Congratulations once again, Your successes on the Homeland Security Task Force and with the U.S. Olympic Committee have resulted in you becoming a national security commentator on Fox News. The president’s new DNI has asked you to join her team and to lead a new national security task force. The task force is intended to significantly improve the capabilities of state and local law enforcement intelligence capabilities. The National Counterterrorism Center (NCTC) has identified funding to hire, train and deploy 300 new ODNI Liaison Officers who will work in state and local law enforcement agencies throughout the United States.
Things are happening fast. Congress is ready to fund the new ODNI Liaison Officer positions. However, the two congressional intelligence oversight committees want to know: (1) What will b the responsibilities of those liaison officers? (2) how d.s ODNI plan to equip them very quickly so that they will b b0 to get started in their new jobs very quickly?
The DNI has asked you to prepare two or three slides to answer the committees two questions. She has suggested you start by describing some of the highly useful products (e.g., Counterterrorism Guide for Public Safety Personnel) already developed and available on the NCTC website to help state and local law enforcement agencies participate in the war on terror.
Modelling work for women dates back to Charles Frederick Worth, who dressed live mannequins in his Parisian dress salon in the late 19th century. Comparatively, few modelling opportunities existed for men, even as New York City agencies began to represent them in the late 1960s – four decades after the John Powers’ modelling agency for women opened in New York (Evans, 2001; Scott, 2008). Only relatively recently have male models become a prominent feature in the visual landscape. Sexualized images of young male models emerged over the 1980s and 1990s in advertising, women’s magazines, ‘new’ men’s magazines and in popular iconography, such as the 1982 Calvin Klein billboards of a bare-chested man (notably an Olympic athlete, not a model) in briefs in Times Square (Bordo, 1999). Contemporary popular culture encourages unprecedented levels of scrutiny paid to men’s bodies with increasingly rigid standards of perfection in fitness magazines (Dworkin and Wachs, 2009), expanded marketing geared towards men (Mort, 1996; Nixon, 1996; Jackson et al., 2001) and increased investment by men in their appearances (Gill, 2003; Gill et al., 2000, 2005). These representations pose an apparent challenge to traditional notions of masculinity and the sort of work that men could aspire to do, with more young men approaching model agencies ‘on spec’ now than ever before. In order to understand how male and female models ‘do’ gender, it is necessary to outline some salient features of their work. First, modelling places primary emphasis on the body. Models sell their ‘look’ to clients, and their ‘bookers’ broker the trade. Beyond basic attractiveness, height and size requirements (for women, typically at least 5’9” or 175.3 cm; measurements close to 34”–24”–34” or 86.4–61–86.4 cm; for men a height of 6’0” to 6’3” and a waist of 32” or 183–190.5 cm and 81.3 cm, respectively), a model’s look is sized up as a matter of personal tastes and evaluations of his or her appeal (Mears and Finlay, 2005). Get help with your essay today, from our professional essay writers! Qualified writers in the subject of sociology are ready and waiting to help you with your studies. Get help with your essay View professionally written samples To see if they have the right ‘look’ or not, models audition for assignments in a process known as ‘casting’. At a casting, the model shows their ‘book’, or portfolio of pictures, and gives the client a ‘composite card’, which has on it the model’s name, agency name, sample of pictures, and measurements. If interested, the client may take the model’s picture, have them try on a sample of clothing, and in the case of runway bookings, ask to see the model’s catwalk. This investment of value in the aesthetic appearance of the body makes modelling a unique occupation for men, historically on the other side of the objectifying gaze. Modelling is ‘feminine’ work that prizes traits and practices – good looks, posing, care of one’s body – traditionally unacceptable to conventions of white heterosexual masculinity (see Bordo, 1999, for a discussion of black masculinity). Adverts before the 1960s reflect a cultural discomfort with men in front of the camera lens, and when men posed alone in fashion images, they tended to look off into the distance, avoiding a direct, homoerotic gaze (Nixon, 1996; Scott, 2008).>GET ANSWER