#day of the locust 1975

[annarosestabler]

Day of the Locust (John Schlesinger, 1975)

[mudwerks]

(via Film Noir Photos: Hangin' out in the lobby: Karen Black)

with William Atherton in The Day of the Locust (1975)

[thethirdbear]

[inthedarktrees]

Karen Black in The Day of the Locust, 1975

[secretceremonies]

karen black in the day of the locust (1975) dir. john schlesinger

[lifeinasmalltowninjapan]

BBC2 Moviedrome (1992)

The Day Of The Locust (1975)

[squidsploitation]

thank you for the tag, @lafcadiosadventures ! 10 movie poll time..

tagging @sailorspica @7thdoctor and @prairiewhisper

[gone2soon-rip]

DONALD SUTHERLAND (1935-Died June 20th 2024,at 88).Canadian actor and anti-war activist whose film career spanned over seven decades. He received numerous accolades, including a Primetime Emmy Award, two Golden Globe Awards, and a Critics Choice Award. He has been cited as one of the best actors never to have received an Academy Award nomination. In 2017, he received an Academy Honorary Award.

Sutherland rose to fame after starring in films such as The Dirty Dozen (1967), M*A*S*H (1970), and Kelly's Heroes (1970). He subsequently starred in many films both in leading and supporting roles, including Klute (1971), Don't Look Now (1973), The Day of the Locust (1975), Fellini's Casanova (1976), 1900 (1976), Animal House (1978), Invasion of the Body Snatchers (1978), Ordinary People (1980), Eye of the Needle (1981), A Dry White Season (1989), Backdraft (1991), JFK (1991), Six Degrees of Separation (1993), Without Limits (1998), The Italian Job (2003), and Pride & Prejudice (2005). More recently, Sutherland portrayed President Snow in The Hunger Games franchise.

He was the father of actor,Kiefer Sutherland,best known for his role as Jasck he tv action series,24,and films such as Stand By Me and The Lost Boys. Donald Sutherland - Wikipedia

[shewhoworshipscarlin]

Alvin Childress

Alvin Childress (September 15, 1907 – April 19, 1986) was an American actor, who is best known for playing the cabdriver Amos Jones in the 1950s television comedy series Amos 'n' Andy.

Alvin Childress was born in Meridian, Mississippi. He was educated at Rust College, from which he received a Bachelor of Arts degree in sociology. When he initially entered college, Childress intended to become a doctor, enrolling in typical pre-med courses. He had no thoughts of becoming involved in acting, but became involved in theater outside of classes. Childress and Rex Ingram in the Federal Theatre Project production of Haiti (1938)

Childress's first wife was the former Alice Herndon, who established herself as a successful writer and actress under the name of Alice Childress (1916–1994); the couple was married from 1934 to 1957 and had a daughter, Jean Rosa. From 1961 to 1973, Childress worked as an unemployment interviewer for the Los Angeles Department of Personnel and in the Civil Service Commission of Los Angeles County.

Childress moved to New York City and became an actor with Harlem's Lafayette Players, a troupe of stock players associated with the Lafayette Theatre. Soon, he was engaged as an actor in the Federal Theater Project, the American Negro Theater, and in all-black race film productions such as Keep Punching (1939). His greatest success on the stage was his performance as Noah in the popular drama, Anna Lucasta, which ran for 957 performances. He also worked at Teachers College of Columbia University. Childress also operated his own radio and record store in New York City. When he learned about casting for the Amos 'n' Andy television series, Childress decided to audition for a role. He was hired a year before the show went on the air.

In 1951, he was cast as the level-headed, hard-working and honest Amos Jones in the popular television series, The Amos 'n' Andy Show, which ran for two years on CBS. Childress originally tried out for the role of The Kingfish, but Charles Correll and Freeman Gosden cast him as Amos. Since he had been hired a year before the show began, Gosden and Correll turned the search for an actor to play "The Kingfish" over to Childress. In a 1979 interview, Childress shared information about some of the candidates. Cab Calloway was considered but found wanting by Gosden because of his straight hair. Childress said there were many famous men, with and without actual acting experience, who wanted to play the role. Eventually, old-time vaudeville comedian Tim Moore was cast as the Kingfish.

Shortly after the television show had ended, plans to turn it into a vaudeville act were announced in 1953, with Childress, Williams and Moore playing the same roles as they had in the television series. It is not known if there were any performances. In 1956, after the television show was no longer in production, Childress and some of his fellow cast members: Tim Moore, Spencer Williams, and Lillian Randolph along with her choir, began a tour of the US as "The TV Stars of Amos 'n' Andy". The tour was halted by CBS as the network considered this an infringement of their rights to the program and its cast of characters. Despite the threats which ended the 1956 tour, Childress, along with Moore, Williams and Johnny Lee were able to perform one night in 1957 in Windsor, Ontario, apparently without legal action. When he tried for work as an actor, Childress found none as he was typecast as Amos Jones. For a short time, Childress found himself parking cars for an upscale Beverly Hills restaurant.

Childress also appeared in roles on the television series Perry Mason, Sanford and Son, Good Times and The Jeffersons and in the films Thunderbolt and Lightfoot (1974) and The Day of the Locust (1975). When Childress appeared as a minister in a 1972 episode of Sanford and Son, he was reunited with two former cast members: Lillian Randolph of Amos 'n' Andy in the role of Aunt Hazel and Lance Taylor, Jr. of Anna Lucasta, with the role of Uncle Edgar.

Childress suffered from diabetes and other ailments. He died at age 78 on April 19, 1986, in Inglewood, California. He was buried at National Memorial Harmony Park in Landover, Maryland.

[lobbycards]

The Day of the Locust, US Lobby Card #12. 1975

[cinenthusiast]

Day of the Locust (1975, Schlesinger)

[sgokie2024]

“New York glitter-punk outfit The Voluptuous Horror of Karen Black began life as a near-death experience. Shortly before forming the band in 1990, front woman Kembra Pfahler was strangled in a brutal mugging and almost died. While recovering, battered and zonked on painkillers, she watched the 1975 horror movie Trilogy of Terror on television. The film stars Karen Black, the quirky cross-eyed actress whose wildly erratic career encompasses everything from some of the key American films of the 1970s (Easy Rider, Five Easy Pieces, Nashville, Day of the Locust) to mainstream Hollywood schmaltz (Airport 1975) to obscure straight-to-VHS exploitation / horror dreck. In Trilogy’s best-known segment, Black is stalked by and eventually possessed by a cursed malevolent Zuni fetish doll which has come to life. [SPOILER ALERT] It concludes with a final jolting image of the now-crazed and murderous, knife-wielding Black grinning blank-eyed and maniacal to the camera to reveal a mouthful of razor-sharp teeth identical to the Zuni doll’s … In her traumatized state, that savage and disturbing image -- combined with almost dying -- made a powerful impression on Pfahler. Inspired, she would blacken out her teeth, conceal her natural fine-featured beauty under cadaverous make-up and take to the stage clad in little more than a pair of thigh boots and a coat of body paint. Pfahler’s look can suggest a character from a John Waters film given an “ugly make-over”: think of Divine as the acid-scarred Dawn Davenport in Female Trouble (1974), an image which seems to anticipate TVHKB’s twisted glamour. Like Divine before her, Pfahler shaves off her eyebrows and shaves back her hairline to accommodate her extreme eye make-up. “I want to be both very beautiful and very repulsive,” Pfahler would explain to The Toronto Star in 1994.”

/ From my own blog post “The Voluptuous Horror of Karen Black at Meltdown Festival 10 August 2012” /

Born on this day 63 years ago (4 August 1961): Californian surfer girl-turned-NYC provocative performance artist, Cinema of Transgression actress and Voluptuous Horror of Karen Black voodoo-dolly singer Kembra Pfahler. Pictured: portrait of Pfahler by Fumi Nagasaka, 2019. Read more here: https://tinyurl.com/yxezrp27

[falsenote]

The Day of the Locust (1975)

[fabiansteinhauer]

Tagungsrealität

1.

Tagungen, die während der Vorlesungszeit am Montag morgen um 8.30 in weit entfernten Städten anfangen, damit man in der Nacht oder am Sonntag genug Zeit hat, mit der Deutschen Bahn pünktlich hin zu fahren. Tagungen, die in der Vorlesungszeit stattfinden, damit der Nachwuchs, der sich dort vorstellen soll, die Massenveranstaltungsvorlesungen nicht halten kann und die Studierenden dem Nachwuchs die Evaluation vermiesen, weil er mitten im Semester seiner Lehrverpflichtung nicht nachkommt. Tagungen, die mindestens drei gleichzeitig in verschiedenen Räumen laufende sog. Panels organisieren, damit man bei jedem einzelnen Besuch weiß, das Doppelte von dem, was man gerade gehört hat, gerade auch verpasst zu haben. So schöne Sachen sind angekündigt. Die Realität wird grausam sein.

Es hat sich das so eingebürgert. So werden Tagungen massig organisiert. Wissenschaft funktioniert wie ein gutes Abendessen, wie eine Tischgesellschaft. Lädt man mehr als acht Leute zum Abendessen ein, bleiben ab der neunten Person alle diejenigen, die sich weder unterhalten haben noch was mitgenommen haben, an ihnen lief was vorbei. Glück gehabt, wenn ihr Kopf an so einem Abend nicht auf die Tischplatte knallte, betäubt waren sie schon.

Die Tagung in Luzern zur Bild- und Rechtswissenschaft wird wie eine internationale Automesse, wie ein Rindermarkt im Brasilien, wie die Eröffnung einer neuen Filiale von Hauser und Wirth oder wie ein Black Friday auf der Zeil. Also in Bezug auf Rummeln und Rauschen wird das Mist, weil betriebsam, allzu betriebsam. Content gibt es aber auch.

2.

Dem Neugierigen ist alles unendlich, der entdeckt in jedem Detail den Kosmos. Der Manische wird auch auf solchen Wissenschaftsschlachtfesten was entdecken können. Mir blobts allerdings a bisserl wie aufgetauter Rahmspinat. Portionen in mir protestieren gegen solche Riesentagungen. Ich meide extra schon das Oktoberfest und die Zeil - und dann sowas. Vor Massentagungen streikt mein Körper, der verschnupft und fiebert dann schlicht von selbst. Ich glaube mir, dass ich keine Angststörung habe, aber wer duzt schon seine Symptome? Habe ich mit Summkopf Parallelpanelexzesse konsumiert, als ob die Tagung Glühwein im Nieselregen deutscher Fußgängerzonen wäre? Habe ich.

Ich habe versprochen zu kommen, werde in so einer Form nur per Zoom teilnehmen können. Und für die Zukunft muss ich mir merken, von Anfang an nicht an solchen Massenveranstaltungen teilzunehmen. Ich muss es laut, lauter, am lautesten kommunizieren: Das ist nichts für mich. Die Kolleginnen und Kollegen können es gerne so machen, wenn ihnen das effektiv ist. Für mich ist das nicht effektiv. Ich komme da physikalisch und biologisch an meine Grenzen. Wie kann ich mit allen sprechen wollen, wenn die Gespräche gleichzeitig in zwei verschiedenen Räumen stattfinden? Wie kann ich Sabarish Suresh und Carolin Behrmann gleichzeitig zuhören? Wie gleichzeitig in zwei unterscheidlichen Räumen diskutieren?

Nach welchen Kriterien soll ich entscheiden, wenn ich verpasse und wem ich zuhöre? Man packt 3 Redner und noch Moderatoren in einen Rahmen von 90 Minuten und sagt denen, sie sollten 20 Minuten sprechen, damit es genug Zeit zur Diskussion gäbe. Kleine Mathematik, kleine Zahlen, kurz durchgerechnet. Passt schon.

Die Massenuniversität wirft tristes Elend auf. Ich habe es erlebt, dass man auf solchen Tagungen dann mit jedem drei Minuten spricht und am Ende Elf Kilogramm Tagungspapiere plus Tagungstaschen nach Hause schleppt, die man aufbewahrt, bis man sie wegschmeißt. Während solcher Tagungen komme ich mir vor wie jemand in den Schlussszenen von The Day of the Locust/ Der Tag der Heuschrecke (1975) von John Schlesinger. I would prefer to be Karen Black in Family Plot (Alfred Hitchcock 1976). Übertreibe ich? Ist der römische Kalender schon wieder in Richtung Rage gerückt?

Auf meine Kappe: Für solche Tagungen bin ich persönlich untauglich, da funktioniere ich nicht. Irgendwann will ich aber schon einmal wissen, wem diese Tagungen in der Form gut gefallen, wer sie in dieser Form genießt und wer meint, dass man in dieser Form mehr gewinnt und so mehr mit nimmt. Wir sterben eh alle und werden eh nicht fertig mit unseren Sachen.

3.

Fantastische Beiträge sind angekündigt. Ich würde gerne alle hören, mit allen diskutieren. Geht nicht. Was die drei Organisatoren in Luzern auf die Beine stellen, nicht nur mit dieser Konferenz, auch mit dem Aufbau eines Zentrums der Bild- und Rechtswissenschaft ist eindrucksvoll. Die Internationalisierung, die Modernisierung (endlich keine Vorträge zu der Floskel, dass ein Bild mehr als tausend Worte sagen würde), die Lässigkeit, mit dem das Dogma der Ausdifferenzierung und die Unterscheidung zwischen dem, was dem Recht eigen sein soll und was ihn fremd sein soll keine, aber auch wirklich keine Rolle spielen: eine Wohltat! Das ist eine ordenswerte Leistung, wie ein Befreiuungsschlag für die Forschung zu Bild und Recht. Wenn ich wegen der Größe der Konferenz randaliere, dann deswegen, weil das Ganze so gut ist - und weil ich dafür untauglich bin. Rumliegen macht ramdösig.

[bitter69uk]

“New York glitter-punk outfit The Voluptuous Horror of Karen Black began life as a near-death experience. Shortly before forming the band in 1990, front woman Kembra Pfahler was strangled in a brutal mugging and almost died. While recovering, battered and zonked on painkillers, she watched the 1975 horror movie Trilogy of Terror on television. The film stars Karen Black, the quirky cross-eyed actress whose wildly erratic career encompasses everything from some of the key American films of the 1970s (Easy Rider, Five Easy Pieces, Nashville, Day of the Locust) to mainstream Hollywood schmaltz (Airport 1975) to obscure straight-to-VHS exploitation / horror dreck. In Trilogy's best-known segment, Black is stalked by and eventually possessed by a cursed malevolent Zuni fetish doll which has come to life. [SPOILER ALERT] It concludes with a final jolting image of the now-crazed and murderous, knife-wielding Black grinning blank-eyed and maniacal to the camera to reveal a mouthful of razor-sharp teeth identical to the Zuni doll’s … In her traumatized state, that savage and disturbing image -- combined with almost dying -- made a powerful impression on Pfahler. Inspired, she would blacken out her teeth, conceal her natural fine-featured beauty under cadaverous make-up and take to the stage clad in little more than a pair of thigh boots and a coat of body paint. Pfahler’s look can suggest a character from a John Waters film given an “ugly make-over”: think of Divine as the acid-scarred Dawn Davenport in Female Trouble (1974), an image which seems to anticipate TVHKB’s twisted glamour. Like Divine before her, Pfahler shaves off her eyebrows and shaves back her hairline to accommodate her extreme eye make-up. “I want to be both very beautiful and very repulsive,” Pfahler would explain to The Toronto Star in 1994.”

/ From my own blog post “The Voluptuous Horror of Karen Black at Meltdown Festival 10 August 2012” /

Born on this day 62 years ago (4 August 1961): California girl-turned-NYC provocative performance artist, Cinema of Transgression actress and Voluptuous Horror of Karen Black voodoo-dolly singer Kembra Pfahler. Photo of Pfahler by me!