The Yard: Vol 13 Issue 2

the yard volume 13 issue 2

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Table of Contents

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“Everything is us, now we up:” How an Album is Honoring Tulsa’s Massacred Black Wall Street

Flat Spell: A Look at Local Bands

The Revival of Indie Sleaze

Resurgance of Film Photography

Letter from the Editor Renaissance, rebirth and abundance.

These words were our inspiration behind the winter issue of The Yard.

Hopefully, captured in this issue, is a surplus of warmth, community and rest that manifests on the brink of new beginnings. As ever, this issue is a collective outpouring of the student body’s collective interests and artistic explorations. Reflected in this issue is the opposite of winter’s connotation of bleakness and isolation. Here you will find our contributor’s focus on resurgence, rebirth and revitalization on an array of subjects.

Each time our staff and volunteers come together to create a new issue I am further impressed by the talent that comes together to produce The Yard. This is especially true with the Renaissance issue. This issue’s look into renewal through maximalist and minimalist lenses has made for a magazine that is both visually beautiful and insightful in its content.

So, reader, I trust you’ll take the time to read the thought-provoking writing and observe the carefully curated photography in this issue. And, as we live out the last of the winter months, I anticipate that the feeling of rejuvenation conveyed through our work will carry you through to spring.

Finally, as we present you with this magazine and begin work on the next issue we hope to continue to act as a mirror for our student body. Please, reach out with feedback about our content and if you are eager to contribute to The Yard, visit us in the Stern student center, find us on Instagram @cisternyardmedia or reach out to our staff.

Enjoy the Renaissance issue, Lara O’Dell Editor-in-Chief The Yard

contributors page

Models

Graphic Design

Elizabeth Smith Lyn Marler Maya Everett-Wilson Tatum Shepard Jeslyn Vo Dare Adams Ember Furtick Nyemma Drakes Areito Bryant-Avilés Inés Carrillo-Marquina

Camila Carrillo-Marquina Alix Averitt Lara O’Dell Devin DeHollander Blakesley Rhett Charlotte Ottaino

Lighting Jack Rivers Noah Hammett

Writers

Photographers

Sarah Thomas Joey Izzo Eva Neufeld Caroline Churchbourne Bella Case Max Meyers Katie Steffke Blakesley Rhett

May Lebby Thompson Alix Averitt Camila Carrillo-Marquina Charlotte Ottaino

Meet the Staff

Alix Averitt Creative Director

Madison Como Managing Editor

Lara Odell Editor in Chief

Camila Carrillo-Marquina Head of Photography 9

Devin DeHollander City News Editor

Blakesley Rhett Features Editor

Anna Rowe Opinions Editor

11

The Yard’s Crossword

By Eva Neufeld and Lara O’Dell

Across

2. Coke or Pepsi 5. large and flightless bird 7. put icing on a cake 9. old fashioned way to say speedy quick 12. light as a 13. holiday drink 15. flower of romance 18. the President Hsu of Hogwarts 20. orange, purple, and green 24. two-wheeled transportation 25. volunteer part-time as a jouster 27. renaissance themed festival 28. Beyoncé’s most recent album 31. found on thanksgiving plates and renaissance faire grounds 33. “Where Democracy dies in Darkness” 38. zodiac born in the heart of winter 39. little loops sometimes around hair 40. catchphrase on the back of The Yard 42. break in school and court 44. place for paper or plastic 48. review a piece of writing 49. the person next door 52. safari animal and also a place to grab coffee before class 54. right now 56. wealthy Italian art family 57. site of Napoleon’s final battle 59. the narrator of out planet; David __ 61. DJ 62. nickname coined to Charleston, SC

Down

1. reads the same back to front 3. the theme of The Yard’s last issue 4. the most magical place on Earth 6. stomped on 8. dried citrus for holiday garland 10. Charleston natives 11. needed for making bread; eg. sourdough 14. Earth and Mars 16. shopping center on campus with classrooms instead of stores 17. egg pie 19. old style from of communication 21. New York Times category game 22. no longer divided 23. a person of many talents 26. “The Glass ___” by Tennessee Williams; collection of figurines 29. falls in the winter 30. a nutty group 31. grocery store for a regular fellow 32. opposite of hide 34. needed for making bread 35. star of YOU 36. poem about being tormented by a beating organ 37. when a snowman turns into a puddle 41. writing utensil 43. “Birth of Venus” artist 45. virtually sync 46. sound a dog makes 47. a cool shroom 50. heroic orphan 51. not a dog 53. one that idles or also bread 55. second place 58. jousters weapon of choice 60. holds your head on your shoulder

“Everything is us, Now we up”: How an Album is Honoring Tulsa’s Massacred Black Wall Street

By Eva Neufeld

Hip Hop tells stories of lived experiences. It provides a way to express emotions— ranging from revenge to resilience. It builds community. Listening to a song and looking around seeing that everyone is bumping their head and tapping their foot to the beat is such a powerful thing. This sense of solidarity is what Dr. Stevie Johnson, the producer and songwriter also known as Dr. View, attributes to his decision to start DJing in 2009. Dr. Stevie Johnson’s latest project is the impassioned album known as “Fire in Little Africa” (FILA). This album tells the story of what happened in the Greenwood district of North Tulsa, Oklahoma (also known as Little Africa) in 1921. Within the first few weeks of Dr. Kenneth Johnson’s “Fire in Little Africa” course, his students learned that there are five pillars of hip hop with the last pillar being a “knowledge of self.” Knowing of self includes understanding the hidden histories of one’s community and being well informed and aware of the social and moral principles that inspire hip hop as a way to combat contemporary oppression. During his visit at The College, Dr. View said that the reason he developed FILA is because there are Black wall streets all around the world. The Tulsa Race Massacre sparked a fire that burned in Little Africa; those flames have now spread, and as written in the last song on the album “Young & Free,” a new fire is burning.

The Tulsa Race Massacre was the violent destruction of a prosperous Black town, also known as “Black Wall Street,” at the hands of a white mob. Black Wall Street was a wealthy and thriving residential area built and sustained by black businesses. The mob slaughtered hundreds of people and more than a thousand homes and businesses were burned down. Jealousy and anger at black success fueled the white population of Oklahoma to commit such treacherous acts of racial violence. It was an act of terrorism. According to an Oklahoma Commission Report, aside from the lives lost, the financial toll and loss of property of the Massacre amassed to $1.8 million at the time and would be around $27 million today. No direct reparations or restitution by the federal, or state, government have been given to the Black people of Tulsa.

The Tulsa Race Massacre is believed to be one of the worst incidents of racial violence in American history. But even before the Massacre, Oklahoma was on the edge of the precipice; the years before the Massacre was the Red Summer of 1919. The Red Summer of 1919 was a trend of racial violence all around the country that built up to the 1921 massacre. This outbreak of racial violence lasted the whole year, peaking during the summer months, and plagued more than 48 cities with Black deaths. As with the Tulsa Race Massacre, the government did not intervene.

In 1919 on May 10th, a white mob (consisting of US Navy sailors) in Charleston began violently rioting, killing six Black people and injuring many more. The Red Summer, a period of anti-Black terrorism, started the long process of public demands that the federal government intervene in racist attacks. These summer attacks and the failure to garner governmental support and repercussions set the stage for the violence of the Tulsa Race Massacre. In the immediate aftermath of the massacre, the victims and survivors saw no reprieve. Oklahoma declared martial law and local authorities in Tulsa disarmed and arrested Black people, moving them to internment camps. In these prison camps, thousands of Black Tulsans, now homeless, were forced to live in tents, while government officials gave no money to help Greenwood rebuild. Rather, the officials actively obstructed the rebuilding process, even going so far as to reject medical and reconstruction assistance from outside Oklahoma. To this day, no one has been held responsible for the violent crimes, and city and state officials still attempt to cover up the massacre, as they have done for decades. This is where Dr. View and his team came in with the creation of the album “Fire in Little Africa,” bringing attention to the injustices that were committed in Greenwood and a call for solidarity against future violence.

“Fire In Little Africa” is a multimedia hip hop project that pays tribute to the lives lost in the 1921 Massacre and introduces Tulsa’s flourishing hip-hop culture to a world wide audience. The whole album took only five days to record in March 2020, meaning that the album was recorded right before the COVID pandemic shut down the nation and the Black Lives Matter protests began. For four days, it was recorded at the Greenwood Cultural Center, an educational space that exhibits local African American culture. The artists also recorded one day in the Brady Mansion. The Brady Mansion which was once owned by Tate Brady, a prominent member of the KKK, is now owned by Tulsan Felix Jones. The use of such an important community space, and the reclamation of a space that holds such negative energy, was extremely powerful in the creation of the album that guides the listener through the history of the Tulsa Race Massacre. Beginning with the first song on the album, “Elevator,” which sets the backdrop of the racial tensions and explains what actually happened in the elevator that sparked the massacre. May 30, 1921 a young black man named Dick Rowland got into an elevator with white woman Sarah Page. Tragedy ensues. Sarah Page screams, Dick Rowland runs, and the city of Greenwood has felt the impact since. The Tulsa Tribune, the city’s newspaper, reported the next day that Rowland had attempted to rape Page. It did not take long for hundreds of white people to gather at the courthouse where Rowland was being held by police. The first shot rang out when a large group of Black men, primarily World War I veterans, went down to the courthouse and offered up their services to protect Rowland from the mob. The officers declined their help, and as they were leaving, a white man tried to disarm a Black veteran and the riot officially began. In the next hours thousands of armed white people gathered and began destroying houses and murdering innocent people. Mobs participated in drive-by shootings and setting fires to Black houses and businesses. The invading white mob waged total war on the Black community of Tulsa. Black Tulsans fought hard to protect themselves and their homes and businesses, but in the end, they were simply outgunned and outnumbered. By the time that National Guard troops arrived in Tulsa on the morning of June 1, most of Greenwood had already been set aflame. The flames of Greenwood became the fire behind the artists of Fire in Little Africa.

The hip hop artists of “Fire in Little Africa” have taken over the narrative of this event and assumed the important role of telling the true history of Tulsa by sharing the stories of their ancestors. The album was created as a way of commemorating the centennial of the Tulsa Race Massacre. Dr. View wanted listeners to honor the resilience of Tulsa’s Black Wall Street and have the album shed light on the artists of Oklahoma hip-hop communities, and their long overlooked stories.

The project is made up of more than fifty rappers, singers, producers, and creatives. All the artists featured on the album are from Oklahoma; this was done in order to truly uplift the stories of the people directly impacted by the massacre. The artists heard on “Fire in Little Africa” communicate the truth through hip hop, recalling stories passed on to them in an aim to usher in a new era for Tulsa. These creators help the community in Tulsa, and beyond, process their generational trauma through rap music. Steph Simon, one of the lead rappers of the album and a Tulsa native, works actively to reclaim Tulsa’s dark past. He often refers to himself as Diamond Dicky in his songs, a nod to Dick Rowland, in order to embrace his ancestry and ensure that by channeling Dick Rowland and remembering the background to the massacre, the past won’t be repeated. In the first song on the album “Elevator,” Simon’s verse starts with him rapping, “Diamond Dicky, I’m the narrator.” By enacting his agency and inserting himself in the lyrics, he reclaimed the story of his ancestry. “Fire in Little Africa” gave the necessary voice to the young hip hop artists raised in the space that holds 100 years of trauma. FILA speaks to all generations. It tells the story of the past, uplifts the voices of the present, and educates the future on what has occurred in Greenwood.

The “Fire in Little Africa” project goes beyond just the album; it includes a weekly podcast with rotating guests that discuss the creation and production of the songs on FILA. The podcast features the artists on the album and other relevant voices in hip-hop, culture and social justice. In the first episode of the podcast, Dr. View says that FILA “[is] not even an album, it’s a legacy project that is truly going to transform how people look at hip-hop and how we’re truly transforming lives—trying to save Black and Brown folks, poor people, and people of color.”

More than a century has gone by since the massacre and this project is an important part of the transformation of Tulsa into its previous state as Black Wall Street. During his visit to College of Charleston, Dr. View shared the statistic that currently there is a 14 year life expectancy difference between North and South Tulsa. An Ohio University-led study supported this data claiming a huge imbalance between health resources between north Tulsa and south Tulsa. Recently, Tulsa’s News Channel 8 reported on the new opening of a black owned Urgent Care at East 50th Place North and North Peoria, which is in the heart of north Tulsa. Community activist Kristi Williams expresses her gratitude for the opening of the urgent care, especially with the notoriously giant disparity of life expectancy, saying that the community needed a 24/7 healthcare facility that helps individuals facing mental health issues and also for those that have addiction issues. The urgent care will begin to close the healthcare gap in Tulsa. Health disparity is not all Tulsa is facing. The legacy of the racial violence still runs deep and has perpetuated a staggering racial wealth gap. The racial wealth gap has widened in the last four decades, with white Americans now holding ten times more total wealth than Black americans. The average white household in Tulsa has $232,560 in wealth, meaning the average black household possesses just nine percent of the wealth of whites. According to the DuBois Cook Center of Social Equity at Duke University, the Tulsa Race massacre set in effect this loss of generational wealth across generations that contributes to the current Black-white racial wealth gap, with the white mobs having targeted the flourishing Black businesses. Other contributions to this wealth disparity in Tulsa, stem from systemic racism, including the discrimination in lending money for housing. The injustices in Tulsa are finally starting to receive the attention and reparations they deserve; however, the disparities, violence, and systemic racism Tulsa faced need to be addressed everywhere. Tulsa, Oklahoma is just one of many Black wall streets all around the world.

To learn more listen to the “Fire in Little Africa” podcast and read the book “From Here to Equality, Second Edition: Reparations for Black Americans in the Twenty-First Century” by William Darity.

Cinematic Rebirth: How a Sequel Can Revitalize or Ruin A Story

By Max Meyers

If you were to take a look at the numbers for the worldwide box office in 2022, the top three films are as follows: “Avatar: The Way of Water,” “Top Gun: Maverick,” and “Jurassic World Dominion.” That’s not to mention the slew of franchises and sequels that take up the rest of the slots, but a shared trait between all of these films: none of them are “original films,” they’re all sequels, reboots, or continuations of a familiar and franchised intellectual property (IP). In the case of “Avatar: The Way of Water,” the number of moviegoers that flocked to the theaters seemed to come out of nowhere. The original “Avatar” (2009) was consistently joked and memed upon as being a forgettable film despite being the highestgrossing movie of all time (a crown that was revoked in 2019 by “Avengers: Endgame,” only to be returned in 2022 when a 4k re-release ran in theaters).

However, in a shock to everyone, it destroyed box office predictions and raked in a whopping $2.3 billion worldwide (making it the third highest grossing film of all time). Somehow, this delayed sequel that came out 13 years after its predecessor revitalized a film that had all but been forgotten and left behind, or so we perceived.

What is this cinematic and spectatorial rebirth, why does it happen, and what makes or breaks one?

from China, you’d have to jump to 17th place before finding another film not based on famous IP, connected to a cinematic universe, or that is a biopic based on a popular famous figure. Perhaps it's out of a desire for nostalgia, familiarity and comfort in something already loved, but it’s clear that not only are lots of films being made right now falling into this category previously described, but it’s most definitely what is popular among audiences that go to the theaters.

That is not to say that this is all bad, as that would be a gross generalization; however, the way in which these projects are handled can determine the success or death of a franchise in more ways than just money. While in my opinion, movies are art first and anything else second, at the end of the day the film industry is still a business, and movies need to make money.

As a result, the formula that studios seemed to have stumbled upon is taking less artistic risks, and focusing more on projects that audiences will already have a stake and interest in prior to even seeing it as a way to ensure financial return on investment. However, it can sometimes feel like studios are a bit tonedeaf towards criticism of a film’s artistic qualities, Now more than ever, looking only at box office we’re seeing an almost and financial success The poster for Top Gun Maverick overwhelming majority of as a greenlight to make films that are sequels, reboots, nostalgia-bait remakes, more of the same that might lack in creativity and biopics, or films based on a famous IP or franchises. quality. Both “Jurassic World” and “Jurassic World: While “original” cinema is certainly out there and still Fallen Kingdom” each grossed over $1 billion at the box very prevalent and exciting, that’s just not what the office, yet the consensus from both audiences and critics masses are going to and supporting the most. Taking were mixed or poor. Despite that, it seems they didn’t another look at the numbers for the worldwide box take notes from audience reception, as “Jurassic World office in 2022, we see that the top 10 highest grossing Dominion” still contained similar issues, yet still grossed films of the year are all sequels or reboots. Omitting spot over $1 billion as well. To business executives, number 11 that is filled by a $460-million-grossing film these movies might be a success, but for fans and 19

Jurassic World: Dominion grossed over $376 million at the box office

movie-goers, they’re anything but. And for some reason, we fall for it every time, hoping to see a change in quality and being disappointed every time.

Following the money isn’t necessarily a bad thing everytime. As someone who constantly seeks out and loves all kinds of film, some of my favorite movies as of recent years have been sequels or films belonging to a franchise or popular IP. “Toy Story 4,” “Joker,” “Puss in Boots: The Last Wish,” “Glass Onion: A Knives Out Mystery,” “Top Gun: Maverick,” “The Batman, Spiderman: Into the Spiderverse,” and “Mission Impossible: Rogue Nation,” are just a few of my favorite films over the past 5 years, all of which are sequels, reboots, or stories connected to or based on a famous IP. However, to me these feel like the outliers that emphasize the power that a reboot or sequel can have; these films break the mold in a sea of mediocre and soulless corporate outputs. They care about storytelling first, and the business second.

Perhaps the best example in recent memory of two films that are nearly identical on paper yet completely opposite in terms of quality and revival power are “Top Gun: Maverick” and “Jurassic World Dominion.” Both are late sequels to 80s/90s classics (“Jurassic World

Dominion” is technically the third in a series of late sequels/a soft reboot to “Jurassic Park,” being the 6th in the franchise as a whole). Both bring back the same cast members and beloved characters from the original classics. Both are produced by huge corporate film studios: Paramount Pictures and Universal Studios, respectively. Both were grand slams at the box office, with each making over $1 billion worldwide. Both were released in Summer 2022. However, there couldn’t be a bigger difference between them in terms of quality and heart, with “Top Gun: Maverick” being the clear winner.

“Jurassic World Dominion” feels completely devoid of heart and an interesting story. The “villains” are not well written, the overall story was not too exciting and dialogue doesn’t feel well crafted, and there seemed to be a huge disconnect between this film and its previous sequels, tonally and narratively. Additionally, it lacks the excitement to feel like the grand conclusion it was marketed as, seemingly ending the “Jurassic Park” saga with this film. Bringing back the old actors was meant to be exciting and hyped, yet it fell flat, with the reunion ultimately not feeling as triumphant as it should’ve.

And overall, it’s just not very interesting. I remember writing in a review of the film that “you know there’s something wrong if Jeff Goldblum’s presence is the best part of a movie with dinosaurs,” which was meant as a

compliment to Goldblum but certainly not to the film.

“Top Gun: Maverick” takes everything wrong with “Jurassic World Dominion” and does it right, and then some. It balances exciting blockbuster spectacle with a great story and a ton of heart. The incredible scenes of pilots flying with real jets is unbelievably engrossing and thrilling, but it’s the story and characters involved in those sequences that keeps you interested and keeps the movie fresh throughout its over-2-hour runtime, not just the exciting visuals. “Jurassic World Dominion” tries to rely on exciting dinosaur sequences to engage the audience throughout its 2.5-hour runtime, but they’re devoid of any stakes or feeling because the overall movie itself is uninteresting and unengaging outside of that.

“Top Gun: Maverick” brings back characters from the original while developing new ones too, balancing the desire to see your favorites from the classic while still delivering on something new and worth sharing. And it perfectly calls back to many of the iconic moments and nuances that made the original special and memorable.

To me, “Top Gun: Maverick” is a prime example of a desire to further explore a character and story that deserves to be told, rather than wanting to make a sequel just for money.

“Top Gun: Maverick” was a late sequel that proved that it deserved to be made, that it wasn’t just soulless cash-grab. And by doing so, it revitalized the love for a decades-old franchise, not only in fans of the classic, but a new generation too that was exposed to these films for the first time. Almost everyone I know walked out of “Top Gun: Maverick” with an overall positive experience; I can’t say the same about “Jurassic World Dominion.” To me, that film killed the “Jurassic Park” franchise and delivered the final nail in its coffin.

The original “Jurassic Park” is still incredible and untouchable, but despite its box office success, there’s very few redeeming qualities about “Jurassic World Dominion,” turning off fans and killing the potential for easy growth of new ones. On the other side, “Top Gun: Maverick” achieved both general audience and critical success. Not only was it the 2nd highest grossing movie in the world, but it also achieved critical success as well, gaining 6 Academy Award nominations including Best Picture (and it won the award for Best Sound). The dichotomy between these two films is a key example on how cinematic rebirth can make or break a film, and ultimately a beloved franchise.

21

Movies are expensive. It takes hundreds, thousands of people to make a good movie, and sometimes artistic visions can demand millions of dollars to be spent. It makes sense that studios are weary of spending millions on a project with no guaranteed return on investment, but I believe that film is an artform first and business second, and risks deserve to be taken for the sake of good art (especially by studios with the money and financial security to do so). Some of the biggest risks in Hollywood, taking chances on new directors with wild ideas, resulted in some of the greatest films and filmmakers of all time. Perhaps it’s time for a new generation of icons to be given the chance for an artistic legacy like legends of the past.

Reboots, remakes, and sequels shouldn’t dominate the market. In a New York Times article written by Martin Scorsese in 2019 addressing his comments and opinions on Marvel films as “amusement park cinema,” he said that “if people are given only one kind of thing and endlessly sold only one kind of thing, of course they’re going to want more of that one kind of thing.” Right now, we see a dominance of one thing in the industry and in theaters: reboots, remakes, biopics, famous IP/franchise films, and sequels. A famous tweet that circulated quite a bit in May of 2022 was from @ mattsinger who shared a screenshot of all the showtimes for “Doctor Strange in the Multiverse of Madness” at the AMC in Times Square, with a grand total of 70 different showtimes in one day. Firstly, no movie deserves 70 showtimes in one day, and secondly, that’s an abundant amount of theaters being taken up by the same movie and thus taking theater space away from other movies. For the independent filmmaker looking for their big break, or even the artistic film from a critically acclaimed director or with a famous actor, it’s not only discouraging to see a film take up that much unnecessary space, but it presents a real and dangerous struggle for your film to make a profit (and thus a struggle for more original, unique, and exciting films to made). I love this art form and think that championing and financially supporting independent and “original” cinema is so important, now more than ever. We can say that we want films that are different from this overwhelming norm, but unless we get out and spend money on films like that, studios and the film industry as a whole aren't gonna hear us.

In a film class I took recently, we learned about the Hollywood New Wave, also known as the Hollywood

Renaissance. It was a film wave characterized by artistic freedom, finally abolishing the Hays Code in 1968 that censored cinema for decades. As a result of Hays Codes films not doing well, low attendance rates in theaters, and television becoming ever so popular, studios decided to take chances in young auteurist filmmakers, enabling lots of these young filmmakers to fully turn their visions into movies without a lot of studio control or interference. From this spawned what are commonly labeled as some of the most influential and critically acclaimed movies of all time, such as “The Godfather,” “Taxi Driver,” “Dog Day Afternoon,” and “Network,” to name a few. It was a cinematic rebirth in and of itself that revitalized interest in the movies again.

But like most movements, it did not last, ending in the late 70s and early 80s with the return of spectacle/ blockbuster cinema in “Jaws” and “Star Wars.” In the same way that audiences were bored of studio era films and wanted something fresh (resulting in the Hollywood Renaissance), people were bored once again of these art-films and wanted something new. Today, we’re seeing that now with this age of reboots and remakes dominating the market, yet its popularity and status in the eyes of the audience/critics is decreasing. People are bored of Marvel, Star Wars, biopics, remakes. There can only be so many cameos and crossovers before audiences just aren’t excited by it anymore. They want something new again.

Perhaps cinema needs yet another renaissance, like eras before. Despite the arguably negative era we’re in, it’s not entirely hopeless. Apps like Letterboxd expose many to a wider variety and diversity of films one might have never seen before, especially for more casual movie fans that wouldn’t normally stray from mainstream blockbusters. Sensations like “Barbenheimer” brought so many audiences back to the theaters like never before, supporting two incredible and artistically potent films that both embody the best quality of modern cinema: “Barbie” and “Oppenheimer.” Animation itself is already seeing its own rebirth with inventive and groundbreaking projects like “Spider-Man: Into The Spiderverse,” “The Mitchells vs. The Machines,” “Puss in Boots: The Last Wish,” and “Teenage Mutant Ninja Turtles: Mutant Mayhem;” these projects prove that there are more exciting and impressive things than Pixar’s hyper-realistic animation style, reinventing what the creativity of animation can and should be.

And recently we’ve seen a rise in independent film distribution/production companies like A24 and NEON

becoming more mainstream, each of which champion original mid-budget films and really push them to the masses. NEON made waves with their 2019 hit “Parasite” which took the world by storm and became the first international Best Picture winner, and has also gained significant reputation and recognition among filmmakers around the world, with their films winning the Palme d’Or at the Cannes Film Festival the last four years (the highest prize awarded here and considered one of the most prestigious film awards in the world) with “Parasite,” “Titane,” “Triangle of Sadness,” and “Anatomy of a Fall.” A24 has grown greatly in popularity, bringing independent films to mainstream audiences in incredibly effective ways, as well as gaining critical acclaim with one of their latest films “Everything Everywhere All At Once” which earned 7 Academy Awards including Best Pictures (after being nominated for 10). Through all of this, it’s clear that good things are still happening in the industry, and despite these reboots and remakes taking up such a huge space in the industry, these signs of ulterior greatness are promising, and I feel that this new renaissance of cinema is closer than we think, and will have a positive impact on the future of film and art as a whole.

FLA

SPE

by Alix Averitt

AT

ELL 25

I joined a local band at one of their studio sessions to sit down for an interview. Here’s what I learned.

In the heart of Charleston’s pulsating music scene, where the rhythm of the city intertwines with the crashing waves of the Atlantic, a band emerged, carving their path through their unique blend of rock and melodic indie. Ross Hamburger, Bobby Moss, Jake Riley, and Daniel Guy: the 4 names behind one of Charleston’s most loved bands, Flatspell. A group bound by their love for music and the captivating allure of the beach, Flatspell’s raw energy is not just heard but felt, making them an integral part of Charleston’s dynamic music scene.

Alix: Why Flatspell?

Bobby: At the beginning, everyone in the band surfed, but me, so surfing and the beach was one of the themes of the band. A flat spell is the term that means a dead ocean, not that many waves. So the idea was that when you’re not catching waves, you can come watch us play.

A name that echoes the ebb and flow of the ocean. Flatspell captures the essence of those moments when the waves retreat, leaving the ocean in a calm, flat state. The vision was simple: when the waves refused to dance, people could go watch the band perform.

Alix: When and how did you all start playing music?

Bobby: I had just joined the 5th grade orchestra. They showed us all the different kinds of instruments but one instrument they didn’t have was a big-stand up classical bass. I asked why they didn’t have that and they said it was too big. And I thought to myself ‘that’s gnarly, that’s badass. I want to play THAT instrument.’ And that was literally my thought process as a kid and I ended up falling in love with it. I switched to electric bass when I was about a sophomore in high school and stuck to it ever since.

In tracing the roots of their musical journeys, each member of Flatspell unveiled a unique narrative that converges into a harmonious collective. Bobby’s rebellious initiation into the world of music, sparked by the absence of the classical bass in his elementary school orchestra, set the tone for his passionate affair with the instrument. Jake, the rhythmic heartbeat of the band, received his first drum set as a Christmas gift when he was just 8 years old, following in the footsteps of his father, who was also a musician. Ross, the soulful voice behind Flatspell, discovered his vocal prowess in the first grade when a teacher noticed his distinctive voice. Danny, the guitarist, embarked on his six-string exploration as a young boy, guided by an early affinity for rock legends.

Danny: I’ve always loved rock and roll. Led Zeppelin and Ozzy Osbourne, man.

Alix: How did the band come to be?

Ross: There’s a lot to this story.

Alix: How did the band come to be?

The band’s formation involved several changes and additions over the years. It began with Jake, Bobby, Danny, and their 2 friends, Grant Matthews and Sam Cocolas, but they eventually parted ways. After connecting with another singer for a while, further changes occurred, and the line up shifted once again. The turning point came when Ross entered the picture as the lead singer, seamlessly fitting into the already evolving dynamic of the group. His incredible vocal range infuses the band with a distinctive sonic identity. With Ross at the helm, Flatspell found a renewed sense of cohesion and purpose.

Bobby: We all kind of assembled and then departed for a little bit, but then we found our way into the band that we are now.

Ross chimed in, recalling his pre-lead singer days when he attended one of Flatspell’s first concerts.

Bobby: Oh yeah, he was front row at one of our shows on Calhoun street!

Ross: I remember pulling Jake to the side and saying ‘dude you’re fucking insane at the drums and your chemistry is sick’ or something like that. I still remember that. That was my first interaction with y’all. I had no intention of being in the band, it just happened.

This intricate web of connections and chance encounters wove together the diverse talents and personalities that form the unique tapestry of the band’s history.

Alix: How did you figure out what you wanted to play?

Bobby: We didn’t start with writing songs. We kind of just started playing music. I would jam up an A and...

Points at Jake ...he would hit a little funker and Danny would start soloing.

Danny: A lot of it was classic rock.

Bobby: Right, it was all of our styles combined. Danny’s classic rock style, I like the Red Hot Chilli Peppers…the funk stuff. Jake like’s the 80’s.

Ross: It’s just a blend of improv really.

Bobby: That’s just how our sound kinda came out. It ended up being rock because I think that’s what it centralizes around but now that Ross is in the band, it’s a lot more melodic rock, kinda venturing into modern songs with an indie feel.

The seeds of collaboration sown even before the formation of the band continue to yield fruitful results today. The band is gradually phasing out covers and the members are enthusiastic about recording more original songs. This shift marks a significant milestone in their artistic journey, demonstrating a growing confidence and desire to shape

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Alix: What are your thoughts about having started this band in Charleston? Do you think this city has influenced you at all?

Bobby: 100% Jake: Absolutely. If we had started anywhere else, we would not sound like we do.

Bobby: All of that new excitement for music is making people want to go to shows and other people want to start bands and it’s creating other opportunities for people to start. Especially recently, Charleston has really been popping and that totally made it possible for us to play where we do. I mean we started playing frat shows just because people wanted to hear live music. And that alone says something about the culture of Charleston.

The burgeoning music scene here has played a pivotal role in shaping Flatspell’s trajectory. The recent surge of excitement for music has not only drawn more enthusiasts to shows but has also ignited a wave of new bands emerging onto the scene. From the rise of indie shows to the Boogie Man Festivals at Royal American, Charleston has become a breeding ground for musical creativity. Flatspell’s ability to thrive and find its audience was and is deeply intertwined with the city’s cultural evolution.

Finally, I asked the group if they had any pre-show rituals. Before hitting the stage, the band enjoys a shot together at the bar, often Rumpel. Danny spends some time listening to music, and they might do a ‘1, 2, 3 Flatspell’ chant.

Each member warms up in their own way, with Bobby often practicing scales.

Bobby: I usually see you tapping on your legs with your sticks.

Points to Jake Ross: I always see you in line at the bar.

Points to Danny Bobby: Yeah, probably talking to the hot bartender.

Jake: Or someone’s mom.

We all laughed.

Flatspell’s journey stands as a testament to the transformative power of collaboration, echoing the city’s heartbeat and leaving an indelible melody that lingers in the air. Each member of the group stands on the cusp of something extraordinary, promising a bright future for both the band and the music scene of Charleston. It is clear that their infectious humor and genuine camaraderie are the secret ingredients that turn their journey into an exhilarating ride- proof that, at heart, they’re just a group of boys having a blast making unforgettable music.

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The Hunger for a New Take on the Femme Fatal

A Look Into How Yellowjackets Modernizes the Traditional Archetype

By Blakesley Rhett

“Does a hunt with no violence feed anyone?”

A question a femme fatale is framed to ask at some point throughout the universe. The definition of a femme fatale categorizes a woman who is known for being the downfall, and possible death of any man who comes across her. Famed femme fatales throughout media include the primordial she-demon: Lilith, archaeologist and video game badass: Lara Croft, and the ever-monologuing “cool girl” mastermind: Amy Dunne from “Gone Girl.”

The femme fatale has been around for many centuries, directly translating to “deadly women” in French. This archetype was common in the West during the European Middle Ages and served as a heed of the dangers of unbridled female sexuality. Over time this character type was transformed into more of a fashionable figure and found an audience in the noir films of the post World War II era and has stayed a prominent figure of media in most American based films.

With much need for an updated look, the femme fatale archetype has been slowly transforming into a more modern and feminist version over the past twenty years. This has become evident with many films and shows deciding to take this archetype in a different direction, usually in the form of a no-nonsense woman who is often much more competent than their male counterpart, and is able to fend for themselves.

“Yellowjackets” is a 2021 American thriller television series created by Ashley Lye and Bart Nickerson. The series follows a high school girl’s soccer team who are stranded in the wilderness after the events of a plane crash in 1996. In an effort to survive a grueling eighteen months in the Rocky Mountains the girls turn to sinister acts to stay alive. The show flips back and forth between the 1996 timeline and the survivors’ adult counterparts in 2021 as they work to protect their secrets from their time stranded in the wilderness. .

The grisly and dark series is full of strong and deadly women, taking the form of the teenage and adult versions of survivors who will do anything possible to stay alive. Though not in exact correspondence with the original version of the femme fatale archetype, there have been similar characteristics and ideas projected onto the main characters in an effort to help formulate a modernized version of the femme fatale for the newer generations.

Perhaps one of the most well known scenes from the television series takes place in the pilot episode, directly after the crash. The survivors are all high school age and younger, with the only living adult being the Yellowjackets soccer coach; Coach Ben. Crushed under a wing from the plane, it is revealed that Ben’s right leg is mangled beyond repair, bone and flesh twisted and out of place. Without a second thought, team outcast Misty takes an axe from the wreckage and in one fatal swing chops Ben’s leg, saving his life while permanently maiming him. Not only does this act cement the fact that Misty (and later the rest of the team) is more than willing to do anything to survive, but it also creates an interesting dichotomy within the group. With the only adult of the group literally on his last leg, it loosens his authority figure as a man and as a leader, altering the traditional social hierarchy. Ben is basically confined to the camp, laying in bed and fantasizing about his life back home, leaving a space for a new leader to take their place. This leader comes in the form of Lottie, a member of the soccer team who is suffering from hallucinations due to her dwindling medicine supply. The girls soon begin to think that Lottie has a connection to the wilderness, believing that she somehow has

some sway over the environment due to her ability to see things others can’t and soon begin following her. This idea is interesting in itself as the group has seemingly turned their back to how normal civilization works, ignoring the patriarchy and instead taking a more holistic and traditional feminine approach in an attempt to stay sane and survive in the wilderness.

The idea of dangerous and deadly women continues as the girls begin to grapple with their sexuality, with many turning to the only age-appropriate male of the group, Travis; the head coach’s eldest son. Former team captain Jackie sets her sights on him in an effort to not die a virgin while stranded and makes her move during the “Doomcoming” party within the first season, seducing and having sex with Travis. Under the guise of spiked mushrooms, the rest of the group learns of this act and sees it as treason before surrounding Travis, running their hands over him in an act of seduction that quickly turns deadly as they pull a knife on him, forcing him to flee into the woods. Lottie urges the girls to give chase, and commence a hunt with Travis as their prey. Nat, whose high quickly wears off is able to stop them just in time, while Shauna has a knife to Travis’ throat; but the deed is already done. The girls realize that they have the power in the group, and the idea that they are the ones to be feared is circulating in the groups’ minds.

As the girls reject society, choosing to no longer focus on the past but instead the present and the will to survive, there is one outlier: Jackie. In the real world Jackie had it all: Team Captain, a loving boyfriend, and a full ride to college but in the wilderness she proves herself useless. Unable to let go of the past, she spends her time daydreaming and openly opposing Lottie’s newfound power, never being able to let go of what she had.

It is due to this fact that Jackie is killed in the season finale, freezing to death as she is forced to spend the night outside in the middle of winter. This is to be considered the first death at the team’s hands as Jackie moved outside in response to her fight with her former best friend Shauna, with the rest of the team turning on her knowing she is no longer a leader. The death of Jackie not only represents the girls first blood on their hands, but also their rejection from society, their rejection of the people they once were and their full turn to their deadly and bloodthirsty ideals.

The most shocking scene of the show happens in the first part of season two, when what had been all but confirmed finally came to fruition and the Yellowjackets’ biggest secret was revealed: to survive they turned to killing and cannibalizing

members of their own tribe. The first victim is none other than Jackie, whose three months frozen body was mysteriously steamed during her cremation, drawing in the starving team. The scene is expertly crafted, switching between the grisly scene of eating their former team captain’s flesh and an imagined scene of the team dressed in elegant ancient greek garb, sitting around a well dressed banquet table. This act shows how far the group has fallen, truly settling into the new idea of a femme fatale who is willing to get their hands dirty just to live to see another day. The team has fully left their original lives behind, digging into Jackie’s corpse like rabid animals as they finally accept the wilderness. The juxtaposition is shocking, switching between the two scenes as the girls dig into their meal, laughing and smiling deliriously as they realize that they “won’t be hungry for much longer.”

The team of Yellowjackets all embody different qualities of the traditional femme fatale, from Jackie being seducing, Shauna being independent, the self reliance of Taissa, Van being expressive about her sexuality and ambition, the dark past that Natalie hails from, the mystery of Lottie, and the manipulative and deceit found in Misty. What differs these characters from the traditional take is that they are taking the front seat as the protagonists of their story. They are not tucked into the box of side characters who serve only to seduce and trick the male main characters they are at the forefront of the story, allowing their characters to be explored and grow, crippling with what the wilderness has turned them into and going on to try and put the past behind them.

What makes “Yellowjackets” successful is the characters themselves; the audience empathize with their situation because they feel real. They make mistakes and regret actions, they grow and change like real people would, they look back on themselves and consider if they made the right choice. There is a depth to these characters not often portrayed in young women on screen, a depth that draws viewers in.

At the base of it all, “Yellowjackets” tells a story, a story that seems unthinkable but could happen in reality. It tells that if pushed to the brink, a person will do anything to survive, and that may be the scariest truth of all.

Indie Sleaze

By Isabella Case

While the winter wind is breezing through our city streets, the fashion world is buzzing with excitement over the revival of a distinctive mid-2000s trend: Indie Sleaze. Winter 2023 breaks free from the original movement, combining long-established trends with a modern edge. This season we should expect an array of fur, vibrant tights, long layers, and metallics to take center stage, defining the avant-garde landscape of winter fashion.

Fur Extravaganza

Fur, generally equated with luxury and opulence, is making a grand comeback in winter ‘23. However, this time, it’s not just about the fur coat. Indie Sleaze is about pushing boundaries, so expect to see fur in unexpected places: hats, collars, gloves, and even footwear. As thrifting has become a popular way to acquire one-of-a-kind pieces, don’t be surprised to see real fur this winter: while the debate surrounding real fur is ongoing, the context of sustainability provides a unique insight. The tactile and visual richness of fur adds a touch of extravagance to every outfit, making a bold statement against the backdrop of winter’s usual muted tones.

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A Riot of Hues

Indie Sleaze reminds us that winter doesn’t have to be neutral and somber, and colored tights are here to prove just that. Tights have become a canvas for self expression. Neon pinks, reds, electric blue, and deep purples are here to replace the traditional black and gray. The mantra of Indie Sleaze is one of fearless experimentation – a call to infuse winter attire with a sense of playfulness and individuality. Picture a daring fusion of contrasting colors, where vibrant tights are paired with unexpected textures and patterns.

Shimmer and Shine

Winter 2023 is embracing the futuristic allure of metallics, adding a touch of glamor to the Indie Sleaze aesthetic. Metallic fabrics in silver, gold, and bronze hues are finding their way into everything from jackets to skirts, creating a dazzling effect that captures the essence of rebellion and sophistication at the same time. The juxtaposition of metallics with the cozy textures of fur and knits creates a captivating visual dynamic, proving that winter fashion can be both edgy and elegant.

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Icy Combinations

Indie Sleaze is synonymous with an artful blend of textures and fabrics, and layering is the key to achieving this effortlessly cool look. Chunky knits, sheer fabrics, and leather are combined to create visually compelling outfits that provide both warmth and style. Oversized sweaters paired with delicate lace, or a leather jacket thrown over a flowy dress – the possibilities are endless.

The layering trend not only allows for creative expression but also provides practical solutions for staying warm in the chillier months.

The winter of 2023 emerges as a season of sartorial rebellion, with Indie Sleaze leading the charge. The return of fur, colored tights, layers, and metallics is not merely a revival of past trends but a bold and audacious statement challenging the status quo.

As we embrace this eclectic mix of vintage and contemporary elements, the streets become a runway for self-expression, encouraging individuals to break free from the shackles of conventional winter style. This winter, unleash your inner rebel, and let the Indie Sleaze fashion movement guide you through a season of style exploration and experimentation.

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A sation r e v Con What is ECO? ECO Runways is an organization that hopes to be the “met gala” of sustainable fashion while keeping the United Nations Global Goals at the focus of their values. ECO initially was an accident, but then went on to become a front pillar to the sustainable fashion movement in Charleston and with expansion plans in New Jersey and Colombia. The director, Ari Demboksi, delegates what is known as “Green Event Planning” while creating an inclusive and safe sustainable space for models to work within. With representation for tattooed, plus-size, non-binary and differently abled models, ECO is a platform for underrepresented communities in this marginalized, cut throat industry. She wants every model to feel seen, heard and respected.

Ari makes sure to accommodate any models with disabilities, executing check-ins, offering transportation, and furthering her knowledge on any disability that was relayed to her. She did this not only for the models but guests in attendance of the show as well. When she found one patron would have a wheelchair she readjusted the entire floor plan making it entirely accessible. Ari hopes to further elevate ECO in terms of accessibility and sustainability.

She wrote literature explaining ECO’s values and what it means to further the eco-friendly movement. Her written explanation goes over their values including goals, sustainability, slow fashion, fast fashion, and what it means to be a part of the team. Ari’s top goal is to promote circular fashion. Not only does ECO support and launch models into their careers but it allows the same opportunities for photographers and stylists involved giving them enough exposure for their first big break and allowing them to level up in their career. ECO is truly diverse and finds uniqueness in anyone involved allowing them to find a sense of community amongst one another. It’s an innovative approach to the fashion industry whilst supporting our Earth.

To understand ECO more, I interviewed Weezie Krawcheck, the CFO of ECO, and Codi Meree, the person in charge of model mangament and recruitment for the organization.

How did you get involved with ECO? Krawcheck: After that show’s success, I took on a more financing and management based role, which evolved into my current role as it stands — CFO and Model Manager.

What makes ECO stand out?

O C E h t wi s y a w n u R

Krawcheck: ECO is about community and expanding the original conception of what beauty is. I’ve never come across another collective within this industry that solely focuses on building their models and stylists up, rather than asking them to engage in competition and comparison. Everyone on the ECO team understands that the boundaries of beauty, art and fashion need to be pushed in a more open and sustainable direction, and we each have found a niche role within the overarching goal.

Meree: I had never been exposed to the concept of sustainable and environmentally conscious fashion. ECO showcases different scales of designers who all share the same goals and ethical practices under the same roof.

Not only does ECO stand on its environmental impact we are conscious of our social impact… which leads into what makes an ECO model.

What does the future of ECO look like?

Krawcheck: While we will continue with our Charleston-based vintage runway shows at South Carolina Society Hall, we all look forward to our shows in different cities and countries. We know that what we created will be well received wherever we choose to go, and we now have a foundational springboard based on our success in recent runway shows, partnerships and photoshoots. Additionally, as I work to develop ECO’s new modeling agency. We know what we’re looking for in models, and it feels like the right time to establish stronger ties with those who we’ve loved working with throughout the last few shows. We want to expand the perception of what beauty is, and plan to feature a variety of differently-abled, diverse and plus size models within our first agency class. Most importantly, we want to choose models who have personalities aligned with ECO’s goals and mission. We care about changing the world in a variety of capacities, not just about disrupting the modeling industry, and we need a group of creatives and activists on our side to help bring all these dreams and more to fruition.

What is an “ECO Model”?

Meree: We all deserve to feel valued in today’s world of fashion. An ECO model embodies eco-friendly, sustainable, and social values within fashion. With that comes ethical production, consideration, and ultimately a confident, strong individual who should always feel proud and comfortable in their skin.

Resurgance of Film Photography

By Joey Izzo

In a growing world full of digital devices, with high-resolution cameras right at our fingertips, why has film photography made a resurgence? Shooting on film is a process prone to many errors, to say the least. Decades-old analog film cameras are wearing down over time as there is very little new supply to meet an increasing demand. Film development is both expensive and time-consuming. So why have newer generations dusted off their grandparents’ 35mm cameras and revived a market that essentially died right after the turn of the century? Compared to the convenience of digital as well, what makes shooting on film so special? What makes film photography an art form worth reviving?

To answer these, first, we must briefly go over the history of film photography with its beginning, rise and fall. Photographic film was introduced on a consumer level back in 1889, and the first 35mm format film was made available by Kodak in 1909.

By 1913, 35mm cameras were beginning to be made available to consumers. Leica popularized the format in the 1920s with the introduction of their higher-end 35mm cameras. For the rest of the 20th century, shooting on film became the predominant way to photograph. It was the introduction of digital cameras to consumers in 1988 that would be the beginning of the end.

By the late 1990s, digital cameras were becoming more affordable and available to the public. Film cameras were still the predominant way people were photographing, with the highest peak of film camera sales in history being in 1998. By 2000 as digital sales began to increase, cell phones with built-in digital cameras were introduced, with film sales beginning to heavily decline. By 2005 sales reached almost zero, and in 2006 Nikon announced they would stop manufacturing most of their film cameras to focus on digital. By 2010, film sales were less than 10 percent of what it was during its peak. Many camera companies went bankrupt or exited the market completely Photos by Joey Izzo such as Minotla in 2006, Polaroid in 2008, and Kodak in 2012. From a market standpoint, film photography was essentially dead, with only enthusiasts left behind.

In the past three to four years though, something peculiar has happened. Film sales in 2019 doubled from its lowest point back in 2009. A study from Ilford, a well-known film manufacturer, found that 60 percent of current film users had only just started using film within the past five years, with 30 percent of current film users being under the age of 35. Nowadays, companies like Kodak can’t keep up with the demand for film cameras.

It’s safe to say that film photography has risen from the ashes, but what factors brought about this rebirth?

With as long as film photography has been around, a nostalgic factor associated with the medium can’t be denied. It’s multi-generational, and many either grew up with it or have seen their parents’ old glossy-developed photos. Either through the use of a 35mm or a point-and-shoot, many wish to replicate that nostalgic feeling through their photos. That feeling of not knowing how what you took is gonna turn out, and finally getting them back is a nostalgic shared memory for many. Reliving those old experiences is something shooting on film provides.

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The rise of the vintage aesthetic within the past decade can also be factored into the resurgence of film photography. The look of film photos plays the biggest factor regarding this aesthetic. People love that vintage look film photos provide, which is usually due to film grain. Generation Z specifically has latched on to this aesthetic. It’s been a trend for this generation to integrate older technology into their lives. From vintage clothing to vinyl records, cassette players, and now film cameras, it’s an aesthetic that’s ever-growing in popularity.

I wanted to get someone’s perspective who is not only very familiar with the industry, but who has experienced the rise, fall, and resurgence of the medium firsthand. I couldn’t think of anyone better to ask than Larry Peterka, owner of Prism Photo and Framing across the bridge over in Mount Pleasant. Larry has been in the photo processing and printing business since 1981 and has been in the Charleston area since 1983.

What was it like working in a photo lab during film photography’s glory days?

Peterka: “In the early 1980’s, that would’ve been the glory years of the one-hour photo business which is what I was in specifically. A big part of the novelty was watching pictures come down the shoot in front of you while you stood there outside the window in the lab. To allow for the processing to be seen while you’re standing there was a big deal.”

When did you start to notice film photography beginning to decline?

Peterka: “There were different declines depending on what your particular circumstances were. As independent lab owners, our declines were first impacted by the industry of large big boxes such as Walmart coming into the one hour photo business. Overnight, they had thousands of one hour photo labs. That diluted the market quite a bit. That would’ve been in the 90’s. When digital came along, it was a very tough transition because it was very expensive equipment for not necessarily great returns.That would’ve been in the early 2000’s. And then really the final real impact (that) occurred would’ve been when the iPhones started taking hold. People started using an iPhone to take pictures, which did not lead to as many pictures being printed. So that pretty much impacted everyone in photo processing. Certainly, the iPhone I would stay had more of an impact than just changing from digital.

Digital was more of a transition period. iPhones really just took away a lot of the bread and butter business for a lot of labs, including the big boxes as well. iPhones didn’t really have a real impact until early 2008. It was not an overnight thing, but certainly by 2015 that was a pretty big impact.

By that point, a lot of labs had gone out of business. The film side of it had drastically (declined). At that point we had lost close to 99% of the film business. Labs that were more film-centric, they were pretty much devastated” When did you begin to notice film making a resurgence?

Peterka: “Pre-COVID we started seeing an increase. (It was) not overnight. It was just a gradual increase, instead of declines we were seeing more interest. But it certainly wasn’t over the top. I think COVID pushed the interest, people had more time on their hands and were looking for something to do. COVID had a big impact on that.

It’s just steadily increased since then.”

Why do you think film photography has made a resurgence, and why has it become popular among younger generations in recent years?

Peterka: “I guess it’s (that) people are tired of just using their phone for everything. They want something more tangible. Just a throwaway camera (gives) a more real-looking photo. When you have to wait for them to get developed, I think it’s a different experience. People seem to like the look. It’s hard for me to understand because I’m older. I’ve kind of gone full circle on a lot of these things. I thought that film would’ve been pretty much finished some years ago. For us old-timers, it’s kind of a curious thing.”

Peterka: “I would say sixteen to twenty-five”

In an effort to get some other perspectives on the resurgence of film photography, I reached out to a few of my classmates and past students who’ve taken Intro to Film Photography to get their thoughts:

Where do you see the industry and medium headed in the future?

What interested you in taking a film photography class?

Peterka: “To how long it will have legs, it’s kind of an expensive hobby, that’s a hard one to call. I have no real feel whether this is a year, two years, five years (with) how long people will stay interested in it. I think a lot of it has to do with disposable income. It’s very similar to vinyl records, whether or not people can really afford it long term because of the expense factor.”

Jessica Seifert: “I want to do photography as my profession. Since taking it, I love it. It’s such a different experience from digital”.

What’s the most common age demographic of people you see who come in to get their photos developed?

Do you personally prefer to shoot on digital or film, and why?

Peterka: “I haven’t used my film camera in 6 (to) 8 years.

The type of photography that I do (landscape), I think is more compatible with digital. It’s not cost-effective.

I don’t have the time, the scanning side of it very much would slow my interest.”

What makes film photography so beautiful to some?

Peterka: “It’s very individualistic. Maybe it’s the idea that film makes you feel like you’re a little different than someone who’s digital. Maybe you’re getting a look for the feel or an effect that couldn’t be replicated with a digital camera”.

Charlotte Ottaiano: “I had only worked with digital in the past. It’s such a different style in its own way.”

Why do you think film photography has made a resurgence?

Jack Jemison: “The people who (now) have the access and resources to get into the hobby have never had exposure to anything analog. So there’s kind of a sense of wonder in that process since we’re so used to the ease of digital.”

Josie Shostak: “I do think it’s become re-popular because it’s considered niche and hipster and a lot of the art community is that kind of community. I feel like film photography has become the niche thing the way vinyl did with music”.

Have you noticed our generation taking a liking to film?

Jack Jemison: “It was just like higher level photographers that got into film (before), whereas now it’s young people, it’s everybody. Not that that’s a good or bad thing.

It’s become more accessible as a result.”

Caroline Wall: “A lot of things in the past four to five years have made a resurgence, especially things that are considered vintage which is kind of scary. Why is it that we’re being so retrospective so quickly? What does that mean? What’s to come?”

Photo by Jack Jemison

Do you prefer to shoot on film or digital, and why?

Jack Jemison: “Personal work film absolutely. Client work pretty much digital. I go back and forth, mostly digital at this point. Price of film is something that’s holding me back a little bit now. If I were to start a personal project I would definitely go film just to feel close to my work, obviously for the look of the images and for (the) tangibility of it all. That part of it is important to me, that my work doesn’t feel nebulous, that it feels concrete.”

Josie Shostak: “I prefer to shoot digital and that is because of what I do. I did enjoy doing film photography, but since nature photography is what I really enjoy, being limited to a certain number of images on a roll is brutal”.

Jessica Seifert: “I wish I could say film, but digital is just so easy. I like being able to see my products right after I take it”.

Charlotte Ottaiano: “A lot of what I do outside of class you would be very limited on if you were to do film, I do a lot of sports and events. For personal (work) I’d say film.”

Photo by Josie Shostak

Photo by Charlotte Ottaino

Is film just an aesthetic or do you think there’s more to why it’s made a comeback?

Jack Jemison: “It’s definitely both. I started for the aesthetic to some degree and then stayed for the experience of it and the look of the film. I think that the aesthetic sparks it for people and I think that the experience, that deeper part of it, is what keeps people in the medium.”

Jessica Seifert: “It might just be the aesthetic of it. Personally, I like the look of it. I like the vintage graininess of it.”

Charlotte Ottaiano: “I think for a large group of people it’s definitely more the aesthetic part of it. People will edit their pictures and make it super grainy because they think that’s the film look. There’s apps now where you can pretend it’s a disposable camera..”

What makes film photography so beautiful?

Jack Jemison: “The way that it renders in comparison to digital sensors. The imperfections of it. Something about the way that it renders, I don’t really know how to put it into words.”

Josie Shostak: “I find it just as beautiful as digital photography because, again, I think it’s about the composition. I see film as a combination between painting and photography and digital as just photography. (Film) is much more like painting than my idea of photography because of how much manipulation you do with light.”

Caroline Wall: “I like how it captures people the most. Whenever I see a picture of a person, it really captures things that on digital we would be keen to edit out. It shows those imperfections so clearly on film and you can’t edit it .You’re going to see every wrinkle. Things that we would typically consider imperfections can really be made beautiful through film.”

Photo by Jessica Seifert Photo by Caroline Wall When it comes to my relationship with film photography, it’s my preferred way to shoot. I got into photography as a medium by ordering an old Yashica film camera from the 70’s online and learning by trying. What drew me to film, and continues to do so, was not only how aesthetically pleasing the camera itself looked, but how emotionally beautiful the photos are. Film grain adds such a distinct feeling to photos that can’t properly be replicated digitally.

This look or aesthetic is utterly gorgeous, and can really add so much more emotional depth to a photo. With film photography, you have a limited number of exposures, so you truly have to think carefully about how you want to shoot. As a result it makes you more conscious, and thus makes you feel and live in the moment more while photographing. The goal of photography is to capture a moment, to freeze it in time. The look of film, how conscious it makes you, and combining these with the fundamental goal of photography as a medium, makes the photos feel not only so much more like a memory, but truly timeless. It combines the past with infinity, a moment that is fleeting and will never occur again, but captured forever in a beautiful grainy microcosm that can take you back to another time, place, person, and feeling. Film photos truly feel like a dream of the past.

The six wives

By Caroline Churchbourne

D

ivorced, beheaded, died, divorced, beheaded, survived. If you've seen “SIX” the musical, this saying might sound familiar. These gruesome fates belong to the six wives of Henry VIII. To get to know these lovely women, you have to know the face behind their infamous king.

Reigning 36 years as King of England, the aspect of his life he is best known for is his quest for a male heir to the throne. Having a male heir was crucial to this time in history, and securing the kingdom under one family name. Having a male heir would stabilize Henry VIII’s power.

His quest for a male heir wasn't as easy as the previous kings though. He went through six wives to produce a son, and his son ended up dying. Henry VIII was one of the most significant historical figures of the monarchy. His reign led to a religious revolution, and the creation of the Church of England. It also led to the Dissolution of the Monasteries and the Reformation. He had Parliament name him supreme head of the Church of England, which started the English reformation because the Pope would not annul his marriage to Catherine of Aragon to allow him to marry his second wife. What a guy. This brings us to the cause and effects of the downfalls of his six wives.

Divorced. Catherine of Aragon was Henry VIII’s first wife. When Henry the VIII became king at age 17, he married Catherine six weeks after becoming king. She was the daughter of King Ferdinand and Queen Isabella of Spain, who you might know as the monarchs who sent Christopher Columbus on his journey that ended in him “discovering America” (which is a topic for

another time). She was also the widow of Henry's eldest brother Arthur. Keep it in the family I guess.

After marrying, they stayed together for 23 years, but that had to come to an end when Catherine failed to give him a son, and the only child that survived after many pregnancies and births was their daughter Mary.

Although she failed at the task of producing an heir, Henry saw her as “the model wife.” Despite this, he became uninterested in young Catherine and drew his attention to one of her ladies in waiting, Elizabeth “Bessie” Blount, who produced one of his many illegitimate children, who unfortunately was a male. It's called karma, Henry.

After he got bored with Bessie, he grew a fondness for Anne Boleyn, who happened to be a lady in waiting for Queen Catherine.

This led to the inevitable divorce between Catherine and Henry, which he had to get the Pope's approval for annulment. But, the Pope refused his request, so he divorced her against the Roman Catholic Church and established the Church of England, which led to the Reformation. Henry was a pretty big asshole to culturally change the religious system in England just so he could divorce poor Catherine. Catherine eventually died at Kimbolton Castle as a princess, since the divorce stripped her of her queen title. She died claiming she would always be the “True Queen” of England, and her legacy would live on.

Beheaded. Anne Boleyn was his second wife and arguably the most famous. What defines her is the circumstances of her marriage, and her execution by beheading for treason and other charges that make her such a defining figure in the political and religious upheaval

that marked the start of the English Reformation. Anne Boleyn joined the court of King Henry VIII and he inevitably fell in love with her. She was in the lead role in the court masque at Thomas Wolsey's residence at Whitehall, and she wasn't short of admirers. She caught the eye of both Henry Percy, the Earl of Northumberland and the poet Thomas Wyatt. They both courted her but she accepted the King's offer and took the chance to be Queen. They were married by 1533, but the marriage to Catherine of Aragon was not annulled until five months later. Although Henry “declared his love for her” she refused to be his concubine because of the reputation he had for becoming tired of those that served him as his wifes. She only had one ambition in this marriage: to make her Queen of England. There is no fault in Henry falling for Anne’s charm and sophistication as she was also confident and witty. Anne was eventually crowned Queen in Westminster Abbey on June 1st when she was six months pregnant.

This child ended up being their first and only child, who would grow up to be Elizabeth I. In his disappointment in failing to have a son, he kept pursuing, but the next two pregnancies ended up as miscarriages.

On the political side of her royal reign, of course Anne supported Henry's new religious and political policies. Anne was active in promoting new educational identities for monasteries that were no longer under the protection of the Catholic Church.

Now it starts to get confusing as we discuss Annes downfall. As Henry was starting with his new political and religious policies, Anne was right by his side supporting him, probably to keep her head of course. When this occurred, she gathered around them a new team of rising courtiers including Thomas Cromwell and Thomas Cranmer. But, as the alliance with the Holy Roman Empire began to struggle because the emperor refused to

ratify Henry's marriage to Anne, Anne fell out with her ally Thomas Cromwell due to the courtiers losing their influence during the Boleyn change of regime. Cromwell ended up making a move against Anne and accused her of adultery and plotting against the King's life. She was eventually arrested on May 2nd, 1536 and taken by barge to the Tower of London. A sham trial filled with Anne’s enemies found her guilty and she was sentenced to imprisonment. Mind you, this was three years before she awaited her coronation.

While she was imprisoned there, Henry quickly moved on to one of Anne's ladies in waiting, Jane Seymour. See a pattern here?

On the eve of her execution, she joked to a security guard “I heard the executioner was very good, and I have a little neck.” What a girlboss. The execution of a Queen for treason was not very common, but Henry and Cromwell ensured that it was carefully managed within the walls of the Tower.

But of course there was a substantial number of audience members.

Eventually on May 19, 1536, Anne was beheaded. She did protest her innocence until her last words, which were “I come hither to die, for according to the law and by the law I am judged to die, and therefore I will speak nothing against it… I pray God save the King… for a gentler nor a more merciful prince was there never.”

How ironic considering the safety of her daughter Elizabeth I. Nevertheless, Anne Boleyn was a major historical figure during this time, and shaped England's future, while doing it with grace.

Died. Jane Seymour was his third wife. Beginning in 1534, Henry and Jane started courting, which was way before the execution of Anne Boleyn. He wrote and sent her gifts, but she refused his advances at first. 11 days after Anne Boleyn's execution, Henry married Jane. Jane

was not the most beautiful woman, says the Spanish ambassador, but her talents in the bedroom sure did attract the king. As a lady-in-waiting for both Cathrine and Anne, she saw the terrible horrors of being married to the king, but that didn't stop her. Jane was believed to be the only wife Henry truly loved. This might be in part that she finally gave him the greatest gift he has been long waiting for; a son. Jane gave birth to Prince Edward at Hampton Court Palace on October 12th, 1537, but she developed postnatal complications after this difficult birth. She died at 28, two weeks after giving birth to the prince. Henry was truly heartbroken. She left the impression of perfection. She was a loyal queen who provided an heir to the throne, while sacrificing her life to do so. While her story is rather short, she made a major change in Henry's life, being his true love and providing his precious heir.

Divorced. Anne of Cleves was his fourth wife. Anne's story is also quite short, as the marriage lasted a short six months. It took him four days after meeting her to blame her for her “unattractive physical appearance for his failure to ‘do his duty’.”

Anne was the definition of a mail-order bride.

He chose her from her portrait, but as soon as she arrived, he was very disappointed. But, he had an alliance with the House of Cleves that intended to bring him political support and power, and also needed a ‘spare’ to his heir, just in case.

By the time she arrived, the political alliance was diminished, and Anne didn't make matters any better. They also didn't speak the same language, which might have been a bit of a barrier. Despite the King’s disappointment in Anne, the wedding went on and they were married, but the marriage was never consummated. While waiting for the marriage to be annulled, he found liking in Catherine Howard. He planned for her to be his next wife, of course.

Since Anne took the annulling of the marriage well, she was rewarded with a generous allowance and property in Kent for wasting her time, of course. She was invited to the palace for Chrisrtmas and even danced with the new Queen on one occasion. Anne and Henry stayed on good terms, and was one of the lucky few wives of Henry that had a happy ending.

Beheaded. Catherine Howard was his 5th wife. She was only a teenager when she was chosen to be the next Queen. She was a member of the Powerful Howard family, with her father being the second Duke of Norfolk, which made her the niece of the Duke of Norfolk.

Catherine was also the first cousin of Anne Boleyn, and a second cousin to Jane Seymour. He really liked to keep it in the family. Anne's mother died when she was very young and was brought up by her father’s stepmother, Agnes Tilney, who was the Dowager Duchess of Norfolk at Chesworth House and Norfolk House.

Agnes was Catherine’s educational advisor and her schooling involved reading, writing and music. When it came to the music aspect of her teaching, she was merely 12 when her music teacher Henry Manox sexually abused young Catherine. When Agnes found them together, she found it Catherine’s fault and struck her. When she was around 14, she became sexually involved with Francis Dereham who was recently appointed as Agnes’ secretary. They even addressed each other as husband and wife. The interesting part about this relationship was that Catherine’s roommate testified that there was much “panting and puffing” from the bedchamber, and that Catherine herself admitted that she knew how to “meddle” with a man without conceiving a child. This meant she was sexually experienced.

Catherine’s uncle secured her a position in the household of Anne of Cleves who was set to be Henry's

fourth wife. It is not certain, but Henry and Catherine might have met when he traveled to Greenwich to await Anne’s arrival. When Henry decided that Anne wasn't for him, his eyes shifted to Catherine, which seems to be a pattern in Henry's life. Anne of Cleves complained that her husband was attracted to Catherine, and by that time the entire court knew about this relationship.

He eventually secured an annulment of his marriage to Anne on July 12th, 1540, and married Catherine with a quick turn around on July 28th, 1540. On this same day Thomas Cromwell was executed. Karma!

Catherine was acknowledged as the Queen on August 8th. She was not a present step mother to Henry's legitimate children. Her relationship with Mary was worn as Mary was older than Catherine and was disrespectful. Her relationship with Elizabeth was much more peaceful as they were both related to Anne Boleyn and Catherine has gifted jewels to Elizabeth, which will make any young girl happy.

She was also fond of Prince Edward. They never had any children of their own as Henry was growing older and suffering from illness.

Catherine appeared to be a gracious traditional Queen, but was very scandalous. It came apparent to Henry that she was not a virgin as she started to become active with her former lover Francis Dereham again. As Francis reappeared into the picture, she also received requests for favors from Thomas Culpepper who was from the King's Privy Chamber. Culpepper and Catherine were related on her mothers side, and he was a sensual predator, but his accusations were excused by the king. Despite this, Culpepper and Catherine began an adulterous relationship. Catherine wrote a letter to Culpepper that was the beginning of her downfall. In the letter, Catherine wrote “It makes my heart die to think I cannot be always in your company.”

She signed the letter: “Yours as long as life endures.”

The news of Catherine's adultery eventually traveled to the King as Thomas Cranmer was informed of the affair.

Henry's reaction was disbelief and hired a team to prove the accusations, which were proved true. On November 8th the Queen confessed to having sexual encounters with Henry Manox and later Thomas Culpeper. Henry went into a deep depression which he never fully recovered from.

Catherine was later moved to the former monastery of Syon and was deprived of her queenship. Thomas Culpeper and Francis Dereham were convicted of treason, and then executed. On February 10th 1542, Catherine was taken by barge to the tower of London and three days later she was executed.

She might have been as young as 18 by the time of her death.

Catherine's story was the scandalous of all the wifes, and it is said that her ghost still haunts Hampton Court Palace, but believe what you want.

Survived. Katherine Parr came last, being his sixth and final wife who managed to outlive the king. These two managed to meet while Katherine had secured a position in Princess Mary's household in late 1542. She was almost 30 years old, and an intelligent young attractive woman. Katherine was the first English queen to write and publish her own books. She served as his wife, along as his nurse as he was growing old in age. She had already been married and widowed twice, but was in love with Thomas Seymour, but gave up her love to marry the king. Katherine and Henry were married on July 12th 1543 at Hampton Court Palace.

Katherine, unlike the Queen before her, was a loving stepmother to Henry's children and brought a sense of unity to the family. She even took custody of the 14th year old Elizabeth after Henry's death.

But not every Queen is perfect. The queen was a supporter of the English Reformation, which was a drawback when it came to discussing religion with the King. Her religious opponents plotted against her and tried to persuade Henry that she could be dangerous, and plans for her arrest were drawn up. When Katherine became aware of this she pleaded for forgiveness and Henry forgave her.

Katherine remained a loyal wife to Henry throughout their 5 years until his death.

The King died on January 28th, 1547 at Whitehall Palace. After the King's death, she was then free to marry her love, Thomas Seymour, and later was delighted to be pregnant with his child, but soon developed a fever, and died. She left her healthy daughter behind.

Katherine was a humanist, and friendly with protestant reformers. She was a scholar and left a legacy of her education on her stepchildren. She was a trailblazer for women, and managed to outlive the infamous King.

In the end, Henry the VIII’s quest for a son was ultimately a flop, for his only son, Prince Edward fell ill with tuberculosis and died on July 6th, 1553 at the age of 15. The country fell into uncertainty as there was not another male heir. His sisters, Mary I and Elizabeth I were the next in line and assumed the throne in order.

Henry never got what he wanted.

King Henry the VIII’s six wives have now been a symbol for how feminism has changed over time and showcase how misogynistic the patriarchy was at the time, treating these poor women like they were his property. He saw a woman's duty at the time to procreate an heir for the throne, to look attractive, and act as a dutiful wife. It was rare for a woman at the time to be educated like Katherine Parr. These women ended up being important historical figures today that we study. Because of these women, the whole political scene in England changed and the English reformation was born. The reign of Henry VIII brought rebirth to England, and these women brought rebirth to modern day feminism.

The Art of Being A l o n e

By Sarah Thomas

A

ndy Warhol was one of the most influential artists of his time, and his works are still mentioned and referenced today. As an artist, he spent most of his time reflecting on his past and utilizing this as fuel for his works.

Spectators have addressed and wrestled with his works, attempting to pick them apart, understanding the psychological state that Warhol was in when he created these masterpieces. However, the answer to almost all of their questions is quite simple. Warhol was alone—almost all of the time when he created his works. He utilized his feelings as an outsider for most of his life and molded this to reflect his states in his art. He created magic from loneliness, something that, in society today, we often view negatively.

In today’s day and age, loneliness is a topic that is often felt daily but not reflected upon in an enriching sense. In college, it is so easy to get caught up in the social aspect of things. To be blunt, we are social creatures placed in an overly social environment and oftentimes, this consumes us entirely. However, instead of dwelling on this unprompted loneliness, we can utilize this experience for fruitful connections and positive outcomes.

Referencing Warhol is just one of the many examples of how solitude creates art. To put this into perspective, research your favorite musical artists, authors, or performers and really analyze their process of creating. I can almost guarantee that at one point or another, they will reference working on something alone and hiding away to focus on their passions and grand ideas. As simplistic as this might sound—it is entirely true that not having to conform to those around us allows us to think individually and create things no one has ever seen before.

In our lives, we need to start viewing this time alone as an enrichment rather than a burden. When we are alone, we

are fully capable of creating and being vulnerable with ourselves without a pair of eyes or a thousand screens witnessing our every move. Reflect on the times when you had to write a paper in a room full of classmates or friends in a crowded room, and then compare this creation to when you are alone in the library. Personally, working on a paper and fully dedicating my time to this alone is a lot more productive than sitting around with my friends attempting to finish an assignment while simultaneously talking about the recent Kardashian drama. Treat your hobbies and passions the same way. Fully surrender to the loneliness it takes to create and formulate out-of-the-box ideas, and then run with it in any direction you’d like—because that is when the art comes to life.

As much as we all like to act on social media platforms that our lives are full of concerts every weekend and cute brunch dates, the reality is that at some point in time, we all have felt this loneliness in as strong of a sense as you can imagine. There have been times in my own life when I have sat around for hours, feeling that there was no one to be with me, and I had no one to lean on. This feeling is something that connects us all as human beings and is something that no matter who we are or where we are located, we have all felt in immense capacities.

However, the problem is that many of us allow this feeling to consume us, and instead of pulling us out of a hole, it drags us right back into one.

Imagine this—a time when you feel this weight on your shoulders and the judgmental looks you give yourself for being a “loner,” and instead of sitting back in your bed and wallowing, you actually use it as a drive. Utilize this feeling and find comfort in the fact that it is universal; there is not one human on this planet who has not felt the way you are feeling right now. Then, go out and do something that you truly enjoy. It can be public or not, as simple as going outside and sitting and just observing. It can be going to challenge yourself to go get ice cream alone—and not be embarrassed about it! Or—let’s get even crazier—go to the movies by yourself and see how impactful you will look to those around you, even if it is scary at first.

It is a universal experience that we all come across more often than we think. Be someone who revels in it—doesn’t run, and watch the reactions and model that you will set for others. This universal feeling should not divide us but allow us to find comfort in the fact that it is perfectly normal, acceptable, and encouraged.

In my own experiences of being alone, I have found many “secret spots” that I have deemed mine, even though others enjoy them too. Whether that is a hometown beach that you live near or a local park that you used to visit as a kid, being alone allows us to find the places that encompass what makes us feel comfortable in our skin and what sparks the inspiration that we can then share with others.

It is less about the spot itself, but more about the fact that when we are alone and exploring, we can find these loopholes in our mundane day-to-day routine. I have found that even when moving to a new city such as Charleston, there are so many secret spots that when I am alone, I gravitate towards. This could be as simple as a favorite study room in a building that is not often used or a usual seat in a coffee shop that you do work at. It doesn’t have to be dramatic or this beautiful white-sanded secret beach that you can only get to by hiking through brush (even though that’s super cool if that’s your thing.) Finding and discovering a spot that makes you truly feel content by yourself is crucial to the beauty of being alone. Take it as a challenge to find this for yourself and go explore on the days when you crave the company of others but do not have access to it.

Being alone is not a bad thing but rather a necessary part of human existence. Whether it is prompted or not, it is inevitable. What we do with this time when we are alone will determine the characteristics of ourselves as individuals and the viewpoint we have on the world around us. Utilize it as a blank canvas, to be painted in any shade and any format that you desire. There are so many opportunities to become inspired, explore, and relate to this common feeling that society often overlooks. Loneliness is not a negative but is more or less the opportunity to create a version of yourself that only you know, an opportunity to create art.

ciao! until next time...