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CONTENTS
02.16 cedar falls . cedar rapids . iowa city . waterloo
issue 137
4 AWARDS TIME
An award-winning product of Courier Communications 100 E. Fourth St. | Waterloo, IA 50703
The Oscars are embroiled in controversy for the second year, but you’re still gonna watch ’em, so get your ballot on too.
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David Bowie’s last album. It’s his first — and now last — flirtation with jazz sounds.
EDITORIAL STAFF
16 OLD SCHOOL
Meta Hemenway-Forbes Editor 319.291.1483 meta.hemenwayforbes@wcfcourier. com
Shannon Graham, featured in a new exhibition, takes pictures the old-fashioned way: shooting on film and working in a dark room.
Alan Simmer Associate Editor 319.291.1487 alan.simmer@ wcfcourier.com
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PULSE 3
#OSCARS SOWHITE MIKKI KENDALL | THE WASHINGTON POST
A
fter the Academy of Motion Picture Arts and Sciences announced an all-white lineup of acting nominees last year, April Reign, managing editor of BroadwayBlack.com, started the hashtag #OscarsSoWhite on Twitter in response.
MICHAEL B. JORDAN IN CREED
Many participants hoped that a social media push might impact the way in which studios and Academy voters treated the nomination process this year, but most were not hopeful. They were right: For the second year in a row, the entire slate of Oscar nominees in the acting categories is white. Creed and Straight Outta Compton, two films with people of color in lead and supporting roles, got nominations for Best Supporting Actor and Best Screenplay — nods that also went to white people. Reign said she’s disappointed but not surprised by this year’s nominees. “While Academy president Cheryl Boone Isaacs attempted to increase the diversity of the Academy by inviting over 300 new members last year,” she said, “more structural and systemic change must occur, not just within the Academy but Hollywood as a whole. The decisions about what films to green light, who tells those stories and how they are told must also be more inclusive of marginalized communities.” This isn’t a new conversation in media, and often insiders respond with an assertion that the reason for the lack of diversity in films is financing (as Ridley Scott did when he defended the majority white casting for Exodus: Gods and Kings), an oversight (as was recently asserted by Lionsgate for Gods of Egypt) or a desire to focus on a character that the presumably white middle-class audience can identify with, instead of someone who might require them to step outside of their comfort zone. Yet those same audiences have no problem turning TV shows like Empire, Scandal, Blackish, Ugly Betty and others with leads of color into ratings gold. In fact, one of the three highest-grossing films of all time is Star Wars: The Force Awakens, which boasts two men of color and a white woman as the lead characters. Meanwhile, Exodus: Gods and Kings failed to make back even half of its production
budget in domestic sales. Instead of acting as a vehicle that could have opened doors for talented actors of color, it became a whitewashed flop. Just as it is hard to believe that Ridley Scott could find no big name actors of color to play any of the major roles in Exodus: Gods and Kings (Oded Fehr and Rami Malek immediately spring to mind), it’s impossible to accept the idea that while the script for Straight Outta Compton was worthy of a nomination, none of the performances were, especially given the critical acclaim for Jason Mitchell’s spectacular performance as Eazy E.
For Sylvester Stallone to be nominated for best supporting actor but his co-star Michael B. Jordan and the director Ryan Coogler not to get nods in their respective categories sends a particularly ugly message about race and the Oscars this year.
year’s Selma, or the long line of actors of color who over the years have been passed over for nominations or awards, many of which in retrospect appear to be egregious oversights.
The problem goes beyond skin color: Eddie Redmayne got a nomination for playing a trans woman, yet Mya Taylor, an actual trans woman and the star of the lauded Tangerine, got no recognition. Neither did her film.
Studies show that studios focus overwhelmingly on the viewpoint of white males in films, limiting even the possibility of someone from a marginalized community getting a role in a production that might merit Oscar attention.
This is to say nothing of the exclusion of the universally acclaimed work of director Ava DuVernay and actor David Oyelowo in last
As Viola Davis (who herself was arguably robbed of an Oscar win for her performance in Doubt) pointed out in her Emmy
MYA TAYLOR IN TANGERINE acceptance speech last year, the real problem for actors of color is a lack of opportunity, not a lack of talent. And as each year’s Oscar nominations are announced, if the resume-building phrase “Oscar nominee” is only landing next to the names of white people, then what chance do actors of color have to break into those few roles that might become available? In a year that has shown actors of color can succeed and get recognition for their work in television, the peculiar whiteness of the Oscars is even more galling. What impact does media that projects a
mostly white past, present and future have on race relations in the United States? What messages are American movies sending about people of color when they are exported? Erasure is not equality, so media without black, Latino, Native American or Asian people isn’t making things better. When Effie Brown challenged Matt Damon’s assertion that diversity mattered in casting, not behind the camera, Damon was clearly upset that she didn’t agree with him. Yet Brown wasn’t arguing to choose a less talented or less prepared director; after
JASON MITCHELL IN STRAIGHT OUTTA COMPTON all, in order to be a finalist you had to be good at your craft. Brown was arguing that they needed to pick the director who could handle the content of the movie in the best way.
The Oscars are still so white, but the push for diversity isn’t one for a reduction in quality, so why the resistance to change? It should be something that members of the Academy embrace.
The same is true here, as fans react to the idea that the people best qualified to win awards even for movies that star people of color are the white ones.
Unless of course, you consider the distinct reality that the Academy’s choices don’t reflect the biases of a U.S. audience, but instead reflect the biases of an American institution.
The push to diversify what movies the Academy considers isn’t about a lack of quality; it’s about broadening the field and making sure the awards mean that the best possible people are being considered.
Why are the Oscars so white? Because the Academy wants them to be that way. And as long as that’s true, at base the awards are essentially worthless.
WILL SMITH IN CONCUSSION
PULSE 5
YOUROSCAR BALLOT BALLOT Best motion picture of the year
6 PULSE
Animated Feature Film
the Oscars Hosted by Chris Rock Sunday, Feb. 28 @ 6 PM ABC
AMPAS, GKIDS, LIONSGATE, DISNEY, PARAMOUNT, GNDHDDTK, A24, 20TH CENTURY FOX, WARNER BROS., FOX SEARCHLIGHT, COLUMBIA, MAGNOLIA, UNIVERSAL, SHUTTERSTOCK IMAGES
STARRING: Lily James, Lena Headey, Douglas Booth, Matt Smith Admit it, you’re as surprised that Keira Knightley isn’t in this movie as I am! (Maybe she does a cameo as a half-dead attacker — go buy a ticket and find out!)
FEBRUARY 5
FEBRUARY FILMS FEBRUARY 5 Hail, Caesar! The Coen brothers take on 1950s Hollywood, in all its put-upon glory. “Would that it ’twere so simple.”
8 PULSE
FEBRUARY 12 How to Be Single OMG you guys, do you remember when women making fun of other women was, like, the funniest? OMG me too! Alas, the early 2000s are over, and I don’t know about the other actors but Rebel Wilson is better than this.
FEBRUARY 19 Race A film loosely based on Jesse Owens running in the 1936 Olympics in Hitler’s Germany, proving Hitler’s version of white supremacy wrong with four gold medals. Gah, Hitler is the worst! Embrace of the Serpent A black-and-white, subtitled movie (wait, come back!) about indigenous tribal people and the white man who came to be saved by them.
FEBRUARY 26 The Witch Country folk in the 1600s go insane. Their kid talks to a goat. Their parents maybe believe in witches. The Other Side of the Door Dammit, lady, when the Indian lady tells you to not open the door to the dead, DON’T OPEN THE DOOR TO THE DEAD.
20TH CENTURY FOX, PARAMOUNT, UNIVERSAL, SONY, SHUTTERSTOCK IMAGES
FEBRUARY 12
TWENTY-FOUR
SEVEN
365 STARRING: Ben Stiller, Owen Wilson, Olivia Munn, Benedict Cumberbatch, Kristen Wiig, Will Ferrell Justin Bieber is killed off immediately and still makes the trailer for 30 whole seconds. That sentence tells you everything you need to know about the sequel.
ARTS & ENTERTAINMENT ART GALLERIES, EVENTS MUSEUMS AND EXHIBITS
MOVIES NEWS & REVIEWS, RELEASES & TRAILERS LIVE MUSIC SOUNDBITES, NEWS INTERVIEWS, CD RELEASES AND LIVE MUSIC VENUES
PLANNING A
WEDDING?
FEBRUARY 12 STARRING: Ryan Reynolds, Morena Baccarin, Gina Carano, T.J. Miller
For a charming, intimate wedding, the HEARST SCULPTURE GARDEN is the perfect setting for your ceremony, providing a beautiful outdoor garden backdrop during the months of April–October.
This ain’t your normal superhero — but it does seem to follow the normal superhero movie formula. Luckily, Ryan Reynolds is there to take all seriousness away and keep the goofy character intact (there’s a reason they are never going to tap him to play Superman).
Call 319.273.8641 to book your wedding.
THE HEARST CENTER FOR THE ARTS 304 W. Seerley Blvd. | Cedar Falls TheHearst.org PULSE 9
FEBRUARY 23 FOR: PC, PS4, XB1 Far Cry: Now with loincloths!
ALAN SIMMER | PULSE WRITER
FEBRUARY 16 FOR: 3DS
I like the new Pokemon games just fine, but Blue was my first, and you always remember your first. Now you can relive the glory days of trading those original monsters without toting around a link cable with eShop re-releases of the original trio. Charmander 4 lyfe!
FEBRUARY 27 10 PULSE
FOR: 3DS
BANDAI NAMCO, NINTENDO, UBISOFT, BHI, SHUTTERSTOCK IMAGES
Don’t try to understand what’s happening, just revel in this cast: Ken from Street Fighter, whatever dude that is the star leotard, Fire Emblem’s Lucina, Shenmue and freaking Phoenix Wright (with assistant Maya). And so many more. In an RPG. Ba ha ha.
Enjoy the sneak in Republique JAMES FRAZIER | PULSE WRITER
R
epublique is a gem, a stealth-adventure game polished to near perfection. Its simple mechanics belie a virtual world of uncommon depth with interesting material in every new area.
Set primarily within Metamorphosis, a futuristic prison facility run by a totalitarian state, the player is tasked with guiding Hope, an inmate, as she attempts to escape. The player doesn’t do this with violence, but from a computer bank with access to the facility’s countless surveillance cameras. You assist Hope as she navigates the installation’s corridors, hacking computers, evading guards and learning more about the world itself. That “learning” part is where Republique shines brightest. Through excellent writing and top-notch voice acting, it only takes moments to become both emotionally and intellectually invested. It’s the sort of game that best represents the potential of the medium, where interactivity becomes one with storytelling. The story features a number of intriguing themes, with an emphasis on freedom of ideas and state propaganda. These themes are usually revealed through emails, voice messages, posters, banned literature and even floppy
For: Mobile, Mac, PC, PS4 Price: $24.99 Pros: Intuitive gameplay, thematically rich setting, pleasing graphics Cons: Occasionally repetitive
disks found around Metamorphosis. These items do more than flesh out the story, as they also allow the player to purchase equipment upgrades with perks such as knowing a guard’s patrol route. The aesthetics are consistently pleasing, featuring a mix of fascist decor: sterile but bright facility rooms, lavishly decorated dining rooms and, eventually, a rainy exterior. From there, gameplay is intuitive, making it easy to jump from camera to camera, with simple point-and-click or touch commands instructing Hope. Being captured
XCOM 2
Mighty No. 9
Good job, XCOM players. You lost to the aliens, and 20 years later, they run the world. Never fear, the resistance fights on, operating at the fringes of society to take back the planet and save humanity.
What’s in a name? / That which we call a Mega Man game / By any other name would play as sweet / So Mega Man would, were he not Mega Man call’d / Retain that dear perfection which he owes / Without that title.
Mac, PC; Feb. 5.
PS4, Wii U, XB1; Feb. 9.
by a guard places the player in a holding cell, one you can quickly escape. It’s a novel approach to negative consequences, though one that can get repetitive in more difficult spots, as well as not entirely sensible. (Wouldn’t they personally monitor Hope after multiple escapes?) Citing a desire to make a “real game” that can be played on a phone, developers Camouflaj and Logan Games have come up with an episodic title that plays great on a mobile device or PC. Now on episode 4 of 5, the only major downside to Republique at this point is having to wait for the finale.
Assassin’s Creed Chronicles
Street Fighter V
How often are these things coming out now? Wasn’t there one a few months ago? How many throats am I supposed to be slitting in a given period of time? Where’s my union representative?
“Hot dad” Ryu, an optional skin for the most famous of Street Fighter characters, caused a bit of an Internet firestorm with his manly beard and bulging muscles. We all know he’s with Ken anyway, so calm it down, people.
PS4, XB1; Feb. 9.
PC, PS4; Feb. 16.
Two nations, seized by war. One ruled by the clan that raised you. The other your heritage by blood. When they meet on the battlefield, which one of your families will win your allegiance?
FEBRUARY 19
Pick a side. Choose your fate.
FOR: 3DS
PULSE 11
HEARD THAT
DAVID BOWIE BLACKSTAR
Editor’s note: This review was written before David Bowie’s death. The iconic singer died of cancer on Sunday, Jan. 10, two days after the album was released.
T
here’s something delightfully perverse about the fact that David Bowie waited until he was 69 to release what’s being described as his first jazz album. Ah, no. As fierce and unsettling — and sometimes as beautiful — as anything in Bowie’s one-of-a-kind catalog, Blackstar looks to jazz not for tunes or signifiers but for a proud sense of sonic freedom. If anything, it views taste and maturity with suspicion — and thus shares about as much with your typical rocker-doing-jazz record as the singer’s trippy new off-Broadway musical, Lazarus, does with Les Miz. The album’s intensity shouldn’t come as a surprise. In early 2013, after 10 years of quiet, Bowie suddenly re-emerged with The Next Day, a jolt of vivid guitar rock that openly recalled his classic work from the 1970s. But
MIKAEL WOOD | LOS ANGELES TIMES where The Next Day showed he could still do pop economy, Blackstar emphasizes his willingness to pursue an idea well beyond the constraints of verse-chorus-verse.
Me, which rides a clattering hip-hop beat, as well as Lazarus, a mesmerizing slow jam that guitarist Ben Monder keeps rupturing with jabs of noise.
The opening title track veers between a creeping minor-key groove and a funky strut layered with woozy saxophone tones from Donny McCaslin, whose killer quartet serves as Bowie’s backing band. The demented punk-doo-wop number ‘Tis a Pity She Was a Whore winds up to a climax in which you can hear Bowie audibly exhorting McCaslin to play harder.
Throughout the album, Bowie is in remarkably nimble shape as a singer, moaning like a ghoul in the title track, barking raggedly in Girl Loves Me, then drifting up to float over the delicate thrum of Dollar Days, a pretty, mid-tempo ballad that comes as close as anything here to the idea of Bowie as supper-club smoothie.
And then there’s Sue (Or in a Season of Crime), a grimy, propulsive remake of a song that hinted at Bowie’s new direction when it appeared as a kind of orchestral fever dream on his 2014 retrospective, Nothing Has Changed. The singer’s trusted producer, Tony Visconti, has said that Kendrick Lamar’s sprawling To Pimp a Butterfly was an influence on Blackstar, and you can hear that in Girl Loves
What exactly is he using these wild, varied sounds to communicate? That depends on which of Bowie’s confidantes you ask. (The singer hasn’t explained himself in an interview in years.) McCaslin recently told Rolling Stone that Blackstar, which mentions “the day of execution,” was inspired by the Islamic State, though Visconti said he hadn’t heard that. Other songs toss out scattered thoughts about death and celebrity, topics Bowie was
also pondering on The Next Day. Occasionally, a concrete image will arrive amid the highflown philosophizing, as in Lazarus, where he mentions dropping his cellphone. But in a way those suggestions of the everyday only make the music seem more mysterious — and Bowie even less a part of the show-biz realm in which legends his age behave a certain way.
RACHEL PLATTEN WILDFIRE
CHAIRLIFT MOTH The mile-high atmosphere of Boulder, Colo., has added just the right amount of rarefied air and icy bite to everything Chairlift has done. Imagine Bjork in her pop prime fronting the oblong, synth-skronky Boards of Canada without either’s usual elliptical lyricism, and there’s choppy contralto Chairlift singer Caroline Polachek and her small, chilly unit. What makes Moth different from its two chattering predecessors is its molten-hot thawing of Chairlift’s cold calculation with gently swaying melodies and an overall brassiness. It may be a synthetic
trumpet’s toot that gives Romeo its horny syncopation, or the slow skanking “ChChing” its ska-reggae slinkiness. Every element is geared toward warming up their sound. In particular, on the clicking Crying in Public, the foot-stomping Show U Off, and the flickering Moth to the Flame, Polachek sings as if she’s ready for a kiss on the lips rather than a kick in the shins. On occasion, Moth’s smooth, warm tones and easygoing melodies (e.g. the aforementioned Crying and its flowing “I’m falling for you, I’m falling for you” refrain) give Chairlift the feel of
telephone hold music. At least it’s a call you’ll take. — A.D. Amorosi, Philadelphia Inquirer
A
DON HENLEY CASS COUNTY
s a principal member of the Eagles, Don Henley helped take country-rock to the masses with such hits as Take It Easy and Tequila Sunrise. On his latest solo album, he makes an impressive foray into straight-up, no-frills country. Cass County) finds Henley teaming with another noted rock drummer, Stan Lynch, formerly of Tom Petty’s Heartbreakers, as writer and producer. They have crafted an exquisite set whose numerous guests — from Mick Jagger to Miranda Lambert
— only enhance the timeless beauty of their own work. With empathy and a lack of affectation, Henley and Lynch tackle age-old country themes such as living off the land (Praying for Rain) and working-class job struggles (Waiting Tables). Which is not to say Henley isn’t on occasion his notoriously irascible self. “Don’t tell me to take it easy,” he spits out on No, Thank You, one of Cass County’s most rocking tracks, in what is perhaps a subtle dig at the band that made him famous. — Nick Cristiano, Philadelphia Inquirer
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T
he New York scene veteran has certainly worked hard to get where she is and her breakthrough hit Fight Song was one of the most inspirational pop songs of 2015. However, her major label debut, Wildfire (Columbia), could use more of that “Fight Song” fire. The new single Stand By You is an exception, as Platten sounds unshakable over the synth swells and booming beats of the catchy anthem with the help of fun.’s Jack Antonoff. Lone Ranger is more representative of Wildfire, its galloping heart in the right place, but resulting in something that’s kinda clever, yet essentially blank. Platten needs to let go a little more because her Wildfire stays a bit too cozy. — Glenn Gamboa, Newsday
Wartburg College Opera Workshop and Wartburg Players present
OUR PICKS, YOUR CLICKS New Day by Alicia Keys From the opening beats, this hip-pop song makes you feel like you can take on the world. — Christinia C. Complexity by Eagles of Death Metal These witnesses of the Paris terror attacks are more White Stripes than Bloodbath. Lots of fun. — Doug H. Under Pressure by David Bowie/Queen Sure, Space Oddity has a great story, and Fame is quirky, introspective Bowie and Rebel Rebel is the consummate rock song. But Under Pressure has all three qualities, PLUS Freddie Mercury! — Amie S. Don’t Make Me Wait by Seal “Are we tired of feeling blue? Can I get along with you?” The raspyvoiced artist is tired as hell of fighting with his woman and is ready to get this business settled. — Meta H. Country Records by Cedar County Cobras This is a solid acoustic jam off the Iowa City rockabilly trio’s debut album, Delta Ave Juke Joint. Longtime folk mainstay Katie Roche lends vocals to help this song stand out on the album. — John M. Bow Down Mister by Boy George Boy George wrote this upbeat tune after studying the Hare Krishna movement. He credits the religion for helping him beat heroin addiction. Look at that, a song AND some Wikipedia. — David H.
Feb 18+20 Feb. 18 +20 20
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Youth by Troye Sivan The chorus of this song makes me feel young and old at the same time. Youth is wasted on the young! Get off my lawn! — Alan S. I’m In Love with My Car by Queen Everything that’s great about Freddie Mercury and Brian May, plus lyrics rhyme “forget her” with “carburetor.” — Doug H. Lazarus by David Bowie Bowie was dying — and had to know this — when he wrote Lazarus. This thing is so literal of a goodbye letter it opens with the line, “Look up here, I’m in heaven.” — Amie S. Right Through You by Alanis Morissette From her breakout album, Jagged Little Pill (released 20 years ago! Whuuuuuttttt????), this jem of a track has Ms. Morissette putting a clammy handed pig in his place. Bam. — Meta H. You Were Born by Cloud Cult Cloud Cult has refined their orchestral rock sound in the last few years. You Were Born features a simpler arrangement that builds nicely and showcases the group’s thoughtful, haunting lyrics. — John M. The Sound by 1975 Listening to this makes me want to laugh like Julia Roberts in Pretty Woman getting the necklace box snapped on her. So… yeah. — Alan S.
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Monday-Saturday 11AM to 9PM PULSE 13
Cult classic Minnesota experimental rock band Cloud Cult kicks off the first Gallagher Bluedorn’s Handpicked concert series Feb. 4. The show also kicks off the band’s latest tour supporting their upcoming new album, The Seeker, which is due out Feb. 12. The album, recorded at the band’s own Earthology Institute studio, was powered by wind and solar power generated at the site. Hitting the road on the heels of the release the show
should be full of new material, said Blake Argotsinger, of the Gallagher Bluedorn. “It’s good timing,” he said of the tour. Cloud Cult has been producing music for more than a decade. The band’s orchestral rock sound and complex arrangements has earned them higher placement on the Billboard and indie charts with each new album. Their energy attracts new and casual fans while the group’s lyrics hook people who like to peel back the layers, Ar-
gotsinger said. “When you start listening to Cloud Cult, you become a fan and you start digging deeper,” he said. “The lyrics in their songs are philosophical and spiritual.” The group also releases well-produced videos to go with their songs. “There’s so much content,” Argotsinger said. “If you binge on Cloud Cult like people binge on Netflix, it’s an incredible experience.”
GRANT WOOD AND MARVIN CONE Barns, Farms, and America’s Heartland
Grant Wood, Spring in the Country, 1941, 26 x 24 in., oil on Masonite, Museum purchase, 93.12 The Grant Wood and Marvin Cone exhibition, Barns, Farms, and America’s Heartland, is made possible by Rockwell Collins, a grant from the GreatAmerica Financial Services Donor-Advised Fund of the Greater Cedar Rapids Community Foundation, and Ingredion Incorporated. Additional support has been provided by the Hotel-Motel Tax Fund, the Program Grant Fund of the Greater Cedar Rapids Community Foundation, the Iowa Arts Council, a division of the Iowa Department of Cultural Affairs and the National Endowment for the Arts, members of the Cedar Rapids Museum of Art, and contributors to the Museum’s Annual Fund.
410 Third Avenue SE Cedar Rapids, IA 52401 319.366.7503 • www.crma.org
Open Tuesday, Wednesday, Friday, and Sunday 12:00 - 4:00 p.m.; Thursday 12:00 - 8:00 p.m.; Saturday 10:00 a.m. - 4:00 p.m.
making plans? we’ll point the way
COURTESY PHOTO
JOHN MOLSEED | PULSE WRITER
With the new album, the band is also releasing an accompanying movie based on the record. It stars Josh Radnor from How I Met Your Mother. For cellist Daniel Zamzow, the Gallagher Bluedorn show will be a homecoming of sorts. He attended the University of Northern Iowa school of Music. That’s not the group’s only Iowa connection. Shawn Neary — who plays the bass, trombone, tuba, banjo and harmonium — is from Ottumwa.
Cloud Cult
Gallagher Bluedorn’s Handpicked Concert Series Feb. 4, Cedar Falls $25 gbpac.com.
ReaD. WATCH. sURF CVPulse.com
PULSE 15
Silver & light Old-school film photography at heart of exhibition
MELODY PARKER | PULSE WRITER
S
hannon Graham’s eyes take a few minutes to adjust to a room so dark he can’t see his hand in front of his face. Even so, his practiced fingers open the film canister, remove exposed film and carefully feed it onto a reel before placing it in a developing tank. He douses it with developing chemicals and agitates the tank, eventually replacing developer with stop, then fixer chemicals. He flips a switch and a red light illuminates the setting. Holding his breath, he gets his first look at his work — the good, the bad and the blurred — on the negatives. “The dark room – that’s where the magic happens,” Shannon says, smiling. “I can spend 12 hours in the dark room, but I can’t sit that long in front of a computer screen.” He enjoys the anxiety and anticipation he finds in film photography. “With digital photography, you immediately see what you’ve shot and can take another shot, if necessary. With film, you have to develop it and wait to see if you’ve done everything right, see what you get when that image begins to appear in the developer tray. It’s a little like Christmas,” he explains. Shannon is one half of the successful husband-and-wife photography team at S&C Studios. Shannon and Colleen have been working together for more than 17 years in commercial and fine-art photography. Their latest body of work is featured in Cedar Falls in a Hearst Center for the Arts exhibition, “Studies in the Reactions of Silver and Light,” now through March 27. Colleen describes the fine-art series as “completely analog — all unplugged,” using film cameras and printing on light-sensitive paper infused with gelatin and silver salts. Any special effects or enhancements were done using multiple exposures or the enlarger. “There’s no Photoshopping involved. It’s all old school,” Shannon points out. The gelatin-silver process was originally introduced in the late 19th cen-
16 PULSE
tury. The advent – and convenience – of digital photography in the late 20th century made the developing and printing process nearly archaic. Film and printing paper can be hard to come by, and expensive. In contrast to digital images, “film is organic. You’re dealing with molecules, not electrons,” he explains. Shannon fears people are losing a sense of photography as a tangible object. “Everything is on a digital card, or flipped through on a cell phone, tablet or computer screen and not printed out. People don’t have prints anymore. It’s important to make prints, I think.” He is a master of large-format photography using a Cambo 4x5 view camera to capture detailed images. Colleen uses medium-format film and Speed Graflex and Hasselblad cameras to photograph scenes of everyday life. In addition to developing and printing, the Grahams also cut and mat their own prints. This project may encourage amateur and professional photographers to learn or revisit the techniques and skills required in film photography. From decaying vegetables and gritty industrial machines to nostalgic vignettes and abstracts, the Grahams have gathered a striking collection representing more than two years of work. Thirty-five images will be displayed in the show, and all of the black-and-white photos are high-contrast. “We wanted that dynamic contrast. Nothing is flat gray. Chemicals formulas were designed to make the black as black can be on the paper,” says Colleen. Both Colleen and Shannon got their training through the photography program at Hawkeye Community College in Waterloo. They moved to New England after college where they worked with some of the East Coast’s best photographers before returning home to open a commercial photography studio, S&C Graham Foto Design. Several years ago, they revamped an old auto repair garage into a studio near the Hearst Center, S&C Design Studios.
BRANDON POLLOCK | PULSE PHOTOGRAPHER
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TWENTY-FOUR
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MOVIES NEWS & REVIEWS, RELEASES & TRAILERS LIVE MUSIC SOUNDBITES, NEWS INTERVIEWS, CD RELEASES AND LIVE MUSIC VENUES
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Christian music group Manic Drive is on the road with their newest album, VIP, released in October. The release is the latest success the Toronto-based group has seen since brothers Shawn and Michael Cavallo and Anthony Moreino broke from their label to release their music in18 PULSE
dependently. is meant to celebrate who we are in The album title track, VIP, has re- Christ individually.” ceived play on Christian radio and gotten some mainstream love too. “God gives everyone a purpose,” Manic Drive said Shawn Cavallo of the song. “VIP VIP Experience Tour with Tiffany Sinko Sunday, Feb. 14 @ 7 PM is a song that focuses on what we Heartland Vineyard Church, Cedar Falls are uniquely called to do. The song Free
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Driven by faith
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