Amazing set of photos of NYPD 1978-81 by Jill Freeman here:

http://www.higherpictures.com/Exhibition.aspx?c=44

Super Cops comic from 1974. Apparently only one issue was ever printed by Red Circle, then also responsible for Archie. A single story from the comic, "2 to Get Ready and 4 to Go," is reprinted here:

http://drmonkeyretroblog.blogspot.com/2010/12/have-super-cop-christmas.html

"[Moviewatching is like] the ride through the air with the devil Asmodi who strips off all the roofs, bares all secrets."

Hugo Von Hofmanstafl, "The Substitute for Dreams" [trans. in German Essays on Film]

Qtd. In Kracauer, Theory of Film, p168.

“The history of the horror film is also a history of flat repetition with the most minor of differences — of shark attacks that only inspire bear attacks. But when we shift away from trying to identify the subject positions, radical or otherwise, of that horrible content, we find the basis for a new kind of political reading, one sensitive above all to how films refract an economic and social order that constantly produces swelling mass of the unwanted pressing up against the edges and into the foreground. It is this horror, that of the secondary material that refuses to quit the scene or do its job, that deserves to be defended and elaborated. To move away from allegories of horrible content with their emphasis on identifying who might be radical is to encounter a revolutionary dimension to the political reading of horror films. What at last comes into focus is the insurrectionary prospect of the background coming monstrously into its denied prominence”“The history of the horror film is also a history of flat repetition with the most minor of differences — of shark attacks that only inspire bear attacks. But when we shift away from trying to identify the subject positions, radical or otherwise, of that horrible content, we find the basis for a new kind of political reading, one sensitive above all to how films refract an economic and social order that constantly produces swelling mass of the unwanted pressing up against the edges and into the foreground. It is this horror, that of the secondary material that refuses to quit the scene or do its job, that deserves to be defended and elaborated. To move away from allegories of horrible content with their emphasis on identifying who might be radical is to encounter a revolutionary dimension to the political reading of horror films. What at last comes into focus is the insurrectionary prospect of the background coming monstrously into its denied prominence”vv“The history of the horror film is also a history of flat repetition with the most minor of differences — of shark attacks that only inspire bear attacks. But when we shift away from trying to identify the subject positions, radical or otherwise, of that horrible content, we find the basis for a new kind of political reading, one sensitive above all to how films refract an economic and social order that constantly produces swelling mass of the unwanted pressing up against the edges and into the foreground. It is this horror, that of the secondary material that refuses to quit the scene or do its job, that deserves to be defended and elaborated. To move away from allegories of horrible content with their emphasis on identifying who might be radical is to encounter a revolutionary dimension to the political reading of horror films. What at last comes into focus is the insurrectionary prospect of the background coming monstrously into its denied prominence”

"The American people haven't made up their minds what they want cities to be. They don't know how much agony they want cities to go through. They have to ask themselves: do cities represent an important national resource? And if so, they have to support them."

Robert P. Rosell, Director of Community Development Commission, Detroit. Qtd in "Detroit Struggles to Save Itself, " by Susanna McBee, Washington Post, February 20, 1973, A12.

RED SQUAD is a 1972 documentary, made under the auspices of Martin Scorsese's NYU production class, that seeks to document the police surveillance of protest and activist groups.

http://www.psfp.com/redrevisited.htm

From CINCINATTI Magazine, an article detailing how downtown renewal projects make Cincinatti's downtown ideal for... people. The implication being that the downtown core was perceived to, or actually was, absent of people. This seems to be a fairly prevalent presumption in the 1970s (see Arendt's review of Illumintations etc.)

[Magazine accessed via cover browser archive)