Thank you!
Your support is sustaining the future of local news in our communities.

Why protestors demand, ‘Defund the Police’

The demand by protesters across America to “defund the police” is bold, and probably intended to sound serious, if not scary. Though I’m sure some protesters want our 911 calls to ring to no response, most are asking for two things: an end to the violence that has plagued interactions between local police and African-Americans; and the shifting of some police department funds that currently pay for functions police handle poorly to social service and health agencies that may handle them more effectively and peaceably. 

The tragic enmity between the police and private citizens we find ourselves in is not limited to black communities, though it has been exacerbated by race in ways that until recently whites could often ignore.  Moreover, it is the result of a 50-year process in which police have increasingly used military equipment and imitated military maneuvers. In his book, “Rise of the Warrior Cop: The Militarization of America’s Police Forces,” investigative journalist Radley Balko details this process that began in the early ‘70s with Nixon’s hyping of a national drug crisis. Amidst civil rights demonstrations and riots, as well as a developing counter culture, Nixon worked to create the perception that crime was rampant and drugs were the main cause. To circumvent states’ resistance to federal intervention, the Nixon administration focused its initial legislation on Washington, D.C. (a recipe Trump recently followed by using DC as a test for his ordering of soldiers and prison guards to control demonstrations.) After pushing through no-knock, preventative detention and extensive wire-tapping laws for the largely black residents of the nation’s capital, Nixon then successfully got Congress to turn these into nationwide laws. 

Nixon’s idea was to project the aggression that TV viewers had seen in Vietnam in local drug arrests, and he therefore offered local police the cooperation of federal agents and military equipment. As this equipment was dispersed with little discussion or public oversight, SWAT teams in black ski masks and armor at once exaggerated the dangers posed by civilians and affirmed the power of the authorities. Though this strategy waned under President Carter, Ronald Reagan gave the war on drugs a new moral authority. Pitching it as a battle of good against the evil, he argued that drug users and addicts were evil, and that only liberals who believed that people were basically good, thought money should be wasted on addiction services and other health care. For Balko, it was Reagan who “set in motion an animosity between police offers and the public that was probably beyond repair.” 

Yet with successive presidents, Republican and Democratic alike, domestic tactics that had earlier been reserved for rare violence have been used regularly by police departments. Provoked by the attacks on 9/11, Homeland Security brought a lucrative new source of funding and equipment in the name of fighting terrorism. As police departments across the country built up their arsenals, no-knock entries and other sources of intended and unintended violence grew exponentially.

Increased militarization has also been accompanied by a fortress mentality in police departments. Officers who embarrass departments are treated more harshly than those who lie, steal or go rogue. Although body cameras and cell phones have given citizens new possibilities to hold police accountable, police still resist truthfulness in accident reports. Moreover, though four police officers have been charged in the death of George Floyd, we still await conviction. So far, the general rule holds that strong police unions and police-friendly laws block black communities from prosecuting police who commit violence or bear false witness in court. Even a national “registry” of police misconduct, which would enable communities looking to hire police to discover whether they have a record of violence, lies in the future. 

Spike Lee and other allies of the protesters have criticized the “defund the police” slogan, which, they believe, is too easily used by President Trump and other opponents to strengthen a “law and order” agenda. Whether a better slogan can be found, the cry to “defund the police” raises important questions about the equipment and technology used by police departments. Also in question are the roles that should be reserved for the police, and whether a 911 caller would better served if the person at the other end were a teacher, social worker or mental health professional.

 

Carol Ascher, who lives in Sharon, has published seven books of fiction and nonfiction, as well as many essays and stories.  She is trained as a spiritual director.

The views expressed here are not necessarily those of The Lakeville Journal and The Journal does not support or oppose candidates for public office.

Latest News

A life reshaped by clay in “Matin”

Left to right: Hannah Wheeler, Matin Malikzada and Yonah Sadeh.

D.H. Callahan

On Monday, Oct. 26, a group of students, teachers and local residents gathered at the Hotchkiss School in Lakeville for a screening of the new short documentary “Matin.” The film tells the story of Matin Malikzada, a seventh-generation Afghani potter making a new life in New Milford, Connecticut. The film was made by local filmmaker Yonah Sadeh, creator of the Video Wall at the David M. Hunt Library, and Berkshires-based potter Hannah Wheeler, who were both present for the screening, along with Malikzada himself.

As a member of the seventh generation of his family to master the art of pottery, Malikzada had done things the way his family had for over a century. Istalif, the village where his family has lived for generations, was known throughout Afghanistan for its pottery, with wares sent across the country for use as everyday cups, bowls, plates and other vessels. The pottery-making families of Istalif gathered clay from the same mountain, about 30 to 45 minutes away by donkey. Every July, they would head north toward the Uzbekistan border to gather ishkar, a plant they processed by hand to make their signature glazes.

Keep ReadingShow less
Meg Sher finds her calling among the stacks

Meg Sher, executive director of the David M. Hunt Library in Falls Village.

L. Tomaino

When Meg Sher came to Falls Village in 2006 from Old Lyme, Connecticut, where she grew up, she never imagined she’d someday be the executive director of the David M. Hunt Library.

Although, in hindsight, perhaps it makes sense.

Keep ReadingShow less
Crescendo’s 23rd season speaks to the heart and mind

Christine Gevert, founding artistic director of Crescendo, conducts the audience at a performance.

Steve Potter

For Christine Gevert, founding artistic director of Crescendo, music from centuries past is anything but a relic. It is a living, breathing art form, full of drama, emotional complexity and, occasionally, surprises. As the regional choral and period-instrument ensemble launches its 23rd season, Gevert is once again bringing forgotten masterpieces into the present.

“Early Music has been my lifelong passion and the focus of my specialization in Europe and South America,” Gevert said. “Bringing this repertoire to our audiences in a nuanced way that does justice to its incredible depth, intensity, and beauty is deeply important to me.”

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Close Encounters with Music celebrates 35 years of musical discovery

Close Encounters with Music’s 35th season opens with “Saluting the Clarinet” featuring clarinetist Alexander Fiterstein.

Provided

For 35 years, cellist Yehuda Hanani has been inviting audiences to experience classical music in unexpected ways. As founder and artistic director of Close Encounters with Music, Hanani has built a concert series that goes beyond the music itself, exploring connections to literature, history, politics and the human experience.

This year, Close Encounters celebrates its 35th season with “Celebration & Discovery,” a seven-concert series that opens Sunday, Nov. 1, at the Mahaiwe Performing Arts Center in Great Barrington.

Keep ReadingShow less
Shinbone Alley brings spooky songs to Spencertown

Seeing isn’t always believing. Sometimes it’s the lack of a defined picture that can be the most compelling. And when Alex Harvey of Shinbone Alley sings his supernaturally charged sea shanties and street ballads, the unseen will be downright scary. On Oct. 30, the historically inclined storyteller and performer will create a spooky evening of forbidden tales and yarns through a carefully chosen series of songs at Spencertown Academy of Arts.

The repertoire for the performance is a bit fraught. Over the years, Shinbone Alley has explored the world of folklore through music. Though the group usually features two musicians, Harvey, a multi-instrumentalist and singer, will be performing solo. That is, of course, unless you include the spirits.

Keep ReadingShow less
Malian blues and Moroccan Gnawa meet in Sheffield
Vieux Farka Touré
Proivded

Desert winds rarely blow into the Berkshires, but on Nov. 5, they will carry the Malian blues and Moroccan Gnawa music to Race Brook Lodge.

That evening, Malian guitarist Vieux Farka Touré, often called “the Hendrix of the Sahara,” and Moroccan musician Samir LanGus will play at the lodge’s Event Barn in Sheffield, Massachusetts, at a benefit for the foundation Touré directs.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.