document_title: The Bucket List

question_text: who dies first in the movie the bucket list

text: The Bucket List

text: Plot[edit]

text: Two men, blue-collar mechanic Carter Chambers (Freeman) and billionaire hospital magnate Edward Cole (Nicholson) meet for the first time in the hospital after both have been diagnosed with terminal lung cancer.

text: Carter is a gifted amateur historian and family man who wanted to become a history professor in his youth but never rose above his status as a mechanic. Edward is a four-time divorced health-care tycoon and cultured loner who enjoys tormenting his personal valet/servant, Thomas (Sean Hayes), who later reveals his name is actually Matthew. Edward enjoys drinking Kopi Luwak, one of the most expensive coffees in the world.

text: During their time in the ward, Carter and Edward find common ground. Carter begins writing a "bucket list", or things to do before he "kicks the bucket". After hearing he has less than a year, Carter discards the list. Edward finds it the next morning and urges Carter to do everything on the list, offering to finance the trip for both of them. Carter agrees and despite the protests of his wife, Virginia (Beverly Todd), Edward and Carter begin their around-the-world vacation. They go skydiving, drive a Shelby Mustang, fly over the North Pole, eat dinner at Chevre d'or in France, visit and praise the beauty and history of Taj Mahal, India, ride motorcycles on the Great Wall of China, attend a lion safari in Tanzania, and visit the base of Mt. Everest in Nepal.

text: Atop the Great Pyramid, looking out over the pyramids of Khafre and Menkaure, they confide about faith and family, revealing that Carter has long been feeling less in love with his wife and that Edward is deeply hurt by his estrangement from his only daughter, who disowned him after he drove away her abusive husband. In Hong Kong, Edward hires a prostitute for Carter, who has never been with any woman but his wife. Carter declines and realizing that he loves his wife, asks to return home.

text: On the drive back, Carter reciprocates by trying to reunite Edward with his daughter. Believing it is a breach of trust, Edward angrily storms off. Carter returns home to his family while Edward stays home alone. However, the family reunion is short-lived: Carter suffers a seizure and is rushed to the hospital, the cancer having spread to his brain.

text: Edward, who is now in remission, visits him and they share a few moments, wherein Carter reveals how Edward's Kopi Luwak coffee is grown in Sumatra and then fed to and defecated by a jungle cat before being harvested because of the special aroma of the gastric juices. Carter crosses off "laugh till I cry" from his bucket list and insists Edward finish the list without him. Carter goes into surgery and dies on the operating table.

text: As news of Carter's death is given to his wife and family, Edward attempts to reconcile with his daughter. She accepts him back into her life and introduces him to the granddaughter he never knew he had. After greeting the little girl with a kiss on the cheek, Edward crosses "kiss the most beautiful girl in the world" off the list. Edward delivers a eulogy at the funeral, explaining that the last three months of Carter's life were the best three months of his life. He crosses off "help a complete stranger for the good" from the list.

text: The epilogue reveals that Edward lived until age 81, and his ashes were then taken to the summit of a peak in the Himalayas by his assistant Matthew. As Matthew places a Chock full o'Nuts coffee can alongside another can, he crosses off the last item on the bucket list ("witness something truly majestic") and places it between the cans. Carter's narration reveals that the two cans contain their ashes and that Edward would have loved this, because he was "buried on the mountain and that was against the law".

text: Cast[edit]

text:
Jack Nicholson as Edward Cole
Morgan Freeman as Carter Chambers
Sean Hayes as Thomas/Matthew
Beverly Todd as Virginia Chambers
Rob Morrow as Dr. Hollins
Alfonso Freeman as Roger Chambers
Rowena King as Angelica
Jennifer DeFrancisco as Emily Cole
Serena Reeder as Rachel
Annton Berry Jr as Kai
Verda Bridges as Chandra
Destiny Brownridge as Maya
Brian Copeland as Lee
Ian Anthony Dale as instructor
Noel Guglielmi as mechanic
Jonathan Hernandez as Manny
Andrea J. Johnson as Elizabeth
Jordan Lund as tattoo artist
Jonathan Mangum as Richard
Christopher Stapleton as Kyle
Alex Trebek as himself
Taylor Ann Thompson as Edward's granddaughter

text: Reception[edit]

text: The Bucket List received mixed reviews from critics. On Rotten Tomatoes, the film has a rating of 40%, based on 170 reviews, with an average rating of 5.1/10. The site's critical consensus reads, "Not even the earnest performances of the two leads can rescue The Bucket List from its schmaltzy script".[3] Metacritic gave the film a score of 42 out of 100, based on 34 critics, indicating "mixed or average reviews".[4]

text: Roger Ebert, who had thyroid cancer, criticized the film's portrayal of cancer sufferers, writing in his one-star review that The Bucket List "...thinks dying of cancer is a laff riot followed by a dime-store epiphany."[5]

text: Box office[edit]

text: The film opened in wide release in the United States and Canada on January 11, 2008 and grossed $19,392,416 from 3,200 screens at 2,911 theaters, averaging $6,662 per theater ($6,060 per screen) and ranking #1 at the box office.[6] The film closed on June 5, 2008, never having a weekend-to-weekend decline of more than 40%, and ended up with a final gross of $93,466,502 in the United States and Canada and another $81,906,000 overseas, for a total gross of $175,372,502 worldwide, easily recouping the film's considerable $45 million budget and turning a sizable profit for Warner Bros..[1]

text: Accolades[edit]

text: Named one of the Top Ten Films of the Year by the National Board of Review.

text: Soundtrack[edit]

text: A score album from Varèse Sarabande was released on January 15, 2008, featuring composer Marc Shaiman's original score for the film as well as a selection of newly recorded themes from Shaiman's previous scoring projects, including City Slickers, Simon Birch, The Addams Family, Mother, North, Sleepless in Seattle, South Park: Bigger Longer & Uncut, Mr. Saturday Night, and Stuart Saves His Family. It also features a rearranged version of the James Bond theme "Goldfinger" (titled "Printmaster"), with Shaiman's own voice and lyrics in which he spoofs the industry's habit of tracking music in scenes where they don't belong.

text: The full list of 23 tracks is as follows:

text:
Hospital Hallway (from the movie)
Like Smoke through a Keyhole (from the movie)
Best in L.A. (from the movie)
Really Bad News (from the movie)
Milord – Édith Piaf (from the movie)
Hotel Source (from the movie)
Did You Hear It? (from the movie)
Flying Home (from the movie)
Homecomings (from the movie)
Life and Death (from the movie)
The Mountain (from the movie)
End Credits (from the movie)
Theme from The American President ("A Seed of Grain")
Theme from City Slickers
Theme from Simon Birch
Theme from The Addams Family
Theme from Mother
Theme from North
Sleepless in Seattle / A Wink and a Smile"
South Park: Bigger Longer & Uncut/"Blame Canada"
Theme from Mr. Saturday Night
"Printmaster" (After John Barry's "Goldfinger")
Theme from Stuart Saves His Family ("What Makes a Family")

text: The theme song, John Mayer's "Say," is not included on the Bucket List soundtrack, but included on the re-release of Mayer's third album Continuum.

text: Home media[edit]

text: The film was released on DVD and Blu-ray disc June 10, 2008.


document_title: Distribution (marketing)

question_text: what are four steps in the distribution process

root

text: Distribution (marketing)

text: Definition[edit]

text: Distribution is fundamentally concerned with ensuring that products reach target customers in the most direct and cost efficient manner. In the case of services, distribution is principally concerned with access.[1] Although distribution, as a concept, is relatively simple, in practice distribution management may involve a diverse range of activities and disciplines including: detailed logistics, transportation, warehousing, storage, inventory management as well as channel management including selection of channel members and rewarding distributors.[2]

tag: p

text: Distribution strategies[edit]

text: Prior to designing a distribution system, the planner needs to determine what the distribution channel is to achieve in broad terms.  The overall approach to distributing products or services depends on a number of factors including the type of product, especially perishability; the market served; the geographic scope of operations and the firm's overall mission and vision. The process of setting out a broad statement of the aims and objectives of a distribution channel is a strategic level decision.

text: Strategically, there are three approaches to distribution:[3]

text:
Mass distribution
Selective distribution
Exclusive distribution

tag: ul

text: Summary of strategic approaches to distribution

text:
Approach

Definition

Intensive distribution

The producer's products are stocked in the majority of outlets.[5]  This strategy is common for mass produced products such as basic supplies, snack foods, magazines and soft drink beverages.[6]

Selective distribution

The producer relies on a few intermediaries to carry their product.[5]  This strategy is commonly observed for more specialised goods that are carried through specialist dealers, for example, brands of craft tools, or large appliances.

Exclusive distribution

The producer selects only very few intermediaries.[5]  Exclusive distribution occurs where the seller agrees to allow a single retailer the right to sell the manufacturer's products.  This strategy is typical of luxury goods retailers such as Gucci.

tag: table

text: Push vs pull strategy[edit]

text: In consumer markets, another key strategic level decision is whether to use a push or pull strategy. In a push strategy, the marketer uses intensive advertising and incentives aimed at distributors, especially retailers and wholesalers, with the expectation that they will stock the product or brand, and that consumers will purchase it when they see it in stores. In contrast, in a pull strategy, the marketer promotes the product directly to consumers hoping that they will pressure retailers to stock the product or brand, thereby pulling it through the distribution channel.[7]  The choice of a push or pull strategy has important implications for advertising and promotion. In a push strategy the promotional mix would consist of trade advertising and sales calls while the advertising media would normally be weighted towards trade magazines, exhibitions and trade shows while a pull strategy would make more extensive use consumer advertising and sales promotions while the media mix would be weighted towards mass-market media such as newspapers, magazines, television and radio.[8]

text: Channels and intermediaries[edit]

text: Distribution of products takes place by means of channels to become available on markets, in stores or in webshops. Channels are sets of interdependent organizers (called intermediaries or distributors) involved in making the product available for consumption to end-user.[5] This is mostly accomplished through merchant retailers or wholesalers, or in international context by importers. In certain specialist markets, agents or brokers may become involved in distribution channel.

text: Typical intermediaries involved in distribution include:

text: Channel design[edit]

text: A firm can design any number of channels they require to reach customers efficiently and effectively.  Channels can be distinguished by the number of intermediaries between producer and consumer.[5]  If there are no intermediaries then this is known as a zero-level distribution system or direct marketing.  A level one (sometimes called one-tier) channel has a single intermediary. A level two (alternatively a two-tier) channel has two intermediaries, and so on. This flow is typically represented as being manufacturer to retailer to consumer, but may involve other types of intermediaries. In practice, distribution systems for perishable goods tend to be shorter - direct or single intermediary, because of the need to reduce the time a product spends in transit or in storage. In other cases, distribution systems can become quite complex involving many levels and different types of intermediaries.

text: Channel mix[edit]

text: In practice, many organizations use a mix of different channels; a direct sales-force may call on larger customers may be complemented with agents to cover smaller customers and prospects. When a single organisation uses a variety of different channels to reach its markets, this is known as a multi-channel distribution network. In addition, online retailing or e-commerce is leading to disintermediation, the removal of intermediaries from a supply chain.  Retailing via smartphone or m-commerce is also a growth area.

text: Managing channels[edit]

text: The firm's marketing department needs to design the most suitable channels for the firm's products, then select appropriate channel members or intermediaries.  An organisation may need to train staff of intermediaries and motivate the intermediary to sell the firm's products.  The firm should monitor the channel's performance over time and modify the channel to enhance performance.

text: Channel motivation[edit]

text: To motivate intermediaries the firm can use positive actions, such as offering higher margins to the intermediary, special deals, premiums and allowances for advertising or display.[5]  On the other hand, negative actions may be necessary, such as threatening to cut back on margin, or hold back delivery of product. Care must be exercised when considering negative actions as these may fall foul of regulations and can contribute to a public backlash and a public relations disaster.

text: Channel conflict[edit]

text: Channel conflict can arise when one intermediary's actions prevent another intermediary from achieving their objectives.[5]  Vertical channel conflict occurs between the levels within a channel and horizontal channel conflict occurs between intermediaries at the same level within a channel. Channel conflict is a perennial problem. There are risks that a powerful channel member may coordinate the interests of the channel for personal gain.[11]

text: Trends in distribution[edit]

text: Channel switching[edit]

text: Channel-switching (not to be confused with zapping or channel surfing on TV) is the action of consumers switching from one type of channel intermediary to a different type of intermediary for their purchases. Examples include switching from brick-and-mortar stores to online catalogues and e-commerce providers; switching from grocery stores to convenience stores or switching from top tier department stores to mass market discount outlets.[12] A number of factors have led to an increase in channel switching behaviour; the growth of e-commerce, the globalization of markets, the advent of Category killers (such as Officeworks and Kids 'R Us) as well as changes in the legal/ statutory environment. For instance, in Australia and New Zealand, following a relaxation of laws prohibiting supermarkets from selling therapeutic goods, consumers are gradually switching away from pharmacies and towards supermarkets for the purchase of minor analgesics, cough and cold preparations and complementary medicines such as vitamins and herbal remedies.[13]

text: For the consumer, channel switching offers a more diverse shopping experience. However, marketers need to be alert to channel switching because of its potential to erode market share. Evidence of channel switching can suggest that disruptive forces are at play, and that consumer behaviour is undergoing fundamental changes. A consumer may be prompted to switch channels when the product or service can be found at cheaper prices, when superior models become available, when a wider range is offered, or simply because it is more convenient to shop through a different channel (e.g. online or one-stop shopping).[14] As a hedge against market share losses due to switching behaviour, some retailers engage in multi-channel retailing.[15]

text: Customer value[edit]

text: The emergence of a service-dominant logic perspective has focussed scholarly attention on how distribution networks serve to create customer value and to consider how value is co-created by all the players within the distribution chain, including the value created by customers themselves.[16] This emphasis on value-creation is contributing to a change in terminology surrounding distribution processes; "distribution networks" are often termed value-chains while "distribution centres" are often termed customer fulfillment centres. For example, the retail giant Amazon, which utilises both direct online distribution alongside bricks and mortar stores, now calls its despatch centres "customer fulfillment centres".[17] Although the term, "customer fulfillment centre" has been criticised on the grounds that it is a neologism, its use is becoming increasingly mainstream as it slowly makes its way into introductory marketing textbooks.[18]

text: Disintermediation[edit]

text: Disintermediation occurs when manufacturers or service providers eliminate intermediaries from the distribution network and deal directly with purchasers. Disintermediation is found in industries where radically new types of channel intermediaries displace traditional distributors. The widespread public acceptance of online shopping has been a major trigger for disintermediation in some industries. Certain types of traditional intermediaries are dropping by the wayside.[19]


document_title: 1932 Ford

question_text: what is the difference between a 1931 and a 1932 ford

text: 1932 Ford

text: Technical[edit]

text: Rather than just a much updated version of the Model A, Ford launched a completely new model for 1932. The V8 was marketed as the Model 18 in its initial year, and commonly simply known as the Ford V‑8. It had the new flathead V8 engine. The Model 18 was the first low-priced, mass-marketed car to have a V8 engine, an important milestone in Automotive industry in the United States. The 221 cu in (3.6 l) V8 was rated at 65 hp (48 kW) when introduced, but power increased significantly with improvements to the carburetor and ignition in later years. This engine choice was more popular than the four-cylinder, which was essentially a variant of the Model A engine with improvements to balancing and lubrication.

text: Model B was derived with as few technical changes as possible to keep cost low. Other than the engine, and badging on headlamp support bar (later: grille) and hub caps, it was virtually indistinguishable from the V-8. Its intention was to be a price leader, and as it offered more than the popular Model A, this should have been a winning formula. In fact, the new and only slightly more expensive V-8 stole the show, and finally made it obsolete. The V8 engine was previously exclusive to Lincoln products, which in 1932 switched to V12 engines only.

text: Although there is a certain visual similarity with the predecessor Model A, the car was new. While the Model A has a simple frame with two straight longitudinal members, the new car got a longer wheelbase, and an outward curved, double-dropped chassis. In both models the fuel tank is relocated from the cowl as in Model A and late Model T, where its back formed the dash, to the lower rear of the car, as is typical in modern vehicles; thus requiring Ford to include an engine-driven fuel pump rather than rely on gravity feed. While the V8 was developed from scratch, the B just had an improved four-cylinder Model A engine of 201 cu in (3.29 L) displacement producing 50 horsepower (37 kW; 51 PS).

text: When Ford introduced the Model A in late 1927, there were several competitors also offering four-cylinder cars, among them Chevrolet, Dodge, Durant, or Willys. That changed within a few years, soon leaving the new Plymouth the sole major make in the Ford's price class with a four.

text: Although sharing a common platform, Model Bs and Model 18s came not only in Standard and Deluxe trim, they were available in a large variety of body styles. Some of them, such as the commercial cars described below, were only available as Standards, and a few other came only in Deluxe trim. There were two-door roadster, two-door cabriolet, four-door phaeton, two and four-door sedans, four-door "woodie" station wagon, two-door convertible sedan, panel and sedan deliveries, five-window coupe, a sport coupe (stationary softtop), the three-window Deluxe Coupe, and pickup. The wooden panels were manufactured at the Ford Iron Mountain Plant in the Michigan Upper Peninsula from Ford owned lumber. One of the more well known and popular models was the two-door Victoria, which was largely designed by Edsel Ford. It was a smaller version of the Lincoln Victoria coupe, built on the Lincoln K-series chassis with a V8 engine; by 1933 Lincoln no longer used a V8 and only offered the V12, with the V8 now exclusive to Ford branded vehicles.[1]

text: Prices ranged from US$495[2] for the roadster, $490 for the coupes, and $650 for the convertible sedan. Production totals numbered from 12,597 for the roadster to 124,101 for the two-door sedan. Ford sold 298,647 V8-powered 18s in 1932,[3] and except for the fact Ford could not keep up with demand, the essentially identical four-cylinder B would have been a sales disaster: dealers switched customers to them from the V8, and even then sold only 133,539,[3] in part because the V8 cost just US$10 more.[3]

text: The B was discontinued because buyers disliked four-cylinder models in general, and because of the huge success of the V8, not for being an inferior car. In fact, it persisted a little longer in Europe, where in many countries the tax system heavily favored smaller-displacement engines.

text: Today, the 1932 Model B, although always a little bit in the shadow of the V8, is a highly collectible car and people will pay thousands of dollars to restore one to original specification, which is ironic, as they were once cheap "throwaway" cars popular with hot rodders who would tear them apart and use them as the basis for a "build", which is partly why it is so hard to find an unaltered specimen today.

text: All 1932 Fords—V8-8s and Model Bs—came with black fenders, wire wheels, and a rear-mounted spare wheel (side mounted on cars equipped with a tail gate). Options included single or twin sidemounts, luggage rack, clock, interior and exterior mirrors, and choice of leather or Broadcloth (closed cars) interior material.

text: Paints were Pyroxylin lacquer.[4]

text: Standard and Deluxe trim[edit]

text: The B shared frame, bodies, and even most of the trim with the eight-cylinder car. The only technical difference was the use of the slightly reworked Model A engine, thus the designation B. Most body styles were available as Standard or Deluxe variants with either engine offered as an option. Customers could get a Deluxe version of the 1932 Model B in three-window coupe (which only came in Deluxe model), roadster, phaeton, Tudor and Fordor as well.[5]

text: Standard trim meant black front window frame, black wire wheels (color optional), black horn (chrome-plated optional), single tail light (second optional), painted dash, position lights integrated in the head lamps (Deluxe cowl lamps optional), and less expensive interiors.

text: When the Model 40 and the new B were introduced February 9, 1933, revisions of the car were substantial, especially considering how important the 1932 change had been. For its second year, the wheelbase was stretched, from 106 in (2692 mm) to 112 in (2845 mm) on a new crossmember frame. The grille was revised, gaining a pointed forward slope at the bottom which resembled either a spade, a Medieval shield, or possibly the 1932 Packard Light Eight in general outline anyway. Both the grille and hood louvers curved down and forward. The overall design and grille were inspired by the English Ford Model Y. Streamlining was further accentuated by the new hood which now covered the cowl, giving an impression of more length. In addition, there were more rounded and skirted fenders and new, elegantly bowed bumpers. Headlamp support bars were no longer in use, and there were new wire wheels. The cars got a new dashboard with instruments set in an oval insert in front of the driver. There was a glove box on the passenger side. Closed Deluxe models received heavy DI-NOC woodgraining[6] on dash and window frames, and there were deeper seat cushions.[citation needed]

text: There were 10 body styles (14 if standard and Deluxe trim levels are counted separately). Now, all were available for V-8s and the Model B, which thus got Deluxe models, too. Convertible Coupes and Victoria came in Deluxe trim only, and the most expensive car in the line, the "woody", as a Standard only. It cost US$590 with the four-cylinder engine.[7]

text: The cars gained about 3 percent in weight, compensated for with more powerful engines, as on the V-8 with its 15 percent increase in power.[8]

text: Total sales for the model year were up to 311,113[9]and 334,969 for calendar year.[9]

text: "Model C"[edit]

text: Power from the V8 rose to 75 hp (56 kW) with a revised ignition system.[clarification needed] The four-cylinder engine continued unchanged, but was referred to (by some) as the Model C, though Ford never referred to its "Improved Four-Cylinder engine" as a "Model C" engine. There is some dispute over this; some sources say it was a common misconception due to the introduction of a larger counterbalanced crankshaft during the Model B engine production, and the letter "C" casting mark on most, but not all, of the Model B heads.[citation needed] On the other side, this integrally counterweighted crankshaft was first introduced for truck engines only. When they proved superior concerning smoothness and longevity, they were introduced for worldwide four cylinder production. Together with the fact that there were huge quantities of "B" code engines in stock which needed to be used up, this explains why there are "B" and "C" coded engines in some model years.[10] as Canadian-built cars used the prefix "C" on their identification plates, there is another source for errors. Model Bs start with prefix "AB", V-8s with "18-1".[11] (Model A part number suffix was ‑A, Police Special High Compression head part number suffix was ‑b, and there was a fairly large letter "B" casting mark about the center of the head.)

text: The 1934 Ford (the Model 40B) was not as substantial a model year change as the previous two years had been.

text: Noticeable changes included a flatter grille with a wider surround and fewer bars, straight hood louvers, two handles on each side of the hood, smaller head lights and cowl lamps, and a reworked logo. The bare metal dash insert was replaced by painted steel.[9]

text: V‑8 output was again increased, this time to 85 hp (63 kW), and the four-cylinder Model B engine was in its last year, as was the Victoria body style; nevertheless, there were fourteen body options, the Tudor being top-seller.[3] The standard three window coupe was deleted.[12]

text: Deluxes had pinstriping, again twin (chromed) horns, and twin back lights.[9] Inside, they got more elaborate wood graining.

text: The 1934 Ford V-8 is infamous as being the vehicle in which the notorious Depression-era bandits Bonnie Parker and Clyde Barrow were ambushed and killed.[13] On May 23, 1934, the two outlaws were traveling in a stolen 1934 Ford sedan in Bienville Parish, Louisiana, when a heavily armed law enforcement posse opened fire and riddled their car with bullets and buckshot, killing both and bringing an end to the infamous gang.

text: 1934 Model 40 Special Speedster[edit]

text: Edsel Ford commissioned Ford's chief designer, E.T. "Bob" Gregorie to design and supervise the construction of a personal sports car based on period sports car Mr. Ford had seen in Europe. A special two seat roadster was built from aluminum and installed with a flathead V8 engine. Only one was built and is currently at the Ford House museum.[14]

text: Hot-rodding variants[edit]

text: Fords of 1932–1934 are extremely popular with hot rodders.

text: Deuce coupe[edit]

text: During the period after WWII, Model Bs and 18s were frequently rodded. This continued into the 1960s on a large scale, as noted in the hit song and as the pivotal street racing car in the film American Graffiti. Today, the roadster and coupe are the most sought after body styles, as these were popular for street rods and hotrods; unmodified examples have become rare. Since the 1970s, 1932 bodies and frames have been reproduced either in fiberglass or lately in steel, which has helped resolve sheetmetal shortages, and increased the number of rods being created or restored. These are often very expensive, and a typical show-quality car may sell for $60,000 or more; this is also ironic in that hot-rodding had its origins in young men buying cheap and plentiful 20+ year-old cars for their low cost and modifying them for higher performance at low cost.[citation needed]

text: Deuce coupe is a slang term used to refer to the 1932 Ford coupe, derived from the year "2" of manufacture. In the 1940s, the '32 Ford became an ideal hot rod, being plentiful and cheap enough for young men to buy, and available with a stylish V-8 engine. Rodders would strip weight off this readily available car and "hop up" or customize the engine. They came in two body styles, the more common 5-window and rarer suicide door 3-window. After World War II, the iconic stature of the 1932-vintage Ford in hot rodding inspired The Beach Boys to not only write a song entitled "Little Deuce Coupe" in 1963, but also had one of their albums named for the car, from the aforementioned song.[citation needed]

text: The "gow job" morphed into the "hot rod" in the early to middle 1950s.[15]

text: Typical of builds from before World War Two were '35 Ford wire-spoke wheels.[16]

text: Immediately postwar, most rods would change from mechanical to hydraulic ("juice") brakes and from bulb to sealed-beam headlights.[17]

text: The mid-1950s and early 1960s custom Deuce was typically fenderless and steeply chopped, and almost all Ford (or Mercury, with the 239 cu in (3,920 cc) flathead, introduced in 1939[18]); a Halibrand quick-change rearend was also typical, and an Edelbrock intake manifold or Harman and Collins ignition magneto would not be uncommon.[19] Reproduction spindles, brake drums, and backing based on the 1937s remain available today.[20] Aftermarket "flatty" (flathead) cylinder heads were available from Barney Navarro,[21] Vic Edelbrock, and Offenhauser. The first intake manifold Edelbrock sold was a "slingshot" design for the flathead V8.[22] Front suspension hairpins were adapted from sprint cars, such as the Kurtis Krafts.[23] The first Jimmy supercharger on a V8 may have been by Navarro in 1950.[24]

text: Brookville Roadster was one of the first companies to reproduce car bodies in steel.[25]

text: Little Deuce Coupe[edit]

text: The picture featured on the front cover of the Beach Boys' album Little Deuce Coupe was supplied by Hot Rod magazine, and features the body (with his head cropped in the photo) of hod rod owner Clarence 'Chili' Catallo and his own customized three-window 1932 Ford Coupe—known amongst hot rod enthusiasts as "the deuce coupe".[citation needed]

text: Catallo bought the vehicle in 1956 for $75 in Michigan when he was 15 years old. Catallo replaced the stock Ford V-8 engine (unlike The Beach Boys song lyrics, which mention "a flathead mill") with a newer Oldsmobile V-8, chopped and channelled to lower the top by 6 in (15 cm).[26] Much of the original customizing work, including the stacked headlights (from a later 1960 Chrysler 300H), side trim, and grille was done by an auto shop owned by Mike and Larry Alexander in the Detroit suburb of Southfield. After Catallo moved to Southern California, additional work, including the chopped top, was done in 1960-61 at 'Kustom City', George Barris's noted North Hollywood auto customizing factory This led to the magazine cover and two years later, the shot was featured as the cover for The Beach Boys' fourth album. Catallo sold the coupe a few years later but, urged by his son Curt, was able to buy it back in the late 1990s for $40,000. The car had since been additionally modified but was restored by Catallo with many of the original parts, so it is again virtually identical to the famous photo. In 2000, the hot rod won the 'People's Choice' award at the Meadow Brook Concours d'Elegance.[27][28]

text: Modern hot rods[edit]

text: Most newly built hot rods use fiberglass or more expensive, newly minted, steel bodies. The classic 1932 Ford lines are closely reproduced with new bodies. Sometimes original bodies are used, but the cost of originals is quite high, and many people are angered at the alteration of stock Ford automobiles which can never be changed back to truly factory condition again. Because the 1932 Ford is extremely popular with hot rodders, unmodified versions are becoming rare. Although distinctly different in appearance, 1933 and '34 Fords are also popular starting points for hot rod construction, and are also available as reproductions.

text: Hot rod gallery[edit]

text: The following cars might or might not be Model Bs. Chances are also that either non-Ford V-8s were used, or that they have modern parts (chassis, complete bodies, or body panels) that are produced for hot rodder's needs. You can build your complete car, using only aftermarket parts.

text:
Hiboy Deuce, with chopped top, drag headers, and tunnel ram intake manifold (with dual quad carburetors), and aftermarket dropped axle and disc brakes, based on 1932 Model 18 or B three-window coupe

Street rod with chopped top, based on 1933 Model 40 or B three window coupe

Somewhat milder tuned street rod without chopped top, based on 1934 Model 40B or B Fordor, claimed a Deluxe. The usual mixing parts in this genre avoids clear identification

1934 Model 40B or B three window coupe, built in the 1950s hot rod tradition with 1930s style steel wheels and rows of hood louvres

"Eliminator" coupe, based on a 1933 Ford and built for ZZ Top guitarist Billy Gibbons

text: Production[edit]

text: There were no specific plants for the Model B. It rolled side by side with the V-8 off the line. In 1932, Ford Motor Company had 32 plants in the USA, one in Canada, seven in Europe (one for Fordson tractor production only), four in Central and South America, and one each in Turkey Japan and Australia.[29] Vehicles were manufactured at the Ford River Rouge Plant, then sent to the various assembly locations in "knock-down kits", where they were locally assembled and sold.[30]

text: USA[edit]

text:
Atlanta (Georgia)
Buffalo (New York)
Charlotte (North Carolina)
Chester (Pennsylvania)
Chicago (Illinois)
Cincinnati (Ohio)
Cleveland (Ohio)
Columbus (Ohio)
Dearborn (Michigan)
Denver (Colorado)
Des Moines (Iowa),
Edgewater (New Jersey)
Houston (Texas)
Indianapolis (Indiana)
Jacksonville (Florida)
Kansas City (Missouri)
Long Beach (California)
Louisville (Kentucky)
Memphis (Tennessee)
Milwaukee (Wisconsin)
New Orleans (Louisiana)
Norfolk (Virginia)
Oklahoma City (Oklahoma)
Omaha (Nebraska)
Pittsburgh (Pennsylvania)
Portland (Oregon)
Richmond (California)
St. Louis (Missouri)
Seattle (Washington)
Somerville (Massachusetts)
St. Paul (Minnesota)

text: Canada[edit]

text: Toronto (Ontario)

text: Europe[edit]

text:
Amsterdam (Netherlands)
Antwerp (Belgium)
Asnières-sur-Seine (France) [31]
Barcelona (Spain)
Cologne (Germany)
Copenhagen (Danmark)
Dagenham (United Kingdom)

text: The Ford V8 was also made by Ford in Britain in the 1930s. It was conservatively re-styled and relaunched as the post-war Ford Pilot which came with two V8 engine options.

text: Central and South America[edit]

text:
Buenos Aires (Argentina)
Mexico City (Mexico)
Santiago de Chile
São Paulo (Brazil)

text: Asia and Oceania[edit]

text:
Istanbul (Turkey)
Yokohama (Japan)
Shanghai (China)
Geelong (Australia)

text: Model BB trucks[edit]

text: As with the previous model A, there were heavier commercial vehicles. They were available with either the venerable four or the more powerful V-8. The four cylinder truck got the designation "BB", following a practice started with the "TT" and "AA" trucks.

text: The BB had longer wheelbases of 131.5 or 157 in. (3340 or 3988 mm),[32] a reinforced frame, heavy duty transmissions and axles, and bigger wheels. Wire wheels were standard on the light duty cars, the heavier got steel wheels (some of them dual on the rear axle). There was a separate catalogue offering popular body styles, rolling chassis or chassis and cab. Many local coachbuilders offered their coachwork to customers in need of more specific solutions. During the Depression, also ambulances, hearses, or fire trucks found their way to budget-minded communities and organizations.

text: Other than with the Model B automobiles, BB designated four as well as eight cylinder trucks. V-8 was strictly an option, even for heavy trucks. The bulk of these vehicles came with four cylinder engines.

text: These trucks are easily mistaken for B or V-8 commercial cars built on the passenger car chassis. Sedan deliveries, pickups, and station wagons were the best remembered of these. They had elongated bodies and stiffer springs, and were generally shown in the commercial car catalogue, even if the wagon was the most expensive body style[citation needed] available on the passenger car chassis.

text:
1933 Ford Model 46 (V-8) half ton pick up truck (1933). The BB is similar; the only outside difference is lack of the V-8 emblem on the headlamp support bar.

1934 Ford Model BB pick up truck.


document_title: Tony Award for Best Actress in a Musical

question_text: who won best actress in the tony awards

question_tokens: who won best actress in the tony awards

text: History[edit]

text: The award was not presented in 1947 or 1985.[2] Ken Mandelbaum wrote about the 1985 season: "Things get bad enough musically to require the elimination of the Best Musical Actor and Actress categories, as well as the choreography prize."[3] There have been three ties in this category, in 1958, 1962 and 1968.[4]

text: Winners and nominees[edit]

text:
Year

Actor

Musical

Character

19471st Tony Awards

N/A

19482nd Tony Awards

Grace Hartman

Angel in the Wings

Nettie / Mrs. Blodgett / Ruth / Mrs. Hutchinson

19493rd Tony Awards

Nanette Fabray

Love Life

Susan Cooper

text:
Year

Actor

Musical

Character

19504th Tony Awards

Mary Martin

South Pacific

Ensign Nellie Forbush

19515th Tony Awards

Ethel Merman

Call Me Madam

Sally Adams

19526th Tony Awards

Gertrude Lawrence

The King and I

Anna Leonowens

19537th Tony Awards

Rosalind Russell

Wonderful Town

Ruth Sherwood

19548th Tony Awards

Dolores Gray

Carnival in Flanders

Cornelia

19559th Tony Awards

Mary Martin

Peter Pan

Peter Pan

195610th Tony Awards

Gwen Verdon

Damn Yankees

Lola

Carol Channing

The Vamp

Flora Weems

Nancy Walker

Phoenix '55

Various Characters

195711th Tony Awards

Judy Holliday

Bells Are Ringing

Ella Peterson

Julie Andrews

My Fair Lady

Eliza Doolittle

Ethel Merman

Happy Hunting

Liz Livingstone

195812th Tony Awards

Thelma Ritter

New Girl in Town

Marthy Owen

Gwen Verdon

Anna Christopherson

Lena Horne

Jamaica

Savannah

Beatrice Lillie

Ziegfeld Follies of 1957

Various Characters

195913th Tony Awards

Gwen Verdon

Redhead

Essie Whimple

Miyoshi Umeki

Flower Drum Song

Mei-Li

text:
Year

Actor

Musical

Character

196014th Tony Awards

Mary Martin

The Sound of Music

Maria von Trapp

Carol Burnett

Once Upon a Mattress

Princess Winnifred

Dolores Gray

Destry Rides Again

Frenchy

Eileen Herlie

Take Me Along

Lily Miller

Ethel Merman

Gypsy

Mama Rose

196115th Tony Awards

Elizabeth Seal

Irma La Douce

Irma La Douce

Julie Andrews

Camelot

Guenevere

Carol Channing

Show Girl

Various Characters

Nancy Walker

Do Re Mi

Kay Cram

196216th Tony Awards

Anna Maria Alberghetti

Carnival!

Lili Daurier

Diahann Carroll

No Strings

Barbara Woodruff

Molly Picon

Milk and Honey

Clara Weiss

Elaine Stritch

Sail Away

Mimi Paragon

196317th Tony Awards

Vivien Leigh

Tovarich

Tatiana

Georgia Brown

Oliver!

Nancy

Nanette Fabray

Mr. President

Nell Henderson

Sally Ann Howes

Brigadoon

Fiona MacLaren

196418th Tony Awards

Carol Channing

Hello, Dolly!

Dolly Gallagher Levi

Beatrice Lillie

High Spirits

Madame Arcati

Barbra Streisand

Funny Girl

Fanny Brice

Inga Swenson

110 in the Shade

Lizzie Curry

196519th Tony Awards

Liza Minnelli

Flora the Red Menace

Flora Mezaros

Elizabeth Allen

Do I Hear a Waltz?

Leona Samish

Nancy Dussault

Bajour

Emily Kirsten

Inga Swenson

Baker Street

Irene Adler

196620th Tony Awards

Angela Lansbury

Mame

Mame Dennis

Barbara Harris

On a Clear Day You Can See Forever

Daisy Gamble / Melinda Wells

Julie Harris

Skyscraper

Georgina Allerton

Gwen Verdon

Sweet Charity

Charity Hope Valentine

196721st Tony Awards

Barbara Harris

The Apple Tree

Eve / Princess Barbara / Ella and Passionella

Lotte Lenya

 Cabaret

Fraulein Schneider

Mary Martin

I Do! I Do!

She (Agnes)

Louise Troy

Walking Happy

Maggie Hobson

196822nd Tony Awards

Patricia Routledge

Darling of the Day

Alice Challice

Leslie Uggams

Hallelujah, Baby!

Georgina

Melina Mercouri

Illya Darling

Illya

Brenda Vaccaro

How Now, Dow Jones

Cynthia Pike

196923rd Tony Awards

Angela Lansbury

Dear World

Countess Aurelia

Maria Karnilova

Zorba

Madame Hortense

Dorothy Loudon

The Fig Leaves Are Falling

Lillian Stone

Jill O'Hara

Promises, Promises

Fran Kubelik

text:
Year

Actor

Musical

Character

197024th Tony Awards

Lauren Bacall

Applause

Margo Channing

Katharine Hepburn

Coco

Coco Chanel

Dilys Watling

Georgy

Georgina "Georgy" Parkin

197125th Tony Awards

Helen Gallagher

No, No, Nanette

Lucille Early

Sandy Duncan

The Boy Friend

Maisie

Susan Browning

Company

April

Elaine Stritch

Joanne

197226th Tony Awards

Alexis Smith

Follies

Phyllis Rogers Stone

Jonelle Allen

Two Gentlemen of Verona

Silvia

Dorothy Collins

Follies

Sally Durant Plummer

Mildred Natwick

70, Girls, 70

Ida Dodd

197327th Tony Awards

Glynis Johns

A Little Night Music

Desiree Armfeldt

Leland Palmer

Pippin

Fastrada

Debbie Reynolds

Irene

Irene O'Dare

Marcia Rodd

Shelter

Maud

197428th Tony Awards

Virginia Capers

Raisin

Lena Younger

Carol Channing

Lorelei

Lorelei Lee

Michele Lee

Seesaw

Gittel Mosca

197529th Tony Awards

Angela Lansbury

Gypsy

Mama Rose

Lola Falana

Doctor Jazz

Edna Mae Sheridan

Bernadette Peters

Mack & Mabel

Mabel Normand

Ann Reinking

Goodtime Charley

Joan of Arc

197630th Tony Awards

Donna McKechnie

A Chorus Line

Cassie Ferguson

Vivian Reed

Bubbling Brown Sugar

Marsha / Young Irene

Chita Rivera

Chicago

Velma Kelly

Gwen Verdon

Roxie Hart

197731st Tony Awards

Dorothy Loudon

Annie

Miss Hannigan

Clamma Dale

Porgy and Bess

Bess

Ernestine Jackson

Guys and Dolls

Sarah Brown

Andrea McArdle

Annie

Annie

197832nd Tony Awards

Liza Minnelli

The Act

Michelle Craig

Madeline Kahn

On the Twentieth Century

Lily Garland / Mildred Plotka

Eartha Kitt

Timbuktu!

Shaleem La Lume

Frances Sternhagen

Angel

Eliza Gant

197933rd Tony Awards

Angela Lansbury

Sweeney Todd: The Demon Barber of Fleet Street

Mrs. Lovett

Tovah Feldshuh

Sarava

Flor

Dorothy Loudon

 Ballroom

Bea Asher

Alexis Smith

Platinum

Lila Halliday

text:
Year

Actor

Musical

Character

198034th Tony Awards

Patti LuPone

Evita

Eva Perón

Christine Andreas

Oklahoma!

Laurey Williams

Sandy Duncan

Peter Pan

Peter Pan

Ann Miller

Sugar Babies

Ann

198135th Tony Awards

Lauren Bacall

Woman of the Year

Tess Harding

Meg Bussert

Brigadoon

Fiona MacLaren

Chita Rivera

Bring Back Birdie

Rosie Alvarez

Linda Ronstadt

The Pirates of Penzance

Mabel

198236th Tony Awards

Jennifer Holliday

Dreamgirls

Effie White

Lisa Mordente

Marlowe

Emelia Bossano

Mary Gordon Murray

Little Me

Belle Poitrine

Sheryl Lee Ralph

Dreamgirls

Deena Jones

198337th Tony Awards

Natalia Makarova

On Your Toes

Vera Barnova

Lonette McKee

Show Boat

Julie LaVerne

Chita Rivera

Merlin

The Queen

Twiggy

My One and Only

Edith Herbert

198438th Tony Awards

Chita Rivera

The Rink

Anna

Rhetta Hughes

Amen Corner

Sister Margaret Alexander

Liza Minnelli

The Rink

Angel

Bernadette Peters

Sunday in the Park with George

Dot / Marie

198539th Tony Awards

N/A

198640th Tony Awards

Bernadette Peters

Song and Dance

Emma

Debbie Allen

Sweet Charity

Charity Hope Valentine

Cleo Laine

The Mystery of Edwin Drood

Angela Prysock / The Princess Puffer

Chita Rivera

Jerry's Girls

Various Characters

198741st Tony Awards

Maryann Plunkett

Me and My Girl

Sally Smith

Catherine Cox

Oh, Coward!

Various Characters

Teresa Stratas

Rags

Rebecca Hershkowitz

198842nd Tony Awards

Joanna Gleason

Into the Woods

The Baker's Wife

Alison Fraser

Romance/Romance

Josefine Weninger / Monica

Judy Kuhn

 Chess

Florence Vassy

Patti LuPone

Anything Goes

Reno Sweeney

198943rd Tony Awards

Ruth Brown

Black and Blue

Various Characters

Charlotte d'Amboise

Jerome Robbins' Broadway

Anita / Peter Pan / Company

Linda Hopkins

Black and Blue

Various Characters

Sharon McNight (it)

Starmites

Diva / Mother

text:
Year

Actor

Musical

Character

199044th Tony Awards

Tyne Daly

Gypsy

Mama Rose

Georgia Brown

The Threepenny Opera

Celia Peachum

Beth Fowler

Sweeney Todd: The Demon Barber of Fleet Street

Mrs. Lovett

Liliane Montevecchi

Grand Hotel

Elizaveta Grushinskaya

199145th Tony Awards

Lea Salonga

Miss Saigon

Kim

June Angela

Shōgun: The Musical

Lady Mariko

Dee Hoty

The Will Rogers Follies

Betty Blake

Cathy Rigby

Peter Pan

Peter Pan

199246th Tony Awards

Faith Prince

Guys and Dolls

Miss Adelaide

Jodi Benson

Crazy for You

Polly Baker

Josie de Guzman

Guys and Dolls

Sarah Brown

Sophie Hayden

The Most Happy Fella

Rosabella

199347th Tony Awards

Chita Rivera

Kiss of the Spider Woman

Aurora / Spider Woman

Ann Crumb

Anna Karenina

Anna Karenina

Stephanie Lawrence

Blood Brothers

Mrs. Johnstone

Bernadette Peters

The Goodbye Girl

Paula McFadden

199448th Tony Awards

Donna Murphy

Passion

Fosca

Susan Egan

Beauty and the Beast

Belle

Dee Hoty

The Best Little Whorehouse Goes Public

Mona Stangley

Judy Kuhn

She Loves Me

Amalia Balash

199549th Tony Awards

Glenn Close

Sunset Boulevard

Norma Desmond

Rebecca Luker

Show Boat

Magnolia Hawks

199650th Tony Awards

Donna Murphy

The King and I

Anna Leonowens

Julie Andrews (This nomination was declined by Andrews)[5]

Victor/Victoria

Victoria Grant

Crista Moore

Big: the musical

Susan Lawrence

Daphne Rubin-Vega

Rent

Mimi Marquez

199751st Tony Awards

Bebe Neuwirth

Chicago

Velma Kelly

Pamela Isaacs

The Life

Queen

Tonya Pinkins

Play On

Lady Liv

Karen Ziemba

Steel Pier

Rita Racine

199852nd Tony Awards

Natasha Richardson

Cabaret

Sally Bowles

Betty Buckley

Triumph of Love

Hesione

Marin Mazzie

Ragtime

Mother

Alice Ripley & Emily Skinner

Side Show

Violet and Daisy Hilton

199953rd Tony Awards

Bernadette Peters

Annie Get Your Gun

Annie Oakley

Carolee Carmello

Parade

Lucille Frank

Dee Hoty

Footloose

Vi Moore

Siân Phillips

Marlene

Marlene Dietrich

text:
Year

Actor

Musical

Character

200054th Tony Awards

Heather Headley

Aida

Aida

Toni Collette

The Wild Party

Queenie

Rebecca Luker

The Music Man

Marian Paroo

Marin Mazzie

Kiss Me, Kate

Lilli Vanessi / Katherine

Audra McDonald

Marie Christine

Marie Christine L'Adrese

200155th Tony Awards

Christine Ebersole

42nd Street

Dorothy Brock

Blythe Danner

Follies

Phyllis Rogers Stone

Randy Graff

A Class Act

Sophie

Faith Prince

Bells Are Ringing

Ella Peterson

Marla Schaffel

Jane Eyre

Jane Eyre

200256th Tony Awards

Sutton Foster

Thoroughly Modern Millie

Millie Dillmount

Louise Pitre

Mamma Mia!

Donna Sheridan

Nancy Opel

Urinetown

Penelope Pennywise

Jennifer Laura Thompson

Hope Cladwell

Vanessa Williams

Into the Woods

The Witch

200357th Tony Awards

Marissa Jaret Winokur

Hairspray

Tracy Turnblad

Melissa Errico

Amour

Isabella

Mary Elizabeth Mastrantonio

Man of La Mancha

Aldonza / Dulcinea

Elizabeth Parkinson

Movin' Out

Brenda

Bernadette Peters

Gypsy

Mama Rose

200458th Tony Awards

Idina Menzel

Wicked

Elphaba

Kristin Chenoweth

Wicked

Glinda

Stephanie D'Abruzzo

Avenue Q

Kate Monster / Lucy the Slut / Company

Donna Murphy

Wonderful Town

Ruth Sherwood

Tonya Pinkins

Caroline, or Change

Caroline Thibodeaux

200559th Tony Awards

Victoria Clark

The Light in the Piazza

Margaret Johnson

Christina Applegate

Sweet Charity

Charity Hope Valentine

Erin Dilly

Chitty Chitty Bang Bang

Truly Scrumptious

Sutton Foster

Little Women

Josephine 'Jo' March

Sherie Rene Scott

Dirty Rotten Scoundrels

Christine Colgate

200660th Tony Awards

LaChanze

The Color Purple

Celie Harris Johnson

Sutton Foster

The Drowsy Chaperone

Janet Van De Graaff

Patti LuPone

Sweeney Todd: The Demon Barber of Fleet Street

Mrs. Lovett

Kelli O'Hara

The Pajama Game

Catherine 'Babe' Williams

Chita Rivera

Chita Rivera: The Dancer's Life

Chita Rivera

200761st Tony Awards

Christine Ebersole

Grey Gardens

'Little Edie' Beale

Laura Bell Bundy

Legally Blonde

Elle Woods

Audra McDonald

110 in the Shade

Lizzie Curry

Debra Monk

Curtains

Carmen Bernstein

Donna Murphy

LoveMusik

Lotte Lenya

200862nd Tony Awards

Patti LuPone

Gypsy

Mama Rose

Kerry Butler

Xanadu

Kira / Clio

Kelli O'Hara

South Pacific

Ensign Nellie Forbush

Faith Prince

A Catered Affair

Agnes 'Aggie' Hurley

Jenna Russell

Sunday in the Park with George

Dot / Marie

200963rd Tony Awards

Alice Ripley

Next to Normal

Diana Goodman

Stockard Channing

Pal Joey

Vera Simpson

Sutton Foster

Shrek the Musical

Princess Fiona

Allison Janney

9 to 5

Violet Newstead

Josefina Scaglione

West Side Story

Maria

text:
Year

Actor

Musical

Character

201064th Tony Awards

Catherine Zeta-Jones

A Little Night Music

Desiree Armfeldt

Kate Baldwin

Finian's Rainbow

Sharon McLonergan

Montego Glover

Memphis

Felicia Farrell

Christiane Noll

Ragtime

Mother

Sherie Rene Scott

Everyday Rapture

Sherie Rene Scott

201165th Tony Awards

Sutton Foster

Anything Goes

Reno Sweeney

Beth Leavel

Baby It's You!

Florence Greenberg

Patina Miller

Sister Act

Deloris Van Cartier

Donna Murphy

The People in the Picture

Bubbie / Raisel

201266th Tony Awards

Audra McDonald

Porgy and Bess

Bess

Jan Maxwell

Follies

Phyllis Rogers Stone

Cristin Milioti

Once

Girl

Kelli O'Hara

Nice Work If You Can Get It

Billie Bendix

Laura Osnes

Bonnie and Clyde

Bonnie Parker

201367th Tony Awards

Patina Miller

Pippin

The Leading Player

Stephanie J. Block

The Mystery of Edwin Drood

Edwin Drood / Miss Alice Nutting

Carolee Carmello

Scandalous

Aimee Semple McPherson

Valisia LeKae

Motown: The Musical

Diana Ross

Laura Osnes

Rodgers and Hammerstein's Cinderella

Ella

201468th Tony Awards

Jessie Mueller

Beautiful: The Carole King Musical

Carole King

Mary Bridget Davies

A Night with Janis Joplin

Janis Joplin

Sutton Foster

Violet

Violet Karl

Idina Menzel

If/Then

Elizabeth Vaughan

Kelli O'Hara

The Bridges of Madison County

Francesca Johnson

201569th Tony Awards

Kelli O'Hara

The King and I

Anna Leonowens

Kristin Chenoweth

On the Twentieth Century

Lily Garland / Mildred Plotka

Leanne Cope

An American in Paris

Lise Dassin

Beth Malone

Fun Home

Alison Bechdel

Chita Rivera

The Visit

Claire Zachanassian

201670th Tony Awards

Cynthia Erivo

The Color Purple

Celie Harris Johnson

Laura Benanti

She Loves Me

Amalia Balash

Carmen Cusack

Bright Star

Alice Murphy

Jessie Mueller

Waitress

Jenna Hunterson

Phillipa Soo

Hamilton

Eliza Hamilton

201771st Tony Awards

Bette Midler

Hello, Dolly!

Dolly Gallagher Levi

Denée Benton

Natasha, Pierre & The Great Comet of 1812

Natasha Rostova

Christine Ebersole

War Paint

Elizabeth Arden

Patti LuPone

Helena Rubinstein

Eva Noblezada

Miss Saigon

Kim

201872nd Tony Awards

Katrina Lenk

The Band's Visit

Dina

Lauren Ambrose

My Fair Lady

Eliza Doolittle

Hailey Kilgore

Once on This Island

Ti Moune

LaChanze

Summer: The Donna Summer Musical

Diva Donna / Mary Gaines

Taylor Louderman

Mean Girls

Regina George

Jessie Mueller

Carousel

Julie Jordan

text: Multiple wins[edit]

text:
4 Wins
Angela Lansbury
3 Wins
Mary Martin
Gwen Verdon

2 Wins
Lauren Bacall
Christine Ebersole
Sutton Foster
Patti LuPone
Liza Minnelli
Donna Murphy
Bernadette Peters
Chita Rivera

text: Multiple nominations[edit]

text:
8 Nominations
Chita Rivera
7 nominations
Patti LuPone
6 Nominations
Sutton Foster
Bernadette Peters
5 Nominations
Donna Murphy
Kelli O'Hara
Gwen Verdon
4 Nominations
Carol Channing
Angela Lansbury
Mary Martin
Jessie Mueller
3 Nominations
Julie Andrews
Christine Ebersole
Dee Hoty
Dorothy Loudon
Audra McDonald
Ethel Merman
Liza Minnelli
Faith Prince

2 Nominations
Lauren Bacall
Georgia Brown
Carolee Carmello
Kristin Chenoweth
Sandy Duncan
Nanette Fabray
Dolores Gray
Barbara Harris
Judy Kuhn
LaChanze
Beatrice Lillie
Rebecca Luker
Marin Mazzie
Patina Miller
Idina Menzel
Laura Osnes
Tonya Pinkins
Alice Ripley
Sherie Rene Scott
Alexis Smith
Elaine Stritch
Inga Swenson
Nancy Walker

text: Multiple character wins[edit]

text:
Anna Leonowens from The King and I
Mama Rose from Gypsy

text:
Desiree Armfeldt from A Little Night Music
Celie Harris Johnson from  The Color Purple
Dolly Gallagher Levi from Hello, Dolly!

text: Multiple character nominations[edit]

text:
5 Nominations
Mama Rose from Gypsy
4 Nominations
Peter Pan from Peter Pan and Jerome Robbins' Broadway
3 Nominations
Anna Leonowens from The King and I
Charity Hope Valentine from Sweet Charity
Mrs. Lovett from Sweeney Todd
Phyllis Rogers Stone from Follies

2 Nominations
Amalia Balash from She Loves Me
Bess from Porgy and Bess
Celie Harris Johnson from The Color Purple
Desiree Armfeldt from A Little Night Music
Dolly Gallagher Levi from Hello, Dolly!
Dot / Marie from Sunday in the Park with George
Eliza Doolittle from My Fair Lady
Ella Peterson from Bells Are Ringing
Ensign Nellie Forbush from South Pacific
Fiona MacLaren from Brigadoon
Kim from Miss Saigon
Lily Garland / Mildred Plotka from On the Twentieth Century
Lizzie Curry from 110 in the Shade
Mother from Ragtime
Reno Sweeney from Anything Goes
Ruth Sherwood from Wonderful Town
Sarah Brown from Guys and Dolls
Velma Kelly from Chicago

text: Musicals with multiple lead nominations[edit]

text:
New Girl in Town – Thelma Ritter (winner) and Gwen Verdon (winner)
Company – Susan Browning and Elaine Stritch
Follies – Dorothy Collins and Alexis Smith (winner)
Chicago – Chita Rivera and Gwen Verdon
Annie – Dorothy Loudon (winner) and Andrea McArdle
Dreamgirls – Jennifer Holliday (winner) and Sheryl Lee Ralph
The Rink – Liza Minnelli and Chita Rivera (winner)
Black and Blue – Ruth Brown (winner) and Linda Hopkins
Guys and Dolls – Josie de Guzman and Faith Prince (winner)
Side Show – Alice Ripley and Emily Skinner
Urinetown – Nancy Opel and Jennifer Laura Thompson
Wicked – Kristin Chenoweth and Idina Menzel (winner)
War Paint – Christine Ebersole and Patti LuPone