liquidnight:

John Shearer
“A barred, broken window is testament to the level of violence after inmates took over Attica Prison charging inhumane conditions; riot police were sent in 4 days later resulting in 10 guards and workers being killed along with 29 inmates.”
New York, 1971
[From the LIFE magazine Photo Archive]

liquidnight:

John Shearer

“A barred, broken window is testament to the level of violence after inmates took over Attica Prison charging inhumane conditions; riot police were sent in 4 days later resulting in 10 guards and workers being killed along with 29 inmates.”

New York, 1971

[From the LIFE magazine Photo Archive]

Cite Arrow reblogged from liquidnight

oldhollywood:

Ennio Morricone - Pazzia da Lavoro (The Working Class Goes to Heaven: Original Motion Picture Soundtrack)

Cite Arrow reblogged from oldhollywood
todaysdocument:

Anwar Sadat and Menachem Begin greet each for their first meeting at the Camp David Summit as Jimmy Carter and Rosalynn Carter watch. 09/07/1978
The historic Camp David Summit was held for thirteen days from September 5 - 17, 1978, between President Jimmy Carter, Egyptian President Anwar Sadat, and Israeli Prime Minister Menachem Begin. The meetings ended with the signing in the East Room of the White House of “A Framework for Peace in the Middle East Agreed at Camp David” and a “Framework for the Conclusion of a Peace Treaty Between Egypt and Israel.”

todaysdocument:

Anwar Sadat and Menachem Begin greet each for their first meeting at the Camp David Summit as Jimmy Carter and Rosalynn Carter watch. 09/07/1978

The historic Camp David Summit was held for thirteen days from September 5 - 17, 1978, between President Jimmy Carter, Egyptian President Anwar Sadat, and Israeli Prime Minister Menachem Begin. The meetings ended with the signing in the East Room of the White House of “A Framework for Peace in the Middle East Agreed at Camp David” and a “Framework for the Conclusion of a Peace Treaty Between Egypt and Israel.”

Cite Arrow reblogged from todaysdocument
oldhollywood:

Days of Heaven (1978, dir. Terrence Malick)
“At Malick’s insistence certain parts of the film were made at what he calls the ‘magic hour’, that is, the time between sunset and nightfall. From the point of view of luminosity, this period lasts about twenty minutes, so that calling it a ‘magic hour’ is an optimistic euphemism. 
The light really was very beautiful, but we had little time to film scenes of long duration. All day we would work to get the actors and the camera ready; as soon as the sun had set we had to shoot quickly, not losing a moment. For these few minutes the light is truly magical, because no one knows where it is coming from. The sun is not to be seen, but the sky can be bright, and the blue of the atmosphere undergoes strange mutations.
 Malick’s intuition and daring probably made these scenes the most interesting ones visually in the film. And it takes daring to convince the Hollywood old guard that the shooting day should last only twenty minutes. Even though we took advantage of this short space of time with a kind of frenzy, we often had to finish the scene the next day at the same time, because night would fall inexorably. Each day, like Joshua in the Bible, Malick wanted to stop the sun in its imperturbable course so as to go on shooting.” 
-excerpted from A Man with a Camera, the autobiography of Days of Heaven cinematographer Néstor Almendros

oldhollywood:

Days of Heaven (1978, dir. Terrence Malick)

“At Malick’s insistence certain parts of the film were made at what he calls the ‘magic hour’, that is, the time between sunset and nightfall. From the point of view of luminosity, this period lasts about twenty minutes, so that calling it a ‘magic hour’ is an optimistic euphemism.

The light really was very beautiful, but we had little time to film scenes of long duration. All day we would work to get the actors and the camera ready; as soon as the sun had set we had to shoot quickly, not losing a moment. For these few minutes the light is truly magical, because no one knows where it is coming from. The sun is not to be seen, but the sky can be bright, and the blue of the atmosphere undergoes strange mutations.

Malick’s intuition and daring probably made these scenes the most interesting ones visually in the film. And it takes daring to convince the Hollywood old guard that the shooting day should last only twenty minutes. Even though we took advantage of this short space of time with a kind of frenzy, we often had to finish the scene the next day at the same time, because night would fall inexorably. Each day, like Joshua in the Bible, Malick wanted to stop the sun in its imperturbable course so as to go on shooting.” 

-excerpted from A Man with a Camera, the autobiography of Days of Heaven cinematographer Néstor Almendros

Cite Arrow reblogged from oldhollywood
skibinskipedia:

superseventies:

David Bowie and William S. Burroughs, 1970s.

Always love this. Also: a good opportunity to reblog probably my most favorite Rolling Stone piece ever, ”Beat Godfather Meets Glitter Mainman”, from 28 February 1974, by Craig Copetas. You’re welcome.

skibinskipedia:

superseventies:

David Bowie and William S. Burroughs, 1970s.

Always love this. Also: a good opportunity to reblog probably my most favorite Rolling Stone piece ever, ”Beat Godfather Meets Glitter Mainman”, from 28 February 1974, by Craig Copetas. You’re welcome.

Cite Arrow reblogged from skibinskipedia