document_title: So You Think You Can Dance (U.S. TV series)

question_text: so you think you can dance what do you win

text: Show format[edit]

text: A typical season of So You Think You Can Dance is divided between a selection process, during which expert judges select competitors from a wide pool of applicant dancers, and a competition phase, during which these 'finalists' (more typically referred to as the 'Top 20') compete for votes from home viewers. Though it is produced over the course of months, the selection phase is highly edited and usually constitutes only the first 2–4 weeks of aired episodes, with the competition episodes forming the remaining 8–9 weeks of the season.

text: Open auditions[edit]

text: The open auditions, the first stage in determining a seasons finalists, take place in 5–6 major U.S. cities each season and are typically open to anyone aged 18–30 at the time of their audition. The cities where auditions are held change from season to season but some, such as Los Angeles and New York, have featured in most seasons. During this stage, dancers perform a brief routine (typically a solo, but duet and group routines are allowed as well) before a panel of dance experts, usually headed by series creator and executive producer Nigel Lythgoe. This panel then decides on-the-spot whether the dancer demonstrated enough ability and performance value to proceed further. If the dancer exhibited exceptional ability in their performance, judges award "a ticket to Vegas" (or in more recent seasons "a ticket to the Academy"), moving them instantly one step forward in the competition. Alternatively, if judges are on the fence about the dancer, they may ask the contestant to wait until the end of that day's auditions to participate in a short test of their ability to pick up professional choreography.

text: Callbacks[edit]

text: The second stage of the selection process is referred to as "the callbacks" (the round has often been held in the city of Las Vegas and also been known as "Vegas Week" for much of the show's run, but has been called Academy Week since season 13). The callbacks consist of a several-day-long process in which the remaining hopefuls are tested for overall well-rounded dance ability, stamina, creativity and their ability to perform under pressure. The dancers are put through a battery of rounds that test their ability to pick up various dance styles; these are typically some of the more well-represented genres that are later prominent in the competition phase, such as hip-hop, jazz, ballroom, and contemporary. Additionally the dancers may be asked to perform further solos in styles of their choosing and participate in a group choreography round in which small teams of contestants must display their musicality and ability to communicate professionally by choreographing a performance to a randomly selected piece of music — this challenge is notable as being the only time competitors are asked to choreograph themselves, aside from solos. The Callbacks are often collectively portrayed as one of the most exhausting and stressful stages of the competition; each successive round sees cuts in which a significant portion of the remaining dancers are eliminated from competition and dancers are given a limited amount of time to adapt to styles they are sometimes wholly unfamiliar with while being physically taxed by the rapid progression of rounds and a limited amount of rest. At the end of this process, usually less than 40 competitors remain in a pool that final contestants are chosen from. Most seasons have featured 20 top finalists for the competition portion of the show, but Season One was represented by a Top 16, Season Seven saw a Top 11, and Season Thirteen employed a Top 10.

text: Finalist selection and showcase episode[edit]

text: Following Vegas Week—-which has, through video vignettes, made many of the dancers increasingly familiar to the audience as it observes their attempts to cope with the challenges of the week-—the judge's panel selects their finalists from the remaining dancers, breaking the good or bad news to each dancer. Since Season six, the series has also featured a showcase episode that takes place immediately before the main competition. In this episode, dancers compete for the first time on the main SYTYCD stage in Los Angeles before a live audience, dancing duet or group routines, but only in their own styles. In seasons eight through ten, the finalist announcement episode and the dancer's showcase were combined into one episode, with groups of dancers taking to the stage for the first time immediately after they are revealed. In seasons six through nine, no dancers were in danger of elimination at this point and the first round of viewer voting and judge eliminations occurred the following week. In the slightly more compact format of the more recent seasons, the dancer showcase is often the first episode to be accompanied by viewer voting and a resulting elimination.

text: Finalist Stage[edit]

text: Following the finalist selection process, the show transitions into its regular competition phase, which lasts the rest of the season. The competition stage is typically divided into 8 weeks, generally with two contestants eliminated per week. Dancers are paired-up into male-female couples that will sometimes stay paired for half of the remaining competition if neither is eliminated. These couples perform 1–2 duets per week in randomly selected styles. These duets, as with all non-solo performances at this stage in the competition, are choreographed by professional choreographers. Prior to most duet performances, a video packet of clips of the couple preparing to perform the routine is shown; these packets are intended not only to demonstrate the couple's efforts to master the routine, but also to give glimpses of the personalities of the dancers as well as to allow the choreographer to give insight as to the thematic, narrative, and artistic intentions of the piece. Following each duet performance, the week's panel of judges gives critical feedback, often emphasizing the two key areas of technique and performance value. Duets and their accompanying video packets and critiques typically take up the majority of a competition show but may also be supplemented by solos or group numbers. Each competition show ends with a quick recap of the night's routines accompanied by voting prompts--traditionally by phone, but increasingly through online voting processes. Performance shows typically last around two hours, commercials included.

text: In seasons 2-8 the show's weekly format was split between two episodes, a performance episode, as described above, and a results show which reveals the outcome of the at-home-viewer voting. Results shows typically aired on the night immediately following that of the performance show of the same week and usually opened with a group routine from the remaining contestants. The main purpose of this show was to determine which of the dancers are eliminated that week, but these episodes generally also featured guest dance performances or guest musical acts, and sometimes further video packets that provide insight on the dancers and their journey on the show. More recent seasons have moved to a one-show-per-week format, combining elements that used to be found in both varieties of show. Regardless of how many shows air per week, a "bottom three" couples (those that garnered the fewest votes from viewers--in some seasons it is a bottom three of individual dancers rather than couples) are typically revealed weekly at this stage in the competition. Each of these dancers are then in danger of elimination and must perform a solo for the judges as their last effort to impress and stay in the competition. The judges then retire briefly (typically during the night's headlining musical guest performance) to determine which man and woman (which are not necessarily from the same couple) will leave the competition. The eliminated dancers are then announced and given a brief send-off via a video montage. On very rare occasions, the judges have been unwilling to send any of the bottom dancers home on the merits of their performances that week amd have abstained from making an elimination and instead allowed all competitors to proceed to the next week (often to be followed by a double elimination the following week). Since Season 7, dancers have also been routinely paired with "All Stars", returning dancers from previous seasons who partner with the contestant dancers, but are not themselves competing.

text: The total number of hours shown in a given week during the performance phase of the competition has varied from two to four hours. In season one there was no results show and the dancers' eliminations were pre-recorded the week they occurred and then broadcast at the beginning of the next week's episode. Seasons 9-14 have also utilized one show per week, but with votes from the previous week being revealed later in the show. Voting has varied by season (and often within seasons) with regard to whether the voter selected individuals or couples. There has also been variability in how long couples are kept together and how the at-home-viewer votes are balanced against judge decisions, though ultimately at some point in every season, the judges give up their power to save dancers at this point, and eliminations are determined exclusively by viewer votes, with judges serving in only an advisory capacity. Each season undergoes one final format shake-up in its last week, which typically takes place when the show reaches a Top 4. In the final performance show, the remaining dancers typically each dance duets with all of their remaining fellow finalists as well as perform solos and participate in group numbers. The following night's season finale episode is often the most elaborately produced show of a season and features the last performances of the competitors, encore performances of many of the season's most acclaimed routines, guest dancers (including returning past season competitors and cast-members from other international versions of the franchise), musical performances and multiple video packets chronicling the course of the season's events, all culminating in the announcement of the winner of the competition, as decided by the previous night's vote. Some seasons have featured a singular winner, while others have allowed for a male and female winner. Following the closure of the season, the Top Ten dancers often go on tour for several months, performing hit routines from the season amongst other performances.

text: Judges[edit]

text: The judging panel has also varied considerably in size and composition over the run of the series. Typically a season has 2–3 permanent judges with an additional 1–2 guest judges for most episodes, with the panel ballooning up to six to nine members for Vegas Week and the finale. Executive producer Nigel Lythgoe is the only permanent judge on the panel for all of the seasons. Other permanent judges have included ballroom specialist Mary Murphy, film director and choreographer Adam Shankman and contemporary choreographer Mia Michaels. Guest judge positions are typically filled by choreographers who work regularly on the show—though choreographers will never develop routines for an episode on which they judge—who in rare cases may also be former contestants themselves, and by iconic names from the entertainment industry. Guest judges for the show have included: Debbie Allen, Christina Applegate, Robin Antin, Toni Basil, Cicely Bradley, Kristin Chenoweth, Alex Da Silva, Ellen DeGeneres, Tyce Diorio, Joey Dowling, Napoleon and Tabitha D'umo, Carmen Electra, Brian Friedman, Jean-Marc Généreux, Jason Gilkison, Neil Patrick Harris, Hi-Hat, Katie Holmes, Dan Karaty, Lady Gaga, Carly Rae Jepsen, Lil' C, Rob Marshall, Mandy Moore, Megan Mullally, Kenny Ortega, Toni Redpath, Debbie Reynolds, Wade Robson, Doriana Sanchez, Shane Sparks, Sonya Tayeh, Olisa Thompson, Stacey Tookey, Jesse Tyler Ferguson, and Travis Wall. In earlier seasons, the judges decided on eliminations until around week five of the competitive phase of the show, but in seasons seven through nine the judges decided the eliminations until week seven. Beginning with the twelfth season, Paula Abdul and Jason Derulo joined Lythgoe as permanent judges.[2] For the thirteenth season, 13-year-old dancer Maddie Ziegler joined the panel as a fourth judge.[3] Season Fourteen has seen the departure of Abdul, Derulo, and Ziegler from their season-long positions of the judges panel, but introduction of Vanessa Hudgens and the return of Mary Murphy to her seat.

text: Overview of format and presentation by season[edit]

text:
Season
Dates
Host
Permanent judges
Separate results show?
Dancer showcase episode?†
Number of finalists in first live show
Number of contestants eliminated per week
Number of contestants remaining in finale
No. of winners
All-Stars included
in format?
Point at which judge eliminations end
Voting for individual dancers starting with

1
Summer 2005
(July–October)
Lauren Sánchez
Nigel Lythgoe
No
No
16
2
4
1
No
Top 8
Top 8

2
Summer 2006
(May–August)
Cat Deeley
Yes
No
20
2
4
1
No
Top 10
Top 10

3
Summer 2007
(May–August)
Nigel Lythgoe
Mary Murphy
Yes
No
20
2
4
1
No
Top 10
Top 10

4
Summer 2008
(May–August)
Yes
No
20
2
4
1
No
Top 10
Top 10

5
Summer 2009
(May–August)
Yes
No
20
2
4
1
No
Top 10
Top 10

6
Fall 2009
(September–December)
Nigel Lythgoe
Mary Murphy
Adam Shankman
Yes
Yes
20
2
6
1
No
Top 10
Top 10

7
Summer 2010
(May–August)
Nigel Lythgoe
Adam Shankman
Mia Michaels
Yes
Yes
11
1*
3
1
Yes
Top 4
Top 11

8
Summer 2011
(May–August)
Nigel Lythgoe
Mary Murphy
Yes
Yes‡
20
2*
4
1
Yes
Top 6
Top 10

9
Summer 2012
(May–September)
No
Yes‡
20
2*
4
2
Yes
Top 6
Top 20

10
Summer 2013
(May–September)
No
Yes‡
20
2
4
2
Yes
Top 6
Top 20

11
Summer 2014
(May–September)
No
Yes
20
2
4
1
Yes
Top 10
Top 20

12
Summer 2015
(June–September)
Nigel Lythgoe
Paula Abdul
Jason Derulo
No
Yes
20
2⁂
4
1
Yes
Top 14
Top 20

13°
Summer 2016
(May–September)
Nigel Lythgoe
Paula Abdul
Jason Derulo
Maddie Ziegler
No
Yes
10
1**
4
1
Yes
Top 8
Top 10

14
Summer 2017
(June–September)
Nigel Lythgoe
Mary Murphy
Vanessa Hudgens
No
No
10
1
4
1
Yes
Top 6
Top 10

text: † From its inception in season 6 and through season 10, the dancer showcase episode represented a non-competitive round with no viewer voting or subsequent eliminations, followed the next week by the first competitive round. In season 11 it was the first episode of the season upon which viewers voted.

text: ‡ For seasons 8-10, the dancer showcase episode was combined with the Top 20 reveal episode, with groups of the dancers performing immediately after being revealed as finalists.

text: * In both seasons 7 and 8, the judges decided not to eliminate any dancers on the occasion of one results show; in both cases this event was followed by the elimination of double the normal amount of contestants the following week. Similarly, for format reasons, season 9 featured two shows with double eliminations, with four dancers eliminated instead of two for each of these shows.

text: ⁂ Unlike all previous seasons, season 12 featured the elimination of one "street" dancer and one "stage" dancer each week, as opposed to one female and one male contestant (as in all previous seasons which eliminated two dancers per week).

text: °Season 13 (during which the show was subtitled 'The Next Generation') featured competitors between the ages of 9 (or as young as 8 at time of application) and 14.

text: **In season 13, the judges held the audition rounds, but the all-stars, rather than the judges, made the eliminations during Academy week to choose the top 10. After this, in episodes 7 and 8, from the two contestants with the lowest viewer votes, the judges made the elimination. In episode 9, the two contestants with the lowest viewer votes were both eliminated, and in episodes 10 and 11, the contestant with the lowest viewer votes was eliminated.

text: Dance styles and choreographers[edit]

text: Over the course of its eleven seasons, So You Think You Can Dance has featured dozens of distinct dance styles in its choreographed routines. Most of these styles fall into four categories that are regularly showcased and can be found in almost every performance episode: western contemporary/classical styles, ballroom styles, hip-hop/street styles, and Jazz and its related styles. Various other forms of dance that do not especially fall into these broad categories are seen as well, but not as regularly. The following styles have all been seen in a choreographed duet or group routine; styles featured only in auditions or solos are not listed.

text: Classical styles[edit]

text: Routines from the classically derived style of contemporary dance are the most common dances seen on the show, being seen in every performance episode of the series (and typically at least twice per episode). While contemporary, lyrical, and modern dance are typically considered three separate (if overlapping) styles, the practice on So You Think You Can Dance has been to refer to all routines in this area as "contemporary", except in the first season where the label "lyrical" was used for the same purpose. Ballet routines occur much more rarely, at a rate of one or two per season since their introduction in the fourth season.

text:
Genre
Styles

Western Classical styles

Contemporary, Lyrical, Modern, Ballet/Pas de Deux

Choreographers

Dee Caspary, Tessandra Chavez, Tyce Diorio, Joey Dowling, Justin Giles, Mandy Moore, Mia Michaels, Dwight Rhoden, Desmond Richardson, Garry Stewart, Sonya Tayeh, Stacey Tookey, Travis Wall, Tovaris Wilson, Keith Young, Lindsay Nelko

text: Street and club styles[edit]

text: Hip-hop routines are also present in every performance episode. While these routines frequently feature elements from many different subgenres of hip-hop (locking and popping, for example) and various "street" styles (such as breaking), they are typically all labelled under the umbrella term of hip-hop. An exception is the now frequently featured lyrical hip-hop, which is unique amongst all the styles on SYTYCD in that it is the only one that is held to have become a known distinct style at least in-part as a result of the show; the style is widely attributed to regular show choreographers Tabitha and Napoleon D'umo and the term itself to judge Adam Shankman. These two broad categories are occasionally supplemented by krump routines, which have been featured a few times a season since their introduction in season 2. Additionally the styles of breakdancing (in the sense of a full breaking routine as opposed to a hip-hop routine with a few breaking tricks), waacking, and stepping have all been featured in exactly one routine. In Season 12, there are more street style dances because of the season's new format where there are 10 street dancers which do only street styles.

text:
Genre
Styles

Street and Contemporary Club Styles

Hip-hop (umbrella term for all Popping, Locking, and New Style/Commercial Hip-Hop styles), Lyrical Hip-hop, Breaking/B-boying, Krump, Stepping, Waacking

Choreographers

Cicely Bradley, Luther Brown, Tessandra Chavez, Tabitha and Napoleon D'umo, Dan Karaty, Marty Kudelka, Lil' C, Chuck Maldonado, Todd Sams, Christopher Scott, Dave Scott, Shane Sparks, Jamal Sims, Olisa Thompson, Dana Wilson, Pharside and Phoenix, Luam.

text: Ballroom styles[edit]

text: Ballroom styles are also seen regularly in every performance episode; these dances may be traditional European-derived styles or Latin-American styles or a mix of the two.

text:
Genre
Styles

Standard or Smooth Ballroom styles

Foxtrot, Tango, Argentine Tango, Quickstep, Waltz (including Smooth Waltz, Slow Waltz, American Slow Waltz, and Viennese Waltz variants)

Latin/Rhythm Ballroom styles

Cha-Cha-Cha, Jive, American Jive, Mambo, Paso Doble, Rumba, Salsa, Street Salsa, Samba, African Samba

Choreographers

Mark Ballas, Leonardo Barrionuevo, Dmitry Chaplin, Valentin Chmerkovskiy, Alex Da Silva, Sasha Farber, Anya Garnis, Jean-Marc Généreux, Jason Gilkison, Hunter Johnson, Pasha Kovalev, Melanie LaPatin, Miriam Larici, Liz Lira, Michael Mead, Tony Meredith, Tomas Mielnicki, Ron Montez, France Mousseau, Mary Murphy, Jonathan Platero, Oksana Platero, Toni Redpath, Jonathan Roberts, Fabian Sanchez, Edward Simon, Emma Slater, Heather Smith, J.T. Thomas, Louis Van Amstel, Gustavo Vargas, Glenn Weiss

text: Jazz, Broadway, and musical theater styles[edit]

text: Jazz is featured in nearly all performance episodes. While these routines are typically labelled simply "Jazz", the genre is notable as being one of the most fusional featured on the show and various style combinations and sub-categories have been referenced. Descended from Jazz but treated as a separate genre on SYTYCD, "Broadway" is analogous to the label "Musical Theater" outside the U.S.

text:
Genre
Styles

Jazz Styles

Jazz, Contemporary Jazz, Modern Jazz, Lyrical Jazz, African Jazz, Jazz-Funk, Latin Jazz, Pop-Jazz/Pop

Broadway/Musical Theatre Styles

Broadway, Burlesque, Can-Can, Tap

Choreographers

Andy Blankenbuehler, Sean Cheesman, Tyce Diorio, Brian Friedman, Laurie Ann Gibson, Derick K. Grant, Charles Klapow, Ray Leeper, Spencer Liff, Mandy Moore, Anthony Morigerato, Amanda Robson, Wade Robson, Sonya Tayeh, Savion Glover

text: American social styles[edit]

text: These dance styles are featured less frequently than their ballroom relatives, but have been seen intermittently since the first season.

text:
Genre
Styles

American Social / Traditional Club Styles

Charleston, Country-Western Two-Step, Disco, Go-Go, Hustle, Lindy Hop, Rock n' Roll, Swing, West Coast Swing

Choreographers

Ronnie DeBenedetta, Carla Heiney, Brandi Tobais, Travis Payne, Doriana Sanchez, Benji Schwimmer, Kristen Sorci, Maria Torres, Nick Williams

text: Regional/traditional styles[edit]

text: In addition to the broad categories above, many more styles that are less common in the U.S. are sometimes featured. Most of these are seen only once, but the Bollywood style has been featured several times per season since the fourth season.

text:
Genre
Styles

Regional/Traditional Styles

Bollywood, African, Capoeira, Kalinka, Malevos, Tahitian, Tropak

Choreographers

Lilia Babenko, Leonardo Barrionuevo, Nakul Dev Mahajan, Miriam Larici, Tiana Liufau, Youri Nelzine.

text: Seasons[edit]

text: Grand Finalists[edit]

text:
Season
Winner
Runner-up
Third place
Fourth place
Fifth place
Sixth place

1
Nick Lazzarini
(Contemporary Jazz)
Melody Lacayanga
(Contemporary)
Jamile McGee
(Popping)
Ashlé Dawson
(Jazz)

2
Benji Schwimmer
(Swing/Latin)
Travis Wall
(Contemporary)
Donyelle Jones
(Jazz/Hip-Hop)
Heidi Groskreutz
(Ballroom)

3
Sabra Johnson
(Contemporary)
Danny Tidwell
(Contemporary)
Neil Haskell
(Contemporary)
Lacey Schwimmer
(Swing/Latin)

4
Joshua Allen
(Hip-Hop)
Stephen "Twitch" Boss
(Hip-Hop)
Katee Shean
(Contemporary)
Courtney Galiano
(Contemporary)

5
Jeanine Mason
(Contemporary)
Brandon Bryant
(Contemporary)
Evan Kasprzak
(Broadway)
Kayla Radomski
(Contemporary)

6
Russell Ferguson
(Krump)
Jakob Karr
(Contemporary)
Kathryn McCormick
(Contemporary)
Ellenore Scott
(Jazz)
Ashleigh Di Lello
(Ballroom)
Ryan Di Lello
(Ballroom)

7
Lauren Froderman
(Contemporary)
Kent Boyd
(Contemporary Jazz)
Robert Roldan
(Contemporary Jazz)

8
Melanie Moore
(Contemporary)
Sasha Mallory
(African Jazz)
Marko Germar
(Contemporary Jazz)
Tadd Gadduang
(Breakdance)

Female winner
Male winner
Female runner-up
Male runner-up

9
Eliana Girard
(Ballet)
Chehon Wespi-Tschopp
(Ballet)
Tiffany Maher
(Jazz)
Cyrus "Glitch" Spencer
(Popping/Animation)

10
Amy Yakima
(Jazz)
Du-Shaunt "Fik-Shun" Stegall
(Hip-Hop)
Jasmine Harper
(Contemporary)
Aaron Turner
(Tap)

Winner
Runner-up
Third place
Fourth place

11
Ricky Ubeda
(Contemporary)
Valerie Rockey
(Tap)
Jessica Richens
(Jazz)
Zack Everhart, Jr.
(Tap)

12
Gaby Diaz
(Tap)
Jaja Vaňková
(Animation/Krump)
Virgil Gadson
(Hip-Hop)
Hailee Payne
(Jazz)

13
Leon "Kida" Burns
(Hip-Hop)
J.T. Church
(Jazz)
Tate McRae
(Contemporary/Ballet)
Emma Hellenkamp
(Tap)

14
Lex Ishimoto
(Contemporary Hip-Hop)
Koine Iwasaki
(Contemporary)
Taylor Sieve
(Contemporary)
Kiki Nyemchek
(Latin Ballroom)

text: Season 1[edit]

text: Season 2[edit]

text: The second season premiered on May 12, 2006. The top 20 finalists were revealed on June 8, and the winner, Benjamin Schwimmer, was named "America's Favorite Dancer" on August 16, 2006 after 16 million votes were collected for the season finale. Travis Wall was the first runner-up, and Donyelle Jones was named second runner-up. There were several changes to the show's format in the second season. This season was the first to feature two episodes per week, splitting the bulk of the performances and the voting results segments between two nights. New styles of dance were also introduced, and the winning prize was increased from US$100,000 to $250,000 and also included a new car and a one-year contract to perform in a Céline Dion show then performing Las Vegas. The season was also the first followed by a live tour for the top ten dancers.

text: Season 3[edit]

text: Open auditions for season 3 began early October 2006, held in New York City, Chicago, Los Angeles, and Atlanta. Like the previous season, those that made the cuts moved on to Las Vegas. The taped auditions premiered on the Fox on May 24, 2007, and the subsequent shows were taped and broadcast live for a 12-week season. Cat Deeley returned as host, and Nigel Lythgoe returned as permanent judge. Joining Lythgoe permanently at the judging table was Mary Murphy; her promotion was reported by TV Guide on March 8, 2007. The prize for the winner remained at $250,000 cash. On the performance finale show (August 16, 2007), Sabra Johnson was named "America's Favorite Dancer," while Danny Tidwell (brother of season 2 runner-up Travis Wall) was runner-up.

text: Season 4[edit]

text: Auditions for Season 4 began in Texas on January 17 and took place in six locations through March 2008. The show kicked off its two-hour season premiere on May 22, 2008.[4] Cat Deeley returned as host and Nigel Lythgoe and Mary Murphy as permanent judges. This season saw the introduction of new dance styles, including Bollywood, and new choreographers, including hip-hop duo Tabitha and Napoleon D'umo. The prize for the winner was again $250,000 cash and the title of "America's Favorite Dancer" and additionally included an offer for a role in the dance film Step Up 3D. In the finale, viewers voted Joshua Allen as the overall winner, while Katee Shean was voted the top female dancer and was given a previously unannounced award of $50,000.[5]

text: Season 5[edit]

text: Auditions for Season 5 kicked off in New York City on November 13, 2008 and continued on to Miami, Los Angeles, Denver, Memphis, and Seattle. The premiere aired on May 21, 2009. Louis van Amstel joined the show's cast of choreographers and Shane Sparks returned to choreograph while on break from America's Best Dance Crew. The prize for the winner was once again $250,000 cash, the chance to be on the November 2009 issue cover of Dance Spirit Magazine, and the title of "America's Favorite Dancer." On August 6, 2009 (the finale), Jeanine Mason was given the title.

text: Season 6[edit]

text: After a low-rated special episode of Dance featuring Lythgoe presenting his and viewer's favorite dance routines from seasons 1–5, the sixth season of Dance, premiered on Wednesday, September 9, 2009.[6] Auditions were held in Boston, Atlanta, Los Angeles, New Orleans, Phoenix, and Salt Lake City.[7] Adam Shankman joined as the permanent judge for the first time this season. The winner was Russell Ferguson and the runner-up was Jakob Karr.

text: Season 7[edit]

text: Auditions began in Miami, Florida, on January 18, 2010, continuing through New York, Dallas, Nashville, and Chicago, ending in Los Angeles on March 26. The season premiered on May 27, 2010. This season introduced significant format changes to the show, with a Top 11 dancers instead of the traditional Top 20 and "All-Stars", contestants from previous seasons who returned to partner with the Top 11 for a portion of their routines. Lauren Froderman won this season with Kent Boyd as runner-up.

text: Season 8[edit]

text: Auditions started October 13, 2010 in Oakland, California and continued through November 15 in Brooklyn, New York. The premiere aired on May 26, 2011. This season began a new version of the "All-Star" format in which the All-Stars didn't come in until the top 10. The show returned to a top 20 with couples. This season also marks the first time that the public can cast votes online, in addition to calling in, with a limit of 50 votes per viewer. On August 11, 2011, Melanie Moore won season 8, and Sasha Mallory was named the runner-up. Together they received 79% of the 11.5 million votes.

text: Season 9[edit]

text: The ninth season premiered on May 24, 2012. Fox discontinued the results show.[8] The two winners selected on September 18, 2012 were Eliana Girard and Chehon Wespi-Tschopp.

text: Season 10[edit]

text: Season 10 premiered on May 14, 2013, in its new Tuesdays at 8 p.m. time slot.[9] The two-part premiere concluded on May 15, 2013 at 9 p.m., after the finale of American Idol season 12.[10] On September 10, 2013, Amy Yakima and Du-Shaunt 'Fik-Shun' Stegall were named the season 10 winners, becoming the first contestants to take the top two positions who had been a couple at the beginning of the live show competition. No music artists or special dance performers appeared on this season except for All-Stars who were former contestants.

text: Season 11[edit]

text: The eleventh season premiered on Wednesday, May 28, 2014. The season finale aired on Wednesday, September 3, 2014. Contemporary dancer Ricky Ubeda was the winner of the season with Tap dancer Valerie Rockey finishing as the runner-up.[11]

text: Season 12[edit]

text: The twelfth season of the show divided contestants into two equally sized teams, one representing "stage" dancers and the other "street" styles, with one contestant eliminated from each team weekly until the finale.[12] Auditions began on January 24, 2015 and took place in five major American cities.[13] Season 12 premiered on Monday, June 1. Tap dancer Gaby Diaz was the winner of the season, becoming the first tap dancer to win So You Think You Can Dance. Animation dancer Jaja Vankova finished as the runner-up.

text: Season 13[edit]

text: The thirteenth season of the series premiered on May 30, 2016, titled So You Think You Can Dance: The Next Generation. The season features young dancers between the ages of 8 and 13 (at their date of application). After auditions, during Dance Academy episodes, 10 All-Stars eliminated competitors until each selected one contestant to mentor and partner with in performances during the live episodes.[14] One or more finalists were eliminated each week beginning July 18, 2016.[15] 13-year-old dancer Maddie Ziegler observed the Academy episodes and joined the judging panel for the live shows (also observing and commenting on rehearsals), together with continuing judges Abdul, Derulo and Lythgoe, the three of whom conducted the auditions.[3][16] Leon "Kida" Burns won the top prize of $250,000. J. T. Church was the runner-up.[17]

text: Season 14[edit]

text: On January 30, 2017, Fox renewed the series for a fourteenth season, which returned to its former contestant age range of 18-30 but keeps the All-Star partnerships. The season premiered on June 12, 2017. Contemporary dancer Lex Ishimoto was the winner of the season with contemporary dance Koine Iwasaki finishing as the runner-up and female winner, becoming the first Asian-Americans to take the top two positions of So You Think You Can Dance.[18]

text: Special shows[edit]

text: On September 2, 2009, as prelude to season 6, a special show aired featuring judge picks for the top 15 routines from the first five seasons. At the end of the show, show creator and judge Nigel Lythgoe presented his favorite performance, a contemporary piece choreographed by Tyce Diorio and performed by Melissa Sandvig and Ade Obayomi.

text: In March 2014, Chinese television station CCTV broadcast a promotional episode in which notable all-star dancers from the U.S. and Chinese versions of So You Think You Can Dance competed directly against one-another as teams. Titled Zhōngměi Wǔ Lín Guànjūn Duìkàngsài - Super Dancer Born Tonight, the show was shot in Las Vegas but never aired on U.S. television.

text: Ratings[edit]

text: So You Think You Can Dance premiered with over 10 million viewers in 2005. For Season 1, it was the No. 1 summer show on television. However, when NBC's America's Got Talent premiered in the summer of 2006, it took the title of "#1 summer show" and, over the following few years, broadened its lead. In summer 2009, SYTYCD premiered strong with a 3.4 rating in its target demographic, although with the start of America's Got Talent roughly a month later in the same timeslot, Dance fell to No. 4 on the ratings board. It continued to lose viewers throughout the summer of 2009 and ended up with an average of approximately 8 million viewers. Fox then moved SYTYCD to its fall 2009 schedule where its ratings continued to decline; hitting an all-time series low of 4.6 million viewers for a "special" episode hosted by Nigel Lythgoe on September 2, 2009. The move to the fall was short-lived. After dropping to an average of 6 million viewers, Fox moved SYTYCD back to the summer in 2010. With Mia Michaels replacing Mary Murphy and former contestants termed as "All-Stars" being used as partners, the ratings for Dance continued to slide to all-time series lows; dropping to just 5.6 million viewers on July 15, 2010. For Season 7, So You Think You Can Dance averaged just over 5 million viewers. After season 7, Mia Michaels was replaced on the judge's panel by returning personality Mary Murphy. The change appeared to have little effect on the ratings, and the show continued to average just over five million viewers per episode in 2011's season 8. Season 9 saw a slight uptick in ratings early on, with each of the season's first five episodes garnering between six and seven million viewers, but the rise was short-lived and the show's ratings hit a new low of 4.16 million viewers on August 29, 2012. Season 10 maintained similar numbers, averaging about 4 million viewers per episode in 2013, with a 4.3 million viewership for the last episode of the season, an all-time series low for a finale.[19]

text: In April 2014, Nigel Lythgoe appealed on Twitter to fans to share information about the show ahead of the 11th season's May premiere in an attempt to augment the show's ratings for the upcoming season and bolster its chances of renewal thereafter.[19][20] The show was renewed for a 12th season, but ratings continued to decline, with an average of around 3.5 million viewers per show. FOX renewed the show for a 13th season, but with a drastically re-worked format focused on child dancers. Ratings declined further for the new version, with only five episodes breaking the 3 million viewer mark; the finale saw a series low viewership of just 2.27 million viewers.[citation needed]

text: In 2016, a New York Times study of the 50 TV shows with the most Facebook Likes found that "in general", Dance "is more popular in cities, though it hits peak popularity in Utah".[21]

text: Influence and international franchise[edit]

text: Dance competition had been a part of American television for decades before the premiere of So You Think You Can Dance, but usually in the form of all-around talent searches, (such as Star Search, Soul Train, or Showtime at the Apollo). However, a season-long American Idol-like talent-search show with a sole focus on dance had never been broadcast on American network television. Producers and judges associated with the show have stated on numerous occasions, both within the context of the show and in interviews, that the series was meant to rejuvenate the visibility and appreciation of dance as an art form in the U.S. and to give exposure to struggling dancers. Series judge Mary Murphy says, for example, "Of course you hope you can make a living at it, because you don't want to give up on something that you do, but the honest truth is most dancers have to carry one or two jobs and dance as much as they can on the side -- it's a very lucky dancer who gets a full scholarship."[22] A number of dance-themed competition shows have been produced for American television since the premiere of So You Think You Can Dance, including America's Best Dance Crew, Superstars of Dance, and Live to Dance.

text: In 2009, Lythgoe came together with fellow SYTYCD judge Adam Shankman as well as Katie Holmes, Carrie Ann Inaba, and others in the dance entertainment industry, in an effort to launch The Dizzyfeet Foundation, with the aim of providing scholarships and training to young dancers of limited means.[23] The foundation has been referenced sporadically on the show since. In 2010, Lythgoe, with the assistance of other SYTYCD personalities and long-time healthy lifestyles proponent Congresswoman Eleanor Holmes Norton, was successful in getting another of his dance-oriented concepts realized—an official National Dance Day, held now annually on the last Saturday of July, to promote fitness through movement.[24] This national dance day has been celebrated annually by the show since.[25]

text: Before the end of 2005, the year the series first premiered, its format had already been licensed for the first of a number foreign adaptations. To date, the resulting So You Think You Can Dance franchise has produced 26 shows representing 37 different countries and comprising more than 80 individual seasons. These adaptations have aired in Armenia, Australia, Belgium, Canada, China, Denmark, Egypt, Finland, France, Germany, Greece, Iraq, India, Israel, Jordan, Kuwait, Lebanon, Lithuania, Malaysia, Morocco, the Netherlands, New Zealand, Norway, Palestinian Territories, Poland, Portugal, Qatar, South Africa, Sudan, Sweden, Syria, Tunisia, Turkey, Ukraine, United Arab Emirates, the United Kingdom and Vietnam.

text: Awards and nominations[edit]

text: Emmy Awards[edit]

text:
[hide]Emmy Awards and nominations

Year
Result
Category
Recipient(s)/
Choreographer(s)
Style
Music

2007
Won[a]
Outstanding Choreography
Wade Robson
Pop-Jazz
"Ramalama (Bang Bang)"—Róisín Murphy

Mia Michaels
Contemporary
"Calling You"—Celine Dion

2008
Won
Outstanding Choreography
Wade Robson
Jazz
Hummingbird and Flower/"The Chairman's Waltz" from Memoirs of a Geisha

Nominated
Mandy Moore
Jazz
Table/"Sweet Dreams (Are Made of This)"—Eurythmics

Nominated
Shane Sparks
Hip-hop
Transformers/"Fuego"—Pitbull

Nominated
Outstanding Makeup For A Multi-Camera Series Or Special (Non-Prosthetic)

2009
Won
Outstanding Choreography
Tyce Diorio
Contemporary
Adam and Eve/"Silence" from Unfaithful

Nominated
Tabitha and Napoleon D'umo
Hip-hop
"Bleeding Love"—Leona Lewis

Nominated
Mia Michaels
Contemporary
"Mercy"—Duffy

Nominated
Dmitry Chaplin
Argentine tango
"A Los Amigos" from Forever Tango

Nominated
Outstanding Makeup For A Multi-Camera Series Or Special (Non-Prosthetic)

Won
Outstanding Costumes For A Variety/Music Program Or A Special
Soyon An

2010
Won
Outstanding Choreography
Mia Michaels
Contemporary
"Koop Island Blues"—Koop feat Ane Brun

Contemporary
Addiction/"Gravity"—Sara Bareilles

Contemporary
"One" from A Chorus Line

Nominated
Stacey Tookey
Contemporary
Fear/"Two Steps Away"—Patti LaBelle

Nominated
Outstanding Makeup For A Multi-Camera Series Or Special (Non-Prosthetic)

Won
Outstanding Costumes For A Variety/Music Program Or A Special
Soyon An
Graine O'Sullivan

2011
Won
Outstanding Choreography
Tabitha and Napoleon D'umo
Hip-Hop
"Scars"—Basement Jaxx ft. Kelis, Meleka, and Chipmunk

Lyrical Hip-Hop
"Fallin'"—Alicia Keys

Hip-Hop
"Outta Your Mind" (District 78 Mix)—Lil Jon and LMFAO

Won
Mia Michaels
Contemporary
Alice in Mia-Land/"Every Little Thing She Does Is Magic"—Sting

Contemporary
"When We Dance"—Sting

Contemporary
"This Bitter Earth/On the Nature of Twilight"—Max Richter and Dinah Washington

Nominated
Mandy Moore
Pop-Jazz
"Oh Yeah"—Yello

Jazz
"Boogie Shoes"—KC & the Sunshine Band

Contemporary
"I Surrender"—Celine Dion

Nominated
Stacey Tookey
Contemporary
"Mad World" (Alternate Version)—Michael Andrews ft. Gary Jules

Contemporary
"Sundrenched World" (Live Session)—Joshua Radin

Contemporary
"Heaven is a Place on Earth"—Katie Thompson

Nominated
Travis Wall
Contemporary
"Collide" (Acoustic Version)—Howie Day

Contemporary
"How It Ends"—DeVotchKa

Contemporary
"Fix You"—Coldplay

Nominated
Outstanding Host for a Reality or Reality-Competition Program
Cat Deeley

Won
Outstanding Lighting Design/Lighting Direction for a Variety, Music, or Comedy Series
Robert Barnhart
Pete Radice
Patrick Boozer
Matt Firestone

Nominated
Outstanding Reality-Competition Program
Producers

2012
Nominated
Outstanding Choreography
Stacey Tookey
Contemporary
"In This Shirt"—The Irrepressibles

Contemporary
"Turning Tables"—Adele

Contemporary
"Heart Asks Pleasure First"—Ahn Trio

Nominated
Christopher Scott
Hip-hop
"Misty Blue"—Dorothy Moore

Hip-hop/Contemporary
"Velocity"—Nathan Lanier

Nominated
Spencer Liff
Broadway
"Whatever Lola Wants"—Ella Fitzgerald

Broadway
"Please Mr. Jailer"—Rachel Sweet

Broadway
"(Where Do I Begin) Love Story (Away Team Remix)"—Shirley Bassey

Nominated
Outstanding Host for a Reality or Reality-Competition Program
Cat Deeley

Won
Outstanding Lighting Design/Lighting Direction for a Variety Series
Robert Barnhart
Matt Firestone
Pete Radice
Patrick Boozer

Nominated
Outstanding Reality-Competition Program
Producers

2013
Nominated
Outstanding Choreography
Sonya Tayeh
Contemporary
"Possibly Maybe"—Björk

Contemporary
"Turning Page"—Sleeping At Last

Jazz
"Sail"—Awolnation

Nominated
Mandy Moore
Contemporary
"The Power of Love"—Celine Dion

Contemporary
"Wild Horses"—Charlotte Martin

Nominated
Tabitha and Napoleon D'umo
Jazz/Hip-hop
"The Circle of Life/Nants Ingonyama (District 78 Remix) from The Lion King"—Ella Fitzgerald

Jazz[26]
"The Lovecats"—The Cure

Jazz
The Beautiful People (District 78 remix)"—Marilyn Manson

Nominated
Travis Wall
Contemporary
"Where the Light Gets In"—Sennen

Contemporary
"Without You"—Harry Nilsson

Contemporary
"Unchained Melody"—The Righteous Brothers

Nominated
Outstanding Host for a Reality or Reality-Competition Program
Cat Deeley

Nominated
Outstanding Lighting Design/Lighting Direction for a Variety Series
Robert Barnhart
Matt Firestone
Pete Radice
Patrick Boozer

Nominated
Outstanding Reality-Competition Program
Producers

2014
Nominated
Outstanding Choreography
Christopher Scott
Hip-hop
"Trigger (Original Mix)"—Kezwik ft. Mel Presson

Jazz
"Sand"—Nathan Lanier ft. Karen Whipple

Contemporary
"The Gravel Road" from The Village (Score from the Motion Picture)

Nominated
Mandy Moore
Contemporary
"I Can't Make You Love Me"—Mark Masri

Jazz
"Feeling Good"—Jennifer Hudson

Contemporary
"Edge of Glory (Live from a Very Gaga Thanksgiving)"—Lady Gaga

Won
Tabitha and Napoleon D'umo
Hip-hop
"Gold Rush"—Clinton Sparks ft. 2 Chainz, Macklemore, & D.A.

Hip-Hop
"Run the World (Girls) (Nappytabs Remix)"—Beyoncé

Hip-Hop
"Puttin' On the Ritz"—Herb Alpert ft. Lani Hall

Nominated
Travis Wall
Contemporary
"Hangin' By a Thread"—Jann Arden

Contemporary
"Medicine"—Daughter

Contemporary
"Wicked Game (Live at Kilkenny Arts Festival, Ireland 2011)"—James Vincent McMorrow

Nominated
Outstanding Host for a Reality or Reality-Competition Program
Cat Deeley

Nominated
Outstanding Makeup For A Multi-Camera Series Or Special (Non-Prosthetic)

Nominated
Outstanding Reality-Competition Program
Producers

2015
Won
Outstanding Choreography
Travis Wall
Contemporary
"Wave"—Beck

Contemporary
"When I Go"—Over the Rhine

Contemporary
"Wind Beneath My Wings"—RyanDan

Nominated
Sonya Tayeh
Contemporary
"Vow"—Meredith Monk

Contemporary
"So Broken (Live)"—Björk

Contemporary
"Europe, After The Rain" —Max Richter

Nominated
Spencer Liff
Broadway
"Hernando's Hideaway"—Ella Fitzgerald

Broadway
"I've Got the World on a String"—Frank Sinatra

Broadway
"Maybe This Time"—Liza Minnelli

Nominated
Outstanding Host for a Reality or Reality-Competition Program
Cat Deeley

Nominated
Outstanding Lighting Design/Lighting Direction for a Variety Series
Robert Barnhart
Matt Firestone
Patrick Boozer
Pete Radice

Nominated
Outstanding Hairstyling for a Multi-Camera Series Or Special
Sallie Nicole
Sean Smith
Dean Banowetz
Ralph Abalos
Shawn Finch
Melissa Jaqua

Nominated
Outstanding Makeup for a Multi-Camera Series or Special
Heather Cummings
Marie DelPrete
Amy Harmon
Tyson Fountaine
Adam Christopher

Nominated
Outstanding Reality Competiton Program
Producers

2016
Nominated
Outstanding Choreography
Travis Wall
Contemporary
"Beautiful Friends"—Helen Money

Contemporary
"November"—Max Richter

Contemporary
"Gimme All Your Love"—Alabama Shakes

Nominated
Anthony Morigerato
Tap
"Dibidy Dop (Swing Mix)"—Club Des Belugas feat. Brenda Boykin

Nominated
Outstanding Lighting Design/Lighting Direction for a Variety Series
Robert Barnhart
Matt Firestone
Patrick Boozer
Pete Radice

2017
Won
Outstanding Choreography
Travis Wall
Contemporary
"The Mirror"—Alexandre Desplat

Contemporary
"Send in the Clowns"—Sarah Vaughan and the Count Basie Orchestra

Contemporary
"She Used to be Mine"—Sara Bareilles

Nominated
Mandy Moore
Contemporary
"Unsteady (Erich Lee Gravity Remix)"—X Ambassadors

Contemporary
"This is Not the End"—Clare Maguire

Nominated
Outstanding Lighting Design/Lighting Direction for a Variety Series
Robert Barnhart
Matt Firestone
Patrick Boozer
Pete Radice

As of 2017, nine former SYTYCD contestants have been nominated for the Primetime Emmy Award for Outstanding Choreography. Five were nominated for their work on Dancing with the Stars: Chelsie Hightower in 2010, Travis Wall and Nick Lazzarini in 2012 (with Teddy Forance), Alison Holker in 2013 (with Derek Hough), and Witney Carson in 2015. Hokuto “Hok” Konishi, Ryan “Ryanimay” Conferido, and Dominic “D-Trix” Sandoval were nominated in 2016 as part of the B-boy troupe Quest Crew for their work on America's Best Dance Crew. Dmitry Chaplin in 2009 and Travis Wall in 2011, 2013, 2014, 2015, 2016, and 2017 were nominated for their work on SYTYCD, itself. The only former contestants to have won the Choreography Emmy are Konishi, Conferido, and Sandoval in 2016 and Wall in 2015 and 2017. [27]
^a : Wade Robson and Mia Michaels were joint-winners along with Rob Marshall and John Deluca from Tony Bennett: An American Classic.

text: Teen Choice Awards[edit]

text:
Year
Result
Category

2006
Won
Choice TV: Breakout Show

Choice Summer Series

2007
Nominated
Choice Summer TV Show

2008
Nominated
Choice Summer TV Show

Choice TV: Reality Dance

2010
Nominated
Choice Personality: Cat Deeley

Choice Summer TV Show


document_title: Get Together (The Youngbloods song)

question_text: who sang everybody get together try to love one another right now

root

text: Get Together (The Youngbloods song)

text: Recording history[edit]

text: The song was originally recorded as "Let's Get Together" by the Kingston Trio in a live performance in March 1964 that was released on June 1, 1964, on their album Back in Town.[2] While it was not released as a single, this version was the first to bring the song to the attention of the general public. The Kingston Trio often performed it live.

tag: p

text: A pre-Byrds David Crosby recorded "Get Together" around the same time as the Trio, but possibly a few weeks later, since the band arrangement includes the riff from the Beatles' version of "Twist and Shout", released earlier in Britain but not in the United States until April. Crosby's version, possibly the first studio recording and pre-dating release of the Trio's version, appeared many years later on the Preflyte album.

text: A version of the song first broke into the top forty in 1965, when We Five, produced by Kingston Trio manager Frank Werber, released "Let's Get Together" as the follow-up to their top ten hit "You Were on My Mind". While it did not achieve the same level of success as the other, "Let's Get Together" provided the group with a second top 40 hit on the Billboard Hot 100 when it peaked at number 31.[3] It would be their last hit record.

text: "Let's Get Together" was the third song on side 2 of the Jefferson Airplane's first album, Jefferson Airplane Takes Off, released in August 1966. As Tim Jurgens said in his review of the album in the January 1967 issue of Crawdaddy,[4] "Jefferson Airplane Takes Off is the most important album of American rock issued this year (1966); it is the first LP to come out of the new San Francisco music scene..". He called "Let's Get Together" a "most sensitive, hopeful and contemporary ballad", and wondered why it isn't sung in church. However, the song wasn't released as a single, although the album did make the top 100 of 1966, as number 97.

text: In 1967, the Youngbloods released their version of the song under the title "Get Together". It became a minor Hot 100 hit for them, peaking at number 62 and reaching 37 on the US adult contemporary chart.[5] However, renewed interest in the Youngbloods' version came when it was used in a radio public service announcement as a call for brotherhood by the National Conference of Christians and Jews. The Youngbloods' version, the most-remembered today, was re-released in 1969, peaking at number 5 on the Billboard Hot 100.[6]

text: Another version was released in 1967 by the Chicago psychedelic group H. P. Lovecraft on their debut album.

text: In 1968, the Sunshine Company released a version of the song titled "Let's Get Together" as a single that reached number 112 on the Billboard chart.[7]

text: Also in 1968, the Canadian group 3's a Crowd released their version of the song as a single, titled "Let's Get Together". It peaked at number 70 on Canada's national singles chart.

text: Smith recorded a version on their 1969 debut album, sung by Gayle McCormick.

text: In 1970, Gwen & Jerry Collins released a version of the song as a single that reached number 34 on the US country chart.[8]

text: In March 1970, the Dave Clark Five reached number 8 on the UK Singles Chart with their version retitled "Everybody Get Together".[9]

text: In 1995, Big Mountain released a version of the song titled as a single that reached number 28 on the US adult contemporary chart and number 44 on the Billboard Hot 100.[10]

text: And on Inauguraton Day 2017, the group Bahari [11] released their version of the song.

text: Controversy[edit]

text: Following the September 11 terrorist attacks, the media conglomerate company Clear Channel Communications included the Youngbloods' version of the song on a list of "lyrically questionable" songs that was sent to its 1,200 radio stations in the United States.

text: In popular culture[edit]

text:
The Youngbloods version of the song has been featured in several films, including Purple Haze, Forrest Gump, The Dish, Stephen King's Riding the Bullet, Fear and Loathing in Las Vegas and most recently Cats & Dogs: The Revenge of Kitty Galore.
In The Simpsons episode "Treehouse of Horror II", Lisa wishes for world peace and her wish comes true. All people on Earth start singing "Get Together" and dance in a large peace sign.
The South Park episode "Smug Alert!" contains a parody of the song which repeats the line "come on people now" several times.
The song also appears on the soundtrack for The Wonder Years.
In 2008 the Youngbloods' version of the song was used in a commercial for Luvs diapers.
A snippet of the Youngbloods' version of the song was used in a 2014 commercial for KFC.
A snippet of the Youngbloods' version of the song was played in the beginning of Bart's dream in The Simpsons episode "Oh Brother, Where Bart Thou?"
Krist Novoselic sings part of the chorus of this song at the beginning of Nirvana's recording of their song, "Territorial Pissings".
The Christian hard rock group David and the Giants released a cover of the song on their CD Giant Hits.[12]
Christian Slater echoes the chorus in the 1990 film Pump Up the Volume.
In 2017, the Youngbloods' version of the song was used in a Walmart commercial showing people of many ethnicities joining together for a meal.

tag: ul


document_title: Panama Canal Zone

question_text: what nation owned the territory of panama in 1901

text: Panama Canal Zone

text: History[edit]

text: Proposals for a canal[edit]

text: Proposals for a canal across the Isthmus of Panama date back to 1529, soon after the Spanish conquest. Álvaro de Saavedra Cerón, a lieutenant of conquistador Vasco Núñez de Balboa, suggested four possible routes, one of which closely tracks the present-day canal. Saavedra believed that such a canal would make it easier for European vessels to reach Asia. Although King Charles I was enthusiastic and ordered preliminary works started, his officials in Panama soon realized that such an undertaking was beyond the capabilities of 16th-century technology. One official wrote to Charles, "I pledge to Your Majesty that there is not a prince in the world with the power to accomplish this".[3] The Spanish instead built a road across the isthmus. The road came to be crucial to Spain's economy, as treasure obtained along the Pacific coast of South America was offloaded at Panama City and hauled through the jungle to the Atlantic port of Nombre de Dios, close to present day Colón.[4] Although additional canal building proposals were made throughout the 16th and 17th centuries, they came to naught.[3]

text: The late 18th and early 19th centuries saw a number of canals built. The success of the Erie Canal in the United States and the collapse of the Spanish Empire in Latin America led to a surge of American interest in building an interoceanic canal. Beginning in 1826, US officials began negotiations with Gran Colombia (present-day Colombia, Venezuela, Ecuador and Panama), hoping to gain a concession for the building of a canal. Jealous of their newly obtained independence and fearing that they would be dominated by an American presence, the president Simon Bolivar and New Granadans officials declined American offers. The new nation was politically unstable, and Panama rebelled several times during the 19th century.

text: In 1836, U.S. statesman Charles Biddle reached an agreement with the New Granadan government to replace the old road with an improved one or a railroad, running from Panama City on the Pacific coast to the Chagres River, where a steamship service would allow passengers and freight to continue to Colón. His agreement was repudiated by the Jackson administration, which wanted rights to build a canal. In 1841, with Panama in rebellion again, British interests secured a right of way over the isthmus from the insurgent regime and occupied Nicaraguan ports that might have served as the Atlantic terminus of a canal.[5][6] In 1846, the new US envoy to Bogotá, Benjamin Bidlack, was surprised when, soon after his arrival, the New Granadans proposed that the United States be the guarantor of the neutrality of the isthmus. The resulting Mallarino–Bidlack Treaty allowed the United States to intervene militarily to ensure that the interoceanic road (and when it was built, the Panama Railroad as well) would not be disrupted. New Granada hoped that other nations would sign similar treaties, but the one with the United States, which was ratified by the US Senate in June 1848 after considerable lobbying by New Granada, was the only one.[7]

text: The treaty led the U.S. government to contract for steamship service to Panama from ports on both coasts. When the California Gold Rush began in 1848, traffic through Panama greatly increased, and New Granada agreed to allow the Panama Railroad to be constructed by American interests. This first "transcontinental railroad" opened in 1850.[8] There were riots in Panama City in 1856; several Americans were killed. US warships landed Marines, who occupied the railroad station and kept the railroad service from being interrupted by the unrest. The United States demanded compensation from New Granada, including a zone 20 miles (32 km) wide, to be governed by US officials and in which the United States might build any "railway or passageway" it desired. The demand was dropped in the face of resistance by New Granadan officials, who accused the United States of seeking a colony.[9]

text: Through the remainder of the 19th century, the United States landed troops several times to preserve the railway connection. At the same time, it pursued a canal treaty with Colombia (as New Granada was renamed). One treaty, signed in 1868, was rejected by the Colombian Senate, which hoped for better terms from the incoming Grant administration. Under this treaty, the canal would have been in the middle of a 20-mile zone, under American management but Colombian sovereignty, and the canal would revert to Colombia in 99 years. The Grant administration did little to pursue a treaty, and in 1878, the concession to build the canal fell to a French firm. The French efforts eventually failed, but with Panama apparently unavailable, the United States considered possible canal sites in Mexico and Nicaragua.[10]

text: The Spanish–American War of 1898 added new life to the canal debate. During the war, American warships in the Atlantic seeking to reach battle zones in the Pacific had been forced to round Cape Horn. Influential naval pundits, such as Captain Alfred Thayer Mahan, urged the construction of a Central American canal. In 1902, with the French efforts moribund, US President Theodore Roosevelt backed the Panama route, and Congress passed legislation authorizing him to purchase the French assets[11] on the condition that an agreement was reached with Colombia.[12] In March 1902, Colombia set its terms for such a treaty: Colombia was to be sovereign over the canal, which would be policed by Colombians paid for by the United States. The host nation would receive a larger percentage of the tolls than provided for in earlier draft treaties. The draft terms were quickly rejected by American officials. Roosevelt was in a hurry to secure the treaty; the Colombians, to whom the French property would revert in 1904, were not. Negotiations dragged on into 1903, during which time there was unrest in Panama City and Colón; the United States sent in Marines to guard the trains. Nevertheless, in early 1903, the United States and Colombia signed a treaty which, despite Colombia's previous objections, gave the United States a 6 miles (9.7 km) wide zone in which it could deploy troops with Colombian consent. On August 12, 1903, the Colombian Senate voted down the treaty 24–0.[13]

text: Roosevelt was angered by the Colombians' actions, especially when the Colombian Senate made a counteroffer that was more financially advantageous to Colombia. A Frenchman who had worked on his nation's canal efforts, Philippe Bunau-Varilla, represented Panamanian insurgents; he met with Roosevelt and with Secretary of State John Hay, who saw to it that his principals received covert support. When the revolution came in November 1903, the United States intervened to protect the rebels, who succeeded in taking over the province, declaring it independent as the Republic of Panama. Bunau-Varilla was initially the Panamanian representative in the United States, though he was about to be displaced by actual Panamanians, and hastily negotiated a treaty, giving the United States a zone 20 miles (32 km) wide and full authority to pass laws to govern that zone. The Panama Canal Zone (Canal Zone, or Zone) excluded Panama City and Colón, but included four offshore islands, and permitted the United States to add to the zone any additional lands needed to carry on canal operations. The Panamanians were minded to disavow the treaty, but Bunau-Varilla told the new government that if Panama did not agree, the United States would withdraw its protection and make the best terms it could with Colombia. The Panamanians agreed, even adding a provision to the new constitution, at US request, allowing the larger nation to intervene to preserve public order.[14]

text: Construction (1903–1914)[edit]

text: The treaty was approved by the provisional Panamanian government on December 2, 1903, and by the US Senate on February 23, 1904. Under the treaty, Panama received US$10 million, much of which the United States required to be invested in that country, plus annual payments of US$250,000; with those payments made, as well as for the purchase of the French company assets, the Canal Zone was formally turned over by Panama on May 4, 1904, when American officials reopened the Panama City offices of the canal company and raised the American flag.[15] This marked the beginning point for U.S. excavation and construction which concluded in August 1914 with the opening of the canal to commercial traffic.

text: Governance[edit]

text: By order of President Theodore Roosevelt under the Panama Canal Acts of 1902 and 1904 the Secretary of War was made supervisor of canal construction and the second Isthmian Canal Commission made the governing body for the Canal Zone.[16] Under the Panama Canal Act of May 24, 1912 President Woodrow Wilson issued Executive Order 1885, January 27, 1914, effective April 1, 1914 abolishing the previous governance placing it under the direction of the Secretary of War with the entity designated as The Panama Canal.[16][17] The Governor of the Panama Canal was charged with "completion, maintenance, operation, government and sanitation of the Panama Canal and its adjuncts and the government of the Canal Zone" in the Executive order.[17] A number of departments were specified in the order with others to be established as needed by the Governor of the Panama Canal with approval of the President and under the supervision of the Secretary of War.[17] Defense of the canal was the responsibility of the Secretary of War who retained control of troops with provisions for Presidential appointment of an Army officer in wartime who would have "exclusive authority over the operation of the Panama Canal and the Government of the Canal Zone."[17] The Executive Order noted in closing "that the supervision of the operations of the Panama Canal under the permanent organization should be under the Secretary of War" thus establishing the essentially military arrangement and atmosphere for the canal and Canal Zone.[17]

text: Effective July 1, 1951, under an act of Congress dated September 26, 1950 (64 Stat. 1038), governance of the Canal Zone was through the Canal Zone Government with the canal operated by the Panama Canal Company until 1979 when the Panama Canal Commission took over its governance.[18][19] The entire structure was under the control of the United States government with the Secretary of the Army appointing the Panama Canal Company board of directors and the Canal Zone Government was entirely financed by the company.[20] The office of Governor of the Panama Canal Zone was not usually a stepping stone to higher political office but a position given to a US Army active duty general officers of the United States Army Corps of Engineers.[21] The Governor was also President of the Panama Canal Company. The Canal Zone had its own police force (the Canal Zone Police), courts, and judges (the United States District Court for the Canal Zone). Despite being an unincorporated territory, the Canal Zone was never granted a congressional delegate.

text: Everyone worked for the company or the government in one form or another. Residents did not own their homes; instead, they rented houses assigned primarily based on seniority in the zone. When an employee moved away, the house would be listed and employees could apply for it. The utility companies were also managed by the company. There were no independent stores; goods were brought in and sold at stores run by the company, such as a commissary, housewares, and so forth.

text: In 1952 the Panama Canal Company was required to go on a break-even basis in an announcement made in the form of the President's budget submission to the United States Congress.[22] Though company officials had been involved in previewing the requirement, there was no disclosure in advance, even though the Bureau of the Budget directed that the new régime become effective on March 1.[22] The company organization was realigned into three main divisions; Canal Activity and Commercial Activity with the Service Activity providing services to both operating activities at rates sufficient to recover costs.[23] Rate adjustments in housing and other employee services would be required and a form of valuation, compared to a property tax, would be used to determine each division's contribution to the Canal Zone Government.[24]

text: Tensions and the end of the Canal Zone[edit]

text: In 1903, the United States, having failed to obtain from Colombia the right to build a canal across the Isthmus of Panama, which was part of that country, sent warships in support of Panamanian independence from Colombia. This being achieved, the new nation of Panama ceded to the Americans the rights they wanted in the Hay–Bunau-Varilla Treaty. Over time, though, the existence of the Canal Zone, a political exclave of the United States that cut Panama geographically in half and had its own courts, police, and civil government, became a cause of conflict between the two countries. Demonstrations occurred at the opening of the Thatcher Ferry Bridge, now known as the Bridge of the Americas, in 1962 and serious rioting occurred in January 1964. This led to the United States easing its controls in the Zone. For example, Panamanian flags were allowed to be flown alongside American ones. After extensive negotiations, the Canal Zone ceased to exist on October 1, 1979, in compliance with provisions of the Torrijos–Carter Treaties.

text: Lifestyle of residents[edit]

text: "Gold" roll and "silver" roll[edit]

text: During its construction and into the 1940s, the labor force in the Canal Zone (which was almost entirely publicly employed) was divided into a "gold" roll (short for payroll) classification, and a "silver" roll classification. The origins of this system are unclear, but it was the practice on the 19th-century Panama Railroad to pay Americans in US gold and local workers in silver coin.[25] Although some Canal Zone officials compared the gold roll to military officers and the silver roll to enlisted men, the characteristic that determined on which roll an employee was placed was race. With very few exceptions, American and Northern European whites were placed on the gold roll, and blacks and southern European whites on the silver roll. American blacks were generally not hired; black employees were from the Caribbean, often from Barbados and Jamaica. American whites seeking work as laborers, which were almost entirely silver roll positions, were discouraged from applying.[26] In the early days of the system, bosses could promote exceptional workers from silver to gold, but this practice soon ceased as race came to be the determining factor.[27] As a result of the initial policy, there were several hundred skilled blacks and southern Europeans on the gold roll.[28] In November 1906, Chief Engineer John Stevens ordered that most blacks on the gold roll be placed on the silver roll instead (a few remained in such roles as teachers and postmasters); the following month, the Canal Commission reported that the 3,700 gold roll employees were "almost all white Americans" and the 13,000 silver roll workers were "mostly aliens".[26] On February 8, 1908, President Roosevelt ordered that no further non-Americans be placed on the gold roll. After Panamanians objected, the gold roll was reopened to them in December 1908; however, efforts to remove blacks and non-Americans from the gold roll continued.[29]

text: Until 1918, when all employees began to be paid in US dollars, gold roll employees were paid in gold, in American currency, while their silver roll counterparts were paid in silver coin, initially Colombian pesos. Through the years of canal construction, silver roll workers were paid with coins from various nations; in several years, coin was imported from the United States because of local shortages. Even after 1918, both the designations and the disparity in privileges lingered.[28]

text: "Diasporization" in the Panama Canal Zone[edit]

text: Until the end of World War II in 1945, the Panama Canal Zone operated under a Jim Crow society, where the category of "gold" represented white, U.S. workers and the title "silver" represented the non-white, non-U.S. workers on the Zone. After the strike of 1920, the Afro diasporic workers were banned from unionizing by the U.S. Canal officials. As a result, the Panama Canal West Indian Employees Association (PCWIEA) was created in 1924 to fill this vacuum of representation.[30] The PCWIEA did not garner much support on the Canal Zone because of its restrictive membership policies and the haunting of the 1920 strike and its damaging consequences. However, in 1946, the PCWIEA summoned the Congress of Industrial Organizations (CIO) for representation and the establishment of a local union. In July of that year, the West Indian and Panamanian workers received a charter for Local 713 of the United Public Workers of America (UPWA)-CIO.[31][32] Together, with the assistance of U.S. representatives for the Local, these Afro-diasporic workers came together to secure material benefits in their livelihoods. They organized together in order to pose a serious threat to the Jim Crow system which resulted, however, only in minimal gains. The imperial system of the U.S. and its segregationist policies persisted as it related to housing and schooling.[33] In the end, ties to communism destroyed the UPWA and as a result Local 713 collapsed.[34] Nevertheless, it is important to see this as a moment of what Frank Gurridy describes as diasporization, “diaspora in action, or the ways Afro-diasporic linkages were made in practice”.[35] In the case of the Panama Canal Zone, these linkages were made not only by the West Indian and Panamanian communities, but also between the Afro descended workers on the Zone and African Americans, on the mainland of the U.S., through the transnational struggle to dismantle the system of Jim Crow.

text: Community[edit]

text: Housing and goods[edit]

text: Canal Zone housing was constructed in the early days of construction, as part of Stevens' plans. Housing constructed for couples and families consisted of structures containing four two-story apartments. The units had corrugated-iron roofs, and were uniformly painted gray with white trim. Constructed of pine clapboard, they had long windows and high ceilings, allowing for air movement. Better-paid employees were entitled to more square feet of housing, the unit in which allowances were expressed. Initially, employees received one square foot per dollar of monthly salary. Stevens from the first encouraged gold roll employees to send for their wives and children; to encourage them to do so, wives were granted a housing allowance equal to their husband's, even if they were not employees. Bachelors mostly resided in hotel-like structures. The structures all had screened verandas and up-to-date plumbing. The government furnished power, water, coal for cooking, ice for iceboxes, lawn care, groundskeeping, garbage disposal, and, for bachelors only, maid service.[36]

text: In the first days of the Canal Zone, the ICC provided no food, and workers had to fend for themselves, obtaining poor-quality food at inflated prices from Panamanian merchants. When Stevens arrived in 1905, he ordered food to be provided at cost, leading to the establishment of the Canal Zone Commissary. The functions of the Commissary quickly grew, generally against the will of the Panamanian government, which saw more and more goods and services provided in the Zone rather than in Panama. Merchants could not compete with the commissary's prices or quality; for example, it boasted that the meat it sold had been refrigerated every moment from the Chicago slaughterhouse to the moment it was passed to the consumer. By 1913, it consisted of 22 general stores, 7 cigar stores, 22 hostels, 2 hotels, and a mail-order division. It served high-quality meals at small expense to workers and more expensive meals to upper-echelon canal employees and others able to afford it.[37]

text: The commissary was a source of friction between the Canal Zone and Panama for several other reasons. The commissary dominated sales of supplies to passing ships.[38] The commissary was off limits to individuals who were not in the U.S. Military, employees of the Panama Canal Company, the Canal Zone Government and/or their dependents. This restriction was requested by Panama for the benefit of Panamanian storekeepers, who feared the loss of trade. Panama had laws restricting imports from the Canal Zone. Goods from the commissary would sometimes show up in Panamanian stores and in vendor displays, where Comisariato goods were deemed of high quality.[39] Additionally, there were separate commissaries on the U.S. military installations that were available only to the U.S. Military personnel and their dependents. Employees and dependents of the Panama Canal Company/Government were not allowed to utilize the commissaries, exchanges, packages stores, theaters, gas stations, and other facilities on the U.S. Military installations.

text: Citizenship[edit]

text: Although the Panama Canal Zone was legal territory of the United States[40] until the implementation of the Torrijos–Carter Treaties in 1979, questions arose almost from its inception as to whether it was considered part of the United States for constitutional purposes, or, in the phrase of the day, whether the Constitution followed the flag. In 1901 the US Supreme Court had ruled in Downes v. Bidwell that unincorporated territories are not the United States.[41] On July 28, 1904, Controller of the Treasury Robert Tracewell stated, "While the general spirit and purpose of the Constitution is applicable to the zone, that domain is not a part of the United States within the full meaning of the Constitution and laws of the country."[42] Accordingly, the Supreme Court held in 1905 in Rasmussen v. United States that the full Constitution only applies for incorporated territories of the United States.[43]

text: The treaty with Panama made no mention of the nationality status of the native inhabitants of the Zone. Pursuant to the principles of international law, they became non-citizen U.S. nationals unless they elected to retain their previous nationality. Children of non-citizen U.S. nationals generally acquired the status of their parents. However, for most nationality purposes, the Canal Zone was considered to be foreign territory and the status persons acquired at birth was governed by the Naturalization Act of 1795, which granted them statutory US citizenship at birth but only if their fathers were, at the time of the child's birth, U.S. citizens who had previously resided in the United States. In 1934 the law was amended to allow for citizenship to be acquired at birth through either parent if the parent was a U.S. citizen who had previously resided in the United States. In 1937 the law was further amended to provide for US citizenship to persons born in the Canal Zone (since 1904) to a U.S. citizen parent without that parent needing to have been previously resident in the United States.[40] The law is now codified under title 8, section 1403.[44] It not only grants statutory and declaratory born citizenship to those born in the Canal Zone after February 26, 1904, of at least one US citizen parent, but also does so retroactively for all children born of at least one US citizen in the Canal Zone before the law's enactment.[45] This rule was later rendered moot when the rules were changed to state that (almost all) children born to U.S. citizens anywhere in the world were considered U.S citizens.[46]

text: In 2008, during a minor controversy over whether Canal Zone–born John McCain, born in the Zone in 1936, was legally eligible for the presidency, the US Senate passed a non-binding resolution that McCain was a "natural born Citizen" of the United States.[47]

text: Notable people[edit]

text: Notable people born in the Panama Canal Zone include

text:
Earl Bell,[48]
Rod Carew
Kenneth Bancroft Clark
Thomas H. Jordan
John McCain, the Republican 2008 presidential candidate and US Senator from Arizona.
Edward A. Murphy, Jr.
Richard Prince
Sage Steele
Klea Scott, Canadian actress

text: Culture[edit]

text: Frederick Wiseman made the film Canal Zone, which was released and aired on PBS in 1977.[49]

text: Townships and military installations[edit]

text: The Canal Zone was generally divided into two sections, the Pacific side and the Atlantic side, separated by Gatun Lake.

text: A partial list of Canal Zone townships and military installations:[50]

text: Pacific side[edit]

text: Townships[edit]

text:
Ancón – built on the lower slopes of Ancon Hill, adjacent to Panama City. Also home to Gorgas Hospital.
Balboa – the Zone's administrative capital, as well as location of the harbor and main Pacific-side high school.
Balboa Heights
Cardenas – as the Canal Zone was gradually handed over to Panamanian control, Cardenas was one of the last Zonian holdouts.
Cocoli
Corozal
Curundú – on a military base, but housed civilian military workers, also home to the Junior High School for the Pacific Side
Curundu Heights
Diablo
Diablo Heights
Gamboa – headquarters of dredging division, located on Gatun Lake. Many new arrivals to the Canal Zone were assigned here.
La Boca – home of the Panama Canal College.
Los Rios
Paraíso
Pedro Miguel
Red Tank – abandoned and allowed to be overgrown around 1950.
Rosseau – built as a naval hospital during World War II, housed FAA personnel until Cardenas was built. Torn down after about 20 years.

text: Military installations[edit]

text:
Fort Amador – on the coast, partly built on land extended into the sea using excavation materials from the canal construction
Fort Clayton – on the east side of the canal, it was the headquarters of the 193rd Infantry and the Southern Command Network (SCN), an American Forces Radio and Television Service (AFRTS) outlet.
Corozal Army Post – close to, but separate from, the civilian township.
Fort Kobbe
Rodman Naval Station (which includes the Marine Barracks)
Albrook Air Force Base
Howard Air Force Base
Quarry Heights – headquarters of the United States Southern Command.

text: Atlantic side[edit]

text: Townships[edit]

text:
Brazos Heights: privately owned housing (by United Brands and other, mostly shipping companies) where employees and owners of shipping agencies, lawyers, and the head of the YMCA lived.
Coco Solo – main hospital and site of the only Atlantic-side high school, Cristobal High School.
Cristóbal – main harbor and port.
Gatún
Margarita
Mount Hope – site of the only Atlantic-side cemetery and drydock.
Rainbow City, now Arco Iris

text: Military installations[edit]

text:
Fort Gulick – home to the School of the Americas.
Galeta Island
Fort Randolph – located on Margarita Island in Manzanillo Bay.
Fort De Lesseps – located in Colón.
Fort Davis
France Field
Fort Sherman – home to Jungle Operations Training Center.

text: Panama Canal Treaty implementation[edit]

text: On 1 October 1979, the day the Panama Canal Treaty of 1977 took effect, most of the land within the former Canal Zone transferred to Panama. However, the treaty set aside many Canal Zone areas and facilities for transfer during the following 20 years. The treaty specifically categorized areas and facilities by name as “Military Areas of Coordination”, "Defense Sites" and "Areas Subject to Separate Bilateral Agreement". These were to be transferred by the U.S. to Panama during certain time windows or simply by the end of the 243-month treaty period. On 1 October 1979, among the many such parcels so designated in the treaty, 35 emerged as enclaves (surrounded entirely by land solely under Panamanian jurisdiction).[51] In later years as other areas were turned over to Panama, nine more enclaves emerged.

text: At least 13 other parcels each were enclosed partly by land under the absolute jurisdiction of Panama and partly by an “Area of Civil Coordination" (housing), which under the treaty was subject to elements of both U.S. and Panamanian public law. In addition, the 1977 treaty designated numerous areas and individual facilities as “Canal Operating Areas” for joint U.S.-Panama ongoing operations by a commission. On the effective date of the treaty, many of these, including Madden Dam, became newly surrounded by the territory of Panama. Just after noon local time on 31 December 1999, all former Canal Zone parcels of all types had come under the exclusive jurisdiction of Panama.[52][53][54][55][56][57]

text: The 44 enclaves of U.S. territory that existed under the treaty are shown in the table below.

text:
Enclave name
Type (military/civil)*
Function
Date created
Date transferred

PAD (former Panama Air Depot) Area Bldg. 1019 (Defense Mapping Agency)
military
logistics
1 October 1979
1 October 1980

PAD Area Bldg. 1007 (Inter-American Geodetic Survey Headquarters)
military
logistics
1 October 1979
1 October 1980

PAD Area Bldg. 1022 (warehouse)
military
logistics
1 October 1979
1 October 1980

PAD Area Bldg. 490 (U.S. Army Meddac Warehouse)
military
logistics
1 October 1979
1 October 1981

PAD Area Bldg. 1010 (U.S. Army Meddac Warehouse)
military
logistics
1 October 1979
1 October 1981

PAD Area Bldg. 1008 (AAFES Warehouse)
military
logistics
1 October 1979
1 October 1982

PAD Area Bldg. 1009 (AAFES Warehouse)
military
logistics
1 October 1979
1 October 1982

Curundu Antenna Farm
military
communications
1 October 1979
1 October 1982

Curundu Heights
military
housing
1 October 1979
1 October 1982

France Field housing (15 units) on McEwen St.
military
housing
1 October 1979
1 October 1984

Navy Salvage Storage Area (Balboa)
military
logistics
1 October 1979
1 October 1984

Coco Solo Hospital
civil
medical
1 October 1979
31 May 1993

Ft. Amador Service Club Bldg. 107
military
base
1 October 1979
1 October 1996

Ft. Amador Bldg. 105 complex
military
base
1 October 1979
1 October 1996

FAA Long Range Radar, Semaphore Hill (coordinates 485035)
civil
aviation
1 October 1979
13 December 1996

Ancon Hill: Bldg. 140 (coordinates 595904)
military
logistics
1 October 1979
8 January 1998

Ancon Hill: Bldg. 159 - Quarry Heights Motor Pool
military
logistics
1 October 1979
8 January 1998

Ancon Hill FAA microwave link repeater station, Bldg. 148 (coordinates 594906)
civil
aviation
1 October 1979
16 January 1998

Ancon Hill FAA VHF/UHF communications station (coordinates 595902)
civil
aviation
1 October 1979
16 January 1998

Piña Range (part)
military
training
1 October 1979
30 June 1999

Balboa High School Shop Bldg.
civil
school
1 October 1979
31 August 1999

Balboa High School Activities Bldg.
civil
school
1 October 1979
31 August 1999

Cerro Gordo communications site
military
communications
1 October 1979
31 August 1999

Howard AFB/Ft. Kobbe Complex
military
base
1 October 1979
1 November 1999

Military Traffic Management Command, Bldg 1501, Balboa/Pier 18
military
logistics
1 October 1979
22 December 1999

Army Nuclear, Biological and Chemical Chambers (in current Parque Natural Metropolitano)
military
research
1 October 1979
31 December 1999

Federal Aviation Administration Bldg. 611
civil
aviation
1 October 1979
31 December 1999

FAA radar station, Isla Perico
civil
aviation
1 October 1979
31 December 1999

Stratcom Transmitter Station Bldg. 430 (in Corozal Antenna Field)
military
communications
1 October 1979
31 December 1999

Stratcom Transmitter Station Bldg. 433 (in Corozal Antenna Field)
military
communications
1 October 1979
31 December 1999

Stratcom Transmitter Station Bldg. 435 (in Corozal Antenna Field)
military
communications
1 October 1979
31 December 1999

Army Transport Shipping Facility (Balboa)
military
logistics
1 October 1979
31 December 1999

Navy Communications Electric Repair Facility (Balboa)
military
communications
1 October 1979
31 December 1999

U.S. Air Force Communications Group storage/training facility, Bldg 875
military
logistics
1 October 1979
31 December 1999

Inter-American Air Force Academy Jet Engine Test Cell, Bldg. 1901
military
research
1 October 1979
31 December 1999

Bachelor Officers’ Housing (larger parcel) – Curundu Heights
military
housing
2 October 1982
Nov-Dec 1992

Bachelor Officers’ Housing (smaller parcel) – Curundu Heights
military
housing
2 October 1982
Nov-Dec 1992

Curundu Laundry facility
military
housing
2 October 1982
15 November 1999

Ft. Gulick Elementary School
civil
school
2 October 1984
1 September 1995

Ft. Gulick Ammunition Storage Facility
military
logistics
2 October 1984
1 September 1995

Cristobal Junior-Senior High School
civil
school
1990
1 September 1995

Chiva Chiva Antenna Farm (Foreign Broadcast Information Service)
military
communications
1993
6 January 1998

Curundu Middle School
civil
school
1 August 1997
15 September 1999

Piña Range (remainder)
military
training
30 June 1999
1 July 1999

tag: table

text: Postage stamps[edit]

text: The Panama Canal Zone issued its own postage stamps from 1904 until October 25, 1978.[58] After a transition period, Panama administered the stamps.

text: The two-letter state abbreviation for mail sent to the Zone was CZ.

text: Amateur radio[edit]

text: Amateur radio licenses were issued by the United States Federal Communications Commission and carried the prefix KZ5, the initial 'K' indicating a station under American jurisdiction.[59] The American Radio Relay League had a Canal Zone section, and the Canal Zone was considered an entity for purposes of the DX Century Club. Contacts with Canal Zone stations from before repatriation may still be counted for DXCC credit separate from Panama.[60]