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

question_text: who won the last season of so you think can dance

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.

tag: p

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 and 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 panels has varied considerably over the years,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.[1] For the thirteenth season, 13-year-old dancer Maddie Ziegler joined the panel as a fourth judge.[2] 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

15
Summer 2018
(June-September)
No
No
20
TBA
TBA
1
Yes
TBA
TBA

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.[3] 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.[4]

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.[5] Auditions were held in Boston, Atlanta, Los Angeles, New Orleans, Phoenix, and Salt Lake City.[6] 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.[7] 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.[8] The two-part premiere concluded on May 15, 2013 at 9 p.m., after the finale of American Idol season 12.[9] 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.[10]

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.[11] Auditions began on January 24, 2015 and took place in five major American cities.[12] 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.[13] One or more finalists were eliminated each week beginning July 18, 2016.[14] 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.[2][15] Leon "Kida" Burns won the top prize of $250,000. J. T. Church was the runner-up.[16]

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.[17]

text: Season 15[edit]

text: On February 16, 2018, Fox renewed the series for a fifteenth season set to premiere June 4, 2018 and see Deeley return as Host and Lythgoe, Murphy and Hudgens return as judges.

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.[18]

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.[18][19] 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".[20]

text:
Season
First aired
Last aired
TV season
Timeslot (ET)
Season
viewers
Season
ranking

Date
Viewers
(in millions)
Date
Viewers
(in millions)

1[21]
July 20, 2005
10.30
Final Performances: September 28, 2005
7.30
2005
Wednesday 8:00 pm

Season Finale: October 5, 2005
8.20

2[22]
May 25, 2006
10.70
Final Performances: August 9, 2006
10.10
2006
Wednesday 8:00 pm
(performance)

Season Finale: August 16, 2006
10.70
Thursday 9:00 pm
(results)

3[23]
May 24, 2007
9.50
Final Performances: August 15, 2007
8.70
2007
Wednesday 8:00 pm
(performance)

Season Finale: August 16, 2007
9.60
Thursday 9:00 pm
(results)

4[24]
May 22, 2008
6.70
Final Performances: August 6, 2008
9.00
2008
Wednesday 8:00 pm
(performance)

Season Finale: August 7, 2008
9.70
Thursday 9:00 pm
(results)

5[25]
May 21, 2009
8.80
Final Performances: August 5, 2009
7.80
2009
Wednesday 8:00 pm
(performance)

Season Finale: August 6, 2009
9.60
Thursday 9:00 pm
(results)

6[26]
September 9, 2009
6.60
Final Performances:

2009-10
Tuesday 8:00 pm
(performance)

Season Finale: December 16, 2009

Wednesday 8:00 pm
(results)

7[27]
May 27, 2010
8.20
Final Performances:

2010
Wednesday 8:00 pm
(performance)

Season Finale: August 12, 2010

Thursday 9:00 pm
(results)

8[28]
May 26, 2011
9.50
Final Performances:

2011
Wednesday 8:00 pm
(performance)

Season Finale: August 11, 2011

Thursday 8:00 pm
(results)

9[29][30][31]
May 24, 2012
6.26
Final Performances: September 11, 2012
4.33
2012
Wednesday 8:00 pm

Season Finale: September 18, 2012
4.71

10[32][33][34]
May 14, 2013
5.12
Final Performances: September 3, 2013
4.17
2013
Tuesday 8:00 pm

Season Finale: September 10, 2013
4.37

11[35][36][37]
May 28, 2014
5.33
Final Performances: August 27, 2014
3.68
2014
Wednesday 8:00 pm

Season Finale: September 3, 2014
4.12

12[38][39][40]
June 1, 2015
4.03
Final Performances: September 7, 2018
2.64
2015
Monday 8:00 pm

Season Finale: September 14, 2015
2.44

13[41][42][43]
May 30, 2016
3.75
Final Performances: September 5, 2016
2.37
2016
Monday 8:00 pm

Season Finale: September 12, 2016
2.27

14[44][45][46]
June 12, 2017
3.56
Final Performances: September 18, 2017
2.14
2017

Season Finale: September 25, 2017
1.91

15[47]
June 6, 2018
3.25
Final Performances:

2018

Season Finale:

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."[48] 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.[49] 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.[50] This national dance day has been celebrated annually by the show since.[51]

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:
hideEmmy 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[52]
"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 Competition 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.[53]
^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: Brown Eyed Girl

question_text: what movie has the song brown eyed girl in it

root

text: Brown Eyed Girl

text: Recording and title[edit]

text: After finishing his contract with Decca Records and the mid-1966 break-up of his band, Them, Morrison returned to Belfast seeking a new recording company. When he received a phone call from Bert Berns, owner of Bang Records, who had produced a number of recordings with Them, he flew to New York City and hastily signed a contract (which biographer Clinton Heylin says probably still gives him sleepless nights).[2] During a two-day recording session starting 28 March 1967, he recorded eight songs intended to be used as four singles.[3] The recording session took place at A & R Studios and "Brown Eyed Girl" was captured on the 22nd take on the first day.[4] Of the musicians Berns had assembled, there were three guitarists – Eric Gale, Hugh McCracken,[5][6] and Al Gorgoni – plus bassist Russ Savakus, pianist Paul Griffin and drummer Gary Chester.[7][8] It was released as a single in mid-June 1967.[9]

text: Originally titled "Brown-Skinned Girl",[10] Morrison changed it to "Brown Eyed Girl" when he recorded it. Morrison remarked on the original title: "That was just a mistake. It was a kind of Jamaican song. Calypso. It just slipped my mind. I changed the title."[11] "After we'd recorded it, I looked at the tape box and didn't even notice that I'd changed the title. I looked at the box where I'd lain it down with my guitar and it said 'Brown Eyed Girl' on the tape box. It's just one of those things that happen."[12] It has also been stated that the song was about an inter-racial relationship and Morrison changed the title to "make it more palatable to radio stations."[13]

text: Composition[edit]

text: The song's nostalgic lyrics about a former love were considered too suggestive at the time to be played on many radio stations. A radio-edit of the song was released which removed the lyrics "making love in the green grass", replacing them with "laughin' and a-runnin', hey hey" from a previous verse. This edited version appears on some copies of the compilation album The Best of Van Morrison. However the remastered CD seems[clarification needed] to have the bowdlerised lyrics in the packaging but the original "racy" lyrics on the disc. Lyrically, it "shows early hints of the idealized pastoral landscapes that would flow through his songs through the decades, a tendency that links him to the Romantic poets, whom Morrison has cited as an influence" according to music journalist Erik Hage.[14]

text: Aftermath[edit]

text: Because of a contract he signed with Bang Records without legal advice, Morrison states that he has never received any royalties for writing or recording this song.[15] The contract made him liable for virtually all recording expenses incurred for all of his Bang Records recordings before royalties would be paid, and after those expenses were recouped, the revenue would become the "subject of some highly creative accounting."[16] Morrison vented frustration about this unjust contract in his sarcastic nonsense song "The Big Royalty Check." Morrison has stated that "Brown Eyed Girl" is not among his favorite songs, remarking "it's not one of my best. I mean I've got about 300 songs that I think are better".[17]

text: To capitalise on the success of the single, producer Berns assembled the album Blowin' Your Mind without Morrison's input or knowledge. Released in September 1967, the album contained the single as its lead-off track as well as songs recorded by Morrison at the March recording sessions for Berns. The album peaked at No. 182 on the Billboard 200.

text: Legacy[edit]

text: Morrison's original recording of "Brown Eyed Girl" remains widely familiar today, as the uncensored version is regularly played by many "oldies" and "classic rock" radio stations. In 2005, Van Morrison received a Million-Air certificate by BMI as a "Top European Writer" for reaching 7 million US radio and television airplays for "Brown Eyed Girl" and again in 2007, Morrison was awarded another Million-Air certificate by BMI for 8 million air plays of "Brown Eyed Girl".[18][19] In 2009, "Brown Eyed Girl" was at the top of the list for most played songs at the BMI London awards winning a Million-Air certificate for nine million air plays.[20] In 2011, "Brown Eyed Girl" joined an elite group of songs as it was honoured for having 10 million US radio air plays and therefore becoming one of the ten songs that have been registered with BMI that have received that number of radio plays.[21] As of 2015, "Brown Eyed Girl" remains the most downloaded and most played song of the entire 1960s decade.[22]

text: Paul Williams included "Brown Eyed Girl" in his book Rock and Roll: The 100 Best Singles,[23] writing that:

text: "I was going to say this is a song about sex, and it is, and a song about youth and growing up, and memory, and it's also — very much and very wonderfully — a song about singing."

text: This song proved to be the impetus for Morrison's career. It was his first single after leaving his position as lead singer for the Belfast-formed Them and led to his relocation to the United States and an eventual contract with Warner Bros. Records, where he recorded his career-defining album, Astral Weeks.

text: Critical acclaim and influence[edit]

text: Dave Marsh in his 1989 book, The Heart of Rock and Soul, The 1001 Greatest Singles Ever, rated it No. 386.[24] In 1999, Broadcast Music, Inc. (BMI) listed it as one of the Top 100 Songs of the Century.[25] In 2000, it was listed at No. 21 on the Rolling Stone/MTV list of 100 Greatest Pop Songs[26] and as No. 49 on VH1's list of the 100 Greatest Rock Songs.[27] In 2001, It was ranked No. 131 as one of the RIAAs Songs of the Century, a list of the top 365 songs of the 20th century chosen with historical significance in mind.[28][29]

text: In November 2004, "Brown Eyed Girl" by Van Morrison was ranked No. 110 on the Rolling Stone magazine list of 500 Greatest Songs of All Time.[30] At the same year, it was listed as No. 79 on the All Time 885 Greatest Songs compiled by WXPN from listeners' votes.[31] In January 2007, "Brown Eyed Girl" was inducted into the Grammy Hall of Fame.[32] It was ranked as the 152nd greatest song of all time, as well as the tenth best song of 1967, by Acclaimed Music.[33] It is also one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.[34]

text: Personnel[edit]

text:
Van Morrison – vocals, guitar
Eric Gale – bass guitar
Gary Chester – drums
Al Gorgoni – guitars
Hugh McCracken – guitars
Garry Sherman – organ

tag: ul

text: In popular culture[edit]

text:
The song has been featured in several popular films, including the 1983 film The Big Chill, the 1989 film Born on the Fourth of July,[35] and the 1991 film Sleeping with the Enemy, starring Julia Roberts.[36]
Mayor of London Boris Johnson included the song as one of his eight Desert Island Discs on BBC Radio 4 on 20 April 2003.[37] Fashion designer Betty Jackson also included the song on her list on 28 April 2002,[38] as did British actor, comedian and singer Hugh Laurie on 23 June 2013.[39]
In April 2005, the White House announced that "Brown Eyed Girl" gets regular rotation on George W. Bush's iPod. Morrison announced before a university performance in England: "Yeah, it's good to hear things like that, you know. But I would have preferred if it was a new song."[40]
A 2008 FoxTrot strip portrays "Brown Eyed Girl", along with "Eye of the Tiger" by Survivor and "My Eyes Adored You" by The Four Seasons as music played on the music site EyeTunes.
In March 2009, former US president Bill Clinton picked "Brown Eyed Girl" as top pick on his list of favourite ten tunes included on his signed iPod donated for a charity auction for musical victims of Hurricane Katrina.[41]
The song was played at the end of the funeral for comedian Rik Mayall in June 2014.[42]
In Graeme Simsion's 2017 novel The Best of Adam Sharp, Adam is playing "Brown Eyed Girl" when he first meets Angelina, and it is the song he plays over the phone when they reconnect 22 years later.[43]

text: Other releases[edit]

text: "Brown Eyed Girl" was one of the songs included on the 1990 compilation album, The Best of Van Morrison. It is one of the songs performed live at Morrison's concert of performance of 15 September 2006 at the Austin City Limits Festival and is included on the limited CD album, Live at Austin City Limits Festival. "Brown Eyed Girl" was one of the nineteen songs featured on Van Morrison's 2007 compilation album, Van Morrison at the Movies – Soundtrack Hits. The version on this compilation is a recent re-recording of the original version of the song. The original version is one of the hits on the 2007 compilation album, Still on Top – The Greatest Hits. A live version of this song is featured on the 2008 reissue of the live double album It's Too Late to Stop Now.

text: Cover versions[edit]

text: "Brown Eyed Girl" has been recorded and performed by many popular and well-known artists such as: Iain Matthews (1975),[44] Jimmy Buffett (1984),[45] Adele (2008),[46] Busted,[45] Everclear,[45] Johnny Rivers,[45] Bruce Springsteen, U2,[47] Bob Dylan,[45] Brian Kennedy,[48] Steel Pulse,[45] Roberto Jordan (Spanish version "La Chica De Los Ojos Cafes"), Lagwagon,[49] John Anderson,[50] El Chicano,[45] The Black Sorrows,[45] Ronan Keating,[51] Reel Big Fish,[52] and Joe Camilleri.[45] A cover by Joe Stampley peaked at number 29 on the Billboard Hot Country Singles chart in 1983.[53]

text: Chart performance[edit]

text:
Year
Billboard
UK Singles Chart

Hot 100
Hot Ringtones

1967
10[54]
-
-

2006
-
18[55]
-

2013
-
-
60[56]

tag: table


document_title: List of Prime Ministers of Nepal

question_text: who was the prime minister of nepal in 2017

text: List of Prime Ministers of Nepal

text: Chief Ministers of Kingdom of Nepal (1768-1803)[edit]

text: Old Bharadari governmentship[edit]

text: The character of government in Kingdom of Nepal was driven from consultative state organ of the previous Gorkha hill principality, known as Bharadar.[10][note 1] These Bharadars were drawn from high caste and politically influential families. For instance; Thar Ghar in previous Gorkha hill principality. The nobility of Gorkha were mainly based from Chhetri families and they had a strong presence in civil administration affairs.[11] All of the Prime Minister of Nepal between 1768 to 1950 were Chhetris with the exception of Ranga Nath Poudyal, being a Brahmin.[12] Bharadars formed consultative body in the kingdom for the most important functions of the state as Councellors, Ministers and Diplomats.[10] There was no single successful coalition government as court politics were driven from large factional rivalries, consecutive conspiracies and ostracization of opponent Bharadar families through assassination rather than legal expulsion.[10] Another reason was the minority of the reigning King between 1777 to 1847 that led to establishment of anarchial rule.[13] The government was stated to have controlled by regents, Mukhtiyars and alliance of political faction with strong fundamental support.[13] In the end of the 18th century, the central politics was regularly dominated by two notable political factions; Thapas and Pandes.[13] Per historians and contemporary writer Francis Hamilton, the government of Nepal[note 2] comprised

text:
1 Chautariya
4 Kajis
4 Sirdar/Sardars
2 Subedars
1 Khazanchi
1 Kapardar.[10]

text: Per historian Dilli Raman Regmi, the states the government of Nepal were

text:
4 Chautariyas
4 Kajis
4 Sirdar/Sardars.[10] Later, the number varied after King Rana Bahadur Shah abdicated his throne to minor son on 1799.[10]

text: In 1794, King Rana Bahadur Shah came of age and his first act was to re-constitute the government such that his uncle, Prince Bahadur Shah of Nepal, had no official part to play.[14][15] Rana Bahadur appointed Kirtiman Singh Basnyat as Chief (Mul) Kaji among the newly appointed four Kajis though Damodar Pande was the most influential Kaji.[15] Kirtiman had succeeded Abhiman Singh Basnyat as Chief Kaji[16] while Prince Bahadur Shah was succeeded as Chief (Mul) Chautariya by Prince Ranodyot Shah, then heir apparent of King Rana Bahadur Shah by a Chhetri Queen Subarna Prabha Devi.[15] Kajis had held the administrative and executive powers of nation after the fall of Chief Chautariya Prince Bahadur Shah in 1794. Later, Kirtiman Singh was secretly assassinated on 28 September 1801, by the supporters of Raj Rajeshwari Devi[17] and his brother Bakhtawar Singh Basnyat, was then given the post of Chief (Mul) Kaji.[18] During Bakhtawar's tenure as the Mul Kaji, on 28 October 1801, a Treaty of Commerce and Alliance was signed between Nepal and East India Company.[19] Queen Rajrajeshwari was restored as regent of Nepal in 17 December 1802.[20][21] On subsequent February, Damodar Pande was appointed by Queen Rajrajeshwari as Mulkaji (Chief Kaji)[22] as a reward for establishing her regency.[21]

text: Persons equivalent to Prime Minister of Nepal (1768-1803)[edit]

text:
No.

Portrait

Name(Birth–Death)

Term of Office

Position

Took Office

Left Office

1

Swarup Singh Karki(1751–1785)

c.1775

c.1777

Dewan[note 3]

2

Vamsharaj Pande(1739–1785)

c.1775

c.1779

Dewan[note 4]

3

Sarbajit Rana Magar(??–1778)

c.1777

1778

Kaji/Mulkaji[note 5]

2

Vamsharaj Pande(1739–1785)

c.1782

c.1785

Dewan/Mantri-Nayak[note 6]

4

Abhiman Singh Basnyat(1744–1800)

c.1785

1794

Mulkaji

5

Kirtiman Singh Basnyat(??–1801)

1794

28 September, 1801

Mulkaji[note 7]

6

Bakhtawar Singh Basnyat(??–??)

1801

February 1803

Mulkaji[note 8]

text: Prime Ministers of the Kingdom of Nepal (1803–2008)[edit]

text: Mul-Kajis and Muktiyars during the Shah expansion era and before the Rana era[edit]

text:
No.

Portrait

Name(Birth–Death)

Term of Office

Political Party

King of Kingdom of Nepal(Reign)

Took Office

Left Office

1

Damodar Pande(1752–1804)

February 1803

March 1804

Independent

Girvan Yuddha Bikram Shah (8 March 1799-20 November 1816)

—

Rana Bahadur Shah(1775–1806)

26 February 1806

26 April 1806

Independent

2

Bhimsen Thapa(1775–1839)

1806

July 1837

Independent

Rajendra Bikram Shah (20 November 1816-12 May 1847)

3

Rana Jang Pande(1789–1843)1st time

1837

1837

Independent

4

Ranga Nath Poudyal(1773–?)1st time

October 1837

August 1838

Independent

5

Chautariya Puskhar Shah(1784–1846)

October 1838

1839

Independent

(3)

Rana Jang Pande(1789–1843)2nd time

April 1839

1840

Independent

(4)

Ranga Nath Poudyal(1773–?)2nd time

1840

1840

Independent

6

Fateh Jung Shah(1805–1846)1st time

November 1840

January 1843

Independent

7

Mathabar Singh Thapa(1798–1845)

November 1843

25 December 1843

Independent

text: Prime Ministers before the Rana era (1845–1846)[edit]

text:
No.

Portrait

Name(Birth–Death)

Term of Office

Political Party

King of Kingdom of Nepal(Reign)

Took Office

Left Office

7

Mathabar Singh Thapa(1798–1845)

25 December 1843

17 May 1845

Independent

Rajendra Bikram Shah (20 November 1816-12 May 1847)

(6)

Fateh Jung Shah(1805–1846)2nd time

September 1845

14 September 1846

Independent

text: Prime Ministers during the Rana era (1846–1951)[edit]

text:
No.

Portrait

Name(Birth–Death)

Term of Office

Political Party

King of Kingdom of Nepal(Reign)

Took Office

Left Office

8

Jung Bahadur Rana(1816–1877)1st time

15 September 1846

1 August 1856

Independent

Surendra Bikram Shah (12 May 1847-17 May 1881)

9

Bam Bahadur Kunwar(1818–1857)

1 August 1856

25 May 1857

Independent

—

Krishna Bahadur Kunwar Rana(1823–1863)Acting Prime Minister

25 May 1857

28 June 1857

Independent

(8)

Jung Bahadur Rana(1816–1877)2nd time

28 June 1857

25 February 1877

Independent

10

Ranodip Singh Kunwar(1825–1885)

27 February 1877

22 November 1885

Independent

11

Bir Shumsher Jang Bahadur Rana(1852–1901)

22 November 1885

5 March 1901

Independent

Prithvi Bir Bikram Shah (17 May 1881-11 December 1911)

12

Dev Shumsher Jang Bahadur Rana(1862–1914)

5 March 1901

27 June 1901

Independent

13

Chandra Shumsher Jang Bahadur Rana(1863–1929)

27 June 1901

26 November 1929

Independent

Tribhuvan Bir Bikram Shah (11 December 1911-13 March 1955)

14

Bhim Shumsher Jung Bahadur Rana(1865–1932)

26 November 1929

1 September 1932

Independent

15

Juddha Shumsher Jang Bahadur Rana(1875–1952)

1 September 1932

29 November 1945

Independent

16

Padma Shumsher Jang Bahadur Rana(1882–1961)

29 November 1945

30 April 1948

Independent

17

Mohan Shumsher Jang Bahadur Rana(1885–1967)

30 April 1948

12 November 1951

Independent

text: Prime Ministers during the Transition era (1951–1960)[edit]

text:
No.

Portrait

Name(Birth–Death)

Term of Office

Political Party

King of Kingdom of Nepal(Reign)

Took Office

Left Office

18

Matrika Prasad Koirala(1912–1997)1st time

16 November 1951

14 August 1952

Nepali Congress

Tribhuvan Bir Bikram Shah (11 December 1911–13 March 1955)

—

Direct rule by KingTribhuvan Bir Bikram Shah(1906–1955)

14 August 1952

15 June 1953

—

(18)

Matrika Prasad Koirala(1912–1997)2nd time

15 June 1953

14 April 1955

Rastriya Praja Party

—

Direct rule by KingMahendra Bir Bikram Shah(1920–1972)

14 April 1955

27 January 1956

—

Mahendra Bir Bikram Shah (14 March 1955–31 January 1972)

19

Tanka Prasad Acharya(1912–1992)

27 January 1956

26 July 1957

Nepal Praja Parishad

20

Kunwar Inderjit Singh(1906–1982)

26 July 1957

15 May 1958

United Democratic Party

21

Subarna Shamsher Rana(1910–1977)

15 May 1958

27 May 1959

Nepali Congress

22

Bishweshwar Prasad Koirala(1914–1982)

27 May 1959

26 December 1960

Nepali Congress

text: Prime Ministers during the Panchayat era (1960–1990)[edit]

text:
No.

Portrait

Name(Birth–Death)

Term of Office

Political Party

King of Kingdom of Nepal(Reign)

Took Office

Left Office

—

Direct rule by KingMahendra Bir Bikram Shah(1920–1972)

26 December 1960

2 April 1963

—

Mahendra Bir Bikram Shah (14 March 1955–31 January 1972)

23

Tulsi Giri(1926–)1st time

2 April 1963

23 December 1963

Independent

24

Surya Bahadur Thapa(1928–2015)1st time

23 December 1963

26 February 1964

Independent

(23)

Tulsi Giri(1926–)2nd time

26 February 1964

26 January 1965

Independent

(24)

Surya Bahadur Thapa(1928–2015)2nd time

26 January 1965

7 April 1969

Independent

25

Kirti Nidhi Bista(1927–2017)1st time

7 April 1969

13 April 1970

Independent

—

Gehendra Bahadur Rajbhandari(1923–1994)Acting Prime Minister

13 April 1970

14 April 1971

Independent

(25)

Kirti Nidhi Bista(1927–2017)2nd time

14 April 1971

16 July 1973

Independent

Birendra Bir Bikram Shah (31 January 1972–1 June 2001)

26

Nagendra Prasad Rijal(1927–1994)1st time

16 July 1973

1 December 1975

Independent

(23)

Tulsi Giri(1926–)3rd time

1 December 1975

12 September 1977

Independent

(25)

Kirti Nidhi Bista(1927–2017)3rd time

12 September 1977

30 May 1979

Independent

(24)

Surya Bahadur Thapa(1928–2015)3rd time

30 May 1979

12 July 1983

Independent

27

Lokendra Bahadur Chand(1940–)1st time

12 July 1983

21 March 1986

Independent

(26)

Nagendra Prasad Rijal(1927–1994)2nd time

21 March 1986

15 June 1986

Independent

28

Marich Man Singh Shrestha(1942–2013)

15 June 1986

6 April 1990

Independent

(27)

Lokendra Bahadur Chand(1940–)2nd time

6 April 1990

19 April 1990

Independent

text: Prime Ministers during the Constitutional monarchy (1990–2008)[edit]

text:
No.

Portrait

Name(Birth–Death)

Term of Office

Political Party

King of Kingdom of Nepal(Reign)

Took Office

Left Office

Days

29

Krishna Prasad Bhattarai(1924–2011)1st time

19 April 1990

26 May 1991

402

Nepali Congress

Birendra Bir Bikram Shah (31 January 1972–1 June 2001)

30

Girija Prasad Koirala(1925–2010)1st time

26 May 1991

30 November 1994

1284

Nepali Congress

31

Man Mohan Adhikari(1920–1999)

30 November 1994

12 September 1995

286

Communist Party of Nepal (Unified Marxist–Leninist)

32

Sher Bahadur Deuba(1946–)1st time

12 September 1995

12 March 1997

547

Nepali Congress

(27)

Lokendra Bahadur Chand(1940–)3rd time

12 March 1997

7 October 1997

209

Rastriya Prajatantra Party (Chand)

(24)

Surya Bahadur Thapa(1928–2015)4th time

7 October 1997

15 April 1998

190

Rastriya Prajatantra Party

(30)

Girija Prasad Koirala(1925–2010)2nd time

15 April 1998

31 May 1999

411

Nepali Congress

(29)

Krishna Prasad Bhattarai(1924–2011)2nd time

31 May 1999

22 March 2000

296

Nepali Congress

(30)

Girija Prasad Koirala(1925–2010)3rd time

22 March 2000

26 July 2001

491

Nepali Congress

(32)

Sher Bahadur Deuba(1946–)2nd time

26 July 2001

4 October 2002

435

Nepali Congress

Gyanendra Bir Bikram Shah (4 June 2001–28 May 2008)

—

Direct rule by KingGyanendra Bir Bikram Shah(1947–)

4 October 2002

11 October 2002

7

—

(27)

Lokendra Bahadur Chand(1940–)4th time

11 October 2002

5 June 2003

237

Rastriya Prajatantra Party

(24)

Surya Bahadur Thapa(1928–2015)5th time

5 June 2003

3 June 2004

364

Rastriya Prajatantra Party

(32)

Sher Bahadur Deuba(1946–)3rd time

3 June 2004

1 February 2005

243

Nepali Congress (Democratic)

—

Direct rule by KingGyanendra Bir Bikram Shah(1947–)

1 February 2005

25 April 2006

448

—

(30)

Girija Prasad Koirala(1925–2010)4th time

25 April 2006

28 May 2008

764

Nepali Congress

text: Prime Ministers of the Federal Democratic Republic of Nepal (2008–present)[edit]

text:
No.

Portrait

Name(Birth–Death)

Term of Office

Political Party

Cabinet

President of Federal Democratic Republic of Nepal(1. Term of Office)(2. Political Party)

Took Office

Left Office

Days

(30)

Girija Prasad Koirala(1925–2010)5th time

28 May 2008[30][31][32]

18 August 2008[31][32]

82

Nepali Congress

Girija Prasad Koirala

Head of state of Nepal (1. 15 January 2007-23 July 2008(2. Nepali Congress)

33

Pushpa Kamal Dahal(1954–)1st time

18 August 2008

25 May 2009

280

Unified Communist Party of Nepal (Maoist)

2008 Dahal Cabinet

Ram Baran Yadav (1. 23 July 2008-29 October 2015)(2. Nepali Congress)

34

Madhav Kumar Nepal(1953–)

25 May 2009

6 February 2011

622

Communist Party of Nepal (Unified Marxist–Leninist)

2009 Madhav Nepal Cabinet

35

Jhala Nath Khanal(1950–)

6 February 2011

29 August 2011

204

Communist Party of Nepal (Unified Marxist–Leninist)

2011 Khanal Cabinet

36

Baburam Bhattarai(1954–)

29 August 2011

14 March 2013

563

Unified Communist Party of Nepal (Maoist)

2011 Bhattarai Cabinet

—

Khil Raj Regmi(1949–)Acting Prime Minister

14 March 2013

11 February 2014

334

Independent

2013 Regmi Interim Cabinet

37

Sushil Koirala(1939–2016)

11 February 2014

12 October 2015

608

Nepali Congress

2013 Koirala Cabinet

38

Khadga Prasad Oli(1952–)1st time

12 October 2015

4 August 2016

297

Communist Party of Nepal (Unified Marxist–Leninist)

2015 Oli Cabinet

Bidhya Devi Bhandari (1. 29 October 2015-)(2. Communist Party of Nepal (Unified Marxist–Leninist))

(33)

Pushpa Kamal Dahal(1954–)2nd time

4 August 2016[33]

7 June 2017

307

Unified Communist Party of Nepal (Maoist)

2016 Dahal Cabinet

(32)

Sher Bahadur Deuba(1946–)4th time

7 June 2017[34]

15 February 2018[35][36]

253

Nepali Congress

2017 Deuba Cabinet

(38)

Khadga Prasad Oli(1952–)2nd time

15 February 2018[37]

Incumbent

195

Communist Party of Nepal (Unified Marxist–Leninist)

2018 Oli Cabinet


document_title: The Way We Were

question_text: who plays jj in the way we were

question_tokens: who plays jj in the way we were

text: The Way We Were

text: Plot[edit]

text: Told partly in flashback, it is the story of Katie Morosky (Barbra Streisand) and Hubbell Gardiner (Robert Redford). Their differences are immense: she is a stridently vocal Marxist Jew with strong anti-war opinions, and he is a carefree WASP with no particular political bent. While attending the same college, she is drawn to him because of his boyish good looks and his natural writing skill, which she finds captivating, although he does not work very hard at it. He is intrigued by her conviction and her determination to persuade others to take up social causes. Their attraction is evident, but neither of them acts upon it, and they lose touch after graduation.

text: The two meet again towards the end of World War II while Katie is working at a radio station, and Hubbell, having served as a naval officer in the South Pacific, is trying to return to civilian life. They fall in love despite the differences in their background and temperaments. Soon, however, Katie is incensed by the cynical jokes that Hubbell's friends make at the death of President Franklin D. Roosevelt and is unable to understand his indifference towards their insensitivity and shallow dismissal of political engagement. At the same time, his serenity is disturbed by her lack of social graces and her polarizing postures. Hubbell breaks it off with Katie, but soon agrees to work things out, at least for a time.

text: When Hubbell is offered the opportunity to adapt his novel into a screenplay, Katie believes he is wasting his talent and encourages him to pursue writing as a serious challenge instead. Despite her growing frustration, they move to California, where, without much effort, he becomes a successful screenwriter, and the couple enjoy an affluent lifestyle. As the Hollywood blacklist grows and McCarthyism begins to encroach on their lives, Katie's political activism resurfaces, jeopardizing Hubbell's position and reputation.

text: Alienated by Katie's persistent abrasiveness, and even though she is pregnant, Hubbell has a liaison with Carol Ann, his college girlfriend and the divorcee of J.J., his best friend. After the birth, however, Katie and Hubbell decide to part, as she finally understands he is not the man she idealized when falling in love with him, and he will always choose the easiest way out, whether it is cheating in his marriage or writing predictable stories for sitcoms. Hubbell, on the other hand, is exhausted, unable to live on the pedestal Katie erected for him and face her disappointment in his decision to compromise his potential.

text: Katie and Hubbell meet by chance some years after their divorce, in front of the Plaza Hotel in New York City. Hubbell is with some stylish beauty, and apparently content, now writing for a popular sitcom as one of a group of nameless writers. Katie, now remarried, invites Hubbell to come for a drink with his lady friend, but he confesses that he cannot. He does inquire how their daughter Rachel is doing, wanting to ascertain if Katie's new husband is a good father, but shows no intention to meet his daughter.

text: Katie has remained faithful to who she is: flyers in hand, she is agitating now for "Ban the bomb", the new political cause. Their past is behind them, and all the two share now (besides their daughter, Rachel) is a missing sensation and the memory of the way they were.

text: Cast[edit]

text:
Barbra Streisand as Katie Morosky
Robert Redford as Hubbell Gardiner
Bradford Dillman as J.J.
Lois Chiles as Carol Ann
Patrick O'Neal as George Bissinger
Viveca Lindfors as Paula Reisner
Allyn Ann McLerie as Rhea Edwards
Murray Hamilton as Brooks Carpenter
Herb Edelman as Bill Verso
Diana Ewing as Vicki Bissinger
Sally Kirkland as Pony Dunbar
George Gaynes as El Morocco Captain
James Woods as Frankie McVeigh
Susan Blakely as Judianne

text: Production[edit]

text: In 1937, while an undergraduate at Cornell, Arthur Laurents was introduced to political activism by a student who became the model for Katie Morosky, a member of the Young Communist League and an outspoken opponent of Francisco Franco and his effort to take control of Spain via the Spanish Civil War. The fiery campus radical organized rallies and a peace strike, and the memory of her fervor remained with Laurents long after the two lost touch.

text: Laurents decided to develop a story with a similar character at its center, but was unsure what other elements to add. He recalled a creative writing instructor named Robert E. Short, who felt he had a good ear for dialogue and had encouraged him to write plays. His first instinct was to create a crisis between his leading lady and her college professor, but he decided her passion needed to be politics, not writing. What evolved was a male character who had a way with words but no strong inclination to apply himself to a career using them.[10]

text: Because of his own background, Laurents felt it was important for his heroine to be Jewish and share his outrage at injustice. He also thought it was time a mainstream Hollywood film had a Jewish heroine, and because Barbra Streisand was the industry's most notable Jewish star, he wrote the role of Katie Morosky for her. Laurents had already known Streisand for some time, having cast her in his 1962 Broadway musical I Can Get it For You Wholesale. Hubbell Gardiner, initially a secondary character, was drawn from several people Laurents knew. The first name was borrowed from urbane television producer Hubbell Robinson, who had hired Laurents to write an episode of ABC Stage 67. The looks and personality came from two primary sources: writer Peter Viertel and a man Laurents referred to only as "Tony Blue Eyes," an acquaintance who inspired the scene where the creative writing instructor reads Hubbell's short story to his class.[11]

text: Laurents wrote a lengthy treatment for Ray Stark, who read it on a transcontinental flight and called the screenwriter the moment he arrived in Los Angeles to greenlight the project. Laurents had been impressed with They Shoot Horses, Don't They? and suggested Sydney Pollack direct. Streisand was impressed that he had studied with Sanford Meisner at the Neighborhood Playhouse in Manhattan and seconded the choice. Stark was less enthused, but agreed because Pollack assured him he could deliver Robert Redford for the role of Hubbell, which Laurents had written with Ryan O'Neal in mind. O'Neal's affair with Streisand was at its end, and Stark wanted to avoid conflicts between the leads.[12]

text: Laurents ultimately regretted recommending Pollack. The director demanded the role of Hubbell be made equal to that of Katie, and throughout filming, for unexplained reasons, he kept Laurents away from Redford. What was intended to be the final draft of the screenplay was written by Laurents and Pollack at Stark's condominium in Sun Valley, Idaho. Laurents, dismayed to discover very little of his work remained when it was completed, left the project. Over time eleven writers, including Dalton Trumbo, Alvin Sargent, Paddy Chayefsky, and Herb Gardner, contributed to the script. The end result was a garbled story filled with holes that neither Streisand nor Redford liked. Laurents was asked to return and did so only after demanding and receiving an exorbitant amount of money.[13]

text: Because the film's start date was delayed while it underwent numerous rewrites, Cornell was lost as a shooting location. Union College in Schenectady, New York, was used instead. Other locations included the village of Ballston Spa in upstate New York, Central Park, the beach in Malibu, and Union Station in Los Angeles, the latter for a scene Laurents felt was absurd and fought to have deleted, without success.[14]

text: Laurents was horrified when he saw the first rough cut of the film. He thought there were a few good scenes, and some good moments in bad scenes, but overall he thought it was a badly photographed jumbled mess lacking coherence. Both stars appeared to be playing themselves more often than their characters, and Streisand often used a grand accent that Laurents felt hurt her performance. Pollack admitted the film was not good, accepted full responsibility for its problems, and apologized for his behavior. The following day he retreated to the editing room to improve it as much as possible. Laurents felt the changes made it better but never as good as it could have been.[15]

text: A decade after the film was released, Redford, having made peace with Laurents, contacted him to discuss the possibility of collaborating on a new project, and eventually the two settled on a sequel to The Way We Were. In it, Hubbell and his daughter, a radical like Katie, would meet but be unaware of their relationship, and complications would ensue. Both agreed they did not want Pollack to be part of the equation. Laurents sent Redford the completed script but, aside from receiving a brief note acknowledging the actor had received it and looked forward to reading it, he never heard from him again. In 1982, Pollack approached Laurents about a sequel Stark had proposed, but nothing transpired following their initial discussion. In 1996, Streisand came across the sequel Laurents had written, and decided she wanted to produce and direct it as well as co-star with Redford, but did not want to work with Stark. Laurents thought the script was not as good as he remembered it being, and agreed to rewrite it once Stark agreed to sell the rights to the characters and their story to Streisand. Again, nothing happened. The following year, Stark asked Laurents if he was interested in adapting the original film for a stage musical starring Kathie Lee Gifford. Laurents declined, and any new projects related to the film have been in limbo ever since.[16]

text: Soundtrack[edit]

text: The musical score for The Way We Were was composed by Marvin Hamlisch. A soundtrack album was released in January 1974 to much success. At the time of its initial release, the album peaked at #20 on the Billboard 200. On October 19, 1993, it was re-released on compact disc by Sony. It includes Streisand's rendition of "The Way We Were", which at the time of the film's release was a commercial success and her first #1 single in the United States. It entered the Billboard Hot 100 in November 1973 and charted for 23 weeks, eventually selling over a million copies and remaining #1 for three non-consecutive weeks in February 1974. On the Adult Contemporary chart, it was Streisand's second #1 hit, following "People" a decade earlier. It was the title track of a Streisand album that also reached #1.

text: Reception[edit]

text: In North America, the movie was a massive commercial success, grossing $49,919,870.[17] It became the 5th highest-grossing film of the year, The film earned an estimated $10 million in North American rentals in 1973,[18] and a total of $22,457,000 in its theatrical run.

text: Critical response[edit]

text: The Way We Were was featured on the Top Ten Films of 1973 by National Board of Review. Roger Ebert of the Chicago Sun-Times called the film "essentially just a love story, and not sturdy enough to carry the burden of both radical politics and a bittersweet ending." He added, "It's easy to forgive the movie a lot because of Streisand. She's fantastic. She's the brightest, quickest female in movies today, inhabiting her characters with a fierce energy and yet able to be touchingly vulnerable . . . The Redford character perhaps in reaction to the inevitable Streisand performance, is passive and without edges. The primary purpose of the character is to provide someone into whose life Streisand can enter and then leave. That's sort of thankless, but Redford handles it well." Ebert further adds, "Instead, inexplicably, the movie suddenly and implausibly has them fall out of love--and they split up without resolving anything, particularly the plot."[19] Conversely, TV Guide awarded the film three out of four stars, calling it "an engrossing, if occasionally ludicrous, hit tearjerker" and "a great campy romance."[20]

text: In her review, Pauline Kael noted that "the decisive change in the characters' lives which the story hinges on takes place suddenly and hardly makes sense." She was not the only critic to question the gap in the plot; of the scene in the hospital shortly after Katie gives birth and they part indefinitely, Molly Haskell wrote, "She seems to know all about it, but it came as a complete shock to me."[21] The sloppy editing was exposed in other ways as well; in his review, critic John Simon wrote: "Some things, I suppose, never change, like the necktie Redford wears in two scenes that take place many years apart."

text: Variety called it "a distended, talky, redundant and moody melodrama" and adds "but Robert Redford has too little to work with in the script," and "The overemphasis on Streisand makes the film just another one of those Streisand vehicles where no other elements ever get a chance."[22] Time Out London observed, "[W]ith the script glossing whole areas of confrontation (from the Communist '30s to the McCarthy witch-hunts), it often passes into the haze of a nostalgic fashion parade. Although Streisand's liberated Jewish lady is implausible, and emphasizes the period setting as just so much dressing, Redford's Fitzgerald-type character . . . is an intriguing trailer for his later Great Gatsby. It's a performance that brings more weight to the film than it deserves, often hinting at depths that are finally skated over."[23]

text: Awards and nominations[edit]

text: Wins

text:
Best Music (Original Dramatic Score) - Marvin Hamlisch
Best Music (Song) - Marvin Hamlisch, Alan Bergman, and Marilyn Bergman for "The Way We Were"

text: Nominations

text:
Best Actress in a Leading Role - Barbra Streisand
Best Art Direction - Stephen B. Grimes and William Kiernan
Best Cinematography - Harry Stradling Jr.
Best Costume Design - Dorothy Jeakins and Moss Mabry

text: ASCAP Awards Most Performed Feature Film Standards on TV (Marvin Hamlisch, Alan Bergman, and Marilyn Bergman for "The Way We Were," winner)

text: Best Actress in a Leading Role - (Barbra Streisand, nominee)

text: Best Foreign Actress (Barbra Streisand, winner; tie with Tatum O'Neal for Paper Moon)[25]

text:
Best Original Song (Marvin Hamlisch, Alan Bergman, and Marilyn Bergman for "The Way We Were," winner)
Best Actress - Motion Picture Drama (Barbra Streisand, nominee)

text: Best Original Score Written for a Motion Picture or a Television Special (winner)[26]

text: International Film Festival of India Silver Peacock Award for Best Actress(winner)

text: National Board of Review: Top Ten Films of 1973 (winner)[27]

text: Best Original Screenplay (Arthur Laurents, nominee)

text: In popular culture[edit]

text: In Gilda Radner's concert movie Gilda Live, her character Lisa Loopner performs "The Way We Were" on the piano. Loopner says of the movie, "It's about a Jewish woman with a big nose and her blond boyfriend who move to Hollywood, and it's during the blacklist and it puts a strain on their relationship."

text: The Simpsons had two episodes, one called "The Way We Was" (first aired in 1991) and the other "The Way We Weren't" (first aired in 2004), although their plots are unrelated to the movie.

text: In his autobiography If Chins Could Kill: Confessions of a B Movie Actor, cult star Bruce Campbell recalls a roommate who had a poorly functioning record player. Campbell writes, "A tinny 'The Way We Were' kept me awake."

text: In Season Five Episode 9 of Gilmore Girls, Lorelei tells Sookie that she's reminded of The Way We Were because she hid from Luke the fact that she had lunch with Christopher. In Season Five Episode 14 of Gilmore Girls, Lorelai calls Luke after they've broken up and tells him that she was thinking about The Way We Were and reminded him of how Katie called Hubbell after they'd broken up and asked him to come sit with her because he was her best friend and she needed her best friend.

text: In Season One Episode 20 of That '70s Show, Kitty Forman says that The Way We Were was a nice movie, after Eric explains a scene in Star Wars.

text: In Season Two Episode 18 of Sex and the City, Carrie uses The Way We Were as an analogy for her relationship with Big. The girls proceed to sing the film's theme song, and later, when Carrie bumps into Big outside his engagement party, she quotes a line from the film.