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Send In the Clowns
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This article is about the song by Stephen Sondheim. For other uses, see Send In the Clowns (disambiguation).
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"Send In the Clowns" is a song written by Stephen Sondheim for the 1973 musical A Little Night Music, an adaptation of Ingmar Bergman's film Smiles of a Summer Night. It is a ballad from Act Two, in which the character Desirée reflects on the ironies and disappointments of her life. Among other things, she looks back on an affair years earlier with the lawyer Fredrik, who was deeply in love with her but whose marriage proposals she had rejected. Meeting him after so long, she realizes she is in love with him and finally ready to marry him, but now it is he who rejects her: he is in an unconsummated marriage with a much younger woman. Desirée proposes marriage to rescue him from this situation, but he declines, citing his dedication to his bride. Reacting to his rejection, Desirée sings this song. The song is later reprised as a coda after Fredrik's young wife runs away with his son, and Fredrik is finally free to accept Desirée's offer.[1]
Sondheim wrote the song specifically for the actress Glynis Johns, who created the role of Desirée on Broadway. The song is structured with four verses and a bridge, and uses a complex compound meter. It became Sondheim's most popular song after Frank Sinatra recorded it in 1973 and Judy Collins' version charted in 1975 and 1977. Subsequently, numerous other artists recorded the song, and it has become a jazz standard.
Contents
[hide]
1 Meaning of title
2 Context
3 Score
3.1 History
3.2 Lyrics
3.3 Meter and key
4 Styles
5 Popular success
6 Other versions and parodies
7 References
8 External links
Meaning of title[edit]
The "clowns" in the title do not refer to circus clowns. Instead, they symbolize fools, as Sondheim explained in a 1990 interview:
I get a lot of letters over the years asking what the title means and what the song's about; I never thought it would be in any way esoteric. I wanted to use theatrical imagery in the song, because she's an actress, but it's not supposed to be a circus [...] [I]t's a theater reference meaning "if the show isn't going well, let's send in the clowns"; in other words, "let's do the jokes." I always want to know, when I'm writing a song, what the end is going to be, so "Send in the Clowns" didn't settle in until I got the notion, "Don't bother, they're here", which means that "We are the fools."[2]
In a 2008 interview, Sondheim further clarified:
As I think of it now, the song could have been called "Send in the Fools". I knew I was writing a song in which Desirée is saying, "aren't we foolish" or "aren't we fools?" Well, a synonym for fools is clowns, but "Send in the Fools" doesn't have the same ring to it.[3]
Context[edit]
Main article: A Little Night Music
Judi Dench, who performed the role of Desirée in London, commented on the context of the song during an interview with Alan Titchmarsh. The play is "a dark play about people who, at the beginning, are with wrong partners and in the end it is hopefully going to become right, and she (Desirée) mistimes her life in a way and realizes when she re-meets the man she had an affair with and had a child by (though he does not know that), that she loves him and he is the man she wants."[4]
Some years before the play begins, Desirée was a young, attractive actress, whose passions were the theater and romance. She lived her life dramatically, flitting from man to man. Fredrik was one of her many lovers and fell deeply in love with Desirée, but she declined to marry him. The play implies that when they parted Desirée may have been pregnant with his child.
A few months before the play begins, Fredrik married a beautiful young woman who at 18 years old was much younger than he. In Act One, Fredrik meets Desirée again, and is introduced to her daughter, a precocious adolescent suggestively named Fredrika. Fredrik explains to Desirée that he is now married to a young woman he loves very much, but that she is still a virgin, continuing to refuse to have sex with him. Desirée and Fredrik then make love.
Act Two begins days later, and Desirée realizes that she truly loves Fredrik. She tells Fredrik that he needs to be rescued from his marriage, and she proposes to him. Fredrik explains to Desirée that he has been swept off the ground and is "in the air" in love with his beautiful, young wife, and apologizes for having misled her. Desirée remains sitting on the bed; depending on the production, Fredrik walks across the room or stays seated on the bed next to her. Desirée – feeling both intense sadness and anger, at herself, her life and her choices – sings "Send in the Clowns". She is, in effect, using the song "to cover over a moment when something has gone wrong on stage. Midway through the second Act she has deviated from her usual script by suggesting to Fredrik the possibility of being together seriously and permanently, and, having been rejected, she falters as a show-person, finds herself bereft of the capacity to improvise and wittily cover. If Desirée could perform at this moment – revert to the innuendos, one-liners and blithe self-referential humour that constitutes her normal character – all would be well. She cannot, and what follows is an exemplary manifestation of Sondheim’s musico-dramatic complexity, his inclination to write music that performs drama. That is, what needs to be covered over (by the clowns sung about in the song) is the very intensity, ragged emotion and utter vulnerability that comes forward through the music and singing itself, a display protracted to six minutes, wrought with exposed silences, a shocked Fredrik sitting so uncomfortably before Desirée while something much too real emerges in a realm where he – and his audience – felt assured of performance."[5]
Not long thereafter, Fredrik's young wife runs away with his son, so he is free to accept Desirée's proposal, and the song is reprised as a coda.
Score[edit]
History[edit]
Sondheim wrote the lyrics and music over a two-day period during rehearsals for the play's Broadway debut,[6] specifically for the actress Glynis Johns, who created the role of Desirée.[6] According to Sondheim, "Glynis had a lovely, crystal voice, but sustaining notes was not her thing. I wanted to write short phrases, so I wrote a song full of questions" and the song's melody is within a small music range:[3]
We hired Glynis Johns to play the lead, though she had a nice little silvery voice. But I'd put all the vocal weight of the show on the other characters because we needed somebody who was glamorous, charming and could play light comedy, and pretty, and to find that in combination with a good voice is very unlikely, but she had all the right qualities and a nice little voice. So I didn't write much for her and I didn't write anything in the second act.
And the big scene between her and her ex-lover, I had started on a song for him because it's his scene. And Hal Prince, who directed it, said he thought that the second act needed a song for her, and this was the scene to do it in. And so he directed the scene in such a way that even though the dramatic thrust comes from the man's monologue, and she just sits there and reacts, he directed it so you could feel the weight going to her reaction rather than his action.
And I went down and saw it and it seemed very clear what was needed, and so that made it very easy to write. And then I wrote it for her voice, because she couldn't sustain notes. Wasn't that kind of singing voice. So I knew I had to write things in short phrases, and that led to questions, and so again, I wouldn't have written a song so quickly if I hadn't known the actress.... I wrote most of it one night and finished part of the second chorus, and I'd gotten the ending.... [T]he whole thing was done in two days.[6]
Lyrics[edit]
The lyrics of the song are written in four verses and a bridge and sung by Desirée. As Sondheim explains, Desirée experiences both deep regret and furious anger:
"Send in the Clowns" was never meant to be a soaring ballad; it's a song of regret. And it's a song of a lady who is too upset and too angry to speak– meaning to sing for a very long time. She is furious, but she doesn't want to make a scene in front of Fredrik because she recognizes that his obsession with his 18-year-old wife is unbreakable. So she gives up; so it's a song of regret and anger, and therefore fits in with short-breathed phrases.[2]
Meter and key[edit]
The song was originally performed in the key of D flat major.[7][better source needed]
The song uses an unusual and complex meter, which alternates between 12/8 and 9/8.[2] These are two complex compound meters that evoke the sense of a waltz used throughout the score of the show. Sondheim tells the story:
When I worked with Leonard Bernstein on West Side Story, one of the things I learned from him was not always necessarily to think in terms of 2-, 4- and 8-bar phrases. I was already liberated enough before I met him not to be sticking to 32-bar songs, but I tend to think square. I tend to think ... it's probably because I was brought up on mid-19th and late-19th Century music, and you know it's fairly square; there are not an awful lot of meter changes.
You often will shorten or lengthen a bar for rhythmic purposes and for energy, but ... when you switch in the middle [of a song], particularly when it's a modest song, when you're not writing an aria, you know ... [I mean,] if you're writing something like Sweeney Todd, where people sing at great length, you expect switches of meter, because it helps variety. But in a little 36- or 40-bar song, to switch meters around is almost perverse, because the song doesn't get a chance to establish its own rhythm.
But the problem is, what would you do?: Would you go, "Isn't it rich? (two, three) Are we a pair? (two, three) Me here at last on the ground (three), you in mid-air." Lenny [Bernstein] taught me to think in terms of, "Do you really need the extra beat (after 'ground') or not." Just because you've got four bars of four, if you come across a bar that doesn't need the extra beat, then put a bar of three in. So ... the 9 [beat bars] and 12 [beat bars] that alternate in that song were not so much consciously arrived at as they were by the emotionality of the lyric.[2]
Styles[edit]
"Send in the Clowns" is performed in two completely different styles: dramatic and lyric. The dramatic style is the theatrical performance by Desirée, and this style emphasizes Desirée's feelings of anger and regret, and the dramatic style acts as a cohesive part of the play. The lyric style is the concert performance, and this style emphasizes the sweetness of the melody and the poetry of the lyrics. Most performances are in concert, so they emphasize the beauty of the melody and lyrics.
Sondheim teaches both dramatic and lyric performers several important elements for an accurate rendition:[8]
The dramatic performer must take on the character of Desirée: a woman who finally realizes that she has misspent her youth on the shallow life. She is both angry and sad, and both must be seen in the performance. Two important examples are the contrast between the lines, "Quick, send in the clowns" and "Well, maybe next year." Sondheim teaches that the former should be steeped in self-loathing, while the latter should emphasize regret.[8] Thus, the former is clipped, with a break between "quick" and "send," while the latter "well" is held pensively.[8]
Sondheim himself apologizes for flaws in his composition. For example, in the line, "Well, maybe next year," the melodic emphasis is on the word year but the dramatic emphasis must be on the word next:
The word "next" is important: "Maybe next year" as opposed to "this year". [Desirée means,] "All right, I've screwed it up this year. Maybe next year I'll do something right in my life." So [it's] "well, maybe next year" even though it isn't accented in the music. This is a place where the lyric and the music aren't as apposite as they might be, because the important word is "next", and yet the accented word is "year". That's my fault, but [something the performer must] overcome.[9]
Another example arises from Sondheim's roots as a speaker of American rather than British English: The line "Don't you love farce?" features two juxtaposed labiodental fricative sounds (the former [v] voiced, the latter [f] devoiced). American concert and stage performers will often fail to "breathe" and/or "voice" between the two fricatives, leading audiences familiar with British slang to hear "Don't you love arse?," misinterpreting the lyric or at the least perceiving an unintended double entendre. Sondheim agrees that "[i]t's an awkward moment in the lyric, but that v and that f should be separated."[9]
In the line of the fourth verse, "I thought that you'd want what I want. Sorry, my dear," the performer must communicate the connection between the "want" and the "sorry".[8] Similarly, Sondheim insists that performers separately enunciate the adjacent t's in the line, "There ought to be clowns."[8]
Popular success[edit]
The musical, with the song, debuted on Broadway in 1973. The song became popular with theater audiences but had not become a pop hit. Sondheim explained how the song became a hit:
First of all, it wasn't a hit for two years. I mean, the first person to sing it was Bobby Short, who happened to see the show in Boston, and it was exactly his kind of song: He's a cabaret entertainer. And then my memory is that Judy Collins picked it up, but she recorded it in England; Sinatra heard it and recorded it. And between the two of them, they made it a hit.[6]
Frank Sinatra recorded "Send in the Clowns" in 1973 for his comeback album Ol' Blue Eyes Is Back, which attained gold status. Gordon Jenkins arranged the song. It was also released as a single, with "Let Me Try Again" on side B.
Two years later, in 1975, Judy Collins recorded "Send in the Clowns" and included it on her album Judith.[10] The song was released as a single, which soon became a major pop hit. It remained on the Billboard Hot 100 for 11 weeks in 1975, reaching Number 36.[11] Then, in 1977, the song again reached the Billboard Hot 100, where it remained for 16 weeks and reached Number 19.[12] At the Grammy Awards of 1976, the Judy Collins performance of the song was named "Song of the Year".[13]
After Sinatra and Collins recorded the song, it was recorded by Bing Crosby (for his album That's What Life Is All About), Kenny Rogers, Lou Rawls and many others.[14]
In 1985, Sondheim added a verse for Barbra Streisand to use in her concert performances[15] and recording, which was featured on The Broadway Album. In 1986, her version became a Number 25 Billboard Hot Adult Contemporary hit.[16]
The song has become a jazz standard with performances by Count Basie, Sarah Vaughan, the Stan Kenton Orchestra and many others.[14] The song appears on over 900 records by hundreds of performers in a wide variety of arrangements.[17]
Other versions and parodies[edit]
In 1993, Krusty the Clown (played by Dan Castellaneta) performs the song on he Simpsons episode "Krusty Gets Kancelled". It includes some altered lyrics: "Send in those soulful and doleful, schmaltz-by-the-bowlful clowns". This version was later included on the soundtrack album Songs in the Key of Springfield.
Stars of the Lid recorded a version called "Don't Bother They're Here" for their 2007 album And Their Refinement of the Decline.
A snippet of "Send In the Clowns" appears as part of the song "The Electric Co." on the U2 release Under A Blood Red Sky. However, the band did not have the appropriate licensing and did not pay the required royalties and were fined $50,000 (US) and had to make sure any further pressings of the release removed the snippet.[18]
The song figures prominently in a plotline in the daytime soap opera Ryan's Hope in October 1988, when villain Max Dubujax plants a bomb in a music box that plays the tune. Before he dies from a gunshot wound, he tells his ex-wife Siobhan Ryan, the intended victim, about "losing my timing so late in my career". The bomb detonates in November 1988, killing Siobhan's husband Joe Novak. Tichina Arnold sings a version of the song that is used throughout the storyline.
Comedian Will Ferrell performed the song on the Late Show with David Letterman on 2 August 2010.
The song is performed on an episode of the US sitcom Newhart, leading the dim-witted character of George Utley (Tom Poston) to say, "I never realized what that song was really about! It's about clowns, and when to send them in."
In December 2010, Stephen Colbert wrote and performed an "extended ending" to "Send in the Clowns" to composer Stephen Sondheim when he appeared on Colbert's program, The Colbert Report. "Where are the clowns? / I booked them for eight / Oh wait that's them on the phone / Saying they're late / Traffic was bad / The tunnel's a mess / All twelve of them came in one car / They lost my address / You just can't trust clowns / That's why they're called clowns."[19]
In 2011, Paul Harper adapted the lyrics as a parody of bad English usage for Glam Jam, A West End Show, entitled "Send in the Nouns".
The song is featured in the film Starsky & Hutch during the duo's undercover mission at a bat mitzvah.
Madonna opened both her 'Tears Of a Clown' concerts in 2015 with her own rendition of the song.
in the October 1976 issue of MAD Magazine (issue #186) the song is parodied as 'Send In The Crew' in the parody musical 'Keep On Trekkin': The MAD Star Trek Musical', with the lyrics of the song (for the main cast members) being a reflection that the cast has to come back to be on a Star Trek TV show (Leonard Nimoy as Spock: "Isn't it strange/After eight years/Him [meaning William Shatner] playing Captain again/Me with my ears/Send in the crew")
References[edit]
Jump up ^ "Synopsis" mtishows.com, accessed April 16, 2015
^ Jump up to: a b c d An Interview with Stephen Sondheim (Video Interview). Broadcast live from the New York City Opera during the production of A Little Night Music, in either 1990 or 1993, when Sally Ann Howes opened the opera season: Live from Lincoln Center. Retrieved 2008-06-10.
^ Jump up to: a b Gussow, Mel (2008-03-11). "Send In the Sondheim; City Opera Revives 'Night Music,' as Composer Dotes". The New York Times. Retrieved 2008-06-10.
Jump up ^ An Interview of Dame Judi Dench by Alan Titchmarsh (Video Interview). BBC. 1996. Retrieved 2008-07-08.
Jump up ^ Wolfe, Graham (June 2014). "Sondheim's A Little Night Music: Reconciling the Comic and the Sublime". Studies in Musical Theatre. 8 (2): 143–157. doi:10.1386/smt.8.2.143_1.
^ Jump up to: a b c d Academy of Achievement (2005-07-05). "An Interview with Stephen Sondheim" (Video Interview). Retrieved 2008-06-10.
Jump up ^ "Stephen Sondheim: A Little Night Music - Music on Google Play". play.google.com. Google. Retrieved 2014-09-06.
^ Jump up to: a b c d e Stephen Sondheim Teaches at Guildhall School of Music, Part 2 (Video Class). Guildhall School of Music, London: Guildhall School of Music. 2006. Retrieved 2008-07-08.
^ Jump up to: a b Stephen Sondheim Teaches at Guildhall School of Music, Part 1 (Video Class). Guildhall School of Music, London: Guildhall School of Music. 2006. Retrieved 2008-07-08.
Jump up ^ "Billboard". Send in the Clowns, by Judy Collins. Asylum Records. 1975. Archived from the original (Album) on July 1, 2015. Retrieved 2008-07-08.
Jump up ^ "Billboard Hot 100". Send in the Clowns, by Judy Collins. 1975-08-30. Archived from the original on July 4, 2013. Retrieved 2008-07-08.
Jump up ^ "Billboard Hot 100". Send in the Clowns, by Judy Collins. 1977-11-19. Archived from the original on March 14, 2015. Retrieved 2008-07-08.
Jump up ^ "1975 Grammy Award Winner, Song of the Year". Send in the Clowns, written by Stephen Sondheim, performed by Judy Collins. 1975. Retrieved 2008-07-08.
^ Jump up to: a b "Billboard" (Search Results). Send in the Clowns. Retrieved 2008-07-08. [dead link]
Jump up ^ Barbra Streisand in Concert (Video Concert). Retrieved 2008-07-08.
Jump up ^ "Billboard Hot Adult Contemporary Tracks". Send in the Clowns, by Barbra Streisand. 1986-03-29. Archived from the original on July 10, 2015. Retrieved 2008-07-08.
Jump up ^ [1][dead link]
Jump up ^ Matt McGee and Aaron Sams. "U2: U2faqs.com - History FAQ - Three to Under a Blood Red Sky". U2faqs.com. Archived from the original on 2002-12-06. Retrieved 2014-05-15.
Jump up ^ "Stephen Sondheim interview by Steven Colbert", Comedy Central, December 12, 2010. Retrieved September 14, 2014.
External links[edit]
Sondheim.com
Sondheim Guide to the Play
Sondheim Review
Notes to the Play
Upcoming Performances of the Play
Guide to Musical Theater for the Play
Send in the Clowns Lyrics
Lyrics of this song at MetroLyrics
[show]
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Grammy Award for Song of the Year
1959−1980
"Volare" – Domenico Modugno (songwriter) (1959)
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"Theme from Exodus" – Ernest Gold (songwriter) (1961)
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"Days of Wine and Roses" – Johnny Mercer & Henry Mancini (songwriters) (1964)
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"Send in the Clowns" – Stephen Sondheim (songwriter) (1976)
"I Write the Songs" – Bruce Johnston (songwriter) (1977)
"Evergreen (Love Theme from A Star Is Born)" – Barbra Streisand & Paul Williams (songwriters) / "You Light Up My Life" – Joe Brooks (songwriter) (1978)
"Just the Way You Are" – Billy Joel (songwriter) (1979)
"What a Fool Believes" – Kenny Loggins & Michael McDonald (songwriters) (1980)
1981−2000
"Sailing" – Christopher Cross (songwriter) (1981)
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2001−present
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"Rehab" – Amy Winehouse (songwriter) (2008)
"Viva la Vida" – Guy Berryman, Jonathan Buckland, William Champion & Christopher Martin (songwriters) (2009)
"Single Ladies (Put a Ring on It)" – Thaddis "Kuk" Harrell, Beyoncé Knowles, Terius Nash & Christopher Stewart (songwriters) (2010)
"Need You Now" – Dave Haywood, Josh Kear, Charles Kelley & Hillary Scott (songwriters) (2011)
"Rolling in the Deep" – Adele Adkins & Paul Epworth (songwriters) (2012)
"We Are Young" – Jack Antonoff, Jeff Bhasker, Andrew Dost & Nate Ruess (songwriters) (2013)
"Royals" – Joel Little & Ella Yelich O'Connor (songwriters) (2014)
"Stay with Me" (Darkchild version) – James Napier, William Phillips & Sam Smith (songwriters) (2015)
"Thinking Out Loud" – Ed Sheeran & Amy Wadge (songwriters) (2016)
"Hello" – Adele Adkins & Greg Kurstin (songwriters) (2017)
"That's What I Like" – Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip (songwriters) (2018)
[show]
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Ingmar Bergman's Smiles of a Summer Night
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A Little Night Music (1977 film)
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"Send in the Clowns"
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Bigg Boss Tamil
From Wikipedia, the free encyclopedia
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Bigg Boss
Season 1 logo
Presented by
Kamal Hassan
Country of origin
India
Original language(s)
Tamil
No. of seasons
1
No. of episodes
97(remaining 3?)
Production
Location(s)
Chennai
Running time
90 minutes
Production company(s)
Endemol India
Release
Original release
25 June 2017 (2017-06-25)
Bigg Boss Tamil is the Tamil-language version of the reality TV programme Bigg Boss broadcast in India. It follows the Big Brother format, which was first developed by Endemol in the Netherlands.
Kamal Haasan hosted the first season of Bigg Boss Tamil launched on 25 June 2017 on Star Vijay.[1][2][3] In October 2017, Bigg Boss Tamil 2 was confirmed by Star Vijay and will be aired in 2018
Contents
[hide]
1 Overview
1.1 The House
1.2 Rules
1.3 Broadcast
2 Eviction
3 Contestants Season 1
4 Contestants Season 2
5 Series Details
6 References
7 External links
Overview[edit]
Bigg Boss Tamil is a reality show based on the Hindi show Bigg Boss which too was based on the original Dutch Big Brother format developed by John de Mol Jr. A number of contestants (known as "housemates") live in a purpose-built house and are isolated from the rest of the world. Each week, housemates nominate two of their fellow housemates for eviction, and the housemates who receives the most nominations would face a public vote.[4] Eventually, one housemate would leave after being "evicted" from the House. In the final week, there will be five housemates remaining, and the public will vote for who they wanted to win. Unlike other versions of Big Brother, the Tamil version uses celebrities as housemates, not members of the general public.
The House[edit]
The house is well-furnished and decorated. It has all kinds of modern amenities, but just two bedrooms, living area, kitchen, store room, smoking room, and four toilet bath rooms. There is a garden, pool, activity area and gym in the House. There is also a Confession Room, where the housemates may be called in by Bigg Boss for any kind of conversation, and for the nomination process. The House has no TV connection, no telephones, and no Internet connection.
Rules[edit]
They are not supposed to tamper with any of the electronic equipment or any other thing in the House. They cannot leave the House premises at any time except when permitted to. They cannot discuss the nomination process with anyone. They cannot sleep in the day time.
Sometimes, the housemates may be nominated for other reasons, such as nomination by a person who has achieved special privileges (via tasks or other things), for breaking rules or something else. If something is very serious, a contestant may be evicted directly.
All the rules have never been told to the audience, the most prominent ones are clearly seen. The inmates are not permitted to talk in any other language than the language Tamil.
Broadcast[edit]
Bigg Boss Tamil is aired on Star Vijay and also Vijay Super from 9 to 10:30 {IST} on weekdays and 8:30 to 10{IST} on weekends. Everyday's episodes contain the main happenings of the previous day. Every weekend episode mainly focuses on an interview of the evicted contestant by the host.
Eviction[edit]
Contestants are nominated every week by their housemates. Viewers cast their vote in favour of the contestants they would like to save from eviction. Each viewer is entitled to 50 votes per day. The contestant with the least number of votes is evicted from the house.
Contestants Season 1[edit]
Arav(Nafeez Kizar), Oviya (Helen Nelson), Gayathri Raguram, Vaiyapuri(Ramakrishnan), Ganja Karuppu(Karuppu Raja), Shakthi Vasudevan, Sri (Sriram Natarajan), Anuya Bhagwat, Raiza Wilson, Aarathi Ganesh, Ganesh Venkatraman, Snehan(Sivaselvam), Julie marina, Namitha, Bharani, Bindu Madhavi, Kajal, Harish Kalyan and Suja Varunee
Contestants Season 2[edit]
Rakshan (VJ Anchor), manjma mohan(Actress), Ashna Zaveri(Actress), Megha Akash(Actress), Rio Raj (Actor and Vijay TV Anchor), Dheena (Comedian), Gayatri Jayaraman(actress)Confirmed so far for Season 2 of Big Boss Tamil..
Series Details[edit]
Season
Main host
Launch date
End date
Day
Winner
Runner-Up
Second Runner-Up
Season 1 Kamal Haasan 25 June 2017 30 September 2017 100 Arav Snehan Harish
Season 2 2018 2018 N/ A TBD TBD TBD
References[edit]
Jump up ^ "Kamal Haasan all set to host Tamil Big Boss". www.thehindu.com.
Jump up ^ "கமல் தொகுத்து வழங்கும், விஜய் டிவியின் ‘பிக் பாஸ்’". www.vikatan.com.
Jump up ^ "Bigg Boss Tamil: Kamal Haasan’s new reality show and its 15 contestants". Techie Wheels. 2017-06-25. Retrieved 2017-07-10.
Jump up ^ "Vijay TV Bigg Boss Online Voting and Missed Call details; Nomination and Eviction List". Techie Wheels. 2017-07-09. Retrieved 2017-07-10.
External links[edit]
Bigg Boss Tamil winner at TamilGlitz
Official Website at Hotstar
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Special agent
From Wikipedia, the free encyclopedia
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A Special Agent, in the United States, is usually a criminal investigator or detective for a federal, state, or county government who primarily serves in investigatory roles. Within the US federal law enforcement system, dozens of federal agencies employ federal law enforcement officers, each with different criteria pertaining to the use of the titles Special Agent and agent.
In intelligence usage, agent refers to one who is recruited, trained, controlled, and employed to obtain and report information.[1]
In general, only some agents are federal law enforcement officers and hold either arrest authority or the right to conduct minor criminal/non-criminal investigations. In some agencies, however, an agent may have both arrest and minor criminal/non-criminal investigatory authority but still have no authority to conduct major criminal investigations.
On the other hand, nearly all Special Agents are federal law enforcement officers, are distinctly empowered to conduct both major and minor criminal investigations, and hold arrest authority. Most special agents are authorized to carry firearms both on and off duty, but only some agents are authorized to do so. In US federal law enforcement, the title of special agent is used almost exclusively for federal criminal investigators.
Contents
[hide]
1 Federal government
1.1 Federal agencies
1.2 Training for the federal criminal investigator
1.3 Criminal investigators and the use of the term special agent
1.4 Other titles
1.5 Jurisdictional issues
1.6 U.S. railroads
2 State, county, municipal, and tribal governments
3 In popular culture
4 See also
5 References
Federal government[edit]
Within the U.S. government, the title of special agent designates a general investigator in GS-1810 job series, federal criminal investigator in the GS-1811, Diplomatic Security Service FS-2501 job series, or a counterintelligence operations specialist in the GS-0132 job series according to the Office of Personnel Management (OPM) handbook. Special Agents typically have an undergraduate degree. They are usually empowered to carry firearms, make arrests, and investigate violations of federal laws. The titles of "Agent", "Investigator", and "Background Investigator" refer to all other 1800 series job series designations, including:[2]
1801: General Inspection, Investigation, Enforcement and Compliance Series
1802: Compliance Inspection and Support Series
1805: Investigative Analysis
1811: Criminal Investigator
Although some federal agencies have recently defined certain background investigators and other non-1811 personnel as "special agents", this is purely an administrative title with a different meaning, and does not confer actual Special Agent status on them.[citation needed] Although some 1810-series investigators are empowered in some circumstances to carry firearms and investigate crimes, they are not empowered to make arrests. In general, arrest authority is what distinguishes a traditional Special Agent (1811) from most other 1800 series personnel. There are exceptions: some 1800 series positions, such as Border Patrol Agents, Federal Air Marshals and Secret Service Uniformed Division Officers have the authority to enforce federal law, and thus have arrest authority. However, unlike the 1811 Criminal Investigators, or Special Agents, they do not have the authority to conduct major criminal investigations. In general, non-1811 personnel who wear a badge and a gun and have arrest authority are considered "Agents", while Criminal Investigators who carry a badge, gun, and credentials and have arrest authority are considered "Special Agents". All other 1800 personnel who conduct investigations (background or otherwise) and who do not have arrest authority are "Investigators", "Background Investigators", or "Compliance Officers", no matter what their administrative title might be.[citation needed]
Federal agencies[edit]
Most federal agencies, including the following, employ some type of special agent, investigator or background investigator:
Central Intelligence Agency (CIA) Office of Inspector General of the CIA
Department of Agriculture (USDA)
United States Forest Service Office of Law Enforcement and Investigations
Office of Inspector General (USDA-OIG)
Department of Commerce (USDOC)
National Oceanic and Atmospheric Administration (NOAA)
Office of Security (OSY)
Office of Export Enforcement (OEE)
Department of Health and Human Services (HHS)
Food and Drug Administration (FDA)
FDA Office of Criminal Investigations (OCI)
Office of Inspector General (HHS-OIG)
Department of Education (ED)
Office of Inspector General (ED-OIG)
Department of Homeland Security (DHS)
Coast Guard Investigative Service (CGIS)
Citizenship and Immigration Services (CIS)
Customs and Border Protection (CBP)
Federal Protective Service (FPS)
Immigration and Customs Enforcement / Homeland Security Investigations (ICE/HSI)
Office of Inspector General (DHS-OIG)
Transportation Security Administration (TSA)
United States Secret Service (USSS)
Department of the Interior (DOI)
Bureau of Indian Affairs Police (BIA)
Bureau of Land Management (BLM)
United States Fish and Wildlife Service (USFWS)
United States Park Police (USPP)
National Park Service (NPS)
Office of Inspector General (DOI-OIG)
United States Department of Labor (DOL-OIG) – Office of Inspector General
Department of Defense (DOD)
Air Force Office of Special Investigations (AFOSI)
Defense Intelligence Agency (DIA)
Defense Logistics Agency Office of Inspector General (DLA OIG)[3]
Defense Security Service (DSS) – non–law enforcement
National Security Agency (NSA)
Naval Criminal Investigative Service (NCIS)
Office of Inspector General (DOD-OIG)
Defense Criminal Investigative Service (DCIS)
Pentagon Force Protection Agency (PFPA)
United States Army Counterintelligence (Army CI)
United States Army Criminal Investigation Command (USACIDC)
United States Marine Corps Criminal Investigation Division (Marine CID Agent)
United States Office of Personnel Management
Federal Investigative Services Division (OPM-FISD)
Office of Inspector General (OPM-OIG)
Department of Justice (DOJ)
Bureau of Alcohol, Tobacco, Firearms and Explosives (ATF)
Drug Enforcement Administration (DEA)
Federal Bureau of Investigation (FBI)
Federal Bureau of Prisons (BOP)
Office of Inspector General (DOJ-OIG)
United States Marshals Service (USMS)
Department of State
Diplomatic Security Service (DSS) (FS-2501)
Office of Inspector General (DOS-OIG)
Department of Transportation (DOT)
Federal Aviation Administration (FAA)
Federal Motor Carrier Safety Administration (FMCSA)
Office of Inspector General for the Department of Transportation (DOT-OIG)
Department of the Treasury
Alcohol and Tobacco Tax and Trade Bureau (TTB)
Bureau of Engraving and Printing Police
Federal Reserve Board Police
IRS Criminal Investigation Division (IRS-CID)
Treasury Inspector General for Tax Administration (TIGTA)
United States Mint Police
Postal Service (USPS)
United States Postal Inspection Service (USPIS – not an Inspector General)
United States Postal Service Office of Inspector General (USPS-OIG)
United States Environmental Protection Agency (EPA)
Criminal Investigation Division
Office of Inspector General (EPA-OIG)
Other
All 64 federal Offices of Inspector General (OIG)
Training for the federal criminal investigator[edit]
Federal law enforcement training can be divided into various categories, the most common being basic, agency-specific basic (ASB), advanced/specialized, and agency-advanced/specialized. To operate safely and effectively, U.S. special agents and criminal investigators must possess skills and knowledge regarding criminal and civil law and procedure, enforcement operations, physical techniques, and technical equipment, to mention a few. They must also be physically fit. While possession of a college degree can aid in obtaining employment in this profession, only extensive training provided at specialized facilities, combined with on-the-job training, can provide the skills and knowledge needed to perform the duties of a federal criminal investigator. As of 2012, there were 13,913 FBI agents, and as of 2011, there were 4,890 DEA agents in the United States.[4]
U.S. special agents and federal criminal investigators generally receive their basic training at one of two primary locations: the Federal Law Enforcement Training Centers (FLETC), with facilities in Brunswick (Glynco), GA, Artesia, NM, Charleston, SC, and Cheltenham, MD; or the FBI or DEA training facilities based at the FBI Academy in Quantico, Virginia.[citation needed]
Special Agents of the FBI and DEA may also receive additional training focused on working in conjunction with the US Military overseas. During the War on Terror many Special Agents deployed in support of counter-terrorism operations.[5] [6] [7]
Only DEA and FBI agents receive their basic training at Quantico. The FBI and DEA operate completely self-contained academies that provide all levels of training to their agents. These academies make no distinction between basic and agency-specific basic training. New FBI and DEA agents train at their academies for approximately five months before they begin their first investigative assignment. Both agencies' academies also provide advanced training in various subjects to other federal, state, and local law enforcement agencies.[citation needed]
The FLETC, commonly pronounced "flet-see", is a consolidated training facility that provides basic and advanced training to U.S. special agents and other federal law enforcement personnel not employed by the DEA or U.S. Postal Inspector Service (USPIS). The FLETC also provides advanced and specialized training for most federal, state, local, and non-U.S. law enforcement agencies willing to share in the cost. The FLETC's basic training course for special agents, the Criminal Investigator Training Program (CITP), lasts about 13 weeks, and may be given to persons if required for self-protection, depending on changes to program content or holidays. Nevertheless, CITP only represents the beginning or basic training received by U.S. special agents not employed by the FBI, Federal Air Marshals, DEA, or USPIS.[citation needed]
After completing the FLETC CITP, most agents immediately transition to training provided by their own agencies (hence the term agency-specific basic, or ASB), lasting another 2 to 16 weeks and sometimes longer, depending on the agency. Some smaller agencies, like the 64 Offices of Inspector General (OIGs), operate consolidated academies, such as the Inspector General Criminal Investigator Academy (IGCIA), through which specialized but common ASB-type skills and knowledge are more economically taught. So agents employed by the OIGs first attend CITP, then attend the IGCIA's IG Investigator Training Program (IGITP), then attend their own agencies' ASB training after completing IGITP, receiving a total of up to 16 weeks or more of training before conducting their first investigation. Many of the agencies utilizing FLETC maintain their individual academies for providing ASB and agency-specific advanced training on the same grounds as FLETC and share use of the same facilities. Some agencies, such as the U.S. Department of State's Diplomatic Security Service and the U.S. Secret Service, conduct their ASB training in separate agency-owned and operated facilities.[citation needed]
Although a much smaller agency than the FBI or DEA, the U.S. Postal Inspection Service also operates a self-contained federal law enforcement training academy called the Career Development Division (CDD). Like FLETC and Quantico, USPIS CDD has been fully accredited by the Federal Law Enforcement Training Accreditation (FLETA). Like the other academies, CDD provides basic training to postal inspectors in firearms, legal use of force, driving training, crime scene management, controlled deliveries, felony arrests, case management, case development, informant management, and surveillance, but also incorporates agency-specific basic training to help prepare the USPIS candidates in enforcing postal laws and federal mail statutes such as mail fraud, mail theft, and other mail related crimes. In addition to basic training, CDD also provides advanced training for the postal inspectors, the uniformed postal police personnel, and the analysts.[citation needed]
For all U.S. special agents, training does not stop after basic and ASB. The career of a federal special agent is one of regular training in new legal issues and investigative techniques, and frequently includes quarterly, if not monthly, refresher training in hand-to-hand defensive tactics, the use of weapons of less than lethal force, and regular qualification in the use of firearms.[citation needed]
Criminal investigators and the use of the term special agent[edit]
Not all federal criminal investigators are called special agents. Some federal agencies entitle their investigators as criminal investigators but use the term interchangeably with special agent. Other federal agencies use different titles for the same 1811 criminal investigative job series. Series 1811 criminal investigators for the U.S. marshals are entitled deputy marshals. Series 1811 criminal investigators for the U.S Postal Inspection Service are called postal inspectors. These inspectors were originally called surveyors and received a title change in 1801 to special agent. In 1880, the U.S. Congress created the position of Chief Postal Inspector and renamed these special agents to postal inspectors. The first special agents in the United States were appointed in 1791 when the Secretary of the Treasury was authorized to employ "Special Agents" for the purpose of examining the accounts and books of the Collectors of Customs. The position of Special Treasury Agent was created, and until 1860 submitted reports to the Department of Treasury, through the Collectors of Customs in the Customs District in which they were employed.[citation needed]
Other titles[edit]
The titles special agent and secret agent are not synonymous. The title special agent is commonly the official title assigned to individuals employed in that capacity, especially by the U.S. agencies described above (and for the reasons described below), whereas secret agent is less of an official title, but is used to describe individuals employed or engaged in espionage. Special agents, like state, county, and municipal law enforcement officers, can, at various times, engage in secret or undercover activities as part of investigative operations, or counter-espionage assignments, during which they might be referred to as undercover agents. They may also be referred to, or refer to themselves, as criminal investigators, federal agents, U.S. Agents, U.S Special Agents, U.S. Federal Agents, agents, federal authorities, federal officers, federal investigators, or U.S. officers.
Criminal Investigators of the U.S. Secret Service conduct criminal investigations pertaining to the homeland security department as well as financial and electronic crimes, and are "Special Agents". But Secret Service Special Officers who assist Special Agents on protective details only and do not conduct criminal investigations of any kind are, like the USSS Uniformed Division Officers, only considered to be "Agents".
At the management level, the head of a region or office might be called a special agent in charge, abbreviated as an SAC or SAIC. The Deputy Special Agent in Charge (DSAC), acts as the operational manager for investigations and typically supervises Assistant Special Agents in Charge (ASAC's). First line supervisors may be called simply Supervisory Special Agent. Assistant Special Agent in Charge, abbreviated as ASAC, are second line supervisors.
Jurisdictional issues[edit]
Exactly which U.S. special agents have the broadest authority is a matter of debate. The issue of concurrent jurisdiction (in which multiple agencies have non-exclusive jurisdiction over a given set of the U.S. Code, such as the FBI, HSI and DEA in respect to drug laws) does not make the issue clearer. However, special agents of many agencies can often enforce Title 18 (general criminal code) of the US Code included in their agency specific duties. Some U.S. special agents have a larger number of Titles, or just different Titles, to enforce and with those titles sometimes include unique authorities.
The following are some examples of unique authorities that agency-specific special agents possess: Administrative subpoena powers. Department of Defense and any military special agents are authorized to enforce the UCMJ. Title 19 designation authorizes CBP officers, Border Patrol Agents and HSI special agents to perform border searches, which require no suspicion or warrant.
Some agencies have been designated lead agency by the Attorney General over particular types of investigations. The FBI usually is the lead in public corruption cases involving elected government officials. In another instance, HSI is normally the lead agency in matters with a clear nexus to the U.S. border like drug smuggling, human trafficking or smuggling, and import/export violations.
Many exclusive jurisdictions also exist. In these cases, only one criminal investigative agency is authorized or assigned jurisdiction over a particular Title or type of investigation.[citation needed]
Special agents of the ATF, DEA, FBI, USSS, DSS, USCG, CGIS, EPA Criminal Investigation Division, PFPA, USMS, and ICE/Homeland Security Investigations not only have the power to enforce the General Criminal Code (Title 18),[citation needed] but also applicable state and local laws if authorized by the state in which they are operating. Defense Criminal Investigative Service (DCIS), United States Army Criminal Investigation Command (USACIDC), United States Army Counterintelligence, Naval Criminal Investigative Service (NCIS), and U.S. Air Force Office of Special Investigations (AFOSI) special agents not only investigate statutes within the United States Code and state and local laws with a nexus to their branch, but are also tasked with enforcing the Uniform Code of Military Justice (UCMJ), a jurisdiction not held by most of the larger federal agencies. All DCIS, USACIDC, Army Counterintelligence, NCIS, and AFOSI special agents enjoy statutory law enforcement authority, although civilian and military agents derive their principal arrest authority from different federal statutes. Other special agents, such as those employed by the National Park Service, have jurisdiction over crimes committed within the boundaries of or have a nexus to the lands managed by their agency or department only. Homeland Security Investigations Special Agents have administrative arrest powers under the Immigration and Nationality Act. They can administratively arrest and detain aliens for violations of United States immigration laws pending federal removal (deportation) proceedings. HSI Special Agents can also seize merchandise and articles introduced into the United States contrary to U.S. laws under Title 19 of the United States Code.[citation needed]
Certain active-duty special agents employed by the military have broad authority, when the nexus of the violation they are investigating occurred on military-controlled areas or there is a military connection.[citation needed]
U.S. railroads[edit]
All of the major Class I railroads, most regional carriers, and some local railways employ their own police departments whose officers carry the title special agent. Railroad special agents are commissioned by the governor or other agency of the state they are employed in, are armed, and carry state arrest powers in all states in which their employing railroad owns property, if authorized by the state. Their primary concern is policing crimes against the railroad, although they sometimes have the authority to police the general public, make arrests on public property, and enforce applicable local, state, or federal laws when necessary.[citation needed]
The BNSF Police Department, Union Pacific Police Department, and Amtrak Police, among other departments, all utilize the rank/title of "Special Agent".[citation needed]
Railroad police and the term special agent, along with the Pinkerton Detective Agency, were models for the FBI when it was created in 1907.[citation needed]
State, county, municipal, and tribal governments[edit]
A state or municipal criminal investigator can also be a special agent if so titled by the employing agency. Some examples include the Alabama Department of Public Safety's Alabama Bureau of Investigation, Illinois Department of Revenue's Bureau of Criminal Investigation, the Georgia Bureau of Investigation, Ohio Attorney General's Office, Iowa Department of Public Safety, Virginia Department of Alcoholic Beverage Control Bureau of Law Enforcement, Tennessee Bureau of Investigation, and the Florida Department of Law Enforcement.[citation needed]
Several Native American tribes also employ special agents as criminal investigators, court investigators, or gaming investigators, and some are deputized as special federal officers of the Bureau of Indian Affairs.[citation needed]
In popular culture[edit]
Special Agents, particularly those within the FBI, have been depicted in popular entertainment for years.
The title "assistant special agent in charge" and its acronym "ASAC" are stated frequently throughout the TV series Breaking Bad. For example, in Season 1 through Season 4, both Hank Schrader and Gus Fring are shown to be friendly with Hank's boss, ASAC George Merkert, and in Season 4 Episode 12 "End Times", Steve Gomez tells Dennis the "ASAC" is being pressured to search Gus's laundry for drugs. In Season 5, Hank – who is proud to have been promoted to the job vacated by his ousted boss – repeatedly chants "ASAC Schrader" to his baby niece Holly.[citation needed]
In the TV series White Collar, Peter Burke is the "Special Agent in Charge" (promoted from assistant special agent in charge at the end of Season 6) and the head of the Manhattan White Collar Division.[citation needed]
In the TV series The X Files, the title "special agent" is given to both Fox Mulder and Dana Scully of the Federal Bureau of Investigation. The title is referenced by them numerous times throughout each episode.[citation needed]
The main character from the TV series Twin Peaks, is FBI Special Agent Dale Cooper, and also, other FBI special agents make numerous cameos throughout the series, and it’s prequel movie, Twin Peaks: Fire Walk With Me.
See also[edit]
United States portal
Law enforcement/Law enforcement topics portal
List of United States federal law enforcement agencies
Bureau of Alcohol, Tobacco, Firearms and Explosives
Detective
Diplomatic Security Service, U.S. Department of State
Drug Enforcement Administration
Federal Bureau of Investigation
Inspector
Investigator (disambiguation)
Law enforcement agency
Police rank
Society of Former Special Agents of the Federal Bureau of Investigation
State bureau of investigation
State police
U.S. Immigration and Customs Enforcement
United States Marshals Service
United States Secret Service
References[edit]
Jump up ^ North Atlantic Treaty Organization, Nato Standardization Agency AAP-6 - Glossary of terms and definitions, p 47.
Jump up ^ "HANDBOOK OF OCCUPATIONAL GROUPS AND FAMILIES May 2009" (PDF). OPM. OPM. Retrieved 2015-05-20.
Jump up ^ "DLA Office of the Inspector General". www.dla.mil. Retrieved 25 August 2017.
Jump up ^ "Top Careers for Students of Criminology and Criminal Justice". Portland State University. Retrieved 2015-01-28.
Jump up ^ www.fbi.gov https://www.fbi.gov/video-repository/newss-fbi-trains-for-war-zone-deployments/view. Missing or empty |title= (help)
Jump up ^ www.fbi.gov https://www.fbi.gov/video-repository/newss-the-fbis-role-in-a-war-zone/view. Missing or empty |title= (help)
Jump up ^ www.digitaljournal.com http://www.digitaljournal.com/article/334691. Missing or empty |title= (help)
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Livewell
From Wikipedia, the free encyclopedia
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"Live well" redirects here. For the television network, see Live Well Network. For the financial services company, see Live Well Financial.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2014) (Learn how and when to remove this template message)
A wooden livewell (container for live bait), towed by fishing boat. Exposition in Fisheries Museum in Hel (branch of National Maritime Museum in Gdańsk)
A livewell is a tank found on many fishing boats that is used to keep bait and caught fish alive. It works by pumping fresh water from the surrounding body into the tank, as well as keeping the water aerated. A rule of thumb for determining the necessitated size of a livewell is that every one inch of fish needs a gallon of water if it is desired to keep the fish alive for a prolonged period of time.[1]
Besides size and water circulation, two other key factors of the functionality of a livewell are maintaining proper temperature and removing metabolic waste. Water temperatures should be below 75 °F (24 °C); ice can be used as a coolant.[2]
Oxygen levels[edit]
It is very important to maintain adequate oxygen levels in the livewell. It should be above 5 parts per million. Electric aeration systems are often used to do this. These often work by creating a spray that increases the surface area of the water, or by passing it through a Venturi.
A livewell is a box used to transport live aquatic animals; shrimp, baitfish and mature fish, saltwater or freshwater species. A livewell should be made of materials that are non- toxic to aquatic animals. The shape may be square, rectangular, oval or round. The box may be insulated, portable, have a drain and lid. Maintaining minimal safe water quality standards in livewell water is essential and necessary to insure a safe habitat for all the captive animals during transport. When transporting baitfish, shrimp or mature fish, maintaining dissolved oxygen saturation (DO Sat) is the single most important water quality parameter that must be controlled. Livewell oxygen–injection systems and LOX systems insure O2 enriched livewell water. Pure 100% compressed welding oxygen is injected into the water with a precision dose adjustable high-pressure oxygen regulator, oxygen tube and diffuser. Commercial and sport fishing oxygen-injection systems are designed to insure 100% DO Saturation or greater whether the bait or fish load is 1 lb or >1000 lbs. Minimal safe EPA water quality standards for steady state environments (rivers, lakes, ponds, etc.) is 5 ppm DO.
Dissolved oxygen is the single most important factor for keeping bass alive, and an understanding of factors that affect oxygen levels will better enable anglers to keep their fish [aquatic animals] alive. At a moderate water temperature of 70˚F, 100 percent oxygen saturation is 8.8 mg/l of oxygen, whereas at the higher temperature of 80˚F, 100 percent saturation is 7.9 mg/l. Both of these 100 percent saturation oxygen levels are suitable for keeping bass alive. Without injecting oxygen into the livewell, it is very difficult to supply enough oxygen to keep alive heavier tournament limits. Oxygen injection has long been used by Texas Parks and Wildlife Department (TPWD) hatcheries to maintain the health of fish being stocked into reservoirs. Fisheries staff regularly transport or hold fish in ratios equal to or greater than one pound of fish to a gallon of water. However, boat manufactures do not offer oxygen injection system options… Proper installation and operation of an oxygen injection system will ensure oxygen levels remain above the preferred level of 7 mg/l even when livewells contain heavy limits.
References[edit]
Jump up ^ Live Well With Livewells nccoastalfishing.com
Jump up ^ Keeping Bass Alive Livewell Archived 2009-08-22 at the Wayback Machine. massbass.com
Retrieved from "https://en.wikipedia.org/w/index.php?title=Livewell&oldid=818570172"
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