document_title: Judge Judy

question_text: who pays for the cases on judge judy

question_tokens: who pays for the cases on judge judy

text: Judge Judy

text: Court show background[edit]

text: Origins[edit]

text: Sheindlin's pre-court show reputation as one of the toughest family court judges in the country was the topic of a February 14, 1993 edition of The Los Angeles Times written by—perhaps the man responsible for initiating her entertainment career—Josh Getlin (copy of the article here).[15][16] On May 21, 1993, Joseph Wapner was released from The People's Court. Sheindlin called up the program and said, "You know, if he doesn't want to do this show any more, I can do it." The receptionist snapped, "Are you crazy, lady?" and hung up.[17] Getlin's Los Angeles Times article on Sheindlin caught the attention of 60 Minutes, which aired a segment on her on October 24, 1993.[18] The segment brought her national recognition and first led to an offer for her to write her own book. Sheindlin accepted the book offer, writing Don't Pee On My Leg and Tell Me It's Raining.

text: In early 1995 two former People's Court producers, Kaye Switzer and Sandi Spreckman (now involved in a lawsuit against Sheindlin and CBS as of January 2018, claiming they are owed compensation for discovering her[19]), asked Sheindlin if she would like to preside over her own courtroom series,[20] and she eventually accepted.[20] Sheindlin and her producers originally wanted the show title to be "Her Honor" but the production company, Big Ticket Television, decided on calling it "Hot Bench" instead,[21][22] even promoting the show as "Hot Bench With Judge Judy" for some time prior to the show's début.[23] However, Big Ticket ultimately decided on "Judge Judy".[24]

text: Petri Hawkins-Byrd, the court show's bailiff, was also Sheindlin's bailiff throughout her career in the Manhattan Family Court system. When Byrd found out about Sheindlin's show, he sent her a congratulatory letter, stating, "If you ever need a bailiff, I still look good in uniform." She phoned Byrd at his home in California to accept his offer and he has been the show's bailiff since its debut. Byrd is the longest-running bailiff in courtroom programming history. Sheindlin has stated that the show's producers desired different individuals for the role, but she refused.

text: Sheindlin appeared again on 60 Minutes on April 30, 2003. During the interview, Sheindlin stated:

text: I have a contract with the company to do the program through the 2006 season. At that point, we will have produced this program for 10 years. Right now, I would be satisfied with a good 10-year run. I think that would really be phenomenal. It would be lovely if we could end on a high note and for me to say "10 years and I still had people watching and I had a second career that was a blast."[21]

text: On September 14, 2015, Sheindlin began celebrating her 20th season anniversary presiding on Judge Judy. The program is the first in the court show genre to make it to 20 seasons without cancellation as well as the first to make it to this extent under one arbitrator. Her distinction as television's longest serving judge or arbitrator rewarded Sheindlin a place in the Guinness World Records on September 14, 2015.[25]

text: On-air format[edit]

text: Each episode of Judge Judy begins with an introductory preview of the main case, sensationalizing various moments of the case with dramatic music, voice-over commentary, graphics, etc. This is followed by the show's opening music video. At the beginning of each court proceeding, information regarding who is suing whom and what for is revealed originally by voice-over artist Michael Stull, who was later replaced by the show's current voice-over artist Jerry Bishop. Sheindlin typically begins each case by questioning the parties as to dates, times, locations and other facts central to the lawsuit. Monopolizing the discourse throughout the cases, Sheindlin will sometimes only listen to bits and pieces of each of the testimonies as she is quick to reply, impose her spiel and disallow responses that are not concise or made during her desire to speak.[26] Sometimes, however, Sheindlin will allow one or both of the opposing litigants to recount the entirety of their testimony. While delivering their testimony, litigants are not allowed to hesitate and must maintain fixed eye contact with Sheindlin at all times. Further, litigants are not allowed to speak out of turn or talk to each other. Small children who do not testify are usually removed from the courtroom at the start of the litigation, and unruly co-litigants and witnesses (and once an audience member who laughed too awkwardly during the proceedings) are ejected for disobeying the judge.

text: Like most modern court shows, cases on Judge Judy imitate small claims court cases in which civil trials (non-criminal cases) are heard and ruled on. Typically Sheindlin handles cases among former lovers, disputing neighbors, or family and friend relations.[27] Disputes generally revolve around issues such as broken engagements, unpaid personal loans, contract breaches, personal injuries from other litigants or their pets, minor property damages (e.g., fender benders, carpet stains, etc.), the fate of jointly purchased household appliances and rightful ownership of property.[27] As is standard practice in small claims court and most reality court shows alike, Judge Judy proceedings operate in the form of a bench trial (as opposed to its more common counterpart, the jury trial). Moreover, lawyers are not present and litigants must defend themselves.[28]

text: When the show goes into the first two commercial breaks, the voice-over sounds, stating "Judge Judy continues in a moment", followed by a preview of the remainder of the ongoing case, sometimes along with the following case, is typically shown. When the show comes out of the first two commercial breaks, the voice-over sounds, stating "Real cases, Real people, Judge Judy", followed by a verbal recap of the ongoing case. When the show comes out of the last commercial break, the voice-over sounds again, this time providing the show's telephone number and website to submit cases.[4] Generally each show presents two cases, but infrequently, an episode will present a single long case, three shorter ones, or even four shorter ones.

text: After expressing her views of the circumstances and behaviors of the litigants with regards to their testimonies, Sheindlin renders the judgment either by finding for the plaintiff (typically with the statement, "Judgment for the plaintiff in the amount of x dollars. We're done."), by dismissing the case, or by dismissing the case specifically without prejudice. Any counterclaims filed are handled similarly to this. Counterclaims are handled subsequently in the same segment, though often cursorily by Sheindlin as many counterclaims on the program have been filed out of vindictiveness as opposed to legitimacy. At the end of each case, there is typically an afterthoughts segment for the litigants. In these segments, the plaintiff(s), the defendant(s), and sometimes their witnesses deliver a monologue, expressing their feelings regarding the case directly to the viewers at home by speaking into the camcorder. Sometimes, however, these segments are omitted, especially after cases involving resentful litigants, too upset over the circumstances to remain in the studio and provide comment.[29]

text: Inner workings[edit]

text: The producers of Judge Judy hire extras from an audience service who compose the entire studio. Paid audience members are easier to control due to agreements and employment. They don't have to be trained or debriefed as much as your average person on how to act to make those in the spotlight look good. Producers also seek a certain demographic of individuals and seat them strategically throughout their audience. Most of these paid extras are aspiring actors.[16][30] Though tickets are not offered for the show, arrangements can sometimes be made with Sheindlin's production staff to allow fans of the show into the audience. The extras must not dress casually, and no logos or brand names may be visible on their clothing. Extras are also instructed to appear as if they are having discussions with each other before and after each case, so the bailiff may make such announcements as "Order! All rise."[31]

text: Audience members are not to make any noises during the proceedings and, unlike other court shows, may not applaud the judge or rightful litigant upon praiseworthy remarks; although on some occasions when Sheindlin delivers a crushing remark for a particularly egregious or ludicrous act, the audience is seen laughing or applauding without Sheindlin silencing them. For the most part, however, Sheindlin is seen bringing the audience to order (with a fountain pen; she never uses a gavel) and admonishing them for engaging in any such noise throughout the cases.

text: To acquire cases, the show generally uses one of the following three options:

text:
Its 60 to 65 researchers, spread out across the country, enter small claims courts and photocopy numerous cases. These photocopied cases are then sent to Judge Judy producers, who review them all in search of lawsuits they believe will make for good television. According to the show's producers, only 3% of the photocopied cases are worthy enough for television.[16]
Its telephone number posting/announcement presented on each episode for interested individuals to call in with lawsuits.
Its website whereby lawsuits can be written out and submitted into the show.[32]

text: After one of these three processes, if the producers are interested, their employees will then call both parties and ask them questions relating to their lawsuit, making sure they're suitable for Judge Judy. If the parties agree to be on the show and sign a waiver, agreeing that arbitration in Sheindlin's court is final and cannot be pursued elsewhere (unless Sheindlin dismisses the lawsuit without prejudice), their case will air on Judge Judy.[33]

text: The award limit on Judge Judy, as on most "syndi-court" shows (and most small claims courts in the U.S.), is $5,000. The award for each judgment is paid by the producers of the show from a fund reserved for the purpose.[34] Sheindlin rules by either A.) issuing a verdict of a specific dollar amount (not always in the full amount of what is requested and rarely if ever in excess of what is requested even if she believes complainants are deserving of more) or B.) by dismissing the lawsuit altogether. When ruled on in these manners, cases cannot be refiled or retried elsewhere. However, if Sheindlin specifically dismisses the lawsuit "without prejudice", that lawsuit may be refiled and retried in another forum. In some instances, Sheindlin has dismissed cases without prejudice deliberately so that complainants pursue defendants in an actual court of law so that the defendants themselves are held financially accountable, this as opposed to the show. In such cases, Sheindlin has expressed particular aversion to the defendants in question.[35] Further, Sheindlin has dismissed cases without prejudice when she has suspected both the plaintiff(s) and defendant(s) of conspiring together just to gain monetary rewards from the program.[35]

text: Both the plaintiff(s) and the defendant(s) also receive an appearance fee. The appearance fee amount has varied as between different litigants of the show: certain litigants have reported receiving a $500 appearance fee while others have reported receiving $100, and others $250.[36][37] In addition to the appearance fee amount, litigants are paid $35 a day by the show.[37] The litigants' stay lasts for the number of days that the show does taping for that week, which is two or three days. [38] In addition, the airfare (or other means of travel) and hotel expenses of the litigants and their witnesses are covered by the show, and the experience is generally treated as an all-expense-paid vacation outside of the actual court case.[37] If there is an exchange of property, Sheindlin signs an order, and a sheriff or marshal oversees the exchange.[39] Sheindlin sees only a half-page complaint and a defense response prior to the taping of the cases, sometimes only moments before.[40] Most of the cases, not including any footage deleted to meet the time constraints of the show, usually last anywhere from twelve to forty-five minutes.[41][42]

text: Judge Judy, like most court programs, is inexpensive to produce and thus creates considerable income. A budget for a week's worth of Judge Judy episodes is half the cost of a single network sitcom episode.[43]

text: Recordings and airings[edit]

text: Three days every other week (two weeks a month), Sheindlin and her producers tape the court show.[24] They usually produce ten to twelve cases for each day they tape the show. This makes for about a week's worth of episodes, all done within one day. Anywhere from thirty to thirty-six cases are taped over three days during the week. Sheindlin appeared as a guest on Jimmy Kimmel Live! on September 13, 2011. When asked by Kimmel how many days a month she works, Sheindlin replied, "Five days." [44]Sheindlin and her producers sometimes tape only five cases per day and two days per week.[10][45] The show has fifty-two taping days a year.[46] For each season, some 650 claims are brought to the set to be "presided" over by Judge Judy.[10] This means approximately 8,450 claims have been brought to Judy Sheindlin's Hollywood set as of the end of its thirteenth season (2008–09).

text: For the most part, cases are taped all throughout the year except for two breaks Sheindlin and all of the staff members of her show have for the year. One of the two breaks includes an extra week off in December, as the show is only taped one week out of that month because of the holidays. The other break is from mid-July (only taping one week in July) and all through August. According to members of the show, the reason for this break is that people are more interested in taking vacations than in filing lawsuits around that time.[47] When the show premieres in September, only the best episodes of the ones taped before Sheindlin's break are selected to begin out the season. Thus, the first few weeks (the first week in particular) will consist of what the show feels to be its best episodes. In Sheindlin's words, "It's like drinking wine. You don't serve the really good bottle of wine third."[48]

text: Altogether, there are 260 new episodes each season. There is at least one new episode for every weekday, with the exception of a few hiatuses during most of the summer, a couple of holidays, and as of more recent seasons, early spring as well (much of March and April).[49] The cases are all pre-recorded for editing purposes and will usually air one to three months after being taped. The cases are mixed up and not shown in order of when they were recorded.[50] While the cases taped in March end the seasons, the cases taped throughout April, May, June, and July start out each season in September and last through October.[51] Throughout the very beginning of each season, two new Judge Judy episodes air per day. After two weeks, this is reduced to one new airing a day, followed by a repeat. There are also various other moments throughout the year where two new episodes are shown for a few weeks. This has sometimes included January when the show returns from its winter hiatus. Two new episodes are also shown daily during the "sweeps" months of November, February, and May. Unlike other television programs, the Judge Judy season finale does not air in April or May; rather, it airs in June, July, or August. When the season finale is extended to July or August, most of the summer episodes preceding it are repeats with new episodes that are few and far in-between.

text: Two DVDs, featuring "memorable cases," have been released by the show: the first in 2007, "Judge Judy: Justice Served," and the second in 2008, "Judge Judy: Second To None."[52]

text: Location[edit]

text: Judge Judy tapes at the Sunset Bronson Studios on Sunset Boulevard in Los Angeles, California.[53] In alternating weeks, Sheindlin, who owns a home in New York among other cities/states, flies out on her private jet to tape Tuesday, Wednesday, and Thursday.[24]

text: As of 2014, the Judge Judy set is located directly beside the set of the courtroom series Sheindlin created and produces, Hot Bench. Both shows are taped in the same studio. Previous to that, the space directly beside Sheindlin's set was used for the courtroom series Paternity Court for the 2013-14 season.[54] Prior to that, the space was used for Judge Judy's long-running sister show Judge Joe Brown until Judge Joe Brown's 2013 cancellation. Like Judge Judy, Judge Joe Brown was also produced by Big Ticket Entertainment.[41] The two shows alternated taping weeks. Despite the show being taped primarily in California, it displays various images of New York City upon returning from commercial breaks, including a subway train and official signs bearing "State of New York" and "Family Court" (Sheindlin was previously a New York family court judge)[55] within the letterbox-like graphics used going to and from breaks since the ninth season. The set features a New York state flag behind Sheindlin's seat.

text: Remodeling[edit]

text: Over its existence, the show has changed very little from season to season.[56] Most modifications to the program have been done in minute detail, such as to the show's book shelf display seen near the courtroom entrance. Aesthetically, the show's theme song, graphics, and color scheme are the only aspects that have changed repeatedly over the course of its lifespan.[57] The ninth season (2004–05) is one of few seasons in which the show underwent major remodeling when music for the show's opening, closing, and to/from commercial portions were modified. A modern version of a melody from Beethoven's 5th Symphony was then adopted as the show's opening theme song. This arrangement was composed by Non-Stop Music Productions.[58] For its scenes, Sheindlin is shown in a different courtroom from her own (part of a proposed renovation to the courtroom that was rejected by Sheindlin for being too dark), approaching the camera, followed by folding her arms and smiling at the camera. This is followed by showing various scenes of her presiding over different cases. As part of these modifications, the show's introductory previews, graphics, and images all began showing up in falu red.

text: Prior to the ninth season, the show used an original tune for its theme song composed by Bill Bodine. From the show's debut through its eighth season, various versions of this original tune were used, the show making moderate modifications to the tune every few seasons, as shown here and here. The actual full-length version of this original musical, which never played during the show's intro, played during the lengthier litigant-afterthought-segments as shown (full-length musical used for 1999-00, 2000-01, 2001-02). From seasons four through eight, the opening music video commenced with an approaching scene towards a computer animated courthouse display up until that scene entered into the courthouse. From there, several shots of Sheindlin gesticulating from her bench—as though presiding over various cases—were displayed in motion. These motioning images eventually developed into the courthouse logo that represents the program (the logo always displayed within the letter "D" in "Judy") by the end of this opening music video. The music video in seasons prior to this used relatively similar music with disparities in scenes, images, instrumental sound type and theme song length.

text: Further, early seasons of the show used graphics and images that were sea green and saffron. Blue and saffron then came to represent multiple seasons of the show before the show's current color scheme. By the show's sixth season (2001–02), music and graphics used in the introductory previews no longer resembled the rest of the program as they had previously, but instead used a high blue color scheme and a different song for each episode/intro preview. While the introductory preview's inconstant tunes have continued to the present season, the color scheme in the introductory previews began resembling the color scheme used in the rest of the program (falu red) once again by the ninth season.

text: Each opening music video consists of Voice-Over Artist Jerry Bishop stating: "You are about to enter the courtroom of Judge Judith Sheindlin. The people are real. The cases are real. The rulings are final. This is Judge Judy."[59] Originally between the statements "The rulings are final" and "This is Judge Judy" was the statement, "This is her courtroom."[60] This was removed in 2004. Beginning in September 2012, the show made a switch to high definition with its 17th season. The bumpers between commercials are also in HD, although most on-screen graphics such as plaintiff and defendant descriptions are framed to fit a 4:3 aspect ratio.[61]

text: By the 20th season beginning in September 2015, the show began using a shortened, scanty version of the same intro it had been using for 10 years since its 9th season. Both the Beethoven remix and lyrics have been curtailed. The present lyrics state only "You are about to enter the courtroom of Judge Judith Sheindlin. This is Judge Judy." In addition to not using much of an intro theme any longer, a "20th anniversary" caption is depicted above the "Judge Judy" logo in the intro. These are the only two updates for season 20.

text: Episode Specials[edit]

text: Primetime Judge Judy[edit]

text: On May 20, 2014, CBS aired a one-hour special called Judge Judy Primetime which aired at 8 p.m. ET/PT. The special was a combination of reshown clips from the 1993 60 Minutes Special on Sheindlin, as well as a few never-previously-seen cases. The special marked Judge Judy's first airing in primetime, a landmark for court shows which are typically limited to daytime or late night hours.[62][63] Although the special didn't rank nearly as high as Dancing with the Stars (14.86 million) and The Voice (11.57 million), it brought in 5.66 million viewers, enough to make it the night's top rated show on CBS. In addition, the special came in just behind American Idol, which brought in 6.61 million viewers.[64]

text: Contrived case[edit]

text: At least some of the cases on the series have been circumstances that were allegedly contrived by the litigants just to receive monetary payment from the program.

text: In April 2013, former litigants from a 2010 airing of the show revealed they conspired together in fabricating a lawsuit in which the logical outcome would be to grant payment to the plaintiff. The operation, devised by musicians Kate Levitt and Jonathan Coward, was successful: Sheindlin awarded the plaintiff (Levitt) $1,000. The litigants involved also walked away with an appearance fee of $250 each and an all expense paid vacation to Hollywood, California. In reality, all the litigants in question—plaintiffs and defendants alike—were friends who split the earnings up among each other. It was also reported that the show's producers were in on the sham and knew of the contrivance all along but went along with it. The lawsuit was over the fictitious death of a cat as a result of a television crushing it.[65][66]

text: Curb Your Enthusiasm pseudo-Judge Judy case featuring Sheindlin[edit]

text: Sheindlin and her program appeared on the November 26, 2017 broadcast of Curb Your Enthusiasm, presiding over a sketch comedy court case with Larry David as the plaintiff. The pseudo-Judge Judy case assumed the appearance of an actual case from Sheindlin's program, taking place from the show's courtroom set with trademarked voice-over briefs, theme music and audience response.[67]

text: Judge Judy Sheindlin[edit]

text: Judge Judy was born on October 21, 1942, in Brooklyn, New York, to German-Jewish parents Murray and Ethel Blum. Sheindlin described her father, a dentist, as "the greatest thing since sliced bread" and her mother as "a meat-and-potatoes kind of gal." It was reported in October 2012 that Sheindlin had a $45 million yearly contract with CBS Television Distribution, in effect until 2015 and up $20 million from 2007.[68] It was later reported in October 2013 that Sheindlin is the highest paid TV star, earning $47 million per year for Judge Judy, which translates into just over $900,000 per workday (she works 52 days per year).[69]

text: Judy has gained a reputation for her tough judicial approach in both the family court and televised court, also known widely for her no-nonsense fact-finding, restive nature, and incisive impositions that dismiss attempts at debate.[70][71] In line with these attributes, her program has been touted as "a show where justice is dispensed at the speed of light." Loosely related is her resoluteness in opinions and rulings, often resulting in the parties arguing, debating and excuse-making to no avail.[72]

text: Strict in her management of the proceedings,[73] Sheindlin coerces precise compliance of rules and is very quick to scold or even punish what she perceives as disobedience, misbehavior or even annoyance. And as result of her gruff disposition,[74] volatile temper,[75] and cheeky treatment,[76] taglines such as "Justice with an Attitude" have been used to characterize the program.[77] As examples of this, Sheindlin has regularly made such remarks as:

text: "Baloney!", "Do I have 'stupid' written over my forehead?",[78] "I'm here because I'm smart, not because I'm young and gorgeous, although I am",[78] "If you live to be 100, you will never be as smart as I am, sir",[78] "Clearly you are not wrapped too tight",[79] "Where did you think you were coming to today, a tea party?!",[80] "I'm speaking!",[80] "If you interrupt again madam, your case is dismissed, and I'm throwing you out. Do we understand each other?",[80] "I've been in this business for over 40 years",[80] "Do I look like I need help from you?",[80] "That's a lot of who shot John",[81] "This is my playpen",[80] etc.

text: Spawning from her "Judge Judy: Justice Served" DVD, Sheindlin's regular phrases on the program have become known as "Judyisms".[82] Some of these Judyisms are intended to provide a lesson, such as "A good deed never goes unpunished", "Beauty fades, dumb is forever", "If It doesn't make sense, it's not true", "Do you know when teenagers are lying? When their mouths move."[80] Sheindlin has used the position of television arbitrator to impart guidance, direction, and life lessons not only to her litigants but her viewers and public at large. An example of guidance often stressed by Sheindlin is to be independent through employment, especially so as to not live off the government where unwarranted or other people directly where oppression from or friction with the provider may eventuate. In the former, Sheindlin can often be quoted as stating, "No, you aren't supporting yourself. Byrd and I are supporting you."[83][84] Sheindlin has stated that the main message she wants viewers to take from her program is that people must take responsibility for their actions and do the right thing.[49][85]

text: Reception[edit]

text: Nielsen Ratings by season[edit]

text: Judge Judy went on the air in September 1996. By the end of October of that year, the show was averaging only a 1.5 rating, putting it in the mid-rank of the 159 syndicated shows on the air. At that time, it was never expected that the show's ratings would ever compete with highly successful daytime TV shows of the time, such as The Oprah Winfrey Show, The Rosie O'Donnell Show and The Jerry Springer Show.[49] According to Biography's documentary film on Sheindlin, "Judge Judy: Sitting in Judgment" (aired February 21, 2000),[86] producers of Judge Judy were disappointed that the show was barely making it on the radar. However, it did not take long for the court show to pick up momentum as Judge Judy rose to a 2.1 rating by the end of that first season. By its 2nd season (1997–98), the court show had already risen into the 4 ratings ranges, averaging a 4.3.[87]

text: The 3rd season (1998–99) of Judge Judy was the show's first season as the highest-rated program in daytime television, having surpassed the highly rated Jerry Springer Show and even then daytime powerhouse The Oprah Winfrey Show for the first time[88] (King World Productions which launched Oprah was a corporate sibling of CBS Television Studios, which distributed Judge Judy): the program's ratings more than doubled to a 5.6 for that season, marking Judge Judy as an early success.[89]

text: It was due, in part, to this early success that daytime television began to feature more court programming, such as a revival of The People's Court that re-debuted in fall 1997. In 1999, Judge Judy moved from Worldvision Enterprises to Paramount Domestic Television, which also distributed her stablemate Judge Joe Brown and eventually Judge Mills Lane. Many other retired judges were given their own court shows in syndication due in large part to Sheindlin's popularity. These include Greg Mathis, Glenda Hatchett, Alex Ferrer, Maria Lopez, Karen Mills-Frances, Cristina Perez, David Young, and many others. In addition, the series helped to spawn various nontraditional court programs. These include the reality-based revival of Divorce Court, which was originally presided over by Mablean Ephriam and now helmed by Lynn Toler; the short-lived Power of Attorney, capturing various high-profile attorneys arguing cases for litigants in front of Andrew Napolitano; Street Court, which took litigation outside of the courtroom; Jury Duty, featuring an all-celebrity jury hearing cases presided over by Bruce Cutler; etc. Furthermore, the role of Judge Judy in the rise in popularity of daytime court shows enabled several other non-real life judges to preside over courts, such as Nancy Grace, Jeanine Pirro, and Gloria Allred.

text: Also, partly due to Sheindlin's popularity, the producers of The People's Court decided to replace Ed Koch with Sheindlin's husband, Jerry Sheindlin, as their presiding judge during The People's Court's 3rd present life season/15th overall season (1999–2000); this meant that husband and wife would be either part of the same afternoon lineup or competing for ratings against each other. This experiment, however, did not last long as midway through The People's Court's fourth season, Sheindlin was replaced by the show's current judge, Marilyn Milian.[89][90]

text: For its 4th season (1999–00), Judy's ratings exploded to their highest to date, peaking at a 9.3 rating. At this point, Sheindlin's courtroom series was still more than ever the highest rated program in daytime. It was also at this point that Judge Judy held a record of increasing its ratings for each successive season since its debut. Because of the program's success, Judge Judy began airing at better time periods.[89]

text: It was by the show's 5th season (2000–01) that Judy's streak of growing in ratings from season to season since its debut had ceased. However, the court show still remained the highest-rated program in daytime that season with a 5.6 rating.[57] By the 6th season (2001–02), Judy was no longer the highest-rated program in daytime, beaten out by The Oprah Winfrey Show. The court show averaged a 5.0 rating that season.[57] Likewise, for her 7th season (2002–03), she also averaged a 5.0.[57] For her 8th season (2003–04), Sheindlin finally reversed the season-to-season downward turn in her ratings by averaging a 7.1.[91] Of the seven running court shows during the 2004–05 season, most of them earned a 3.63 rating; however, Judge Judy pulled in a 7.5 rating for that season (the show's 9th).[89] For her 10th season (2005–06), Judge Judy averaged a 4.8 rating.[92] Judge Judy averaged 4.6 rating for her 11th season (2006–07). Meanwhile, other programs in the genre were trailing Sheindlin from a vast distance (as has been the case since the debut of Judge Judy): Judge Joe Brown averaged a 2.9 rating; The People's Court averaged a 2.7; Judge Mathis averaged a 2.4; Divorce Court averaged a 2.0; Judge Alex averaged 1.9; Judge Hatchett averaged a 1.5; rookies--Cristina's Court averaged a 1.4, and Judge Maria Lopez came in last, averaging a 1.0 rating.[93]

text: For its 12th season (2007–08), Judge Judy averaged a 4.8 rating (4.8 HH AA%/7.4 HH GAA% rating) and 9.9 million average daily viewers.[52] Judy was the only first-run syndication program to increase in ratings for that season from the previous, leading CBS to immediately extend her contract through the 2012–13 season.[94] For its 13th season (2008–09), the show averaged a 4.2 rating (4.2 HH AA%/6.5 HH GAA% rating) and 9.02 million average daily viewers.[95] Its 14th season (2009–10) marked the first season in nearly a decade since the 2000–01 season that any daytime television program had been able to surpass The Oprah Winfrey Show's ratings (Judge Judy is also the show in question that during the 2000–01 television season surpassed The Oprah Winfrey Show in daytime TV ratings): Judy broke Winfrey's near decade-long streak with a 4.4 rating (4.4 HH AA%/6.9 HH GAA% rating) and 9.6 million average daily viewers.[96] It was also at that point that Sheindlin's courtroom series became the highest rated show in all of daytime television programming.[97] Judy secured this title in its 15th season (2010–11) as the program remained ahead of Oprah in her [Oprah] final season and the highest-rated daytime television offering, averaging a 5.11 rating[98] and 9.6 million viewers.[99] During this season, Judy also became the highest rated show in first-run syndication.[100] Late that same season in May 2011, as a result of continued high ratings, CBS again extended Sheindlin's contract, this time through the 2014–15 season (the show's 19th).[101]

text: In the first post-Oprah television season, the court show continued its reign as the most dominant show in daytime and also became the top-rated show in syndication, its 16th season (2011–12) racking up a 7.0 rating and 9.29 million average daily viewers.[102] As the top-rated show in all of syndication at this point, Sheindlin defeated first-run syndication programs and off-network syndication programs (rerun episodes of programs off their original network).[103] The title of overall syndication leader was previously held by off-network syndicated program Two and a Half Men (2010–11) and before that, first-run syndicated program Wheel of Fortune (2009–10).[104][105]

text: For its 17th season (2012–13), Judge Judy once again pulled in a 7.0 household rating.[100][107] The series delivered 9.63 million average daily viewers that season, growing by +32,000 viewers over the prior season.[108] Despite this, Judy lost its 1st place spot as the ratings leader in all of syndication that season, descending to 2nd place, only a tad behind The Big Bang Theory (off-network syndicate) which took home a 7.1 for that season. Still and all, this was the 3rd season in a row that Judy earned the title of ratings leader in all of first-run syndication.[100] Moreover, this was the 4th consecutive season that Judy was the ratings leader in all of daytime television programming.[109] For the 18th season (2013–14), Judy rose to a 7.2 household rating and brought in 9.94 million viewers, gaining 8% over its prior season. Also for this season, the show reclaimed the title as highest rated program in all of daytime (5th consecutive time, 8th time overall) and all of syndication (3rd time).[110][111] The show's 19th season (2014–15) pulled in a 7.0 household rating and remained the highest rated program in both daytime television as well as all of syndication.[112] The 20th season (2015–16) was Judy's 3rd consecutive year as syndication's top strip, the court show averaging a 7.0 full-season household rating.[113]

text: For its 21st season (2016-17), Judge Judy trounced all of its competitors in daytime and all of syndication. The court show scored a 6.8 household rating for its 21st season.[114][115]

text: Pre-eminence and success in struggling genre[edit]

text: The success of Judge Judy is particularly noteworthy in that, generally speaking, courtroom programming has a very limited shelf life. The shows in this genre are lucky to make it past a few seasons. In addition, most of the programs in this genre do not score very highly in ratings. The annual Forbes magazine Celebrity 100 for 2015 lists Judge Judy Sheindlin at number 43, along with Vin Diesel, with estimated earnings last year of $47 million.

text: Of the long list of court shows, the only programs still existent in the genre originating in the 1990s or prior are Divorce Court (1957), The People's Court (1981), Judge Judy (1996) and Judge Mathis (1999). Of those four, only Judge Judy and Judge Mathis have not suffered a temporary cancellation in their series run before a revival. Also of the four, Sheindlin and Mathis are the only two to have hosted their program for their entire run. This makes Sheindlin the genre's longest serving courtroom arbitrator. Greg Mathis is the second longest serving court show arbitrator, trailing Sheindlin by three seasons. As Divorce Court and The People's Court have both suffered temporary cancellation(s), Judge Judy has had the longest individual life of any court show followed by Judge Mathis.

text: Judge Judy producer Randy Douthit has stated that "they are guilty of cannibalizing each other. Most of these court shows are lucky to get above a 1 rating today."[116]

text: Addressing the subject in a September 2015 interview, Sheindlin stated: "It's clearly not the format since there are many court shows. So it has to be the message and the messenger and some excellent directing, which is why the show looks so good. The message is a simple one: it's your life, take responsibility for it, say you're sorry and fess up when you do something wrong. That has to be delivered in an entertaining way and, fortunately, I don't have to act. I don't have a script. It is what it is."[117]

text: Judge Mathis's emulation and admiration of Judge Judy[edit]

text: In a January 2018 interview, Judge Mathis—the second longest serving arbitrator in the court television genre, surpassed only by Judge Judy's 3 year lead over him—suggested that he tried emulating her early on and received input that his gender and race made this approach short lived.

text: In speaking on the early days of his courtroom series, Mathis stated:

text: With that in mind, Mathis added that he decided to change things up and be “a little comical and a little socially conscious.”

text: Mathis also took care to note of his high opinion of Sheindlin. Ever humbly, he stated that he did not deserve her salary, that Sheindlin's salary is owed to her because of her impressive ratings and that she even "ran Oprah off television" with ratings that surpassed hers [Oprah]. He added [laughingly] that he is way behind Judge Judy.[118]

text: Audience makeup[edit]

text: Judge Judy's daytime audience is composed of approximately seventy-five percent women and twenty-five percent men.[47] In February 2014, it was reported that Judge Judy's audience is mostly composed of older women, blacks, and Latinos.[119]

text: Criticisms[edit]

text: Sheindlin vs. Joseph Wapner[edit]

text: Despite her widespread popularity, Sheindlin's behavior and treatment of the parties that have appeared before her has often been the subject of criticism. Regular viewers of the program have also been criticized as sadistic for their delight in watching Sheindlin engage in her typical behaviors.[120] One such example of criticism has come from the first star of arbitration-based reality court shows, Joseph Wapner. Wapner, who presided over The People's Court from 1981 to 1993, was a long-time critic of Sheindlin. On November 26, 2002, Wapner criticized Judge Judy's courtroom behavior, stating "She is not portraying a judge as I view a judge should act. Judge Judy is discourteous, and she's abrasive. She's not slightly insulting. She's insulting in capital letters."

text: Judge Judy replied through her publicist, stating, "I refuse to engage in similar mud slinging. I don't know where or by whom Judge Wapner was raised. But my parents taught me when you don't have something nice to say about someone, say nothing. Clearly, Judge Wapner was absent on the day that lesson was taught."

text: Since then, Wapner has stated, "She is a disgrace to the profession. She does things I don't think a judge should do. She tells people to shut up. She's rude. She's arrogant. She demeans people. If she does this on purpose, then that's even worse. Judges need to observe certain standards of conduct. She just doesn't do it and I resent that. The public is apt to gain the impression that this is how actual judges conduct themselves. It says 'judge' on the nameplate on the bench and she's wearing a robe."[121]

text: Sheindlin has since stated, "As a young person, when I had watched The People's Court. . . I said 'you know what, I could do that.' And at least as well because while Joe Wapner is a very good judge, [he] didn't have much of a sense of humor. And I always knew from a very practical perspective that you have to marry those two things in order to be successful in entertainment."[20]

text: In a November 2013 interview with Larry King, Sheindlin was asked whether she enjoyed watching Wapner on The People's Court. She replied, "Meh! Oatmeal!" Following this, King asked her what if any other television judges then did she enjoy, to which Sheindlin answered "Mills Lane" of Judge Mills Lane.[122]

text: Acclaim[edit]

text: In a September 2014 Rickey Smiley Morning Show interview, Judge Mathis was asked what 3 other court show judges he'd most enjoy sharing a meal with. For his first choice, he answered (laughing) "Are you kidding?! It would be Judge Judy at the head of the table. Oh my goodness, that Judge Judy is something else." His second choice was Judge Marilyn Milian, and third Judge Mills Lane.[123]

text: In August, 2010, rapper, singer and songwriter Nicki Minaj stated that she has an obsession with Judge Judy and that all of her free time is spent watching the program.[124]

text: In February 2013, then head Football coach for the San Francisco 49ers, Jim Harbaugh, was asked about the importance of truthfulness and enthusiastically remarked, "Somebody that's not truthful? That's big to me. I'm a big fan of the "Judge Judy" show. When you lie in Judge Judy's courtroom, it's over. Your credibility is completely lost, and you stand no chance of winning that case. So I learned that from her. It's very powerful and true. If somebody lies to you, how can you trust anything they ever say after that?"[125][126][127][128]

text: A couple months later, Harbaugh would even attend tapings of Judge Judy along with his father as audience members. As part of the experience, Harbaugh and his father had lunch with Sheindlin and visited with her both before and after tapings. After meeting Sheindlin and seeing cases in person, Harbaugh stated, "I've never seen Judy adjudicate one improperly. She is so smart. She is so good. I could sit there and watch those cases all day. I really could. It's fun to watch somebody that does their job well. I could watch Judge Judy do cases all day. I could watch people play football who do their job really well. People who direct traffic. I get a real kick out of watching people who direct traffic do it. I've done it for hours. I like football the most, but Judge Judy is right up there. She's the best."[125][126]

text: Brad Adgate, senior vice president of research for Horizon Media, said "Judge Judy is the new Oprah of daytime TV-actually, she was [already] beating Oprah while Oprah was still on."[12]

text: President and CEO of CBS, Leslie Moonves, stated "Over the last few decades, there have been very few shows that have achieved the remarkable success that she has. Not only has Judy sustained that success year after year, how many shows grow in their 15th or 16th year in syndication? She started as a fresh voice and she's been a remarkable presence in daytime television ever since."[129]

text: Many regular viewers and supporters of Judge Judy have defended Sheindlin's treatment of the parties that have appeared before her by describing the parties as an "endless parade of idiots" that Sheindlin has had to put up with.[130][131][132]

text: Lawsuits involving Sheindlin, executive producer, Big Ticket, and CBS[edit]

text: Judge Judy executive producer Randy Douthit has been sued twice by former staff members of the Judge Judy program for alleged wrongful termination, discriminatory practice, and mismanagement while on the job.

text: Racism termination lawsuit[edit]

text: In December 2007, Jonathan Sebastien, a former producer of the Judge Judy show of 7 years, filed a lawsuit against the production company in L.A. County Superior Court for wrongful termination. Sebastien claimed that when he proposed certain cases for the show involving black litigants, Douthit turned them down with his alleged reasons being he didn't want to see any more black people; their behaviors were too ghetto and more suited for then active television jurist Joe Brown; and they needed more pretty, upscale white people. Sebastien claimed that in January 2007, he objected to the alleged discrimination in a meeting and was verbally abused by Douthit. Three months later on March 30, Sebastien stated he was fired with the reason given that rating numbers were down. Sebastien claimed that the real reason he was fired was because he opposed his boss's alleged "discriminatory selection process."[133][134]

text: Ageism lawsuit[edit]

text: That same day in December 2007, the show's former associate producer Karen Needle was also fired. She later sued Douthit, claiming that she was wrongfully terminated because she was too old, 64 at the time. Sheindlin was not named as a defendant. Needle, who helped book audiences for the program, stated the reason she was given for being fired was "unspecified conflict from her audience work." Needle said she began suffering from back pain, sometimes even resorting to lying on the ground in pain, and when she asked her bosses for a new chair, nothing was done. According to the complaint, two weeks before Needle was fired, she took off four days to assist her ailing 88-year-old mother. Needle stated, "There is a lot of terrible stuff going on if two people file separate lawsuits. It's a toxic situation over there. This is supposed to be Judge Judy, the voice of justice, and yet her own staff isn't treated well. What is she getting paid all that money for if her own staff is treated with such little decency?"[134]

text: Conspiracy/fraud allegations[edit]

text: In March 2013, a lawsuit was filed against Sheindlin by Patric Jones, the estranged wife of Douthit. Jones alleged Douthit and Sheindlin had conspired to permit Sheindlin to buy Christofle fine china and Marley cutlery owned by Jones. She said Sheindlin had paid Douthit $50,815 for the items without her knowledge to deprive her of her valuables,[135] and she sought $514,421 from Sheindlin. The suit ended after Sheindlin returned the tableware to Douthit and Jones agreed to pay Douthit $12,500 and have the tableware handed back to her.[136]

text: Lawsuit by production against YouTube user[edit]

text: On October 17, 2013, Big Ticket Television and producers of Judge Judy filed a lawsuit against Ignacio De Los Angeles. The suit was made against the individual for posting an episode of Judge Judy on YouTube. According to the suit, Big Ticket directed Ignacio to remove the 2006 episode of Judge Judy that he had posted. Ignacio ignored the command.[137][138]

text: Copyright lawsuit filed by Judy Sheindlin[edit]

text: On Wednesday, March 12, 2014, Sheindlin filed a lawsuit of her own for the first time in her life. The suit was filed against Hartford, Connecticut, personal injury lawyer John Haymond and his law firm. In the lawsuit, Sheindlin accused Haymond and his firm of using her television image without consent in advertisements that falsely suggested she endorsed him and his firm. In March 2013, Sheindlin's producer allegedly told the firm that the use of her image was not permitted, but ads continued. The lawsuit filed in federal court sought more than $75,000 in damages. Sheindlin said in her statement that any money she wins through the lawsuit will go toward college scholarships through the Her Honor Mentoring Program. Sheindlin described the unauthorized use of her name as "outrageous", stating, "Mr. Haymond is a lawyer and should know better."[139][140][141] Haymond later filed a countersuit for punitive damages and attorney's fees, alleging defamation of him and his firm by Sheindlin.[142] Haymond insisted that local affiliates asked him to appear in Judge Judy promos to promote Sheindlin for which he obliged.[143][144] On August 8, 2014, it was reported that the case between Sheindlin and Haymond settled out of court in a resolution that favored Sheindlin. Haymond will be donating money to Sheindlin's charity, Her Honor Mentoring Program.[145]

text: Lawsuit by Rebel Entertainment aimed at CBS and Sheindlin's salary[edit]

text: On March 14, 2016, talent agency Rebel Entertainment and its president, Richard Lawrence, filed a multimillion-dollar lawsuit against CBS Television, claiming the media giant failed to pay the agency millions of dollars in profits. Rebel claims they are owed profits and contractually agreed to for their contributions to launching the program and discovering Sheindlin through their terminated employees Kaye Switzer and Sandi Spreckman. The lawsuit alleges CBS hasn’t paid Rebel for the past six years because CBS told them the net profits that go to “Judge Judy” have been wiped out due to Sheindlin’s annual salary boost to $45 and then $47 million. The lawsuit goes on to attack Sheindlin's salary as being far too high. Rebel described it as "exorbitant" and "grossly inconsistent with customary practice in the television industry," that similarly successful talk show hosts aren't paid nearly as much. Further, Rebel claims they were to be consulted before any spin-offs of the show were produced, but were not when Hot Bench (another courtroom arbitrated show launched by Sheindlin and her producers) was created.[146][147] In response to the lawsuit, Sheindlin has stated:

text: When Sheindlin was deposed for this case in the summer of 2016, she matter-of-factly let CBS know as follows: “CBS had no choice but to pay me what I wanted because otherwise I could take it wherever I wanted to take it or do it myself. Their back’s to the wall. They pay me the money that they do because they have no choice. They can’t find another one.” This case, which seeks widespread unspecified damages, is ongoing and faces a March 2018 trial start.[148]

text: In a April 2018 verdict on this case, Los Angeles Superior Court Judge Joanne O'Donnell found that Sheindlin is not grossly overpaid and that her salary does not constitute a breach of contract, rather her salary is as result of the "resounding success of her program and without its namesake star would not continue." In another motion however, Judge O'Donnell ruled in Lawrence's favor that it was a breach of contract for the Defendants to have failed to consult him before launching "spin-off" series Hot Bench. Dissatisfied with being granted one part of their motion while denied the other, attorney for Richard Lawrence, Bryan Freedman, has revealed that the Plaintiffs intend on appealing Judge O'Donnell's verdict. Freedman is quoted as stating, "As for admitting and then ignoring Rebel’s uncontroverted expert opinion evidence that frontloading the 45 million dollar salary of Ms. Sheindlin was not consistent with the United States television industry, the court committed a reversible error. That issue will be decided by the court of appeal."[149]

text: Lawsuit by Kaye Switzer and trust of Sandi Spreckman against Sheindlin, CBS and Big Ticket[edit]

text: On Friday, January 19, 2018, a breach-of-contract lawsuit—similar and loosely related to the case filed by Rebel Entertainment—was filed in the Los Angeles Superior Court against Sheindlin, CBS Corporation, CBS Studios and Big Ticket Television by Kaye Switzer and the trust of the now deceased Sandi Spreckman (copy of the lawsuit here). Switzer and Sandi Spreckman are former employees of Rebel Entertainment, terminated by the employer. Switzer and Spreckman’s trustee, Jay Robinson, claim they discovered and introduced Sheindlin to producer Larry Little, asserting that if not for this move that there would be no Judge Judy and thus they are owed monetary royalties. The lawsuit also states that Sheindlin sold "The Judge Judy Library" to CBS Television Distribution for a sales price of over $95,000,000 to the House of Leslie Moonves. Switzer and the Spreckman's trustee contend that they were not paid any monetary rewards by Sheindlin, CBS or Big Ticket in this transaction.[150] It's important to note that the two women have a long history of filing lawsuits over the same matter against Sheindlin and her Judge Judy business partners dating back to the year 2000.[151]

text: Not taking the lawsuit as a concern, Sheindlin was quoted as regarding the subject of "Who is owed what as just background noise," and that the monster success of her show came from nothing more than the sweat of her brow and the force of her personality. Sheindlin was also quoted as stating she has "fond feelings of Kaye and Sandi" but that they were fired before her show ever started and that she personally never entered into a contract with either of them.[152]


document_title: Taylor Creek (Lake Tahoe)

question_text: when do the salmon run in lake tahoe

question_tokens: when do the salmon run in lake tahoe

root

text: Taylor Creek (Lake Tahoe)

text: History[edit]

text: To the Washoe people, Taylor Creek was known as Dawgašašíwa[3] It was a significant Washoe Indian camping and fishing site. Taylor Creek is probably named for Elijah W. Taylor, who homesteaded 160 acres near the creek in 1864.[4]

tag: p

text: Watershed and course[edit]

text: Taylor Creek is the only outflow for Fallen Leaf Lake, and begins at a spillway on the Fallen Leaf Lake dam on the north side of the lake. From here it winds its way northwards, entering the Tallac & Taylor Creek wetland before entering Lake Tahoe.

text: Habitat and wildlife[edit]

text: Taylor and Tallack Creeks form an important wetland complex separate from Lake Tahoe by Baldwin Beach. Historically, these two wetland complexes provided approximately 400 acres of wetland and meadow habitat. The valley between Taylor and Tallac creeks is dissected by a series of east-west historic lagoons (or swales) that created wetland habitat for a variety of native animal and plant species. From historic aerial photos, it appears that these swales may have hydrologically connected Taylor and Tallac creeks and follow topographic features such as historic beaches/lake levels. In addition to man-made alterations, such as an access road that runs north-south in the middle of the wetland, the influx of aquatic invasive species, such as Eurasian watermilfoil (Myriophyllum spicatum), bull frogs and warm-water fishes have invaded both Tallac and Taylor creeks, which now compete with native species such as Lahontan tui chub (Gila bicolor pectinifer), Lahontan redside shiner (Richardsonius egregius), Tahoe sucker (Catostomus tahoensis) and Tahoe yellowcress (Rorippa subumbellata).[5] The wetland is also historic habitat for Sierra Nevada yellow-legged frog, as well as Lahontan cutthroat trout (Oncorhynchus clarki henshawi), a threatened species listed on the Endangered Species Act.[6]

text: Lahontan cutthroat trout (LCT) is the only trout species native to Fallen Leaf Lake, Lake Tahoe and the Truckee River Basin but were extirpated by introduction of predatory non-native lake trout (Salvelinus namaycush), other competing non-native salmonids, and overfishing. Re-introduction into Fallen Leaf Lake of the Pilot Peak strain of Lahontan cutthroat trout (LCT), established as the LCT strain native to the watershed, began in 2006.[7]

text: Each autumn, from late September through mid-October, mature kokanee salmon (Oncorhyncus nerka), transform from silver-blue color to a fiery vermilion, and run up Taylor Creek, near South Lake Tahoe. As spawning season approaches the fish acquire a humpback and protuberant jaw. After spawning they die and their carcasses provide a feast for gatherings of mink (Neovison vison), black bears (Ursus americanus), and bald eagles (Haliaeetus leucocephalus). These non-native salmon were translocated from the North Pacific to Lake Tahoe in 1944, and Taylor Creek is their primary spawning stream in the Tahoe basin.[8] Kokanee appear to compete for forage with the recently established threatened Lahontan cutthroat trout in Fallen Leaf Lake.[9]

text: All of the beaver dams in Taylor Creek, which flows from Fallen Leaf Lake to Lake Tahoe, are destroyed annually each fall by the U. S. Forest Service in order for Kokanee salmon (Oncorhynchus nerka) to spawn. A recent study of Taylor Creek showed that the beaver dam removal decreased wetland habitat, increased stream flow, and increased total phosphorus pollutants entering Lake Tahoe - all factors which negatively impact the clarity of the lake's water.[10] In addition, beaver dams located in Ward Creek, located on the west shore of Lake Tahoe, were also shown to decrease nutrients and sediments traveling downstream.[10] Recently novel physical evidence has demonstrated that beaver were native to the Sierra until at least the mid-nineteenth century, via radiocarbon dating of buried beaver dam wood uncovered by deep channel incision in the Feather River watershed.[11] That report was supported by a summary of indirect evidence of beaver including reliable observer accounts of beaver in multiple watersheds from the northern to the southern Sierra Nevada, including its eastern slope.[12] Deep water created by beaver dams may provide critical refugia from winter ice for native cutthroat trout (Oncorhynchus clarki).[13][14] Importantly a 2013 study showed that cutthroat trout move easily across beaver dams in both directions.[15]

text:
Beaver dam and pond on Taylor Creek taken Sept. 23, 2012.

Beaver dam removed in anticipation of Kokanee salmon run by Forest Service on Sept. 28, 2012.

Salmon (Oncorhynchus nerka), the same species as Kokanee salmon, jumping 5 feet (1.5 m) beaver dam in Alaska.

North American beaver (Castor canadensis) dam re-built at same site on Taylor Creek, tributary to Lake Tahoe, in winter Nov. 25, 2013.

Beaver dams provide critical deep water refugia for native cutthroat trout beneath winter ice Dec. 11, 2013.

Beaver dam site after removal by US Forest Service on Dec. 12, 2013.

tag: ul

text: Recreation[edit]

text: From Memorial Day weekend through October, the Stream Profile Chamber at the Taylor Creek Visitor Center is an opportunity to see the trout and Kokanee salmon of Lake Tahoe up close.[16] It is located on Highway 89 1 mile (1.6 km) west of Camp Richardson on the south shore of Lake Tahoe.


document_title: Dream Lover

question_text: when did the song dream lover come out

question_tokens: when did the song dream lover come out

text: Dream Lover

text:
"Dream Lover"

Single by Bobby Darin

B-side
"Bullmoose"

Released
April 20, 1959

Format
7"

Genre
Rock and roll, doo-wop

Length
2:28

Label
Atco

Songwriter(s)
Bobby Darin

Producer(s)
Ahmet Ertegun, Jerry Wexler

Bobby Darin singles chronology

"Plain Jane"
(1959)
"Dream Lover"
(1959)
"Mack the Knife"
(1959)

"Plain Jane"
(1959)
"Dream Lover"
(1959)
"Mack the Knife"
(1959)

tag: table

text: "Dream Lover" is a song written by Bobby Darin and recorded by him on April 6, 1959. Darin decided to stretch out some chord changes he found on the piano and add strings and voices.[1] The song was produced by Ahmet Ertegun and Jerry Wexler and engineered by Tom Dowd. It was released as a single on Atco Records in the U.S. in 1959. It became a multi-million seller, reaching No.2 on the U.S. charts for a week and No.4 on the R&B charts.[2] "Dream Lover" was kept from the No.1 spot by "The Battle of New Orleans" by Johnny Horton. It did however reach No.1 in the U.K. for four weeks during June and July 1959.[3] In addition to Darin's vocal, the song features Neil Sedaka on piano.[4] A picture sleeve, featuring a portrait of Darin, was also issued for this record in the U.S.

text: The song is featured in the 1991 movie Hot Shots! starring Charlie Sheen. A remake of the song performed by Dion is also played in full, during the end credits. The song was also used in Michael Apted's 1974 movie Stardust and in Barry Levinson's 1982 debut film Diner. A version of the song, retitled "Dream Maker" and with rewritten lyrics, appears in the pilot of the 1987 TV series Rags to Riches. In 2014, the song was featured in the episode "The Immutable Truth" of Bates Motel.

text: Peter McCann released a version of the song as a single in 1982 which did not chart.[5]

text: Book[edit]

text: In 1994, Darin and Sandra Dee's son Dodd Darin co-authored with Maxine Paetro a book about his parents whose title is inspired by the song. As the publisher's note for Dream Lovers: The Magnificent Shattered Lives of Bobby Darin and Sandra Dee describes: "In this intensely personal biography the son of Bobby Darin and Sandra Dee goes far beyond the ordinary celebrity bio, revealing the real story behind his parents' shining image—their troubled childhoods, up-and-down careers, brief marriage, and tumultuous lives together and apart."[6]


document_title: First Barbary War

question_text: how did the us win the war against the barbary states

text: First Barbary War

text: Background and overview[edit]

text: Barbary corsairs and crews from the North African Ottoman provinces of Algiers, Tunis, Tripoli, and the independent Sultanate of Morocco under the Alaouite dynasty (the Barbary Coast) were the scourge of the Mediterranean.[6] Capturing merchant ships and enslaving or ransoming their crews provided the Muslim rulers of these nations with wealth and naval power. The Roman Catholic Trinitarian Order, or order of "Mathurins", had operated from France for centuries with the special mission of collecting and disbursing funds for the relief and ransom of prisoners of Mediterranean pirates. According to Robert Davis, between 1 and 1.25 million Europeans were captured by Barbary pirates and sold as slaves between the 16th and 19th centuries.[7]

text: Barbary corsairs led attacks upon American merchant shipping in an attempt to extort ransom for the lives of captured sailors, and ultimately tribute from the United States to avoid further attacks, as they did with the various European states.[8] Before the Treaty of Paris, which formalized the United States' independence from Great Britain, U.S. shipping was protected by France during the revolutionary years under the Treaty of Alliance (1778–83). Although the treaty does not mention the Barbary States in name, it refers to common enemies between both the U.S. and France. As such, piracy against U.S. shipping only began to occur after the end of the American Revolution, when the U.S. government lost its protection under the Treaty of Alliance.

text: This lapse of protection by a European power led to the first American merchant ship being seized after the Treaty of Paris. On 11 October 1784, Moroccan pirates seized the brigantine Betsey.[9] The Spanish government negotiated the freedom of the captured ship and crew; however, Spain offered advice to the United States on how to deal with the Barbary States. The advice was to offer tribute to prevent further attacks against merchant ships. The U.S. Minister to France, Thomas Jefferson, decided to send envoys to Morocco and Algeria to try to purchase treaties and the freedom of the captured sailors held by Algeria.[10] Morocco was the first Barbary Coast State to sign a treaty with the U.S., on 23 June 1786. This treaty formally ended all Moroccan piracy against American shipping interests. Specifically, article six of the treaty states that if any Americans captured by Moroccans or other Barbary Coast States docked at a Moroccan city, they would be set free and come under the protection of the Moroccan State.[11]

text: American diplomatic action with Algeria, the other major Barbary Coast State, was much less productive than with Morocco. Algeria began piracy against the U.S. on 25 July 1785 with the capture of the schooner Maria, and Dauphin a week later.[12] All four Barbary Coast states demanded $660,000 each. However, the envoys were given only an allocated budget of $40,000 to achieve peace.[13] Diplomatic talks to reach a reasonable sum for tribute or for the ransom of the captured sailors struggled to make any headway. The crews of Maria and Dauphin remained enslaved for over a decade, and soon were joined by crews of other ships captured by the Barbary States.[14]

text: In 1795, Algeria came to an agreement that resulted in the release of 115 American sailors they held, at a cost of over $1 million. This amount totaled about one-sixth of the entire U.S. budget,[15] and was demanded as tribute by the Barbary States to prevent further piracy. The continuing demand for tribute ultimately led to the formation of the United States Department of the Navy, founded in 1798[16] to prevent further attacks upon American shipping and to end the demands for extremely large tributes from the Barbary States.

text: Various letters and testimonies by captured sailors describe their captivity as a form of slavery, even though Barbary Coast imprisonment was different from that practiced by the U.S. and European powers of the time.[17] Barbary Coast prisoners were able to obtain wealth and property, along with achieving status beyond that of a slave. One such example was James Leander Cathcart, who rose to the highest position a Christian slave could achieve in Algeria, becoming an adviser to the bey (governor).[18] Even so, most captives were pressed into hard labor in the service of the Barbary pirates, and struggled under extremely poor conditions that exposed them to vermin and disease. As word of their treatment reached the U.S., through freed captives' narratives and letters, Americans pushed for direct government action to stop the piracy against U.S. ships.

text: In March 1786, Thomas Jefferson and John Adams went to London to negotiate with Tripoli's envoy, ambassador Sidi Haji Abdrahaman (or Sidi Haji Abdul Rahman Adja). When they enquired "concerning the ground of the pretensions to make war upon nations who had done them no injury", the ambassador replied:

text: It was written in their Koran, that all nations which had not acknowledged the Prophet were sinners, whom it was the right and duty of the faithful to plunder and enslave; and that every mussulman who was slain in this warfare was sure to go to paradise. He said, also, that the man who was the first to board a vessel had one slave over and above his share, and that when they sprang to the deck of an enemy's ship, every sailor held a dagger in each hand and a third in his mouth; which usually struck such terror into the foe that they cried out for quarter at once.[25]

text: Jefferson reported the conversation to Secretary of Foreign Affairs John Jay, who submitted the ambassador's comments and offer to Congress. Jefferson argued that paying tribute would encourage more attacks. Although John Adams agreed with Jefferson, he believed that circumstances forced the U.S. to pay tribute until an adequate navy could be built. The U.S. had just fought an exhausting war, which put the nation deep in debt. Federalist and Anti-Federalist forces argued over the needs of the country and the burden of taxation. Jefferson's own Democratic-Republicans and anti-navalists believed that the future of the country lay in westward expansion, with Atlantic trade threatening to siphon money and energy away from the new nation, to be spent on wars in the Old World.[26] The U.S. paid Algiers the ransom, and continued to pay up to $1 million per year over the next 15 years for the safe passage of American ships and the return of American hostages.[citation needed] A $1 million payment in ransom and tribute to the privateering states amounted to approximately 10% of the U.S. government's annual revenues in 1800.[27]

text: Jefferson continued to argue for cessation of the tribute, with rising support from George Washington and others. With the recommissioning of the American Navy in 1794 and the resulting increased firepower on the seas, it became increasingly possible for America to refuse paying tribute, although by now the long-standing habit was hard to overturn.

text: Declaration of war and naval blockade[edit]

text: Just before Jefferson's inauguration in 1801, Congress passed naval legislation that, among other things, provided for six frigates that "'shall be officered and manned as the President of the United States may direct.' ... In the event of a declaration of war on the United States by the Barbary powers, these ships were to 'protect our commerce and chastise their insolence—by sinking, burning or destroying their ships and vessels wherever you shall find them.'"[28] On Jefferson's inauguration as president in 1801, Yusuf Karamanli, the Pasha (or Bashaw) of Tripoli, demanded $225,000 (equivalent to $3.31 million in 2017) from the new administration. (In 1800, federal revenues totaled a little over $10 million). Putting his long-held beliefs into practice, Jefferson refused the demand. Consequently, on 10 May 1801, the Pasha declared war on the U.S., not through any formal written documents but in the customary Barbary manner of cutting down the flagstaff in front of the U.S. Consulate.[29] Algiers and Tunis did not follow their ally in Tripoli.

text: Before learning that Tripoli had declared war on the United States, Jefferson sent a small squadron, consisting of three frigates and one schooner, under the command of Commodore Richard Dale with gifts and letters to attempt to maintain peace with the Barbary powers.[30] However, in the event that war had been declared, Dale was instructed "to protect American ships and citizens against potential aggression," but Jefferson "insisted that he was 'unauthorized by the constitution, without the sanction of Congress, to go beyond the line of defense.'" He told Congress: "I communicate [to you] all material information on this subject, that in the exercise of this important function confided by the constitution to the legislature exclusively their judgment may form itself on a knowledge and consideration of every circumstance of weight."[28] Although Congress never voted on a formal declaration of war, they did authorize the President to instruct the commanders of armed American vessels to seize all vessels and goods of the Pasha of Tripoli "and also to cause to be done all such other acts of precaution or hostility as the state of war will justify." The American squadron joined a Swedish flotilla under Rudolf Cederström in blockading Tripoli, the Swedes having been at war with the Tripolitans since 1800.[5]

text: On 31 May 1801, Commodore Edward Preble traveled to Messina, Sicily, to the court of King Ferdinand IV of the Kingdom of Naples. The kingdom was at war with Napoleon, but Ferdinand supplied the Americans with manpower, craftsmen, supplies, gunboats, mortar boats, and the ports of Messina, Syracuse and Palermo to be used as a naval base to launch operations against Tripoli, a port walled fortress city protected by 150 pieces of heavy artillery manned by 25,000 soldiers, assisted by a fleet of 10 ten-gunned brigs, 2 eight-gun schooners, two large galleys, and 19 gunboats.[31]

text: The schooner Enterprise (commanded by Lieutenant Andrew Sterret) defeated the 14-gun Tripolitan corsair Tripoli after a one-sided battle on 1 August 1801.

text: In 1802, in response to Jefferson's request for authority to deal with the pirates, Congress passed "An act for the protection of commerce and seamen of the United States against the Tripolitan cruisers", authorizing the President to "…employ such of the armed vessels of the United States as may be judged requisite… for protecting effectually the commerce and seamen thereof on the Atlantic Ocean, the Mediterranean and adjoining seas."[32] "The statute authorized American ships to seize vessels belonging to the Bey of Tripoli, with the captured property distributed to those who brought the vessels into port."[28]

text: The U.S Navy went unchallenged on the sea, but still the question remained undecided. Jefferson pressed the issue the following year, with an increase in military force and deployment of many of the navy's best ships to the region throughout 1802. Argus, Chesapeake, Constellation, Constitution, Enterprise, Intrepid, Philadelphia and Syren all saw service during the war under the overall command of Preble. Throughout 1803, Preble set up and maintained a blockade of the Barbary ports and executed a campaign of raids and attacks against the cities' fleets.

text: Battles[edit]

text: In October 1803, Tripoli's fleet captured USS Philadelphia intact after the frigate ran aground on a reef while patrolling Tripoli harbor. Efforts by the Americans to float the ship while under fire from shore batteries and Tripolitan Naval units failed. The ship, its captain, William Bainbridge, and all officers and crew were taken ashore and held as hostages. Philadelphia was turned against the Americans and anchored in the harbor as a gun battery.

text: On the night of 16 February 1804, Lieutenant Stephen Decatur led a small detachment of U.S. Marines aboard the captured Tripolitan ketch rechristened USS Intrepid, thus deceiving the guards on Philadelphia to float close enough to board her. Decatur's men stormed the ship and overpowered the Tripolitan sailors. With fire support from the American warships, the Marines set fire to Philadelphia, denying her use by the enemy. British admiral, Horatio Nelson, himself known as a man of action and courage, reportedly called this "the most bold and daring act of the age."[33]

text: Preble attacked Tripoli on 14 July 1804, in a series of inconclusive battles, including a courageous but unsuccessful attack attempting to use Intrepid under Captain Richard Somers as a fire ship, packed with explosives and sent to enter Tripoli harbor, where she would destroy herself and the enemy fleet. However, Intrepid was destroyed, possibly by enemy gunfire, before she achieved her goal, killing Somers and his entire crew.[34]

text: The turning point in the war was the Battle of Derna (April–May 1805). Ex-consul William Eaton, a former Army captain who used the title of "general", and US Marine Corps 1st Lieutenant Presley O'Bannon led a force of eight U.S. Marines [35] and five hundred mercenaries—Greeks from Crete, Arabs, and Berbers on a march across the desert from Alexandria, Egypt, to capture the Tripolitan city of Derna. This was the first time the United States flag was raised in victory on foreign soil. The action is memorialized in a line of the Marines' Hymn—"the shores of Tripoli".[36] The capturing of the city gave American negotiators leverage in securing the return of hostages and the end of the war.[37]

text: Peace treaty and legacy[edit]

text: Wearied of the blockade and raids, and now under threat of a continued advance on Tripoli proper and a scheme to restore his deposed older brother Hamet Karamanli as ruler, Yusuf Karamanli signed a treaty ending hostilities on 10 June 1805. Article 2 of the treaty reads:

text: The Bashaw of Tripoli shall deliver up to the American squadron now off Tripoli, all the Americans in his possession; and all the subjects of the Bashaw of Tripoli now in the power of the United States of America shall be delivered up to him; and as the number of Americans in possession of the Bashaw of Tripoli amounts to three hundred persons, more or less; and the number of Tripolino subjects in the power of the Americans to about, one hundred more or less; The Bashaw of Tripoli shall receive from the United States of America, the sum of sixty thousand dollars, as a payment for the difference between the prisoners herein mentioned.[38]

text: In agreeing to pay a ransom of $60,000 for the American prisoners, the Jefferson administration drew a distinction between paying tribute and paying ransom. At the time, some argued that buying sailors out of slavery was a fair exchange to end the war. William Eaton, however, remained bitter for the rest of his life about the treaty, feeling that his efforts had been squandered by the American emissary from the U.S. Department of State, diplomat Tobias Lear. Eaton and others felt that the capture of Derna should have been used as a bargaining chip to obtain the release of all American prisoners without having to pay ransom. Furthermore, Eaton believed the honor of the United States had been compromised when it abandoned Hamet Karamanli after promising to restore him as leader of Tripoli. Eaton's complaints generally went unheard, especially as attention turned to the strained international relations which would ultimately lead to the withdrawal of the U.S. Navy from the area in 1807 and to the War of 1812.[39]

text: The First Barbary War was beneficial to the reputation of the United States' military command and war mechanism, which had been up to that time relatively untested. The First Barbary War showed that America could execute a war far from home, and that American forces had the cohesion to fight together as Americans rather than separately as Georgians, New Yorkers, etc. The United States Navy and Marines became a permanent part of the American government and American history, and Decatur returned to the U.S. as its first post-revolutionary war hero.[40]

text: However, the more immediate problem of Barbary piracy was not fully settled. By 1807, Algiers had gone back to taking American ships and seamen hostage. Distracted by the preludes to the War of 1812, the U.S. was unable to respond to the provocation until 1815, with the Second Barbary War, in which naval victories by Commodores William Bainbridge and Stephen Decatur led to treaties ending all tribute payments by the U.S.[41]

text: Monument[edit]

text: The Tripoli Monument,[42] the oldest military monument in the U.S., honors the American heroes of the First Barbary War: Master Commandant Richard Somers, Lieutenant James Caldwell, James Decatur (brother of Stephen Decatur), Henry Wadsworth, Joseph Israel and John Dorsey. Originally known as the Naval Monument, it was carved of Carrara marble in Italy in 1806 and brought to the U.S. on board Constitution ("Old Ironsides"). From its original location in the Washington Navy Yard, it was moved to the west terrace of the national Capitol and finally, in 1860, to the U.S. Naval Academy in Annapolis, Maryland.[43]