There is one art that is extremely overlooked. It requires precision, an eye for perfection, and even demands a license for professional practice. To be a hair colorist takes patience, strategy, and skill to satisfy every customer who requests specific colors be added to alter their natural hair color. Because hair is a very personal attribute and people take pride in their appearance, it is important that a good hair colorist have impeccable judgment. Hair services in San Francisco are not cheap, so when I decided to look for a hair colorist, I wanted the best. Her name is Marissa Estrella and she is a senior stylist at Edo hair salon located on lower Haight street. Edo was rated “best salon” in 2009 by the Bay Guardian, and the staff certainly live up to their expectations.
Located on the corner of Haight street at Steiner, this quaint salon sits situated between local residences and the fine dining of lower Haight. With a small pink banner that reads “Edo Hair Salon and Art Gallery,” it is easy to overlook the second part of the title. Yes, a hair salon that doubles as an art gallery. Instantly intrigued, I called to schedule my appointment, prepared to shovel out over $100 for a partial highlight. Stephanie who answers the phones was not the most enthusiastic person to schedule a hair appointment with- it was as if my business was not needed. However, upon arrival I was greeted by a very nice front desk staff and offered water or wine while I waited. This is when I decided to check out the art. Currently featured at Edo is the work of Catto Vanessa Houghton, a Canadian born artist who just recently moved to the Bay Area. Her showcased portraits called “Falling Together” resemble pop-art with a more realistic flare. One portrait features a close-up of an African American male with dread locks. The picture looks like a real portrait, capturing the man’s distinct features and incorporating intricate detail. The photos were a great distraction from the fact that Marissa was running late.
As I sipped my red wine Marissa assessed my hair needs and recommended the best plan of attack: light bleach and brown toner in order to create golden bronze highlights. As someone who comes from a family of hair stylists and colorist I have learned to become extremely picky and exact with my hair. Colorists can put color on top of natural hair, or they can bleach the hair- which is essentially starting from scratch and then decide to add color. This is the most difficult part of creating the perfect color and determining if bleach is appropriate for different hair types. With one hair color in mind, Marissa explained adequately how long she would keep the bleach on, then how she would add brown toner to bring out the caramel and bronze in my hair. If I was not satisfied with my hair color, she explained that I could come back for a retouch.
Edo lives up to its positive reviews with friendly and knowledgeable staff. They have a full line of Bumble & Bumble hair products to compliment their services. After my first visit I even received a $10 off coupon as a new customer for my next visit. I am more than content with the result of Marissa’s expertise and would recommend Edo to anyone who needs a great stylist. The cost of my trip: $130, my experience: great, my hair color: amazing. Not only are the services great, there is always an art showcase that changes monthly on display.
My rating: ****1/2
Wednesday, May 12, 2010
Sunday, April 11, 2010
The Urban Unseen- Art Exhibit
Attracting tourists and future homeowners, tightly packed together apartment buildings and Victorian style homes are a trademark of San Francisco. On almost every block of the city, every lot is somehow connected. Are these just closely built homes, or architectural masterpieces? Tanu Sankalia, Architecture professor at the University of San Francisco, examines the overlooked complexities of San Francisco Victorian homes in his art exhibit “The Urban Unseen.” The art exhibit, located in Thacher Gallery on the University of San Francisco campus, explores the spaces between homes and the way they are connected.
Sankalia’s vision was to draw attention to and analyze more than just the façade, but the multiple dimensions of the houses near the university’s campus. Some of these Victorian residential houses on Turk Street were built in the mid to late 1800’s, embodying the style of English architecture during the rule of Queen Victoria. They were also built on top of bedrock so they were able to survive the San Francisco earthquake and fire. During a walking tour, Sankalia explains that he wanted to tell the story of San Francisco in a different way. He asked “How do you look at things that are unseen?” and hoped to convey his conclusions through his exhibit.
Sankalia obtained his undergraduate degree in Architecture in India before he moved to the U.S. to continue his studies at UC Berkeley. He has taught in India and has been a professor at the University of San Francisco, which funded his exhibit, for four years. He is extremely passionate and equally knowledgeable about his project.
The actual exhibit encompasses his findings through various art forms. There are wax sculptures, detailed drawings, video, and photographs of the different spaces that exist between lots. Some homes are connected by a wall, which Sankalia describes as row houses, when two houses share a wall and there is little to no space between them. Other homes are connected by a gate, and some are connected by a wall that begins further back than the first dimension of the house. These are the complexities that the average passerby may never notice which makes this exhibit original and unique. He notes that facades are highlighted during the day, drawing attention away from other dimensions of space. However, as night approaches the visibility of intricate details of Victorian architecture and space becomes apparent.
Sankalia explains that there were four main elements to understanding and expressing his vision. He believes these elements to be observation, mapping, documentation, and interpretation. He began his project observing the streets, spaces, and homes and then mapped his exact focus. Next he used various mediums to document the spaces and created ways in which others could interpret them. He worked along with four other artists to convey these images. Catherine Chang was another architect involved, as well as Pedro Churion who used film to interpret the spaces, and students also participated in creating the art exhibit.
The exhibit is creative, interactive, and most certainly something I’ve never seen before. However, the reason why it may have been so effective is that the concept goes beyond the exhibit. After leaving the art showcase, Sankalia’s idea can be found all over San Francisco. He was able to take a part of a city that unites everyone who lives in a home that is somehow connected to another. Since speaking with the artist and reviewing the showcase, I am constantly aware of the spaces that connect Victorian houses and even my own apartment building. Well done Sankalia, well done.
My Rating: *****/*****
Sankalia’s vision was to draw attention to and analyze more than just the façade, but the multiple dimensions of the houses near the university’s campus. Some of these Victorian residential houses on Turk Street were built in the mid to late 1800’s, embodying the style of English architecture during the rule of Queen Victoria. They were also built on top of bedrock so they were able to survive the San Francisco earthquake and fire. During a walking tour, Sankalia explains that he wanted to tell the story of San Francisco in a different way. He asked “How do you look at things that are unseen?” and hoped to convey his conclusions through his exhibit.
Sankalia obtained his undergraduate degree in Architecture in India before he moved to the U.S. to continue his studies at UC Berkeley. He has taught in India and has been a professor at the University of San Francisco, which funded his exhibit, for four years. He is extremely passionate and equally knowledgeable about his project.
The actual exhibit encompasses his findings through various art forms. There are wax sculptures, detailed drawings, video, and photographs of the different spaces that exist between lots. Some homes are connected by a wall, which Sankalia describes as row houses, when two houses share a wall and there is little to no space between them. Other homes are connected by a gate, and some are connected by a wall that begins further back than the first dimension of the house. These are the complexities that the average passerby may never notice which makes this exhibit original and unique. He notes that facades are highlighted during the day, drawing attention away from other dimensions of space. However, as night approaches the visibility of intricate details of Victorian architecture and space becomes apparent.
Sankalia explains that there were four main elements to understanding and expressing his vision. He believes these elements to be observation, mapping, documentation, and interpretation. He began his project observing the streets, spaces, and homes and then mapped his exact focus. Next he used various mediums to document the spaces and created ways in which others could interpret them. He worked along with four other artists to convey these images. Catherine Chang was another architect involved, as well as Pedro Churion who used film to interpret the spaces, and students also participated in creating the art exhibit.
The exhibit is creative, interactive, and most certainly something I’ve never seen before. However, the reason why it may have been so effective is that the concept goes beyond the exhibit. After leaving the art showcase, Sankalia’s idea can be found all over San Francisco. He was able to take a part of a city that unites everyone who lives in a home that is somehow connected to another. Since speaking with the artist and reviewing the showcase, I am constantly aware of the spaces that connect Victorian houses and even my own apartment building. Well done Sankalia, well done.
My Rating: *****/*****
Friday, March 26, 2010
Learn to Be Latina
Learn to Be Latina
Impact Theatre
La Val's Subterranean, 1834 Euclid Ave., Berkeley
Ticket cost: $12-20
Show runs to March 27, 2010
Running time is two hours and 10 minutes
Sitting in a small basement full of cobwebs beneath a pizza place where UC Berkeley students gather to shoot pool, do homework, and drink beer you would never expect to see a phenomenally written and directed play. Up and coming playwright Enrique Urueta did not have a wide variety of venue choices for his play Learn to Be Latina, but the talented cast made the intimate setting work.
Learn to Be Latina is a contemporary comedy that addresses issues of race, sexuality, and identity that seeks to offend and entertain at the same time. 22-year-old aspiring singer Hanan Mashulani, played by Carlye Pollack, brings her demo to a record label where she is told that she will not be marketable because she is Lebanese Will, Bill, and Jill, the label consultants, are vetoed by some kind of “ethnic advisor” Mary O’Malley. Mary O’Malley shines throughout the entire play with her blunt humor, awful Irish accent, Spanglish, and a Cuban hand puppet named Casatina. Mary decides that Hanan should be marketed as a Latina, completely ignoring her Lebanese roots, due to a personal vendetta we later learn of.
Mary points out that Latina artists Selma Hyek and Shakira are both of Lebanese descent yet their Middle Eastern heritage is never highlighted in the media. The music executives make terrorist references to Hanan’s ethnicity and take cover when she picks up her bag. Their comments are extremely racist but the audience cannot help but laugh at their ridiculous assumptions. Urueta calls attention to the tumultuous careers of Middle Eastern ethnic pop stars Tiffany and Paula Abdul, establishing a need to change the ethnicity of Hanan. After a “Latina boot camp” Hañan emerges as a international superstar who speaks little Spanish and takes on a Colombian heritage, that she later confuses with Cuban. She struggles with her identity throughout the play and her sexuality as well when she falls for “Office Bitch,” a.k.a the Chicana office secretary.
No minority group is exempt from Urueta’s humor. He pokes fun at Mexicans, black people, lesbians, gays, Latinos, women, and he even makes fun of white people calling them the “race-less” group. The characters use racial slurs, “politically incorrect” words, they cuss, perform sexual acts, do and say anything and everything to make us feel uncomfortable. As a resident of San Francisco and a product of pop culture, I was not offended. However, perhaps a more conservative, older audience would not have been a fan of Learn to Be Latina.
The small basement theater allowed for a relaxed setting where most of the audience enjoyed pizza, beer, and wine from La Val’s Subterranean (the pizza place above). The lighting was appropriate for the small space that was allotted for the stage, and the sound was just right. The costumes looked as though they were thought out, but perhaps needed to be a bit more flashy for Hañan’s role as a superstar. I enjoyed all two hours and 10 minutes of the up-beat, in-your-face dialogue, multiple dance performances, pop culture references, crude comments, and high energy performance. Overall, I think Urueta’s play was fantastically written and well thought out. His professional partner, Director Mary Guzmán did an equally amazing job at directing the actors and helped put Urueta’s words into action. Together, the two nailed it.
My Rating: ****
Rating:
* (Yawn)
** Still listening
*** Great acting and solid plot
**** Amazing acting, great storyline, and no one’s sleeping.
Impact Theatre
La Val's Subterranean, 1834 Euclid Ave., Berkeley
Ticket cost: $12-20
Show runs to March 27, 2010
Running time is two hours and 10 minutes
Sitting in a small basement full of cobwebs beneath a pizza place where UC Berkeley students gather to shoot pool, do homework, and drink beer you would never expect to see a phenomenally written and directed play. Up and coming playwright Enrique Urueta did not have a wide variety of venue choices for his play Learn to Be Latina, but the talented cast made the intimate setting work.
Learn to Be Latina is a contemporary comedy that addresses issues of race, sexuality, and identity that seeks to offend and entertain at the same time. 22-year-old aspiring singer Hanan Mashulani, played by Carlye Pollack, brings her demo to a record label where she is told that she will not be marketable because she is Lebanese Will, Bill, and Jill, the label consultants, are vetoed by some kind of “ethnic advisor” Mary O’Malley. Mary O’Malley shines throughout the entire play with her blunt humor, awful Irish accent, Spanglish, and a Cuban hand puppet named Casatina. Mary decides that Hanan should be marketed as a Latina, completely ignoring her Lebanese roots, due to a personal vendetta we later learn of.
Mary points out that Latina artists Selma Hyek and Shakira are both of Lebanese descent yet their Middle Eastern heritage is never highlighted in the media. The music executives make terrorist references to Hanan’s ethnicity and take cover when she picks up her bag. Their comments are extremely racist but the audience cannot help but laugh at their ridiculous assumptions. Urueta calls attention to the tumultuous careers of Middle Eastern ethnic pop stars Tiffany and Paula Abdul, establishing a need to change the ethnicity of Hanan. After a “Latina boot camp” Hañan emerges as a international superstar who speaks little Spanish and takes on a Colombian heritage, that she later confuses with Cuban. She struggles with her identity throughout the play and her sexuality as well when she falls for “Office Bitch,” a.k.a the Chicana office secretary.
No minority group is exempt from Urueta’s humor. He pokes fun at Mexicans, black people, lesbians, gays, Latinos, women, and he even makes fun of white people calling them the “race-less” group. The characters use racial slurs, “politically incorrect” words, they cuss, perform sexual acts, do and say anything and everything to make us feel uncomfortable. As a resident of San Francisco and a product of pop culture, I was not offended. However, perhaps a more conservative, older audience would not have been a fan of Learn to Be Latina.
The small basement theater allowed for a relaxed setting where most of the audience enjoyed pizza, beer, and wine from La Val’s Subterranean (the pizza place above). The lighting was appropriate for the small space that was allotted for the stage, and the sound was just right. The costumes looked as though they were thought out, but perhaps needed to be a bit more flashy for Hañan’s role as a superstar. I enjoyed all two hours and 10 minutes of the up-beat, in-your-face dialogue, multiple dance performances, pop culture references, crude comments, and high energy performance. Overall, I think Urueta’s play was fantastically written and well thought out. His professional partner, Director Mary Guzmán did an equally amazing job at directing the actors and helped put Urueta’s words into action. Together, the two nailed it.
My Rating: ****
Rating:
* (Yawn)
** Still listening
*** Great acting and solid plot
**** Amazing acting, great storyline, and no one’s sleeping.
Friday, March 12, 2010
Alice in Wonderland, quite a dissapointment
Thank goodness for 3D graphics because they were just about the only thing that saved Tim Burton’s 2010 take on Alice in Wonderland. Perhaps established actors Johnny Depp (the Mad Hatter), Helena Bonham Carter (the Red Queen), Anne Hathaway (the White Queen) and Burton’s reputation as a director are the reason this film had so much hype and publicity. With strange sexual undertones, unexplained circumstances, and frightening looking creatures, I would not suggest taking the kids. As an fan of the old Disney movie Alice in Wonderland, my longing for childhood nostalgia was crushed with this slow and anticlimactic storyline.
From the first scene we see young Alice as a girl who suffers from bad dreams often and then we abruptly fast forward to her life as a 19-year-old rebellious girl on the way to her engagement proposal. As an audience we are not quite sure what occurred in those passing years but we are to assume that Alice once visited what she calls “Wonderland” and has now forgotten all about it.
The beginning of the film sets up for what seems like might be a nineteenth century film about arranged marriages. Alice, who has about a 2.5 second attention span, fails to pay attention to the fact that she has just been proposed to and instead chases a rabbit that, surprise, goes down a rabbit hole. Following the rabbit she enters what is called “Wonderland” or what looks like a place drug addicts might go after their first hit. This is a land where you can drink a potion to make you smaller, eat a small cake that magically makes you grow taller, animals can speak, and humans take on strangely enlarged facial features.
Alice encounters a number of creatures that she befriends who are convinced that she is not the same Alice that visited this land once before. She meets the wise caterpillar who smokes out of a hookah until he cocoons, a magical healing cat, and the most intriguing character, the Mad Hatter who looks like a clown on methamphetamine. A quirky, hat-making, Mad Hatter played by Johnny Depp takes on the role of Alice’s “watcher,” yet it seems as though the two may have a connection deeper than friendship, perhaps a romance.
Alice also has an interaction with the King where he expresses his lust for her by pushing her up against a wall. Throughout the entire movie she is constantly consuming potions that alter her size and her clothing disappears as she grows taller or smaller. Her lack of clothing and risqué attire distract audiences from the once innocently portrayed Disney Alice and turns her into a bit of a sex symbol. She is even charged for unlawful seduction and brought before the Red Queen who delivers her famous line “Off with her head!” Explaining the reason for Alice’s beheading may not be inappropriate for the young ones since the PG rating allows anyone to view the film.
Alice in Wonderland is drawn out over an hour and forty minutes of film that attempts to keep audiences suspenseful for a climactic ending in which Alice must slay a large evil creature. However the ending is the opposite. It is quite slow and Alice eventually returns from Stonerland, crawling out of the rabbit hole and arriving at her engagement proposal party. The amount of time that has elapsed is unexplained and viewers are unsure what the party guests have been doing all this time that Alice has been missing. Despite all of her adventures, Alice’s character does not go through much of a transformation. In fact, she seems to be the same Alice that the film opened with. Was she dreaming, did she really go to Wonderland, or did she do some serious drugs?
Rating:
* Not a great film
** Somewhat entertaining
*** It was good, but I wouldn’t see again.
**** Mind stimulating and entertaining throughout
***** Film genius
My rating:
** 1/2
From the first scene we see young Alice as a girl who suffers from bad dreams often and then we abruptly fast forward to her life as a 19-year-old rebellious girl on the way to her engagement proposal. As an audience we are not quite sure what occurred in those passing years but we are to assume that Alice once visited what she calls “Wonderland” and has now forgotten all about it.
The beginning of the film sets up for what seems like might be a nineteenth century film about arranged marriages. Alice, who has about a 2.5 second attention span, fails to pay attention to the fact that she has just been proposed to and instead chases a rabbit that, surprise, goes down a rabbit hole. Following the rabbit she enters what is called “Wonderland” or what looks like a place drug addicts might go after their first hit. This is a land where you can drink a potion to make you smaller, eat a small cake that magically makes you grow taller, animals can speak, and humans take on strangely enlarged facial features.
Alice encounters a number of creatures that she befriends who are convinced that she is not the same Alice that visited this land once before. She meets the wise caterpillar who smokes out of a hookah until he cocoons, a magical healing cat, and the most intriguing character, the Mad Hatter who looks like a clown on methamphetamine. A quirky, hat-making, Mad Hatter played by Johnny Depp takes on the role of Alice’s “watcher,” yet it seems as though the two may have a connection deeper than friendship, perhaps a romance.
Alice also has an interaction with the King where he expresses his lust for her by pushing her up against a wall. Throughout the entire movie she is constantly consuming potions that alter her size and her clothing disappears as she grows taller or smaller. Her lack of clothing and risqué attire distract audiences from the once innocently portrayed Disney Alice and turns her into a bit of a sex symbol. She is even charged for unlawful seduction and brought before the Red Queen who delivers her famous line “Off with her head!” Explaining the reason for Alice’s beheading may not be inappropriate for the young ones since the PG rating allows anyone to view the film.
Alice in Wonderland is drawn out over an hour and forty minutes of film that attempts to keep audiences suspenseful for a climactic ending in which Alice must slay a large evil creature. However the ending is the opposite. It is quite slow and Alice eventually returns from Stonerland, crawling out of the rabbit hole and arriving at her engagement proposal party. The amount of time that has elapsed is unexplained and viewers are unsure what the party guests have been doing all this time that Alice has been missing. Despite all of her adventures, Alice’s character does not go through much of a transformation. In fact, she seems to be the same Alice that the film opened with. Was she dreaming, did she really go to Wonderland, or did she do some serious drugs?
Rating:
* Not a great film
** Somewhat entertaining
*** It was good, but I wouldn’t see again.
**** Mind stimulating and entertaining throughout
***** Film genius
My rating:
** 1/2
Tuesday, February 23, 2010
Boycott Forever 21?
Documentary film Made in L.A. (2007) reveals an uncomfortable truth about the sweatshop industry in Los Angeles, capturing the lives of three Latina immigrants whose fight brings justice to the garment workers producing clothing for major retailer Forever 21. The film gives viewers an intimate look into the lives of Lupe Hernandez, Maria Pineda, and Maura Colorado letting us also celebrate their victorious win after a three-year-long boycott of the garment industry and pending lawsuit against Forever 21.
Unlike the many documentaries produced each year, Director and Producer Almudena Carracedo was able to convey a very clear message about human rights, rather than impose an opinion on an uniformed audience. It is apparent that these women, along with many other illegal immigrants, have been exploited and taken advantage of by garment industries that pay them far less than minimum wage and degrade their dignity as humans.
The fact that the documentary is almost entirely in Spanish further aids the understanding of where these women have come from and who they are. Subtitles are provided, however, as the documentary progresses you find that you have stopped reading them so carefully and focused more on the emotions these women feel.
The camera predominantly films the characters from a medium-long shot which seems like their lives and experiences unfold right before our eyes in a non-invasive way.
Just by simply taking a look into their lives we see Lupe Hernandez, originally from Mexico City, and Maria Pineda along with Maura Colorado who immigrated from El Salvador, transform from quiet, struggling women into powerful, fearless representatives of a widely oppressed population of exploited people. The courageous act of these women are inspiring for all. As an audience, we respect them completely for fighting and bearing their personal lives as they could easily be deported or blacklisted from future employers.
By learning about their rights from a small Garment Workers Center in Los Angeles, these women along with many others learn that if they stick together and fight for their rights, the system will crumble. However, by boycotting their jobs they are forced to look for other means to survive. We may wonder how these people are providing for themselves and maintain their homes and families. Here, the director fails to address how survival is possible during a boycott.
This documentary is able to convey a very clear message about human rights while showing the daily struggle of these immigrants who live in fear that they cannot provide for their families. They are humans just like legal U.S. citizens who deserve the right to be treated fairly in and outside of work. The cameras follow a particular strike in which the protestors stand outside of a Forever 21, in hopes of persuading others not to shop in the store. One scene in particular stands out when a woman looks at a garment she’s sewn in the window of a Forever 21. The garment sells for at least twenty dollars, when she received nineteen cents to make it.
Though the only commentary from a Forever 21 representative came from an Assistant Manager, holding a McDonalds cup in her hand, admitting that she “had no idea” Forever 21 exploited their workers, the documentary does capture the nature of Forever 21 C.E.O, Don Chang. After a protest at Chang’s home in Beverly Hills, he is filmed getting in a Range Rover and driving away, failing to address or comment on the strike. Shortly after this strike, we learn that he has filed a charge of libel against the protestors and the Center, something many big corporations do to intimidate others out of their lawsuits.
After a strenuous boycott, endless protesting, and lawsuit, the garment workers finally win when Forever 21 settles the case, instituting minimum wage and fair labor regulations for its workers. Hernandez, Pineda, and Colorado are all ecstatic along with the rest of the workers, we too partake in their victory. But, the end is bittersweet as we learn that much of the garment production ceases to exist in Los Angeles and Forever 21 moves their production to third world countries.
This film exposed an awful truth that many of us fail to recognize because the topic is widely absent from the media. Unfortunately, people will still continue to shop at retail stores like Forever 21 who exploit their workers because this issue does not directly affect them. For those who have seen the film, simply remembering one of the women whose life was directly influenced by the garment industry may stop them from shopping there all together.
My rating: ****
Rating Scale:
* Not good
** Interesting
*** A little more fascinating, but so what?
**** Wow, I didn’t know that!
***** Completely informative with views of the other side
Unlike the many documentaries produced each year, Director and Producer Almudena Carracedo was able to convey a very clear message about human rights, rather than impose an opinion on an uniformed audience. It is apparent that these women, along with many other illegal immigrants, have been exploited and taken advantage of by garment industries that pay them far less than minimum wage and degrade their dignity as humans.
The fact that the documentary is almost entirely in Spanish further aids the understanding of where these women have come from and who they are. Subtitles are provided, however, as the documentary progresses you find that you have stopped reading them so carefully and focused more on the emotions these women feel.
The camera predominantly films the characters from a medium-long shot which seems like their lives and experiences unfold right before our eyes in a non-invasive way.
Just by simply taking a look into their lives we see Lupe Hernandez, originally from Mexico City, and Maria Pineda along with Maura Colorado who immigrated from El Salvador, transform from quiet, struggling women into powerful, fearless representatives of a widely oppressed population of exploited people. The courageous act of these women are inspiring for all. As an audience, we respect them completely for fighting and bearing their personal lives as they could easily be deported or blacklisted from future employers.
By learning about their rights from a small Garment Workers Center in Los Angeles, these women along with many others learn that if they stick together and fight for their rights, the system will crumble. However, by boycotting their jobs they are forced to look for other means to survive. We may wonder how these people are providing for themselves and maintain their homes and families. Here, the director fails to address how survival is possible during a boycott.
This documentary is able to convey a very clear message about human rights while showing the daily struggle of these immigrants who live in fear that they cannot provide for their families. They are humans just like legal U.S. citizens who deserve the right to be treated fairly in and outside of work. The cameras follow a particular strike in which the protestors stand outside of a Forever 21, in hopes of persuading others not to shop in the store. One scene in particular stands out when a woman looks at a garment she’s sewn in the window of a Forever 21. The garment sells for at least twenty dollars, when she received nineteen cents to make it.
Though the only commentary from a Forever 21 representative came from an Assistant Manager, holding a McDonalds cup in her hand, admitting that she “had no idea” Forever 21 exploited their workers, the documentary does capture the nature of Forever 21 C.E.O, Don Chang. After a protest at Chang’s home in Beverly Hills, he is filmed getting in a Range Rover and driving away, failing to address or comment on the strike. Shortly after this strike, we learn that he has filed a charge of libel against the protestors and the Center, something many big corporations do to intimidate others out of their lawsuits.
After a strenuous boycott, endless protesting, and lawsuit, the garment workers finally win when Forever 21 settles the case, instituting minimum wage and fair labor regulations for its workers. Hernandez, Pineda, and Colorado are all ecstatic along with the rest of the workers, we too partake in their victory. But, the end is bittersweet as we learn that much of the garment production ceases to exist in Los Angeles and Forever 21 moves their production to third world countries.
This film exposed an awful truth that many of us fail to recognize because the topic is widely absent from the media. Unfortunately, people will still continue to shop at retail stores like Forever 21 who exploit their workers because this issue does not directly affect them. For those who have seen the film, simply remembering one of the women whose life was directly influenced by the garment industry may stop them from shopping there all together.
My rating: ****
Rating Scale:
* Not good
** Interesting
*** A little more fascinating, but so what?
**** Wow, I didn’t know that!
***** Completely informative with views of the other side
Thursday, February 11, 2010
“Yea, e-a, e-a, e-a, Dunder Mifflin is a part of Sabre”
If you’re up for a good laugh, then tune into NBC’s “The Office” to watch the hilariously sarcastic cast make a parody of everyday life. With an unconventional office atmosphere that promotes the throwing of scissors, misuse of office equipment, and relaxed relationship between employees and management, “The Office” pokes fun at the typical day job of many Americans. From flirty office relationships, to the routine day in a cubicle, this show covers it all.
Last weeks episode “Sabre” addressed the current economic situation affecting many Americans with a comedic twist. The infamous Dunder Mifflin paper company has been bought by an electronic company called Sabre run by Kathy Bates’s character, due to the fact that most branches are going under. Michael (Steve Carell) finds that his staff are unhappy with the changes that Sabre has brought to Dunder Mifflin.
It all begins with the arrival of a package which Michael anxiously opens, not realizing it is not addressed to him. Along with the help of office workers Pam (Jenna Fischer), Dwight (Rainn Wilson), and assistant manager Jim (John Krasinski) they manage to tape the box back together. Just as Michael is promoting the “great team-work” of his employees, they hear a cell phone ring. It’s in the box. It’s hard to hold back a laugh at the stupidity of a company manager who can’t even complete a simple task.
Upon the arrival of a Sabre representative, two employees of Dunder Mifflin prepare a song to the beat of Miley Cyrus’s “Party in the USA,” in which they mispronounce Sabre for “Sab-ray,” ruining the overall fluidity of the song when they are corrected half way through. This scene provokes laughter and a bit of sympathy from the audience as we watch them struggle through the rest of the song, making them look incompetent.
Expecting parents Jenna and Jim have more on their mind than the office. In pursuits of finding the perfect day care for their expected child, they encounter an arrogant headmaster. Like most parents who just want the best for their kids, this scene shows the competitive nature of the day care industry. The anticipation of their baby keeps viewers interested in future episodes of “The Office.”
Audiences may wonder, what exactly do they do at Dunder Mifflin? Work seems to be the last thing the employees execute. The television show serves as a relief for the many Americans who work in an office, in retail, or management through the humorous situations employees of Dunder Mifflin encounter, that we too may have experienced. With “reality-type” filming, one-on-one conversations, and character eye contact with the camera, the show almost invites you into their world.
Dunder Mifflin must conform to the new rules of Sabre when company manager Michael realizes there is nothing he can do. Much like the real world today, many companies are bought by larger ones because they cannot financially survive. Employees must adhere to new company policies and regulations. “The Office” recognizes that, so why not address it with comedy? If you can appreciate abrupt scene changes, an unclear plot line, and comedy without fake laugher, then this show might grab a few laughs. The work place situations that leave us stressed, irritated, and exhausted are mocked in this satire that airs every Thursday night on NBC at 9/8 Central.
My Rating: ****
*- Dull/Boring
**-Held my attention
***- Forced a few laughs
****- Easy to follow and funny
*****- Overall comedic genius
Last weeks episode “Sabre” addressed the current economic situation affecting many Americans with a comedic twist. The infamous Dunder Mifflin paper company has been bought by an electronic company called Sabre run by Kathy Bates’s character, due to the fact that most branches are going under. Michael (Steve Carell) finds that his staff are unhappy with the changes that Sabre has brought to Dunder Mifflin.
It all begins with the arrival of a package which Michael anxiously opens, not realizing it is not addressed to him. Along with the help of office workers Pam (Jenna Fischer), Dwight (Rainn Wilson), and assistant manager Jim (John Krasinski) they manage to tape the box back together. Just as Michael is promoting the “great team-work” of his employees, they hear a cell phone ring. It’s in the box. It’s hard to hold back a laugh at the stupidity of a company manager who can’t even complete a simple task.
Upon the arrival of a Sabre representative, two employees of Dunder Mifflin prepare a song to the beat of Miley Cyrus’s “Party in the USA,” in which they mispronounce Sabre for “Sab-ray,” ruining the overall fluidity of the song when they are corrected half way through. This scene provokes laughter and a bit of sympathy from the audience as we watch them struggle through the rest of the song, making them look incompetent.
Expecting parents Jenna and Jim have more on their mind than the office. In pursuits of finding the perfect day care for their expected child, they encounter an arrogant headmaster. Like most parents who just want the best for their kids, this scene shows the competitive nature of the day care industry. The anticipation of their baby keeps viewers interested in future episodes of “The Office.”
Audiences may wonder, what exactly do they do at Dunder Mifflin? Work seems to be the last thing the employees execute. The television show serves as a relief for the many Americans who work in an office, in retail, or management through the humorous situations employees of Dunder Mifflin encounter, that we too may have experienced. With “reality-type” filming, one-on-one conversations, and character eye contact with the camera, the show almost invites you into their world.
Dunder Mifflin must conform to the new rules of Sabre when company manager Michael realizes there is nothing he can do. Much like the real world today, many companies are bought by larger ones because they cannot financially survive. Employees must adhere to new company policies and regulations. “The Office” recognizes that, so why not address it with comedy? If you can appreciate abrupt scene changes, an unclear plot line, and comedy without fake laugher, then this show might grab a few laughs. The work place situations that leave us stressed, irritated, and exhausted are mocked in this satire that airs every Thursday night on NBC at 9/8 Central.
My Rating: ****
*- Dull/Boring
**-Held my attention
***- Forced a few laughs
****- Easy to follow and funny
*****- Overall comedic genius
Tuesday, February 2, 2010
Axum Yum Yum- Restaurant Review
If you have an insatiable appetite for Ethiopian food or even a slight curiosity to try it, Axum Cafe will satisfy your taste buds. With a moderate amount of authentic Ethiopian spices, these select cuts of meat, seafood, and vegetarian dishes are worth the twenty dollar bill. This small restaurant located on lower Haight street draws in older and younger crowds who share an appreciation for the exceptional cuisine.
Unlike many places where the menu is full of options, leaving you distraught in deciding what to order, Axum provides a brief, yet concise description of each meat and vegetarian entrée. The level of spice is comprehensive and the cuts of beef, marinated chicken, lamb, fish, shrimp, and assorted veggies are explained adequately. No forks are needed here, as it is custom to eat the dish with injera, a sour, sponge-like bread. Ask for a fork? You might get some stares.
Don’t expect extraordinary service, the one server responsible for every customer did not seem to be interested in wowing anyone with assistance. Though he was attentive enough to refill water, he failed to the mention the ample list of drinks offered. The menu provides white and red wines, beer, tea, coffee, soft drinks, juices, and milk which are helpful in taming the spicy food, but you have to find that out for yourself.
With dim lighting and low music, Axum Cafe is not a place where you have to scream over the noise to hear your neighbor, the setting is rather intimate. While waiting for your food, one can’t help but notice the tasteful décor. Above each table that seats four, hang traditionally decorated Ethiopian chandeliers with a red fringe. The surrounding walls are painted yellow and are decorated with several paintings. Above the bar, hangs a clock and a traditional Ethiopian fly swatter made of horsetail. The only sign of technology here is the small plasma that hangs from the corner, otherwise the restaurant maintains its festive appearance.
The cooked-to-perfection food is served on a large platter in the center of the table family style, so it is wise to order two or more entrees. The first bite leaves you believing you may want to order more, but the combination of the injera and meat and/or veggies will fill a hungry stomach. Taking a drink between bites, of something besides water, is suggested for those who do not fancy spice. You may find silence as those engorged in eating cannot stop for conversation. As a connoisseur of traditional Ethiopian and Eritrean food, I must say that I am impressed.
Surrounded in a hub of restaurants on one of San Francisco’s busiest streets, laid back, Axum Café is not to be overlooked. The restaurant’s name stems from the Axumite Empire in one of Ethiopia’s most ancient cities and is significant for the early foundations of the Orthodox Church. If you are unsure of what Axum looks like there are an array of pictures around the restaurant, and one even sits on the window sill for curious passerby’s.
Overall, the quality of food is superb. The menu offers a wide variety of options for meat lovers and vegetarians. The drink list provides both Ethiopian and American beverages to quench the average thirst or to conquer a spicy dish. The service is okay, perhaps another visit may persuade a change of opinion.
My rating:
Food: *****
Overall: ****
Axum Cafe
698 Haight Street (at Pierce)
San Francisco, CA 94117
(415) 252-7912
Open Monday through Friday: 5:30pm-10:00pm
Saturday and Sunday: 12:30pm-10:00pm
Accepts Visa, MasterCard, and Discover
Price: $15-$20
(Restroom available)
Rating:
None, horrendous, bad, satisfactory, great, exceptional
-,*, **, ***, ****, *****
Unlike many places where the menu is full of options, leaving you distraught in deciding what to order, Axum provides a brief, yet concise description of each meat and vegetarian entrée. The level of spice is comprehensive and the cuts of beef, marinated chicken, lamb, fish, shrimp, and assorted veggies are explained adequately. No forks are needed here, as it is custom to eat the dish with injera, a sour, sponge-like bread. Ask for a fork? You might get some stares.
Don’t expect extraordinary service, the one server responsible for every customer did not seem to be interested in wowing anyone with assistance. Though he was attentive enough to refill water, he failed to the mention the ample list of drinks offered. The menu provides white and red wines, beer, tea, coffee, soft drinks, juices, and milk which are helpful in taming the spicy food, but you have to find that out for yourself.
With dim lighting and low music, Axum Cafe is not a place where you have to scream over the noise to hear your neighbor, the setting is rather intimate. While waiting for your food, one can’t help but notice the tasteful décor. Above each table that seats four, hang traditionally decorated Ethiopian chandeliers with a red fringe. The surrounding walls are painted yellow and are decorated with several paintings. Above the bar, hangs a clock and a traditional Ethiopian fly swatter made of horsetail. The only sign of technology here is the small plasma that hangs from the corner, otherwise the restaurant maintains its festive appearance.
The cooked-to-perfection food is served on a large platter in the center of the table family style, so it is wise to order two or more entrees. The first bite leaves you believing you may want to order more, but the combination of the injera and meat and/or veggies will fill a hungry stomach. Taking a drink between bites, of something besides water, is suggested for those who do not fancy spice. You may find silence as those engorged in eating cannot stop for conversation. As a connoisseur of traditional Ethiopian and Eritrean food, I must say that I am impressed.
Surrounded in a hub of restaurants on one of San Francisco’s busiest streets, laid back, Axum Café is not to be overlooked. The restaurant’s name stems from the Axumite Empire in one of Ethiopia’s most ancient cities and is significant for the early foundations of the Orthodox Church. If you are unsure of what Axum looks like there are an array of pictures around the restaurant, and one even sits on the window sill for curious passerby’s.
Overall, the quality of food is superb. The menu offers a wide variety of options for meat lovers and vegetarians. The drink list provides both Ethiopian and American beverages to quench the average thirst or to conquer a spicy dish. The service is okay, perhaps another visit may persuade a change of opinion.
My rating:
Food: *****
Overall: ****
Axum Cafe
698 Haight Street (at Pierce)
San Francisco, CA 94117
(415) 252-7912
Open Monday through Friday: 5:30pm-10:00pm
Saturday and Sunday: 12:30pm-10:00pm
Accepts Visa, MasterCard, and Discover
Price: $15-$20
(Restroom available)
Rating:
None, horrendous, bad, satisfactory, great, exceptional
-,*, **, ***, ****, *****
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