Only the President Can Veto Bills

The U.S. Constitution grants the President of the United States the sole power to veto—say â€Å"No†Ã¢â‚¬â€to bills passed by both houses of Congress. A vetoed bill can still become law if Congress overrides the president’s action by obtaining a supermajority vote of two-thirds of the members of both the House (290 votes) and the Senate (67 votes).    While the Constitution does not contain the phrase â€Å"presidential veto,† Article I requires that every bill, order, resolution or other act of legislation passed by the Congress must be presented to the president for his or her approval and signature before it officially becomes law. The presidential veto clearly illustrates the function of the system of â€Å"checks and balances† designed for the U.S government by the nation’s Founding Fathers. While the president, as head of the executive branch, can â€Å"check† to the power of the legislative branch by vetoing bills passed by Congress, the legislative branch can â€Å"balance† that power by overriding the president’s veto. The first presidential veto occurred on April 5, 1792, when President George Washington vetoed an apportionment bill that would have increased the membership of the House by providing for additional representatives for some states. The first successful congressional override of a presidential veto took place on March 3, 1845, when Congress overrode President John Tyler’s veto of a controversial spending bill.    Historically, Congress succeeds in overriding a presidential veto in less than 7% of its attempts.For example, in its 36 attempts to override vetoes issued by President George W. Bush, Congress succeeded only once. The Veto Process When a bill is passed by both the House and Senate, it is sent to the presidents desk for his signature. All bills and joint resolutions, except those proposing amendments to the Constitution, must be signed by the president before they become law. Amendments to the Constitution, which require a two-thirds vote of approval in each chamber, are sent directly to the states for ratification. When presented with legislation passed by both houses of Congress, the president is constitutionally required to act on it in one of four ways: sign it into law within the 10-day period prescribed in the Constitution, issue a regular veto, let the bill become law without his signature or issue a pocket veto. Regular Veto When Congress is in session, the president may, within the 10-day period, exercise a regular veto by sending the unsigned bill back to the chamber of Congress from which it originated along with a veto message stating his reasons for rejecting it. Currently, the president must veto the bill in its entirety. He may not veto individual provisions of the bill while approving others. Rejecting individual provisions of a bill is called a line-item veto. In 1996, Congress passed a law granting President Clinton the power to issue line-item vetoes, only to have the Supreme Court declare it unconstitutional in 1998. Bill Becomes Law Without Presidents Signature When Congress is not adjourned, and the president fails to either sign or veto a bill sent to him by the end of the 10-day period, it becomes law without his signature. The Pocket Veto When Congress is adjourned, the president can reject a bill by simply refusing to sign it. This action is known as a pocket veto, coming from the analogy of the president simply putting the bill in his pocket and forgetting about it. Unlike a regular veto, Congress has neither the opportunity or constitutional authority to override a pocket veto. How Congress Responds to a Veto When the President returns a bill to the chamber of Congress from which it came, along with his objections in the form of a veto message, that chamber is constitutionally required to reconsider the bill. The Constitution is silent, however, on the meaning of reconsideration. According to the Congressional Research Service, procedure and tradition govern the treatment of vetoed bills. On receipt of the vetoed bill, the Presidents veto message is read into the journal of the receiving house. After entering the message into the journal, the House of Representatives or the Senate complies with the constitutional requirement to reconsider by laying the measure on the table (essentially stopping further action on it), referring the bill to committee, postponing consideration to a certain day, or immediately voting on reconsideration (vote on override). Overriding a Veto Action by both the House and the Senate is required to override a presidential veto. A two-thirds, supermajority vote of the Members present is required to override a presidential veto. If one house fails to override a veto, the other house does not attempt to override, even if the votes are present to succeed. The House and Senate may attempt to override a veto anytime during the Congress in which the veto is issued. Should both houses of Congress successfully vote to override a presidential veto, the bill becomes law. According to the Congressional Research Service, from 1789 through 2004, only 106 of 1,484 regular presidential vetoes were overridden by Congress. The Veto Threat Presidents often publicly or privately threaten Congress with a veto in order to influence the content of a bill or prevent its passage. Increasingly, the â€Å"veto threat† has become a common tool of presidential politics and is often effective in shaping U.S. policy. Presidents also use the veto threat in order to prevent Congress from wasting time crafting and debating bills they intend to veto under any circumstances.

The Diverse Nature Of Psychology - 1200 Words

The Diverse Nature of Psychology Name Institution The Diverse Nature of Psychology Introduction Psychology consists of a wide collection of diverse concepts, which influence its precise nature that includes the study of behavior and mind in different organisms. Ideally, these organisms range from the most complex to the most primitive. In essence, diversity involves recognizing the variability of characteristics, which make people unique such as their physical appearance, partnered/marital status, culture, age, language, and age. Other characteristics include their gender, education, ethnicity, economic background, sexual orientation, religion, and geographic background (James, 2007). Subsequently, psychology is particularly the†¦show more content†¦It is worth noting that human beings are naturally rational and logical. This enables them to make choices and decisions, which make sense to them. The law of contiguity denotes that two events will be connected in a person’s mind mainly when they are closely experienced together in time. Besides, the learning theory probes the associative learning’s behavioral concepts popularly referred to as operant and classical conditioning. Addictions and phobias share cohesion with responses to a particular stimulus through the fundamentals of operant and classical conditioning (James, 2007). On the other hand, classical conditioning takes place when a certain stimulus is joined and proceeds over an unconditioned stimulus. These two-paired together stimuli are known as theory/SR-Learning since that stimulus is already paired together with the response while the same stimulus follows the response. Conversely, within the classical conditioning, the already conditioned stimulus ensures that it precedes the unconditioned stimulus. Additionally, the unconditioned stimulus proceeds to create the desired response. In effect, when this process is repeated several times, the removal of the unconditioned stimulus can take place, and the conditioned stimulus can produce the anticipated response effectively on its own. It is paramount to note that to have a respondent or classical conditioning, the existence of a stimulus is needed so that it can reflexively or automatically elicit a

Music and Concert Essay Thesis Example For Students

Music and Concert Essay Thesis This genre of music is amusing and very pleasing to the ears. The band members are some of the most talented musicians Vive heard. This was my first time attending a Jazz concert. Therefore, I didnt know what kind of music to expect. This concert was a new experience for me. It was far different from any rock concert held in some big venue. The purpose of this concert was to give people a taste of jazz. This was a Jazz concert, but some of the pieces they interpreted were modern. The music that was played was not the kind that makes you does off. We will write a custom essay on Music and Concert Thesis specifically for you for only $16.38 $13.9/page Order now I was somewhat excited about attending this concert; I was hoping I wouldnt be disappointed or get board. Vive always loved the sound of a trumpet. My favorite musical group the Dave Matthews Band has a trumpet player, and this is how I started enjoying the sound. Therefore, I knew that this concert must be worth going to. This concert gave me a chance to look deeper into what Jazz music is all about. When I got there I really liked what I heard. I am going to look more into this type of music. This is the type of music that you Just want to sit back and relax and listen to. Its not to slow where you are at the point of falling asleep. Jazz music has got a certain element to it that no other type of music has. In all, this concert was a wonderful experience for me. I found a passion for a different brand of music. The first question I asked myself at the beginning of the concert was how much do I actually know about Jazz? I have always characterized Jazz music as a rhythmic and instrumental form of music. My impression on the basis of the Jazz has always been portrayed with that Jazz is noticeable, but not necessarily understandable by words. Tickets werent sold given that it was a high school band performance. The theater itself was a standard high school theater. The stage was set up well with nice lighting. The entire band consisted of eighteen musicians. There were sixteen males and two females. In the front of the stage was the director. Also in the front were the base guitars, the girl playing a keyboard, and the clarinets. Behind them were the saxophone players and the trombone players. In the rear were the trumpet players as well as the drummer. I believe this setup allowed for their superb sound. Over all our seats were incredible and made the performance much more enjoyable. Between songs the director (Matt Young) gave a short introduction to each of the peaces they would be playing. Off the hook, The girl from Panama, Song for my father, Back and forth, The mask of the chili pepper, Velvet rain, Hocus pocus, orange drink, Suit and Tie were the songs that were played. Each song had its own unique style and sound, my favorite by far was their interpretation of The girl From Panama, it had a constant tempo, it also had a slow, inky, and earthy sound to it. The saxophonist seemed to be improvising during his solo. The drummer acted like the timekeeper in this piece. It had a standard tune Music and Concert By summarizer Cop Cabana beach. The tone of the Jazz band that I saw was smooth and inviting. This made the bands easier to listen to. They were polyphonic in structure, where all of the different instruments were playing different melodies. Through the entire show the musicians gave an outstanding performance. Each soloist perfectly captured the musics emotion. Even when there wasnt a solo, each musician played with an almost tangible energy. The first half was filled with noteworthy pieces. Everyone in the concert was polite. Whenever the conductor came to the stage or the song end, everyone would stand and applauded the performers; the applause lasted for a pretty long time. Besides the music, I had deep impression of the performers; the performers in the concert showed much passion when they performed. Because of their wonderful performance, I will definitely be listening to more Jazz in the future.

Three Women Talking Essay Example For Students

Three Women Talking Essay Women on men and vice versa  Toward the end of Arnold Weskers new play Three Women Talking, a slightly tipsy character named Claire Dawn Hope delivers a long speech at an all-female dinner party. Introduced mock-portentously as the Puzaltski story, the speech is a vulgar joke about a wife who fills in for her football-player husband on his last game with the team. Injured heroically on the field, shes hauled off to the locker room, where the trainer, incapable of believing a woman could have performed so superbly, pushes down on her breasts and assures her that as soon as I getcha balls back into place your prick will come out of hiding, trust me! We will write a custom essay on Three Women Talking specifically for you for only $16.38 $13.9/page Order now Though the rest of its conversation generally takes place on a more elevated level, Three Women Talking never strays from the topics embodied in the Puzaltski story. The two-act comedy-drama   currently receiving its premiere, not in Weskers home base of England but at Northlight Theatre in the Chicago suburb of Evanston is permeated by themes of competition and violence (primarily psychological). It explores the experience of being an outsider (Wesker says his Jewishness makes him an alien voice in the British theatre), womens painful efforts to assert themselves on the male-dominated playing field of society, and mens tendency to ignore womens distinctive sexual and emotional characteristics and their power. The Puzaltski story, with its topic of cross-gender impersonation, also leads to the question of a male playwrights ability to put himself in womens positions. Wesker says his intention was to write a play about the way women talk about men. I know what youre going to ask: How do you presume to say you know how women talk? I never know what to say to that. There were strong women in my life. My mother, my sister, four aunts, some special cousinsI prefer women. Nearly all my plays have women as central characters. Theyre more courageous, intense. The characters in Three Women Talking, male and female, are certainly intense. The play might more accurately be called Three Couples Talking, though the couples are estranged. The men speak first, in a series of short monologues: Leo, a 44-year-old financial analyst, is in anguish because his wife Mischa has left him; Montcrieff, a 55-year-old writer, rambles on to an imagined mistress about his ex-wife Minerva, whom he left five years earlier; Vincent, a rising Labor Party politician, rehearses for an upcoming television interview. It is to watch Vincents interview that the three women have gathered over dinner at Mischas apartment. The hostess (Carmen Roman), 42, is an academic of Eastern European Jewish ancestry; Minerva (Mary Ann Thebus) is a 50-year-old businesswoman and disillusioned ex-feminist; and Claire (Margo Buchanan), a 39-year-old political researcher, is the recently discarded mistress of Vincent, who dumped her to preserve the family-man image necessary to his political career. An embittered anti-idealist, Claire seems the most proper and least earthy of the three women; but, like the Mrs. Puzaltski of her joke, she reveals an unsuspected capacity for getting down and dirty when the game gets rough. Nevertheless, Three Women Talking is very much a play of ideas. Wesker, who came to prominence in the late 1950s and early |60s with such plays as Roots, The Kitchen and Chips with Everything, thinks internationally, yet feels domestically, the late British critic Kenneth Tynan once wrote. Despite its homey settings   including the mock-living room set of the TV talkshow Vincent appears on   Three Women Talking addresses far-reaching issues: possible war between Islamic theocracies and Western societies that lack a unifying religious ideology; the Holocaust; and the scientific theory of chaos. Weskers characters toss about educated references to high and low culture ranging from the Bible to John Ruskin, from Singin in the Rain to Shakespeare. .u7e68a32147a6c0983208825df14cd4bc , .u7e68a32147a6c0983208825df14cd4bc .postImageUrl , .u7e68a32147a6c0983208825df14cd4bc .centered-text-area { min-height: 80px; position: relative; } .u7e68a32147a6c0983208825df14cd4bc , .u7e68a32147a6c0983208825df14cd4bc:hover , .u7e68a32147a6c0983208825df14cd4bc:visited , .u7e68a32147a6c0983208825df14cd4bc:active { border:0!important; } .u7e68a32147a6c0983208825df14cd4bc .clearfix:after { content: ""; display: table; clear: both; } .u7e68a32147a6c0983208825df14cd4bc { 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; } .u7e68a32147a6c0983208825df14cd4bc:active , .u7e68a32147a6c0983208825df14cd4bc:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7e68a32147a6c0983208825df14cd4bc .centered-text-area { width: 100%; position: relative ; } .u7e68a32147a6c0983208825df14cd4bc .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7e68a32147a6c0983208825df14cd4bc .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7e68a32147a6c0983208825df14cd4bc .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; } .u7e68a32147a6c0983208825df14cd4bc:hover .ctaButton { background-color: #34495E!important; } .u7e68a32147a6c0983208825df14cd4bc .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7e68a32147a6c0983208825df14cd4bc .u7e68a32147a6c0983208825df14cd4bc-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7e68a32147a6c0983208825df14cd4bc:after { content: ""; display: block; clear: both; } READ: Three Birds Alighting on a Field EssayMostly, though, the characters talk about sexual relationships   from the raw realities of physical intercourse to the most perverse ambiguities of love, hate, faith and betrayal. The first words out of a womans mouth are commonplace hyperbole: Men! Theyre all the same! Interchangeable! sneers the disenchanted Minerva. The play then proceeds to disprove her by laying bare the myriad inconsistencies of all its characters. Minervas put-down of men as interchangeable also functions as a theatrica joke: While the women are played by three different actresses, the men are portrayed by a single actor, David Downs. At the plays climax, Downs performs a trio with himself, as Montcrieff holds the stage in a long speech about wishing he could give birth   to give meaning to this hopeless, helpless, weird and wonderful life   while Leo is heard on tape and Vincent is seen and heard on videotape. This device was conceived last summer when Northlights artistic director, Russell Vandenbroucke, traveled to Weskers home in Wales for woodshedding sessions. (The relationship between Wesker and Northlight was established in 1988, when the theatre presented Weskers 1976 Lover Letters on Blue Paper.) I like the idea as a theatrical coup, says Wesker. It also means the actor has a substantial role. But what does Wesker really think about ideas like Claires assertion, Men are for manipulating. Why else were we given tears? I think women often say things like that, he shrugs. And at a certain level its true. There are unpleasant characteristics which men hold in common. And there are unpleasant characteristics which women hold in common. I didnt research this play   but I hear women talking about men. Its sort of an accumulation of observations over the years. Some of it is imagined, of course. I projected myself into these personalities. I really dont think characters live on the stage unless they have substance, so I endow my characters with ideas, Wesker adds. Sometimes the ideas these characters express are confused with the ideas of the playwright. They shouldnt be. Still, its hard not to hear the writers own self-examination echoed in the words of his character Montcrieff, who longs to experience the uniquely female process of birth and says hes cursed with this infantile obsession to produce. That leads to a riff on the subject of literature. What is it? Scavenging! A writer is a vulture that picks at the dead and the partly living.And when Ive got it all down in a book I go into a marketplace and I take it out of my pocket like a vendor of dirty little postcards, slightly ashamed. You wanna look-see? You buy? Cheap and lovely literature! Best art in town!'