Since the early 90's, Pat Graham has been photographing seminal bands of the American underground music scene. You might recognize Pat's modern-classic image of Kathleen Hannah and Tobi Vail splayed out on the stage floor during a Bikini Kill show from the cover of their album, "The CD Version of the First Two Records", their arms and legs trailed by ghosts from off-camera flash, long exposures, and camera movement. This spontaneous and off-the-cuff style is on display throughout Pat's new collection of photographs, Silent Pictures.
Charles Baxter once said that a good writer makes the familiar seem unfamiliar and the unfamiliar seem familiar. If true, this observation clearly explains Marjane Satrapi’s success.
Satrapi’s new film, Persepolis, written and directed with Vincent Paronnaud, begins with a showering of flowers. The camera swirls above an urban cartoon landscape, floating as though mounted to a Tilt-A-Whirl on Theraflu. Donning a red coat, Satrapi’s adult cartoon self orders a ticket to Tehran, sits down, lights a cigarette and reflects on her childhood in Iran. Suddenly, like Dorothy’s Kansas, everything is black and white.
The first time I heard of White Magic was when Sadie asked me to review them. I was like, "Who?" And then once I got my hands on the CD, I knew exactly the distinctive sound that is White Magic. There was no more who, but rather, "Why only now are we introduced?" I could have used this music in my ultra-moody, dark early-twenties.