document_title: Dime (United States coin)

question_text: when was the last year silver dimes were made

root

text: Dime (United States coin)

text: History[edit]

text: The Coinage Act of 1792 established the dime (spelled "disme" in the legislation), cent, and mill. as subdivisions of the dollar equal to  1⁄10,  1⁄100 and  1⁄1000 dollar respectively.

tag: p

text: The first known proposal for a decimal-based coinage system in the United States was made in 1783 by Thomas Jefferson, Benjamin Franklin, Alexander Hamilton, and David Rittenhouse. Hamilton, the nation's first Secretary of the Treasury, recommended the issuance of six such coins in 1791, in a report to Congress. Among the six was a silver coin, "which shall be, in weight and value, one tenth part of a silver unit or dollar".

text: From 1796 to 1837, dimes were composed of 89.24 percent silver and 10.76 percent copper,[2] the value of which required the coins to be physically very small to prevent their intrinsic value being worth more than face value.[3] Thus dimes are made small and thin. The silver percentage was increased to 90.0 percent with the introduction of the Seated Liberty dime; the use of a richer alloy was offset by reducing the diameter from 18.8 millimeters (0.740 inch) to its current figure of 17.9 millimeters (0.705 inch).[2]

text: With the passage of the Coinage Act of 1965, the dime's silver content was removed. Dimes from 1965 to the present are composed of outer layers of 75 percent copper and 25 percent nickel, bonded to a pure copper core. Starting in 1992, the U.S. Mint began issuing Silver Proof Sets annually, which contain dimes composed of the pre-1965 standard of 90 percent silver and 10 percent copper. These sets are intended solely for collectors, and are not meant for general circulation.[2]

text: Design history[edit]

text: Since its introduction in 1796, the dime has been issued in six different major types, excluding the 1792 "disme". The name for each type (except for the Barber dime) indicates the design on the coin's obverse.

text:
Draped Bust 1796–1807
Capped Bust 1809–1837
Seated Liberty 1837–1891
Barber 1892–1916
Winged Liberty Head (Mercury) 1916–1945
Roosevelt 1946–present

tag: ul

text: "Disme" (1792)[edit]

text: The Coinage Act of 1792, passed on April 2, 1792, authorized the mintage of a "disme", one-tenth the silver weight and value of a dollar. The composition of the disme was set at 89.24 percent silver and 10.76 percent copper. In 1792, a limited number of dismes were minted but never circulated. Some of these were struck in copper, indicating that the 1792 dismes were in fact pattern coins. The first dimes minted for circulation did not appear until 1796, due to a lack of demand for the coin and production problems at the United States Mint.[4]

text: Draped Bust (1796–1807)[edit]

text: The first dime to be circulated was the Draped Bust dime, in 1796. It featured the same obverse and reverse as all other circulating coins of the time, the so-called Draped Bust/Small Eagle design. This design was the work of then-Chief Engraver Robert Scot. The portrait of Liberty on the obverse was based on a Gilbert Stuart drawing of prominent Philadelphia socialite Ann Willing Bingham, wife of noted American statesman William Bingham. The reverse design is of a small bald eagle surrounded by palm and olive branches, and perched on a cloud. Since the Coinage Act of 1792 required only that the cent and half cent display their denomination, Draped Bust dimes were minted with no indication of their value.[5]

text: All 1796 dimes have 15 stars on the obverse, representing the number of U.S. states then in the Union. The first 1797 dimes were minted with 16 stars, reflecting Tennessee's admission as the 16th state. Realizing that the practice of adding one star per state could quickly clutter the coin's design, U.S. Mint Director Elias Boudinot ordered a design alteration, to feature just 13 stars (for the original Thirteen Colonies). Therefore, 1797 dimes can be found with either 13 or 16 stars.[5]

text: Also designed by Robert Scot, the Heraldic Eagle reverse design made its debut in 1798. The obverse continued from the previous series, but the eagle on the reverse was changed from the widely criticized "scrawny" hatchling to a scaled-down version of the Great Seal of the United States. The Draped Bust/Heraldic Eagles series continued through 1807 (although no dimes dated 1799 or 1806 were minted). Both Draped Bust designs were composed of 89.24 percent silver and 10.76 percent copper.[6] There are 31 varieties of Draped Bust dimes.

text: Capped Bust (1809–1837)[edit]

text: The Draped Bust design was succeeded by the Capped Bust, designed by Mint Assistant Engraver John Reich. Both the obverse and reverse were changed extensively. The new reverse featured a bald eagle grasping three arrows (symbolizing strength) and an olive branch (symbolizing peace). Covering the eagle's breast is a U.S. shield with six horizontal lines and 13 vertical stripes.[7] Also on the reverse is the lettering "10C," making it the only dime minted with the value given in cents (subsequent issues are inscribed with the words "ONE DIME"). The lack of numeric value markings on subsequent dime coins causes some confusion amongst foreign visitors, who may be unaware of the value of the coin. Also, the Capped Bust dime was the first dime to have its value written on the coin. Previous designs of the dime had no indication of its value, the way people determined its value was by its size[citation needed]

text: Capped Bust dimes minted through 1828 are known as the Large type. This is partially because they were struck without a restraining collar, which gave them a broader appearance. In 1828, Chief Engraver William Kneass introduced the close collar method of coining (which automated the process of placing reeds on a coin's edge). In addition to standardizing the diameter of coins, the new method allowed the Mint to produce thicker coins. To maintain a standard weight and alloy, the diameter of most coins was reduced. In particular, the dime was reduced in diameter from 18.8 to 18.5 millimeters. This new Capped Bust dime, which began production in 1828, is known as the Small type.[8] There are 123 varieties known of Capped Bust Dimes.

text: Seated Liberty (1837–1891)[edit]

text: Christian Gobrecht completed the design of the Seated Liberty dime, whose obverse was used with every circulating silver U.S. coin of the period. Mint Director Robert Maskell Patterson requested a new coin design, to be reminiscent of the Britannia image found on coinage of the United Kingdom. Chief Engraver William Kneass drew the original sketches, but suffered a stroke and was too ill to finish them or to oversee preparation of the dies. The task then fell to Gobrecht, who was promoted to Second Engraver.[9]

text: The obverse features an image of Liberty sitting on a rock, wearing a dress and holding a staff with a liberty cap on top. Her right hand is balancing a shield with the inscription "LIBERTY." The reverse featured the inscription "ONE DIME," surrounded by a wreath. All Seated Liberty dimes contain 90 percent silver and 10 percent copper, and are 17.9 millimeters (0.705 inch) in diameter. This size and metal composition would continue until 1965, when silver was permanently removed from circulating dimes.[9]

text: There were several minor varieties during the Seated Liberty's run. The initial design (1837) had no stars on the obverse and, further, the dates were minted in a Large Date and Small Date variety. These two types can be distinguished by noting the "3" and the "7" in the date. In the Large Date variety, the "3" has a pointed serif at top, and the horizontal element of the "7" is straight. In the Small Date variety, the "3" has a rounded serif, and there is small a knob, or bulge, in the "7" horizontal element.[9] Only the Philadelphia Mint made both varieties. The Small Date is slightly rarer. The New Orleans Mint also made the Seated Liberty Dime in this year, but only in the Small Date variety.[9]

text: Thirteen stars (symbolizing the 13 original colonies) were added to the perimeter of the obverse in 1838.[10] These were replaced with the legend "United States of America," which was moved from the reverse in mid-1860. At the same time, the laurel wreath on the reverse was changed to a wreath of corn, wheat, maple, and oak leaves and expanded nearly to the rim of the coin. This reverse design continued through the end of the series in 1891 and was changed only slightly in 1892, when the Barber dime debuted. Another variety is the 1838–40 dime minted with no drapery underneath the left elbow of Liberty.[2]

text: Arrows at the date in 1853 and 1873 indicated changes made in the coin's mass (from 2.67 grams to 2.49 grams in 1853, then to 2.50 grams in 1873). The first change was made in response to rising silver prices, while the latter alteration was brought about by the Mint Act of 1873 which, in an attempt to make U.S. coinage the currency of the world, added a small amount of mass to the dime, quarter, and half-dollar to bring their weights in line with fractions of the French 5-franc piece.[11] The change also ensured the quarter dollar (which is valued 2.5 times the dime) weighed 2.5 times the dime (6.25g), and the half dollar (twice the value of the quarter dollar) weighed twice what the quarter dollar weighed (12.5g). In this way, a specific weight of these coins, no matter the mixture of denominations, would always be worth the same. This relation in weight and value continued in the cupronickel coins from 1965 on.

text: This produced the greatest rarities in the Seated Dime Series, the 1873 & 1874 Carson City Dimes, with arrows and the unique 1873 Carson City Dime without arrows.[12]

text: Barber (1892–1916)[edit]

text: The Barber dime is named for its designer, Charles E. Barber, who was Chief Engraver of the U.S. Mint from 1879 to 1917. The design was shared with the quarter and half-dollar of the same period. Extensive internal politics surrounded the awarding of the design job, which had initially been opened to the public. A four-member committee (which included Barber), appointed by then-Mint Director James Kimball, accorded only two of more than 300 submissions an honorable mention. Kimball's successor, Edward O. Leech, decided to dispense with the committees and public design competitions and simply instructed Barber to develop a new design. It has been speculated that this is what Barber had wanted all along.[13]

text: The Barber dime, as with all previous dimes, featured an image of Liberty on the obverse. She is wearing a Phrygian cap, a laurel wreath with a ribbon, and a headband with the inscription "LIBERTY". This inscription is one of the key elements used in determining the condition of Barber dimes.[2] Liberty's portrait was inspired by two sources—French coins and medals of the period, as well as ancient Greek and Roman sculpture. The obverse also contains the long-used 13 stars (for the 13 colonies) design element. The reverse contained a wreath and inscription almost identical to the one used on the final design of the Seated Liberty dime.[13] Dimes were produced at all four of the mints that operated during the period. While circulated coins of the entire series are readily available to collectors there is one outstanding rarity, the 1894-S Barber Dime. Twenty-four were minted, with 9 currently known.

text: Winged Liberty Head ("Mercury") (1916–1945)[edit]

text: Although most commonly referred to as the "Mercury" dime, the Winged Liberty Head does not depict the Roman messenger god. The obverse figure is a depiction of the mythological goddess Liberty wearing a Phrygian cap, a classic Western symbol of liberty and freedom, with its wings intended to symbolize freedom of thought. Designed by noted sculptor Adolph A. Weinman, the Winged Liberty Head dime is considered by many to be one of the most beautiful U.S. coin designs ever produced.[14] The composition (90 percent silver, 10 percent copper) and diameter (17.9 millimeters) of the "Mercury" dime was unchanged from the Barber dime.

text: Weinman (who had studied under Augustus Saint-Gaudens) won a 1915 competition against two other artists for the design job, and is thought to have modeled his version of Liberty on Elsie Kachel Stevens, wife of noted poet Wallace Stevens.[14] The reverse design, a fasces juxtaposed with an olive branch, was intended to symbolize America's readiness for war, combined with its desire for peace. Although the fasces was later officially adopted by Benito Mussolini and his National Fascist Party, the symbol was also common in American iconography and has generally avoided any stigma associated with its usage in wartime Italy.[14]

text: The 1916-D issue of only 264,000 coins is highly sought after, due largely to the fact that the overwhelming majority of the dimes struck at the Denver Mint in 1916 carried the pre-existing Barber design.[14] Thus, the 1916-D is worth up to thousands of dollars if it is in relatively fine condition.[14] A considerable number of common 1916 Philadelphia mint dimes have been altered with a "D" added, so buyers should be careful to purchase only from reputable dealers or to accept only sealed and graded coins. Be aware that any dimes that bear the date "1922" are counterfeit. Having possession of a counterfeit coin is illegal and can lead to its forfeiture.[15]

text: Many coins in the "Mercury" series exhibit striking defects, most notably the fact that the line separating the two horizontal bands in the center of the fasces is often missing, in whole or in part; the 1945 issue of the Philadelphia Mint hardly ever appears with this line complete from left to right, and as a result, such coins (designated as "FSB" for "full split bands") are worth more than usual for uncirculated specimens. A valuable variety is an overdate, where 1942 was stamped over a 1941 die at the Philadelphia mint. A less obvious, but still quite valuable, example from the same year is from the Denver mint.[14]

text: Franklin D. Roosevelt (1946–present)[edit]

text: Soon after the death of President Franklin D. Roosevelt in 1945, legislation was introduced by Virginia Congressman Ralph H. Daughton that called for the replacement of the Mercury dime with one bearing Roosevelt's image.[16] The dime was chosen to honor Roosevelt partly due to his efforts in the founding of the National Foundation for Infantile Paralysis (later renamed the March of Dimes), which originally raised money for polio research and to aid victims of the disease and their families.[17]

text: Due to the limited amount of time available to design the new coin, the Roosevelt dime was the first regular-issue U.S. coin designed by a Mint employee in more than 40 years. Chief Engraver John R. Sinnock was chosen, as he had already designed a Mint presidential medal of Roosevelt.[16] Sinnock's first design, submitted on October 12, 1945, was rejected, but a subsequent one was accepted on January 6, 1946.[18] The dime was released to the public on January 30, 1946, which would have been Roosevelt's 64th birthday.[19] Sinnock's design placed his initials ("JS") at the base of Roosevelt's neck, on the coin's obverse. His reverse design elements of a torch, olive branch, and oak branch symbolized, respectively, liberty, peace, and strength.[18]

text: Controversy immediately ensued, as strong anti-Communist sentiment in the United States led to the circulation of rumors that the "JS" engraved on the coin was the initials of Joseph Stalin, placed there by a Soviet agent in the mint.[16][20][21] The Mint quickly issued a statement denying this, confirming that the initials were indeed Sinnock's. The same rumor arose after the release of the Sinnock designed Franklin half dollar in April 1948.

text: Another controversy surrounding Sinnock's design involves his image of Roosevelt. Soon after the coin's release, it was claimed that Sinnock borrowed his design of Roosevelt from a bas relief created by African American sculptor Selma Burke, unveiled at the Recorder of Deeds Building in Washington, D.C. in September 1945. Sinnock denied this and stated that he simply utilized his earlier design on the Roosevelt medal.[16]

text: With the passage of the Coinage Act of 1965, the composition of the dime changed from 90 percent silver and 10 percent copper to a clad "sandwich" of pure copper inner layer between two outer layers of cupronickel (75% copper, 25% nickel) alloy[22] giving a total composition of 91.67% Cu and 8.33% Ni. This composition was selected because it gave similar mass (now 2.268 grams instead of 2.5 grams) and electrical properties (important in vending machines)—and most importantly, because it contained no precious metal.

text: Since 1946 the Roosevelt dime has been minted every year. Through 1955, all three mints, Philadelphia, Denver, and San Francisco produced circulating coinage; production at San Francisco ended in 1955, resuming in 1968 with proof coinage only. Through 1964 "D" and "S" mintmarks can be found to the left of the torch. From 1968, the mintmarks have appeared above the date. None were used in 1965–67, and Philadelphia did not show a mintmark until 1980 (in 1982, an error left the "P" off a small number of dimes, which are now valuable). To commemorate the 50th anniversary of the design, the 1996 mint sets included a "W" mintmarked dime made at the West Point Mint.[18] A total of 1,457,000 dimes were issued in the sets, making it the lowest mintage Roosevelt dime up to that time.[23] Since then, the "P" mint mark 2015 reverse proof dime and "W" mint mark 2015 proof dime, minted at Philadelphia and West Point for inclusion in the March of Dimes collector set,[24] have the lowest mintages with 75,000 pieces struck for each.


document_title: History of the United States Virgin Islands

question_text: when did the us acquire the us virgin islands

text: Overview[edit]

text: The USVI is located in the Lesser Antilles of the Eastern Caribbean (between the Atlantic Ocean and Caribbean Sea), the USVI are actually approximately 50 islands and cays (pronounced "keys"), the largest of which are St. Croix, St. Thomas and St. John, respectively.[1]

text: The population of the USVI forms a complex society with multiple diverse ethnic groups:Virgin Islanders, Eastern Caribbean islanders, Puerto Ricans, Dominicans (Dominican Republic), French, Americans (locally known as "continentals"), white Arabs and Asians. At least one writer feels the ethnic cultural practices and institutions that remain, migration, and the influence of the mainland United States have made the society more pluralistic than given it any common Virgin Islands identity.[2]

text: Early inhabitants of the Virgin Islands included the Ciboney, Arawaks, and Island Caribs.

text: The first documented Europeans to visit the islands arrived with Christopher Columbus. The islands were occupied by several nations over the next century, including England, the Dutch Republic, France, and Denmark.[citation needed] In 1733, the Danish West India Company purchased Saint Croix from the French and brought together Saint Thomas, Saint Croix, and Saint John as the Danish West Indies.

text: Danish trading posts were set up on the islands, trading in sugar, slaves and other goods. Sugar cane cultivation was a major economic activity for many years, with slaves used as one of the labor sources. However, following increasing humanitarian awareness, laws against slavery and a slave rebellion in 1848, the governor Peter von Scholten officially freed the last slaves the same year.

text: The islands were purchased from the Danish by the United States in 1917 under the Treaty of the Danish West Indies.

text: Early history[edit]

text: The Guanahatabey[edit]

text: Although not much is known about the Guanahatabey people who inhabited the islands during the Stone Age, archaeological evidence seems to indicate that they were hunter-gatherers. They made tools of stone and flint but left few other artifacts behind.

text: The Arawaks[edit]

text: Experts at canoe building and seamanship, the Arawaks migrated from the Amazon River Valley and Orinoco regions of Venezuela and Brazil, settling on the islands near coasts and rivers. These peaceful people excelled at fishing and farming. They grew cotton, tobacco, maize, yuca, and guava as well as a variety of other fruits and vegetables.

text: The Arawaks developed intricate social and cultural lives. For recreation, they held organized sporting events. They also valued artistic endeavors, such as cave painting and rock carving, some of which have survived to the present. Religion played a large role in their daily lives, and through ceremonial rituals they asked their gods for advice to help them through troubled times. Their civilization flourished for several hundred years until the Caribs invaded.

text: Caribs[edit]

text: While the Caribs came from the same area as the Arawaks and may have been distantly related, they did not share the Arawaks' friendly nature. Not only were they fierce warriors, they supposedly feasted on their adversaries. Their bloodthirsty reputation spawned the English word cannibal, derived from the name the Spanish gave them, Caribal.

text: Whether or not they actually ate their victims, the Caribs did destroy numerous Arawak villages. By the mid-15th century, the Caribs had slashed the Arawak population from several million to a few thousand. But even the Caribs were no match for the Europeans who came.

text: Spanish period[edit]

text: Blown off course during his 1493–1496 voyage, Christopher Columbus landed on Saint Croix, then continued his explorations on Saint Thomas and Saint John. He gave the islands their original Spanish names (Santa Cruz, San Tomas, and San Juan), focusing on religious themes. The collection of tiny islets, cays, and rocks dotting the sea around them reminded Columbus of Saint Ursula and her 11,000 virgin martyrs, inspiring the name Las Once Mil Virgenes.

text: The first encounter Columbus had with the Caribs quickly erupted into a battle. When Columbus and his crew decided to move on to other islands, they kidnapped six Arawaks to guide them. Although Columbus left without founding a colony, many more battles between the Spanish and Caribs followed over the next century.

text: French period[edit]

text: For the French colonisation see French West Indies, Compagnie des Îles de l'Amérique and the Hospitaller colonization of the Americas.

text: The French and Danish colonizers finished the job the Spanish had begun. They tried to convert the Caribs and Arawaks to Catholicism and Lutheranism, which largely failed. They also enslaved the native populations to work on plantations. With tobacco having already been cultivated on the islands, it made a good cash crop. Later on, coffee, sugar, and cotton also were grown.

text: The Danish West Indies period[edit]

text: Diseases, coupled with murder and slavery, took a large toll on both the Arawaks and the Caribs. Several groups of Arawaks committed mass suicide rather than submit to foreign rule.[citation needed] By the late 17th century, the Arawaks had been completely exterminated and few Caribs remained.[citation needed] The Virgin Islands were raided by Spanish from Puerto Rico seeking slaves.

text: With only a small population on the islands, there was a great demand for labor. The trans-Atlantic slave trade to the islands began in 1673. The difficult conditions and inhumane treatment slaves were subjected to bred discontent. Moravian Brethren missionaries from Herrnhut Saxony, arrived in St. Thomas in December 1732. Distrusted by the slave holders, they lived with the slaves and won their confidence.

text: In 1733 a long drought followed by a devastating hurricane pushed slaves in St. John to the breaking point. Members of the Akwamu tribe from modern Ghana staged a massive rebellion, seizing control of the island for six months. The Danes, who controlled the island at that point, enlisted the help of French authorities from Martinique to regain control (see St. John Slave Revolt).

text: A non-violent slave revolt in 1848 proved more successful. The governor at the time, Peter von Scholten, faced with thousands of enslaved Africans with burning torches threatening to burn down the town of Frederiksted, freed the slaves, even though the Danish Crown had so far intended that the last slaves would be emancipated in 1859. Von Scholten would later be summoned before a commission of enquiry for his action and deprived of his pension but he was eventually exonerated by the Supreme Court.[citation needed]

text: American rule[edit]

text: The United States' first secretary in London, Henry White attempted to purchase the islands from Denmark in 1899 to resist European incursions into the Americas. The sale was unsuccessful and White attributed the failure to the influence of Kaiser Wilhelm II of the ascendent German Empire.[3] During World War I, the fear of rising German influence in the Caribbean region prompted the President Woodrow Wilson to assert the Roosevelt Corollary in Haiti and the Dominican Republic.

text: In 1917 a treaty was concluded in which the United States purchased the islands for $25,000,000 (about $390,000,000 in 2010 dollars)[citation needed]. After the United States bought what is now known as the United States Virgin Islands from the Danish, the islands became an unincorporated U.S. territory. Most residents were granted U.S. citizenship in 1936, and an act of 1932 provided that all natives of the Virgin Islands who on the date of the act were residing in the continental United States or any of its insular possessions or territories were U.S. citizens. The islands remained under the direct control of the U.S. government until 1968, when residents were first allowed to elect their own Governor (previously, governors had been appointed first by the navy, then by the interior department). In 1972, residents elected their first non-voting delegate to congress.

text: 1917–1931: U.S. Navy control[edit]

text: Under Rear Admiral Kitten, a yeoman named Percival Wilson Sparks (married to St. Thomas native, Grace Itah Maria Joseph Sparks) was ordered to design a new flag for the territory, since Kitten knew of Sparks' interest in graphic design. Sparks designed the flag and had his wife and her sister, Blanche Joseph Sasso, sew the first flag for the U.S.V.I. as the professionally made flags had to be manufactured in the states and would take weeks to arrive by ship. The sisters from St. Thomas were then known as the Betsy Rosses of the Virgin Islands.

text: 1930s and 1940s[edit]

text: The 1930s represented a watershed as the economy reversed itself because of two external stimuli: The repeal of prohibition in the U.S., which greatly increased the demand for plantation workers, and the wartime decision to construct a submarine base on the Islands of St. Thomas. Because of habitual out-migration to the U.S. and the historical absence of a peasant agricultural tradition, the indigenous labor supply was inadequate. This vacuum created the demand for West Indian Labor from the Eastern Caribbean for the first of several immigrant waves.[4]

text: The Organic Act of the Virgin Islands of the United States of 1936 (Pub.L. 74–749, 49 Stat. 1807, enacted June 22, 1936) established a government for the U.S. Virgin Islands, replacing previous temporary provisions (Pub.L. 64–389, 39 Stat. 1132, enacted March 3, 1917).

text: Since the 1950s[edit]

text: The Virgin Islands Government set a new policy of export diversification via tourism and light industry. People continued to immigrate in substantial numbers — some legally and others illegally. They benefited from a series of loose interpretations and favorable revisions of immigration law which reduced occupational restrictions and generally lax enforcement.[4]

text: In 1954, the Revised Organic Act of the Virgin Islands repealed and replaced the previous Organic Act of the Virgin Islands.


document_title: Sports Illustrated

question_text: who as of 2016 has been on the cover of sports illustrated the most times

text: Sports Illustrated

text: History[edit]

text: There were two magazines named Sports Illustrated before the current magazine began on August 16, 1954.[4] In 1936, Stuart Scheftel created Sports Illustrated with a target market for the sportsman. He published the magazine from 1936 to 1938 on a monthly basis. The magazine was a life magazine size and focused on golf, tennis, and skiing with articles on the major sports. He then sold the name to Dell Publications, which released Sports Illustrated in 1949 and this version lasted 6 issues before closing. Dell's version focused on major sports (baseball, basketball, boxing) and competed on magazine racks against Sport and other monthly sports magazines. During the 1940s these magazines were monthly and they did not cover the current events because of the production schedules. There was no large-base, general, weekly sports magazine with a national following on actual active events. It was then that Time patriarch Henry Luce began considering whether his company should attempt to fill that gap. At the time, many believed sports was beneath the attention of serious journalism and did not think sports news could fill a weekly magazine, especially during the winter. A number of advisers to Luce, including Life magazine's Ernest Havemann, tried to kill the idea, but Luce, who was not a sports fan, decided the time was right.[5]

text: The goal of the new magazine was to be basically a magazine, but with sports. Many at Time-Life scoffed at Luce's idea; in his Pulitzer Prize–winning biography, Luce and His Empire, W. A. Swanberg wrote that the company's intellectuals dubbed the proposed magazine "Muscle", "Jockstrap", and "Sweat Socks". Launched on August 16, 1954, it was not profitable (and would not be so for 12 years)[6] and not particularly well run at first, but Luce's timing was good. The popularity of spectator sports in the United States was about to explode, and that popularity came to be driven largely by three things: economic prosperity, television, and Sports Illustrated.[7]

text: The early issues of the magazine seemed caught between two opposing views of its audience. Much of the subject matter was directed at upper-class activities such as yachting, polo and safaris, but upscale would-be advertisers were unconvinced that sports fans were a significant part of their market.[8]

text: After more than a decade of steady losses, the magazine's fortunes finally turned around in the 1960s when Andre Laguerre became its managing editor. A European correspondent for Time, Inc., who later became chief of the Time-Life news bureaus in Paris and London (for a time he ran both simultaneously), Laguerre attracted Henry Luce's attention in 1956 with his singular coverage of the Winter Olympic Games in Cortina d'Ampezzo, Italy, which became the core of SI's coverage of those games. In May 1956, Luce brought Laguerre to New York to become assistant managing editor of the magazine. He was named managing editor in 1960, and he more than doubled the circulation by instituting a system of departmental editors, redesigning the internal format,[9] and inaugurating the unprecedented use in a news magazine of full-color photographic coverage of the week's sports events. He was also one of the first to sense the rise of national interest in professional football.[10]

text: Laguerre also instituted the innovative concept of one long story at the end of every issue, which he called the "bonus piece". These well-written, in-depth articles helped to distinguish Sports Illustrated from other sports publications, and helped launch the careers of such legendary writers as Frank Deford, who in March 2010 wrote of Laguerre, "He smoked cigars and drank Scotch and made the sun move across the heavens ... His genius as an editor was that he made you want to please him, but he wanted you to do that by writing in your own distinct way."[11]

text: Laguerre is also credited with the conception and creation of the annual Swimsuit Issue, which quickly became, and remains, the most popular issue each year.

text: Innovations[edit]

text: From its start, Sports Illustrated introduced a number of innovations that are generally taken for granted today:

text:
Liberal use of color photos—though the six-week lead time initially meant they were unable to depict timely subject matter
Scouting reports—including a World Series Preview and New Year's Day bowl game round-up that enhanced the viewing of games on television
In-depth sports reporting from writers like Robert Creamer, Tex Maule and Dan Jenkins.
Regular illustration features by artists like Robert Riger.
High school football Player of the Month awards.
Inserts of sports cards in the center of the magazine (1954 & 1955)
1994 Launched Sports Illustrated Interactive CD-ROM with StarPress Multimedia, Incorporates player stats, video and highlights from the year in sports.
In 2015 Sports Illustrated purchased a group of software companies and combined them to create Sports Illustrated Play, an platform that offers sports league management software as a service.

text: Color printing[edit]

text: The magazine's photographers also made their mark with innovations like putting cameras in the goal at a hockey game and behind a glass backboard at a basketball game. In 1965, offset printing began to allow the color pages of the magazine to be printed overnight, not only producing crisper and brighter images, but also finally enabling the editors to merge the best color with the latest news. By 1967, the magazine was printing 200 pages of "fast color" a year; in 1983, SI became the first American full-color newsweekly. An intense rivalry developed between photographers, particularly Walter Iooss and Neil Leifer, to get a decisive cover shot that would be on newsstands and in mailboxes only a few days later.[12]

text: In the late 1980s and early 1990s, during Gil Rogin's term as Managing Editor, the feature stories of Frank Deford became the magazine's anchor. "Bonus pieces" on Pete Rozelle, Woody Hayes, Bear Bryant, Howard Cosell and others became some of the most quoted sources about these figures, and Deford established a reputation as one of the best writers of the time.[13]

text: Regular segments[edit]

text: Who's Hot, Who's Not: A feature on who's on a tear and who's in a slump.

text: Inside the NFL, MLB, NHL, NBA, College Football, College Basketball, NASCAR, Golf, Boxing, Horse Racing, Soccer and Tennis (sports vary from issue to issue) has the writers from each sport to address the latest news and rumors in their respective fields.

text: Faces in the Crowd: honors talented amateur athletes and their accomplishments.

text: The Point After: A back-page column featuring a rotation of SI writers as well as other contributors. Content varies from compelling stories to challenging opinion, focusing on both the world of sports and the role sports play in society.

text: Creative freedom that the staff had enjoyed seemed to diminish. By the 1980s and 1990s, the magazine had become more profitable than ever, but many also believed it had become more predictable. Mark Mulvoy was the first top editor whose background contained nothing but sports; he had grown up as one of the magazine's readers, but he had no interest in fiction, movies, hobbies or history. Mulvoy's top writer Rick Reilly had also been raised on SI and followed in the footsteps of many of the great writers that he grew up admiring, but many felt that the magazine as a whole came to reflect Mulvoy's complete lack of sophistication. Mulvoy also hired the current creative director Christopher Hercik. Critics said that it rarely broke (or even featured) stories on the major controversies in sports (drugs, violence, commercialism) any more, and that it focused on major sports and celebrities to the exclusion of other topics.[14]

text: The proliferation of "commemorative issues" and subscription incentives seemed to some like an exchange of journalistic integrity for commercial opportunism. More importantly, perhaps, many feel that 24-hour-a-day cable sports television networks and sports news web sites have forever diminished the role a weekly publication can play in today's world, and that it is unlikely any magazine will ever again achieve the level of prominence that SI once had.[15]

text: Nevertheless, Sports Illustrated remains the predominant sports publication in print journalism with a consistent weekly circulation topping 3 million per issue.[16]

text: Sportsman of the Year[edit]

text: Since 1954, Sports Illustrated magazine has annually presented the Sportsman of the Year award to "the athlete or team whose performance that year most embodies the spirit of sportsmanship and achievement."[17][18] Roger Bannister won the first-ever Sportsman of the Year award thanks to his record breaking time of 3:59.4 for a mile (the first-ever time a mile had been run under four minutes).[17][19]

text: Mike Krzyzewski and Pat Summitt were named co-sportsmen of the year for 2011 for their work as NCAA basketball coaches.[20] Drew Brees was the Sportsman of the Year for 2010 after leading the New Orleans Saints to their first-ever Super Bowl win.[21] Derek Jeter was Sports Illustrated's Sportsman of the Year in 2009. Jeter led the New York Yankees to their 27th World Series title in 2009 while batting .334 in the regular season and taking home the 2009 Silver Slugger and Gold Glove for American League shortstops.[22]

text: Sportsman of the Century[edit]

text: In 1999, Sports Illustrated named Muhammad Ali, the Sportsman of the Century, at the Sports Illustrated's 20th Century Sports Awards in New York City's Madison Square Garden.[23]

text: All-decade awards and honors[edit]

text:
Top 20 Female Athletes of the Decade (2009)
Top 20 Male Athletes of the Decade (2009)
All-Decade Team (2009) (MLB, NBA, NFL, NHL, college basketball, college football)
Top 10 Coaches/Managers of the Decade (2009)
Top 10 GMs/Executives of the Decade (2009)
Top Team of the Decade (2009) (MLB, NBA, NFL, NHL, college basketball, college football)
Top 25 Franchises of the Decade (2009)
Major League Baseball honors
National Basketball Association honors
National Football League honors
National Hockey League honors
College basketball honors
College football honors[24]

text: Top sports colleges[edit]

text: Cover history[edit]

text: The following list contains the athletes with most covers.[26]

text: The magazine's cover is the basis of a sports myth known as the Sports Illustrated Cover Jinx.

text: Most covers by athlete, 1954–2016

text:
Athlete
Sport
Number of covers

Michael Jordan
Basketball
50

Muhammad Ali
Boxing
40

LeBron James
Basketball
25

Tiger Woods
Golf
24

Magic Johnson
Basketball
23

Kareem Abdul-Jabbar
Basketball
22

Tom Brady
Football
20

tag: table

text: Most covers by team, 1954 – May 2008

text:
Team
Sport
Number of covers

Los Angeles Lakers
Basketball
67

New York Yankees
Baseball
65

St. Louis Cardinals
Baseball
49

Dallas Cowboys
Football
48

Boston Red Sox
Baseball
46

Chicago Bulls
Basketball
45

Boston Celtics
Basketball
44

Los Angeles Dodgers
Baseball
40

Cincinnati Reds
Baseball
37

San Francisco 49ers
Football
33

text: Most covers by sport, 1954–2009

text:
Sport
Number of covers

Baseball-MLB
628

Pro Football-NFL
550

Pro Basketball-NBA
325

College Football
202

College Basketball
181

Golf
155

Boxing
134

Hockey
100

Track and Field
99

Tennis
78

text: Celebrities on the cover, 1954–2010

text:
Celebrity
Year
Special notes

Gary Cooper
1959
Scuba diving

Bob Hope
1963
Owner of Cleveland Indians

Shirley MacLaine
1964
Promoting the film John Goldfarb, Please Come Home

Steve McQueen
1971
Riding a motorcycle

Burt Reynolds and Kris Kristofferson
1977
Promoting the film Semi-Tough

Big Bird
1977
On the cover with Mark Fidrych

Arnold Schwarzenegger
1987
Caption on cover was Softies

Chris Rock
2000
Wearing Los Angeles Dodgers hat

Stephen Colbert
2009
Caption: Stephen Colbert and his Nation save the Olympics

Mark Wahlberg and Christian Bale
2010
Promoting the film The Fighter

Brad Pitt
2011
Promoting the film Moneyball

text: Fathers and sons who have been featured on the cover

text:
Father
Son(s)

Archie Manning
Peyton & Eli Manning

Calvin Hill
Grant Hill

Bobby Hull
Brett Hull

Bill Walton
Luke Walton

Jack Nicklaus
Gary Nicklaus

Phil Simms
Chris Simms

Dale Earnhardt
Dale Earnhardt, Jr.

Cal Ripken, Sr.
Cal Ripken, Jr. & Billy Ripken

Mark McGwire
Matt McGwire

Drew Brees
Baylen Brees

Boomer Esiason
Gunnar Esiason

Chuck Liddell
Cade Liddell

text: Presidents who have been featured on the cover

text:
President
SI cover date
Special notes

John F. Kennedy
December 26, 1960
First Lady Jackie Kennedy also on cover and Kennedy was President-Elect at the time of the cover.

Gerald Ford
July 8, 1974
Cover came one month before President Richard Nixon announced he would resign from the Presidency.

Ronald Reagan
November 26, 1984
On cover with Georgetown Hoyas basketball coach John Thompson and Patrick Ewing

Ronald Reagan
February 16, 1987
On cover with America's Cup champion Dennis Conner

Bill Clinton
March 21, 1994
On cover about the Arkansas college basketball team

text: Tribute covers (In Memoriam)

text:
Athlete
SI cover date
Special notes

Len Bias
June 30, 1986
Died of a cocaine overdose just after being drafted by the Boston Celtics

Arthur Ashe
February 15, 1993
Tennis great and former US Open champion who died from AIDS

Reggie Lewis
August 9, 1993
Celtics player who died due to a heart defect

Mickey Mantle
August 21, 1995
Died after years of battling alcoholism

Walter Payton
November 8, 1999
Died from rare liver disorder

Dale Earnhardt
February 26, 2001
Died in a crash on the last lap of the 2001 Daytona 500.

Brittanie Cecil
April 1, 2002
Fan killed as the result of being struck with a puck to the head while in the crowd at a Columbus Blue Jackets game

Ted Williams
July 15, 2002
Boston Red Sox who died of cardiac arrest

Johnny Unitas
September 23, 2002
Baltimore Colts great who died from heart attack

Pat Tillman
May 3, 2004
Arizona Cardinals player who was killed in a friendly fire incident in Afghanistan.

Ed Thomas
July 6, 2009
Parkersburg, Iowa high school football coach that was gunned down by one of his former players on the morning of June 24, 2009.

John Wooden
June 14, 2010
UCLA Basketball coaching legend who died of natural causes at 99 years of age.

Junior Seau
May 2, 2012
NFL Hall of Fame linebacker who committed suicide at 43 years of age

text: Regular columns[edit]

text: Inside Baseball, a weekly column written by Joe Sheehan, Jon Heyman, George Grande, and many others

text: Writers[edit]

text: Photographers[edit]

text:
Robert Beck
Bob Rosato
John Biever
David Bergman
Simon Bruty
Bill Eppridge
Graham Finlayson[27][28]
Bill Frakes
John Iacono

Walter Iooss
Lynn Johnsom
David E. Klutho
Neil Leifer
Bob Martin
John W. McDonough
Manny Millan

Peter Read Miller
Hy Peskin
Chuck Solomn
Damian Strohmeyer
Al Tielemans

text: Spinoffs[edit]

text: Sports Illustrated has helped launched a number of related publishing ventures, including:

text:
Sports Illustrated Kids magazine (circulation 950,000)

Launched in January 1989
Won the "Distinguished Achievement for Excellence in Educational Publishing" award 11 times
Won the "Parents' Choice Magazine Award" 7 times

Sports Illustrated Almanac annuals

Introduced in 1991
Yearly compilation of sports news and statistics in book form

SI.com sports news web site
Sports Illustrated Australia

Launched in 1992 and lasted 6 issues **

Sports Illustrated Canada

Was created and published in Canada with US content from 1993 to 1995. Most of the issues appear to have the same cover except they say 'Canadian Edition'. These issues are numbered differently in the listing. A group of the Canadian issues have unique Canadian athletes (hockey mostly) and all the Canadian issues may have some different article content. The advertising may also be Canada-centric.

Sports Illustrated Presents

Launched in 1989
This is their tribute and special edition issues that are sold both nationally or regionally as stand alone products. **Originally started with Super Bowl Tributes the product became a mainstay in 1993 with Alabama as the NCAA National Football Champions. Today multiple issues are released including regional releases of the NCAA, NBA, NFL, MLB champions along with special events or special people. Advertising deals are also done with Sports Illustrated Presents (Kelloggs).

CNNSI.com a 24-hour sports news web site

Launched on July 17, 1997
Online version of the magazine
The domain name was sold in May 2015[29]

Sports Illustrated Women magazine (highest circulation 400,000)

Launched in March 2000
Ceased publication in December 2002 because of a weak advertising climate

Sports Illustrated on Campus magazine

Launched on September 4, 2003
Dedicated to college athletics and the sports interests of college students.
Distributed free on 72 college campuses through a network of college newspapers.
Circulation of one million readers between the ages of 18 and 24.
Ceased publication in December 2005 because of a weak advertising climate


document_title: Saturday Night Fever

question_text: who played bobby c in saturday night fever

text: Saturday Night Fever

text: Plot[edit]

text: Anthony "Tony" Manero is a 19-year-old Italian American man from the Bay Ridge neighborhood of Brooklyn, New York. He lives with his parents, and works at a dead-end job in a small hardware store. To escape his day-to-day life, every Saturday night Tony goes to 2001 Odyssey, a local disco club. Tony has four close friends: Joey, Double J, Gus, and Bobby C. A fringe member of his group of friends is Annette, a neighborhood girl who longs for a physical relationship with Tony.

text: Tony and his friends ritually stop on the Verrazano–Narrows Bridge to clown around. The bridge has special significance for Tony as a symbol of escape to a better life on the other side—in more suburban Staten Island.

text: Tony agrees to be Annette's partner in an upcoming dance contest, but her happiness is short-lived when Tony is mesmerized by another woman at the club, Stephanie Mangano, whose dancing skills exceed Annette's. Although Stephanie rejects Tony's advances, she eventually agrees to be his partner in the dance competition, provided that their partnership remains professional. Tony's older brother, Frank Jr., who was the pride of the family since he was ordained a Roman Catholic priest, brings despair to their parents when he tells them that he has left the priesthood. Tony shares a warm relationship with Frank Jr., but feels pleased that he is no longer the black sheep of the family.

text: While on his way home from the grocery store, Gus is attacked by a gang and hospitalized. He tells Tony and his friends that his attackers were the Barracudas. Meanwhile, Bobby C. has been trying to get out of his relationship with his devout Catholic girlfriend, Pauline, who is pregnant with his child. Facing pressure from his family and others to marry her, Bobby asks former priest Frank Jr., if the Pope would grant him dispensation for an abortion. When Frank tells him such a thing would be highly unlikely, Bobby's feelings of desperation increase. Bobby lets Tony borrow his car to help move Stephanie from Bay Ridge to Manhattan, and tries to extract a promise from Tony to call him later that night.

text: Eventually, the group gets their revenge on the Barracudas, and crash Bobby C's car into their hangout. Tony, Double J, and Joey get out of the car to fight, but Bobby C. takes off when a gang member tries to attack him in the car. When the group visit Gus in the hospital, they are angry when he tells them that he may have identified the wrong gang. Later, Tony and Stephanie dance at the competition and end up winning first prize. However, Tony believes that a Puerto Rican couple performed better, and that the judges' decision was racially motivated. He gives the Puerto Rican couple the trophy, and leaves with Stephanie. Once outside in a car, she denigrates their relationship and he tries to rape her. She resists and runs from him.

text: Tony's friends come to the car along with an intoxicated Annette. Joey says she has agreed to have sex with everyone. Tony tries to lead her away, but is subdued by Double J and Joey, and sullenly leaves with the group in the car. Double J and Joey rape Annette. Bobby C. pulls the car over on the Verrazano-Narrows Bridge for their usual cable-climbing antics. Instead of abstaining as usual, Bobby performs stunts more recklessly than the rest of the gang. Realizing that he is acting recklessly, Tony tries to get him to come down. Bobby's strong sense of despair, the situation with Pauline, and Tony's broken promise to call him earlier that day all lead to a suicidal tirade about Tony's lack of caring before Bobby slips and falls to his death in the water below.

text: Disgusted and disillusioned by his friends, his family, and his life, Tony spends the rest of the night riding the subway into Manhattan. Morning has dawned by the time he appears at Stephanie's apartment. He apologizes for his bad behavior, telling her that he plans to relocate from Brooklyn to Manhattan to try and start a new life. Tony and Stephanie salvage their relationship and agree to be friends.

text: Cast[edit]

text:
John Travolta as Anthony "Tony" Manero
Karen Gorney as Stephanie Mangano
Barry Miller as Bobby C.
Joseph Cali as Joey
Paul Pape as Double J.
Donna Pescow as Annette
Bruce Ornstein as Gus
Val Bisoglio as Frank Manero, Sr.
Julie Bovasso as Flo Manero
Martin Shakar as Father Frank Manero, Jr.
Lisa Peluso as Linda Manero
Sam Coppola as Dan Fusco
Denny Dillon as Doreen
Robert Weil as Becker
Fran Drescher as Connie
Monti Rock as the DJ
Robert Costanzo as paint store customer
Ann Travolta as pizza girl (Travolta's sister)
Helen Travolta as paint store customer (Travolta's mother)

text: Production[edit]

text: Donna Pescow was almost considered "too pretty" for the role of Annette. She corrected this matter by putting on 40 pounds (18 kilograms) and relearning her native Brooklyn accent, which she had overcome while studying drama at the American Academy of Dramatic Arts. After production ended, she quickly lost the weight she had gained for the role.

text: John Travolta's mother Helen and sister Ann both appeared in minor roles in the beginning of the film. Travolta's sister is the pizzeria waitress who serves him the pizza slices (and delivers the first dialogue), and his mother plays the woman to whom he sells the can of paint (after being late).

text: John G. Avildsen was signed to direct but was fired three weeks prior to principal photography over a script dispute with producer Robert Stigwood. Despite this, Travolta's character has a Rocky poster in his room, a film directed by Avildsen.

text: Soundtrack[edit]

text:
"Stayin' Alive" performed by Bee Gees – 4:45
"How Deep Is Your Love" performed by Bee Gees – 4:05
"Night Fever" performed by Bee Gees – 3:33
"More Than a Woman" performed by Bee Gees – 3:17
"If I Can't Have You" performed by Yvonne Elliman – 3:00
"A Fifth of Beethoven" performed by Walter Murphy – 3:03
"More Than a Woman" performed by Tavares – 3:17
"Manhattan Skyline" performed by David Shire – 4:44
"Calypso Breakdown" performed by Ralph MacDonald – 7:50
"Night on Disco Mountain" performed by David Shire – 5:12
"Open Sesame" performed by Kool & the Gang – 4:01
"Jive Talkin'" performed by Bee Gees – 3:43 (*)
"You Should Be Dancing" performed by Bee Gees – 4:14
"Boogie Shoes" performed by KC and the Sunshine Band – 2:17
"Salsation" performed by David Shire – 3:50
"K-Jee" performed by MFSB – 4:13
"Disco Inferno" performed by The Trammps – 10:51

tag: ol

text: According to the DVD commentary for Saturday Night Fever, the producers intended to use the song "Lowdown" by Boz Scaggs in the rehearsal scene between Tony and Annette in the dance studio, and choreographed their dance moves to the song. However, representatives for Scaggs' label, Columbia Records, refused to grant legal clearance for it, as they wanted to pursue another disco movie project, which never materialized. Composer David Shire, who scored the film, had to in turn write a song to match the dance steps demonstrated in the scene and eliminate the need for future legal hassles. However, this track does not appear on the movie's soundtrack.

text: The song "K-Jee" was used during the dance contest with the Puerto Rican couple that competed against Tony and Stephanie. Some VHS cassettes used a more traditional Latin-style song instead. The DVD restores the original recording.

text: The album has been added to the National Recording Registry in the Library of Congress.[8]

text: Distribution[edit]

text: Theatrical releases[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2017) (Learn how and when to remove this template message)

text: Two theatrical versions of the film were released: the original R-rated version and an edited PG-rated version. (The PG-rated re-issue was in 1979; the middle-ground PG-13 rating was not created until 1984.)

text: The R-rated version released in 1977 represented the movie's first run, and totaled 118 minutes.

text: After the success of the first run, in 1979, the film's content was re-edited into a toned down, PG-rated version and re-released during a second run, not only to attract a wider audience, but also to capitalize on attracting the target audience of the teenagers who were not old enough to see the film by themselves, but who made the soundtrack album to the film a monster hit. The R-rated version's profanity, nudity, fight sequence, and a multiple rape scene in a car, were all de-emphasized or removed from the PG version.

text: Producer Robert Stigwood said in an A&E Documentary of "The Inside Story: Saturday Night Fever", about the PG version:

text:
“
It doesn't have the power, or the impact, of the original, R-rated edition.
”

text: The PG-rated version was 112 minutes. Numerous profanity-filled scenes were replaced with alternate takes of the same scenes, substituting milder language initially intended for the network television cut.

text: When the film premiered on network television, on ABC in 1980, a new milder version was created to conform with network broadcast standards. To maintain runtime, a few deleted scenes were restored (including Tony dancing with Doreen to "Disco Duck", Tony running his finger along the cables of the Verrazano–Narrows Bridge, and Tony's father getting his job back). The last two deleted scenes were included in the 2017 director's cut.

text: In 1980, Paramount Pictures paired up the PG-rated version of the film as a double feature along with its other John Travolta blockbuster, Grease.[9]

text: When Saturday Night Fever premiered on HBO in 1980, HBO aired both versions of the film: the PG version during the day, and the R version during the evening (HBO had a programming rule of only showing R-rated films during the evening. This was before switching to a 24-hour-a-day operation, while still under their old broadcast standards concerning R-rated films). The premiere of the R-rated edition occurred at midnight on January 1, 1980.

text: In 2017 the director's cut (122 minutes) premiered at the TCM Festival at Grauman's Chinese Theatre in Hollywood. Fathom Events will host special screenings of this version in 2017. This version was released on Blu-Ray & DVD in May.

text: Home media[edit]

text: Both theatrical versions were released on VHS. The PG-rated version never had a Home Video Release on Laserdisc. The R-rated special-edition DVD release includes most of the deleted scenes present on the PG version. The DVD release also includes a director's commentary and "Behind the Music" highlights. Starting in the late 1990s VH1, TBS, and TNT started showing the original R-rated version with a TV-14 rating. The nudity was removed/censored, and the stronger profanity was either edited or (on recent airings) silenced. But this TV edit included some of the innuendos from the original film that were edited or removed from the PG version. Turner Classic Movies has aired the film in both versions (the R-rated version is commonly seen on their normal lineup, while the PG version has appeared on TCM's "Funday Night at the Movies" and "Essentials Jr." program blocks.)

text: The network television version (which premiered on November 16, 1980, on ABC) was basically a slightly shortened form of the PG-rated version, but contained several minutes of out-takes normally excised from both theatrical releases to make up for lost/cut material. It is among the longest cuts of the film.

text: On May 5, 2009, Paramount released Saturday Night Fever on Blu-ray Disc in 1.78:1 aspect ratio. This release retains the R-rated version of the film along with many special features new to home media.[10]

text: The 4K director's cut (122 minutes) was released on Blu-Ray on May 2, 2017. This disc includes both the director's cut and the original theatrical version, as well as the bulk of the bonus features from the prior release.

text: Reception[edit]

text: Critical response[edit]

text: Saturday Night Fever received positive reviews and is regarded by many critics as one of the best films of 1977.[11][12][13][14] On Rotten Tomatoes the film has an approval rating of 86% based on 44 reviews, with an average rating of 7.5/10. The site's critical consensus reads, "Boasting a smart, poignant story, a classic soundtrack, and a starmaking performance from John Travolta, Saturday Night Fever ranks among the finest dramas of the 1970s."[15] At Metacritic the film has a score of 77 out of 100, based on 7 critics, indicating "generally favorable reviews".[16] It was added to The New York Times "Guide to the Best 1,000 Movies Ever Made", which was published in 2004.[17] In 2010, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

text: Film critic Gene Siskel, who would later list this as his favorite movie, praised the film: "One minute into Saturday Night Fever you know this picture is onto something, that it knows what it's talking about." He also praised John Travolta's energetic performance: "Travolta on the dance floor is like a peacock on amphetamines. He struts like crazy."[18] Siskel even bought Travolta's famous white suit from the film at a charity auction.[19]

text: Film critic Pauline Kael wrote a gushing review of the film in The New Yorker: "The way Saturday Night Fever has been directed and shot, we feel the languorous pull of the discotheque, and the gaudiness is transformed. These are among the most hypnotically beautiful pop dance scenes ever filmed...Travolta gets so far inside the role he seems incapable of a false note; even the Brooklyn accent sounds unerring...At its best, though, Saturday Night Fever gets at something deeply romantic: the need to move, to dance, and the need to be who you'd like to be. Nirvana is the dance; when the music stops, you return to being ordinary."[20][21]

text: Awards and nominations[edit]

text: Award wins:

text:
National Board of Review Award for Best Actor – John Travolta
Golden Screen Award, Germany

text: Award nominations:

text:
Academy Award for Best Actor – John Travolta
BAFTA Award for Best Film Music – Barry Gibb, Maurice Gibb, Robin Gibb
BAFTA Award for Best Sound – Michael Colgan, Robert W. Glass Jr., Les Lazarowitz, John T. Reitz, John Wilkinson
Golden Globe Award for Best Motion Picture - Musical or Comedy
Golden Globe Award for Best Actor – Musical or Comedy – John Travolta
Golden Globe Award for Best Original Score – Barry Gibb, Maurice Gibb, Robin Gibb, David Shire
Golden Globe Award for Best Original Song – Barry Gibb, Maurice Gibb and Robin Gibb for the song "How Deep Is Your Love?"
Writers Guild Award for Best Drama Written Directly for the Screen – Norman Wexler

text: American Film Institute Lists

text:
AFI's 100 Years...100 Movies – Nominated
AFI's 100 Years...100 Songs:

Stayin' Alive – #9
More Than a Woman – Nominated

AFI's 100 Years...100 Cheers – Nominated
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated

text: References in popular culture[edit]

text: In 2008, the director Pablo Larraín made a film, Tony Manero, about a Chilean dancer obsessed by the main character in Saturday Night Fever who tries to win a Tony Manero look-alike contest.[22]

text: On April 17, 2012, Fox aired series Glee's episode 16, "Saturday Night Glee-ver", which pays tribute to the film and features various songs from its soundtrack (especially the songs performed by the Bee Gees), covered by the series' cast.[23][24]

text: The Red Hot Chili Peppers 2016 music video for their song "Go Robot" is heavily inspired by the film and recreates the opening scene and classic characters from the film who are portrayed by each band member.[25]