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ISSUE 005
let ter from the executive direc tor
Letter from the 01
EXECUTIVE DIRECTOR T
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he irony of the perfect weather that graced our Indie Grits river events in April wasn't lost on me. Six months after our city was ravaged by historic flooding, we had fought our way back. On property that had been underneath feet of water when we were at our worst, our community came together under clear skies for a taste of what our city could become. Ten years into the Indie Grits project, we seemed to finally hit on something - demonstrating how art and artists are instrumental to our city, helping us in recovery and visioning our future. This year’s Waterlines project broke new ground as Indie Grits ventured deeper
into the commissioning and production of original artwork than ever before. Under the leadership of Seth Gadsden, the festival co-director, a group of artists diverse in background and medium came together to create powerful work that fleshed out what we experienced during the October flood. From video and sound installations to films and live performances, the creativity of our community shone through as we grappled with the group trauma. We have frequent conversations within our field about how art needs to be better utilized in the creation of more vibrant and welcoming communities. With over 10,000 attendees to the festival and over 225 artists involved
over the four day period, Indie Grits this year was able to demonstrate how this can work on a very practical level. Thanks to the gracious support from the Central Carolina Community Foundation, the City of Columbia’s H-tax Fund, the National Endowment for the Arts and our other sponsors our artists stepped up in an unprecedented way. Thanks to them, we’ve caught a glimpse of why our city has much to look forward to in the years ahead.
Staff Andy Smith
Executive Director Seth Gadsden
Managing Director Kristin Morris
Marketing Manager Carrie Grebenc Kaitlin McKnight
Theater Operations Manager Pedro LopezDeVictoria
Programming Coordinator Savannah Taylor
Designer Amada Torruella
Development Assistant Deborah Adedokun
Asst. Theater Manager Jessa Gaitor
Asst. Theater Manager
Interns Pauline Arroyo Mike Opal Laura Smith
Bree Burchfield
Theater Staff Laura Godenick
Theater Staff Adam Hoffbauer
Theater Staff Nic Jenkins
Theater Staff Charlotte Johnston
Theater Staff Torres Perkins
Theater Staff Sean Shoppell
Theater Staff Anna Weller
Theater Staff Tobey Wilson
Theater Staff
Board of Directors Lynn Stokes-Murray, President John P. Boyd , Vice-President
Looking Back at Indie Grits Waterlines
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Making Underbelly Up
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Magic Hour
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Foreign Focus
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Special Screenings & Events
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Six-Gun Summer
23
Summer Family Favorites!
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Form and Process
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How do you TakeBreakMake?
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Adult Classes at the Nick!
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First Friday Lowbrow Cinema Explosion
Chris Controne, Treasurer Lemuel Watson, Secretary
Adrian Addison Veronica Addison
Judy Battiste
Barb Burton
Amos Disasa
Maris Burton
Nikky Finney
Zach Cardwell
Sam Johnson
Jim Colwell
Tracy Jones
Heidi Colwell
April Kelly
Pat Fitzgerald
Bob Mason
Cederick Gibbs
Duncan McIntosh
Toure Greene
Scott Middleton
Gayle Hazzard
Wendi Nance
Lee Heckle
Anne Postic
Lindsey Knowlton
Elizabeth Reardon
Joe Kyle
Walton Selig
Tim Liszewski
James E. Smith Jr.
Rosetta Penny
Scottie Smith
Justin Price Debria Robinson Mary Rogers
Nick Mag Designer:
Kara Shavo
Savannah Taylor
Maria Walrath
Nick Mag Editor:
Bart Walrath
Kristin Morris
Debbie Yerkes
The Nick serves Columbia, SC, as a focal point for critical dialogue anchored by films that showcase the diversity, challenges, joy and aspirations of its community. A center for enjoyment, enrichment, and education, the Nick provides its community the tools to make, interpret, appreciate, and teach the moving image in all its variety.
The Nickelodeon Theatre 1607 Main Street, Columbia, SC 29201 www.nickelodeon.org Office Phone Number: (803) 254-8234 Movieline: (803) 254-3433
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Volunteers
Theater Staff
contents
Development Manager
CONTENTS
Quereshi Breaux
WITH THE CARD THAT OPENS DOORS IN 50 STATES
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T HANK YO U TO OUR SP ONSORS
looking back at indie grits
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L O O K I N G B A C K AT
I n d i e G r i t s Waterlines Support provided by:
- Seth Gadsden, Indie Grits Co-Director
SC Arts Commission
Central Carolina Community Foundation City of Columbia National Endowment for the Arts
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"We wanted to highlight Columbia's defining feature –the lines of water coursing through our city built on rivers. Those broad and deep imprints have long shaped the community's culture and development‌ The October floodwaters inflicted a trauma that is still ongoing [and gave] new meaning to our city's relationship with water."
10,000
looking back at indie grits
attendees
09 "The festival's strength is presenting a wide range of media, covering a variety of themes and tones, without becoming dissonant." - Jordan Lawrence, Arts & Culture Editor at Free Times
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films
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artists
"The Waterlines experience was truly nurturing. It is rare to have support from an institution in the development phase of a project and we were provided a safe space to build and create. Seth [Gadsden] was an awesome facilitator and believed in our vision, talent and ability to bring forth meaningful works surrounding the floods."
looking back at indie grits
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- Roni Nicole, Waterlines Filmmaker
- Fred Delk, Executive Director of the Columbia Development Corporation
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"With an elegant performance at an astonishing river view venue, Indie Grits demonstrated the sensitive use of the privately owned riverfront for an open-to-the public world class performance. These kinds of partnerships demonstrate the potential for future permanent public parks and other uses as Columbia reaches toward the appropriate use of our rivers and other natural resources."
Left: Josh Yates, photo by Carter Short, 2016
making underbelly up
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MAKING UNDERBELLY UP nickelodeon.org
Filmmaker-in-Residence Josh Yates discusses the events that influenced his film Underbelly Up that premiered at Indie Grits 2016.
I woke up to a phone call from my friends Adam and Matt telling me they were in a cabin that was filling with water. Adam then sent me a video of water flowing across the floor. For there to be water at their feet it meant the water had risen about 10 feet. Apparently Matt had passed out in a chair and woke up because his feet were submerged. Bill (Adam's brother) and I quickly got dressed and began a trek through raging water atop what used to be a driveway. It was surreal. There were no lights, just moonlit shadows and intensely loud sounds of moving water. We had to yell to communicate. Bill and I buddied up, arms over shoulders, and slowly moved toward the cabin, trying to get as close as we could. We reached a point where the water was too deep, enough for our heads to go under, but we were close enough to talk with Adam and Matt. They stood on the porch and I'm pretty sure we awkwardly laughed together. Luckily they found a rope that they threw to us and we then
making underbelly up
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Above: Stills from Underbelly Up, analog video transfer and 16mm, 2016
Once dry and back inside, we sat around my living room and talked about what had just happened. We repeated the same story over and over, slowly convincing ourselves this crazy
experience had actually happened. I'm fortunate our friend Tony slept on my couch and wasn't with us. I can't imagine navigating through that water with another person. It's still hard to grasp how everything somehow worked out. Another person, having a pet with us, a momentary loss of footing‌all of these possibilities could have negatively affected the outcome. I wish I had recorded our hours of conversation that morning, but I didn't.
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tied to a tree. Adam and Bill made it to higher ground, but Matt and I lost our footing and we were temporarily separated. We both individually used the tree line as anchors to make our way to safety.
making underbelly up
"Josh Yates’ Underbelly Up examines the trauma of such experiences, with blurry images and crazed improvisational dialogue that played like a window into a survivor’s nightmares." - Jordan Lawrence, Arts & Culture Editor at Free Times
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This experience led to my ongoing oral history project in which I’m conducting audio-only interviews with community members directly affected by the flood. My intention is to donate this collection to the USC Libraries’ Office of Oral History. This work in addition to my personal experience served as inspiration for my new experimental nonfiction film Underbelly Up. While the soundscape synthesizes my oral history work through improvisational dialogue, the visuals draw from an archive of flood-related imagery, filtered through analog modulations and hand-processed 16mm celluloid.
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Josh Yates is the Filmmaker-inResidence at the Nickelodeon. His residency is made possible in part by support from the SC Film Commission, the Nord Family Foundation and Elizabeth Slagsvol. Above: Josh Yates working on Underbelly Up, photo by Adam Anderson, 2016 Right: Waterlines Oral History Project, photo by Josh Yates, medium format, 2016
magic hoour
AN UNCENSORED OPEN SCREEN PROGRAM AND VARIET Y SHOW
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THURSDAY, JUNE 30 AT 7:00PM MORE INFO AT NICKELODEON .ORG
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foreign focus
BY A M A DA T O R R U E L L A , S E R I E S C U R AT O R
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In July we launch Foreign Focus, a monthly series screening the best contemporary films from across the globe. As a space for cultural enrichment, we understand how essential it is to expose our audiences to different realities and perspectives. With the creation of our new series Foreign Focus, we want our audience to explore the world through striking images and thought provoking content. Foreign Focus will transport you to awe-inspiring places where you will witness different traditions and be fascinated by the infinite ways human beings interact throughout the world.
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The series premieres Wednesday, July 13 with L’Attesa, a solemnly beautiful drama that takes us to a Sicilian villa. Juliette Binoche plays a mother defeated by profound grief after the death of her son Giuseppe. The nuanced and stunning shots translate the mother’s devastating state of denial. Director Piero Messina’s film shows us the foolish strides humans make to avoid facing the truth and how easy it can be to linger in the past.
August’s screening is Marguerite, a french tragicomedy set in the 1920s. The film stars Catherine Frot, winner of the national film award of France (Le César) for best actress. Frot portrays a passionate performer who sings out of tune. She’s oblivious to her lack of talent because she’s been continually lied to by people close to her. Tension builds as Marguerite plans a large public performance. Foreign Focus will screen the 2nd Wednesday of each month.
SCHEDULE L’Attesa Piero Messina. 2016. Italy. 100 min. NR. In Italian and French with English subtitles.
Wed July 13 6:30 PM
Marguerite Xavier Giannoli. 2015. France. 129 min. R. In French with English subtitles.
Wed Aug 10 6:30 PM
SPONSORED BY: DR. GAIL MORRISON, AARON AND ANDREA WEST PA U L A N D J E A N D E N M A N
L’AT T E S A
MARGUERITE
JUN
special screenings and events
Iggy Pop Live in Basel June 16
Matilda Summer Family Favorites
June 29
pg. 23
Stop Motion Animation Summer Camp Ages 8-12
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June 20-24
JUL
Special Screenings and Events
Cool As Ice
High Noon
First Friday Lowbrow
Six-Gun Summer
July 10 & 11
July 01
pg. 19
pg. 29
True Grit Six-Gun Summer
July 03 & 04
pg. 19 nickelodeon.org
Jumanji Summer Family Favorites
June 15
pg. 23
The Good, the Bad, and the Ugly Six-Gun Summer
June 26 & 27
pg. 19
Magic Hour
Hook
Open Screen Prog. & Variety Show
Summer Family Favorites
June 30 pg. 14
July 06
pg. 23
High School Horror Film Camp Ages 13-17
July 11-15
Intro to Digital Photography 4 day workshop Mondays beginning
July 11
pg. 28
July 12
pg. 28
Six-Gun Summer
July 17 & 18
pg. 19
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AUG
4 day workshop Tuesdays beginning
Once Upon a Time in the West
special screenings and events
Intro to DSLR Filmmaking
Marguerite Foreign Focus
August 10
pg. 15
L'Attessa Foreign Focus
July 13
pg. 15
4 day workshop Wednesdays beginning July 13
pg. 28
The Story of the Greatest Fan Film Ever Made
July 21
Butch Cassidy and the Sundance Kid Six-Gun Summer
July 24 & 25
pg. 19
Children's Film Festival Seattle
The Royal Shakespeare Co. Presents:
Hamlet
August 27 & September 03
July 31
I Drink Your Blood First Friday Lowbrow
Master of the Flying Guillotine
August 05
First Friday Lowbrow
pg. 29
September 02
pg. 29
nickelodeon.org
Intro to Audio Mastering for Video
Raiders!
six-gun summer
JU N E & J ULY 2016 19
by Mike Opal
nickelodeon.org
There’s something unnerving about the resurgence of Western films in the past few years. It means something. Heavy-hitters like The Revenant and The Hateful Eight shared theaters with a number of weirder, off-kilter explorations such as Bone Tomahawk, Slow West, and Meek’s Cutoff. A significant Western hadn’t been seen round these parts since Unforgiven— itself an elegy for the genre and its aging icon, Clint Eastwood.
at least clear. Or maybe we all thought America was so good—or clear—because nobody was making Westerns. The United States understood itself in the 20th (and now 21st) century through Westerns, and their resurgence dovetails with a new instability about the state of the union. The Western is an origin story, dramatizing the period when a collection of post-colonial states were becoming a nation.
Maybe nobody was making Westerns in the 90s and early 00s because America seemed so good—or
So where did our new crop of gorepainted anti heroics originate?
High Noon
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True Grit
Which brings us to Sergio Leone, considered by some the best director of Westerns ever
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John Wayne later gave the classic Western a swan song with 1969’s True Grit, where his orotund lawman shoots his way into “Indian Territory” to avenge the death of his young charge’s father. It was the last Western from Henry Hathaway, a major director but something of a second-stringer in a studio system that had John Ford and Howard Hawks. With that studio system going the way of the dodo in 1969, Hathaway’s last stand was emblematic of a larger shift away from classical craft toward the darker, more violent, and, let’s be honest, cooler Spaghetti Western.
six-gun summer
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ver the summer, The Nick will show a series of five classic Westerns from a time of radical change in the genre, that bountiful period between Tinsel Town rah-rah shoot-’em-ups, and the trippy-hippy decadence of the Acid Western. 1952’s High Noon was a sort of prophecy: a lone sheriff realizes that he will have to face off against a gang of bandits, totally alone. The film’s ethical complexity meant that, somehow, it has been a perennial favorite of US presidents at the same time that John Wayne said it was “the most un-American thing [he’d] ever seen.”
Once Upon a Time in the West
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to live. His most iconic film, The Good, the Bad, and the Ugly, is where Clint Eastwood’s Blondie, with poncho and cigar, put a bullet in the heart of the Hollywood Western. Though set in the Reconstruction-era U.S., the film was shot in Italy and Spain and brought a critical, pessimistic eye to the origins of American society: a collection of thieves, bandits, torturers, abandoned veterans, and those are just our heroes. GBU’s treasure-hunting epic gave way to the mythic Once Upon a Time in the West, in which a widow fights off an amoral businessman/gunslinger before her land will soar in value after the tracks are laid for a new railroad (the Western’s symbol of capitalism, technology, and Manifest Destiny intertwined). Political tracts have never been
so nerve-shredding. The summer will end with Butch Cassidy and the Sundance Kid, the Western buddies-in-crime film that gave us one of the most delightful celebrity duos: Robert Redford and Paul Newman. Loose, funny, and kind of weird, the story of two outlaws on the run from a posse of businessmen they’ve
wronged holds a unique place in the history of the Western. It’s not a response, but more of an antidote to Leone’s white-knuckle bleakness and Golden Age machismo. What’s the word? Disarming. In a genre that started violent and continues to find new peaks of bloody retribution, that’s a lot to admire.
The Good, the Bad, and the Ugly
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six-gun summer
Butch Cassidy and the Sundance Kid
THE GOOD, THE BAD, AND T H E U G LY Sergio Leone. 1966. Italy/USA. 177 min. NR.
Fred Zinneman. 1952. USA. 85 min. PG.
Sun July 10, 2:00 PM Mon July 11, 6:30 PM
TRUE GRIT
ONCE UPON A TIME IN THE WEST
Henry Hathaway. 1969. USA. 128 min. NR.
Sergio Leone. 1968. Italy/USA. 175 min. PG-13.
Sun July 03, 2:00 PM Mon July 04, 6:30 PM
Sun July 17, 2:00 PM Mon July 18, 6:30 PM
B U TC H C A S S I DY AND THE SUNDANCE KID George Roy Hill. 1969. USA. 110 min. NR.
Sun July 24, 2:00 PM Mon July 25, 6:30 PM
S E R I E S PA S S E S AVA I L A B L E For more info visit: nickelodeon.org
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Sun June 26, 2:00 PM Mon June 27, 6:30 PM
HIGH NOON
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schedule
summer family favorites!
SUMMER FA M I LY FAVO R I T E S !
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Jumanji
Matilda
Hook
Danny DeVito. 1996. USA. 102 min. PG
Joe Johnston. 1995. USA. 104 min. PG.
Steven Spielberg. 1991. USA. 142 min. PG.
Wed June 15 at 1:00 PM
Wed June 29 at 1:00 PM
Wed July 06 at 1:00 PM
When two kids find and play a magical board game, they release a man trapped for decades in it and a host of dangers that can only be stopped by finishing the game.
Matilda is an exceptional girl with unexceptional parents. She is sent to school with a terrifying principal who loathes students, but overcomes hardships and befriends her teacher, Ms. Honey.
When Captain Hook kidnaps his children, an adult Peter Pan must return to Neverland and reclaim his youthful spirit in order to challenge his old enemy.
form and process
FORM AND PROCESS Come Around My Way After School Program Recap by Josh Yates, Jessa Gaitor, and Torres Perkins, Come Around My Way Instructors
Left: Come Around My Way, Class of 2015-16 photo by Bree Burchfield, 2016
nickelodeon.org
In addition to various media literacy and video production exercises, our time in the classroom has been spent getting to know each other. As instructors we wanted to offer our students a sounding board somewhere in between “teacher�
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This year's Come Around My Way program has been different from comparison to previous years. We wanted to start fresh with a new approach toward teaching and mentorship. Instead of engaging our students as repositories for predetermined fact-based knowledge, we aimed to foster a student-centered collaborative learning environment in which individual self-expression was not only encouraged, but made a priority. We wanted our space to be unique, fun, and welcoming, not merely an extension of their normal school day.
"...Individual self-expression was not only encouraged, but made a priority". form and process
and “peer.” Our responsibility was to be ourselves while remaining focused on helping students develop their own creative projects. While the first half of our program was spent in an exploratory mode, the second half has been geared towards hands-on video production and carrying out their individual projects. This hard work was occasionally interrupted by impromptu pizza parties.
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With films ranging from diaristic self-portraits, to single-take lyrical performances, to collaborative documentaries focusing on school food, we pushed this year’s students to be open and think deeply. We feel their video projects certainly reflect that.
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Come Around My Way is an after-school program held at C.A. Johnson High School and operated by our Helen Hill Media Education Center. Student work can be viewed (and shared!) at: nickelodeon.org/education Support provided by: Richland School District One South Carolina Arts Commission Nord Family Foundation Becky & Kevin Lewis
Top: CAMW Student Jacory Frazier with Instructor Josh Yates photo by Jessa Gaitor, 2016 Center: Come Around My Way Showcase photo by Bree Burchfield, 2016 Bottom: CAMW Student Mi'Ashia Miller photo by Josh Yates, 2016
how do you takebreakmake?
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HOW DO YOU TA K E B R E A K M A K E ? Taking a look back at the Nick's LGBT inclusive after school program
Framed around the central idea of the “queer art of failure,� students are asked to engage critically with the media they consume and renegotiate the power of those stories through Above: TakeBreakMake Class of 2015-16
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by Keyes, TakeBreakMake Instructor
TakeBreakMake is an after-school program, an artistic process, and a teaching pedagogy.Over the past year, I have had the honor of questioning, critiquing, and collapsing time and space with young artists whose experiences and perspectives have taught me much more than I could ever hope to teach them. Focused on three core areas: queer theory, youth media culture, and media arts education, this LGBT-inclusive program goes beyond queerness as an identity and pushes students to understand queerness as an interruption.
how do you takebreakmake?
"Students are asked to engage critically with the media they consume and renegotiate the power of those stories through their own lenses".
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their own lenses. At TakeBreakMake, failure is a process, and success is not the goal but rather the result of the “failure to fail.” Each project is produced through the destruction/ reconstruction of a “thing,” be it the Internet, the Barbie, the Self, etc. What results is a collection of beautifully, broken collages of their ghosts/lives, fictions/truths, dreams/ nightmares, catharses/ awakenings. “We are the Trash Youth,” they shout from the void and at a world that deems them the “throw away generation.”
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Here's hoping you're brave enough to listen. TakeBreakMake films are available for online streaming at: nickelodeon.org/education
Top: Still from Seventeen Charlie McAdams, 2016 Center: TakeBreakMake Student Cas Skinner, 2016 Bottom: Still from TrUth The Trash Youth, 2016
Student Films Freak of Nature
by Danny Flores
linds journal
by Lindsey Knowlton
Seventeen
by Charlie McAdams
This is me...
by Kayla Roman
TrUt h Support provided by:
by The Trash Youth
Harriet Hancock LGBT Center
un jour dans la vie
University of South Carolina Women and Gender Studies Program
Becomes Unfocused Sky
by Dana Dixon by Cas Skinner
adult classes at the nick!
A D U LT C L A S S E S AT THE NICK! Each class will meet weekly for four weeks. For more information and to register visit nickelodeon.org/education
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D I S C O U N TS AVA I L A B L E FOR MEMBERS!
Intro to DSLR
Intro to Audio
Mondays, beginning July 11
Tuesdays, beginning July 12
Wednesdays, beginning July 13
Photography 6:00 - 8:00PM
Filmmaking
6:00 - 8:00PM
Mastering for Video 6:00 - 8:00PM
nickelodeon.org
Intro to Digital
First Friday Lowbrow Cinema
first friday lowbrow
Explosion BY CHRIS BICKEL, SERIES CURATOR AND HOST
The First Friday Lowbrow Cinema Explosion brutalizes Columbia with the tackiest of the tacky, the vulgarest of the vulgar and the basest of the base. You've been warned – you are doomed – and on the FIRST FRIDAY, nothing can save you.
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July brings Cool As Ice, the 1991 Vanilla Ice vehicle, to the Nickelodeon screen. This critical and commercial lackbuster stars Ice himself as a James Dean-ish motorcycle-riding rapper who falls for a girl-in-distress in a small town. Though Vanilla Ice is often seen through the lens of history as a musical joke, it should be noted that seven million people bought his debut album and he, for better or worse, helped bring hip-hop to mainstream acceptance. In Cool as Ice, rapper Vanilla Ice has a commanding screen presence despite a lack of acting ability or a decent script. Though falling into the "so-bad-it'sgood" genre, the cinematography is actually very impressive, courtesy of Cool as Ice's director of photography – future Schindler's List and Minority Report cinematographer Janusz Kamiński. August's Lowbrow selection is 1970's exploitation masterpiece, I Drink Your
first friday lowbrow
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September sees the 1976 martial arts classic Master of the Flying Guillotine
hitting the Lowbrow screen. Called "the Holy Grail of the Hong Kong martial arts movies of the '70s," (Kevin Thomas, L.A. Times) this is certainly one of the weirdest kung-fu flicks ever made. A one-armed boxer must face off against an Imperial assassin whose weapon of choice is the "flying guillotine" – a bladed "hat" on a chain, used to decapitate his foes. The film goes off the rails at times, flinging far beyond the expected over-the-top action effects of typical "chop-socky" cinema, and straight into pure surrealism. The bizarre and expertly choreographed action sequences make this film a must-see.
Schedule Cool as Ice David Kellogg. 1991. USA. 91 min. PG.
Fri July 01, 11:00 PM
I Drink Your Blood David Durston. 1970. USA. 83 min. X.
Fri August 05, 11:00 PM
Master of the Flying Guillotine Yu Wang. 1976. Taiwan. 81 min. R. Mandarin with english subtitles.
Fri September 02, 11:00 PM
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Blood. In this over-the-top psychedelic splatter film, Bhaskar Roy Chowdhury and Lynn Lowry star as hippie members of a Manson-esque gang who terrorize a small town until a kid from the town injects meat-pies with rabid dog's blood. When the pies are eaten by the crazed Satanic hippies, they become rabid maniacs who infect everyone around them, causing bloody pandemonium. I Drink Your Blood was one of the first movies to receive an X-rating from the Motion Picture Association of America based on violence rather than nudity.
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