such meters are often calibrated to read some other quantity that can be converted to a current of that magnitude. The use of current dividers, often called shunts, allows a meter to be calibrated to measure larger currents. A meter can be calibrated as a DC voltmeter if the resistance of the coil is known by calculating the voltage required to generate a full scale current. A meter can be configured to read other voltages by putting it in a voltage divider circuit. This is generally done by placing a resistor in series with the meter coil. A meter can be used to read resistance by placing it in series with a known voltage (a battery) and an adjustable resistor. In a preparatory step, the circuit is completed and the resistor adjusted to produce full scale deflection. When an unknown resistor is placed in series in the circuit the current will be less than full scale and an appropriately calibrated scale can display the value of the previously unknown resistor.

text: These capabilities to translate different kinds of electric quantities, in to pointer movements, make the galvanometer ideal for turning output of other sensors that outputs electricity (in some form or another), into something that can be read by a human.

text: Because the pointer of the meter is usually a small distance above the scale of the meter, parallax error can occur when the operator attempts to read the scale line that "lines up" with the pointer. To counter this, some meters include a mirror along the markings of the principal scale. The accuracy of the reading from a mirrored scale is improved by positioning one's head while reading the scale so that the pointer and the reflection of the pointer are aligned; at this point, the operator's eye must be directly above the pointer and any parallax error has been minimized.

text: Uses[edit]

text: Probably the largest use of galvanometers was of the D'Arsonval/Weston type used in analog meters in electronic equipment. Since the 1980s, galvanometer-type analog meter movements have been displaced by analog to digital converters (ADCs) for many uses. A digital panel meter (DPM) contains an analog to digital converter and numeric display. The advantages of a digital instrument are higher precision and accuracy, but factors such as power consumption or cost may still favour application of analog meter movements.

text: Modern uses[edit]

text: Most modern uses for the galvanometer mechanism are in positioning and control systems. Galvanometer mechanisms are divided into moving magnet and moving coil galvanometers; in addition, they are divided into closed-loop and open-loop - or resonant - types.

text: Mirror galvanometer systems are used as beam positioning or beam steering elements in laser scanning systems. For example, for material processing with high-power lasers, closed loop mirror galvanometer mechanisms are used with servo control systems. These are typically high power galvanometers and the newest galvanometers designed for beam steering applications can have frequency responses over 10 kHz with appropriate servo technology. Closed-loop mirror galvanometers are also used in similar ways in stereolithography, laser sintering, laser engraving, laser beam welding, laser TVs, laser displays and in imaging applications such as retinal scanning with Optical Coherence Tomography (OCT). Almost all of these galvanometers are of the moving magnet type. The closed loop is obtained measuring the position of the rotating axis with an infrared emitter and 2 photodiodes. This feedback is an analog signal.

text: Open loop, or resonant mirror galvanometers, are mainly used in some types of laser-based bar-code scanners, printing machines, imaging applications, military applications and space systems. Their non-lubricated bearings are especially of interest in applications that require functioning in a high vacuum.

text: Moving coil type galvanometer mechanisms (called 'voice coils' by hard disk manufacturers) are used for controlling the head positioning servos in hard disk drives and CD/DVD players, in order to keep mass (and thus access times), as low as possible.

text: Past uses[edit]

text: A major early use for galvanometers was for finding faults in telecommunications cables. They were superseded in this application late in the 20th century by time-domain reflectometers.

text: Galvanometer mechanisms were also used to get readings from photoresistors in the metering mechanisms of film cameras (as seen in the adjacent image).

text: In analog strip chart recorders such as used in electrocardiographs, electroencephalographs and polygraphs, galvanometer mechanisms were used to position the pen. Strip chart recorders with galvanometer driven pens may have a full scale frequency response of 100 Hz and several centimeters of deflection.

text: History[edit]

text: Hans Oersted[edit]

text: The deflection of a magnetic compass needle by current in a wire was first described by Hans Oersted in 1820. The phenomenon was studied both for its own sake and as a means of measuring electric current.

text: Schweigger and Ampère[edit]

text: The earliest galvanometer was reported by Johann Schweigger at the University of Halle on 16 September 1820. André-Marie Ampère also contributed to its development. Early designs increased the effect of the magnetic field generated by the current by using multiple turns of wire. The instruments were at first called "multipliers" due to this common design feature.[2] The term "galvanometer," in common use by 1836, was derived from the surname of Italian electricity researcher Luigi Galvani, who in 1791 discovered that electric current would make a dead frog's leg jerk.

text: Poggendorff and Thomson[edit]

text: Originally, the instruments relied on the Earth's magnetic field to provide the restoring force for the compass needle. These were called "tangent" galvanometers and had to be oriented before use. Later instruments of the "astatic" type used opposing magnets to become independent of the Earth's field and would operate in any orientation. The most sensitive form, the Thomson or mirror galvanometer, was patented in 1858 by William Thomson (Lord Kelvin) as an improvement of an earlier design invented in 1826 by Johann Christian Poggendorff. Thomson's design, was able to detect very rapid current changes, by using small magnets attached to a lightweight mirror, suspended by a thread, instead of a compass needle. The deflection of a light beam on the mirror greatly magnified the deflection induced by small currents. Alternatively, the deflection of the suspended magnets could be observed directly through a microscope.

text: Georg Ohm[edit]

text: The ability to measure quantitatively voltage and current allowed Georg Ohm to formulate that – the voltage across a conductor is directly proportional to the current through it – Ohm's Law.

text: D'Arsonval and Deprez[edit]

text: The early moving-magnet form of galvanometer had the disadvantage that it was affected by any magnets or iron masses near it, and its deflection was not linearly proportional to the current. In 1882 Jacques-Arsène d'Arsonval and Marcel Deprez developed a form with a stationary permanent magnet and a moving coil of wire, suspended by fine wires which provided both an electrical connection to the coil and the restoring torque to return to the zero position. An iron tube between the magnet's pole pieces defined a circular gap through which the coil rotated. This gap produced a consistent, radial magnetic field across the coil, giving a linear response throughout the instrument's range. A mirror attached to the coil deflected a beam of light to indicate the coil position. The concentrated magnetic field and delicate suspension made these instruments sensitive; d'Arsonval's initial instrument could detect ten microamperes.[3]

text: Edward Weston[edit]

text: Edward Weston extensively improved the design. He replaced the fine wire suspension with a pivot, and provided restoring torque and electrical connections through spiral springs rather like those of a wristwatch balance wheel hairspring. He developed a method of stabilizing the magnetic field of the permanent magnet, so the instrument would have consistent accuracy over time. He replaced the light beam and mirror with a knife-edge pointer that could be read directly. A mirror under the pointer, in the same plane as the scale, eliminated parallax observation error. To maintain the field strength, Weston's design used a very narrow circumferential slot through which the coil moved, with a minimal air-gap. This improved linearity of pointer deflection with respect to coil current. Finally, the coil was wound on a light-weight form made of conductive metal, which acted as a damper. By 1888, Edward Weston had patented and brought out a commercial form of this instrument, which became a standard electrical equipment component. It was known as a "portable" instrument because it was affected very little by mounting position or by transporting it from place to place. This design is almost universally used in moving-coil meters today.

text: Initially laboratory instruments relying on the Earth's own magnetic field to provide restoring force for the pointer, galvanometers were developed into compact, rugged, sensitive portable instruments essential to the development of electro-technology.

text: Types[edit]

text: Some galvanometers use a solid pointer on a scale to show measurements; other very sensitive types use a miniature mirror and a beam of light to provide mechanical amplification of low-level signals.

text: Tangent galvanometer[edit]

text: A tangent galvanometer is an early measuring instrument used for the measurement of electric current. It works by using a compass needle to compare a magnetic field generated by the unknown current to the magnetic field of the Earth. It gets its name from its operating principle, the tangent law of magnetism, which states that the tangent of the angle a compass needle makes is proportional to the ratio of the strengths of the two perpendicular magnetic fields. It was first described by Claude Pouillet in 1837.

text: A tangent galvanometer consists of a coil of insulated copper wire wound on a circular non-magnetic frame. The frame is mounted vertically on a horizontal base provided with levelling screws. The coil can be rotated on a vertical axis passing through its centre. A compass box is mounted horizontally at the centre of a circular scale. It consists of a tiny, powerful magnetic needle pivoted at the centre of the coil. The magnetic needle is free to rotate in the horizontal plane. The circular scale is divided into four quadrants. Each quadrant is graduated from 0° to 90°. A long thin aluminium pointer is attached to the needle at its centre and at right angle to it. To avoid errors due to parallax, a plane mirror is mounted below the compass needle.

text: In operation, the instrument is first rotated until the magnetic field of the Earth, indicated by the compass needle, is parallel with the plane of the coil. Then the unknown current is applied to the coil. This creates a second magnetic field on the axis of the coil, perpendicular to the Earth's magnetic field. The compass needle responds to the vector sum of the two fields, and deflects to an angle equal to the tangent of the ratio of the two fields. From the angle read from the compass's scale, the current could be found from a table.[4] The current supply wires have to be wound in a small helix, like a pig's tail, otherwise the field due to the wire will affect the compass needle and an incorrect reading will be obtained.

text: Theory[edit]

text: The galvanometer is oriented so that the plane of the coil is vertical and aligned along parallel to the horizontal component BH of the Earth's magnetic field (i.e. parallel to the local "magnetic meridian"). When an electric current flows through the galvanometer coil, a second magnetic field B is created. At the center of the coil, where the compass needle is located, the coil's field is perpendicular to the plane of the coil. The magnitude of the coil's field is:

text: where I is the current in amperes, n is the number of turns of the coil and r is the radius of the coil. These two perpendicular magnetic fields add vectorially, and the compass needle points along the direction of their resultant BH+B. The current in the coil causes the compass needle to rotate by an angle θ:

text: From tangent law, B = BH tan θ, i.e.

text: or

text: or I = K tan θ, where K is called the Reduction Factor of the tangent galvanometer.

text: One problem with the tangent galvanometer is that its resolution degrades at both high currents and low currents. The maximum resolution is obtained when the value of θ is 45°. When the value of θ is close to 0° or 90°, a large percentage change in the current will only move the needle a few degrees. [5]

text: Geomagnetic field measurement[edit]

text: A tangent galvanometer can also be used to measure the magnitude of the horizontal component of the geomagnetic field. When used in this way, a low-voltage power source, such as a battery, is connected in series with a rheostat, the galvanometer, and an ammeter. The galvanometer is first aligned so that the coil is parallel to the geomagnetic field, whose direction is indicated by the compass when there is no current through the coils. The battery is then connected and the rheostat is adjusted until the compass needle deflects 45 degrees from the geomagnetic field, indicating that the magnitude of the magnetic field at the center of the coil is the same as that of the horizontal component of the geomagnetic field. This field strength can be calculated from the current as measured by the ammeter, the number of turns of the coil, and the radius of the coils.

text: Astatic galvanometer[edit]

text: Unlike the tangent galvanometer, the astatic galvanometer does not use the Earth's magnetic field for measurement, so it does not need to be oriented with respect to the Earth's field, making it easier to use. It has two magnetized needles parallel to each other, but with the magnetic poles reversed. suspended by a silk thread. The lower needle is inside a vertical current sensing coil of wire and is deflected by the magnetic field created by the passing current, as in the tangent galvanometer above. The purpose of the second needle is to cancel the dipole moment of the first needle, so the suspended armature has no net magnetic dipole moment, and thus is not affected by the earth's magnetic field. The needle's rotation is opposed by the torsional elasticity of the suspension thread, which is proportional to the angle.

text: The astatic galvanometer was developed by Leopoldo Nobili in 1825.[6]

text: Mirror galvanometer[edit]

text: To achieve higher sensitivity to detect extremely small currents, the mirror galvanometer substituted a lightweight mirror for the pointer. It consisted of horizontal magnets suspended from a fine fiber, inside a vertical coil of wire, with a mirror attached to the magnets. A beam of light reflected from the mirror fell on a graduated scale across the room, acting as a long mass-less pointer. The mirror galvanometer was used as the receiver in the first trans-Atlantic submarine telegraph cables in the 1850s, to detect the extremely faint pulses of current after their thousand mile journey under the Atlantic. In a device called an oscillograph, the moving beam of light was used, to produce graphs of current versus time, by recording measurements on photographic film. The string galvanometer was a type of mirror galvanometer so sensitive that it was used to make the first electrocardiogram of the electrical activity of the human heart.

text: Ballistic galvanometer[edit]

text: A ballistic galvanometer is a type of sensitive galvanometer for measuring the quantity of charge discharged through it. In reality it is an integrator, unlike a current-measuring galvanometer, the moving part has a large moment of inertia that gives it a long oscillation period. It can be either of the moving coil or moving magnet type, commonly it is a mirror galvanometer.