About President Kennedy - Free Essay Example

Sample details Pages: 2 Words: 637 Downloads: 4 Date added: 2019/05/13 Category Politics Essay Level High school Tags: John F Kennedy Essay Did you like this example? Over the years in the history of America, there have been various persons who have tried to attain success at the expense of other people only to be hit hard by resounding failures. One such failure that stands out is that of President John F. Kennedy with his planned Bay of Pigs Invasion of 1961. Don’t waste time! Our writers will create an original "About President Kennedy" essay for you Create order The Invasion constituted a failed attempt that was aimed at overthrowing the then Cuban president, Fidel Castro. This Bay of Pigs invasion was initially a plan of President Dwight D. Eisenhower whose reign preceded that of President Kennedy. President Eisenhower approved a program that was aimed at training the Cuban exiles in 1960, which allowed the CIA to set up training camps in Guatemala. He never got a chance to actualize the plan to overthrow President Castro but his successor, President Kennedy, took over the campaign and oversaw its attempted implementation. There were many reasons that led President Kennedy to support the Bay of Pigs Invasion. One of the reasons was the fact that he intended to demonstrate his powers to the then eastern superpowers, like the Soviet Union and China. The Bay of Pigs Invasion occurred at the peak of the cold war, a period when every nation wanted to demonstrate its superiority. It is no doubt that President Kennedy saw the removal of President Castro from power as a perfect way of showing the eastern powers what he could do since the later had developed ties with the Soviet Union. The invasion was, however, not entirely down to the need to demonstrate powers but was also triggered by the measures that President Castro had taken to reduce American dominance in Cuba. President Castro had introduced land reform schemes that did not favor America and also, nationalized industries dominated by Americans, like mining. A number of flaws in the plan allowed a word to reach President Castro who then had time to mastermind a counterattack before the invasion. Firstly, the presence of guerrilla training camps for Cuban exiles in Guatemala did not go unnoticed among the Cuban intelligence officers who in turn relayed the information to President Castro. The Cuban intelligence officers were alerted of the presence of the training camps in Guatemala from the comprehensive press coverage of the situation in Guatemala. It, therefore, follows, that the leakage of the activities in the training camps to the media was one of the flaws. Another flaw in the plan of the invasion was the fact that the CIA reconnaissance team in the Cuban Southern shore or rather the Bay of Pigs failed to notice a certain radio station on the beach. The Bay of Pigs being the initial landing point for the troops of Cuban exiles saw the invasion broadcasted at the initial stages before it even started courtesy to the radio station on the beach. Looking at the failure, one can conclude that there were several ways in which the failure could have been avoided. For one, President Kennedy should have abandoned his desire to demonstrate his power and sought a peaceful resolution of the conflict between him and the Cuban president, Castro. Peaceful negotiation over the drastic measures taken against the US by President Castro could have been more productive since it could have shown President Kennedys commitment to protecting international relations. Secondly, President Kennedy should have sought other ways of demonstrating his power to the eastern superpowers of the 1960s rather than attacking Cuba due to its relations with the Soviet. He should have resorted to such measures as boycotting the Soviets products. However, in a case where the invasion was inevitable, President Kennedy should have considered a more secretive place for setting up the guerrilla training camps. It was imperative that he kept the media in the dark about the activities of the training camps if he needed success.

Marketing Strategy Of Walt Disney World - 1070 Words

Walt Disney once said, â€Å"All our dreams can come true, if we have the courage to pursue them.† Walt Disney was one of the most successful entrepreneurs of all time, a man who took a dream and pursued it, making a worldwide famous company, Walt Disney World. This paper will look at the history, financial situations, and marketing strategy of Walt Disney World. As Walt would say, â€Å"Sit back and enjoy!† In the early 1960s, Walt Disney wanted to give the residents of Eastern United States the opportunity to enjoy the entertainment that was being offered at his California’s Disneyland theme park. Walt and his team the WED Enterprises settled on picking Florida as the new parks location. Florida offered weather that was similar year round, and was already the number one location for tourism. The announcement of the idea was delivered on November 16, 1965 at an Orlando press conference. Sadly, Walt Disney passed in December of 1967, leaving behind his dream for the park. However, President Roy O. Disney, Donn B. Tatum, and E. Cardon Walker, the top three executives for the company carried on the plans to open the new park. After many months of construction and planning, the park held its grand opening October 1, 1971. Since then there have been many additions and openings in the park, new traditions made, parades, and special guests attending. Walt Disney World became a part of the renowned world of entertainment and entertains millions every year. The Walt Disney Company operatesShow MoreRelatedWalt Disneys Corporate Strategy1274 Words   |  6 PagesWalt-Disney Walt-Disney Company’s Corporate Strategy The Walt-Disney’s corporate strategy is to create a professional focused content. The Disney organization takes the newest innovation of technology to create a professional experience in entertainment. For instance, Walt-Disney utilizes innovation to bring the excitement of a carnival to the world. 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Charmion von Wiegand on Mondrians New York studio Essay Example For Students

Charmion von Wiegand on Mondrians New York studio Essay Everything was spotless white, like a laboratory. In a light smock, with his clean-shaven face, taciturn, wearing his heavy glasses, Mondrian seemed more a scientist or priest than an artist. The only relief to all the white were large matboards, rectangles in yellow, red and blue, hung in asymmetric arrangements on all the walls. Peering at me through his glasses, he noticed my glance and said: Ive arranged these to make it more cheerful. Thus Charmion von Wiegand on Mondrians New York studio. In his Paris studio he had used flowers to make it more cheerful. One tulip in a vase, an artificial one, its leaves painted white. As Mondrian was probably incapable of irony, the tulip was unlikely to be a wry joke about his having had to produce flowerpieces between 1922 and 1925 when he no longer wanted to because there were no buyers for his abstracts. It could, of course, have been a revenge for the agony a compromise of that sort must have cost him. More likely, it was simply a part of the general revulsion against green and growth which made him, when seated at a table beside a window through which trees were visible to him, persuade someone to change places. The artificial tulip fitted in, of course, with the legend of the studio as laboratory or cell, the artist as scientist or anchorite. Mondrian felt it mattered that an artist should present himself in a manner appropriate to his artistic aims. A photograph of him taken in 1908 shows a bearded floppy-haired Victorian man of sensibility. A photograph of 1911 shows a twentieth-century technologist, cleanshaven with centre parting and brilliantined hair; the spectacles were an inevitable accessory. Soft and hairy becomes hard and smooth; one of the great landscape-painters of his generation, one of the great flower-painters of his generation, comes to find trees monstrous, green fields intolerable. The loneliness of the artificial tulip with its painted leaves might seem to suggest that flora were admitted grudgingly, one plant being the next best thing to none. But it probably meant the opposite of that was probably a sign, not of Mondrians having become a different person, but of his having remained the same. When Mondrian had painted flowers, he almost invariably painted one chrysanthemum, one amaryllis, one tiger lily. His most personal paintings of trees are paintings of one tree; of architecture, are paintings of a lighthouse or a single windmill or an isolated church a solitary tower, often with its entrances as if blocked, like a fortress, refusing disruption of its monolithic intactness, its immaculate otherness, its self-sufficient singularity. Likewise the early romantic landscapes are rarely at all panoramic: they usually take in something like a couple of cows and a tree, three or four trees in a row, a group of farmhouses. And the tendency to concentrate attention inwards persists into the paintings and drawings of the sea Of 1914-15: half of them are of a Pier and Ocean. The ocean is not oceanic, consuming, illimitable: it radiates from a vertical motif representing a man-made projection like the towers jutting into the sky. Only the composition is no longer centripetal. The pluses and minuses of the sea dont converge upon the pier: they do radiate outwards, are then checked by the containing oval within the rectangle of the page or canvas. These works are, of course, among the key transitional pieces between figuration and non-figuration in Mondrian. In the tensions they exhibit between centripetal and centrifugal, they are also representative of his transition from centripetal to centrifugal design. In Mondrian figuration is equated with the centripetal, nonfiguration with the centrifugal. It is interesting that an artist so exceptionally given to symmetry in his early days should so rigorously exclude it in his maturity. Focusing inwards is rejected by Mondrian when the object is rejected. Focusing inwards is involvement. .ua1a6a4368c14bac9c22732e699dc3f9b , .ua1a6a4368c14bac9c22732e699dc3f9b .postImageUrl , .ua1a6a4368c14bac9c22732e699dc3f9b .centered-text-area { min-height: 80px; position: relative; } .ua1a6a4368c14bac9c22732e699dc3f9b , .ua1a6a4368c14bac9c22732e699dc3f9b:hover , .ua1a6a4368c14bac9c22732e699dc3f9b:visited , .ua1a6a4368c14bac9c22732e699dc3f9b:active { border:0!important; } .ua1a6a4368c14bac9c22732e699dc3f9b .clearfix:after { content: ""; display: table; clear: both; } .ua1a6a4368c14bac9c22732e699dc3f9b { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ua1a6a4368c14bac9c22732e699dc3f9b:active , .ua1a6a4368c14bac9c22732e699dc3f9b:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ua1a6a4368c14bac9c22732e699dc3f9b .centered-text-area { width: 100%; position: relative ; } .ua1a6a4368c14bac9c22732e699dc3f9b .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ua1a6a4368c14bac9c22732e699dc3f9b .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ua1a6a4368c14bac9c22732e699dc3f9b .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ua1a6a4368c14bac9c22732e699dc3f9b:hover .ctaButton { background-color: #34495E!important; } .ua1a6a4368c14bac9c22732e699dc3f9b .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ua1a6a4368c14bac9c22732e699dc3f9b .ua1a6a4368c14bac9c22732e699dc3f9b-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ua1a6a4368c14bac9c22732e699dc3f9b:after { content: ""; display: block; clear: both; } READ: Paintings of the Madonna and Child EssayInvolvement with objects entails suffering. In the paintings of chrysanthemums that most centripetal of flowers there is a sense of concentration that is agonising. It is as if the artist were trying to hypnotise himself by gazing into this flower and as if he were trying to hypnotise the flower into suspending its process of growth, the process that will make the petals fall away, the flowers wilt and die as it is seen to do in two of the paintings in the series. The rapt quality of the image seems to embody a longing to deny time, the flower is held together with a sort of desperation. In the series of images of trees that followed, the forces of growth can no longer be held in. Growth is seen as an irresistible force moving through the tree a river of life, spreading, demanding space into which it can expand. Pictures such as The Red Tree reflect not simply a tree seen now, but the way it has evolved, has lived, has been formed, is still in formation, will wither and die. In pictures such as The Blue Tree the urgency of the need to grow is such that it is as if the whole growth were telescoped into one explosive moment like a shellburst. Coursing with life, the trees are twisted images of torment and despair. Intense involvement with living things is involvement with death. If you follow nature, wrote Mondrian in 1920, you have to accept whatever is capricious and twisted in nature. If the capricious is beautiful, it is also tragic: If you follow nature you will not be able to vanquish the tragic to any real degree in your art. It is certainly true that naturalistic painting makes us feel a harmony which is beyond the tragic, but it does not express this in a clear and definite way, since it is not confined to expressing relations of equilibrium. Let us recognise the fact once and for all: the natural appearance, natural form, natural colour, natural rhythm, natural relations most often express the tragic . . . We must free ourselves from our attachment to the external, for only then do we transcend the tragic, and are enabled consciously to contemplate the repose which is within all things. Mondrian could find a repose to contemplate in natural things so long as he could see them with their energy held in check, as with the chrysanthemums. The object was tolerated so long as it seemed to contain its energy. Looking at the trees, he recognised the forces flowing out of them so that the tendency towards the centrifugal first appears among these images felt the need to release those forces from objects and objectify them in another way. Attachment had to be transferred from natural objects to things not subject to death. To an artificial tulip, which would be everlasting. To lines which were not lines tracing the growth in space of a tree but were lines not matched in nature, lines proper to art, lines echoing the bounding lines of the canvas itself. The lines which had followed the lines of the boughs and branches and twigs of the trees gave way in 1912 to lines derived from the scaffolding in space of Analytical Cubism. Geometric abstraction by and large has its origin in the flat shapes of Synthetic Cubism, a mode completely foreign to Mondrian. One imagines, in the first place, that he must have disapproved of the fact that Picasso and Braque, having evolved with exquisite logic for four years from the Estaque and Horta landscapes to the shattered luminosity of the hermetic period, suddenly took a capricious sideways leap into the arbitrary improvisations of papier collÃÆ'Â ©. .u08a80b37630a8da468d9f1dd5038df52 , .u08a80b37630a8da468d9f1dd5038df52 .postImageUrl , .u08a80b37630a8da468d9f1dd5038df52 .centered-text-area { min-height: 80px; position: relative; } .u08a80b37630a8da468d9f1dd5038df52 , .u08a80b37630a8da468d9f1dd5038df52:hover , .u08a80b37630a8da468d9f1dd5038df52:visited , .u08a80b37630a8da468d9f1dd5038df52:active { border:0!important; } .u08a80b37630a8da468d9f1dd5038df52 .clearfix:after { content: ""; display: table; clear: both; } .u08a80b37630a8da468d9f1dd5038df52 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u08a80b37630a8da468d9f1dd5038df52:active , .u08a80b37630a8da468d9f1dd5038df52:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u08a80b37630a8da468d9f1dd5038df52 .centered-text-area { width: 100%; position: relative ; } .u08a80b37630a8da468d9f1dd5038df52 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u08a80b37630a8da468d9f1dd5038df52 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u08a80b37630a8da468d9f1dd5038df52 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u08a80b37630a8da468d9f1dd5038df52:hover .ctaButton { background-color: #34495E!important; } .u08a80b37630a8da468d9f1dd5038df52 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u08a80b37630a8da468d9f1dd5038df52 .u08a80b37630a8da468d9f1dd5038df52-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u08a80b37630a8da468d9f1dd5038df52:after { content: ""; display: block; clear: both; } READ: Opinion on American Gothic Painting EssayIt is known that he disapproved of the fact that, having attained a sublime level of abstraction from nature, they used papier collÃÆ'Â © to let reality in all its banality and all its subjection to time in through the back door a recourse to nostalgia and materialism. It is evident that he could accept no form of assemblage as a solution. The assembled shapes of Synthetic Cubism ultimately derived from the flat separate shapes of Gauguin. Mondrians allegiance belonged to Impressionism and Seurat, to their concern with translating a sensation into a mesh of brushmarks. Mondrians neo-Impressionist brushmarks of 1908-10 were elongated into the short lines of the seascapes and faÃÆ'Â §ades of 1914-15 which in turn were elongated into lines extending from side to side of the canvas and seemingly beyond. A painting by Malevich or Van Doesburg or Kupka is an assemblage of shapes. A Mondrian does not consist of blue rectangles and red rectangles and yellow rectangles and white rectangles. It is conceived as is abundantly clear from the unfinished canvases in terms of lines lines that can move with the force of a thunderclap or the delicacy of a cat. Mondrian wanted the infinite, and shape is finite. A straight line is infinitely extendable, and the open-ended space between two parallel straight lines is infinitely extendable. A Mondrian abstract is the most compact imaginable pictorial harmony, the most self-sufficient of painted surfaces besides being as intimate as a Dutch interior. At the same time it stretches far beyond its borders so that it seems a fragment of a larger cosmos or so that, getting a kind of feedback from the space which it rules beyond its boundaries, it acquires a second, illusory, scale by which the distances between points on the canvas seem measurable in miles. The positive and the negative are the causes of all action The positive and the negative break up oneness, they are the cause of all unhappiness. The union of the positive and the negative is happiness. The palpable oneness of the solitary flower or tower, being subject to time and change, had to give way to the subliminal oneness of a vivid equilibrium.

Police Racial Profiling in America Essay Example

Police: Racial Profiling in America Essay POLICE: RACIAL PROFILING IN AMERICA Naomi D. Hopkins Stevens-Henager College APP 101 9 February 2013 Abstract This paper will discuss the relationship between Fear and how it relates to Racial Profiling in Police Practices. We will also discuss and illustrate real life examples under which Racial Profiling has occurred and how it is scientifically defined. The communication between peace officers and ordinary everyday citizens will also be examined. Police: Racial Profiling in America The issue of Racial Profiling in America by our Police Force is an undeniable truth and tragedy. Steve Holbert and Lisa Rose in their book the color of Guilt Innocence recount a story of a Caucasian woman who is forced to walk alone with her young daughter down dark unfamiliar San Francisco streets at night in the dark. We’ll call this woman Lisa. She had just exited a train car with her young daughter and was walking down the dark streets unsure of her surroundings when she noticed that a stranger man, whose features she couldn’t make out, was following her and her daughter. Lisa had heard and seen reports about a young man in his mid-20s that was dark complected and had been robbing tourists. She felt her body tighten as she began breathing rapidly and she had quickened her pace pulling her daughter along without realizing it, until her daughter started pulling her in the opposite direction because she had dropped her candy cane that she had gotten from the cable car employee earlier that evening. After her experience in the city, she began to question whether the irrational fear of monsters conjured up in the mind of a four year old was so different from the â€Å"monsters in the closet† we perceive as adults, the only difference being that the â€Å"monsters† we see as adults have a face and the face is of those who are different or those whose skin color is darker than our own. (Holbert, S; Rose, L 2004). This begs the question, â€Å"Did she fear this man because it was nighttime and she couldn’t see him and was unsure of her s urroundings? We will write a custom essay sample on Police: Racial Profiling in America specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Police: Racial Profiling in America specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Police: Racial Profiling in America specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Or was it because the man following her reminded her of that minority man who had been on the news who was robbing tourists? This brings to mind another quote I found while writing this paper: â€Å"Rather, racial profiling is more about our human response to an instinctual and primitive fear buried deep in each one of us. † (Holbert, S; Rose, L 2004) On the subject of Fear and Racism, I’m led to another quote in the book used primarily for my research on this very subject as it relates to American Law Enforcement practices. When we ponder the concept of fear in the comfort of a classroom, almost all would agree that to fear a person because of skin color, religious affiliation, or appearance is irrational. In the phobic sense, this fear is xenophobia, the fear and/or hatred of foreigners or anything that is foreign. † (Holbert, S; Rose, L 2004). I would even go so far as to say that contempt prior to investigation is in itself, a form or fear and intolerance. How can we judge a situation, let alone a person, accurately without all the facts? Do we assume we are Gods or Goddesses that are worthy to judge our fellow men or women? If so, what makes us so different, or dare I say, â€Å"Superior† to another? I am reminded of my own feelings, when as a small child; I made the decision to say that â€Å"all white people are racist. † This statement in and of itself is in fact, a form or racial profiling. That is, I was judging a certain race of people, in this case, whites and assuming that I had gathered enough information to do so. This brings me to another quote out of my research, â€Å"To understand the complexities of prejudice, racism, and racial profiling, we must first explore the origin of fear and understand how it can dictate the way in which our body responds to outside stimuli long before we become consciously aware of the racial implications. † (Holbert, S; Rose, L 2004). In fact, the word â€Å"fear† comes from the old English word for â€Å"danger. † When we, as human beings, experience fear our brains respond to perceived danger by using three distinct systems. The first is called Primal or Primitive fear system, and is found in most animals and mammals. This system responds first by alerting the body to any danger. This reaction is automatic and triggers our â€Å"fight or flight† response. The second is triggered by the â€Å"fight or flight† response and is the mind’s Rational or logical fear system. â€Å"This system takes over in an effort to assess the potential danger and weighs options for survival or escape. † (Holbert, S; Rose, L 2004). This system effectively plans possibilities we need to consider to escape an immediate or future threat. The third system is called a person’s Consciousness or Awareness, and acts as a mediator between Primal Fear and Rational Thought. This system will strike a balance between the mind’s emotion and reason and will become the ultimate decision maker in the entire process. Now, let’s examine some history on racial profiling that is actually quite interesting. This thought brings me to another quote I pulled out of this book I used to research this topic/ â€Å"Start with a good idea. Test it thoroughly, and use it with care. Put it in the hands of those who don’t have the experience and training to apply it properly. Add a little discrimination and pressure, and turn up the heat for 20 years. What do you get? Racial Profiling. (Holbert, S; Rose, L 2004). â€Å"In a nutshell, this is the story of Howard Teten, a former FBI Chief of research in the late 1950s who many criminologists credit with popularizing the concept of â€Å"criminal profiling. † A man who lived the best of both worlds, Mr. Teten studied psychology at the University of California at Berkeley while working crime scenes in San Leandro, California. Back in the 1950s, cops typically looked for clues at a crime scene to try to tie the crime to a particular suspect. Teten took this concept one step further by looking at the manner in which the criminal committed the crime in order to develop a psychological profile. This profile ultimately helped officers identify a criminal’s personality traits and mental state and led to a classification of potential suspects who could have committed the crime. † (Holbert S; Rose, L 2004). This very method, which is called â€Å"criminal profiling†, has been widely distorted, especially when it comes to the United States â€Å"War on Drugs. For example, it is assumed that if a person, particularly a person belonging to a minority group (that is not white or Caucasian), is seen wearing gold jewelry that is large in size, a â€Å"corn roll† hair style, baggy clothes, and perhaps gold teeth, Law Enforcement Officials automatically assume that this individual is a â€Å" drug courier,† or an individual that smuggles drugs or money into or out of the country. It can be said that a person’s appearance, jewelry, and travel habits can be used as a basis for identifying and prosecuting those involved in the â€Å"drug trade. The end result of these discriminatory attitudes is that these â€Å"profiles† do not demonstrate â€Å"good science† or offer sensible approaches to productive Law Enforcement procedures. Now, let’s examine the other side of the coin, as it were as it relates to basic race relations. When we all think of a police officer, we all have this stereotypical view that they are tough, intimidating, and very arrogant. In actuality, police officers have learned their very behavior and personality traits from the general public. Most people, when contacted by a police officer, become irritated, hostile, overbearing, and even belligerent. So, in turn, officers have learned how to desensitize or become â€Å"numb† to their emotions and feelings. It wouldn’t be a far cry to say that they have learned to behave as â€Å"not human† just so that they can get through their day without having to worry about what they said, was it rude, right or wrong, what the repercussions might be, and so on. So it is accurate to say that the general public ourselves, have contributed to the attitudes and behaviors of our own Police Force in America. What we don’t hear about or realize often times is that when an officer goes on duty, he or she faces any number of different variables. For example, having a gun pulled on them, being attacked, being shot, taken hostage, being kidnapped, and any number of other things that would threaten or endanger their lives either mortally or fatally. I will illustrate an example of what ought to be advertised when hiring police officers: WANTED: LAW ENFORCEMENT OFFICERS: Must be a social worker, mediator, a fighter, a priest. Must be savvy to the criminal element yet have an unblemished criminal background. Candidates should be compassionate yet distant. Intimidating yet gentle. Aggressive yet always in control. Daily risk of death. Low Pay. Must be willing to work all hours of the day and night in hazardous and extreme conditions. The Faint of Heart need not apply. (Holbert, S; Rose, L 2004) WANTED: LAW ENFORCEMENT OFFICERS: Must be a social worker, mediator, a fighter, a priest. Must be savvy to the criminal element yet have an unblemished criminal background. Candidates should be compassionate yet distant. Intimidating yet gentle. Aggressive yet always in control. Daily risk of death. Low Pay. Must be willing to work all hours of the day and night in hazardous and extreme conditions. The Faint of Heart need not apply. Holbert, S; Rose, L 2004) Realizing these facts, we all ought to be a little gentler with the officer next time we are pulled over for speeding or contacted about a conflict resolution issue. Police Officers deserve respect, but they also do not have the right to demand respect, and it is the same with the rest of us. That being said, when we think of â€Å"use of force† by police officer s, we all know the familiar image conjured up; the Rodney King beating on March 3 1991. In case you’re wondering, the case went to trial and all of the officers involved were NOT convicted. The result was the L. A. Riots of 1992. When we think of this case, we wonder, what could have gone so wrong in our justice system? The answer is not as clear as one might speculate. The â€Å"code of silence† is as much to blame as ignorant and wrong attitudes are to blame. â€Å"The Code of Silence† also known as â€Å"The Blue Wall of Silence† is based on the premise that an officer does not reveal negative information about a fellow police officer. (Holbert, S; Rose, L 2004). I can recall an experience I had in California with an officer who responded to a call about me when I was homeless and sleeping in my vehicle. The officer responded alone, without backup, and contacted myself and two friends of mine. He falsely accused us of smoking weed, arrested my friend for a warrant she had, shined his flashlight deliberately in my face, and pulled his Taser on me when I reacted unfavorably to his â€Å"bullying behavior. † I then had to demand that he call his Watch Commander, or Supervisor out to the field to discuss what happened and what I wanted done about his misconduct. I told the Watch Commander that I wanted an apology, both written and verbal, but to my dismay, he responded and told me, â€Å"I’m sorry ma’am I cannot do that. If I promise to talk to him about this incident, will you refrain from reporting it? † I was appalled to say the least. I later had to go through the channels to report this incident at the Police Department in person, but this is a prime real-life example of â€Å"The Code of Silence† in action. How many times has this happened to other citizens, but for whatever reason, they are too afraid or intimidated to report such misconduct. If we as a society wish our Police Force to be more accountable, we must take the action to make sure that happens. Otherwise, we are just birds preaching to a choir with deaf ears. The sad fact is that many Police Departments still retain the right to â€Å"police† themselves on such issues of misconduct and â€Å"use of force† incidents. This is the main reason that the officers involved in the Rodney King beating of 1991 were cleared of guilt. First of all, to even file a complaint against a police officer, citizens must endure a lengthy and time consuming process that involves appearing in person at the police department, then weeding through the trouble and intimidation of even telling a department employee or filling out a report about the alleged incident, and sometimes are refused and intimidated out of that process. Second and most important, even after all that trouble has been endured by the complainant, little or nothing is ever done about the problem other than to refer it to the Internal Affairs Division of the police department and they in themselves have their own policies and procedures which may or may not include final review by the Chief of Police and even then, the issue may not be resolved to the satisfaction of the complainant. In conclusion, I have learned it is sometimes better to ignore arrogant and racist comments by officers unless I have the time to devote to a complaint and investigation process. I’ll end with this quote from Martin Luther King, Jr. â€Å"We will have to repent in this generation not merely for the hateful words and actions of the bad people but for the appalling silence of the good people. † (King Jr. , Martin Luther 1963) References Holbert, S; Rose, L (2004) the color of GUILT INNOCENCE RACIAL PROFILING AND POLICE PRACTICES IN AMERICA King Jr. , Martin Luther (1963) â€Å"Letter from Birmingham Jail† April 16, 1963 Retrieved from www. history1900sabout. com/od/martinlutherkingjr/a/mlkquotes. htm