document_title: Major League Baseball rosters

question_text: when did mlb go to 25 man roster

question_tokens: when did mlb go to 25 man roster

text: Major League Baseball rosters

text: Active roster[edit]

text: Since 1910, when teams were first allowed to carry players under contract in excess of those allowed to participate in regular season games, the latter has been called the "active roster." With exceptions through the years for varying economic conditions (primarily during World War I, the Great Depression, post-World War II, and from 1986 to 1989 when the limit was set at 24 because of rising player salaries), the active roster has allowed up to 25 players to participate for a Major League team within specified dates, currently Opening Day to September 1. In 1968, the 25-player maximum for active rosters was made a part of the first collective bargaining agreement between the major leagues and the Major League Baseball Players Association. Since 1977, teams have been required to carry a minimum of 24 players on their active rosters as well.

text: Active rosters include the starting eight (National League) or nine (American League) position players, pitchers, and reserve players on the team. Players on the active roster are also on the 40-man roster. These players are generally the only ones who dress in uniform and are the only ones who may take the field in a game at any time.

text: Typically, in modern-day play, an active roster will consist of five starting pitchers, seven relief pitchers, two catchers, six infielders, and five outfielders. Teams can vary this somewhat according to preference and circumstance, and indeed the "typical" roster makeup has changed somewhat over the years. (Starting rotations used to consist of four pitchers, not five, well into the 1970s; third-string catchers used to be much more common; many other minor variations exist.) In the American League, a full-time designated hitter (DH) is usually classified as either an infielder or an outfielder, not a DH, because most DHs do play defensive positions from time to time.

text: Since the 2012 season, teams have been allowed 26-player active rosters for "day-night" doubleheaders—two games scheduled on the same day, but with the stadium cleared between games, and separate tickets sold for each game—as long as the doubleheaders have been scheduled with at least 48 hours notice.[1]

text: Expanded roster[edit]

text: Also called the "40-man roster", the expanded roster is composed of all the players in a Major League club's organization who are signed to a major-league contract. The 40-man roster limit has been in effect since 1921, except for 1945 and 1946 when it was raised to 48 to accommodate veterans returning from military service in World War II, and from 1962 to 1965 when it was raised to 41 to add a reserve spot for first-year players acquired before implementation of a player draft was approved prior to the 1965 season.

text: The expanded roster includes all players who are eligible for call-up to the active roster at any given time. Also on the 40-man are any players on the 10-day disabled list (DL) and minor league players who are signed to a major-league contract but are on an "optional assignment" to the minors. (Each player has three "option years" to be sent to the minors once on the expanded roster before they must be placed on waivers to be sent there.) Players who were on the 40-man but are placed on the 60-day disabled list are taken off the 40-man until the time on the DL is over. The same applies to players who are suspended. Because players on the 60-day DL are taken off the 40-man with no risk of losing the player, MLB teams often transfer injured players from the 10-day DL to the 60-day DL so that they can add another player to the 40-man without having to designate a player for assignment. Designating for assignment ("DFA") is the removal of a player from the expanded roster, whereby the team has 7 days to trade the player [2], release him, or send him to the minors.

text: September call-ups[edit]

text: On September 1, the Major League team's roster expands from the 25-man active roster to the entire 40-man roster. At this point, any player on the expanded roster on August 31 may play for the Major League team.

text: September call-ups are players from the minors who are playing in September to get Major League experience and, especially for teams in contention, to provide reinforcements down the stretch. Note, however, that once the roster expands, in practice teams will utilize a number of September call-ups (typically up to six), but seldom if ever the full 15 extra players that the rules allow.

text: Postseason roster[edit]

text: A postseason roster takes effect only if a team clinches a playoff berth. Players who are part of the team's final roster at the end of the regular season are eligible to participate in the postseason. Any player who has been traded from a different team, spent time in the Minor Leagues, or signed later in the season with the team (no later than August 31) is eligible to participate in the postseason. A postseason roster is allowed up to 25 active players. Other players who are not on the 25-man active roster will be assigned to the postseason secondary squad. Players who are on the disabled list or any other non-active transaction by the end of the regular season will have their transactions passed on in the postseason. Rosters for a series are set at the beginning of the series and no changes to the 25-man active roster are allowed except when a player is moved to the disabled list or any other inactive transaction. If a player is moved to the disabled list or another inactive transaction during a series, he then becomes ineligible to be returned to the 25-man active roster for the remainder of the series as well as the next series if applicable. If any player goes on any inactive transaction, any player from the 40-man roster can be promoted to the 25-man active roster for the remainder of the series if applicable.[3]

text: For a player to be eligible for the postseason active roster, he must have either been on his club's expanded roster or disabled list as of midnight ET on August 31 of that year and not placed on the 60 day disabled list after August 1.[4] The one exception is for replacing players on the disabled list. Since the 2014 season, an injured player eligible for postseason play may be replaced by any player within his club's organization, including players assigned to the club's minor league affiliates who are not on the major league 40-man roster. Prior to 2014, only players who were on a club's 40-man roster (including those added to the expanded roster after August 31, who would not otherwise be eligible for the postseason) at the conclusion of the regular season were eligible to replace injured players on postseason rosters. The 2015 Kansas City Royals were the first club to exploit this new provision when they added Adalberto Mondesí—who at the time was assigned to the Royals' Double-A affiliate and was not on the 40-man roster—to their World Series roster.

text: Non-roster players[edit]

text: All other professional players affiliated with Major League Baseball are signed to minor-league contracts. They can receive an invitation to spring training with their organization's Major League team without being on the 40-man roster. Two types of players generally receive a non-roster invitation: prospect players who are there to gain experience and face tougher competition as well as receive instruction from the Major League team's coaching staff; and veteran players who were not offered any major league contract by a club. The veteran player is usually signed to a "two-way" salary option—one for their time in the minors and another if they are placed on the 40-man during the season. All spring training invitees are under some sort of contract, to avoid liability if an injury were to occur to the player.

text: All-Star roster[edit]

text: Since 1933, an annual Major League Baseball All-Star Game has been played at approximately the mid-point of each season, except for 1945. The game features an American League team versus a National League team. The number of players on All-Star rosters has varied; since 2010, there are 34 players on each league's roster.


document_title: Rutt's Hut

question_text: what kind of hot dogs does rutt's hut use

question_tokens: what kind of hot dogs does rutt 's hut use

root

text: Rutt's Hut

text:
Rutt's Hut

Rutt's Hut

Restaurant information

Established
1928

Current owner(s)
George Sakellaris, Gus Chrisafinis, George Petropoulakis, Nick Karagiorgis

Dress code
Casual

Street address
417 River Road

City
Clifton

State
New Jersey

Postal/ZIP Code
07014

Country
United States

Reservations
No

tag: table

text: Rutt's Hut is a restaurant in Clifton, New Jersey known for its style of deep-fried hot dogs. The process of frying causes the hot dog casings to crack and split, which has led to the nickname "Rippers". The restaurant is also known for its homemade relish, which is made with a secret blend of mustard and spices.

tag: p

text: In addition to the Ripper, you can order the dogs 'In-And-Out' style which is only in the hot oil briefly, and the 'Cremator' which is charred black.

text: The original roadside stand was opened in 1928 by Royal "Abe" Rutt and his wife, Anna. The family sold the restaurant to the current owners, George Petropoulakis, Louis Chrisafinis, Nicholas Karagiorgis, and George Sakellaris in late 1974.[1] Today the building is split into three separate sections: a restaurant, a bar, and a take-out counter.

text: Rutt's Hut has been featured on the PBS special A Hot Dog Program,[2] numerous Food Network shows and the Travel Channel's Deep-Fried Paradise.[3] It is also listed in the book 1,000 Places to See in the USA and Canada Before You Die.

text: Pin-up Queen Bettie Page had a series of photos taken where she and another model were eating hot dogs on a boat in bikinis. Those photos were taken on the Passaic River after a visit to Rutt's.


document_title: Frank Sinatra's recorded legacy

question_text: what kind of voice did frank sinatra have

text: Frank Sinatra's recorded legacy

text: Influences[edit]

text: Sinatra's vocal style represented a strong departure from the "crooning" style of his idol, Bing Crosby. Sinatra's generation represented the first generation of children that had grown up in the era of the microphone, and the amplification of sound enabled singers to sing in a much softer, personal and nuanced style. However Sinatra, as he himself once noted, sang more, by which he meant that he introduced a bel canto sound to the tradition begun by Crosby. And, more importantly, he might be said to have brought the Crosby tradition to artistic completion, taking it to levels of intensity and depth of feeling that, because of the displacement of the Crosby – Sinatra tradition by rock and roll and subsequent genres, are unlikely to be achieved again.

text: Two other great performers of the 1930s and 1940s were significant influences on Sinatra: Billie Holiday and Mabel Mercer. Sinatra regularly heard "Lady Day" in New York clubs in the 1940s and learned from her the importance of authenticity of emotion. From Mercer he learned the importance of the element of "story" in a song. For Sinatra a song is a three- to four-minute narrative — sometimes even the story of himself, his own life, his own heartaches, his own feelings of buoyancy — and this is why Ella Fitzgerald could say of him, "With Frank, it's always this little guy, telling this ... story." The archetypal examples of the Sinatra song as story could later be found in two selections from his 1958 Capitol album, Frank Sinatra Sings For Only The Lonely: "Angel Eyes" and "One For My Baby (And One More For The Road)".

text: Sinatra's voice[edit]

text: Sinatra made a point of studying Tommy Dorsey's trombone playing as a means of cultivating a more free-flowing vocal style — he noticed that Dorsey used a tiny airhole at the side of his mouth to sneak breaths when playing. Sinatra would employ a similar technique, and so be able to hold notes for incredibly long durations. In addition to this, Sinatra started to jog and swim underwater to develop his lung capacity — which enabled him to continue a musical phrase through a stanza without pausing, or breaking the note, for breath. Sinatra's legato-style of singing/phrasing took pop singing in new directions when most singers of the 1940s were keen to emulate Bing Crosby.

text: As happens with many singers, Sinatra suffered at least one period of major vocal difficulty, which he remedied with the help of Metropolitan Opera baritone Robert Merrill.

text: As a song-stylist, Sinatra's jazz-infused approach to singing seemed to occur with the end of the "Big Band" era and ushering in of an era that favored the vocalist and made him/her the focus, not the bandleader and his band.

text: Sinatra also possessed an outstanding vocal range. According to music critic Henry Pleasants "The voice itself was a typical Italian light baritone with a two octave range from G to G, declining, as it darkened in later years, to F to F and with greater potential at the top than he was commonly disposed to exploit. He could and sometimes did depress the larynx and 'cover' as classical singers do, to sustain a full rounded tone in moving up the scale. On his recording 'Day by Day,' for example he gives out with full-voiced, admirably focused D's and E's and even lands a briefly held but confident high G just before the end." [1] His early recordings found him singing in near-tenor range, hitting a high F on "All or Nothing At All" (1939) or "Where's My Bess" (1946), whilst being equally adept in the lower register, the low E on his 1962 recording of "Ol' Man River" being a prime example of such. His phrasing was also impeccable, getting to the heart of a song by emphasizing words and lines in ways that made a song more personal, whilst his ability to hold notes, sing above or behind the beat and rest on a note were hallmarks of a singer fully in command of his instrument.

text: Sinatra as a conductor[edit]

text: Between 1946 and 1983 Sinatra conducted seven albums and occasionally conducted live orchestras on stage. His first recordings on which he wielded the baton were instigated by producer Mitch Miller, who approached Columbia boss Maine Sachs to request that Sinatra conduct some of the work of Alec Wilder, later released as Frank Sinatra Conducts The Music Of Alec Wilder. In 1956 Sinatra recorded the first album in the Capitol Records tower, not as a vocalist, but as a conductor on the album Frank Sinatra Conducts Tone Poems of Color. In 1957 and 1959 he conducted albums for Peggy Lee — The Man I Love — and Dean Martin — Sleep Warm — the latter, charting inside Billboard's Top 40. A lesser-known project for his own label, Reprise, entitled Frank Sinatra Conducts Music from Pictures and Plays remains relatively obscure, and it was 20 years before Sinatra conducted in a studio again, for Sylvia Syms on the album Syms by Sinatra, which featured the final arrangements of Don Costa. The following year Sinatra conducted for trumpeter Charles Turner on the album What's New?.

text: Genres[edit]

text: Sinatra would certainly have been considered a 'pop' singer before the "Rock and Roll" era, and the epithets Traditional Pop or more specifically Classic Pop have perhaps been coined to describe Sinatra's style. In addition, Sinatra would and did tackle several styles and genres of music throughout his career, with differing degrees of success.

text: There still exists a debate as to whether Sinatra was a jazz singer. He certainly performed with many of the finest jazz musicians and, in fact, headlined the Newport Jazz Festival and toured with the Red Norvo Quintet. There are very few occasions when Sinatra was recorded scat singing, but minor nuances and slight deviations from the vocal line are a hallmark of the material he recorded, and he was also known for his impeccable jazz timing and phrasing. Indeed, it is impossible to imagine the Sinatra after 1953 without the influence of jazz. It is no accident that he would be Lester Young's ideal singer in the band Young had hoped to lead, nor that Miles Davis identified Sinatra's phrasing as an influence on his own. The list of Sinatra's jazz admirers is long and stellar, including such figures as Count Basie, Stan Getz, Oscar Peterson[2] and Jaco Pastorius[3]

text: The Philadelphia radio DJ Sid Mark has hosted a Frank Sinatra show (Friday with Frank, Saturday with Sinatra, Sunday with Sinatra) since 1957.

text: Songs and albums[edit]

text: Sinatra left a vast legacy of recordings, from his very first sides with the Harry James orchestra in 1939, the vast catalogs at Columbia in the 1940s, Capitol in the 1950s, and Reprise from the 1960s onwards, up to his 1994 album Duets II.

text: Some of his best known recorded songs include:

text:
Great American Songbook entries such as "Night and Day", "I've Got You Under My Skin", and "Fly Me To The Moon"
Comic numbers such as "Love and Marriage" (used as theme for American television comedy Married... with Children)
Torch songs such as "One for My Baby", "Angel Eyes", and "Drinking Again"
"It Was a Very Good Year" and "Summer Wind", which capture his mid-1960s persona of sentimental nostalgia
"That's Life", "My Way", and "New York, New York", which convey his late-stage attitude of bombastic defiance.

tag: ul

text: Three of his songs made #1 on the Billboard Hot 100 after the advent of the rock and roll era: "Learnin' the Blues" (1955), "Strangers in the Night" (1966), and "Somethin' Stupid" (1967), the last a duet with daughter Nancy.

text: Of all his many albums, Sinatra at the Sands, recorded live in Las Vegas in 1966, with Sinatra in his prime, backed by Count Basie's big band, remains his most popular and is still a big seller. Whether in nightclubs, casinos, arenas, or stadiums, Sinatra was one of the most mesmeric entertainers of the twentieth century, capable of turning the largest venue into a simulacrum of an intimate club. There are, however, few recordings or videos of his concerts. In addition to the Sands performance with Basie, three performances of Sinatra at the very peak of his career were captured: With Red Norvo Quintet: Live In Australia, 1959, Sinatra '57 in Concert, a performance in Seattle with an orchestra conducted by Nelson Riddle and Sinatra & Sextet: Live in Paris, recorded in June 1962.

text: Sinatra is also credited with putting out perhaps the first concept album. 1955's In the Wee Small Hours is the prime example: a set of songs specifically recorded for the album, using only ballads, organized around a central mood of late-night isolation and aching lost love (supposedly due to his separation from Ava Gardner), with a now-classic album cover reflecting the theme. Rolling Stone magazine later named In the Wee Small Hours as #100[4] on its list of the 500 best albums of all time, an impressive showing given that its rankings reflect the outlook of the rock generation.

text: The following year's Songs For Swingin' Lovers took an alternate tack, recording existing pop standards in a hipper, jazzier fashion, revealing an overall exuberance; Rolling Stone placed it #306[5] on the above list.

text: It was the advent of the long-playing record that opened the door to these famous concept albums of the 1950s, but Sinatra's first efforts in this direction go back to the Columbia years and The Voice, when the 78 rpm disc made "album" less of a metaphor than it would become with the single-disc LPs of the 1950s. The Voice of Frank Sinatra was released on March 10, 1946 — it was re-issued as a 10" record in 1958. Four more albums would follow over the next five years, as would a Christmas album and a project in which Sinatra conducted the songs of Alec Wilder.

text: Other notable Sinatra albums include Where Are You? from 1957, which was his first stereo album and his first album recorded with Gordon Jenkins, Frank Sinatra Sings for Only the Lonely (1958), a bleak, introspective album, which Sinatra later claimed was his finest work.

text: The lavish The Concert Sinatra (1963) offered re-recordings of "Ol' Man River" and "You'll Never Walk Alone", backed by a 73-piece orchestra. 1965's September of My Years, according to critic Stephen Holden "summed up the punchy sentimentality of a whole generation of American men". Francis Albert Sinatra & Antonio Carlos Jobim (1967) was a late foray into bossa nova, with Antonio Carlos Jobim.

text: 1973's comeback album Ol' Blue Eyes Is Back was Sinatra's first album after being away from recording for three years; 1980's Trilogy: Past Present Future was an ambitious triple album using three arrangers that attempted to portray the past, present, and future of his career.

text: 1981's She Shot Me Down is sometimes considered the last great Sinatra album. A collection of what Sinatra called "saloon songs", it includes Alec Wilder's "A Long Night".

text: Speaking to Robin Douglas-Home in 1961, Sinatra said, with regards to the making of his many concept albums, "First I pick the mood for an album, and perhaps pick a title. Or perhaps it might be that I had that title and then picked the mood to fit it... Then I get a shortlist of maybe sixty possible songs and out of these I pick twelve to record. Next comes the pacing of the album, which is vitally important... Once we choose songs that will be in a particular album, I'll sit with Bill Miller, my pianist, and find the proper key. Then I will meet with the orchestrator... Usually we wind up doing it the way the arranger feels it should be done, because he understands more than I do about it..."

text: Charts and hits[edit]

text: Frank Sinatra holds the unique distinction of singing on the first Billboard #1 single, "I'll Never Smile Again" (1940) — which sold 900,000 copies — and had the first ever #1 album in the UK, Songs For Swingin' Lovers (July 28, 1956). This same album is also the only album to chart among the UK top twenty singles, peaking at #12 on June 15, 1956. In 1959, the album Come Dance with Me! also entered the UK singles chart peaking at #30 the same week it would start a 30-week run on the album chart, going as high as #2.

text: From his first released single in 1940 — as the singer with Tommy Dorsey's band — to the 1980 release of "Theme from New York, New York", Frank Sinatra had 209 hits on Billboard's pop singles charts. Of those, 127 made the Top Twenty, 70 made the Top Ten and 10 reached the #1 position — "I'll Never Smile Again" (1940), "There Are Such Things" (1942), "In the Blue of the Evening" (1943), "All or Nothing at All" (1944), "Oh What It Seemed To Be" (1945), "Five Minutes More" (1946), "Mam'selle" (1947), "Learning the Blues" (1955), "Strangers in the Night" (1966) and "Somethin' Stupid" (1967).

text: Of Sinatra's 56 Top Twenty albums on Billboard's pop album charts, 42—including soundtracks — reached the Top Ten and 6 made the #1 position — The Voice of Frank Sinatra (1946), In the Wee Small Hours — which spent 18 weeks at #2—Come Fly With Me (1956), Frank Sinatra Sings for Only the Lonely (1958), Nice 'n' Easy (1960) and Strangers in the Night (1966). He also has the longest time span of charting Top Ten albums on the Billboard album chart, 62 years with The Voice of Frank Sinatra going to #1 in 1946, and Nothing But the Best going to #2 in 2008.

text: Sinatra's 1958 album Frank Sinatra Sings for Only the Lonely spent 120 weeks on Billboard's album chart, peaking at #1. His next album, Come Dance with Me! (1959) spent 140 weeks on Billboard, peaking at #2.

text: "My Way" (1969) is the longest charting U.K. single of all time, with 122 weeks spent on the chart, peaking at number 5. The single re-entered the chart 8 times between 1970 and 1972. A 1995 re-release spent 2 weeks on the chart.

text: In the UK, 42 Sinatra albums have made the Top Ten. Fifty-four Sinatra albums have made the Top Twenty, the longest charting of those albums being the 1997 compilation My Way: The Very Best of Frank Sinatra, which, to date, has charted for 128 weeks achieving 5 x platinum status. Six of Sinatra's albums reached the #1 position on the UK album chart, with a further five peaking at #2.


document_title: Avenue Q

question_text: where does the current off-broadway production of avenue q play

question_tokens: where does the current off-broadway production of avenue q play

text: Avenue Q

text: Background[edit]

text: Avenue Q's unique presentation requires substantially more suspension of disbelief by audience members than normal. The cast consists of three human characters and eleven puppet characters who interact as if human, Sesame Street-style. The puppets are animated and voiced by actor/puppeteers who are present, unconcealed, onstage but remain "invisible" relative to the storyline. That is, puppets and human characters completely ignore the puppeteers, and the audience is expected to do so as well. This can be a challenge as puppeteering mechanics are at times complex: The same puppet may be operated by different puppeteers in different scenes, and the actor voicing the puppet may not be the one animating it. To assist in the illusion, the puppeteers wear plain gray clothing in contrast to the human characters' colorful costumes. One puppeteer sometimes voices two or more puppets simultaneously. Conversely, the so-called "live-hands" puppets (see Puppets) require two puppeteers — again, in full view of the audience.

text: The show draws inspiration from and imitates the format of children's educational television shows, specifically Sesame Street and The Muppets. Marx interned at the program early in his career, and all four of the original cast's principal puppeteers—John Tartaglia, Stephanie D'Abruzzo, Jennifer Barnhart and Rick Lyon—were Sesame Street performers (D'Abruzzo returned to Sesame Street after leaving Avenue Q[7]). Three of the puppet characters are direct recognizable parodies of classic Sesame Street puppets: Roommates Rod and Nicky are a riff on Bert and Ernie, while Trekkie Monster bears the distinctive voice and disposition of Cookie Monster, though not his obsession with baked goods. (The production officially disclaims any connection with either Sesame Workshop or The Jim Henson Company.)[8]

text: All of the characters (puppet and human) are young adults who face real-world adult problems with uncertainty of how they will solve these dilemmas, as opposed to the simplistic problems and invariably happy resolutions faced by characters on children's television programming. Much of the show's ironic humor emerge from its contrasts with Sesame Street, such as illustrating the differences between innocent childhood and the difficult adulthood. The storyline presupposes the existence of "monsters" and talking animals, and human actors sing, dance and interact with puppets, both human and non-human, as if they were sentient beings, in a light-hearted, quasi-fantasy environment. (No attempt is made to explain why seven of the human characters are played by puppets while the other three are played by actual humans.) However, the show includes a considerable amount of profanity in the dialogue as well as including intercourse with puppets. In addition, the show addresses adult themes that may be deemed inappropriate for younger children, such as racism, pornography, homosexuality and schadenfreude.

text: The show also employs a highly unusual plot device: a real-life celebrity as a fictional character within the story. Gary Coleman, the juvenile actor who played Arnold Jackson in the 1980s American sitcom Diff'rent Strokes and later famously sued his parents and business advisers for stealing his earnings during that time period,[9] is portrayed (by a woman in most productions) as an adult, who happens to be the building superintendent in the run-down Avenue Q neighborhood to earn as much money as possible to keep on living.

text: Marx and Lopez said that they originally intended to offer the Gary Coleman role to Coleman himself, and he expressed interest in accepting it, but did not show up for a meeting scheduled to discuss it.[1] Coleman later threatened repeatedly to sue Avenue Q producers for their depiction of him, but ultimately did not.[10]

text: When Coleman died on May 28, 2010, casts of both the Off-Broadway production in New York City and the second national tour in Dallas dedicated that evening's performances to his memory.[11][12] The Coleman character remains in the show with modified dialogue.[13]

text: Plot[edit]

text: Setting: a fictional street in an "outer-outer borough" of New York City.

text: Act I[edit]

text: Princeton, a recent college graduate, is anxious to discover his purpose in life; but first, he must find an apartment and a job, with no work experience and an English degree ("What Do You Do with a B.A. in English?"). Beginning his search on Avenue A, he finally finds an affordable apartment on Avenue Q. His new neighbors are Kate Monster, a kindergarten teaching assistant; Rod, an anal-retentive Republican banker; Nicky, Rod's slacker roommate; Brian, an aspiring comedian recently laid off from his day job; Christmas Eve, Brian's Japanese fiancée and a therapist with no clients; Trekkie Monster, a surly recluse who surfs the Internet all day in search of porn; and Gary Coleman, the building superintendent. Arguments ensue over whose life sucks the most ("It Sucks to Be Me").

text: Nicky, who is straight, suspects that Rod is gay, and assures Rod it is okay with him if he is; but Rod insists he is not ("If You Were Gay"). Princeton finds a lucky penny and longs to discover his purpose in life ("Purpose"). Kate dreams of starting a "Monstersori" school for young "people of fur". Princeton innocently asks Kate if she and Trekkie are related, since they are both monsters, but Kate angrily pronounces his assumption racist. Princeton, taken aback, counters that Kate's Monstersori School would discriminate against non-monsters. They and the neighbors agree that racism is an adult reality ("Everyone's a Little Bit Racist").

text: Princeton receives money from his parents, and the Bad Idea Bears, two charming troublemakers, convince him to spend it on beer. Kate's boss, Mrs. Thistletwat, assigns Kate to teach the next morning's kindergarten class, her first solo teaching opportunity. She decides that her lesson will be about the Internet and all its educational attributes, but Trekkie Monster and the neighbors explain another reality of adulthood: Lots of adults—even "normal people"—use it to find pornography ("The Internet is for Porn").

text: Princeton gives Kate a mixtape. His song selections are puzzling, making her wonder what message he is trying to send, but eventually, she decides that he must like her ("Mixtape"). Sure enough, he invites her on a date to the Around the Clock Café. Brian, the café's MC, does his raunchy stand-up act ("I'm Not Wearing Underwear Today"). He then introduces Lucy the Slut, a skanky chanteuse who wows the guys, especially Princeton, with a seductive cabaret number ("Special"). The Bad Idea Bears suggest that Kate and Princeton order some "harmless" Long Island Iced Teas, and once Kate is totally inebriated, that Princeton takes her home to bed.

text: Kate and Princeton have enthusiastic, high-decibel sex. Gary fields angry calls from other tenants but refuses to intercede ("You Can Be as Loud as the Hell You Want When You're Makin' Love"). Meanwhile, Rod hears Nicky say, "I love you, Rod," in his sleep, and is jubilant—but eventually realises it was he who was dreaming. Kate and Princeton profess their mutual love, and Princeton gives Kate his lucky penny ("Fantasies Come True").

text: The next morning, a hung-over Kate oversleeps and misses her teaching assignment. Mrs. Thistletwat berates her, and Kate angrily quits her job before she can be fired. Christmas Eve decides unilaterally that it is time she and Brian were married. At the wedding, Nicky blurts out his suspicion that Rod is gay. Rod, furious, insists he has a girlfriend named Alberta in Vancouver ("My Girlfriend Who Lives in Canada") and tells Nicky he is no longer welcome in their apartment.

text: When Kate catches Christmas Eve's wedding bouquet, Princeton panics, confesses a fear of commitment, and asks Kate if they can just be friends. Kate retorts that she already has plenty of friends, and breaks off their relationship ("There's a Fine, Fine Line").

text: Act II[edit]

text: A despondent Princeton has been holed up in his apartment after breaking up with Kate but is coaxed out by the neighbors ("There is Life Outside Your Apartment"). Lucy is looking for a place to crash and seduces the rebounding Princeton. Kate is angry, but Christmas Eve explains that she would not be angry if she were not in love with him ("The More You Ruv Someone"). Kate writes a note to Princeton suggesting that they rendezvous at the Empire State Building and leaves it with Lucy who promptly destroys it. A homeless Nicky laments his fate to Gary who confesses that he is deriving pleasure from Nicky's misfortune ("Schadenfreude").

text: On the Empire State Building's viewing platform, Kate, thinking that Princeton has stood her up, throws his lucky penny away. A hundred stories below, Lucy, walking by on Fifth Avenue, is knocked unconscious by the penny. Kate and Princeton unsuccessfully try to work out their problems over Lucy's comatose body. Rod is too proud to accept Nicky's repeated apologies, despite clearly missing him, and tearfully consults Christmas Eve. Princeton, Kate, and Nicky dream of returning to happier times ("I Wish I Could Go Back to College").

text: Princeton gives a still-homeless panhandling Nicky a quarter, and marvels at how fantastic he feels. Since thinking only about himself has gotten him nowhere, he decides to raise money to build Kate's Monstersori School. He solicits everyone, even breaking the fourth wall to shake down the audience, but results are disappointing ("The Money Song"). Then Trekkie Monster, recalling his own traumatic school experiences, donates ten million dollars—and explains to the astonished cast, "In volatile market, only stable investment is porn!" ("School for Monsters/The Money Song (Reprise)").

text: Kate joyfully opens her new school. Brian lands a consulting job, and Christmas Eve finally has a paying client (Rod), so the newlyweds move to a better neighborhood. Rod finally comes out, to no one's particular surprise, and takes Nicky back in. Nicky finds Rod a boyfriend—Ricky, a muscle-bound hunk who otherwise looks and sounds exactly like Nicky. The Bad Idea Bears discover Scientology. Lucy, recovered from her head injury, becomes a born-again Christian and takes a vow of chastity. Kate and Princeton agree to give their relationship another go ("There's a Fine, Fine Line (Reprise)").

text: A new college graduate inquires about the vacancy in the building, ("What Do You Do with a BA in English (Reprise)") and Princeton has an epiphany: maybe his purpose is to put everything he learned into a Broadway musical. Everybody, especially the new guy, immediately ridicules him. The cast reminds Princeton that, in the real world, many people never find their purpose, but life goes on, and everything—both good and bad—is "only for now." ("For Now").

text: Musical numbers[edit]

text:
Act I

"The Avenue Q Theme" – Company
"What Do You Do with a B.A. in English?" – Princeton
"It Sucks to Be Me" – Brian, Kate Monster, Rod, Nicky, Christmas Eve, Gary Coleman, and Princeton
"If You Were Gay" – Nicky with Rod
"Purpose" – Princeton and Company (via "singing boxes")
"Everyone's a Little Bit Racist" – Princeton, Kate, Gary, Brian, and Christmas Eve
"The Internet Is for Porn" – Kate, Trekkie Monster, Brian, Gary Coleman, Rod, and Princeton
"Mix Tape" – Kate and Princeton
"I'm Not Wearing Underwear Today" – Brian
"Special" – Lucy the Slut
"You Can Be as Loud as the Hell You Want (When You're Makin' Love)" – Gary, The Bad Idea Bears, Princeton, Kate, and Company
"Fantasies Come True" – Rod, Kate, Nicky and Princeton
"My Girlfriend, Who Lives in Canada" – Rod
"There's a Fine, Fine Line" – Kate

Act II

"It Sucks to Be Me" (Reprise) ‡ – Princeton
"There Is Life Outside Your Apartment" – Brian, Princeton, Christmas Eve, Gary, Nicky, Trekkie Monster, Lucy the Slut, and Company
"The More You Ruv Someone" – Christmas Eve and Kate
"Schadenfreude" – Gary and Nicky
"I Wish I Could Go Back to College" – Kate, Nicky and Princeton
"The Money Song" – Nicky, Princeton, Gary, Brian and Christmas Eve
"School for Monsters" – Trekkie Monster and Company
"The Money Song" (Reprise) – Nicky, Princeton, Gary, Brian and Christmas Eve
"There's a Fine, Fine Line" (Reprise) – Princeton and Kate
"What Do You Do With a B.A. in English?" (Reprise) – Newcomer
"For Now" – Company

text: ‡ = "It Sucks to Be Me (Reprise)" was not part of the original show or original cast recording. It was added to the Las Vegas production, and subsequently became part of the current off-Broadway show.

text: Characters[edit]

text: Note: These descriptions come from the Characters section in the script.

text:
Princeton: "A fresh-faced kid just out of college."
Kate Monster: "A kindergarten teaching assistant, a bit older than Princeton."
Nicky: "A bit of a slacker, who lives with Rod."
Rod: "A Republican investment banker with a secret."
Trekkie Monster: "A reclusive creature obsessed with the Internet."
Lucy: "A vixen-ish vamp with a dangerous edge."
The Bad Idea Bears: "two snuggly, cute teddy-bear types."
Mrs. Thistletwat: "Ancient, Kate's boss."
Brian: "A laid-back guy engaged to Christmas Eve."
Christmas Eve: "A therapist who moved here from Japan."
Gary Coleman: "Yes, that Gary Coleman. He lives on the Avenue, too. He's the superintendent."[14]

text: Instrumentation[edit]

text: The musical is scored for bass (acoustic and electric), drums/percussion (drum kit, bell tree, bongos, china cymbal, cowbell, egg shaker, finger cymbals, ice bell, mark tree, ratchet, siren whistle, slide whistle, tambourine, temple blocks, triangle, vibraslap, and wood block), guitars (acoustic, electric, and banjo), reeds (Bb clarinet, alto sax), flute, and two electronic keyboards.[15]

text: Other Avenue Q songs[edit]

text: Eight additional songs were written for Avenue Q or associated promotions, but are not part of the show itself.

text:
"Tear It Up and Throw It Away": Originally performed early in the first act, between "What Do You Do with a BA in English?" and "If You Were Gay"; Kate is called for jury duty, and Nicky advises her to ignore the summons, pretending it was lost in the mail. ("Your civic duty? Who gives a doody?") Kate tears up the summons and is ticketed for littering. The number was cut during Off-Broadway rehearsals because it had no relevance to the plot, and because, according to Stephanie D'Abruzzo, there was no judicious way to dispose of the paper scraps, which remained onstage throughout Act One.[16] The cut came so late that early promotional materials included references to the song, and its main melody can be heard underscoring dialog in "The Money Song" on the original cast recording. It was included on a CD that accompanied the original souvenir program but not on the cast recording. An original audio clip is available on YouTube.[17]
"Time": A video created for the London production, and originally shown on the on-stage video screens during intermission, just prior to the second act curtain; Nicky (Simon Lipkin) sits on the toilet in the theatre's men's room at intermission, singing about all the "chores" he is getting done between acts. Several audience members waiting to use the stall become increasingly annoyed. British comedian Matt Lucas has a cameo role. The song was cut during early previews for unspecified reasons, but remained on the CD that accompanied the souvenir brochure, and was shown at the final West End performance on 30 October 2010. A video can be viewed on YouTube.[18]
"Rod's Dilemma": Written for Tony Award voters, this song spoofs Avenue Q's competition for the 2004 Tony for Best Musical, and the entire Tony voting process. In the Rotary Club presidential election, Rod cannot decide whether to vote for the guy he has a crush on (symbolizing The Boy from Oz), a wealthy man (Wicked), or an old friend (Caroline, or Change). The neighbors advise him against voting "for your friends, 'cause they say you should vote for the candidate you think is good." The song was a part of the production's successful Tony Award campaign, called "Q '04 Now! Vote Your Heart!".[19][20] An audio cut is available on YouTube.[21]
"Only in Vegas": This parody of Las Vegas-style show tunes was written to promote the Las Vegas production. It featured Rick Lyon operating a Steve Wynn puppet, who tells the cast of Avenue Q how happy they will be in Las Vegas. The song was performed on the Regis and Kelly syndicated television show and in some press and media events.
"Rod's Christmas": Found on the CD Broadway's Greatest Gifts: Carols for a Cure, Vol. 5: Rod headlines at the "Don't Tell Daddy's Cabaret and Night Club" (a parody of the New York piano bar Don't Tell Mama, which is named for a song from the musical Cabaret). Rod sings that Christmas is the time of year where he can combine his two great loves, "Christmas carols and show tunes."
"The Holi-daze": Found on the CD Broadway's Greatest Gifts: Carols for a Cure, Vol. 8. Written by Michael Patrick Walker and Phoebe Kreutz (who both worked on the Broadway and Off-Broadway productions of Avenue Q), the members of the company sing about how they cope with the stresses and problems of the holiday season. The song does not feature any characters from the show but was recorded by several of the original Avenue Q cast and band members, and was sub-titled "Drinkin' Our Way Through The Holidays."
"Christmas": "Purpose" with new, festive lyrics. Written by the company of Avenue Q/London for Theatrecares' "West End Christmas" charity event. It is on a special CD, but can also be heard at Jon Robyns's Web site.[22]
"How Much Do the People in Your Neighborhood Make?": A parody on the classic Sesame Street song, "Who Are the People in Your Neighborhood", the song was written very early in the show's history, and dropped when the original television show format was abandoned in favor of a stage production.[2]

text: Puppets[edit]

text: The Avenue Q puppets, which cost up to $10,000 each, and require up to 120 hours of hand fabrication per character,[23] were designed and built by original cast member Rick Lyon.[24] Lyon's company, Lyon Puppets, continues to build and maintain the puppets used in all North American productions, and several of the international productions, including those from the UK, Australia, Mexico, Argentina and Brazil, while supervising the construction of those from the Finnish and Swedish productions. Their unusually sturdy construction, with double-stitching, reinforced seams, steel boning, and custom fake fur and feathers, is necessitated by the rigors of an eight-shows-per-week performance schedule.

text: Two distinct types of puppets are used in the show:

text: Rod puppets[edit]

text:
Single Rod: Princeton, Kate Monster, Newcomer
Double Rod: Rod, Lucy, The Bad Idea Bears
Rod puppets consist of a head and a torso with two arms, at least one of which is movable for gestures. "Single rod" puppets have one moveable arm controlled by one rod, with the other arm "posed" in a permanent gesture or attached to the puppet's torso; both arms are moveable on "double rod" puppets, each controlled by a separate rod. The puppeteer controls the puppet's head and mouth with his or her dominant hand, and holds one or both rods in the other hand.[25]

text: Live-hands puppets[edit]

text:
Nicky, Trekkie Monster, Mrs. Thistletwat, Ricky
Live-hands puppets require two puppeteers, each of whom contributes one hand and arm dressed with a long sleeve and glove matching the puppet's costume, which become the arms and hands of the puppet. The speaking puppeteer controls the puppet's left hand, head, and mouth, while the second, silent operator controls the right hand. (Sides are sometimes reversed if the speaking puppeteer is left-handed.) During the show, one puppeteer will sometimes leave to take over another puppet, leaving the live-hands puppet with a single operator and only one functioning hand. In a variation, one or both of the puppet's hands can be attached to its torso to permit operation by a single puppeteer.

text: Productions[edit]

text: 2003 Off-Broadway[edit]

text: Avenue Q ran Off-Broadway at the Vineyard Theatre for 72 performances from March 19 through May 4, 2003. The musical won the 2003 Lucille Lortel Award for Best Musical and Outstanding Sound Design (Brett Jarvis). It was nominated for the Lucille Lortel Award for Outstanding Director (Jason Moore), Outstanding Choreographer (Ken Roberson) and Outstanding Scenic Design (Anna Louizos).[26] It won the 2003–2004 Outer Critics Circle Award, Outstanding Ensemble Performance and Puppet Artistry and the 2004 GLAAD Media Award, Outstanding New York Theater: Broadway and Off-Broadway[27]

text: 2003 Broadway[edit]

text: Avenue Q opened on Broadway at the John Golden Theatre on July 31, 2003, following previews from July 10. The production was directed by Jason Moore and choreographed by Ken Roberson, with set design by Anna Louizos, costume design by Mirena Rada, lighting design by Howell Binkley, musical supervision by Stephen Oremus, musical direction by Gary Adler, and puppet design by Rick Lyon. It was produced by Kevin McCollum, Robyn Goodman, and Jeffrey Seller. The show was nominated for six Tony Awards and won three, in the categories of Best Musical, Best Original Score, and Best Original Book.

text: After 22 previews and 2,534 regular performances, it closed on September 13, 2009.[4] As of June 21, 2009, the production had grossed over $117 million and had returned profits of $23.5 million to its investors.[4] (All of the money collected from the audience during "The Money Song" is donated to Broadway Cares/Equity Fights AIDS.)

text: 2005 Las Vegas[edit]

text: In September 2005, Avenue Q opened at the Wynn Hotel and Casino in Las Vegas under a production contract that precluded Avenue Q tours in North America during the Las Vegas run. A new 1,200 seat theater was built especially for the show. Variations from the Broadway production included a new reprise of "It Sucks to Be Me" for Princeton at the top of Act Two, some new orchestrations, a trimmed "The Money Song," and a new rock arrangement of "There Is Life Outside Your Apartment," as well as a few jokes written specifically for Las Vegas audiences.

text: Attendance was well below anticipated levels, due at least in part to the constant turnover of tourists in Las Vegas, which rendered the cultivation of word-of-mouth publicity virtually impossible. In mid-January 2006 the show was cut to 90 minutes and the intermission was removed. Hotel owner Steve Wynn promoted the show heavily, at one point decorating 20 city cabs in orange fuzz and large white "Q" letters. All such efforts were unsuccessful, and the show closed on May 28, 2006 after a nine-month run,[28] terminating the exclusivity agreement and opening the way for national tours.

text: 2006 West End[edit]

text: A Cameron Mackintosh-produced version of Avenue Q premiered in 2006 in the West End at the Noël Coward Theatre (formerly the Albery Theatre). Several adaptive changes were made for British audiences, including portrayal of the Gary Coleman character by a male actor. The production ran 1,179 performances through March 2009, then reopened in June 2009 at the Gielgud Theatre. After a further 327 performances, the show moved in March 2010 to the Wyndham's Theatre,[29][30] where it closed on October 30, 2010 after a five-year run.[31]

text: 2007 US and Canada tour[edit]

text: The first national tour began at the Spreckels Theatre in San Diego, California on June 30, 2007. Broadway director and choreographer Jason Moore and Ken Roberson returned in those roles, as did most other Broadway creative team members. The tour played a total of 721 performances in 22 cities, and closed at the Fox Cities Performing Arts Center in Appleton, Wisconsin on May 10, 2009.[32]

text: 2009 Off-Broadway[edit]

text: After the show closed on Broadway, it reopened in New York at the New World Stages complex on October 9, 2009, where it is still running today.[33]

text: 2009 US tour[edit]

text: A second national tour opened in Clemson, South Carolina in September 2009 under direction of the same creative team, and closed in Huntsville, Alabama on April 23, 2011.

text: 2009 Australian and New Zealand productions[edit]

text: An Australian production opened in June 2009 at the Comedy Theatre, Melbourne, Victoria, directed by Jonathan Biggins and featuring a local cast, including Michala Banas as Kate/Lucy. The production visited Sydney in August, before touring Canberra (Australian Capital Territory), Perth (Western Australia), Adelaide (South Australia), Brisbane (Queensland), and Auckland in New Zealand, and closed in June 2010. The show won a number of Helpmann Awards, including Best Direction, Best Actress and Best Actor.[34]

text: 2011 and 2012 UK and Ireland tours[edit]

text: The first UK national tour began at the Theatre Royal Bath in February, 2011 and closed at Northampton's Derngate in July.[35]

text: A second UK tour began in January, 2012 at the Theatre Royal, Plymouth, with additional performances in Edinburgh, Cheltenham, Bath, Wolverhampton, Rhyl, Stoke, Swindon, Dublin, Cambridge, Canterbury, Cambridge, Oxford, Leicester, Salford, Glasgow, Coventry, Brighton, Liverpool, Southend, Nottingham, Hull, Southampton, Leeds, Newcastle and Dunstable.[36]

text: In Ireland, Avenue Q ran from 3–7 April 2012 at the Bord Gáis Energy Theatre (formerly known as the Grand Canal Theatre)[37]

text: 2014–2016 UK and Hong Kong tour[edit]

text: Sell A Door Theatre Company launched a British revival of the show in April 2014, which ran for 3 weeks at Greenwich Theatre, followed by a 12-week UK tour.[38] The tour differed from the West End production in that Gary Coleman, as in the Broadway production, was portrayed by a female actress.

text: In November 2014 the tour transferred to Hong Kong.[39]

text: Sell A Door presents a UK tour in 2015–2016, starting in April 2015 at the Mercury Theatre, Colchester.[40] and running for 16 months.

text: 2015 Melbourne Australia[edit]

text: In 2015, a revival of the musical was staged in Melbourne, Australia, as part of the Melbourne International Comedy Festival. The show ran from March 27 to April 11 at Chapel Off Chapel[41].

text: 2015 Sydney Australia[edit]

text: Avenue Q ran for 15 shows at the Enmore Theatre in Sydney, Australia beginning in July 2015.[42]

text: 2016 Australian tour[edit]

text: Avenue Q had a limited season at Her Majesty's Theatre in Melbourne in August 2016 produced by Prince Moo Productions and directed by Peter J Snee.[43]

text: In November 2016, the same production also toured to Perth.

text: 2017 Portugal[edit]

text: The Portuguese production, under the title Avenida Q, opened on February 8, 2017.[44]

text: 2017 Germany[edit]

text: In early 2017, it was announced that Avenue Q will get a German version. It premiers on September 10, 2017 under its original title "Avenue Q", with localized songs.[45]

text: Casting[edit]

text: Principal original casts of major productions of Avenue Q:

text:
Character
Original Broadway Cast
Original London Cast

Princeton/Rod
John Tartaglia
Jon Robyns

Kate Monster/Lucy the Slut
Stephanie D'Abruzzo
Julie Atherton

Nicky/Trekkie/Bad Idea Bear
Rick Lyon
Simon Lipkin

Gary Coleman
Natalie Venetia Belcon
Giles Terera

Christmas Eve
Ann Harada

Brian
Jordan Gelber
Sion Lloyd

Mrs. T/Bad Idea Bear
Jennifer Barnhart
Clare Foster

text: Avenue Q: School Edition[edit]

text: Avenue Q: School Edition, a collaboration of the creators of Avenue Q and Music Theatre International, was created to facilitate production of the musical by high school drama departments. Most of the profanity and sexual themes are removed from the script and score, and two songs ("My Girlfriend Who Lives in Canada" and "You Can Be As Loud as the Hell You Want") are removed. "The Internet is For Porn" is replaced with "My Social Life is Online," and Trekkie's obsession with pornography is replaced by an obsession with social networking sites. The characters Mrs. Thistletwat and Lucy the Slut are renamed Mrs. Butz and Lucy, respectively. The scenes involving the Bad Idea Bears are altered to put less emphasis on alcohol. MTI states that these alterations make the musical easier for high schools to perform, while at the same time, maintaining the original intent and integrity of the piece.[46][47]

text: Avenue Q promotional events[edit]

text: On September 30, 2004, the day of the first Bush–Kerry presidential debate, on a stage set up in Times Square, the cast of Avenue Q presented their version of the debate, called Avenue Q&A, with portrait puppets of Bush and Kerry created by Rick Lyon. Eighteen television networks covered the event. Lyon operated the Bush puppet, while Jennifer Barnhart operated the Kerry puppet. Each puppet sang responses to questions from Avenue Q's concerned residents, and the whole cast sang "Vote Your Heart" (see Other Songs above) to the rain-drenched crowd.[48]

text: Regis Philbin and Kelly Ripa puppets created by Lyon hosted the first few minutes of an episode of Live with Regis and Kelly.[49] In addition, Rod and John Tartaglia did "man on the street"-style interviews on the 2005 NBC broadcast of the Macy's Thanksgiving Day Parade.[citation needed] Rod and John also appeared alongside other Broadway stars in a World AIDS Day benefit concert of Pippin held at the Manhattan Center on November 29, 2004; Rod played "The Head."[citation needed]

text: In another World AIDS Day benefit in 2005, the original cast of Avenue Q and the cast of the Broadway revival of Fiddler on the Roof presented a 10-minute spoof of both musicals called "Avenue Jew."[50] As a brief prologue, Trekkie Monster poorly plays the Fiddler theme, pauses a moment, shrugs, and then eats the fiddle before running away. Tevye, his wife Golde, his two remaining daughters and the fiddler, having immigrated to the USA, arrive on Avenue Jew, an area inhabited by Jewish versions of the Avenue Q characters. Kate Monster welcomes them and the family express unbelieable the fact a puppet is talking to them; Tevye introduces himself and his family and finally realizes that the fiddler is with them, so he chasing him away. Later in the song "The Puppets/The Humans," the humans are fed up with the puppets upstaging them; Tevye and his family meet Brian and his wife "Hannuka Eve" when Jewish-American Princeton arrives asking "What do you do with a B.A. in Yiddish?" One of Tevye's daughter's, Shprintze, falls in love with Princeton, but Tevye forbids their union even when he likes him. Princeton only says "I know, I know. If I were a human...". Rod begs the Matchmaker to find him a mate, and the Matchmaker, played by Mrs. Thistletwat, sets Rod up with Lazar Wolf ("I'm a lonely man, Tevye"). Shprintze tells his father that she and Princeton wants to be married, and after a very brief interior monologue ("I'll be brief. On the other hand; on the other hand; tradition; ...sure, go ahead!") Tevye finally consents to Princeton and Shprintze's marriage; they leave the stage to prepare their wedding much for Kate's horror who insults Shprintze as she leaves. Rod and Lazar Wolf also wish to be wed, and ask permission from the Tsar puppet, who forbids a gay marriage. Ben Brantley interrupts, asking who the real Jewish people in the cast are, and the company concludes that "everyone's a little bit Jewish" and "in theatre you can be whatever you want to be" as they celebrate Princeton and Shprintze's wedding.

text: In November 2005, the Avenue Q website held a "One Night Stand" contest for amateur puppeteers and their puppets. Andrew MacDonald Smith and his puppet Maurice Tipo won, and on March 10, 2006, appeared in the evening performance in the opening song, the café scene, and the curtain call.

text: In July 2006, several members of Avenue Q performed for the opening ceremonies of the Gay Games in Chicago. In October 2006, Jonathan Root and Princeton presented the award for Best Young Adult Novel at the Quill Awards. In November 2006, the London cast appeared on the BBC program Children in Need and performed "It Sucks To Be Me."[51] In December 2006, the London cast performed on the Royal Variety Performance and performed "It Sucks To Be Me," "For Now," and "Special," in which Lucy The Slut suggested through lyrics and dialogue she was making a pass at Charles, Prince of Wales.

text: The cast and puppets appeared briefly in the 2007 "This Is New York" tourist ad campaign.

text: The cast and puppets took to the stage at Trafalgar Square on 4 July 2009 as part of the "London Pride 2009" celebration, performing "If You Were Gay", "Special" and "For Now" with 'Lucy The Slut' assuring all the ladies in the audience that she is bisexual.

text: Cast members appeared on Late Night with Jimmy Fallon on August 13, 2009 to promote the last month of shows, performing "The Internet is for Porn" for the first time on national television.

text: As a response to the Muppets' Bohemian Rhapsody video, Avenue Q created a video called We Will Rock Q. Released on YouTube on May 4, 2010, it features the Off-Broadway cast performing covers of the Queen songs "We Will Rock You" and "We Are the Champions".[52]

text: Original Broadway cast recording[edit]

text: The original cast recording was made on August 10, 2003, at Right Track Studio A in New York City, produced by Grammy Award winner Jay David Saks for RCA Victor. The album contains almost all of the music from the show, with the original Broadway cast and orchestra. Released on October 6, 2003, it has been in the top ten of the Billboard Top Cast Album Chart since the chart's launch on January 12, 2006.[53] It was nominated for the Musical Show Album category in the 2004 Grammy Awards.[54] According to Playbill, it was likely the first cast recording to use a Parental Advisory label.[55]

text: An Original Madrid Cast Album was recorded live at Teatro Nuevo Apolo on October 9, 2010 and released on November, 2010.

text: A German cast album was released on April 21, 2013.

text: Critical reception[edit]

text: Avenue Q received generally favorable reviews, both nationally and internationally.

text: New York Times theatre critic Ben Brantley called it a "...savvy, sassy and eminently likable...breakthrough musical", and compared its potential long-term influence to West Side Story and The King and I.[56] The New Yorker described it as "...an ingenious combination of 'The Real World' and Sesame Street".[57] The Times described it as "...how Friends might be if it had Fozzie Bear and Miss Piggy arguing about their one-night stand, but with more angst, expletives and full-on puppet sex."[58]

text: Avenue Q made Entertainment Weekly's 2010 end-of-the-decade "best-of" list: "This 2003 smash musical is Sesame Street for grown-ups, with filthy-minded puppets who teach useful lessons like 'The Internet Is for Porn.' Somewhere, Big Bird is molting."[59]

text: Awards and nominations[edit]

text: Original Broadway production[edit]

text:
Year
Award Ceremony
Category
Nominee
Result
Ref

2003
Drama Desk Award
Outstanding Musical
Nominated
[60]

Outstanding Book of a Musical
Jeff Whitty
Nominated

Outstanding Actress in a Musical
Stephanie D'Abruzzo
Nominated

Outstanding Lyrics
Robert Lopez and Jeff Marx
Nominated

Outstanding Music
Nominated

2004
Tony Award
Best Musical
Won
[61]

Best Book of a Musical
Jeff Whitty
Won

Best Original Score
Robert Lopez and Jeff Marx
Won

Best Performance by a Leading Actor in a Musical
John Tartaglia
Nominated

Best Performance by a Leading Actress in a Musical
Stephanie D'Abruzzo
Nominated

Best Direction of a Musical
Jason Moore
Nominated

Theatre World Award
Stephanie D'Abruzzo
Won

John Tartaglia
Won

2005
Grammy Award
Best Musical Show Album
Nominated
[62]

text: Original London production[edit]

text:
Year
Award Ceremony
Category
Nominee
Result
Ref

2007
Laurence Olivier Award
Best New Musical
Nominated
[63]

2007
Whatsonstage.com Awards
Best New Musical
Nominated
[64]

Best Ensemble Performance
Won


document_title: BET Award for Best Female Hip-Hop Artist

question_text: who won the best female rapper award 2018 bet award

text: Winners and nominees[edit]

text: Winners are listed first and highlighted in bold.

text:
Year

Artist

Ref

2001

Eve

[2]

Da Brat

Lil' Kim

Missy Elliott

Trina

2002

Missy Elliott

[3]

Angie Martinez

Foxy Brown

Mystic

Rah Digga

Trina

2003

Missy Elliott

[4]

Eve

Lil' Kim

Ms. Jade

Trina

2004

Missy Elliott

[5]

Da Brat

Jacki-O

MC Lyte

Rah Digga

2005

Remy Ma

[6]

Jacki-O

Miri Ben-Ari

Shawnna

2006

Missy Elliott

[7]

Lil' Kim

Remy Ma

Shawnna

Trina

2008

Missy Elliott

[8]

Eve

Kid Sister

Lil' Mama

Trina

2009

M.I.A

[9]

Lil' Mama

Trina

text:
Year

Artist

Ref

2010

Nicki Minaj

[10]

Ester Dean

Lil' Kim

Rasheeda

Trina

2011

Nicki Minaj

[11]

Cymphonique

Diamond

LoLa Monroe

2012

Nicki Minaj

[12]

Brianna Perry

Diamond

Trina

2013

Nicki Minaj

[13]

Azealia Banks

Eve

Rasheeda

Rye Rye

2014

Nicki Minaj

[14]

Angel Haze

Charli Baltimore

Eve

Iggy Azalea

2015

Nicki Minaj

[15]

Azealia Banks

Dej Loaf

Iggy Azalea

Tink

Trina

2016

Nicki Minaj

[16]

Dej Loaf

Lil' Kim

Missy Elliott

Remy Ma

2017

Remy Ma

[17]

Missy Elliott

Nicki Minaj

Cardi B

Young M.A

2018

Cardi B

[1]

Nicki Minaj

Remy Ma

Rapsody

Dej Loaf

text: Multiple wins and nominations[edit]

text: Wins[edit]

text:
7 wins
Nicki Minaj
5 wins
Missy Elliott

2 wins
Remy Ma

text: Nominations[edit]

text:
9 nominations
Nicki Minaj
Trina
8 nominations
Missy Elliott
5 nominations
Eve
Lil' Kim
Remy Ma
3 nominations
Dej Loaf

2 nominations
Azealia Banks
Cardi B
Da Brat
Diamond
Iggy Azalea
Jacki-O
Lil' Mama
Rah Digga
Rasheeda
Shawnna


document_title: 1984 NBA draft

question_text: who was drafted before michael jordan in the nba draft

text: 1984 NBA draft

text: Selection[edit]

text: The Houston Rockets used their first pick to draft Hakeem Olajuwon,[10] a junior center from the University of Houston. The Nigerian-born Olajuwon became the second foreign-born player to be drafted first overall, after Mychal Thompson from the Bahamas in 1978.[11] The Portland Trail Blazers used the second overall pick to draft Sam Bowie from the University of Kentucky. The Chicago Bulls used the third pick to draft Naismith and Wooden College Player of the Year Michael Jordan from the University of North Carolina.[1][12] Jordan went on to win the Rookie of the Year Award and was also selected to the All-NBA Second Team in his rookie season.[13] Jordan's teammate at North Carolina, Sam Perkins, was drafted fourth by the Dallas Mavericks. Charles Barkley, a junior forward from Auburn University, was drafted fifth by the Philadelphia 76ers.

text: Olajuwon, Jordan and Barkley, along with the 16th pick John Stockton and the 131st pick Oscar Schmidt, have been inducted to the Naismith Memorial Basketball Hall of Fame.[14] The first four mentioned players were also named in the 50 Greatest Players in NBA History list announced at the league's 50th anniversary in 1996.[15] Olajuwon's achievements include two NBA championships, two Finals Most Valuable Player Awards, one Most Valuable Player Award, two Defensive Player of the Year Awards, twelve All-NBA Team selections, twelve All-Star Game selections and nine All-Defensive Team selections. Olajuwon retired as the all–time league leader in total blocked shots with 3,830 blocks.[16] The third pick, Jordan, achieved even greater success than Olajuwon. He won six NBA championships, six Finals Most Valuable Player Awards, five Most Valuable Player Awards, one Defensive Player of the Year Award, eleven All-NBA Team selections, fourteen All-Star Game selections, three NBA All Star Game MVP Awards,  and nine All-Defensive Team selections.[13] Barkley and Stockton never won an NBA championship, but both players received numerous awards and honors. Barkley won the Most Valuable Player in 1993 and was selected to eleven All-NBA Teams, eleven All-Star Games, and was the MVP of the 1991 All Star Game.[17] Stockton was selected to eleven All-NBA Teams, ten All-Star Games and five All-Defensive Teams before retiring as the all–time league leader in assists and steals and was co-MVP of the 1993 All Star Game along with his Utah Jazz teammate Karl Malone.[18] Jordan, Barkley and Stockton would later play as teammates for the 1992 "Dream Team". Alvin Robertson, the seventh pick, is the only other player from this draft who has won annual NBA awards as a player; he won both the Defensive Player of the Year Award and the Most Improved Player Award in 1986. He was also selected to one All-NBA Team, four All-Star Games, six consecutive All-Defensive Teams,[19] Two other players from this draft, ninth pick Otis Thorpe and eleventh pick Kevin Willis, were also selected to one All-Star Game each.[20] Willis also had one selection to the All-NBA Team.[21] Rick Carlisle, the 70th pick, became a coach after ending his playing career and won the Coach of the Year Award in 2002 while coaching the Detroit Pistons. In 2011, he coached the Dallas Mavericks to an NBA Championship.[22]

text: The 1984 draft class is considered to be one of the best in NBA history as it produced five Hall of Famers and seven All-Stars.[23][24][25][26] However, it was also marked by the Blazers' selection of Sam Bowie, considered one of the biggest draft busts in NBA history.[27][28][29][30][31] It is believed that the Blazers picked Bowie over Michael Jordan because they already had an All Star shooting guard in Jim Paxson and a young shooting guard in Clyde Drexler, whom they drafted in the 1983 draft.[13][32] Although Drexler went on to have a successful career, Bowie's career was cut short by injuries; he had missed two of the past three seasons in his college career as well.[12] Despite having a 10-year career in the NBA and averaging 10.9 points and 7.5 rebounds per game, Bowie's career was interrupted by five leg surgeries, which limited him to 139 games in 5 years with the Blazers.[33][34]

text: Notable selections[edit]

text: Brazilian Oscar Schmidt was drafted with the 131st pick in the sixth round by the New Jersey Nets. However, Schmidt turned down the offers to play in the NBA and stayed to play in Italy and later in Brazil. He played in five Olympics and was the top scorer in three of them. He finished his career with 49,703 points with various clubs and the Brazilian national team, more than the NBA's career scoring leader, Kareem Abdul-Jabbar, who scored 38,387 points in his NBA career.[35] In 2010, International Basketball Federation (FIBA) honored Schmidt with an induction to the FIBA Hall of Fame,[36] and Schmidt was inducted by the Naismith Hall in 2013.[37]

text: University of Houston track and field Olympic Champion Carl Lewis, who had never played college basketball, was drafted by the Chicago Bulls with the 208th pick in the 10th round. Lewis would dominate the Olympic Games in Los Angeles in the summer of 1984. [1][38] Lewis, who had also been drafted in NFL draft of the same year by the Dallas Cowboys, stayed with his athletics career and went on to win nine Olympic gold medals and eight World Championships gold medals.[39]

text: In the fifth round, the Portland Trail Blazers drafted Mike Whitmarsh, who starred for the University of San Diego in both basketball and volleyball, with the 111th pick. Whitmarsh played professional basketball in Germany for three years, but never played in the NBA. He then left basketball to play beach volleyball, where he achieved greater success, including a silver medal in the Olympics.[40]

text: The final pick in the 1984 Draft, number 228 by the Boston Celtics was Dan Trant of Clark University. Trant never played in a regular season game for the Celtics. Trant was working in his office at the World Trade Center on September 11, 2001 and was killed in the terrorist attacks that day.[41]

text: This draft would be the last of the NBA that would be without any undrafted players entering the NBA. Starting from 1985 onward, multiple undrafted players from each year would enter the NBA, with more of them coming after the league decreased the number of rounds from the draft from 10 to the more current 2.

text: Key[edit]

text:
Pos.
G
F
C

Position
Guard
Forward
Center

text:
^

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

*

Denotes player who has been selected for at least one All-Star Game and All-NBA Team

+

Denotes player who has been selected for at least one All-Star Game

#

Denotes player who never played in the NBA regular season or playoffs

text: Draft selections[edit]

text:
Round

Pick

Player

Pos.

Nationality[n 1]

Team

School/club team

1

1

Akeem Olajuwon^1[›]

C

 Nigeria2[›]

Houston Rockets

Houston (Jr.)

1

2

Sam Bowie

C

 United States

Portland Trail Blazers (from Indiana)[d]

Kentucky (Sr.)

1

3

Michael Jordan^

G/F

 United States

Chicago Bulls

North Carolina (Jr.)

1

4

Sam Perkins

F/C

 United States

Dallas Mavericks (from Cleveland)[e]

North Carolina (Sr.)

1

5

Charles Barkley^

F

 United States

Philadelphia 76ers (from L.A. Clippers)[f]

Auburn (Jr.)

1

6

Melvin Turpin

C

 United States

Washington Bullets (traded to Cleveland)[a]

Kentucky (Sr.)

1

7

Alvin Robertson*

G

 United States

San Antonio Spurs

Arkansas (Sr.)

1

8

Lancaster Gordon

G

 United States

Los Angeles Clippers (from Golden State)[g]

Louisville (Sr.)

1

9

Otis Thorpe+

F/C

 United States

Kansas City Kings

Providence (Sr.)

1

10

Leon Wood

G

 United States

Philadelphia 76ers (from Denver)[h]

Cal State Fullerton (Sr.)

1

11

Kevin Willis*

F/C

 United States

Atlanta Hawks

Michigan State (Sr.)

1

12

Tim McCormick

C

 United States

Cleveland Cavaliers3[›] (traded to Seattle)[a]

Michigan (Sr.)4[›]

1

13

Jay Humphries

G

 United States

Phoenix Suns

Colorado (Sr.)

1

14

Michael Cage

F/C

 United States

Los Angeles Clippers (from Seattle)[i]

San Diego State (Sr.)

1

15

Terence Stansbury

G

 United States

Dallas Mavericks

Temple (Sr.)

1

16

John Stockton^

G

 United States

Utah Jazz

Gonzaga (Sr.)

1

17

Jeff Turner

F/C

 United States

New Jersey Nets

Vanderbilt (Sr.)

1

18

Vern Fleming

G

 United States

Indiana Pacers (from New York)[j]

Georgia (Sr.)

1

19

Bernard Thompson

G/F

 United States

Portland Trail Blazers

Fresno State (Sr.)

1

20

Tony Campbell

G/F

 United States

Detroit Pistons

Ohio State (Sr.)

1

21

Kenny Fields

G/F

 United States

Milwaukee Bucks

UCLA (Sr.)

1

22

Tom Sewell

G

 United States

Philadelphia 76ers (traded to Washington)[b]

Lamar (Sr.)

1

23

Earl Jones

C

 United States

Los Angeles Lakers

UDC (Sr.)

1

24

Michael Young

G/F

 United States

Boston Celtics

Houston (Sr.)

2

25

Devin Durrant

F

 United States

Indiana Pacers

Brigham Young (Sr.)

2

26

Victor Fleming#

G

 United States

Portland Trail Blazers (from Chicago via Indiana)[k]

Xavier (Sr.)

2

27

Ron Anderson

G/F

 United States

Cleveland Cavaliers

Fresno State (Sr.)

2

28

Cory Blackwell

F

 United States

Seattle SuperSonics (from Houston)[l]

Wisconsin (Jr.)

2

29

Stuart Gray

F/C

 United States Panama5[›]

Indiana Pacers (from L.A. Clippers via Philadelphia)[m]

UCLA (Jr.)

2

30

Steve Burtt

G

 United States

Golden State Warriors (from Washington)[n]

Iona (Sr.)

2

31

Jay Murphy

F

 United States

Golden State Warriors (traded to L.A. Clippers)[c]

Boston College (Sr.)

2

32

Eric Turner#

G

 United States

Detroit Pistons (from San Antonio)[o]

Michigan (Jr.)

2

33

Steve Colter

G

 United States

Portland Trail Blazers (from Denver)[p]

New Mexico State (Sr.)

2

34

Tony Costner#

C

 United States

Washington Bullets (from Kansas City via Detroit and Atlanta)[q]

Saint Joseph's (Sr.)

2

35

Othell Wilson

G

 United States

Golden State Warriors (from Atlanta)[r]

Virginia (Sr.)

2

36

Charles Jones

F

 United States

Phoenix Suns

Louisville (Sr.)

2

37

Ben Coleman

F

 United States

Chicago Bulls (from Seattle via Atlanta and Kansas City)[s]

Maryland (Sr.)

2

38

Charlie Sitton

F

 United States

Dallas Mavericks

Oregon State (Sr.)

2

39

Danny Young

G

 United States

Seattle SuperSonics (from New Jersey)[t]

Wake Forest (Sr.)

2

40

Anthony Teachey#

F

 United States

Dallas Mavericks (from Utah)[u]

Wake Forest (Sr.)

2

41

Tom Sluby

G

 United States

Dallas Mavericks (from New York via New Jersey)[v]

Notre Dame (Sr.)

2

42

Willie White

G

 United States

Denver Nuggets (from Portland)[w]

Chattanooga (Sr.)

2

43

Greg Wiltjer#

C

 Canada

Chicago Bulls (from Detroit via Indiana and Kansas City)[x]

Victoria (Canada) (Sr.)

2

44

Fred Reynolds#

F

 United States

Washington Bullets (from Milwaukee)[y]

UTEP (Sr.)

2

45

Gary Plummer

F/C

 United States

Golden State Warriors (from Philadelphia 76ers)[z]

Boston University (Sr.)

2

46

Jerome Kersey

F

 United States

Portland Trail Blazers (from L.A. Lakers)[aa]

Longwood (Sr.)

2

47

Ronnie Williams#

F

 United States

Boston Celtics

Florida (Sr.)

text: Notable post-second round picks[edit]

text: The following list includes other draft picks who have appeared in at least one NBA game.

text:
Round

Pick

Player

Pos.

Team

School/club team

3

50

Ben McDonald

F

 United States

Cleveland Cavaliers

UC Irvine (Sr.)

3

51

Jim Petersen

F/C

 United States

Houston Rockets

Minnesota (Sr.)

3

57

Joe Binion

F

 United States

San Antonio Spurs (from Denver)[ab]

North Carolina A&T (Sr.)

3

61

Jeff Cross

F

 United States

Dallas Mavericks

Maine (Sr.)

3

62

David Pope

F

 United States

Utah Jazz

Norfolk State (Sr.)

3

68

Butch Graves

G

 United States

Philadelphia 76ers

Yale (Sr.)

3

70

Rick Carlisle

G

 United States

Boston Celtics

Virginia (Sr.)

4

71

Ralph Jackson

G

 United States

Indiana Pacers

UCLA (Sr.)

4

76

Jim Grandholm

F

 United States

Washington Bullets

South Florida (Sr.)

4

80

Carl Henry

G

 United States

Kansas City Kings

Kansas (Sr.)

4

86

Jim Rowinski

F

 United States

Utah Jazz

Purdue (Sr.)

4

87

Bob Thornton

F/C

 United States

New York Knicks

UC Irvine (Sr.)

4

90

Ozell Jones

F/C

 United States

San Antonio Spurs (from Milwaukee)[ac]

Cal State Fullerton (Sr.)

6

120

McKinley Singleton

G

 United States

Milwaukee Bucks (from Houston)[ad]

UAB (Sr.)

6

133

Eddie Lee Wilkins

F/C

 United States

New York Knicks

Gardner–Webb (Sr.)

7

140

Kenton Edelin

F

 United States

Indiana Pacers

Virginia (Sr.)

7

156

Ken Bannister

F/C

 United States

New York Knicks

St. Augustine's (Sr.)

9

185

Brian Martin

F

 United States

Indiana Pacers

Kansas (Sr.)

text: Jump up ^ Nationality indicates the player's national team or representative nationality. If a player has not competed at the international level, then the nationality indicates the national team which the player is eligible to represent according to FIBA rules.

tag: ol

text: Trades involving draft picks[edit]

text: Draft-day trades[edit]

text: The following trades involving drafted players were made on the day of the draft.[1]

text:
a 1 2  In a three-team trade, Cleveland acquired the draft rights to sixth pick Melvin Turpin from Washington, Washington acquired Cliff Robinson from Cleveland and Gus Williams from Seattle, and Seattle acquired Ricky Sobers from Washington and the draft rights to 12th pick Tim McCormick from Cleveland.
b  Washington acquired the draft rights to 22nd pick Tom Sewell from Philadelphia in exchange for a 1988 first-round pick.
c  The L.A. Clippers acquired the draft rights to 31st pick Jay Murphy from Golden State in exchange for Jerome Whitehead.

text: Pre-draft trades[edit]

text: Prior to the day of the draft, the following trades were made and resulted in exchanges of picks between the teams.

text:
d  On June 5, 1981, Portland acquired a first-round pick from Indiana in exchange for Tom Owens.[42] Portland used the pick to draft Sam Bowie.
e  On September 16, 1980, Dallas acquired a first-round pick from Cleveland in exchange for Mike Bratz.[43] Dallas used the pick to draft Sam Perkins.
f  On October 12, 1978, Philadelphia acquired a first-round pick from the L.A. Clippers (as San Diego) in exchange for World B. Free.[44][45] Philadelphia used the pick to draft Charles Barkley.
g  On August 28, 1980, the L.A. Clippers (as San Diego) acquired Phil Smith and a first-round pick from Golden State in exchange for World B. Free.[44][45] The L.A. Clippers used the pick to draft Lancaster Gordon.
h  On August 16, 1978, Philadelphia acquired Bobby Jones, Ralph Simpson and a first-round pick from Denver in exchange for George McGinnis and a 1978 first-round pick.[46] Philadelphia used the pick to draft Leon Wood.
i  On August 18, 1983, the L.A. Clippers (as San Diego) acquired James Donaldson, Greg Kelser, Mark Radford, a first-round pick and a 1985 second-round pick from Seattle in exchange for Tom Chambers, Al Wood, a third-round pick and a 1987 second-round pick.[44][47] The L.A. Clippers used the pick to draft Michael Cage.
j  On September 17, 1983, Indiana acquired Vince Taylor and a first-round pick from New York in a three-team trade with New York and Kansas City.[48] Indiana used the pick to draft Vern Fleming.
k  On August 18, 1983, Portland acquired a second-round pick from Indiana in exchange for Granville Waiters.[49] Previously, Indiana acquired the draft rights to Sidney Lowe and the pick on June 28, 1983 from Chicago in exchange for the draft rights to Mitchell Wiggins.[50] Portland used the pick to draft Victor Fleming.
l  On October 5, 1982, Seattle acquired a second-round pick from Houston in exchange for Wally Walker.[51] Seattle used the pick to draft Cory Blackwell.
m  On February 15, 1983, Indiana acquired Russ Schoene a second-round pick and a 1983 first-round pick from Philadelphia in exchange for Clemon Johnson and a third-round pick.[52] Previously, Philadelphia acquired the pick and a 1983 fourth-round pick on October 27, 1982, from the L.A. Clippers (as San Diego) in exchange for Lionel Hollins.[44][53] Indiana used the pick to draft Stuart Gray.
n  On October 19, 1981, Golden State acquired 1982 and 1984 second-round picks from Washington in exchange for John Lucas.[54] Golden State used the pick to draft Steve Burtt.
o  On February 10, 1983, Detroit a second-round pick and a 1985 third-round pick from San Antonio in exchange for Edgar Jones.[55][56] Detroit used the pick to draft Eric Turner.
p  On August 15, 1980, Portland acquired a second-round pick and a 1983 first-round pick from Denver in exchange for T. R. Dunn and a 1983 first-round pick.[57] Portland used the pick to draft Steve Colter.
q  On July 5, 1983, Washington acquired Tom McMillen and a second-round pick from Atlanta in exchange for Randy Wittman.[58] Previously, Atlanta acquired the pick and a 1985 second-round pick on February 13, 1983, from Detroit in a three-team trade with Detroit and Seattle.[55][59] Previously, Detroit acquired the pick and a 1982 second-round pick on August 26, 1981, from Kansas City in exchange for Larry Drew.[55][60] Washington used the pick to draft Tony Costner.
r  On February 15, 1983, Golden State acquired a second-round pick from Atlanta in exchange for Rickey Brown.[61] Golden State used the pick to draft Othell Wilson.
s  On June 28, 1983, Chicago acquired the draft rights to Ennis Whatley, the draft rights to Chris McNealy and a second-round pick from Kansas City in exchange for Mark Olberding and the draft rights to Larry Micheaux.[62] Previously, Kansas City acquired the pick on June 30, 1982, from Atlanta in exchange for the draft rights to Jim Johnstone.[63] Previously, Atlanta acquired the pick and a 1983 second-round pick on December 2, 1980, from Seattle in exchange for Armond Hill.[64] Chicago used the pick to draft Ben Coleman.
t  On November 25, 1981, Seattle acquired Ray Tolbert and a second-round pick from New Jersey in exchange for James Bailey.[65] Seattle used the pick to draft Danny Young.
u  On September 11, 1980, Dallas acquired a second-round pick and a 1983 second-round pick from Utah in exchange for Billy McKinney.[66] Dallas used the pick to draft Anthony Teachey.
v  On August 12, 1983, Dallas acquired Foots Walker, a second-round pick and a 1985 first-round pick from New Jersey in exchange for Kelvin Ransey.[67] Previously, New Jersey acquired the second-round pick on June 22, 1983 from New York in exchange for Len Elmore.[68] Dallas used the pick to draft Tom Sluby.
w  On June 7, 1984, Denver acquired Wayne Cooper, Lafayette Lever, Calvin Natt, a second-round pick and a 1985 first-round pick from Portland in exchange for Kiki Vandeweghe.[69] Denver used the pick to draft Willie White.
x  On February 15, 1984, Chicago acquired Steve Johnson, a second-round pick and two 1985 second-round picks from Kansas City in exchange for Reggie Theus.[70] Previously, Kansas City acquired Billy Knight and the pick on September 17, 1983 from Indiana in a three-team trade with Indiana and New York.[71][72] Previously, Indiana acquired the pick on September 22, 1982 from Detroit in exchange for Tom Owens.[42] Chicago used the pick to draft Greg Wiltjer.
y  On September 30, 1983, Washington acquired a second-round pick from Milwaukee in exchange for Kevin Grevey.[73] Washington used the pick to draft Fred Reynolds.
z  On November 12, 1983, Golden State acquired a second-round pick from Philadelphia in exchange for Sam Williams.[74] Golden State used the pick to draft Gary Plummer.
aa  On October 8, 1980, Portland acquired a second-round pick from the L.A. Lakers in exchange for Jim Brewer.[75] Portland used the pick to draft Jerome Kersey.
ab  On January 21, 1984, San Antonio acquired a third-round pick from Denver in exchange for Keith Edmonson.[76] San Antonio used the pick to draft Joe Binion.
ac  On March 8, 1984, San Antonio acquired a fourth-round pick from Milwaukee as compensation for the signing of Mike Dunleavy as a free agent.[77] San Antonio used the pick to draft Ozell Jones.
ad  On October 5, 1983, Milwaukee acquired a sixth-round pick from Houston as compensation for the signing of Phil Ford as a free agent.[78] Milwaukee used the pick to draft McKinley Singleton.

text: Notes[edit]

text:
^ 1: When Hakeem Olajuwon first arrived in the United States in 1981, his first name was incorrectly spelled as "Akeem". He used that spelling until March 9, 1991, when he announced that he would add an H and changed it to "Hakeem", the original Arabic spelling of his name.[10]
^ 2: Hakeem Olajuwon was born in Nigeria, but became a naturalized United States citizen in 1993. He has represented the United States national team.[16]
^ 3: As compensation for the first-round draft picks traded away by the previous owner, Ted Stepien, the Cleveland Cavaliers were awarded extra first-round draft picks in the 1983, 1984, 1985 and 1986 drafts in exchange for cash.[4][79]
^ 4: Even though Tim McCormick was a senior, he had one year of college eligibility remaining and thus had to apply for early entry.[5]
^ 5: Stuart Gray was born in the Panama Canal Zone which was controlled by the United States. He has represented Panama national team.[80]