Word: rage
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Dates: during 1980-1989
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...Chicago policemen as big as beer trucks thundering through tear-gas- poisoned air and clubbing with nightsticks. The answering, taunting obscenities and rage, and after that the McLuhan-wise chorus from those being clubbed: "The whole world is watching!" Then, through the death stench of the Chicago stockyards, inside the Democratic Convention, Connecticut Senator Abraham Ribicoff on the podium denouncing the "gestapo tactics" of the police, and down on the floor, in the Illinois delegation, Mayor Richard Daley, face contorted, screaming at Ribicoff. TV's nation of lip readers thought they saw Daley emit the words...
...order was beseiged. A new order was being born -- then another Kennedy lay dead. Rage met with Mayor Daley in Chicago...
...real forces of revolution were anger, frustration -- and demography. In the U.S., rage focused on the impersonal machinery of a military adventure that the post-World War II generation did not support and that few seemed capable of affecting. Rage also targeted an inert political system, manned by the middle-aged, that ringed its conventions with police, ignored the clamor to halt the war, and failed to heed the smoke rising from the ghettoes. In France, anger was directed first at a sclerotic university system, then at the Fifth Republic, which condoned it, then at the Republic's architect...
Their anger has combined with an epidemic of drug use to turn Liberty City and Overtown, where many buildings are painted gaudy shades of yellow, orange and green, into brightly colored tinderboxes. The rage is compounded by deep- seated animosity toward the police, 43% of whom are Hispanic. Like last week's violence, all of Miami's previous riots ignited after white or Hispanic officers shot black suspects. Twice last year, Miami police on drug raids burst into the homes of innocent black people. Black citizens accuse Hispanic officers of waging a vendetta against black youths...
There is a case for Goya as the first great modern artist, because of his fascination with the irrational and his critical rage against church and class. Indeed, the inscriptions on two of his prints -- Y no hai remedio (And there is no remedy), referring to the shooting of bound prisoners in the series titled Disasters of War, and El sueno de la razon produce monstruos (The sleep of reason brings forth monsters), the title page of his Caprichos -- seem as fixed above the wars, pogroms and massacres of the 20th century as Dante's words "Abandon hope...