document_title: The Princess and the Frog

question_text: who plays ray in princess and the frog

question_tokens: who plays ray in princess and the frog

text: The Princess and the Frog

text: Plot[edit]

text: In 1912 New Orleans, a girl named Tiana and her friend Charlotte La Bouff listen to Tiana's mother read the story of The Frog Prince. Charlotte finds the story to be romantic, while Tiana proclaims she will never kiss a frog. Fourteen years later, Tiana has grown into an aspiring young chef who works as a waitress for two local diners, so she can save enough money to start her own restaurant, a dream she shared with her deceased father.

text: Prince Naveen of Maldonia arrives in New Orleans to better his financial situation. After being cut off by his parents, Naveen intends to marry a rich southern belle, and Charlotte is the perfect candidate. Eli "Big Daddy" La Bouff, a rich sugar baron and Charlotte's father, is hosting a masquerade ball in Naveen's honor. Charlotte hires Tiana to make beignets for the ball, giving her enough money to buy an old sugar mill to convert into her restaurant. Meanwhile, Naveen and his valet, Lawrence, meet the voodoo witch doctor  Doctor Facilier. Inviting them into his emporium, Facilier convinces them that he can make their dreams come true, but neither man gets what they are expecting; Naveen is transformed into a frog, while Lawrence is given a voodoo talisman that makes him resemble Naveen. Facilier intends for Lawrence to marry Charlotte, after which he will kill Big Daddy and claim his fortune.

text: At the ball, Tiana discovers she may lose the mill to a higher bidder. Tiana then meets Naveen, who, believing her to be a princess because of her costume, asks her to kiss him and break Facilier's spell. In exchange for the money needed, Tiana accepts, but when she kisses Naveen, she is turned into a frog herself. A chase ensues, and Tiana and Naveen escape to a bayou. In the bayou, Tiana and Naveen meet Louis, a trumpet-playing alligator, and Ray, a Cajun firefly. Louis and Ray offer to lead Tiana and Naveen to the hoodoo priestess Mama Odie, whom they believe can undo the curse. During the journey, Tiana and Naveen develop feelings for each other. Meanwhile, Facilier makes a deal with the voodoo spirits, offering them the souls of the people of New Orleans; in exchange, the spirits grant Facilier the services of a host of shadow demons, whom he orders to find and capture Naveen.

text: When the four find Mama Odie, she tells them that Naveen must kiss a true princess in order to break the spell. They return to New Orleans to find Charlotte, who is the princess of the Mardi Gras Parade, but only until midnight. Naveen tells Ray he loves Tiana and is willing to give up his dreams for her, but before he can tell Tiana, he is captured by the demons and brought to Facilier. After Ray tells Tiana that Naveen loves her, Tiana goes to parade to find a human "Naveen" marrying Charlotte; but Ray rescues the real Naveen and steals the charm that disguises Lawrence. Ray finds Tiana, gives her the charm and attempts to hold off the demons so she can escape, but Facilier manages to wound him. Facilier then offers to make Tiana's restaurant dream come true in exchange for the talisman. Realizing she would rather be with Naveen, and recognizing Facilier's true intentions, Tiana destroys the talisman. The angered voodoo spirits claim Facilier himself as payment for his debts to them and drag him into the spirit world.

text: As Lawrence is taken away by the police, Tiana and Naveen reveal their love to each other and explain the situation to Charlotte, who agrees to kiss Naveen. The clock strikes midnight before she can do so, but the couple decide they are content to live together as frogs. Tiana and Naveen are wed by Mama Odie; and because of Tiana's new status as princess, they are restored to human form after their kiss. Later, the couple returns to New Orleans to legally get married and celebrate, and together they open their new restaurant.

text: Cast[edit]

text:
Anika Noni Rose as Tiana/"Tia", a 19-year-old waitress and aspiring chef/restaurateur. She is a smart, hard-working, and independent young woman, but one who works so hard that she often forgets important things such as love, fun, and family.[4] Originally, Tiana was supposed to be known as "Maddy". Mark Henn served as the supervising animator for Tiana in both human and frog form, making her one of several Disney lead female characters he has animated.[5] Henn declared that he attempted to make a character that could stand on its own "without repeating what I've done on Belle, Ariel, and Jasmine", with Tiana having a more cynical and grounded personality. Rose's performance influenced much of the animation, with the actress even suggesting to Henn for Tiana to be left-handed like herself.[6]
Elizabeth Dampier voices Tiana as a child.
Bruno Campos as Prince Naveen, the prince of Maldonia. Naveen is a 24-year-old ne'er-do-well and playboy who has been cut off from his family's riches until he learns the value of responsibility. Randy Haycock served as the supervising animator of Naveen in both human and frog form.[7] The directors described the fictional kingdom of Maldonia as "located in an East of the Sun and West of the Moon location", however, the name Naveen (meaning "young man" in Sanskrit) is fairly common among men from the Indian Subcontinent. Campos combined a French accent with his own Brazilian accent to make up a Maldonian accent.[citation needed]
Michael-Leon Wooley as Louis, a friendly, neurotic, trumpet-playing alligator whose dream is to become human so he can join a jazz band. His name comes from the famous jazz artist and trumpeter, Louis Armstrong. Eric Goldberg, the supervising animator of Louis and other miscellaneous characters,[7] won the Annie Award for Character Animation in a Feature Production for his work on the film.[8]
Jim Cummings as Ray, a Cajun firefly. He and his vast family are close friends with Mama Odie, so he offers to help the frogs get to her. Ray has an unrequited love for the Evening Star, which he believes is another firefly named "Evangeline" (a reference to the 19th-century Longfellow poem).[9] Mike Surrey was the supervising animator for Ray. Ray's name comes from the blind pianist Ray Charles.[7]
Keith David as Doctor Facilier, also known as The Shadow Man, a voodoo bokor (witch doctor). He is depicted in the image of Baron Samedi and/or Ghede Nibo wearing a tailcoat and tophat. Bruce W. Smith, supervising animator of Doctor Facilier, referred to the character as the "lovechild" of his two favorite Disney Villains: Captain Hook from Peter Pan (1953), and Cruella de Vil from One Hundred and One Dalmatians (1961).[10] Smith was nominated for the Annie Award for Character Animation in a Feature Production for his work.[8]
Jennifer Cody as Charlotte "Lottie" La Bouff, a wealthy Southern débutante and Tiana's best friend since childhood who dreams of marrying a prince. Nik Ranieri served as the supervising animator of Charlotte as an adult and child.[7] Jennifer Cody won the Annie Award for Voice Acting in a Feature Production for her performance.[8]
Breanna Brooks voices Charlotte as a child.
Jenifer Lewis as Mama Odie, a blind, 197-year-old voodoo priestess, who serves as the film's "Fairy Godmother figure". Andreas Deja was the supervising animator for both Mama Odie and her pet snake, Juju, and was nominated for the Annie Award for Character Animation in a Feature Production.[8][11]
Peter Bartlett as Lawrence, Prince Naveen's valet, whom Doctor Facilier recruits as a partner in his scheme by transforming him to look like Naveen using a blood charm. Anthony DeRosa was the supervising animator for the Lawrence character, whose design was influenced by the Mr. Smee character from Peter Pan.[9]
John Goodman as Eli "Big Daddy" La Bouff, a very wealthy Southern sugar mill owner and father of Charlotte La Bouff. While he spoils Charlotte with everything she asks for, he is a loving and generous man, and loves Tiana's cooking. Duncan Marjoribanks was the supervising animator for Eli "Big Daddy" La Bouff.[7]
Oprah Winfrey as Eudora, Tiana's mother who wants to see her happy and worries that Tiana focuses too much on her dream of owning a restaurant.[12] Ruben A. Aquino animated both Eudora and her husband, James.[7]
Terrence Howard as James, Tiana's father, who helped instil a strong work ethic in Tiana. He served in World War I as evidenced by a dresser-top portrait photo of him in a World War I uniform. The circumstances of his death were not stated in the film; however, his portrait is accompanied by the Distinguished Service Cross, a US medal awarded to soldiers who demonstrated great heroism or risk of life in battle.
Frank Welker as Stella (vocal effects), Charlotte's pet dog who talks to Tiana during the film, when she is chasing Tiana and Naveen as frogs on the table. She loves Tiana's beignets and begs at Tiana when she wants one.
Dee Bradley Baker as Juju, Mama Odie's green pet snake.
Corey Burton and Jerry Kernion as the Fenner Brothers, two real estate agents who eventually sell Tiana the sugar mill under duress after initially refusing because someone else was offering to pay for it in cash, and because they believed Tiana could not manage it because of her background.[13]
Ritchie Montgomery, Don Hall, and Paul Briggs as Reggie, Darnell, and Two-Fingers, three bumbling frog hunters who try to catch Tiana and Naveen as frogs. Their resemblance to The Three Stooges has been noted.
Kevin Michael Richardson and Emeril Lagasse as Ian and Marlon, the two alligators.

text: Production[edit]

text: Early development[edit]

text: Disney had once announced that 2004's Home on the Range would be their last traditionally animated film. After the company's acquisition of Pixar in 2006, Ed Catmull and John Lasseter, the new president and chief creative officer of Disney Animation Studios, reversed this decision and reinstated hand-drawn animation at the studio.[14][15] Many animators who had either been laid off or had left the studio when the traditional animation units were dissolved in 2003 were located and re-hired for the project.[16] Lasseter also brought back directors Ron Clements and John Musker, whose earlier works include The Great Mouse Detective (1986), The Little Mermaid (1989), Aladdin (1992), Hercules (1997), and Treasure Planet (2002).[17][18] The duo had left the company in 2005, but Lasseter requested their return to Disney to direct and write the film and had let them choose the style of animation (traditional or CGI) they wanted to use.[9]

text: The story for the film began development by merging two projects in development at Disney and Pixar at the time, both based around "The Frog Prince" fairy tale.[9][16] One of the projects was based on E. D. Baker's The Frog Princess, in which the story's heroine (Princess Emma) kisses a prince turned frog (Prince Eadric), only to become a frog herself.[16] The Princess and the Frog returns to the musical film format used in many of the previously successful Disney animated films, with a style Musker and Clements declared, like with Aladdin and The Little Mermaid, had inspiration from Golden Age Disney features such as Cinderella.[6]

text: Musker and Clements thought that given all fairy tales were set in Europe, they could do an American fairy tale.[6] They stated that they chose New Orleans as a tribute to the history of the city, for its "magical" qualities, and because it was Lasseter's favorite city.[9][19] The directors spent ten days in Louisiana before starting to write the film.[6]

text: The Princess and the Frog was originally announced as The Frog Princess in July 2006,[14] and early concepts and songs were presented to the public at The Walt Disney Company's annual shareholders' meeting in March 2007.[20] These announcements drew criticism from African-American media outlets, due to elements of the Frog Princess story, characters, and settings considered distasteful.[21][22] African-American critics disapproved of the original name for the heroine, "Maddy", due to its similarity to the derogatory term "mammy".[21] Also protested were Maddy's original career as a chambermaid,[22] the choice to have the black heroine's love interest be a non-black prince, which upset opponents of on-screen interracial romance,[21] and the use of a black male voodoo witchdoctor as the film's villain.[21] The Frog Princess title was also thought by critics to be a slur on French people.[23] Also questioned was the film's setting of New Orleans, which had been heavily damaged by Hurricane Katrina in 2005, resulting in the expulsion of a large number of mostly black residents.[24] Critics claimed the choice of New Orleans as the setting for a Disney film with a black heroine was an affront to the Katrina victims' plight.[21][24]

text: In response to these early criticisms, the film's title was changed in May 2007 from The Frog Princess to The Princess and the Frog. The name "Maddy" was changed to "Tiana",[23][25] and the character's occupation was altered from chambermaid to waitress.[21] Talk show host Oprah Winfrey was hired as a technical consultant for the film, leading to her taking a voice-acting role in the film as Tiana's mother, Eudora.[9]

text: Writing and themes[edit]

text: The head of story, Don Hall, described the plot as a fairy tale "twisted enough that it seems new and fresh", with a kingdom that is a modern city, a handsome prince that is a "knuckleheaded playboy" and a variation on the fairy godmother with Mama Odie. Co-writer Rob Edwards also said The Princess and the Frog was "a princess movie for people who don't like princess movies". As the writers thought Tiana's character motivation of simply dreaming of having her own restaurant was not appealing enough, they expanded so it was her father's as well, with the extra philosophy of "food bringing people together from all walks of life". Musker and Clements stated that while Tiana already starts as a sympathetic character, the events of the plot make her "understand things in a deeper level" and change people around her. Both protagonists would learn from each other—Naveen to take responsibilities, Tiana to enjoy life—as well as figuring from Ray's passion for Evangeline that the perfect balance is brought by having someone you love to share the experience.[6] Tiana became the first African-American Disney Princess.[26][27]

text: Voice cast[edit]

text: On December 1, 2006, a detailed casting call was announced for the film at the Manhattan Theatre Source forum.[28] The casting call states the film as being an American fairy tale musical set in New Orleans during the 1920s Jazz Age and provides a detailed list of the film's major characters.

text: In February 2007, it was reported that Dreamgirls actresses Jennifer Hudson and Anika Noni Rose were top contenders for the voice of Tiana, and that Alicia Keys directly contacted Walt Disney Studios chairman Dick Cook about voicing the role.[29] It was later reported that Tyra Banks was considered for the role as well.[30] By April 2007, it was confirmed that Rose would be voicing Tiana.[31] Three months later, it was reported that Keith David would be doing the voice of Doctor Facilier, the villain of the film.[32]

text: Animation and design[edit]

text: Clements and Musker had agreed early on that the style they were aiming for was primarily that of Lady and the Tramp (1955), a film which they and John Lasseter feel represents "the pinnacle of Disney's style".[33] "After that, everything started becoming more stylized, like Sleeping Beauty, 101 Dalmatians—which are fantastic films as well, but there's a particular style (to Lady and the Tramp) that's so classically Disney."[34] Lady and the Tramp also heavily informed the style of the New Orleans scenes, while Disney's Bambi (1942) served as the template for the bayou scenes.[33] Bambi was described as a stylistic reference for the painted backgrounds, as according to art director Ian Gooding "Bambi painted what it feels like to be in the forest instead of the forest" so The Princess and the Frog would in turn try capturing the essence of roaming through New Orleans.[6]

text: The former trend in Disney's hand-drawn features where the characters and cinematography were influenced by a CGI-look has been abandoned. Andreas Deja, a veteran Disney animator who supervised the character of Mama Odie, says "I always thought that maybe we should distinguish ourselves to go back to what 2D is good at, which is focusing on what the line can do rather than volume, which is a CG kind of thing. So we are doing less extravagant Treasure Planet kind of treatments. You have to create a world but [we're doing it more simply]. What we're trying to do with Princess and the Frog is hook up with things that the old guys did earlier. It's not going to be graphic…".[35] Deja also mentions that Lasseter was aiming for the Disney sculptural and dimensional look of the 1950s: "All those things that were non-graphic, which means go easy on the straight lines and have one volume flow into the other—an organic feel to the drawing."[35] Lasseter also felt that traditional animation created more character believability.[36] For example, with Louis the alligator, created by Eric Goldberg, Lasseter said: "It's the believability of this large character being able to move around quite like that."[36] Choreographer Betsy Baytos was brought by the directors to lead a team of eccentric dancers that gave reference to make each character a different style of movement. The character design tried to create beautiful drawings through subtle shapes, particularly for most characters being human. For the frog versions of Tiana and Naveen, while the animators started with realistic designs, they eventually went for cutesy characters "removing all that is unappealing in frogs", similar to Pinocchio's Jiminy Cricket.[6]

text: Toon Boom Animation's Toon Boom Harmony software was used as the main software package for the production of the film, as the Computer Animation Production System (CAPS) system that Disney developed with Pixar in the 1980s for use on their previous traditionally animated films had become outdated.[37] The Harmony software was augmented with a number of plug-ins to provide CAPS-like effects such as shading on cheeks and smoke effects.[11][35] The reinstated traditional unit's first production, a 2007 Goofy cartoon short entitled How to Hook Up Your Home Theater, was partly animated without paper by using Harmony and Wacom Cintiq pressure-sensitive tablets. The character animators found some difficulty with this approach, and decided to use traditional paper and pencil drawings, which were then scanned into the computer systems, for The Princess and the Frog.[11]

text: The one exception to the new Toon Boom Harmony pipeline was the "Almost There" dream sequence, which utilized an Art Deco graphic style based on the art of Harlem Renaissance painter Aaron Douglas.[38] Supervised by Eric Goldberg and designed by Sue Nichols,[39] the "Almost There" sequence's character animation was done on paper without going through the clean-up animation department,[9] and scanned directly into Photoshop. The artwork was then enhanced to affect the appearance of painted strokes and fills, and combined with backgrounds, using Adobe After Effects.[10][11]

text: The visual effects and backgrounds for the film were created digitally using Cintiq tablet displays.[11][40] Marlon West, one of Disney's veteran animation visual effects supervisors, says about the production; "Those guys had this bright idea to bring back hand-drawn animation, but everything had to be started again from the ground up. One of the first things we did was focus on producing shorts, to help us re-introduce the 2D pipeline. I worked as vfx supervisor on the Goofy short, How to Hook Up Your Home Theater. It was a real plus for the effects department, so we went paperless for The Princess and the Frog." The backgrounds were painted digitally using Adobe Photoshop, and many of the architectural elements were based upon 3D models built in Autodesk Maya.[11] Much of the clean-up animation, digital ink-and-paint, and compositing were outsourced to third-party companies in Orlando, Florida (Premise Entertainment), Toronto, Ontario, Canada (Yowza Digital Animation), and Brooklin, São Paulo, Brazil (HGN Produções).[7]

text: Music[edit]

text: During Disney's 2007 shareholder meeting, Randy Newman and the Dirty Dozen Brass Band performed the film's opening number, "Down in New Orleans", with famous New Orleans singer Dr. John singing, while slides of pre-production art from the film played on a screen.[20] Other songs in the film include "Almost There" (a solo for Tiana), "Dig a Little Deeper" (a song for Mama Odie), "When We're Human" (a song for Louis, Tiana and Naveen [as frogs]), "Friends on the Other Side" (a solo for Doctor Facilier), and "Gonna Take You There" and "Ma Belle Evangeline" (two solos for Ray).[20] Newman composed, arranged, and conducted the music for the film, a mixture of jazz, zydeco, blues, and gospel styles performed by the voice cast members for the respective characters while R&B singer-songwriter Ne-Yo wrote and performed the end title song "Never Knew I Needed", an R&B love song referring to the romance between the film's two main characters, Tiana and Naveen. Supported by a music video by Melina, "Never Knew I Needed" was issued to radio outlets as a commercial single from the Princess and the Frog soundtrack.[41]

text: The film's soundtrack album, The Princess and the Frog: Original Songs and Score, contains the ten original songs from the film and seven instrumental pieces. The soundtrack was released on November 23, 2009, the day before the limited release of the film in New York and Los Angeles.[42]

text: Release[edit]

text: The film premiered in theaters with a limited run in New York and Los Angeles beginning on November 25, 2009, followed by wide release on December 11, 2009.[43] The film was originally set for release on Christmas Day 2009, but its release date was changed due to a competing family film, Alvin and the Chipmunks: The Squeakquel, scheduled for release the same day.[44] The Princess and the Frog enjoyed a limited re-release in AMC Theatres, lasting from October 6–12, 2017 as part of the Dream Big, Princess campaign.[45][46]

text: Marketing[edit]

text: The Princess and the Frog was supported by a wide array of merchandise leading up to and following the film's release. Although Disney's main marketing push was not set to begin until November 2009, positive word-of-mouth promotion created demand for merchandise well in advance of the film.[47] Princess Tiana costumes were selling out prior to Halloween 2009, and a gift set of Tiana-themed hair-care products from Carol's Daughter sold out in seven hours on the company's website.[47] Other planned merchandise includes a cookbook for children and even a wedding gown.[47] Princess Tiana was also featured a few months before the release in the Disney on Ice: Let's Celebrate! show.[48] The film itself was promoted through advertisements, including one from GEICO where Naveen, as a frog, converses with the company's gecko mascot.[49]

text: A live parade and show called Tiana's Showboat Jubilee! premiered on October 25, 2009, at the Magic Kingdom theme park at Walt Disney World Resort in Florida,[50] and on November 5 at Disneyland in California.[51] In Disneyland, actors in New Orleans Square paraded to the Rivers of America and boarded the park's steamboat.[51] From there, the cast, starring Princess Tiana, Prince Naveen, Louis the alligator, and Doctor Facilier, would sing songs from the movie, following a short storyline taking place after the events of the film. The Disneyland version's actors actually partook in singing, while the Walt Disney World rendition incorporated lip-syncing.[51]

text: Tiana's Showboat Jubilee! ran at both parks until January 3, 2010.[50][51] At Disneyland Park, the show was replaced by a land-based event called Princess Tiana's Mardi Gras Celebration, which features Princess Tiana along with five of the original presentation's "Mardi Gras dancers" and the park's "Jambalaya Jazz Band" as they perform songs from the movie.[52] "Tiana's Mardi Gras Celebration" officially ended on October 3, 2010. However, it returned to Disneyland from 2011–2013 as part of the "Limited Time Magic" family-fun weekends.[53][54][55]

text: Tiana also appears in Disneyland Paris' New Generation Festival.[56] Some of the characters appear frequently during World of Color, the nightly fountain and projection show presented at Disney California Adventure. Disney announced on June 4, 2009, that they would release a video game inspired by the film and it was released on November 2009 exclusively for Wii and Nintendo DS platforms. It has been officially described an "adventure through the exciting world of New Orleans in a family-oriented video game", featuring events from the film and challenges for Princess Tiana.[57]

text: Home media[edit]

text: The Princess and the Frog was released in North America on DVD and Blu-ray Disc on March 16, 2010.[58]

text: The film is available on DVD, Blu-ray Disc, and Blu-ray Disc combo pack editions; the combo pack includes DVD and digital copies of the film, along with the Blu-ray Disc version.[58] The film was released on DVD and Blu-ray Disc in Australia on June 2, 2010, and on June 21, 2010, in the United Kingdom. As of December 2010 the DVD has sold 4,475,227 copies and has made $71.3 million in DVD sales,[59] making it the ninth-best-selling DVD of 2010.[60]

text: Reception[edit]

text: The financial and critical success of The Princess and the Frog persuaded Disney to green-light at least one new hand-drawn animated film to be released every two years.[16] However, the blog /Film noted in July 2014 with the release of hand-drawn concept art for the 2013 computer animated film Frozen, that any future hand-drawn animated films have been "killed" for the time being due to The Princess and the Frog failing "to ignite the box office".[61] Two months later, however, many Disney artists announced they were working on a new independent hand-drawn animated film, Hullabaloo, as part of an attempt to bring back hand-drawn animation.[62] Despite such speculation, Walt Disney Animation Studios has continued to use both hand-drawn animation and computer animation in subsequent films.

text: Box office[edit]

text: On its limited day release, the film grossed $263,890 at two theaters and grossed $786,190 its opening weekend.[63][64] On its opening day in wide release, the film grossed $7 million at 3,434 theaters.[65] It went on to gross $24.2 million over the opening weekend averaging $7,050 per theater,[66] ranking at #1 for the weekend, and making it the highest-grossing start to date for an animated movie in December, a record previously held by Beavis and Butt-Head Do America.[67] The film went on to gross $104.4 million (in the United States and Canada) and $267 million (worldwide), making it a box office success, and became the fifth-highest-grossing animated film of 2009.[68] While the film did out-gross Disney's more recent hand-drawn films such as The Emperor's New Groove, Atlantis: The Lost Empire, Treasure Planet, Brother Bear, and Home on the Range, it was less auspicious than the animated films from Walt Disney Animation Studios' 1990s heyday. Disney animator Tom Sito compared the film's box office performance to that of The Great Mouse Detective (1986), which was a step up from the theatrical run of the 1985 box office bomb The Black Cauldron.[69]

text: Looking back on the experience four years later, Catmull acknowledged that Disney had made a "serious mistake" in the process of marketing and releasing the film.[70] Walt Disney Studios' marketing department had warned Disney Animation that the word "princess" in the title "would lead moviegoers to think that the film was for girls only," but the animation studio's management insisted on keeping the "princess" title because they truly believed that the film's excellent quality and beautiful hand-drawn animation would bring in all quadrants anyway.[70] In Catmull's words, this belief "was our own version of a stupid pill."[70]  The marketing department turned out to be correct in their prediction that many moviegoers would and did avoid the film because they thought it was "for little girls only."[70] This error was further compounded by the fact that the film opened a week before Avatar.[70]

text: Looking back seven years later, Lasseter told Variety: "I was determined to bring back [hand-drawn animation] because I felt it was such a heritage of the Disney studio, and I love the art form … I was stunned that Princess didn't do better. We dug into it and did a lot of research and focus groups. It was viewed as old-fashioned by the audience."[71]

text: Critical reception[edit]

text: The film received largely positive reviews from critics, praising the animation, characters, music and themes. Review aggregator Rotten Tomatoes reported that 85% of 191 critics have given the film a positive review, with a rating average of 7.4/10.[72] The site's general consensus is that "The warmth of traditional Disney animation makes this occasionally lightweight fairy-tale update a lively and captivating confection for the holidays."[73] Metacritic, which assigns a weighted average score out of 0–100 from film critics, has a rating score of 73 based on 29 reviews.[74]

text: Lisa Schwarzbaum of Entertainment Weekly gave the film an "A" grade and applauded the film's creative team for "uphold[ing] the great tradition of classic Disney animation".[75] Kirk Honeycutt of The Hollywood Reporter praised Walt Disney Animation for "rediscovering its traditional hand-drawn animation" and for "a thing called story".[76] David Germain of the Associated Press wrote that "The Princess and the Frog is not the second coming of Beauty and the Beast or The Lion King. It's just plain pleasant, an old-fashioned little charmer that's not straining to be the next glib animated compendium of pop-culture flotsam."[77] Justin Chang of Variety was less receptive, stating "this long-anticipated throwback to a venerable house style never comes within kissing distance of the studio's former glory".[78] Joe Neumaier of the New York Daily News gave the film 3/5 stars while saying "The Princess and the Frog breaks the color barrier for Disney princesses, but is a throwback to traditional animation and her story is a retread".[79] Village Voice's Scott Foundas found that "the movie as a whole never approache[d] the wit, cleverness, and storytelling brio of the studio's early-1990s animation renaissance (Beauty and the Beast, The Lion King) or pretty much anything by Pixar".[80] Betsy Sharkey of the Los Angeles Times gave the film a positive review claiming that "the dialogue is fresh-prince clever, the themes are ageless, the rhythms are riotous and the return to a primal animation style is beautifully executed."[81] Chicago Sun-Times film critic Roger Ebert gave the film three out of four stars and admired Disney's step back to traditional animation, writing, "No 3-D! No glasses! No extra ticket charge! No frantic frenzies of meaningless action! And…good gravy! A story! Characters! A plot! This is what classic animation once was like!", but stated that the film "inspires memories of Disney's Golden Age it doesn't quite live up to, as I've said, but it's spritely and high-spirited, and will allow kids to enjoy it without visually assaulting them."[82]

text: S. Jhoanna Robledo of Common Sense Media gave the film three out of five stars, writing, "First African-American Disney princess is a good role model".[83] Saint Bryan of the NBC-TV Seattle praised the film and called it "The Best Disney Movie Since The Lion King".[84]

text: Upon its release, the film created controversy among some Christians over its use of Louisiana Voodoo as a plot device.[85] Christianity Today's review of the film cited its sexual undertones and use of voodoo, arguing that the scenes with Dr. Facilier and his "friends on the other side" contain many horror elements and that young children might be frightened by the film.[86] The film's treatment of Louisiana voodoo as a type of magic instead of a religion also drew criticism from non-Christian factions.[87]

text: Awards and nominations[edit]

text: The film was nominated for the Academy Award for Best Animated Feature and twice for the Academy Award for Best Original Song, but lost to Up and Crazy Heart, respectively.[3][88] It was also nominated for eight Annie Awards and, at the 37th Annie Awards Ceremony on February 6, 2010, won three.[8]

text:
Award

Category

Nominee

Result

2009 Satellite Awards[89]

Best Motion Picture, Animated or Mixed Media

The Princess and the Frog

Nominated

Best Original Song

Randy Newman(Almost There)

Randy Newman(Down in New Orleans)

African-American Film Critics Association Awards 2009

Top 10 Films

The Princess and the Frog

Won

Best Screenplay

John Musker, Ron Clements and Rob Edwards — Tied with Geoffrey Fletcher for Precious: Based on the Novel "Push" by Sapphire

2009 Producers Guild of America Awards[90]

Animated Theatrical Motion Pictures

Peter Del Vecho

Nominated

2009 Online Film Critics Society Awards[91]

Best Animated Feature

The Princess and the Frog

67th Golden Globe Awards[92]

Best Animated Feature Film

2009 Chicago Film Critics Association[93]

Best Animated Feature

2009 Critics Choice Awards[94]

Best Animated Feature

Best Score

Randy Newman

Best Song(Almost There)

2009 Black Reel Awards[95]

Best Film

The Princess and the Frog

Best Song, Original or Adapted

Ne-Yo(Never Knew I Needed)

Anika Noni Rose(Almost There)

Won

Anika Noni Rose(Down in New Orleans)

Nominated

Best Voice Performance

Keith David

Anika Noni Rose

Won

Best Ensemble

The Princess and the Frog

Nominated

37th Annie Awards[8]

Best Animated Feature

Animated Effects

James DeValera Mansfield

Won

Production Design in a Feature Production

Ian Gooding

Nominated

Character Animation in a Feature Production

Andreas Deja

Eric Goldberg

Won

Bruce W. Smith

Nominated

Voice Acting in a Feature Production

Jennifer Cody ("Charlotte")

Won

Jenifer Lewis ("Mama Odie")

Nominated

82nd Academy Awards[3][88]

Best Animated Feature

John Musker and Ron Clements

Best Music, Original Song

Randy Newman(Almost There)

Randy Newman(Down in New Orleans)

41st NAACP Image Awards

Outstanding Motion Picture

Outstanding Actress in a Motion Picture

Anika Noni Rose

36th Saturn Awards[96]

Best Animated Film

The Princess and the Frog

2010 Teen Choice Awards[97][98]

Choice Movie: Animated

2011 Grammy Awards[99]

Best Song Written for a Motion Picture, Television or Other Visual Media

Randy Newman(Down in New Orleans)

Women Film Critics Circle

Best Animated Females

Anika Noni Rose (Tiana), Jennifer Cody (Charlotte La Bouff), Oprah Winfrey (Eudora), Jenifer Lewis (Mama Odie), and all other female characters in The Princess and the Frog.

Won

text: Television[edit]

text:
Tiana made a guest-appearance on Sofia the First in the season 2 episode titled "Winter's Gift".[100]
Tiana, Prince Naveen, Eudora, and Dr. Facilier appear on the seventh season of Once Upon a Time. Maldonia also appears as a realm in New Fairy Tale Land.[101][102][103][103][104]


document_title: Stop sign

question_text: what shape is a standard stop sign according to the highway code

root

text: Stop sign

text: Specifications[edit]

text: The 1968 Vienna Convention on Road Signs and Signals allows for two types of stop sign, as well as three acceptable variants. Sign B2a is a red octagon with the inscription "STOP" in white. Sign B2b is a red circle with a red inverted triangle with either a white or yellow background, and the inscription "STOP" in either black or dark blue. The Convention allows for the word "STOP" to be in either English or the national language of the particular country. The finalized version by the United Nations Economic and Social Council's Conference on Road Traffic in 1968 (and in force in 1978) proposed the standard stop sign diameters of 600, 900 or 1200 mm.

tag: p

text: The United Kingdom and New Zealand stop signs are 750, 900 or 1200 mm, according to sign location and traffic speeds.[2][3]

text:
In the United States, stop signs have a size of 750 mm across opposite flats of the red octagon, with a 20 mm white border. The white uppercase letters in small caps forming the stop legend are 250 mm tall.[4][5] Larger signs of 900 mm (35 in) with 300 mm (12 in) legend and 25 mm (⅞ in) border are used on multilane expressways. Regulatory provisions exist for extra-large 1,200 mm (47 in) signs with 400 mm (16 in) legend and 30 mm (1 1⁄4 in) border for use where sign visibility or reaction distance are limited, and the smallest permissible stop sign size for general usage is 600 mm (24 in) with a 200 mm (7.9 in) legend and 15 mm (⅝ in) border.[6] The metric units specified in the US regulatory manuals are rounded approximations of US customary units, not exact conversions.[5][7] The field, legend, and border are all retroreflective.
In the Vienna Convention on Road Signs and Signals of the UN, the instruction on the sign to stop is specified to be either in English as stop  or written in the local language. Some countries use both. The sign's distinctive design was developed and first used in the U.S., and later adopted by other countries and by the U.N. Despite this, the US is not a signatory to this UN Convention.

text:
B2a

Acceptable variant of B2a

B2b

Acceptable variant of B2b

Acceptable variant of B2b

Acceptable variant of B2b

tag: ul

text: Placement and standardization[edit]

text: The examples and perspective in this article deal primarily with the Northern Hemisphere and do not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (August 2013) (Learn how and when to remove this template message)

tag: table

text: Stop signs are used globally. However, most countries see fewer of them than North America and South Africa, because all-way stops are never used and may even be legally prohibited.[8] In a majority of European and Central Asian countries, as well as Cuba in North America, junctions without traffic lights or roundabouts are controlled by stop signs on minor roads and by white, yellow and black priority diamond signs on the major road. In the UK, the Netherlands, Scandinavia, New Zealand and Australia, stop signs are restricted to situations wherein coming to a dead stop is actually necessary because of severely limited sight lines. At the vast majority of minor intersections in these countries Give Way signs and/or equivalent road markings are used. Finally, at the busier crossing streets, Give Way signs may be replaced by (mini) roundabouts, which also work on the give way (rather than stop) principle.

text: In North America[edit]

text: Stop signs are often used in North America to control conflicting traffic movements at intersections that are not busy enough to justify the installation of a traffic signal or roundabout. In the United States, the stop sign is not intended for use as a traffic calming device;[6] it is intended to be installed mainly for safety and/or to assign right-of-way for a certain direction. Nevertheless, in the United States, Mexico and Canada, stop signs are commonly deployed as supposed safety measures in residential areas and near places where children play or walk (such as schoolyards), or that experience frequent automobile collisions, making extra precautions necessary. Stop signs may be erected on all intersecting roads, resulting in three- and four-way stops.[6] However, studies have confirmed that stop signs do not offer measurable safety benefits over the Yield approach adopted in the countries listed above based on original European research dating back many decades.[9][10]

text: More recently, Georgia Traffic Engineer Martin Bretherton Jr. reviewed over 70 technical papers to find that multiway stop signs do not typically control traffic speeds, and can create a variety of problems, including liability issues, traffic noise, pollution, enforcement problems, and poor stop compliance when drivers feel that the signs have no justification. Fifteen studies found that unwarranted multiway stops actually increased speed away from intersections as motorists try to make up lost time spent at "unnecessary" stop signs. Multiway stop signs impose high vehicle operating costs, longer than needed travel times, excessive fuel consumption and increased vehicle emissions.[11]

text: Researchers also found that safety of pedestrians (especially small children) may sometimes be actually decreased. Pedestrians expect vehicles to stop, but many drivers run the "unnecessary" signs. Engine exhaust, brake, tire and aerodynamic noise may all increase as cars brake and then accelerate up to speed. While the initial cost of installing stop signs is low, enforcement costs can be prohibitive, and one 1990 study estimated extra travel costs per intersection as $210,061/year.[12] Finally, where unwarranted multiway stops have been successfully removed with public support, results have included improved compliance at justified stop signs.

text: Another major issue surrounding the use of stop signs pertains to the public's variegated understanding of their meaning. One prolific source of crashes is the misconception of law that every motorist who attempts to enter a main highway from a side road, does so at his or her peril. Such motorists usually have very definite rights granted by provisions of state vehicle codes, which provide that after the driver has 'yielded' by stopping at an arterial sign he or she may proceed and the drivers of all other vehicles approaching the intersection on the through highway shall yield the right of way to the vehicle crossing the through highway.[13] Where a car has actually entered an intersection before the other approaches it, the driver of the first car has the right to assume that he or she will be given the right of way and be permitted to pass through the intersection without danger of collision. He or she has a right to assume that the driver of the other car will obey the law, slow down, and yield the right of way, if slowing down be necessary to prevent a collision.[14] In order to be able fulfill the duty of yielding to entering motorists who have established control of the intersection, the through driver must travel no faster than permitted by the assured clear distance ahead.[15][16]

text: Vehicles that are approaching an intersection from beyond the subtended angular velocity detection threshold (SAVT) limit may be perceived with subjective constancy by the stopped driver;[17] which means the oncoming vehicle cannot be reliably distinguished between moving or parked or give insight to time-to-collision, though they may be traveling at such an imprudent speed as to pose an immediate hazard.[18] An entering driver must have fair notice that his or her contemplated conduct is forbidden by such hazard for it to be illegal.[19]

text: Stop sign placement can pose an additional challenge to users. There is a tradeoff between the salient visual cues provided by increased limit line setback, and the crucial time that is lost in approaching the intersection from behind that line; being closer can provide a few additional seconds requisite for safe transit. However, common creeping into the intersection past the limit line causes drivers to lose the invaluable perspective of the visual acuity of lateral motion,[20] crippling them to the more dangerous SAVT.[18] This makes it very difficult to estimate the movement of oncoming traffic.[18][17] As intersections are not engineered to be used this way,[21] the traffic flow ideals have broken down when drivers consistently choose this method as the safer alternative. Stop signs are accompanied with a limit line,[22] which has a mandatory setback distance[23][24][25] which is often not less than 15 feet.[25] While it may be negligence per se to prematurely pass the stop limit line,[22] drivers may be unfairly denied sufficient time gap or opportunity to enter otherwise because of the through-traffic flow and speed; the inherent problem with this traffic control device. While stop signs are a relatively inexpensive method of traffic management, they can be expensive from perspective of the damage they cause users. Pricey but safer traffic signals, roundabouts, and traffic circles are alternatively used where traffic flow dictates it is inappropriate to use a stop sign. It is just as crucial for law enforcement to regulate traffic through-speed that is above the assured clear distance ahead ahead as it is to cite stop sign runners for this device to be a viable option.

text: On school buses[edit]

text: A pivoting arm equipped with a stop sign is a piece of equipment required by law on North American school buses. The sign normally stows flat on the left side of the bus, and is deployed by the driver while picking up or dropping off passengers. Some buses have two such stop arms, one near the front facing forwards, and one near the rear facing backwards. The stop sign is retroreflective and equipped either with red blinking lights above and below the stop legend, or with a stop legend that is illuminated by LEDs. Unlike a normal stop sign, this sign requires other vehicles travelling in both directions to remain stopped until the sign is retracted.

text: United Kingdom[edit]

text: In the UK, stop signs may be placed only at sites with severely restricted visibility, and each must be individually approved by the Secretary of State for Transport.[26] Section 79 of the Highways Act 1980 enables the government to improve visibility at junctions, as by removing or shortening walls or hedges, in preference to placing a stop sign. The former UK practice of using "Halt" or "Slow" at Major Road Ahead signs was discontinued in 1965 at the recommendation of the Worboys Committee.[27] Instead of replacing all the old "Halt" signs with the new Vienna Convention "Stop" sign, "Give Way" became the standard sign at UK priority junctions.[28]

text: Compliance requirements[edit]

text: Laws and regulations regarding how drivers must comply with a stop sign vary by jurisdiction. In the United States and Canada, these rules are set and enforced at the state or provincial level.[citation needed] At a junction where two or more traffic directions are controlled by stop signs, generally the driver who arrives and stops first continues first. If two or three drivers in different directions stop simultaneously at a junction controlled by stop signs, generally the drivers on the left must yield the right-of-way to the driver on the far right.

text: In all countries, the driver must come to a complete stop before entering a stop-controlled intersection, even if no other vehicle or pedestrian is visible. If a stop line is marked on the pavement, they must stop before crossing the line.

text: However, some drivers slow but don't come to a complete stop. This maneuver is called a rolling stop or nicknamed after a city or region regarded as somewhere it is commonplace (e.g., "Rhode Island roll" or "California stop"[29]) – slowing down significantly but not stopping completely at the sign.[30] This partial stop is not acceptable to most law enforcement officials, and can result in a traffic citation.

text: Bicycles[edit]

text: In some jurisdictions, most notably Idaho, the traffic code allows for cyclists approaching a stop sign to slow to a "reasonable speed" and yield to conflicting traffic, but does not mandate a full stop unless "required for safety".[31] This is commonly known as an "Idaho stop" or "stop-as-yield". The Idaho law has been in effect since 1982 and has not been shown to be detrimental to safety.[32] Cyclist advocacy groups have sought similar laws for other jurisdictions in the United States.[33][34]

text: History[edit]

text: Stop signs originated in Michigan in 1915.[35][better source needed][36] The first ones had black lettering on a white background and were 24 by 24 inches (61 cm × 61 cm), somewhat smaller than the current sign. As stop signs became more widespread, a committee supported by the American Association of State Highway Officials (AASHO) met in 1922 to standardize them, and selected the octagonal shape that has been used in the United States ever since. The unique eight-sided shape of the sign allows drivers facing the back of the sign to identify that oncoming drivers have a stop sign and prevent confusion with other traffic signs. It was also chosen so that it could be identified easily at night, since the original signs were not reflective. The National Conference on Street and Highway Safety (NCSHS), a group competing with AASHTO, advocated a smaller pink-on-yellow stop sign.[35] These two organizations eventually merged to form the Joint Committee on Uniform Traffic Control Devices, which in 1935 published the first Manual on Uniform Traffic Control Devices for Streets and Highways (MUTCD) detailing the stop sign's specifications.

text: The MUTCD stop sign specifications were altered eight times between 1935 and 1971, mostly dealing with its reflectorization and its mounting height. From 1924 to 1954, stop signs were made with a black stop legend on a yellow field. The reflective sign, initially yellow, was developed by the reflective applications division of 3M spearheaded by Joseph E. Van Kirk, Sr. The sign gained its current white legend/red field color configuration. Red signifies stop on traffic signals, so this specification unified red as a stop signal whether indicated by sign or by light.  The original decision to use a yellow background for the stop sign was based “largely on the unavailability of red pigments that would not fade on exposure.”[37][38]  The mounting height reached its current level of 7 ft (2.13 m) in 1971;[35] previously, stop signs were typically mounted 2–3 feet (0.61–0.91 m)[vague] above the ground.[39]

text: The already widespread use of the MUTCD stop sign became law in the United States in 1966.[35] In 1968, this sign was adopted by the Vienna Convention on Road Signs and Signals as part of United Nations Economic Commission for Europe's effort to standardize road travel across borders. The Convention specifies that 'stop' be written in English or the national language and allows an alternative circular yellow sign. Many European countries are party to the Convention. English-speaking countries, the exception being India, are not party to the Convention but usually use the red octagonal stop sign per their own standards, like the MUTCD. Even in countries not associated with either standard mentioned above, the red octagonal stop sign is often used. Unique types of stop signs may still be observed in countries like Japan.

text: Sign variants[edit]

text: Although all English-speaking and many other countries use the word stop on stop signs, some jurisdictions use an equivalent word in their primary language instead of or in addition to it. Israel uses the image of a hand in a "stop" gesture.

text: In some Caribbean and South American countries (Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, Dominican Republic, Ecuador, Paraguay, Peru, Puerto Rico, Uruguay, and Venezuela), signs bear the legend pare ("stop" in Portuguese and Spanish). Mexico and Central American countries bear the legend alto ("halt") instead.

text: In the Canadian province of Quebec, modern signs read either arrêt or stop;[40] however, it is not uncommon to see older signs containing both words in smaller lettering, with arrêt on top.[41]  Both stop and arrêt are considered valid French words and the Office québécois de la langue française (OQLF) notes that the use of "stop" on stop signs is attested in French since 1927.[42]  At the time of the debates surrounding the adoption of the Charter of the French Language ("Bill 101") in 1977, the usage of "stop" on the older dual-word signs was considered to be English and therefore controversial; some signs were occasionally vandalized with red spray paint to turn the word stop into "101".[43]  However, it was later officially determined by the OQLF that "stop" is a valid French word in this context, and the older dual arrêt + stop usage is therefore not considered bilingual but merely redundant and therefore deprecated (à éviter). All newly installed signs thus use either one word or the other, but not both. In practice, the vast majority of signs use "arrêt" in the province of Québec. The "stop" word is usually seen in predominantly English-speaking areas.

text: The province of New Brunswick  has bilingual stop arrêt in English-speaking areas. Acadian regions of Nova Scotia and Prince Edward Island also have bilingual signs. Some areas in Manitoba and Ottawa, Ontario also have bilingual signs, as do entrances to the country through Canada Customs. On First Nations or Inuit territories, stop signs sometimes use the local aboriginal language in addition to or instead of English, French or both. Other parts of Canada use stop. The use of native languages is also commonplace on U.S. native reservations, especially those promoting language revitalization efforts.

text:
Arabic-speaking countries use قف qif (except for Lebanon that only uses "stop").
Greater China (including Taiwan) uses 停 tíng
Iran and Afghanistan use ایست ist
Japan uses 止まれ tomare
North Korea uses 섯 sŏt
South Korea uses 정지 jeongji
Malaysia and Brunei use berhenti
Mongolia uses ЗОГС zogs
Thailand uses หยุด yùd
Turkey uses dur

text: Almost all of Europe uses the word STOP in Latin letters; the only exception is Turkey, while Armenia uses a bilingual sign.

text: The white text on red background appearance is usually the same. Exceptions include Japan, which uses an inverted solid red triangle, and Zimbabwe, which (until 2016) used a disc bearing a black cross.

text: Stop signs around the world[edit]

text: The red octagon with "STOP" in the English language has become the most common version of the stop sign used around the world, because STOP is the international standard. On the other hand, many countries do use different variations.

text:
Argentina, Bolivia, Brazil, Chile, Colombia, Dominican Republic, Ecuador, Paraguay, Peru, Puerto Rico, Uruguay, Venezuela

Armenia

Bhutan

Brunei

Cambodia

Costa Rica, El Salvador, Guatemala, Honduras, Mexico, Nicaragua, Panama

Cuba

China, Taiwan

Egypt, Libya, Morocco, Saudi Arabia

Hong Kong

Iran

Israel, Palestine

Japan

Laos

Malaysia

Mongolia

Myanmar

Nigeria

North Korea

Pakistan

South Korea

Thailand

Tonga

Turkey

Vanuatu


document_title: Withdrawn Canadian banknotes

question_text: when did the canadian 1 dollar bill go out of circulation

text: Withdrawn Canadian banknotes

text: Current issues[edit]

text: The Bank of Canada, Canada's sole issuer of bank notes, currently issues five different denominations ($5, $10, $20, $50 and $100). Smaller denominations have been replaced by coins, and larger ones are felt to be no longer required in an era of electronic transmission of most large transactions. Despite competition from some more valuable foreign notes (most notably, the 500 euro banknote), there are no plans to re-issue Canadian banknotes larger than $100.

text: Defunct currency[edit]

text: Notes issued by these former issuing authorities are considered to be withdrawn from circulation:

text:
Colonial governments, prior to each province or dominion entering confederation.
The Dominion of Canada between 1870 and 1935, which issued notes in denominations of 25¢, $1, $2, $4, $5, $50, $100, $500, and $1,000
Canadian chartered banks, from pre-Confederation to 1944.
Further information: Canadian chartered bank notes

text: Bank of Canada notes[edit]

text: All Bank of Canada notes issued prior to the current Frontier Series are being withdrawn from circulation.[1] The following Bank of Canada denominations included in previous series have been permanently retired:

text: The $25 note was issued only in 1935, to commemorate the silver jubilee of King George V. As with other 1935 issues, separate English and French versions were printed. This was a limited release that was never printed in large quantities. The note was coloured an appropriate royal purple; both the King & his consort Queen Mary were featured, with Windsor Castle appearing on the back. The $25 note was withdrawn from circulation in 1937.[2]

text: The $500 denomination was included only in the 1935 series. No note of this denomination has been printed since. The note was coloured sepia, or burnt sienna; the face featured Sir John A. Macdonald, and the back depicted a fertility allegory. The $500 note was withdrawn from circulation in 1938.[2]

text: There had been two previous printings of the $500 note by the Dominion of Canada, one in 1925 featuring King George V, and one in 1911 picturing Queen Mary. Of the latter, only three are known to still exist, one of which sold for US$322,000 in a Heritage auction in October 2008.[3] It is unlikely that further 1911 notes survived the Depression.

text: Printing of the $1 note ceased in 1989 after the release of the loonie (in 1987) had been implemented. These notes are virtually never seen in circulation today. The most recent banknote series that included the $1 note was the Scenes of Canada, with the $1 note released in 1974, coloured green and black. The face featured a portrait of Queen Elizabeth II; the back featured an image of Parliament Hill from across the Ottawa River, with log driving activities taking place on the water.

text: Printing of the $2 note ceased on February 18, 1996, with the release of the toonie, a coin that replaced it. These notes are virtually never seen in circulation today. The most recent banknote series that included the two-dollar note was the Birds of Canada series in 1986, in which the two was a terra cotta colour. The face featured a portrait of Queen Elizabeth II; the back featured a meadow scene with two robins. Prior to the withdrawal of the $1 note, the $2 was not as widely circulated and was difficult to find in some regions, Alberta in particular. After the $1 note was withdrawn, the $2 was much more widely circulated.

text: Printing of the $1,000 note ceased in 2000. The denomination was withdrawn on the advice of the Solicitor General and the Royal Canadian Mounted Police (RCMP), as it was often used for money laundering and organized crime.[4] The Bank of Canada has requested that financial institutions return $1,000 notes for destruction.[5] The most recent issue of this denomination was in 1992 as part of the Birds of Canada series. It was pink in colour, featuring Queen Elizabeth II on the face, and two pine grosbeaks on the back.

text: Status of withdrawn banknotes[edit]

text: Currency withdrawn from circulation remains legal tender, but this does not obligate any creditor to accept it as a medium of exchange.[6] Withdrawn currency is usually exchanged at commercial bank branches, though some banks require that exchangers be bank customers. The bank then returns the withdrawn currency, together with worn out currency, to the Bank of Canada for destruction.

text: Liabilities for outstanding provincial and Dominion of Canada notes was transferred to the Bank of Canada in 1935, and liability for chartered bank notes in 1950. As of December 31, 2016, the total value of provincial, Dominion, chartered bank, and discontinued Bank of Canada denominations still outstanding is $1.139 billion , of which more than $765 million is in $1,000 notes.[7] A liability for this amount remains on the Bank of Canada's books up to the present day.


document_title: Ant & Dec's Saturday Night Takeaway

question_text: when does ant and decs saturday night takeaway start

text: Ant & Dec's Saturday Night Takeaway

text: History[edit]

text: Since its launch in 2002, the show was unbeaten for four series in its timeslot until scheduled against Doctor Who on BBC One in March 2005. On 10 September 2005, ITV aired a programme listing the 50 best shows in ITV's 50 years being on air. Ant & Dec's Saturday Night Takeaway came second, being beaten by Coronation Street. The show went on hiatus in 2010 after its ninth series to allow Ant & Dec to launch family game shows Ant & Dec's Push the Button and Red or Black?. However, in November 2011, it was announced that Saturday Night Takeaway would return in early 2013.[1]

text: Return[edit]

text: After winning the award for Best Presenters at the 18th National Television Awards on 23 January 2013, Ant & Dec announced that the show would return on 23 February 2013.[2][3] An official Saturday Night Takeaway iOS app for iPod, iPhone and iPad was released on 15 February 2013. After the fifth episode of series 10, ITV announced that the show would return for an eleventh series in 2014, owing to the popularity of the tenth run.[4] In the sixth episode of the fourteenth series, Dec revealed there would be a fifteenth series in early 2018.

text: On 31 October 2013, it was announced that an arena tour of the show would take place in summer 2014. Takeaway on Tour Live visited 12 UK and Irish arenas between 6 August and 10 September 2014.

text: Saturday Night Takeaway won the BAFTA for Entertainment Programme and Ant & Dec won Entertainment Performance for their role in the show in both 2014 and 2015.[5]

text: Transmissions[edit]

text:
Series
Episodes
Start date
End date
Ave. viewers
(millions)

Original series

1
6
June 8, 2002 (2002-06-08)
July 13, 2002 (2002-07-13)
4.76

2
11
January 11, 2003 (2003-01-11)
March 23, 2003 (2003-03-23)
7.91

3
6
March 13, 2004 (2004-03-13)
April 17, 2004 (2004-04-17)
7.86

4
6
October 2, 2004 (2004-10-02)
November 6, 2004 (2004-11-06)
7.97

5
10
February 12, 2005 (2005-02-12)
April 16, 2005 (2005-04-16)
7.68

Special
December 24, 2005 (2005-12-24)
6.22

6
6
September 16, 2006 (2006-09-16)
October 21, 2006 (2006-10-21)
7.22

7
6
September 8, 2007 (2007-09-08)
October 13, 2007 (2007-10-13)
6.25

8
6
February 16, 2008 (2008-02-16)
March 23, 2008 (2008-03-23)
7.27

9
6
February 14, 2009 (2009-02-14)
March 21, 2009 (2009-03-21)
6.63

Revived series

10
7
February 23, 2013 (2013-02-23)
April 6, 2013 (2013-04-06)
7.82

11
7
February 22, 2014 (2014-02-22)
April 5, 2014 (2014-04-05)
7.61

12
7
February 21, 2015 (2015-02-21)
April 4, 2015 (2015-04-04)
6.91

13
7
February 20, 2016 (2016-02-20)
April 2, 2016 (2016-04-02)
7.71

14
7
February 25, 2017 (2017-02-25)
April 8, 2017 (2017-04-08)
7.94

15
TBA
February 2018 (2018-02)
April 2018 (2018-04)
TBA

text: Presenters[edit]

text:
Starring
Saturday Night Takeaway presenters

Series 1
(2002)
Series 2
(2003)
Series 3
(2004)
Series 4
(2004)
Series 5
(2005)
Special
(2005)
Series 6
(2006)
Series 7
(2007)
Series 8
(2008)
Series 9
(2009)
Series 10
(2013)
Series 11
(2014)
Series 12
(2015)
Series 13
(2016)
Series 14
(2017)
Series 15
(2018)

Ant & Dec
Main

Kirsty Gallacher

Recurring

Ashley Roberts

Recurring

Stephen Mulhern

Recurring

Scarlett Moffatt

Recurring
TBA

text: Opening titles[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2014) (Learn how and when to remove this template message)

text: Pre-titles clip[edit]

text: Before the titles, a comedy clip is shown, which always climaxes with either Ant or Dec – sometimes both of them or someone else who is there with them – exclaiming "Roll the titles!".

text:
Series 1–2, 9–13: Backstage (series 1, 2, 10, 11 and 12 is a funny story before opened item, the entire series 9 and series 13, show 1 is a detail before opening titles.)
Series 3 and 4: Dressing room (series 3, show 1 was set in the pub and series 4, show 1 was a dream sequence)
Series 5 and 6: Outside dressing rooms
Series 7 and 8: "London Studios Canteen" (series 8, show 1 was set in the control room and series 8, show 6 also included a pub)

text: From the majority of series 13, the pre-titles clip was dropped and replaced by an opening performance from that night's musical guest.

text: The titles[edit]

text: From series 1–4, Dec knocks on Ant's door to tell him it is time for the show to start. They then run through vast amounts of multi-coloured brick walls and they get exhausted, before one more run, jumping into the title screen.

text: From series 5–9, the titles begin with Ant & Dec running down a street at dusk and leaping onto the side of a house. They then leap onto the side of another house and run past its window, though Ant temporarily stops to admire an attractive woman in a towel and wearing a face mask. Dec pulls him forward and they jump off the edge again, this time over a motorway and at first appearing to land face down on the ground, but they are actually on the side of the building opposite where they just jumped off. It is dark by this time and they start running up the second building as it were a horizontal platform, before emerging at the top. Ant somersaults onto the top of a final building and Dec spins round onto it. After landing, they look at each other as if to say "never again!". They enter through a "STUDIO" door with the words "ON AIR" on both sides of it. STUDIO and the two ON AIRs light up as Ant & Dec enter through the door and then the camera zooms out to reveal that the studio door is on the "&" of a giant "ANT & DEC's SATURDAY NIGHT TAKEAWAY".

text: From series 10–12, the titles begin with Ant & Dec coming out of a barber's shop in the middle of the day. Ant pulls a napkin off of Dec's collar and they walk past a few people, including a milkman and a girl in a yellow jacket. The duo smile at each other and then a series of motorbikes go past, but the drivers stop to let Ant & Dec on the passenger seat of one bike each, in order to ride them to the Saturday Night Takeaway studio. They ride past a large billboard with that week's guest announcer/guest performer(s), who wave(s) to them and Ant & Dec wave back. After the motorbikes pass over the Tower Bridge, Ant & Dec get off and wave goodbye to the riders. They run halfway down a set of stairs which are lit up, and meet six attractive female dancers – three on the left next to Ant and three on the right next to Dec. Dec has a quick dance but Ant just stares at them and laughs. He pulls Dec away and they run down the rest of the stairs. The scene then cuts to them arriving at The London Studios. They run inside and the camera shoots up to the roof area, where the show's logo appears.

text: From series 13 the same titles were used but feature a revised logo and changes to the colour scheme of some of the lights – now turquoise instead of gold. On the final show of the series, the theme tune was changed to fit with the show being broadcast live from the deck of the ship MV Britannia in Barcelona. The final portion of the titles was also adjusted to Ant & Dec running onto the ship instead of them running into the studio. For the finale of series 14, the final portion of the titles is to be adjusted to Ant & Dec running towards Cinderella Castle at Walt Disney World's Magic Kingdom Park. Also, in series 14, the starting title sequence has been shortened (reason unknown).

text: Starting games[edit]

text: At the start of each show, Ant & Dec always perform a short comedy sketch, usually based on something that has happened in the news recently: e.g. when a celebrity complained after a reporter tried to photograph them on their holidays, Ant pretended to get angry with the camera crew and demanded they stop filming. The cameras were briefly switched off while Dec tried to calm Ant down and when they came back on, Ant & Dec had switched jackets. After the sketch, they announce what's coming up on the show and then Ant goes up into the audience and starts talking to some of them. He usually picks on two or three people and says something embarrassing about them and then picks on a third or fourth person and announces that they will be playing a game live in the studio by saying " I think you better come with me, as we play...". A lot of research goes into these games and they involve the person's family and friends.

text: Games include:

text:
Mr and Mesmerised
Wedding Daze
Court in the Act
Where's Your Shed At?
STOP! That's Mine
Stars in their Lives
Shame That Tune
This Is Your Diary
Prankety Prank
How the Other Half Lives
Trouble & Strife
Imitation Street
I'm a Believer
The "person's name" show
Ant & Dec Book club
Dude, where's my car?
Fame for a Laugh
Fame Doesn't Change Him
Pa Humbug
Right Up Your Tweet
Frownton Abbey
There's No Place Like Your Home
The ITV News at Ten Past Seven
Law & Disorder
Gran Theft Auto
Ogglebox
The Disgrace
You Never Cottoned On
We Know What You Did Last Summer
Coronation Deceit
If You Don't Know Barb By Now
Joanne Stewart: Secret SingStar
All At Sea
Life Begins at 60

text: Takeaway on Tour[edit]

text: Takeaway on Tour was announced on 31 October 2013 and was a co-production between James Grant Live, Ant & Dec and ITV Studios.[6] Kim Gavin, who was artistic director on the Olympic and Paralympic closing ceremonies, fulfilled the same role on the tour. Ashley Roberts appeared at every show to host "Ant vs. Dec"

text: Due to popular demand, extra dates were added on 28 November 2013 and some dates were moved.[5]

text: The full dates for Takeaway on Tour Live were:

text:
[show]Takeaway on Tour Live dates

Date(s)
City
Country
Venue

6 August 2014
Cardiff
Wales
Motorpoint Arena

7 August 2014

9 August 2014
Birmingham
England
LG Arena

10 August 2014

12 August 2014
Leeds
First Direct Arena

13 August 2014

15 August 2014
Manchester
Phones 4u Arena

16 August 2014

19 August 2014
Glasgow
Scotland
The SSE Hydro

21 August 2014
Belfast
Northern Ireland
Odyssey Arena

22 August 2014

23 August 2014

25 August 2014
Glasgow
Scotland
The SSE Hydro

26 August 2014

27 August 2014

29 August 2014
London
England
The O2 Arena

30 August 2014

31 August 2014
Wembley Arena

2 September 2014
Sheffield
Motorpoint Arena

3 September 2014

5 September 2014
Newcastle
Metro Radio Arena

6 September 2014

7 September 2014

9 September 2014
Nottingham
Capital FM Arena

10 September 2014
Liverpool
Echo Arena

12 September 2014
Dublin
Ireland
3Arena

13 September 2014

text: Marketing[edit]

text: A board game of the show was released in 2016, under licensing by Paul Lamond Games.

text: International versions[edit]

text: A Finnish version titled Huuma ("Enchantment") aired on MTV3 from 2005 to 2009.

text: On 11 January 2008, a Chinese version named 快乐2008（"Friday Night Takeaway") premiered on Hunan TV, hosted by He Jiong and Ma Ke.

text: On 29 August 2008, a German version named Die Sonja & Dirk Show premiered on RTL Television, hosted by Sonja Zietlow and Dirk Bach, who also presented the German version of I'm a Celebrity...Get Me Out of Here!. Featured segments included Win the Ads, Little Sonja and Dirk, The Mouse Trap and Beat Sonja & Dirk. The show ended in 2012, due to Bach's death. An earlier version of the show intended to air on Sat.1 was cancelled after one episode in 2005.

text: On 10 May 2014, a Portuguese version named Sabadabadão premiered on SIC, co-produced with FremantleMedia. It was hosted by Júlia Pinheiro and João Baião. The show ended on 2 August 2014.

text: On 27 October 2014, it was announced that an American version of the series would be produced for NBC, and hosted by Neil Patrick Harris; the series was greenlighted and added to the schedule as a Tuesday night entry for the 2015–16 television season under the title Best Time Ever with Neil Patrick Harris (a.k.a. Best Time Ever).[7] The show premiered on 15 September 2015 and ended on 3 November 2015. On 15 December 2015, it was announced that the show had been cancelled.[8]

text: On 15 January 2015, it was announced that a French version of the series would air on M6 from 11 February 2015, hosted by Guillaume Pley and Jerome Anthony. The title is Tout Peut Arriver ("Anything Could Happen").[9] The show performed poorly in the ratings and was quickly cancelled. The final episode was aired on W9.

text: In October 2015, it was announced that an Australian version of the series would be produced for the Seven Network. It will air on Sundays and will be called Sunday Night Takeaway.[10]

text: Malaysian version called "Suka Lattew" on Astro Ria Network and host by Alif Satar and Shahrol Shiro


document_title: List of National Basketball Association single-game scoring leaders

question_text: nba most points in game by a player

question_tokens: nba most points in game by a player

text: Key[edit]

text:
^
Denotes player who is currently active in the NBA

*
Denotes player who has been inducted into the Naismith Memorial Basketball Hall of Fame

Occurred in playoff competition

Player's team lost the game

MP
Minutes played
FGM
Field goals made
FGA
Field goal attempts

3PM
3-point field goals made
3PA
3-point field goal attempts
DNP
Did not play

FTM
Free throws made
FTA
Free throw attempts

text: List[edit]

text:
Rank
Points
Player
Date
1st
2nd
3rd
4th
Team
Opponent
Score
MP
FGM
FGA
3PM
3PA
FTM
FTA
Notes
Ref.

Scoring by quarter

1
100
Chamberlain, WiltWilt Chamberlain*
000000001962-03-02-0000March 2, 1962
23
18
28
31
Philadelphia Warriors
New York Knicks
169–147
48
36
63
—
—
28
32
[A]
[1][2] [3][4][5]

2
81
Bryant, KobeKobe Bryant
000000002006-01-22-0000January 22, 2006
14
12
27
28
Los Angeles Lakers
Toronto Raptors
122–104
41:56
28
46
7
13
18
20
[B]
[6][7][8]

3
78
Chamberlain, WiltWilt Chamberlain*
000000001961-12-08-0000December 8, 1961
—
—
—
—
Philadelphia Warriors
Los Angeles Lakers
147–151
63
31
62
—
—
16
31
[C]
[5]

4
73
Chamberlain, WiltWilt Chamberlain*
000000001962-01-13-0000January 13, 1962
—
—
—
—
Philadelphia Warriors
Chicago Packers
135–117
48
29
48
—
—
15
25
[D]
[5]

73
Chamberlain, WiltWilt Chamberlain*
000000001962-11-16-0000November 16, 1962
—
—
—
—
San Francisco Warriors
New York Knicks
127–111
48
29
43
—
—
15
19
[E]
[9]

73
Thompson, DavidDavid Thompson*
000000001978-04-09-0000April 9, 1978
32
21
9
11
Denver Nuggets
Detroit Pistons
137–139
43
28
38
—
—
17
20
[F]

7
72
Chamberlain, WiltWilt Chamberlain*
000000001962-11-03-0000November 3, 1962
—
—
—
—
San Francisco Warriors
Los Angeles Lakers
115–127
—
29
48
—
—
14
18

[9]

8
71
Baylor, ElginElgin Baylor*
000000001960-11-15-0000November 15, 1960
—
—
—
—
Los Angeles Lakers
New York Knicks
123–108
45
28
48
—
—
15
18
[G]

71
Robinson, DavidDavid Robinson*
000000001994-04-24-0000April 24, 1994
18
6
19
28
San Antonio Spurs
Los Angeles Clippers
112–97
44
26
41
1
2
18
25
[H]
[10][11]

10
70
Chamberlain, WiltWilt Chamberlain*
000000001963-03-10-0000March 10, 1963
—
—
—
—
San Francisco Warriors
Syracuse Nationals
148–163
48
27
38
—
—
16
22

[9]

70
Booker, DevinDevin Booker^
March 24, 2017
10
9
23
28
Phoenix Suns
Boston Celtics
120–130
45
21
40
4
11
24
26
[I]

12
69
Jordan, MichaelMichael Jordan*
000000001990-03-28-0000March 28, 1990
16
15
20
18
Chicago Bulls
Cleveland Cavaliers
117–113
50
23
37
2
6
21
23
[J]
[12][13][14]

13
68
Chamberlain, WiltWilt Chamberlain*
000000001967-12-16-0000December 16, 1967
14
15
15
24
Philadelphia 76ers
Chicago Bulls
143–123
—
30
40
—
—
8
22

68
Maravich, PetePete Maravich*
000000001977-02-25-0000February 25, 1977
17
14
17
20
New Orleans Jazz
New York Knicks
124–107
43
26
43
—
—
16
19

15
67
Chamberlain, WiltWilt Chamberlain*
000000001961-03-09-0000March 9, 1961
—
—
—
—
Philadelphia Warriors
New York Knicks
135–126
—
27
37
—
—
13
17

67
Chamberlain, WiltWilt Chamberlain*
000000001962-02-17-0000February 17, 1962
—
—
—
—
Philadelphia Warriors
St. Louis Hawks
121–128
48
26
44
—
—
15
20

[5]

67
Chamberlain, WiltWilt Chamberlain*
000000001962-02-25-0000February 25, 1962
—
—
—
—
Philadelphia Warriors
New York Knicks
135–149
48
25
38
—
—
17
22

[5]

67
Chamberlain, WiltWilt Chamberlain*
000000001963-01-11-0000January 11, 1963
—
—
—
—
San Francisco Warriors
Los Angeles Lakers
129–134
—
28
47
—
—
11
17

[9]

19
66
Chamberlain, WiltWilt Chamberlain*
000000001969-02-09-0000February 9, 1969
17
17
22
10
Los Angeles Lakers
Phoenix Suns
134–116
48
29
35
—
—
8
18
[K]

20
65
Chamberlain, WiltWilt Chamberlain*
000000001962-02-13-0000February 13, 1962
—
—
—
—
Philadelphia Warriors
Cincinnati Royals
132–152
48
24
40
—
—
17
30

[5]

65
Chamberlain, WiltWilt Chamberlain*
000000001962-02-27-0000February 27, 1962
—
—
—
—
Philadelphia Warriors
St. Louis Hawks
147–137
48
25
43
—
—
15
20

[5]

65
Chamberlain, WiltWilt Chamberlain*
000000001966-02-07-0000February 7, 1966
—
—
—
—
Philadelphia 76ers
Los Angeles Lakers
132–125
—
28
43
—
—
9
20

65
Bryant, KobeKobe Bryant
000000002007-03-16-0000March 16, 2007
4
19
9
24
Los Angeles Lakers
Portland Trail Blazers
116–111
49:58
23
39
8
12
11
12
[L]
[15]

24
64
Baylor, ElginElgin Baylor*
000000001959-11-08-0000November 8, 1959
13
12
17
22
Minneapolis Lakers
Boston Celtics
136–115
—
25
47
—
—
14
19
[M]

64
Barry, RickRick Barry*
000000001974-03-26-0000March 26, 1974
—
—
23
22
Golden State Warriors
Portland Trail Blazers
143–120
43
30
45
—
—
4
5

64
Jordan, MichaelMichael Jordan*
000000001993-01-16-0000January 16, 1993
22
8
11
16
Chicago Bulls
Orlando Magic
124–128
47
27
49
1
5
9
11
[N]
[16]

27
63
Fulks, JoeJoe Fulks*
000000001949-02-10-0000February 10, 1949
—
—
—
—
Philadelphia Warriors
Indianapolis Jets
108–87
—
27
56
—
—
9
14
[O]

63
Baylor, ElginElgin Baylor*
000000001961-12-08-0000December 8, 1961
—
—
—
—
Los Angeles Lakers
Philadelphia Warriors
151–147
—
23
55
—
—
17
24
[P]
[17]

63
West, JerryJerry West*
000000001962-01-17-0000January 17, 1962
—
—
—
—
Los Angeles Lakers
New York Knicks
129–121
39
22
36
—
—
19
22

63
Chamberlain, WiltWilt Chamberlain*
000000001962-12-14-0000December 14, 1962
—
—
—
—
San Francisco Warriors
Los Angeles Lakers
118–120
—
24
41
—
—
15
20

[9]

63
Chamberlain, WiltWilt Chamberlain*
000000001964-11-26-0000November 26, 1964
—
—
—
—
San Francisco Warriors
Philadelphia 76ers
117–128
—
27
58
—
—
9
20

63
Gervin, GeorgeGeorge Gervin*
000000001978-04-09-0000April 9, 1978
20
33
10
DNP
San Antonio Spurs
New Orleans Jazz
132–153
33
23
49
—
—
17
20
[Q]

63
Jordan, MichaelMichael Jordan*
000000001986-04-20-0000April 20, 1986
17
6
13
18
Chicago Bulls
Boston Celtics
131–135
53
22
41
0
0
19
21
[R]

34
62
Chamberlain, WiltWilt Chamberlain*
000000001962-01-14-0000January 14, 1962
—
—
—
—
Philadelphia Warriors
Boston Celtics
136–145
48
27
45
—
—
8
10

[5]

62
Chamberlain, WiltWilt Chamberlain*
000000001962-01-17-0000January 17, 1962
—
—
—
—
Philadelphia Warriors
St. Louis Hawks
136–130
53
24
48
—
—
14
20
[S]
[5]

62
Chamberlain, WiltWilt Chamberlain*
000000001962-01-21-0000January 21, 1962
—
—
—
—
Philadelphia Warriors
Syracuse Nationals
139–132
53
25
42
—
—
12
17
[T]
[5]

62
Chamberlain, WiltWilt Chamberlain*
000000001963-01-29-0000January 29, 1963
—
—
—
—
San Francisco Warriors
New York Knicks
123–103
—
27
44
—
—
8
17

[9]

62
Chamberlain, WiltWilt Chamberlain*
000000001964-11-15-0000November 15, 1964
—
—
—
—
San Francisco Warriors
Cincinnati Royals
122–106
—
26
44
—
—
10
21

62
Chamberlain, WiltWilt Chamberlain*
000000001966-03-03-0000March 3, 1966
—
—
—
—
Philadelphia 76ers
San Francisco Warriors
135–125
—
26
39
—
—
10
19

62
McGrady, TracyTracy McGrady*
000000002004-03-10-0000March 10, 2004
7
21
24
10
Orlando Magic
Washington Wizards
108–99
45:50
20
37
5
14
17
26

[18]

62
Bryant, KobeKobe Bryant
000000002005-12-20-0000December 20, 2005
15
17
30
DNP
Los Angeles Lakers
Dallas Mavericks
112–90
32:53
18
31
4
10
22
25
[U]
[19][20]

62
Anthony, CarmeloCarmelo Anthony^
000000002014-01-24-0000January 24, 2014
20
17
19
6
New York Knicks
Charlotte Bobcats
125–96
38:39
23
35
6
11
10
10
[V]
[21]

43
61
Mikan, GeorgeGeorge Mikan*
000000001952-01-20-0000January 20, 1952
18
18
—
—
Minneapolis Lakers
Rochester Royals
91–81
—
22
45
—
—
17
21
[W]

61
Chamberlain, WiltWilt Chamberlain*
000000001961-12-09-0000December 9, 1961
—
—
—
—
Philadelphia Warriors
Chicago Packers
135–113
48
28
48
—
—
5
10

[5]

61
Chamberlain, WiltWilt Chamberlain*
000000001962-02-22-0000February 22, 1962
—
—
—
—
Philadelphia Warriors
St. Louis Hawks
139–121
48
21
36
—
—
19
34

[5]

61
Chamberlain, WiltWilt Chamberlain*
000000001962-02-28-0000February 28, 1962
—
—
—
—
Philadelphia Warriors
Chicago Packers
128–119
48
24
46
—
—
13
17

[5]

61
Baylor, ElginElgin Baylor*
000000001962-04-14-0000April 14, 1962
18
15
13
15
Los Angeles Lakers
Boston Celtics
126–121
—
22
46
—
—
17
19
[X]

61
Chamberlain, WiltWilt Chamberlain*
000000001962-11-21-0000November 21, 1962
—
—
—
—
San Francisco Warriors
Cincinnati Royals
139–143
—
27
52
—
—
7
15

[9]

61
Chamberlain, WiltWilt Chamberlain*
000000001962-12-11-0000December 11, 1962
—
—
—
—
San Francisco Warriors
Syracuse Nationals
136–124
—
27
57
—
—
7
11

[9]

61
Chamberlain, WiltWilt Chamberlain*
000000001962-12-18-0000December 18, 1962
—
—
—
—
San Francisco Warriors
St. Louis Hawks
130–110
—
26
53
—
—
9
14

[9]

61
Jordan, MichaelMichael Jordan*
000000001987-03-04-0000March 4, 1987
14
10
7
26
Chicago Bulls
Detroit Pistons
125–120
43
22
39
0
0
17
18
[Y]
[22][23][24]

61
Jordan, MichaelMichael Jordan*
000000001987-04-16-0000April 16, 1987
15
17
16
13
Chicago Bulls
Atlanta Hawks
114–117
41
22
38
0
3
17
21
[Z]
[25][26][27][28][29]

61
Malone, KarlKarl Malone*
000000001990-01-27-0000January 27, 1990
17
13
20
11
Utah Jazz
Milwaukee Bucks
144–96
33
21
26
0
0
19
23

[30]

61
O'Neal, ShaquilleShaquille O'Neal*
000000002000-03-06-0000March 6, 2000
10
16
16
19
Los Angeles Lakers
Los Angeles Clippers
123–103
44:52
24
35
0
0
13
22
[AA]
[31]

61
Bryant, KobeKobe Bryant
000000002009-02-02-0000February 2, 2009
18
16
12
15
Los Angeles Lakers
New York Knicks
126–117
36:48
19
31
3
6
20
20

[32]

61
James, LeBronLeBron James^
000000002014-03-03-0000March 3, 2014
11
13
25
12
Miami Heat
Charlotte Bobcats
124–107
41:12
22
33
8
10
9
12
[AB]
[33][34]

57
60
Chamberlain, WiltWilt Chamberlain*
000000001961-12-01-0000December 1, 1961
—
—
—
—
Philadelphia Warriors
Los Angeles Lakers
138–117
48
22
47
—
—
16
26

[5]

60
Chamberlain, WiltWilt Chamberlain*
000000001961-12-29-0000December 29, 1961
—
—
—
—
Philadelphia Warriors
Los Angeles Lakers
123–118
48
24
43
—
—
12
19
[AC]
[5]

60
Chamberlain, WiltWilt Chamberlain*
000000001969-01-26-0000January 26, 1969
18
9
10
23
Los Angeles Lakers
Cincinnati Royals
126–113
—
22
36
—
—
16
24
[AD]

60
King, BernardBernard King*
000000001984-12-25-0000December 25, 1984
21
19
11
9
New York Knicks
New Jersey Nets
114–120
41
19
30
0
0
22
26

[35]

60
Bird, LarryLarry Bird*
000000001985-03-12-0000March 12, 1985
12
11
19
18
Boston Celtics
Atlanta Hawks
126–115
43
22
36
1
4
15
16
[AE]
[36]

60
Chambers, TomTom Chambers
000000001990-03-24-0000March 24, 1990
14
21
14
11
Phoenix Suns
Seattle SuperSonics
121–95
42
22
32
0
0
16
18

[37][38][39][40]

60
Iverson, AllenAllen Iverson*
000000002005-02-12-0000February 12, 2005
17
12
11
20
Philadelphia 76ers
Orlando Magic
112–99
42:01
17
36
2
5
24
27

[41][42]

60
Arenas, GilbertGilbert Arenas
000000002006-12-17-0000December 17, 2006
12
5
12
15
Washington Wizards
Los Angeles Lakers
147–141
49:00
17
32
5
12
21
27
[AF]
[43]

60
Bryant, KobeKobe Bryant
000000002007-03-22-0000March 22, 2007
13
11
19
17
Los Angeles Lakers
Memphis Grizzlies
121–119
45:11
20
37
3
7
17
18
[AG]
[44]

60
Bryant, KobeKobe Bryant
000000002016-04-13-0000April 13, 2016
15
7
15
23
Los Angeles Lakers
Utah Jazz
101–96
42
22
50
6
21
10
12
[AH]
[45][46]

60
Klay Thompson^
December 5, 2016
17
23
20
DNP
Golden State Warriors
Indiana Pacers
142–106
29
21
33
8
14
10
11
[AI]
[47]


document_title: List of languages by number of native speakers in India

question_text: which is the largest speaking language in india

text: Overview[edit]

text: India has 23 constitutionally recognized official languages. Hindi and English are the official languages used by the Central Government. State governments use respective official languages.

text: Hindi is the most widely spoken language in northern parts of India. The Indian census takes the widest possible definition of "Hindi" as a broad variety of "Hindi languages".[2] According to 2001 Census, 53.6% of Indian population declared that they speak Hindi either as first or second language, in which 41% of them have declared it as their native language or mother tongue.[3][4][5] 12.6% Indians declared that they can speak English as a second language.[6]

text: Thirteen languages account for more than 1% of Indian population each, and between themselves for over 95%; all of them are "scheduled languages of the constitution". Scheduled languages spoken by fewer than 1% of Indians are Santali (0.63%), Kashmiri (0.54%), Nepali (0.28%), Sindhi (0.25%), Konkani (0.24%), Dogri (0.22%), Meitei (0.14%), Bodo (0.13%) and Sanskrit (In the 2001 census of India, only 14,135 people reported Sanskrit as their native language).[7] The largest language that is not "scheduled" is Bhili (0.95%), followed by Gondi (0.27%), Khandeshi (0.21%), Tulu (0.17%) and Kurukh (0.10%).

text: Indian population in 1991 exhibited 19.4% of bilingualism and 7.2% of trilingualism, so that the total percentage of "native languages" is at about 127%.

text: India has a Greenberg's diversity index of 0.914, i.e. two people selected at random from the country will have different native languages in 91.4% of cases.[8]

text: List of languages by number of native speakers[edit]

text: Ordered by number of speakers as first language.

text: More than one million speakers[edit]

text: The 2001 census recorded 29 individual languages as having more than 1 million native speakers (0.1% of total population). The languages in bold are scheduled languages (the only scheduled language with less than 1 million native speakers is Sanskrit). The first table is restricted to only speaking populations for scheduled languages.

text:
First, Second, and Third languages by number of speakers in India (2001 Census)

Language
First language
speakers[9][10]
First language
speakers as a percentage
of total population[11]

Second language
speakers[10]
Third language
speakers[10]
Total speakers[12][10]
Total speakers as a
percentage of total
population[11]

Hindi[b]
422,048,642
41.03
98,207,180
31,160,696
551,416,518
53.60

Bengali
83,369,769
8.10
6,637,222
1,108,088
91,115,079
8.86

Telugu
74,002,856
7.19
9,723,626
1,266,019
84,992,501
8.26

Marathi
71,936,894
6.99
9,546,414
2,701,498
84,184,806
8.18

Tamil
60,793,814
5.91
4,992,253
956,335
66,742,402
6.49

Urdu
51,536,111
5.01
6,535,489
1,007,912
59,079,512
5.74

Kannada
37,924,011
3.69
11,455,287
1,396,428
50,775,726
4.94

Gujarati
46,091,617
4.48
3,476,355
703,989
50,271,961
4.89

Odia
33,017,446
3.21
3,272,151
319,525
36,609,122
3.56

Malayalam
33,066,392
3.21
499,188
195,885
33,761,465
3.28

English
226,449
0.02
86,125,221
38,993,066
125,344,736
12.18

Sanskrit
14,135
<0.01
1,234,931
3,742,223
4,991,289
0.49

text:
Table: Ordered by number of native speakers

Rank
Language
2001 census[13]
(total population 1,028,610,328 )
1991 census[14]
(total population 838,583,988)
Encarta 2007 estimate[15]
(worldwide speakers)

Speakers
Percentage
Speakers
Percentage
Speakers

1
Hindi[16]
422,048,642
41.1%
329,518,087
39.29%
366 M

2
Bengali
83,369,769
8.11%
69,595,738
8.30%
207 M

3
Telugu
74,002,856
7.19%
66,017,615
7.87%
69.7 M

4
Marathi
71,936,894
6.99%
62,481,681
7.45%
68.0 M

5
Tamil
60,793,814
5.91%
53,006,368
6.32%
66.0 M

6
Urdu
51,536,111
5.01%
43,406,932
5.18%
60.3 M

7
Gujarati
46,091,617
4.48%
40,673,814
4.85%
46.1 M

8
Kannada
37,924,011
3.69%
32,753,676
3.91%
35.3 M

9
Malayalam
33,066,392
3.21%
30,377,176
3.62%
35.7 M

10
Odia
33,017,446
3.21%
28,061,313
3.35%
32.3 M

11
Punjabi
29,102,477
2.83%
23,378,744
2.79%
57.1 M

12
Assamese
13,168,484
1.28%
13,079,696
1.56%
15.4 M

13
Maithili
12,179,122
1.18%
7,766,921
0.926%
24.2 M

14
Bhili/Bhilodi
9,582,957
0.93%

15
Santali
6,469,600
0.63%
5,216,325
0.622%

16
Kashmiri
5,527,698
0.54%

17
Nepali
2,871,749
0.28%
2,076,645
0.248%
16.1 M

18
Gondi
2,713,790
0.26%

19
Sindhi
2,535,485
0.25%
2,122,848
0.253%
19.7 M

20
Konkani
2,489,015
0.24%
1,760,607
0.210%

21
Dogri
2,282,589
0.22%

22
Khandeshi
2,075,258
0.21%

23
Kurukh
1,751,489
0.17%

24
Tulu
1,722,768
0.17%

25
Meitei (Manipuri)
1,466,705*
0.14%
1,270,216
0.151%

26
Bodo
1,350,478
0.13%
1,221,881
0.146%

27
Khasi
1,128,575
0.11%

28
Mundari
1,061,352
0.103%

29
Ho
1,042,724
0.101%

text:
* Excludes figures of Paomata, Mao-Maram and Purul sub-divisions of Senapati district of Manipur for 2001.
** The percentage of speakers of each language for 2001 has been worked out on the total population of India excluding the population of Mao-Maram, Paomata and Purul subdivisions of Senapati district of Manipur due to cancellation of census results.

text: 100,000 to one million speakers[edit]

text:
Rank
Language
2001 census

Speakers
Percentage

30
Kui
916,222
0.089%

31
Garo
889,479
0.086%

32
Tripuri
854,023
0.083%

33
Lushai/Mizo
674,756
0.066%

34
Halabi
593,443
0.058%

35
Korku
574,481
0.056%

36
Miri/Mishing
551,224
0.054%

37
Munda
469,357
0.046%

38
Karbi/Mikir
419,534
0.041%

39
Koya
362,070
0.035%

40
Ao
261,387
0.025%

41
Savara
252,519
0.025%

42
Konyak
248,109
0.024%

43
Kharia
239,608
0.023%

44
English
226,449
0.022%

45
Malto
224,926
0.022%

46
Nissi/Dafla
211,485
0.021%

47
Adi
198,462
0.019%

48
Thado
190,595
0.019%

49
Lotha
170,001
0.017%

50
Coorgi/Kodagu
166,187
0.016%

51
Rabha
164,770
0.016%

52
Tangkhul
142,035
0.014%

53
Kisan
141,088
0.014%

54
Angami
132,225
0.013%

55
Phom
122,508
0.012%

56
Kolami
121,855
0.012%

57
Khond/Kondh[17]
118,597
0.012%

58
Dimasa
111,961
0.011%

59
Ladakhi
104,618
0.010%

60
Sema
103,529
0.010%

text: List of mother tongues by number of speakers[edit]

text: Each of the languages of the 2001 census subsumes one or more mother tongues. Speaker numbers are available for these mother tongues and they are also included in the speaker numbers for their respective language. The following table lists those mother tongues that have more than one million speakers. Per the General Notes from the 2001 census: "Mother tongue is the language spoken in childhood by the person’s mother to the person. If the mother died in infancy, the language mainly spoken in the person’s home in childhood will be the mother tongue."[18]

text:
Mother tongues with more than one million speakers[13]

Rank
Mother tongue
2001 census
Included
in language

Speakers
Percentage

1
Hindi
257,919,635
25.071%

2
Bengali
82,462,437
8.016%

3
Telugu
73,817,148
7.176%

4
Marathi
71,701,478
6.970%

5
Tamil
60,655,813
5.896%

6
Urdu
51,533,954
5.009%

7
Gujarati
45,715,654
4.444%

8
Kannada
37,742,232
3.669%

9
Bhojpuri
33,099,497
3.217%
Hindi

10
Malayalam
33,015,420
3.209%

11
Odia
32,110,482
3.121%

12
Punjabi
28,152,794
2.737%

13
Rajasthani
18,355,613
1.784%
Hindi

14
Magadhi/Magahi
13,978,565
1.359%
Hindi

15
Chhattisgarhi
13,260,186
1.289%
Hindi

16
Assamese
12,778,735
1.242%

17
Maithili
12,178,673
1.184%

18
Haryanvi
7,997,192
0.777%
Hindi

19
Marwari
7,936,183
0.771%
Hindi

20
Santali
5,943,679
0.578%

21
Malvi
5,565,167
0.541%
Hindi

22
Kashmiri
5,362,349
0.521%

23
Mewari
5,091,697
0.495%
Hindi

24
Khortha/Khotta
4,725,927
0.459%
Hindi

25
Bhili/Bhilodi
3,313,481
0.322%

26
Bundeli/Bundelkhan
3,072,147
0.299%
Hindi

27
Nepali
2,867,922
0.279%

28
Bagheli
2,865,011
0.278%
Hindi

29
Pahari
2,832,825
0.275%
Hindi

30
Lamani/Lambadi
2,707,562
0.263%
Hindi

31
Awadhi
2,529,308
0.246%
Hindi

32
Wagdi
2,510,811
0.244%
Bhili

33
Gondi
2,505,247
0.244%

34
Harauti
2,462,867
0.239%
Hindi

35
Konkani
2,420,140
0.235%

36
Dogri
2,282,547
0.222%

37
Garhwali
2,267,314
0.220%
Hindi

38
Nimadi
2,148,146
0.209%
Hindi

39
Sadan/Sadri
2,044,776
0.199%
Hindi

40
Kumaoni
2,003,783
0.195%
Hindi

41
Dhundhari
1,871,130
0.182%
Hindi

42
Ahirani
1,865,813
0.181%
Khandeshi

43
Kurukh/Oraon
1,737,044
0.169%

44
Tulu
1,720,422
0.167%

45
Sindhi
1,694,061
0.165%

46
Meitei
1,466,497
0.143%

47
Surgujia
1,458,533
0.142%
Hindi

48
Bagri Rajasthani
1,434,123
0.139%
Hindi

49
Bodo/Boro
1,330,775
0.129%

50
Banjari
1,259,821
0.122%
Hindi

51
Nagpuria
1,242,586
0.121%
Hindi

52
Surjapuri
1,217,019
0.118%
Hindi

53
Kangri
1,122,843
0.109%
Hindi

54
Mundari
1,046,951
0.102%

55
Ho
1,037,987
0.101%

text: Notes[edit]

text:
Jump up ^ Some languages may be over- or under-represented as the census data used is at the state-level. For example, while Urdu has 52 million speakers (2001), in no state is it a majority language.
Jump up ^ includes Western Hindi apart from Urdu, Eastern Hindi, Bihari languages except for Maithili, the Rajasthani languages, and the Pahari languages apart from Nepali and (in 2001) Dogri, whether or not the included varieties were reported as "Hindi" or under their individual names.

tag: ol