Word: rioted
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Dates: during 1960-1969
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...defense of Professor Breuning's right to give Planning 11-3b as he saw fit, the CRIMSON, in its editorial of February 10, 1969, is guilty of the same superficial analysis of the issues as those who advocate efficient riot control as a top national priority. At least one of the objections to professor Breuning's course, and the emphasis on riot control in general, is that they ignore the more fundamental problem of the elimination of the conditions which impel people to riot and to violate the basic political rights of others. Similarly, the CRIMSON's condemnation...
...cancelling Planning 11-3b "An End to Urban Violence," he conceded that his course prospectus was unclear. It was worse than that. In vague introductory paragraphs, Bruening promised to consider such questions as "Does society at large have the right and/or obligation to attempt to control or eliminate riots?" But more closely defined, the seminar looked like a macabre think tank exercise in the techniques of riot repression...
...Afro demonstrators argued Friday that Harvard was betraying the spirit of the Rosovsky report by allowing the riot-control seminar to be given. But the view-point of a single course, unlike investment policy, is not something for which the University as a whole should be held responsible. The University does have an obligation, as the Rosovsky committee said, "to create an environment in which racial justice prevails at all levels," but it is not clear that this effort must be at the expense of its responsibility to protect a plurality of intellectual approaches within its community...
Despite all this realism, Riot is about as convincing as 20,000 Years in Sing Sing. Jim Brown is becoming a strong, silent screen presence, but that is not acting. Gene Hackman, a fine character actor, deserves better parts than the one he is given here, and audiences deserve better than the careless ease he brings to it. Although the year is still young, Ben Carruthers contributes what will surely stand as one of its worst performances. As a homicidal schizo, he twitches, shakes and gyrates like a dwarf holding a trip hammer...
Even in these bloody times, the violence in Riot is rather extravagant: when cons are shot in the chest, gore gushes from their mouths, and throats are slit with slashing abandon. Director Buzz Kulik shot the film entirely in the Arizona State Prison, more for the sake of novelty than authenticity. He never once manages to capture the claustrophobic frustration of prison life. Although Riot aspires to be reformist social criticism, it is about as effective-and moving-as a convict chorus of Don't Fence...